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主办方 Hosts

records of these sessions. In 2009, in cooperation with the designer Zhang Jin of the Come&Go Center for Art, and taking the form of a film-themed restaurant, Trainspotting Culture Salon joined the collection of other artistic and cultural venues located within the 46 Fangjia Hutong complex. The film-themed restaurant serves up dishes mainly of Chinese southwestern cuisine. While maintaining the original sour, spicy, and fragrant character of this style of cuisine, the restaurant has also gradually integrated elements from Thailand, Southeast Asia, and other areas with similar spices and culinary methods, in order to enrich the flavor of the dishes. The restaurant promotes using

猜火车文化沙龙

Trainspotting Culture Salon

low amounts of salt and oil when cooking, and other healthy eating habits. Also, even as the restaurant functions within the fast-paced rhythm of a modern urban setting, it advocates for a more leisurely, restful, and intimate lifestyle, through both culture and food.

高速行驶,缓慢生活。 这里没有地上与地下、主流与另类、先锋与传统、民间与学院,只 有人与人的交流。 猜火车由文化沙龙和电影主题餐厅两部分组成。文化沙龙成立于 2003 年,由文化策划人老贺创办。以酒吧方式组织独立影像放映暨诗歌、

Although Trainspotting has developed from an underground bar into a family-style cafe, and then into a film-themed restaurant, it has always been committed to providing a free, open, and independent social space. At Trainspotting, we will continue to persist in promoting Chinese independent film and we will work untiringly to continue creating a platform for dialogue and new ideas.

音乐、小说、舞蹈、设计等多项讲座、论坛、展映等活动。是中国酒吧 放映的先行者,是北京具有地标性质的文化沙龙之一。 2007 年成立“猜火车影像独立论坛”,坚持每周展映一个导演(艺 术家)的影像作品,成为北京独立导演日常放映与交流的重要阵地,目

奥地利中国艺术项目

Austro Sino Art Program(ASAP)

前已经做过 300 多个导演专场,拥有大量的现场文字、录音与视频资料。 2009 年与聚敞现代艺术中心设计师张瑾合作,以电影主题餐厅的形 式进入了汇集了皇城文化、市井生活、工业遗址、时尚理念于一身的方 家胡同 46 号创意园区。 猜火车电影主题餐厅主推私家西南菜,在保持西南菜原有的酸、辣、 香的特点上,逐步融合泰国、东南亚等地的特色香料与相近的制作手法, 增加其口感的丰富性。倡导低盐少油的健康饮食习惯。也是在快速运转 的现代节奏中提倡一种舒缓、休闲、私密的生活方式。这是文化与餐饮 的一次有机结合。 “猜火车”虽然经历了地下酒吧、家庭式咖啡馆、主题餐厅三个阶段,

ASAP 是由艺术家创立和经营的非赢利性组织。创始成员是几位奥 地利艺术家,他们在项目管理、协调和活动策划方面有丰富的经验,熟 知中国文化和奥地利当代艺术,在多媒体艺术方面也颇有建树。ASAP 成员对艺术项目和团队合作充满热情,相信跨文化交流和合作的重要性。 ASAP 为中国的奥地利艺术家举办展览,展示他们的近期作品;建 立多媒体资料库,记录在中国的奥地利艺术家之前的艺术创作;为感兴 趣的国际和当地学院、学生、公众以及即将到中国的奥地利艺术家提供 资源;推进中奥艺术项目的合作;举办讲座和研讨会等。

却始终保持着自由、独立、开放的文化品质,我们将坚持不懈推广中国

ASAP is an artist founded, artist run, not-for-profit, proactive

独立电影,并努力尝试着建构人与人对话的思想平台。

organization.The founding members are Austrian artists

High-speed driving, low-speed living. Here, there is no underground and aboveground, mainstream and alternative, avant-garde and conventional, folk and academy. Here, there is only person-to-person communication. Trainspotting is a unique venue divided into two sections, including a culture salon and a film-themed restaurant. The culture salon was first founded in 2003 by the cultural curator Lao He. He was one of the very first people in China to develop a bar space into a cultural salon for organizing film screenings, as well as a variety of seminars, forums and other activities related to poetry, music, fiction, dance, design, etc. In 2007, the “Trainspotting Image Independent Forum” was established. This forum involved weekly exhibitions of moving image works by filmmakers and artists, and it soon became an important occasion for independent directors to routinely screen their films and communicate with one another. Thus far, Trainspotting has already hosted about 300 sessions with directors, and has accumulated a large amount of text, audio, and video

with extensive experience in program management, events coordinating, Chinese culture, and Austrian contemporary art, with backgrounds in multiple art mediums. Passionate about arts programming and community networking, ASAP’s founding members believe in the importance of intercultural arts dialogue and cooperation. The mission of ASAP is to raise awareness about contemporary Austrian-Sino creative achievements in China by both Austrian and Chinese artists.


前言

前言 前言

Preface

Preface

前 言

从第一届开始,我们就一直没有剧情片单元和纪录片单元的划分。今年 也没有做这个区别,在评奖中也不刻意从剧情和纪录片中分别挑选,只是评 出两部评委们认为值得推荐的优秀作品,名为“影像新青年”奖。不刻意作

“这让人欣慰,你是有根的”

1.

剧情与非剧情单元设置的划分,并不是说剧情片和纪录片的界限已经取消。 这是一个理论问题,此不赘述。

北京青年独立影像展今年更名为北京新青年影像展,但其内容仍

是一个 " 独立电影 " 的展览。更名前后,“青年”二字一直是关键词,其实 它最早使用的时候,首先是用以区别其它影展的名目。其次“青年性”也是 一种追求,它代表一种品质,一种青年精神。青年阶段“不谙世事”的心灵 涌动,促成了一些美好事物。另外它还折射了一个事实,独立电影这个领域, 经常是年轻人保持着最充分的热情。独立电影的作者队伍里年轻人最多,做 独立电影的人到了一定年龄,独立的热情就减少了,有些人就从这个队伍里 脱落了出去。当然此非尽然。 但独立电影不是青春期的盲动。独立电影的重要性,一直被低估了。当 我们去追溯“独立”二字的内涵,我们会发现,在中国追求现代意义上的“独 立”,从晚清就已启动。梁启超认识到,国家不独立,乃是在于个人的不独立, 在于缺乏“独立之德”。鲁迅对梁启超的思想进行发扬光大,认为奴隶之邦, 如何能有朝气和创造力。独立之大业的追求,和西方启蒙主义在中国的百年 涌动是同一种力量,它断断续续地追求着一种新人的出现。它在前行和发展 中曾受到各种阻挡而中断。80 年代重新接续了这个脉流,经过 80 年代的新 启蒙主义培养,加上其它契机,中国独立电影在 90 年代产生了。 “独立电影”的“独立”,和百年前思想家提到的独立,有着相同的内涵。 百年来追求的“新人”,他可以独立思考,外部权利受到尊重,内部个性得 以发扬,这个新人正是独立电影作者的理想形象。他具有饱满的“独立之德”。 我们有时候把独立电影称为作者电影,意义也在于此。 明乎此,我们就会看到独立电影的位置。因此独立电影的追求,在根子 里与百年中国人的现代追求是一脉相承的。它其实是非常深刻地借助了这个

今年“新青年”竞赛单元挑选了接近 20 部影片。在选片过程中,感受最 深的是在新人的创作中,我们看到我们所生存的环境的奇观化。奇观化不是 作者刻意追求的,是从我们生存境遇中所随意的“取一瓢饮”。这个奇观化 证明着我们生存环境和我们的心灵生活的悄然质变。我们还看到一批年轻导 演带着绚烂的光辉出场。他们带来了新的观物和感物的经验,比如女导演邹 雪平的创作。也许她的影像方式都可以找到其借鉴的来源,但是那种与客体 碰撞时产生的特殊境遇永远是新颖鲜活的。她在建立一种自我理解与理解他 人的方式。 年度邀请单元里“老导演”的作品也十分可喜。我们看到一种持久的力量。 这些创作者多为中年人,年龄差别也比较大。这个群体在以前是不曾有过的。 相对于中国的人口密度,他们的数量其实并不多。但是他们带来一种社会示范。 当独立电影与一种中年人(从 30 岁到 50 岁余岁)的生活结合,那代表着一 种精神的纵深掘进,一种新的生存方式就在我们的生存模式和工作体制中被 深刻地开拓出来。 今年的评委队伍多是传统意义上的“业外人”,除了第五代导演吕乐以外。 独立电影不应该是一个封闭行业,它所具有强烈的公共性,应该使其成为一 种总体性的艺术,应该拥有一种类似文学一样更为普遍的与大众相遇相亲的 可能。老贺一直强调要做一个跨界性的交流,这个评委阵容也许部分实现了 这个愿望。邀请他们来,主要并非是请他们把奖评出来,而是希望他们能为 独立电影贡献意见。评委组还包括朱其、李静、狗子、冯秋子,他们是作家 和文化评论家。我们希望独立电影的交流不要过分圈子化,要让独立电影进 入更多思想者的生命经验,使独立电影得到更为扩大的言说与散播。 (文/王小鲁 )

现代资源,只是学者们很少分析到这一点,而创作者也往往对此缺乏明晰的 自觉意识。但是这个历史的规定性一直深刻的存在着。对独立电影的文化理 解,无法脱离社会环境和历史来做纯粹的艺术分析。它是美学的,也是文化的, 是社会的,是广义的亚里士多德、阿伦特所界定的政治的,当然也是历史的。 从这些维度和方向去观看,我们会发现独立电影是时代的泥土里生长出

Preface

来的奇葩,我们的影展是奇葩之展。独立电影是有根的,是与厚重的历史土壤、 现实土壤相连的。这跟很多昂贵的但是却失去现实感的视觉艺术形成对照。

“It is good to know you have roots”

它所具有的力量,将随着时间的推移显示出来。它是起于青萍之末的那一股

I. The Beijing Independent Youth Film Festival has changed its name this year to the Beijing New Youth Film Festival. However, independent film will still remain the exhibition's primary focus. Additionally, “youth” has remained a key word in the name of the festival. When the name was first created, what was most important to us was to distinguish this film festival from others. Secondly, “youthfulness” is important because it represents a special kind of quality, a youthful spirit. The unrefined soulfulness of young adulthood has brought about a great many things in the past. Third, including the word “youth” in the festival's title also reflects that young people are often the most passionate and committed supporters of independent film, as well as the most numerous within the ranks of independent filmmakers. However, once those initially interested in independent film reach a certain age, their passion for the field wanes in intensity. Eventually, some of these people, though certainly not all of them, will entirely give up on independent filmmaking. This is not to say that independent film is just a reckless product of adolescence. The importance of independent film has long been underestimated. When we trace the history of the word “independent”, we will find that the search for a modern sense of “independence” had already begun by the late Qing Dynasty in China. Liang Qichao recognized that the nation was not independent, but this was not because individuals lacked independence, but rather because there was a lack of independent virtue. Lu Xun helped to develop and promote Liang Qichao's ideas. He questioned how a slave state could still manage to

微小气流。 独立电影是我们社会发展的一个衡量指标,这些由真诚的表达所形成的 作品序列,成为社会发展的精神档案,它纪录着社会发展的品质和这个国家 每个阶段的精神境界,当然,同时也显示着作者的自我解放的程度。 独立电影作为有根之木,它来自尘土,来自心灵深处。“有根”赋予了 它的天然合法性。它有存活的权利,任何企图扼杀它的力量都是不正当的, 影展的任务是提供给它一个呼吸空间。而对于作者来说,影展提供一个场面, 带来一些人群,形成一种彼此交流和互相启发的境遇,这有利于年轻导演形 成一种更为充分的文化自觉。对于观众来说同样如此。而对于策划者来说, 独立影展是社会自组织的实验。

2.

本届北京独立青年影展在单元设计上也有变化。去年的年度主题

是“十年”。今年独立影展则划分为三个单元,增加了“新青年”竞赛单元、 年度邀请单元和奥地利单元。“新青年”竞赛单元接受导演的前两部片子, 旨在鼓励新人。选片方式包括影评人推荐和从自发投稿中筛选。年度邀请展 则邀请一些经验丰富的导演的新作品,这些作品是我们从最近两年众多优秀 作品中挑选出来的。奥地利单元则展示了奥地利国家的数部独立电影。

have vitality and creativity. This pursuit for independence and the 100year surge of Western Enlightenment in China were of the same tide, a tide that was searching in fits and starts for the emergence of a new, modern person. While slowly progressing, this search was saddled with all kinds of obstacles and interruptions. The 1980s saw the search once again resumed, and after this decade had cultivated a new culture of enlightenment coupled with other new and different opportunities, Chinese independent film was first produced in the 1990s. The “independent” of “independent film” shares the same meaning with the concept of “independent” known by thinkers one hundred years ago. The “new man” that had been pursued for a century can think independently. His rights are respected by others and he can freely express himself. This new person today is the ideal image of the modern independent filmmaker. He has a completely “independent virtue”. We sometimes call independent film“auteur film” , partly because“auteurism” is closely related with this sense of independence. With this in mind, we can clearly see where independent film stands today. The pursuit for independent film was deeply rooted in origin with the century-long pursuit for a modern Chinese person. It greatly leveraged the help of this modern resource. Only a handful of scholars have analyzed this relationship, and producers today are often not even aware of their own history. However, this history continues to play a decisive role in society. Regarding cultural understanding of independent film, it is impossible to escape the effects of our own history and social environment to conduct a purely objective artistic analysis. This kind of aesthetic analysis would require the study of culture and society. It would require the study of politics as broadly defined by Aristotle and Arendt, and it would most certainly require the study of history. Viewed from these dimensions, we will find that independent film is a phenomenon which has grown out of a particular time and setting. Our film festival is an exhibition of this phenomenon. Independent film is rooted in the deep soil of history, and links with the rich reality of this soil. Compare this with other visual art forms that are quite expensive, but which have lost their sense of reality. Today, independent film may only have the strength of a butterfly's wings, but eventually, the growing strength of this wind will take monumental effect. Eventually, the value of independent film will be discovered. Independent film is a measure of our social development. This group of visual art works, formed from genuine expression, has become the spiritual archive of social development. It records the quality of social development and the existing spiritual conditions at every developmental stage. Of course, at the same time, independent film also reflects the extent of the filmmakers' self-liberation. As a tree with roots, independent film has grown out of the dust, out of the depths of the soul. Having roots gives independent film its natural legitimacy. It has the right to survive, and any attempt to strangle it would be wrongful and unfair. This film festival's mission is to provide a safe space for independent film, and some room to breathe. For the participating filmmakers, the film festival intends to offer a venue for mutual exchange and inspiration. This will help young directors to broaden their cultural consciousness, and the same intention holds true for audience members. For the festival planners, the independent film festival is a social experiment in self-organization. II. The design of the program categories for this year's festival have changed. Last year's theme was Ten Years. This year, the festival is divided into three sections, including a “New Youth” competition section, an annual invitational section, and an Austrian section. The youth competition section is designed to encourage newcomers and will accept a director's first two films. The methods we used for film programming in this section involved considering recommendations from critics and films directly submitted by filmmakers. For the annual invitational section we invited submissions of new works by experienced directors. These works have been selected from many outstanding works produced within the

last two years. The Austrian section features a number of independent works from the country. Since the festival's inaugural year, we have chosen not to divide the films into two separate categories for drama and documentary. This year, although we have continued not to make this distinction, both documentary and dramatic films were coincidentally selected for awards. There were only two films that the judges felt were worthy of recognition as outstanding works, and these two films have been given the New Youth award. To point out that fiction and non-fiction were unintentionally distinguished when recommending awards is not to say that the boundary between drama and documentary has been eliminated. This is already a well-known theoretical issue within film, and it would be redundant to go into the intricacies of this issue here. In this year's youth competition section, nearly 20 films were selected. During the film selection process, my deepest impression was of the sense of spectacle apparent in the works of new directors. They were not seeking out spectacle intentionally; it can simply be found in any random sample of the circumstances of our existence. This sense of spectacle shows that there has been a quiet, qualitative change within our living environment and our spiritual life. Second, we can also observe a new group of young directors brilliantly taking the stage. They bring with them a new perspective and a new sense of experience, such as what we find in female director Zou Xueping's work. Perhaps we can easily trace the source that her style of image-making has drawn from, but when such a style can fuse personal and existing ideas, the work produced will always be fresh and original. Zou Xueping has established a style in which she uses both her own self-understanding fused with her understanding of others. The works made by “old directors” within our annual invitational section are also greatly inspiring. In these works, we see a lasting power. These filmmakers are mostly middle-aged, and the age differences among them are relatively large. Previously, this group has never existed. Relative to China's large population density, there are very few of these experienced filmmakers. However, they serve as a kind of social model. When independent film is used within the lives of middle-aged (30-50 year old) individuals, this must involve a deep exploration of the soul. Between our basic mode of survival and our system of work, they have profoundly pioneered a new way of life. Except for the fifth generation director Lv Yue, this year's jury is mostly composed of those who satisfy the conventional sense of the term "layperson". Independent film should not be an exclusive industry, as it has a strong public nature. Its public orientation should allow it to become a kind of holistic, overarching art and theory. It should have the possibility of resembling literature by maintaining an intimate encounter with the public. Lao He has always emphasized the importance of an exchange of ideas across boundaries, and perhaps the diversity among the jury members can partly realize this goal. The main purpose for inviting each of the judges to participate was not to ask them to recommend awards, but was rather in the hope that they may contribute their insight about independent film. Aside from Lv Yue, the official jury members include Zhu Qi, Li Jing, Gouzi, and Feng Qiuzi. They are all authors and cultural critics. We hope that this independent film exchange can be an open forum, and we hope to help more thinkers to experience independent film, so that new ideas and knowledge about independent film can be further expanded and shared. Wang Xiaolu Translation: Genevieve Carmel


策展人的话

“新青年”竞赛单元评委 “新青年”单元评委

Curators' Statement

老贺

"New "NewYouth" Youth"Competition Competition Judges

The Beijing “New Youth” Film Festival was created in the belief that the

吕乐 Lv Yue

冯秋子 Feng Qiuzi

Chinese independent cinema movement, only 20-year-old as it is, has

男,1957 年出生。1982 年毕业于北京电影

今天,我们必须穿越层层观念与粉

demonstrated in all respects the spirit of youth, youthfulness being not a

学院摄影系,1987 年至 1992 年旅居法国,获

起来》 《寸断柔肠》 《生长的和埋藏的》 《圣山下》

饰才能接近自我。独立不过是又一次被

physical condition but a state of mind—one could as well be young and

命名、被误读、被上演。在词语之外在

trite, or advanced in years yet progressive. We consider it a pressing

巴黎第八大学造型系硕士学位。担任导演的主

《朝向流水》。曾与“生活舞蹈工作室”合作,

自我之内重新打量世界:我们还将依赖

task to make these independent works known to a wider audience and

要作品有:1987 年, 《怒江,一条丢失的峡谷》,

创作演出舞蹈剧场作品《生育报告》《与民工

什么?我们能不能在荒谬与虚无的背后

better integrated in public discourses in our unimaginative time. And

重建生命的庄严?

the festival recognizes and seeks to encourage open-mindedness,

作家,诗刊社副主编。出版散文集《太阳升

获 1990 年巴黎“人类学电影”大奖;1997 年, 《赵

一起舞蹈》 《身体报告》 《时间 ` 空间》 《37.8℃》 《裙

先生》,获 1998 年瑞士洛迦诺国际电影节最佳

子》《回忆》(1 小时版本)《回忆》(8 小时版本)

sincerity and acuity in these films and future filmmaking that center on

影片金豹奖;2003 年,《美人草》;2006 年,《十三棵泡桐》,获东京

等作品,多次应邀参加国际艺术节、戏剧节和舞蹈节,其中《身体报告》

the present.

国际电影节评委会大奖;1999 年—2006 年 ,《小说》。担任摄影的主要

获 2004 年第 25 届苏黎士国际戏剧节一等奖。

路就是逃亡之路。影像并不重要。生存处境与生命体验时刻逼迫我们交

作品有:1984 年,《猎场扎撒》;1993 年,《活着》;1995 年,《摇啊

Feng Qiuzi is a writer and associate editor of the poetry publication

出最初的表达、手段与妄想,并要求我们用心灵平等地交换现实。不对立、

摇,摇到外婆桥》,获 1996 年奥斯卡最佳摄影提名;1996 年,《有话好

Shi Kan She. She has published several collections of essays,

好说》;1997 年,《天浴》,获 1998 年金马奖最佳摄影奖提名;此外还

including Taiyang Sheng Qilai, Cunduan Rouchang, Shengzhang De

有《集结号》《唐山大地震》等。

He Maicang De, Sheng Shan Xia, and Chai Xiang Liu Shui.

独立并不重要。只要从头脑返回心 灵,每一个个体都是独立的,然而重返之

不妥协;不拔高、不贬低。

杨子

而我们要掏出什么才能换回现实的高度与挺拔的良知,才能换回无

我们谈到中国的独立电影状况,仍

所挂碍的生命想象力,与无所畏惧的文化想象力,逃亡,只有继续逃亡。

然是不容乐观的。中国的独立制作发端

Lv Yue is a Fifth Generation cinematographer and director who was

She has worked with the Living Dance Studio to choreograph and

当我们满身荆棘地退出词语、观念、符号、标签与权力的猎场,真

二十多年后的今天,仍然没有一条有独

born in Tianjin in 1957. In 1982 he graduated from the Beijing Film

perform various dance pieces, including Shengyu Baogao, Yu

立价值判断的院线。

Academy with a degree in cinematography, and in 1989, he earned

Mingong Yiqi Wudao, Shenti Baogao, Shijian Kongjian, 37.8℃, Qunzi,

如今,我希望我们不仅要鼓励那些

his MFA in visual arts from the 8th University of Paris. He has served

Huiyi (one-hour version), Huiyi (eight-hour version), etc.

对主流文化敢于反叛的青年——他们对

as the director of photography for many well-known films, including

She has been invited to participate in various international arts

社会、对个人,有独立思考、有独立判断,

Zhang Yimou's To Live, John Woo's Red Cliff, and Feng Xiaogang's

festivals, theater festivals, and dance festivals. In 2004, her dance

能够自主进行影像表达,不管这种表达是

If You Are The One (I & II), and Aftershock. He has also directed

piece Shenti Baogao won first place in the 25th Zurich International

否得心应手或妥贴;而且,我们应该关注“中间状态”的那部分人——他

several films, of which Mr Zhao (1997) won the Gold Leopard at 51st

Theatre Festival.

Nowadays, one must travel a long way to get rid of levels of

们在以血统、家族、金钱作为门槛的电影圈面前无能为力,退而求其次在

Locarno International Film Festival. He has entered many festivals

preconceptions and beautification in order to approach oneself.

中间状态寻找机会。我们该为他们摇旗呐喊,带着他们对电影产业和娱乐

and competitions both as a participant and as a jury member.

Independent cinema is but another misread and forged appellation.

的热情杀进主流电影圈,去更新、去换血。

实——现实关怀的终极野心,再次以虚拟的力量重现生命底色的紫薇家 园。独立——深嵌于墙壁上嶙峋的钉子,也将摘下无辜的面具,成全, 而不是取消属于一个人的表达。 而电影节——青春与自由的邀约,旋舞着影像经幡的现代仪轨 , 等 待着一次秘密招魂。

However, as we examine this world inside ourselves, without the aid of

十年前,我们强调独立的姿态,强调电影的另外一种可能性与书写性。

terminologies, we have to wonder: what can we still rely on? H can we

而今天,我想独立应该可以回归到它本来的面貌:一种体制的中间状态。

restore the dignity of life in the face of absurdity and nihilism?

这就象是汪建伟所说的黄灯,往左是绿灯,往右是红灯,一种确定的模糊

Independence itself is not the point. Every individual who takes up

状态。

狗子 Gouzi

朱其 Zhu Qi

男,原名贾新栩,1966 年生于北京。1989

1966 年 5 月生于上海,2004—2009 年在中

我们鼓励这种中间状态,因为重要的并不是我们的创作者往左或往

年毕业于中国传媒大学新闻系。从事过报刊编

国艺术研究院师从张晓凌导师攻读美术学硕士、

homecoming is yet another flight.

