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1

FESTIVAL GUIDE


場次表

40

SCREENING SCHEDULE


1

目次

03

活動資訊

EVENT INFORMATION

03

選片指南

PROGRAM TALK

04

05

限量超值組

SPECIAL COMBO

SPECIAL

觀眾票選抽好禮

FESTIVAL GOODIES

08

影癡俱樂部

CINEPHILE CLUB

10

11

LET'S TALK ABOUT FILMS /

TALKS

北影選片夜

14

電影正發生:剪接

IN PROGRESS: EDITING

16

MERCHANDISE

06

07

影迷專屬優惠

周邊商品

焦點對談與講座

15

VR 全浸界講座

/ VR FRONTLINE

購票資訊

TICKET INFORMATION

17

影迷觀影禮

20 24 25

CINEPHILE ONLY

FESTIVAL GUIDE 影展地圖

VENUE

場次表

SCREENING SCHEDULE


3

選片指南

活動資訊

PROGRAM TALK 時間| 06.15 SAT 13:30-16:30 地點|三創生活園區 12F SYNTREND SHOW

開放入場 買節目專刊參加選片指南,好禮送給你! 現場買專刊,就送你「

NT$ 500 折價券」和「

糬系列 100ml 迷你杯(輕乳酪麻糬或提拉米蘇麻糬口味)兌換券」, 數量有限,送完為止。

中山堂日場影迷通行證 選片指南獨家販售 影癡限定,限量

200 張

錯過今日,沒明日,超值無限通關價:

1199 元

* 11:00 發號碼牌,12:30 依號碼牌順序入場購買。 *一人限購乙張,限本人使用,當日僅收現金。 *詳情請洽台北電影節官網「參加資訊」→「購票資訊」。

13:30

選片指南,約!

看電影,約嗎? 今夏,電影放什麼?讓我們說給你聽! 參加即送「

16:30

特濃韋恩咖啡 320ml」乙罐,數量有限,送完為止。

回饋影癡,好貨不藏私

選片指南結束,將在現場抽出「FLIPPOS 聯名翻轉襪、亞果元素 GRAVITY mini 行動電源」,讓你趕場腿不累,搜片不斷電!

台北電影節 ╳ GRAVITY mini 行動電源 聯名翻轉襪

市售 890 元

市售 1280 元

*主辦單位保留活動變更權

EVENT INFORMATION

12:30


4

周邊商品

買,懂?

活動資訊

MERCHANDISE

看電影約嗎 帆布包

*限量超值組限定

EVENT INFORMATION

欸,給約嗎?

行動代號:TFF & CHILL,一起看電影吧。

主視覺海報

您好,要不要買海報

由金獎設計師廖小子量身打造台北電影節主視覺海報,闇黑華 麗,牆上一張都不能少。

影展 TEE

穿出你的影展魂

台灣知名選貨店 plain-me,攜手第 21 屆台北電影節推出聯名 TEE。透過搶眼色彩對比展現自信,高調的標準字,就是我的 影展態度。

翻轉襪

有一種壓力是襪子給的

台灣製造,編織工法,以台北電影節主視覺配色延伸設計,舒 緩肌肉緊繃,時尚與機能兼具。穿上去,讓你在影展追片路上 造嘎那飛。

迷你隨身防蚊卡匣

有了它,防蚊就和看電影一樣優雅

隨身吊掛設計,室內室外兼用,無臭無味,有效持續高達 130 天。影迷獨家優惠價,限量發售。

高硼矽耐熱玻璃隨手瓶 玻璃心 NO,玻璃水瓶 GO!

連續三年在臺北市中山堂獨家裝設來自瑞士的 Franke 淨水生 飲系統,我們有水,你有水瓶嗎?

POCKEAT 食物袋

輕鬆減塑 我的新選擇

耐熱防水、乾濕皆宜,獨特黏扣把手設計,攜帶方便,容量可 變,裝多裝少都剛好。(花色以現場庫存為準)


5

限量超值組

各限量 50 組,搶,懂?

我超潮 der

+

+ 影展 TEE

EVENT INFORMATION

影展時尚組

A

活動資訊

SPECIAL COMBO

看電影約嗎 帆布包

聯名翻轉襪

地球和真相都只有一個

環保減塑組

B

+ 看電影約嗎 帆布包

+ 高硼矽耐熱玻璃 隨手瓶

+ 迷你隨身 防蚊卡匣

Pockeat 食物袋

送你好寶寶影迷貼紙一張! 購買任一周邊商品,即可帶走台北電影節標 準字紀念貼紙。 數量有限,送完為止。


6

觀眾票選抽好禮

來給電影打分數!我的五顆星,獻給一部愛片♪

活動資訊

FESTIVAL GOODIES

EVENT INFORMATION

有一種喜悅,是看見愛 片躍上 Top20 排行榜; 有一種悲傷,是投下票 選單後隔天發現沒中獎。 投起來,才能拉開我們 與悲傷的距離。 Pockeat 大食袋(花色隨機)

聯名翻轉襪

未成年請勿飲酒

德式小麥啤酒 330ml 黃金拉格啤酒 330ml 6 入組(口味隨機)

FABY 指甲油 (顏色隨機)

GRAVITY mini 行動電源 (顏色隨機)

影展 TEE (尺寸以現場庫存為主)

斜打電蚊拍

絲漾博 B6 洗髮精 300ml

未成年請勿飲酒

綜合堅果禮盒

CHOYA 本格一年熟成梅酒 200ml

米森有機蔓越梅可可脆片

* 中獎名單,每日公布於台北電影節官網與戲院現場,中獎者請憑存根聯於 06.28-07.11 至影展服務台領取你的小幸運。 * 兌換時間:中山堂 06.28-07.09 |新光影城 06.28-07.11 |光點華山 07.04-07.11,每日首場電影放映前 30 分鐘至末場電影開演後 20 分鐘。


7

影迷專屬優惠

SPECIAL *詳細活動內容請見哈根達斯臉書,哈根達斯台灣保有調整活動之權利

於好日子官網消費不限品項金額,結帳時輸入優惠代碼 2019TFF 即 享 30 元折扣。每會員帳號限用一次。 使用期限:2019.06.01 - 2019.07.15 於米森官網單筆消費滿 299 元,輸入限量折扣碼 XSTGBQZW 現折 30 元。 使用期限:2019.06.20-2019.07.10 掃台北電影節專刊廣告頁 QR code,即可免費試聽任選(美日 西韓)外語課乙堂。 憑台北電影節專刊廣告頁至全台專櫃不限金額消費,即可兌換「眼 影止癮劑」乙個,數量有限,送完為止。 使用期限:2019.12.31 止 掃台北電影節專刊廣告頁 QR code,購買絲芮雅活力啟動系列商 品,即可加贈理膚保水護膚組乙組,數量有限,贈完為止。 新用戶輸入 2019TFF 即享 2 趟 100 元優惠折抵。 使用期限:2019.06.27 - 2019.09.25 憑台北電影節票根至永齡農場門市消費滿 500 元即贈「永齡選物 原生小油菊」一罐,並享全品項九折優惠 , 數量有限,贈完為止。 使用期限:2019.07.21 止 憑台北電影節票根至 Buckskin Beerhouse 柏克金啤酒餐廳松仁店、 南京店,點餐即享 300ml 免費啤酒一杯 。 *需消費達 300 元

人,贈送酒款以現場提供為主。

使用期限:2019.07.21 止

HAPPY HOUR

影展期間,不定時驚喜放送! 詳情請關注台北電影節 Facebook 專頁

EVENT INFORMATION

於山木島官網消費,輸入影迷專屬折扣碼 TFF2019SHANMU ,即 享九折優惠。 使用期限:2019.10.30 止

活動資訊

憑台北電影節票根,至哈根達斯門市內用享盤餐買一送一優惠。 使用期限:2019.06.27 - 2019.07.28


8

影癡俱樂部

六部片,六個禮,就差你 ♡

活動資訊

CINEPHILE CLUB

映後憑該場次票根就有機會獲得以下商品。數量有限送完為止。

EVENT INFORMATION

06.29 SAT 16:00 中山堂 《邊境幻夢》Manta Ray 小村漁夫發現不省人事的神秘男 子,男子漸將他的全部取而代之。 濕熱的國境悶蒸迷幻,防蚊卡匣 在手,暢遊熱帶叢林! 影片介紹 p. 43, 164

Unipapa 迷你隨身防蚊卡匣

07.02 TUE 12:40 新光二廳 《少女有點事》A Colony 鄉 村 少 女 轉 大 人, 學 習 流 行, 也 要 找 到 自 己。 青 春 舞 會 閃 閃 爍, 彩妝,就是在迷惘中顯得獨特的 秘密武器! A FILM BY GENEVIÈVE DULUDE-DE CELLES FUNFILM DISTRIBUTION PRESENT A COLONELLE FILMS PRODUCTION WITH ÉMILIE BIERRE IRLANDE CÔTÉ JACOB WHITEDUCK-LAVOIE ROBIN AUBERT NOÉMIE GODIN-VIGNEAU IMAGES LÉNA MILL-REUILLARD & ETIENNE ROUSSY ART DIRECTION ERIC BARBEAU COSTUMES EUGÉNIE CLERMONT EDITING STÉPHANE LAFLEUR SOUND GAËLLE KOMÀR MARIE-PIERRE GRENIER BERNARD GARIÉPY STROBL

影片介紹 p.78

MUSIC MATHIEU CHARBONNEAU PRODUCTION FANNY DREW & SARAH MANNERING WITH THE SUPPORT OF

NYX 水漾機密鏡光唇膏 (顏色隨機)

WITH THE COLLABORATION OF

07.05 FRI 19:00 新光二廳 《漫長的告別》A Long Goodbye 一家人陪伴罹患失智症的父親,在 散落的記憶中,如梅酸甜、如酒沉 香,回憶酸中帶甜的人生滋味。 影片介紹 p.89

CHOYA SARARI 180ml 未成年請勿飲酒

*主辦單位保留活動變更權


9

活動資訊 EVENT INFORMATION

07.06 SAT 10:50 新光二廳 EXECUTIVE PRODUCER STEVEN SODERBERGH

《地下狂熱趴》Beats 1990 年初蘇格蘭,獨立音樂超蝦 趴, 勇 敢 作 伙 逗 陣 行, 少 年 沒 夢 不 應 該! 用 威 士 忌 力 挺 自 主, 餘 音繞樑如舞舌尖。

A FILM BY

BRIAN WELSH

影片介紹 p.118 DEVELOPED AND SUPPORTED BY THE NATIONAL LOTTERY THROUGH

CREATIVE SCOTLAND

Scottish Leader 金牌蘇格蘭威士忌 50ml

MADE WITH THE SUPPORT

OF THE BFI’S FILM FUND

未成年請勿飲酒

07.07 SUN 18:40 華山二廳 《追殺導演》Nocturne 新手導演跑了女友也沒了靈感, 片場即刑場,黑色電影當下開演。 虛構角色出手相救,醒腦特濃咖 啡伴隨挺過漫長厄夜。 影片介紹 p.134

特濃韋恩咖啡 320ml

07.08 MON 19:30 新光一廳 《蒼冬裡》Winter Flies

directed by

Olmo Omerzu

兩男一女一條狗,公路一片蒼茫, 友誼隨著冒險升溫,預演成長必 經 之 途。 一 口 堅 果 一 個 朋 友, 青 春上路。 影片介紹 p.127

好季健康堅果隨身包

*主辦單位保留活動變更權


10

北影選片夜

活動資訊

LET'S TALK ABOUT FILMS FREE ENTRY

EVENT INFORMATION

*請先至台北電影節官網周邊活動→影展活動,點選欲參加之活動場次,或現場候補 排隊,座位有限,額滿為止。

06.21

06.24

FRI

MON

19:00-21:00

19:00-21:00

當我們談及紀錄片,我們討論的是

鑽探東南亞熱帶創作力

紀錄片一旦灌入創作風格、鏡頭與場面

台北電影節自 2017 年開始深入挖掘東

調度,這個在想像中屬於蹲點的、議題

南亞電影,希望帶領觀眾進一步認識這

主導的、講求絕對真實的形式,便逐漸

個區域中,我們陌生卻又值得認識的創

與其他類型交融。2018 年起台北電影

作力,今年更端出兩位焦點影人──印

節策劃「異境真實」單元,選映非典型

尼的嘎林.努戈羅和,以及泰國的利.

的紀錄片,帶領我們的想像力多走一

查泰米提古。讓我們從這兩位影人開

點,當我們談及紀錄片,討論的也能比

始,再探東南亞電影風貌。

真實多一點。 講者|蘇逸華(台北電影節節目團隊) 鄧兆旻(Giloo 紀實影音總監)

講者|謝以萱(台北電影節節目團隊) 吳 凡(TIDF 台灣國際紀錄片影展 活動統籌)

小馬廄地下室藝文空間(台北市大安區復興南路一段 279 巷 33 號)


11

焦點對談

FREE ENTRY

06.29

06.30

SAT

SUN

14:00

13:00

正在拍片的我:2019 台灣電影人

我的經紀學:從投資到操盤

同樣的電影夢,不同年份的組合,引起

從經紀人到監製,從培育演員到電影製

共鳴的交流活動。延續 2018 台灣電影

作,身分轉換後視野大不同。電影業正

人講座的迴響,我們邀請 2019 年首次

面臨哪些問題?跨出台灣、邁向世界影

參與台北電影節的導演們,分享他們創

壇要如何突破 ? 第一手的產業趨勢分

作的初衷以及對電影的癡迷。讓觀眾不

析,讓王牌推手們說給你聽。

僅透過電影認識創作者,還要近距離參 與對談,共同描繪電影未來模樣。

講者|首次入圍台北電影獎及台北電 影節觀摩單元之台灣導演

講者|柴智屏(監製 經紀人) 閻柔怡(監製 經紀人) 葉育萍(監製 經紀人) 主持|蘭蘭夫人(王雅蘭 資深媒體人)

臺北市中山堂 2F 光復廳(台北市中正區延平南路 98 號)

EVENT INFORMATION

*請先至台北電影節官網周邊活動→影展活動,點選欲參加之活動場次,或現場候補 排隊,座位有限,額滿為止。

活動資訊

TALKS


12

講座

活動資訊

TALKS

EVENT INFORMATION

07.01 MON 19:00 焦點影人利・查泰米提古大師講座 地點|新光影城一廳 講者|利・查泰米提古(2019 台北電影節焦點影人) *本講座備有口譯 *《看似平凡的故事》放映結束後,影片介紹 p. 161

07.05 FRI 18:50 中國 80 後世代導演論壇 地點|新光影城一廳 講者|「亞洲稜鏡:中國 80 後世代」導演群 *《漫遊》放映結束後,影片介紹 p. 101

07.07 SUN 15:20 特別回顧講座:安妮華達與她的風景 地點|新光影城二廳《安妮華達 最後一堂課》放映結束後 講者|王派彰(公共電視紀錄片平台委製編輯) *《安妮華達 最後一堂課》放映結束後,影片介紹 p. 181


13

*以下場次皆為售票放映,僅參加座談者請於映後依工作人員指示,視廳內空位排隊入場。

地點|新光影城二廳 講者|嘎林・努戈羅和(2019 台北電影節焦點影人) *本講座備有口譯 *《我身記憶》放映結束後,影片介紹 p. 172

07.11 THU 18:40 楊士琪卓越貢獻獎講座 20 年前,以作品相遇的楊力州導演與陳俊志導演,至 此連起一段惺惺相惜的深厚友誼。從好友及紀錄片工作 者的觀點出發,與資深影評人聞天祥一同娓娓道來,投 身於社會運動,長期關注人權及性別平等議題的陳俊志 導演,如何用他的影像創作,為正義所抗爭。 地點|光點華山電影館二廳 講者|楊力州(紀錄片導演) 主持|聞天祥(金馬影展執行長) *《沿海岸線徵友》與《美麗少年》放映結束後,影片介紹 p. 22, 23

EVENT INFORMATION

焦點影人嘎林・努戈羅和大師講座

活動資訊

07.07 SUN 18:40


14

電影正發生:剪接

活動資訊

IN PROGRESS: EDITING 2019 電影正發生,以剪接為題,探問剪接在建立電影敘事的三個面向──新生或 大師,寫實與虛構及類型創作。

EVENT INFORMATION

TALKS

06.29 SAT 10:00-13:00

06.29 SAT 14:00-18:00

06.30 SUN 10:00-13:00

地點:三創生活園區 5F CLAPPER THEATER *以下三場僅供已報名者參與,不對外開放

大師與新銳之間的剪影:利・查泰米提古 講者|利・查泰米提古(2019 台北電影節焦點影人)

剪破寫實與虛構:李念修的跨紀錄

劇情剪接

講者|李念修(《河北臺北》導演、剪接)

一刀入魂或剪於無形:李棟全與類型電影剪接 講者|李棟全(《狂徒》剪接)    傅天余(《我的蛋男情人》導演)

FORUM

06.30 SUN 16:30-18:30

*本講座備有口譯 *本講座開放一般觀眾於現場排隊候補進場

論壇:我們與故事的距離 剪 接 師 同 時 具 有 創 作 者 的 眼 光, 又 得 時 時 轉 換 為 無 數 雙 不 同 角 度 的 眼 睛, 面 對 觀 眾 或 想 著 觀 眾 時, 剪 接 的 工 作 如 何 運 作? 我 們 共 同 討 論 故 事 與 觀 眾 的 距 離與路徑。 地點|臺北市中山堂 2F 光復廳 主持|傅天余(《我的蛋男情人》導演) 講者|利・查泰米提古(2019 台北電影節焦點影人)    李念修(《河北臺北》導演、剪接)    李棟全(《狂徒》剪接)


15

活動資訊 EVENT INFORMATION

07.07 SUN 11:30-18:30 VR 全浸界講座 VR 影像語言持續創新,創作者突破框架的想像力,因著科技的發展而有被理 解的機會。本次講座邀請在 VR 影像創作中不斷實驗和突破的國內、外創作者 及製片,分享其將 VR 創作概念落實的實戰經驗,期待能提供觀眾和潛在創作 者,對國際 VR 創作現況的認識,並進一步思考將概念落實的方法。

地點|三創生活園區 12F SYNTREND SHOW 講者|吉翁.德拉布雷(Zorba Productions、《-22.7° C》製片)    任杰(CityLights 全球事務開發總監、《星球》系列發行代表)    曹家榮(《婚戒物語》導演)    尚・德拉克(Small Studio 首席開發人員、《7 生有命》後製團隊成員)

*免費入場,於六月中開放網路報名,詳細資訊請上台北電影節官方網站 *講座全程以英文進行。現場可付費租借同步口譯設備


16

購票資訊

購票資訊

TICKET INFORMATION

TICKET INFORMATION

“ 單場票券

“ 早鳥票券 早 鳥 票 早鳥日場票

180 130

全   票

平日日場票

銷 售 期 間:06.16 SUN 13:00 起 至 06.26 WED 23:59 止

“ 優待票種 學 生 票

敬老愛心票

200 110

220 150

銷售期間:06.27 THU 起 及影展各戲院現場

“ VR 票種

銷售期間:06.27 THU 起 及影展各戲院現場

VR 早鳥票

130

銷售期間:06.17 MON 13:00 起 至 06.26 WED 23:59 止 VR 全票

180

VR 敬老愛心票

90

銷售期間:06.27 THU 起 及影展各戲院現場

1. 日場票:限週一至週五 17:59 以前開演之場次。 2. 敬老愛心票:僅供年滿 65 歲以上長者,或身心障礙人士與乙名必要陪同者(須同時入場) 購買。 3. 持學生票或敬老愛心票入場時請出示相關證件,如未出示,須補足差額方能入場。 4. 影展期間可於戲院現場服務台售票處購票。服務時間為每日該場地首場開演前 30 分鐘起 至末場開演後 20 分鐘止。 5. 以上票種僅適用 2019 第 21 屆台北電影節於臺北市中山堂中正廳、中山堂 4 樓 VR 放映、 台北新光影城、光點華山電影院放映之影片。


17

影迷觀影禮

購票資訊

CINEPHILE ONLY 給愛看電影的你

(蜜柑水潤乳 15ml 及煥采柔舒潔面露 15ml)數量有限,兌完為止

兌換時間與地點: 06.22 -06.23 11:00-16:00 ,06.24-06.26 13:00-19:00 @臺北市中山堂 2F 光復廳 07.01 - 07.09 @中山堂影展服務台,中山堂每日首場放映前 30 分鐘至末場開演後 20 分鐘。

頭號影癡 4 我!

06.22-06.26 早鳥大 fun 送!

憑票根金額累計滿 2500 元可兌換影迷觀影禮外,還可參加四大好禮抽抽樂!

centurion 裘莉包

PM 旅行小包

Pockeat 大食袋 (花色隨機)

絲漾博 B6 洗髮精 300ml

兌換時間與地點: 06.22-06.23 11:00-16:00,06.24-06.26 13:00-19:00 @臺北市中山堂 2F 光復廳 *數量有限,送完為止,隨機贈送,恕不挑款。

前 200 名超級影癡限定 再加碼贈送「主視覺海報」+「看電影約嗎 帆布包」

+

兌換時間與地點: 06.22 - 06.23 11:00-16:00 @臺北市中山堂 2F 光復廳 *限量 200 份,送完為止

*主辦單位保留活動變更權

TICKET INFORMATION

2500

元 票根金額累計滿 即可憑票根兌換 Aēsop 影迷觀影禮面部肌膚產品一份


18

VR 單元觀影須知 ・為呈現 VR 影片最佳觀影經驗,VR 單元影片皆為無中文字幕且為英文發音影片,放映現場 備有中英翻譯對白本提供參考。

購票資訊

・請於放映時間前 5 分鐘到場,並遵從現場工作人員指示入座,放映開始 5 分鐘後不得入場。 ・因孩童視力尚在發展關鍵時期,未滿 13 歲者不建議觀賞 VR 節目。

TICKET INFORMATION

・為提升觀影品質,建議近視者配戴隱形眼鏡觀賞。

購票須知 ・票券為唯一入場憑證,請妥善保存票券,遺失、毀損概不補發。 ・影展節目開演後 20 分鐘

VR 單元節目開演後 5 分鐘,不再開放入場,亦不得退票,

敬請準時入場。 ・臺北市中山堂廳內禁止飲食,敬請配合。其他放映場地,請遵守各戲院之外食規定。 ・各場次開演前 60 分鐘

停止販售該場次票券,僅可於戲院現場服務台購買。

・各場次輪椅席有限,如有需要請預先洽詢觀眾服務專線。 ・為維護觀影品質,年滿 3 歲或身高達 100 公分之兒童可持學生優惠票入場,兩者皆未達 到標準者謝絕入場。 ・為了影廳內安全與維持逃生動線,請勿逗留、站立或坐在廳內走道與其他非座位處。 ・如遇天災或不可抗力之因素,主辦單位將依據臺北市政府發佈之命令,決定是否取消放 映,並儘速於官網公告相關訊息。 ・主辦單位保有更動節目之權利,所有演出時間及內容將依現場實際狀況而訂。最新訊息 與異動資訊隨時公佈於官網。 ・本活動放映節目權利皆屬版權所有者,任何攝影、錄影、錄音行為皆屬違法,可能招致 法律訴訟,本節保留要求違法觀眾刪除檔案之權力。 ・影展工作人員為維護影展順利運行所採取之各種方法,皆為維護大眾最佳觀影狀況;本 節不接受任何針對工作人員之惡意行為,並視情況採取相應措施。

退票方式 ・退票最遲須於該放映場次開演前 3 日辦理,逾期恕不受理。每張須酌收 10% 手續費。 ・06.20 THU - 06.26 WED 退票請於平日 11:00 - 19:00 至台北電影節臨時辦公室辦理 (台北市延平南路 98 號 1 樓) ・06.27 THU 起單場票之退票請至戲院現場服務台辦理。 ・「換票」視同「退票」,購買操作請謹慎小心,若須更換場次請依上述退票方式辦理。


19

機台購票操作流程 票券中心

電影票

2019 第 21 屆台北電影節 / VR 節目 購票資訊

選擇日期 / 場次 / 張數 / 區域 / 座位

單場票

輸入連絡電話

列印繳費單、持票須知

持印有條碼之白色繳費單至櫃台完成繳費,取得印有片名、場次、時間之電影票券 1. ibon 機台購票時,繳費單列印後,請於 10 分鐘內完成繳費取票。 2. 機台操作過程中若靜止逾 2 分鐘,畫面將跳回首頁,該筆訂單失效,須重新操作。 3. 機台購票:不可跨場,單一場次每次限購 4 張。

網站購票 ibon 售票系統網

ibon 售票系統網 ticket.ibon.com.tw 登入或加入會員

2019 第 21 屆台北電影節 / VR 節目 選擇票種 / 張數 / 座位

選擇區域

選擇電影 單場票

選擇日期 / 場次

輸入連絡電話

點選線上購票

選擇付款方式

完成付款後,憑「取票序號」至 7-ELEVEN 門市 ibon 機台取票

確認購票明細

*網路購票須至 7-ELEVEN 門市 ibon 機台印出實體票券,影展現場不提供取票服務。

網站購票取票方式 票券中心

電影票

輸入「取票序號」

2019 第 21 屆台北電影節 確認取票明細

取票

閱讀購票須知

列印繳費單、持票須知

持印有條碼之白色繳費單至櫃台,取得印有片名、場次、時間之電影票券 1. 網站購票:可跨場購買,每次限購 8 張票券。 2. 網路購票僅能信用卡支付,並享有免取票手續費優惠。

觀眾服務電話

客服專線:0800-016-138 / (02)2659-9900

・觀眾服務專線:(02)2302-7506(服務時間:週一至週五 11:00-19:00)

TICKET INFORMATION

確認購票明細


20 EARLY BIRD TICKETS

• GENERAL NTD 180 PER TICKET

• MATINEE NTD 130 PER TICKET (Valid only for screenings starting before 17:59 on weekdays) FESTIVAL GUIDE

l Available from 13:00 on June 17 MON. to 23:59 on June 26 WED. via

INDIVIDUAL TICKETS

• GENERAL NTD 220 PER TICKET

• MATINEE NTD 150 PER TICKET (Valid only for screenings starting before 17:59 on weekdays) l Available from June 27 THU via

or the information desk of each venue during the

festival.

CONCESSION TICKETS

• STUDENT NTD 200 PER TICKET (Valid student ID required at entrance)

• DISABLE OR SENIOR CITIZEN NTD 110 PER TICKET (For senior citizens aged 65 and over or disabled person plus one companion; valid ID required) l Available from June 27 THU via

or the information desk of each venue during the

festival.

VR TICKETS

• VR EARLY BIRD NTD 130 PER TICEKT l

Available from 13:00 on June 17 MON. to 23:59 on June 26 WED. via

• VR GENERAL NTD 180 PER TICKET

• VR DISABLED OR SENIOR CITIZEN NTD 90 PER TICKET (For senior citizens aged 65 and over or disabled person plus one companion; valid ID required) l Available from June 27 THU via

or the information desk of each venue during the

festival.

PLEASE NOTE • All VR screenings are in English and not Chinese-subtitled. Chinese transcripts for each film will be presented at the venue as a reference for non-English speakers. • VR screenings are not recommended for children under the age of 13 as their eyesight may still be developing. • For better VR experiences, please wear contact lenses instead of glasses while using a headset.

Customer Service: 0800-016-138 | (02) 2659-9900 Taipei Film Festival Office Customer Service: (02) 2302-7506 (Office Hours: Mon to Fri 11:00-19:00)


21 TERMS AND CONDITION • Admissions with valid tickets only. Tickets will NOT be re-issued if they are lost or damaged. • Latecomers will NOT be admitted 20 minutes after the film begins. Tickets of latecomers

Tickets of latecomers CANNOT be refunded or exchanged. • All concession ticket holders must present a valid ID at the venue. If no valid ID is presented, the concession ticket holder must pay the price difference between the concession ticket and the full priced ticket before entry is permitted. • During the festival, ticket sales at the venues are open each day 30 minutes before the first screening of the day until 20 minutes after the start of the last screening of the day. • Tickets for the 2019 Taipei FF are only available for screenings at Zhongzheng Auditorium at Zhongshan Hall, VR screening venues at Zhongshan Hall 4th floor, Shin Kong Cinemas, and SPOT Huashan Cinema. • Food and drinks are NOT allowed inside Zhongshan Hall. Please follow the food and drink rules of other cinemas where festival films are screened. • Tickets to each screening are available at

only until one hour before the film starts.

After that, they can only be purchased at the venues. • Limited wheelchair seats are available at all venues. Please contact the customer service line (02) 2302-7506 for more information. • Children who have reached 3 years in age or 100 cm in height may be admitted with a student concession ticket. Children who fail to meet both thresholds CANNOT be admitted. • For safety reasons, please do not linger, stand or sit in access ways or other non-seating areas. • In the event of natural disasters or force majeure events, the Taipei FF may cancel screenings based on instructions given by the Taipei City Government. Updates will be posted on our official website as soon as practicable. • Taipei FF reserves all rights to change the program due to unforeseen circumstances. Latest updates will be announced on our official website.

REFUNDING / EXCHANGING TICKETS • Refunds of all tickets must be processed no later than 3 days prior to the screening. A handling fee of 10% per ticket will be charged. • From June 20 to 26, please visit the temporary Taipei Film Festival office (1F, No.98 Yanping South Rd. Taipei City) during weekdays 11:00-19:00 for ticket refund. • From June 27 onward, refunds of all tickets can only be processed at the screening venue's information desk. • Ticket exchanges are regarded as "refunds" and will be processed in accordance with the same procedures and rules above.

FESTIVAL GUIDE

CANNOT be refunded or exchanged. • Latecomers to VR screenings will NOT be admitted 5 minutes after the screening begin.


22

FESTIVAL GUIDE

TALKS VENUE|Guangfu Auditorium, 2nd Floor, Taipei Zhongshan Hall FREE ENTRY with online registration. Please check Taipei Film Festival website for details in early June. Taipei Film Festival Firsts: Presenting New Taiwan Directors 06.29 SAT 14:00 SPEAKERS|Directors selected by Taipei Film Festival for the first time The Philosophy of Talent Agency: From Investing to Profiting 06.30 SUN 13:00 SPEAKERS|Angie CHAI, Zoe YEN, Michelle YEH

MEET THE FILMMAKERS Filmmaker in Focus: Lee CHATAMETIKOOL 07.01 MON 19:00 @Shin Kong Cinema 1 Following screening of Mundane History (p.161) Directors of China 80s - FORUM 07.05 FRI 18:50 @Shin Kong Cinema 1 Following screening of Vanishing Days (p.101) * This forum will be conducted in Mandarin only.

Filmmaker in Focus: Garin NUGROHO 07.07 SUN 18:40 @Shin Kong Cinema 2 Following screening of Memories of My Body (p.172)


23

Retrospective: Varda by Agnès 07.07 SUN 15:20 @Shin Kong Cinema 2 Following screening of Varda by Agnès (p.181) SPEAKERS|WANG Pai-zhang * This talk will be conducted in Mandarin only.

YANG Shih-chi Outstanding Contribution Award: Mickey CHEN 07.11 THU 18:40 @SPOT - Huashan A Two Following screening of Fragile in Love + Boys for Beauty (p.22, 23) SPEAKERS|YANG Li-chou MODERATOR|WEN Tien-hsiang * This talk will be conducted in Mandarin only.

VR FRONTLINE - TALK

In a rapidly changing media landscape, VR creators are constantly developing visual languages to realize their brilliant and original imagination. The talk invites creators and producers working in the field of VR to share their concepts and experiences, offering the audience and potential creator deeper understanding of the current status of cinematic VR. TIME|07.07 SUN 11:30-18:30 VENUE|Syntrend Creative Park 12F SYNTREND SHOW SPEAKERS|Guillaume DE LA BOULAYE (Zorba Productions, Producer of -22.7°C) Nick BOYER (Global Business Development, CityLights) Kaei SOU (Director of Tales of Wedding Rings VR) Jean DELLAC (Lead developer of Small Studio, Post production member of 7 Live) *Free Entry with online registration. Please check Taipei Film Festival website for details in mid June. *Mandarin-English simultaneous translation equipment can be provided for a fee.

FESTIVAL GUIDE

SPECIAL TALKS


新光影城 Shin Kong Cinemas 西寧南路 Xining S. Rd.

西門站 六號出口 Ximen Station Exit 6

漢口街二段 Sec. 2, Hankou St.

武昌街二段 Sec. 2, Wuchang St.

漢中街 Hanzhong St.

峨嵋街 Emei St.

VENUE

VENUE

昆明街 Kuming St.

成都路 Chengdu Rd.

影展地圖

影展戲院地圖

24

中華路一段 Sec. 1, Zhonghua Rd. 西門站 五號出口 Ximen Station Exit 5

中山堂 Taipei Zhongshan Hall

延平南路 Yanping S. Rd.

Cine

ma

新光影城 (SKC)

臺北市中山堂 (TZH)

光點華山電影館 (SHC)

台北 市 西 寧 南 路 3 6 號 4 樓

台北市延平南路9 8 號

台北 市八德路一段1號

4F, No. 36, Xining S. Rd., Taipei City (02)2381-9176

No. 98, Yanping S. Rd., Taipei City (02)2331-8159

No. 1, Sec. 1, Bade Rd., Taipei City (02)2341-9810

Shin Kong Cinemas

Taipei Zhongshan Hall

SPOT-Huashan Cinema


場次表

★ 影人出席映後座談或導讀 With filmmakers' attendance ▲ 影片拷貝非英語發音且無英文字幕 Non-English films screened without English subtitles 0+ 普 遍 級 一般觀眾皆可觀賞 G: General audience 6+ 保 護 級 未滿六歲不得觀賞,六歲以上未滿十二歲須由成人陪伴輔導觀賞 P: No children under 6 allowed. Children aged 6 to 12 must be accompanied by an adult 12+ 輔 1 2 級 未滿十二歲不得觀賞 PG12: No one under 12 allowed 15+ 輔 1 5 級 未滿十五歲不得觀賞 PG15: No one under 15 allowed 18+ 限 制 級 未滿十八歲不得觀賞 R: No one under 18 allowed R18 超 限 制 級 未滿十八歲不得觀賞,入場前須簽觀影同意書 R18: The audience will be required to sign "Letter of Declaration" before entrance

SCREENING SCHEDULE

場次及活動異動訊息,請以官網與戲院現場公布為準 Please refer to the announcement on website and venues for changing of ratings, screenings and events. 所有影廳皆設有無障礙設施 Accessibility for the disabled in all venues. :台北電影獎競賽單元 :國際新導演競賽 :Aēsop 香氛場

10

06.27

11

12

13

14

15

16

17

18

19

20

21

22

23

24

103min|15+ ★

THU

19:30 P.12 灼人秘密

Nina Wu

新光影城 二廳 SKC 2

80min|6+

92min|6+

16:40 P.122

19:00 P.139

21:00 P.132

以她的名字呼喚我

救命大作戰

Greta

Midnight Family

94min|6+

87min|12+

75min|6+

17:20 P.117

19:30 P.128

21:40 P.160

政變麥來亂

隨風所欲

卡拉OK

The Announcement

10

11

12

13

14

15

16

17

搖搖晃晃的陰間

Die Kinder der Toten

18

19

With the Wind

20

Karaoke

21

22

23

24

25

SCREENING SCHEDULE

新光影城 一廳 SKC 1

97min|18+

場次表

中山堂 TZH


SCREENING SCHEDULE 12

FRI

新光影城 一廳 SKC 1

15

19

20

14:30 P.38

16:40 P.46

19:30 P.49, 64

石榴的顏色

性不性不由你

丹麥之子

野雀之詩

Being Impossible

Sons of Denmark

23

95min|6+

106min|6+

102min|0+

114min|6+ ★

94min|0+

11:40 P.99

14:00 P.87

16:30 P.125

18:50 P.70-73

21:50 P.180

女他

歡迎蒞臨荒涼小鎮

真愛邊緣人

台北電影獎 - 短片 I

Volcano

Tehran: City of Love

Taipei Film Awards - Short Films I

千面珍寶金

86min|0+

90min|0+

95min|6+

86min|12+

12:00 P.145

15:00 P.95

17:10 P.176

19:20 P.137

21:40 P.133

撒旦萬萬歲

逃出絕命夢

沉默未亡人

五點到七點的克萊歐

Widow of Silence

Cléo from 5 to 7

Hail Satan?

92min|6+ ★

106min|6+ ★

138min|6+ ★

13:30 P.39

16:00 P.43, 164

18:50 P.42

清晨天空無限藍

邊境幻夢

我們與愛的距離

波米叔叔的前世今生

Blue Hour

Koko-di Koko-da

House of Hummingbird

Manta Ray

79min|6+

111min|18+

102min|6+

110min|0+ ★

114min|18+

11:20 P.134

13:20 P.116

16:00 P.78

18:20 P.19

21:20 P.186

追殺導演

貴族動物

少女有點事

颱風

午夜牛郎

Nocturne

Angelo

A Colony

Typhoon

Midnight Cowboy

87min|12+

135min|12+

99min|0+ ★

101min|12+

80min|12+

11:50 P.128

14:00 P.147

17:00 P.163

19:40 P.126

22:00 P.81

隨風所欲

她的搖滾滋味

愛情多年後回來

老娘是天后

老娘叫珍珠

With the Wind

12

13

Her Smell

14

15

Wild Rose

Concrete Clouds

16

24

Jane B. by Agnès V.

137min|6+

11:00 P.162

11

22

Wild Sparrow

113min|6+

新光影城 一廳 SKC 1

21

12:30 P.183

Uncle Boonmee Who Can Recall His Past Lives

10

18

94min|15+ ★

Between Two Waters

中山堂 TZH

17 119min|15+

家離海邊那麼近

SAT

16

89min|15+

SHe

新光影城 二廳 SKC 2

新光影城 二廳 SKC 2

14

The Color of Pomegranates

中山堂 TZH

06.29

13 77min|12+

17

18

19

20

Pearl

21

22

23

24

場次表

06.28

11

26

10


SUN

20

21

16:20 P.47

19:20 P.106, 107

大餓

蘿莉破壞王

驚悚劇場 I

Heavy Craving

System Crasher

22

23

123min|18+ ★

89min|15+ ★

89min|6+ ★

85min|6+

11:50 P.79

14:00 P.70-71, 73-76

17:10 P.38

19:40 P.92

22:10 P.127

台北電影獎 - 動畫片 + 短片 II

性不性不由你

Taipei Film Awards - Animations + Short Films II

一條鯰魚救地球

Being Impossible

蒼冬裡

Maggie

Winter Flies

91min|6+

90min|0+

107min|18+

88min|0+ ★

86min|0+

11:30 P.84

13:40 P.176

15:50 P.86

18:20 P.67

21:00 P.138

震向性教育

還有一些樹

五點到七點的克萊歐

Cléo from 5 to 7

Tremors

大地蜜語

The Tree Remembers

Honeyland

115min|12+

102min|15+ ★

91min|12+ ★

85min|15+ ★

11:50 P.44

14:30 P.40

17:10 P.48

19:40 P.108, 109

成為野獸的我們

厭世女傭日記

欲望公路

The Chambermaid

Take Me Somewhere Nice

驚悚劇場 II

Til Death Do Us Part II

80min|6+

92min|6+

97min|18+

81 + 40min|6+ ★

87min|6+

12:30 P.139

14:30 P.132

16:40 P.122

19:00 P.161

21:40 P.130

救命大作戰

搖搖晃晃的陰間

以她的名字呼喚我

看似平凡的故事 + 大師講座

Midnight Family

Die Kinder der Toten

Greta

Mundane History + TALK

Bait

94min|6+

93min|0+

89min|6+ ★

101min|0+

137min|6+

12:00 P.117

14:10 P.136

16:20 P.92

18:50 P.123

21:10 P.145

政變麥來亂

我的超模母親

一條鯰魚救地球

月亮歸ME

家離海邊那麼近

The Announcement

13

14

15

Maggie

16

17

The Man Who Bought the Moon

18

19

20

Between Two Waters

21

22

23

24

27

12

The Disappearance of My Mother

24

Til Death Do Us Part I

94min|0+

新光影城 一廳 SKC 1

11

19

13:40 P.41, 59

Monsters.

10

18

世外之子

Summer Survivors

中山堂 TZH

17

11:10 P.45

忘憂上路

MON

16

109min|12+ ★

Flesh Out

新光影城 二廳 SKC 2

15

119min|6+ ★

月半新娘

新光影城 一廳 SKC 1

新光影城 二廳 SKC 2

14

90min|0+ ★

Obscure

中山堂 TZH

07.01

13

92min|15+ ★

SCREENING SCHEDULE

06.30

12

11

場次表

10


SCREENING SCHEDULE TUE

12

13

新光影城 一廳 SKC 1

16:40 P.162

19:10 P.186

清晨天空無限藍

波米叔叔的前世今生

午夜牛郎

Blue Hour

Uncle Boonmee Who Can Recall His Past Lives

21

22

23

106min|6+ ★

83min|12+ ★

86min|6+ ★

67min|0+

12:00 P.38

14:30 P.43, 164

17:20 P.131

19:40 P.91

22:10 P.140

性不性不由你

邊境幻夢

星魔

福岡

Demons

Manta Ray

怪正常的

Fukuoka

Normal

102min|6+

87min|12+

75min|6+

70min|12+ ★

93min|0+

12:40 P.78

15:00 P.128

17:10 P.160

19:10 P.113, 114

21:30 P.136

少女有點事

隨風所欲

卡拉OK

台灣短SHOW II

Karaoke

With the Wind

我的超模母親

Taiwan Shorts II

76min|0+

119min|6+ ★

95min|6+

102min|15+ ★

12:00 P.179

14:00 P.47

17:00 P.137

19:20 P.40

功夫大師

蘿莉破壞王

撒旦萬萬歲

The Disappearance of My Mother

厭世女傭日記

Hail Satan?

System Crasher

The Chambermaid

92min|15+ ★

86min|6+ ★

94min|0+

115min|12+★

83min|12+ ★

11:40 P.45

14:10 P.91

16:40 P.79

18:50 P.44

21:50 P.131

世外之子

福岡

月半新娘

成為野獸的我們

Fukuoka

12

Flesh Out

星魔

Monsters.

Demons

86min|12+

80min|12+

78min|6+

84min|15+ ★

119min|15+ ★

12:20 P.133

14:30 P.81

16:30 P.175

18:30 P.111, 112

21:10 P.46

逃出絕命夢

老娘叫珍珠

短角情事

台灣短SHOW I

丹麥之子

13

Pearl

14

15

La Pointe Courte

16

17

Taiwan Shorts I

18

24

Midnight Cowboy

89min|15+ ★

Koko-di Koko-da

11

20

14:10 P.39

Obscure

10

19

索菲亞的夏天

Kung-Fu Master!

新光影城 一廳 SKC 1

18

11:40 P.85

A Colony

中山堂 TZH

17

114min|18+

Being Impossible

WED

16

113min|6+

新光影城 二廳 SKC 2

新光影城 二廳 SKC 2

15 92min|6+ ★

Too Late to Die Young

中山堂 TZH

07.03

14

110min|6+

19

Sons of Denmark

20

21

22

23

24

場次表

07.02

11

28

10


THU

13

14

新光影城 一廳 SKC 1

16

17

18

19

97min|6+

91min|12+ ★

12:20 P.188

14:30 P.177

17:00 P.146

19:20 P.48

赤線地帶

獅子、愛、謊言

鬼鎮疑雲

欲望公路

Lions Love (...and Lies)

Ghost Town Anthology

23

106min|6+

138min|6+ ★

94min|0+ ★

13:50 P.134

15:50 P.87

18:20 P.42

21:40 P.101

颱風

追殺導演

歡迎蒞臨荒涼小鎮

我們與愛的距離

Nocturne

Volcano

Vanishing Days

93min|0+

81min|6+

91min|6+

119min|6+

12:20 P.185

14:40 P.136

16:50 P.161

18:50 P.84

21:00 P.47

我的超模母親

看似平凡的故事

忘憂上路

蘿莉破壞王

The Disappearance of My Mother

Mundane History

Summer Survivors

95min|6+ ★

18:40 P.124

20:40 P.99

My Extraordinary Summer with Tess

14

15

女他

SHe

86min|0+

104min|6+ ★

100min|0+ ★

16:00 P.95

18:10 P.97

21:00 P.100

沉默未亡人

乘客

星溪的三次奇遇

Widow of Silence

13

System Crasher

82min|0+ ▲ 小島來了陌生爸爸

光點華山 一廳 SHC 1

12

漫遊

House of Hummingbird

79min|6+

The Juniper Tree

16

17

Give Me A Ride

18

24

Take Me Somewhere Nice

79min|6+

女巫戀人

11

22

11:20 P.19 Typhoon

10

21

110min|0+

新光影城 二廳 SKC 2

光點華山 二廳 SHC 2

20

113min|12+

Street of Shame

中山堂 TZH

15

86min|12+

19

Three Adventures of Brooke

20

21

22

23

24

29

SCREENING SCHEDULE

07.04

12

11

場次表

10


SCREENING SCHEDULE FRI

12

13

15

18

19

20 104min|6+ ★

11:40 P.187

14:20 P.46

17:20 P.159

19:30 P.18

狂愛

丹麥之子

傷心蔚藍海

陪你很久很久

Sons of Denmark

Wonderful Town

21

22

23

87min|6+

94min|0+

94 + 60min|0+ ★

94min|6+

12:10 P.82

14:30 P.130

16:40 P.79

18:50 P.101

22:00 P.117

月半新娘

漫遊 + 論壇

政變麥來亂

Saint Frances

Bait

Vanishing Days + FORUM

The Announcement

75min|6+

76min|0+

105min|12+ ★

127min|0+ ★▲

96min|0+

12:20 P.160

14:20 P.178

16:20 P.172

19:00 P.89

22:10 P.93

達格雷街風景

我身記憶

漫長的告別

湯屋裡我記得

卡拉OK

新光影城 二廳 SKC 2

Flesh Out

Karaoke

Daguerreotypes

A Long Goodbye

Mio on the Shore

86min|6+

83min|12+

12 + 63min|6+ ▲

86min|12+

80min|6+

13:00 P.91

15:00 P.131

17:00 P.22, 23

18:50 P.133

21:00 P.139

星魔

沿海岸線徵友 + 美麗少年

逃出絕命夢

救命大作戰

福岡

光點華山 一廳 SHC 1

Memories of My Body

Fukuoka

Demons

Fragile in Love + Boys for Beauty

Koko-di Koko-da

Midnight Family

67min|0+

84min|6+

98min|12+

112min|12+

78min|0+

11:30 P.140

13:40 P.168

16:40 P.141

19:10 P.144

21:30 P.80

怪正常的

無畏,詩人之歌

蔚藍海岸某個地方

巴蘭吉加:咆嘯的荒野

Normal

12

A Poet: Unconcealed Poetry

13

14

15

Sophia Antipolis

16

17

18

24

Stand By Me

101min|0+ 天使寶貝法蘭絲

11

17

92min|12+

新光影城 一廳 SKC 1

10

16

119min|15+ ★

The Night Porter

中山堂 TZH

光點華山 二廳 SHC 2

14

119min|18+

Balangiga: Howling Wilderness

19

20

21

一切堅固的終將煙消雲散

Last Night I Saw You Smiling

22

23

24

場次表

07.05

11

30

10


SAT

17

18

19

20

21

10:20 P.175

12:20 P.180

14:30 P.179

16:30 P.184

19:40 P.17, 54

短角情事

千面珍寶金

功夫大師

海上花

Jane B. by Agnès V.

Kung-Fu Master!

22

23

A fool in love, love like a fool

81min|0+ ★

124min|6+

106min|6+ ★

97min|18+

11:10 P.44

14:10 P.103

16:30 P.98

19:20 P.90

22:00 P.122

成為野獸的我們

漂流廚房

完美現在時

你的鳥兒會唱歌

以她的名字呼喚我

Homesick Tongue

Present.Perfect.

And Your Bird Can Sing

Greta

96min|6+

127min|0+ ★▲

112min|18+ ★▲

113min|6+

106min|6+

10:50 P.118

13:10 P.89

16:20 P.121

19:10 P.148

21:40 P.43, 164

漫長的告別

上流教慾

痛苦與榮耀

邊境幻夢

地下狂熱趴

A Long Goodbye

Pain and Glory

Manta Ray

125min|12+ ★

123min|18+ ★

94min|15+ ★

12:00 P.53

14:30 P.58

17:50 P.70-71, 73-76

21:00 P.49, 64

台北電影獎 - 動畫片 + 短片 II

野雀之詩

寒單

3 Days 2 Nights

Han Dan

12

Taipei Film Awards - Animations + Short Films II

Wild Sparrow

90min|6+

100min|0+ ★

102min|6+ ★

116min|6+ ★

12:20 P.169

14:40 P.100

17:20 P.171

20:10 P.170

親吻你的淚痕

星溪的三次奇遇

蒙蔽的青春

爪哇安魂曲

Bird Man Tale

11

Golden Youth

80min|6+ ★ 3天2夜

光點華山 一廳 SHC 1

13

Three Adventures of Brooke

14

15

16

The Blindfold

17

18

24

傻傻愛你,傻傻愛我

Flowers of Shanghai

115min|12+ ★

Beats

10

16

95min|0+ ★

Monsters.

新光影城 二廳 SKC 2

15

113min|6+ ★

新光影城 一廳 SKC 1

光點華山 二廳 SHC 2

14

76min|0+

La Pointe Courte

中山堂 TZH

13 94min|0+

Opera Jawa

19

20

21

22

23

24

31

SCREENING SCHEDULE

07.06

12

11 78min|6+

場次表

10


SCREENING SCHEDULE SUN

13

18

19

20

21

10:50 P.188

13:00 P.185

15:00 P.183

17:00 P.119

20:00 P.159

赤線地帶

女巫戀人

石榴的顏色

首席指揮家

The Juniper Tree

The Color of Pomegranates

22

23

Wonderful Town

123min|18+ ★▲

106min|6+ ★

79min|6+ ▲

94min|15+

11:40 P.101

14:10 P.150

17:20 P.90

20:10 P.120

22:10 P.143

出走巴黎

你的鳥兒會唱歌

為琴癡狂

私法追緝

漫遊

Synonyms

And Your Bird Can Sing

God of the Piano

Alpha, The Right to Kill

76min|0+

113min|12+

114 + 40min|0+ ★▲

105 + 40min|12+ ★

110min|6+

10:40 P.178

13:00 P.177

15:20 P.181

18:40 P.172

21:40 P.85

安妮華達 最後一堂課 + 講座

我身記憶 + 大師講座

索菲亞的夏天

獅子、愛、謊言

達格雷街風景

Daguerreotypes

Lions Love (...and Lies)

Varda by Agnès + TALK

Too Late to Die Young

114min|6+ ★

95min|0+ ★

81min|0+ ★

13:00 P.41, 59

15:40 P.70-73

18:40 P.56

21:20 P.103

大餓

台北電影獎 - 短片 I

老大人

漂流廚房

Taipei Film Awards - Short Films I

Dad's Suit

Homesick Tongue

112min|12+

84min|6+

106min|6+

79min|6+

137min|6+

11:30 P.144

14:00 P.168

16:10 P.87

18:40 P.134

20:40 P.145

巴蘭吉加:咆嘯的荒野

無畏,詩人之歌

歡迎蒞臨荒涼小鎮

追殺導演

家離海邊那麼近

Balangiga: Howling Wilderness

11

Memories of My Body + TALK

90min|0+ ★

Heavy Craving

12

13

A Poet: Unconcealed Poetry

14

15

Volcano

16

17

Nocturne

18

24

傷心蔚藍海

The Conductor

94min|0+

Vanishing Days

10

17

92min|12+

光點華山 一廳 SHC 1

光點華山 二廳 SHC 2

16

137min|6+

新光影城 一廳 SKC 1

新光影城 二廳 SKC 2

15

77min|12+

Street of Shame

中山堂 TZH

14

79min|6+

19

Between Two Waters

20

21

22

23

24

場次表

07.07

12

11

86min|12+

32

10


12

MON

14

15

20

14:50 P.78

17:10 P.176

19:20 P.61, 104

午夜牛郎

少女有點事

五點到七點的克萊歐

蚵豐村

A Colony

Cléo from 5 to 7

21

22

92min|15+

102min|0+

85min|6+

119min|18+

11:40 P.149

15:00 P.45

17:10 P.125

19:30 P.127

21:30 P.187

世外之子

真愛邊緣人

蒼冬裡

狂愛

Obscure

23

Tehran: City of Love

Winter Flies

The Night Porter

86min|0+

111min|18+

113min|12+

96min|0+ ★

96min|0+

12:00 P.138

14:10 P.116

16:40 P.177

19:20 P.93

22:00 P.94

大地蜜語

貴族動物

獅子、愛、謊言

湯屋裡我記得

印度小情歌

Angelo

Lions Love (...and Lies)

Mio on the Shore

The Odds

114min|15+ ★

106min|18+ ★

106min|6+ ★

95min|0+ ★

12:20 P.57

15:20 P.55

18:10 P.60

21:00 P.17, 54

人面魚 紅衣小女孩外傳

幸福城市

比悲傷更悲傷的故事

The Devil Fish

Cities of Last Things

傻傻愛你,傻傻愛我

More Than Blue

A fool in love, love like a fool

104min|6+

116min|6+

91min|12+

89min|18+ ★▲

76min|0+

12:00 P.97

14:20 P.170

17:00 P.48

19:10 P.83

21:40 P.178

乘客

爪哇安魂曲

欲望公路

Give Me A Ride

12

13

Opera Jawa

14

15

Take Me Somewhere Nice

16

17

18

19

24

Ohong Village

154min|6+

光點華山 一廳 SHC 1

11

19

12:20 P.186

Honeyland

10

18

91min|6+ ★

Peterloo

新光影城 二廳 SKC 2

17

90min|0+

彼得盧:人民之聲

新光影城 一廳 SKC 1

16

102min|6+

Midnight Cowboy

中山堂 TZH

光點華山 二廳 SHC 2

13 114min|18+

海角上的兄妹

達格雷街風景

Siblings of the Cape

20

Daguerreotypes

21

22

23

24

33

SCREENING SCHEDULE

07.08

11

場次表

10


SCREENING SCHEDULE TUE

12

13

18

19

20

11:10 P.123

13:30 P.159

15:40 P.93

18:20 P.14,165

月亮歸ME

傷心蔚藍海

湯屋裡我記得

Wonderful Town

94min|15+

89min|6+

101min|0+

17:10 P.143

19:20 P.92

21:30 P.82

蒼冬裡

私法追緝

一條鯰魚救地球

天使寶貝法蘭絲

Alpha, The Right to Kill

Maggie

76min|0+

99min|0+

80min|12+

110min|6+

12:30 P.146

14:40 P.179

16:40 P.163

19:00 P.81

21:00 P.85

功夫大師

愛情多年後回來

老娘叫珍珠

索菲亞的夏天

光點華山 一廳 SHC 1

Concrete Clouds

Pearl

80min|6+ ★

95min|0+ ★

125min|12+ ★

13:00 P.69

15:30 P.53

18:00 P.56

20:40 P.58

你的臉

3天2夜

寒單

老大人

3 Days 2 Nights

Dad's Suit

Han Dan

87min|6+

78min|0+

90min|6+

105min|12+

102min|6+

12:30 P.130

14:40 P.80

16:40 P.169

18:50 P.172

21:20 P.171

一切堅固的終將 煙消雲散

Bird Man Tale

親吻你的淚痕

我身記憶

Bait

Last Night I Saw You Smiling

13

14

15

16

17

24

Too Late to Die Young

77min|0+

Your Face

23

Saint Frances

97min|6+

Kung-Fu Master!

24

So Long, My Son

15:00 P.127 Winter Flies

23

地久天長

Mio on the Shore

85min|6+

Ghost Town Anthology

12

22

12:50 P.180

鬼鎮疑雲

新光影城 二廳 SKC 2

21

94min|0+ 千面珍寶金

11

17

185min|6+ ★

Jane B. by Agnès V.

10

16

96min|0+ ★

新光影城 一廳 SKC 1

光點華山 二廳 SHC 2

15

92min|12+

The Man Who Bought the Moon

中山堂 TZH

14

101min|0+

蒙蔽的青春

Memories of My Body

18

19

20

The Blindfold

21

22

場次表

07.09

11

34

10


12

WED

新光影城 一廳 SKC 1

14

15

19

20

21

22

12:40 P.80

14:40 P.98

17:20 P.40

19:40 P.39

21:50 P.125

一切堅固的終將 煙消雲散

完美現在時

厭世女傭日記

清晨天空無限藍

真愛邊緣人

Present.Perfect.

The Chambermaid

Blue Hour

111min|18+

78min|6+

96min|0+

86min|12+

86min|0+

12:30 P.116

15:00 P.175

17:00 P.94

19:20 P.188

21:30 P.95

短角情事

印度小情歌

赤線地帶

La Pointe Courte

The Odds

沉默未亡人

Street of Shame

Widow of Silence

104min|0+ ★

86min|6+ ★

105min|12+ ★

11:40 P.63

14:30 P.66

17:20 P.68

20:00 P.62

覆巢

未來無恙

狂徒

Secrets in the Hot Spring

Neglect

Turning 18

The Scoundrels

100min|0+

81min|6+

112min|12+

92min|6+

98min|12+

12:00 P.100

14:20 P.161

16:20 P.144

18:50 P.132

21:00 P.141

星溪的三次奇遇

看似平凡的故事

巴蘭吉加:咆嘯的荒野

Three Adventures of Brooke

13

14

Mundane History

15

Balangiga: Howling Wilderness

16

17

18

24

Tehran: City of Love

109min|6+ ★

12

23

102min|0+

切小金家的旅館

11

18

92min|6+

Angelo

10

17

102min|15+

貴族動物

光點華山 一廳 SHC 1

16

124min|6+

Last Night I Saw You Smiling

新光影城 二廳 SKC 2

光點華山 二廳 SHC 2

13 78min|0+

搖搖晃晃的陰間

Die Kinder der Toten

19

20

蔚藍海岸某個地方

Sophia Antipolis

21

22

23

24

35

SCREENING SCHEDULE

07.10

11

場次表

10


SCREENING SCHEDULE 12

13

14

THU

新光影城 一廳 SKC 1

16

19

20

21 154min|6+

13:40 P.183

15:40 P.82

18:00 P.143

20:10 P.149

石榴的顏色

天使寶貝法蘭絲

私法追緝

Saint Frances

22

96min|0+

79min|6+

97min|6+

16:30 P.94

18:50 P.185

20:50 P.146

忘憂上路

印度小情歌

女巫戀人

88min|0+ ★

91min|6+ ★

106min|18+ ★

15:00 P.67

17:40 P.61, 104

20:20 P.55

前進

還有一些樹

蚵豐村

幸福城市

Ohong Village

Cities of Last Things

124min|6+

116min|6+

104min|6+

12+63+40min|6+ ★▲

67min|0+

11:00 P.98

13:40 P.170

16:20 P.97

18:40 P.22, 23

21:20 P.140

完美現在時

爪哇安魂曲

乘客

沿海岸線徵友 + 美麗少年 + 講座

Normal

Present.Perfect.

11

12

Opera Jawa

13

14

Give Me A Ride

15

16

17

Fragile in Love + Boys for Beauty + TALK

18

24

Ghost Town Anthology

12:00 P.65

The Tree Remembers

23

鬼鎮疑雲

The Juniper Tree

108min|0+ ★

The Age of Awakening

24

Peterloo

14:20 P.84

The Odds

23

彼得盧:人民之聲

Alpha, The Right to Kill

91min|6+

Summer Survivors

10

18

94min|15+

The Color of Pomegranates

光點華山 一廳 SHC 1

17

101min|0+

新光影城 二廳 SKC 2

光點華山 二廳 SHC 2

15

77min|12+

19

20

21

怪正常的

22

場次表

07.11

11

36

10


40

場次表

SCREENING SCHEDULE


場次表

40

SCREENING SCHEDULE


第 21 屆

2019

台北電影節

TA I P E I F I L M

節目專刊

F E S T I VA L

C ATA LO G U E


目 次 Contents

6 局長序 Foreword from the Director General 8 主席序 Foreword from the Festival President 1 0 總監序 Foreword from the Festival Director

開幕片 Opening Film 1 2 灼人秘密 Nina Wu

台北電影獎 - 劇情長片

Taipei Film Awards - Narrative Features 5 3 3天2夜 3 Days 2 Nights 54 傻傻愛你,傻傻愛我 A fool in love, love like a fool 5 5 幸福城市 Cities of Last Things 56 老大人 Dad's Suit 5 7 人面魚 紅衣小女孩外傳 The Devil Fish

閉幕片 Closing Film 1 4 地久天長 So Long, My Son

58 寒單 Han Dan 59 大餓 Heavy Craving

3

60 比悲傷更悲傷的故事 More Than Blue 6 1 蚵豐村 Ohong Village 6 2 狂徒 The Scoundrels

1 7 傻傻愛你,傻傻愛我 A fool in love, love like a fool 1 8 陪你很久很久 Stand By Me 1 9 颱風 Typhoon

64 野雀之詩 Wild Sparrow

台北電影獎 - 紀錄片

Taipei Film Awards - Documentaries 65 前進 The Age of Awakening

楊士琪卓越貢獻獎特別放映 2019 Yang Shih-Chi Outstanding Contribution Award Special Screening

66 覆巢 Neglect 6 7 還有一些樹 The Tree Remembers 68 未來無恙 Turning 18 69 你的臉 Your Face

2 2 美麗少年 Boys for Beauty 2 3 沿海岸線徵友 Fragile in Love

國際新導演競賽 International New Talent Competition 36 國際新導演競賽評審

台北電影獎 - 短片

Taipei Film Awards - Short Films 7 0 帶媽媽出去玩 A Trip With Mom 7 0 春分兄弟 Brotherhood 7 1 情色小說 Erotica

International New Talent

7 1 肇事者逃逸 Hit and Run

Competition Jury

7 2 去年火車經過的時候 Last Year When the Train Passed by

38 性不性不由你 Being Impossible

7 2 老人與狗 Old Man and A Dog

39 清晨天空無限藍 Blue Hour

7 3 紐約深夜之亞洲人之秘密生活 Secret Lives of Asians at Night

40 厭世女傭日記 The Chambermaid

7 3 冬日陽光 Soleil d'hiver

4 1 大餓 Heavy Craving 42 我們與愛的距離 House of Hummingbird 43 邊境幻夢 Manta Ray 44 成為野獸的我們 Monsters.

台北電影獎 - 動畫片

Taipei Film Awards - Animations

45 世外之子 Obscure

7 4 可愛 ADORABLE

46 丹麥之子 Sons of Denmark

7 4 金魚 Gold Fish

4 7 蘿莉破壞王 System Crasher

7 5 隱匿的方寸空間 Hidden Zone

48 欲望公路 Take Me Somewhere Nice

7 5 當 一個人 Where Am I Going?

49 野雀之詩 Wild Sparrow

7 6 黃苦瓜 Wong, Bitter Gourd

CONTENTS

Special Screening

63 切小金家的旅館 Secrets in the Hot Spring

目次

特別放映


未來之光 Future Lights

明日.台灣:台灣短SHOW I

Forward Taiwan - Taiwan Shorts I

78 少女有點事 A Colony

1 1 1 島嶼雲煙 Cloudy Days

79 月半新娘 Flesh Out

1 1 1 初潮 The Menarche

80 一切堅固的終將煙消雲散 Last Night I Saw You Smiling

1 1 2 陽關太平 Rest in Mist

8 1 老娘叫珍珠 Pearl

1 1 2 踮腳尖 Tiptoe

82 天使寶貝法蘭絲 Saint Frances 83 海角上的兄妹 Siblings of the Cape 84 忘憂上路 Summer Survivors 85 索菲亞的夏天 Too Late to Die Young

明日.台灣:台灣短SHOW II

Forward Taiwan - Taiwan Shorts II

86 震向性教育 Tremors

1 1 3 釣客 The Angler

87 歡迎蒞臨荒涼小鎮 Volcano

1 1 3 破窗效應 Broken Windows Theory 114 伊卡洛斯 ICARUS

亞洲稜鏡 4

Asian Prism 89 漫長的告別 A Long Goodbye 90 你的鳥兒會唱歌 And Your Bird Can Sing

114 孿生 Siamoise

當代精選 World Cinema

目次 CONTENTS

9 1 福岡 Fukuoka

1 1 6 貴族動物 Angelo

92 一條鯰魚救地球 Maggie

1 1 7 政變麥來亂 The Announcement

93 湯屋裡我記得 Mio on the Shore

11 8 地下狂熱趴 Beats

94 印度小情歌 The Odds

1 1 9 首席指揮家 The Conductor

95 沉默未亡人 Widow of Silence

120 為琴癡狂 God of the Piano 1 2 1 上流教慾 Golden Youth

亞洲稜鏡:中國80後世代 Asian Prism: China 80s

122 以她的名字呼喚我 Greta 123 月亮歸ME The Man Who Bought the Moon 124 小島來了陌生爸爸 My Extraordinary Summer with Tess

97 乘客 Give Me A Ride

125 真愛邊緣人 Tehran: City of Love

98 完美現在時 Present.Perfect.

126 老娘是天后 Wild Rose

99 女他 SHe

127 蒼冬裡 Winter Flies

100 星溪的三次奇遇 Three Adventures of Brooke

128 隨風所欲 With the Wind

1 0 1 漫遊 Vanishing Days

明日.台灣 Forward Taiwan

怪奇物語 Wild Tales 130 餌 Bait

103 漂流廚房 Homesick Tongue

1 3 1 星魔 Demons

104 蚵豐村 Ohong Village

132 搖搖晃晃的陰間 Die Kinder der Toten 133 逃出絕命夢 Koko-di Koko-da

明日.台灣:驚悚劇場 I

Forward Taiwan - Til Death Do Us Part I 106 樂園 Last Stop: Paradise 106 肇事者逃逸 Hit and Run

134 追殺導演 Nocturne

異境真實 Reality Bites

107 住戶公約第一條 No Pets Allowed

136 我的超模母親 The Disappearance of My Mother

107 打掃 Perfectly Spotless

137 撒旦萬萬歲 Hail Satan? 138 大地蜜語 Honeyland

明日.台灣:驚悚劇場 II

Forward Taiwan - Til Death Do Us Part II 108 虎 Big Cat 108 隧道 Tunnel 109 完美Lily Login Trouble

139 救命大作戰 Midnight Family 140 怪正常的 Normal 141 蔚藍海岸某個地方 Sophia Antipolis


作者視角

經典重現

Visions

Classics Revisited

143 私法追緝 Alpha, The Right to Kill

183 石榴的顏色 The Color of Pomegranates

144 巴蘭吉加:咆嘯的荒野 Balangiga: Howling Wilderness

184 海上花 Flowers of Shanghai

145 家離海邊那麼近 Between Two Waters

185 女巫戀人 The Juniper Tree

146 鬼鎮疑雲 Ghost Town Anthology

186 午夜牛郎 Midnight Cowboy

147 她的搖滾滋味 Her Smell

187 狂愛 The Night Porter

148 痛苦與榮耀 Pain and Glory

188 赤線地帶 Street of Shame

149 彼得盧:人民之聲 Peterloo 150 出走巴黎 Synonyms

焦點影人:利.查泰米提古 Filmmaker in Focus: Lee CHATAMETIKOOL

VR全浸界

VR Frontline 190 -22.7° C 190 7生有命 7 Lives

159 傷心蔚藍海 Wonderful Town

1 9 1 彩虹鳥傳奇 Crow: The Legend

160 卡拉OK Karaoke

1 9 1 噩夢專線 Dispatch

1 6 1 看似平凡的故事 Mundane History

192 星球:宇宙合響 SPHERES: Chorus of the Cosmos

162 波米叔叔的前世今生

192 星球:時空之歌 SPHERES: Songs of Spacetime

Uncle Boonmee Who Can Recall His Past Lives

193 星球:暗淡藍點 SPHERES: Pale Blue Dot 194 失身記-上集 The Missing Body Eposide 1

164 邊境幻夢 Manta Ray

194 婚戒物語 Tales of Wedding Rings VR

165 地久天長 So Long, My Son

Filmmaker in Focus: Garin NUGROHO

199 穿越時空:關於敘事型VR的幾點觀察

168 無畏,詩人之歌 A Poet: Unconcealed Poetry

201 在地投影,未來閃現──「明日・台灣」

169 親吻你的淚痕 Bird Man Tale

203 在現實與理想間綻放特異光芒的獨立星體

170 爪哇安魂曲 Opera Jawa

205 利.查泰米提古與他的「三刀流」

1 7 1 蒙蔽的青春 The Blindfold

207 嘎林.努戈羅和的電影創作世界

172 我身記憶 Memories of My Body

210 從存餘變出繁花的修補匠(bricoler):安妮.華達 212 Notes on Narrative VR: Journeys In Space and Time

特別回顧:安妮華達與她的風景 Retrospective: Varda by Agnès

214 Local Projections, Future Flashes — Forward Taiwan 216 The Independent Stars Who Radiate a Distinctive Light Between Reality and Ideals

175 短角情事 La Pointe Courte

218 Lee CHATAMETIKOOL, the "Triple Threat"

176 五點到七點的克萊歐 Cléo from 5 to 7

220 The Significance of Garin NUGROHO

177 獅子、愛、謊言 Lions Love (...and Lies)

223 The Bricoler Who Crafted Bouquets from Scraps: Agnès

178 達格雷街風景 Daguerreotypes

VARDA

179 功夫大師 Kung-Fu Master! 180 千面珍寶金 Jane B. by Agnès V. 18 1 安妮華達 最後一堂課 Varda by Agnès

226 版權資料 Print Source 231 影片索引 Film Index 235 導演索引 Director Index 237 特別感謝 Acknowledgement

CONTENTS

專文 Essay

目次

163 愛情多年後回來 Concrete Clouds

焦點影人:嘎林.努戈羅和

5


局長序 培養觀眾多元觀影的首要平台

台 6

北電影節做為台灣首個以

式;「特別回顧」規劃今年已故的法國新浪潮之母安妮.華達的精彩作

城 市 為 名 的 影 展, 除 了 在

品回顧,探究她以人為本且溫柔誠懇的特色主題,向一代影人致敬;「焦

產官學三者間扮演重要角色: 有

點影人」單元則介紹知名的獨立泰國剪接師暨導演利.查泰米提古(Lee

效利用官方資源、 接軌與回應產

Chatametikool)及其作品,以及印尼資深導演嘎林.努戈羅和(Garin

業現況、培養與媒合產學人才外,

Nugroho)。

更積極扮演影人與觀眾間的橋樑, 培養積極主動且獨具品味的觀眾。

今年亦將持續去年頗受好評的 VR 單元,選映近年在國際影展大放異彩 的 VR 精采之作,持續與觀眾及創作者一同思考,新科技如何拓展影像

局長序 FOREWORD FROM THE DIRECTOR GENERAL

台北電影節一直與時俱進調整策

敘事的想像。並規劃 VR 國際論壇,力邀國際 VR 創作者及產業人士,從

展方向,引介來自各國的頂尖作

實務經驗出發,分享對 VR 產業的觀察及未來發展可能。此一單元的規

品外,也積極邀請各國優秀影人

劃及策展呈現,再一次凸顯台北電影節的精神:創新與突破。

蒞臨台北,提供國內外影人相互 交流的諸多機會。透過此一平台 與做法,台北電影節在地化與國 際化的形象亦隨之建立。

而「電影正發生:剪接」同樣抽取觀眾並不熟悉的幕後電影元素,將規 劃兩日共計四個場次的講座論壇,邀請善於後期與聲音剪接的泰國剪接 師利.查泰米提古、跨紀錄片及劇情片的台灣剪接師李念修,以及駕馭 類型片節奏自如的香港剪接師李棟全,分別針對專業人士及一般觀眾,

在今年的節目規劃中,多數單元

討論剪接之於故事,之於觀眾的關係。

仍然循往年脈絡:「亞洲稜鏡」 延續過去對亞洲影片的關注 (包 含 日 本、 韓 國、 印 度、 中 國 等 地 的當代作品);「國際新導演競

透過節目放映、活動辦理、講座及工作坊參與等,我們期待台北電影節 不只是影片放映的大型活動,更是國內外影像創作者相互交流、彼此切 磋的孕育之地;並成為培養觀眾多元觀影與美學品味的首要平台。

賽」引介令人耳目一新且技巧純

身為一個具國際觀的城市影展,台北電影節將以穩健的步伐,持續創新

熟的新銳導演作品;「異境真實」

與成長。這是我們的熱情與承諾。

持續探討紀錄與非紀錄的創作形

蔡宗雄 臺北市政府文化局局長 財團法人台北市文化基金會執行長


Foreword from the Director General

Leading Platform for Cultivating a Diverse Viewing Audience

T

aipei Film Festival—the first to

India, China. The "International New Talent Competition" brings in fresh and

bear the name of a Taiwanese

masterful works from new cutting-edge directors. "Reality Bites" carries on its

city—plays an impor tant role in

exploration of the creative forms of documentaries and non-documentaries.

bringing together the film industry,

This year's "Retrospective" pays respect to the mother of the French New

government, and academia. The

Wave, the late Agnès Varda, with a wonderful selection of films that explore

fe st i va l m a ke s e f fe c t i ve u s e o f

her people-oriented, gentle, and sincere approach. The"Filmmaker in Focus"

government funding by building

presents works of renowned independent Thai film editor Lee Chatametikool,

links with the industry, giving insight

and acclaimed Indonesian filmmaker Garin Nugroho.

into its current state, and helping to nurture film talent and provide c o n ta c ts w i t h i n a c a d e m i a . T h e communication between filmmakers viewership of independently minded

a selection of exciting virtual reality works that have shined at recent international film festivals. It is a segment that continues to encourage audiences and content creators to jointly ponder how new technologies can expand the imagination of visual storytelling. Also part of the programme is the VR International Forum, which invites international VR content creators and

connoisseurs.

industry experts to share their observations of the VR industry and its future

Ta i p e i F i l m F e st i va l h a s a l ways

presentation of this segment accentuates the innovative and groundbreaking

advanced with the times by fine-

spirit of Taipei Film Festival.

tuning its programme and including top cinematic works from around the world, but also by striving to bring outstanding foreign directors to Taipei to create more opportunities for interaction between domestic and international filmmakers. It is on this platform and using these methods that Taipei Film Festival has built its reputation in Taiwan and around the world. Many of the themes in this year's programme continue along the lines of previous years. "Asian Prism" focuses on films from Asia, including c ontemp ora r y wor ks from suc h countries as Japan, South Korea,

potential for development based on practical experiences. The planning and

In the same vein, "In Progress: Editing" consists of four themed talks delivered over two days that take a look at behind-the-scenes elements of film that may be new to audiences. Led by experienced Thai post-production and sound editor Lee Chatametikool, Taiwanese documentary and narrative film editor Li Nien-hsiu, and Hong Kong genre film editor Wenders Li, the talks are aimed separately at industry professionals and general audiences, and will involve discussion about the relationship between editing, story, and the audience. Taipei Film Festival is not just a large-scale film screening event. We hope these programmed screenings, events, talks and workshops will help to show it as a place of nurture where Taiwanese and foreign filmmakers can interact and learn from each other. In this way, it will become a leading platform for cultivating audiences with diverse artistic tastes and viewing habits. As an urban film festival with an international outlook, Taipei Film Festival will strive to continue to innovate and grow step by step. That is our passion and our promise.

TSAI Tsung-hsiung Director General Depar tment of Cultural Affairs, Taipei City Government Chief Executive Officer Taipei Culture Foundation

FOREWORD FROM THE DIRECTOR GENERAL

and their audiences, cultivating a

This year sees the return of the well-received VR segment, which screens 局長序

festival also acts as a channel of

7


主席序 蝴蝶蛻變,電影精彩

每 8

年微風炙夏時,台北電影

最具代表性的台北電影獎與國際新導演競賽獎,今年影片報名件數分

節總將世界各國精彩的影

別 為 359 件 及 610 件, 雙 雙 創 下 歷 年 新 高。 這 些 數 字 不 僅 標 誌 著 台

像作品帶到台灣觀眾的面前。今

灣電影新銳創作者對於台北電影獎的認同與肯定,也驕傲地代表了台

年 也 不 例 外。 第 21 屆 台 北 電 影

北電影節在國際影壇的地位和影響力。我們既欣慰又驕傲。

節依然選映能夠反映當代台灣優 秀創作者的作品和觀眾對話。

一部優秀的影像作品從無到有,仰賴幕前幕後各專業領域創作者的才 華和努力。台北電影節除了繼續發掘與鼓勵新銳創作者的核心精神之

主席序 FOREWORD FROM THE FESTIVAL PRESIDENT

台北電影節是台灣唯一以台灣電

外,還將觸角延伸到電影專業領域的多重面貌。今年,我們新設了會

影為主要競賽特色的影展。我們

外賽「台灣電影行銷獎」,鼓勵向來被各式影展和競賽忽略的電影行

決心凸顯與強化此一特色。台北

銷人員,希望台北電影獎可以在各影展之先,全方位地鼓勵電影產業

電影獎的賽制改變,除了可以鼓

人員。也在目不暇給的活動中,企劃了演員與經紀人的深度座談,帶

勵更多幕前幕後的電影工作者,

領觀眾領略演員的魅力與挑戰。

讓更多台灣電影人得以參與影展 活動,更可以進一步凝聚台灣電 影人的向心力,讓他們在其中找 到認同與歸屬。這是我們戮力以 赴的目標與方向。

今年,台北電影節向觀眾展現了許多嶄新的企圖與面貌。嘗試、創新、 努力、堅持,一如台灣電影在艱難的環境中所展現的精神,一如台北 電影節在過往的年歲中所企圖傳遞的訊息。 蝴 蝶 蛻 變, 電 影 精 彩。 誠 摯 邀 請 幕 前 幕 後 的 影 人 和 觀 眾 一 同 蒞 臨 2019 年第 21 屆台北電影節。

李屏賓 台北電影節主席


Foreword from the Festival President

A Metamorphosis, A Film Spectacular

E

v e r y y e a r, w h e n t h e h o t

This year, the festival's iconic Taipei Film Awards and International New

s u m m e r b re e ze h i ts , Ta i p e i

Talent Competition received 359 and 610 submissions respectively, both

Film Festival will invariably bring

record highs. These numbers don't just symbolise the recognition and

spectacular audiovisual work from

affirmation that cutting-edge Taiwanese filmmakers have for the Taipei

around the world to the audiences

Film Awards— they also proudly represent Taipei Film Festival's status and

of Taiwan. This year is no different.

influence in international film circles. We are delighted and honoured.

The 21st Taipei Film Festival is still conversing with audiences through screening selections that reflect Taiwan's outstanding contemporary

From start to finish, the creation of an outstanding audiovisual work relies on the talents and efforts of creative professionals from various fields in front of and behind the camera. Apart from continuing to discover and encourage

Taipei Film Festival is Taiwan's only

This year, we are introducing the "Film Marketing Awards" side event to

film festival with a main competition

recognise the film marketing personnel often overlooked by film festivals and

dedicated to Taiwanese films. We

competitions. It is our hope that the Taipei Film Awards can be the first to

are determined to accentuate and

award workers across all facets of the film industry. Among the smorgasbord

s t re n g t h e n t h i s c h a r a c te r i s t i c .

of planned events, we have also organised in-depth talks headed by

The changes we have made

renowned acting stars and agents, who will lead audiences in appreciating

t o t h e Ta i p e i F i l m Aw a r d s w i l l

the charisma of actors and the challenges they face.

workers, from both in front and behind the camera, and enable more of them to participate in the festival. Moreover, it will further bring together the aspirations of Taiwanese filmmakers by helping them find a sense of identity and belonging. This is the goal and direction we are doing everything we can to work towards.

extend its impact to multiple facets of the professional filmmaking industry.

This year's Taipei Film Festival is rolling out many new ideas and features to our audiences. Experimentation, innovation, hard work and persistence on the one hand, this describes the spirit Taiwan cinema has showcased in a difficult environment; on the other, it is the very message that Taipei Film Festival has sought to convey throughout the years. We may have undergone a transformation, but our selected films remain as spectacular as ever. We sincerely invite cineastes both in front and behind the camera to come along and join the audience at the 21st Taipei Film Festival in 2019.

Mark LEE Ping-bing President of Taipei Film Festival

FOREWORD FROM THE FESTIVAL PRESIDENT

cutting-edge filmmakers, the core spirit of Taipei Film Festival also aims to 主席序

filmmakers.

encourage more film industry

9


總監序 2019 年的改變

2

019 年, 台 北 電 影 節 有 了

後 期 公 司 如 雨 後 春 筍 般 冒 了 出 來。20 年 前, 台 灣 的 明 星 演 員 屈 指 可

破天荒的改變。

數,20 年 後, 台 灣 家 喻 戶 曉 的 明 星 演 員 似 乎 比 人 才 流 失 嚴 重 的 香 港

這 是 台 北 電 影 節 剛 過 完 20 歲 生 10

多上許多,但,當然也不敵大陸市場的吸引誘惑,外流情況嚴重。

日的第一年,也是我接下台北電

20 年前,全世界電影收入主要仰賴電影票房的回收和 DVD 版權的販

影節總監職務的第一年。

售 所 得。20 年 後,OTT 平 台 興 起, 打 破 了 許 多 疆 界 與 理 所 當 然, 隱

20 年, 台 灣 電 影 和 全 世 界 電 影

隱然帶來了一波電影創作、製作、發行、映演與觀眾消費習慣改變的 產業革命。

總監序

產業都面臨了巨大的變化。

FOREWORD FROM THE FESTIVAL DIRECTOR

20 年 前, 台 灣 電 影 上 映 的 年 產

於此,台北電影節思考了過去與未來的變貌。

量 只 有 10 部 左 右, 現 在 包 含 紀

於是,台北電影獎打破了往年只入選四大類影片的傳統,大幅增加了

錄片在內,則有 60 部之多。20

個人獎項的入圍名單,希望可以在分工愈趨細緻專業、全球化競爭愈

年前,台灣電影的平均製作成本

趨慘烈的環境中,鼓勵更多幕前幕後的工作人員。

在 1000 萬 台 幣 上 下, 現 在 則 增 加到了 3000 萬台幣。20 年前, 台 灣 電 影 票 房 的 市 佔 比 在 1% 上 下擺盪,這幾年則大幅成長,最 高曾到 18.65%。 20 年 前, 台 灣 電 影 的 後 期 製 作 仰賴少數幾家大型公司的支援。

於是,在影展節目的規劃上,我們微幅縮減了國際影片的邀約數量, 大幅增加影人、觀眾和產業之間的相關座談,強化與深化影展服務觀 眾與影人的功能。 透過這樣的改變與連結,我們期許台北電影節可以成為凝聚台灣電影 人向心力的所在,更期許台北電影節可以成為觀眾一探電影奧秘的活 力平台。

20 年後,隨著科技門檻的降低,

李亞梅 台北電影節總監


Foreword from the Festival Director

The Changes for 2019

2

019 is a year of unprecedented

are springing up everywhere. Twenty years ago, the number of Taiwanese

change for Taipei Film Festival.

movie stars could be counted on one hand. These days, Taiwan seems to

This is the first year after Taipei F i l m F e s t i v a l ' s 2 0 t h b i r t h d a y, and also my first year as Festival Director. Over these past 20 years, Taiwan cinema and the entire global film industry has experienced an

Twenty years ago, only around 10 year; now, including documentary

remains serious as many are still unable to resist the temptations of the Mainland Chinese market. Twenty years ago, film income worldwide relied mainly on box office receipts and sales of DVD rights. Twenty years later, the rise of OTT platforms has broken down those boundaries and conventions, subtly igniting an industry revolution with a wave of alternatives to filmmaking, production, distribution, screening and audience viewing habits. Taipei Film Festival has thus given thought to this past and its future development.

f i l m s , t h e re a re m o re t h a n 6 0.

Accordingly, the Taipei Film Awards is breaking free from its previous

Twe n t y ye a rs a g o, t h e ave ra g e

tradition of only nominating films in four major categories and is also

production budget of a Taiwanese

significantly increasing nominations for individual awards. It is hoped that

film was roughly NT$10 million;

these changes

n o w, i t h a s j u m p e d t o N T 3 0

more specific and professional, and where global competition is growing

— in an environment where division of labour is becoming

million. Back then, Taiwanese films

more intense — can offer more encouragement to talent and crew both in

accounted for about 1% of the total

front of and behind the scenes.

domestic box office; in the past few years, this number has increased dramatically, reaching as high as

Hence, in planning the festival program, we have slightly reduced the number of invitations to international films and significantly increased the

18.65%.

number of related talks between filmmakers, audiences and industry, so as

Tw e n t y y e a r s a g o , t h e p o s t -

filmmakers.

p r o d u c t i o n o f Ta i w a n e s e f i l m s relied predominantly on a handful o f l a rg e c o m p a n i e s . N ow, w i t h lowering technological barriers to entry, post-production companies

11

to strengthen and deepen the festival's function of servicing audiences and

Through such changes and connections, we hope Taipei Film Festival can become the place that brings together the aspirations of Taiwanese cineastes, and even more than that, become a lively platform where audiences can explore the profundity of cinema.

LI Ya-mei Director of Taipei Film Festival

FOREWORD FROM THE FESTIVAL DIRECTOR

Taiwanese films were released each

severe loss of new talent. But of course, the outflow of Taiwanese talent

總監序

enormous transformation.

have more well-known movie stars than Hong Kong, which has suffered a


開幕片 12

開幕片 OPENING FILM

OPENING FILM

2019 坎城影展 Cannes DIRECTOR 趙德胤 Midi Z PRODUCER 林聖文 LIN Sheng-wen, 方曉茹 Molly FANG, 曾宇彤 Claudia TSENG, 林展弘 Andi LIM SCREENPLAY 吳可熙 WU Ke-xi, 趙德胤 Midi Z CINEMATOGRAPHER 陸一帆 Florian J. E. ZINKE EDITOR 馬修 Matthieu LACLAU,

蔡晏珊 TSAI Yann-shan MUSIC 林強 LIM Giong SOUND 李丹楓 LI Denfeng, 周震 CHOU Cheng CAST 吳可熙 WU Ke-xi, 宋芸樺 SUNG Yu-hua, 夏于喬 HSIA Yu-chiao, 施名帥 SHIH Ming-shuai PRINT SOURCE 岸上影像有限公司 Seashore Image Productions


亞洲首映 Asian Premiere

灼人秘密

06.27 THU 中山堂 19:30 ★

Nina Wu

台灣、馬來西亞、緬甸 Taiwan, Malaysia, Myanmar 2019 | DCP | Colour | 103min 13

《諜戀》,一齣 1960 年代的諜報大作,讓苦熬八年的妮娜終於等來主演電影的時機, 卻是將她推上修羅場的最後一哩路。她得全裸上陣、單挑導演,星光璀璨的背後,骯髒 逐步現形。在成功降臨之前,心魔先被召喚。老家面臨經濟危機,與親密好友背離,讓 妮娜逐漸被逼往瘋魔的邊緣。

After eight years toiling in bit-parts, aspiring actress Nina Wu gets her big break with a leading role in a spy thriller. The part is challenging, because it calls for full nudity and explicit sex scenes and the director is hard on her. But both the industry and the press are confident that the results are sensationally good. On the brink of triumph, though, Nina's psychological resolve begins to crack. She rushes back to her family home to deal with two crises: her father's business has gone bankrupt and her mother has suffered a heart attack. She dreams of rekindling a close relationship with her childhood friend Kiki but is haunted by paranoid fantasies that a mysterious woman is stalking and attacking her. As Nina clings to memories of happier times, it seems that she is repressing one crucial memory.

趙德胤,生於緬甸,定居台灣。2006 年開始電影創作,作品享譽國際。 《冰毒》代表台灣角逐奧斯卡最佳外語片、《再見瓦城》獲威尼斯日單 元歐洲電影聯盟大獎(FEDEORA Award)最佳影片。VR 作品《幕後》 入選西南偏南電影節。最新劇情長片《灼人秘密》叩關坎城影展一種注 目單元。 Midi Z is a Myanmar-born Taiwanese film director. His debut feature Return to Burma (2011) was nominated for the Busan New Currents and Rotterdam Tiger Competitions. In 2014, Ice Poison won Best International Film at the Edinburgh Film Festival and represented Taiwan at Foreign Language Oscars.

OPENING FILM

「那晚,我看完吳可熙寫的《灼人秘密》劇本後;失眠到天亮。在昏昏沉沉中,我做了 個夢,夢到我小時候在緬甸,在一片燒焦的山上撿柴時,遇上的那個女人──那個因為 發瘋;而脫光了衣服在荒山野嶺中奔跑的美麗女人。」──趙德胤

開幕片

趙德胤首次挑戰懸疑驚悚的類型大作,於台灣取景,夏于喬、宋芸樺攜手演出,仿若雙 身魅影。吳可熙詮釋深受 #metoo 惡浪侵襲的演員,與趙德胤共同編劇,以私密且女性 的角度,融合自身經驗,銳利剖析演藝工作的黑暗面。


閉幕片 14

閉幕片 CLOSING FILM

CLOSING FILM

2019 柏林影展最佳男演員、最佳女演員 Best Actor, Best Actress, Berlinale DIRECTOR 王小帥 WANG Xiaoshuai PRODUCER 劉璇 LIU Xuan SCREENPLAY 阿美 A Mei, 王小帥 WANG Xiaoshuai CINEMATOGRAPHER 金炫錫 KIM Hyun-seok EDITOR 利.查泰米提古 Lee CHATAMETIKOOL MUSIC 董穎達 DONG Yingda SOUND 富康 FU Kang CAST 王景春 WANG Jingchun, 詠梅 YONG Mei, 齊溪 QI Xi, 王源 WANG Yuan, 杜江 DU Jiang, 艾麗婭 AI Liya PRINT SOURCE 東昊影業有限公司 Andrews Film Co., Ltd.


