Cine Fan Jan/Feb/Mar 2023 Programme

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Mar 2023
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THE CINEMA OF LUIS BUÑUEL EVOLVING BEYOND SURREALISM
14 Breaking into the Playground: Auteurs of the MV Generation 破格有理: MV 作者新世代 2 Evolving Beyond Surrealism –The Cinema of Luis Buñuel 逆道而行— 布紐爾的超現實電影 20 Back to the Screen 銀幕再現 主辦 Presented by 資助機構 Financially Supported by 目 錄 Contents Jan Feb Mar 2023 除特別註明外,所有非英語對白電影皆設有英文字幕。 Unless otherwise stated, all non-English speaking films are subtitled in English. 影片放映格式請參閱Cine Fan網頁 For screening format information, please refer to the Cine Fan website. 香港特別行政區政府透過電影發展基金向本項目提供財政支援。有關財政支援與本項目的內容或在本項目中所表達的意見並無關連。 The Government of the Hong Kong Special Administrative Region provides funding support to the project through the Film Development Fund. The funding support bears no relationship whatsoever to the content of or views expressed in this project.

Louis Koo Cinema, Hong Kong Arts Centre

灣仔港灣道2號

2 Harbour Road, Wan Chai

M+ 戲院 M+ Cinema 九龍博物館道38號

西九文化區 M+大樓LG層

LG, M+ Building, West Kowloon Cultural District, 38 Museum Drive, Kowloon

英皇戲院 尖沙咀iSQUARE

Emperor Cinemas iSQUARE 九龍尖沙咀彌敦道63號 國際廣場7樓

L7, iSQUARE, 63 Nathan Road, Tsim Sha Tsui, Kowloon

Emperor Cinemas Times Square 銅鑼灣勿地臣街1號 時代廣場13樓

13/F, Times Square, 1 Matheson Street, Causeway Bay

MC
AC
香港藝術中心古天樂電影院
IS
TS
英皇戲院 銅鑼灣時代廣場
24 The Golden Age 黃金時代 27 Ticketing Information 購票須知 28 Screening Schedule 放映時間表 23 Cinema Heritage: From The Film Foundation 光影珍藏:電影基金會 合作夥伴 Supporters 語言 Language (語言代碼 Language Code: ISO 639-2/B) 字幕 Subtitles 默片 Silent

Evolving Beyond Surrealism

‘Surrealism taught me that man is never free, yet fights for what he can never be.’

This uncompromising spirit exemplifies the life and work of Luis Buñuel (1900-83), a master filmmaker who led avant-garde surrealism of our time. Born to a wealthy Spanish family, he however loathed conformism and the values that made up middleclass morality. Through combining surrealist non sequiturs with taboo-shattering attacks, he launched his battles against the bourgeoisie, the church, social confines and nationalism, aiming to dismantle the conventional ideas and established orders, all the

while driving people to see their existence and reality from a brand new perspective.

Ever since his debut short An Andalusian Dog, Buñuel has never ceased to shock the world with his provocative ideas and startling images. Though he and Dalí went on separate paths after The Golden Age, he always remained true to the fundamental surrealist principles: a spirit of rebellion, the power of subversion, a belief in the creativity of the unconscious, a taste for black humour, as well as an enduring contempt for institutions. His films were always banned, and led to his exile in Mexico for

「超現實主義教曉我人永不會自由,但明知無 法達致,仍奮力爭取。」 這種知其不可為而為之的精神,貫徹着超現實 主義大師布紐爾(1900-83)的一生。出生於 西班牙富裕家庭,卻鄙視中產階級的價值觀; 雖受教會薰陶,卻矢志要從宗教枷鎖中釋放自 我。反叛個性拒絕父權制度、正統宗教、道德 規範及民族主義的制約,以凌駕現實的藝術挑 戰世俗歧見及打破常規,逼使人走出舒適圈, 以新角度、新思維審視生命的可能性。 從首部短片《一條安德魯狗》開始,布紐爾即 以傾軋社會的概念及令人咋舌的影像,令舉世 震驚。雖在《黃金年代》後與達利因意見不合 而分道揚鑣,不過布紐爾抱持超現實主義的原 則始終如一:反叛的精神、顛覆的力量,堅信 潛意識的創作潛能、黑色幽默的品味,還有對 一切僵化體制的鄙夷。其離經叛道令作品多番 被禁,甚至要流亡墨西哥達二十年,拍成享譽 國際的《被遺忘的人》,倒打開了跨國合作的 大門。
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20 years. Yet, it is Los Olvidados, an acclaimed film made during that difficult period, that opened his doors for international co-productions.

While devoted to the aesthetics of the irrational, Buñuel’s psychedelic, disjointed style is always under meticulous shaping. Through this directness and simplicity, he staged his outrageous, violent liberation of the mind. ‘The true originality of Buñuel’s cinema is that it slips into the mound of the most clichéridden type of filmmaking, and then destroys it by bursting out from within.’ In his most celebrated masterpieces including The Exterminating Angel,

The Discreet Charm of the Bourgeoisie and The Phantom of Liberty, the auteur always begins with an elegant scene of bourgeoisie respectability, then proceeds to tear down its glamour and reveal its hypocrisy. In his sixties, Buñuel became a formidable director who effortlessly blurs the line between fantasy and reality, myth and mundanity, reaching the pinnacle of his career.

‘I’m still an atheist, thank God.’ Buñuel’s famous quote may sound paradoxical, yet it befittingly reflects his conviction: ‘In a world as badly made as ours, there is only one road – rebellion.’

布紐爾的電影揚棄慣性邏輯,以「非理性」為 依歸,其自由聯想的畫面,看似迷幻、破碎、 斷裂,卻暗藏精心佈局及細緻章法,平靜、直 接、簡單,往往「猶如弓箭一矢中的,直達觀 眾的底層意識,而毋須任何過濾或解釋」。剃 刀割破眼球、吸啜石像腳趾、坐在馬桶上談笑 風生等影像固然驚世駭俗,但大膽諷刺手法更 在於以暴力解放思想:「溜進最陳腔濫調的 拍電影模式核心,再從內破殼而出,摧毀一
切」。在著名的《滅絕天使》、《中產階級拘
謹的魅力》以至《自由的幻影》,正是先描繪 中產階級優雅體面的表象,繼而撕破華麗虛 飾,揭露醜惡實相。花甲之年在法國再創事業 高峰,游移於夢幻與現實、神話與世俗之間, 早已渾然天成,登峰造極。 「感謝上帝,我仍然是個無神論者。」布紐爾 的名言不無自相矛盾,然而正好概括其對電影 及人生的態度:世界崩壞如此,逆道而行,才 是最忠於自己的真實。 3 – The Cinema of Luis Buñuel

in the hope of administering a revolutionary shock to society, the first collaboration between two geniuses, Buñuel and Dalí, has become the most famous surrealist film that exemplifies the movement in its form and content. Beginning with the notorious montage of a razor blade slicing through a woman’s eye and a cloud passing over the moon, the mavericks’ own dreams are transformed into searing and unforgettable images under free-association. Opening all doors to the irrational and refusing explanation of any kind, this Andalusian dog still bites with its quiet provocation and enduring inspiration. Screening with The Golden Age

The insanities of modern life, and the hypocrisy of the sexual mores of bourgeois society are laid bare in this series of tightly interlinked surrealist vignettes of extreme images. Starting off as a documentary about scorpion attacks, it soon descends into a scandalous essay on Eros and civilisation, wherein a couple is constantly torn apart from passionate lovemaking by the police, high society and the church. Denounced by extremists and banned for decades for its outright blasphemy, Buñuel’s feature debut is gleefully inventive and wickedly funny –though Dalí would disagree.

12.2 17:00 TS 7.1 20:30 TS 12.2 17:00 TS 7.1 20:30 TS 布紐爾與達利兩大天才首度合作,依各自夢境 拍攝而成,旨在不驚人不罷休,以挑釁意念及 破格影像對影壇及社會投下震撼彈,威力歷久 不衰,至今仍被奉為超現實主義電影的圭臬。 通往非理性的中門大開,剃刀割破眼球與烏雲 劃過月亮的蒙太奇先聲奪人,螞蟻從手心竄 出、腋毛與海膽平行對剪、鋼琴上下的死驢與 神父⋯⋯試圖以佛洛伊德心理分析性渴望與性 恐懼的矛盾,只會惹來布紐爾不屑一笑。別妄 想尋求什麼意義,就讓潛意識自由飛馳,投 入撲朔迷離的夢幻世界。同場放映《黃金年 代》。 Conceived
與達利決裂前最後一次合作,布紐爾將慾望 的潛意識與反性壓抑、反宗教、反資產階 級的思維傾注於超現實夢幻影像之中。由 蝎子互鬥引申至文明社會人類不變的暴力天 性;一對熱戀男女在泥濘上試圖纏綿野合被 多番阻撓,信手將道德與宗教潔癖者一併拖 進泥沼。乳牛在床、女伯爵吸啜石像腳趾、 主教被扔出窗外,種種顛覆意念與震撼影像 惹來各派圍攻,在法國被禁五十年之久,兩 個拷貝更被銷毀。部分場面後來成為達利的 畫題,詭異夢魘景象亦奠定超現實電影的座 標。同場放映《一條安德魯狗》。
Screening with An Andalusian Dog 法國 France 1929 20min Cast: Pierre Batcheff, Simone Mareuil, Luis Buñuel, Salvador Dalí 法國 France 1930 64min Cast: Gaston Modot, Lya Lys, Max Ernst Film restored by Les Grands Films Classiques and La Cinémathèque française at the Hiventy laboratory with the assistance of the Filmoteca española and the support of the European Commission.
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The 4K restoration of The Golden Age was carried out by La Cinémathèque française and the Center Pompidou, MNAM-CCI/Experimental Cinema Service, at the Hiventy laboratory for the image and at the L.E. Diapason studio for the sound, thanks to the support of Pathé and the House of Champagne Piper-Heidsieck, patrons of La Cinémathèque française.

