CNEX Chinese Doc Forum 2020 by Adrianne

CNEX

華人紀錄片提案大會 CNEX Chinese Doc Forum

2020

CNEX 第十一屆華人紀錄片提案大會 CNEX Chinese Doc Forum 2020

序 Welcome Messages

Pat FERNS Message from Pat FERNS

蔣顯斌 Message from Ben TSIANG

陳玲珍 Message from Ruby CHEN

關於 CCDF-11 About CCDF-11

活動流程 Schedule

提案簡介 Projects

CNEX 紀錄片學院 CNEX Doc Academy

初審評審感言 Words from the Selection Committee

講師介紹 Trainers

國際貴賓 Decision Makers and Guests

119

紀錄片提案大會、基金與影展介紹 Directory of International Pitching Forums, Funds and Festivals

124

CCDF 歷屆入選提案 CCDF 1-10 Project Status

136

CNEX 簡介 About CNEX

138

主辦單位與工作人員 CNEX Organization and CCDF Staff

提案簡介 Pitched Projects 片名 Title

編號 No.

頁碼 Page No.

提案者 Participant(s)

YULI

#01

葉家文、葉文希、李婉貞 Amy IP Ka-man, YIP Man-hay, Jenn LEE Yuen-ching

魚路 My Way

#02

蘇美玉、洪伯豪 SU Mei-yu, HUNG Po-hao

大黃和奶奶 Da Huang and His Grandma

#03

吳美芬 WU Mei-fen

暴走風塵 Driving into the Storm

#04

高倉天地、康世偉、劉姍姍 Tenji TAKAKURA, KANG Shi-wei, LIU Shan-shan

生死一課 Death Education

#05

李柯靚 LI Ke-liang

一個普通家庭 House or Home

#06

余子豪、史曉桉 YU Zi-hao, SHI Xiao-an

人中之龍 The Wild Boys

#07

廖建華 LIAO Jian-hua

藝術家 The Artist

#08

車怡岑、夏鵬程、杜海 Stephen CHE, XIA Peng-cheng, Vincent DU

女人世界 Women’s World

#09

楊圓圓、丁大衛、鄒艾暘 Luka Yuanyuan YANG, DING Da-wei, ZOU Ai-yang

呼吸之間 Inspirare

#10

康宇琪、曹曦、Dana KALMEY KANG Yu-qi, CAO Xi, Dana KALMEY

偉士牌、颱風、外交 Vespas, Typhoons, and Diplomats

#11

傅達文、高敏功 David FRAIZER, Eli KAO

一直看著你來的路口 Eternal Gaze

#12

劉湘晨、徐秋麗 LIU Xiang-chen, XU Qiu-li

潛入西拉雅 Diving into Siraya

#13

賴冠源、佟孟真、韓采蓉 LAI Kuan-Yuan, TUNG Meng-Jen, Carol HAN

成余與葉貞 Go Gentle into the Spring

#14

周天一、張心潔 ZHOU Tian-yi, ZHANG Xin-jie

昨日照相館 Retouching

#15

林詩純、陳昱伶 LIN Shih-chun, CHEN Yu-lin

脫穎而出 Born to be Stars

#16

周銘影、趙佳 ZHOU Ming-ying, ZHAO Jia

流浪歸途 The Vagrant Master

#17

徐瑋超、陳瑋曦、夏偉聰 XU Wei-chao, CHEN Wei-xi, Andersen XIA

朱家角的歌聲 Melody of East Venice

#18

蘇青、米娜、郭曉東 SU Qing, Mina CHEN, GUO Xiao-Dong

Pat FERNS CCDF 提案大會總體企劃暨國際顧問，CCDF-11 Overall Planner and International Consultant, CCDF-11

隨著 CCDF 邁入第二個十年，2020 顯然是個不同以往的一年。而我們也真切希望 2021 年一切能回歸「正常」。今年的大會，我們決定同時以實體和線上形式舉行。但不論未來如何變化，可以預期的是，從今往後，世界不會再是我們熟悉的樣貌。我們將探索紀錄片世界的「新的正常狀態」。今年的紀錄片學院邀請到了業界的專業人士，來與我們一同探索 COVID-19 疫情爆發後，紀錄片製作、發行、公播以及影展方面的產業實景。疫情實際上影響了什麼？我們從中學到了什麼？因應疫情實施的封鎖會帶來什麼挑戰？除此之外，延續往年的傳統，我們今年依然規劃了論壇和放映活動。今年我們選入 18 組來自整個大中華區的提案團隊，以及來自中國與世界各地的貴賓透過視訊軟體聆聽提案。面對疫情的挑戰，CNEX 堅持了往年的水準，將高品質的華人企劃案引介給世界。延續多年來獨一無二的成功經驗，我們將持續這份堅持。今年 CCDF 提案工作坊的舉行形式也有所修改。我們將工作坊分為五個階段，於七、八、九月間預先舉行，由九位國際紀錄片工作者——包含頂尖導演、製片、剪接以及教師，培訓華人導演們準備提案影片。與會的貴賓將於提案大會前，預先收到提案團隊們預錄的提案影片以及片花。提案影片、片花以及現場提問 Q&A 將於提案大會時，即時以視訊軟體轉播給包含觀眾在內的所有與會人士。CNEX 同樣會邀集所有華人、國際貴賓的選票，選出「最佳提案」以及各大獎項，於頒獎典禮上公開獲獎團隊。能夠帶領優秀的台北以及北京團隊，實現 CNEX 創辦者蔣顯斌、陳玲珍和張釗維的願景，是我的殊榮。現在我個人的製片生涯即將畫下句點，未來我希望能持續培育新秀以及主持提案。這個回報產業的機會，帶給我的回饋甚大。因此我特別要感謝陳玲珍、張與蘭和他們的團隊，以及感謝一起擔任講師的優秀同仁。我並且要向一直以來支持 CNEX 的贊助者們致上謝意。期待明年再次見到你們。

序 Welcome Messages

W. Paterson FERNS, C.M.

As CCDF enters its second decade, 2020 is indeed a year like no other…and we profoundly hope we will be back to normal in 2021. This year we offer a ‘hybrid event’ combining live and online elements. But whatever the future holds, we suspect that nothing will ever be the same again and that we will have to discover a “new normal” in the world of documentary. Our CNEX Academy Workshop Program will be asking panels of experts to explore ‘life after COVID-19’ in the areas of production, distribution, broadcasting and festivals. What has been the impact of the pandemic? What have we learned to do differently? What are the challenges we will face after lock-down? In addition, the CNEX Academy Worksop will offer presentations and screenings as well as our annual Pitching Forum. There will be 18 pitching teams from across Greater China sharing their stories, and decision-makers from China and around the world will hear them, participating via Zoom. In these challenging times, CNEX is determined to maintain the same quality of Chinese projects to present to the world. CCDF’s track record of success is unparalleled and we intend to keep it that way. While CCDF-11 will combine live and online elements, our important training program has been completely revamped and is being delivered in five parts over the months of July, August and September. Nine international documentarians (top directors, producers, editors and teachers) are mentoring the Chinese filmmakers whose pitches will be pre-recorded. These pitches and their respective trailers will be shared in advance with our decision-makers and then presented to our audience along with live Q & A with the decision-makers via Zoom. CNEX will again be seeking the votes of the Chinese and international guests for the Best Pitch and offering the usual plethora of prizes at our final Awards Ceremony. It is my honour and privilege to lead the extraordinary team in Taipei and Beijing to bring you the on-going CNEX vision of its founders: Ben, Ruby and Chao-wei. While I am coming to the end of my own active producing career, I hope to continue my work of training and pitch moderation in the years to come. I find this opportunity to ‘give back’ so rewarding. Hence my thanks to Ruby and Yulan with their excellent team of supporters; appreciation too for my talented fellow trainers; and much gratitude to all the sponsors of CNEX’ important contribution to the world of documentary. Hoping to see you all in person next year.

序 Welcome Messages

蔣顯斌 Ben TSIANG CNEX 基金會共同創辦人暨董事長視納華仁文化傳播（股）公司董事長 Chairman & Co-Founder, CNEX Foundation Chairman, CNEX Studio

當全人類遭到無差別突襲，紀錄片可以做什麼？新冠肺炎橫空出世，迫使人與人之間、城與城之間、國與國之間，築起了一道道藩籬。本來如常的生活與劇情，一夕之間被狠狠按了暫停鍵。然而，地球似乎得到喘息，天空藍了點、污染少了點、噪音小了點。原來我們人類如此折騰地球母親。去年此時，我正在非洲大草原旅行，或者說，被（吉普車）裝箱巡遊。剛抵達肯亞時，打開 Google Map 一看，忍不住發出感嘆：在人煙集中的城鎮與原始草原之間的界線，是靠一條條筆直的線隔開的！不是靠什麼天然的河流或山丘隔開，而是像用米達尺畫出來的分隔線那樣。對一個仍處於經濟發展階段的開發中國家而言，這需要多麼大的決心與公權力，才得以貫徹保留下這樣一個謝絕人類文明的保護區？我一邊探尋著草原動物的足跡，一邊領略著原始與文明的對話。人類最初也是大草原一族，許多年後決定出走，建立了城市與文明。我這個典型的城市男孩（好吧城市大叔）對草原萌生出神祕的悸動，以及許多的問題：我們人類是不是儘管出走了上百萬年，基因中仍對那「原鄉」戀戀難忘？這說明了為什麼在城市水泥叢林看到樹木，心情總是特別愉悅；說明了為什麼在家裡、辦公室放一些綠色植物，感覺特別好；而屋子裡的水族箱、城市裡的動物園，不就是我們即使離家出走也想要帶在身邊的「老鄉」嗎？草原，已經成為人類文明的珍貴對照組。回到了草原，就無所謂殘暴或壓迫，也無所謂道德或犧牲了，一切都是生態的循環法則。而所謂的文明，其實是人類走出草原後另建的新生態系統，相當於在地球這個操作平台上加開了一個超級「大外掛」，大到人類已經可以幾乎忘記這原始的草原秩序依然存在，依然默默地循環著，依然存在於我們的骨子裡。我們人生中能有幾次機會見識到草原本質的核心秩序？能有幾次機會，碰觸到包裹在文明之內的那個原來的內核、碰觸到我們作為智人的「本來面目」？

序 Welcome Messages

今年 CNEX 完成的新作《本來面目》述說聖嚴法師的一生。導演張釗維為了深入故事，打了一次禪七。七天中不用手機、不發一語。禪七結束回到「文明世界」，看著街口的紅綠燈都會發怔。這次全球猛爆性疫情，讓許多文明活動稍稍暫停，現代人的外掛程式隨即搭橋鋪路，很快的，遠距教學、洽商、觀影無一不可，儼然全面重新開張之勢。要回到常軌也許還有一、兩年的時間，但這難得的暫停，值得所有紀錄片工作者珍視，see what really matters。紀錄片，也正是人類視覺文明中的一種草原，提醒我們什麼是自己的「本來面目」。

感謝今年支持 CNEX 與 CCDF 的所有贊助者與參與者，你們的支持是巨變中恆常不變的力量，應許了我們紀錄這時代的責任與使命。祝願大家平安、堅毅，並且 keep walking and fighting!

序 Welcome Messages

What purpose can documentaries serve when the entire humanity is indiscriminately assailed? The outbreak of COVID-19 has forced a barrier between people, cities, and countries, forcefully paused what is supposed to be the normality of life. However, on the other hand, the Earth seems to have acquired an opportunity to breathe; the blue tint seems to have returned to the sky, the pollution reduced, noises quieted. It turns out we, as human beings, have brought on earth immeasurable suffering. Last year around this time, I was traveling through the African savanna, or rather, be carried around in a jeep, touring the country. When I arrived in Kenya, I opened Google Maps, and could not help but gasp: the boundary between the heavily populated cities and the primal savanna was a straight line! The divide is not some river or mountains, but a clear, straight line as if drawn with a pen and a ruler. What does it take, what determination and authority that must have required, for a still developing country to completely preserve a region against the human civilization? I traced the footprints of the animals, attempting to understand a dialog with the primal civilization. Men also came from the prairie. Just many years later, the human exodus built up cities and civilizations elsewhere. I, a typical city boy (Okay, maybe a city middle-aged man would be a more accurate description) has developed a mysterious throb for the savanna and an interest to many questions: Do our genes still long for that “homeland” hundreds of millions of years after our exodus? Is that why we feel such joy at the sight of trees in the concrete jungle? Is that why we like to put greens in our office space and homes? Are aquariums and zoos in the cities the “homeland” we carry with us even when we have left home? The savanna has become the precious control group of the human civilization. Retracing our steps to the savanna, there exists no violence, coercion, morals, or sacrifice; everything exists according to nature’s circle of life. What we call “civilization” is in fact a new ecosystem that humans created after we advanced beyond the savanna, as if we hacked through Earth’s operating system; often humans forget about the primal order that persists in the savanna, one that circulates in silence yet penetrates our blood and bones. How many times do we get to experience the natural order of the savanna? How many times have we experienced the core identity concealed within our civilization, or seen the “true colors” of our intelligent existence? This year, CNEX has released Master Sheng Yen , which depicts the life of the virtuous Master Sheng Yen. Director CHANG Chao-Wei immersed himself in the master’s story through a seven-day Chan retreat. In those seven days, he never used his phone, nor did he speak a word. After he returned to the “civilized world,” he shuddered at the sight of traffic lights on the street.

序 Welcome Messages

The horrendous COVID-19 pandemic has halted operations of most human activity, yet humans immediately set up online solutions for learning, commerce, and streaming services, allowing businesses to reopen. It’ll take a year or two for things to get back to normal, but this unusual break serves as a reminder for all documentary filmmakers to see what really matters. Documentaries are also a savanna for the visual aspect of our civilization, reminding us of our “true colors”.

Huge thanks for everyone who has supported or participated to CNEX and CCDF. Your support is the constant within this ever-changing world, powering our mission to document our generation. I hope everyone is safe, determined, and keep walking and fighting!

序 Welcome Messages

陳玲珍 Ruby CHEN CNEX 基金會共同創辦人暨執行長視納華仁文化傳播（股）公司執行長 CEO & Co-Founder, CNEX Foundation CEO, CNEX Studio

2020 年在 CCDF 短短的 11 年歷史上，註定會是特別的一年，儘管病毒在人類歷史上並不是新聞。人類通過學習如何在危機中自處、與彼此相處，進一步反思人類和自然的關係。最直接的事情，是今年我們在三月中就設想了 CCDF 需要因應新冠疫情，而採取線上線下結合的形式舉辦。當下全球各地似乎仍然充滿不確定性，我們在 CNEX 倒是一直堅持初心。因為 CCDF 的創立，就是為了給所有華人社會和華語紀實影片創作者，架設一個與國際接軌交流的平台，不只是推崇藝術風格的紀實影像創作，更重要的是發掘那些關懷現實和未來、追求公平正義精神的作品。因此在此時此刻，堅定不移地支持和前進，更顯重要。非常感謝多年以來與全球各地紀錄片行業建立的密切合作網絡和人脈，今年繼續支持我們，克服一切困難加入 CCDF-11。我們從近 130 個提案項目中，精挑細選出 18 個提案，呈現給國際、國內近 50 位決策者。必須感謝初審評審們、總顧問 Pat Ferns 、CCDF 籌備小組的同事們、還有這 18 個項目團隊、以及給他們提供培訓的八位老師們。當然還要向持續提供資源支持的贊助者，合掌恭敬致謝。沒有你們的全心全意投入和無私奉獻，這一切都不可能發生。期待每個人都能有一個收穫滿滿的 CCDF-11，也期待下一屆的 CCDF，我們可以再度齊聚於寶島的金秋時節，一起擁抱彼此，舉杯暢飲。

序 Welcome Messages

2020 with its COVID-19 impact, is perhaps going to be a very unique year in the rather short history of CNEX/CCDF. However, virus is clearly not that rare in the long history of humankind. We humans are continuously learning through crisis. During this year’s “break taking” crisis, we face the issue of living in isolation and caring for the community at an unusual time. We’re no exception, we have been pondering through options for another successful CCDF since early March, and then made the decision to go ahead with our original schedule. As you now see that we are doing it in a hybrid mode, combining both online and offline events, including training sessions, the formal pitching forum, screenings, and panel discussions. CNEX has always hold on to our mission of cultivating a healthy and vibrant platform for all independent Chinese documentary films. CNEX Chinese Documentary Forum (CCDF) started 11 years ago aiming to realize our vision to connect documentary communities and enhance global understanding. We believe in the power of art, yet furthermore, we value highly those films exploring the meaning of reality, questioning inequality and social justice, even trying to illuminate our future. This probably is the reason why we choose to stick to our original path unwaveringly. I’m very pleased that we’re able to pull everything together to kickoff this very special version of CCDF, thanks to all our supporters and decision makers for your generosity. I also like to thank all 127 projects submitted to CCDF this year, I especially like to thank the 18 selected projects/filmmakers and the 8 training mentors for all the hard work and efforts you’ve put in. Clearly none of this would be possible without all of you as well as our organizing team members Yulan, Andre, Gary, Stephanie, Ian, and the wonderful guidance of Pat Ferns. Finally, I wish everyone a successful CCDF in 2020, wherever you are. I would like to make a wish, that we would be all sitting under one roof next year, to shake hands with or even hug with each other. Let’s all stay safe and healthy, stay foolish and empty. Together we would learn more from each other.

序 Welcome Messages

11th CNEX Chinese Doc Forum

CNEX 第十一屆華人紀錄片提案大會 CNEX Chinese Doc Forum 2020 09.19SAT - 09.20SUN 國際提案大會 Pitching Forum

09.19SAT - 09.22TUE CNEX 紀錄片學院 CNEX Doc Academy

關於 CCDF-11

About CCDF-11

CNEX 華人紀錄片提案大會（CNEX Chinese Doc Forum）今

2020 marks the eleventh year of the CNEX Chinese Doc Forum. Having inherited the energy passed down from the past ten years, CCDF continues to create a platform exclusively tailored for Chinese documentary filmmakers, to focus on the changes of Chinese society and culture, and to view the world from a global citizen’s perspective. Moreover, it aspires to search for universal issues, to observe the changes of documentary narratives and to organize workshops and seminars to connect the market with the documentary creators.

年邁入第十一個年頭。承襲十年歲月的能量，CCDF 期許持續擴張為華語紀錄片工作者所創造的舞台，關注華人社會文化轉變，並以世界公民的視角來看世界，尋找普世議題、觀察紀錄片說故事方式演變，並規劃銜接市場與創作端的工作坊及講座。今年 CCDF 收到共 127 件提案，在地域上涵蓋台灣、中國大陸、香港、馬來西亞、新加坡、日本、美國、加拿大、法國、波蘭、馬達加斯加，並呈現了當代華人多元的創作視野。評審們激烈討論，自 127 件提案報名中選出 18 個故事進入 CCDF 舞台。在此對所有提案團隊致上最深感謝。 CCDF 於 7~9 月舉辦「培訓工作坊」，邀請共 9 位培訓講師與剪輯顧問加入，共同審視各團隊的提案，協助各團隊梳理故事線、片花以及呈現方式，使提案更加完善。 CNEX 紀錄片學院今年精心規劃了【大師講堂】、【專題講座】、【成功案例】與【特別放映】。【大師講堂】將由加拿大知識網絡總裁暨執行長 Rudy BUTTIGNOL 及加拿大國際紀錄片影展資深產業節目策劃經理 Stephanie McARTHUR、發行經理 Julian CARRINGTON 分別帶來【製作成功的紀錄

This year CCDF received 127 project submissions from Taiwan, Mainland China, Hong Kong, Malaysia, Singapore, Japan, United States, Canada, France, Poland, and Madagascar. The submitted proposals highlight the contemporary Chinese filmmaker’s creative vision on the reality around them. Among them, 18 projects were selected to participate in CCDF-11. We would like to thank all the teams that submitted their work to CCDF, and look forward to your future projects! CCDF pre-training workshops took place between July and September in Taipei as well as online. Nine Trainers and editing consultants with international production experience were invited to review all projects and assist each team in sorting out its storyline, trailers and presentation to bring the pitches closer to perfection.

片 : 對的時間、地點】以及【從地方到全球】。此外，【專題講座】以「後疫情時代」為主題邀請不同領域的專家分享自身經驗，思考紀錄片產業的未來，將有四場講座：【後疫情時代：未來播出平台考驗】、【後疫情時代：未來影展考驗】、【後疫情時代：未來發行考驗】、【後疫情時代：未來製片考驗】。【CCDF 成功案例】則邀請到 CCDF-6 提案《阿紫》、CCDF-7 提案《拉一碗麵》以及 CCDF-8 提案《孺子不可教》，前來與學員分享提案經驗與製作過程。【特別放映】將帶來張釗維導演的《本來面目》。

參與今年盛會。

CCDF welcomes you once again, whether you’re participating online or in person. We hope you could join this year’s splendid forum with your greatest passion.

第十一屆華人紀錄片提案大會

CCDF 再次歡迎您，期望您能夠帶著滿滿的熱情與我們一同

This year’s edition of the CNEX Doc Academy features Master Classes, a series of panels depicting Life after COVID-19 for the documentary industry, CCDF Case Studies, and Screenings. Master Classes consist of 2 seminars, exploring the art of Making Successful Documentaries: Right Time, Right Place , as well as the process of Making Local Stories Global . Four Panels will discuss how broadcasting, festivals, distribution, and production in the documentary industry will adapt to life after the COVID-19 pandemic. And CCDF Case Study is considered the homecoming day for pitching teams from previous editions. The projects invited to this session include Sally WU’s The Good Daughter (CCDF-6), Gary SHIH and HOU Ning’s Noodle Kid (CCDF-7), and Lisa TEH and YONG Shu-Ling’s Unteachable (CCDF-8). The filmmakers will be sharing their experience in pitching and production with all participating members. Special Screening will present CHANG Chao-Wei’s Master Sheng Yen .

11th CNEX Chinese Doc Forum

CCDF-11 活動流程

Schedule

2020.9.19（六）提案大會第一天

Saturday, September 19 – Pitching Forum Day 1

台北市信義區松高路 11 號 6 樓誠品信義店展演廳／ ZOOM 線上參與 Eslite Xinyi Store 6F Multifunction Hall / ZOOM

時間 Time

主要活動 Activities

13:30–14:30

【大師講堂 Master Class】製作成功的紀錄片：對的時間與地點 Making Successful Documentaries: Right Place, Right Time 主講人 Speaker: Rudy BUTTIGNOL

14:30–15:30

【專題講座 Panels】後疫情時代：未來播出平台考驗 Life After COVID-19: Future Broadcasting Challenges 主持人 Host: Peter HAMILTON 講者 Panelists: 黃海波 Haibo HUANG │ Dan SALERNO │ Mandy CHANG

15:30-16:00

休息 Break

16:00-17:00

【專題講座 Panels】後疫情時代：未來影展考驗 Life After COVID-19: Future Festival Challenges 主持人 Host: Alex LEE 講者 Panelists: Mathieu BEJOT │杜海濱 DU Hai-bing │ Tabitha JACKSON │ Adriek VAN NIEUWENHUIJZEN

17:00-18:30

【CCDF 案例分享暨影片放映 CCDF Case Study】《阿紫》The Good Daughter 台灣 Taiwan | 2019 | 83min | 吳郁瑩 Sally WU

18:30-19:00

【映後座談 Q&A Session】主持人 Host: 江松長 S. Leo CHIANG 導演 Director: 吳郁瑩 Sally WU

19:30-19:50

迎賓酒會入場 Reception

19:50-20:30

迎賓酒會 Cocktail Party

20:30-21:00

開幕儀式 Opening Ceremony 正式提案（9 組提案，每組 15 分鐘，包括 7 分鐘提案、8 分鐘問答時間；5 分鐘緩衝時間） Pitches (9 projects, 7 min pitch and 8 min Q&A, 5 min buffer time) #01《YULI》

21:20-21:40

#02《魚路》My Way

21:40-22:00

#03《大黃和奶奶》Da Huang and His Grandma

22:00-22:20

#04《暴走風塵》Driving into the Storm

22:20-22:40

#05《生死一課》Death Education

22:40-22:50

休息 Break

22:50-23:10

#06《一個普通家庭》House or Home

23:10-23:30

#07《人中之龍》The Wild Boys

23:30-23:50

#08《藝術家》The Artist

23:50-00:10

#09《女人世界》Women’s World

活動流程

21:00-21:20

Schedule

2020.9.20（日）提案大會第二天

Sunday, September 20 – Pitching Forum Day 2

台北市信義區松高路 11 號 6 樓誠品信義店展演廳／ ZOOM 線上參與 Eslite Xinyi Store 6F Multifunction Hall / ZOOM

時間 Time

主要活動 Activities

14:00–15:00

【大師講堂 Master Class】從地方到全球 Making Local Stories Global 主講人 Speakers: Stephanie McARTHUR │ Julian CARRINGTON

15:00–16:00

【專題講座 Panels】後疫情時代：未來發行考驗 Life After COVID-19: Future Distribution Challenges 主持人 Host: 陳玲珍 Ruby CHEN 講者 Panelists: Gitte HANSEN │寧玉琪 Mike NIN │ Elina KEWITZ │ Mark STUCKE

16:00-16:30

休息 Break

16:30-17:30

【專題講座 Panels】後疫情時代：未來製片考驗 Life After COVID-19: Future Production Challenges 主持人 Host: 張與蘭 CHANG Yu-lan 講者 Panelists: 朱樂賢 Lex ZHU │江松長 S. Leo CHIANG │ Chris HUMPHREY │ Judith HELFAND

17:30-18:00

休息 Break

18:00-19:30

【CCDF 案例分享暨影片放映 CCDF Case Study】《孺子不可教》Unteachable 新加坡 Singapore | 2019 | 77min | 楊淑玲 YONG Shu-ling

19:30-20:00

【映後座談 Q&A Session】主持人 Host: 陳玲珍 Ruby CHEN 導演 Director: 楊淑玲 YONG Shu-ling 製作人 Producer: 鄭熙恩 Lisa TEH

20:00-21:00

休息 Break 正式提案（9 組提案，每組 15 分鐘，包括 7 分鐘提案、8 分鐘問答時間；5 分鐘緩衝時間） Pitches (9 projects, 7 min pitch and 8 min Q&A, 5 min buffer time)

活動流程 Schedule

21:00-21:20

#10《呼吸之間》Inspirare

21:20-21:40

#11《偉士牌、颱風、外交》 Vespas, Typhoons, and Diplomats

21:40-22:00

#12《一直看著你來的路口》Eternal Gaze

22:00-22:20

#13《潛入西拉雅》Diving into Siraya

22:20-22:40

#14《成余與葉貞》Go Gentle into the Spring

22:40-22:50

休息 Break

22:50-23:10

#15《昨日照相館》Retouching

23:10-23:30

#16《脫穎而出》Born to be Stars

23:30-23:50

#17《流浪歸途》The Vagrant Master

23:50-00:10

#18《朱家角的歌聲》Melody of East Venice

2020.9.21（一）提案大會第三天

Monday, September 21 – Pitching Forum Day 3

台北市信義區松高路 11 號 6 樓誠品信義店視聽室／ ZOOM 線上參與 Eslite Xinyi Store 6F Audiovisual Room / ZOOM

時間 Time

主要活動 Activities

09:00-21:00

提案一對一面談（每時段 20 分鐘） Decision-Maker One-on-One Meeting (20min/session)

15:00-17:00

【特別放映 Special Screening】《本來面目》Master Sheng Yen 台灣 Taiwan | 2020 | 115min | 張釗維 CHANG Chao-wei

17:00-17:30

【映後座談 Q&A Session】主持人 Host: 史祖德 Gary SHIH 導演 Director: 張釗維 CHANG Chao-Wei 監製 Executive Producer: 楊蓓 YANG Pei

2020.9.22（二）提案大會第四天

Tuesday, September 22 – Pitching Forum Day 4

台北市信義區松高路 11 號 6 樓誠品信義店視聽室／ ZOOM 線上參與 Eslite Xinyi Store 6F Audiovisual Room / ZOOM

時間 Time

主要活動 Activities

09:00-21:00

提案一對一面談（每時段 20 分鐘） Decision-Maker One-on-One Meeting (20min/session)

14:00-16:00

【CCDF 案例分享暨影片放映 CCDF Case Study】《拉一碗麵》Noodle Kid 台灣 Taiwan、中國 China | 2019 | 107min | 霍寧 HOU Ning、史祖德 Gary SHIH

16:00-16:30

【映後座談 Q&A Session】主持人 Host: 張與蘭 CHANG Yu-lan 製作人 Producer: 史祖德 Gary SHIH 導演 Director: 霍寧 HOU Ning

16:30-17:00

閉幕式暨頒獎典禮 Closing Ceremony and Awards

活動流程 Schedule

CCDF-11 提案簡介

Projects

PROJECT

#01

YULI YULI

香港 Hong Kong Genre Key Words

人文關懷、社會政治議題、性別議題、種族議題、人物傳記 Human Interests / Social Political Issue / Gender / Race / Biography

Length

電影長度 Feature Length (> 65 min)

Format

Production 拍攝期 In Production Status Contact

導演 Director 葉家文 Amy IP Ka-man、葉文希 YIP Man-hay T: +852-6281-0444、+852-6273-9261 E: yuli.docu@gmail.com 製片 Producer 李婉貞 Jenn LEE Yuen-ching T: +886-970-146-529 E: jenleefilm@gmail.com

導演 Director │葉家文 Amy IP Ka-man 大學主修電影，畢業後加入香港電台電視部製作戲劇及文化節目。曾任電影製片，協助外國電影在中國及海外攝製，包括《Transformers 4》、2016 像獎最佳電影《十年》等。2015 年起專注攝製紀錄片及新聞節目，持續與 Al Jazeera, Media Corp 和 ABC 等機構合作，為新加坡 CHANNEL U 製作的紀實節目《買賣》奪得 2019 年紅星大獎「最佳資訊節目」。

Amy IP joined Radio Television Hong Kong to produce drama and cultural programs after graduation. Later, she worked in the production unit for feature films in China and overseas. Amy has produced and filmed documentary and news for international agencies, including Al Jazeera, Media Corp and ABC throughout the years.

導演 Director │葉文希 YIP Man-hay 獨立製作人、導演、監製，重要作品包括《飲食法西斯》及《最熟悉的陌生人》，入圍香港國際電影節，並曾在高雄、台南、澳門獨立、波蘭五味等國際影展參展，取得南方影展人權關懷獎、鮮浪潮最佳攝影、IFVA 銀獎。與友人成立「平地映社」，舉辦平地學生電影節，獲浸會大學頒發「傑出青年人傳媒獎」。

Yip’s short film works include The Food Fascists (2014) and The Stolen Homelands (2018). Most of his works are about social awareness and artistic nature. Yip has won several awards in local and international film festival and competition. He works with other independent filmmakers and was the co-founder of Groundsup Student Film Festival in Hong Kong.

製片 Producer │ 李婉貞 LEE Yuen-ching 香港大學社會科學院社會學系畢業，曾於北京電影學院進修攝影，並獲英國倫敦大學金匠學院碩士學位。早年任職香港電台電視部，擔任時事節目及紀錄片編導；2010 年起，監製近 50 集半小時電視紀錄片系列《飲食男女》，屢獲國際獎項。現為獨立紀錄片製作人，成立紀錄片製作公司「玩真影畫」，現居台灣。

Born and raised in Hong Kong, Jenn LEE has been a documentary filmmaker for 20 years. Her documentary works have received critical acclaims internationally. Jenn was a sociology graduate and she also holds a Master degree from Goldsmiths College in the UK. Jenn founded FOR REAL PICTURES in 2017 and is now working and living in Taiwan.

經費預算 Financing Plan (USD)

提案簡介 Projects

項目

Category

工作人員酬勞前期田調經費拍攝期間經費後期製作經費發行出版經費

Filmmaker (Salary) Research & Pre-Production Production Post-Production Distribution

Amount

$ 45,000 $ 15,000 $ 80,000 $ 60,000 $ 20,000

總預算

Total Budget

待籌措之經費已確認之經費

Financing Sought Confirmed Financing

$ 220,000 $202,000 $ 18,000

Sources

自籌 Self-financed

$ 18,000

PROJECT #01

LOGLINE

一句話

不安於命的印尼移工 Yuli，在香港一場史無前例的社會運動中，為了追求自由與夢想，付出無比沉重的代價。 Writing and reporting the social movement during the turmoil in Hong Kong, Indonesian migrant domestic worker Yuli pays a high price for following her dream.

故事大綱

Synopsis

印尼移工 Yuli 在香港當了十年家務助理，社會普遍輕視移工，但她卻熱愛這個城市。她喜歡寫作，勇於發聲，作品入選台灣移工文學獎，令她深受鼓舞。

Yuli had been working as a migrant domestic helper in Hong Kong to support her family in Indonesia. After living in this Chinese society for over a decade, she loved the place and saw herself as a Hongkonger. In 2019, a massive social movement occurred. In view of insufficient information in Indonesian for her fellow workers, Yuli covered the protests on frontline and posted livestreams on social media. While she struggled to reveal the truth, Yuli was arrested by the Immigration Department over visa issue. Later she was accused of overstaying and was detained for a month before being deported to her hometown. Yuli has lost her job and suffered from PTSD. She wonders if she should write her experience in Hong Kong and continue pursuing her dream as a writer. Or is it better for her to be a migrant worker again? She doesn’t have a clue.

2019 年，香港爆發大型社會運動，但本地缺乏印尼語資訊，Yuli 和義工成立網上媒體，為在港的印尼同胞服務。她在休假日到抗爭現場拍攝報導，不懼怕催淚瓦斯，只擔心會被僱主發現。同鄉勸 Yuli 安守本份，她卻不願放棄報導真相。入境處人員突然上門把 Yuli 帶走，她被關在拘留中心一個月，最後遣返印尼。 Yuli 患上創傷後遺症，困在家鄉印尼，她不知怎走下去。

拍攝大綱四十歲的印尼移工 Yuli，一早來到香港的菜市場買菜，為僱主一家準備三餐。她已在這個充滿活力的華人城市工作了十年。跟其他移工不同，她很關心社會，熱愛這個城市，更把自己視作香港的一份子。星期日是 Yuli 的休假日，她興奮地到公園和其他印尼移工碰面，手持專業照相機，到處跟同鄉攀談。由於香港並沒有印尼語的媒體，Yuli 和一些義工成立了網上媒體，為印尼同鄉報導本地大小資訊。 Yuli 喜愛寫作，夢想成為一個作家。她收到通知，作品入圍了台灣的移工文學獎，並且獲邀到台灣出席頒獎禮。 2019 年，香港爆發大型社會運動，Yuli 放棄休假，走到抗爭現場拍攝採訪，她穿的印尼服飾和頭巾，在黑衣人群中份外顯眼，不時有示威者和警察懷疑她的身份與動機。在前線也曾碰上警方施放催淚瓦斯，害她咳嗽不止，她只擔心僱主因此發現她去採訪。印尼同鄉開始對 Yuli 竊竊私語，不少移工都覺得她應該安守本份。雖然擔心會影響在香港的工作，但 Yuli 堅持自己做的沒錯，決心要繼續報導真相。入境處人員突然上門把 Yuli 帶走，指她違反居留條件。Yuli 被關在拘留中心，受到不人道的對待，求助無援。一個月後，Yuli 被遣返印尼。失去工作的 Yuli，在家鄉患上創傷後遺症，身心受創。她不知道下一步可以怎樣，要走不安穩的路，繼續追逐當作家的夢想？還是放棄希望，再去別國當移工賺錢？

Treatment Yuli, a forty-year-old Indonesian domestic helper, walks into a busy wet market in Hong Kong. She is going to prepare meals for her employer’s family. Yuli has been working in this Chinese city for over a decade and she loves the place. Yuli is excited to meet other Indonesians in the park on Sunday. She takes pictures with her Canon camera and talks with people around. As there isn’t much local news in Indonesian in HK, she set up an online media platform with other volunteers to serve the Indonesian community. It has always been her dream to become a writer. Yuli is thrilled to learn that her fiction is shortlisted for Taiwan literature award for migrants. In 2019, a massive social movement takes place in HK. Yuli spends most of her spare time to report the protests on the frontline. Tear gas makes her coughs and she is scared that her employer would find out what she did. Yuli is arrested by Immigration Department and is charged with overstaying without a valid visa. She is detained for a month before being deported to Indonesia. Suffering from PTSD in her hometown, Yuli struggles with what to do next.

終於，Yuli 決定提起筆，寫下她在拘留所的經歷……

提案簡介 Projects

PROJECT

#02

魚路 My Way

台灣 Taiwan Genre Key Words

家庭、人文關懷、生活型態、性別議題 Family / Human Interests / Discovery and Lifestyle / Gender

Length

電視長度 TV Hour (51–65 min) 電影長度 Feature Length (> 65 min)

Format

Production Status Contact

拍攝期 In Production 導演 Director 蘇美玉 SU Mei-yu T: +886-918-510-030 E: swing0709@gmail.com 製片 Producer 洪伯豪 HUNG Po-hao T: +886-935-342-763 E: abei0208@gmail.com

導演 Director │ 蘇美玉 SU Mei-yu 自由接案影像工作者以及插畫設計。臺藝大電影系畢業，第一部劇情短片《回家作業》，入圍 2013 年臺北電影節最佳創作短片，演員獲得女主角獎。

SU Mei-yu is an independent filmmaker and an illustrator. She graduated from motion picture department of Taiwan University of Arts. Her first director’s short film My Last Homework was awarded best actress at Taipei Film Festival in 2013.

製片 Producer │ 洪伯豪 HUNG Po-hao 劇情片導演，過去曾擔任電影《賽德克・巴萊》、《KANO》、《軍中樂園》……等國內多部長片副導，2012 年導演短片《畢業旅行》入圍金馬獎、臺北電影節……等多個影展，2017 年擔任公視劇集《麻醉風暴 2》導演，入圍 2018 年金鐘獎最佳導演、編劇……等獎項，電影導演作品《老大人》，演員黃嘉千入圍當年金馬獎最佳女配角，並在 2019 年獲得臺北電影節最佳劇情片、最佳女配角獎。

HUNG Po-hao is a film director and a producer. He has worked several times in directing crews of theatricalreleased films. His first feature Dad’s suit was awarded Best Narrative Feature film and the best supporting actress at Taipei Film Festival in 2019.

經費預算 Financing Plan (USD)

提案簡介 Projects

項目

Category

工作人員酬勞前期田調經費拍攝期間經費後期製作經費發行出版經費

Filmmaker (Salary) Research & Pre-Production Production Post-Production Distribution

Amount

$ 20,000 $ 2,000 $ 22,000 $ 10,000 $ 5,000

總預算

Total Budget

待籌措之經費已確認之經費

Financing Sought Confirmed Financing

$ 59,000 $ 49,000 $ 10,000

Sources

新北市紀錄片獎 New Taipei City Documentary Film Awards

$10,000

PROJECT #02

LOGLINE

一句話

一個土地泡在海水裡的漁村，一個傳承討海人事業的女性，面對創業成敗與家庭期許，回家不是一件簡單的事。 A fishing village buried in sea water, a woman heir to a fisherman’s trade. Facing the burden of entrepreneurship and the expectations of her family, it is no small deal to return hometown.

故事大綱

Synopsis

台灣雲林縣的偏遠漁村，長期地層下陷，半數以上的土地泡在海水裡，年輕人大量外流，當地人認為，只有失敗者才會返鄉。

Half-buried in water due to perennial land subsidence, in the remote fishing villages of Yunlin county, Taiwan, you rarely see a young face, as the locals consider those losers who return to their hometown.

一場嚴重車禍後，林荺紾重新思考自己的人生，她決定離開城市，回鄉陪伴年邁的父母。除了繼承父親出海捕鰻苗的工作，她還想創業養殖台灣草蝦，但在此地的環境養殖是一種賭注，工作勞動艱辛，在家的時間反而少了許多。車禍後荺紾得到神啟，幫人收驚解惑，成為她重生後的責任。身在這保守的漁村，自我與家庭及大環境的矛盾衝突，在她身上交戰不休。創業的成敗、父母的不理解，縱然是得到神啟的她，也難以找到答案。

拍攝大綱目前影片已拍攝半年，預計再拍攝到 2021 年夏天，才能呈現主角與環境變化的密切，拍攝採取貼近主角的生活，看見在偏遠漁村的人們想要守護的事物，同時探討女性與家庭關係、沿海信仰如何融入他們的日常。主線是林荺紾養草蝦的過程，看見她與父親互相調侃，感情緊密卻常常不歡而散，支線是圍繞在她身邊的其他男性長輩，他們像是第二個父親，協助她創業卻也帶給她考驗。面對未知的草蝦事業，以及她為了增加收入做各種打工，傳統上「有結婚才是一個家」的各種壓力，怎麼做才會圓滿呢？她雖然擁有幫人收驚解惑的能力，卻無法解決自己的問題。一路上，她明白「回家」其實是「離家」的開始，因為她想守護的不只是自己的家，也同時在社區長照據點工作關懷長輩，家的責任必須擴及到整個村落共好。回家的路雖然不像以前那麼遙遠，但荺紾把各種責任攬在身上，沒有說出口的是……她想幫助年邁的父親航向外海，完成討海人對大海的想望。

After recovering from a serious car accident, LIN Yun-chen reconsidered her life and decided to leave the city, returning to her hometown to look after her aging parents, who live alone in the fishing village. Apart from taking over her father’s job of fishing eel larvae in the sea, she also wants to start farming Asian tiger shrimp, for it is the taste of her childhood. It is, however, a risky enterprise in these surroundings, as it involves hard labor and much less time at home. After the accident, she received a revelation and was bestowed with the ability to perform “siu-kiann” (Taiwanese exorcism) and interpret other’s problems, which became her new responsibility. In a conservative fishing village, the conflicts between the self, family and society play out ceaselessly within her. The success and failure of entrepreneurship, the lack of understanding from her parents, not even a medium like her could resolve these problems.