地久天長

07.09 TUE 中山堂 18:20 ★

So Long, My Son

中國 China | 2019 | DCP | Colour | 185min

15

劉耀軍與沈英明是一對好兄弟,在經濟逐漸起飛的中國 80 年代,他們選擇各自結婚, 追求美好未來。但因為一場突如其來的意外,昔日的友好關係發生了變化,耀軍夫妻亦 決定遷徙到陌生南方重新生活。30 年過去,他們再次回到家鄉,人事依舊,景物卻已非。 當陳年往事再度浮上心頭,流淌的時間也沖散不去,迴盪在彼此心中的愧疚與傷痛。

"We're waiting to grow old." This sentence briefly sums up Yaoyun and his wife Liyun's bitter realisation about their lives. They were once a happy family – until their son drowned playing by a reservoir. And so Yaojun and Liyun leave their home and plunge into the big city, although nobody knows them there and they cannot even understand the local dialect. Their adopted son Liu Xing does not offer them the comfort they had hoped for either. Defiantly rejecting his "foreign" parents, he one day disappears altogether. The married couple are repeatedly enmeshed in their memories. Finally, they decide to return to the site of their lost hopes. Part melodrama, part critique of the times, this film takes us from the country's upheaval in the 1980s following the Cultural Revolution to the prospering turbo-capitalism of the present day.

王小帥,1966 年出生於上海,畢業於北京電影學院導演系。1993 年, 執導首部電影《冬春的日子》,備受國際影展肯定。代表作《十七歲的 單車》、《青紅》、《日照重慶》、《闖入者》等片,也多次入選三大 影展。《地久天長》為其最新作品。 © XU Shengzhi

WANG Xiaoshuai graduated from the Beijing Film Academy in 1989. A pioneering director of 1990s independent Chinese cinema, he is one of the few filmmakers who remain true to his art in spite of the rampant commercialism of China's film market.

CLOSING FILM

「這不是一部電影,這是生活。」──王小帥

閉幕片

細膩人文筆觸見長的王小帥,通過非線性敘事結構,紀錄中國改革的歷史節點,以廣闊 視角見證家庭轉變和命運起伏。集結跨國團隊製作,精準剪接補捉個人之於時代的無奈 與遺憾,也在時代洪流中探尋自我的身份認同。飾演夫妻的王景春與詠梅,更憑藉此片 勇奪 2019 年柏林影展最佳男演員、最佳女演員。


特別放映

SPECIAL SCREENING

陪你很久很久 Stand By Me


傻傻愛你,傻傻愛我

17 世界首映 World Premiere

台灣 Taiwan | 2019 | DCP | Colour | 95min

07.06 S AT 中山堂 19:40 ★ 07.08 MON 華山一 21:00 ★

本片為金鐘獎影帝藍正龍首部自導自演的劇情長片,請來知名編劇徐譽 庭執筆,碰觸少見的喜憨兒感情題材,以甜美的童話繪本貫穿故事,講 述一段跨越階級、族群與世俗眼光的愛。同時亦不忘加入社會歧視的面 向,深入翻攪隱藏在表象背後那複雜的家庭張力,讓人心疼之餘,也引 發更多讓人深思的空間。影后恬妞的重量級演出,《通靈少女》郭書瑤 的角色更是畫龍點睛。

Born into a wealthy family, Xiao-wei lives a carefree life with his loving mother's care. He enjoys reading picture books written by his favorite author Kauff, especially those works about mermaids. One day, he accidentally takes the wrong bus, arrives at the seacoast and meets a mermaid, Blue. He believes Blue is the embodiment of the character in those picture books. Since then, Xiao-wei's "normal life," has become not "normal."

SPECIAL SCREENING

喜憨兒小維被媽媽照顧得無微不至,27 歲的他一直嚮往著美麗浪漫的 愛情,想和他心愛的繪本《森林王子與美人魚》一樣,體驗永誌不渝的 愛。某日,他被流氓欺負之後躲到了海邊,卻真的看見美人魚從海浪裡 緩緩向他走來;美夢成真、不知如何是好的小維,便決定向繪本的作者 請益,然而這突如其來的發展卻為他們搭起奇特的友誼橋樑。

特別放映

A fool in love, love like a fool

藍正龍,1979 年生於宜蘭,拍攝可口 可樂廣告出道後,參演《大醫院小醫 師》成名,並主演《波麗士大人》、 《流氓蛋糕店》等等電視劇,四次提 名金鐘獎戲劇類最佳男主角,2015 年 以《妹妹》成功奪得影帝。

Blue LAN began his career as an actor in 1999. In 2015, he won Best Leading Actor in a Television Series at the 50th Golden Bell Awards with Apple in Your Eye. A Fool in Love, Love like A Fool is his directorial debut feature, in which he also plays a part.

DIRECTOR 藍正龍 Blue LAN PRODUCER 梁宏志 Eric LIANG, 曾瀚賢 TSENG Han-hsien SCREENPLAY 徐譽庭 Mag HSU CINEMATOGRAPHER 廖敬堯 LIAO Jing-yao EDITOR 李運傑 Joe LEE, 林政宏 LIN Cheng-hong MUSIC 張學瀚 CHANG Hsueh-han SOUND

杜篤之 TU Duu-chih, 江宜真 CHIANG Yi-chen CAST 郭書瑤 KUO Shu-yau, 恬妞 Tien Niu, 藍正龍 Blue LAN, 張庭瑚 ZHANG Ting-hu, 蔡佳 宏 Leo TSAI PRINT SOURCE 華映娛樂股份有限公司 SKY FILMS Entertainment Co., Ltd.


18 世界首映 World Premiere

特別放映

07.05 FRI 中山堂 19:30 ★

陪你很久很久 Stand By Me

台灣 Taiwan | 2019 | DCP | Colour | 104min

SPECIAL SCREENING

青春詩篇的扉頁,九餅邂逅薄荷,撩動初戀的萌動。兩小無猜的相互依 伴,理當譜寫戀人絮語,無奈僅止戀人未滿。隨著大學生活開展,薄荷 渴望成熟肩膀倚靠,她與學長迅速墜入熱戀。遭控幼稚指責的九餅,遂 轉向擔任領跑員。宛如自身經歷,平行相陪卻不交叉。女孩夏天陰錯陽 差當起九餅室友,起初臭屁自詡軍師,卻同樣淪落傾心單戀。一連串錯 位的情感羈絆,三人轟炸出璀璨青春的輕狂年代。 賴孟傑,畢業於國立臺北藝術大學電 影創作研究所。作品涵括廣告、短片、 紀錄片、電視劇等類型,獲金鐘獎、 金穗獎、台北電影獎肯定。曾受香港 名導王家衛欣賞,擔任《擺渡人》執 行導演一職。《陪你很久很久》為其 首部劇情長片。

取材自人氣作家宋小君短篇小說《領跑員》,導演賴孟傑改寫愛情習 題,顛覆傳統浪漫小清新,動作、武打、裸奔樣樣來,生猛加味荒唐諧 趣,烹調出新世代的暴走喜劇。主演李淳翻轉《目擊者》陰鬱銀幕形象, 反差萌飾演癡情男子漢,攜手人氣女星邵雨薇、蔡瑞雪詮釋追愛悸動。 耳目一新的笑料橫生,一展台式校園劇新風味。

LAI Meng-jie obtained his MA in f i l m m a k i n g f r o m Ta i p e i N a t i o n a l University of the Arts. He has made commercials, shorts, documentaries, and TV movies, winning awards in Golden Bell Awards, Golden Harvest Awards and Taipei Film Awards. He has served as the executive director in See You Tomorrow. Stand By Me is his debut feature.

To what extent would you be willing to do for the girl you love? Jiu Bing has been stuck in the friend zone with Bo He since he was twelve. Even though he tries everything to win her heart, he fails in crossing the line. When working as a part-time pacer, Jiu Bing meets Xia Tian. They later become internet celebrities by accident. After putting Bo He first for a long time, Jiu Bing gradually realizes what role he plays in Bo He's life, and finally finds where his heart belongs.

DIRECTOR 賴孟傑 LAI Meng-jie PRODUCER 唐在揚 David TANG SCREENPLAY 十三月股份有限公司 Neverland Entertainment Limited,

劉雪容 LIU Hsueh-jung CINEMATOGRAPHER 黃瀚維 HUANG Han-wei EDITOR 陳俊宏 CHEN Chun-hung MUSIC 陳建騏 CHEN Chien-chi SOUND 楊書昕 Agnes YANG CAST 李淳 Mason LEE, 邵雨薇 Ivy SHAO, 屈中恆 CHU Chung-heng, 蔡瑞雪 TSAI Jui-hsueh PRINT SOURCE

嘉揚電影有限公司 Rise Pictures Co., Ltd.


Typhoon 台灣 Taiwan | 1962 | DCP | B&W | 110min

潘壘導演傳世代表作,在當時民風保守的台灣社會大膽描繪女性慾望。 全片以極低的拍攝成本、簡約的篇幅,細緻描繪人物性情,表現出饒富 現代電影的藝術質感。本片原為 35mm 黑白膠卷,經國家電影中心數 位修復後,2019 年春天在法國舉行世界首映,並重返台灣再次與觀眾 見面。

A lively and cute girl who gets lost in the world of radio drama believes the woman playing mahjong is not her mother, and runs away from home to search for her imaginary mother. A scoundrel claims to be the girl's father to escape from police. They encounter two women in the mountains: one is tortured by his workaholic husband who engages madly in his scientific research, the other is a girl as pure as water. Typhoon is coming. They are trapped in a weather station by the heavy rain with their heart and mind overwhelmed by emotions like the storm outside. The film daringly deals with the near infidelity of a middle-aged housewife, a subject at that time both unusual and controversial. Digitally restored by National Film Center, the film had its world premiere in France in spring of 2019.

亞洲首映 Asian Premiere

數位修復 Restored

06.29 SAT 新光一 18:20 ★ 07.04 THU 新光一 11:20

SPECIAL SCREENING

古靈精怪的小女孩,沉迷廣播劇的幻想世界,以為自己那醉心方城之 戰的母親並非親生,哭哭啼啼預備萬里尋母。流氓為了躲避警方追查, 佯稱是女孩父親並遠走深山。他們在阿里山黑森林裡遇見兩個女人, 一個是因丈夫終日埋首科學研究以致精神飽受摧殘的何太太,另一個 是純潔如清溪潭水的少女。颱風將至,五個主要人物──流氓、何先 生、何太太、逃家女孩與少女困守氣象局測候所,眾人心境一如窗外 的暴雨狂風。

19

特別放映

颱風

本片由日本寺田倉庫贊助數位修復

潘壘,1927 年出生,為一代文學巨擘、 電影編導,被譽為「台灣藝術電影之 父 」, 其 藝 術 成 就 揚 名 海 外。1960 年代後期創辦「現代電影電視實驗中 心」,以培養台灣影視人才。1970 年 代重返邵氏,將影史經典作《不了情》 改編成《新不了情》。從影 25 年, 執導作品多訴說寶島兒女的故事。於 2017 年以 89 歲高齡辭世。 PAN Lei was born in 1927. He was a novelist, scriptwriter and director. In the late 1960s, he founded the Modern Film and Television Experimental Center with the aim of fostering new talent. Considered the father of ar t film in Taiwan, he was widely acclaimed for his artistic achievement home and abroad.

1962 金馬獎最佳女配角 Best Supporting Actress, Golden Horse Awards DIRECTOR, SCREENPLAY 潘壘 PAN Lei PRODUCER 王紹青 WANG Shao-ching CINEMATOGRAPHER 洪慶雲 HUNG Ching-yun EDITOR 陳洪民 CHEN Hung-min MUSIC 楊秉忠 YANG Ping-chung SOUND 葉庭樾 YEH Ting-yueh CAST 唐菁 TANG Ching, 唐寶雲 TANG Pao-yun, 穆虹 Mu Hong, 金石 King Shih, 羅宛琳 LO Wan-lin, 歐威 OU Wei PRINT SOURCE 財團法人國家電影中心 Taiwan Film Institute


20

楊士琪卓越貢獻獎

陳俊志

Yang Shih-Chi Outstanding Contribution Award Mickey CHEN

楊士琪卓越貢獻獎

2019 YANG SHIH-CHI OUTSTANDING CONTRIBUTION AWARD


家、紀錄片導演。1967 年出生,台大外文系畢業, 紐約市立大學電影研究所電影製作碩士。以文字

和影像實踐社會運動,作品政治性強烈。他不只是同志 紀錄片工作者,也是同志運動參與者。 1997 年,他與陳明秀合作拍攝第一部紀錄片《不只是喜 宴》 ,以記錄作家許佑生的同志婚禮為題材,獲得超過 15 個國際同志影展的邀請。而 1998 年的「《不只是喜

M

ickey CHEN was bor n in Taiwan in 1967. He studied literature in

National Taiwan University and finished studies in the City College of New York in 1996. His first documentary, Not Simply a Wedding Banquet, co-directed with Mia Chen, circulated in gay and lesbian, AsianAmerican, and international documentary film festivals. In 1999, his Boys for Beauty

宴》抗議新聞局事件」,促成 1999 年通過實施「國產

daringly went into theatrical release in

錄影節目帶參加國際影展輔導要點」。

Taipei to box-office success, and Chen wo n t h e I n d e p e n d e n t S p i r i t Awa rd a t

代表作《美麗少年》是首部院線上映的台灣同志紀錄片。 而後入選 1999 年山形國際紀錄片影展,同年並獲得台 北電影獎年度特別獎。2007 年,以台美移民家族史寫

Memorandum on Happiness chronicled the dramatic break-up and surprising domestic violence between a lesbian couple. In 2005, Scars on Memory por trayed two

學年金。2008 年,以高樹少年葉永鋕死亡事件為本,

tragic gay love stories. His latest piece,

寫作〈人間.失格:高樹少年之死〉,獲得時報文學獎

My Mother Lives in Queens, NY, is the first

報 導 文 學 類 首 獎。2009 年 至 2010 年, 應 聘 為 國 立 中

par t of his complex family story. Chen

2011 年,出版首部著作《台北爸爸,紐約媽媽》,獲得 金鼎獎、台北國際書展大獎。

作品年表 Filmography 電影 Filmography

1997 不只是喜宴 Not Simply a Wedding Banquet (Doc) 1999 美麗少年 Boys for Beauty (Doc) 2001 玫瑰的戰爭 The War of Roses (Doc) 2003 幸福備忘錄 Memorandum on Happiness (Doc) 2003 我的愛滋朋友 My Friend With AIDS (Doc) 2005 無偶之家,往事之城 Scars on Memory (Doc) 2006 酷兒舞台 Queers on Stage (Doc) 2007 沿海岸線徵友 Fragile in Love (Short)

出版 Publishing 2011 台北爸爸,紐約媽媽 Taipei Father, New York Mother

persistently makes documentar ies on queer and gender issues in Taiwan and believes that documentaries can be an activist endeavor for social reform.

2019 YANG SHIH-CHI OUTSTANDING CONTRIBUTION AWARD

正 大 學 駐 校 作 家 及 駐 校 藝 術 家, 開 設 紀 錄 片 工 作 坊。

21

楊士琪卓越貢獻獎

作計畫《台北爸爸,紐約媽媽》獲第八屆台北文學獎文

the 1999 Taipei Film Festival. In 2003,


22

楊士琪卓越貢獻獎特別放映

美麗少年 Boys for Beauty

台灣 Taiwan | 1999 | DCP | Colour | 63min

2019 YANG SHIH-CHI OUTSTANDING CONTRIBUTION AWARD SPECIAL SCREENING

即將赴美求學的小羽,揚起微笑掩飾分手惆悵;自稱男校女學生的摩根,犀利言行下藏匿盼愛渴求;熱衷 扮裝的小丙,呢喃錄下寂寞苦悶。三名同志少年以青春為名,寫下生命記事,從邊緣角落向世界宣告理所 當然的驕傲存在。 延續《不只是喜宴》的運動意識,《美麗少年》衝撞充滿教條的異性戀霸權框架。導演勾勒出真實燦爛的 同志輪廓,在缺乏性平教育的暗櫃年代顯得難能可貴。本片問世便旋風式襲捲媒體報導,在不友善的社會 氛圍中,罕見地樹立同志正面形象。在台灣同志運動史上深具意義。 「由於他們的勇敢發聲,在台北城的各個同志情慾地景,留下的不再是文本虛構的、不再是學術偷渡的, 而是他們用真實生命詮釋的,同志族裔田野史上難得的、青春活力的一頁。」──陳俊志

A frank and entertaining portrait of the lives and family relations of three gay teenagers in Taipei: one breaks up with his boyfriend before studying abroad, another craves for love but feels like an outcast in school, and still another performs as an androgynous crossdresser. This documentary candidly captures the day-to-day realities of its protagonists, making a brave statement against gender norms. The film also recognizes their supportive family members who bear much of the pressure when their son or brother comes out of the closet. Marking an exceptional achievement for documentaries in Taiwan, the film is a box-office success as well as a brilliant depiction of people who live on the fringes of society. "I grabbed my camera to explore the new generation, the brave new queer world." – Mickey CHEN

1999 山形國際紀錄片影展 Yamagata International Documentary FF 1999 台北電影獎年度特別獎 Special Grand Award of the Year, Taipei Film Awards 2000 台灣國際紀錄片雙年展觀眾最愛獎 Audience Award, Taiwan International Documentary Festival DIRECTOR, PRODUCER, CINEMATOGRAPHER 陳俊志 Mickey CHEN EDITOR 黃三益 HUANG San-yi, 江嘉雯 JIANG Jia-wen MUSIC 陳建騏 CHEN Chien-chi MUSIC DESIGN 但唐謨 TAN Tang-mo PRINT SOURCE 後場音像紀錄工作室有限公司 Backstage Studio Co., Ltd.


23

台灣 Taiwan | 2007 | DCP | Colour | 12min

同場放映 Combined Screening 07.05 FRI 華山一 17:00 ▲ 07.11 THU 華山二 18:40 ★▲

小海穿梭藥物趴踢,放縱肉體沈溺歡愉。宛如悠游魚兒,他想看 海,游離無解的寂寞人生。

「《沿海岸線徵友》的創作動機,是為了反抗台灣國家機器對於 電音文化與男同志轟趴的一個鎮壓。」──陳俊志 Indulging in physical pleasure in drug parties, Little Hai desires freedom. Adapted from Xiang-hai Jing's poem, Fragile in Love is a rebellion against the suppression of electronic music culture and gay house party.

DIRECTOR 陳俊志 Mickey CHEN PRODUCER 蔡靜茹 SCREENPLAY 邵祺邁 CINEMATOGRAPHER, EDITOR 溫朝鈞 MUSIC

李雨寰 CAST 吳慷仁 , 劉雨凱 , 周孝安 , 黃士偉 PRINT SOURCE 財團法人公共電視文化事業基金會 Public Television Service Foundation 陳怡如 CHEN Yi-ju

楊士琪卓越貢獻獎特別放映暨映後講座 講者|楊力州(紀錄片導演)

主持|聞天祥(金馬影展執行長) 時間| 07.11 THU 18:40 地點|光點華山電影館二廳 *《沿海岸線徵友》與《美麗少年》放映結束後 * 本場次為售票放映,僅參加座談者請於映後依工作人員指示,視廳內空位排隊入場。

2019 YANG SHIH-CHI OUTSTANDING CONTRIBUTION AWARD SPECIAL SCREENING

改編自鲸向海作品,《我們與惡的距離》吳慷仁銀幕首作,詮釋 迷惘同志。藉由影像與詩句的銜接,深化呈現族群內部的社交生 態,幽微細膩地描繪出愛無差異的情感探尋。

楊士琪卓越貢獻獎特別放映

沿海岸線徵友 Fragile in Love


他「熱/鬧 」 , 他用文字、 用 影 像 盡寫出人間 的 不 平 , 他是陳俊志 文 李幼鸚鵡鵪鶉小白文鳥

他的時候,寫他的時候,

院判處死刑),他立即伴隨人權團體不僅遊行

彷彿他的聲音就在眼前。

奮力抗爭,而且全程拍攝!死刑定讞,隨時可 能被執行槍決的啊!他怎能不著急?他怎能不

有 他 在 的 場 合, 他 是 不 可 能 沉 默 的, 大 家 也 因 而 無 法 沉 默。 有 他 在, 就 有 熱 鬧。 有 他 在, 就 有 活 力。 他 自 己 活 蹦 亂 跳, 24

他是花蝴蝶,大家也蓬蓽生輝,

積極營救?當年以《美麗少年》、《無偶之家, 往事之城》穩住光環時,是不是還遺留更多更 多拍攝卻還沒剪輯、沒發表的重要影像與珍貴 記憶呢?但願能為他挖出《陪蘇建和、劉秉郎、 莊林勳搭捷運》的影像版。

成 了 他 穿 梭 的 萬 紫 千 紅。 他 帶

楊士琪卓越貢獻獎

來 樂 趣, 揮 灑 生 機, 有 那 麼 多

他的能耐何止是拍攝紀錄片!他還單打獨鬥,

年 的 台 北 電 影 節, 只 要 他 有 電

克服萬難,讓紀錄片也能比照劇情長片有機會

影, 無 論 是 應 邀 觀 摩 或 入 圍 競

在電影院公開上映。《美麗少年》就以院線片

賽, 每 當 他 出 現, 場 子 彷 彿 就

的姿態創下亮眼的票房成績,因為他體認到,

成 了 嘉 年 華, 甚 至, 他 本 身 就

為弱勢發聲只是理念,只是理想,拍攝出來的

是一次又一次的嘉年華。

議題讓更多的人看到、反省才有意義,功能方

2019 YANG SHIH-CHI OUTSTANDING CONTRIBUTION AWARD

才彰顯。 他愛熱鬧,他也帶給大家熱鬧。 他 待 人 好, 也 希 望 人 人 都 過 得

台灣在文化部成立之前,當時電影出國參展、

好。 愛 熱 鬧, 可 以 熱 鬧 得 他 第

參 賽、 得 獎 的 相 關 補 助 與 獎 勵 都 由 新 聞 局 執

一 本 新 書《 台 北 爸 爸, 紐 約 媽

掌。 補 助 與 獎 勵 對 象 都 只 侷 限 於 35mm 底 片

媽》就邀來 55 位或 56 位藝文

拍攝的劇情長片,完全無視紀錄片、實驗片、

界 人 士 共 同 推 薦。 如 果 以 為 他

動畫、劇情短片的成就與貢獻。膠捲菲林材質

只 會、 只 願 為 自 己 造 勢, 那 就

對 錄 像 的 霸 權, 異 性 戀 當 道 對 同 志 族 群 的 歧

太不瞭解他了。

視,經由他巧妙結合、奇詭掛勾,嚴厲控訴新 聞局的愚昧偏見與雙重標準,讓多少年來不動

幫 別 人 拍 短 片, 他 不 但 是 不 收 費 的 攝 影 指 導, 更 在 風 飄 雨 搖 入 夜 收 工 時, 由 他 付 費 邀 劇 組 全體去慶功宴。 他最享譽的豐功偉業是導演過 幾 部 同 志 題 材 的 出 色 紀 錄 片, 並投身同志平權的社會運動走 上 街 頭。 他 確 實 宛 如 同 志 族 群

如山的新聞局居然頑石點頭,造福的何止是同 志電影?所有的劇情短片與紀錄片導演們(他 們十之八九是異性戀呦!)從此以後都受到了 起碼的禮遇。 他果然會「鬧」事,愛「鬧」事,把菲林霸權 與歧視同志攪和的「熱」滾滾。當初多數影像 工作者都不看好,認定他白忙一場,不料他居 然能夠旋乾轉坤。

的 守 護 神, 也 是 紀 錄 片 領 域 的 奇 才, 可 是 這 樣 的 描 述 卻 是 窄

他 確 實 不 是 只 挺 同 志。 對 於 黃 銘 正 的《 野 麻

化 了 他。 且 看 三 位 異 性 戀 男 孩

雀》、鄭有傑的《私顏》、林泰州的《柳川之

( 蘇 建 和、 劉 秉 郎、 莊 林 勳 )

女》、劉吉雄的《草木戰役》,這些異性戀導

被 台 灣 惡 警 刑 求 逼 供、 屈 打 成

演們的小品傑作都大力推崇。高中時代他就把

招 的 冤 獄 迫 害( 而 且 多 次 被 法

楊德昌的劇情長片《海灘的一天》看了八遍!


近 年, 應 政 儒 的《 晃 遊 身 體 》

紀錄片、劇情片、文學與電影都有一手的這位人物,或許還有更多有

也 受 過 他 的 美 言 嘉 惠。 他 比 影

待人們發現的面向與驚喜呢!別人受苦,引發他的痛與怒,激起他抗

評人更具影評人的卓見。

爭 的 狂「 熱 」, 他 非 要「 鬧 」 翻 天 不 可。 這 番 風 骨, 這 種 勇 氣, 與

他不僅打破新聞局的昏聵成規,

1980 年代台灣新電影的保母楊士琪(1950-1984)是相通的啊!

他也打破人們對他的刻板印象

借用法國電影大師克里斯・馬克(Chris Marker)《美好的五月》(Le

與 定 型 期 待。 誰 說 他 只 會 拍 紀

joli mai)的結語來描述他:只要貧窮存在,你就不富有;只要絕望存

錄 片?《 沿 海 岸 線 徵 友 》 流 露

在,你就不快樂;只要監獄存在,你就不自由。

出他處理劇情片也同樣得心應 手, 還 彷 彿 遊 走 在 詩 與 電 影 間 自成一格。

Tant que la misère existe, vous n'êtes pas riche. Tant que la détresse existe, vous n'êtes pas heureux.

同 學 霸 凌 死 得 不 明 不 白, 是 無

這,就是英年早逝、令人感歎的陳俊志(1967-2018)!用影像也用 文字「盡寫出人間的不平」的陳俊志!台灣電影界的墨子:陳俊志!

累 月 前 往 現 場 多 次 研 究 探 訪, 寫 成 了 得 到 報 導 文 學 獎 的〈 人 間.失格:高樹少年之死〉。(他 難 道 沒 有 拍 攝 影 像 嗎? 不 可 能 吧! 他 拍 攝 而 未 發 表 的 影 像 創 作 還 有 許 多 許 多, 由 此 可 見。 更有待人們日後整理、公開)。 再往後,就是 2011 年讓他大紅

附記 2018 年陳俊志告別式那天,所有沒有血緣的友人與各弱勢團體成員, 或是相擁而泣,或是彼此鼓勵繼續奮鬥,因為「我們」都是陳俊志的 「家人」!

大 紫 的 文 學 創 作《 台 北 爸 爸, 紐約媽媽》了。 看《 光 陰 的 故 事 》 的 短 篇〈 指 望 〉, 看《 海 灘 的 一 天 》, 有 些人以為楊德昌只對古典音樂、 交 響 樂 內 行; 看《 牯 嶺 街 少 年 殺人事件》不免訝異原來楊德 昌 也 愛 玩 當 代 流 行 音 樂, 還 畫 漫 畫! 看 蔡 明 亮 電 影, 原 先 以 為 美 術 都 只 交 由 專 人 處 理; 往 後 蔡 明 亮 開 畫 展、 在 美 術 館 展 演劇場

裝 置 藝 術, 又 要 怎 麼

說呢? 李幼鸚鵡鵪鶉小白文鳥,台灣資深影評人。

2019 YANG SHIH-CHI OUTSTANDING CONTRIBUTION AWARD

比 的 怒, 是 永 恆 的 痛。 他 經 年

楊士琪卓越貢獻獎

Tant que les prisons existent, vous n'êtes pas libre.

誰 說 他 只 會 拍 電 影? 他 對 於 高 樹少男葉永鋕的非陽剛氣質被

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He was both passionate and troublesome His words and images depicted the world's injustices He was Mickey CHEN by Ahphonse Perroquet/ Parrot Caille/ Quail Jawa Sparrow Youth-Leigh

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W

hen I think about him, or when I write about him, it is as though his voice is right in front of me.

楊士琪卓越貢獻獎 2019 YANG SHIH-CHI OUTSTANDING CONTRIBUTION AWARD

If he was present at an occasion, it was impossible for him to stay silent, and as a result, no-one else could stay silent. If he was there, it was lively. If he was there, there was vitality. He was active and exuberant: a social butterfly. Everyone was thrilled to be in his presence, each group becoming a riot of colour as he moved through them. He brought pleasure and sprinkled excitement. Throughout all the years of Taipei Film Festival, as long as one of his films was involved, whether being screened or as an award nominee, whenever he appeared, the venue seemed to transform into a carnival. Or perhaps, it could even be said that his life was a series of carnival, one after another. H e l ove d l i ve l i n e ss a n d b ro u g h t liveliness to everyone. He was good to people and wanted everyone to do well. He loved liveliness and was so lively that his first book, Taipei Father, New York Mother, was recommended by over fifty people in arts and cultural circles. If you think he only knew how to or only wanted to promote himself, then you didn't know him at all. When he assisted others on short films, he not only served as a free d i r e c t o r o f p h o t o g r a p h y, w h e n shooting wrapped, deep into the night amid the wind and rain, he was also the one who treated the entire crew to a celebration feast. His most recognized accomplishments are directing several outstanding g ay-t h e m e d d o c u m e n t a r i e s a n d taking to the streets to support gay rights activism. He was indeed like a patron saint to LGBT groups and also a prodigy in the documentary field, but such a description would

be confining him. When he saw how three heterosexual boys (Su Chienho, Liu Bin-lang and Chuang Linhsun) were falsely imprisoned and p e rs e c u te d a f te r b e i n g to r t u re d by corrupt Taiwanese police into confessing to murders they didn't commit (and repeatedly sentenced to death by the courts), he immediately joined human rights groups not just to march in protest, but to film the entire process! The death penalty had been handed down and they could have been executed by firing squad at any moment. How could he not be anxious? How could he not actively try to rescue them? This was back around the time when he was already sanctified for his acclaimed LGBTthemed documentaries Boys for Beauty (1999) and Scars on Memory (2005). The question remains, was there any footage, important videos and precious memories from that time that remained unseen? If so, then I hope someday I will be able to dig that footage out for him and put together a documentary film of the "Riding the MRT with Su Chien-ho, Liu Bin-lang and Chuang Lin-hsun" campaign. His skills were by no means limited to making documentary films. He also fought alone and overcame countless difficulties to give documentaries the same oppor tunity to be screened publicly in cinemas in the same way as narrative features. Boys for Beauty, for instance, achieved eye-catching box office results as a cinematic release because he recognized that speaking up for the disadvantaged is just an idea, an ideal, but making a film about an issue can allow more people to see it, and only then is self-reflection meaningful and only then can its function be highlighted. Before Taiwan established the Ministry of Culture, financial assistance and rewards


for domestic films participating in international festivals, competitions and awards was entirely controlled by the Government Information Office (GIO). Subsidies and rewards were limited to narrative features shot on 35mm film, which c o m p l e t e l y i g n o re d t h e a c h i e ve m e n t s a n d contributions of documentaries, experimental films, animations and shorts. This included Chen's VHS documentary, Not Simply a Wedding Banquet (1997), which received invites to many international film festivals but was still excluded from government funding support. He thus campaigned against this, and by arguing on the basis of film formats was cleverly able to challenge the discrimination against LGBT groups by the heterosexual mainstream and heavily condemn the GIO's foolish biases and double standards. In the end, he was able to force the GIO, which had been so stubbornly immovable for so many years, to nod its head in approval. This, in turn, benefited far more than just LGBT films. From then on, all short film and documentary directors (80-90% of whom are heterosexual) were at least afforded this minimum level of courtesy.

He not only broke through the GIO's muddled conventions — he also broke through people's stereotypical impressions and rigid expectations of himself. Who says he only knew how to make documentary films? Fragile in Love (2007) revealed that he was just as adept at crafting fictional films, and that he could even appear to wander uniquely between poetry and film. Who says he only knew how to make films? The unsolved bullying death of Yeh Yung-chih, an effeminate teen from Gaoshu Township, caused him unmatched anger and eternal pain. Over the years, he visited the site many times to conduct research and interviews, and eventually wrote the award-winning piece Renjian•Shige ("Humanity•Disqualified"). (Did he not film any video footage while he was there? Impossible! Presumably there are many, many videos he shot

Perhaps there are even more sides and surprises yet to be discovered about this man who had a hand in everything from documentaries and narrative films to literature and cinema. The suffering of others triggered his pain and fury, aroused his fighting "passion", and compelled him to stir up "trouble". Such strength of character and courage brings to mind none other than Yang Shih-chi (1950-1984), the 1980s pioneer of New Taiwan Cinema that this award is named after! To borrow the final words of Le joli mai (1963) by French auteur Chris Marker: "As long as poverty exists, you're not rich. As long as despair exists, you're not happy. As long as prisons exist, you're not free." This describes Mickey Chen (1967-2018), whose premature death fills us with lament. Mickey Chen, who used images and words to "depict the world's injustices"! Mickey Chen, the Mozi 1 of Taiwan cinema!

Translated by Howard SHIH

Postscript On the day of Mickey Chen's funeral in 2018, all of his friends and members of disadvantaged groups embraced each other and wept together, and encouraged each other to keep fighting. This is because "we" are all Mickey Chen's "family"!

Ahphonse Perroquet / Parrot Caille / Quail Jawa Sparrow Youth-Leigh, Taiwanese film critic. Mozi: 4th century BCE Chinese philosopher who advocated a doctrine of "universal love."

1

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2019 YANG SHIH-CHI OUTSTANDING CONTRIBUTION AWARD

Yet he went beyond merely supporting his peers. He strongly recommended the short works of heterosexual directors, such as Huang Mingcheng's Too Young (1997), Cheng Yu-chieh's Baby Face (2000), Lin Tay-jou's The Willow River (2006), and Asio Liu Chi-hsiung's Exotic Exoticism: Plant Wars (2007). More recently, he also gave high praise to Yin Cheng-ru's Body At Large (2012). He had more critical insights into film than film critics.

Watching the "Expectations" segment of In Our Time (1982) or watching That Day, on the Beach, we might think Edward Yang was only well-versed in classical music and symphonies. But then watching A Brighter Summer Day (1991), we can't help but be surprised to learn that he also loves playing modern pop music and even drawing comics! Or watching Tsai Ming-liang's films, we might think that all of the the art design is done solely by art directors, but this falls in doubt when we later learn of the art installations and museum theatre performances that Tsai Ming-liang has staged.

楊士琪卓越貢獻獎

He of course knew how to stir up "trouble" and loved to stir it up by blending film hegemony and LGBT discrimination together so "passionately". In the beginning, many filmmakers were not optimistic and were convinced that he was wasting his time. Never did they expect that he would actually be able to shake things up.

that have not been released). Then further down the track, there was Taipei Dad, New York Mom, the literary work that made him tremendously famous.


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楊士琪卓越貢獻獎

2019 YANG SHIH-CHI OUTSTANDING CONTRIBUTION AWARD


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楊士琪卓越貢獻獎

2019 YANG SHIH-CHI OUTSTANDING CONTRIBUTION AWARD


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楊士琪卓越貢獻獎

2019 YANG SHIH-CHI OUTSTANDING CONTRIBUTION AWARD


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楊士琪卓越貢獻獎

2019 YANG SHIH-CHI OUTSTANDING CONTRIBUTION AWARD


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楊士琪卓越貢獻獎

2019 YANG SHIH-CHI OUTSTANDING CONTRIBUTION AWARD


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楊士琪卓越貢獻獎

2019 YANG SHIH-CHI OUTSTANDING CONTRIBUTION AWARD

《美麗少年》海報


國際新導演競賽

INTERNATIONAL NEW TALENT COMPETITION


35

國際新導演競賽

INTERNATIONAL NEW TALENT COMPETITION

蘿莉破壞王 System Crasher


國際新導演競賽 評審

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INTERNATIONAL NEW TALENT COMPETITION JURY

INTERNATIONAL NEW TALENT COMPETITION JURY

國際新導演競賽評審

評審團召集人 Jury President

沈可尚 SHEN Ko-shang

喬凡娜 • 芙維 Giovanna FULVI

台灣電影導演,作品曾入圍多個 國際影展,並獲多項獎項肯定。 包括《噤聲三角》、《賽鴿風雲》、 《 野 球 孩 子 》、《 小 城 》、《 遙 遠星球的孩子》、《築巢人》、《日 日 喃 喃 》、《 幸 福 定 格 》; 劇 情 短片《與山》曾入圍坎城影展短 片競賽單元。於 2017-2018 年擔 任台北電影節總監。

2002 年 起 擔 任 多 倫 多 影 展 選 片 人,羅馬電影節選片委員之一, 並擔任數個國際影展節目顧問, 包括鹿特丹影展、都靈影展。在 推廣亞洲電影的事務上不遺餘力, 致 力 將 當 代 台 灣、 香 港、 中 國、 日韓等電影引介給歐美觀眾。亦 曾擔任義大利導演貝托魯奇之經 典作品《末代皇帝》的歷史文化 顧問。

S H E N Ko - s h a n g i s a d i r e c t o r showing his talent in feature films, documentaries, experimental films and commercial adver tising. His distinguished documentary works include Silent Delta, The Pigeon Game, Baseball Boys, Fading, Children From The Distant Planet, A Rolling Stone, Ways Into Love and Love Talk. His works have been screened in many international film festivals and won many awards. He is the director of Taipei Film Festival in 2017 and 2018.

G i o v a n n a F U LV I h a s b e e n programming Toronto International Film Festival since 2002. She is responsible for discovering and introducing audiences to the newest films and filmmakers of Asian cinema f ro m re g i o n s s u c h a s m a i n l a n d China, Taiwan, Hong Kong, Japan and South Korea. She has served as a film consultant and acquisitions manager for various organizations over the past 20 years, including the International Film Festival Rotterdam and the Torino Film Festival. Fulvi has also worked on Bernardo Bertolucci's The Last Emperor as a historical and cultural researcher and production assistant.


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山下敦弘 YAMASHITA Nobuhiro

台 灣 電 影 製 片、 編 劇。 曾 任《 影 響》電影雜誌主編、中環娛樂行 銷企劃。2001-2005 年任金馬國 際影展策展人,而後與監製陳國 富共同創立原子映象有限公司, 發行國際影展得獎影片和台灣票 房鉅片。2010 年開始製作電影, 參與製作之作品在國際影展上獲 獎 無 數, 以《 百 日 告 別 》 入 圍 2015 年金馬獎最佳編劇。

藏 族, 電 影 導 演、 編 劇 及 作 家, 以拍攝藏語電影為主,作品曾入 圍重要國際影展並獲獎,包含《靜 靜 的 嘛 呢 石 》、《 尋 找 智 美 更 登》、《老狗》、《塔洛》、《撞 死了一隻羊》。亦創作藏、漢文 小說,譯介成多種語言,廣受國 際專業文學獎項肯定。其作品讓 人們對藏族文化及其生存狀態產 生新的體認。

1976 年 出 生 於 日 本 愛 知 縣, 大 阪藝術大學藝術學部映像學科 畢業。首部長片《賴皮生活》獲 得影壇高度注目,此後作品《琳 達! 琳 達!》、《 天 然 子 結 構 》 和《苦役列車》均入選《電影旬 報》十大佳片,擅長以獨特的幽 默感呈現其對社會現況的細膩觀 察, 最 新 作 品 為《 平 成 地 獄 兄 弟∼驚驚》。

LIU Wei-jan is a film producer and screenwriter. She has been the editor of Influence Film Magazine, the market manager in CMC Entertainment, and the curator of Taipei Golden Horse Film Festival from 2001 to 2005. She established Atom Cinema with Chen Kuo-fu, distributing films winning awards in film festivals and films with top box office in Taiwan. Since 2010, she has been producing award-winning films. She was nominated for Best Original Screenplay in the Golden Horse Awards in 2015.

Pema Tseden is a Tibetan director,

YAMASHITA Nobuhiro was born in

screenwriter and literary writer.

Aichi Perfecture. He was graduated

His literary publications in Tibetan

from the Visual Concept Planning

and Chinese have been translated

Department of Osaka University of

into many languages and received

Arts. His debut feature Hazy Life,

numerous literature awards. Most

attracted attention both in Japan and

of his films including The Silent

abroad. Bringing a unique creative

Holy Stones, The Search, Old Dog

sense to material from a wide variety

and Tharlo, are shot in Tibetan

of sources, he has since then helmed

language. Because of his in-depth

a string of hits, including Linda, Linda,

and meticulous description of the

Linda, A Gentle Breeze in the Village,

native land, people have a new

Moratorium Tamako, La La La at Rock

understanding of Tibetan culture and

Bottom, My Uncle, and Hard Core.

its living conditions. His films were nominated at major international film festivals and received over forty domestic and international awards.

INTERNATIONAL NEW TALENT COMPETITION JURY

萬瑪才旦 Pema Tseden

國際新導演競賽評審

劉蔚然 LIU Wei-jan


38 亞洲首映 Asian Premiere

國際新導演競賽

06.28 F R I 中山堂 14:30 06.30 SUN 新光一 17:10 ★ 07.02 TUE 新光一 12:00 ★

INTERNATIONAL NEW TALENT COMPETITION

派翠西雅.奧特加,1977 年出生於委 內瑞拉馬拉開波,畢業於古巴國際電 影電視學院(EICTV),目前擔任電 影監製、編劇和導演。她的第一部劇 情 長 片《El Regreso》 於 2013 年 獲 得波哥大影展銀獎。《性不性不由你》 為其第二部長片。

Patricia ORTEGA, born in Venezuela, graduated from the International Film and TV School (EICTV) Cuba in the specialty of film direction. She is the president of the production company Mandragora Films Zulia. Being Impossible is her second feature film. She works as an executive producer, scriptwriter and director.

性不性不由你 Being Impossible

委內瑞拉、哥倫比亞 Venezuela, Colombia | 2018 | DCP | Colour | 89min

年輕女工艾麗在初次性經驗後,私處血流不止,疼痛不已,她意識到 自己的身體有些異樣,困擾的她尋求熟識的醫師檢查,才發現自己被 巨大的秘密所籠罩。與此同時,剛進工廠的帥氣女工安娜對她似乎有 些特殊的情愫,但來自工廠其他同事的惡意、突如其來的心靈悸動與 身體變化,將對她帶來什麼樣的衝擊? 本片以沉穩節制的影像風格,敘說了極具張力的真相時刻,呈現在多 元性別權益受到不平等對待的委內瑞拉,人們欲面對自我認同時所遭 遇的阻礙與困境,亦細膩且動人地勾勒主角在面對自身身體變化與情 感時的無比勇氣,點出那絕非二元對立的多元可能性。 「這是任何曾經被挑戰其身體、性別認同、性向的人都會有所共鳴的 故事。沒有人可以強迫或管制其他人的生活方式。」──派翠西雅. 奧特加

Ariel is a young pious dressmaker surrounded by judgmental women in a stifling working environment. Her first intimate encounter with a boy proves to be an extremely painful experience. Something is odd with her body. After a medical visit, she obtains a dubious diagnosis. Being confused and bewildered, she tenaciously digs into her past. Ariel discovers a secret her family has tried to hide all of her life. She was indeed born with an intersexual body. Her mother has arranged for her to have sexual reassignment surgery as a baby to be turned fully into a female. This truth forces her to find herself outside gender binaries. Depicting an intersex' path to find forgiveness and freedom, Being Impossible is a sensitive film about the self-determination of one's body and life.

2019 西南偏南電影節 SXSW DIRECTOR 派翠西雅.奧特加 Patricia ORTEGA PRODUCER 派翠西雅.奧特加 Patricia ORTEGA, Jhony HENDRIX, Laura BARBOSA SCREENPLAY 派翠西雅.奧特加 Patricia ORTEGA, Enmanuel CHÁVEZ CINEMATOGRAPHER Mateo GUZMÁN EDITOR

Mauricio VERGARA MUSIC Álvaro MORALES SOUND Juan Felipe RAYO CAST Lucía BEDOYA, María Elena DUQUE, Belkis AVILLADARES PRINT SOURCE Media Luna New Films


清晨天空無限藍

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日本 Japan | 2019 | DCP | Colour | 92min

本片由透明系女星夏帆飾演而立之年卻開始懷疑人生的女主角,並找來 《黃真伊》中的天才韓國童星沈恩敬飾演自由奔放的小清,挑戰全日文 演出。導演箱田優子首次執導劇情長片,細膩且犀利地指出日本女性在 職場與家庭中的剝削與壓抑,以及城鄉差距的社會問題,片尾的魔幻手 法更是令人拍案叫絕。

箱 田 優 子,1982 年 出 生 於 日 本 茨 城 縣, 曾 就 讀 東 京 藝 術 大 學 美 術 學 院 繪 畫 系, 廣 告 拍 攝 經 驗 豐 富。 本 片 拍 攝 企 劃 曾 於 2016 年 拿 下 蔦 屋 書 店 的「TSUTAYA CREATORS' PROGRAM」評審特別獎。

Sunada, a 30-year-old married woman trapped in her TV commercial director career in Tokyo and her exhausting love relationship, goes on a homecoming journey in the company of her strikingly cheerful friend, Kiyoura. In a bittersweet reunion with her alienated family, she is confronted with her childhood memories of freedom and yearnings that she has left behind in her provincial hometown. Something inside Sunada starts to change in the dreamlike "blue hour," the short period of twilight in the morning and evening when the color of the world turns blue. Hakota Yuko makes her feature film debut with an original script based on her own experience. She captures raw emotions mixed with reality and fantasy as she depicts natural scenery and memory of people through children's eyes.

HAKOTA Yuko was born in 1982 in Japan. She graduated from the department of painting in Tokyo University of the Arts and has worked as a director for many commercials. Blue Hour, her first debut film, won the Jury Special Award in TSUTAYA CREATORS' PROGRAM in 2016.

2019 香港電影節 Hong Kong IFF DIRECTOR, SCREENPLAY 箱田優子 HAKOTA Yuko PRODUCER 星野秀樹 HOSHINO Hideki CINEMATOGRAPHER 近藤龍人 KONDO Ryuto EDITOR 今井大介 IMAI Daisuke MUSIC 松崎ナオ MATSUZAKI Nao SOUND 小川武 OGAWA Takeshi CAST 夏帆 Kaho, 沈恩敬

SHIM Eun-kyung, 緒方義博 Denden, 南果步 MINAMI Kaho, 渡邊大知 WATANABE Daichi, 中山裕介 SANTAMARIA Yusuke PRINT SOURCE Bitters End, Inc.

INTERNATIONAL NEW TALENT COMPETITION

在日夜交替之際,天空泛著微光的「藍色時刻」,該說晚安還是早安? 30 歲的小砂,是在東京工作的廣告導演,她有個溫柔的老公,卻仍與 同事大搞不倫之戀,每天往返於職場和酒場之間,過著不上不下的生 活。某天朋友小清突發奇想,開車載小砂回她心目中那個又老又窮的茨 城縣老家。面對個性強烈的奇葩家人們,以及不斷閃現的童年回憶,這 趟返鄉的心之旅,小砂究竟會駛向何方?

06.29 SAT 中山堂 13:30 ★ 07.02 TUE 中山堂 14:10 ★ 07.10 WED 新光一 19:40

國際新導演競賽

Blue Hour


厭世女傭日記

40

國際新導演競賽

The Chambermaid

INTERNATIONAL NEW TALENT COMPETITION

07.01 MON 中山堂 14:30 ★ 07.03 WED 中山堂 19:20 ★ 07.10 WED 新光一 17:20

墨西哥 Mexico | 2018 | DCP | Colour | 102min

莉 拉. 亞 維 列 斯,1982 年 生 於 墨 西 哥, 師 事 多 位 劇 場 名 師 與 知 名 電 影 編 劇 如 Beatriz Novaro 和 Paula Marcovich。職涯始於劇場演員,而 後轉向導演,目前已推出多部戲劇與 歌劇作品。本片是其首部劇情長片, 入選多倫多影展。

本片靈感來自法國藝術家蘇菲.卡爾的《旅館》攝影集。乾淨簡練、灰 白色系的視覺色調與充滿壓迫感的室內場景,將飯店打造如一座高級牢 籠;女主角沉靜外表下暗藏情慾流動與身份意識,客人與清潔女傭,兩 種社會階級兩樣情。導演以紀實手法刻畫清潔女傭的工作日常,展現其 對墨西哥女性勞工生存困境的關懷。

Lila AVI LÉS stud i ed Di re c ti on a n d Performing Arts as well as film writing in Mexico. After her beginnings as a theater actress, she moved into directing and has directed some operas. The Chambermaid is her debut feature film.

Eve is a young chambermaid working in a luxurious Mexico City hotel, an exclusive glass tower inhabited by guests so wealthy that she can only imagine their lives through intimate fantasies of the belongings they've left behind. Long and laborious shifts prevent Eve from caring for her child while she helps guests with their own children. Believing her situation will improve if she gets promoted to work at executive-level suites, she enrolls in the hotel's adult education program. An incipient friendship with her coworker and an awkward, silent flirtation with an inaccessible window-washer prod her toward much needed bravery and nourish her determined dream for a better life. When things don't develop as planned, Eve transforms her lonely explorations and newfound courage into the necessary strength to face a life outside the glimmering tower.

2018 多倫多影展 Toronto IFF 2018 聖賽巴斯提安影展 San Sebastián IFF 2018 倫敦影展 London FF

單親媽媽艾薇在墨西哥城內的高檔飯店當清潔女傭。她離開孩子進城, 日日辛勤工作,參加在職進修,為房客帶小孩,一切只為了排班打掃頂 層高級套房,獲得更好的生活。然而視若無睹的客人、牢不可破的階級 秩序與漫長疲憊的工作,讓她陷入孤獨困境並迷失自我。艾薇能否順利 晉升頂層?同事間萌芽的友誼,洗窗員的笨拙調情與那件心心念念的紅 洋裝,能否刺激她重獲自我?

DIRECTOR 莉拉.亞維列斯 Lila AVILÉS PRODUCER 莉拉.亞維列斯 Lila AVILÉS, Tatiana GRAULLERA, Axel SHALSON, Jana DIAZ-JUHL,

Pau BRUNET SCREENPLAY 莉拉.亞維列斯 Lila AVILÉS, Juan Carlos MARQUÉZ CINEMATOGRAPHER Carlos ROSSINI EDITOR Omar GUZMÁN SOUND Guido BERENBLUM CAST Gabriela CARTOL, Teresa SÁNCHEZ PRINT SOURCE Alpha Violet


大餓

41 世界首映 World Premiere

台灣 Taiwan | 2019 | DCP | Colour | 90min

台灣新銳導演謝沛如以繽紛的色彩及細膩恬靜的鏡頭風格,描繪當代台 灣那些「怪美的」人們,以及各種偽善的嘴臉。不慍不火地含納偏見與 污名,柔軟地讓我們聽見在主流價值觀之外的苦楚與心酸。

"Ms. Dinosaur", Jiang Ying-juan, a big woman with a warm heart who loves to cook. Her plus-sized figure is often frowned upon. Her mother asks her to lose weight, her neighbor laughs at her, and strangers give her unwanted attention when merely riding a bus. One day, a delivery man saves her from a harassment. Encouraged by him, Jiang finally makes up her mind to lose weight. However, she struggles with the slimming center's aggressive weight loss plan. When losing not only her health but her passion for cooking, Jiang starts to question the meaning and the definition of the socalled "better self".

謝 沛 如, 曾 以 短 片《 海 參 》 獲 哥 倫 比 亞 大 學 HBO 青 年 製 片 人 提 名, 《Knighthood》入選金馬影展台灣短 打單元、棕櫚泉短片電影節等影展; 與其他導演共同執導的《十年台灣》, 藉由當代現況預言未來。《大餓》劇 本入選柏林影展新銳營與台北電影節 國際提案一對一工作坊,將視角轉向 女性,講述胖女孩的自我認同。 H S I E H P e i - j u i s a f i l m m a ke r. H e r Knighthood was selected in Taiwan Shorts of Taipei Golden Horse Festival. She is one of the five directors of Ten Years Taiwan. Her screenplay of Heavy Craving was nominated at Berlinale Talents Script Station and Produire au Sud Taipei.

DIRECTOR, SCREENPLAY 謝沛如 HSIEH Pei-ju PRODUCER 王婧 WANG Jing, 李易恩 LEE E. N. CINEMATOGRAPHER 張皓然

CHANG Hao-jan EDITOR 陳艾寶 CHEN A-bo MUSIC 林弘韜 LIN Hung-tao SOUND 簡豐書 Book CHIEN CAST 蔡嘉茵 TSAI Jia-yin, 張耀仁 Yao CHANG, 柯淑勤 Samantha KO, 張恩瑋 CHANG En-wei , 謝祖武 William HSIEH, 賴琳恩 Lene LAI PRINT SOURCE 一晌電影有限公司 While Films Ltd.

INTERNATIONAL NEW TALENT COMPETITION

「大恐龍老師」姜映娟豐腴圓潤的身形底下,雖有著一顆熱情的「吃 心」以及精湛的烹飪「煮藝」,卻老是因為身材而飽受歧視,母親勸她 去減肥,隔壁鄰居也忍不住碎嘴,連坐公車都要被嫌佔位。某天,一場 意外的騷擾事件,讓姜映娟的少女心碎落一地,幸好巧遇陽光快遞男出 手相救,彷彿感受到愛情降臨的她,總算燃起減肥的念頭,但瘦身的 魔鬼訓練使她不堪負荷,原來改變自己的過程如此難堪,「做自己」好 難。為愛節食的姜映娟不禁開始懷疑自己減肥的意義何在?難道非得活 在社會的審美框架中,才有被愛的資格?

06.30 SUN 中山堂 13:40 ★ 07.07 SUN 華山一 13:00 ★

國際新導演競賽

Heavy Craving


我們與愛的距離

42

國際新導演競賽

House of Hummingbird 06.29 SAT 中山堂 18:50 ★ 07.04 THU 新光一 18:20 ★

南韓、美國 South Korea, USA | 2018 | DCP | Colour | 138min

INTERNATIONAL NEW TALENT COMPETITION

女孩恩熙是家中么女,正值豆蔻年華、心思如織。1990 年代的南韓首 都,經濟高速發展,父母日日忙於經營生意興隆的年糕店,無暇顧及小 女孩的綿密心事;兄姊也肩負升學壓力、各懷煩惱,溫吞安靜的恩熙必 須孤獨地面對青春時期糾結難理的同儕關係、飄忽來去的愛情,甚至是 自身的病痛,以及沉重的死亡。僅有的慰藉是漢語補習班上那位新來的 神祕女老師,她彷彿是世界上唯一理解恩熙的大人。 金寶拉,美國哥倫比亞大學電影製作 碩 士, 是 導 演 也 是 編 劇。 曾 以 短 片 《完美練習曲》獲得美國導演工會學 生電影獎。《我們與愛的距離》是她 的首部劇情長片,獲得 2018 年釜山 影 展 奈 派 克 獎 與 觀 眾 票 選 獎, 以 及 2019 年柏林影展新世代青少年單元 評審團大獎。

韓國新銳導演金寶拉自編自導,改編自身成長經驗,透過女孩的視角, 將日常事件細微、徐緩地堆砌出生活的況味。故事以 1994 年北韓領導 人金日成病逝、首爾聖水大橋斷裂,這些深植一代南韓人記憶中的重大 事件為故事背景,呈現在經濟高速成長的大時代下,平凡小家庭中的人 物樣態,溫柔呈現人物間的喜怒哀樂,與成長過程中的殘酷和苦澀。

KIM Bo-ra is a South Korean filmmaker holding an MFA in film directing from Columbia University. Kim's debut feature House of Hummingbird premiered at the Busan International Film Festival in the prestigious New Currents section where it won the NETPAC award and the KNN Audience award.

Set against the backdrop of a rapidly expanding Seoul in 1994, a lonely 14-year-old Eunhee moves through life like a hummingbird searching for a taste of sweetness wherever she may find it. Deprived of attention from her family, she roams the neighborhood with her best friend and apprehensively experiments with her emergent sexuality. When Young-ji, a new teacher, arrives, she becomes the first adult Eunhee feels really understands her. House of Hummingbird, a lyrical portrait of teenaged uncertainty and insecurity, tries to render the atmosphere of 90's Seoul and uses this time and place to reflect changes in Eunhee's personal life. In her broken world tinged with subtle beauty, Eunhee's search for love - familial, romantic, and platonic - leads her to ask questions that the world does not answer.

2018 釜山影展奈派克獎、KNN 觀眾票選獎 NETPAC Award, KNN Audience Award, Busan IFF 2019 柏林影展新世代青少年單元評審團大獎 Grand Prix, Generation 14plus, Berlinale 2019 翠貝卡影展國際劇情片單元最佳影片、最佳女主角 Best Feature, Best Actress, International Narrative Competition, Tribeca FF DIRECTOR, SCREENPLAY 金寶拉 KIM Bo-ra PRODUCER CHO Zoe-sua, 金寶拉 KIM Bo-ra CINEMATOGRAPHER KANG Gook-hyun EDITOR CHO Zoe-sua MUSIC Matija STRNIŠA SOUND HAN Myung-hwan CAST PARK Ji-hu, KIM Sae-byuk, LEE Seung-yeon, JEONG In-gi PRINT SOURCE Contents Panda


邊境幻夢

43

泰國、法國、中國 Thailand, France, China | 2018 | DCP | Colour | 106min

本片為泰國資深攝影師普帝邦.阿朗潘執導之首部劇情長片,講述關於 流亡泰緬邊境的羅興亞難民悲歌;原文片名直譯「鬼蝠魟」則作為得以 自由穿梭海域、國境邊界的具體象徵。深邃而廣袤的海域,危機深不見 底;佈滿七彩燈具的森林,如群星螢火環繞。神秘而詩意的影像風格, 將觀眾從殘酷的現實帶入宛若阿比查邦式那有著神秘主義氣息的幻想 世界。夢境漫遊般的電氣配樂,別出心裁的聲音設計,更為影片帶出了 超乎視覺感官的立體結構。

Near a coastal village of Thailand, where thousands of Rohingya refugees have drowned, a local fisherman finds an injured man lying unconscious in the forest. He rescues the stranger, who does not speak a word, offers him his friendship, and names him Thongchai. But when the fisherman suddenly disappears at sea, Thongchai slowly begins to take over his friend's life – his house, his job and his ex-wife. In January of 2009, six boatloads of Rohingya refugees were towed out and left to be stranded at sea by Thai authorities. In 2015, mass graves were discovered close to the southern Thai border, containing 30 bodies of Rohingya migrants with mysterious cause of death. Manta Ray, a film dedicated to these victims, explores issues of identity and displacement with a careful depiction of human being's fragility and imperfection.

普帝邦.阿朗潘,1976 年出生於泰國 曼谷,大學時專攻美術,2009 年入選 為釜山亞洲電影學院成員。執導過多 部短片,包括入選克萊蒙費宏短片影 展競賽的《摩天輪》。為資深攝影指 導,《消失點》、《孤島的葬禮》皆 出自他手。首部劇情長片《邊境幻夢》 獲得威尼斯影展地平線單元最佳影片。 Phuttiphong AROONPHENG studied Fine Arts at Bangkok's Silpakorn University. His latest short, Ferris Wheel was screened in over 20 festivals and received 10 awards. He also works extensively as a cinematographer with credits including Vanishing Point (dir. Jakrawal Nilthamrong), The Island Funeral (dir. Pimpaka Towira) and Dolphins (dir. Waleed Al-Shehhi).

2018 威尼斯影展地平線單元最佳影片 Best Film, Horizons Award, Venice FF 2018 多倫多影展 Toronto IFF 2019 鹿特丹影展 IFF Rotterdam DIRECTOR, SCREENPLAY 普帝邦.阿朗潘 Phuttiphong AROONPHENG PRODUCER Mai MEKSAWAN, Jakrawal NILTHAMRONG,

Chatchai CHAIYON, Philippe AVRIL CINEMATOGRAPHER Nawarophaat RUNGPHIBOONSOPHIT EDITOR 利.查泰米提古 Lee CHATAMETIKOOL, Harin PAESONGTHAI MUSIC Christine OTT, Mathieu GABRY SOUND Chalermrat KAWEEWATTANA, Arnaud ROLLAND, Charles BUSSIENNE CAST Wanlop RUNGKUMJAD, Rasmee WAYRANA, Aphisit HAMA PRINT SOURCE Diversion

INTERNATIONAL NEW TALENT COMPETITION

位於泰緬邊境湄河臨岸的熱帶叢林裡,有位受傷的男人昏迷倒地、不省 人事。小村漁夫將他救回家中,但這位來路不明的男人始終不發一語。 朝夕相處下,兩人之間的情誼逐漸建立,漁夫替他取名為通猜,並對他 訴說生活上的種種。某日,漁夫突然消失於大海中,通猜便漸漸取代了 漁夫的人生與身分。

06.29 SAT 中山堂 16:00 ★ 07.02 TUE 新光一 14:30 ★ 07.06 SAT 新光二 21:40

國際新導演競賽

Manta Ray


44 亞洲首映 Asian Premiere

國際新導演競賽

07.01 MON 中山堂 11:50 07.03 WED 新光一 18:50 ★ 07.06 S AT 新光一 11:10 ★

INTERNATIONAL NEW TALENT COMPETITION

馬里烏斯.奧爾塔努,1979 年出生於 羅馬尼亞布加勒斯特。英國國家電影 電視學院主修電影導演,執導電影之 餘亦是作家,也是攝影師。拍攝過《No Man's Land》等四部短片,關注當代 社會中個體和集體生活可能產生的磨 擦與框限。《成為野獸的我們》是他 的首部劇情長片。 Marius OLTEANU graduated from NFTS, United Kingdom, with an MA in Fiction Film Directing. His works Monsters. and No Man's Land show his interest in exploring what lies beyond the perfect surface of things and finding new cinematic ways to convey the struggle with one's own limits.

成為野獸的我們

@Adi Marineci

Monsters.

羅馬尼亞 Romania | 2019 | DCP | Colour | 115min

戴娜包下計程車整晚,徘徊在自家公寓外,望著不亮的窗;安德列到健 身房揮汗,盯著手機交友軟體,準備與陌生人來場約會。長夜漫漫,各 踞城市一隅的兩人各懷心事寂寞神傷,隱而不明的秘密在夜幕下蠢蠢欲 動,留下慾望與痛苦的足跡。 兩人的故事,以三幕作為結構,獨立的視角講述平行的夜間時光。隨著 時間推移,破曉時他們重新交會,畫幅在天光時分拉長,兩人的空間也 延展開來,關係逐漸清晰。潛藏的陰鬱、外界的壓力與各種期望在景框 的伸縮下,形變撕裂;人與人之間的連結,以稀薄的話語維繫,在妥協 與放手間擺盪。 「這不是一部對角色下判斷、貼標籤的電影,它是在拋出這樣一個問 題:我們是否願意敞開心房理解他人,而不是保持距離。」──馬里烏 斯.奧爾塔努

Dana and Arthur, wife and husband in their forties, have been together for almost 10 years. One night, both of them curiously avoid going home and prefer the company of strangers. Dana goes to the length of paying a taxi driver to stay with her in the car, while Arthur wanders around the city and decides to meet a man through a dating app. Over the course of 24 hours, a series of challenges and encounters with other people push them towards the end of their life as a couple. On the following day, they must face the reality and sometimes the biggest proof of love can be letting go of one another. Monsters. challenges the traditional concepts of love and explores the clash between social values and the individual choice via bisexuality and the rejection of motherhood.

2019 柏林影展 Berlinale 2019 伊斯坦堡國際影展 Istanbul IFF DIRECTOR, SCREENPLAY 馬里烏斯.奧爾塔努 Marius OLTEANU PRODUCER Claudiu MITCU, Ion Ioachim STROE, Robert FIŢA CINEMATOGRAPHER Luchian CIOBANU EDITOR Ion Ioachim STROE SOUND Ioan FILIP, Dan-Ștefan RUCĂREANU CAST Judith STATE,

克里斯提安.波帕 Cristian POPA, Alexandru POTOCEAN, Șerban PAVLU, Dorina LAZĂR PRINT SOURCE Alpha Violet


Obscure

美國、中國 USA, China | 2019 | DCP | Colour | 92min

全片採章節結構,極簡的對白與場景,在近似貝拉.塔爾《都靈之馬》 的敘事路徑中開展變奏。精緻的光影變化、聲音細節幻化出寫實情境與 抽象寓言的雙重性,展現導演的編劇和影像能力。片中少年、少女共舞 的橋段,綻放純真的浪漫情懷,暫時跳脫抑鬱沉默的氛圍,更凸顯被高 度壓抑之下的情慾流動,也為這則殘酷成長寓言增添情感厚度與張力。

Obscure is a coming-of-age journey of a teenage boy who sexually awakens after discovering the sexual relationship between his father figure and sister figure. The boy is trapped in his father's nightmare, and tries to repeal the psychological repression by competing for his sister's sexual attention. The sibling love and companionship, which once have served to counterbalance familial strangeness, is now disturbed and gradually develops into a sexual attraction and desire. With the ambiguous representation of the two teenagers' gender and sexuality and the surreal but naturalistic atmosphere, the film depicts sexual desire and connection in a "family."

World Premiere

06.30 SUN 中山堂 11:10 ★ 07.03 WED 新光一 11:40 ★ 07.08 MON 新光一 15:00

王崑琳,畢業於查普曼大學電影與媒 體藝術學院,本片為其首部劇情長片。 作品皆自編自導,其主題關注邊緣人 物,並因為性別研究的背景,致力於 挑戰有關性別方面的社會常規。

Kunlin WANG holds an MFA in Film Production, with an emphasis in directing, from Chapman University and a BA in Communications Studies from University of Nottingham. As a writer and director, she has a passion for telling stories of deviance, subcultures, and marginalized people.

DIRECTOR 王崑琳 Kunlin WANG PRODUCER 倪聖雄 Shengxiong NI, 黃俠 X ia HUANG SCREENPLAY 王崑琳 Kunlin WANG, 周靈聰

Stella ZHOU CINEMATOGRAPHER Haley SAUNDERS EDITOR 金昱婷 June Yuting JIN MUSIC 趙恩光 Enguang ZHAO SOUND 徐忱 Chen XU CAST Kylr COFFMAN, Lorrel Bird DORFMAN, Chris CLEVELAND PRINT SOURCE 王崑琳 Kunlin WANG

INTERNATIONAL NEW TALENT COMPETITION

少年、少女和父親居住在荒蕪乾枯、與世隔絕的封閉世界裡。在父親宛 若軍事管訓的威權宰制下,三人過著工作、吃飯、梳洗更衣、睡覺的極 簡生活,情感與語言皆被高度壓抑與消弭,少年和少女只能悄悄共享親 密時刻。農畜生活平靜無波瀾,直到性與暴力突如其來的降臨,才看見 父權結構對少女的恣意蹂躪,以及成長中無力顛覆的殘酷事實。

世界首映

國際新導演競賽

世外之子

45


丹麥之子

46

國際新導演競賽

Sons of Denmark

INTERNATIONAL NEW TALENT COMPETITION

06.28 F R I 中山堂 16:40 07.03 WED 新光二 21:10 ★ 07.05 F R I 中山堂 14:20 ★

丹麥 Denmark | 2019 | DCP | Colour | 119min

烏拉.沙林,1987 年生於哥本哈根, 於丹麥國家電影學校主修導演,創辦 製片公司 Hyæne Film,並有多部短 片作品。《丹麥之子》為其自編自導 的首部劇情長片,取材自身成長經驗, 探問當代社會面對不同文化時的衝突 與矛盾。

本身為伊拉克裔的導演烏拉.沙林,以沉緩又沉重的鏡頭節奏,講述外 來移民在歐洲被孤立的心情。此處不為家,該當何處去?這是世事最 難解的死結之一,愈加激化的族群情緒,相似的情節在越來越多國家發 生。本片選擇逐漸切換視角的敘事方式,一步一步推向最後的震撼,更 顯示出悲劇的不可避免。

Ulaa SALIM was born in Denmark in 1987. His parents are both originally from Iraq. In 2018, he graduated from The National Film School of Denmark and established Hyæne Film with his producing partner Daniel Mühlendorph. Sons of Denmark is his debut film.

One year after a major bomb attack in Copenhagen, radicalization around the country has intensified and ethnic tensions are running high. The next parliamentary election is near, and the extremely nationalist political leader Martin Nordahl is set for a landslide victory. Influenced by his anti-immigrant rhetoric, society has rapidly turned on ethnic minorities, especially those with an Arab background. 19-year-old Zakaria gets involved in a radical organisation, where he forms a bond with Ali. The two men cannot agree with the current state of the country and decide to act. However, they are both just tools in the hands of people with power. As the men try to make their mark, their brotherhood will be tested and their actions will have grave consequences on their lives.

一場恐怖攻擊,讓三個丹麥國民的人生從此大轉彎。高舉種族主義、提 倡排外的政黨黨魁,在即將到來的大選中聲勢看漲,並間接催化了極右 派團體「丹麥之子」的活躍;19 歲的伊拉克裔男孩面對社會大眾的敵意, 被激起了保護家人的責任感,決定加入武裝組織參與行動;另一位伊斯 蘭裔的警察,夾在惡鬥的兩個陣營之間,面對執法的責任與自身的族群 認同,越來越掙扎,困惑及無奈的心情油然而生。

2019 鹿特丹影展 IFF Rotterdam 2019 哥特堡影展 Göteborg FF 2019 全州影展 Jeonju IFF DIRECTOR, SCREENPLAY 烏拉.沙林 Ulaa SALIM PRODUCER Daniel MÜHLENDORPH CINEMATOGRAPHER Eddie KLINT EDITOR Jenna MANGULAD MUSIC Turkman SOULJAH SOUND Rune KRISTIANSEN CAST Zaki YOUSSEF, 穆罕默德.伊斯瑪利.穆罕默德 Mohammed Ismail MOHAMMED, Rasmus BJERG PRINT SOURCE New Europe Film Sales


蘿莉破壞王

47

德國 Germany | 2019 | DCP | Colour | 119min

《蘿莉破壞王》像是年紀更小但家庭同樣失能的《四百擊》,也似渴望 母愛的《親愛媽咪》。除了邊緣孩童的問題,片中更描繪教育工作者的 努力敬業、掙扎與放棄,以及現行兒福制度中的侷限與困境。 「我一直想講一個關於野生的小女孩的故事。我自己是非常狂野的孩 子,在電影中,女孩總是如此可愛,如此安靜。我覺得透過這個故事, 我可以將個人的成長經驗與社會現實結合起來。」──諾拉.芬沙伊特

She is small, but dangerous. Wherever Benni ends up, she is immediately expelled. The wild 9-year-old girl has already become what child protection services call a "system crasher." Benni is certainly not looking to change her ways because she has one single goal: to be back at home with her mommy. The warm-hearted Mrs. Bafané from the youth welfare office is on the verge of despair. No one wants to take on Benni anymore. She is permanently suspended from school. Even everyday life is impossible to manage with her: due to traumatic experiences in her early childhood, no one can touch her face. Mrs. Bafané hires the anger management trainer Micha as Benni's school escort and suddenly there is a seed of hope. Will Micha be able to succeed where all others despair?

諾 拉. 芬 沙 伊 特,1983 年 出 生 於 德 國,畢業於巴登符騰堡電影學院,目 前從事導演及編劇,短片《Synkope》 曾入選 2012 年柏林影展新銳營,最 新作品《蘿莉破壞王》榮獲 2019 年 柏林影展阿爾弗雷德鮑爾銀熊獎。

Nora FINGSCHEIDT was born in 1983 in Braunschweig, Germany. She spent her schooldays in Germany and Argentina. Between 2008 and 2017 she studied fiction directing at the Film Academy Baden-Württemberg. She was nominated for the German Short Film Award for h e r s e c o n d -ye a r f i l m Synkope a n d participated in Berlinale Talents in 2012.

2019 柏林影展阿爾弗雷德鮑爾銀熊獎 Silver Bear Alfred Bauer Prize, Berlinale 2019 香港電影節 Hong Kong IFF 2019 全州影展 Jeonju IFF DIRECTOR, SCREENPLAY 諾拉.芬沙伊特 Nora FINGSCHEIDT PRODUCER Peter HARTWIG, Jonas WEYDEMANN,

Jakob D. WEYDEMANN CINEMATOGRAPHER 尤諾斯.羅伊.印瑪 Yunus Roy IMER EDITOR Stephan BECHINGER, Julia KOVALENKO MUSIC John GÜRTLER SOUND Dominik LEUBE, Oscar STIEBITZ CAST Helena ZENGEL, Albrecht SCHUCH, Gabriela Maria SCHMEIDE,

Lisa HAGMEISTER PRINT SOURCE Beta Cinema

INTERNATIONAL NEW TALENT COMPETITION

九歲的班尼臉上掛彩,發出死亡金屬般的嘶吼──暴跳啊!炸裂啊!憤 怒啊!她在社福機構裡以一擋百狂暴地對付所有人,她打破規則,炸彈 般摧毀每個新住處,唯一的願望是可以搬回家中與媽媽同住。周遭人們 的寬容與憐憫,在班尼一次次的情緒爆發中動搖,她乖戾的尖叫聲刺穿 耳膜,無所適從、無可奈何,她身著混世魔王的外衣,在城市邊緣處獨 自遊走。

06.30 SUN 中山堂 16:20 ★ 07.03 WED 中山堂 14:00 ★ 07.04 THU 新光二 21:00

國際新導演競賽

System Crasher


欲望公路

48

國際新導演競賽

Take Me Somewhere Nice

INTERNATIONAL NEW TALENT COMPETITION

07.01 MON 中山堂 17:10 ★ 07.04 THU 中山堂 19:20 ★ 07.08 MON 華山二 17:00

荷蘭、波士尼亞與赫塞哥維納 Netherlands, Bosnia and Herzegovina 2019 | DCP | Colour | 91min

恩娜.珊迪亞黑維奇,1987 年生於波 士尼亞,於阿姆斯特丹大學專攻電影 研究,而後於荷蘭電影學院主修編劇、 導演。畢業後首部短片《Import》於 坎城影展導演雙週首映,首部劇情長 片《欲望公路》獲鹿特丹影展金虎獎 評審團特別獎。

本片為導演致敬賈木許《天堂陌影》之作,同樣有著跟世界格格不入的 主角群,多了明快的節奏、繽紛色調與青春氣息,將公路電影翻轉為女 性版本,宛若荷籍波士尼亞裔導演的自身寫照;不同文化之間移動的經 驗,對於家鄉、國家的認同,透過少女的視角道出,輕盈甜美地呈現成 長經驗中那曲折迂迴、柳暗花明的過程。

Ena SENDIJAREVIĆ is an Amsterdambased filmmaker of Bosnian origin. She studied Film Studies at the University of Amsterdam and the Freie Universität Berlin, before graduating from the Netherlands Film Academy as a writer and director in 2014. Ena has been invited as jury member in multiple film festivals.

On the edge of adulthood, Alma leaves her mother's home in the Netherlands and travels to her native Bosnia to visit the father she has never met. But from the start nothing goes as planned. Her cousin Emir gives her a frosty reception and mocks her easy life in the West. At the same time, undeniable sexual chemistry leads Alma into a passionate relationship with Emir's best friend, the troublemaker Denis. As the obstacles mount, Alma stays fearlessly determined to follow her plan and find her father. She just has to figure herself out first. High on the reckless energy of youth and the rush of adult discovery, the rebellious trio sets off on the adventure together, embarking on an increasingly unpredictable road trip through the scorching Bosnian heartland.

艾瑪獨自從荷蘭出發,前往波士尼亞探望素未謀面的重病父親,旅途才 剛開始就不如預期,表哥對她漠不關心,「家鄉」也相當陌生。一日她 巧遇表哥的死黨,兩人互生情愫的同時,艾瑪也經歷性覺醒,青春本該 無所畏懼地衝撞與探索。前往醫院的公路旅行中,充滿了各種荒誕、戲 劇性的發展,艾瑪下定決心要在此趟旅程中重新認識自己。荷蘭與波士 尼亞對她而言意味著什麼?而在「家鄉」的父親對她而言又是誰呢?

2019 鹿特丹影展金虎獎評審團特別獎 Special Jury Award, Tiger Competition, IFF Rotterdam 2019 坎城影展 ACID 單元 ACID, Cannes DIRECTOR, SCREENPLAY 恩娜.珊迪亞黑維奇 Ena SENDIJAREVIĆ PRODUCER Iris OTTEN, Sander VAN MEURS, Pieter KUIJPERS CINEMATOGRAPHER Emo WEEMHOFF EDITOR Lot ROSSMARK MUSIC Ella VAN DER WOUDE SOUND Vincent SINCERETTI CAST

Sara Luna ZORIĆ, Lazar DRAGOJEVIĆ, Ernad PRNJAVORAC, Sanja BURIĆ PRINT SOURCE Heretic Outreach


Wild Sparrow

台灣 Taiwan | 2019 | DCP | Colour | 94min

世界首映 World Premiere

06.28 FRI 中山堂 19:30 ★ 07.06 SAT 華山一 21:00 ★

導演施立以不同於前作《離家的女人》、《回家的女人》漸進剝開真 相的說故事手法,轉以袒露直接的安排,直視角色的生命狀態:徬徨、 掙扎和無力,是激情,是暴力,是淡然。他在過往冷調凜冽的風格上, 敷以夢境的意象,以自然山林和都市的兩造對比,營造處境、心境的 轉換。情緒隨情節發展逐步累積,不刻意製造反差,反以彼蒼無語叩 問人生。

施立,資深劇場及音樂人,曾參與張 惠妹、王力宏等歌手的專輯製作與歌 詞創作。近期專注於影像導演創作, 分別於 2012 年、2014 年以短片《離 家的女人》及電視電影《回家的女人》 入圍台北電影獎。

Little Han lives in the mountains with his great-grandmother, Auntie Hanhsiao. In rainy days, Little Han sits in front of the fireplace listening to Auntie Han-hsiao's colorful and mysterious tales. One day he sees an injured and dying sparrow. With sadness, he digs a small cave and buries it. Looking at the sparrows flying in the mountains, he hopes one day he can leave the mountains. However, when his mother Ali, who works in nightclubs, takes him to city to live with her, he has to face the endless quarrels and fights between Ali and his boyfriend, a man who exploits Ali's body to make money. In Auntie Han-hsiao's funeral, while the burnt ashes swirling in the wind, Little Han returns to Auntie Han-hsiao's bedroom and curls himself up in the bed like the sparrow he has buried.

SHIH Li is a director, writer and a lyricist in popular music, theater and film.His short No Way Home and his debut feature Almost Heaven were screened in many film festivals including Taipei Golden Horse Film Festival and Taipei Film Festival. Wild Sparrow is his latest work.

DIRECTOR 施立 SHIH Li PRODUCER 賴珍琳 LAI Chen-lin SCREENPLAY 施立 SHIH Li, 吳奕均 WU Yi-jun CINEMATOGRAPHER 陳麒文

CHEN Chi-wen EDITOR 李俊宏 LEE Chun-hong MUSIC 王榆鈞 WANG Yu-jun SOUND 周震 CHOU Cheng CAST 高於夏 KAO Yu-sia, 李亦捷 LEE Yi-chieh, 陳淑芳 CHEN Shu-fang, 夏騰宏 HSIA Teng-hung, 游安順 YU An-shun PRINT SOURCE 一顆星工作室有限公司 Dot Connect Studio

INTERNATIONAL NEW TALENT COMPETITION

小翰被寄養在年邁的曾祖母家,荒山曠野是他的遊樂場,禽鳥飛舞總 令他神往。母親阿麗來接走他,遷徙到城市公寓,她則到酒店上班; 夜半傳來的呻吟叫喊,如捕鳥網緊縛著年幼的小翰,而阿麗愁困在酒 氣裏,等待最後一夜的到來,卻盼來男友的怒吼與拳頭。啼哭聲喚人 走進氤氳的山林,命運成了鋪天的網,編織著過去與未來,他們在縫 隙裡尋求一絲安身之地。

國際新導演競賽

野雀之詩

49


台北電影獎

TAIPEI FILM AWARDS

50


51

台北電影獎 TAIPEI FILM AWARDS

野雀之詩 Wild Sparrow


「台北電影獎」,以百萬首獎為號召,專屬台灣電影最重要的競 賽平台,一直以來陪伴著台灣影像創作者成長。為因應台灣電影 產業變化,實質地鼓勵電影工作人員,台北電影節徵詢與彙整國 內影人的看法,經過台北電影節諮詢委員會議審慎討論後,決定 52

調整台北電影獎的競賽制度。 除了評選出劇情長片、紀錄片、短片、動畫片等入圍影片外,將 首度增加包括最佳男女主角、男女配角、新演員及技術獎項在內

台北電影獎

的個人獎項入圍名單,每個獎項至多入圍5名;技術獎項擴增為8 個獎項,包括最佳攝影、最佳剪輯、最佳美術設計、最佳配樂、

TAIPEI FILM AWARDS

最佳造型設計、最佳聲音設計、最佳視覺效果以及最佳藝術貢獻 獎。台北電影獎期許藉由入圍獎項的增加與定位明確化,擴大鼓 勵台灣電影工作者。

The Taipei Film Awards, with its NT$ 1 million Grand Prize for domestic films, is the only film competition exclusively aims at Taiwanese filmmakers. In response to the change in Taiwan Film Industry and to encourage film workers, Taipei Film Festival adjusts the awards of the competition after consultation with domestic filmmakers and a deliberate discussion in Taipei Film Festival Advisory Committee. Newly-added nomination list include Best Actor, Best Actress, Best Supporting Actor, Best Supporting Actress and Best New Talent. The technical awards are expanded to eight categories.


3天2夜

53

台灣 Taiwan | 2018 | DCP | Colour | 80min 入圍獎項:劇情長片、編劇、新演員

07.06 SAT 華山一 12:00 ★ 07.09 TUE 華山一 15:30 ★

劇 - 情長片

叛逆的碧艷,總是義氣的挺著小月,利用小月畢業旅行的時機,計畫了 三天兩夜的旅程,一起離家見媽媽一面。歷經了波折,兩人終於搭上隱 匿在山中的幸福巴士 6506 公車。熱情盡責的公車司機,引領著大家跨 越了台灣公路的最高點,匯聚到了山中小鎮,梨山。

Xiaoyue finds that her mother has been working for a long time away from home when she receives the apples sent from her mother. Just entering her puberty, Xiaoyue comes from a new immigrant family from Vietnam. She is laughed at and bullied in school because her old father makes a living as a scrap collector. The rebellious Biyan always stands out for Xiaoyue. She even plans a three-day journey to see her mother with Xiaoyue. Ms. Chen is faced with a dilemma. She is going to retire but the after-school tutorial class in the community is the only place for her to care her students. For Xiaoyue and her friend Biyan, her class is their hope.

林浩溥,1976 年出生於台灣彰化。畢 業於國立台南藝術大學音像動畫研究 所。1998 年, 拍 攝 第 一 部 16mm 偶 動畫短片《末日世界》,並以此片獲 得第一屆台北電影獎非商業類最佳動 畫片,開始投入影視相關工作 ,現為 電影工作者。

LIN Hao-pu is a filmmaker born in Taiwan in 1976. He graduated from the Graduate Institute of Animation and Film Art in Tainan National University of the Arts. In 1998, he made his first 16mm stop motion short film The End of the World.

DIRECTOR, SCREENPLAY, EDITOR 林浩溥 LIN Hao-pu PRODUCER 王耿瑜 WANG Geng-yu CINEMATOGRAPHER 張永明

CHANG Young-ming MUSIC 林進祐 LIN Chin-yow SOUND 何湘鈴 HO Hsiang-ling CAST 鄭琬諠 CHENG Wan-hsuan, 李夢苡樺 Rimong Ihwar PRINT SOURCE 財團法人公共電視文化事業基金會 Public Television Service Foundation 李曉梅

TAIPEI FILM AWARDS - NARRATIVE FEATURES

收到媽媽從山上寄來的蜜蘋果,小月計算著,媽媽已經在外工作離家許 久了,媽媽的搖籃曲總是在耳邊呼喚著。初踏入青春期的小月來自弱 勢、越南新住民家庭,身邊拾荒年老的父親,使小月成為同學譏笑霸凌 的對象。 面臨退休的陳老師夾雜在學校與家庭的失落之間,僅剩社區的課輔班, 成為她可以如同過去一樣關愛學生的舞台,也成為小月與好友碧艷邊緣 生活中的浮木。

台北電影獎

3 Days 2 Nights


54 世界首映 World Premiere

台北電影獎

07.06 S AT 中山堂 19:40 ★ 07.08 MON 華山一 21:00 ★

劇 - 情長片 TAIPEI FILM AWARDS - NARRATIVE FEATURES

藍正龍,2000 年參演王小棣導演的 《大醫院小醫師》後陸續參與多部電 視 劇 及 電 影 演 出,2015 年 憑 藉《 妹 妹》的精彩演出,成功奪下第 50 屆 金鐘獎戲劇節目男主角獎,《傻傻愛 你,傻傻愛我》是個人首部自導自演 電影作品。

Blue LAN began his career as an actor in 1999. In 2015, he won Best Leading Actor in a Television Series at the 50th Golden Bell Awards with Apple in Your Eye. A fool in love, love like a fool is his directorial debut feature, in which he also plays a part.

傻傻愛你,傻傻愛我 A fool in love, love like a fool

台灣 Taiwan | 2019 | DCP | Colour | 95min 入圍獎項:編劇、女主角

小維出生於富有家庭,最愛看作家可夫畫的美人魚繪本,他的家庭生活 看似非常幸福,媽媽對他悉心教育,讓喜憨兒的他能夠自己運行每一 天。直到一次他坐錯了公車,在海邊邂逅了一條他心目中的美人魚小 爛,他視她為繪本中主角化身,對小爛呵護備至,這次的意外,讓小維 「接近正常的生活」開始變得不再「正常」了。

Born into a wealthy family, Xiao-wei lives a carefree life with his loving mother's care. He likes to read picture books written by his favorite author Kauff, especially those works featuring mermaids. One day, he accidentally takes the wrong bus, arrives at the seacoast and meets a mermaid, Blue. He believes Blue is the embodiment of the character in those picture books. Since then, Xiao-wei's "normal life" has become not "normal."

DIRECTOR 藍正龍 Blue LAN PRODUCER 梁宏志 Eric LIANG, 曾瀚賢 TSENG Han-hsien SCREENPLAY 徐譽庭 Mag HSU CINEMATOGRAPHER 廖敬堯 LIAO Jing-yao EDITOR 李運傑 Joe LEE, 林政宏 LIN Cheng-hong MUSIC 張學瀚 CHANG Hsueh-han SOUND

杜篤之 TU Duu-chih, 江宜真 CHIANG Yi-chen CAST 郭書瑤 KUO Shu-yau, 恬妞 Tien Niu, 藍正龍 Blue LAN, 張庭瑚 ZHANG Ting-hu, 蔡佳宏 Leo TSAI PRINT SOURCE 華映娛樂股份有限公司 SKY FILMS Entertainment Co., Ltd.


幸福城市

55

台灣 Taiwan | 2018 | DCP | Colour | 106min 入圍獎項:劇情長片、導演、男主角、男配角、女配角、新演員、攝影、美術設計、聲音設計

07.08 MON 華山一 15:20 ★ 07.11 T H U 華山一 20:20 ★

劇 - 情長片

小張想起十年前一個春天夜晚,未成年的他,因為偷機車被扣留警局, 正好與黑道王姐一起被銬在同個座位。兩個亡命之徒因巧遇而開始閒 聊,最後發現這其實是個重逢。

Cities of Last Things tells three nights in the life of an ordinary man in a nonchronological order. In the near future, a winter night. Zhang Dong Ling, in his sixties, is fueled by the anger he has repressed over the years. He takes revenge on a high-ranking officer who has made his life a mess at a particular night thirty years ago. In the present, a summer night. Zhang Dong Ling, a young cop, accidentally witnesses his wife having sex with his senior police officer. He chooses to repress his anger to keep his family together. In the past, a spring night. Lady Wang is ambushed by the police. She is handcuffed on the bench at the police station beside a handcuffed 18-yearold Zhang Dong Ling. In their casual chat, they realize they share a much larger past then they have ever imagined.

何蔚庭,短片《呼吸》獲坎城影展國 際影評人週兩個獎。短片《夏午》入 選坎城影展導演雙週。首部長片《台 北星期天》獲第 47 屆金馬獎最佳新 導演獎。最新作品《幸福城市》獲多 倫多影展站台單元首獎及法國波恩影 展評審團大獎。

HO Wi Ding is a Malaysia-born and Ta i wa n - b a s e d f i l m m a ke r. H i s f i rs t feature film Pinoy Sunday won a Best New Director Award from the prestigious Golden Horse Awards in Taiwan and was showcased in major film festivals such as Toronto and Busan.