Fascinated by the graceless mountains and the struggle for survival of its impoverished inhabitants, Buñuel ventured into the remote Las Hurdes region in this parodic manipulation of documentary style. Exposing the squalor of a people ignored by the regime, the director delivers his political statement by rendering a bitter reality via contrived representation in savage imagery – dead babies, deformed midgets, a goat tumbling to its demise, and a mule stung to death by bees. Despite its distortions, this banned film remains a fabulous open text that questions humanity’s notion of progress. Screening with Simon of the Desert (p.9)

西班牙 Spain 1933 28min

Buñuel’s crude vision of juvenile crime, and the marginal lives of children in a Mexico City slum, is steadfast in its realism, yet operatic in its tragedy. A stunning dream sequence is imbued with flourishes of surreal, transcendental insight into the emotional turmoil of a street kid, revealing his fear of violence, craving for sustenance, and desire for a mother’s love. The film’s controlled passion sets it apart from the genre, as Buñuel’s poetic departure from reality captivates with its horror at the world’s cruelty, and earned him Best Director at Cannes amidst controversy.

墨西哥 Mexico 1950 81min

Cast: Alfonso Mejía, Roberto Cobo, Estela Inda, Miguel Inclán 康城影展最佳導演獎

Cannes Film Festival: Best Director

26.2 14:30 IS 8.1 20:15 TS 25.2 14:15 IS 14.1 21:00 MC 《黃金年代》被封殺後,《無糧之地》得以 拍成,竟是出於布紐爾詩人好友拉蒙一句胡 謅,中彩票後兌現承諾資助製作。翻山越嶺 深入西班牙偏遠山區拍攝的偽紀錄片,反軍 事主義及反政府意識形態旗幟鮮明。赤貪如 洗的悲慘景象詭異如超現實夢魘,活扯雞 頭、山羊墮崖、驢子遭群蜂螫斃、壯男染瘧 疾抽搐,以至幼兒病逝下葬等殘酷場面比目 皆是。是記錄真實抑或巧意安排並非重點, 要旨是揭露國家輝煌背後被遺忘的一群,窮 困悲涼的實況歷歷在目,難怪一推出旋即被 禁。同場放映《沙漠的西蒙》(第9頁)。
拍罷《無糧之地》,布紐爾避走墨西哥再續 導演夢。一把冷刀割開貧民區的殘酷現實, 放出的淤血滲着第昔加《單車竊賊》新寫實 主義的悲憫,躍動的脈搏仍是超現實詩意的 激情。一群童黨欺侮老弱、偷竊搶劫無惡不 作;為人父母的亦弊病纏身,只懂埋頭苦幹 或酗酒逃避現實。被亂棒虐打的小雞喻意昭 昭,在殺人幫兇男孩的夢魘裏,渴求母愛、 嗜肉慾望、被欺凌的恐懼、困於貧苦的壓抑 活脫浮現,成了影史上最驚心動魄的幻象, 也令布紐爾在爭議聲中榮獲康城最佳導演。
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When a greedy landlord fails to evict his slum tenants for plans to build a house for himself, he hires slaughterhouse worker Pedro, nicknamed El Bruto, to terrorise the residents. However, Pedro changes his ways when he falls for one of the residents. Katy Jurado steals the show as the landlord’s fiery young wife whom Pedro has an affair with. At the core of this melodramatic narrative is a potent social commentary about greed and toxicity of masculinity. It may not look exclusively ‘Buñuelian,’ but its powerful images including a night-time chase sequence are unforgettable.

For Buñuel, adapting Mercedes Pinto’s novel about the toxic relationship between a paranoid aristocrat and his wife is more than just a marital drama about gaslighting, but a psychological study of a man’s obsession and madness, whose sadism is inseparable from his high social position. Partly autobiographical, the director infused his memories of dealing with his sister’s paranoid husband. Though met with disappointment upon release, the film has received overwhelming praise in the ensuing years, with Cahiers du Cinéma naming it one of the most essential films of all time.

天地不仁,惡人當道;業主僱用暴徒恐嚇租 戶收樓,結果搞出人命,偏偏暴力掩藏不 了浪漫萌芽,不!暴力本身就是浪漫,只未 必是每個人那杯茶,終須如人飲水,點滴在 心頭。每個城市都會發生的無良悲劇,人性 在裏面掙扎,露出幾成陳腔濫調的殺父情結 端倪,但在布紐爾鏡下,成為大刀闊斧的心 理解構,讓禁忌在不必宣之於口的荒謬裏化 掉。愛上不該愛的人,最終不過是他或她 的藉口。布紐爾以如其所如的態度炮製通俗 劇,結果便是一齣冷眼世情的傑作。
初看只是又一個妒夫的迷魂故事。富人丈夫 好不容易把美艷少妻從朋友懷中搶到手,到 頭來被她發現其實是嚴重妄想症患者,無時 無刻不在懷疑嬌娥偷漢。不過,現實與想像 的差距,有時確比他人所知少得多。幻覺驟 看似障蔽,易地而處,何不可視為某種關乎 奇異慾望的救贖?布紐爾示範他的閃回技術 如何爐火純青,其敘事宛如一氣化三清,令 觀眾膛目結舌之餘,體會驚慄與文藝之間, 原來可這樣出入自如。電影強烈的宗教隱喻 也為我們打開一窺布紐爾超越意識的窗口。
墨西哥 Mexico 1953 83min Cast: Pedro Armendáriz, Katy Jurado,
Arenas 墨西哥 Mexico 1953 92min Cast: Arturo de Córdova, Delia Garcés, Aurora Walker 康城影展競賽影片 Cannes Film Festival: In Competition 映後談講者陳廣隆 Film talk with Horace Chan 18.2 16:45 MC 25.2 16:15 IS 15.1 20:45 MC 3.3 CINE FAN ONLINE 6 28.1 14:30 AC
Rosita

Is it a crime to merely think about killing someone? With Archibaldo de la Cruz, Buñuel may have invented the most diabolical serial killer who never actually kills. When a nun dies after Archibaldo threatened to kill her, the would-be criminal recounts to a judge how he elaborately planned to murder several women throughout his life without ever putting those plans in motion. With this satiric and psychologically probing thriller, Buñuel has made a great ’perfect murder’ film that would be a quintessential companion piece to Hitchcock’s Vertigo 作為其中一部最受歡迎的布紐爾電影,《拿

墨西哥 Mexico 1955 90min

Cast: Ernesto Alonso, Miroslava, Rita Macedo

墨西哥 Mexico 1959 95min Cast: Francisco Rabal, Marga López, Rita Macedo 康城影展國際大奬

Cannes Film Festival: International Prize

This unflinchingly cynical film – named by Andrei Tarkovsky as one of his favourite films – follows Nazario, a righteous Catholic priest who is forced to go on a pilgrimage after hiding a murderous prostitute puts him in trouble with the law. Along his journey, he is worshipped as a miracle worker, called a heretic and finally, stigmatised as a criminal. Buñuel may have left the Jesuits and became an atheist at the age of 16, but it’s clear that religion – or precisely, religious skepticism –remained a prevailing theme throughout his career.

Televisa S.A. de C.V. All Rights Reserved. Courtesy of Fundación Televisa.