Treatment The shooting began half a year ago and is expected to conclude in the summer of 2021. The prolonged shooting period is meant to capture the close interaction between the protagonist and the changing surroundings around her. The film intimately follows the life of the protagonist, revealing the things the people of the remote fishing villages wish to treasure. It also discusses women’s relationship with their families and how the religion of the coastal areas blends into their daily lives. The main plot would be the shrimp farming of LIN Yun-chen, where we recognize the deep affection between her and her father as they make fun of each other. However, they often part on bad terms. The subplot focuses on the other male elders around her. To her, they are like foster parents, helping her establish her business but also presenting her with challenges. As she faces the unknowns of shrimp farming, the burden of her many side jobs to boost her income, as well as the pressures of being an unmarried woman, how can she pull all the pieces of her life together? While she possesses the ability to solve other people’s problems, she has trouble resolving her own.

Projects

Although coming home is not as difficult as it once was, by taking up a variety of responsibilities, can she also help her father fulfill his dream, to sail to the open sea?

提案簡介

Along her journey, she realizes “the way home” is actually the start of her departure, for it is not just her own family that she wants to look after. There are also the elders she cares for at the community long-term care center. The responsibility of family must be expanded to include the entire village community.

PROJECT

#03

大黃和奶奶 Da Huang and His Grandma

中國 China

Genre Key Words

家庭、人文關懷、人物傳記 Family / Human Interests / Biography

Length

電影長度 Feature Length (> 65 min)

Format

Production Status Contact

拍攝期 In Production 導演 Director、製片 Producer 吳美芬 WU Mei-fen T: +86-135-5348-6920 E: 784077730@qq.com

導演 Director、製片 Producer │ 吳美芬 WU Mei-fen 作品有《告別十二歲》、《上學路上》、《來自地球的好消息》等，其中《告別十二歲》曾獲得日舞基金會的資金支持，並入選國家廣電總局「百人百部優秀紀錄片扶持計畫」、2015 CCDF 華人提案大會、2015 亞洲陽光紀錄片大會「中國提案」環節、Sundance-CNEX 紀錄片工作坊剪輯工作坊和導演工作坊，亦獲得 2015 年廣州國際紀錄片節「最具國際銷售潛力獎」、 2018 新鮮提案真實影像大會提案金獎。

WU Mei-fen has taken part in the productions of: Wurra , Ways to School , and L’air du Temps . Wurra was pitched at 2015 CCDF,2015 ASD, 2015 GZDOC and 2018 Fresh Pitch (won Gold award). Wurra was selected by Sundance- CNEX Documentary Story and Edit Lab and was funded by Sundance Documentary Fund.

經費預算 Financing Plan (USD)

提案簡介 Projects

項目

Category

工作人員酬勞前期田調經費拍攝期間經費後期製作經費發行出版經費

Filmmaker (Salary) Research & Pre-Production Production Post-Production Distribution

Amount

$ 50,725 $ 2,818 $ 28,180 $ 35,225 $ 21,052

總預算

Total Budget

待籌措之經費已確認之經費

Financing Sought Confirmed Financing

$ 138,000 $ 132,364 $ 5,636

Sources

自籌 Self-financed

$ 5,636

PROJECT #03

LOGLINE

一句話

新冠疫情期間，大黃努力維繫與奶奶的聯結，為她而戰鬥。奶奶康復回家後，他卻無法與奶奶相處，兩人的關係變得緊張起來。 HUANG had strived to maintain contact with his Grandma during COVID-19. Howver, after she came home, he was unable to get along with her. Their relationship had also tensed up.

故事大綱

Synopsis

爺爺因感染新冠病毒去世後，83 歲的奶奶成了大黃唯一的親人。他在封城隔離、醫護短缺、求救無門的困境中，孤身一人竭盡全力讓奶奶活了下來。他原本想著，日後自己應當代替爺爺照顧好奶奶。可奶奶康復回到家之後，祖孫兩人卻經常吵吵鬧鬧、爭執不斷，難以共處，大黃甚至多次做出砸爛家裡東西的暴力行為，導致性格倔強的奶奶萌發輕生的念頭。這讓大黃愈加苦悶，不知所措，陷入了困境。

After his grandfather died from COVID-19, his 83 yearold grandmother became HUANG’s only family. He kept his grandmother alive during isolation, when there was a shortage in medical resources and no one to turn to. He thought he was supposed to take good care of his grandmother in his grandfather’s place, but after his grandmother recovered and was discharged from hospital, they constantly fought and quarreled, finding it very difficult to be around each other. HUANG went as far as to resorting to violence and smashing things in the house. Because of the circumstances, HUANG’s grandmother started to have the idea of taking her own life. Huang in turn got more and more depressed and found himself in a predicament, not knowing what to do.

拍攝大綱 2020 年春節，武漢爆發新冠疫情，我做為公民記者採訪報導感染家庭的故事，26 歲的搖滾樂隊成員大黃亦在其中。大黃自幼失去父母，在爺爺奶奶身邊長大。1 月底，他 80 多歲的爺爺奶奶均感染了新冠病毒，大黃不顧生命危險，住進醫院「紅區」陪護生活無法自理的二老。2 月 3 日，爺爺去世，他忍住悲痛，設法瞞住病危的奶奶並不休不眠地照顧了她 7 天 7 夜。經過多次搶救，奶奶病情不見好轉，沒有安全防護的大黃疲憊不堪，被迫離開。 3 月，獨自在醫院的奶奶奇跡般地治癒出院，被政府安排到康復驛站進行醫學隔離觀察。為了早日見到奶奶並照顧她，大黃再次選擇住進有感染風險的康復驛站。很不幸，隔離期即將結束時，奶奶摔倒骨折再次入院。意外連連，讓大黃不堪重負。之前，他努力維繫與奶奶的聯結，為她而戰鬥。奶奶手術康復回家後，他卻無法與奶奶在生活中相處，兩人的關係變得緊張起來。大黃認為自己已成年，可以擔負起家庭的重擔，可在奶奶眼裡，他還是個沒成熟的孩子，一直在不切實際地追求音樂夢想，又沒有收入來供養家庭。他既擔心奶奶身體虛弱，不讓奶奶做家務，又不會照料奶奶的飲食起居。他無力支付奶奶的醫療費，卻花掉爺爺僅剩的 2 萬積蓄買了把新琴。他不想跟姑媽、大伯爭奶奶房產的繼承權，卻在奶奶想把爺爺的安葬費分給姑媽和大伯時大發雷霆，甚至砸爛家裡的玻璃窗。他珍惜與奶奶共處的時光，卻時時刻刻想擺脫奶奶的嚴厲管教，尋求自由獨立。生活拮据帶來的不安、焦慮、彷徨以及面對奶奶時的糾結、壓抑，大黃感到無所適從，試圖以咆哮和暴力的方式跟奶奶溝通，渴望得到理解，卻適得其反。我們以真實電影的方式進入這對祖孫的生活，記錄了他們朝夕相處，口角不斷、摩擦重重，卻又相依為命、彼此相愛的日子。

Treatment During Chinese New Year of 2020, COVID-19 broke out. I interviewed the affected families as a civilian reporter. The story of the 26-year-old HUANG, who’s also a member of a rock-n-roll band, is also one of the cases. HUANG lost his parents as a child and was raised by his grandparents. At the end of January, both his 80-year old grandfather and grandmother were infected with COVID. HUANG got into the “red blocks” of the hospital to take care of his grandparents, who were unable to take care of themselves, despite the fact that it might be lethal. His grandfather passed away on February 3rd. He managed to keep it from his grandmother despite being grief-stricken, and carefully cared for his grandmother restlessly for a week. Her condition did not seem to attempt after multiple medical interventions. HUANG, who was there without protection, was exhausted, and was eventually made to leave. In March, his grandmother, who was at the hospital alone, was miraculously cured, and was put into the recovery and observatory sector for quarantine observation. To be able to see his grandmother sooner, HUANG again chose to stay in the hospital recovery sector where one risked being infected. Unfortunately, as the quarantine period was drawing to a close, his grandmother broke her bone from a fall, and had to be committed again. The one after another accidents were just overwhelming for HUANG. HUANG thought he was old enough to shoulder the burden of the family, but in the eyes of his grandmother, he was still a child who had yet to reach maturity and was still chasing his unrealistic music dreams, unable to bring in income and put bread on the table. HUANG was worried that his grandmother was physically weak, so he wouldn’t let her do any of the house chores, but he did not know how to take care of his grandmother’s daily meals and needs. He was unable to pay his grandmother’s medical bills, and yet used the remaining 20,000 left by his grandfather to buy a new guitar. He did not want to fight over inheritance with his aunts and uncles, and yet flew into a rage when his grandmother shared the funeral payment with his aunts and uncles, as far as to smash the glass windows at home. He cherished the time he shared with his grandmother, and yet he constantly wanted to be free from his grandmother’s strict teachings, and sought his own independence.

Projects

We entered the grandmother and grandson’s life through a factual film, documenting their daily life, their quarrels, their confrontations, and how thet depend on and love each other.

提案簡介

The financial want had caused HUANG worry, anxiety, and uncertainly; while his relationship with his grandmother caused him to struggle and and feel supressed. HUANG felt that he was at a loss, not knowing what to do. He tried to communicate with his grandmother through shouting and violence, hoping that she would understand, but that had only made things worse.

PROJECT

#04

暴走風塵 Driving into the Storm

日本、中國 Japan, China Genre Key Words

家庭、人文關懷、社會政治議題 Family / Human Interests / Social Political Issue

Length

電影長度 Feature Length (> 65 min)

Format

Production Status Contact

拍攝期 In Production 導演 Director 高倉天地 Tenji TAKAKURA T: +81-3-5465-6678 E: takakura@temjin.co.jp 製片 Producer 康世偉 KANG Shi-wei、劉珊珊 LIU Shan-shan T: +86-133-4893-2619、+81-3-5465-6678 E: 19612057@qq.com、liu@temjin.co.jp

導演 Director │ 高倉天地 Tenji TAKAKURA 2007 年獨自一人騎行橫穿歐亞大陸。親身感受了民族，宗教，文化的差異與衝突後萌發了從事紀錄片拍攝的想法。 2013 年東日本大地震中採訪拍攝了多位失去親人和家園的災民。至今有近 20 部作品在日本 NHK 電視臺播出，其中 2017 播出的中國卡車司機的紀錄片獲日本 JSBA Original Programming Awards 最佳紀錄片、日本銀河賞獎勵賞。

TAKAMURA traveled alone across Asia and Europe in 2007. Through travlling alone, he felt the differences of nationality, religion and culture . So he started to make the documentary filming. In 2013 the East Japan Earthquake, he interviewed a lot of persons who lost their family. Until now he created 20 programs for NHK, ranging from sensitive human dramas to adventure pieces. The documentary filming truck drivers in China wins the Best Documentary Award of JSBA Original Programming Awards and Award of Galaxy Award.

製片 Producer │ 康世偉 KANG Shi-wei 康世偉，生於成都，現就讀於西南交通大學文學博士。2005 年至今為專業紀錄片導演，美中教育文化基金會藝術總監。其導演的紀錄片《詩之一生》獲得歐洲國際電影節最佳紀錄片。其導演的紀錄片《輪回情》獲中國民族志紀錄片學術展銀獎，被中國紀錄片學院獎提名為 2019 最佳紀錄電影，同時被評為 100 部新中國紀錄片之一。同時，導演的其它紀錄片曾入圍廣州國際紀錄片節，美國大衛斯國際電影節，加拿大多倫多電影週，加拿大國際紀錄片電影節，俄羅斯真實電影節，義大利盧米埃電影節在內的等十多個國際影展。其創作的紀錄片於加拿大國家廣播 (CBC) 電視臺，日本 NHK 電視臺，香港鳳凰衛視等媒體播出。

Sichuan-based filmmaker and artist. His first feature documentary A lifetime poem was awarded for Best Documentary Film by International Euro Film Festival (Spain). His feature documentary Dance on the Square was an official selection of the Chinese biggest documentary film festival GZDOC in 2017 and was nominated for the China Academy Award of Documentary Films. His documentary work Love Samasara was nominated by China Academy Award of Documentary Films for the name “Best feature documentaries”. His documentary films were acquired by CBC Canada, NHK Japan and Phoenix TV Hong Kong. KANG is now doing his PhD at Southwest Jiaotong University in China.

製片 Producer │ 劉珊珊 LIU Shan-shan 參與製作 10 餘部日本 NHK 紀錄片，涉及社會、經濟、歷史等題材。2016 年 NHK 播出的《外國的“紅孩子”們》入圍北京國際電影節紀錄片單元最佳中外合拍長片。2019 年執導的《Naomeets Fashionista》，獲得日本銀河賞電視部門獎勵賞。

The creator has participated to create over 10 programs for NHK, ranging from sociology, economy and history. In 2016, the documentary Red Children aired in NHK was selected by 2017 Beijing International Film Festival Documentary Sector. The program Naomeets Fashionista that she participated to create from 2019 won the Award of Galaxy Award. 經費預算 Financing Plan (USD)

提案簡介 Projects

項目

Category

工作人員酬勞前期田調經費拍攝期間經費後期製作經費發行出版經費

Filmmaker (Salary) Research & Pre-Production Production Post-Production Distribution

Amount

$ 75,500 $ 9,500 $ 132,000 $ 66,000 $ 47,000

總預算

Total Budget

待籌措之經費已確認之經費

Financing Sought Confirmed Financing

$ 330,000 $ 217,000 $ 113,000

Sources

日本鐵木真電視公司 TEMJIN Production Co, Ltd

$ 113,000

PROJECT #04

LOGLINE

一句話

中國經濟的爆發伴隨著物流業的蓬勃發展，三千萬名卡車司機日夜奔波在高速路上。為了生存，新手司機肖紅兵不得不踏上兇險的「死亡公路」。 To survive the fierce competition amongst 30 million truck drivers in the Chinese logistics industry and provide for his family, novice trucker Xiao prepares to brave the “Road of Death.”

故事大綱

Synopsis

2000 年後阿里巴巴企業的迅速崛起，中國人開始瘋狂網路購物，導致物流業的蓬勃發展。中國現有驚人數量的卡車司機── 三千萬，他們扛起了中國近 80% 的貨運總量，每天爆肝運貨，以命換金。面對著混亂的物流系統與惡性競爭。他們駕駛卡車驅動著中國的經濟命脈，行駛於生死之間。

With the rapid ascendancy of Alibaba in 2000, online shopping has become a fixture of Chinese people’s daily lives. Orders from a billion people have led to an explosive development of the logistics industry to meet their demands. Today there are over 30 million truckers in China responsible for moving 80% of the total domestic cargo.

影片通過對卡車司機們及其家庭的紀錄，展現在中國經濟強勢崛起下，被網購裹挾的物流人的掙扎與迷茫。這是中國在暴富而繁榮的外表下，尷尬而虛弱的社會現實。

拍攝大綱我們的故事從中國最具有代表性的物流中心：成都傳化物流港開始。在 3000 萬的卡車司機中，每天有近萬名司機來這裡送貨、出貨。但是這裡魚龍混雜，系統機制繁蕪雜亂。運費及服務內容沒有規範的市場標準，惡性競爭異常激烈。面對行業的亂象叢生，卡車司機們每天開車 14 ∼ 18 小時，車上備著濃茶、泡麵、即溶咖啡和退燒藥。其中有不少人帶著妻子、孩子一同運貨。洗衣做飯睡覺都在車上，駕駛室成了他們的家。一路上不僅要面對偷油、搶劫和死亡的威脅，還要忍受貨主、保安、裝卸工的剋扣刁難與欺騙。他們一隻腳踏在陰間，一隻腳踏在陽間，稍有不慎就會命歸西天。主人公肖師傅，出生農民的他，由於一場特大洪水，承包的農田悉數被毀，並負債 100 萬元人民幣高利貸。為了養家糊口， 50 歲的肖師傅無奈選擇了就業門檻低，工資相對高的高危險職業──卡車司機。他借了 2 萬元買了一台二手輕卡，每次出車長達半年。2020 年疫情突襲，高速公路被封鎖，送貨途中的他因為湖北車牌被困在高速上，由於食物所剩無幾，被迫用手機錄下一段遺言，發到網絡，却意外走紅，由此獲救。然而疫情之後物流業競爭日益殘酷，為了生存，肖師傅瞞著家人，即將踏上被稱為「死亡公路」的川藏線，開啟一段前途未卜的凶險歷程…

These people work endless hours, trading their lives and their health for money, while serving as an essential part of the modern Chinese economy. Dealing within an unregulated sector and vicious competition, they are left with one foot on the gas and the other on the doorstep to hell. “Driving into the Storm” tells the story of these truckers and their families; it shows the risks and dangers they face while delivering online orders; and it exposes the painful and harsh reality hidden behind the veneer of China’s sudden prosperity.

Treatment “Driving into the Storm” starts at the Chengdu Logistics Depot in Sichuan Province. With over 10000 truckers setting out from here every day, it is a site of panic and chaos with truckers undercutting each other and throwing punches in parking lots. Drivers endure 14-to-18-hour workdays, risking highway robbery and the possibility of death. They live on instant noodles, cheap coffee, fever reducers, and antidiarrheals to survive. Many bring their families along, and their cabins are transformed into temporary homes, where they wash, cook and sleep. This film tells the story of XIAO, a man born into a peasant family in China’s Hubei Province. His farmland was destroyed by flooding in 2016, leaving him in massive debt. To pay them off, XIAO borrowed money from his relatives and bought a secondhand truck in an attempt to break into the logistics industry. After the coronavirus outbreak, all highways in China were sealed, leaving truckers like XIAO stranded with little food. Fearing this was the end of the line, XIAO filmed a video on his phone and posted it online. It shot him to instant fame and led to his rescue. With competition at an all-time high since the pandemic, XIAO considers taking the greatest challenge for truckers. Against his wife’s wishes, he decides to brave the “Road of Death”, a 2000 kilometre-long journey from Sichuan to Tibet that criss-crosses steep and rugged mountain ranges. The final reward is tempting. But will XIAO make it as he drives into the storm?

提案簡介 Projects

PROJECT

#05

生死一課 Death Education

中國、美國 China, USA Genre Key Words

家庭、人文關懷 Family / Human Interests

Length

電影長度 Feature Length (> 65 min)

Format

Production Status Contact

粗剪完成 Rough Cut 導演 Director、製片 Producer 李柯靚 LI Ke-liang T: +1-631-290-8932 T: +86-178-2683-6502 E: kli@mfasocdoc.com

導演 Director、製片 Producer │ 李柯靚 LI Ke-liang 李柯靚，1996 年 10 月生，中國浙江人。碩士研究生畢業於美國紐約視覺藝術學院社會紀錄片系。《生死一課》是其在研究生期間製作的紀錄長片處女作，已入選 2020 新鮮提案真實影像大會。

Keliang LI (b.1996) is a Chinese documentary filmmaker. Born and raised in Shaoxing, Zhejiang Province, she graduated with a B.A degree in Digital Media Arts at Communication University of Zhejiang. While pursuing an MFA degree in Social Documentary at the School of Visual Arts, her debut feature-length documentary film, Death Education , has been selected by Fresh Pitch (2020).

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提案簡介 Projects

項目

Category

工作人員酬勞前期田調經費拍攝期間經費後期製作經費發行出版經費

Filmmaker (Salary) Research & Pre-Production Production Post-Production Distribution

Amount

$ 11,100 $ 100 $ 8,995 $ 11,150 $ 10,600

總預算

Total Budget

待籌措之經費已確認之經費

Financing Sought Confirmed Financing

$ 42,845 $ 34,123 $ 8,722

Sources

自籌

Self-financed

$ 8,722

PROJECT #05

LOGLINE

一句話

22 歲的柯靚在拍攝關於死亡教育的紀錄片時，偶然回國發現母親隱瞞患癌即將離世，她用攝像機記錄母親生命最後 20 天。 22-year-old filmmaker Keliang returned home from New York only to find out that her mother had been fighting cancer for the past year and only had 20 days left.

故事大綱

Synopsis

柯靚是在紐約學習紀錄片的留學生。2019 年 5 月她為調研死亡教育，採訪到死亡教育家 Shatzi WEISBERGER，一位為自己辦過「生前葬禮」的 89 歲老太太。荒謬的是之後一星期的暑假，柯靚臨時回家發現母親自她出國後就被確診癌症晚期，全家在過去一年裡保守著這個秘密，柯靚一無所知。突然間她面對的不是一個僅用言語來討論死亡的機會，而是一堂實實在在面對生命消逝的課。在震驚和痛苦中她利用影像記錄母親的離開，反思自己的成長，並重新思考生死別離。

Keliang is a Chinese student pursuing an MFA degree in documentary filmmaking in New York. In May 2019, she researched about death education and interviewed Shatzi WEISBERGER, a death educator who hosted her own funeral and called it “FUN-eral”, encouraging people to truly appreciate death with positivity and openness.

拍攝大綱在紐約學習紀錄片的中國留學生柯靚，在兩年留學生活裡經歷了兩次家人離世。第一年因錯過爺爺的葬禮讓她決定製作關於死亡的畢業作品，也給了她契機認識死亡教育家 Shatzi WEISBERGER。暑假回國，她卻發現在過去一年內，全家隱瞞了她母親結腸癌晚期的事實。面對消瘦的母親，她難以消化荒謬的現實。震驚，不解，極度痛苦的她選擇與家人相同的方式，默默將情緒藏起，躲在攝像機後，將母親最後二十天都珍藏記錄。沉默織成了一個繭，包裹住一家人無法言說的掙扎內心，也把彼此緊緊繫在一起。這個繭也是中國人代代相傳處理情感的方式，正因如此，留在鏡頭裡的只有安靜：媽媽的治療日常、與家人之間逃避話題的交談、媽媽臨終時無助的喘息和葬禮墓地前的寂靜。柯靚在媽媽葬禮後，找到媽媽為女兒們遺留的三件半成品毛衣和所剩毛線，將釘滿牆壁的一張張家庭照片用毛線聯繫在一起，也漸漸把她雜亂的情緒紓解。照片中，她看到自己和妹妹們幸福地成長；自己出國前給媽媽拍的最後一張照片和每年不完整的全家福……未曾想，這也使她回憶起成長中對生命的消極。這一次，她選擇掙脫這個過度保護自己的繭殼，大膽地去表達。她也開始勇敢地與父親和妹妹們對話，終於理解母親為了讓她安心完成學業，寧可獨自承擔痛苦的用心。並重新尋找自己人生價值的征途。這二十天，不長，不短，是媽媽等女兒回家最後的禮物。

Ironically, a week later, Keliang went back home only to find out that her mother was diagnosed with terminal cancer a year ago, since the very day she left home for school. Her family contended a good lie to protect her from any emotional burden. With tremendous shock and sorrow and seeing the woman who taught her to appreciate life deteriorated in front of her, Keliang decided to film the last 20 days of her mom. Through the process she started to relearn the meaning of life.

Treatment During the two years in New York while pursuing her MFA degree in documentary filmmaking, Keliang lost two immediate family members. Missing her grandfather’s funeral prompted her to research about death for her thesis and brought her to death educator Shatzi WEISBERGER. When her mother was diagnosed with terminal colon cancer without knowing how many days were left, her family––following Chinese tradition––chose not to tell Keliang. In deep shock and great sorrow, she could not understand her family’s choice of keeping her mother’s condition from her. Yet, at the time she chose a similar way to deal with it––she hid her emotions behind the camera and filmed the last 20 days of her mom’s life. During the final days, Keliang and her family built an invisible cocoon that tied everyone together and wrapped all the pain with silence. Therefore, in the film you will undergo scenes like her mother’s daily treatment, small conversations, her mother’s funeral, and the ongoing unspeakable pain to her family. It is a transformative experience for Keliang who had suffered from depression for years and had been encouraged by her mom to live strong. After her mom’s funeral, Keliang used the yarn her mother left behind to weave together a wall of family photos, through which she started to unpack her long-term struggles with life, death, and family. Now, she feels the urge to initiate conversations among the family to break the silence and to break out from the cocoon the family has built together. This time, Keliang begins to understand the decision her family made before and will transform herself with new realization about life. 提案簡介 Projects

PROJECT

#06

一個普通家庭 House or Home

中國 China Genre Key Words

家庭 Family

Length

電影長度 Feature Length (> 65 min)

Format

Production Status Contact

粗剪完成 Rough Cut 導演 Director 余子豪 YU Zi-hao T: +86-155-0120-2029 E: 592006167@qq.com 製片 Producer 史曉桉 SHI Xiao-an T: +86-158-6811-0424 E: shixiaoancaa@qq.com

導演 Director │ 余子豪 YU Zi-hao 畢業於中國美術學院現為漫畫從業人員喜歡拍紀錄片

Graduated from China Academy of Art cartoonist I like making documentaries

製片 Producer │ 史曉桉 SHI Xiao-an 畢業於中國美術學院現居杭州西湖國際紀錄片大會（IDF）副秘書長

Graduated from China Academy of Art Living in Hangzhou Deputy Secretary General of Westlake International Documentary Festival

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提案簡介 Projects

項目

Category

工作人員酬勞前期田調經費拍攝期間經費後期製作經費發行出版經費

Filmmaker (Salary) Research & Pre-Production Production Post-Production Distribution

Amount

$ 25,000 $ 1,875 $ 30,000 $ 35,000 $ 25,000

總預算

Total Budget

$ 116,875

待籌措之經費已確認之經費

Financing Sought Confirmed Financing

$ 93,750 $ 23,125

Self-financed

$ 23,125

Sources

自籌

PROJECT #06

LOGLINE

一句話

阿明欠了幾百萬的高利貸，並以“夫妻共同承擔債務”的法律為由，理直氣壯地要妻子阿芬替他還錢。此時阿芬才發現，她竟然一點也不瞭解這個共同生活了 29 年的丈夫。 After revealing he was steeped in debt, Ah Ming refused his wife a divorce, knowing that, as his spouse, she was legally obliged to help pay off his debts. Only then did Ah Fen discover she hardly knew the husband with whom she had been living for 29 years.

故事大綱

Synopsis

因為賭博、借高利貸和套現信用卡，我父親阿明欠了近 300 萬債務，無力償還。我的母親阿芬礙於當時中國婚姻法的規定，只得幫助阿明一同還債。而在賣房還貸的前夕，樓上的租戶意外死亡，在封建傳統的中國，死過人的房子難以出售。

My father, Ming, is indebted for more than three million dollars from gambling, borrowing from loan sharks and cashing out from credit cards, and is unable to clear his debt. My mother, Feng, has no alternative but to help pay back the debt due to the then Chinese marriage law. When they resort to sell off the house in order to pay the debt, the tenant upstairs died of an accident turning the house into an inauspicious property that is difficult to sell in a society rooted in traditional values.

還清債務的四年後，阿明再次欠出巨額貸款。不同的是，婚姻法變了，夫妻無需共同承擔債務，這給了阿芬離婚的勇氣，但她卻遇到其他意想不到的阻礙……

拍攝大綱：故事圍繞我的家庭展開，時空跨越了四年。 2016 年，期盼妻子替自己還債的阿明、喪失理智的妻子阿芬、手足無措的阿明父親、落井下石的親戚、跳樓自殺的死者、趁虛而入的買方、窮凶極惡的債主，交錯的人物編織出複雜的事件。 2020 年，歷史重演，不知悔改的阿明再次欠出新的債務，阿芬有了離婚的念頭。雖然阻力如巨浪般襲來，但由於我的介入，事情開始有了不一樣的發展。在本片拍攝期間，我 24 小時與父母相處在一起，與他們說的話，比我這輩子過往時光里加起來的都要多。我們一家三口仿佛才開始真正認識彼此。在阿明的木訥與阿芬的戲劇化表達之下，我看到的是許多中國丈夫和妻子的縮影。我們所要面對的，是一個普通家庭的問題，也是萬千中國家庭的問題。中文裡，「家」，既代表了「家庭」，也代表了「房子」。一開始，我們家有「房子」，但沒有「家」；後來，我們家的「房子」沒有了，但我卻開始逐漸懂得「家」是什麼。

Four years after the debt is cleared, Ming gets into a large amount of debt again. However, at that point the marriage law has changed; husband and wife are no longer obligated to share debt. This change gave Feng the courage to divorce, but then she encountered other unexpected obstacles...

Treatment The story unfolds around my family within a timespan of four years. In 2016, the paths of multiple characters intertwined to form complicated relationships with each other: Ming, who expected his wife to pay back his debt for him; Feng, who has lost her mind; Ming’s father, clueless and without a plan; relatives who add fuel to the fire; a deceased individual who took their own life; buyers who use the opportunity to swoop in, and heinous creditors. In 2020, history repeats itself, and an impenitent Ming has yet again got himself into new debt, and Feng has once again thought about divorce. Even though obstacles persisted, my intervention has led to the start of new developments in the situation. During the production of this documentary, I lived with my parents day and night. I’ve had more conversations with them than the rest of my life combined. It was, as if, we had only just started to know each other. I realized that Ming’s stubbornness and Feng’s dramatic expressions represent the epitome of Chinese husbands and wives. The problem we faced does not only exist in one family, but persists in thousands of millions of Chinese families. In the Mandarin language, “Family” represents “House” or “Home.” At first, our family had a house, but not a family; then, although my family lost our “house,” I started to understand the meaning of “home.”

提案簡介 Projects

PROJECT

#07

人中之龍 The Wild Boys

台灣 Taiwan Genre Key Words

青少年與兒童、教育、人文關懷 Youth and Children / Education / Human Interests

Length

電視長度 TV Hour (51–65 min)

Format

Production 後製期 In Post-Production Status Contact

導演 Director、製片 Producer 廖建華 LIAO Jian-hua T: +886-912-754-398 E: jaykeonps@gmail.com

導演 Director、製片 Producer │ 廖建華 LIAO Jian-hua 廖建華，畢業於清大化工所，現為獨立影像工作者。紀錄作品《末代叛亂犯》（2015）、《狂飆一夢》（2019）皆關注於台灣民主化運動的歷史，後者曾於 2020 年 3 月在台灣院線上映。

LIAO Jian-hua holds a master’s degree in Chemical Engineering from National Tsing Hua University. He is now an independent filmmaker. His previous works The Last Insurrection (2015) and The Price of Democracy (2019) both focus on the history of democratic movements in Taiwan. The Price of Democracy had its theatrical release in March 2020.

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項目

Category

工作人員酬勞前期田調經費拍攝期間經費後期製作經費發行出版經費

Filmmaker (Salary) Research & Pre-Production Production Post-Production Distribution

Amount

$ 15,000 $ 7,000 $ 9,000 $ 11,000 $ 7,000

總預算

Total Budget

待籌措之經費已確認之經費

Financing Sought Confirmed Financing

$ 49,000 $ 30,667 $ 18,333

Sources

國家藝術文化基金會 National Culture and Arts Foundation 新北市紀錄片獎 New Taipei City Documentary Film Award

$ 8,333 $ 10,000

PROJECT #07

LOGLINE

一句話

一個面惡心善的戲劇老師，與一群青春迷惘的少年，他們在排練畢業巡演的同時，也面對著各種的人生狀況劇。 A theatre teacher with the temperament of a rough diamond and a group of teenagers experiencing a sense of lost prepare for their graduation play together, and at the same time are faced with various situations life throws their way.

故事大綱

Synopsis

余浩瑋，一個年輕時滋事輟學，面惡心善的戲劇老師，來到一所禁止學生使用手機與網路，集體管理生活的中介學校，希望透過戲劇教學與畢業巡演，讓青春躁動的生命透過藝術找到不同的出路。

YU Hao-wi, once a trouble-maker and a dropout student, is now an unconventional theatre teacher. Even though he has an intimidating demeanor, his character is in actuality warm and tender. He came to a halfway school that forbids the use of cell phone or internet, and enforces a community life, in the hope of helping the teenagers that are pulsing with the anxiety of youth to find a different outlet through theatre and their graduation project.

但學生雕峰因為在外面積欠賭債，選擇在畢業前夕離校去還債，債未還成就又被警察抓走；學生金光則整天期待家人來帶他回家，但他卻想不出回家的意義，一次又一次在期待與失落中擺盪。人生如戲，余浩瑋只能陪著他的學生們，面對那一場又一場的人生狀況劇。

拍攝大綱被限制行動自由，沒有網路沒有手機，住在中介學校裡的雕峰，與同學拿著攝影機互相拍攝著他們百無聊賴的寄宿日常。他們對彼此罵髒話、開帶著色情意味的玩笑、展示身上的刺青，對這所學校裡的少年們來說，回家也一樣是被困著，只有每週一次的戲劇課是稍微可以期待的日子。戲劇老師余浩瑋正開車前往學校，長長的路途只有他一個人陪伴著自己，一邊思考著學生畢業巡演的經費要從哪裡來。余浩瑋努力想要透過藝術來影響與他年輕時如此相似的這群少年，因為藝術既然能改變他，就一定也能改變少年們，讓他們有機會走出不一樣的人生路徑。余浩瑋帶著少年們排練的戲劇，是改編自他們的真實人生，余浩瑋要求學生要認真投入，人生走錯了，至少要把戲演對。在沒有排練的日子，余浩瑋努力拜訪企業希望能獲得畢業巡演的贊助，讓他看起來更像是狼狽的推銷員，而不是藝術教育工作者。畢業前夕，雕峰決定提早離校去償還在外頭積欠的賭債，余浩瑋懊惱學校沒有積極留下他而與校方賭氣。藝術很純粹，但人生太複雜，余浩瑋眼看著那一個個孩子們的人生困境，不知道還能使上什麼力，而畢業巡演就在眼前，他們這場戲應該如何繼續下去？

However, Diao-feng, one of the students, chooses to leave school to settle his gambling debt right before he graduates. He is, however, arrested before he manages to pay it off. One of the students, Jin-guang, on the other hand, keeps expecting his family to come and take him home, but unable to think of what it means to go home. He is dangling between expectation and loss. Life is like a play, YU can only offer his companionship as the students face one after another incidents.

Treatment Confined in a halfway school with very limited freedom, no internet or cell phone, Diao-feng and his classmates film one another, crack dirty jokes, show off their tattoos to pass time. For the teenagers in this school, home is just another confinement. The weekly theatre class is the only thing they can slightly look forward to. The theatre teacher, YU Hao-wi, is presently driving to school. He is his sole companion on this long drive, his thoughts lingering on how to fund the students’ graduation performance. He strives to change the teenagers, who are so much like his younger self, through art, for if art has been able to change him, then it surely can change them, and allow them to choose a different path of life. The play that YU and the students are working on is the adaptation of their own real lives. YU asks the students to throw themselves in this; if you have made a wrong decision in life, then at least do it right in the play. On non-rehearsal days, YU spends his time visiting companies and corporations, hoping to secure funding for the play, making him look more like a down-and-out salesperson than an art educator. Right before graduation, Diao-feng decides to leave to settle his gambling debt. YU was rather upset by the fact that the school did not actively stop him. Art is pure, but life is way too complicated. YU sees one after another of their predicaments, not knowing what he can do to make a difference. The graduation performance is right around the corner, how are they going to continue the show? 提案簡介 Projects

PROJECT

#08

藝術家 The Artist

中國 China Genre Key Words

藝術、文化、環保、人文關懷、社會政治議題 Arts / Culture / Family / Human Interests / Discovery and Lifestyle

Length

電影長度 Feature Length (> 65 min)

Format

Production Status Contact

拍攝期 In Production 導演 Director 車怡岑 Stephen CHE 、夏鵬程 XIA Peng-cheng T: +86-151-1024-5568 E: 834436767@qq.com 製片 Producer 杜海 Vincent DU T: +86-137-5207-2864 E: duhaiphoto@gmail.com

導演 Director │ 車怡岑 Stephen CHE 紀錄片導演、製片人，攝影師。2014 年至 2017 年從事新聞攝影工作，2018 年開始創作紀錄片。2016 年中國年度公益記者，2016 年獲美國國家地理攝影大賽（中國區）二等獎，作品《失獨者的後半生》入圍 2018 年華時代全球短片節紀錄片單元，紀錄片長片項目《和尚爸爸》入圍 Hot Docs 加拿大國際紀錄片電影節提案單元，目前在後製階段。

Stephen CHE is an emerging visual storyteller in China. He works as a director, producer and photographer for Tencent News. He won the Second Prize of the 2016 National Geographic Photo Contest (China). His documentary The Lives of Parents who Lost their Only Child was shortlisted in Hua International Short Film Festival.

導演 Director │ 夏鵬程 XIA Peng-cheng 夏鵬程，紀錄片導演、紀實攝影師。曾供職於中國多家媒體。SONY 中國青年攝影師計畫入選者，SOPA 亞洲卓越攝影獎。長期關注中國的社會和環境問題。

Pengcheng XIA is an award winning director and photographer who has been dedicating to social and environmental issues of China.

製片 Producer │ 杜海 Vincent DU 作為製片人與導演，杜海已經完成超過十部紀錄片作品。代表作品包括為新加坡亞洲新聞台製作的系列紀錄片 A Billion Chinese Dreams（4 集Ｘ 48 分鐘）；Smuggling for Survival 獲得 2019 年「亞洲學院創意大獎」（簡稱 AAA）最佳新聞時事與系列紀錄片節目獎；紀錄長片《遙望繁星》入圍 2019 年阿姆斯特丹國際紀錄片電影節 IDFA 競賽片單元；紀錄短片《藍天保衛戰》獲得 2019 年中國紀錄片學院獎最佳紀錄短片獎；紀錄長片《江南棄兒》入圍 2018 年美國洛杉磯亞太影展、香港亞洲電影節。

Vincent DU is a Beijing-based filmmaker. As director and producer, Vincent has made more than ten documentaries for international broadcasters and specialized agency of the United Nations. Vincent’s recent works include feature length documentary Smog Town , IDFA Bertha Fund 2018 and premiere at IDFA First Appearance Competition section 2019, and China’s Forgotten Daughters , screened at Los Angeles Asian Pacific Film Festival, Hong Kong Asian Film Festival, and One World Human Rights Film Festival. He was selected to the Berlinale Talents at the 64th Berlin International Film Festival 2014.

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項目

Category

工作人員酬勞前期田調經費拍攝期間經費後期製作經費發行出版經費

Filmmaker (Salary) Research & Pre-Production Production Post-Production Distribution

Amount

$ 68,000 $0 $ 78,000 $ 39,000 $15,000

總預算

Total Budget

待籌措之經費已確認之經費

Financing Sought Confirmed Financing

Sources

N/A

$ 200,000 $ 200,000 $0

PROJECT #08

LOGLINE

一句話

本片講述的是中國藝術家堅果兄弟，通過藝術實踐關注社會議題，喚起人們對城市化、工業化以及人類生存環境之間關係的深刻思考的旅程。 A documentation of Brother Nut’s deep journey that tackles social issues and calls upon the masses to reflect on urbanization, industrialization and the environment though art.

故事大綱

Synopsis

出身湖北農村，十年寒窗苦讀考取大學，畢業後成為一名安穩的大城市白領——本是影片主人公堅果兄弟的成長軌跡。但他卻背離了這個軌道，意外成為了一名落魄卻知名的當代藝術家。從人的精神困境，到人與生存環境關係的探討，一次又一次創作出引發中國社會輿論震動的作品。他是如何從藝術的角度去關注社會議題的？面對社會阻力與家庭壓力，他又將如何繼續他的創作與生活？本影片將展開這個故事。

Born in a farming village in Hubei, China, Brother Nut spent all his might and got into University. After he got his degree, he became an office worker in a big city, which was once his life’s trajectory; however, he had deviated from that path and became a down-and-out and yet renowned contemporary artist. His topics range from the spiritual predicaments that humans are faced with, to the relations between people and the environment. Time and time again, he creates one after another work that shakes the Chinese society and public opinions. How does he approach social issues through art? In the face of obstacles posed by the society and the pressure from his family, how will he manage to continue his life as an artist? This film will be a documentation of his development.