2018 金馬獎最佳女配角 Best Supporting Actress, Golden Horse Awards 2018 多倫多影展站台單元首獎 Platform Prize, Toronto IFF 2018 新加坡影展開幕片 Opening Film, Singapore IFF DIRECTOR, SCREENPLAY 何蔚庭 HO Wi Ding PRODUCER 胡至欣 HU Chih-hsin, 劉詠怡 Winnie LAU, 黃國賢 Ronan WONG, Alexis PERRIN, 陳世庸 CHEN Shih-yong CINEMATOGRAPHER Jean Louis VIALARD (AFC), 孫紀明 SUN Chi-ming EDITOR 何蔚庭 HO Wi Ding, 李蕙 LEE Huey MUSIC ROB SOUND 杜篤之 TU Duu-chih, 江宜真 CHIANG Yi-chen CAST 李鴻其 LEE Hong-chi, Louise GRINBERG, 高捷 Jack KAO, 丁寧 DING Ning PRINT SOURCE 長龢有限公司 Changhe Films

TAIPEI FILM AWARDS - NARRATIVE FEATURES

2049 年,老張和他風韻猶存的太太玉芳,住在一個人工智能化安養 社區「幸福城市」。這年冬天的夜晚,老張回顧自己的一生,只想好 好給自己一個交代。當老張如願地報了仇,卻發現他無法原諒的是自 己的命運。 一切內心的惡念都來自四十年前的那個夏天夜晚:便衣警察小張發現妻 子和警官學長在自己家裡外遇。不想面對婚姻危機,小張徹夜在外遊 蕩,巧遇離家出走的外籍少女艾拉。兩個寂寞的人因此意外地相互陪伴 了一個晚上。正當小張的人生浮現曙光,命運卻背叛了他。

台北電影獎

Cities of Last Things


老大人

56

台北電影獎

Dad's Suit 07.07 SUN 華山一 18:40 ★ 07.09 TUE 華山一 18:00 ★

台灣 Taiwan | 2018 | DCP | Colour | 95min

劇 - 情長片

入圍獎項:劇情長片、導演、編劇、男主角、男配角、女配角、攝影、剪輯、美術設計、 造型設計、聲音設計

TAIPEI FILM AWARDS - NARRATIVE FEATURES

年逾 80 的藥罐子金茂,獨自居住於平溪的透天厝,一個遊客退去後, 只剩下天燈殘骸與老年人的小鎮。他的老伴先行離世,兒女皆成家立 業,各自安身立命於台北,一個他永遠都親近不了的地方,醫院是金茂 對這城市的唯一印象。 洪伯豪,世新大學廣電系電影組,國 立臺南藝術大學音像紀錄研究所。大 學期間曾任攝影助理、收音助理、製 片助理,2004 年後轉為導演組,參 與拍攝台灣多部電影長片。2016 年與 蕭力修導演共同執導《麻醉風暴 2》。

某日,金茂胃痛住進醫院。病房裡,女兒玉珍因為安養院話題,開始向 兒子益正賭氣,稱以後金茂由她照顧不用益正插手!在金茂一口回絕移 居台北的可能性後,玉珍只好選擇搬回平溪老家,以便就近照顧金茂。 一套穿不下的舊西裝,帶出了金茂厭世的念頭。唯一能讓金茂打消此念 頭的,就是他那尚未成婚的金孫凱凱。

HUNG Po-hao, a director, graduated from the Department of Radio, TV, & Film of Shih Hsin University and the Graduate Institute of Studies in Documentary & Film Archiving of Tainan National University of the Arts.

Chin-Mao is in his eighties and lives alone in Pingxi. His daughter Yu-Chen and his son Yi-Cheng are having a quarrel about whether to send him to a nursing home. Although getting tired of living, Chin-Mao still worries about his grandson, Kai-Kai. But when Chin-Mao finally ends up in a nursing home, not even Kai-Kai's wedding can make him less depressed. He wants to return to Pingxi and prepares for his last days in his life.

這天,玉珍推輪椅帶金茂上街,欲為不知何時才會舉辦的凱凱婚禮訂做 新西裝。殊不知,西裝對金茂而言,早已有著完全是另一層面的象徵意 涵。他一心只想回到平溪,去走上最後的一哩路。

2018 金馬影展 Taipei Golden Horse FF DIRECTOR 洪伯豪 HUNG Po-hao SCREENPLAY 林彣政 LIN Wen-cheng CINEMATOGRAPHER 周以文 CHOU I-wen EDITOR 陳曉東

CHEN Hsiao-tung MUSIC 李銘杰 Rockid LEE SOUND 蔡瀚陞 Hanson TSAI, 好多聲音 FORGOOD SOUND, 鍾勝鈞 CHUNG Sheng-chun CAST 小戽斗 Xiao Hu Dou, 黃嘉千 Phoebe HUANG, 喜翔 KING Jieh-wen PRINT SOURCE 興揚電影有限公司 Renaissance Films Limited


人面魚 紅衣小女孩外傳

57

台灣 Taiwan | 2018 | DCP | Colour | 114min

07.08 MON 華山一 12:20 ★

入圍獎項:女主角、剪輯、視覺效果、藝術貢獻 - 特效化妝

劇 - 情長片

《紅衣小女孩》創作團隊致力打造「魔神仔宇宙」,將第二集中的虎 爺拉出故事軸線,改編同為台灣恐怖傳說的「人面魚」。

Master Tiger, a Taoist god, seals the demon in the body of a fish. However, a small fish jumps out of its mouth, and a boy brings it home. Soon after that, a series of strange incidents happen, notably the crazy behaviour of the boy's mother. In order to save his mother, the boy seeks help from Master Tiger, not knowing that a bigger danger is waiting for them.

莊絢維,1983 年生於高雄,國立台北 藝術大學電影創作學系研究所畢業。 短片《塗鴉狗 Spoon》和《復仇》入 圍金穗獎,並與公共電視合作人生劇 展《無敵戰艦協和號》和電視電影《濁 流》。《人面魚 紅衣小女孩外傳》為 其首部電影長片作品。

David CHUANG graduated from the Department of Filmmaking at the Taipei National University of the Ar ts. He has made a couple of short films and television movies. The Devil Fish is his first feature.

2018 金馬影展 Taipei Golden Horse FF DIRECTOR 莊絢維 David CHUANG SCREENPLAY 簡士耕 CHIEN Shih-keng, 許菱芳 HSU Ling-fang CINEMATOGRAPHER 陳麒文

CHEN Chi-wen EDITOR 解孟儒 HSIEH Meng-ju MUSIC 李銘杰 Rockid LEE SOUND 李銘杰 Rockid LEE, 楊嚞兢 YANG Che-jin CAST 鄭人碩 CHENG Jen-shuo, 徐若瑄 Vivian HSU PRINT SOURCE 紅衣小女孩股份有限公司 The Tag-Along Co., Ltd.

TAIPEI FILM AWARDS - NARRATIVE FEATURES

虎爺驅魔,將威力強大的魔神仔封印進吳郭魚身。未料遭棄置的魚屍 嘴中吐出小魚,被男孩撿回家中豢養,隨著水族箱中的小魚一天天長 大,一連串的怪事也開始發生,尤其是尚未走出丈夫情變陰影的母親 更是行為怪異,陷入瘋狂。為了拯救母親,男孩向虎爺求助,原以為 化解人面魚的怨念就能阻止一切,沒想到更難解的仇恨,正潛伏在森 林裡等著他們。

台北電影獎

The Devil Fish


寒單

58

台北電影獎

Han Dan 07.06 SAT 華山一 14:30 ★ 07.09 TUE 華山一 20:40 ★

劇 - 情長片 TAIPEI FILM AWARDS - NARRATIVE FEATURES

黃朝亮,台灣著名編導,近代最具潛 力、票房保證導演之一。曾執導台灣 賀歲電影《大釣哥》及《大囍臨門》 等皆是近年在台創下票房佳話的電 影。導演擅長用藝術的方式細膩地描 繪社會實況作為電影中故事,使電影 呈現更為真實且富有感情。

HUANG Chao-liang is one of the most successful directors in Taiwan. His Hanky Panky and The Wonderful Wedding both hit $100 million TWD at box office. He is good at depicting the daily life in an artistic way and making powerful and deeply moving films.

台灣 Taiwan | 2019 | DCP | Colour | 125min 入圍獎項:劇情長片、導演、編劇、男主角、女配角兩名、攝影、美術設計、造型設計、 聲音設計、視覺效果

正月十五,夜晚的街頭鑼鼓喧天,炮炸寒單爺現場擠滿了人潮,肉身寒 單阿義站在神轎上,威風凜凜地接受信徒丟上鞭炮轟炸。忽然間,成 堆的炸藥被引爆,震耳欲聾,尖叫聲不斷。意外造成阿義女友萱萱的死 亡,不忍心看保住性命卻喪失一切的阿義墮落社會邊緣,正昆毅然放棄 成為教師的機會挺身相助,用盡力氣將阿義拉離地獄的深淵。 歃血為盟的兄弟二人,一同經營「昆儀回收場」刻苦耐勞地生活著,卻 怎知當年意外的真相曝光之後,從此兩人在情義的天平兩端生死掙扎, 炸在身上的紋身之罪,是否能抵消深藏的錐心之痛?

On the Mid Lantern festival, Jan. 15th in lunar calendar, 1995, Lin Cheng-Kun is watching A-Yi playing as the "body" of Lord Han Dan on the sedan chair while people are throwing firecrackers at his naked body. All of a sudden, the firecrackers beside start to burn, causing a serious accident, in which his girlfriend Hsuan Hsuan dies and he himself loses 4 fingers and is turned deaf. Low self-esteem turns A-Yi into a drug addict. His friend Lin ChengKun gives up the opportunity to be a teacher and instead helps A-Yi to get back his life to the right track. However, the truth is being revealed: Lin Cheng-Kun is the one who causes the accident. Will the cruel reality make their life a misery?

DIRECTOR 黃朝亮 HUANG Chao-liang PRODUCER 陳紹祺 Alex CHEN, 陳泰佑 CHEN Tai-yu SCREENPLAY 黃朝亮 HUANG Chao-liang,

黃淑筠 HUANG Shu-yun CINEMATOGRAPHER 王兆仲 WANG Chao-chung, Ian RYMSHA EDITOR 黃朝亮 HUANG Chao-liang, 林子宇 LIN Tzu-yu, 詹家維 Louis CHAN MUSIC 侯志堅 Chris HOU SOUND 杜篤之 TU Duu-chih, 江宜真 CHIANG Yi-chen CAST 胡宇威 George HU, 楊貴媚 YANG Kuei-mei, 鄭人碩 CHENG Jen-shuo, 小薰(黃瀞怡)Esther HUANG, 陸弈靜 LU Yi-ching PRINT SOURCE 想亮影藝股份有限公司 Ideas Shine Film


Heavy Craving 台灣 Taiwan | 2019 | DCP | Colour | 90min 入圍獎項:新演員、造型設計

06.30 SUN 中山堂 13:40 ★ 07.07 SUN 華山一 13:00 ★

謝沛如,台灣藝術大學電影創作學士, 美國哥倫比亞大學電影創作碩士。編 導作品包括短片《Knighthood》、《十 年台灣:蝦餃》。《大餓》為其首部 劇情長片作品。

H S I E H P e i - j u i s a f i l m m a ke r. H e r Knighthood was selected in Taiwan Shorts of Taipei Golden Horse Festival. She is one of the five directors of Ten Years Taiwan. Her screenplay of Heavy Craving was nominated at Berlinale Talents - Script Station and Produire au Sud Taipei.

DIRECTOR, SCREENPLAY 謝沛如 HSIEH Pei-ju PRODUCER 王婧 WANG Jing, 李易恩 LEE E. N. CINEMATOGRAPHER 張皓然 CHANG

Hao-jan EDITOR 陳艾寶 CHEN A-bo MUSIC 林弘韜 LIN Hung-tao SOUND 簡豐書 Book CHIEN CAST 蔡嘉茵 TSAI Jia-yin, 張耀仁 Yao CHANG, 柯淑勤 Samantha KO, 張恩瑋 CHANG En-wei , 謝祖武 William HSIEH, 賴琳恩 Lene LAI PRINT SOURCE 一晌電影有限公司 While Films Ltd.

TAIPEI FILM AWARDS - NARRATIVE FEATURES

"Ms. Dinosaur", Jiang Ying-juan, a big woman with a warm heart who loves to cook. Her plus-sized figure is often frowned upon. Her mother asks her to lose weight, her neighbor laughs at her, and strangers give her unwanted attention when merely riding a bus. One day, a delivery man saves her from a harassment. Encouraged by him, Jiang finally makes up her mind to lose weight. However, she struggles with the slimming center's aggressive weight loss plan. When losing not only her health but her passion for cooking, Jiang starts to question the meaning and the definition of the socalled "better self".

World Premiere

劇 - 情長片

「大恐龍老師」姜映娟豐腴圓潤的身形底下,雖有著一顆熱情的「吃 心」以及精湛的烹飪「煮藝」,卻老是因為身材而飽受歧視,母親勸她 去減肥,隔壁鄰居也忍不住碎嘴,連坐公車都要被嫌佔位。某天,一場 意外的騷擾事件,讓姜映娟的少女心碎落一地,幸好巧遇陽光快遞男出 手相救,彷彿感受到愛情降臨的她,總算燃起減肥的念頭,但瘦身的 魔鬼訓練使她不堪負荷,原來改變自己的過程如此難堪,「做自己」好 難。為愛節食的姜映娟不禁開始懷疑自己減肥的意義何在?難道非得活 在社會的審美框架中,才有被愛的資格?

世界首映

台北電影獎

大餓

59


比悲傷更悲傷的故事

60

台北電影獎

More Than Blue 07.08 MON 華山一 18:10 ★

台灣 Taiwan | 2018 | DCP | Colour, B&W | 106min 入圍獎項:攝影、配樂

劇 - 情長片 TAIPEI FILM AWARDS - NARRATIVE FEATURES

唱片製作人張哲凱和作詞人宋媛媛,都是身世可憐的人,一個從小失去 父親,被母親遺棄,另一個因交通意外痛失雙親。兩個同病相憐的人, 把對方看成自己的家人、朋友,彌補了生活裡的空缺,彼此相愛,慢慢 地將遺憾放在一邊,生活得簡單卻充滿快樂。 林孝謙,擅長描繪細膩情感、刻畫動 人故事,有療癒系導演美名。林孝謙 憑藉豐沛的創作能量及獨特的人文背 景,作品入選多國影展,為台灣備受 期待的新導演之一。長片作品有《街 角的小王子》、《五星級魚干女》、《比 悲傷更悲傷的故事》等。

Gavin LIN, a prolific director, is known for his subtle and moving stories. He is one of the most acclaimed directors in Taiwan with his works selected for many international film festivals. His full length features include In Case of Love, Welcome to the Happy Days, More Than Blue, etc.

一場突如其來的病令哲凱只剩下 200 多天生命。他不捨留下媛媛一個 人無依無靠。於是,他隱瞞了自己的病情,暗自做出了一個決定,用剩 下的時間為媛媛找一個可以照顧媛媛一生一世的男人。

Record producer K and lyricist Cream both come from broken families. One has lost his father as a child, and is deserted by his mother. The other has lost her parents in a car accident. Two poor souls live together and treat each other like their own family and friend. With mutual love and trust, they gradually let go of their own tragic past and live a simple and happy life. However, a sudden illness strikes K, leaving him only 200 days or so to live. Unable to bear the thought of leaving Cream alone, he withholds the information of his illness and makes a decision secretly. He will try to spend the rest of his life looking for someone who can take care of Cream for him.

2018 釜山影展 Busan IFF DIRECTOR 林孝謙 Gavin LIN PRODUCER 董鼎安 TUNG Ting-an SCREENPLAY 呂安弦 Hermes LU, 林孝謙 Gavin LIN CINEMATOGRAPHER

關本良 KWAN Pun Leung, 鄭智仁 Gray CHENG EDITOR 江翊寧 CHIANG Yi-ning MUSIC 陳建騏 George CHEN, 羅恩妮 Annie LO SOUND 簡豐書 Book CHIEN, 李育智 LI Yu-chih CAST 劉以豪 Jasper LIU, 陳意涵 CHEN Yi-han PRINT SOURCE 滿滿額娛樂股份有限公司 mm2 Entertainment


蚵豐村

61

台灣、捷克 Taiwan, Czech Republic | 2019 | DCP | Colour | 91min 入圍獎項:男主角

林龍吟,台中豐原人,政治大學畢業, 捷克布拉格影視學院電影導演碩士。 致力於新聞紀實,曾以車諾比核災為 題製作跨界媒材《遙遠人聲》,入圍 卓越新聞獎,並獲曾虛白新聞獎暨台 達 能 源 氣 候 特 別 獎。2017 年 成 立 大 島影像。

Lungyin LIM is a director, cinematographer, and photographer from Fengyuan, Taiwan. He received his master's degree from the national film school FAMU of the Czech Republic. In 2017, Lungyin co-founded TYDAL Production, an independent and grassroots studio that seeks to bring in a global perspective.

2019 全州影展 Jeonju IFF DIRECTOR 林龍吟 Lungyin LIM PRODUCER 林木榮 LIN Mu-jung SCREENPLAY 林龍吟 Lungyin LIM, 廖芸婕 LIAO Yun-jie, 林木榮

LIN Mu-jung CINEMATOGRAPHER 亞歷.伊拉金 Aley ELAGIN EDITOR 徐紳詠 Dean HSU, 林龍吟 Lungyin LIM MUSIC 陳柏蔚 Paul SCAR SOUND 弗伊塔.札法迪 Vojtěch ZAVADIL CAST 林禹緒 LIN Yu-hsu, 喜翔 KING Jieh-wen, 陳莘太 CHEN Hsin-tai, 藍一萍 LAN Yi-ping PRINT SOURCE 日映影像有限公司 Aview Images

TAIPEI FILM AWARDS - NARRATIVE FEATURES

In a southwestern Taiwan oyster-farming village whose land keeps on subsiding, preparations for the King Boat Festival are proceeding. Shengji, an almost 30-year-old man, returns to his hometown he left several years ago. He assumes an air of superiority and behaves like a prosperous businessman in an ostentatious manner. While he disguises his fragile sense of self in front of his stubborn father, who has spent all his life raising oysters, his childhood friend is coveting his "financial success" and plans to make a fortune. The tide being receding, people in the small oyster-farming village are wearing masks that they are unable to take off. Ohong Village, a story of returning, reunion and reconnection, portrays people trapped between the stagnated urban world and their rural family they are estranged from.

劇 - 情長片

台灣西南角落,日漸下沉的蚵村,迎來又一次王船慶典。年近三十的 盛吉離村多年,此時故作風光,扮了個叱吒都會商場的成功姿態回來。 隨著祭典升溫,盛吉得用脆弱偽裝,面對顧了一輩子蚵地的頑固父親 順明;而在另一頭,還有對他的「成功」眼紅已久的兒時玩伴昆男, 此刻正想靠著盛吉鹹魚翻身。 潮水將退:小小蚵村,人人有張難以卸 下的面具。

07.08 MON 中山堂 19:20 ★ 07.11 THU 華山一 17:40 ★

台北電影獎

Ohong Village


狂徒

62

台北電影獎

The Scoundrels 07.10 WED 華山一 20:00 ★

台灣 Taiwan | 2018 | DCP | Colour | 105min 入圍獎項:男配角、攝影、視覺效果、藝術貢獻 - 動作設計

劇 - 情長片 TAIPEI FILM AWARDS - NARRATIVE FEATURES

文睿是一名前途似錦的職業籃球選手,因醜聞事件被逐出籃壇,沒名沒 利沒朋友,文睿生活陷入困境,龐大的賠償金讓他鋌而走險與竊車集團 合作,身邊只剩女性好友昕潔始終關心他。

洪子烜,台灣新導演,畢業於世新大 學 廣 播 電 視 電 影 學 系。 擅 長 拍 攝 動 作 類 型 片, 多 以 台 灣 犯 罪 動 作 為 題 材。 從 短 片《 彩 金 獵 人 》、《 破 賊 SYSTEM-A》展露頭角,再以《欺逃 人》獲得台灣青春影展銅獎。《狂徒》 是其首部劇情長片,攜手《麻醉風暴》 金鐘獎編劇黃建銘共同打造。 H U N G Tz u - h s u a n g ra d u a te d f ro m the Department of Radio, Television & Film at the Shih Hsin University. Specializing in action movies, Hung is known for his skillfully designed action choreography and mise-en-scène with Taiwanese mafia being the recurrent theme in his works.

某天文睿一如往常尋找目標,意外發現全身是血的雅惠,正當他想一探 究竟,卻被人稱「雨衣大盜」的標哥挾持,從此被當成雨衣大盜的同夥。 老練刑警陳木,立刻盯上了這條線索,唯一能證明自己清白的雅惠仍昏 迷不醒,被迫逃亡的文睿逐漸對標哥產生英雄相惜的情感,兩個窮途陌 路的人,為了突破現況,決定一起幹一票大的!

Ray, once a famous basketball player, works as a street-parking fee collector and sometimes works for a car theft gang. One night, Ray is kidnapped when he accidentally spots a seriously injured woman in the vehicle. Now the police and the public see Ray as the bank robbery suspect while the girl who can clear his name remains unconscious. How can Ray get himself out of the quagmire?

2018 釜山影展 Busan IFF 2018 高雄電影節開幕片 Opening Film, Kaohsiung FF DIRECTOR 洪子烜 HUNG Tzu-hsuan PRODUCER 林添貴 LIN Tien-kuei SCREENPLAY 黃建銘 HUANG Chien-ming CINEMATOGRAPHER

陳克勤 CHEN Ko-chin, 陳志軒 CHEN Chih-hsuan EDITOR 李棟全 Wenders LI MUSIC 林文捷 Cliff LIN, 楊琬茜 YANG Wan-chien SOUND 胡序嵩 Sidney HU, 納拉貝.編亞 Narubett PEAMYAI CAST 林哲熹 JC LIN, 吳慷仁 WU Kang-ren, 李千那 Nana LIN, 李銘忠 Frederick LEE PRINT SOURCE 貴金影業傳媒股份有限公司 Great Dream Pictures, Inc.


切小金家的旅館

63

台灣 Taiwan | 2018 | DCP | Colour | 109min

07.10 WED 華山一 11:40 ★

入圍獎項:劇情長片、導演、編劇、男配角、新演員、剪輯、美術設計、造型設計、視覺效果

劇 - 情長片

小金怕鬼,但讓他更害怕的是如果祖父母有個萬一,自己勢必得接手扛 下旅館經營的重責。逼得小金和兩個不牢靠的同學,在短短時間之內, 形成一個奇怪的命運共同體,被迫一步步追查線索,解開重重謎團。

Xiaojin has transferred to the third school in his fifth year at high school. During the winter vacation, his grandparents trick him into returning to the hotel founded by his parents. Xiaojin's classmates Little Princess and Lu Qun tag along with him to escape from bullies at school. While three boys stay at Xiaojin's family hotel, they quickly find out the hotel has been in terrible condition and is also haunted. While trying to get closer to the truth, Xiaojin and his friends have developed an extremely close friendship. Will they uncover the hidden secrets of the steaming hot springs?

林冠慧,世新大學廣播電視電影學系 電影組、台北藝術大學電影創作研究 所導演組畢業。曾任電影《翻滾吧阿 信》助理導演、《變身 Action !》副 導演,並承接編劇工作,為香港知名 製片人撰寫故事與劇本,喜用奇幻元 素講故事,作品多次受到國內外肯定, 獲獎無數。 L I N Ku a n - h u i g r a d u a te d f ro m t h e Directing Division of the Filmmaking Institute in TNUA. Her short films have been screened in many film festivals and won awards home and abroad. Her short film Time Lapse won the grand prix award at the Damah Film Festival in Hiroshima in 2010.

2018 富川奇幻國際影展 Bucheon International Fantastic FF 2019 荷蘭亞洲電影節 CinemAsia FF DIRECTOR, SCREENPLAY 林冠慧 LIN Kuan-hui PRODUCER 許勤婉 Happy HSU CINEMATOGRAPHER 馮信華 Mahua FENG Shin-hua EDITOR 鄺志良 Kong Chi Leung MUSIC Terdsak JANPAN SOUND 簡豐書 Book CHIEN CAST 張庭瑚 ZHANG Ting-hu, 林鶴軒

LIN Ho-hsuan PRINT SOURCE 良人行影業有限公司 Third Man Entertainment

TAIPEI FILM AWARDS - NARRATIVE FEATURES

一頭金髮的萬年高中生切小金,準備邁向高中生活的「第五年」,就在 轉學的第一天,陰錯陽差地救了人稱小公主的徐立漢與性格陰暗的魯群 兩位同學,因而得罪了學校的大流氓蝙蝠,為了躲避蝙蝠幫的霸凌,兩 人硬是跟著小金返鄉,一起回到他一直不願再接近的家族溫泉旅館。 當三人抵達地處偏僻的旅館,發現與網站上美侖美奐的描述截然不同, 破破爛爛外加氣氛詭異,小金祖父母做的旅館網頁根本是詐欺,更可怕 的是,他們發現這間破旅館「不乾淨」。

台北電影獎

Secrets in the Hot Spring


64 世界首映 World Premiere

台北電影獎

06.28 FRI 中山堂 19:30 ★ 07.06 SAT 華山一 21:00 ★

野雀之詩 Wild Sparrow

台灣 Taiwan | 2019 | DCP | Colour | 94min 入圍獎項:女主角、男配角、女配角、配樂

劇 - 情長片 TAIPEI FILM AWARDS - NARRATIVE FEATURES

小翰與含笑姨祖孫倆相依為命居於山城小鎮,在生靈萬物的照看下生 活,他拾回一隻垂死麻雀並將牠下葬的那天,久別的母親阿麗帶來要接 小翰同住的消息。

施立,橫跨流行音樂、劇場及電影等 領域的跨界創作人。曾參與多位歌手 專輯製作及歌詞創作,包括張惠妹「也 許明天」、王力宏「Julia」等百餘首 作品。近年跨足影像創作,作品曾入 選金馬影展、台北電影獎等國內外多 項影展。

SHIH Li is a director, writer and a lyricist in popular music, theater and film.His short No Way Home and his debut feature Almost Heaven were screened in many film festivals including Taipei Golden Horse Film Festival and Taipei Film Festival. Wild Sparrow is his latest work.

與母親來到城市,小翰踏入迥異於自然山林、複雜而混濁的世界。阿麗 遭情人不告而別後,重操舊業回酒店上班,酒店少爺連仔成為載送阿麗 接客的男友兼馬伕,並在一次爭吵中暴力相向,小翰因此被送回山上老 家。老家房裡的含笑姨沉睡著,依偎在旁的小翰彷彿進入一場夢中,祖 孫倆重返那座麻雀的小墳,但是墳已毀,鳥屍也不見蹤跡。 在徬徨無助中成長的小翰,在情感依賴中掙扎的阿麗,和澹然知命迎向 凋零的含笑姨,一家三代,每個人就像是彼此的過去或未來;而關在籠 中的野鳥,又能用多少力氣抵抗命運?

Little Han lives in the mountains with his great-grandmother, Auntie Hanhsiao. In rainy days, Little Han sits in front of the fireplace listening to Auntie Han-hsiao's colorful and mysterious tales. One day he sees an injured and dying sparrow. With sadness, he digs a small cave and buries it. Looking at the sparrows flying in the mountains, he hopes one day he can leave the mountains. However, when his mother Ali, who works in nightclubs, takes him to city to live with her, he has to face the endless quarrels and fights between Ali and his boyfriend, a man who exploits Ali's body to make money. In Auntie Han-hsiao's funeral, while the burnt ashes swirling in the wind, Little Han returns to Auntie Han-hsiao's bedroom and curls himself up in the bed like the sparrow he has buried.

DIRECTOR 施立 SHIH Li PRODUCER 賴珍琳 LAI Chen-lin SCREENPLAY 施立 SHIH Li, 吳弈均 WU Yi-jun CINEMATOGRAPHER 陳麒文

CHEN Chi-wen EDITOR 李俊宏 LEE Chun-hong MUSIC 王榆鈞 WANG Yu-jun SOUND 周震 CHOU Cheng CAST 高於夏 KAO Yu-sia, 李亦捷 LEE Yi-chieh, 游安順 YU An-shun, 陳淑芳 CHEN Shu-fang PRINT SOURCE 一顆星工作室有限公司 Dot Connect Studio


前進

65

台灣 Taiwan | 2018 | DCP | Colour | 108min

07.11 THU 華山一 12:00 ★

入圍獎項:紀錄片

紀 - 錄片

柯 金 源,30 年 來 只 做 一 件 事 情 : 記 錄 台 灣 環 境 變 遷。 無 數 次 重 返 長 期 關注的區域,以現場目擊者的視角, 累積了近 30 部紀錄片與上百萬字的 田 野 調 查 資 料。 近 年 嘗 試 以 多 元 的 方 式 進 行 紀 錄 片 製 作, 探 討 當 代 環 境美學議題。

KE Chin-yuan was born in Changhua in 1962. From 1993 to 2006, he was a monthly columnist for magazines of political, economic and ecological issues. He has won or been nominated in over 70 awards, home and abroad, and is currently a producer at the news department of Taiwan Public Television Service.

2018 台灣國際紀錄片影展 Taiwan International Documentary Festival DIRECTOR 柯金源 KE Chin-yuan PRODUCER 柯金源 KE Chin-yuan, 于立平 YU Li-ping CINEMATOGRAPHER 柯金源 KE Chin-yuan,

陳慶鍾 CHAN Ching-jung, 陳添寶 CHAN Tien-bao , 劉啟稜 LIU Chi-ling, 許中熹 SHI Jung-shi, 葉鎮中 YEH Jen-jung EDITOR 沈紘騰 SHEN Hung-teng, 陳慶鍾 CHAN Ching-jung PRINT SOURCE 財團法人公共電視文化事業基金會 Public Television Service Foundation 陳怡如 CHEN Yi-ju

TAIPEI FILM AWARDS - DOCUMENTARIES

爬梳自 1980 年代戒嚴時期起,直到 2018 年的現在,台灣重要環境運 動與事件,包括新竹李長榮、鹿港反杜邦、反石化擴張、反核、空汙等 議題,也訪問了曾參與抗爭,如今已漸老的居民與紀錄者。「時間」儼 然成為另一主角,透過三十幾年的影像紀錄,照出這塊土地的命運。

This film re-examines major environmental movements and events in Taiwan from the 1980s to 2018, including the protest against LCY Chemical Corp in Hsinchu, anti-DuPont movement in Lukang, movement against the expansion of petrochemical industry, anti-nuclear and anti-air pollution protests. It is a compilation of over 30 years of documentary footage and of those who took part in the protests.

台北電影獎

The Age of Awakening


覆巢

66

台北電影獎

Neglect 07.10 WED 華山一 14:30 ★

台灣 Taiwan | 2018 | DCP | Colour | 104min 入圍獎項:紀錄片、剪輯

紀 - 錄片 TAIPEI FILM AWARDS - DOCUMENTARIES

影片開始是在「抗爭成功」之後,影片結束時,你會懷疑「抗爭」真的 成功了嗎?

鄭慧玲,畢業於國立台南藝術大學音 像紀錄研究所,目前為獨立影像工作 者。作品曾獲得金穗獎、地方文化紀 錄影帶獎等獎項,也曾入圍電視金鐘 獎、2011 年 NHK 日 本 賞 及 2016 年 慕尼黑兒童影展等。

CHENG Hui-ling is an independent filmmaker who graduated from Studies in Documentary & Film Archiving, Tainan National University of the Arts. She has been awarded with Golden Harvest Awards and Annual R.O.C Documentary Awards. Also she was nominated by Golden Bell Awards, Japan Prize 2011 and Prix Jeunesse 2016.

故事地點在桃園龜山的牛角坡,2010 年時,政府以「興建合宜住宅」 為名,強行徵收這個區域 236 公頃的土地,但是實際興建合宜住宅的 面積,不過 10 公頃而已。而且土地權狀還在人民手上時,政府就「預 標售」這裡的土地。雖然後來「預標售」,被監察院提出「糾正」,但 是多數居民都已經繳出自己的土地權狀,拆除自己的房屋。僅剩堅持抗 爭四年的黃世雄和徐玉紅夫妻,經過行政訴訟後,終於保留下來自己的 土地。 影片從 2014 年開始記錄,原本應該是一部勵志的抗爭成功影片吧?但 事件卻一路往失控的方向走去。

The film starts after the protesters "have succeeded," but at the end of the film, one would begin to wonder if they have really succeeded. The story takes place in Niujiaopo, Guishan, Taoyuan. In 2010, the government expropriated up to 236 hectares of land by force, claiming it would implement "the affordable housing building plan." However, the area assigned to the affordable housing was merely 10 hectares. The shooting began in 2014. It was supposed to be an encouraging film about the protesters who have won. However, the incident heads down a path that eventually went out of control.

DIRECTOR 鄭慧玲 CHENG Hui-ling CINEMATOGRAPHER 陳冠穎 CHEN Kuan-ying, 鄭慧玲 CHENG Hui-ling EDITOR 鄭慧玲

CHENG Hui-ling MUSIC 健康合作音樂製作有限公司 CO-OP Music Works SOUND 奇奕果有限公司 Kiwi Audio & Production Inc. PRINT SOURCE 鄭慧玲 CHENG Hui-ling


還有一些樹

67 世界首映 World Premiere

台灣 Taiwan | 2019 | DCP | B&W, Colour | 88min 入圍獎項:紀錄片、配樂、聲音設計

What the axe forgets, the trees remember. The Tree Remembers presents the current situation in Malaysia where the racial policy is still practiced and the victims are forced to remain silent. This film re-examines the origin of racism in Malaysia and the taboo of racial riot in 1969.

廖克發,出生於馬來西亞怡保。曾獲 得金穗獎最佳學生影片、最佳導演, 並在 2015 年釜山影展獲得超廣角亞 洲最佳短片,參與 2013 年的侯孝賢 導演執導的金馬學院。劇情長片《菠 羅蜜》根據祖父二戰時參戰的生命故 事改編。

LAU Kek Huat was born in Malaysia. His film Nia's Door won Best Short Film Award, Sonje Award in BIFF and was selected for 38th Clermont-Ferrand International Short Film Festival. His written first feature film A Love of Boluomi won him the Tokyo Talent Award 2015 and Best Script Award in 2013 in Taiwan.

DIRECTOR, CINEMATOGRAPHER, EDITOR 廖克發 LAU Kek Huat MUSIC 澎葉生 Yannick DAUBY SOUND 黃年永 Eddie HUANG PRINT SOURCE 蜂鳥影像有限公司 Hummingbird Production Co Ltd.

TAIPEI FILM AWARDS - DOCUMENTARIES

本片從獨立前的原住民被奴役的黑暗歷史,直到 1969 年 513 的種族衝 突事件。《還有一些樹》記錄了這些人不被談及和允許的記憶。

紀 - 錄片

「斧頭所遺忘的,樹木會記得。」今天的馬來西亞,由於種族政策的原 因,種族依然可以造成人與人之間仇恨和隔閡的原因。《還有一些樹》 從一封來自 1969 年信開始追溯,在信封上發現一個由四種語言寫著的 警告「不准散播謠言」。1969 年是這個謠言的開始 – 也是馬來西亞以 種族為名的暴力和歧視政策的起點。

06.30 SUN 新光二 18:20 ★ 07.11 THU 華山一 15:00 ★

台北電影獎

The Tree Remembers


未來無恙

68

台北電影獎

Turning 18 07.10 WED 華山一 17:20 ★

台灣 Taiwan | 2018 | DCP | Colour | 86min 入圍獎項:紀錄片

紀 - 錄片 TAIPEI FILM AWARDS - DOCUMENTARIES

「我不想放棄我自己!」少女說。 她獨自走進大人世界,那是一場生 存遊戲。她必須成為最勇敢的 18 歲女孩,才能面對自己的人生。

賀照緹,紀錄片製片人及導演,作品 曾在歐、美、亞洲國際影展獲獎,並 獲台北電影獎評審團特別獎,以及日 舞影展協會、福特基金會紀錄片獎助。 因為作品中優異的藝術表現,獲邀紐 約當代美術館(MoMA)展出。

HO Chao-ti is a documentary producer and filmmaker. Her works were selected in international film festivals in Europe, Nor th Amer ica and Asia, receiving numerous awards. One of her films was screened at the Museum of Modern Art in New York. In recent years she has released a series of documentaries on international issues.

這是一部關於兩個女孩的成長紀錄片。經過七年製作,百餘版本的剪 輯,在這段期間,紀錄者與被攝者之間,建立了十分緊密的關係。影 片除了記錄被攝者狀態,亦揭露了在她們背後的結構性問題。這段情 同母女的關係,鑲嵌在紀錄者的生命軌道上,將不會隨著影片的結束 而告終。

Two girls in the bloom of youth meet at a vocational training program but their lives move in completely different directions. They both grow up in broken homes. Pei searches for hope in love, while Chen struggles to avoid repeating her parents' fate. As they approach the age of 18, the undercurrents of their lives surface, nearly overwhelming them. This is a story about abandon, but also about love and courage. Although the story comes from a remote area of Taiwan, it raises a universal question: how can an unloved life find the strength of her own?

2018 釜山影展 Busan IFF 2019 荷蘭亞洲影展青年評審團最佳女導演獎 Best Female Director, Youth Jury Award, CinemAsia FF DIRECTOR 賀照緹 HO Chao-ti PRODUCER 廖慶松 LIAO Ching-song, 賀照緹 HO Chao-ti CINEMATOGRAPHER 葉蔭龍 YEH Yin-long,

伍心瑜 WU Hsin-yu, 郭于寧 GUO Yu-ning, 羅孝文 LUO Hsiao-wen EDITOR 劉悅行 LIU Yue-hsing, 郭于寧 GUO Yu-ning, 黃懿齡 HUANG Yi-ling MUSIC 柯智豪 Blaire KO SOUND 周震 CHOU Cheng PRINT SOURCE 大照國際影像有限公司 Conjunction Films


你的臉

69

台灣 Taiwan | 2018 | DCP | Colour | 77min

07.09 TUE 華山一 13:00

入圍獎項:紀錄片、導演、剪輯、配樂

紀 - 錄片

我在台北街頭 尋找想要拍的臉

我把它記下來:

你的臉 訴說著歲月 走過的地方 你的眼睛 有一些迷惘 也有些哀傷 有一點光 有一個故事 你的臉 訴說著愛情 躲藏的地方 你的眼睛 有一些明亮 也有些黯然」

蔡明亮,作品跨界電影、戲劇與展覽, 近年甚至嘗試演唱與歌曲創作,蔡明 亮可說是台灣最具話題性的導演與藝 術家。重要作品有《愛情萬歲》(威 尼斯金獅獎)、《臉》(羅浮宮典藏 電影)、舞台劇《玄奘》與《來美術 館郊遊》大展。

就是這個意思 As I searched the streets of Taipei for faces to film, some verses began to appear in my mind. I wrote them down: "There is some light, there is a story. Your face tells of the passage of time and places you have journeyed. In your eyes, there is a tinge of confusion and sadness. There is some light, there is a story. Your face tells of love and the places it hides in. In your eyes, there is a sparkle and some darkness." This is the meaning of the film.

TSAI Ming-liang is one of the most prominent film directors of the new cinema movement in Taiwan. In 1994, his film Vive L'amour was awarded the Golden Lion award at the Venice Film Festival. His 10th full-length feature Stray Dogs (2013) was awarded the Grand Jury Prize at the 70th Venice Film Festival.

2018 威尼斯影展 Venice FF 2018 釜山影展 Busan IFF 2018 金馬影展閉幕片 Closing Film, Taipei Golden Horse FF DIRECTOR 蔡明亮 TSAI Ming-liang PRODUCER 王雲霖 Claude WANG CINEMATOGRAPHER 古恒誼 Ian KU EDITOR 張鍾元

CHANG Jhong-yuan MUSIC 坂本龍一 SAKAMOTO Ryuichi SOUND 曹源峰 Dennis TSAO PRINT SOURCE 汯呄霖電影有限公司 Homegreen Films

TAIPEI FILM AWARDS - DOCUMENTARIES

腦袋裡就浮現了一些詞句

「有一點光 有一個故事

台北電影獎

Your Face


06.30 SUN 新光一 14:00 ★ 07.06 SAT 華山一 17:50 ★

06.28 F R I 新光一 18:50 ★ 07.07 SUN 華山一 15:40 ★

�����玩

��兄�

台灣 Taiwan 2018 | DCP | Colour | 28min

台灣 Taiwan 2018 | DCP | Colour | 17min

入圍獎項:女主角

入圍獎項:短片

夏昌明為了照顧八旬失智又失能的老母,被迫失業在 家,親伺起居。一家四口,長年都靠擔任保險業務員 的妻子小玲扶養。在老婆抱怨、經濟負荷、長期照護, 以及身心綑綁等多重壓力下,昌明始終抑鬱難伸。

春分這天冷暖驟變,第五、六節課的老師臨時請了假, 學校只得叫大家自習。阿康眾人跑了出來。為了拍到 今年過境的灰面鷲,他們跑到校裡的空地,又有人提 議要往高處去,越高跟鳥越近,拍得清楚才會拿大獎。

終於,在警察帶回媽媽、在太太帶走兒子、在接到一 通電話後,昌明用紅筆圈起夏季的尾巴。他決定帶媽 媽出去玩。

他們爬上學校的後山,翻過了新架的籬笆,闖入封閉 的舊校舍,一邊盪著舊鞦韆,一邊像等著真愛一樣等 著灰面鷺出現。

In order to take care of his old mother, who has lost her intelligence and is disabled, Xia Changming remains unemployed at home. Under the physical and mental pressures, Changming always feels depressed and helpless. When the police bring his mother back and his wife takes his son away, he receives a call and decides to take his mother to travel.

On The vernal equinox, the teacher of the fifth and sixth classes asks for leave. Akang and his friends run out to photograph the grey-faced buzzards. They climb up the mountain near the school and cross the newly-settled hedges. They wait for the grey-faced buzzards to appear as if waiting for true love.

A Trip With Mom 70

Brotherhood

台北電影獎 短 - 片 TAIPEI FILM AWARDS - SHORT FILMS

2019 金穗獎一般作品組最佳劇情片 獎、個人單項表現獎-攝影 Best Fiction Short, Best Cinematography, Golden Harvest Awards

隋淑芬,在平面媒體服務多年,年逾半百毅然投身最 愛的電影。擅長觀察邊緣人物,以紀錄加實驗的敘事 手法,冷靜刻畫人性幽微,作品奇幻大膽深刻,結局 常出人意表,予人無限想像空間。 Sophie SHUI was born in Koahsiung. She is good at drawing materials from real-life experiences and depicting the complexity of human nature with documenting and experimenting storytelling technique. Her works are fantastic, daring and profound, usually with unexpected endings. DIRECTOR, SCREENPLAY 隋淑芬 Sophie SHUI PRODUCER

陳秋甫 CHEN Qiu-fu CINEMATOGRAPHER 陳勝吉 Tan Seng Kiat EDITOR 陳曉東 CHEN Hsiao-tung, 隋淑芬 Sophie SHU, 陳浤 CHEN Hung MUSIC 林弘韜 LIN Hung-tao SOUND 吳松翰 WU Song-han CAST 陳以文 CHEN Yi-wen, 劉引商 LIU Yin-shan PRINT SOURCE 財團法人公共電視文化事業基金會 Public Television Service Foundation 李美佩 LI Mei-pei

王傢軍,彰化人,曾入選國內外多項影展,並獲第 14 屆南方影展新人獎、2015 年釜山短片影展國際競賽 獎項、第 41 屆金穗獎一般組最佳劇情片。 WANG Chia-chun was born in Chang-Hua, Taiwan in 1982. He graduated from the Institute of Applied Media Arts, NTUA. His short Ganju won the best new director award of the 14th South Film Festival and International Competition Excellence Award for Best Picture of 2015 Busan Short Film Festival.

DIRECTOR, EDITOR 王傢軍 WANG Chia-chun PRODUCER

郭柏村 GUO Bo-chun SCREENPLAY 傅凱羚 FU Kai-ling CINEMATOGRAPHER 朱映蓉 ZHU Ying-rong MUSIC 蔡宜均

TSAI Yi-chun SOUND 許嵐婷 XU Lan-ting, 蔣震道 JIANG Zhen-dao CAST 王于誠 WANG Yu-chen PRINT SOURCE 王傢軍 WANG Chia-chun


06.30 SUN 新光一 14:00 ★ 07.06 SAT 華山一 17:50 ★

06.28 F R I 新光一 18:50 ★ 07.07 SUN 華山一 15:40 ★

�色⼩說

�事者��

台灣 Taiwan 2018 | DCP | Colour | 26min

台灣 Taiwan 2019 | DCP | Colour | 25min

入圍獎項:女主角、新演員

入圍獎項:短片

江郎才盡的女作家方遠儀在出版社意外發現一份文風 與她極其相似,卻又更加出色的新小說。她驚覺自己 即將被取代,決定找到作者一問究竟;沒想到對方卻 是患有小兒麻痺的少年王振宇。他是方遠儀的粉絲, 對於她的意外到訪甚感驚喜。幾經思考,方遠儀提出 影子寫手的想法希望王振宇幫她捉刀,重振文壇雄風; 然而王振宇卻提出令人意想不到的條件。

一位研究生遇上酒駕不幸喪生,卻意外發現擁有如電 玩主角般「死亡回歸」的能力。他以為重獲新生,不 料又在相同的時間地點,再度被撞死,又再度重生。 他驚覺這是一場「抓交替」輪迴,努力想要掙脫,但 要如何才能逃出這無限迴圈?

A novelist past her prime, Fang Yuan-yi, discovers a manuscript and finds the copycat who intends to replace her. Wang Jen-yu agrees to be her ghost writer and sets out his one condition. She reluctantly accepts it, exchanging her body for a long lost talent. But she discovers that the deal was more than she has bargained for.

Legend has it that when a person escapes death in an accident, he will be trapped in a time loop until he dies or someone else's life is claimed as his replacement. Getting killed in a DUI (driving under the influence of drugs or alcohol) every night, a guy tries to get his life back on track, and the only way is?

Erotica

Hit and Run

世界首映 World Premiere

王威翔,電影導演與特效指導。2010 年起陸續成立 「好威視傳媒」與「綠野仙蹤電影特效公司」,為《甜 蜜殺機》、《KANO》等擔任特效指導。導演作品有《夢 想海洋》、《那天星期三晚上》等。

Gavin LIN is a prolific director and also the 2018 No.1 Taiwan box office record holder for Chinese film. His full length features include In Case of Love, Welcome to the Happy Days, and More than Blue.

Weica WANG is a film director and visual effects supervisor. In 2010, he established F. N Workz and Tracking Troops. In 2018, Wang directed Wednesday Night, a short flim and Transfer, a feature scheduled to be theatrically released in 2019.

DIRECTOR 林孝謙 Gavin LIN PRODUCER 董鼎安 TUNG Ting-an

DIRECTOR 王威翔 Weica WANG EXECUTIVE PRODUCER 董成瑜

SCREENPLAY 呂安弦 Hermes LU, 林孝謙 Gavin LIN

TUNG Cheng-yu, 葉如芬 YEH Ju-feng PRODUCER 姜乃云 Chris CHIANG Nai-yun SCREENPLAY 黃囧熊 Milles HUANG CINEMATOGRAPHER 林志朋 LIN Chih-peng, CSC EDITOR 潘客印 PAN Ke-yin MUSIC 王榆鈞 WANG Yu-jun SOUND Traithep WONGPAIBOON CAST 林鶴軒 LIN He-xuan, 韓笙笙 Dara HANFMAN, 洪群鈞 HONG Chun-chun, 安乙蕎 AN I-chiao PRINT SOURCE 鏡文學股份有限公司 MirrorFiction Inc.

CINEMATOGRAPHER 江敏忠 CHIANG Min-chung EDITOR

呂安弦 Hermes LU MUSIC 盧律銘 LU Luming SOUND 曾雅寧 Ning TSENG, 劉小草 Agnes LIU, 黃建勳 HUANG Jian-xun CAST 王可元 WANG Ko-yuan, 黃采儀 HUANG Tsai-yi PRINT SOURCE 好時光娛樂有限公司 Smile Hours Entertainment, Ltd.

TAIPEI FILM AWARDS - SHORT FILMS

林孝謙,金穗獎首獎得主,擅長刻畫細膩情感,有療 癒系導演之稱。其最新作品《比悲傷更悲傷的故事》 為 2018 年台灣華語電影年度票房冠軍,創下九天破 億紀錄,全球票房累積逾 1.5 億美金。

短 - 片

2018 高雄電影節 Kaohsiung FF

台北電影獎

本片亦於「明日.台灣:驚悚劇場 I」(P.106)放映 Also screened in "FORWARD TAIWAN - TIL DEATH DO US PART I" (P.106)

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06.28 F R I 新光一 18:50 ★ 07.07 SUN 華山一 15:40 ★

�年�車�����

老人�狗

法國 France 2018 | DCP | Colour, B&W | 18min

香港、台灣 Hong Kong, Taiwan 2019 | DCP | Colour | 30min

入圍獎項:短片、配樂、視覺效果

入圍獎項:短片、男主角

「去年,火車經過你家時我拍了這張照片,那時的你 在做什麼呢?」

獨居的老陳得知罹患末期癌病,正打算提早結束生 命。多年不見的外孫嘉進,突然為老陳帶來一隻被棄 養的老狗。兩個臨終生命的相遇,改變不了結局,但 讓「我們」接受了改變。

"What were you doing while I took this photo when the train passed by your house last year?"

When Chan, a solitary elderly, is diagnosed with terminal cancer, he decides to end his own life. His grandson Ka Chun, whom he hasn't met for ages, surprisingly brings him an abandoned senior dog at this moment. Although the encounter of two dying souls cannot change their destinies, it allows Chan and Ka Chun to accept the inevitable changes in life.

Last Year When the Train Passed by 72

Old Man and A Dog

台北電影獎 短 - 片 TAIPEI FILM AWARDS - SHORT FILMS

2018 盧卡諾影展 Locarno FF 2019 克萊蒙費宏影展實驗競賽首獎最 佳紀錄片 Grand Prix & Award For Best Documentary Film, Lab Competition, Clermont ISFF

黃邦銓,生於台灣高雄,作品中常包含三種元素:回 憶、旅行和傳統底片技術。《回程列車》與《去年火 車經過的時候》連續兩年獲得法國克萊蒙費宏實驗競 賽首獎,並於盧卡諾影展等國際影展放映。 HUANG Pang-chuan was born in 1988 in Taiwan. His works contain three elements: memory, travel and traditional film technology. His first film Return has been presented at major film events in Europe and Asia, winning The Grand Prix in Clermont-Ferrand.

2019 鮮浪潮國際短片節 Fresh Wave International Short FF

陳瀚恩,生於香港,現居台北。2007 年畢業於香港 城市大學創意媒體學院,現於國立臺北藝術大學電影 創作研究所修讀碩士學位。 CHAN Hon Yan was born in Hong Kong. He graduated from School of Creative Media, City University of Hong Kong in 2007. He is studying in the MFA of Filmmaking in Taipei National University of the Arts.

DIRECTOR, CINEMATOGRAPHER, EDITOR 黃邦銓 HUANG

DIRECTOR, SCREENPLAY, EDITOR 陳瀚恩 CHAN Hon Yan

Pang-chuan MUSIC 林強 LIM Giong SOUND Yannick DELMAIRE PRINT SOURCE 黃邦銓 HUANG Pang-chuan

PRODUCER 劉婉玲 LAU Yuen Ling CINEMATOGRAPHER 黃瑋納

WONG Wai Nap SOUND 沈志朋 SHEN Chih-peng CAST 車保羅 Paul CARR I PRINT SOURCE 鮮浪潮電影節有限公司 Fresh Wave Film Festival Limited (Fresh Wave)


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06.30 SUN 新光一 14:00 07.06 SAT 華山一 17:50

紐������人���生活 Secret Lives of Asians at Night

亞洲首映 Asian Premiere

冬日陽光 Soleil d'hiver

亞洲首映 Asian Premiere

入圍獎項:造型設計

入圍獎項:短片

影片中包含五種語言、超過 20 位亞裔演員,包括來 自美國網絡劇《威漫離家同盟》演員 Lyrica Okano, 獨樹一格的配樂,以及來自 DJ 史奇雷克斯認可的二 人組 X&G 的原創歌曲。《紐約深夜之亞洲人之秘密 生活》有著半夢幻、半現實的影像表達,讓觀眾領略 美國的亞洲人夜生活之豐富、奇特。 這樣風格化的敘 事在大螢幕上甚少出現,有力抨擊了對美籍亞裔故事 的刻板印象。

Marin 利用一次短暫的休假回到家中和母親重聚,但 母親與家的狀態卻和他過往的回憶大相逕庭。他試圖 在這幾天內重新和母親建立關係。

What does the model minority do after dark? In the shadows of New York, the city's restless Asian youth navigate racial tension, dangerous situations, bizarre scenarios...and each other. When a routine pickup job goes wrong, our characters find themselves in a circumstance that feels more like a joke premise than anything: "what happens when a Chinese, Japanese, and a Korean end up in a Mexican standoff at a karaoke bar?"

Back home during his day off, Marin finds his mother old and weak, just like the house, neglected and dusty. He will try to rebuild his relationship with her mother in these few days.

2019 克萊蒙費宏影展 Clermont ISFF

2019 明尼阿波利斯-聖保羅影展 Minneapolis St. Paul IFF

KEFF,美籍台灣裔劇作家、導演、音樂人和藝術家, 現居紐約市。各類作品在網路獲得數以百萬的曝光,並 在《時代雜誌》、《VICE》、《Highsnobiety》等文化 出版物中出現。 目前在紐約大學攻讀電影碩士學位。 KEFF is a Taiwanese-American writer, director, musician, and artist based in NYC. KEFF's various works have been featured in reputable cultural publications such as TIME, VICE, Highsnobiety, and more. He currently attends NYU Graduate Film on scholarship.

梁閎凱,台灣高雄人,1989 年生。2012 年畢業於國 立臺灣藝術大學電影學系,現就讀於法國國立高等影 像暨聲音職業學校(La Fémis)導演系四年級。 LIANG Hong-kai was born in 1989 at Kaohsiung, Taiwan. He graduated in 2012 from the department of Cinema of National Taiwan University of Arts. He currently studies in directing at La Fémis in France.

DIRECTOR, SCREENPLAY, EDITOR KEFF PRODUCER

DIRECTOR 梁閎凱 LIANG Hong-kai PRODUCER Orane GIBIER

KEFF, 志自岐希生 SHIJIKI Kio, 程浩然 Brandon LAVENTURE CINEMATOGRAPHER 馮宇超 FENG Yu-chao MUSIC X&G SOUND Eli COHN CAST 陳澤銘 Rob CHEN, Lyrica OKANO PRINT SOURCE Kevin WANG

SCREENPLAY 梁閎凱 LIANG Hong-kai, Lamara LEPRÊTRE-HABIB CINEMATOGRAPHER Chloé TERREN EDITOR Clara SAUNIER SOUND Lucas MARIE CAST Mathieu PEROTTO, Dominique FROT PRINT SOURCE La Fémis

TAIPEI FILM AWARDS - SHORT FILMS

2019 洛杉磯亞太影展 Los Angeles Asian Pacific FF

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短 - 片

法國 France 2019 | DCP | Colour | 24min

台北電影獎

美國 USA 2019 | DCP | Colour | 18min


06.30 SUN 新光一 14:00 07.06 SAT 華山一 17:50

06.30 SUN 新光一 14:00 ★ 07.06 SAT 華山一 17:50 ★

可�

金魚

台灣、英國 Taiwan, UK 2018 | DCP | Colour | 6min

台灣 Taiwan 2018 | DCP | Colour | 17min

入圍獎項:動畫片

入圍獎項:動畫片

《可愛》是一部探討一個同性戀主角如何在酷兒環境 裡探索他的性向與族群的動畫短片。這部作品藉由呈 現對於當代同志圈的觀察與對於完全自由 性別流動 的想像,反映了真實世界裡富含歧視、自由與愛的現 實情況。

男孩發現了一個秘密,自己永遠不會長大,周遭所有 人失去夢想,是因為這個世界的統治者貪婪地吞食著 人們的青春與夢。

ADORABLE is an animated film about a queer's exploration of his sexuality and queer community. The film presents an observation of the modern queer society and the fantasies toward the freedom of gender fluidity. It intends to reflect the real situation of the community where discriminations, freedom, and love coexist.

A boy with a special talent discovers that he may never grow up. Those with power are devouring people's dreams and everyone is destined to be a slave. Can he break the rules and free the people or will people still blindly follow the rule?

ADORABLE 74

Gold Fish

台北電影獎 動 - 畫片 TAIPEI FILM AWARDS - ANIMATIONS

2018 倫敦國際動漫節 London International Animation Festival

2019 東京動畫獎 Tokyo Anime Award Festival

2019 柏克萊動畫節 GLAS Animation Festival

2019 金穗獎影展 Golden Harvest Awards

鍾承旭,畢業自台北藝術大學與英國皇家藝術學院動 畫所。作品多為動畫,使用大量的超現實影像與表演 探討人類情緒的變化、當代的戀愛關係與同志族群。 喜歡在日常的事物裡尋找詩性。

王登鈺,1987 年起開始做動畫至今,也做圖文書、短 篇小說、立體雕塑,漫畫刊物《TAIWAN COMIX》、 《Graphic Fiction》的企劃編輯 。作品包括《囧男孩》 動畫片段、《Jack & The Beanstalk》、《金魚》。

CHUNG Cheng-hsu was born 1994 in Taiwan. He holds a BFA Animation from TNUA and an MA Animation from the Royal College of Art. His animation works address issues of changing nature of emotion, modern love relationships, and the queer community.

Fish WANG was born in Taipei, Taiwan in 1971. He is a graduate of Arts & Craft Department of Fu-Hsin Trade and Arts School. He has been working in animation and comics for more than 20 years.

DIRECTOR, EDITOR 鍾承旭 CHUNG Cheng-hsu MUSIC, SOUND

DIRECTOR 王登鈺 Fish WANG PRODUCER 陳怡菁 CHEN Yi-ching

Joe FARLEY PRINT SOURCE 鍾承旭 CHUNG Cheng-hsu

SCREENPLAY 王登鈺 Fish WANG, 楊雅喆 Gilles YANG EDITOR 林育生 LIN Yu-sheng MUSIC 雷光夏 Summer LEI SOUND

好多聲音 FORGOOD S OUND PRINT SOURCE 零壹影像有限公司 Zero One Film


06.30 SUN 新光一 14:00 07.06 SAT 華山一 17:50

�匿��寸�間

Hidden Zone

06.30 SUN 新光一 14:00 ★ 07.06 SAT 華山一 17:50 ★

世界首映 World Premiere

當 一個人

Where Am I Going?

入圍獎項:動畫片

入圍獎項:動畫片、美術設計、聲音設計

男孩在自我觀照的歷程中,掉入了內心深處不願被人 探知的私密空間。在那處空間裡,男孩看見了許多不 同形態的自我。

現代人內心寂寞,信仰成為精神糧食,廟宇逐漸增多, 目前已超過台灣便利商店的數量。而最常使用廟宇的 就是長者,也是容易被社會遺忘的族群。老一輩生活 和精神上的平衡是相當值得去思考和討論的,同時也 希望藉由本次創作引發人們反思當自己喜愛的事物已 經不合時宜、必然消失時,我們該如何去接受。

Hidden Zone is about the self-presentation manners of an individual in a group. It consists of four sections: LookingGlass Self, Impression Management, Herd Behavior, and Defense Mechanism. The animation ends with the protagonist revealing his true self and opening his heart wide to deliver the core of this creation: show your true self.

In modern society, many lonely elders seek their meaning of life in religion. Capturing the images of the old man repairing windows, the train station at the coast, the busy city intersections, the temple entrance at dusk, and the gods and spirits that are invisible to ordinary people, this animation intends to reflect on how people react when what they love becomes old and even inevitably disappears.

2018 金馬獎最佳動畫短片 Best Animated Short Film, Taipei Golden Horse Awards

1

黃志聰,馬來西亞人,畢業於台灣藝術大學多媒體動 畫藝術研究所。作品類型多樣,動畫代表作品有偶動 畫《烏比》、3D 動畫《耳朵星期天》、2D 動畫《窗 外風景》及《隱匿的方寸空間》。 NG Chee Chong was born in Malaysia. He is an animator graduated from MA program of Multimedia and Animation Arts at NTUA. He enjoys creating with various mediums to share his observation of life from personal experiences and imaginary reflections.

2

2018 台中國際動畫影展臺灣動 畫獎首獎 Grand Prix, Taiwanese Short Film, Taichung International Animation Festival

1 黃勻弦,1982 年生於彰化,出生於傳統捏麵工藝 世家。 2

蔡易錦,現為導演及動畫師。

HUANG Yun-sian was born into a craftsman's family in Changhua, Taiwan in 1982. She is an illustrator, creative figure designer. 1

2

TSAI Yi-chin is a director and animator.

DIRECTOR 黃志聰 NG Chee Chong MUSIC, SOUND 蒙捷文

DIRECTOR 黃勻弦 HUANG Yun-sian , 蔡易錦 TSAI Yi-chin

MENG Chieh-wen PRINT SOURCE 黃志聰 NG Chee Chong

PRODUCER 謝珮雯 HSIEH Pei-wen CINEMATOGRAPHER 唐治中

TANG Zhi-zhong MUSIC 吳岳鴻 Alexander WU, 姜建興 CHIANG Chien-hsing SOUND 陳金煒 David CHEN, Carlos RODRIGUEZ PRINT SOURCE 旋轉犀牛原創設計工作室 TurnRhino Original Design Studio

TAIPEI FILM AWARDS - ANIMATIONS

本片以「鏡中自我」、「印象管理」、「從眾行為」 及「防衛機制」這四個情節表述個人於群體中的自我 呈現方式,象徵式及意象式的視覺表現手法,揭示個 人因淪陷於群體中而喪失自我的後果,藉以引發觀者 關注並思索自身的存在問題。

75

動 - 畫片

台灣 Taiwan 2018 | DCP | Colour, B&W | 15min

台北電影獎

台灣 Taiwan 2019 | DCP | Colour | 9min


06.30 SUN 新光一 14:00 ★ 07.06 SAT 華山一 17:50 ★

⿈��

Wong, Bitter Gourd 76

台灣 Taiwan 2019 | DCP | Colour | 4min

入圍獎項:動畫片 台北電影獎 動 - 畫片

故事聚注在因為兒子一個決定,以父子兩人面臨情感 上的衝突所給予的反應,來描述這對父子關係。自己 對父母一些性格或特質上的不滿,但同時又會慢慢的 在自己身上看到家人的影子,而感到不安,這種矛盾 的狀態。

TAIPEI FILM AWARDS - ANIMATIONS

Father and son come into a conflict because of a decision made by the son. Their reactions on that circumstance show their relationship. We all have some dissatisfaction with our parents' personalities, but the paradox is that, we will gradually find them in ourselves when we grow up.

2019 城市遊牧影展 Urban Nomad FF

黃榮俊,澳門 90 後,眉毛是自然卷。熱衷於 2D、 3D 動畫,以及嘗試不同媒材的影像創作。製作過多 項個人獨立動畫以及團體合作影像創作,參與業界 MV 製作。 WONG Weng Chon is born in Macau. He is passionate in 2D and 3D animation and tries to create video production through complex media. He has worked in independent animations, video productions, and professional MV production.

DIRECTOR, SCREENPLAY, CINEMATOGRAPHER, EDITOR, SOUND 黃榮俊 WONG Weng Chon PRINT SOURCE 黃榮俊

WONG Weng Chon


未來 之光 FUTURE LIGHTS

天使寶貝法蘭絲 Saint Frances


少女有點事

78

未來之光

A Colony

FUTURE LIGHTS

06.29 S AT 新光一 16:00 07.02 TUE 新光二 12:40 07.08 MON 中山堂 14:50

加拿大 Canada | 2019 | DCP | Colour | 102min

熱納維耶芙.杜魯德.迪賽爾斯,留 學羅馬尼亞布加勒斯特,學習電影藝 術。返回魁北克後,攻讀電影導演。 她 以《The Cut》、《Welcome to F.L.》分別獲得日舞影展短片評審團 獎,及加拿大蒙特婁紀錄片影展最佳 新人獎。《少女有點事》是她的首部 劇情長片。

本片透過引發共鳴的情節,呈現女孩蜜莉雅嘗試加入主流文化圈時內心 的迷失與焦慮。當她在原住民男孩的幫助下尋找自我,課堂上激辯著加 拿大的殖民史與原住民的悲慘命運,對照出學校裡同儕間,面對非我族 類的暴力與歧視。

Geneviève DULUDE-DE CELLES is a Canadian film director. She obtained a bachelor's degree in cinema in Quebec, and began a master's degree in Film and moving images at UQAM. She also cofounded a production company called Colonelle Films. A Colony is her first feature drama.

Mylia, a timid 12-year-old child, must leave her little sister and native countryside to begin high school. Between school pressure and family disorganisation, Mylia is trying to find her bearings. Lost in this new hostile environment, she copes as well as she can, sometimes awkwardly, dealing with the absurdities, discomforts and small victories of adolescence. She meets Jacinthe, who introduces her to teenage rituals and absurdities. Along the way, she encounters Jimmy, a young indigenous outsider from the neighbouring reserve, who will help her stand her ground and embrace who she really is. A film about a preteenager longing to find her footing in this strange land, A Colony is a touching and heartbreaking coming-of-age story with a sincere and uncensored depiction of reality.

蜜莉雅不安地搭上校車,離開在鄉村的妹妹與雞群,來到她的中學新生 活。她寬鬆的衣褲、素顏、自然捲,在舞會閃爍的紫藍燈光下,幻變成 亮黑的睫毛膏和唇上一抹紅,而新體驗像是貼身的細肩背心,不深不淺 地留下痕跡。當舞曲有節奏地點放出少女被壓抑的青春期尷尬、恐懼和 不適應時,她試圖在自我認同與校園社交小團體的空隙間,尋找新方 向。

「我希望片中的對話能夠反映青少年時期的現實,避免從成人角度去拍 一部青年成長電影。」──熱納維耶芙.杜魯德.迪賽爾斯

2019 柏林影展新世代兒童單元水晶熊獎 Crystal Bear, Generation Kplus, Berlinale 2019 加拿大影視獎最佳影片、最佳女主角 Best Motion Picture, Best Actress, Canadian Screen Awards DIRECTOR, SCREENPLAY 熱納維耶芙.杜魯德.迪賽爾斯 Geneviève DULUDE-DE CELLES PRODUCER Fanny DREW, Sarah MANNERING CINEMATOGRAPHER Léna MILL-REUILLARD, Etienne ROUSSY EDITOR Stéphane LAFLEUR MUSIC Mathieu CHARBONNEAU SOUND Marie-Pierre GRENIER CAST Émilie BIERRE, Irlande CÔTÉ, Jacob WHITEDUCK-LAVOIE, Cassandra GOSSELIN-PELLETIER, Robin AUBERT PRINT SOURCE Indie Sales


月半新娘 ©Vivo film

79

義大利 Italy | 2019 | DCP | Colour | 94min

©Livia Mucchi

啟發自真實事件,導演米珂拉.歐奇品蒂不追求刻意的戲劇化轉折,而 以寫實、細膩的手法刻畫主角的身心轉變。從女性個體的身材、情感上 的矛盾以小見大,帶出現代與傳統的拉鋸,以及女性意識的萌芽,在在 讓身處不同文化語境──以瘦為美的觀眾亦能心有戚戚焉。

米 珂 拉. 歐 奇 品 蒂,1968 年 生 於 義 大利,曾旅居摩洛哥、香港、剛果等 地。1995 年 返 回 羅 馬 擔 任 紀 錄 片 與 廣 告 的 拍 攝 助 理, 作 品 包 含 聚 焦 阿 根廷社會危機的《Give Us Back the Constitution》、 預 防 愛 滋 與 瘧 疾 的 《Sei Uno Nero》。紀錄長片《Letters from the Desert》於國際影展獲獎無 數。本片為其首部劇情長片。

Verida, a modern girl working in a beauty salon, is engaged to a man chosen by her loving parents. According to a tradition gavage, which is still practiced in Mauritania, she has to gain weight to attain the well-rounded, fuller figure that will appeal to her future husband. Three months before her marriage, her routine unfolds quietly and steadily as she consumes no fewer than six meals per day and regularly weighing herself to assess her progress. But a possibility of a genuine romance emerges from her encounter with Sidi, the handsome young man who provides the scales required for her regular weighings. Meal after meal, Verida will end up challenging everything she always thought was normal about her loved ones, her life and not least her own body.

Michela OCCHIPINTI was born in 1968 in Rome. She works as a researcher and production assistant in documentary and advertising. Her first feature-length documentary, Letters from the Desert (Eulogy to Slowness), screened at 80 festivals and won 21 awards. Flesh Out is her first feature film.

2019 柏林影展 Berlinale 2019 翠貝卡影展 Tribeca FF 2019 全州影展 Jeonju IFF DIRECTOR 米珂拉.歐奇品蒂 Michela OCCHIPINTI PRODUCER Marta DONZELLI, Gregorio PAONESSA SCREENPLAY 米珂拉.歐奇品蒂

Michela OCCHIPINTI, Simona COPPINI CINEMATOGRAPHER Daria D'ANTONIO EDITOR Cristiano TRAVAGLIOLI MUSIC Alex BRAGA SOUND Silvia MORAES, Mirko PERRI, Mattia PERSICO CAST Verida Beitta Ahmed DEICHE, Amal Saab Bouh OUMAR,

Aichetou Abdallahi NAJIM, Sidi Mohamed CHIGHALY PRINT SOURCE Films Boutique

FUTURE LIGHTS

女孩維莉妲愛瞎聊、時尚打扮與流行樂,正盡情享受著她的青春時光, 但父母貿然替她安排人生大事,三個月後就要嫁為人婦。按照茅利塔尼 亞的文化,她必須增加體重符合傳統的審美觀,讓自己變得豐腴肉感, 秀色可餐。維莉妲每天不只吃下六餐,大半夜還得起床進食,反覆秤 重,但聽話、乖順的她從來不曾懷疑與反抗,直到身心俱疲,再也撐不 下去。此時,她才開始思考何謂「正常」,以及自己的身體、人生與愛。

06.30 SUN 新光一 11:50 07.03 WED 新光一 16:40 07.05 F R I 新光一 16:40

未來之光

Flesh Out


一切堅固的終將煙消雲散

80

未來之光

Last Night I Saw You Smiling

FUTURE LIGHTS

07.05 F R I 華山二 21:30 07.09 TUE 華山二 14:40 07.10 WED 新光一 12:40

寧卡維,1987 年生於柬埔寨金邊,是 導演也是攝影師,拍攝紀錄片起家, 亦創作多部短片,為 2013 年釜山影 展亞洲電影學院學員,製片公司 AntiArchive 的共同創辦人。目前正籌備 拍攝關於「白樓」的首部劇情長片。

Kavich NEANG, born in 1987, was raised in Phnom Penh's landmark White Building. His feature-length documentary Last Night I Saw You Smiling won the NETPAC Award following its January 2019 premiere in IFFR's Bright Future competition. He is currently preparing to shoot his first narrative feature, White Building.

柬埔寨、法國 Cambodia, France | 2019 | DCP | Colour | 78min

柬埔寨金邊的一座現代公共住宅「白樓」,是 493 個家庭長久棲身的 家,卻即將在都更計劃下遭到拆除,居民被迫搬遷。儘管政府承諾會提 供補助賠償,焦躁不安的情緒仍在這棟建築裡蔓延開來,這是許多人住 了一輩子的地方,記憶像是附生在窗櫺屋瓦之上,難以割捨。 這座由現代建築大師旺.莫利萬設計的白樓,是柬埔寨獨立後於「新高 棉建築運動」浪潮中誕生的產物,樣式簡練而新潮,為金邊的指標性建 築。1960 年代起,見證了國家的黃金時代與極端政權的興衰;曾是重 要的文藝復興基地,亦是導演寧卡維從小成長的家園。當他得知白樓將 被拆除的命運,拿起攝影機記錄這段最後的時光因而變得迫切。鏡頭在 其間穿梭,溫柔而深切的凝望,記錄下這座承載時代記憶建築的最後身 影。

The White Building, originally known as the Municipal Apartments, was built one decade after Cambodia's independence and amid a movement of New Khmer Architecture. The housing block bore witness to a tremendous series of events: the young nation's Golden Age, a traumatic breakdown under a radical regime, decades of cultural revival centered within its walls, and the rapid pace of capitalist development that would ultimately lead to its demise. When director Kavich Neang learned the 493 families of the White Building, the architectural landmark in Phnom Penh where he had lived since birth, agreed to vacate for a condo development, he decided to document the building's final days. He followed his own family and neighbors as they packed belongings, shared memories and anxieties, and eventually moved out before the building's total destruction. When demolition comes, only memories remain.

2019 鹿特丹影展奈派克獎 NETPAC Award, IFF Rotterdam 2019 瑞士真實影展 Visions du Réel 2019 全州影展國際競賽單元評審團特別獎 Special Jury Prize, International Competitoin, Jeonju IF DIRECTOR, CINEMATOGRAPHER 寧卡維 Kavich NEANG PRODUCER 周戴維 Davy CHOU, Daniel MATTES, Marine Arrighi DE CASANOVA EDITOR Félix REHM MUSIC, SOUND Vincent VILLA CHARACTER Chhunat POK, Kimleang SO, Thida NOP, Rany BO, Sophanara DY PRINT SOURCE Anti-Archive


老娘叫珍珠

81

法國、瑞士 France, Switzerland | 2018 | DCP | Colour | 80min

新銳導演艾莎.阿米爾的首部劇情長片,藉由相對極端的運動命題, 舞台上力與筋的激放呈現,和舞台下魂與膚的幽微奔流相互對照,大 膽挑戰、質問關於女性氣質和傳統的美麗概念。《芭蕾少女夢》性感 男星亞里耶.偉索特及金獅獎得主彼得.穆蘭,畫龍點睛地助陣演出。 象徵性十足的深淵式賽場陰暗打光、襯以鮮豔濃烈的選手賽服,微觀 式聚焦角色肌理的分鏡、狂放電子舞曲,為本片帶出一股溫丁.黑芬 式的視聽氛圍。

Three days before the final of an international female bodybuilding championship. Léa Pearl is set to compete for the prestigious title of Miss Heaven. But her past catches up with her, when her ex-lover shows up with the 6-year-old son she hardly knows. A physical film inspired by Martin Schoeller's photos featuring large-scale portraits of athletes against a white background, Pearl depicts a female bodybuilder, a figure that has never been presented in cinema and a character that challenges social norms of femininity. Pearl is the journey of a woman who learns to re-establish what has made her who she is and no longer be subjected to the things that oppress her. When Pearl fights, sacrifices, and suffers to achieve aesthetic excellence, she also represents a woman's fight to simply BE.

艾 莎. 阿 米 爾,1979 年 生 於 巴 黎, 擁有豐富的影視經驗,曾任《舞孃人 生》、《巴黎妓院回憶錄》、《再一 次初戀》等電影的助理導演,亦跨足 演員領域。《老娘叫珍珠》為其首部 劇情長片作品,一舉入選威尼斯影展 威尼斯日單元。 Elsa AMIEL grew up in theaters and travels around the world with her mime artist father. After studying performing arts, she chose cinema. She started her career as first assistant director and has made two short films, Faccia d'Angelo (2006) and Ailleurs Seulement (2010). Pearl is her first feature film.

2018 威尼斯影展威尼斯日單元 Venice Days, Venice FF 2018 釜山影展 Busan IFF 2019 鹿特丹影展 IFF Rotterdam DIRECTOR 艾莎.阿米爾 Elsa AMIEL PRODUCER Bruno NAHON, Caroline NATAF, Lionel BAIER SCREENPLAY 艾莎.阿米爾 Elsa AMIEL,

Laurent LARIVIERE CINEMATOGRAPHER Colin LÉVÊQUE EDITOR Sylvie LAGER MUSIC Fred AVRIL SOUND Marc VON STÜRLER CAST Julia FÖRY, 彼得.穆蘭 Peter MULLAN, 亞里耶.偉索特 Arieh WORTHALTER, Vidal ARZONI, 阿嘉塔.布茲克 Agata BUZEK PRINT SOURCE mk2 films

FUTURE LIGHTS

為了即將舉辦的國際女子健美賽事總決選而身心緊繃的莉亞.珍珠, 除了承受來自教練的高壓指導,多年不見的前夫和幾近陌生的孩子, 此時卻乍然現身,只嘆往事不曾如煙。舊日回憶猶如鬼魅隨行,一身 入魂職人道上的艱辛、堅固倔強徹底重塑的自我身形,在這關鍵時刻, 難道將為她看似有序的人生在望,潰出一個缺口?

06.29 SAT 新光二 22:00 07.03 WED 新光二 14:30 07.09 TUE 新光二 19:00

未來之光

Pearl


82 亞洲首映 Asian Premiere

未來之光

天使寶貝法蘭絲 Saint Frances

FUTURE LIGHTS

07.05 F R I 新光一 12:1 0 07.09 TUE 新光一 21:30 07.11 THU 新光一 15:40

美國 USA | 2019 | DCP | Colour | 101min

艾力克斯.湯普森,美國肯塔基州原 住民,曾擔任電影選角指導,並執導 過數部短片。後於芝加哥帝博大學取 得藝術創作碩士學位。《天使寶貝法 蘭絲》為其首部劇情長片。

一部笑中帶淚的當代夏日電影。故事從女性視角出發,纖細而靈巧地觸 碰墮胎、產後抑鬱、同性家庭等敏感議題,在質疑「標籤化」與翻轉刻 板印象之時,亦提出勇敢而溫柔的洞見,成功搭起孩童與成人之間的溝 通橋樑,甚而消解成年人的迷失與無力。劇本眼光獨到,演員們精彩動 人的演出,讓本片一舉奪下 2019 年西南偏南電影節評審團特別獎與觀 眾票選獎。

盛夏之初,年過 30 歲仍對人生充滿困惑、一事無成的的布萊姬決定接 下保母工作,照顧一對拉子情侶的六歲女孩。在某晚派對上意亂情迷的 一夜情之後,意外懷孕的布萊姬旋即決定墮胎。正當她生活一團亂的同 時,她與古靈精怪的女孩朝夕相處中,逐漸建立起一段俏皮暖心的友 誼,她與這家人的羈絆也愈加深厚,彼此間一同度過一段悲喜參半的時 光,布萊姬也重新思考自己的人生命題。

「我希望這部片為人們帶來更多同理心,啟發彼此真誠的對話。」—艾 力克斯.湯普森 A l ex T H O M P S O N g r a d u a t e d f r o m DePauw University and worked in casting before directing his first short, starring Olympia Dukakis and Rose Gregorio. He received his MFA from DePaul University and lives in Chicago. Saint Frances is his first feature film.

At the start of the summer, Bridget, a woman in her thirties, has an abortion just as she lands a much-needed job in an affluent Chicago suburb nannying a six-year old for an expecting lesbian couple.With no time to recover from the consequences of the recent abortion, she clashes with the obstinate Frances and struggles to navigate a growing tension between Frances' moms. While Bridget is depressed about her personal relationships and her directionless life, a reluctant friendship with Frances emerges. The clever, curious, and intuitive kid quietly boosts her self-worth and improves her attitude toward future possibilities. Bridget's anxieties find a new outlet, and she starts to contend with the inevitable joys and the chaotic situation of becoming a part of someone else's family.

2019 西南偏南電影節劇情片單元評審團特別獎、觀眾票選獎 Special Jury Recognition, Audience Award, Narrative Feature Competition, SXSW DIRECTOR, EDITOR 艾力克斯.湯普森 Alex THOMPSON PRODUCER James CHOI, Ian KEISER, Eddie LINKER, Haroula Rose SPYROPOULO,

Roger WELP CINEMATOGRAPHER Nate HURTSELLERS MUSIC Quinn TSAN, Alex BABBITT SOUND Zach MARTIN CAST Ramona Edith WILLIAMS, Kelly O'SULLIVAN, Jim TRUE-FROST, Mary Beth FISHER, Charin ALVAREZ PRINT SOURCE Visit Films


海角上的兄妹

83

07.08 MON 華山二 19:10 ★▲

故事從社會底層的困境出發,探討性工作者的背景成因,巧妙地帶入 「如果當事人很享受?」的危險命題,彷彿一張對觀眾下的戰帖;在同 情與不忍之餘,道德觀也受到挑戰。女星和田光沙將從事性工作的妹妹 角色詮釋得渾然天成,和飾演哥哥的松浦祐也搭配得天衣無縫。助導經 驗豐富,常為山下敦弘左右手的片山慎三初執導筒,展露出熟成而老練 的說故事功力,題材挑選的生猛讓人印象深刻。

Two siblings are living together on the fringe of society. The brother, Yoshio, has a hurt leg, while the sister, Mariko, has an intellectual disability and spends most of her time at home. When Yoshio gets fired from his job, he schemes to make money by forcing his sister into prostitution. Although he was an older brother who started to mediate his sister's prostitution for the purpose of living, he touched the real joy and sadness of his little sister, who had not been able to understand before. Cutting into the dark part of the local city, Siblings of the Cape asks the essence of the family. It's not only touches upon the crossroad between sexuality and mental disability, but also confronts the spectator with a question that is nothing other than a dilemma.

FUTURE LIGHTS

腿瘸的哥哥和自閉症的妹妹在海角的破屋相依為命。哥哥不幸被裁員 後,逼不得已讓妹妹下海餬口。然而,當良心的譴責、現實的艱困和妹 妹似乎「樂在其中」的奇特發展,一齊發生的時候,哥哥的想法也開始 動搖。路不轉心轉,一切彷彿就要大放光明、撥雲見日之時,還有更實 際的難題,在後面等著。

未來之光

Siblings of the Cape

日本 Japan | 2018 | DCP | Colour | 89min

片 山 慎 三,1981 年 出 生 於 日 本。 曾 擔任山下敦弘、奉俊昊的助理導演, 累積大量的拍片現場經驗後,這是他 第一部自編、自導、自製、自剪的劇 情長片作品。於 2018 年的日本 Skip City 影展榮獲最佳影片、觀眾票選獎 兩項大獎後,上映掀起廣大注目。

KATAYAMA Shinzo was born in 1981. He worked as an assistant director for Nobuhiro Yamashita on My Back Page and The Drudgery Train. Siblings of the Cape is his debut feature film.

2018 Skip City 影展日本競賽最佳影片、觀眾票選獎 Best Picture, Audience Award, Japanese Film Competition, Skip City International D-Cinema Festival 2018 東京影展 Tokyo IFF 2019 哥特堡影展 Göteborg FF DIRECTOR, PRODUCER, SCREENPLAY, EDITOR 片山慎三 KATAYAMA Shinzo CINEMATOGRAPHER 池田直矢 IKEDA Naoya, 春木康輔

HARUKI Kosuke MUSIC 高位妃楊子 TAKAI Hiyoko SOUND 西正義 NISHI Masayoshi CAST 松浦祐也 MATSUURA Yuya, 和田光沙 WADA Misa, 北山雅康 KITAYAMA Masayasu, 岩谷健司 IWATANI Kenji, 中村佑太郎 NAKAMURA Yutaro PRINT SOURCE 光年映畫有限公司 Light Year Images


忘憂上路

84

未來之光

Summer Survivors

FUTURE LIGHTS

06.30 SUN 新光二 11:30 07.04 THU 新光二 18:50 07.11 THU 新光二 14:20

立陶宛 Lithuania | 2018 | DCP | Colour | 91min

瑪瑞嘉.卡夫塔拉澤,1991 年出生於 立陶宛維爾紐斯,從事導演與編劇。 執導過《Youngblood》等三部短片, 其 中《I'm Twenty Something》 獲 得 2015 年立陶宛電影學院最佳學生電影 獎。《忘憂上路》是她的首部劇情長片。

影片細膩勾勒醫病關係,英德蕾起初嚴正對待保羅與尤絲妲,而他倆的 亢奮與沉靜像夏季的豔陽與暴雨,自然而融洽,仨人逐漸靠近、串起連 結。公路旅行中唯一看不見的風景,是患者與內在失序精神的抗爭,那 是生存的戰役,也是日常的生活。

Marija KAVTARADZĖ was born in 1991. She is a film director and scriptwriter, graduated from Lithuanian Academy of Music and Theatre, Film Directing studies in 2014. Considered to be one of the most talented upcoming filmmakers in Lithuania, Marija Kavtaradze was granted support from Lithuanian Film Centre for her debut feature film Summer Survivors.

An ambitious young research psychologist, Indre, who has reluctantly agreed to transport two patients from one psychiatric unit to another in exchange for research privileges at her clinic, finds herself the leader of a rather ragtag band on the long journey to the sea. Outgoing Paulius is a young man whose manic stage of his bipolar disorder stands in great contrast to the introvert Juste whose wounds are hidden from sight, but they both struggle to fight the inner battles that define them. As they all navigate the survival process together, what looks like a carefree summer ride with friends sharing laughs from the outside, could actually be the beginning of healing in this bittersweet story that - just like summer - is full of hopes, surprises and the promise that anything is possible.

心理學研究者英德蕾毛遂自薦到精神科醫院實習,為了取得研究特權, 她不情願地接下任務──負責開車護送有躁鬱症的保羅與自殺未遂的 尤絲妲轉送別家醫院。在車內的時光隨著蜿蜒公路延綿,一搭一唱、瑣 碎平常,三人慢慢變熟成為可以一起出遊的朋友。他們分享笑聲,感受 著外界的眼光;而內心情緒是手裡繽紛的巧克力,又如嘴裡的藥丸,流 轉在苦樂之間。

「對我來說,準確地描述角色的疾病細節,是不可或缺的,且還須要表 明精神障礙與其他身體疾病是一樣自然的。」──瑪瑞嘉.卡夫塔拉澤

2018 多倫多影展 Toronto IFF 2019 哥特堡影展 Göteborg FF DIRECTOR, SCREENPLAY 瑪瑞嘉.卡夫塔拉澤 Marija KAVTARADZĖ PRODUCER Marija RAZGUTĖ CINEMATOGRAPHER Laurynas BAREIŠA, Vytautas KATKUS EDITOR Domas PETRONIS MUSIC Domas STRUPINSKAS SOUND Julius GRIGELIONIS CAST Indrė PATKAUSKAITĖ, Paulius MARKEVIČIUS, Gelminė GLEMŽAITĖ PRINT SOURCE Heretic Outreach


索菲亞的夏天

85

智利、巴西、阿根廷、荷蘭、卡達 Chile, Brazil, Argentina, Netherlands, Qatar 2018 | DCP | Colour | 110min

一個關於少女和自身家國的成長故事。導演試圖透過影像喚起兒時記 憶,重新建構居住二十年的相似社區,並描繪 90 年代的生活氛圍。來 自該社區的素人演員,為影片增添別樣的真實感,飾演索菲亞的戴米 恩.赫南德茲也以靈動吸睛的演技,散發角色獨特的青春氣質。 「我一直堅信,在電影中,人的複雜度是無法被『創造』的。你只能藉 由演員去描繪、或嘗試捕捉那種複雜度,而戴米恩本身的複雜度很吸引 我。」──多明嘉.索朵瑪悠

During the summer of 1990 in Chile, a small group of families lives in an isolated community right below the Andes. They build a new world away from the urban excesses with the emerging freedom that followed the recent end of the dictatorship. In this time of change and reckoning, 16-year-old Sofía and Lucas, and 10-year-old Clara, struggle with parents, first loves, and fears, as they prepare a big party for New Year's Eve. They may live far from the dangers of the city, but not from those of nature. In this coming-of-age story of both the young characters and a society, Sotomayor explores the uneasy relationship between generations and classes in an open and free form, which is close to the nature of this community near the mountains and away from borders and definitions.

多明嘉.索朵瑪悠,1986 年出生於智 利,身兼導演、製片與編劇,作品常 刻畫正值青春期的角色心境,講述關 於成長的故事。為第一位獲得盧卡諾 影展最佳導演的女性導演。

Dominga SOTOMAYOR was born in 1986 in Chile. She finished her filmmaking studies in 2007 and started production company Cinestación. She won the Tiger Award in Rotterdam with her first feature Thursday Till Sunday (2012). Her latest film Too Late to Die Young was awarded the Silver Leopard for Best Director.

2018 盧卡諾影展最佳導演 Best Director, Locarno FF 2018 多倫多影展 Toronto IFF 2019 鹿特丹影展荷蘭影評人協會獎 KNF Award, IFF Rotterdam DIRECTOR, SCREENPLAY 多明嘉.索朵瑪悠 Dominga SOTOMAYOR PRODUCER Rodrigo TEIXEIRA, 多明嘉.索朵瑪悠 Dominga SOTOMAYOR CINEMATOGRAPHER Inti BRIONES EDITOR Catalina MARÍN SOUND Julia HUBERMAN CAST 戴米恩.赫南德茲 Demian HERNÁNDEZ, Antar MACHADO, Magdalena TÓTORO PRINT SOURCE Stray Dogs

FUTURE LIGHTS

1990 年夏天,皮諾契特的獨裁政權垮台。儘管民主時代來臨,即將成 年的索菲亞卻感覺自己被困在沉靜不變的小公社,這裡的自由顯得單 調,正在成長的她需要激情與變化。新年將屆,她想像著過完年便能搬 離此地,然而,危機蠢動,離開是成長的唯一之道嗎?