也許從奧古斯丁的《懺悔錄》獲得靈感,布 紐爾藝高人膽大,竟能把沒有發生的兇案搬 上銀幕,示範意念的威力,讓沒有訴諸行動 的連環殺手潛藏之扭曲執迷暴露於陽光下。 當你以為一切像開玩笑,摻夾着淚與汗的卻 是無可避免的深刻與嚴肅。主角那來自墨西 哥革命的「創傷」設定,並非偶然,但更令 人怵然的,仍是各種神推鬼使般的「巧合」 碰撞,結果產生連串挑戰倫理和常識的處境 反思。在腦海不斷綵排謀殺,無非是不被奇 異慾望溺斃的圖存之舉,被視為媲美希治閣 《迷魂記》之作。
撒連》其實不太「布紐爾」;在人文主義和 超現實主義之間,他彷彿選擇了前者。無私 博愛卻被動的英俊神父,活在窮人、妓女與 一眾被壓迫者當中,永遠以助人為本,甚至 被認定能行神蹟,宛如耶穌重臨。然而,在 逐漸透闢出荒謬的通俗劇調度中,觀眾忽而 嗅出對純粹信仰的反諷氣味。不切實際自陷 險境還是其次,好心做壞事終誤人誤己才更 要命。原來當神秘主義倒過來拍攝,就是把 現實超現實化的奇作。
映後談講者鄭政恆 Film talk
Cheng 19.2 14:30 MC 28.1 19:30 AC 18.2 14:30 MC 28.1 17:00 AC 24.2 CINE FAN ONLINE 7
with Matthew

Returning to Spain at the invitation of Franco, Buñuel delivered an audacious and provocative masterpiece that was banned in Spain, denounced by the Vatican, yet received the Palme d’Or at Cannes. His heroine, the novice nun Viridiana, does her utmost to be pious, but her virtue is thrown back in her face when she has to confront her libidinous uncle and the grasping paupers she took under her wings. The vandalised feast mirroring The Last Supper, and the tacit implication of ménage à trois are no blasphemy, but a merciless look at a world that cannot be saved.

walking into a mansion for dinner, a group of high-society friends inexplicably find themselves unable to walk out. When the guests stay on for days, etiquette soon transforms into panic, as they resort to increasingly primal instincts in order to survive. By constructing a situation in which logic does not operate, Buñuel traps the guests and the viewers in his absurd universe, where we are constantly confronted with repetitions, inconsistencies, contradictions – and are ultimately forced to see the systematic corruption of frivolous upper class, and the destruction of civilisation.

應佛朗哥之邀重返西班牙拍攝,拍罷卻遭禁 映,更被梵蒂岡譴責褻瀆宗教,一切倒像 在布紐爾計算之內。虔誠見習修女回鄉探望 叔父,勾起其色慾之心,他被拒絕後愧而自 殺;她一心拯救貧病傷殘,善意慘被反噬, 更險遭強暴。震驚影壇之作,令康城不得不 頒發金棕櫚獎;對宗教與人性盡極諷刺, 十三乞丐進佔大宅擺出最後晚餐的格局,以 污穢顛覆聖潔。原結局被迫刪除,布紐爾改 為理想幻滅的修女與表兄及女僕三人共玩撲 克,曖昧關係與反道德意味更昭然若揭,正 中導演下懷。
「二十四小時後,屍體與賓客皆腐臭。」墨 西哥諺語,被布紐爾活現為中產階級的黑 色諷刺喜劇。一群紳士淑女出席晚宴,乘興 而來,卻無法盡興而歸:不是不想,而是不 能。坐困多日,眾人漸漸衣冠不整、儀態盡 失;當水盡糧絕,死亡欺至,更陷入幻覺、 打鬥以至瘋狂。布紐爾將賓客與觀眾一併困 於荒謬絕倫的設置,一切皆在邏輯之外,妄 圖解釋只是徒然。活像玻璃動物園,人性 醜態洋洋大觀,文明被徹底摧毀;以為終可 逃離,還不是由一個亂局走進另一個亂局而 已?
西班牙 Spain/墨西哥 Mexico 1961 90min Cast: Silvia Pinal, Fernando Rey, Francisco Rabal 康城影展金棕櫚獎
d'Or 墨西哥 Mexico 1962 95min Cast: Silvia Pinal, Enrique Rambal, Jacqueline Andere 康城影展國際影評人聯盟獎 Cannes Film Festival: FIPRESCI Prize 19.2 17:15 MC 29.1 14:30 AC 19.3 14:30 AC 4.2 14:30 MC 8
Gracefully
Cannes Film Festival: Palme

A crucial turning point in Buñuel’s career, this delightful saucy comedy ushered in his golden era in France and his long-term collaboration with screenwriter Jean-Claude Carrière. Shifting to the rise of Fascism in the 1930s, his wicked adaptation of the Octave Mirbeau’s novel allows for political unrest to run parallel to the story’s sexual perversions. Starring as the beautiful Parisian maid who becomes entangled in sexual hypocrisy and scandal with her provincial employer, Jeanne Moreau’s baleful charisma impeccably complements Buñuel’s satirical elegance in this unsettling mood piece 與柏索里尼一樣鄙視天主教廷的虛偽,布紐

法國 France/意大利 Italy 1964 97min

Cast: Jeanne Moreau, Georges Géret, Michel Piccoli

Karlovy Vary International Film Festival: Best Actress

This Buñuel film proved to be one of the most important religious films in the same league as Pasolini’s The Gospel According to St. Matthew, though ironically both master filmmakers are known for despising the Catholic Church. Spending his life atop a pillar in the desert, Simon is steadfast to prove his dedication to Christ; yet he is constantly tempted by the devil disguised as seductive women, who finally lead to his fall. The sudden flight from the medieval desert to ’60s New York may look abrupt, but befittingly evokes a sense of cool irony on the absurdity of religious fanaticism. Screening with Land Without Bread (p.5).

墨西哥 Mexico 1965 44 min

Cast: Claudio Brook, Silvia Pinal, Enrique Álvarez Félix

Venice Film Festival: Special Jury Prize and FIPRESCI Prize

女性主義的傑作,標誌着布紐爾事業轉捩 點,由此展開晚年在法國的光輝歲月,以及 與編劇尚哥迪加爾希無間斷的合作。與尚雷 諾亞改編同一小說的版本大相逕庭,布紐爾 將十九世紀改為1930年代初的時空,折射法 西斯主義的崛起,更像暗黑童話。美麗女僕 由巴黎來到鄉郊大宅,富戶一家由上至下盡 是怪人:戀物癖、性冷感、色情狂。當發現 女孩被姦殺,她決意以自己為餌揭破兇手罪 行。珍摩露誘惑而狡黠的魅力,與布紐爾糅 合扭曲慾望與尖刻諷刺的神采,成了天作之 合。
爾拍出《沙漠的西蒙》,與《馬太福音》 同被譽為最佳宗教電影之一。借西蒙站於沙 漠中柱頂苦修的故事,布紐爾質疑基督與信 徒間之關係,冷諷治癒病患的神蹟比基督虛 無的大愛更為實際。佇立六年六月六日的西 蒙,對信仰的忠誠堅毅令人欽佩,多次力拒 化身美女的魔鬼之挑逗誘惑,但最終不得不 自我放逐,墜入浮華現世。飛機劃破時空, 中古沙漠突飛至六十年代紐約,雖因資金不 足而倉促收場,卻反添黑色幽默的荒誕意 味。同場放映《無糧之地》(第5頁)。
卡羅維法利電影節最佳女主角獎
國際影評人聯盟奬
威尼斯影展評審團特別獎及
5.3 19:45 IS 29.1 16:45 AC 26.2 14:30 IS 8.1 20:15 TS 9

In Buñuel’s feverish surreality, the exquisite Catherine Deneuve secretly transgresses to become a prostitute in the afternoons. From frigid housewife to masochist voluptuary, her life and fantasies betray a total separation of flesh and spirit. Dream and reality blend into an indissoluble whole, becoming a shrewd commentary on the hypocrisy of social relations and sexual politics. With virtually no nudity and absolutely no onscreen sex, this Golden Lion winner invites us into sensual and erotic imagination that still captivates over half a century.

Buñuel’s religious parable follows two pilgrims who make their way from France to Spain. En route they come across a series of extraordinary personages from the history of Catholicism, including Priscillian, the Virgin Mary and the devil. Through all the miracles and magical encounters, the absurd discussions of theology, and the nonsensical debates on the true meaning of Trinity, Buñuel blends his sense of creative revolt and comedic disrespect in this across-time pilgrimage that grapples with the contradictions between faith and faithfulness, while denouncing the dogmatic certitudes of both the orthodox and the heretical.

