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Jan/ Feb Programmes 一、二月節目

瘋狂的睿智

Werner Herzog 華納荷索

the Manic Genius

主辦 Presenter

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資助機構 Financially Supported by


cinefan.com.hk

電影節發燒友 (HKIFF Cine Fan) 節目

HKIFF Cine Fan Programme 電影節發燒友(HKIFF Cine Fan)節目由 香港電影發展基金資助,2013年4月 由香港國際電影節協會創辦。節目旨 於推廣豐富多元的電影文化,定期為 香港觀眾帶來主流電影以外的精選佳 作。 香港國際電影節協會同時推出優惠計 劃「電影節發燒友(HKIFF Cine Fan)」, 為成功申請的影迷提供各種節目的票 價優惠。

Financially supported by the Hong Kong Film Development Fund (HKFDF) and organised by the Hong Kong International Film Festival Society (HKIFFS), the HKIFF Cine Fan Programme was launched in April 2013. With the aim to enrich and deepen the experience of Hong Kong moviegoers, the monthly programme features a variety of curated contemporary, retrospective and thematic showcases. In conjunction with the programme, the HKIFFS has introduced Cine Fan, a special privilege scheme for cineastes to enjoy ticket discounts both for the programme, and also the annual HKIFF, the Summer IFF, and other associated programmes.

主辦 Presenter

資助機構 Financially Supported by

合作夥伴 Cine Fan Supporters

「瘋狂的睿智—華納荷索」合辦機構 “Werner Herzog, the Manic Genius” co-presented by

鳴謝 Acknowledgement


Werner Herzog, the Manic Genius 2 瘋狂的睿智— 華納荷索

Michelangelo Antonioni, 10 the Architect of Human Landscape 安東尼奧尼— 建天地 見人間

The Labyrinth of Mystery – Jacques Rivette 16 利維特的神秘國度

Back to the Screen 18 銀幕再現

Screening Schedule 20 放映時間表 Cine Fan

預告片 Trailer 影片放映格式請參閱Cine Fan網頁 Screening format information please refer to the Cine Fan website

The 42nd Hong Kong International Film Festival 第 四 十 二 屆 香 港 國 際 電 影 節

19.3-5.4.2018

節 目 公 佈 日 期 Programme to be announced on

28.2.2018

公 開 售 票 日 期

Tickets available from

2.3.2018


「當我們記得大家都是瘋子時,所有的謎都會消 失,生命也會得到解答。」 最懂馬克吐溫此言 深意,莫過於華納荷索。療養院侏儒肆虐狂歡、 野人被教化後中槍身亡、卑微小兵殺妻自盡,荷 索的電影裏,盡是畸零怪誕的人和事。瘋狂影 像,召喚靈魂的甦醒,毋須像醫生將卡斯伯侯沙 的腦袋解剖研究,電影早已揭示生命真相。 「我就是我的電影」荷索如是說。超越理性、批 判文明,闖進極地絕境,做自己的夢,也說別人 的夢。對電影奉如宗教虔誠,偏執於創新電影語 言,以實景實事結合詩意想像,臻至「令人狂喜 著迷的真實」。這種神秘得近乎神聖的迷思,建 構靈視大師的祭壇,創造不朽的電影神話。 認定拍電影是天命,自學所有電影知識,幹苦工 賺錢成立製作公司。鋼鐵廠打工煉成無堅不摧的 意志,為拍戲不惜冒險犯難:拍攝《生命的訊

息》(1968)時,拔槍威脅希臘駐軍殺警自轟; 拍《新創世紀》(1971)在喀麥隆被捕入獄遭毒 打兼染頑疾;製作《天譴》(1972)在亞馬遜叢 林困於急流暴雨險死還生。將現實的災難折磨融 入電影,成了真實而震撼的情感力量。 或說擇善固執,或說冥頑不靈,荷索電影捕捉 的,既是不容於社會的人物,亦有自我投射的身 影。狂傲天才不愁寂寞,與識於微時的「極端自 我主義者」寇斯金斯基相生相剋,雙槍互指太陽 穴,逼到彼此精神崩潰,卻達極致的創意巔峰, 《胡錫傳》(1979)、《陸上行舟》(1982) 等合作的五部電影公認為史上經典。 今期選映的九部荷索早期作品(加一部金斯基紀 錄片),奠定其特立獨行風格。第四十二屆香港 國際電影節及下期Cine Fan節目,將繼續深入其 異類國度。

修復

RED RESTOSICS S A L C

© Werner Herzog Film

經典

瘋 狂 的 睿 智 — 華 納 荷 索

Werner Herzog, the Manic Genius Amazon rainforest when shooting Aguirre, the Wrath of God (1972). Yet, he has beaten seemingly unbeatable odds, and created a hallucinating world of utter absurdity and exquisite beauty.

“They call me ‘mad’. But I don’t care. The only thing that counts is what’s up on the screen.” This is Werner Herzog. Entirely single-minded, his every action is only directed towards fulfilling his destiny – the creation of “authentic” cinema. One of cinema’s most controversial and enigmatic filmmakers, Herzog has a vision of real life and fiction feeding off each other for mutual poetic inspiration, persistently pursuing his “ecstatic truth”. Through wild imagination and stylization, his films are immersed in a universe filled with destruction and the demise of the individual. These themes emerge throughout a body of work at once stunning and perplexing. With a compulsive drive for authenticity and a pathological addiction to sensationalism, he has a reputation of going to extremes to realize his vision, to the point of risking his own and other people’s lives. These stories include his threat to kill anyone who tried to halt his filming of Signs of Life (1968) on the Greek island; and his reckless decision that put his team through hell in

Seminar 座談會

21.1 Sun 日

His worldview often seems bleak and distressing, featuring an uneasy balance between anti-humanistic views about civilization and a genuine sympathy for the very human beings. Many of his heroes are quixotic outsiders who reject or are rejected by society, only to be crushed by the weight of their own ambitions. Be it a genius or a madman, Herzog is not alone. Together with Klaus Kinski, his turbulent “nemesis” whom he always plotted to murder, they have created a mythic legacy of five classics, including Woyzeck (1979) and Fitzcarraldo (1982). This retrospective of Herzog’s early works represents his audacity and fearless vision as an elusive auteur. The 42nd Hong Kong International Film Festival and the upcoming Cine Fan programme will continue to tell his mesmerizing tales of conquest and obsession.

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地點 Venue 講者 Speakers

《我的野蠻好友》放映後 香港藝術中心電影院 Hong Kong Arts Centre Cinema 朗天、李焯桃 Long Tin and Li Cheuk-to

合辦 Co-presented by


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侏儒叛逆記

生命的訊息

Even Dwarfs Started Small

(Auch Zwerge haben klein angefangen)

Signs of Life

西德 1968 87分鐘 希臘孤島驕陽似火,愛琴海的微風吹不散心靈鬱結。 德國傷兵史楚錫獲派優差,與兩名同僚屯駐荒廢古堡 看守火藥庫。苦困斷瓦頹垣生活單調無所事事,誘捕 曱甴、催眠母雞打發時間,仍填滿不了虛空日子。無 意義日復日無休無止,一個人的戰爭默然展開。對人 生無力感憤而反抗,自絕於孤寂的堡壘,與整個社群 為敵,燃起漫天煙火,只求生命一剎那的光輝。荷索 將自身經歷投射進史楚錫,面對漫山遍野的風車不停 轉動,腦神經跟着瘋狂迴旋,陷入萬劫不復的混沌意 識漩渦。廿六歲首作一鳴驚人,黑白光影的冷峻與深 沉,早已凝煉存在主義的觀照。

1968 柏林影展評審團獎銀熊獎 West Germany 1968 87min Cast: Peter Brogle, Wolfgang Reichmann, Athina Zacharopoulou

Stroszek, a wounded German soldier in WWII, is sent for an “easier” job to guard an old fortress on a remote Greek island along with two comrades. Desolate landscapes and rhythm of monotony takes over Stroszek, and a field of uncountable windmills whirling endlessly eventually kindles his firework of madness, staging the staggering spectacle of unhinged frenzy. Herzog’s debut feature looks at the sheer terror of banality of everyday life that turns a sane man into a maniac. It is a war movie, wherein a soldier revolts against his own existence.