右;重要的是,我们需要一个确定、完善的机制,来为我们提供资金,和

辑,拍过纪录片和卡拉 OK,在大学代过课,

博士学位,现任职于文化部中国国家画院理论

Film itself is not the point. But the condition and experiences of our

一条、哪怕只是一条院线,让我们与观众建立起关系。

演过电影话剧,现在某单位上班。主写小说随

部研究员。

the journey to return to the inner self is independent, though his

time and life make us give up all our preconceptions, strategies and

笔,出版过长篇小说《一个啤酒主义者的独白》,

1994 年开始从事美术评论和艺术策展,在国 内外媒体上发表了大量的艺术评论和学术论文。

fantasies in an equal, honest exchange with reality: no taking sides, no

It’s been twenty years since the birth of mainland Chinese independent

随笔小说集《一个寄生虫的愤怒》《活去吧》。

compromises, no aggrandizement, no denunciation.

cinema. However, the promise of sizable independent film production

Formerly known as Jia Xinxu, Gouzi was born in Beijing in 1966.

What then shall we do to reclaim authenticity, integrity and our bold,

is still in doubt, if we consider the fact that the country doesn’t even yet

In 1989, he graduated from the journalism department of the

fearless cultural imagination?

have an independent art-house theatre chain.

Communication University of China. He has previously worked as a

We must take flight. We can only take flight.

Today, we’d like to recognize the mavericks and the counter-

newspaper reporter and editor, as a documentary film maker, at a

Now that we withdraw ourselves from the playground for words and

movements in cinema that use film as a form of independent expression

Karaoke studio, as a university lecturer, as a film actor, and now he

concepts, power and symbolism, truth—the ultimate purpose of our

to reject the status quo, however clumsily. Meanwhile, we need to take

works for a company.

solicitude for reality—would finally redeem life through the power of

notice of those who take the middle ground, those who are passionate

Mainly writing critical essays about fiction, Gouzi has published

fiction. Independent cinema, with all its eccentricities and piercing

for the film industry but find the connection and money-bound

the novel A Beer-Lover's Monologue, as well as two collections of

candor, would help fulfill rather than contradict individual expressions.

entertainment business completely out of reach. We also appreciate

critical essays.

And the Beijing New Youth Film Festival, a call for youth and freedom,

and praise their efforts that will eventually change, reform and revitalize

thus becomes a ritual, a carnival for cinephiles, a modern evocation of

mainstream cinema.

the age-old spirit of cinema.

Ten years ago, we said that independence is itself an agenda in order to stress an alternative possibility and vision of filmmaking. As of today,

出版著作有《新艺术史和视觉叙事》 《Video:二十世纪后期的新媒介艺术》。 1998-2000 年担任《雕塑》杂志执行主编,2000 年参与创办中国第一 批艺术网站之一“世纪在线中国艺术网”,2006 年创办中英文双语艺术 杂志 《艺术地图》。 Born in Shanghai in 1966. From 2004-2009, he studied under the tutelage of Zhang Xiaoling at the Chinese National Academy of Arts, where he earned a Master's Degree and Ph.D. in art studies. He is currently employed in the Ministry of Culture at the China National Art Academy as a theoretical research fellow. In 1994, he began critiquing and curating art, and published a

李静 Li Jing 李静,辽宁人,1996 年毕业于北京师范大学,

number of art reviews and academic papers in many international and domestic media. His published works include Xin Yishu Shi He

I am convinced that it is time for independent cinema to return to the

文化批评家。著有话剧《鲁迅》,随笔集《受

Shijue Xushi and Video: Er Shi Shiji Houqi De Xin Meijie Yishu.

middle ground of the system and the institution, in the state of the “Yellow

伤者》 《把药裹在糖里》 《刺猬札记》 (台湾) 《不

From 1998 to 2000, he served as the executive editor for Sculpture

Signal” as termed by artist Wang Jianwei: an undetermined intermediary

冒险的旅程》(台湾)《捕风记》,并编有书

Magazine. In 2000, he co-founded one of the first Chinese art

指这是年轻人的活动。 “青年”只是一种精神,

that confronts the given right of Green and Red. We encourage this

籍多种,包括 2002 年至今的《中国随笔年选》。

websites, called Shiji Zaixian Zhongguo Yishu Wang. In 2002, he

并不特为青年所专有。我们见过青年而陈腐

middle-of-the-road approach, for we need a sound, reliable institution

Li Jing, from Liaoning Province, graduated

者,也见过老年而精进者。我们注重一种开

to help finance independent filmmaking as well as a theatre chain that

from Beijing Normal University. She now works as a cultural critic.

放性和创造力,推举一种面向当下的敏锐的

connects us to the audience.

She is the author of the play Lu Xun, and several collections of

王小鲁 当初将电影展命名为“青年”,并非特

感受和真诚的情感。只有 20 年历史的独立电

essays, including Shou Shang Zhe, Ba Yao Guo Zai Tang Li, Ciwei

影之表达是具有充分的青年精神的,推广它

Zhaji, Bu Maoxian De Lucheng, and Bu Feng Ji. Additionally, she has

们,使它们具有更多的公共性,这是在腐熟、

also compiled a variety of books, including Zhongguo Suibi Nian

沉闷的当下亟需的一种行动。

Xuan, published in 2002.

founded the bilingual art magazine Art Map (Yishu Ditu).


推荐人 Recommendation Adviser

“新青年”竞赛单元主要推荐人 Main Film Recommendation Advisors for New Youth Competition Section

应亮 既是独立导演,也是青年教师和策展人。作品有《背鸭子的男孩》 《另 一半》《好猫》和《慰问》;现于栗宪庭电影学校和香港演艺学院电影 电视学院任教,策划了重庆民间映画交流展。

杨洋 2004 年毕业于北京大学法语文学专业,2007 年至 2009 年在布鲁塞 尔自由大学攻读文化管理硕士,毕业论文《从酷儿到同志-关于性与性 别主题影展在比利时与华语两岸三地的比较案例分析》(you can ignore this title) 获得比利时高等教育部与非营利组织”彩虹协会”共同颁发的“Francois Delor”奖。北京酷儿影展 (Queer Film Festival) 创办人之一。曾任职于比利 时皇家电影资料馆华语电影基金办公室,担任非营利组织”欧中视听传 播网络”艺术策划。现居北京,在正计划在京创办首个女性影展。

张献民 生于 1964 年,南京人。北京电影学院教授,独立电影批评家、策展 人,影弟工作室的创办者,中国独立影像年度展组委会成员,并主持画 天独立电影基金的工作。1985 年毕业于北京外国语大学,1987 年毕业于 巴黎第三大学,1992 年毕业巴黎高等电影学院。曾任多个国际电影节选 片人或评委。出版的著作有《看不见的影像》《一个人的影像》等。

庞璇 艺术家,从事影像、绘画、装置等创作。2001 年创办重庆家·M 公 社艺术机构。2004 年,四川美术学院油画系毕业。现在任教于重庆师范 大学传媒学院。

程远征 鲁迅美术学院摄影系教师,北师大电影学博士。

丁建国 山西传媒艺术学院(原广播电影电视管理干部学院)编播系编导 教研室主任,眩晕电影工作室导演。导演的作品有:数字电影《杜鹃花开》 (原名《太行妈妈》)、短片《中途转站》;主演的短片,《二月话语》 (曾入围 2003 洛迦诺电影节);监制的影片有数字电影《放飞的青春》。

董均 西安人,艺术家、独立策展人、西安美术学院教师。2005 年获得 平遥国际摄影节“青年摄影师大奖”;2007 年在长征空间举办“对视” 董钧个展。现策划西安美术馆“中国青年导演电影双周”、主编西安当 代艺术系列画册《8629》。

吴文光 生于 1956 年,云南昆明人。他拍摄的《流浪北京:最后的梦想者》 被认为是中国第一部真正的纪录片。至今,他一直在民间进行着纪录片 和戏剧等形式的创作。 另外给我们推荐影片的还有:倪昆、刘智海、张亚璇。

Yang Yang After receiving a degree in French Literature from Peking University in 2004, Yang studied at the Free University of Brussels from 2007 to 2009, and graduated with a master's degree in culture management. Yang's master's thesis, about three case studies of queer and gaythemed film festivals in Belgium and China, received the François Delor award from the Belgian Ministry of Higher Education and the nonprofit organization Rainbow Association. Yang is one of the founders of the Beijng Queer Film Festival and has worked for several European film organizations. Yang now lives in Beijing and is planning the first women's film festival in Beijing. Zhang Xianmin Born in 1964 in Nanjing, Zhang Xianmin is a professor at the Beijing Film Academy, an independent film critic, a curator, the founder of the INDICINE studio, a member of the organizing committee for the China Independent Film Festival, and he presides over the work of the Heaven Pictures Indie Cinema Fund. Zhang graduated from Beijing Foreign Studies University in 1985, from the Université de Paris III – Sorbonne Nouvelle in 1987 and from La Fémis in 1992. He has participated in various international film festivals as a jury member and programmer. His published works include Invisible Images and All about DV. Pang Xuan As an artist, Pang Xuan works in video, painting, and installation. In 2001, Pang created an art organization in Chongqing called Haus·MCommune. In 2004, Pang graduated from the oil painting department of the Sichuan Fine Arts Institute. Now Pang teaches in the College of Media at Chongqing Normal University.

As an independent director, young teacher, and curator, Ying Liang has produced a variety of creative worsk. His main pieces include Taking Father Home, The Other Half, Good Cats, and Condolences. Currently, Ying Liang teaches at the Li Xianting Film School and in the School of Film and Television at the Hong Kong Academy for Performing Arts. He is also an organizer for the Chongqing Independent Film and Video Festival.

5

老驴头 Old Donkey

7

罗汉 Luohan

8

柜族 Chinese Closet

9

暖冬 Cold Winter

10

余光之下 Under the Split Light

11

阿仆大的守候 Apuda

12

八宝粥 Eight-ingredient Porridge

13

生活而已 The Days

14

无镜 Mirror of Emptiness

15

迷墙 Lost Wall

16

芒果 Mango

17

饥饿的村子 The Starving Village

18

吃饱饭的村子 Satiated Village

18

道情 Stray Home

19

刺痛我 Piercing Me

20

自画像与三个女人 Self-Portrait with Three Women

21

王良的理想 Wang Liang's Ideal

22

Cheng Yuanzheng After receiving a Ph.D. in film from Beijing Normal University, Cheng Yuanzheng now teaches in the photography department at the Lu Xun Academy of Fine Arts. Ding Jianguo Ding Jianguo is the director of the teaching and research office for the department of series broadcast at the Shanxi Academy of Media Arts (formerly the Institute of Radio, Film, and Television Management), and also a director for Vertigo Film Studio. Ding's works include the digital film Dujuan Hua Kai (formerly Taixing Mama) and the short film Zhongtu Zhuan Zhan. Ding has starred in the short film Er Yue Huayu (nominated for the 2003 Locarno Film Festival). Ding has produced the digital film Fangfei De Qingchun.

年度邀请单元 老狗 Old Dog

23

瓦斯 Gas

24

5+5Chinese with Chinese and English Subtitles

25

老唐头 Shattered

26

诗与病的旅程 Poetry and Disease

27

危巢 When the Bough Breaks

28

一个和尚的寺院 A Monk's Temple

29

光男的栗子 Last Chestnuts

30

萱堂闲话录 My Mother's Rhapsody

31

在一起 Together

32

Dong Jun Originally from Xi'an, Dong Jun is an artist, independent curator, and an instructor at the Xi'an Academy of Fine Arts. In 2005, Dong Jun received the Youth Photography Award from the Pingyao International Photography Festival. In 2007, the artist held a solo exhibition called “Exchanging Gazes” at Long March Space in the 798 Art District, Beijing. Currently, Dong Jun is planning the China Youth Director Film Fortnight at the Xi'an Art Museum and is editor of the Xi'an contemporary art periodical 8629. Wu Wenguang

Ying Liang

“新青年”竞赛单元

Born in Kunming, Yunnan Province in 1956, Wu Wenguang is well-known for filming what is considered to be China's first real documentary, called Bumming in Beijing: The Last Dreamers (1990). Since then, he has remained engaged in independent documentary, performance, and and other art forms.

奥地利单元 美国内部 Inside America

35

大海 Oceanul Mare

36

卡夫卡国 Kafkanistan

37

跟我来 Follow me

38

亚美尼亚市场 Socialism...

39

工厂的一天 A Day in the Factory

40

步步高 Every Seventh Person

41

我们每天的面包 Our Daily Bread

42

羊群之心 Core of Flock

43

夜晚的世界 Abendland

44

We also received recommendations from Ni Kun, Liu Zhihai, and Zhang Yaxuan.

6


“新青年”竞赛单元

“新青年”竞赛单元

"New Youth" Competition Section

"New "New Youth" Youth" Competition Competition Section Section

three sons and two daughters, all of whom are not willing to support

Synopsis

him in his old age. However, this old man manages to feed himself

In countless small towns throughout China live these kinds of

by plowing his own field.The young people from the village believe

young people. They are called scoundrels, gangsters, and in

that farming can only make ends meet, but is far from profitable, so

Jiangxi province, they are called Luohan and nicknamed Arhat.

they have found jobs in cities. However, the County government

Huabin and Huaqiao were high school friends. After graduating

has decided that the land can't be wasted, and thus they have

from university, Huabin returned to his hometown Duchang

allocated the land to those relatively affluent farmers who have

老驴头

The Old Donkey 剧情 / 中国 /2010/ 彩色 /112 分钟 / 山西方言对白 / 中英文字幕 Drama/China/2010/Color/112min/Shanxi Dialect with Chinese and English Subtitles 监制:崔子恩 、张献民 / 制片人:曾雯雯、李睿琪 / 摄影 : 杨瑾 / 主演:马新春、张敏 Co-Production supervisor: Cui Zi‘en, Zhang Xianmin/Coproducer: Zeng Wenwen, Li Ruiqi/Photography: Yang Jin/Lead Actors: Ma Xingchun, Zhang Min

in Jiangxi province, and then got caught up in the gangster

knowledge of some basic science and agricultural technology.

underworld there. Huaqiao liked Bruce Li, so after studying Jeet

Villagers who are not able to join the upgraded way of farming have

Kune Do for several On November 4, 2009, the court put Huabin

to sign a contract to sublet their land to other farmers in return for

on trial, and he was sentenced to 18 years in prison. Today, Huaqiao

compensation. Additionally, the original farmers can also work for the

to is still involved with the underworld years, he also returned home

new contractors.

and began to study painting at the fine arts academy.

The wealthiest man in the village, Zhang Yongfu wants to forcibly

The two friends chose different paths, but for various reasons,

plow Old Donkey’s field without notifying him and compensate Old

within social confines, we can no longer be the masters of our own

Donkey for his loss later on. After learning about this, Old Donkey

内容简介 73 岁的马老汉腿脚不便还患有严重哮喘和心脏病,常骑一头毛驴为 代步工具,村里人都叫他“老驴头”。 老驴头有三儿两女,但他却依靠耕种两亩地维持生计。村里的年轻 人大多外出打工了,只剩下老人、小孩和荒芜的土地。政府决定进行土 地改革,让有耕种能力的人集中土地连片机械化作业,无耕种能力的人 拿土地转包金,或外出打工,或为农场主打工。村里的首富张永福承包 了大片土地,但老驴头的两亩地夹在中间,他不愿意把土地转包给张永福, 因为这让他想起自己年轻时没有土地,他给地主打长工受剥削的经历。 春天快要到了,张永福想强行把老驴头的地和自己的两大片地犁成一片。 老驴头知道后每天在地里看守,不久他发现自家祖坟快被沙漠掩埋了, 儿子们都不愿意管。土地是老驴头赖以生存的基础和希望,而即将被沙 漠掩埋的祖坟是他的先辈、后代、以及他自己的归宿。面对生与死,老 驴头选择了终日独自治理祖坟边的沙漠。春天到了,老驴头去世了,三 个儿子争抢着为他办了一场热闹的葬礼……

鹿特丹国际电影节 HBF 基金 第 7 届中国独立影像年度展最佳影片 第 15 届釜山国际电影节“新浪潮”竞赛单元 第 40 届鹿特丹国际电影节

and roll, literary youth.

that the clan graves are to be covered by the expanding desert.

A few years later, Huaqiao was studying animation at the China

Soon, Old Donkey passes away, and his three sons arrange his funeral.

Awards and Festivals 7th China Independent Film Festival, 2010, Highest Award and Film Festival Closing Film 40th Rotterdam International Film Festival, 201, Dioraphte Award second place 15th Pusan International Film Festival, 2010

Academy of Art, and would graduate soon. Huabin had just been

罗汉

Today, our sense of value is deteriorating just as the natural environment is deteriorating, and these beautiful values in life are like the desert as well? Old Donkey’s life is transformed by these changes, and his destiny mirrors that of tens of thousands of ordinary people like him who have lived through such drastic changes. These stories of the the older generation parallel the dramatic ups and downs of an epic film narrative, and sometimes they are even more dramatic; I am awed the older generation’s life stories, I can visualize them in my future

这是关于 73 岁的老驴头从作为父亲和爷爷的身份做回儿子乃至孙子

projects. Therefore, this film is to be dedicated to all those of the older

的故事。当老驴头面对自己的父母时,他为父母养老送终,他尽到了作

generation who are still living, and those who have already passed

为儿子的责任和义务;当老驴头面对自己的儿女们时,他将儿女们抚养

away. If the the destiny of Old Donkey is as dramatic as the two

长大,为儿女们修房子、娶媳妇,他尽到了作为父亲的责任和义务;当

discrete eras that he has experienced, then maybe his death also

老驴头面对自己的孙子们时,他将孙子们带大,他尽到了作为爷爷的责

parallels the end of one era, and the beginning of another.

任和义务。此时,老驴头以为自己尽完了人生所有的责任和义务,他期

to see Huabin, Huabin had been attacked, and was taken to the

纪录 & 剧情 / 中国大陆 /2009/ 彩色 /DV/120 分钟 / 中 文(普通话 & 江西方言)对白 / 中英文字幕 Documentary and Drama/China/2009/Color/DV/120min/ Mandarin and Jiangxi dialect/with Chinese and English Subtitles 制片:朱云 / 摄影:李家芳 / 主演:李辄芳、孙小华、余光华 Producer: Zhu Yun /Cinematography: Li Jiafang/Starring: Li Zhe, Yang Fang, Sun Xiaohua, Yu Guanghua

Awards and Festivals

在中国,无数的小城镇,生活着这样的年轻人。他们被称为混混, 黑社会,在江西,还有个称呼 ,“罗汉”。

2011 Yunfest Documentary Film Festival, Youth Film Unit

In China's small towns, there really exist these types of scoundrels, gangsters, and mafia. I used to be one of them. Today, I'm not a part of their world anymore, but I'll never be able to forget this part of my past.

华斌和华侨是高中的好朋友,华斌大学毕业后回到家乡,江西都昌,

Shooting this film was perhaps just a way of looking for myself in

开始“混”的生活,闯黑道。华侨喜欢李小龙,学了几年截拳道后回到家乡,

the story I wanted to tell; perhaps I felt like “Huabin”, or perhaps

开始学习绘画考美术学院,他们选择了不同的道路,但是因为种种原因,

I also felt like “Huaqiao”, or perhaps this was uncertain. Only one

人在江湖,身不由己,这两个好朋友常混在一起,他们时常讨论艺术,人生、

thing was clear: they and I are the same person, living one day

乃至宗教信仰,两个人都是摇滚青年,文学青年。过了几年,华侨在中

at a time, dying one day at a time, always forced to accept the

国美术学院动画专业,快毕业了,华斌又是刚从监狱出来。华侨去看他,

completely normal and the completely insane.

中秋那天,华斌又被人偷袭,送进了医院,他们准备报复。 2009 年 11 月四日,法院开庭审判华斌,三审,华斌被判刑 18 年。 而华侨,却依然在江湖。

陶华侨 Tao Huaqiao 参展、获奖情况 2009 中国独立影像年度展十佳纪录片

代,当老驴头面对不愿赡养自己的儿女时,他说只要自己还能睁开眼睛,

男,27 岁,1983 年出生与甘肃高台。14 岁起开始学习绘画及音乐,2003 年

他就有办法养活自己。当他面对荒芜的土地时,他说自己是种地的,人

毕业于国家广播电影电视总局管理干部学院,后从事独立剧情片制作至今。

可以死但地不能荒。当他面对即将被沙漠掩埋的祖坟时,他说坟里埋的

Li Ruijun was born in Gansu province in 1983. At the age of 14, he

是自己的爹妈,儿女可以不管他,但是他必须尽自己作为儿子的责任和

started to learn painting and music. In 2003, he graduated from the

中国的小县城,有这样一些人,“混混”“流氓”或者是“黑社会”,

义务。

institute of management of China National Ministry of Radio, Film

他们真实的存在。我,曾经是他们的一员,今天,我早已脱离他们的世界,

and Television. Then he started to work as an

但过去,又常让我难以忘怀。

independent drama director.

2009 China Independent Film Festival, Top Ten Documentary

罗汉,阿罗汉的简称,梵名 Arhat。

李睿珺 Li Runjun

老驴头的命运像他一生所经历的两个不同时代一样天翻地覆,老人

hospital. They were prepared for revenge.

Director's Statement 内容简介

盼着儿孙们像他一样尽自己应尽的责任和义务,但在这个伦理颠覆的时

生命的结束,也正如一个时代的结束……

released from prison. On the mid-autumn day that Huaqiao went

Luohan

Director's Statement

by the essence of life in them and their destiny. Contemplating upon

导演阐述

even religious beliefs. These two were both the children of rock

dreams that his family grave is buried in the sand, and he finds out

the tombs of Old Donkey’s family. Will our hearts be swallowed up by

参展、获奖情况

destinies. These two friends often met up to discuss art, life, and

decides to guard over his fields everyday. In a short time, Old Donkey

2011 云之南纪录影像展青年展映单元

2009 年毕业于中国美术学院动画传媒动 画学院动画系。大二开始准备拍摄“罗 汉”。正在筹拍纪录长片《江湖》。 Tao Huaqiao studied animation at the Chinese Academy of Art, and

导演阐述

拍摄此片,也许只是一种自我寻觅。关于我要讲述的,也许只是“华

graduated in July of 2009. As a sophomore, he began preparing production for his film Luohan. Tao Huaqiao is currently preparing to shoot his next feature film, Jianghu.

斌”,也许还有“华侨”,也许并不清楚,但有一点很清晰的,“我”

Synopsis

作品年表 Filmography

73-year-old Old Ma suffers from chronicle asthma and has trouble in

夏至 Summer Solstice, 2006 老驴头 Old Donkey, 2010 家在水草丰茂的地方 Where is My Home, 2011 照相 Take Pictures, 2010

walking long distances. Whenever he is out, he rides his donkey,so folks in the village nickname him “Old Donkey”. Old Donkey has

7

和他们一样,一日日在生活,一日日在消逝,永远只能接受,正常也好, 疯狂也罢。 片名“罗汉”,即是当地对混混的称呼。

作品年表 Filmography 自画像 Self-portrait, 2008 我知道你看见了什么 I Know What You Saw, 2008 罗汉 Luohan, 2009

8


“新青年”竞赛单元

“新青年”竞赛单元

"New Youth" Competition Section

"New "New Youth" Youth" Competition Competition Section Section

内容简介 在中国大陆的同志族群中,大多数人都还藏在柜子里。朋友、家庭、 社会……各方面的压力,让柜门紧锁。影片采访了十几位出柜同志,他 们有的经历过歧视、压制甚至暴力,但也有感动、成长和理解。更有同 志妈妈吴幼坚,坚定的站在同志孩子的身边。 出柜潮流来了!今天你出柜了吗?

参展、获奖情况 2010 年中国纪录片交流周 2010 年柏林亚洲热门影展 2010 年首尔独立记录影像节

导演阐述 出柜对于大多数中国同志来说,仍然不是轻松的一件事情。特别是 延续香火的传统观念,让家庭压力变得尤其沉重,这个议题可以说是当 下同志人群生存环境最大的考验之一。在中国酷儿影像巡回展的过程中, 我记录了很多出柜同志的悲欢离合,想与大家分享。 很巧合的是,就在影片制作的期间,我也被逼向家人出柜了。虽说

柜族

这是我认为必经的一条路,但还是让自己感到惊心动魄。我更加真切地 感受到,受访主人公当时的遭遇。

Chinese Closet

Synopsis

纪录片 /2010/ 86 分钟 / 彩色 /DV/ 普通话、广东话对 白 / 中英文字幕 Documentary/2010/86min/Color/DV/Language: Mandarin and Cantonese with Chinese and English Subtitles

Within China's gay community, most people are still in the closet.