07.02 TUE 中山堂 11:40 07.07 SUN 新光二 21:40 07.09 TUE 新光二 21:00

未來之光

Too Late to Die Young


86 亞洲首映 Asian Premiere

未來之光

06.30 SUN 新光二 15:50

震向性教育 Tremors

瓜地馬拉、法國、盧森堡 Guatemala, France, Luxembourg 2019 | DCP | Colour | 107min

FUTURE LIGHTS

暴雨代替了眾人的無語,空氣裡的震驚與憤怒如鷹,盤旋在豪宅的大 廳,等待著遲遲未歸的男主人保羅。擁有高薪工作、漂亮妻子和可愛小 孩的他,犯了禁忌的愛,而被阻隔在完美的生活門外。他的家人和教 會,決定以上帝之名治癒他、拯救他。教堂內,轟隆的禱念不斷灌入保 羅耳內,喃念之語泛起震盪,碎裂了他的精神,以恐懼黏組成滿佈裂痕 的信念。 加伊羅.布斯塔曼德,1977 年出生於 瓜地馬拉,從事導演與編劇。長片《火 山少女的愛愁》曾在台北電影節放映, 並獲得 2015 年柏林影展阿爾弗雷德 鮑爾獎。2017 年,開設瓜地馬拉第一 家致力於推廣獨立電影的電影院。

出軌到出櫃,愛上在世俗眼光中不該愛的人。保羅與新歡搬進新公寓, 開始自由的新生活,但他的心卻未曾安心入住。他的愛情,被視為罪與 疾病,受到各方抵制、譴責;他被所愛之人折磨,痛苦地徘徊在傷害和 幸福之間。

Jayro BUSTAMANTE, born in 1977, is a Guatemalan film director and screenwriter. His debut feature Ixcanul won the 2015 Berlinale Silver Bear Alfred Bauer Prize. In April 2017, Jayro created La Sala de Cine, the first cinema theater dedicated to independent films in Guatemala.

Guatemala City today. The coming out of an evangelical father shatters his family, his community and uncovers a profoundly repressive society. Pablo is a 40-year-old married father of two wonderful children. A role model and a practicing evangelical Christian, his perfect traditional life begins to crack when he falls in love with a man. Pablo finds his feelings in conflict with beliefs. And his life becomes a hell of repressive intolerance when his family and his church decide to do whatever it takes to "cure him," forcing Pablo to suppress his urges through therapy. Tremors is a film that speaks about conditional love, shameful love, love that hurts, and love that gives us an excuse for our extraordinary mastery of double standards.

「我想了解一個受過教育的人,最終會如何陷入他自己心中的監牢。宗 教環境、政治壓迫和傳統家庭,又如何壓迫男人的同性情愛。」──加 伊羅.布斯塔曼德

2019 柏林影展 Berlinale DIRECTOR, SCREENPLAY 加伊羅.布斯塔曼德 Jayro BUSTAMANTE PRODUCER Edgard TENEMBAUM, Pilar PEREDO CINEMATOGRAPHER Luis Armando ARTEAGA EDITOR César DÍAZ, Santiago OTHEGUY MUSIC Pascual REYES SOUND Eduardo CÁCERES, Gilles BENARDEAU, Julien CLOQUET CAST Juan Pablo OLYSLAGER, Mauricio ARMAS ZEBADÚA, Diane BATHEN,

María TELÓN, Sabrina DE LA HOZ PRINT SOURCE 本萃電影有限公司 Benchmark Films


歡迎蒞臨荒涼小鎮

87

烏克蘭、德國 Ukraine, Germany | 2018 | DCP | Colour | 106min

本片以超現實的影像風格探問,身屬物慾時代的都市人與當地居民何者 荒謬?於烏克蘭邊境,鄰近克里米亞的戰火區拍攝,以黑色幽默探討嚴 肅的國族認同議題,笑點中帶著淡淡哀傷,引領觀眾進入悲喜交加的境 界。剪接節奏充滿音樂感,仿若一首送給小鎮的情歌。 「在西方導演眼中的後蘇維埃政權只著重在膚淺的物質層面,經濟與各 方面條件都如此差,如此令人絕望。但此處卻完全相反,而居民在必 要時也很願意挺身守護家園,我們不禁要問是什麼讓他們有如此的信 念?」──羅曼.邦達楚克

A series of odd coincidences have left Lukas, an interpreter for a military checkpoint inspection tour, stranded near a remote town in the south Ukrainian steppe. With his money, passport and papers stolen and nowhere to turn, this city boy finds shelter at the home of a colorful local named Vova. Lukas is then confronted by an anarchist universe beyond his imagination, a world in which life seems utterly detached from any identifiable structure. Attracted to the lawlessness of this vast region and fascinated by his host and his host's daughter Marushka, Lukas contempt for provincial life slowly melts away, setting him on a quest for happiness he has never known. With its fable-like plot and mirages elements, Volcano is a surreal black comedy that takes place in the visually striking borderlands of southern Ukraine.

羅 曼. 邦 達 楚 克,1982 年 生 於 烏 克 蘭,畢業於基輔國立戲劇影視大學, 曾 拍 攝 多 部 短 片 及 MV, 亦 寫 過 小 說,舉辦攝影與當代藝術展。紀錄片 《Ukrainian Sheriffs》曾代表烏克蘭 角逐奧斯卡最佳外語片,首部劇情長 片《歡迎蒞臨荒涼小鎮》在國際影展 獲得多項大獎。 Roman BONDARCHUK graduated from Kyiv State University of Theatre, Cinema and TV. He has made a number of shorts, documentaries and music videos that have received awards at Ukrainian and international festivals. He is also an author of the book of novels, photography and contemporary art exhibitions.

2018 卡羅維瓦利影展 Karlovy Vary IFF 2018 芝加哥影展 Chicago IFF 2019 哥特堡影展 Göteborg FF DIRECTOR 羅曼.邦達楚克 Roman BONDARCHUK PRODUCER Olena YERSHOVA SCREENPLAY Alla TYUTYUNNIK, 羅曼.邦達楚克 Roman BONDARCHUK, Dar'ya AVERCHENKO CINEMATOGRAPHER Vadym ILKOV EDITOR Mykola BAZARKIN, Heike PARPLIES MUSIC Anton BAIBAKOV SOUND Borys PETER CAST Serhiy STEPANSKY, Viktor ZHDANOV, Khrystyna DEILYK PRINT SOURCE Pluto Film

FUTURE LIGHTS

在一連串離奇的巧合後,軍方導覽口譯盧卡斯被困在烏克蘭南邊的小鎮 上,他搭上當地居民的便車還借住了下來。這裡遺世獨立卻仿若無政府 狀態,詭異而迷人,他格格不入卻又離不開,逐漸愛上當地少女,原本 瞧不起鄉間的他豁然開朗,享受這前所未有的全新體驗。

06.28 F R I 新光一 14:00 ★ 07.04 THU 新光一 15:50 07.07 SUN 華山二 16:10

未來之光

Volcano


亞洲稜鏡

ASIAN PRISM

你的鳥兒會唱歌 And Your Bird Can Sing


漫長的告別

89

日本 Japan | 2019 | DCP | Colour | 127min

中野量太繼上一部叫好又叫座的《幸福湯屋》後再次推出感人新作。本 片看似清新平靜,實則每句台詞都話中有話。而片中出現的書籍,尤其 是貫串全片的夏目漱石《心》一書,更巧妙與電影互文辯證。 「雖然這是一部父親罹患失智症的家庭故事,卻使人一再發笑,時時感 到溫馨。這就是我想拍攝的家庭電影。」──中野量太

When retired teacher Shohei begins to show signs of unusual memory loss, his wife Yoko calls her daughters Mari and Fumi home to see their father. A party is held for the 70th birthday of Shohei, but what is told to his daughters, who haven't all gathered together for a long time, is the fact that their strict father has contracted dementia. Confused about the situation of their father losing his memory day after day, the women can't get a grasp on this new version of their father. But as time passes, the family comes to terms with Shohei's illness. They discover that there can still be joy, happiness and love with the man they call dad. A "lovely memory" that everyone in their family has forgotten, is still living in Shohei.

ASIAN PRISM

曾經擔任校長,個性嚴肅的父親罹患失智症,為原本平靜的家庭掀起漣 漪,也使分居各地的母女三人再次聚首。次女夢想開餐廳,情場和職場 卻都不得意;長女隨老公搬去美國,對新環境的不適應和家庭問題將她 壓得喘不過氣;母親年事已高,24 小時的照護勞動使她的情緒和體力 都逼近臨界點。擁有四座日本奧斯卡獎座的山崎努飾演父親,日本奧斯 卡影后蒼井優、竹內結子、松原智惠子三位知名女星飾演家中的三個女 人,分別展現女人在不同世代、環境所面臨的問題。

07.05 F R I 新光二 19:00 ★▲ 07.06 SAT 新光二 13:10 ★▲

亞洲稜鏡

A Long Goodbye

中野量太,1973 年生於日本京都府。 初次執導獨立長片《幫老爸拍張照》 便受邀至柏林影展放映,獲得國內外 矚目。首部商業電影《幸福湯屋》更 橫掃日本奧斯卡及各大影展等 34 座 大獎。持續用他獨特的觀點描繪「家 庭」情感。

NAKANO Ryota studied filmmaking at the Japan Institute of the Moving Image. His Capturing Dad won Best Director at the Skip City International D-Cinema Festival. Her Love Boils Bathwater received a total of 14 Best Movie Awards. He continues to draw his "family" picture with his own perspective and sensitivity.

2019 香港電影節 Hong Kong IFF 2019 北京電影節 Beijing IFF DIRECTOR 中野量太 NAKANO Ryota PRODUCER 原堯志 HARA Takashi, 井手陽子 IDE Yoko SCREENPLAY 中野量太 NAKANO Ryota,

大野敏哉 ONO Toshiya CINEMATOGRAPHER 月永雄太 TSUKINAGA Yuta EDITOR 伊藤潤一 ITO Junichi MUSIC 渡邊崇 WATANABE Takashi SOUND 矢野正人 YANO Masahito CAST 蒼井優 AOI Yu, 竹內結子 TAKEUCHI Yuko, 松原智惠子 MATSUBARA Chieko, 山崎努 YAMAZAKI Tsutomu, 蒲田優惟人 KAMATA Yuito PRINT SOURCE 天馬行空數位有限公司 Sky Digi Entertainment Co., Ltd.


你的鳥兒會唱歌

90

亞洲稜鏡

And Your Bird Can Sing 07.06 SAT 新光一 19:20 ★ 07.07 SUN 新光一 17:20 ★

日本 Japan | 2018 | DCP | Colour | 106min

ASIAN PRISM

在港口小鎮書店工作的佐知子,被頹廢的兼職男吸引,他們之間沒有 天雷勾動地火,只有恰如其分的心領神會。很快地兩人就發展到床上, 但沒有蜜語、沒有事後菸,只有失業室友靜雄不經意地加入漫長的夜。 仨人青春的費洛蒙,參雜在夜店的酒杯和音樂裡、撞球檯邊、路面電車 的街道上,在夏夜藍調天空下舞動與歡笑。二男一女的三角關係也在散 漫、破碎的清晨裡,踏著搖晃的步伐,以極不經心的方式尋找出口。 三 宅 唱,1984 年 出 生 於 日 本 札 榥 市。 畢 業 於 東 京 電 影 學 院, 作 品 包 括《Tongue of Spy》 和《Good for Nothing》 等, 曾 以《Playback》 入 選 2012 年盧卡諾影展國際競賽單元。

本片為「函館三部曲」特別篇,改編自原作佐藤泰志的首部小說,染谷 將太、柄本佑、石橋靜河共演。三人行的情節宛如《夏日之戀》,但少 了衝突與嫉妒,多了慵懶與飄忽,這構築出的特殊親密感,是以夏日、 青春終將結束為名。

MIYAKE Sho was born in 1984. He completed the introductory course in fiction at the Tokyo Film School and graduated in 2007. His Playback was selected for the International Competition at the 2012 Locarno International Film Festival. THE CHOCKPIT was selected for the First Film Competition at the 2015 Cinéma du Réel.

The main character, "Me," works in a bookshop in the suburb of a town in the north of Japan. He shares a flat with a friend named Shizuo. Sachiko is the colleague of "Me" from the bookshop. She is in a relationship with an older man, the manager of the bookshop, but feels attracted to "Me" and leaves the manager. When Shizuo meets Sachiko, he too starts to be fond of her. Like a breeze in the heat of summer, the relationship between these three young Japanese is built on a delicate balance of love and friendship. In his adaptation of Sato Yasushi's novel, Miyake Sho intends to convey "life's radiance" that is brilliantly depicted in the novel.

「這是一個日常故事,所以我希望忠於現實並傳達自然的氛圍。」── 三宅唱

2018 東京影展 Tokyo IFF 2019 柏林影展 Berlinale 2019 香港電影節 Hong Kong IFF DIRECTOR, SCREENPLAY, EDITOR 三宅唱 MIYAKE Sho PRODUCER 菅原和博 SUGAWARA Kazuhiro, 松井宏 MATSUI Hiroshi CINEMATOGRAPHER 四宮秀俊 SHINOMIYA Hidetoshi MUSIC Hi'Spec SOUND 川井崇滿 KAWAI Takamitsu CAST 柄本佑 EMOTO Tasuku, 染谷將太 SOMETANI Shota, 石橋靜河 ISHIBASHI Shizuka, 萩原聖人 HAGIWARA Masato, 渡邊真起子 WATANABE Makiko PRINT SOURCE Pigdom


福岡

91

南韓 South Korea | 2019 | DCP | Colour | 86min

總在恬淡作品中聚焦國族議題的張律,將影片版圖擴張至日本,在語 言、種族、文化差異之下,其創作者印記不減,提煉出一部精粹的懺情 回憶。角色名稱沿用演員真名、大量近乎即興的對白、奇妙的「幽魂」 視角,為《福岡》這部影像風格和情節設定清透如水的電影,帶來一股 虛虛實實延展至銀幕外,宛如醇酒般的後勁。

Hae-hyo and Jea-moon are good friends in college, eventually holding a mutual grudge over a woman they fall in love with. They have not seen or heard from each other ever since. As time passes and Jea-moon approaches middle age, the memory of his college life becomes ever more refreshed, and begins to haunt him more and more frequently. At this moment, a mysterious and ghostlike girl, So-dam, intrudes into his quiet second-hand bookstore in Seoul and disturbs his life, urging him to set out on a long journey to Japan to look for Hae-hyo. In Fukuoka, when three of them finally meet in a local pub, can the happenings of their bygone days be reconciled?

張律,1962 年生於中國吉林,身兼導 演、編劇、製作人等身分,中國朝鮮族 的背景讓他的作品大量聚焦於種族命 題。歷年作品多次入選柏林、盧卡諾、 鹿特丹等國際影展競賽單元。曾以《春 夢》為釜山影展開幕,享譽國際。

ZHANG Lu is a third-generation Korean Chinese born in Yanbian, Jilin, China in 1962. He used to teach Chinese Literature and write novels before changing his path to the film industry and working as a filmmaker since 2001. He was in the jury of Busan International Film Festival in 2016.

2019 柏林影展 Berlinale 2019 北京電影節 Beijing IFF DIRECTOR, SCREENPLAY 張律 ZHANG Lu PRODUCER 張律 ZHANG Lu, WU Yanyan, YANG Jin CINEMATOGRAPHER PARK Jung-hun EDITOR LEE Hak-min SOUND KIM Bong-soo CAST 權海驍 KWON Hae-hyo, YOON Jea-moon, 朴素丹 PARK So-dam, 山本由貴 YAMAMOTO Yuki PRINT SOURCE 視幻文化 PARALLAX Films

ASIAN PRISM

鬼靈精怪的美少女,闖入在首爾獨自經營破舊二手書店的大叔生活,全 然陌生的兩人,意外地相伴出國,來到了海的另一端:福岡。在福岡, 大叔和久違的昔日友人重逢,時光輾轉,原來那無能開花結果的青春愛 戀與記憶,從來不曾淡去,深陷其中的人們,早被磨蝕地不成人樣。這 趟癡情大叔外加霹靂妹奇趣三人行,能否化解彼此過往的遺憾?

07.02 T U E 新光一 19:40 ★ 07.03 WED 新光一 14:10 ★ 07.05 F R I 華山一 13:00

亞洲稜鏡

Fukuoka


一條鯰魚救地球

92

亞洲稜鏡

Maggie

ASIAN PRISM

06.30 SUN 新光一 19:40 ★ 07.01 MON 新光二 16:20 ★ 07.09 TUE 新光一 19:20

李玉燮,1987 年出生於南韓首爾,畢 業於韓國電影藝術學院。執導過《Girls on top》等五部短片,《一條鯰魚救 地球》是她的首部劇情長片,並獲得 韓國國家人權委員會贊助支持。

YI Ok-seop graduated from Korean Academy of Film Arts. Maggie is her first feature film and the 14th human rights film project supported by National Human Rights Commission of the Republic of Korea.

南韓 South Korea | 2018 | DCP | Colour | 89min

醫院內流傳出一張謎樣的性愛X光片,全院上下有默契地集體搞失蹤, 只剩下一名女醫生,與自認是謎樣X光片女主角的護士允英。兩人展開 調查,誓言不管事情有多瞎,都要相信別人說的話。醜聞出去,人回來, 允英第六感爆發,越看越覺得無業男友很古怪。地上莫名地出現巨型坑 洞,吞噬她的心裡話,懷疑、猜測無法擋,關係在想像力裡崩塌。 異想天開的劇情,請了神當旁白;但祂不住天上,而是水族箱裡那隻叫 做瑪姬的鯰魚。荒謬無厘頭的劇情,調侃了現代社會裡人與人的互信, 以超現實場景配上各式巧合歪梗,戳向信仰的速成與愛情保鮮的課題。 「看著越來越多的誤解,我覺得世界會適應這些誤解。信心是不容置疑 的,也因此可能非常危險。我的電影描述了實現信心的過程。」──李 玉燮

The discovery of X-ray photographs of sexual intercourse causes trouble at a hospital. The hospital administration is more interested in who might be in the X-rays than who takes them. A nurse in the orthopaedics department, YEO Yoon-young, is writing her resignation because she thinks it might be her. But when she arrives at the hospital, no one else is there except the deputy. While this hospital commotion is going on, strange sinkholes start to appear in Seoul. Young laborers, including Yoon-young's boyfriend, are mobilized to fill these sudden sinkholes. Yoon-young finds a small sinkhole on the curb and throws in a memo into the hole, written, "The first thing we have to do when we fall into a hole is to escape from it, not to dig in deeper."

2018 釜山影展公民評論獎、CGV 藝術電影獎、KBS 獨立電影獎 Citizen Critics Award, CGV Arthouse Award, KBS Independent Film Award, Busan IFF 2019 鹿特丹影展 IFF Rotterdam 2019 大阪亞洲電影節評審團大獎 Grand Prix, Osaka Asian FF DIRECTOR 李玉燮 YI Ok-seop PRODUCER 具教煥 KOO Kyo-hwan SCREENPLAY, EDITOR 李玉燮 YI Ok-seop, 具教煥 KOO Kyo-hwan CINEMATOGRAPHER LEE Jaeu SOUND JEON Sang-jun CAST LEE Ju-young, MOON So-ri, 具教煥 KOO Kyo-hwan PRINT SOURCE

M-Line Distribution


Mio on the Shore

日本 Japan | 2019 | DCP | Colour | 96min

Asian Premiere

07.05 F R I 新光二 22:10 07.08 MON 新光二 19:20 ★ 07.09 T U E 中山堂 15:40 ★

《櫻花下我記得》導演中川龍太郎最新長片,以鄉村少女進城打拚,卻 在複雜難解的都市人際關係中載浮載沉,最終找到自身定錨之道的生命 故事,講述現代城市發展之下必須不斷與傳統記憶告別的艱難與無奈, 並透過乾淨詩意的畫面以及女主人翁微小卻堅毅的力量,為世間種種難 受的完結尋得出口。

中川龍太郎,1990 年生於日本神奈川 縣,是日本電影界新生代中相當多產 的導演與編劇,年僅 29 歲已有六部 長片作品,多次獲得國際影展獎項提 名,並以《櫻花下我記得》獲得莫斯 科影展費比西國際影評人獎。

Mio is a 20-year-old Japanese girl. Having lost her parents early, she and her grandmother run a traditional Japanese inn in Nagano. However, her grandmother gets sick. Mio comes to Tokyo and lives with her father's best friend, Kyosuke, who runs a traditional public bath. She begins to help with his work, but it is scheduled that the public bath will be demolished on redevelopment. A modern version of Kiki's Delivery Service, the film follows a girl who wants to preserve a place with her own power.

NAKAGAWA Ryutaro was born in 1990 in Kanagawa, Japan. His August in Tokyo and Tokyo Sunrise were screened at the 2014 and 2015 Tokyo International Film Festival respectively, and his Summer Blooms received the 2017 FIPRESCI Jury Prize in Moscow International Film Festival.

2019 莫斯科影展 Moscow IFF DIRECTOR 中川龍太郎 NAKAGAWA Ryutaro PRODUCER George WADA, FUJIMURA Takashi, KINOUCHI Hikaru SCREENPLAY 中川龍太

郎 NAKAGAWA Ryutaro, 末木はるみ URAKI Harumi, 佐近圭太郎 SAKON Keitaro CINEMATOGRAPHER HIRANO Ray EDITOR ITOH Kohei, SAKON Keitaro MUSIC KATO Hisaki SOUND 伊豆田廉明 IZUTA Kadokai CAST 松本穗香 MATSUMOTO Honoka, 渡邊大知 WATANABE Daichi, 德永繪里 TOKUNAGA Eri, 吉村界人 YOSHIMURA Kaito, 光石研 MITSUISHI Ken PRINT SOURCE Tokyo New Cinema Inc.

ASIAN PRISM

自幼失去雙親的少女小澪,從小與奶奶和姑姑在鄉間長大,祖孫三代一 同經營家傳的風呂民宿,直到年邁的奶奶決定將民宿結束營業,小澪只 好孤身前往東京求職,投靠亡父的摯友京介先生。京介經營一間公共澡 堂,暫住於此的小澪求職不順,留下來協助澡堂的庶務。經由澡堂的種 種日常庶務,小澪與社區裡的年輕人結為朋友,逐漸在這大城市裡找到 安身立命又延續過往記憶的方式。殊不知,營業數十年的澡堂與街區其 它老字號店鋪的生命,全都被悄悄按下了倒數計時器。

亞洲首映

亞洲稜鏡

湯屋裡我記得

93


印度小情歌

94

亞洲稜鏡

The Odds

ASIAN PRISM

07.08 MON 新光二 22:00 07.10 WED 新光二 17:00 07.11 THU 新光二 16:30

梅葛.拉瑪斯娃米,編劇、導演,長 居孟買。短片作品曾在印度及諸多國 際影展大放異彩,《The Last Music Store》於南亞國際電影節獲得觀眾票 選最佳紀錄片獎。《印度小情歌》是 其首部劇情長片。

Megha RAMASWAMY is a filmmaker and writer based in Bombay. Both of her first two shorts, Newborns and Bunny, had their world premieres at the Toronto International Film Festival. She is also a beneficiary of the prestigious Chicken & Egg grant for women filmmakers.

印度 India | 2019 | DCP | Colour | 96min

從小在孟買長大、名字陽剛的叛逆少女薇維克,跟其他高中生一樣即將 面臨升學考試的命運。反骨的她,決定在大考這天從主考官眼前偷走准 考證以示拒考,孰料慌忙中卻不小心一併抽走了校內模範生艾許溫的准 考證,導致優等男孩也被拒於門外。兩人因此陰錯陽差地相遇,充當升 學體制的一日叛徒,在同儕皆振筆疾書的時候,他們一起遊蕩街頭,違 法亂紀,歷經魔幻的一天。薇維克的許多秘密,在短暫的青春玩樂中被 暫時掩蓋。 印度導演梅葛.拉瑪斯娃米首部長片《印度小情歌》,延續其影像創作 一貫的獨立反叛精神,以印度電影中少見的性格強烈鮮明的女性角色作 為故事主角,並在青春的叛逃中,反覆辯證年輕一輩對於社會體制、家 庭、人生、性別與戀愛的想像,少女的謊言與反抗行動,宛如對印度傳 統社會的尖銳提問。

On the day of a major exam that could help determine her future, eccentric Vivek decides to take a slightly strange stand against the system. When things don't go as she planned, she strikes an unexpected friendship with well-behaved head boy Ashwin and the two play truant from school. As the young would-be couple wanders the streets of Mumbai, the story unravels events from the past, present and future in the lives of these two misfits and the accidental fairytale they are meant to tell. Set in a whimsical version of Mumbai and peopled with characters and incidences personifying the title, The Odds is an honest, often hilarious and rapt exploration of growing up in contemporary India devoid of its cultural specificities.

DIRECTOR, SCREENPLAY 梅葛.拉瑪斯娃米 Megha RAMASWAMY PRODUCER Sanjay BACHANI, Pooja KOHLI, Apoorva BAKSHI,

Abhay DEOL CINEMATOGRAPHER Johan H AIDT EDITOR Arindam S GHATAK MUSIC Sagar DESAI SOUND Vivek SACHIDANAND CAST Yashaswini DAYAMA, Karan Vir MALHOTRA, Abhay DEOL, Priyanka BOSE, Monica DOGRA PRINT SOURCE FilmKaravan


沉默未亡人

95

印度 India | 2018 | DCP | Colour | 86min

本片由印度獨立導演帕文.莫加里執導,自言受到伊朗大師阿巴斯.奇 亞羅斯塔米簡樸風格的影響,以大量素人演員、寫實的空間場景和環境 聲響,建構出當地穆斯林的生活樣貌。導演再度和伊朗知名攝影師默罕 默德.雷薩.賈汗帕那合作,透過色彩、光影和地景,呈現出喀什米爾 美麗如天堂卻又悲慘如地獄的矛盾情境。 「與其談論政治,我們必需從人性角度思考衝突地區女性和孩童承受的 苦難。」──帕文.莫加里

In a conflict ridden Kashmir, a Muslim half-widow finds herself, her 11 year old daughter and ill mother-in-law in a crisis as she attempts to get her missing husband's death certificate from the Government. Now she will have to find the strength to come out from an unthinkable and absurd situation. Half Widows are women whose husbands have disappeared and their death is not ascertained in Kashmir. These half-windows and their children live an isolated social life and face a lot of harassment, sexual exploitation and humiliation. Based on many true stories in Kashmir, Widow of Silence portrays the pain, struggle, suffering, resilience and the indomitable spirit of Kashmir Half-widows and their children in one corner of the world, away from the spotlight.

帕 文. 莫 加 里,1968 年 生 於 印 度, 身兼導演、編劇與製片,早年亦活躍 於 劇 場 圈。2015 年 以《Barefoot to Goa》出道,被認為是印度新浪潮的 重要影人。2017 年的《Walking with the Wind》片名致敬伊朗導演阿巴斯. 奇亞羅斯塔米的詩集,《沉默未亡人》 是其第三部長片。 Praveen MORCHHALE was born in Central India. He is a director, screenwriter and producer. He achieved recognition with his feature film Barefoot to Goa, Walking with the Wind, and Widow of Silence. Critics hail Praveen Morchhale as new wave Indian filmmaker for his subtle, unique realistic minimalist and humanistic style.

2018 釜山影展 Busan IFF 2019 鹿特丹影展 IFF Rotterdam 2019 哥特堡影展 Göteborg FF DIRECTOR, PRODUCER, SCREENPLAY 帕文.莫加里 Praveen MORCHHALE CINEMATOGRAPHER 默罕默德.雷薩.賈汗帕那

Mohammad Reza JAHANPANAH EDITOR Anthony JOSEPH SOUND Sanal GEORGE CAST Shilpi MARWAHA, Nooorjahan, Zaba BANOO, Ajay CHOUREY PRINT SOURCE Barefoot Pictures

ASIAN PRISM

在印巴邊界衝突不斷的喀什米爾,那些丈夫失蹤、生死未卜的婦女被稱 為「半寡婦」,她們與子女皆受到社會的剝削、歧視與騷擾。獨自撫養 幼女和婆婆的阿希雅,經過七年的煎熬等待,終於決定申請丈夫的死亡 證明。四個月間反覆的舟車勞頓,不斷遭到承辦官員另有所圖的阻撓與 拒絕,心力交瘁的她更陷入意料之外的荒謬處境。

06.28 F R I 新光二 15:00 07.04 THU 華山二 16:00 07.10 WED 新光二 21:30

亞洲稜鏡

Widow of Silence


亞洲稜鏡

ASIAN PRISM CHINA 80S

中國 80 後世代 漫遊 Vanishing Days


乘客

97 國際首映

International Premiere

中國 China | 2019 | DCP | Colour | 104min

07.04 THU 華山二 18:10 ★ 07.08 MON 華山二 12:00 07.11 THU 華山二 16:20

In sprawling Chongqing, the quiet life of a divorced taxi driver is disrupted after he gives a ride to a mysterious woman coming home after two decades. Reigniting his sexual desires, she also releases his suppressed angst about his paralyzed mother and rebellious gay son. Shrouded in dark tunnels and deep fog, he sees no light ahead. The tormented souls resonate with the misty and gloomy environment in Chongqing, where the characters' suppression and solitude are nuanced portrayed. This mesmerizing drama, at once gloomily real and luminously surreal, evokes a time when dreams are lost, and no hope can be found.

許振昊,曾就讀重慶師範大學,畢業於 北京電影學院。自編自導第一部長片 《乘客》,改編自真實聽說的庶民經 歷。電影於 2019 年香港電影節首映, 入選火鳥大獎,並於新秀電影競賽單 元拿下最佳導演、最佳男演員兩獎。

XU Zhenhao was born in Mongolia. He graduated from the department of screenwriting and directing of Chongqing Normal University and the department of literature of Beijing Film Academy. He has made some shorts and worked in commercial company. Give Me A Ride is his debut feature.

2019 香港電影節新秀電影競賽(華語)最佳導演、最佳男演員 Best Director, Best Actor, Young Cinema Competition (Chinese Language) , Hong Kong IFF DIRECTOR, SCREENPLAY 許振昊 XU Zhenhao PRODUCER 楊競 YANG Jing, 許振昊 XU Zhenhao, 王大勇 WANG Dayong CINEMATOGRAPHER 趙小寧 ZHAO Xiaoning EDITOR 許振昊 XU Zhenhao, 馮文 FENG Wen, 潘笑笑 PAN Xiaoxiao MUSIC 白水 BAI Shui SOUND 羅俊 LUO Jun CAST 劉陸 LIU Lu, 莫含 MO Han, 鄧宇 DENG Yu PRINT SOURCE 北京傳燈文化投資有限公司 Beijing Trend Cultural

Investment Co., Ltd.

ASIAN PRISM: CHINA 80S

由《長江圖》導演楊超擔任本片監製。導演許振昊的首部劇情片中,愛 情不是天邊彩虹,而是寂寞人腳下小心翼翼踩踏的繩索。以寫實的質感 講一段並不無敵、不耽溺的戀愛,有現實的壓力也有難以轉圜的人際衝 突。女星劉陸細膩詮釋角色心境變化,與其對戲的莫含則有著收放自如 的熟男氣場。片中不時穿插的三峽、巫山景致,更帶著滿滿的記憶滄桑 之感。

後世代 80

帶著謎樣過去的女子回到重慶,搭上一輛計程車,年逾半百的司機上有 病母、下有獨力撫養的逆兒,男女兩人在人生的十字路口相遇,把一趟 短途的同車緣分變成了熟年之戀。然而繁華的都會裡,沒有恬淡愛情的 空間,過去的傷痛、現在的迷惘,還有未知命運的不定時炸彈,都將威 脅這段關係,也讓夾在中間、為青春所苦的兒子陷入了掙扎。

亞洲稜鏡:中國

Give Me A Ride


完美現在時

98

亞洲稜鏡:中國

Present.Perfect.

美國、香港 USA, Hong Kong | 2019 | DCP | B&W | 124min

朱聲仄,1987 年生於中國武漢,大學 時修習新聞攝影,後至美國學習電影 及新媒體,並於 2010 年與導演楊正 帆合創 Burn The Film 工作室。首部 紀錄片《虛焦》在世界多國放映,第 二部紀錄片《又一年》於蒙特婁國際 紀錄片影展榮獲最佳影片。

以往關注家鄉武漢與農民工議題的紀錄片導演朱聲仄,此次聚焦網路世 界中身處不同地區的陌生人,全片使用網路側錄的直播畫面,用「媒介 中的媒介」處理看與被看。去作者化的拼貼剪輯,保留直播影像的時間 流動、偶然與不確定性。留存在片中的影像永存,但既非即時亦無法互 動的弔詭,導演以此一新形式呈現獨一無二的眾生相。

ZHU Shengze is a Chinese documentary filmmaker, producer, cinematographer and editor. She co-founded production company Burn The Film with visual artist and filmmaker Yang Zhengfan and has produced several of his works. Present. Perfect. is her third feature.

Live-streaming has exploded in China and become one of the most profitable industries over the past several years. While it produces enormous revenues and numerous "Internet celebrities," it also provides a popular gathering place for masses of Chinese netizens. Such digital hangouts become unprecedentedly crucial for those craving for social connection but shunned in real life because of their identity, disability and social-economic status. Present.Perfect. weaves together a diverse range of moments and occurrences filmed and broadcasted by little-known Chinese live-streaming anchors from various parts of China. What they cherish most in the streaming craze is not fame or fortune, but a companionship they could hardly seek in real life. Although this virtual community doesn't exist physically, the shared emotions and feelings generated through virtual togetherness are real.

後世代 80

07.06 S AT 新光一 16:30 07.10 WED 新光一 14:40 07.1 1 THU 華山二 11:00

ASIAN PRISM: CHINA 80S

中國的直播產業一飛沖天,內容愈邊緣、愈極端、愈獵奇就愈受矚目。 直播世代已不分上線或下線,自我揭露無底線,為寂寞生活尋求隔空接 觸,透過彈幕傳送關注,獲得的虛擬報酬還可兌現於現實生活。導演挑 選鮮為人知的直播主,他們大多困於身分或是每日的工作與掙扎。中 國的審查單位也將管制的手伸進直播間,自我審查、被迫關閉、去政治 化,種種的一切構成當代中國社會的浮世繪。

2019 鹿特丹影展金虎獎 Hivos Tiger Award, IFF Rotterdam 2019 紐約新導演 新電影影展 New Directors / New Films 2019 全州影展 Jeonju IFF DIRECTOR, EDITOR 朱聲仄 ZHU Shengze PRODUCER 楊正帆 YANG Zhengfan SOUND Aymeric DUPAS PRINT SOURCE Burn The Film


女他

99

中國 China | 2018 | DCP | Colour | 95min

06.28 F R I 新光一 1 1 : 40 07.04 THU 華山一 20:40 ★

後世代 80

瘋狂指數開到 MAX 的雄性崇拜、工業金屬、肌理陽剛之鞋怪世界中, 雌性鞋怪個個身軀新綠盎然,雙雙明眸爭妍百花,可嘆開到荼靡,只被 當成生育工具。一隻艷紅女鞋,不甘就此屈服命運,奮力帶著女兒逃出 生天,只嘆生存無比艱難,她終將偽裝成雄性鞋怪,好在這鞋吃鞋的亂 世中尋求一「鞋」生機。當一次意外造成的身分揭露,她將面臨更為困 頓的剝削處境、更無情的打擊、更憤怒的生存之道。

亞洲稜鏡:中國

SHe

周聖崴,1991 年生於中國湖南,北京 大學藝術學院碩士畢業,學生時期的 短片作品多次入選國際學生、短片影 展,並獲得獎項肯定。《女他》為其 首部動畫長片電影,一舉入選上海電 影節,影片中的裝置藝術更為上海昊 美術館所收藏。

In an authoritarian world dominated by male shoes, female high heels are detained and not allowed to work. Newborn baby girl shoes are even transformed into male shoes so that they can work in the cigarette factory. In a birth prison, a high heel mother murders the male shoe chief to protect her daughter from being transformed. She escapes and disguises herself as a male shoe in order to work and earn food for her daughter. However, her identity is exposed in a wine game, which causes bitter attacks and ridicules from all male shoes. While her inner power potential gradually awakens under great torture, she decides to take revenge. SHe, Zhou's first feature-length animated movie, explores the power dynamics between man and woman in a shoe world.

ZHOU Shengwei, born in 1991, obtained a master's degree from Beijing Ar t School. SHe is his first feature-length stop-motion animation composed of over 58,000 photos. It was premiered at the 21st Shanghai International Film Festival.

2018 上海電影節 Shanghai IFF DIRECTOR, SCREENPLAY, ANIMATOR, CINEMATOGRAPHER, EDITOR 周聖崴 ZHOU Shengwei PRODUCER 李雨諫 LI Yujian, 周聖崴

ZHOU Shengwei MUSIC 袁思翰 YUAN Sihan SOUND 韓睿達 HAN Ruida CAST (VOICE) 呂伏陽 LV Fuyang, 韓睿達 HAN Ruida, 岳嘉寶 YUE Jiabao, 陳雯 CHEN Wen, 趙凱欣 CHOI Hoiian, 柳賽 LIU Sai PRINT SOURCE 前景娛樂有限公司 Flash Forward Entertainment

ASIAN PRISM: CHINA 80S

耗時六年製作,由超過五萬八千張照片組成的驚人定格動畫,大量使用 現成的日常物料,盡可能保留素材的原始外觀操作下,為觀眾帶來新穎 的視覺體驗,並為這個狂想世界,營造出超乎想像的日常物件、音聲、 動態新連結。在視覺奇觀之外,性別議題、勞資處境等情節隱喻,甚至 反轉式的劇情收尾,更為這齣動畫添上以物擬人的寓言感。


星溪的三次奇遇

100

亞洲稜鏡:中國

Three Adventures of Brooke 07.04 THU 華山二 21:00 ★ 07.06 SAT 華山二 14:40 ★ 07.10 WED 華山二 12:00

後世代 80 ASIAN PRISM: CHINA 80S

竹原青,1987 年生於中國北京,畢業 於北京電影學院,曾剪輯《不成問題 的問題》。本片為其首部劇情長片作 品,由著名編劇梅峰擔任藝術指導, 入選威尼斯影展威尼斯日單元,為備 受期待之中國新銳創作者。

Yuan Qing, whose real name is Deng Xiaoxi, is a film director and editor. She graduated with a degree of directing from Beijing Film Academy. Three Adventures of Brooke is her debut feature.

中國、馬來西亞 China, Malaysia | 2018 | DCP | Colour | 100min

熱氣蒸騰的亞羅士打,爆胎三次的單車一輛、共存各異的迴轉旅程以及 別有心事的同位女孩,抑或許不同位?前往馬來西亞探訪父親的少女, 意外結識了爽朗海派的小城甜心,兩人結伴消磨這酷暑。轉個身,少女 遇上了想改造舊社區的型男議員,穿梭老街、交換觀點,若有似無的情 愫、話不投機的無趣,意外發現原來小城名稱和自己同名。最後,少女 遇上那尋找靈感與「藍淚」的法國作家,將揭開她那隱而不語的小小秘 密。 恬淡日常的幽默對話,輕盈舒緩的敘事節奏,本片散出一股侯麥電影的 氣息。三段各異又巧妙交錯的情節安排,讓人聯想起洪常秀式的觀影樂 趣。有別於青年導演一貫的用力,這部不深層聚焦角色內心、亦不汲營 於議題控訴的電影,在角色漫無目的行路中,盪出一股恬淡日常的影像 風光、新鮮自然。

Brooke, a Chinese young woman, travels alone to Alor Setar, a town in Northern Malaysia. As a consequence of a blown tire, she experiences three variant adventures. She introduces herself to people using different identities that harbor mysterious secrets. Brooke may be a traveler, an anthologist, or a divorcée. In return, what the journey brings her is thoroughly unexpected. She is a disheartened woman who comes across a French writer named Pierre. The two lonely travelers become friends. Their age gap enables them to share their respective insights into life and death. Meanwhile, it is not until the enigmatic side of Alor Setar begins to unfold that Brooke tells Pierre the true reason why she has come. As the story comes to an end, Mother Nature shows her beauty, with the magical "Blue Tears" phenomenon on prominent display.

2018 威尼斯影展威尼斯日單元 Venice Days, Venice FF 2018 南特三洲影展銀熱氣球獎 Silver Montgolfiere, Festival des 3 Continents 2019 香港電影節 Hong Kong IFF DIRECTOR, SCREENPLAY, EDITOR 竹原青 Yuan Qing PRODUCER 季偉 JI Wei CINEMATOGRAPHER 朱津京 ZHU Jinjing MUSIC Howie B, 駱耀明 Andrew LOK SOUND 魏俊華 WEI Junhua, 瞿衛軍 QU Weijun CAST 許芳銥 XU Fangyi, Pascal GREGGORY, 黃若熙 Ribbon, 甘家旗 KAM Kia Kee, 杜維倫 Allan TOH Wei Lun PRINT SOURCE 視幻文化 PARALLAX Films


漫遊

101

中國 China | 2018 | DCP | Colour | 94min

「我童年時所看到的東西變得模糊,可能是因為南方的濕度,或者記憶 的失焦。現在,我在電影的幫助下拾起一副眼鏡,開始更清晰地觀察周 圍的世界。」──祝新

It is summer of 2009. In a southern Chinese town, it is stiflingly hot before the arrival of a rainstorm. Li Senlin is bored and stuck doing homework. Auntie Qiu, a boatwoman who has not shown up for years, suddenly makes a visit, and recounts the tale of a strange encounter on an abandoned island. Li Senlin loses her turtle while her father is away on a business trip. There is another "Senlin" that keeps on being mentioned by her parents. She faintly suspects that Auntie Qiu is actually her biological mother. The summer rain pours down as memory and reality are interweaved. The water of the Great Canal dampens each individual that roams along it. Vanishing Days tells the story of a girl, her growth, her transformation, her loss of naivety, and her beginning to face the world.

祝新,1996 年出生,畢業於中國美術 學院影視系,曾執導多部短片作品。 2015 年,短片《午山社區》獲得廈門 雙棲青年影展雙棲探索獎殊榮。2018 年,完成首部劇情長片《漫遊》,在 眾多國際影展進行展映,目前正籌備 第二部電影長片《晚歌》。

ZHU Xin was born in 1996. He studied Film, TV, and Advertisement in China Academy of Art. Vanishing Days, his debut feature, was selected to Berlinale Forum, Busan International Film Festival New Currents, and Hong Kong International Film Festival.

2018 釜山影展 Busan IFF 2019 柏林影展 Berlinale 2019 香港電影節 Hong Kong IFF DIRECTOR, EDITOR 祝新 ZHU Xin PRODUCER 王靖淵 WANG Jingyuan, 夏彥韜 XIA Yantao, 趙晉 ZHAO Jin SCREENPLAY 祝新 ZHU Xin, 戴瑩 DAI Ying CINEMATOGRAPHER 章煒 ZHANG Wei, 王晨皓 WANG Chenhao MUSIC 陶楨 TAO Zhen SOUND Akritchalerm KALAYANAMITR CAST 姜酈 JIANG Li, 黃菁 HUANG Jing, 陳燕 CHEN Yan, 李小杏 LI Xiaoxing, 盧嘉禾 LU Jiahe PRINT SOURCE 視幻文化 PARALLAX Films

ASIAN PRISM: CHINA 80S

啟發自蔡明亮的《河流》,90 後中國新銳導演祝新,藉由孩童視角, 探討不可預測的遙遠歲月。他將電影喻為一座公園,連線杭州城市地 景,以非線性敘事剪輯,有機組建影像、聲音及文字。不僅為現實和回 憶搭建起時空迷宮,也為杭州捎來亞熱帶的潮濕氣息。

後世代 80

杭州午後的炎熱夏天,多年未見的秋秋阿姨,突然拜訪女孩森林一家, 述說當年她在荒島上的奇遇。為了買回森林丟失的烏龜,親戚三人展開 杭州漫遊,卻逐漸讓森林走入另個既熟悉又陌生的時空。山洞另一頭的 呼喊,是來自阿姨的召喚?還是自己的分神幻想?遠方天空的雷鳴,一 場滂沱大雨正在醞釀,一艘穿梭記憶與現實的神秘輪船也即將啟航。

07.04 THU 新光一 21:40 ★ 07.05 F R I 新光一 18:50 ★ 07.07 SUN 新光一 11:40

亞洲稜鏡:中國

Vanishing Days


明 日・台 灣

FORWARD TAIWAN

蚵豐村 Ohong Village


漂流廚房

103 世界首映 World Premiere

台灣 Taiwan | 2019 | DCP | Colour, B&W | 81min

07.06 SAT 新光一 14:10 ★ 07.07 SUN 華山一 21:20 ★

FORWARD TAIWAN

流浪的故事還沒開頭,離奇的插曲率先登場:陳惠萍遭泰國海關強制遣 返,只因她和另一人太過相似,名字只差一個字,還同年同月同日生, 那個人卻是泰國通緝的政治犯。想證明自己是誰,卻先將時間倒轉到故 事之前──她跟著柯雅回柬埔寨娘家,團聚話家常,又隨著莎麗在廚房 做菜,回到記憶裡的家鄉泰國。旅途滿滿都是漂流的痕跡,回家是她們 共同的話題,導演以鏡頭的移動搭建關於人的圖像。 以女性為主體,導演陳惠萍談論她們與自己的生命經驗,遷移、離家不 再是新住民的議題,也無關故事。拋開標籤,去除國族後,尋找彼此共 感的話語。突如其來的泰國遣返事件,似斷片、又似謎團哽在心裏,鏡 頭則在不同時空地域中轉換,陷入了迷途,弄丟了自己。影片從探問自 己是誰開始,對照彼此的生命際遇,而流浪的意義也許只是為了找到回 家的路。

陳惠萍,1980 年生,台北人,畢業於 台南藝術大學音像紀錄所,現為自由 影像工作者。關注底層勞動者的生活, 與施合峰合導之蚵仔寮紀錄片《離岸 堤》入選 2015 年高雄電影節、南方 影展及 2016 年城市遊牧影展。

A bizarre incident takes place in the beginning of the film: Thai police suspect Hui-ping is the wanted political prisoner since Hui-ping and the wanted woman are born on the same day with almost the same appearance and name. After the repatriation, Hui-ping follows Koya back to her mother's house in Cambodia, where Koya has intimate conversation with her family. She also visits Sally's kitchen, which is full of Sally's memory of her hometown in Thailand. While they strive to return home after leaving, the homemade foods fill them with nostalgia. With its storyline shifting between different space and time, the film explores the issue of women's migration, an experience that is no longer exclusive to new immigrants, searching for the answer of who we are.

CHEN Hui-ping, born in 1980 in Taipei, graduated from Audiovisual Record Institute of Tainan University of Arts. She works as an independent image creator. The documentary Oceans Tide You Home, which she co-directed, was screened in 2015 Kaohsiung Film Festival, South Taiwan Film Festival, and 2016 Urban Nomad Film Festival.

DIRECTOR, CINEMATOGRAPHER, EDITOR 陳惠萍 CHEN Hui-ping MUSIC 卡五盎 Car5on SOUND 宋兆永 SUNG Chao-yung PRINT SOURCE 山與映像

明日.台灣

Homesick Tongue


蚵豐村

104

明日.台灣

Ohong Village 07.08 MON 中山堂 19:20 ★ 07.11 THU 華山一 17:40 ★

FORWARD TAIWAN

林龍吟,台中豐原人,政治大學畢業, 捷克布拉格影視學院電影導演碩士。 致力於新聞紀實,曾以車諾比核災為 題製作跨界媒材《遙遠人聲》,入圍 卓越新聞獎,並獲曾虛白新聞獎暨台 達能源氣候特別獎。2017 年成立大島 影像。

Lungyin LIM is a director, cinematographer, and photographer from Fengyuan, Taiwan. He received his master's degree from the national film school FAMU of the Czech Republic. In 2017, Lungyin co-founded TYDAL Production, an independent and grassroots studio that seeks to bring in a global perspective.

台灣、捷克 Taiwan, Czech Republic | 2019 | DCP | Colour | 91min

漂泊的漁船停靠沿岸,沙灘上一尊半身神像無言地望著盛吉和昆男, 兩人漫無目的向前走。七年前,盛吉離開故鄉北漂闖蕩,卻一無所獲, 狼狽返鄉,矇騙親朋好友在台北發大財。隨著盛吉自家蚵寮生意每況 愈下,昆男突發奇想,兩人「創業」發起「體驗蚵農生活」觀光活動。 他們都想發大財,想被人看得起,想讓世人記得他們的故鄉有文化的溫 度。日漸下沉的蚵村,迎來又一次王船慶典,請問五府千歲,未來的日 子會更好嗎? 1963 年電影《蚵女》刻畫了農業台灣的大時代盛況;半世紀過去,《蚵 豐村》捕捉到光景不在、時代沒落的背影。今非昔比,不勝唏噓。在 嗩吶哀吟聲中,我們聽見了蚵豐村民們的生活輓歌。獨特的鏡頭語言及 16mm 的底片質地,娓娓道來這段在世代交替之際,人與土地重新連 結、關於回家的故事。

In a southwestern Taiwan oyster-farming village whose land keeps on subsiding, preparations for the King Boat Festival are proceeding. Shengji, an almost 30-year-old man, returns to his hometown he left several years ago. He assumes an air of superiority and behaves like a prosperous businessman in an ostentatious manner. While he disguises his fragile sense of self in front of his stubborn father, who has spent all his life raising oysters, his childhood friend is coveting his "financial success" and plans to make a fortune. The tide being receding, people in the small oyster-farming village are wearing masks that they are unable to take off. Ohong Village, a story of returning, reunion and reconnection, portrays people stuck in the stagnant urban world and their rural family they are estranged from.

2019 全州影展 Jeonju IFF DIRECTOR 林龍吟 Lungyin LIM PRODUCER 林木榮 LIN Mu-jung SCREENPLAY 林龍吟 Lungyin LIM, 廖芸婕 LIAO Yun-jie, 林木榮

LIN Mu-jung CINEMATOGRAPHER 亞歷.伊拉金 Aley ELAGIN EDITOR 徐紳詠 Dean HSU, 林龍吟 Lungyin LIM MUSIC 陳柏蔚 Paul SCAR SOUND 弗伊塔.札法迪 Vojtěch ZAVADIL CAST 林禹緒 LIN Yu-hsu, 喜翔 KING Jieh-wen, 陳莘太 CHEN Hsin-tai, 藍一萍 LAN Yi-ping PRINT SOURCE 日映影像有限公司 Aview Images


明 日・台 灣

FORWARD TAIWAN TIL DEATH DO US PART

驚悚劇場 打掃 Perfectly Spotless


驚悚劇場 I Til Death Do Us Part I 06.30 SUN 中山堂 19:20 ★

樂�

�事者��

為了增進與妻子的感情,丈夫決定在結婚三十周年紀 念日這天,展開一場溫馨的露營之旅。不料妻子另有 打算,帶他入住神秘渡假樂園,樂園裡應有盡有,還 可重拾青春肉體,不只喚回年輕氣盛的轟烈愛火,沉 積多年的怨氣也宣洩而出。老夫老妻無止盡相愛相 殺,卻沒意識到僅只一週的暫時性青春,已對他們的 生理時鐘做了手腳。青春永駐,成為最後的愛情誓言。

晚上 11 點 50 分一到,一場命中注定的車禍就會上 演,好似遊戲卡關,怎麼繞路閃躲,學長仍是會一死 再死,命喪在一眼瞬間被煞到的學妹車輪下。但事發 下一秒,時間卻仿若回到最初,重蹈覆轍這血肉模糊 的死亡現場。當電腦螢幕閃爍著「抓交替」的遊戲提 示,兩個只能活一個,是你死還是我亡?生死命懸一 線,兩人能否突破無限輪迴,找到人生下一關?

Married for 30 years, a couple try to rekindle passion by joining a mysterious institute in which they get rejuvenated and fall for each other again. Little do they know this comes with a price they might not be happy to pay.

Legend has it that when a person escapes death in an accident, he will be trapped in a time loop until he dies or someone else's life is claimed as his replacement. Getting killed in a DUI (driving under the influence of drugs or alcohol) every night, a guy tries to get his life back on track.

Last Stop: Paradise 台灣 Taiwan | 2019 | DCP | Colour, B&W | 30min

Hit and Run

世界首映 World Premiere

台灣 Taiwan | 2019 | DCP | Colour | 25min

106

明日.台灣:驚悚劇場 I FORWARD TAIWAN - TIL DEATH DO US PART I

本片亦於「台北電影獎 - 短片」(P.71)放映 Also screened in "TAIPEI FILM AWARDS - SHORT FILMS" (P.71)

林冠甫,美國羅耀拉瑪麗蒙特大學電影製作碩士,曾 參與《台北星期天》、《艋舺》及《少年 Pi 的奇幻漂 流》製作。短片作品《法鬥一家》、《怪獸室友》曾 入選諸多國際奇幻影展及 Cult Film 類型影展。

王威翔,曾任《賽德克.巴萊》劇組製片助理及助理 導演,並擔任《KANO》、《52 赫茲我愛你》特效指 導。個人導演作品有紀錄長片《夢想海洋》,其首部 劇情長片《轉學生》正在籌備中。

Kuan-fu F.T. LIN was born in Kaohsiung, Taiwan. After working on feature films for years, he started to share his vision through his works. He sees fantasy and black comedy elements as a vehicle for social commentary.

Weica WANG is a film director and visual effects supervisor. In 2010, he established F. N Workz and Tracking Troops. In 2018, Wang directed Wednesday Night, a short flim and Transfer, a feature scheduled to be theatrically released in 2019.

DIRECTOR 林冠甫 Kuan-fu F.T. LIN EXECUTIVE PRODUCER

DIRECTOR 王威翔 Weica WANG EXECUTIVE PRODUCER

董成瑜 TUNG Cheng-yu, 葉如芬 YEH Ju-feng PRODUCER 葉紹威 Jeff YEH Shao-wei SCREENPLAY 蔡得豪 TSAI De-hao CINEMATOGRAPHER 羅偉恩 LO Wei-en EDITOR 李維揚 LI Weiyang, 李宜夏 LI Yixia MUSIC 陳昶煬 CHEN Chang-yang SOUND 何其微 Grace HO Qiwei CAST 許時豪 Kerr HSU, 廖雅珺 Jean LIAO, 班鐵翔 Sean BEN, 應采靈 YING Chin-min, 范姜泰基 FAN CHIANG Tai-chi PRINT SOURCE 鏡文學股份有限 公司 MirrorFiction Inc.

董成瑜 TUNG Cheng-yu, 葉如芬 YEH Ju-feng PRODUCER 姜乃云 Chris CHIANG Nai-yun SCREENPLAY 黃囧熊 Milles HUANG CINEMATOGRAPHER 林志朋 LIN Chih-peng, CSC EDITOR 潘客印 PAN Ke-yin MUSIC 王榆鈞 WANG Yu-jun SOUND Traithep WONGPAIBOON CAST 林鶴軒 LIN He-xuan, 韓笙笙 Dara HANFMAN, 洪群鈞 HONG Chun-chun, 安乙蕎 AN I-chiao PRINT SOURCE 鏡文學股份有限公司 MirrorFiction Inc.


同場放映 Combined Screening

住戸���一� No Pets Allowed

世界首映 World Premiere

台灣 Taiwan | 2019 | DCP | Colour | 28min

打�

Perfectly Spotless 台灣 Taiwan | 2019 | DCP | Colour | 26min

107

In an apartment building that has a formal no-pet policy, two kids secretly try to take care of a stray cat and a mother that goes astray. One day when the building starts to smell, the kids realize it is not easy to look after anything and anyone.

Living in a neat and tidy neighborhood, Zhu is asked to keep her place clean. The landlady gives her an ultimatum, demanding that she meet the requirements. Zhu makes every effort but is still unable to remove the black stain which starts to permeate on the wall. She has no choice but to take extreme measures.

劉邦耀,臺北藝術大學藝術創作碩士,曾以學生作品 《截止日》便利貼動畫入選 37 屆美國學生奧斯卡, 並獲 89 屆紐約藝術指導俱樂部金獎。其短片作品《獨 奏》曾入選東京短片影展放映。

卓立,美國印地安那州立大學電影碩士,製片出身, 曾任《天邊一朵雲》助導。與監製葉如芬共同製作出 多部廣受好評電影後,轉向投入導演工作,劇情長片 作品包括《獵豔》、《白米炸彈客》。

LIU Bang-yao is an award-winning director based in Taipei. His works include animated short film Deadline, commercial work Skoda X Handsome Dancer, and short film SOLO.

CHO Li is a producer-turned-director. She graduated with M.S. degree in Radio/TV/Film from the Indiana State University. After producing some critically acclaimed films, she started to direct, in the hope of developing multifaceted genre films with unique point of views.

DIRECTOR 劉邦耀 LIU Bang-yao EXECUTIVE PRODUCER

DIRECTOR 卓立 CHO Li EXECUTIVE PRODUCER 董成瑜 TUNG Cheng-yu, 葉如芬 YEH Ju-feng PRODUCER 趙天豪 CHAO Tien-hao SCREENPLAY 余佳穎 Lillian YU CINEMATOGRAPHER 江敏忠 CHIANG Min-chung EDITOR 林楷博 Kipo LIN MUSIC 許志遠 Point HSU SOUND 曾雅寧 Ning TSENG, 劉小草 Agnes LIU CAST 温貞菱 Forest WEN, 蔡淑臻 Janel TSAI, 饒紫娟 Jennifer JAO, 簡怡欣 Vanessa JIAN PRINT SOURCE 鏡文學股份有限公司 MirrorFiction Inc.

董成瑜 TUNG Cheng-yu, 葉如芬 YEH Ju-feng PRODUCER 吳容宸 WU Jung-chen SCREENPLAY 趙培珍 Beck CHAO CINEMATOGRAPHER 馮信華 Mahua FENG Shin-hua EDITOR 高鳴晟 KAO Ming-cheng, 王瀞巧 WANG Ching-chiao MUSIC 許家維 HSU Chia-wei SOUND 曾雅寧 Ning TSENG, 歐千綺 Vicky OU CAST 白潤音 BAI Run-yin, 白小櫻 BAI Xiao-yin, 謝欣穎 HSIEH Hsin-ying, 張詩盈 CHANG Shih-ying PRINT SOURCE 鏡文學股份有限公司 MirrorFiction Inc.

I FORWARD TAIWAN - TIL DEATH DO US PART I

年輕女孩朱婷住在一個對整潔極端要求的社區,房東 厲聲逼迫、管委嚴苛評點,只為打造潔白乾淨的居住 環境。數次未符合標準的她,被房東太太下達最後通 牒,必須在管理處下次造訪前,打掃得一塵不染,但 房間牆上突然出現一抹擦也擦不掉、還不停擴散的黑 色汙點。湧上心頭的壓力,伴隨如同黑暗深淵的污漬, 逐漸吞噬脆弱心靈,導向瀕臨崩潰的失控局面。

明日.台灣:驚悚劇場

禁養寵物的公寓裡,房東兒子小洋無視母親的警告, 仍常跑樓上,與酒女房客的女兒晴晴偷偷來往。日漸 萌芽的童稚友誼,不顧住戶公約第一條的禁令,私自 豢養貓咪,也成為兩人獨有的約定。一日,晴晴無故 曠課,當小洋急忙跑回公寓尋找,卻發現刺鼻的奇異 怪味已悄然洩露門房背後的駭俗秘密。


驚悚劇場 II Til Death Do Us Part II 07.01 MON 中山堂 19:40 ★

Big Cat

世界首映 World Premiere

台灣 Taiwan | 2019 | DCP | Colour | 30min

��

世界首映

Tunnel

World Premiere

台灣 Taiwan | 2019 | DCP | Colour | 27min

108

明日.台灣:驚悚劇場 II FORWARD TAIWAN - TIL DEATH DO US PART II

賣牛肉麵的老周,對年輕嬌妻可說是百依百順、寵愛 有加,但自從發現妻子外遇後,她放蕩挑釁的勾引行 徑,終於令他忍無可忍。當家中地位逐漸失去,嬌妻 早已心有所屬,手中緊握的剁刀,也帶著嫉妒與憤恨, 越磨越亮。直到有一天,聽見妻子要和小王到動物園 幽會,老周決心早一步前往,並利用籠內的老虎,策 劃一場宣告主權的男性復仇大計。

在海港城市打工維生的更生人哲生,因捲入一場殉情 案,在偵訊室內述說關於他與她的回憶。一次天台上 的昏倒意外,讓他結識因車禍斷送舞蹈生涯的女子, 原以為僅是萍水相逢,冥冥中卻有神秘吸引力牽引兩 人越走越近,也解開彼此未知的秘密。長長隧道另一 端,究竟是通往充滿希望的光明出口?還是繼續徘徊 在醒不過來的人生惡夢迴圈?

Craving the love from his young wife, beef noodle re s t a u r a n t ow n e r C h o u t re a t s h e r t e n d e r l y a n d affectionately. He gives her his love wholeheartedly, only to find himself betrayed by her. As she keeps humiliating him, he is gradually consumed by vehement jealousy. He grinds his knife like a beast sharpens its teeth. This time, he will tear her apart and show no mercy.

An ex-convict is attracted to a mysterious woman. Fascinated with her talent and vulnerability, he wants to take care of her. He is willing to do anything to keep her from suffering, just like what he has done for his mother years ago.

陳宏一,廣告、MV 及電影導演。作品《消失打看》 曾獲得 2011 年台北電影獎最佳導演、女演員、攝影、 音樂,並多次憑藉廣告、短片和 MV 等獲獎。其他劇 情長片作品包括《相愛的七種設計》、《自畫像》。

李育丞,兒時移民加拿大,16 歲開始導演求學生涯, 至今已有超過十年的實務經驗。曾獲坎城青年導演 獎、Clio 廣告銅獎、美國廣告協會銀獎、美國學院艾 美獎最佳廣告等多項國際獎項。

CHEN Hung-i, a commercial and music video director, has garnered international acclaim for his dramatic feature films since 2008. His works include Design 7 Love, Honey Pupu, and Candy Rain.

YC Tom LEE is a director who seeks the thrill of exper imenting with new concepts and explor ing controversial subject matters. He consistently creates works that capture human condition through dazzling cinematic imagery that is anchored by strong and compelling stories.

DIRECTOR, EDITOR 陳宏一 CHEN Hung-i EXECUTIVE

DIRECTOR 李育丞 YC Tom LEE EXECUTIVE PRODUCER

PRODUCER 董成瑜 TUNG Cheng-yu, 葉如芬 YEH Ju-feng

董成瑜 TUNG Cheng-yu, 葉如芬 YEH Ju-feng PRODUCER 劉旻泓 LIU Min-hung SCREENPLAY 張耀升 CHANG Yao-sheng CINEMATOGRAPHER 江敏忠 CHIANG Min-chung EDITOR 蔡孟馨 TSAI Meng-hsin MUSIC 林昀駿 Troy LIN SOUND 楊子霆 YANG Tzu-ting CAST 夏騰宏 HSIA Teng-hung, 林子熙 LIN Tzu-xi, 吳昆達 WU Kun-da, 童毅軍 TON Yi-jun, 黃淑媚 HUANG Shu-mei PRINT SOURCE 鏡文學股份有限公司 MirrorFiction Inc.

PRODUCER 賴婉貞 Snow LAI, 謝焜宏 XIE Kun-hong SCREENPLAY 王仁芳 WANG Jen-fang CINEMATOGRAPHER 曾崴榆 TSENG Wei-yu MUSIC Simon WHITFIELD SOUND 楊書昕 YANG Su-hsin, 楊以瑄 Shanice YANG CAST 吳昆達 WU Kun-da, 林意箴 Diane, 蔡浿梨 Perry TSAI, 昶瑋 Daniel CHEN PRINT SOURCE 鏡文學股份有限公司 MirrorFiction Inc.


同場放映 Combined Screening

�� Lily Login Trouble

世界首映 World Premiere

台灣 Taiwan | 2019 | DCP | Colour | 28min

109

沈騏,春光映畫有限公司負責人,英國艾塞克斯大學 電影碩士,曾任舞台劇演員及廣播節目主持人,現專 職導演。其短片作品《到頭來》獲選 2016 年國產電 影短片輔導金,並於 2019 年金穗獎影展放映。 SHEN Chi is a former theatre director and actor. He has directed several award-winning commercials, microfilms and music videos. He loves thrillers and crime films since they provide a unique element of suspense and uncertainty.

DIRECTOR 沈騏 SHEN Chi EXECUTIVE PRODUCER 董成瑜

TUNG Cheng-yu, 葉如芬 YEH Ju-feng PRODUCER 邱泓錫 CHIU Hung-hsi, 康永樫 KANG Yung-chien SCREENPLAY 王仁芳 WANG Jen-fang CINEMATOGRAPHER 張達志 CHANG Da-chih EDITOR 林楷博 Kipo LIN, 高鳴晟 KAO Ming-sheng MUSIC 吳欣穎 SiNg WU SOUND 余政憲 YU Cheng-hsien CAST 王渝屏 WANG Yu-ping, 黃河 River HUANG, 丁巧唯 Julie TING PRINT SOURCE 鏡文學股份有限公司 MirrorFiction Inc.

II FORWARD TAIWAN - TIL DEATH DO US PART II

Driven by vanity, an ordinary woman uses a beautiful girl's photo to create a fake social media account. Under this new identity, her dream comes true as exciting things pop up in life—popularity, confidence, romance and...a murder!

明日.台灣:驚悚劇場

裝扮不起眼的辦公室平凡小妹王美心,為博得屏幕背 後的點讚快感,竟異想天開創辦假帳號,盜用網紅莉 莉美照,製造虛擬人生。毫無自信的她,因一頓晚餐 的機緣,認識對她百般寵愛的男友溫正軒,但另一方 面,卻有陌生帳號私訊騷擾,威脅揭穿她的假面。她, 是莉莉?還是美心?當孰真孰假的虛實世界兩頭延 燒,一場精心布置的「亡美」殺局也正在醞釀中。


明 日・台 灣

FORWARD TAIWAN TAIWAN SHORTS

台灣短 SHOW 踮腳尖 Tiptoe


台灣短 SHOW I Taiwan Shorts I 07.03 WED 新光二 18:30 ★

���� Cloudy Days

世界首映 World Premiere

台灣 Taiwan | 2019 | DCP | Colour | 26min

同場放映 Combined Screening

�潮

The Menarche 台灣 Taiwan | 2019 | DCP | Colour | 16min

111

Ayun, a middle-aged woman from Vietnam, remarries an old man with her little son from her first marriage. Devoted as she is to her husband, she is not treated as his family member. In their suffocating marriage, there is no love but daily routine. Repressed desire makes her turn to her stepchild, a considerate and amiable young man. Something starts to stir within her lonely heart.

Aicha and Xiangchi are best friends but their friendship is going to be tested. With the arrival of menarche in their mature bodies, competition starts and jealousy breeds. They jump in the swimming pool together, striving to win the swimming competition. In the splash of water, who can arrive at her destination first?

莊詠翔,畢業於世新大學廣電所創作組,從事編劇、 導演、製片、副導演等工作,作品包含《綠洲》等多 部短片。

李怡慧,畢業於紐約哥倫比亞大學電影藝術系碩士 班 導 演 組, 曾 編 導《Vivian》、《 淵 淵 》、《Away From Heaven》 等 短 片。 首 部 作 品《Away From Heaven》曾入選金穗獎實驗片類,最新作品《初潮》 亦獲多項劇本獎項。

CHUNG Yung-hsiang, a writer, director, producer, and assistant director, obtained his MFA in the Department of Radio, Television and Film of Shih Hsin University. He has made several experimental shorts including Oasis.

LEE I-hui studies in Film in Columbia University in the City of New York. She has written and directed Vivian, Yuen Yuen, and Away from Heaven. Vivian was selected for the Short Film Corner in the 69th Cannes.

DIRECTOR, SCREENPLAY, EDITOR 莊詠翔 CHUNG Yung-hsiang

DIRECTOR 李怡慧 LEE I-hui PRODUCER 鄭淳澧 CHENG Chun-li,

PRODUCER 練建宏 LIEN Chien-hung CINEMATOGRAPHER

李光哲 LI Kuang-zhe SCREENPLAY 李怡慧 LEE I-hui, 溫朗東 WEN Lang-tung CINEMATOGRAPHER 潘駿春 Peter PAN, 凃宥呈 TU Yo-cheng EDITOR 董淑緣 TUNG Suh-yuan MUSIC 吳沛綾 WU Pei-lin SOUND 許嵐婷 HSU Lan-ting CAST 白小櫻 BAI Xiaoying, 謝宝嫻 HSIEH Bao-hsien, 陳雪甄 CHEN Hsueh-chen, 陳佳穗 CHEN Chia-sui, 黃苡嫣 HUANG I-yen PRINT SOURCE 方成事整合行銷有限公司 Favula Integrated Marketing Co., Ltd.

簡強 JIAN Qiang SOUND 許嵐婷 HSU Lan-ting, 鍾彙成 CHUNG Hui-cheng CAST 周姮吟 CHOU Heng-yin, 丁強 DING Qiang, 黃俊傑 HUANG Chun-chieh, 何智仁 HO Jr-ren PRINT SOURCE 莊詠翔 CHUNG Yung-hsiang

SHOW I FORWARD TAIWAN - TAIWAN SHORTS I

噗通入水,愛嘉比湘琪游快了一點,她們是最好的朋 友,但比賽裡只有對手。湘琪的發育比愛嘉慢了一些, 瘦小的她想靠體保生名額繼續升學。女孩迎來初經, 成熟了身體,萌出了心機,友情與妒意分列泳池畔台, 她們在槍響前大口呼吸,哨音後振臂向前,在藍色青 春池水裡誰也無法回頭。

明日.台灣:台灣短

來自越南的阿雲中年離異帶著一名幼子,嫁給晚年喪 妻的老翁,陪伴與依靠是兩人再婚的原因,老夫少妻 無關愛情。阿雲日夜貼身照料丈夫,但在他面前終是 外人,不是內人,更無法以時間換來感情。困在靜寂 的家屋裡,阿雲的心轉向年輕的繼子,期待他捎來外 頭清新的空氣,風吹散了雲煙,露出阿雲乖順面孔下 的騷動,以及無以名狀的情愫。


07.03 WED 新光二 18:30 ★

陽��平

同場放映 Combined Screening

世界首映

Rest in Mist

World Premiere

台灣 Taiwan | 2019 | DCP | Colour | 25min

踮�� Tiptoe

亞洲首映 Asian Premiere

台灣 Taiwan | 2019 | DCP | Colour | 17min

112

明日.台灣:台灣短 SHOW I FORWARD TAIWAN - TAIWAN SHORTS I

阿雄在風雨山路上找到了母親,她返家後卻因有事擱 在心裡,不吃也不喝。大雨不停,電視報導著長青遠 足團意外罹難的消息,新聞喚出母親的名字,但她人 卻安然地坐在客廳。太平山籠罩在詭譎氣氛下,母親 絕口不提那趟旅行,母子相依在漏雨的房間裏,滴答 聲替代了兩人的無語,阿雄的內心無法感到平靜。

佳佳如常地帶弟弟小凱上學、做家事、買食物,不打 擾忙碌的爸爸,她習慣踮著腳尖、瞇著眼,盼望從門 洞外看見離家的媽媽。漸長的瀏海輕扎著她,也計算 著媽媽不在家的時間。

Axiong finds his mother in the heavy rain on the mountain road. She seems to be deeply worried after returning home. In the living room, the TV news reports that in the car accident happened earlier today, all the members in the travel group are all dead. Curiously, his mother's name is in the death list. The rain keeping falling, Axiong is anxious and confused.

Standing on tiptoe in front of the door viewer peephole, Jiajia and her younger brother hope to find their mother, who has left home but come to visit them occasionally. Jiajia has to bring her brother to school, help with household chores and buy food while her father is busy working. With a slightly sorrowful tone, the film depicts the loneliness in a child's world.

「不論來自什麼家庭背景的孩子,都有些想說的話, 卻不容易被大人察覺。我要在離童年愈來愈遠之前, 把 那 段 故 事 給 拍 下 來, 好 好 梳 理、 安 放 當 年 的 記 憶。」──林誼如

2019 柏林影展 Berlinale

詹德璐,1987 年生,畢業於東華大學臨床與諮商心 理系、世新大學廣播電視電影研究所。作品有實驗片 及劇情短片《家豢》、《無聲啜飲流憶的春秋》等。

林誼如,1992 年生,國立台灣大學社會學系畢業, 曾任《通靈少女》等劇導演組。《踮腳尖》是她編導 的首部劇情短片,入選 2019 柏林影展新世代兒童短 片競賽單元。

CHAN Der-lu graduated from the Depar tment of Counseling and Clinical Psychology of Dong Hwa University and the graduate school of Radio, Television and Film of Shih Hsin University. She has made experimental films and shorts including Feedamily and Sipping the Juice of Memory Silently.

LIN I-ju was born in Taipei in 1992. She studied sociology in NTU and now works as a freelancer in film industry. Her works focus on the interrelationship of people, family and society. Tiptoe is her debut short fiction film as a director.

DIRECTOR, PRODUCER, SCREENPLAY, EDITOR 詹德璐

DIRECTOR, SCREENPLAY 林誼如 LIN I-ju PRODUCER 陳彥翰

CHAN Der-lu CINEMATOGRAPHER 孔祥儒 KONG Siang-ru SOUND 陳亦瑾 CHEN Yi-jin CAST 鄭有傑 CHENG Yu-chieh, 林乃華 LIN Nai-hua, 蔡明修 CAI Ming-xiu, 廖欽亮 LIAO Chin-liang, 龔仲文 KUNG Chung-wen PRINT SOURCE 詹德璐 CHAN Der-lu

Startle CHEN, 杜韋樺 TU Wei-Hua CINEMATOGRAPHER 古曜華 KU Yao-hua EDITOR 陳韶君 CHEN Shao-Chun, 林誼如 LIN I-ju MUSIC 張凱婷 KT CHANG SOUND 黃年永 HUANG Nien-yung CAST 姜棠甯 CHIANG Tang-ning, 謝恩慈 HSIEH En-tzu, 許乃涵 HSU Nai-han PRINT SOURCE 內容物數位電影製作有限公 司 Content Digital Film Co., Ltd.


台灣短 SHOW II Taiwan Shorts II 07.02 TUE 新光二 19:10 ★

釣�

亞洲首映

The Angler

Asian Premiere

台灣、英國 Taiwan, UK | 2019 | DCP | Colour, B&W | 17min

同場放映 Combined Screening

破���

Broken Windows Theory

世界首映 World Premiere

台灣 Taiwan | 2018 | DCP | Colour, B&W | 22min

113

Running a snack bar with his wife, Ashun spends most of his time fishing. One day, he notices a woman in white dress wandering on the coast rocks. He walks towards her but she soon disappears. At night, while the fish is swimming leisurely in the aquarium set near his bed, he cannot stop thinking about the mesmerizing woman.

Arriving at college with her suitcase, Kaihan finds something is wrong with her accommodation. Her room in the dormitory has been assigned to a girl from China. The first day of her college life becomes a nightmare. She refuses to give up and keeps sending messages for help. But she is constantly rejected and finally defeated by frustration. She will fight for herself and demand justice.

鍾侑霖,畢業於世新大學廣電系電影組,目前就讀英 國倫敦電影學院,《釣客》是他的畢業製作作品。

廖哲毅,首部劇情長片《時下暴力》,獲選金馬影展 台灣製造單元,2017 年以《書店裡的祕密集會》(現 名為致親愛的孤獨者)入選金馬創投會議。

CHUNG Yu-lin, graduated from the Film and Television Department of Shih Hsin University, is currently studying at the London Film School in the UK. The Angler is his graduation project.

LIAO Che-i, his feature debut Conspiracy was screened in the Taipei Golden Horse Film Festival.

DIRECTOR, SCREENPLAY 鍾侑霖 CHUNG Yu-lin PRODUCER 李

DIRECTOR, SCREENPLAY 廖哲毅 LIAO Che-i PRODUCER 蘇麗媚

柔 Zero LEE, 劉柏宏 LIU Po-hung CINEMATOGRAPHER 潘建明 Pan Chien-ming EDITOR 林思妤 LIN Sih-yu MUSIC 林格維 LIN Ge-wei SOUND 鍾彙成 CHUNG Hui-cheng, 許嵐婷 HSU Lan-ting CAST 游安順 YU An-shun, 謝瓊煖 Cherry HSIEH, 楊靚 YANG Zin, 王靖江 WANG Ching-chiang PRINT SOURCE 早雨早晴 Morning Rain Studio

May SU CINEMATOGRAPHER 趙冠衡 CHAO Kuan-heng EDITOR 魏如涵 WEI Ju-han, 范喬茵 Fem FUN MUSIC 曾韻方 TSENG Yun-fang SOUND 高偉晏 RT KAO CAST 李雪 LEE Xue, 謝欣蔚 HSIEH Xin-wei, 李淑楨 LEE Shu-jen, 張耀仁 CHANG Yao-ren PRINT SOURCE 夢田影像股份有限公司 Dreamland Image Co., Ltd.

SHOW II FORWARD TAIWAN - TAIWAN SHORTS II

凱涵拖著行李箱充滿期待地到大學報到,安排好的房 間卻出了差錯,排給了需強制住校的陸生。她想像的 美好校園生活,還沒開始就變了調,但她不願放棄, 不斷地拜託、詢問,卻四處碰壁。凱涵發出求救訊息 等待著援手,但沒有人願意搭理。不安的情緒流竄在 鮮紅血液裡,不平的怒吼疾呼著公平正義,她要爭取 回權利,找到出口。

明日.台灣:台灣短

阿順與妻子經營著小吃店,主業是釣魚,副業才是店 老闆。阿順的床邊總擺著水族缸,裡頭小魚數條,悠 遊自在陪在他身旁。海岸的岩石高處,有名神秘女子 孤身佇立,風一般來去,阿順看得入神,忘了目的是 要來釣魚。女子用身體作餌,魅惑的氣息如線將阿順 越拉越近,究竟誰是釣客,誰又是魚?


07.02 TUE 新光二 19:10 ★

伊卡洛斯 ICARUS

同場放映 Combined Screening

世界首映 World Premiere

台灣 Taiwan | 2019 | DCP | Colour | 18min

�生

Siamoise

世界首映 World Premiere

法國 France | 2018 | DCP | Colour | 13min

114

明日.台灣:台灣短 SHOW II FORWARD TAIWAN - TAIWAN SHORTS II

新來的管理員阿凱上班沒幾日,就找到了人生新目標 ──B棟九樓的女住戶。她的眉目、笑容在阿凱的瞳 仁裏特寫,監視螢幕已不能滿足蠢動的慾望。鏡頭從 入口處、電梯裡、走廊道,慢慢往私密空間挪近,無 人知曉的平常上班日,阿凱乘著慾望之翼,壓低呼吸, 小心翼翼地控制與她的距離,在燃燒墜落前,他要畫 面裡都是她的身影。

超音波儀器巡撫體表,導演與肉身展開對話,但它不 想回答無聊的問題。身體的情緒要藉由螢幕顯示的波 紋、設備裡的嗡鳴被轉譯,而大腦則透過嘴說出練舞 的原因。舞者長髮垂地,擺動著身軀,地面如鏡分裂 出孿生姊妹般,緊密相連的兩個個體。意識如何捨棄 詮釋,身體又該如何自然地傾訴害怕與憤怒,兩者是 否只能是最親近卻又極為陌生的關係?

The new janitor is attracted to the woman living on the ninth floor of Building B. Her charming smiles and beautiful eyes melt his heart. But her images in the elevator and corridor captured by monitors cannot satisfy him anymore. He wants to creep into her room and peep into her life. With the wings of desire, he soars in the sky with little knowledge of the approaching fall.

A dancer strikes an intimate conversation with her body as a hand-held portable ultrasonic scanning probe moves over the body. High frequency sound waves produce images of tissues on the screen near her. When consciousness stops to interpret, the body starts to express its ennui, fatigue, fury, and fear.

陳浤,獨立影像工作者,畢業於國立臺灣藝術大學電 影碩士班,曾編導《坍方落石》、《下午海邊我和她》、 《陽光和煦的午後》等短片。

許 海 文, 成 長 於 蘭 陽 舞 蹈 團, 畢 業 於 國 立 臺 灣 藝 術 大 學 舞 蹈 系、 法 國 舞 蹈 學 校(Ecole Mathide Monnier),現為旅法專業舞者,專長為現代舞,曾 演出法語音樂劇《亞瑟王傳奇》。

CHEN Hung, an independent filmmaker, obtained his MA from NTUA. He has written and directed shorts including Lift a Weight off Bus and Another Day.

HSU Hai-wen, growing up in the Lan Yang Dancers, graduated from the Department of Dance of NTUA and Ecole Mathilde Monnier. She specializes in modern dance and has performed in the French musical The Legend of King Arthur.

DIRECTOR 陳浤 CHEN Hung PRODUCER 顧家瑋 KU Chia-wei

DIRECTOR, SCREENPLAY, EDITOR, CAST 許海文 HSU Hai-wen

SCREENPLAY 陳浤 CHEN Hung, 葉士瑜 Claire YEH

PRODUCER Luc-Jérome BAILLEUL CINEMATOGRAPHER

CINEMATOGRAPHER 陳柏為 CHEN Bo-wei EDITOR 施博瀚

Hélène MOTTEAU MUSIC 福多瑪 Thomas FOGUENNE SOUND Rémi MENCUCCI PRINT SOURCE Le Fresnoy

SHIH Po-han, 陳浤 CHEN Hung MUSIC 莊伯荀 Sid CHUANG SOUND 張喆泓 CHANG Zhe-hong CAST 洪毓璟 Aaron HONG, 李玲葦 LING Wei-ling, 顧家瑋 KU Chia-wei, 沈魏 SHEN wei PRINT SOURCE 陳浤 CHEN Hung


以她的名字呼喚我 Greta

當代精選

WORLD CINEMA


貴族動物

116

當代精選

Angelo

WORLD CINEMA

06.29 S A T 新光一 13:20 07.08 MON 新光二 14:10 07.10 WED 新光二 12:30

馬克斯.賽林傑,1971 年生於奧地利 維也納,長期擔任選角指導,參與近 70 部電影製作,曾與麥可.漢內克等 名導合作。首部長片《密室禁臠》即 入選 2011 年坎城影展主競賽,《貴族 動物》為其第二部作品。

Markus SCHLEINZER was born in Vienna, Austria in 1971. From 1994 to 2010, he worked as a casting director and was engaged in the production of about seventy feature films. His directorial debut Michael premiered at the Cannes in 2011. Schleinzer is also an actor in theatre and film.

奧地利、盧森堡 Austria, Luxembourg | 2018 | DCP | Colour | 111min

「我是非洲之子,也是歐洲之人。」黑人奴隸安哲羅自幼被賣到維也 納,接受貴族式的良好教育、受洗、學習樂器並站上舞台,得以安處上 流社會,直到他私自與白人女性結婚,處境一夕之間翻轉。當家鄉、身 分與個體的自我實現模糊不清,自由既是禮讚也是懲罰。 取材自十八世紀中歐的真實人物。威尼斯影后艾芭.羅爾瓦雀與德國影 帝克里斯欽.佛里德聯手演出,烘托這位神秘的真假貴族命運多舛的一 生。拍攝細節極其講究,冷靜克制的影像風格宛如《亂世兒女》遇上《薩 瑪的漫長等待》,從歷史跨度揭示深刻的狹隘種族觀,直指文化結構中 的殘酷現實。 「安哲羅活著的時候,他是人們投射自身觀點的一面鏡子,至今亦然。 這些自我投射之間,揭露了一種現代性思維。」──馬克斯.賽林傑

Based on true events, Angelo tells the story of the African-born Angelo Soliman, who was taken by force from his homeland at a very young age in the beginning of the early 18th century. After surviving the long involuntary journey across the Atlantic, the African boy is sold to a European countess who turns him into the object of an educational experiment. For his next owner, a noble duke, Angelo changes into a costumed story-telling valet, reciting stories about mysterious Africa to entertain an enlightened highsociety, until he attracts the attention of the emperor. On the height of his prestige, he falls in love with a young maidservant but inevitably suffers the rejection from the court that has to draw a strict line between racial differences.

2018 多倫多影展 Toronto IFF 2018 聖賽巴斯提安影展 San Sebastián IFF 2019 香港電影節 Hong Kong IFF DIRECTOR 馬克斯.賽林傑 Markus SCHLEINZER PRODUCER Alexander GLEHR, Franz NOVOTNY, Bady MINCK, Alexander DUMREICHER-IVANCEANU, 馬克斯.賽林傑 Markus SCHLEINZER SCREENPLAY 馬克斯.賽林傑 Markus SCHLEINZER, Alexander BROM CINEMATOGRAPHER Gerald KERKLETZ EDITOR, SOUND Pia DUMONT CAST Makita SAMBA, 艾芭.羅爾瓦雀

Alba ROHRWACHER, Larisa FABER, 克里斯欽.佛里德 Christian FRIEDEL PRINT SOURCE Austrian Films


政變麥來亂

117

土耳其、保加利亞 Turkey, Bulgaria | 2018 | DCP | Colour | 94min

取材自真實事件,荒謬中更精準顯現土耳其歷史的混亂與悲喜。融合政 治嘲諷、暴力與冷調幽默,定格鏡頭搭配精妙的場面調度,影像風格 宛如洛伊.安德森遇上阿基.郭利斯馬基,外加一抹黑色電影的宿命氛 圍。2016 年,電影開拍前兩個月,土耳其發生政變,導演自言:「純 屬巧合,但感覺真的非常奇怪。」 「電影外的世界遠比電影景框能呈現的更大,當鏡頭對準某樣事物, 也錯過了其他東西。世界是不完美的,我想聽聽那些景框外的聲音。」 ──馬穆.法希.裘斯昆

May 22nd, 1963. Unhappy with the existing social and political situation in Turkey, a group of military officers has planned a coup d'état to take down the government in Ankara. Meanwhile in Istanbul, their conspirators have undertaken the mission of taking over the National Radio station and making a formal announcement about the coup. Faced with a number of obstacles, including a sudden rainstorm, the absence of the radio station technician, a betrayal, the lack of feedback from Ankara and their very own inefficiency, the conspirators scramble to keep their plan on track and announce the success of the coup – that is, if the coup in the capital has taken place at all. Based on actual events and told over the course of a single night, The Announcement is a wry commentary on Turkey's uneasy political past - and present.

馬 穆. 法 希. 裘 斯 昆,1973 年 出 生 於土耳其,畢業於加州大學洛杉磯分 校電影系,2000 年後以導演身分從 事紀錄片與廣告拍攝。2009 年首部 劇情長片《窗邊憂鬱的女子》獲得鹿 特丹影展金虎獎,亦曾於台北電影節 放映。

Mahmut Fazıl COŞKUN began filmmaking with directing documentaries in 2000. H i s f i rs t f i c t i o n f i l m Wro n g R o s a r y (2009) won Rotterdam film Festival's Tiger Award and Istanbul Film Festival's Best Director Award. His second film Yoazgat Blues (2013) was premiered at the San Sebastián Film Festival. The Announcement is his third film.

2018 威尼斯影展地平線單元評審團特別獎 Special Jury Prize, Horizons Award, Venice FF 2019 哥特堡影展 Göteborg FF 2019 莫斯科影展 Moscow IFF DIRECTOR 馬穆.法希.裘斯昆 Mahmut Fazıl COŞKUN PRODUCER Halil KARDAŞ, Tarık TUFAN SCREENPLAY Ercan KESAL, 馬穆.法希. 裘斯昆 Mahmut Fazıl COŞKUN CINEMATOGRAPHER Krum RODRIGUEZ EDITOR Çiçek KAHRAMAN MUSIC Okan KAYA SOUND Serkan KÖSEOĞLU, Murat ÇELIKKOL CAST Ali Seçkiner ALICI, Tarhan KARAGÖZ, Murat KILIÇ, Şencan GÜLERYÜZ, Serkan ERCAN PRINT SOURCE Heretic Outreach

WORLD CINEMA

1963 年五月的安卡拉,一場軍事政變正在暗夜裡進行。四名軍人從各 方前往伊斯坦堡碰頭,密謀佔領廣播電台,肩負對外發表政變宣言的重 要任務。不料,一路諸事不順,他們只有在見怪不怪的市民間奔走與等 待,眼看長夜將盡,而遠方的成敗依舊是未知。

06.27 THU 新光二 17:20 07.01 MON 新光二 12:00 07.05 F R I 新光一 22:00

當代精選

The Announcement


地下狂熱趴

118

©SIXTEEN FILMS

當代精選

Beats 07.06 SAT 新光二 10:50

WORLD CINEMA

布 萊 恩. 威 爾 斯,1981 年 生 於 蘇 格 蘭福爾柯克,就讀英國國立電影電視 學院之前為紀錄片剪接師,畢業製作 《In Our Name》 獲 發 行 商 Curzon Artificial Eye 贊助,入選多個國際影 展。影視雙棲,亦執導過《黑鏡》等 多部知名電視劇。

Brian WELSH was born in 1981 in UK. He began his career as an editor in documentaries, before attending the National Film and Television School. Welsh has directed several TV dramas, winning multiple awards, including an Emmy for his episode for the TV series Black Mirror. Beats is his second feature.