© Werner Herzog Film

© Werner Herzog Film

(Lebenszeichen)

西德 1970 96分鐘 就算見慣畸零怪誕,看到荷索創造的夢魘也會目瞪口 呆。場景設定已夠匪夷所思,侏儒療養院病人暴動, 負責人遭禁錮挾持,進入無政府狀態。侏儒大解放肆 意狂歡,玩結婚、看色情畫報;駕着卡車不停團團 轉,神經錯亂逐漸失控,縱火破壞、欺凌瞎眼同伴, 連猴子也被折磨綁於十字架祭祀巡遊。邊嬉笑玩着幼 稚遊戲,邊猙獰幹出殘暴行為。別尋求理性解釋,殘 酷與愚昧從無秩序邏輯。當是純粹變態或是哲學寓 言也好,震攝威力驚人殆無疑問。為說服侏儒配合演 出,竟承諾煞科後跳入仙人掌叢,荷索自此被認定是 「天才瘋子」。瘋狂,豈止是侏儒的世界。 West Germany 1970 96min Cast: Helmut Döring, Gerd Gickel, Erna Gschwendtner

In an institution set in a desolate landscape, the dwarf inmates start their rebellion. As the director is taken hostage, the inmates go wild and engage in naughty acts, soon moving to progressively more destructive actions. Burning a lonely palm tree, torturing barnyard animals and even their fellow blind inmates, they are madly giggling with joy at how the rules are being broken at will. Herzog confronts us with the ultimate questions of what we are and what constitutes our humanity. We are, all like the dwarfs, trying hopelessly to make sense of a cruel and brutal dystopia.

1968 Berlin International Film Festival, Silver Bear Extraordinary Prize of the Jury

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新創世紀

的世界 靜默和黑暗

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Land of Silence and Darkness

Fata Morgana

© Werner Herzog Film

© Werner Herzog Film

(Land des Schweigens und der Dunkelheit)

西德 1971 79分鐘 走過撒哈拉沙漠,恍如置身海市蜃樓,更像經歷一場 太空漫遊。從荒漠風沙的尋常景致,提煉出非比尋常 的反烏托邦浮世繪。飛機降落降落再降落,施下催眠 魔咒後,三部曲徐徐展開。電影史學家蘿特艾斯娜誦 着馬雅聖書重新詮釋「創世紀」神話,Leonard Cohen 深沉的歌聲伴隨着「天堂」,由渺無人煙到浮現生命 跡象,車船殘骸、動物屍骨、工業廢物逐漸污染自然 大地。人類製造的萬事萬物無用之用,成了「黃金時 代」。幻覺般的影像營造出如同世界末日後的空虛與 混沌,成為荷索日後多部經典的創作原型,泰倫斯馬 力和克萊雅丹妮亦深受其影響。 West Germany 1971 79min

Desert mirages are made palpably real through sound and image in this hallucinatory walkabout across the shimmering Sahara. Shot on Earth but gone beyond the beauty and horror of our world, Herzog’s documentary (or what he calls a sci-fi) is more like a lurid portrayal of dystopia. As “Creation”, “Paradise” and “The Golden Age” unfold with Lotte Eisner’s narration of the Popol Vuh and Leonard Cohen’s ballads, our hopes and visions concerning humanity and virtue become illusionary. The bewildering and visceral imagery creates a unique cinematic experience, and becomes insights into many of Herzog’s, and Terrence Malick’s, subsequent works.

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西德 1971 85分鐘 靜默與黑暗,將身體放逐到另類生活空間。心靈拒絕 困於孤寂世界,眼看不見、耳聽不到,就伸出雙手去 撫摸、去接觸、去溝通。年少時因意外失聰失明的芬 妮,走出被困三十年的幽閉密室,四處探訪鼓勵命運 同路人。與他們一起首次乘飛機天際翱翔、碰觸仙人 掌、擁抱反斗馬騮,打開心扉分享感動的喜悅。荷索 對被社會摒棄遺忘的人有執迷般的忠誠,敏銳鏡頭映 照不一樣的視野,捕捉殘障者獨特的心靈風景,懷抱 收音機「聽」音樂節奏,擁抱大樹「看」自然色彩。 荷索最希望觀眾看到的電影,看過自會明白,那是一 種椎心之痛⋯⋯與愛。 West Germany 1971 85min

The most stripped-down of Herzog’s films, and the one that he would most like to be available to audiences. This touching documentary follows Fini Straubinger, a German woman who became deaf-blind early in life, as she struggles to communicate and reaches out to help others similarly afflicted. Togetherness in suffering, sensory sharing of joys through first plane flight and holding animals in a zoo lead them out of their isolated world of silence and darkness. Under Herzog’s sensuous camera, feeling the music at heart or embracing the tree per se offers the sole but undeniable reason for living.


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卡斯伯侯沙之謎

天譴

Aguirre, the Wrath of God

The Enigma of Kaspar Hauser

(Aguirre, der Zorn Gottes)

© Werner Herzog Film

© Werner Herzog Film

(Jeder für sich und Gott gegen alle)

西德 1972 93分鐘 中文字幕 峻嶺險峯、怒河飛湍,大自然宣示威力,人卻不知敬 畏。為尋覓傳說中失落的黃金之城,西班牙殖民帝國 探險隊不惜入侵亞馬遜叢林,被土著反擊重創。先遣 隊溯流而上,軍官亞基拉發動叛變,建立傀儡王國。 敵人從未現身,隊友已在木筏上逐一中伏身亡。漫天 死亡陰霾,野猴進佔亂竄,上帝之怒已降臨人間,俯 視亞基拉倉皇孤立於崩塌的木筏迴旋。金斯基本就是 執迷的野性狂人,完美展現逆天者貪婪野心的邪惡。 荷索透徹洞悉康拉德《黑暗之心》,拍攝過程如同入 魔,親歷企圖以文明征服蠻荒自然的瘋狂與挫敗,哥 普拉的《現代啟示錄》(1979)亦瞠乎其後。

1976 法國影評人協會最佳外語片 2005 《時代雜誌》史上百大電影之一 West Germany 1972 93min Cast: Klaus Kinski, Helena Rojo, Del Negro, Peter Berling

Herzog’s Heart of Darkness is about obsession, an experimentation of cinematic realism paired with an extreme sense of surreality. Laced with legendary incidents during shooting, this riveting epic is about a catastrophic expedition of the Spanish conquistadors into the Peruvian rainforest in search of the lost city of gold, ending up in a futile conquest in unforgiving despair. Kinski invests Aguirre with a frightening intensity, an acute manifestation of what greed and madness can bring human beings to. Herzog’s overwhelming vision, not just of the havoc of civilization, but of the insanity in man, is unmatched even in Coppola’s Apocalypse Now (1979). 1976 French Syndicate of Cinema Critics, Best Foreign Film 2005 TIME Magazine's All-Time 100 Movies

