2022 ver. Your Bros. Filmmaking Group 影視社 你哥
Your Bros. Filmography : 2017-2018《NALAM》/ color, sound / 00:20:05 2017-2022《(Nguyễn Quốc Phi) / ( 阮國非)》 / color, sound / 00:06:00 2017-2018《Gubuk or (Hut) / 工寮》/ color, sound / 00:53:50 2018-2021《Ký Túc Xá or (Dorm)/ 宿舍》/ color, sound / 00:54:10 2019《タッタカ的回憶 / Recalling the Memory of Tattaka》/ color, sound / 00:31:55 2020《登玉山途中 / On the way up Yushan》/ color, sound / 00:26:50 2021-2022《獵風景的人 / Landscape Hunter》/ color, sound /00:54:51 2022《多過必要 / More than Necessary》/ color, sound /00:39:38
Your Bros., is an informal filmmaking group formed by three amateurs: So Yo-Hen, Tien Zong-Yuan, Liao Hsiu-Hui, in Tainan, Taiwan. Each member comes from a different field of art: Contemporary art, Architecture, and Theatre critics. We believe that immaturity is exactly our own peculiarity. We focus on field research during the process of filmmaking, creative workshops, unforeseen circumstances, flexible scripts that can be changed in different Filmmakingsituations.asamethod, re-interpreting reality, endowing it with an aesthetic form, and transforming it into a medium of thinking. Your Bros. Filmmaking Group, since 2017, Tainan, Taiwan. So Yo Hen, Tien Zong Yuan, Liao Hsiu Hui
其美學的意義，並成為思考的媒介。透過「電影製作」作為方法，對現實的重新演繹，賦予工作坊、意外事件的穿插、機動性地現場編輯敘事結構。性所在：關注影像生產過程中的田野調查、具創造性的築、劇場。深信不成熟的素人製作，是自身電影的特殊影製作團隊，成員皆來自不同領域背景：當代藝術、建你哥影視社是由廖修慧、田倧源、蘇育賢組成的笨蛋電
2017-2018 《 NALAM 》 00:20:05/soundcolor,/
2017-2018 《 NALAM 》 /soundcolor,/00:20:05
9 Nalam會武功，那麼要如何打警察且成功脫逃呢？回到Nalam被逮捕的地方，上演一個浮誇的戲碼：如果套透過跨國人力販賣的通路流傳到各個僱主國的武術，我們邀請了同為印尼籍外勞的三名武術教練，以他們這姿態卻非常俱有威脅性。說辭卻又不合邏輯，唯一事實是一張看起來愉快的合照，的生命。Nalam是沒有訴說的、缺席的人，僅有的警方乎用笑聲與輕鬆的態度，可以完全遮掩住了另一個真實這個事件最終被當作一則好笑的小新聞被短暫報導，似一張照片，快門之後就被逮捕了。的「別跑」聽成了「拍照」，便走向警方與他們合拍了2013年6月2日，一位印尼逃跑外勞Nalam將警方喊叫
Jun. 2nd, 2013, Nalam, an Indonesian undocumented (runaway) foreign worker misheard the police from “don’t run” to “take a photo”. He was soon arrested after one photo with the officer. This incident was shortly reported as a funny news. It seems like the true stories from another living human being could be completely covered with laughter and casual attitude. Nalam didn’t get the chance to speak for himself while the police’s statement was totally absurd. The only fact is the photo that looks pleasant yet threatening. We invited three Vietnamese martial arts masters who disseminated their skills from working across different countries to the place where Nalam was arrested and simulated an exaggerated scenario. What if Nalam knew martial arts and escaped from assaulting the police? the Art Square, Tainan,
Spirit of Times” , in
2018 2019入圍南方影展術文化藝術工作室的時代精神」於台灣台南，草埕藝以錄像裝置的形式展出「溢出實驗單元 Exhibit as a video installation 2018 “Beyond
Taiwan Selected for South Taiwan Film Festival 2019.
