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Festival Guide 影 展 資 訊


1

目次

02 EVENT INFORMATION 活動資訊

02

選片指南

PROGRAM TALK

04

觀眾票選抽好禮 FESTIVAL GOODIES

06

深夜電影院

LATE NIGHT CINEMA

10

香氛場

AROMA SESSION

13

《不散(4 K 修復版)》+ 電影記憶的即興創作 SPECIAL PROGRAM

03

周邊商品

/ MERCHANDISE

05

影迷專屬優惠

/ SPECIAL

08

空中閱覽室

/ READING ON-AIR

12

焦點講座

/ TALKS

14

電影正發生:聲音設計

/ IN PROGRESS: SOUND DESIGN

15

V R 全浸界《留給未來的殘影》特別展演版

VR FRONTLINE "AFTERIMAGE FOR TOMORROW" SPECIAL EDITION

16 TICKET INFORMATION 22 VENUE 24 SCREENING SCHEDULE 購票資訊 影展地圖 場次表


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選 片指 南

PROGRAM TALK 活動資訊

時間| 06.13 SAT 13:30-16:30 地點|三創生活園區 12F SYNTREND SHOW

EVENT INFORMATION

12:30 集合吧!影迷之夏 買一本,送一本!選片指南的最佳配件,節目專刊現場現貨直出,隨刊 附贈

刊物一本(數量有限,送完為止)。

選片指南搶先販售

為影癡狂 套組 當日 限定

套組包含 3 張一日證及一本節目專刊,影癡必搶, 限量

200 組,非你莫屬價 $ 1,200

* 11:00 發號碼牌,12:30 依號碼牌順序入場購買 * 票券相關資訊請見 P.17

VR 全浸界《留給未來的殘影》 2020 台北電影節特別展演版

*購票資訊請見 P.16

13:30 選片指南 Ready Go 夏天就是要在片海裡飄浮 ~ 入場即送參加禮「舒味思伯爵 紅茶風味氣泡水 500ml」一瓶,一起挑電影,一起喝出茶 香新暢快!數量有限,送完為止。

16:30 謝謝你陪我很久很久 待了好久,值得好酒。活動結束後,即可獲得「 SARARI 180ml」一杯,夏天的梅酒跟電影一樣,回味無窮, 數量有限,送完為止。

*主辦單位保留活動變更權

禁止酒駕

未滿十八歲禁止飲酒


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周邊商品

MERCHANDISE

約嗎 TEE $490

把想說的話穿在身上

側背小包 $590

防潑水材質,簡約百搭

聯名電影布章 $99/ 款 激燃體最強跨界聯名 三個字,激烈燃燒你的電影小宇宙!

我就影癡套組 限量收藏價 $1,199 小孩子才做選擇,整套我都要! 注意事項: ・我就影癡套組包含:票夾、約嗎 TEE、側背小包、電影布章 1 入(不挑款)、影展水瓶。 ・06.25 起,中山堂、光點華山影展服務台限量發售,數量有限,售完為止。 ・影展服務台開放時間:該場地每日首場電影放映前 30 分鐘至末場電影開演後 20 分鐘。

好事成雙!

購買任兩件周邊商品即贈影展水瓶乙個 (不累贈,數量有限,送完為止)

EVENT INFORMATION

票夾 $250

給票根一個歸屬

活動資訊

台北電影節為影迷量身打造的新品牌! 追影展的日子裡,有我們陪伴。


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觀眾票選抽好禮

FESTIVAL GOODIES 活動資訊 EVENT INFORMATION

分數在我們手心,投下去不要遲疑。 喜 歡 就 給 五 星! 為 心 愛 的 電 影 打 分 數, 就有機會抽中限量好禮。 moshi Aerio Lite 簡約側肩包 ( 顏色隨機 )

禁止酒駕

未滿十八歲禁止飲酒

KIRIN 淡麗 GREEN LABEL 啤酒 350ml 6 入

L'ORÉAL PRO 萊雅沙龍專業 光彩柔亮護髮組

禁止酒駕

舒味思氣泡水全系列四口味 500ml 各 1 瓶

蒸氣眼罩 純淨無香 5 片裝

未滿十八歲禁止飲酒

CHOYA 本格一年熟成梅酒 200ml

師大白鹿洞 DVD 福袋

* 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 06.25-07.09 至影展服務台領取。 * 兌換時間:中山堂 06.25-07.07|光點華山 06.25-07.09 |信義威秀 06.25-07.09,每日首場電影放映前 30 分 鐘至末場電影開演後 20 分鐘。


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影展期間憑台北電影節票根,可享 器材租金 9 折優惠。 使用期間: 2020.06.25 - 2020.07.11

憑台北電影節票根至師大白鹿洞消

掃 描 台 北 電 影 節 專 刊 廣 告 頁 QR

費,加贈租一送一券,數量有限,

code,購買絲漾博護色組(護色洗

贈完為止。

髮精 300ml+ 護色洗髮乳 200ml+ 護色髮 膜 250ml), 即 可 享 有 迷 你 結 構 組

使用期間:

乙組,數量有限,送完為止。

2020.06.25 - 2020.08.31

「搜尋 @LINETAXI」加入好友完成

於 hearties by KK & JJ 官網消費

註冊。輸入「2020 台北電影節」,

不限品項金額,輸入「TFF22」,

即享 50 元乘車優惠券。

即可折抵 22 元。

使用期間: 2020.06.13-2020.07.05

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

SPECIAL

活動資訊

影迷專屬優惠


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深夜電影院

LATE NIGHT CINEMA 活動資訊

地點:誠品南西店 5F FORUM(台北市中山區南京西路 14 號 5 樓)

EVENT INFORMATION

TGIF 看電影約嗎? 週五夜,與台北電影節有約,在書香中感受電影獨特的魅力。

06.05 FRI 19:30-21:30 你曾在書店裡看過電影嗎?我們準備了 2019 國際新導演競賽觀眾票選獎《大餓》 迎接週末,讓放肆狂歡的週五夜,可以盡情吶喊:去你 X 的更美好的自己!

映後座談出席:

女主角 蔡嘉茵

《大餓》 Heavy Craving 謝沛如|台灣 | 2019 | Colour | 90min |保護級

「大恐龍老師」姜映娟老是因為豐腴圓潤的身材 飽受歧視。某次意外騷擾事件,陽光快遞男出手 相 救, 姜 映 娟 彷 彿 感 受 到 愛 情 降 臨, 燃 起 減 肥 的念頭。瘦身的魔鬼訓練讓她開始懷疑減肥的意 義,難道非得活在社會的審美框架中,才有被愛 的資格?

*主辦單位保留活動變更權


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06.19 FRI 19:30-21:30 一探短片的創作世界,熱鬧迎接台北電影節的到來。

《春分兄弟》 導演 王傢軍

《老人與狗》 導演 陳瀚恩

《春分兄弟》 Brotherhood 王傢軍|台灣 | 2018 | Colour | 17min |普遍級

五個小學生為了贏得攝影比賽大獎,在春分時刻 趁著自習課溜出校外,爬上後山翻過籬笆,闖入 封閉的舊校舍,一邊盪鞦韆,一邊像等待真愛一 樣等著過境的灰面鷺出現。

《去年火車經過的時候》 Last Year When the Train Passed by 黃邦銓|法國 | 2018 | Colour、B&W | 18min |普遍級

「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?」

《老人與狗》 Old Man and A Dog 陳瀚恩|香港、台灣 | 2019 | Colour | 30min |普遍級

獨居的老陳得知罹患末期癌症,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。

* 為維護觀影品質,放映活動每場限額 40 名,欲參加者請至台北電影節官網搜尋「展前活動」報名。 * 入場請依照電影分級制度出示觀賞電影者年齡符合之證明文件,不符合年齡者恕不開放入場。 * 當日於 19:10 開放入場,19:30 準時開演並開放候補進場,額滿恕不開放進場。

EVENT INFORMATION

映後座談出席:

活動資訊

集合吧!精選 3 部 2019 台北電影獎入圍短片,邀請影人出席映後座談,帶領觀眾


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空中閱覽室

READING ON-AIR 活動資訊

六月的小週末夜晚,一起在線上閱讀台北電影節

EVENT INFORMATION

06.10 WED 20:00-21:00 《電影正發生:聲音設計》 電影正發生透過現場創作,將難以言說的創作靈光呈現在 大眾眼前。今年以聲音設計為題,邀請觀眾與我們一起拆 解電影的幻術是如何透過影像和聲音聯手呈現。 主持人:羅心彤(電影正發生策展統籌) 與談人:沈可尚(導演,前台北電影節總監)

06.17 WED 20:00-21:00 《焦點影人:大林宣彥》 「影像魔術師」大林宣彥代表作品首次以焦點影人專題於 台 北 電 影 節 呈 現! 一 生 創 作 近 百 部 電 影 作 品、 上 千 支 廣 告,長期關注戰爭與年輕世代;重返半個世紀的創作歷程, 大師如何誕生? 主持人:謝璇(台北電影節選片人) 與談人:CharMing 的投幣式置物櫃


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《VR 全浸界》 VR 影 片 結 合 現 實 的 舞 蹈 演 出 會 碰 撞 出 什 麼 樣 的 火 花? 台 北電影節與高雄 VR 體感劇院首度攜手合作,共同呈現《留 給未來的殘影》特別演出。邀請高雄電影節代表分享高雄 出品的 VR 創作秘辛。

主持人:蘇逸華(台北電影節選片人) 與談人:李懷瑾(高雄電影節 VR 選片人)

*本活動採線上直播收看;請搜尋 FB【誠品書店】、【台北電影節】同步收看

EVENT INFORMATION

06.24 WED 20:00-21:00

活動資訊

地點:誠品 R79 展演操場 FORUM (台北市大同區南京西路 16 號 B1 之中山地下街)


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香氛場

AROMA SESSION 活動資訊 EVENT INFORMATION

精選五部電影, 五種香氛, 一起沉浸感官放大的療癒時刻。

06.27 SAT 18:50

光點華山 2 廳

《我去遠方,不流浪》 We Are From There

敘利亞兄弟冒險離開戰事不斷的 家鄉,偷渡至歐洲。社會動盪拆 散一家人,回憶裡關於家的氣味, 則從未佚散。

|搭配香氛| Aesop 草本腋下身體 噴霧 多種精油,包括迷迭香、 鼠尾草和桉樹精油,並散 發草本幽香

影片介紹 p. 127

06.28 SUN 19:30

光點華山 2 廳

《天外奇機》 Air Conditioner

盧安達的冷氣在酷暑接連墜樓, 保全協同巫師尋找失蹤的冷氣。 悶蒸的都市巷弄,歷史與人民的 氣息蔓延無盡。 影片介紹 p. 73

|搭配香氛| Aesop 腋下身體噴霧 多種精油,包括芫荽籽、 香茅和香根草根精油, 兼具土質和 木質氣息的芳香


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06.30 TUE 22:00 《她房間裡的雲》 The Cloud in Her Room

|搭配香氛| 俄勞斯 Olous 白松香 × 葡萄柚 × 茉莉 帶有花香和煙香的 精緻香味

影片介紹 p. 35

07.02 THU 21:00

信義威秀 13 廳

《國王二度外出中》 The Barefoot Emperor

比利時國王再度巡遊歐洲,槍擊 意外揭露一場蠢蠢欲動的政治外 交風暴,新的霸主即將誕生?磅 礡歷史佐以荒誕幽默,歐洲的英 雄永不妥協!

|搭配香氛| 塞西拉 Cythera 天竺葵 × 香 × 廣藿香 散發出融合木質和 辛香香調的溫暖香氣

影片介紹 p. 118

07.04 SAT 18:30

光點華山 1 廳

《她是我爸爸》 A Perfectly Normal Family

艾瑪的爸爸決定做自己,以女人 的 身 份 過 生 活。 當「 他 」 變 成 「她」,艾瑪如何重新認識眼前 的爸爸?一個獨特、溫柔甜美又 堅定的家庭正在發生! 影片介紹 p. 106

|搭配香氛| 伊斯特洛斯 Istros 粉紅胡椒 × 薰衣草 × 煙草 結合綠色植物和 柑橘類香味的活力芳香

EVENT INFORMATION

柔嫩又深沉的一朵待放的花,她 謎樣,時而冷淡時而渴望,漂泊 在自己與還沒成為的自己之間, 曖昧不明,才是她的質地。

活動資訊

信義威秀 13 廳


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焦點講座

TALKS 活動資訊 EVENT INFORMATION

06.28 SUN

07.03

13:30

FRI

18:15

正在拍片的我: 2020 台灣電影人

楊士琪電影卓越貢獻獎講座: 光影聲音的守護者—江泰暾

拍 片 的 人, 說 的 是 夢、 是 故 事,

電影《新天堂樂園》讓我們著迷

更是生活。電影承載著時代的轉

於光束背後,隱身在那小方格孔

變, 記 錄 微 小 卻 重 要 的 日 常。

裡的放映師世界,資深放映師江

繼前兩屆的熱烈迴響,我們邀請

泰 暾 與「 電 影 」 並 肩 走 過 五 十

2020 年首次參與台北電影節的導

載,用放映師的一雙手陪伴了台

演們,與知名導演們暢聊彼此的

灣電影時代的更迭。本場次也將

電影故事,讓你更近距離窺見他

在江泰暾師傅親手放映完 16mm

們心中的電影世界。

影片《戰裡的野孩子》後,邀請 他現身分享人生放映歷程的動人

主 持 人 :葉天倫、程偉豪、

故事。

賀照緹、黃勻弦 與 談 人 :首次入選台北電影獎 及台北電影節觀摩單 元之台灣導演

合作單位:

臺北市中山堂 2F 光復廳

光點華山電影館 1 廳

(台北市中正區延平南路 98 號)

(台北市中正區八德路一段 1 號)

*免費參加,請先至台北電影節官網「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。


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SPECIAL PROGRAM

07.04 SAT 14:00 《不散(4K 修復版)》放映結束後 繪畫、老歌、創作與童年記憶,這是一場獨一無二的電影秀, 隨著《不散(4K 修復版)》大銀幕重現,且聽蔡明亮娓娓道來, 爬梳記憶的刻痕,亦是當下的即興創作,並與觀眾互動,呈現 截然不同的觀影經驗。

演出:蔡明亮 前 100 名 購 票 者, 將 贈 送《 不 散(4K 修 復 版)》導演手繪海報。兌 兌 換名單將公布於台 北電影節官網及戲院現場。兌 兌 換者請憑該場 次票根及兌 兌 換簡訊於 06.25-07.09 至中山堂 影展服務台兌 兌換。

臺北市中山堂 2F 光復廳 (台北市中正區延平南路 98 號) 購票資訊請見 P.16

EVENT INFORMATION

07.03 FRI 17:00

活動資訊

《不散(4K 修復版)》+電影記憶的即興創作


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電影正發生:聲音設計

IN PROGRESS: SOUND DESIGN 活動資訊 EVENT INFORMATION

06.26 FRI

14:00-21:00

06.27 SAT

14:00-21:00

電影似一場聲光的魔幻。聲音設計與影像如何作用? 是將聲音縫進影像、擊打耳膜至腦海中成像?或是與 影 像 衝 突 拉 扯 出 覆 蓋 五 感 的 波 段? 音

像的創作曲

線,如何重疊、交織與昇華? 周震、黃邦銓、林君昵、王榆鈞,四位創作者帶著不 同的創作模式和思維,會帶來什麼樣的刺激與全新的 想像?絕無僅有的現場創作計畫,唯有親臨現場,才 能與創作者共享此次「獨家」的影展經驗。

空總臺灣當代文化實驗場 C-LAB 臺灣聲響實驗室 (台北市大安區建國南路一段 177 號) 免費入場,現場視狀況進行人數管控


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VR 全浸界

VR FRONTLINE

*兩場皆有演後座談

07.09 THU

午場 15:30-16:20 / 晚場 19:00-19:50

以 眼、 耳、 鼻、 舌、 身、 意 接 收 下 來 的 記 憶, 儲 存 成 文 字、 圖像、 聲音、影像。藉由記憶的碎片,我們得以回返某個特 定的時間點, 讓時空扭曲交疊,但記憶卻不一定可靠。 導 演 陳 芯 宜 與 編 舞 家 周 書 毅 共 同 創 作 與 演 出, 以 舞 蹈 呈 現 記 憶中難以言說的部分。於中山堂光復廳現地創作,將延伸 VR 影像視角到真實的當下,帶領觀眾潛入生命, 窺視逝去前的 殘影風景。

導演:陳芯宜 演出:周書毅

臺北市中山堂 2F 光復廳 (台北市中正區延平南路 98 號) 入場及購票方式請見 P.16

EVENT INFORMATION

午場 15:30-16:20 / 晚場 19:00-19:50

活動資訊

07.08 WED

《留給未來的殘影》 2020 台北電影節特別展演版


16

購票資訊

TICKET INFORMATION 購票資訊 TICKET INFORMATION

早鳥票券

早 鳥 日 場 票 敬 老 愛 心 票

單場票券

全   

平 日 日 場 票 敬 老 愛 心 票

VR 票 種

VR 早 V R

鳥 全

票 票

VR 敬 老 愛 心 票

特殊活動 場 次

《不散(4K 修復版)》+ 電影記憶的即興創作 《鹽谷時日》

180 130 110 220 200 150 110 130 180 90 600 500

銷售期間:06.14 SUN 13:00 至 06.24 WED 23:59

銷售期間:06.25 THU 00:00 及影展各戲院現場

VR 早鳥票銷售期間:06.15 MON 13:00 起 至 06.24 WED 23:59 VR 全票銷售期間:06.25 THU 00:00 起 及影展各戲院現場 銷售期間:06.14 SUN 13:00 及影展各戲院現場

・日場票:限週一至週五 17:59 以前開演之場次。 ・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。 ・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。 ・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。 ・以上票種僅適用 2020 第 22 屆台北電影節於台北市中山堂中正廳、中山堂 2 樓 VR 放映、光點華山電影館、信 義威秀影城放映之影片。 ・VR 全浸界之放映將依文化部公告之「文化場館藝文活動開放辦理原則」辦理,若有更動,請依台北電影節官方 網站公告為主。

VR 全浸界《留給未來的殘影》 2020 台北電影節特別展演版

800

購票方式:06.13 SAT 台北電影節選片指南 現場搶先販售 ・當日僅收現金。數量有限,售完為止。

選片指南後| ・06.25 THU - 07.09 THU 於中山堂 2 樓 VR 服務台販售。現場僅收現金。 ・票券販售情況請搜尋:台北電影節官方網站 →活動 →《留給未來的殘影》2020 台北電影節特別 展演版 注 意 事 項 | ・票券為唯一入場憑證,請妥善保存票券,遺失、毀損概不補發。 ・演出長度約 50 分鐘,中文發音,無字幕。 ・為維護觀影品質,開演後 5 分鐘即不接受入場,亦恕不退換票。 ・因孩童視力尚在發展關鍵期,13 歲 ( 含 ) 以下孩童不建議入場。 


17

影迷觀影禮

CINEPHILE ONLY 購票資訊

票根金額累計滿 $

2,500 即可憑票根兌換

+

台北電影節紀念禮

|兌換時間與地點| 06.20 - 06.21 13:30-19:30 臺北市中山堂 2F 光復廳 06.29 - 07.07 中山堂首場放映前 30 分 鐘至末場開演後 20 分鐘 中山堂影展服務台

22 絹印海報

22 電影海報貼紙

影展水瓶

早鳥影癡限定 於 06.20、06.21

|兌換時間與地點|

兌換影迷觀影禮

06.20 - 06.21 13:30-19:30

加碼贈送超限量

臺北市中山堂 2F 光復廳

「影展紀念環保袋」 同場加映 靠北影百貨

|時間與地點| 06.21 SUN

北影室內市集初登場,不用頂著大太陽,也能盡情逛。 邀請眾多發行商一起擺攤,讓你夏天吹涼涼、買爽爽!

13:30-19:30 臺北市中山堂 2F 光復廳

*數量有限,送完為止 *主辦單位保留活動變更權

為 影 癡 狂 套 組

$ 1,200

組 (限量 200 組)

含 3 張一日證 ONE-DAY PASS 及一本節目專刊

注 意 事 項 | .選片指南獨家限量發售,一人限購 5 組,售出後不得退換。 .憑一日證 ONE-DAY PASS 於影展期間 06.25 - 07.09 任一天,不限場地,可至影展服 兌換當日任五場電影,當日首次換票後即開始記名。限本人使用。 務台兌 .同一場次限兌換一張票券,VR 單元及特殊活動場次不得兌換。 .進場需同時出示票券、身份證件及一日證 ONE-DAY PASS。 .套組相關資訊請搜尋:台北電影節官方網站→活動→選片指南 影癡狂套組

2020 台北電影節為

TICKET INFORMATION

觀影禮


18

VR 單元觀影須知 ・為呈現 VR 影片最佳觀影經驗,放映現場將備有中英對白翻譯本提供參考。 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

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:(02)2302-3519。 ・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定。最新訊息與 異動資訊隨時公布於官網。 ・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。 ・因應中央流行疫情指揮中心防疫之規定,觀影前請配合測量體溫。若額溫超過攝氏 37.5 度 (含)者、複測耳溫超過 38 度(含)者,將婉拒入場並協助退票。

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。 ・06.17 - 06.24 退票請於週一至週五 11:00 - 19:00 至台北電影節臨時辦公室辦理 (臺北市延平南路 98 號 1 樓)。 ・06.25 起單場票之退票請至戲院現場服務台辦理。團體票不得辦理退票。 ・「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。 ・《留給未來的殘影》退票最遲請於展演前 3 日,憑票券及發票辦理,需酌收票價 10% 手續費。 若發票遺失,恕無法辦理退票。


19

機台購票操作流程 2020 第 22 屆台北電影節 /VR 單元

電影票

單場票

選擇日期 / 場次 / 區域 / 張數 / 座位

閱讀購票須知 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

網站購票

ibon 售票系統網 ticket.ibon.com.tw

*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。

ibon 售票系統網

登入或加入會員

2020 第 22 屆台北電影節 /VR 單元 選擇區域

選擇電影 單場票

選擇票種 / 張數 / 座位

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

取票方式 票券中心

電影票

2020 第 22 屆台北電影節 /VR 單元

輸入「取票序號」

閱讀購票須知

確認取票明細

取票 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

・白色繳費單列印後,請於 10 分鐘內完成繳費取票。 ・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。 ・機台購票:不可跨場,單一場次每次限購 4 張。 ・若使用網站購票,至 ibon 機台取票時,請持白色繳費單於 10 分鐘內至櫃檯完成取票。   逾時則失效,需等候 30 分鐘方可再次至 ibon 機台列印白色繳費單。

觀眾服務電話

客服專線:0800-016-138 / (02)2659-9900

・觀眾服務專線:(02)2302-3519(服務時間:週一至週五 11:00-19:00)

TICKET INFORMATION

確認購票明細

購票資訊

票券中心


20 EARLY BIRD TICKETS

• GENERAL NTD 180 PER TICKET

• MATINEE NTD 130 PER TICKET (Valid only for screenings starting before 17:59 on weekdays) 購票資訊

• 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 13:00 on June 14 SUN to 23:59 on June 24 WED via

TICKET INFORMATION

INDIVIDUAL TICKETS

• GENERAL NTD 220 PER TICKET

• MATINEE NTD 150 PER TICKET (Valid only for screenings starting before 17:59 on weekdays)

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

• STUDENT NTD 200 PER TICKET (Valid student ID required at entrance) l Available from June 25 THU via

or the information desk at each venue during

the festival.

VR TICKETS

• VR EARLY BIRD NTD 130 PER TICKET l Available from 13:00 on June 15 MON to 23:59 on June 24 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; valid ID required) l Available from June 25 THU via

or the information desk at each venue during

the festival.

SPECIAL EVENT TICKETS

• "Goodbye, Dragon Inn (4K Restoration Version)" + Special Program NTD 600

• "The Works and Days (of Tayoko Shiojiri in the Shiotani Basin)" NTD 500 l Available from 13:00 June 14 SUN via

or the information desk at each venue

during the festival.

• "Afterimage for Tomorrow Special Edition for 2020 Taipei Film Festival" NTD 800 l Available exclusively on June 13 SAT at Program Talk or the VR information desk (second floor in Zhongshall Hall) during June 25 THU - July 9 THU * Cash only. Limited number of tickets available. For more ticket sales details, please go to the TFF official website. * Running time is approximately 50 minutes. The film is in Mandarin without subtitles.

PLEASE NOTE

• Mandarin / English transcripts for each VR film will be presented at the venue as a reference for non-English speakers. • Latecomers to VR screenings will NOT be admitted 5 minutes after the screening begins. Tickets of latecomers CANNOT be refunded or exchanged. • VR screenings are not recommended for children under the age of 13 as their eyesight may still be developing. Customer Service: 0800-016-138 | (02) 2659-9900 Taipei Film Festival Office Customer Service: (02) 2302-3519 (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 (5 minutes for VR film) after the film begins.

Tickets of latecomers CANNOT be refunded or exchanged. 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 2020 Taipei FF are only available for screenings at Zhongzheng Auditorium at Zhongshan Hall, VR screening venues at Zhongshan Hall 2nd floor, SPOT Huashan Cinema and Vie Show Cinemas Taipei Hsin Yi. • 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) 2302-3519 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 as soon as possible. • In accordance with the guideline issues by the Central Epidemic Command Center (CECC), temperature has to be taken before entering the cinema. If one's forehead temperature is higher than 37.5 °C and ear temperature higher than 38°C, one will not be permitted into the cinema and the ticket will be refunded. • Any updates for VR Frontline screenings, please follow the restrictions of cultural venues released by Ministry of Culture. Please visit www.taipeiff.taipei for more information.

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 17 to 24, 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 25 onward, refunds of all tickets can only be processed at the screening venue's information desk. Group Tickets CANNOT be refunded after June 25. • Ticket exchanges are regarded as "refunds" and will be processed in accordance with the same procedures and rules above. • The refund of tickets to "Afterimage for Tomorrow" must be processed no later than 3 days prior to the screening with the tickets and the receipt. A handling fee of 10% per ticket will be charged. If the receipt is lost, the tickets cannot be refunded.

TICKET INFORMATION

• All concession ticket holders must present a valid ID at the venue. If no valid ID is presented,

購票資訊

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


昆明街 Kuming St.

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

成都路 Chengdu Rd.

影展地圖

影展戲院地圖

22

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

VENUE

延平南路 Yanping S. Rd.

Cine

ma

臺北市中山堂 (TZH)

光點華山電影館 (SHC)

台北市延平南路9 8 號

台北市八德路一段1號

No. 98, Yanping S. Rd., Taipei City (02)2311-1237

No. 1, Sec. 1, Bade Rd., Taipei City (02)2321-2185

Taipei Zhongshan Hall

SPOT-Huashan Cinema


23

影展地圖

市府路 Shifu Rd.

VENUE

松智路 Songzhi Rd.

松高路 Songgao Rd.

松壽路 Songshou Rd.

信義路五段 Sec. 5, Xinyi Rd.

信義威秀影城 Vie Show Cinemas Taipei Hsin Yi

松仁路 Songren Rd.

象山站 一號出口 Xiangshan Station Exit 1

台北信義威秀影城

(VSC) Vie Show Cinemas Taipei Hsin Yi

台北市松壽路20號 No. 20, Songshou Rd., Taipei (02)2720-1377


SCREENING SCHEDULE

★ 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+

一般觀眾皆可觀賞 G: General audience

6+

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+

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

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

場次表

SCREENING SCHEDULE

24

場次表


10

06.25

11

12

13

14

15

16

17

18

19

20

21

22

23

24

108min|15+ ★

THU

19:30 P.10-11 無聲 The Silent Forest

106min|0+ ▲

122min|15+

18:00 P.86

20:30 P.111

Moonlit Winter

Mosquito

82min|0+

100min|15+ ★

18:30 P.129

20:40 P.66, 69-71

我去遠方,不流浪

信義威秀 14廳 VSC 14

We Are From There

10

11

台北電影獎 - 短片 II + 動畫片

Taipei Film Awards - Short Films II + Animations

137min|12+

85min|12+

88min|6+

16:00 P.81

19:00 P.80

21:10 P.166

拾魂

呼喊遺落天堂

光榮之路

Valley of Souls

Paradise Drifters

Paths of Glory

99min|6+

105min|0+

146min|15+

167min|18+

12:00 P.76

14:20 P.82

16:50 P.164

20:00 P.88

熱病幻夢

死神二十來敲門

千面惡魔

原罪森林

The Fever

You Will Die at Twenty

Mephisto

Not in This World

12

13

14

15

16

17

18

19

20

21

22

23

24

25

SCREENING SCHEDULE

光點華山 1廳 SHC 1

光點華山 2廳 SHC 2

1917 迷走莫三比克

密友禁地

信義威秀 13廳 VSC 13

場次表

中山堂 TZH


SCREENING SCHEDULE 12

13

中山堂 TZH

信義威秀 13廳 VSC 13

14

15

17

18

19

20 83min|12+ ★

13:50 P.42

16:20 P.36

19:20 P.40

無名之歌

流離公路

惡之畫

Song Without a Name

Desterro

The Painting of Evil

98min|6+

99min|12+

99min|0+

14:00 P.120

16:20 P.77

18:40 P.89

國王二度外出中

下落

記得雨,不記得你

The Barefoot Emperor

Identifying Features

Silent Rain

78min|0+ ★

123min|12+ ★

15:20 P.126

17:40 P.64

20:10 P.66-68

敬!咆哮二十

阿查依蘭的呼喚

11

12

13

23

台北電影獎 - 短片 I

Taipei Film Awards Short Films I

94min|6+

97min|0+

94min|6+

90min|18+

14:00 P.108

16:20 P.106

18:40 P.127

21:00 P.124

壞媽咪

她是我爸爸

佩佩蛙:感覺不錯蛙

㊣麥肯齊金總理秘史

Charter

A Perfectly Normal Family

Feels Good Man

The Twentieth Century

14

84min|0+

79min|6+

77min|12+

95min|6+

15:00 P.105

17:10 P.78

19:10 P.128

21:10 P.112

真心話太冒險

愛你哞法度

愛寓春光

非法跟監

110% Honest

Lessons of Love

The House of Love

Passed by Censor

15

16

17

18

19

24

10

22

98min|12+

Bloody Nose, Empty Pockets The Way Home

光點華山 1廳 SHC 1

21

123min|6+

信義威秀 14廳 VSC 14

光點華山 2廳 SHC 2

16

97min|0+

場次表

11

FRI

26

10

06.26

20

21

22

23

24


12

14

15

19

20

11:10 P.166

13:30 P.43

16:20 P.35

19:00 P.38

光榮之路

這不是一場葬禮

她房間裡的雲

破處

The Cloud in Her Room

Leaving Virginia

This Is Not a Burial, It’s a Resurrection

21

22

157min|6+

122min|15+

78min|6+

102min|6+

12:30 P.107

15:50 P.111

18:40 P.123

20:40 P.132

1917 迷走莫三比克

意外之後

Mosquito

瑪莎莎蒂

氣球

The Planters

Balloon

81min|15+ ★

140min|15+ ▲

151min|12+

132min|18+

12:00 P.99-101

14:40 P.117

17:40 P.135

21:00 P.121

被遺忘的人生

無邪

台灣短 SHOW I

Taiwan Shorts I

光點華山 1廳 SHC 1

117min|0+ ★

150min|0+

71min|0+

12:40 P.80

15:00 P.161-162

18:20 P.75

21:30 P.133

呼喊遺落天堂

台北之晨(林強全新配樂版)+ 台北發的早車

春江水暖

後人類傳說

Dwelling in the Fuchun Mountains

Last and First Men

A Morning in Taipei (Newly Scored by Lim Giong) + Early Train from Taipei

118min|15+

84min|0+

82min|0+

99min|6+

14:00 P.110

16:40 P.105

18:50 P.129

21:10 P.76

我的 G 本教義

13

14

15

16

真心話太冒險

我去遠方,不流浪

熱病幻夢

110% Honest

We Are From There

The Fever

17

18

24

Liberté

85min|12+

Minyan

12

23

我就蕩

The Invisible Life of Eurídice Gusmão There Is No Evil

Paradise Drifters

11

18

100min|18+ ★

Beware of Children

10

17 101min|18+

信義威秀 13廳 VSC 13

信義威秀 14廳 VSC 14

16

116min|0+

Paths of Glory

中山堂 TZH

光點華山 2廳 SHC 2

13

88min|6+

19

20

21

22

23

24

27

SCREENING SCHEDULE

11

SAT

場次表

10

06.27


SCREENING SCHEDULE 13

14

18

19

20

96min|12+ ★

11:20 P.45

13:40 P.34

16:00 P.37

19:00 P.16

信義威秀 13廳 VSC 13

阿伊努之森

誰是外來者

逃出立法院

Ainu Mosir

Exile

GET THE HELL OUT

21

99min|12+

114min|12+ ★

98min|6+

13:20 P.89

15:40 P.77

18:00 P.142

21:10 P.109

記得雨,不記得你

下落

Silent Rain

Identifying Features

10+10

19:40 P.65

鹽谷時日(含三次中場休息)

男人與他的海

The Works and Days (of Tayoko Shiojiri in the Shiotani Basin) (With three intermissions)

Whale Island

97min|0+

200min|0+

94min|6+

94min|15+

10:10 P.106

12:30 P.130

16:30 P.108

18:50 P.116

她是我爸爸

加泰隆尼亞之全民開講

壞媽咪

人工失格

A Perfectly Normal Family

The Year of the Discovery

Charter

The Trouble With Being Born

118min|15+

93min|6+

79min|6+

73min|6+

78min|0+

12:30 P.110

15:10 P.122

17:30 P.78

19:30 P.73

21:30 P.114

我的 G 本教義

駭錢怪物

愛你哞法度

天外奇機

凝視蕾妮瑪莉佛森

Lucky Monster

Lessons of Love

Air Conditioner

Self Portrait

Minyan

12

13

14

15

16

17

18

24

Instinct

108min|0+ ★

11

23

禁身誘惑

10+10

10:00 P.137

10

22

99min|0+

480 + 60min|0+

光點華山 1廳 SHC 1

光點華山 2廳 SHC 2

17

121min|12+

夢遊潛水艇

信義威秀 14廳 VSC 14

16

84min|6+

Window Boy Would Also Like to Have a Submarine

中山堂 TZH

15

86min|0+

場次表

12

11

SUN

28

10

06.28

19

20

21

22

23

24


中山堂 TZH

12

13

14

15

18

19

20

105min|0+

139min|0+

11:50 P.39

14:30 P.41

16:40 P.44

19:20 P.90

鳥是海與樹的孩子

人魚祭

我的好叔光

想再聽見你

The Metamorphosis of Birds

Scales

Uncle

Voices in the Wind

信義威秀 14廳 VSC 14

167min|18+

157min|6+

154min|18+ ★

12:10 P.88

15:40 P.107

19:00 P.145

原罪森林

意外之後

現代啟示錄

Not in This World

Beware of Children

Apocalypse Now

22

132min|18+

140min|15+ ▲

95min|6+

12:40 P.74

15:00 P.121

18:00 P.117

21:00 P.115 窒慾

六十九歲

我就蕩

被遺忘的人生

An Old Lady

Liberté

The Invisible Life of Eurídice Gusmão Tench

光點華山 2廳 SHC 2 12

21

100min|6+

光點華山 1廳 SHC 1

11

17

75min|6+

信義威秀 13廳 VSC 13

10

16

101min|0+

13

137min|12+

94min|6+

70min|6+

16:00 P.81

19:00 P.108

21:20 P.134

拾魂

壞媽咪

暗夜啟示錄

Valley of Souls

Charter

Los Conductos

77min|12+

105min|0+

118min|0+

78min|0+

13:50 P.128

15:50 P.82

18:20 P.84

21:00 P.87

愛寓春光

死神二十來敲門

幻愛

一日談

The House of Love

You Will Die at Twenty

Beyond the Dream

Nasir

14

16

15

17

18

19

20

21

22

23

24

23

24

29

SCREENING SCHEDULE

11

場次表

10

06.29 MON


SCREENING SCHEDULE

中山堂 TZH

12

13

15

16

19

20

21

88min|6+

11:40 P.116

14:10 P.37

17:10 P.80

19:30 P.166

人工失格

誰是外來者

呼喊遺落天堂

光榮之路

The Trouble With Being Born

Exile

Paradise Drifters

Paths of Glory

信義威秀 14廳 VSC 14

86min|0+

133min|18+ ★

101min|18+

16:20 P.45

18:30 P.149

22:00 P.35

夢遊潛水艇

Window Boy Would Also Like to Have a Submarine

過於寂靜的喧囂

她房間裡的雲 The Cloud in Her Room

98min|12+

115min|6+ ★

81min|15+ ★

14:40 P.126

17:00 P.96-97

20:10 P.99-101

我去遠方,不流浪

敬!咆哮二十

新創紀實短片

We Are From There

Bloody Nose, Empty Pockets

Alternative Documentary Shorts

台灣短 SHOW I

Taiwan Shorts I

90min|18+

117min|0+

123min|6+

94min|6+

13:10 P.124

15:20 P.161-162

18:00 P.36

20:50 P.127

㊣麥肯齊金總理秘史

台北之晨(林強全新配樂版)+ 流離公路 Desterro 台北發的早車

13

佩佩蛙:感覺不錯蛙 Feels Good Man

A Morning in Taipei (Newly Scored by Lim Giong) + Early Train from Taipei

73min|6+

78min|6+

95min|12+

146min|15+

13:40 P.73

15:40 P.123

17:40 P.165

20:10 P.164

天外奇機

瑪莎莎蒂

突如其藍

千面惡魔

Air Conditioner

The Planters

Out of the Blue

Mephisto

14

15

16

17

18

24

The Tribe

12:30 P.129

The Twentieth Century

12

23

13:10 P.75

82min|0+

光點華山 1廳 SHC 1

22

150min|0+ 春江水暖

11

18 85min|12+

Dwelling in the Fuchun Mountains

10

17

121min|12+

信義威秀 13廳 VSC 13

光點華山 2廳 SHC 2

14

94min|15+

場次表

11

TUE

30

10

06.30

19

20

21

22

23

24


12

13

14

15

18

19

20

97min|0+ ★

10:40 P.78

13:00 P.154

15:50 P.90

19:00 P.17

愛你哞法度

轉校生

想再聽見你

怪胎

Lessons of Love

I Are You, You Am Me

Voices in the Wind

I WeirDo

128min|0+ ★

102min|6+

16:30 P.87

18:30 P.147

21:50 P.132

禁身誘惑

一日談

樂來越愛你

氣球

Instinct

Nasir

La La Land

Balloon

118min|0+

115min|0+ ★

103min|6+ ★

14:40 P.84

17:20 P.94

20:30 P.101-103

幻愛

買房子賣房子

Beyond the Dream

Housing

台灣短 SHOW II

105min|0+

101min|0+

137min|12+

12:40 P.111

15:30 P.44

18:00 P.39

20:30 P.81

我的好叔光

鳥是海與樹的孩子

拾魂

Uncle

The Metamorphosis of Birds

Valley of Souls

116min|0+

93min|6+

105min|0+

97min|0+

13:30 P.43

16:10 P.122

18:30 P.82

21:00 P.42

這不是一場葬禮

13

14

15

16

駭錢怪物

死神二十來敲門

無名之歌

Lucky Monster

You Will Die at Twenty

Song Without a Name

17

24

Taiwan Shorts II

122min|15+

This Is Not a Burial, It’s a Resurrection

12

23

78min|0+

Mosquito

11

22

14:10 P.109

1917 迷走莫三比克

光點華山 1廳 SHC 1

21

98min|6+

信義威秀 14廳 VSC 14

10

17

139min|0+

信義威秀 13廳 VSC 13

光點華山 2廳 SHC 2

16

112min|0+

18

19

20

21

22

23

24

31

SCREENING SCHEDULE

中山堂 TZH

11 79min|6+

場次表

10

07.01 WED


SCREENING SCHEDULE 12

13

14

中山堂 TZH

15

17

18

19

81min|12+ ★

14:10 P.116

10

11

12

13

22

16:40 P.34

19:00 P.92

人工失格

阿伊努之森

哈囉少女

Ainu Mosir

Girl’s Revenge

77min|0+

93min|6+

71min|0+

98min|6+

14:40 P.93

16:40 P.122

19:00 P.133

21:00 P.120

開水喇嘛

駭錢怪物

後人類傳說

國王二度外出中

Last and First Men

The Barefoot Emperor

100min|6+

78min|0+

95min|6+

81min|15+ ★

13:20 P.74

15:40 P.114

17:40 P.115

20:00 P.99-101

六十九歲

凝視蕾妮瑪莉佛森

窒慾

An Old Lady

Self Portrait

Tench

87min|15+

106min|0+ ★

90min|18+

15:20 P.79

17:30 P.148

20:30 P.124

暗夜啟示錄

琳恩與露西

傷痕

㊣麥肯齊金總理秘史

Los Conductos

Lynn + Lucy

The Scar

The Twentieth Century

84min|0+

95min|6+

75min|6+

94min|6+

14:30 P.105

16:40 P.112

19:00 P.41

21:00 P.113

真心話太冒險

非法跟監

人魚祭

曼哈頓戀舞曲

110% Honest

Passed by Censor

Scales

Port Authority

16

17

18

23

24

台灣短 SHOW I

13:10 P.134

15

24

Taiwan Shorts I

70min|6+

14

23

光點華山 1廳 SHC 1

21

The Trouble With Being Born

The Boiling Water LAMA Lucky Monster

信義威秀 14廳 VSC 14

20

84min|6+

信義威秀 13廳 VSC 13

光點華山 2廳 SHC 2

16

94min|15+

場次表

11

THU

32

10

07.02

19

20

21

22


12

13

15

16

19

20 146min|15+

12:00 P.45

14:20 P.39

17:00 P.163

19:30 P.164

夢遊潛水艇

鳥是海與樹的孩子

不散(4K 修復版)

千面惡魔

The Metamorphosis of Birds

Goodbye, Dragon Inn (4K Restoration Version)

Mephisto

102min|6+

98min|6+

78min|0+

115min|6+ ★

12:20 P.132

14:50 P.109

17:10 P.87

19:10 P.96-97

禁身誘惑

一日談

新創紀實短片

Instinct

Nasir

Alternative Documentary Shorts

103min|12+ ★

88min|12+ ★

74min|0+ ★

14:00 P.53

17:00 P.50

19:40 P.63

返校

女鬼橋

回家的理由

Detention

The Bridge Curse

The Reason Why I’m Home

105min|6+ ▲

135min|0+

60min|

13:00 P.158-159

16:00 P.156

18:15 P.20

Replay: Youth Films

楊士琪電影卓越貢獻獎講座 Yang Shih-chi Outstanding Contribution to Cinema Award : Chiang Tai-tun

116min|0+

94min|6+

87min|15+

118min|0+

13:30 P.43

16:10 P.127

18:30 P.79

20:40 P.84

14

15

24

戰裡的野孩子

這不是一場葬禮

13

23

The Young and Wild

This Is Not a Burial, It’s a Resurrection

12

22

氣球

Replay:六○青春電影

光點華山 1廳 SHC 1

21

Balloon

信義威秀 14廳 VSC 14

11

18

82min|0+ ★

信義威秀 13廳 VSC 13

10

17

101min|0+

Window Boy Would Also Like to Have a Submarine

中山堂 TZH

光點華山 2廳 SHC 2

14

86min|0+

16

佩佩蛙:感覺不錯蛙

琳恩與露西

幻愛

Feels Good Man

Lynn + Lucy

Beyond the Dream

17

18

19

20

21

22

23

24

33

SCREENING SCHEDULE

11

FRI

場次表

10

07.03


SCREENING SCHEDULE 16

17

18

19

20 106min|12+ ★

11:10 P.153

14:00 P.163

16:40 P.155

19:20 P.15, 52

鬼怪屋

不散(4K 修復版)

穿越時空的少女

親愛的房客

HOUSE

Goodbye, Dragon Inn (4K Restoration Version)

Girl of Time

Dear Tenant

21

22

150min|0+

77min|0+ ★

106min|0+ ▲

114min|18+ ★▲

100min|6+

10:20 P.75

13:30 P.93

16:00 P.86

18:30 P.146

21:40 P.74

春江水暖

開水喇嘛

密友禁地

推拿

六十九歲

Dwelling in the Fuchun Mountains

The Boiling Water LAMA

Moonlit Winter

Blind Massage

An Old Lady

123min|12+ ★

100min|15+ ★

115min|0+ ★

95min|12+ ★

10:30 P.66-68

13:50 P.66, 69-71

16:40 P.94

19:50 P.55

台北電影獎 - 短片 II + 動畫片

Taipei Film Awards Short Films II + Animations

買房子賣房子

迷走廣州

Housing

Mickey On The Road

105min|6+ ▲

135min|0+

97min|0+

95min|12+

11:00 P.158-159

14:00 P.156

18:30 P.106

21:00 P.165

Replay:六○青春電影

戰裡的野孩子

她是我爸爸

突如其藍

The Young and Wild

A Perfectly Normal Family

Out of the Blue

Replay: Youth Films

10

15

104min|0+

Taipei Film Awards Short Films I

光點華山 1廳 SHC 1

14

82min|0+ ★

台北電影獎 - 短片 I

信義威秀 14廳 VSC 14

光點華山 2廳 SHC 2

13

88min|6+ ▲

11

109min|6+ ★

78min|6+

77min|12+

98min|12+

73min|6+

12:00 P.85

15:00 P.123

17:00 P.128

19:00 P.126

21:20 P.73

不丹是教室

瑪莎莎蒂

愛寓春光

敬!咆哮二十

天外奇機

Lunana: A Yak in the Classroom

The Planters

The House of Love

Bloody Nose, Empty Pockets

Air Conditioner

12

13

14

15

16

17

18

19

20

21

22

場次表

中山堂 TZH

信義威秀 13廳 VSC 13

12

11

SAT

34

10

07.04

23

24

23

24


中山堂 TZH

信義威秀 13廳 VSC 13

11

12

15

16

17

18

19

179min|6+

11:00 P.154

13:50 P.90

17:00 P.157

轉校生

想再聽見你

大林宣彥:電影藏寶盒

I Are You, You Am Me

Voices in the Wind

Labyrinth of Cinema

20

21

22

84min|6+

101min|18+

103min|6+ ★

167min|18+

93min|6+

10:20 P.34

12:30 P.35

15:00 P.101-103

18:00 P.88

21:30 P.122

台灣短 SHOW II

原罪森林

駭錢怪物

Not in This World

Lucky Monster

阿伊努之森

她房間裡的雲

Ainu Mosir

The Cloud in Her Room

Taiwan Shorts II

118min|0+ ★

105min|12+ ★

109min|6+ ★

113min|6+ ★

10:30 P.59

13:40 P.54

16:40 P.49

19:40 P.18, 60

江湖無難事

THE GANGS, THE OSCARS, AND THE WALKING DEAD

We Are Champions

光點華山 1廳 SHC 1

10

14

139min|0+

下半場

信義威秀 14廳 VSC 14

光點華山 2廳 SHC 2

13

112min|0+

11

12

菠蘿蜜

刻在你心底的名字

BOLUOMI

Your Name Engraved Herein

90min|12+ ★

94min|6+

70min|6+

94min|6+

13:00 P.143

15:40 P.113

18:00 P.134

20:00 P.127

曼哈頓戀舞曲

暗夜啟示錄

佩佩蛙:感覺不錯蛙

A Lake

Port Authority

Los Conductos

Feels Good Man

97min|0+

200min|0+

98min|6+

99min|12+

12:30 P.42

14:50 P.130

18:50 P.120

21:10 P.77

無名之歌

加泰隆尼亞之全民開講

國王二度外出中

下落

Song Without a Name

The Year of the Discovery

The Barefoot Emperor

Identifying Features

13

14

15

16

17

18

19

20

21

22

23

24

23

24

35

SCREENING SCHEDULE

SUN

場次表

10

07.05


SCREENING SCHEDULE 13

15

16

17

18

19

20

21

99min|0+

104min|0+

88min|6+ ▲

11:10 P.110

14:00 P.89

16:30 P.155

19:40 P.153

我的 G 本教義

Minyan

中山堂 TZH

14

118min|15+

記得雨,不記得你

穿越時空的少女

鬼怪屋

Silent Rain

Girl of Time

HOUSE

115min|6+ ★

103min|6+ ★

77min|0+ ★

12:00 P.96-97

15:10 P.101-103

18:10 P.93

台灣短 SHOW II

新創紀實短片

信義威秀 13廳 VSC 13

Alternative Documentary Shorts

信義威秀 14廳 VSC 14

24

23

24

The Boiling Water LAMA

83min|0+ ★

74min|0+ ★

75min|6+ ★

14:20 P.61

17:00 P.63

19:30 P.62

阿紫

回家的理由

我的兒子是死刑犯

The Good Daughter

The Reason Why I’m Home

Me and My Condemned Son

70min|6+

86min|0+

71min|0+

99min|6+

14:40 P.134

16:30 P.45

19:00 P.133

21:00 P.76

夢遊潛水艇

後人類傳說

熱病幻夢

Last and First Men

The Fever

Los Conductos

23

開水喇嘛

Taiwan Shorts II

暗夜啟示錄

光點華山 1廳 SHC 1

22

場次表

12

11

36

10

07.06 MON

Window Boy Would Also Like to Have a Submarine

480 + 60min|0+

10:00 P.137 光點華山 2廳 SHC 2

鹽谷時日(含三次中場休息) The Works and Days (of Tayoko Shiojiri in the Shiotani Basin) (With three intermissions)

10

11

12

13

14

15

16

17

18

19

20

21

22


中山堂 TZH

12

10

11

15

16

17

18

19

20

21

22

88min|6+ ▲

99min|0+

11:40 P.154

14:40 P.155

17:20 P.153

19:40 P.89

轉校生

穿越時空的少女

鬼怪屋

記得雨,不記得你

I Are You, You Am Me

Girl of Time

HOUSE

Silent Rain

132min|18+

84min|6+

13:00 P.121

16:00 P.34

我就蕩

阿伊努之森

Liberté

Ainu Mosir

108min|0+ ★

116min|12+ ★

127min|15+ ★

11:30 P.65

14:30 P.57

19:20 P.12-13, 51

男人與他的海

那個我最親愛的陌生人

日子

Whale Island

Synapses

DAYS

光點華山 1廳 SHC 1

光點華山 2廳 SHC 2

14

104min|0+

信義威秀 13廳 VSC 13

信義威秀 14廳 VSC 14

13

112min|0+

12

13

105min|0+

123min|6+

84min|0+

82min|0+

13:30 P.44

16:00 P.36

19:00 P.105

21:10 P.129

我的好叔光

流離公路

真心話太冒險

我去遠方,不流浪

Uncle

Desterro

110% Honest

We Are From There

122min|15+ ▲

78min|0+

87min|15+

75min|6+

13:20 P.144

16:10 P.87

18:30 P.79

20:40 P.41

艾蜜莉的異想世界

一日談

琳恩與露西

人魚祭

Amélie

Nasir

Lynn + Lucy

Scales

14

15

16

17

18

19

20

21

22

23

24

23

24

37

SCREENING SCHEDULE

11

TUE

場次表

10

07.07


SCREENING SCHEDULE 12

信義威秀 13廳 VSC 13

13

15

16

18

19

122min|15+ ★▲

12:10 P.88

15:40 P.108

18:00 P.144

原罪森林

壞媽咪

艾蜜莉的異想世界

Not in This World

Charter

Amélie

20

115min|0+

78min|0+ ★

106min|12+ ★

13:50 P.94

16:30 P.64

19:00 P.15, 52

買房子賣房子

阿查依蘭的呼喚

親愛的房客

Housing

The Way Home

Dear Tenant

21

117min|0+

98min|12+

179min|6+

73min|6+

11:00 P.161-162

13:40 P.126

16:10 P.157

19:50 P.73

台北之晨(林強全新配樂版)+ 敬!咆哮二十 Bloody Nose, Empty Pockets 台北發的早車

光點華山 1廳 SHC 1

17

94min|6+

信義威秀 14廳 VSC 14

光點華山 2廳 SHC 2

14

167min|18+

A Morning in Taipei (Newly Scored by Lim Giong) + Early Train from Taipei

大林宣彥:電影藏寶盒

天外奇機

Labyrinth of Cinema

Air Conditioner

480 + 60min|0+

109min|6+

10:00 P.137

19:40 P.85

22

鹽谷時日(含三次中場休息)

不丹是教室

The Works and Days (of Tayoko Shiojiri in the Shiotani Basin) (With three intermissions)

Lunana: A Yak in the Classroom

10

11

12

13

14

15

16

17

18

19

20

21

22

場次表

11

38

10

07.08 WED

23

24

23

24


12

13

14

信義威秀 13廳 VSC 13

信義威秀 14廳 VSC 14

15

16

10

11

12

18

19

20

21

22

77min|0+ ▲

14:30 P.149

20:40 P.136

過於寂靜的喧囂

逃亡的女人

The Tribe

The Woman Who Ran

103min|15+ ★

95min|12+ ★

89min|12+ ★

13:30 P.56

16:30 P.55

19:20 P.58

灼人秘密

迷走廣州

殘值

NINA WU

Mickey On The Road

Viatical Settlement

光點華山 1廳 SHC 1

光點華山 2廳 SHC 2

17

133min|18+

90min|12+

179min|6+

17:00 P.143

19:10 P.157

大林宣彥:電影藏寶盒

A Lake

Labyrinth of Cinema

121min|12+

78min|0+

95min|12+

200min|0+

12:10 P.37

15:00 P.114

17:00 P.165

19:30 P.130

誰是外來者

凝視蕾妮瑪莉佛森

突如其藍

加泰隆尼亞之全民開講

Exile

Self Portrait

Out of the Blue

The Year of the Discovery

13

14

15

16

17

18

19

20

21

22

23

24

23

24

39

SCREENING SCHEDULE

11

THU

場次表

10

07.09


2020 TAIPEI FILM FESTIVAL CATALOGUE

第二十二屆

台北電影節

節目專刊


一貫支持

合作單位

特別合作夥伴


目 次 Contents

6

局長序 Foreword from the Director General

8

主席序 Foreword from the Festival President

開幕片 Opening Film 1 0 無聲 The Silent Forest

台北電影獎 - 劇情長片

Taipei Film Awards - Narrative Features 49 菠蘿蜜 BOLUOMI 50 女鬼橋 The Bridge Curse 5 1 日子 DAYS 5 2 親愛的房客 Dear Tenant 5 3 返校 Detention

閉幕片 Closing Film 1 2 日子 DAYS

54 江湖無難事 THE GANGS, THE OSCARS, AND THE WALKING DEAD 5 5 迷走廣州 Mickey On The Road

3

56 灼人秘密 NINA WU 5 7 那個我最親愛的陌生人 Synapses 58 殘值 Viatical Settlement

1 5 親愛的房客 Dear Tenant 1 6 逃出立法院 GET THE HELL OUT 1 7 怪胎 I WeirDo 1 8 刻在你心底的名字 Your Name Engraved Herein

60 刻在你心底的名字 Your Name Engraved Herein

台北電影獎 - 紀錄片

Taipei Film Awards - Documentaries 6 1 阿紫 The Good Daughter 6 2 我的兒子是死刑犯 Me and My Condemned Son

20

楊士琪電影卓越貢獻獎 2020 Yang Shih-chi Oustanding Contribution To Cinema Award

國際新導演競賽 International New Talent Competition 3 2 國際新導演競賽評審

63 回家的理由 The Reason Why I'm Home 64 阿查依蘭的呼喚 The Way Home 65 男人與他的海 Whale Island

台北電影獎 - 短片

Taipei Film Awards - Short Films 66 暗之光 Glow of Dark

International New Talent

66 第一鮪 Home Sick

Competition Jury

6 7 蟾鳴 Humming Memory

34 阿伊努之森 Ainu Mosir

6 7 幽魂之境 In This Land We're Briefly Ghosts

3 5 她房間裡的雲 The Cloud in Her Room

68 家庭式 No Flowers or Seasons

36 流離公路 Desterro

68 主管再見 See You, Sir

3 7 誰是外來者 Exile

69 伏魔殿 Temple of Devilbuster

38 破處 Leaving Virginia 39 鳥是海與樹的孩子 The Metamorphosis of Birds 40 惡之畫 The Painting of Evil 4 1 人魚祭 Scales

台北電影獎 - 動畫片

Taipei Film Awards - Animations

42 無名之歌 Song Without a Name

69 大冒險鐵路 Grand Adventure Railroad

43 這不是一場葬禮 This Is Not a Burial, It's a Resurrection

7 0 藍色獨白 Inside Blue

44 我的好叔光 Uncle

7 0 Puppy Love

45 夢遊潛水艇

7 1 六道輪迴之可憐達人秀

Window Boy Would Also Like to Have a Submarine

"The So Sad Show" from Six Paths of Samsara 7 1 多雲時情 The Weather Is Lovely

CONTENTS

Gala Presentations

59 下半場 We Are Champions

目次

特別放映


未來之光 Future Lights

明日.台灣:台灣短SHOW II

Forward Taiwan - Taiwan Shorts II

7 3 天外奇機 Air Conditioner

1 0 1 行山 The mountain remains

74 六十九歲 An Old Lady

102 雕塑品 The Sculpture

7 5 春江水暖 Dwelling in the Fuchun Mountains

102 日正當中 Midday

76 熱病幻夢 The Fever

103 殘山剩水 Lake on the mountain

7 7 下落 Identifying Features

103 高清有碼 Mosaic

78 愛你哞法度 Lessons of Love 79 琳恩與露西 Lynn + Lucy 80 呼喊遺落天堂 Paradise Drifters 8 1 拾魂 Valley of Souls 82 死神二十來敲門 You Will Die at Twenty

當代精選 World Cinema 105 真心話太冒險 110% Honest 106 她是我爸爸 A Perfectly Normal Family

亞洲稜鏡 4

Asian Prism

107 意外之後 Beware of Children 108 壞媽咪 Charter 109 禁身誘惑 Instinct

目次 CONTENTS

84 幻愛 Beyond the Dream

1 1 0 我的G本教義 Minyan

85 不丹是教室 Lunana: A Yak in the Classroom

1 1 1 1917迷走莫三比克 Mosquito

86 密友禁地 Moonlit Winter

1 1 2 非法跟監 Passed by Censor

87 一日談 Nasir

1 1 3 曼哈頓戀舞曲 Port Authority

88 原罪森林 Not in This World

114 凝視蕾妮瑪莉佛森 Self Portrait

89 記得雨,不記得你 Silent Rain

1 1 5 窒慾 Tench

90 想再聽見你 Voices in the Wind

1 1 6 人工失格 The Trouble With Being Born 1 1 7 被遺忘的人生 The Invisible Life of Eurídice Gusmão

明日・台灣 Forward Taiwan 92 哈囉少女 Girl's Revenge

怪奇物語 Wild Tales

93 開水喇嘛 The Boiling Water LAMA

120 國王二度外出中 The Barefoot Emperor

94 買房子賣房子 Housing

1 2 1 我就蕩 Liberté 122 駭錢怪物 Lucky Monster

Forward Taiwan Alternative Documentary Shorts 96 天亮前的戀愛故事 Before the Dawn 96 地洞 The Tunnel

123 瑪莎莎蒂 The Planters 124 ㊣麥肯齊金總理秘史

明日.台灣:新創紀實短片

The Twentieth Century

異境真實 Reality Bites

97 殺人之眾 KILLING STATE, being killed

126 敬!咆哮二十 Bloody Nose, Empty Pockets

97 咪咪貓的奇幻之旅 A Cat May Look at a King

127 佩佩蛙:感覺不錯蛙 Feels Good Man 128 愛寓春光 The House of Love

明日.台灣:台灣短SHOW I

Forward Taiwan - Taiwan Shorts I 99 謝謝您,祝您順心,再見 Farewell 99 一狗 Caninity 100 三步 This Is Not the End 100 媽,我很好 A Fresh Start 1 0 1 斑馬魚 Zebrafish

129 我去遠方,不流浪 We Are From There 130 加泰隆尼亞之全民開講 The Year of the Discovery


作者視角 Visions

VR全浸界

VR Frontline

132 氣球 Balloon

168 活動資訊 Event Info

133 後人類傳說 Last and First Men

170 花之生 A Life in Flowers

134 暗夜啟示錄 Los Conductos

170 重返福島現場 After the Fallout

135 無邪 There Is No Evil

1 7 1 瘋狂麥走 Emergence

136 逃亡的女人 The Woman Who Ran

1 7 1 GO

137 鹽谷時日 The Works and Days

172 非人物種 Hominidae

(of Tayoko Shiojiri in the Shiotani Basin)

172 2020太空漫遊 Odyssey 1.4.9 173 超級鳥司機 Passenger 173 時空奇點 tx-reverse 360°

電影正發生:聲音設計

174 留給未來的殘影 Afterimage for Tomorrow

In Progress: Sound Design

175 舊家 Home

139 活動資訊 Event Info

175 我的敘利亞鄰居 My Syrian Neighbors

142 10+10 143 湖 A Lake 144 艾蜜莉的異想世界 Amélie 145 現代啟示錄 Apocalypse Now 146 推拿 Blind Massage 147 樂來越愛你 La La Land

專文 179 現在前往未來回望── 台灣影像中再造的紀實與回應真實的虛構 180 電影正發生:聲音設計 - 走在電影之前、走在電影之外

149 過於寂靜的喧囂 The Tribe

182 Action!謝謝你,大林宣彥 186 Future and Back:Recreated Reality and Fictional

Filmmaker in Focus: OBAYASHI Nobuhiko

Responses in Taiwanese Films 188 In Progress: Sound Design - Before and Beyond

153 鬼怪屋 HOUSE

190 Action! Thank you, Obayashi Nobuhiko

154 轉校生 I Are You, You Am Me

193 Reach Deeper Experience from Physical Reality:

155 穿越時空的少女 Girl of Time

VR Frontline

156 戰裡的野孩子 The Young and Wild 157 大林宣彥:電影藏寶盒 Labyrinth of Cinema

Replay: 六○青春電影 Replay: Youth Films 158 畫中的少女 The Girl in the Picture 158 噬者 An Eater 159 微熱的玻璃或踩著悲傷碎嘴華爾滋之葬列的散步路 Complexe 159 傳說的午後・突然遇見德古拉 ÉMOTION

經典重現 Classics Revisited 1 6 1 台北之晨(林強全新配樂版) A Morning in Taipei (Newly Scored by Lim Giong) 162 台北發的早車 Early Train from Taipei 163 不散(4K修復版) Goodbye, Dragon Inn (4K Restoration Version) 164 千面惡魔 Mephisto 165 突如其藍 Out of the Blue 166 光榮之路 Paths of Glory

196 版權資料 Print Source 201 影片索引 Film Index 205 導演索引 Director Index 207 特別感謝 Acknowledgement

CONTENTS

184 在物理現實中,找到更深的體會:VR全浸界

目次

148 傷痕 The Scar

焦點影人:大林宣彥

5

Essay


局長序

6

今年全球受到新冠肺炎疫情的

瘟疫蔓延,台北電影節始終步步

影響,許多國際影展紛紛取消、

為營,只為了持續向觀眾引介創

延期,台北電影節也為了因應疫

新與活力十足的作品,為了持續

情發展,做了諸多改變。

鼓勵在艱難環境中努力創作與 拍攝的影人,也為了持續搭建觀

首先,我們取消了向來備受歡迎 的大型戶外映演活動,避免觀眾 群聚。其次,我們取消了須在六

局長序

月底前來台的國際影人邀約,創

眾與影人對話的平台,我們堅持 到最後一刻,努力給予觀眾一個 也許規模變小,但熱情與使命卻 絲毫未打折扣的影展。

作影人與觀眾交流或者影片評

FOREWORD FROM THE DIRECTOR GENERAL

審的工作,皆由台灣影人上場,

期待全球疫情消退,台北電影節

竭力避免可能的風險。其他周邊

如常舉辦,有你一起共襄盛舉。

活動則視疫情發展與國家政策, 改變形式或縮小規模,在維護觀 眾健康與推廣電影文化之間,盡 力取得平衡與最佳效益。

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

Owing to the COVID-19 pandemic,

COVID-19 controlment measures

undiminished in its passion and its

many international film festivals

in Taiwan. In order to gain the

sense of purpose.

we re c a n c e l l e d o r p o s t p o n e d

maximum benefit from the

earlier this year. Consequently, a

festival, we aim to strike a balance

number of precautionary changes

between keeping audiences safe

have also been made to the 2020

and promoting film culture.

the next Taipei Film Festival will

Taipei Film Festival has taken all

the celebration.

Taipei Film Festival.

gatherings we have cancelled

to the COVID-19 threat, while

t h e l a rg e o u td o o r s c re e n i n g s

still bringing innovative new films

that are hugely popular with

to our audiences. We continue

audiences. Second, to reduce risk

to encourage filmmakers, who

we have withdrawn invitations to

are doing their best in difficult

international filmmakers who were

circumstances, and to sustain a

due to arrive in Taiwan in June,

platform for dialogue between

and only Taiwanese filmmakers will

filmmakers and their audiences.

take part in the Q&As and serve

We will keep working hard right

on the jury. Other events have

up until the very last minute so

been redesigned or downsized

that we can give our audience

so as to be in accordance with

a film festival that, while on a

government policy and anti-

slightly smaller scale, is wholly

return to normal and you can join

7

FOREWORD FROM THE DIRECTOR GENERAL

possible precautions in response

will soon come to an end and that

局長序

F i r s t , i n o r d e r t o a vo i d m a s s

We hope that the global pandemic

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


主席序

作 為 在 新 冠 肺 炎 威 脅 下, 仍 戰

電影節始終如一的堅持。

戰 兢 兢 籌 備 的 台 北 電 影 節, 體 現 的 是 和 台 灣 電 影 一 樣, 不 到 最後關頭絕不輕言放棄的精神。

除 了 影 片 品 質 的 堅 持, 台 北 電 影 節 今 年 在 活 動 規 劃 上, 亦 絲 毫 不 受 疫 情 影 響, 堅 持 規 劃 符

8

主席序 FOREWORD FROM THE FESTIVAL PRESIDENT

台 北 電 影 節 備 受 矚 目 的「 台 北

合台灣觀眾與影人需求的相關

電影獎」、「國際新導演競賽」

活 動, 包 括 口 碑 極 佳 的「 電 影

雙 競 賽 活 動, 未 受 絲 毫 影 響,

正發生:聲音設計」、VR 專題、

依 舊 按 照 往 年 的 籌 備 進 度, 努

「 正 在 拍 片 的 我 」 等, 均 在 收

力在鼓勵與榮耀影人的層面上,

入 稍 受 影 響 的 情 況 下, 想 方 設

永不缺席。

法如期策劃與舉辦。

因 各 國 際 影 展 取 消 與 延 後, 導

影 展 不 只 是, 也 不 只 有 影 片 放

致今年國際新導演競賽的影片

映, 更 重 要 的 是 創 作 資 訊 與 觀

徵 件 與 觀 摩 影 片 數 量 減 少, 但

念 的 分 享 與 交 流, 這 是 我 們 近

為維持台北電影節一貫的影片

年 努 力 拓 展 的 影 展 面 貌, 期 望

水 準, 不 願 為 了 數 量 放 寬 影 片

帶給觀眾與影人更豐富與多元

的 邀 約, 改 而 朝 向 小 而 美 的 精

的 視 野。 身 為 一 個 鼓 勵 與 肯 定

緻 策 展 方 向 努 力, 企 圖 帶 給 觀

台 灣 影 人 創 新 的 影 展, 台 北 電

眾 百 分 百 的 觀 影 體 驗 與 享 受,

影節也將以穩健的步伐持續創

這 是 電 影 人 的 堅 持, 也 是 台 北

新與成長。

李屏賓 台北電影節主席


Foreword from the Festival President

Under threat from COVID-19, Taipei

our standards; instead, we aim to

recent years, this is a function

Film Festival has been preparing

come up with a carefully selected

on which Taipei Film Festival has

for this year's edition with caution

programme on a smaller scale.

been working hard, in the hope

a n d d i l i g e n c e . W h a t we h ave

Bringing the ultimate enjoyable

o f b ro a d e n i n g t h e v i s i o n a n d

demonstrated is the traditional spirit

viewing experience to the audience

the ideas of the audience and

of Taiwan cinema – we never give up

is what Taipei Film Festival and every

filmmakers alike. As a film festival

until the very last moment.

filmmaker have always insisted.

that encourages and supports the

Fortunately, the two main com-

In addition to maintaining the

petitions, including the Taipei Film

quality of films, the COVID-19 has

Awards and the International New

no impact on the wide variety of

Talent Competition, are not affected

events held at the 2020 Taipei

at all. Following the same schedule

Film Festival. As usual, we plan

set in previous years, we encourage

ac tivities

and honour filmmakers as best as

of the Taiwanese audience and

we have always done.

filmmakers. The events include

film festivals, the numbers of the submissions to the International New Talent Competition and the films invited to the non-competition

Festival will continue growing and improving steadily in the future.

cater ing the needs

FOREWORD FROM THE FESTIVAL PRESIDENT

ponement of many international

the acclaimed "In Progress: Sound Design", "VR Frontline" and "Taipei Film Festival Firsts: Presenting New Taiwan Directors". Despite the slight decrease in the budget, we try our best to organise the events.

categories are smaller than in

A film festival does more than

previous editions. Nonetheless, in

showing films. More importantly,

order to maintain the quality that

it provides the participants with

the Taipei Film Festival has kept

a chance to share their work and

over the years, we did not lower

exchange their creative ideas. In

9

Taiwanese filmmakers, Taipei Film

主席序

Due to the cancellation and post-

innovation demonstrated by the

Mark LEE Ping-bing President of Taipei Film Festival


10

開幕片 OPENING FILM

開幕片 OPENING FILM

DIRECTOR 柯貞年 KO Chen-nien EXECUTIVE PRODUCER 瞿友寧 CHU Yu-ning, 於蓓華 YU Pei-hua PRODUCER 王威人 Uilin Wang

SCREENPLAY 林品君 LIN Pin-jun, 柯貞年 KO Chen-nien PRODUCTION DESIGNER 李天爵 LEE Tien-chueh CINEMATOGRAPHER 陳麒文 CHEN Chi-wen EDITOR 蘇珮儀 Milk SU, 陳俊宏 CHEN Chun-hung MUSIC 盧律銘 LU Luming SOUND 郭禮杞 KUO Li-chi, 李東煥 LEE Dong-hwan, 金東漢 KIM Dong-han CAST 劉子銓 Troy LIU, 陳妍霏 CHEN Yan-fei, 金玄彬 KIM Hyun-bin, 劉冠廷 LIU Kuan-ting, 楊貴媚 YANG, Kuei-mei,(太保)張嘉年 CHEUNG Ka-nin PRINT SOURCE 赤兔影像製作公司 Redbit Pictures (Taiwan)


世界首映 World Premiere

��

06.25 THU 中山堂 19:30 ★

The Silent Forest 台灣 Taiwan | 2020 | DCP | Colour | 108min

11

Hearing-impaired teenager Chang Cheng transfers to a school for children with special needs. However, the world of the hearing-impaired doesn't seem quiet at all. When Chang witnesses the "game" taking place in the last row on the school bus, his excitement about blending into a new environment immediately turns into fear. Seeing Bei Bei, the girl he has a crush on, getting hurt so badly, Xiao Guang, the ringleader, behaving like a king and other schoolmates acting innocent, Chang debates with himself on whether he should reveal the cruel truth about the game or whether he should join in. As the divide between the perpetrators and the victim begins to blur, confusion and anxiety grow among everyone in school.

柯貞年,台灣導演、編劇,擅長探究人性複雜的灰色地帶,透過精準的場景氛圍營 造與角色設定,展現說故事的技巧。短片《無名馬》入圍金馬獎最佳創作短片、《溺 境》獲金穗獎優等;2017 年共同執導植劇場《天黑請閉眼》獲得金鐘獎最佳戲劇獎。 影視雙棲,本片為其首部劇情長片作品,為當今台灣備受矚目的創作者。

KO Chen-nien is a Taiwanese director and scriptwriter. Her short film, Horse with No Name, was nominated for Best Short Film at the 2011 Golden Horse Awards. The Silent Forest is her debut feature.

OPENING FILM

新銳導演柯貞年的首部長片大膽將真實事件搬上銀幕,在直面殘酷的同時,不失溫柔的 眼光。犀利刻畫人物之間複雜與糾結的情感,呈現聲嘶力竭卻仍仿若無聲的殘忍。貝貝 一句「他們只是在玩」輕描淡寫,卻驚悚、沉痛,更是真實無比的哀嘆。

開幕片

失聰少年張誠準備轉到啟聰學校就讀。聾人的世界,卻不比聽人的世界寧靜。當他發現 校車最後一排的「遊戲」,融入新生活的欣喜之情,瞬間成為恐懼……。眼見心儀的女 孩貝貝在遊戲中遍體鱗傷、學長小光氣勢狂妄不可質疑,一群同學們又天真無害,張誠 忖度著是否該揭開遊戲的殘忍真相,或加入遊戲的行列?當加害者與受害者的界線越趨 模糊,盤根錯節的苦痛、無可傾訴的怨懟,種種困惑與不安在無聲的校園蔓延。


12

閉幕片 CLOSING FILM

閉幕片 CLOSING FILM 2020 柏林影展泰迪熊評審團獎 Teddy Jury Award, Berlinale DIRECTOR, SCREENPLAY 蔡明亮 TSAI Ming-liang EXECUTIVE PRODUCER 蔡明亮 TSAI Ming-liang, 於蓓華 YU Pei-hua PRODUCER

王雲霖 Claude WANG CINEMATOGRAPHER, EDITOR 張鍾元 CHANG Jhong-yuan SOUND 曹源峰 Dennis TSAO CAST 李康生 LEE Kang-sheng, 亞儂.弘尚希 Anong HOUNGHEUANGSY PRINT SOURCE 汯呄霖電影有限公司 Homegreen Films


亞洲首映 Asian Premiere

日�

07.07 TUE 信義 14 19:20 ★

DAYS

台灣 Taiwan | 2020 | DCP | Colour | 127min

13

「我現在拍的都是生活,小康的日子、亞儂的日子,也是我的日子。」──蔡明亮 Kang lives alone in a big house. Through a glass façade, he looks out onto the treetops lashed by wind and rain. He feels a strange pain of unknown origin, which he can hardly bear, gripping his whole body. Non lives in a small apartment in Bangkok, where he methodically prepares traditional dishes from his native village. When Kang meets Non in a hotel room, the two men share each other's loneliness.