暖冬

Because of all-around pressure from friends, family, and society, the doors remain locked up for many of these people. This film

The Cold Winter

interviews around a dozen Chinese people who have finally come out of the closet. Some of them have experienced discrimination,

纪录 / 中国 /2011/ 彩色 /HD/102 分钟 / 普通话对白 / 英文、中文字幕 Documentary/China/2011/Color/HD/102min/Chinese with Chinese Subtitles 摄影:杜昌博、郑阔 / 音乐:左小诅咒 Cinematographer: Du Changbo/Music: Zuoxiaozuzhou

suppression, and even violence. But they have also been deeply moved, they have grown, and they have gained understanding

Awards and Festivals 2010 5th Beijing Independent Film Festival 2011 2th Spain-China Ciclo Documentaries 2011 Yunnan Multi Culture Visual Festival (YUNFEST) 2011 7th China Documentary Film Festival

through this experience. There is even a mother, Wu Youjian, who stands firmly in defense of her child's homosexuality. In this way, more and more people are slowly emerging from the closet. So, have you come out of the closet yet today?

内容简介 北京酷儿影展组委会成员,中国酷儿独立影像小组协调人,男同杂志《点》

Awards and Festivals 7th Chinese Documentary Exchange Week, 2010 3rd Asian Hotshots Film Festival, Berlin, 2010 Seoul Independent Documentary Film & Video Festival, 2010

Director’s Statement

范坡坡 Fan Popo 编辑,北京同志中心执行主任。曾出版《春光乍泄:百部同志电影全记录》; 曾获智行基金同性恋议题论文奖三等奖(《从女权主义角度分析电影中的

2009 年底到 2010 年初,798 周边的一些艺术区遭遇暴力强拆,艺术 家们的坚守、抗争、彷徨和内讧,都在那个极其寒冷的冬天上演。

女同性恋形象》),新浪博客大赛二等奖(《同志放轻松》)。 Fan Popo is a member of the organizing committee for the Beijing

参展、获奖情况

Queer Film Festival, a coordinator for the China Queer Independent

2010 第 5 届北京独立电影展纪录片单元

Film Group, an editor of the gay men's magazine Gay Spot, and

Director's Statement

2010 西班牙·中国纪录电影交流展(伊比利亚当代艺术中心)

executive director of the Beijing LGBT Center. In 2007, he published

2011 第 5 届云之南纪录影像展· 清明(特别展映单元)

For most gay Chinese today, coming out of the closet is still not an

Happy Together: A Complete Record of a Hundred Queer Films. He

2011 第 8 届中国纪录片交流周(竞赛单元)

easy thing to do. Especially difficult is the idea of disrespecting one's

has won third place in the LGBT research paper competition run by

2011 深圳圆筒大学生影像展

parents by admitting that one will not “keep the incense burning” for

the Chi-Heng Foundation and second place in Sina.com’s online video

their family, so to speak. Not having children will make one's family's

competition.

导演阐述

pressure particularly heavy, and this is probably one of the greatest challenges facing the gay community in China today. During the China Queer Film Festival Tour, I recorded the joys and sorrows of many Chinese “comrades” who have already come out of the closet. I'd like to share their stories with you. Coincidentally, while I was producing the documentary, I was also forced to come out of the closet to my family. Although I believe that this is a road that must be walked, I also feel that this experience has been extremely profound and moving for me. While I interviewed the heros in this story, I felt I could more truly understand their hardships after I myself had made the same decision to come out.

9

作品年表

Filmography

好日子 The Good Days, 2008 台北,彩虹之城 Taipei: City of Rainbow, 2008 新前门大街 New Beijing, New Marriage, 2009 柜族 Chinese Closet, 2010 纸房子 Paper House, 2010 舞娘 Be a Woman, 2011 流动的彩虹 Flow Rain bow, 2011

In 2009 in the process of shooting℃798 station℃, thanks to an opportunity by chance, I came to the "warm winter plan" field. Relocation in China is nothing new, but the artists collective encountered strong violence, but few and far between. I hope this film objectively and fairly as possible, and I also hope that the film is a mirror, from which each of us can see their own

郑阔 Zheng Kuo 毕业于北京航空航太大学电子工程系和北京联合大学广告学院。当过五年文 职兵,转业后曾供职通信公司、报社、杂志社、广告公司、影视公司等。 Zheng Kuo, graduated from the Department of Electronic

2009 年在拍摄《798 站》的过程中,由于一个偶然的机会,我来到了“暖

Engineering of BUAA and the College of Ad of Beijing Union

冬计画”的现场。拆迁在中国并不是什麽新鲜事儿,但是艺术家集体遭

University. He joined the army as military artist for five years. After that,

遇暴力强拆,却并不多见。我希望这部电影尽量做到客观、公正,我也

he worked in communication

希望这部电影是一面镜子,我们每个人都可以从中看到自己。

companies, newspapers,

Synopsis From the end of 2009 to early 2010, some of the art districts near the 798 Art Zone in Beijing suffered violence strong remove. Artists’ stand fast, struggle, hesitation and infighting all put on the stage in the extremely cold winter.

magazines, advertising companies and film companies.

作品年表 Filmography 798 站 798 Station, 2010 暖冬 The Cold Winter, 2011

10


“新青年”竞赛单元

“新青年”竞赛单元

"New Youth" Competition Section

"New "New Youth" Youth" Competition Competition Section Section

Synopsis

阿仆大的守候 Apuda

The Hakka's existing family customs, folk songs, building in NanFeng Town, Danzhou City, Hainan Province. Remained elderly Fangkui the old generation in small groups of three generations as a clue,

纪录 / 中国大陆 /2010/ 彩色 /HD/145 分钟 / 中文(纳西族语言)对白 / 中文字幕

it integrated the present situation of ethnic groups. Following the transfer and change, there is harmony, conflict an even struggle; the joys and sorrows of life, but also the prosperity and decay of the ethnic group. With the changing times and the demising of traditional culture, someone is singing persistently, someone is waiting lonely, the situation is worrying.

As summer approaches and the apples ripen, we find Apuda

Director: He Yuan/Tectonic: Zeng Jidong/Naxi Dialect Translator: He Jidong/English Translator: Dena Duijkers

Apuda begins to worry. He

never leaving his side,

turns him over in bed and chats with him about the latest news of

内容简介 阿仆大已人过中年,可他的心还像个孩子,父亲十分怜爱这个先天 有些智力障碍的儿子。父子二人相依为命。 夏天悄悄来临,果园里的苹果渐渐成熟,阿仆大像往常一样看守着

Director's Statement

过苍翠的松树林回到山下家中,此时父亲已经卧床不起,生命的油灯正

What remains is bound to disappear.

缓缓熄灭。 儿子整日守着父亲,寸步不离,用他自己的方式照看着病床上的父亲。 他帮父亲换衣裤,给父亲端水洗漱,为父亲点烟,帮父亲翻身,给父亲 讲村中家常……父亲已经几天没有进食,儿子坐在床边反复叨念着:“昨 天晚饭你没有吃,今天早饭你也不吃……”,面容非常忧虑。而父亲很平静, 他等待着启程、离开。父亲告诉儿子:“爸爸总是要走的,早晚才是。”

余光之下

儿子无言相对,转身躲到火塘边,陷入深深的忧伤。

Under the Split Light

2011 年 圆筒大学生影像展 2011

导演阐述 仅存的,必将消失;保留的,刻上政治的标签。

by his father’s ominous lack of appetite, his father serenely awaits his fate, for Naxi legend tells of a period of trials before reaching the land of one’s ancestors. The elderly man keeps reminding his son that sooner or later, he will pass away. Unable to express his feelings, Apuda can only collect his thoughts by the fireside in sadness.

Awards and Festivals 2011 Yunfest Documentary Film Festival, Bronze Award 2011 Yamagata International Documentary Film Festival (selected for upcoming competition)

2011 云之南纪录影像展青铜奖 入围 2011 山形国际纪录片电影节

邓伯超

Deng Bochao

和渊 He Yuan

1986 年出生于四川省乐山,现在

和渊,1975 年生于云南丽江。2001 年云南大学东亚影视人类学研究所

老家陪爷爷奶奶种竹子。 Born in Sichuan Leshan, 1986. Now planting banboo in his hometown with his grandparents.

毕业后分配到云南省社会科学院民族学研究所工作至今。 He Yuan was born in 1975 in Lijiang, Yunnan Province. After graduating from the East-Asian Institute of Visual Anthropology of Yunnan University in 2001, he has

参展、获奖情况

2011 年 北京电影学院 电影眼睛第 32 期

family and neighbors. While Apuda becomes increasingly troubled

参展、获奖情况

纪录 / 中国 /2010/ 彩色 /DV/130 分钟 / 中文 ( 普通话 & 客家话 ) 对白 / 中文、英文字幕 Documentary/China/2010/Color/DV/130min/Mandarin and Hakka with Chinese and English Subtitles

2011 年文津清影展映

bed, slowly fading away.

He affectionately helps him dress and bathe, lights his cigarettes,

What's preserved will be engraved with political labels.

2011 年 北京国际电影季 电影看世界 纪录片展映活动

hurries through the green forest to his home where father lies in Apuda spends every minute of the day tending to his ailing father,

父亲的果园。不祥的乌鸦突然出现在果园的上空,儿子开始不安。他穿

2011 年第五届云之南纪录片影像展竞赛单元

father’s orchard. As a bird of ill-omen cries out high in the sky,

"Wenjin Qing Ying" Exhibition, June 2011

"Art De vivre " students photo exhibition 2011

传统文化消亡,有人执着地传唱,有人孤独地守候,境况堪忧。

taking over the care of his

seeing to his every need, and caring for him in his own, special way.

"Art De Vivre " Student Photo Exhibition, Shenzhen, 2011

甚至是斗争;有人生的悲欢离合,也有族群的兴旺与衰败。时代变迁,

each other.

Beijing International Film Festival, documentary exhibition, April 2011

screening, June 2011

代为线索将族群现状串联整合。传继与变迁中,有融洽,也有矛盾冲突

dearly. Over the years, father and son have come to depend on

5th Yunnan Multi Culture Visual Festival (YUNFEST), March 2011

Beijing Film Academy, Kino-Vision Studio, 32nd documentary

以守屋老人叶芳奎,山歌传唱者杨晓波,新生代叶伟通这样的老中少三

approaches the world with

Documentary/China/2010/Color/HD/145min/ Language: Naxi Dialect with Chinese Subtitles 技术指导 : 曾庆新 / 纳西语翻译 : 和继东 / 英语翻译 : Dena Duijkers

Awards and Festivals

海南省儋州市南丰镇客家族的现有风俗,现有山歌 , 现有建筑。并

Apuda is a slightly mentally disabled middle-aged man who childlike innocence. He lives with his elderly father who loves him

Ye, folk songs singer XiaoBo Yang, the new generation WeiTong Ye,

内容简介

Synopsis

作品年表 Filmography 毒 Poison, 2008 姐妹 Sisters, 2009 纸飞机 Paper Plane, 2009 迷失 Lost, 2009 旅途 Journey, 2009 余光之下 Under the Split Light, 2010 麦客 Mack, 2011

been working at the Ethnographic Film Production Center of the Institute of Ethnography, Yunnan Academy of Social Sciences.

作品年表

Filmography

阿仆大的守候 Apuda, 2010 我们的院子 Our Yard, 2005 儿子不在家 The Son Is Not at Home, 2004


“新青年”竞赛单元

“新青年”竞赛单元

"New Youth" Competition Section

"New "NewYouth" Youth"Competition Competition Section

八宝粥

Eight-Ingredient Porridge

生活而已

导演阐述

The Days

从农村到城市生存的年轻人,每天面对情感与生存的迷离,在这恍然 若梦的零碎的片段中,我似乎触摸到了潜藏其下的暗流,生活总是不经意 间向你展示它的真相,我尽量捕捉这真相,这或许对于察觉我们自身的社

纪录 / 中国 /2010/ 彩色 /HD/62 分 钟 / 中文对白 / 中文字幕 D o c u me n t a r y / C h i n a / 2 0 1 0 / C o l o r / HD/62min/Chinese with Chinese Subtitles

纪录 / 中国 /2010/ 彩色 /DV/89 分钟 / 普通话、湖南 & 山东方言 / 中英文字幕 Drama/China/2009/Color/Animation/62min/Mandarin, Hunan&Shandong Dialect with Chinese and English Subtitles 摄影:魏晓波、谢芳 / 音乐:邓浩 Cinematographer: Wei Xiaobo, Xie Fang/Music: Deng Hao

会处境是有益的——我们究竟面临着什么样的状况?

Synopsis In this film director Li Dong turns his camera on his cousin Brother, a worker who relocated to the city years ago to make it big. Brother went into the used car business after getting laid off as a driver .His wife works in a Japanese leather factory and comes back home very late at night .Brother has a girlfriend ,Xiao Qian, with whom he spends his evenings in something like conjugal bliss. As the New year approaches ,Xiao Qian announces she wants out of the relationship. At the same time ,his second-hand car business isn’t bringing in any money .Hard on his luck, Brother consults a fortune teller,who advises him to get into the food and beverage

内容简介

内容简介

industry. Will Brother continue his fight to be a self-made man or accept his fate?

毕业后,我和她住在一起。我(魏晓波)的脾气越来越不好,她不

影片中哥已经在城里溷了很多年了。因为房贷的压力和城里较大的 花销,哥把女儿留给村子里的父母看养。以前他给人开过车拉过货,后 来因为赔了钱转行贩卖二手车。嫂子在一家日资皮革厂里上班,每天晚 上很晚回家。哥在外面认识了一个女孩小倩。哥每天晚上都会去小倩那 里,帮小倩生炉子,看电视……年底,小倩提出要和他分手。手里的二 手车也没有卖出去,哥找人算命,算命的说他应做食品生意。年后,五

断的辞职和找新的工作。就是这样,吃饭,睡觉,做爱,吵架,发呆,做梦……

Awards and Festivals

我把摄像机架在了角落,它记录着这一天天的生活,在可预见的未来,

2010 The 5th Beijing Independent Film Festival

似乎没有任何希望。

2011 Yunnan Multi Culture Visual Festival (YUNFEST)

岁的女儿桂玉被接到城里来上幼儿园。哥手里的那辆车依然没有卖出去。

Director’s Statement

大年初六的那个晚上俩人终于分手了。第二天一大早,哥开始一家家地

Young people from the countryside who settle in the city must cope

联系八宝粥厂。

with confusing emotional and survival situations on a daily basis.

参展、获奖情况 2011 年云之南纪录影像展

Synopsis

With these fragments of dreams and reality, I feel I have touched

参展、获奖情况 2010 年第五届北京独立电影展记录长篇单元

Xie Fang and I lived together in a rental room. I had a bad temper,

upon an underlying truth. I tried to capture that truth on film. Perhaps

she always lost job and looked for the new job. Eating, sleeping,

it will help us become more aware of the society in which we live.

and making love, arguing, trance, dream...day after day. I put the

2011 年第五届云之南纪录影像展竞赛单元

camera in the corner, it records the daily life. In the foreseeable future, I cannot see the hope.

魏晓波 Wei Xiaobo 1983 年出生,祖籍山东,做过农民、工人、电视台记者,发表过小说、诗歌、 影评、乐评、拍过纪录片、MV。近几年从事编导培训工作至今。 Born in Shangdong, 1983. He worked as a farmer, factory worker, TV reporter, he published novels, poems, cinema and music critic articles, and works on documentary, MV. These years, he works as a TV program conductor trainer.

李栋

Li Dong

生 于 1987 年 2 月 ,山 东 省 青 岛 人 。 2007 年至今就读于中央美术学院。 Born in February 1987 in Qingdao, Shan Dong province. 2007 until now, studying in the China Central Academy of Fine Arts.

作品年表

Filmography

循寻 The Seeking, 2008 九月天空 Sky of September, 2009 八宝粥 Eight -Ingredient Porridge, 2010 尘露 Dust and Dew, 2011

作品年表 Filmography 买书者说 Says the bookseller, 2005 5252, 2008 业余 Amateur, 2008 渔湾市 The Sound and the City, 2009 北京 Beijing, 2009 生活而已 The Days, 2010 照相 Take Pictures, 2010

Awards and Festivals 2011 Yunnan Multi Culture Visual Festival (YUNFEST)


“新青年”竞赛单元

“新青年”竞赛单元

"New Youth" Competition Section

"New "NewYouth" Youth"Competition Competition Section

无镜

Mirror of Emptiness

beliefs of those living on the Tibetan plateau. It reveals the inner

迷墙

ignored by the secular world. Combining profound thought and

Lost Wall

vivid imagery, the film pays close attention to life on the Tibetan plateau, Tibetan Buddhism, and the monks living in the monastery.

纪 录 / 中 国 /2010/ 彩 色 /HD/120 分钟/藏语对白/中英字幕 Documentary/China/2010/Color/ HD/120min/Language: Tibetan and Chinese and English Subtitles

纪 录 / 中 国 /2010/ 彩 色 /DV/81 分钟 / 中文 ( 普通话 ) 对白 / 中 英文字幕 Documentary/China/2010/Color/ DV/81min/Chinese with Chinese and English Subtitles

The doors of the cloistered quarters were opened for the first time to a film director, who bought with her not only a camera, but also sincerity and perseverance. Ma Li interviewed several lamas who have practiced dharma in seclusion for years. During the

策划:司徒兆敦 / 监制:王鸿海、 敖日力格 / 字幕翻译:李晓燕 / 演员:小张、赵榕、余头、熏、 小叠 Curator: Situ Zhaodeng/Producer: Wang Honghai, Aorilige/Subtitle Translator: Li Xiaoyan/Actors: Xiao Zhang, Zhao Rong, Yutou, Xun, Xiaodie

magnificent annual dharma ceremony, the film crew was allowed to record unprecedented footage of the complete process of a celestial burial.

Awards and Festivals 5th Yunnan Multi Culture Visual Festival, 2011 Chinese Documentary Festival, 2011 30th Jean Rouch International Film Festival 2011

内容简介 色须寺 , 位于中国四川石渠。世界上海拔最高的县城一侧的一座寺院。

Director's Statement

影片以色须寺为中心,以闭关院,密宗院,辩经院,大法会,天葬

The location on the Tibetan plateau and the religious setting

台等为观察点,着重通过五个喇嘛和一个天葬师、一个还俗僧人不同的

of the monastery are inevitably very important aspects of this

经历和讲述,真实的记录下了高原上人们独特的生活经历和精神信仰,

documentary. However, as director, I would prefer that you move

展现了极端生活条件下一群不被关注的人的内心世界。

beyond thinking about just the plateau and the religion, and search

影片对高原生活、藏传佛教、寺院僧人的关注,既有意境高远的宏

for other points of interest within the film.

内容简介 小张(张建强), 从小双目失明 , 父母离异,忧虑多疑。他和女友(赵 榕)在朋友余头的推拿店工作 , 女友和余头间的暧昧关系 , 总令张心神忧 虑。 猜测、迷惑、恐惧象一堵无形的墙 , 令张无能摆脱。影片展现了小

观架构,又有细腻生动的微观刻画。在拍摄过程中,导演以其真诚和执

Shiqu, in Sichuan Province, is the world's most highly elevated

着第一次用镜头叩开了闭关院那从不开放的神秘小门,亲身采访了已闭

county. Sexu Monastery is located on one side of the county. 4500

关两年甚至闭关 17 年以上的数位修行喇嘛。期间第一次被允许近距离完

meters above sea level, it is almost impossible to survive here.

整拍摄下了天葬的全过程。

The number of temples here surpasses the number of villages.

参展、获奖情况

Compared to the other temples, Sexu Monastery is quite average

2010 年 第 7 届中国纪录片交流周 竞赛单元

in size. Those living on the plateau need the temple, because it

2010 年 全国首届艺术硕士广播影视类优秀作品展 优秀奖

protects not only their lives, but also their spirits. Being so far up and

2011 年 第十三届韩国首尔独立纪录片电影及录像节

全片视角独特,叙事节奏舒缓而又充满张力,影像干净唯美,镜头 语言细腻饱满,深沉大气。

参展、获奖情况

2011 年第 5 届云之南纪录影像展 2011 年香港华语纪录片节 2011 年第 30 届“让 • 鲁什”国际电影节(11 月开幕)

张从扑朔迷离的情感世界中逐渐解脱的心灵历程。

so cold, the loneliness of the land is unchanging. Very few people come and go, and in fact, before the highlands were opened up, no one who lived here had any contact with the outside world. So it goes that generation after generation, through snow and sunshine,

导演阐述 《迷墙》是一部关于探索人内心情感挣扎的纪录片,趋向人物内心的 刻画 , 试图从张的心灵变化历程来展现张的生命活力。

导演阐述

continue to live out their lives on the plateau, surrounded by rolling

的猎奇心态来观察这部纪录片。 四川省石渠,中国也是世界海拔最高的

To r e v e r s e t h e h a r s h c o n d i t i o n s o f l i f e o n t h e p l a t e a u i s

县城。色须寺在县城一侧。4500 米的海拔,几乎无法生存。多寺庙,多

unachievable, and it seems that residents here were aware of this

过村庄。色须寺不大也不算小,极普通。高原人需要寺庙,因为它保卫

reality very early on. They have invented a poetic way of traveling

着他们的生活,也保卫着他们的心灵。高和寒,决定了土地上的孤单。

down life's path. They imagine the afterlife as a blissful paradise,

很少有人进入,也很少有人离开,在高地被打开之前,实际上是无人告

and they live in accordance with Buddhist law, to rid themselves of

诉他们,可以思考到外面的世界去闯荡之类的问题。于是,一代又一代

inner turmoil and uncertainty. They try as much as possible to face

的高原人转着山,围着寺,守着佛的法,在时晴时雪的高原上过着一辈

the bitterness in their lives as if it were nothing of circumstance,

又一辈。 扭转严酷的生存环境,是无法实现的,也许人们很早以前就已

and they believe that when lying on celestial burial ground, one

经明白。于是他们发明了一种诗意地渡过今生的路径。他们把来世想象

can, in a moment, leave his body to the vultures and let his soul fly

为幸福的天堂,他们以佛的法为依归,来压制内心的骚动与不安。他们

toward heaven. Life is quite multi-faceted and complex. They are

尽量若无其事的面对今世的苦与愁,他们相信当躺在天葬台上,可以安

struggling, wandering helplessly, and painfully confused. However,

静的将身献给秃鹫的那一刻,他们的灵魂将飞向天堂。 生活是纷繁而复

they won't be shaken. Night after night, whether bright or dark, the

Awards and Festivals

杂的。他们也挣扎,也彷徨,也苦惑。但,摇动是微小的。月亮在黑夜

moon remains in the night sky above the temple. Often I feel that my

The 7th Documentary Film Festival China (2010)

的寺的上空,时明时暗,一夜又一夜。常常我会觉得,我置身的这片高地,

exposure to this part of the highlands has

Yo u t h D i r e c t o r s , S p a i n

The First MFA Outstanding Works Exhibition of Broadcast and Film

没有历史,也没有时间。

neither history nor time.

International Film Week, The

Outstanding award (2010)

7th Documentary Film Festival

Synopsis

马莉

Sexu Monastery lies 4500 meters above sea level in Shiqu county,

女,纪录片工作者。

Sichuan Province. This film is a study of the monastery, exploring its

Female, China. Documentary filmmaker.

无法回避高原和宗教。但作为导演,我更愿意你越过对高原和宗教

mountains and temples protecting the law of Buddha.

Ma Li

various facets and institutions. It presents the life experiences of five lamas, a priest for celestial burials, and a monk who has taken up

作品年表

secular life. It is the original documentation of the distinctive lives and

无镜 Mirror of Emptiness, 2010

Filmography

京生 Born In Beijing, 2011

潘志琪

Pan Zhiqi

Synopsis

独立纪录电影导演,出生于浙江温州文成。浙江传媒学院影视艺术学院

Xiao Zhang (Zhang Jianqiang) is born to be blind and brought up by

讲师,先后就读于西安美术学院、北京电影学院艺术硕士。创作纪录片

his single parent. He is anxious and depressed. He is working in his

作品:《卓山物语》《侦探》《迷墙》等。

friend Yutou's Massage Shop with his girlfriend Zhao Rong. He is

Independent director, born in Zhejiang Wencheng. Graduated from

anxious and worried about the ambiguous relationship between his

Xi¡¯an Academy of Art, then got Art Master program in Beijing Film

girlfriend and Yutou. Confuse and love tangle seem like an invisible

Academy. Now he is a lecturer of Zhejiang University of Media and

wall, which torture Zhang. Documentary “Lost Wall”expresses a

Communication. His creative documentaries, such as Zhuoshan

spiritual course of Xiao Zhang gradually set himself free from the

Monogatari, Detective, and

complicated love.

