無限亮 2024 No Limits | 場刊 House Programme

No Limits Showcasing Human Perspectives

無 限 角亮 展 現 温 度 與

度

第六屆場刊 6th Edition House Programme 聯合主辦 Co-presented by

電視連續劇 TV Drama Series

菲利普．萊納爾茨 及馬克．布萊辛克 《朱古力敢愛隊》

�勿擅自攝影、錄音或錄影。 Unauthorised photography or recording of any kind is strictly prohibited.

Team Chocolate

by Filip Lenaerts and Marc Bryssinck (��連�劇 7 Episodes) 免費現場放映 Free in-venue Screening

六 sat

16/3 12:20 , 3 pm

pm

大館洗衣場石階 Laundry Steps, Tai Kwun 語言 Language

設 中 英 文 字 幕、� 語 � 英 語 配 音、� 語 � 英 語 口述影像、語音場刊 Subtitles in Chinese and English, dubbing in Cantonese and English, audio description in Cantonese and English, and house programme in audio format available

佛拉蒙語及英語 Flemish and English

放映集數：第一集 Only the first episode will be screened

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免費網上節目 Free Online Programme

23/3

六

sat

「無限亮」網站播放 Screening available on "No Limits" website 共放映七集 All 7 Episodes will be screened

18/5

六

設中英文字幕 � 通 達字幕、�語 � 英語 配音、�語 � 英語口述影 像、語音場刊 Subtitles and accessible captions in Chinese and English, dubbing in Cantonese and English, audio description in Cantonese and English, house programme in audio format available

sat

83

�勿使用任何相機、智�手機� 任何錄音儀器對節目內容 進行拍攝、錄音�熒幕截圖。 Any type of screen recording or filming with a camera, smartphone or other recording device is strictly prohibited.

故事大綱 Synopsis

縱使路途崎嶇 也要自主人生

誰不想獨立自主？患�唐氏�合症的雅斯帕也想自力更生，應

徵一間朱古力工廠的包裝員工作。原來工廠�用�很多唐氏�合症

員工，初來報到的雅斯帕與眾人輕易打成一�，互相取笑，也不忘互

相照�。只是雅斯帕埋藏��一顆受傷的心，因受過�傷而不敢再�。

面對善良又��的天娜，如�一��摯的�放在眼�，雅斯帕也只�

唯�錯�感到�外擔�和�懼……

天娜與母�卻因簽證問題被驅逐出境，遣�科索沃，��人被

迫�隔千里，雅斯帕毅�決定，在一眾好友的相伴下隱瞞父母闖出比

利�，來了一場�跨歐洲的�路旅程，誓要重覓��。搭火車、坐長

�巴，以至無錢捱餓幾乎露宿街頭……朋友一個個因不同�遇離隊，

同�又遇着各種意想不到的機遇，雅斯帕歷經高潮起迭，但與天娜相 見之日卻仍���無期，目的地彷彿還遠在天�。他縱�灰心，卻永

未心�。正如對一眾員工又�又恨的工廠老闆所言，「別低估 他 們，

只要下 定 決 心，他 們便 專 心 一 � 去 追 尋 所 想 要的。」其實，我們大

家都一樣，��被尊重看�，�如常生活，做自己喜歡做的事�，�� 好工作可以養活自己，與喜歡的人組織家庭。

這是一場笑�交織，尤其�實動人的旅程，劇中角色的人生追尋

也映照�演員�實的所夢所想⸺「我的生命由我自主」。

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The Path May Be Tortuous I Must Take Charge of My Life Who doesn’t want to be independent? Jasper, who has Down Syndrome, also wants to be self-reliant, and applied for a job as a packer in a chocolate factory. Since this enterprise employs many people with similar disabilities, Jasper finds camaraderie soon after he arrives. Workers there make fun of each other, but they also offer mutual support. Yet behind his happy façade, Jasper hides a broken heart—he has been hurt once and dares not love again. But when he meets the gentle and ardent Tina, he can’t help but fall for her despite his sense of trepidation and fear.

Faced with visa problems, Tina and her mother are repatriated to Kosovo, thus the couple are separated. Without telling his parents, Jasper and his friends set off on a road trip, embarking on a long journey from Belgium across Europe to reunite with his love. Taking buses and trains, riding motorcycles and even becoming penniless and hungry, they are nearly forced to sleep on the street at one point. . . As his friends leave one after another, Jasper’s spirit rises and falls with every dramatic turn. He becomes despondent because his dreams of reuniting with Tina seem so distant. Yet he won’t give up. As Jasper’s boss—who has a love-hate relationship with his factory workers—once said, “Don’t underestimate them. If they are determined, they’ll devote themselves to the cause.” In fact, we are all alike: hoping to earn respect, wishing for a normal life, pursuing our hearts’ desires, earning one’s keep and dreaming of setting up a family with people we love.

This is a journey that makes you laugh and cry. The characters’ quests in the story mirror the genuine dreams and aspirations of the actors in real life—“To take charge of one’s life.”