蔡明亮,1957 年生於馬來西亞。曾以《愛情萬歲》獲威尼斯金獅獎,《郊遊》獲 威尼斯影展評審團大獎、金馬獎最佳導演。2012 年展開「慢走長征」影像計劃, 著力於藝術展演與跨界創作,開創新的觀影經驗。新作《日子》入選柏林影展主競 賽,並榮獲泰迪熊評審團獎。 TSAI Ming-liang premiered his debut feature, Rebels of the Neon God, at the 1992 Berlinale. His Vive L’Amour won the Golden Lion at the 1994 Venice Film Festival and The River won the Jury Award at the 1996 Berlinale. In 2020, DAYS won the Teddy Jury Award at Berlinale.

CLOSING FILM

這是一場幾乎無對話的體驗,蔡明亮以 46 顆長鏡頭在無語的城市裡慢行,片中兩位不 具名的演員、未明言的相遇原因,在沉默寡語中發酵,以緩慢的節奏引發觀者共鳴。現 實中的李康生真實經歷了一場莫名的病,而電影裡的小康同樣因病而苦。蔡明亮保留手 工電影的質地,以鏡頭代替言語,呈現日常生活中,平淡而重複的日子。

閉幕片

小康隻身坐在落地窗前,凝視外頭狂風驟雨;他佇立在枯樹下,遠眺煙霧瀰漫的群山綠 野。小康的脖子又歪了,彷彿回到十多年前《河流》的模樣,再次漂泊。遠在曼谷,亞 儂在簡陋公寓裡不急不忙地下廚做飯,以炭火煮飯煲湯,一口一口吞下家鄉的味道。兩 個陌生的身體偶然相遇,在異鄉的酒店房裡輕撫寂寞,分享彼此的孤獨。分開後日子依 舊,那片刻的慰藉與念想,都刻在一首出自《舞台春秋》的〈永恆〉之中。


特別放映 GALA PRESENTATIONS

怪胎 I WeirDo


Dear Tenant

台灣 Taiwan | 2020 | DCP | Colour | 106min

世界首映 World Premiere

07.04 S AT 中山堂 19:20 ★ 07.08 WED 信義 14 19:00 ★

擅於處理人際關係及身分認同的導演鄭有傑,睽違五年的新作挑戰在陰 暗的故事線下,刻畫愛的極限與界線,懸疑中暗藏他擅長的溫暖基調。 觀眾隨著敘事遊戲峰迴路轉、抽絲剝繭,現實抑或記憶,是真是假,孰 善孰惡,世界豈是非黑即白?由莫子儀、姚淳耀、是元介等演員陣容, 引領觀眾親身深入眾角色矛盾的內心世界。

鄭有傑,1977 年出生於台南,曾編導 多部電影、電視劇及 MV,擅刻畫身 分認同議題。首部長片《一年之初》 勇奪台北電影獎百萬首獎,並獲金馬 獎最佳剪輯與最佳原創電影音樂。電 視劇《他們在畢業的前一天爆炸》兩 季皆獲金鐘獎迷你劇集獎,並以第 2 季獲最佳導演獎。

For the past five years, Lin has been looking after the son (Yo-yu) and the elderly mother (Mrs. Chou) of his deceased boyfriend (Li-wei). They live together like a family, and it is Lin's way of remembering Li-wei - by continuing to be in the life he once had and loving the people he once loved. But when Mrs. Chou passes away, her other son (Li-gang) returns from overseas and discovers that Mrs. Chou's property is passed on to Yoyu, who has been legally adopted by Lin.

CHENG Yu-chieh was born in Tainan, Taiwan in 1977. He works as director, screenwriter, actor and producer in film and television. Dear Tenant is his fourth feature film.

Li-gang contacts the police, accusing Lin of killing his mother. As the ensuing investigation continues, more and more evidence mounts against Lin...

DIRECTOR, SCREENPLAY 鄭有傑 CHENG Yu-chieh EXECUTIVE PRODUCER 楊雅喆 YANG Ya-che, 鄭有傑 CHENG Yu-chieh PRODUCER 林仕肯 LIN Shih-ken CINEMATOGRAPHER 張宇翰 Meteor CHEUNG EDITOR 陳曉東 CHEN Hsiao-tung, 鄭有傑 CHENG Yu-chieh MUSIC 法蘭 Fran CHEN SOUND 蔡瀚陞 Hanson TSAI, 陳亦偉 Aki CHEN, 鄭元凱 Kenny CHENG CAST 莫子儀 MO Tzu-yi, 陳淑芳 CHEN Shu-fang, 白潤音 BAI Run-yin, 是元介 Jay SHIH, 姚淳耀 YAO Chun-yao PRINT SOURCE 一期一會影像製作有限公司 FiLMOSA Production

GALA PRESENTATIONS

五年來,林健一代替過世的男友,照顧他的兒子悠宇與母親,這是他思 念愛人的方式。他們就像家人一樣,但在外人眼裡健一只是房客,一個 好心的陌生人。一天,男友母親過世,她的次子立綱趕回家,才發現悠 宇已繼承房子,且被健一收養。立綱報警指控母親的死亡並不單純,調 查之中,健一的秘密逐漸被攤在陽光下,外界對他的眼光驟變,檢察官 甚至找到證據,一切對健一越來越不利……

特別放映

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15


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16

特別放映

GET THE HELL OUT 06.28 SUN 中山堂 19:00 ★

台灣 Taiwan | 2020 | DCP | Colour | 96min

GALA PRESENTATIONS

為了化工廠興建案,立委們吵得不可開交,反對派立委熊穎穎遭算計丟 了官、替代役警衛王有為意外被拱成政壇新星,支持派立委率眾大鬧 議會,鎖喉、摔桌、潑水和鎖門樣樣來。鬧劇愈演愈烈,沒想到化工廠 活屍病毒的傳言竟然成真,委員高官互撕互咬,血漿狂噴,成了嗜血喪 屍。感染者不斷增加,高層竟指示封鎖、全部殲滅,熊穎穎與王有為是 否能殺出重圍、逃出活屍地獄? 王逸帆,畢業於台北藝術大學電影創 作研究所,導演、攝影師、編劇。曾 以調侃軍教體制的短片《洞兩洞六》 獲台北電影獎肯定。2020 年完成首 部長片《逃出立法院》與最新短片《伏 魔殿》。

大膽將立法院動輒上演全武行的現象,嘲諷比擬為遭病毒感染、見人就 咬的喪屍,卻又異於其他活屍片以「逃」為核心的敘述,在誇張荒誕的 情節裡,加入抵死守護家園的熱血。透過片中血淋淋的對話,將龐大的 政治問題,聚焦於個人與體制的關係。

WANG I-fan graduated from Taipei National University of the Arts. In addition to directing, he works as cinematographer and scriptwriter. In 2020, his la test short, Temple of Devilbuster, and his first feature, GET THE HELL OUT, are released.

Wang Yo-wei works as a security guard at the parliament and is regarded as a loser by others. One day, he gets involved in an incident which costs Xiong Ying-Ying, a Member of Parliament, her job. Xiong then asks Wang to stand for the by-election, and she will help him win the seat. Therefore, a loser becomes a new MP.

王逸帆:「只有透過最滑稽的方式才能傳達最嚴肅的主題,如同熊穎穎 所說:『我講的從來就不是政治!我講的是我家!』」

One day in the new session, as a fatal virus is spreading inside the parliament, the MPs are infected and become zombies! Strangely, Wang proves to be the only one immune to the virus. Together with Xiong, they not only fight their way out but save many lives!

2020 金馬奇幻影展 Golden Horse Fantastic FF DIRECTOR 王逸帆 WANG I-fan EXECUTIVE PRODUCER 曾瀚賢 TSENG Han-hsien PRODUCER 柯俋森 KO Yi-sen SCREENPLAY 簡士耕

CHIEN Shih-keng, 王逸帆 WANG I-fan, 楊宛儒 YANG Wan-ju CINEMATOGRAPHER 蔡旻翰 Seven TSAI EDITOR 施博瀚 SHIH Po-han, 王逸帆 WANG I-fan MUSIC 吉米林 Jimmy LIN, 張哲綱 CK SOUND 林冠戎 James LIN CAST 禾浩辰 Bruce HO, 賴雅妍 Megan LAI, 庹宗華 TOU Chung-hua, 王中皇 WANG Chung-huang, 高慧君 Francesca KAO, 林鶴軒 LIN He-xuan PRINT SOURCE 瀚草文創事業股份有限公司 Greener Grass Culture Co., Ltd.


I WeirDo 台灣 Taiwan | 2020 | DCP | Colour | 97min

以執行導演身分參與多部賣座國片的廖明毅,首部「親生」作品終於問 世,林柏宏、謝欣穎領銜主演。全片以 iPhone 拍攝,鮮明、俐落甚至 極度整潔的影像打造強迫症 100% 有感的風格電影。 「我想創造出新的鏡頭語言,來闡述愛情的承諾與偏執。」──廖明毅

Po-Ching is an OCD patient with serious symptoms of mysophobia. He has been conditioned to the endless cleaning habits in his daily life. His "quirkiness" has also isolated him from the general public and people see him as a completely weirdo. Po-Ching goes out for grocery shopping on the 15th of each month. Someday, he meets another weirdo Chen Ching. It is fate that brings Po-Ching and Chen Ching to each other. They finally find another person who is in the same boat. Their relationship is spotless and perfect. But everything becomes different when Po-Ching's OCD disappears suddenly.

Asian Premiere

07.01 WED 中山堂 19:00 ★

廖 明 毅,1980 年 生, 台 灣 藝 術 大 學 應用媒體藝術研究所畢業。2005 年 起投身影像創作領域,導演作品橫跨 MV、廣告、短片等。曾參與《六弄咖 啡館》、《阿嬤的夢中情人》、《那 些年,我們一起追的女孩》等片製作。 以短片《8624》獲金穗獎一般作品優 等獎。 LIAO Ming-yi graduated from National Taiwan University of Arts. Since 2005 he has been working as director in music video, advertising and short film. His short films, 8624 and Suicide Pact, were nominated at the Golden Harvest Awards.

In the world of love, we are each other's weirdos. When the love is gone, I am not attracted to your quirkiness anymore.

2020 烏迪內遠東電影節 Udine Far East FF DIRECTOR, SCREENPLAY, CINEMATOGRAPHER, EDITOR 廖明毅 LIAO Ming-yi PRODUCER 陳其遠 CHEN Chi-yuan, 陳怡樺 Ivy CHEN,

王師 Steve WANG MUSIC 許家維 HSU Chia-wei, Triodust SOUND 眶框外音像製作所 Aacross Studio CAST 林柏宏 Austin LIN, 謝欣穎 Nikki HSIEH, 張少懷 Michael CHANG, 鍾瑶 Aviis ZHONG PRINT SOURCE 牽猴子整合行銷股份有限公司 Activator Marketing Co., Ltd.

GALA PRESENTATIONS

陳柏青,就是個怪胎。他是嚴重神經性強迫症患者,簡稱 OCD、俗稱 強迫症,分秒不差嚴謹照表操課規束生活節奏,一橫一豎不容許一絲歪 斜、一步一伐不接受一拍參差。成天在家打掃足不出戶,就連每月 15 號固定出門採買的日子,也得全副武裝,披上雨衣、口罩手套戴好戴 滿。直到某個命定的 15 號,另一個怪胎陳靜闖進他按部就班的人生。 兩個怪胎視彼此為同類而相知相惜,愛情突然降臨,一塵不染、無可挑 剔。一段同病相憐的完美關係,卻在柏青的強迫症突然消失之後,逐漸 失控……

亞洲首映

特別放映

怪�

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特別放映

Your Name Engraved Herein 07.05 SUN 信義 14 19:40 ★

台灣 Taiwan | 2020 | DCP | Colour | 113min

GALA PRESENTATIONS

「每個人的初戀,都跟史詩電影一樣偉大。」1987 年台灣解嚴,高二 生張家漢在烈日泳池畔初見同校的王柏德,從此再也無法收回目光。當 學校解除髮禁、招收女學生,原以為解嚴開啟了自由戀愛的大門,社會 與人心卻仍未改變,一再壓抑他們對愛、性與性向的摸索和擁抱,此時 學妹的出現,更激化兩人的曖昧關係。這段刻骨銘心的愛戀,何時才能 說出口? 柳 廣 輝,1970 年 出 生 於 台 灣, 畢 業 於 台 北 藝 術 大 學 戲 劇 系。 九 ○ 年 代 中期以拍攝 MV 為主,2000 年後轉 往電視劇發展,代表作有《蜂蜜幸運 草》;2016 年執導首部劇情長片《22 個男人》。

本片由導演瞿友寧擔任編劇與監製,搭配電視劇經驗豐富的導演柳廣 輝,刻畫解嚴時代下的同志愛情故事,其中曲折難言的心路歷程,放在 去年甫通過同婚法的時間點來看別具意義。憑《返校》入圍金馬獎最佳 新演員的曾敬驊,與《樂獄》驚豔全場的陳昊森,聯手演出碰觸禁忌、 無可抑制愛慾的「鮮肉」少年,多場感情戲扣人心弦,擦出亮眼火花。

Patrick LIU is known for the popular television idol dramas and music videos he has made in Taiwan. In addition, he writes plays, winning several scriptwriting awards and works as per for mance instructor.

In 1987, Taiwan is liberated from martial law. A-Han, a shy boy, meets a bohemian boy named Birdy. Enjoying their adventures together, they share many secrets and develop a relationship beyond friendship. Then the school starts recruiting girls. Birdy tries to distract himself by dating a girl, breaking A-Han's heart. However, A-Han cannot face how he feels about Birdy and often goes to the priest to confess his real feelings. As the relationship between the two young boys becomes more confusing and also due to the misunderstanding of Birdy's plan, they keep some distance from each other. After they graduate, they slowly drift apart... Thirty years later, when the trio meet again, how will they face each other with their complicated feelings?

2020 大阪亞洲電影節 Osaka Asian FF 2020 金馬奇幻影展 Golden Horse Fantastic FF DIRECTOR 柳廣輝 Patrick LIU EXECUTIVE PRODUCER 瞿友寧 Arthur CHU PRODUCER 陳保英 CHEN Pao-ying SCREENPLAY 瞿友寧

Arthur CHU, 詹傑 Jie ZHAN, 吳翰杰 Alcatel WU CINEMATOGRAPHER 姚宏易 YAO Hung-i EDITOR 蘇珮儀 Milk SU, 王聖縣 County WANG MUSIC 侯志堅 Chris HOU, 盧廣仲 Crowd LU, 黃雨勳 Jason HUANG SOUND 杜篤之 TU Duu-chih, 江宜真 CHIANG Yi-chen, 蔡篤易

TSAI Do-it CAST 陳昊森 Edward CHEN, 曾敬驊 TSENG Jing-hua, 戴立忍 Leon DAI, 王識賢 WANG Shih-shien PRINT SOURCE 氧氣電影有限公司 Oxygen Film Co., Ltd.


逃出立法院 GET THE HELL OUT


楊士琪電影卓越貢獻獎

江 泰暾 CHIANG TAI-TUN 2020 YANG SHIH-CHI OUTSTANDING CONTRIBUTION TO CINEMA AWARD 20

楊士琪電影卓越貢獻獎 2020 YANG SHIH-CHI OUSTANDING CONTRIBUTION TO CINEMA AWARD

泰暾,1958 年出生於台中豐原,小 學開始在西門町電影街打滾,退伍後

進入電影公司工作,1980 年頂下「龍擎試 片室」,開始學習電影放映的工作。從試片 室 到 廟 會, 再 到 遍 佈 全 台 的 大 小 影 展, 江 泰暾累積了近 50 年的實戰經驗,完成許多

C

hiang Tai-tun was born in Fengyuan, Taichung in 1958. He started working in the cinemas in Ximending in Taipei when he was in

primary school and after finishing the compulsory military service, he joined a film company. In 1980, he took over "Long Ching Screening Room" and began learning film projection. From film previews, outdoor screenings at religious gatherings to most of the film festivals in Taiwan, Chiang has accumulated almost forty years' experience

困 難 的 戶 外 放 映 活 動, 旗 下「 宗 宸 有 限 公

in film projection and overcome countless difficulties in outdoor

司」現為台灣少數能承攬大規模放映工程、

screening. His "Zong Chen" is the only company in Taiwan that is

各種格式的膠卷與數位放映素材的團隊。

able to handle large-scale screenings, celluloid film of all gauges and digital files in various formats.


放映經歷 1980 龍擎試片室 1982 龍騰試片室 1994- 至今 金馬影展 1995 承接福和戲院 1998- 至今 台北電影節

台灣國際紀錄片雙年展 1999-2004 純 16 影展 2000-2007 台北市政府蚊子電影院

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2001 - 至今 台灣國際女性影展 高雄電影節 2006 米亞桑影展(山岳影展) 2009 《臉》國家音樂廳首映

2013 《看見台灣》高雄巨蛋萬人特映會

《看見台灣》自由廣場電影首映 2013-2017 台灣美學螢火蟲露天電影院

2014 《KANO》高雄市立德棒球場萬人特映會

《大稻埕》宜蘭傳統藝術中心首映會

2015 《太陽的孩子》大安森林公園露天戶外首映

第一屆 - 第三屆台中國際動畫影展

2016 台語片 60 周年影展 2016-2019 澳門國際影展 2017 桃園電影節 2018 台北白晝之夜 夜夢電影院

楊士琪電影卓越貢獻獎講座|光影聲音的守護者—江泰暾 時間:07.03 FRI 18:15 地點:光點華山電影館 1 廰

2020 YANG SHIH-CHI OUSTANDING CONTRIBUTION TO CINEMA AWARD

2011 《賽德克.巴萊》總統府前、高雄巨蛋電影首映

楊士琪電影卓越貢獻獎

2003- 至今 宜蘭國際綠色影展


中 山 堂 大 變 身工程

放 映 機

喇  叭 以不傷古蹟為前 提 ,江 泰 暾 量 身 打 造 SR D 7.1 環 繞 音 響 系 統, 依 空 間 聲 學 估 算 聲 音 走 線、喇叭位置,並 於 放 映 前 請 杜比實驗室調校 、邀 杜 篤 之 親 身聽測,以確保聲 音 品 質 能 完 美環繞一、二樓 。

江泰暾以 4K 電影機搭配長焦鏡頭、高瓦 數氙燈,解決中山堂空間過深、長距離 投放亮度不足的先天問題。針對位於四樓 的放映室以高難度俯角架設解決段差,並 巧思改裝膠卷放映機,讓中山堂的播映條 件 有 著 最 高 規 格 的 DC P 4 K 數 位 放 映 與 35mm 膠卷放映。

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楊士琪電影卓越貢獻獎 2020 YANG SHIH-CHI OUSTANDING CONTRIBUTION TO CINEMA AWARD

銀  幕 江泰暾特別訂製了特殊尺寸增 益銀幕,以專業的手工懸掛及 繃綁技術避免任何一絲皺摺, 透過精準的畫面校色、亮度及 對位,克服鏡框式舞台的遮蔽 視角,呈現媲美專業劇院的觀 影品質。

吸音設計 中山堂吸音牆非劇院規 格, 江 泰 暾 在 座 位 區 後 段 加裝影廳專用防火黑絨 布, 以 兩 倍 摺 率 的 布 量 施 作, 解 決 聲 音 反 射 混 濁 不 清的問題。


01 西門紅樓戶外放映 02 夏日池畔《藍色大門 》 03《太陽的孩子》戶外放映 04《很久沒有敬我了妳》戶外放映 05 MRTaipei 電影院

01

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楊士琪電影卓越貢獻獎

03 03, 0 4 照 片 提 供 牽猴子整合行銷股份有限公司 攝影 李開明

04

05

2020 YANG SHIH-CHI OUSTANDING CONTRIBUTION TO CINEMA AWARD

02


若有人細細寫下他這一生,便是循著電影放映的軌跡, 撰寫出一部台灣電影的編年史。

泰 暾 不 只 是 一 名 放 映 師, 也 是「 台 灣 電 影 放 映 」 的 代 名 詞, 更 是 一 位 擁 有 卓 越

視 野、 前 瞻 思 考 的 開 創 者。 大 家 時 常 親 切 喚 他 「 江 先 生 」、「 江 師 傅 」, 在 台 灣 電 影 的 江 湖 中 無 人 不 曉。 走 出 戲 院, 一 旦 提 及 電 影 放 映, 腦海中無時間差浮現的便是他,不作第二人想。

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江泰暾, 守護台灣 電 影 放 映 的巨 人

年 輕 時 敢 做 夢、 愛 冒 險 的 性 格, 讓 他 練 就 一 身 紮 實 的 功 夫。 若 你 問 他 如 何 能 一 看 一 聽 便 知 蹊 蹺, 他 會

文 董承平

用低沈嗓音簡單回說:「就是經驗吧。」放映, 是 一 種 身 體 記 憶。 不 過 從 小 就 身 處 電 影 產 業 的

楊士琪電影卓越貢獻獎

他,並沒有正規的學習途徑,不管是電影放映、 電檢剪片、組裝維修、劇院工程、數位放映的轉 型等,多是靠他自學鑽研,掌握眉角。加上與生 俱來的經營天賦、正向思維,使他遇上再大的危 難,都能絕處逢生,將危機化為轉機。這不斷地

2020 YANG SHIH-CHI OUSTANDING CONTRIBUTION TO CINEMA AWARD

轉,不只解了千奇百怪的難題,也轉出一位無所 不能的放映大師。 放眼亞洲,江先生帶領的團隊「宗宸」,是少數 能承攬所有大規模放映工程、經手各種格式的膠 卷及數位放映素材的公司。對他而言,影廳工程 非難事,多年來不同規模的放映室及獨立電影院 多出自他之手。更為人津津樂道的是,他不僅能 將戲院規格等級的放映水準帶到戶外,面對導演 們提出高難度的要求,他也能從容接下,完成不 可能的任務。 蔡明亮導演 2002 年製作《不散》時找他合作, 在 福 和 戲 院 完 成 拍 攝 及 首 映;2009 年《 臉 》 舉 辦 全 台 巡 迴 放 映, 整 個 團 隊 便 扛 著 幾 百 斤 的 35mm 放 映 機 上 山 下 海 完 成 使 命; 直 至 去 年, 蔡導在宜蘭壯圍沙丘舉辦了戶外放映活動時,依


然指名他。2007 年由游惠貞策展的「宜蘭國際

中 山 堂 放 映 品 質 與 時 俱 進, 一 再 從 國 內 外 影 人

綠 色 影 展 」, 憑 藉 江 先 生 的 特 製 銀 幕, 在 羅 東

口中博得讚頌與肯定。

運動公園完成「水上放映」的創舉;2011 年魏 德 聖 導 演 的《 賽 德 克・ 巴 萊 》 在 凱 道 歷 史 性 的 首映亦由他護航;2013 年齊柏林導演《看見台 灣 》 首 映 會 是 全 台 首 次 挑 戰 萬 人 規 模、 戲 院 規 格 的 戶 外 首 映。 各 方 面 技 術 的 突 破, 在 在 刷 新 了戶外放映的紀錄。

「 影 展 放 映 要 是 出 問 題, 那 場 電 影 很 可 能 再 沒 機 會 看 到 了。」 他 曾 掛 念 地 說 著。 為 了 守 護 影 展 選 映 電 影 給 觀 眾 的 心 意, 江 泰 暾 看 重 每 位 電 影 人 的 心 血 呈 現, 至 今 仍 保 持 著 這 份 初 心 為 電 影 文 化 默 默 貢 獻。 與 他 合 作 過 的 電 影 人、 影 展 工作者,提起他時無不道出深刻的感謝與敬重。

關於經營哲學,江泰暾謹記舅舅所言:「社會, 講究的是『信用』兩個字。」自己更秉持著「合 作,就是在同一條船上。好的合作,不只利己, 更 要 先 能 利 人。」 每 當 合 作 對 象 提 出 需 求, 他

術館之邀,替墨西哥藝術家設計了 16mm 循環 放 映 機, 並 將 機 台 贈 予 對 方 留 念。 九 ○ 年 代 以 行動支持國片復甦,統籌 16mm 機台及放映技

陪伴了台灣電影時代的更迭。也許他未曾想過, 小 學 五 年 級 北 上 西 門 町 打 工 的 一 念, 會 是 縱 身 一 躍; 躍 進 光 彩 奪 目 的 黑 暗 中, 看 放 映 師 雙 手 不 停 歇、 放 映 機 抽 送 膠 卷 的 噠 噠 聲、 碳 棒 炙 熱 燃 燒 投 放 出 灼 灼 光 束。 他 就 像《 新 天 堂 樂 園 》 的 多 多, 讓 電 影 一 點 一 點 步 入 自 己 的 生 命 中, 至今仍無私貢獻並榮耀著電影人,不曾離開。

2020 YANG SHIH-CHI OUSTANDING CONTRIBUTION TO CINEMA AWARD

術, 協 助 鴻 鴻、 魏 德 聖 等 多 位 導 演 孕 育 了「 純

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楊士琪電影卓越貢獻獎

總 先 設 身 處 地 幫 忙 想 一 輪。 他 曾 應 台 北 市 立 美

江 泰 暾 與 電 影 並 肩 走 過 五 十 載, 放 映 師 的 雙 手

16 影展」。走過歷屆台北電影節、金馬影展、 台 灣 國 際 紀 錄 片 影 展 等 各 大 影 展, 他 的 慷 慨 與 專業聲名遠播,2017 年更跨國與澳門電影節合 作,一同籌辦各項放映活動。 江 泰 暾 與 台 北 電 影 節 的 合 作, 自 1998 年 首 屆 開始,邁入第 22 年。現今放映主場地──臺北 市 中 山 堂, 並 非 一 般 影 院 聲 學 結 構 的 場 所, 古 蹟 身 份 更 限 制 了 施 工 方 式, 想 讓 中 山 堂 躍 身 為 專 業 的 放 映 場 地, 一 開 始 面 臨 諸 多 挑 戰。 江 先 生 不 僅 為 中 山 堂 量 身 打 造 銀 幕, 以 不 傷 古 蹟 的 方 式 建 置 聲 音 系 統, 更 逐 年 提 升 細 節, 像 是 改 造 35mm 膠卷放映機、自費加裝吸音絨處理空 間 殘 響、 不 惜 成 本 增 設 數 位 放 映 設 備。 甚 至 在 市面上甫推出 4K 數位放映的同時,他也將機器

董承平,2012 年起任職台北電影節工作團隊,曾

升級到 4K,超越台灣現有戲院規格。影展場地

擔任行銷活動統籌、放映經理,並長期於各大影展

的設備技術,因他一句「要做到最好」的堅持,

統籌拷貝放映業務,與江泰暾先生合作長達八年。


If someone documents his life in detail, it will be a chronology of Taiwanese film projection

C

h i a n g Ta i - t u n i s n o t o n l y a

He tur ns every cr isis into a new

projectionist but a byword

opportunity and in this case, he has

fo r " Ta i wa n e s e f i l m p ro j e c t i o n ".

not only solved countless problems

Moreover, he is a pioneer with grand

but established himself as a great

visions and forward thinking. Often

projectionist.

called "Mr. Chiang", Chiang Tai-tun is a figure known to everyone in the Taiwanese film industry; whenever film projection is mentioned, people think of no one but him.

Chiang Tai-tun – 26

The Giant that Protects Taiwanese

楊士琪電影卓越貢獻獎

Film Projection

In Taiwan or even in Asia, Chiang's company, Zong Chen, is the only one capable of setting up large-scale screenings and dealing with celluloid film of all gauges and digital files. For Chiang, the equipment in cinemas never poses any difficulties since for years, he designed the projection rooms in many multiplexes and most of the independent theatres in Taiwan. The most amazing thing is that he has raised the quality of an outdoor screening to as high as in a cinema and never failed to meet the directors' impossible demands.

By Pam TUNG

Ambitious and adventurous, Chiang

2020 YANG SHIH-CHI OUSTANDING CONTRIBUTION TO CINEMA AWARD

has accrued all the skills needed for projecting movies since he was young, and therefore he can detect any faults as soon as he sees the image or hears the sound. If you ask him how he manages to achieve that, he would answer in a low voice, 'It's down to experience.' Projection is a kind of body memory; although Chiang began working in the film industry at a young age, he never received any formal training such as film projection, cutting films to meet the censorship, assembling and maintaining equipment, theatre construction and digital projection. It is true that everyone needs contacts to be introduced into a business, but Chiang relies mostly on self-learning. With sensitivity, business acumen and positive thinking, Chiang has survived all the crises in his career no matter how serious they were.

In 2002, when director Tsai Mingliang was making Goodbye, Dragon Inn, Tsai collaborated with Chiang a nd shot the fi lm i n Fuhe G ra nd Theatre, where they also held its premiere. In 2009, Face, another Ts a i M i n g - l i a n g ' s f i l m , wa s o n a tour of Taiwan, and it was Chiang's team carrying the 35mm projection equipment up to several hundred kilos that made the screenings all over the country possible. Director Tsai has established a long-term collaboration with Chiang, and therefore when Tsai held a screening on the sand dune in Yilan last year, it was also Chiang's team that did the projection. At the 2007 Yilan Green International Film Festival, Jane You, the programmer, sought help from Chiang and hosted the first on-thewater screening in Taiwan in Luodong Sports Park. In 2011, director Wei Tesheng had the premiere of Warriors of


the Rainbow: Seediq Bale outdoor on Ketagalan Boulevard in Taipei and needless to say, Chiang was in charge of the screening. In 2013, Beyond Beauty: Taiwan from Above directed by Chi Polin was shown outdoor to a crowd up to ten thousand people, and it was a breakthrough in

purchased a digital projector. Furthermore, despite the budget, he upgraded the equipment to 4K as soon as 4K digital projection was available on the market, making it even better than the standard projectors in the commercial cinemas in Taiwan back then. Since Chiang

every aspect of projection technology.

always insists on "doing his best", the quality

As for his philosophy of running the business,

improving every year and won high praise from

Chiang has always kept his uncle's advice in mind, ‘Keeping your word is what gets you far in society.' Moreover, Chiang believes that you and your collaborators are in the same boat; good collaboration benefits not only yourself but also your partners. Whenever he learns his clients' needs, Chiang puts himself in their shoes. Once he was commissioned by the Taipei for a Mexican artist and Chiang even left the looper to the artist as a present. In the 1990s, he demonstrated his support for the renaissance of Taiwan cinema by acquiring 16mm projectors Film Festival organised by several Taiwanese directors, including Hung Hung and Wei Tesheng. Having worked with many editions of the Taipei Film Festival, the Golden Horse Awards, the Taiwan International Documentary Festival and other film festivals, Chiang has established a g re a t re p u ta t i o n fo r h i s g e n e ro s i t y a n d professionalism. In 2017, Chiang collaborated with the Macau International Movie Festival on the screenings. Since 1998, Chiang has worked with the Taipei Film Festival every year. Zhongshan Hall, the main venue of the Taipei Film Festival, is not a cinema. Moreover, it is a listed building, and that makes conver ting it into a proper

'If the projection goes wrong in the screening, the film might never be seen again', Chiang had once said. In order to ensure that the by t h e fe s t i va l s a n d t o s h ow re s p e c t fo r filmmakers' works, Chiang continues making his contribution to the film culture. Everyone who has ever worked with Chiang, filmmakers and festival staff alike, always express their deepest gratitude and highest respect for him. Chiang has spent five decades with film and gone through the highs and lows of the Taiwanese cinema as a projectionist. Maybe he has never thought that the decision of getting a part-time job in the cinema in Ximending when he came to Taipei at the age of eleven would turn out to be a leap into the industry; moreover, it was a leap into the colourful blinding darkness, watching the projectionist's hands busy changing reels, listening to the celluloid film flapping and looking at the light beams shooting out of the burning carbon rode. Like Toto in Cinema Paradiso, Chiang let cinema gradually into his life and ends up dedicating himself to honouring film and filmmakers all his life. Translated by Isabella HO

s c r e e n i n g ve n u e e ve n m o r e c h a l l e n g i n g . Chiang not only made a screen specifically designed for Zhongshan Hall and set up the sound system without damaging the building but kept improving other details. He modified the 35mm projector donated by Cinemark, put in soundproof foam at his own expense and

27

audience get to see the films carefully selected

Pam TUNG joined the Taipei Film Festival in 2012 and has worked as event and screening manager. In addition, she collaborates with various film festivals on print traffic and screening. She has worked with Chiang Tai-tun for eight years.

2020 YANG SHIH-CHI OUSTANDING CONTRIBUTION TO CINEMA AWARD

and offering technical service to the Pure 16mm

both the Taiwanese and foreign filmmakers.

楊士琪電影卓越貢獻獎

Fine Arts Museum to design a 16mm film looper

of film projection in Zhongshan Hall has been


台北電影節影展大使 陳庭妮


國際新導演競賽 INTERNATIONAL NEW TALENT COMPETITION

這不是一場葬禮 This Is Not a Burial, It's a Resurrection


INTERNATIONAL

評審

國際新導演競賽評審

NEW TALENT COMPETITION JURY

國際新導演競賽

32

易智言 YEE Chih-yen

王君琦 WANG Chun-chi

評審團主席 Jury President

INTERNATIONAL NEW TALENT COMPETITION JURY

資 深 編 劇、 導 演, 作 品 包 括《 寂 寞芳心俱樂部》、《藍色大門》、 《行動代號:孫中山》以及電視 劇《 危 險 心 靈 》 等。《 寂 寞 芳 心 俱樂部》入圍鹿特丹影展競賽; 《藍色大門》入選坎城影展導演 雙 週;《 行 動 代 號: 孫 中 山 》 獲 大阪亞洲電影節最佳影片、金馬 獎最佳原著劇本、台北電影獎最 佳 編 劇 等 獎 項。 2020 年 最 新 作 品為動畫長片《廢棄之城》。

現任國家電影及視聽文化中心執 行長、東華大學英美語文學系副 教 授、 台 灣 國 際 女 性 影 展 及 台 灣國際人權影展選片人。曾擔任 2016 及 2018 台灣國際紀錄片影 展國際競賽初選評審。目前主要 研究領域為台語片研究、同志電 影、社區影像實踐等。學術論文 發表於中、英文期刊及專書,並 曾主編《百變千幻不思議:台語 片的混血與轉化》一書。

YEE Chih-yen is a screenwriter and film director. In 1996 his directorial debut Lonely Hearts Club competed in International Film Festival Rotterdam. In 2003 his second film Blue Gate Crossing was shown in Directors' Fortnight program of Cannes Film Festival. In 2014 his four th film Meeting Dr. Sun won Grand Prix at Osaka Asian Film Festival, and Best Original Screenplay at both Golden Horse Awards and Taipei Film Awards. His latest feature-length animation City of the Lost Things will be released at the end of 2020.

WANG Chun-chi is currently the Director of Taiwan Film and Audiovisual Institute. She also teaches film studies at the National Dong Hwa University. She has served as the programmer of the Women Make Waves Film Festival and the Taiwan International Human Rights Film Festival. Furthermore, she was a member of the selection committee of the 2016 and 2018 Taiwan Inter national Documentary Film Festival. Her current research areas include Taiwanese-language cinema, queer representation in film, and community media.


33

蕭雅全 HSIAO Ya-chuan

台灣女演員。蔡明亮電影固定班 底,屢獲影展與獎項肯定。以電 影《 你 那 邊 幾 點 》、《 深 海 》、 《一席之地》、《德布西森林》 等,六度入圍金馬獎最佳女配角。 也曾以電視電影《阿水與國祥》、 《三天兩夜》、《用力呼吸》分 獲金鐘獎迷你劇集 電視電影女 主角、女配角及單元劇最佳女主 角獎 ; 短片《阿嬤的放屁車》、 《闔家觀賞》獲金穗獎最佳女主 角,亦參與舞台劇演出。

逆光電影公司負責人、電影監製 及演藝經紀人。1989 年起,陸續 任職於中國時報、網路明日報、 壹週刊等媒體;2002 年擔任台灣 澤東電影公司總經理;2011 年, 成立逆光電影股份有限公司,主 力為電影製作發行與藝人經紀事 務。 早 期 策 劃 作 品 如《 渺 渺 》、 《逆光飛翔》,近年重要監製作 品 包 括《 我 的 蛋 男 情 人 》、《 下 半場》。

2000 年 首 部 電 影 長 片《 命 帶 追 逐》,入選第 54 屆坎城影展導演 雙週,並獲第 3 屆台北電影獎最 佳影片及最佳新導演。2010 年第 二部長片《第 36 個故事》,榮獲 第 12 屆台北電影獎觀眾票選獎、 第 47 屆 金 馬 獎 最 佳 原 創 電 影 歌 曲。2018 年電影《范保德》入選 鹿特丹影展大銀幕獎正式競賽片, 並以此片獲得第 20 屆台北電影節 開幕片與台北電影獎最佳導演的 殊榮。

LU Yi-ching was discovered by director Tsai Ming-liang. Since she was cast in Tsai's TV drama, My Name is Mary, Lu has become a longterm collaborator of Tsai's. To date, she has been nominated six times for Best Supporting Actress at the Golden Horse Awards and won Best Leading Actress and Best Supporting Actress at the Golden Bell Awards. Moreover, she appears in theatre productions. Her best-known works include Rebels of the Neon God, Vive L'Amour, What Time Is It There?, A Place of One’s Own, Formosa Tempura, Only You and Jump!

Rachel CHEN graduated from Tamkang University and NYU. Currently the managing director of Touch of Light Films, she had worked as a journalist in 'China Times', 'Tomorrow Times' and 'Next Magazine' since 1989. In 2002, she was the managing director of Jet Tone Films Limited in Taiwan and in 2011, she founded Touch of Light Films. The productions she participated in include Miao Miao, Touch of the Light, My Egg Boy and We Are Champions.

HSIAO Ya-chuan's first featurelength film, Mirror Image, was selected for the Director's Fortnight at the 2001 Cannes and received numerous awards. In 2010, Hsiao finished his second feature, Taipei E x c h a n g e s , w h i c h wa s awa rd e d Audience's Choice Award and Best Music at the Taipei Film Awards and Best Original Film Song at the Golden Horse Awards in the same year. His latest feature, Father to Son, was selected in the Big Screen Award Competition at the 2018 International Film Festival Rotterdam. In addition, it won Best Director, Best Production Design and Best Original Score at the 2018 Taipei Film Awards.

INTERNATIONAL NEW TALENT COMPETITION JURY

陳寶旭 Rachel CHEN

國際新導演競賽評審

陸弈靜 LU Yi-ching


34 亞洲首映 Asian Premiere

國際新導演競賽

阿伊��� Ainu Mosir

INTERNATIONAL NEW TALENT COMPETITION

06.28 SUN 中 山 堂 13:40 07.02 THU 中 山 堂 16:40 07.05 SUN 信義 13 10:20 07.07 TUE 信義 13 16:00

日本、美國、中國 Japan, USA, China 2020 | DCP | Colour | 84min

福永壯志,常駐紐約的日本新銳電影 導演。2015 年,首部劇情長片《Out of My Hand》入選柏林影展電影大觀 單元,《阿伊努之森》於 2017 年獲 選坎城影展電影基金會工作坊。

導演透過溫潤而不失犀利的運鏡,引領觀者聽聞阿伊努族居所與生活被 觀光化後,竹口琴和舞蹈、嗓音與詩歌,日漸如逢場作戲,暈染喉音與 臉面的無奈滄桑。全片由日本原住民阿伊努族素人領銜主演,找來 Lily Franky 驚喜客串,故事隨著阿伊努男孩面對原鄉與自我的深度探索, 以現身如醒夢之間的魔幻情節和視角,幽然示現了族人與今昔夥伴的深 切連結。

FUKUNAGA Takeshi is a Japanese filmmaker based in New York. His first feature film, Out of My Hand, premiered in the Panorama at the 2015 Berlinale and he was selected for the Cinéfondation Residency for his second feature, Ainu Mosir.

The Ainu are the indigenous people who primarily live in Hokkaido in northern Japan and have a unique philosophy and culture deeply rooted in nature.

在男孩幹人行將成年,離開阿寒湖之際,已逝父親的好友帶他重溫年輕 一輩亟待掙脫的阿伊努族習俗與傳說。然而身為樂團主唱 吉他手的幹 人,卻意外發現刷電吉他的當下,將啟動阿伊努族的熊祭傳統儀式;立 身過去和未來交界的幹人,該何去何從?北國山林間的那個秘密入口, 那隻被人類秘密圈養的小棕熊,又將如何牽引他走向壓抑的痛處,擁抱 對父親深埋的思念?

Kanto, a fourteen-year-old boy and a descendant of the Ainu, struggles to come to terms with the recent loss of his father. One day, he learns about the small hole in the cliff in the nearby forest that the Ainu consider a path to the other side of the world where the dead people live. Kanto decides to visit the hole, hoping to see his deceased father.

2020 翠貝卡影展國際劇情片單元評審團特別獎 Special Jury Prize, International Narrative Competition, Tribeca FF DIRECTOR, SCREENPLAY 福永壯志 FUKUNAGA Takeshi PRODUCER Eric NYARI, 三宅はるえ MIYAKE Harue CINEMATOGRAPHER

Sean Price WILLIAMS EDITOR 出口景子 DEGUCHI Keiko, 福永壯志 FUKUNAGA Takeshi MUSIC Clarice JENSEN, OKI SOUND Tom PAUL CAST 下倉幹人 SHIMOKURA Kanto, 下倉絵美 SHIMOKURA Emi, 秋辺デボ AKIBE Debo, 結城幸司 YUKI Koji, OKI PRINT SOURCE

Stray Dogs


��間裡的�

35

香港、中國 Hong Kong, China | 2020 | DCP | B&W | 101min

新銳導演鄭陸心源首部劇情長片,在線性的敘事上雜揉回憶及幻想,營 造出時空的曖昧感;影像上的正負片、數位攝影甚至手機影片並用,捕 捉後青春的即逝及躁動,更無畏地將影片推往實驗性邊際。因應演員實 際的人生體驗,有機地調整對白和表演,推展成二、三次元界線模糊、 意念交互流動的展演。新穎掙脫的個人語法,充分探索的影像魅力,讓 本片一舉勇奪鹿特丹金虎獎。

It's a wet winter in Hangzhou. 22-year-old Muzi comes home for the Chinese New Year, where she plays her roles as a daughter, a half-sister and a girlfriend. One day, Muzi accompanies her little sister to school and meets a local bar owner, the father of another student. The strange man reminds Muzi of an old friend who vanished into thin air, waking up the memories of her relationship with him. At the same time, Muzi's boyfriend arrives for a visit. Roaming in this city that feels so familiar yet distant, Muzi searches for a place to which she belongs.

鄭陸心源,出生於中國杭州,南加大 電影製作碩士畢業。短片作品曾入選 翠貝卡影展、西寧 FIRST 青年電影展 等,亦曾以攝影指導身分參與獨立長 片製作拍攝。作品多以私密情感出發, 在影像發展上勇於挑戰形式。目前以 杭州作為其創作據點。

ZHENG LU Xinyuan is a filmmaker based in Hangzhou, China. She earned an MFA in Film Production from USC School of Cinematic Arts in Los Angeles in 2017. The Cloud in Her Room won the Tiger Award at the 2020 IFFR.

2020 鹿特丹影展金虎獎 Tiger Award, IFF Rotterdam 2020 紐約新導演 新電影影展 New Directors / New Films DIRECTOR, SCREENPLAY 鄭陸心源 ZHENG LU Xinyuan PRODUCER 王子劍 WANG Zijian CINEMATOGRAPHER Matthias DELVAUX EDITOR 劉新竹 LIU Xinzhu, 鄭陸心源 ZHENG LU Xinyuan MUSIC 曾韻方 TSENG Yun-fang SOUND 李丹楓 LI Danfeng CAST 金晶 JIN Jing, 劉丹 LIU Dan, 陳軸 CHEN Zhou, 葉鴻鳴 YE Hongming, 董康寧 DONG Kangning PRINT SOURCE 赤角(北京)文化傳播有限公司 Rediance

INTERNATIONAL NEW TALENT COMPETITION

女孩回到家鄉,人事依舊、情事已非。父親多年前重組了家庭,小媽、 妹妹和自己之間相處再融洽,卻總有著無形隔閡;守著人生苦短信念, 和感情失能的自己相比,母親總能奮不顧身、愛得癡狂,女孩鄙視、 女孩羨慕。女孩流連在人去樓空的舊宅,追尋幾近消逝的兒時記憶; 女孩來來去去,沒有明日,她的心是個巨大的停車場,卻找不到一個 人、一輛車甚至一個自己,好離開這裡到他方。女孩找不到家,但她 其實想家。

06.27 SAT 中山堂 16:20 06.30 TUE 信義 13 22:00 07.05 SUN 信義 13 12:30

國際新導演競賽

The Cloud in Her Room


36 亞洲首映 Asian Premiere

國際新導演競賽

06.26 F R I 中山堂 16:20 06.30 TUE 華山 1 18:00 07.07 TUE 華山 1 16:00

INTERNATIONAL NEW TALENT COMPETITION

瑪麗亞.克拉拉.艾斯柯巴,1988 年 生於巴西,是電影工作者亦是詩人, 曾任茱莉亞.穆拉《山城裡的麵包香》 之副導並共同撰寫劇本。2013 年紀錄 片《The Days With Him》 入 選 各 大 國際影展,備受好評。2020 年首部劇 情長片《流離公路》入選鹿特丹影展。

Maria Clara ESCOBAR wrote and directed her first feature, Desterro, which was in the Tiger Award Competition at the 2020 IFFR. Before that she had made a documentary, The Days With Him, and two short films.

流離�路 Desterro

巴西、葡萄牙、阿根廷 Brazil, Portugal, Argentina 2020 | DCP | Colour | 123min

巴西同居伴侶羅拉與伊塞爾育有一子,兩人都感覺關係到了瓶頸。羅拉 似乎嗅到此後會有更大的危機,一日突然無聲無息地消失;不久後,伊 塞爾得知她已死在阿根廷,他沒向任何人訴說此事,包括他們的兒子。 偏偏兩人既沒婚姻之實,也無積蓄照應,要將遺體帶回巴西簡直難如登 天,而他至今依然對羅拉離去的原因和途中經歷一無所知…… 以光影及對白寫詩,以剪接製造音律,將虛實交錯的日常瑣事相映成 趣。人物常被鎖在框中動彈不得,或是如部分形體被切出框外的巴洛克 畫作,匱乏而不完整;幾場關鍵戲的省略留白,更可見其匠心獨具。導 演除了探討存在主義式的生死問題,也讓片中女性間的侃侃而談,對比 無話可說的伴侶,佐以拉丁美洲邊界的魔幻寫實冒險,刻畫人際關係及 現代人的徬徨與焦慮。

Brazilian couple Laura and Israël are in their mid-thirties and have a fiveyear-old son, Lucas. They live together but seem to have lost interest in each other, and their relationship is heading for the rocks. Laura feels the warning signs of impending catastrophe and then disappears. Later Israël learns that Laura is dead and her body in Argentina. He doesn't tell anyone - not even their son. As they were not married and have no savings, Israël faces the practical problems of bringing Laura's body home. The last part of the film flashes back to Laura's bus journey south and her encounters along the way with other passengers, particularly with a man who reminds her of her partner.

2020 哥特堡影展 Göteborg FF 2020 鹿特丹影展 IFF Rotterdam DIRECTOR, SCREENPLAY 瑪麗亞.克拉拉.艾斯柯巴 Maria Clara ESCOBAR PRODUCER Paula PRIPAS, João MATOS, Ivan EIBUSZYC CINEMATOGRAPHER Bruno RISAS EDITOR Patrícia SARAMAGO SOUND Tales MANFRINATO CAST Carla KINZO, Otto Jr., Rômulo BRAGA, David LOBO PRINT SOURCE Terratreme Filmes


�是�來者 ©Komplizen Film

37 亞洲首映 Asian Premiere

德國、比利時、科索沃 Germany, Belgium, Kosovo 2020 | DCP | Colour | 121min

©Maria Asselin-Roy

令人窒息的冷調凝視、執著不懈的推理行動,科索沃導演維薩.莫里納 深入探索當代移民的身份認同與歸屬困境,打造了一齣精采的驚悚心理 劇。導演擅於調度尋常生活空間與人物移動,角色時而步行、時而驅車 前進,穿梭在辦公室與長廊、客廳與臥室等封閉空間裡,既凸顯主角在 受限的空間和訊息下,艱難地處理內外交迫的衝突平衡,也在一幕幕如 走鋼索般緊張的情境勾勒中,傳達著溝通與理解的人生難題。

維薩.莫里納,出生於科索沃共和國, 身 兼 導 演、 編 劇。2015 年 首 部 作 品 《Babai》於卡羅維瓦利影展勇奪最佳 導演獎,並代表科索沃入選奧斯卡金 像獎最佳外語片。第二部劇情長片《誰 是外來者》 曾獲 2018 年德國劇本獎 最佳劇本。

Xhafer, a 45-year-old Kosovo-born pharmaceutical engineer living in Germany, suddenly feels discriminated against and bullied at work because of his ethnic background.

Visar MORINA was born in Kosovo and studied at the Cologne Academy of Media Arts. His debut film, Babai, received multiple awards at the Karlovy Vary and Best Script at the Filmfest München. Exile is his second feature.

When Xhafer finds a dead rat hanging from the gate in front of his home, it is immediately clear to him that his racist colleagues could be behind it. Every occurrence, every word, every gesture is taken as evidence. Xhafer's uneasiness grows every day. His German wife Nora is tired of him playing the race card all the time. Do his colleagues simply dislike him? Or is there more to their hostility? Is this all in his mind or is it the actual reality?

2020 日舞影展 Sundance FF 2020 柏林影展 Berlinale DIRECTOR, SCREENPLAY 維薩.莫里納 Visar MORINA PRODUCER Janine JACKOWSKI, Jonas DORNBACH, 瑪倫.艾德 Maren ADE CINEMATOGRAPHER Matteo COCCO EDITOR Laura LAUZEMIS, Hansjörg WEIßBRICH, 維薩.莫里納 Visar MORINA MUSIC Benedikt SCHIEFER SOUND Kai TEBBEL CAST 米楔爾.馬諦切維克 Mišel MATIČEVIĆ, 桑德拉.惠勒 Sandra HÜLLER, 萊納.波克 Rainer BOCK, Thomas MRAZ, Flonja KODHELI PRINT SOURCE The Match Factory

INTERNATIONAL NEW TALENT COMPETITION

化學工程師賈菲爾任職於德國生技公司,來自科索沃的他,與妻子諾拉 過著看似平靜的中產階級日子,並即將迎來第三個孩子。然而門外一 樁充滿威脅的惡作劇,意外引爆了生活中的危機。當賈菲爾試圖尋求真 相時,與旁人的隔閡感也日漸擴增,無所不在的種族歧視、同儕排擠疑 雲,工作與婚姻輪番的爭吵紛亂,讓他平靜的生活一步步陷入混亂風暴 中……

06.28 SUN 中山堂 16:00 06.30 TUE 中山堂 14:10 07.09 THU 華山 2 12:10

國際新導演競賽

Exile


38 世界首映 World Premiere

國際新導演競賽

06.27 SAT 中山堂 19:00 ★

INTERNATIONAL NEW TALENT COMPETITION

林 立 書, 出 身 法 律 領 域,30 歲 前 往 歐洲學習影像與表演,曾擔任《九降 風》、《一頁台北》、《台北星期天》 副導,2013 年執導首部長片《天后之 戰》,並有逾百部短片、影集、廣告 作品。

LIN Li-shu worked as a legal consultant in Taiwan before studying acting and filmmaking in Europe. To date, he has directed many TV series as well as hundreds of commercials and made his debut feature, Faithball, in 2013.

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Leaving Virginia 台灣 Taiwan | 2020 | DCP | Colour | 100min

「據說在 18 歲生日那天,男生如果不把自己的元陽卸掉,會一輩子陰 陽失調……。」──這麼ㄎㄧㄤ的都市傳說,不管你信不信,反正阿烈 跟神器這對哥倆好是信了!他們在神器成年那天,約了溫柔嫵媚的大姐 姐到摩鐵破處,沒想到下一秒就出了人命!兩人只好把腦筋動到網友西 施身上,央求她幫忙開車棄屍。三個不把世界看在眼裡、也不被世界看 在眼裡的青年,就這樣踏上月黑黑、風高高的異色公路,前往傳說中的 台灣秘境,體驗一場生死與友情的頓悟之旅。 在霓虹色調、粉紅泡泡及無盡的海水藍之間,導演林立書拍出他心目中 的荒謬青春,屁話與政治不正確言論連發,搭配插畫塗鴉與手機直播畫 面,真實呈現新世代屁孩的荒唐,與一段殘酷的成人禮。本片在籌拍過 程因為尺度過大,一度找不到演員,如今終於揭開神秘面紗。

A-Lie and Big D are friends and both virgins. To celebrate Big D's birthday, A-Lie suggests to Big D that he should lose his virginity. On the internet, the duo hire an escort called Wonderland. However, in a love hotel, Wonderland dies from a drug overdose and her body leaves the duo in shock. Eager to dispose the body, A-Lie takes advantage of his online celebrity status and asks Xi-Shi , a fan of A-Lie's, to use her van and help the duo get rid of the corpse. They stumble into numerous weird accidents, a journey full of desire, suspicion and betrayal and in the end, the cruelest summertime they have ever had.

DIRECTOR 林立書 LIN Li-shu EXECUTIVE PRODUCER 吳明憲 Dennis WU PRODUCER 陳保英 CHEN Pao-ying SCREENPLAY 蔡宗翰

TSAI Tsung-han, 林立書 LIN Li-shu CINEMATOGRAPHER 張誌騰 CHANG Chih-teng EDITOR 李棟全 Wenders LI MUSIC 馬念先 MA Nien-hsien SOUND 胡序嵩 Sidney HU CAST 吳肇軒 NG Siu Hin, 楊懿軒 Isaac YANG I-hsuan, 郭文頤 Berry KUO, 曾珮瑜 Peggy TSENG PRINT SOURCE 台北双喜電影發行(股)公司 A Really Happy Film (Taipei) Co., Ltd.


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39

葡萄牙 Portugal | 2020 | DCP | Colour | 101min

06.29 MON 中山堂 11:50 07.01 WED 華山 1 18:00 07.03 F R I 中山堂 14:20

以印象派畫風為骨幹,佐以 16mm 膠卷的有機顆粒影像,新銳導演瓦 斯康絲勒藉著家族物件、親錄原聲,與戲劇式的重建演出,爬梳家族父 執輩幾盡失落的記憶。她邀請家人親身參與演出,對應不同人聲的旁 白,以音畫分離營造出想像空間,讓全片在深刻幽微的生命沉思下,擁 有輕盈的流動感,組成一齣構圖如畫、探討永恆的喧囂療癒之作。

卡塔莉娜.瓦斯康絲勒,1986 年生於 葡萄牙里斯本。畢業於里斯本演藝學 院,後移居倫敦,在英國皇家藝術學 院持續深造,畢業作品《Metaphor of Sadness Inside Out》獲得 2014 年巴 黎真實影展最佳國際短片獎,並於諸 多國際影展放映。本片為其長片首作。

Beatriz and Henrique met, fell in love and got married when Beatriz was 21 years old. Henrique was a naval officer and went to sea. Beatriz looked after their six children at home. One day she died unexpectedly. Her oldest son was Jacinto. Since early childhood, he had dreamed of turning into a bird. Jacinto is the father of director Catarina Vasconcelos, whose mother also died when Catarina was 17. After the loss of their mothers Catarina started to work on a film called The Metamorphosis of Birds.

Catarina VASCONCELOS was born in Lisbon. After graduating from the Fine Arts Academy in the city, she went to study at the Royal College of Art in London. The Metamorphosis of Birds is her debut feature.

Remembrance and mourning merge into a poetic narrative in which father and daughter talk about their history. As the living protagonists whose voices we hear, they come to realise that parting is a prerequisite for a new beginning. 2020 柏林影展邂逅單元國際影評人費比西獎 FIPRESCI Prize, Encounters, Berlinale 2020 維爾紐斯影展歐洲新電影競賽最佳影片 Best Film, European Debut Competition, Vilnius IFF 2020 紐約新導演 新電影影展 New Directors / New Films DIRECTOR, SCREENPLAY 卡塔莉娜.瓦斯康絲勒 Catarina VASCONCELOS PRODUCER Pedro Fernandes DUARTE, Joana GUSMÃO,

卡塔莉娜.瓦斯康絲勒 Catarina VASCONCELOS CINEMATOGRAPHER Paulo MENEZES EDITOR Francisco MOREIRA MUSIC Madalena PALMEIRIM SOUND Miguel MARTINS, Rodolfo CARDOSO CAST Manuel ROSA, João MÓRA, Ana VASCONCELOS, Henrique VASCONCELOS, Inês Melo CAMPOS PRINT SOURCE Portugal Film

INTERNATIONAL NEW TALENT COMPETITION

男人如海,遠颺漂浪;女人是樹,蔭蔽家園。這是一則反溯家族記憶 的私密創作,從最初兩人的深情往復書簡,順此而成的生命誕造,以 及其後伴懷自然、溫柔照料的哺育子女。在女人溫柔如巨樹分枝的照 料之下,孩子如鳥,學習飛翔,體會那蒼穹萬物。但在巨樹倒下的一 刻,雛鳥被迫變形成長,從此在漫長失親的歲月裏,想念至親、憑悼 失落的自己。

國際新導演競賽

The Metamorphosis of Birds


40 世界首映 World Premiere

國際新導演競賽

06.26 FRI 中山堂 19:20 ★

INTERNATIONAL NEW TALENT COMPETITION

陳永錤,電影編導,曾入選金馬電影 學院,短片風格各異,寫實奇幻兼具。 作品曾入選台北電影節、香港電影節、 東京國際短片節、富川奇幻影展等國 際影展競賽項目。《惡之畫》企劃曾 入選 2016 年金馬創投,為其首部劇 情長片。

CHEN Yung-chi is a director and scriptwriter. His short films were selected for Taipei Film Festival, Hong Kong International Film Festival and Bucheon International Fantastic Film Festival. The Painting of Evil is his debut feature.

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The Painting of Evil 台灣 Taiwan | 2020 | DCP | Colour | 83min

創作陷入瓶頸的畫家許寶清,因緣際會在監獄教受刑人繪畫,意外發現 年輕受刑人周政廷有著令人驚豔的繪畫天分。他說服獄方,讓受刑人和 他在畫廊舉辦一場畫作聯展,但因為周政廷曾犯下隨機殺人案,此舉引 來社會輿論抨擊,憤怒的群眾蛋洗畫展現場,更波及了畫家。然而,周 政廷畫作透出的神秘魔性,卻讓畫家深陷其中,心中的魔也呼之欲出。 許寶清徘徊在案發地點,最終被引至周政廷的老家──那座適合捉迷藏 的秘密基地,一幅被荒煙蔓草掩蓋的畫作蔓延展開。 黃河、東明相、劉品言領銜主演,導演以隨機殺人犯的劇情元素,並置 才華洋溢的受刑人與罪無可赦的惡行,試圖探問藝術和道德之間該如何 衡量?而畫家面對創作的焦慮、身處藝術拍賣市場的角力競逐,什麼才 是創作的初心?

Specialised in abstract art, Hsu Pao-ching is a middle-aged painter who struggles in his career. By chance, he begins giving art lessons in a prison, where he discovers that Chou Cheng-ting, one of the inmates, has great talent for painting. He holds an exhibition of Chou's works, however, as Chou committed random attacks and killed several people, a protest is staged against it. In the end, Hsu gets hurt and the exhibition is withdrawn. Hsu cannot understand why the public cannot appreciate art without prejudice and decides to approach the victims' family. Moreover, Hsu goes to Chou's old family home in search of the inspiration for Chou's paintings.

DIRECTOR, SCREENPLAY 陳永錤 CHEN Yung-chi EXECUTIVE PRODUCER, PRODUCER 林仕肯 LIN Shih-ken CINEMATOGRAPHER 陳麒文 CHEN Chi-wen EDITOR 張亨如 Henri CHANG PRODUCTION DESIGNER 李天爵 LEE Tien-chueh ART DIRECTOR 廖文鈴 LIAO Wen-ling CAST 東明相 Easton DONG, 黃河 River HUANG, 劉品言 Esther LIU, 王真琳 True WANG, 林志謙 LIN Jhih-cian PRINT SOURCE 鏡象電影製作有限公司 Mirror Stage Films Co., Ltd.


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41

阿拉伯聯合大公國、伊拉克、沙烏地阿拉伯 UAE, Iraq, Saudi Arabia 2019 | DCP | B&W | 75min

灘岸水石強烈的明暗,鱗光點跳其上的黑白影像,少少的台詞卻滿佈潮 聲魚語的環境音與魔幻音場,交織成脫俗又令人屏息的異托邦。阿拉伯 新銳導演將古老的人魚傳說轉換成魔幻的現世寓言,無聲卻直率地控訴 阿拉伯世界殘暴的父權結構。 「《人魚祭》虛構的是一個壓迫女性、頌讚陽剛的世界,我想藉由海雅 這個角色去探索,這樣的世界對女性和社會有什麼影響。」──沙哈德. 阿敏

Set in a dystopian landscape, Scales is the story of a young strong-willed girl, Hayat, who lives in a poor fishing village governed by a dark tradition, in which every family must give one daughter to the sea creatures who inhabit the waters nearby. In turn, the sea creatures are hunted by the men of the village. Saved from this fate by her father, Hayat is considered a curse on the village and grows up an outcast. Nevertheless, she does not surrender to this fate and fights for a place within her village. After her mother gives birth to a baby boy, Hayat must accept the brutal custom of giving herself to the sea creatures or finding a way to escape.

沙哈德.阿敏,生於沙烏地阿拉伯的 海港吉達,畢業於西倫敦大學,主修 影像製作與電影研究。短片作品曾多 次入選國際影展並獲獎,《人魚祭》 為其首部劇情長片。

Shahad AMEEN was born and raised in Jeddah, Saudi Arabia. A graduate of the University of West London, she made three short films before Scales, her first feature, which was selected for the International Film Critics' Week at the 2019 Venice.

2019 威尼斯影展影評人週維羅納電影俱樂部獎 Verona Film Club Award, Internaionl Film Critics' Week, Venice FF 2019 倫敦影展 London FF 2019 新加坡影展最佳亞洲劇情長片 Best Asian Feature, Singapore IFF DIRECTOR, SCREENPLAY 沙哈德.阿敏 Shahad AMEEN PRODUCER R. Paul MILLER, Stephen STRACHAN, Rula NASSER CINEMATOGRAPHER João RIBEIRO EDITOR Shahnaz DULAIMY, Ewa JOHANSSON-LIND, Ali SALLOUM MUSIC Mike KOURTZER,

Fabien KOURTZER SOUND Laurent CHASSAIGNE CAST Ashraf BARHOUM, Yagoub ALFARHAN, Fatima Al TAEI, Haifa ALAGHA, Basima HAJJAR PRINT SOURCE Image Nation Abu Dhabi

INTERNATIONAL NEW TALENT COMPETITION

月圓之時,在那個只聞吟頌與潮聲的漁村裡,按慣例又一個初生女嬰將 被拋向海洋,待化身人魚後再捕殺以餵養村里。本該生來等死的海雅, 卻因父親無法撒手的心軟,長成村莊裡的一則詛咒。除了遮掩她開始鱗 化的足踝,投入屠殺陣營求生,海雅還能找到其他生路嗎?

06.29 MON 中山堂 14:30 07.02 THU 華山 2 19:00 07.07 T U E 華山 2 20:40

國際新導演競賽

Scales


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國際新導演競賽

Song Without a Name 06.26 F R I 中山堂 13:50 07.01 WED 華山 2 21:00 07.05 SUN 華山 2 12:30

INTERNATIONAL NEW TALENT COMPETITION

瑪莉娜.列昂,出生於秘魯,現於利 馬和紐約兩地工作。她在利馬大學主 修 電 影 與 錄 像, 後 於 哥 倫 比 亞 大 學 獲得導演學位。短片《El Paraíso de Lili》曾入選多項國際影展,《無名之 歌》為其首部劇情長片,獻給她 1981 年創辦秘魯最大報紙 La República 的 父親。 Melina LEÓN is a Peruvian director based in Lima and New York. She obtained an MFA in Film from Columbia University, and her debut feature, Song Without a Name, was selected for the Directors' Fortnight at the 2019 Cannes.

秘魯、西班牙、美國 Peru, Spain, USA | 2019 | DCP | B&W | 97min

1988 年,秘魯。芳齡 20 的吉歐吉娜在親友祝福下結婚懷孕,與丈夫 里歐從安地斯山區來到首都利馬,靠著打零工維持生計;任職地方報社 的記者貝德羅,文靜而正直堅毅。一日吉歐吉娜聽到廣播傳來某診所提 供產婦免費接生的消息,潛藏在暗處的威脅也正伺機而動,牽引著兩人 的命運…… 本片揭露一段神秘的秘魯近代史,以優美如詩的黑白攝影與節奏,描繪 堅忍內斂的人們,面臨暴力恐怖、警政官僚失能,置身在不安與未知的 環境時,如何與失落共存,並合力尋求出路。導演以黑白攝影呼應單色 印刷報紙,4:3 的銀幕比例連結當年的電視鏡框,映照著生活不順遂 的人們。縱然有歌舞祭典,卻無法為貧困與苦難帶來撫慰;兩位主角的 寡言含蓄,吟詠著破碎的離別,也召喚了安眠與希望。

Peru, at the height of the political crisis of the 1980s. Georgina is a young woman from the Andes whose newborn daughter is stolen at a fake health clinic. Her desperate search for the child leads her to the headquarters of a major newspaper, where she meets Pedro Campos, a lonely journalist who takes on the investigation. The film is based on a true story.

2019 坎城影展導演雙週 Directors' Fortnight, Cannes 2020 棕櫚泉影展新視野評審團大獎 Grand Jury Prize, New Voices / New Visions, Palm Springs IFF 2020 格拉斯哥影展 Glasgow FF DIRECTOR 瑪莉娜.列昂 Melina LEÓN PRODUCER Inti BRIONES, 瑪莉娜.列昂 Melina LEÓN, Michael J. WHITE SCREENPLAY 瑪莉娜.列昂 Melina LEÓN, Michael J. WHITE CINEMATOGRAPHER Inti BRIONES EDITOR 瑪莉娜.列昂 Melina LEÓN, Manuel BAUER, Antolín PRIETO MUSIC Pauchi SASAKI SOUND Pablo RIVAS CAST Pamela MENDOZA, Tommy PÁRRAGA, Lucio ROJAS, Maykol HERNÁNDEZ, Lidia QUISPE PRINT SOURCE Luxbox


�不是一場�禮

43 亞洲首映 Asian Premiere

賴索托、南非、義大利 Lesotho, South Africa, Italy 2019 | DCP | Colour | 116min

影片取材自導演祖母及賴索托鄉村地區的居民故事。過著自足且寧靜生 活的人們,與自然和諧共處,信仰也自有寄託,卻因官方的「進步開發」 指令,而被迫陷入漂流的集體命運。電影以 4:3 畫面設定對應幻燈片 的框格,一幕幕影像宛如漫漫黑夜裡的噩夢輓歌,隨著原有的豐饒和歡 欣愉悅,逐漸被無盡的沉重與暴力壓制。導演以電影作為媒介,翻找並 安放自己過往的生命經驗與情感認同。 「在我記憶所及之處,我已是無家可歸之人。」──利摩漢.傑瑞米耶. 摩西瑟

Amongst the pythonic mountains of land-locked Lesotho, an 80-year-old widow winds up her earthly affairs, making arrangements for her burial and preparing to die. But when her village is threatened with forced resettlement due to the construction of a reservoir, she finds a new will to live and ignites a collective spirit of defiance within her community. In the final dramatic moments of her life, Mantoa's legend is forged and made eternal.

利摩漢.傑瑞米耶.摩西瑟,1980 年 出生於非洲賴索托,現居柏林,身兼 劇作家、攝影師、與實驗片導演。創 作涵蓋短片、紀錄片和實驗電影,作 品《Behemoth》、《Mother, I Am Suffocating. This Is My Last Film About You》分別入選克萊蒙費宏短 片影展和柏林影展。 Lemohang Jeremiah MOSESE is Berlinbased filmmaker from Lesotho. His Mother, I am Suffocating. This Is My Last Film About You premiered in Forum at the 2019 Berlinale and This Is Not a Burial, It's a Resurrection at the 2019 Venice.

2019 威尼斯影展 Venice FF 2020 日舞影展全球劇情片類評審團遠見電影製作獎 Special Jury Award for Visionary Filmmaking, World Cinema Dramatic Competition, Sundance FF 2020 鹿特丹影展 IFF Rotterdam DIRECTOR, SCREENPLAY, EDITOR 利摩漢.傑瑞米耶.摩西瑟 Lemohang Jeremiah MOSESE PRODUCER Cait PANSEGROUW,

Elias RIBEIRO CINEMATOGRAPHER Pierre DE VILLIERS MUSIC MIYASHITA Yu SOUND Pressure Cooker Studios CAST Mary Twala MLONGO, Jerry Mofokeng Wa MAKHETHA, Makhaola NDEBELE, Tseko MONAHENG, Siphiwe NZIMA PRINT SOURCE Memento Films International

INTERNATIONAL NEW TALENT COMPETITION

經歷喪夫和喪子,80 歲的老婦也準備著自己的死亡。正當她向眾人叮 囑葬禮準備的細節時,卻傳來當地興建水庫的迫遷令,引發村民的不安 與爭議。巨變將臨,她決定重新整頓自己,以凋零的肉身與意志,站到 守護的前線。

06.27 S AT 中山堂 13:30 07.01 WED 華山 2 13:30 07.03 F R I 華山 2 13:30

國際新導演競賽

This Is Not a Burial, It's a Resurrection


我的�叔�

44

國際新導演競賽

Uncle 06.29 MON 中山堂 16:40 07.01 WED 華山 1 15:30 07.07 T U E 華山 1 13:30

INTERNATIONAL NEW TALENT COMPETITION

費 雷. 彼 得 森,1980 年 出 生 於 丹 麥 日 德 蘭 半 島,23 歲 投 身 電 影 產 業, 拍攝多部得獎短片,編導經驗豐富。 2013 年成立電影製作公司 88miles, 首部長片《Where Have All the Good Men Gone》以其家鄉為背景,為當 代丹麥電影注入一股不同於都市樣貌 的清新之流。 Frelle PETERSEN is a Danish director and writer known for his two critically acclaimed feature films, Where Have All the Good Men Gone, and Uncle, which won the Grand Prix at the 2019 Tokyo Film Festival.

丹麥 Denmark | 2019 | DCP | Colour | 105min

丹麥日德蘭半島西北部小鎮裡,克莉絲與輕微中風行動不便的叔叔相互 照應,一同在牧場工作與生活。兩人生活雖偶有瑣碎的爭執,但日復一 日,平淡無奇。當克莉絲面對翩然降臨的愛情,以及有機會實現的獸醫 夢,她與叔叔該如何調適各自的狀態,給彼此一個喘息的空間? 電影平實且細膩地呈現規律平凡的日常,近乎固執地逐步疊加叔姪倆衝 突又高度依賴的關係。存在世界各地的農村現況,年輕世代面對離鄉與 否的抉擇,親情與夢想能不能兼顧?從人物的情感出發,深刻勾勒一個 不同於哥本哈根都市面貌的丹麥故事。 「我母親的親戚都生活在農村,我希望透過電影呈現丹麥農村的真實樣 貌。飾演叔叔的演員,他真正的職業是農夫,電影中的農舍是他真正的 家;兩位主要演員,在真實生活中亦是真正的叔叔和姪女。我希望我電 影中的角色,能盡可能真實、原汁原味地貼近地方,說當地的語言。」 ──費雷.彼得森 27-year-old Kris lives with her partly disabled uncle, and together they run a derelict farm. In their quirky yet loving relationship, words aren't necessary. Kris is the dominant workhorse and she has taken on a motherly and overprotecting role towards her uncle. During a complicated birth, Kris saves a calf and her interest for the veterinary field is reawakened. She develops a friendship with the chatty veterinarian Johannes and slowly experiences a life outside the farm. Kris meets a young man, Mike, who sees through her aloof personality, and as love crosses her path, a possible life changing question emerges.

2019 東京影展最佳影片 Grand Prix, Governor of Tokyo Award, Tokyo IFF 2019 哥本哈根影展新銳獎 Politiken's Talent Award, CPH:PIX 2020 哥特堡影展 Göteborg FF DIRECTOR, SCREENPLAY, CINEMATOGRAPHER, EDITOR 費雷.彼得森 Frelle PETERSEN PRODUCER Marco LORENZEN MUSIC Flemming BERG SOUND Frank Mølgaard KNUDSEN CAST Jette SØNDERGAARD, Peter Hansen TYGESEN, Ole CASPERSEN, Tue Frisk PETERSEN PRINT SOURCE Alpha Violet


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45

烏拉圭、阿根廷、巴西、荷蘭、菲律賓 Uruguay, Argentina, Brazil, Netherlands, Philippines | 2020 | DCP | Colour | 86min

中山堂 信義 13 中山堂 華山 1

11:20 16:20 12:00 16:30

改編自十年前的乘船經驗,導演以郵輪串起不同世界,打開通往現世狂 想的大門。多線故事彼此錯綜交織,性別、環境、語言各異的主角穿越 時空的無盡追尋,文明與階級的對比俯拾即是。沉穩內斂的固定鏡頭, 風格化的影像色調,為寫實日常點綴奇幻色彩。精簡的台詞及含藴的留 白,緩慢節制又富詩意,言語之外的情緒流動令人回味無窮。

艾力克斯.皮培諾,1985 年出生於烏 拉圭,畢業於布宜諾斯艾利斯電影大 學。2012、2013 年入選柏林新銳營, 短片《然後他就死掉了》入選 2011 年 坎城影評人週,並於 2018 年台北電 影節選映。《夢遊潛水艇》為其首部 劇情長片。

On a cruise ship off the Patagonian coasts, a crew member discovers a magical portal leading into a woman's apartment. Simultaneously, villagers happen upon a frightening concrete hut near their settlement in the Philippines. There are two stories about women slipping into a cinematographic labyrinth, where people overlap and lose themselves. Somewhere between the dark engine rooms and middle-class living rooms, between the sea and the jungle, individuals observe one another with curiosity, scepticism and anxiety.

Alex PIPERNO studied film direction at the Universidad del Cine de Buenos Aires. His short films were shown at many festivals, including Cannes Critics' Week. Window Boy Would Also Like to Have a Submarine is his feature debut.