拍攝大綱從「無意義公司」、到「霧霾磚」、第一間「把直變彎」異性戀治療公司，堅果兄弟很可能是在中國上過網路熱搜最多次的藝術家。本影片兩條故事線：一是透過他藝術創作的視角，講述中國社會現階段面臨的重要社會議題；二是他個人人生軌跡的發展，所面臨的困境以及如何應對。 2017 年，堅果兄弟的母親患癌，次年去世。家鄉的污染成了一大疑因。帶著不公的憤怒，他開始瞭解中國受污染村莊的情況。他發現了在陝西和內蒙古交界處，一個被煤礦污染了十餘年的村莊。於是他創作了「換水計畫」，即用一萬瓶純淨水換成當地受污染的水，運至北京展覽。此舉引發了中國社會輿論的爆發，政府立即成立專門的調查小組。 2019 年，深圳最大的城中村——白石洲，面臨拆遷，15 萬人要搬遷，外來工子女面臨失學。他開始收集失學孩子的娃娃，用巨型工業機具，將娃娃夾到深圳的邊界之外。當天專案被叫停。但在網路上引發了強烈關注。政府也開始減緩粗暴的拆遷進程。一週後，他卻被警方帶走調查。上述只是他兩個頗為代表性的作品，藝術之外，是這位落魄而自卑的藝術家與傳統價值觀、家庭之間，愧疚卻堅定的抗爭之路。母親病逝，他深受打擊。遠在家鄉的父親和哥哥一家，也因為他創作涉及敏感社會議題，常常受到來自警方的調查。 2020 年，父親長年的隱疾又發作，他決定回到家鄉陪父親求醫。面對久違的家人，堅果兄弟如何和他們相處？此次求醫之旅，父子倆開展了一場內心世界的對話旅程。

Treatment From “Meaningless Corp. Ltd.,” “Brick of Smog” to “First–– Turning Straight to Queer, a Treatment for Heterosexual People”, Brother Nut is probably one of the most googled artists in China. The story is composed of two storylines; one through his perspective in creating artworks, narrating important social issues the contemporary China is faced with; the second is his life trajectory, his predicaments and how he deals with them. In 2017, his mother was diagnosed with cancer, and soon passed in the following year. The pollution back home was considered to be a possible cause. With indignation, he set out to investigate the pollution in Chinese rural villages. He found a village at the border of Shanxi and Inner Mongolia afflicted by pollution from mining for more than a decade. Thus he created The Water Changing Project, where he filled 10,000 bottles of polluted water sourced from the village and shipped them to Beijing to exhibit. Exposing the issue caused public outrage, and the government had, in response, established a special investigation unit to look into the case. In 2019, Baishizhou, the largest urban village in Shenzhen, was to be demolished. 150,000 people were to be evicted, and children of migrant workers were not able to go to school because of this very incident. Brother Nut started collecting dolls from children who were deprived of education and moved them out of Shenzhen with an industrial crane. The project was halted on the day of its execution, but had still drawn attention on the internet. The government had also took a less violent approach in the village’s demolition. However, Brother Nut was taken by the police to investigation.

Projects

He was stricken with grief when his mother passed. His father and brother back home were also constantly investigated by the police because of his works dealing with sensitive social issues.

提案簡介

The mentioned works are only two of the many representative works from him. However, it is outside of art that the down-andout and self-abased artist struggles, caught by conventional and family values, steadily and firmly carrying on, burdened with his feelings of guilt.

PROJECT

#09

女人世界 Women’s World

中國 China Genre Key Words

藝術、文化、歷史、長者、人文關懷、性別議題、種族議題、實驗性紀錄片、劇情式紀錄片 Arts / Culture / History / Senior / Human Interests / Gender / Race / Experimental Documentary / Docudrama

Length

電影長度 Feature Length (> 65 min)

Format

Production 後製期 In Post-Production Status Contact

導演 Director、製片 Producer 楊圓圓 Luka Yuanyuan YANG T: +86-138-1045-4750 E: yyyuanyuan.yang@gmail.com 製片 Producer 丁大衛 DING Da-wei、鄒艾暘 ZOU Ai-yang T: +86-186-1169-9630、+86-139-5289-3268 E:ddwfox@gmail.com、aiyang.zou@gmail.com

導演 Director、製片 Producer │ 楊圓圓 Luka Yuanyuan YANG 楊圓圓，1989 年出生於北京，她是一名電影導演與視覺藝術家。2013 年畢業於倫敦藝術大學並獲攝影本科學位，目前工作居住在北京。她通過影像、攝影、藝術書籍與表演等多種媒介實現視覺敘事。通過結合真實與虛構的元素，她在作品中挑戰固化與傳統的歷史詮釋，關注被遺忘、消聲及曲解的人物與片段。2019 年底與 2020 年初，楊圓圓與卡羅・納瑟斯合導的電影《相愛的柯比與史蒂芬》在美國亞特蘭大電影節、Camden 國際電影節、Big Sky 國際紀錄片節、Indie Grits 等多個電影節獲獎與放映。

Luka Yuanyuan Yang (b. 1989, Beijing, China), currently lives and works in Beijing. She is a filmmaker and visual artist. She does visual storytelling through film, photography, artist books and performance. By creating narratives where facts and fiction coexist, she challenges the rigid and conventional interpretation of history and gives voices to subjects that have been forgotten, silenced, and misinterpreted. She graduated from London College of Communications, University of the Arts London with a BA (hons) in photography. In late-2019, the film Coby and Stephen are in Love co-directed with Carlo Nasisse was screened at multiple international film festivals such as Camden International Film Festival and Atlanta Film Festival.

製片 Producer │ 丁大衛 DING Da-wei 策展人，製片人，評論人，從事出版、媒體和影視行業多年，他的工作和研究中心圍繞著非虛構影像，檔案影像和實驗電影；2017 年他創辦「北京國際短片聯展」（BISFF），並任藝術總監至今。作為電影評論人，他的作品已經被發表在包括《電影世界》、《環球銀幕》、《看電影》、《香港 01 周刊》等 50 多個雜誌、報紙和網站。除此之外，他還是一位戲劇編導。

Dawei is a curator, film producer and critic. He has spent his career researching, curating and producing non-fiction images, archival film and experimental film. He founded the Beijing International Short Film Festival and has acted as the director since 2017. As a film critic, his articles have been published in over 50 magazines, newspapers and websites, including Cinema World , World Screen , Moview , HK01 , etc.

製片 Producer │ 鄒艾暘 ZOU Ai-yang 作者，策展人，翻譯，電影節運營經驗豐富。她的主要關注領域是：早期電影、非虛構、實驗與虛構影像及女性研究。她畢業於西班牙 IESE 商學院，擁有工商管理碩士學位，在多家跨國企業長期領導和參與商業專案管理，曾擔任 2016 年上海國際電影節放映字幕運營總監。自 2018 年起，任北京國際短片聯展（BISFF）策展人。此外，她還涉足多媒體專案諮詢並主持名為《The Talking Hours》的電影史 Podcast。

Aiyang is a writer, film curator, translator and had extensive experience in film festival operations. Her main fields of interest include: silent cinema, non-fiction, experimental/avant-garde cinema and women’s studies. She holds an MBA degree from IESE Business School and has solid project management skills. She led a screening operations project in Shanghai International Film Festival in 2016 and has acted as programmer for Beijing International Short Film Festival since 2018. She also consults in media projects and hosts a podcast on film history The Talking Hours . 經費預算 Financing Plan (USD)

提案簡介 Projects

項目

Category

工作人員酬勞前期田調經費拍攝期間經費後期製作經費發行出版經費

Filmmaker (Salary) Research & Pre-Production Production Post-Production Distribution

Amount

$ 25,000 $ 7,863 $ 72,735 $ 70,725 $ 37,560

總預算

Total Budget

待籌措之經費已確認之經費

Financing Sought Confirmed Financing

$ 213,883 $ 156,070 $ 57,813

Sources

自籌亞洲文化協會外灘美術館

Self-financed Asian Cultural Council Rockbund Art Museum

$ 40,000 $ 10,000 $ 5,000

PROJECT #09

LOGLINE

一句話

做為舊金山華埠夜總會黃金年代的親歷者，一群七旬至九旬的舞者再度走上巡演之路，從美國、古巴到中國，譜寫出海內外華人世界交匯的動人樂章。 Reliving the golden days of San Francisco Chinatown’s nightclub era, a group of senior Chinese American dancers aged 70 to 93 went on road again, touring from the US to Cuba and China, bridging once isolated Chinese-speaking worlds.

故事大綱

Synopsis

2018 年，中國女導演楊圓圓走上旅途，尋找被遺忘在歷史陰影中的華裔女性。她追隨著曾是好萊塢一代女性先鋒，如今卻乏人問津的電影人伍錦霞的腳步，來到舊金山唐人街。在這裡，她遇到了傳奇舞者余金巧，講述華埠都市傳說的導遊方美仙和「都板街舞團」的姐妹們。這群女性儘管生命境遇各不相同，卻在花甲之年走到一起獻身表演。導演與曾親歷舊金山華埠夜總會黃金時代的她們一同踏上旅途，從舊金山出發，到拉斯維加斯、夏威夷、哈瓦那，最終抵達上海跟北京。她們跨越 20 世紀華人演藝史，在海內外華人世界的交匯中共同譜寫出一部伍錦霞遺失電影《女人世界》的當代變奏曲。

In 2018, the mainland Chinese director Luka Yuanyuan YANG set out on a journey in search of forgotten Chinese women. Following the trails of Esther ENG, an early Hollywood pioneer now in obscurity, she arrived in San Francisco Chinatown and met Coby YEE, a legendary nightclub dancer, Cynthia YEE, founder of “Grant Avenue Follies” and the ladies of the dance troupe. Despite different circumstances of life, they found each other through dancing in their twilight years. The story gradually unfolds like a road film as the director guided the group for a tour from San Francisco to Havana, Las Vegas, Hawaii, Shanghai and Beijing. A contemporary reflection of Esther ENG’s now-lost 1939 film It’s a Women’s World , the trip became a bridge across geographic borders, a memory lane down the history of Chinese American audiovisual culture, where two once isolated worlds finally meet.

拍攝大綱《女人世界》以歌舞公路片的形式呈現，影片的敘事聚焦在兩名主角身上：92 歲的余金巧和「都板街舞團」的創始人方美仙。隨著旅途的不斷深入，每個人物的性格特點、個人背景與複雜性逐漸展露。與此同時，影片的另一條平行旅途——伍錦霞的電影之路——由影片的第三位核心，即導演本人代入敘事。影片主體來自 4K 數碼攝像機拍攝的近 300 小時記錄影像，並穿插大量精心搜集的珍貴影像檔案、電影殘片與歷史照片。影片還將包含導演楊圓圓用 16 毫米黑白膠片拍攝的片段，遙想和還原了那些早已不幸遺失的歷史影片，向伍錦霞的光影歲月致敬。音樂設計的風格參照舞團表演時的配樂，從 40 年代的華埠夜總會中的 Frank Sinatra 到 Flower Drum Song 中的經典插曲《Chinatown》，從音樂上體現出美國華裔的複雜的文化背景。舞臺是主角們的第二個人生，導演通過獨特的視覺敘事，將多種素材與舞臺藝術融合在一起，在影片明快而豔麗的色調下，影片角色從臺上到台下，從戲裡到戲外，反復轉變著身份，故事也遊走在虛虛實實的邊界。

Treatment Framed as a musical road film, Women’s World focuses on two main characters: Coby, the 92-year-old legendary dancer, and Cynthia, the founder of “Grant Avenue Follies”. Their personality, background and complexities will reveal as they tour across key locations in the history of Chinese theatre overseas, while a parallel storyline slowly unfolds, led by the director, into Esther ENG’s cinematic memory. The main source material are 300 hours of documentary footage shot on 4K digital cameras, interwoven with archival materials–– film fragments, home video and historical photographs, as well as 16mm, black-and-white analog vignettes as a secondary storyline, paying homage to Esther ENG’s career in filmmaking. Music is used as a vehicle to illustrate the complex cultural background of early Chinese American communities, ranging from Frank Sinatra to classical pieces such as “Chinatown”. Stage performance is also woven into the main narrative, as the director’s unique visual storytelling style celebrates the characters passion for dancing. In lucid and vibrant colors, they walk on and off stage, stepping in and out of fiction, leading the story to waver from reality to imagination.

提案簡介 Projects

PROJECT

#10

呼吸之間 Inspirare

中國、加拿大 China, Canada Genre Key Words

家庭、體育 Family / Sports

Length

電影長度 Feature Length (> 65 min)

Format

Production Status Contact

拍攝期 In Production 導演 Director 康宇琪 KANG Yu-qi T: +86-158-1060-2295 E: contactme@yuqikang.com 製片 Producer 曹曦 CAO Xi、Dana KALMEY T: +86-135-6894-3204 E: caoxims@163.com

導演 Director │ 康宇琪 KANG Yu-qi 蒙古族青年女導演，畢業於紐約視覺藝術學院，並獲得該學院最高獎項「寶拉・羅德斯紀念卓越成就獎」。處女長篇作《小智慧》（2017）獲加拿大國際紀錄片電影節最佳紀錄長片、紐約紀錄片電影節評委會最高獎視角大獎、法蘭克福金樹國際紀錄片節最佳攝影、尼泊爾國際電影節最佳長篇大獎。她個人亦被加拿大導演協會提名為年度最佳新導演，並入選多倫多電影節天才訓練營和紐約紀錄片電影節評選的「40 under 40」名單。

Yuqi Kang is an award-winning documentary film director and producer. She earned a film MFA at the School of Visual Arts, NYC, winning the Paula Rhodes Memorial Award. Her first feature, A Little Wisdom (2017), won Best Canadian Feature at the Hot Docs Canadian International Documentary Festival, the Grand Jury Award at DOC NYC, Best Camera at Golden Tree Film Festival and Best Feature Film at the Nepal International Film Festival. She was selected for the TIFF Filmmaker Lab with her fiction project and named one of the five breakthrough directors by the Director Guild of Canada in 2018. In 2019, she was named in the “40 under 40” by DOC NYC. She is also an alumnus of the Tribeca Film Institute, Hot Docs Industry as well as RIDM Talents.

製片 Producer │ 曹曦 CAO Xi 曹曦，青年製片人、導演。作品入圍世界各大電影節並斬獲多項大獎。參與了系列紀錄片《我們的康定情歌》、紀錄長片《小智慧》、紀錄長片《OINK》（BBC），劇情長片《在碼頭》、《日夜江河》等影片的製作與宣發工作。新開發劇情長片專案《何處惹塵埃》、《沸騰》入圍上海國際電影節創投、FIRST 青年電影展創投、重慶青年影展創投，並在上影節獲得騰訊影業現金獎、重慶青年影展獲特別推薦專案獎。

Producer Xi Cao/ Xi is a producer / director whose prize-winning works have premiered worldwide in prestigious film festivals. Projects include Our Kangding Love Songs (2016), The Principal (2017), OINK (2017), and One Night on the Wharf (2017). The Dust From Yesterday is his new fictional project.

製片 Producer │ Dana KALMEY Dana Kalmey，紐約獨立製片人，參與製作的紀錄片有 20 餘部，曾入圍的影展包括 Sundance，SXSW，IDFA 等多個全球炙手可熱的電影節。其作品在 Netflix, Amazon 等多個平台合作播出。她目前在製作的個人長片《Tandem》是關於夏威夷一群世界衝浪冠軍的故事，預計將在明年底上映。

Dana Kalmey is a filmmaker, Impact Partners Producing Fellow, and former architect and college soccer coach. Her films include the award-winning Trapped (2016), Well Groomed (2019), (Dis)Honesty: The Truth About Lies (2015), and E-Team (2014). She currently directs sports documentaries, The Last 90 Minutes and Tandem , while producing Inspirare . 經費預算 Financing Plan (USD)

提案簡介 Projects

項目

Category

工作人員酬勞前期田調經費拍攝期間經費後期製作經費發行出版經費

Filmmaker (Salary) Research & Pre-Production Production Post-Production Distribution

總預算

Total Budget

待籌措之經費已確認之經費

Financing Sought Confirmed Financing

Amount

$ 219,864 $ 7,047 $ 201,542 $ 99,784 $ 42,281

$ 570,518 $ 462,285 $ 108,233

Sources

內蒙古蘭珊洋影視文化心 Inner Mo ngo lia lanshanyang C ultural Communication LLC FIRST 青年電影展紀錄片實驗室 FIRST Documentary Lab HotDocs CrossCurrents Doc Funds Tribeca Institute

$ 56,375 $ 19,872 $ 21,986 $ 10,000

PROJECT #10

LOGLINE

一句話

陸文婕將返回這個她曾發生致命事故的賽場，並嘗試更深的下潛去打破紀錄。每一次呼吸和深度下潛都將伴隨著最深刻的恐懼和渴望。這一次，她能重回水面嗎？ Inspirare is an intimate and unyielding journey with female freediving champion, Jessea Lu, as she faces her biggest fear and attempts to dive to 100 meters on one single breath.

故事大綱

Synopsis

《呼吸之間》帶我們共同見證中國首位女性自由潛水冠軍陸文婕挑戰自我極限的過程，她將進入深海深處，完成她從未達到過的壯舉——在 2020 年的世界比賽中自由下潛到 90 米。白天做為一名職業藥理顧問，利用業餘時間拿到自由潛水金牌的她，無論做什麼都會全心投入。在去年的比賽中，最後離水面 20 米時陸文婕遭遇了低氧昏厥（BO），但她並沒有放棄，反而給自己設定了一個更具挑戰性的目標。明年，在巴哈馬深度賽—這個讓她第一次感受到死亡的賽場，她將在這裡戰勝自己心理的陰影，並創造新的紀錄。隨著每次的呼吸和隨後的深度下潛，她都面臨著可能無法再次回到水面的危險。這一次她能成功地回到水面嗎？

Inspirare takes us into the life and underwater world of female freediving champion, Jessea Lu, as she journeys into the abyssal depths to complete a feat never achieved before––diving to 100 meters with just one single breath in the 2021 world competition. After suffering a dangerous underwater blackout during last year’s competition, Jessea comes back with renewed ferocity and a bigger, more dangerous goal. Will she reemerge from the depths this time around?

拍攝大綱深吸了一大口氣，隨後像海獅一樣潛入海底。在海平面以下近百米的海洋世界中，她的心率會減慢，新陳代謝速率會減慢，氧氣消耗會減少，光會逐漸消失，任何一個細小的錯誤就可能讓她置於險境。去年她在參加一場世界比賽中遭遇 Blackout 淺水昏迷，在安全員的幫助下才安全回到水面。但是這並沒能阻止她回歸深海，挑戰自己下潛的新紀錄。影片將遵循兩條時間線：陸文婕的童年生活和她做為一名競技自由潛水者當下的生活。Jessea Lu 的中文名叫陸文婕，她的父母取名的寓意是希望她成為一個「溫柔乖巧的女人」，但那從來都不是真正的她。當陸文婕回顧她的過去時，我們了解到她的母親是典型的「中國式虎媽」，她母親成長於一個重男輕女的家庭，勉強的為了哥哥而放棄了自己的教育機會，感覺被困在她的家鄉和婚姻中。陸文婕的母親為她提供了最好的機會，使她獲得了最好的教育，因為她母親知道女兒可以控制自己的生活的唯一途徑——她從小就灌輸給陸文婕的信念。陸文婕從小也一直很聽話，但對她父母的離婚感到絕望。這是小陸文婕第一次體會到強烈的無力感——她意識到，無論她多麼努力，生活中總有很多她無法控制的事情。導演與陸文婕在拍攝中形成一種有效的互動，伴隨著刺激、反思，我們從陸文婕夏威夷家湛藍的海水到印尼，泰國和馬來西亞的航行，並最終前往巴哈馬的「藍洞」參加世界頂級自由潛水比賽。這是一個專業的自由潛水世界，展示世界頂級運動員真實而艱苦的人生選擇。我們在不同的相機風格之間切換：主觀（講故事的人：康宇琪的個人相機）和客觀（電影的攝影師）而她的旅程將引導作為觀眾的我們，以直觀和隱喻的方式來重新思考我們與這個世界的關係。

Treatment Inspirare opens with Jessea Lu, the first Chinese female freediving champion, floating on the ocean’s surface. She takes several long exhales, then one long inhale, and dives into the water. As she glides down into this deep-sea, her organs compress, the light around her disappear, and one small mistake could kill her. Cutting to riveting archival video, we experience the blackout Jessea suffered three years ago when she attempted a world record 93-meter-dive at Vertical Blue, the world’s top freediving competition. She was lifeless for four minutes. We watch as she is rescued and gain an understanding that her life could’ve ended that day. Nonetheless, Jessea has returned to freediving, adjusting her training and learning how to properly utilize her body. She has been able to claim every Chinese record but has never dared to return to Vertical Blue. In 2020, she has decided she’s ready again––and will be challenging herself to deeper depths––a new 100-meter world record. With this end goal in mind and the director’s cinéma vérité-style angle that interacts, bonds with, and reflects on Jessea’s inspiring, unrelenting journey, we travel from the clear blue waters of Jessea’s home in Hawaii to the live-on boats of Southeast Asia where coronavirus leaves the team stranded, to Jessea’s fateful contest in the Bahamas. Two chronological timelines unfolds between Jessea’s childhood and current days. We learn that for Jessea, freediving is an extreme way to confront the abyss and her fears., Jessea reflects that after her parents’ divorce, she experienced a turbulent relationship with her mother. Facing social stigma as a single mother, her temper worsened. Ever since Jessea won an intelligence contest in kindergarten, her mother and everyone in her family praised her. Since then, she has been competing, and has always stayed on top. Her academic achievements include being the top scorer in exams and attending elite universities in the U.S. and China. While doing it all independently, with no reliance on her parents. But no amount of accolades seem enough. Back in the present at Jessea’s home in Hawaii, she juggles pharmaceutical work on her laptop with freediving training in the deep sea. With her upcoming 100-meter-dive attempt ahead, she must train for perfection. The tension builds through athletic training montages, as Jessea attends most dangerous competition of her life. Suddenly, the coronavirus breaks out and Jessea’s training and our filming came to a halt. In Hawaii, Jessea’s training becomes impossible due to the virus. Most major competitions are canceled or delayed, including Vertical Blue which was scheduled for June 2020. She gets sick and expresses fears of losing sponsors and government approvals that are critical for her freediving career. 提案簡介 Projects

We follow Jessea’s return to the world freediving stage, her relationship with her safe diver: Leo, and reconnection with her parents as she attempts to break the freediving world record in the same contest she nearly died three years ago. Inspirare tells a nuanced tale of an extreme sport experienced by a female athlete striving for unparalleled achievement in a world vastly different than where she came from. Will Jessea reemerge from the abyssal depths as a champion this time around?

PROJECT

#11

偉士牌、颱風、外交 Vespas, Typhoons, and Diplomats Genre Key Words

台灣 Taiwan

藝術、文化、娛樂、歷史、人文關懷、音樂 Arts / Culture / Entertainment / History / Human Interests / Music

Length

電視長度 TV Hour (51–65 min) 電影長度 Feature Length (> 65 min)

Format

Production 拍攝期 In Production Status Contact

導演 Director、製片 Producer David FRAZIER 傅達文 T: +886-930-371-036 E: ddavefrazier@gmail.com

導演 Director、製片 Producer │ David FRAZIER 傅達文出生於美國，傅達文是個從 1995 就居住在台灣的紀錄片導演、記者、音樂專欄作家、演唱會推廣者和電影節籌辦人。他在 90 年代為台北時報、南華早報和紐約時報撰寫台灣獨立音樂的崛起。傅達文在台灣最廣為人知的事蹟是創辦和籌劃城市遊牧影展和怪奇音樂祭，兩個支持獨立電影和音樂的活動。他曾為探索和歷史頻道編寫有關於明星阿妹和張小燕的電視紀錄片，也曾攝製和導演 Taiwan Famous 和 Dark Funeral 等紀錄短片。

David Frazier is a documentary film director, journalist, music columnist, concert promoter, and film festival organizer living in Taiwan since 1995. He wrote about the rise of Taiwanâ € ™s indie music scene starting from the late 1990s for the Taipei Times, South China Morning Post, New York Times and numerous others. He is best known in Taiwan as founder and program director of the Urban Nomad Film Fest (est. 2002) and Freakout Music Fest (est. 2015), events supporting indie film and music. He has written TV documentary scripts for Discovery and History channels on entertainment celebrities A-Mei and Chang Hsiao-yan and produced / directed two short documentaries, Taiwan Famous and Dark Funeral . He is originally from the US.

製片 Producer │ Eli KAO 高敏功 Eli KAO 是亞洲區國家地理頻道和 Discovery 等國際頻道合作過的編劇、製片、導演。從開發、提案到呈現與紀錄，紀錄片製作的各個階段他都精通。他能與團隊合作，有熱情與遠見想要呈現被世界忽視的故事與聲音，並闡明廣泛的社會、文化、和科技的背景。

Eli KAO is a writer, producer, and director for international networks including the National Geographic Channel and Discovery Networks in Asia. Produced content broadcast to millions throughout the AsiaPacific region. Experienced with all phases of production, from development and pitching to delivery and documentation. A team player with a passion and vision for bringing to life underrepresented stories and voices while illuminating broader sociocultural and technological context.

經費預算 Financing Plan (USD)

提案簡介 Projects

項目

Category

工作人員酬勞前期田調經費拍攝期間經費後期製作經費發行出版經費

Filmmaker (Salary) Research & Pre-Production Production Post-Production Distribution

Amount

$ 55,000 $ 5,000 $ 75,750 $ 32,550 $ 10,000

總預算

Total Budget

待籌措之經費已確認之經費

Financing Sought Confirmed Financing

$ 178,300 $ 158,300 $ 20,000

Sources

國家藝術文化基金會 National Culture and Arts Foundation 自籌 Self-financed

$ 6,500 $ 13,500

PROJECT #11

LOGLINE

一句話

1980 年代，在戒嚴後期逐漸改革開放的台灣，有一群外國學生成為第一群闖入華語流行音樂界的西方人。他們成為了電視明星，發行唱片，並影響了台灣的搖滾樂。他們的榮耀來得很快，但是後來主唱 Wayne 的樂團被競爭的音樂家偷走而失去這一切。37 年後的今天，他仍然努力在台灣尋找自己的身份，並回到他曾經創立的樂團中。 In the 1980s as Taiwan’s military dictatorship had its glasnost moment, a group of US and international students suddenly became the first Westerners to break into the world of Chinese pop music. In the blink of an eye they became TV rock stars, and changed rock n roll in Taiwan forever. But then lead singer Wayne had his band stolen by a rival musician and lost it all. Now, 37 years later, he still struggles to find his identity in Taiwan and reattach his name to the band he once founded.

故事大綱

Synopsis

在戒嚴法逐漸殞落的 80 年代台灣，眾多國際學生組成的搖滾樂隊開始推出中文專輯並在各大知名節目上進行演出。其中的開拓者，「颱風」和「外交」，不僅是史上第一批用中文推出專輯的「老外」，更是在盜版和唱片行不穩定的狀況之下達到了預想不到的好成績。他們是台灣的第一代搖滾巨星和全亞洲最歷久不衰的駐唱樂團之一。「颱風」和「外交」體現了當年搖滾樂在台灣普及化的故事：在 60 年代美軍俱樂部的興起之下，台北成為了「亞洲性愛首都」。在 80 年代的經濟繁榮的台灣，就算跳舞再怎麼違法，狂歡依舊生生不息。

During the 1980s, Taiwan’s final decade under martial law, rock bands of international students suddenly found themselves releasing Mandarin pop albums and performing on the nation’s highest rated TV programs. This is the story of two bands, the Typhoons and the Diplomats, the first “foreigners” to release Mandarin records and their unlikely meteoric careers in a madcap economy of rampant piracy and fly-by-night record companies. Their legacy includes Taiwan’s first rock stars and one of the longest running pub bands in Asia. The film also tells the history of a Taiwanese society opening its doors to the world and its ears to rock ‘n roll, starting with the US military clubs of the 1960s, when Taipei was “the sex capital of Asia”, and exploding with the economic boom of the 80s, when dancing was illegal and the party never stopped.

拍攝大綱一個描述搖滾樂的故事，理當要狂野並富有青春活力，但也伴隨著幽默和懷舊的成分。敘事的角度相較於當時戒嚴時代保守的台灣下呈現強烈對比。這部紀錄片會從樂隊成員和當事者的專訪講述。例如：酒館老闆、同時期的其他樂團樂手、粉絲、美國外交官、資深外籍人士和音樂人，包括知名的台灣歌手，電視名人，和音樂製作人。本片整體上的呈現會十分 80 年代，我們搜集了大量其他團體和專訪封存的照片和影片，並存取了 80 年代「颱風」和「外交」在各個綜藝節目上長達兩個多小時的演出。配樂都是經過兩個團體的版權授權下使用的。各個故事線會依照當年發生的順序進行，包括個人糾紛和彼此的交集。同時，觀眾可以藉由遺失的資訊逐漸拼湊出真相（追查團體成員和作詞者並將他們帶入故事中），最終一切將真相大白，促使團體成員的大和解。

Treatment This is a rock ‘n roll story, so it should be wild, youthful, and told with touches of comedy and nostalgia. The narrative, however, stands in stark contrast to the historical context of a conservative Taiwanese society still under martial law. The film will be told through interviews with band members and other direct participants in the scene, including pub owners, rival musicians, fans, a high-ranking US diplomat, long-term expats and music industry professionals, including a couple of now legitimately Taiwanese famous singers, TV personalities, and music executives. The texture and sound of the film will be very 80s. We have collected a huge amount of archival photos and videos from the bands and other interviewees, and we've identified over 2 hours of footage of the bands performing on Taiwanese variety shows during the mid-1980s. Each band has granted full album music rights to provide a soundtrack. Multiple storylines will follow the chronologies of the two bands, including personal conflicts and intersections. At the same time it will lead viewers on a quest for lost pieces of information (tracking down band members, songwriters, and bringing these figures together) leading to a big revelation and reconciliation towards the end of the film.

提案簡介 Projects

PROJECT

#12

一直看著你來的路口 Eternal Gaze

中國 China Genre Key Words Length

Format

文化、其他 Culture / Others 電影長度 Feature Length (> 65 min) 多媒體計畫 Cross Media 多集系列 Series 4K

Production 粗剪完成 Rough Cut Status Contact

導演 Director 劉湘晨 LIU Xiang-chen T: +86-139-0992-2011 E: 155077148@qq.com 製片 Producer 徐秋麗 XU Qiu-li T: +86-186-0106-0070 E: xql1207@163.com

導演 Director │ 劉湘晨 LIU Xiang-chen 紀錄片導演，視覺人類學教授。紀錄片《阿希克：最後的遊吟》：第十一屆四川電視節國際紀錄片「金熊貓」獎亞洲製作獎、2010 年中國影視人類學學會年會最佳視覺獎。紀錄片《獻牲》：國際人類學民族學聯合會第十七屆世界大會主題展映、美國內陸歐亞學會第十四屆年會特邀展映、第十四屆英國皇家人類學會電影節特邀展映。紀錄片《祖魯》：國際人類學與民族學聯合會第十八屆世界大會特邀展映、美國南加州大學影視人類學中心英國皇家人類學會第十五屆民族志電影節特邀展映。

Director’s biography: Documentary Director / Visual Anthropologist.

Ashiq: The Last Troubadour | Asian Production Award, 11th Sichuan TV Festival International Gold Panda Awards / Best Visual Award, Chinese Visual Anthropology Society Annual Conference 2010 / Permanent collection of SOAS University of London, UK and Zhejiang University, China. Kurban Bairam | Themed Screening, 17th IUAES World Congress / Special Screening, 14th Annual Conference of Central Eurasian Studies Society / Special Screening, 14th RAI Film Festival. Zulu | Special Screening, Center for Visual Anthropology RAI XVth Ethnographic Film Festival, USC / Special Screening, 18th IUAES World Congress.

製片 Producer │ 徐秋麗 XU Qiu-li 北京欣欣向陽影視文化有限公司總製片人，首都紀錄片發展協會監事長。深耕紀錄片產業十餘年，參與製作發行多部優秀紀錄片，如《當盧浮宮遇見紫禁城》、《臺北故宮》、《江南味道》、《亞洲巨大遺跡》、《熊貓寶寶》、《生命方舟》、《廣府春秋》等。深諳紀錄片製作發行規律，與眾多製作團隊及播出平台有著良好的合作關係。

Documentary producer and distributor, chief supervisor of Beijing Documentary Development Association. She has been worked in documentary industry for more than ten years, and participated in producing and distributing a number of outstanding documentaries, such as When the Louvre Met the Forbidden City , Taipei Palace Museum , Taste of Jiangnan , The Great Relic in Asia , Baby Panda , and so on. What she does aims to realize the commercial value of documentaries with cultural value. 經費預算 Financing Plan (USD)

提案簡介 Projects

項目

Category

Amount

工作人員酬勞前期田調經費拍攝期間經費後期製作經費發行出版經費

Filmmaker (Salary) Research & Pre-Production Production Post-Production Distribution

總預算

Total Budget

待籌措之經費已確認之經費

Financing Sought Confirmed Financing

$ 567,000 $ 80,000 $ 436,000 $ 347,000 $ 70,000

$ 1,500,000 $ 500,000 $ 1,000,000

Sources

北京欣欣向陽影視發展有限公司 Beijing Inhope Pictures Co., Ltd 新疆大河之夢文化傳播有限公司 Xinjiang Dahe Dream Culture Media Co., Ltd. 北京元純傳媒有限公司 Beijing Yuanchun Media Co.,Ltd 新疆青少年出版社 Xinjiang Juvenile Publishing House

$ 410,000 $ 280,000 $ 160,000 $ 150,000

PROJECT #12

LOGLINE

一句話

65 歲的影視人類學家劉湘晨帶著女兒重返帕米爾高原，這既是與他持續拍攝二十餘年的塔吉克族人的告別之旅，也是父女之間的和解之旅。 LIU Xiang-chen, a 65-year-old visual anthropologist, returned to the Pamir plateau with his daughter, this trip is a farewell with his Tajik family, which he has been filming for more than two decades, and also a journey of father-daughter reconciliation.

故事大綱

Synopsis

著名視覺人類學家劉湘晨為了實現與塔吉克老父親吾守爾·尼牙孜的生前約定，帶著女兒劉貝貝重返帕米爾高原。依據塔吉克人「見山如見父」的古老傳統，一行人決定去看帕米爾高原最高的山——喬戈裡峰，以此實現曾經的承諾。因為過去長期在帕米爾高原拍攝，劉湘晨與女兒的關係很是疏遠，本片從女兒的視角全程觀察，女兒的態度也經歷了從不解、抱怨、艱難應對，到最終理解父親此生摯愛的事業，感受到父愛如山的含義，完成了父女關係的和解。

Renowned visual anthropologist LIU Xiang-chen returned to the Pamir plateau with his daughter, LIU Bei-bei, in order to fulfill a promise with the Tajik old father Wuzuer Niyazi. Following the ancient Tajik tradition of “seeing the mountain as seeing the

拍攝大綱前往喬戈裡山地，一直抵達喬戈裡峰下，整個過程持續數十天，大多數路段是無人區，僅能隨駝隊前行或露宿。人跡罕至的克爾欽河谷，春夏之際夾著冰塊和石頭咆哮奔騰的洪水，十數天拔升數千米的海拔極限高度和嚴重的高山缺氧，還有冰原、冰塔林、冰溶洞、冰漬湖……每一步穿越和攀登都是極限挑戰。從最初與帕米爾高原的神秘、遙遠遭遇，到對帕米爾高原塔吉克人生存方式的呈現與感知，集中體現為以太陽崇拜為特質的生活與信仰體系，核心是對自然的敬畏、人與人的相互依存，最終在與吾守爾·尼牙孜老人的互望中，達到對自身的觀照、反省，完成一次緬懷之旅、追憶之旅和尋求終極價值之旅。

father”, the group decided to visit the highest mountain in the Pamirs––K2. Having filmed in the Pamir Plateau for two decades, LIU Xiang-chen has a distant relationship with his daughter. The film is observed from the perspective of the daughter, whose attitude also experienced from unwilling to join, complaining and difficult coping, to finally understand the cause of his father’s love of life, and the depth of a father’s love. Completed the reconciliation of the father-daughter relationship.

Treatment The journey to the root of Chogori lasts for several days. Most of the road is in no man’s land, only for camel caravans or camping. Deserted Kerchin Valley, the roaring and rushing flood with ice blocks and stones in the spring and summer, thousands meter altitude climbing, serious mountain hypoxia, and ice fields, ice forests, ice caves, ice lake...... Every cross and climbing is an extreme challenge. From the first meeting of the mystery and distant Pamirs to the presentation and perception of the living style of the Tajiks in the Pamirs, and the belief system concentrated in the sun worship, the core of the life there is the reverence for the nature, the interdependence of people. With the expectation of Niyaz·Hoshur, we achieve self-observation and self-reflection, complete a memorial and an ultimate value pursuing juorney.

提案簡介 Projects

PROJECT

#13

潛入西拉雅 Diving into Siraya

台灣 Taiwan

Genre Key Words

藝術、文化、歷史、教育、人文關懷、科技、實驗性紀錄片 Arts / Culture / History / Education / Human Interests / Technology / Experimental Documentary

Length

多媒體計畫 Cross Media 多集系列 Series

Format

4K (real time)

Production 拍攝期 In Production Status Contact

導演 Director、製片 Producer 賴冠源 LAI Kuan-yuan T: +886-978-059-378 E: davisshu@gmail.com

導演 Director、製片 Producer │ 賴冠源 LAI Kuan-yuan 電影導演，畢業於世新大學廣電系及法國高等視覺傳播學院 SUPINFOCOM 並獲數位導演文憑，致力於獨立製片、 VR 與多媒材視覺藝術創作。常以科幻、奇幻及烏托邦類型的風格，結合地方性與全球化的民間故事做為概念的出發。 VR 短片《哈瑪星列車》入選巴黎 NewImages Festival 競賽片、瑞士世界虛擬實境高峰會、日本熱海映画祭最佳 VR 獎等影展；電影短片《銀色食慾》入選 2018 金馬影展華語透視界單元觀摩片；VR 短片《肺臟機動隊》入選 2019 法蘭克福 Lichter 電影節競賽單元等影展。

A film director, 3D graphist, LAI is committed to independent production and multi-media visual arts creation. Not only creates innovative films and videos, but also cross-domain cooperation creations. His VR short film The Train Hamasen was selected to official competition at NewImages Festival 2018 and VR theatre program at World VR Forum (WVRF) in Switzerland, Best VR at Mt. Fuji – Atami Film and VR Festival etc., VR short film Pneumo Hacker was selected to official competition at Lichter Filmfest Frankfurt and NewImages Festival etc., an interactive VR project Vacuum Cleaners was selected to Media Art Category finalist of 25 th ifva Awards Hong-Kong.

製片 Producer │ 韓采容 Carol HAN 韓采容，擅長在媒體科技和跨領域介面工作，近期致力於將 XR、機器學習、開放資料等技術用於創造新型態的藝術設計作品。

Carol Han is skilled in media technology and works with multidisciplinary interfaces. Currently she and her company focus on the possibility of applying XR, machine learning, open data, and related technologies or content to create new art and design works as well as cultural and education services.

製片 Producer │ 佟孟真 TUNG Meng-jen 佟孟真，曾任非常廟藝文空間 VT Artsalon 藝廊經理、非池中藝術網開創成員、海馬迴光畫館藝廊經理，本身有一半西拉雅血統，研究台灣原住民影像凝視與自我認同，關注西拉雅語言復育活動。

TUNG Meng-Jen has worked in visual arts interviews, gallery administration, and management for more than 10 years. She found out that she is half Siraya during her studies and keeps devoting herself to the related issues about Taiwan indigenous peoples.

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提案簡介 Projects

項目

Category

工作人員酬勞前期田調經費拍攝期間經費後期製作經費發行出版經費

Filmmaker (Salary) Research & Pre-Production Production Post-Production Distribution

Amount

$ 22,378 $ 16,418 $ 26,371 $ 119,906 $ 5,177

總預算

Total Budget

待籌措之經費已確認之經費

Financing Sought Confirmed Financing

$ 190,250 $ 73,632 $ 116,618

Sources

打打影像有限公司 Poké Poké Creative 高雄 VR Film Lab Kaohsiung VR Film Lab

$ 16,418 $ 100,200

PROJECT #13

LOGLINE

一句話

是一部使用聲控及語音辨識技術的互動 VR 實驗紀錄片，讓觀眾於觀影時說出沈睡中的台灣原住民西拉雅族語。 It’s an interactive experimental VR documentary of Sirayan, a dormant indigenous language in Taiwan, which will make audience speak out Sirayan words by voice control and voice recognition technology.

故事大綱

Synopsis

因為聽與說而產生的思索，為使用語言的過程，本片將實驗以觀眾對西拉雅語「有經驗」的概念來感受並召喚語言的存在，希望觀眾在觀影的同時，也有思考與使用的經驗，如此的經驗將同時對於西拉雅語產生思想，並將影片的概念延伸至大眾，理解影片用意為強調「願意使用語言」在復育過程的重要性…

Thinking generated from listening and speaking is a process of linguistics. This film is about making the audience feel and summon the existence of the Sirayan language, and allow the audience to experience its thought process and usage. Such experience not only encourages them to think critically about the Sirayan language, but also conveys the film concept to the public, allowing them to understand the main purpose of the film, which emphasizes the importance of being “willing to use the Sirayan language” in the process of language revitalization.