Lost Wall etc. His works were selected to be projected in the

Seoul Independent Documentary Film & Video Festival (2011)

New Prominent Film Week of the Forum of Chinese

China etc.

Director's Statement “Lost Wall” is a documentary about exploration to the fight of internal emotion, mainly depicting human mind and trying to show Zhang's passion by his spiritual course.

作品年表

Filmography

侦探 I Private Detective I, 2009 迷墙 Lost Wall, 2010


“新青年”竞赛单元

“新青年”竞赛单元

"New Youth" Competition Section

"New "New Youth" Youth" Competition Competition Section Section

Synopsis Yuanyuan was a cook in one town when he graduated from middle school. He liked ride a motorcycle pick up Yulin around the town every day. because he loved Yali ,Yulin tangled with him. Then Yulin's brother lectured Yuanyuan. Then that boy was made retaliate Yuanyuan form more people. Yuanyuan was beaten in hospital. It narrates a group of hobble.They are confused to future,urge and irresponsible for love,as will as misty to society,so do some explains for true life.

Director's Statement There are two words I love, a film, a youth, youth is one of life's most memorable. Those memories or better, or bitter or sweet or sentimental. I've always wanted to use light to feel it, feel it, explain it. Youth is always one of the themes in the film. The national film has many movie presents the dreams of youth, passion and frenzy,

饥饿的村子

吃饱饭的村子

纪录片 /2011 年 /DV 格式 /80 分钟 / 山东方言 / 中文字幕 Documentary/China/2011/Color/DV/80min/Shandong Dialect with Chinese Subtitles

纪录片 /2011 年 /DV 格式 /80 分钟 / 山东方言 / 中文字幕 Documentary/China/2011/Color/DV/80min/Shandong Dialect with Chinese Subtitles

内容简介

内容简介

The Starving Village

Satiated Village

there are also many movies in the protagonist's youth story presents a different kind of cruel. The cruel youth is a shocking and painful painful memories, but also a kind of special memories of youth. The protagonist Tongche bone marrow bitter experience,

我是农村出生并长大的孩子。从 2008 年开始,我在记录自己的家庭,

家人看完我的上部片子《饥饿的村子》后,引起了家庭反对。这是

even in the blood, death and physical and psychological violence

之后又慢慢走进自己的村子。这部片子是我的第二部纪录片,整部片子

25 年来我第一次和父母对抗,也是我叛逆的开始。家人的劝告让我开始

in youth, reflects the unique thermal, disordered and struggle. In

都是由老人构成。一个年近 80 岁的老人,她生命中的最后两年,从依靠

对自己提出疑问和寻找自己的位置。在 2011 年过年这段日子,我夹杂

Mango

the movie, the story is both cruel youth youth story itself, but also

拐杖慢慢挪动,到瘫痪,只能依赖别人才能生活,这就是我的奶奶。还

在对自己人生路的追问和选择中。面对现实,我感觉自己快被家庭反对

has a very complicated meanings, in the violence and violence,

有村里的其他老人,他们的日常生活、以及他们 50 年前的饥饿经历回忆。

搞垮掉。在家人反对的 “高墙”中,家中唯一一位支持我的“小天使”——

剧情 / 中国 /2011/ 彩色 /HD/82 分钟 / 中文对白 / 中文字幕 Drama/China/2011/Color/HD/82min/Chinese with Chinese Subtitles

exploration and struggle story under the surface, in the movie cruel

片子由一个老人临近死亡时的煎熬和挣扎与那些讲述饥饿历史的老人共

小侄女,她出现使我开始有了信心。我组织村里被拍老人、八到十五岁

youth a multiple social and cultural significance.

同构成。

的孩子来我家看片子,我们一起交流看片后的感想。通过放映片子,我

I want to shoot the real China, I want to shoot real 90 year after the

参展、获奖情况

芒果

children.

2010 年 10 月草场地交叉艺术节

参展、获奖情况

2010 年 12 月深圳 OCAT 当代艺术中心放映

2011 年 5 月草场地五月艺术展示

2011 年参加芬兰坦佩雷短片电影节

园园初中毕业后在县城某饭店学厨师,他喜欢每天骑着摩托车载着服

底吃饱没有?

2010 年 10 月参加台湾国际记录片双年展 2011 年 1 月 798UCCA 当代艺术中心放映

内容简介

对村子的现实产生怀疑,村子的老人都经历过挨饿,那现在这个村子到

Synopsis

Synopsis After my parents saw my film “Starving Village” they were against me interviewing people in our village. They thought that my digging around in the past with my video camera was a dangerous activity.

徐志鹏 Xu Zhipeng

I was born and raised in the village. Since 2008, I have begun to

青年独立电影导演,生于 1987 年,山

document my own life, little by little walking back into my own village

西汾阳人,2006 年毕业于山西广播电

with my camera. This is my second documentary film, and it is fully

视学校影视节目制作专业。同年开始从

composed of old people. One woman, nearing 80, is living out the

事影视编导工作,组建成立“金灯台电

last two years of her life. From when she is still using a cane to walk,

影工作室”进行独立电影的创作与研究。

to when she becomes paralyzed, she is always relying on others

同时任职于山西狄青文化传媒有限公

to live life. This is my grandmother. We also see other elderly people

Awards and Festivals:

司,任影视部部长,编导与首席摄影师。

from the village, their daily activities, the tales of their starvation from

CCD May Festival,5.2010

Independent film director, born in

50 years ago. This film rests on these lives: a woman suffering and

1987, Shanxi Fenyang person, in

struggling as she faces oncoming death, and these people who

有两个名词我很喜欢,一个是电影,一个是青春,青春是每个人生命

2006 graduated from the Shanxi

narrate for us the history of rural starvation.

中最值得回忆的。那些回忆或美好,或苦涩,或甜蜜,或伤感。我一直想

School of broadcasting television

邹雪平 Zou Xueping

用光影来体会它,感怀它,诠释它。

film and television program

Awards and Festivals:

1985 年出生于山东滨州。2009 年毕业于中

CCD Crossing Festival,10.2010

国美术学院新媒体系。居住北京,从事纪

Taiwan International Documentary Festival,10.2010

录片创作。

OCAT contemporary Art Terminal of Shenzhen,12.2010

Zou Xueping was born in Binzhou,

UCCA contemporary Art Terminal of 798,01,2011

Shandong Province in 1985. She

Tampere International Short Film Festival, Finland, 2011

graduated from the New Media

务员玉玲游荡于县城的大街小巷,由于园园与另一个服务雅丽的暧昧关系, 玉玲与园园大吵一架后,叫自己的哥哥把园园教训了一顿。后来一天园园 发现妹妹背着他找男朋友,园园很生气就叫人把妹妹的男朋友打了一顿, 后来妹妹的男朋友又组织的更多人报复园园,把园园打的住进了医院…… 本片以纪实、实验的模式讲述了一群处于青春期少年,对于未来生活 的迷茫,对爱情的冲动以及不负责任,对社会规则的模糊,所做出对现实 生活的解释。

导演阐述

青春永远是电影的主题之一。各国电影中有许多电影呈现了青春的梦

production professional. The same

想、激情与狂乱,当然也有许多电影在主人公的青春故事中展现了一种别

year began working in television

样的残酷。残酷的青春既是一种让人震撼与心痛的惨痛记忆,同时也是一

director working, founded" the

种别样的青春记忆。在主人公痛彻骨髓的惨痛遭遇中,甚至在流血、死亡

lampstand film studio" for the

与肉体和精神的暴力遭遇中,折射出青春所特有的热力、无序与挣扎。在

independent film creation and

电影中,残酷青春的故事既是青春本身的故事,同时还具有相当复杂的含

research. At the same time as

义,在施暴与受暴、探索与挣扎的故事表层下,电影中的残酷青春呈现了

Shanxi Di Qing culture media

多元的社会与文化意义。

Limited, Ren TV minister, director

我想拍真实的中国人,我想拍真实的 90 后。

and chief photographer.

Their doubts made me waver between my dream to live an independent life and my family’s wishes. Then my niece appeared. She was only nine years old but she strongly supported my work. She was like a guardian angel, giving me strength and power to go on.

Department of The China Academy of

作品年表 Filmography

Art. Mom (2008) was her first feature

娘 Mom, 2008 饥饿的村子 The Starving Village, 2010 吃饱了的村子 Satiated Village, 2011

length documentary and The Starving Village is her second feature length


“新青年”竞赛单元

“新青年”竞赛单元

"New Youth" Competition Section

"New Youth" Youth" Competition Competition Section Section "New

Synopsis

Synopsis

This film focuses on the lives of seven individuals within a Daoist

Due to the financial crisis, many factories in China are forced to

Ballad performance troupe in Shanxi. There is the big-talking troupe

close their doors in late 2008. Zhang Xiaojun loses his job in a shoe

master, whose job it is to win over business for the theater group;

factory. One day, a supermarket guard beats him up, thinking

there is the theater director who must provide education for the

Zhang is a thief. In vain, he asks the supermarket manager for

children in the troupe; there is Chengcheng, the four-year-old child

financial redress. Zhang’s dearest wish is to return to his village

who has followed mommy and daddy to live with the troupe; there is

and become a farmer. But right before his departure, the police

Fangfang, the performer whose choice of profession has led to her

arrest him. The supermarket manager also has his problems. On

divorce; there are Mingming and Ailing, two performers who have

a moonlit night, the storylines converge in a teahouse near the city

pursued love and dream of buying a house; there is the old artist

rampart.

who has worked for more than 40 years and who now advocates for change; then, there is Lulu, the drifter who was left orphaned after both her parents died. These seven troupe members all have their

Awards and Festivals

own stories, and yet their stories all reflect one another, revealing to

2009 Castelli Animati Fabrizio Bellocchio Prize For Social Content

us the way the entire troupe gets by.

2010 4th cinema digital seoul film festival Green Chameleon Award 2010 ReAnimania Yerevan International Animation Film Festival

Director's Statement

2010 16th Lyon Asian Film Festival 2nd Award for Best Film

from all over the township gather together to pray for good weather,

2010 4th Asia Pacific Screen Awards Best Animated Feature Film

and bless their family so that they will not be riddled with disease

2011 MONSTRA(Lisbon Animated Film Festival) Grand Prix

or bad luck. I remember temple fairs to be both lively and peaceful

MONSTRA RTP2

occasions, during which one could see religious performances and take part in mule trading. China has had 117 different kinds of Taoist opera, but only 10 forms

道情

Stray Home 纪录 / 中国 /2011/ 彩色 /HD/115 分钟 / 陕北方言对白 / 中文字幕 Documentary/China/2011/Color/HD/115min/Language: Northern Shaanxi Dialect /Subtitles: Chinese 总监制:吴天明 / 监制:白如升 / 制片人:吴建荣 / 副导演:樊乐 / 摄影:白志强 / 剪辑: 李沛峰 / 作曲:薛九英 / 场记:李浩 Director: Bai Zhiqiang / Executive Producer: Wu Tianming / Production Supervisor: Bai Rusheng / Producer: Wu Jianrong / Assistant Director: Fan Yue / Cinematography: Bai Zhiqiang / Editing: Li Peifeng / Composition: Xue Jiuying / Continuity: Li Hao

Best Feature Film

Rural temple fairs request religious opera performances, and people

刺痛我

Piercing Me

are still retained and practiced today. The Taoist opera of northern Shanxi is said to have more than 1000 years of history. With the spread of religious ideas and moral education, Taoist opera also

剧情 / 中国 /2009/ 彩色 / 动画 /62 分钟 / 中文对白 / 中英文字幕 Drama/China/2009/Color/Animation/62min/Chinese with Chinese and English Subtitles

reforms of the 1980s, state theater slowly disintegrated and temple

本片用全纪实的手法跟踪拍摄位于陕西省清涧县的一个道情戏班的生活。 整部影片由剧团的七个对象和他们故事展开。有说大话到处拉拢生意的剧团 团长;有供孩子考学的剧团导演;有跟随父母生活在剧团的 4 岁孩童成成; 因唱戏导致离婚的演员芳芳;有谈恋爱买房的演员明明与爱玲;有打板四十 年多年如今倡导改革的老艺人;有父母双亡在犯罪的道路飘忽的孤儿露露。 影片 7 组人物故事独立又相互辉映,展现出整个剧团以及道情人的生存现状。

and human survival. The leading character of the film Zhang Xiaojun was facing his job, facing his friend, facing violence, facing road of no return…

内容简介

In China, the problem of peasants entering into city is big and

fairs began to rebound, and in turn, the Taoist opera performance so

2008 年底,金融危机来临,中国有很多做外加工的工厂一夜间关门

complicated. During the financial crisis, more and more peasants

dependent on the temple fairs also began to recover. However, with

倒闭。青年工人小张不仅丢了工作,还被云霞超市的保安误当成小偷打

were losing their job. They were facing a dilemma--- Should they

China's urbanization, the gap between the cities and the country

了一顿。心灰意冷的小张放弃了留在城里继续找工作,决定回农村老家

keep stay in the city to find another job, or should they go back to

also continues to grow, and now nearly two-thirds of farmers have

务农……

the countryside to farm land. They couldn’t see any hope if they stay in the city with high expense and severe competition! But if

migrated to the cities for better work opportunities. Many young

内容简介

This is a film trying to pay attention to the right of human existence

money, facing prejudice, facing life and death, he was walking on a

faces the threat of disappearance. The main venues for Taoist opera performance are temple fairs. In the last century, the economic

Director's Statement

people who can't succeed in such harsh competition will choose to become involved in the criminal world in order to make money. Throughout these rural areas, Taoist Opera is losing its means of survival. My use of documentary film to tell this story is not simply meant to cater to the contemporary art world, but meant to give a indepth account of history.

白志强 Bai Zhiqiang

参展、获奖情况

they go back to their homeland, they’ll face even more despair because their hometown was no longer the one that they left and

2009 年意大利城堡动画电影节 Fabrizio Bellocchio 社会奖

some of them have lost the ability to get used to the life style there.

2010 年韩国首尔数字电影节绿变色龙奖

Zhang Xiaojun is a tiny one of them. Facing this reality, people like

2010 年亚美尼亚国际动画电影节最佳动画电影奖

Zhang may not know that sometimes he just has no choice. If

2010 年法国里昂亚洲电影节最佳影片公众奖

he ever wants to struggle, maybe an even more cruel reality is

2010 年亚太电影大奖最佳动画电影奖

awaiting ahead…

2011 年里斯本国际动画电影节最佳动画电影奖

1983 年 2 月生于陕北榆林清涧县,

导演阐述 农村庙会请神唱戏,十里八乡的百姓欢聚一堂,祈祷风调雨顺也保佑一 家人百病不侵霉运吉转。庙会上有神把式的杂耍也有买卖骡马的生意,一副 热闹祥和景象。这是我的记忆。

导演、摄影师。毕业于西安美术 学院摄影专业,现居陕西西安。

导演阐述

Bai Zhiqiang was born in

这是一部关注人存在的权利和生存的权利的电影。

February, 1983 in Shanxi's

在中国,农民进城一直是一个复杂而庞大的问题,而在 2008 年金

刘健 Liu Jian 出生于 1969 年,籍贯江苏,毕业于南京 艺术学院。

Q i n g j i a n C o u n t y. H e

融危机爆发后,更多在城里失业了的农民工人,都面临着一个两难的选

中国有 117 种道情,而今依旧保留下来的却不到 10 种。陕北道情据传有

graduated from the Xi'an

择——是留在城里继续找工作,还是回到农村务农。如果留在城里找工作,

Born in 1969, Jiang Su Province,

一千多年的历史,但作为传播宗教思想和道德教养的道情戏却面临着失传的

Academy of Fine Arts with a

城市高昂的生活费用和剧烈的人力竞争,让他们几乎看不到希望!而如

graduated from Nanjing Arts Institute.

问题。道情戏主要在庙会演出。上世纪八十年代改革开放后国营剧团慢慢解体,

degree in photography. He

果回去农村种地,他们已经不习惯农村的生活方式。

庙会开始复兴,以庙会为生的民营道情剧团也开始复兴,然而随着中国城镇

currently lives in Xi'an.

化进程的不断推进,城乡贫富差距也不断加剧,如今有近三分之二的农民进 城打工,人们进城谋生计,在提高收入的同时弥补着贫富差距下受挫的尊严, 许多竞争失利的年轻人走向了犯罪的道路。穿行在农村的道情剧团正在失去

作品年表

生存土壤。纪录片不仅仅是为取悦当代,更是给历史一个很厚的交代。

情归故里 Qing Gui Gu Li,2010 道情 Stray Home,2011

19

小张就是他们其中的一个,微小的一个。小张也许不知道,面对自 己这样的命运,他有时候根本就无从选择,如果他想挣扎一下,或许等

Filmography

待他的是一个更加严酷的现实……

20


“新青年”竞赛单元

“新青年”竞赛单元

"New Youth" Competition Section

"New Section "New Youth" Youth" Competition Competition Section

自画像 和三个女人

王良的理想

Wangliang's Idreal 剧情 / 中国 /2010/ 彩色 /HD/119 分钟 / 对白 / 中英字幕 Drama/China/2010/Color/HD/119min/ Chinese with Chinese and English Subtitles

Self-Portrait with Three Women

导演、编剧:高雄杰/原著小说、出品人: 王雪梅/主演:方野 汤慧华 俞长流 胡益波 摄影:郭嘉/ 录音:熊艺/ 剪辑:李方/ 鼓 词/演唱:童兆基(浙江永康民间盲艺人) 监制:周松林 翁龙胤/执行导演:张琨剑/ 制片主任:张超 Director: Gao Xiongjie / Screenwriter: Gao Xiongjie / Principal cast: Fang Ye , Tang Huihua Cinematography: Guo Jia / Editing: Li Fang / Music: Tong Zhaoji / Sound design: Xiong Yi / Production design: Xu Wenzheng

纪 录 / 中 国 /2010/ 彩 色 /HD/70 分钟 / 中文对白 / 中文字幕 Documentary/China/2010/Color/ HD/70min/Chinese with Chinese Subtitles

Not able to endure the humiliation any longer, he sends his wife to her mother’s home. Time passes, and Wang Liang hears that his wife is going to the city in search of jobs and wants a divorce as well. Wang begs her to come home to him. In order to survive, Li Qiao sells her own body. However, it is nothing to be compared with her drastic change of heart. Wang is gradually forced to the edge of insanity… As the city changes, so changes everyone in it.

Awards and Festivals 2010 Pusan International Film Festival 2010 Hong Kong Independent Film Festival 2010 Chinese Young Generation Film Forum 2011 FICA- Vesoul International Film Festival 2011 Shadows Festival-Cinema independent China

内容简介 忠厚老实的王良在镇上当屠夫,他举债娶了高考落榜的李俏。两人

2011 Kalovy Vary International Film Festival 2011 Singapore International Film Festival 2011 Mill Valley Film Festival

立下婚前协议:王良支持李俏再考一次大学,考上了就离婚,考不上两

内容简介

人好好过日子,此前两人不同房。镇上有人传王良的闲话,说他那玩意 不行。王良为此跟人打了一架,但仍然遵守协议。

我 23 岁,这是每个女人怀梦的年龄。女孩在孕育自己梦想的同时又 要背负着另外两个女人的愿望。这个片子从自我寻找开始,涉及母亲、 外婆三个血液相传、成长于不同时代的女人。作为婚姻牺牲品的外婆把 追求美好婚姻的愿望传递给了母亲,而母亲再次牺牲后又把同样的愿望 传递给我。婚姻成为女人的梦想,也是梦想的杀手。

Director’s Statement

李俏再次考试失利之后,王良希望能和她好好过日子,但李俏去往

While the whole country is boosting its unprecedented prosperity in

了城市。她决定进城打工,挣钱还王良的彩礼钱并与他离婚。王良决定

cities, where residents enjoy higher and higher living standards and

追到城市,把妻子带回家。王良历经很多艰辛,终于找到了妻子。王良

material happiness, there is still a large and humble group of people

的理想是希望有个安稳的好日子,理想很朴素,但又有些难以企及。

who are paying the heavy price for economic transformation and urbanization and personally struggling to reach the promised land.

参展、获奖情况

参展、获奖情况

I hope that more people in the world can watch the film and that

第 46 届卡罗维法利国际电影节“独立论坛”竞赛单元

more attention can be paid to those who are less fortunate and

2010 年草场地工作站“交叉”艺术节首映

第 15 届釜山国际电影节“亚洲电影之窗”单元

more easily forgotten. I also hope that those who watch the film

2011 年芬兰坦佩雷国际电影节

第 17 届法国沃苏勒国际电影节主竞赛单元

can learn about my hometown Yongkang in Zhejiang Province. In

2011 年云之南纪录影像展

第 5 届华语青年影像论坛影像展“特别放映”单元

my hometown, there is a group of people—living, breathing human

2011 年山形国际纪录片电影节

2010 年香港独立电影节“独立视野”单元

beings—for whom this kind of life is a reality.

2011 年巴黎影子电影节“中国独立电影”

I believe that the history recorded by ordinary people stands as true

第 12 届卑尔根国际电影节(北欧最大的国际电影节)

and without fabrication, and furthermore, that they are the best

第 34 届美国米尔谷(MILLVALLEY)电影节

actors and narrators for their own stories.

Synopsis This year I turned 23, the age when women become pregnant with dreams. Yet, even while nursing our own dreams, we must

美国 FLYWAY 电影节

章梦奇 Zhang Mengqi

第 24 届新加坡国际电影节

mother, where blood has flowed through three generations, in

1987 年出生于湖北,2008 年毕业于中央民族大学舞蹈学院。居住北京, 从事舞蹈剧场及影像创作。

导演阐述

these women who grew up in such different times. As a victim of an

Zhang Mengqi, born in 1987, graduated from the Dance Academy

想”,如何被一个乡村女青年的“愿望”毁灭了。李俏的愿望就是逃离乡村。

oppressive marriage, my grandmother held hopes for my mother

of China Minorities University in 2008. Now she lives as a freelance

这样一点可怜的愿望实现得却极艰难,她走向城市的过程近乎挣扎。王

to enter a beautiful, perfect marriage. When my mother became

dancer / choreographer and documentary filmmaker in Beijing.

良是城市化的牺牲品,是这一历史过程中被刻意牺牲的边缘化的廉价劳

carry the burdens of two other womens’ dreams as well. This film began with my own search, then delving into my mother and her

a victim herself, she turned those hopes to me. Marriage may be every girl’s dream, but it is also the murderer of those dreams.

Awards and Festivals Premiered in Crossing Festival, CCD Workstation, October, 2010 Taiwan International Documentary Film Festival, 2010 2011,5th Yunnan Multi Culture Visual Festival (YUNFEST) YAMAGATA International Documentary Film Festival, 2011

这部电影没有什么使人意外的情节,只是讲述一个乡村男青年的“理

动力。他们的贫困是城市化的恶果,他们的愚昧必不是他们自己造成的。

作品年表 Filmography 自画像及和母亲对话 Self-portrait and Dialogue with My Mother, 2009 自画像及自我性教育 Self-portrait and Sexual Self-education, 2010 自画像和三个女人 Self-Portrait with Three Women, 2010 自画像:47 公里 Self-Portrait: 47 km, 2011

我所能做的,就是讲述这样一个故事,算是对他们的祝福,又算是 一种祭奠,祭奠一种微弱的底层的渴望和挣扎。 牧歌时代结束了,即便农夫也不再有闲暇吟唱牧歌。我们的思虑不 能不变得沉重和忧虑,那虽然会损失一些美,但更真实,更切近实际。 我希望全世界都能看到这部电影,希望有更多的人来关心那些容易 被遗忘的人们。希望他们了解我的家乡——浙江永康,在我的家乡曾经 有一群人这样在这个世界上生活过,他们有血有肉有情感。我一直相信, 百姓演绎的历史是最真诚、最真实的历史,百姓是最好的故事表演者和 讲述者。

Synopsis Wang Liang is an honest butcher in a small village in South China. He marries Li Qiao, who isn’t willing to sleep with him because of the university exam that she’s very eager to prepare.He waits so

高雄杰 Gao XiongJie 中央戏剧学院电影电视系教师,一直在教学一线工作,近年开始涉及独 立电影创作 Writer and director Gao Xiongjie teaches film and television education at the Central Academy of Drama in China, and many exceptional writers and directors have appeared in China today thanks in part to his contribution. Gao Xiongjie has only recently become an independent director himself.