2020 柏林影展每日鏡報評審獎 Tagesspiegel Jury Award, Berlinale 2020 紐約新導演 新電影影展 New Directors / New Films DIRECTOR, SCREENPLAY 艾力克斯.皮培諾 Alex PIPERNO PRODUCER 艾力克斯.皮培諾 Alex PIPERNO, Esteban LUCANGIOLI,

Araquén RODRÍGUEZ, Rachel ELLIS, Frank HOEVE, Armi Rae CACANINDIN CINEMATOGRAPHER Manuel REBELLA EDITOR Alejo SANTOS, Karen AKERMAN, 艾力克斯.皮培諾 Alex PIPERNO SOUND Lucas LARRIERA, 帕布洛.拉馮爾 Pablo LAMAR CAST Daniel QUIROGA, Inés BORTAGARAY, Noli TOBOL PRINT SOURCE Square Eyes

INTERNATIONAL NEW TALENT COMPETITION

郵輪上,老是搞失蹤的清潔工男孩被下了最後通牒,卻沒人知道他在船 底發現一條連通都市公寓與深山叢林的走廊。孤單的他在往返穿梭間流 連忘返,深夜裡悄悄觀察居住其中的女人,白天時體驗居家生活;遠方 東南亞的叢林中,佇立著一棟荒廢小屋,可疑的聲響及震動頻頻傳出, 村民們計議著該如何剷除這棟威脅。穿越城鄉和山海、傳統與現代,哪 裡才是自己的歸屬?

06.28 SUN 06.30 TUE 07.03 F R I 07.06 MON

國際新導演競賽

Window Boy Would Also Like to Have a Submarine


台北電影獎 TAIPEI FILM AWARDS

親愛的房客 Dear Tenant


台北電影獎源於1988年的

正式競賽項目

「中時晚報電影獎」,並於

Official Awards

1994年正式改名為台北電 影獎。做為台灣電影競賽主

百萬首獎 Grand Prize

場,每年以國片最高獎金「

最佳劇情長片 Best Narrative Feature

百萬首獎」為號召,拔擢本 土優秀影像創作者、鼓勵不

48

最佳紀錄片 Best Documentary

同題材與表現形式,為國片

最佳短片 Best Short Film

開發各種可能性。

最佳動畫片 Best Animation

"Taipei Film Awards" is the only film competition exclusively aimed at Taiwanese

台北電影獎

filmmakers. Every year, the N T $ 1 m i l l i o n G ra n d P r i ze for domestic films attracts

TAIPEI FILM AWARDS

Taiwan's most outstanding filmmakers and encourages

最佳導演獎 Best Director 最佳編劇獎 Best Screenplay 最佳男主角獎 Best Actor 最佳女主角獎 Best Actress 最佳男配角獎 Best Supporting Actor 最佳女配角獎 Best Supporting Actress

different themes and stylistic

最佳新演員獎 Best New Talent

expressions, opening up all

最佳攝影獎 Best Cinematography

kinds of possibilities for Taiwanese cinema.

最佳剪輯獎 Best Editing 最佳配樂獎 Best Music 最佳美術設計獎 Best Art Design 最佳造型設計獎 Best Makeup & Costume Design 最佳聲音設計獎 Best Sound Design 最佳視覺效果獎 Best Visual Effects 傑出技術獎 Award for Outstanding Artistic Contribution

非正式競賽項目 Non-official Awards 觀眾票選獎 Audience Choice Award 媒體推薦獎 Press Award


�蘿�

49

台灣 Taiwan | 2019 | DCP | Colour | 109min

07.05 SUN 信義 14 16:40 ★

入圍獎項:劇情長片、男主角、女主角、剪輯、美術設計

劇 - 情長片

為了爭取獨立,馬來西亞共產黨在森林裡打數十年的游擊戰。他們的小 孩在戰時出生時,會被送出森林求生。菠蘿蜜是其中一個這樣的寶寶。

When a baby was born during the war, they sent it out of the jungle to ensure its survival. Boluomi is one of those babies.

LAU Kek Huat is a Malaysian filmmaker based in Taiwan. His feature debut, BOLUOMI, competed in the New Currents at the 2019 Busan Film Festival and was nominated Best New Director at the 2019 Golden Horse Awards.

2019 釜山影展 Busan IFF 2019 金馬獎 Golden Horse Awards DIRECTOR 廖克發 LAU Kek Huat EXECUTIVE PRODUCER 廖慶松 LIAO Ching-sung, 林仕肯 LIN Shih-ken PRODUCER 林仕肯

LIN Shih-ken SCREENPLAY 廖克發 LAU Kek Huat, 田開良 TIAN Kai Leong CINEMATOGRAPHER 葉明廣 YEH Ming-kuang EDITOR 廖慶松 LIAO Ching-sung, 林婉玉 Jessica LIN Wan-yu MUSIC 林弘韜 LIN Hung-tao SOUND 何湘鈴 HO Hsiang-ling CAST 吳念軒 WU Nien-hsuan, Laila Putli Pagtitahan ULAO, 陳雪甄 Vera CHEN, 許乃涵 HSU Nai-han, 官佳賢 Jayden KUAN Jia-xian PRINT SOURCE 蜂鳥影像有限公司 Hummingbird Productions Co., Ltd., 邊境映象藝文有限公司 OUTLAND Film Production

TAIPEI FILM AWARDS - NARRATIVE FEATURES

廖克發,生於馬來西亞怡保,於台灣 發跡創作,擅長透過作品反映真實世 界。2015 年以短片《妮雅的門》榮獲 釜山影展超廣角亞洲單元最佳短片。 首部劇情長片《菠蘿蜜》入選 2019 年釜山影展新潮流競賽,並入圍金馬 獎最佳新導演。

Over the decades, the Malayan Communist Party fought a guerrilla war in the jungle for independence.

台北電影獎

BOLUOMI


女�橋

50

台北電影獎

The Bridge Curse 07.03 FRI 信義 14 17:00 ★

台灣 Taiwan | 2020 | DCP | Colour | 88min 入圍獎項:女配角

劇 - 情長片 TAIPEI FILM AWARDS - NARRATIVE FEATURES

奚岳隆,L Motion Production 創辦人。 不斷試圖在創作過程中找尋電影藝術 與商業價值的完美結合,作品涵蓋電 影、電視電影、戲劇、廣告等,獲得 不 少 國 際 獎 項 殊 榮。2017 年 於 紐 約 國際電影電視節榮獲最佳動態作品金 獎、特殊視覺效果銀獎,並同時入圍 長片獎項。 Lester HSI is the founder of L Motion Production. Specialised in brand vision, Hsi works in film, television movie, television drama and advertising. The Bridge Curse is his feature debut.

2016 年閏月,六名東湖大學營隊幹部同學,在校園傳說中知名的女鬼 橋舉辦試膽大會,這座女鬼橋是流傳已久的校園禁地,傳說中有學姊為 了心儀的男生,從橋上跳下去殉情,之後就有許多恐怖傳說。為了幫試 膽會做宣傳,不怕死的一群人竟半夜跑到橋上直播,沒想到直播中竟拍 到女鬼現形,這場百萬網友見證的驚人畫面,轟動全台,但從此這群學 生卻下落不明……,沒有人知道發生了什麼事,女鬼橋的靈異傳說從未 停止過…… 四年後的同一天,新聞追查主持人連舒宇和攝影師回到女鬼橋事發現 場,想找出當年的真相,沒想到迎接他們的,是女鬼橋下驚悚難解的無 間輪迴地獄……

A group of undergraduate students who dare to test the urban legend that anyone who crosses a ghostly bridge - where a woman once took her own life - at midnight will find the evil spirit awaiting them.

DIRECTOR 奚岳隆 Lester HSI EXECUTIVE PRODUCER 郝柏翔 Alain HAO, 莊啟祥 Shawn CHUANG, 徐沛語 Amy HSU, 張耿銘 Ken CHANG PRODUCER 李嘉元 LI Chia-yuan SCREENPLAY 張耿銘 Ken CHANG, 郝柏翔 Alain HAO CINEMATOGRAPHER 柯朝璋 Kobe KE EDITOR 陳建志 Kenji CHEN MUSIC 溫子捷 WEN Tzu-chieh SOUND 曹源峰 Dennis TSAO, 何湘鈴 HO Hsiang-ling CAST 林哲熹 JC LIN, 嚴正嵐 Vera YEN, 張寗 Ning CHANG, 孟耿如 MENG Ken-ju, 詹宛儒 Ruby ZHAN PRINT SOURCE 樂到家國際娛樂股份有限公司 Lots Home

Entertainment Co., Ltd.


DAYS

台灣 Taiwan | 2020 | DCP | Colour | 127min

亞洲首映 Asian Premiere

07.07 TUE 信義 14 19:20 ★

入圍獎項:劇情長片、導演、男主角

劇 - 情長片

小康身體承受病痛與治療之苦

他在異地遇見了 Non

但又分開 各自過日子

Under the pain of illness and treatment, Kang finds himself living the life of a drifter. He meets Non in a foreign land. They find consolation in each other before parting ways and carrying on with their days.

蔡明亮,跨界電影、戲劇與展覽,近 年提出「手工電影」與「作者的觀看 方式」等創作展演理念,蔡明亮可說 是 台 灣 最 具 話 題 的 導 演 及 藝 術 家。 2020 年,以費時四年的新作《日子》 入選柏林影展,創下生涯 11 部劇情長 片皆入選三大影展紀錄。

TSAI Ming-liang, born in Malaysia, based in Taiwan, he is one of world cinema's most significant auteurs. All his feature films have been selected by top three international film festivals, including Vive L’Amour (1994, Venice), The River (1997, Berlinale) and Face (2009, Cannes). In 2020, DAYS won Teddy Jury Award at Berlinale.

2020 柏林影展泰迪熊評審團獎 Teddy Jury Award, Berlinale DIRECTOR, SCREENPLAY 蔡明亮 TSAI Ming-liang EXECUTIVE PRODUCER 蔡明亮 TSAI Ming-liang, 於蓓華 YU Pei-hua PRODUCER 王雲霖 Claude WANG CINEMATOGRAPHER, EDITOR 張鍾元 CHANG Jhong-yuan SOUND 曹源峰 Dennis TSAO, 何湘鈴 HO Hsiang-ling CAST 李康生 LEE Kang-sheng, 亞儂.弘尚希 Anong HOUNGHEUANGSY PRINT SOURCE 汯呄霖電影有限公司 Homegreen Films

TAIPEI FILM AWARDS - NARRATIVE FEATURES

並且漂泊

給了些慰藉

台北電影獎

日�

51


52 世界首映 World Premiere

台北電影獎

07.04 S AT 中山堂 19:20 ★ 07.08 WED 信義 14 19:00 ★

��的�� Dear Tenant

台灣 Taiwan | 2020 | DCP | Colour | 106min 入圍獎項:男主角、女配角、美術設計

劇 - 情長片 TAIPEI FILM AWARDS - NARRATIVE FEATURES

這五年來,林健一代替他死去的男友(王立維),照顧著他的兒子(悠 宇)與母親(周秀玉)。這是健一思念愛人的方式──活在他的生活 中,愛他所愛的人們。每天的痛、每天的喜悅,都讓他感覺立維彷彿 還存在著。 鄭有傑,1977 年出生於台南。擔任多 部電影與電視導演、編劇、演員與製 作人,《親愛的房客》為其執導的第 四部電影長片。

他們就像家人一樣生活著,但在外人眼裡,健一只是他們家頂樓的房 客。一個好心的陌生人。直到有天秀玉過世了,悠宇的叔叔(王立綱) 從國外趕回來,才發現房子變成悠宇的,而且健一還收養了悠宇。立綱 報警指控母親的死亡並不單純。在檢警的調查之下,健一的秘密一個一 個被攤在陽光下,外界開始改變對他的眼光,而檢察官更找到證據,指 出周秀玉真的有他殺的嫌疑。一切的證據對健一越來越不利……

CHENG Yu-chieh was born in Tainan, Taiwan in 1977. He works as director, screenwriter, actor and producer in film and television. Dear Tenant is his fourth feature film.

For the past five years, Lin has been looking after the son (Yo-yu) and the elderly mother (Mrs Chou) of his deceased boyfriend (Li-wei). They live together like a family, and it is Lin's way of remembering Li-wei - by continuing to be in the life he once had and loving the people he once loved. But when Mrs Chou passes away, her other son (Li-gang) returns from overseas and discovers that Mrs Chou's property is passed on to Yo-yu, who has been legally adopted by Lin. Li-gang contacts the police, accusing Lin of killing his mother. As the ensuing investigation continues, more and more evidence mounts against Lin...

DIRECTOR, SCREENPLAY 鄭有傑 CHENG Yu-chieh EXECUTIVE PRODUCER 楊雅喆 YANG Ya-che, 鄭有傑 CHENG Yu-chieh PRODUCER 林仕肯 LIN Shih-ken CINEMATOGRAPHER 張宇翰 Meteor CHEUNG EDITOR 陳曉東 CHEN Hsiao-tung, 鄭有傑 CHENG Yu-chieh MUSIC 法蘭 Fran CHEN SOUND 蔡瀚陞 Hanson TSAI, 陳亦偉 Aki CHEN, 鄭元凱 Kenny CHENG CAST 莫子儀 MO Tzu-yi, 陳淑芳 CHEN Shu-fang, 白潤音 BAI Run-yin, 是元介 Jay SHIH, 姚淳耀 YAO Chun-yao PRINT SOURCE 一期一會影像製作有限公司 FiLMOSA Production


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53

台灣 Taiwan | 2019 | DCP | Colour、B&W | 103min

07.03 FRI 信義 14 14:00 ★

In 1962, a sense of desolation and tension permeates the society. Fang, a twelfth grader at Tsuihua Senior High School, falls in love with Zhang, a counselling teacher. Troubled by the problems at school and home, Fang feels that Zhang is the only person who understands her. Longing for freedom, Zhang forms a study group with his colleagues and students, including Yin and Wei. Reading the banned books allows them to be liberated briefly but also puts their lives in danger. One day, Zhang vanishes into thin air, and only Fang and Wei remember him. Together, Fang and Wei start looking for the disappeared teacher but find the school gradually slipping out of the world they are familiar with. Then in a realm dominated by ghosts and spirits, the pair are forced to face the terrifying truth...

徐漢強,世新大學廣電系碩士。2005 以人生劇展《請登入線實》獲電視金 鐘獎最佳單元劇導演。VR 短片作品 《全能元神宮改造王》入選 2018 年 日舞影展新先鋒單元。2019 年以《返 校》獲金馬獎最佳新導演。

John HSU won Best Director at the 2005 Golden Bell Awards for Real Online, his TV movie debut. Detention is his first feature film and won him Best New Director at the 2019 Golden Horse Awards.

2019 釜山影展 Busan IFF 2019 金馬獎最佳新導演、最佳改編劇本、最佳視覺效果、最佳美術設計、最佳原創電影歌曲 Best New Director, Best Adapted Screenplay, Best Visual Effects, Best Art Direction, Best Original Film Song, Golden Horse Awards 2020 鹿特丹影展 IFF Rotterdam DIRECTOR 徐漢強 John HSU EXECUTIVE PRODUCER, PRODUCER 李烈 LEE Lieh, 李耀華 Aileen LI SCREENPLAY 徐漢強 John HSU,

傅凱羚 FU Kai-ling, 簡士耕 CHIEN Shih-kengCINEMATOGRAPHER 周宜賢 CHOU Yi-hsien EDITOR 解孟儒 SHIEH Meng-ju MUSIC 盧律銘 LU Luming SOUND 曹源峰 Dennis TSAO, 簡豐書 Book CHIEN, 湯湘竹 TANG Shiang-chu CAST 王淨 Gingle WANG, 曾敬驊 TSENG Jing-hua, 傅孟柏 FU Meng-po PRINT SOURCE 影一製作所股份有限公司 1 Production Film Co., 華文創股份有限公司 MandarinVision Co., Ltd.

TAIPEI FILM AWARDS - NARRATIVE FEATURES

1962 年,寂寥而肅殺的時代,翠華中學高三生方芮欣,意外與輔導老 師張明暉相戀,在問題叢生的家庭及學校中,他成為她唯一的出路。 追求自由的張明暉,另與師生殷翠涵、魏仲廷等人組織讀書會,研讀禁 書,雖為高壓校園帶來一線呼吸的空間,卻也冒著生死攸關的風險。一 夜,方芮欣與魏仲廷在暴雨中的校園甦醒,卻發現校園逐漸從他們熟悉 的世界剝離,在鬼魅橫行的異域,他們被迫面對恐怖的真相。

劇 - 情長片

入圍獎項:劇情長片、導演、編劇、男主角、女主角、攝影、剪輯、配樂、美術設計、 造型設計、聲音設計、視覺效果

台北電影獎

Detention


江���事

54

THE GANGS, THE OSCARS, AND THE WALKING DEAD 台北電影獎

07.05 SUN 信義 14 13:40 ★

台灣 Taiwan | 2019 | DCP | Colour | 105min

劇 - 情長片

入圍獎項:編劇、女配角、配樂、美術設計、造型設計、視覺效果、 傑出技術 - 特效化妝

哥倆好以為終於要圓夢拍電影,竟陰錯陽差搞成黑道圍事追殺,幕後辛 酸真實揭露,天馬行空的瘋狂 IDEA,他們能否真的拍出絕世神作?

TAIPEI FILM AWARDS - NARRATIVE FEATURES

高 炳 權, 畢 業 於 台 北 藝 術 大 學 電 影 創 作 研 究 所, 曾 執 導 電 影《 愛 的 麵 包 魂 》、《 江 湖 無 難 事 》; 電 視 影 集《用九柑仔店》、《滾石愛情故事》 等作品。

KAO Pin-chuan graduated from the F i l m m a k i n g D e p a r t m e n t a t Ta i p e i National University of the Arts. In 2012, he co-directed the feature film, The Soul of Bread, with Lin Chun-yang. In 2019, he directed the popular TV series, Yong-Jiu Grocery Store.

劇情描述懷抱電影夢的製片豪洨和老友導演文西合作十多年,一部作品 都沒中過,四處舉債過日子。沒想到,文西的劇本被他們的債主也是 黑道大哥相中,而唯一條件是要由大嫂香奈鵝飾演女主角!兩人立刻答 應,更瘋狂開趴狂歡慶祝,第二天卻發現女主角死在泳池中,兩人當然 不敢讓大哥知道,決定豁出去,就算用屍體也要把這部電影完成。

Director Huang and Producer Chiu are two friends, who would like to make a genre movie titled, Everything Is Possible for Gangsters. However, there is not enough money for them. Therefore, besides their regular jobs as filmmakers in the daytime, they join the local gang to make some extra petty cash at night. One day, their big boss accidently notices the script written by the director, and that script is deeply favoured by him! So, he decides to invest in the project on one condition - his girl needs to be in this movie as the heroine. This unexpected decision leads to a series of inexplicable out-ofcontrol incidents while making this movie. How can the producer solve this dilemma and get this masterpiece made?

2019 釜山影展 Busan IFF 2019 高雄電影節 Kaohsiung FF 2019 金馬獎 Golden Horse Awards DIRECTOR 高炳權 KAO Pin-chuan EXECUTIVE PRODUCER, PRODUCER 徐國倫 HSU Kuo-lun SCREENPLAY 馮勃棣 Birdy FENG, 蔡顗禾

TSAI Yiho, 高炳權 KAO Pin-chuan CINEMATOGRAPHER 詹嘉文 Garvin CHAN EDITOR 解孟儒 SHIEH Meng-ju, 林雍益 Ian LIN MUSIC 柯智豪 Blaire KO SOUND Narubett PEAMYAI, 胡序嵩 Sidney HU, 楊子介 YANG Tzu-chieh CAST 邱澤 Roy CHIU, 黃迪揚 HUANG Ti-yang, 龍劭華 LONG Shao-hua, 姚以緹 YAO Yi-ti PRINT SOURCE 鹿路電影有限公司 LouLou Film Studio


世界首映 World Premiere

Mickey On The Road 台灣 Taiwan | 2020 | DCP | Colour | 95min 入圍獎項:女主角

陸 慧 綿,1994 年 開 始 小 劇 場 創 作, 擔任編劇、導演及演員訓練等工作。 2008 年 移 居 紐 約 學 習 電 影 製 作。 2017 年《我媽的婚禮》獲台灣國際女 性影展評審團特別獎。

LU M i a n M i a n i s a Ta i wa n e s e f i l m director and writer. Her recent short My Mom's Wedding won the special award at the Women Make Wave Film Festival in Taiwan. Mickey On The Road is her debut feature.

DIRECTOR, SCREENPLAY 陸慧綿 LU Mian Mian EXECUTIVE PRODUCER 葉如芬 YEH Ju-feng PRODUCER 李嘉雯 LEE Chia-wen,

陳保英 CHEN Pao-yin CINEMATOGRAPHER 范勝翔 FAN Shen-siang EDITOR 雷震卿 LEI Chen-ching MUSIC 許志遠 Point HSU SOUND 胡序嵩 Sidney HU CAST 葉寶雯 YEH Pao-wen, 張雅玲 CHANG Ya-ling PRINT SOURCE 兆映電影事業有限公司 Friendly Life Film Ltd.

TAIPEI FILM AWARDS - NARRATIVE FEATURES

Mickey and Gin-gin are best friends. One is a go-go dancer and the other performs for a temple. Mickey wants to find her dad, who left for China a decade ago. Gin-gin wants to find Jay, her crush who moved to Guangzhou. The pair set off for the road but soon lose their luggage in Guangzhou. Without any money, they meet a migrant worker who takes them in for the night. But later that evening, their new friend throws them back out onto the streets over a misunderstanding. When Gin-gin finally sees Jay, she is ultimately disappointed. And when Mickey eventually finds the factory her father supposedly works at, it is completely empty. In the end, the pair hop on a motorcycle taxi, heading toward the misty, winding highway...

劇 - 情長片

米淇壓抑、性格剛烈,外表中性。米淇的爸爸在她小時候就離開台灣, 到廣州經商,自此失去聯繫。米淇跟媽媽相依為命,米淇的好朋友晶晶 甜美活潑、喜歡跳舞,她迷戀在廣州工作的小傑,一心想著要去找他。 年少輕狂的米淇與晶晶結伴踏上一段尋找愛的旅程。廣州以迷幻卻疏離 的夜色,迎接人生地不熟的兩人,她們遇到一群在洗浴中心工作的年輕 民工,新建立的友情看似純真,卻暗藏著妒忌與猜疑;米淇在巴士上邂 逅了斯文的商人付俞,當米淇對他產生好感的同時,卻也對自己的情慾 感到迷惘。當晶晶終於見到了小傑,卻在失望中成長。最後,兩人終於 找到米淇爸爸工作的「美好成衣廠」,裡頭卻空無一人。在廣州的夜色 下,米淇與晶晶跳上摩托車往迷濛的公路蜿蜒而去……

07.04 SAT 信義 14 19:50 ★ 07.09 THU 信義 14 16:30 ★

台北電影獎

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56

台北電影獎

NINA WU 07.09 THU 信義 14 13:30 ★

台灣、馬來西亞、緬甸 Taiwan, Malaysia, Myanmar 2019 | DCP | Colour | 103min 入圍獎項:劇情長片、導演、編劇、剪輯、配樂、美術設計、造型設計、視覺效果

劇 - 情長片 TAIPEI FILM AWARDS - NARRATIVE FEATURES

妮娜從鄉下來到台北發展,一直在等待電影演出的機會。終於機會來 了,她參與了一部電影的試鏡,但一連串恐怖、懸疑、椎心刺骨的事件 讓她陷入惡夢的深淵。本片為女主角吳可熙原創編劇的劇本,靈感來自 美國哈維・溫斯坦及韓國、日本的 #metoo 事件。 趙 德 胤, 出 生 於 緬 甸,16 歲 來 台 唸 書,目前定居台灣。2011 年完成首部 劇情長片《歸來的人》,並曾以《冰 毒》代表台灣角逐奧斯卡最佳外語片, 多部紀錄及戲劇作品屢獲世界影展肯 定。《灼人秘密》為其第五部劇情長 片。

Midi Z is a Burmese-born director based in Taiwan. His films have been invited to numerous film festivals, including the Berlinale, the Cannes and the Venice. Nina Wu premiered in the Un Certain Regard at the 2019 Cannes.

After eight years toiling in bit-parts, aspiring actress Nina Wu finally gets her big break with a leading role in a spy thriller set in the 1960s. The part is challenging because it calls 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 and dreams of rekindling a close friendship with her childhood friend Kiki. Meanwhile, she is haunted by paranoid fantasies that a mysterious woman is stalking and attacking her. As Nina clings to the memories of happier times, it seems that there is one crucial memory she is repressing...

2019 坎城影展一種注目單元 Un Certain Regard, Cannes 2019 錫切斯影展評審團特別獎 Special Mention, Sitges FF 2019 金馬獎最佳音效 Best Sound, Golden Horse Awards DIRECTOR 趙德胤 Midi Z EXECUTIVE PRODUCER 趙德胤 Midi Z, 柯耀宗 KO Yao-Zong, 吳佩玲 Joanne GOH 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 BVK EDITOR 馬修 Matthieu LACLAU, 蔡晏珊 TSAI Yann-Shan MUSIC 林強 LIM Giong SOUND 李丹楓 LI Dan-Feng, 周震 CHOU Cheng, 嚴唯甄 Morgen YEN CAST 吳可熙 WU Ke-Xi, 宋芸樺 Vivian SUNG, 夏于喬 Kimi HSIA,

施名帥 SHIH Ming-Shuai PRINT SOURCE 岸上影像有限公司 Seashore Image Productions


那個我���的陌生�

57

台灣 Taiwan | 2019 | DCP | Colour | 116min

07.07 TUE 信義 14 14:30 ★

入圍獎項:女主角、男配角、女配角

張作驥,1961 年出生於嘉義,畢業於 文化大學戲劇系影視組。擅長運用生 活周遭題材讓觀眾產生親切感,再輔 以寫實魔幻且獨特的影像手法。其作 品充滿人文情感,以台灣本土與在地 關懷為創作養分的基礎。

CHANG Tso-chi graduated from the Department of Theatre and Film at the Chinese Culture University. Known for his unique quality of magic realism, his films are mostly based on the everyday events happened to the ordinary people.

2019 金馬獎 Golden Horse Awards 2020 鹿特丹影展 IFF Rottredam DIRECTOR, EDITOR 張作驥 CHANG Tso-chi EXECUTIVE PRODUCER, PRODUCER 高文宏 KAO Wen-hung SCREENPLAY 張作驥

CHANG Tso-chi, 謝青嵐 Charlotte HSIEH CINEMATOGRAPHER 許之駿 HSU Chih-chun, 陳啟政 CHEN Chi-cheng MUSIC 林尚德 LIN Shang-te, 曾韻方 TSENG Yun-fang SOUND 張作驥 CHANG Tso-chi, 簡單主張影音製作有限公司 Simple View Production Company CAST 張曉雄 ZHANG Xiao-xiong, 呂雪鳳 LU Hsueh-feng, 李英銓 LI Ying-chuan, 吳美和 WU Mei-he PRINT SOURCE 張作驥電影工作室有

限公司 Chang Tso Chi Film Studio

TAIPEI FILM AWARDS - NARRATIVE FEATURES

There are many problems in the Zhang family, but one eventful summer changes many things. Zhang Junxiong is diagnosed with Alzheimer's, and that weighs heavily on his wife Wang Feng and the rest of the family. Zhang's daughter Xiao Meng is released on parole from a long prison term and struggles to reconnect with her illegitimate son Ah Chuan and her ex-boyfriend Ah Wen. A domestic crisis is narrowly averted when Zhang reconnects with his former aide-de-camp Cheng'en, a man for whom he has always harboured tender feelings. Paradoxically, the incident which does most to heal the family's wounds is the assassination of Ah Wen by a gangland rival. The Zhangs move to a new and better home. The young Ah Chuan is left pondering the meaning and value of memories.

劇 - 情長片

張家有許多的問題,但這個多事之夏將帶來許多變化。作為一家之主的 張軍雄被診斷出阿茲海默症,他的病情對妻子王鳳和家人漸漸產生影 響。軍雄的女兒小夢從漫長的刑期中假釋出獄,並努力和自己未婚生下 的孩子阿全、及時常惹是生非的男友阿文重新連結。於此同時,阿全正 緩慢地進行自己的暑假作業──觀察及報告一顆雞蛋的孵化。軍雄在部 隊時期的侍從官成恩來訪,兩人過去的感情似乎沒有被遺忘,也悄悄為 張家帶來一陣家庭風暴。一連串黑道角力的事件,以刺殺阿文作結,矛 盾的是,這事件卻為這個家的傷口找到癒合的契機。張家決定搬去一個 更好的地方,被留下的、空無一人的老房子開始腐朽,而在阿全年幼的 心中,開始思考起記憶的意義和價值。

台北電影獎

Synapses


�值

58

台北電影獎

Viatical Settlement 07.09 THU 信義 14 19:20 ★

台灣 Taiwan | 2019 | DCP | Colour | 89min 入圍獎項:女配角

劇 - 情長片 TAIPEI FILM AWARDS - NARRATIVE FEATURES

詹淳皓,台灣藝術大學電影碩士,畢 業作品《第一響槍》入圍 2019 年金 鐘獎三項大獎。參與多部工商廣告、 電視電影、紀錄片等製作,擔任導演、 副導演、後期剪接等職務。作品關注 台灣社會現象與小人物的生活想望。

CHAN Chun-hao graduated from National Taiwan University of Arts. His graduation project, The Roar, received t h re e n o m i n a t i o n s , i n c l u d i n g B e s t Director, at the 2019 Golden Bell Awards. He works in television, film, documentary and advertising.

保險專員阿濱活到 40 歲,從沒想過自己也可以當聖人,只要輕輕蓋個 章,就能改變人的後半輩子。一切都是放高利貸的西哥從阿濱身上嗅到 的商機,保險可以解決自己手邊的一堆爛帳,西哥繳保費、借款者用自 己的一部份交換,阿濱幫忙處理保險理賠,只要保險金一下來,三方都 可以獲利,還有什麼比這個更划算的交易?

Insurer Ah-bin lives to his forties and never thought that he could be a saint. Just by stamping on the policies, he can change people's lives. Everything starts from the loan shark, Mr Hsi, who spotted the potential business with Ah-bin. As long as Mr Hsi pays the premium, Ah-bin takes care of the insurance claims, and as the insured "exchange parts of their own", everyone benefits from it. What's better than a deal like this?

2020 西雅圖影展 Seattle IFF DIRECTOR 詹淳皓 CHAN Chun-hao EXECUTIVE PRODUCER 於蓓華 YU Pei-hua PRODUCER 邱立侃 Chiu Li-kan, 王信憲

Wang Hsin-hsien SCREENPLAY 蔡俊彬 TSAI Chun-pin, 劉宇 LIU Yu CINEMATOGRAPHER 劉世文 LIU Shih-wen EDITOR 林姿妤 LIN Tzu-yu, 張雅婷 CHANG Ya-ting MUSIC 李佳霖 LEE Chia-lin SOUND 郭柏佑 KUO Po-yo, 黃在恩 HUANG Tsai-en CAST 陳竹昇 CHEN Chu-sheng,(太保)張嘉年 CHEUNG Ka-nin, 丁寧 DING Ning PRINT SOURCE 財團法人公共電視文化事業基金會 Public Television Service Foundation


下半場

59

台灣 Taiwan | 2019 | DCP | Colour | 118min

07.05 SUN 信義 14 10:30 ★

在爭奪冠軍的球場,為了隊伍的勝利與榮譽,他們必須擊敗眼前的親兄 弟。最終的關鍵時刻,兩人終於發現,人生有比贏球更重要的事。在球 場上失去的,必須在下半場,奮力找回來……

From a single-parent family, two brothers are discovered after a video of their street basketball game goes viral. Younger brother Tung-hao is recruited by basketball powerhouse Yuying High School and decides to leave his brother behind. Older brother has overcome his hearing impairment and is now leading Kuang Cheng to progress through the HBL tournament, growing distant from Tung-hao.

張榮吉,出生於台北,作品橫跨劇情 片、紀錄片及廣告。從紀錄片拍攝進 入影像世界,擅於生活中取材,以獨 特的人文視角,細膩展現角色情感。 2006 年與楊力州共同執導《奇蹟的 夏天》獲金馬獎最佳紀錄長片。2012 年首部劇情長片《逆光飛翔》榮獲金 馬獎最佳新導演。 CHANG Jung-chi's first documentary won a Golden Horse Award for Best Documentary. His first feature, Touch of the Light, represented Taiwan at the Academy Awards for Best Foreign L a n g u a g e F i l m a n d wo n B e s t N e w Director at the Golden Horse Awards.

Eventually, they meet again in the HBL championship game. They finally realise that there are more important things in life than winning.

2019 高雄電影節 Kaohsiung FF 2019 金馬獎最佳新演員 Best New Performer, Golden Horse Awards DIRECTOR 張榮吉 CHANG Jung-chi EXECUTIVE PRODUCER, PRODUCER 陳寶旭 Rachel CHEN SCREENPLAY 蔡坤霖 TSAI Kun-lin,

張榮吉 CHANG Jung-chi CINEMATOGRAPHER 陳大璞 CHEN Ta-pu EDITOR 陳俊宏 CHEN Chun-hung MUSIC 溫子捷 WEN Tzu-chieh SOUND 高偉晏 R.T KAO, 陳亦偉 Aki CHEN CAST 范少勳 Fandy FAN, 朱軒洋 Berant ZHU, 段鈞豪 TUAN Chun-hao, 吳大維 David WU PRINT SOURCE 下半場電影股份有限公司 We Are Champions Films Ltd.

TAIPEI FILM AWARDS - NARRATIVE FEATURES

來自單親家庭,相依為命的兄弟姜秀宇、姜桐豪,在一場街頭鬥牛賽被 籃球隊教練發掘,人生就此改變。這對兄弟在困頓中長大,他們擁有 的,只有對籃球的熱情,以及對彼此情感的依賴。弟弟姜桐豪被名門 球隊育英高中選上,捨棄哥哥,去追逐夢想的 HBL 榮耀。哥哥姜秀宇 則進入徘徊在十二強邊緣的光誠中學,曾經因為單耳失聰而放棄打球的 他,獲得教練與隊友的支持,重拾過去的熱情與自信,帶領球隊拿下一 場場勝利。但他卻和弟弟漸行漸遠,在 HBL 的球場上,成為彼此最大 的對手。

劇 - 情長片

入圍獎項:劇情長片、導演、編劇、男主角、男配角、新演員、攝影、剪輯、配樂、 聲音設計、視覺效果、傑出技術 - 動作設計

台北電影獎

We Are Champions


�在你��的��

60

台北電影獎

Your Name Engraved Herein 07.05 SUN 信義 14 19:40 ★

台灣 Taiwan | 2020 | DCP | Colour | 113min 入圍獎項:男配角、新演員

劇 - 情長片

每個人生命中都有個愛情的遺憾,而誰是那個刻在你心底的名字?

TAIPEI FILM AWARDS - NARRATIVE FEATURES

柳廣輝,台灣知名偶像劇與 MV 導演, 作品範圍橫跨電影、電視、音樂 MV 及舞台劇,執導過多齣膾炙人口的電 視劇作品,如《青梅竹馬》、《蜂蜜 幸運草》、《你有念大學嗎》等,所 寫之劇本數度獲文化部劇本獎項。

Patrick LIU is known for the popular television idol dramas and music videos he has made in Taiwan. In addition, he writes plays, winning several scriptwriting awards and works as per for mance instructor.

1987 年,台灣剛解嚴的時代,高二害羞保守的阿漢遇到了狂放不羈的 男孩 Birdy,從此將他帶離安穩的世界,他們在青春的騷動與性啟蒙的 渴望牽引下冒險。此時,學校配合新制度開始招收女生,而 Birdy 也為 了追求學妹班班,與阿漢的關係漸行漸遠,三人之間的純真,走入曖昧 又複雜的糾纏。無法分辨與 Birdy 之間情感的阿漢不知如何是好,開始 一場充滿愛與報復的計劃。衝突過後,時間又過了 30 年,三人如果再 見面,該如何面對過去這份矛盾又複雜的情感?

In 1987, Taiwan is liberated from martial law. A-Han, a shy boy, meets a bohemian boy named Birdy. Enjoying their adventures together, they share many secrets and develop a relationship beyond friendship. Then the school starts recruiting girls. Birdy tries to distract himself by dating a girl, breaking A-Han's heart. However, A-Han cannot face how he feels about Birdy and often goes to the priest to confess his real feelings. As the relationship between the two young boys becomes more confusing and also due to the misunderstanding of Birdy's plan, they keep some distance from each other. After they graduate, they slowly drift apart... Thirty years later, when the trio meet again, how will they face each other with their complicated feelings?

2020 大阪亞洲電影節 Osaka Asian FF DIRECTOR 柳廣輝 Patrick LIU EXECUTIVE PRODUCER 瞿友寧 Arthur CHU PRODUCER 陳保英 CHEN Pao-ying SCREENPLAY 瞿友寧

Arthur CHU, 詹傑 Jie ZHAN, 吳翰杰 Alcatel WU CINEMATOGRAPHER 姚宏易 YAO Hung-i EDITOR 蘇珮儀 Milk SU, 王聖縣 County WANG MUSIC 侯志堅 Chris HOU, 盧廣仲 Crowd LU, 黃雨勳 Jason HUANG SOUND 杜篤之 TU Duu-chih, 江宜真 CHIANG Yi-chen, 蔡篤易

TSAI Do-it CAST 陳昊森 Edward CHEN, 曾敬驊 TSENG Jing-hua, 戴立忍 Leon DAI, 王識賢 WANG Shih-shien PRINT SOURCE 氧氣電影有 限公司 Oxygen Film Co., Ltd.


阿�

61

台灣 Taiwan | 2019 | DCP | Colour | 83min

07.06 MON 信義 14 14:20 ★

入圍獎項:紀錄片、導演、攝影、剪輯

A staggering account of a migrant wife and mother in a small fishing village in Taiwan. Azhe has made the choice to sacrifice her own happiness to become the sole support for her family in Vietnam. A lens that never turns away from the truth reveals her complex relationship with her disabled husband; his devotion to her and their children and his inability to stand with her against his abusive mother and brother. The Good Daughter bears witness to a daughter's epic struggle that finds Azhe working two back-breaking jobs to build her parents a house with electricity and clean water; here the camera lays bare to a dilemma Azhe struggles to face. As their children grow older, can she continue to support her family in Vietnam unconditionally or focus on her family in Taiwan?

吳 郁 瑩, 曾 擔 任 剪 接 HBO 紀 錄 片 《阿嬤候選人》及美國公共電視 《Frontline》系列。2013 年起從事紀 錄片工作,《阿紫》為其首部執導紀 錄長片。

WU Yu-ying worked as editor on the FRONTLINE series on PBS and co-edited Run Granny Run on HBO. She also coproduced, Marcos Doesn't Live Here Anymore, in 2019. The Good Daughter is her directorial documentary debut.

2019 金馬獎 Golden Horse Awards 2020 台灣國際紀錄片影展 Taiwan IDF DIRECTOR, PRODUCER, EDITOR 吳郁瑩 WU Yu-ying CINEMATOGRAPHER 廖敬堯 LIAO Ching-yao MUSIC 蔡欣蓉 TSAI Hsin-jung,

盧律銘 LU Luming SOUND Jim Sullivan (Outpost WGBH) PRINT SOURCE 吳郁瑩 WU Yu-ying

TAIPEI FILM AWARDS - DOCUMENTARIES

阿紫雖然生長在貧窮的農村,爸爸從不讓她做家事,在自身幸福與家人 的生存間,她選擇了家人,同意嫁到台灣,只希望被疼愛、被尊重,但 那夢想像大海裡一望無際的天空,摸不著邊。兩人都背負著傳統家庭的 束縛與期待,但驚人的離婚率與傳統家庭如山崩地裂的瓦解,他們付出 的代價,究竟換來了什麼?

紀 - 錄片

假如沒有阿紫,阿龍準備獨自終老一生。再細膩溫柔的性格也抵不過小 兒痲痹雙腳的烙印,40 幾歲才聽媽媽的話,花了不少錢及心力,到越 南把阿紫娶回來。但媽媽、大哥,還有周圍的人,認為越南娶回來的新 娘就該聽話。他知道,在這個偏遠的小村裡,阿紫為了家庭存續,犧牲 自己,被綁在這個連台灣人自己都不願意留的地方。

台北電影獎

The Good Daughter


我的��是�刑犯

62

台北電影獎

Me and My Condemned Son 07.06 MON 信義 14 19:30 ★

台灣 Taiwan | 2019 | DCP | Colour | 75min 入圍獎項:紀錄片

紀 - 錄片 TAIPEI FILM AWARDS - DOCUMENTARIES

死刑犯 A,殺害好友勒贖。死刑犯陳昱安,砍殺父親 111 刀。死刑犯鄭 捷,捷運隨機殺人。「死刑犯」是司法給他們的標籤,但這三個人作為 人的身分,卻為人所漠視;而至親所背負之痛,更從來無人知曉。

李 家 驊,1978 年 出 生 於 台 北, 台 南 藝術大學藝術創作與理論博士,現為 世新大學傳播管理系助理教授。2003 年以個人生命經驗為題的《25 歲,國 小二年級》榮獲山形紀錄片影展亞洲 單元特別賞。2016 年完成紀錄片作品 《夢想續航》。

LEE Chia-hua received a Special Mention at the Yamagata and Best Documentary at Taipei Film Awards for The Spirit of 8 in 2003. Part of the 2014 Sunflower Occupation anthology, his 24 Days without Sunlight was selected for the Yamagata and the TIDF.

導演李家驊選擇了三位犯行各異的死刑犯為主角,有人尚在服刑,有人 在獄中自戕身亡,有人已遭到槍決伏法。在「殺人償命」的正義大纛前, 他們的命運殊途同歸,宛如報廢物件;但在律師、死囚家屬面前,標籤 之後卻是一個個血肉之軀。全片以平實的採訪片段與報導影像,不拘泥 於法條本身,而是深刻表達了導演對「人」的處境的關懷,爬梳現代台 灣司法死刑史之餘,也引出了對現行體制的叩問。

The film centres around three condemned prisoners who committed different crimes; with one still serving his sentence, one who has taken his own life in prison, and one already executed. Consisting of unembellished interviews and news footage, the film shows the director's concern for the condemned prisoners and their families as human beings, examining the contemporary history of capital punishment in Taiwan and questioning the current judicial system.

2019 金馬影展 Golden Horse FF DIRECTOR, PRODUCER 李家驊 LEE Chia-hua SCREENPLAY 黃懿齡 HUANG Yi-ling, 李家驊 LEE Chia-hua CINEMATOGRAPHER 曾祈惟

ZENG Qi-wei, 李家驊 LEE Chia-hua, 楊重鳴 YANG Chung-ming, 陳俊維 CHEN Jun-wei, 林伯恩 LIN Bo-en EDITOR 黃懿齡 Huang Yi-ling MUSIC 許志遠 Point HSU SOUND 蔣震道 CHIANG Chen-tao, 許嵐婷 HSU Lan-ting, 許志遠 Point HSU PRINT SOURCE 李家驊

LEE Chia-hua


回�的理由

63

台灣 Taiwan | 2019 | DCP | Colour | 74min 入圍獎項:紀錄片

張明右,台灣藝術大學電影學系碩士 班。自大學開始常以紀錄片作為影像 創作題材,近年來多拍攝與社會案件 有關的議題。作品橫跨紀錄片、廣告 和劇情片,屢獲國內外影展獎項肯定。

她,心甘情願地回家。

In Changhua, Taiwan in 2013, an incident occurred regarding a mother brutally killing her son due to the influence of the Riyue Minggong (a cult). This situation made the daughter of the convict return home to face her broken family. At the same time, without knowing where she stands in the extended family and what it means to be family, the daughter is confronted with uncertainties and has no idea how to begin rebuilding her once beautiful home.

CHANG Ming-yu graduated from the Department of Motion Picture at National Taiwan University of Arts. His documentaries often centre around social issues. Now he works in documentary, film and advertising and has won many awards.

2019 香港紀錄片節華語紀錄片競賽長片組亞軍 Runner-up, Chinese Doc Competition–Features, Hong Kong IDF DIRECTOR, CINEMATOGRAPHER 張明右 CHANG Ming-yu PRODUCER 陳玟潔 CHEN Wen-chieh, 朱昭燕 JU Jau-yan EDITOR 江宛芸

CHIANG Wan-yun, 張明右 CHANG Ming-yu MUSIC 留安廷 LIU An-ting SOUND 蔣震道 CHIANG Chen-tao PRINT SOURCE 張明右 CHANG Ming-yu, 朱昭燕 JU Jau-yan

TAIPEI FILM AWARDS - DOCUMENTARIES

路途中充滿著太多的未知數,身為摯友的紀錄片導演,藉著攝影機的陪 伴,一邊陪她追尋那些遺漏的情感,同時間更記錄下將自己一點一滴完 全抹煞的過程,那一年,她 23 歲。從那天起,她決定開始為別人而活, 她不想再有自己了。

紀 - 錄片

2013 年的 12 月份,台灣彰化地區發生一起「沈溺日月明功,親生母 親虐殺兒子」的社會事件,這起事件讓離家已久的女兒重返老家,一邊 面臨至親離世的悲痛,同時間被迫面對與親人重聚的喜悅和不確定性, 已然破碎的家,似乎和自幼的幻想有些出入,要如何重新搭建心中完美 的家,她並不全然清楚。

07.03 F R I 信義 14 19:40 ★ 07.06 MON 信義 14 17:00 ★

台北電影獎

The Reason Why I'm Home


64 世界首映 World Premiere

台北電影獎

06.26 F R I 信義 14 17:40 ★ 07.08 WED 信義 14 16:30 ★

阿���的呼� The Way Home

台灣 Taiwan | 2020 | DCP | Colour | 78min 入圍獎項:紀錄片

紀 - 錄片

日摩日曼是台灣一個部落的頭目繼承人

TAIPEI FILM AWARDS - DOCUMENTARIES

因為她是長女,依照傳統必須承接頭目的身份與地位 母親與小孩都希望她放棄這個身份 魏郁蓁,參與紀錄片製作近 13 年,作 品《神秘的史前踏浪人》、《黃梅行 雨》、《樹說新語》等,曾入圍金鐘 教育文化、人文紀實、科學節目、剪 接及新加坡亞洲影藝學院台灣最佳系 列紀錄片。《阿查依蘭的呼喚》為其 首部導演作品。

而她自己也曾經逃離部落 更有親族要侵佔她的身份 但她的祖靈卻不肯放棄她 她,是不會說族語的頭目,是三個小孩的單親媽媽 她,是個沒有家屋的頭目,是住在部落外的頭目 她想回家了 但十多年了,她仍然無法重回部落的家……

WEI Yu-chen has worked in documentary production for thirteen years. Man and Trees that she produced was nominated at the 2019 Golden Bell Awards. The Way Home is her debut as documentary director.

Dremedrema is the chief heir of her tribe. Being the eldest, she therefore, must accept her inheritance of the position and status according to the traditions. Though her mother and children hope that she would disavow the obligation. Even Dremedrema herself had run away from her tribe once. Many family members have their eyes on the position, but her ancestral spirits would not give up on her. She is a tribal chief who doesn't speak the native tongue. At the same time she is a devoted single mother of three. She is a chief without her traditional tribal family house, unable to live within the tribe. She misses home. But despite ten years' effort, it is a home that she cannot easily return to.

DIRECTOR 魏郁蓁 WEI Yu-chen PRODUCER 徐國揚 HSU Kuo-yang CINEMATOGRAPHER 許志清 HSU Chih-ching EDITOR 王怡晴

WANG I-ching, 陳冠君 CHEN Kuan-chun MUSIC, SOUND 余政憲 YU Cheng-hsien PRINT SOURCE 久藝傳播有限公司 JE Media Co., Ltd.


世界首映 World Premiere

Whale Island

台灣 Taiwan | 2020 | DCP | Colour | 108min 入圍獎項:紀錄片、配樂、聲音設計

06.28 SUN 信義 14 19:40 ★ 07.07 TUE 信義 14 11:30 ★

紀 - 錄片

海洋文學作家廖鴻基和水下鯨豚攝影師金磊,帶著觀眾來到海中,重新 認識和思考,海洋成為個人生命和國家未來的可能。 台灣不只是島,還是隻沉睡的鯨魚,鯨魚不屬於陸地,必須甦醒,往充 滿可能的未來出發前進!

黃嘉俊,畢業於台灣藝術大學應用媒 體藝術所。長期從事紀錄片、廣告及 戲劇拍攝,對人與社會的題材有著敏 銳的觀察度。作品風格溫暖清新,卻 有深刻沁人的厚度力量,創作喜尋無 人接觸的的新題材,期待以平易的語 調,寧靜改變世界。

Taiwan is an island country. Although it is surrounded by the sea, its people fear the sea since the politics, the history and the religious beliefs held on this island make people turn their backs to the sea.

HUANG Chia-chun graduated from National Taiwan University of Ar ts. Active in documentary, advertising and television drama, his works are known for his warm-hearted approach as well as the depth and the power that move the audience.

Taiwan is not only an island but also a sleeping whale. Since a whale does not belong to the land, it has to wake up and swim towards its future full of possibilities.

DIRECTOR, EDITOR 黃嘉俊 HUANG Chia-chun PRODUCER 黃嘉煌 HUANG Chia-huang CINEMATOGRAPHER 張皓然 CHANG Hao-jan MUSIC 林生祥 LIN Sheng-xiang SOUND 杜篤之 TU Duu-chih, 杜則剛 TU Tse-kang PRINT SOURCE 牽猴子整合行銷股份有限公司

Activator Marketing Co., Ltd

TAIPEI FILM AWARDS - DOCUMENTARIES

台灣,身為一個海島國家,離海最近,卻也離海遙遠。政治、歷史、信 仰……,都讓人民背對海洋,恐懼海洋。

Oceanic literature author Liao Hung-chi and underwater photographer Ray Chin lead the audience out to the sea and into the water. They prompt us to understand the sea and to think about the possibility that the ocean might become our lives and the future of our country.

台北電影獎

男���的�

65


06.26 FRI 信義 14 20:10 ★ 07.04 SAT 信義 14 10:30 ★

06.25 THU 信義 14 20:40 ★ 07.04 SAT 信義 14 13:50 ★

���

Glow of Dark

亞洲首映 Asian Premiere

台灣 Taiwan | 2020 | DCP | Colour | 20min

66

�一� Home Sick

台灣 Taiwan | 2019 | DCP | Colour | 25min

台北電影獎

入圍獎項:視覺效果

入圍獎項:短片、男配角

因噩夢而恐懼光的男子,日夜顛倒過著行竊生活,成 為黑夜的孤獨狀態。男子練習接受光,直到遇見了被 世界遺棄的女子,從她身上找到了不孤獨的理由。當 世界想帶回女子時,男子打破燈泡流出光阻止了世 界,流光似水淹沒了整個黑夜,讓他快要溺斃,但他 知道女子會拯救他。

船長向所有人謊稱自己抓到了今年的第一鮪,為了圓 這個謊,他必須要付出代價。 The captain lies to everyone that he has caught the first bluefin tuna of the year and therefore, he has to pay the price for his lie.

短 - 片 TAIPEI FILM AWARDS - SHORT FILMS

The man is scared of light due to his recurrent nightmares and becomes nocturnal. He keeps trying to overcome his phobia until he meets a woman abandoned by the "world". When the "world" wants her back, the man breaks a bulb, letting light out to stop it. Light floods the darkness, drowning the man, but he knows that she'll save him.

2019 高雄電影節 Kaohsiung FF 2020 金穗獎 Golden Harvest Awards

馬毓廷,就讀於台北藝術大學電影所導演組,編劇作 品屢獲文化部各項補助與公共電視人生劇展單元劇 徵選。除編劇與導演工作,亦是多部電影特效指導, 並擔任 CNEX《本來面目》紀錄片的視覺統籌與動畫 導演。 MA Yu-ting studied in the Department of Filmmaking at Taipei National University of the Arts. In addition to writing and directing, he works as special effects supervisor.

DIRECTOR, SCREENPLAY 馬毓廷 MA Yu-ting PRODUCER

張辰漁 CHANG Chen-yu CINEMATOGRAPHER 王亮鈞 WANG Liang-jyun EDITOR 金仲華 CHIN Chung-wa MUSIC 李欣芸音樂製作有限公司 Cincin Lee Music Production Ltd. SOUND 王仁心 Wang Ren-shin CAST 黃尚禾 HUANG Shang-ho, 廖雅珺 LIAO Ya-chun PRINT SOURCE 世界柔軟數位影像文化有 限公司 World Softest Production Film Co., Ltd.

孫介珩,大學唸歷史,研究所讀政治,畢業後前往紐 約電影學院進修。期望透過影像連結人與身處的環 境,並讓這個世界上被忽略的人事物顯影。 SUN Chieh-heng studied History at university and earned a master's degree in Political Science before going to New York for a filmmaking course.

DIRECTOR 孫介珩 SUN Chieh-heng PRODUCER 陳怡莉

CHEN Yi-li SCREENPLAY 蔡雨氛 TSAI Yu-fen CINEMATOGRAPHER 王淳宇 Danny WANG EDITOR 蔡宜芬

TSAI Yi-fen MUSIC 陳定廉 CHEN Ting-lien SOUND 張喆泓 CHANG Che-hun CAST 萬中南 WAN Chung-nan, 游安順 YU An-shun PRINT SOURCE 財團法人公共電視文化事業基金會 Public Television Service Foundation


06.26 FRI 信義 14 20:10 ★ 07.04 SAT 信義 14 10:30 ★

06.26 FRI 信義 14 20:10 ★ 07.04 SAT 信義 14 10:30 ★

�鳴

����

入圍獎項:短片、攝影、聲音設計

入圍獎項:短片、攝影、造型設計、聲音設計

青年阿肯平常在加油站上大夜班,漫漫長夜時,常想 起幼時無數大人前往工廠上班、村落還生氣勃勃的樣 子。這一夜,阿肯迎來許久不見的童年玩伴──長腳, 本應是重逢的喜悅,但卻意外揭開阿肯記憶中不願面 對的真相。

根據緬甸童兵史實改編。2013 年,12 歲的緬甸政府 軍童兵蘇蘇,與哥哥在戰役中叛逃,卻在抵達泰緬邊 境前被軍隊活捉回營。蘇蘇被迫面臨生死抉擇:殺掉 病重的哥哥以獲得食物,或和他一起餓死獄中。

Humming Memory 台灣 Taiwan | 2020 | DCP | Colour | 28min

YU Han-ting has worked in film and television for ten years. He would like to share his emotions with the audience through his films.

2019 波蘭Camerimage影展 Camerimage IFF 2019 釜山影展 Busan IFF 2019 金馬影展 Golden Horse FF

羅晨文,導演、編劇、製片,紐約大學電影學藝術碩 士。其短片作品曾入選釜山影展、洛杉磯亞太影展、 金馬影展、波蘭 Cameraimage 等多個國際影展,並 獲明尼蘇達電影節最佳劇情短片。現居紐約。 LO Chen-wen is a Taiwanese writer-director based in New York City. An MA graduate in Cinema Studies of NYU's Tisch School of the Arts, her films have been shown at film festivals around the world.

DIRECTOR, SCREENPLAY 游翰庭 YU Han-ting PRODUCER

DIRECTOR, PRODUCER, SCREENPLAY 羅晨文 LO Chen-wen

朱芸廷 JHU Yun-ting CINEMATOGRAPHER 葉明廣 YEH Ming-kuang EDITOR 劉人鳳 Toad LIU MUSIC 林強 LIM Giong, 周泓歷 JHOU Hong-li SOUND 高偉晏 R.T KAO CAST 楊傑宇 Stone YANG, 夏騰宏 HSIA Teng-hung, 黃婕菲 HUANG Jie-fei PRINT SOURCE 游翰庭 YU Han-ting

CINEMATOGRAPHER Lukasz DZIEDZIC EDITOR Stephen LEE MUSIC 森永泰弘 MORINAGA Yasuhiro SOUND 范文銳 Sam FAN CAST Kathy HTWE, Nathaniel MATULESSYA PRINT SOURCE Cinema Inutile

TAIPEI FILM AWARDS - SHORT FILMS

游翰庭,1986 年生於台北,從事影視工作近十年, 希望藉由影像創作與人分享生命中的各種喜怒哀樂。

Myanmar, 2013. Based on actual events, this human tragedy follows a 12-year-old child soldier Su Su Myat and her mute brother, who are imprisoned after deserting their first combat mission. Punished with no food or water, Su Su Myat is forced to choose between killing her seriously ill brother for her own survival or risk dying with him.

67

短 - 片

2020 金穗獎一般作品組首獎、最佳導 演、最佳男演員 Grand Prize, Best Director, Best Actor, General Category, Golden Harvest Awards

緬甸、台灣、美國 Myanmar, Taiwan, USA 2019 | DCP | Colour | 16min

台北電影獎

Ken works night shifts at the local gas station. One night when he is reminiscing about his childhood in this once-thriving town at work, Long Foot, one of his close childhood friends, shows up. What should have been a happy reunion turns into a melancholic self-examination as Ken is reminded of an unpleasant memory that he never wants to face again.

In This Land We're Briefly Ghosts


06.26 FRI 信義 14 20:10 ★ 07.04 SAT 信義 14 10:30 ★

06.26 FRI 信義 14 20:10 ★ 07.04 SAT 信義 14 10:30 ★

��式

主�再見

入圍獎項:短片、女主角、新演員

入圍獎項:短片、編劇、新演員

一夕間被雙親拋棄的亞云,住進阿嬤跟朋友分租的公 寓,開始在阿嬤經營的地下賭場幫忙。在這間各懷鬼 胎的賭徒公寓裡,佳嘉是唯一和亞云親近的同輩,卻 引誘亞云聯手詐賭賺取生活費,慾望與罪惡的拉扯, 讓亞云不知如何選擇。

跋扈又重義氣的小霸王 YAMAHA,三進三出少年觀護 所;年幼的跟屁蟲弟弟仔,因為遭受家暴反而在少年 觀護所得到歸屬;沉默又神秘的菜鳥筌仔,身上背負 著重罪,三名少年在冬季的跨年夜裡,成為少年觀護 所內的室友。

Living in her grandma's house that has been converted into a secret gambling den, the Girl faces constant harassment as she struggles to earn money to pay for her upcoming graduation trip. Surrounded by sly neighbours, the Girl must choose between her ethics and desires.

想做老大的 YAMAHA 試圖照顧身邊所有人,三人在 所裡關係越來越要好、越來越適應,他卻也發現大家 越來越離不開監所的輪迴。

No Flowers or Seasons 台灣 Taiwan | 2020 | DCP | Colour | 29min

68

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

2020 克萊蒙費宏短片影展 Clermont-Ferrand ISFF 2020 金穗獎 Golden Harvest Awards

游珈瑄,出生於台灣桃園,畢業於台北藝術大學電影 創作學系,學習美術、主修表演。《家庭式》為其畢 業作品,現居台北,從事電影相關工作。 YU Chia-hsuan studied acting at Taipei National University of the Arts. In 2019, she made her graduation film, No Flowers or Seasons. Currently, she lives and works as a filmmaker in Taipei.

DIRECTOR, SCREENPLAY 游珈瑄 YU Chia-hsuan PRODUCER 羅越 Rachel LO CINEMATOGRAPHER 李嘉偉 Adrian LEE EDITOR 林劭慈 Shao LIN MUSIC 王榆鈞 WANG Yu-jun SOUND 周震 CHOU Cheng CAST 游珈瑄 YU Chia-hsuan, 陳又瑄 CHEN Yu-hsuan PRINT SOURCE 游珈瑄 YU Chia-hsuan

See You, Sir

台灣 Taiwan | 2019 | DCP | Colour | 25min

In the detention centre, Yamama takes Sonny, a very young inmate, under his wing. Chuan is a new arrival charged with a serious crime. The trio become roommates on the New Year's Eve. Acting like a boss, Yamaha tries his best to look after his roommates but realises that it is getting harder for them to be freed from the criminal world.

2019 高雄電影節 Kaohsiung FF 2020 金穗獎一般作品組優等獎、最 佳整體演出 Excellence Award, Best Ensemble, General Category, Golden Harvest Awards

林亞佑,就讀台北藝術大學電影創作學系導演組碩士 班。2016 年完成短片《一直騎呀一直騎》;2018 年 入選金馬電影學院;2019 年拍攝畢業製作《主管再 見》。除了導演職務之外,也曾擔任導演組的各個職 位。 LIN Ya-yu studied in the Department of Filmmaking at Taipei National University of the Arts. In 2018, he participated in the Golden Horse Film Academy. See You, Sir is his graduation film.

DIRECTOR, SCREENPLAY 林亞佑 LIN Ya-yu PRODUCER 巫奇優

WU Chi-yu CINEMATOGRAPHER 古曜華 KU Yao-hua EDITOR 高鳴晟 KAO Ming-cheng, 王瀞巧 WANG Ching-chiao MUSIC 許家維 HSU Chia-wei SOUND 謝長宏 HSIEH Chang-hung CAST 李曆融 LI Li-rong, 陳恩 CHEN En PRINT SOURCE 影一製作所股 份有限公司 1 Production Film Co.


06.25 THU 信義 14 20:40 ★ 07.04 SAT 信義 14 13:50 ★

06.25 THU 信義 14 20:40 ★ 07.04 SAT 信義 14 13:50 ★

伏��

大���路

入圍獎項:造型設計、傑出技術 - 動作設計

入圍獎項:動畫片

太保不想當伏魔娘娘的乩身,逃出了伏魔殿;太保不 想當仙仔的替死鬼,逃出了地檢署。但太保逃得再快, 也快不過阿輕的劍。同為魔君轉世的阿輕將太保帶回 伏魔殿繼續贖罪,卻終於發現伏魔娘娘只是在利用她 們──伏魔殿的作用,就是將世人的罪都轉嫁到她們 身上。

一輛觀光列車在漆黑的隧道緊急煞停,列車長極力安 撫乘客,渾然不知一位不速之客正悄悄的溜上車……

Temple of Devilbuster 台灣 Taiwan | 2020 | DCP | Colour | 24min

Grand Adventure Railroad

世界首映 World Premiere

台灣 Taiwan | 2020 | DCP | B&W | 15min

短 - 片、動畫片

阿輕幫助太保殺出伏魔殿,卻沒想到太保在最後關頭 背叛她,將所有的罪都留給阿輕,獨自逃亡。而太保 始終不明白,自己滾滾落下的眼淚所為何來。

2020 大阪亞洲電影節 Osaka Asian FF 2020 金穗獎影展 Golden Harvest Awards & Short FF

WANG I-fan works as cinematographer in addition to directing. Please feel free to offer him any cases.

DIRECTOR, SCREENPLAY, CINEMATOGRAPHER, EDITOR

王逸帆 WANG I-fan PRODUCER 傅崑閔 FU Kun-min MUSIC, SOUND 林吉米 Jimmy LIN CAST 林道禹 LIN Dao-yu, 林幻夢露 Anicca PRINT SOURCE 王逸帆 WANG I-fan

黃小珊,畢業於紐約大學蒂施藝術學院動畫研究所, 在台北從事影像與設計之創作。 HUANG Hsiao-shan received an MFA in Animation and Digital Arts from New York University Tisch School of the Arts Asia. She currently works as a visual artist in Taipei.

DIRECTOR, EDITOR 黃小珊 HUANG Hsiao-shan PRODUCER 吳柏勳 WU Po-hsun MUSIC 林明學 LIN Ming-hsueh SOUND 好多聲音 FORGOOD S OUND PRINT SOURCE 黃小珊 HUANG Hsiao-shan

TAIPEI FILM AWARDS - SHORT FILMS, ANIMATION

Tai-bao is the reincarnation of the Devil Star and A-queen is the one fated to take on his sins. It becomes clear that as the two try to escape the criminal underworld, an abusive 'father', who wants to take Tai-bao back to the temple, is using them to take the blame for other people's sin...

王逸帆,除了導演以外也常擔任攝影師,歡迎發案。

台北電影獎

When a luxurious family touring train halts in a pitch-black tunnel, an uninvited creature sneaks aboard...

69


06.25 THU 信義 14 20:40 ★ 07.04 SAT 信義 14 13:50 ★

06.25 THU 信義 14 20:40 ★ 07.04 SAT 信義 14 13:50 ★

藍�獨白

Puppy Love

台灣 Taiwan | 2019 | DCP | Colour | 6min

台灣 Taiwan | 2019 | DCP | Colour | 3min

入圍獎項:動畫片

入圍獎項:動畫片

一名男子總是要家裡所有陳設物,安置在他用膠帶貼 出來的方框內,如此他才能感到心安。一旦物品沒有 在他設定好的範圍內,他會立即修正,更因此而隨身 戴著一捲膠帶在手腕上,以備不時之需。

長年單身沒人愛的蘋果主人,將自己的愛戀寄託在他 豢養多年的狗身上,一切不可言喻的日常,發生在小 小車廂內。

Inside Blue 70

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

The story describes a man who needs all the decorations of his home to be placed in a square frame made of adhesive tape to have peace of mind. So, he always keeps a roll of tape at hand. As soon as an item is moved, he immediately puts it back within the frame.

Apple, a puppy owner, has been miserably single for as long as she can remember. She puts her love in the dog she has been raising for many years. And some mysterious things happen in the car.

2019 台中國際動畫影展 Taichung IAF

2019 渥太華動畫影展 Ottawa IAF

2019 金穗獎 Golden Harvest Awards

2019 南方影展 South Taiwan FF

陳宜謙,1986 年生於台灣台北,畢業於台北藝術大 學新媒體藝術研究所,主修動畫藝術。作品多以手繪 與動畫創作為主,擅長畫面氛圍的營造,喜歡嘗試不 同媒材與類型的動畫製作,實驗影像表現的各種可能 性。

陳怡聞,畢業於台北藝術大學動畫學系。喜歡狗。 CHEN I-wen graduated in Animation from Taipei National University of the Arts. She is a dog lover.

CHEN Yi-chien obtained a master's degree from the Graduate Institute of New Media Art at Taipei National University of the Arts. She is specialised in hand-drawn animation.

DIRECTOR, PRODUCER, SCREENPLAY, CINEMATOGRAPHER, EDITOR 陳宜謙 CHEN Yi-chien MUSIC, SOUND 周莉婷 Adlian

CHOU PRINT SOURCE 陳宜謙 CHEN Yi-chien

DIRECTOR, SCREENPLAY, EDITOR 陳怡聞 CHEN I-wen SOUND 王重陽 WANG Chung-yang PRINT SOURCE 陳怡聞 CHEN I-wen


06.25 THU 信義 14 20:40 ★ 07.04 SAT 信義 14 13:50 ★

06.25 THU 信義 14 20:40 ★ 07.04 SAT 信義 14 13:50 ★

六�輪��可憐���

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"The So Sad Show"from Six Paths of Samsara

The Weather Is Lovely

世界首映 World Premiere

入圍獎項:動畫片

《六道輪迴之可憐達人秀》是讓一眾好鬼重新輪迴的 機會,無論如何死,只要死得夠可憐,就能站上舞台 讓一切重來。德哥,表面上是一個廚房佬,內裡卻承 受著妻離子散的男人之苦。憂鬱的他,總決賽遇上花 式溜冰阿強、魔術師阿珍,以及歌唱家阿肥;總冠軍 到底花落「誰」家?誰最可憐?在憂鬱德哥開口後, 一切峰迴路轉,奔向眾人始料不及的結局。

造雲師克勞德不慎掉落小型噴雲器,被玉山氣象觀測 站研究員曉芸撿到,他看到曉芸容貌驚為天人,但不 敢揭露身份,仍盡力想偷偷取回噴雲器,沒想到噴雲 器在曉芸嘗試造雲的過程中意外故障,卡在危險的雷 雨雲模式大暴走。眼看曉芸陷入危機,觀測站也將被 摧毀,克勞德不得已現身,兩人同心協力,終於成功 將暴走噴雲器關機,消弭一場可能的大災難。

"The So Sad Show" is an opportunity for the ghosts to start all over again, and the champion will win a new life. Tak-Gor is the cook who committed suicide after his wife and son left him. On stage, once Tak-Gor starts to talk, things turn dramatically into an unexpected end.

Claude, the cloud maker, accidentally drops his cloudmaking gadget and it's picked up by Yin. A thunder cloud that Yin has made releases a thunderbolt on radio and causes a fire. As the gadget turns into a huge water-thirst cloud monster, Claude has to stop it from becoming a total disaster.

2019 DigiCon6 ASIA大賞大 館獎 Tai Kwun, DigiCon6 ASIA Awards

1

2

2019 DigiCon6 ASIA大賞香 港銀獎 Silver Award, DigiCon6 ASIA Awards Hong Kong

葉順成,作品風格獨特,帶有一種黑色幽默,笑中有 淚。動畫短片《沾寒沾凍》獲得世界好評。 何應權,影視、劇場編導,動畫初學者,覺得面對死 亡總離不開帶著一抹微笑,短片《山洞野人》曾入選 多國影展。 Vincent YIP is an animation short film director known for his sense of dark humour. His animated short film Chill and Shivering won great acclaim all over the world.

連俊傑,投身動態視覺創意超過 27 年,多次獲獎, 曾參與《蜘蛛人》、《夜魔俠》、《刀鋒戰士 2》等 片頭製作,2017 年起全心投入動畫原創 IP 開發。 LIEN Chun-chien has worked in motion medium for 27 years. His first animated short film, Reboot , was selected for the 2010 Onedotzero – Adventures in Motion International Festival.

Wave HO, theatre and movie playwright and director, beginner in animation. His short film Lost Cemeteries was shortlisted in international film festivals and gained global recognition.

DIRECTOR 葉順成 Vincent YIP, 何應權 Wave HO SCREENPLAY

DIRECTOR, EDITOR 連俊傑 LIEN Chun-chien SCREENPLAY

何應權 Wave HO MUSIC 薛德勇 Monkey, Marco WEN SOUND 創意之聲 I Zone Sound Design Ltd. PRINT SOURCE 葉順成 Vincent YIP

連俊傑 LIEN Chun-chien, 李伯翰 LEE Po-han PRODUCER 楊淙舜 Allen YANG Chung-shun MUSIC Simon WHITFIELD SOUND 劉小草 Agnes LIU, 曾雅寧 Ning TSENG PRINT SOURCE 連想有限 公司 Dottodot Ltd.

71

TAIPEI FILM AWARDS - ANIMATIONS

入圍獎項:動畫片

動 - 畫片

台灣、中國 Taiwan, China | 2020 | DCP | Colour | 15min

台北電影獎

香港、台灣 Hong Kong, Taiwan | 2019 | DCP | Colour | 17min


未來之光 FUTURE LIGHTS

天外奇機 Air Conditioner


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73

安哥拉 Angola | 2020 | DCP | Colour | 73min

非洲新銳導演法迪克,旗下電影公司 Geração 80 首部獨立製作劇情長 片,以聲音地景結合社會批判饒舌,佐以新銳爵士女聲阿蓮娜.法拉佐 醉人的嗓音,將一則都市傳說轉譯成生命中不能承受之靜,藉由奇幻的 敘事風格,刻畫都市叢林裡的歷史、人物與民族記憶等喧囂風景。 法迪克:「對我而言,電影帶給我們的感受,讓我們遠離生活中沉靜的 憂鬱。」

One day, air conditioners in the Angolan capital Luanda start to mysteriously fall off the buildings. When security guard Matacedo is told to get his overheating boss an AC unit before the end of the day, he starts a mission that among other things brings him into contact with the eccentric owner of an electronics shop. His search is the starting point for a pleasantly free film about the heartbeat of this city: the buildings in Luanda, which visibly bear its history, and the people trying to rebuild their lives after the civil war.

19:30 13:40 21:20 19:50

法迪克,1986 年生於安哥拉,本名馬 力歐.巴托斯。於美國學習電影,學 成回國開始拍攝 MV,並創立獨立電 影公司 Geração 80,致力於作者電 影創作,《天外奇機》為其首部劇情 長片,於鹿特丹影展首映。

Fradique is an Angolan filmmaker. He graduated in Cinema in the U.S and is one of the founders of the production company Geração 80. Selected for the 2020 IFFR, Air Conditioner is his feature debut.

2020 鹿特丹影展 IFF Rotterdam 2020 佛立堡影展 Fribourg FF DIRECTOR 法迪克 Fradique PRODUCER Jorge COHEN SCREENPLAY 法迪克 Fradique, Ery CLAVER CINEMATOGRAPHER Ery CLAVER EDITOR Zeno MONYAK MUSIC 阿蓮娜.法拉佐 Aline FRAZÃO SOUND Gernot FUHRMANN CAST José KITECULO, Filomena MANUEL,

David CARACOL PRINT SOURCE Geração 80

FUTURE LIGHTS

內戰結束多年後,某日盧安達的冷氣機開始神秘墜落,市民惴惴不安, 具有通靈體質的保全馬塔塞被老闆賦予找回墜樓冷氣的任務。他跟著巫 毒師預言漫遊樓房巷弄,與電器行老闆一起用錄影機記錄下冷氣壓縮機 裡人民生活回憶。究竟是巫術太玄,還是冷氣機太憂鬱?唯一可確定的 是:死的是冷氣,傷的是日漸凋零的老兵。

06.28 SUN 華山 2 06.30 TUE 華山 2 07.04 SAT 華山 2 07.08 WED 華山 1

未來之光

Air Conditioner


74 國際首映

International Premiere

未來之光 FUTURE LIGHTS

06.29 MON 信義 14 12:40 07.02 THU 信義 14 13:20 07.04 SAT 信義 13 21:40

林善愛,畢業於韓國藝術綜合大學劇 本寫作,在學時期曾經受到李滄東的 大師課程啟發。入行近 20 年,參與 40 逾部電影的分鏡製作,《六十九 歲》為她首部執導的劇情長片,入選 2019 年釜山影展新潮流競賽。

LIM Sun-ae graduated from the School of Film, TV and Multimedia at Korea National University of Ar ts. Having worked as a storyboard artist, she had directed two short films before her debut feature, An Old Lady.