英國 UK | 2019 | DCP | B&W, Colour | 96min

1994 年的蘇格蘭,那是節拍音樂非法的年代。小鎮少年史班納和強諾 兩人無所事事,唯一的興趣就是偷偷收聽地下音樂電台。即將搬家面對 新生活的強諾對未來感到迷茫,與罪犯哥哥同住的史班納則希冀從音樂 找到自我認同。死黨倆渴望叛逆與歸屬感,兩人決定在各奔東西之前的 那個夏天,最後一次參加非法的地下音樂派對。荷爾蒙爆棚的自由冒 險,脫序演出為反政府的體制衝撞,各種衝突一觸即發。電音節奏作為 青春的背景音樂,在熱血中銘刻永生難忘的友誼。 故事源自導演的成長經驗,勾勒已遠去的 1990 年代蘇格蘭電音場景。 當時保守黨政府制定的公共秩序法,讓公權力得以干涉人們聽音樂的自 由,阻止人群聚集。散發躁動因子的黑白攝影,急需宣洩的青少年以藥 物、電音和性,冒著犯法的危險與政府對幹,是青春的抗議也是對虛無 的逃逸。

1994, a small town in central Scotland. Best mates Johnno and Spanner share a deep bond. Now on the cusp of adulthood, life is destined to take them in different directions – Johnno's family are moving him to a new town and a better life, leaving Spanner behind to face a precarious future. But this summer is going to be different for them, and for the country. The explosion of the free party scene and the largest counter-cultural youth movement in recent history is happening across the UK. In pursuit of adventure and escape, the boys head out on one last night together to an illegal rave. Stealing cash from Spanner's older brother, under the hazy stewardship of pirate radio DJ D-Man, they journey into an underworld of anarchy, freedom and a full-on collision with the forces of law and order.

2019 鹿特丹影展 IFF Rotterdam 2019 美國斯蘭丹斯影展 Slamdance FF 2019 格拉斯哥影展 Glasgow FF DIRECTOR 布萊恩.威爾斯 Brian WELSH PRODUCER Camilla BRAY SCREENPLAY Kieran HURLEY, 布萊恩.威爾斯 Brian WELSH CINEMATOGRAPHER Ben KRACUN EDITOR Robin HILL MUSIC Keith MCIVOR SOUND Joakim SUNSTROM CAST Cristian ORTEGA,

Lorn MACDONALD, Laura FRASER, Brian FERGUSON, Ross MANN PRINT SOURCE 聯影企業股份有限公司 Cineplex Development Co.


The Conductor

荷蘭 Netherlands | 2018 | DCP | Colour | 137min

本片改編真人實事,燈光、布景及服裝都十分考究,典雅華美,充滿大 時代氛圍。電影見證女性時代的來臨,即使環境惡劣,仍堅持夢想、做 自己人生的主人。夢想的追尋、命運的試煉、愛情的繾綣,在片中戲劇 性地交織,一如交響樂奔騰而出。

United States, 1926. The Dutch, 24-year-old Antonia Brico was a child when she and her parents immigrated to the United States. She dreams of becoming a conductor, but nobody takes her ambition seriously. Her piano teacher advices her against taking the entrance exam for the conservatory. Because she has little to lose, she returns to her motherland, where she begs the famous conductor Mengelberg to teach her conducting lessons. Mengelberg is not comfortable with the idea and sends her to Berlin where she, against all expectations, has a better chance as a woman to make it. Emotional strain threatens to overwhelm her, when the love of her life puts her in a difficult position. What choice will Antonia make?

07.07 SUN 中山堂 17:00

WORLD CINEMA

咆哮而絢麗的紐約 1920 年代,年輕的安東妮亞在音樂廳擔任帶位員, 她夢想成為一名樂團指揮,不願放過任何學習機會,卻因為身為女性, 志向從不被當作一回事。然而,命運之神總默默眷顧著她:在她求職不 順時,地下樂團的鋼琴伴奏找上了她;當她如願進入音樂學院,愛情也 隨之而來。某日,她發現自己身世的秘密,決定人生孤注一擲,前往荷 蘭阿姆斯特丹學習指揮。當愛情與夢想陷入兩難,面對現實的殘酷、命 運的佈局,她該如何去何從?

國際首映

International Premiere

當代精選

首席指揮家

119

瑪 利 亞. 彼 得 斯,1958 年 出 生 於 荷 蘭, 畢 業 於 荷 蘭 電 影 學 院, 並 於 1987 年共同創立製作公司 Shooting Star Filmcompany, 製 作 過 40 部 影片。執導過多部賣座電影,是荷蘭 最著名的編導之一。其劇情長片《愛 在尼德蘭》曾代表荷蘭角逐奧斯卡最 佳外語片。 Maria PETERS was born in 1958 in Netherlands. She is a producer and writer, known for Sonny Boy, Little Crumb, and The Purse Snatcher. She is married to Dave Schram.

DIRECTOR, SCREENPLAY 瑪利亞.彼得斯 Maria PETERS PRODUCER Dave SCHRAM CINEMATOGRAPHER Rolf DEKENS EDITOR Robin DE JONG MUSIC Bob ZIMMERMAN, Quinten SCHRAM SOUND Ruud JEHAE CAST Christanne DE BRUIJN, Benjamin WAINWRIGHT, Scott Turner SCHOFIELD, Richard SAMMEL, Seumas F. SARGENT PRINT SOURCE 海鵬影業有限公司 Swallow Wings Film Co., Ltd.


為琴癡狂

120

當代精選

God of the Piano 07.07 SUN 新光一 20:10 ▲

WORLD CINEMA

伊泰.塔爾,畢業於以色列台拉維夫 大學影視系,有 12 年的短片執導經 歷,並參與創立 MovieMakers 製片公 司。《為琴癡狂》為他的第一部自編 自導長片作品,於 2019 年鹿特丹影 展首映。

Itay TAL studied in the Department of Film and Television at Tel Aviv University and has been directing films for over 12 years. His deep connection to music is prevalent in his works. He is also a co-founder of MovieMakers - a film production company in Tel Aviv.

以色列 Israel | 2019 | DCP | Colour | 79min

成長在音樂世家的艾娜,直到懷胎十月破水的那一刻都還在台上彈琴, 當她得知剛出生的嬰兒天生失聰,落入谷底的絕望逼她進行了魔鬼的交 易,將嬰兒調包。幾年後,兒子依丹成了天才鋼琴手,不但熟稔諸多經 典作曲家的曲目,還將貴為音樂學院院長的外公作品,彈得比本人更精 彩。但艾娜沒有想到,這個讓她寄予一生心願的兒子,不只要挑戰她的 道德掙扎,連家人間的嫉妒、名譽的瘡疤以及謊言,都將面臨被公諸於 世的命運。 以色列導演伊泰.塔爾的出道作品,談藝術領域的激烈競爭,也兼談極 端的親子教育,在這裡,音樂不只是藝術的追求,更是家族名聲的延 續、窮追與死守。在典雅卻清冷的「上流」社會風景裡,無聲的裂解與 墜落正在發生。全片精準的壓迫感,被譽為帶有奧地利導演麥可.漢內 克的神采。

Music is all she has. Anat, a concert pianist who comes from a family with a strong musical background, has never been able to reach her father's musical standards. She arduously struggles to achieve her musical ambitions and rests all her hopes on the embryo that is in her womb. Devastatingly, the baby is born with hearing impairment. She refuses to accept the fact and resorts to extreme measures to ensure that her child will be the composer her father has always wanted. But as the young pianist grows up, he starts to confront his grandfather. Now, Anat will have to stand up to her father.

2019 鹿特丹影展 IFF Rotterdam 2019 布宜諾斯艾利斯國際獨立影展 BAFICI DIRECTOR, SCREENPLAY, EDITOR 伊泰.塔爾 Itay TAL PRODUCER 伊泰.塔爾 Itay TAL, Hila BEN-SHUSHAN, Shani EGOZIN CINEMATOGRAPHER Meidan ARAMA MUSIC Roie SHPIGLER, Hillel TEPLITZKY SOUND Vitaly GRUNSHPAN, Nir AVIAM CAST

Naama PREIS, Zeev SHIMSHONI, Andi LEVI, Ron BITTERMAN, Leora RIVLIN PRINT SOURCE 佳映娛樂國際股份有限公司 Joint Entertainment International Inc.


Golden Youth

法國、比利時 France, Belgium | 2019 | DCP | Colour | 112min

亞洲首映 Asian Premiere

07.06 SAT 新光二 16:20 ★▲

繼前作《她媽媽的公主》,導演伊娃.尤涅斯科再度將自身故事搬上大 銀幕,同樣請到法國影后伊莎貝.雨蓓領銜主演,詮釋片中世故的美 艷夫人,與年輕演員有大尺度的對手戲。本片以極盡奢華鋪張的派對場 景,再現 1970 年代末期的波西米亞式生活,充斥狂歡、浪漫和無所顧 忌,講述成人世界的扭曲與少女成長的痛苦。 「我想緬懷那些少有人談起,卻影響我至深的黃金歲月。」──伊娃. 尤涅斯科

Paris, 1979. Young and innocent Rose and Michel are living their first love story to the fullest. Their haunt is Le Palace, the hippest club in town where artists, celebrities and freaks feast and dance the night away. Rose and Michel can't help but being swept up into the exuberance of their new friends' lifestyles, full of extravagant parties and eternal nights. One evening, they meet Lucille and Herbert, a rich, decadent, bourgeois couple who suck them into a bizarre love square. Golden Youth is once again autobiographical and a spiritual sequel to Eva Ionesco's first feature My Little Princess. She recreates the glitzy, wild parties of her youth and delivers an eerie, fur-andvelvet-upholstered coming-of-age story where the young are enlightened, tried out and consumed by wolf-like adults.

WORLD CINEMA

1979 年的巴黎,年輕少女蘿絲與畫家米歇爾正處熱戀,對未來充滿了 不確定,生活紙醉金迷,天天流連於夜夜笙歌的奢華派對。在那裡,他 們遇見一對富有且關係開放的中年夫婦,感情逐漸發生質變,四人一起 過著今朝有酒今朝醉的糜爛生活。人生苦短,有人芳華已遠、有人青春 正盛,一場四人行的愛情漩渦正在發生。

當代精選

上流教慾

121

伊娃.尤涅斯科,1965 年生於法國巴 黎,羅馬尼亞裔。自幼即成為知名模 特兒,11 歲以童星身分出道,參與多 部電影演出。2011 年首執導筒,將童 年經歷拍成《她媽媽的公主》並於坎 城影展放映。《上流教慾》再度改編 自身故事,講述少女階段的花漾年歲。

Eva IONESCO was born in 1965. After a modeling career, she studied theater, and then joined Patrice Chéreau's theater troupe. She appeared in several feature films and theater productions before directing her first film, My Little Princess. She then launched into the writing of her first book, Innocence.

2019 鹿特丹影展 IFF Rotterdam 2019 哥特堡影展 Göteborg FF DIRECTOR 伊娃.尤涅斯科 Eva IONESCO PRODUCER Marie-Jeanne PASCAL, Mélita TOSCAN DU PLANTIER SCREENPLAY 伊娃.尤涅

斯科 Eva IONESCO, Simon LIBERATI CINEMATOGRAPHER 安妮.戈達 Agnès GODARD EDITOR Basile BELKHIRI, Julie DUPRÉ SOUND Paul MAERNOUD, Ingrid RALET, Olivier GUILLAUME CAST 伊莎貝.雨蓓 Isabelle HUPPERT, 葛拉蒂亞.貝露琪 Galatéa BELLUGI, 梅維爾.波柏 Melvil POUPAUD, 盧卡斯.尤涅斯科 Lukas IONESCO, Alain-Fabien DELON PRINT SOURCE 可樂藝術文創股份有限公司 Cola Films Co., Ltd.


以她的名字呼喚我

122

當代精選

Greta

WORLD CINEMA

06.27 THU 新光一 16:40 07.01 MON 新光一 16:40 07.06 SAT 新光一 22:00

阿曼多.普拉薩,1978 年出生於巴西 阿拉卡蒂,擁有電影製作與社會學背 景。曾擔任副導演、編劇和表演指導, 執導過多部短片,包括《The Bionic Woman》等,《以她的名字呼喚我》 是其首部劇情長片。

Armando PRAÇA is a Brazilian sociologist and filmmaker born in 1978. He has worked as an assistant director, screenwriter and acting coach. He himself has directed several shorts and midlength films including The Bionic Woman, which was screened at the ClermontFerrand International Short Film Festival. Greta is his debut feature.

巴西 Brazil | 2019 | DCP | Colour | 97min

護士佩德羅在醫院忙進忙出,不是為了病患,而是一個床位。他的跨性 別友人病得嚴重,需要好好休養,他與被監控的受傷男子吉恩達成協 議,用逃院來換取一張床。當佩德羅帶著日漸衰老的軀體與孤獨的心, 在同志夜店裡尋求慰藉時,他倆的關係也從純聊天發展至肉體關係。面 對闖入他生活的男子,佩德羅用身體溫柔以待,而他的心還在邊緣處徘 徊。 巴西導演阿曼多.普拉薩自編自導,靈感來自瑞典女星葛麗泰.嘉寶。 以年長的男同性戀者為中心,描繪不同性別與性取向的情感故事,在性 與肉體之外,也描寫同性老少配關係的心理狀態,細膩呈現當人們想擺 脫孤寂時,所伴隨的疲憊與不安。 「我不在意觀眾是否會嘲笑這些角色,以及他們是多麼邊緣化,我更在 乎觀眾能否理解並認同這些角色。」──阿曼多.普拉薩

Pedro, a 70-year-old gay nurse and a big fan of Greta Garbo, needs to find an empty bed in the hospital in which he works to save his best friend Daniela, his ailing transgender friend. In order to find her a vacant hospital bed, he decides to help an arrested and wounded criminal to escape. But then, worried about Jean's health, he sets the criminal up in his apartment to be able to treat his wounds. While he is hiding Jean from the police, they find themselves in a power struggle that turns into affection. Their relationship not only helps Pedro overcome his solitude augmented by Daniela's imminent death, but also leads him to accept his true self.

2019 柏林影展 Berlinale DIRECTOR, SCREENPLAY 阿曼多.普拉薩 Armando PRAÇA PRODUCER João VIEIRA Jr., Nara ARAGÃO, 阿曼多.普拉薩

Armando PRAÇA CINEMATOGRAPHER Ivo Lopes ARAÚJO EDITOR Karen HARLEY SOUND Waldir XAVIER CAST Marco NANINI, Démick LOPES, Denise WEINBERG, Gretta STTAR PRINT SOURCE m-appeal


月亮歸 ME

123

義大利、阿爾巴尼亞、阿根廷 Italy, Albania, Argentina 2018 | DCP | Colour | 101min

07.01 MON 新光二 18:50 07.09 TUE 中山堂 11:10

WORLD CINEMA

小道消息指出,義大利薩丁尼亞島的某位不知名居民把月亮「買」走 了,整個西方世界都為之震驚!在義國情報局的指使及美國軍方的暗中 協助下,一名特務被派赴前往調查。但他首先得克服一個問題:如何融 入這座島上,成為一個舉手投足都不會穿幫的薩丁尼亞人? 風格活潑的義大利導演保羅.祖卡在備受好評的足球喜劇《裁判說了 算》之後,挑戰荒謬諜報類型,巧妙融合喜趣的語彙、一點點奇幻元 素,高度的節奏掌握及對薩丁尼亞文化的刻板嘲弄,情節幽默,令人 捧腹。薩丁尼亞人重信譽、講道義,自稱是月亮的住民,片中演員一 本正經忍笑演出的高超功力,讓人在不知不覺間,對這座蕞爾小島產 生傾慕之情。

A secret agent from Northern Italy, who denies his Sardinian origins, must investigate a rather bizarre case: someone in Sardinia has taken possession of the Moon. Trained by a grumpy emigrant to behave like a real Sardinian man, he arrives on the island to investigate in disguise, but at the first bar he gets drunk and reveals his identity. Beaten almost to death, he manages to escape and is saved by a fisherman who will reveal the secret of the moon to him: to keep a romantic promise, he has acquired its property according to a legal process that is hinky but irrevocable. After the ghost of his coach - killed by the secret services – appears, the agent will be faced with a difficult choice. It will be the Moon itself that resolves the final battle in a spectacular way.

當代精選

The Man Who Bought the Moon

保羅.祖卡,1972 年生於薩丁尼亞卡 利亞里,於佛羅倫斯攻讀現代文學, 獲獎學金進入義大利廣電學院電影與 電視編劇組,取得導演學位,並執導 許多電影及廣告。前作《裁判說了算》 拿下義大利金像獎最佳短片及克萊蒙 費宏短片影展評審團特別獎。

Paolo ZUCCA was born in Sardinia, Italy. After obtaining a degree in Modern Literature, he studied at the RAI School of Film and Television, and graduated from the NUCT film school at Cinecittà with a degree in directing. He has directed many award-winning short films, documentaries and commercials.

2018 釜山影展 Busan IFF 2018 羅馬影展 Rome FF DIRECTOR 保羅.祖卡 Paolo ZUCCA PRODUCER Amedeo PAGANI, Nicola GIULIANO SCREENPLAY 保羅.祖卡 Paolo ZUCCA,

Barbara ALBERTI, Geppi CUCCIARI CINEMATOGRAPHER Ramiro CIVITA EDITOR Sarah McTEIGUE MUSIC Andrea GUERRA SOUND Piero FANCELLU CAST Jacopo CULLIN, Stefano FRESI, Francesco PANNOFINO, Benito URGU, Lazar RISTOVSKI PRINT SOURCE True Colours


小島來了陌生爸爸

124

當代精選

My Extraordinary Summer with Tess 07.04 THU 華山一 18:40 ★▲

荷蘭、德國 Netherlands, Germany | 2019 | DCP | Colour | 82min

WORLD CINEMA

史前最後一隻恐龍死去時懷著什麼樣的心情?即使這個夏天和家人在 泰爾斯海靈島度假,十歲的山姆仍禁不住想著萬物終將孤獨地死去;他 沉迷於「孤獨訓練」,以準備面對這無法逃避的命運。然而一場意外, 他遇見了島上護理師的女兒泰絲,捲入了她混亂又奇妙的世界。泰絲透 露關於她父親的秘密,她需要山姆的幫助來完成她這輩子最重要的計 劃。 史帝芬.沃特路德,1984 年生於荷蘭 烏特勒支,以拍攝兒童題材短片與電 視劇集為主,包括獲得多項兒童影展 獎 項 的《Anything Goes》、《 橘 色 狂歡節》,首部劇情長片《小島來了 陌生爸爸》於柏林影展首映。

Steven WOUTERLOOD was born in Utrecht, the Netherlands in 1984. He directed the children's television film Anything Goes in 2013, which won an International Emmy Kids Award, the Kids Award at the Toronto International Film Festival and many other prizes. My Extraordinary Summer with Tess is his debut feature film.

導演史帝芬.沃特路德首部劇情長片,改編自荷蘭作家安娜.沃茲獲獎 無數的知名童書《小島來了陌生爸爸》,透過兒童的眼光思考家庭、死 亡與生命的意義。兩位主角各自不同的家庭樣貌,也暗藏著創作者對性 別與家庭角色身份的觀察思考。 「我也還沒克服對死亡的恐懼,但珍惜當下,和其他人創造美麗的回 憶,是我透過電影想分享的訊息。」──史帝芬.沃特路德

Sam, an engaging boy who is smart and small for his age, is spending his summer holiday on the island Terschelling with his family. Sam meets the elusive Tess and becomes fascinated by this lively girl, who just seems to have the same wonderful view of the world like him. Sam often does not feel understood by his parents but with Tess everything is different. He soon finds out that Tess is working on a mysterious mission and makes a drastic decision which puts his special friendship with Tess at risk and will change Tess' life forever. Even though in his self-conceived "aloneness training," he did his best at being alone during this bizarre week, he unintentionally brought everyone closer together. Everything that Sam has experienced in this adventurous holiday teaches him to fully embrace life from now on.

2019 柏林影展新世代兒童單元特別提及 Special Mention, Generation Kplus, Berlinale DIRECTOR 史帝芬.沃特路德 Steven WOUTERLOOD PRODUCER Joram WILLINK, Piet-Harm STERK SCREENPLAY Laura VAN DIJK CINEMATOGRAPHER Sal KROONENBERG EDITOR Christine HOUBIERS MUSIC Franziska HENKE SOUND Kai TEBBEL CAST

Sonny VAN UTTEREN, Josephine ARENDSEN, Julian RAS, Jennifer HOFFMAN PRINT SOURCE 捷傑有限公司 Proview Enterprises Inc.


真愛邊緣人

125

伊朗、英國、荷蘭 Iran, UK, Netherlands 2018 | DCP | Colour | 102min

他 她有來的一天,也有走的一天。愛情從來沒有真正敲門過,孤單的 三人能從挫敗的人際關係中尋找意義,找到人生的另一半嗎?伊朗電影 中難得一見的黑色愛情喜劇,故事幽默卻又讓人微微心酸,德黑蘭這座 冰冷的城市最終能夠擁抱他們嗎?

An former bodybuilding champion now personal trainer, finds secret excitement in his life when he agrees to train a young man for the championships; an overweight beauty clinic secretary who lacks confidence in her physical appearance, uses her sexy voice to create a persona for seducing men she feels she could never have; a dispirited religious singer tries his luck at becoming a wedding singer to increase the chances of finding the love of his life. Failing in their attempts to find meaningful relationships and truly connect to people around them, they face rejections they are not equipped to handle and are forced to find ways to persevere in their respective absurd situations. This is the bittersweet tale of three middle-aged disenchanted characters yearning for love in a city that does not embrace them.

阿里.賈伯讓薩利,1981 年生於伊朗 德黑蘭,在中東時局最動盪的時刻,他 遠赴溫哥華度過年少時光。2008 年參 加阿巴斯電影工作坊後,赴倫敦學電 影。短片《Aman》在法國昂熱電影節 拿獎,首部劇情長片《Falling Leaves》 於蒙特婁影展首映,並於美國加州蒂伯 龍國際影展拿下費里尼大獎。 Ali JABERANSARI was born in Tehran, Iran in 1981. He moved to Vancouver, Canada in his teens. In 2008, after attending Abbas Kiarostami's filmmaking workshop in Tehran, he decided to follow his passion for making films and studied at the London Film School. Tehran: City of Love is his second feature.

2018 倫敦影展 London FF 2019 鹿特丹影展 IFF Rotterdam 2019 北京電影節最佳女主角 Best Actress, Beijing IFF DIRECTOR 阿里.賈伯讓薩利 Ali JABERANSARI PRODUCER Babak JALALI SCREENPLAY 阿里.賈伯讓薩利 Ali JABERANSARI,

Maryam NAJAFI CINEMATOGRAPHER Mohammad Reza JAHANPANAH EDITOR Ashkan MEHRI MUSIC Hamed SABET SOUND Hossein ABOLSEDGH CAST Forough GHAJABEGLI, Mehdi SAKI, Amir Hessam BAKHTIAR, Behnaz JAFARI PRINT SOURCE Reel Suspects

WORLD CINEMA

三個單身寂寞的人,住在冰冷之城德黑蘭。昔日的冠軍健身教練法斯利 風光不再,想重拾鎂光燈前的自信卻不容易;也想成為冠軍的小伙子, 找法斯利鍛鍊健身,調教「他」,讓法斯利的生活多了些意義。米娜因 身材臃腫深感自卑,她將手機裡的大頭貼換成陌生辣妹,利用工作機會 要到帥哥電話,嗲聲嗲氣地約見面再故意放鳥,只為了默默看「他」一 眼。被未婚妻拋下的瓦希,替死者唱誦輓歌,歌聲如他的人生一樣愁雲 慘霧。這天,他得到機會搖身成為婚禮歌手,尷尬的瓦希從中學習怎麼 快樂,在「她」的陪伴下,瓦希終於載歌載舞起來。

06.28 F R I 新光一 16:30 07.08 MON 新光一 17:10 07.10 WED 新光一 21:50

當代精選

Tehran: City of Love


老娘是天后

126

當代精選

Wild Rose 06.29 SAT 新光二 19:40

英國 UK | 2018 | DCP | Colour | 101min

WORLD CINEMA

年輕有活力、性格奔放不拘的蘿絲琳天生有副好嗓音,一心想到鄉村音 樂聖地──納許維爾發展歌唱事業。然而她剛出獄,身無分文又有兩個 小孩要照顧,母親希望她成為負責任的大人。當中產家庭女主人發現她 的才華,積極助她逐夢時,好不容易與孩子消除隔閡的她,將如何面臨 家庭與夢想的艱難抉擇?鄉村音樂是訴說真我的歌曲,蘿絲琳能否找到 內心的話語? 湯 姆. 哈 波,1980 年 出 生 於 英 國 倫 敦, 早 期 以 拍 攝 短 片 為 主, 短 片 《Cubs》曾獲英國影藝學院提名。現 為電影與電視導演,作品有電影《童 子軍手冊》、BBC 迷你影集《戰爭與 和平》,以及影集《浴血黑幫》。

英國導演湯姆.哈波與編劇妮可.泰勒,攜手打造一部屬於格拉斯哥的 音樂電影。影片刻畫當地勞工的生活與地景,透過三位母親的階級和生 活處境,以溫柔樂觀而不失現實維度的方式,細膩描繪女性在家庭責任 中追夢的為難和苦衷。演唱兼備的愛爾蘭新星傑西.伯克利在片中大展 神采,充滿渲染力的聲音完美詮釋多首鄉村歌曲,訴說著家與夢的動人 情感,深具魅力。

Tom HARPER is a BAFTA nominated director who was born and brought up in North London. Harper began his career making short films. He wrote and directed his breakout short film, Cubs, in 2006. He then moved on to direct a range of film and television drama.

22-year-old Rose-Lynn is bursting with raw talent and charisma. She is just released from jail and has two young kids to support. All she wants to do is to be a country singer. She thinks her only chance of happiness lies in the country capital of the world – Nashville, Tennessee. Her mother wants her to settle down, accept her life, and take responsibility for herself, but the price is Rose-Lynn's soul, her hope, and her very essence. In recognizing RoseLynn's right to be who she is and want what she wants, Marion releases Rose-Lynn from a lifetime expectation and finally sets her free. Wild Rose is a film about an ordinary woman trying to have a dream whilst also being a mother and raising her children. Can she really leave her past behind and be "reborn" somewhere else?

2018 多倫多影展 Toronto IFF 2018 倫敦影展 London FF 2019 西南偏南電影節 SXSW DIRECTOR 湯姆.哈波 Tom HARPER PRODUCER Faye WARD SCREENPLAY 妮可.泰勒 Nicole TAYLOR CINEMATOGRAPHER

George STEEL EDITOR Mark ECKERSLEY MUSIC Jack ARNOLD SOUND Colin NICOLSON CAST 傑西.伯克利 Jessie BUCKLEY, Sophie OKENEDO, James HARKNESS, Jamie SIVES, Julie WALTERS PRINT SOURCE 采昌國際多媒體 Cai Chang International Inc.


蒼冬裡

127

捷克、斯洛維尼亞、波蘭、斯洛伐克 Czech Republic, Slovenia, Poland, Slovak Republic | 2018 | DCP | Colour | 85min

馬羅正值 15 歲半大不小的青春期年紀,頂著光頭駕著奧迪,臉頰紅紅, 不帶香菸酒精,只有音樂和幻想。青春的冒險少不了旅伴,帶著玩具槍 的黑度許強勢入團,兩人撿了條狗、載了名女孩,坐好坐滿違法飆風上 路。馬羅坐在溫暖的警局,穿山越嶺的故事說得動聽,講到細節又頓時 失憶,他像隻失溫的蒼蠅半睡半醒,只要片刻回溫又能嗡嗡作響。 青少年的一趟冒險之旅,預演了長大成人必經的自我探索與痛苦,以及 無法抑制的衝動放縱,他們在天真和玩世不恭之間搖擺不定,而友誼是 渡過寒冷的秘密武器。 「一開始,我並不是很確定要如何界定謊言和真相的那條線,我最終明 白,用馬羅記得的故事來描繪才是最真實的,因為在 12 到 15 歲間, 什麼是真實、虛假,什麼又是想像的一部份,這些都是同樣真切的。」 ──歐摩.歐默舒

Two mischievous adolescent boys embark on a journey of imaginative misadventure and coming-of-age self-discovery. Self-assured Mára and somewhat eccentric Heduš set out into the frozen wastes in search of adventure – by car, naturally. After all, Mára is turning fifteen soon. But the mischievous breeziness, with which Mára gives his story, and his concealment of the details of the trip, gradually strip his statement of credibility. After caught behind the wheel far across country from where he lives, Mára is interrogated by the police at the station. A road movie about the flies that occasionally buzz around even in winter, tells the elusive bond of boyhood friendship and the irrepressible desire to experience something, even if you don't exactly know what it is.

歐 摩. 歐 默 舒,1984 年 出 生 於 斯 洛 維尼亞盧布爾雅那,畢業於捷克國家 電影學院。劇情長片《家庭拼圖》曾 入選 2016 年台北電影節國際新導演 競賽;最新作品《蒼冬裡》獲得 2018 年卡羅維瓦利影展最佳導演。

Olmo OMERZU was born in 1984 in Ljubljana. He graduated from FAMU with his feature debut A Night Too Young, which was premiered at the Forum section of the 2012 Berlinale. In 2015, his second feature Family Film won the Award for Best Artistic Contribution at Tokyo IFF.

2018 卡羅維瓦利影展最佳導演 Best Director, Karylovy Vary IFF 2018 多倫多影展 Toronto IFF 2019 哥特堡影展 Göteborg FF DIRECTOR 歐摩.歐默舒 Olmo OMERZU PRODUCER Jiří KONEČNÝ SCREENPLAY Petr PÝCHA CINEMATOGRAPHER Lukáš MILOTA EDITOR Jana VLČKOVÁ MUSIC Šimon HOLÝ, Monika MIDRIAKOVÁ, Paweł SZAMBURSKI SOUND Daniel NĚMEC CAST Tomáš MRVÍK,

Jan František UHER, Eliška KŘENKOVÁ, Lenka VLASÁKOVÁ, Martin PECHLÁT PRINT SOURCE Cercamon

WORLD CINEMA

06.30 SUN 新光一 22:10 07.08 MON 新光一 19:30 07.09 TUE 新光一 15:00

當代精選

Winter Flies


隨風所欲

128

® Niels Ackermann

當代精選

With the Wind

WORLD CINEMA

06.27 THU 新光二 19:30 06.29 SAT 新光二 11:50 07.02 TUE 新光二 15:00

瑞士、法國 Switzerland, France | 2018 | DCP | Colour | 87min

貝堤娜.歐貝里,1972 年誕生於瑞士 伯恩,自幼成長在少女峰腳下,「自 然原鄉」是她的人生,也是電影的主 題。她曾拍攝類型片題材,執導過恐怖 片《謀殺農場》以及《路易斯是我媽》 等長片。《隨風所欲》榮獲 2018 年盧 卡諾影展 Variety Piazza Grande 獎。

影片於阿爾卑斯山北部山脈取景,《湖畔春光》男主角皮耶.迪拉登 川普與《公主和她的情人》米蘭妮.蒂莉主演,導演貝堤娜.歐貝里 首部執導之法語電影。以大自然強烈的生命力,表現人物洶湧蓬勃的 內在情感。

Bettina OBERLI, a director and writer, was born in 1972 in Interlaken, Switzerland. From 1995 to 2000 she studied cinema at the Hochschule für Gestaltung und Kunst in Zurich. She is currently working on a new cinema film and two TV series.

An isolated farm in a remote part of the Jura region. This is where Pauline and Alex are making their dream of living in complete self-sufficient harmony with nature come true. Their life project is sealed by their love, their ideals and their work. The couple is now ready to take the step towards total independence, and start producing their own electricity. However, the arrival of Samuel, who has come to install a wind turbine, deeply troubles Pauline, upsetting the couple and their values. As the symbol of the couple's convictions to ensure their total autonomy, the wind turbine also introduces change and destruction. With the Wind is a film about ruptures: abandoning one's life project; the breaking-up of a couple; the letting go of an ideology, along with one's roots and one's country.

車諾比核災後,烏克蘭少女來到有機生態農場度過夏天。窮鄉僻壤,沒 有網路,卻有牲畜相伴。農場主人亞歷和寶琳在此攜手度過數十個年 頭,與世無爭,靠自己的雙手打造生活。亞歷想在農場蓋風力發電機, 為了打造烏托邦,他的執念越來越深,這是一種抵抗的姿態,還是逃避 的藉口?微風輕輕吹,拂過孤獨的寶琳臉龐,在大自然的見證下,寶琳 背著丈夫偷情,伴隨著風兒的腳步,寶琳能不能重新找回純樸的自己?

「那是個非凡之地,太廣大了。土地、森林、藍天,再也沒有其他。我 希望所有事物都在流動,像風一樣,隨時隨地。」──貝堤娜.歐貝里

2018 盧卡諾影展 Variety Piazza Grande 獎 , Locarno FF 2019 哥特堡影展 Göteborg FF DIRECTOR 貝堤娜.歐貝里 Bettina OBERLI PRODUCER Pauline GYGAX, Max KARLI, Priscilla BERTIN, Judith NORA, Jacques-Henri

BRONCKART, Olivier BRONCKART SCREENPLAY 貝堤娜.歐貝里 Bettina OBERLI, Antoine JACCOUD CINEMATOGRAPHER Stéphane KUTHY EDITOR Pauline GAILLARD MUSIC Arnaud REBOTINI SOUND Paul MAERNOUDT CAST 米蘭妮.蒂莉 Mélanie THIERRY, 皮耶.迪拉登川普 Pierre DELADONCHAMPS, Nuno LOPES, 安娜絲緹雅.舍夫佐娃 Anastasia SHEVTSOVA, Audrey CAVELIUS PRINT SOURCE Be For Films


怪奇 物語

WILD TALES

搖搖晃晃的陰間 Die Kinder der Toten


130

怪奇物語

Bait

WILD TALES

07.01 MON 新光一 21:40 07.05 F R I 新光一 14:30 07.09 TUE 華山二 12:30

馬克.詹金,生於 1976 年,獨立電影 人,常以家鄉英國康瓦爾為拍攝主題, 已拍攝超過 50 部短片,以及多部關 於康瓦爾的紀錄片。2014 年獲得法爾 矛斯大學獎勵的尼克達克寫作獎,並 在該校教授電影。最新長片《餌》於 2019 年柏林影展論壇單元放映。

Mark JENKIN, born in 1976, is a British filmmaker, film editor and screenwriter based in Cornwall. Working in digital and analogue mediums and handprocessing super 8/16mm film, Mark is predominantly interested in experimentation within the form, Slow Cinema and Remodernist Film.

英國 UK | 2018 | DCP | B&W | 87min

英國康瓦爾一處小漁村,住著漁夫兩兄弟馬丁與史提芬。面對來自倫敦 的觀光潮,馬丁決心守護當地傳統的捕魚方式,而史提芬卻決定順應潮 流將家傳漁船改造成觀光遊艇。使得馬丁無船可用,被迫賣掉兒時小屋 給倫敦遊客;遊客不只改造房屋出租,還因為停車糾紛跟馬丁槓上,風 暴一發不可收拾,直至釀成悲劇。 本片使用 Bolex 攝影機,以 16mm 黑白底片拍攝,早期無聲電影的氛 圍縈繞,卻又另外配上對白及音效。影像風格充滿當代與傳統的衝突, 4:3 的銀幕比,框限觀眾於一觸即發的緊繃氛圍中,並仿效默片時期 的手法,不僅充滿各式人事物的特寫,更將居民日常生活的細緻描繪與 一閃而逝的觀光客動態相互蒙太奇。以小鎮窺見全球化風潮,究竟是漁 夫釣到了觀光客,抑或是觀光客捕到了漁夫,傳統與現代是否必須拚個 你死我活?

Martin Ward is a cove fisherman, without a boat. His brother Steven has repurposed their father's vessel as a tourist tripper, driving a wedge between the brothers. With their childhood home now a getaway for London money, Martin is displaced to the estate above the picturesque harbour. As his struggle to restore the family to their traditional place creates increasing friction with tourists and locals, a tragedy at the heart of the family changes his world. Capturing life in a marginal community, Bait explores family breakdowns, love, and grief. It tells a stark story rooted in local culture and community, and how these marginal places are facing up to a changing world. From writer/director Mark Jenkin and Early Day Films, Bait is a handcrafted monochrome expression of a life under threat.

2019 柏林影展 Berlinale 2019 紐約新導演 新電影影展 New Directors / New Films 2019 里斯本獨立影展觀眾票選獎 Audience Award for Best Feature Film, IndieLisboa IFF DIRECTOR, SCREENPLAY, CINEMATOGRAPHER, EDITOR, MUSIC 馬克.詹金 Mark JENKIN PRODUCER Kate BYERS, Linn WAITE SOUND Daniel THOMPSON CAST Edward ROWE, Simon SHEPHERD, Mary WOODVINE, Giles KING PRINT SOURCE The Festival Agency


星魔

131

新加坡 Singapore | 2018 | DCP | Colour, B&W | 83min

《新加坡 2066》導演許瑞峰再次帶來嶄新的觀影感受,詭奇的影像構 圖以及 16mm 膠卷的手作質感,刻意一反日常的人物設定、行事邏輯 和演員「癱瘓」式的演出,讓本該嚴肅無比的創作命題,開展出一種恐 怖故事、真實電影混合跨界的新維度。 「創作者總被認為可以全然控制他的創作材料,甚至壓迫他的共事者。 我想拍的,是一部關於『素材』從創作者那奪回控制權,並且反噬它的 電影。」──許瑞峰

When aspiring actress Vicki gets her debut lead role in a promising theatre production in Singapore, little does she know this only casts her into endless torture at the hands of director Daniel. She turns to supposed allies for support, but only finds that they regard Daniel's abuse as part of her artistic growth and his genius. In a working environment where silent abuse and sadistic violence is acceptable, Vicky decides to change the power dynamics. A wicked, satirical horror on power, art, and trauma, Demons exposes the hidden violence we live with to build any community. The character of the theatre director, "Daniel," shares the first name of the director of Demons, Daniel Hui, encouraging further contemplation on power structures and dependencies in the world of art and culture.

許瑞峰,1986 年生於新加坡,畢業於 美國加州藝術學院,主修電影,為電 影獨立創作團體 13 Little Pictures 創 辦人之一。創作風格多元具實驗精神, 前作《新加坡 2066》屢屢獲邀各大 國際影展,備受讚譽,為當代極具代 表性之創作新銳。

Daniel HUI is a filmmaker and writer. A graduate of the film programme in California Institute of the Arts, he is the founding member of 13 Little Pictures, a critically acclaimed independent film collective in Singapore. He has made three feature-length films— Eclipses (2011), Snakeskin (2014) and Demons.

2018 釜山影展 Busan IFF 2019 柏林影展 Berlinale DIRECTOR, SCREENPLAY, EDITOR 許瑞峰 Daniel HUI PRODUCER TAN Bee Thiam, 許瑞峰 Daniel HUI CINEMATOGRAPHER LOOI Wan Ping MUSIC Wuttipong LEETRAKUL, Akritchalerm KALAYANAMITR SOUND Akritchalerm KALAYANAMITR CAST 楊彥絢

YANG Yanxuan Vicki, 魏銘耀 Glen GOEI, Viknesh KOBINATHAN, Eshley GAO, TAN Bee Thiam, 許瑞峰 Daniel HUI, Violet GOH PRINT SOURCE Reel Suspects

WILD TALES

女演員薇琪徵選上才子導演的舞台劇角色,殊不知將走入一段藉著藝術 之名的威權壓迫、精神凌虐之天堂無門、地獄有路之旅。幻聽、失語、 盲視,無法理解的跳接、邏輯斷裂的矛盾,生活霎時成了恐怖片。全城 熱燥、凶兆滿佈,在那新加坡陰空下鬼鬼作祟的,究竟是人心底那由夢 魘滋大的怪物,還是天不照甲子的黑暗勢力?

07.02 T U E 新光一 17:20 ★ 07.03 WED 新光一 21:50 ★ 07.05 F R I 華山一 15:00

怪奇物語

Demons


搖搖晃晃的陰間

132

怪奇物語

Die Kinder der Toten

WILD TALES

06.27 THU 新光一 21:00 07.01 MON 新光一 14:30 07.10 WED 華山二 18:50

1

2

凱莉.庫柏、 2 帕弗.利斯卡,夫 妻倆相識於美國達特茅斯學院,求學 期間他們以「怪癖」美學形塑導演風 格。2003 年成立 Nature Theatre of Oklahoma 劇團,製作舞台劇,劇場 作品曾於法國亞維儂戲劇節演出。電 影《搖搖晃晃的陰間》由奧地利電影 學院、奧地利政府及奧地利廣播公司 聯合資助,獲 2019 年柏林影展論壇 單元費比西國際影評人獎。 1

1 Kelly COPPER was born in Florida, USA in 1971. In 1993, she earned a B.A. from Dartmouth College in New Hampshire, and in 2007, she earned an M.F.A. from Brooklyn College in New York City. 2 Pavol LIŠKA was born in Czechoslovakia (now Slovak Republic) in 1973. He gained a B.A. from Dartmouth College, and earned an M.F.A. from Columbia University.

奧地利 Austria | 2019 | DCP | Colour | 92min

突如其來的車禍,釀成一場天人永隔的悲慘事件。卡琳死後,亡靈遊 走在山林間。在腐朽十字架面前,她和死亡的化身相吻。哀慟的母親 在教堂禱告,剎那間亡靈現身,卡琳閃逝,死亡佔領了聖殿,門外倒 臥著飢餓欲絕的敘利亞人。亡魂持續徘徊在人世間,一路飄盪來到 666 電影院,往生者的家屬們望著銀幕上的至親,嚎啕大哭、歇斯底 里。突然間銀幕被烈燄圍繞,一具具喪屍走進現實,整座城市陷入一 場活死人嘉年華。 當奧地利菁英文學作品,遇上美式 B 級電影,會激發出什麼樣的火花? 改編自諾貝爾文學巨匠艾芙烈.葉利尼克的小說《死亡之子》,仿無聲 默片的做法,以字卡呈現一場場死亡錄像。透過實驗性且懷舊的鏡頭語 言,巧妙地使用喪屍喜劇片形式,鬼影幢幢、怪誕離奇,講述二戰過後 仍如歷史幽魂般飄蕩不去的族群傷痕。

Elfriede Jelinek's monumental novel Die Kinder der Toten, her most important one according to her own assessment, served as the template for a free movie adaptation produced in the original locations near the places where the Nobel Prize Laureate grew up. A SUPER 8 holiday film from Upper Styria slowly turns into the resurrection of "undead" spooks. The question of the (im)possibility of adequate processing of accrued debt shoots through all those aspects – nature, culture, society, history – that are still part of national identity today. Die Kinder der Toten, a zombie home movie shot and directed by Kelly Copper and Pavol Liska of New York's Nature Theater of Oklahoma theater ensemble, allows the deceased to rise again.

2019 柏林影展論壇單元費比西國際影評人獎 FIPRESCI Prize, Forum, Berlinale 2019 全州影展 Jeonju IFF DIRECTOR, SCREENPLAY, CINEMATOGRAPHER, EDITOR 凱莉.庫柏 Kelly COPPER, 帕弗.利斯卡 Pavol LIŠKA PRODUCER 伍瑞克.塞德爾 Ulrich SEIDL MUSIC Wolfgang MITTERER SOUND Matz MÜLLER CAST Andrea MAIER, Greta KOSTKA, Klaus UNTERRIEDER, Georg BEYER PRINT SOURCE Austrian Films


逃出絕命夢

133

瑞典、丹麥 Sweden, Denmark | 2019 | DCP | Colour | 86min

《天之驕子》瑞典新銳導演設計殘酷遊戲,以動畫和濃厚的寓言風格, 搭配挑釁意味的「輪迴」敘事結構,批判中產階級個人主義。大衛.林 區式的詭譎氛圍,漢內克《大快人心》的無端惡意,魯本.奧斯倫的冷 眼人性,探問倫理與道德的盡頭。伴侶關係像悲傷的華爾滋,三進兩 退,盡是人性假面。約翰.尼霍邀觀眾一同走進舞池,卸下寂寞傷悲, 舞出永劫回歸。 「這可以是一部談遺族情緒管理的電影,同時更談伴侶關係:消失的自 由、婚姻的幽閉恐懼。」──約翰.尼霍

The relationship between Elin and Tobias has been severely disrupted after the tragedy three years age. As they drive to a nature reserve where they are planning to camp, their words and the silences in between are steeped in irritation and reproach. Despite Elin's objections, Tobias steers the car deep into the forest to put up the tent in pitch dark. At dawn, when Elin goes outside, a white cat, the same one that has crossed their path the night before, attracts her attention. Then a circus tune coming from the forest heralds a trial that will be repeated time and again, like a nightmare from which they cannot awake. How can they escape their cruel, stupid fate?

約 翰. 尼 霍,1974 年 出 生 於 瑞 典 北 部 于 默 奧。 電 影 與 動 畫 雙 學 士, 以 MV 與動畫備受業界好評。短片《The Tale of Little Puppetboy》入選安錫 動 畫 影 展,《Las Palmas》 於 2011 年坎城影展導演雙週單元首映。首部 劇情長片《天之驕子》獲得瑞典奧斯 卡最佳影片等三項大獎。

J o h a n n e s N Y H O L M , b o r n i n 1 974 in Sweden, is a director, producer, screenwriter and animator. He has received education in film, art, new media and animation, and is currently managing his own production company. With a background in classic animation, Nyholm often mixes different styles and cinematic universes.

2019 日舞影展 Sundance FF 2019 鹿特丹影展 IFF Rotterdam 2019 哥特堡影展 Göteborg FF DIRECTOR, PRODUCER, SCREENPLAY, EDITOR 約翰.尼霍 Johannes NYHOLM CINEMATOGRAPHER Johan LUNDBORG,

Tobias HÖIEM-FLYCKT MUSIC Simon OHLSSON, Olof CORNÉER SOUND Gustaf BERGER, Jacques PEDERSEN CAST Leif EDLUND, Ylva GALLON, Katarina JACOBSON, Peter BELLI PRINT SOURCE Stray Dogs

WILD TALES

一家三口歡慶女兒生日,老婆海鮮過敏送醫,醫院裡意外死亡的卻是女 兒。數年後,夫妻倆去森林露營,卻是災難般的惡夢。他們遇上詭異雜 耍三人組,無賴找上門,夫妻不團結。婚姻風暴若隱若現,鬧劇即是煉 獄,他們像跳針唱片,在天亮之前被困在故事裡面,繞不出駭人輪迴。

06.28 F R I 新光二 21:40 07.03 WED 新光二 12:20 07.05 F R I 華山一 18:50

怪奇物語

Koko-di Koko-da


134 國際首映

International Premiere

怪奇物語

追殺導演 Nocturne

WILD TALES

06.29 SAT 新光一 11:20 07.04 THU 新光一 13:50 07.07 SUN 華山二 18:40

荷蘭、比利時 Netherlands, Belgium | 2019 | DCP | Colour | 79min

維 克 多. 范 德 沃 克,1987 年 出 生 於 冰 島。 就 讀 荷 蘭 烏 特 勒 支 藝 術 學 院, 畢 業 後 轉 往 荷 蘭 阿 姆 斯 特 丹 電 影 學 院 深 造, 學 生 短 片《Onno The Oblivious》獲得聖賽巴斯提安影展最 佳短片。畢業製作《追殺導演》於鹿 特丹影展首映。

每個導演內心總有一片星空、一個房間、一個女孩、一夥黑幫。本片仿 效好萊塢黃金年代經典配樂與鏡頭語言,黑色電影、歌舞片輪番上陣; 宛若高達電影《輕蔑》的片頭,更可略窺創作者內心小小鬱卒宇宙:形 式尋找內容,虛擬尋找真實,導演尋找真愛。如何將誓不撒謊的純真, 化為阻止一切失去的子彈?大衛.林區式光影呢喃回答:體制終將你我 弒去。即便如此,我們還是得繼續下去。

Viktor VAN DER VALK received his cinematic training at the Utrecht School for the Arts and the Netherlands Film Academy. Viktor's films are characterized by characters struggling with a feeling of i mp r i s o n ment i n th e i r li ve s a n d questioning their surroundings and their homes in search for freedom.

While wandering through the night, an ambitious debut filmmaker Alex searches for the essence of his film. He has a deadline to meet but seems to have lost his inspiration. Producers are becoming impatient. The crew bombard him with questions. Being torn back and forth between his project, his departed lover, and his sick mother, Alex's life increasingly resembles a ghostly, wildly poetic film noir. As time passes, the boundary between fiction and reality becomes increasingly blurred. Is Alex entangled in his own film? An eclectic collection of images that plays around with close-ups, color, image, dialogue, text and sound, Nocturne is a lyrical film noir about a deadline, two producers, an investor, one night, a girl, some guns, and a hopelessly romantic director.

新手導演艾力克斯創作靈感枯竭,女友兼女主角安娜負氣離家。午夜前 夕平交道口,一步之遙,還來不及追回女友,就被殺手二人組架到片 廠。片廠即刑場,失控現場盡是人生跑馬燈;幕後黑手女老大,一心想 要艾力克斯放下藝術矜持,簽下切結書,讓渡腦中創意想法。小導演一 夜狂奔,電影角色突然現身暗黑厄夜,出手相援。眼底盡是漆黑星空, 這回他要和筆下角色,用真愛鑿出光明。

2019 鹿特丹影展 IFF Rotterdam DIRECTOR 維克多.范德沃克 Viktor VAN DER VALK PRODUCER Erik GLIJNIS SCREENPLAY Jeroen Scholten VAN ASCHAT,

維克多.范德沃克 Viktor VAN DER VALK CINEMATOGRAPHER Emo WEEMHOFF EDITOR Lot ROSSMARK MUSIC Eren ÖNSOY SOUND Tijn HAZEN CAST Vincent VAN DER VALK, Simone VAN BENNEKOM, Reinout Scholten VAN ASCHAT, Tom DEWISPELAERE,

Bart SLEGERS PRINT SOURCE Some Shorts


我的超模母親 The Disappearance of My Mother

異境真實

REALITY BITES


我的超模母親

136

異境真實

The Disappearance of My Mother

REALITY BITES

07.01 MON 新光二 14:1 0 07.02 T U E 新光二 21:30 07.04 THU 新光二 14:40

義大利 Italy | 2019 | DCP | Colour | 93min

班尼亞米諾.巴瑞斯,1986 年生於義 大利米蘭,曾修讀哲學,再負笈倫敦 修讀國際政治,而後於英國國立電影 電視學院獲得攝影碩士學位。擔任多 部劇情片、紀錄片及廣告等攝影指導, 本片是他作為導演的首部紀錄長片。

本片作為對影像記錄的終極探問。對永存的執念,害怕失去因而時時刻 刻記錄,人們卻再也不仰賴記憶而是超載的記憶卡。長時間跟拍的導 演,越接近母親卻仿若越陌生,數位影像無法捕捉一個人的所有面向, 重要之事可能不在鏡頭前。電影本質限於寫實與再現,也許關掉攝影 機,母子才有認識真正的彼此的可能。

Beniamino BARRESE was born in 1986. He graduated with a degree in Philosophy at Statale di Milano, International Political Economy at King's College London and later received his MA in Cinematography at the National Film and Television School in Beaconsfield, UK. Since 2011 he has been working as a filmmaker, director of photography, and photographer.

Benedetta wants to disappear. An iconic fashion model in the 1960s, she became a muse to Warhol, Dali, Penn and Avedon. As a radical feminist in the 1970s, she fought for the rights and emancipation of women. But at the age of 75, she becomes fed up with all the roles that life has imposed upon her and decides to disappear to a place as far as possible from the world she knows. Hiding behind the camera, her son Beniamino witnesses her journey. Having filmed her since he was a child in spite of all her resistance, he now wants to make a film about her, to keep her close for as long as possible – or, at least, as long as his camera keeps running.

攝影師兒子渴望拍攝母親,視她為自己「最初也最愛的模特兒」,但母 親貝妮德妲渴望消失,遠離俗世塵囂與物質科技。她是超級名模,曾是 藝術家達利及安迪.沃荷等人的謬思,她也曾是激進女性主義者,熱衷 女性解放運動。年事漸高的她,決心拋下一切,遁逃到無人知曉之處。 如今他想拍一部關於母親的電影,母子關係劍拔弩張又如膠似漆,那些 她不願被留下的影像,又能呈現多少真實?

2019 日舞影展 Sundance FF 2019 哥本哈根紀錄片影展 CPH:DOX 2019 加拿大紀錄片影展 Hot Docs DIRECTOR, SCREENPLAY, CINEMATOGRAPHER 班尼亞米諾.巴瑞斯 Beniamino BARRESE PRODUCER Filippo MACELLONI EDITOR Valentina CICOGNA MUSIC Aaron CUPPLES SOUND Massimo MARIANI CHARACTER 班尼亞米諾.巴瑞斯 Beniamino BARRESE, 貝妮德妲.巴爾澤尼 Benedetta BARZINI PRINT SOURCE Autlook Filmsales


撒旦萬萬歲

137

美國 USA | 2019 | DCP | Colour | 95min

06.28 F R I 新光二 19:20 07.03 WED 中山堂 17:00

《沉默的睪羊》導演佩妮.蓮恩再出擊,無與倫比的幽默感望向「邪 惡」,從「教徒」們充滿創新與理性的思辨中,找出藏在主流價值、 1980 年代流行文化中的恐懼符碼,拆解美國保守政客用「撒旦恐懼」 恫嚇人心,宗教綑綁政治,趁機銷售資本主義與基督教精神的治國伎 倆。影片以輕快節奏,拼出他們的信仰馬賽克:公民自主意識、宗教 獨立、個體自由。當上帝的歸上帝,凱撒的歸凱撒,福音才能是真正 的福音。 「幽默是社會變革中最被低估的武器。」──佩妮.蓮恩 Chronicling the extraordinary rise of one of the most colorful and controversial religious movements in American history, Hail Satan? is an inspiring and entertaining new feature documentary from acclaimed director Penny Lane. When media-savvy members of the Satanic Temple organize a series of public actions designed to advocate for religious freedom and challenge corrupt authority, they prove that with little more than a clever idea, a mischievous sense of humor, and a few rebellious friends, you can speak truth to power in some truly profound ways. As charming and funny as it is thought-provoking, Hail Satan? offers a timely look at a group of often misunderstood outsiders whose unwavering commitment to social and political justice has empowered thousands of people around the world.

REALITY BITES

「撒旦教」教徒穿上披風,戴上牛角,立起撒旦像,要上街頭禱告, 黑彌撒法器一樣不能少。他們在哈佛大學城的中國餐廳閣樓聚會,不 顧媒體獵巫,裸體為布,鮮血為顏料,畫出一張喚醒公民意識的大旗, 像最激進的歌德死亡金屬樂迷,用龐克精神打倒威權,正面迎擊不公 不義,對抗暴政、救美國!

異境真實

Hail Satan?

佩 妮. 蓮 恩,1978 年 出 生 於 美 國 麻 州。畢業於壬色列理工學院,於柯蓋 德大學任教,該校青少年電影計畫, 成為她拍紀錄片的契機。首部紀錄片 《Our Nixon》轟動西南偏南電影節。 2016 年《沉默的睪羊》獲日舞影展 最佳剪接。

Penny LANE has been making awardwinning and innovative nonfiction films for more than a decade. Lane was recently honored with the Vanguard Award at SF DocFest, a Chicken & Egg Breakthrough Filmmaker Award and, in 2017, was admitted to the Academy of Motion Picture Arts and Sciences.

2019 日舞影展 Sundance FF 2019 鹿特丹影展 IFF Rotterdam 2019 哥本哈根紀錄片影展 CPH:DOX DIRECTOR 佩妮.蓮恩 Penny LANE PRODUCER Gabriel SEDGWICK CINEMATOGRAPHER Naiti GÁMEZ EDITOR Amy FOOTE,

Aaron WICKENDEN MUSIC Brian McOMBER SOUND Tom PAUL CHARACTER Jex BLACKMORE, Nicholas CROWE, Lucien GREAVES, Malcolm JARRY, Michael WIENER PRINT SOURCE Magnolia Pictures


大地蜜語

138

異境真實

Honeyland 06.30 SUN 新光二 21:00 07.08 MON 新光二 12:00

REALITY BITES 1

2

1

路博米.史戴凡諾夫,1975 年生於 北馬其頓,在製作環境與人類發展相 關紀錄片有 20 餘年經驗,其客戶包 括聯合國等。 2 塔 瑪 哈. 科 泰 夫 斯 卡,1993 年 生 於北馬其頓,主修電影導演,拍攝紀 錄片也拍攝劇情片。 1 Ljubomir STEFANOV, born in 1975 in Skopje, Macedonia, has worked for over 20 years in development and production of communication concepts and documentaries related to environmental issues and human development. 2 Tamara KOTEVSKA, born in 1993 in Prilep, Macedonia, graduated in film directing from the Faculty of Dramatic Arts Skopje. She is a freelance director in documentary and fiction filmmaking.

馬其頓 Macedonia | 2019 | DCP | Colour | 86min

50 來歲的哈緹潔是歐洲碩果僅存的女性養蜂人,住在北馬其頓荒廢的 小村中,單身獨力照顧生病的母親。她以徒手採蜜的方式,維持生態平 衡與自然共存。偶爾到市區販賣少量蜂蜜,鼴鼠飲河般的自給自足,與 現代大量產製的消費主義有巨大反差。一日,遊牧家族移居至隔壁,他 們帶來大量牲口打亂了寧靜生活,但哈緹潔仍不吝分享她對蜂群的知識 與熱情,直至家族長侯賽因決定分食蜂蜜市場,竭澤而漁的做法嚴重損 害了她的生計。 主角將自然的法則懷抱於心,視之為恩賜,充分展現人類尊嚴。導演客 觀還原本初的樣貌之餘,無論是人類的物欲抑或自然的純粹,更呈現戲 劇性轉折。彷若一首獻給瀕危無價珍寶的頌歌,每一拍都帶著宇宙的呼 吸節奏,充滿自然的精巧、規律與和諧,絕美的攝影,周而復始如完美 的圓,留一抹美麗在心頭。

In a deserted Macedonian village, a woman in her fifties named Hatidze trudges up a hillside to check her bee colonies nestled in the rocks. Serenading them with a secret chant, she gently maneuvers the honeycomb without netting or gloves. Back at her homestead, Hatidze tends to her handmade hives and her bedridden mother and occasionally heads to the capital to market her wares. One day, an itinerant family installs itself next door, and Hatidze's peaceful kingdom gives way to roaring engines, seven shrieking children, and 150 cows. Yet Hatidze welcomes the camaraderie, and she holds nothing back—not her tried-and-true beekeeping advice, not her affection, not her special brandy. But soon Hussein, the itinerant family's patriarch, makes a series of decisions that could destroy Hatidze's way of life forever.

2019 日舞影展全球紀錄片類評審團大獎 Grand Jury Prize, World Cinema Documentary Competition, Sundance FF 2019 香港電影節 Hong Kong IFF 2019 紐約新導演 新電影影展 New Directors / New Films DIRECTOR 路博米.史戴凡諾夫 Ljubomir STEFANOV, 塔瑪哈.科泰夫斯卡 Tamara KOTEVSKA PRODUCER, EDITOR Atanas GEORGIEV CINEMATOGRAPHER Fejmi DAUT, Samir LJUMA MUSIC Foltin SOUND Rana EID PRINT SOURCE Deckert Distribution


救命大作戰

139

美國、墨西哥 USA, Mexico | 2019 | DCP | Colour | 80min

導演以鏡頭追蹤這個特別的家族,記錄他們遊走墨國法律邊緣的生活。 趕往事故現場變成飆車競賽,送往哪家醫院影響著收入,面對警察勒索 威脅已是家常便飯,這不再只是關於救人。 「我被這一家人的故事吸引,因為他們每天都在救護車上遇到複雜的道 德難題。這平凡家庭的生存需求往往與病人的需要不符,我對於兩者之 間存在的緊張面向感到相當好奇。」──盧克.洛倫岑

In a city where the government operates only 45 emergency ambulances for a population of over nine million, the Ochoa family acts as a crucial—but unregistered—underground lifeline. But the job is riddled with police bribes and cutthroat competition. Even though the Ochoa family has a reputation for being trustworthy, they must deal with the sudden escalation in bribes that could force them to wade into the ethically questionable practice of making money off of patients in dire straits. When a crackdown by corrupt police forces the family to try legitimizing their operation, their desperate finanial situation pushes them into questionable practices even as they continue providing essential emergency medical services. In humanizing one family's ethically compromised business, the film explores urgent questions around healthcare, the failings of government and the complexity of personal responsibility.

盧克.洛倫岑,出生於 1993 年,畢 業於史丹佛大學藝術與藝術史系,以 紀錄短片《Santa Cruz del Islote》、 《New York Cuts》 獲 得 多 個 國 際 影 展 獎 項。 也 是 Netflix 紀 錄 片 系 列 《Last Chance U》創意團隊的一員。

Luke LORENTZEN, born in 1993, is a director, producer, cinematographer, and editor. He graduated from Stanford University's department of Art and Art History, where he studied art history and film studies. His work explores elements of everyday life, often through rigorous formal means, questioning and experimenting with the ways in which non-fiction stories are told.

2019 日舞影展美國紀錄片類評審團攝影獎 Special Jury Award for Cinematography, U.S. Documentary Competition, Sundance FF 2019 香港電影節紀錄片競賽火鳥大獎 Firebird Award, Documentary Competition, Hong Kong IFF DIRECTOR, CINEMATOGRAPHER, EDITOR 盧克.洛倫岑 Luke LORENTZEN PRODUCER Kellen QUINN, 盧克.洛倫岑 Luke LORENTZEN MUSIC Los SHAJATOS SOUND Matías BARBERIS CHARACTER Juan OCHOA, Fer OCHOA, Josué OCHOA, Manuel HERNÁNDEZ PRINT SOURCE Autlook Filmsales

REALITY BITES

父親費爾鳴聲廣播鄰車讓道,兒子璜踩足油門,再按下霓虹警示燈,速 度是最高原則,要快到讓對手看不見車尾燈。墨西哥城壅塞的車潮為夜 添增緊張,終點線位在無線電波傳來的事故地點。他們一家經營私家救 護車,在時間縫隙裡執行任務,在公家醫療空白裡覓得商機。夜裡常是 無聊的等待後,轉眼又是氣喘吁吁,這家人每日的生活就是一場場真實 的生死劇。

06.27 THU 新光一 19:00 07.01 MON 新光一 12:30 07.05 F R I 華山一 21:00

異境真實

Midnight Family


140 亞洲首映 Asian Premiere

異境真實

怪正常的 Normal

REALITY BITES

07.02 TUE 新光一 22:1 0 07.05 F R I 華山二 1 1 :30 07.11 THU 華山二 21: 20

義大利、瑞典 Italy, Sweden | 2019 | DCP | Colour | 67min

阿 達 烈. 圖 莉,1982 年 出 生, 首 部 紀錄片《酷兒歡慶每一天》以印度同 志除罪運動為主題。2018 年於倫敦 羅漢普頓大學完成博士研究,探討酷 兒和女性主義脈絡下的影像美學。第 二部作品《怪正常的》2019 年於柏 林影展首映。

延伸自導演阿達烈.圖莉的論文研究,特異的鏡頭、配樂和剪接設計, 為日常帶入奇觀化的視角,邀請觀眾反思性別身份的建構與隱身其後的 社會規範;所謂的「正常」,其實充滿個人和社會期望之間的交涉與拉扯。

Adele TULLI is a filmmaker and an academic researcher interested in documentary experimental practices, as well as in gender studies and visual anthropology. She has directed award-winning films such as 365 without 377, about the struggles of th e LG B T c o mm uni ty i n I n d i a , a n d Rebel Menopause, on feminist activist Thérèse Clerc.

Normal is an unsettling visual journey through gender norms in contemporary society. Immersed in a kaleidoscopic mosaic of visually powerful scenes, viewers experience the ritualized performance of femininity and masculinity hidden in ordinary interactions from birth to adulthood. Isolating the slightly grotesque and uncanny elements surrounding our everyday life, Normal meditates on what remains imperceptible about it – its governing norms and its inner mechanisms. The result is that what counts as "normal" does not feel so reassuring, anymore. With its fragmentary structure blending together documentary and experimental aesthetics, Normal aims to transgress immediate answers and closed definitions and to generate, instead, a visual field where reality can be interpreted, problematized and reimagined. Eventually, the film intends to inspire a conversation about the performative nature of our social identities.

鏡頭穿梭在當代義大利社會中各個生活場景:游泳的孕婦、第一次穿耳 洞的五歲女孩、瘋狂追星的迷妹群、在迷你摩托車賽道上奔馳的男孩、 網咖裡專注在遊戲中射殺敵人的少年。看似毫無關聯且不帶解釋的片 段,拼貼成富含社會學意義的性別建構觀察。其中駭人的動物性與集體 性有如反烏托邦科幻異境,這些習以為常的「正常」,是否真如我們以 為的那般自然?

「義大利就像間性別議題實驗室。我想創造一個令人困惑與懷疑的空 間,反問人們對事物的習以為常是如何發生?我們如何處理對『正常』 的渴望?」──阿達烈.圖莉

2019 柏林影展 Berlinale 2019 哥本哈根紀錄片影展 CPH:DOX DIRECTOR 阿達烈.圖莉 Adele TULLI PRODUCER Valeria ADILARDI, Luca RICCIARDI, Laura ROMANO CINEMATOGRAPHER Clarissa CAPPELLANI, Francesca ZONARS EDITOR Ilaria FRAIOLI, Elisa CANTELLI, 阿達烈.圖莉 Adele TULLI MUSIC Andrea KOCH SOUND Riccardo SPAGNOL PRINT SOURCE Slingshot Films


蔚藍海岸某個地方

141

法國 France | 2018 | DCP | Colour | 98min

前後斷裂、戲劇性幾近消弭的情節,卻在導演的巧思下,蘊藏了巧妙的 連結;虛實難辨的獨白、不成對話的對話,更為影片製造一種趣味的觀 影挑戰。這是一部極度低調的當代藝術,關照人世那激情不再的各自沉 默,注視城市那失語恍動的野鬼與風。法國《電影筆記》年度十大榜外 之憾,一部全然的骨灰級影迷電影。

Sophia Antipolis, a technopole on the French Riviera, is a place where nothing of the picturesque "old France" remains but a realm transformed by a capitalistic American vision. Behind the palm trees and idyllic façades lie emptiness, impoverishment and violence. Under a deceitful sun, five lives map out the haunting story of a young woman: Sophia. A tale of ordinary madness, Sophia Antipolis seeks to uncover the contemporary myths behind pursuits which, on the surface, appear to be ordinary or trivial: parapsychology, preoccupations surrounding security, obsessions with physical transformation, etc. The beliefs, practices and behaviors may seem crazy, excessive, comical and even grotesque or violent at times, but the film stays close to the characters, adopting their point of view to explore the vulnerability and confusion behind their aspirations.

REALITY BITES

青春騷動的少女一生懸命只為事業線,更年喪偶的熟女日常倒是生無可 戀;這地幽閉旅舍內上演催眠戲碼的師父傳教,那方開闊地物中感恩讚 歎、吹播福音的師奶親密尬聊;闇夜空城裡打工仔保全的浪人漫遊,都 市荒原間自詡俠義地替天行道。一幅當代法國矽谷蘇菲亞科學園的清明 上河浮世繪、一道人世弱連結層層纏繞的千山獨行迷離劫。瑣碎冗長的 白描細節,拼成世界末日某個角落那無人聞問的片刻失溫、那空谷回音 微聲迴蕩的蔚藍海岸最心涼。

07.05 F R I 華山二 16:40 07.10 WED 華山二 21:00

異境真實

Sophia Antipolis

維吉.維尼耶,1976 年生於巴黎,人 生格言是:「過去,就是未來」。自 2001 年起,他拍攝了多部混合劇情、 紀 實 及 帶 有 神 話 色 彩 的 短 片, 前 作 《Mercuriales》 入 選 坎 城 影 展 ACID 單元,最新作品《蔚藍海岸某個地方》 一舉入選盧卡諾影展,為備受期待的 影壇新銳。 Virgil VERNIER is a director and actor known for Pandore (2010), Mercuriales (2014) and Sophia Antipolis. He was born in Paris in 1976 and has directed since 2001 a wide variety of films including action, documentary and mythology. His maxim is: antiquity is the future.

2018 盧卡諾影展 Locarno FF 2018 聖賽巴斯提安影展 San Sebastián IFF 2019 鹿特丹影展 IFF Rotterdam DIRECTOR, SCREENPLAY 維吉.維尼耶 Virgil VERNIER PRODUCER Jean-Christophe REYMOND CINEMATOGRAPHER Simon ROCA,

Tom HARARI EDITOR Charlotte CHERICI MUSIC James FERARRO SOUND Jean COLLOT, Olivier VIEILLEFOND, Simon APOSTOLOU CHARACTER Dewi KUNETZ, Sandra POITOUX, Hugues NJIBA-MUKUNA, BRUCK, Lilith GRASMUG PRINT SOURCE mk2 films


作者視角

VISIONS

家離海邊那麼近 Between Two Waters


私法追緝

143

菲律賓 Philippines | 2018 | DCP | Colour | 94min

影片直指菲國總統杜特蒂授權對用毒者的直接制裁。本片延續導演曼多 薩招牌的寫實拍攝風格,相對節制的暴力血腥,卻仍刻意讓觀眾感到不 安。來自不同社會階級的兩個主角互為鏡像,各自冒著極大風險跨過道 德界線,是因貪婪偽善抑或只為養家糊口?在天真神聖與陰暗殘酷、生 與死的各種反差與諷刺之間呈現議題,試圖在最低下的無間道中開出一 朵惡之花,期望觀眾共感與理解如此的生活樣態。

布里蘭特.曼多薩,1960 年生於菲律 賓,作品多為社會寫實題材。首部長 片《情慾按摩院》一鳴驚人獲得盧卡 諾金豹獎,之後便多次入選歐洲三大 影展,躋身國際名導,並於 2009 年 以《男孩看見血地獄》獲得該屆坎城 最佳導演殊榮。最新作品《私法追緝》 入選聖賽巴斯提安影展,榮獲評審團 特別獎。

Set against the backdrop of the Philippines Government's controversially prosecuted war on illegal drugs, a SWAT-led police force launches an operation to arrest Abel, one of the biggest and most notorious drug lords in Manilla. Police Officer Espino and Elijah, a small-time pusher turned informant, provide the intelligence for the operation which quickly escalates into a violent and heavily-armed confrontation in the slums between the SWAT and Abel's gang. Before the investigators arrive at the crime scene, Espino and Elijah walk off with Abel's backpack full of money and methamphetamine. This gesture of survival for one and corruption for the other will soon set off a dangerous series of events, both of them risking their reputations, families and lives in the process.

Brillante MENDOZA is one of the most prominent Filipino filmmakers. He won the Golden Leopard at Locarno Film Festival with his debut film, Masahista. His works have competed in major film festivals such as Berlinale, Venice and Cannes, picking up Best Director (for Kinatay) and Best Actress (for Ma' Rosa) at Cannes.

2018 聖賽巴斯提安影展評審團特別獎 Special Jury Prize, San Sebastián IFF 2018 釜山影展 Busan IFF 2019 香港電影節 Hong Kong IFF DIRECTOR 布里蘭特.曼多薩 Brillante MENDOZA PRODUCER Carlo VALENZONA SCREENPLAY Troy ESPIRITU CINEMATOGRAPHER

Joshua A. REYLES EDITOR Diego Marx DOBLES MUSIC Diwa DE LEON SOUND Albert Michael IDIOMA CAST Allen DIZON, Elijah FILAMOR, Baron GEISLER, Jalyn TABONEKNEK, Angela CORTEZ PRINT SOURCE Memento Films International

VISIONS

警方決心掃蕩馬尼拉最大的毒梟之一,警官艾斯皮諾與提供情報的線人 伊萊加在此次行動中擔任要角。在貧民窟,警方由特種部隊帶領攻堅毒 梟集團巢穴,情勢迅速升溫成暴力槍戰,多人死傷。在鑑識人員到達犯 罪現場之前,艾斯皮諾和伊萊加私藏了遺留在現場應作為物證的背包, 裡面有現金與大量毒品。但此種僥倖與腐敗勾結,漸漸演變為危及聲譽 與身家的事件。

07.07 SUN 新光一 22:10 07.09 TUE 新光一 17:10 07.11 THU 新光一 18:00

作者視角

Alpha, The Right to Kill


巴蘭吉加:咆嘯的荒野

144

作者視角

Balangiga: Howling Wilderness

VISIONS

07.05 F R I 華山二 19:10 07.07 SUN 華山二 11:30 07.10 WED 華山二 16:20

卡文,1973 年生於菲律賓昆頌市,詩 人、小說家、音樂家、鋼琴師與電影 工作者,被譽為菲律賓數位電影創作 之父。拍片成本低、速度快,各類長 短片和紀錄片的產量驚人,作品充滿 怪誕、超現實的前衛藝術風格和政治 批判。

Khavn is a Filipino poet, singer, songwriter, pianist, and filmmaker. He is the founder and festival director of MOV International Film, Music, and Literature Festival. Considered the father of Philippine digital filmmaking, Khavn has made 47 features and 112 short films since 1994.

菲律賓 Philippines | 2018 | DCP | Colour | 112min

1901 年,美軍進行「巴蘭吉加大屠殺」後,十歲男孩庫拉斯跟著祖父 與一頭水牛踏上逃亡之路。他們翻山越嶺,承受饑餓、泥濘與疲累。當 庫拉斯從燃燒的村落救出一位哭泣的幼童,他必須開始承擔照顧幼小的 責任。絕望之中祖孫倆與陌生的幼童開始想像著前往碧林岸,一座傳說 的隱形之城,是所有消失之人的歸處。 片名取自雅各布.史密斯將軍的屠殺命令:「我不要活口,我希望你們 殺人放火,薩馬內陸必須變成咆嘯的荒野。」以報復先前巴蘭吉加村民 殺害數十名美軍的反抗行動,反映當時追求獨立的菲律賓,在殖民統治 權從西班牙交易給美國時的艱困處境。導演卡文透過超現實的數位影像 和心理幻境,道出一則關於殖民壓迫的魔幻寓言。 「我拍攝本片的原因,一部份是為了試著癒合菲律賓人在被殖民經歷中 的集體傷痕。」──卡文

1901, Balangiga. Eight-year-old Kulas flees town with his grandfather and their carabao to escape General Smith's "Kill and Burn" order. He finds an infant amid a sea of corpses and names him Bola. Misfortune after misfortune befalls the traveling group. Kulas' grandfather succumbs to a snake bite, and an American ambushes the two children, killing their carabao and forcing them into servitude. Kulas and Bola escape with what little is left of their provisions. They live off the forest as best as they can, struggling to survive the American occupation. This story is shot simply and starkly: no armies thundering across plains, no generals plotting each other's demise, no grand declarations of patriotism—just the story of a child trying to make it to the next day and town alive.

2018 菲律賓電影金像獎最佳影片、原創劇本、攝影、藝術指導、原創音樂 Best Picture, Original Screenplay, Cinematography, Production Design, Original Song, FAMAS Awards 2019 哥特堡影展 Göteborg FF DIRECTOR, MUSIC 卡文 Khavn PRODUCER Achinette VILLAMOR, Edong CANLAS, 卡文 Khavn SCREENPLAY Jerry GRACIO, 卡文 Khavn CINEMATOGRAPHER Albert BANZON EDITOR 卡洛.弗藍西斯科.馬納塔 Carlo Francisco MANATAD SOUND Mikko QUIZON CAST

Justine SAMSON, Pio DEL RIO, Warren TUAÑO PRINT SOURCE Stray Dogs


Between Two Waters

西班牙 Spain | 2018 | DCP | Colour | 137min

Asian Premiere

06.28 F R I 新光二 12:00 07.01 MON 新光二 21:10 07.07 SUN 華山二 20:40

延續 12 年前的舊作《The Legend of Time》,導演伊薩基.拉奎斯塔 找回當年的少年,取材自少年們的真實人生,編寫出這部雜揉紀錄與劇 情的電影,媲美西班牙版《年少時代》。手持鏡頭和不著痕跡的剪輯, 優雅、高度同理卻不濫情地捕捉住這些生命淪落人們的日常。素人演員 間豐富的化學反應,更為影片開闊的影像,添上一股美麗無比卻又脆 弱、令人不忍的詩意。

伊薩基.拉奎斯塔,1975 年生於西班 牙加泰隆尼亞,電影導演、編劇、裝 置藝術家,創作屢獲國際影壇青睞。 2019 年與河瀨直美於法國龐畢度中心 展出作品聯展。本片風光入圍西班牙 哥雅獎年度最佳影片及導演。

Isra and Cheíto are two brothers who have gone their separate ways. When Isra comes out of prison and Cheíto's long mission in the navy comes to an end, they both return to poverty-stricken hometown of San Fernando, where unemployment is among Europe's highest and selling drugs is the fastest way of making a buck. The brothers' reunion will refresh the memory of their father's violent death when they are still little, while the need to get back on track with their lives and finally come to terms with what has happened will bring them together again. Hand-held camera work paired with nonprofessional actors and an enthralling flamenco score enhance the natural urgency of this powerful study of social conditions at the margins, resulting in empathetic and essential viewing.

Isaki LACUESTA, born in 1975 in Girona, is a Spanish film director from Catalonia. His works include documentary films, narrative films, and video art. His second feature, The Legend of Time, was selected for the Tiger Awards Competition in 2007 IFFR. Between Two Waters is his seventh feature film.

2018 聖賽巴斯提安影展金貝殼獎 Golden Shell, San Sebastián IFF 2019 鹿特丹影展 IFF Rotterdam DIRECTOR 伊薩基.拉奎斯塔 Isaki LACUESTA PRODUCER Isa CAMPO, 伊薩基.拉奎斯塔 Isaki LACUESTA, Alex LAFUENTE, Alvaro ALONSO, Paco POCH SCREENPLAY 伊薩基.拉奎斯塔 Isaki LACUESTA, Isa CAMPO, Fran ARAÚJO CINEMATOGRAPHER Diego DUSSUEL EDITOR Sergi DIES MUSIC Raül REFREE, Kiko VENENO SOUND Amanda VILLAVIEJA, Alejandro CASTILLO CAST

Israel GÓMEZ ROMERO, Francisco José GÓMEZ ROMERO PRINT SOURCE Filmax

VISIONS

即便相伴成長,血脈相連的兄弟,終究走入截然不同的人生路。同個艷 夏日,分別從監獄及軍旅生涯脫出,回到西班牙陽光海岸小城的兄弟倆 再次相會,喚醒年少時對父親之死的傷痛回憶。有人試圖和過往的怨憤 和解,但更生人的身分在這失業率高漲的小城顯得不容易;有人嘗試重 回他缺席已久的家庭,但即便一切安好且踩著正軌人生路,親密的失落 卻也非一夕間便可拾回。

亞洲首映

作者視角

家離海邊那麼近

145


鬼鎮疑雲

146

@LouScamble

作者視角

Ghost Town Anthology

VISIONS

07.04 THU 中山堂 17:00 07.09 TUE 新光二 12:30 07.11 THU 新光二 20:50

加拿大 Canada | 2019 | DCP | Colour | 97min

德尼.柯特,影評人出身,以魁北克 為創作據點,拍過多部長短片以及紀 錄片,其影像風格融紀實與虛構於一 爐,善於從一般人不容易察覺的視角 切入,靜觀日常百態,提煉出詩性的 奇景。作品多次受到國際影展肯定, 三度入選柏林影展競賽單元,為 2014 年台北電影節焦點影人。

以冷調的實驗性著稱的魁北克導演德尼.柯特,這次選擇以魔幻寫實的 手法講群體的傷痕,挖掘集體的深層憂鬱,摻入淡淡的靈異元素,不以 嚇人為目的,卻是讓人 down 到地底下,冷進骨子裡。作為一則寓言, 更像是對人世間的沉重和虛無的控訴,不需多言,就叫人別過頭,忍不 住打了寒顫。

Denis CÔTÉ was born in 1973. His unique independent vision, cool formal elegance, and daring experimentalism have made him one of Canada's most internationally acclaimed filmmakers. Denis Côté's works have been the subject of more than twenty retrospectives around the world. Ghost Town Anthology is his 11th feature film.

In Irénée-les-Neiges, a small, isolated town with a population of 215, Simon Dubé dies in a car accident. The stunned townspeople are reluctant to discuss the circumstances of the tragedy. From that point on, for the Dubé family as well as for Mayor Smallwood and a handful of others, time seems to lose all meaning, and the days stretch on without end. As the family and town grieve, the residents begin to report ghost sightings of many of the town's departed former residents. A rural tale that straddles the line between social realism and the supernatural, the film is a largely monochrome ensemble piece that muses on, rather than directly addresses, the current hot topics of the "other" and the viability of small-town life.

在被雪掩蓋的小鎮裡,一個年輕男孩之死如湖中落石,陰鬱的情緒、焦 躁與困惑如漣漪一般,從他的父母和兄長、到鎮長,漸次擴散到鎮上的 眾人之間。在這個只有 215 位居民的地方,人人都互相認識,在地的 問題靠大家共同解決──但是當死亡沒有答案,生者不再有力氣好好活 下去,逝去的幽靈默默出現和遊蕩,光天化日之下回望陽世。究竟是世 界生病了?還是大家早已心死,而不自知?

2019 柏林影展 Berlinale 2019 香港電影節 Hong Kong IFF 2019 全州影展 Jeonju IFF DIRECTOR, SCREENPLAY 德尼.柯特 Denis CÔTÉ PRODUCER Ziad TOUMA CINEMATOGRAPHER François MESSIER-RHEAULT EDITOR Nicolas ROY SOUND Yann CLEARY, Frédéric CLOUTIER, Clovis GOUAILLIER CAST Robert NAYLOR, Josée DESCHÊNES, Jean-Michel ANCTIL, Larissa CORRIVEAU, Diane LAVALLÉE PRINT SOURCE Films Boutique


她的搖滾滋味

147

美國 USA | 2018 | DCP | Colour | 135min

06.29 SAT 新光二 14:00

VISIONS

嚐到成功滋味的龐克浪女,初紅乍紫的人生就此旋繞於藥物、酒精、怪 奇信仰之中,墮入一道漫長的自我毀滅修羅道。她仍有話想說、她仍有 歌想唱,但她狀態如此不穩,總伴隨不可預測的危險行為,粉碎事業夥 伴的熱情,讓親近的家人傷心欲絕。她能否掙脫這一身混沌的傷痛,能 否在巨星誕生自燃的餘燼中,再次綻放希望的光芒,捕捉生命的可能, 搖滾愛重生。

作者視角

Her Smell

《使女的故事》金獎影后伊莉莎白.摩斯和導演三度合作,詮釋出一個 被環境和自身缺陷逼陷絕境的藝術家面貌,張狂無比的演出,令人過目 難忘。緊貼角色的運鏡節奏、混亂緊張的搖滾後台細節捕捉、需要觀眾 填空的斷裂敘事,影片除大幅度的情緒振盪外,末段角色那心若止水的 描繪,更令人玩味。《唐頓莊園》丹.史蒂文斯、超模卡拉.迪樂芬妮、 《水行俠》安柏.赫德亦助陣演出。

艾力克斯.羅斯.佩瑞,1984 年生於 美國賓州,畢業於紐約大學,曾以《聽 著,菲利普》獲得盧卡諾影展評審團 特別獎,歷年作品亦多次入選日舞、 柏林等國際影展,近期更為迪士尼影 業執筆《摯友維尼》劇本。

Becky Something is a 1990s punk rock superstar who has once filled arenas with her grungy all-female trio Something She. Now she plays in smaller venues while grappling with motherhood, exhausted band mates, nervous record company executives, and a new generation of rising talent eager to usurp her stardom. When Becky's chaos and excesses derail a recording session and national tour, she finds herself shunned, isolated and alone. Forced to get sober, temper her demons, and reckon with the past, she retreats from the spotlight and tries to recapture the creative inspiration that has led her band to success. Anchored by a towering, unflinching performance from Golden Globe and Emmy winner Elisabeth Moss, and supported by a stellar ensemble cast, Her Smell examines the grit, grace and gravitas of an unforgettable fictional rock star crashing down to earth into the harsh realities of mid-life.

Alex Ross PERRY was born in Bryn Mawr, Pennsylvania in 1984. He attended the Tisch School of the Arts at New York University and worked at Kim's Video in Manhattan. He is a director, writer and actor, known for Her Smell, Golden Exits and Listen Up Philip.

2018 多倫多影展 Toronto IFF 2018 紐約影展 New York FF 2019 西南偏南電影節 SXSW DIRECTOR, SCREENPLAY 艾力克斯.羅斯.佩瑞 Alex Ross PERRY PRODUCER Matthew PERNICIARO, Michael SHERMAN, Adam PIOTROWICZ, 伊莉莎白.摩斯 Elisabeth MOSS, 艾力克斯.羅斯.佩瑞 Alex Ross PERRY CINEMATOGRAPHER Sean Price WILLIAMS EDITOR Robert GREENE MUSIC Keegan DeWITT SOUND Ryan M. PRICE CAST 伊莉莎白.摩斯 Elisabeth MOSS, 卡拉.迪樂芬妮

Cara DELEVINGNE, 丹.史蒂文斯 Dan STEVENS, 艾希莉.班森 Ashley BENSON, 安柏.赫德 Amber HEARD PRINT SOURCE 原創娛樂股 份有限公司 Creative Century Entertainment.


148 亞洲首映 Asian Premiere

作者視角

07.06 SAT 新光二 19:10

VISIONS

佩卓.阿莫多瓦,1949 年出生於西班 牙,以大膽絢麗影像色彩見長,為享 譽國際的知名導演。曾以作品《我的 母親》榮獲坎城影展最佳導演及奧斯 卡最佳外語片,亦憑藉《悄悄告訴她》 奪得奧斯卡最佳原創劇本。最新作品 《痛苦與榮耀》是他第六次入選坎城 影展主競賽。 P e d r o A L M O D Ó VA R i s a S p a n i s h f i l m m a ke r, d i re c t o r, s c re e nw r i t e r, producer, and former actor. His films are marked by his employment of certain actors and creative personnel, complex narratives, melodrama, pop culture, popular songs, ir reverent humour, strong colours, and glossy décor. Desire, passion, family, and identity are among Almodóvar's most prevalent themes.

痛苦與榮耀 Pain and Glory

西班牙 Spain | 2019 | DCP | Colour | 113min

一生奉獻給電影的導演馬洛,以爆炸性的狀態生活著,從不留戀過去的 他,總汲汲營營地向新工作前進。但隨年事增長,他的創作靈感也已達 邊緣,肉體上的病痛更是令他折磨不堪。壓力接踵而至,面對手中的未 完成項目,他再次重新探尋被淡忘的往昔──思念母親是如何指引他的 人生道路,失戀勾起的酸苦滋味,又是如何啟發他的電影生涯。當回憶 如潮水湧上心頭,所有種種,只為找回昔日生活的激情,與繼續前進的 救贖動力。 導演阿莫多瓦以真假難辨的回憶,結合自身生活經歷,對童年、母親、 過往戀人及合作演員,進行一場獻給電影人生的溫柔致敬。光影搖曳的 攝影鏡頭下,藉由強烈色彩描繪,困於病痛與創作間的孤獨與矛盾。亦 通過戲中戲、舞台劇等形式,以纏繞悔恨及寬恕的回憶示人,帶領觀眾 一窺,那光彩榮耀背後帶來的痛苦繾綣。

Pain and Glory tells a series of reencounters experienced by Salvador Mallo, a film director in his physical decline. Some of them in the flesh, others remembered: his childhood in the 60s, when he emigrated with his parents to a village in Valencia in search of prosperity, the first desire, his first adult love in the Madrid of the 80s, the pain of the breakup of that love while it was still alive and intense, writing as the only therapy to forget the unforgettable, the early discovery of cinema, and the void, the infinite void that creates the incapacity to keep on making films. In recovering his past, Salvador finds the urgent need to recount it, and in that need he also finds his salvation.

2019 坎城影展 Cannes DIRECTOR, SCREENPLAY 佩卓.阿莫多瓦 Pedro ALMODÓVAR PRODUCER Agustín ALMODÓVAR CINEMATOGRAPHER José Luis ALCAINE EDITOR Teresa FONT MUSIC 阿爾伯特.伊格勒西雅斯 Alberto IGLESIAS SOUND Sergio BURMAN CAST 安東尼奧.班德拉斯 Antonio BANDERAS, 埃希爾.艾特先迪亞 Asier ETXEANDIA, 李奧納多.斯巴拉葛利亞 Leonardo SBARAGLIA, 潘妮洛普.克魯茲 Penélope CRUZ PRINT SOURCE 傳影互動股份有限公司 ifilm Co., Ltd.


彼得盧:人民之聲

149

英國、美國 UK, USA | 2018 | DCP | Colour | 154min

07.08 MON 新光一 1 1 :40 07.11 THU 新光一 20:10

VISIONS

1819 年,英格蘭國內受四年前結束的拿破崙戰爭影響,經濟低迷,失 業率偏高、饑荒蔓延全國,工人階層和資本家同聲要求改革,包括投票 權的普及與議會體制重組。該年 8 月 16 日,一場聚集多達六萬人的和 平示威在曼徹斯特舉行,政府因為懼怕法國大革命式的動亂發生,積 極介入鎮壓,最終造成 18 死、700 人受傷的慘劇,史稱彼得盧大屠殺 (Peterloo Massacre),作為拿破崙遭遇慘敗的滑鐵盧一戰之諷刺。 殿堂級導演麥克.李深感這段國家暴力對待人民的黑歷史能見度不夠, 以史詩規格重現當年各方人馬的思路,包括農工階級的小人物一家、執 政當局的高官們,以及領導運動的革命領袖,將日常庶民的話語,宮廷 權謀的話術與慷慨激昂的演說交織呈現,娓娓道來各股勢力的衝突。油 畫般的攝影光線及構圖,讓人想起導演的前作《畫世紀:透納先生》。

麥 克. 李,1943 年 生 於 英 國, 為 影 視雙棲的導演,亦創作舞台劇。關注 中下階層、擅長寫實主義,曾七度入 圍 奧 斯 卡 編 劇、 導 演 獎 項。1996 年 《秘密與謊言》拿下坎城金棕櫚獎, 2004 年《天使薇拉卓克》奪得威尼 斯金獅獎。

An epic portrayal of the events surrounding the infamous 1819 Peterloo Massacre, where a peaceful pro-democracy rally at St Peter's Field in Manchester turned into one of the bloodiest and most notorious episodes in British history. The massacre saw British government forces charge into a crowd of over 60,000 that had gathered to demand political reforms and protest against rising levels of poverty. Many protestors were killed and hundreds more injured, sparking a nationwide outcry but also further government suppression. The Peterloo Massacre was a defining moment in British democracy which also played a significant role in the founding of The Guardian newspaper. A film about the strengths and weaknesses of humanity, Mike Leigh's Peterloo is a celebration of the power of hope, and a lamentation on man's inexhaustible capacity to destroy.