情色藝術的極致,布紐爾作了完美示範。美 艷中產少婦白晝客串應召女郎,尋求標準 丈夫難以燃起的激情慰藉。妓院裏教授扮家 僕、恩客躲棺材下,由性虐到戀屍,粗暴撕 破聖羅蘭的華衣,人妻反客為主利用嫖客滿 足性趣。馬車叮噹鈴聲潛入夢境勾引秘隱, 同時喚醒靈魂重回現實。布紐爾以超現實的 五稜鏡,折射幻想的真實和現實的虛妄,批 判資產階級的傳統道德與虛偽,將威尼斯金 獅獎一抱入懷。嘉芙蓮丹露絕色天下,沒有 大膽裸露鏡頭或性愛場面,色情魅惑盡在骨 子裏。
兩個身無分文的男人沿中世紀聖詹姆斯之 路,從法國徒步往西班牙朝聖,沿途不斷遇 上正統與異端的矛盾衝突,經歷的考驗遍佈 布紐爾對宗教的思考批判。從十七世紀遊移 到二十世紀,暗自牽連的零散故事採用了不 少天主教傳統典故;「從所有時代借取材 料,並蹂躪其秩序」,在恍如神蹟般的超現 實影像裏,以幽默笑謔制度化的宗教精神及 僵化的道德價值,對三位一體、處女受孕、 原罪、煉獄及自由意志等爭議觀念作深刻反 思。 踎 低噴飯的《萬世魔星》等反轉宗教喜 劇以此為先驅。
法國 France/意大利 Italy 1967 100min Cast: Catherine Deneuve, Jean Sorel, Michel Piccoli 威尼斯影展最佳電影金獅獎 Venice Film Festival: Golden Lion Best Film France 法國/West Germany 西德/Italy 意大利 1969 101min Cast: Paul Frankeur, Laurent Terzieff, Alain Cuny 柏林影展Interfilm奬 Berlin International Film Festival: Interfilm Award 映後座談會講者朗天、王勛 Seminar with Long Tin and Geoffrey Wong 26.2 16:30 IS 5.2 14:30 MC 4.3 17:15 IS 4.2 17:00 MC 10

Sadomasochism, a subject of Buñuel’s lifelong obsession, is perfectly embodied in the convoluted relationship between Fernando Rey’s feisty guardian and Catherine Deneuve’s docile adopted daughter. That is, until the power changes hands, when she falls ill and decides to revenge on the man who took her virginity. In reversing the trauma of sexuality, Buñuel takes pleasure in tearing apart the duplicities of a patriarchal Spanish society, while revealing his atheist's nightmare in the surrealist vision of an amputated head becoming a clapper on a church bell.

Unlike The Exterminating Angel, the six bourgeois characters are trapped on the other side of the mirror: they are never able to have their dinner. They either arrive on the wrong night, are scared off by the corpse of the restaurant owner, or get interrupted by military manoeuvres. The bizarre turn of events evolves into dreams-within-dreams of savagery and criminality, marvellous and banal in equal measure. Exposing the secrets that lurk beneath the surface of decaying European aristocracy, this Oscar winner saw Buñuel hit his highest pitch with both commercial and critical success.

施虐與受虐的兩面一體,是布紐爾畢生沉溺 的主題,在影帝法蘭度雷與嘉芙蓮丹露愛恨 糾纏的關係裏坦露無遺。母親去世後,孤女 受老貴族照顧,由被監護到被姦污,決定脫 離他的操縱與年輕畫家私奔。嚴重腿疾令她 重投故人懷抱,截肢後反過來藉慾望把操縱 權緊握在手,以此報復。老貴族頭顱變為教 堂鐘錘的詭異景象,是無神論者布紐爾自身 夢魘的投射;探進潛意識剖析強與弱對決、 施控與受控互換、性別權力逆轉的複雜層 次,種種狂想更是對當代社會矛盾的尖刻批 判。
照,今趟六名貴胄一頓飯吃來吃去也吃不 到。先是記錯日子,繼而餐廳老闆一命嗚 呼,其後因男女主人性急偷歡、軍隊演習、 警察拘捕種種離奇怪誕原因,令宴席總無法 成事。飯吃不成倒變為一個個攻心夢魘:醜 態被擺上舞台、被恐怖分子轟斃、主教殺人 報仇以至匪夷所思的亡靈回魂 ⋯⋯ 現實與幻 夢難解難分,層層揭開是中產階級在高雅禮 儀下的腐朽偽相。布紐爾晚年巔峰作,以渾 然天成的調度奉上一桌極盡嘲諷及顛覆魅力 的荒誕饗宴。
與《滅絕天使》吃不完的一頓飯來個逆鏡反
西班牙 Spain/法國 France/意大利 Italy
奧斯卡金像獎最佳外語片提名
法國 France/意大利 Italy/西班牙 Spain
Cast:
奧斯卡金像獎最佳外語片 Academy
Best
Language Film 英國電影及電視學院大獎 最佳女主角及最佳劇本 BAFTA
4.3 19:45 IS 5.2 17:45 MC 11.3 19:45 MC 11.2 14:30 TS 11
1970 99min Cast: Catherine Deneuve, Fernando Rey, Franco Nero
Academy Awards: Best Foreign Language Film nomination
1972 101min
Fernando Rey, Delphine Seyrig, Stéphane Audran, Bulle Ogier
Awards:
Foreign
Awards: Best Actress and Best Screenplay

Made up of a series of interlocking yet disconnected stories, this savage comedy embraces cheerfully bizarre coincidences while challenging the inherent absurdity of social rituals and moral codes. Unbound by narrative logic, one wacky parable effortlessly leads to the next, each confronting a crisis of insanity, fetishism or human folly – the most famous sequence is turning defecation into a charming social ritual and dining into a shameful act to be performed in private. A nod to The Milky Way and also a tribute to Marx, the film’s title speaks it all – liberty is only a phantom!

ultimate representation of all great Buñuel characters (and maybe the director himself), the respectable Mathieu is trapped in the perversity of his erotic desire, oblivious to the terrorist outrages. Likewise, Conchita, his ‘object of desire,’ is ambiguous as ever – a tantalising elusiveness dramatised by having her played by two strikingly different actresses. Enshrining an authentic and surprising beauty, Buñuel’s swan song is cynical about human nature, embracing his flames of imagination and his vision of a world, as surreal as dreams, and as outrageous as desires.

對約定俗成的社會常規來一次徹底翻盤,布 紐爾自創「非理性」及「隨機」的邏輯, 超現實的荒誕諷喻臻至大成。有若輪舞的結 構,牽出一個又一個藕斷絲連而焦點更迭的 故事:疑似不雅照片,拍的是世界名勝;如 廁可以公開,吃飯則要隱蔽;失蹤孩子就在 眼前,卻視若無睹繼續調查;殺人犯被判死 刑,竟可自來自去。顛倒乾坤的妙趣令人拍 案叫絕,多角度審視文明人根深柢固的觀念 及習以為常的本質。片名源自《銀河》的對 白,並向馬克思致敬:所謂自由,只是一種 幻影而已?
布紐爾的最後遺作,將朦朧情慾夾纏於恐怖 主義橫行的炸彈硝煙之中。中年富商娓娓 道來對年輕女傭一見情傾,不惜大灑錢財、 耗盡耐性;美女時而熱情、時而冷酷,令他 佔有肉體的慾望成空,難以完成愛情爭戰的 終極儀式。起用兩名女星同演一角,冰與火 性格共融一體,欲迎還拒的擺佈佔盡上風; 心癢難搔的誘惑,比恐怖分子的炸彈突襲更 致命。將性愛寓言、政治隱喻玩弄於股掌 之上,以爆炸後一片濃煙作結,布紐爾為畢 生投身的超現實電影,留下無窮無盡想像空 間。
法國 France/意大利 Italy 1974 104min Cast: Adriana Asti, Julien Bertheau, Jean-Claude Brialy 意大利銀絲帶獎最佳外語片導演 Italian National Syndicate of Film Journalists: Silver Ribbon for Best Foreign Director 法國 France/西班牙 Spain 1977 103min Cast: Fernando Rey, Carole Bouquet, Ángela Molina 美國國家評論協會最佳導演及最佳外語片 National Board of Review: Best Director and Best Foreign Language Film 奧斯卡金像獎最佳外語片及最佳改編劇本提名 Academy Awards: Best Foreign Language Film and Best Adapted Screenplay nominations 12.3 14:30 MC 11.2 17:00 TS 12.3 17:00 MC 12.2 14:30 TS 12
An
13 每個網上節目放映期長達72小時(影片開始播放後,須於24小時內觀看) Each film will be available for viewing for 72 hours (Once started, the purchased content can only be accessed within 24 hours) 破格有理:MV 作者新世代 Breaking into the Playground: Auteurs of the MV Generation 15.1Sun 日 / MC 4:05-4:55pm 《猿來玩謝我》放映後 After the screening of HumanNature 講者:林瀚光、黃可欣 Speakers: Derek Lam, Mimi Wong 布紐爾座談會 Seminar on Luis Buñuel 5.2 Sun 日 / MC 4:15-5:05pm 《銀河》放映後 After the screening of TheMilkyWay 講者: 朗天、王勛 Speakers: Long Tin, Geoffrey Wong 座談會 Seminars

Breaking into the Playground:

The MV Generation hit a high note as a new creative power in the Hollywood dream factory. This breed of music video directors emerged in the ’80s and ’90s, and eventually moved into the world of feature filmmaking. A sensation in pop culture, videos augment the dynamics of songs to create electrifying audio-visual experiences that gained huge popularity during the ’80s. From Michael Jackson’s Thriller, a-ha’s Take On Me to Madonna’s Vogue, these music promos are turned into new culture force with their groundbreaking concepts and galvanising vibe.