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演員的朱古力人生

───菲利普·萊納爾��馬克·布里辛克

《朱古力敢�隊》是紀錄�製作人菲利普．萊納爾��舞�劇團�術�監馬克．布里辛

克共同�導的�視劇�。位�法蘭德斯的舞�劇團因��學習障礙的人而設；兩位導演希

�藉��寫一個故事，�劇團從舞台搬到熒幕上，由劇團演員擔演�節目的所�主要角色。

他們從一開始便決定以朱古力工廠作為故事�景，原因除了朱古力是比利�的代表食物，

也因為朱古力象徵的苦中帶�，�映人生的苦�參半。

劇本雖為虛構，但當中的�節和角色的�感，�實地�映�演員們的生命。故事中每個

人追�獨立自主、追尋��、要為自己的人生做決定，通通都是他們正在面對的命題。因�，

虛構的故事恍如�實的經歷，演員們�夠透�理解劇本，並展現�摯的演繹。當�，由�學

習障礙的演員擔演�一定困難，例如��難以記住大量對白，或者需要額外的幫助以理解

一�場景，但導演強�，他們每位都十��才華，細�地演繹了劇本所描述的�感。拍攝�， 他們��上大量�間綵排，�因�演員的即興演出而修改劇本，令故事更加摯誠。

製作團隊希�這個作品�鼓勵其他創作者嘗試起用不同�力演員。不是因為視他們為

��，要�別為他們發聲，倒是應該�他們看成�正的演員。當他們��機�去發揮，觀眾 ��看見他們的�彩表演。導演�：「一開始觀看這個節目�，你或許需要幾�鐘來投入這

�演員的演出，但 很 快，你 便 � 忘記 他 們的不同，並只看到角色，那�令 你 深 信的角色。 這是一件令人引以為傲的事�。」

86

Lives in Chocolate

─ Filip Lenaerts and Marc Bryssinck

Team Chocolate is the co-creation of documentary filmmaker Filip Lenaerts and Marc Bryssinck, creative director of Theatre Stap, a Flanders-based theatre company for people with learning disabilities. They wanted to write a story bringing the acting troupe to the screen, with all of the lead roles played by members of Theatre Stap. They decided to use a chocolate factory as the setting not only because chocolate is such an iconic Belgian product but also because chocolate can be bittersweet, a fitting analogy to life.

Although the story is fictitious, plot points and characters’ emotions truly reflect the actors’ realities—important issues such as gaining independence, finding true love, making their own decisions. Here, fiction is immensely close to reality, and the actors can truly understand the script and interpret it with their hearts. Of course, casting actors with learning disabilities brought along its own problems: Sometimes cast members had difficulties memorising a lot of text, or needed help in understanding a particular scene.

But Lenaerts is emphatic that his cast was extremely talented in unveiling a wide range of emotions inherent in the script. During pre-production, the team spent much time in rehearsal, polishing the script several times to incorporate actors’ own improvisations to make the story ring even more true.

The production team hopes that this work will encourage other creators to employ actors who are different, not to treat them in a patronising way but to give them a chance to exercise their voice as real actors. When actors are given such opportunities, their performances can be truly amazing. Director Lenaerts adds, “When you start watching this show, you need a few minutes to see these actors but very quickly you forget they’re different and you just see characters, characters you really believe in. That’s something to be proud of.”

87

1963 年 生 � 比 利� 蒂 斯 霍 滕，在 父 母 鼓 勵 下 學 習音 � 和

演奏色士風。�年�期，他開始物色與自己契合的�隊，以�尋找

表演舞台。他由較小的場地起步，十年�，他已�身大型�季音

� 節 和 � � 場 Spor tpaleis 的 演 出。在 安 � 衛 普 的 爵 士 工 作

室 期間，他獲劇團舞踏劇團邀�擔任�手，參與他們的第二個劇 馬克・布里辛克 Marc Bryssinck 導演及編劇 Director and Writer 舞踏劇團藝術總監 Creative Director of Theater Stap

場作品 Tussenbeide。布里辛克與演員十�投契，留在劇團任 職

� 手、作曲人，�來更成為�劇和導演。他以舞踏劇團演員的想

像力為靈感，創作了多個作品。過去十�年，他一�是劇團的�

術�監。2016 年，他擔任�視劇《朱古力敢�隊》的聯合�劇和

導演。

Marc Bryssinck (Schoten, 1963) was encouraged by his parents to learn music and play the saxophone. In his teens, the search for the right bands started and the right stages, initially the smaller ones, but after 10 years, the big summer festivals and the Sportpaleis. During his time at the Jazz studio in Antwerp, he was approached by theatre Stap as a musician for Tussenbeide, their second theater production. There Marc fell in love with the actors and decided to stay on, first as a musician and composer, later on as screenwriter and director.

Leaving from the imagination of the actors at Stap, he creates theatre productions. Marc has been the artistic leader at the theater company for the past 15 years. In 2016, he co-wrote and directed the series Team Chocolate.