作品年表 Filmography 《王良的理想》是其第一部真正意义上的个人电影。 Wang Liang's Ideal is Gao Xiongjie's first personal film.

long for her that he can hardly bear it.

21

22


年度邀请单元

年度邀请单元

Anual Invitational InvitationalSection Section Anual

Anual Invitational Section

老狗

瓦斯

剧情 / 中国 /2011/ 彩色 /HD/88 分钟 / 藏语对白 / 中英文字幕 Drama/China//20101/Color/HD/88min/Language: Tibetan/Subtitle: Chinese, English 主演:洛杰,卓玛加,旦正措 / 摄影:松太加 / 录音:德格才让 / 制片人:桑杰尖措 / 监制: 张献民 / 出品人:桑杰尖措 , 万玛才旦 / 制作公司:喜玛拉雅影视文化传播有限公司 Starring: Lochey, Drolma Kyab, Tamdrin Tso/ Cinematographer: Sonthar Gyal/Sound : Dukar Tserang/ Production manager: Sangye Gyamtso/Production Supervisor: Zhang Xian Min/Presenters: Sangye Gyamtso, Pema Tseden/Production Company: Himalaya Audio & Visual Culture Communication Co, Ltd.

纪录 / 中国 /2010/ 彩色和黑白 /HD/136 分钟 / 陕西方言对白 / 中英文字幕 Documentary/China/2010/Color and B&W/HD/136min/ Shaanxi Dialect with Chinese and English Subtitles

Old Dog

Gas

内容简介 二十世纪九十年代末,藏区某地。儿子把自家的老狗卖给乡上的狗 贩子,被父亲追回,并将其放到山上。放到山上的狗再次卖到狗贩子手里, 准备运往内地。儿子为了要回狗和狗贩子发生冲突,被警察拘留。最后, 无奈的父亲不得不解决掉和自己相依为命的老狗。

参展、获奖情况 2011 年韩国首尔数码电影节红变色龙奖(国际导演评审团奖)绿变色龙 奖(韩国影评人评审团奖)白变色龙奖(观众及媒体评审团奖) 第 35 届香港国际电影节亚洲数码竞赛单元金奖 台北电影节 慕尼黑国际电影节 广州“先锋光芒”影展

导演阐述 我希望我的镜头能够记述,故乡的人在很多时刻能够坚守的那份尊严。

Synopsis

万玛才旦 Pema Tseden 来自安多藏区。中国导演协会会员,中国电影家协会会员,中国作家协 会会员,中国电影文学学会会员。先后就读于西北民族大学藏语言文学 系、北京电影学院文学系、北京电影学院导演系、鲁迅文学院中青年作 家班。文学硕士,艺术学硕士。 1991 年开始发表文学作品,先后用藏、汉文发表中短篇小说五十余篇, 获得多个文学奖项,出版书籍有:《诱惑》《大师在西藏》《流浪歌手 的梦》及译作《说不完的故事》等。 2002 年开始电影编导工作,作品获得很多国内、国际奖项。

遇难。2004 年 11 月 28 日,陈家山煤矿发生瓦斯爆炸,166 人遇难。五年后,

Aftergraduating from the school, he devoted himself to teaching.

矿工之子林鑫拍摄了这部关于矿难的影片。本片通过矿工、遇难者家属

After 4years, he entered the University of Nationalities of Lanzhou

等二十余人的口述和街头随机采访,从不同角度立体地呈现了矿工的真

(GansuProvince); in that period, he wrote more than 50 stories,

实生活和矿难背后残酷复杂的社会现实。这部影片是林鑫《生存三部曲》

using bothTibetan and Chinese. During the second year as a

的完结篇。

researcher, through ascholarship of a foreign foundation, he

family mastiff to a dog dealer in town, but his father retrieves the

began studying at the Cinema Academy of Beijing.

mastiff and frees it into the mountains. The freed mastiff ends resold soon. To get the mastiff back again from the dealer, the son fights the dealer, but ends up being arrested by the police. Finally, the father chooses to kill the old mastiff, who has kept him company for many long years.

Awards and Festivals 2011 Digital Seoul Film Festival, Red, Green and White Chameleon Awards The 35th International Hong Kong Film Festival, Asian Digital Competition Golden Digital Award

Director's Statement

2001 年 4 月 6 日,陕西铜川矿务局陈家山煤矿发生瓦斯爆炸,38 人

Pema Tseden was born in 1969 in Trikha, in Qinghai Province.

At the tail-end of the twentieth century in Tibet, a son has sold his

up back in the hands of the dog dealer again and it is ready to be

内容简介

导演阐述 当我拿起摄影机进入陈家山煤矿时,距离中国 44 年来最大的矿难,

作品年表 Filmography 草原 Grass Land, 2004 静静的嘛呢石 The Silent Holy Stones, 2005 寻找智美更登 The Search, 2009 老狗 Old Dog, 2011

陈家山煤矿特大瓦斯爆炸事故已经过去了五年,然而恐惧和不安依然笼 罩着矿区。因为还要在这片土地上生存,很多在职的矿工拒绝了采访。 而最终面对镜头的人们,为我们展现了真实的矿区生活和矿工生存的艰 辛和无奈。

Synopsis On April 6th 2001, a methane explosion occurred at the Chenjiashan Mine in Tongchuan, Shaanxi, claiming 38 lives. On November 28th 2004, 166 people died in another gas explosion at the Chenjiashan Mine. Five years later, Lin Xin, son of the miner himself, decided to make a documentary about these mine accidents. The film portrays the lives of the miners and the cruel, complex reality both social

I wish that my camera can capture the spirit of the people of my

and psychological behind these tragedies through testimonies

homeland as they hold on to their dignity.

and street interviews of over twenty miners and families of those who were killed in the accidents. This film is the last of Lin Xin’s

林鑫 Lin Xin 1960 年生人,曾在北京中国美术馆及西安等地多次举办个展。出版有诗集 《噢!父亲——黑色的记忆》和画集。2005 年纪录片《陈炉》入选云之南 纪录影像展、日本山形国际纪录片电影节、德国莱比锡国际纪录片电影节; 2007 年纪录片《三里洞》获中国纪录片交流周最高奖独立精神奖;2009 年 纪录片《同学》获中国纪录片交流周评委会奖;中国独立影像年度展十佳 纪录片奖;入选 2010 年韩国全州国际电影节。2010 年冬,完成纪录片《瓦斯》。 Born in 1960, Lin Xin has held solo exhibitions at various galleries in Beijing and Xi’an, including the prestigious National Art Museum of China, published a collection of poems entitled “Ah, Father!— Dark Memories” and a series of paintings. In 2005, his film debut Chen Lu entered the Yunnan Multi Culture Visual Festival (Yunfest), the Yamagata International Documentary Film Festival and Dok Leipzig. In 2007, his documentary Sanlidong won the Independent Spirit Award, the top award of the China Documentary Film Festival. Classmates (2009) won the Jury Prize at the China Documentary Film Festival, the Top Ten Documentary Award at the

documentary “Survival Trilogy.”

China Independent Film Festival, and was selected by the Jeonju

Director’s Statement

documentary, Gas.

When I picked up my camera and entered the Chenjiashan Mine five years after China’s largest gas explosion in the last 44 years, fear and anxiety still permeated the air. Many working miners refused to be interviewed because their lives were still rooted there. Those who finally agreed to be filmed gave a heartrending account of the

International Film Festival. In the winter of 2010, he finished his latest

作品年表 Filmography 陈炉 Chen Lu, 2004 三里洞 Sanlidong, 2006 同学 Classmates, 2009 瓦斯 Gas, 2010

dire reality of life in the mining town as well as the many frustrations and hardships of their survival.

23

24


年度邀请单元

年度邀请单元 Anual Anual Invitational Invitational Section Section

Anual Invitational Section

5+5

Songzhuang for generations. Different from other black (illegal)

纪录 / 中国 /2011/ 彩色 /HD/100 分钟 / 普通话对白 / 中英文字幕 Documentary/China/2011/Color/HD/100min/Language: Mandarin/Subtitles: Chinese and English

signatures, epigrams and small drawings alike. It has become a

内容简介

cabs, his is fully covered, both inside and out by graffiti, artists’

in Songzhuang that Laojin does not know, and the artists will give a

记录 / 中国大陆 /2011/ 彩色 & 黑白 /HD/100 分钟 / 中文(普通话)对白 / 中文、英文字幕

hearty laugh when telling the many funny tales about him: our Laojin,

Documentary/China/2011/Color+Black&White/HD/100min/Chinese with Chinese and English Subtitles

he loves art! From Laojin’s own mouth, we get to know his views

金所熟悉的艺术家们,从他的角度,从老金和各类艺术家们对艺术对生活的

on Picasso, Dali, Pollock and Kandinsky. He loves to expound. The

认知差距上,折射荒诞,扭曲,滑稽的现实,观众会从一个小小的宋庄看到

satisfaction he draws from learning to do so, provides him with a

21 世纪的中国。 这部纪录片通过老金通过宋庄揭示这个充满物欲,而又鲜

temporary shelter from the daily miseries and nuisances, and brings

活无比的时代在艺术圈中演绎的一出戏,它独特的表达方式使这部纪录片充

him into an undefined dimension, a spiritual realm.

满独特的魅力。

Laojin is also Songzhuang’s unofficial spokesman. Nothing happens

内容简介 唐彩凤(又名唐小雁)离家在外,在社会上混了好多年了;到头来一

without him knowing it. This is the reason why we chose him as the

切让她并不顺心。这年冬天,还是孤身一人的她,回到东北老家,寻思

subject of this documentary.

和她八十岁的爹——老唐头,过个团圆年。 年根儿底下,老唐头的儿女们满心欢喜的回来了。可是好景不长,吵

距离北京 40 公里的——宋庄,在几年前还是个默默无闻的小村庄,在 仅仅几年当中因为 4000 多名中外艺术家们的入住而变成了世界闻名的画家 村,这个小村庄因为艺术家们的入住,改变了它的原生态,它的政治、文化、

徐星 Xu Xing

社会、经济生活都发生了翻天覆地的变化。

1956 年 3 月 20 日出生于北京,1975 年

宋庄的农民们以中国农民特有的机智,马上就领悟到一个巨大的商机到

北京市第七十八中学高中毕业,同年赴

来了,于是宋庄的农民们都变成了小商人,专门给艺术家们提供服务的餐馆,

陕北延安志丹县插队。1977 年入伍,

画具画材供应商,超市,画廊,工作室,菜场,娱乐场所应运而生。 老金有点不一样,他是个黑出租车司机,自从宋庄来了艺术家,老金买

Shattered

sight of the village and Laojin’s great pride.There is not a single artist

这部纪录片以黑车司机老金的视角为线索,用老金每天的活动调动起老

导演阐述

老唐头

吵闹闹的一如鸟兽状散去,扔下老唐头一人,孤独地等待着死去的那一天。

2011 Cinema Digital Seoul Film Festival Digital Seoul Film Festival,

这个冬天,有很多的雪。有不少无忌的笑谈,还有遥远晦暗的红色记

Blue Chameleon Special Awards

忆,寒气逼人,让人匪夷所思。 结尾,唐彩凤再次背井离乡。前途未卜。

1981 年复员回京,先后做过服务员、清洁工。 1983 年,辞职无业,至今。其间,先后在《华人世界》、鲁迅文学院做编辑,

Awards and Festivals

在这个支离破碎的冬天,老唐头断断续续地道出了他一辈子的故事。

The 35th Hong Kong International Film Festival, Humanitarian Award For Documentaries The 15th Pusan International Film Festival, Asian Cinema Fund (ACF) MIDA Filmmaker Plan "Asian" Category Selected Proposal Award

了辆廉价的二手车做出租车生意,这车跟宋庄其他的黑车差别巨大,车里车

1986 年开始在北京师范大学和鲁迅文学院读硕士研究生,1989 年毕业。

参展、获奖情况

外面满布着艺术家们的各类涂鸦,有签名有警句,有小画儿,这车成为了宋

在《人民文学》《收获》《今天》等杂志发表多篇作品,出版书籍包括《无

2011 首尔数字电影节蓝色变色龙奖(国际影评人评审团奖)特别奖

庄的一个景致,老金深为这个车自豪。

主题变奏》《剩下 的都属于你》等。

第 35 届香港国际电影节人道奖纪录片竞赛单元

Director's Statement

在宋庄几乎没有老金不认识的画家,画家们说起老金也是会心一笑,乐

Xu Xing was born on March 20, 1956, in Beijing. In 1975, he

获得第 15 届釜山国际电影节亚洲基金

From shooting Tang Xiaoyan in my last documentary "Fortune

子不少,我们的老金,他——热爱艺术!从老金的嘴里,我们不时地可以听

graduated from Beijing No. 78 High School, and the same year

获第 16 届上海电视节 MIDA 导演计划”优胜提案”

Teller", to now making a film about her father and her family, I'm

到他对毕加索,达利,波洛克,康定斯基的评价,他热爱这类表述,学会了

went to a village in Northern Shanxi as a sent down youth. From

这类表述的老金有了一种满足,让他暂时脱离眼前的苦海,使他进入了一种

1977 to 1981, he joined the army and then returned to Beijing to

他本人说不清楚的时空,另外一种精神层面。

work as a waiter. He quit that job in 1983, remaining unemployed

老金是宋庄的非官方新闻发言人,他知道这里发生的一切,这也是为什

ever since. In the meantime, he has served as an editor for Chinese

paying a small tribute to a marginal group of people at the bottom

导演阐述 从拍摄上个片子《算命》里的人物唐小雁,到拍摄她的父亲老唐头及

of Chinese society, bringing them to the viewer's attention so that their lives can be better understood. The English title of the film has been translated to "Shattered". What

World, published by the Lu Xun Literature Institute. In 1986, he began

其家人,这是我在中国底层社会里的一条人脉。如何把这条线索展现出来,

is it that has been shattered? The human heart. Things we had

postgraduate studies at Beijing Normal University and the Lu Xun

让它成为中国游民社会的一个缩影;让人们看到并理解他们的来龙去脉,

trusted, like honesty, simplicity, kindness and love… the shattering

Synopsis

Literature Institute, and graduated in 1989. People's Literature,

这是《老唐头》的任务之一。

of those so-called deepest emotions of our nation. Everything in

An illegal taxi driver named Lao Jin works around the artist village

Harvest, Today, and many other magazines have published Xu Xing's

《老唐头》的英文名字,译作“支离破碎”。支离破碎的是什么?是

the film happens in the bottom of society, and at the same time,

works, including Variations without a Theme (Wu Zhuti Bianzou), The

人心!是我们曾经得以信赖的——诸如淳厚、朴素、善与爱——这些所

this is an overall impression of contemporary Chinese society. The

谓民族的深层情感的彻底崩溃。这一切,都发生在我们社会的根部。它

past and the present are twisted up in a ridiculous way; people are

么我的镜头对准了老金的一个原因。

Songzhuang. The film examines Lao Jin's daily activities mobilizing the artists that he knows around him. In the film, the audience sees 21st Century China from the standpoint of a very small Songzhuang. Through Lao Jin's experience of Songzhuang, we see one angle of a play-like drama unfolding within art circles today, which have become electrified by unprecedented vibrancy and materialism. Materialism has made the artists in this so-called artistic enclave lose their direction, and has made them worship money, power, and

Rest Belongs to You (Sheng Xia De Dou Shuyu Ni), etc.

我的文革编年史 A Chronicle of My Cultural Revolution, 2007 5+5,(With Andrea Cavazzuti), 2011 画囚 Painting Prisoners,2011

老安 Andrea Cavazzuti

Forty kilometers from the city of Beijing, Songzhuang, once an unknown village, has become a world-famous art community in a short span of time due to an influx of over 4,000 Chinese and foreign artists. Thanks to their settlement the village has witnessed the complete loss of its original character, as well as the dramatic

immediately sensed an enormous business opportunity. They all became petit entrepreneurs. Eateries tailor-made for artists, shops

years, but things haven’t gone very well for her. One winter, she went back to her hometown in North East China by herself. She wanted to have a happy reunion during Chinese New Year with her

尼斯大学中国语文系,1982-1984 年 在上海复

eighty-year-old father, Old Man Tang.

旦大学进修中国现代文学,1994 年至今: 从事

With Chinese New Year's eve approaching, Old Man Tang's other

独立影像制作。他的作品包括平面摄影、电影、

children also started to come back home for a happy family reunion.

多媒体影像。

But things weren't merry for long. They began quarreling and finally

Born 1959 in Milano, Italy. Master degree in

began to disperse, one by one, leaving Old Man Tang by himself to

Chinese Language and Literature, Venice University. Lives in China

wait for his last days.

since 1982. Works as an independent film-maker and photographer.

In this wretched winter, Old Man Tang tells his life story in fragments... Over these months, heavy snow fell, blatant ridicule was made, and

selling painting materials, supermarkets, galleries, ateliers, food markets, entertainment parlors are opening up one after another.

北京三步曲 Trilogia Pechinese,1995(with Olivo Barbieri and Daria Menozzi)

Laojing (Old Jin) comes from a peasant family which is native of

世界最快的博物馆 The Fastest Museum in the World,1999-2000(with Carlo Laurenti)

25

Tang Caifeng (also known as Tang Xiaoyan) left home a long time

1959 年 出生于意大利米兰,1982 年 毕业于威

作品年表 Filmography

accustomed to living confused lives.

Synopsis ago. She has wandered among various social circles for many

Director's Statement

wisdom typical of Chinese peasants, Songzhuang’s natives

集在一起;人们早已习惯于混乱的生活。

作品年表 Filmography

position more than the truth that can be found in art itself.

change in its political, cultural, social and economic life. With a

同时又是中国当下社会现实的一个整体印象——过去和现在,荒诞的交

dim memories of the past red revolution were recalled… It was a terribly cold and unimaginably strange winter. In the end, Tang Caifeng left home again. An uncertain future awaits her.

徐童 Xu Tong 1965 年生于北京。就读于中国传媒大学新闻摄影专业。现在工作生活于北 京。纪录片作品《麦收》(Wheat Harvest)《算命》(Fortune Teller)《老 唐头》(Shattered),合称“游民三部曲”。 Bornin 1965, China. Graduated from Communication University of China. Now works and lives in Beijing. He gets well known by his “HomelessTrilogy”: Wheat Harvest, Fortune Teller and Shattered.

作品年表 Filmogrophy 麦收,Wheat Harvest, 2008 算命,Fortune Teller, 2009 老唐头,Shattered, 2011

26


年度邀请单元

年度邀请单元 Anual Invitational InvitationalSection Section Anual

Anual Invitational Section

危巢

When the Bough Breaks

Festivals and Awards 2011 Yunnan Multi Culture Visual Festival

纪录 / 中国 /2011/ 彩色 /HD/148 分钟 / 中 文对白 / 中英文字幕 Documentary/China/2011/Color/HD/148min/

Director’s Statement

Chinese with Chinese and English Subtitles

that has often been reported in the Beijing media. At the time, the

I met the children in this film in 2004, at a school for migrant children eldest of the four siblings was 19, and the youngest only 10, but they all studied in the same class at school. The fact that they received funding from the school for their tuition, and that they had excelled in their studies, made them the stars of the school, and they received regular visits from the media. When I returned to their hut next to the rubbish dumpsite in the suburbs in 2009, there were only three children left in the family and their situation had changed considerably after the headmaster left their school. It was at this point that I somehow managed to

内容简介 北京南郊大兴,垃圾坑边长大的孩子们。在楼群蔓延过来,即将吞噬

Director’s Statement

他们风雨飘摇的小屋时,他们也正面临升学和成年的人生岔路。面对狭窄

Poetry and Disease

Every time I go back to my hometown, Hegang in Heilongjiang

而迷茫的未来,他们开始了与宿命的抗争。

纪录 / 中国 /2010/ 彩色 /HD/93 分钟 / 东北方言对白 / 中英文字幕 Documentary/China/2010/Color/HD/93min/Language: Dongbei Dielect/ Subtitles: Chinese&English 声音制作:娄堃 / 监制:张献民 Sound: Lou Kun/Production Supervisor: Zhang Xianmin

in ways that seem inadvertent and automatic. Sometimes I like

诗与病的旅程

Province, and visit all of my old friends, I see that they have changed

参展获奖情况

progression through childhood, adolescence, and now adulthood,

2011 年云之南记录影像展

and also see our parents' progression through adulthood and My dad once told me: “From the age of 30 to today, I don't seem to

内容简介 诗人张稀稀,曾在北京清美院就读,之后在北京生活,由于生活压力, 他在这个大都市里得了抑郁症,患病后他回到了家乡一个中学里教书, 由于病情的严重他转化成了精神分裂症,离开了学校回家养病,养病期 间他在不停地创作诗歌,他希望通过诗歌来改变自己的命运。冬去春来 他在康复的旅程中生活并创作着。

have any memory, and I've suddenly become an old man.” When I heard this, I felt speechless, because at that time I was 31, and I had just begun to feel that I should record the friends around me. These images will be very meaningful, as records of the challenges, boredom, and helplessness of life, as records of the goodness and slight malevolence found in human nature. These images would visualize the opportunities and obstacles brought to us

导演阐述 我每次回家乡黑龙江鹤岗都会见很多从小一起长大的朋友们,他们的 变化在不经意间自然而然,我有时会翻看每一家的影集,看到他们的幼

2004 年,我在北京一所常被媒体报道的著名的打工子弟学校遇到了这 几个孩子。姐弟四人,大的 19,小的 10 岁左右,同在 2 年级的一个班里上课。 因为四姐弟被学校免费资助,又都是班里的优秀生,所以他们成为学校面 对媒体的招牌和明星。2009 年,当我重新来到他们垃圾堆旁的家里时,四 人变成了三个,随着原校长的离职,他们的处境有了很大的改变。从这时 起,我好像越过了被媒体和好心的资助者们擦拭得玻璃一样光亮而脆弱的 表面,进入了他们深邃幽暗的真实生存,伴随着孩子们的历险,开始了我 的历险。

by these changing times, and would present imagery that fuses

我从未像这一次那样不由自主地卷入其中,也从未如此的感觉到如临

representations of survival of the fittest and tolerance for the

深渊般的不安。这不安从拍摄剪辑,一直持续到每一次的放映,并深深嵌

helplessness of those less fit.

入我自己的生活之中。它打破了以往我自以为对“底层”社会能够接近和 融合的幻觉与自我赦免,瞥见了真实的黑暗和裂痕——它们不只存在于我

爸爸曾跟我说:“我从 30 来岁到现在好像没什么记忆,突然就快老了”。

所居住的楼群和他们游弋其中的废墟之间,也存在于我自己的内部。这些

我听了这话心里有种说不出的滋味,那时我 31 岁 , 我有了初步记录身边

孩子,既是他者又是我自己。我意识到和他们一样,我们同处一个无头怪

朋友的想法,这些影像会很有意义,把我们的生活中的奋斗,乏味,无力,

兽的体内,即被一种动物生命般执拗的能量鼓动着,同时也缠绕在梦魇一

挣扎和人性中的美好和微弱的凶恶都记录下来,把这个变化的时代带给

般的无力感之中。我不知道这是不是就是所谓的时代的病症。

呈现出来。

Synopsis Poet Zhang Xixi studied in Beijing at the Academy of Fine Arts, and

耿军 Geng Jun

hometown to teach in a middle school. Because of the seriousness of his illness, he developed schizophrenia, and then left the school to try to recuperate at home. While resting at home, he wrote one poem after another continuously, hoping that through this writing process, he could change his own destiny. As winter turns to spring, he continues to journey toward rehabilitation and continues to create.

a new adventure of my own. Never before have I become so involved in the story of my subjects, of unease has accompanied me throughout the filming and editing process, as well as in each screening, and has become an intrinsic part of my life. close I could get to, and the degree to which I could integrate with, the lower levels of society, and destroyed my previously clear conscience. The dark divide between the forest of high-rise buildings and the rubble of the children’s shanty settlement also manifested itself in me. The children were themselves, but also a reflection of my own self, and I realised that it was if we were all living in the body of a headless monster, edged on by a stubborn, animallike power, but at the same time constantly harassed by the living nightmare of our powerlessness. Perhaps this is what people call the malaise of our times.