六十�� An Old Lady

南韓 South Korea | 2019 | DCP | Colour | 100min

當 69 歲的孝庭被 29 歲的復健師性侵,她勇敢報警,但對方聲稱一切 都是你情我願,整個司法系統也回應遲緩。舉證和調查困難重重,連孝 庭的記憶力都受到質疑,眾人心照不宣地想著「這怎麼可能」,只有欽 慕孝庭的東仁比她更鍥而不捨,而這卻帶來新的問題…… 南韓導演林善愛受社會案件啟發,揭露老年女性遭受性暴力其實遠多於 想像。本片不只著墨於案情和真相,更將角色刻畫入裡,少言婉約的孝 庭面對創傷,獨自打理自己,回頭梳理過往人生、尋找力量的過程叫人 心疼。導演以不疾不徐的語氣,淡淡說了一個近乎無聲的痛楚故事,直 指社會令人不安的深淵。 據報導統計,年長的性侵受害者只有 1% 成功提出控訴,正是這樣無法 說、不敢說的脆弱,讓她們更容易被盯上。「驅動我寫下這故事的,是 深深的無力感。」──林善愛

Hyo-jeong, a 69-year-old woman, is raped by a male nurse aide. She tells Dong-in, who lives with her, about it and reports to the police. However, only few people, including the police, are willing to believe her account. Most people question whether that handsome young man really would have done such a thing. Only Dong-in, who loves Hyo-jeong dearly, is trying to comfort her, easing her feeling of injustice but even he himself finds it difficult to believe her. Meanwhile, the male nurse aide claims that it was a consensual sexual relationship and the court rejects the warrant for his arrest. Now Hyo-jeong is up to a plan by herself.

2019 釜山影展 KNN 觀眾票選獎 KNN Audience Award, Busan IFF 2019 首爾獨立電影節 Seoul Independent FF DIRECTOR, SCREENPLAY 林善愛 LIM Sun-ae PRODUCER PARK Kwan-su, LEE Seung-bok CINEMATOGRAPHER Seh Rodrigo PARK EDITOR LEE Young-lim MUSIC KANG Min-kook SOUND KIM Suk-won CAST 藝秀晶 YE Su-jeong, 奇周峰 KI Joo-bong, KIM Jung-yeong, KIM Joong-ki, KIM Tae-hun PRINT SOURCE Finecut


�江�暖

75

中國 China | 2019 | DCP | Colour | 150min

導演試圖打造文人視角的風物誌,一如楊德昌與侯孝賢的家庭片,以四 季更迭為背景,內裡則如山水畫,任由人與事在景觀中開展。電影大玩 時間遊戲,折疊、重組與聲畫錯位,魔幻寫實般將不同的觀看視角解構 到一個平面;大量的長鏡頭如中國傳統卷軸畫緩緩舒展,橫移或豎移, 引導觀眾「游觀」,細細品味片中細節。有著時空無限的生機感,也如 河流途經各處,最終出海。

At her 70th birthday celebration, the aged mother of the Gu family suffers from a stroke, which precipitates her decline into dementia. The four brothers face crucial changes in their relationships to one another as they deal with their own family problems. Their destinies, linked by love and challenged by questions and dilemmas, unfold over the course of four seasons, as in an ancient Chinese scroll painting.

顧曉剛,1988 年出生於杭州富陽,畢 業於浙江理工大學,2016 年與 CNEX 合作《種植人生》。長篇系列電影《千 里江東圖》描繪當前江南市井群像, 分成三卷,卷一《春江水暖》榮膺坎 城影展影評人週閉幕片。

GU Xiaogang was bor n in Fuyang, Hangzhou in China. Dwelling in the Fuchun Mountains is his first feature. It was selected for the International Critics' Week at the 2019 Cannes and nominated for the Caméra d'Or.

2019 坎城影展影評人週 International Critics' Week, Cannes 2019 西寧 FIRST 青年電影展最佳劇情片、最佳導演 Best Narrative Feature, Best Director, Xining FIRST IFF 2020 鹿特丹影展 IFF Rotterdam DIRECTOR, SCREENPLAY 顧曉剛 GU Xiaogang PRODUCER 黃旭峰 HUANG Xufeng, 張群 ZHANG Qun, 李嘉 LI Jia, 宋珈菲 SONG Jiafei,

陳思羽 Suey CHEN, 寧宵宵 NING Xiaoxiao, 梁穎 LIANG Ying CINEMATOGRAPHER 俞寧輝 YU Ninghui, 鄧旭 DENG Xu EDITOR 劉新竹 LIU Xinzhu MUSIC 竇唯 DOU Wei SOUND 李丹楓 LI Danfeng, 馬聰 MA Cong CAST 錢有法 QIAN Youfa, 孫章建 SUN Zhangjian, 汪鳳娟 WANG Fengjuan, 孫章偉 SUN Zhangwei, 章仁良 ZHANG Renliang PRINT SOURCE Wild Bunch

FUTURE LIGHTS

元朝畫家黃公望以富春江為本繪製了《富春山居圖》,是歷代通判巡查 富陽時必訪的美景名勝。G20 峰會後,富陽躍升為杭州的行政區,又 為迎接 2022 年亞運會而如火如荼地建設中。《春江水暖》講述富春江 畔,四兄弟分四季輪流照顧中風後失智的母親,家族面臨各種考驗,隨 著四季遞嬗而如畫卷般徐徐展開。

06.27 SAT 華山 1 18:20 06.30 TUE 信義 13 13:10 07.04 SAT 信義 13 10:20

未來之光

Dwelling in the Fuchun Mountains


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76

未來之光

The Fever

FUTURE LIGHTS

06.25 THU 華山 2 12:00 06.27 SAT 華山 2 21:1 0 07.06 MON 華山 1 21:00

瑪雅.達林,1979 年出生於里約熱內 盧,電影工作者、視覺藝術家。畢業 於法國 Le Fresnoy 當代藝術學校、巴 黎第三大學碩士,曾參與古巴電影學 校的電影工作坊。紀錄片《Terras》 入選全球超過 40 個影展。

Maya DA-RIN is a filmmaker and visual artist. She earned a master's degree in Cinema and Art History from Sorbonne Nouvelle. The Fever premiered and won Best Actor and the FIPRESCI Prize at the 2019 Locarno Film Festival.

巴西、法國、德國 Brazil, France, Germany 2019 | DCP | Colour | 99min

為生計而棲身都市的中年巴西原住民,在妻子去世後,與小女兒相依為 命。日復一日的工作、有形無形的種族歧視,都令他身心俱疲,常在吵 雜的鋼鐵叢林中陷入瞌睡,做著故鄉雨林的美夢。城市裡出現了野獸出 沒的傳說,昔日的亞馬遜獵人卻已被文明同化,當小女兒告知將離家學 醫,嘴上說著支持的他,身體卻神秘地發燒了。 曾執導兩部亞馬遜原住民紀錄片的巴西導演瑪雅.達林,首部劇情長片 耗時六年。她拒絕常見的獵奇視角,將紮實的田調成果轉譯成一齣敘事 沉緩、卻有豐富層次的文化失根寓言。強烈的沉浸感設計,讓觀者有如 深陷一場熱帶幻夢。男主角本人為巫師,初次演戲就奪得盧卡諾影展最 佳男演員。

Manaus is an industrial city surrounded by the Amazon rainforest. Justino, a 45-year-old member of the indigenous Desana people, works as a security guard at the cargo port. Since his wife's death, his main company is his youngest daughter, who is leaving for her studies soon. As the days go by, Justino is overcome by a strong fever. During the day, he fights to stay awake at work. During the night, a mysterious creature follows his footsteps. Meanwhile, his brother's visit makes Justino remember the life in the forest, where he left twenty years ago. Between the oppression of the city and the distance of his native village in the forest, Justino can no longer endure an existence without place.

2019 盧卡諾影展最佳男演員、國際影評人費比西獎 Best Actor, FIPRESCI Prize, Locarno IFF 2019 芝加哥影展最佳導演 Best Director, Chicago IFF 2019 平遙電影節臥虎單元羅塞里尼榮譽最佳影片 Best Film of Roberto Rossellini Awards, Crouching Tigers, Pingyao IFF DIRECTOR 瑪雅.達林 Maya DA-RIN PRODUCER 瑪雅.達林 Maya DA-RIN, Leonardo MECCHI, Juliette LEPOUTRE SCREENPLAY 瑪雅.達林 Maya DA-RIN, Miguel SEABRA LOPES, Pedro CESARINO CINEMATOGRAPHER Bárbara ALVAREZ EDITOR Karen AKERMAN SOUND Felippe Schultz MUSSEL, Breno FURTADO, Romain OZANNE CAST Regis MYRUPU, Rosa PEIXOTO, Johnatan SODRÉ, Kaisaro JUSSARA BRITO, Edmildo VAZ PIMENTEL PRINT SOURCE Still Moving


Identifying Features 墨西哥、西班牙 Mexico, Spain | 2020 | DCP | Colour | 99min

Asian Premiere

06.26 FRI 信義 13 16:20 06.28 SUN 信義 13 15:40 07.05 SUN 華山 2 21:10

一位勇敢的女性與母親,為了孩子獨自踏上旅途,這是專屬於她的《奧 德賽》。隨著劇情及路景,時而忐忑、時而揪心、時而震驚無語,導演 從最敏感的國族移民問題、社會政治現況,談到家族與人之間的連結, 濃縮當今世上的各種議題,輔以《烈火焚身》般峰迴路轉的命運交織。

費南達.瓦拉德,1981 年出生於墨西 哥, 編 導 短 片《400 Bags》 於 多 項 國際影展入圍並獲肯定。其製作長片 《The Darkest Days of Us》 獲 翠 貝 卡及柏林影展支持;首部執導劇情長 片《下落》於 2020 年日舞影展首映, 並獲得觀眾票選獎、評審團劇本獎。

Magdalena sets out on a journey in search of her son, who disappeared en route to the US border. Travelling through the desolate towns and landscapes of today's Mexico, she meets Miguel, a young man recently deported from the United States, who is making his way home.

F e r n a n d a VA L A D E Z i s a M e x i c a n director and producer. A graduate of Centro de Capacitación Cinematográfica, her graduation short film, 400 Bags, was a finalist of the Student Academy. Identifying Features is her first feature.

The two accompany each other: Magdalena looking for her son and Miguel eager to see his mother again in a territory where victims and aggressors ramble together.

2020 日舞影展全球劇情片類評審團劇本獎 Special Jury Award for Best Screenplay, World Cinema Dramatic Competition, Sundance FF 2020 日舞影展全球劇情片類觀眾票選獎 Audience Award, World Cinema Dramatic Competition, Sundance FF 2020 維爾紐斯影展 Vilnius IFF DIRECTOR 費南達.瓦拉德 Fernanda VALADEZ PRODUCER Astrid RONDERO, 費南達.瓦拉德 Fernanda VALADEZ, Jack ZAGHA,

Yossy ZAGHA SCREENPLAY 費南達.瓦拉德 Fernanda VALADEZ, Astrid RONDERO CINEMATOGRAPHER Claudia BECERRIL EDITOR 費南達.瓦拉德 Fernanda VALADEZ, Astrid RONDERO, Susan KORDA MUSIC Clarice JENSEN SOUND Omar JUÁREZ CAST Mercedes HERNÁNDEZ, David ILLESCAS, Juan Jesús VARELA, Ana Laura RODRÍGUEZ, Laura Elena IBARRA, Xicoténcatl ULLOA PRINT SOURCE Alpha Violet

FUTURE LIGHTS

自從兒子說要跨越美墨邊界,去亞利桑那工作後,瑪蓮娜已經很久沒有 他的消息了。不久後,當局稱他已死,請她簽署相關文件。傷心欲絕的 她,不願在一無所知下放手,決定冒險穿越墨西哥,尋找關於兒子的線 索。路途遙遠又危險,甚至經過最黑暗暴力的猖狂之境,途中她巧遇被 美國遣返的米格,宛如母子般的兩人結伴同行,一齊面對人生與現實中 的難關。

亞洲首映

未來之光

下落

77


78 亞洲首映 Asian Premiere

未來之光 FUTURE LIGHTS

06.26 F R I 華山 2 17:10 06.28 SUN 華山 2 17:30 07.01 WED 中山堂 10:40

奇亞拉.坎帕拉,1987 年出生於義大 利。於米蘭大學主修哲學,後進入維 斯康堤電影學校學習紀錄片,完成作 品《Photofinish》。爾後參與多部義 大利電影製作,擔任製片及幕後人員。 首部劇情長片《愛你哞法度》為威尼 斯影展學院作品。

Chiara CAMPARA studied Philosophy and Documentary Cinema in Milan. Having worked as assistant director and producer, she also wrote and directed a number of documentaries, including Sotterranea and Tempting Promise.

�你哞�度 Lessons of Love

義大利 Italy | 2019 | DCP | Colour | 79min

30 歲的母胎單身魯蛇尤里,跟父親一起住在山裡遺世獨立的小村落, 以農林業維生,但他一點也不想過這種一成不變、單調到老死的生活。 一日,他在酒吧遇見脫衣舞孃阿卡達,覺得兩人很投緣的他,認為這次 總算可以脫單,這輩子第一次能掌握自己的人生!充滿希望的他決定搬 到都市,開展他的新戀情、新工作及新生活。 本片以小見大,以寫實對比手法暗喻當代世界繭居男與宅男的困境,既 想要穩定安逸、又渴求變化火花;不願主動踏出第一步,偏又覺得命定 孑然孤獨。機緣下的一見鍾情,開啟被延宕已久的青春期,欲以純真本 初之心覓真愛。在開始懂得傾聽自己,為自身作抉擇的一連串旅程洗禮 下,透過廣義的愛之教導,學到如何愛人愛己,並如鏡子般透過他人映 照自己,讓觀眾也透過角色的故事看見自己。

Yuri is 30 years old and has never had a girlfriend. He works with his father on a small farm in a depopulated mountain village he knows all too well - a world he has never really chosen. At a nightclub he has frequented since he was a boy, he meets Agata, a stripper, and finally sees the chance for a relationship with her. In an attempt to save himself from a life of solitude, Yuri takes the first decision in his life in the interest of his own wellbeing: he leaves his father and family and moves to the suburbs of a nearby city. His uncle offers him a job and the chance to imagine another form of existence.

2019 威尼斯影展 Venice FF 2020 伊斯坦堡影展 Istanbul FF DIRECTOR 奇亞拉.坎帕拉 Chiara CAMPARA PRODUCER Tancredi CAMPELLO, Damiano TICCONI SCREENPLAY Lorenzo FAGGI, 奇亞拉.坎帕拉 Chiara CAMPARA CINEMATOGRAPHER Giuseppe MAIO EDITOR Alice ROFFINENGO SOUND Alessio FORNASIERO CAST Leonardo LIDI, Alice TORRIANI, Giancarlo PREVIATI, Giovanni DE GIORGI PRINT SOURCE Wide Management


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79

英國 UK | 2019 | DCP | Colour | 87min

導演菲札爾.布利法首部劇情長片,靈感來自真實事件與媒體報導。影 片冷靜地凝視各種生活與人際相處的細節,從客廳餐桌、酒吧舞會,到 髮廊後院,勾勒出當代勞動階層的精神危機,尤其著眼於女性置身社群 中的情感與壓力。曾演出《3D 舞力對決》的妮可拉.柏利在本片飾演 露西,與飾演琳恩的新演員羅珊.史克林蕭有多場親密且張力十足的對 手戲。在這則帶有懸疑意味的警世寓言中,兩人表演不慍不火,伴隨旁 人如炙的目光,將觀眾推向道德判斷的曖昧地帶。

Lynn and Lucy are life-long best friends, their relationship as intense as any romance. Neither has ventured far from where they grew up. Lynn, who married her first boyfriend and whose daughter is fast growing up, is delighted when the charismatic, volatile Lucy has her first baby boy. Lucy, however, does not react to motherhood as Lynn expects. Soon, they find their friendship tested in the most extreme circumstances.

菲 札 爾. 布 利 法,1985 年 出 生 於 英 國萊斯特,現活躍於倫敦、巴黎和坦 吉爾,身兼編劇與導演。曾以《The Curse》、《Rate Me》入選日舞影展, 並兩度獲得坎城影展導演雙週 Illy 短 片獎。《琳恩與露西》為其首部執導 劇情長片,並獲英國獨立電影獎最佳 新導演提名。 Fyzal BOULIFA is a British writer-director based between London, Paris and Tangier. His short films, The Curse and Rate Me, both won the Illy Prize for Best Short Film at Cannes Directors' Fortnight. Lynn + Lucy is his debut feature.

2019 聖賽巴斯提安影展 San Sebastián IFF 2019 蘇黎世影展 Zurich FF 2019 倫敦影展 London FF DIRECTOR, SCREENPLAY 菲札爾.布利法 Fyzal BOULIFA PRODUCER Camilla BRAY CINEMATOGRAPHER Taina GALIS EDITOR 菲札爾.布利法 Fyzal BOULIFA, Taina GALIS MUSIC Piers MARTIN SOUND Tom HARBURT, Annamy BERTMARK CAST 羅珊.史克林蕭 Roxanne SCRIMSHAW, 妮可拉.柏利 Nichola BURLEY, Kacey AINSWORTH, Jennifer Lee MOON, Shaq B. GRANT PRINT SOURCE Charades

FUTURE LIGHTS

嗆辣無懼的露西,與樸實安分的琳恩相知相惜。琳恩和先生育有一女, 對街的露西則剛迎來第一個孩子。露西沉浸在新生兒的喜悅不久,家庭 生活的不安與隱憂卻逐漸浮現。兩個好友的情誼,在一樁樁意外事件和 鄰里關係的推波助瀾之下,面臨嚴峻考驗。

07.02 THU 華山 1 15:20 07.03 FRI 華山 2 18:30 07.07 TUE 華山 2 18:30

未來之光

Lynn + Lucy


80 亞洲首映 Asian Premiere

未來之光 FUTURE LIGHTS

06.25 THU 華山 1 19:00 06.27 SAT 華山 1 12:40 06.30 TUE 中山堂 17:10

梅斯.貝能堡,1989 年出生於荷蘭阿 姆斯特丹,身兼導演、演員、編劇。 2014 年,短片作品《Even Cowboys Get to Cry》入選西南偏南電影節。 2015 年以《Un creux dans mon coeur》 入選柏林影展新世代青少年單元。

Mees PEIJNENBURG studied at the Netherlands Film Academy, where he made his graduation film, Even Cowboys Get to Cry, which premiered at the 2014 Berlinale Generations. Paradise Drifters is his first feature film.

呼喊�落�堂 Paradise Drifters

荷蘭、西班牙、法國 Netherlands, Spain, France | 2020 | DCP | Colour | 85min

無家可歸的三個年輕人,因不同理由前往南歐闖蕩。堅定的克羅伊、暴 躁的羅倫佐、與安靜不語的尤瑟夫,三人的命運相交於邊陲之境,各自 的旅程看似漫無目的,心底卻都懷抱著獨立自主的期盼。然當他們逐步 迎向新生活之際,卻仍受到過去的陰影糾纏。置身多語且陌生的環境, 安身的家、安穩的愛情,都猶如奢求。 梅斯.貝能堡首部導演長片,以寫實的貼身攝影,描繪當代歐陸的無資 產青年,如何陷入一段段無盡的漂流與心緒,同時在低限的抉擇中,構 築、捍衛自身尊嚴。在主流社會裡,他們猶如被抹除了聲線,確切的身 影卻依然穿梭在都市的建築與邊陲空間中,置身於街頭的人流、空屋和 機構。片中白日簇亮的逆光,與夜晚隱微低彩的人造燈源,呼應了主人 翁跌宕起落的內心情感。靈動的畫面與剪裁、浮沉分合的片段,斷裂又 重建,宛如為當代青年的前景寫下動人的註腳。

Paradise Drifters is a sensitive portrait of the young homeless adults Chloe, Lorenzo and Yousef. Hoping for a different life, they meet by chance, leaving their hopeless situations behind and travelling together to Southern Europe. Living in the margins of society, they long and fight for love and affection. The trip starts as a sort of cat and mouse game between them. At first, they mistrust one another and each of them desperately pursues their own goal. The journey, that should lead them to fast money and thus new opportunities, turns out to be a hopeful and passionate search for humanity, relationships and security — and last but not least for mutual affection and love.

2020 鹿特丹影展 IFF Rotterdam 2020 柏林影展 Berlinale DIRECTOR, SCREENPLAY 梅斯.貝能堡 Mees PEIJNENBURG PRODUCER Iris OTTEN, Sander VAN MEURS, Pieter KUIJPERS CINEMATOGRAPHER Jasper WOLF EDITOR Imre REUTELINGSPERGER MUSIC Ella VAN DER WOUDE, Juho NURMELA SOUND

Tijn HAZEN CAST Jonas SMULDERS, Tamar VAN WANING, Bilal WAHIB PRINT SOURCE Orange Studio


拾�

81

哥倫比亞、比利時、巴西、法國 Colombia, Belgium, Brazil, France 2019 | DCP | Colour | 137min

紀錄片導演尼可拉斯.林肯.吉爾首部劇情長片,以熟練的紀錄片沉穩 節奏,深入哥倫比亞內戰初期的瘋狂世界,將無法化解的內戰創傷,化 作一趟沿著河水淌流的靈魂之旅。素人演員卡瓦利多.羅伯獨挑大樑, 看著攝影機靜靜尾隨倖存者的堅毅身軀,隨著馬格達萊納河靜默漂流, 走過雨林惡地、驚險的戰場,將憂傷攤開,惦量靈魂的重量。 「我刻意以有機、低調的方式創作,不過度描繪角色,就是希望不讓戰 爭看起來太『娛樂』。」──尼可拉斯.林肯.吉爾

Colombia, on the banks of Magdalena Medio, 2002. José returns home deep in the forest after a long fishing night to discover that paramilitary forces killed his two sons, Dionisio and Rafael, and threw their bodies into the river. José begins a lonely journey to retrieve and provide a proper burial for his boys in order to prevent their tormented souls from being stuck in this world. Aboard his canoe, José discovers the magic of a country torn into pieces.

尼可拉斯.林肯.吉爾,1973 年出生 於哥倫比亞,畢業於波哥大大學經濟 系,於布魯塞爾高等藝術學院研讀電 影學位,後完成紀錄片「方言三部曲」 (Campo hablado),入選山形紀錄 片影展、巴黎真實影展等。《拾魂》 為其首部劇情長片,深刻描繪哥倫比 亞近 20 年的內戰創傷。 Nicolás RINCÓN GILLE studied in Belgium at the INSAS after receiving a BA in Economy in Bogotá. He had directed three short films and an award-winning documentary trilogy. Valley of Souls is his first fiction feature.

2019 釜山影展 Busan IFF DIRECTOR, SCREENPLAY 尼可拉斯.林肯.吉爾 Nicolás RINCÓN GILLE PRODUCER Hector ULLOQUE FRANCO, Manuel RUIZ

MONTEALEGRE CINEMATOGRAPHER Juan SARMIENTO G. EDITOR Cedric ZOENEN SOUND Edson SECCO CAST Arley DE JESÚS, 卡瓦利多.羅伯 Carvallido LOBO PRINT SOURCE Best Friend Forever

FUTURE LIGHTS

2002 年,哥倫比亞極右派總統上台,舉國陷入內戰,漁夫荷西夜釣歸 返,臨到家門卻回不得,眼睜睜看著武裝游擊隊軍人將家人帶走。一夜 過去,荷西和倖存的女兒相擁而泣,毅然踏上苦尋兩個失蹤兒子的旅 程,沿著沉默的河水,尋找生死不明的家人們……

06.25 THU 華山 1 16:00 06.29 MON 華山 1 16:00 07.01 WED 華山 1 20:30

未來之光

Valley of Souls


��二十來�門

82

未來之光

You Will Die at Twenty

FUTURE LIGHTS

06.25 THU 華山 2 14:20 06.29 MON 華山 2 15:50 07.01 WED 華山 2 18:30

蘇丹、法國、埃及、德國、挪威、卡達 Sudan, France, Egypt, Germany, Norway, Qatar | 2019 | DCP | Colour | 105min

阿穆賈德.阿布.阿拉拉,蘇丹籍導 演兼製片,出生與成長於杜拜,青少 年時期曾回蘇丹生活五年。於阿聯酋 大學主修電影,現致力於扶持蘇丹電 影產業。2009 年與蘇丹影視工廠合 作舉辦工作坊,帶領年輕人拍攝電影, 並籌辦蘇丹獨立電影節。

蘇丹影史上第八部劇情長片,故事原型來自流亡作家齊亞達(Hammour Ziada)的短篇故事,加入導演青少年時期在蘇丹的生活經驗,描摹因 政治動盪而造成的死亡,無所不在。即便眼前的世道黯淡,影片仍呈現 出當地豐沛多彩的生命能量。導演以此片獻給為蘇丹人民爭取權益而犧 牲的鬥士們,也是共同擘畫自由未來的一份誠摯邀請。

Amjad Abu ALALA is a Sudanese director and producer. Currently residing in the UAE, he studied media at the Emirates University. He has made several short films and You Will Die at Twenty is his first feature.

Province of Aljazira in present-day Sudan. When Muzamil was born, a prophecy by the holy man in the village predicts that he will die when he is twenty years old. Muzamil's father cannot stand the doom and leaves home. Sakina, as a single mother, raises her son with overprotection.

歡慶的祈福儀式在不祥的預兆中終止──男孩被告知活不過 20 歲。父 親離家出走;擔憂的母親獨力扶養男孩,自此一身黑衣,為生來已被宣 告死期的兒子哀悼。死亡的陰影籠罩這一家,被笑稱「死亡之子」的男 孩從小面對同儕的歧視,因著靈媒的一句話,生命蒼涼無光。他恐懼接 觸外界的事物、恐懼改變、恐懼愛人。將滿 20 歲那一年,一位見識廣 闊的攝影師,為他帶來電影與音樂,一個豐沛的世界終於打開。

Encouraged by local elders, the overprotective Sakina relents and allows her son to study the Quran with the other children his age. And in this newly found freedom, Muzamil finds friends, enemies, love, and tempters, though what he truly seeks is a sense of the present and a chance at the future.

2019 威尼斯影展未來之獅獎 Lion of the Future, Venice FF 2019 多倫多影展 Toronto IFF 2020 鹿特丹影展 IFF Rotterdam DIRECTOR 阿穆賈德.阿布.阿拉拉 Amjad Abu ALALA PRODUCER Arnaud DOMMERC, Hossam ELOUAN, Ingrid Lill HØGTUN, Michael HENRICHS SCREENPLAY Yousef IBRAHIM, 阿穆賈德.阿布.阿拉拉 Amjad Abu ALALA CINEMATOGRAPHER Sébastien GOEPFERT EDITOR Heba OTHMAN MUSIC Amine BOUHAFA SOUND Rana EID CAST Mustafa SHEHATA, Islam MUBARAK, Mahmoud ELSARAJ, Bunna KHALID, Talal AFIFI, Amal MUSTAFA, Moatasem RASHID PRINT SOURCE Pyramide International


亞洲稜鏡 ASIAN PRISM

幻愛 Beyond the Dream


84 國際首映

International Premiere

亞洲稜鏡 ASIAN PRISM

06.29 MON 華山 2 18:20 07.01 WED 信義 14 14:40 07.03 F R I 華山 2 20:40

周冠威,1979 年生,畢業於香港演藝 學院。曾執導《嫲嫲的房門》、《樓 上傳來的歌聲》、《一個複雜故事》 等片,並獲多個影展獎項肯定。2016 年執導《十年-自焚者》,同年《十 年》榮獲香港電影金像獎最佳電影。

Kiwi CHOW graduated from the Hong Ko n g Ac a d e my o f Pe r fo r m i n g A r ts and directed his first feature film, A Complicated Story, in 2013. In 2016, he co-directed Ten Years, which won Best Film at the 2016 Hong Kong Film Awards.

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Beyond the Dream 香港 Hong Kong | 2019 | DCP | Colour | 118min

有思覺失調病史的小學教師阿樂,與善心女孩欣欣一起解救病友阿玲。 日久生情而交往的兩人,卻被欣欣的父親阻止,被迫結束戀情,此時阿 樂卻遇上外貌與欣欣極為相似的心理輔導員葉嵐。葉嵐需要研究個案以 完成學位,渴望愛情的阿樂自願成為研究對象,並對葉嵐產生了非一般 的情愫。兩人的禁戀遊走在虛幻與真實之間,曲折離奇如幻似真。 周冠威延續短片《樓上傳來的歌聲》,以浪漫主義為基調,強調努力去 愛和被愛的溫暖甜蜜。曾超齡演出《返校》女老師的主角蔡思韵,此次 一人分飾兩角,柔弱清麗與堅韌多情的兩種性格分線成立,最後交織輝 映。影壇新人劉俊謙飾演憨直內斂的阿樂,發病時的暴戾張力十足,成 功使觀者同感無助,心碎動容。兩人極具挑戰的演出分獲香港電影評論 學會影后與影帝殊榮。

Lok is a recovering schizophrenic who yearns for love. One day, he meets the young and beautiful Yan and instantly falls in love with her. Just when he hesitates over whether he should tell her about his illness, he has a relapse and becomes delusional. Little does he know that she is a psychological counsellor who has a hidden agenda. The pair develop a relationship that goes beyond their wildest dreams.

2019 香港亞洲電影節 Hong Kong Asian FF 2020 香港電影評論學會最佳男演員、女演員、推薦電影 Best Actor, Best Actress, Recommended Film, Hong Kong Film Critic Society Award 2020 香港電影導演會年度大獎最佳新演員 Best New Performer, Hong Kong Film Directors' Guild Award DIRECTOR 周冠威 Kiwi CHOW PRODUCER 曾麗芬 Winnie TSANG, 蔡廉明 Andrew CHOI, 曾俊榮 Felix TSANG, 周冠威 Kiwi CHOW SCREENPLAY 曾俊榮 Felix TSANG, 周冠威 Kiwi CHOW CINEMATOGRAPHER 司徒一雷 SZETO Yat Lui EDITOR 梁汶姍

Emily LEUNG Man Shan MUSIC 林鈞暉 LAM Kwan Fai, 陳玉彬 Julian CHAN SOUND 杜篤之 TU Duu-chih, 吳書瑤 WU Shu-yao CAST 劉俊謙 LAU Chun Him, 蔡思韵 Cecilia CHOI, 鮑起靜 Nina PAW Hee Ching, 潘燦良 POON Chan Leung PRINT SOURCE 高先電影有

限公司 Golden Scene Company Limited


不丹是��

85

不丹 Bhutan | 2019 | DCP | Colour | 109min

07.04 S AT 華山 2 12:00 ★ 07.08 WED 華山 2 19:40

然而,村民熱情的款待,與孩子們對未來滿滿的想望與期盼,一點一滴 改變了他的心意。不丹雖然是全球最幸福之處,但受過良好教育的新 一代卻不願留下,國家的未來該何去何從?導演真摯反映當地的純樸真 誠,邀請從未見過攝影機的當地素人擔任演員。甚至致力奉行當地的環 保精神,使用太陽能電力拍攝,將鮮為人知的景像投射於大銀幕。山上 生活的艱困,轉化為神秘的精神力量,恍若一首悠揚而起的古老情歌。

A young teacher in modern Bhutan, Ugyen, shirks his duties while planning to go to Australia to become a singer. As a reprimand, his superiors send him to the most remote school in the world, in a village called Lunana, to complete his service. He finds himself exiled from his Westernized comforts after an arduous 8-day trek just to get there. There he finds no electricity, no textbooks, not even a blackboard. Though poor, the villagers extend a warm welcome to their new teacher, but he faces the daunting task of teaching the village children without any supplies. He wants to quit and go home, but he begins to learn of the hardship in the lives of the beautiful children he teaches and to be transformed through the amazing spiritual strength of the villagers.

ASIAN PRISM

出生在不丹首都的老師烏金,在訓練的最後一年被指派到最偏遠的喜馬 拉雅村莊魯納納教書。一心想到澳洲築夢當歌手的他,歷經九彎十八 拐、頂著刺骨冷風才成功上山,卻發現更悲慘的是當地不僅窮困,還沒 有任何現代化設施,甚至連上課的黑板都沒有,烏金才剛到就萌生退 意……

亞洲稜鏡

Lunana: A Yak in the Classroom

巴沃邱寧多傑,1983 年出生於不丹, 畢業於美國羅倫斯大學。曾出版攝影 集《看見神聖》,曾任宗薩欽哲仁波 切《舞孃禁戀》助理兼劇照師,後擔 任《看見神聖:旅途中的光影》製片。 首部編導長片《不丹是教室》於倫敦 影展首映。

Pawo Choyning Dorji is a writer, photographer and filmmaker from Bhutan. In 2016, he produced Hema Hema: Sing Me a Song While I Wait, which premiered at the Locarno. Lunana: A Yak in the Classroom is his directorial debut.

2019 倫敦影展 London FF 2019 釜山影展 Busan IFF 2020 棕櫚泉影展觀眾票選獎 Audience Award, Best of the Fest Audience Vote, Palm Springs IFF DIRECTOR, SCREENPLAY 巴沃邱寧多傑 Pawo Choyning Dorji PRODUCER 巴沃邱寧多傑 Pawo Choyning Dorji, 項紹琨 Steven XIANG,

賴梵耘 Stephanie LAI, 賈虹琳 JIA Honglin CINEMATOGRAPHER 丹增晉美 Jigme Tenzing EDITOR 顧曉芸 KU Hsiao-yun MUSIC 胡帥 HU Shuai SOUND 杜篤之 TU Duu-chih, 江宜真 CHIANG Yi-chen CAST 希拉布多吉 Sherab Dorji, 烏顏諾布蘭迪普 Ugyen Norbu Lhendup, 凱兒丹拉姆古龍格 Kelden Lhamo Gurung, 佩姆扎姆 Pem Zam PRINT SOURCE 海鵬影業有限公司 Swallow Wings Films Co., Ltd.


�友��

86

亞洲稜鏡

Moonlit Winter 06.25 THU 信義 13 18:00 ▲ 07.04 SAT 信義 13 16:00 ▲

南韓 South Korea | 2019 | DCP | Colour | 106min

ASIAN PRISM

冬天是雪地的季節、思念的季節,也是旅行的季節。18 歲的西寶意外 發現一封信,是母親允熙埋藏 20 年的秘密。既是過往的青春,也是說 不出口的遺憾。西寶策畫了一趟小旅行,要帶母親去北海道,尋找允熙 思念的「那個人」,隔著海峽的兩人為了當年的別離,始終彼此折磨著。

任大炯,1986 年出生於南韓,畢業於 漢陽大學。2016 年首部長片《Merry Christmas Mr. Mo》獲釜山影展奈派 克獎、釜山影評人協會最佳新導演獎, 並提名大鐘獎最佳新導演。

LIM Dae-hyung is a Korean director. Moonlit W inter, his second feature, premiered as the closing film at the 2019 BIFF. His first feature, Merry Christmas Mr. Mo, won Best New Director at the Busan Film Critics Awards.

南韓新銳導演任大炯以前作書寫父子關係,這回則聚焦母女,以及父權 壓抑下的女性情誼。主演電視劇《夫妻的世界》的金喜愛飾演的允熙, 與前女團成員金素慧有著精彩的母女對手戲,透過節制、溫婉恰到好處 的敘事,將青春的遺憾描摹為宿命核心,再藉著點滴步伐,和緩地與彼 此和解,彷彿長吁一口氣,感嘆緣份雖淺,情感卻深。 「在遵循儒家的亞洲國家,屬於弱勢的 LGBTQ 族群一直不被保護。」 ──任大炯

When high school student Sae-bom finds a mysterious letter written to her mother, she does not foresee the unravelling of an age-old secret carefully guarded by her mother Yoon-hee whose unfortunate circumstances have put her through a life of silence and dutifulness, an expected role of a Korean woman. In an effort to cheer up her recently divorced mother, Sae-bom concocts a plan to take Yoon-hee on a trip to Otaru, a quiet and snowy town in the north of Japan, bringing her closer to the sender of the letter.

2019 釜山影展 Busan IFF DIRECTOR, SCREENPLAY 任大炯 LIM Dae-hyung PRODUCER PARK Doo-hee CINEMATOGRAPHER MOON Myung-hwan EDITOR PARK Se-young MUSIC KIM Hae-won SOUND LEE Sung-jin CAST 金喜愛 KIM Hee-ae, 中村優子 NAKAMURA Yuko, 金素慧 KIM So-hye, 成愉頻 SEONG Yu-bin PRINT SOURCE 可樂藝術文創股份有限公司 Cola Films Co., Ltd.


一日�

87

印度、荷蘭 India, Netherlands | 2020 | DCP | Colour | 78min

改編自短篇小說,印度新銳導演亞倫.卡迪克這回聚焦南印度哥印拜陀 的穆斯林日常。低調去劇情化的情節,搭配細緻的現實環境音,以殘破 頹敗卻美感充盈的取景,寫實呈現市井小民對日益高漲的極端民族主義 的無能為力,只能噤聲求生的黑暗日常。看似歲月靜好的平凡光景,實 為暗潮洶湧、撼人心魄的如夢之夢。

Nasir is a gentle man with a hard life. In spite of it all, Nasir remains optimistic. He writes love letters to his wife and declaims his poetry, which silences even the most idiotic loudmouth. Nasir is also a Muslim in India, where Hindu nationalism has taken on ever more virulent forms in recent decades. A candid expose of life as a second-class citizen living in a toxic intolerant society on the edge of inevitable explosion.

亞倫.卡迪克,1992 年生於印度。17 歲 開 始 創 作 短 片,2016 年 首 部 劇 情 長片《The Strange Case of Shiva》 入選鹿特丹影展未來之光單元。2020 年《一日談》再次入選鹿特丹影展。 現以南印度哥印拜陀為創作基地,備 受國際矚目。

Arun KARTHICK is an independent filmmaker based in Coimbatore, Tamil Nadu. His debut feature, The Strange Case of Shiva was screened in Bright Future at the 2016 IFFR. Nasir was in competition at the 2020 IFFR.

2020 鹿特丹影展奈派克獎 NETPAC Award, IFF Rotterdam 2020 紐約新導演 新電影影展 New Directors / New Films DIRECTOR, SCREENPLAY 亞倫.卡迪克 Arun KARTHICK PRODUCER Mathivanan RAJENDRAN CINEMATOGRAPHER Saumyananda SAHI EDITOR Arghya BASU SOUND Gautam NAIR CAST Koumarane VALAVANE, Sudha RANGANATHAN, Yasmin RAHMAN, Sabari PRINT SOURCE Stray Dogs

ASIAN PRISM

納西的生活樸實無華,身居陋室,家徒四壁;上有病弱老母,下有智能 障礙的姪兒;唯有鶼鰈情深的愛妻,是慘澹日子裡的一道光。身為大城 裡的小眾穆斯林,為求生活溫飽,他放下宗教上的精神堅持,打著販賣 印度教傳統服飾紗麗的零工、忍著老闆言語上的輕蔑訕笑、避著生活周 遭那股日漸躁動的宗教仇視,就是他這個小人物的日常求生法則。

06.29 MON 華山 2 21:00 07.01 WED 信義 13 16:30 07.03 F R I 信義 13 17:10 07.07 TUE 華山 2 16:10

亞洲稜鏡

Nasir


���林

88

亞洲稜鏡

Not in This World

ASIAN PRISM

06.25 THU 華山 2 06.29 MON 信義 13 07.05 SUN 信義 13 07.08 WED 信義 13

20:00 12:10 18:00 12:10

朴庭凡,1976 年出生,畢業於延世大 學,曾擔任李滄東的副導,首部長片 《The Journals of Musan》便獲釜山 影展新潮流獎、國際影評人費比西獎、 鹿特丹影展金虎獎等國際獎項肯定。 常自編自導並領銜主演,影像風格寫 實,擅長處理社會議題,呈現南韓社 會現實而殘酷的一面。 PARK Jung-bum's feature debut, The Journals of Musan, won the New Currents and the FIPRESCI Awards at the 2010 BIFF. His third feature, Height of the Wave, won Special Jury Prize at the 2019 Locarno Film Festival.

南韓 South Korea | 2019 | DCP | Colour | 167min

少女智秀懷有歌手夢,唱 RAP 是她抒發不滿、對抗世界的方式,然而 家中生意陷入困境,加上父母的不諒解、同伴的訕笑,讓智秀憤而離 家,投向街頭幫派的暗黑之道。失業少年,被黑道追殺走投無路;撿 拾回收物的神秘男子,家裡堆滿公仔和素描畫,那是他滿載夢想的太空 艙,但沒人欣賞。徘徊社會底層的人們,難以翻身的命運,滿腔憤恨無 以發洩。他們被逼入社會邊緣,匯聚在郊外的一處營地,在這裡不論身 家背景,唯有鐵著心腸與人為敵,才能為自己掙得一方生存之地。 擅長處理人性陰暗面的導演朴庭凡,以犀利的視角切入世人早已毫無知 覺的庸俗日常,揭露南韓社會在光鮮亮麗的物質表面下,那早已崩壞的 殘酷現實。逃家中輟的少年少女們相互欺壓、弱弱相殘,只為了確保自 己能存活下去。宛若當代《蒼蠅王》般驚世駭俗,對罪惡的露骨描繪依 稀可見金基德的身影。漫漫無盡的暗夜之後,前方是否還看得見光明?

Belonging to nowhere, Jung-cheol lives alone in the deep mountains like a non-existent being. One day, he hears a song that Ji-soo sings in a town square. Attracted to her voice, Jung-cheol follows her and observes her everyday life. When Jung-cheol tries to help her out of a difficult situation, Ji-soo suddenly disappears with Jung-cheol's money. Desperate Jung-cheol looks for her everywhere only to find that now she belongs to somewhere that Jung-cheol cannot bail her out - a brothel.

2019 釜山影展 Busan IFF 2019 首爾獨立電影節 Seoul Independent FF 2020 鹿特丹影展 IFF Rotterdam DIRECTOR, SCREENPLAY 朴庭凡 PARK Jung-bum PRODUCER OH Ji-yoon CINEMATOGRAPHER KIM Jong-sun EDITOR JO Hyeon-ju MUSIC Gary & Syn SOUND STUDIO IN BLOOM CAST 朴庭凡 PARK Jung-bum, MOON Ye-jin, PARK Yeong-deok, PARK Jong-yeong PRINT SOURCE M-Line Distribution


�得�,不�得你

89

日本 Japan | 2019 | DCP | Colour | 99min

經典的記憶喪失元素,搭配唯美純情的故事,導演中川龍太郎以朦朧 的自然光、靈巧輕快的配樂和節制的表演,將影片提升到另一個層次。 本片探討記憶之於人的重要性,不只是「記不記得」,而是作為關係 的證明及構成彼此的世界。和煦而溫暖的影像,讓難以明說的言語, 被月夜、田堤與咖啡的香氣圍繞。甫從乃木坂 46 畢業的「Misa 前輩」 衛藤美彩,挑大樑出演療癒系女神,一雙大眼訴盡她的堅強和無助。

Young bioarchaeologist Yukisuke is attracted to a girl called Koyomi. She runs a small stand which sells taiyaki pastry and Yukisuke is a regular customer. However, Koyomi has a car accident on a rainy day after they go out together and is rushed to the hospital. She wakes up with short term memory loss, showing that she cannot remember anything beyond the present day. Yukisuke tries to stay close to her as before but the lack of collective memory starts to stagger him.

18:40 13:20 14:00 19:40

中川龍太郎,1990 年生於神奈川,25 歲即以《August in Tokyo》、《Tokyo Sunrise》 入 選 東 京 影 展。2017 年 獲 莫斯科影展國際影評人費比西獎的《櫻 花下我記得》及 2019 年《湯屋裡我記 得》,皆入選台北電影節,被法國電 影筆記讚為日本新浪潮導演。

NAKAGAWA Ryutaro was born in Kanagawa, Japan in 1990. His Summer Blooms won the FIPRESCI Jury Prize at the 2017 Moscow Film Festival and his work has been regarded by 'Cahiers du Cinéma' as part of a new wave.

2019 釜山影展 Busan IFF 2019 東京 FILMeX 影展觀眾票選獎 Audience Award, Tokyo FILMeX IFF DIRECTOR 中川龍太郎 NAKAGAWA Ryutaro PRODUCER 藤村駿 FUJIMURA Takashi, 木ノ内輝 KINOUCHI Hikaru SCREENPLAY 梅原英司

UMEHARA Eiji, 中川龍太郎 NAKAGAWA Ryutaro CINEMATOGRAPHER 塩谷大樹 SHIOYA Hiroki EDITOR 田巻源太 TAMAKI Genta MUSIC 高木正勝 TAKAGI Masakatsu SOUND 小林孝輔 KOBAYASHI Kosuke CAST 仲野太賀 NAKANO Taiga, 衛藤美彩 ETO Misa PRINT SOURCE GAGA Corporation

ASIAN PRISM

靦腆的行助每天從研究室下班,都到小曆的小店買熱呼呼的鯛魚燒, 拿在手上吃得津津有味。兩人一天天聊著,彼此越靠越近,未料一場 車禍讓小曆記憶力受損,從此只記得一天的事情。將小曆接回家住的 行助決定好好照顧她,但「無法累積情感」帶來的考驗,他們真的準 備好了嗎?

06.26 FRI 信義 13 06.28 SUN 信義 13 07.06 MON 中山堂 07.07 TUE 中山堂

亞洲稜鏡

Silent Rain


想再�見你

90

亞洲稜鏡

Voices in the Wind

ASIAN PRISM

06.29 MON 中山堂 19:20 07.01 WED 中山堂 15:50 07.05 SUN 中山堂 13:50

日本 Japan | 2020 | DCP | Colour | 139min

諏訪敦彥,1960 年出生於日本廣島。 首部長片《愛情二重奏》以無劇本即 興手法驚豔影壇,後以《二分之一的 母親》拿下坎城國際影評人費比西獎。 《現代離婚故事》入選法國電影筆記 年度十大佳片。現為東京藝術大學教 授。

本片以日本岩手縣那座逾三萬人造訪的「風之電話亭」為藍本,由西島 秀俊、三浦友和、西田敏行帶領女主角走上自我修復的公路之旅。諏訪 敦彥運用擅長的即興拍攝手法,捕捉女主角流瀉的情感,以及真實與虛 構之間的微妙距離。

SUWA Nobuhiro was born in Hiroshima in 1960. He began making films while he was still a student in the Department of Design at Tokyo Zokei University. In 1999, his M/Other won the FIPRESCI Prize at the Cannes.

The Great East Earthquake hit the northern part of Japan in 2011 and the tsunami took Haru's entire family when she was nine years old. Now she is 17 and lives with her aunt in Hiroshima, far away from her hometown, Otsuchi. When coming home from school one day, she finds her aunt lying unconscious on the kitchen floor. Looking at her aunt in a coma in the hospital, Haru suddenly has a feeling that she might lose everyone she loves and an urge to hitchhike back to Otsuchi.

17 歲的小春在 311 震災後成為全家唯一的倖存者,由阿姨接到廣島相 依為命。某天放學回家,小春發現阿姨倒地不起,災難與意外兩度震碎 了她的日常。「為什麼只有我活了下來?」失魂的小春四處飄盪,空虛 的眼中映照出人們遭遇各種現實重擊的悲傷。冥冥之中,命運引領她往 千里外的故鄉,那座位於岩手縣的濱海山丘上,相傳能與已故親友傾訴 思念的純白電話亭。

「這次我拍攝的既非虛構,亦非紀實。我認為自己拍下了稍縱即逝、 『無可取代』的瞬間。」──諏訪敦彥

2020 柏林影展新世代青少年單元國際評審團特別提及 Special Mention, International Jury, Generation 14 Plus, Berlinale DIRECTOR 諏訪敦彥 SUWA Nobuhiro PRODUCER 宮崎大 MIYAZAKI Dai, 長澤佳也 NAGASAWA Yoshiya SCREENPLAY 狗飼恭子

INUKAI Kyoko, 諏訪敦彥 SUWA Nobuhiro CINEMATOGRAPHER 灰原隆裕 HAIBARA Takahiro EDITOR 佐藤崇 SATO Takashi MUSIC 世武裕子 SEBU Hiroko SOUND 山本タカアキ YAMAMOTO Takaaki CAST モトーラ世理奈 Serena MOTOLA, 西島秀俊 NISHIJIMA Hidetoshi, 西田敏行 NISHIDA Toshiyuki, 三浦友和 MIURA Tomokazu PRINT SOURCE Open Sesame Co., Ltd.


明日 · 台灣 FORWARD TAIWAN

哈囉少女 Girl's Revenge


92 世界首映 World Premiere

明日.台灣

07.02 THU 中山堂 19:00 ★

FORWARD TAIWAN

王威翔,1985 年出生於台北,曾擔任 《賽德克.巴萊》助理導演,後於《天 台》、《畫框女人》等片擔任副導演。 2015 年執導紀錄片《夢想海洋》,短 片《肇事者逃逸》曾入圍 2019 年台 北電影獎最佳短片,懸疑類型技法成 熟,為頗受矚目的新生代導演之一。

Weica WANG directs commercials and micro movies for the top 100 Taiwanese companies. His latest short, Hit and Run, was nominated for Best Short Film at the 2019 Taipei Film Awards. Girl's Revenge is his fiction-feature.

���女 Girl's Revenge

台灣 Taiwan | 2020 | DCP | Colour | 81min

神秘寡言的轉學生允蘅,初來乍到就被捲入暗潮洶湧的女孩心機;想角 逐校園親善大使的可茜,想方設法建立自己的姐妹勢力;率真直言的 力加,看不慣可茜恩威並施的手段,挺身而出的同時卻也陷入鬥爭的漩 渦。一場生日派對後,被偷拍的性愛影片在網路上流傳,流言蜚語四 起,瀰漫校園的訕笑與霸凌讓青春友情變了樣。埋藏在影片背後的是什 麼樣不堪的秘密?為好友打抱不平的同時,又伸張了何等正義?青春的 敢愛敢恨,將在這群青少年的身上留下何種印記? 潛力新星王渝屏、陳怡叡、姚亦晴、劉主平擔綱演出,犀利刻畫校園內 常見的同儕霸凌議題,呈現渴望被他人認可、在群體中尋覓歸屬感的青 少年們,其自我認同與人際關係如何在一次次事件中粉碎又重生。精準 指出當傳播媒介與技術俯拾可得時,直播、偷拍、肉搜,網路社群的輿 論與認同,正是生活中壓力來源的幫凶。

At a birthday party, a sex video is filmed without consent and Ren Li-cha is the girl in the video. The clip circulates among the students and Li-cha is mocked and bullied as a result. Wu Yun-heng, a transfer student, went to the party with Li-cha. As she cannot stand how much Li-cha is suffering, she is determined to find out about the truth behind the incident, fighting for her best friend. However, as she gets closer to the truth, she is about to shatter the peace in school...

DIRECTOR 王威翔 Weica WANG EXECUTIVE PRODUCER 連奕琦 LIEN Yi-chi, 陳玉立 Yuli CHEN PRODUCER 陳亮材 Leo CHEN, 李佳燕

LEE Chia-yen SCREENPLAY 姜素秋 Blanche CHIANG CINEMATOGRAPHER 張熙明 CHANG Hsi-ming EDITOR 蘇珮儀 Milk SU, 潘客印 PAN Ke-yin MUSIC 楊琬茜 YANG Wan-chien SOUND 劉小草 Agnes LIU, 曾雅寧 Ning TSENG CAST 王渝屏 WANG Yu-ping, 陳怡叡 Yuri CHEN, 姚亦晴 Shiny YAO, 劉主平 Pii LIU, 林輝瑝 Mike LIN, 宋柏緯 Edison SONG PRINT SOURCE 台北双喜電影發行(股)公司 A Really Happy Film (Taipei) Co., Ltd.


開�喇�

93

台灣 Taiwan | 2019 | DCP | Colour | 77min

從田調到完成的三年間,劇組多次入藏,從川藏、青海、印度到尼泊爾, 經歷多次沒水沒電的刻苦時日,最終的影像濾淨批判或美化,出落成樸 素的形式。像是灶上的大水壺,只是與信眾促膝席間,靜聽來回拋接的 問答與關懷。 盧彥中:「與其說它是一部影片,其實更像一場儀式,只是如今從雪域 深山,走進了電影銀幕。」

Xiongtuo is a small village situated in the remote Tibetan region in Sichuan Province, China. By word of mouth, many believers have heard of the "boiling-water Lama" in the village. The Lama lives in a wooden house built by his followers, and every day, countless people from the major Tibetan regions travel across the mountains to visit him to seek the solutions to the problems in their lives.

FORWARD TAIWAN

來自四面八方的信眾舉家跋山涉水,湧進四川名為熊托的小村子裡,他 們跪在開水喇嘛前,求問死去親人下落、頭暈疼痛、坐牢兒子去從,與 前妻復婚的指望。各種疑難雜症不分科別地簇擁在小室中。當灶上的水 煮開了,沸騰的解方與燒燙的祝福,混合著喇嘛口裡咕噥的咒語,澆灑 在自己的裸身上,糾結的心才寬鬆下來。

07.02 THU 信義 13 14:40 07.04 SAT 信義 13 13:30 ★ 07.06 MON 信義 13 18:10 ★

明日.台灣

The Boiling Water LAMA

盧彥中,1984 年出生於台灣嘉義。創 作以影像與聲音為主,作品多聚焦於 本土特色人物、野史,與體制外人物 個體之精神狀態。現以台北為基地, 拍攝地涵括東亞各國。

Adiong LU was born in 1984 in Chiayi, Taiwan. He was a violinist in a symphony orchestra and a guitarist in a rock band. Now he works as an independent documentary filmmaker, music composer and exchange residential artist overseas.

They ask him questions such as 'Where did my deceased relatives go', 'What is the cause of my headache', 'What should I do if my son is sent to jail' or 'Is it still possible for me to remarry my ex-wife?' Meanwhile, the water on the stove comes to the boil, and the believers wait outside, taking off their shirts one by one and getting ready to hear the answers from the Lama...

2019 馬賽影展 FID Marseille 2020 台灣國際紀錄片影展 Taiwan IDF DIRECTOR, PRODUCER, SCREENPLAY, EDITOR 盧彥中 Adiong LU EXECUTIVE PRODUCER 施悅文 Jessie SHIH CINEMATOGRAPHER

林盟山 Mountain LIN MUSIC 許志遠 Point HSU SOUND 周震 CHOU Cheng CHARACTER 思朗恩珠仁波切 Silang Enchu Rinpoche, 普巴降措仁波切 Pupa Chiangtso Rinpoche, 沖翁其繞仁波切 Chungweng Chijao Rinpoche, 盧瑪蒂 Martie LU PRINT SOURCE 財團法人公 共電視文化事業基金會 Taiwan Public Television Service Foundation


買��賣��

94

明日.台灣

Housing 07.01 WED 信義 14 17:20 ★ 07.04 SAT 信義 14 16:40 ★ 07.08 WED 信義 14 13:50

FORWARD TAIWAN

林謙勇,埔里南方澳人。從批判的理 論獲得啟發,關心變遷的都市地景, 他認為要向世界發話,必先出賣自己。 首部作品《建設未完成》記錄淡水地 方選舉,第二部長片《買房子賣房子》 描繪台灣房地產的動態版圖以及中產 階級心態。

Showtsai LIN started his pursuit in film when he went to university in Tamsui, Taipei. His work is inspired by critical t h e o r i e s a n d t h e ra p i d l y c h a n g i n g urban landscape. Housing is his second feature-length documentary.

台灣 Taiwan | 2020 | DCP | Colour | 115min

房仲業者李老闆,推崇「用成家的心,圓投資的夢」,閒暇時打高爾夫 山林走縱。小資族徐先生胼手胝足,以小房換大房來呼應愛情,真情流 露更擄獲芳心。割愛良屋美宅過程雖不盡人意,美意卻也成全了買家一 家團聚,更重建了自己與家人的緊密關係。剛過六十大壽的林桑,年輕 時從宜蘭北上白手起家,退休後含飴弄孫、遛狗為樂,喜歡台式裝潢美 學風格,堅信河景第一排的視野能精準反映過去,期盼昔日榮耀能再推 進。慧眼識珠的投資經歷,也牽動著後代子孫看待時局的人生哲學。 林謙勇繼《建設未完成》後,再度深入聚焦房地產議題。透過鏡頭跟隨 父親看房的日常,以房地產買賣為引,昇華至世代流變的眾生相。筆觸 寫意照看自家,雙向浮現台灣當代不動產的景況動向,分秒刺激,點滴 動人。

In retirement, sixty-year-old Mr. Lin spends his time strolling along the alleys and lanes in Taipei, holding his toddler grandson’s hand or walking his dog. He finds it in such a standstill, like a dark tunnel with no light at the end. Mr. Lin, who has a landscape painting hung in his living room, is fond of the traditional Taiwanese style interior design. He is also convinced that a house by the riverside reflects better of his migration from Yi-lan to Taipei...

2020 台灣國際紀錄片影展 Taiwan IDF DIRECTOR, EDITOR 林謙勇 Showtsai LIN EXECUTIVE PRODUCER 郭菀玲 KUO Wan-ling PRODUCER 蔡正芸 TSAI Cheng-yun, 林庭萱

LIN Ting-hsuan CINEMATOGRAPHER 林謙勇 Showtsai LIN, 林哲序 LIN Zhe-xu MUSIC 史旻玠 SHIH Min-chieh SOUND 周震 CHOU Cheng CHARACTER 林春長 LIN Chun-chang, 李育寬 LI Yu-kuan, 徐承立 XU Cheng-li, 林哲序 LIN Zhe-xu PRINT SOURCE 財團法人公共電視文化事業基金會 Taiwan Public Television Service Foundation


明日 · 台灣 FORWARD TAIWAN

新創紀實短片 ALTERNATIVE DOCUMENTARY SHORTS

地洞 The Tunnel


新創紀實短片 Alternative Documentary Shorts 06.30 TUE 信義 14 17:00 ★ 07.03 FRI 信義 13 19:10 ★ 07.06 MON 信義 13 12:00 ★

�亮�的戀�故事 Before the Dawn

亞洲首映 Asian Premiere

台灣 Taiwan | 2020 | DCP | Colour | 30min

�洞

The Tunnel

世界首映 World Premiere

台灣 Taiwan | 2020 | DCP | Colour | 30min

96

明日.台灣:新創紀實短片 FORWARD TAIWAN - ALTERNATIVE DOCUMENTARY SHORTS

漫遊在城市迷霧中,尋找如幻影般的人。梭巡 1930 年代東京高圓寺的舊地圖,視線時而清晰、時而模糊 地圈劃過往記憶,拼湊著所剩無幾的往昔材料。孤獨 的靈魂在喃喃自語,在他曾寄宿的那戶人家、曾走過 的浪人街,在街坊鄰居的口耳相傳裡。來自台灣的天 才作家翁鬧,謎樣的生平與日本求學生活,宛若破曉 之際晃過人間的一道幻影。

兩男一女來到軍事遺址的地洞進行試鏡,互不認識的 他們要飾演一家人。一桌二椅擺放在潮濕陰冷的隧道 中,演員們忙著研讀劇本、剖析角色的不幸遭遇,卻 越講越往心裡去。地洞外的創作者永鴻忙著為不同劇 組勘景、客串臨時演員。他在找一個理想的家,一個 劇本裡沒有過勞早逝的母親,沒有又賭又嫖、長期家 暴母親的「那個人」的家。

Eighty years ago, Weng Nao, a Taiwanese young man wrote essays and novels, documenting his life in Koenji, Tokyo. He dies on the eve of the Pacific War, and his death remains a mystery. Eighty years later, the directors come to Koenji to look for the forgotten truth.

This short documentary begins with the script. Its author is also the protagonist who works as location scout. The story is about the author himself, his mother who died before her time due to overworking and "that man" who abused his mother.

2020 克萊蒙費宏短片影展 Clermont-Ferrand ISFF 1

2

林君昵,1983 年生,以《淹煙》入選克萊蒙費宏短片 影展國際競賽。 黃邦銓,1988 年生,以《回程列車》與《去年火車經 過的時候》接連獲得克萊蒙費宏短片影展實驗競賽首 獎,後者更榮獲 2019 年台北電影獎百萬首獎。 Chunni LIN's shor t film, Drown in Smoke, was in competition at the Clermont-Ferrand. HUANG Pang-chuan won Grand Prize twice at the Clermont-Ferrand for Retour and Last Year When the Train Passed By. DIRECTOR, CINEMATOGRAPHER 林君昵 Chunni LIN, 黃邦銓

HUANG Pang-chuan EXECUTIVE PRODUCER 郭菀玲 GUO Wuan-ling PRODUCER 王威人 Uilin Wang, 石黑美和 ISHIGURO Miwa EDITOR 木々邦生 KIKI Kunio MUSIC 王榆鈞 WANG Yu-jun SOUND 周震 CHOU Cheng CAST 由井営太郎 YUI Eitaro, 狩野俊 KARINO Suguru, 伊藤茂雄 ITO Shigeo, 神藤友衛 SHINDO Tomoe, 大石功 OISHI Isao PRINT SOURCE 財團法人公共電視文化事業基金會 Public Television Service Foundation

許慧如,1975 年生,畢業於台南藝術大學音像紀錄研 究所,現為影像工作者。作品關注生與死,曾以紀錄 片《黑晝記》入選 2009 年瑞士真實影展國際競賽。 2017 年執導短片《臨時工》入圍金馬獎最佳劇情短 片、台北電影獎。 HSU Hui-ju is a filmmaker. Focusing on life and death, her works were selected for the Golden Horse Awards and the Yamagata International Documentary Film Festival.

DIRECTOR 許慧如 HSU Hui-ju EXECUTIVE PRODUCER 郭菀玲

GUO Wuan-ling CINEMATOGRAPHER 東先生 CHI Chun-ming EDITOR 江偉華 CHIANG Wei-hua SOUND 黃年永 Eddie HUANG CAST 施永鴻 SHIH Yong-hong, 宋德威 SUNG Te-wei,

賴俊亘 LAI Jyun-syuan, 劉威言 LIU Wei-yan, 鍾宸瑄 CHUNG Chen-hsuan PRINT SOURCE 財團法人公共電視文化事 業基金會 Public Television Service Foundation


同場放映 Combined Screening

����

KILLING STATE, being killed

世界首映 World Premiere

台灣 Taiwan | 2020 | DCP | Colour, B&W | 30min

���的奇��� A Cat May Look at a King

世界首映 World Premiere

台灣 Taiwan | 2020 | DCP | Colour | 25min

97

「 那 之 後 的 世 界, 是 一 片 的 混 沌, 萬 物 不 復 有 名 字。」──林聖文

林聖文,獨立製片工作者。因參與製作《歸來的人》, 而與趙德胤導演展開長期合作,包含《翡翠之城》、 《灼人秘密》等,擔任後期剪輯、製片、副導等工作。 LIN Sheng-wen graduated in Psychology from Fu Jen Catholic University. He made his first feature in Myanmar in 2011 and has worked in independent filmmaking since.

DIRECTOR, SCREENPLAY, CINEMATOGRAPHER, EDITOR, SOUND 林聖文 LIN Sheng-wen EXECUTIVE PRODUCER 郭菀玲

GUO Wuan-ling MUSIC 音速死馬 Sonic Deadhorse, 林聖文 LIN Sheng-wen PRINT SOURCE 財團法人公共電視文化事業基金 會 Public Television Service Foundation

The graffiti of a cat is seen everywhere in the small town in Tamsui. The artist is a middle-aged man always dressed in volunteer firefighter uniform. Driving a van, he delivers gas cylinders to the residents while maintaining the vivid colours in the graffiti.

鄭治明,畢業於台北藝術大學電影創作學系碩士班。 作品關注都市發展,2013 年《拆不掉的家》入選高 雄電影節國際短片競賽,2016 年《當大學變成公園》 入選南方影展。 CHENG Chih-ming obtained a master's degree from the Department of Filmmaking at Taipei National University of the Arts. Currently, he works as an independent documentary filmmaker.

DIRECTOR, CINEMATOGRAPHER, EDITOR 鄭治明

CHENG Chih-ming EXECUTIVE PRODUCER 郭菀玲 GUO Wuan-ling PRODUCER 若思影像工作室 NOUS Film, 林莫凡 LIN Mo-fan MUSIC 鄭各均 CHENG Ke-chun SOUND 蔡恩禮 TSAI En-li PRINT SOURCE 財團法人公共電視文化事業基金會 Public Television Service Foundation

FORWARD TAIWAN - ALTERNATIVE DOCUMENTARY SHORTS

An independent filmmaker and a social activist, Wen tries to stop a politician's car. The car dashes ahead, and he gets stuck on the bonnet. He wants to die of protesting, but when another guy jumps onto the bonnet, he starts to think about how to help both parties survive.

載著瓦斯桶的小貨車穿梭淡水街頭,所到之處總會出 現黃色「咪咪貓」。店老闆每天扛著沉重的鐵桶,攀 爬窄庂樓梯間,出入淡水老宅,將他畫在牆面、轉角 和電線桿處的貓咪塗鴉送進社區。城市的另一頭,咪 咪貓與廣告舉牌工人一起,佇立在淡海新市鎮建案林 立的地景中。嶄新都市拔地而起,咪咪貓隨著老淡水 的消逝,逐漸淡去。

明日.台灣:新創紀實短片

阿文,一位多年來刻意低調的社會運動者,2014 年 意外成為新聞主角,在媒體的大力放送下,至此從無 名的狀態解封。當人們對新聞事件的詮釋、想像和解 讀自四面八方而來,偶然不再是偶然;當有權者輕易 操弄著人們如何「想像」,反抗者也必須解放對於反 抗的想像,化身為真正的無名。


明日 · 台灣 FORWARD TAIWAN

台灣短 SHOW TAIWAN SHORTS

日正當中 Midday


台灣短 SHOW I Taiwan Shorts I 06.27 SAT 信義 14 12:00 ★ 06.30 TUE 信義 14 20:10 ★ 07.02 THU 信義 14 20:00 ★

���,��順�,再見 世界首映

一狗

台灣 Taiwan | 2020 | DCP | Colour | 6min

台灣 Taiwan | 2019 | DCP | Colour | 25min

Farewell

World Premiere

亞洲首映 Asian Premiere

Caninity

99

Mr. Ma works in the customer service at the JH Bank. One day he gets a call from Ms. Chen. He deals with her request as he should, following the procedures. However, it seems that Ms. Chen is more than just a client to Mr. Ma...

A young Taiwanese man visits a remote escort-karaoke bar for the first time while trying to heal the trauma he suffers and hiding his sense of inferiority as well as jealousy. When he meets an escort there, he begins to understand the complexity of desire and exploitation.

2019 莫斯科短片影展 Moscow Shorts ISFF 2020 雅典Psarokokalo短片影展 Athens ISFF Psarokokalo

舒偉傑,畢業於台北藝術大學劇場藝術創作研究所表 演組,近期參與電影《范保德》、創作社劇團《少年 金釵男孟母》等演出。本片為自編、自導、自演之首 部作品,現以導演及演員雙棲身分為目標。 SHU Wei-chieh obtained a master's degree in acting from Taipei National University of the Arts. He now works as actor and director.

DIRECTOR, SCREENPLAY 舒偉傑 SHU Wei-chieh PRODUCER

蘇耀庭 SU Yao-ting CINEMATOGRAPHER 張哲魁 Jack Kuei EDITOR 陳霆瑋 Eddie CHEN SOUND 鄧宇晴 TENG Yu-ching CAST 舒偉傑 SHU Wei-chieh, 王渝婷 WANG Yu-ting, 張閔淳 CHANG Min-chun, 陳霆瑋 Eddie CHEN PRINT SOURCE 舒偉傑 SHU Wei-chieh

廖崇傑,1991 年生於台南新營,畢業於銘傳大學廣 電學系,2016 年進入芝加哥帝博大學攻讀電影藝術 碩士,在美期間參與獨立製片與戲劇工作。曾執導 作 品《444》、《 單 戀 》,2017 年 以 紀 錄 片《My Adoption》獲倫敦獨立電影獎最佳學生紀錄短片。 Eagle LIAO is currently doing an MFA programme on directing at DePaul University in Chicago. He has made several shorts and documentaries about adoption, fertility and prostitution.

DIRECTOR, SCREENPLAY 廖崇傑 Eagle LIAO PRODUCER 林彥廷 LIN Yen-ting CINEMATOGRAPHER 簡強 CHIEN Chiang EDITOR 杜怡門 TU Yi-men SOUND 林晉德 LIN Jin-de CAST 錢立訢 CHIEN Li-hsin, 許瑩美 HSU Ying-mei, 源一聖 Ethan WANG, 鄭永岳 ZHENG Yung-yueh, 吳宏修 WU Hong-xiu PRINT SOURCE 廖崇傑 Eagle LIAO

SHOW I FORWARD TAIWAN - TAIWAN SHORTS I

狐群狗黨的男人們,拿著剛到手的一筆錢前往相熟的 小吃部,然而這夜晚卻彷彿只屬於一狗。初來乍到 的他,有個模樣生澀的 33 號女孩陪伴,一室裊裊搖 曳的聲色犬馬,十分魔幻,浪漫情懷也迎面而來。 此刻的一狗,心裡卻仍思念著遠方的小琪,Eagle 啊 Eagle,究竟是霸氣的老鷹?還是落魄的自我?

明日.台灣:台灣短

任職銀行客服人員的馬哥,經驗豐富,如句末語助詞 般流暢的一句「謝謝您,祝您順心,再見」顯示了他 的專業與溫度。這一日,一名「陳小姐」來電,電話 那頭聲線平緩,態度有禮,電話這頭的馬哥卻莫名地 心神不寧,不斷閃神……。在結束通話之前,馬哥能 否恢復專業,好好說再見?


06.27 SAT 信義 14 12:00 ★ 06.30 TUE 信義 14 20:10 ★ 07.02 THU 信義 14 20:00 ★

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成長於窮困的單親家庭,16 歲的永睦性格壓抑,跨欄 是他唯一的情緒宣洩出口,身邊無人在意他的熱情與 夢想。原本是跨欄常勝軍的他,上了高中卻因身形限 制,連最基礎的「三步一欄」也難以完成,遑論再以 校隊身分去比賽,儘管他努力練習毫不懈怠,夢想似 乎仍遙不可及。高中畢業之前,永睦究竟能否跨出挫 敗低谷,並跨越人生的困頓難關?

失業的兒子探望獨居的母親,許久未見的兩人,不著 邊際地揣度彼此的近況,家人間的關愛,總難好好地 說出口。母親對孩子的愛是義無反顧的慷慨,而孩子 對母親的眷戀卻常拙於表達,一句「媽,我很好」的 背後是千絲萬縷的溫柔與逞強。影后呂雪鳳、羅能華 精準詮釋當代社會的親子關係──物換星移,有一種 愛是亙久不變。

16-year-old Allen won countless games in hurdling in middle school. However, his height limits his performance and he fails to join the school team, a chance to turn professional. Although Allen has been practising as hard as possible, can Allen defy his destiny before graduation?

An unemployed son visits his mother who lives alone. Having been away from home for a while, a sense of distance and alienation is all that is left between them. Nevertheless, they keep saying, 'I'm fine', to each other as neither of them wants to worry the other.

2020 鮮浪潮國際短片節 Fresh Wave ISFF

2020 鮮浪潮國際短片節 Fresh Wave ISFF

陳淦熙,出生於香港,就讀於台北藝術大學電影研究 所。他長期往返港台工作,擔任多部短片編導,作品 《若男》曾獲第十屆鮮浪潮國際短片節大獎、最佳導 演及最佳編劇。

王子杰,生於緬甸北撣邦地區果敢,畢業於台灣藝術 大學應用媒體研究所。曾任蔡明亮電影《郊遊》副導, 長期與張作驥合作,編導經驗豐富。首部長片《滾弄》 曾入選 2016 年台北電影節國際新導演競賽。

CHAN Kam Hei is a Hong Kong director and screenwriter. His short film, Conditioned, won Best Film, Best Director and Best Screenplay in the Local Competition Section at the 2015 Fresh Wave.

WANG Z J was born in Myanmar. A graduate of National Taiwan University of Arts, his first feature, Not Burma Anymore, was in the International New Talent Competition at the 2016 Taipei Film Festival.

DIRECTOR, SCREENPLAY 陳淦熙 CHAN Kam Hei PRODUCER

DIRECTOR 王子杰 WANG Z J PRODUCER 高文宏 KAO Wen-hung

盛子毅 SHENG Ziyi CINEMATOGRAPHER 陳瀚恩 CHAN Hon Yan EDITOR 朱威 CHU We MUSIC 吳欣穎 SiNg WU SOUND 林延融 LIN Yan-rong CAST 胡智強 HU Chih-ciang, 陳雪甄 Vera CHEN, 陳柏文 Nat CHEN PRINT SOURCE 鮮浪潮電影節有限公司 Fresh Wave Film Festival Limited (Fresh Wave)

SCREENPLAY 葉家辰 YEH Chia-chen CINEMATOGRAPHER

This Is Not the End 100

香港、台灣 Hong Kong, Taiwan 2020 | DCP | Colour | 26min

A Fresh Start

台灣 Taiwan | 2020 | DCP | Colour | 10min

明日.台灣:台灣短 SHOW I FORWARD TAIWAN - TAIWAN SHORTS I

許之駿 HSU Chih-chun, 張晟越 CHANG Cheng-yueh EDITOR 陳厚廷 CHEN Hou-ting, 王子杰 WANG Z J MUSIC 林尚德 LIN Shang-te, 曾韻方 TSENG Yun-fang SOUND 王裕雅 WANG Yu-ya CAST 羅能華 Ronan LO, 呂雪鳳 LU Hsueh-feng PRINT SOURCE 財團法人桂田文化藝術基金會 Kuei Tien Culture & Art Foundation


同場放映 Combined Screening

�馬魚 Zebrafish

世界首映 World Premiere

台灣、美國 Taiwan, USA | 2020 | DCP | Colour | 14min

台灣短 SHOW II Taiwan Shorts II

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The mountain remains

世界首映 World Premiere

台灣 Taiwan | 2020 | DCP | Colour | 16min

101

全片使用幽暗的色調與內斂寫實的手法,表現看似細 心照料的家庭與學校,仍有不見光的角落。男主角樸 實到位的詮釋,一舉一動更添哀愁。

「填補了勞役缺口卻成為山靈,這樣一種存在、不存 在的對比,只求在島上徒留片刻、為了生存,其實在 外地工作,也是為了回家。」──曾威量 Running from north to south, the vastness of the Central Mountain Range stretches law enforcement thin and promises shelter for fleeing migrants. As dawn breaks, a man and a woman wait for their contact but a run-in with the police forces them to flee abruptly.