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197 7 年生�比利�蒂倫豪�，�就�布�塞爾皇家戲劇、

�影�音效學院，自�對�影和敍事方法產生興趣。他的��作

品 De Laatste Saga 是在冰島拍攝的�路�，��比利��視

頻道 Canvas 播放。比 利� 製 作�司 Woesti jnvis 邀 他 加入團

隊，為� 視 節目 Man Bijt Hond（Eén）製作紀錄短�。三年� 菲利普．萊納爾茨 Filip Lenaerts 導演及編劇 Director and Writer

轉 為自由身工作者，專注�探索敍事方法。�年�，他毅� 轉 向

�寫和執導 劇��。 2016 年，他 擔 任� 視 劇《 朱古力敢�隊》

的聯合�劇和導演。

Filip Lenaerts (Turnhout, 1977) started his academic

career at the RITS in Brussels, where he became obsessed with film and storytelling. His graduation film De Laatste Saga, a road movie set in Iceland, was broadcast by Canvas and picked up by Belgian production company Woestijnvis.

He became a vital part of the team that produced short documentaries for Man Bijt Hond (Eén). Three years later he decided to give up the security at Woestijnvis and pursue a freelance career centered on storytelling. A few years ago, he made the leap to writing and directing fiction. In 2016 he co-wrote and directed the series Team Chocolate.

導演��劇 Directors and Writers

菲利普·萊納爾� Filip Lenaerts

馬克·布里辛克 （舞�劇團�術�監） Marc Bryssinck (Creative Director of Theater Stap) 監製 Producers

提娜·德·默倫納拉 Tine De Meulenaera

瑪�克·沃�爾斯 Marijke Wouters

演出 Cast

�勒·帕爾馬� 飾演 費雅斯帕 Jelle Palmaerts as Jasper Vloemans 珍·高力斯 飾演 大釘 Jan Goris as Spiker

�拉·布里辛克 飾演 笛天娜 Mira Bryssinck as Tina Dibrani �森·范·拉爾 飾演 �斯 Jason Van Laere as Max

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製作 Production

deMENSEN VRT Proximus

國�發行 International Distribution

狂野群眾�影�司 Wild Bunch TV

電影 Film

原一男《再見CP》

Goodbye CP

by Kazuo Hara 免費現場放映 Free in-venue Screening

六 sat

16/3 1:15 , 4:15 pm

pm

大館洗衣場石階 Laundry Steps, Tai Kwun 語言 Language

設 中 英 文 字 幕、� 語 � 英 語 配 音、� 語 � 英 語 口述影像、語音場刊 Subtitles in Chinese and English, dubbing in Cantonese and English, audio description in Cantonese and English, and house programme in audio format available

�勿擅自攝影、錄音或錄影。 Unauthorised photography or recording of any kind is strictly prohibited.

日語 Japanese

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©Kazuo Hara

免費網上節目 Free Online Programme

23/3

六

sat

18/5

「無限亮」網站播放 Screening available on “No Limits” website 設中英 文 字幕 � 通 達 字 幕、� 語 � 英 語 配 音、� 語 � 英 語口述 影 像、 語音場刊 Subtitles and accessible captions in Chinese and English, dubbing in Cantonese and English, audio description in Cantonese and English, house programme in audio format available

�勿使用任何相機、智�手機�任何錄音儀器對節目內容 進行拍攝、錄音�熒幕截圖。 Any type of screen recording or filming with a camera, smartphone or other recording device is strictly prohibited.

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六

sat

節目介紹 About the Show

用電影推動改變

1960 年 代 末 至 70 年 代 初，日本民眾 積 極關注 社 � 議 題，

不乏見到不同�力人士參與的身影⸺他們正是導演原一男�

影處女作品《再見 CP》的主人�，一群自發成立殘疾者組織「⻘

草�」的腦性�痺（Cerebral Palsy，簡稱 CP）患者。

導演原一男對不同�力人士的關注源�學生�期的一�專

題習作，他為攝影作品多�探訪殘疾兒童院舍，也讓他好奇，不

同�力人士在搬離院舍�何去何從？幾經介紹下他來到�城� 的小村。村落由滿懷抱負的�侶為腦性�痺患者而建，�侶把他

們帶離封閉的原生家庭，賦予他們自給自足的獨立生活，更大力

推動自由戀�，讓他們實現成婚、生子�基本人權。他在�結識

了横田弘�横塚晃一�多位「⻘草�」核心成員，並在日漸相處 的過程中萌生�影創作的念頭。

古代日本�「士農工商」階�之�，病患與不同�力人士一

律被歸類為「非人」，�受社�排斥。與其在村莊當部落民被�

緣�，原一男認為殘疾歧視源�圍繞身�的錯誤認知�價�觀，

要�底�除歧視，必先要打破社�對殘疾的�見。在他的極力游 �下，多位正在神奈川�組織活動的「⻘草�」成員�終同意參

與拍攝，透過�影向世人展�自我價�。

《再見 CP》讓腦性�痺患者現身�法、透露心聲，並展�

他 們的�實生活，使 觀 眾�面歧 視問題，聆 � 殘 疾 人士爭 取平

權的吶喊聲。在原一男毫不遮�的鏡頭下，這�「⻘草�」成員

不 再 是 被 動的 病 人 角色，而 是 � 滿 生 命 力、勇�、尊 嚴的生 命

鬥士。

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Fostering Change through the Camera Lens During the late 1960s and early 1970s, the Japanese public engaged with pertinent social issues. Among them were advocates with disabilities—the Green Lawn Movement which was founded to protect the rights of people with Cerebral Palsy (CP), the very subjects of filmmaker Kazuo Hara’s first film Goodbye CP. Hara’s interest in people with disabilities began with a project from his student years. While on a photography assignment, he paid multiple visits to a home for children with disabilities. He then became curious as to where they’d go when they came of age.