西德 1974 109分鐘 中文字幕 卡斯伯侯沙出生以來活在地窖不識說話不懂人情。科 學家、神學家輪流教化,學會識字更懂彈琴,不過人 人仍難解其怪異思維,何以蘋果會有生命,解題不用 邏輯。毋需文明洗禮,抱起嬰兒自然感動流淚,單 純直心,只落得成為馬戲團的搖錢樹,貴族炫耀的工 具。無端中槍身亡,臨終前記掛的只是迷路駱駝隊走 出沙漠的夢兆。遺體被當作外星人解剖研究,醫生興 奮記載畸形腦袋的重大發現。荷索在國際影壇奠定地 位之作,取材自十九世紀真人真事,由曾患精神病的 布魯諾本色演繹,直觀文明極致成了野蠻。唯有去除 理性、回歸初心,始能參透生命之謎。

1975 康城影展評審團大獎、國際影評人聯盟獎、 天主教人道精神獎 West Germany 1974 109min Cast: Bruno S., Walter Ladengast, Brigitte Mira

“Every man for himself and God against all”, the film’s German title seems to summarize Kaspar’s thinking. Locked in the cellar for 18 years, the “wildman” becomes a public sensation when he ventures into a society that wishes to civilize him. A mysterious attack ends his life, with his origin never discovered and the hostility towards him never explained. Once a mental patient, Bruno S. perfectly fits into Kaspar’s role in one of Herzog’s most fascinating films, a bizarre but real story that gives an unforgettable, dreamlike meditation on the nature of civilization and the fine line between sanity and madness. 1975 Cannes Film Festival, Grand Prize of the Jury, FIPRESCI Prize, Prize of the Ecumenical Jury

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玻璃晶靈

史楚錫流浪記

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Heart of Glass (Herz aus Glas)

© Werner Herzog Film

© Werner Herzog Film

Stroszek

西德 1976 91分鐘 十八世紀巴伐利亞的村莊,製造紅寶石玻璃的工匠驟 逝,秘方隨之消失於世。工廠主人尋覓秘方歇斯底 里,殺死女僕以求貞血提煉玻璃;村民頓失生計,驚 惶失措,工廠亦陷於火海。唯有牧者海斯有一顆玲瓏 剔透的玻璃心,預言末日將臨,喃喃詠誦古代先知朦 朧隱晦的詩句,驚人地準確預視了世界大戰、極權統 治、核武破壞、生態災難……如幻更似真令人不寒而 慄。荷索對演員施以催眠術幻化出末世寓言,眾人目 光呆滯唸着囈語,如同夢遊般無意識地生活,絕望與 仇恨佔據靈魂,茫然不知文明已在崩壞,人類正走向 滅亡。以為世界沒有盡頭,是否只是癡人說夢?

1977 德國電影獎最佳攝影 West Germany 1976 91min Cast: Josef Bierbichler, Stefan Güttler, Clemens Scheitz

In an 18th-century Bavarian village, the baron of a glassblowing factory deliriously tries to recover the lost secret to producing the ruby glass, soon descending into madness along with the rest of the townspeople. Only the shepherd, who is gifted with the power of prophecy, utters mysterious oracular pronouncements about impending doom – world wars, nuclear destruction, tyranny and ecological disaster. Hypnotizing most of the actors in almost all scenes, Herzog sees souls taken away from men, losing the meaning and the will to survive. A grim vision of hopelessness, it’s a world sinking into self-destruction along with our so-called civilization. 1977 German Film Awards, Best Cinematography

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西德 1977 108分鐘 出獄了,只不過是由四面圍牆的囹圄,栽進無邊無際 的樊籠。潦倒的史楚錫備受排斥不容於世,遇上同是 天涯淪落人的妓女伊娃,互相依傍在社會邊緣掙扎求 存。她尚可販賣肉體賺錢,他在街頭獨奏卻無法維 生。出走美國,夢想在自由之邦開展新生,借錢買車 買屋買電視欠債纍纍,只落得人財兩空一無所有。納 粹與資本主義原來沒有兩樣,只是欺壓剝削的方式有 所不同。荷索罕見鄉謠味道的公路電影,彈奏一闋變 調的流浪者悲歌,亦寫照布魯諾顛沛流離一生。貨車 不停原地打轉,鐵籠裏的雞停不了機械式跳舞;竭盡 全力求存,到頭來仍逃不出注定的宿命。

1978 德國影評人協會最佳電影 West Germany 1977 108min Cast: Bruno S., Eva Mattes, Clemens Scheitz

Upon release from prison, Bruno Stroszek, a Berlin street musician, encounters Eva, a prostitute mistreated by pimps, and the two decide to leave Germany for the promise of a better life in Wisconsin. Stroszek’s American dream quickly turns sour, as his woman’s gone and his mobile house’s seized. A rare road movie with country music, Herzog’s quietly devastating portrait of stranger-in-a-strange-land alienation is laced with his indelible moments of crackpot poetry: a premature baby hanging on forcefully, and a caged chicken can’t stop dancing. It’s this mixture of touching feelings and unpredictable fascination that gives Herzog’s works their haunting lives. 1978 German Film Critics Association Awards, Best Film


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我的野蠻好友

胡錫傳 Woyzeck

My Best Fiend

© Werner Herzog Film

© Werner Herzog Film

(Mein liebster Feind)

西德 1979 81分鐘 正正常常的直線 事,偏偏是最「不正常」的荷索風 格。毫不起眼的小兵胡錫與情人未婚產子,為了養 家當上了科學家的實驗品賺取外快。被踩在腳下狂 操,被當作白老鼠只能吃豆,身體慣於任人擺布,精 神卻向心魔服從。外在卑微與內在瘋狂各走極端,情 人不忠最終令身心崩潰,自取滅亡。改編自十九世紀 布希那爾未完的劇作,荷索保留原著神髓,拉闊全景 映照胡錫與社會的疏離及矛盾,長鏡頭卻對準金斯基 瘋狂暴烈的雙眼,透視靈魂的孤寂與哀慟。文明的壓 迫令死亡狂傲,諷刺的是成為「真實的、完美的殺人 犯」,才令社會賦予他存在意義。

1979 康城影展最佳女配角 West Germany 1979 81min Cast: Klaus Kinski, Eva Mattes, Wolfgang Reichmann

A tale about Woyzeck, a lowly soldier who in public is being afflicted by the unbearable weight of social oppression, in private is being tormented by visions of the apocalypse. Going through severe military discipline, scientific experimentation and the desertion of his woman, Woyzeck is finally driven to insanity. Adapted from Georg Büchner’s unfinished play, Herzog’s harsh vision of human suffering beyond despair is more than a sharp parable on societal and political inequalities. Kinski incarnates the tragic hero with a deeply moving yet absurdly comic idiosyncrasy, a “good” man possessed by intimations of the mortality of mankind. 1979 Cannes Film Festival, Best Supporting Actress

德國/英國/美國 1999 95分鐘 影壇臭馬寇斯金斯基在其自傳形容荷索為「惡毒、 貪婪、奸詐、下流、變態」,大導還以顏色,在他 去世近十年後盡數糾纏不休的恩怨情仇。一導一演兩 個狂人,互相折磨下創造了五部經典。荷索重返《天 譴》、《陸上行舟》拍攝現場的亞馬遜叢林,憶述當 年金斯基在拍片過程暴戾乖張,險令臨記一命嗚呼; 躁狂爆發威脅罷拍,大導回敬開槍同歸於盡。難以想 像,同場女演員竟看到其不為人知的害羞與溫柔。荷 索立的墓誌銘,刻蝕了野蠻好友的傲世天才與桀驁 不馴;兩人亦敵亦友的夥伴關係,一句「You sink, I sink」,百分百是男人的浪漫。 Germany/UK/USA 1999 95min

Whom Klaus Kinski describes as a “nasty, sadistic, treacherous, cowardly creep”, Herzog returns the favor with this captivating documentary, an account of their unending love-hate relationship and turbulent collaboration which produces five classics. Revisiting the original shooting locations in the Amazon jungle, Herzog recalls the ferocious Kinski temperament in attacking extras, and his threat to shoot the actor with eight bullets and use the ninth on himself. Yet, the raving madman is seen as a shy and gentle man by his co-star actresses. Strange as it seems, the butterfly on his finger clearly knows the softness of the genius mind. 設映後座談會,講者朗天、李焯桃 Post-screening seminar with Long Tin and Li Cheuk-to