Mike LEIGH, born in 1943 in Lancashire, England, is a writer and director of film and theatre. He is known for his depictions of the dramas inherent in the everyday lives of regular people and for his improvisational rehearsal style.

2018 威尼斯影展 Venice FF 2018 多倫多影展 Toronto IFF 2018 倫敦影展 London FF DIRECTOR, SCREENPLAY 麥克.李 Mike LEIGH PRODUCER Georgina LOWE CINEMATOGRAPHER Dick POPE EDITOR Jon GREGORY MUSIC Gary YERSHON SOUND Robert IRELAND CAST Rory KINNEAR, Maxine PEAKE, Neil BELL, Philip JACKSON, Vincent FRANKLIN PRINT SOURCE Cornerstone Films

作者視角

Peterloo


出走巴黎

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作者視角

Synonyms 07.07 SUN 新光一 14:10 ★▲

法國、以色列、德國 France, Israel, Germany | 2019 | DCP | Colour | 123min

VISIONS

以色列軍隊退伍軍人約阿夫初到巴黎,卻意外遭洗劫一空,全身赤祼被 一對巴黎情侶艾米爾和卡洛琳救醒。一無所有的他,想成為一名法國 人,他開始拒說希伯來文,並努力學習法文,試著從中尋找各式有趣的 同義詞。為更融入巴黎社會,約阿夫也出賣自己健美的肉體,卻在異國 異地文化衝擊下,與這對巴黎情侶發展出極其微妙的三角關係。 那達夫.拉匹,1975 年生於以色列台 拉維夫。2011 年以《鐵男特警》獲得 盧卡諾影展評審特別獎,2014 年《吾 愛吾詩》入選坎城國際影評人週,並 獲得台北電影節國際新導演競賽最佳 影片。《出走巴黎》為其第三部長片, 於 2019 年柏林影展奪得金熊獎。

Nadav LAPID is a director and screenwriter born in 1975 in Tel Aviv, Israel. He studied philosophy at Tel Aviv University. After military service, he moved to Paris before returning to Israel to earn a degree at the Sam Spiegel Film & Television School in Jerusalem.

本片獲得柏林影展金熊獎,故事改編自導演年輕時旅居巴黎的經歷。前 作《吾愛吾詩》曾獲得 2015 年台北電影節國際新導演競賽最佳影片。 《出走巴黎》延續過去作品對以色列男性文化的凝視與逃離,藉男性裸 體穿針引線,展開對歐洲文化危機的觀察。巴黎,在片中成為對立於以 色列的歐洲符號,兩男一女的三角愛,荒誕的文化諷刺,語言與身體的 政治性,柏林金熊獎再一次前衛大膽地探索了電影的界限。 「我們如何被囚禁於自我的身份與過去,這是關乎所有人的普世問 題。」──那達夫.拉匹 Yoav, an Israeli who arrives in Paris with a deep disgust of his warlike country, and with a strong desire to become French and to be buried at Père Lachaise cemetery, wanders through the city streets with an "extensive" pocket dictionary in hand. With the help of a Franco-Israeli dictionary, he resolves to stop speaking Hebrew, put his troubled past behind him, and faces his upcoming naturalisation test. Yoav's plan of transforming himself into a French citizen, which he embraces soul and body, leads him to come faceto-face with his own national identity over and over again. However, Yoav discovers that his national identity stalks him like a shadow. The harder he tries to shed his skin, the closer it sticks to his bones.

2019 柏林影展金熊獎 Golden Bear, Berlinale 2019 柏林影展主競賽單元費比西國際影評人獎 FIPRESCI Prize, Competition, Berlinale 2019 香港電影節 Hong Kong IFF DIRECTOR 那達夫.拉匹 Nadav LAPID PRODUCER Saïd Ben SAÏD, Michel MERKT SCREENPLAY 那達夫.拉匹 Nadav LAPID, Haïm LAPID CINEMATOGRAPHER Shaï GOLDMAN EDITOR Era LAPID, François GÉDIGIER, Neta BRAUN MUSIC Elise LUGUERN SOUND Marina KERTÉSZ, Sandy NOTARIANNI, Christophe VINGTRINIER CAST 湯姆.梅西耶 Tom MERCIER, Quentin DOLMAIRE,

Louise CHEVILLOTTE PRINT SOURCE 海鵬影業有限公司 Swallow Wings Film Co., Ltd.


2017 年起,台北電影節首創「電影正發生」特別活 動,以革新的角度,策劃且營造特殊現場,在邀請 觀眾進入影廳沉浸於影像聲光之外,另闢途徑,將 電影幕後的工作狀態抽取、再現於觀眾面前。

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Since the launch of the section In Progress in 2017, Taipei Film Festival has been organizing special events and scenes professional works in film production.

電影正發生:剪接

activities to offer the audiences an insight into behind-the-

IN PROGRESS: EDITING


電影正發生 In Progress

自於提問,抑或緊跟趨勢脈動。2017 年,台北電影節以電影配樂為題,邀請近年來 致力於電影配樂創作的音樂人林強,與新銳導演詹京霖合作,為短片《你的電影,我

的生活》配樂。四天的創作現場,切分為配樂工作執行,以及導演、配樂家之間的創作理 念交鋒。曾經遙遠、模糊而充滿神秘魅力的配樂工作還原於銀幕之外、觀眾面前。2018 年, 隨著科技革新而崛起的 VR(Virtual Reality,虛擬實境)從技術至應用快速成長,觀看影 像的方式不再只是或坐或臥面對銀幕,更可以與其互動,讓觀眾成為故事的一部分,進而 挑戰電影累積百年有餘以來的敘事概念。藉由黑客松現場操作、論壇、VR 影片放映等多元 面向,切入 VR 的本質與其對電影創作產生的可能效應。

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電影正發生:剪接 IN PROGRESS: EDITING

he "In Progress" section originated from Q&As, or perhaps from the close following of developing trends. In 2017, Taipei Film Festival chose film soundtracks as the theme and invited dedicated film score composer LIM Giong and acclaimed director CHAN Ching-lin to collaborate on the soundtrack for the short film Is Life a Movie. The four-day live event was separated into the actual production of the soundtrack and creative philosophy exchanges between director and composer. This "In Person" section brought the previously mysterious work of film scoring to the front. In 2018, with the rapid development of virtual reality (VR) technology and applications, viewing methods were no longer limited to sitting or lying in front of the screen. Instead, audiences could now interact with or even become part of the story, challenging film storytelling concepts accumulated over a hundred years. Through a live hackathon, forums, VR screenings and a diverse range of other activities, "In Person" examined the essence of VR and its potential effects on film production.

「電影人」 的 誕 生 The Birth of "Cineaste"

將電影作品視為一個宛如人體的存在,我們從配樂找出電影的心跳、以 VR 勾勒未來的 輪廓;今年,我們則回到「電影人」的骨幹,探問剪接在建立敘事(narrative)的幾

種面向。導演賦予「電影人」血肉,而剪接則走縱筋骨,進而提煉靈魂,將氣韻發酵。在此, 我們試著從三個面向端看「電影人」──新生或大師,寫實與虛構,以及類型創作。

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f a work of film is perceived as a human body, the film's heartbeat is its soundtrack, while the contours of its future can be imagined via VR. This year, we are returning to the backbone of the "cineaste" to explore the various aspects of film editing in the construction of a narrative. The director bestows the "cineaste" flesh and blood, while the editor traverse the muscles and bones, refining the spirit and expressing the air. Here, we seek to look at the "cineaste" from three facets — new talent or master, reality and fiction, and genre filmmaking.


講座 Talk 大師與新銳 之 間 的 剪 影 : 利・查泰米 提 古

Masters and New Talents: Lee CHATAMETIKOOL

・查泰米提古,知名剪接師,以泰國為基 地,成立 White Light Post 後製公司,掌

握剪接、後期統籌工作。自名導阿比查邦.韋拉 斯塔古第一部叩關坎城影展的作品《極樂森林》 (2002)開始,利 查泰米提古便與他建立起深 茅廬時扮演推手,在創作者本人都手足無措的同 時,幾乎手把手地協助他們說出心中的故事。建 立大師氣韻,亦可提煉初生之犢的靈魂,成為「電 影人」身邊最不可或缺的剪影。利 查泰米提古如 何與大師的靈魂貼近,又能還原、具象新銳心中 抽象的創作思維? he acclaimed film editor Lee Chatametikool has started to collaborate with Apichatpong Weerasethakul and work with filmmakers both in Thailand and overseas since Blissfully Yours (2002), Apichatpong's first fiction film. How does he capture the visions of insightful directors, approaching their souls to get their spirit and creative thinking? How does Chatametikool, an established film editor, promote young talents and encourage them to expound their views?

Fact and Fiction: LI Nien-hsiu

作經驗兼具導演、剪接、編劇三重身份,更 跨越劇情與紀錄片創作的李念修,貫通故事

形成的三大核心。劇情片的成立先有劇本,再捕 捉、累積影像素材,由導演掌握創作過程,而紀 錄片的素材則仰賴真實自然誕生。導演從掌權者 退居觀察者,當剪接進場,是否更是背後真正說 故事的人?她廣闊且深刻的創作經驗,將點出看 似隔山卻根根相連的劇情片

L

紀錄片剪接面向。

I N i e n - h s i u , a d i r e c t o r, e d i t o r, a n d screenwriter, has experience both in making dramas and documentaries. While drama requires a script on which the film is based and a director to visualize the script, documentary involves capturing materials that naturally show up. What's the difference between editing drama and documentary? Is the editor the person who tells the story?

IN PROGRESS: EDITING

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剪破寫實與虛構: 李念修的跨紀錄/ 劇情剪接

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電影正發生:剪接

講座 Talk

刻的夥伴關係,更跨出國境,在新銳創作者初出


講座 Talk 一刀入魂或 剪 於 無 形 : 李棟全與類 型 電 影 剪 接

Decisive and Flexible in Genre Films: Wenders LI

乎待過所有電影製作幕後職位的李棟全, 如今是名導彭浩翔御用剪接師,更是近十

年來努力發展的台灣類型片重要的剪接師。類型 電影講究節奏,無論是動作片要求快速緊張,積 154

累情緒,或愛情片在一剪瞬間積累情感,李棟全

論壇 Forum

針對類型電影的掌握不僅不限於單一類型,更內 建符合各種類型需要的節拍。一刀刀步上巔峰, 或沉溺於情愛,李棟全如何剪於無形之間,又剪

電影正發生:剪接

出魂魄?

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IN PROGRESS: EDITING

enders LI, a versatile film editor working i n va r i o u s p o s i t i o n s o f f i l m p o s tproduction, plays an influential role in Taiwan's genre films in past ten years. While the genre of film dictates the rhythm of editing, how does he create tension in suspenseful action movie and give the audience the necessary time to absorb a moving moment in a romance?

我們與故事的距離

The World between Our Stories

演思緒萬千,故事層層交疊,剪接師如何 把關,符合導演的理想建立故事骨幹,又

清楚地傳遞故事,讓觀眾沉浸其中?剪去或增添 幾拍,都可能在理解故事的路上,將觀眾引導到 不同的方向。我們都是觀眾,在無形之間,其實 是跟著剪接師走才得以靠近故事?剪接師同時具 有創作者的眼光,又得時時轉換為無數雙不同角 度的眼睛,匯集三個題目與角度,面對觀眾或想 著觀眾時,剪接的工作如何運作?「電影正發生: 剪接」最終回,我們共同討論故事和觀眾的距離 與路徑。

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hen every single addition and deletion in the footage alters the messages audiences receive, how does an editor comprehend director's idea, follow the intricate storyline, and tell a compelling story? How does an editor work both as a creator and a viewer? The forum delves into the secrets of editing from three topics and perspectives. In the final part of In Progress: Editing, we discuss the world between our stories.


講師介紹 Speakers 利 ・ 查 泰 米提 古 Lee CHATAMETIKOOL

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演。 剪 接 作 品 豐 碩, 自

《極樂森林》開始,長期與阿比 查邦合作,亦致力於培育新銳導 演。2010 年成立後製公司 White Light Post,負責影像調色、底片 數位掃描、後期聲音、特效等業 務。導演作品有《愛情多年後回 來》,經手之剪接作品包括《邊 境 幻 夢 》、《 地 久 天 長 》、《 華 麗之墓》、《傷心蔚藍海》。

LI Nien-hsiu

為「 電 影 神 剪 手 」, 參 與 多 部 劇 情、 紀 錄 片 剪 接。

2010 年《 街 舞 狂 潮 》 提 名 第 47 屆金馬獎最佳剪接。2015 年擔任 紀錄片《河北臺北》導演、剪接, 榮獲台北電影獎最佳紀錄片,並 入圍山形國際紀錄片影展競賽, 躍上國際舞台。近年轉為編劇身 份,回到創作最前端,迅速累積 電影、劇集、微電影等不同類型 規格之劇本作品,成為炙手可熱 的編劇。

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I Nien-hsiu attended the graduate school of film at NTUA. She has edited many nar rative and documentary films and was nominated for the 47th Golden Horse Awards for Film Editing for Hip-Hop Storm (2010). She also worked in Touch of the Light (2012) as an editor and screenwriter. In 2000, she began filming her first directorial documentary feature Hebei Taipei (2015), the incredible life story of her father, shot over 15 years.

IN PROGRESS: EDITING

李念修

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電影正發生:剪接

ee CHATAMETIKOOL is an editor and filmmaker based in Thailand. He is a long-term collaborator with Apichatpong Weerasethakul. He was twice awarded Best Editor at the Asian Film Awards, for Syndromes and a Century (2006) and Karaoke (2009). The Bangkok Film Cr itic's Assembly also named him Best Editor in 2008 for Wonderful Town. In 2013, his directorial debut Concrete Clouds (2013) premiered at the BIFF and was nominated for competition at the IFFR.

國 剪 接 師、 後 期 製 片、 導


李棟全 Wenders LI

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enders LI, a senior film e d i to r, i s t h e h e a d o f Film and Television Department in Popcorn Media and a longterm collaborator with Hong Kong director Pang Ho-cheung. His Perhaps Love (2005) was nominated for Best Film Editing in Hong Kong Film Awards and his The Warlords (2007) was nominated in the Golden Horse Awards, Hong Kong Film Awards and Asian Film Awards. His works include You Shoot, I Shoot (2001) and The Scoundrels (2018).

深電影剪接師,爆谷電影及 電視劇部門負責人。活躍於

台灣、香港、中國等地電影製作, 長期和香港導演彭浩翔合作。曾 156

以《如果.愛》獲得第 25 屆金像 獎的最佳剪接提名,《投名狀》 獲得第 27 屆金像獎、第 45 屆金 馬獎以及第 2 屆亞洲電影大獎的

電影正發生:剪接

最佳剪接提名。剪接作品包括《買 兇拍人》、《投名狀》、《狂徒》。

IN PROGRESS: EDITING

傅天余 FU Tien-yu

約大學電影研究所碩士,台 灣編劇、導演、作家。擅長

以女性視角細膩捕捉人物情感。 《人間劇場-你在看我嗎》獲第 38 屆金鐘獎單元劇最佳編劇。首 部長片《帶我去遠方》入圍台北電 影獎、捷克卡羅維瓦利等多個國際 影展。編導之《黛比的幸福生活》 獲金鐘獎最佳迷你劇集

電視電

影及沖繩電影節最佳影片大獎; 《我的蛋男情人》入選金馬創投企 劃及釜山影展亞洲之窗單元。

F

U Tien-yu began writing award-winning novels and screenplays after obtaining an MA of film production from New York University. Fu started her career as a director for Taiwan Public Television Service Station. Her feature debut Somewhere I Have Never Travelled (2009) was nominated fo r Ta i p e i F i l m Awa rd s a n d screened in the Karlovy Vary Film Festival. Her latest work My Egg Boy (2016) was selected in Golden Horse Film Project Promotion and the BIFF.


國剪接師、後期製片、導演。剪接 作品豐碩,自《極樂森林》開始,

長期與阿比查邦合作,亦致力於培育新銳 導演。2010 年成立後製公司 White Light Post,負責影像調色、底片數位掃描、後 期聲音、特效等業務。導演作品有《愛情 多年後回來》,經手之剪接作品包括《邊 境幻夢》、《地久天長》、《華麗之墓》、 《傷心蔚藍海》。

利・查泰米提古 焦點影人

ee CHATAMETIKOOL is an editor and filmmaker based in Thailand. He is a long-term collaborator with Apichatpong Weerasethakul. He was twice awarded Best Editor at the Asian Film Awards, for Syndromes and

a Century (2006) and Karaoke (2009). The Bangkok Film Critic's Assembly also named him Best Editor in 2008 for

Wonderful Town. In 2013, his directorial debut Concrete Clouds (2013) was premiered at the BIFF and was nominated for competition at the IFFR.

FILMMAKER IN FOCUS: LEE CHATAMETIKOOL

L

焦點影人:利.查泰米提古

Filmmaker in Focus: Lee CHATAMETIKOOL

157


作 品 年 表 Filmography 年份 Year

作品 Title

導演 Director

職位 Position

2001

Miami Strips, Hollywood Dreams (Short)

利.查泰米提古 Lee CHATAMETIKOOL

D

2002

極樂森林 Blissfully Yours

阿比查邦.韋拉斯塔古 Apichatpong WEERASETHAKUL

E

2003

One Night Husband

萍帕卡.托維拉 Pimpaka TOWIRA

E, SE

2003

Sayew

康德.賈圖雲洛薩米 Kongdej JATURANRASAMEE

E, SD

Kiat SONGSANANT 2003

Fake

Thanakorn PONGSUWAN

E

2004

熱帶幻夢 Tropical Malady

阿比查邦.韋拉斯塔古 Apichatpong WEERASETHAKUL

E, SE

2004

鬼影 Shutter

班莊.比辛達拿剛 Banjong PISANTHANAKUN

E

帕德潘.王般 Parkpoom WONGPOOM

158

2004

Ooppasombot (Short)

Tanon SATTARUJAWONG

E

2005

午夜之愛 Midnight My Love

康德.賈圖雲洛薩米 Kongdej JATURANRASAMEE

E

2006

大象與我 The Elephant King

塞思.格羅斯曼 Seth GROSSMAN

E

2006

Graceland (Short)

阿諾查.蘇維查康彭 Anocha SUWICHAKORNPONG

E

2006

戀愛症候群 Syndromes and a Century

阿比查邦.韋拉斯塔古 Apichatpong WEERASETHAKUL

E, SE

2007

The Sperm

塔偉華.温泰 Taweewat WANTHA

E

2007

傷心蔚藍海 Wonderful Town

艾狄雅.阿薩拉 Aditya ASSARAT

E

2007

愛在暹邏 The Love of Siam

楚克.薩克瑞科 Chukiat SAKVEERAKUL

E

2008

Block B (Short)

張千輝 Chris CHONG Chan-fui

E, PS

2008

A Moment in June

O. Nathapon (Nathapon WONGTREENATRKOON)

E

2009

給波米叔叔的一封信

阿比查邦.韋拉斯塔古 Apichatpong WEERASETHAKUL

E, PS

A Letter to Uncle Boonmee (Short) 2009

卡拉 OK Karaoke

張千輝 Chris CHONG Chan-fui

E

2009

Phantoms of Nabua (Short)

阿比查邦.韋拉斯塔古 Apichatpong WEERASETHAKUL

E

2009

Sawasdee Bangkok

艾狄雅.阿薩拉 Aditya ASSARAT

E

焦點影人:利.查泰米提古

康德.賈圖雲洛薩米 Kongdej JATURANRASAMEE 彭力.雲旦拿域安 Pen-ek RATANARUANG 韋西.沙贊那庭 Wisit SASANATIEN 2009

Phuket (Short)

艾狄雅.阿薩拉 Aditya ASSARAT

E

2009

看似平凡的故事 Mundane History

阿諾查.蘇維查康彭 Anocha SUWICHAKORNPONG

E

2009

Bitter/Sweet

Jeff HARE

E

2010

波米叔叔的前世今生

阿比查邦.韋拉斯塔古 Apichatpong WEERASETHAKUL

E, PS

王晶 WANG Jing

E

Uncle Boonmee Who Can Recall His Past Lives 2010

早餐、午餐、晚餐 Breakfast Lunch Dinner

FILMMAKER IN FOCUS: LEE CHATAMETIKOOL

阿諾查.蘇維查康彭 Anocha SUWICHAKORNPONG 蔡慧甄 Kaz CAI 2011

陰陽魔界 Hellgate

E

2013

約翰.潘尼 John PENNEY 擁抱幸福,擁抱愛 Home: Love, Happiness, Remembrance 楚克.薩克瑞科 Chukiat SAKVEERAKUL 愛情多年後回來 Concrete Clouds 利.查泰米提古 Lee CHATAMETIKOOL

2014

欲動 Taksu

杉野希妃 Kiki SUGINO

E

2015

The Guitar King

Pasakorn PRAMOOLWONG

E

2015

華麗之墓 Cemetery of Splendor

阿比查邦.韋拉斯塔古 Apichatpong WEERASETHAKUL

E, PS

2015

晚五朝九 Five to Nine

杜海 Vincent DU

E

2012

E D, E

鄭彌彬 TAY Bee Pin 宮崎大祐 MIYAZAKI Daisuke 拉錫奎.蘇卡恩 Rasiguet SOOKKARN 2016

Motel Mist

帕達.雲 Prabda YOON

E

2016

鬼打牆 Take Me Home

龔席立 Kongkiat KHOMSIRI

E

2016

徒刑 Apprentice

巫俊鋒 BOO Junfeng

E

2016

生命宛如幽暗長河 By the Time It Gets Dark

阿諾查.蘇維查康彭 Anocha SUWICHAKORNPONG

E, P

2017

以你的名字呼喚我 Call Me by Your Name

盧卡.格達戈尼諾 Luca GUADAGNINO

PM

2017

親愛的大笨象 Pop Aye

陳敬音 Kirsten TAN

E

2017

Before Spring (Short)

Mary HASAVARI

E

2017

她在離職的那一天爆炸

卡洛 弗藍西斯科.馬納塔 Carlo Francisco MANATAD

E

Jodilerks Dela Cruz, Employee of the Month (Short) 2017

告別茉莉 Malila: The Farewell Flower

阿努查.彭尼亞瓦塔納 Anucha BOONYAWATANA

E

2018

Sad Beauty

龐蔻.康瑪莉 Bongkoj KHONGMALAI

E

2018

十年泰國 Ten Years Thailand

艾狄雅.阿薩拉 Aditya ASSARAT

E

韋西.沙贊那庭 Wisit SASANATIENG 朱拉亞農.西里彭 Chulayarnnon SIRIPHOL 阿比查邦.韋拉斯塔古 Apichatpong WEERASETHAKUL 2018

邊境幻夢 Manta Ray

普帝邦.阿朗潘 Phuttiphong AROONPHENG

E

2018

重返天堂之城 Nakorn-Sawan

彭莎依.阿克索沙旺 Puangsoi AKSORNSAWANG

E

2018

三面娜迦 2 Nakee 2

龐帕特.沃希雷伯喬 Pongpat WACHIRABUNJONG

E

2018

愛上卡夫卡 Looking for Kafka

陳玉慧 Jade Y. CHEN

E

2019

地久天長 So Long, My Son

王小帥 WANG Xiaoshuai

E

導演 Director (D)、剪輯 Editor (E)、音效 Sound (S)、聲音設計 Sound Designer (SD)、聲音剪輯 Sound Editor (SE)、製片 Producer (P)、 後期製作總監 Post-Production Manager(PM)、後期製片監製 Post-Production Supervisor (PS)


傷心蔚藍海

159

泰國 Thailand | 2007 | 35mm | Colour | 92min

男子自願離開城市,來到曾受海嘯侵襲的小鎮擔任監工,遇上當地旅社 的女主人。懷揣各自的故事,兩人的曖昧情愫自然發酵。然而,他們的 秘密戀情似乎並不見容於這片受過傷的土地。

「這個小鎮有些哀傷的故事。我認為這股悲傷與愛情故事的生命力會是 有趣的對比。」──艾狄雅.阿薩拉

Takua Pa is a small coastal town in the South of Thailand traumatised by tsunami. A young man from an architect's office comes to the shattered beach resort to supervise the building of a new tourist complex. He stays at a modest hotel run by Na, a beautiful and withdrawn young woman. As their secret love affair develops, Na warns him to be more circumspect since people might not approve of their relationship. But now, they have found an enemy, a person they can blame. A film about love that grows where there is no more love, like a flower that grows in the dirt, Wonderful Town is a bittersweet story in a town that is imbued with sadness, aging things, and quietness.

艾狄雅.阿薩拉,1972 年生於泰國曼 谷,15 歲赴美國求學,先後畢業於紐 約大學與南加州大學電影藝術學院。 2007 年首部劇情長片《傷心蔚藍海》 於 許 多 國 際 影 展 有 所 斬 獲。2018 年 與阿比查邦和其他新銳導演共同執導 《十年泰國》。

Aditya ASSARAT holds a master's degree from the University of Southern California. His short films were invited to many festivals, including Clermont-Ferrand, Sundance, and New York Film Festival. In 2007, his debut feature film Wonderful Town won the New Currents Award at its world premiere in BIFF.

2007 釜山影展新潮流獎 New Currents Award, Busan IFF 2008 鹿特丹影展金虎獎 Tiger Award, IFF Rotterdam 2008 台北電影節國際青年導演競賽特別提及 Special Mention, International New Talent Competition, Taipei FF DIRECTOR, SCREENPLAY 艾狄雅.阿薩拉 Aditya ASSARAT PRODUCER Soros SUKHUM, Jetnipith TEERAKULCHANYUT CINEMATOGRAPHER Umpornpol YUGALA EDITOR 利.查泰米提古 Lee CHATAMETIKOOL MUSIC 清水宏一 SHIMIZU Koichi, 載昆寧

ZAI Kuning SOUND Akritchalerm KALAYANAMITR CAST Anchalee SAISOONTORN, Supphasit KANSEN, Dul YAAMBUNYING, Sorawit POOLSAWAT, Prateep HANUDOMLAP PRINT SOURCE Memento Films International

FILMMAKER IN FOCUS: LEE CHATAMETIKOOL

艾狄雅.阿薩拉以溫柔的細膩手筆處理男女情感,關係在恬淡如散文的 小鎮日常裡升溫,現實背後的殘酷卻忽地乍現,不可思議地揭示出隱沒 的創痛。當影片以緩慢步調流轉於遺世獨立的浪漫時光,也近乎沉思地 潛行在鄉野、廢棄建築與一波波襲來的浪潮之中,直至一切終歸如常。

07.05 F R I 中山堂 17:20 07.07 SUN 中山堂 20:00 07.09 TUE 中山堂 13:30

焦點影人:利.查泰米提古

Wonderful Town


卡拉 OK

160

焦點影人:利.查泰米提古

Karaoke 06.27 THU 新光二 21:40 07.02 TUE 新光二 17:10 07.05 F R I 新光二 12:20

FILMMAKER IN FOCUS: LEE CHATAMETIKOOL

張 千 輝,1972 年 生 於 馬 來 西 亞, 幼 年時移居加拿大,大學畢業後展開短 片 與 各 式 多 媒 體 素 材 的 創 作。2009 年回到家鄉拍攝首部劇情長片《卡拉 OK》,並入選坎城導演雙週,之後以 藝術家身份持續在世界各地創作作品。

Chris CHONG Chan-fui is a BorneoMalaysian-born filmmaker and media artist focusing on unconventional stories and experimentation between traditional cinema and new media arts. He works across multiple media from moving images, photography and installations to pr intmaking. His debut feature, Karaoke, premiered at the 2009 Cannes Directors' Fortnight.

馬來西亞 Malaysia | 2009 | DCP | Colour | 75min

在大城市求學的青年畢業後,返回充滿棕櫚樹的家鄉小鎮,打算接手過 世父親留給母親的卡拉 OK 店。他白天打打零工,拍攝伴唱帶,晚上看 著棕櫚油工廠的工人們對著螢幕裡光鮮的影像唱著熟悉的旋律。某日, 他遇見了一位女孩,想像著未來的人生,但他的母親和家鄉,卻不如他 所想的那般歡迎他的歸來。 本片為馬來西亞導演張千輝一鳴驚人的首部長片,曾入選坎城影展導演 雙週。以極簡的敘事和緩慢的步調,細緻的影像與聲音美學,傳達出人 與環境的複雜關係。隨著資本開發蔓延至鄉村的現代生活,情感慾望的 壓抑,人際關係的疏離,伴唱螢幕中的藍天白雲對比卡拉 OK 店的陰暗 吵雜,到伴唱帶拍攝現場的揭露,皆暗示著青年歸鄉在想像與真實間的 落差與幻滅。 「我好奇我們認知的環境現實為何?為什麼總難以看穿家鄉的幻覺?」 ──張千輝 In a rural Malaysian oil palm estate, Betik returns from the big city Kuala Lumpur, trying to build a future back home. He takes on a day job shooting karaoke videos and helps his mother at the family's karaoke bar downstairs – a karaoke where the local Indian estate workers, their families, and the Malay Muslim villagers next door gather and sing. In the innocence of a small village, subtle manipulations and deceptions seep through. Betik slowly crosses over from reality to fantasy and becomes fully immersed in the fantasy itself. "Balik kampung," the Malaysian notion of coming home, is a romantic and nostalgic ideal. It is the comfort of unconditional familial love that brings Betik back. He wants his home to be his savior, but his return is selfish and his dream is doomed to fail.

2009 坎城影展導演雙週 Directors' Fortnight, Cannes 2009 多倫多影展 Toronto IFF 2010 亞洲電影大獎最佳剪接 Best Editor, Asian Film Awards DIRECTOR 張千輝 Chris CHONG Chan-fui PRODUCER 張千輝 Chris CHONG Chan-fui, Pierre LABURTHE SCREENPLAY 張千輝

Chris CHONG Chan-fui, Sharon SHAH CINEMATOGRAPHER Jarin PENGPANICH EDITOR 利.查泰米提古 Lee CHATAMETIKOOL MUSIC Sharon SHAH SOUND 森永泰弘 MORINAGA Yasuhiro, Akritchalerm KALAYANAMITR CAST Zahiril ADZIM, Mislina MUSTAFFA,

Mohammad HARIRY, Nadiya NISSA PRINT SOURCE m-appeal


看似平凡的故事

161

泰國 Thailand | 2009 | DCP | Colour | 81min

看似平凡後那不被言說的蕩氣迴腸,最終更將是一場幻化的宇宙洪荒、 新星爆炸。導演以隱晦、極簡、非線性的敘事手法,講述俗人世間那不 被言說的男人故事。藉由三個處於不同狀態的男性,野心十足地觸及階 級與父權命題,在微觀的家族史外,更見宏觀的國族爬梳。剪接師利. 查泰米提古為本片製作了兩個不同的版本,本片因演員正面全裸自瀆畫 面,成為首部被泰國政府認定「20 歲以上才准入場」的電影。

阿諾查.蘇維查康彭,1976 年出生於 泰國,首部劇情長片《看似平凡的故 事》勇奪鹿特丹影展金虎獎,亦曾於 金馬影展榮獲奈派克獎。更曾以《生 命宛如幽暗長河》榮獲泰國電影金天 鵝獎最佳影片及導演獎,為泰國當代 極具代表性的導演。

A young man named Ake returns to his family home after an accident leaves him paralyzed from the waist down. While the family is well off and have the resources to care for him, Ake's resentment against his authoritarian father has now grown into a hatred of the world at large. Pun, a male nurse who is hired by his father, starts to open up Ake's heart through candid conversations. The close proximity to Pun makes Ake's universe less stagnant. With a non-linear structure, the film focuses on the mundane, almost insignificant details of everyday life, and gradually reveals greater levels of ambition within its intimate scenario, finally culminating in a mesmerizing metaphysical explosion. Uncovering the secrets lie beneath the peaceful facade of the house, Mundane History is an unusually edited meditation on family, class, life cycles and politics.

Anocha SUWICHAKORNPONG, born in 1976 in Thailand, is a scriptwriter, director and the owner of production house Electric Eel Films. She received her BA and MA in England and graduated from an MFA film programme at Columbia University, New York. Mundane History, her feature debut, won the Tiger Award in 2010.

2009 釜山影展 Busan IFF 2010 鹿特丹影展金虎獎 Tiger Award, IFF Rotterdam 2010 金馬影展奈派克獎 NETPAC Award, Taipei Golden Horse FF DIRECTOR, SCREENPLAY 阿諾查.蘇維查康彭 Anocha SUWICHAKORNPONG PRODUCER Soros SUKHUM, 阿諾查.蘇維查康彭

Anocha SUWICHAKORNPONG CINEMATOGRAPHER 梁銘佳 LEUNG Ming-kai EDITOR 利.查泰米提古 Lee CHATAMETIKOOL SOUND Akritchalerm KALAYANAMITR CAST Phakpoom SURAPONGSANURAK, Arkaney CHERKHAM PRINT SOURCE Electric Eel Films

FILMMAKER IN FOCUS: LEE CHATAMETIKOOL

窮困青年為籌錢結婚,來到幽深沉靜的豪門宅邸當起私人看護,照顧那 半身不遂、終日躺臥於榻,生無可戀的少年。大宅門內,人人對少年那 昔日意外三緘其口,身為人父的豪門之主,和兒子之間關係疏離。但青 年細心溫情的照護,似乎漸漸解放了少年的桎梏心靈,那來自掌心指間 的溫熱接觸,更讓幾近五感喪失的少年,喚出欲望的生理;看似怨念的 無解,似將鬆出了破口。

07.01 MON 新光一 19:00 ★ 07.04 THU 新光二 16:50 07.10 WED 華山二 14:20

焦點影人:利.查泰米提古

Mundane History


波米叔叔的前世今生

162

焦點影人:利.查泰米提古

Uncle Boonmee Who Can Recall His Past Lives 06.29 SAT 中山堂 11:00 07.02 TUE 中山堂 16:40

英國、泰國、德國、法國、西班牙 UK, Thailand, Germany, France, Spain 2010 | 35mm | Colour | 113min

FILMMAKER IN FOCUS: LEE CHATAMETIKOOL

波米叔叔重病返鄉、聽天求命,某個夜晚,過世多年的愛妻和失蹤多時 的兒子竟紛以魂鬼精怪的模樣與他重聚,共享一回倫常喜愉。他們引領 波米叔叔走入那死亡蔭谷,彷彿穿越他的前世,回望他的今生,遙思他 的未盡天命。如詩般的光景攝影、幽微曖昧的死生視角,為這探究病痛 肉身和世間萬物該如何平靜相沫的影片,灑下醇厚的人性關懷。片尾搭 配泰國一人搖滾 Penguin Villa 的曲子,更是動聽絕倫。 阿比查邦.韋拉斯塔古,1970 年出生 於泰國,電影導演、製片人、劇作家、 錄像藝術家。曾以《波米叔叔的前世 今生》榮獲坎城影展金棕櫚,並獲法 國文化部授予藝術與文學司令勳章。 2018 年應台中國家歌劇院邀請,來台 展出其首次劇場創作作品《熱室》。

Apichatpong WEERASETHAKUL is recognized as one of the most original voices in cinema today. His five feature films, short films and installations have wo n h i m w i d e s p re a d i n te r n a t i o n a l recognition and numerous festival prizes, culminating in the winning of the Cannes Palme d'Or in 2010 with Uncle Boonmee Who Can Recall His Past Lives.

導演阿比查邦以本片為泰國拿下首座坎城影展金棕櫚獎。以此為開端, 「有一種電影叫阿比查邦」的熱潮就此席捲世界影壇。斷裂卻又相生呼 應的敘事開展、演員角色虛實難辨的分靈互位、鄉村包圍城市的當代群 像,大膽無畏地往歐美電影史面貌「之外」的奮力創造,深深影響一代 影壇後生。十年為證,幽影靈魄洶湧、魍魎魑魅亂舞。

Suffering from acute kidney disease, Uncle Boonmee has chosen to spend his final days in the countryside on a rural northern Thailand farm. He has assembled his relatives, convinced he will die within a few days. Surprisingly, the ghost of his deceased wife appears to care for him, while his estranged son materializes in the guise of a jungle creature. Surrounded by his loved ones, Uncle Boonmee reflects on memories of his past lives as he contemplates the reasons for his illness. He decides he must visit a special place before he goes. Boonmee treks through the jungle with his family to a mysterious hilltop cave - the birthplace of his first life. In his signature cinematic style, the acclaimed Thai filmmaker Apichatpong delivers a strange and mystical world of visionary beauty.

2010 坎城影展金棕櫚獎 Palme d'Or, Cannes 2010 多倫多影展 Toronto IFF 2011 亞洲電影大獎最佳影片 Best Film, Asian Film Awards DIRECTOR, SCREENPLAY 阿比查邦.韋拉斯塔古 Apichatpong WEERASETHAKUL PRODUCER Simon FIELD, Keith GRIFFITHS, Charles DE MEAUX, 阿比查邦.韋拉斯塔古 Apichatpong WEERASETHAKUL CINEMATOGRAPHER Sayombhu MUKDEEPROM, Yukontorn MINGMONGKON, Charin PENGPANICH EDITOR 利.查泰米提古 Lee CHATAMETIKOOL MUSIC Quinten SCHRAM, Bob ZIMMERMAN SOUND Akritchalerm KALAYANAMITR, 清水宏一 SHIMIZU Koichi CAST Thanapat SAISAYMAR, Jenjira PONGPAS,

Sakda KAEWBUADEE, Natthakarn APHAIWONK, Geerasak KULHONG PRINT SOURCE The Match Factory


愛情多年後回來

163

泰國、香港 Thailand, Hong Kong | 2013 | DCP | Colour | 99min

06.29 SAT 新光二 17:00 ★ 07.09 TUE 新光二 16:40

坎城金獎導演阿比查邦長期合作之剪接師,利.查泰米提古執導的首部 劇情長片。融合自身在國外的求學經歷和泰國影視流行文化,細說當代 愛情與生活,時而樸實無華,時而夢幻抽離。螢光幕上,閃現股市曲線、 名人節目和音樂錄影,投射、聚集了各式難解的起伏;螢幕外,是孤獨 神傷的平凡人物,佇足在曾經與未來之間。看不見的時間軸緩緩拉開舊 家屋頂的水塔,小倆口的公寓,河岸的空房,以及窗框內那一場場猶待 轉譯的細語留言。 「直到身居異鄉,才意識到自己的身份所在。」──利.查泰米提古

利.查泰米提古,著名泰國監製和剪 接師,曾在紐約修習電影,多次與阿 比查邦等獨立電影人合作,亦跨足主 流類型電影,創作成果豐碩。以《戀 愛症候群》獲 2007 年亞洲電影大獎 最佳剪接。首部劇情長片《愛情多年 後回來》曾入選 2014 年台北電影節 國際青年導演競賽。

In 1997, Mutt, who works as a currency trader in New York, suddenly returns home to Bangkok when his father commits suicide. After the funeral, he decides to track down his girlfriend in high-school, Sai. Meanwhile his younger brother Nic is in love with Poupee, who lives in a low-income flat behind their townhouse. While the economic crisis looms over the city, both relationships face uncertainty. As they drift between the past and the present, between dreams and reality, their only escape is in a collage of love songs, music videos and recorded memories. A journey home to a glorious past that may or may not exist, the film is about youth, time and love that have faded and are as empty as the abandoned skeletons in Bangkok.

Lee CHATAMETIKOOL is an awardw i n n i n g e d i t o r a n d f i l m m a k e r. A collaborator with Apichatpong Weerasethakul, he has worked with Thailand's new generation of filmmakers. In 2013, he made his directorial debut with the film Concrete Clouds, which was premiered at the BIFF and was nominated for Competition at the International Film Festival Rotterdam.

2013 釜山影展 Busan IFF 2014 鹿特丹影展 IFF Rotterdam 2015 泰國電影金天鵝獎最佳影片 Best Picture, Thailand National Film Association Awards DIRECTOR, SCREENPLAY 利.查泰米提古 Lee CHATAMETIKOOL PRODUCER 阿比查邦.韋拉斯塔古 Apichatpong WEERASETHAKUL,

張艾嘉 Slyvia CHANG, Soros SUKHUM, 阿諾查.蘇維查康彭 Anocha SUWICHAKORNPONG CINEMATOGRAPHERJarin PENGPANICH EDITOR 利.查泰米提古 Lee CHATAMETIKOOL, Kamontorn EAKWATTANAKIJ SOUND Akritchalerm KALAYANAMITR CAST Ananda

EVERINGHAM, Janesuda PARNTO, Apinya SAKULJAROENSUK, Prawith HANSTEN PRINT SOURCE Mosquito Films Distribution

FILMMAKER IN FOCUS: LEE CHATAMETIKOOL

1997 年金融風暴席捲泰國,破產自殺事件層出不窮。移居紐約的證券 經紀人麥特回到家鄉處理父親後事。曾經熟悉的房子,如今變得陌生。 寡言的弟弟正經歷初萌的愛戀,與鄰居女孩若有似無地交往。麥特學生 時代的女友,如今已是知名公眾人物,事業如日中天。在這不確定的年 代裡,這些關係究竟會往何處去?

焦點影人:利.查泰米提古

Concrete Clouds


邊境幻夢

164

焦點影人:利.查泰米提古

Manta Ray 06.29 SAT 中山堂 16:00 ★ 07.02 TUE 新光一 14:30 ★ 07.06 SAT 新光二 21:40

FILMMAKER IN FOCUS: LEE CHATAMETIKOOL

普帝邦.阿朗潘,1976 年出生於泰國 曼谷,大學時專攻美術,2009 年入選 為釜山亞洲電影學院成員。執導過多 部短片,包括入選克萊蒙費宏短片影 展競賽的《摩天輪》。為資深攝影指 導,《消失點》、《孤島的葬禮》皆 出自他手。首部劇情長片《邊境幻夢》 獲得威尼斯影展地平線單元最佳影片。 Phuttiphong AROONPHENG studied Fine Arts at Bangkok's Silpakorn University. His latest short, Ferris Wheel was screened in over 20 festivals and received 10 awards. He also works extensively as a cinematographer with credits including Vanishing Point (dir. Jakrawal Nilthamrong), The Island Funeral (dir. Pimpaka Towira) and Dolphins (dir. Waleed Al-Shehhi).

泰國、法國、中國 Thailand, France, China | 2018 | DCP | Colour | 106min

位於泰緬邊境湄河臨岸的熱帶叢林裡,有位受傷的男人昏迷倒地、不省 人事。小村漁夫將他救回家中,但這位來路不明的男人始終不發一語。 朝夕相處下,兩人之間的情誼逐漸建立,漁夫替他取名為通猜,並對他 訴說生活上的種種。某日,漁夫突然消失於大海中,通猜便漸漸取代了 漁夫的人生與身分。 本片為泰國資深攝影師普帝邦.阿朗潘執導之首部劇情長片,講述關於 流亡泰緬邊境的羅興亞難民悲歌;原文片名直譯「鬼蝠魟」則作為得以 自由穿梭海域、國境邊界的具體象徵。深邃而廣袤的海域,危機深不見 底;佈滿七彩燈具的森林,如群星螢火環繞。神秘而詩意的影像風格, 將觀眾從殘酷的現實帶入宛若阿比查邦式那有著神秘主義氣息的幻想 世界。夢境漫遊般的電氣配樂,別出心裁的聲音設計,更為影片帶出了 超乎視覺感官的立體結構。

Near a coastal village of Thailand, where thousands of Rohingya refugees have drowned, a local fisherman finds an injured man lying unconscious in the forest. He rescues the stranger, who does not speak a word, offers him his friendship, and names him Thongchai. But when the fisherman suddenly disappears at sea, Thongchai slowly begins to take over his friend's life – his house, his job and his ex-wife. In January of 2009, six boatloads of Rohingya refugees were towed out and left to be stranded at sea by Thai authorities. In 2015, mass graves were discovered close to the southern Thai border, containing 30 bodies of Rohingya migrants with mysterious cause of death. Manta Ray, a film dedicated to these victims, explores issues of identity and displacement with a careful depiction of human being's fragility and imperfection.

2018 威尼斯影展地平線單元最佳影片 Best Film, Horizons Award, Venice FF 2018 多倫多影展 Toronto IFF 2019 鹿特丹影展 IFF Rotterdam DIRECTOR, SCREENPLAY 普帝邦.阿朗潘 Phuttiphong AROONPHENG PRODUCER Mai MEKSAWAN, Jakrawal NILTHAMRONG,

Chatchai CHAIYON, Philippe AVRIL CINEMATOGRAPHER Nawarophaat RUNGPHIBOONSOPHIT EDITOR 利.查泰米提古 Lee CHATAMETIKOOL, Harin PAESONGTHAI MUSIC Christine OTT, Mathieu GABRY SOUND Chalermrat KAWEEWATTANA, Arnaud ROLLAND, Charles BUSSIENNE CAST Wanlop RUNGKUMJAD, Rasmee WAYRANA, Aphisit HAMA PRINT SOURCE Diversion


地久天長

165

中國 China | 2019 | DCP | Colour | 185min

07.09 TUE 中山堂 18:20 ★

細膩人文筆觸見長的王小帥,通過非線性敘事結構,紀錄中國改革的歷 史節點,以廣闊視角見證家庭轉變和命運起伏。集結跨國團隊製作,精 準剪接補捉個人之於時代的無奈與遺憾,也在時代洪流中探尋自我的身 份認同。飾演夫妻的王景春與詠梅,更憑藉此片勇奪 2019 年柏林影展 最佳男演員、最佳女演員。 「這不是一部電影,這是生活。」──王小帥

"We're waiting to grow old." This sentence briefly sums up Yaoyun and his wife Liyun's bitter realisation about their lives. They have once been happy – until their son drowns playing by a reservoir. And so Yaojun and Liyun leave their home and plunge into the big city, although nobody knows them there and they cannot even understand the local dialect. Their adopted son Liu Xing does not offer them the comfort they have hoped for either. Defiantly rejecting his "foreign" parents, he one day disappears altogether. The married couple are repeatedly enmeshed in their memories. Finally, they decide to return to the site of their lost hopes. Part melodrama, part critique of the times, this film takes us from the country's upheaval in the 1980s following the Cultural Revolution to the prospering turbo-capitalism of the present day.

© XU Shengzhi

王小帥,1966 年出生於上海,畢業於 北京電影學院導演系。1993 年,執導 首部電影《冬春的日子》,備受國際 影展肯定。代表作《十七歲的單車》、 《青紅》、《日照重慶》、《闖入者》 等片,也多次入選三大影展。《地久 天長》為其最新作品。

WA N G X i a o s h u a i g r a d u a t e d f r o m the Beijing Film Academy in 1989. A pioneering director of 1990s independent Chinese cinema, he is one of the few filmmakers who remain true to his art in spite of the rampant commercialism of China's film market.

2019 柏林影展最佳男演員、最佳女演員 Best Actor, Best Actress, Berlinale DIRECTOR 王小帥 WANG Xiaoshuai PRODUCER 劉璇 LIU Xuan SCREENPLAY 阿美 A Mei, 王小帥 WANG Xiaoshuai CINEMATOGRAPHER

金炫錫 KIM Hyun-seok EDITOR 利.查泰米提古 Lee CHATAMETIKOOL MUSIC 董穎達 DONG Yingda SOUND 富康 FU Kang CAST 王景春 WANG Jingchun, 詠梅 YONG Mei, 齊溪 QI Xi, 王源 WANG Yuan, 杜江 DU Jiang, 艾麗婭 AI Liya PRINT SOURCE 東昊影業有限公司 Andrews Film Co., Ltd.

FILMMAKER IN FOCUS: LEE CHATAMETIKOOL

劉耀軍與沈英明是一對好兄弟,在經濟逐漸起飛的中國 80 年代,他們 選擇各自結婚,追求美好未來。但因為一場突如其來的意外,昔日的友 好關係發生了變化,耀軍夫妻亦決定遷徙到陌生南方重新生活。30 年 過去,他們再次回到家鄉,人事依舊,景物卻已非。當陳年往事再度浮 上心頭,流淌的時間也沖散不去,迴盪在彼此心中的愧疚與傷痛。

焦點影人:利.查泰米提古

So Long, My Son


嘎林.努戈羅和 焦點影人

Filmmaker in Focus: Garin NUGROHO 嘎

林.努戈羅和,1961 年出生於印尼日惹,1980 年代便展開電影創作,是當時 勇於挑戰蘇哈托專制政權的電影創作者之一。其作品關注爪哇文化、印尼的

殖民歷史、政治等面向,同時兼具詩意、優美的影像美學形式,擅長在作品中結合 印尼傳統音樂與舞蹈,曾獲得諸多國際影展肯定,是當代影壇最重要的印尼導演之 一。作品類型橫跨紀錄片、劇情片、劇場表演、裝置藝術,極具實驗精神,觸及的 題材與風格豐富多變,被稱為超前時代的創作者。2005 年,嘎林創辦日惹奈派克 亞洲電影節(Jogja-NETPAC Asian Film Festival,JAFF),關注亞洲電影的發展, 在創作之餘,其亦積極扮演提攜電影後進的角色。作品《Serambi》曾入選坎城一

166

種注目、《親吻你的淚痕》於柏林影展論壇單元獲奈派克獎特別提及,2017 年台北 電影節曾選映《來自爪哇的女人》,而新作《我身記憶》入圍威尼斯地平線單元。

焦點影人:嘎林.努戈羅和 FILMMAKER IN FOCUS: GARIN NUGROHO

G

arin NUGROHO, an award-winning Indonesian filmmaker born in 1961 in Yogyakarta, Indonesia, completed his studies in 1985 at the film academy in Jakarta. Since then, he has built up an impressive body of work with features, documentaries and shorts which. His debut film Love Is A Slice Of Bread (1990) was selected as the Best Young Director at the Asia Pacific IFF. In 1999, his film Leaf On A Pillow (1998) opened in Un Certain regard, Cannes and won the Special Jury Prize in Tokyo. His Opera Jawa (2006), produced as part of the celebration of the 250th birthday of Mozart, premiered in Venice in 2006 and won awards in Tokyo, Cinemanila and Singapore. With an emphasis on aesthetics, his films address Indonesia's diverse cultures and social issues. Nugroho is also a film critic for several Indonesian newspapers and a lecturer at the University of Indonesia.


作 品 年表 Filmography 年份 Year

作品 Title

原文片名 Original Title

職位 Position

1985

Railway Coaches 1,2,3 (Short)

Gerbong 1, 2, 3 (Short)

D

1988

Menyuling Minyak (Doc)

D

1989

Tanah Tantangan di Nusa Tenggara Timur

D

(Doc) D

1989

Tepuk Tangan (Doc)

1991

Water and Romi (Doc)

Air dan Romi (Doc)

D

1990

Love on a Slice of Bread

Cinta dalam Sepotong Roti

D, W

1994

A Letter for an Angel

Surat untuk Bidadari

D, W

1995

Icon: A Cultural Map (Doc)

Aikon: Sebuah Peta Budaya (Doc)

D

1995

Kancil's Tale of Freedom (Doc)

Dongeng Kancil untuk Kemerdekaan

D

1995

And the Moon Dances

Bulan Tertusuk Ilalang

D

1998

Leaf on a Pillow

Daun di atas bantal

D, W

1998

My Family, My Films and My Nation (Doc)

2000

無畏,詩人之歌 A Poet: Unconcealed Poetry

Puisi Tak Terkuburkan

D

2001

Waterfront (Doc)

Layar hidup: Tanjang priok/Jakarta

D

167

(Doc)

D, W

D

Rembulan di Ujung Dahan (TV Movie)

2002

親吻你的淚痕 Bird Man Tale

Aku Ingin Menciummu Sekali Saja

D, W, EP

2004

The Political Trilogy (Short)

Trilogi politik (Short)

D

2004

Of Love and Eggs

Rindu Kami Padamu

D

2005

Serambi (Doc)

2006

爪哇安魂曲 Opera Jawa

2008

Teak Leaves at the Temples (Doc)

Teak Leaves and the Temples (Doc)

D

2008

峇里生之舞 Under the Tree

Dibawah Pohon

D, W, P

2009

The Blue Generation (Doc)

Generasi Biru (Doc)

D, W

2009

Transformation, Ghosts in Garin Nugroho's

D D, W, P

D

House (Instal) 2011

海洋魔鏡 The Mirror Never Lies

Laut Bercermin

P

2011

蒙蔽的青春 The Blindfold

Mata tertutup

D, EP

2012

Soegija

2015

一國之師:佐格羅阿米諾多 The Hijra

2015

Salesi : Hero To Love (Short)

2016

亂世情詩 Chaotic Love Poems

Aach... Aku Jatuh Cinta

D

2016

來自爪哇的女人 A Woman from Java

Nyai

D, W

2017

舞吧舞吧,孩子們 The Seen and Unseen

Sekala Niskala

EP

2017

Mooncake Story

2017

The Javanese Devil

Setan Jawa

D

2017

瑪莉娜之殺人四幕 Marlina the Murderer in

Marlina si Pembunuh dalam Empat

W

Four Acts

Babak

我身記憶 Memories of My Body

Kucumbu Tubuh Indahku

2018

D, W, C, E Guru Bangsa: Tjokroaminoto

D D

D, W

D

導演 Director (D)、編劇 Writer (W)、剪輯 Editor (E)、攝影 Cinematography (C)、監製 Executive Producer (EP) 、製片 Producer (P)

FILMMAKER IN FOCUS: GARIN NUGROHO

2002

焦點影人:嘎林.努戈羅和

(Doc)


無畏,詩人之歌

168

焦點影人:嘎林.努戈羅和

A Poet: Unconcealed Poetry 07.05 F R I 華山二 13:40 07.07 SUN 華山二 14:00

印尼 Indonesia | 2000 | DCP | B&W, Colour | 84min

FILMMAKER IN FOCUS: GARIN NUGROHO

1965 年,印尼蘇哈托政府藉肅清共黨叛亂份子名義,逮捕、殺害人數估計達 200 萬人次,詩人易卜拉欣.卡迪爾亦因此被捕入獄 28 天。本片由詩人親身 出演,詮釋、回溯被監禁的經歷,再現「歷史的傷口」──那些和其他囚犯 一起唱著傳統詩歌「Didong」的時光,呈現人們在獄中處於驚懼下的群眾組 織、無望迷茫和相助扶持,以及那日復一日的處決日常。 全片僅以兩間牢房和一間警衛室為場景,近距離的攝錄及粗糙的黑白影像 顆 粒, 徹 底 放 大 時 代 背 景 下 那 幽 閉 恐 懼; 結 合 文 學、 音 樂 和 舞 蹈 形 式 的 「Didong」,無比流暢地流動於影像中。詩人卡迪爾於片中的肉身演繹,其 餘素人演員亦多為當年事件受害者的親屬及朋友,更宛若一種拒絕埋葬受害 者記憶,捍衛豐富詩歌傳統的勇氣象徵。 蘇哈托政權垮台的兩年後,嘎林迅速以藝術創作為時代清創,拍攝此部堪稱 印尼第一部重新審視 1965 年大屠殺的電影,為其創作生涯標誌出不容忽視的 印記。 It started with the murder of seven generals in Jakarta, on 12 October 1965. Suharto's government blamed the Communist rebels and ordered a gulf of arrests and executions. Among the mass murder, the poet Ibrahim Kadir was falsely arrested with others accused as communist partisans. Nugroho invites Kadir to play himself and perform some of the "didong" narrative poems he has written in the intervening years, amid a recreation of events in the Takengon Prison. Largely innocent prisoners, brought together by hellish conditions and the threat of execution, determine the rhythm of the film by singing traditional "didong" poetry with Kadir. Almost immediately after Suharto's resignation, Indonesian films began addressing the purges of the 1960s. A Poet: Unconcealed Poetry appeared just two years after the resignation.

2000 盧卡諾影展影像競賽單元銀豹獎 Silver Leopard Award, Video Competition, Locarno FF 2001 鹿特丹影展 IFF Rotterdam 2001 新加坡影展奈派克 費比西獎、最佳男演員 NETPAC/FIPRESCI Award, Best Actor, Singapore IFF DIRECTOR, PRODUCER 嘎林.努戈羅和 Garin NUGROHO SCREENPLAY 嘎林.努戈羅和 Garin NUGROHO, Nana MULYANA CINEMATOGRAPHER Winaldha E. MELALATOA EDITOR Rahmat TEPE MUSIC Tony PRABOWO SOUND Yuni KUSNADI CAST

易卜拉欣.卡迪爾 Ibrahim KADIR, Berliana FEBRIANTI, El MANIK, Piet BURNAMA PRINT SOURCE Sugar Nadia AZIER


親吻你的淚痕

169

印尼 Indonesia | 2002 | DCP | Colour | 90min

07.06 SAT 華山二 12:20 07.09 TUE 華山二 16:40

本片紀念 2001 年被政治暗殺的巴布亞政治領導人德伊斯.埃魯瓦伊(Theys Eluay),他以非暴力的行動為巴布亞人爭取獨立,在片中亦以真實的身份現 身。本片以帶有紀實性質的影像,雜揉著虛構情節,更讓影片增添虛實之間的 辯證。此為印尼首部以巴布亞人為主角的電影,後來與獨裁者蘇哈托外孫結婚 的女演員露露.托賓,在片中反倒成了少數族裔。 嘎林.努戈羅和虛實交錯的敘事,融合民俗樂音與當地傳說,透過性、宗教和 種族創傷的描寫,在多方政治衝突中呈現出不同於主流的族群觀點。

The young boy Arnold is captivated by a mysterious and mournful lady, who arrives at the pier in West Papua. Since his chance encounter with her, Arnold is obsessed to kiss her, if only just for once. His desire guides our path following many incidents around Arnold and his father, a traditional cassowary dancer and Eluay supporter, which draws a big picture of Papuan society's anxiety. Pursuing his exploration of Indonesia's culturally uncharted territories, Nugroho ventures into the would-be separatist province of Irian (Papua) and comes back with a fiction/documentary hybrid which explores the fall-out from the police murder of Theys Eluay, chairman of the Papuan Council Presidium, in 2001. The poetic Bird Man Tale is a committed yet light-hearted quest for the identity of the Papuans, their desire for freedom, their customs and idiosyncrasies.

2003 柏林影展奈派克獎特別提及 Special Mention, NETPAC Award, Berlinale 2003 釜山影展 Busan IFF 2004 鹿特丹影展 IFF Rotterdam DIRECTOR 嘎林.努戈羅和 Garin NUGROHO PRODUCER Anastasia RINA SCREENPLAY Nana MULYANA, 嘎林.努戈羅和

Garin NUGROHO CINEMATOGRAPHER Barly Juan FIBRIADY, Shamir EDITOR Fredy ARYANTO, Puri CHRISANTY, Arturo G.P., Andi Pulung WALUYO MUSIC Fahmy ALATTAS SOUND Adityawan SUSANTO CAST Octavianus Rysiat MUABUAY, 露露.托賓 Lulu TOBING, Adi KURDI, 德伊斯.埃魯瓦伊 Theys ELUAY, Philipus Ramendei THAMO PRINT SOURCE Sugar Nadia AZIER

FILMMAKER IN FOCUS: GARIN NUGROHO

2001 年印尼的伊里安查亞省,15 歲的巴布亞少年阿諾德在港口看見一位來自 異鄉的爪哇女子,他無法忘懷她美麗臉龐上那感傷的淚痕。少年的困惑與萌動 的情愫,被女同學索妮雅看在眼裏,此時印尼巴布亞獨立抗爭運動正如火如荼 展開,阿諾德的父親被反對人士追殺,扮成鶴鴕逃往山上。青春情愫和巴布亞 的歷史苦難,交織成一則巴布亞人追尋自我認同與自由解放的寓言。

焦點影人:嘎林.努戈羅和

Bird Man Tale


爪哇安魂曲

170

焦點影人:嘎林.努戈羅和

Opera Jawa 07.06 S AT 華山二 20:10 ★ 07.08 MON 華山二 14:20 07.11 THU 華山二 13:40

印尼、奧地利 Indonesia, Austria | 2006 | DCP | Colour | 116min

看似幸福美滿的小販夫妻,總有第三者帶來的陰影。村裡的富豪之子垂涎小販 之妻的美色,使盡全力誘惑佳人跨線越界。小販心中的妒嫉和猜忌逐日滋長, 這場激情漩渦,眼見就將演變為無情的戰火,所有深陷其中的人兒,都將遭 逢命運之神那無情的對待。

FILMMAKER IN FOCUS: GARIN NUGROHO

改編自印度史詩《羅摩衍那》,在一幕幕毫不止歇的歌隊吟唱、舞群競演的盛 大場面外,巧妙融合現代劇場、傳統戲曲、裝置藝術等元素,襯以印尼傳統 甘美朗樂音,圖鑑式地展演爪哇傳統衣飾,原始地物、熱帶景觀亦盡入眼簾, 營造出一股不盡寫實,卻無比寫意的奇幻視聽感受,令人嘆為觀止的藝術盛 宴。片末諸多令人怵目驚心的裝置物件,質問暴力與人禍造成的災害,呼應 影片背景這曾為戰爭熱點的爪哇島嶼,為這乍看通俗言情的敘事軸線,開展 出意有所指的高度。 本片為 2006 年由美國劇場界巨擘彼得.謝勒企劃的「莫札特 250 歲誕辰」 年度企劃電影之一。 Opera Jawa is a 2006 Indonesian-Austrian musical film directed by Garin Nugroho that features traditional Javanese classical music and dance in a setting of opera that is inspired by the "Abduction of Sita" episode from the Ramayana. Nugroho translated the grandeur of classic opera with his stirring combination of music, drama and setting to match the musical and dramatic format of his country and culture. In the mixture, he invented a new art form in which modern dance, music and drama are mixed with traditional styles. The film is not only rich in its realisation and staging, but also in its many secondary themes that refer to social issues from the more or less precolonial era portrayed here.

2006 威尼斯影展 Venice FF 2006 南特三洲影展最佳女主角 Best Actress, Festival des 3 Continents 2007 鹿特丹影展 IFF Rotterdam DIRECTOR, SCREENPLAY 嘎林.努戈羅和 Garin NUGROHO PRODUCER 嘎林.努戈羅和 Garin NUGROHO, Simon FIELD,

Keith GRIFFITHS CINEMATOGRAPHER 張毓軒 TEOH Gay-hian EDITOR Andhy PULUNG MUSIC Rahayu SUPANGGAH SOUND Pahlevi Indra C. SANTOSO CAST Artika Sari DEVI, Martinus MIROTO, Eko SUPRIYANTO, I Nyoman SURA, Retno MARUTI PRINT SOURCE Sugar Nadia AZIER


蒙蔽的青春

171

印尼 Indonesia | 2011 | DCP | Colour | 102min

07.06 SAT 華山二 17:20 ★ 07.09 TUE 華山二 21:20

本片因為安全理由,在印尼溫和派伊斯蘭組織的協助下,以極低成本於九天之 內拍攝完畢,除了印尼知名女演員賈姜.諾兒演出憂心忡忡的母親一角,其餘 角色皆為素人演出。有別於導演嘎林.努戈羅和過往作品在影音表現上的實驗 與藝術風格,本片以寫實的敘事手法,在低限的資源下,透過犀利而細膩的鏡 頭設計和精準的演員調度,直視印尼年輕一代身處世代與階級困境的迷惘,也 表達出導演對宗教極端主義所帶來之暴力的批判。

In contemporary Indonesia, religious radicalisation is playing an increasingly important role. The banned Indonesian Islamic State (NII) successfully recruits among young people who don't have any prospects of training or work. Nugroho tells three different stories: that of the girl Rima, who emerges as a valuable staff member of the NII but becomes disenchanted with the organization since there is no room for her ambitions in Islamic conventions; Jabir, who quits school due to frustration about the lives of his parents and turns to a radical prayer group looking for a life purpose and Asimah, the mother desperately searching for her missing daughter, Ainsi, who has been kidnapped by the NII.

2012 鹿特丹影展 IFF Rotterdam 2012 華沙影展 Warsaw FF DIRECTOR 嘎林.努戈羅和 Garin NUGROHO PRODUCER 嘎林.努戈羅和 Garin NUGROHO, Asaf ANTARIKSA, Endang TIRTANA SCREENPLAY Tri SASONGKO CINEMATOGRAPHER Anggi FRISCA EDITOR Achmad THAOVIEK MUSIC Fahmi SOUND Wahyu Tri PURNOMO CAST M. Dinu IMANSYAH, Eka Nusa PERTIWI, 賈姜.諾兒 Jajang C. NOER PRINT SOURCE MAARIF Institute for Culture and Humanity

FILMMAKER IN FOCUS: GARIN NUGROHO

一位母親四處尋找疑似被宗教激進組織「印尼伊斯蘭國」(Negara Islam Indonesia,NII)綁架的女兒,一位女學生被 NII 的理想所感召,努力招募金 錢與成員以在組織中晉升,而另一位因繳不起學費被迫退學的青年,逐漸被激 進組織吸引,自願加入反抗政府的聖戰行動。故事透過三位不同角色的遭遇, 描寫當代印尼社會面對非法極端宗教組織的危機。

焦點影人:嘎林.努戈羅和

The Blindfold


我身記憶

172

焦點影人:嘎林.努戈羅和

Memories of My Body 07.05 F R I 新光二 16:20 ★ 07.07 SUN 新光二 18:40 ★ 07.09 TUE 華山二 18:50

印尼 Indonesia | 2018 | DCP | Colour | 105min

FILMMAKER IN FOCUS: GARIN NUGROHO

朱納年幼時被父親遺棄在爪哇的一個小村莊,性格纖細的他意外見識並得以 學習中部爪哇傳統的跨性別舞蹈「凌雅」(Lengger),他被柔媚而充滿情慾 的舞姿魅惑,卻也見到誘惑能引來的暴力,朱納不得不輾轉遷徙於村落與村 落之間。與生俱來的陰柔氣質與奇異本領,讓他接觸各色人士與體驗各種遭 遇進而成長的同時,也慢慢探索自身的性向。 本 片 靈 感 來 自 曾 來 台 演 出 舞 劇《 方 寸 之 間 》 的 印 尼 著 名 編 舞 家 里 安 多 (Rianto),他亦穿插在影片中敘述與演出。舞者將大自然的美麗與殘酷嵌入 身體,剛柔並濟展現力與美,身體即家也是戰場,如銜接白晝與黑夜之間神 秘暮色的狼狗時光,異色而直爽地探討性與社會議題。 「此片是我對社會政治議題的聲明。我對擁有陽剛與陰柔氣質於一身的人們 相當感興趣,而這在印尼這個擁有世界最多穆斯林人口的國家是相當敏感的 議題。」──嘎林.努戈羅和

Juno is just a child when his father abandons him in their village of Center Java. Alone now, he joins a Lengger dance center where men shape their feminine appearance and movement. But the sensuality and sexuality that come from dance and bodies, mixed with the violent social and political Indonesian environment, force Juno to move from village to village. Even if on this journey Juno receives attention and love from his dance teachers, his weird aunty, his old uncle, a handsome boxer and a Warok, he still has to face by himself the battlefield that his body is becoming. Inspired by the life of choreographer and dancer Rianto, this film explores violence towards body in the form of a biopic full of striking poetic imagery.

2018 威尼斯影展 Venice FF 2018 釜山影展 Busan IFF 2018 南特三洲影展金熱氣球獎 Golden Montgolfiere, Festival des 3 Continents DIRECTOR, SCREENPLAY 嘎林.努戈羅和 Garin NUGROHO PRODUCER Ifa ISFANSYAH, Matthew JORDAN CINEMATOGRAPHER

張毓軒 TEOH Gay-hian EDITOR Greg ARYA MUSIC Mondo GASCARO SOUND Khikmawan SANTOSA CAST Muhammad KHAN, Raditya EVANDRA, 里安多 Rianto, Randy PANGALILA, Whani DARMAWAN PRINT SOURCE Asian Shadows


妮.華達,1928 年生於布魯塞爾,導演生涯超過 60 年, 被譽為法國新浪潮之母。作品往往以社會底層人民或女性

為主角,創作能量豐沛,所拍攝的劇情片與紀錄片極富實驗精 神。曾以《無法無家》贏得威尼斯金獅獎,2017 年榮獲奧斯卡 終身成就獎。代表作品有《五點到七點的克萊歐》、《幸福》、 《最酷的旅伴》。2019 年三月逝於巴黎,享壽 90 歲。

173

特別回顧:安妮華達與她的風景

安妮華達與她的風景 特別回顧

Retrospective: Varda by Agnès

RETROSPECTIVE: VARDA BY AGNÈS

A

gnès VARDA (1928 - 2019) was a Belgian-born French film director, photographer and artist. In 1954, she made her first film La Pointe Courte, a stylistic precursor to the widely influential French New Wave. Actively engaged in the social concerns of her day, her works bore witness to the sexual revolution in the 1960s and 1970s and featured marginalized or rejected members of society. She maintained a fluid interrelationship between photographic and cinematic forms. With a distinctive experimental style, her films focused on achieving documentary realism, addressing feminist issues, and producing social commentary.

本單元感謝法國在台協會協助 The programme is presented with the support of Bureau Français de Taipei.


作 品 年 表 Filmography

174

特別回顧:安妮華達與她的風景 RETROSPECTIVE: VARDA BY AGNÈS

年份 Year

作品 Title

1954

短角情事 La Pointe Courte

1958

Diary of a Pregnant Woman (Short)

1958

O Seasons, O Castles (Short)

1958

La Cocotte d'Azur (Short)

1958

Along the Coast (Doc)

1961

The Fiancés of the Bridge Mac Donald (Short)

1961

五點到七點的克萊歐 Cléo from 5 to 7

1964

向古巴人致意 Salut les Cubains! (Short)

1965

幸福 Happiness

1966

The Creatures

1966

Elsa la rose (Doc)

1967

遠離越南 Far from Vietnam (Doc)

1967

Uncle Yanco (Short)

1968

1968 黑豹黨 Black Panthers (Doc)

1969

獅子、愛、謊言 Lions Love (...and Lies)

1 970

Nausicaa (TV Movie)

1 97 5

Women Reply: Our Bodies, Our Sex (Short)

1 976

達格雷街風景 Daguerreotypes (Doc)

1 976

The Pleasure of Love in Iran (Doc)

1 97 7

一個唱,一個不唱 One Sings, the Other Doesn't

1981

牆的呢喃 Mur Murs (Doc)

1981

紀錄說謊家 Documenteur

1982

尤里西斯 Ulysse (Short)

1984

7P., cuis., s. de b., ... à saisir (Short)

1984

The So-called Caryatids (Doc)

1985

無法無家 Vagabond

1985

The Story of an Old Lady (Short)

1986

You've Got Beautiful Stairs, You Know (Short)

1 9 87

功夫大師 Kung-Fu Master!

1988

千面珍寶金 Jane B. by Agnès V.

1991

南特傑克 Jacquot de Nantes

1993

The Young Girls Turn 25 (Doc)

1995

101 夜 One Hundred and One Nights

1995

德米吾愛 The World of Jacques Demy (Doc)

2000

艾格妮撿風景 The Gleaners and I (Doc)

2000

Short 4: Seduction (Video)

2002

艾格妮撿風景:兩年後 The Gleaners and I: Two Years Later (Doc)

2002

Homage to Zgougou the Cat (Doc)

2003

The Vanishing Lion (Short)

2004

Ydessa, the Bears and etc. (Doc)

2004

電影.娃達.照片 Cinévardaphoto - When Photo Trigger Films (Doc)

2004

Viennale Walzer (Short)

2005

Les dites cariatides bis (Doc)

2005

Cléo from 5 to 7: Remembrances and Anecdotes (Short)

2006

Quelques veuves de Noirmoutier (Doc)

2008

沙灘上的安妮 The Beaches of Agnès (Doc)

2011

Agnès Varda: From Here to There (TV Series)

2015

Les 3 Boutons (Short)

2017

最酷的旅伴 Faces Places (Doc)

2019

安妮華達 最後一堂課 Varda by Agnès (Doc)


La Pointe Courte

法國 France | 1954 | DCP | B&W | 78min

此片為法國電影新浪潮的先聲,亦是安妮.華達電影的起點與母題。劇情圍繞 著短角漁村,當地村民行之多年的捕魚方法因衛生問題被禁止,稽查員突然造 訪,村民試圖規避調查,蒙混過關;另一方面,來自巴黎的女子在四年婚姻後, 首次造訪丈夫的故鄉短角漁村,原本一心想分開、對愛情本質產生疑問的她, 在此地重新思考,沉澱夫妻倆的關係。

175 數位修復 Restored

07.03 WED 新光二 16:30 07.06 S AT 中山堂 10:20 07.10 WED 新光二 15:00

The great Agnès Varda's film career began with this graceful, penetrating study of a marriage on the rocks, set against the backdrop of a Mediterranean fishing village. An impoverished seaside fishing village, La Pointe Courte is in southern France where the fisherman scratch a living trawling for shellfish. Lui, who has recently returned from Paris to the village where he grows up, meets his wife Elle at the station. They talk about their troubled relationship as they wander together in the fields. While she is ready for a separation, he still hopes that they can work things out. A stylized depiction of the complicated relationship between a married couple and a documentary-like look at the daily struggles of the locals, Varda's discursive, gorgeously filmed debut was radical enough to later be considered one of the progenitors of the coming French New Wave.

1955 坎城影展 Cannes DIRECTOR, SCREENPLAY 安妮.華達 Agnès VARDA CINEMATOGRAPHER Louis STEIN EDITOR 亞倫.雷奈 Alain RESNAIS MUSIC

Pierre BARBAUD SOUND Georges MARDIGUIAN CAST 菲利普.諾雷 Philippe NOIRET, Silvia MONFORT PRINT SOURCE mk2 films

RETROSPECTIVE: VARDA BY AGNÈS

華達首部電影作品,由亞倫.雷奈操刀剪接。初試啼聲便展露其創作構圖與形 式上的巧思。除了將真實的地點與居民化為虛構故事外,還充滿各種情節設定 上的對比:專業演員飾演的知識份子與其帶著文藝腔的巴黎口音,對照著當地 居民的南部腔,戲劇性的愛情以及相對寫實拍攝的生活日常。兩段敘事軸線時 而平行,時而交織,既是故事情節,也是作者的自我投射。

特別回顧:安妮華達與她的風景

短角情事 © Agnès VARDA


176 數位修復 Restored

特別回顧:安妮華達與她的風景

06.28 F R I 新光二 17:10 06.30 SUN 新光二 13:40 07.08 MON 中山堂 17:10

五點到七點的克萊歐

© Ciné-Tamaris

Cléo from 5 to 7

法國、義大利 France, Italy | 1961 | DCP | Colour, B&W | 90min

老是出不了唱片的女歌手克萊歐在等待癌症檢查報告之際,經歷了一段段巴黎 都市生活插曲:塔羅牌占卜卻抽到了死神牌、和管家一起上咖啡館、逛帽子店、 在家等候情人相見。她焦慮地遊走在巴黎街頭,對死亡的憂懼始終縈繞不去, 直到她在公園邂逅一名士兵,兩人談論對死亡的看法,即將出爐的檢查報告 似乎已無關輕重。

RETROSPECTIVE: VARDA BY AGNÈS

本片呈現克萊歐在下午 5 點到 7 點這兩小時內,對生死攸關的焦慮不安。在 帽子店沉醉於鏡中試戴帽子的美麗自我形象,而非洲面具或破碎鏡子等細節 則使死亡和不祥的氣氛更形陰鬱,透過廣播傳達的阿爾及利亞戰爭等新聞, 則透露時代局勢的緊張。安妮.華達以近乎同步的即時電影手法,細膩的影 像構圖,伴隨物件、隱喻以及情緒和敘事的鋪展,讓觀眾跟隨女主角經歷一 段微型的自我追尋之旅。

Agnès Varda eloquently captures Paris in the sixties with this real-time portrait of a singer set adrift in the city as she awaits test results of a biopsy. The film is noted for its handling of several themes of existentialism, including discussions of mortality, the idea of despair, and leading a meaningful life. The film also has a strong feminine viewpoint belonging to French feminism and raises questions about how women are perceived. During one and a half hours, she meets her lover, a pianist, a friend, and a soldier. She walks a lot and, little by little, she opens her eyes on the world. A chronicle of one woman's life, Cléo from 5 to 7 is a spirited mix of vivid vérité and melodrama, featuring a score by Michel Legrand and cameos by Jean-Luc Godard and Anna Karina.

1962 坎城影展 Cannes DIRECTOR, SCREENPLAY 安妮.華達 Agnès VARDA PRODUCER Georges DE BEAUREGARD, Carlo PONTI CINEMATOGRAPHER

Jean RABIER, Paul BONIS, Alain LEVENT EDITOR Janine VERNEAU, Pascale LAVERRIÈRE MUSIC Michel LEGRAND, 安妮.華達 Agnès VARDA SOUND Julien COUTELIER, Jean LABUSSIÈRE CAST Corinne MARCHAND, Antoine BOURSEILLER, Dominique DAVRAY, Dorothée BLANK, Michel LEGRAND PRINT SOURCE mk2 films


177 數位修復 Restored

Lions Love (...and Lies)

法國、美國 France, USA | 1969 | DCP | Colour | 113min

好萊塢一處陽光明媚的房子裡,住著一女兩男,過著紙醉金迷的放蕩享樂主 義生活,終日言不及義,百無聊賴,到處瞎晃與裸泳,漫無目的地笑談愛、 名氣與政治。一日,失意厭世的紐約獨立導演來到好萊塢商討拍片事宜,因 而住進了他們的地盤,也將紐約式的「反文化」帶來洛杉磯。

07.04 THU 中山堂 14:30 07.07 SUN 新光二 13:00 07.08 MON 新光二 16:40

Filming this docu-fiction in Los Angeles in June, 1968, the week of California's Democratic primary, the French director Agnès Varda catches the era's epochal violence and cultural exuberance, high hopes and bitter outcomes. In a rented house in the sun-soaked Hollywood Hills, a woman and two men—Viva, of Warhol Factory fame, and James Rado and Gerome Ragni, who created and starred in the rock musical Hair—delight in one another's bodies while musing on love, stardom, and politics. They are soon joined by underground director Shirley Clarke, playing herself as well as functioning as a surrogate for Varda. More than a time capsule of events and moods, Lions Love (...and Lies) is a metacinematic inquiry into the alternating currents of whimsy and tragedy that typified late-sixties America.

1969 紐約影展 New York FF DIRECTOR, SCREENPLAY 安妮.華達 Agnès VARDA PRODUCER 安妮.華達 Agnès VARDA, Max L. RAAB CINEMATOGRAPHER

Stevan LARNER EDITOR Robert DALVA MUSIC Joseph BYRD SOUND Georges ALCH CAST Viva, Gerome RAGNI, James RADO, Shirley CLARKE PRINT SOURCE mk2 films

RETROSPECTIVE: VARDA BY AGNÈS

此片為安妮.華達隨丈夫德米移居加州時拍的作品。片中她以自己的身分「執 導」了一場表演,將其擅長的半虛構、半紀錄拍攝手法發揮到極致,試圖呈 現真實人物的自由生活。華達多次談到,她將創作視為一種探險,試圖消融 界線,無論種族、性別、語言或是寫實與虛構,以及各種後設實驗手法,如 片中片、戲中戲,或將攝影、雕塑、文學置入影片中,都可以在片中窺見。 她以法國新浪潮藝術家之眼,記錄下美國 1960 年代後期的政治社會風暴, 捕捉了時代精神。

特別回顧:安妮華達與她的風景

獅子、愛、謊言 © Ciné-Tamaris


178 數位修復 Restored

特別回顧:安妮華達與她的風景

07.05 FRI 新光二 14:20 07.07 SUN 新光二 10:40 07.08 MON 華山二 21:40

達格雷街風景 Daguerreotypes

法國 France | 1976 | DCP | Colour | 76min

本片聚焦於安妮.華達長居的巴黎達格雷街(Daguerre)的商店主人們,捕 捉麵包店、肉舖、裁縫店、美髮院等商家日復一日的營運常態,也邀請店主 談論自己的出身、婚姻、創業經過。片中的魔術表演不僅和這些常民生活片段 形成趣味的對比,也透過巧妙的串接,試圖為平淡的日常覆上一抹神奇色彩。

RETROSPECTIVE: VARDA BY AGNÈS

本片是帶有華達個人色彩的人類學影像紀錄。流暢地轉換在不同的人物、故 事和影像風格之間,盧柏欽斯基掌鏡的攝影呈現反覆而日常的勞動或瑣事, 仿銀版攝影發明者達蓋爾(Daguerre)的人物肖像格局的畫面,同時向達蓋 爾與達格雷街居民致敬。本片預示了華達往後持續拍攝底層人民的志業,而 這幅電影風情畫也封存了如今幾乎不存在的當地街坊風景。 「這是什麼樣的電影?報導、致敬、惋惜還是指責?或是開放?」──安妮. 華達

This classic documentary from Agnès Varda is an intimate portrait of the small shops and habitants between the number 70 and the number 90 of the Rue Daguerre in Paris, a picturesque street that has been the filmmaker's home for more than 50 years. She filmed people she saw every day: butchers, bakers, tailors, grocers, hairstylists, driving-school instructors, etc. Her vignettes are short and are cut together with interviews about the merchants' pasts, and portrait-style shots of them puttering about their businesses. Telling a great deal about the "silent majority," the film is neither an inquiry nor a sociological study of the inhabitants. It is more or less a casual look at the daily routines of the the Parisian shopkeepers and customers, an archive for archeologists and sociologists in the next century.

1977 鹿特丹影展 IFF Rotterdam DIRECTOR, SCREENPLAY 安妮.華達 Agnès VARDA CINEMATOGRAPHER 努莉絲.艾維芙 Nurith AVIV, 威廉.盧柏欽斯基 William LUBTSCHANSKY EDITOR Gordon SWIRE SOUND Antoine BONFANTI CHARACTER 羅莎莉.華達 Rosalie VARDA PRINT SOURCE mk2 films


Kung-Fu Master!

法國 France | 1987 | DCP | Colour | 76min

由知名英國女星及歌手珍.寶金飾演的瑪莉珍,在青春期女兒露西的生日派對 上,邂逅女兒的男同學朱利安,於是這位中年單親媽媽和青少年之間擦出愛的 火花。這段跨齡之戀,在英國外海孤島之旅中有了嶄新的進展,然而一旦回到 現實世界,這段擺盪在親情和愛情之間的關係是否仍能延續?

179 數位修復 Restored

07.03 WED 中山堂 12:00 07.06 SAT 中山堂 14:30 07.09 TUE 新光二 14:40

Mary-Jane, a lonely forty-year-old woman, finds herself shattering taboos by falling in love with the fourteen-year-old Julien, her daughter's classmate. She contrives to spend time with him and lets him know she is available to him. He is on the cusp between child and man, alternating between playing a video game, Kung Fu Master, where he tries to rescue Sylvie, and joining friends in bluff talk about sexual exploits. After returning from a trip on an island, Mary-Jane will never see Julien again. She suffers from his silence. Does he love her? Is their affair just a game for him? Varda's charitable and unsensational direction transformed what could have been a damning morality tale into an exploration of a woman's loneliness, anxiety about aging, and crisis of identity.

1988 柏林影展 Berlinale DIRECTOR, SCREENPLAY 安妮.華達 Agnès VARDA PRODUCER Oury MILSHTEIN CINEMATOGRAPHER Pierre-Laurent CHÉNIEUX EDITOR Marie-Josée AUDIARD MUSIC Joanna BRUZDOWICZ SOUND Olivier SCHWOB CAST 珍.寶金 Jane BIRKIN, 馬修.德米

Mathieu DEMY, 夏綠蒂.甘斯柏 Charlotte GAINSBOURG PRINT SOURCE mk2 films

RETROSPECTIVE: VARDA BY AGNÈS

本片靈感來自《千面珍寶金》中,珍.寶金提及她所寫的戀愛故事。安妮.華 達特別邀請現實生活中的家人一同演出:珍.寶金的女兒夏綠蒂.甘斯柏飾演 露西,自己的兒子馬修.德米飾演朱利安。片名取自男主角沉迷的電動遊戲名 稱,也是男、女主角重要的共同回憶和關係發展的平行隱喻。在華達一貫的流 暢影像風格和充滿溫情關懷的視角捕捉之下,充分刻畫中年女性惶惑的感情世 界,以及青少年的叛逆與情慾探索。

特別回顧:安妮華達與她的風景

功夫大師 © Ciné-Tamaris


180 數位修復 Restored

特別回顧:安妮華達與她的風景

06.28 F R I 新光一 21:50 07.06 SAT 中山堂 12:20 07.09 TUE 新光一 12:50

千面珍寶金

© Ciné-Tamaris

Jane B. by Agnès V.

法國 France | 1988 | DCP | Colour | 94min

以知名英國女星及歌手珍.寶金為主角,從她主演的多段虛構情節:提香經 典畫作《烏爾比諾的維納斯》中的裸女、喜劇演員勞萊到聖女貞德,結合其 對人生與演藝生涯的自述,以及導演安妮.華達和她的親密對話,構成拼貼 般的虛實交錯之作。這位女星緩緩道出面對鏡頭的矛盾情緒,而華達也依照 她的心願,安排法國電影新浪潮男星尚皮耶.李奧和她演出對手戲。

RETROSPECTIVE: VARDA BY AGNÈS

這部跳脫制式傳記電影框架的電影,延續著華達極富實驗性的電影風格,透過 揭露女主角對演戲的感想、導演自身和拍攝團隊的入鏡,角色和導演討論拍 攝方式,賦予全片後設的角度。多重角色扮演、缺乏時序與邏輯的虛實片段 交錯,解構了傳統電影再現的表象,並以諸多對過往藝術和電影作品的擬仿, 提出對再現女性樣貌的反思。

Jane Birkin, the famed singer, actress, fashion icon and longtime muse to Serge Gainsbourg, plays various parts including her own with a sense of humour in this kaleidoscopic film made of various fictions during various seasons. The film mixes interviews with Birkin about her past and current life with small vignettes where she takes on roles that either she or Varda are interested in seeing her play. That includes performing in a half-dozen or so fake movie clips, everything from the 80s crime dramas to silly slapstick. The film abandons the traditional bio-pic format, favoring instead a freewheeling mix of gorgeous and unexpected fantasy sequences. Looking at these thinly imagined scenes, viewers unfamiliar with Birkin's life might have a hard time believing that she was ever paid to act, much less that she has now enjoyed a five-decade career.

1988 柏林影展 Berlinale 1988 多倫多影展 Toronto IFF DIRECTOR, SCREENPLAY 安妮.華達 Agnès VARDA PRODUCER Oury MILSHTEIN CINEMATOGRAPHER 努莉絲.艾維芙 Nurith AVIV,

Pierre-Laurent CHÉNIEUX EDITOR 安妮.華達 Agnès VARDA, Marie-Josée AUDIARD MUSIC Harry MANFREDINI, Joanna BRUZDOWICZ SOUND Olivier SCHWOB, Jean-Paul MUGEL CAST 珍.寶金 Jane BIRKIN, 尚皮耶.李奧 Jean-Pierre LÉAUD, 馬修.德米 Mathieu DEMY,

夏綠蒂.甘斯柏 Charlotte GAINSBOURG, 塞吉.甘斯柏 Serge GAINSBOURG PRINT SOURCE mk2 films


安妮華達 最後一堂課

181

法國 France | 2019 | DCP | Colour | 114min

07.07 SUN 新光二 15:20 ★▲

燈光緩緩亮起,頂著一頭棕紅漸層髮色的安妮. 華達,坐在導演椅上娓娓道 來,細數她六十餘年的電影生涯。早期攝影工作的摸索試探,到部部經典代表 作的誕生,躍身成為眾人熟悉的華達奶奶。安妮以幽默語氣述說感性回憶,穿 插伴侶德米和合作演員的過往趣事,將影像化作時光機,為影迷們獻上最後一 堂關於華達的電影大師課。

「我們總在面對死亡之事,而我也很快就要離去。沒關係,一切都會好的。」 ──安妮.華達

Agnès Varda takes a seat on a theatre stage. This professional photographer, installation artist, and pioneer of the Nouvelle Vague, is an institution of French cinema but a fierce opponent of any kind of institutional thinking. In this film, she offers insights into her oeuvre, using excerpts from her work to illustrate – more associatively than chronologically – her artistic visions and ideas. Her lively, anecdote-rich and clever talk is divided into two sections. Firstly, she elucidates her "analogue period" from 1954 to 2000, in which the director is in the foreground. In the second part, Agnès Varda focuses on the years from 2000 to 2018, showing how she used digital technology to look at the world in her own unique way and started a new life as a visual artist, and offering pieces that film goers have never seen.