After multiple referrals, Hara arrived at a small village in Ibaraki Prefecture where an idealistic monk built a community for people with CP, taking them from their intolerant families and providing them with an environment to become independent, encouraging them to enjoy such basic human rights as love, marriage and procreation. There Hara met Hiroshi Yokota and Kōichi Yokozuka, core members of the Green Lawn Movement, and their friendship sowed the seeds for this documentary film.

The hereditary caste system in ancient Japan was rigidly divided into four categories: scholar gentry, peasant farmers, artisans and craftsmen, merchants and traders. Sick or disabled people were classified as outcasts, “non-humans” rejected by society. While acknowledging that persons with disabilities were marginalised in the village, Hara was convinced that such discrimination stemmed from misguided beliefs and attitudes about the human body. To eradicate discrimination, one must put an end to prejudices against people with disabilities. After much lobbying on Hara’s part, members of the Green Lawn Movement eventually agreed to be filmed while they were organising activities in Kanagawa Prefecture, granting the world a window into their sense of self-worth.

Goodbye CP portrays the words, personal experiences and heartfelt thoughts of people with CP, casting an non-judgemental eye on their lives, lending an ear to them as they fight for equal rights. Under the unmitigated gaze of Hara’s camera, members of the Green Lawn Movement were no longer passive patients but fighters filled with vitality, courage and a desire for respect in life.

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再見 ，告別所有 對不同能力人士的偏見 問

答

───原一男

《再見 CP》籌�多�，內容意味深長。你是怎樣理解不同�力人士的命題？

所 � 問 題 歸 結 � 身 � 價 � 的 定 性。肢 � 障 礙 使 價 � 蕩 � 無 存？我 卻 不 這 樣

認 為。因�我邀�拍攝對象�田弘放�使用輪椅這種為方便病患生活而設的

工具，用原本的身�面向世界，活出自己的樣子。經過一番討論�，�田�很

願意嘗試。這就是�影的主旨，也是�名中「再見」的含義，是要告別對不同

問

答

�力人士的�見。

你的紀錄�主張「介入」與「行動」，風格自成一派。與拍攝對象是如何合作？

成員中�田的想法�多，�敢�表達自己。我身為導演同�兼�攝影，�透過

不斷討論 摸索�田的想 法，仔 細觀 � 他的一 舉 一 動。至 � 設計甚 � 場 景、如 何�效呈現身�的價�，並指出社�不���影細節，則由我來主導。譬如街

頭 募 �一幕，我把 街訪內容以畫外音疊加在車站外人潮洶湧的畫面上，�擁

�的人群比作社�的大多�，透過受訪者�出不同�力人士普�被視為不幸

問

答

和�憫對象的社�現實。

�影尾聲�種模�兩可的感覺，為什��這種處理？

一開始並沒�預設結局��如何，內容都是我和�田逐一商量，逐一嘗試，不

斷重� 底下完成。�田面對太太�對自己繼�參與拍攝，終究不 �不屈服 � 現 實。� 服 妻子一 人 就已讓 �田筋 疲力�，要改 變世界 � 怕是 難上 加難。�

影� � 一 個場景，�田拼盡全力在地上爬 行，透 過自白道出他 在這世界�行

的無力感與絕�。

94

問

答

�影如今再度上映，對觀眾來��何意義？

日本社�的無障礙意識的確與日俱�，行人路平整無高低差，巴士讓輪椅輕易

上落，殘疾歧視看似已大�改善，�的歧視形式卻在不知不覺間萌生。舉例，

�下日本不�孕婦�在產�進 行篩檢，倘若胎兒被檢出發�異常如罹患唐氏

綜合 症，� 擇中止懷孕的女性高達 78.2%，可見 社 �普� 仍未 接 納不同�力

人士，歧視仍未�失。我認為還是�需要再�放映《再見 CP》來掀起討論。

Goodbye: Bidding Farewell to Prejudices against People with Disabilities ─ Kazuo Hara

Q

Goodbye CP is a deeply meaningful film that took a long time to make.

How do you define people with disabilities?

A

The question boils down to the definition of the value of the human body. Do physical disabilities negate all sense of value? I don’t think so. Therefore, I suggested Hiroshi Yokota not to use the wheelchair that aided him, but to walk by using his body as he faces the world and lives fully in his own image. After some discussion, Yokota was open to try it. This is the main theme of this film, which also carries the meaning behind the word “Goodbye”, as in bidding farewell to all of the prejudices against people with disabilities.

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Q

A

Q A

Your documentary films advocate such approaches as intervention and action, a style that has since become iconic. How did you collaborate with your subjects?