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眾裏尋他,萬古惆悵,心事還將與?銀幕上的 她,憑窗對鏡,輕巧轉身,說了一兩句溫柔的 話。我們都認出那股荒涼孤獨,敘事在觀眾預期 的地方中止,懸空了。有甚麼稍稍離開,心動 了幾回⋯⋯正是意大利導演安東尼奧尼(19122007)的聲畫組合;他讓我們認識到,電影語 言竟可如此細密,活動影像怎麼樣都有可能。 三十八年前,法國思想巨擘羅蘭巴特向安東尼奧 尼致送了一封公開信,高度贊揚了安氏作品,並 枚舉了其為藝術家典範的三大特徵:對歷史、對 人文時刻保持關注和警惕;擁有洞悉人性和分辨 世情真偽的智慧,以及最弔詭的— 身處時代變 局中,不惜時刻受威權威脅的脆弱性。 十年前,安東尼奧尼在羅馬家中逝世;生命和藝

術俱脆弱,只宜小心輕放。其逾六十年的創作生 涯留下了十六齣長片(其中一部是紀錄片),部 部佳構精品。十年後的今日,在堅持變得可笑, 不義彷彿牢不可破的當下,回到安東尼奧尼的電 影世界裏,尋求那易碎的絕對,簡直是奢侈的必 須。 無論是直探感性禁區(《迷情》、《夜》、《情 隔萬重山》)、批判資本主義無形壓逼、叩問生 產異化下的生活意義(《赤色沙漠》、《春光乍 洩》、《無限春光在險峯》),抑或於人性窄縫 中探究存在出路(《過客》、《女人女人》), 安東尼奧尼均顯得全神貫注,珍惜經營。所有演 出,在其靈活運動的影機收攝下,滙成超越道 德、出入情色無礙的人和事。說他漂亮他是進 取,說他左翼他便是美。

修復

RED RESTOSICS S A CL

經典

安 東 尼 奧 尼

建 天 地 見 人 間

Michelangelo Antonioni, the Architect of Human Landscape

Even in the golden era of Italian and European film, Michelangelo Antonioni (1912-2007) stands out as a poetic auteur of alienation and modernity, whose innovations in narratives and in vision challenged and changed film. Recognized as a master with the top awards at Cannes, Berlin and Venice, his works continue to speak powerfully both as individual films and as lifetime exploration about the ways film may embody art, philosophy and existential quests for an entire age. Born into a cultured family of the Italian middle class, Antonioni moved towards film after graduating in economics, but his early career was overshadowed by war and the Resistance. After dabbling with neo-realism in the 1950s, he turned towards the middle-class as subject while continually deepening the questions he posed in psychological, cultural and filmic dimensions. In his probing analyses, Antonioni took charge of time, space – landscapes both natural and man-made, cavernous and intimate, become indelible elements in all of his films –

Seminar 座談會

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and actors, especially in his relationship with Monica Vitti, who illuminated many of his key films. After his seminal trilogy that established his name and unmistakable style, however, Antonioni continued to grow, exploring color, new borders and languages (three striking films in English) and even new technologies at the end of his life, while he also traveled to China to face the complexities of yet another world. This series concentrates on the arc of masterpieces that defined his unique status in world cinema from L'avventura (1960), which burst upon the European filmscape with a power that it still commands nearly six decades later, to his final solo feature, where relationships, alienation and enigmas haunt a successful director. The series offers a feast of ideas and masterful techniques in his famous long takes and loving exploration of land and people, his careful and creative use of music and silence, and the scenes – and spaces of emptiness – that will continue to haunt us long after the lights go out.

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《情隔萬重山》放映後 After the screening of L'eclisse 地點 Venue 香港藝術中心電影院 Hong Kong Arts Centre Cinema 講者 Speakers 張偉雄、馮嘉琪 Bryan Chang and Kiki Fung


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迷情 L'avventura

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La Notte

意大利/法國 1961 122分鐘 中文字幕 意大利/法國 1960 143分鐘 中文字幕 有甚麼發生了,又甚麼也沒有發生。一對戀人跟朋友 登上遊艇暢遊地中海,女的在途經的小島神秘失蹤, 男的卻彷彿毫不緊張,轉而追求她的同行好友。安東 尼奧尼拍的當然不是一個男性沙文主義大混球故事, 而是嘗試將時代焦慮、存在苦悶與困惑,以至人性的 脆弱和溫柔滲進敘事縫隙,誘人挖掘回味的野心之 作。女友最終沒有尋回,糾結了的感情關係似乎從來 不打算解開,觀眾所有慣性期待落空了,難怪影片於 康城影展首映時被報以噓聲,惟仍無阻其獲頒評審團 大獎,成了安氏「情感三部曲」的首章。

1960 康城影展評審團獎 Italy/France 1960 143min Cast: Gabriele Ferzetti, Monica Vitti, Lea Massari

In this prizewinning initial film of his great trilogy, Antonioni guides us into his landscapes of loss and crisis. The film revolves around the absence of Anna (Lea Massari), whom we first meet as the lover of Sandro (Gabriele Ferzetti) and the friend of Claudia (Monica Vitti, who became a global star in this role). After Anna disappears on an isolated island, Sandro and Claudia seek her across Italy and Switzerland, following partial clues and fragmentary connections while fighting against a growing attraction that may bind them or destroy them. 1960 Cannes Film Festival, Jury Prize

「情感三部曲」第二部曲。作家和妻子探訪垂死友 人,之後一天的活動都彷彿籠罩在死亡陰影之下。寫 作的成功益發突顯快掩藏不了的生命貧乏,中產階級 的腐敗、勞動的異化、日常瑣碎的難耐,統統濃縮在 人際的進退和潛在的誘惑之間。好不容易,大家才確 認到頭來垂死的正是愛。馬斯杜安尼、珍摩露和蒙妮 卡維蒂演活了片中一段又一段欲迎還拒,似有還無的 多角關係;片末草坪上淒美而絕望的性愛,於光影的 不朽國度簽上安東尼奧尼的大名,讓榮獲柏林影展金 熊獎這事實,相形下也顯得有點俗氣。

1961 柏林影展最佳電影金熊獎 Italy/France 1961 122min Cast: Jeanne Moreau, Marcello Mastroianni, Monica Vitti

The dark night of a marriage. Giovanni (Marcello Mastroianni) seems on top of the world. He toasts his new book with his elegant wife Lidia (Jeanne Moreau) and their friend Tommaso, confined to a hospital, before the couple drives to a party in Giovanni’s honor. There, though, Giovanni faces his lack of inspiration, the venality of his future and the temptations of a young heiress (Monica Vitti), while Lidia grapples with Tommaso’s death, her own possible infidelities, and the withered love that ultimately separates her from Giovanni. 1961 Berlin International Film Festival, Golden Bear for Best Film

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赤色沙漠

情隔萬重山 L'eclisse

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Red Desert (Il deserto rosso)

意大利/法國 1962 126分鐘 一場徹夜難眠,欲語還休的分手戲,為這闋後戀愛奏 鳴曲開啟了序幕。文藝少女和股票經紀,是否將要驗 證「不對的人在對的時間便可交往」?還在問愛情是 否虛幻嗎?安東尼奧尼告訴你,如何虛幻和如何顯得 不虛幻才問對了問題。蒙妮卡維蒂和阿倫狄龍用他們 姣好的臉龐、微妙的身體語言,盡情為觀眾展示美麗 與殘酷的複合面相。畫面每一個細節都經精心安排, 不容忽視卻又令人不忍正視。片末男女主角約定在老 地方見,千帆過盡,人蹤緲然,白頭歌盡明月,可謂 至矣盡矣。