季丹 Ji Dan 1963 年生于黑龙江,1987 年毕业于 北京师范大学中文系,1993 年起开 始拍摄纪录片。

所以我至今弄不清这个影片到底意味着什么。也因为它对于片中的孩

Born in Heilongjiang Province in

子们没什么实际的裨益而心怀愧疚。但是这些孩子,还有我们和他们同处 1976 年生于黑龙江省依兰县 Geng Jun was born in 1976 in Heilongjiang Province, Yilan County.

then stayed in Beijing after graduating. Due to the pressure of life in the city, he became depressed and then decided to return to his

donors. I began to follow the children’s adventures, while beginning

This experience dispelled my previously held illusions of how

导演阐述

年,少年,青年和现在的壮年,也有我们的父母的青年中年和现在的老年。

我们的机遇和阻碍,把适者生存和不适者的无奈隐忍都一股脑地用影像

of their existence that they had displayed to the media and their

and never before have I felt as unsettled or on the edge. This sense

to page through each friend's family photo album, and see their

middle age to old age.

transcend the carefully polished and fragile glass-like surface

作品年表 Filmography

1963. Graduated from Beijing

的黑暗近在咫尺,当你发觉了这一点,当你一开始看,就再不能蒙上自己

Teachers University in 1987.

的眼睛假装安宁了。

Started to make documentaries from 1993.

Synopsis A group of migrant children have grown up next to a rubbish dumpsite in Daxing in the southern suburbs of Beijing. As high-

山楂 Hawthorn, 2002 散装日记 Diary in Bulk, 2003 烧烤 Barbecue, 2004 入道 Way Out, 2006 青年 Youth, 2008

rise buildings begin to encroach upon their shanty settlement and

诗与病的旅程 Poetry and Disease, 2011

future and the limited choices before them, they begin a struggle to fight against their fate.

threaten to swallow up their makeshift hut, the children are faced with a predicament. Should they continue their studies or submit to the early onset of adulthood? As they try to come to terms with their

作品年表 Filmography 日本残留妇女在中国 Japanese Women After War in China,1998 老人们 The Elders,1999 贡布的幸福生活 Gongbo's Happy Life,1999 地上流云 Spirit of Home,2006 空城一梦 Dream of the Empty City,2007 哈尔滨的旋转楼梯 Spiral Staircase of Harbin,2008 危巢 When the Bough Breaks,2011


年度邀请单元

年度邀请单元 Anual invitational InvitationalSection Section Anual

Anual invitational Section

一个和尚的寺庙

Awards and Festivals

A Monk's Temple

Nara International Film Festival, Opening Film, 2010

纪录 / 中国 /2010/ 彩色 /60 分钟 / 中文对白 / 中英文字幕 Documentary/China/2010/Color/60min/Language: Chinese with Chinese and English Subtitles

Cinema Digital Seoul Film Festival (CinDi), Official Competition, 2011

Torino International Film Festival, Official Competition, 2010

Director's Statement In 2009, when my film Jalainur was screened in Australia, I became acquainted with Japanese director Naomi Kawase. After everyone had returned to their home countries, I received an invitation from Kawase. At that time, she was planning the first Nara International

内容简介

Film Festival. The festival hoped to begin a most important project,

永觉师傅。曾在奥地利留学八年。后做起国际贸易,在他生意最红

which was to invite a different foreign filmmaker to come to Nara

火的时候,他选择退出商界转而出家。永觉师傅住过很多的寺庙,包括

and shoot a short film for the festival each year. There would be no

杭州最大的寺庙灵隐寺,寺庙里并没有被永觉师傅带来想象中的清静,

requirements for the short film, except that it must be shot in Nara,

反而让他经历目睹了寺庙商业化的过程,这让他觉得寺庙里同社会的世

光男的栗子

俗关系相比,更复杂,因此他选择内蒙古一个偏远的村子建起一个寺庙, 寺庙的前身是一个神庙,永觉师傅生意上的朋友帮忙出资修缮并添置佛 像,可以说,在中国这是唯一的一个一个人的寺庙,也是一个没有围墙 的寺庙。 在寺庙所在的村里,经常是永觉师傅出面解决村民的一些实际的生 存问题,因此永觉师傅和村民远远超出了宗教信仰的关系。

Japanese. This would be a deep cultural exchange, and Kawase

剧情 / 日本 /2010/ 彩色 /60 分钟 / 日语对白 / 中英文字幕 Fiction/Japan/2010/Color/60min/Language: Japanese/Subtitles: Chinese and English 主演:桃井薰 / 制片人:河濑直美 Director: Zhao Ye/Producer: Naomi Kawase/Starring: Kaori Momoi

the world could better understand Nara or perhaps grow to have

佛教的商业化使得永觉师傅选择一个人的寺庙这种边缘化的生活方式

Master Yongjue had studied in Austria for eight years, and then began working in international trade. Just when his business was most successful, he chose to leave the business world and become a monk. Master Yongjue has lived in many temples, including Lingyin Temple, the largest temple in Hangzhou. The temples really

沈少民 Shen Shaomin

process of commercialization that many temples are undergoing. This made him feel as if life inside the temples was quite similar to the life of secular society outside of the temples. For this reason, he decided to move to a remote village in Inner Mongolia and set up a new monastery. Previously, the space had been used as a temple, and with an investment from an old business friend, Master Yongjue repaired the building and acquired a statue of Buddha for it. One might say that this is the only monastery in China with just a single person living in it, as well as the only temple with no walls.

some feeling for the place. Nara is Kawase's hometown, as well as the source for her creativity. I accepted Kawase's invitation. When I flew to Nara for the first time, long time, Nara was the cradle of Japanese culture, especially for

一个住在东京的女人决定远赴奈良寻找失去联络的儿子,而她唯一

craftwork, literature, and industry. Because of this history, when

的线索就是她遥远的记忆以及儿子遗落的相机。在找寻过程中,女人慢

you are in Nara, you will have the strange sense that you are in

慢与儿子的朋友们结识,并发现了这片土地的美……

the company of spirits. I don't know why, but being in this foreign

影像艺术家,1956 年出生于中国黑龙江省,现生活、工作于中国北京和

country made me feel deeply nostalgic for my own mother. Left

澳大利亚悉尼。 Shen Shaomin is a video artist who was born in 1956 in Heilongjiang

参展、获奖情况

province, China. He lives and works in Sydney, Australia and Beijing,

2010 年奈良国际电影节开幕影片

China..

2010 年都灵国际电影节官方竞赛单元

with this impression, I was inspired to write the script for Last Chestnuts.

2011 年 CINDI 首尔数码电影节竞赛单元

didn't possess the kind of peace and quiet that Master Yongjue had imagined. Instead, living within temples allowed him to witness the

greatly hoped that, through the perspectives of foreign directors,

I felt quite moved by this ancient and beautiful place. For a very

内容简介

Synopsis

and that all of the crew members aside from the director must be

Last Chestnuts

个展 Solo Exhibitions 活性肌体 Activated Organism,2008 一号工程——天安门重建计划 Project No.1 - Tian'an men Reconstruction Project, 2007 生物工厂 The Organisms of Factory, 2005 移植 Transplantation, 2001 对话 Dialogue ……

导演阐述 2009 年我的影片《扎赉诺尔》(JALAINUR)在澳洲放映时,我结识 了日本导演河濑直美,大家各自回国后我就收到了河濑的邀请,那时她正 在筹划第一届奈良国际电影节,这个电影节有一个最重要的项目,就是希 望每年能邀请一位来自世界各地不同国家的导演来奈良拍摄一部短片。这 部短片没有什么要求,但是必须在奈良拍摄,剧组的剧组的工作人员除导 演外也都是日本人。这是一次彻底的文化交流,河濑很希望世界能了解奈 良,也希望以不同国家导演的角度来阐释,理解或者感受着奈良。奈良就 是河濑的家乡也是她创作的源泉。 接受了河濑的邀请后,我第一次飞赴奈良,感受了一下这个古老又美 丽的地方。从古至今,奈良是都是日本文化的摇篮,特别是在工艺、文学 和产业方面,而且身在奈良你是相信神灵与你同在的,这是一种很强烈又 奇怪的感受。我不知何故,身在异乡却令我深深的怀念起了自己的母亲, 带着这种强烈的感受我写了《光男的栗子》的剧本。

赵晔 Zhao Ye 1979 年出生于北京,毕业于北京电影学院。 Zhao Ye was born in Beijing in 1979. He graduated from the Beijing

Synopsis

Film Academy in 2004.

A woman living in Tokyo decides to look for her son, with whom she's lost contact. Her only clues are her dim memory and a camera that her son left behind. While searching for him, the woman slowly becomes acquainted with her son's friends, and discovers the beauty of this land.

作品年表 Filmography 采薇 Cai Wei, 2004 保温瓶 Thermos Bottle, 005 马乌甲 Ma Wu Jia,2007 扎赉诺尔 Jalainur, 2008 光男的栗子 Last Chestnuts, 2010

29

30


年度邀请单元

年度邀请单元 Anual Invitational InvitationalSection Section Anual

Anual Invitational Section

萱堂闲话录

在一起 Together

My Mother’s Rhapsody

纪录 / 中国 /2010/ 彩色 /HD/84 分钟 / 普通 话对白 / 英文、中文字幕 Documentary/China/2010/Color/HD/84min/

纪录 / 中国 /2011/106 分钟 / 四川方言对白 / 中英文字幕 Documentary/China/2011/106min/Sichuan dialect with Chinese and English Subtitles

Chinese with Chinese and English Subtitles

and their lives off-screen. Every infected person has his or her own story to tell. Why would they choose to leave their stories untold, and why would they choose to finally face the public? Taotao, a 12 year-old child, Ms. Liu, a beautiful young woman, Old Xia, a devout Buddhist, We are all together.

Awards and Festivals 2011 Berlin International Film Festival 2011 Hong Kong International Film Festival

Director's Statement This documentary's entire production process was more an experiment, a type of performance art. Through internet chat

内容简介

rooms, we searched for and recruited HIV-positive people in China

八十多岁的妈和六十岁的儿共同老去,有盐有味演讲漫长生活史。

and invited them to join the production of the film Life is a Miracle,

八十多岁的妈和六十岁的儿共同老去,在光阴中踉跄地捍卫:主见与天赋。

内容简介 “我是艾滋病感染者,但我不是罪人。”

Synopsis

一部取材于艾滋村的电影,邀请自愿出镜的感染者参加剧组工作,

An eighty-year-old mother and a sixty-year-old son aging in step,

记录了戏内戏外的生活交织。从网络寻人,到剧组生活,从陌生到融合,

give a salty and savory account of their epic life journey. An eighty-

纪录片《在一起》用镜头完成了一个中国艾滋病现状的调查。每个感染

year-old mother and a sixty-year-old son aging in step, stumble in

者都有自己的故事。他们为什么选择离开,又为什么最终选择面对大众?

what time they have to defend: their own opinions and their natural

涛涛,一个十二岁的孩子;

gifts.

刘老师,一个美丽的女人; 老夏,一个虔诚的佛教徒; 我们在一起……

and to live and work with the rest of the production crew. We did this in order to improve our audience's understanding of those living with HIV and their knowledge about the disease itself. We also saw this as a way to publicly oppose discrimination against HIVinfected persons. In the process of searching throughout China for several subjects, we gained a deep understanding of the daily difficulties and social discrimination faced by the HIV-positive people with whom we came to know. After our search, we selected six HIV-positive people to volunteer as participants in the shooting of Life is a Miracle. Of those initial six volunteers, three eventually decided to give us permission to show their true identities within the film.

邱炯炯 Qiu Jiongjiong 成长经历在当代艺术圈堪称“奇特” :两岁开始画画,三岁开始表演川剧(爷 爷是著名的川剧丑角演员),在少年时代就确立了艺术家的梦想,但是

参展、获奖情况 2011 年柏林国际电影节 2011 年香港国际电影节

从未受到正统美术学院的改造,18 岁辍学,即成为职业艺术家。丰富的 人生经历使邱炯炯的作品有着异于同龄艺术家的深沉感。2007 年,他完 成了电影处女作《大酒楼》,这是一部关于父辈、酒、故乡和朋友的纪 录片 , 邱炯炯个人化的影像叙事风格已初露端倪。第二部电影《彩排记》 则完成了邱炯炯对家族的记述,血脉的相承也使人们为邱炯炯一贯嬉笑

with all kinds of systemic problems and conflicts plaguing society. As an important part of the community, what kind of social responsibilities should Chinese intellectuals bear for the problems at hand? And, under such harsh social conditions, how are we to

导演阐述 这个影片的整个实施的过程更像一个试验,一种行为艺术。我们通 过网络聊天寻找招募感染者,以期他们能够加入电影《魔术外传》剧组, 与剧组的工作人员一起工作生活,从而达到让观众理解艾滋病人了解艾

人生的艺术视角找到了解答。

滋病的常识。从而达到反歧视的社会作用。在全中国范围的寻访过程中,

Born in 1977 in Sichuan, Qiu Jiongjiong is something of an eccentric

我们深深的理解并了解了艾滋病感染者及患者的真实处境和困难,以及

in the art community: he began painting at age two, at three he

社会歧视在中国的现状。我们最终选定了六位感染者自愿加入到剧组参

began performing local opera (his grandfather was a famous

与影片的拍摄。其中三位在影片拍摄结束后主动放弃在影片中遮挡面

Sichuanese Opera performer). He dreamt of being an artist when

部……

he was young, and at 18 years old, he dropped out of school to

当代中国在经济迅速发展的特殊时期,整个社会由于体制的问题,

become a full-time artist. In 2007, Qiu completed his first film, “ Moon

各种矛盾激烈冲突,而作为社会重要组成部分的中国知识分子应该承担

Palace”, documenting his father’s life, in which Qiu Jiongjiong’s

怎样的社会责任,或者在苛刻的社会环境下我们应当怎样“智慧”并且“曲

unique narrative style began to form. He now lives and works in

折”的给社会进步做出我们的贡献?中国有句古话,“勿因善小而不为”。

Beijing.

如果每个人都能诚恳的做一点小的善,那对社会的改良进步将会具有不 可估量的作用。 我想这是我和顾长卫导演的一次小小的尝试。

作品年表 Filmography

China today is in a unique period of rapid economic development,

大酒楼 The Moon Palace, 2007

Synopsis

彩排记 Ode to Joy, 2008

“I have AIDS, but I am not a sinner.”

黄老老拍案 Portrait of Mr. Huang, 2009

Together is an intimate study of the current condition of HIV/AIDS

姑奶奶 Madame, 2010

in China. The documentary is based on the story of an AIDS village,

萱堂闲话录 My Mother’s Rhapsody, 2011

in which a group of infected people are invited to participate in the

have the wisdom and stamina to make our own contribution to society? There is a saying in Chinese that “No act of goodness, no matter how small, is ever wasted.” If everyone is able to do a little honest good, the benefit to society will be immeasurable. I consider this film to be director Gu Changwei and my small attempt to contribute.

赵亮 Zhao Liang 1992 年毕业于鲁迅美术学院,1993 年北京电影学院摄影系进修故事 片摄影。目前定居北京,主要从事影像创作。作品《上访》曾入围第 六十二届法国戛纳电影节和第三十二届香港国际电影节。 Graduated in 1992 from the Lu Xun Academy of Fine Arts and in 1993 graduated from the Beijing Film Academy, where he studied photography. He lives in Beijing, where he works mainly in video production. His work Petition (2009) was nominated for the 62nd Cannes Film Festival and the 32nd Hong Kong International Film Festival.

作品年表 Filmography

production of an illness-related fiction film called Life is a Miracle by

纸飞机 Paper Airplane, 2001 在江边 Return to the Border, 2005 告别圆明园 Farewell, Yuanmingyuan, 2006 罪与罚 Crime and Punishment, 2007 上访 Petition, 2009

director Gu Changwei. This documentary combines footage from

在一起 Together, 2010

these participants' work during the production of Life is a Miracle


奥地利前言 奥地利单元 奥地利单元 Astriansection Preface Astrian Austrian Selection Astrian Section

奥地利前言 Astrian Preface

奥地利是这样一个国家:无论你在何处,中国无处不在 由卡瑞尔·杜德塞克和莎拉·林德纳甄选的九部奥地利影片 外来者并非敌人。如果双方都怀着诚实和善意,外来者可以与本地 人成为真正的朋友。 我们选出的九部奥地利影片并非迎合主流娱乐市场的消费品,而是 以个性化的视角,探讨了我们共同面对的世界性困境和担忧,展现出多 元的拍摄手法和美学理念。一些电影采用传统制作方式,由专业团队打 造;另一些则属于艺术电影,譬如《羊群之心》和《卡夫卡国一日游》, 摒弃常规叙事,由导演直接面对摄像机,更像行为艺术或实验影像。很 多影片使用强有力的视觉语言,表达潜藏在言语和图像之下的含义;另 一些则直接记录人们对于当下社会的愤怒和不满,像是在发问:日复一 日的工作和贫穷难道就是唯一出路?通过选择这些影片,我们希望展现 奥地利电影人对于未知问题的挖掘和捕捉,目的并非传播西方观念或民 主政治,而是鼓励具有全球化视野和关怀的电影创作。我们也并不拷问 每位导演的创作动机,让作品替人发声。 这个世界已经逐渐演变为全球化的市场,我们在此出生、工作、繁 衍、死亡。正如影片《跟我来》中所讲,人类的内心时刻充满欲望,于 是消费主义的生活方式占了上风,我们的生活像被逼入了一个巨型购物

羊群之心

商场,每个人都在这里选购森林、矿石、便宜的衬衫、大猩猩、水源、

Core of Flock 土地、石油和钢铁。人类的精神家园中只剩下一个不断买进卖出的世界 商场,人与人的关系建立在经济利益之上,谈话也只能带来无聊、沉闷, 2009/ 埃及 /62 分钟

钝滞─谁又在欺骗谁?奢侈品更加速了人性向机械化和享乐主义的堕落。 2009/Egypt/62 min 当生活退化为不断制造和支付帐单时,人们的共同兴趣点大概也只剩报 税技巧和少交停车费的伎俩了。 我们共享着同一星球的资源,却生活在迥然不同的时间节点上,有 着不同的历史,困境,发展速度和市场参与度,而陈旧过时的政治和宗 教版图依然势力强大。当区域性的经济、环境、民生问题愈发与整个世 界息息相关时,地方和国家权利机关却缺乏全球化的政治眼光,继续为 一己私利大打本应属于上世纪的经济战争,一个国家生长的毒瘤也就随 着全球化浪潮感染了世界。 所选奥地利电影打开了通向一个世界的众多窗口中的一些。电影《美 国内部》显示了天堂如何可以是残忍的和可以是一个天真的虚幻,以至 于使人们不再向往到那里去。人们和种族都混合在一起,人们远远地离 开他们出生的地方,在陌生的环境中,试图公开地用他们自己的文化来 生活,像电影《大海》中描述的那样。只有在经济困难和贪婪的冲击下, 不甘忍受才会爆发。 有时候变化之快超过任何计划所能预见的。 电影《亚美尼亚市场 》 资本主义破产了,接下来是什么” 讲的就是这些变化。道教之后是儒学。

内容简介

儒学与资本主义是不是比基督教与资本主义更匹配呢?伊斯兰教与社会 《羊群之心》是奥地利多媒体艺术家芭芭拉·胡萨尔创作中的艺术项 主义在一起又会如何呢?电影《我们每天的面》和《夜晚的世界》描述 目“数据交换过程”的一部分。在片中,女艺术家来到埃及西奈半岛, 了我们如何在城市中生存。我们需要吃,我们需要安全感,我们需要保 与游牧的贝都因人生活在一起,影片展现了双方复杂而不断变化的关系。 卫城市免遭入侵者和脱离社会的年轻无业者的威胁。 电影《步步高》讲的是城乡之间的紧张局势。工业国家的财富是建 立在农民的肩膀上和他们挖土的双手上的。是时候回报农民和改善他们 生活的了。 Synopsis繁荣不一定带来解放,民主和自由言论可以变成非常令人失望。 电影《工厂的一天》所示的是大量金钱是如何置身于法律的边缘, Core of Flock is the third film by Austrian multi-media artist Barbara 灰色地带。大型血汗工厂周游全世界寻找最廉价的劳动力以获取最大利 Husar of her ongoing project entitled DATA EXCHANGE PROCESS, 润 . 大多数时候劳动力中的妇女都被剥削, 因为她们得到的报酬虽然极少 , which delivers insight into the multifaceted and growing relations 但好过什么都没有。没有人能使所有人富裕和高兴。西方国家目前的生 between the artist and the Bedouin herds people of the Sinai 活标准是通过剥削世界上其他国家而建立起来的。我们在西方的人正生 Peninsula. 活在曾经过去被我们奴役过和剥削过的国家的包围中。现在别人声称他 们有权也这样做。所选的电影显示了这些,让你认识到这点些,使每个 人都能找到他自己的窗口去看去观察他们所能够理解的和想要了解的。 文 / 卡瑞尔·杜德塞克