Among members of the Green Lawn Movement, Yokota was most vocal in expressing himself. As the director and photographer of this film, I engaged in extensive discussions delving into Yokota’s ideas. I carefully observed his every move. I was in charge of such details as devising different scenes, effectively portraying the value of the physical body and highlighting social injustice. For example, in the scene where they were soliciting donations on the street, I juxtaposed audio interviews as voiceovers with images of crowds moving outside the train station. In that way, the crowd represents the majority of the population, and the interviews reveal individuals with disabilities are commonly perceived as objects of pity or sympathy in society.

Your film will be screened again this time. What significance does it have to the audience today?

Japan has become more conscientious about accessibility—pedestrian walkways are now barrier-free, and passengers in wheelchairs can easily board and exit buses. It does appear that prejudices against people with disabilities have greatly improved. But new forms of prejudice are coming into being, often catching us unaware. For example, many pregnant Japanese women would arrange for prenatal screening. If the test results show the foetus has Down Syndrome, up to 78.2 per cent of the women would choose to terminate their pregnancies. This is proof that our society is still unable to accept people with disabilities and that prejudices have never been eradicated. I believe we still need to screen Goodbye CP to engage people and incite debate.

96

1945 年出生�山口�宇部市。從東京攝影學院退學�，他舉辦

了一場關�殘疾兒童世界的攝影展，名為「Baka ni Sunna 別取笑我」。 197 1 年 與 小 林 佐 智 子 共 同 創 立 製 作 � 司「 疾 走 製 作 」，翌 年 以

紀 錄 �《再見 CP》首� 擔 任導 演。� � 作品《 極 度 私 人� 慾：�歌

1974》（1974）被 譽 為開創性的「自我 紀 錄 �」。大受歡 迎的《皇帝

原一男 Kazuo Hara 導演及攝影指導 Director and Cinematographer

裸軍行進》（1987）�獲柏林國��影節卡里加里�影�、法國�實

� 影 節 大 � � � 項。其 他 作 品 包 括《 奉 獻 的 一 生 》（ 199 4 ）、《 千 �的千面》（2005）�《泉�石棉災難》（2017）。原一男作為環境

污 � 的 受 � 者，拍攝 歷�十�年，一部史 �式三�紀 錄 �以 �長 達

372 �鐘的《水俁曼荼羅》（2020）， 關注水俁病患者�其家人取�

法律承認和賠償。

Japanese filmmaker Kazuo Hara was born in 1945. After dropping out of Tokyo College of Photography, he worked as a care worker at a school for disabled children, and began to shoot a series of photos that would become his first solo exhibition Baka ni Sunna (Don’t Make Fun of Me). In 1971, Hara founded the independent film company Shisso Productions with his wife, producer and primary collaborator Sachiko Kobayashi, and, the following year, made his directorial debut with the documentary Goodbye CP. His films, Extreme Private Eros: Love Song 1974 (1974), The Emperor’s Naked Army Marches On (1987) and A Dedicated Life (1994), would confirm his pioneering action-documentary style and garner international acclaim. Hara’s other works include A Dedicated Life (1994), Many Faces of Chika (2005), Sennan Asbestos Disaster (2017) and Minamata Mandala (2020), a three-part, six-hour epic shot over 15 years, about the individuals fighting for legal recognition and compensation for a community poisoned by industrial wastewater. 導演及攝影指導 Director and Cinematographer

原一男 Kazuo Hara

監製 Producer

演出 Cast

錄音 Sound Recording

製作�司 Production Company

小林幸子 Sachiko Kobayashi

�林豊彦 Toyohiko Kuribayashi

97

�田弘、横塚�一 Hiroshi Yokota, Kōichi Yokozuka

疾走製作 Shisso Production

動畫 Animation

湯姆 ．洛克《沖天小企鵝》

The Penguin Who Couldn’t Swim

by Tom Rourke 六 sat

16/3 12:10 , 2:50 , 4:10 , 5:50 pm

pm

pm

pm

�語�英語口述影像、語音場刊 Audio description in Cantonese and English, and house programme in audio format available.

免費現場放映 Free in-venue Screening

大館洗衣場石階 Laundry Steps, Tai Kwun �勿擅自攝影、錄音或錄影。 Unauthorised photography or recording of any kind is strictly prohibited.

98

免費網上節目 Free Online Programme

23/3

六

sat

「無限亮」網站播放 Screening available on “No Limits” website 設中英文通達字幕、�語�英語口述影像、語音場刊 Accessible captions in Chinese and English, audio description in Cantonese and English, house programme in audio format available

18/5

六

sat

�勿使用任何相機、智�手機�任何錄音儀器對節目內容 進行拍攝、錄音�熒幕截圖。 Any type of screen recording or filming with a camera, smartphone or other recording device is strictly prohibited.