2019 美國國家評論協會年度學生榮譽獎 Sudent Grant Award National Board of Review

盧子安,出生於台灣新竹,畢業於文藻外語大學傳播 藝術系、紐約市立大學電影系藝術創作碩士。2013 年編導首部短片《你好吉敏》,第二部短片《斑馬魚》 獲頒美國國家評論協會年度學生榮譽獎。

曾威量,出生於新加坡,畢業於南洋理工大學傳播學 院、台北藝術大學電影創作碩士班。短片作品巡迴柏 林影展等國際影展,首部劇情長片計畫入選坎城影展 電影基金會工作坊、都靈電影工作坊。

Bruce LU graduated from the City College of New York MFA Film program and received the Student Grant Award from National Board of Review for his graduate thesis film, Zebrafish.

CHIANG Wei Liang was born in Singapore and is now based in Taiwan. Having made several acclaimed shorts, he is currently developing his first feature at the Cinéfondation Résidence.

DIRECTOR, SCREENPLAY, EDITOR 盧子安 Bruce LU PRODUCER

DIRECTOR, SCREENPLAY, EDITOR 曾威量 CHIANG Wei Liang

梁耿斌 Greg LIANG CINEMATOGRAPHER 龔小磊 GONG Xiaolei MUSIC 盧子杰 James LU SOUND 量子創意影音有限公司 Quantum Media Design. Co. CAST 何智仁 HO Jr-ren, 張文易 CHANG Wenyi, 許容華 HSU Jung-hua, W 洧澤 W-Wei Tse, 陳恩甄 CHEN En-chen PRINT SOURCE 盧子安 Bruce LU

PRODUCER 廖述寧 Kiwi LIAO, 張琨 CHANG Kun, 許懷民 Kerry

HSU, 賴偉傑 LAI Wei Jie CINEMATOGRAPHER 程詳芸 Belle CHENG SOUND 高偉晏 R.T KAO CAST 普拉潘孟通.衍詹 Prapamonton EIAMCHAN, Yoga PRATAMA, 姚淳耀 YAO Chun-yao, Wissanu LIKITSATHAPORN PRINT SOURCE 曾威量 CHIANG Wei Liang

SHOW II FORWARD TAIWAN - TAIWAN SHORTS II

Ting-an often gets bullied at school. For a biology presentation, he brings his beloved pet zebrafish to school but loses it to the bullies. He speaks about his feelings for the fish at the presentation. Later when burying it under a tree, Ting-an begins to understand the meaning of "courage".

天色迷濛的黎明時分,身懷六甲的外籍女子與車手被 執勤員警攔下,沒有盡頭的山路追逐於焉展開。鏡頭 長期探進移工生存處境的曾威量,《行山》與 VR 作 品《山行》對照參看,展現同一故事的可造性與不同 魅力。

明日.台灣:台灣短

善良內向的男孩廷安,在學校老是被霸凌,也沒人挺 身相救。愛他的父母成天吵個不停,負面情緒長期累 積,讓廷安對生活漸感失望,唯有斑馬魚能為他晦暗 的生活帶來片刻救贖。


07.01 WED 信義 14 20:30 ★ 07.05 SUN 信義 13 15:00 ★ 07.06 MON 信義 13 15:10 ★

��品

The Sculpture 102

亞洲首映 Asian Premiere

德國、台灣、中國 Germany, Taiwan, China 2020 | DCP | B&W | 29min

明日.台灣:台灣短

法國總統馬克宏在瓦加杜古大學宣告,將歸還非法擁 有的非洲文化遺產;多哥共和國的米亞國際非洲藝術 館出口,放著華人館長與多哥總統的合影;馬蒂斯和 畢卡索在非洲雕塑中,感應到原始強大的力量;中國 明朝的古世界地圖將非洲納入版圖,卻在鄭和下西洋 後斷了聯繫……。東方地緣政治與西方殖民歷史不斷 並行交織,黑白照片中浮現的,究竟是不是真實的非 洲圖像?

SHOW II FORWARD TAIWAN - TAIWAN SHORTS II

The Sculpture, an experimental documentary consisting of performance and photographs, focusses on the new collection of African art in the National Museum of China in Beijing. The film attempts to explore the meaning of museums and the geopolitical relations between Asia, Africa and Europe.

日正當中 Midday

世界首映 World Premiere

台灣 Taiwan | 2020 | DCP | Colour | 18min

正午時分,一對年輕男女在森林深處的廢墟裏午睡。 遠方聲音逐漸逼近,兩個身穿警察制服的男人闖入, 他們的私密聚會嘎然而止…… 《迎向邊疆公路》導演王逸鈴以獨特影像風格,在寫 實場景中,尋覓神秘的意境。透過一鏡到底手法、兩 段式故事結構,巧妙串起一則循環辯證。 「本片試著回歸電影的本質,與觀眾一同開啟另一種 想像與對話關係。」──王逸鈴 At midday, a stretch of woods, a concrete building, a young man and a young woman; the sound in the distance is looming in as it will soon wake them up.

2020 鹿特丹影展 IFF Rotterdam

致穎,1985 年生於台北,畢業於台北藝術大學,後 進入柏林藝術大學就讀,擅長視覺藝術創作及藝術評 論報導書寫。作品曾展出於各大國際藝術展,與格雷 戈爾.卡斯帕合導之短片《多哥咖啡》曾入選 2018 年柏林影展論壇延展單元。 Musquiqui Chihying is an artist based in Berlin and Taipei. A member of the art group "Fuxinghen Studio" and music band "Mosquilephant", he works in installation art, drawing and video.

王逸鈴,畢業於台灣藝術大學電影學系,2015 年首 部短片《夜襲》入圍金穗獎、台灣國際女性影展,隔 年短片《迎向邊疆公路》更入選坎城影展電影基石單 元、台北電影獎等。 WANG Yi-ling graduated from the Department of Motion Picture at National Taiwan University of Arts. Her works were selected for many film festivals, including the Cinéfondation at the Cannes.

DIRECTOR, SCREENPLAY, EDITOR 致穎 Musquiqui Chihying

DIRECTOR, PRODUCER, SCREENPLAY 王逸鈴 WANG Yi-ling

PRODUCER 致穎 Musquiqui Chihying, 格雷戈爾.卡斯帕

CINEMATOGRAPHER 蔡維隆 TSAI Wei-long SOUND

Gregor KASPER CINEMATOGRAPHER 盧卡斯.布埃諾.邁亞 Lucas BUENO MAIA MUSIC, SOUND 沈森森 SHEN Sum-sum PRINT SOURCE 西裝文化媒體 Xīzhuāng Culture & Media

澎葉生 Yannick DAUBY CAST 王念雹 WANG Nien-pao, 林羽葶 LIN Yu-ting, 徐華謙 SYU Hua-cian, 楊奇殷 YANG Chi-yin PRINT SOURCE 王逸鈴 WANG Yi-ling


同場放映 Combined Screening

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Lake on the mountain

世界首映 World Premiere

台灣 Taiwan | 2020 | DCP | Colour | 21min

���碼 Mosaic

世界首映 World Premiere

台灣 Taiwan | 2020 | DCP | Colour | 19min

103

It is a story about the father-son relationships the director experienced in his childhood. Relationships between family are like the mist; one can see it but cannot touch it. Also, it is like a ship that carries memories sailing in the river of life and death.

郭昱辰,畢業於台灣藝術大學應用媒體藝術研究所。 擅於透過不同媒材組合,賦予作品多元的視覺想像。 短片《雲消霧散》獲 LEXUS 新銳影展最佳導演獎, 並入選金馬電影學院,參與短片《我有一支槍》共同 導演、剪輯。 KUO Yu-chen graduated from the Department of Material Arts and Design and the Graduate School of Applied Media Arts of National Taiwan University of Arts. He has made a number of short films. DIRECTOR, SCREENPLAY, EDITOR 郭昱辰 KUO Yu-chen

Kuang is flagged by the school's security system for posting sensitive phrases on the Internet and as a penalty, his face is pixelated. His girlfriend is the only one who stands by him. Consequently, she gets punished as well, but Kuang doesn't have the courage to save her.

丁啟文,現就讀北京電影學院研究所。劇本作品《他 們等待的那個果陀》曾榮獲第二十屆台北文學獎舞台 劇本首獎,並由故事工廠改編為舞台劇。亦曾以《我 的兒子,你們的情人》入圍文化部優良電影劇本。 TING Chi-wen graduated from the Department of Radio and Television at National Chengchi University. Currently, he is studying at Beijing Film Academy and working as a screenwriter.

DIRECTOR, SCREENPLAY 丁啟文 TING Chi-wen PRODUCER

PRODUCER 蘇意惠 Celin SU CINEMATOGRAPHER 張心意

柯沛岑 KO Pei-tsen CINEMATOGRAPHER 廖鏡文 Mirror LIAO

Adriane CHEUNG MUSIC 陳宥任 CHEN Yo-rain SOUND 張易婷 Mei CHANG Yi-ting CAST 朱梓豪 ZHU Zi-hao, 冉竣文 JAN Chun-wen, 高騰飛 GAO Teng-fei, 游龍玉 YU Lung-yu, 吳來旺 WU Lai-wang PRINT SOURCE 郭昱辰 KUO Yu-chen

EDITOR 黃美玲 WONG Mei Leng MUSIC 鄭昭元

CHENG Chao-yuan SOUND 黃志龍 Jack CAST 李晨鳴 Cory LEE Guo-chuen, 周耘石 ZHOU Yun-shi, 董譯蔚 DONG Yi-wei, 劉婧 LIU Jing, 梁爽 LIANG Shuang PRINT SOURCE 丁啟文 TING Chi-wen

SHOW II FORWARD TAIWAN - TAIWAN SHORTS II

「家人間的情感是難以被抹滅且無法分割的,尤其是 父子間的情感。沒人生來懂得作為一個父親,也沒人 生來懂得作為一個兒子。」──郭昱辰

在二次元發表「不安全字詞」,而在人間落得臉孔被 國家機器打上馬賽克懲處的男子,試著擊鼓鳴冤卻沒 成功,反倒累得唯一相挺的紅顏知己也劫數難逃,淪 落同樣「面目全非」的慘狀。偏偏男子肩無擔當又自 掃門前雪,不顧眾人的鄙視訕笑,轉身撇下佳人的一 片真心,無情地火速逃離。當「刑期」屆滿,等著男 子的會是解碼後的光明未來,或是場黑白無聲的人間 迫害?取材自比戲劇更荒謬的現實素材,新銳導演丁 啟文將現實刻寫成一刀見血的警世寓言。

明日.台灣:台灣短

擊打山壁的浪,漾起漣漪的湖面,隨著嗶聲起落的心 脈,腳步聲迴盪的診間。床榻與床榻之間,生命流 轉,時光推移。枯山水拉出圈,世間的秩序隱隱浮現; 山間裡的神秘雲霧,彷彿那可視卻不可碰觸的關係界 線。乘著浪的思念,船,在生命的洪流中,徐緩地渡 化一切。


當代精選 WORLD CINEMA

曼哈頓戀舞曲 Port Authority


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105 亞洲首映 Asian Premiere

挪威 Norway | 2019 | DCP | Colour, B&W | 84min

導演利用女主角分不清楚幻想與現實、不斷錯頻的性格,幽默講述眾人 平常把體育英雄供奉為女神男神,但在重磅腥聞洗版之際,又被至親好 友一腳踢開的窘境。對偽善、角色扮演和鎂光燈下非黑即白的指控有更 廣泛的反思。在愁雲慘霧中一不留神,又有運動員、電視節目或歷史醜 聞被簡潔冷冽高級酸的對白,開了幾個雙關玩笑,完全不辜負觀眾對北 歐社交距離的刻板印象。

A satirical and thematically sensitive drama-comedy about a celebrated, Norwegian star athlete, who after a doping scandal has a whole nation turn against her. The publicly loved and qualified professional cyclist Kimberly choses, after a finished career, to reveal her previous use of doping. The revelation shocks the Norwegian sports world, and Kimberly is portrayed as a villain and loses both reputation and sponsors. What makes things worse is that Kimberly does not seem to show enough remorse. Jannicke Systad Jacobsen's dark comedy 110% Honest takes us behind the scenes of elite sports and highlights not least the obtuse relationship the public and the media have towards star athletes.

15:00 16:40 14:30 19:00

雅妮克.賈考森,1975 年生,挪威著 名編劇、導演。曾就讀捷克國家電影 學院、挪威奧斯陸大學與英國倫敦國 際電影學院。2012 年以《艾瑪好色》 獲得挪威亞曼達獎。

Jannicke Systad JACOBSEN is a Norwegian writer and director based in Oslo. She studied directing at FAMU and made her feature film debut, Turn Me On, Dammit!, in 2011. 110% Honest was selected for the Göteborg Film Festival.

2020 哥特堡影展 Göteborg FF DIRECTOR, SCREENPLAY 雅妮克.賈考森 Jannicke Systad JACOBSEN PRODUCER Isak EYMUNDSSON CINEMATOGRAPHER Nils BREMDAL-VINELL EDITOR Jon Endre MØRK, Marta SÆVERUD MUSIC Peder Capjon KJELLSBY SOUND Hugo EKORNES CAST Nader KHADEMI, Agnes KITTELSEN, Silje SALOMONSEN, Kjersti TVETERÅS, Espen Klouman HØINER PRINT SOURCE Norwegian Film Institute

WORLD CINEMA

在過去的六年中,前職業自行車選手金柏莉.卡爾森一直是挪威自行車 聯會的藍鑽級領袖。她在記者會上坦承,整個職業生涯中都持續使用了 禁藥,以求亮眼佳績。她以為藉由公開可信度 110% 的真相,能獲得大 眾的諒解與自我救贖,殊不知這場記者會是一切厄運的開始,令她的工 作、聲譽與家庭從此落入深淵,彩色的人生不得不變黑白。

06.26 FRI 華山 2 06.27 SAT 華山 2 07.02 THU 華山 2 07.07 TUE 華山 1

當代精選

110% Honest


106 亞洲首映 Asian Premiere

當代精選

�是我��

A Perfectly Normal Family

WORLD CINEMA

06.26 FRI 華山 1 16:20 06.28 SUN 華山 1 10:10 07.04 SAT 華山 1 18:30

丹麥 Denmark | 2020 | DCP | Colour | 97min

瑪魯.雷曼,1988 年出生於荷蘭,畢 業於哥本哈根大學文學系、英國國家 電影電視學院導演系,身兼電影導演、 演員。十多歲便開始演藝生涯,演出 多 部 電 影 和 電 視 劇, 更 曾 以《Hush Little Baby》入圍丹麥奧斯卡。

荷蘭新銳導演瑪魯.雷曼從自身經驗出發,直率剖析經歷複雜家庭變化 的孩童。細膩捕捉那青春期未滿、獨有且少被談及的困惑、悲傷與憤 怒,交織成這部溫柔親密,卻又充滿心碎的家庭電影。清爽的影像色 調,搭配北歐風格的簡約構圖,讓這齣以千禧年夏日時光為背景的童年 往事,在沉重沮喪的氛圍中,發散出一股逆光前行的清新能量。

Malou REYMANN is a Danish filmmaker and actress. She graduated in Literature from the University of Copenhagen and in Directing from the National Film and Television School in England. A Perfectly Normal Family is her feature debut.

When Emma's father says that he wants to live the rest of his life as a woman, Emma is thrown completely off kilter. Thomas makes a rapid transition into Agnete: a woman in stylish dresses who suddenly has no more interest in football. Who is this new father? Can Emma even call Agnete that?

小艾瑪過著平凡美滿的日子,在足球場上活力衝鋒,對球隊小男孩有點 小動心;她想要一隻可愛忠心的狗狗,還有愛她的爸媽姊姊。沒想到爸 媽突然離婚,爸爸還宣布要以女人的身份活下去,媽媽崩潰、姊姊怡然 自得,小艾瑪困惑著爸爸怎麼突然從居家宅男變身時尚小姐,她感到一 股徹底被拋棄的傷心。這個變奏老爸到底是誰?如何跟朋友解釋?還可 以找他 她踢足球、叫他 她「爸爸」嗎?

How will this sensitive girl deal with her confusion, sorrow and anger? Between intimate, tender and heart-rending moments, recognisable old home videos show the young family in seemingly simpler times.

2020 哥特堡影展 Göteborg FF 2020 鹿特丹影展大銀幕獎 VPRO Big Screen Award, IFF Rotterdam DIRECTOR, SCREENPLAY 瑪魯.雷曼 Malou REYMANN PRODUCER Matilda APPELIN, René EZRA CINEMATOGRAPHER Sverre SØRDAL EDITOR Ida BREGNINGE SOUND Thomas ARENT, Hans Christian Arnt TORP CAST Kaya Toft LOHOLT, Mikkel Boe FØLSGAARD, Rigmor RANTHE, Neel RØNHOLT PRINT SOURCE New Europe Film Sales


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107

挪威、瑞典 Norway, Sweden | 2019 | DCP | Colour | 157min

06.27 SAT 信義 13 12:30 06.29 MON 信義 13 15:40

WORLD CINEMA

死了一個男孩,然後呢?足球場上的意外,路人的揣測眾說紛紜,讓平 靜的奧斯陸郊區掀起一場心靈風暴。肩負同事、家長及校董會壓力,校 長試圖尋回校園平靜,卻掙扎於自己和男孩父親間的暗潮情事。不在場 的教師,無法排除強烈的罪惡感,更難面對事發當下暫離現場的騷動內 心。肇事女孩的左派父母,和男孩的右派從政父親,讓問題擴延成社會 議題;而這究竟是純屬意外,還是同儕間口耳相傳的霸凌本色? 一舉奪得瑞典哥特堡影展最佳北歐電影,本片成功刻畫教育問題的複雜 性,也對童稚少年的天真無邪,提出引人入勝的質疑。在敏銳與精準設 計的人倫關係,及野心十足、符號明確的衝突架構之外,細細反思與惡 的距離。編導側重角色內心的幽微思緒,在宛如無晝永夜的傷害中,提 起一盞燈火,領著角色和觀眾,一同走向浩劫之後的出口。

達 格. 尤 翰. 霍 格 魯 德,1964 年 出 生於挪威。曾任記者,出版過四部小 說, 1998 年起陸續執導多部影視短 片。作品深受好評,曾獲文學獎及短 片 影 展 獎 項 殊 榮。 首 部 劇 情 長 片《I Belong》一舉拿下挪威亞曼達獎最佳 影片、最佳導演等四項大獎。

Beware of Children traces the dramatic aftermath of a tragic event in a middle-class suburb of Oslo. During a break at school, 13-year-old Lykke, the daughter of a prominent Labour Party member, seriously injures her classmate Jamie, the son of a high-profile right-wing politician.

Dag Johan HAUGERUD has worked as journalist and dramatist for various dance and theatre companies. He has also published four novels. I Belong, Haugerud's feature debut, was awarded the Norwegian Critics' Prize and four Norwegian Amanda awards.

When Jamie later dies in the hospital, contradicting versions of what actually happened risks making a difficult and traumatic situation worse. Was it only innocent play behind? Liv, the school headmistress and the secret lover of Jamie's father, must find the strength to confront a community in distress and her own highly conflicted emotions.

當代精選

Beware of Children

2019 威尼斯影展 Venice FF 2019 釜山影展 Busan IFF 2020 哥特堡影展最佳演出、最佳北歐電影 Best Acting, Best Nordic Film, Göteborg FF DIRECTOR, SCREENPLAY 達格.尤翰.霍格魯德 Dag Johan HAUGERUD PRODUCER Yngve SÆTHER CINEMATOGRAPHER Øystein MAMEN EDITOR Jens Christian FODSTAD MUSIC Arnaud FLEURENT-DIDIER, Peder KJELLSBY SOUND Gisle TVEITO CAST Henriette STEENSTRUP, Jan GUNNAR RØISE, Thorbjørn HARR, Brynjar Åbel BANDLIEN, Anne Marit JACOBSEN, Ella ØVERBYE, Andrea Bræin HOVIG, Hans Olav BRENNER PRINT SOURCE Picture Tree International GmbH


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108 亞洲首映 Asian Premiere

當代精選 WORLD CINEMA

06.26 FRI 華山 1 06.28 SUN 華山 1 06.29 MON 華山 1 07.08 WED 信義 13

Charter 14:00 16:30 19:00 15:40

瑞典 Sweden | 2020 | DCP | Colour | 94min

兒子的一通求救電話,讓艾莉絲拋下尚未安頓好的新公寓,奔回舊家探 視一雙兒女。懷恨在心的前夫,卻聯合鎮上居民排擠艾莉絲,不讓她與 兒女重聚。不甘扶養權被強制奪走,艾莉絲想盡辦法帶走孩子、逃遁遠 行,一路向南來到西班牙度假小島,希望能在陽光與戲水中忘卻煩惱、 重拾溫情。無奈現實的壓力終究戳破了夢幻的泡泡,讓艾莉絲暴露於司 法的制裁與道德的審判中。

亞 曼 達. 柯 內 爾,1986 年 出 生 於 瑞 典于默奧,畢業於丹麥電影學校導演 系。 拍 攝 過 多 部 獲 獎 短 片, 包 括 描 述 薩 米 族 處 境 的《Northern Great Mountain》。首部長片作品《薩米的 印記》獲得威尼斯影展首部電影最佳 導演獎,並入選 2017 年台北電影節。

繼《薩米的印記》後,亞曼達.柯內爾再次以精準的眼光,側寫現實困 境下女性的自主與掙扎。演員安.達爾.托普精彩詮釋被孤立的母親, 忍耐著萬千情緒翻湧,在生命的低谷捍衛自己與孩子的連結。

Amanda KERNEL is a director of the National Film School of Denmark and has made several award-winning short films. Sami Blood, her debut feature, premiered at the 2016 Venice. Charter is her second feature film.

When a panicked, late-night call from her young son, Vincent, is abruptly disconnected before she can ascertain what has gone wrong, Alice rushes north from her new home in Stockholm to check on the boy and his sister. She is distressed to realise, after months away, the extent to which her venomously bitter ex-husband has barred her (with the community's support) from their children's lives. Frantic and frustrated, Alice whisks the reluctant children away on an illicit trip to Tenerife, determined to reconnect with them and re-assert her role as mother and protector.

「這部電影是一封久違的情書,宣示我對所有離異父母的愛。父母心底 最深的恐懼,就是永遠失去他們的孩子。」──亞曼達.柯內爾

2020 日舞影展 Sundance FF 2020 哥特堡影展 Göteborg FF DIRECTOR, SCREENPLAY 亞曼達.柯內爾 Amanda KERNELL PRODUCER Lars G. LINDSTRÖM, Eva ÅKERGREN CINEMATOGRAPHER

Sophia OLSSON EDITOR Anders SKOV MUSIC Kristian Eidnes ANDERSEN SOUND Brian DYRBY, Mira FALK, Kristoffer SALTING CAST 安.達爾.托普 Ane Dahl TORP, Sverrir GUDNASON, Tintin Poggats SARRI, Troy LUNDKVIST PRINT SOURCE Swedish Film Institute


���惑

109

荷蘭 Netherlands | 2019 | DCP | Colour | 98min

荷蘭影后卡莉絲.凡.荷登、影帝馬文.坎薩利在犯罪心理上進行身心 纏鬥,兩人相互窺視,打探彼此的習性,利用笑聲、手勢和眼神的穿透 力,對彼此施以威脅與侵略。主從關係每日精彩翻轉,卻並非一段愉悅 陶醉的禁忌愛情,而是通過抽剝人心虛實梳理情慾,在森肅的場景中荒 誕地走向自我毀滅。

哈琳娜.瑞金,荷蘭演員、導演、作 家和製片人。曾擔任阿姆斯特丹劇團 首席演員,並將舞台表演發揮於電影, 亦曾榮獲荷蘭劇場最高戲劇獎與荷蘭 電影金犢獎影后。《禁身誘惑》為其 首部導演劇情長片。

Nicoline, an experienced psychologist, starts a new job at a penal institution. She meets Idris, a sex offender who committed a series of grave crimes. After five years of treatment, he is about to go on his first unaccompanied probation. His team of practitioners are enthusiastic about his development but newcomer Nicoline does not trust him and tries to push his probation. Idris tries his hardest to convince Nicoline of his good intentions, but slowly and surely, he transforms into the manipulative man she saw in him from the beginning. A power play emerges between the two, and Nicoline, in spite of her knowledge and experience, lets herself be completely trapped.

Halina REIJN is a Dutch actress, director, writer and producer. She has created TV series and is considered one of the most versatile actresses of her generation in the Netherlands. Instinct is her directorial debut feature.

2019 盧卡諾影展觀眾票選獎 Variety Piazza Grande Award, Locarno FF 2019 多倫多影展 Toronto IFF 2019 倫敦影展 London FF DIRECTOR 哈琳娜.瑞金 Halina REIJN PRODUCER Frans VAN GESTEL, Laurette SCHILLINGS, Arnold HESLENFELD SCREENPLAY

Esther GERRITSEN, 哈琳娜.瑞金 Halina REIJN CINEMATOGRAPHER Jasper WOLF EDITOR Job TER BURG MUSIC Ella VAN DER WOUDE SOUND Michel SCHÖPPING CAST 卡莉絲.凡.荷登 Carice VAN HOUTEN, 馬文.坎薩利 Marwan KENZARI, Pieter EMBRECHTS, Marie-Mae VAN ZUILEN, Betty SCHUURMAN, Ariane SCHLUTER PRINT SOURCE Films Boutique

WORLD CINEMA

經驗豐富的心理學家妮可琳在拘留所開始了新工作,首個案件就是輔導 罪行嚴重的操縱性罪犯伊德里。經過五年的輔導,拘留所討論是否核定 伊德里的假釋,團隊多數對伊德里的治療效果給予肯定,唯獨妮可琳投 下反對票並設法延遲他的假釋。約談過程中,妮可琳對伊德里施予高壓 試圖讓他脫序,伊德里則使用他所擅長的肉體誘惑,企圖讓妮可琳在強 勢中顯露脆弱,兩人游移在情愫與理智線上,場面逐漸失控。

06.28 SUN 信義 13 21:10 07.01 WED 信義 13 14:10 07.03 F R I 信義 13 14:50

當代精選

Instinct


110 亞洲首映 Asian Premiere

當代精選 WORLD CINEMA

06.27 SAT 華山 2 14:00 06.28 SUN 華山 2 12:30 07.06 MON 中山堂 11:10

艾 瑞 克. 史 提 爾,1964 年 出 生 於 紐 約,耶魯大學藝術史學系畢業,曾於 迪士尼影業、名製片人史考特.魯汀 旗下從事影片開發工作,製片作品包 括馬丁.史柯西斯《穿梭鬼門關》、 梅莉.史翠普主演的《美味關係》, 亦執導過紀錄片。《我的 G 本教義》 為其首部劇情長片。 Eric STEEL studied Art History at Yale University and began his film career with Walt Disney Pictures in California. He had worked at Scott Rudin Productions for several years. Minyan is his debut feature film as a director.

我的 G ��義 Minyan

美國 USA | 2020 | DCP | Colour | 118min

17 歲的男孩出生在傳統猶太移民家庭,性格內斂的他,白日在猶太學 校研讀古老經文,夜晚卻流連在紐約東村的暗處,試探自己如幼獸般好 奇的慾望。為了幫助鰥居的祖父順利入住猶太銀髮族公寓,他每週陪伴 祖父參加社區教會的禱告團,因而結識一對住在祖父家隔壁的樂齡同性 室友,意外與他們培養出難得的忘年友誼。男孩羨慕兩人多年的深厚感 情,自己卻為一段熾熱但苦澀的初戀煩惱。當宗教信仰與自我認同形成 難解矛盾,一場突如其來的死亡,意外促使他跨越生命的隘口,在布魯 克林的燦白陽光下,覓得溫柔救贖。 改編自同名短篇小說,融合導演自身青春記憶,巧妙對照八○年代紐約 同志地景的愛滋瘟疫、二戰後的猶太離散,將兩個邊緣族群的歷史苦 難,交織成跌宕動人的成長紀事,揪心動人直逼《以你的名字呼喚我》。

For a Jewish prayer community or "minyan" to be able to hold a service, it must consist of at least ten practising Jews. David, who was born into a Russian immigrant family, is 17 years old and regularly helps out at minyans in Brighton Beach, a district of New York that is characterised by Jewish life. His father, a former boxing coach, his mother and his beloved grandfather all take this for granted. But David, who is just starting to tentatively explore life in the East Village gay scene, gradually begins to question the strict rules of his community and makes friends with two elderly gay Jews. At the same time, David's sexual awakening cannot help but be affected by the emergence of HIV and AIDS.

2020 柏林影展 Berlinale DIRECTOR 艾瑞克.史提爾 Eric STEEL PRODUCER Luca BORGHESE, Ben HOWE, 艾瑞克.史提爾 Eric STEEL, Luigi CAIOLA SCREENPLAY Daniel PEARLE, 艾瑞克.史提爾 Eric STEEL CINEMATOGRAPHER Ole Bratt BIRKELAND EDITOR Ray HUBLEY MUSIC

David KRAKAUER, Kathleen TAGG SOUND Tony VOLANTE CAST Samuel H. LEVINE, Ron RIFKIN, Christopher MCCANN, Mark MARGOLIS, Richard TOPOL PRINT SOURCE Visit Films


1917 �走�三�克

111

葡萄牙、法國、莫三比克、巴西 Portugal, France, Mozambique, Brazil 2020 | DCP | Colour | 122min

改編自導演祖父的真實經歷,和電影《1917》相反的是,導演朱奧. 努諾.品圖選擇繁複的非線性敘事,將士兵的經歷打散,潛赴戰場的船 艙、荒野迷途的營火、瘧疾燒腦的夢境,和誤入當地母系村落被奴役的 經過,交織成一場無盡的惡夢。飾演主角的朱奧.努耶涅斯.蒙特尹 魯扛起一切掙扎和磨耗,在絕美的攝影之下,一步步誤入黑暗大陸的心 臟,宛如詩意版的《現代啟示錄》。

Dreaming of great adventures and of standing up for his homeland, a young Portuguese man enlists in the army during World War I and is sent to the front line in Mozambique, Africa. Left behind by his platoon, he sets out on a gruelling trek across the mystic Makua native land, walking for over a thousand kilometres in search of his dream. The film shows a kind of fluctuation between reality and fantasy, past and present, the fabrication and the everyday. The situations may seem fantastic but they are real. That is part of Mosquito's narrative: exploring the imaginary space left blurred by the historical amnesia.

朱奧.努諾.品圖,1969 年出生於葡 國殖民地莫三比克,五歲搬回母國定 居,曾為多個國際知名品牌拍攝廣告。 2010 年,首部長片《America》以詼 諧口吻探討葡國移民困境。本片由其 妻子共同編劇,構思與籌備長達七年, 榮膺鹿特丹影展開幕片。

João NUNO PINTO is a Por tuguese director. With a career in advertising, João Nuno Pinto premiered America, his first feature, in 2011. Mosquito is inspired by his grandfather's story in Africa during World War I.

2020 鹿特丹影展 IFF Rotterdam 2020 盧森堡市電影節 Luxembourg City FF DIRECTOR 朱奧.努諾.品圖 João NUNO PINTO PRODUCER Paulo BRANCO SCREENPLAY Fernanda POLACOW, Gonçalo WADDINGTON CINEMATOGRAPHER Adolpho VELOSO EDITOR Gustavo GIANI MUSIC Justin MELLAND SOUND Gita CERVEIRA, Tiago RAPOSINHO, Matthieu DENIAU CAST 朱奧.努耶涅斯.蒙特尹魯 João NUNES MONTEIRO, Sebastian JEHKUL, Filipe DUARTE, Josefina MASSANGO, Miguel MOREIRA PRINT SOURCE Alfama Films

WORLD CINEMA

1917 年,第一次世界大戰的戰場,身不由己的小兵一個個踏上征途, 尋找心目中的聖戰。年輕的士兵慷慨從戎,夢想在法國前線為祖國葡萄 牙一戰,沒想到軍令將他派往葡國殖民地莫三比克。旅途中他被無知、 瘧疾、荒野,及戰爭釋放的人性猜忌之惡,再三考驗,摧毀一切認知; 在這趟直視虛無的迷途中,重新看待自我。

06.25 THU 信義 13 20:30 06.27 SAT 信義 13 15:50 07.01 WED 華山 1 12:40

當代精選

Mosquito


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112

當代精選

Passed by Censor 06.26 FRI 華山 2 21:10 07.02 THU 華山 2 16:40

土耳其、德國、法國 Turkey, Germany, France | 2019 | DCP | Colour | 95min

WORLD CINEMA

負責審查獄中往來信件的札奇有個作家夢,他試圖從生活中的小細節, 汲取化成書寫的靈感。一封囚犯家屬的來信夾帶著照片,女子迷人如泣 的眼神,意外使他才思泉湧,並成功寫下故事初章,在小說課大獲好 評。沒想到遇見女子本人後,那含怨如訴的神情,更是緊緊揪住札奇的 心。他懷疑女子與囚夫貌合神離,更被公公虐待,促使他決心跨越那條 禁忌線,跟蹤、蒐證、徹底涉入女子的人生…… 瑟哈特.卡拉斯蘭,1984 年生於土耳 其瓦爾托,曾製作、拍攝多部短片作 品,入選坎城影展、盧卡諾影展、多 倫多影展等一級國際影展,並屢獲獎 項殊榮。本作為其首部劇情長片,曾 入選坎城電影基金會創投,於卡羅維 瓦利影展首映。

新銳編導瑟哈特.卡拉斯蘭首部劇情長片,大膽將故事場景設於監獄, 近似黑色電影的情節設計,彰顯其別具巧思的政治觀察。在禁錮思想的 審查與自由奔放的創作之間,以黑色幽默手法,諷刺對比土耳其專制的 政治氛圍與公民不自由的日常。而無論親子、夫妻、翁媳之間的關係描 繪,在這部講述父權體制的荒誕生活劇裡,強烈揭露土耳其婦女缺乏自 由的現實,一覽無遺。

Serhat KARAASLAN graduated in Pharmacology from Istanbul University and in Directing from Kadir Has University. His short films won more than sixty awards at the major film festivals. Passed by Censor is his feature debut.

In the heart of Istanbul's prison, Zakir is in charge of controlling the letters prisoners receive. His average day is spent between the censorship office, his colleagues and his evening writing class. For a writing assignment, he steals a photo from one of the letters, in which appears Selma, an inmate's wife. More than an inspiration, she becomes an obsession for Zakir. He observes her, makes up stories and imagines the worst to the extent that he puts himself at great risk.

2019 伊斯坦堡影展最佳劇本、剪接 Best Screenplay, Best Editing, Istanbul IFF 2019 卡羅維瓦利影展 Karlovy Vary IFF DIRECTOR, SCREENPLAY 瑟哈特.卡拉斯蘭 Serhat KARAASLAN PRODUCER Serkan CAKARER, 瑟哈特.卡拉斯蘭 Serhat KARAASLAN, Undine FILTER, Thomas KRÁL, Judith NORA, Priscilla BERTIN CINEMATOGRAPHER Meryem YAVUZ EDITOR Ali AGA MUSIC Chloé THÉVENIN SOUND Kai TEBBEL CAST Berkay ATES, Saadet Isil AKSOY, Ipek Turktan KAYNAK, Füsun DEMIREL PRINT SOURCE BAC Films


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113

美國、法國 USA, France | 2019 | DCP | Colour | 94min

07.02 THU 華山 2 21:00 07.05 SUN 華山 1 15:40

美國新銳導演丹妮兒.雷索維茲首部導演作品,挑戰以 VOGUE 舞蹈發 源地──紐約哈林區「Kiki Ball」變裝舞會作為背景,打破好萊塢刻板 愛情故事的框架,讓跨性別超級新星雷娜.布魯姆以素人之姿詮釋舞后 的角色,初登台便「媚」力萬千!曾演出《黑鏡》、《敦克爾克大行動》 的英國新生代演員菲昂.懷海德,更演活鄰家男孩深陷愛情泥淖、迷失 自我的糾結思緒。本片更獲大導演馬丁.史柯西斯青睞,親自監製,為 好萊塢獨立製片開拓新氣象。 「銀幕上的跨性別者仍不夠多,我希望本片能拋磚引玉,期待更多跨性 別者登場。」──丹妮兒.雷索維茲 On the steps outside New York City's dizzying central bus station, Port Authority, a girl named Wye vogues with her siblings. Paul, a young drifter, watches her, transfixed by her beauty. After he seeks her out, an intense love soon blossoms. Wye introduces him to the ballroom community, an underground LGBTQ subculture, and to her house, a self-selected chosen family. But when Paul realises that Wye is trans, he is forced to confront his feelings for her and the social forces that seek to rupture their bond.

WORLD CINEMA

保羅隻身來到紐約想投靠姐姐,卻被冷落而流落街頭。他在五光十色的 紐約流連,邂逅閃耀動人的葳,乾柴點上烈火,兩人墜入愛河。葳帶領 保羅走進紐約地下社會,更加炫麗奪目的世界就此打開。當保羅恍然葳 的跨性別身分,兩人的愛情卻變了調,而保羅自己才藏著不願示人的秘 密…… 丹妮兒.雷索維茲,出生於舊金山, 畢業於紐約大學電影研究所。她長年 於紐約擔任紀錄片拍攝與編劇,編劇 作 品《 北 國 流 浪 之 心 》 曾 入 選 2017 年坎城影展導演雙週。2019 年,由馬 丁.史柯西斯監製的首部導演長片《曼 哈頓戀舞曲》,入選坎城影展一種注 目單元。 Danielle LESSOVITZ is an American writer-director in film and advertising. Her most recent screenwriting effort, Mobile Homes, premiered in Directors' Fortnight at the 2017 Cannes. Port Authority is her first feature film.

2019 坎城影展一種注目單元 Un Certain Regard, Cannes 2019 釜山影展 Busan IFF 2020 哥特堡影展 Göteborg FF DIRECTOR, SCREENPLAY 丹妮兒.雷索維茲 Danielle LESSOVITZ EXECUTIVE PRODUCER 馬丁.史柯西斯 Martin SCORSESE PRODUCER

Rodrigo TEIXEIRA, Virginie LACOMBE, Zachary Luke KISLEVITZ CINEMATOGRAPHER Jomo FRAY EDITOR Clémence SAMSON, Matthew C. HAR T MUSIC Matthew HERBERT SOUND Chris FOSTER CAST 菲昂.懷海德 Fionn WHITEHEAD, 雷娜.布魯姆 Leyna BLOOM, 麥考爾.隆巴迪 McCaul LOMBARDI, 路易莎.克勞瑟 Louisa KRAUSE, Will DUFAULT PRINT SOURCE 東昊影業有限公司 Andrews Film Co., Ltd.

當代精選

Port Authority


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114 亞洲首映 Asian Premiere

當代精選

Self Portrait

挪威 Norway | 2020 | DCP | Colour | 78min

WORLD CINEMA

06.28 SUN 華山 2 21:30 07.02 THU 信義 14 15:40 07.09 THU 華山 2 15:00

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瑪格麗特.奧林,1970 年出生於挪威, 擁有新聞媒體與紀錄片創作學位,跨 足劇情片、紀錄片與電視劇集的拍攝。 凱思婭.霍格斯,畢業於挪威內陸大 學,2014 年參與紀錄片拍攝工作。 埃斯彭.瓦林,攝影師、教師,與蕾 妮.瑪莉.佛森共事長達八年。 Margreth OLIN is a Norwegian director and producer. Her international breakthrough came with the film, My Body, in 2002. Katja HØGSET graduated in 2014 from Lillehammer University College as a documentary film director. Espen WALLIN is a Norwegian photographer and teacher. He had been working with Lene Marie Fossen for eight years.

蕾妮是一位自學的攝影師,十歲開始便深受厭食症所困,未來與夢想於 她而言,像是被遺落在成長階段的某個孤寂角落。骨瘦嶙峋的身軀,日 漸消瘦的容顏,但充滿藝術天份的她並未因此失去光芒,在相機的快門 與快門之間,她無畏地直視鏡頭,直面眼前與之相遇的另個靈魂,奮力 擁抱生命的頹傾之處。她將無以言盡的痛苦與悲傷,昇華為藝術,在瀕 臨死亡邊緣迸發的創造力,作為世人見證的生之意志,並轉化病痛為能 量,竭其一生尋索生命的意義。 挪威精靈系歌手蘇珊.桑德佛作曲紀念友人,影片溫柔且充滿力道地記 錄了蕾妮.瑪莉.佛森這位被病痛纏身,卻始終不放棄自己的堅強女 性。講述她如何在與各種負面能量對抗的同時,成為世界知名攝影師, 並持續透過攝影創作,解放禁錮在肉身裡的靈魂;她拍攝的人物肖像, 精準地攫取了個體的精神內裡。這部紀錄片,真誠且傷感地呈現蕾妮勇 敢且傳奇的一生。

33-year-old Lene Marie Fossen suffers from severe anorexia. Since the age of ten she has been hiding from the Norwegian Health Care System. Then she taught herself the art of photography. During the last years, Lene Marie became recognised as a world-class photographer. She had a unique photo project, exposing the shame and confronting the disease. Her photo art is naked and honest. In October 2019, Lene Marie died of anorexia. She watched the finished film before she passed away. Together with her parents, she decided that the film should be launched on schedule, as it was important for Lene Marie that her story could mean something to others.

2020 哥特堡影展 Göteborg FF 2020 哥本哈根紀錄片影展 CPH:DOX DIRECTOR 瑪格麗特.奧林 Margreth OLIN, 凱思婭.霍格斯 Katja HØGSET, 埃斯彭.瓦林 Espen WALLIN PRODUCER 瑪格麗特.奧林

Margreth OLIN SCREENPLAY 瑪格麗特.奧林 Margreth OLIN, 凱思婭.霍格斯 Katja HØGSET CINEMATOGRAPHER 埃斯彭.瓦林 Espen WALLIN, Øystein MAMEN, Lars Erlend TUBAAS ØYMO EDITOR Helge BILLING MUSIC 蘇珊.桑德佛 Susanne SUNDFØR SOUND Lydhodene CHARACTER 蕾妮.瑪莉.佛森 Lene Marie FOSSEN, Morten KROGVOLD PRINT SOURCE Norwegian Film Institute


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115

比利時、荷蘭 Belgium, Netherlands | 2019 | DCP | Colour | 95min

06.29 MON 信義 14 21:00 07.02 THU 信義 14 17:40

《窒慾》大膽碰觸當代最令人不安與不適的戀童癖患者議題,導演派翠 絲.托伊嘗試以同理的角度刻畫主角,看他慈悲與毀滅兼具的本性、內 在掙扎的劇烈,以及近乎悲劇性的自我拒斥。 「有兩個女兒的我,完全理解社會對這話題的恐懼,但將戀童癖患者非 人化、否定其存在,都不能解決問題。這些人永遠會存在,唯有給予討 論空間、幫助他們求助,才能真正減少悲劇。」──派翠絲.托伊

Jonathan, a kind and gentle young man, is released from prison due to lack of incriminating evidence. Returning to live at his mother's house near the dunes, Jonathan wants nothing more than to forget the past. He is determined to make a brighter future for himself, and yet, while scrupulously respecting and following all the rules, his good intentions are put to the test when a mother and daughter move in next door.

WORLD CINEMA

有著不明過去的青年約納森從「拘禁」中被釋放,回到家和母親相敬如 賓。陽光敞亮乾淨,但日子無聊、生死無聲,唯一的活力來源是隔壁小 女孩貝絲。因著偶然與巧合,兩人生出難得的忘年友情,貝絲越來越依 賴這個善良的大哥哥,可是約納森自始至終都在用力抗拒,唯恐這會喚 醒他最害怕的怪物──他自己。

當代精選

Tench

派翠絲.托伊,1967 年生於比利時, 畢 業 於 布 魯 塞 爾 LUCA 藝 術 學 院, 擁有豐富的短片、紀錄片、電視劇拍 攝 經 驗 及 四 部 長 片 作 品。 首 部 長 片 《Rosie》曾在日舞影展、西雅圖影展、 挪威影展獲獎。

Patrice TOYE graduated in film direction from the Sint-Lucas School in Brussels in 1990. Having directed several shorts, documentar ies and TV shows, her second feature, (N)iemand, had its world premiere at the 2008 Venice.

2019 根特影展觀眾票選獎 North Sea Port Audience Award, FF Gent 2020 哥特堡影展 Göteborg FF 2020 鹿特丹影展 IFF Rotterdam DIRECTOR 派翠絲.托伊 Patrice TOYE PRODUCER Antonino LOMBARDO SCREENPLAY Peter SEYNAEVE, 派翠絲.托伊 Patrice TOYE CINEMATOGRAPHER Richard VAN OOSTERHOUT EDITOR Ewin RYCKAERT, David VERDURME MUSIC John PARISH SOUND

Michel SCHÖPPING CAST Tijmen GOVAERTS, Julia BROWN, Ina GEERTS, Greet VERSTRAETE, Line PILLET, Jackie GILLES, Dominique VAN MALDER PRINT SOURCE Be For Films


�工失�

116

©Panama Film

當代精選

The Trouble With Being Born

WORLD CINEMA

06.28 SUN 華山 1 18:50 06.30 TUE 中山堂 11:40 07.02 THU 中山堂 14:10

珊卓拉.沃爾納,1983 年生於奧地 利,身兼編劇、導演。首部長片《The Impossible Picture》 獲 2019 年 德 國電影評論家獎,《人工失格》為其 就讀德國巴登符騰堡電影學院的畢業 作品。

Sandra WOLLNER was born in Styria, Austria in 1983. Her first feature, The Impossible Picture, received the German Film Critics' Award in 2019. The Trouble With Being Born is her graduation film at the Film Academy Baden-Wuerttemberg.

奧地利、德國 Austria, Germany | 2020 | DCP | Colour | 94min

十歲的人造女孩伊莉住在森林別墅,成天與她稱之為「爸爸」的男人膩 在一起。他們在泳池畔享受夏日陽光,回憶過往美好假期,男人還替女 孩扮裝,超齡的擺拍姿勢模糊了兩人的身分與關係。伊莉運轉男人編寫 的記憶,她會做夢、哭泣、害怕,卻仍只是個儲存記憶的容器。這一天, 她在樹林裡迷失方向,被陌生人帶走,換了新的身份與記憶…… 敘事結構仿照機器人,沒有清晰固定的路徑,而是在不同人的主觀記憶 裡切換場景,映照出各自的慾望與恐懼。機器人沒有起源和終點,也沒 有過去與未來,記憶與身分於它都毫無意義,故事始終緊繫著令人不安 的永恆。 珊卓拉.沃爾納:「非關人工智慧,這部電影是一只容器,如回聲亦如 褪色的意義與依戀閃現,道出被記憶糾纏的人類,化為故事的鬼魂之過 程。」

Elli is an android and lives with a man she calls her father. Together they drift through the summer. During the day they swim in the pool and at night he takes her to bed. She shares his memories and anything else he programmes her to recall. Memories that mean everything to him but nothing to her. Yet, one night she sets off into the woods, following a fading echo. The story of a machine and the ghosts we all carry within us.

2020 柏林影展邂逅單元評審團特別獎 Special Jury Award, Encounters, Berlinale 2020 紐約新導演 新電影影展 New Directors / New Films DIRECTOR 珊卓拉.沃爾納 Sandra WOLLNER PRODUCER Lixi FRANK, David BOHUN SCREENPLAY 珊卓拉.沃爾納 Sandra WOLLNER,

Roderick WARICH CINEMATOGRAPHER Timm KRÖGER EDITOR Hannes BRUUN MUSIC David SCHWEIGHART, Peter KUTIN SOUND Peter KUTIN CAST Lena WATSON, Dominik WARTA, Ingrid BURKHARD, Jana MCKINNON, Simon HATZL PRINT SOURCE Cercamon


被遺忘的人生

117

巴西、德國 Brazil, Germany | 2019 | DCP | Colour | 140min

06.27 SAT 信義 14 14:40 ▲ 06.29 MON 信義 14 18:00 ▲

WORLD CINEMA

尤莉絲一把火燒掉她珍愛的鋼琴,也燒盡和姐姐姬達的美好回憶。生長 在里約熱內盧的兩姐妹,平日總是無話不談,姐姐嚮往轟轟烈烈的愛 情,妹妹則夢想到維也納唸書、成為鋼琴家。然而,姬達一封為愛遠走 的告別信,徹底惹怒她們的父親,姐妹倆從此被消失。在那之後,尤莉 絲經常回到那一天,她迷失在蔥鬱潮濕的森林裡尋找姬達,呼喊聲飄散 在空中,那麼遠,那麼近。 導演凱里.阿努茲將鏡頭瞄準即將消失的那一代女性。若無法離婚,性 革命還沒發生,更沒有避孕藥,這樣的女性會過著怎樣的生活? 本片 改編自瑪莎.巴塔莉婭的暢銷小說,以 1950 年代巴西為背景,講述離 奇的尋人故事,以及女性們隱藏的夢想,與不被看見的人生。片中豐富 的色彩加強了劇中女性的情感,她們因生活而放棄夢想的痛楚、大時代 下的困境,在導演大膽運用的通俗劇手法下,格外栩栩如生。

凱里.阿努茲,1966 年出生於巴西, 大學主修建築,後赴紐約大學電影學 院。曾任陶德.海恩斯的助理導演, 1992 年 開 始 執 導 電 影。 曾 以 紀 錄 片 《中央機場》(2018)、劇情片《被 遺忘的人生》(2019)獲柏林、坎城 影展獎項肯定。

Based on Martha Batalha's beloved novel, The Invisible Life of Eurídice Gusmão is Aïnouz's most accessible work so far.

Karim AÏNOUZ was born in Fortaleza, Brazil in 1966. As director, screenwriter and artist, Aïnouz has made over fifteen films to date. His documentary Central Airport THF was presented in Panorama at the 2018 Berlinale and The Invisible Life of Eurídice Gusmão received the main award in the Un Certain Regard at the 2019 Cannes.

The year is 1950. Classical piano prodigy Eurídice dreams of studying at the Vienna Conservatory. Her sister, Guida, however, is the first of the siblings to make it to Europe, albeit fleetingly: after having eloped with a Greek sailor, Guida soon returns to Rio de Janeiro pregnant and alone, unbeknownst to Eurídice. Kept apart by a terrible lie, years pass as the two sisters forge their respective paths through their city's teeming bustle, each believing the other to be half a world away.

2019 坎城影展一種注目單元最佳影片 Un Certain Regard Award, Cannes 2019 慕尼黑影展專業電影獎 CineCoPro Award, FF München 2019 巴利亞多利德影展最佳影片、最佳女主角、社會文化獎、國際影評人費比西獎 Silver Spike, Best Actress, Sociograph Award, FIPRESCI Prize, Valladolid IFF DIRECTOR 凱里.阿努茲 Karim AÏNOUZ PRODUCER Rodrigo TEIXEIRA, Michael WEBER, Viola FÜGEN SCREENPLAY Murilo HAUSER CINEMATOGRAPHER Hélène LOUVART EDITOR Heike PARPLIES MUSIC Benedikt SCHIEFER SOUND Waldir XAVIER CAST 卡蘿.杜瓦茲 Carol DUARTE, 尤莉亞.史托克 Julia STOCKLER, 費娜達.蒙蒂妮蘿 Fernanda MONTENEGRO, Gregorio DUVIVIER, Bárbara SANTOS PRINT SOURCE 海鵬影業有限公司 Swallow Wings Film Co., Ltd.

當代精選

The Invisible Life of Eurídice Gusmão


怪奇物語 WILD TALES

㊣麥肯齊金總理秘史

The Twentieth Century


國王二度��中

120

怪奇物語

The Barefoot Emperor

比利時、荷蘭、克羅埃西亞、保加利亞 Belgium, Netherlands, Croatia, Bulgaria 2019 | DCP | Colour | 98min

WILD TALES

06.26 FRI 信義 13 14:00 07.02 THU 信義 13 21:00 07.05 SUN 華山 2 18:50

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潔西卡.伍德沃斯,1971 年生;彼得. 布洛森,1962 年生。兩人自 2006 年 開啟合作,首部作品《幻之草原》, 獲威尼斯影展未來之獅獎,共同經營 製作公司 Bo Films。

Jessica WOODWORTH and Peter BROSENS started collaborating with each other in 2006. Partners in Bo Films, they made their first film, Khadak, in 2007, which was awarded the Lion of the Future at the Venice Film Festival.

一顆子彈、一樁發生在塞拉耶佛的烏龍槍擊案,正出訪友邦的比利時國 王尼可拉斯三世被射傷,移送克羅埃西亞外海的布里俄尼島療養。那是 前南斯拉夫領袖狄托的度假勝地,也是招待各國名人權貴的秘密行宮。 這座與世隔絕的小島上,行事詭異的療養院院長掌管著一群謎樣的院 民,他們以各國前任元首之名互稱,在廣播迷音的指示下消磨度日。從 昏迷中醒來的比利時國王,輾轉得知這場意外在歐盟掀起一場政治外交 風暴,歐洲議會瓦解,比利時境內的瓦隆與佛萊明大區累積已久的歷史 恩怨,再次為國家存亡帶來威脅。嶄新的歐羅巴 2.0 正蠢蠢欲動,誰將 會是新世界的霸主? 繼《國王外出中》之後,雙導演原班人馬再次聯手出擊,打造這齣荒誕 諷刺且充滿政治奇想,阻礙國王返鄉之路的黑色喜劇。

Nicolas III, King of the Belgians, suffers a gunshot wound to the ear during an incident in Sarajevo. He wakes up in a sanatorium on a Croatian island. The King's entourage try in vain to protect him from the news that the recent implosion of their kingdom has sparked the collapse of the European Union. The King demands to return home at once, but instead he is condemned to a strict regime of rest and rehabilitation. A delegation from Vienna arrives, bearing the thunderous news that the last King of the Belgians will become the first Emperor of Europe. The King, fed up with others determining his destiny, decides to take matters into his own hands.

2019 多倫多影展 Toronto IFF 2020 哥特堡影展 Göteborg FF 2020 鹿特丹影展 IFF Rotterdam DIRECTOR, PRODUCER, SCREENPLAY 潔西卡.伍德沃斯 Jessica WOODWORTH, 彼得.布洛森 Peter BROSENS CINEMATOGRAPHER

Ton PETERS EDITOR David VERDURME MUSIC Alen SINKAUZ, Nenad SINKAUZ SOUND Charo CALVO, Matthias HILLEGEER, Alek GOOSSE CAST Peter VAN DEN BEGIN, 露西.德貝 Lucie DEBAY, 烏多.基爾 Udo KIER, 潔拉汀.卓別林 Geraldine CHAPLIN, Bruno GEORIS, Titus DE VOOGDT, Darko STAZI PRINT SOURCE Be For Films


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121

法國、西班牙、葡萄牙 France, Spain, Portugal 2019 | DCP | Colour | 132min

來自加泰隆尼亞的爭議劇作,由電影、劇場演員和導演的友人連袂演 出。開放的樹林裡,枝葉與土壤間處處是窺探與耳語,各種激情潑灑交 纏、就地取材。細緻的妝髮和華服,門窗與密室光影交疊,勾勒出大膽 精湛的 BDSM 場景,引領觀眾穿梭在透視與侷限之間的灰色地帶。在 這處虛構的邊陲之境,放逐是否等同樂園,自由解放與規訓禁錮又是否 互為雙身變體?滿溢的浪言淫語,是否為敲打哲思與顛覆的前奏?

1774, shortly before the French Revolution, somewhere between Potsdam and Berlin. Madame de Dumeval, the Duc de Tesis and the Duc de Wand, libertines expelled from the puritanical court of Louis XVI, seek the support of the legendary Duc de Walchen, a German seducer and freethinker, lonely in a country where hypocrisy and false virtue reign. Their mission is to export libertinage, a philosophy of enlightenment founded on the rejection of moral boundaries and authorities, but moreover to find a safe place to pursue their errant games, where the quest for pleasure no longer obeys the laws other than those dictated by unfulfilled desires.

亞柏.賽拉,1975 年生於西班牙。畢 業於巴塞隆納大學,擅於在歷史與哲 學間尋找美麗與道德的灰色地帶。曾 執導《騎士的漫遊》、《Birdsong》、 《我的死亡紀事》等作品,曾以《路 易十四之死》入選 2016 年坎城影展 與台北電影節。

Albert SERRA is a Catalan artist and director. His feature debut, Honour of the Knights, was presented in the Directors' Fortnight at the 2006 Cannes and his fourth feature, The Death of Louis XIV, was in competition at the 2016 Cannes.

2019 坎城影展一種注目單元評審團特別獎 Special Jury Prize, Un Certain Regard, Cannes 2019 多倫多影展 Toronto IFF 2020 鹿特丹影展 IFF Rotterdam DIRECTOR, SCREENPLAY 亞柏.賽拉 Albert SERRA PRODUCER Pierre-Olivier BARDET, Joaquim SAPINHO, 亞柏.賽拉 Albert SERRA,

Montse TRIOLA CINEMATOGRAPHER Artur TORT EDITOR Ariadna RIBAS, 亞柏.賽拉 Albert SERRA, Artur TORT MUSIC Marc VERDAGUER, Ferran FONT SOUND Jordi RIBAS CAST 赫爾穆特.貝加 Helmut BERGER, Marc SUSINI, 伊莉安娜.塞貝斯 Iliana ZABETH, Laura POULVET, Baptiste PINTEAUX PRINT SOURCE Films Boutique

WILD TALES

18 世紀中後,德國波茨坦與柏林間的一處森林,一群彷彿從薩德的情 色文學中出走的男男女女,以瓦申公爵、泰瑟斯伯爵、王德公爵和德梅 瓦爾夫人為首,流放在世俗的道德律法之外,夜夜笙歌,品嚐愉虐與縱 情的自由不羈。

06.27 SAT 信義 14 21:00 06.29 MON 信義 14 15:00 07.07 TUE 信義 13 13:00

怪奇物語

Liberté


��怪物

122 國際首映

International Premiere

怪奇物語 WILD TALES

06.28 SUN 華山 2 07.01 WED 華山 2 07.02 THU 信義 13 07.05 SUN 信義 13

Lucky Monster 15:10 16:10 16:40 21:30

奉俊泳,1982 年生於首爾。高麗大學 中國語文學系與心理學系出身,後攻 讀於韓國電影藝術學院導演系。其畢 業短片《Hz》曾入選首爾獨立電影節。 《駭錢怪物》是奉俊泳執導的首部劇 情長片,入選釜山影展新浪潮競賽, 並獲得韓國獨立電影大獎。

BONG Joon-young was born in Seoul in 1982. A graduate in Film Directing of the Korean Academy of Film Arts, he has made two short films and Lucky Monster is his feature debut.

南韓 South Korea | 2019 | DCP | Colour | 93min

自備霉運的魯蛇猛壽,事業一帆不順,每天活在被霸凌與擄妻抵債的無 限惡夢,為保護愛妻免遭債主狼爪,只好與妻假離婚求安康。瀕臨崩潰 的他得靠舒壓跳跳床和狂吃猛嗑龍角散來趕走幻覺好朋友:謎之音。沒 想到謎之音竟懂報明牌,助他順利中樂透換回愛妻,並踏上一段斬妖除 魔的憤怒道。 本片以社會的殘酷和人性的脆弱為基底,加料先知與幫派英雄,打造小 資中年邊緣人的「變態」歷程。新銳導演奉俊泳利用輕柔如詩的薩克斯 風樂音,伴隨爆頭狠踹的打鬥自成節奏,果汁機則意外成為最優雅的虐 殺工具,暢快淋漓地榨出一個絕望男子的瘋魔,影像風格十足,精彩展 現韓國類型片的強項。

Hapless Maeng-su has had a run of bad luck, which started pretty much at his birth. The one good thing in his life is his inscrutable wife Ria. When Maeng-su finds his debts to a loan shark spiralling, he orchestrates a fake divorce to protect her from the ruthless collectors who threaten her safety. But then his luck suddenly changes. As his last chance, he gambles with his lucky numbers and wins the lottery. To share this good news, he calls his wife but cannot reach her. With this new superpower called 'money', he searches for his wife with troubleshooters.

2019 釜山影展韓國獨立電影大獎 KTH Award, Busan IFF DIRECTOR, SCREENPLAY, EDITOR 奉俊泳 BONG Joon-young PRODUCER CHOI Jin CINEMATOGRAPHER JEONG Jong-heon MUSIC

KIM Baek-chan SOUND WAVELAB CAST KIM Do-yoon, JANG Jin-hee, PARK Sung-jun, KIM Seung-hyun, PARK Sung-il PRINT SOURCE M-Line Distribution


瑪���

123 亞洲首映 Asian Premiere

美國 USA | 2019 | DCP | Colour | 78min

1

2

身兼編、導、演與攝影,亞歷珊卓.庫契夫與漢娜.萊德展現了獨立電 影的大膽與狂妄。既有逐格動畫的奇幻異想,也有動作之王巴斯特.基 頓的冷面喜感。以西部沙漠風情、孤獨者的家屋、主日學故事的諧擬, 刻畫出非典型青春成長的悲喜。透過充滿火花的演員組合與出奇不意的 轉折,融入懸案與謎題,率真又不失詼諧地戳向愛與孤獨的人生課題。

亞 歷 珊 卓. 庫 契 夫,1986 年 生 於 美 國, 現 居 於 洛 杉 磯, 創 辦 電 影 公 司 Fire Tiger Films。

The Planters is a dark comedy about Martha Plant, a telemarketer who sucks at her job, doesn't like people but likes to bury stolen treasure for cash donations.

Alexandra KOTCHEFF and Hannah LEDER met at the age of eight and made their first film when they were twelve. Having collaborated on many projects, they wrote, directed, starred in and single-handedly crewed their latest project, The Planters.

When she forms an unlikely friendship with Sadie Mayflower, a Jesusloving vagrant with multiple personalities, Martha's world starts looking up. But Martha learns that opening herself up can come with unexpected consequences.

漢娜.萊德,1986 年生於美國,導演、 演員。曾演出電影《彗星撞地球》, 與亞歷珊卓.庫契夫自影集《讓愛傳 出去》合作至今。

2019 雨舞影展最佳影片 Film of the Festival, Raindance FF 2019 奧斯汀影展喜劇前線單元評審團獎、觀眾票選獎 Jury Award, Audience Award, Comedy Vanguard, Austin FF 2020 舊金山獨立影展劇情片單元評審團獎 Jury Prize, Narrative Feature, San Francisco Independent FF DIRECTOR, SCREENPLAY, CINEMATOGRAPHER 亞歷珊卓.庫契夫 Alexandra KOTCHEFF, 漢娜.萊德 Hannah LEDER PRODUCER

Jacqueline BEIRO, 亞歷珊卓.庫契夫 Alexandra KOTCHEFF, 漢娜.萊德 Hannah LEDER EDITOR Pinky BAGGINS MUSIC Thomas KOTCHEFF SOUND David WERNTZ CAST 亞歷珊卓.庫契夫 Alexandra KOTCHEFF, 漢娜.萊德 Hannah LEDER, Phil PAROLISI, Pepe SERNA, Michael GMUR PRINT SOURCE Fire Tiger Films

WILD TALES

荒僻的西部沙漠,冷氣推銷員瑪莎靠著電話簿碰運氣,卻因口才不佳狂 吃閉門羹。乏善可陳的生活、不見起色的業績,唯有「選物小生意」能 喚醒她稀有的熱情。一成不變的日子在莎蒂出現後嘎然而止,這位掉漆 傻妞意外觸動瑪莎的腦神經,一怪一傻不僅擦出友誼,還將沙漠攪得天 翻地覆。此時老闆卻突下最後通牒,破壞行規的買家還現身搞鬼,難得 的同棲生活面臨了巨大的考驗……

06.27 SAT 信義 13 18:40 06.30 TUE 華山 2 15:40 07.04 SAT 華山 2 15:00

怪奇物語

The Planters


㊣���金�理�史♂

124 亞洲首映 Asian Premiere

怪奇物語

The Twentieth Century

WILD TALES

06.26 FRI 華山 1 21:00 06.30 TUE 華山 1 13:10 07.02 THU 華山 1 20:30

馬修.蘭金,1980 年出生於加拿大溫 尼伯,於麥吉爾和拉瓦爾大學,主修 魁北克歷史。常於作品中將歷史做抽 象演繹,實驗、敘事與美學兼具,備 受國際矚目。首部導演長片《㊣麥肯 齊金總理秘史 》即拿下柏林影展、 多倫多影展及溫哥華影評人協會等多 個獎項。 Matthew RANKIN studied Québec history at McGill University. He has made thirty short films and The Twentieth Century is his feature debut, which won the FIPRESCI Prize in the Forum at the 2020 Berlinale.

加拿大 Canada | 2019 | DCP | Colour | 90min

出身多倫多的麥肯齊.金一心想實現娘親的預言:當上加拿大新總理並 結髮新將軍閨女。不料卻在競選總理的政治 PK 大亂鬥「雪地撒尿比準 頭」、「let's 不疲好鼻師」、「要會作秀剪綵王」項目中,以些微之 差落居第二,即便在後來「爆打海豹好吃驚」 單元拔得頭籌,依舊無 法改變預賽結果。歷經幾番寒徹骨,擄獲眾桃花撲鼻香後,他終於在如 飢餓遊戲般的「電音冰宮格鬥王」決賽裡戰勝來自溫哥華與魁北克的邪 惡勢力,完成加拿大大一統的春秋大夢。 本片取材自加國前總理麥肯齊.金的日記。特以超 8 和 16mm 攝影機 拍攝,引用真實世界人物的語句,並搭設大量場景與動畫營造懷舊時代 感,還偷渡了反串、3P、戀鞋癖、種族及縱慾等多項議題,揭露奠定 加拿大基礎的沙文主義殖民態度,也順勢造就一段荒誕怪奇又愛到卡慘 死的假傳記愛情。

Toronto, 1899. Aspiring young politician Mackenzie King dreams of becoming the Prime Minister of Canada. In his quest for power, he must face his imperious mother, a war-mongering Governor-General and the utopian idealism of a Québécois mystic. Meanwhile, King hesitates in love between a British soldier and a French-Canadian nurse and furtively indulges a fetishist obsession for women's footwear... When his vainglorious run for leadership culminates in an epic battle between good and evil, King will learn that disappointment may be the only way to survive the 20th century.

2019 多倫多影展最佳加拿大首部電影 Best Canadian First Feature Film, Toronto IFF 2019 洛斯卡沃斯影展最佳影片 Best Film, Los Cabos IFF 2020 柏林影展論壇單元國際影評人費比西獎 FIPRESCI Prize, Forum, Berlinale DIRECTOR, SCREENPLAY, EDITOR 馬修.蘭金 Matthew RANKIN PRODUCER Gabrielle TOUGAS-FRÉCHETTE, Ménaïc RAOUL CINEMATOGRAPHER Vincent BIRON MUSIC Peter VENNE, Christophe LAMARCHE-LEDOUX SOUND Sacha RATCLIFFE CAST

Dan BEIRNE, Mikhaïl AHOOJA, Catherine ST-LAURENT, Sarianne CORMIER, Brent SKAGFORD PRINT SOURCE Best Friend Forever


異境真實 REALITY BITES

佩佩蛙:感覺不錯蛙 Feels Good Man


�!咆�二十

126 亞洲首映 Asian Premiere

異境真實 REALITY BITES

06.26 F R I 信義 14 06.30 TUE 信義 14 07.04 SAT 華山 2 07.08 WED 華山 1

Bloody Nose, Empty Pockets 美國 USA | 2020 | DCP | Colour | 98min

15:20 14:40 19:00 13:40

1

拉斯維加斯,一間名為「咆哮二十」的廉價酒吧,因為生意不佳即將關 門大吉。人生失意的熟客們,在酒吧營業的最後一天,紛紛齊聚愛店, 使盡洪荒之力再鬧一回。曲終人散,酒醒時分,他們能否學會好好說再 見? 2

比爾.羅斯、透納.羅斯,出生於美 國俄亥俄州的導演兄弟檔,兩人聯手 創作多部紀錄片。2009 年《45365》 獲西南偏南電影節最佳紀錄片,2015 年《Western》獲日舞影展評審團特 別獎。

Bill ROSS and Turner ROSS, known as the Ross Brothers, are an American filmmaking team whose credits include the award-winning films 45365, Tchoupitoulas, Western and Contemporary Color.

一個人喝酒是麻醉,一群人喝酒是開心;一個人戒酒是酷刑,一群人一 起戒掉一間酒吧,大概是焚盡八荒的悲壯。美國紀錄片好手羅斯兄弟, 走進日漸被連鎖商店取代的老社區街頭,邀請酒吧蟑螂們浪漫共舞最後 一曲海海人生。宛若偽紀錄片版《遠離賭城》,羅斯兄弟將鏡頭對準美 國都市邊緣,透過特寫鏡頭凝視靈魂擱淺的浪人,在一個個酒後呢喃的 人生故事中,找回最美、最純粹的美國夢。 「對我們來說,酒吧像是一個能閃亮登台的舒適圈。我們要給這些客 人,在這特別的一天重演自己日常的舞台。」──透納.羅斯

In the shadows of the bright lights of Las Vegas, it's last call for a beloved dive bar known as the Roaring 20s. That is the premise, at least; the reality is as unreal as the world the regulars are escaping from. Bloody Nose, Empty Pockets is a mosaic of disparate lives, teetering between dignity and debauchery, reckoning with the past as they face an uncertain future and singing as their ship goes down. Filmmaking duo Bill and Turner Ross return with an elegiac portrait of a tiny world fading away but still warm and beating with the comfort of community. Their beguiling approach to nonfiction storytelling makes for a foggy memory of experience lost in empty shot glasses and puffs of smoke.

2020 日舞影展 Sundance FF 2020 柏林影展 Berlinale 2020 哥本哈根紀錄片影展 CPH:DOX DIRECTOR, CINEMATOGRAPHER 比爾.羅斯 Bill ROSS, 透納.羅斯 Turner ROSS PRODUCER Michael GOTTWALD, Chere THERIOT, 比爾.羅斯 Bill ROSS, 透納.羅斯 Turner ROSS EDITOR 比爾.羅斯 Bill ROSS MUSIC Casey Wayne MCALLISTER SOUND Kyle SHEEHAN CHARACTER Michael MARTIN, Cheryl FINK, Shay WALKER, John NERICHOW, Lowell LANDES PRINT SOURCE Cinephil


佩佩蛙:��不�蛙

127

美國 USA | 2020 | DCP | Colour | 94min

佩佩蛙不僅是當代梗圖迷因潮流的代表之一,更是被鄉民反覆二創詮釋 的另類符號,在光復香港時代革命中也扮演了追求民主的象徵。新銳導 演蒐集佩佩蛙的關鍵訪談、家庭錄像,並搭配歷史軌跡,道盡佩佩蛙與 原創繪者的人生牽連及起伏。 當亞瑟.瓊斯問:「鄉民惡搞佩佩蛙梗圖有錯嗎?」麥特.弗里則答: 「如果貼文寫『殺猶太人片甲不留』就有。」

When Matt Furie first created Pepe the Frog, a character in his indie comic Boy's Club, Matt was an easygoing San Francisco artist and Pepe was a chill frog dude. Through a series of unforeseen events and bizarre connections driven by the internet, Pepe came to be a symbol of hate for the far right. How that exactly happened is a wild journey into the heart of online life today and the memeification of our shared collective culture, where the meanings of images change moment to moment and cannot be controlled even by their creators.

18:40 20:50 16:10 20:00

亞 瑟. 瓊 斯, 曾 任 職 於 紐 約 時 報、 Vice 雜誌、調查報導中心和國際調查 記者同盟等新聞機構,並為記者和紀 錄片創作者提供動畫藝術指導。《佩 佩蛙:感覺不錯蛙》為其導演處女作, 榮獲日舞影展美國紀錄片類評審團新 銳獎。

Arthur JONES is a cartoonist and has ar t direc ted animation and motion graphics for journalists and documentary filmmakers, working with companies such as 'The New York Times' and 'VICE'. Feels Good Man is his directorial debut.

Furie decides to fight to take back Pepe from the dark forces that have turned him from a silly comic-book character into their own symbol. But is it already too late? 2020 日舞影展美國紀錄片類評審團新銳獎 Special Jury Award for Emerging Filmmaker, U.S. Documentary Competition, Sundance FF 2020 哥本哈根紀錄片影展 CPH:DOX 2020 加拿大紀錄片影展 Hot Docs DIRECTOR 亞瑟.瓊斯 Arthur JONES PRODUCER Giorgio ANGELINI, Caryn CAPOTOSTO, 亞瑟.瓊斯 Arthur JONES, Aaron WICKENDEN SCREENPLAY Giorgio ANGELINI, 亞瑟.瓊斯 Arthur JONES, Aaron WICKENDEN CINEMATOGRAPHER Giorgio ANGELINI, Ben COX,

Christian BRUNO, Kurt KEPPELER, Guy MOSSMAN, David USUI EDITOR Aaron WICKENDEN, Drew BLATMAN, Katrina TAYLOR MUSIC Ari BALOUZIAN, Ryan HOPE SOUND Lawrence EVERSON CHARACTER 麥特.弗里 Matt FURIE PRINT SOURCE Visit Films

REALITY BITES

經典迷因「佩佩蛙(Pepe the Frog)」,當年以懶散魯蛇形象在美漫《男 孩俱樂部》出道,被全球鄉民以各種圖像、GIF 繪製成梗圖二創,或搭 配純文字及歌曲群起歪樓,宛如病毒般在全球散播蔓延,連美國流行歌 手凱蒂.佩芮、妮姬.米娜都曾帶領話題推波助瀾。直到 2016 年美國 極右派大量改作散佈,甚至冠上仇恨影響選情,引來原創繪者麥特.弗 里的不悅,隔年親手將佩佩蛙賜死。

06.26 FRI 華山 1 06.30 TUE 華山 1 07.03 FRI 華山 2 07.05 SUN 華山 1

異境真實

Feels Good Man


128 亞洲首映 Asian Premiere

異境真實 REALITY BITES

06.26 F R I 華山 2 19:10 06.29 MON 華山 2 13:50 07.04 SAT 華山 2 17:00

盧卡.費里,1976 年出生於義大利貝 爾加莫。2012 年起獨立編導多部實驗 短片、長片與紀錄片,作品獲邀於各 大博物館、美術館與國際影展中放映。 2018 年起開始製作限定在室內拍攝的 「公寓三部曲」。

Luca FERRI is an Italian writer, photographer and filmmaker. Following numerous documentary films, he com-pleted his feature film debut, Abacuc, in 2015. The House of Love concludes his "Trilogy of the Apartment".