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Austria Is Where AreYou and Are Austria You Is Where Are Wherever and Wherever You You Are There Can Be China 奥地利是这样一个国家:无论你在何处,中国无处不在 9 Austrian movies, a selection by Karel Dudesek and Sarah Lindner There Can Be China 由卡瑞尔·杜德塞克和莎拉·林德纳甄选的九部奥地利影片 The foreigner is not necessarily an enemy, the local and the foreigner 外来者并非敌人。如果双方都怀着诚实和善意,外来者可以与本地 9 Austrian movies +1,friends a selection Karel Dudecan become and it is by no necessity that the local’s or the 人成为真正的朋友。 foreigner’s intention is to cheat each other. sek and Sarah Linder 我们选出的九部奥地利影片并非迎合主流娱乐市场的消费品,而是 The Austrian movies we selected show a variety of methods and 以个性化的视角,探讨了我们共同面对的世界性困境和担忧,展现出多 aesthetics how to approach society. They are not mainstream, made The foreigner issold notasnecessarily enemy, the 元的拍摄手法和美学理念。一些电影采用传统制作方式,由专业团队打 to be products fitting an to the global entertainment market. They 造;另一些则属于艺术电影,譬如《羊群之心》和《卡夫卡国一日游》, the concerns we all have about the changes local and theaddress foreigner can become friends and of the world in a very individual way. 摒弃常规叙事,由导演直接面对摄像机,更像行为艺术或实验影像。很 it is no necessity that the local’s or the foreignThey span from professional movies which are classically produced up 多影片使用强有力的视觉语言,表达潜藏在言语和图像之下的含义;另 er’s intention is to cheat each to art house movies whichother. have neither beginning nor end. Some also 一些则直接记录人们对于当下社会的愤怒和不满,像是在发问:日复一 neglect the usual narration. Likeshow "Core ofathe Flock" or "Kafkanistan" are The Austrian movies we selected variety 日的工作和贫穷难道就是唯一出路?通过选择这些影片,我们希望展现 more artistic performative works where artists of methods and aesthetics how to approachthemselves taking part in 奥地利电影人对于未知问题的挖掘和捕捉,目的并非传播西方观念或民 front of the camera. Some movies speak with a strong visual language, 主政治,而是鼓励具有全球化视野和关怀的电影创作。我们也并不拷问 society. They are not mainstream, made to be showing the hidden, others show people in their irritation towards the 每位导演的创作动机,让作品替人发声。 sold as products fitting to the world today. Questions areglobal welcomeentertainwhere is the way out, only through 这个世界已经逐渐演变为全球化的市场,我们在此出生、工作、繁 hard work and little money? By selecting ment market. They address the concernsthese we movies, all we try to show 衍、死亡。正如影片《跟我来》中所讲,人类的内心时刻充满欲望,于 how some Austrian directors represent and capture the unknown. Our have about intention the changes of the world in a very 是消费主义的生活方式占了上风,我们的生活像被逼入了一个巨型购物 is not to promote the East or the West, or democracy, we individual way. promote the view on people living here and there. We do not question 商场,每个人都在这里选购森林、矿石、便宜的衬衫、大猩猩、水源、 the motives of each individual director; we let the images speak for 土地、石油和钢铁。人类的精神家园中只剩下一个不断买进卖出的世界 themselves. 商场,人与人的关系建立在经济利益之上,谈话也只能带来无聊、沉闷, They span from professional movies which are The world is a global place, market place, work place, living place, a 钝滞─谁又在欺骗谁?奢侈品更加速了人性向机械化和享乐主义的堕落。 classically produced arttohouse movies place to loveup andto to die, give birth to the new or to build something. 当生活退化为不断制造和支付帐单时,人们的共同兴趣点大概也只剩报 As partly inbeginning the movie "Follow me", people have desires; their lives which have neither nor end. Some 税技巧和少交停车费的伎俩了。 being increasingly forced into a global shopping mall, the consumerist also neglectway theofusual narration. Like “Core of 我们共享着同一星球的资源,却生活在迥然不同的时间节点上,有 life has become the super star shopping mall, shopping for 着不同的历史,困境,发展速度和市场参与度,而陈旧过时的政治和宗 the Flock” ortrees, “Kafkanistan” are moreforartistic rare earth metals, shopping the cheapest t-shirt, for orang 教版图依然势力强大。当区域性的经济、环境、民生问题愈发与整个世 utans, for water and fields, or oilthemselves and iron. People’s relationships are performative works where artists 界息息相关时,地方和国家权利机关却缺乏全球化的政治眼光,继续为 based on economical benefit, the shopping mall is a global mindset of taking part in front of the camera. Some movies selling and buying and nothing else. Economically motivated small talk 一己私利大打本应属于上世纪的经济战争,一个国家生长的毒瘤也就随 speak with a strong visual language, showing leads 着全球化浪潮感染了世界。 to boredom and dullness who cheats who? Luxury and design predators and people the caretakers of the电影 subtle the hidden, are others show in their irrita所选奥地利电影打开了通向一个世界的众多窗口中的一些。 《美corruption of men and mechanical and sportive. There is no deeper meaning inside 国内部》显示了天堂如何可以是残忍的和可以是一个天真的虚幻,以至 tion towardswomen, the world today. Questions are them besides getting the bills paid. Such a fabric of society exchanges 于使人们不再向往到那里去。人们和种族都混合在一起,人们远远地离 welcome – where is the interest way out, only through only the common in tax and parking tickets cheating. 开他们出生的地方,在陌生的环境中,试图公开地用他们自己的文化来 People live in the global By space sharing onethese planet, but all are living on hard work and little money? selecting 生活,像电影《大海》中描述的那样。只有在经济困难和贪婪的冲击下, different timelines, different histories, different confusions and their movies, we try to show how some Austrian 不甘忍受才会爆发。 evolution speed is not synced. Some can shop for more and some not. directors represent the unknown. 有时候变化之快超过任何计划所能预见的。 电影《亚美尼亚市场 》 Big politicaland and capture religious mappings have outlived their expiration 资本主义破产了,接下来是什么” dateisbut still讲的就是这些变化。道教之后是儒学。 remain in place, the maintaining for the better or worse, Our intention not to promote East and, or the 芭芭拉·胡萨尔 Barbara Husa defending their positions. As more and more global processes financial, 儒学与资本主义是不是比基督教与资本主义更匹配呢?伊斯兰教与社会 West, or democracy, we promote the view on 自由艺术家芭芭拉·胡萨尔 1975 年生于奥地利,毕业于维也纳应用艺术大学。 economical, health, environment become critical, the local governments 主义在一起又会如何呢?电影《我们每天的面》和《夜晚的世界》描述 livinghave here there. We globally. do notWeques她使people 用多种媒体创作,曾获奥地利国家艺术资助,她的绘画、装置和视频作 little and experience in acting are still acting like in postwar 了我们如何在城市中生存。我们需要吃,我们需要安全感,我们需要保 tion the motives of each individual director; we wars between times, where the battlefield was shifted to economic 品曾在世 界各地展出放映。 卫城市免遭入侵者和脱离社会的年轻无业者的威胁。 shift belongs to A past times and Barbara Husar was neighbours. bornspeak in 1975This in Feldkirch, Austria. graduate of has expired, not let the images for themselves. 电影《步步高》讲的是城乡之间的紧张局势。工业国家的财富是建 because it failed but because the global became really global, the virus the University of Applied Arts in Vienna and a freelance artist, Husar 立在农民的肩膀上和他们挖土的双手上的。是时候回报农民和改善他们 does not ask for a visa to cross national borders. has obtained the Austrian National Grant for Fine Arts and held 生活的了。 民主和自由言论可以变成非常令人失望。 The繁荣不一定带来解放, world isThe a global place, market place, Austrian movie selection opens severalwork windows out of many onto numerous solo and group exhibitions and screenings all over the 电影《工厂的一天》所示的是大量金钱是如何置身于法律的边缘, one world. The movie "Inside America" shows how paradise can be place, living place, a place to love and to die, to world. 灰色地带。大型血汗工厂周游全世界寻找最廉价的劳动力以获取最大利 brutal and a naive illusion, even to the extent that it does not become give birth todesirable the new or to build something. As 润 . 大多数时候劳动力中的妇女都被剥削, , to go for.因为她们得到的报酬虽然极少 People and races mix, and people live far away from 作品年表 In theFilmography movietheir “Follow me”, the other oftheir idylplace of birth, they try to adopt side and live own culture openly, in 但好过什么都没有。没有人能使所有人富裕和高兴。西方国家目前的生 Die Kunststromdruese, environment, in the moviedesires, "OceanMare". Only if economical 活标准是通过剥削世界上其他国家而建立起来的。我们在西方的人正生 lic family 2010 lifeanisalien shown; withlikepeople`s Core of Flock, 2009 hardship and greed impacts, intolerance strikes. 活在曾经过去被我们奴役过和剥削过的国家的包围中。现在别人声称他 their searching for change and emanzipation. Astralsculpture, 2008 Sometimes changes happen faster than any planning can foresee. 们有权也这样做。所选的电影显示了这些,让你认识到这点些,使每个 Jeepnomads, 2008 People haveThe desires; their lives increasmovie"Socialism failed,being capitalism bankrupt, what comes next" 人都能找到他自己的窗口去看去观察他们所能够理解的和想要了解的。 Evolution Der Schnallenmenschen, 2008 addresses these changes. Confucianism followed ingly forced into a global shopping mall, the the teachings of Tao. Data Exchange, 2007 Do Confucianism and capitalism fit better together than Christianity and Hathra, 2007 consumerist way of life has become the super 文 / 卡瑞尔·杜德塞克 capitalism? And what about Islam and socialism? The movies "Our Happy Synaps, 2004 daily Bread" and "Abendland" shows how we can survive in cities – we need to eat, we need to feel safe, we need to safeguard the cities from

奥地利前言

奥地利前言 奥地利单元 奥地利单元

Astrian Astrian Preface Preface

star – Isshopping mall, shopping for trees, rare intruders and anYou unemployed young generation that has out of Austria Where Are and Wherever You Are There Canfallen Be China earth metals, shopping for the cheapest t-shirt, the social frame work. 9 Austrian movies, a selection by Karel Dudesek and Sarah Lindner Theorang movie "Every 7 person a farmer", addresses between for utans, for iswater and fields,theortension oil and cities an ruralisareas. The wealthan of enemy, the industrial nations built on the The foreigner not necessarily the local and is the foreigner iron. People’s relationships are based on economifarmers’ shoulders, digging the earth. time or to pay can become friends on andtheir it ishands no necessity that the It’s local’s the cal benefit, thetheisshopping mall is a global back and improve farmers’ lives. Liberation does notmindset necessarily foreigner’s intention to cheat each other. goselling along withand prosperity, free speech can turnand out The Austrian movies wedemocratisation selected showand a variety of Economimethods of buying and nothing else. highly disappointing. aesthetics how to approach society. They are not mainstream, made cally motivated small talk leads to boredom and "Aproducts day in thefitting factory" shows how big money is market. installingThey itself toThe be movie sold as to the global entertainment dullness – who cheats who? Luxury and design are on borders, in grey zones of law; large scale sweatshops are touring address the concerns we all have about the changes of the world in a the world, looking for the cheapest labor maximise profits. Most of very individual way.out predators and the caretakers oftothe subtle corrupthe time women are exploitedmovies in the workforce theproduced little they get They span from professional which arebecause classically up tion of than men and women, mechanical and sportive. more nothing. No one can makebeginning everyone nor rich end. and happy. The toisart house movies which have neither Some also There is built no its deeper meaning them besides West has present living standard onFlock" the exploitation of the rest neglect the usual narration. Like "Core of inside the or "Kafkanistan" are of theartistic world. Webills in thepaid. West are livinga surrounded by society nations wepart used more performative works where artists themselves taking in getting the Such fabric of to enslave and exploit in past times. Now others claim the right to do front of the camera. Some movies speak with a strong visual language, exchanges only the common interest in tax and the same. selected movies show this in and make you aware of this, showing theThe hidden, others show people their irritation towards the parking tickets cheating. so that everyone can find his or her individual window to look world today. Questions are welcome where is the way out, only through and work see and whatBy heselecting or she can understand and to hard and observe little money? these movies, we trywants to show understand. how some Austrian directors represent and capture the unknown. Our People live in the global space sharing one planet, intention is not to promote the East or the West, or democracy, we but all are living on different timelines, different Bydo Karel promote the view on people living here and there. We not Dudesek question 内容简介 histories, different confusions – and the motives of each individual director; we let the their imagesevoluspeak for 影片是对傍晚欧洲不同地域以及人群生活的真实纪录。浮华躁动、享 themselves. tion speed is not synced. Some can shop for more 乐主义、繁荣、高度城市化,这一切都与城市的历史、传统以及文化息 The world is a global place, market place, work place, living place, a and some not. 息相连。 place to love and to die, to give birth to the new or to build something. As partly in the movie "Follow me", people have desires; their lives beingpolitical increasingly forced into a global shopping mall, the consumerist Big and religious mappings have out参展、获奖情况 way of life has become the super star shopping mall, shopping for lived their expiration date but still remain in 奥地利对角线电影节最佳纪录片艺术剪辑奖 trees, rare earth metals, shopping for the cheapest t-shirt, for orang place, foriron. thePeople’s better relationships or worse,are utans, formaintaining water and fields,and, or oil and based on economical benefit, the shopping mall isand a global mindset of defending their positions. As more more selling and buying and nothing else. Economically motivated small talk global processes – financial, economical, health, leads to boredom and dullness who cheats who? Luxury and design Synopsis environment become the local governare predators and – the caretakerscritical, of the subtle corruption of men and Somemechanical things can be seen There moreisclearly at night: Nikolaus women, andexperience sportive. deeper meaning inside ments have little in no acting globally. We Geyrhalter’s newthe feature filmSuch undertakes long, exchanges associative them besides getting bills paid. a fabric ofasociety

are still acting like in postwar times, where the journey, surveying Europe by parking night intickets termscheating. of its many different only the common interest in tax and battlefield was shifted toservice economic between facets. society of and prosperity, People livePulsating in the global space sharing one providers planet,wars but all are living on different timelines, different different confusions their bulwark of security and histories, exclusion, urban civilization, hedonistic neighbours. This shift belongs to past timesand and evolution speed is notdelights, Some shop for moredown and some not. temple of earthly inspired and weighed at the same has expired, notsynced. because itcanfailed but because the Big political and religious mappings have outlived their expiration time by its history, traditions and highly developed culture. global global, the not date but became still remain inreally place, maintaining and,virus for the does better or worse, defending positions. As more and moreborders. global processes financial, ask for atheir visa to cross national economical, health, environment become critical, the local governments Awards and Festival Selections have little experience in acting globally. We are still acting like in postwar Diagonale Festival of Austrian Film Best Artistic Editing of a The movie selection opens several times,Austrian where the battlefield was shifted to economic wars between Documentary Film neighbours. out This of shiftmany belongs to past times and has expired, not windows onto one world. The movie because itAmerica” failed but because the global reallycan global, “Inside shows howbecame paradise bethe virus does not ask for a visa to cross national borders. brutal andmovie a naive illusion, evenwindows to theout extent The Austrian selection opens several of manythat onto itone does not desirable to gohow for.paradise People world. Thebecome movie "Inside America" shows can be brutalraces and a naive even to thelive extent it doesfrom not become and mix,illusion, and people farthat away their desirable to go for. People and races mix, and people live far away from place of birth, they try to adopt and live their own their place of birth, they try to adopt and live their own culture openly, in culture openly, in alien in the an alien environment, likean in the movieenvironment, "OceanMare". Only like if economical hardship “OceanMare”. and greed impacts, intolerance movie Only ifstrikes. economical hardship Sometimes changes happen faster than any planning can foresee. and greed impacts, intolerance strikes. The movie"Socialism failed, capitalism bankrupt, what comes next" addresses these changes. Confucianism followed the teachings of Tao. Do Confucianism and capitalism fit better together than Christianity and capitalism? And what about Islam and socialism? The movies "Our daily Bread" and "Abendland" shows how we can survive in cities – we need to eat, we need to feel safe, we need to safeguard the cities from

34

Astrian Preface Astrian Preface Astrian Section Austrian Selection Astrian Section

Sometimes changes happen faster than any

intruders and an unemployed young generation that has fallen out of theplanning social frame can work. foresee. The movie”Socialism The movie "Every 7 person isbankrupt, a farmer", addresses tension between Abendland failed, capitalism whatthe comes next” cities an rural areas. The wealth of the industrial nations is built on the addresses these changes. Confucianism fol纪录 / 奥地利 /2011/90 分钟 farmers’ shoulders, on their hands digging the earth. It’s time to pay Documentary/Austria/2011/90min lowed the teachings Tao. Do Confucianism back and improve the farmers’ of lives. Liberation does not necessarily goand alongcapitalism with prosperity, fit democratisation and free speech turn out better together thancan Christihighly disappointing. anity and capitalism? And what about Islam The movie "A day in the factory" shows how big money is installing itself socialism? The movies “Our daily Bread” onand borders, in grey zones of law; large scale sweatshops are touring theand world,“Abendland” looking out for the cheapest labor to maximise Mostin of shows how we can profits. survive the time women are exploited in the workforce because the little they get cities – we need to eat, we need to feel safe, is more than nothing. No one can make everyone rich and happy. The wehas need topresent safeguard the cities from intrudWest built its living standard on the exploitation of the rest of the world. We in the West are living surrounded by nations we used ers and an unemployed young generation to enslave and exploit in past times. Now others claim the right to do that has fallen out of the social frame work. the same. The selected movies show this and make you aware of this, so that everyone can find his or her individual window to look through and see movie and observe what he or she can and adwants to The “Every 7 person isunderstand a farmer”, understand.

夜晚的世界

dresses the tension between cities an rural areas. The wealth of the industrial By nations is Karel Dudesek built on the farmers’ shoulders, on their hands digging the earth. It’s time to pay back and improve the farmers’ lives. Liberation does not necessarily go along with prosperity, democratisation and free speech can turn out highly disappointing.

The movie “A day in the factory” shows how big money is installing itself on borders, in grey zones of law; large scale sweatshops are touring the world, looking out for the cheapest labor to maximise profits. Most of the time women are exploited in the work尼可拉斯·盖哈特 Nikolaus Geyrhalter force because the little they get is more than 导演、 制片人、 摄影师, 1972年生于奥地利维也纳。 22岁时创办了自己的制作公司。 nothing. No one can make everyone rich and Johannes Hammel was born in 1963 in Basel. He completed happy. The West has built its present living studies in camera work at the Vienna Film Academy. Since 1986, standard on the exploitation of the rest the he has lived and worked in Vienna as a freelanceof filmmaker, world. Weand in the WestAfter areseveral livingshort surrounded cameraman, producer. films, Folge mir is byfeature nations we used to enslave and exploit his film debut. in past times. Now others claim the right to 作品年表 do the same. The selected movies show this Filmography 夜晚的世界 Abendland, 2011 and make you aware of this, so that everyone 阿伦特施泰 Allentsteig, 2010 can公里 find his2008 or her individual window to look 7915 7915km, 我们每日的面包 Our Daily Bread, 2005observe what he or she through and see and 在别处 Elsewhere, 2001 can understand and wants to understand. 普里皮亚特 Pripyat, 1999 代顿协定之后 The Year After Dayton, 1997 搁浅 Washed Ashore, 1995

text by Karel Dudesek

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奥地利单元 奥地利单元

奥地利单元 Austrian Selection Astrian Section

Astrian Section Austrian Selection Astrian Section

大海

夜晚的世界

纪录 / 奥地利、德国、罗马尼 亚 /2009/77 分钟 / 中文对白中英 文字幕 Documentary/Austria, Germany, Romania/2009/77min/HD/Chinese with Chinese and English Subtitles

纪录 / 奥地利 /2011/90 分钟 Documentary/Austria/2011/90min

Oceanul Mare

羊群之心

Abendland

内容简介

Core of Flock

影片是对傍晚欧洲不同地域以及人群生活的真实纪录。浮华躁动、享

2009/ 埃及 /62 分钟 美国内部 2009/Egypt/62 min

乐主义、繁荣、高度城市化,这一切都与城市的历史、传统以及文化息

Inside America

息相连。

剧情 / 奥地利 /2010/ 彩色 /35mm/107 分钟 / 英语、西班牙语对白 / 中英文字幕

参展、获奖情况

Drama/Austria//2010/Color/35mm/107 min/English and Spanish with English and Chinese Subtitles

奥地利对角线电影节最佳纪录片艺术剪辑奖

内容简介

内容简介 影片根据导演芭芭拉 ` 艾德本人高中时在得克萨斯州布朗斯维尔交换

影片跟随三位上世纪九十年代初期移民罗马尼亚布加勒斯特的中国 Synopsis

学习的经历改 编,以类纪录片的手法和高度戏剧化的情节,真实的展现

人影片拍摄了三位上世纪九十年代初期移民罗马尼亚布加勒斯特的中国 Some things can be seen more clearly at night: Nikolaus 人 ,跟随他们穿过罗马尼亚的都市,以及他们与座落在城市边缘的、欧 Geyrhalter’s new feature film undertakes a long, associative

了边陲小城中六名高中 生闭塞乏味的生活,沉迷毒品与暴力的青春期, 我们得以与这个美墨边境上构成复杂的贫 穷移民社群共同经历他们的迷

洲最大的中国市场的各种联系。通过一个个的章节,它展示了几位主角 journey, surveying Europe by night in terms of its many different 的日常生活和交易环境, 由此讲述了作为 “外国人” 和“异文化人” 的感受。 facets. Pulsating society of service providers and prosperity,

茫、痛苦、失落、绝望,并由此发现、质疑当代美 国社会和美国梦背后

bulwark of security and exclusion, urban civilization, hedonistic

亟待填补的巨大空洞。

temple of earthly delights, inspired and weighed down at the same 参展、获奖情况

以及他们形态各异却无一例外破 灭的梦想。在她充满人情味的镜头中,

time by its history, traditions and highly developed culture. 杜伊斯堡纪录片节最佳德语纪录片奖

内容简介 参展、获奖情况

芭芭拉·胡萨尔

《羊群之心》是奥地利多媒体艺术家芭芭拉·胡萨尔创作中的艺术项 德国马克斯·奥菲尔斯奖电影节评委会特别奖 目“数据交换过程”的一部分。在片中,女艺术家来到埃及西奈半岛, 入围美国西南偏南电影节

自由艺术家芭芭拉·胡萨尔 1975 年生于奥地利,毕业于维也纳应用艺术大学。

与游牧的贝都因人生活在一起,影片展现了双方复杂而不断变化的关系。 入围多伦多国际电影节

品曾在世 界各地展出放映。

Barbara Eder Barbara Husar was born in 1975 in Feldkirch, Austria. A graduate of

芭芭拉·艾德

Diagonale Festival Austrian Filmpeople Best Artistic Editing who of a The film centers on of three Chinese in Bucharest, Documentary Film migrated there in the early 1990s. It follows their paths through

1976University 年生于奥地利艾森斯塔特,毕业于维也纳音乐及表演艺术大学,执导过 the of Applied Arts in Vienna and a freelance artist, Husar

Romania's metropolis and traces their varying connections

多部 obtained 短片。本片基于她 1994 年作为交换学生在美国德州布朗斯维尔的生活经 has the Austrian National Grant for Fine Arts and held

with Europe's largest Chinese market on the periphery of the

历,是她 numerous solo and group exhibitions and执导的第一部剧情长片。 screenings all over the

city. Episode by episode, it accompanies the central characters

Barbara Eder was born in

through the striking contrasts of their daily routines and business

Eisenstadt, Austria in 1976. In 1994

milieus, telling a story of what it is like to be foreign and of cultural

作品年表 Filmography

she did a student exchange year

displacement. Ultimately, the story underscores the challenge to

in Brownsville, Texas, on which

immerse oneself into the unknown while continually reinventing

she based her first feature film

oneself in the process.

Awards and Festivals:

Die Kunststromdruese, 2010 Core of Flock, 2009 Astralsculpture, 2008 Jeepnomads, 2008 Evolution Der Schnallenmenschen, 2008 Data Exchange, 2007 Hathra, 2007

Max Ophüls Prize Film Festival Special Jury Award

Happy Synaps, 2004

short films.

Synopsis Drawing Synopsison her memories as an exchange student in a Texanborder Eder the dark side of the Core oftown, FlockBarbara is the third filmexplores by Austrian multi-media artistAmerican Barbara Dream herongoing film Inside America, chronicles the difficult Husar ofinher project entitledwhich DATA EXCHANGE PROCESS, lives ofdelivers six teenagers Hanna High School in Brownsville who are which insightatinto the multifaceted and growing relations caught in boredom, and the dead-ends of their vacuous between the artist violence, and the Bedouin herds people of the Sinai dreams. Combining the documentary look with a highly-dramatized Peninsula. story, Eder’s version of Americana manages to capture the trials and tribulations of a community with warmth and humanity.

South by Southwest (SXSW) Film Festival Official Selection Toronto International Film Festival Official Selection

35 43

Barbara Husa

她使 用多种媒体创作,曾获奥地利国家艺术资助,她的绘画、装置和视频作

world.

Awards and Festival Selections Synopsis

of Music and Performing Arts in Vienna and made numerous

导演、制片人、摄影师,1972年生于奥地利维也纳。22岁时创办了自己的制作公司。 Johannes Hammel was born in 1963 in Basel. He completed studies in camera work at the Vienna Film Academy. Since 1986, he has lived and worked in Vienna as a freelance filmmaker, cameraman, and producer. After several short films, Folge mir is his feature film debut.

卡特琳娜·诺比 Katharina Copony 作品年表 Filmography 夜晚的世界 Abendland, 2011 1972 年生于奥地利格拉茨市,曾在维也纳学习媒体艺术。2006 年她的 阿伦特施泰 Allentsteig, 2010 纪录片《宫殿》曾获杜伊斯堡纪录片节最佳德国纪录片奖。 7915 公里 7915km, 2008 Born on 26thOur December 1972, Graz, Austria. Studied media-arts 我们每日的面包 Daily Bread, 2005 at the Elsewhere, University of Applied Arts in Vienna. During the 90ies various 在别处 2001 普里皮亚特 1999 and abroad. Since exhibitionsPripyat, in Austria 代顿协定之后 The Year After Dayton, 1997 2001 working as a filmmaker. Lives 搁浅 Washed Ashore, 1995

and works in Berlin and Vienna.

Inside America. She has studied film directing at the University

尼可拉斯·盖哈特 Nikolaus Geyrhalter

Awards and Festivals Duisburg Film Week, Best German Documentary

作品年表 Filmography Oceanul Mare, 2009 Il Palazzo, 2006 Kanegra, 2004 Der Wackelatlas, 2001

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奥地利单元 奥地利单元 奥地利单元 奥地利单元 Astrian Section Austrian Selection Astrian Section Astrian Section

奥地利单元 奥地利单元 Austrian Selection Astrian Section Astrian Section

Astrian Section

跟我来

Follow Me 剧情 / 奥地利 /2010/ 黑白及彩 色 /35 毫米 /109 分钟 / 德语对 白 / 中文字幕 Drama/Austria/2010/B&W and Color/35mm/109 min/German with Chinese subtitles

羊群之心

夜晚的世界 Abendland

纪录 / 奥地利 /2011/90 分钟 Documentary/Austria/2011/90min

内容简介

Core of Flock

影片是对傍晚欧洲不同地域以及人群生活的真实纪录。浮华躁动、享 乐主义、繁荣、高度城市化,这一切都与城市的历史、传统以及文化息

2009/ 埃及 /62 分钟 2009/Egypt/62 min

内容简介 息相连。 先锋影人哈默尔把作为叙事主体的黑白 35 毫米电影与自己儿时和父 亲拍摄的彩色 超 8 毫米家庭录像以非线性方式接合在一起:在灰暗的黑 参展、获奖情况 白影像中,导演通过一个被回忆、幻觉和恐惧折磨的女人的意识流,展 奥地利对角线电影节最佳纪录片艺术剪辑奖 现了一个在痛苦和封闭中分崩离析的四口之家;鲜艳的彩色影像则记录 了导演快乐的童年。前者似乎是影片的现实,而后者与之平行,成为前 者理想家庭生活的投射。此外,影片的个人化风格和松散结构有意模糊

卡夫卡国 Kafkanistan

纪录 /2007/50 分钟 / 英文对白 / 中英文字幕 Documentary/2007/50 min/English with Chinese and English Subtitles

卢卡斯·伯克 Lukas Birk 1982 年生于奥地利,现居北京。他起初有志于新闻业,后转向数字媒 体艺术 和摄影,曾在世界各地旅行和工作。 pursued journalism and went on to obtain degrees in digital art and

柏林国际电影节青年论坛单元 facets. Pulsating society of service providers and prosperity,

photography in London and travelled extensively around the world.