拍攝大綱觀眾將身處於一條「語言的道路」上，藉由完成聆聽、觀看情境與紀實影片、說出語言的單字來體驗這趟旅程；西拉雅語為一死語而被族人復育的現狀，本片將以實驗錄像形式混合紀實素材的方式進行製作，觀眾將聽到的語言與所看到的影像做結合，藉由視覺、情境、行動等的理解來透過大腦解讀而產生互動並使用語言，讓我們在這條道路上前進。潛入西拉雅讓觀眾沉浸於一個虛擬的西拉雅語的世界，期望在觀影後，能體會復育的價值。

Treatment Sirayan itself is an extinct language, yet its people are trying to revitalize the language. Audience will visually embark on the road of language, and experience the journey by listening and watching scenes, while interacting with the media by speaking out the words or phrases. This film is made in an experimental way, which guides the audience for language usage through an immersive environment, like in their childhood, instead of having too much annotation like in the classroom. Audience think critically during the process of listening, watching, and being asked for occasional action, which enable them to keep moving forward on the road. We hope to convey the geographical uniqueness of culture and tradition through language, and the value to revive them.

提案簡介 Projects

PROJECT

#14

成余與葉貞 Go Gentle Into the Spring

中國 China Genre Key Words

文化、歷史、長者、家庭 Culture / History / Senior / Family

Length

電影長度 Feature Length (> 65 min)

Format

Production Status Contact

拍攝期 In Production 導演 Director 周天一 ZHOU Tia-nyi T: +86-159-0934-0303 E: frankzhou1109@hotmail.com 製片 Producer 張心潔 ZHANG Xin-jie T: +86-186-1130-2042 E: spicazhang@foxmail.com

導演 Director │ 周天一 ZHOU Tia-nyi 周天一，獨立導演、剪輯師。畢業於中國傳媒大學，碩士畢業於英國創意藝術大學。從事影視創作工作四年，曾參與過 Netflix 電影《科洛佛悖論》製作（特效剪輯師）、央視新聞紀錄劇集《散步集》（分集剪輯師）、大象紀錄未定名院線長片（現場剪輯師）等，曾就職於 Base Fx 及大疆傳媒。導演紀錄短片《我的爺爺奶奶》曾獲國內外多個電影節獎項，剪輯作品曾入圍釜山亞洲大學生電影節。

ZHOU Tianyi is an independent director and editor, BA of Communication University of China, MA of University for the Creative Arts in the United Kingdom. With four years of experience as a filmmaker, he has worked for projects such as Netflix film The Cloverfield Paradox (VFX editor), CCTV documentary series Peripatein (editor), etc. Previously worked for Base Fx and DJI Studio. Tianyi’s short film My Grandparents has won several film festival awards both at home and abroad, and the film Lost on the Branch (editor) was shortlisted for Asia University Film Festival.

製片 Producer │ 張心潔 ZHANG Xin-jie 張心潔，紀錄片導演、製片，本科畢業於中國傳媒大學廣播電視編導專業，研究生畢業於倫敦大學學院民族志紀錄片專業。現擔任「半夏的紀念」北京國際大學生影像展策展人，曾與芬蘭坦佩雷短片節、海南島國際電影節、中國國際新媒體短片節、山一國際女性電影展等國內外電影節展開展深度合作。曾導演紀錄片作品《村醫紀事》、《他的她》。

Zhang Xinjie, documentary filmmaker and producer; BA of Communication University of China, MA of University College London.; Currently working as curator of “Vision Youth Awards” Beijing International College Student Film Festival and has cooperated with Tampere Film Festival, Hainan Island International Film Festival, China International New Media Short Film Festival, The One International Women’s Film Festival, etc; Director of documentary films The Country Clinic and His SHe .

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提案簡介 Projects

項目

Category

工作人員酬勞前期田調經費拍攝期間經費後期製作經費發行出版經費

Filmmaker (Salary) Research & Pre-Production Production Post-Production Distribution

Amount

$ 4,900 $0 $ 9,600 $ 15,500 $0

總預算

Total Budget

待籌措之經費已確認之經費

Financing Sought Confirmed Financing

$ 30,000 $ 22,300 $ 7,700

Sources

自籌 Self-financed

$ 7,700

PROJECT #14

LOGLINE

一句話

在丈夫 90 歲生日到來之前，一對老夫妻回顧自己的一生，卻發現還有很多問題都沒有解決。 Before the 90th birthday of the husband, an old couple who have been together for 70 years finally has time to contemplate, finding out that there are still a lot issues in their life unsolved.

故事大綱

Synopsis

成余和葉貞是一對一起生活了 70 年的夫妻。性格完全不同的兩人，雖然一輩子都在吵吵鬧鬧，卻還是互相攙扶著度過了種種艱難時局。如今他們子孫滿堂，在鄉下安享晚年。

Chengyu ZHOU and Yezhen XIONG have been married for almost 70 years. Because of personal clashes, they’ve been quarreling with each other through whole life. But together they made it in those tough years of China and have established the most wellrespected family in the village. Days pass by peacefully as they’ve still lived in the countryside away from their kids.

成余的九十歲生日就要到了。他從很早就開始期盼著這個大日子，好讓鄰里鄉親來見證周家的興旺。而一輩子居安思危的葉貞卻越來越焦慮，害怕家族的好運會走到盡頭。一位親人的突然離世，讓葉貞的擔憂變得更加嚴重，常常臥病在床。成余成了她身邊唯一能依靠的人，日復一日照料著她的生活起居。相處時間的增多帶來了更多的爭吵，但也讓兩位老人開始慢慢體察對方的內心。各懷心事的兩位老人，在寒來暑往中回望著、展望著，準備迎接晚年最重要的一天。

拍攝大綱對於周家乃至整個村子來說，「整壽」都是一個大事件，更何況是成余的 90 歲生日。為了給屆時的演講積累素材，成余常常寫詩來回顧自己的一生。在他的詩句裡，年輕時的苦難已成為過去，他正享受著安靜恬淡的晚年生活。然而，他的伴侶葉貞卻不這麼覺得。和整天在家裡看新聞、種花草的成余不同，葉貞如今還是天天去地裡幹農活，一方面是不讓自己閒下來，另一方面是她知道在家裡待著，就要忍不住找成余說這說那。成余一向覺得葉貞愛管閒事，巴不得她能讓自己一個人待著。葉貞心裡的一腔苦水無處傾訴，只能對家裡的保姆一遍遍講起從當年被媒人騙到周家來、後來在公婆的欺壓一手把六個孩子帶大的故事。一次春節的短暫相聚之後，葉貞發現家裡人有事瞞著她。在焦慮中度過幾個月後，兒媳因病離世的消息傳來，深受打擊的葉貞病倒了。她擔心起了更多的事情：老家的房子後繼無人、村裡的仇家虎視眈眈、自己死後成余將無人陪伴…一直忽視她心事的成余慌了神，開始照顧她起居、吃藥，還得想盡辦法開導她的心病。缺乏有效溝通的兩人，常常因為誤會彼此的好意而吵得不可開交。幾個月後，一家人將再次齊聚在成余的生日上。宴席散去後，他們將不得不一起面對種種看似無解的問題。成余會如何總結過去的十年？葉貞的擔憂是否能等得到寬慰？而兩位耄耋老人還能在這片摯愛的土地留守多久？

Chengyu’s 90th birthday is coming. He has expected it for a long time since everyone in the village will see the prosperity of ZHOU’s family. However, Yezhen doesn’t think the way. After seeing many ups and downs, she fears the fortune of the family will end someday. The sudden death of their daughter-in-law, along with other family issues, made Yezhen fall apart. She gets terribly sick, and sometimes paranoid. Chengyu, the only one she can rely on, start to look after her from day to night. They even quarrel more as they’ve never been such close, but gradually they try to understand each other. In the changing of seasons, this two old people are looking back on the past decades and looking forward to the most big day so far in their twilight years.

Treatment For Zhou’s family and even the whole village, birthdays at ‘tens’ are big events, especially Chengyu’s 90th birthday. To prepare for the speech on the day, he often writes poems to recall the memories of his life. In his poetic sentences, all the pains in earlier years has been passed. He enjoys the peaceful life in the countryside as he has nothing more to worry about. However, his wife, Yezhen, are still worrying a lot. Unlike Chengyu who stays in their yard all day watching TV and gardening, Yezhen still goes to the fields to keep herself busy. She knows that if she stayed at home, she couldn’t help herself to mind Chengyu’s business which often makes Chengyu mad. He only hopes that she can leave him alone. With so many words to share, Yezhen has to talk to the carer about the story of her being cheated to Zhou’s family and how bad her mother-in-law had treated her. When hearing that their daughter-in-law passed away, Yezhen almost faints. She gets ill and is sent to the hospital. Though asked to stay in bed, Yezhen couldn’t stop to worry about more things, including the heirship of their house and land as none of their kids are willing to go back to the country. Chengyu, who has been ignoring her feelings all the time, begins to take good care of her, both physically and mentally.

提案簡介 Projects

After a few months, the big family will gather around as 10 years ago. They have to face the issues together which seem to have no solution. How would Chengyu summarize the past 10 years? Will Yezhen feel relieved after seeing all her kids? And most importantly, can they still live on this beloved home alone as they’re getting older and older?

PROJECT

#15

昨日照相館 Retouching

台灣 Taiwan Genre Key Words

文化、長者、家庭、人物傳記 Culture / Senior / Family / Biograph

Length

電視長度 TV Hour (51–65 min) 短片 Short (30-50 min)

Format

Production Status Contact

後製期 In Post-Production 導演 Director 林詩純 LIN Shih-chun T: +886-937-918-363 E: pia1102@gmail.com 製片 Producer 陳昱伶 CHEN Yu-lin T: +886-919-985-234 E: Bauze82@gmail.com

導演 Director │ 林詩純 LIN Shih-chun 林詩純，畢業於政治大學廣播電視學系，目前於線上影音平台負責戲劇版權採購，同時就讀政治大學傳播學院在職專班。曾走訪全台，拍攝中華電信口述歷史紀錄；紀錄短片《回聲樂團——少年的最後旅行》剪輯後製。

LIN is employed as OTT Video Content buyer. She graduated from Department of Radio and Television at Chengchi University and now is studying MA program in Communication at Chengchi University. LIN joined as a director of Chunghwa Telecom’s oral history. She is also the post-production runner of a musical band’s documentary (short subject).

製片 Producer │ 陳昱伶 CHEN Yu-lin 陳昱伶，畢業於政治大學廣播電視學系，資深紀錄片企劃與執行製作，目前任職於寶花傳播。曾參與人文建築紀錄片 Discovery《台灣人物誌證嚴法師》、《久違了 • 王大閎先生》、《紫藤廬一間茶館的故事》，以及多部金鐘獎人文紀實節目與台北電影節最佳紀錄片的作品，包括《福爾摩沙的指環》、《黃羊川》、《對焦國寶》以及《農村的遠見》。

CHEN, graduated from the Department of Radio and Television at Chengchi University, is employed as an executive producer and senior documentary project planner at Bow Wow Productions. She participated in producing Humanities and Architecture Documentaries, like Portrait Taiwan-Dharma Master Cheng Yen , Long Time No See Mr. DAHONG WANG , and Wistaria Tea House: the story of the tea house . CHEN also took part in many award-winning works, such as Natural Formosa , Yellow Sheep River, National Treasure In Focus , and The Eternal Farm Villages .

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提案簡介 Projects

項目

Category

工作人員酬勞前期田調經費拍攝期間經費後期製作經費發行出版經費

Filmmaker (Salary) Research & Pre-Production Production Post-Production Distribution

Amount

$ 7,500 $ 5,000 $ 15,000 $ 15,000 $0

總預算

Total Budget

待籌措之經費已確認之經費

Financing Sought Confirmed Financing

$ 42,500 $ 32,500 $ 10,000

Sources

新北市紀錄片獎 New Taipei City Documentary Film Awards

$10,000

PROJECT #15

LOGLINE

一句話

林小姐超愛自拍，擁有上千張美照，不但會拍還會自己美肌。但…這是在沒有數位相機也沒有修圖軟體的 1970 年代… LIN loves taking selfies and touching up them. Who could have thought of that was in the 1970s.

故事大綱

Synopsis

「修片」一門早已凋零的技藝，美化了上個世紀的黑白老照片，也完整了上個世代的珍貴回憶。修片師——林聯，從小在自家的照相館走跳，習得父親傳承下來的職人技藝。一路走來承攬台灣各地的委託，從結婚、生子、直到退休。憑藉貫穿林聯一生的職業，回憶一個女性職人的大半輩子，也回溯台灣相館的興末，更回顧一個時代的流逝。

Negative retouching––a traditional photo manipulation skill before photography evolved into the digital realm, have been keeping uncountably beautiful precious images and memories for generations, now a dying craft.

拍攝大綱第一個故事：「父親的故事」日治時期，一個花蓮的少年畫師林德三，為了謀生，進入日本人開的寫真館學習攝影術。學成後，他帶著一簍香蕉，從基隆港登上了往日本的交通船，落腳大阪，以出色的「修片」技巧，獲得一份在大型寫真館的工作。日本戰敗前，他回到台灣娶妻生子，1954 年，他落腳萬華，於廣州街的一個平房小屋，開辦「今日照相館」，同年，三女林聯出生。第二個故事：「相館的女兒」林德三與妻共生了五個子女，其中四個女兒在小學畢業後，皆無繼續升學，而是開始學習拍照、暗房、修片，幫忙經營照相館。三女林聯，個性特別活潑外向，熱愛「唱民歌」與「被拍照」，在那個底片與相片都需相當花費的年代，身為相館的女兒，讓她有機會留下驚人數量的少女時代倩影，連婚紗照都自己家裡拍攝，自己修圖。

LIN Lien is a skillful negative retoucher. She grew up in her family-owned photography studio where she learned and inherited her father’s retouching skill, afterward it’s been a great part for her own life, so to those photo studios from all over Taiwan who lean on her. It is a flashback about her career life becoming a living witness of the rise and fall of the film photography business in Taiwan.

Treatment The ﬁrst story “Father” At the time Taiwan under Japanese rule, there was a young painter from Hualien called LIN Te-san. For earning a living, he started acquiring photography skills at a Japanese photo studio. After apprenticeship, he brought a basket of banana and took a ferry from Keelung to Japan. With his excellent retouching skills, he was hired by a famous photo studio in Osaka. Before end of WWII, LIN Te-san went back to Taiwan and had his own family. In 1954, he started his photo studio “Today Studio” in a little bungalow on Guangzhou street in Wanhua, in the same year his third daughter LIN Lien was born.

第三個故事：「修片林小姐」

The second story “The third daughter”

林聯結婚生子後，家中由弟弟接手繼承今日照相館事業，她則帶著父親手作的修片燈架與燈箱，在夫家開啟了「修片事業」。 1980-2000 間，是照相館的黃金時代，許多照相館生意好到忙的沒日沒夜，老闆們沒有時間好好「修底片」，於是「修片林小姐」的出現分擔了許多照相館繁忙的業務。直到千禧年後，數位影像時代來臨，傳統照相館紛紛電腦化或是歇業，修片林小姐也只好宣告退休…

Lin Te-san had five children, and all his four daughters stopped school education after finishing elementary school, instead, they started to learn photo taking, developing, and negative retouching for helping the family business. The third daughter LIN Lien has a bright and vivid personality, and she enjoyed singing ballads and having her photo taken. At that time, both films and photos will cost lots of money, but with this background, she had exclusive chances to remain tons of photos at her young age, even though her wedding photos were taken at this family photo studio and retouched on her own. The third story “Ms LIN The retoucher” After LIN Lien got married, her little brother succeeded their father’s photo studio, “Today Studio”. On the other hand, she started her retouching business in her husband’s family with the light box and light stand made by her father’s hands.

Projects

Time flied and the millennium arrived, bringing digital photography era to people, photo studios were forced to choose in between digital transformation or termination, which meant Ms Lin the retoucher might have to summit her retirement as well.

提案簡介

In the two decades of 1980s and 1990s, the golden age of film photography in Taiwan, also the time of Ms Lin The retoucher. Because of the tremendous growth of the business during this period, many photo studios bore the brunt of the workload, whenever they couldn’t spare time to retouch films, here came Ms Lin the retoucher.

PROJECT

#16

脫穎而出 Born to be Stars

中國、荷蘭 China, Netherlands Genre Key Words

文化、青少年與兒童、家庭、教育、人文關懷 Culture / Youth and Children / Family / Education / Human Interests

Length

電影長度 Feature Length (> 65 min) 多集系列 Series

Format

Production 田野調查與前置籌備期 Status In Research or Pre-Production Contact

導演 Director 周銘影 ZHOU Ming-ying T: +86-186-2315-7951 E: dingzhouidfa@gmail.com 製片 Producer 趙佳 ZHAO Jia T: +31-653-488-758、+86-182-8452-8807 E: jia@muyifilm.com

導演 Director │ 周銘影 ZHOU Ming-ying 周銘影，男，1989 年生於湖南長沙。2012 年畢業於四川美術學院。2014-2018 年獨立完成首部紀錄長片《世外桃源》，入圍荷蘭 IDFA、韓國 DMZ Docs、比利時千禧等國際紀錄片電影節，並被評為 2018 IDFA 驚喜電影、2019 FIRST 青年電影展－最佳紀錄片、2019 中央美院瓦爾達影像獎一等獎。他曾擔任電視臺少兒頻道親子真人秀欄目組編導，對少兒教育及成長關注多年。

ZHOU Ming-ying, was born in Changsha, Hunan in 1989. Graduated from Sichuan Academy of Fine Arts in 2012. 2014-2018 independently completed the first documentary feature film The Land of Peach Blossoms , it was shortlisted in international documentary film festivals such as IDFA in the Netherlands, DMZ Docs in Korea, and the Millennium in Belgium, and was selection as 2018 IDFA Surprise Film, 2019 Xining-FIRST Youth Film Festival-Best Documentary, 2019 First prize at the Agnès Varda’s Award. He lives and works in Beijing and Chongqing now.

製片 Producer │ 趙佳 ZHAO Jia 趙佳，祖籍成都，荷蘭籍華人國際製片人。旅歐 20 年，精通日、英、荷蘭語。創辦 MUYI FILM （木裔影視）和 SILK ROAD FILM SALON（絲路影視沙龍）。2015 至 2019 年間製片的紀錄片《胡先生和廟》、《落下花長滿葉》、《芳舟》、《喀布爾風中之城》和《遙望繁星》（聯合製片）五次連續入圍 IDFA 競賽單元。《喀布爾風中之城》被選定為 IDFA2018 開幕片，並獲評委特別獎。2017 年導演紀錄片《烏鴉也是美麗的》入圍 IDFA 大師單元。

ZHAO Jia (born in Chengdu, China) is a Chinese producer based in Amsterdam. Some of her recent works include: Kabul, City in the Wind by Aboozar Amin (Opening film IDFA2018, Special Jury Award for First Appearance Competition); Inner Landscape (2019) by Frank Scheffer, Voices IFFR (2019); Lady of the Harbour by Sean Wang (IDFA 2017, Dutch competition); The Crow is Beautiful (IDFA2017, Masters); Fallen Flowers Thick Leaves by Laetitia Schoofs (2016, in co-production with ARTE/ZDF, IDFA 2016, Dutch competition); Where is Kurdistan? (2016, IFFR 2016) and Angelus Novus, IFFR 2015 by Aboozar Amini; Mr Hu and the Temple by Yan Ting Yuen (2015, Dutch competition IDFA 2015).

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提案簡介 Projects

項目

Category

工作人員酬勞前期田調經費拍攝期間經費後期製作經費發行出版經費

Filmmaker (Salary) Research & Pre-Production Production Post-Production Distribution

Amount

$ 20,000 $ 5,000 $ 113,000 $ 70,000 $0

總預算

Total Budget

待籌措之經費已確認之經費

Financing Sought Confirmed Financing

$ 208,000 $ 203,000 $ 5,000

Sources

自籌 Self-financed

$ 5,000

PROJECT #16

LOGLINE

一句話

通過聚焦於「童模造星」這一社會現象，窺視當下兒童的教育和成長現狀，觀察和解讀「造星」這個行為的社會文化背景，討論它給孩子和家庭帶來的影響。 A study of education, growth, and family through the lenses and history of child stars.

故事大綱

Synopsis

影片的核心是聚焦於「童模造星」這一社會現象，探討這個行業的來龍去脈，以及參與造星活動的家長和孩子的動機和訴求。也由此深入到兒童模特的教育和成長，通過跟拍湖南、重慶、北京不同社會和經濟層面家庭在將孩子投入到童模培訓當中不同程度的對比，呈現其差異和相似，通過造星過程中孩子、家長、家庭的活動，觀察他們的變化，和造星這一行為帶給他們的影響，由此探討這個行業的從業者和參加者故事中折射出的社會特徵和價值觀。

The film would be a social commentary on child models. By understanding both the parents and the children’s motivation and reasoning, we can better understand the ins and outs of this business. Moreover, the film takes a deep look at the growth and education of these young models. The documentary focuses on participants from all income levels, and present the similarities and differences of the models and their family, in hope of reflecting the social values and patters of participants of this business.

拍攝大綱十四億人口的泱泱大國，每個人似乎都顯得渺小無比。當明星似乎也就無形中成了很多大人和小孩的夢想。而家長又常常把自己未實現的夢想，下意識地強加到孩子身上。成都，第九屆中國國際少兒車模大賽總決賽現場，人群攢動，彙聚了來自全國四面八方的兩千多組童模選手，他們將在此角逐桂冠…入圍的童模們濃妝豔抹，童真的面孔和造作的「fashionlook」放到一起，構成一出魔幻的表演。造星夢忽遠忽近，撲朔迷離。但大城市小縣城，家長們都似乎都不懈地把自己的孩子們推上造星之路。北京，老北漂老劉為了完成自己未了的夢想，將他創辦少兒美術培訓的收入全力打造兒子成為明星。兒子在少兒模特道路上大放異彩，獲獎無數，並出演了新版《流星花園》裡童年道明寺一角…2020 年受疫情影響，老李的產業受到巨大衝擊，當前生活難保，不得不暫時放棄了對兒子的打造… 湖南，尖尖和木木都是即將步入而立之年的小城青年。尖尖為了償還廣告公司創業失敗所欠的百萬債務，在全縣啟動了一場轟轟烈烈的所謂「造星計畫」試圖實現事業大翻身…作為尖尖債主之一的木木是農村流動酒席的廚師，也將三歲的兒子送來尖尖的培訓班學習少兒模特…重慶，中產家庭的鄭姐是全職媽媽，平時的日常就是全力陪伴自己的孩子學習少兒模特，女兒剛贏得「尋找千山原代言之星」幼兒組總冠軍，正準備也將兒子送去學習少兒模特… 影片帶著「為什們要造星？」的疑問，追蹤有代表性的幾家人的大人和孩子。也通過他們接觸瞭解當下的造星產業，探討產業的存在形式和運作機理，試圖從中讀解到「造星現象」中折射出的當下。

Treatment In a densely populated China of 1.4 billion people, becoming a renowned superstar became many people’s dreams, no matter the age. More often than not, parents often pass down their unfulfilled, fading aspirations to their children. In Chengdu, The 9th China International Children’s Car Model Contest gathered children’s models from all over China to compete. The combination of innocent youth and manufactured makeup makes for a dream-like experience. Despite the uncertainty nature of manufacturing a child star, parents from all walks of life seem to persist on paving a red carpet for their children. LIU came to Beijing long time ago to pursue his dreams. He invests all what he earns to develop his young son as a model. His son proved himself to be a prodigy and won countless awards, even landing a part in the immensely popular TV show, Meteor Garden. However, LIU’s business was struck by the COVID-19 pandemic, and was forced to temporarily give up on his son’s star career. The documentary focuses on the whys of pushing young children into the limelight. In Hunan, Jianjian and Mumu and both entering their 30s. In order to pay off his debt from starting an advertising business, Jianjian poured out everything to start a “star-making initiative”, in hope that it’ll turn everything around economically. As one of Jianjian’s creditors, Mumu is a banquet chef that sends his 3-year-old son to Jianjian to train as a model. In Chongqing, housewife ZHENG’s nine-to-five is to accompany her award-winning daughter. Not only her daughter has her foot in the children’s model business, but ZHENG’s son is also on the way of becoming a child model. By investigating families and interacting with the business, the film attempts to understand the phenomenon of child stars.

提案簡介 Projects

PROJECT

#17

流浪歸途 The Vagrant Master

中國 China Genre Key Words

文化、人文關懷、人物傳記 Culture / Human Interests / Biography

Length

電影長度 Feature Length (> 65 min)

Format

Production Status Contact

拍攝期 In Production 導演 Director 徐瑋超 XU Wei-chao、陳瑋曦 CHEN Wei-xi T: +86-152-1013-8138 E: weichao1018@126.com 製片 Producer 夏偉聰 Andersen XIA T: +852-6055-7572 E: sodargreen@live.com

導演 Director │ 徐瑋超 XU Wei-chao 獨立紀錄片導演，美國西北大學紀錄片電影 MFA。剛剛完成長片處女作《告別十二歲》。個人紀錄短片作品在多個國際影展放映並獲獎。

Independent Filmmaker, MFA in Documentary media, Northwestern University, XU has just finished his first feature documentary Wurra . His documentary shorts are also well received in the festival circuit and are screened and awarded at various international festivals.

導演 Director │ 陳瑋曦 CHEN Wei-xi 畢業於中國海洋大學新聞學系，前財新傳媒視頻記者，現供職於時尚先生 Esquire 視頻事業部。專長以紀實短片形式報導民生、社會故事，作品曾獲 2019 年度香港國際紀錄片節華語競賽單元亞軍，2018 映紀實影像獎，2019 華語地緣政治影展優勝；入圍華時代短片節紀實短片單元，騰訊新聞獎突發報導單元。

MA in Journalism and Communication of Ocean University, formerly a finance video reporter, CHEN now works in the Content Creation Department at Esquire. He specializes in reporting life stories and social issue with short films. His work received the second prize of Cinema Competition (Chinese Language) at the 2019 edition of Hong Kong International Documentary, awarded at the 2018 Docs – Factual Films Award and 2019 Sinophone Geopolitics Film Festival, selected for Huaplus Short Films and Tencent News Award for Outbreak News.

製片 Producer │ 夏偉聰 Andersen XIA 現南華早報視頻記者，報導關注國際弱勢群體。前財新傳媒視頻記者，美國西北大學新聞學院碩士畢業。

Video reporter at South China Morning Post, MA in Medill School of Journalism, Northwestern University, Xia used to work for Caixin Media, now has shifted his focus on covering the stories about the disadvantaged groups.

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提案簡介 Projects

項目

Category

工作人員酬勞前期田調經費拍攝期間經費後期製作經費發行出版經費

Filmmaker (Salary) Research & Pre-Production Production Post-Production Distribution

Amount

$ 40,000 $ 10,000 $ 80,000 $ 50,000 $ 2,0000

總預算

Total Budget

待籌措之經費已確認之經費

Financing Sought Confirmed Financing

$ 200,000 $ 180,000 $ 20,000

Sources

FIRST 青年電影展紀錄片實驗室 FIRST Documentary Lab

$ 20,000

PROJECT #17

LOGLINE

一句話

一個在書中避世的流浪者，是如何被速食的流量加身，被迫回到社會，並試圖投身與他反向而行的時代洪流中。 How does the infinitely expanding band with impose the world on a vagrant taking shelter in books and force him to return to the society and even go with the tides of time that travels in a complete opposite direction than his own?

故事大綱

Synopsis

沈巍一直在上海的街頭流浪，以撿垃圾為生。一位播客把他蓬頭垢面坐在路邊讀《左傳》、講《左傳》的視頻傳到了網路上，使他迅速成為了網路焦點。「大師在流浪，小丑在殿堂」，網友們開始編織有關於他的種種傳說，塑造他們各自的流浪大師，並把他當做對於時代的諷喻。而網紅們則像吸血蟲一般，覬覦他短時的榮光，蜂擁而至。自此他的人生軌跡，像 26 年前被認定成為精神病一樣，再次發生了離奇的翻轉。當命運驅使他重返社會，他將如何面對過往苦難中的罪與罰？當每個粉絲都希望沈巍在直播的世界裡創造新天新地時，只有沈巍自己顯得疏離而遲疑，他知道這一切，都不是他真正想要的。面對直播鏡像對他的層層裹挾，他又能否突破楚門的境地，去選擇自己真正想要的新生活？

SHENG-wei has been drifting down the streets in Shanghai, making a living by scavenging. A vlogger uploaded a footage of him sitting on the side of the street, reading and talking about The Zuo Tradition to the internet, putting him under the cyber spotlight instantaneously. “Masters drift, and clowns claim the thrones.” The netizens started fabricating legends about him, forging their own respective masters from their own respective point of view, treating him as a rhetorical allegory of the time. The online celebrities, like leeches drawn to the taste of blood, all try to get something out of his short-fleeting glory. Since then, his life track took a drastic turn, same as 26 years ago when he was diagnosed with a mental illness. When fate propelled him to return to the society, how would he come face to face to the crime and punishment in his previous sufferings? When each and every fans are on high hopes of him creating a brand new world on streaming platforms, only SHENG himself appeared disengaged and hesitant. He knew that all this was not what he really wanted. As the cameras close in on him, will he be able to escape Truman’s lot, and live a new life that he really desires?

拍攝大綱時代精神價值的思辯，直播文化下的鏡像，家庭糾葛和個人命運的沉浮，都在沈巍的身上留下了令人費解的烙印。也正是這樣的複雜性，勾起了我們長期拍攝沈巍的興趣。結束流浪之後，他動盪的新旅程才剛剛開始，我們希望能夠一直用真實電影的方式去跟隨。我們好奇他身上的古典文人氣息如何在重資本卻仍舊鄉土的中國社會上產生影響力，以及他所處的直播世界，是如何一步步塑造他楚門般的境地。他的故事是否又會成為一個黑色幽默的後現代預言？另外一方面是他個人生命經歷裡獨特的苦難，以及他在流浪生活裡如野草般無法剔除的堅韌，和另一面，面對生活不公時，他的自我放逐和不敢抗爭的懦弱感。沈巍所面對的最大人性困境是不敢抗爭，進而無從選擇。童年的他無法反抗壓抑他、扭曲他的父權；青年的他無法面對將他標籤為精神病的社會和家庭，從而自甘流落街頭。如今他正裹挾在直播世界的洪流裡，困難與機會並存。命運給了他重歸社會的機會，給了他追求生活的潛在條件，他會嘗試去爭取他想要的生活嗎？還是這將醞釀另一段他無力扭轉的悲劇？每個粉絲都在沈巍身上抱有期待，希望他的網紅生涯蒸蒸日上，但是只有沈巍自己知道，如今的這一切並不是他想要的，隨之而來的紛爭反而將他鉗制起來。從真實電影的角度看，這是他回歸社會的路程，又可能是他再次逃離世俗眼光的旅程，我們準備堅持記錄到一切浮華塵埃落地，他歸於真我的那一刻。

Treatment The debate on the modern day values, the reflections presented by the streaming media, the family turmoil, and the ebbs and flows of one’s life had left intangible marks on SHENG. It is precisely this complexity that piqued our interest to document SHENG long term. After his vagrant life, his new turbulent journey has only just begun. We are hoping to follow through his story and present his story in the factual form. We wonder what impact his classical scholastic values will have on the capitalistic but at the same time still rural Chinese society. Also, if this streaming world that he finds himself in is gradually putting him in Truman’s lot, will his story become a post-modern prophecy tinted with a black sense of humor? On the other hand, we also want to portray the unique suffering that he experienced in life, his weed-like resilience in his vagrant life, and also his self-exile and cowardness where he dared not rebel.

提案簡介 Projects

The biggest predicament SHENG is faced with is that he dared not rebel, and thus is left with no alternatives. As a child, he was not able to fight the fatherly authority that oppressed and twisted him; as an adolescent, he was unable to face the society and family that labelled him as mentally ill, and since then took to the street of his own accord. Now he is caught in the current of the world of streaming media, where difficulties and opportunities co-exist; he is given the opportunity to return to society and the potential of pursuing a life. Will he fight for a life that he wants? Or this will be yet another tragedy that he is unable to turn around? All the fans expect something from SHENG, hoping that his life as a cyber celebrity prosper, but only SHENG himself knows that all that there is now is not what he wants; all the discords that came with his fame in turn shackle him. For a factual film, this is SHENG’s journey to return to society, or it might also be one where he escapes again from the conventional gazes. We are ready to stick it out to the end and document to the point where everything comes to its conclusion, and he returns to his true self.

PROJECT

#18

朱家角的歌聲 Melody of East Venice

新加坡、中國 Singapore, China Genre Key Words

青少年與兒童、音樂 Youth and Children / Music

Length

電視長度 TV Hour (51–65 min) 電影長度 Feature Length (> 65 min)

Format

Production Status Contact

後製期 In Post-Production 導演 Director 蘇青 SU Qing T: +86-139-1029-7941 E: box2003@126.com 製片 Producer 米娜 CHEN Mina、郭曉東 GUO Xiao-dong T: +86-139-1178-3410 E: xiao_dong_guo@126.com

導演 Director │ 蘇青 SU Qing 蘇青，出生於內蒙古，現居北京。1998-2002 年在重慶電視台、中央電視台任節目編導。編導《中國民間藝術》、《中國文物》系列海外發行電視節目、系列紀錄片《中國人的故事》，人物紀錄片《生命之歌》，曾獲中國電視星光獎提名。2002 年至今，擔任獨立紀錄片導演、製作人，代表作《白塔》（2004）、《手語時代》（2010）、《梧桐樹》（2018）。2008 年在宋莊與米娜建立「蘇青米娜工作室」及「米娜餐廳」。亞洲電影共同體「新亞洲影志」聯合發起人。

Born in Inner Mongolia, SU Qing currently resides in Beijing. From 1998 to 2002, he worked as a program director at Chongqing Television and China Central Television. He directed the TV series Chinese Folk Art , Chinese Relics , both for foreign distribution, documentary series Stories of the Chinese , and character-based documentary Song of Life , which was nominated for Chinese TV Starlight Awards. Since 2002, he has been an independent documentary film director and producer. His best-known works include White Tower (2004), Sign Language Time (2010) and Caro Mio Ben (My Dear Beloved) (2018). In 2008, he co-founded SU Qing and Mina Studio and Mina’s Restaurant in Songzhuang with Mina. He is the co-founder of New Asian Filmmakers Collective.

製片 Producer │ 米娜 CHEN Mina 米娜，出生於重慶，現居北京，獨立紀錄片導演、設計師、美食家，代表作《白塔》（2004）、《手語時代》（2010）、《梧桐樹》（2018）。畢業於北京服裝學院服裝設計本科及中央美術學院藝術管理碩士。2008 年在宋莊與蘇青建立「蘇青米娜工作室」及「米娜餐廳」。亞洲電影共同體「新亞洲影志」聯合發起人。

Born in Chongqing, CHEN Mina is a current resident of Beijing and an independent documentary film director, fashion designer and food critic. Her best-known works include White Tower (2004), Sign Language Time (2010) and Caro Mio Ben (My Dear Beloved) (2018). She holds a bachelor’s degree in Fashion Design from Beijing Institute of Fashion Technology and a master’s degree in Art Management from Central Academy of Fine Arts. In 2008, she co-founded SU Qing and Mina Studio and Mina’s Restaurant in Songzhuang with Su Qing. She is the co-founder of New Asian Filmmakers Collective.

製片 Producer │ 郭曉東 GUO Xiao-dong 郭曉東，廬舍社團發起人，獨立製片人、剪輯師、策展人，製片《梧桐樹》、《丘山》、《模樣》、《樹房子》等亞洲與國際合制電影，剪輯《輕鬆＋愉快》、《清水裡的刀子》、《之子於歸》等獨立與藝術電影。亞洲電影共同體「新亞洲影志」首位發起人。

GUO Xiao-Dong is an independent film producer, editor and curator. He produced Asian and international coproductions such as Caro Mio Ben (My Dear Beloved) , Hills and Mountains , and Portrait: Madam Sun , The Tree House . He made editing of independent and Art House films such as Free and Easy , Knife in the Clear Water and Lush Reeds . He is the founder of New Asian Filmmakers Collective and LAST Commune. 經費預算 Financing Plan (USD)

提案簡介 Projects

項目

Category

工作人員酬勞前期田調經費拍攝期間經費後期製作經費發行出版經費

Filmmaker (Salary) Research & Pre-Production Production Post-Production Distribution

Amount

$ 40,984 $ 4,240 $ 21,199 $ 42,397 $ 7,066

總預算

Total Budget

待籌措之經費已確認之經費

Financing Sought Confirmed Financing

$ 115,886 $ 50,877 $ 65,009

Sources

左旋電影私人有限公司 Levo Films Pte. Ltd. 蘇青米娜工作室 Su Qing and Mina Studio 西湖紀錄片大會優秀提案獎 Westlake IDF Pitching Award

$ 25,438 $ 25,438 $ 14,133

PROJECT #18

LOGLINE

一句話

歌聲縱是天籟，盲女上下求索。為夢想，盲少女怡文與母親寄居上海備考音樂學院。斗室裡承載了她們的無比勇氣，笑淚人生。 Blind musician WANG Yi-wen and her mother fight against disabled persons discrimination of Shanghai Music Academy. Will she succeed the entrance exam and become the first one in history?

故事大綱

Synopsis

上海音樂學院，是一所中國頂級、世界一流學科建設的高校，被譽為「音樂家的搖籃」。對於王怡文來說，考入上海音樂學院她將會成為中國首例聲樂歌劇系的盲人學生，這將是她踏上世界一流歌唱家的偉大征程中至關重要的一步。

Shanghai Music Academy is a world top level university and one of the best in China, and is so-called the “cradle of musicians”. For the blind girl WANG Yi-wen, to succeed the entrance exam of the academy and to be enrolled in the opera singing department will be her first step to become a top-class singer.

「如果考不上，我們去新疆種棗樹」來自河南的母女商量，家鄉特產大紅棗，音樂的大門關上了也許還有快樂的田園……上海音樂學院不僅對專業錄取要求苛刻，也對視力有審核標準。母女倆最大的自信，是音樂上的自信，除此以外，一籌莫展，人能勝天嗎？

拍攝大綱自幼因醫療事故失明的怡文，四歲就無師自通在鍵盤上彈奏出她聽過的旋律，8 歲因為天生的漂亮嗓音配合樂感就開始了聲樂訓練。她的母親，一位不屈服的「虎媽」，女兒的失明就是母親奮鬥的開始。人生即戰場，這是一場艱苦的大戰役。 2017 年 7 月，王怡文母女來到上海郊區朱家角，在江南小鎮上，租住了 20 平米陋室。「我們不是來考學的，我們是來當歌唱家的」，母親說。但是教育部門以沒有這樣的先例不同意王怡文報考。幾經周折爭取到考試資格。2018 年，王怡文在全國 600 名考生中以專業成績第 11 名列前矛。母女滿懷喜悅卻迎來了因為身高不達標而被拒之門外的失敗消息。十年如一日，付出比正常孩子更多的努力，怡文在音樂裡突飛猛進，超越了多數同齡人，她內心依然是一個陽光小少女，沒有太多的朋友，她和滿屋子的布偶做遊戲，她更多的快樂，是音樂帶來的精神世界的充實擴展。父親常常與母親爭吵，母親負擔了全部的生活照顧，所有的樂譜也是母親親手製作。隨著怡文考學的漸入困境，這個母女相依為命的家庭也在生活上漸入窘境，苦難看不到終點。母女再次作出選擇，決定再背水一戰，複考上音，要衝擊前三名來征服世俗眼光，獲得破格錄取的機會。歡聲笑語在擦乾淚水之後又蕩漾在朱家角的小屋裡，這裡每每傳出動人的歌聲。母女倆總是有辦法振作精神，去憧憬未來……

“If we cannot make it, we are going to plant date trees in Xinjiang”, WANG Yi-wen and her mother comfort themselves with an imaginary gardening life far away from their hometown Henan province... Shanghai Music Academy is known for highly rigorous admission rules. WANG Yi-wen and her mother, they are confident in Yi-wen’s music and performance level, but are stuck by the regulation of normal eye-sight level against blind persons. Can they finally make a step forward?

Treatment When WANG Yi-wen was a new born baby, she had experienced a medical accident and became blind. She started playing piano at the age of four and professional vocal training at eight. Her mother is a so-called “tiger mom” who struggled all the way for the future of her daughter. For them, life is like a battlefield and every step forward needs to be fought for. In 2017, Yi-wen and her mother came to Zhujiajiao, a small town having a beautiful name “East Venice” near Shanghai, where they rent a room of 20 sqm. Ten years’ hard work, day after day, it made Yi-wen a real professional and surpass other students of her age. There is as if a little shiny girl living in her inner world. Without classmates around her, she made friends with puppets and was longing for a spiritual life in the art of music. Her parents argued often about her future and lived separately. Yi-wen’s mother then took all the responsibilities for her study until they met enormous difficulties in everyday life. Now time comes to the entrance exam of Shanghai Music Academy. Yi-wen and her mother decided to try again to conquer the prejudice in spite of the first failure one year ago. Wiping all the tears, the melody of the small town is going to rush out from the window of the tiny room and bring them to a brighter future.