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The House of Love 義大利 Italy | 2020 | DCP | Colour | 77min

這是一個黑暗而安全的空間,偶以燭火點燃並照亮它。牆壁懸掛著一 張天國地圖,桌上佈置著各種儀式性的擺飾,黑貓穿梭其間。只要提 前 30 分鐘預約,性工作者碧昂卡就能化身最性感的尤物,讓顧客賓至 如歸。日復一日,碧昂卡和她的貓等待未知世界的來電,打開她們的世 界。 近 80 分鐘的電影,鏡頭從未離開過跨性別者碧昂卡位於米蘭的小公 寓。本片為導演盧卡.費里「公寓三部曲」的完結篇,以詩人桑德羅. 佩納名言:「柔情總是訴說著新事物」作為引子,引述聖經表達神祇對 性工作者的憐憫。吟唱殺人歌謠的長者、以碧昂卡身體為餐桌的男子、 遠方友人的視訊等奇幻場景接續開演,邀請觀者與這位游移社會邊緣、 渴望愛人與被愛的女子一起,填補內心的空缺。

Bianca is a 39-year-old transsexual woman. She has lived in Milan since 2009, working as a prostitute. For twenty years, she has been engaged to Natasha, a Japanese trans, who is temporarily living in Brazil. Their bond is very strong and distance has not weakened it. The film tells about their love story, made up of long phone calls and even longer waits. Because of work and family reasons, they have not seen each other for two years. Time without Natasha is marked by her clients, mostly regular ones, and by their requests. Over time, Bianca has been growing fond of them, but her thoughts are always dedicated to Natasha, who is finally coming back.

2020 柏林影展 Berlinale DIRECTOR, SCREENPLAY 盧卡.費里 Luca FERRI PRODUCER Federico MINETTI, Andrea ZANOLI CINEMATOGRAPHER Pietro DE TILLA, Andrea ZANOLI EDITOR Chiara TOGNOLI SOUND Duccio SERVI CHARACTER 碧昂卡.多契.米耶雷 Bianca Dolce MIELE, Natasha DE CASTO, Assila CHERFI PRINT SOURCE Taskovski Films


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129 亞洲首映 Asian Premiere

黎巴嫩、法國 Lebanon, France | 2020 | DCP | Colour | 82min

導演威薩姆.塔尼奧斯耗時五年,記錄家族中兩兄弟的日常,鏡頭下橫 跨多地的生活居所,穿插了家庭錄影帶與紀實影像,交織成一曲飽含情 感與歲月鄉愁的惆悵旋律。當擁有難民身份的非法外來者,試著融入新 國家的生活,宛如《希望在世界另一端》的紀錄片版,以鏡頭定格這群 移民者流離失所的哀婉心聲。

Two Syrian brothers in their mid-twenties take a leap of faith and decide to start their lives from scratch in new cities. They leave everything behind except their passion for life, determination, sense of humour and hope for a better future. Their closest cousin, Wissam, decides to film their odysseys for over five years, questioning the true meaning of home, bringing back some childhood memories, while exploring the human ability to cope with change as radical as it may be.

18:30 18:50 12:30 21:10

威薩姆.塔尼奧斯,1989 年出生於黎 巴嫩,於貝魯特聖約瑟夫大學主修電 影。年輕時對表演和電影充滿熱情, 亦參演多部廣告和戲劇作品。擅於處 理家庭和人際關係主題,《我去遠方, 不流浪》為其首部紀錄長片,入選鹿 特丹影展。

Wissam TANIOS studied Cinema at IESAV, Beirut. His short documentary, Aftermath, won Best Documentary at the 2012 Lebanese Film Festival. We Are From There, which premiered at the 2020 IFFR, is his first feature film.

2020 鹿特丹影展 IFF Rotterdam DIRECTOR, SCREENPLAY 威薩姆.塔尼奧斯 Wissam TANIOS PRODUCER Christian EID CINEMATOGRAPHER 威薩姆.塔尼奧斯

Wissam TANIOS, Fadi El SAMRA EDITOR Ghina HACHICHO, Mathilde MUYARD MUSIC Amine BOUHAFA SOUND Rana EID CHARACTER Milad KHAWAM, Jamil KHAWAM PRINT SOURCE The Bureau Sales

REALITY BITES

敘利亞內戰持續多年,不少家庭分崩離析,遲遲盼不到安寧的日子;對 人民來說,離開家鄉,或許方能尋得更好的歸宿。賈宓勒跟隨父親的腳 步成為木匠,他先移居黎巴嫩,再非法前往瑞典;夢想成為小號手的密 拉德,原本打定主意留在敘利亞,最終仍選擇飛往德國柏林展開新生。 兄弟倆被迫分隔異地,而嚮往的遠方,是否真能帶來美好的生活?兩人 滿腹的心酸苦楚,化為視訊裡的聲影傾訴,紓解日復一日無奈的現實與 命運。

06.25 THU 信義 14 06.27 SAT 華山 2 06.30 TUE 信義 14 07.07 TUE 華山 1

異境真實

We Are From There


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130

異境真實

The Year of the Discovery

REALITY BITES

06.28 SUN 華山 1 12:30 07.05 SUN 華山 2 14:50 07.09 THU 華山 2 19:30

路 易 斯. 羅 培 茲. 卡 拉 斯 科 ,1981 年 生 於 西 班 牙, 身 兼 編 劇、 製 片、 導 演 及 視 覺 藝 術 家。 作 品 多 次 入 選 國 際 影 展, 多 人 共 同 執 導 的《Los materiales》獲 2013 年馬賽影展評審 團 特 別 獎,《El Futuro》 入 選 2013 年盧卡諾影展,《加泰隆尼亞之全民 開講》為其首部獨立執導之紀錄長片。 Luis LÓPEZ CARRASCO is a filmmaker and writer. In 2008, he co-founded Los Hijos, an experimental cinema and documentary collective. El Futuro, his first solo film, was premiered at the 2013 Locarno Film Festival.

西班牙、瑞士 Spain, Switzerland | 2020 | DCP | Colour | 200min

加泰隆尼亞的小酒館裡,男女老少點燃一支菸、拿起一杯酒,對著攝影 機侃侃而談。家人聊著日常瑣事、朋友對於工作意見相左、陌生的過 客呢喃繚繞的夢境,每個人都在訴說不為人知的生命故事。東家長西家 短,過往的回憶漸漸清晰,眾聲紛紜間,終得一窺西班牙看似風光卻暗 湧不斷的 1992 年。 在世界的眼中,1992 年的西班牙因舉辦奧運和世界博覽會舉國歡騰, 但在加泰隆尼亞當地,失業率攀升及全球化的衝擊,讓街頭的抗爭越演 越烈,政治更是揮之不去的陰霾。發想自童年經歷,導演依據真實事件 編寫出綿密漫長的對話,利用素人演員及 Hi8 影帶拍攝錯置年代感, 塑造出宛如當年的資料影像。訪談、廣告和新聞,經由分割畫面重組, 透過人民的生活切片拼湊出被掩埋的國家記憶。

Neighbours, youngsters and unemployed workers chat inside a bar between cigarettes, breakfasts and snacks. The bar is located in Cartagena in the southeast of Spain. As the day goes on, the riots triggered by the industrial crisis of 1992 begin. In 1992, the Barcelona Olympic Games and the Seville Expo were held in Spain, celebrating the 5th Centenary of the Discovery of America. The country is presented to the international community as a modern, developed and dynamic country. Meanwhile in Cartagena, the riots became increasingly violent and would result in a mass uprising that culminate in the burning of the parliament of the Autonomous Community.

2020 鹿特丹影展 IFF Rotterdam 2020 巴黎真實影展 Cinéma du réel DIRECTOR 路易斯.羅培茲.卡拉斯科 Luis LÓPEZ CARRASCO PRODUCER Pedro PALACIOS, Daniel M. CANEIRO, Ricard SALES,

Marta LACIMA SCREENPLAY 路易斯.羅培茲.卡拉斯科 Luis LÓPEZ CARRASCO, Raúl LIARTE CINEMATOGRAPHER Sara GALLEGO GRAU EDITOR Sergio JIMÉNEZ BARRANQUERO SOUND Alberto CARLASSARE PRINT SOURCE OFF ECAM


作者視角 VISIONS

氣球 Balloon


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132

作者視角

Balloon

VISIONS

06.27 SAT 信義 13 20:40 07.01 WED 信義 13 21:50 07.03 F R I 信義 13 12:20

萬瑪才旦 ,1969 年生於西藏。身兼 導演、編劇與作家,其文學被翻譯成 多國語言。以母語拍攝的家鄉電影, 如《靜靜的嘛呢石》、《尋找智美更 登》、《撞死了一隻羊》等,傳遞藏 族文化及現況,屢獲國際影展肯定, 曾以《塔洛》獲金馬獎最佳改編劇本。

Pema Tseden is a Tibetan director, screenwriter and writer. Most of his films are shot in Tibetan language by Tibetan teams and were nominated at many major film festivals, including the Venice and the Locarno.

中國 China | 2019 | DCP | Colour | 102min

達傑和卓嘎夫婦一家居於青海湖畔,圈養羊群為生,而達傑在床笫上的 活力就像家裡配種的公羊,從診所領回的小包袋成了盡情春宵的法寶。 然而,當孩子竊之為玩物,飄盪晴空的氣球究竟是投向自由,還是行將 幻滅的詛咒? 1980 年代中國政府頒布節育政策,夾身藏傳佛教靈魂轉世說與現代觀 念間的女性,可有自己做主的機會?萬瑪才旦以氣球的夢境質地,疊影 在免費發放的保險套之上,讓透過宗教遁世忘卻的痛楚,與試圖營造的 凌空幻境,不時在眼前炸裂與深深落地。 「大多數藏族婦女至今仍過著傳統的生活方式,扮演傳統角色。她們堅 持信念並忍受一切艱辛,不難想像當她們開始覺醒時所面對的困境,以 及與既有成規產生的衝突。」──萬瑪才旦

On the Tibetan grasslands, Dargye and Drolkar lead a serene life with their three sons and Dargye's father. The death of Dargye's father throws the whole family into sorrow, but soon Dargye and Drolkar are caught unawares by an unexpected pregnancy. A subtle conflict arises between the two as Drolkar is concerned about having another baby due to China's birth control policy, while Dargye believes that the baby is the reincarnation of his father. Because of their faith, death makes them think about what is more important between life and death, spirit and reality.

2019 威尼斯影展 Venice FF 2019 多倫多影展 Toronto IFF 2019 釜山影展 Busan IFF DIRECTOR, SCREENPLAY 萬瑪才旦 Pema Tseden PRODUCER 黃旭峰 HUANG Xufeng, 彭綺華 Jacky PANG CINEMATOGRAPHER 呂松野

LU Songye EDITOR 廖慶松 LIAO Ching-sung, 金鏑 JIN Di MUSIC 佩曼.亞丹尼安 Peyman YAZDANIAN SOUND 杜篤之 TU Duu-chih, 吳書瑤 WU Shu-yao CAST 索朗旺姆 Sonam Wangmo, 金巴 Jinpa, 楊秀措 Yangshik Tso, Konchok, Dudul PRINT SOURCE 赤角(北京)文 化傳播有限公司 Rediance


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133

冰島 Iceland | 2020 | DCP | B&W | 71min

《愛的萬物論》、《異星入侵》配樂名家約翰.約漢生,首次執導長片 並親自配樂,巨星蒂妲.史雲頓跨刀獻聲旁白。這部 16mm、黑白攝 影的前衛散文電影,卻也因導演 2018 年驟逝,成為他的遺世之作。 「我認為本片將以各種化身延續生命,人們在這 70 分鐘裡觀看這些水 泥雕塑、聽著人類的終曲。所幸這些元素組成了美麗而深刻的成品,彷 彿一首安魂曲。」──約翰.約漢生

What can we learn from the voice speaking to us from two billion years away? Last and First Men juxtaposes the science fiction story by Olaf Stapledon, a haunting musical score by the late composer and musician Jóhan Jóhannson and filmed images of futuristic, brutalist, otherworldly stone monuments erected during the communist era in the former Yugoslav republics, shot in 16mm black and white by Sturla Brandth Grøvlen. Narrated by Tilda Swinton, the film beckons us into a world of surreal and phantasmagorical monuments where a future race of humans finds themselves on the verge of extinction. While the story of crumbling future civilisations is told, the spectral presence of an entity attempting to communicate with us emerges.

約翰.約漢生,1969 年出生於冰島, 作 曲 家、 電 影 導 演。 曾 以《 浮 城 謎 事》、《愛的萬物論》分獲金馬獎、 金球獎最佳配樂,並多次擔任《異星 入境》導演丹尼.維勒納夫電影配樂。 近年跨足電影創作,2018 年驟逝於德 國柏林。

Jóhann JÓHANNSSON (1969-2018) was an Icelandic composer and filmmaker. In 2015, he won the Golden Globe for Best Original Score for The Theory of Everything. In the same year, he made his debut short film as a director, End of Summer.

2020 柏林影展 Berlinale DIRECTOR 約翰.約漢生 Jóhann JÓHANNSSON PRODUCER 約翰.約漢生 Jóhann JÓHANNSSON, Thor S. SIGURJONSSON,

Sturla Brandth GRØVLEN SCREENPLAY 約翰.約漢生 Jóhann JÓHANNSSON, José Enrique MACIÁN CINEMATOGRAPHER Sturla Brandth GRØVLEN EDITOR Mark BUKDAHL MUSIC 約翰.約漢生 Jóhann JÓHANNSSON, Yair Elazar GLOTMAN SOUND Jana IRMERT VOICE 蒂妲.史雲頓 Tilda SWINTON PRINT SOURCE Films Boutique

VISIONS

20 億年後,滅絕在即的未來人種向 21 世紀發聲,細數人類過去多次的 進化與歷劫重生。旁白改編自英國作家歐拉夫.史塔普雷頓 1930 年同 名科幻小說,畫面由多個共產時期南斯拉夫留下的紀念碑構成。矗立荒 野中的碩大野獸派雕塑,彷若文明遺跡。大膽構圖的局部特寫,更將之 化為或具象或抽象的影像,音畫相映成趣,傳遞強烈的末世寂寥。

06.27 SAT 華山 1 21:30 07.02 THU 信義 13 19:00 07.06 MON 華山 1 19:00

作者視角

Last and First Men


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134

作者視角

Los Conductos

VISIONS

06.29 MON 華山 1 07.02 THU 華山 1 07.05 SUN 華山 1 07.06 MON 華山 1

21:20 13:10 18:00 14:40

卡米洛.雷斯特雷波,1975 年出生於 哥倫比亞,現居於巴黎,為藝術家經 營的電影實驗室 L'Abominable 的成 員之一,作品屢獲多倫多、坎城、紐 約與盧卡諾等國際影展肯定。

Camilo RESTREPO was born in Colombia and currently lives and works in Paris. His films have been selected for many film festivals, including the Cannes Directors' Fortnight and he has won the Pardino d'Argento at the Locarno twice.

法國、哥倫比亞、巴西 France, Colombia, Brazil 2020 | DCP | Colour | 70min

毒品與音樂竄流動脈,探照燈光束切割暗夜,神啟時刻於眼前敞開的活 路,侷促也寬敞。是夜,地下組織成員 Pinky 意識到「父親」的照顧, 也意味著無所不在的身心監控,他決心竄改洗腦「神話」,展開叛逃。 他淋濕同夥的萬寶路,張開雙手飆風逆行,感到胸中死寂的哥倫比亞再 次著火。 為了貼合城市邊緣人的脫逃之旅,導演選擇以 16mm 膠卷拍攝,藉由 其介乎運動游擊及犯罪行徑間的質地,遊走於紀錄、神話與幻覺間虛實 難辨的敘事線,對哥倫比亞工具化的宗教,以及主流敘事的教義倫理, 同步拋出強烈的質疑。 「現代電影似乎有一種趨勢,以悲慘的寫實形式來強調困擾著新興國家 的邪惡。不幸的是,這些悲劇的復現,常讓這些社會與我們視為真實的 影像綁在一起,並因此蒙受污名。」──卡米洛.雷斯特雷波

Pinky is on the run. At night the empty streets smell of the apocalypse and the city seems to be on fire. Narcotics swirl through the veins and the air. Having freed himself from the clutches of a sect led by a certain "padre" and determined to take his fate into his own hands, he is now holed up in an illegal T-shirt factory, surrounded by paints, slogans and heat presses. Pinky is looking for the light at the end of the tunnel, but ghosts are breathing down his neck. He is running for his life, and Colombia is on fire. But Colombia is alive.

2020 柏林影展最佳首部電影 GWFF Best First Feature Award, Berlinale 2020 紐約新導演 新電影影展 New Directors / New Films DIRECTOR, SCREENPLAY, EDITOR 卡米洛.雷斯特雷波 Camilo RESTREPO PRODUCER Helen OLIVE, Martin BERTIER, Felipe GUERRERO CINEMATOGRAPHER Guillaume MAZLOUM MUSIC Arthur B. GILLETTE, Jennifer HUTT SOUND Josefina RODRIGUEZ, Mathieu FARNARIER CAST Luis Felipe LOZANO, Fernando Úsuga HIGUÍTA, 卡米洛.雷斯特雷波 Camilo RESTREPO PRINT SOURCE Best Friend Forever


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135 國際首映

International Premiere

德國、捷克、伊朗 Germany, Czech Republic, Iran 2020 | DCP | Colour | 151min

06.27 SAT 信義 14 17:40

伊朗,全球死刑執行率最高的國家,他們讓軍人執行死刑,以填補人力 缺口。義務役軍人若要完成兵役,就必須按下死刑執行的紅色按鈕;而 在這個極權的國家裡,沒完成兵役可能連駕照都拿不到。伊朗當代大師 穆罕默德.拉素羅夫,以四段式結構搭配隱喻與通俗劇手法雙管齊下, 相互呼應直指問題核心,叩問極權體制對人性的輾壓議題。 「伊朗政府讓我只能在地下、以極端的模式製作電影;而片中所關心的 恰好也是站在向權力『說不』的位置上,以及要承受的責任、負荷與代 價。」──穆罕默德.拉素羅夫 Heshmat, an exemplary husband and father, gets up very early every day. Where does he go? Pouya cannot imagine killing another man, yet he is told he must do so. Javad doesn't know that proposing to his beloved won't be the only surprise on her birthday. Bahram is a physician but is unable to practice medicine. He has decided to explain to his visiting niece the reason for his life as an outcast.

VISIONS

年過五旬的死刑執行官,將殺人當作日常的一環;軍營的阿兵哥,在與 女友的通話中飽受道德折磨;克服恐懼完成死刑執行的小兵,卻意外發 現女友一家其實是反死刑陣線成員;從德國返鄉的女孩,發現叔叔有一 個藏了多年的秘密。圍繞著死刑執行官的四個道德故事,精準帶出違抗 權力過程中要負起的代價。

作者視角

There Is No EviI

穆罕默德.拉素羅夫,1972 年出生於 伊朗,畢業於社會系,從事紀錄片工 作。曾因拍攝抗議選舉舞弊紀錄片, 遭禁拍 20 年。他不顧審查,祕密拍 攝電影,三度於坎城影展獲獎。在以 《無邪》獲柏林影展金熊獎的殊榮後, 拉素羅夫不幸入獄。

Mohammad RASOULOF is an Iranian director who has won numerous prestigious awards. All seven of his feature films have fallen victim to the censor in Iran. There is No Evil won the Golden Bear at the 2020 Berlinale.

The four stories that comprise There Is No Evil offer variations on the crucial themes of moral strength and the death penalty, asking to what extent individual freedom can be expressed under a despotic regime and its seemingly inescapable threats.

2020 柏林影展金熊獎 Golden Bear, Berlinale DIRECTOR, SCREENPLAY 穆罕默德.拉素羅夫 Mohammad RASOULOF PRODUCER 穆罕默德.拉素羅夫 Mohammad RASOULOF,

Kaveh FARNAM, Farzad PAK CINEMATOGRAPHER Ashkan ASHKANI EDITOR Mohammadreza MUINI, Meysam MUINI MUSIC Amir MOLOOKPOUR SOUND Philipp KEMPTNER, Hasan MAHDAVI CAST Ehsan MIRHOSSEINI, Shaghayegh SHOURIAN, Kaveh AHANGAR, Alireza ZAREPARAST, Salar KHAMSEH PRINT SOURCE 光年映畫有限公司 Light Year Images


136 亞洲首映 Asian Premiere

作者視角

07.09 THU 信義 13 20:40 ▲

��的女�

The Woman Who Ran 南韓 South Korea | 2020 | DCP | Colour | 77min

VISIONS

自命幸福的已婚女子,因丈夫暫別而興起拜訪朋友的念頭。她與住在首 爾郊外的年長友人小聚,走進迷戀鄰居的女教師房間,又偶然遇上在 獨立電影院工作的老友。在這個自得其樂的女性國度中,一連串的重逢 與偶遇照亮了不同位置的韓國女人心境。一杯杯米酒與燒肉的絮絮叨叨 裡,男人的自私軟弱被攤開來嘲諷笑語,深埋在女人們內心深處的慾望 也方得傾訴。 洪常秀,1960 年出生於南韓首爾, 1996 年憑首部電影《豬墮井的那天》 驚艷影壇,備受國際影展垂青,是韓 國 當 今 最 具 實 驗 精 神 的 獨 立 導 演。 2015 年《這時對,那時錯》獲盧卡諾 影展金豹獎。新作《逃亡的女人》是 他生涯第四度入選柏林影展。

創作不輟的南韓名導洪常秀,這回以一貫簡約的風格與變焦攝影鏡位, 帶著觀眾步入女人的世界,透過一票御用女演員金珉禧、徐永嬅、宋宣 美、金璽碧,述說一群追求獨立自主的現代女性的故事,精準描摹那道 男性無法跨越的鴻溝。

HONG Sang-soo is a renowned Korean director who has made 24 films and won countless awards at the major film festivals, including Cannes, Berlinale and Venice. The Woman Who Ran won Best Director at the 2020 Berlinale.

The film follows Gamhee, who has three separate encounters with friends while her husband is on a business trip. Youngsoon is divorced, has given up meat and likes to garden in her backyard. Suyoung has a crush on her architect neighbour and is being hounded by a young poet she met at the bar. Woojin works for a movie theatre. Their meeting is polite, but strained. Before long, their shared history bubbles to the surface. What does the enigmatic title imply? Who is the woman who ran? What is she running away from, and why?

2020 柏林影展最佳導演 Best Director, Berlinale DIRECTOR, PRODUCER, SCREENPLAY, EDITOR, MUSIC 洪常秀 HONG Sang-soo CINEMATOGRAPHER KIM Su-min SOUND SEO Ji-hoon CAST 金珉禧 KIM Min-hee, 徐永嬅 SEO Young-hwa, 宋宣美 SONG Seon-mi, 金璽碧 KIM Sae-byuk, 李恩美 LEE Eun-mi PRINT SOURCE 可樂藝術文創股份有限公司 Cola Films Co., Ltd.


The Works and Days (of Tayoko Shiojiri in the Shiotani Basin) 美國、瑞典、日本、英國 USA, Sweden, Japan, UK 2020 | DCP | Colour | 480min

凜冬將盡的山間村落,農事從不是輕鬆的活。對於上了年紀的塩尻太太 而言,比體能衰退更拖著日子的,是逐日耗損的精神。塩尻太太與村 裡的長者相互關照,如守望那青春渺然、生機一息的稻田,以及相守一 生,如今卻一身病痛的丈夫。她得和時間一起注視著伴侶的衰亡、悼念 村落的頹敗,以及那片又將春去秋來的大地與萬物的生死輪迴。 導演雙人組遠赴京都山區拍攝,歷時 27 週總拍攝日,琢磨出蘊含史詩 質地的漫漫日常。取材自塩尻太太的私密日記,以五部著作為結構,八 個小時讓觀眾浸淫於日出夜臨、蟲鳴鳥叫之間,彷彿與 47 位村民共享 靜謐的日子,卻巧妙安插加瀨亮、本木雅弘兩位演員融入其中,在真實 與虛構間游移,構成一部橫跨 14 個月的時光,與融合天地氣宇的盛宴。

"The first rule in farming is that you are never to hope for an easy way. The land demands your effort." The Works and Days (of Tayoko Shiojiri in the Shiotani Basin) is an eight-hour fiction film shot for a total of twentyseven weeks, over a period of fourteen months, in a village of forty-seven residents in the mountains of Kyoto Prefecture, Japan. It is a geographic description of the work and non-work of a farmer. A portrait of a family, a terrain, a soundscape and the duration itself. Featuring a performance by Tayoko Shiojiri, it binds fiction and actual bereavement into a heartbreaking indeterminability.

1

2

C.W. 溫特 ,生於美國加州,牛津大學 藝術學博士。 安德斯.艾斯桐 ,生於瑞典,國際知名攝 影師。與溫特合導《The Anchorage》, 於盧卡諾影展獲 Filmmakers of the Present 金豹獎。

C.W. WINTER was born in Newport Beach, California. He received an MFA from the California Institute of the Arts. Anders EDSTRÖM was born in Frösö, Sweden. Since the early 1990s, his work has been widely published and exhibited at museums.

2020 柏林影展邂逅單元最佳影片 Best Film, Encounters, Berlinale DIRECTOR C.W. 溫特 C.W. WINTER, 安德斯.艾斯桐 Anders EDSTRÖM PRODUCER C.W. 溫特 C.W. WINTER, 安德斯.艾斯桐 Anders EDSTRÖM, 王越 WANG Yue SCREENPLAY C.W. 溫特 C.W. WINTER CINEMATOGRAPHER 安德斯.艾斯桐 Anders EDSTRÖM EDITOR, SOUND C.W. 溫特 C.W. WINTER MUSIC Irma DE WIND CAST SHIOJIRI Tayoko, SHIKATA Hiroharu, 加瀨亮 KASE Ryo, Mai EDSTRÖM, TSUNODA Jun, IWAHANA Kaoru, 本木雅弘 MOTOKI Masahiro PRINT SOURCE General Asst.

VISIONS

06.28 SUN 信義 14 10:00 07.06 MON 華山 2 10:00 07.08 WED 華山 2 10:00

137

作者視角

���日

本片屬特殊活動場次,購票資訊請見影展資訊 P.16


電影正發生 : 聲 音 設 計 IN PROGRESS: SOUND DESIGN

138

電影正發生:聲音設計 IN PROGRESS: SOUND DESIGN

集體創作的過程,造就了電影創作的特 殊性;透過集合各崗位創作者的投入, 共同完成一部電影。「電影正發生」嘗 試回溯與解構,讓原本被視為終點的銀 幕成為起點,爬梳影像背後的經緯,走 一回各舵手經歷的路徑,從各個位置出 發,親臨該航道的風景,探索他們共同 掌舵並進的,那個名為「電影」的彼方。

艾蜜莉的異想世界 Amélie

The process of collective creation is what makes filmmaking such a unique activity. A film is a result of all the efforts put in by every crew member. In "In Progress: Sound Design", we look back at the progress in order to deconstruct films, turning the final production into the starting point and examining the contribution made by each collaborator. Seeing from their points of view, we explore how they work together to make the so-called "film" that we see on the screen.


影似一場聲光的魔幻。以光造影,從影成像,而與之相伴的則為「聲」。探究聲音 設計與影像如何作用,是將聲音縫進影像、擊打耳膜至腦海中成像?或是與影像衝

突拉扯出覆蓋五感的波段?音

像的創作曲線,是如何重疊、交織與昇華?

今年「電影正發生」以聲音設計為主題,規劃了現場創作、專文及訪談、影片放映與映後 座談,一步步打開觀眾的聆聽觀點,推進大眾對聲音的想像力。而在現場創作之外,專文

139

與訪談將介紹聲音之於影像的重要性,包括如何聆聽、與電影聲音設計產製的過程。影片 放映及座談則邀來八位台灣聲音設計工作者,作為電影選片及映後與談人,推薦一部對其

聲音設計特殊之處及聲音工作經驗。單元選映影片片型多元,呈現每位聲音設計師獨特觀 點,也提供不同片型在聲音設計上的豐富思維。 film feels like a magic show of light and sound, and the images are created by light and shadow accompanied by sound. We look into how sound design interacts

with image. Is the sound sewn into the image, hitting our eardrums before forming the image in our heads? Or does it clash with the image to create the waves that cover our senses? How does sound and image overlap and entwine with each other? In "In Progress: Sound Design" at this year's Taipei Film Festival, we organise live creation, interviews and essays, screenings and Q&As examining how the audience listen to the sound in film and their imagination of sound. In addition to the live creation, in the essay and the interviews, we demonstrate the importance of sound to the image, including how to listen to it and the process of sound design in film production. Eight Taiwanese sound designers are invited to participate in the Q&As after the screenings and recommend a film which inspired their work or a must-see film for those involved in sound design. A 30-minute Q&A is held after each screening for the speakers to share their unique work experience in sound design. A wide range of films are selected in order to reveal the unique viewpoint of each sound designer and offer the audience various ideas of sound design in different genres.

合作單位

IN PROGRESS: SOUND DESIGN

A

電影正發生:聲音設計

電影聲音創作有所啟發、或聲音工作者必看的作品,並於映後安排 30 分鐘座談,分享該片


Live Creation

現 場 創 作

時間:06.26 FRI, 06.27 SAT 14:00-21:00 地點:C-LAB 臺灣聲響實驗室 C-LAB Taiwan Sound Lab *免費入場,現場視狀況進行人數管控

電影似一場聲光的魔幻。聲音設計與影像如何作用?是將聲音縫進影像、擊打耳膜至腦海中 成像?或是與影像衝突拉扯出覆蓋五感的波段?音 像的創作曲線,如何重疊、交織與昇華? 周震、黃邦銓、林君昵、王榆鈞,四位創作者帶著不同的創作模式和思維,將帶來什麼樣的 刺激與全新的想像?絕無僅有的現場創作計畫,唯有親臨現場,才能與創作者共享此次「獨 家」的影展經驗。 A film feels like a magic show of light and sound. How does sound design work with image? Is the sound sewn into the image, hitting our eardrums before forming the image in our heads? Or does it clash with the image to create the waves that cover our senses? How does sound and image overlap and entwine with each other?

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IN PROGRESS: SOUND DESIGN EVENT INFO

創 作  者 介 紹

Artists

電影正發生:聲音設計 活動資訊

Chou Cheng, Huang Pang-chuan, Chunni Lin and Wang Yu-jun are four artists with different creative models and thinking, and what simulation and brand-new imagination will they bring to the audience? This is a unique live creation show, and only when one is present can one share such an exclusive experience with the artists at Taipei Film Festival this year.

周震

CHOU Cheng

曾三度獲得金鐘獎音效獎,2019 年以《灼

CHOU Cheng, has won Best Sound Effects at the

人秘密》獲金馬獎最佳音效。現為震.聲

Golden Bell Awards for three times and in 2019,

音負責人,持續從事聲音設計、後期混音 工作。

林君昵

he won Best Sound Effects for NINA WU at the Golden Horse Awards.

Chunni LIN

出生於日本東京,大學主修建築,導演短

Chunni LIN, bor n in Tokyo, Japan, studied

片《淹煙》入選法國克萊蒙費宏實驗競賽、

architecture in college. Her short film Yen Yen was

巴西聖保羅短片電影節。

黃邦銓

in Clermont-Ferrand Film Festival and Sao Paulo Film Festival.

HUANG Pang-chuan

1988 年生,以《去年火車經過的時候》

HUANG Pang-chuan, born in 1988, won Grand Prize

獲得克萊蒙費宏短片影展實驗競賽首獎,

at the Clermont-Ferrand and Taipei Film Award first

及 2019 年台北電影獎百萬首獎。

王榆鈞

prize for Last Year When the Train Passed By.

WANG Yu-jun

音樂創作者、歌者。以《野雀之詩》電影

WANG Yu-jun, a composer and singer-songwriter.

配樂曾入圍 2019 台北電影獎最佳電影配

She was nominated Best Music in 2019 Taipei Films

樂。音樂專輯獲金音獎最佳民謠專輯獎、 最佳民謠單曲獎等。

Awards for Wild Sparrow. Her album was awarded for Best Folk Album in Golden Indie Music Awards.


C-LAB 臺灣聲響實驗室 C-LAB Taiwan Sound Lab 空總臺灣當代文化實驗場(C-Lab)與法國「聲響與音樂研究統合中心」(IRCAM)於 2018 年簽訂協議,合作成立「臺灣聲響實驗室」,促進我國科技、研究及當代創作之間的跨域發展。 基於上述基礎,雙方展開了人才互訪、共製、研發及展演等交流。2019 年完工的臺灣聲響實 驗室擁有國內第一座沉浸式聲音劇場空間、49.4 聲道喇叭陣列、支援實驗性創作與劇場表演, 可容納 75 人之活動座位,致力於聲響科技發展與藝術文化之結合,以務實的科學研究觀點, 推動臺灣聲響藝術發展。

國家電影及視聽文化中心

「國家電影及視聽文化中心」是我國唯一典藏影視聽資產專責行政法人機構,以強化影視聽 資產典藏研究修復推廣、實現資產公共化任務為宗旨。為「國際電影資料館聯盟」(FIAF) 正式會員,前身為財團法人「國家電影中心」及「國家電影資料館」,成立迄今已逾四十年。 在 14 座片庫中典藏計有電影膠片約 2 萬部、影視聽文物逾 20 萬件,自 2008 年起開始數位 修復業務,至 2019 年高階數位掃描 171 部,合作修復 42 部,自主修復 8 部電影。致力於透 過數位修復技術搶救保存影音檔案,以影視聽媒介保存記憶、典藏歷史。 Taiwan Film and Audiovisual Institute (TFAI) is the only administrative institution in Taiwan dedicated to preserving national audiovisual heritage. TFAI's core mission is to preserve, restore, research and promote Taiwan's audiovisual heritage, aiming to make its holdings available to the public. As a member of the International Federation of Film Archives (FIAF), TFAI has over 40 years of history, formerly known as "Taiwan Film Institute (TFI)" and "Chinese Taipei Film Archive (CTFA)". TFAI's vaults hold around 20,000 titles of film prints and more than 200,000 film and audiovisual related material. Since 2008, TFAI (then CTFA) began undertaking the tasks of film preservation and digital restoration, culminating in the high-res digital scanning of 171 titles, the collaborative restoration of 42 titles and in-house restoration of 8 titles until 2019. TFAI continues to play a significant role in preserving Taiwan's audiovisual heritage through digital restoration efforts, in order to preserve our history and memory.

IN PROGRESS: SOUND DESIGN EVENT INFO

Taiwan Film and Audiovisual Institute (TFAI)

141

電影正發生:聲音設計 活動資訊

To promote the development of sound arts in Taiwan, the Taiwan Contemporary Culture Lab (C-LAB) and the Institute for Research and Coordination in Acoustics/ Music (IRCAM) of France signed an agreement in 2018. Based on this agreement, the Taiwan Sound Lab was established in 2019, paving the way for exchange visits, co-productions, and collaborative research and development, exhibitions, and performances. The Taiwan Sound Lab has the first immersive sound theater in Taiwan devoted to the integration of sound technology development, arts and culture with the aim to promote Taiwan's sound art based on scientific research. This theater, which has a capacity of 75, includes a 49.4 channel speaker array to support experimental works and performances.


142 06.28 SUN 信義 13 18:00 ★

10+10

電影正發生:聲音設計

台灣 Taiwan | 2011 | DCP | Colour, B&W | 114min DIRECTOR 王小棣 WANG Shau-di, 王童

IN PROGRESS: SOUND DESIGN

WANG Toon, 朱延平 Kevin CHU, 何蔚庭 HO Wi Ding, 吳念真 WU Nien-jen, 沈可尚 SHEN Ko-shang, 侯孝賢 HOU Hsiao-hsien, 侯季然 HOU Chi-jan, 張艾嘉 Sylvia CHANG, 張作驥 CHANG Tso-chi, 鄭有傑 CHENG Yu-chieh, 陳國富 CHEN Kuo-fu, 楊雅喆 YANG Ya-che, 蕭雅全 HSIAO Ya-chuan, 鍾孟宏 CHUNG Mong-hong, 魏德聖 WEI Te-sheng, 陳玉勳 CHEN Yu-hsun, 陳駿霖 Arvin CHEN, 鄭文堂 CHENG Wen-tang, 戴立忍 Leon DAI EXECUTIVE PRODUCER 聞天祥 WEN Tien-hsiang PRODUCER 張鳳美 CHANG Fong-mei SOUND 吳書瑤 WU Shu-yao, 杜均堂 TU Chun-tang, 杜篤之 TU Duu-chih, 高偉晏 R.T. KAO, 曾雅寧 Ning TSENG, 葉約瑟 Joseph YEH, 蔡瀚陞 Hanson TSAI, 鄭旭志 Frank CHENG, 嘉莉錄音工房 Chiali Studio PRINT SOURCE 台北金馬影展執行委員會 Taipei Golden Horse Film Festival Executive Committee

民國百年,以「台灣特有」為題旨,集結台灣 20 位不同世代導演,發展出 20 部形式、內容、風格迥異的短片合輯。 全片囊括各類議題,全面觀照台灣社會過去百年來的變遷,不僅是台灣導演 一次性的創作力展示,更在每一支精悍短片中,窺見台灣各電影部門技術與 創意的成熟表現。聲音設計方面,除了電影聲音大師杜篤之領軍多部聲音指 導,其他參與其中的錄音師、混音師,也有多位成為當今獨當一面的聲音設 計師,宛如一支台灣電影工作者的成長紀錄。 A collection of twenty short films by twenty different directors, all about Taiwan. The whole collection includes various issue about Taiwanese society in the past 100 years. It not only demonstrates the creativity of Taiwanese directors but also shows the soft power of Taiwanese film industry. In terms of the sound department, many of the participating sound recordists and sound mixers have become sound designers.

2011 金馬影展 Taipei Golden Horse FF 2012 柏林影展 Berlinale 2012 釜山影展 Busan IFF

影片推薦 人 Guest Curator

吳書瑤,2001 年起進入杜篤之錄音室工作。現為聲色盒子聲音指導與混音師,曾三度獲得金馬獎最佳音效。 WU Shu-yao has been working in TU Duu-chih's recording studio since 2001. She won Best Sound Effects three times at the Golden Horse Awards. ▲

推薦理由 Guide

聲音設計的工作,是從導演想表達的故事出發進行創作。《10+10》匯聚了 20 個導演,有 20 種不同的說故事方法, 從一部片即可看見多元的風格表現。 The work of the sound designers is based on the stories that the directors want to express. There are 20 directors and 20 different ways of telling stories in 10+10. From this film, you can see a variety of sound design.


143 07.05 SUN 華山 1 13:00 ★ 07.09 THU 華山 1 17:00

群山環繞與世隔絕的冰封湖畔,年輕的伐木人與眼盲的母親和弟妹一起生 活,直到一位年輕男子的到來,擾亂了他們的平靜。全片去除色彩,以蒼白 而冷冽的單一色調,構築一家人的封閉世界。在看似靜默的國度裡,憑藉大 激觀眾的感官邊界。 A family has lived a quiet life in an isolated house near a lake until the arrival of a young man that disrupts their peace. Colour is removed from the whole film as the sounds of nature and the murmur of the characters express the emotions that cross the line.

CINEMATOGRAPHER 菲利普.貢迪厄 Philippe GRANDRIEUX PRODUCER Catherine JACQUES EDITOR Françoise TOURMEN MUSIC Natalie REHOROVA, Ferdinand GRANDRIEUX SOUND Guillaume LE BRAZ CAST Dmitry KUBASOV, Natalie REHOROVA, Alexei SOLONCHEV, Simona HÜLSEMANN, Vitaly KISHCHENKO, Arthur SEMAY PRINT SOURCE Films Boutique

2008 威尼斯影展地平線單元特別提及 Special Mention, Horizons, Venice FF

影片推薦人 Guest Curator

澎葉生,1974 年生於法國,聲音藝術工作者,他的創作和研究從音樂開始,延展至即興演出、電子原音音樂編曲、 音樂人類學。

© 許芝芝

Yannick DAUBY has a background in electroacoustic music. He started practicing field recording in 1998 and since then he has taken a particular interest in sound environment and its related concepts. ▲

推薦理由 Guide

電影成就之時,通常是透過所聽和所見,將觀眾拋擲入另一個連續的時空。影片透過被細心綴集的聲音,展現出 生命力。一些聲音,賦予影像在場感,另外一類,則將未見與不可見之物,攜至前景。《湖》出色地將未見與不 可見之物的聲音與被投射之光,緊密地結合在一起。 When cinema succeeds, it is often by connecting the hearing and the seeing in order to throw the public into another space-time continuum. Films are made alive by carefully assembled fragments of sounds. Some of these will provide a physical presence to elements seen in the images. Some will bring the unseen foreground. A Lake excels at pairing the sounds of the unseen with the projected light.

IN PROGRESS: SOUND DESIGN

自然的聲響與人物的喃喃低語,呼應越界的情感。從視覺道出孤寂,聽覺刺

DIRECTOR, SCREENPLAY,

電影正發生:聲音設計

A Lake 法國 France | 2008 | 35mm | Colour | 90min


144 07.07 TUE 華山 2 13:20 ▲ 07.08 WED 信義 13 18:00 ★▲ 電影正發生:聲音設計

���的異想�界 Amélie

法國 France | 2001 | DCP | Colour | 122min DIRECTOR 尚.皮耶.居 Jean-Pierre JEUNET PRODUCER Jean-Marc DESCHAMPS,

IN PROGRESS: SOUND DESIGN

Claudie OSSARD SCREENPLAY 尚.皮耶.居 JeanPierre JEUNET, Guillaume LAURANT CINEMATOGRAPHER Bruno DELBONNEL EDITOR Hervé SCHNEID MUSIC Yann TIERSEN SOUND Jean UMANSKY CAST 奧黛莉.朵杜 Audrey TAUTOU, 馬修.卡索維茲 Mathieu KASSOVITZ PRINT SOURCE 南強國際影視傳播有限公司 Well Go(Nan Chang)TAIWAN, INC.

天馬行空的女孩艾蜜莉,在公寓浴室裡發現一個小鐵盒,想把這個珍藏著秘 密的寶盒物歸原主的她,展開了一段發現愛的旅程。飽滿色彩輔以異國配 樂,以聲音設計來表現艾蜜莉古怪的性格。利用道具與角色動作,從現實生 活取材,諸如撞倒骨牌、摩擦玻璃杯緣、搖晃彈簧床等,小事小物的聲音皆 化作營造電影節奏的精巧設計。 Amélie is an innocent and naive girl. She finds a small iron box in her apartment and starts the journey to discover love. Full colour, exotic soundtrack, the sound design is a trick to show Amélie. Using props and character movements from real life, the sounds of small things are turned into exquisite designs that create the rhythm of the film.

2002 凱薩電影獎最佳電影音樂 Best Music, César Awards 2002 奧斯卡最佳混音提名 Nominated for Best Sound Mixing, Academy Awards

影片推薦 人 Guest Curator

周震,曾三度獲得金鐘獎音效獎,2019 年以《灼人秘密》獲金馬獎最佳音效。現為震.聲音負責人,持續從事聲 音設計、後期混音工作。 CHOU Cheng has won Best Sound Effects at the Golden Bell Awards for three times and in 2019, he won Best Sound Effects for NINA WU at the Golden Horse Awards. ▲

推薦理由 Guide

技術精密,設計層次豐富。 For its precise technological application and the rich levels of sound design.


現代��錄

145 06.29 MON 信義 13 19:00 ★

美國 USA | 1979 | DCP | Colour | 154min 越戰期間,一名美軍特種部隊軍官奉命刺殺另一名叛逃後佔地為王的上校。全 片跟隨著主角的經歷,揭露戰爭對人性的摧殘。本片為第一部使用四聲道的電 影,分解陸、海、空軍槍林彈雨的聲響,如同指揮一支交響樂團,自此創造了 角色心理狀態的設計,推進了聲音在電影裡的發揮的可能性。本片聲音指導沃 爾特.默奇因而被視為第一位「聲音設計師」。 Apocalypse Now tells a story about the Vietnam War. It follows the protagonist's experience, exposing how the war destroys humanity. This is the first quadraphonic film in Hollywood. Like conducting a symphony orchestra, it creates a whole new division of sound department, converting realistic sound effects into non-realistic sounds to describe the character's psychological state, and therefore Walter Murch is regarded as the first "sound designer".

Francis Ford COPPOLA

SCREENPLAY John MILIUS,

法蘭西斯.柯波拉 Francis Ford COPPOLA CINEMATOGRAPHER Vittorio STORARO EDITOR Gerald B. GREENBERG, Lisa FRUCHTMAN, Richard MARKS, 沃爾特.默奇 Walter MURCH MUSIC Carmine COPPOLA, 法蘭西斯.柯波拉 Francis Ford COPPOLA SOUND 沃爾特.默奇 Walter MURCH CAST 馬龍.白蘭度 Marlon BRANDO, 馬丁.辛 Martin SHEEN, 勞勃.杜瓦 Robert DUVALL PRINT SOURCE 傳影互動股份有限公司 ifilm Co., Ltd.

1979 坎城影展金棕櫚獎 Palme d'or, Cannes 1980 奧斯卡最佳混音 Best Sound Mixing, Academy Awards

影片推薦人 Guest Curator

杜篤之,1978 年進入中影錄音室,在中影服務長達 20 年。1989 年《悲情城市》首次採用同步錄音,為台灣錄 音技術立下里程碑。2004 年創立聲色盒子,持續為台灣電影培養聲音工作者。 TU Duu-chih used synchronize technology for the first time in A City of Sadness in 1989, and it was a breakthrough in the recording technology in Taiwan. He established 3H Sound Studio in 2004 and has nurtured countless young sound designers and technicians. ▲

推薦理由 Guide

埋藏許多聲音法寶,等著觀眾一一發掘。 A large amount of sound treasures are buried in the film, waiting for the audience to find them.

IN PROGRESS: SOUND DESIGN

好萊塢聲音部門的細緻分工。本片將寫實音效巧妙轉換為非寫實聲音,來陳述

DIRECTOR, PRODUCER 法蘭西斯.柯波拉

電影正發生:聲音設計

Apocalypse Now


146 07.04 SAT 信義 13 18:30 ★▲

電影正發生:聲音設計

��

Blind Massage 中國 China | 2014 | DCP | Colour | 114min DIRECTOR 婁燁 LOU Ye PRODUCER 耐安 NAI An, 李泠 LI Ling,

IN PROGRESS: SOUND DESIGN

克麗斯蒂娜.萊斯 Kristina LARSEN SCREENPLAY 馬英力 MA Yingli CINEMATOGRAPHER 曾建 ZENG Jian EDITOR 孔勁蕾 KONG Jinlei, 朱琳 ZHU Lin MUSIC Johann JOHANNSSON SOUND 富康 FU Kang CAST 秦昊 QIN Hao, 郭曉東 GUO Xiaodong, 張磊 ZHANG Lei, 梅婷 MEI Ting, 黃軒 HUANG Xuan PRINT SOURCE 前景娛樂有限公司 Flash Forward Entertainment

自幼意外失明的小馬,在南京的盲人按摩院工作,與一群掙扎於苦難命運的 同事,嘗試摸清愛與慾望的模樣。本片在視覺上使用大量黑畫面、極端貼近 人物的失焦影像,模擬出近乎失明的感受。在聲音上,從真實生活中尋找聲 源,以低頻模糊化整個環境。在不脫離影片寫實題材的基調下,細膩的聲音 設計,讓觀眾聽見盲人觀點。 Ma works as a masseur in a massage parlour run by the blind. He and his blind colleagues, who have similar fates, try to find out what love and desire look like. Through the out-of-focus cinematography and the delicate sound design, the film brings the audience to hear the sounds from the blind people's "point of hearing".

2014 柏林影展 Berlinale 2014 金馬獎最佳音效 Best Sound Effects, Golden Horse Awards

影片推薦 人 Guest Curator

曹源峰,於電影業界服務超過 25 年,曾任職於中影製片廠錄音室、擔任中影製片廠廠長。近年在電影創作之餘亦 投入教職繼續培育新生代電影人才。 TSAO Yuan-feng has worked in the film industry for more than twenty years. In recent years, he began teaching and nurturing a new generation of sound designers and technicians. ▲

推薦理由 Guide

你以為看不見的,在聽覺的世界裡,最幽微的喜怒哀樂情慾流動都可以無限制放大,直搗內心深處,《推拿》的 聲音設計在 comon sense 之外,大膽又細膩地處理按摩院裡的人情世故,是一部與影像相輔相成的好作品。 You think you can't see it, but in the world of hearing, the subtlest joy, anger, sorrow, happiness and desire could be enlarged without limits, piecing deep into your heart. In Blind Massage, the sound design not only conveys the common senses but daringly and yet subtly portrays the emotions that permeate in the massage parlour. It's a great film in which image and sound complement each other.


La La Land

美國 USA | 2016 | DCP | Colour | 128min 蜜亞懷抱演員夢闖蕩好萊塢,鋼琴師賽巴斯汀一心守護被時代淡忘的爵士 樂,兩人在愛情與夢想間拉扯掙扎。本片向多部經典歌舞片致敬,在精采的 歌舞場面調度外,從開場的城市聲景,車陣中娓娓傳來的收音機質感老歌 計李愛林,更是奧斯卡史上首位入圍最佳混音的亞裔女性聲音設計師。 Mia and Sebastian, an actress and a pianist, fall in love while attempting to reconcile their aspirations for the future. From the opening, the city soundscape, old songs from radio, the exquisite design makes the sound become a magic that calls the audience's memory. And the sound design Lee Ai-ling is the first Asian female sound designer to be nominated in Oscar.

Damien CHAZELLE

PRODUCER Fred BERGER, Gary GILBERT,

Jordan HOROWITZ, Marc PLATT CINEMATOGRAPHER 萊納斯.桑德格倫 Linus SANDGREN EDITOR 湯姆.克洛斯 Tom CROSS MUSIC 賈斯汀.赫維玆 Justin HURWITZ SOUND 李愛林 LEE Ai-ling CAST 萊恩.葛斯林 Ryan GOSLING, 艾瑪.史東 Emma STONE PRINT SOURCE 英屬蓋曼群島商威望國際娛樂 股份有限公司 CatchPlay Inc.

2017 奧斯卡最佳原創音樂、原創歌曲 Best Original Score, Best Original Song, Academy Awards

影片推薦人 Guest Curator

楊書昕,畢業於英國西敏寺大學聲音製作研究所,2010-2013 年任職於聲色盒子,參與多部中港台電影聲音製作, 現任職於好多聲音。 YANG Su-hsin graduated with an MA in Audio Production from the University of Westminster. She currently works at Forgood Sound. ▲

推薦理由 Guide

聲音各個環節合作無間。全片雖無吸睛的華麗音效,但聲音設計在以音樂為主軸的片中,恰如其分地扮演著畫龍 點睛的角色。 The sound department did a perfect teamwork. Though there are no gorgeous sound effects, in this musical film, the sound design plays a finishing touch role properly.

IN PROGRESS: SOUND DESIGN

曲,精巧的設計讓聲音成為召喚觀眾記憶與空間感的法寶。而本片的聲音設

DIRECTOR, SCREENPLAY 達米恩.查澤雷

電影正發生:聲音設計

樂來��你

147 07.01 WED 信義 13 18:30 ★


148 07.02 THU 華山 1 17:30 ★

電影正發生:聲音設計

傷�

The Scar 波蘭 Poland | 1976 | DCP | Colour | 106min DIRECTOR, SCREENPLAY

IN PROGRESS: SOUND DESIGN

克里斯多夫.奇士勞斯基 Krzysztof KIESLOWSKI PRODUCER Zbigniew STANEK CINEMATOGRAPHER Slawomir IDZIAK EDITOR Krystyna GÓRNICKA MUSIC Stanislaw RADWAN SOUND Michal ZARNECKI CAST Fransciszek PIECZKA, Mariusz DMOCHOWSKI, Jerzy STUHR PRINT SOURCE mk2 films

小鎮為求發展,大興土木建設工廠,不斷拆遷、砍伐,遭民意反彈。受指派 的返鄉廠長,在民意與政府間進退兩難。全片不時出現重複的機械性聲音, 急促敲打、撞擊物件的清脆聲響,以及帶有太空感的電子音效,與人物的心 理狀態和小鎮轉型遙相呼應。在社會寫實題材中,設計了神來一筆的抽象音 效,楬櫫官僚主義為家園烙下的傷痕。 A large new chemical factory is to be built in a small town, but the public opinion opposes it. Bednarz, an honest Party man, is put in charge of the construction. The non-realistic sound effects in the theme of social realism reveals the scars left by bureaucracy on the homeland.

影片推薦 人 Guest Curator

黃大旺,台北聲音藝術表演者。青少年時期開始在臥室以錄音帶錄製實驗音樂,大學時期在台北愛樂電台發表, 退伍後開始現場表演。近年曾參與短片聲音設計。 HUANG Da-wang is a sound performance artist in Taiwan. He has worked as sound designer on short films in recent years. ▲

推薦理由 Guide

全片配音逼真,使用抽象電子音效令人驚喜。 Realistic soundtrack. The use of abstract electronic sound effects is amazing.


The Tribe

烏克蘭 Ukraine | 2014 | DCP | Colour | 133min 開學第一天,同儕男孩如狼群般粗暴躁動,結黨組成「部落」;日落後,女 孩出賣肉體換取金錢。繼承默劇無聲卻激昂的精髓,全片無對白字幕。運用 環境音、肌膚接觸、肉體交纏的摩擦及喘息,一吸一吐間,聲音設計成為傳

On the first day of school, the restless boys form a "tribe". After sunset, the girls sell their bodies for money. With no dialogues or subtitles throughout the film, we hear the ambient sounds, skin contact and the wheezing between breathing, as the sound design leads the audience to immerse themselves in the deafening real world.

米羅斯拉夫.史拉波斯裴茲基 Myroslav SLABOSHPYTSKIY PRODUCER 瓦倫泰.瓦斯亞諾維奇 Valentyn VASYANOVYCH, Iya MYSLYTSKA CINEMATOGRAPHER, EDITOR

瓦倫泰.瓦斯亞諾維奇 Valentyn VASYANOVYCH SOUND, MUSIC 塞吉.史德潘斯基 Sergiy STEPANSKIY CAST 格雷哥里.浮申科 Grigoriy FESENKO, 雅那.諾維可娃 Yana NOVIKOVA PRINT SOURCE 聯影企業股份有限公司 Cineplex Development Co.

2014 坎城影展影評人週最佳影片 Grand Prize, International Critics' Week, Cannes

影片推薦人 Guest Curator

郭禮杞,1994 年跟隨美國錄音師湯姆.保羅學習現場錄音,後進入聲色盒子至 2015 年。除擔任現場錄音師,也 從事電影後期混音及聲音設計。 KUO Li-chi learned film recording from Tom Paul in 1994. Now he is engaged in film recording, sound mixing and sound design. ▲

推薦理由 Guide

無聲勝有聲。 Silence talks.

IN PROGRESS: SOUND DESIGN

遞情感與感受的關鍵,引領觀眾沉浸於寂靜卻震耳欲聾的真實世界。

DIRECTOR, SCREENPLAY

電影正發生:聲音設計

����的�囂

149 06.30 TUE 信義 13 18:30 ★ 07.09 THU 信義 13 14:30


OBAYASHI Nobuhiko

Filmmaker in 焦點影人 Focus 大林宣彥

林 宣 彥,1938 年 生 於 尾 道,2020 年 因 肺

癌 去 世。 年 少 即 拍 攝 8mm 電影,堪稱日本自主映畫先 驅。六○年代投身電視廣告, 七○年代末跨足商業電影, 1977 年首部長片《鬼怪屋》 徹 底 甩 開 片 廠 製 作 路 線, 大受年輕人喜愛。八○年代 以故鄉為舞台的「尾道三部 曲 」, 奠 定 其 作 者 地 位, 並 打造出多位少女偶像。年逾 古 稀 仍 創 作 力 旺 盛, 以「 戰 爭三部曲」再攀生涯高峰, 《大林宣彥:電影藏寶盒》 為其收官遺作。性喜打破框 架, 類 型 難 定 一 尊, 被 日 本 評論界譽為「影像魔術師」。

O

B AYA S H I N o b u h i k o (1938 - 2020) was

accepted into the Liberal Arts Department of Seijo University i n 1 9 56, w h e re h e b e g a n working with 8mm and 16mm film. He made a series of experimental films and became one of the pioneers of this genre in the 1960s in Japan. His breakout film HOUSE (1977), a surrealist horror comedy, was a commercial hit. Throughout the 1980s he developed his style to give it more mainstream appeal, becoming well known for his coming-of-age films. In 2017 he released Hanagatami, a film forty years in the making, as part of his 'War Trilogy', along with Casting Blossoms to the Sky (2012) and Seven Weeks (2014). Obayashi then went back to his hometown to make his last film, Labyrinth of Cinema (2019).


作品 年 表 Filmography

年份 Year

原文片名 Original Title

片名 Title

形式 Form

1944

ポパイの宝島

Popeye no takarajima

Animation Short

1945

マヌケ先生

Animation Short

1952

キングコング

Animation Short

1957

青春・雲

1957

だんだんこ

1957

眠りの記憶

1958

絵の中の少女

畫中的少女 The Girl in the Picture

Short

1960

木曜日

Thursday

Short

1961

中山道

Nakasendo

Short

1962

T 氏の午後

1962

形見

Remembrance

Short

1963

尾道

Onomichi

Short

1963

喰べた人

噬者 An Eater

Short

1964

Complexe= 微熱の破璃あるいは悲しい饒舌

微熱的玻璃或踩著悲傷碎嘴華爾滋之葬列的散步路

Short

ワルツに乗って葬列の散歩道

Complexe

1966

ÉMOTION= 伝説の午後・いつか見たドラキュラ

傳說的午後.突然遇見德古拉 ÉMOTION

Short

1968

CONFESSION= 遥かなるあこがれギロチン恋の旅

CONFESSION

Feature

1970

海の記憶=さびしんぼう・序 

Short

1972

ハッピー・ダイナノサウルス・アルバム

Short

1977

ハウス

鬼怪屋 HOUSE

Feature

1977

瞳の中の訪問者

The Visitor in the Eye

Feature

1978

ふりむけば愛

Take Me Away!

Feature

1979

金田一耕助の冒険

The Adventures of Kosuke Kindaichi

Feature

1981

ねらわれた学園

The Aimed School

Feature

1982

転校生

轉校生 I Are You, You Am Me

Feature

1982

可愛い悪魔

Cute Devil

TV Movie

1983

時をかける少女

穿越時空的少女 Girl of Time

Feature

1983

麗猫伝説

1983

恋人よ われに帰れ

LOVER COMEBACK TO ME

TV Movie

1984

廃市

The Deserted City

Feature

1984

少年ケニヤ

Kenya Boy

Animation

1984

天國にいちばん近い島

The Island Closest to Heaven

Feature

1985

さびしんぼう

Miss Lonely

Feature

1985

姉妹坂

Four Sisters

Feature

彼のオートバイ、彼女の島

His Motorbike, Her Island

Feature

Short Short

151

Short

FILMMAKER IN FOCUS: OBAYASHI NOBUHIKO

TV Movie

焦點影人:大林宣彥

1986

Short Dandanko


152

焦點影人:大林宣彥 FILMMAKER IN FOCUS: OBAYASHI NOBUHIKO

年份 Year

原文片名 Original Title

片名 Title

形式 Form

1986

四月の魚

Poisson d'avril

Feature

1986

野ゆき山ゆき海べゆき

戰裡的野孩子 The Young and Wild

Feature

1987

漂流教室

漂流教室 The Drifting Classroom

Feature

1988

日本殉情伝 おかしなふたり ものくほしきひとびとの群

The Strange Couple

Feature

1988

異人たちとの夏

異人們的夏天 The Discarnates

Feature

1988

私の心はパパのもの

1989

北京的西瓜

北京的西瓜 Beijing Watermelon

Feature

1990

映画の肖像 黒澤明 X 大林宣彦 映画的対話

Making of Dreams

Documentary

1990

彼女が結婚しない理由

1991

ふたり

1992

私の心はパパのもの

1992

青春デンデケデケデケ

1992

彼女が結婚しない理由

1993

はるか、ノスタルジィ

Haruka, Nostalgia

Feature

1993

水の旅人 侍 KIDS

Samurai Kids

Feature

1994

女ざかり

Turning Point

Feature

1995

あした

Goodbye for Tomorrow

Feature

1996

三毛猫ホームズの推理

Tom Cat Holmes' Deduction

TV Movie

1998

SADA 戯作・阿部定の生涯

感官新世界 SADA

Feature

1998

三毛猫ホームズの黄昏ホテル

1998

風の歌が聴きたい

I Want to Hear the Wind's Song

Feature

1999

あの、夏の日~とんでろ じいちゃん~

One Summer's Day

Feature

1999

麗猫伝説

2000

淀川長治物語・神戸篇サイナラ

TV Movie

TV Movie Chizuko's Younger Sister

Feature Feature

The Rocking Horsemen

Feature Feature

TV Movie

Feature Yodogawa Nagaharu monogatari -

TV Movie

Kôbe-hen: Sainara 2001

告別

告別

TV Movie

2002

なごり雪

The Last Snow

Feature

2004

理由

理由 The Reason

Feature

2007

22 才の別れ Lycoris 葉見ず花見ず物語

Song of Goodbye

Feature

2007

転校生 - さよなら あなた -

Switching - Goodbye Me

Feature

2008

その日のまえに

Scenery to Remember

Feature

2012

この空の花~長岡花火物語

天空之花:長岡花火物語 Casting Blossoms to the Sky Feature

2014

野のなななのか

四十九日的甜蜜告別 Seven Weeks

Feature

2017

花筐

花筐 Hanagatami

Feature

2019

海辺の映画館—キネマの玉手箱

大林宣彥:電影藏寶盒 Labyrinth of Cinema

Feature


�怪�

153

日本 Japan | 1977 | DCP | Colour, B&W | 88min

結合青春成長類型與西方恐怖片元素,大林宣彥在這部長片處女作發揮 了實驗電影創作的奇想,與他拍廣告的視覺功力。他以鮮豔濃郁、絢麗 繽紛的七、八○年代東亞流行風,呈現出有別於西方的異類恐怖風格。 故事靈感來自導演年僅七歲的女兒,片中的恐懼反映了少女成長中的集 體不安,例如被迫苦練鋼琴、過度的浪漫幻想等等,阿姨的角色也暗 指了太平洋戰爭的毒害,而主要女性角色則充分展現日本美少女流行文 化。本片在幽默喜感與恐怖黑暗中,隱喻一段少女從夢幻無邪到失去青 春的殘酷歷程。 《鬼怪屋》的橫空出世不僅讓大林宣彥正式踏入電影界,本片更成為邪 典電影之經典。 How to describe Nobuhiko Obayashi's indescribable 1977 movie HOUSE? As a psychedelic ghost tale? A stream-of-consciousness bedtime story? An episode of Scooby-Doo as directed by Mario Bava? Any of the above will do for this hallucinatory head trip about a schoolgirl who travels with six classmates to her ailing aunt's creaky country home and comes face-toface with evil spirits, a demonic house cat, a bloodthirsty piano and other ghoulish visions, all realised by Obayashi via mattes, animation and collage effects. Equally absurd and nightmarish, HOUSE might have been beamed to Earth from some other planet.

1978 藍絲帶獎最佳新導演 Best New Director, Blue Ribbon Awards DIRECTOR 大林宣彥 OBAYASHI Nobuhiko PRODUCER 大林宣彥 OBAYASHI Nobuhiko, 山田順彥 YAMADA Yorihiko SCREENPLAY 桂千穂

KATSURA Chiho CINEMATOGRAPHER 阪本善尚 SAKAMOTO Yoshitaka EDITOR 小川信夫 OGAWA Nobuo MUSIC 小林亜星 KOBAYASHI Asei, ミッキー吉野 Mickie YOSHINO SOUND 林昌平 HAYASHI Shohei CAST 池上紀實子 IKEGAMI Kimiko, 神保美喜 JINBO Miki, 大場久美子 OBA Kumiko, 松原愛 MATSUBARA Ai, 佐藤美惠子 SATO Mieko, 宮子昌代 MIYAKO Masayo, 田中エリ子 TANAKA Eriko PRINT SOURCE 東宝株式会社 Toho Company, Limited.

FILMMAKER IN FOCUS: OBAYASHI NOBUHIKO

喪母的高中少女期待著暑假,她原本計畫和爸爸一起出外旅遊,卻發現 爸爸打算再娶。她害怕爸爸被後母搶走,一氣之下找了六個女同學前去 投靠許久未見面的阿姨。然而阿姨的豪宅卻是個充滿怨念的地方,邪靈 滿屋、妖貓坐鎮,噩運開始對女孩們伸出魔爪……

07.04 SAT 中山堂 11:10 ▲ 07.06 MON 中山堂 19:40 ▲ 07.07 TUE 中山堂 17:20 ▲

焦點影人:大林宣彥

HOUSE


轉�生

154

焦點影人:大林宣彥

I Are You, You Am Me 07.01 WED 中山堂 13:00 07.05 SUN 中山堂 11:00 07.07 TUE 中山堂 11:40

日本 Japan | 1982 | 35mm | Colour, B&W | 112min

FILMMAKER IN FOCUS: OBAYASHI NOBUHIKO

愛拍電影,過著平凡生活的中學男孩,某天兒時玩伴轉學回到尾道,重 拾過往記憶。一日,兩人意外一起滾下樓梯,身體突然互換,少女變成 男子漢,小男生成為嬌嬌女。兩個環境背景不同的少年少女,被迫以對 方的性別過生活,而他們彼此的家庭,也面對著即將到來的變遷。在這 一連串的衝突激盪裡,他們的青春仍在跳躍中找尋出口。 青春、重逢、家鄉、人世的變化、生命長河的流動,本片是大林宣彥以 家鄉為背景的「尾道三部曲」第一部。依山傍海的空間氣質,為整部片 帶來一份懷舊、回憶、與抒情的氛圍,更是「性轉」故事先鋒。年輕的 男女主角各自詮釋出幽默又另類的異樣青春,對於彼此不同性別身體的 呈現毫不隱諱又不失趣味。在性別互換類型漸趨陳腐的今天,閱讀本片 豐富的人文內涵,彷彿經歷一場文化衝擊。

Two adolescent classmates, the girl Kazumi and the boy Kazuo, tumble down some stairs and find they have switched bodies. This results in pubescent comic confusion and serious pronoun trouble, but Obayashi colours the gender confusion with a tinge of autobiographical nostalgia, not only filming in his hometown of Onomichi, but also framing the story through B&W 8mm film. Framed by the lens of an old home movie camera, when a character says, 'I are you', then perhaps saying goodbye to the other becomes a farewell to oneself. The film played such an important role in Obayashi's career that he remade it in 2007.

1982 日本電影學院獎最佳新人 Newcomer of the Year, Japan Academy Film Prize 1982 報知電影獎新人獎 Best New Artist, Hochi Film Awards 1983 橫濱影展最佳影片、最佳編劇、最佳新人 Best Film, Best Screenplay, Best Newcomer, Yokohama FF DIRECTOR 大林宣彥 OBAYASHI Nobuhiko PRODUCER 森岡道夫 MORIOKA Michio, 大林恭子 OBAYASHI Kyoko, 多賀祥介 TAGA Shosuke

SCREENPLAY 剣持亘 KENMOTSU Wataru CINEMATOGRAPHER 阪本善尚 SAKAMOTO Yoshitaka EDITOR P.S.C エディティングルーム MUSIC, SOUND 林昌平 HAYASHI Shohei CAST 尾美としのり OMI Toshinori, 小林聰美 KOBAYASHI Satomi, 佐藤允 SATO Makoto,

樹木希林 KIKI Kirin, 入江若葉 IRIE Wakaba PRINT SOURCE Nippon Television Network Corp.


����的�女 ©1982 NTV ATG

155

日本 Japan | 1983 | 35mm | Colour, B&W | 104min

改編自日本作家筒井康隆 1965 年同名青少年科幻小說,曾在電視電影 及動漫中多次改編翻新,其中尤以大林宣彥的改編之作最為著名,也是 他的「尾道三部曲」第二部。原著故事帶著濃濃的科幻趣味,導演卻把 此幻想文本放進一個平實日常的青春校園,與充滿古樸鄉土味的環境氛 圍中。科幻與奇想的背後,依舊是導演抒發的人生情懷:純真地緬懷青 春逝去的傷感,而人生如幻,逝者如斯。

Yoshiyama Kazuko, an ordinary high school girl, who has an accident one day while cleaning the chemistry lab in school, wakes up with the ability to time travel. She re-lives one day of her life and is able to "predict" an earthquake and resulting fire in town. But things become more complicated when she learns that Fukamachi, one of her classmates, not only can time travel as well but also is a scientist sent back by the future generation to rescue the dying ecology in his world...

1984 日本電影學院獎最佳新人 Newcomer of the Year, Japan Academy Film Prize 1984 藍絲帶獎最佳新人女演員 Best New Actress, Blue Ribbon Awards 1984 日本每日電影獎最佳新人 Sponichi Grand Prize New Talent Award, Mainichi Film Concours DIRECTOR, EDITOR 大林宣彥 OBAYASHI Nobuhiko PRODUCER 山田順彥 YAMADA Norihiko, 大林恭子 OBAYASHI Kyoko SCREENPLAY 剣持亘 KENMOTSU Wataru CINEMATOGRAPHER 阪本善尚 SAKAMOTO Yoshitaka MUSIC 松任谷正隆 MATSUTOYA Masataka SOUND 林昌平 HAYASHI Shohei CAST 原田知世 HARADA Tomoyo, 高柳良一 TAKAYANAGI Ryoichi, 尾美としのり OMI Toshinori, 根岸季衣 NEGISHI Toshie PRINT SOURCE 角川映画株式会社 Kadokawa Herald Pictures, Inc.

FILMMAKER IN FOCUS: OBAYASHI NOBUHIKO

中學生芳山和子打掃理化教室時,突然聞到一股煙味而昏倒在地。三天 後,她身邊發生了一連串怪事,先是半夜地震,再來是隔壁同學家火 災。隔日,一切竟然都回到事發的前一天早晨。她把這件事告訴同學和 理科老師,才發現她有穿越時空的能力。在探索真相的過程中,更大的 秘密即將揭曉。

07.04 SAT 中山堂 16:40 07.06 MON 中山堂 16:30 07.07 TUE 中山堂 14:40

焦點影人:大林宣彥

Girl of Time


戰裡的野��

156

焦點影人:大林宣彥

The Young and Wild 07.03 FRI 華山 1 16:00 07.04 SAT 華山 1 14:00

日本 Japan | 1986 | 16mm | B&W | 135min

FILMMAKER IN FOCUS: OBAYASHI NOBUHIKO

二戰時期的日本,全民彷彿打了軍國主義的興奮劑,好鬥亢奮。瀨戶內 的小學,出現了一位轉學生大杉與他的姐姐阿昌。大杉強壯又一臉囂 張,頗讓其他小學生看不慣。古靈精怪的醫生之子須藤,單戀阿昌卻忌 憚大杉,為了爭奪大姐姐、爭當孩子王,決定發起一場戰爭遊戲!然而 孩子們的戰爭終究是兒戲,當再多荒誕的胡鬧,也止不住現實逼近的哀 傷,在蕈狀雲升起,一切灰飛煙滅前,夢與想像是少年最後的反抗。 八○年代是大林宣彥的創作高峰期,多產且多元,除了「尾道三部曲」 等商業製作,也有與專營藝術電影的 ATG 合作,完成這部回望不堪歷 史的奇作,堪稱「戰爭三部曲」的前身,在歌謠連綿、滑稽頑皮的歡快 氣氛下,營造出更見殘酷的戰時景況。本片發行時有黑白與彩色兩種版 本,本次將放映導演鍾愛的黑白版。

During the World War II, patriotism permeates Japan. In a primary school in Setouchi, a transfer student arrives. Strong and arrogant, the new boy proves to be rather unpopular. The ringleader of a group of boys decides to start a war game. Nevertheless, a war game is just a game, and no matter how hard they fight, they cannot stop Japan losing the war. When the atomic bombs are dropped, annihilating everything, dream and imagination is the last resistance the boys put up. When the film first came out, it was released in colour as well as in black and white; the version screened at the Taipei Film Festival this year is in black and white favoured by its director.

1986 日本每日電影獎最佳新人 Sponichi Grand Prize New Talent Award, Mainichi Film Concours 2019 東京影展 Tokyo IFF DIRECTOR, EDITOR, MUSIC 大林宣彥 OBAYASHI Nobuhiko PRODUCER 溝口至 MIZOGUCHI Itaru, 波多腰晋二 HATAKOSHI Shinji SCREENPLAY 山田信夫 YAMADA Nobuo CINEMATOGRAPHER 阪本善尚 SAKAMOTO Yoshitaka SOUND 林昌平 HAYASHI Shohei CAST

鷲尾いさ子 WASHIO Isako, 林泰文 HAYASHI Yasufumi, 片桐順一郎 KATAGIRI Junichiro, 正力愛子 SHORI Aiko, 尾美としのり OMI Toshinori PRINT SOURCE 東宝株式会社 Toho Company, Limited.


大林��:�����

157

日本 Japan | 2019 | DCP | Colour | 179min

大林宣彥服用抗癌藥物期間完成的集大成之作,影像魔術師的最後壓箱 寶,不只是更狂更華麗的真人版《千年女優》,更是一趟對日本電影史、 戰爭史的深邃辯證巡禮。在玩心盎然、目不暇給的影音遊戲下,是這位 親歷二戰的堅定和平主義者,最誠摯的反戰文告。本片亦有導演本人客 串演出,最後的身影引人追思。

Setouchi Kinema, the only movie theatre on the Onomichi seafront, is about to close its doors. Its last night of existence will be an all-night marathon screening of Japanese war films. When the lightning strikes the theatre, three young men in the audience find themselves thrown back in time and into the world on the screen. The trio are thrust into the Boshin War, the Second Sino-Japanese War, the Battle of Okinawa and then finally Hiroshima on the eve of the atomic bombing. There, they meet the travelling theatre troupe "Sakura-tai", but can they alter the course of destiny to save the troupe?