1962 康城影展評審團特別獎 Italy/France 1962 126min Cast: Monica Vitti, Alain Delon, Francisco Rabal

Final and perhaps the greatest film of Antonioni’s trilogy, anchored by a stunning performance from Monica Vitti. Her Vittoria is a woman looking for love and meaning amidst the modern materialism of Rome, particularly embodied by Alain Delon as the stockbroker Piero. Antonioni’s elaborate dissection of incomplete relationships with Piero and her former lover, the translator Riccardo (Francisco Rabal), mesh with long discussions among strong and varied women on topics ranging from relationships to colonialism. All remain linked by a yearning that never seems quenched. 1962 Cannes Film Festival, Jury Special Prize 設映後座談會,講者張偉雄、馮嘉琪 Post-screening seminar with Bryan Chang and Kiki Fung

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意大利/法國 1964 117分鐘 安東尼奧尼首部彩色作品,即把每一個畫面經營得像 名畫一般。青天絳地,蒼穹不仁,要突顯的無非是人 間疏離和勞動異化。觀眾看着導演的靈感女神蒙妮卡 維蒂帶着孩子在工業區人群間來來去去,丈夫、情 人、財富,最終統統與她毫不相干。影片處處滲透出 來的終極個體孤獨,緊扣存在的煩惱和焦慮,儼然是 對二次大戰後存在反思的最佳光影呼應。觀眾完全可 把故事當作病歷來看,一個與世界格格不入的局外人 跨過神經官能症的界限又走回來,望着毒煙存活,亦 震撼亦平常。

1964 威尼斯影展最佳電影金獅獎及 國際影評人聯盟獎 Italy/France 1964 117min Cast: Monica Vitti, Richard Harris, Carlo Chionetti

Antonioni explores alienation in its deepest colors – in a film whose working title, perhaps ironically, had actually been Celeste e Verde (sky blue and green). His colors, however, are not those of a loving or healing nature but the palette of corrupted industrial landscapes and polluted waters. These powerful landscapes become the outward manifestations of the detachment and doubts of the heroine, Giuliana (Monica Vitti) amidst shifting demands of her industrialist husband (Carlo Chionetti), a foreign businessman (Richard Harris) and her son (Valerio Bartoleschi). 1964 Venice Film Festival, Golden Lion Best Film & FIPRESCI Prize


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無限春光在險峯

春光乍洩 © Images courtesy of Park Circus / Warner Bros.

Blow-up

Zabriskie Point © Images courtesy of Park Circus / Warner Bros.

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英國/意大利/美國 1966 111分鐘 中文字幕 崖岸自高的時裝攝影師公園蹓躂期間拍下一對戀人的 親熱照片,回去沖曬時被急於取回菲林的女子找上 門,並和他大玩曖昧的誘惑遊戲。一輪春光乍洩互有 攻守之後,攝影師用假菲林打發了她,卻赫然在放大 了的影像發現手槍及屍體!一宗謀殺案似乎發生了, 但真的發生了嗎?女體、虛實、變幻、人性和信念的 脆弱,成就了安東尼奧尼首部英語製作,並以爭議的 選材、處理和片末一場耐人尋味的虛擬網球賽,俘擄 了萬千影迷的心。輕取康城影展金棕櫚獎之餘,更是 他最廣為人識的傑作。

1967 康城影展金棕櫚獎 UK/Italy/USA 1966 111min Cast: David Hemmings, Vanessa Redgrave, Sarah Miles, Jane Birkin

Antonioni in English, bringing a Palme d'Or at Cannes and box office success – in part because of its challenges to Hollywood’s censorship of sex. Starting from a story by Argentine author Julio Cortázar, Antonioni follows trendy London fashion photographer Thomas (David Hemmings) as he grows uneasy in his swinging world of beauty, drugs and parties. A chance photograph and encounter with a woman brings him into a world of mysteries, lies and even murder… or are these all illusions? The legendary pantomime tennis match provides the ideal finale and challenges us with shifting layers of vision, music and meaning. 1967 Cannes Film Festival, Palme d'Or

美國 1970 113分鐘 中文字幕 六十年代席捲全球的青春反叛,在安東尼奧尼鏡下並 不止於又一個殘酷故事。憤慨躁動的年輕人捲入學生 和警察的暴力衝突,一名警員倒地喪生,他則偷了小 型飛機開往沙漠,遇上正要跟地產商老闆會合的伊 人。資本主義的醜惡和難耐、人性荒原的虛無與不 安、拒絕和接受的情愛辯證,彷彿一下子都在死亡谷 國家公園的扎布里斯基角來個了斷。誰可以把絕望拍 得如此淒美,把憤怒拍得那般溫柔?片末別墅爆炸場 面的慢鏡蒙太奇,堪稱史上最具逼力的批判性鏡頭之 一。作為主流觀眾最不懂欣賞的安氏作品,本片當之 無愧。 USA 1970 113min Cast: Mark Frechette, Daria Halprin, Paul Fix

Antonioni’s second English-language film, an initial commercial disappointment that has grown in critical stature over the decades. Today it stands as a monument to Antonioni’s fascination with the counterculture of the 1970s and the landscapes of America – from the violence of race, police and protests on its college campuses to the hallucinogenic bleakness of its deserts, even though some might see them as scenarios for possible elite “development.” Against these landscapes, two lost young people meet, perhaps find love, and separate as they travel towards different destinies.

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女人女人

過客

The Passenger

Identification of a Woman

(Professione: reporter)

© Images courtesy of Park Circus / Sony

(Identificazione di una donna)

意大利/法國/西班牙 1975 126分鐘 中文字幕 正在非洲採訪但早厭倦了前半生的電視台記者找到重 生契機,就是跟剛死的朋友互換身份。起初一切看似 順利,惟其逐漸發現,他的新身份原來是與游擊隊進 行交易的軍火商人。潛在危機裹挾刺激大量腎上腺分 泌的預期冒險,揭開了過客人生的最後數頁。積尼高 遜演活了徘徊於認同和自毀邊緣的矛盾份子— 逃 逸線從來不直,自由人一頭裁進的,可會是等待隨機 絞碎的無常漩渦?片末穿梭死亡和背叛的七分鐘長鏡 頭,精巧糅合了敘事、意象發揮和美學建構,令人歎 為觀止,早成經典傳誦一時。 Italy/France/Spain 1975 126min Cast: Jack Nicholson, Maria Schneider, Jenny Runacre

How much can a man change his life with a new passport? Journalist David Locke (Jack Nicholson) easily slips into the identity of a dead man in Chad but soon finds himself embroiled in the connections of his new life, a dealer in illicit arms, and those of his old life as his wife tries to unravel her husband’s purported death. And then, in Barcelona, he meets a young architecture student (Maria Schneider) and another chance to start over… if he can evade those who are still seeking him. Considered by the master himself as his most stylistically mature film, the seven-minute long-take finale remains one of the most breathtaking endings in the history of cinema.