提案簡介 Projects

CNEX Doc Academy CNEX 紀錄片學院

案例分享 Case Study Screening

阿紫 The Good Daughter 台灣 Taiwan ｜ 2019 ｜ 83min ｜吳郁瑩 Sally WU 獲得資金來源 Funded/Co-produced by LEF Foundation

參與國際提案大會、影展與獲獎紀錄 Pitching Experience, Festivals and Awards 2015 CCDF-6 CNEX-ASD 特別獎 2015 CCDF-6 ／ 2019 金馬獎最佳紀錄片入圍 Nominated for Golden Horse Best Documentary ／ 2020 台北電影節最佳紀錄片、最佳剪輯 Taipei Film Festival Best Documentary; Best Editing ／ 2020 台灣國際紀錄片節台灣競賽入圍 Nominated for 2020 Taiwan International Documentary Festival ／ 2020 Salem Film Festival

影片簡介 Synopsis 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，四十幾歲才聽媽媽的，花了不少錢及心力 , 到越南把阿紫娶回來。但對媽媽，大哥還有周圍的人，越南娶回來的新娘就該聽話。他知道，在這個安靜的海邊小村裡 , 阿紫為了家庭的存續，犧牲了自己的一切，被綁在這個連台灣人自己都不願意留的地方。阿紫是爸爸最疼的女兒，雖然生長在貧窮的越南農村，爸爸從不讓她做家事，在必須選擇自己的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。倆人都背負著家庭傳統的束縛與期待，付出著巨大的代價。但是他們的代價，究竟換來了甚麼 ?

The Good Daughter is a cinema verite portrait of Azhe, a young woman from the Mekong Delta who moves to a foreign country to marry a complete stranger in order to support her impoverished family back home. Like many families of South Vietnamese veterans who fought alongside American

troops in the Vietnam War and have since faced decades of debilitating retribution, Azhe’s marriageability is her family’s best hope to stave off destitution. For Azhe, this means living in a small fishing village in Taiwan with a crippeld husband, the two adorable children they have together, and an abusive mother-in-law. Filmed over the course of three years, The Good Daughter offers an intimate, unflinching account of Azhe as she confronts discrimination in Taiwan for being a foreign bride and works two back-breaking jobs to support both of her families––all the while fighting back against feeling victimized by her utter lack of options. In the process, the film bears witness to an essential contradiction in the lives of migrant women like Azhe: As her children grow older and their financial needs increase, can Azhe continue to devote herself unconditionally to her struggling family back home, or must she now focus solely on the new family she created in Taiwan? And, in the process, how can she realize her dream that her daughters might have a more hopeful future than her own?

導演的話 From the Director 我成長在離阿紫拍攝地點雲林四湖約ㄧ小時車程的地方，但那裡對我來說是陌生的。我和阿紫一樣是個移民，她從越南到台灣，我從台灣到美國，我們同樣經歷著全球移民都需面臨的文化差異，種族認同，自我認知位移等問題。阿紫孤單的在雲林海口，她的丈夫與小孩是她唯一的依靠，但這依靠有著太多的附加條件。她與丈夫都是細膩溫柔的人，對待與教育小孩讓我動容，背負在他們彼此肩上家庭的期望一樣的沈重，這個重擔讓他們互相了解，卻也使他們傷痕累累。在那個遙遠被遺忘台灣的角落，他們必須在日復一日的生活風景裡昂頭凝視熾熱刺眼的陽光。

The search for a subject is always exhilarating. I was fascinated by how much Long and Azhe had in common. Both were from traditional families that made huge demands that neither Long nor Azhe questioned. It’s important that the subjects understand exactly what I will be asking of them. I want them to know that they can trust me and that I respect their dignity. My aim is not to glorify, judge or offer any solutions. To me, this tragedy has no real villains. It is important that they understand their truth will be reflected in this film and that their story will matter to people. 紀錄片學院 CNEX

As a storyteller, I am intrigued by the power of a great story that shows no mercy to expose the cruel, the heroic, the absurd, the merciful, and the vicious parts of everyday life that we ignore or try to downplay. Dark and painful truths side by side with moments of dignity and courage and love. In nuanced moments we are people as they are. As we are. And it becomes possible to find a measure of commonality with even the worst of the worst. I want to explore the human condition this way.

Immersing myself with my subjects’ life, the camera patiently rolls and waits. Filming the story as it happens is like juggling with sharp knives. It’s crucial to listen to what’s going on so the camera can follow the action and catch every nuance while being vigilant that the sound is as pristine as possible, and always be thinking about being able to edit it, so these often intimate moments won’t end up on the cutting room floor. The sound of waves, winds, footsteps, or groans is all part of the storytelling.

案例分享 Case Study Screening

孺子不可教 Unteachable 新加坡 Singapore ｜ 2019 ｜ 77min ｜楊淑玲 YONG Shu-ling 獲得資金來源 Funded/Co-produced by Media for Social Change

參與國際提案大會、影展與獲獎紀錄 Pitching Experience, Festivals and awards 2019 新加坡國際電影節觀眾票選獎 Singapore International Film Festival 2019 – Winner of Audience Choice Award ／翠貝卡電影協會 Tribeca Film Institute Network Market 2018 ／ Kartemquin Labs 2017 ／ 2017 CCDF-8 最佳提案獎 CCDF-8 (2017) – Winner of Best Pitch Award ／ Docs By The Sea 2017 ／ Good Pitch Southeast Asia 2017 DocNet Southeast Asia 2014 ／ Kartemquin Films Diverse Voices in Docs 2013

影片簡介 Synopsis 孺子不可教探討一個問題：「學習的快樂，在教室中如何呈現？」新加坡世界有名的教育體制中，藏著許多被貼上「不可教」標籤的青少年。一位年輕的女教育家擔任當地學校的代理老師，卻肩負重任：她要帶頭引進一個新的教學方法，希望鼓勵學生跳脫負面標籤的框架，重新拾回對學習的熱誠。然而，這樣的方法能夠在只注重成績的教育體制下嗎？導演以她的願景及拍攝手法，從旁觀者的角度呈現體制下的教育。《孺子不可教》揭發學生最真誠的實作精神與志向，以及學習與教育的辛勞。

Unteachable explores the question, “What could the joy of learning look like in classrooms?” Hidden in the shadows of Singapore’s world-renowned education system, are teenagers deemed “unteachable”. A young woman joins a local school as a substitute teacher, but she takes on a mammoth task––pilot a new teaching method aimed at empowering students to rise about negative labels and rekindle their innate love for learning. Will this work in a result-oriented education system? The director’s vision and cinematographic acumen coolly observes the workings of a rigid institution. By exposing the pragmatism that exists alongside students’ earnest ambitions, Unteachable brings to light the labors of teaching and learning.

導演的話 From the Director 我從小在新加坡長大，在這裡，一個人的學業表現往往與一個人的自我價值環環相扣。除了我的成績以外，家人鮮少和我討論其他瑣事。我還記得，每週三次放學後，都會上課後補習班。當我考完 O’Level 升學考試時，我對主流的學校科目感到厭煩，也沒興趣，因而拜託爸媽讓我申請理工大學——在新加坡甚至比初級學院更次等——學習大眾傳播並追尋我的夢想。這讓我對學校的熱愛改變了。直到我喜愛我所學，且覺得課程內容有意義，才讓我在學業上步步高升。我希望《孺子不可教》能夠激發教育觀念的改變，並鼓勵觀眾能探討教育真正的目標，以及將同理心及學習的樂趣帶回教室中的意義。紀錄片學院 CNEX

I grew up in Singapore where academic performance is often pegged to one’s self-worth. My parents seldom discussed anything other than my grades with me. I also remember attending after-school tuition classes thrice a week. By the time I finished my O’level Examinations (national high stakes standardized test), I had become so jaded and disinterested in mainstream school subjects that I begged my parents to let me apply to a polytechnic, seen as “second-rate” behind a junior college, to study Mass Communication and pursue my dreams. That’s when my love for school changed. It was only when I loved what I was learning and found it meaningful that I truly excelled. I want Unteachable to spark that shift and encourage audiences to think deeply about what the true purpose of an education is, and what it means to bring empathy and the joy of learning back into the classrooms.

案例分享 Case Study Screening

拉一碗麵 Noodle Kid 台灣 Taiwan、中國 China ｜ 2019 ｜ 107min ｜霍寧 HOU Ning、史祖德 Gary SHIH

影片簡介 Synopsis 中國西部伊斯蘭教地區，數十萬穆斯林以經營拉麵店謀生，這也是 14 歲的馬翔輟學後唯一的選擇。對這個男孩來說，幸福就是記憶裡和母親在一起的時光碎片，當他試圖找回缺失的片段時，面對的卻是信仰與觀念的衝突、現實與生存的挑戰。一個小小的拉麵店，能成為馬翔找到屬於自己幸福的起點嗎？

Hundreds of thousands of Hui people from Qinghai Province in western China open noodle shops nationwide. This was also the last resort for the 14-year-old Ma Xiang, after he dropped out from school. For him, happiness was the brief moments he remembered sharing with his mother. When he tried to find back the missing moments, he found himself facing unexpected difference between his hometown and the unfamiliar outside world, as well as the challenges of reality and survival. Is this tiny noodle shop going to be the starting point of his own happiness?

導演的話 From the Director 2014 年，在做拉麵的田野調查時，我第一次來到了青海省化隆縣德恒隆鄉，一座橫亙於黃河北岸，海拔近四千米的大山蜿蜒於此，這裡是青藏高原和黃土高原的交界處，乾旱貧瘠，生存環境惡劣。這裡是藏回的聚居地，古老的清真寺外牆上塗刷著「製販槍支害人害己害國」的大幅標語，伴隨著高音喇叭裡的宣禮聲，操持著藏語的回族村民一天做五次禮拜，用一種警惕的目光審視著所有進入村莊的外人。「拉一碗麵」的主角馬祥生活在這裡，和當地所有同齡的孩子一樣，在小學五年級時選擇了輟學，跟隨父輩親戚散落在全國各地大大小小的拉麵館裡做學徒。那一年，化隆縣雄壯的拉麵產業大樓拔地而起，走向全國的化隆拉麵替代了化隆造的黑槍，成為當地脫貧致富的經濟支柱。馬祥是這支拉麵產業大軍中渺小的一員，帶著懵懂的憧憬來到了內地的城市打拼未來。我們用鏡頭紀錄了他成長的短暫瞬間，映射著關於家庭、愛、信仰與學習生存技能的故事，與大時代背景下缺乏教育背景的少數族群艱難而隱秘的成長經歷。

導演及團隊自籌 Self-funded ／上海紀實頻道 Shanghai Media Group

參與國際提案大會、影展與獲獎紀錄 Pitching Experience, Festivals and awards 2020 義大利波隆納人物傳記電影節評審團特別推薦獎 2020 Biografilm Festival Special Mention ／ 2019 釜山國際電影節最佳紀錄片 2019 Busan International Film Festival Best Documentary ／ 2019 德國萊比席動畫及紀錄片影展入圍 2019 Dok Leipzig Official Selection ／ 2016 CCDF-7 ／ 2016 釜山國際電視節提案入圍 2016 Busan International Film Festival Official Selection ／ 2015 上海紀實頻道 MIDA 導演計畫 2015 Shanghai Media Group MIDA program ／ 2015 廣州國際紀錄片節最佳提案 2015 Guangzhou International Documentary Film Festival Best Pitch

In 2014, I came to Dehenglong, Hualong Hui Autonomous County in Qinghai for the first time when I was doing field research on the “stretched noodles.” A mountain as high as four thousand meters stretches here, to the north of the Yellow River. Here is the border between Tibetan Plateau and Loess Plateau, its land barren and afflicted by drought, its climate harsh for the survival of living beings.This is the habitat for Tibetan and Hui people. On the walls of ancient mosques are painted the slogan “Making or selling firearms damages oneself and the country,” accompanied by the sound of Adhan emitting from loudspeakers. The Hui villagers pray five times a day, regard all outsiders with a watchful eye. MA Xiang, the protagonist, lives in this region. Like all local children of his age, he drops out of school at the age of 11, and works as an apprentice with his relatives in various noodle shops across the country. That year, the imperial buildings of noodle industry are rising, and takes the place of firearms, becoming the means to get out of poverty. Ma Xiang is merely a speck of dust in this growing industry. He comes to the city to fight for a better future with a longing accompanied by ignorance that comes with naivete. We captured the brief moment when he was growing to maturity, and at the same time documented the story of family, love, faith, survival and that of a minority people’s hardship where children were deprived of education and are forced to grow up. If making documentaries is a means to observe the world, then through the making of Noodle Kid , we caught a glimpse of the complexity and diversity of the Chinese society, and the warmth and coldness of human encounters behind the preparation of food.

紀錄片學院 CNEX

如果說拍攝紀錄片是一種觀察世界的方式，那麼通過《拉一碗麵》的創作歷程，我們窺見了中國社會的複雜與多元，以及食物背後的人生冷暖。

獲得資金來源 Funded/Co-produced by

特別放映 Special Screening

本來面目 Master Sheng Yen 台灣 Taiwan ｜ 2020 ｜ 115min ｜張釗維 CHANG Chao-wei

影片簡介 Synopsis 1940 年代，在中國民族命運、人的尊嚴以及佛教尊嚴都跌落谷底的時刻，一個十四歲的男孩在江蘇南通出家，從此，他展開了將近七十年不曾休止的求法與傳法過程，同時，也是追尋生命與信仰尊嚴歸向的過程。

Fire of His Faith (1949), Second Ordination (1959), Leaving for Japan (1969), Chan Practice and Spreading the Dharma (1979), Founding Dharma Drum Mountain (1989), Care for Life and Death (1999), and Master Sheng Yen’s Passing Away (2009).

《本來面目》以紀實電影的形式，平視平實的視角，呈現聖嚴法師跌宕起伏的一生，以及他所經歷的時代浪潮。影片從 1979 年紐約街頭揭開序幕，以每十年為一個節點，來鋪陳他的生命歷程。包括：信仰危機（1949）、二度出家（1959）、前往日本（1969）、禪修傳法（1979）、開創法鼓山（1989）、生死關懷（1999）、捨報圓寂（2009）。

In the 1940s, the time that the fate of the Chinese people and the dignity of Chinese Buddhism fell into the nadir, a 14-yearold boy was ordained to be a Buddhist monk in Nantong, Jiangsu Province, China. Since then he had embarked on the journey of pursuing and spreading the Dharma for nearly 70 years. It was, moreover, a course for him to explore the refuge of his faith and life’s dignity. Master Sheng Yen portrays Master Sheng Yen’s turbulent life and times in the form of a factual movie. The film unfolds on the streets of New York in 1979, relating the course of Master Sheng Yen’s life with 10-year chapters, including The Dying

導演的話 From the Director 尊嚴與率真，其實是我內心深處非常看重的兩種生命情懷。說穿了，就是我自己跟師父的交集。《本來面目》是迄今為止，我做過最難的紀實影片。難處還不在調研與製片過程，而是，它對我做為導演自身修為的要求，比過去任何影片都來得高。首先，過去我嫻熟於處理歷史題材，然而這一次，並不只是講一些曾經發生的現實故事而已，還必須能夠試著讓影片透露出超越現世此生的精神況味。其次，在世俗與信仰之間，如何找到相通的表述，包括語言文字以及影音風格；而不是被任何一方所限。最後，作為導演，我不能只是客觀呈現傳主的生命歷程，而必須找到那歷程跟我自己內心相應之處。這個尋找，從項目啟動開始，足足花了一年半的時間。對我來說，聖嚴法師是一個知識分子，但是又超出一般知識分子的格局；到晚年，他是一個創業家，更是一個宗教家。是什麼力量支持他在生命與時代的長河中，像小鴨子一樣，在各種好壞因緣的助力之下，不斷往前游？就外在大環境來說，他在追求個體的，同時也是整體的，尊嚴的復歸；就內在心性而言，他始終保持從小就有的率真，至死不渝。因此，聖嚴法師的一生給我的啟示就是，當我們能夠不忘記內在小宇宙的率真，也能夠去追問外在大宇宙的究竟尊嚴時，那個本來面目，就有了展現的可能。紀錄片學院 CNEX

願以此體會，「如是我聞」地與有緣眾生分享。

獲得資金來源 Funded/Commissioning 財團法人聖嚴教育基金會 Sheng Yen Education Foundation

參與國際提案大會、影展與獲獎紀錄 Pitching Experience, Festivals and awards 2020 THIS Buddhist Film Festival Ofﬁcial Selection

Master Sheng Yen is the most difficult documentary film I’ve ever made. The hard part lay not in the process of research and production but in its demand for the director’s selfcultivation, which was much higher than those of any other films in the past. I was familiar with handling historical materials. This time, however, the film focuses not just on the real stories. I had to try showing a sense of spiritual transcendence that goes beyond this world and this life. In addition, I needed to find a common ground, including the language and the style, between the secular and the religious, rather than being restricted to one side. As a director, objectively showing the biographee’s life course was not enough. I had to find the resonance of such a course inside my heart, and I spent nearly one and a half year searching for it since the launch of this project. To me, Master Sheng Yen was an intellectual but saw further than general intellectuals. In his late years, he became an entrepreneur and even a spiritual master. Along the river of his life and his time what strength that kept him swimming forward like a small, untiring duckling when facing all sorts of supportive causes and oppressive obstacles? In the light of the outer world, he was pursuing the revival of individual and even collective dignity. As for his inner self, he always retained the innate authenticity he had developed since young age. Master Sheng Yen’s life has inspired me to see that when we are able to keep our authenticity in the inner cosmos while pursuing the ultimate dignity of the outer cosmos, we give ourselves the possibility to show our original face. It is my hope that such a realization be shared with all. “Thus I have heard.”

大師講堂 Master Class

Making Successful Documentaries – Right Time, Right Place 製作成功的紀錄片：對的時間、地點

這個講座會透過 CCDF、陽光紀錄片提案大會和萊比錫國際提案大會的紀錄片案例來介紹決策的過程。決策者決定投資哪些提案並播映，取決於多種因素：成功獲得觀眾青睞的潛力，以及主題在目標市場的相關性。

Rudy BUTTIGNOL 加拿大知識網絡總裁暨執行長 President & CEO, Knowledge Network

The panel will illustrate the dynamics of decision making with case studies of documentary projects pitched at CCDF, Sunny Side of the Doc, DOK Leipzig. Decisions on which projects to finance for broadcast are based on several factors: quality of the project; its fit with the network’s brand; potential for audience success; subject relevance in the target market.

Making Local Stories Global 從地方到全球

「達成一個真正普世的故事的矛盾，在於其故事所探索的特異性。」故事可以跨越國界，文化，語言和障礙，但為什麼總是感覺這些故事與我們形影不離？拿走一些重要工具，可以將當地的故事推向國際市場，並使其推廣給全球觀眾。

Stephanie McARTHUR

Julian CARRINGTON

加拿大國際紀錄片影展資深產業節目策劃經理 Senior Industry Programs Manager, Hot Docs

加拿大國際紀錄片影展發行經理 Distribution Manager, Hot Docs

“The paradox of arriving at a truly universal story is often found in its specificity.” Stories can travel across borders, cultures, languages and barriers, so why do they sometimes feel like they won’t leave our backyard? Take away critical tools to lift your local story to international markets and make it accessible to global audiences.

紀錄片學院 CNEX

專題講座 Panels

9.19 14:30-15:30

後疫情時代：未來播出平台考驗 Life After COVID-19: Future Broadcasting Challenges 電視台和其他平台會不會改變過去委製跟購買的政策？不同傳播媒介間的平衡會怎麼被影響？觀眾會如何改變？紀錄片的重要性會因此被改變嗎？

主持人 Host

講者 Panelists

Peter HAMILTON

黃海波 Haibo HUANG

紀錄片顧問 Consultant

鳳凰衛視中文台、紀錄片顧問副台長 / 總編室主 Consultant 任 / 電影台台長 Deputy Head of Chinese Channel / Director of Chief Editor’s Office / Head of Movie Channel, Phoenix Satellite Television

9.19 16:00-17:00

Mandy CHANG 英國 BBC 故事村＆紀實採購部委製編審 Commissioning Editor for Storyville & Factual Acquisitions, BBC

後疫情時代：未來影展考驗 Life After COVID-19: Future Festival Challenges

主持人 Host

講者 Panelists

Alex LEE

Mathieu BEJOT

杜海濱 DU Hai-bing

Tabitha JACKSON

Adriek VAN NIEUWENHUIJZEN

法國陽光紀錄片提案大會策略與開發總監 Director of Strategy and Development, Sunny Side of the Doc

IDF 西湖國際紀錄片大會執行長 CEO, West Lake International Documentary Festival

美國日舞影展總監 Director, Sundance Institute Documentary Film Program

阿姆斯特丹國際紀錄片影展產業負責人 Head of Industry, IDFA

紐西蘭邊鋒紀錄片節總監 Director, Doc Edge

紀錄片學院 CNEX

Dan SALERNO

Will broadcasters and other platforms change their commissioning and acquisition policies? How has the balance between delivery systems been affected? How have audiences changed? Will the importance of docs be altered?

紀錄片影展如何因應防疫新生活，並維持社交距離？很多紀錄片影展都轉型為線上舉辦：這將會怎麼樣影響它們的未來？我們學到了什麼？疫情中的經驗將會怎麼樣影響日後紀錄片影展的內容以及它們的重要性？

Festivals have had to adapt to the lockdown and social distancing? Many have gone online: what effect will this have on their future? What has been learned? Will this experience impact the future content of festivals and their importance?

9.20

後疫情時代：未來發行考驗 Life After COVID-19: Future Distribution Challenges

15:00-16:00

主持人 Host

講者 Panelists

陳玲珍 Ruby CHEN

Gitte HANSEN

寧玉琪 Mike NING

CNEX 基金會共同創辦人暨執行長 Co-Founder and CEO, CNEX Foundation

First Hand Films 行銷及採購負責人 Sales and Acquisition, First Hand Films

愛奇藝紀錄片中心 New Docs 總監營運總監 Director of Factual CEO, New Docs Content, iQiyi

紀錄片發行的世界會如何轉變？紀錄片的行銷會怎麼樣被封城所影響？串流服務的成長及影院的關閉會怎麼樣改變各種機會的平衡？

9.20

Elina KEWITZ

Mark STUCKE Journeyman Pictures 創辦人暨營運總監 Founder & CEO, Journeyman Pictures

What about the world of distribution? Will the marketing of docs be impacted by this period of lock-down? How has the balance of opportunity been shifted by the growth of streaming services and the closure of cinemas?

後疫情時代：未來製片考驗 Life After COVID-19: Future Production Challenges

16:30-17:30

主持人 Host

講者 Panelists

張與蘭 CHANG Yu-lan

朱樂賢 Lex ZHU

江松長 S. Leo CHIANG

Chris Humphrey

Judith Helfand

CCDF 總監 Director, CCDF

騰訊視頻紀錄片工作室總監 Director of Documentary Studio, Tencent Video

紀錄片導演、美國影藝學院奧斯卡獎評委 Director; Documentary branch member, AMPAS

A+E Networks Asia 製作總監 Head of Production, A+E Networks Asia

獨立紀錄片製作人 / 導演 Independent Documentary Producer / Director

What are the implications of a post-COVID-19 world for the production of documentaries? How will filmmakers respond? Will there be a demand for different subjects? Will there be restrictions or new opportunities in style and approach?

紀錄片學院 CNEX

後疫情時代的世界將對紀錄片的製作有何影響？紀錄片工作者該如何反應？會不會對不同主題有所需求？在風格與切入角度的層面，會有什麼限制以及新的機會？

Words from the Selection Committee 初審評審感言

初審評審感言 Words from the Selection Committee

林樂群

LIN Leh-Chyun 臺灣大學新聞研究所兼任副教授 Adjunct Associate Professor, Graduate Institute of Journalism, National Taiwan University 面對新冠肺炎疫情肆虐全球，今年大部分的紀錄片提案會都改為線上舉行，CCDF 也不例外。但是紀錄片工作者不能遠距工作，仍然必須面對受訪者，才可能有效採訪拍攝。入選今年提案的《大黃和奶奶》，導演在新冠肺炎的最前線，記錄武漢一對相依為命的祖孫，祖父因為肺炎過世，祖母也被感染，但治療後恢復健康，過程中祖孫在矛盾、爭吵中照顧彼此，重建正常生活，讓觀眾在數據背後，看到鮮活感人的生命故事。香港的提案《YULI》則從獨特的觀點，切入全球關注的反送中示威活動，影片主角是印尼外勞 Yuli，她利用有限的閒暇時間拍攝示威活動，並透過社群平台做自媒體報導，協助香港的印尼移工對示威活動有更深入的理解。另一個與社群媒體相關的故事《流浪歸途》，則透過具體個案，對網紅現象呈現令人省思的諷刺。除了掌握大時代脈動，今年 CCDF 的提案也包括多個「平凡」人物的不凡故事，凸顯紀錄片工作者尋找題材與製作的能力，其中令人印象深刻的《成余與葉貞》，記錄中國西南山區一對年近九十仍堅持農耕的老夫妻，在日復一日的爭吵中替子女守護老家，互相陪伴着度過餘生，充滿幽默與哲思。《一個普通家庭》的提案，導演將攝影機面對家人，長期記錄家人面對的挑戰，戲

歷史紀錄片也不欠缺，《偉士牌、颱風、外交》記錄台灣八零年代搖滾樂團，透過他們帶領觀眾一探台灣經濟起飛、解嚴前夕，一股股瘋狂躁動、難以壓抑、即將迸發的社會氛圍。《女人世界》

VR 實驗紀錄片《潛入西拉雅》使用聲控及語音辨識技術，希望觀眾於觀影時說出被列為死亡語言的台灣原住民西拉雅語，令人期待。綜觀本屆 CCDF 入圍提案，類型多元，人物突出。華語紀錄片工作者面臨艱困時刻仍然兢兢業業，為時代留下具有獨特觀點的記錄，值得支持。

History documentaries are by no means absent. Vespas, Typhoon, Diplomats portrays the Taiwanese rock bands in the 80’s. Through them, the film guides the audience in the exploration of Taiwan’s hard-to-suppress, frenzy, eruptive social atmosphere on the verge of rapid economic growth, and the moment when the Martial Law was lifted. Women’s World re-enacted the story of Chinese female dancers in early-day American nightclubs.

Words from the Selection Committee

重現早年美國僑社夜總會華裔女舞者的故事。

Apart from the important current issues, there are also a number of extraordinary stories of “ordinary” people, which illustrates the filmmmakers’ outstanding ability to find stories and use them to produce their films. One impressive example is Go Gentle into the Spring , a documentation of an elderly couple in their 90s that still insist in practicing farming. The couple bicker day in and day out, guarding their home for their children. In this fashion, full of humor and wisdom, they spend the rest of their lives around each other. In the case of House or Home , the director trains the lens on his family, making a longitudinal documentation of the challenges the family members are faced with. The story is no less dramatic than fiction, and is fills with a fantastic sense of humor, laughter and tears.

初審評審感言

劇性超越劇情片，充滿血淚與幽默。

To tackle COVID-19, most documentary pitch forums are switching to online format, and CCDF is no exception. However, documentary filmmakers are not able to work remotely; they still have to sit face-to-face with the interviewees to effectively conduct an interview and to film. One of the selected projects, Da Huang and His Grandma , tell the story of a grandmother and a grandson that depend on one another. The grandfather died of COVID, and the grandmother was infected, but recovered after treatment. The director puts himself on the frontline of the pandemic. The grandmother and grandson undergo conflict, fights, but at the same time look out for each other and gradually rebuild their lives. This film gives the audience an opportunity to bear witness to a lively, moving story behind the statistics. YULI , a project from Hong Kong, takes on a unique POV to inspect the Anti-Extradition Law Amendment Bill Movement. The protagonist is an Indonesian migrant worker, Yuli. She uses her limited spare time to film the protest, and independently covers the story via social media platform, helping Indonesian migrant workers to gain a deeper understanding of the protest. Another project. The Vagrant Master , also touches on the issue of social media. The said project explores the phenomenon of cyber celebrities through a concrete example.

The experimental VR project, Diving into Siraya , adopts the voice control and speech recognition technology, in an attempt to guide the audience to utter the long-considereddead Siraya language. Definitely something to look forward to. The selected projects of this edition are diverse, and have strong characters. In the face of great challenges posed my our time, the Sinophone documentary filmmakers are still striving to leave records featuring unique perspectives. That alone deserves our support.

champion who’s trying to dive deeper despite her fear; Westerners who were the first to break into the Mando-pop scene in the 80s, when Taiwan was only starting to open up; confused middle-school teens who are trying to find a new path of life through art and theater, guided by their theater instructor; as well as a blind girl with a beautiful voice and her mother, who garner immense courage and determination just to pursue their dreams, among other stories...a rich array of topics reflect the diversity of documentary creation. Within the past decade, there have been many pitches from CCDF that have achieved worldwide success. In the next decade for CCDF, we will continue to support documentary filmmakers, hoping that we can jumpstart more and more outstanding productions through CCDF.

史祖德

陳玲珍

Gary SHIH

Ruby CHEN CNEX 基金會共同創辦人暨執行長視納華仁文化傳播（股）公司執行長 CEO & Co-Founder, CNEX Foundation CEO, CNEX Studio

鑑於 COVID-19 大流行的影響，各大影展紛紛延期或取消。CCDF

視納華仁 ( 股 ) 公司營運總監 Director of Operation ｜ CNEX Studio

依然如期舉行，今年一共徵集 127 件作品報名，提案讓人耳目一新，網羅華人社會萬象，從追求自由與夢想而付出沉重代價的香港印尼移工、為了生存日夜奔波在高速公路上的卡車司機、通

2020 年對所有人來說都不是一個平靜的一年，哪怕是對習慣面對許多變數的紀錄片人來說，也都是戰戰兢兢！不光是疫情的紛

過藝術喚起人們對社會議題思考的藝術家、舊金山華埠夜總會黃

擾，更還包括了影視內容產業正處在一個變化莫測的浪頭尖上！

金年代的年長舞者再度走上巡演之路、伴隨恐懼和渴望嘗試更深

所以當今年 CCDF 能收到 127 件報名的時候，可以看得出來還是

下潛的女性自由潛水冠軍、1980 逐漸開放的台灣第一群闖入華

有許多紀錄片人在紛亂的時刻，穩著心持續創作著！

語流行音樂界的西方人、帶著迷惘的中介學校少年透過藝術找到

初審評審感言 Words from the Selection Committee

不同出路的戲劇老師、美聲盲女與母親為夢想上下求索的無比勇

這當中，屬於台灣故事或是導演的佔了 22%，跟往年比起來似乎

氣……豐富的題材反映了紀錄片創作的多樣性。過去十年，已經

沒有太大的差別，但是仔細來看，裡面有不少的數量是來自於新

有許多參加過 CCDF 的提案在世界各地開花結果。CCDF 的第二

北市紀錄片獎的優先名額或是參賽者，且絕大多數都是屬於較為

個十年，對紀錄片創作人員的支持力度不停歇，希望越來越多優

年輕的創作者們，而有一點年資或是較資深的紀錄片人在今年的

秀作品在這裡啟航。

送件當中非常少見！

Due to the COVID-19 pandemic, major film festivals have been postponed or cancelled. However, CCDF is still being held as scheduled, with 127 entries submitted. The pitches provide a fresh perspective, depicting diverse phenomena in Chinese societies, such as: Indonesian migrant workers in Hong Kong who are paying a high price for her dreams liberty; truck drivers who roam day and night on highways just to earn a living; artists who use their art to inspire to creatively think about societal issues; senior dancers who experienced the golden age of clubs in SF Chinatown that have decided to go on tour once again; a female free-diving

我寧可相信是 CCDF 在現階段比較沒法滿足台灣的創作者，而不是台灣的創作者們有些怯步於這種在國際間常見的提案模式（雖然這兩年在新北紀錄片獎也是資深較少見）！其實常參與這類類型的提案會就會知道，在這樣的場合裡，不僅是要找到可以讓自己作品往前邁進的資源，更是希望能透過不停的交流、討論或闡述，讓自己作品的觀點或是敘事方式更為清晰，甚或能夠找到一個跳脫現有想法的新創作模式！

2020 is anything but a calm year for everyone, even for documentary filmmakers that are accustomed to being face to face to constant changes. Apart from the turbulences

posed by COVID-19, the film industry is also standing on a turning point. Despite that, CCDF has still received 127 submissions. That very fact demonstrates many filmmakers are still staying calm and continuing to create amazing content. 22% of the projects are either about Taiwan or are submitted by Taiwanese filmmakers. At first glance, the number does not seem to be much different from before; however, on a closer look, a lot come from New Taipei City Documentary Award, also, many of which are from young, arising documentary filmmakers. Few submitted projects are from senior filmmakers. I believe that the reason why there are fewer Taiwanese projects is that for now, CCDF does not really cater to Taiwanese filmmakers needs, rather than them feeling intimidated by the event format common on the international scene(even though there are also fewer projects from senior filmmakers at New Taipei City Documentary Award) As you participate in pitch forums more often, you’d learn that this is not only an occasion where you find resources to advance your project, but also a venue for exchange of thoughts, discussions and elaboration of the projects so as to find a fresher point of view, a clearer narrative, or even a new approach that completely overthrows the existing trains of thoughts.

隱瞞至親死訊的家人、吵鬧爭執剪不斷理還亂的家人、平淡日常相伴嘴的家人，或悲或喜，或苦或甜，都是值得紀錄的家的滋味。那不著任何裝備直潛海下的女子、那探問死亡為何的女兒、那早在 Selfie 這個自造詞出現前就熱愛自拍的母親、那身為社會他者但以行動關注並參與社運的女傭，或孤寂或勇敢，或俏麗或剛強，都是值得留影的女人樣貌。評選工作最困難的部分，就是要接受總有作品成為遺珠。來自澳門的李卓媚導演，以及台灣的陳韋杰導演，雖然無緣在今年的提案大會相見，但我衷心期待看見您們的故事完成。

I am delighted to be once again part of the CCDF preliminary selection committee. I deeply appreciate the opportunity to meet these projects at the moment of their creation. Many of this year’s proposals tell horrifying stories that I nonetheless wish could be finished soon, so that more people could have the chance to see them. Stories about a Chinese artist who uses art as activism to challenge a variety of social issues; a homeless person inadvertently becoming an internet celebrity in the age of live streaming, almost like a modern parable; a truck driver born in the wake of modern men’s need for mass online shopping. Their working conditions reflect the emptiness and absurdity of this era. A living hell for workers concealed within the promised land of capitalism. I was also impressed by several stories about family and women. Families whose members refuse to tell of the death of their loved ones; who argue and fight yet cannot do without each other; whose cheerful banter are part of their simple daily rituals. Moments of sadness, happiness, sweetness and bitterness, these are the essence of family that all deserve to be documented.

黃惠偵

HUANG Hui-Chen

很高興能有機會再次參與 CCDF 的初選工作，能在一作品成形之初就與其相遇，是一件值得令人珍惜的事。

並更多人被看見的故事。像是透過藝術行動衝撞各種社會問題的中國藝術家、還有宛如現代寓言一般，因為直播流行現象而莫名成為網紅的無家者，以及因應當代人們大量網購行為而生的大貨運車司機，他們的勞動處境反映了整個時代的虛無與荒謬感，在資本主義的天堂藏著一個勞工的地獄。同樣令我印象深刻的，還有各種關於家人，以及女人們的故事。

Ms. LEI Cheok-mei from Macau, Mr. CHEN Wei-chieh from Taiwan, although we will not have the opportunity to meet each other at this year’s pitching forum, I sincerely look forward to the completion of your projects.

Words from the Selection Committee

今年的提案有不少看了令人覺得驚心，但又衷心期待能早日完成

The most difficult part of selection is that there will always be ones that are left out.

初審評審感言

獨立紀錄片導演 Independent Documentary Filmmaker

The woman who dives into the sea without any equipment; the daughter questioning the meaning of death; the mother who loves taking selfies long before the word “selfie” was invented; the housemaid who involves herself in social movements despite her status as an social outsider. Women of bravery, solitude, elegance and perseverance, all of their portraits deserve to be preserved.

in the relationship with one’s subject, and some from the artist’s personal experiences. A proposal is the artist’s concept of a story or subject. Taking into consideration the number of unpredictable events one may encounter between the proposal stage and completion, whether this concept can eventually be realized is a test on the director’s ability to deal with contingency and uncertainty.

韓萌

HAN Meng 獨立紀錄片導演 Independent Documentary Director 因為我的兩部片子是從提案會開始的，我能體會到一個項目在提案階段和最終成片時所呈現的不同，所以，我會特別謹慎。也因為自己有過做紀錄片初評的經歷，那麼，在成片中，我更看重導演在一部影片裡關心的是什麼、以及是否對人有樸素的、悲憫的感情。如果說紀錄片本身是在記錄生活本身，那麼，它終究會面對和很多猝不及防，有的來自事件本身，有的來自與被攝者關係的變化，有的來自創作者經歷的某些際遇。提案是創作者對故事或者題材的設想，最終這種設想能否實現，中間會經歷諸多的意想不到，那麼，從提案到成片，考驗導演的是解決諸多不確定和處理意外的能力。如果一個提案所設置的人物和故事，與最終成片差別不大，反而了無趣味。即使是導演有著明確的想法，那麼，我也認為，這並不會是太成功的專案，因為做紀錄片的過程，總是充滿著各種不確定性，就如同生活總是給了我們無數的驚喜和意外。所以，與其說，我們在選擇一個提案，不如說是在考慮，導演對生活的理解和對題材的控制力之間，如何尋找著平衡。這個能力往往決定著從提案到成為一部影片的關鍵。而且，特別有意思的是，在初評中，我和黃惠偵導演有著驚人的一致。在幾個項目中的討論過程，與另外的男性評審像是一場男性視角和女性視角的一次對話。所以，我不認為落選的提案，將來不會成為一部成功的作品。我也會祝入選的項目最終能夠開花結果。

初審評審感言 Words from the Selection Committee

As both my films were initiated in the pitching forum, I understand how the completed film of a project can differ from the initial proposal. I am, therefore, particularly cautious. As I also had former experience being part of a preliminary selection committee for documentary films, I place more importance on what the director cares about, and whether he or she manifests a simple and honest sympathy towards people inside the film. If we accept that documentary is the documenting of life itself, then one will certainly always face unforeseeable events along the way. Some of them originate from the incidents themselves, some from the changes

It could be rather dull, if the characters and story in the completed film differ little from those proposed initially. Even in the cases where the director has a clear concept of the film, I still wouldn’t consider the film a success, for the process of making a documentary film is always filled with uncertainties, just as life always amazes us with its endless surprises. That is why, rather than saying we are choosing proposals, it is more about recognizing the director’s ability to maintain a balance between his/her understanding of life and his/her control over the subject matter. This is the skill that will determine the success or failure of a given project. It is also worth noting that in the preliminary selection, HUANG Hui-chen and I were remarkably in agreement. The discussions on several projects with other fellow male panel members were almost like a dialogue between male and female points of view. Therefore, I don’t consider it impossible that the proposals rejected could one day turn into successful documentaries. I would also like to wish those who are selected a bright and prosperous future.