2019 東京影展 Tokyo IFF 2019 廣島映畫祭 Hiroshima IFF 2020 鹿特丹影展 IFF Rotterdam DIRECTOR 大林宣彥 OBAYASHI Nobuhiko PRODUCER 中村直史 NAKAMURA Tadashi, 小笠原宏之 OGASAWARA Hiroyuki, 門甜大地

MONDEN Daichi SCREENPLAY 大林宣彥 OBAYASHI Nobuhiko, 內藤忠司 NAITO Tadashi, 小中和哉 KONAKA Kazuya CINEMATOGRAPHER 三本木久城 SANBONGI Hisaki EDITOR 大林宣彥 OBAYASHI Nobuhiko, 三本木久城 SANBONGI Hisaki MUSIC 山下康介 YAMASHITA Kosuke SOUND 佐々木英世 SASAKI Hideyo, 伊藤進一 ITO Shinichi CAST 厚木拓郎 ATSUKI Takuro, 細山田隆人 HOSOYAMADA Takahito, 細田善彥 HOSODA Yoshihiko, 吉田玲 YOSHIDA Rei, 成海璃子 NARUMI Riko, 山崎紘菜 YAMAZAKI Hirona, 常盤貴子 TOKIWA Takako PRINT SOURCE AMG Entertainment

FILMMAKER IN FOCUS: OBAYASHI NOBUHIKO

尾道海邊的老電影院,在歇業前夕舉辦一場徹夜馬拉松活動,放映多部 日本戰爭片。這一夜,外頭大雨滂沱,廳內觀眾滿滿。忽地閃電大作, 三名年輕人被吸入銀幕,穿越到明治維新前的戊辰戰爭,軍國主義興起 的關鍵時刻,以及二戰時的中國戰場、沖繩、廣島等地。三人在延長的 生命裡,體驗戰亂帶來的生離死別、終成嘆息的愛情、無力回天的過去; 但他們也是觀眾,走出電影院,還有大好將來等著開拓。

07.05 SUN 中山堂 17:00 07.08 WED 華山 1 16:10 07.09 THU 華山 1 19:10

焦點影人:大林宣彥

Labyrinth of Cinema


Replay:六○青春電影 Replay: Youth Films 07.03 FRI 華山 1 13:00 ▲ 07.04 SAT 華山 1 11:00 ▲

畫中的�女

The Girl in the Picture

�者

日本 Japan | 1958 | DCP | Colour, B&W | 30min

日本 Japan | 1963 | 16mm | B&W | 23min

一個男孩畫了一個女孩。在某個彷彿夏日的季節,他 在空間內移動著,回憶過去曾經出現過的女孩。看著 海洋波浪起伏,他彷彿在尋找什麼,卻始終找不到, 而生命中最美好的歲月,已然不再。

絞肉、切肉、喝酒、吃飯,餐桌前的男男女女,蠕動 的嘴巴正大快朵頤,食物被一口一口吃進肚。百無聊 賴的服務生沉默上菜,冷冷地面對單調進食動作;而 大廚彷彿外科醫生般調理食材。這是一場我們每天都 在經歷的存在儀式。

©PSC

158

焦點影人:大林宣彥 FILMMAKER IN FOCUS: OBAYASHI NOBUHIKO

本片是大林宣彥非常早期的 8mm 短片,也是他實驗 電影中敘事最傳統的一部。全片沒有對白,以鋼琴與 字卡呈現默片的趣味、生活的切片,以及失去的青春 鄉愁。片中青澀的女主角羽生恭子,日後成了他的 妻子。 A boy draws a girl. On a summer day, the boy wanders, remembering the girl who was once in his life. Looking at the churning sea waves, he seems to be looking for something. In the end, his attempt fails as the best time of his life has passed.

©PSC

An Eater

《噬者》為大林宣彥第一部 16mm 影片,與藝術家藤 野一友合導。全片以黑白的極簡色調與純淨的收音, 對於「進食」這項單純的人類生存行為,進行一場幽 默的冥想。 An Eater is one of Obayashi's early experimental films. It portrays a strange mash up of a cannibalistic dream sequence extended in the almost Andy Warhol-esque shots of people eating in a restaurant.

1963 比利時實驗影展評審團特別獎 Special Jury Prize, Belgian Experimental FF DIRECTOR, SCREENPLAY, CINEMATOGRAPHER, EDITOR, MUSIC 大林宣彥 OBAYASHI Nobuhiko CAST 中島忠彥

NAKAJIMA Tadahiko, 羽生恭子 HANYU Kyoko, 大林宣彥 OBAYASHI Nobuhiko, 石崎仁一 ISHIZAKI Jinichi, 櫻井宏 SAKURAI Hiroshi, 林昭典 HAYASHI Akinori, 中里英夫 NAKAZATO Hideo, 兒玉武 KODAMA Takeshi PRINT SOURCE 株式会社 PSC 大林宣彦事務所

DIRECTOR 大林宣彥 OBAYASHI Nobuhiko, 藤野一友

FUJINO Kazutomo CINEMATOGRAPHER 大林宣彥 OBAYASHI Nobuhiko SOUND 吉田美能留 YOSHIDA Minoru CAST 藤野一友 FUJINO Kazutomo, 松下砂稚子 MATSUSHITA Sachiko, 草野大悟 KUSANO Daigo, 高橋あや子 TAKAHASHI Ayako, 寺沢正 TERASAWA Tadashi, 岸田森 KISHIDA Shin, 岡美行 OKA Yoshiyuki, 石崎仁一 ISHIZAKI Jinichi PRINT SOURCE 株式会社 PSC 大林宣彦事務所


同場放映 Combined Screening

��的玻�或踩��傷� 傳說的午�・ ��爾���列的��路 ���見�古拉 ©PSC

©PSC

ÉMOTION

日本 Japan | 1964 | 16mm | Colour, B&W | 14min

日本 Japan | 1966 | 16mm | Colour, B&W | 38min

某個都會空間的住宅區,男人和女人在動作中尋找自 己的位置。

住在海邊的少女,她老是嚮往外面的世界,於是旅行 到都市,卻遇到自己的分身,還愛上吸血鬼。一切似 幻似真,彷彿做了一場夢。

大林宣彥與足立正生、高林陽一共組的獨立電影小組 首部短片作品,風格強烈,標誌了大林電影的氣質。 One of the monuments of Japanese experimental film, Complexe shares much with Obayashi's later commercial work: a delightful play with film form, a consciousness of the camera, a charming mix of pop genres and European art cinema and a nostalgic, if not Romanticist tone.

DIRECTOR 大林宣彥 OBAYASHI Nobuhiko CAST 岡美行 OKA Yoshiyuki, 立川多美子 TACHIKAWA Tamiko, 羽生杏子 HANYU Kyoko, 加藤衛 KATO Mamoru, 石崎仁一 ISHIZAKI Jinichi PRINT SOURCE 株式会社 PSC 大林宣彦事務所

結合女同志與吸血鬼主題,好似歐式恐怖片的諧擬, 大林宣彥引用當代前衛美學與個人幽默感,重塑、戲 耍古典恐怖類型。片中運用慢速運動、快速橫切,混 合單色調與黑白、定格與動作,以及顛倒攝影機等電 影初期技法,製造影像的突兀感,形形色色的影像整 合下來,彷彿舞蹈般美麗。本片為大林宣彥奠定了早 期「青春電影」的里程碑。 An experimental short film depicting the life, perhaps real, perhaps a dream, of a young girl named Emi. Emi travels to the city where she encounters her counterpart, Sari, and falls in love with...a vampire?

DIRECTOR, EDITOR 大林宣彥 OBAYASHI Nobuhiko PRODUCER 大林恭子 OBAYASHI Kyoko SCREENPLAY 羽生杏子 HANYU Kyoko CINEMATOGRAPHER 小谷映一 KOTANI Eiichi, 大林宣彥 OBAYASHI Nobuhiko MUSIC 宮崎尚志 MIYAZAKI Naoshi CAST 石崎仁一 ISHIZAKI Jinichi, 町田圭子 MACHIDA Keiko, 喜多村寿信 KITAMURA Toshinobu, 高橋一郎 TAKAHASHI Ichiro, 大林千茱萸 OBAYASHI Chigumi PRINT SOURCE 株式会社 PSC 大林宣彦事務所

FILMMAKER IN FOCUS: OBAYASHI NOBUHIKO

在那個用膠卷拍片、剪片機剪接的世代,20 多歲的年 輕導演大林宣彥正在剪接室大玩特玩。靜態定格、單 格動畫、縮時攝影等,整部片的每一格都在戲耍搞怪, 製造出一種超酷又兼具幽默喜感的超現實電影幻覺。 實驗電影的最初,就是這副模樣。

焦點影人:大林宣彥

Complexe

159


經典重現 CLASSICS REVISITED

不散(4K修復版) Goodbye, Dragon Inn (4K Restoration Version) 攝影:林盟山 Photographer: LIN Meng-shan


A Morning in Taipei (Newly Scored by Lim Giong) 台灣 Taiwan | 1964 | DCP | B&W | 20min

本片將與經典《台北發的早車》同場放映,導演白景瑞深埋中影庫房的 失傳之作,終讓時間見證其萬中選一的破格躍進。

1960s. At dawn, the camera leads the viewers through a park, a church, a market and a textile factory. As a paper is thrown towards the door, we walk into the life of a middle-class family in Taipei. Shot as a pseudo-documentary, A Morning in Taipei portrays an ordinary morning in the city. After the initial editing, it was dubbed with the sound recorded on location. Nevertheless, since it was a time when Healthy Realism dominated in the Taiwanese cinema, director Pai's rough cut was not approved by the studios and the shooting was stopped. Four decades later, when the film is rediscovered, the experiment on aesthetics and the musicality of the image demonstrate not only the influence of Pai's studies in Italy but his pioneering vision.

世界首映 World Premiere

06.27 SAT 華山 1 15:00 ★ 06.30 TUE 華山 1 15:20 07.08 WED 華山 1 11:00

白景瑞(1931-1997),深受義大利 新寫實主義影響,為台灣健康寫實電 影之代表導演。七○年代始,嘗試拍 攝文藝愛情、文學改編電影,代表作 如《再見阿郎》、《金大班的最後一 夜》。

PAI Ching-jui (1931–1997) was a Taiwanese director known for his literary adaptations. In 1968 and 1969, he won Best Director at the Golden Horse Awards respectively for Lonely Seventeen and The Bride and I.

DIRECTOR, EDITOR 白景瑞 PAI Ching-jui CINEMATOGRAPHER 賴成英 LAI Cheng-ying MUSIC 林強 LIM Giong PRINT SOURCE 國家電影

及視聽文化中心 Taiwan Film and Audiovisual Institute

CLASSICS REVISITED

神秘視角穿越破曉前的黑暗,流暢旋轉、漫遊跳躍於六○年代的台北角 落,坐望俯拾即是的眾生相。2019 年,由音樂人林強全新配樂,蒐集 當代台北街市聲響,以國樂器具、人聲吟唱、電子碎拍同步營造沉浸轟 鳴,讓今時與昔日交錯流轉。穿梭 55 年的跨媒介對話,完成當年無法 落實的聲響實驗,共構一首輕快的台北城市交響曲。

161

經典重現

台北之晨(林強全新配樂版)

與《台北發的早車》同場放映 Combined screenings with Early Train from Taipei


162

世界首映 World Premiere

經典重現

�北�的早車

與《台北之晨(林強全新配樂版)》同場放映 Combined screenings with A Morning in Taipei (Newly Scored by Lim Giong)

數位修復 Restored

CLASSICS REVISITED

06.27 SAT 華山 1 15:00 ★ 06.30 TUE 華山 1 15:20 07.08 WED 華山 1 11:00

梁哲夫(1920-1992),導演作品橫 跨粵語、台語和國語,1957 年隨音樂 作曲家堂兄梁樂音來台後,長期擔任 台語片導演。曾執導《火葬場奇案》、 《羅小虎與玉嬌龍》、《高雄發的尾 班車》等 80 多部台語片,是影壇尤 擅文藝愛情片的快手導演。

LIANG Che-fu (1920–1992) was born in China and started making films in Taiwan in 1957. As his films proved to be big box-office successes, he became one of the most sought-after directors in the 1960s.

Early Train from Taipei

台灣 Taiwan | 1964 | DCP | B&W | 97min

田埂邊上小情侶黏踢踢,採茶女秀蘭與牧笛手火土又在大曬恩愛,二人 摟手偎肩的純愛畫面,點襯出鄉下人情的樸實無猜。不料一日有人找上 門來,原來父親生前欠債未還,心疼母親病弱,秀蘭北上做舞女。她高 跟鞋華服上身,珠寶粉妝一一掛戴,化身董事長力捧的紅牌。當年車站 愛侶的離情依依,變卦為早班車裡外刻意錯身的無奈。 繼 1963 年的《高雄發的尾班車》後,梁哲夫再度以火車為主要意象, 刻畫台灣六○年代失衡的城鄉關係,拋出對現代建設與科技發展的質 疑。遠在半世紀前,這部片便以火車構成的時差、追憶畫面疊影的蒙太 奇、不斷復現的主題曲〈意難忘〉與張力飽滿的法庭劇等新奇手法、灑 狗血不償命的情節,不斷挑動觀眾感官神經,火力全開的催淚煽情,展 現極致通俗的敘事魅力,榮登苦情台語片代表作之一。

Siu-lan and Honn-thoo are childhood sweethearts who grow up in a farming village. When her father has died, Siu-lan goes to Taipei to make money to pay off her father's debt. Missing Siu-lan, Honn-thoo goes to see her and finds out that she is working as an escort. In a fury, he goes home. Meanwhile, Siu-lan is raped by her boss and kept locked up. However, Honnthoo cannot forget Siu-lan and goes to Taipei again. Siu-lan's boss sends thugs to beat Honn-thoo up, blinding him in the fight. One day, Siu-lan accidently stabs her boss to death and her face is disfigured by sulphuric acid. When Siu-lan is being sent to prison, she runs into Honn-thoo outside the court...

DIRECTOR 梁哲夫 LIANG Che-fu EXECUTIVE PRODUCER 賴國材 LAI Kuo-tsai PRODUCER 吳飛劍 WU Fei-chien SCREENPLAY 賴越山

LAI Yueh-shan CINEMATOGRAPHER 吳家駿 WU Chia-chun, 王濬 WANG Chun EDITOR 筱周 Hsiao-chou MUSIC 李國保 LI Kuo-pao SOUND 王榮芳 WANG Jung-fang CAST 白蘭 PAI Lan, 陳揚 CHEN Yang, 吳靜芳 WU Ching-fang, 戽斗 Hu-tou, 陳財興 CHEN Tsai-hsing PRINT SOURCE 國家電影及視聽文化中心 Taiwan Film and Audiovisual Institute


Goodbye, Dragon Inn (4K Restoration Version) 台灣 Taiwan | 2003 | DCP | Colour | 82min

數位修復 Restored

07.03 FRI 中山堂 17:00 ★ 07.04 SAT 中山堂 14:00 ★

「這是我創作生涯的轉捩點,有很多人看到我的作品,藝術界也開始向 我招手。」──蔡明亮

It is the last screening before an old movie theatre shuts its doors forever. A young Japanese man runs into the theatre to take shelter from the pouring rain. The theatre appears empty, void of life and yet there are other presences than just the few spectators. The Japanese guy notices a couple of men who look very much like the actors on screen. Older now, they sit in the dark in the empty theatre, watching their own movie, reminiscing and mourning...

CLASSICS REVISITED

傾盆大雨之夜,日本青年村恭伸闖進福和戲院。老戲院的最後一晚,放 映著曾經紅極一時的《龍門客棧》,然而好景不再,偌大的影院再裝不 滿人,今晚來的這些,恐怕也不是人……。潮濕的長廊與樓梯、始終無 人的放映室、灰暗的戲院角落,迴盪著雨聲、腳步聲、呼吸聲,宛如一 座迷宮,甚或鬼域。劇終燈亮,人去樓空,終究什麼留了下來? 電影院的空間是巨大的身體,召喚孤獨的黑影,他們揣著心事而來,親 密又疏離。毫無生氣的戲院滲著水,時間的流逝被具象化,滴答聲是告 別的倒數,美好時光在膠卷快速轉動間漸漸消逝。神秘古怪的人們選擇 在下雨的日子告別,身影卻在片尾歌曲〈留戀〉結束後,依舊流連忘返。

163

經典重現

不散(4K 修復版)

《不散(4K 修復版)》+ 電影記憶的即興創作之詳細資訊,請見影展資訊 P.13;購票資訊請見 P.16

蔡明亮,1957 年生於馬來西亞。曾以 《愛情萬歲》獲威尼斯金獅獎,《郊 遊》獲威尼斯影展評審團大獎、金馬 獎 最 佳 導 演。2012 年 展 開「 慢 走 長 征」影像計劃,著力於藝術展演與跨 界創作,開創新的觀影經驗。新作《日 子》入選柏林影展主競賽,並榮獲泰 迪熊評審團獎。 TSAI Ming-liang premiered his debut feature, Rebels of the Neon God, at the 1992 Berlinale. His Vive L'Amour won the Golden Lion at the 1994 Venice Film Festival and The River won the Jury Award at the 1996 Berlinale. In 2020, DAYS won the Teddy Jurry Award at Berlinale.

Are these people real? Or are they the spirits who refuse to leave?

2003 威尼斯影展國際影評人費比西獎 FIPRESCI Prize, Venice FF 2003 亞太影展評審團特別獎 Special Jury Award, Asia-Pacific FF 2003 金馬獎年度最佳台灣電影 Best Taiwanese Film of the Year, Golden Horse Awards DIRECTOR, SCREENPLAY 蔡明亮 TSAI Ming-liang PRODUCER 王雲霖 Claude WANG CINEMATOGRAPHER 廖本榕 LIAO Pen-jung EDITOR 陳勝昌 CHEN Sheng-chang SOUND 杜篤之 TU Duu-chih CAST 李康生 LEE Kang-sheng, 陳湘琪 CHEN Shiang-chyi, 三田村恭伸 MITAMURA Kiyonobu, 苗天 MIAO Tien, 石雋 SHIH Chun, 楊貴媚 YANG Kuei-mei, 陳昭榮 CHEN Chao-jung PRINT SOURCE 汯呄霖電影有 限公司 Homegreen Films


164 數位修復 Restored

經典重現 CLASSICS REVISITED

06.25 THU 華山 2 16:50 06.30 TUE 華山 2 20:10 07.03 FRI 中山堂 19:30

伊斯特凡.沙寶,1938 年出生於布達 佩斯。1956 年 10 月匈牙利反共產主 義革命時,他剛進入電影學院,為了 保護同學曾做過共產黨秘密線民。他 長年拍攝隱含針砭極權體制意味的作 品,以《千面惡魔》獲頒奧斯卡金像 獎最佳外語片、坎城影展最佳劇本。

István SZABÓ is an acclaimed Hungarian director known for Mephisto, which won Academy Award for Best Foreign Language Film and Best Screenplay at Cannes, Colonel Redl, winner of Jury Prize at Cannes, and Hanussen.

千面惡� Mephisto

匈牙利、德國 Hungary, Germany | 1981 | DCP | Colour | 146min

鄉下劇團演員夢想出演《浮士德》中的梅菲斯托,成為德國最偉大的演 員。他曾信仰共產黨,參與前衛劇場,然而為了功成名就,他寧可泯滅 良心也要阿諛奉承納粹軍官,好在第三帝國政權下繼續享受富貴榮華。 舞台上的他,以為自己演活了把靈魂賣給魔鬼的浮士德;然而現實生活 中,他才是把靈魂賣給納粹軍官的浮士德。 改編自德國作家克勞斯.曼成名爭議之作《梅菲斯托》,影射納粹政權 下貪污腐敗的演員,還因此被列為禁書多年。匈牙利國寶級導演伊斯特 凡.沙寶以本片奪下奧斯卡最佳外語片,拿手的反諷手法,形塑出被野 心沖昏頭的人性時刻。若將本片與導演自己在共產主義革命時期的處境 對照,更顯其埋藏片中的苦澀寓意。 「最激進的左派和右派,在其思想核心與靈魂深處,彼此是非常相似 的。」──伊斯特凡.沙寶

A Hungarian update of the Faustian legend, Mephisto stars Klaus Maria Brandauer as Hendrik Hofgen, a successful theatrical performer who has grown bored with the accepted confines of the dramatic form. Yearning for something more innovative, his groundbreaking ideas are met with commercial indifference. In an act of desperation, Hofgen sells his soul. The twist is that he sells it not to the Devil but to the Nazis.

1981 坎城影展最佳劇本、國際影評人費比西獎 Best Screenplay, FIPRESCI Prize, Cannes 1982 奧斯卡金像獎最佳外語片 Best Foreign Language Film, Academy Awards 1982 羅馬影展最佳外語片、最佳男主角 Best Foreign Film, Best Actor, Rome FF DIRECTOR 伊斯特凡.沙寶 István SZABÓ PRODUCER Manfred DURNIOK SCREENPLAY 伊斯特凡.沙寶 István SZABÓ, Péter DOBAI CINEMATOGRAPHER Lajos KOLTAI EDITOR Zsuzsa CSÁKÁNY MUSIC Zdenkó TAMÁSSY SOUND György FÉK CAST Klaus Maria

BRANDAUER, Ildikó BÁNSÁGI, Krystyna JANDA, Rolf HOPPE, György CSERHALMI, Péter ANDORAI PRINT SOURCE National Film Institute - Film Archive - Hungary


Out of the Blue

加拿大、美國 Canada, USA | 1980 | DCP | Colour | 95min

丹尼斯.霍柏以 1969 年作品《逍遙騎士》聞名後,再交出這部經典虐 心之作。琳達.曼茲主演的青少女希比,在同儕與成人世界橫衝直撞, 偶爾獲得包容,更多的是在傷害中浪遊;而她與離經叛道的父母,有多 場精彩對手戲與對話交鋒。霍柏的浪子形象、復古保齡球道、貓王的海 報、龐克現場即景,外加尼爾.楊一曲〈My My, Hey Hey〉,教人瞬 間墜入那理想幻滅後的黑暗深淵。 「在很多方面來說,這是我最好的一部電影。」──丹尼斯.霍柏

Dennis Hopper directs and stars in, Out of the Blue, - a spiritual sequel to his own Easy Rider, chronicling the collapse of sixties idealism into the nihilistic haze of the 1980s. Don is a truckdriver in prison for drunkenly smashing his rig into a school bus. His daughter CeBe is a teen rebel obsessed with Elvis and the Sex Pistols and his wife waitresses, shoots up drugs and takes refuge in the arms of other men. CeBe runs away to Vancouver's punk scene and ends up on probation. After Don's release, the family struggles to re-connect before the revelation of dark secrets leads to a harrowing conclusion.

Asian Premiere

數位修復 Restored

06.30 TUE 華山 2 17:40 07.04 SAT 華山 1 21:00 07.09 THU 華山 2 17:00

©Paul O'Connor

丹 尼 斯. 霍 柏,1936 出 生 於 美 國, 2010 年死於癌症。知名演員、導演, 生涯橫跨多個世代,年輕時以《養子 不教誰之過》出道,自導自演《逍遙 騎士》成為公路電影經典。無論銀幕 內外,其率性難掌控的脫韁野馬形象 皆深入人心。

Dennis HOPPER (1936–2010) was an American film actor, director and writer who rose to fame as a countercultural icon in the 1960s and later developed into a noted character actor.

1980 坎城影展 Cannes 1981 哥特堡影展 Göteborg FF DIRECTOR 丹尼斯.霍柏 Dennis HOPPER PRODUCER Leonard YAKIR, Gary Jules JOUVENAT SCREENPLAY Leonard YAKIR,

Brenda NIELSON CINEMATOGRAPHER Marc CHAMPION EDITOR Doris DYCK MUSIC Tom LAVIN, 尼爾.楊 Neil YOUNG SOUND Larry SUTTON CAST 琳達.曼茲 Linda MANZ, 丹尼斯.霍柏 Dennis HOPPER, 莎朗.法雷爾 Sharon FARRELL, Raymond BURR, Don GORDON PRINT SOURCE Discovery Production, Inc.

CLASSICS REVISITED

貨車司機唐恩.巴納斯,在一次酒駕肇事中撞上校車,造成多名孩童喪 命,他也為此蹲了五年的苦牢;獄外的妻子在餐廳當服務生,卻身陷藥 癮之中。女兒希比帶著傷疤長成一名嚮往自由、行事反叛的青少女,時 常浪跡校外,著迷於貓王和龐克搖滾。三個失落的靈魂,努力掙脫過往 的糾纏,適應彼此,融入社會,然而現實依舊一步步走向崩解與心碎。

亞洲首映

經典重現

突如其藍

165


���路

166 數位修復 Restored

©Park Circus/MGM

經典重現

Paths of Glory

CLASSICS REVISITED

06.25 THU 華山 1 21:10 06.27 SAT 中山堂 11:10 06.30 TUE 中山堂 19:30

©Park Circus/MGM

史丹利.庫柏力克(1928-1999), 影史巨擘。一生共創作 13 部劇情長 片,創作主題與風格多變,遊走於科 幻、驚悚、戰爭乃至國族史詩等影片 類型,留下《奇愛博士》、《2001: 太空漫遊》、《發條橘子》、《鬼店》 等傳世經典。

Stanley KUBRICK (1928–1999) was a renowned American film director and writer known for his groundbreaking innovative works such as A Clockwork Orange and 2001: A Space Odyssey. He was awarded Career Golden Lion at the 1997 Venice.

美國 USA | 1957 | DCP | B&W | 88min

為了那唾手可及、難得一遇的升遷機會,利慾薰心的自大將軍,指使部 屬帶領整個軍團進擊一場自殺任務。不忍一票青年軍血葬沙場,耿直的 上校挺身抗命,卻仍只能懾服於軍令。戰場無情,兵敗如山倒,一戰功 未成,盡得萬骨枯。將軍顏面無光,竟還逼著上校交出代罪羔羊,伴隨 一連串審判與軍法伺候;上校於心有愧,為了保全幾位戰壕線上共生死 的手足弟兄,自願扛下法庭辯護一職,挺身與不公不義的「國防布」槓 上。 史丹利.庫柏力克早期創作之路,聯手好萊塢傳奇巨星寇克.道格拉斯 打造曠世經典鉅作。遠早於《1917》、《敦克爾克大行動》的一戰命 題,除了驚人場面調度帶來教科書級的視覺奇觀,更犀利點出早逝青春 的悲鳴,與慾望權謀的人性大哉問,為後世一干戰爭電影寫下決定性的 指標。本片獲選為美國國會圖書館指定館藏。

Paths of Glory is among the most powerful anti-war films ever made. A fiery Kirk Douglas stars as a World War I French colonel who goes head-to-head with the army's ruthless top brass when his men are accused of cowardice after being unable to carry out an impossible mission. This haunting, exquisitely photographed dissection of the military machine in all its absurdity and capacity for dehumanization is assembled with Kubrick's customary precision, from its tense trench warfare sequences to its gripping courtroom climax to its ravaging final scene.

DIRECTOR 史丹利.庫柏力克 Stanley KUBRICK PRODUCER James B. HARRIS SCREENPLAY 史丹利.庫柏力克 Stanley KUBRICK,

Calder WILLINGHAM, Jim THOMPSON CINEMATOGRAPHER Georg KRAUSE EDITOR Eva KROLL MUSIC Gerald FRIED SOUND Martin MÜLLER CAST 寇克.道格拉斯 Kirk DOUGLAS, Ralph MEEKER, 阿道夫.曼吉 Adolphe MENJOU, 喬治.麥克裏迪 George MACREADY PRINT SOURCE Park Circus Limited


VR 全浸界 VR FRONTLINE

*VR全浸界放映影片及《留給未來的殘影》2020台北電影節特別展演之場次資訊、售票資訊及入場規則,請參考台北電影節 官方網站以及VR全浸界手冊。For the screening and ticket info, and the screening regulations for the VR Frontline and Afterimage For Tomorrow Special Edition For 2020 Taipei Film Fesitval , please visit Taipei FF's website or refer to the program catalogue of VR Frontline.

留給未來的殘影 Afterimage for Tomorrow


子在未知的意識層面醒來,所見所聽所感的是記憶?夢 境?虛擬實景?還是死前的意識回返?

「您正在使用『生前記憶續存服務』,您將選擇三段記憶,在生 命終結時,由本服務刺激您的神經元使記憶顯影。每段記憶的顯 影為一根火柴的時間……」 以眼、耳、鼻、舌、身、意接收下來的記憶,儲存成文字、圖像、 聲音、影像。藉由記憶的碎片,我們得以回返某個特定的時間點, 讓時空扭曲交疊,但記憶卻不一定可靠。導演陳芯宜與編舞家周 書毅共同創作與演出,以舞蹈呈現記憶中難以言說的部分。而我 們現在製造的影像或記憶,在未來又能留存多久? 2020 年,於中山堂光復廳現地創作《留給未來的殘影》特別展 演版,將延伸 VR 影像視角到真實的當下,帶領觀眾潛入生命, 窺視逝去前的殘影風景。

168

《留給未來 的 殘 影 》 全浸界活動資訊 VR

2 020 台北電影節特別展演 版

“AFTERIMAGE FOR TOMORROW”

VR FRONTLINE EVENT INFO

SPECIAL EDITION FOR

2020 TAIPEI FILM FESTIVAL

A

man wakes up in an unknown dimension of consciousness. What is it that he sees, hears and feels? Is it memory, virtual reality or terminal lucidity? "Welcome to the 'Afterlife Memory Trust.' With us, you will be selecting three pieces of your memory to relive by the time you decease. When your life terminates, we will stimulate your neurons to bring out the designated memories. Each vision lasts a match burning time." We perceive the world through eyes, ears, nose, tongue, body and mind. These sensory is stored as memory in words, pictures, sounds and moving images. With fractions of the transcribed memories, we are capable of returning to a specific point in time, which is an act of distortion and overlaying of time and space. However, memories aren't always reliable. A man wakes up in an unknown dimension of consciousness. What is it that he sees, hears and feels? Is it memory, virtual reality or terminal lucidity? In Afterimage for Tomorrow, director Singing Chen collaborates with choreographer Chou Shu-yi to perform the ineffable in memories. This metafiction film sets in a futuristic world, where memories can be uploaded and perpetuated, thus leads to the discussion of what in life is worth storing. Persistence of Vision; when an object in rapid motion vanishes from sight, human brain creates a 0.1-0.4 seconds of optical illusion. How long will the images and memories we create today live in the future? In 2020, a special exhibition version of Afterimage for Tomorrow will be created at the Taipei Zhongshan Hall. Extend the perspective of VR images to the real current events, leading the audience to dive into the afterimage landscape before the death of life.


導演 Director

陳芯宜

Singing CHEN

台 灣 電 影 導 演。 作 品 跨 足劇情片與紀錄片,傳達 對時下社會的長期觀察,擅 長利用魔幻寫實的手法,突顯現 實社會的荒謬性,以陳述更大的結構問 題。作品風格流暢明快,常在嚴謹的架 構中,展現細緻綿密的情感鋪陳、與角 色的深刻刻畫。作品曾入圍柏林影展、 金馬獎、釜山影展、山形影展、台北電 影獎、高雄電影節、台灣國際紀錄片獎 等國內外影展之獎項與參展邀請。拍片 之餘,陳芯宜同時也為許多影片及劇場 製作配樂,因此她的作品總是充滿節奏

Singing Chen conveys her long-term social observation through documentaries and feature dramas. Her approach of magical realism highlights the absurdity in reality, and points out the structural problem in the society. In her well-constructed fast-paced works, she is capable of delivering subtle emotion and in-depth dynamics in characters.

感,具有豐富的音樂性。

周書毅

CHOU Shu-yi

編舞家、舞者。近年編創 作品聚焦於叩問生命價值, 反映個人或群體在不同社會 脈絡下的狀態,提出「屬於亞洲 的身體語彙」,並以劇場、非傳統劇場、 舞蹈錄像等形式呈現。周書毅積極嘗試 不同的創作方法,持續探索與其他創作 媒材合作的可能性。其編創作品《Break & Break !無用之地》於 2019 年獲台

Chou is a choreographer and dancer. His recent creations, in the forms of theatre, site-specific performance or dance video, question the value of life and reflect the status of an individual or a group in different social contexts, and create "a body vocabulary that belongs to Asia". Chou continues to seek new methods of creation, and potentials of crossdisciplinary collaboration using different mediums. His work Break & Break! won the Taishin Performing Arts Award of the 17 th Taishin Arts Award in 2019.

新藝術獎表演藝術獎。

日期:07.08 WED, 07.09 THU 時間:午場15:30-16:20 / 晚場 19:00-19:50 地點:台北市中山堂2F光復廳 07.08 兩場皆有演後座談。購票資訊詳見影展資訊 P.16

VR FRONTLINE EVENT INFO

編舞暨現場演出 Choreographer & Dancer

169

全浸界活動資訊 VR

Throughout time, her works are screened and nominated in Berlinale, Golden Horse Awards, Busan International Film Festival, Yamagata International Documentary Film Festival, Taipei Film Festival, Kaohsiung Film Festival, and Taiwan International Documentary Festival. Aside from being on set, she also produces scores for theater plays and films. Chen's ability thus makes her work rich in rhythm and music.


��生

重���現場

你說吐出的話,說話的方式和音調,將會成為屬於你 的那束花的模樣。

穿著全身防護裝備的工人、進行甲狀腺檢測的孩子、 歷經四季依舊寂寥的無人之境。重訪災後九年的福 島,工整嶄新的建設之下,多年前的劫難卻仍如鬼魅 般處處纏繞。本片詩意且私密,帶觀眾走進當地居民 劫後異常的日常。

A Life in Flowers 美國、日本 USA, Japan 2019 | Interactive VR | Colour | 20min

170

導演阿曼多.柯文以日本鬼才插花藝術家東信的花藝裝 置,構築出其獨特的宇宙觀。透過與大師的對話,一朵 花逐漸誕生,不同的生命型態開出另一番迷人風景。 全浸界 VR VR FRONTLINE

A Life in Flowers is a co-creation between creative technologist Armando, Japanese floral artist Azuma Makoto, and a machine learning system that has been trained to simulate the emergent qualities of flowers, and the philosophy of floral arranging. The VR experience is powered by the participant's own voice.

After the Fallout

瑞士、美國 Switzerland, USA 2020 | VR360 | Colour | 13min

After the Fallout is an immersive mosaic that takes us through surreal environments in the exclusion zone, relives the struggle of the heroes who worked to prevent the meltdown and explores the lives of families as they navigate a new world which they have had to adapt to.

1

阿曼多.柯文,VR、AR 創作者,作品曾入選西南偏 南、翠貝卡等國際影展。於 2017 年創辦 Artie,致力 於製作 AI 敘事遊戲。 Armando KIRWIN, a virtual and augmented reality creator and technologist. His works have premiered at SXSW, Tribeca, and numerous other festivals.

2

山姆.沃爾森,身兼沉浸式影片導演和攝影師,曾共 同執導 VR 作品《We Who Remain》。 多明尼克.納爾,為專門記錄衝突與人道危機的新聞 攝影師,其攝影作品獲獎無數。 Sam WOLSON is an immersive film director and photographer. He co-directed We Who Remain, the first character-driven VR film . Dominic NAHR is a Swiss photojournalist who documents conflicts and humanitarian crises.

2020 日舞影展 Sundance FF 2020 西南偏南電影節 SXSW 2019 威尼斯影展 Venice FF

2020 哥本哈根紀錄片影展 CPH:DOX

DIRECTOR, SCREENPLAY 阿曼多.柯文 Armando KIRWIN

DIRECTOR, CINEMATOGRAPHER 山姆.沃爾森 Sam WOLSON,

PRODUCER Jake SALLY, Zeda STONE, Nigel TIERNEY,

多明尼克.納爾 Dominic NAHR EXECUTIVE PRODUCER Nonny DE LA PEÑA, Makiko SEGAWA PRODUCER 山姆.沃爾 森 Sam WOLSON, Makiko SEGAWA, 多明尼克.納爾 Dominic NAHR, Kevin TSUKII KEY COLLABORATOR Makiko SEGAWA EDITOR 山姆.沃爾森 Sam WOLSON 3D ARTIST, ANIMATOR John TETTENBORN MUSIC McKenzie STUBBERT SOUND Jon BERNSON PRINT SOURCE 山姆.沃爾森 Sam WOLSON

Armando KIRWIN, Emma DEBANY KEY COLLABORATOR, ANIMATOR Shaking Earth Digital MUSIC Viktor PHOENIX, Jean-Pascal BEAUDOIN SOUND Headspace STUDIOS, Viktor PHOENIX, Jean-Pascal BEAUDOIN NARRATOR 東信 AZUMA Makoto, TSUJI Daisuke PRINT SOURCE PHI Center


�狂�走

Emergence

GO

英國 UK | 2019 | Interactive VR | Colour | 15min

瑞士 Switzerland | 2020 | VR360 | Colour | 25min

進入人群,人與人間互動的軌跡浮現。光束從天而降, 一觸碰光,周遭氛圍與人群軌跡就產生變化。時間有 限,靠著方向觀察與控制速度動作,才能造訪所有光 束,否則時間一到,眾生就如天地之蜉蝣,逐漸消逝。

為了撫平內心不安躁動,彼得踏上瑞士的高山,卻意 外受傷。一片冰天雪地即將為人生寫下句點,過往平 凡瑣碎的瞬間逐一閃現,死亡如隱約透光的門,通往 自由、坦然和永恆。文字的無盡想像與 VR 相互呼應, 共構一段跨越生死、橫越體裁的最後獨白。

1

2

麥特.派克,於 2004 年創立 Universal Everything, 擔任創意總監,受諸多藝術家、文化機構與公司的委 託,如電台司令、雪梨歌劇院、蘋果、三星等,製作 出備受讚譽的作品。

桑 卓. 佐 林 格, 身 兼 獨 立 電 影 工 作 者、 作 家, 為 Montezuma Film 的共同創辦人之一。

Matt PYKE is a UK-based media artist and designer. His work explores the tension between abstract and figurative form and the synaesthesia of sound and image.

Sandro ZOLLINGER studied film and media sciences in Berlin. Since 2004 he has been working as an independent writer and filmmaker.

羅曼.維塔,身兼獨立電影導演、製片、剪接師,為 Montezuma Film 的共同創辦人之一。

Roman VITAL studied at the Filmakademie BadenWürttemberg. Since 2006, he has been working as an independent producer, director and film editor in Zurich.

2019 日舞影展 Sundance FF

2020 日舞影展 Sundance FF

LEAD ARTIST, DIRECTOR 麥特.派克 Matt PYKE PRODUCER Greg POVEY KEY COLLABORATOR Chris MULLANY, Simon PYKE, Chris MILK, Aaron KOBLIN LEAD DEVELOPER Chris MULLANY SOUND Simon PYKE PRINT SOURCE Universal Everything

DIRECTOR, PRODUCER 桑卓.佐林格 Sandro ZOLLINGER,

羅曼.維塔 Roman VITAL KEY COLLABORATOR Klaus MERZ, Nicolas MINDER SCREENPLAY 桑卓.佐林格 Sandro ZOLLINGER CINEMATOGRAPHER 羅曼.維塔 Roman VITAL, Nicolas MINDER EDITOR 羅曼.維塔 Roman VITAL VISUAL EFFECTS Nicolas MINDER ANIMATOR Nicolas MINDER MUSIC Kapelle ROMADER, Silvia Buchli & The Monochords SOUND Thomas GASSMANN STORY Klaus MERZ PRINT SOURCE Montezuma Film

VR FRONTLINE

An unprecedented symbiosis of literature and virtual reality, GO tells a story of everyday and final farewells. A completely new dimension of the narration emerges, in which the participant becomes so much more than just a simple eyewitness to an audio book.

全浸界 VR

Emergence is an open-world environment, expressing the primal desire to maintain your individual identity whilst being part of a crowd. Showing 5000+ intelligent human behaviours, Emergence offers a powerful, unique experience of a crowd that is only possible with the latest graphics technology.

171


��物種

2020 ����

在 X 光片般、解剖學式的視覺世界,適者生存的自 然環境仍然嚴竣艱苦,一種如人又如蜘蛛的物種正奮 力求存。匍匐於高山與荒野,誕下孩子成為母親,與 萬物進行弱肉強食的競爭,在狩獵過程中迎來殘酷的 死亡。

《2020 太空漫遊》是對《2001:太空漫遊》最令人 驚嘆的感官沉浸體驗。立體與空間擴增的數位虛擬實 境技術,不僅直指當年的經典影片核心,更掘出電影 的深層人類 智慧思辨。

Hominidae

美國 USA | 2020 | VR360 | Colour | 6min

172

全浸界 VR VR FRONTLINE

Against a landscape of X-ray imagery and wild anatomical reimagination, a mother and her children struggle for survival. This experience follows an Arachnid Hominid, an intelligent creature with human and spider physiology, from the birth of her children to her premature death in the teeth of her prey.

布萊恩.安德魯斯,自 2004 年起以圖像探討人類在 進化史的另一可能樣貌,其作品及短片於多個展覽與 平台大受好評。 Brian ANDREWS is a storyteller and visual technologist who produces media for the visual effects, animation and fine art markets. His works have been exhibited all over the world.

Odyssey 1.4.9

法國 France | 2019 | VR360 | Colour | 7min

Odyssey 1.4.9 returns to the heart of 2001: A Space Odyssey by travelling through its interior. A virtual reality experience that will, beyond the invitation to travel that it supposes, not only clarify Kubrick's monumental design but reveal one of the keys to the work that has never been brought up before.

弗朗索瓦.沃提耶,身兼導演、錄像藝術家。曾任職 當代藝術藝廊,後於巴黎第二大學攻讀立體視覺研究 碩士,其 VR 作品《未來預言》入選 2018 年台北電 影節電影正發生單元。 François VAUTIER works in audiovisual design, television and film. His stereoscopic VR film, I saw the Future, was in competition at the 2017 Venice Film Festival.

2020 日舞影展 Sundance FF

2019 蒙特婁新電影影展 Festival du Nouveau Cinéma

2020 克利夫蘭影展 Cleveland IFF

2020 西南偏南電影節 SXSW

DIRECTOR, PRODUCER, SCREENPLAY 布萊恩.安德魯斯

LEAD ARTIST, DIRECTOR, CINEMATOGRAPHER, ANIMATOR

Brian ANDREWS KEY COLLABORATOR Brian FERGUSON CINEMATOGRAPHER Alphonso OCHOA EDITOR Colin HUGHES VISUAL EFFECTS Rodney BRETT ANIMATION TECHNICAL ARTIST Brian FERGUSON, MUSIC Robert STEEL SOUND Kahra-Scott JAMES CAST Phyllis E. GRIFFIN, Luis Antonio MORA, Emily WEEMS, Kidjie BOYER, Austin DALY, John ROPIHA, Oliver Sterling ANGUS PRINT SOURCE DePaul University

弗朗索瓦.沃提耶 François VAUTIER PRODUCER Jeremy SAHEL PRINT SOURCE Diversion Cinema


超�鳥司�

��奇點

你帶著行李,獨坐在計程車後座。同為澳大利亞移民 的小鳥運將,化身侃侃而談的嚮導,向你陳述這片陌 生國土的風土人情。由逐格動畫築成饒有興味的窗外 風光,從實境駛向抽象,由已知航向未知,一個怪誕 新奇的新世界,在你眼前逐格展開。

坐在電影院盯著銀幕,你看見所有空間,時間卻只有 短短一瞬(1/24 秒)。假如把時間軸(t)和空間軸(x) 互換,以一幀畫面表達完整時間,左側畫面成為「之 前」,右側成為「之後」,如此表現空間,邀請觀眾 滲進時空置換的漩渦。

Passenger is a 360 degree stop-motion VR film that tells the story of arriving in a new country to live. Your taxi driver, himself a migrant to Australia, navigates the new terrain with you, acting as your guide while also revealing small parts of his own story.

In the 1990s, Martin Reinhart invented a film technique called "tx-transform," which exchanges the time (t) and space (x) axes in a film. tx-reverse 360° shows this collision of reality and cinema and draws its viewers into a vortex in which the familiar order of space and time seems to be suspended.

Passenger

澳洲 Australia | 2019 | VR360 | Colour | 10min

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©Friedl Kubelka

©Arash Riahi

伊索貝爾.克諾爾斯、范.索維爾溫,兩人皆畢業於 墨爾本皇家理工大學媒體藝術系。自 2001 年在學校 認識後即合作至今,相信沉浸式體驗可以縮小銀幕內 外的現實差距。

馬丁.萊因哈特,身兼電影史學家、電影工作者,曾 就讀維也納應用藝術大學,為 Indiecam 共同創辦人。

Isobel KNOWLES and Van SOWERWINE are known for technologically adventurous and elaborately detailed animated storytelling through film and immersive installations. Their collaboration has produced four interactive animated artworks and four short films.

Martin REINHART is a film historian, filmmaker and film technician living and working in Vienna.

2019 威尼斯影展 Venice FF

2019 奧地利Diagonale影展 Diagonale

2019 墨爾本影展 Melbourne IFF

2020 日舞影展 Sundance FF

2020 鹿特丹影展 IFF Rotterdam

2020 True/False影展 True/False FF

DIRECTOR, SCREENPLAY, CINEMATOGRAPHER, ANIMATOR

LEAD ARTIST, DIRECTOR, SCREENPLAY 馬丁.萊因哈特

伊索貝爾.克諾爾斯 Isobel KNOWLES, 范.索維爾溫 Van SOWERWINE PRODUCER Philippa CAMPEY KEY COLLABORATOR Screen Australia VISUAL EFFECTS Julia EGERTON MUSIC Mirko GUERRINI SOUND Byron SCULLIN CAST Sami SHAH PRINT SOURCE Diversion Cinema

維吉爾.維德李希,身兼導演、編劇、多媒體藝術家, 並任教於維也納應用藝術大學,其作品獲獎無數。

Virgil WIDRICH is a screenwriter, film director, multimedia artist and professor for Art & Science at the University of Applied Arts Vienna.

Martin REINHART, 維吉爾.維德李希 Virgil WIDRICH CINEMATOGRAPHER Martin PUTZ MUSIC, SOUND Siegfried

FRIEDRICH PROGRAMMER Matthias STROHMAIER PRINT SOURCE Lemonade Films

173

VR FRONTLINE

2

奧地利、德國 Austria, Germany 2019 | VR360 | Colour | 5min

全浸界 VR

1

tx-reverse 360°


高雄 VR FILM LAB 原創精選 KAOHSIUNG

VR FILM LAB ORIGINALS SELECTION 174

2

017 年由高雄市電影館創立,「高 雄 VR FILM LAB」為涵蓋原創內

容製作、人才培育與映演推廣的全方

全浸界 VR

位 VR 創作扶植計畫。致力於支持台 灣與國際影像創作者投入 VR 創作,

VR FRONTLINE

開拓影像敘事疆界。至今出品的十六

留�未來的�� Afterimage for Tomorrow

台灣 Taiwan | 2018 | VR360 | Colour | 19min

男子醒來在某個意識層面,所見所聽所感的是記憶、 夢境、虛擬實境、抑或是死前的記憶回返?導演陳芯 宜與編舞家周書毅共同創作演出,以舞蹈呈現記憶中 難以言說的部分。 A man wakes up in an unknown dimension of consciousness. What is it that he sees, hears and feels? Is it memory, virtual reality or terminal lucidity? In Afterimage for Tomorrow, director Singing Chen collaborates with choreographer ShuYi Chou to perform the ineffable in memories.

部原創 VR 作品,曾入選日舞影展、 翠貝卡影展,廣受國際肯定。

L

aunched by Kaohsiung Film Archive in 2017, Kaohsiung VR FILM LAB is a comprehensive support program including VR project funding, content showcase, and talent cultivation. The program has suppor ted 16 highlyvalued immersive experiences created by local creators and international coproduction teams thus far.

陳芯宜,作品跨足劇情片與紀錄片,傳達對時下社會 的長期觀察,擅長以魔幻寫實手法,突顯社會荒謬性。 Singing CHEN conveys her long-term social observation through documentaries and feature dramas. Her approach of magical realism highlights the absurdity in reality and points out the structural problem in the society.

2019 日內瓦影展 Geneva IFF 2019 舊金山舞蹈電影節 San Francisco Dance FF 2019 釜山影展 Busan IFF LEAD ARTIST, DIRECTOR, SCREENPLAY 陳芯宜 Singing CHEN EXECUTIVE PRODUCER 鄭卜元 CHENG Pu-yuan PRODUCER

黃美清 HUAN Mei-ching, 林仕肯 LIN Shih-ken KEY COLLABORATOR 周書毅 CHOU Shu-yi, Funique VR Studio TECHNICAL DIRECTOR 全明遠 CHUAN Ming-yuan, 周哲宇 William CHOU CINEMATOGRAPHER 廖敬堯 LIAO Ching-yao EDITOR 顏秉盈 YEN Ping-ying VISUAL EFFECTS 歐兔數位映像有 限公司 O2xygen Co., Ltd. MUSIC 王榆鈞 WANG Yujan SOUND 周震 CHOU Cheng PROJECT MANAGER 覃子珈 TAN Tzu-chia CAST 周書毅 CHOU Shu-yi, 方妤婷 FANG Yu-ting, 王筑樺 WANG Chu-hua, 王甯 WANG Ning, 田懿葳 TIEN Yi-wei, 余建宏 YU Chien-hung, 林修瑜 LIN Hsiu-yu, 陳欣瑜 CHEN Hsin-yu, 葉王洲 YEN Wang-chou, 楊奇殷 YANG Qi-yin, 楊雅鈞 YANG Ya-chun, 潘柏伶 PAN Bo-ling PRINT SOURCE 高雄市電影館 Kaohsiung Film Archive


��

我的�利���

夏日的午後,寧靜的日式老宅聚集了許久不見的家人 們。大家圍繞在奶奶身旁,吵吵鬧鬧用各自方式向奶 奶表達愛意。人們來來去去,電視繼續重播,電風扇 持續擺頭,日式老宅的午後,奶奶靜靜的看著。

年輕女孩茱蒂一家因敘利亞內戰受到轟炸,逃到土耳 其和敘利亞的邊境城市,過著艱難的日子。一個台灣 媽媽的出現,讓他們走入一段獨特的鄰家情誼,看見 即使世界的兩端咫尺天涯,仍能是彼此的鄰居。

A family gathers at their old house on a summer afternoon. They surround Grandma, though she's no longer able to move, react, or hear clearly. As people come and go, the day stretches on-leading to the inevitable end of the gathering.

July, a Syrian young girl who moved to Turkey with her family few years ago. They had a difficult time until they met a Taiwanese mother, who became their neighbor and built friendship with them.

許智彥,執導多部廣告、音樂錄影帶,與編劇徐譽庭 雙導演長片《誰先愛上他的》為其代表作。

吳柏泓,影像創作形式廣泛,涵蓋紀實攝影、紀錄片 及 VR 360,致力追求社會與影像的連結意義。

Kidding HSU is a film, music video and commercials director. Dear EX, his first feature co-directed with Mag Hsu, has been nominated and awarded at the festivals in Taiwan.

WU Po-hung involves in diverse formats of image creation, including documentary photography, film and VR. He dedicates himself to pursuing the value and connection between society and images.

Home

台灣 Taiwan | 2019 | VR360 | Colour | 16min

My Syrian Neighbors

台灣 Taiwan | 2019 | VR360 | Colour | 7min

175

全浸界 VR VR FRONTLINE

2019 高雄電影節 Kaohsiung FF 2020 翠貝卡影展 Tribeca FF

2019 高雄電影節 Kaohsiung FF

DIRECTOR 許智彥 Kidding HSU EXECUTIVE PRODUCER

DIRECTOR, SCREENPLAY 吳柏泓 WU Po-hung PRODUCER

鄭卜元 C HENG Pu-yuan PRODUCER 鄭心愷 Jonathan CHENG KEY COLLABORATOR 高雄市電影館 Kaohsiung Film Archive, 許智彥導演工作室 Hsu Chih Yen Director Studios, Funique VR Studio TECHNICAL DIRECTOR 全明遠 CHUAN Ming-yuan CINEMATOGRAPHER 周哲宇 William CHOU ART DIRECTOR 周志憲 CHOU Chih-hsien SOUND 高勤倫 KAO Chin-lun PROJECT MANAGER 覃子珈 TAN Tzu-chia PRINT SOURCE 高雄市電影館 Kaohsiung Film Archive

戴芯榆 Summer DAI CINEMATOGRAPHER 林裕軒 LIN Yu-hsuan, 徐楠 XU Nan EDITOR 吳柏泓 WU Po-hung, 戴芯榆 Summer DAI ANIMATION TECHNICAL ARTIST 王廉禎 WAN Lien-chen SOUND 江元宏 CHIANG Yuan-hung, 鄭宜蘋 CHENG Yi-ping PRINT SOURCE 高雄市電影館 Kaohsiung Film Archive


2020 太空漫遊 Odyssey 1.4.9


ESSAY

FORWARD TAIWAN 177

專文

IN PROGRESS: SOUND DESIGN

ESSAY

OBAYASHI NOBUHIKO

VIRTUAL REALITY


178

專文

ESSAY


現在前往未 來 回 望 ―― 台灣影像中 再 造 的 紀 實 與 回 應 真 實 的 虛 構

謝璇

「明

日 • 台灣」嘗試梳理台灣電影的

由公共電視出品之「新創紀實短片」系列嘗試

兩種方式──橫向鋪排年度台灣

以紀實為本,但更有意識地尋找突破傳統紀錄

電影的樣貌、縱向將眼光看往近未來;並在既

片定義上或創作方法的限制。四部短片不僅風

成的影像作品中,回頭揣摩創作者的軌跡與經

格各異、題目亦跳脫直接紀實的框架。《天亮

驗,向前掌握台灣電影的可能。

前的戀愛故事》、《地洞》相對抒情,在敘事 手法上透過重演來追溯或重構真實。《殺人之

無 論 是 劇 情 長 片、 紀 錄 片 或 短 片,「 明 日 • 台 灣 」 致 力 於 尋 找 新 的(refreshing)、 獨 特的,或源自當代經驗與觀察的台灣影像。此 間,尤以短片更能看出百家爭鳴的豐沛能量。 短片在題材方面,家庭關係、多元性

眾》則以私密的角度,回應社會運動經驗,曖 昧卻又掌握了共感。《咪咪貓的奇幻之旅》凸

179

顯被攝者的性格與特質,捕捉淡水當地這側起 高樓,人的溫度則藏匿在巷弄間的景觀。

別仍是 分別座落在兩個子單元的十部短片更是百家爭 鳴。「台灣短 SHOW I」的五部作品共享真摯、

電影為原則的作品不在少數,相較於去年,更

濃厚的情感與性格。《三步》、《斑馬魚》關

顯上漲之趨勢。

注少年青澀又敏感的心,溫柔地捧起挫折與年 輕的苦楚;《媽,我很好》與《一狗》中的青

甫以《肇事者逃逸》入圍台北電影獎最佳短片 的王威翔,今年則交出首部劇情長片《哈囉少 女》。延續對驚悚、懸疑類型的掌握,《哈囉 少女》以高中校園為舞台,鋪開一場擦槍走火 導致越演越烈的霸凌事件,鏡頭在被害者與加 害者之間游移,緊扣當代現況;頗具以青年社

年也在掙扎,被現實條件傾壓而無法訴說,或 在情愛甚至性關係間坦然揭示男性挫敗;《謝 謝 您, 祝 您 順 心, 再 見 》 在 極 度 小 巧 的 篇 幅 中,精采演示幽微的糾結與情感曲線。「台灣 短 SHOW I」彷彿巧合地展開當代男性的十、 二十、三十。

群隱喻社會整體之野心。 紀錄片《開水喇嘛》與《買房子賣房子》皆呈 現了強烈的氣質與一以貫之的觀點。盧彥中又 再次發現了一個「非常人」,一壺待煮沸的水 與一個喇嘛,無數前來求解的人們。《開水喇 嘛》以收斂的角度,幾乎隱身的攝影機,側寫 世間的煩憂與一名傳說中的喇嘛。低調、冷靜 的鏡頭風格,巧妙地醞釀出層次豐厚的神性與 魔幻,彷彿觀眾最終也能被滾燙的開水浸滿。 相對而言,林謙勇則將自身經驗投進《買房子 賣房子》中,巧妙拿捏甚至玩味自己身為紀錄 片導演同時又是半個被攝者的位置,逐步建構 青年世代面對房產、社經位置的處境,昇華至 「家」的具體價值與精神意義,再揭露世代傳

「 台 灣 短 SHOW II」 的 五 部 作 品 則 展 現 了 導 演 高 度 的 作 者 性 格, 鋒 利 而 觀 點 獨 到。《 行 山》與 VR 版《山行》對照參看,兩部作品、 同一個故事的多種詮釋,理解的角度是否取決 於觀看的方式?《雕塑品》則跨界在當代藝術 與影像創作範疇間,用影像梳理流離藝術的軌 跡,從藝術品出發,建構人類歷史。《日正當 中》風格極簡,縱向鏡頭推軌

拉伸搭配人物

橫向移動,豐富的聲音設計與光影,回歸影像 觀看

創作的本質。《殘山剩水》則在景框中

創造地景,山嵐飄渺、雲雨靜謐,萃取難以臨 摹的幽微家人情感。《高清有碼》展現對審查 或自我審查之間的曖昧性甚至趣味,幽默且精 準地切下十足現代的議題。

承、階級結構的大母題。親朋好友包括自己都 在此間,是自畫像,更是當代群像。 謝璇,台北電影節節目團隊。

ESSAY

點,以作品回應社會議題。體裁方面,以類型

專文

多數創作者關注的重點;更不乏銳利的批判觀


電影正發 生 : 聲 音 設 計 走在電影 之 前 、 走 在 電 影之 外

羅心彤

「電

影 正 發 生 」 舉 辦 至 今 已 屆 四 年, 節 目 的 概 念 簡 而 言 之: 電 影 被 看 見 的 往 往 是 成 果, 產 業 外 的 人 鮮 有 機 會 接 觸 創

作過程中的細節,以及神祕的靈光交會。因此,將創作過程呈現在觀 眾面前,也許是一條接近神祕的途徑。 在電影正發生的現場創作活動中,不同角度的討論可以成立,或作為 提問的起點,例如創作過程對作品的影響、角色間如何互動與產生交 180

互作用,更可一窺電影工作者透過專業技術施展魔法。觀眾能從中獲 得新知與新體驗,電影工作者亦能對照自身專業而有所得。至於這些 經驗能將參與者引導到什麼意料之外的地方,策展團隊也很期待。

專文

在電影之前

ESSAY

在有聲電影出現之前,電影安靜無聲近 40 年。當我們開始注意聲音, 閱讀電影的方式就不再只是觀看,畫面內外充滿聽覺世界的訊息;說 故事的方式有了更多可能,聲音不只是畫面的輔佐,也不只是如實呈 現畫面中能看見的、發出的聲響,它能提供畫面之外的細節,也能將 我們記憶及眼中所見的電影世界連結,成為引導情緒的重要關鍵。而 聲音與畫面交織而成的魔法,能使記憶、感官與私密的情緒產生共振, 也是電影讓人著迷的重要因素。 決定聲音設計的題目之前,策展團隊訪談台灣的聲音工作者、導演, 為聲音設計的工作勾勒一個圖像,使我們對難以被觀察到的聲音設計 工作有了初步的想像,也開始理解電影聲音工作者如何思考電影聲音 創作。 電影中的聲音工作涵蓋範圍極廣:現場收音、Foley(擬音)、ADR(同 步對嘴錄音)、對白剪接、音效、音樂、混音等,每一個環節都蘊含 大量的細節。不管是現場收音在前期對現場環境音的觀察、狀態的了 解;或是觀察不同環境和人物的狀態,作出適當的擬音;對白要特別 清晰、或是增加空間及時代的質感;運用音效為角色的內心狀態加分; 配樂和音效的界線;聲音、視覺畫面的空間,和觀眾身體所處的空間 思考等。用聲音塑造世界,必須將畫面、配樂、聲音都列入範疇,宛 如聲音的雕塑家。 若將藝術思考落實在執行層面,各個團隊或因預算考量,或是主創團 隊對聲音不同的想像,會有千百種工作方式的可能。與聲音設計溝通 時,導演藉由感受性或技術性的描述,將想像的世界表達出來,再由 聲音設計解碼、轉換成聲音技術,讓加諸聲音的立體敘事空間呈現在 成品中。這一串轉譯腦中情景為聲景的過程,更是充滿挑戰。


電影正發生

帶著玩心和膽量,及所有現場的不可預期, 與觀眾一起經驗這個無法重現的創作歷程。

今 年 的 電 影 正 發 生 分 為「 現 場 創 作 」、 「專文及訪談」、「影片放映及映後座談」

在電影之外

三個部分。在現場創作之前,團隊訪談了 電影聲音工作者,以影音、文字兩種媒材 記錄,讓觀眾大致了解聲音設計的工作之 餘,也能更進入電影正發生實際的創作場 域,側寫當代台灣聲音設計的圖像。另外,

「回到源頭,或跳開操作面來看,聲音是 什麼?聲音設計是什麼?」 「聲音設計,對應一個感官系統:耳朵的

181

聆聽。如何聽?怎麼聽?聽的方法?」

團隊也邀請聲音設計師推薦片單,在影展 極高的兩小時會議後,傳來這兩句話作為

音設計的工作經驗。雖然因為時間及篇幅

補 充。 在 電 影 之 外, 聲 音 是 什 麼, 如 何 聆

的 限 制, 訪 談 錯 過 了 許 多 台 灣 優 秀 的 聲

聽?這是今年聲音設計命題中,更接近本

音工作者,但仍十分感激一口答應的杜篤

質的問題。

之、 吳 書 瑤、 郭 禮 杞、 曹 源 峰、 周 震、 楊 書 昕、 黃 大 旺、 澎 葉 生 等 人, 他 們 對 聲 音 投注的熱情、持續自我精進及樂於分享的 態度,都令人敬佩,也不斷增厚台灣聲音 工作的土壤。

聲音設計的日常功課也包括延續聲音的本 質、 觀 察 生 活 中 細 微 的 聲 響 變 化、 增 加 自 己的聲音資料庫,以及開拓對聲響連結的 想像。一朵花落在濕地和乾地的聲音一定 不 同, 即 使 是 同 樣 的 地 方、 同 樣 的 車, 白

現場創作試圖為觀眾開闢一條蹊徑,在看似

天與晚上駛過的聲音也截然不同,不同個

無邊無際的創作過程中,一窺聲音設計的技

性的人自然有其獨特的說話與走路的聲音。

術層面,讓參與者透過自己的經驗和詮釋,

對 人、 環 境、 文 化、 社 會 進 行 廣 泛 且 細 緻

想像可能的線索、或對創作提出屬於自己的

的關懷和觀察,是創作者生活的一部分。

階段性答案。我們邀請去年甫拿下台北電影 獎百萬首獎的導演黃邦銓,以及他近期合作 的夥伴:導演林君昵、配樂王榆鈞,及以《灼 人秘密》獲金馬獎最佳音效獎的周震,加入 此次電影正發生現場創作的計畫。黃邦銓及 林君昵將以自行拍攝的 8mm 素材及國家電 影與試聽文化中心修復的鄧南光影片進行二 次創作,打造全新的故事;王榆鈞將現場創 作影像配樂;周震為影像做出聲音設計。現 場將轉化為大型的影像裝置,讓聲音及影像 在 C-LAB 臺灣聲響實驗室的沉浸式劇場空間 產生對話,獨特的空間特性賦予音像合奏更

電影正發生走在電影之前、電影之外,把 關注的焦點從成品轉移到創作過程,把舞 台交給平常不被看見的幕後工作者,不管 是概念或呈現,都是一個共創的過程;於 創作者而言是挑戰,對觀眾來說,是一個 能以各種角度去理解並接近電影的機會。 沒有標準也沒有預設,只有持續不斷地追 問:什麼束縛了創作的想像?什麼讓想像 力有了界線?而這也對應了電影正發生節 目 策 劃 的 提 問:「 什 麼 是 電 影?」、「 什 麼是創作?」

多創作及思考的可能。一如所有的創作,這 不是一個在起點就能預知終點的過程,在有 限的時間與公開創作的壓力下,四位創作者

羅心彤,台北電影節節目團隊。

ESSAY

前期企劃的訪談結束,陳芯宜導演在密度

作品的聆聽重點、對聲音的思考,以及聲

專文

期間放映並進行映後座談,與觀眾分享該


Action ! 謝謝你, 大 林 宣 彥

謝璇

備 ── Action ! 卡! OK。 大

僅童年時就客串演出短片,更為大林宣彥踏入

家 辛 苦 了, 謝 謝 各 位!」 直 至

電影界的首部長片《鬼怪屋》(1977)提供

82 歲離世前,大林宣彥導演連夢中的呢喃,

主要靈感,她也身兼影評人、製片。大林電影

都在拍電影。

的班底,便是大林一家三口;電影,就是大林

「準

家的日常。

青春電影:大林電影的誕生 182

1938 年 出 生 於 廣 島 尾 道, 大 林 宣 彥 二 歲 首次接觸放映機,六歲便在 35mm 底片上

《 鬼 怪 屋 》: 革 命! 顛 覆! 永 恆 的 邪典電影

專文 ESSAY

手 繪 完 成 動 畫 短 片《 ポ パ イ の 宝 島 》, 影

大林宣彥一手拍廣告維生,另一手拍攝獨立

像 創 作 自 此 成 為 他 生 命 中 最 核 心 的 任 務。

電影直至七○年代。因電視普及,日本五大

17 歲的少年大林前往東京求學,開始創作

電影公司深受影響,製作預算緊縮,廣告業

8mm、16mm 短 片, 與 足 立 正 生、 高 林 陽

則 相 當 繁 榮。 為 了 拍 攝 廣 告, 大 林 宣 彥 向

一、飯村隆彥組成獨立電影小組,展開早期

「五大」之一的東寶承租片廠,並結識東寶

的導演生涯。

關係企業,東京電影公司製片角田健一郎。

五○年代末至六○年代初,大林宣彥專注於 短 片 創 作, 自 稱 這 系 列 的 短 片 為「 青 春 電 影」,並將《傳說的午後 • 突然遇見德古 拉》(1966)視為里程碑,這部作品也集 結了大林短片的創作手法精華。大林宣彥的 剪 接 風 格 繁 複, 混 用 跳 接(jump cut)、 倒 轉、 停 格 等 手 法; 他 也 擅 長 融 合 不 同 媒 材,豐富的手繪拼貼、插畫、字卡與動態畫

1975 年,史蒂芬 • 史匹柏《大白鯊》於日 本 上 映, 在 低 靡 票 房 中 突 圍。 角 田 希 望 風 格獨特的大林宣彥能拍出像《大白鯊》一樣 的作品,拯救蕭條的日本電影票房;大林則 認為《大白鯊》的成功無法在日本炮製,提 供了《花筐》的劇本雛形。反覆周折,《花 筐》2017 年才終於問世;大林則決定為了 日 本 電 影 拍 攝 一 部 作 品, 交 出《 鬼 怪 屋 》 (HOUSE)提案。

面嵌合,製造層次豐富的影像質地。縱然大 林電影魔幻多變,這兩點特色仍是他的主要

《鬼怪屋》最為人稱道的綺想,諸如吃人鋼

特質。即便隨著技術演進,華麗特效不再是

琴與鏡中倒影、血紅色的西瓜,幾乎都出自

罕事,大林宣彥仍維持手工方法,創作出更

當年才七歲的大林千茱萸。這部完全原創的

加綺麗、獨特的影像幻術。

「奇怪」提案讓東寶不知如何是好,一方面 認為這就是大林才拍得了的作品,一方面又

大學期間,大林宣彥與學妹恭子墜入愛河, 兩人都未滿 20 歲便結為夫婦。大林恭子不 僅是大林宣彥的妻子,更是他每一部作品的

受限於嚴格的片廠制度。無意成為東寶簽約 導演的大林宣彥,決定延續獨立創作精神, 開啟自主製作《鬼怪屋》的企劃。

製片。短片《畫中的少女》(1958)由大 林恭子擔綱女主角,兩人共造一幅關於戀愛

手繪海報、設計名片、貼紙等宣傳物,甚至

的綺想。1964 年,大林宣彥為新宿紀伊國

在電影完成前先行出版小說、漫畫、公布配

屋ホール(HALL)開幕活動策劃了「60 秒

樂清單,還在深夜時段電台直播廣播劇。反

影展」,首映 16mm 短片《微熱的玻璃或

其道而行的宣傳手法,讓電影在開拍前就受

踩著悲傷碎嘴華爾滋之葬列的散步路》,吸

到廣大媒體注意。歷時兩年,浩大聲勢終於

引 廣 告 製 作 人 的 目 光, 開 始 執 導 廣 告。 同

讓 東 寶 點 頭, 史 無 前 例 地 以 投 資 方 式 讓 非

年,獨生女大林千茱萸出生。大林千茱萸不


簽約導演拍攝電影。一部由日本電影圈的

從戰爭中學習,才能迎來真正的和平。而拍攝電影,正是他實

「局外人」執導的電影獲得空前成功,成

踐和平理念的方式。大林宣彥後期的作品更明顯地扣連他對戰

為日本電影史上的革命性事件,大林宣彥

爭與和平的核心理念。其實,早在《鬼怪屋》中就帶入二戰背景,

也正式踏入電影界。縱使《鬼怪屋》被認

直接剪入原子彈爆炸的畫面。

為是大林的第一部商業電影作品,對他而 言,只是一部有贊助商的電影,仍是極具 獨立創作精神的大林電影。

大林宣彥以魔幻風格著稱,但仍不乏散發寫實主義的光輝之作, 《戰裡的野孩子》(1986)便為代表之一。改編自文學巨匠佐 藤春夫小說《頑皮時代》,《戰裡的野孩子》以瀨戶內為舞台,

靈魂互換、穿越時空:「尾道三部 曲」

183

將小學生充滿童趣、天真的遊戲「戰爭」模擬戰爭,在孩子們 的成長背景中融入大時代的殘酷。即使整體而言實屬喜劇類型、 故事基調諧趣,卻仍不失反思戰爭的力道。

一不小心領先《你的名字》(2016,新海 長岡花火物語》(2012)、《四十九日的甜蜜告別》(2014),

的首兩部作品,《轉校生》(1982)為靈

在最終回《花筐》完成後,2018 年 7 月,大林宣彥回到故鄉拍

魂互換故事開山之作、《穿越時空的少女》

攝《大林宣彥:電影藏寶盒》,月餘後殺青,成為導演自言百

(1983)則為筒井康隆同名科幻小說改編

分之百滿足的作品。故事從尾道的一座電影院展開,營業最後

影視作品的鼻祖。

一日,電影院決定徹夜播映「日本戰爭電影特輯」,少女與熱 愛電影的青年們在戲院中穿越時空,回溯從江戶時代起的戰爭

「尾道三部曲」成為大林宣彥奠定影壇地 位之作,不僅回應他對故鄉的情感,更顯 示他對年輕世代的關注。《轉校生》使用 了大林於 1963 年拍攝的紀實短片《尾道》 畫面,回溯 20 年前的尾道風光。兩部作 品也讓兩位女演員成為影壇新星,小林聰 美主演《轉校生》榮獲日本電影學院獎新 人獎、15 歲主演《穿越時空的少女》的原 田知世,同樣橫掃無數新人獎,正式踏入 影壇。稱大林宣彥為新人的伯樂一點也不 為過,直至遺作《大林宣彥:電影藏寶盒》 (2019),在豪華卡司包括常盤貴子、淺 野忠信等人之中,他仍選擇讓新人吉田玲 擔綱女主角。

戰爭與和平:《戰裡的野孩子》、 《大林宣彥:電影藏寶盒》

史,以及百年以上的電影史。作為大林宣彥集大成之作,是橫 跨歷史至當代的故事,更融入了自己的一生。《大林宣彥:電 影藏寶盒》囊括他對電影的極致熱愛、對和平的一世追求。

So long! 2020 年 4 月 10 日 晚 間, 大 林 宣 彥 在 東 京 自 宅 離 世。 橫 跨 半 世紀的電影人生,大林宣彥積累了近百部長片、短片、電視電 影作品;上千支廣告中不乏跨國製作,也曾跨刀執導少女團體 AKB48 長 達 64 分 鐘 的 MV《So long!》。 三 年 前 被 診 斷 出 罹 患肺癌第四期並且被宣告來日無多的他,不僅力抗病魔,今年 也已緊鑼密鼓地與老盟友角川春樹展開全新的青春電影企劃。 大林宣彥直至彌留之際,與結褵一甲子的妻子大林恭子的枕邊 遺言仍是一句他的口頭禪:「謝謝」。1

小記: 僅藉此文特別感謝大林千茱萸女士自 2019 年 12 月以 來的協助,以及大林宣彥導演、大林恭子女士對台北電影節的 支持。

1945 年,美軍在廣島、長崎投下兩顆原 子彈,日本投降成為戰敗國。那年,大林

謝璇,台北電影節節目團隊。

宣彥七歲。成長於炮火之間,戰爭的傷痕 與歷史意義深深刻進他的電影裡;他認為,

1

大林恭子在大林宣彥離世後發表的公開消息,全文見《大林宣彥:電影藏寶盒》 官方網站:https://umibenoeigakan.jp/info/archives/category/news

ESSAY

2012 年起,大林宣彥推出「戰爭三部曲」系列,包括《天空之花:

細田守)幾十年,大林宣彥「尾道三部曲」

專文

誠 )、《 跳 躍 吧! 時 空 少 女 》(2006,


在物理現 實 中 , 找 到 更 深的 體 會 : VR 全浸界

蘇逸華

位 藝 術 理 論 家 列 夫. 曼 諾 維 奇(Lev Manovich) 曾 說:「 定 義 19 世 紀 的 文 化 是 小 說,20 世 紀 是 電 影, 而 21 世 紀 的 文 化 將 被 介 面 所 主 宰。」

當我們的生活已沉浸於大量資訊中,為何還會想進入一個數據建構的世界?敘 事 型 VR 在 這 繁 複 的 演 算 背 後, 因 為 注 入 了 人 文、 歷 史、 哲 學 思 想, 讓 我 們 在 脫下頭顯之後,觀看現實世界時,有了新的視野與領悟。也因為每次數據的演 算以觀看視角留下獨特軌跡,而更加確立了體驗者的存在事實。 184

綜 觀 去 年 威 尼 斯 影 展 與 今 年 日 舞 影 展、 西 南 偏 南 電 影 節 的 眾 多 VR 作 品, 可 看 到幾點趨勢。其一是將特定歷史事件或社會議題作為創作母題,讓體驗者藉由 移情作用,認識新的文化觀點或特定群體的處境。今年選映的《重返福島現場》 (2020) 不 單 是 一 部 360 度 環 景 的 日 本 311 事 件 後 的 紀 錄 影 片, 當 地 孩 童 接

專文

受甲狀腺放射檢驗、警方田野搜索找尋海嘯倖存者,還有影像中那片令人過目 不忘的蒼冷海面,都是藉由場景的擷取,賦予紀實影像感性的層面。體驗者彷

ESSAY

彿是歸來的幽魂,望著劫後餘生的景象。《我的敘利亞鄰居》導演吳柏泓與團 隊 成 員 帶 著 VR 攝 影 機 踏 上 土 耳 其, 企 圖 重 現 來 自 台 灣 的 Anny 幫 助 敘 利 亞 難 民 成 立 學 堂 的 過 程。 利 用 VR 瞬 間 的 異 地 體 驗, 連 結 相 隔 數 千 公 里 的 台 灣 與 敘 利亞,雙方因緣際會的相識,儘管文化背景懸殊,依然能相扶相持。 另外,像是於 2019 年威尼斯影展展出的《These Sleepless Nights》(2019) 也 是 很 好 的 例 子。 透 過 AR 眼 鏡 與 錄 音 裝 置, 簡 單 的 互 動 機 制, 呈 現 許 多 美 國 被強制遷移者的經歷,聽取每一位受害者的心聲。 映照體驗者心理狀態,或更進一步企圖達到心理治療的過程,也成為熱門的 VR 創作途徑。《花之生》(2019)利用聲音這個變因,感應體驗者的聲音大小和 語調起伏,以日本著名花藝師東信(Azuma Makoto)為創作原點,長出屬於 自己的花束,帶領體驗者進行一場與自己的對話。人們透過嘴巴吐出文字,須 經過組織與選擇,與心中零碎跳躍性的思考有本質上的差異。在體驗的過程中, 或許會發現自己並不習慣與自己對話,而《花之生》就製造了這樣的機會。雖 沒有付諸文字或語言的具體回饋,但也提供了一個情緒抒發的渠道。面對你的 不是一個心理諮商師,而是一個包覆你、具有 AI 思維的機器,這樣的情境互動 設計,是否能視為未來心理治療的雛形?至於《花之生》為何特別挑選與一位 花藝師合作?東信結合鮮豔搶眼的花束與特殊的空間建立了獨樹一格的姿態, 他特別擅長捕捉植物脫離根土與花瓶後的樣貌,例如〈花與人〉系列中,花束 跟隨太空船飛向外太空的一瞬,或摔角選手在擂台上把與人同高的花束彈摔的 一瞬間。他化整為零地重新思考花藝與人的關係,與《花之生》試圖使用一種 「感官淨化」的治療機制不謀而合。 VR 作品隨科技進步推展出新的感官刺激,許多創作者也使用 VR 探索自古以來 的命題。《非人物種》(2020)利用 X 光透視圖拼組異世界,讓主角在險惡的 環境下孕育下一代。「生存」、「滅亡」等形而上的概念一一浮現,令人聯想 到雷利・史考特《普羅米修斯》中,造物者的起源與人類物種的宿命形成的無


限 迴 圈。《 瘋 狂 麥 走 》(2019) 為 兩 大 數 位 藝 術

軀為作品服務的同時,作品也為體驗者的身體服務,

與 設 計 工 作 室 Universal Everything 與 Within

作為影像中舞者、聲音、雨等元素的連結橋樑。

的共同創作,人群或像巨型蜈蚣到處竄流,或以軍 人般的隊伍等距行進,體驗者以熾熱的發光體象徵 在群眾的洪流間保有「自我」的慾望。彷彿以鳶的 視角,看著眾生互斥、吸引、排他、模仿、墜落、 吞噬。由此似乎可預見 VR 套用到社會學、行為學 上千變萬化的應用。

《超級鳥司機》(2019)也是將沉澱一段時間後才 浮現的心情寫照,轉化為童趣的停格動畫 VR。體驗 者 站 在 乘 客 的 視 角, 並 非 要 觀 者 去「 複 製 經 驗 」, 而是設身處地想像有著澳洲移民背景的計程車司機 的 經 驗。《GO》(2020) 讓 文 學 與 VR 有 了 共 生 的 可 能 性。 體 驗 者 不 再 只 是 閱 讀 者 或 聆 聽 者, 沉 浸 你 才 能 感 受 到 生 命 的 意 義。」 故 事 設 定 令 人 聯 想 作

Russell)的公式,將時間軸與空間軸互相置換的

家 吳 明 益《 苦 雨 之 地 》 中〈 冰 盾 之 森 〉 篇 章, 那 位

實驗影像作品。不同於電影透過剪接與鏡位來形塑

置 身 於 冰 天 雪 地 瀕 死 之 地 的 敏 敏, 同 樣 是 因 為 正 視

故事樣貌,《時空奇點》善用 VR 固定鏡位的特性,

了死亡,才能絕處逢生。

間接造成時間凝結的錯覺。體驗者的存在,彷彿成 為這場「時空換移」儀式的全知者。

《舊家》(2019)體驗者的視角是一位行動受限的 老 人 家, 這 樣 的 設 定 恰 巧 與 VR 攝 影 機 需 固 定 拍 攝

導 演 弗 朗 索 瓦. 沃 提 耶 製 作 VR 作 品《 未 來 預

方 位 的 特 性 結 合。 許 智 彥 導 演 找 來 他 的 家 人, 在 已

言》(2017) 1 的過程中,研究作家亞瑟・克拉克

歸 還 政 府 的 日 本 眷 村, 讓 家 人 再 次 聚 首, 提 煉 真 實

(Arthur C. Clark) 的 生 前 論 述 2 , 而 有 了 創 作

的元素並創造片刻的體驗感,感受不良於行的無奈、

《2020 太 空 漫 遊 》(2019) 的 靈 感。 從 電 影 中

子孫滿堂的幸福,以及時間的流動與靜止。

複製 20 萬張影像,包覆一組如黑巨石的方塊,作 為承載大量資料的母體。體驗者進入黑巨石本身, 好 比 鮑 曼 進 入 電 腦 HAL9000 的 核 心。 如 果 電 影 中 的 黑 巨 石 象 徵 萬 物 的 起 源, 那 我 們 即 飛 入 一 切 的核心。透過 VR 的環景鏡頭與浩瀚無垠的空間特 質,沃提耶以此創作媒材向經典致敬。

在 VR 硬 體 設 備 長 足 進 步 的 同 時, 台 灣 也 多 方 嘗 試 豐 富 內 容 的 建 置。 其 中 高 雄 VR Film Lab 自 2017 年來,在高雄電影館的支持下,出品 16 部自製與跨 國合製的 VR 影片。相較於許多科技進步國家對 VR 創 作 仍 持 觀 望 態 度, 台 灣 能 昂 首 闊 步 挑 戰 全 新 的 創 作 模 式, 是 令 人 欣 喜 的 事 情, 也 期 待 未 來 能 有 更 多

以 VR 探索記憶、時間與身體原始的感官,《留給

機會,讓這些作品被更多人看到。

未 來 的 殘 影 》(2018)VR 影 片 採 全 知(omnipresent)的視角,可能是舞者周書毅的視角、或 即 將 被 儲 存 的 記 憶、 或 記 憶 暫 存 的 機 器 視 角 等, 體驗者彷彿化身粒子或位元,自由穿梭其間。《留 給未來的殘影》這次在台北電影節呈獻特別演出, 將 影 像 作 品 中 的 舞 蹈 延 伸 至 實 體 空 間, 深 化 體 驗 者思考何謂「虛」?何者「實」?人稱 VR 之父的 傑容・藍尼爾(Jeron Lanier) 3 認為:「隨著科

蘇逸華,台北電影節節目團隊。

技 進 步, 人 腦 會 愈 來 愈 擅 長 偵 測 人 造 的 幻 象。 隨 著 VR 的進步,未來的人類觀感會變得更加細膩,

1

並學會在物理現實中找到更深的體會。」舞動的身

曾選映於 2018 年台北電影節「電影正發生:VR」單元。

2

亞瑟・克拉克即電影《2001 太空漫遊》原著小說作者與共同編劇。 傑容・藍尼爾,首位量產並販售 VR 頭顯的電腦工程師與視覺藝術家。

3

ESSAY

於故事主角的死前回望,「唯有在面對死亡的時候,

論, 靈 感 來 自 數 學 家 伯 特 藍・ 羅 素(Bertland

專文

《 時 空 奇 點 》(2019) 延 伸 自 愛 因 斯 坦 相 對

185


Future and Back: Recreated Reality and Fictional Responses in Taiwanese Films by Katrina HSIEH

186

"F

o r wa rd Ta i wa n " a t t e m p t s

all those earthly worries. The low-

to present Taiwanese film

profile style cleverly builds up layers

landscape of the year, and looks

of metaphysical and fantastical

ahead to the near future. In these

moments, as if we will eventually be

delivered moving images, we retrieve

drowned in boiling water. Showtsai

creators traces and experiences,

Lin puts personal experiences into

and project the potential path in

Housing, juggling between two roles

Taiwanese films.

as documentary director and subject.