意大利/法國 1982 130分鐘 名導演欲尋新繆斯,選中有貴族生活背景的短髮女 子,誰知兩人開始交往不久便有跟蹤者來恐嚇:和她 繼續下去的話小心自此永無寧日。真愛當然不該退 縮,但難道來破壞的敵人真的來自外邊?蟬過別枝又 如何?到頭來還是無疾而終。創作時安東尼奧尼七十 歲,彷彿有意重返「情感三部曲」的課題,跟過去的 自己來一記深情對話。公路停車的霧中風景、窗框內 外的捕風捉影,連場調度光影分合,在在說明安氏寶 刀未老。誰料到三年後會突然中風,令本片幾成大導 遺作。

1982 康城影展三十五周年大獎 Italy/France 1982 130min Cast: Tomás Milián, Daniela Silverio, Christine Boisson

Antonioni’s final quest or his eternal question? Here, director Niccolò (Tomás Milián) believes he needs a woman to provide meaning to his life and work. He first meets the mysterious Mavi, quite by chance, but finds his search for a relationship clouded by enigmatic jealousies, half-seen surveillance and the chill of her aristocratic milieu and family. And then there is the warm and beautiful Ida, who seems to offer every escape and even helps him understand Mavi. Yet she, too, carries a secret that changes their future. 1982 Cannes Film Festival, 35th Anniversary Prize 設映後談,講者劉嶔 Post-screening talk with Lau Yam

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範式轉移:後九七香港電影 PARADIGM SHIFT: POST-97 HONG KONG CINEMA 免費放映 FREE SCREENING

31.12.2017

《一念無明》

2:00pm – 4:45pm

MAD WORLD

香港理工大學賽馬會綜藝館 Jockey Club Auditorium The Hong Kong Polytechnic University

現場弦樂四重奏表演 Live String Quartet Performance 導演黃進將出席映後談 Post-screening discussion with director Wong Chun 門票於12月4日上午10時起,可在20a.hkiff.org.hk / hkiff.org.hk作網上登記。 少量門票會於開場前30分鐘在放映場地免費派發。每人限取一張,先到先得,額滿即止。 Tickets will be available for online registration from 10am on 4 Dec at 20a.hkiff.org.hk / hkiff.org.hk. Limited tickets will be available to the public on-site 30-min prior to the screening on a first-come, firstserved basis. Limit to one ticket per person.

20a.hkiff.org.hk / hkiff.org.hk 主辦 Presenter

協辦 In Collaboration with

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The Labyrinth of Mystery Jacques Rivette

Don't Touch the Axe

7.1 20:30 AC 4.2 14:30 SM

a.k.a. The Duchess of Langeais 別 碰 斧 頭 (Ne touchez pas la hache) 導演:積葵利維特  法國/意大利 2007 137分鐘 後拿破崙復辟時期,一個虛偽矯飾的 年代,害死了愛情。戰爭英雄雅蒙就 是不小心,給穿梭ball場的公爵夫人安 苳妮牢牢吸引,安苳妮邀他天天來訪香 閨,卻以諸多禮節阻擋親近,橫衝直撞 的雅蒙終按捺不住,不惜綁架伊人。貴 族偷情遊戲玩出了火,不,雅蒙沒有強 暴的意思,安苳妮也毫髮無損回到家 來。她心念開始轉變,他卻展開了報 復。利維特這次改編巴爾札克,不是 《勾魂十三》的率性實驗,而是由佈 景、調度以至節奏皆精心佈局,以現代 姿態演繹特殊年代的特殊愛慾。Jeanne Balibar(《六個尋找愛情的角色》)和Guillaume Depardieu(謝勒迪柏度英年早逝的長子)像生活 在場景內的人,屏息跳着玩命的挑情探戈,直是 嘆為觀止。

2007 柏林影展競賽片 設映後談,講者劉偉霖 Post-screening talk with William Lau

Dir: Jacques Rivette France/Italy 2007 137min Cast: Jeanne Balibar, Guillaume Depardieu, Bulle Ogier

While this hardly sounds like a title from Balzac, that classic origin underpins a 19th century chamber drama of love (perhaps), gambits and games between the estimable Duchess Antoinette de Langeais (Jeanne Balibar) and the warweary general, Armand de Montriveau (Guillaume Depardieu, Gerard’s oldest son). The film’s stark opening, with the Duchess cloistered away an island convent and the general on the other side of iron bars, frames a complicated duet of temptations and feints, actions and rejections, honor and rewards, that belong both to Rivette and to his beloved Balzac. Beyond his sheer elegance of camera, script and pacing, Rivette brings these elements out through the actors who carry the weight of this mighty yet constrained drama. 2007 Berlin International Film Festival, In Competition

套票優惠:每次同時購買《別碰斧頭》及《小山36景》之正價門票可享七折優惠

Package Discount: 30% discount to each purchase of standard tickets of both Don't Touch the Axe and Around a Small Mountain . {

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利維特 的神秘國度

19.1 19:30 AC 9.2 19:30 AC

Around a Small Mountain

(36 vues du Pic Saint Loup) 導演:積葵利維特 法國/意大利 2009 84分鐘 縱是不捨,21部全展還是快要來到終結,出乎意料, 利維特以短小精幹的篇幅,為電影生涯劃上憂鬱的句 號。一開場,意大利影帝沙治奧卡斯 迪利圖演出一幕精彩的英雄救壞車, 三兩下手腳為意識流女神珍寶金解 窘,那是利維特擅長的無對白功架, 發放獨有電影感,幽默抵死。結果發 現謎一樣的女神原來是馬戲團繼承 人,流浪英雄大為着迷,跟着馬戲團 一場又一場的巡迴看下去,和小丑及 空中飛人邂逅,和女神的一夕夕話, 洞察個人憂思、創作和表演困局。法 國南部小鎮和羅馬片場兩邊拍攝,珍 寶金這邊在小溪染布,轉個頭已是馬 戲團廠景,虛虛實實就這麼輕輕巧巧糊掉了界線。追 求精彩的調度與構圖,利維特的人生與電影,都在這 裏找到了答案。

2009 威尼斯影展競賽片

小山 36 景

Dir: Jacques Rivette France/Italy 2009 84min Cast: Jane Birkin, Sergio Castellitto

Jacques Rivette’s final film, imbued with wisdom and reflection that come together in the mellow world of a small European travelling circus, where two lonely people meet, learn, touch. Kate (played by the ever fascinating Jane Birkin) had run away from her father’s circus, where her lover – and perhaps love itself – had died years before. The wealthy but aimless Vittorio (Sergio Castellitto) meets her by accident and yet finds himself drawn in by this woman and this world, as he slowly draws her out of the prison she has imposed. Not a mere romance, but a process of exploration and healing between two mature, knowledgeable people, handled with Rivette’s exquisite eye and awareness, 50 years after Paris Belongs to Us . 2009 Venice Film Festival, In Competition

設映後談,講者王勛 Post-screening talk with Geoffrey Wong

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© Images courtesy of Park Circus / MGM

莊尼頓丹

017 1944-2HAN JONATME DEM

BACK TO THE SCREEN

5.1 19:30 AC 14.1 17:00 FG

銀幕再現

The Silence of the Lambs 沉默的羔羊

導演:莊尼頓丹姆  美國 1991 118分鐘 中文字幕

Dir: Jonathan Demme USA 1991 118min Cast: Jodie Foster, Anthony Hopkins

拜安東尼鶴健士所賜,食人心理醫 生漢尼拔博士成了美國電影學會百 年反派之首,那摘下面具後撲向警 衛的咧嘴笑容,令人人患上斯德哥 爾摩症候群,沉迷於其邪惡魅力不 能自拔。茱迪科士打飾演的聯邦調 查局見習探員克麗絲,到訪監獄尋 求他協助瞭解變態狂魔,視線和思 路逐漸與食人魔貼近,被他的冷眼 逼使直視內心埋藏的秘密。沉默的 羔羊自有溫柔的力量,令狂魔最後 亦要柔情說聲謝謝你。電影將驚慄 類型片重新定位,當年橫掃奧斯卡 五項大獎。莊尼頓丹姆如佛洛伊德心魔附身,犯罪 心理分析玩至出神入化,以精煉對話和鏡頭語言展 現懸念,令人越是思考,越是膽顫心驚。結局留 白,最是耐人尋味。

The top movie villain of all time on the AFI’s 100 greatest list, Dr. Hannibal Lector is a most seductive psychopath, a brilliant psychiatrist put behind bars for feasting on his victims. It’s not his frosty smile but his mind that attracts Clarice Starling, an FBI trainee who seeks his help in drawing a psychological profile of a new serial killer. Playing along with the monster’s charm and intelligence, she is forced to confront her own childhood fears. Full of uncomfortable close-ups and discomfiting dialogue, Jonathan Demme's adaptation of Thomas Harris’ taut best-selling novel has become an instant classic of suspense thriller. Anthony Hopkins and Jodie Foster have created two of the most memorable characters in movie history, yet it’s Hannibal the Cannibal who has become a patron to many people’s nightmares, forever haunting our thoughts.