The creative experimentation that MV allows, provides a fertile ground for a new generation of young directors, whose artistic expressions flourish

to a far greater degree. Graduating from the ‘other film school,’ these adroit talents show their distinctive cinematic styles that are largely different from that of traditional filmmaking. Coming from the fast food generation, they excel in fusing sound and visual to create stylised works in mass quantity. Constructing their worldview ingrained in pop culture, they form an idiosyncratic MV aesthetics, opening up new frontiers of storytelling with visual flair and creative vigor.

Moving on to the big screen, these helmers bring in their reflections on feature filmmaking. With a gaming mindset, while engaging in pop culture with a serious attitude, they venture into new forms of narrative and

Auteurs of the MV Generation 14 所 謂「音樂錄像世代」,是指八、九十年代入 行當MV導演,及後轉至影壇那一群。八十 年代MV盛行,音樂不再限於聽覺,而是與視覺共 存。Michael Jackson的《Thriller》到a-ha的 《Take On Me》以至Madonna的《Vogue》等都 以視覺突破想像,逐漸培養出年輕且充滿創意的 新一代導演。他們可說是畢業於「另一間電影學 院」,與傳統風格截然不同。他們是速食世代的 同流者,善於影像與聲音的混合處理,並以流行 文化建構世界觀,於短時間內大量生產,形成一 套獨有的MV美學,開拓了新的視覺敘事之路。 晉身大銀幕後,他們以MV美學開墾劇情長片的反 思辨,以遊戲心態開拓形式,嚴肅態度對待流行 文化,憑豐盛想像力創新敘事,傳達一新耳目的 個性化主題。視覺特效出身的大衛芬查有份成立 的Propaganda Films ,起用史碧鍾斯、米修歌治

unleash a surge of wildly imaginative and fascinating ideas. Formerly a visual effect assistant at ILM (Industrial Light and Magic), David Fincher co-founded Propaganda Films, enlisting Spike Jonze and Michel Gondry to direct MVs. Together with Paul Thomas Anderson who emerged from independent cinema, these mavericks usher in a tremendous impact on Hollywood with their strong, distinctive flair. Playwright Charlie Kaufman came in perfect timing to provide the most important ingredient into the mix. His visual imagination and oddball sensibility make him an ideal match for Jonze (on Being John Malkovich and Adaptation.) and Gondry (on Human Nature and Eternal Sunshine of the Spotless Mind). On the

other hand, Fincher’s darkly alluring visuals perfectly complement his adaptation in Fight Club and Zodiac And from his debut Boogie Nights, Paul Thomas Anderson started his exploration on narrative structure, achieving his grand slam of best director in Cannes, Venice and the Berlinale.

‘I thought maybe you were a nut. But you were exciting.’ This line from Eternal Sunshine of the Spotless Mind exemplifies the works of these four MV auteurs: by subverting Hollywood’s conventional form of storytelling, they left their footprints in the history of cinema. Only when the four walls are torn down, we can see new possibilities arise.

15 等拍MV,加上獨立電影界冒起的保羅湯瑪士安德 遜,每位的強烈個人風格都為荷里活帶來新衝擊。 劇作家查理考夫曼的適時冒起,亦為他們的劇本 注入了重要養份,其繁複精妙的天馬行空素材為 視覺元素提供創作基調,助史碧鍾斯的《玩謝麥 高維治》、《何必偏偏玩謝我》及米修歌治的 《猿來玩謝我》、《無痛失戀》呈現跳脫的有機 生命體;大衛芬查為改編的《搏擊會》與《殺謎 藏》提供完美視覺延展;保羅湯瑪士安德遜則從 《一舉成名》起進行敘事探索,並拿下三大影展 的最佳導演殊榮。 四位新世代作者於影壇留下深刻足印,借用《無痛 失戀》中一句對白:「我想或許你是傻瓜,然而你 令人很興奮。」他們的出現,玩味顛覆了荷里活敘 事結構,當四面牆也被打破,我們才能夠看到新的 可能性。 破格 有理
MV 作者 新世代

With Boogie Nights, a 27-year-old Paul Thomas Anderson was thrust into the limelight and hailed as one of the most gifted filmmakers of his generation. Recreating ’70s and ’80s San Fernando Valley, he marshals an all-star cast to relate the rise and fall of the adult film industry through the personal stories of its performers and producers, centering around the well-endowed porn actor Dirk Diggler (based on the real-life John Holmes). Energetically told with bravura filmmaking, the ensemble drama is also Anderson’s homage to Altman and Scorsese, both of whom have deeply influenced his work.

two sprawling ensemble dramas (Boogie Nights, Magnolia), Anderson returns to the intimate scale of his debut with a self-described ‘art-house Adam Sandler movie.’ Sandler plays Barry, a timid small business owner with anger management issues who finds himself extorted by a phone sex operator. Bullied by family and strangers alike, he only gains courage and strength when miraculously finds love. More an unclassifiable vehicle for its star than a conventional rom-com, Punch-Drunk Love invites comparisons with Anderson’s later romances, while featuring widescreen cinematography that finds unexpected poetry in suburban America.

保羅湯瑪士安德遜未過三十已經觸類旁通舉 一反三,藉青頭仔長處被發掘,寫照美國 七十年代鹹片工業茁壯成長之風光。他最初 舉棋不定,跟媽媽大吵後毅然進入舉目無親 的A片大家庭,輕而易舉成為舉足輕重一代巨 星,過渡八十年代做好工業轉型準備,卻遇 上列根時代新保守主義舉紅牌迎頭痛擊,加 上可卡因令色情占士邦舉鎗維艱,狂躁與抑 鬱表現不勝枚舉。當代荷里活電影人對色情 電影工業總鍥而不捨顧盼探究,但念念不忘 始終是安德遜加麥克華堡這舉世無雙組合, 雙雙從此一舉成名。
來自試當真祖師爺《週六夜現場》的安德 遜,請來阿當桑迪拿以另類有格喜感演繹橫 看豎看都沒有小企老闆風範的巴里。七個 姊姊當他小弟弟,公司員工個個比他強, 唯有寄情超市消費打個性愛電話,麻煩來 了!社區黑道食住上,男性荷爾蒙忽然飆 升,為保護一見鍾情的女神去到盡。安德遜 着迷Scopitone視像唱機,音像電磁化色彩 筆繪效果啟發敘事點子;巴里穿空軍藍西 裝,Steadicam跟拍像藍彩在社區空間裏游 移揮筆,女神出場一身橘,後化成白彩, 塗出無限溫暖的北極藍,MV美學精神巧遇 Kandinsky、Mondrian和Rothko。 After
Boogie Nights 一舉成名 美國 USA 1997 155min Cast: Mark Wahlberg, Julianne Moore, Burt Reynolds, Heather Graham 金球獎最佳男配角
美國
Cast:
康城影展最佳導演奬
映後談講者黃進 Film
Paul Thomas Anderson 保羅湯瑪士安德遜 以短片於辛丹斯電影節揚名後,一邊埋首長片創作一邊以MV作試煉場,為Fiona Apple、 Radiohead、Haim等拍攝MV,喜以跟拍長鏡頭捕捉角色與環境的關係。 From his short film debut at the Sundance Film Festival, PTA sharpens his storytelling technique with long takes and tracking shots in the MVs with Fiona Apple, Radiohead, Haim, etc., and further explores the relationships between characters and surroundings in his feature productions. 16 18.2 19:45 MC 7.1 14:30 TS Punch-Drunk Love 私戀失調 25.2 20:30 IS 7.1 17:45 TS
Golden Globe Awards: Best Supporting Actor
USA 2002 95min
Adam Sandler, Emily Watson, Philip Seymour Hoffman
Cannes Film Festival: Best Director
talk with Wong Chun

A white-collar professional alienated from corporate life meets his macho doppelganger – the charismatic Tyler Durden – who urges him to rebel against consumer society by organising and taking part in illegal underground fights. The stakes are raised, however, when Fight Club morphs into Project Mayhem, a terrorist movement spreading across America without the protagonist’s knowledge but seemingly under his leadership. Fincher’s darkly alluring visuals bring to life novelist Chuck Palahniuk’s subversive vision of masculinity under siege in Y2K America. Met with controversy upon its release, Fight Club has since become a cult classic.

on the true story of the manhunt for the serial killer known as Zodiac – whose murders in ’60s and ’70s San Francisco remain to this day unsolved –Fincher’s procedural is marked by its patient, slowburn narrative and painstaking attention to detail that accurately reflect the frustrations and openendedness of the investigative process. Featuring the lean, stripped-back, no-nonsense classical direction – privileging actors’ performances above all – Fincher’s suspense thriller also pays tribute to New Hollywood with its many references to All the President’s Men as the greatest of all films about investigative journalism.