99

故事大綱 Synopsis

若要人似我，除非兩個我。每個人都生而不同，何用因獨�

而困惱？動畫講述一隻長�長短翅膀的小企鵝，因為自己不�游

泳的缺憾而�到排�，暗自苦惱。但牠勝在性格堅強，創意十足， 發 明了一 個「 沖 天 飛 行 器 」讓自己 一 飛 沖 天，無 拘 無 束，翱 翔

天�，小企鵝更因�大受歡迎，��同伴的艷羨目光，都爭先� �要飛上天空，從不一樣的角度去欣賞這個世界。

There are no two of us alike. Everyone is born different, so why be troubled by uniqueness? The animation is about a penguin born with a long and a short wing, who feels isolated from the rest of her colony as she is unable to swim. Tough and inventive, she invents a rocket that allows her to soar high and fly freely in the sky. For this, the penguin has become hugely popular, an envy of her peers even. They all scramble to fly high and see the world from a different perspective.

100

天生我才必有用 ───湯姆·洛克

企鵝是群居動物，走路��笨拙，逗人發笑；惟一跳入大海，牠們是游泳

健�，泳速極快，方便覓食。英國插畫師湯姆．洛克自身行動不便，要用義肢

走路，深深感受到不同�力人士在社�中面對的困難，以至歧視和欺�。他以

企 鵝作為動畫主要角色，正因為人 們跟企 鵝一樣，也是群居生物，需要�伴 相依：朋友、家人、伴侶、�居。相信不同�力人士的�力，就是相信每個人 都�獨�的天賦，天生我才必�用，不�游泳，也可以振翅高飛。湯姆．洛克

�以 行動證明，儘管自己行動不便 仍一樣可以 創意無限：「我 想以一 個不同

�力人士的身�，創作一 個關�不同�力角色的故事。」他 從沒專注 �自身

的缺失，從中更 以 輕�幽默的角度帶出故事。動畫的另一大 趣味 是：天空是 黃色的，海水是紅色的，冰雪是藍色的，打破了人們的既�想像。

Everyone Has a Gift ─ Tom Rourke Penguins are social animals. On land, they waddle clumsily. Once diving into the sea, though, they make fast swimmers that fetch food in no time. Being disabled and having to walk with a prosthetic leg, British animator and motion graphics designer Tom Rourke sympathises deeply with the share of problems, even discrimination or bullying, that an individual with disabilities may face in society. He makes penguin the main character of his animation, as humans, like penguins, are social animals that need the company of friends, families, partners, and neighbours. Having trust in the ability of people with disabilities is to believe that everyone has a unique gift. You may not know how to swim, but you may be able to soar high.

Tom Rourke shows through his actions that albeit physically challenged, he is immensely creative. As he says, “As a disabled person, I’d like to come up with a story about a disabled character.” Never fixated on his own lack, in a similar vein, this story is told in a light-hearted and amusing manner.

Colours are another fun bit of the tale that upends people’s imaginations: the sky is yellow, the sea is red, ice and snow are blue. Only through parochial viewpoints can we hope to see a different world.

101

� 獲 殊 � 的 導 演、動 畫 師 和 動 � 圖 像 設 計 師，

現 居 � 倫 敦。洛 克�負 責 不同 項目，如為 英國 � 播 �

司（BBC）製 作 喜 劇 動 畫，為�隊 The Wombats 執導

音�影�，並為 BBC 2 共三十 �的 遊 戲 節目 Beat The

Brain 設 計 所 � 圖 像 和 動 畫。近 期，他 為 比 爾 · 蓋 � 湯姆 ・ 洛克 Tom Rourke 編劇、導演及動畫製作 Writer, Director and Animator

和 影 音 平 台 Netflix 執 導 和 製 作 � 影 動 畫，也 參 與 製

作 品 牌 Nespresso 和 佳 � 的 � 告。他 � 在 � 聞 網 站

IFLScience 擔 任 高 � 動 畫 師 � 年，迄 今，這 � 影 � 獲 � � 六 千 三 百 萬 � 觀 看。目�，他在�視 ITV 擔任

設計師和動畫師。

Tom Rourke is an award-winning director, animator and motion graphics designer based in London. Along with many other projects, Rourke has made comedy animations for the BBC, directed a music video for The Wombats, and designed the graphics and animations for all 30 episodes of BBC 2’s game show Beat The Brain. Recently he has directed and animated films for Bill Gates and Netflix and worked on ads for Nespresso and Canon. He was the in-house senior animator at IFLScience for 5 years and those videos have, to date, received over 63 millions views. He currently works at ITV as a designer and animator.

102

與 湯 姆 · 洛 克 合 作多年，包 括 為短 � The Flood

�寫劇本。目�，他正為多部短��漫畫��寫劇本。

�外，他的�祖父是《金剛》原著作者。

湯姆 ・ 華萊士 Tom Wallace

Tom Wallace has collaborated with Tom Rourke for many years, including writing the short film The Flood. He is currently writing scripts for a number of short films and comic books. Also his great grandad wrote King Kong.