1992 奧斯卡金像獎最佳影片、最佳導演、 最佳男主角、最佳女主角及最佳改編劇本

設映後談,講者李焯桃 Post-screening talk with Li Cheuk-to

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1992 Academy Awards, Best Picture, Best Director, Best Actor, Best Actress and Best Adapted Screenplay


© Images courtesy of Park Circus / Warner Bros.

27.1 19:30 SM 11.2 14:30 SM

BACK TO THE SCREEN 銀幕再現

SE7EN 七宗罪

導演:大衛芬查 美國 1995 127分鐘 中文字幕 七次下雨,七宗命案。饕餮、貪婪、懶惰……以七宗 罪為名的連環殺人案徐徐展開,新 紮師兄(畢比特)與即將退休的老 差骨(摩根費曼)奉命調查。自稱 替天行道的兇手終於落網,貓捉了 老鼠,反成了老鼠的籠中獵物。嫉 妒、憤怒最後兩宗罪在第七天下午 七時「大功告成」,殺人犯如願成 了殉道者。大衛芬查顯然不是要拍 一部探討宗教意義的影片,精心設 計出形同但丁的地獄之城,七罪七 罰環環緊扣,人物性格層層遞進, 正義與邪惡的界線變得模糊,遙遙 回應尼采的「上帝已死」。影片曾 出現七個不同結局,芬查與三名主 角堅持保留「神秘的箱子」,任潛意識的恐懼肆意張 狂。罪,還未完結。 1997 東京記者協會藍絲帶獎最佳外語片

Dir: David Fincher USA 1995 127min Cast: Morgan Freeman, Brad Pitt, Gwyneth Pattrow

It rains day after day. They investigate death after death. A soon-to-retire detective is partnered with a hotheaded newcomer in a desperate effort to stop an ingenious serial killer who intends every murder to punish one of the Seven Deadly Sins. As the cops caught their foe, his master plan comes to a shocking revelation. David Fincher’s intensely claustrophobic, gut-wrenching thriller is a look at city-wide moral corruption, and an examination of fear and dread, driving audience to a headlong dive into the depths of hell and a slow, careful build to its powerful yet haunting conclusion. The “What’s in the Box” ending has become one of the greatest MacGuffin in cinema history. As Fincher said, “sin is not modern.” It’s timeless. 1997 Blue Ribbon Awards, Best Foreign Language Film

設映後談,講者博比 Post-screening talk with Bobby Kwok

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Screening Schedule

放映時間表

Jan 一 月 日期 Date

時間 Time

地點 Venue 片名 Film title

5/1

五 Fri

19:30

AC

The Silence of the Lambs 沉默的羔羊

6/1

六 Sat

14:15 17:00 19:30 21:30

AC AC AC AC

L'avventura 迷情 La Notte 夜 Signs of Life 生命的訊息 Even Dwarfs Started Small 侏儒叛逆記

7/1

日 Sun 14:30

16:35 18:00 20:30

AC AC AC AC

L'eclisse 情隔萬重山 Seminar on Michelangelo Antonioni 安東尼奧尼座談會 Red Desert 赤色沙漠 Don't Touch the Axe 別碰斧頭

3

14/1 日 Sun 17:00 20:00

FG GC

The Silence of the Lambs 沉默的羔羊 Blow-up 春光乍洩

q q

19/1 五 Fri

19:30

AC

Around a Small Mountain 小山36景

3

20/1 六 Sat

14:30 17:00 19:30 21:15

AC AC AC AC

Zabriskie Point 無限春光在險峯 The Passenger 過客 Fata Morgana 新創世紀 Land of Silence and Darkness 靜默和黑暗的世界

q q

21/1 日 Sun 14:30 16:30 18:05 19:30

AC AC AC AC

Aguirre, the Wrath of God 天譴 My Best Fiend 我的野蠻好友 Seminar on Werner Herzog 華納荷索座談會 Identification of a Woman 女人女人

q

27/1 六 Sat

17:00 19:30

FG SM

The Enigma of Kasper Hauser 卡斯伯侯沙之謎 SE7EN 七宗罪

28/1 日 Sun 17:00 19:00

FG FG

Heart of Glass 玻璃晶靈 Stroszek 史楚錫流浪記

q 中文字幕 Chinese Subtitles

3 q

q q

3

q 3 q

3 設映後談 Post-screening talk

Ticketing Information 購 票 須 知 門票於2017年12月7日起於城市售票網公開發售 Tickets available from 7 December 2017 onwards at URBTIX

票價 Ticket Price

於 The Grand Cinema 及 Festival Grand Cinema 放映之場次 Screenings at The Grand Cinema / Festival Grand Cinema

於香港藝術中心及香港科學館放映之場次 Screenings at Hong Kong Arts Centre / Hong Kong Science Museum

$85 $75

套票優惠:每次同時購買《別碰斧頭》及《小山 36 景》之正價門票可享七折優惠。 Package Discount: 30% discount to each purchase of standard tickets of Don't Touch the Axe & Around a Small Mountain

門票優惠 Discount Schemes

八折優惠 七折優惠 八折優惠 九折優惠

20% discount 30% discount 20% discount

10% discount

電影節發燒友會員/ 贊助會員 Cine Fan Classic Privilege / Patron Privilege 電影節發燒友學生會員 Cine Fan Student Privilege ^ THE CIRCLE (The Grand) 會員 THE CIRCLE (The Grand) members @ (The Grand Cinema場次 Screenings at The Grand Cinema) MCL Club會員 MCL Club members @ (Festival Grand Cinema場次 Screenings at Festival Grand Cinema)

「港樂會」/ 「以舞會友」尊尚、精英會籍 / 城市當代舞蹈團「舞蹈靈」卡、Dance Card、Kids Card / 「中樂摯友會」 / 藝穗會 / Perfect Cup卡 HK Phil Club Bravo / Friends of HKDC Prestige, Classic Membership / CCDC 'Dance Inspirations', Dance, Kids Card / Friends of Hong Kong Chinese Orchestra / Fringe Club / Perfect Cup Card

^ 每次交易限購一張。學生會員優惠票持有人,須於入場時出示有效電影節發燒友(HKIFF Cine Fan)學生會員卡。 HKIFF Cine Fan Student Privilege can purchase 1 ticket per transaction. Ticket holder must present valid Student Privilege Card upon admission. @ 只適用於城市售票網售票處之售票櫃檯購票及戲院即場門票。Only available at the sales counter of URBTIX Outlets and Cinema door sales. # 只適用於城市售票網售票處之售票櫃檯購票。Available at the sales counter of URBTIX Outlets only 每張門票最多只可享用其中一種購票優惠。All of the above discount cannot be used in conjunction with any other discounts or offer.

所有場次不設劃位。所有已出售的門票皆不能退款或更換。本會恕不負責任何門票遺失。 Free seating for all screenings. All tickets are non-refundable and non-exchangeable. HKIFFS is not responsible for any lost ticket.