自述失眠悶蛋無感人生,汽車安全評估員在 飛機上偶遇魅力四射的肥皂商人,與影子人 物互動互搏,毆出了劃時代的cult片經典。改 編劇本超越小說文本意像,獲原作者盛讚; 愛德華諾頓夥拍畢比特聯手難得虛無,雙打 無政府主義,在彼此毆鬥中追求一無所有的 純行為自由,「我們是上帝離棄的兒女嗎? 由得它罷!」搏擊痛快精神一傳十十傳百, 成為前911威脅美國消費主義的大殺傷力武 器。大衛芬查這部以「身」相許的黑色《頑 童歷險記》次文化意義重大,將一代美國男 兒先死而後生的集體心性解放出來。
見證年代遺憾,大衛芬查將三藩市最著名的 連環謀殺懸案重塑成驚慄噩夢,把格雷史密 夫十多年來追尋「黃道殺手」的迷思鉅細呈 現。《羅生門》式辯證深入報社、警署和犯 罪現場,抽絲剝繭仍未見真兇,然而鍥而不 捨就是一代男人的高度浪漫。當類型片服膺 還原真實國民經驗時,大衛芬查難得不再沉 迷身份危機的反轉敘事,卻未稀釋酷炫的作 者簽名。計程車被命運眼盯上、泛美大廈被 縮時建成,以及黑畫面時代歌聲,連音響也 從單軌到立體聲準確聽清時代,大城小鎮的 時空風味經由世代大師專注重現出來。 Based
Fight Club 搏擊會 Zodiac 殺謎藏 美國 USA 1999 139min Cast: Brad Pitt, Edward Norton, Helena Bonham Carter 美國 USA 2007 157min Cast: Jake Gyllenhaal, Robert Downey Jr., Mark Ruffalo, Chloë Sevigny 康城影展競賽影片 Cannes Film Festival: In Competition 映後談講者家明 Film talk with Fung Ka-ming David Fincher 大衛芬 查 早年在視覺特效公司ILM工作,曾為Madonna、George Michael 等拍攝MV,及創作Nike、Coca-Cola等品牌廣告, 以精雕細琢的鏡頭及剪接見稱。他創立的Propaganda Films為九十年代MV導演的木人巷。 Beginning his career in visual effects, Fincher directed MVs for Madonna, Aerosmith, etc. and commercials including Nike and Levi’s. He is known for his meticulous camerawork and editing. He co-founded Propaganda Films, a proving ground for MV auteurs including Spike Jonze and Michel Gondry. 17 26.2 19:00 IS 14.1 14:30 MC 12.3 19:30 MC 14.1 17:15 MC Images Courtesy of Park Circus/Walt Disney Zodiac © 2007 WBEI

Not recognised for his gifts, a talented but luckless puppeteer gets a temp job as a filing clerk at a mysterious company located on the 7½ floor of a building, where he discovers a hidden portal to the mind of actor John Malkovich – a discovery that has profound consequences for him, his wife, an attractive co-worker, and Malkovich himself. Charlie Kaufman’s highly original and wildly inventive script has one reaching for adjectives like ‘absurdist,’ ‘metaphysical,’ ‘surrealist,’ or ‘Kafkaesque,’ but Jonze’s breezy direction avoids pretension by keeping things light and playful with off-the-cuff humour and effortless visual panache.

Hired to adapt Susan Orlean’s nonfiction book

The Orchid Thief, Charlie Kaufman suffers writer’s block and transforms his script into a freewheeling fantasy about the difficulties he encountered crafting the screenplay alongside his fictitious twin brother Donald. A hilarious yet profound meditation on the creative process, Adaptation also presents us with Kaufman’s typically neurotic worldview, as his tortured on-screen persona struggles to find artistic success and make human connections, while everything comes easily to his worldly, simple-minded brother Donald. Jonze’s gift for comedy keeps proceedings buoyant, preventing any lapses into morbid self-pity.

走入奇幻七樓半辦公室,失意木偶師無意間 發現暗門進入演員麥高維治的意識隧道。為 「體驗麥高維治」擁有15分鐘的成名時間, 紐約人趨之若鶩,男的以窺探重拾信心,女 的從性別轉換得到快感。木偶師為了取悅女 神借機「奪舍」,四角戀關係大暴走,人生 自此大翻盤 ⋯⋯ 史碧鍾斯與編劇查理考夫曼 初進影壇,以極富玩味的原創劇本探索軀殼vs 意識的哲學問題,以暗沉視覺輔以黑色幽默 詮釋現代各種荒謬操控。麥高維治成為另類 慾望投射也是身份錯亂的載體,我們操控也
甘於被控,人人都是別人的扯線公仔。
自《玩謝麥高維治》一躍成為荷里活炙手可 熱的編劇後,查理考夫曼為改編《蘭花賊》 陷入腦膠戰,孖生細佬當奴不時亂入,連寫 日常生活也被類型元素入侵,性愛、槍戰、 毒品、飛車神展開,一套公式電影就此完 成 不要中計!真查理考夫曼以自我指涉 嘲諷工業生態,實則黑色幽默醍醐灌頂,加 上史碧鍾斯認真惡搞荷里活。搬埋進化論講 編劇生存法則,片名語帶相關探問「改編」 要忠於原著還是「適應」賣座公式。編劇名 單上腦作的當奴就如查理的腦二,成為首位 提名奧斯卡最佳改編劇本的虛構人物。
Being John Malkovich 玩謝麥高維治 美國 USA 1999 112min Cast: John Cusack, Cameron Diaz, Catherine Keener, John Malkovich 威尼斯影展國際影評人聯盟獎(平行單元) Venice Film Festival: FIPRESCI Prize (Parallel Sections) 英國電影及電視學院大獎最佳原著劇本 BAFTA Awards: Best Original Screenplay Adaptation. 何必偏偏玩謝我 美國 USA 2002 114min Cast: Nicolas Cage, Meryl Streep, Chris Cooper, Tilda Swinton 柏林影展評審團大奬 Berlin International Film Festival: Jury Grand Prix 奧斯卡金像獎最佳男配角 Academy Awards: Best Supporting Actor 映後談講者張偉雄 Film talk with Bryan Chang 滑板攝影出身,以手持攝影機拍攝《Video Days》為滑板片樹立流行典範。 曾為Beastie Boys、Sonic Youth、Fatboy Slim等拍攝MV,以動感鏡頭和幽默感擴展MV狂想。 Starting out as a cinematographer, Jonze’s Video Days sets a high bar for skateboarding videos with peculiar camera angles and pranks. Innovative and rambunctious, he collaborates with Beastie Boys, Sonic Youth, Fatboy Slim, etc. and redefines MV with an irony-imbued sensibility. Spike Jonze 史碧鍾斯 18 19.2 19:30 MC 8.1 14:30 TS 19.3 16:45 AC 8.1 17:00 TS

Living an animal existence in a forest away from civilisation, an ape-like man is discovered by a couple – a male psychologist who wants to condition him to act as humans do, and a female writer suffering from abnormal bodily hair growth. The involvement of the psychologist’s seductive assistant complicates matters for everyone involved. For his feature debut, Michel Gondry gives a quaintly retro vibe to Charlie Kaufman’s script that characteristically addresses the mind-body problem in a quirky, distinctive way, neurotically anticipating that man’s baser instincts will get the better of him.

Following his Oscar win with Eternal Sunshine of the Spotless Mind (p.20), Gondry returned to France to write and direct one of his most memorable films showcasing his whimsical, childlike sensibility and inventively low-fi, DIY aesthetic. After his father’s death, Stéphane moves into his childhood home and begins working at a wacky calendar publishing, while falling in love with his neighbor Stéphanie. An oddball inventor, Stéphane shares his many gadgets with Stéphanie even as dreams intrude upon reality and he begins having trouble telling them apart from waking life. Gondry’s romance develops in unexpected ways, humourous and poignant in equal measure.