the Making of NALAM photo of NALAM from news film still
film still video installation
2017-2020 《( Nguy ễ Qun ố (/Phi)c 阮國非 ) 》 00:06:00/soundcolor,/
2017-2020 《( Nguy ễ Qun ố (/Phi)c 阮國非 ) 》 00:06:00/soundcolor,/
15 察對著空氣格鬥而已。但畢竟沒有阮國非的證詞，所以影片裡面就只有兩個警這篇公聽會記錄當成劇本，拍攝了這部影片。中，找到了一篇公聽會的記錄，是警方的口述，我們把這個充滿神秘色彩的事件，我們在搜尋這個案子的過程除了媒體拍攝的案發現場照片，並無任何影片得以還原開九槍身亡，警方說辣椒水與警棍都對他無效。2017年8月31日，越南逃跑外勞阮國非在郊區被警察連
2019入圍 跳格 — 香港國際舞蹈影 像節 Selected for Jumping Frames Hong Kong International Movement-image Festival, HK, 2022.
Aug.31th 2017, Nguy ễ n Qu ố c Phi, a Vietnamese undocumented (runaway) foreign worker, got nine shots by the police in rural country. Police said they couldn’t stop him by pepper water or truncheon. There was no single footage to reproduce the mysterious incidence aside from some crime site photos taken by the media. While researching on the case, we found a record from the public hearing dictated by the police department. We made this video based on the record. However, since there’s no testimony from Nguy ễ n Qu ố c Phi, the film remained two police officers fighting by themselves.
the Making of (Nguyễn Quốc Phi) / ( 阮國非 ) plot and scene setting are re-produced from the news. film still
film still
2017-2018 《 /(Hut)orGubuk 工寮》 00:53:50/soundcolor,/
2017-2018 《 /(Hut)orGubuk 工寮》 00:53:50/soundcolor,/
21 以注視的悲傷故事，最後也只能匆匆瀏覽而過。但畢竟苦痛不斷襲來，來得太多、太快，我們一開始得面講述、對話的，卻是真實的名字與處境。們陸續用虛構的逃跑身份進入虛構的工寮，在劇情片裡著每一位逃跑的勞工，也收留著每一個逃跑的故事。他以工廠遺留下來的材料搭建了一個工寮，這個工寮收留行大量的工作坊而發展的，我們在一間轉型的工廠中，從角色設定、劇本結構、美術設計，都是透過與外勞進 Our workshop was grew from massive foreign workers’ experience that lead to the development of character setting, script constructing and art designing. We built a hut out of abandoned materials from a transforming factory. This hut took every running workers in along with their stories. They ran away with fabricated identity into a fabricated hut, yet the dialogs from the film were their true names and stories. However, there was too much suffering in such a short time, we could only focused on sad stories at the beginning and ending up with just a short glimpse. Selected for the New Asian Currents program at YIDFF 2019, Japan. Selected for South Taiwan Film Festival 2019, Taiwan. Selected for TIDF 2020, Taiwan. Selected for ARKIPEL 2020, ExhibitIndonesia.as a video installetion 2021.DEC. - 2022.APR ”Amongst the Silence沈默之間” Kaohsiung Museum of Fine Arts, Kaohsiung,Taiwan.
the Making of Gubuk or (Hut) / 工寮
film still
2018-2021 《 (Dorm)/orXáTúcKý 宿舍》 00:54:10/soundcolor,/
2018-2021 《 (Dorm)/orXáTúcKý 宿舍》 00:54:10/soundcolor,/
The idea of "Dorm" was brought up in April 2018. More than hundreds of Vietnamese female workers called a strike due to insufficient living space, poor diet condition plus ineffective channel of reporting to the supervisor. Female workers brocasted the whole strike that drew attention from people across the country and even in Vietnam. Relationship with people and space was drastically changed because of the accident. During the process, I was extremely interested in the way that both people and its space were given new meaning to. Therefore, I invited the Vietnamese female workers to discuss and engage in the performance in a form of workshops based on true stories. We recreate and develop more stories and desire that comes with it about people and space based on the ground of their participation.
Selected for the New Asian Currents program at YIDFF 2021, Japan. Selected for DMZ International Documentary Film Festival 2022, SelectedKorea. for South Taiwan Film Festival 2022, Taiwan.