售票處購票 Counter Booking:城市售票網售票處 / URBTIX Outlets 網上購票 Internet Booking:cinefan.com.hk / www.urbtix.hk 信用卡電話購票 Credit Card Telephone Booking:2111 5999 流動購票應用程式 Moblie Ticketing App:My URBTIX (Android, iPhone/iPad versions) 票務查詢 Ticketing Enquiries:3761 6661


AC SM GC FG

香港藝術中心電影院 香港灣仔港灣道2號  Hong Kong Arts Centre Cinema, 2 Harbour Road, Wanchai, Hong Kong 尖沙咀東部科學館道2號 Hong Kong Science Museum, Lecture Hall 2 Science Museum Road, Tsim Sha Tsui East The Grand Cinema 尖沙咀柯士甸道西1號圓方商場2樓(港鐵九龍站) The Grand Cinema 2/F, Elements, 1 Austin Road West, Tsim Sha Tsui (Kowloon Station, MTR) Festival Grand Cinema 九龍塘達之路80號又一城UG層 Festival Grand Cinema Level UG, Festival Walk, 80 Tat Chee Avenue, Kowloon Tong

Feb 二 月 座談會:免費入場,粵語主講 Seminar: Free admission / Conducted in Cantonese

2/2

五 Fri

19:30

GC

The Passenger 過客

q

3/2

六 Sat

14:30 16:15 18:15 21:00

AC AC AC AC

Woyzeck 胡錫傳 Signs of Life 生命的訊息 L'avventura 迷情 Zabriskie Point 無限春光在險峯

q q

日 Sun 14:00

14:30 16:00 20:00

AC SM AC GC

Land of Silence and Darkness 靜默和黑暗的世界 Don't Touch the Axe 別碰斧頭 Even Dwarfs Started Small 侏儒叛逆記 La Notte 夜

q

19:30

AC

Around a Small Mountain 小山36景

14:30 17:15 19:45 21:30

AC AC AC AC

Blow-up 春光乍洩 L'eclisse 情隔萬重山 Woyzeck 胡錫傳 Fata Morgana 新創世紀

11/2 日 Sun 14:00 14:30 16:00 18:30 21:00

AC SM AC AC AC

Heart of Glass 玻璃晶靈 SE7EN 七宗罪 Stroszek 史楚錫流浪記 Red Desert 赤色沙漠 Identification of a Woman 女人女人

4/2

9/2

五 Fri

10/2 六 Sat

q

q

. 於The Grand Cinema 及 Festival Grand Cinema 放映之場次:城市售票網將於放映前一天之下午5時停止發售門票。 觀眾可於電影放映當日到放映場地票房購買剩餘門票,售完即止。 . For screenings at The Grand Cinema / Festival Grand Cinema, tickets are available at URBTIX till 5:00pm one day before respective screenings, after which tickets will be available only at the box office of the respective screening venues on the day of screening, subject to availability. . 於香港藝術中心之場次:每個節目開始前一小時起,剩餘門票只限於相關放映場地之售票處發售。 . Screenings at HK Arts Centre: For screening about to start in one hour, all remaining tickets can only be bought at the box office of respective screening venues. . 於香港科學館放映之場次:場地不設城巿售票網售票處。城市售票網將於每個節目開始前一小時停止發售門票。場地之臨時售票櫃位於電影開映前30分鐘提 供服務,即場發售剩餘門票,只接受現金付款,售完即止。 . Screenings at HK Science Museum: There is no URBTIX Outlet at the venue. Tickets are available at URBTIX till one hour prior to respective screenings. The door ticket counter opens 30 minutes before the screening. Limited tickets to non-sold out screenings will be available at the door, subject to availability (Cash Only).

使用信用卡電話購票、流動購票應用程式或網上購票

For Credit Card Telephone Booking, Mobile Ticketing App and Internet Booking 手續費:每張訂購門票港幣8元(手續費不設退款)。以上手續費會因應購票通(香港)有限公司而調整。 A handling charge (which is non-refundable) is levied at HK$8 per ticket. The service fee is subjected to adjustment by Cityline (HK) Limited.

自助取票服務 Ticketing Collection Service

顧客選擇自助取票服務提取門票,可於12月8日開始,攜帶交易使用的信用卡在購票通自助取票機刷卡提取門票,或親臨任何一間城市售票網售票處的售 票櫃檯憑卡領取門票。 Customers choosing ticket collection service can collect their pre-paid tickets from Cityline Ticket Dispensing Machines or at the sales counter at any of the URBTIX Outlets with the credit card used for transaction from 8 December onwards. The Grand Cinema / Festival Grand Cinema 不設領票服務。已訂購門票之觀眾,請在抵達放映場地之前,先行到各自助取票點領取門票,以免延誤入場。 Ticket Collection Service is not available at The Grand Cinema / Festival Grand Cinema. Customers are advised to collect the tickets at any of the ticket collection points before going to these screening venues to avoid delay in admission.

滿座場次企位票 Standing Tickets for Sold-Out Screenings 香港藝術中心滿座場次,將有少量企位票於開場前30分鐘在相關放映場地售票處發售,觀眾或未能獲安排入座。座位安排將視乎開場後30分鐘持普通門票觀眾入場後之 情況而定。每人限購企位票1張。部份場次或未能提供企位票,恕不另行通告。 A limited number of standing tickets for sold-out screenings of Cine Fan Programme at HK Arts Centre are for sales at the URBTIX Outlet of respective venues 30 minutes prior to the screening time. Seating is not guaranteed and subject to availability (30 minutes after the screening time). Each person can purchase up to 1 standing tickets. Standing tickets are subject to change without prior notice.

退票及節目更改 Refund Arrangement and Programme Change

節目如有更改或取消,觀眾可按原定時間入場觀看替代影片,或可由通知當日起至2018年3月2日申請退票。 本訂票手冊付印時,大部份影片均未經電影、報刊及物品管理處檢查。將來如有影片被檢定為三級者,未滿18歲而於公布前購買該場門票的持有人,可申請退票。退 票詳情請瀏覽cinefan.com.hk。 香港國際電影節協會保留更改放映節目、時間及地點的權利。有關節目更改或取消的最新消息,請參閱電影節發燒友(HKIFF Cine Fan)網頁及放映場地的通告。 For alteration or cancellation of screenings, ticket holders may choose to attend a screening of a replacement film at the same time slot or to get a refund. Refund application deadline on 2 March 2018. At the time when this booking folder goes to print, most of the films have not been submitted to the Office of Film, Newspaper and Article Administration. In case that a film is subsequently classified as Category III, refunds will be made to ticket holder under 18 years of age who buy tickets before the announcement. For refund details, please visit cinefan.com.hk. The HKIFF Society reserves the right to change the programme and the schedule should unavoidable circumstances make it necessary. Screening alterations and cancellations will be announced on the HKIFF Cine Fan website and at the screening venues.

惡劣天氣之放映安排 Arrangements under Inclement Weather Conditions

當香港天文台發出八號或以上熱帶氣旋警告訊號或黑色暴雨警告時,電影節目可能會受影響而取消,或未能提供投映字幕。詳情請留意電影節發燒友(HKIFF Cine Fan) 網頁的最新公佈。 Screenings or electronic subtitles may be cancelled when tropical cyclone warning signal No. 8 is in force or Black Rainstorm Warning is issued. Please refer to the HKIFF Cine Fan website for the latest notice.

節目查詢 Programme Enquiries:cinefan.com.hk / 2970 3300 / info@hkiff.org.hk


cinefan.com.hk

安東尼奧尼

Jan/ Feb

Programmes

Antonioni 一、二月節目

建天地

the Architect of Human Landscape

見人間

主辦 Presenter

資助機構 Financially Supported by

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Cine Fan Jan / Feb 2018 Programme  
Cine Fan Jan / Feb 2018 Programme  
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