米修歌治初試啼聲之作,未嚐甜美的幻愛果 實,先吃一口凡間禁果,與編劇查理考夫曼 荒誕論盡人類的原始性。科學怪咖與長毛女 友在森林野生捕獲原始人,三個社會邊緣 人遂展開一場瘋狂的野性vs人性育成計劃。 當文明是幌子,禮教是手段,我們的肉體也 只不過是囚着靈魂的籠牢。考夫曼這次不鑽 進潛意識的兔子洞,反以戲謔方式挖苦人禽 之辨。米修歌治首度跳出電視廣告與音樂錄 像世界,其怪奇視覺美學裏暗藏生活的壓抑 感。我們何嘗不是社教化下的白老鼠?
延續《無痛失戀》(第20頁) 的命題,閉上雙 眼帷幕直達腦內小劇場。藝術家熱衷夢境中 的理想世界,父親過身後從墨西哥遠渡巴黎 入住母親舊居,遇上頻率相近的鄰居,想愛 卻不敢愛。當現實的壓抑走進夢鄉的潛意識 次元,虛幻與真實不斷交織、重疊、互相干 擾 都分不清了,或許夢境才是你我最想 要的「現實」?米修歌治首次自編自導的半 自傳電影,摒棄電腦特技,以獨特的電影語 言拼湊風格化的停格動畫、原創土法手作等 機關呈現他的童稚狂想曲,就如動畫大師楊 史雲梅耶的人偶戀愛了。
Human Nature 猿來玩謝我 The Science of Sleep 戀愛夢遊中 (La science des rêves) 法國 France/美國 USA 2001 96min Cast: Tim Robbins, Patricia Arquette, Rhys Ifans 美國國家評論協會獎最佳劇本 National Board of Review Awards: Best Screenplay 映後座談會講者林瀚光、黃可欣 Seminar with Derek Lam and Mimi Wong 法國 France/意大利 Italy 2006 105min Cast: Gael García Bernal, Charlotte Gainsbourg 歐洲電影大獎最佳美術設計 European Film Awards: European Production Designer 修讀平面設計,為樂隊Oui Oui擔任鼓手,曾為Björk、Daft Punk、Foo Fighters等拍攝MV, 精於定格動畫及土法精製的場景布置,喜以複雜技巧實驗魔幻視覺效果。 Studied graphic design, began directing MVs for his band Oui Oui with stop-motion animation and homemade sets. He avoids heavy CGI, and uses optical tricks to create whimsical and surreal MVs with Björk, The White Stripes, The Chemical Brothers, etc. Michel Gondry 米修歌治 19 19.3 19:45 AC 15.1 18:00 MC 25.2 18:15 IS 15.1 14:30 MC

Following their breakup, ex-lovers Joel and Clementine independently get their memories of each other erased at Lacuna, Inc., only to find traces of longing that remain. In filming Charlie Kaufman’s complex script, the ever-inventive Michel Gondry chose to avoid CGI where possible in favour of in-camera optical effects (aided by tricks in editing and set design) to depict the workings of time and memory, shooting with naturalistic lighting amidst surrealist flights of fancy. Cast against type as the heartbroken protagonist Joel, Jim Carrey delivers a career-best performance that provides the film its emotional core.

20
超現實記憶碎片,揭發戀愛原是自戀與被戀無限輪迴的宿命。當意識下令
11.3 14:30 MC 5.2 20:00 MC 「一塵不染的心靈,陽光總是永遠燦爛」,若把不快記憶推倒,留下來的 是洋洋灑落的暖光,或是淘空一切的餘暉?自言受阿倫雷奈《我愛你,我 愛你》記憶管道啟發的查理考夫曼,繼《玩謝麥高維治》(第18頁) 後走入 大腦的迴路,與米修歌治長驅直進意識深層,以蒙太奇和場景轉換拼貼出
要洗掉戀愛記憶,潛意識卻在大腦迷宮中掙脫,格式化後的大腦能否繼續 無痕運作?複雜但細膩的劇本為考夫曼奪下奧斯卡原著劇本獎。
米修歌治 Michel Gondry 美國 USA 2004 108min Cast: Jim Carrey, Kate Winslet, Elijah Wood, Mark Ruffalo 奧斯卡金像獎最佳原著劇本 Academy Awards: Best Writing, Original Screenplay 映後談講者黃進 Film talk with Wong Chun 無痛失戀 Eternal
the Spotless
Back To The Screen 銀幕 再現
Sunshine of
Mind

Philip Seymour Hoffman gives one of his most affecting performances in Charlie Kaufman’s directorial debut as Caden Cotard, a theatre director based in New York. After his wife left with their young child, he loses himself in the creation of a magnum opus that aspires to recreate its participants’ real-life existence. As life imitates art imitating life in a selfreflexive mise en abyme, Cotard finds his own existence being swallowed up by his theatrical project, as he struggles to realise his artistic ambitions amidst failing personal relationships and the onset of sickness and death.

21 11.3 17:00 MC 4.2 19:30 MC 查 理考夫曼 Charlie Kaufman 美國 USA 2008 124min Cast: Philip Seymour Hoffman, Samantha Morton, Michelle Williams 康城影展競賽影片 Cannes Film Festival: In Competition 映後談講者翁子光 Film talk with Philip Yung 苦澀是源泉,這是一場名叫「生命」的劇場。生活陷入泥沼的劇 作家,默然發現身邊人漸遠去,分崩離析之際把生活片段寫進劇 本,在搭建的縮型紐約模型內重構一次。時間空間不斷延展,現 實虛構互相重疊,被賦予生命的劇場無法再被掌控,唯有「死 亡」是出口。首次執導,考夫曼把最尖鋒辛辣的劇本留給自己, 以創作者存在焦慮的命題回應電影公司要求的恐怖電影,不是 嗎?戲如人生,也遙距呼應費里尼的《八部半》。
腦作大業
Back To The Screen 銀幕 再現 © 2008 Kimmel Distribution, LLC. All Rights Reserved.
Synecdoche, New York

Jean Renoir’s loose but spirited adaptation of Octave Mirbeau’s decadent novel features the electrifying Paulette Goddard as Celestine, the eponymous heroine, whose efforts to claw her way into French high society destroys the bourgeois household where she is employed. Burgess Meredith writes, produces and stars as the eccentric Captain Mauger, one of many men to fall under Celestine’s hypnotic spell, but it is the central rivalry between the sickly aristocrat and the sinister valet that truly gives the film its dramatic framework. Descending from comic romance to class-conscious cynicism, Renoir’s Hollywood production is easily recognisable for its dreamlike quality, imbued with decadent aristocracy, possessive passion and an optimistic ending of self-liberation, an interesting contrast with Buñuel’s version of a surrealistic dark fable.

Preserved by UCLA Film & Television Archive with funding provided by the Hollywood Foreign Press Association and The Film Foundation.

荷里活後拍攝而成,原著批判中產階級虛偽與變態的議題增添當代政治色彩。野 心勃勃的女僕不甘在豪門為婢,來到新主人家後,侍候專橫夫人之餘,亦周旋於 老爺及少爺等各有怪僻的男人間。與男僕合謀盜竊的意圖被揭破後,她要為自己
奧克塔夫米爾博於1900年的同名小說首度被改編成電影,尚雷諾亞二戰時期移師
的愛情及自由作出抉擇。熟練調度與精準構圖盡見大師本色,雷諾亞刻劃上流社 會與低下層之間的矛盾,由最初的滑稽諷刺,逐漸演變為人心執迷的暗喻,卻沒 讓女主角沉淪到底,對人性仍保留樂觀,與布紐爾超現實的暗黑版本各異其趣。
風流艷婢 The Diary of a Chambermaid 尚雷諾亞 Jean Renoir 美國 USA 1946 86min Cast: Paulette Goddard, Burgess Meredith, Hurd Hatfield, Francis Lederer 映後談講者喬奕思 Film talk with Joyce Yang 5.3 17:00 IS 29.1 19:15 AC 23

a rare collaboration between Alfred Hitchcock and surrealist artist Salvador Dalí, this award-winning psychological thriller broke new ground with its exploration of the subconscious and dreams beneath the typical Hitchcockian role reversal. Psychoanalyst Petersen (Ingrid Bergman) falls for her new colleague Dr. Edwardes (Gregory Peck), but he may not be all that he appears. Seeking answers for Dr. Edwardes’ peculiar visual phobia and amnesia, she further interrogates his dreams – a lurid landscape of disturbing imagery and symbolism designed by the master Dalí. Only by penetrating the frontier of the subconscious can they unravel the mystery of Dr. Edwardes’ identity.

希治閣 Alfred Hitchcock 美國 USA 1945 111min Cast: Ingrid Bergman, Gregory Peck, Michael Chekhov 奧斯卡金像獎最佳電影配樂 Academy Awards: Best Music Score 紐約影評人協會獎最佳女主角 New York Film Critics Circle Awards: Best Actress 映後談講者趙嘉薇 Film talk with Edith Chiu 希治閣拋開原著的瘋人院背景,借助佛洛伊德學說,注入「夢的 解析」,以心理治療翻出童年陰影與創傷後遺。英格烈褒曼演心 理醫生,遇上格力哥利柏飾演的新任院長,情投意合之際,發現 他的驚恐症狀。原來眼前人並非院長,因精神受創一直失憶,不 自覺冒充他人身份,而真院長或已遇害。案情撲朔迷離,但她堅 信另有別情,從他潛意識的恐懼裏,抽絲剝繭破案緝兇。片中夢 境的意象均來自畫家達利手筆,簾幕上的巨眼、扭曲的車輪,令 畫面更添超現實意味。 Featuring
意亂情迷 Spellbound 5.3 14:30 IS 12.2 19:00 TS 24

Headlined by the star presence of Ava Gardner and James Mason, this pastiche of ancient folklore and coastal European idyll centres on American nightclub singer Pandora, who, like her namesake, is a troublemaker, enchanting a series of frustrated men who fail to win her favour. Her fated love is a Dutch gentleman whose moroseness hides a terrible secret: he is the fabled Flying Dutchman, a 16thcentury sailor cursed by God to forever roam the seas alone until he finds a woman willing to die for him. With surreal storytelling and mise-en-scène, Albert Lewin’s ambitious romance-fantasy-tragedy unfolds like a dream, at once unpredictable, elusive and intoxicating.