奥地利对角线电影节最佳美术奖 bulwark of security and exclusion, urban civilization, hedonistic

芭芭拉·胡萨尔

2005 年,视觉艺术家卢卡斯·伯克与人类学家肖恩·福利开始了一 《羊群之心》是奥地利多媒体艺术家芭芭拉·胡萨尔创作中的艺术项 次不寻常的旅 程,他们总共花了几个月时间穿越阿富汗和周边国家。《卡 目“数据交换过程”的一部分。在片中,女艺术家来到埃及西奈半岛,

自由艺术家芭芭拉·胡萨尔 1975 年生于奥地利,毕业于维也纳应用艺术大学。

夫卡国一日游》是伯 克对这次出游个人化的记录,将通常旅行的快乐、 与游牧的贝都因人生活在一起,影片展现了双方复杂而不断变化的关系。 惊喜置于混乱的政治经济大背景中。

品曾在世 界各地展出放映。

Barbara Husa

她使 用多种媒体创作,曾获奥地利国家艺术资助,她的绘画、装置和视频作 Barbara Husar was born in 1975 in Feldkirch, Austria. A graduate of the University of Applied Arts in Vienna and a freelance artist, Husar has obtained the Austrian National Grant for Fine Arts and held numerous solo and group exhibitions and screenings all over the

world. In 2005, a visual artist and an anthropologist teamed upneighborfor an Husar of her ongoing project entitled DATAAfghanistan EXCHANGE PROCESS, They spent many months traveling through and unusual journey. They spent many months traveling through which delivers into the growing relations ing countries toinsight understand and multifaceted document the and thrills and interestes Afghanistan neighboring countries trying to and between theand artist and the Bedouin herds people of the Sinai of recreational travel in conflict zones. The result is understand the creation of Kafkanistan. document the thrills and pleasures of recreational travel in conflict Peninsula. zones. The result is the creation of Kafkanistan.

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Geyrhalter’s new feature film undertakes a long, associative

Lukas Birk was born in 1982 in Bregenz, Austria where he first

内容简介

In 2005, Lukas Birk and Sean Foley teamed up for an unusual journey.

Synopsis

而强调了人类记忆的可塑与不可靠。 Some things can be seen more clearly at night: Nikolaus

参展、获奖情况 journey, surveying Europe by night in terms of its many different

He currently lives in Beijing.

Synopsis Synopsis Synopsis Core of Flock is the third film by Austrian multi-media artist Barbara

现实与梦境的界限,使观影者可以任意改变他对真实与虚幻的设定,从

作品年表 Filmography

temple of earthly delights, inspired and weighed down at the same time by its history, traditions and highly developed culture.

Synopsis Avant-garde filmmaker Johannes Hammel plunges the viewer Awards and Festival Selections

into the stream of consciousness of the film’s protagonist, wife Diagonale Festival of Austrian Film Best Artistic Editinga of a and mother who Documentary Filmlives with her husband and two sons. Plagued

尼可拉斯·盖哈特 Nikolaus Geyrhalter 导演、制片人、摄影师,1972年生于奥地利维也纳。22岁时创办了自己的制作公司。 Johannes Hammel was born in 1963 in Basel. He completed studies in camera work at the Vienna Film Academy. Since 1986, he has lived and worked in Vienna as a freelance filmmaker, cameraman, and producer. After several short films, Folge mir is his feature film debut.

by hallucinations, memories and agoraphobia, she increasingly

barricades herself and her family in their dark, dockside apartment.

作品年表 Filmography

These bleak, oppressive black and white images form the main

夜晚的世界 Abendland, 2011 阿伦特施泰 Allentsteig, 2010 7915 公里 7915km, 2008 我们每日的面包 Our Daily Bread, 2005 约翰内斯·哈默尔 Johannes Hammel 在别处 Elsewhere, 2001

narrative of the film, which is put together with colorful Super 8mm home videos Hammel and his father shot in his childhood, the former as an ostensible reality and the latter as the projection of idyllic family life. Intense and personal, the film invites its viewers to

普里皮亚特 Pripyat, 1999

自由电影人、摄影师、制片人。1963 年生于瑞士巴塞尔,毕业于维也纳 代顿协定之后 The Year After Dayton, 1997 电影学 院,曾制作多部短片。本片是他导演的第一部剧情长片。 搁浅 Washed Ashore, 1995

Die Kunststromdruese, 2010 Core of Flock, 2009 Astralsculpture, 2008 Jeepnomads, 2008 Evolution Der Schnallenmenschen, 2008 Data Exchange, 2007 Hathra, 2007

reconsider the boundary between dream and reality and therefore

Berlin International Film Festival International Forum for New Cinema

cameraman, and producer. After several short films, Folge mir is his

Happy Synaps, 2004

Best Production Design, Diagonale Festival of Austrian Film

feature film debut.

re-envision their own memories.

Awards and Festival Selections

Johannes Hammel was born in 1963 in Basel. He completed studies in camera work at the Vienna Film Academy. Since 1986, he has lived and worked in Vienna as a freelance filmmaker,

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奥地利单元 奥地利单元 奥地利单元 奥地利单元 Astrian Section Astrian Section Astrian Section Austrian Selection Astrian Section

奥地利单元 奥地利单元 Astrian Section Section Austrian Selection Astrian

奥利弗·瑞斯勒

Oliver Oliver Ressler Ressle

1970 年生于奥地利,毕业于维也纳应用艺术大学,是欧洲近十年以政治与社

工厂一的天 A Day in the Factory

会介入为议题的左翼激进艺术家,现居维也纳。 Born in 1970 in Knittelfeld, Austria, Oliver Ressler now lives and works at Vienna. A graduate of the University of Applied Arts in Vienna, he

纪录 / 柬埔寨、新加坡、奥地利 /2010/4*8 分钟 / 高棉语对白 / 中英文字幕 Documentary/Cambodia, Singapore, Austria 2006/4*8min/ Khmer with Chinese and English subtitles

produces theme-specific exhibitions, projects in the public space

tries to blur boundaries between art and activism.

内容简介 柬埔寨的服装工业是该国战后的经济支柱。2007 年,他们雇用了 工厂以生产美国或欧洲的品牌闻名,这些品牌包括 Gap, Adidas, Levis 和 H&M. 2009 年全球经济危机期间,柬埔寨服装工业有超过七万民工人被 迫下岗。他们中的大部分人是来自乡下的年轻女人,每人都支撑着一个

Socialism Failed, Capitalism is Bankrupt. What Comes Next?

三到五人的家庭。从乡下来到城市,她们发现自己迷失了方向。 该片由四部短片构成,它们通过观察工人们的生活,提供了对经济

奥地利、亚美尼亚 /2010/19 分钟 / 亚美尼亚对白中英文字幕 Austria & Armenia/2010/19 min/Armenian with Chinese and English subtitles

现象的另一种视角。

羊群之心

Synopsis 内容简介

Core of Flock 2009/ 埃及 /62 分钟 2009/Egypt/62 min 内容简介

作为艺术家“社会主义失败了,资本主义已破产。下一步怎么走?”展 览的一部 分,影片展现了苏联解体后亚美尼亚共和国的政治经济现况。

representatives, entrepreneurs and small

businesses surrounding the factories.

纪录 / 奥地利 /2011/90 分钟 Documentary/Austria/2011/90min

尼科·梅斯特哈姆 Nico Mesterharm 以后,他开始关注东南亚的社会文化问题,他从 2001 起就生活在那里。

三十五万以上的工人,并花费三亿多雇用专业生产人员。 其中大部分

亚美尼亚市场

Abendland manager, union

德国记者,他的第一部影片《旅途》入围了 2000 年柏林电影节,从那

and videos on issues such as global capitalism, forms of resistance, social alternatives, racism and global warming. His work constantly

Four shorts from the factory look at the economic downturn

夜晚的世界 viewed through the prism of workers, a female Cambodian

在柬埔寨金边,他城里了自己的制作公司,叫做“柬埔寨后艺术”。 German journalist, his first documentary The Trip premered at the Berlinale Film Festival in Berlin. Since then his films focus mostly on social and cultural issues in South-East-Asia, where Mesterharm has been living since 2001. In Phnom Penh/Cambodia he founded his media production company Meta Art Cambodia (2005) and the arts/media/communication center Meta House.

作品年表 Filmography 旅途 The Trip,2000 生活是一片沙滩 Life's a Beach, 2006 寡妇的农场 The Widow's Farm, 2008

Cambodia’s garment industry a major pillar of the country’s post影片是对傍晚欧洲不同地域以及人群生活的真实纪录。浮华躁动、享 war economy. In 2007, garment factories employed more than 乐主义、繁荣、高度城市化,这一切都与城市的历史、传统以及文化息 350,000 workers and generated exports worth around US$3.7 息相连。 billion. Most factories produce for well known US and European

马克·哈蒙德 Mark Hammond

brands including Gap, Adidas, Levis and H&M. In 2009 the global

Mark Hammond has worked as a director, producer and writer of

economic crisis has led to to more than 70.000 workers being 参展、获奖情况

film, television and theatre for the last 20 years.

马克·哈蒙德从事电影、电视、戏剧方面的导演、监制和编剧工作已达二十年。

Synopsis

laid off. Most of them are young women from rural areas with 奥地利对角线电影节最佳纪录片艺术剪辑奖 limited education, who support an average of three to five family

作品年表

The project “Socialism Failed, Capitalism is Bankrupt. What comes

members. Through their remittances these women often crucially

强尼曾经是 这个男人,这个女人 This Man, This Woman, 制作中 (forthcoming)

Next?” focuses on the political and economic situation in the

contribute to their family’s survival and to the education of their

Republic of Armenia, one of the successor states of the Soviet

siblings. Migrating from rural areas to big cities they find themselves

Union. The project materializes in two different formats: the short

displaced from their origins. Some things can be seen more clearly at night: Nikolaus

Filmography

Synopsis

film, and a 2-channel video.

Geyrhalter’s new feature film undertakes a long, associative journey, surveying Europe by night in terms of its many different facets. Pulsating society of service providers and prosperity, bulwark of security and exclusion, urban civilization, hedonistic temple of earthly delights, inspired and weighed down at the same

内容简介 《羊群之心》是奥地利多媒体艺术家芭芭拉·胡萨尔创作中的艺术项 目“数据交换过程”的一部分。在片中,女艺术家来到埃及西奈半岛, 与游牧的贝都因人生活在一起,影片展现了双方复杂而不断变化的关系。

time by its history, traditions and highly developed culture.

芭芭拉·胡萨尔

她使 用多种媒体创作,曾获奥地利国家艺术资助,她的绘画、装置和视频作 品曾在世 界各地展出放映。 Barbara Husar was born in 1975 in Feldkirch, Austria. A graduate of the University of Applied Arts in Vienna and a freelance artist, Husar

Synopsis Core of Flock is the third film by Austrian multi-media artist Barbara Husar of her ongoing project entitled DATA EXCHANGE PROCESS, which delivers insight into the multifaceted and growing relations between the artist and the Bedouin herds people of the Sinai Peninsula.

has obtained the Austrian National Grant for Fine Arts and held numerous solo and group exhibitions and screenings all over the world.

作品年表 Filmography Die Kunststromdruese, 2010 Core of Flock, 2009 Astralsculpture, 2008 Jeepnomads, 2008 Evolution Der Schnallenmenschen, 2008 Data Exchange, 2007 Hathra, 2007

导演、制片人、摄影师,1972年生于奥地利维也纳。22岁时创办了自己的制作公司。 Johannes Hammel was born in 1963 in Basel. He completed studies in camera work at the Vienna Film Academy. Since 1986,

Barbara Husa

自由艺术家芭芭拉·胡萨尔 1975 年生于奥地利,毕业于维也纳应用艺术大学。

尼可拉斯·盖哈特 Nikolaus Geyrhalter

Awards and Festival Selections Diagonale Festival of Austrian Film Best Artistic Editing of a Documentary Film

he has lived and worked in Vienna as a freelance filmmaker, cameraman, and producer. After several short films, Folge mir is his feature film debut.

作品年表 Filmography 夜晚的世界 Abendland, 2011 阿伦特施泰 Allentsteig, 2010 7915 公里 7915km, 2008 我们每日的面包 Our Daily Bread, 2005 在别处 Elsewhere, 2001 普里皮亚特 Pripyat, 1999 代顿协定之后 The Year After Dayton, 1997 搁浅 Washed Ashore, 1995

Happy Synaps, 2004

39 43

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奥地利单元 奥地利单元 奥地利单元 奥地利单元

奥地利单元 奥地利单元 Astrian Section Austrian Selection Astrian Section

Astrian Section Section Astrian Astrian Section Austrian Selection Astrian Section

步步高

我们每天的 面包

Every Seventh Person

Our Daily Bread

纪录 / 奥地利、卢森堡 /2006/75 分钟 / 中文对白中英文字幕 Documentary/Austria & Luxembourg/2006/75min/Chinese with Chinese and English Subtitles 、

纪录 / 奥地利 /2005/92 分钟 / 中 英文字幕 Documentary/Austria/2005/92min/ Chinese and English Subtitles

羊群之心

夜晚的世界 Abendland

纪录 / 奥地利 /2011/90 分钟 Documentary/Austria/2011/90min

内容简介 内容简介 影片是对傍晚欧洲不同地域以及人群生活的真实纪录。浮华躁动、享

Core of Flock

乐主义、繁荣、高度城市化,这一切都与城市的历史、传统以及文化息 导演用了 2 年时间,辗转于欧洲各国的大食品生产基地和工厂,拍

2009/ 埃及 /62 分钟 2009/Egypt/62 min

摄了这部影片。他向我们展示了一个日常生活背面的关于食物的世界, 息相连。 在欧洲高度现代化的农业 和畜牧业生产流水线下,一切有别于人们印象 中的田园牧歌或是拖泥带水。事实上,这个世界高速,精确,冷静,整齐,

参展、获奖情况

内容简介 世界上每七个人中就有一个生活在中国的农村。导演纪录了三个中国 的村落在 2002 年到 2005 年之间的生活片段。他们在村子里做了大量的 访谈,拍摄了他们的 日常生活。同时,村民们也自己用摄影机拍摄了纪 录他们梦想和愿望的小短片。这些小短片的主题,拍摄和剪辑都是由农民, 工人和年轻人自己完成的。他们共 同成就了这部电影。

参展、获奖情况 瑞士尼翁真实电影节坦布尔顿特别奖

伊娜·伊万斯努

它被各种各样的生产流水线、电脑、机 器人、大机器以及我们——人所 奥地利对角线电影节最佳纪录片艺术剪辑奖 引导,无论是在农场,养殖场,还是在屠宰场,几乎每一项细小的操作

Ina Ivanceanu

都会伴随一种相应的机器,其分工细致令人叹为观止。影片极其详尽地

自由电影人和记者,曾在非洲、亚洲 和东欧地区从事文化和发展研究。

展示了这些千奇百怪的机器是如何迅速准确地完成指令,而人被置于某

Ina Ivanceanu is a freelance

种和机器同等的地位。

Synopsis

filmmaker and journalist. She

Some things can be seen more clearly at night: Nikolaus

has conducted researches in

参展、获奖情况

Geyrhalter’s new feature film undertakes a long, associative 阿姆斯特丹国际纪录片节评委会特别奖 journey, surveying Europe by night in terms of its many different 瑞士尼翁真实电影节坦普尔顿特别奖 facets. Pulsating society of service providers and prosperity, 欧洲电影奖最佳纪录片提名 bulwark of security and exclusion, urban civilization, hedonistic

Africa, Asia and Eastern Europe on cultural and developmental issues.

阿姆斯特丹国际纪录片电影节评委会特别奖

temple of earthly delights, inspired and weighed down at the same

内容简介 Synopsis 《羊群之心》是奥地利多媒体艺术家芭芭拉·胡萨尔创作中的艺术项 Every seventh person in the world is a Chinese farmer. Between 目“数据交换过程”的一部分。在片中,女艺术家来到埃及西奈半岛, 2002 and 2005 the filmmakers Elke Groen and Ina Ivanceanu 与游牧的贝都因人生活在一起,影片展现了双方复杂而不断变化的关系。 carried out numerous interviews in three Chinese villages documenting everyday life – without any censorship whatsoever. At the same time the inhabitants of the villages shot their own short

Synopsis films about their surroundings, their hopes and their dreams – short

Core that of Flock the thirdpart film of by “Every Austrian multi-media artist Barbara films haveisbecome Seventh Person”. The result Husar of her ongoing project entitled DATA EXCHANGE is an exceptional documentary film that provides insightPROCESS, into life in which away delivers insight into the multifaceted and growing relations China from the urban and industrial centres – a life between between the artist and the Bedouin herds people of the socialism and market economy in which the villages becomeSinai the Peninsula. testing grounds for democracy and self-determination.

Festivals and Awards Special John Templeton Prize, Visions du Réel, Nyon Jury Special Prize, International Documentary Festival Amsterdam

time by its history, traditions and highly developed culture.

芭芭拉·胡萨尔

Barbara Husa

自由艺术家芭芭拉·胡萨尔 1975 年生于奥地利,毕业于维也纳应用艺术大学。

埃克·格罗恩 Elke Groen

她使 用多种媒体创作,曾获奥地利国家艺术资助,她的绘画、装置和视频作 1969 年生于奥地利,曾在维也纳 品曾在世 界各地展出放映。 学习建筑和摄影,1995 年起开始 Barbara Husar was born in 1975 in Feldkirch, Austria. A graduate of 电影制作。 the University of Applied Arts in Vienna and a freelance artist, Husar Elke Groen was born 1969 has obtained the Austrian National Grant for Fine Arts and held in Austria. She studied numerous solo and group exhibitions and screenings all over the architecture and photography world. in Vienna and has worked

作品年表 Filmography Die Kunststromdruese, 2010 Core of Flock, 2009 Astralsculpture, 2008 Jeepnomads, 2008 Evolution Der Schnallenmenschen, 2008 Data Exchange, 2007 Hathra, 2007

Synopsis Awards and Festival Selections The film depicts how modern food production companies employ Diagonale Festival of Austrian Film Best Artistic of aIt technology to maximize efficiency, consumer safetyEditing and profit. Documentary Film consists mainly of actual working situations without voice-over narration or interviews as the director tries to let viewers form their own opinion on the subject. The names of the companies where the footage was filmed are purposely not shown. The director's goal is to provide a realistic view on the internal workings of multiple food production companies in our modern society.

since 1995 as a filmmaker.

Awards and Festival Selections International Documentary Festival Amsterdam, Special Jury Award

尼可拉斯·盖哈特 Nikolaus Geyrhalter 尼可拉斯·盖哈特 Nikolaus Nicolaus G Geyrhalter eyrhalter 导演、制片人、摄影师,1972年生于奥地利维也纳。22岁时创办了自己的制作公司。 Johannes Hammel was born in 1963 in Basel. He completed studies in camera work at the Vienna Film Academy. Since 1986, he has lived and worked in Vienna as a freelance filmmaker, cameraman, and producer. After several short films, Folge mir is his feature film debut.

作品年表 Filmography 夜晚的世界 Abendland, 2011 阿伦特施泰 Allentsteig, 2010 7915 公里 7915km, 2008 我们每日的面包 Our Daily Bread, 2005 在别处 Elsewhere, 2001 普里皮亚特 Pripyat, 1999 代顿协定之后 The Year After Dayton, 1997 搁浅 Washed Ashore, 1995

Vision du Réel Nyon, Special John Templeton Prize European Film Awards Best Documentary Nomination

Happy Synaps, 2004

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奥地利单元 奥地利单元

奥地利单元 Austrian Selection Astrian Section

Astrian Section Austrian Selection Astrian Section

夜晚的世界 Abendland

纪录 / 奥地利 /2011/90 分钟 Documentary/Austria/2011/90min

羊群之心

内容简介

Core of Flock

影片是对傍晚欧洲不同地域以及人群生活的真实纪录。浮华躁动、享 乐主义、繁荣、高度城市化,这一切都与城市的历史、传统以及文化息

2009/ 埃及 /62 分钟 2009/Egypt/62 min

息相连。

参展、获奖情况 奥地利对角线电影节最佳纪录片艺术剪辑奖

Synopsis Some things can be seen more clearly at night: Nikolaus Geyrhalter’s new feature film undertakes a long, associative journey, surveying Europe by night in terms of its many different facets. Pulsating society of service providers and prosperity, bulwark of security and exclusion, urban civilization, hedonistic temple of earthly delights, inspired and weighed down at the same

内容简介 《羊群之心》是奥地利多媒体艺术家芭芭拉·胡萨尔创作中的艺术项 目“数据交换过程”的一部分。在片中,女艺术家来到埃及西奈半岛, 与游牧的贝都因人生活在一起,影片展现了双方复杂而不断变化的关系。

time by its history, traditions and highly developed culture.

芭芭拉·胡萨尔 Barbara Anna Husa

Husar

自由艺术家芭芭拉·胡萨尔 1975 年生于奥地利,毕业于维也纳应用艺术大学。 她使 用多种媒体创作,曾获奥地利国家艺术资助,她的绘画、装置和视频作 品曾在世 界各地展出放映。 Barbara Husar was born in 1975 in Feldkirch, Austria. A graduate of the University of Applied Arts in Vienna and a freelance artist, Husar

Synopsis Core of Flock is the third film by Austrian multi-media artist Barbara Husar of her ongoing project entitled DATA EXCHANGE PROCESS, which delivers insight into the multifaceted and growing relations between the artist and the Bedouin herds people of the Sinai Peninsula.

has obtained the Austrian National Grant for Fine Arts and held numerous solo and group exhibitions and screenings all over the world.

作品年表 Filmography Die Kunststromdruese, 2010 Core of Flock, 2009 Astralsculpture, 2008 Jeepnomads, 2008 Evolution Der Schnallenmenschen, 2008 Data Exchange, 2007 Hathra, 2007

Nicolaus Geyrhalter 尼可拉斯·盖哈特 Nikolaus Geyrhalter

Award-winning producer, director and cameraman, born in 导演、 制片人、摄影师, 1972年生于奥地利维也纳。 22岁时创办了自己的制作公司。 Vienna in 1972. At thewas age of twenty-two founded Johannes Hammel born in 1963 Geyrhalter in Basel. He completed his own in production company (Nikolaus Geyrhalter Film-Since 1986, studies camera work at the Vienna Film Academy. produktion)

Awards and Festival Selections Diagonale Festival of Austrian Film Best Artistic Editing of a Documentary Film

he has lived and worked in Vienna as a freelance filmmaker, cameraman, and producer. After several short films, Folge mir is his feature film debut.

作品年表 Filmography 夜晚的世界 Abendland, 2011 阿伦特施泰 Allentsteig, 2010 7915 公里 7915km, 2008 我们每日的面包 Our Daily Bread, 2005 在别处 Elsewhere, 2001 普里皮亚特 Pripyat, 1999 代顿协定之后 The Year After Dayton, 1997 搁浅 Washed Ashore, 1995

Happy Synaps, 2004

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Profile for Lukas Birk

BNYFF & ASAP Film Program  

BNYFF & ASAP Film Program from 09.09.2011-18.09.2011

BNYFF & ASAP Film Program  

BNYFF & ASAP Film Program from 09.09.2011-18.09.2011

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