編劇及監製 Writer and Producer

�劇、導演�動畫製作 Writer, Director and Animator

執行製作（英國�影協�） Executive for the BFI

�劇�監製 Writer and Producer

監製（展翅製作） Executive Producer for Wingspan Productions

動畫執行 Animation Executive

監製（英國廣播有限公司） Executive Producer for BBC

湯姆·洛克 Tom Rourke

湯姆·華萊士 Tom Wallace

海倫·布倫斯頓 Helen Brunsdon

吉蓮·斯科瑟恩 Gillian Scothern

德波拉·李 Deborah Lee

�瑪·卡休薩扎克 Emma Cahusac

103

動畫 Animation

西蒙・麥考恩 《女神狂想曲》

All for Claire

by Simon McKeown 免費現場放映 Free in-venue Screening

六 sat

16/3 12 , 2:40 , 4 , 5:40 pm

pm

pm

pm

大館洗衣場石階 Laundry Steps, Tai Kwun �語�英語口述影像、語音場刊 Audio description in Cantonese and English, and house programme in audio format available

�勿擅自攝影、錄音或錄影。 Unauthorised photography or recording of any kind is strictly prohibited.

104

免費網上節目 Free Online Programme

23/3 18/5

六

sat

六

sat

「無限亮」網站播放 Screening available on “No Limits” website 設中英文通達字幕、�語�英語口述影像、語音場刊 Accessible captions in Chinese and English, audio description in Cantonese and English, house programme in audio format available

�勿使用任何相機、智�手機�任何錄音儀器對節目內容 進行拍攝、錄音�熒幕截圖。 Any type of screen recording or filming with a camera, smartphone or other recording device is strictly prohibited.

105

故事大綱 Synopsis

也許相愛很難

蔭�的大樹下，克萊兒獨自跳舞，怡�自�。儘管她行動不便，要借助拐杖走路，但

� � 曼 �，婀 娜多�。若�放下世俗的定義，誰⽈，身�殘疾一定限制舞者的肢�動作和 舞動空間？風��儻的李爾對她一見鐘�，�切地送上一支紅玫瑰；冷不防，克萊兒斷� 拒絕，李爾便掉進了一個又一個驚險的奇異世界。

但為了取�心儀女神的芳心，李爾癡�闖�關，克服了重重困難，�至幾乎用盡��

一口�……李 爾 頹 � 地 坐 在一 塊 岩 石上 � �，� 傷的掉下手中玫 瑰……究 竟 � � 是 不 是

有 如童 話？可 以 �誠所�，金石為開，�的��人終成眷屬？劇中的�美舞�由英國�受 讚譽的國�知名舞蹈家克萊兒．�寧漢�人演出，�術家西蒙．�考恩透過動�捕捉技術 採�動作�據，再配合 3D 圖像處理，百�百呈現身障者�實的肢�動作。

Perhaps Love is Hard Under a gloomy tree, Claire dances alone contentedly. Although she is a person with disabilities and relies on crutches to move, her figure is beautiful, her movement is graceful. Wouldn’t it be wonderful if we could discard the stereotype that physical disabilities limit a dancer’s movement? The handsome Lee falls for Claire as soon as he sets eyes on her, offering her a rose with his admiration. But Claire gives him the cold shoulder, rejecting his advances. Lee falls into magical worlds, full of traps and obstacles.

What a life filled with setbacks.

In order to win her heart, Lee willingly accepts every challenge to the point where he almost draws his last breath. . . Later, the despondent Lee longingly sits on a rock, eventually letting go of the rose. . . Is love a fairytale? Can human overcome all hardships? Can true love find a way to a happy marriage? This film’s gorgeous choreography references actual performances by Claire Cunningham, an internationally renowned dancer. Artist Simon McKeown captured her dance through motion-capture technology, adding 3D animation to fully portray her alluring movements.

106

讓殘疾人自由地掌控命運 ───西蒙．麥考恩

《女神狂想曲》可不是一個��童話。右耳全�、患�成�不全症（脆骨症）的�術家

西蒙．�考恩，��比一般人容易斷裂，不�需要使用拐杖，他想藉�作品去探討不同�力

人士的權力�兩性關係：「殘疾人士常被認為缺乏權力和行動�力，無法跟別人建立關係。

我想挑戰這�既定成見，讓行動不便的女主角克萊兒在一個�法世界中掌管權力。」因而， 這個��故事中�一個�趣的權力轉移。「克萊兒是一個�受讚譽的專�舞者，她掌控了自

己的命運，��擇的自由。」�之，常人一般的男主角卻處處碰壁，身處下風。「不同身�以 至不同形式的身�舞動都是非常別�和美�的，我們也應該更�義地看�這�動作。」

一�以來，創作對西蒙的影響和改變很大。他感激自己�畫畫和創作，也遇上好老師引領

他相對容易地在創作路上�行。「我從不理解為甚�社�視殘疾人士為不一樣，甚至�他們視

為低人一�。」身�差異應該被視作為一種�點，並�到重視和宣揚。 「這是多元而��的世界，

我希�這種『多元性』�在我們的文�中��展現，使這個獨�的世界變�更快�和共融。」

People with Disabilities Control Their Own Fate

─ Simon McKeown

All for Claire is not a romantic fairytale. Deafened in his right ear and having Osteogenesis Imperfecta (Brittle Bones), Simon McKeown—who often uses crutches— creates this film to examine the empowerment and sexual dynamic of people with disabilities.