25 潘朵拉是希臘神話裏第一個女人,眾神賜她瑰寶,她為人間打開萬惡之盒; 漂泊的荷蘭人,注定在大海漂流的幽靈船,永遠無法回鄉。電影混糅兩個古 老傳說,疊印現代人的虛無焦慮。碧濤藍天的西班牙海灣,愛情玩家亞娃嘉 娜對孤零的帆船主人占士美臣一往情深,他承受兩世紀的罪罰,渴望以愛來 救贖,可代價會是愛人的生命,焚心以火,踟躕徬徨。艾拔利雲是荷里活罕 有的唯美風格家,此片意旨和調度佈滿玄妙不羈的超現實藝術,雕琢銀幣兩 面俱是死亡的人生,愛情則是華麗永恆的陪葬品。奪目攝影被譽為特藝七彩 典範,現代主義藝術家曼雷貢獻畫作,最要命是嘉娜那荷里活最後一張撐得 起大特寫的面龐。
再世孽緣 Pandora and the Flying Dutchman 艾拔利雲 Albert Lewin 英國 UK 1951 126min Cast: James Mason, Ava Gardner, Nigel Patrick 映後談講者劉嶔 Film talk with Lau Yam 4.3 14:30 IS 11.2 19:30 TS
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TICKETING INFORMATION 購票須知 Refund Arrangement and Programme Changes 節目如有更改,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2023年4月6日申請退票。觀 HKIFF Cine Fan)網頁(cinefan.hkiff.org.hk)上填寫電子表格,或下載實體版本。 如放映取消,將另作安排。 For alteration of screenings, ticket holders may choose to attend a screening of a replacement film at the same time slot or to get a refund on or before 6 April 2023. Ticket holders may fill out refund application form online or download from Cine Fan website (cinefan.hkiff.org.hk). For cancellation of screening, alternative arrangement would be announced. 惡劣天氣之放映安排 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. Terms and Conditions 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 )網頁及放映場地的通告。 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 Not Suitable for 青少年及兒童不宜 Not Suitable for Young Persons and Children 只准18歲或以上人士 Persons Aged 18 or Above Only 本訂票手冊付印時,大部份影片均未經電影、報刊及物品管理辦事處檢查。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。 At the time when this booking folder goes to print, most of the films have not been submitted to the Office for Film, Newspaper and Article Administration. In case a film is subsequently classified as Category III, refunds will be made to ticket holders under 18 years of age who bought the tickets before the announcement. cinefan.hkiff.org.hk / 2970 3300 / info@hkiff.org.hk Follow us HKIFFS
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12 日 Sun 14:30 TS 模糊情慾對象 That Obscure Object of Desire 17:00 TS 一條安德魯狗 / 黃金年代 An Andalusian Dog / The Golden Age 19:00 TS 意亂情迷 Spellbound 11 六 Sat 14:30 TS 中產階級拘謹的魅力 The Discreet Charm of the Bourgeoisie 17:00 TS 自由的幻影 The Phantom of Liberty 19:30 TS 再世孽緣 Pandora and the Flying Dutchman 05 日 Sun 14:30 MC 銀河 The Milky Way 16:15 MC 布紐爾座談會 Seminar on Luis Buñuel 17:45 MC 紅顏孽債 Tristana 20:00 MC 無痛失戀 Eternal Sunshine of the Spotless Mind 04 六 Sat 14:30 MC 滅絕天使 The Exterminating Angel 17:00 MC 青樓紅杏 Belle de Jour 19:30 MC 腦作大業 Synecdoche, New York 14:30 MC 搏擊會 Fight Club 14 六 Sat 17:15 MC 殺謎藏 Zodiac 21:00 MC 被遺忘的人 Los Olvidados 14:30 MC 猿來玩謝我 Human Nature 18:00 MC 戀愛夢遊中 The Science of Sleep 20:45 MC 暴徒 The Brute 17:00 AC 犯罪生涯 The Criminal Life of Archibaldo de la Cruz 19:30 AC 拿撒連 Nazarin 14:30 AC 奇異的激情 El 16:05 MC MV 作者新世代座談會 Seminar on Auteurs of the MV Generation 28 六 Sat 15 日 Sun 16:45 AC 女僕日記 Diary of a Chambermaid (1964) 19:15 AC 風流艷婢 The Diary of a Chambermaid (1946) 14:30 AC 華麗迪安娜 Viridiana 29 日 Sun 07 六 Sat 08 日 Sun 14:30 TS 玩謝麥高維治 Being John Malkovich 14:30 TS 一舉成名 Boogie Nights 17:45 TS 私戀失調 Punch-Drunk Love 17:00 TS 何必偏偏玩謝我 Adaptation. 20:30 TS 一條安德魯狗 / 黃金年代 An Andalusian Dog / The Golden Age 20:15 TS 無糧之地 / 沙漠的西蒙 Land without Bread / Simon of the Desert JANUARY 一月 SCREENING SCHEDULE 座談會 Seminar 映後談 Film Talk AC 香港藝術中心古天樂電影院 Louis Koo Cinema, Hong Kong Arts Centre IS 英皇戲院 尖沙咀iSQUARE Emperor Cinemas iSQUARE TS 英皇戲院 銅鑼灣時代廣場 Emperor Cinemas Times Square MC M+戲院 M+ Cinema FEBRUARY 二月
03 五 Fri 3.3 00:00 - 5.3 23:59 暴徒 The Brute 17:15 IS 青樓紅杏 Belle de Jour 14:30 IS 再世孽緣 Pandora and the Flying Dutchman 19:45 IS 紅顏孽債 Tristana 04 六 Sat 14:30 IS 意亂情迷 Spellbound 14:30 MC 自由的幻影 The Phantom of Liberty 19:45 IS 女僕日記 Diary of a Chambermaid (1964) 19:30 MC 殺謎藏 Zodiac 17:00 MC 腦作大業 Synecdoche, New York 16:45 AC 何必偏偏玩謝我 Adaptation. 19:45 MC 中產階級拘謹的魅力 The Discreet Charm of the Bourgeoisie 19:45 AC 戀愛夢遊中 The Science of Sleep 14:30 MC 無痛失戀 Eternal Sunshine of the Spotless Mind 14:30 AC 滅絕天使 The Exterminating Angel 17:00 IS 風流艷婢 The Diary of a Chambermaid (1946) 17:00 MC 模糊情慾對象 That Obscure Object of Desire 11 六 Sat 19 日 Sun 05 日 Sun 12 日 Sun MARCH 三月 放映時間表 FEBRUARY 二月 14:30 MC 拿撒連 Nazarin 24 五 Fri 24.2 00:00 - 26.2 23:59 犯罪生涯 The Criminal Life of Archibaldo de la Cruz 14:30 IS 無糧之地 / 沙漠的西蒙 Land without Bread / Simon of the Desert 16:30 IS 銀河 The Milky Way 19:00 IS 搏擊會 Fight Club 14:15 IS 被遺忘的人 Los Olvidados 14:30 MC 犯罪生涯 The Criminal Life of Archibaldo de la Cruz 17:15 MC 華麗迪安娜 Viridiana 16:45 MC 奇異的激情 El 16:15 IS 暴徒 The Brute 19:45 MC 一舉成名 Boogie Nights 18:15 IS 猿來玩謝我 Human Nature 19:30 MC 玩謝麥高維治 Being John Malkovich 20:30 IS 私戀失調 Punch-Drunk Love 26 日 Sun 19 日 Sun 18 六 Sat 25 六 Sat
主辦 Presented by 資助機構 Financially Supported by CINE FAN Jan Feb Mar 2023 // Evolving Beyond Surrealism The Cinema of Luis Buñuel 逆道而行 布紐爾的超現實電影 // Breaking into the Playground: Auteurs of the MV Generation 破格有理:MV 作者新世代 // Eternal Sunshine of the Spotless Mind 無痛失戀 // Synecdoche, New York 腦作大業 // The Diary of a Chambermaid 風流艷婢 // Spellbound 意亂情迷 // Pandora and the Flying Dutchman 再世孽緣
Images Courtesy of Park Circus/Revolution Studios
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