Trainers 講師介紹

培訓講師 Trainer

W. Paterson FERNS, C.M.

Pat FERNS 曾製作過加拿大最優秀的獲獎節目和獨步全球的媒體活動。作為「提案大會」的創立人，他在國際間展示了此形式的標誌性意義。此外，Pat 在他的故鄉加拿大被譽為「獨立製作之父」，並於 2005 年因其對產業的貢獻而被授與加拿大勳章。 Pat 與其創辦的 Ferns Productions Inc. 製片公司致力製作優質紀實短片系列集、電影長片、電視劇情片。其重要作品包括：澳洲與加拿大合製，四小時長的《庫克船長的熱情與探索》，該片贏得加拿大雙子座獎。隨後，Pat 為加拿大廣播公司「事物的本質」節目製作三小時長的《達爾文的異想世界》，該影集為澳洲與加拿大合製。《達爾文的異想世界》獲得極高評價，在中國獲得被譽為「科教影視作品奧斯卡」的中國龍獎之「銀龍獎」。該製片公司也為德法公共電視台（ARTE）製作了五小時版本。 Pat 目前正製作一部重要科學紀錄片 Whale Talk。這部加德合製的影片是為加拿大廣播公司、ZDF、3SAT 和 ARTE 製作的。為拍攝此片，製作單位出動三艘尖端科技船隊，探索航行兩年，以研究虎鯨的語言。 Pat 的製片公司亦受美國 Arrow Productions 製片公司委託，由 Pat 擔任《1941：美洲新歷史》（暫譯）影集之監製。這部影集是長達八小時的劇情式紀錄片。他也為多倫多 Holgate Production House 製片公司的紀錄長片《中國的轉型奇蹟》（暫譯）擔任製片。 Pat 曾為國家地理頻道《打造人工魚礁》（暫譯）紀錄片籌措資金；並負責撰寫與製作《中國好萊塢》紀錄片。本片由中國的鳳凰衛視領客文化，與法國電視五台合資製作。二十二年來，Pat 持續擔任以色列紀錄片行銷平台 CoPro 國際顧問，亦擔任深圳國際科教影視展評暨製作人年會（CICSEP）、廣州國際紀錄片節提案大會（GZDOC）之國際顧問。他也為 CNEX 華人紀錄片提案大會服務十一年了。 Pat FERNS has produced some of Canada’s finest award-winning programming and the world’s leading media events. As the creator of “public pitching” he presents his signature sessions worldwide. Called in his native land “the father of independent production”, Pat was awarded The Order of Canada in 2005 for his services to the industry. Through his company Ferns Productions Inc. Pat produces blue chip factual mini-series, feature films and television drama. Following the 4-hour, Gemini and Leo award-winning Australia-Canada co-production Captain Cook: Obsession and Discovery , he produced the 3-hour Australia-Canada co-production Darwin’s Brave New World for CBC’s The Nature of Things . The series received critical acclaim and won the Silver Dragon at China’s prestigious Dragon Awards. The company has also produced a five-hour version for Arte in France and Germany. Pat is currently in production of a major science documentary, Whale Talk , a Canada-Germany co-production for CBC, Radio-Canada, ZDF, 3SAT and ARTE. The film involves a three-year-long expedition on a trimaran equipped with advanced technology studying the language of orcas. Ferns Productions Inc. provided Pat’s services to Aarrow Productions as Executive Producer of 1491: A New History of The Americas , an award-winning eight-hour docu-drama series; and as Producer for Holgate Production House’s feature length documentary China: The Miraculous Transformation . Pat helped to finance The Shipsinkers for National Geographic Channels International and wrote and produced China’s Hollywood , a China-France co-production involving Beijing’s CultureLink Media for France 5. 講師介紹 Trainers

For the past 22 years Pat has been the International Consultant to CoPro, the Israeli Documentary Screen Market, a role he plays for two Chinese events – CICSEP and GZDOC – in addition to his decade of work for CNEX.

培訓講師 Trainer

江松長 S. Leo CHIANG

江松長為台裔美籍影像工作者，居住於舊金山與台北，其紀錄片作品《高先生到華盛頓》於 2012 年美國全景紀錄片影展贏得 Inspiration Award，他的上一部作品《A Village Called Versailles》曾獲艾美獎提名，並且贏得八個國際獎項，也曾於美國公共電視網的節目 Independent Lens 播映。江松長的作品，《時光機》，不僅正在發行過程中，更獲得日舞影展協會紀錄片項目、翠貝卡電影協會、及美國 ITVS 的資金支持。他同時也是剪接師及攝影師。江松長擁有美國南加州大學電影製作的藝術碩士學位。他是 A-Doc（亞裔美籍紀錄片工作者組織）的聯合創辦人，同時也是美國影藝學院奧斯卡獎的評委。

S. Leo Chiang is a Taiwanese-American filmmaker based in San Francisco and Taipei. His documentary, Mr. Cao Goes To Washington , won the Inspiration Award at the 2012 Full Frame Documentary Festival. His previous film, Emmy® Award-nominated A Village Called Versailles , picked up eight awards and aired on the American PBS series, Independent Lens. Leo’s most recent work, Our Time Machin , is currently in distribution, and has received funding support from the Sundance Documentary Fund, the Tribeca Film Institute, and ITVS. He also collaborates with other documentarians as editor and a cameraman. Leo received a MFA in film production from University of Southern California. He is the co-founder of A-Doc, the Asian American Documentary Network, and a documentary branch member of the Academy.

講師介紹 Trainers

培訓講師 Trainer

Steven SEIDENBERG

做紀錄片也有三十七年了。過去十五年，我幾乎都待在亞洲，跑了香港、新加坡、南韓等地。2011 那年我去了中國。我的時間大部份投入在原創製作（我是中國最大民營紀錄片製作公司大陸橋文化傳媒集團 LIC-BCBC 的國際製作部門領導）、「修整」他人的作品，以及教學訓練。 1983 那年我開始拍紀錄片。1986 年，西方的紀錄片團隊首次獲准進入內蒙古拍片時，我是那次工作小組的一員。自此，我在亞洲重編了四十多隻紀錄片，其中包括《解密紫禁城》（國家地理頻道—國際，2009 年獲觀眾票選為第一名紀錄片）、《北京歷史》（暫譯）(BBC Worldwide)、《武當山上工夫龍》（暫譯）（國家地理頻道—國際，獲紐約電影 / 電視節銅牌獎）、《中國航天英雄》（暫譯）（探索頻道亞洲，獲亞洲電視大獎「高度讚賞」獎）、《韓國最夯：Rain》（暫譯）（探索頻道亞洲，亞洲電視大獎決賽）、《韓國最夯：金妍兒》（暫譯）（探索頻道亞洲，獲 2010 亞洲電視大獎最佳剪輯獎、最佳導演亞軍與其他兩項目）。大陸橋的原創作品包括《飛虎傳奇》、《中國金絲猴》、《盲猴歲月》、《中國天鵝湖》等。近期項目包括與歐洲廣播公司進行有關《潮汐》（威爾士、蘇格蘭、北愛爾蘭、愛爾蘭）和《橋》（德國）的國際聯合製作。我其實也有創作故事型的紀錄片產出，例如：我參與的製片與編劇作品《罩袍下的世界》就獲得 2014 年國際艾美獎最佳紀錄片獎。在沒有開發或製作紀錄片時，我享受投身於世界各地的培訓計畫。我曾在 IDFA、IDFA 學院、Hot Docs、Sunny Side、Baltic Forum 和 Dragon Forum 擔任培訓講師，並在韓國、日本推動多項計劃。我亦在「跨越邊界」(Crossing Borders) 擔任七年研習總監，這是個集結歐亞各地電影人的國際性長期培訓計畫。此外，榮幸之至，我已和 CNEX、CCDF 合作九年，至今 CCDF 仍是我每年的年度大事。

I have been making documentaries for 37 years, the past fourteen of which almost exclusively in Asia – variously in Hong Kong, Singapore, South Korea and, since 2011, China. I divide my time between original productions (I am Head of International Production at LIC-BCBC, the biggest private documentary production company in China), “fixing” (or re-versioning) other people’s programs and, of course, training. I started making documentary films in 1983. In 1986, I was part of the first Western documentary crew allowed to film in Inner Mongolia. Since then I have made or re-versioned over forty documentary programs in Asia including Inside The Forbidden City (National Geographic Channels International – voted No.1 series in a 2009 viewer’s poll), The History of Beijing (BBC WorldWide), Kung Fu Dragons of Mt Wudang (NGCI, Bronze Medal NY Film and Television Festival), China’s Space Hero (Discovery Asia – “Highly Commended”, Asia Television Awards), Hip Korea: Rain (Discovery Asia, Finalist, Asia Television Awards), Hip Korea: Kim Yuna (Discovery Asia, winner Best Editing, ATA 2010, runner-up Best Direction plus two other categories). Original productions at LIC include The Flying Tigers , China’s Golden Monkeys , The Blind Monkey , China’s Swan Lake among others. Recent projects include international co-productions with European broadcasters about Tides (Wales, Scotland, Northern Ireland, Ireland) and Bridges (Germany). Although most of my work in Asia has been in the “specialist factual” genre, I also work on creative/feature docs. I was, for example, a co-producer and scriptwriter on the International Emmy-winning No Burqas Behind Bars .

講師介紹 Trainers

When not developing or working on documentaries I find fulfillment in participating in various training programs around the world. I have been a trainer at IDFA, IDFA Academy, Hot Docs, Sunny Side, the Baltic Forum, the Dragon Forum, as well as several initiatives in South Korea, Japan and Singapore. For many years the closest to my heart was Crossing Borders (a longitudinal training program that brought together filmmakers from Asia and Europe) of which I was Head of Studies for seven years. I have been privileged to work with CNEX and CCDF for eight years. It is the highlight of my year.

培訓講師 Trainer

彭文蘭 PENG Wen-lan

彭文蘭是定居於倫敦的獨立製片導演，九零年代開始於央視擔任英語節目製作人，製作了中國第一個新聞評論調查節目《焦點訪談》。回到英國後，她先於中央資訊中心（英國政府媒體部門）擔任 UK Today 的製片人，並曾於 1991 年入圍紐約影展。接著於 BBC 擔任數個中國紀錄片影集製片人，包含分為三系列討論中國現代文化的《崛起中國》（ITV）；以大英帝國為主題的紀錄劇情片《隱密的王國》（BBC2）；以上海為主題的《China Close-Up》（BBC2）等等。彭文蘭長年擔任 BBC 及英國和歐洲的工作坊講師，並經營以製作紀錄片為主的公司 Sinoscope，多年來也製作了許多由中國前往英國拍攝的電視劇和劇情片。其中包括：謝晉導演的《鴉片戰爭》；央視連續劇《孫中山》以及十二集的紀錄影集《大國崛起》。

PENG Wen-lan is an independent producer/director based in London. She began her television career in the 1980s as a producer/presenter of English language programmes on China Central Television and later went on to present and executive produce Focus in the 1980s, CCTV’s first current affairs programme and the precursor of its present flagship programme Jiaodian Fangtan . Upon returning to the UK in the late 80’s, Wenlan joined the Central Office for Information (the media department of the UK government) as series producer of UK Today , which gained the Finalist Award in the 1991 New York Film Festival. She subsequently worked for the BBC and the independent sector as producer/director on several documentaries about China, including China Rising , a three-part series on contemporary Chinese history (ITV); Hidden Empire , a series of docu-dramas covering Britain’s imperial past (BBC2); China Close-Up , a series on Shanghai (BBC2). Her docu-drama A Family Concern , about the founder of the Shell Company, won the Gold Camera Award for Best History Documentary at the 1998 US International Film & Video Festival. Wenlan is a trainer for the BBC as well as EU and British Council funded workshops. She runs her own production company, Sinoscope, making documentaries on China and line producing television and feature film projects for Chinese companies filming in Britain, such as The Opium War by eminent director XIE Jin; drama serial Sun Yat-Sen (CCTV); and The Rise of Nations , a highly acclaimed 12-part documentary series charting the development of the West (CCTV).

講師介紹 Trainers

培訓講師 Trainer

Judith HELFAND

Judith HELFAND 是個擁有超過 30 年經驗的獨立紀錄片製作人，她不僅投入於紀錄片製作，更致力於教育以及栽培。她的作品往往探討家庭、社會階級、世代關係以及個人隱私與公眾之間的界線。Judith 以前的作品曾在日舞影展、美國公共電視、HBO 獲得首映的機會。《Blue Vinyl》是 2002 的 Hot Docs 加拿大國際紀錄片電影節的開幕電影。Judith 在 2016 獲選成為美國影藝學院的會員，她也是 1998 皮博迪獎和其他眾多藝術獎項的獲獎者。 Judith 是 Chicken & Egg Pictures 的共同創辦人，在 2005 年，她與其他知名製作人、導師、社會運動參與者、出資人等等創辦了一個支持女性紀錄片工作者的平台。他們以非營利的方式，透過“I Believe in You”基金資助，同時以“Hands-with”培訓計劃來協助紀錄片工作者。直到 2013，所有基金都是 Judith 和其他創辦人爭取來的，在 15 年間，Chicken & Egg Pictures 不斷進步、幫助更多人、創造更多機會、也拉近了紀錄片業界性別的差距。 Judith 從 2005 到 2015 年間時任資深創意顧問，也讓她能夠更加投入在電影製作。

Judith HELFAND is an independent documentary producer for over 30 years, who is as committed to the art and craft of filmmaking as she is to teaching, mentoring and field building. Known for her ability to take heedless corporate behavior and chemical exposure and make it personal, highly charged and entertaining. Her body of work explores home, class, corporate accountability, intergenerational relationships and the ever-shrinking border between what is personal and what is part of the public record. Her past films have had three world premieres at Sundance, two POV broadcasts (PBS’s showcase for documentary films), a national premiere on HBO’s America Undercover and the Sundance Channel and a personal favorite – Blue Vinyl was the opening night film at the 2002 Hot Docs Film Festival. Judith was also invited to become a member of the Academy of Motion Picture Arts and Sciences, Documentary Branch, “Class of 2016”. She’s a recipient of a 1998 George Foster Peabody Award for Excellence in Journalism and Public Education for A Healthy Baby Girl , a 2007 United States Artist Fellowship, and a 2007 Rockefeller Media Fellowship. Both of these highly competitive artist awards were based upon the display of highly developed artistic skills, vision and active engagement increating and presenting art to the public. Co-Founder Chicken and Egg Pictures: In 2005 Judith co-founded Chicken & Egg Pictures with Julie Parker Benello and Wendy Ettinger. Aggregating over twenty years of collective expertise as producers, mentors, social-justice activists, funders, advocates and practitioners of rigorous impact-driven audience engagement campaigns, they came together to create a dynamic venture to support women documentary filmmakers. The non-profit film fund started off by providing strategic “I Believe in You” grants matched by timely creative “hands-with” mentorship. All of the funds up until 2013 were raised by the co-founders with Helfand taking a lead role in the development of materials, branding and content at all levels of the organization. Fifteen years, thousands of hours of mentorship and millions of grant dollars later, Chicken & Egg Pictures has evolved, with the vision of a first-ever ED, new hires, an extraordinary staff, and a new set of strategic funding and mentorship programs, into a critical part of the documentary ecosystem, pipeline of support and movement for gender parity. Helfand served as Co-Founder and Creative Director from 2005-2015 at which point she became a Senior Creative Consultant with more time to dedicate to her own filmmaking/storytelling.

講師介紹 Trainers

培訓講師 Trainer

馮都 Violet Du FENG

馮都為榮獲艾美獎最佳紀錄片的製片，並於 2018-2019 參加了日舞製片人工作坊。由她擔任製片人的《孔子夢》（2019），於加拿大國際紀錄片影展首映，並在卡羅維瓦利國際影展榮獲最佳紀錄片。另一部獨立紀錄長片《尋岸》（2017）獲得美國西南偏南電影節評委會大獎、波士頓國際電影節最佳紀錄片獎、新罕布夏電影節最受歡迎觀眾獎。此片在美國院線發行時獲得《紐約時報》和《紐約客》的高度評價。此外，她所製作的《我只認識你》，在 2015 年荷蘭阿姆斯特丹國際紀錄片電影節首映之後，獲得廣州紀錄片節三項大獎。2017 年 11 月，該片通過眾籌和社群運動，不僅成功在中國院線發行，並推動了政策改革。該片更於 2019 年榮獲 DocImpactHi5 獎（原為 Doc Impact Award）。馮都監製的《24 號大街》入圍 2017 年 IDFA 最佳紀錄片。她還共同製作了從翠貝卡電影節到邊鋒電影節獲獎無數的《時光機》（2019）。另外，由她聯合製作的《南京》不僅入圍奧斯卡，更榮獲皮博迪獎和日舞電影節評委會大獎。該片曾一度創下了中國紀錄片的票房紀錄。馮都在 2004 年獲得美國加州大學柏克萊分校新聞碩士學位，此前，她曾先後於上海電視台和英國廣播公司 BBC 上海分部工作。目前她正在擔任另外三部紀錄片的監製和兩部紀錄片的製片人。

Violet Du FENG is an Emmy Award winning documentary film producer. She is the Sundance Producing Fellow of 2018-2019. FENG produced Confucian Dream (2019), which premiered at Hot and is nominated for Best Documentary at Karlovy Vary International Festival; Maineland (2017), Special Jury Awards of SXSW and Boston International Film Festival. It also won the Audience Choice Award at New Hampshire Film Festival. Maineland had a theatrical release in the U.S. and received rave reviews from New York Times and New Yorker. She produced Please Remember Me (2015), which premiered at 2015 IDFA Film Festival and received three awards at China’s biggest documentary film festival GZDoc in 2016. In Nov. 2017, the film launched a theatrical release in China through crowd funding together with a social impact campaign that resulted in policy changes. The film is awarded DocImpactHi5 (formerly known as Doc Impact Award) of 2019. She is the Executive Producer of 24Th Street , nominated for Best Documentary Feature at IDFA 2017. She co-produced the 2019 Our Time Machine , which has won multiple awards from Tribeca Film Festival to Doc Edge and the Oscar short-listed Nanking , which received a Peabody Award and a Sundance Grand Jury Award. The film was the highest grossing documentary in China. FENG received a M.A. from UC Berkeley’s Graduate School of Journalism in 2004. Before that, she was a broadcast journalist for Shanghai Television and later for the BBC’s Shanghai Bureau. FENG is currently working on 3 films as EP and two films as producer.

講師介紹 Trainers

培訓講師 Trainer

Fernanda ROSSI

Fernanda Rossi 是個知名的國際演講者、作家、和電影理論家。她參與了超過 300 部紀錄片以及電影劇本，包括 2009 年奧斯卡提名的《花園》和在 2007 年奧斯卡提名的《我們的世界是個垃圾場》。在 2016 年，《鮭魚的記憶》榮獲 Panda Awards 影展提名最佳劇本展，Panda Awards 被譽為環境議題紀錄片界的奧斯卡。除此之外， Fernanda 的提案以及樣曾被國家人文學術基金會和獨立電視服務資助。 Fernanda 曾在 15 國家為超過 40 個電影組織、影展、以及會議授教，其中包含了加拿大國際紀錄片電影節 HotDocs，以及英國雪菲爾德紀錄片影展。她也時常為 Doc Campus， ESODoc，以及 NALIP 擔任導師。 Fernanda 曾在各大出版社發表他的研究與理論，像是美國 The Independent 和歐洲紀錄片雜誌 DOX。她的著作《紀錄片募款片花製作原理與攻略》被業內專家視為片花製作的聖經。

Internationally renowned speaker, writer and film theorist Fernanda Rossi has collaborated in over 300 documentaries and screenplays, including the 2009 Academy Award® nominated The Garden by Scott Hamilton Kennedy and the 2007 Academy Award® nominated Recycled Life by Leslie Iwerks. In 2016, The Memory of Fish was nominated for Best Screenplay for the Panda Awards®, known as the Oscars of environmental documentary films. The proposals and samples she worked on had been awarded grants by the National Endowments for Humanities and the Independent Television Service. She has given lectures and signature seminars on storytelling and fundraising demos at over 40 film organizations, festivals, conferences and markets in 15 countries, including HotDocs and Sheffield Doc/ Fest. She is also hired regularly to be a tutor and mentor for professional development laboratories such as Doc Campus and ESoDoc in Europe and in the past for NALIP Producer’s Lab in the United States. Ms. Rossi shares her storytelling research and theories in trade publications, DOX and The Independent among others. Her book Trailer Mechanics: How to Make your Documentary Fundraising Demo, 2nd Edition , is according to industry professionals the bible on demos.

講師介紹 Trainers

培訓講師 Trainer

王淼 Miao WANG

王淼 ( 導演、製作人、剪輯師 ) 出生於北京，現居住於紐約。在多文化以及多語言的環境下，王淼對不同文化有一定的敏感度和欣賞。她專注於製作人性化的故事，以創作來呈現出各種人的觀點。她持有芝加哥大學經濟學以及帕森設計學院設計和電影的學位。她曾和知名平面設計師 Stefan Sagmeister 和傳奇紀錄片和紀錄片專家 Albert Maysles 學習，在她們的陶染之下，王淼不只對美術設計有雙銳利的眼睛，更可以細膩的觀察人的行為舉止。這些都幫助她在日後成立了 Three Waters Films。她在之後製作了《尋岸》以及《北京出租車》兩部紀錄長片，審視中國的崛起與跟美國的關係。《尋岸》、《北京出租車》以及短片《Yellow Ox Mountain》曾在超過 200 個電影節進行放映，包含了在全美劇院放映、全國播放、和在各大影音頻道撥出。《尋岸》以及《北京出租車》在世界各大知名影展中獲得了優異的成績。王淼的作品在美國被廣泛用於教育公播，她也於美國巡迴進行演講和授教。《尋岸》更是在美國被數百間學校與教育機構使用，讓觀眾了解中國學生的經歷，同時也做為教師培訓之教材。

Miao WANG (director, producer, editor) is a Beijing-born, New York-based filmmaker. Proudly bicultural and bilingual, she has a sensitive and fine-tuned appreciation of cultural nuances. Her focus is on creative and cinematic films that tell poignant human stories, inspire cultural understanding, build connections, and encourage a more humanistic perspective of the world. She holds a BA in economics from the University of Chicago, and an MFA in design and film from Parsons School of Design. She apprenticed with two mentors while completing her MFA: renowned graphic designer Stefan Sagmeister and the legendary documentarian Albert Maysles. Design sharpened her eyes to visual detail and how colors, textures, and patterns affect us. Maysles taught her how to be alert and perceptive to people’s gestures and emotions, however subtle. Both became models when she founded Three Waters Films in 2005. Since then she has produced two documentary features (Maineland and Beijing Taxi ), part of a trilogy of films looking at China’s rise and its interaction with the U.S. Maineland (2017, New York Times Critic’s Pick), Beijing Taxi (2010, New York Magazine Critic’s Pick), and short film Yellow Ox Mountain (2007) have screened at over 200 international festivals and institutions such as SXSW and the Guggenheim Museum, with US theatrical releases, nationwide broadcasts, and digitally released globally on multiple platforms. Maineland world premiered in competition and received a Jury Award at the prestigious SXSW film festival, followed by a Jury Award at the Independent Film Festival of Boston and an Audience Choice Award at the New Hampshire Film Festival. It was nominated for the John Marshall Award at the Camden International Film Festival. Beijing Taxi world premiered in competition and was nominated for Best Feature Documentary at SXSW, and received a Best Feature Documentary award from the Sidewalk Film Festival and Best Director award from DukeCity Doc Fest. Miao’s films also have wide educational distribution – she tours across the U.S. to schools and conferences as a speaker and guest lecturer. While Maineland illuminates the experience of the Chinese students studying abroad in small town America for both the American and Chinese audiences, each audience takes away a different level of understanding. Maineland has been used by hundreds of schools, universities, and educational agencies in the U.S. not only for engendering greater understanding of the Chinese student experience, but also for teacher training.

講師介紹 Trainers

培訓講師 Trainer

張所中 Bryan CHANG

張所中為紀錄片影像工作者，他的作品曾登上紐約時報、時代雜誌、國家地理頻道、PBS 美國公共電視台、大西洋雜誌、MoMA 現代藝術博物館，並曾在日舞影展首映及發行於院線。他曾執導記錄長片《Brasslands》，更擔任過獲獎紀錄片《Island Soldier》及《Narco Cultura》首席剪接師。此外，他曾為艾美獎提名紀錄片影集《A Year in Space》以及奧斯卡入圍作品《Dark Money》進行剪接工作。目前張所中正執導榮獲皮博迪獎的 PBS 電視節目《Art in the Twenty-First Century》之北京單元。他同時也是位於紐約布魯克林區的聯合電影製作公司 Meerkat Media 的創始成員。

Bryan CHANG is a documentary filmmaker whose films have been featured by The New York Times, TIME Magazine, National Geographic, PBS, The Atlantic, MoMA, premiered at Sundance Film Festival, and distributed theatrically. He directed feature length documentary Brasslands , and was lead editor for the award-winning documentaries Island Soldier and Narco Cultura . He edited on the Emmy-nominated documentary series A Year in Space as well as Oscar-shortlisted Dark Money . He is currently directing a Beijing episode of the Peabody Award-winning PBS television program Art in the Twenty-First Century . Bryan is a founding member of Meerkat Media, a cooperative film production company in Brooklyn, New York.

講師介紹 Trainers

Decision makers and Guests 國際貴賓

國際貴賓 Decision Makers and Guests NO. Organization

國際貴賓 Decision Makers and Guests

A+E Networks Asia

A+E 亞洲電視網

Name

Job Title

Yanling TAN

Producer 製片人

Alice BURGIN

Conference Director 提案大會總監

Danielle MCCARTHY

Marketplace Manager 國際市場經理

Country Page SG

AIDC

澳洲紀錄片提案大會

Al Jazzera

半島電視台

Fiona LAWSON-BAKER

Executive Producer of Witness Witness 節目監製

Arte France

德法公共電視台

Mark EDWARDS

Commissiong Editor 委製編審

ARTE G.E.I.E

德法公共電視台

Claudia BUCHER

Head of THEMA & GEOPOLITICS THEMA & GEOPOLITICS 總監

Mandy CHANG BBC

英國國家廣播公司

Commissioning Editor for Storyville & Factual Acquisitions 故事村 & 紀實採購部委製編審 Assistant Commissioning Editor for Storyville 故事村助理委製編審

Hayley REYNOLDS

CAT&Docs

Catherine LE CLEF

President 負責人

Discovery Networks Asia Pacific 探索頻道亞太電視網

Vikram CHANNA

Vice President of Production and Development 製作與開發部副總裁

Doc Edge

Alex LEE

Director 總監

CAT&Docs

紐西蘭邊鋒紀錄片節

Documentary Campus

Claudia SCHREINER

Head of Studies, Documentary Campus Masterschool 首席講師

Dogwoof

Oli HARBOTTLE

Head of Distribution and Acquisitions 發行與購片部門負責人

Ford Foundation (Beijing Office)

福特基金會（北京辦事處）

谷青 GU Qing

節目主任 Program Officer

France Télévisions

法國電視台

David AMIEL

Commissioning Editor for Society & Geopolitics documentaries 社會及地緣政治類紀錄片委製編審

Hot Docs

加拿大國際紀錄片影展

Stephanie McARTHUR

Senior Industry Programs Manager 資深產業節目策劃經理

Madelaine RUSSO

Industry Programmer 產業單元策畫

IDFA

阿姆斯特丹國際紀錄片影展

Adriek VAN NIEUWENHUIJZEN Head of Industry 產業負責人

KBS

韓國放送公社

PARK Sung Ju

Team Manager 運營經理

Knowledge Network

知識網絡

Rudy BUTTIGNOL

President & CEO 總裁暨執行長

MediaCorp

新傳媒集團

Rita SEOW

Lead, Audience and Content (Chinese Audience) 中華市場觀眾及內容總監

NHK (Japan Broadcasting Corporation)

日本放送協會

宮野衣 Kinu MIYANO

Senior Producer, Global Content Development Division 全球內容發展部資深製片

NHK Enterprise, INC / Tokyo Docs

日本放送協會（子公司）/ 東京紀錄片提案大會

今村研一 Ken-ichi IMAMURA

Executive Producer 監製

100

American Documentary (POV)

美國紀錄片 (POV)

Chris WHITE

Executive Producer 監製

Nicole TSIEN

Co-Producer 聯合製片人

101

SBS

特別廣播服務公司

Krishan ARORA

International Content Consultant 國際內容顧問

102

Patrick HURLEY Sheffield Doc

雪菲爾德紀錄片影展

Director of Marketplace and Talent 產業市場與人才總監 Marketplace and Talent Programme Producer 產業市場與人才計劃製作人

103

Manon EULER

Sundance Institute Documentary Film Program

日舞協會紀錄片項目

Kristin FEELEY

Interim Director of the Sundance Institute Documentary Film Program 代理日舞紀錄片單元總監

104

Sunny Side of the Doc

陽光紀錄片提案大會

Mathieu BEJOT

Director of Strategy and Development 策劃及開發總監

105

SVT

瑞典電視台

Axel ARNÖ

Commissioning Editor 委製編審

106

The Whickers

Jane MOTE

Consultant Editor 編審顧問

107

YLE

芬蘭廣播公司

Erkko LIYTINEN

Commissioning Editor 委製編審

108

109

大愛電視

DaiAi TV

許薔 Audrey HSU

媒體發展部策展研發組長 Section Chief, Media Development Dept.Curation& Acquisition Section

新鮮提案

Fresh Pitch

肖龍 XIAO Long

聯合創始人 Co-founder

110

欣欣向陽

Inhope

范立欣 FAN Li-xin

聯合創始人 & 總導演 Co-founder & Chief Director

111

愛奇藝

iQiyi

寧玉琪 Mike NING

紀錄片中心總監 Director of Factual Content

112

113

國家地理頻道

NGC

王雁 Yolanda WANG

品牌內容及頻道總監 Director, Branded Content and Channels

鳳凰衛視

Phoenix Satellite Television

黃海波 HUANG Hai-bo

凰凰衛視中文台副台長 / 總編室主任 / 電影台台長 Deputy Head of Chinese Channel / Director of Chief Editor’s Office / Head of Movie Channel

114

公共電視基金會

PTS

郭菀玲 GUO Wuan-ling

國際部經理 Director of International Department

115

騰訊

Tencent

朱樂賢 Lex ZHU

騰訊視頻紀錄片工作室總監 Director of Documentary Studio. Tencent Video

116

騰訊谷雨

Tencent GUYU

金輝 Bob JIN

騰訊新聞好雨知時工作室總監 Director of Tencent HaoYuZhiShi Studio

117

西湖國際紀錄片大會

West Lake International Documentary Festival (IDF)

周佳鸝 ZHOU Jia-li

學術活動部總監 Academic Committee Director

118

A+E Networks Asia A+E 亞洲電視網新加坡 Singapore www.historyasia.com | www.lifetimeasia.com

合作方式 Collaboration Opportunity 我們相信好的故事應該要被分享，我們也很高興能夠為入選贊助的提案提供平臺，讓其能夠在我們國際上的管道被更多的觀眾看見。 We believe that great stories are meant to be shared and are happy to provide a platform for selected funded projects to circulate around our international territories for a greater audience outreach. 類別 | 長度 | 規格 Subject | Length | Format 真實記錄、寫實且能吸引觀眾的故事，單集或系列皆可 Appealing stories to audience, with real access and genuine profiles; One-off or series 近期委製、合製、購片之影片 Recent commission | co-production | acquisition ﬁlms 《打造馬爾地夫 Crossroads 渡假村》、《東京遺產》 The Making of: CROSSROADS, Maldives , Tokyo Legacy A+E 亞洲電視網為獲獎肯定的國際媒體公司，足跡遍佈美國及全球，旗下含括 History 歷史頻道、H2、Lifetime 娛樂頻道、FYI 生活頻道以及罪案偵緝頻道。這些頻道觸及超過兩百個地域的四億戶人家，以 42 個語言放送，其中包括中文。

A+E 亞洲電視網在亞洲被視為紀實內容的重要平台，我們的旗艦頻道 History 歷史頻道深入探究令人驚訝的史實，並將其融入激發思考且迷人的故事中。我們的作品包括：《打造馬爾地夫 Crossroads 渡假村》以及受日間艾美獎肯定的《南京大屠殺的歷史傷痕》。我們相信質感好的娛樂內容是最重要的，也努力將最有活力、迷人且具有力量的故事帶給廣大觀眾。 A+E Networks is an award-winning global media content company in the United States and abroad. Our company is home to five big brands: History, H2, Lifetime, FYI and Crime and Investigation. They have reached more than 400 million households in over 200 territories and 42 languages, including Mandarin. In Asia, we are seen as a powerhouse of factual content. Our flagship channel, History, dives into astounding historical facts that are seamlessly weaved into thought-provoking and captivating stories. Some of our previous works include: The Making of: CROSSROADS, Maldives , and Daytime Emmy award winner, Scars of Nanking . We believe that good entertainment content is king and aim to present the most dynamic, engaging and powerful stories to diverse viewers.

TAN Yan Ling 製片人 Producer yanling.tan@aenetworks.com 我負責尋找、推廣創意理念，以及執行公司節目製作。我同時也負責前期製作規劃、監督現場拍攝，以及提案從最開始到最後的剪輯。我與製片總監 Chris HUMPHREY 以及新加坡總部的製片經理 Saugato BANERJEE 密切合作，在他們的領導之下，我們一同為頻道以及客戶製作出引人入勝、具絕佳潛力的長片。

Decision Makers and Guests

I work closely under the Head of Production, Mr. Chris HUMPHREY, and under our Managing Director, Mr. Saugato BANERJEE in the Singapore headquarters. Together, we create and deliver compelling and scalable long-form projects for our channels and clients.

國際貴賓

I am responsible for sourcing and pitching of creative ideas, as well as the story execution for our company. I also take on production responsibilities such as pre-production planning, overseeing of on-location shoots, and edit sessions from the pitch to final delivery.

Australian International Documentary Conference (AIDC) 澳洲紀錄片提案大會

澳洲 Australia www.aidc.com.au 合作方式 Collaboration Opportunity 我們對適合澳大利亞市場的影像作品感興趣。 we are interested in projects suitable for the Australian market.

類別 | 長度 | 規格 Subject | Length | Format 我們接受任何適合 AIDC 市場的主題、長度和格式（線上、AR、VR、短片形式皆可），並有多項創投方案。 We welcome all subjects, lengths, and formats (including online, augmented reality, virtual reality and short form) in AIDC’s market, and have various pitching initiatives. 近期委製、合製、購片之影片 Recent commission | co-production | acquisition ﬁlms N/A 澳洲紀錄片提案大會（AIDC）是一個致力於推廣紀錄片、以及任何非虛構敘事內容之永續發展的非營利組織，成立於 1987 年。透過籌劃產業市場，展示澳洲本土以及國際製片人的作品，並且組織論壇研討產業的內容、技術、新科技以及未來方向，澳洲紀錄片提案大會希望同時為產業注入商業和創意的活力。我們的首要目標為連結電影工作者以及非劇情片的播映平台，並促進其商業活動、激發創意並促進社會改變。下一屆的澳洲紀錄片提案大會預計於 2021 年 2 月 28 日至 3 月 3 日舉行，大會地點為位於墨爾本的澳洲動態影像中心（ACMI）。 Established in 1987, AIDC is a not-for-profit organisation committed to the sustainability of documentary, factual and unscripted storytelling in all screen and digital forms. Serving both the commercial and creative needs of the industry, AIDC organises a marketplace for documentary and factual product, showcases the work of Australian and international producers, and creates a forum to discuss content, craft, technology and future directions. Our goal is to connect creators, purveyors and viewers of nonfiction screen content in ways that promote business, inspire creativity and ignite social change. The next AIDC will take place 28 February – 3 March 2021 at the Australian Centre for the Moving Image (ACMI), Melbourne.

Alice BURGIN

Danielle MCCARTHY

提案大會總監 Conference Director alice@aidc.com.au

國際市場經理 Marketplace Manager Danielle@aidc.com.au

Alice BURGIN 自 2016 年起，在澳洲國際紀錄片大會（AIDC）擔任大會統籌。2017 年即受推舉為大會主席， 2018 年成為執行長。BURGIN 在節目策劃領域有超過十年的經驗，也活躍於諸多電影節包括墨爾本國際影展、人權電影與藝術節、漢普敦國際影展以及美國屋頂電影節。 2016 年時 BURGIN 於翠貝卡影展擔任短片單元聯合選片人，並且在美國公播網絡 PBS 獲獎無數的紀錄片節目 POV 擔任篩選委員。

國際貴賓 Decision Makers and Guests

Alice BURGIN began working as the Conference Programmer for the Australian International Documentary Conference (AIDC) in 2016, and was made Director of AIDC in 2017 and CEO in 2018. Alice Burgin has over a decade’s experience working in various programming capacities. She has worked for numerous film festivals such as the Melbourne International Film Festival, the Human Rights Arts & Film Festival, The Hamptons International Film Festival, and Rooftop Films (USA). In 2016, she was promoted to Associate Shorts Programmer at the Tribeca Film Festival (USA), and worked with the US television broadcast network PBS as a screening committee member on the multi-award winning documentary program, POV.

Danielle 於 2016 年成為澳大利亞國際紀錄片大會（AIDC）團隊一員，負責監督 AIDC 國際市場展，並管理一系列旨在國內外作品開發和連結電影工作者與產業決策者的創投計畫。她負責監督 AIDC 的提案活動，以及開發適合 AIDC 各項計畫和澳洲市場的影像作品。加入 AIDC 前，Danielle 曾在許多電影節擔任過製作和策展工作，包括：翠貝卡電影節，多倫多國際電影節（TIFF），日舞影展及墨爾本國際電影節。 Danielle joined the Australian International Documentary Conference (AIDC) in 2016, where she oversees the Marketplace and manages a slate of initiatives aimed at project development and connecting filmmakers with industry decision makers––both domestic and international. She oversees AIDC’s pitching programs and sources projects appropriate for the various programs and for the Australian market. Prior to joining AIDC, Danielle worked in producing and programming roles at film festivals including Tribeca, TIFF, Sundance, and the Melbourne International Film Festival.

Al Jazeera English 半島電視台卡達 Qatar www.aljazeera.com/programmes/witness 合作方式 Collaboration Opportunity 委製、合製、後製期資金、購片 Commission, co-production, post-production funding, acquisition

類別 | 長度 | 規格 Subject | Length | Format 每年度：52 部 25 分鐘作品、52 部 47 分鐘 30 秒作品 Annually: 52 x ½ hrs (25 mins), 52 x 1 hrs (47 min 30 secs) 近期委製、合製、購片之影片 Recent commission | co-production | acquisition ﬁlms 委製 Commissions: St. Louis Superman (1/2 hr) 後製資金提供 Post-production funding: Riders of Destiny (1/2 hr), Letters from Deathrow (1/2 hr), Meet the Syrians (1 hr) 合製 Co-productions: The Things we Keep (1 hr) 購片 Acquisitions: Grit (1 hr), In the Absence (1/2 hr), Gateless (1/2 hr) Witness 是英語半島電視台的指標性紀錄片節目，展示將「人」置於故事核心的獨立紀錄片。透過啟迪、刺激人心的故事，以及普羅大眾的人物情感價值為主導，Witness 提供了切入國際關鍵議題的微觀視野。Witness 從國際大事件的內部進行觀察，聚焦於人性的價值，並且在最沈痛的情境中仍然不忘幽默以及辛辣。英語半島電視台是 24 小時無休的新聞頻道，總部設在中東，已在逾 150 個國家觸及超過三億的觀眾，製播的報導除了提供資訊，更挑戰其觀眾，提升閱聽人的自主性。 Witness is Al Jazeera English’s flagship documentary strand that showcases independent documentaries which place people at the heart of the story. With inspirational and provocative stories, and intimate characterled accounts, Witness provides an insight into the world’s key global events as they impact people’s daily lives. Witness films look at the big issues from the inside out and celebrate the human spirit, with a sense of humour and poignancy even in the most difficult of circumstances. AJE is a 24-hour news channel based in the Middle East that reaches more than 352 million households in over 150 countries, delivering bold reporting that informs, empowers and challenges perceptions.

Fiona LAWSON-BAKER Witness 節目監製 Executive Producer of Witness ﬁona.lb@aljazeera.net Fiona LAWSON-BAKER 是獲獎紀錄片節目 Witness 的監製。她負責超過 100 部國際紀錄片在 Witness 的公播。 Witness 每週於英語半島電視台播映兩部紀錄片。Fiona 與一個小而傑出的團隊合作紀錄片的編審、購片和合製，該團隊的基地包括卡達首都多哈（Doha）、馬來西亞首都吉隆坡、以及美國首都華盛頓哥倫比亞特區。Witness 有穩定而且持續成長的國際觀眾群，推播的社群媒體包括臉書、推特、Instagram （@AJWitness）。2020 年， Fiona 監督了和澳洲銀幕（Screen Australia）以及澳洲國際紀錄片大會 (AIDC) 合作舉行的 The Witness Pitch，以及 Hot Docs 加拿大國際紀錄片影展短提案競賽（Short Pitch Competition）。國際貴賓 Decision Makers and Guests

Fiona LAWSON-BAKER is the executive producer for the award-winning documentary strand, Witness. She is responsible for the broadcast of more than 100 international documentaries annually for the Witness strand which screens two documentaries every week on Al Jazeera English. Fiona works closely with a small but excellent editorial team based across Doha, Kuala Lumpur, Washington D.C. and London commissioning, acquiring and co-producing documentaries. Witness has a loyal and growing global audience across social media platforms including Facebook, Twitter and Instagram (@AJWitness). In 2020, Fiona also oversees initiatives and partnerships such as The Witness Pitch with Screen Australia and AIDC, and the Hot Docs Short Pitch Competition.

ARTE France 德法公共電視台法國 France www.artepro.com www.arte.tv 合作方式 Collaboration Opportunity 合製以及版權購買 Co-production and acquisition

ARTE 是一個公共電視頻道，以德、法雙語在法國、德國及歐洲各地播映。旗下包括 ARTE France、ARTE Deutschland 以及 ARTE GEIE 三間主要公司。ARTE 頻道節目中紀錄片即涵蓋四成，其紀錄片節目相當具深度及原創性，也包含議題較敏感者，呈現歐洲豐富的文化多樣性。自創立以來，ARTE France 即為法國電視紀錄片重要投資和合製單位。 ARTE France 的社會與文化部門接受各類型的紀錄片創作，包括歷史、調查研究、社會、文化、地緣政治、環境、經濟、政治以及具創意之紀錄片，且能包容各種觀點。每年播映 80 小時的合製節目和 30 小時的版權購買節目。 ARTE is a public television channel that broadcasts simultaneously in France, Germany and throughout Europe in both French and German. Subdivided into three main companies: ARTE France, ARTE Deutschland, and ARTE GEIE, ARTE showcases Europe’s rich cultural diversity. In-depth, sensitive, and original documentaries and film documentaries account for 40% of ARTE’s programming. Since its creation, ARTE France supported documentaries on French TV acting as a major co-producer and investor. ARTE France’s Society and Culture Department accompanies points of view that are committed and open to debating ideas. It features all types of documentary writing and broaches all areas: history, investigation, society, culture, geopolitics, environment, economy, politics and creative documentaries. Hours per year: 80 hours of co-productions and 30 hours of acquisitions.