2019 柏林影展 Berlinale 2019 香港電影節 Hong Kong IFF DIRECTOR, SCREENPLAY 安妮.華達 Agnès VARDA PRODUCER 羅莎莉.華達 Rosalie VARDA CINEMATOGRAPHER François DÉCRÉAU, Claire DUGUET, Julia FABRY EDITOR Agnès VARDA, Nicolas LONGINOTTI SOUND David CHAULIER, Alan SAVARY CHARACTER 安妮.華達 Agnès VARDA, JR, 桑德琳.波奈兒 Sandrine BONNAIRE, 克勞德.艾瑞克.布瓦魯 Claude-Eric POIROUX, 努莉絲.艾維芙 Nurith AVIV PRINT SOURCE 天馬行空數位有限公司 Sky Digi Entertainment Co., Ltd.

RETROSPECTIVE: VARDA BY AGNÈS

影片從「靈感」、「創造」、「分享」三個關鍵字出發,安妮.華達完整回顧 其導演、攝影師及裝置藝術家的階段性重要創作。從《五點到七點的克萊歐》 的時間實驗,到《最酷的旅伴》關注小人物面孔的鄉間之旅,持著攝影機的華 達,藉由影像牽繫起人與地方的關係,也將自己的熱情生命注入她深愛的電影 藝術中。

特別回顧:安妮華達與她的風景

Varda by Agnès


經典重現

CLASSICS REVISITED

午夜牛郎 Midnight Cowboy


Restored in 2014 by Cineteca di Bologna / L'Immagine Ritrovata and The Film Foundation's World Cinema Project, in association with the National Cinema Centre of Armenia and Gosfilmofond of Russia. Restoration funding provided by the Material World Charitable Foundation and The Film Foundation.

The Color of Pomegranates 亞美尼亞 Armenia | 1969 | DCP | Colour | 77min

取材自 18 世紀亞美尼亞吟遊詩人薩亞諾瓦的生平,導演帕拉贊諾夫以 極具超現實手筆的音畫想像,與詩人的內在世界碰撞。全片在亞美尼亞 和喬治亞等地取景,時而凝止如靜物畫,時而風格繁複的劇場佈景和鮮 明物件浮現眼前;如人偶般的角色舞動或隱身,服裝和美術造型深具波 斯民俗風采。影片雖歷經禁演、導演被蘇聯當局羅織罪名判刑入獄,仍 名列 1982 年《電影筆記》十大影片,2012 年由《視與聽》影評人票 選的「影史百大」片單,名列第 84。

A breathtaking fusion of poetry, ethnography, and cinema, Sergei Parajanov's masterwork overflows with unforgettable images and sounds. In a series of tableaux that blend the tactile with the abstract, The Color of Pomegranates revives the splendors of Armenian culture through the story of the eighteenth-century troubadour Sayat-Nova, charting his intellectual, artistic, and spiritual growth through iconographic compositions rather than traditional narrative. Sayat Nova was renowned for his writings and his religious lifestyle, becoming a martyr when he grew too influential for the authorities to control. Seriously out of favor with Soviet governmental bureaucrats, this film was not seen in the international arena until 1977. Then, The Color of Pomegranates was widely acclaimed for its poetic and nonnarrative blending of historical and biographical Armenian imagery.

Restored

06.28 F R I 中山堂 12:30 07.07 SUN 中山堂 15:00 07.11 THU 新光一 13:40

謝爾蓋.帕拉贊諾夫,1924 年生於喬 治亞,亞美尼亞裔。曾任杜甫仁科導 演的助導,受塔可夫斯基《伊凡的少 年時代》啟發而拍片。以《被遺忘的 祖先的陰影》驚艷國際影壇;爾後, 蘇聯當局以「強暴共產黨員」、「同 性戀傾向」為由將之入獄。期間他持 續創作,終在各界奔走下,完成《蘇 拉姆城堡的傳說》;作品《吟遊詩人》 獻給好友塔可夫斯基。 Sergei PARAJANOV (1924–1990) was born in Georgia to Armenian parents. He succeeded in creating a small but marvelous body of work whose style embraces such diverse influences as folk art, medieval miniature painting, early cinema, Russian and European art films, surrealism, and Armenian, Georgian, and Ukrainian cultural motifs.

1982 法國《電影筆記》十大影片 TOP 10, Cahiers du Cinema 2012 《視與聽》百大影片 TOP 100, Sight & Sound DIRECTOR, SCREENPLAY 謝爾蓋.帕拉贊諾夫 Sergei PARAJANOV PRODUCER Alexander MELIK-SARKISIAN CINEMATOGRAPHER

Suren SHAKHBAZIAN EDITOR Maria PONOMARENKO MUSIC Tigran MANSURIAN SOUND Yuri SAYADYAN CAST Sofiko CHIAURELI, Melkon ALEKIAN, Vilen GALUSTIAN, Georgi GEGECHKORI PRINT SOURCE Cineteca di Bologna

CLASSICS REVISITED

詩人的一生,也是電影的詩。從孩提到死去,凝視種種現實的景觀,卻 如一段段不連續的瑰麗夢境。人們在盥洗織布、曬書沉思、宰殺和祭祀; 人們緩緩穿行寺院和舞台的階梯,演員覆著面具和隆重的戲服。而迴響 在石柱和石板搭建起來的丘堡和廊道之間,則是神秘的儀式與音樂,訴 說著親情與愛戀,以及靈魂的痛苦與憐憫。

數位修復

經典重現

石榴的顏色

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184 數位修復 Restored

經典重現

07.06 SAT 中山堂 16:30 ★

海上花

Flowers of Shanghai 台灣 Taiwan | 1998 | DCP | Colour | 113min

CLASSICS REVISITED

19 世紀清末,朝廷諭令官員不得上窯子,只有上海租界區的妓院可以 公開接待政商名流,而當時的高等妓院稱為「長三書寓」,亦是故事背 景所在。在青樓的觥籌交錯間,各形各色的人來來去去,只見女人的叨 絮世故與男人的寡言貪歡常在。其中,奉父母之命早婚的男子卻在逢場 作戲中動了情,欲在虛情假意中覓真愛。 侯孝賢,1947 年出生,台灣新電影代 表人物。1989 年《悲情城市》為台灣 首部獲得威尼斯金獅獎的電影,自此 奠定國際大師地位,多次入選歐洲三 大影展。2015 年《刺客聶隱娘》獲得 坎城影展最佳導演及金馬獎最佳劇情 片與最佳導演。

H O U H s i a o - h s i e n , a f i l m d i re c to r, screenwriter, producer and actor, is a leading figure in world cinema and in Taiwan's New Wave cinema movement. His emotionally charged works are replete with highly nostalgic images and beautiful compositions. In a poetic yet relaxed style, they reflect deep sympathy and profound humanism.

改編自張愛玲譯著的《海上花列傳》,由侯孝賢和老班底聯手打造,攝 影、美術、燈光皆充滿精緻古典美,與敘事相映成趣。吳語、粵語等方 言交錯,可窺見其對歷史文化的考究。一場一鏡,旁觀固定的鏡位與生 動群戲調度形成對比。青樓是情人們的私密空間,亦是公眾場所。全片 於室內拍攝,將女性如囚鳥般隔離,同時亦精準拿捏暗潮洶湧的女人心 機,不著痕跡的交際手腕,細膩演繹人生與扮戲的辯證,以及情愛的微 渺飄忽。本次放映為跨國合作之數位修復計畫,將以 4K 重現經典。

At the end of the 19th century, Shanghai is divided into several foreign concessions. In the British concession, a number of luxurious "flower houses" are reserved for the male elite of the city. The women working there are known as the "flowers of Shanghai." Since Chinese dignitaries are not allowed to frequent brothels, these establishments are the only ones that these men can visit. They form a self-contained world, with its own rites, traditions and even its own language. The men not only visit the houses to frequent the courtesans but also dine, smoke opium, play mahjong and relax. Composed of fewer than 40 takes and shot entirely in interiors with minimal light, this cinematographic tour de force glitters in gold and surreal beauty.

1998 坎城影展 Cannes 1998 釜山影展 Busan IFF 1998 金馬獎評審團大獎 Jury Award, Golden Horse Awards DIRECTOR 侯孝賢 HOU Hsiao-hsien PRODUCER 市山尚三 ICHIYAMA Shozo, 楊登魁 YANG Teng-kuei SCREENPLAY 朱天文

CHU Tien-wen CINEMATOGRAPHER 李屏賓 Mark LEE Ping-bing EDITOR 廖慶松 LIAO Ching-song MUSIC 半野喜弘 HANNO Yoshihiro SOUND 杜篤之 TU Duu-chih CAST 梁朝偉 Tony LEUNG Chiu-wai, 羽田美智子 HADA Michiko, 劉嘉玲 Carina LAU, 高捷 Jack KAO, 李嘉欣

Michelle REIS, 潘迪華 Rebecca PAN PRINT SOURCE 傳影互動股份有限公司 ifilm Co., Ltd.


The Juniper Tree

美國、冰島 USA, Iceland | 1990 | DCP | B&W | 79min

冰島歌手碧玉的大銀幕初登場,飾演妹妹瑪格麗的青澀模樣與動人嗓 音,令觀者回味再三。雖改編自血腥、恐怖,曾被禁的格林童話,但北 國靜謐的自然風光、詩意極簡的對話、徐緩的節奏與留白,如夢似幻, 呈現巫術的神秘氣息,恰似電影幻術帶給觀眾的經驗。此次為首映近 30 年後以 4K 數位修復版再現。

Set in medieval Iceland, The Juniper Tree follows Margit and her older sister Katla as they flee for safety after their mother is burned to death for witchcraft. Finding shelter and protection with Johan, and his resentful young son, Jonas, the sisters help form an impromptu family unit that's soon strained by Katla's burgeoning sorcery. Photographed entirely on location in the stunning landscapes of Iceland in spectacular black-andwhite by Randy Sellars, The Juniper Tree is a deeply atmospheric film, evocative of Carl Theodor Dreyer's Day of Wrath and Ingmar Bergman's The Virgin Spring, and filled with indelible waking dream sequences (courtesy of legendary experimental filmmaker Pat O'Neill). A potent allegory for misogyny and its attendant tragedies, The Juniper Tree is a major rediscovery for art house audiences.

Asian Premiere

數位修復 Restored

07.04 THU 新光二 12:20 07.07 SUN 中山堂 13:00 07.11 THU 新光二 18:50

妮奇卡.基恩,1952 年生於美國波士 頓,於加州大學洛杉磯分校取得電影 製作碩士,就學期間擔任古冰島語研 究助理。首部長片《女巫戀人》於冰 島拍攝,獲國際多個影展肯定。後於 大學教授電影,2004 年因胰臟癌逝 世,享年 52 歲。

Nietzchka KEENE (1952-2004) received her BA in Germanic linguistics at the University of Massachusetts Amherst, and her Master of Fine Ar ts in film production from UCLA. She was an American film director and writer best known for The Juniper Tree, a feature film shot in Iceland.

1990 日舞影展 Sundance FF DIRECTOR, PRODUCER, SCREENPLAY, EDITOR 妮奇卡.基恩 Nietzchka KEENE CINEMATOGRAPHER Randy SELLARS MUSIC Larry LIPKIS SOUND Patrick MOYROUD CAST 碧玉 Björk GUÐMUNDSDÓTTIR, Bryndis Petra BRAGADÓTTIR, Valdimar Örn FLYGENRING, Guðrún GÍSLADÓTTIR, Geirlaug Sunna ÞORMAR PRINT SOURCE Arbelos

CLASSICS REVISITED

母親因為使用巫術被處刑,住在冰島的瑪格麗與姊姊卡特拉急著離開故 鄉,前往無人認識她們之處。不久之後,兩人結識了鰥夫約翰,為了 確保姊妹倆生活無虞,姊姊卡特拉對約翰下咒使他愛上她,而妹妹與約 翰的兒子約拿斯也成了朋友。不料,男孩發現卡特拉是女巫,便試圖說 服父親離開她,但巫術太強以致無法脫身。一日,兩姊妹的母親突然 顯靈,而男孩的母親也化身大鴉試圖幫助父子倆,究竟他們能否脫離詛 咒?抑或被巫術徹底控制?

亞洲首映

經典重現

女巫戀人

185


186 數位修復 Restored

經典重現 CLASSICS REVISITED

06.29 S AT 新光一 21:20 07.02 T U E 中山堂 19:1 0 07.08 MON 中山堂 12:20

約翰.史勒辛格,英國電影史上重量 級導演之一。1950 年代執導電視紀錄 片出身,首部劇情長片《一夕風流恨 事多》獲柏林影展金熊獎,後以《午 夜牛郎》奪得奧斯卡三項大獎。關注 社會邊緣題材同時駕馭商業電影,亦 在英國皇家劇院擔任劇場導演,製作 多檔經典劇作。曾獲頒「大英帝國勳 章」,以顯其對英國影壇的貢獻。 John SCHLESINGER (1926-2013) was an English film and stage director, and actor. His works often captured the plight of individuals grasping for life support in contemporary society. His first American film, Midnight Cowboy, won him an Academy Award for Best Director.

午夜牛郎

© Park CircusMGM Studios

Midnight Cowboy 美國 USA | 1969 | DCP | Colour | 114min

喬從德州鄉村風塵僕僕來到時尚紐約,他打算用自己的身體和富婆們交 易,換取美好人生。走在充滿香奈兒、蒂芬尼的紐約街頭,他一身牛 仔裝扮是整座城市最詭異的風景。當男妓,反倒貼錢給對方。想在紐約 混?沒那麼容易。喬窮愁潦倒,瘸子耗子替他搞到一間住所,兩人成了 世道中的「難兄難弟」,偷拐搶騙樣樣來,夢想著離開紐約,前往充滿 沙灘、陽光、美女的烏托邦邁阿密。但人生並非事事如願,喬生意越做 越大,耗子卻遇上不幸。想替兄弟圓夢的喬鋌而走險,幸運女神會再次 站在他這邊嗎? 故事改編自美國作家詹姆士.李歐.赫林漢(James Leo Herlihy) 1965 年出版的同名小說。兩大男主角強.沃特和達斯汀.霍夫曼以 其精湛演技,共同獲第 42 屆奧斯卡最佳男主角提名,強.沃特更以 本片榮獲第 27 屆金球獎最佳新人獎。本片適逢上映 50 週年,大銀幕 經典重現。

Restless and dissatisfied with his life as a dishwasher in a small Texas town, Joe Buck quits his job and travels to New York City expecting to make money as a hustler. New York, however, is not as hospitable as he has imagined. Joe soon finds himself living in an abandoned building with a Dickensian layabout named Enrico "Ratso" Rizzo. In their efforts to bilk a hostile world rebuffing them at every turn, this unlikely pair progress from partners in shady business to comrades. Their mutual loneliness leads to genuine friendship but Ratso's health begins to deteriorate. Joe steals money to take Ratso to Florida but Ratso dies aboard the bus just before reaching their destination. Facing an uncertain future, Joe puts his arm around the dead body of the only true friend he has ever had.

1969 柏林影展 Berlinale 1970 奧斯卡金像獎最佳影片、最佳導演、最佳改編劇本 Best Picture, Best Director, Best Writing, Screenplay Based on Material from Another Medium, Academy Awards DIRECTOR 約翰.史勒辛格 John SCHLESINGER PRODUCER Jerome HELLMAN SCREENPLAY 華道.索爾 Waldo SALT CINEMATOGRAPHER Adam HOLENDER EDITOR Hugh A. ROBERTSON MUSIC 約翰.貝瑞 John BARRY SOUND Dick VORISEK CAST

達斯汀.霍夫曼 Dustin HOFFMAN, 強.沃特 Jon VOIGHT, Sylvia MILES PRINT SOURCE Park Circus Limited


The Night Porter 義大利 Italy | 1974 | DCP | Colour | 119min

數位修復 Restored

07.05 F R I 中山堂 11:40 07.08 MON 新光一 21:30

CLASSICS REVISITED

維也納,1957 年。盧齊婭隨著擔任樂團指揮的先生下榻旅館。然而, 與門房馬克斯的意外相遇,將她推回歷史深淵,喚醒記憶裡的禁愛與 苦痛。隱藏著前納粹黨衛隊軍官身份的馬克斯,盤算著如何藉審判之 名消滅可能的證人,為自己脫罪。時代記憶交織著個人命運,透視戰 爭下的父權傷痕與心靈遺跡;人們面對有形與無形的嚴密枷鎖,如何 賴以存活? 集中營、旅館和公寓密室,敏銳的空間運用,看似隔絕、卻又受到門 外街道,以及守在窗外監看的銳利眼光嚴密地逼視。影片在今昔場景 間切換,辯證了男與女、個人與集體、進與退、攻與守、虐與被虐、 原諒與仇恨等多種權力關係,並與複雜暗湧的戰爭暴力相互對映。英 國影星狄.鮑嘉和夏綠蒂.蘭普琳,經典詮釋男女主角之間的情愛糾 葛與時代困局。

莉莉安娜.卡凡尼,1933 年生於義大 利卡皮市,於波隆那大學修習古典文 學。早年拍攝電視和紀錄片,關注社 會與心理議題,也曾執導多部歌劇。 作品多次入選坎城影展和威尼斯影 展,2009 年擔任威尼斯影展評審, 2018 年獲得羅伯特布列松獎(Robert Bresson Prize)肯定。

Vienna, 1957. Max, the night porter of a "fin de siècle" hotel, recognizes a guest, Lucia, whom he has met fifteen years earlier when she is a teenager interned in a Nazi concentration camp. Max has been a former Nazi stormtrooper and has been involved in a sadomasochistic relationship with the girl, a mixture of tenderness and profound cruelty, characterised by a murky yet deeply felt complicity. When the couple attempt to resume their manic love affair, Max's former SS comrades begin to stalk them and plan to make any possible witnesses to their atrocities disappear. Now inseparably tied to each other, Max and Lucia will experience all the shades of hatred and love, of tenderness and violence, and meet their tragic, preordained and perhaps desired, fate.

Liliana CAVANI was born in 1933. She studied Ancient Literature in Bologna and attended the Centro Sperimentale di Cinematografia in Rome to learn directing. She began making documentaries for television and directing documentaries and investigations in the early sixties. In addition to feature films and documentaries, she has also directed opera.

DIRECTOR 莉莉安娜.卡凡尼 Liliana CAVANI PRODUCER Robert Gordon EDWARDS SCREENPLAY 莉莉安娜.卡凡尼 Liliana CAVANI,

Italo MOSCATI CINEMATOGRAPHER Alfio CONTINI EDITOR Franco ARCALLI MUSIC Danièle PARIS SOUND Eugenio RONDANI, Decio TRANI CAST 狄.鮑嘉 Dirk BOGARDE, 夏綠蒂.蘭普琳 Charlotte RAMPLING, Philippe LEROY, Gabriele FERZETTI, Nora RICCI, 伊莎.米蘭達 Isa MIRANDA PRINT SOURCE Fondazione CSC - Cineteca Nazionale

經典重現

狂愛

187


188 數位修復 Restored

經典重現 CLASSICS REVISITED

07.04 THU 中山堂 12:20 07.07 SUN 中山堂 10:50 07.10 WED 新光二 19:20

溝口健二,1898 年生於日本東京。以 完美主義、長鏡頭,以及用寫實冷酷 的影像描寫女性處境聞名,被譽為女 性電影巨匠。曾連續三年在威尼斯影 展獲獎,美學風格影響法國新浪潮, 代表作有《雨月物語》、《山椒大夫》 等。1956 年於京都辭世。

MIZOGUCHI Kenji was born in 1898 in Tokyo, Japan. Famed for his exquisite tracking shots and striking examples of deep focus, he created a cinema rich in social commentary, specifically regarding how women struggled in the male-dominated and patriarchal society in his country.

赤線地帶

©KADOKAWA CORPORATION 1956

Street of Shame

日本 Japan | 1956 | DCP | B&W | 86min

1950 年代,「賣春防治法」於日本國會審議之際,幾位從事性工作的 女人在東京的紅燈區吉原,過著不知明天在哪裡的生活。戰後經濟尚 未起飛,女人販賣身體供養家庭,拉拔孩子長大,讓丈夫出外無憂, 為男人們提供一時歡愉。然而「蕩婦」這羞辱之名卻一輩子烙印在她 們身上,就算擦掉口紅,也脫不了一身風塵。在名為「夢鄉」的青樓裡, 有人被現實逼瘋,有人夢碎,只有比男人更狠的女人,才能在殘酷的 世界上活下去。 本片為溝口健二遺作,年近花甲其作品批判力道絲毫不減,在片中對 階級、政治、父權,與日本的「建前」文化提出沉痛控訴,最後一個 鏡頭令人不寒而慄,時至今日仍是大師手筆。同樣描寫青樓女子的人 生際遇,或可與新藤兼人的《濹東綺譚》以及中村高寬的《橫濱瑪麗》 對照觀看。

A heartbreaking story about the lives of prostitutes as they struggle with their personal problems. Yumeko is a widow who pays her son's expenses. Yasumi is trying to dig herself out of debt, while avoiding answering a marriage offer. Hanae supports her child and unemployed husband. Despite appearing carefree, Mickey carries burdens from her past. In a brothel full of women whose dreams are constantly being shattered by the socioeconomic realities surrounding them, they fight to maintain their dignity in spite of the degradations of their profession. Set in Tokyo's Red Light District, Street of Shame was so cutting, and its popularity so great, that when an antiprostitution law was passed in Japan just a few months after the film's release, some said it was a catalyst.

1956 威尼斯影展特別提及 Special Mention, Venice FF 1957 每日電影獎最佳女配角 Best Supporting Actress, Mainichi Film Concours DIRECTOR 溝口健二 MIZOGUCHI Kenji PRODUCER 永田雅一 NAGATA Masaichi SCREENPLAY 成澤昌茂 NARUSAWA Masahige CINEMATOGRAPHER 宮川一夫 MIYAGAWA Kazuo EDITOR 菅沼完二 SUGANUMA Kanji MUSIC 黛敏郎 MAYUZUMI Toshiro SOUND

長谷川光雄 HASEGAWA Mitsuo CAST 京町子 KYO Machiko, 若尾文子 WAKAO Ayako, 木暮實千代 KOGURE Michiyo, 三益愛子 MIMASU Aiko, 菅原謙二 SUGAWARA Kenji PRINT SOURCE KADOKAWA CORPORATION


全浸界 VR

VR FRONTLINE

星球:宇宙合響 SPHERES: Chorus of the Cosmos


-22.7°C

7 Lives

法國 France | 2019 | VR Interactive | Colour | 12min

190

7 生�命

法國、盧森堡、比利時 France, Luxembourg, Belgium 2019 | VR Interactive | Colour | 20min

全浸界 VR VR FRONTLINE

冰山正在崩塌,浮冰緩緩起伏,雪橇犬正在嚎叫。電 子音樂製作人莫雷居爾(Molécule)正在格陵蘭的村 莊中,錄製北極的聲音。《-22.7° C》,取材自莫雷 居爾的探險,帶領觀眾進入北極圈,開啟一場深度聲 音之旅。

人潮擁擠的東京地鐵站,年輕女孩無預警一躍而下, 震驚身旁的目擊者們。靈魂無處安放的女孩,開始遊 蕩進入每個人的思想,喚醒彼此的創傷記憶,幫助他 們找到平安的歸屬。由電影導演尚.庫南和互動 VR 創作者夏爾.阿亞特共同創作,以第一人稱視角探索 七個生命的情感內裏,利用角色與環境間的物理反 應,激發觀眾思考虛實的存在界線。

An iceberg is cracking, the ice floe is breathing and a sled dog is howling. -22.7°C VR experience is a docu-fiction inspired by the adventure of Molecule in Greenland. An Electronic music producer, Molecule cut himself off in a hunter village in Greenland and records sounds of the Arctic to compose music. Listening deeply to the nature, the viewer is guided by the sounds.

7 lives is a fantastic tale. A near death experience on a subway platform in Tokyo takes you to a strange world. You access memories and fear of people around you. You have to pass into each of their minds and help them to find peace. Created by the filmmaker Jan Kounen and the game designers Charles Ayats and Sabrina Calvo, 7 lives explores universal emotions, beyond words.

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尚.庫南,導演、編劇和製片。 2 莫雷居爾,電子音樂創作者及聲音藝術家, 《-22.7 ° C》 是他於格陵蘭進行聲音採集後的創作,並以此經驗發展成 VR 互動體驗作品。 3 艾莫瑞.拉布爾特,聲音設計及聲音工程師, AudioGaming 創辦人。 1

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Jan KOUNEN, a director, screenwriter and producer. Molécule, a musician and sound artist. Amaury LA BURTHE, an audio designer and founder of AudioGaming.

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夏爾.阿亞特,導演、遊戲互動設計師,畢業於巴 黎戈伯藍影像學院,主修互動數位體驗。 1

2 尚.庫南,導演、編劇和製片。所執導之《香奈兒 的秘密》為當年坎城影展閉幕片。目前正持續創作虛 擬實境電影。 1 Charles AYATS as an interactive designer of web documentaries for ARTE, he creates par ticipatory experiences, often enriched with game mechanics to facilitate transmission of knowledge. 2 Jan KOUNEN, a director, screenwriter and producer. In 2009, he directed Coco Chanel & Igor Stravinsky which made the closing of the Cannes.

2019 西南偏南電影節 SXSW

2019 翠貝卡影展 Tribeca FF

LEAD ARTIST 尚.庫南 Jan KOUNEN, 莫雷居爾 Molécule, 艾

LEAD ARTIST 夏爾.阿亞特 Charles AYATS, 尚.庫南 Jan KOUNEN DIRECTOR 尚.庫南 Jan KOUNEN PRODUCER Red Corner, France Télévisions, a_BAHN, Frakas Production KEY COLLABORATOR Marie BLONDIAUX, Adrien OUMHANI, Franck WEBER SCREENPLAY 夏爾.阿亞特 Charles AYATS, Sabrina CALVO CINEMATOGRAPHER Hugues ESPINASSE, Céline TRICART EDITOR Muriel DOUVRY VISUAL EFFECTS SMALL STUDIO, Vincent GUTTMAN, Thomas EID MUSIC Franck WEBER SOUND Céline BODSON CAST Clara CHOI, AOYAMA Mariko, KONDO Mizuki, KENTARO, MORIMOTO Nagisa PRINT SOURCE Red Corner

莫瑞.拉布爾特 Amaury LA BURTHE DIRECTOR 尚.庫南 Jan KOUNEN PRODUCER Zorba, Novelab, ARTE, DV Group INTERACTIVE DESIGNER 艾莫瑞.拉布爾特 Amaury LA BURTHE SCREENPLAY 莫雷居爾 Molécule, 尚.庫南 Jan KOUNEN MUSIC 莫雷居爾 Molécule PRINT SOURCE Diversion cinema


彩虹鳥傳奇

噩�專�

克羅擁有一身光彩奪目的羽毛與美妙婉轉的歌聲,但 他得放棄一切,才能將森林中的朋友從無盡的冬日拯 救出來。他將如何抉擇?他會為了朋友犧牲自己嗎? 一則關於自我探索與無私奉獻的故事,改編自北美原 住民克羅族傳說。

本作品由四個段落組成,述說報案專線接線員泰德所 遭遇的恐怖夜晚。一通家庭暴力的報案來電,迅速升 溫為遍布全鎮的攻擊事件。當地警方疲於奔命,泰德 一一給予飽受驚嚇的來電者指示;砰然的關門聲、輪 胎急剎、驚聲尖叫,各種聲響都在腦中形成一幅圖像。 接起電話的同時,腦中的音景也同時展開。

Crow, with his most dazzling plumage and mellifluous voice, must give up everything in order to save his forest friends from an endless winter - can he make the personal sacrifices, which may ultimately change him forever? Based on the classic Native American tale about the origins of the crow, Crow: The Legend movingly illustrates the sacrifices of the beautiful bird, exploring themes of self-discovery, diversity and selflessness.

Dispatch, an episodic story told in four parts, follows a small-town police dispatcher named Ted on the worst night of his life. What begins as a domestic violence call quickly cascades into a host of attacks across town, and the local police are struggling to keep up. Every new call sheds light on Ted's inner torments and pushes him closer toward danger.

艾瑞克.達奈爾,電影導演、編劇、動畫師和製片, 曾執導夢工廠首部電腦動畫《小蟻雄兵》,並編導賣 座鉅片《馬達加斯加》、《馬達加斯加 2》及《馬達 加斯加 3:歐洲大圍捕》。

愛德華.羅伯斯,來自芝加哥,身兼編劇和導演。他 曾與導演蓋依.史邁丁(Guy Shelmerdine)以及 VR 影視公司 Here Be Dragons 協力製作許多作品。《噩 夢專線》為其最新力作。

Eric DARNELL's career spans 25 years as a computer animation director, screenwriter, story artist, film director, and executive producer. He was the director and screenwriter on all four films in the Madagascar franchise.

Edward ROBLES is a writer and director from Chicago, Illinois. His background is in commercial storytelling, where he worked closely with director Guy Shelmerdine. His latest project, Dispatch, is an original VR narrative.

2018 威尼斯影展 Venice FF

2018 日舞影展 Sundance FF

LEAD ARTIST Michael HUTCHINSON DIRECTOR, SCREENPLAY

LEAD ARTIST 愛德華.羅伯斯 Edward ROBLES PRODUCER

艾瑞克.達奈爾 Eric DARNELL PRODUCER Maureen FAN, Kane LEE, Larry CUTLER, 約翰.傳奇 John LEGEND KEY COLLABORATOR Kal ATHANNASSOV, Nathaniel DIRKSEN CINEMATOGRAPHER Kent SEKI EDITOR Bradley FURNISH ANIMATOR Mark HARRIS, Ken FOUNTAIN, Artur CAST 約 翰.傳奇 John LEGEND, 吳恬敏 Constance WU, Liza KOSHY, Tye SHERIDAN, Sarah Eagle HEART, Diego LUNA, Randy EDMONDS, 歐普拉.溫芙蕾 Oprah WINFREY PRINT SOURCE Baobab Studios

Samantha STORR, Susan APPLEGATE LEAD DEVELOPER Nicholas PITTOM, Jason STOREY CINEMATOGRAPHER Phillip JACKSON EDITOR Alex GAMBLE 3D ARTIST James KEARSLEY, Richard TONGEMAN MUSIC Kyle WOODS SOUND Matt YOCUM CAST Martin STARR, Julianna GUILL, Graham SHIELS, Beth GRANT, Samuel STRICKLEN, Kelly JENRETTE PRINT SOURCE Edward ROBLES

© 2018 baobab Studios, All Rights Reserced

Crow: The Legend

美國 USA | 2018 | VR Interactive | Colour | 23min

Dispatch

美國 USA | 2017 | VR Standup | Colour | 28min

191

全浸界 VR VR FRONTLINE


192

全浸界 VR VR FRONTLINE

星�:��合�

SPHERES: Chorus of the Cosmos

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美國、法國 USA, France 2018 | VR Interactive | Colour | 13min

美國、法國 USA, France 2018 | VR Interactive | Colour | 13min

宇宙並非一片寂靜,乃是充斥著各式各樣的聲音。幾 千年來,我們望著繁星希冀找到自身所在位置,這是 我們首次聽見宇宙的聲音。在互動式 VR 體驗中,我 們透過聲音重新發現宇宙,傾聽太陽系演奏的音樂。 本作品由演員米莉.芭比.布朗講述。

十億年前,兩個黑洞猛烈撞擊,產生了引力波和近日 發現的樂音。這是我們首次聆聽宇宙,而非透過觀測。 《星球:時空之歌》帶領觀眾進入黑洞的撞擊之中, 開啟一場音樂之旅。墜入黑暗,你將看見光亮。本作 品由潔西卡.雀絲坦講述。於 2018 年日舞影展首映。

Space is not silent. In fact it is full of sound. For thousands of years we have looked to the stars to find our place in the Universe, but for the first time we listen to its music. In this interactive VR experience, we discover the Universe through sound. Our solar system becomes an instrument and we listen to its music

One billion years ago, two black holes crashed, creating gravitational waves and music that only recently has been discovered. For the first time, we are beckoned to listen to it. SPHERES: Songs of Spacetime is a celestial experience that transports you inside a black hole collision to embark on a musical journey that visualizes gravitational waves and provokes a rich contemplation of the human connection to the cosmos.

2018 威尼斯影展 Venice FF

2018 日舞影展 Sundance FF

SPHERES: Songs of Spacetime


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全浸界 VR VR FRONTLINE

星�:��藍� SPHERES: Pale Blue Dot

美國、法國 USA, France 2018 | VR Interactive | Colour | 15min

此次的宇宙之旅,要帶領觀眾從宇宙邊緣來到暗淡藍 點。在大爆炸的回音中,時光倒流,觀眾聆聽奇異的 歌曲,回溯宇宙歷史,最終找到回家的路。本作品由 佩蒂.史密斯講述。於 2018 年紐約翠貝卡影展首映。 In this cosmic journey from the edges of the universe to our "pale blue dot," the viewer uncovers echoes of the Big Bang. We gaze back in time, trace the history of sound across the cosmos, and traverse the universe. We uncover the strangest song of all, and ultimately find a path home.

2018 翠貝卡影展 Tribeca FF

娥麗莎.麥克尼特,1991 年出生於美國,身兼編劇和 導演。她與太空人和天體物理學家一起工作,一同探 索科學和藝術產生的火花。 Eliza McNITT was born in 1991 in the USA. She is a writer and director. From astronauts to astrophysicists, McNitt works alongside scientists to explore the cosmic collision of science and art. LEAD ARTIST, SCREENPLAY 娥麗莎.麥克尼特 Eliza McNITT PRODUCER Protozoa Pictures (Darren ARONOFOSKY, Ari HANDEL, Dylan GOLDEN), Crimes of Curiosity (Jess ENGEL), Atlas V (Arnaud COLINART, Fred VOLHUER, Pierre ZANDROWICZ, Antoine CAYROL, Alethea AVRAMIS), Kaleidoscope (René PINELL, Jill KLEKAS), Novelab (Gregoire PARAIN), Intel CINEMATOGRAPHER Clément CHÉRIOT MUSIC Kyle DIXON, Michael STEIN SOUND Robert KELLOUGH, Bethan KELLOUGH CAST 米莉.芭比.布朗 Millie Bobby BROWN, 潔 西卡.雀絲坦 Jessica CHASTAIN, 佩蒂.史密斯 Patti SMITH PRINT SOURCE Citylights


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The Missing Body Eposide 1 台灣 Taiwan | 2019 | VR Interactive | Colour | 15min

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Tales of Wedding Rings VR 日本 Japan | 2018 | VR Standup | B&W | 27min

全浸界 VR VR FRONTLINE

本片由獲得第 74 屆威尼斯最佳 VR 體驗的導演黃心健 創作,邀請坎城影展電影原聲帶獎得主林強配樂,以 台灣本土歷史為文本,從導演童年時的回憶出發,將 獨裁戒嚴的軍政府統治、外來殖民文化與數位時代對 於人性的化約,轉化而成超現實的故事。

佐藤是一名普通高中生,住在心儀的同學小姬家隔 壁,暑假前一日,小姬邀請佐藤參加附近舉辦的節慶。 回家途中,佐藤鼓起勇氣對小姬告白,小姬卻說她要 搬回一個遙遠的地方,感謝這段日子他的照顧。那天 夜裡,佐藤發現山邊有道奇怪的光,他上前查看,這 時小姬透露她是來自另一個國度的公主,佐藤猶豫了 一會兒,決定與她開啟一場冒險。

The Missing Body Episode 1 is an interactive surreal VR experience created by director Huang Hsin-Chien, winner of Best VR Experience at the 74th Venice Film Festival, and music by Lim Giong, winner of the Cannes Soundtrack Award 2015. Based on Taiwan's culture and history and director's childhood, it is a surreal story exploring lives under military rule, issues of colonial culture as well as how the technology diminishes humanity.

Sato is a high school student who lives next door to his classmate, Hime. Prompted by a message from Hime, he meets her after school and attempts to profess his love for her. Hime interrupts him to say that she is moving away and bids farewell. Sensing something, he discovers that Hime is hiding a secret.

黃心健,新媒體創作者,擁有藝術、設計、工程和數位 科技的背景。參與的計畫常涉及互動、表演、機械裝置、 演算法運算和錄像裝置。曾參與威尼斯雙年展、威尼斯 影展、上海雙年展等,作品曾在紐約當代藝術館、林茨 OK 當代藝術中心、北京 798 藝術區等地展出。

曹家榮,於美國完成學業之後,因為熱愛互動遊戲而 移居日本。2012 年加入遊戲公司 Square Enix 開發 AAA 級遊戲,並接觸到 VR 技術,開始使用互動遊戲 創造沉浸式觀影體驗作品。

HUANG Hsin-chien is a new media creator with backgrounds in ar t, design, engineer and digital entertainment. His career endeavor explores cutting edge technologies in art, literature, design and live performing. His projects often involve large-scale interaction, performing, mechanical apparatus, algorithmic computations and video installations.

Kaei SOU, after studies in America he moved to Japan and joined the game company Square Enix in 2012 to develop AAA game titles. Soon he started a project to create immersive narrative story pieces utilizing real time interactive game technology.

2019 坎城影展XR單元, Cannes

2018 威尼斯影展 Venice FF

LEAD ARTIST, DIRECTOR, EDITOR 黃心健 HUANG Hsin-chien

DIRECTOR, PRODUCER 曹家榮 Kaei SOU EDITOR KOIZUMI Hiroshi VISUAL EFFECTS HAYASHI Masato, KIM Sang-won ANIMATION TECHNICAL ARTIST Justin WONG Wai-keat MUSIC YAMAZAKI Ryo SOUND Square Enix Sound Division, SUNAOSHI Tomohiro, ISE Makoto, Sadjad SIDDIQ CAST 鬼頭明 里 KITO Akari, SATOH Takumi, SOUMA Kouichi PRINT SOURCE Square Enix Co., Ltd.

PRODUCER 曹筱玥 TSAU Saiau-yue TECHNICAL DIRECTOR 邱

煒傑 CHIU Wei-chieh MUSIC 林強 LIM Giong PROGRAMMER 游 俊彥 YOU Jiun-yan PROJECT MANAGER 董芃彣 TONG Pengwen PRINT SOURCE 曹筱玥 TSAU Saiau-yue


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V I RT UA L R E A L I T Y

F O RWA R D TA I WA N

GARIN NUGROHO A G N È S

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LEE CHATAMETIKOOL

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INDEPENDENT STARS

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穿 越時空: 關 於 敘 事 型 V R 的 幾 點 觀 察

郭敏容

V

R 是 電 影 嗎? 影 展 該 接 納 VR 嗎?

性, 有 助 於 敘 事 發 展; 若 希 望 觀 者 能 在

納 入 VR

影 像 空 間 裡 悠 遊( 自 由 走 動 或 移 動 身 體

影 片、 該 給 何 種 份 量? 類 似 討 論 不 過

位 置 觀 看 延 伸 的 空 間 ), 或 希 望 能 加 上

是 近 兩 年 的 事。 在 此 同 時,VR 的 信 教

其 他 感 知 互 動 的 元 素, 實 拍 幾 乎 是 無 法

者 ── 躍 躍 欲 試 的 創 作 者、 年 輕 且 帶 有

做到的,這也促成 VR 作品裡更多的 CG

創 業 思 維 的 製 片、 終 究 領 悟 賣 產 品 得 有

動畫片段 2 。

影展該以什麼角度介紹

著 內 容 一 起 走 的 主 要 頭 顯 大 品 牌, 承 諾 和 真 心 程 度 各 異 的 影 展, 正 以 無 限 的 想 像力迅速發展敘事型 VR。

在 這 樣 觀 察 短 期 間 VR 發 展 的 特 性 下, 均 為 CG 動 畫 製 作。《 噩 夢 專 線 》 ( Ta l e s o f W e d d i n g R i n g s V R ,

眾 觀 看 的 自 主 性, 以 及 對 創 作 者 而 言,

2018)兩部作品沒有其他的互動元素,

該 如 何 掌 握 敘 事、 發 展 不 同 敘 事 法; 另

但兩者在敘事設計和觀看視角的創新讓

一 個 關 鍵 則 是 如 何 避 免 觀 看 者 頭 暈。

VR 影片的想像力得以延伸。

Frontier」單元 1 ,在體驗這些作品時, 我 常 覺 得 自 己 在 科 展 現 場, 而 不 像 影 展 —— 入 選 作 品 的 多 元 性 及 實 驗 性 衝 擊 我 原 先 對 VR 作 品 侷 限 的 定 義:360 度 影片只是出發點,創作者已經往前走。

《噩夢專線》是一部倚靠聲音敘事的犯 罪 驚 悚 作 品, 由 報 案 中 心 警 察 與 報 案 者 共 同 解 決 危 機 來 推 展 敘 事。 觀 眾 所 看 到 是一片漆黑,在這樣不被定義的空間裡, 透 過 話 筒 兩 端 的 對 話 建 構 犯 罪 現 場, 以 聲音的來源主控觀眾注意力,情節緊湊。

去 年 我 前 往 威 尼 斯 影 展 觀 摩 VR 入 選 影

漫 畫 改 編 的《 婚 戒 物 語 》 無 視 於 VR 開

片 及 創 投 提 案, 相 較 於 日 舞 影 展 對 實 驗

展的 360 度空間,反其道而行的保持原

階 段 新 媒 體 科 技 的 多 元 包 容, 威 尼 斯 影

本 漫 畫 的 畫 框, 透 過 3D 的 場 景 讓 觀 眾

展 選 片 專 注 VR 表 現, 作 品 的 完 成 度 也

可 以「 探 頭 」 進 畫 框 內, 看 到 原 本 漫 畫

相 對 高。 在 產 業 活 動 上 可 以 觀 察 到 威 尼

中無法看到的畫外世界。

斯 影 展 有 意 識 地 透 過 既 有 電 影 籌 備、 融 資、 影 展 等 機 制 為 敘 事 型 VR 影 片 的 產 製、籌資、發行映演建議道路。

對 敘 事 型 VR 影 片 的 另 一 個 觀 察 是 在 選 材 上, 天 文 意 外 成 為 一 個 小 主 題, 如 本 次 選 片《 星 球 》 三 部 曲(SPHERES,

在 短 暫 的 時 間 內, 敘 事 型 VR 影 片 呈 現

2018)完全設定在外太空,《彩虹鳥傳

兩 個 走 向: 動 畫 作 品 大 幅 超 過 實 拍, 同

奇》(Crow: The Legend,2018)則

時互動型 VR 作品迅速發展。CG 動畫成

有 穿 梭 於 星 球 間 的 歷 程。 但 這 也 許 不 是

為 VR 作 品 主 流 的 發 展 脈 絡 也 許 是 面 對

偶 然。 黑 暗 無 垠 的 宇 宙 無 法 實 拍, 反 而

360 攝 影 機 實 拍 影 像 龐 雜 的 後 製( 影 像

正 適 合 CG 動 畫 的 揮 灑 空 間, 而 浩 瀚 的

縫 合、 將 工 作 人 員 及 攝 影 器 材 的 穿 幫 影

外 太 空 只 有 星 球 間 的 相 對 位 置, 對 觀 眾

子從影像中抹除等)的一種選擇,另外,

來 說, 或 許 反 而 開 放 了 看 VR 避 免 頭 暈

相較於轉一圈就望盡的 360 實拍影像,

的理想要素 3 。

CG 動 畫 的 製 作 方 式 對 空 間 掌 控 比 較 彈

ESSAY

(Dispatch,2017) 與《 婚 戒 物 語 》 專文

2017 年末我首次接觸 VR 影片,當時的 關 鍵 概 念 是 在 360 度 的 全 景 空 間 裡 觀

2018 年 初, 我 觀 摩 日 舞 影 展 的「New

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台 北 電 影 節 本 年 度 VR 單 元 影 片 幾 乎


從 本 次 入 選 的《 噩 夢 專 線 》、《 星 球 》

空 間 裡 移 動, 這 與 傳 統 電 影 透 過 攝 影 機

三 部 曲 與《 婚 戒 物 語 》 來 看, 成 為 VR

強 調 的 固 定 觀 賞 位 置 脫 鉤。 另 外, 該 片

製 作 主 流 的 CG 與 動 畫 方 式, 對 VR 影

使 用 觸 覺、 聲 音 引 導 互 動, 讓 這 部 本 質

片整體敘事和美學表現還有另外一個影

上接近教育紀錄片的作品,在 VR 發展的

響: 減 少 事 件 圍 繞 著 攝 影 機

美學上獲得眾多肯定。

觀者搬演

的刻意感。 就 如 同 電 影 不 只 是 劇 場 的 攝 影 版, 隨 著 200

在 VR 360 度 實 拍 影 片 中, 攝 影 機 的

科 技 發 展( 或 因 技 術 限 制 而 另 覓 途 徑 )

位置即是預設觀眾在該影像空間裡的身

的 VR 作品的敘事與美學,確實將逐漸發

體, 由 於 構 圖 的 侷 限( 但 高 明 的 影 片 仍

展出另一套語言系統,等著我們去探究。

可看到令人讚賞的構圖),不少 360 影 專文

片 選 擇 讓 攝 影 機 擺 放 在 事 件 中 心, 有 些

ESSAY

影 片 會 將 這 個 視 角 納 入 敘 事 裡, 有 些 則 尚 未 能 找 到 方 法 避 免 事 件、 演 員 對 著 攝 影 機 行 事 的 刻 意 感, 這 也 讓 VR 敘 事 顯 得不夠成熟。 然而,以《星球》三部曲為例,從大爆炸、 黑 洞、 講 到 我 們 所 居 住 的 地 球 在 宇 宙 間 的 移 動、 與 星 球 的 距 離、 吸 入 黑 洞 等, 本 片 在 介 紹 宇 宙 成 形 的 歷 史 裡, 觀 眾 所 佔 據 的 是 有 別 於 傳 統 敘 事, 空 間 先 於 時 間 的 另 一 種 全 知 可 能。 觀 眾 的 眼 角 餘 光 捕 捉 太 空 裡 各 個 方 向 的 事 件, 好 奇 地 在

郭敏容,新加坡電影節策展人、2014-2018 年台北電影節策展人。

1

這個自 2007 年起為跨媒體、實驗影像、科技藝術所策劃的單元,在這兩年大量入選 VR MR(Mixed Reality,混合實境)作品。

AR(Augmented Reality,擴增實境)

2 同時入選去年日舞影展及威尼斯影展的美洲原住民女巫師紀錄片《Awavena》融合實拍的 360 度紀錄片段及 CG 製作的女巫培養歷 程,是非常優秀的例子。

3

有些觀眾在看 VR 影片時會頭暈,是因為 VR 頭顯內看到世界前進,但現實裡的身體不動,造成腦內視知覺與身體感不協調而引發 頭暈,或稱之為動暈症(Motion Sickness)。但觀賞本片不會感到頭暈,可能是多種因素交織的結果。包括 CG 細緻處理、移動速 度控制得宜、太空世界的影像資訊相較於陸地複雜的地景視覺相對單純,以及其他互動(走動)與感知刺激元素帶給大腦其他刺激, 例如:觸覺回饋,或是聲音帶給聽覺產生的空間感受,這些與視覺相呼應,因此大腦不會產生感覺與認知之間的落差或衝突,也比較 不易誘發動暈。以上觀點感謝 VR 研究者柯宜均補充建議。


在 地投影, 未 來 閃 現 ⸺ 「 明 日 ・ 台 灣 」

謝璇

北電影節迎來二十週年紀念之時,「明日・台灣」單元於焉 而 生。 作 為 一 個 國 際 影 展, 同 時 更 是 屬 於 台 灣 電 影 人 的 影

展, 今 年, 台 北 電 影 節 定 調 為「 台 灣 電 影 的 主 場 」, 除 了 以 台 北 電 影 獎 的 競 賽 方 式 鼓 勵 在 地 電 影 創 作, 亦 藉 由「 明 日・ 台 灣 」 持 續 展 現 我 們 對 台 灣 電 影 的 關 注。 在 競 賽 規 則 之 外 另 闢 空 間, 以 策 展觀點呈現當年度台灣電影動態。 劇情片《蚵豐村》與紀錄片《漂流廚房》為此單元中唯二長片作品。

201

在 捷 克 修 習 電 影 碩 士 的 林 龍 吟 導 演, 首 部 劇 情 長 片 選 擇 回 家, 以 台 灣 漁 村 為 地 景, 在 寫 實 的 社 會 觀 察 之 餘, 建 立 帶 有 魔 幻 氣 息 的 影像世界。創作方法融合蹲點紀錄與虛構故事,16mm 膠卷拍攝,

在 地 觀 察。《 漂 流 廚 房 》 則 是 在 寫 實 的 紀 錄 之 餘, 以 巧 妙 的 故 事 性提味。陳惠萍導演以自身經驗出發,看似簡單不過的三個字「我 是 誰?」 為 軸, 鋪 排 一 張 美 食 地 圖, 其 中 的 經 緯 則 是 在 地 理 與 歷 史 的 狹 縫 中 游 離、 兼 具 私 我 與 族 群 歷 史 的 生 命 故 事。 通 過 舌 尖 而 成 為 肉 身 的 不 僅 是 食 材 本 身, 苦 甜 酸 鹹 則 是 濃 縮 身 份 認 同 以 及 家 族血緣的人類學,更反映了近年來台灣這個島國身處的位置。《蚵 豐 村 》 與《 漂 流 廚 房 》 並 陳, 在 創 作 方 法 與 母 題 思 考 皆 巧 妙 地 互 為對照,一體兩面切下近代史與近未來。 由 鏡 文 學 與 華 文 創 聯 手 打 造 的「 驚 悚 劇 場 」, 則 是 系 列 短 片 中 特 殊的製作模式。鏡文學以開發影視 IP 為目標,與影視製作經驗豐 富 的 華 文 創 合 作 開 發 以「 驚 悚 劇 場 」 為 題 的 七 部 短 片。 從 劇 本 徵 文 開 始 尋 找 寫 作 者, 再 徵 求 拍 攝 團 隊, 多 個 面 向 著 手, 集 結 形 成 七組人馬,有資深導演加入,又以新銳影像、劇作創作者為核心, 在 仍 渴 求 類 型 電 影 的 台 灣, 推 出 以 驚 悚、 懸 疑 類 型 為 主 軸 的 系 列 短片。「明日・台灣」將七部短片以兩個節目呈現,「驚悚劇場 I」 的四部作品帶有科幻迷離氣味,「驚悚劇場 II」則探索推向邊界的 情慾與愛。 短 片 向 來 是 產 量 最 豐 的 類 別, 所 需 資 源 門 檻 較 低、 篇 幅 精 巧, 是 為 新 銳 創 作 者 的 產 地, 更 是 先 展 身 手 的 舞 台。 本 年 度 台 灣 短 片 顯 露 了 一 個 有 趣 的 傾 向, 近 百 部 短 片 中 達 百 分 之 十 二 為 同 志 主 題 故 事, 性

別 認 同 或 探 索、 同 性 情 慾、 出 櫃 經 歷, 顯 示 當 代 創 作 者

對於性

別議題的強烈關注,可能是倡議,亦有浪漫情感的描寫。

「 台 灣 短 SHOW I」 的 四 部 短 片, 分 別 展 現 了 年 輕 創 作 者 對 成 長 歷 程 或 家 庭 關 係 的 觀 察, 這 亦 是 常 見 的 題 目, 端 看 作 品 如 何 折 射

ESSAY

人 文 氣 質, 暴 烈 又 深 情、 鋒 利 且 溫 柔, 展 現 對 議 題 的 敏 銳 度 以 及

專文

留下台灣西南沿海在現代化浪潮之下而產生的發展衝突以及獨特


出 不 同 的 角 度。《 踮 腳 尖 》 叩 關 柏 林 影

這 些 影 像 的 土 地。 透 過 年 度 回 顧, 在 影

展 新 世 代 兒 童 短 片 競 賽(Generation

格 與 創 作 者 的 眼 光 相 互 交 鋒 之 間, 試 圖

Kplus), 不 慍 不 火、 適 當 的 留 白 撐 開

捕捉閃現的未來樣貌。

觀 眾 投 入 想 像 的 空 間, 細 膩 而 自 然 的 風 格 描 繪 孤 單 的 童 年。 同 樣 以 兒 童 為 角 色 的《 初 潮 》 則 探 索 生 理 與 心 理 皆 經 歷 微 202

妙 動 盪 的 成 長 區 段, 初 熟 女 孩 面 對 初 經 帶 來 的 身 體 轉 變, 同 時 交 疊 同 儕 好 友 間 本 來 就 蘊 含 的 生 活 條 件 差 異, 切 下 女 性 獨 有 的 成 長 片 刻。《 陽 關 太 平 》 與《 島

專文

嶼 雲 煙 》 則 將 焦 點 放 在 家 庭 關 係, 而 在 手法與故事細節各有千秋。《陽關太平》

ESSAY

融 合 些 許 奇 幻 調 性, 以 頓 失 老 父 老 母 的 中 年 魯 蛇 為 主 角, 在 三 人 家 庭 缺 角 之 後 還 原、 探 詢 家 人 的 羈 絆。《 島 嶼 雲 煙 》 則 緊 扣 台 灣 當 下 的 家 庭 組 成, 嫁 給 老 翁 的 新 移 民 如 何 自 處, 更 掌 握 較 少 強 調 的 情慾軸線,在廣泛討論的身份議題之餘, 點出被婚配關係套牢的茂盛慾望。 「 台 灣 短 SHOW II」 則 介 紹 四 部 風 格 突 出、題材多元的作品。《釣客》與《孿生》 出自在他鄉攻讀電影創作或立基海外的 創 作 者。《 孿 生 》 以 極 度 震 撼 的 開 場 鏡 頭, 證 明 了 想 像 力 的 無 疆 無 界, 探 索 自 我身體與心靈的關係,極為細膩及獨特。 《釣客》精煉的黑白攝影捕捉台灣在地 的 氣 息, 層 層 堆 疊 出 海 島 日 常 間 帶 點 鄉 野 傳 說 氣 氛 的 中 年 慾 望。 同 樣 以 慾 望 為 題,《 伊 卡 洛 斯 》 中 夜 班 管 理 員 的 慾 求 在 黑 夜 裡 脫 了 序, 雖 是 異 色 的 主 題, 卻 拿 捏 得 當 不 至 落 於 獵 奇 的 眼 光。《 破 窗 效 應 》 以 知 名 心 理 學 理 論 為 題, 平 凡 的 新 生 搬 進 大 學 校 舍 荒 謬 的 經 歷, 反 映 台 灣與中國的關係。 「 明 日・ 台 灣 」 設 立 之 初, 便 是 要 以 影 展 的 角 度 回 應 我 們 對 台 灣 電 影 的 觀 察, 掌 握 新 銳 創 作 者 的 動 態, 關 照 這 塊 孕 育

謝璇,台北電影節節目團隊。


在 現實與理 想 間 綻 放 特 異 光芒 的 獨 立 星 體 中國 80 後世代的電影眼

馬曼容

1

980 年 代, 中 國 電 影 的 產 製 開 始 蓬

則針對劇本的孵化評選及導師工作坊的

勃發展。前有第五代導演以傳統民俗

指 導, 讓 青 年 導 演 逐 步 完 成 他 們 的 長 片

文 化 為 題, 強 烈 的 色 彩 風 格, 重 新 回 望

作 品。 加 上 更 多 幫 助 電 影 新 銳 的 製 作 公

舊 時 代 傷 痕, 體 現 改 革 初 期 的 新 思 想 中

司, 如 導 演 寧 浩 的 壞 猴 子 影 業, 主 持 的

國。 來 到 第 六 代, 則 從 影 像 本 體 出 發,

「 七 十 二 變 」 電 影 計 畫, 及 國 際 發 行 商

描 繪 生 活 的 寫 實 面 貌, 也 關 注 草 根 人 物

視 幻、 赤 角 的 成 立, 也 為 創 作 新 鮮 人 們

生存狀態。不遵循被建構好的影視體制,

提供另一條讓作品走向國際的捷徑。

跳 脫 時 代 框 架 的 自 由 與 叛 逆, 成 為 這 一 代的指標特色。

203

這 樣 的 集 體 現 象, 或 許 不 能 歸 類 是 一 股 中 國 新 浪 潮 的 誕 生, 反 而 是 因 現 實 大 環 的 中 國 電 影 圈 裡 突 圍, 佇 立 於 這 擁 擠 的

角, 成 為 眾 所 矚 目 的 焦 點。 當 張 藝 謀、

人 才 世 代。 當 一 人 作 業 的 工 作 台、 靠 親

陳 凱 歌、 賈 樟 柯、 王 小 帥、 婁 燁 等 人,

朋 好 友 組 成 的 小 劇 組, 與 入 不 敷 出 的 微

從 初 出 茅 廬 的 新 銳 身 份, 轉 變 為 躍 上 大

薄 製 作 費, 都 成 為 這 群 獨 立 電 影 工 作 者

舞 台 的 知 名 導 演, 他 們 繼 續 遊 走 於 商 業

的 日 常。 不 願 放 下 電 影 夢, 也 不 願 向 現

及 藝 術 之 間, 拓 展 個 人 作 者 風 格。 而 在

實 妥 協 的 他 們, 透 過 努 力 堅 持 所 換 來 的

他 們 身 後, 也 有 一 群 承 先 啟 後 的 80 後

甜 美 果 實, 終 屢 屢 在 各 大 影 展 獲 得 亮 眼

新銳創作者們,延續先輩們的電影之路,

成 績。 尤 其 新 銳 導 演 們 的 驚 人 產 量, 更

以 具 顛 覆 性 的 影 像 實 驗, 開 創 屬 於 他 們

讓世界的焦點再次轉向這群後生可畏的

的電影新視野。

中國 80 後世代。

中 國 80 後 世 代, 可 說 是 在 夾 縫 中 誕 生

不同於出自北京電影學院的第五代導

的 一 代, 他 們 所 要 面 對 的 產 業 環 境, 是

演,或是具反思時代精神的第六代導演,

經 濟 飛 速 發 展、 影 視 熱 錢 滾 動 的 商 業 電

這 群 如 雨 後 春 筍 般 出 現 的 青 年 導 演 們,

影市場。當原創 IP 成為炙手可熱的投資

不 再 有 明 確 的 世 代 劃 分, 能 讓 他 們 能 被

項 目, 票 房 也 成 為 投 資 方 的 主 要 考 量,

集 中 討 論 的, 是 如 何 別 於 過 去 不 易 獲 取

更 因 網 路 平 台 的 迅 速 崛 起, 改 變 原 有 的

觀 影 機 會 的 稀 缺 時 代, 通 過 當 今 更 富 足

電 影 產 製 生 態 及 閱 聽 者 習 慣, 不 少 後 起

的 影 視 資 源 及 學 院 教 育, 來 增 加 對 電 影

之 秀 更 早 已 轉 向 可 圖 利 的 電 影 之 道。 但

美 學 的 觀 察。 大 量 觀 影 經 驗, 成 為 他 們

之所以讓這群電影創作者綻放光彩的原

補 足 電 影 知 識 的 管 道, 舉 凡 歐 美 到 東 南

因,不僅出自於個人對藝術追求的堅持,

亞, 甚 至 地 緣 相 近 的 港 台, 都 是 這 群 新

另 一 方 面, 政 府 及 影 展 也 積 極 推 動 新 進

銳 創 作 者 的 電 影 啟 蒙。 吸 收、 反 芻、 再

影 視 人 才 的 栽 培。 諸 如 西 寧 FIRST 青 年

編 織, 也 反 映 在 他 們 的 影 像 美 學 中, 透

電 影 展、 平 遙 電 影 節、 上 海 電 影 節 等,

過長期累積的批判思維,重新解構影像,

通 過 影 視 項 目 的 創 投 媒 合 會, 讓 創 作 者

探 討 創 作 的 本 質 與 邏 輯, 並 融 合 對 藝 術

藉 此 拓 展 影 視 人 脈, 獲 得 製 作 缺 口 的 資

的 獨 特 見 解, 與 視 聽 手 法 上 不 斷 的 嘗 試

金, 也 為 日 後 牽 繫 起 合 作 機 緣。 此 外,

摸索,磨礪出獨樹一幟的作者印記。

中國電影導演協會主辦的「青蔥計劃」,

ESSAY

境 所 迫, 年 輕 創 作 者 該 怎 樣 在 僧 多 粥 少

展, 讓 該 時 中 國 電 影 成 功 在 世 界 嶄 露 頭

專文

風格的多元嘗試及題材領域的不斷擴


無 法 被 概 括 的 多 元 主 題, 及 在 音 畫 上 不

段 式 章 回 敘 事 的 時 空 語 法, 交 織 洪 常 秀

可 被 歸 類 的 實 驗 手 法, 或 許 也 是 80 後

的 閒 聊 與 侯 麥 的 悸 動, 道 出 人 生 機 緣 的

世 代 不 能 被 輕 易 定 義 的 主 因。 綜 觀 他 們

甜蜜頓悟。

所取材的故事,有的以自身經歷為背景, 從 童 年 回 憶 裡 保 留 家 鄉 的 熟 悉 面 貌, 透 過 剪 輯 上 的 多 重 互 文, 產 生 時 間 與 空 間 204

的 微 妙 疊 合。 出 自 1996 年 出 生 的 祝 新 之 手,《 漫 遊 》(Vanishing Days, 2018)以宛若阿比查邦的亞熱帶濕潤氣 息 為 底, 結 合 蔡 明 亮 電 影 中 潺 潺 水 聲 的

專文

母親意象,在有機組建的聲音及影像裡,

這 群 中 國 80 後 世 代 創 作 者, 靠 著 富 含 魔 力 的 藝 術 電 影, 不 僅 表 達 高 速 變 化 的 中 國 現 實, 也 思 索 個 體 之 於 時 代 的 存 在 意 義。 他 們 向 眾 人 證 明, 即 使 不 迎 合 商 業 價 值 的 獨 立 映 像, 依 然 可 以 從 作 品 為 本, 藉 由 美 學 傳 達, 發 揚 出 其 最 閃 耀 的 光輝。

帶 領 觀 眾 穿 梭 於 現 實 與 虛 構 之 間。 敏 銳

ESSAY

的 電 影 美 學 與 才 氣, 僅 以 兩 萬 人 民 幣 成 本,帶來強大視聽體驗。 榮 獲 鹿 特 丹 金 虎 獎 的《 完 美 現 在 時 》 (Present.Perfect.,2019), 導 演 朱 聲 仄 運 用 網 紅 當 道 的 直 播 生 態, 擷 取 碎 片 化 視 頻 拼 湊, 藉 由 虛 擬 空 間 對 現 實 生 活 進 行 深 刻 反 思, 同 時 探 討「 直 播 」 與 電 影 的 介 質 重 組 關 係, 引 發 觀 影 者 激 盪 思考。歷時六年製作的定格動畫《女他》 (SHe,2018), 導 演 周 聖 崴 則 取 材 日 常 物 料, 融 合 性 別 及 勞 資 處 境 議 題, 以 鞋 比 喻 為 求 生 存 的 瘋 魔 吃 人 體 制。 極 具 批 判 性 的 劇 情, 一 針 見 血 地 端 詳 這 帶 有 性別刻板的制式社會。 除 了 鏡 射 當 代 社 會 思 潮, 不 少 電 影 也 以 熟 練 的 視 聽 語 言, 抒 發 對 生 命 的 深 刻 體 悟。 導 演 許 振 昊 將《 乘 客 》(Give Me A Ride,2019)取景重慶,通過主角返 鄉 歸 家 的 重 新 認 識, 在 迷 霧 中 賦 予 影 像 神 秘 氣 息, 也 於 蒼 茫 間 匯 集 壓 抑 的 孤 獨 靈 魂, 溼 漉 的 內 斂 影 像 裡, 沉 浸 出 緊 繃 的人際關係。以輕鬆浪漫調性呈現的《星 溪 的 三 次 奇 遇 》(Three Adventures of Brooke,2018), 導 演 竹 原 青 從 一 段 尋 找 星 星 小 溪 的 亞 羅 士 打 之 旅, 用 三

馬曼容,台北電影節節目團隊。


利 .查泰米 提 古 與 他 的 「 三刀 流 」 搭建起影像和故事間的橋樑

謝璇

. 查 泰 米 提 古,1976 年 生 於 菲 律

方 面 不 設 限 地 累 積 自 己 的 經 驗, 另 一 方

賓, 少 年 時 代 於 泰 國 成 長, 隨 後

面 則 傾 向 與 同 為 新 銳 的 導 演 們 合 作。 至

赴 美 求 學, 先 於 麻 薩 諸 塞 州 漢 普 郡 學 院

今 經 手 作 品 無 數 的 利, 儼 然 成 為 新 導 演

攻 讀 電 影 錄 像 攝 影(Film, Video, and

們 起 步 時 身 邊 最 可 靠 的 剪 影 ──其 參 與

Photography) 學 士, 紐 約 大 學 帝 勢

剪 接 的 泰 國 導 演 艾 狄 雅. 阿 薩 拉 和 阿 諾

藝 術 學 院 電 影 研 究 碩 士 畢 業。 頻 繁 往 返

查. 蘇 維 查 康 彭 的 首 部 長 片《 傷 心 蔚 藍

於 泰、 美 兩 地, 對 於 國 族、 文 化、 身 分

海》(Wonderful Town,2007)、《看

認 同 的 曖 昧 邊 界, 讓 他 在 求 學 期 間 便 萌

似 平 凡 的 故 事 》(Mundane History,

發 了《 愛 情 多 年 後 回 來 》(Concrete

2009)接連奪下鹿特丹影展金虎獎。

Clouds,2013) 的 故 事 構 想; 然 而,

扶 植 或 陪 伴 泰 國 當 地 的 創 作 者 之 餘, 2009 年 起, 利 的 剪 接 作 品 開 始 橫 跨 其 他 亞 洲 地 區。 第 一 部 跨 國 合 作 的 作 品 來

2001 年, 利 離 開 紐 約, 回 到 家 鄉 泰

自 馬 來 西 亞, 錄 像 藝 術 家 張 千 輝 在 短 片

國, 投 入 的 第 一 部 電 影 製 作 便 是 當 時 才

作 品《Block B》(2008) 與 利 搭 檔

剛在國際影壇上嶄露頭角的泰國電影導

之 後, 兩 人 在 張 千 輝 的 首 部 長 片《 卡 拉

演 阿 比 查 邦 的 第 二 部 長 片《 極 樂 森 林 》

OK》(Karaoke,2009) 再 續 前 緣,

(Blissfully Yours,2002)。 起 初,

一舉叩關坎城影展導演雙週單元。此後,

利 以 收 音 師 的 身 分 加 入 劇 組, 卻 額 外 獲

來 自 日 本、 新 加 坡 或 是 泰 國 與 其 他 歐 美

得 負 責 剪 輯 毛 片 的 機 會, 並 一 路 協 助 完

國家合製的作品,頻繁匯流至利的手中,

成 全 片 剪 接。 他 以 此 為 起 點, 逐 漸 累 積

例 如 新 加 坡 導 演 陳 敬 音 的《 親 愛 的 大 笨

成 為 剪 接 界 的 第 一 把 交 椅, 更 是 阿 比 查

象 》(Pop Aye,2017)、 巫 俊 鋒 的

邦 長 年 的 合 作 夥 伴, 包 括 為 泰 國 抱 回 第

《 徒 刑 》(Apprentice,2016); 或

一 座 坎 城 影 展 金 棕 櫚 的《 波 米 叔 叔 的 前

曾為台北電影節焦點影人的菲律賓導演

世今生》(Uncle Boonmee Who Can

暨 剪 接 師 卡 洛. 弗 蘭 西 斯 科. 馬 納 塔 的

Recall His Past Lives,2010)。

短 片 代 表 作《 她 在 離 職 的 前 一 天 爆 炸 》

跨越類型不設限, 恐怖愛情動作與獨立製作 回 顧 利 的 剪 接 作 品, 除 了 阿 比 查 邦 執 導 的 多 部 名 作 之 外, 在 他 返 鄉 投 入 泰 國 電 影 圈 之 時, 便 展 現 了 跨 類 型 的 驚 人 才 華。 有 別 於 阿 比 查 邦 的 緩 慢 悠 長, 知 名 泰 國 電 影 製 作 公 司 GDH 559( 前 身 為 GTH) 的 經 典 恐 怖 片《 鬼 影 》 (Shutter,2004) 亦 出 自 他 之 手, 更 曾 參 與 動 作、 愛 情 喜 劇 類 型 作 品。 利 一

(Jodilerks Dela Cruz, Employee of the Month,2017), 皆 為 在 國 際 影展有所斬獲且曾與台灣觀眾見面的作 品。2010 年, 主 責 電 影 後 製 控 管 的 團 隊 White Light Post 成立,曾負責《以 你 的 名 字 呼 喚 我 》(Call Me By Your Name,2017) 的 後 製 控 管, 事 業 版 圖 正 式 擴 及 美 國。 今 年, 利 更 進 軍 中 國, 擔 任 名 導 王 小 帥 最 新 作 品《 地 久 天 長 》 (So Long, My Son,2019) 的 剪 接 統籌。

ESSAY

起步於日後之巨擘, 茁壯為新銳之支柱

立足家鄉,剪破國境 專文

執導長片的時機,也醞釀了 12 年之久。

205


導演夢多年後回來, 導演 剪接 編劇三位一體 幾乎與所有踏入電影圈的創作者相同,利也懷抱著導演夢。求學期 間,他曾執導短片《Miami Strips, Hollywood Dreams》(2001); 剪接《看似平凡的故事》的同時,亦催生他的首部長片,至今也是唯 一一部執導的長片作品《愛情多年後回來》。 利與導演阿諾查歷時六個月剪接《看似平凡的故事》,兩人躺在地板 206

上自在暢聊,交換想法。阿諾查問起利若當導演,想拍什麼樣的電影? 他娓娓道來《愛情多年後回來》的構思。阿諾查自靠奮勇擔任製片, 阿比查邦也加入團隊。接下來,便是尋找資金的漫漫長路。四年後《愛 情多年後回來》問世,利自編自導自剪,三重身分合而為一,情感綿

專文

長而動人。利操刀的《鬼影》演員阿南達擔綱男主角,當年他已是泰 國當紅影星,更是橫跨商業與獨立製作的全方位演員。

ESSAY

正式踏入電影圈至今屆滿 15 年,平均每年至少三部操刀作品問世 的 利, 深 耕 泰 國、 跨 越 國 界, 成 為 亞 洲 地 區 新 銳 電 影 人 得 以 仰 賴 的 剪 接 師 與 後 製 功 臣。 身 為 剪 接 師, 利 認 為, 他 的 任 務 是 搭 起 劇 本 中 天 馬 行 空 的 世 界 與 實 際 影 像 素 材 間 的 橋 樑, 使 影 像 昇 華, 再 落 實 在 觀 眾 的 心 中。 他 在 與 導 演 無 盡 的 對 話 中, 試 圖 找 到 實 踐 導 演所思所想的渠道,用自己的方式使故事成立。

謝璇,台北電影節節目團隊。


嘎 林.努戈 羅 和 的 電 影 創 作世 界

艾基.伊曼賈亞

林. 努 戈 羅 和 不 只 是 創 作 多 產、 亮 眼 的 印 尼 導 演, 也 是 國 際 影 展 盛 事 中 最 知 名 的 印 尼 電 影 製 作 人。 當 國 際 學 者、 影

展 策 展 人 和 影 評 人 討 論 印 尼 電 影 時, 嘎 林 時 常 是 他 們 談 話 的 焦 點。 嘎 林. 努 戈 羅 和 1961 年 出 生 於 印 尼 日 惹, 是 印 尼 電 影 界 十 分 重 要 的 人 物, 他 創 新、 具 突 破 性 的 行 動 與 成 就, 在 電 影 美 學、 技 術 與 敘 事 上 有 著 長 足 的 實 驗 與 探 索。 更 重 要 的 是, 嘎 林 是 第 一 批 勇 於 打 破「 新 秩 序 時 期 」(New Order era,1966-1998) 專制規範的人。

207

據 筆 者 所 知, 嘎 林 也 是 第 一 位 有 專 書 討 論 的 印 尼 導 演。《And the Moon Dances: The Films of Garin》(2004)

Dances》(1995), 該 片 榮 獲 1996 年 柏 林 影 展 新 電 影 論 壇 (Forum of New Cinema) 單 元 的 費 比 西 影 評 人 獎。 同 年, 釜 山 影 展 策 劃 了 一 個 特 別 企 劃「 嘎 林 與 下 一 個 世 代: 印 尼 電 影 的 新 可能性」(Garin and the Next Generation: New Possibility of Indonesian Cinema)。 嘎林.努戈羅和不只劇情片備受國際影壇肯定,他也曾拍攝數部紀 錄片,以《Indonesia at the Margins: Political Documentaries and Essay Films, 1991-2002》系列發行,其中一些由在澳洲蒙 納許大學任教的印尼電影學者大衛.哈南(David Hanan)剪接。 曾 經 於 金 馬 影 展 放 映 之 印 尼 導 演 莫 莉. 蘇 亞(Mouly Surya) 入 圍坎城導演雙週單元的作品《瑪莉娜之殺人四幕》(Marlina the Murderer in Four Acts,2017), 故 事 靈 感 即 來 自 嘎 林 的 第 二 部劇情片《A Letters for an Angel》(1994),此為印尼新世 代創作者向嘎林致敬之作,而嘎林亦擔任該片的編劇。 只 要 談 及 印 尼 電 影, 免 不 了 提 起 嘎 林. 努 戈 羅 和 的 名 字。2008 年, 他 擔 任 柏 林 影 展 論 壇 單 元 的 評 審 團 主 席( 他 有 數 部 作 品 曾 在 此 單 元 放 映 ), 當 時 筆 者 在 柏 林 影 展 親 眼 見 到 世 界 各 地 許 多 電 影 製 作 人( 尤 其 來 自 東 南 亞 區 域 的 影 人 ) 向 嘎 林 致 意; 影 展 期 間, 嘎林也接受法國《電影筆記》(Cahiers du Cinéma)雜誌專訪。 在 其 他 場 合, 筆 者 也 目 睹 過 類 似 的 敬 意, 包 括 2008 年 的 鹿 特 丹 影展;2018 年,嘎林在倫敦的劇場演出《Setan Jawa》(2017) 時,筆者曾陪同嘎林在黃金新聞時段接受 BBC 採訪。

ESSAY

纂 的 文 集, 書 名 取 自 嘎 林 的 第 三 部 劇 情 長 片《And the Moon

專文

新 加 坡 影 展 策 展 人 暨 資 深 影 評 人 謝 福 龍(Philip Cheah) 編


挑戰性的嘗試與突破 1990 年 代, 大 多 導 演 由 於 金 融 危 機 而 停 止 拍 片, 當 時 電 影 界 幾 乎 成 了 B 級 電 影 的 天 下, 少 數 導 演 與 影 片 例 外, 例 如 描 寫 印 尼 工 人 運 動 史 的《Marsinah》 (1995); 而 嘎 林 亦 持 續 拍 攝 電 影。 1990 年,嘎林推出了他的首部劇情長片 《Love on a Slice of Bread》。 本 片 是 印 尼 的 第 一 部 公 路 電 影, 於 1991 年 榮獲堪稱是印尼奧斯卡獎的芝特拉電影 獎(Citra Awards), 包 括 最 佳 影 片 等 六項獎項;1992 年,嘎林以本片獲得由 208

韓 國 舉 辦 的 亞 太 影 展 最 佳 新 銳 導 演 獎,

致 缺 缺, 幸 而 嘎 林 的 電 影《Leaf on a Pillow》 讓 國 內 觀 眾 回 到 電 影 院, 讓 印 尼 電 影 最 後 重 新 贏 回 觀 眾 的 信 心。《Leaf on a Pillow》以新寫實主義的手法拍攝, 於 1999 年 坎 城 影 展 入 圍 一 種 注 目 單 元, 並獲得東京影展評審團特別獎。其另一部 電 影《Serambi》(2005) 是 和 年 輕 導 演共同執導的短片集,同樣入圍坎城影展 一種注目單元。

藝術探索 有趣的是,嘎林的電影作品樣貌和帶給觀 眾的感受似乎從不重複。他總是嘗試拍攝

專文 ESSAY

當時他 33 歲。

不同類型的電影。他持續嘗試不同手法與

嘎 林 拍 攝 第 一 部 電 影 時, 拒 絕 遵 守 獨 裁

傳 統, 同 時 設 法 闡 釋 印 尼 的 特 質。 他 電 影

者 蘇 哈 托 在「 新 秩 序 時 期 」 設 立 的「 實

裡的故事獨特,敘事風格與創作手法獨樹

習 政 策 」(Internship Policy), 依 據

一格,擅長結合印尼豐厚的傳統以及現代

實 習 政 策, 電 影 工 作 者 必 須 在 副 導 演 的

的議題與觀點,使他的作品總令人感到別

職位待上一段時間,才能成為專業導演。

出心裁。

嘎林是最早一批不遵守此規定的電影製 作 人。 起 初, 該 法 規 是 為 了 防 止 共 產 主 義 滲 透 到 印 尼, 後 來 這 套 峻 法 卻 套 用 到 所 有 的 日 常 活 動。 然 而, 嘎 林 無 視 迂 腐 陳 規, 他 跳 過 實 習 程 序, 違 抗 此 規 則, 之後許多年輕的電影製作人也隨之違抗 此 規 範 自 行 拍 攝 電 影。 因 而 當 時 許 多 電 影是以數位格式拍攝。

風格,強調印尼多樣文化中豐富的文化和

2006 年 完 成 的 作 品《 爪 哇 安 魂 曲 》 (Opera Jawa) 是 其 藝 術 成 就 最 高 的 作 品, 此 為 嘎 林 應 美 國 劇 場 導 演 彼 得. 謝 勒(Peter Sellers) 之 邀, 為 紀 念 莫 札 特 250 歲 冥 誕 的 藝 術 節(New Crowned Hope Festival) 拍 攝 的 影 片。 該 企 劃 的 其 他 電 影 包 括 蔡 明 亮 的《 黑 眼 圈 》 (2006)和泰國導演阿比查邦.韋拉斯塔

蘇 哈 托 的 新 秩 序 垮 臺 之 後, 嘎 林 的 電 影

古的《戀愛症候群》(Syndromes and a

《Leaf on a Pillow》(1998) 是 改

Century,2006)。在《爪哇安魂曲》片

革 階 段 初 期 的 幾 部 票 房 鉅 片 之 一, 他

中,嘎林融合了印尼甘美朗民俗音樂與爪

與當時年輕一代的印尼電影創作者製

哇的歌劇與舞蹈,利用這些元素重新詮釋

作 的 一 些 電 影, 一 同 開 啟 了 印 尼 電 影

印 度 史 詩《 羅 摩 衍 那 》 的 故 事。 為 了 拍 攝

工 業 的 新 時 代。 例 如 Mira Lesmana

本 片, 嘎 林 邀 集 甘 美 朗 大 師 拉 哈 育. 蘇 邦

導 演 的《Kuldesak》(1998)、 利

加(Rahayu Supanggah),以及曾任百

利. 里 沙(Riri Riza) 的《Sherina's

老匯音樂劇《獅子王》舞蹈顧問與瑪丹娜

Adventure》(1999) ─ ─ 兩 人 分 別

御用編舞者的世界頂尖編舞家艾可.蘇布

為 印 尼 電 影《 天 虹 戰 隊 小 學 》(The

利陽托(Eko Suprianto)。

Rainbow Troops,2012) 的 監 製 與 導 演; 多 位 導 演 合 拍 的《Jelangkung》 (2001) 和 Rudy Soedjarwo 的《 愛 情 怎 麼 了 》(What's Up with Love, 2002)。 在 那 經 濟 動 盪 的 年 間, 觀 眾 對 劇 院 播 放 的 劣 質 剝 削、 廉 價 電 影 興

嘎 林 的 另 一 大 藝 術 成 就 是 其 2017 年 的 劇 場 作 品《Setan Jawa》, 這 是 一 齣 由 默 片投影搭配現場演奏的甘美朗音樂的劇場 表演,融合瓜哇藝術與德國表現主義的傳 統, 尤 其 是 經 典 的 穆 瑙 吸 血 鬼 電 影《 不 死 殭 屍 — 恐 慄 交 響 曲 》(Nosferatu,


1922)。嘎林在《Setan Jawa》作品中

角, 他 是 伊 斯 蘭 聯 盟 的 領 導 人 之 一, 影 片

再度與甘美朗大師拉哈育.蘇邦加合作,

勾 勒 出 仍 為 荷 屬 殖 民 地 的 印 尼 在 其 1920

於歐洲與澳洲的幾間大型表演廳演出。

年 代 國 族 主 義 興 起 之 時, 其 社 會 的 氛 圍。 嘎林並在電影中試圖探問當代印尼的意義。

嘎 林 亦 採 取 新 寫 實 主 義 的 敘 事 手 法, 例 如 1998 年 的 劇 情 長 片《Leaf on a Pillow》、2000 年的《無畏,詩人之歌》 (A Poet: Unconcealed Poetry) 和 《Of Love and Eggs》(2004)。 他 也樂於嘗試新科技,《無畏,詩人之歌》

在 最 新 的 作 品《 我 身 記 憶 》(Memories of My Body,2018) 中, 嘎 林 以 印 尼 著 名 編 舞 家 里 安 多(Rianto) 的 生 命 故 事 為 譜, 講 述「 凌 雅 」 舞 者 朱 納 的 故 事。 而 這 部 電 影 因 為 觸 及 LGBT 相 關 性 別 議 題, 而 引發某些印尼宗教社群的抗議。

以 數 位 影 片 格 式 拍 攝, 在 當 時 是 率 先 應 用 數 位 電 影 製 作 的 幾 位 導 演 之 一。 這 種

小軼事

新 的 技 術 規 格, 讓 嘎 林 得 以 拍 攝 超 過 十 分 鐘 的 長 鏡 頭。 他 近 年 的 作 品《 來 自 爪 哇 的 女 人 》(A Woman from Java,

有意思的是,嘎林雖然享譽國際,但他在 印 尼 從 未 獲 頒 最 佳 導 演 獎。 直 到 2018 年

2016)則使用一鏡到底的鏡頭拍攝。

印尼《時代》雜誌(Tempo)舉辦的時代

此 外, 嘎 林 也 拍 攝 紀 錄 片。2008 年 的

獲選為最佳影片。筆者當時是評審團的一

《Teak Leaves at the Temples》融合

員,我想我們做出了恰當的決定。

Gunung)農人藝術家社群。從某種質變 的 角 度 來 看, 自 由 爵 士 樂 的 和 爪 哇 文 化 的精神有些意想不到的相似之處。

此 外, 嘎 林 在 2005 年 共 同 創 辦 了 日 惹 奈 派 克 亞 洲 電 影 節(Jogja-NETPAC Asian Film Festival,JAFF),這是和觀眾一同 歡慶電影文化的電影活動,來自印尼和東 南亞各地的觀眾都熱情活躍,積極參與。

政治發聲 嘎 林 也 是 社 會、 文 化、 政 治 行 動 家, 曾 撰 寫 諸 多 文 章 與 書 籍, 其 電 影 作 品 傳 遞

翻譯

周沛郁

了他強烈的政治訊息。例如 2002 年的作 品《親吻你的淚痕》(Bird Man Tale) 描 述 了 巴 布 亞 衝 突, 並 在《 無 畏, 詩 人 之歌》描述了亞齊衝突和 1965 年印尼政 府 針 對 共 產 黨 人、 華 裔 人 士、 左 派 份 子 大 規 模 屠 殺 與 逮 捕 的 九 三 〇 事 件( 在 紀 錄 片《 殺 人 一 舉 》 和《 沉 默 一 瞬 》 中 亦 曾 處 理 過 此 題 材 )。 嘎 林 針 對 文 化 上 的 不 寬 容 與 宗 教 恐 怖 主 義 的 社 會 現 象, 拍 攝 了《 蒙 蔽 的 青 春 》(The Blindfold, 2011), 講 述 強 硬 派 可 能 對 中 產 階 級 的 知識分子帶來思想上的影響。 而 2015 年這部在 Netflix 平台上播映的 《一國之師:佐格羅阿米諾多》(Guru Bangsa Tjokroaminoto) 傳 記 電 影, 則 以 印 尼 的 民 族 英 雄 佐 格 羅. 阿 米 諾 多 (Oemar Said Tjokroaminoto) 為 主

艾基.伊曼賈亞(Ekky Imanjaya),任職於印尼雅加達建國大學電影系。

ESSAY

故事與地方社群的表演,包括五山(Lima

影展,才讓嘎林獲得此榮耀,《我身記憶》 專文

在 寺 廟 演 奏 的 自 由 爵 士 音 樂、 當 地 傳 說

209


從存餘變 出 繁 花 的 修 補 匠( b ri c o l er ) : 安妮.華 達

210

黃以曦

妮. 華 達 第 一 部 作 品 是 上 映 於

但 安 妮. 華 達 的 創 作 取 徑, 則 難 以 切 割

專文

1954 年 的《 短 角 情 事 》(La

於 她 的 日 常、 她 的 人 際 關 係、 她 私 密 的

Pointe Courte), 早 於 常 被 稱 作 法

情 感 與 喜 好。 華 達 將 她 的 想 像 力、 創 造

國 新 浪 潮 開 端 楚 浮 的《 四 百 擊 》(Les

力、 重 新 發 動 一 個 自 成 一 格 的 獨 立 世 界

quatre cents coups,1959) 和 高 達

( 即 創 作 渴 望 ), 注 入 生 活 之 中, 再 將

的《 斷 了 氣 》(À bout de souffle,

生 活 作 為 創 作 的 據 地, 或 甚 至, 創 作 與

1960), 由 此 被 稱 為「 法 國 新 浪 潮 之

生 活 同 時 進 行 並 相 絞 纏, 生 活 被 創 作 狀

母」,但創作屬性上其實更被歸類為「左

態 的 純 粹、 理 想 性 給 滲 透, 創 作 也 和 入

岸 派 」, 其 中 成 員 包 括 雷 奈、 莒 哈 絲、

了 大 量 的 日 常 的 節 奏 與 氣 質。 華 達 的 作

克 里 斯. 馬 克 和 賈 克. 德 米, 風 格 相 當

品, 提 示 了 如 李 維. 史 陀 提 出 的「 修 補

不同於更為影迷所熟悉的「新浪潮派」,

術 」(bricolage)── 指 通 過 使 用 事

包含高達、侯麥、夏布洛、楚浮、希維特。

件 的 存 餘 物 和 碎 屑 來 進 行 建 構, 相 對

ESSAY

剛 於 2019 年 3 月 29 日 去 世 的 安 妮. 華達,在 90 年人生中創作多達 50 部劇

於 工 程 師 依 據「 概 念 」 行 事, 修 補 匠 (bricoler)是靠「記號」來工作。

情 片 與 紀 錄 片, 另 外 亦 有 攝 影 和 裝 置 藝

安 妮. 華 達 的 作 品 有 輕 鬆、 隨 意、 即 興

術等作品。

的氣質,滿載著鍾愛的小東西、小動物, 她 的 習 慣、 她 的 惦 記 和 小 確 幸、 她 的 愛

安 妮. 華 達 不 只 大 量 創 作 劇 情 片 和 紀 錄 片,她的手法一直都是虛構和紀實並行, 在 她 的 劇 情 片 裡 有 紀 錄 片 的 寫 實、 順 隨 偶 然、 等 待 事 物 發 生 等 性 質; 其 紀 錄 片 則有著劇情片常見的作者介入,去組織、 去對被攝錄的眾事物之間關係進行配 置、較明顯的敘事等。 但 先 於 劇 情 片 或 紀 錄 片 定 義 的 是, 這 其 實 更 關 於 安 妮. 華 達 與 其 創 作 的 關 係。 絕 大 多 數 時 候, 所 謂 的 作 者 導 演, 傾 向 於 讓 自 己 身 上「 作 者 」 的 部 分 被 抽 象 出 來。 觀 眾 將 從 他 一 系 列 創 作 裡 的 共 通 關 懷、 風 格 一 致 性 去 歸 納 或 還 原 回 該 作 者 的輪廓,無論是在政治或美學上的偏好、 觀 影 和 閱 讀 系 譜, 或 者 從 其 身 世 或 其 所 在 的 時 代 找 到 線 索 來 拼 湊, 所 有 材 料 被 轉 化、 被 延 伸 地 匯 集, 共 同 勾 勒 出 該 作 者 的 形 象。 換 句 話 說, 一 個 人 的 創 作 者 身 份, 可 以 看 成 是 平 行 的、 切 割 開 來 的 分 身, 其 在 現 實 中 的 遭 遇 不 太 會 直 接 對 創作做出連動。

人與朋友以及無法遏抑的對他們的感 情, 還 有 她 喜 歡 的 到 處 走、 到 處 看、 時 時 拋 出 的 凝 視 與 問 疑; 但 同 時, 她 亦 是 固 執 和 堅 定 的, 關 於 時 代、 女 權、 愛 情 的 曖 昧 與 兩 面 性、 人 的 存 在、 生 命 中 事 物 的 排 序, 她 無 畏 也 強 力 地 做 出 主 張。 華 達 在 最 輕 巧 閑 意 時, 仍 帶 著 從 珍 愛 這 些 事 物 而 來 的 嚴 肅, 在 最 叛 逆、 最 具 主 張 性 時, 仍 是 以 一 種 平 視 而 家 常 的 身 段 去經營。 華 達 不 曾 隨 著 創 作 資 歷 的 更 資 深, 而 讓 作 品 服 膺 於 通 常 認 為 的 電 影 框 架, 她 亦 非 打 造 一 個 高 遠 而 幽 閉 的 風 格 碉 堡, 而 是數十年如一日的充滿赤子情懷、熱情、 自 由。 當 安 妮. 華 達 把 自 己 的 日 常 結 合 進 創 作 裡, 那 首 先 是 一 個 為 創 作 的 本 能 和 熟 練 所 浸 染 的 日 常, 她 展 現 了 一 位 藝 術 家 如 何 徹 底 地 讓 生 活、 生 命 本 身, 就 是 整 幀 創 作 進 程, 而 作 品 其 實 就 是 將 這 龐大的流動採集進景框。


而 反 過 來, 這 也 正 是 華 達 的 創 作 信 仰,

時間、你與你攜手或面對的對象,一同打

無 論 虛 構 或 紀 實, 她 都 認 為 自 己 的 攝 影

造的時間。

機 不 是 在 圈 起 一 個 故 事, 而 是 讓 攝 錄 下 的 影 像, 提 點 出 景 框 外 正 流 動 的、 更 豐 富 的 生 命。 華 達 既 是 創 作 她 放 進 框 架 裡 的 故 事, 也 是 藉 著 創 作, 在 創 造 框 架 所 無法承裝、可卻是真實躍動的生命。

安 妮. 華 達 相 信 遺 落、 邊 緣、 弱 勢, 相 信 情 感、 勞 動、 遊 戲、 記 憶 與 夢。 這 一 方 面 回 應 了 電 影 舒 服 的 尺 度 感, 另 一 方 面 則 為 電 影 打 開 了 由 下 而 上(bottomup, 相 較 於 由 上 而 下 top-down) 之 可

落 為 基 調 所 展 開, 這 指 的 不 是 題 材, 而

上 延 續 到 銀 幕 下。 華 達 並 不 只 是 作 為 一

是 尺 度 感。 在 這 些 不 同 題 材、 不 同 設 定

個 景 框 外 的 作 者 在 調 度 她 想 的 材 料, 她

的 電 影 裡, 人 與 時 間、 人 與 空 間、 人 與

是 真 的 走 進 鏡 頭 裡 的 那 個 世 界, 或 者 也

他人、人與自己,俱是在某個令人放鬆、

可 以 相 反 地 說, 她 始 終 致 力 於 將 鏡 頭 所

安 心 的 尺 度 裡。 在 那 裡, 人 物 被 邀 請 進

正 對 著 的 世 界, 連 上 她 作 為 操 掌 攝 影 機

行 探 索, 他 們 會 在 此 安 全 感 裡, 慢 慢 釋

的 人 所 在 的 世 界。 華 達 認 為 自 己 就 屬 於

放 更 幽 微 細 膩 的 一 面, 然 後 這 些 變 化,

她 相 信 的 那 些 事 物, 她 的 創 作 也 可 以 看

反 過 來 賦 予 乍 看 簡 單 的 電 影, 有 其 被 獨

為 她 為 自 己 打 造 了 一 個 她 想 要 走 進 去、

一無二深究的契機。

待下來的天地。

華 達 由 此 創 造 了 她 電 影 中 的 時 間。 即 是

而 除 了 電 影 的 謙 遜、 慷 慨, 這 個 創 作 狀

一個又一個被放大、被珍重對待的當下,

態 更 界 定 出 一 種 新 的 虛 實 關 係。 華 達 的

人 的 當 下、 物 的 當 下、 地 方 的 當 下。 這

電 影 並 不 是 那 種 聰 明、 繁 複、 層 層 疊 疊

位 作 者 似 乎 深 信 著, 人 只 要 對 眼 前 的 時

如 謎 如 迷 宮 的 後 設 狀 態, 但 幾 乎 絕 大 多

刻 有 足 夠 耙 梳, 不 僅 能 重 新 喚 醒 過 去 歷

數的她的作品,都帶有虛實相絞的特質。

歷, 甚 至 能 與 之 和 解, 而 未 來, 恰 恰 是

這 種 極 少 見 的 平 易 近 人 的 虛 實 間 錯, 來

關於此刻的釐清,所將找出的新的見解。

自 於 華 達 有 一 種 活 在 夢 中、 在 遊 戲 中 的 傾 向, 對 著 最 凡 常 的 日 常, 將 之 勾 勒 出

在華達的劇情片裡,她並不迷信人物要有

一整個輪廓,轉化成如同書頁上的一章。

真正跨出新步伐的所謂成長,而多是在一 整路的旅程之後,終於理清了出發點的千

安 妮. 華 達 的 電 影 絕 非 可 愛 老 奶 奶 的 溫

頭萬緒。從某個角度而言,生命或者可以

馨 作 品, 它 們 提 示 的, 既 是 另 一 種 創 作

視為某個巨大而千絲萬縷的一刻,我們早

之 於 生 活 的 融 入 與 介 入, 也 是 當 面 對 生

已擁有所有材料,剩下的就是確實地活在

活 的 寬 容 與 好 奇、 不 停 走 上 前 去 探 尋、

其中,以瞭解這所有的事情。而華達的紀

甚 至 去 逗 弄, 以 致 於 生 活 反 過 來 雕 塑 出

錄片,則更是以特定的行動,阻止時間的

創作,甚至雕塑出創作者的人生。

不斷更迭連綿。這些紀錄片中,不再是歲 月以其格式覆下,而人只能在裡頭一格一 格地填上自己的活動,而是反過來的,當 你去做、去把生命和關注投入,則你將會 在整個區間裡定義出時間。這將會是你的

黃以曦,影評人,作家,著有《離席:為什麼看電影?》、《謎樣場景:自我 戲劇的迷宮》。

211

ESSAY

能 性 湧 動 的 開 闊 感, 這 份 寬 廣 且 從 銀 幕

專文

安 妮. 華 達 的 電 影 以 市 集、 街 巷 和 小 村


Notes on Narrative VR: Journeys In Space and Time By KUO Ming-jung

212

I

專文 ESSAY

s VR a form of cinema? Should film festivals embrace it? What position should a film festival take when it introduces and includes VR films? What weight should it g i ve to V i r t u a l Re a l i t y c i n e m a ? Discussions like these have started to emerge over the past two years. While the discussions progress, the practitioners, those willing to give VR a try – young entrepreneurial producers, m a j o r h a rd wa re m a n u fa c t u re rs who finally realize they need to develop content to sell products; film festivals with various degrees o f c o m m i t m e n t – a re h u r r i e d l y developing narrative VR films with infinite imaginative possibilities. I first came into contact with VR f i l m s towa rd s t h e e n d o f 2 0 1 7. The key concept at that time was t h e a u to n o my o f t h e s p e c ta to r as they watched in a 360-degree space. For the filmmaker, facing this new autonomy, it was a matter of how to control narrative and develop different approaches to storytelling. Another practical element was how to avoid d i z z i n e ss fo r t h e s p e c t a to r. I n early 2018, I went to the Sundance Film Festival and its New Frontier s e c t i o n 1, w h e r e I e x p e r i e n c e d curated VR works. In some ways it felt more like a science fair than a film festival. The diversity and experimental inclinations of the selected works made an impact on my original limited definition of VR film. 360-degree film was only the beginning. The filmmakers are pushing the boundaries. Last year I went to the Venice Film Festival to see selected VR films and their Project Market pitching. C o m p a re d to t h e i n c l u s i ve a n d

diverse attitude of Sundance towards new media technology at the experimental, or try-out, s t a g e , Ve n i c e F i l m F e s t i v a l ' s selec tion focused solely on VR and its application. The state of completion of its projects was more re f i n e d . F o r a n i n d u st r y eve n t , Venice Film Festival consciously reflected an already existing route from film development through financing to film festival exhibition and distribution. Within that shor t space of time we can observe two phenomena: that animation and CG work greatly exceeds live action filming and that interactive VR work has also developed very quickly. CG and animation has become the mainstream, likely as a means to find an alternative route to the still complicated post-production of live action 360 filming, (stitching and erasing crew and equipment from the image). Compared to live action film where one follows the action by turning one's head, CG and animation provides much greater flexibility to space, facilitating the narrative development. If we want the viewer to wander inside the image (walk freely or experience extended space) or if we want to add interactive elements it is almost impossible in live action2. Noting this observation of VR's characteristics over that short space of time, the selected films for this years VR section are almost all CG and animation. Dispatch (2017) and Tales of Wedding Rings VR (2018) do not have interactive elements but the narrative design and the innovative viewing perspective of both films extends the imagination of VR films. Dispatch is a crime thriller


that uses sound as a narrative agent. It is set in an emergency call center with the narrative developing as the police and the caller confront a crisis. The audience face a completely dark space. In this undefined environment a crime scene is constructed via dialogue and the source of the sound is used to direct the spectator's attention, creating a tense plot. The comic-book adaptation Tales of Wedding Rings VR ignores the 360-degree space opened up by VR and conversely keeps the framing of its comic-book source. However, via the 3D created setting the spectator is able to 'peer' inside its frames and see the world beyond.