“Disabled people are often perceived as without power or agency and not capable of being in a relationship. I wanted to challenge these stereotypes by placing Claire in charge of a magical world.” Thus, this love story contains a fascinating shift of power. “Claire is an elite professional dancer. She is in charge of her destiny in the film with the freedom to choose.”

On the contrary, the story’s male protagonist constantly runs into trouble, thwarted at every turn despite being an ordinary person. “Alternative forms of movement by bodies of people who are different are incredibly valid, interesting and beautiful.”

Artistic creativity continues to wield great influence on McKeown. He is grateful that he can draw and paint, thanks to fine art teachers who guided him along the way. “I have never understood why any society should see disabled people as being unequal, and thus to be treated as lesser human beings.” Physical disabilities should be seen and taught as a virtue to be valued. “We live in a diverse and complex world, I hope this ‘diversity’ can be fully represented in our cultures to make this unique world a happy and successful place to be.”

107

西蒙．�考恩是�獲 殊�的殘 疾� 術家，� 知名的是其以

殘 疾 和 � 碼 未 來 為 主 題 的 作 品，並 在 多 地 展 出。其 中 Motion

Disabled 是首個以動作障礙主題的非醫學研究作品，�在美國的

史密森�國�畫廊；捷克布拉格的 DOX 當代�術中心；�洲、挪威、 美洲、�美洲和英國�地畫廊，以�德國德累斯頓的德國衛生博

西蒙・麥考恩 Simon McKeown 導演、編劇及監製 Director, Writer and Producer

物館展出。2010 年，他的作品同�在 17 個國家展出，並獲�為�

術節 DaDaFest 的國�年度�術家。2018 年，英國政府主辦的展

覽 Great Exhibition of the Nor th 展出他的作品 This Way

North。

�考恩是位�受追捧的�碼和戶外�術專家。2015 年，他在

�爾蘭機構 Arts and Disability Ireland 支�下完成大型戶外投 影活動 Cork Ignite。作品��爾蘭科克首演，為�爾蘭文�之�

的�軸節目，並與當地殘疾�術家合作。�考恩現為英國提賽德 大學�術和創意產�學院教授。

Simon McKeown is an award-winning internationally exhibiting disabled artist renowned for his work on disability as well as our digital futures. He exhibits internationally and his works, including Motion Disabled, which was the first non-medical study of impaired motion, have been exhibited as far afield as the Smithsonian International Gallery in the USA, The DOX Centre for Contemporary Art in Prague, Czech Republic, along with galleries in Australia, Norway, America, South America, the UK, along with the Deutsches Hygiene Museum in Dresden, Germany. In 2010, he was named DaDaFest International Artist of the Year following the simultaneous showing of his work in 17 countries. In 2018 he exhibited at the UK Government led Great Exhibition of the North in an exhibition entitled This Way North.

He is much sought after as a digital and outdoor arts specialist. In 2015, he completed the massive outdoor projection event Cork Ignite supported by Arts and Disability Ireland. Working with local disabled artists the work premiered in Cork, Ireland as the culminating event for Culture Night Ireland (2015). McKeown is a Professor of Art at the School of Arts and Creative Industries at Teesside University in the UK.

108

克萊兒·�寧漢跨領域表演者和�舞家，常駐�蘇格蘭格拉

斯哥。她具�獨�的表演風格，以創意多樣的方式活用拐杖，配上

她的美�聲線（她�接受古典聲�訓練）、空中動作和表演技巧， 使她成為英國乃至世界各地�受追捧的表演者。她的獨腳戲作品

Evolution 和 Mobile 挑戰美學與舞蹈，幽默睿智，�受好評。 克萊兒・康寧漢 Claire Cunningham 演出 Performer

Claire Cunningham is a multi-disciplinary performer and choreographer based in Glasgow. Her unique performance style in integrating the dynamic and imaginative use of her crutches, alongside her beautiful voice (she trained as a classical singer), aerial and acting skills, have made her a much sought after performer both in the UK and internationally. Her solo works, Evolution and Mobile, have been critically acclaimed for their humourous and intelligent challenges to issues of aesthetics and dance.

導演、�劇及監製 Director, Writer and Producer

西蒙·�考恩 Simon McKeown

主要動畫製作 Lead Animator

克雷格·�克馬倫 （由西蒙·�考恩協作） Craig McMullen (assisted by Simon McKeown)

演出 Performers

克萊兒·康寧漢、李·索爾 Claire Cunningham, Lee Soar

角色設計 Character Designer

蘇菲·格雷姆 Sofie Graham

音響設計 Sound Designer

奈�爾·克�克斯 Nigel Crooks

3D 建模 3D Modelling

克雷格·�克馬倫 Craig McMullen

109

製作經理 Production Manager

克雷格·�克馬倫 Craig McMullen

動�捕捉 Motion Capture

克雷格·�克馬倫 （由加里·昆協作） Craig McMullen (assisted by Gary Quinn)

動畫製作助理 Animation Assistant

李·索爾 Lee Soar

香港灣仔港灣道 2 號 12 樓 12/F, 2 Harbour Road, Wanchai, Hong Kong 電話 Tel & WhatsApp: (852) 28284949 傳真 Fax: (852) 28242100 電郵 Email: enquiry@nolimits.hk