27 和欲望。這個基礎上重新演繹，並開發更多關於人與空間的故事形式，邀請在工廠的越南女工一同參與討論和演出，在感興趣。因此試著以這個真實事件為基礎，以工作坊的這樣的過程裡，人與空間都獲得了新的意義我是相當地對於人與空間的關係，因為一場意外而產生了巨變，在的關注。網路上展示整個罷工的過程，吸引了許多國內以及越南果，在宿舍發起了一場罷工。女工們透過手機直播，在伙食不佳等等生活問題，加上多次向工廠、仲介反映未子宿舍，有超過一百位越南籍女工因不滿宿舍空間狹小、《宿舍》的靈感來自於2018年四月，新北市汐止一棟女
the Making of Ký Túc Xá or (Dorm)/ 宿舍》
film still
2019 《タッタカ的回憶 TattakaofmemorytheRecalling/ 》 / 00:31:55/soundcolor,
2019 《タッタカ的回憶 TattakaofmemorytheRecalling/ 》 / 00:31:55/soundcolor,
2019, 「大南方-南方作為相遇之所」以錄像裝置的形式展出於台灣高雄，高雄市立美術館 Exhibit as a video installetion 2019.OCT - 2021.SEP ”South Plus- as a Place of Gathering” Kaohsiung Museum of Fine Arts, Kaohsiung,Taiwan
33 This area used to be the battlefield between the Aboriginal people and the Japanese army. There were sites that promoted the defense line in Wushe and the Triangle Peak police station in the past. It was also a traditional territory of the Sediq. The filming crew found the sketching route in Kinichiro Ishikawa’s diary and then contacted the farm. This farm was given to Taipei Imperial University for management during the Japanese occupation in 1937, and was used for mountain farming experiments. In the past few years, Taiwan University accidentally discovered the intact site of the old police station. The Sediq youths employed by the Highland Experimental Farm NTU cleaned the fallen woods, switched on air conditioners, and weeded the site in the park, preparing for this 110-year away sketching journey.
一百一十年的寫生之旅。理倒木、開關冷氣、打草清理遺址，準備著這場相隔受僱於台大山地實驗農場的賽德克青年，在園區內清年台灣大學意外發現了園區內完好的駐在所遺址。期規劃給台北帝國大學管理，用作山地農業試驗，前幾找到了路線並與農場聯繫。這個農場在1937年的日據時統領土；劇組循著1909年石川欽一郎的風景寫生日記，內霧社隘勇線及三角峰駐在所遺址，也是賽德克族的傳這片區域曾是原住民與日軍的戰場，內有著過去推進的
the Making of タッタカ的回憶 / Recalling the memory of Tattaka》
film still
video installation
2020 《 登玉山途中 YushanupwaytheOn/ 》 /soundcolor,/ 00:26:50
2020 《 登玉山途中 YushanupwaytheOn/ 》 /soundcolor,/ 00:26:50
On the way up Yushan takes the journeys of Mr. Wu Rong-Fu and Mr. Lin Chang-An as the axes of narrative. The two individuals had some "modifying" on the top of Yushan. Their lives are intimately tied with Yushan. The personal narratives branched out along the way, the unexpected events on the halfway, and the anonymous landscapes the mountain of memories via hands and materials as well as imaginations and recollections. Though they never meet, through the film, they’d a chance to walk aside.
41 出這座記憶之山。名景色，透過雙手與材料，想像與回憶，層層疊疊締造而途中岔出的個人故事、半路的突發事件，以及那些無而行。是不同的立場，互相滲透，透過鏡頭，彷彿兩人曾並肩共兩天一夜。而兩者對於同樣地點，不同的回憶，甚或兩人各自從家裡出發，從登山口爬/造山，至頂峰，一他們的生命與玉山緊緊相繫。兩人分別在不同年代的玉山頂峰上做出「修改」。修工程的參與者；林長安，還我玉山原貌運動的發起人。伍榮富，玉山主峰于右任銅像的揹夫之子，也是銅像整
2020, 「辶反風景」於台灣嘉義，嘉義市以錄像裝置的形式展出立美術館 Exhibit as a video installetion 2020.OCT - 2021.JAN ”Re-visiting Landscape” Chiayi Museum of Arts, Chiayi, SelectedTaiwanfor2021 Golden Harvest Awards for Outstanding Short Films, Taiwan.