KUO Ming-jung, programmer of Singapore International Film Festival. Former programmer of Taipei Film Festival (2014-2018).

1 New Frontiers is a section started in 2007 for new media arts. The past two years have seen a significant amount of VR, Augmented Reality and Mixed Reality work take over this section.

2 The documentary, Awavena, about an Amazonian shaman, was selected both in Sundance and Venice, is a good example of the incorporation of live action 360 VR documentary and CG interpretation to create a shaman's visionary experience.

3 The dizziness felt by spectators is the result of a form of motion sickness caused when what is seen inside the headset is moving but the spectator's body is static. However, when watching this type of VR experience, this type of dizziness appears to have less effect, though it maybe the result of multiple factors. These can be the delicate CG design; the control of movement; the image information in outer space is relatively more simple than the topographical information of landscapes. Also other interactive and sensory effects bring additional stimulus to the brain, e.g. haptic feedback or the perception of space fed by sound. These senses correspond to the visual so that the brain has less gaps of conflict in perception, and thus is less likely to induce motion sickness. I thank VR researcher Ko Yi-chun, for these observations.

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As CG and animation seemingly become the mainstream for VR production, another impact for the overall narrative and aesthetics of VR films is the reduction of direct address, where characters or events are thrust forward at the spectator. In a VR 360 film the position of the camera is a presumption of the spectator's body within the image space. Because of the limitations of framing (though we can still see some excellent framing in some films) many 360 films choose to position the camera at the center of events. Some films will incorporate this POV into the narrative; some are unable to avoid the direct address of the actors showing themselves or their actions to the camera and this makes those VR stories now seem immature. However, taking SPHERES as an example, its 'narrative', from the Big Bang to black holes to the Earth we inhabit, and its movement within the cosmos, the distance between the planets, the descent towards the black hole, it locates the spectator and the camera as an

Translated by James CALLOW

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Another intriguing development for narrative VR is thematic. Astronomy has become a popular subject. SPHERES (2018) is set in a scientific outer space. Crow: The Legend (2018) shows a journey through an imaginative cosmos. This may not be a coincidence. We cannot film the dark and infinite cosmos but it allows creative space for CG and animation. Furthermore, in outer space there are relative positions between planets but for the spectator there's no definite fixed viewing position. Maybe the open-ended vastness of outer space provides an ideal environment for experiencing VR works.3

object in space, untethered from the fixed viewing position given precedence by traditional narrative, moving in a multi-directional space, drawn by the curiosity of peripheral vision. The space the spectator occupies is an alternative omnipresent possibility that is different from traditional narrative and its limits in the temporal fragmenting of spatial narration. While demonstrating the history of the universe Sphere prioritizes space over time. Additionally, the interactive elements of this film, induced by sound and haptics, take what is essentially an educational documentary into a work that has received many accolades for its VR development. Just as cinema is not filmed theater, the narratives and aesthetics of VR works, initiated by technology (or because of the current limitations of technology), may gradually be developing an alternative language system, waiting for us to explore.


Local Projections, Future Flashes Forward Taiwan by Katrina HSIEH

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he "Forward Taiwan" segment w a s b o r n a s Ta i p e i F i l m Festival celebrated its 20th birthday. As an international film festival, as well as a festival that belongs to the people of Taiwan, Taipei Film Festival has chosen " T h e H o m e C o u r t o f Ta i w a n C i n e m a " a s t h i s ye a r ' s t h e m e . A p a r t f r o m u s i n g t h e Ta i p e i Film Awards to encourage local filmmaking, we are also continuing to demonstrate our focus on Taiwanese films through "Forward Ta i w a n ". T h e s e p r o g r a m m e d screenings outside the competition create an additional space where developments in Ta i wa n e s e c i n e m a t h ro u g h t h e present year can be showcased. The fictional film Ohong Village and the documentary Homesick Tongue are the only two featurelength films in the segment this ye a r. F o r h i s f i rs t fe a t u re f i l m , Ohong V illage direc tor Lungyin LIM, who completed his MFA in film in the Czech Republic, chose a fishing village back in Taiwan as the setting, observing its social realities as he constructs a w o r l d o f m a g i c a l i m a g e r y. The filmmaking style fuses onsite documenting with fic tional storytelling. Shot on 16mm film, it captures the impact o f m o d e r n i s a t i o n o n Ta i w a n ' s southwest coastline, as well as the region's unique humanity—violent yet affectionate, cutting yet gentle—reflecting the filmmaker's observational acuity toward these issues. Homesick Tongue, on the o t h e r h a n d , d o c u m e n t s re a l i t y while cleverly seasoning the story with drama. With personal experience as the starting point, director Chen Hui-ping creates

a food map with the three simple words "Who am I?" at the centre and with geography and history drifting between its longitude and latitude. It is a life story that is both personal and immersed in ethnic history. The journey is m o r e t h a n j u s t a fo o d - t a s t i n g exe rc i s e , b e c a u s e t h e f l avo u rs e n c a p s u l a te t h e s e l f- i d e n t i t i e s a n d fa m i l y b l o o d l i n e s o f t h o s e who created and refined the taste over the years. This also reflects the position the island nation of Taiwan has found itself in in recent years. Placed side by side, Ohong V i l l a g e a n d H o m e s i c k To n g u e o f fe r s u b t l e c o n t r a s t s i n b o t h filmmaking methods and motifs, and together provide a glimpse into both Taiwan's modern history and its near future. The new "Til Death Do Us Par t" is a special short film series production model. The segment features seven short films jointly presented by Mirror Fiction, which aims to develop film and T V I Ps , a n d M a n d a r i nV i s i o n , a highly-experienced film and TV production company. The project was initiated from multiple perspectives, calling for writers at the script stage and seeking film crews before then forming seven teams from a core of experienced directors and cutting-edge c re a to rs o f v i s u a l s a n d d ra m a . I n Ta i w a n , a c o u n t r y y e a r n i n g for genre films, "Til Death Do Us Par t" presents a series of shor t films centred around horror and s u s p e n s e . " F o r wa rd Ta i wa n " i s screening these seven short films i n t wo p a r ts : " T h r i l l T h e a te r I " fe a t u re s fo u r wo r ks t h a t to u c h upon the realm of science-fiction a n d f a n t a s y, w h e r e a s " T h r i l l


Theater II" explores the boundaries of lust and love.

When the concept of "Forward Taiwan" first came into being, the idea was to apply a film festival perspective to our observations of Taiwanese cinema, grasping the development of new and cutting-edge filmmakers, and paying attention to the land that cultivates these films. Through this annual retrospective, our hope is to capture—amid the contest between the images on the screen and the vision of the filmmaker — flashes of the future.

Translated by Howard SHIH

Katrina HSIEH , member of Taipei Film Festival programme department.

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T h e fo u r s h o r t f i l m s i n " Ta i wa n S h o r t s I " p re s e n t h ow yo u n g f i l m m a ke rs v i e w t h e i r experiences of growing up and family relationships. This is a common theme but one that can reveal many different angles. Tiptoe was nominated for a Crystal Bear in the Generation Kplus competition at Berlinale. It is a modest film that appropriately leaves enough to the audience's imagination in its delicate and natural depic tion of a lonely childhood. On the other hand, The Menarche explores the subtle yet turbulent physical and psychological impac t of puber ty as a young girl faces the changes to her body b ro u g h t a b o u t by h e r f i r s t m e n s t r u a t i o n . This is overlapped with the living conditions she endures in contrast to that of her peers, culmi na ti ng i n a uni q ue ly fem a le comi ng o f- a g e m o m e n t . M e a n w h i l e , R e s t i n M i s t and Cloudy Days both focus on family relationships, with each having its own strengths in terms of technique and story. Rest in Mist infuses some fantastical elements and explores the bondage of family through a middle-aged loser who suddenly loses his elderly parents then gets them back again. Cloudy Days is closely tied to the formation of a family in contemporary Taiwan and follows the life of a new migrant who marries an old man. Outside of the broad discussion on self-

"Taiwan Shorts II", meanwhile, introduces four stylish works with a diverse range of themes. The Angler and Siamoise were made by directors who are either studying filmmaking abroad or have relocated overseas. Siamoise demonstrates a boundless imagination through its highly shocking opening sequence before exploring the relationship between body and soul. It is both delicate and unique. The Angler utilises refined black and white photography to capture Taiwan's local vibe, bringing out the many layers of daily life and middle-aged desires on an offshore island with a touch of rural legend. Also themed around desires, ICARUS tells the story of a night shift manager whose cravings fall into chaos in the darkness of night. Though it has an off-colour premise, the film is aptly controlled so as to not fall into the grotesque. Lastly, Broken Windows Theory revolves around the cr iminological assertion that visible signs of crime encourage more crime, and reflects on the relationship between Taiwan and China through the absurd experience of a new student who moves into a university dormitory.

專文

S h o r t f i l m i s t y p i c a l l y t h e g e n re w i t h t h e highest volume of films produced because of the lower resource threshold and compact running time. It is the breeding ground of new filmmakers and the stage where they first show off their skills. This year's Taiwanese short films reveal an interesting trend: Of the 100 or so short films submitted, as many as 20% have LGBT themes, including gender identity and exploration, homosexual lust, or "coming out" experiences. This illustrates that contemporary filmmakers are paying strong a t te n t i o n to g e n d e r i ss u e s ; s o m e m ay b e trying to make a statement, while others seek to portray them through a more romantic lens.

identity, the film tackles the less common angle of lust, pointing out the shackles of marital relations on the protagonist's vigorous desires.


The Independent Stars Who Radiate a Distinctive Light Between Reality and Ideals Chinese filmmakers of the Post-80s generation by Pony MA

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he Chinese film industry began flourishing in the 1980s. First, there was the Fifth Generation of Chinese filmmakers, who applied t ra d i t i o n a l fo l k c u l t u re t h e m e s with intense colour and style in reexamining wounds of past eras and expressing China's "new thinking" in the early days of its reforms. By the Sixth Generation, the images themselves had become the filmmakers' starting point as they sought to depict the realities of life and survival at the grassroots level. Not conforming with established industry rules and exhibiting the freedom and rebelliousness to break the constraints of their era became the defining characteristics of this generation. Experimenting with diverse styles and the continuous expansion of thematic possibilities enabled Chinese films from that time to make a splash on the international scene and become a point of focus. Directors such as Zhang Yimou, Chen Kaige, Jia Zhangke, Wang Xiaoshuai and Lou Ye mor phed from cutting-edge newcomers into renowned filmmakers on the big stage, and continue to wander between commercial and arthouse cinema while showcasing their personal style. But behind them stands a group of new filmmakers born after 1980, who are following the film journey of their predecessors but also opening up their own new vision of cinema driven by subversive visual experimentation. China's Post-80s generation could be said to the generation born between the cracks. The industry environment they face is one of rapid economic development and a commercial film market where the hot money is rolling. With original IPs becoming popular

investment options, the box office has also become an important consideration for investors. Moreover, the swift rise of online platforms has changed the original ecology of film production and viewer habits, leading to many up-and-coming stars switching to more lucrative paths. But this group of filmmakers has been able to shine not just because of their personal persistence in the pursuit of art— the government and film festivals have also been aggressively cultivating new talents. For instance, the FIRST International Film Festival, the Pingyao Crouching Tiger Hidden Dragon International Film Festival and the Shanghai International Film Festival all have film project matching initiatives that help filmmakers expand their industry connections and secure production financing, while also creating future collaboration opportunities. Additionally, the China Film Director's Guild's Young Director Support Program focuses on selecting scripts for development and mentored workshops to help young filmmakers gradually complete their feature-length works. Furthermore, there is now more assistance afforded to up-and-coming filmmakers by production companies, such as the "72 Transformations Film Plan" hosted by director Ning Hao's Bad Monkey Film, as well as the establishment of international distributors Parallax Films and Rediance, which offer new directors additional routes for their work to reach the international market. This kind of collective phenomenon perhaps cannot be categorised as the birth of a Chinese new wave. Rather, it is that these young filmmakers have been forced by the realities of their environment to figure out how to break through in a Chinese film industry that doesn't have enough to go around, and to stand tall in this crowded generation of talent. Workstations run by a single person, tiny film crews comprising only friends and family, and paltry production budgets have become the norm for these independent filmmakers. Neither willing to abandon their movie dreams nor compromise with reality, they earn the sweet fruits of success through hard work and persistence, and have repeatedly achieved outstanding results at major film festivals. In particular, the stunning volume of works produced by these cutting-edge new directors has once again turned the world's


attention towards this rising generation of China's Post-80s filmmakers.

In Present.Perfect. (2019), winner of the Tiger Award at the International Film Festival Rotterdam, director Zhu Shengze pieces together footage from live streams of popular Chinese "anchors". Through

Through artistic films imbued with a sense of magic, this group of Post-80s Chinese filmmakers are not just depicting the realities of a rapidly changing China, but are also contemplating the meaning of individual existence in one's own era. They are proving to the world that even if an independent film does not cater to commercial values, it still can, through the film's own merits and aesthetic message, radiate the most brilliant of lights.

Translated by Howard SHIH

Pony MA, member of Taipei Film Festival programme department.

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The ungeneralisable diversity of their themes and their uncategorisable experimental techniques on sound and visuals are the other main reasons why the Post-80s generation cannot be easily defined. Taking an overall view of the origins of their stories, it appears that some adopt their own experiences as the background, preserving the familiar aspects of their hometown from their childhood memories. Editing is utilised to construct multiple intertextualities, which are then applied to create subtle layers between time and space. For example, set in Hangzhou, Vanishing Days (2018), directed by the 1996-born Zhu Xin, has an air of tropical humidity in the vein of Apichatpong Weerasethakul, combined with the murmuring maternal imagery of Tsai Ming-liang's films. Amid organically formed sounds and images, the film takes audiences on a voyage through reality and fiction. Made with sharp film aesthetics and talent — and a budget of just 20,000 RMB (US$3,000) — Vanishing Days delivers an immensely powerful sensory experience.

Apar t from mir ror ing contemporary social trends, quite a few films also express a deep appreciation for life through proficiency in the language of cinema. In Give Me A Ride (2019), set in Chongqing, director Xu Zhenhao uses the protagonist's experience of getting reacquainted with his hometown to infuse the misty visuals with a mysterious vibe; and through repressed, lonely souls in the wilderness and glistening, contemplative images, exposes the strain in the characters' interpersonal relationships. Meanwhile, in the soothing and romantic Three Adventures of Brooke (2018), director Yuan Qing uses a trip to the Malaysian town of Alor Setar to create a three-part narrative with seemingly parallel stories. Interweaved with Hong Sangsoo's idle conversations and Éric Rohmer's stylistic palpitations, this is a film that brings sweet insights into life's chance encounters.

專文

Unlike the Fifth Generation that emerged from the Beijing Film Academy or the Sixth Generation that sought to reflect on past eras, this group of young directors who seem to be springing up everywhere is no longer marked by a clear generational line. What allows them to be discussed as a whole is how they have been able to, in contrast to previous generations that had far fewer opportunities to view screenings, increase their observations of film aesthetics through the more plentiful film and TV resources and institutional education available to them today. The considerable film viewing experiences of this group of budding filmmakers have become a channel to bolster their film knowledge, in which works from Europe, America to Southeast Asia, or even the more geographically proximate Hong Kong and Taiwan, are potential sources of inspiration. These works are absorbed, ruminated upon, rewoven, and also reflected in their own film aesthetics. Through long-term accumulation of critical thinking and deconstruction of images, exploring the essence and logic of filmmaking, and combined with their individual views on art and continuous experimentation of audiovisual techniques, they each grind out their own unique authorial brand.

this virtual space, the film undertakes a deep reflection of real life and simultaneously explores the reorganisation of the relationship between "live-streaming" and film, encouraging audiences to ponder the issue for themselves. In SHe (2018), a stop-motion animation that took six years to make, director Zhou Shengwei merges common items from daily life with gender and labour issues, using a shoe as a metaphor for survival in a mad, cannibalistic regime. Its highly critical plot strikes right at the heart of a social system plagued by gender stereotypes.


Lee CHATAMETIKOOL, the "Triple Threat" by Katrina HSIEH

Building the bridge between image and story

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e e C h a t a m e t i ko o l wa s b o r n in 1976 in the Philippines. He spent his youth in Thailand and later ventured to the United States to study, first earning his bachelor's degree in Film, Video and Photography from Hampshire College in Massachusetts before completing the Graduate Film program at New York University's Tisch School of the Arts. Frequent travels between Thailand and the US contributed to his ambiguous national, cultural and self identity, which led him to come up with the story idea for Concrete Clouds (2013) while he was still a student. However, the opportunity for him to direct this feature-length film would remain brewing for another 12 years.

Launched his career with a future star and grew into a mentor for newcomers I n 20 1 1, Le e l e f t N e w Yo r k a n d returned home to Thailand. The first film produc tion he worked o n wa s B l i s s f u l l y Yo u r s ( 2 0 0 2 ) , t h e s e c o n d fe a t u re o f u p - a n d coming Thai director Apichatpong Weerasethakul, who had just begun making a name for himself on the international circuit. Lee initially joined the crew as a sound editor, but then scored an opportunity to edit raw film footage and ended up assisting all the way until the film's completion. With this as his starting point, Lee gradually developed into the leading film editor in the industry and became Apichatpong's longterm collaborator. Among the films they worked on together was Uncle Boonmee Who Can Recall His Past Lives (2010), the first Thai film to

bring home the Palme d'Or at the Cannes.

No limits on genre — horror, romance, action and independent productions Lo o k i n g b a c k a t Le e ' s e d i t i n g f i l m o g r a p h y, a p a r t f r o m h i s work on the many films directed by Apichatpong, he has also demonstrated amazing talent across various other genres. In contrast to Apichatpong's slower and longer films, Lee also edited t h e c l a ss i c h o r ro r f l i c k S h u t t e r (2004), produced by renowned Thai production company GDH 559 (formerly GTH), as well as films in other genres such as action and romantic comedy. On the one hand, he enjoys accumulating experience without placing any limits on himself; on the other, he has a penchant for working with cutting-edge new directors. Today, after having worked on countless films, Lee has become known as the most reliable film editor for budding new directors. These include Thai directors Aditya Assarat a n d A n o c h a S u w i c h a ko r n p o n g , whose respective debut features, Wonderful Town (2007) and Mundane History (2009), both captured the Hivos Tiger Award at the International Film Festival Rotterdam.

Hometown base, international impact Since 2009, when he's not cultivating or working alongside local Thai filmmakers, Lee has been expanding his editing portfolio to other parts o f As i a . H i s f i r s t c ro s s - b o rd e r c o l l a b o ra t i o n wa s o n t h e s h o r t film Block B (2008) by Malaysian video artist Chris Chong Chan-fui. The duo then reunited on Chong's


protagonist in the Lee-edited Shutter. By this time, Ananda was not just a major celebrity in Thailand, but a versatile actor starring in both commercial and independent films.

Rekindles directing dream years later as director/editor/screenwriter

Translated by Howard SHIH

Like almost all artists who step into the film industry, Lee also dreamed of directing his own film. As a student, he directed the short film Miami Strips, Hollywood Dreams (2001). But it wasn't until when he was editing the Anocha Suwichakornpong film Mundane History that he set the wheels in motion to direct his first — and to date, only — feature film, Concrete Clouds. During the six months it took Lee and Anocha to edit Mundane History, the two spent a lot of time lying on the floor chatting and exchanging ideas. When Anocha asked Lee what kind of film Lee would want to direct if he were a director, Lee spoke tirelessly about his idea for Concrete Clouds. Anocha volunteered to be a producer, while Apichatpong also joined the team. What followed was the long road to securing finance. Four years later, Concrete Clouds was born. Having played the three key roles of writer, director and editor on the film, Lee was especially moved by this long and emotional filmmaking experience. The lead character of the film was portrayed by Ananda Everingham, who also played the

Katrina HSIEH, member of Taipei Film Festival programme department.

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Lee officially joined the film industry 15 years ago and has edited at least three films per year. With a deep-rooted presence in Thailand and ample international experience, he has become a highly relied upon editor and post-production champion for cutting-edge filmmakers in the Asian region. As a film editor, Lee believes his mission is to build a bridge between the imagined world of the script and the actual footage captured on camera, to distill these images, and then instill them in the hearts of audiences. Amid his endless conversations with the director, he seeks to find channels that can implement the director's thoughts and ideas, and use his own methods to bring the story to life.

專文

debut feature, Karaoke (2009), which premiered at Director's Fortnight in Cannes. Afterward, Lee began receiving regular invitations to work on projects from Japan and Singapore, or international co-productions between Thailand and other European or American countries. For instance, the Singaporean films Pop Aye (2017) by Kirsten Tan and Apprentice (2016) by Boo Junfeng, and Jodilerks Dela Cruz, Employee of the Month (2017) by Filipino director and editor Carlo Francisco Manatad, one of Taipei Film Festival's "Ones to Watch" last year, have all performed well at international film festivals and screened in Taiwan. In 2010, he co-founded the film postproduction team White Light Post, which officially expanded its business to the US by securing postproduction supervision duties on Call Me By Your Name (2017). This year, Lee also ventured into the Chinese market by taking on the role of editing coordinator on Wang Xiaoshuai's latest film, So Long, My Son (2019).


The Significance of Garin NUGROHO By Ekky IMANJAYA

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arin Nugroho is not only one of the most prolific and prominent directors working in Indonesia, but also one of the most well-known I n d o n e s i a n f i l m m a ke rs p re s e n t on the international film festival circuit. Often, when global scholars, film curators, and critics discuss Indonesian cinema, Garin is the first name in the conversation.

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Born in Yogyakarta in 1961, Garin Nugroho is significant in the Indonesian film scene for several reasons: he has been par t of t h e i n n ova t i o n s , b r e a k t h r o u g h movements, achievements, and challenging explorations in film aesthetics, technologies, and storytelling, not to mention one of the first who dared to break the Suharto government's so-called "New Order" authoritarian regulations.

Garin is, as far as I know, the first Indonesian director to be discussed in a full book, namely Philip Cheah's edited collection And the Moon Dances (2004), the title taken from Garin's third film, And the Moon Dances (Bulan Tertusuk Ilalang, 1995), which won the FIPRESCI Prize in the Forum of New Cinema at the Berlin International Film Festival in 1996. In the same year, Busan Film Festival curated a special program titled "Garin and the Next Generation: New Possibility of Indonesian Cinema". As well as making award-winning fictional films, Garin also made d o c u m e n ta r i e s , s o m e o f w h i c h were described by David Hanan in Indonesia at the margins: political documentaries and essay films, 19912002. Recently, Garin gave his idea, modified from his second feature

film, Letters to Angel (Surat Untuk Bidadari, 1994) to Mouly Surya from which she produced Marlina the Murderer in Four Acts (2017), paving the way to Cannes' Director's Fortnight. Globally, his name then, is embedded within any discourse on Indonesian cinema. When I was in Berlinale in 2008, the year Garin was the head of jury for the Forum Section (several of his films were screened in this section), I witnessed many filmmakers from all around the world, particularly those from Southeast Asia, pay him the highest respect. At that time, he was interviewed by a journalist from Cahiers du Cinema. As I witnessed, this kind of respect was also shown on other occasions, notably at the 2008 Rotterdam Film Festival and ten years later, when I helped him perform Setan Jawa (2017) in London and I accompanied him during an interview with the BBC. It is impossible to discuss all of his work and cultural involvements here. So, I have chosen to focus on selected topics and films.

Breakthroughs and Challenges In the 1990s, while B-grade sexploitation film dominated the industry and other directors were unable to produce films due to the financial crisis (one or two titles such as Marsinah (1995) excepted), only Garin was persistently making films. He produced his first film, Love on a Slice of Bread (Cinta dalam Sepotong Roti), in 1990. The film was the first Indonesian road movie. It won 6 Citra Awards, including Best Picture, at the 1991 Festival Film Indonesia, and won him the Best Young Director


Award at the Asia Pacific Film Festival 1992 in Seoul. In making his first film, he led the way for filmmakers to make films without following the usual "Internship policy". Commonly, during Suharto's New Order era (1966-1998), there were several strict regulations, including the Internship Policy. So, for example, in order to be a professional director, one should become an assistant director for certain time. Initially, the law was applied to filter out communist influence from Indonesia, but later the strict laws were applied to many daily activities. But Garin skipped the internship process. He broke the rules. And later, many young filmmakers also broke the rules and made films, such as Kuldesak in 1998.

Interestingly, Garin seems never make films with the same look and feel. He always tries to make different kinds of movies. With his auteurist signatures, he tries different approaches and styles to highlight the rich traditions of Indonesia's diverse culture at the same time trying to represent an "Indonesia-ness." Garin has unique

Another great achievement is Setan Jawa (2017), a silent movie accompanied by live Gamelan orchestra and which blends Javanese arts with the style of German Expressionism, in particular Nosferatu. this spectacular show was only shown in a few great halls around Europe and Australia, Garin once again collaborated with Rahayu Supanggah. In some films, he adopts a Neorealist approach, in Of Love and Eggs (Rindu Kami PadaMu, 2004), A Poet: Unconcealed Poetry (Puisi Tak Terkuburkan, 2000) and Leaf on a Pillow (Daun di atas bantal, 1998). Regarding the novelty of technology, Garin was one of the first person in the world that applying digital filmmaking by making A Poet: Unconcealed Poetry with digital video format in 2000. This new format enabled him to shoot lengthy single shots of more than 10 minutes each. Most recently, he made A Woman from Java (Nyai, 2016) using a similar one shot technique. Garin also likes to explore through documentary. One of his best is Teak Leaves at the Temple (2008), which fuses free jazz Concerts played in temples along with stories and performance from local

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Artistic Exploration

One of his highest achievements in artistic exploration is Opera Jawa (Requiem from Java) from 2006, produced after he was commissioned by the Peter Sellars' New Crowned Hope Festival to celebrate the 250th anniversary of the birth of Mozart. Other movies in this project included I Don't Want to Sleep Alone by Tsai Ming-liang and Syndromes and a Century by Apichatpong Weerasethakul. In this movie, he combined Gamelan and Javanese styles of opera and dance, formulating those elements as storytelling in order to reinterpret the Ramayana story. He collaborated with Rahayu Supanggah, a Gamelan maestro, and dancer Eko Suprianto, who was also, incidentally, a consultant for the Broadway production of Lion King and one of Madonna's choreographers.

ĺ°ˆć–‡

After the downfall of Suharto, his film Leaf on a Pillow (Daun di Atas Bantal, 1998) was among the first box office successes during early Reformasi era and started a new era for the film industry in Indonesia, along with other films made by the New Generation of Indonesian cineastes , such as Mira Lesmana, Nan Achnas, Rizal Mantovani and Riri Riza (Kuldesak, 1998), Riri Riza (Sherina's Adventure, Petualangan Sherina, 1999), Rizal Mantovani, Jose Purnomo (Jelangkung 2001), and Rudi Sujarwo (Ada Apa dengan Cinta, 2002). Following the malaise of economic condition in which audiences were not eager to go to movietheaters due to the bad quality of the trashy sexploitation movies, these films encouraged domestic spectators return to movie-theaters and allowed national films to eventually regain the audience's trust. Shot with a Neorealist approach, this film was selected for the Un Certain Regard Section in the 1999 Cannes Film Festival. His other film Serambi (Verandah, 2005, an omnibus project with young filmmakers) was later also selected in this section.

stories, storytelling, and artistic approaches, combining those rich traditions of Indonesian culture with modern issues and perspectives, together making his work artistically distinctive.


communities and music groups, including Lima Gunung. Somehow, metaphorically, the spirit of free jazz and Javanese culture has some surprising similarities.

Political Voices

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Garin is also a social, cultural and political activist who has written many essays and books. Moreover, some of his films have strong political messages. For example, he depicted Papua's conflict in Bird Man Tale (Aku Ingin Menciummu Sekali Saja, 2002) and also Aceh's conflict and the 1965 Event (also represented in The Act of Killing (2013) and The Look of Silence (2015) in A Poet: Unconcealed Poetry.

Best Picture. I was part of that jury and I believe we made the proper decision. Furthermore, in 2005 Garin co-founded the Jogja-NETPAC Asian Film Festival (JAFF), a film event that celebrates film culture with the audience, encouraging spectators from countries all around the region to be very active and full of spirit.

Re l a te d to t h e p h e n o m e n o n o f intolerance and terrorism, he made The Blindfold (Mata Tertutup, 2011), asserting that middle-class educated p e o p l e c a n b e b ra i nwa s h e d by Hardliners. And with Guru Bangsa Tjokroaminoto (2015), a biopic on the mentor of young Sukarno (later, the first President of Indonesia in 1945) and other important figures, he tried to question the idea of being Indonesian. Lastly, with Memories of My Body (Ku Cumbu Tubuh Indahku, 2018), he told a story about Juno, a male dancer who practiced Lengger Lanang dance and Gembyak, traditions associated with LGBT themes, which raised some protests from some groups within Indonesian society.

Interesting Facts I n t e r e s t i n g l y, G a r i n h a d n e v e r received a Best Direc tor award i n I n d o n e s i a u n t i l 2 0 1 8, w h e n Tempo Film Festival, run by Tempo Magazine, chose him as Best Director along with Memories of My Body as

Ekky IMANJAYA, Film Program, Bina Nusantara University, Jakarta (Indonesia)


The Bricoler Who Crafted Bouquets from Scraps: Agnès VARDA by Estella HUANG

A

Ag n è s Va rd a wa s n o t j u s t a prodigious director of fiction and documentary films. Her technique was to always parallel fiction and documentary: Her fiction films contained charac ter istics such as documentary realism, improvisation, and waiting for things to happen, while her documentary films included authorial intrusion o f te n s e e n i n f i c t i o n f i l m s , t h e organization and configuration of the relationships between the things being recorded on camera, and more obvious narratives. It might be said that what comes before definitions of fictional or documentary films is actually more relevant to the relationship b e t we e n Ag n è s Va r d a a n d h e r

In contrast, Agnès Varda's filmmaking journey is very difficult to separate from her daily life, her interpersonal relationships, her intimate emotions and preferences. Varda used her imagination and creativity to reignite her fervour for the world (and desire to make films), infused this into her life, and then made her life her filmmaking base, even allowing her filmmaking and life to proceed simultaneously and become entangled. Her life was permeated by the purity and idealism of her filmmaking, while her filmmaking was infiltrated significantly by her daily rhythms and temperament. Varda's works hint at the art of "bricolage" as coined by Claude Lévi-Strauss, a term that refers to constructing something using remnants and debris. If an engineer works through "concepts", a bricoler relies on "signs". Agnès Varda's works have a relaxing, free and improvised feel. They are filled with her beloved little things,

223

ESSAY

When Agnès Varda passed away on March 29, 2019 at the age of 90, her filmography stretched to as many as 50 fiction and documentary films, as well as a collection of photographic works and art installations.

work. Most of the time, so-called wr iter-direc tors tend to let the "writer" part of themselves become abstracted. The audience take the common considerations and stylistic consistencies from their collected work and induce or reduce them to the writer's profile. Whether it is their political or aesthetic preferences, film watching or reading pedigree, or the time when they were born or lived, the audience find clues to piece together; all of these materials becoming transformed and stretched before being put together to create an outline of the writer's image. In other words, a person's identity as a filmmaker can be seen as a parallel, c a r ve d o u t i d e n t i t y ; w h a t t h e y experience in real life won't be too directly linked to their filmmaking.

專文

gnès Varda made her debut with the 1954 film La Pointe Courte, which came before François Truffaut's Les quatre cents coups (1959) and Jean-Luc Godard's À bout de soufflé (1960), the two films often associated with the start of the French New Wave. As a result, she has been called "the mother of the French New Wave", however, her works are actually grouped with the "Left Bank", a contingent that included Alain Resnais, Marguerite Duras, Chris Marker and Jacques Demy, as her style is relatively different to that of the corresponding "Right Bank" group which comprised of more familiar names such as Godard, Éric Rohmer, Claude Chabrol, Truffaut and Jacques Rivette.


224

專文 ESSAY

animals, her habits, her memories, her little pleasures, her lovers and friends and the irrepressible feelings s h e h a s t owa rd t h e m , a n d h e r penchant for wandering and looking around and occasionally throwing out a question. At the same time, she is stubborn and resolute. When it came to her era, women's rights, the ambiguity and two-sidedness of love, human existence, or the order of things in life, she was fearless and made powerful assertions. At her most light and casual, Varda still carried a solemnity that stemmed from cherishing these things; and even at her most rebellious and assertive, she still carried out her work with a sort of level-eyed yet homely demeanour. As she grew more experienced, Varda never allowed her works to adhere to more commonly perceived film frameworks, nor built herself some kind of lofty and closedoff stylistic fortress. Instead, for several decades, she maintained the same fresh enthusiasm, passion and freedom she had held from day one. Agnès Varda integrated her daily life into her filmmaking. First of all, it was a daily life permeated by her filmmaking instincts and skills. She demonstrated how an artist thoroughly makes their lifestyle, and life itself becomes their entire filmmaking process. Moreover, her films were actually made by simply gathering all of these enormous flows into the frame. On the other hand, this is also p r e c i s e l y Va r d a ' s f i l m m a k i n g philosophy. Whether it was making fiction or documentary films, she believed that her camera was not allencompassing a story. Rather, she was letting the images recorded by

the camera point out the richer life flowing beyond the frame. Varda was therefore making films by allowing stories to creep into the frame, and she was also, through filmmaking, producing a life force that could not be confined into the frame but was truly pulsating with vitality. Agnès Varda's films took as keynotes s u c h p l a c e s a s m a r ke ts , a l l eys and small villages. This refers not to the films' themes, but to their sense of scope. In these films with different themes and settings, the relationships between people and time, people and space, people and other people, and people and oneself, all existed in a certain relaxed, secure scope. Within that scope, characters were invited to explore, and, equipped with a sense of security, they slowly released a more subtle and delicate side of themselves. This development conversely bestowed her seemingly simple films with unique opportunities to dive deep into the subject matter. Through this, Varda created "time" in her films, that is, one magnified and cherished "present moment" after another — people in the present moment, objects in the present m o m e n t , p l a c e s i n t h e p re s e n t moment. This filmmaker seemed to have firmly believed that as long as one sufficiently processes the moment before their eyes, they could not just reawaken their past but even reconcile with it, while the new-found insights found from clarifying that moment would precisely be linked to their future. In her fictional films, Varda did not display a blind belief in characters n e e d i n g to g e n u i n e l y ta ke n e w s t e p s t owa rd h av i n g s o - c a l l e d


Apart from the humility and generosity

Agnès Varda's films are certainly not the heartwarming works of a cute old grandmother. What they hint at is a different kind filmmaking that comes from the integration of and intervention into life. It is also about, when faced with life's generosities and curiosities, continuing to explore ahead, even poking fun, so that life can in turn shape the filmmaking, and even the life of the filmmaker.

Translated by Howard SHIH

Estella HUANG, the author of Deviate: Why Do We Go To The Movies? and Aporia.

225

ESSAY

Agnès Varda believed in the left behind, the fringe, the vulnerable; she believed in emotions, labour, games, memories and dreams. On the one hand, this is reflected in the comfortable scope of her films; on the other, it helped her films open up a sense of expansiveness through a surge of bottom-up (as opposed to top-down) possibilities, and this is an expansiveness that extends from on screen to off screen. Agnès Varda wasn't just a filmmaker outside the frame dispatching the materials she wanted — she really did walk into the world in front of the lens. Or perhaps it could be said conversely that she always did her utmost to point the lens directly at the world and link it to the world in in which she existed as the person controlling the camera. Varda felt she belonged to the things she believed in, and that her filmmaking could also allow her to see herself create a world that she would want to walk into and stay in.

of her films, what this filmmaking state brought out even more was a kind of new reality between truth and fiction. Varda's films did not have those clever, c o m p l ex , m u l t i l aye re d a n d m a ze like "meta" characteristics, but the majority of her work has traits of "truth vs fiction". This kind of rarely seen but approachable intermingling of truth and fiction steams from Varda having a kind of inclination to live in dreams, in games; and when faced with the most ordinary of daily lives, being able to trace out a full outline and transform it into a chapter, as though it were a book.

專文

growth. Mostly, it was about, after an entire journey, finally clearing up the multitude of strands and loose ends that existed at the starting point. From a certain perspective, when it comes to life or moments that can be perceived as enormous and interrelated in innumerable ways, we already possess all the materials. What remains is to truly live in it, so we can understand all of these things. Varda's documentary films, however, utilise even more specific actions to stop time from continuously changing. In these documentaries, time is no longer just covered by the format and people are only able to fill in each frame with their own actions. To the contrary, when you take action by focusing your life upon it, you will delimit a time within that whole interval. This will be your time, the time that you and your collaborator or opponent build together.


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Media Luna New Films

H ─────────────

KADOKAWA CORPORATION

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其他 ──────────── 山與映像

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44

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一劃 ─────────────

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56

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92

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81

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二劃 ───────────── 57

126

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老娘是天后 七劃 ─────────────

107

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121

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90

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180

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109

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我的超模母親

46 63

我們與愛的距離

95

沉默未亡人

五點到七點的克萊歐 切小金家的旅館 午夜牛郎

12,13

灼人秘密

62

狂徒

187

狂愛

82

天使寶貝法蘭絲

143

私法追緝

78

少女有點事

188

赤線地帶

144 79 123 60 170

巴蘭吉加:咆嘯的荒野 月半新娘 月亮歸 ME 比悲傷更悲傷的故事 爪哇安魂曲 五劃 ─────────────

45

111

世外之子

初潮 八劃 ─────────────

55 149 38 140 23

幸福城市 彼得盧:人民之聲 性不性不由你 怪正常的 沿海岸線徵友

以她的名字呼喚我

162

波米叔叔的前世今生

73

冬日陽光

108

150

出走巴黎

74

179

功夫大師

160

122

金魚 九劃 ─────────────

卡拉 OK

65

前進

72

去年火車經過的時候

117

政變麥來亂

74

可愛

192

星球:宇宙合響

194

失身記 - 上集

192

星球:時空之歌

107

打掃

193

星球:暗淡藍點

未來無恙

100

星溪的三次奇遇

石榴的顏色

131

星魔

68 183

六劃 ─────────────

70

春分兄弟

114

伊卡洛斯

120

為琴癡狂

94

印度小情歌

161

看似平凡的故事

118

地下狂熱趴

22

14,15,165

地久天長

119

美麗少年 首席指揮家

FILM INDEX

186

42

丹麥之子

影片索引

176

四劃 ─────────────

231


十劃 ───────────── 97 145 111 184 83

漫遊 肇事者逃逸

家離海邊那麼近

171

蒙蔽的青春

島嶼雲煙

127

蒼冬裡

海上花

19

颱風

130

破窗效應

137

撒旦萬萬歲

73

紐約深夜之亞洲人之秘密生活

106

樂園

85

索菲亞的夏天

141

蔚藍海岸某個地方

134

追殺導演

112

踮腳尖

133

逃出絕命夢

86

震向性教育

146

鬼鎮疑雲 191

噩夢專線

婚戒物語

169

親吻你的淚痕

帶媽媽出去玩

108

隧道

彩虹鳥傳奇

128

隨風所欲

海角上的兄妹

125

真愛邊緣人

113

十一劃 ───────────── 232

101 71,106

乘客

194 70 191 71

影片索引

139

十五劃 ─────────────

十六劃 ─────────────

情色小說

十七劃 ─────────────

FILM INDEX

救命大作戰

67

還有一些樹

48

欲望公路

75

隱匿的方寸空間

39

清晨天空無限藍 66

覆巢

61,104

蚵豐村

49,64

野雀之詩

113 18

釣客

58

寒單

93

湯屋裡我記得

168

無畏,詩人之歌

148

痛苦與榮耀

175

短角情事

116

貴族動物

112

陽關太平 黃苦瓜

十三劃 ───────────── 159 17,54

傷心蔚藍海 傻傻愛你,傻傻愛我

163

愛情多年後回來

132

搖搖晃晃的陰間

177

獅子、愛、謊言

75 178 91

當 一個人 達格雷街風景 福岡

十四劃 ───────────── 40 103 89

十九劃 ───────────── 43,164

陪你很久很久

十二劃 ─────────────

76

十八劃 ─────────────

厭世女傭日記 漂流廚房 漫長的告別

邊境幻夢 二十二劃 ─────────────

114 87

孿生 歡迎蒞臨荒涼小鎮 二十三劃 ─────────────

47

蘿莉破壞王


Film Index 190 53 190 78 17,54 89 168 70 74 65 143 90 116 113 117

56 178 131 57 132 136 191 71 79 184 23 91 146 97

3 Days 2 Nights 7 Lives A ───────────── A Colony A fool in love, love like a fool A Long Goodbye A Poet: Unconcealed Poetry A Trip with Mom ADORABLE Age of Awakening, The Alpha, The Right to Kill And Your Bird Can Sing Angelo Angler, The Announcement, The B ───────────── Bait Balangiga: Howling Wilderness Beats Being Impossible Between Two Waters Big Cat Bird Man Tale Blindfold, The Blue Hour Boys for Beauty Broken Windows Theory Brotherhood C ───────────── Chambermaid, The Cities of Last Things Cléo from 5 to 7 Cloudy Days Color of Pomegranates, The Concrete Clouds Conductor, The Crow: The Legend D ───────────── Dad's Suit Daguerreotypes Demons Devil Fish, The Die Kinder der Toten Disappearance of My Mother, The Dispatch E ───────────── Erotica F ───────────── Flesh Out Flowers of Shanghai Fragile in Love Fukuoka G ───────────── Ghost Town Anthology Give Me A Ride

120 74 121 122 137 58 41,59 147 75 71,106 103 138 42 114 180 185 160 133 179 175 80 106 72 177 109 92 123 43,164 172 111 186 139 93 194 44 60 161 124 66 187 12,13 107 134 140 45 94 61,104 72

God of the Piano Gold Fish Golden Youth Greta H ───────────── Hail Satan? Han Dan Heavy Craving Her Smell Hidden Zone Hit and Run Homesick Tongue Honeyland House of Hummingbird I ───────────── ICARUS J ───────────── Jane B. by Agnès V. Juniper Tree, The

233

K ───────────── Karaoke Koko-di Koko-da Kung-Fu Master! L ───────────── La Pointe Courte Last Night I Saw You Smiling Last Stop: Paradise Last Year When the Train Passed by Lions Love (...and Lies) Login Trouble M ───────────── Maggie Man Who Bought the Moon, The Manta Ray Memories of My Body Menarche, The Midnight Cowboy Midnight Family Mio on the Shore Missing Body Eposide 1, The Monsters. More Than Blue Mundane History My Extraordinary Summer with Tess N ───────────── Neglect Night Porter, The Nina Wu No Pets Allowed Nocturne Normal O ───────────── Obscure Odds, The Ohong Village Old Man and A Dog

FILM INDEX

40 55 176 111 183 163 119 191

-22.7 °C

影片索引

130 144 118 38 145 108 169 171 39 22 113 70

(Alphabetical Order)


170

Opera Jawa P ─────────────

148 81 107 149 98

Pain and Glory

112

234

影片索引 FILM INDEX

82 62 73 63 99 114 83 14,15,165 73 46 141 192 193 192 18 188 84 150 47 48 194 125 100 112 85 67 86 108 68 19

Pearl Perfectly Spotless Peterloo Present.Perfect. R ───────────── Rest in Mist S ───────────── Saint Frances Scoundrels, The Secret Lives of Asians at Night Secrets in the Hot Spring SHe Siamoise Siblings of the Cape So Long, My Son Soleil d'hiver Sons of Denmark Sophia Antipolis SPHERES: Chorus of the Cosmos SPHERES: Pale Blue Dot SPHERES: Songs of Spacetime Stand By Me Street of Shame Summer Survivors Synonyms System Crasher T ───────────── Take Me Somewhere Nice Tales of Wedding Rings VR Tehran: City of Love Three Adventures of Brooke Tiptoe Too Late to Die Young Tree Remembers, The Tremors Tunnel Turning 18 Typhoon U ─────────────

162

Uncle Boonmee Who Can Recall His Past Lives V ─────────────

101 181 87

Vanishing Days

75 95 126 49,64 127 128 159 76 69

Varda by Agnès Volcano W ───────────── Where Am I Going? Widow of Silence Wild Rose Wild Sparrow Winter Flies With the Wind Wonderful Town Wong, Bitter Gourd Y ───────────── Your Face


導演索引 Director Index 148 81 43,164 159 40 190

(Alphabetical Order)

A ─────────────

72

HUANG Pang-chuan 黃邦銓

ALMODÓVAR, Pedro 佩卓.阿莫多瓦

75

HUANG Yun-sian 黃勻弦

AMIEL, Elsa 艾莎.阿米爾

131

HUI, Daniel 許瑞峰

AROONPHENG, Phuttiphong 普帝邦.阿朗潘

56

HUNG Po-hao 洪伯豪

ASSARAT, Aditya 艾狄雅.阿薩拉

62

HUNG Tzu-hsuan 洪子烜

121

IONESCO, Eva 伊娃.尤涅斯科

AVILÉS, Lila 莉拉.亞維列斯 AYATS, Charles 夏爾.阿亞特

I ─────────────

B ─────────────

J ─────────────

BARRESE, Beniamino 班尼亞米諾.巴瑞斯

125

JABERANSARI, Ali 阿里.賈伯讓薩利

87

BONDARCHUK, Roman 羅曼.邦達楚克

130

JENKIN, Mark 馬克.詹金

86

BUSTAMANTE, Jayro 加伊羅.布斯塔曼德

136

K ─────────────

C ─────────────

83

KATAYAMA Shinzo 片山慎三

187

CAVANI, Liliana 莉莉安娜.卡凡尼

84

KAVTARADZĖ, Marija 瑪瑞嘉.卡夫塔拉澤

112

CHAN Der-lu 詹德璐

65

KE Chin-yuan 柯金源

72

CHAN Hon Yan 陳瀚恩

185

163

CHATAMETIKOOL, Lee 利.查泰米提古

103

CHEN Hui-ping 陳惠萍

114

CHEN Hung 陳浤

108

CHEN Hung-i 陳宏一

138

KOTEVSKA, Tamara 塔瑪哈.科泰夫斯卡

CHEN, Mickey 陳俊志

190

KOUNEN, Jan 尚.庫南

42

CHENG Hui-ling 鄭慧玲

KEFF Khavn 卡文 KIM Bo-ra 金寶拉

L ─────────────

107

CHO Li 卓立

190

LA BURTHE, Amaury 艾莫瑞.拉布爾特

160

CHONG Chan-fui, Chris 張千輝

145

LACUESTA, Isaki 伊薩基.拉奎斯塔

57

CHUANG, David 莊絢維

74

CHUNG Cheng-hsu 鍾承旭

18 17, 54

LAI Meng-jie 賴孟傑 LAN, Blue 藍正龍

113

CHUNG Yu-lin 鍾侑霖

137

LANE, Penny 佩妮.蓮恩

111

CHUNG Yung-hsiang 莊詠翔

150

LAPID, Nadav 那達夫.拉匹

132

COPPER, Kelly 凱莉.庫柏

67

LAU Kek Huat 廖克發

117

COŞKUN, Mahmut Fazıl 馬穆.法希.裘斯昆

111

LEE I-hui 李怡慧

146

CÔTÉ, Denis 德尼.柯特

108

LEE, YC Tom 李育丞

D ─────────────

149

LEIGH, Mike 麥克李

191 78

47 39

DARNELL, Eric 艾瑞克.達奈爾 DULUDE-DE CELLES, Geneviève

73 113

LIANG Hong-kai 梁閎凱 LIAO Che-i 廖哲毅

熱納維耶芙.杜魯德.迪賽爾斯

61,104

F ─────────────

53

LIN Hao-pu 林浩溥

FINGSCHEIDT, Nora 諾拉.芬沙伊特

112

LIN I-ju 林誼如

H ─────────────

63

LIN Kuan-hui 林冠慧

HAKOTA Yuko 箱田優子

60,71

LIM, Lungyin 林龍吟

LIN, Gavin 林孝謙

HARPER, Tom 湯姆.哈波

106

LIN, Kuan-fu F.T. 林冠甫

68

HO Chao-ti 賀照緹

132

LIŠKA, Pavol 帕弗.利斯卡

55

HO Wi Ding 何蔚庭

107

LIU Bang-yao 劉邦耀

HOU Hsiao-hsien 侯孝賢

139

LORENTZEN, Luke 盧克.洛倫岑

126

184 41,59

HSIEH Pei-ju 謝沛如

M ─────────────

114

HSU Hai-wen 許海文

58

HUANG Chao-liang 黃朝亮

143

194

HUANG Hsin-chien 黃心健

90

192,193

188

McNITT, Eliza 娥麗莎.麥克尼特 MENDOZA, Brillante 布里蘭特.曼多薩 MIYAKE Sho 三宅唱 MIZOGUCHI Kenji 溝口健二

FILM INDEXINDEX DIRECTOR

66

144

影演 導 片索引

22,23

73

235

KEENE, Nietzchka 妮奇卡.基恩


190 95

141

MORCHHALE, Praveen 帕文.莫加里

VERNIER, Virgil 維吉.維尼耶 W ─────────────

N ─────────────

70

WANG Chia-chun 王傢軍

93

NAKAGAWA Ryutaro 中川龍太郎

45

WANG Kunlin 王崑琳

89

NAKANO Ryota 中野量太

80

NEANG, Kavich 寧卡維

75

NG Chee Chong 黃志聰

168-172 133 128

236

Molécule 莫雷居爾

NUGROHO, Garin 嘎林.努戈羅和

162

OBERLI, Bettina 貝堤娜.歐貝里

76

OLTEANU, Marius 馬里烏斯.奧爾塔努 OMERZU, Olmo 歐摩.歐默舒

124

PAN Lei 潘壘

WANG, Fish 王登鈺 WANG, Weica 王威翔 WEERASETHAKUL, Apichatpong WELSH, Brian 布萊恩.威爾斯 WONG Weng Chon 黃榮俊 WOUTERLOOD, Steven 史帝芬.沃特路德 X ─────────────

97

ORTEGA, Patricia 派翠西雅.奧特加 P ─────────────

WANG Xiaoshuai 王小帥

阿比查邦.韋拉斯塔古 118

44

19

71,106

NYHOLM, Johannes 約翰.尼霍

OCCHIPINTI, Michela 米珂拉.歐奇品蒂

38

74

O ───────────── 79 127

14,15,165

XU Zhenhao 許振昊 Y ─────────────

92 100

YI Ok-seop 李玉燮 Yuan Qing 竹原青

導演索引 DIRECTOR INDEX

183

PARAJANOV, Sergei 謝爾蓋.帕拉贊諾夫

147

PERRY, Alex Ross 艾力克斯.羅斯.佩瑞

119

PETERS, Maria 瑪利亞.彼得斯

91

ZHANG Lu 張律

122

PRAÇA, Armando 阿曼多.普拉薩

99

ZHOU Shengwei 周聖崴

R ─────────────

98

ZHU Shengze 朱聲仄

94

RAMASWAMY, Megha 梅葛.拉瑪斯娃米

101

ZHU Xin 祝新

191

ROBLES, Edward 愛德華.羅伯斯

123

ZUCCA, Paolo 保羅.祖卡

S ───────────── 46

SALIM, Ulaa 烏拉.沙林

116

SCHLEINZER, Markus 馬克斯.賽林傑

186

SCHLESINGER, John 約翰.史勒辛格

48 109 49,64

SENDIJAREVIĆ, Ena 恩娜.珊迪亞黑維奇 SHEN Chi 沈騏 SHIH Li 施立

70

SHUI, Sophie 隋淑芬

85

SOTOMAYOR, Dominga 多明嘉.索朵瑪悠

194

SOU, Kaei 曹家榮

138

STEFANOV, Ljubomir 路博米.史戴凡諾夫

161

SUWICHAKORNPONG, Anocha 阿諾查.蘇維查康彭 T ─────────────

120

TAL, Itay 伊泰.塔爾

82

THOMPSON, Alex 艾力克斯.湯普森

69

TSAI Ming-liang 蔡明亮

75

TSAI Yi-chin 蔡易錦

140

TULLI, Adele 阿達烈.圖莉 V ─────────────

134 175-181

VAN DER VALK, Viktor 維克多.范德沃克 VARDA, Agnès 安妮.華達

Z ───────────── 12,13

Z, Midi 趙德胤


特別感謝 Acknowledgement

( 依姓氏筆畫排序 in alphabetical order)

吳小萍

林孟穎

Edward ROBLES

吳怡伶

林忠和

Fashion Taipei 臺北時尚新創中心

Ellen KUO

吳明憲

林怡孜

Red Corner

Ismail Basbeth

吳芮甄

林欣蕾

Square Enix Co. Ltd

Kerynne TEJADA

吳采橦

林芸碩

The Affairs 週刊編集

Marie BLONDIAUX

吳奕倫

林品秀

一顆星工作室有限公司

Nick BOYER

吳貞儀

林奕霈

三創數位股份有限公司

Shelly KRAICER

吳梵霖

林宣佑

天馬行空數位有限公司

SOU Kaei

吳琬婷

林映妤

可樂藝術文創股份有限公司

Tony ROYCE

吳筱楓

林昱萱

台北城市散步

尤宣懿

呂采樺

林珮文

台北晶華酒店

方美娟

呂嘉薰

林莉家

巧克麗

王 愷

宋微暄

林聖文

本萃電影有限公司

王子維

宋銘忠

林詩嘉

安邁進國際影業股份有限公司

王名玉

李子凡

林維鍇

佳映娛樂股份有限公司

王安琪

李沛思

林震宇

周子娛樂

王思寒

李佳純

林謙勇

和雲行動服務股份有限公司

王映慈

李季璇

邱子峻

宜蘭縣丸山療養院

王派彰

李怡君

邱冠茹

宜蘭縣立蘭陽博物館

王若曦

李承陽

邱美穎

宜蘭縣政府

王敏合

李旻潔

邱惠佩

宜蘭縣政府文化局

王惠珍

李昌鴻

邱銘慶

宜蘭縣政府影視協拍中心

王雅蘭

李欣潔

侯彩雲

東昊影業

王萱儀

李姿瑩

施婉婷

果子電影有限公司

王嘉揚

李致逸

柯宜均

采昌國際多媒體

王肇陽

李家榮

洪 文

前景娛樂有限公司

王藍雯

李鈺鳳

洪廷岳

後場音像紀錄工作室有限公司

王藝樺

杜宜璉

洪佳妤

映完片顧問股份有限公司

丘 昀

杜瑞慈

洪倩玉

原子映象有限公司

包明茜

杜篤之

洪健倫

原創娛樂

史 潔

沈鈺華

紀崇婕

海鵬影業有限公司

甘 霖

阮德禎

韋怡忻

財團法人公共電視文化事業基金會

石佳品

周巧絃

倪安宇

財團法人國家電影中心

石采宸

周怡楨

唐乙鑫

捷傑有限公司

向淑容

周宥彤

姬健梅

甜蜜生活製作有限公司

朱淯萱

周珈萱

孫志騰

華文創股份有限公司

朱詩倩

周美豫

孫宗翰

傳影互動股份有限公司

江秋祥

林 昱

孫恩潔

群星瑞智國際娛樂股份有限公司

江泰暾

林凡儿

徐 倩

嘉揚電影有限公司

江偉華

林木材

徐子涵

影一製作所股份有限公司

何玉蓮

林佑運

徐桐炘

歐爵旅行社

何佳禧

林君芳

徐紹琪

積木影像製作有限公司

何玫芳

林孝謙

徐硯怡

親愛的工作室有限公司

何瑞珠

林志勳

徐楨皓

聯影電影

佘祖逸

林京儀

徐靖雯

聲色盒子有限公司

余淡如

林佩勳

徐嘉孜

鏡文學有限公司

吳凡

林佳欣

柴智屏

237

ACKNOWLEDGEMENT

Agata Di TOMMASO

Diversion cinema

特別感謝

Baobab Studios


238

特別感謝 ACKNOWLEDGEMENT

海裕芬

陳立妍

黃珮芯

鄭元慈

秦振嘉

陳立庭

黃婉茹

鄭安婷

翁健偉

陳艾欣

黃堯音

鄭姿煖

翁逸旻

陳君如

黃琳穎

鄭博名

翁新涵

陳志偉

黃敬淇

鄭景雯

翁毓謙

陳怡如

黃慧敏

鄭雯敏

袁詩涵

陳怡君

黃鴻端

盧庭安

馬巧音

陳怡謀

楊力州

蕭佳瑄

高國豪

陳易瑭

楊之馨

蕭榆蓉

高瑗蔆

陳金亮

楊心荷

賴欣儀

崔芙榕

陳俊蓉

楊峻鑫

賴芝祺

張 霖

陳奕碩

楊庭蓁

錢佳緯

張力文

陳姵儒

楊景婷

錢漢子

張三玲

陳姿潔

楊晴絮

閻柔怡

張玉漢

陳建安

楊渝惠

戴相文

張全琛

陳建嘉

楊絲貽

繆詠華

張宇生

陳柏樺

楊舒婷

謝 寧

張克柔

陳致希

楊碧芬

謝育貞

張秀敏

陳振熒

楊碧芬

謝佳錦

張育銨

陳晏翎

溫博鈞

謝宛儒

張哲維

陳桂綾

葉子謙

謝念儒

張哲鳴

陳婉伶

葉宇萱

鍾旻孝

張容栩

陳惟真

葉育萍

鍾展文

張素惠

陳博文

葉俣萱

簡德浩

張凱婷

陳溫溫

董芃彣

藍祖蔚

張筑悌

陳煒志

董耀仁

顏志豪

張詠絜

陳嘉妤

詹月娥

魏芝璿

張愷庭

陳慧芳

詹苡暄

羅 融

張瑀婕

陳曉珮

賈馨潔

羅仲萱

張賢信

陸詩薇

廖佳萱

羅宜萱

張震威

麥芃然

廖若瑄

羅柏麟

張憶潔

黄子軒

廖慶松

羅際夫

張璟鴻

曾威量

聞天祥

關旅瑄

張鐵志

曾敏涵

臧仁禎

嚴 韻

敖琴芬

曾凱兒

趙 翾

蘇詠智

曹筱玥

温欣語

趙姿涵

蘇意婷

梁秀紅

湛有慈

趙庭玉

蘇瑜棻

梁若瑜

賀秭庭

劉育君

蘇瑜豪

莊啟祥

賀靜賢

劉彥德

蘇瑞琴

許 彤

黃 翡

劉恬恬

鐘聆云

許世穎

黃 璇

劉傑中

顧乃驊

許曼珊

黃于真

劉蔚然

顧玉珍

許閔淳

黃千浩

劉興偉

郭子榮

黃子玲

蔡允之

郭思佩

黃兆欣

蔡汶成

郭庭貽

黃怡綸

蔡昀蓁

郭敏容

黃保慧

蔡映柔

陳又嘉

黃建誠

蔡禹歆

陳巧育

黃郁炘

鄧博文

陳幼雯

黃郁菁

鄭元慈


財團法人台北市文化基金會 - 台北電影節執行團隊

Taipei Film Festival Office, Taipei Culture Foundation 台北電影節主席

Festival President

李屏賓

Mark LEE Ping-bing

台北電影節總監

Director

李亞梅

LI Ya-mei

節目部 Department of Program

台北電影節諮詢委員 Committee Board 王 師

Steve WANG

陳儒修

Robert Ru-shou CHEN

李耀華

Aileen LI

曾瀚賢

TSENG Han-hsien

易智言

YEE Chih-yen

黃信堯

HUANG Hsin-yao

節目資深副理

Senior Program Assistant Manager

蘇逸華

Stephanie SU

徐漢強

John HSU

黃茂昌

Patrick Mao HUANG

節目資深專員

Senior Program Coordinator

謝 璇

Katrina HSIEH

馬天宗

MA Tien-tsung

楊雅喆

YANG Ya-che

節目專員

Program Coordinator

謝以萱

Ruby HSIEH I-hsuan

郭力昕

KUO Li-hsin

葉如芬

YEH Ju-feng

節目專員

Program Coordinator

羅心彤

LO Hsin-tung

陳芯宜

Singing CHEN

魏瑛娟

WEI Ying-chuan

節目專員

Program Coordinator

林紜希

LIN Yun-xi

節目助理

Program Assistant

馬曼容

Pony MA

節目助理

Program Assistant

黃瀚生

Hansen HUANG

節目助理

Program Assistant

簡佩萱

Syuan CHIEN

謝以萱

Program Assistant

Ruby HSIEH I-hsuan

楊定樵

YANG Ding-chiau

Editor

節目助理

編輯助理

馬曼容

林庭安

LIN Tingan

Pony MA

接待統籌

Hospitality Senior Coordinator

Editor Assistant

英文編輯

陳珮瑄

林姿吟

Frances LIN

CHEN Pei-hsuan

接待專員

Hospitality Coordinator

English Editor

英文審定

接待助理

Hospitality Assistant

牛端琳

Lynn NIU

English Proofreading

映演統籌

Screening Senior Coordinator

董承平

Pam TUNG

Translator

字幕專員

Subtitling Coordinator

黃瓊慧

HUANG Chiung-hui

放映專員

Screening Coordinator

洪于婷

Leslie HONG

放映專員

Screening Coordinator

張暐鈴

CHANG Wei-ling

放映助理

Screening Assistant

王品晶

WANG Pin-ching

戲院現場專員

Theater Coordinator

何嫚馨

HÔ Bān-hiong

戲院現場助理

Theater Assistant

黃欣翎

HUANG Hsin-ling

焦同筠

Sherry CHIAO

國際提案一對一 PAS Taipei Workshop Manager 工作坊統籌

台北電影獎部 Department of Taipei Film Awards 台北電影獎

Taipei Film Awards

資深副理

Senior Assistant Manager

台北電影獎

Taipei Film Awards

資深專員

Senior Coordinator

台北電影獎

Taipei Film Awards

資深專員

Senior Coordinator

劉乃華

LIU Nai-hua

郭曉芬

Fen KUO

賴玉蓉

Judy LAI

台北電影獎專員 Taipei Film Awards Coordinator

黃喩筑

HUANG Yu-chu

台北電影獎專員 Taipei Film Awards Coordinator

朱珮儀

CHU Pei-yi

台北電影獎助理 Taipei Film Awards Assistant

邱湉皓

CHIU Tien-hao

行政部 Department of Administration

刊物編輯 Editorial Team 編

James CALLOW 石雄皓

Howard SHIH

周沛郁

CHOU Pei-yu

劉丁菱

Orange LIU

孫惟庭

Adis SUN

Ekky IMANJAYA

張硯拓

CHANG Yen-tuo

Alfredo

郭敏容

KUO Ming-jung

王冠人

WANG Kuan-jen

陳宏瑋

Bernd CHEN

朱孟瑾

CHU Meng-chin

黃以曦

Estella HUANG

余詩涵

YU Shr-han

楊殿安

YANG Dian-an

沈怡昕

SHEN Yi-hsin

雍志中

YUN Chih-chung

周項萱

CHOU Hsiang-hsuan

劉子睿

LIU Tzu-jui

林心如

Sylvie LIN

蔡雨辰

TSAI Yu-chen

林姵菁

LIN Pei-jing

鄭怡萍

CHENG Yi-ping

侯伯彥

Jimmy HOU

美術設計

Art Design

專刊撰稿 Contributors

李幼鸚鵡鵪鶉小白文鳥 Ahphonse Perroquet / Parrot Caille / Quail Jawa Sparrow Youth-Leigh

特刊印刷 Printed by

行政副理

Assistant Manager

陳俞廷

CHEN Yuting

行政專員

Coordinator

陳怡伶

Peggy CHEN

行政助理

Assistant

陳哲倫

Finn CHEN

行政助理

Assistant

李玓穎

Dee LEE

票務統籌

Ticketing Team Senior Coordinator

陳人岳

CHEN Jen-yue

票務助理

Ticketing Team Assistant

褚俊杰

CHU Jun-jie

王統生

Maurice WANG

行銷部 Department of Marketing & Communications

晶華彩色印刷有限公司

發行日期 Date of Publication Jun, 2019 Printed in Taiwan

選片小組協力 Co-programming Team

行銷經理

Marketing & Communications Manager

沈怡昕

SHEN Yi-hsin

行銷專員

Marketing & Communications Coordinator 陳姵妤

Pei CHEN

林伊湄

LIN Yi-mei

行銷專員

Marketing & Communications Coordinator 黃靖雯

Edith HUANG

洪健倫

Allen HONG

設計資深專員

Senior Art Designer

葉雅婷

Judy YEH

蔡瑞伶

Stella TSAI

活動副理

Event Assistant Manager

劉則蘭

Chofey LIU

謝佳錦

HSIEH Chia-chin

活動專員

Event Coordinator

嚴子涵

YEN Tzu-han

媒宣資深副理

Press Senior Assistant Manager

何俊穆

HO Chun-mu

媒宣專員

Press Coordinator

林巧豈

LIN Qiao-kai

媒宣專員

Press Coordinator

羅令杰

LO Ling-chieh

媒宣專員

Press Coordinator

江珮瑜

JIANG Pei-yu

* 依照姓氏筆畫排列 In alphabetical order


形象廣告 Promotional Short Film 演員 Cast

天予電影有限公司 Gift Pictures Co., Ltd 監製

Executive Producer

陳亮材

Leo CHEN

高依萍

KAO Yi-ping

林依晨

Ariel LIN

導演

Director

連奕琦

LIEN Yi-chi

KANO 活屍

KANO - Zombie

劉子銓

LIU Tzu-chuan

副導演

1st Assistant Director

林佳燕

LIN Chia-yen

台北物語活屍

Story in Taipei - Zombie

王士豪

WANG Shih-hao

場記

Script Supervisor

謝念儒

HSIEH Nien-ju

艋舺幫活屍

Monga - Zombie

張哲銘

CHANG Che-ming

海角七號活屍

Cape No. 7 - Zombie

葉廷麒

YEH Ting-chi

戀戀風塵男活屍

Dust In The Wind -

胡智強

HU Chih-chiang

張洧瑄

CHANG Wei-hsuan

任敏嫻

JEN Min-hsien

真心人電影有限公司

Zombie

選角指導

Casting Director

莊貽婷

CHUANG Yi-ting

演員管理

Casting

許家瑜

HSU Chia-yu

戀戀風塵女活屍

製片

Production Manager

邢嘯威

Wesker HSING

天邊一朵雲活屍

製作協調

Production Assistant

梁哲彰

Louis LIANG

美術指導

Production Designer

吳若昀

WU Jo-yun

執行美術

Art Director

曾瓊瑜

TSENG Chiung-yu

美術助理

Assistant Art Designer

曾尚浚

TSENG Shang-chun

Z.E Styling Studio

Dust In The Wind Zombie The Wayward Cloud Zombie

總鋪師活屍

Zone Pro Site - Zombie

湯茹涒

TANG Ju-yun

紅衣小女孩活屍

The Tag-Along - Zombie

李承芸

LI Cheng-yun

器材 Equipments 中影股份有限公司

Central Pictures Corporation

永祥影視有限公司

Yung-Siang video&film Co., Ltd.

造形指導

Costume Designer

林育妘

Emma LIN

造型師

Costume Supervisor

陳怡如

CHEN Yi-ju

車輛 Transoprtation

服裝助理

Dresser

蔡秉珊

TSAI Ping-shan

永笙汽車租賃有限

Yung-Sheng car rental Co., Ltd.

公司

Backstage Studio 髮型師

Hairstylist

趙又萱

CHAO Minnie

髮型助理

Hairstylist Assistant

鄭伃婷

Doris ZHENG

ZFX STUDiO 程薇穎特效化妝有限公司 ZoeCheng FX Makeup Studio

後期製作 Post Production 後期製片

Post-Producer

謝念儒

HSIEH Nien-ju

剪接師

Editor

陳俊宏

CHEN Chun-hung

音樂 Music

特效化妝指導

Special Makeup Designer

程薇穎

Zoe CHENG

特效化妝執行

Special Makeup Artist

周冠吟

CHOU Kuan-yin

特效化妝助理

Special Makeup Assistant

李宛昕

LI Wan-hsin

配樂作曲

Original Music by

朱彩蓁

JHU Cai-jhen

特效化妝助理

Special Makeup Assistant

潘靜慧

PAN Ching-hui

配樂製作

Music Produced by

王希文

Owen WANG

特效化妝助理

Special Makeup Assistant

余珮雅

YU Pei-ya

特效化妝助理

Special Makeup Assistant

林佳美

LIN Chia-Mei

聲音後期製作 Audio Post Production

特效化妝助理

Special Makeup Assistant

吳正黔

WU Cheng-chien

特效化妝支援

Special Makeup Assistant

徐永青

HSU Yung-ching

Audio Post Production

莊智凱

Adam CHUANG

特效化妝支援

Special Makeup Assistant

傅菀云

FU Yuan-yun

Supervisor

曾雅寧

Ning TSENG

特效化妝支援

Special Makeup Assistant

楊舒閔

YANG Shu-min

聲音設計

Sound Designers

歐千綺

Vicky OU

混音

Re-recording Mixers

曾雅寧

Ning TSENG

劉小草

Agnes LIU

安澤映畫有限公司 Anze Pictures Co., Ltd 攝影指導

Director ofPhotography

李鳴

Ming LI

攝影大助

First Assistant Camera

黃得祐

HUANG Te-yu

Ronin 操機員

Ronin Operator

柯忠志

KO Chung-chih

中影股份有限公司 Central Pictures Corporation 攝影助理

Assistant Camera

范嘉珍

FAN Chia-chen

世明燈光工作室 燈光師

Gaffer

許世明

HSU Shih-ming

燈光大助

Best Boy

曾翊愷

TSENG I-kai

燈光助理

Lighting Technician

陳柏佑

CHEN Po-yu

燈光助理

Lighting Technician

王奕學

WANG Yi-hsueh

中影股份有限公司 Central Pictures Corporation 燈光助理

Lighting Technician &

吳彭曦

WU Peng-his

Driver 正響錄音製作有限公司

瘋戲樂有限公司 Studio M

眶框外音像製作所 AACROSS STUDIO LTD. 聲音後期統籌

對白剪輯

Dialog Editor

曾雅寧

Ning TSENG

ADR 錄音

ADR Recordist

曾雅寧

Ning TSENG

音效剪輯

Sound Effect Editor

歐千綺

Vicky OU

FOLEY 剪輯

Foley Editor

歐千綺

Vicky OU

FOLEY 演出

Foley Artist

陳晏如

Sylvia CHEN Yen-ju

檔案管理

File Management

游心悅

YO Hsin-yue

杜比錄音室

Dolby Certified Studio

眶框外音像 AACROSS STUDIO LTD. 製作所

視覺效果 Visual Effects 綠野仙蹤電影特效有限公司 Tracking Troops 特效指導

VFX supervisor

楊淙舜

Allen YANG Chung-shun

特效製片

VFX producer

潘胤余

PAN Yin-yu

王威翔

Weica WANG

特效協調

VFX coordinator

羅淑鈴

LO Shu-ling

特效製作

VFX artist

郭峻偉

Mario GUO

Post Production

歐陽敏

OU Yang-min

Supervisor

曲思義

CHU Szu-yi

資深調光師

Senior Digital Colorist

陳雅琪

CHEN Ya-chi

後期製片

Post Production

歐陽敏

OU Yang-min

葉至鼎

Tim YEH

後期製作 Post Production

收音師

Audio Mixer

許正一

HSU Cheng-yi

收音助理

Boom Operator

曾文賢

TSENG Wen-hsien

極限色域股份有限公司 X GAMUT CO. LTD 後期總監

安澤映畫有限公司 Anze Pictures Co., Ltd 場務領班

Key Grip

許文勝

HSU Wen-sheng

場務大助

Grip

歐立偉

OU Li-wei

場務助理

Best Boy

吳典陽

WU Tien-yang

場務助理

Best Boy

簡順蔣

CHIEN Shun-chiang

電工

Electrician

周添枝

CHOU Tien-chih

司機

Driver

洪國勝

HUNG Kuo-sheng

司機

Driver

張國華

CHANG Kuo-hua

司機

Driver

周寶南

CHOU Pao-nan

司機

Driver

廖子翔

LIAO Tzu-hsiang

司機

Driver

范 姜

FAN Chiang

Producer 數位剪輯師

Digital On Line Editors


VR 全浸界團隊 VR Frontline Team 技術顧問

Technical Consultant

李沅柏

LI Yuan-po

平面設計及手冊設計

Art Design

鄭文良

Safin ZHENG

空間設計

Space Design

林子茵

Jess LIN

張恬嘉

Melon CHANG

于恩平

YU En-ping

馬慧妍

MA Wai-in

吳奕倫

Allen NG

Translator

字幕翻譯

側拍團隊 Behind The Scenes 平面側拍

Photographer

賴彥茹

Gelée LAI

動態側拍

Behind The Scenes

黃靖閔

Kassey C.M. HUANG

李健財

Chai LEE

翁 悅

Yeah WENG

郭潔渝

Crescent GUO Jie-yu

影展視覺團隊 Visual Art Design 主視覺設計

Visual Art Designer

廖小子

Godkidlla

片頭動畫與片花剪接

Animations

發記影像設計

OZ design

台北電影節實習生 Taipei Film Festival Interns 行政部 Administration

行銷部 Marketing & Communications

媒宣部 Press

CHAN Ti-wen

王沛翎

WANG Pei-ling

王士銓

WANG Shin-chuan

台北電影獎部 Taipei Film Awards

何浚捷

Jerry HOH

王惠瑩

WANG Hui-ying

詹棣文 李珮慈

LI Pei-tzu

李思昀

LEE Szu-yun

林子蘭

LIN Tzu-lan

施宜廷

SHIH Yi-ting

林冠承

LIN Kuan-cheng

林奕辰

LIN Yi-chen

陳怡蓁

CHEN Yi-chen

徐瑋希

HSU Wei-hsi

金夢娜

KING Nana

陳彥蓉

CHEN Yen-jung

衷妍瑞

ZHONG Yan-rui

洪蜜禪

HUNG Mi-chan

黃鈴惠

HUANG Ling-hu

郭芮廷

KOU Jui-ting

高德瑜

KAO De-yu

陳 曦

Peilee CHEN

許宜琦

HSU Yi-chi

陳育安

CHEN Yu-an

郭亦婷

KUO Yi-ting

節目部 Program 周 易 CHOU Yi 紀馨婷

CHI Hsin-ting

黃子豪

HUANG Zi-hao

陳力豪

CHEN Li-hao

許嘉真

HSU Chia-chen

黃嘉樺

WONG Ka-wa

陳姿穎

CHEN Zi-ying

陳佑詩

CHEN Yu-shih

劉子瑜

LIU Tzu-yu

葉芊均

YEH Chien-chun

薛晴方

HSUEH Chinh-fang

簡勢錡 CHIEN Shih-chi 接待組 Hospitality 吳芯禎

WU Hsin-chen

呂妍伶 Lynn LU 映演組 Screening 林嘉愛

LIN Chia-ai

許惟翔

Andy HSU

鄭樂詩

CHENG Lok-sze

臺北市市長

Mayor, Taipei City Government

柯文哲

KO Wen-je

臺北市政府文化局 Department of Cultural Affairs, Taipei City Government

管理部 Dept of Management

局長

Director General

蔡宗雄 TSAI Tsung-hsiung

總監

Deputy Commissioner

田 瑋 TIEN Wei

Director

黃文彥 HUANG Wen-Yan

副局長

行政組組長

陳譽馨 CHEN Yu-shin

葉力銓 Richard YEH

副局長

Deputy Commissioner

Administration Supervior

總務副理

主任秘書

Chief Secretary

劉得堅 LIU Deh-chian

General Affairs Deputy Manager 林其蔚 LIN Chi-Wei

行政資深專員

Senior Specialist

張蓉真 Robin CHANG

Administration Senior Specialist

鄭宇希 Sherry CHENG

專門委員

法務專員

李秉真 LEE Ping-chen

洪菽蔓 Anita HUNG

專門委員

Senior Specialist

Legal Officer

廣宣副理

郭佩瑜 KUO Pey-yu

鄭巧玟 JENG Cheau-Wen

科長

Division Chief

Marketing & Communication

李岱穎 LEE Tai-ying

陳冠羽 Megan CHEN

視察

Supervisor

Deputy Manager

馬祖鈞 MA Tsu-chun

潘俊霖 PAN Chunln

研究員

Researcher

Marketing & Communication

蘇意茹 SU Yi-ru

吳妙芬 Mavis WU

股長

Sub-Division Chief

Specialist

林忠憲 LIN Chung-hsien

姚美惠 Sandy YAO

科員

Section Assistant

Marketing & Communication Specialist

黃譯瑩 Kelly HUANG

財會組組長

Finance Supervior

廖珮彣 Angel LIAO

會計專員

Finance Specialist

游潔心 Jessie YU

人事組長

HR Supervior

謝佩瑾 Peggy HSIEH

財團法人台北市文化基金會 Taipei Culture Foundation

廣宣專員 廣宣專員

董事長

Chairman of the Board

執行長

Chief Executive Officer 蔡宗雄 TSAI Tsung-Hsiung

人事專員

副執行長

Deputy CEO

楊淑鈴 Ann YANG

HR Specialist

王雪芳 Sharon WANG

人事專員

副執行長

Deputy CEO

張益贍 CHUANG Yi-San

HR Specialist

郭家豪 Jimmy KUO

出納專員

Cashier

資訊經理

IT Manager

資訊專員

IT Specialist

李 遠 LI Yuan


2019 第二十一屆台北電影節 國家圖書館出版品預行編目(CIP)資料

節目專刊 2019 TAIPEI FILM FESTIVAL

台北電影節節目專刊. 2019第 二 十 一 屆 / 謝 以 萱 總 編 輯

CATALOGUE

-- 初版. -臺北市 : 北市文化基金會,

Text and illustrations © Taipei Film Festival / Taipei Culture Foundation

2019. 06 面;

公分

I SB N 978- 986- 97740- 0- 0 ( 平 裝 )

1. 影 展

987. 066

108008192

Published by Taipei Culture Foundation

出版單位 財團法人台北市文化基金會 10565 臺北市松山區市民大道五段 99 號 4 樓

4F., No. 99, Sec. 5, Civic Blvd., Songshan District, Taipei City 105, Taiwan Planning & Executive by Taipei Film Festival No. 151, Guangzhou St., Taipei City, Taiwan 10852 TEL +886-2-2308-2966 Email info@taipeiff.org.tw

編輯單位 台北電影節統籌部

Festival Director Editor

LI Ya-mei Ruby HSIEH I-hsuan Pony MA

10852 臺北市萬華區廣州街 151 號

Editor Assistant

電話 +886-2-2308-2966

English Proofreading James CALLOW Howard SHIH Translator

Email info@taipeiff.org.tw 總 策 劃  李亞梅

English Editor

CHEN Pei-hsuan

CHOU Pei-yu

Art Design

Orange LIU

Contributors

Ekky IMANJAYA, Alfredo

Adis SUN

總 編 輯  謝以萱 編輯助理  馬曼容 英文編輯  陳珮瑄

YU Shr-han, SHEN Yi-hsin, Ahphonse Perroquet / Parrot Caille / Quail

英文審訂  James CALLOW 譯

WANG Kuan-jen, CHU Meng-chin,

Jawa Sparrow Youth-Leigh,

者  石雄皓、 周 沛 郁

CHOU Hsiang-hsuan, Sylvie LIN,

美術設計  劉丁菱、 孫 惟 庭

LIN Pei-jing, Jimmy HOU,

專刊撰稿  Ekky IMANJAYA、Alfredo、王冠人、 朱孟瑾、

CHANG Yen-tuo, KUO Ming-jung, Bernd CHEN, Estella HUANG,

 余詩涵、沈怡昕、李幼鸚鵡鵪鶉小白文鳥、周項萱、

YANG Dian-an, YUN Chih-chung,

 林心如、林姵菁、侯伯彥、張硯拓、郭敏容、陳宏瑋、  黃以曦、楊殿安、雍志中、劉子睿、蔡雨辰、鄭怡萍

 

LIU Tzu-jui, TSAI Yu-chen, CHENG Yi-ping

法律顧問  遠拓法律事務所

Legal Consultant

Yuan Tuo Attorney-at-law

出版日期  2019 年 6 月初版

First Edition

June 2019

印  製  晶華彩色印刷有限公司

NTD

100

Printed in Taiwan

定  價  新臺幣 100 元 ISBN

978-986-97740-0-0

版權所有.翻印必究 (本書如有缺頁、破損或裝訂錯誤,請寄回更換)

No portion if this publication may be reproduced of transmitted in any form or by any means, electronic or mechanical, including photocopying or by an information storage and retrieval system without the express written permission of the copyright holders except in case of reviews or other journalistic purposes. For damaged or missing pages please contact Taipei Film Festival. Although the author and publisher have made every effort to ensure the accuracy and completeness of information contained in the book, we assume no responsibility for errors inaccuracies, omissions, or any inconsistency herein.


Profile for Taipei Film Festival

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