Mark EDWARDS 委製編審 Commissioning Editor m-edwards@artefrance.fr PA : a-lecalve@artefrance.fr Mark EDWARDS 在 ARTE France 的社會與文化部門擔任委製編審，特別關注調查研究、地緣政治、時事議題、歷史、系列紀錄片，以及各種雙媒體作品。他於 2012 年加入 ARTE France，在此之前已經有 20 年的獨立製片經驗。 1995 年起，從紐約搬至巴黎，並且在 1995 至 1998 年間帶領由好萊塢名導演史蒂芬史匹柏創立之「大屠殺歷史真相基金會」巴黎辦公室，與倖存者們共同整理出超過 1,700 個證據。1999 年起，Mark 致力於紀錄片的國際合製，為許多歐洲和北美洲的主要電視台製作紀錄片。國際貴賓 Decision Makers and Guests

Within the Society and Culture Department, Mark EDWARDS is a commissioning editor more specifically looking for Investigative, Geopolitics, Current Affairs and History Documentaries and Series (52’, 75’, and 90’) and all department bi-media projects also. Mark EDWARDS worked as an independent producer for 20 years before joining ARTE France in 2012. Originally from New York, he has been based in Paris since 1995. From 1995 to 1998, he headed the Paris office of Steven SPIELBERG’s Shoah Foundation, where he organized more than 1,700 testimonies with Holocaust survivors. In 1999, he began specializing in international co-productions and has produced documentaries for most of the major broadcasters in Europe and North America.

ARTE G.E.I.E 德法公共電視台法國 France arte.tv 合作方式 Collaboration Opportunity 國際合製為主，有時也購買版權。 Mainly co-production, in a few cases also acquisition or pre-buys.

類別 | 長度 | 規格 Subject | Length | Format THEMA：黃金時段，90 分鐘或兩集 52 分鐘；The GEOPOLITICS：夜間時段，52 分鐘。 THEMA prime time slot (90’ or 2x52’ ); The GEOPOLITICS late night slot (52’ ) 近期委製、合製、購片之影片 Recent commission | co-production | acquisition ﬁlms The Return (Patrick Forbes, 2020) Brexit , the Endgame (Pierre Haski, 2020) Should we discard the WHO? (Pierre Haski, 2020)

做為一個公共電視頻道，ARTE 展示了歐洲豐富的多元文化。ARTE 的目標在於構思和製作文化和國際性的電視節目，來促進歐洲國家之間的理解與合作。它的獨創性在於它針對的是來自不同文化背景的觀眾，尤其是法國和德國人。紀錄片占 ARTE 節目的 40%。 As a public service television channel, ARTE showcases Europe’s rich cultural diversity. Its purpose is “to conceive and produce television programmes which, in a broad sense, are cultural and international in character and conducive to promoting understanding and cooperation between European nations”. Its originality lays in the fact that it targets audiences from different cultural backgrounds, in particular French and German. Documentaries account for 40% of arte’s programming.

Claudia BUCHER THEMA & The GEOPOLITICS 總監 Head of THEMA & GEOPOLITICS claudia.bucher@arte.tv 自 2013 年 1 月起於德法公共電視台擔任 THEMA 和 The GEOPOLITICS 部門總監。THEMA 調查當代政治、社會經濟、環境和公共衛生議題；The GEOPOLITICS 觀察和分析全球化下的快速變動。 Head of THEMA and Geopolitics ARTE G.E.I.E. since January 2013. THEMA investigates current political, socio-economic, environmental, and public health issues. The GEOPOLITICS slot observes and analyses the accelerating changes in a world of globalization. 國際貴賓 Decision Makers and Guests

British Broadcasting Corporation, BBC 英國國家廣播公司英國 United Kingdom www.bbc.co.uk/commissioning/tv/articles/documentaries-bbc-four-storyville 合作方式 Collaboration Opportunity 合製、採購、開發、委製 Co-production, acquisitions, development, commissions

BBC 故事村自十多年前創立以來，已奠下卓越評價。主要目標在於，將世界各地最富趣味的故事帶到螢幕前，走遍全球尋找各種不同類型及主題，極富野心，敘事性的現代影片，與其他資金進行合製、預購或版權購買。主要尋找片長 60 或 90 分鐘的影片。BBC 至今已播放來自 70 個國家，超過 650 部影片，並獲得多座獎項，包含 4 座奧斯卡，16 座格里爾森紀錄片獎，3 座皮巴迪獎，以及 3 座國際艾美獎。 Storyville has developed an enviable reputation since its inception twenty years ago for award winning documentaries that have had an impressive impact both in the UK and internationally. We aim to bring the most compelling stories from around the world to the screen. The strand looks for ambitious, narrative, contemporary films to commission in co-production with other funders, to pre-buy or acquire. We aim to broadcast films at an hour or 90 minutes in length. Storyville has broadcast over 650 films, from some 70 countries, the strand has garnered a staggering array of awards: four Oscars, 16 Griersons, three Peabodys and three International Emmys.

國際貴賓 Decision Makers and Guests

Mandy CHANG

Hayley REYNOLDS

故事村＆紀實採購部委製編審 Commissioning Editor for Storyville & Factual Acquisitions mandy.chang@bbc.co.uk

故事村助理委製編審 Assistant Commissioning Editor for Storyville hayley.reynolds1@bbc.co.uk

Mandy CHANG 於 BBC 獨步全球的紀錄長片系列故事

Hayley REYNOLDS 是 BBC 故事村（BBC Storyville）

村（Storyville）擔任委製編審。本身來自電影製作背

的助理委製編審，參與眾多獲獎作品的開發、製作和

景，以委製者（ABC Arts）及電影工作者的身份將多

發行。在加入 BBC 之前，Hayley 曾擔任許多英國頂尖

部得獎電影呈現給視聽大眾，並在公共廣播的範疇中

導演的製片，其製片作品曾獲的英國影藝學院電影獎

傾力支持獨立、多元、深具創意的影像故事。

(BAFTA)。她的最新製片作品為《威廉士車隊：一級方

Mandy is the Commissioning Editor of Storyville, the BBC’s pioneering global feature documentary strand. Mandy is from a filmmaking background and herself has brought award-winning films to public television viewers, both as a commissioner (at ABC Arts) and filmmaker, she is a passionate advocate of public service broadcasting with its remit to support independent, diverse and creatively authored storytelling for audiences.

程式傳奇（Williams）》（BBC 電影 / 網飛），該作品於 2017 年上映，並被提名為英國獨立電影獎最佳紀錄片。 Hayley REYNOLDS is the Assistant Commissioning Editor for BBC Storyville, working across the strand’s diverse and award-winning range of titles from development through to broadcast. Before joining the BBC, Hayley was a BAFTA-winning producer and worked with some of the UK’s leading directors. The last feature doc she produced was Williams (BBC Films/Netflix) which was released theatrically in 2017 and nominated for Best Documentary at the BIFAs.

CAT&Docs 法國 France www.catndocs.com 合作方式 Collaboration Opportunity 版權購買、發行 Acquisition, Distribution

類別 | 長度 | 規格 Subject | Length | Format 社會、政治、時事及深度調查、正義、環境、藝術與文化、經濟、健康、人權等議題｜長片，有電視長度版為佳｜ HD Social, Politics, Current Affairs and Investigation, Justice, Environment, Arts & Culture, Economy, Health, Human Rights | feature length documentaries should ideally also be proposed in hour-long versions | HD | 4K 近期委製、合製、購片之影片 Recent commission | co-production | acquisition ﬁlms Our Time Machine , The Earth is Blue as an Orange , Wake Up on Mars , Smog Town, Buddha’s in Africa , Overseas , Confucian Dream , Nocturne , Citizenfour , China’s van Goghs

由 Catherine 於巴黎創辦的 CAT&Docs，專門於全球發行優質的紀錄片。CAT&Docs 擅長發行與行銷世界各地備受矚目的院線、電視紀錄片。CAT&Docs 欲尋找富議題性且歷久不衰的紀錄片、經過審慎研究過的紀錄片、仔細探索過其議題的紀錄片、內容大膽、開放且多元，並能在國際舞台上佔有一席位置的紀錄片、讓人質疑這世界並提供新視角的紀錄片，以及讓人目不轉睛的紀錄片。 CAT&Docs is a Paris based sales agent company of quality documentaries founded by Catherine LE CLEF. CAT&Docs specializes in the worldwide release and marketing of high profile, theatrical and TV documentaries. CAT&Docs is looking for pertinent and impertinent docs at any stage on topical questions and timeless subjects; docs that are carefully researched; docs that rigorously explore the subject matter, that are audacious, open to the diversity of the world and that have their place on the international scene; docs that question the world and propose new ways of looking at it; docs that keep us from closing our eyes.

Catherine LE CLEF 負責人 President cat@catndocs.com 宣傳及銷售來自世界各地的紀錄片，評估每一部紀錄片的潛力。有些具有上院線的潛力；有些則無。我們的工作包括：在影展中為紀錄片找到跳板，以戲院或非戲院方式發行紀錄片、販售影像版權，販售付費、免費、有線及衛星等各種形式的播出，並拓展教育市場及網路市場的通路。 CAT&Docs 每年會協助二到三個企畫案籌措製片資金及進行預售規劃，其理想的企劃通常是已有部分資金補助者。

Decision Makers and Guests

Each year CAT&Docs will help 2-3 projects to secure production financing and pre-sales. Appropriate projects are those which have already received some financing.

國際貴賓

Promotion and sales of documentaries from all over the world. Evaluation of the potential of each documentary. Some will have a theatrical potential some not. Our work consists of finding a launch pad for each documentary in festivals, release the docs theatrically and non-theatrically, selling the video rights and selling all forms of broadcast (Pay TV, Free TV, Cable, Satellite, ...) Not forgetting the educational market and the online market.

Discovery Networks Asia Paciﬁc 探索頻道亞太電視網新加坡 Singapore www.discoverychannel.com.tw 合作方式 Collaboration Opportunity 委製、合製 Commission, Co-production

探索頻道是 Discovery 傳播集團下的旗艦電視頻道，致力於製作全世界最高品質的紀實節目，並且是最活躍的電視頻道之一。探索頻道於 1985 年開播，目前在亞太地區已有超過一億八千萬個收視戶。它也是全球最普及的電視頻道，現已拓及全球超過 210 個國家與地區中三億九千三百萬個收視戶，節目內容以 43 種語言播出。探索頻道提供觀眾最多元豐富的高品質紀實娛樂節目，包含經典野生紀實、科技工程、歷史文明、探險等主題紀錄影片。 Discovery Networks Asia-Pacific was established in 1994. Today, eight network brands reach 555 million cumulative subscribers across 33 countries and territories. Discovery offers three programming blocks in China including Discovery Channel, Animal Planet and TLC, reaching nearly 393 million cumulative subscribers.

Vikram CHANNA 製作與開發部副總裁 Vice President of Production and Development vikram_channa@discovery.com 身為製作與開發副總裁的 Vikram 負責亞太區所有原創內容的製作。他常駐於 Discovery 亞太電視網的新加坡總部，與各國負責人密切合作，就相關事宜提供編輯指導。他與團隊每年製作約 100 小時的節目，涵蓋 Discovery 亞太電視網旗下的各個品牌。Vikram 於 1995 年加入 Discovery，在公司內先後擔任不同職位，包括電視宣傳、節目內容與製作等。其間，他與團隊共同監製 500 多部紀錄片，並在歷屆亞洲電視大獎、紐約電影節、Omni Intermedia 獎和奧斯卡金像獎等獲得肯定。Vikram 職業生涯始於印度，當時擔任短片的獨立製片人。他擁有印度新德里大學歷史和影視製作雙碩士，並擁有美國芝加哥大學布斯商學院的工商管理碩士學位。

國際貴賓 Decision Makers and Guests

As Vice President of Production and Development, CHANNA is responsible for production of all original content out Asia Pacific. Based out of Discovery Networks Asia Pacific’s (DNAP) Singapore office, he works closely with DNAP country heads to provide editorial direction on matters. CHANNA and his team produce approximately 100 hours of programming every year across DNAP's portfolio of brands. CHANNA first joined Discovery in 1995. He has taken on various roles within the company from on-air promotions to programming and production. Together with his team, he executive produced over 500 documentaries, several of which garnered accolades at events such as the Asia Television Awards, New York Festival, Omni Intermedia, and the Academy Awards. CHANNA began his working career in India as an independent producer of short films. He has Masters in both History and Film and Television Production from New Delhi, India, and also holds an MBA from the Booth School of Business, University of Chicago, USA.

Doc Edge 紐西蘭邊鋒紀錄片節紐西蘭 New Zealand www.docedge.nz 合作方式 Collaboration Opportunity

N/A 類別 | 長度 | 規格 Subject | Length | Format N/A 近期委製、合製、購片之影片 Recent commission | co-production | acquisition ﬁlms N/A 紐西蘭邊鋒紀錄片節創辦於 2004 年，為一非營利組織，旨在帶領與支持影像工作者創作出打動人心的紀錄片，並鼓舞創意工作者、片商和更廣大的族群一同歌頌紀錄片的美好。邊鋒是大洋洲具首映限制的國際紀錄片影展，也是奧斯卡認證的電影節，更是大太平洋地區第一個全部線上舉行的紀錄片節。除此之外，我們也安排學生專屬的節目，於每年影展期間在電影院放映免費電影，並提供一個好用的隨選視訊平台。「邊鋒論壇」邀請了來自國內外影視圈與其他傳媒界的專業人士，參與講座、專題討論、大師班以及媒合活動。「邊鋒提案大會」則是紀錄片的提案大會，當地及國際間的短片、長片和電視節目皆可參加。此外，我們亦開設許多產業技能升級課程，包括影響力的建立、專業技術及提案訓練等。「邊鋒展覽」展出以 VR、AR、裝置藝術、數位故事為主角的數位互動敘事作品，以觀眾體驗為策展的核心。國際業務方面，我們與全球的製片公司、影展和市場合作，設立了交換與實習計畫。大太平洋地區的 Good Pitch Pasifika 提案大會也由邊鋒籌辦和推動。邊鋒將在 2021 年採混合模式進行，融合實體以及線上活動帶給與會者最好的體驗。 Doc Edge is a not-for-profit organisation set up in 2004 to lead and support filmmakers to develop and make compelling documentary films and to inspire the creative, business and wider communities to celebrate documentary. Doc Edge is Australasia’s premiere international documentary film festival and an Oscar-qualifying festival. It is the 1st Asia Pacific film festival and industry event to take its entire programmes online. In addition, Doc Edge runs a student programme offering free in-theatre screenings during the annual Doc Edge Festival and a user-friendly Video on Demand platform. Doc Edge Forum brings together local and international film, TV and other media professionals to attend seminars, panels, masterclasses, networking opportunities. Doc Edge Pitch is a documentary pitching forum for local and international short or feature films and TV series. In addition, Doc Edge run industry upskilling programmes and clinics including impact producing, technical skills and pitch training. Doc Edge Exhibition is a showcase of digital interactive storytelling featuring VR, AR, installations, and digital stories curated for audiences to experience. Internationally, it has established exchange and internship programmes with global production companies, festival and market places. It is also leading the development of Good Pitch Pasifika for the wider Pacific region. In 2021, Doc Edge will deliver a hybrid festival and forum embracing the best of physical and online events.

Alex LEE

Alex LEE 是紐西蘭邊鋒紀錄片節的總監暨共同創辦人，身為總監，他與其他夥伴一同領導整個組織的發展及商業合作。他也會製作影音內容，致力尋找有影響力的故事以及合製機會。 Alex LEE is the co-founder and director of Doc Edge. As the director, he co-leads the development and the business strategy of the organization. He not only co-leads for the artistic curation of the festival and forum programme but also oversees developing the international relationships and the industry work of the organization. He also produces content and looks for impactful stories as well as co-productions.

Decision Makers and Guests

策略，他不僅參與紀錄片節的藝術策展與論壇規劃，同時也監督邊鋒紀錄片節國際關係的拓展，以及與產業界的

國際貴賓

總監 Director alex@docedge.nz

Documentary Campus 德國 Germany www.documentary-campus.com 合作方式 Collaboration Opportunity

N/A 類別 | 長度 | 規格 Subject | Length | Format 開發中的紀實內容（所有類型和形式），內容須針對國際觀眾，且具有國際合製的潛力。 Factual-based content (all genre, all formats) currently in development and intended for an international audience with potential for international co-production. 近期委製、合製、購片之影片 Recent commission | co-production | acquisition ﬁlms N/A

紀錄片學院（Documentary Campus）是歐洲最著名的專業訓練工作坊之一；自 2001 年起，這個非營利組織為專業媒體人提供量身打造訓練，並為他們影片概念發展提供意見、尋找資金並觸及廣大的國際觀眾。除了高峰會和工作坊之外，紀錄片學院也與主要市場和國際影展合作舉辦產業活動。 Documentary Campus is one of Europe’s most renowned professional training initiatives. Since 2001, the nonprofit organization provides media professionals with tailored training and advice on how to develop their film ideas, unlock funding and reach a large international audience. In addition to seminars and workshops, Documentary Campus runs industry events in collaboration with key markets and international festivals.

Claudia SCHREINER 首席講師 Head of Studies, Documentary Campus Masterschool c.schreiner@documentary-campus.com 大師學院（Masterschool）是一個為期十個月的密集訓練活動；為全歐洲的專業影視從業人員提供接觸國際電影市場和發展新商業策略的絕佳機會。作為研究的領導人，克勞蒂亞．施奈娜發展並監督大師學院的內容和概念。施奈娜於德國科隆和紐約研讀歷史、政治學以及考古學。她曾任職於德國電視二台（ZDF）以及德國廣播電視聯合會（ARD），並曾擔任電視記者、委製編審等職位。施奈娜最近的職位為萊比錫德國廣播電視聯合會（ARD）和中德廣播公司（MDR）的文化和科學節目總監，負責五個文化活動現場節目、紀錄片和電視雜誌，她領導的部門發起並參與數個獲獎的國際合製項目。 The Masterschool is an intensive ten-month training program. It offers media professionals across Europe an excellent opportunity to access the international documentary market and to develop new business strategies. As Head of Studies, Dr. Claudia SCHREINER shapes and oversees content and concept of the Masterschool. 國際貴賓 Decision Makers and Guests

Dr. Claudia SCHREINER studied History, Political Science and Archeology in Cologne and New York City. Worked as TV-journalist and commissioning editor in several positions and places at ZDF and ARD––German public broadcasting. Last position: Head of Program for Culture and Science at ARD/MDR, Leipzig, responsible for live broadcast of cultural events, documentaries and TV magazines. Her department initiated and was partner in several award winning international co-productions.

Dogwoof 英國 United Kingdom www.dogwoof.com

合作方式 Collaboration Opportunity 我們期待可以盡早加入拍片計畫，透過投資或協助鞏固預售，甚或兩者兼具的方式，來幫助影片掌握資金。 We are currently looking to come on board earlier for projects to help package the finance for the films either through investment or helping secure pre-sales, or a combination of the two. 類別 | 長度 | 規格 Subject | Length | Format 電影規格之紀錄片。 Feature length documentaries.

近期委製、合製、購片之影片 Recent commission | co-production | acquisition ﬁlms 《殺人一舉》、《黑魚》、《沉默一瞬》、《無主之地》、《韋納》、《動畫人生》、《孿生陌生人》、《赤手登峰》、《阿波羅 11 號》 The Act of Killing , Blackfish , The Look of Silence , Cartel Land , Weiner , Life , Animated , Three Identical Strangers , Free Solo , and Apollo 11

Dogwoof 是英國首屈一指的紀錄片發行商，並且已經透過各種平台發行超過上百部獲獎影片。在 2011 年，本公司新設立了一國際性銷售部門── Dogwoof Global，負責高知名度影片，如榮獲 BAFTA 提名的《黑魚》、柏林影展得獎影片《凝視瑪莉娜》、以及荷索的作品《Into the Inferno》。 Dogwoof is the leading UK film distributor of documentaries and has released over a hundred award-winning films across all platforms. In 2011, the company launched an international sales arm, Dogwoof Global, which has handled high-profile titles such as BAFTA-nominated Blackfish , Berlinale winner Marina Abramovic the Artist is

Present , and the Werner Herzog project Into the Inferno .

Oli HARBOTTLE 發行與購片部門負責人 Head of Distribution and Acquisitions oli@dogwoof.com 奧利．哈伯特自 2006 年起便任職於 Dogwoof，他同時也是決定專注於紀錄片的創始成員之一。作為發行和購片總監，哈伯特負責所有購片事宜，並控管所有影片的發行；近年來的成功案例包括：《殺人一舉》、《黑魚》、《沉默一瞬》、《無主之地》、《韋納》、《動畫人生》、《孿生陌生人》、《赤手登峰》、《阿波羅 11 號》等。哈伯特現在也積極為 Dogwoof 新的製片基金尋找項目。 Oli has been at Dogwoof since 2006, and was part of the original team who made the decision to specialise in documentaries the following year. As Head of Distribution & Acquisitions, he is responsible for acquisitions and overseeing all film releases, which in recent years have included successes such as The Act of Killing , Blackfish , 國際貴賓

The Look of Silence , Cartel Land, Weiner , Life , Animated , Three Identical Strangers , Free Solo , and Apollo 11 . Oli is now also actively involved in the sourcing of projects for Dogwoof’s new production fund.

Decision Makers and Guests

Ford Foundation (Beijing Ofﬁce) 福特基金會（北京辦事處）中國 China www.fordfoundation.org

合作方式 Collaboration Opportunity JustFilms 以關注全球正義議題的獨立電影製作與數位計劃為資助目標，有關提案邀請及申請過程等更多細節，可上官網查看。 JustFilms seeks to fund independently-produced film and digital projects highlighting social justice issues. Full proposals invited through open letter of inquiry process—see website for more details. 類別 | 長度 | 規格 Subject | Length | Format 社會正義議題的電影或數位計劃，不限長度及形式。 Social justice-focused film and digital projects of all lengths and formats. 近期委製、合製、購片之影片 Recent commission | co-production | acquisition ﬁlms Whose Streets , Strong Island, Bending the Arc , The Force , 500 Years , Tell Them We Are Rising , Collisions , Do Not Resist , The Trans List , Citizen Jane , The Music of Strangers: Yo-Yo Ma and the Silk Road Ensemble 福特基金會是一個獨立的、非營利性資助機構。基金會秉承公平發展的理念，致力於減少全球不平等，推動知識、財富和社會資源的共享。1936 年由福特汽車創始人亨利・福特之子埃德索爾・福特捐資成立。1988 年，福特基金會在北京設立辦事處。福特基金會與中國相關的資助工作重點為中國對外發展金融對南方國家的影響、中美關係和國際治理以及中國公益慈善領域和影響力投資的生態系統建設，並支持把影響力投資作為實現中國對外發展金融目標重要工具的實踐和研究。 The Ford Foundation is a private American foundation. Established in 1936 with a gift from Edsel Ford, son of Ford Motor Company founder Henry Ford, the Ford Foundation has grown to become one of the largest philanthropies in history. We generate grant making resources by investing our $12.5 billion endowment, and do not accept donations. The Ford Foundation is committed to reducing inequality and dedicated to investing in innovative ideas, visionary leaders, and organizations advancing human dignity around the world.

谷青 GU Qing 節目主任 Program Ofﬁcer q.gu@fordfoundation.org 谷青女士是福特基金會（美國）北京代表處的項目官員，2018 年加入基金會，負責公益慈善和影響力投資方面的資助工作。此外，她還負責與中國基金會和公益慈善領域的思想領袖建立聯繫，相互學習並開展合作。加入福特基金會之前，谷女士在聯合國開發計劃署（UNDP）駐華代表處任助理國別主任 , 負責減貧、平等和治理領域的工作。谷女士於 2009 年加入聯合國開發計劃署駐華代表處。在她九年的聯合國職業生涯中，谷女士與中國的政府機構、智庫、公益慈善界和私營部門合作，共同開展旨在減少貧困、促進公平、實現善治和法治以及促進可持續發展的項目。谷女士曾擔任中國政府任命的 2030 可持續發展議程創新示範區諮詢委員會高級專家。在加入聯合國開發計劃署之前，谷女士在中國政府部門負責國際司法合作工作。

國際貴賓 Decision Makers and Guests

GU Qing is a program officer in the foundation’s Beijing office, developing programming in the fields of philanthropy and impact investing. In addition to grant making, she is responsible for building relationships with Chinese foundations and philanthropy thought leaders for peer learning and collaboration. Prior to joining Ford in 2018, Qing served as assistant country director for Poverty, Equity, and Governance at the United Nations Development Programme (UNDP) in China, where for nine years she worked with Chinese government agencies, think tanks, the philanthropy sector, and the private sector on programs aimed at reducing poverty, enhancing equity, achieving good governance and rule of law, and promoting sustainable development. She also served as a senior expert member to the consultation committee of the SDGs Innovation Pilot Zone, appointed by the government of China. Prior to that, she supervised international judicial cooperation in the government of China.

France Télévisions 法國電視台

法國 France www.france.tv

合作方式 Collaboration Opportunity France Télévisions 正在為 25 Shades of Docs 時段物色有趣的製作企劃或採購項目，歡迎所有深具創意、引人入勝的社會性紀錄片。 France Télévisions is looking for interesting projects or acquisitions for our slot 25 Shades of Docs, home to creative and compelling society documentaries. 類別 | 長度 | 規格 Subject | Length | Format 與人切身相關並反映全球議題的社會性紀錄片｜長片和或作者電影｜僅限單部作品，長度不限。 Society documentaries on intimate stories that can resonate on more global subjects | feature film and/or author-driven | Only one-offs, any duration. 近期委製、合製、購片之影片 Recent commission | co-production | acquisition ﬁlms The Cleaner , Hamada, People’s Republic of Desire , The Advocate, One-Way Ticket...

France Télévisions 是法國主要的國營電視集團，旗下握有六個涵蓋各項類型的地區性頻道。FTV 每年委製上百部各種主題之紀錄片。 France Télévisions is France’s main public service broadcaster, with 6 terrestrial channels across all genres. FTV commissions hundreds of documentaries every year, on all subjects.

David AMIEL 社會及地緣政治類紀錄片委製編審 Commissioning Editor for Society & Geopolitics documentaries david.amiel@francetv.fr David AMIEL 任職於 France Télévisions 社會及地緣政治部門，著重法國及國際社會主題，目前主要負責管理 25 Shades of Docs 時段的各項事務。 Within France Télévisions, AMIEL is part of the Society & Geopolitics unit, which focuses on both French and international society subjects. His main current responsibility is managing the slot 25 Shades of Docs, on all aspects.

國際貴賓 Decision Makers and Guests

Hot Docs Canadian International Documentary Festival 加拿大國際紀錄片影展

加拿大 Canada www.hotdocs.ca

合作方式 Collaboration Opportunity 全球紀錄片導演與製片可以透過參與 Hot Docs 提案大會、Deal Maker 市場展活動，以及申請 CrossCurrents Doc Funds 獲得來自 Hot Docs 的支持。 Hot Docs supports international documentary projects through our Hot Docs Forum and Deal Maker market events, as well as through our portfolio of funds including the CrossCurrents Doc Funds which is open to filmmakers internationally. 類別 | 長度 | 規格 Subject | Length | Format 任何類型的紀實電影，包含長片、一小時、短片、影集、VR 和數位。 Hot Docs works with all genres of non-fiction film including feature length, broadcast hour, shorts, series, VR, and digital. 近期委製、合製、購片之影片 Recent commission | co-production | acquisition ﬁlms N/A

Hot Docs 加拿大國際紀錄片影展期間的 Hot Docs 產業會議和市集（The Hot Docs Industry Conference and Market），為不論資歷深淺的電影工作者和業界專業人士提供卓越的專業發展、人際網絡與商務機會。您可以在旗艦級的 Hot Docs 論壇向決策者推銷自己的電影；在 Deal Maker 單元與委製編審與贊助商進行預約好的一對一面談；在 Distribution Rendezvous 單元會見銷售代理商與發行商；或者您也可以申請 CrossCurrents 紀錄片基金：替國際上觀點長期處於弱勢的新興說故事人提供一至三萬美元的發展與製作期補助。 Taking place during the Hot Docs International Film Festival, The Hot Docs Industry Conference and Market offers exceptional professional development, networking, and business opportunity to filmmakers and industry professionals at all levels of experience. Pitch your film to Decision Makers in the flagship Hot Docs Forum, take curated one-on-one meetings with commissioning editors and funders in Deal Maker, meet sales agents and distributors in Distribution Rendezvous, or apply to the CrossCurrents Doc Fund: development and production grants of $10,000-$30,000 for interactive, short or feature-length films by emerging international storytellers whose perspectives have been historically underrepresented.

國際貴賓 Decision Makers and Guests

Stephanie McARTHUR

Madelaine RUSSO

資深產業節目策畫經理 Senior Industry Programs Manager smcarthur@hotdocs.ca

產業單元策劃 Industry Programmer mrusso@hotdocs.ca

除了自 2008 年以來管理 Hot Docs 的產業與市場活動，

Madelaine RUSSO 主責策劃 Hot Docs 的一對一面談

Stephanie McARTHUR 還負責監督 Hot Docs 的新銳、

單元“Hot Docs Deal Maker”，同時也支援 Hot Docs

國際代表團和校友計畫。她與她的團隊致力於為在地

Forum 的籌備、管理 Hot Docs 部落格、協助 Doc

和全球的利益相關者開發和提供產業企劃。Stephanie

Ignite 工作坊於加拿大各地的業務。進入 Hot Docs 前，

大部分的工作都集中在新計畫的開發和推出上，最近

Madelaine 曾負責英國雪菲爾紀錄片影展（Sheffield

的是 Hot Docs Canadian Storytellers 計畫。

Doc/Fest）的媒合單元 Alternate Realities Market，也

In addition to managing Hot Docs Industry programs and market events since 2008, Stephanie McARTHUR oversees Hot Docs’ emerging filmmaker, international delegation and alumni programs. She works closely with the industry programs team to develop and provide industry programming and services to local and international stakeholders. Much of Stephanie’s work focuses on development and launch of new projects and initiatives, most recently the Hot Docs Canadian Storytellers Project.

曾為短片發行商 Ouat Media 工作。 Madelaine RUSSO is Industry Programmer of Deal Maker (our one-on-one meeting program) at Hot Docs. She also supports the production of the Hot Docs Forum, runs the Hot Docs blog, and facilitates Doc Ignite workshops across Canada. Before joining Hot Docs, Madelaine ran the Alternate Realities Market at Sheffield Doc/Fest in the UK. She has also worked at short film distributor Ouat Media.

IDFA 阿姆斯特丹國際紀錄片影展荷蘭 Netherlands www.idfa.nl 合作方式 Collaboration Opportunity

阿姆斯特丹國際紀錄片影展（IDFA）是全球最大，致力於經營紀錄片電影、新媒體藝術與產業的組織。透過其基金以及導演培訓計畫，IDFA 支持並連結來自世界各地，不分性別與世代的電影創作者。IDFA 選入的片單吸引了 295,000 名觀眾和超過三千名電影專業人士。IDFA 電影市場、IDFA 產業論壇、和紀錄片市場展（Docs for Sale）是紀錄片產業人士絕不會錯過的年度盛事。 IDFA is the world’s leading institution dedicated to the art and industry of documentary film and new media. With its fund and filmmaker training programs, IDFA supports filmmakers and connects them across continents, genders and generations. IDFA’s festival offers a trend-setting film and new media program that gets 295,000 visits and brings together over 3,000 professionals. IDFA’s markets, IDFA Forum and Docs for Sale are flagship business events that documentary film professionals never miss.

Adriek van NIEUWENHUIJZEN 產業負責人 Head of Industry adriek@idfa.nl Adriek 負責 Docs for Sale、IDFA Forum，以及 IDFAcademy 課程國際部門。 Adriek is responsible for the markets Docs for Sale, IDFA Forum, and the international part of the IDFAcademy programme.

國際貴賓 Decision Makers and Guests

KBS (Korean Broadcasting System) 韓國放送公社南韓 Republic of Korea www.kbs.co.kr 合作方式 Collaboration Opportunity 歡迎各種合作機會 Open to collaboration opportunity

類別 | 長度 | 規格 Subject | Length | Format 紀錄片（時事、野生生物、文化、歷史等）｜長度：50-55 分鐘 Documentary (current affairs, wildlife, culture, history, etc.) | Suitable for a 50~55-minute slot 近期委製、合製、購片之影片 Recent commission | co-production | acquisition ﬁlms 近期合製：《The Korean War》（兩集各 52 分鐘），合作對象：ZED（法國）、WETA、ARK Media（YOP 2019） Recent co-production: The Korean War (2x52’), with ZED (France)/ WETA/ ARK Media (YOP 2019) 採購：每年採購 250 小時以上的紀錄片節目 Acquisitions: annual acquisition of 250+ hours of documentary programmes

韓國放送公社（KBS）是韓國最大的公共電視台，擁有四個無線電視頻道（HD1、2TV、UHD1、2TV）、兩個衛星電視頻道（KBS World、KBS World24）、七個廣播頻道、四個數位多媒體廣播頻道，並提供數種新媒體服務，例如 my K。KBS 總部位於首爾汝矣島，並於韓國主要城市經營其他九個電視台，KBS 在全球十四個的地區設有外站，包括：美國、歐洲、中國及日本，製作人和記者皆能以特派員的方式受雇。KBS 經營授權及廣告業務，然而為支持公共傳播的理念，自 1994 年 10 月起，1TV 和 1Radio 便不再播放廣告。 The nation’s largest public broadcaster KBS has 4 terrestrial TV channels (HD1, 2TV, UHD1, 2TV), 2 satellite TV channels (KBS World, KBS World24), 7 radio channels, 4 DMB channels and new media services including ‘my K’. KBS is headquartered in Yeouido, Seoul, and maintains 9 other stations in major cities around Korea. There are 14 branch locations worldwide, including in the U.S., Europe, China, and Japan, where producers and journalists can work as correspondents. KBS operates on license fees and advertisements, but in order to support public broadcasting, 1TV and 1Radio have been operating free of advertisements since October 1994.

PARK Sung Ju 運營經理 Team Manager spark@kbs.co.kr 監督 KBS 電視頻道的節目採購，並參與國外紀綠片、國內外電影及動畫等的挑選與管理。 Oversee programme acquisitions for KBS TV channels, selecting and supervising foreign documentaries, foreign and domestic movies, animation, etc.

國際貴賓 Decision Makers and Guests

Knowledge Network 知識網絡加拿大 Canada www.knowledge.ca 合作方式 Collaboration Opportunity 合製 ; 預購 ; 採購 Co-Production; Pre-Buy; Acquisition

類別 | 長度 | 規格 Subject | Length | Format 規格：高畫質、2K、4K 長度：1 小時、長片或短劇集主題：藝術、文化、歷史或社會議題紀錄片 HD, 2k, 4k One-hour, feature length and limited series on arts, culture, history and social issue documentaries. 近期委製、合製、購片之影片 Recent commission | co-production | acquisition ﬁlms Inside Europe (UK), Dr. Jack, and Mr. Nicholson (France), The Machine (Taiwan), Writing with Fire (India), Iraq’s Invisible Beauty (Belgium-UK), Afghanistan: Wounded Land (Germany/Italy)

位於卑詩省的「知識網絡」是一個無廣告、多平台的公共傳播網，透過電視與網路，播出各種藝文節目，以求從地方、國家與全球的角度探索世界。 British Columbia’s Knowledge Network is a commercial-free, multi-platform public broadcaster. Through television and the web, Knowledge Network broadcasts a mix of arts and culture programs that explore the world from local, national and global perspectives.

Rudy BUTTIGNOL 總裁暨執行長 President & CEO rudyb@knowledge.ca Rudy BUTTIGNOL 是加拿大卑詩省公共電視網「知識網絡」總裁兼執行長。他是萊比錫「紀錄片學院大師學院」的講師以及主持人。他主持過的紀錄片年度籌資論壇包含：阿姆斯特丹國際紀錄片影展（IDFA）產業論壇、義大利影音產業市場（MIA）、Hot Docs 加拿大國際紀錄片影展產業論壇、陽光紀錄片提案大會（Sunnyside）、 Asian Side of the Doc 亞洲紀錄片大會以及韓國 Crossing Borders。BUTTIGNOL 獲得的國際榮譽包括：首屆加拿大國際紀錄片電影節紀錄片大亨獎、九項加拿大學院獎。2015 年 BUTTIGNOL「由於身為加拿大紀錄片重要製作者，以及在『知識網絡』變革性的領導」，獲頒加拿大勳章。

國際貴賓

Rudy BUTTIGNOL is the President and CEO of British Columbia’s public broadcaster, Knowledge Network. He is a tutor and moderator of the Documentary Campus Masterschool in Leipzig. BUTTIGNOL has moderated documentary financing forums at IDFA (Amsterdam), MIA (Rome), Hot Docs (Toronto), Sunnyside (La Rochelle), Asian Side of the Doc (Tokyo, Chengdu) and Crossing Borders (Seoul). International honors include the inaugural Doc Mogul Award from the Hot Docs International Documentary Festival and nine Canadian Academy Awards. In 2015, BUTTIGNOL was appointed as a Member of the Order of Canada, “for his contributions as a champion of Canadian documentary filmmaking and for his transformative leadership at the Knowledge Network.”

Decision Makers and Guests

MediaCorp TV (S) Pte Ltd 新傳媒集團新加坡 Singapore www.mediacorp.sg 合作方式 Collaboration Opportunity 戲劇和娛樂性內容 Dramas and Entertainment

類別 | 長度 | 規格 Subject | Length | Format 戲劇、娛樂｜無限制｜無限制 Dramas and Entertainment | no preference on length or format 近期委製、合製、購片之影片 Recent commission | co-production | acquisition ﬁlms 《你那邊怎樣，我這邊 OK》 All is Well Mediacorp 是新加坡最大的內容生產者及全國性的媒體，營運著電視台、電台及多個線上平台。我們開拓了新加坡廣播產業的發展，於 1936 年設立廣播電台，並於 1963 年開設電視台。新傳媒集團的內容皆以四種語言呈現，藉此觸及 98% 的新加坡觀眾。此外，透過 CNA 新聞平台以及發行到世界各地的娛樂內容，使我們的亞洲觀眾群不斷增長。除了新加坡以外，新傳媒集團更透過新傳媒合作網絡，匯聚亞太區的產業領導品牌，如 ESPN、Edipresse Media、99.co 以及 VICE，提供消費者豐富的內容，並提供廣告商有效的方案。在數位平台上，CNA 內容的觀眾數也持續增長中，不僅達成了每月平均 1000 萬個訪客數，更帶給網頁每月 7300 萬的瀏覽次數。除此之外，CNA 新聞更遍及亞洲、中東及澳洲等 29 個地區，累積超過 8100 萬戶觀眾。 We are Singapore’s largest content creator and national media network, operating a suite of TV channels, radio stations and multiple digital platforms. We pioneered the development of Singapore’s broadcasting industry with radio broadcast in 1936 and television in 1963. Today, Mediacorp reaches 98% of Singaporeans in four languages and has a growing Asian audience base through CNA as well as entertainment content distributed across the region. Beyond Singapore, Mediacorp is an active regional player bringing together industry-leading brands like ESPN, Edipresse Media, 99.co and VICE through the Mediacorp Partner Network to deliver rich content for consumers and effective solutions for advertisers. Digitally, CNA content is consumed by an increasing average of about 10 million unique visitors, generating about 73 million page views every month. The channel also reaches more than 81 million households in 29 territories across Asia, the Middle East and Australia.

Rita SEOW 中華市場觀眾及內容總監 Lead, Audience and Content (Chinese Audience) rita.seow@mediacorp.com.sg Rita SEOW 領導新傳媒集團的中華市場部門，透過策略性的內容委製來增長華人觀眾收視率。她的團隊為新傳媒集團的 FTA 及 OTT 平台委製各類型的影片，包括劇情、娛樂、紀實、兒童節目與喜劇短片。國際貴賓 Decision Makers and Guests

Rita SEOW leads Mediacorp’s Chinese Audience team to grow our Chinese audience viewership through strategic content commissioning. The team commissions genres ranging from Drama, General Entertainment, Factual, Kids and Comedy short-form content for Mediacorp’s FTA and OTT platforms.