Features, documentaries, and short films alike, "Forward Taiwan" compiles refreshing and unique Taiwanese ĺ°ˆć–‡

imagery based on contemporary experiences and observations. Short

ESSAY

films, in particular, represent local diversity. Many creators focus on familial relations and gender liquidity.

He portrays common housing and socio-economic circumstances in the younger generation, expands to substantial values and spiritual significance of "home", and ultimately refers to class structure between generations. It's a portrait of both individuals and contemporary us.

Some works respond to social issues

"Alternative Documentary Shorts"

with critical insights. Genre films are

series by Public Television Service

also on the rise, even more so than

consciously pushes the boundary

last year.

of traditional documentaries and

Nominated for Best Short Film at Taipei Film Awards 2019 with Hit and Run, Weica Wang delivers the first feature film Girl's Revenge this year. With his sustained approach on horror and suspension, it describes a high school bullying incident that goes out of control. Between victims and perpetrators, the campus is, in fact, an epitome of contemporary society. Two documentaries, The Boiling Water LAMA and Housing, demonstrate strong characters and consistent perspectives. Adiong Lu discovers another extraordinary person: a lama, with a pot of water to be boiled, and people looking for answers. In a very restrained manner, the camera observes a legendary lama and

their creative methods. Four stylish wo r ks m ove b eyo n d t ra d i t i o n a l frameworks. Before the Dawn and The Tunnel retrieve or reconstruct reality via recreating narratives. KILLING STATE, being killed responds to social movement experiences from an intimate perspective to relate to common sentiments. A Cat May Look at a King highlights personality and quality of the subject. It explores human bonds behind the bustling Tamsui area. Ten short films, scattered in two sections, are even more diverse. Works in "Taiwan Shorts I" show authentic and rich emotions. This Is Not the End and Zebrafish care for sensitive adolescents, and share their frustrations and sorrow. Young men in A Fresh Start and Caninity


are also struggling and suppressed by brutal conditions. Male frustrations are honestly revealed in emotional and sexual relationships. In a concise format, Farewell unveils implicit entanglement and feelings."Taiwan Shorts I" presents mentality in young men in Taiwan. Five other works in "Taiwan Shorts II" underlined authorship and targeted perspectives from

187

directors. The mountain remains and VR work Only The mountain remains provide different interpretations of the same story. When in parallel, The Sculpture stands between contemporary and construct human history with artworks. Vertical camera movement and horizontal human movement, Midday adopts minimalist style to the essence of viewing/creating with enriching sound and light design. Lake on the mountain creates landscape in the frame. Indescribable familiar bonds emerge from blurring and fogging mountains. In a humorous and precise fashion, Mosaic approaches the ambiguity and absurdity between censorship and self-censorship, a very contemporary issue.

Translated by Leonard CHIEN

Katrina HSIEH, member of Taipei Film Festival programme department.

ESSAY

art and creative imagery to follow diaspora art,

ĺ°ˆć–‡

does how we view define how we understand?


In Progress: Sound Design Before and Beyond

By LO Hsin-tung

O

ver the past four years, "In

profile about sound design that

Progress" section reveals

mostly happens behind the scenes.

mysterious creative details and

It also informs us how sound

eureka moments behind completed

creators envision their impacts in

films. Unveiling creative processes,

films.

to non-professionals and audience members, may be a path to approach 188

Sound art in films covers a wide

ĺ°ˆć–‡ ESSAY

the mystery.

array of exper tise, ranging from

In our events, different perspectives

sound effect, music, to mixing, each

and questions are presented for

of which includes a lot of details.

discussions, such as how creative

Field recorders need to understand

processes influence results, and how

ambient sound, and observe the

characters interact with each other.

environment and context for foley.

We can also witness how filmmakers

S o u n d a r t i sts a l s o a d d s p a t i a l ,

create magic with their expertise.

temporal and emotional qualities into

While audience members learn new

the scene. Sound expands visual

experiences, filmmakers also acquire

space, and sets the image in our

new knowledge for their careers. We

minds. Sound artists, in essence,

look forward to unexpected insights

take image, music, and voice into

in these engagements.

consideration to sculpt a world.

Before Films

There are many ways to put artistic

Before sound films were invited, films were mute for more than three decades. As we pay attention to sound, movies offer more than visual impacts. More ways are possible to deliver messages and tell stories with sound. Besides suppor ting images, sound can provide many more details than what is visible or tangible. It also connects the f i l m wo r l d w i t h m e m o r i e s , a n d triggers emotions. Sound and image combined resonate with our memories, senses, and intimate sentiments. That's why films are

audio recording, foley, ADR, editing,

i d e a s i n to p ra c t i c e , i n f l u e n c e d by budgetary concerns and imaginations on sound. When communicating with sound designers, directors visualize their imaginations with sentimental or technical descriptions. With sound te c h n o l o g i e s , s o u n d d e s i g n e rs transform into narrative discourses in films. It's especially a challenge to translate what is thought into what is heard.

Films in Progress This year, "In Progress" section is

always mesmerizing and fascinating.

divided into 'Live Creation', 'Interviews

For this theme, we have interviewed

and Q&As'. Before live creation, we

sound ar tists and directors in

have interviewed filmmaking sound

Taiwan. Their views give us a basic

artists, and uploaded videos and

and Essays', as well as 'Screenings


transcriptions to our official website. Viewers can learn about sound design and its field works. Films recommended by sound designers will be screened during the festivals. Sound designers will also attend to introduce design highlights, design approaches, and work experiences. Limited by time, we only interviewed a selected group of outstanding sound artists. We would like to thank all participants in the process, including Tu Duu-chih, Wu Shu-yao, Kuo Li-chi, Dennis Tsao, Chou Cheng, Agnes Yang, Dawang Yingfan Huang, and Yannick Dauby. Their enthusiasm to

In the seemingly borderless creative process, live creations offer a path to understand technical aspects behind sound design. Par ticipants interpret with personal experiences, imagine with emerging clues, or identify their own answers. We invite director Huang Pang-Chuan, who won Taipei Film Awards Grand Prize last year, to participate in live creations with his recent collaborators, including director Chunni Lin, film score creator Wang Yu-jun, and Chou Cheng, who

aspect, what is sound design?" "Sound design focuses on one sense. How do we listen? What method do we choose?" After our intense two-hour meeting, director Singing Chen sent us messages above as a note. Beyond films, what is sound and how do we listen? These are fundamental questions in sound design. Sound design is also about extending essential sounds, observing trivial acoustic changes in daily life, expanding sound archives, and enriching sound connections. Petals falling on wet land sound different from on dry land. Even with the same car in the same place, its driving sound in daytime and nighttime is completely different. People with different personalities have different speech and movement patterns. Creators should be sensitive broadly about people, environment, culture, and society.

received Best Sound Effects in Golden Horse

"In Progress" section goes before and beyond

Awards for NINA WU. Huang and Lin will create new

films, and shifts the focus from finished works

stories based on their 8mm film materials and

to creative process, and sheds light on creators

Deng Nan-guang's old videos restored by Taiwan

behind the scenes. It's a co-creative process

Film and Audio-visual Institute. On site, Wang will

conceptually and practically. It's a challenge to

create film scores, and Chen will design sound.

creators, and an opportunity for audience mem-

In this major installation, sound and moving

bers to understand and approach films from

images will have a conversation in the immersive

various perspectives. Without presumptions, we

theater at C-LAB. This unique space will offer

continue to explore: What limits creative imagi-

more creative opportunities for contemplation

nation? What sets boundaries for imagination? It

between sound and image. Just like all creative

resonates with what "In Progress" is asking: What

works, it's not a journey that you can anticipate

is film? What is creation?

the end from the very beginning. Under time limit, public pressure and unexpected challenges, four creators are playful and ambitious enough to

Translated by Leonard CHIEN

experience this creative process with audience member that will never replicate.

189

LO Hsin-tung , member of Taipei Film Festival programme department.

ESSAY

They continue to enrich sound work in Taiwan.

"In essence, what is sound? Besides the technical

ĺ°ˆć–‡

sound, improvement and sharing is admirable.

Beyond Films


Action! Thank you, Obayashi Nobuhiko

By Katrina HSIEH

190

"R

e a d y, a c t i o n ! C u t ! O k a y ! Well done, everyone! Thank you!", murmured Obayashi Nobuhiko in his sleep. Until the moment he breathed his last at the age of eightytwo, Obayashi Nobuhiko had never stopped making films.

Youth Films: The Birth of Obayashi Productions

專文 ESSAY

Obayashi Nobuhiko was born in Onomichi in Hiroshima Prefecture, Japan in 1938. He came across a projector for the first time when he was two years old, and at the age of six, Obayashi drew on 35mm film and made a short animation called Popeye no takarajima. Ever since then filmmaking had become the core mission in his life. At the age of seventeen, Obayashi went to Tokyo for his studies and began working on 8mm and 16mm short films. Together with Adachi Masao, Takabayashi Yoichi and Iimura Takahiko, they formed an independent production team and launched their careers as film director. From the late 1950s to the early 1 9 6 0 s , O b aya s h i c o n c e n t r a t e d on making short films and titled the series of shorts, "youth films", regarding ÉMOTION (1966) as the milestone. This series shows the essence of Obayashi's approach to short film. The style of his editing is complicated as he mixes jump cut, rewinding and stop-motion together. Moreover, he is an expert in blending different media, including handdrawn collage, illustration, intertitle and animation, with each other and creating multi-layered images. Despite the huge diversity of Obayashi's works, these two features remain the

characteristics of his creation. Even when the film technology has moved on and the spectacular visual effects is no longer a rarity, Obayashi insists on creating even more splendour and unique visual illusion. When Obayashi was at university, he fell in love with Kyoko, a fellow student, and they got married before they reached twenty. Obayashi Kyoko not only was his wife but produced every film Obayashi directed. She played the lead in The Girl in the Picture (1958) as the couple expressed their dream of love. In 1964, for the opening of Kinokuniya Hall in Shinjuku, Obayashi organised the "60-second Film Festival", where his 16mm short, Complexe, premiered. The film attracted a commercial producer's attention and launched Obayashi's career in advertising. In the same year, Obayashi's daughter Chigumi was born. Obayashi Chigumi not only starred in short films as child actor but inspired her father's first feature film, HOUSE (1977). Later Chigumi became a film critic and producer. The Obayashi production team consists of the family of three, and film is the core of their everyday life.

HOUSE – Revolution! Subversive! An eternal cult movie Obayashi made a living by making commercials and kept directing independent films until the 1970s. As television became widely available, the five major Japanese movie studios were badly hit. The budgets fo r m o v i e s t i g h t e n e d w h e r e a s advertising thrived. In order to make commercials, Obayashi hired a studio from Toho, one of the five major


Switching Souls and Time Travel – The Onomichi Trilogy Decades before Your Name (2016, dir. Shinkai Makoto) and The Girl Who Leapt Through Time (2006, dir. Hosoda Mamoru) were made, the first of Obayashi's Onomichi Trilogy, I Are You, You Am Me

The Onomichi Trilogy established Obayashi's status in the film industry. It reflects not only Obayashi's feelings for his hometown but his concern for the young generation. In I Are You, You Am Me, footage of his own documentary short, Onomichi (1963), was used, showing what the town looked like twenty years earlier. These two films turned the two young actresses into rising stars. Starring in I Are You, You Am Me, Kobayashi Satomi won Newcomer of the Year at the Japan Academy Awards, and 15-year-old Harada Tomoyo who played the lead in Girl of Time also won countless newcomer prizes. Undoubtedly, Obayashi had a sharp eye for new talent. Even in his last film, Labyrinth of Cinema (2019), despite the star-studded cast, including Tokiwa Takako and Asano Tadanobu, Obayashi cast Yoshida Rei, a young actress, as the lead.

War and Peace: The Young and Wild, Labyrinth of Cinema In 1945, the American bombers dropped the atomic bombs in Hiroshima and Nagasaki, and soon Japan surrendered. Obayashi was seven at that time. As he grew up in the war, the scars left by war and its historical value are ingrained in his films. Obayashi believes that only when one has learned from war can one truly embrace peace, and making films is precisely how he advocates peace. The works he made later in his career are obviously connected to his core ideas of war and peace. In fact, WWII was in the background in HOUSE as the image of atomic bombing is seen in the film. Obayashi is known for his fantastic style, but nonetheless, he took a realistic approach to some of his films and The Young and Wild (1986) is one of them. Adapted from the novel Wanpaku Jidai (naughty days) by Sato Haruo and set in Setouchi, it depicts how a group of primary school boys innocently play the simulated war game. Obayashi brings the cruelty of the time into children's lives, and although the film is actually a light-hearted

191

ESSAY

Obayashi produced publicity materials such as hand-drawn posters, cards and stickers and even published the novel and comic book and unveiled the soundtracks before the movie was made. Moreover, a radio drama adaptation was broadcast late at night. The marketing campaign attracted a huge amount of attention from the media. After two years, the publicity finally made Toho invest in a movie directed by an independent director. It was a revolution in the history of Japanese cinema and signified Obayashi's entry to the film industry. Although HOUSE was regarded as Obayashi's first commercial movie, in his own eyes, it was just a film sponsored by Toho since it retained his independent spirit.

(1982), was the first movie about switching souls and the second, Girl of Time (1983), was the first film adaptation of the novel by Tsutsui Yasutaka.

專文

movie studios, and got to know Tsunoda Kenichiro, a producer at Toho. In 1975, Jaws was a huge boxoffice success in Japan despite the falling number of admissions in total, and therefore Tsunoda was hoping that Obayashi could make a film like Jaws to boost the box-office. Nevertheless, Obayashi thought that the success of Jaws could not be copied in Japan and thus he showed the script of Hanagatami to Tsunoda. Eventually, it took Obayashi decades to make Hanagatami, which was finished in 2017. Back then, since Obayashi was determined to make a movie, he sent out the script of HOUSE. The most incredible fantastic elements in HOUSE, including the man-eating piano, the reflection in the mirror and the bloody red watermelon, all came from Chigumi, who was seven at that time. The completely original and "weird" production plan put Toho in a dilemma; they believed that only Obayashi could make a movie like this, but on the other hand, their hands were tied by the strict rules of the studios. Since he had no intention of becoming an in-house director at Toho, Obayashi decided to make HOUSE on his own.


comedy, it prompts the audience to reflect upon war.

192

ĺ°ˆć–‡

Starting in 2012, Obayashi made the War Trilogy that consists of Casting Blossoms to the Sky (2012), Seven Weeks (2014) and Hanagatami (2017). After that, Obayashi returned to his hometown Onomichi in July 2018 to shoot Labyrinth of Cinema. When the shooting completed a month later, Obayashi claimed that it was the most satisfying work he had ever made. Labyrinth of Cinema tells a story of a cinema that decides to show a marathon of Japanese war movies on the last day of its business. A girl and three young men are thrown back in time, going through the history of war from the Edo Period and a century-long evolution of cinema. As the summary of his lifelong work, Obayashi blends his own life into the story that spans centuries in history. Labyrinth of Cinema embodies Obayashi's burning passion for cinema and persistent pursuit of world peace.

ESSAY

So long! On the evening of 10 April 2020, Obayashi passed away at home in Tokyo. In his career that spanned five decades, he had made almost a hundred features, shorts and television films. Amongst the more than a thousand commercials he directed, a large number of them are international co-productions. Furthermore, he had once directed So long!, a 64-minute MV for the girl band AKB48. Three years ago, Obayashi was diagnosed with stage IV lung cancer, and since then he had not only been fighting against the disease but launched a new youth cinema project with his long-term collaborator Kadokawa Haruki. Just before he breathed his last, Obayashi repeated his catchphrase, "Thank you", as his last words to Kyoko, his wife of six decades. 1 Note: This article is dedicated to Ms. Obayashi Chigumi for her assistance since December 2019 and to director Obayashi Nobuhiko and Mrs. Obayashi Kyoko for their support for the Taipei Film Festival.

Translated by Isabella HO

Katrina HSIEH, member of Taipei Film Festival programme department. 1

Obayashi Kyoko's announcement of the death of Obayashi Nobuhiko. For more details,

please go to the Labyrinth of Cinema official website: https://umibenoeigakan.jp/info/ archives/category/news


Reach Deeper Experience from Physical Reality: VR Frontline By Stephanie SU

V

Another good example is These Sleepless Nights shown at the Venice Film Festival in 2019. Through AR glasses and sound recording device, along with a simple interac tive mechanism, the film represents the experiences of many forcibly displaced people in the U.S.; the victims respectively voiced out their feelings. Other creative paths en vogue in the VR realm include reflecting the experiencer's psychology, or fur the r a tte m p ti ng to a cce ss a psychotherapeutic process. In A Life in Flowers, sound serves as a variable; the volume of voice and the intonation of the experiencer a re s e n s e d i n a way to y i e l d a bouquet proper to the latter, which is based on works by the renowned Japanese florist Azuma Makoto. The experiencer is introduced to a conversation with himself/herself. Uttering words through the mouth requires organization and selection, which essentially differs from the fragmentary and jumping thoughts in

193

ESSAY

Several trends can be perceived from the numerous VR works at the Venice Film Festival last year, as well as the Sundance Film Festival and the SXSW Festival this year. One is the choice of certain historic events or social issues as the motifs so as to show, through empathy, new cultural perspectives or situations of particular groups to the experiencer. After the Fallout screened at the Taipei Film Festival this year is more than a documentary of 360''° panorama about the aftermath of the 311 Earthquake. Local children having thyroid scan test, police looking for survivors after the tsunami in the fields, and the unforgettable bleak surface of the ocean shown on the screen and impr inted in our vision - In all these instances, documentary images are endowed with a perceptual touch through capturing par ticular scene. The

experiencer is like a returning ghost contemplating the scene of survival after catastrophe. Wu Po-Hung, the director of My Syrian Neighbors, and his crew members set foot on the land of Turkey with VR cameras in an attempt to re-present how Anny from Taiwan helped Syrian refugees to establish school. Through the i n sta n ta n e o u s ex p e r i e n c e o n a foreign land via VR, Taiwan and Syria with thousands of kilometers in between are thus connected; the chance encounter between the two parties led to sustaining mutual suppor t despite their disparate cultural backgrounds.

專文

isual arts theorist Lev Manovich wrote, "19th century culture was defined by the novel, 20th century by cinema, and the culture of the 21st century will be defined by the interface." Why do we still want to enter a sphere constructed with data when our lives are already immersed in abundant information? Thanks to the reflection based on humanism, as well as the historical and philosophical thoughts behind the intricate computation of narrative VR, we come to see the real world with new perspectives and comprehension after taking o f f a h e a d - m o u n t e d d i s p l a y. Moreover, the unique traces of each data computation left through the perspective of the viewer further affirm the existence of the experiencer.


194

專文 ESSAY

the mind. In the process of experiencing, dialogue with one's self might be something foreign. A such opportunity is offered in A Life in Flowers. A channel for emotional release is provided despite the absence of concrete feedback through words or language. Rather than facing a counseling psychologist, you are confronted with a machine with AI thinking that surrounds you. Could such design of situational interactivity be considered a preliminary incarnation of psychotherapy in the future? As for the reason to the choice of collaborating with a florist in A Life in Flowers, Azuma Makoto creates a unique gesture by combining bright and eye-catching bouquets with particular space, specializing in capturing the forms of plants that are unrooted or off the vases. Like in his "Flower and Man" series, the fleeting moment when bouquet fly into outer space in a spaceship or the instant a wrestler in the ring shoots and throws a bouquet as tall as human. In a meticulous way, he rethinks the relationship between floriculture and man, which coincides with the therapeutic mechanism of "sensual catharsis" attempted in A Life in Flowers. While new sensual stimulations are created through VR works following the progress of technological, many artists employ VR to explore ancient themes. In Hominidae, an alien world is pieced together through X-ray scans, allowing the protagonist to nurture the next generation in a dangerous environment. Metaphorical notions like "existence" and "destruction" emerges one after another, evoking the endless loop formed between the origin of the Creator and the fate of human species in Prometheus by Ridley Scott. Emergence is a joint venture of two major digital art and design studios, Universal Everything and Within. Crowds either stream like giant centipedes, or march equidistantly in army-like processions. The experiencer as incandescent luminous bodies incarnate a desire to preserve one's "self" among the torrents of crowds. The contradiction, attraction, exclusion, imitation, fall and devouring of and among men are contemplated through a perspective similar to that of a kite, which seems to anticipate the infinitely diversified VR

applications in sociological and behavioral terms. Extended from the theory of relativity by Albert Einstein, tx-reverse 360° is inspired by a formula of the mathematician Bertrand Russell; in this experimental work, the temporal and the spatial axes replaces each other. Differing from cinema where the story is shaped through editing and camera positioning, tx-reverse 360° exploits the fixed camera position characteristic of VR, indirectly creating an illusion of time stilled. The presence of the experiencer seems to make the latter an omniscient agent in the ritual of "spatiotemporal replacement." 1

In making the VR work titled I Saw the Future the filmmaker François Vautier researched the discourse left from the writer Arthur C. Clark 2, leading to the inspiration for Odyssey 1.4.9. 200,000 images were reproduced from 2001:A Space Odyssey, which surround a group of cubes similar to black monoliths, as the matrix carrying considerable information. The experiencer enters into the black monoliths per se, just like Bowman entering the heart of HAL. If the black monoliths in the film symbolizes the origin of all beings, it is the core of all things into which we fly. Through the panoramic takes and the immensity and boundlessness of VR, Vautier pays homage to the classic work with the artistic medium. ,

In terms of exploring memory, time and primary senses of the body through VR, the VR film titled Afterimage for Tomorrow adopts an omni-present perspective, which might be that of the dancer Chou Shu-yi, of a memory soon to be stored, or of the machine where a memory is saved temporarily. The experiencer seems to be transformed into a particle or a bit, freely traversing through space. A special showcase of Afterimage for Tomorrow is featured at the Taipei Film Festival; the dance in the visual work is extended into physical space, enhancing the experiencer's reflection on what is "virtual" and what is "real." According to VR expert Jaron Lanier 3, following technological progress, human brain becomes more and more specialized in detecting artificial illusions; as VR advances,


human will perceive in a more refined way in the future, and lear n to reach more profound experience in physical reality. As the dancing body serves the work, the work also serves the experiencer's body, bridging elements in the images such as the dancer, sound and rain.

Translated by Sylvie LIN

Stephanie SU, member of Taipei Film Festival programme department. 1

It was selected into "In Progress: VR" at Taipei Film Festival in 2018.

2

Arthur C. Clark is the author of 2001: A Space Odyssey, the original novel of the film;

3

Jaron Lanier is considered a founding father of the field of virtual reality.

he also co-wrote the screenplay.

195

ESSAY

In Home, the experiencer's perspective is that of an elderly with reduced mobility, a setting coinciding with the fixed direction of shooting required of VR cameras. Filmmaker Kidding Hsu assembles his real families who reunite in a residence for dependents of the Japanese army which has been returned to the government. Real elements are extracted while momentary feelings of experience are evoked. The experiencer can feel the helplessness of disability,

Along with the great development of physical VR equipment, there are attempts in Taiwan to create r i c h c o n t e n t . S i n c e 2 0 1 7, w i t h support from the Kaohsiung Film Archive VR Film Lab in Kaohsiung has produced 16 VR films, par t of which are international coproductions. In comparison with the reserved attitude towards narrative V R c re a t i o n s i n c o u n t r i e s w i t h technological progress, it is gratifying to see confident ventures around Taiwan that challenge the brand-new creative pattern. Hopefully there will be more opportunities to show these works to a wider audience.

ĺ°ˆć–‡

Similarly, Passenger represents an emotional reflection emerging after a period of mental reset, which is transformed into childlike VR stop-motion animation. Standing at the angle of the passenger, the experiencer is to put himself/herself in the shoes of the taxi driver who i s a n Au s t ra l i a n i m m i g ra n t a n d imagine his experience, rather than to simply "reproduce experience." In GO, literature and VR come to coexist. The experiencer is no longer just a reader or listener immersed in the retrospection of the dying p r o t a g o n i s t . Ac c o r d i n g t o t h e filmmaker of the animation, only in facing death that one comes to feel the meaning of life. The story setting is reminiscent of "From the Ice Shield a Forest Grew" in The Land of Little Rain written by Wu Ming-Yi; in a deadly place covered with ice and snow, Min Min also survives from a desperate situation by confronting death.

the joy of having many children and grandchildren, as well as the flow and stillness of time.


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B ────────────

CHEN I-wen 陳怡聞

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BAC Films

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A ────────────

Pauline MICHAU, Marine DORVILLE

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Cinema Inutile

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C ──────────── CatchPlay Inc.

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D ────────────

Fresh Wave Film Festival Limited (Fresh Wave)

H ────────────

John Alan SIMON

鮮浪潮電影節有限公司

汯呄霖電影有限公司

simon50@aol.com

Vicky Wong vicky_wong@freshwave.hk

Claude WANG 王雲霖

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Discovery Productions, Inc.

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兆映電影事業有限公司

+886-2-2322-3233

Diana LEE Chiawen 李嘉雯

F ────────────

dianachiawenlee@gmail.com

FiLMOSA Production

+886-978-052-816

一期一會影像製作有限公司

G ────────────

Katie YOU 游雅茹

GAGA Corporation

katie@filmosa.com

OGURIYAMA Yuki

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+886-912-155-736

+81-3-5786-7135 General Asst.

Films Boutique

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Finecut

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SOHN Young-kyung

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+244-923-330955

+82-2-569-66553

Golden Horse Film Festival

Fire Tiger Films

Executive Commitee

Hannah LEDER

台北金馬影展執行委員會

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Emma CHEN 陳曉珮

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Golden Scene Company Limited

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+886-2-2217-1028 kumo924097@gmail.com +886-920-516-410 HUANG Hsiao-shan 黃小珊 Huang.hsiaoshan@gmail.com +886-954-028-506

197

HummingBird Production Co., Ltd. 蜂鳥影像有限公司 LAU Kek Huat 廖克發 darllau27@gmail.com +886-983-856-522 I ──────────── ifilm Co., Ltd. 傳影互動股份有限公司 Jason LEE 李翰瑒 jason@ifilm.com.tw +886-2-2325-2080 #16 Image Nation Abu Dhabi Ghina ABDALLAH Ghina.Abdallah@imagenation.ae +971-2-596-9858 J ──────────── JE Media Co., Ltd. 久藝傳播有限公司 WEI Yu-chen 魏郁蓁 yuchen.wei.0773@gmail.com +886-988-281-917 JU Jau-yan 朱昭燕 joannejuu@gmail.com +886-988-172-975

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版權資料

LIEN Chun-chien 連俊傑

Friendly Life Film

Homegreen Films


K ────────────

LU, Bruce 盧子安

New Europe Film Sales

Kadokawa Herald Pictures, Inc.

brucerain100@gmail.com

Natalia DABRIWSKA

角川映画株式会社

+886-922-195-053

natalia@neweuropefilmsales.com

ZEZE Miki 膳所美紀

198

+48-698-903-038

zeze-m@kadokawa.jp

Luxbox

+81-3-6893-1625

Valentin CARRE

Nippon Television Network Corp.

festivals@luxboxfilms.com

SATOH Naoko 佐藤直子

Kuei Tien Culture & Art Foundation

+33-1-71-37-99-34

satohn.stf@ntv.co.jp

財團法人桂田文化藝術基金會

M ────────────

+81-3-6215-3028

鄭淑美

M-Line Distribution

shumei@kueitienart.org.tw

Jin PARK

Norwegian Film Institute

+886-2-2599-2291

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Knut SKINNARMO

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MandarinVision Co., Ltd.

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+886-926-773-822

華文創股份有限公司

ts@nfi.no

L ────────────

Wen HSU 許耀文

+47-90-03-80-86

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O ────────────

riverch.lee@gmail.com

Manager, International Sales & Distribution 國際發行業務經理

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Open Sesame Co., Ltd.

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Light Year Images

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Mirror Stage Films Co., Ltd.

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鹿路電影有限公司

N ────────────

Oxygen Film Co., Ltd.

HSU Kuo-lun 徐國倫

National Film Institute - Film Archive - Hungary

氧氣電影有限公司

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P ────────────

R ────────────

Swallow Wing Film Co., Ltd.

Park Circus

Redbit Picture (Taiwan)

海鵬電影有限公司

Jack BELL

赤兔影像製作公司

Albert YAO 姚聖洋

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HOU Li-yu 侯俐宇

pacificoceansy@gmail.com

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Swedish Film Institute

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Rediance

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赤角 ( 北京 ) 文化傳播有限公司

theo.tsappos@filminstitutet.se

+49-30-420-824-820

XU Jing 許菁

+46-8-665-11-33

jing@rediancefilms.com

T ────────────

+33-7-85-80-45-97

Taiwan Film and Audiovisual Institute

陳博文

國家電影及視聽文化中心

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service@mail.tfi.org.tw

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Seashore Image Productions

Taskovski Films

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王先生

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+33-1-424-13180

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S ──────────── 版權資料

株式会社 PSC

199


TOHO Co., LTD.

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Esther DEVOS

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e_nakagawa@toho.co.jp

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+81-3-3591-3530

200

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V ────────────

World Softest Production

Visit Films

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Tarek SHOUKRI

CHANG Chen-yu 張辰漁

ts@visitfilms.com

worldsoftest.filmfestival@gmail.com

+1-718-312-8210

+886-2-2558-2932

VIVI STUDIO

WU Yu-ying 吳郁瑩

Vincent YIP Shun Shing

sallywuchou@gmail.com

Vince03869@gmail.com

X ────────────

+852-9072-9596

xīzhuāng culture & media

W ────────────

Musquiqui Chihying 致穎

WANG I-fan 王逸帆

musquiqui@xizhuang.de

s85374321@livemail.tw

+49-17-636-737-702

+886-2-8661-4825

Y ────────────

+886-989-048-273

YU Chia-hsuan 游珈瑄 b10461034@gmcc.tnua.edu.tw

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YU Han-ting 游翰庭 paulsmith54321@hotmail.com

We Are Champions Films Ltd. 下半場電影股份有限公司 Rachel CHEN 陳寶旭 phchen322@gmail.com +886-2-2325-6825 Well Go (Nan Chang) TAIWAN,INC. 南強國際影視傳播有限公司 Zoe JIAN 簡孜樺 zoe@wellgotaiwan.com.tw +886-2-8221-6511 Wide Management Dante DEL GHINGARO festivals@widehouse.org +33-1-53-95-04-64

+886-926-569-308


影片索引 (依筆劃順序排序) 101

㊣麥肯齊金總理秘史

171

GO

七劃 ─────────────

70

Puppy Love

129

124

行山

我去遠方,不流浪

10+10

44

我的好叔光

111

1917 迷走莫三比克

62

我的兒子是死刑犯

172

2020 太空漫遊

142

一劃 ─────────────

175

我的敘利亞鄰居

110

我的 G 本教義

87

一日談

121

我就蕩

99

一狗

56

灼人秘密

65

男人與他的海

57

那個我最親愛的陌生人

二劃 ───────────── 116 41

人工失格 人魚祭

三劃 ───────────── 100

三步

八劃 ───────────── 127 18,60

佩佩蛙:感覺不錯蛙 刻在你心底的名字

59

下半場

80

呼喊遺落天堂

77

下落

17

怪胎

170

164

千面惡魔

157

大林宣彥:電影藏寶盒

53

返校

69

大冒險鐵路

34

阿伊努之森

50

女鬼橋

64

阿查依蘭的呼喚

61

阿紫

不丹是教室

172

非人物種

不散(4K 修復版)

112

非法跟監

74

六十九歲

九劃 ─────────────

71

六道輪迴之可憐達人秀

97

咪咪貓的奇幻之旅

73

天外奇機

92

哈囉少女

96

天亮前的戀愛故事

67

幽魂之境

84

幻愛

133

12,13,51

日子

81

拾魂

75

春江水暖

36

流離公路

102

日正當中

五劃 ─────────────

後人類傳說

主管再見

155

穿越時空的少女

130

加泰隆尼亞之全民開講

165

突如其藍

161

台北之晨(林強全新配樂版)

170

重返福島現場

162

台北發的早車

十劃 ─────────────

68

六劃 ───────────── 69

伏魔殿

88

原罪森林

68

家庭式

光榮之路

173

時空奇點

63

回家的理由

132

氣球

96

地洞

174

留給未來的殘影

71

多雲時情

105

真心話太冒險

35

她房間裡的雲

38

破處

她是我爸爸

89

記得雨,不記得你

死神二十來敲門

55

迷走廣州

166

106 82 54 144

江湖無難事 艾蜜莉的異想世界

136

逃亡的女人

16

逃出立法院

FILM INDEX

85 163

花之生

影片索引

四劃 ─────────────

201


103

高清有碼

153

鬼怪屋

117

被遺忘的人生

十五劃 ───────────── 147

十一劃 ───────────── 120 86

熱病幻夢

37

誰是外來者

十六劃 ─────────────

密友禁地

114

凝視蕾妮瑪莉佛森

146

推拿

158

噬者

113

曼哈頓戀舞曲

156

戰裡的野孩子

97

202

國王二度外出中

樂來越愛你

76

殺人之眾

15,52

親愛的房客

145

現代啟示錄

102

雕塑品

115

窒慾

122

駭錢怪物

66

第一鮪

43

這不是一場葬禮

39

鳥是海與樹的孩子

十二劃 ─────────────

十七劃 ───────────── 99

十八劃 ───────────── 175

40

惡之畫

70

101

斑馬魚

154

103

殘山剩水

影片索引

58 143

FILM INDEX

42

殘值

135

無邪

10,11

無聲

79

琳恩與露西

158

畫中的少女

49

菠蘿蜜

94

買房子賣房子

173 93

108 67 137

超級鳥司機 開水喇嘛

159

傳說的午後.突然遇見德古拉

148

傷痕

100

媽,我很好

159

微熱的玻璃或踩著悲傷碎嘴華爾滋之葬列的散步路

107 78

想再聽見你 意外之後 愛你哞法度

128

愛寓春光

126

敬!咆哮二十

66

暗之光

134

暗夜啟示錄

109

禁身誘惑

149

過於寂靜的喧囂

十四劃 ───────────── 45

夢遊潛水艇

123

瑪莎莎蒂

171

瘋狂麥走

藍色獨白 轉校生

壞媽咪 蟾鳴

二十四劃 ─────────────

十三劃 ─────────────

90

舊家

十九劃 ─────────────

湖 無名之歌

謝謝您,祝您順心,再見

鹽谷時日


Film Index 71 142 105 97 100 143 170 161 106 170 174 34 73 144 158 74 145

12,13,51 15,52 36 53 75 162 171 159 37 99 127 76 54 16 158 155 92 66

10+10 110% Honest A ───────────── A Cat May Look at a King A Fresh Start A Lake A Life in Flowers A Morning in Taipei (Newly Scored by Lim Giong) A Perfectly Normal Family After the Fallout Afterimage for Tomorrow Ainu Mosir Air Conditioner Amélie An Eater An Old Lady Apocalypse Now B ───────────── Balloon Barefoot Emperor, The Before the Dawn Beware of Children Beyond the Dream Blind Massage Bloody Nose, Empty Pockets Boiling Water LAMA, The BOLUOMI Bridge Curse, The C ───────────── Caninity Charter Cloud in Her Room, The Complexe D ───────────── DAYS Dear Tenant Desterro Detention Dwelling in the Fuchun Mountains E ───────────── Early Train from Taipei Emergence ÉMOTION Exile F ───────────── Farewell Feels Good Man Fever, The G ───────────── GANGS, THE OSCARS, AND THE WALKING DEAD, THE GET THE HELL OUT Girl in the Picture, The Girl of Time Girl's Revenge Glow of Dark

171 61 163 69 175 66 172 153 128 94 67 154 17 77 67 70 109 117 97 147 157 103 133 38 78 121 134 122 85 79 62 164 39 55 102 110 86 103 111 101 175 87 56 68 88 172 165 40

GO Good Daughter, The Goodbye, Dragon Inn (4K Restoration Version) Grand Adventure Railroad H ───────────── Home Home Sick Hominidae HOUSE House of Love, The Housing Humming Memory I ───────────── I Are You, You Am Me I WeirDo Identifying Features In This Land We're Briefly Ghosts Inside Blue Instinct

203

Invisible Life of Eurídice Gusmão, The K ───────────── KILLING STATE, being killed L ───────────── La La Land Labyrinth of Cinema Lake on the mountain Last and First Men Leaving Virginia Lessons of Love Liberté Los Conductos Lucky Monster Lunana: A Yak in the Classroom Lynn + Lucy M ───────────── Me and My Condemned Son Mephisto Metamorphosis of Birds, The Mickey On The Road Midday Minyan Moonlit Winter Mosaic Mosquito mountain remains, The My Syrian Neighbors N ───────────── Nasir NINA WU No Flowers or Seasons Not in This World O ───────────── Odyssey 1.4.9 Out of the Blue P ───────────── Painting of Evil, The

FILM INDEX

99 108 35 159

"The So Sad Show" from Six Paths of Samsara

影片索引

132 120 96 107 84 146 126 93 49 50

(Alphabetical Order)


80 112 173 166 123 113 70 63

204

41 148 102 68 114 10,11 89 42 57

影片索引 FILM INDEX

69 115 135 43 100 149 116 96 124 173 44 81 58 90 64 59 129 71 65 45 136 137 130 82 156 18,60 101

Paradise Drifters Passed by Censor Passenger Paths of Glory Planters, The Port Authority Puppy Love R ───────────── Reason Why I'm Home, The S ───────────── Scales Scar, The Sculpture, The See You, Sir Self Portrait Silent Forest, The Silent Rain Song Without a Name Synapses T ───────────── Temple of Devilbuster Tench There Is No Evil This Is Not a Burial, It's a Resurrection This Is Not the End Tribe, The Trouble With Being Born, The Tunnel, The Twentieth Century, The tx-reverse 360° U ───────────── Uncle V ───────────── Valley of Souls Viatical Settlement Voices in the Wind W ───────────── Way Home, The We Are Champions We Are From There Weather Is Lovely, The Whale Island Window Boy Would Also Like to Have a Submarine Woman Who Ran, The Works and Days (of Tayoko Shiojiri in the Shiotani Basin), The Y ───────────── Year of the Discovery, The You Will Die at Twenty Young and Wild, The Your Name Engraved Herein Z ───────────── Zebrafish


導演索引 Director Index

(Alphabetical Order)

A ─────────────

H ─────────────

117 AÏNOUZ, Karim 凱里.阿努茲

107 HAUGERUD, Dag Johan 達格.尤翰.霍格魯德

82 ALALA, Amjad Abu 阿穆賈德.阿布.阿拉拉

142 HO Wi Ding 何蔚庭

41 AMEEN, Shahad 沙哈德.阿敏 172 ANDREWS, Brian 布萊恩.安德魯斯 B ───────────── 122 BONG Joon-young 奉俊泳 79 BOULIFA, Fyzal 菲札爾.布利法 120 BROSENS, Peter 彼得.布洛森 C ───────────── 78 CAMPARA, Chiara 奇亞拉.坎帕拉 58 CHAN Chun-hao 詹淳皓 100 CHAN Kam Hei 陳淦熙 59 CHANG Jung-chi 張榮吉 63 CHANG Ming-yu 張明右 57,142 CHANG Tso-chi 張作驥 142 CHANG, Sylvia 張艾嘉 70 CHEN I-wen 陳怡聞 142 CHEN Kuo-fu 陳國富 142 CHEN Yu-hsun 陳玉勳 40 CHEN Yung-chi 陳永錤

142 HOU Chi-jan 侯季然 142 HOU Hsiao-hsien 侯孝賢 50 HSI, Lester 奚岳隆 142 HSIAO Ya-chuan 蕭雅全 96 HSU Hui-ju 許慧如 53 HSU, John 徐漢強 175 HSU, Kidding 許智彥 69 HUANG Hsiao-shan 黃小珊 96 HUANG Pang-chuan 黃邦銓 J ───────────── 105 JACOBSEN, Jannicke Systad 雅妮克.賈考森 144 JEUNET, Jean-Pierre 尚.皮耶.居 133 JÓHANNSSON, Jóhann 約翰.約漢生 127 JONES, Arthur 亞瑟.瓊斯 K ─────────────

142 CHEN, Arvin 陳駿霖

54 KAO Pin-chuan 高炳權

174 CHEN, Singing 陳芯宜

112 KARAASLAN, Serhat 瑟哈特.卡拉斯蘭

97 CHENG Chih-ming 鄭治明 142 CHENG Wen-tang 鄭文堂 15,52,142 CHENG Yu-chieh 鄭有傑 101 CHIANG Wei Liang 曾威量 84 CHOW, Kiwi 周冠威 142 CHU, Kevin 朱延平

87 KARTHICK, Arun 亞倫.卡迪克 108 KERNEL, Amanda 亞曼達.柯內爾 148 KIESLOWSKI, Krzysztof 克里斯多夫.奇士勞斯基 170 KIRWIN, Armando 阿曼多.柯文 173 KNOWLES, Isobel 伊索貝爾.克諾爾斯 10,11 KO Chen-nien 柯貞年

142 CHUNG Mong-hong 鍾孟宏

123 KOTCHEFF, Alexandra 亞歷珊卓.庫契夫

145 COPPOLA, Francis Ford 法蘭西斯・柯波拉

166 KUBRICK, Stanley 史丹利.庫柏力克

D ───────────── 76 DA-RIN, Maya 瑪雅.達林 142 DAI, Leon 戴立忍 E ───────────── 137 EDSTRÖM, Anders 安德斯 • 艾斯桐 36 ESCOBAR, Maria Clara 瑪麗亞.克拉拉.艾斯柯巴 F ───────────── 128 FERRI, Luca 盧卡.費里 73 Fradique 法迪克 158 FUJINO Kazutomo 藤野一友 34 FUKUNAGA Takeshi 福永壯志 G ───────────── 143 GRANDRIEUX, Philippe 菲利普.貢迪厄 75 GU Xiaogang 顧曉剛

205

65 HUANG Chia-chun 黃嘉俊

103 KUO Yu-chen 郭昱辰 L ───────────── 49 LAU Kek Huat 廖克發 123 LEDER, Hannah 漢娜.萊德 62 LEE Chia-hua 李家驊 42 LEÓN, Melina 瑪莉娜.列昂 113 LESSOVITZ, Danielle 丹妮兒.雷索維茲 162 LIANG Che-fu 梁哲夫 17 LIAO Ming-yi 廖明毅 99 LIAO, Eagle 廖崇傑 71 LIEN Chun-chien 連俊傑 86 LIM Dae-hyung 任大炯 74 LIM Sun-ae 林善愛 38 LIN Li-shu 林立書

DIRECTOR INDEX

70 CHEN Yi-chien 陳宜謙

136 HONG Sang-soo 洪常秀 165 HOPPER, Dennis 丹尼斯.霍柏

導演索引

147 CHAZELLE, Damien 達米恩・查澤雷

71 HO, Wave 何應權 114 HØGSET Katja 凱思婭.霍格斯


97 LIN Sheng-wen 林聖文

173 SOWERWINE, Van 范.索維爾溫

68 LIN Ya-yu 林亞佑

110 STEEL, Eric 艾瑞克.史提爾

96 LIN, Chunni 林君昵

66 SUN Chieh-heng 孫介珩

94 LIN, Showtsai 林謙勇

90 SUWA Nobuhiro 諏訪敦彥

18,60 LIU, Patrick 柳廣輝

164 SZABÓ, István 伊斯特凡.沙寶

67 LO Chen-wen 羅晨文

129 TANIOS, Wissam 威薩姆.塔尼奧斯

146 LOU Ye 婁燁

103 TING Chi-wen 丁啟文

55 LU Mian Mian 陸慧綿 93 LU, Adiong 盧彥中 101 LU, Bruce 盧子安 M ───────────── 66 MA Yu-ting 馬毓廷 206

T ─────────────

130 LÓPEZ CARRASCO, Luis 路易斯.羅培茲.卡拉斯科

37 MORINA, Visar 維薩.莫里納

115 TOYE, Patrice 派翠絲.托伊 12,13,51,163 TSAI Ming-liang 蔡明亮 V ───────────── 77 VALADEZ, Fernanda 費南達.瓦拉德 39 VASCONCELOS, Catarina 卡塔莉娜.瓦斯康絲勒 172 VAUTIER, François 弗朗索瓦.沃提耶

43 MOSESE, Lemohang Jeremiah 利摩漢.傑瑞米耶.摩西瑟 171 VITAL, Roman 羅曼.維塔 102 Musquiqui Chihying 致穎 N ───────────── 導演索引

170 NAHR, Dominic 多明尼克.納爾

W ───────────── 114 WALLIN, Espen 埃斯彭.瓦林 16,69 WANG I-fan 王逸帆

89 NAKAGAWA Ryutaro 中川龍太郎

142 WANG Shau-di 王小棣

111 NUNO PINTO, João 朱奧.努諾.品圖

142 WANG Toon 王童

DIRECTOR INDEX

O ───────────── 153-159 OBAYASHI Nobuhiko 大林宣彥 114 OLIN, Margreth 瑪格麗特.奧林 P ───────────── 161 PAI Ching-jui 白景瑞

102 WANG Yi-ling 王逸鈴 100 WANG Z J 王子杰 92 WANG, Weica 王威翔 142 WEI Te-sheng 魏德聖 64 WEI Yu-chen 魏郁蓁

88 PARK Jung-bum 朴庭凡

173 WIDRICH, Virgil 維吉爾.維德李希

85 Pawo Choyning Dorji 巴沃邱寧多傑

137 WINTER, C.W. C.W. 溫特

80 PEIJNENBURG, Mees 梅斯.貝能堡 132 Pema Tseden 萬瑪才旦

116 WOLLNER, Sandra 珊卓拉.沃爾納 170 WOLSON, Sam 山姆.沃爾森

44 PETERSEN, Frelle 費雷.彼得森

120 WOODWORTH, Jessica 潔西卡.伍德沃斯

45 PIPERNO, Alex 艾力克斯.皮培諾

142 WU Nien-jen 吳念真

171 PYKE, Matt 麥特.派克

175 WU Po-hung 吳柏泓

R ───────────── 124 RANKIN, Matthew 馬修.蘭金 135 RASOULOF, Mohammad 穆罕默德.拉素羅夫

61 WU Yu-ying 吳郁瑩 Y ───────────── 142 YANG Ya-che 楊雅喆

109 REIJN, Halina 哈琳娜.瑞金

71 YIP, Vincent 葉順成

173 REINHART, Martin 馬丁.萊因哈特

68 YU Chia-hsuan 游珈瑄

134 RESTREPO, Camilo 卡米洛.雷斯特雷波

67 YU Han-ting 游翰庭

106 REYMANN, Malou 瑪魯.雷曼 81 RINCÓN GILLE, Nicolás 尼可拉斯.林肯.吉爾

Z ───────────── 56 Z, Midi 趙德胤

126 ROSS, Bill 比爾.羅斯

35 ZHENG LU Xinyuan 鄭陸心源

126 ROSS, Turner 透納.羅斯

171 ZOLLINGER, Sandro 桑卓.佐林格

S ───────────── 121 SERRA, Albert 亞柏.賽拉 142 SHEN Ko-shang 沈可尚 99 SHU Wei-chieh 舒偉傑 149 SLABOSHPYTSKYI, Myroslav 史拉波・斯裴茲基


特別感謝 Acknowledgement

( 依姓氏筆畫排序 in alphabetical order)

李 樺

王派彰

李懷瑾

klubkran Filmproduktion

王若曦

李耀華

LEMONADE Films

王珮蓉

杜篤之

Phi Centre

王惠珍

沈可尚

Universal Everything

王榆鈞

冼若瑜

中影股份有限公司

王萱儀

卓冠齊

可樂藝術文創股份有限公司

王嘉揚

周 震

台北双喜電影發行(股)公司

王藍雯

周巧絃

台北金馬影展執行委員會

王藝樺

周佳欣

光年映畫有限公司

王韻婷

周怡楨

好多聲音

古佩玄

周欣怡

汯呄霖電影有限公司

史 潔

周宥彤

東京影展

成冠瑩

周家璇

東昊影業有限公司

朱詩迪

周書毅

空總臺灣當代文化實驗場

江佳容

周凱文

前景娛樂有限公司

江玳維

周 震

南強國際影視傳播有限公司

江秋祥

林子歡

英屬蓋曼群島商威望國際娛樂股份有限公司台灣分公司

江泰暾

林木材

株式会社 PSC

江珮瑜

林玉婷

海鵬電影有限公司

江婉慈

林佑運

財團法人公共電視文化事業基金會

何芃儀

林君昵

國家電影及視聽文化中心

何佩瑄

林志勳

牽猴子整合行銷公司

何佳禧

林佳妮

現代電影沖印股份有限公司

佘祖逸

林佳蓉

雀喜娛樂事業有限公司

吳季娟

林孟潔

傳影互動股份有限公司

吳念庭

林念儀

楊士琪紀念獎工作委員會

吳奕倫

林怡妘

聯影企業股份有限公司

吳映潔

林承歡

聲色盒子

吳書瑤

林芸碩

鏡象電影製作有限公司

吳唯禎

林思妤

Agata Di Tommaso

吳婉婷

林書宇

Brian Andrews

吳淑萍

林秭裴

Diana Mereoiu

吳莉葳

林詠絮

Ellen Kuo

吳慧娟

林榕瑩

Julie Tremblay

宋育成

邱美綾

Kathryn Hall

李 柔

邱郁馨

Maggie Lee

李 烈

侯彩雲

Myriam Achard

李承陽

姚至芸

Roman Vital

李旻潔

施宏儒

Sam Wolson

李欣鴻

施宜彣

Simon Thompson

李育青

柯孟承

大林千茱萸

李美萱

洪 文

大林恭子

李珮甄

洪廷岳

王心妤

李崇毓

洪郁珈

王妙瑜

李莉葳

洪倩玉

王承洋

李湲元

胡婷昀

大林宣彦事務所

207

ACKNOWLEDGEMENT

王思寒

Diversion Cinema

特別感謝

C-LAB 臺灣聲響實驗室


208

特別感謝 ACKNOWLEDGEMENT

徐 倩

陳欣寧

楊絲貽

韓承澍

徐玉芬

陳欣緯

楊雅雯

簡子涵

徐國倫

陳秉弘

楊碧芬

簡嘉誼

徐嘉孜

陳芯宜

溫若涵

顏瑜庭

秦振嘉

陳姵儒

葉育萍

魏芝璿

翁以倢

陳建嘉

葉劉宏文

魏德聖

翁健偉

陳春秀

董承平

羅 雯

翁新涵

陳昱澍

董耀仁

羅 融

翁瑞怡

陳致希

詹亞訓

羅子琳

崔芙榕

陳婉伶

鄒喆恩

羅少雲

張 鈺

陳惟真

廖翊珊

羅宇廷

張 穎

陳智廷

聞天祥

羅芊瑜

張力文

陳雅晴

趙丹瑜

羅凌筠

張秀敏

陳嘉妤

趙若庭

嚴唯甄

張佳琪

陳穎瑤

劉玟君

蘇吉安

張育銨

陸翠瑩

劉育慈

蘇郁傑

張美煊

嵇少微

劉雨霓

張哲鳴

曾宛儀

劉捷欣

張祐慈

温欣語

劉傑中

張珺涵

游傑惟

潘建明

張凱婷

湛有慈

澎葉生

張瑜芬

湯 苓

蔡文瑄

張鳳美

湯湘竹

蔡佩玲

張賢信

賀秭庭

蔡宛璇

張憶潔

賀靜賢

蔡幸燕

張藝薰

黃于青

蔡明亮

曹源峰

黃大旺

蔡映柔

梁哲彰

黃克祈

鄭伊婷

梁珮綺

黃邦銓

鄭安婷

梁雅妮

黃怡媗

鄭有傑

莊立愷

黃俊璋

鄭采涵

莊宇恒

黃保慧

鄭冠佑

莊喬宇

黃柏銓

鄭偉柏

許世穎

黃浚耕

鄭景雯

許凱翔

黃涵君

鄭晴芳

許雁婷

黃喩筑

鄭雅云

連奕琦

黃逸鴻

鄭樂詩

郭孟潔

黃筱媛

鄭蕙涓

郭旻薇

黃靖雯

盧拾貳

郭敏容

黃藍可

蕭雅儒

郭淨瑩

黃瓊慧

龍 霈

郭禮杞

楊心荷

謝佳錦

陳弘樹

楊以瑄

謝念儒

陳宇愛

楊定樵

謝秉翰

陳君如

楊青翰

謝育貞

陳怡如

楊庭蓁

謝芷綺

陳易瑭

楊書昕

鍾佩樺

陳林彣

楊景婷

鍾季恩


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

王統生

Maurice WANG

台北電影節副總監 Deputy Director

節目部 Department of Program

台北電影節諮詢委員 Committee Board 張三玲

Sanling CHANG

林孝謙

Gavin LIN

塗翔文

Steven TU

陳寶旭

Rachel CHEN

沈可尚

SHEN Ko-shang

李 烈

LEE Lieh

資深副理

Senior Program Assistant Manager

蘇逸華

Stephanie SU

瞿友寧

Arthur CHU

吳明憲

Dennis WU

資深專員

Senior Program Coordinator

謝 璇

Katrina HSIEH

吳珮慈

Isabelle WU

何瑞珠

Regina HO

節目專員

Program Coordinator

羅心彤

LO Hsin-tung

侯季然

HOU Chi-jan

閻柔怡

Zoe YEN

節目專員

Program Coordinator

馬曼容

Pony MA

徐譽庭

Mag HSU

王子維

Jackie WANG

節目專員

Program Coordinator

王品晶

Jing WANG

節目助理

Program Assistant

彭 湘

PENG Shiang

接待統籌

Hospitality Senior Coordinator

林庭安

LIN Tingan

刊物編輯 Editorial Team

接待專員

Hospitality Coordinator

黃 璇

HUANG Hsuan

接待助理

Hospitality Assistant

牛端琳

Lynn NIU

映演統籌

Screening Senior Coordinator

宋微暄

SUNG Wei-hsuan

字幕專員

Screening Subtitling Coordinator

陳俊龍

Muddy CHEN

放映專員

Screening Coordinator

鍾惠伃

CHUNG Hui-yu

放映專員

Screening Coordinator

張暐鈴

CHANG Wei-ling

放映助理

Screening Assistant

曾御忠

Muller TSENG

戲院現場專員

Theater Coordinator

林君芳

Fang LIN

戲院現場助理

Theater Assistant

林佳欣

LIN Chia-hsin

焦同筠

Sherry CHIAO

李莉莉

Lili LEE

國際提案一對一 PAS Taipei Workshop Manager

Editor

蔡瑞伶

Stella TSAI

編輯助理

Editor Assistant

馬曼容

Pony MA

英文編輯

English Editor

何美瑜

Isabella HO

Translator

錢佳緯

Leonard CHIEN

林心如

Sylvie LIN

劉丁菱

Orange LIU

孫惟庭

Adis SUN

美術設計

Art Design

工作坊統籌 國際提案一對一 PAS Taipei Workshop Coordinator 工作坊助理

Chueh WANG

徐硯怡

HSU Yen-i

王冠人

WANG Kuan-jen

馬慧妍

MA Wai-in

朱孟瑾

CHU Meng-chin

張硯拓

CHANG Yen-tuo

但唐謨

TAN Tang-mo

陳亭聿

CHEN Ting-yu

LIU Nai-hua

何阿嵐

Philip HO Ar Nam

陳智廷

Timmy CHEN Chih-ting

余詩涵

YU Shr-han

楊皓鈞

YANG Hao-chun

Fen KUO

李志宜

Tristan LEE

雍志中

YUN Chih-chung

沈怡昕

SHEN Yi-hsin

劉子睿

LIU Tzu-jui

CHEN Jen-yue

林姵菁

LIN Pei-jing

謝以萱

Ruby HSIEH I-hsuan

洪健倫

HUNG Jian-luen

謝佳錦

HSIEH Chia-chin

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

台北電影獎

Taipei Film Awards

資深專員

Senior Coordinator

劉乃華 郭曉芬 陳人岳 賴玉蓉

Judy LAI

台北電影獎專員 Taipei Film Awards Coordinator

劉怡廷

Ellie LIU

台北電影獎專員 Taipei Film Awards Coordinator

邱湉皓

CHIU Tien-hao

行政部

Department of Administration

行政副理

Assistant Manager

陳怡伶

Peggy CHEN

行政專員

Coordinator

曾韻樺

Yun TSENG

行政助理

Assistant

林佳樺

Ivy LIN

行政助理

Assistant

李玓穎

Dee LEE

票務統籌

Ticketing Team Senior Coordinator

黃欣翎

HUANG Hsin-ling

票務專員

Ticketing Team Coordinator

何嫚馨

HÔ Bān-hing

陳姵妤

Pei CHEN

行銷部 Department of Marketing & Communications 行銷專員

Marketing & Communications Marketing & Communications

特刊印刷 Printed by 晶華彩色印刷有限公司

發行日期 Date of Publication June, 2020

國新競賽選片小組 INTC Programming Team

Coordinator 行銷專員

專刊撰稿 Contributors 王文玨

高意婷

Avis KAO

Coordinator 設計資深專員

Senior Art Designer

葉雅婷

Judy YEH

設計助理

Art Designer Assistant

林巧豈

LIN Qiao-kai

活動副理

Event Assistant Manager

劉則蘭

Chofey LIU

活動專員

Event Coordinator

何玉蓮

Nicole HO

活動專員

Event Coordinator

林恒安

Helen LIN

媒宣資深副理

Press Senior Assistant Manager

何俊穆

HO Chun-mu

媒宣資深專員

Press Senior Coordinator

羅令杰

LO Ling-chieh

媒宣資深專員

Press Senior Coordinator

徐 卉

HSU Huei

媒宣專員

Press Coordinator

江雨蓉

Mago JIANG

洪健倫

HUNG Jian-luen

楊皓鈞

YANG Hao-chun

謝以萱

Ruby HSIEH I-hsuan

謝 璇

Katrina HSIEH

蘇逸華

Stephanie SU

* 依照姓氏筆畫排列 In alphabetical order


形象廣告團隊 Promotional Short Film

VR 全浸界團隊 VR Frontline Team VR Theater Assistant

VR 戲院外場執行

平面設計及空間設計 Art & Space Design

林品秀

LIN Pin-hsiu

導演

Jess LIN

Director

洪子烜

林子茵

Tzu Hsuan HUNG

製片

Production Manager

金筱旃

Hsiao Chan CHIN

GO 字幕翻譯

GO Translator

馬慧妍

MA Wai-in

GO 中文配音

GO Mandarin narrator

吳奕倫

Allen NG

頒獎典禮影片拍攝團隊 Promotional Short Film

側拍團隊 Behind The Scenes 平面側拍

Photographer

賴彥茹

Gelée LAI

動態側拍

Behind The Scenes

江昀立

Will CHIANG

楊士琪電影卓越貢獻獎 Yang Shih-chi Outstanding Contribution to Cinema Award

翁恆悅

Across WONG

導演

Director

江偉華

CHIANG Wei-hua

攝影師

Director of Photography

駱恩宏

LO En-hung

2020 非常新人形象團隊 Supernova Styling Team 造型指導

Costume Designer

許力文

HSU Li-wen

榮耀電影人 聲音設計 Glory of Film Production : Sound Design

造型指導

Costume Designer

施筱柔

Lore SHIH

造型指導

Costume Designer

曹偉康

Paul CAO

導演

Director

蘇弘恩

SU Hung-en

髮型師

Hairstylist

哲 立

Lsiah LIN

製片

Producer

許靈勻

Amy HSU

髮型師

Hairstylist

李函唐

Tom LEE

攝影師

Director of Photography

駱恩宏

LO En-hung

髮型師

Hairstylist

郭維荻

Laurance KUO

化妝師

Makeup Artist

簡偉文

Jam JIAN

入圍影片 Editor of Nominated Film Trailer Compilation

化妝師

Makeup Artist

吳志璿

Jimy WU

片花剪接與

化妝師

Makeup Artist

楊妤羚

Elvi YANG

聲效

攝影

Photographer

林科呈

LIN Ko-cheng

攝影助理

Assistant Photographer

陳姵慈

CHEN Pei-tzu

Program Trailer Editor

林雍益

LIN Yung-yi

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

Animations

罡風創意映像

DCraft Studio

有限公司 Program Trailer Editor

片花剪接與聲效

影展大使宣傳照攝影 Photographer

吳梵霖

Hans WU

汪德範

Te-Fan Wang

動態攝影

Video Photographer

黃柏凱

Poka HUANG

動態助理

Assistant Photographer

林子軒

LIN Zi-xuan

台北電影節實習生 Taipei Film Festival Interns 台北電影獎部 Taipei Film Awards

行銷部 Marketing & Communications

節目部 Program

媒宣組 Press

鄭卉倫

Fei CHENG

謝承璇

HSIEH Cheng-hsuan

謝沅承

HSIEH Yuan-cheng

林屏汝

LIN Ping-ju

戚譯升

Eason CHI

陳又嘉

CHEN You-jia

楊尚樸

YANG Shang-po

林博楷

LIN Bo-kai

徐郁淳

Vannerie HSU

劉峻維

LIU Chun-wei

何家興

HO Chia-shing

楊雅筑

YANG Ya-chu

許依霖

HSU Yi-lin

楊 昕

YANG Sin

林昀辰

LIN Yun-chen

鍾博宏

CHUNG Po-hung

葉湘琳

Charlene YEH

蔡宛庭

TSAI Wan-ting

周一如

CHOU I-ru

陳怡蓁

CHEN I-chen

賈以雯

Mia CHIA

曾上祐

TSENG Shang-yu

徐華暐

HSU Hua-wei

許瑜珊

HSU Yu-shan

賴聖諺

LAI Sheng-yan

羅名真

LO Ming-chen

孫元敏

SUN Yuan-min

陳與行

CHEN Yu-xing

廖育玫

LIAO Yu-mei

趙若筑

CHAO Juo-chu

蘇冠蓁

SU Kuan-chen

陳妍蒨

CHEN Yen-chien

于昀暄

YU Yun-hsuan

李 尤

LEE Yu

接待組 Hospitality 陳郁婕

CHEN Yu-chieh

臺北市市長

映演組 Screening 馬嘉妤

MA Jia-yu

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

總務專員

主任秘書

Chief Secretary

劉得堅 LIU Deh-chian

General Affairs Deputy Manager 高珮娟 KAO Pei-chuan

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

行政專員

蔡依婷 TSAI Yi-ting

黃鋕斌 Mark HUANG

專門委員

Senior Specialist

Coordinator

法務專員

李秉真 LEE Ping-chen

洪菽蔓 Anita HUNG

簡任研究員

Senior Researcher

Legal Officer

廣宣副理

郭佩瑜 KUO Pey-yu

鄭巧玟 JENG Cheau-wen

科長

Division Chief

Marketing & Communication

視察

Supervisor

李岱穎 LEE Tai-ying

研究員

Researcher

馬祖鈞 MA Tsu-chun

股長

Sub-Division Chief

蘇意茹 SU Yi-ru

財會組組長

Associate Researcher

林忠憲 LIN Chung-hsien

Finance Supervior

吳妙芬 Mavis WU

副研究員

會計專員

Finance Specialist

陳昱晨 Sandy CHEN

人事組長

HR Supervior

黃譯瑩 Kelly HUANG

人事專員

HR Specialist

廖珮彣 Angel LIAO

人事專員

HR Specialist

游潔心 Jessie YU

出納專員

Cashier

謝佩瑾 Peggy HSIEH

資訊經理

IT Manager

王雪芳 Sharon WANG

資訊專員

IT Specialist

郭家豪 Jimmy KUO

財團法人台北市文化基金會 Taipei Culture Foundation 董事長

Chairman of the Board

執行長

Chief Executive Officer 蔡宗雄 TSAI Tsung-Hsiung

副執行長

Deputy CEO

李 遠 LI Yuan 楊淑鈴 Ann YANG

Deputy Manager 廣宣專員

Marketing & Communication

陳冠羽 Megan CHEN

Specialist


2020 第二十二屆台北電影節

國家圖書館出版品預行編目( C IP) 資料

節目專刊

台北電影節節目專刊.

2020 TAIPEI FILM FESTIVAL

2020第二十二屆 / 蔡瑞伶總編輯. -- 初版. --

CATALOGUE

臺北市 : 北市文化基金會, 2020.06

Text and illustrations © Taipei Film Festival / Taipei Culture Foundation

面;

公分

IS BN 9 7 8 - 9 8 6 - 9 7 7 4 0 - 2 - 4 (平 裝 ) 1.影展 987.066

109006490

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 Festival Director

台北電影節

Editor

LI Ya-mei Stella TSAI Pony MA

10852 臺北市萬華區廣州街 151 號

Editor Assistant

電話 +886-2-2308-2966

Translator

Leonard CHIEN

Art Design

Orange LIU

Contributors

Chueh WANG, WANG Kuan-jen,

Email info@taipeiff.org.tw

English Editor

總 策 劃  李亞梅 總 編 輯  蔡瑞伶 編輯助理  馬曼容

Adis SUN

CHU Meng-chin, TAN Tang-mo, Tristan LEE, SHEN Yi-hsin, LIN Pei-jing, HUNG Jian-luen, HSU Yen-i, MA Wai-in,

者  錢佳緯、 林心如

CHANG Yen-tuo, CHEN Ting-yu,

美術設計  劉丁菱、 孫 惟 庭

Timmy CHEN Chih-ting,

專刊撰稿  王文玨、王冠人、朱孟瑾、但唐謨、何阿嵐、

YANG Hao-chun, YUN Chih-chung,

 余詩涵、李志宜、沈怡昕、林姵菁、洪健倫、

LIU Tzu-jui, Ruby HSIEH I-hsuan,

 徐硯怡、馬慧妍、張硯拓、陳亭聿、陳智廷、

HSIEH Chia-chin

 楊皓鈞、雍志中、劉子睿、謝以萱、謝佳錦 法律顧問  遠拓法律事務所 出版日期  2020 年 6 月初版 印  製  晶華彩色印刷有限公司 定  價  新臺幣 100 元 ISBN

Sylvie LIN

Philip HO Ar Nam, YU Shr-han,

英文編輯  何美瑜 譯

Isabella HO

978-986-97740-2-4

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)

Legal Consultant

Yuan Tuo Attorney-at-law

First Edition

June 2020

NTD

100

Printed in Taiwan 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.


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