the Making of 登玉山途中 / On the way up Yushan
film still
video installation
2021-2022 《 獵風景的人 HunterLandscape/ 》 sound/00:54:51color,/
2021-2022 《 獵風景的人 HunterLandscape/ 》 sound/00:54:51color,/
It is only when the passage of time, is punctuated by an event, that it takes on meaning, it can be memorized. The Art Museum commissioned the film crew to enter the Yushan, to revisit the shooting location of photographer Fang Ching-Mian 70 years ago. Along this way, they not only found out the relevant spot, but also encountered mountaineers, porters and various Bunun'slandscapes.voice-over tells the story that branch out between Uncle Hsin-Kao and mountain landscape 2021, Exhibit as a video installetion 2021.MAR - 2021.AUG ”Man Who Captured the Landscape-Photography and Revisit of Fang Ching-Mian” Chiayi Museum of Arts, Chiayi, Taiwan
「補風景的人-方慶綿的影像與復返」以錄像裝置的形式展出於台灣嘉義，嘉義市立美術館
49 翻譯組織中進行創作。典藏品的重新感光，最終在剪接平台上，與旁白台詞的的再訪、阿里山明信片發現的過程、玻璃底片原件以及漢聲雜誌社的報導與方重雄（方慶綿長子）。關鍵人物究團隊、2面對機構（嘉美館、玉管處）的拍攝計畫、3敘事。主要三條的影像敘事線：1前往登山的拍攝與研在事件的一景一物中，道出了新高伯、風景之間岔出的遇到了各樣登山客、風景及協作，畫面外的布農語旁白師方慶綿70年前的拍攝地點，途中除了找到參照視角也受到美術館委託的拍攝團隊前往玉山中，拍攝再訪攝影「時間的經過，只有碰到事情發生，才有意義，才能夠紀念。」
the Making of 獵風景的人 / Landscape Hunter
film still
film still courtesy of Tsai Weng Zhang
video installation
2022 《 多過必要 NecessarythanMore/ 》 /00:39:38soundcolor,/
2022 《 多過必要 NecessarythanMore/ 》 /00:39:38soundcolor,/
57 泰文翻譯的劇組。他已經在這裡交了不少朋友，而今天的新朋友則是帶著這一天蘇塔和朋友來東協廣場歡度潑水節，這四個月來，向蘇塔提出拍攝的邀約。當代藝術館的聯展來取材，不知道基於什麼理由，劇組一次來到這裡場勘的劇組，這個劇組正為了五月在台北第一次到東協廣場玩，在泰國Disco未來也沒特別打算。他剛搬來台中沒有多久，四個月前蘇塔，泰國東北青年，旅台工作六年，沒特別存錢，對Club遇到了也是第
Suthat, a young man from the northeastern part of Thailand, has worked in Taiwan for six years. He does not aim to save money, nor does he have any plans for the future. He has just moved to Taichung. Four months ago, he visited the ASEAN Square for the first time. It was in a Thai disco club that he met the film crew that was scouting locations and looking for materials for a production to be shown in a group exhibition at MoCA Taipei in May. For reasons unknown, the film crew invited Suthat to join the film.
That day, Suthat came to the ASEAN Square to celebrate the Songkran festival with his friends. During the past four months, he has made quite a few friends; and today, the film crew with a Thai interpreter became his new friends.
2022, 「非遊記」以錄像裝置的形式展出於台灣台北當代藝術館 Exhibit as a video installetion 2022.MAY - 2022.JUL ”Unaccounted MuseumTravelogue”ofContemporary Art, Taipei, Taiwan
the Making of 多過必要 / More than Necessary
film still
video installation ANPIS FOTO 王世邦 MoCA Taipei All Rights Reserved
工寮 Gubuk or (Hut) 宿舍 Ký Túc Xá or (Dorm) 多過必要 เกินความจำาเป็น More than Necessary Film Poster
63 タッタカ的回憶 Recalling the memory of Tattaka 登玉山途中 On the way up Yushan 獵風景的人 Landscape Hunter
Publish: Recalling the Memories of Tattaka 塔塔加的回憶
65 Language: Chinese/English Pages: 304 Size: 13.5*20.0cm Double Covers, ISBN 978-626-95999-0-5 First Edition April 2022
Events: Short Films Screenings
67 Book Launch Party + Special Screening
蘇育賢 So, Yo Hen / soyohen@gmail.com 廖修慧 Liao, Hsiu Hui / hsiuhsiuway@gmail.com 田倧源 Tien, Zong Yuan / tienzongyuan@gmail.com