NHK (Japan Broadcasting Corporation) 日本放送協會日本 Japan www.nhk.or.jp 合作方式 Collaboration Opportunity

N/A 類別 | 長度 | 規格 Subject | Length | Format N/A 近期委製、合製、購片之影片 Recent commission | co-production | acquisition ﬁlms N/A（我剛轉到 NHK 的全球內容發展部，這也是我作為委製編審的第一份工作） None (I have just been transferred to NHK Global Content Development Division, and this is my first job as a commissioner) NHK，或稱作日本放送協會，是日本唯一的公共放送公司。作為接受觀眾贊助的電視台，NHK 提供來自國內外多樣、中立且高品質的節目。NHK 旗下有兩個電視頻道（NHK 綜合頻道以及 NHK 教育頻道）、四個衛星頻道（NHK BS1、NHK Premium、NHK BS4K 和 NHK BS8K 兩台高清頻道）以及三個廣播電台（NHK Radio 1、NHK Radio 2，以及 NHK FM）。NHK 也提供國際放送服務，該台被稱作 NHK World-Japan；旗下包括 NHK World TV、 NHK World Premium，以及 RJ 短波廣播電台。 NHK, Nippon Hoso Kyokai (Japan Broadcasting Corporation), is Japan’s only public broadcaster. As a public broadcaster funded by fees received from TV viewers, NHK delivers a wide range of impartial, high-quality programs, both at home and abroad. NHK operates two terrestrial television channels (NHK General TV and NHK Educational TV), four satellite television channels (NHK BS1 and NHK BS Premium, as well as two ultra-highdefinition television channels; NHK BS4K and NHK BS8K), and three radio networks (NHK Radio 1, NHK Radio 2, and NHK FM). NHK also provides an international broadcasting service, known as NHK World-Japan. NHK World-Japan is composed of NHK World TV, NHK World Premium, and the shortwave radio service Radio Japan (RJ).

宮野衣 Kinu MIYANO 全球內容發展部資深製片 Senior Producer, Global Content Development Division miyano.k-fu@nhk.or.jp 宮野衣生於 1992 年加入 NHK，一開始她專注於東京地區的社會議題。於 1993 年，她紀錄第一批因日本經濟崩壞而流離失所的受害者們的紀錄片為其早期作品中的一大亮點，她的作品主題相當廣泛，包括霸凌、黑市以及其他日本正經歷的社會議題。2000 年開始，宮野開始製作國際議題相關的節目。2001 年的 911 事件也促使其開專注於和平議題的紀錄片。從 2005 年開始，她也開始著手進行系列紀錄片《未來的提案》，探討對於當代問題的可能解決方案。自 2008 年開始，宮野致力於製作關於經濟的新聞和時事的內容，其中尤以美國霸權主義的影響以及雷曼兄弟破產後因經濟危機而興起的市場基本教義派內容尤為吸睛。 Managing Producer, World News Division, NHK WORLD (~07/31st 2020)

Decision Makers and Guests

possible solutions to contemporary issues. Since 2008, Miyano has worked on news and current affairs programs about economics. Highlights of her work include programs examining the impact of US hegemonism and market fundamentalism in light of the financial crisis that followed the bankruptcy of Lehman Brothers.

國際貴賓

Kinu MIYANO joined NHK in 1992. She initially worked on programs that looked into social issues in the Tokyo area. A highlight of her early work was a 1993 documentary about elderly homeless people, who were some of the first victims of Japan’s economic slump. She also made a wide range of programs on bullying, blackmarket financing, and other social problems with which Japan was grappling. In 2000, Miyano began working on programs with international themes. Prompted by the 9/11 terrorist attacks in 2001, she focused on peace in documentaries. Since 2005, she also worked on a documentary series Proposals for the Future that highlighted

NHK Enterprise, INC / Tokyo Docs 日本放送協會（子公司）/ 東京紀錄片提案大會日本 Japan www.nhk-ep.co.jp/en 合作方式 Collaboration Opportunity 合製以及版權購買 Co-production and Acquisition

類別 | 長度 | 規格 Subject | Length | Format 由亞洲影像工作者製作，與亞洲社會議題、人文、環境、國際關係相關，以及描述在地寫實故事的作品。｜ 45–60 分鐘｜ HD Social issues, human interest, environment, international relation and others which depict the reality of the local society. Films about Asia by Asian filmmakers. | 45–60 minutes | HD 近期委製、合製、購片之影片 Recent commission | co-production | acquisition ﬁlms 合製：《大同》、《大水》、《Ruby Land》預購：《塑料王國》、《江南棄兒》、《紡織城》購片：《不老騎士》、《翡翠之城》 Co-production: Chinese Mayor , Flood (France/China/Japan), Ruby Land (Myanmar) Pre-buy: Plastic China , China’s Forgotten Daughter , Weaving (China) Acquisition: Go Grandriders (Taiwan), City of Jade (Myanmar/Taiwan) NHK Enterprises 是日本放送協會的附屬公司，業務包括電視節目的製作與合製、版權購買、發行、DVD 販售、角色商品販售與企劃，以及活動和座談會的舉辦。日本放送協會子公司製作帶給人們希望、動力、勇氣與生命力的電視節目，近期正在發展國際性的企劃案，希望在國際合製和版權買賣之外，也能夠擴展旗下活動與角色的觸角，特別是亞洲地區。為此，日本放送協會子公司已經準備好將知識與資源善盡其用。 NHK Enterprises is the affiliate company of NHK. Our business is producing TV programs, co-productions of TV programs, acquisitions, distribution, DVD sales, character goods sales and planning and organizing events and symposiums. NHK Enterprises is to produce TV programs that provide people with hope, motivation, courage, and vitality. One new field we are currently developing is in international projects. In addition to international coproduction projects and the acquisition and sales of programs, we wish to expand the reach of our events and characters, especially in Asia. For this, NHK Enterprises is ready to put our knowledge and resources to full use.

今村研一 Ken-ichi IMAMURA 監製 Executive Producer imamura-ke@nhk-ep.co.jp 今村研一，1983 年加入日本放送協會（NHK）。2009 年至 2012 年擔任「世界紀錄片」項目委製編審。2012 年起轉任 NHK Enterprises 監製，主管合製專案開發。於 2011 年創設東京紀錄片提案大會，是日本目前唯一舉辦提案大會的國際紀錄片盛會。(http://tokyodocs.jp)

國際貴賓 Decision Makers and Guests

100

IMAMURA entered NHK in 1983. He was the commissioning editor of the slot “World Documentary” from 2009 until 2012. Since 2012 he has been transferred to NHK Enterprises. He is the executive producer and in charge of developing co-production. He started Tokyo Docs in 2011 which is the sole international documentary event in Japan holding the pitching session. (http://tokyodocs.jp)

American Documentary | POV 美國紀錄片 | POV

近期委製、合製、購片之影片 Recent commission | co-production | acquisition ﬁlms 購片 Acquisitions: We Are The Radical Monarchs by Linda Goldstein Knowlton, Advocate by Rachel Leah Jones and Philippe Bellaïche, Chez Jolie Coiffure by Rosine Mbakam, In My Blood It Runs by Maya Newell. 合製 Co-productions: The Mole Agent by Maite Alberdi, Softie by Sam Soko, Through the Night by Loira Limbal, And She Could Be Next by Grace Lee and Marjan Safinia, Portraits and Dreams by Wendy Ewald and Liz Barret, Landfall by Cecilia Aldarondo, Our Time Machine by Yang Sun and S. Leo Chiang. 美國紀錄片公司為一個國家級的非營利媒體藝術組織，致力於增加重要的紀錄片的可及度，讓紀錄片可以成為公眾的討論中。美國紀錄片公司與熱情的紀錄片製作者合作，擴大他們的聲音，並栽培紀實的社群。 POV（電影術語裡的「觀點」）是電視史上最長壽的非劇情類獨立電影平台，POV 每年會在 PBS 播放 14-16 部最好、最大膽、也最具創意的影片。自 1998 年起，POV 已經對美國的公共電視觀眾播放了超過五百部電影。 A national nonprofit media arts organization, American Documentary (AmDoc) strives to make essential documentaries accessible as a catalyst for public discourse. AmDoc collaborates with passionate filmmakers to amplify their voices, and to nurture the nonfiction community. POV (a cinema term for “point of view”) is television’s longest-running showcase for independent non-fiction films. POV premieres 14-16 of the best, boldest and most innovative programs every year on PBS. Since 1988, POV has presented over 500 films to public television audiences across the country.

Chris WHITE

Nicole TSIEN

監製 Executive Producer cwhite@pov.org

聯合製片人 Co-Producer ntsien@pov.org

Chris WHITE 身為美國紀錄片公司的監製，負責製作美國公共電視台（PBS）的獲獎系列紀錄片「POV」、以及與 WGBH 世界頻道合製的「America Reframed」。他的職責包括策劃、合製、以及製作。長期以來，身為美國紀錄片公司資深成員， Chris 已經選取、製作、代表在全國播出的 250 多部電影。在他的 20 年任期中，「POV」系列紀錄片已贏得了 24 座艾美獎、 17 座皮博迪獎、9 座杜邦 - 哥倫比亞獎、6 座獨立精神獎，並已獲得 14 項奧斯卡金像獎提名。

督影片初審作業，並參與系列節目的策劃與製作。她曾協助位於紐約的紀錄片工作者完成各階段的製作，並至世界各地擔任論壇講者及評審。 Nicole is the Co-Producer at POV. As a member of the programming and production team, she manages film submissions, oversees pre-screeners, and contributes to the curation and production of the series. She has experience assisting New York-based documentary filmmakers in various stages of production and has participated on panels and juries worldwide.

Decision Makers and Guests

partnership with WGBH World Channel. His responsibilities include curation, co-production and production for both series. As a longtime senior staff member at American Documentary, Chris has selected, produced and presented over 250 films for national broadcast. During his 20-year tenure, American Documentary films have won 24 Emmys, 17 George Foster Peabody Awards, nine duPont-Columbia Awards, six Independent Spirit Awards, and have garnered 14 Academy Award nominations.

與製作團隊的一員，她負責管理影片收件、監

國際貴賓

As Executive Producer at American Documentary, Inc., Chris WHITE is responsible for producing PBS’s award-winning documentary series POV , as well as America Reframed in

Nicole 是 POV 的聯合製片人，身為節目規劃

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SBS 特別廣播服務公司澳洲 Australia sbs.com.au 合作方式 Collaboration Opportunity 購片 Acquisition

類別 | 長度 | 規格 Subject | Length | Format 52 分鐘長度節目、迷你系列節目以及單片，有時也採購長片 52 minutes, mini-series and singles, with occasional feature length. 近期委製、合製、購片之影片 Recent commission | co-production | acquisition ﬁlms 《拯救聖母院》－杰德昂電視台節目《追逐月亮》－公共廣播電視公司《尋找克麗奧佩脫拉》－ Arrow Media Saving Notre Dame – Gedeon Programmes Chasing the Moon – PBS Distribution Searching for Cleopatra – Arrow Media

特別廣播服務公司（SBS）是澳洲的公共電視，該公司的主要頻道是澳洲具獨特性故事的歸屬，同時也報導國際新聞、時事、運動，以及主題廣泛的戲劇和紀錄片。澳洲公共電視旗下頻道 SBS VICELAND 則主要播映針對年輕族群的原創紀錄片、娛樂內容、喜劇、VICELAND 系列影集、國際新聞、時事、運動和電影。該公司的隨選視訊平台 SBS ON DEMAND 則有 6,000 小時的高質感劇、電影，以及紀實內容，在多個平臺皆可收看。SBS Food 則主要播放紀實節目以及由主持人主導的英語烹飪節目。另外 SBS 還有 SBS World Movies 以及 NITV，主要專注於澳洲的原住民觀眾。 SBS is an Australian public broadcaster. Main channel SBS is the destination for distinctive Australian storytelling, international news and current affairs, sport and the world’s most diverse dramas and documentaries. SBS VICELAND features original documentaries, entertainment, comedy, VICELAND series, International news, current affairs, sport and movies, for a younger audience. SBS On Demand has 6,000 hours of premium drama, movie and factual content, available on multiple platforms. SBS Food is a factual and lifestyle destination for presenter-led food and cooking series in English language. Other platforms are SBS World Moviesand NITV, an independent channel within the SBS.

Krishan ARORA 國際內容顧問 International Content Consultant krishan.arora@sbs.com.au SBS 國際代表，擔任個發行商、頻道、製片的聯繫人，另外也擔任購片的顧問，主要業務內容為紀實和紀錄片節目。國際貴賓 Decision Makers and Guests

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International representative for SBS Australia, working as a point of contact for distributors, channels and producers, and advising on acquisitions, primarily for factual and documentary programming.

Shefﬁeld Doc/Fest 雪菲爾德紀錄片影展

英國 United Kingdom sheffdocfest.com

合作方式 Collaboration Opportunity 雪菲爾德紀錄片影展暨電影市場每年於六月舉行。我們的目標是為下一屆的展節挑選新作品，以及為同步舉行的電影市場（MeetMarket）選擇製作中的企劃案。我們也有關注新媒體的單元 Alternate Realities，同樣歡迎已完成或製作中的電影案。 Doc/Fest is an international festival and market taking place in June. We are looking for new films to be considered for our next Film Programme plus works in progress for our MeetMarket. We also have an Alternate Realities strand for new media projects (completed and in-progress). 類別 | 長度 | 規格 Subject | Length | Format 全部類型 All 近期委製、合製、購片之影片 Recent commission | co-production | acquisition ﬁlms 展節片單： https://sheffdocfest.com/films 電影市場（MeetMarket）：https://sheffdocfest.com/articles/835-meetmarket-and-alternate-realities-talentmarket-2020-selected-projects-and-teams See: https://sheffdocfest.com/films (Film Programme) and https://sheffdocfest.com/articles/835meetmarket-and-alternate-realities-talent-market-2020-selected-projects-and-teams (Market Selections)

在雪菲爾德紀錄片影展暨電影市場，我們一同慶祝、分享以及辯論非虛構電影藝術作為一種共同的社會參與。在此電影創作者、藝術家、公眾能夠自由探索、發明未來世界的新意義。我們為電影和藝術的未來鼓舞新秀、新意和全新的互動。我們是一個多元、開放的電影展節，產業新人與專業人士在我們的城市齊聚，一同形塑、探問我們共享的這個世界，經營我們的社群和創造改變的可能性。 Sheffield Doc/Fest is a film festival and marketplace, celebrating, sharing and debating non–fiction arts as a collective form of engagement. It is a space for freedom and for exploration of the ways in which filmmakers, artists and public may reinvent meaning and new possible worlds. We champion and push forward talent, ideas and interaction for the future of film and the arts. We are an open, inclusive festival, bringing together veteran creatives, new voices and our city to shape and question the world we live in, creating a sense of community and the potential for change.

Patrick HURLEY 產業市場與人才總監 Director of Marketplace & Talent patrick.hurley@sheffdocfest.com

Manon EULER 產業市場與人才計劃製作人 Marketplace and Talent Programme Producer manon.euler@sheffdocfest.com

展極具代表性的提案論壇、市場展、擴增實境人才市場展以

在加入雪菲爾德團隊前，於英國電影發行公司 Dogwoof

及其他創始性活動（市場展高峰會、產業單元、提案機會…

工作了四年（2012-2016），與導演、製片、產業夥伴

等等）。瑪儂曾任職於馬爾默電影節以及丹麥電影協會，於

緊密合作，共同發行了超過百部紀錄片。

2019 年的 Open City 電影節的集會發展實驗室擔任協調並在

Patrick oversees Doc/Fest’s international Marketplace & Talent Programme connecting filmmakers with industry to get new documentaries made and seen. Formerly Distribution Manager at Dogwoof from 2012-16, Patrick has worked closely with filmmakers, producers and partners on a diverse slate of over 100 documentary releases.

2020 年的格拉斯哥電影短片節擔任影片評選員。另外她也是 2020 年 This Way Up 發展委員會的成員。 Manon is the Marketplace and Talent Programme Producer, organising Sheffield Doc/Fest flagship pitching forum, the MeetMarket & Alternate Realities Talent Market, as well as other initiatives (Marketplace Summit, Industry Sessions, Pitch opportunities,...). Manon worked for Nordisk Panorama and Danish Film Institute. She also coordinated the Assembly Lab at Open City Docs 2019 and was a film previewer for Glasgow Short Film Festival 2020. She is on the development committee for This Way Up Conference 2020.

Decision Makers and Guests

Manon 是市場和人才計畫製作人，負責雪菲爾德紀錄片影

結紀錄片工作者以及產業界，鼓舞新作的誕生。Patrick

國際貴賓

Patrick 負責雪菲爾德紀錄片市場以及人才培育計畫，連

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Sundance Institute Documentary Film Program 日舞協會紀錄片項目美國 USA www.sundance.org/documentary 合作方式 Collaboration Opportunity 全年支持世界各地的紀實影像工作者。 Year-round support to nonfiction filmmakers worldwide

類別 | 長度 | 規格 Subject | Length | Format 有關各種當代社會議題的紀實故事。 Nonfiction storytelling about a broad range of contemporary social issue 近期委製、合製、購片之影片 Recent commission | co-production | acquisition ﬁlms Recent projects include Joshua Oppenheimer’s The Look of Silence ; Laura Poitras’s CitizenFour ; Feras Fayyad’s Last Men In Aleppo ; RaMell Ross’s Hale County This Morning, This Evening ; Kirsten Johnson’s Cameraperson ; Yance Ford’s Strong Island ; and Raoul Peck’s I Am Not Your Negro . 日舞影展協會紀錄片項目致力支持世界各地的紀實影像工作者，製作故事扣人心弦、挑戰形式邊界，或處理社會正義、人權等當代議題的電影紀錄片，並推廣紀錄片公眾放映。透過日舞影展協會紀錄片基金（Sundance Documentary Fund）、紀錄片剪輯及故事實驗室（Documentary Edit and Story Labs）、創意製片實驗室（Creative Producing Lab）以及日舞影展、日舞創意製片高峰會議（Sundance Creative Producing Summit），還有各種國際合作及計劃方案，本項目為當代獨立紀錄片提供獨一無二的全球資源。 Sundance Institute Documentary Film Program is dedicated to supporting nonfiction filmmakers worldwide in the production of cinematic documentaries that tell compelling stories, push the boundaries of the form, or address contemporary issues including social justice and human rights and promotes the exhibition of documentary films to audiences. Through the Sundance Documentary Fund, the Documentary Edit and Story Labs, Creative Producing Lab, as well as the Sundance Film Festival, the Sundance Creative Producing Summit and a variety of international partnerships and initiatives, the program provides a unique, global resource for contemporary independent documentary film.

Kristin FEELEY 代理日舞紀錄片單元總監 Interim Director of the Sundance Institute Documentary Film Program kristin_feeley@sundance.org 克莉絲蒂．斐莉每年負責日舞紀錄片（DFP，Documentary Film Program）創意實驗室工作坊，其中包括五個駐村藝術家為主的工作坊。她也共同策劃日舞創意製片高峰會，以及日舞受獎人計畫，日舞受獎人計畫每年包含 150 位電影工作者。她創立了紀錄片創意製片實驗室及研究獎助計畫、特約編輯研究獎助計畫、後製的藝術研究獎助計畫、以及紀實評論家研究獎助計畫，為第一個在日舞紀錄片中幫助作家以及文化評論家的計畫。斐莉致力於支持獨立紀實的創作者，讓他們能投入一個共同合作、包容的一個創作過程。斐莉於日舞基金中擔任成員顧問的角色。在加入日舞之前，斐莉曾在社會政策研究及藝術的非營利組織中工作，爾後也在格拉斯哥大學攻讀電影碩士學位。國際貴賓 Decision Makers and Guests

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Kristin FEELEY oversees creative Labs and Fellowships at the Documentary Film Program, which include five residential artist-focused Labs. She co-programs the annual Creative Producing Summit and programs for DFP-supported artists at Sundance Film Festival, which serves over 150 artists annually. She launched the Documentary Creative Producing Lab and Fellowship, the Contributing Editor Fellowship, Art of Editing Fellowship as well as the Nonfiction Critics Fellowship, the first Fellowship within the DFP to support writers and cultural critics. Kristin is committed to supporting all artists who contribute to a collaborative, inclusive artistic process in independent nonfiction. She plays a staff advisory role with the Sundance Documentary Fund. Prior to Sundance, Kristin worked in social policy research and arts nonprofits before pursuing a Masters in Film at the University of Glasgow.

Sunny Side of the Doc 陽光紀錄片提案大會法國 France www.sunnysideofthedoc.com 合作方式 Collaboration Opportunity 於陽光紀錄片提案市場（Sunny Side of the Doc）的提案以及產業連結的機會 Pitching / networking opportunities at the Sunny Side of the Docmarket

陽光紀錄片提案大會是一個聚焦於紀錄片以及事實性題材的國際級市場。每年，眾多公播單位、決策者、資金單位、發行商、創作者以及製片齊聚在此為期四天的平台，尋找賣方、買方或合製對象。透過高品質的提案平台、專題研討、產業連結活動以及展覽空間，陽光紀錄片提案大會為來自 60 個國家的 2300 名專業人士提供了獨特的機會，追蹤最新的產業趨勢，以及建立立即的產業連結。下一屆陽光紀錄片提案大會將於 2021 年 6 月 21 至 24 日於法國 La Rochelle 舉行。 Sunny Side of the Doc is an international marketplace for documentary and specialist factual content across all platforms. Each year, the 4-day event brings together broadcasters, decision makers, financing bodies, distributors, content creators and producers to sell or buy projects and programmes, and to find coproduction partners. Sunny Side of the Doc creates unique opportunities for some 2,300 professionals from 60 countries, to follow the latest industry trends and make new connections through a variety of high-level pitching sessions, panel discussions, networking activities and the added value of an exhibition space. After a connected edition this year due to the pandemic, Sunny Side of the Doc will be back in La Rochelle on June 21-24, 2021.

Mathieu BEJOT 策略以及開發總監 Director of Strategy and Development mbejot@sunnysideofthedoc.com 我的職責是監督陽光紀錄片提案大會的編審以及商業策略，來面向千變萬化的產業環境。 My role is to oversee the editorial and business aspects of Sunny Side of the Doc and to guide the market through a fast-changing environment. 國際貴賓 Decision Makers and Guests

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SVT 瑞典電視台瑞典 Sweden www.svt.se 合作方式 Collaboration Opportunity 各種合作機會。 All kinds.

類別 | 長度 | 規格 Subject | Length | Format 無論是國際時事、紀錄創作大片，我們都試著將世界最好的影片呈現給觀眾。 International current affairs or big creative documentaries. We try to show the best films in the World! 近期委製、合製、購片之影片 Recent commission | co-production | acquisition ﬁlms Greta vs the Climate , Woodstock , Cold Case Hammarskjold , The trial of Ratko Mladic , Brexit behind the scenes

SVT 為瑞典國家公共電視台。 SVT is Sweden’s national public broadcaster.

Axel ARNÖ 委製編審 Commissioning Editor axel.arno@svt.se Axel ARNÖ 自 1988 年進入瑞典公共電視台至今一直擔任策劃編輯的工作。他在電視台的紀錄片部門處理國際時事、特別專題以及創作類紀錄片，其中數部獲獎的國際合作紀錄片都是他策劃的。Axel 在 2006 年獲選歐洲廣播聯盟 (EBU) 紀錄片群主席，也在不少大型紀錄片影展和論壇的常客，同時也常擔任主持人。 Axel has been a commission editor at SVT since 1998. At SVT’s documentary department, he deals with international current affairs, special series and creative documentaries. He has commissioned numerous award winning international co-productions. In 2006, Axel was elected chairman of the EBU Documentary Group. He is a regular at the big documentary festivals and forums where he is frequently seen as moderator.

國際貴賓 Decision Makers and Guests

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The Whickers 英國 United Kingdom www.whickerawards.com

合作方式 Collaboration Opportunity The Whickers 旨在培育新人紀錄片導演及聲音紀綠片導演，並給予他們經費上的補助，我們期盼收到來自世界各國的申請，持續提高年度補助對象的多樣性。 The Whickers develops and funds first time documentary filmmakers and audio documentarians. We are looking to continue to diversify the applications for our annual funding from around the world.

類別 | 長度 | 規格 Subject | Length | Format 透過導演雙眼所訴說、能帶領我們探索新世界的無黨派故事。我們補助長度 58 分鐘的電視專題影片，但許多補助獲選者會進一步將作品發展成電影的長度。 Non-partisan stories that take us to new worlds told through the eye of the Director. We fund a 58-minute TV length feature but many of our winners go on to make cinematic length features. 近期委製、合製、購片之影片 Recent commission | co-production | acquisition ﬁlms The Amanda Mustard Project : 2019 Funding Award winner, Milisuthando : Bursary granted through Chicken and Egg Pictures, Mirror Mirror on the Wall : 2018 Funding Award winner, Hope Frozen: 2017 Funding Award winner, Disappearing Village : 2018 Funding Award runner-up, The Feeling of Being Watched : Bursary granted through Chicken and Egg Pictures, We Were Kings : 2017 Funding Award winner, Americaville : 2017 Funding Award runner-up The Whickers 創辦於 2015 年，目的為支持國際紀錄片新秀，The Whickers 以傳播媒體先鋒 Alan Whicker 為名，藉由他的慷慨遺贈，The Whickers 不僅提供指導與培訓服務，亦補助電視、電影、聲音與廣播紀實作品提案的製作費，總補助金額每年超過 10 萬英鎊。The Whickers 最重要的大獎—電影暨電視補助大獎，開放給首度拍攝標準長度紀錄片的導演來申請，本屆申請期間為 2020 年 10 月至 2021 年 1 月，入圍者將受邀至每年 6 月舉辦的雪菲爾國際紀錄片節提案，首獎影片將獲頒 8 萬英鎊的製作補助金，而次獎獲獎者則可贏得 1 萬 5 千英鎊。 The Whickers was launched in 2015 to support emerging talent in international documentary. Through the generous legacy of its namesake, pioneering broadcaster Alan Whicker, it offers mentoring and training, as well as annual production funds of over £100,000 for documentary proposals in TV/Film and Audio/Radio. The Whickers’ flagship award, the Film & TV Funding Award, is open to filmmakers working on their first full-length documentary as director. Open for applications from October 2020 until January 2021. Films should be in the late development or early production stage at the time of applying. Shortlisted applicants are invited to pitch their films at Sheffield International Documentary Festival in June each year, with a top award of £80,000 going to the winning pitch and a runner-up receiving a £15,000 production grant.

Jane MOTE 編審顧問 Consultant Editor jane.mote@whickerawards.com 身為紀錄片補助機構 The Whickers 的編審顧問，Jane MOTE 培育並支持對世界感到好奇的聲音紀錄片與一般紀錄片工作者。她曾至世界各地多個紀錄片影展協助導演的培訓，包括 Docs by the Sea（峇里島）、MyDocs（馬來西亞）和 AND – Asian Network of documentary（釜山），並參與烏干達和英國倫敦 BFI 各自舉辦的重要紀錄片培訓課程。Jane 曾服務於美國前副總統高爾的紀錄片頻道 Current，擔任英國地區的總經理；她亦是 BBC 倫敦的

She has helped develop film-makers at Docs by the Sea (Bali), MyDocs (Malaysia), AND - Asian Network of Documentary (Busan) as well as leading documentary training in Uganda and for the BFI (British Film Institute) in London, UK. The former UK MD of Al Gore’s documentary channel Current and Executive Editor, BBC London has worked for Discovery, Turner, BBC Worldwide, UKTV and the Africa channel. She is also Director of UK-based beechtobeach ltd.

Decision Makers and Guests

As Consultant Editor for documentary funding foundation The Whickers Jane nurtures and supports new audio and film documentary-makers who share a curiosity for the world.

國際貴賓

執行編審，曾任職於 Discovery、Turner、BBC Worldwide、UKTV 以及 Africa channel 等頻道；目前則是英國節目製作與顧問公司 beechtobeach ltd. 的執行長。

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Yle, The Finnish Broadcasting Company 芬蘭廣播公司芬蘭 Finland www.yle.ﬁ 合作方式 Collaboration Opportunity

Yle – 芬蘭廣播公司提供三個頻道和 VOD 服務。 Yle 提供全方位電視和廣播節目，為所有公民提供平等的服務。Yle 的公播內容可見於所有電信網絡。紀錄片是我們品牌的核心內容。 Yle – The Finnish Broadcasting company operates in three channels and VOD- services. A full service television and radio programming with the related additional and extra services for all citizens under equal conditions. These and other content services related to public service may be provided in all telecommunications networks. Documentary films are considered as core content of our brand.

Erkko Lyytinen 委製編輯 Commissioning Editor erkko.lyytinen@yle.ﬁ 我負責為 Yle Channel TV-1 的黃金時段紀錄片單元進行融資和編審。每年我們合製約 30 個創意紀錄長片。大部分作品都是本土製作，國際合製則是每年十部。 I’m currently financing and programming for Yle Channel TV-1 prime time slot of feature length documentary films. Yearly we co-produce approx. 30 creative feature length documentary films. Most of the films are domestic productions and we also participate in 10 international co-production films yearly.

國際貴賓 Decision Makers and Guests

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DaAi TV (Tzu Chi Culture and Communication Foundation)

大愛電視（財團法人慈濟傳播人文志業基金會）

台灣 Taiwan www.daai.tv

合作方式 Collaboration Opportunity 大愛台有豐富的自製台灣紀錄片資源，除了可授權合作，也進行世界紀錄片及華人紀錄片的採購。 DaiAi TV is resourceful in the production of Taiwanese factual content. The broadcaster deals with both distribution and acquisition of Chinese-language content. 類別 | 長度 | 規格 Subject | Length | Format 紀錄片│ 45min 以上│ HD Factual content longer than 45 minutes │ HD

近期委製、合製、購片之影片 Recent commission | co-production | acquisition ﬁlms 採購世界紀錄片：NHK、BBC、Berta Film、Bomanbridge Media Pte Ltd、BTN、CAT&Docs、CBC…等全球影片代理商之世界紀錄片。華人紀錄片：《出發》、《紅盒子》、《如常》、《他們在島嶼寫作系列》…等影片。 International acquisitions include productions from NHK, BBC, Berta Film, Bomanbridge Media Pte Ltd., BTN, Cat&Docs, CBC...etc, a wide spectrum of world documentary films. Chinese-language acquisitions include: Run for Dream , Father , Walking Dharma , The Inspired Island: Series of Eminent Writers from Taiwan

大愛電視不為迎合世俗的商業娛樂，而以愛心清流自許，發揚慈悲濟世、淨化人心之精神。透過全球衛星，呈現新聞、戲劇、親子教育、科普、醫療、環保、人文等多樣貌且適合闔家觀賞的節目，傳遞至世界各角落，連結每顆心，感動不同觀眾群，致力打造全方位數位多媒體平台。大愛電視無虛誇廣告，也沒有政府贊助，部份營運資金乃透過環保志工回收募集而來，相信「善知識」是改變世界的力量，並期許成為華人傳播新風範。 Established in 1998, DaAi TV is a non-commercial TV station which strives to provide audiences of all ages with a wide variety of wholesome programs. They include programs covering news, dramas, general science, medicine, environmental protection, and humanity. Through modern technology such as satellite broadcastingand the Internet, these programs are easily accessible for audiences around the world. Due to its non-commercial nature, DaAi TV does not depend on commercial TV advertisements for financial support noris it funded by the government. Instead, the operation of DaAi TV is supported by public donations and the revenue generated from recycling work done by its volunteers. It is DaAi TV’s belief that spreading the wholesome values is the key to change the world for the better.

許薔 Audrey HSU 媒體發展部策展研發組長 Section Chief, Media Development Dept.Curation& Acquisition Section audreyhsu@daaitv.com 負責大愛各頻道外購節目取得國際版權，以及該時段的規畫及排播，主要尋找慈善、醫療、教育、人文等題材；

Decision Makers and Guests

Audrey HSU is responsible for the acquiring and scheduling of documentary slots for DaAi TV. She mainly focuses on documentaries regarding charity, medicine, education and humanity, etc. Apart from the above-mentioned duties, she is also in charge of promoting self-produced content of DaAi TV to increase its worldwide visibility.

國際貴賓

另也負責推廣大愛自製節目及頻道至全球各平台，同時尋找與國際合作的機會。

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Fresh Pitch

新鮮提案真實影像大會中國 China www.freshpitch.net 合作方式 Collaboration Opportunity 合拍、發行，展映。 Co-production, distribution, screening.

類別 | 長度 | 規格 Subject | Length | Format N/A 近期委製、合製、購片之影片 Recent commission | co-production | acquisition ﬁlms 紀錄長片《野球》聯合製片人 Co-producer of feature-length documentary Wild Ball 紀錄長片《上海的女兒》聯合製片人 Co-producer of feature-length documentary The Daughter of Shanghai 紀錄長片《內心的巔峰》製片人 Producer of feature-length documentary Because It is There

新鮮提案真實影像大會以「紀錄世界，理解自己」為宗旨，致力於聚集創新者，推動不同主體在創新思維驅動下的合作與整合，拓展真實影像的邊界，打造真實影像跨界國際峰會。新鮮提案大會包括提案、對話、媒體實驗室、放映、論壇等多種活動。 With the mission of “Recording the World, Knowing Ourselves”, FreshPitch aims to explore creativity within factual content and brings together a variety of leading and innovative players from China and the international documentary sector. Under the slogan of Summon Innovators and focusing on media convergence and the crossing of industries, FreshPitch sessions contain pitch, dialogue, fresh media lab, screening and forum.

肖龍 XIAO Long 聯合創始人 Co-founder long.xiao@gmail.com; xiaolongpku@qq.com 肖龍是製片人；紀實影展策展人、選片人。作為製片人的項目包括：紀錄電影《上海的女兒》、《內心的巔峰》、《野球》、《大自然的守護者》；國際合拍電視紀錄片《英倫高爾夫球場傳奇》等等。作為聯合創始人和執行人的活動包括：新鮮提案真實影像大會（2016 年至今）；北京國際電影節紀錄單元（2014 年至 2017 年）；中國戶外紀實影像季（2017 年）；廣電總局研修學院紀錄片創作高階培訓班（2016 年）；紀錄中國年度提案扶持計畫（2015 年），等等。肖龍是紀錄中國理事會副秘書長、《中國紀錄片產業發展年度報告》專案組專家成員及撰稿人。 XIAO Long is a producer for documentary and factual content, a programmer and executive director for documentary film festivals and events. 國際貴賓 Decision Makers and Guests

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He is the producer of feature-length documentaries The Daughter of Shanghai , Because It is There , Wild Ball , The Champion of the Nature , the co-producer of series documentary The Gulf Course of Great Britain and Ireland . He is the co-founder and executive chairman of FreshPitch (since 2016), the co-founder and permanent secretory of Beijing International Film Festival Documentary Sector (2014-2017), the co-founder of Outdoor Documentary Season (2017), the co-founder and director of the Documentary Training Courses of SARFT Training Academy (2016), the Annual Development Program of DocChina (2015). He is the deputy secretary of DocChina Committee, the experts and writer of Study Report of The Development of Chinese Documentary .

Beijing Inhope Pictures Co., Ltd 北京欣欣向陽影視文化發展有限公司中國 China www.inhope.net 合作方式 Collaboration Opportunity 獨立出品、聯合出品、委託製作、版權採購。 Independent production, co-production, commission, acquisition

類別 | 長度 | 規格 Subject | Length | Format 電影 Film ＞ 65min，多集系列 Series 15~45 分鐘 Feature films (>65min), series (15-45min) 近期委製、合製、購片之影片 Recent commission | co-production | acquisition ﬁlms 獨立出品：《戴口罩的日子》、《冰上時刻》、《一直看著你來的路口》、《讓世界看見我》合製（聯合出品）：《息息相連》上海電影集團 Independent production: Days of Wearing a Mask , Moments on Ice , The Intersection Where I’m Expecting you , See Me Co-production: Connected , co-production with Shanghai Film Group Corporation

欣欣向陽是一家以紀錄片為核心的影視文化產業發展公司，公司立足於中國市場，整合國際資源，旗下擁有多位國內外知名紀錄片導演。公司將通過紀錄片人才培養、作品出品、商業化運營、以及延伸品開發，構建起完整的紀錄片產業化生態，促進中國紀實文化產業的全面發展。 Inhope is a film and culture development company focusing on factual content. The firm is based in China, but it has built up an international network of resources and at the same time has multiple renowned documentary filmmakers, both local and international, under its wing. Through talent incubation, film production, business operation and byproduct development, it constructs a complete documentary film professional environment and propels forward the overall development of Chinese documentary industry.

范立欣 FAN Li-xin 聯合創始人 & 總導演 Co-founder and Chief Director fanlixin@inhope.com 范立欣，首位獲得美國艾美獎最佳紀錄片獎的中國導演，亞洲陽光紀錄片大會（Asian Side of the Doc）首席亞洲事務代表，北京欣欣向陽影視文化發展有限公司聯合創始人兼總導演。主要作品包括：《沿江而上》、《歸途列車》、《我就是我》、《地球：神奇的一天》等。 FAN Li-xin, the first Chinese director that has been awarded International Emmy Award for Best Documentary, is also the Chief Representative of Asian Affairs for Asian Side of the Doc, Co-founder and Chief Director of Inhope. His works include Up the Yangtze , Last Train Home , No Zuo No Die , and Earth: One Amazing Day . 國際貴賓 Decision Makers and Guests

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IQIYI 愛奇藝中國 China www.iqiyi.com 合作方式 Collaboration Opportunity

愛奇藝是由龔宇於 2010 年 4 月 22 日創立的視頻網站，2011 年 11 月 26 日啟動「愛奇藝」品牌並推出全新標誌。愛奇藝成立伊始，堅持「悅享品質」的公司理念，以「用戶體驗」為生命，通過持續不斷的技術投入、產品創新，為使用者提供清晰、流暢、介面友好的觀映體驗。2013 年 5 月 7 日百度收購 PPS 視頻業務，並與愛奇藝進行合併，現為百度公司旗下平臺。2018 年 3 月 29 日，愛奇藝在美國納斯達克掛牌上市。 IQIYI is an online video content provider founded by Gong Yu in April 2010 and began promotion under its current branding in November 2011. Devoted to delivering high-quality enjoyment to its users, IQIYI continues to invest in technology and product innovation, so as to bring to its customers a viewing experience that is clear and smooth, on a user-friendly platform. IQIYI merged with Baidu China in 2013, and is a listed company at NASDAQ.

寧玉琪 Mike NING 紀錄片中心總監 Director of Factual Content ningyuqi@iqiyi.com 愛奇藝紀錄片中心總監，負責紀錄片內容整體運營，紀錄片行業 10 年從業經驗。 Heads the overall operation of documentaries and factual content at IQIYI, with 10 years of related field experience.

國際貴賓 Decision Makers and Guests

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National Geographic 國家地理頻道中國 China www.natgeo.com.cn 合作方式 Collaboration Opportunity 合製、委製、改編…等 Coproduction, commissioning, reversioning etc.

類別 | 長度 | 規格 Subject | Length | Format 主題涵蓋探索、文化、歷史、野外、科學、對談等的長片或短片系列 Long form and short forms series on themes including exploration, culture, history, wild, science, conservation etc. 近期委製、合製、購片之影片 Recent commission | co-production | acquisition ﬁlms 《超凡地球》、《星空瞰華夏》、《尋脈》、《偉大工程巡禮》 One Strange Rock China vesion ; Ancient China From Above ; China Relics ; Megastrucuture

美國國家地理合股有限公司（NGP）是國家地理頻道以及迪士尼共同創立的公司，利用無人能及的媒體資產，致力帶來優質科學、探險以及研究節目。豐富知識、以及對世界的了解是國家地理頻道 132 年來的核心目標，而現在我們決定挖得更深、突破限制，為了我們的觀眾走得更遠，在每個月以 43 種語言，將節目推送給 173 個國家中 7 億 3 千萬人。NGP 將百分之 27 的收益歸還給國家地理學會以資助科學、探索、交流及教育的活動。 National Geographic Partners LLC (NGP), a joint venture between the National Geographic Society and Disney, is committed to bringing the world premium science, adventure and exploration content across an unrivaled portfolio of media assets. Furthering knowledge and understanding of our world has been the core purpose of National Geographic for 132 years, and now we are committed to going deeper, pushing boundaries, going further for our consumers... and reaching more than730millions of people around the world in 173 countries and 43 languages every month as we do it. NGP returns 27 percent of our proceeds to the nonprofit National Geographic Society to fund work in the areas of science, exploration, conservation and education.

王雁 Yolanda WANG 品牌內容及頻道總監 Director, Branded Content and Channels yolanda.wang@disney.com 王雁目前負責國家地理頻道在中國的品牌置入內容以及頻道合作夥伴。在過去十年中，她開發並製作了超過 150 小時的中國主題節目，在國內外皆有播出，包括《鳥瞰中國》、《極致中國》、《超凡地球》、《星空瞰華夏》等，獲得了十多個獎項。此外，她也與國內的夥伴合作，於國家地理頻道播映了《華彩中國》。

Ancient China From Above etc. with dozens of awards. In addition, she worked with domestic partner and launched a China content block China Revealed on National Geographic.

國際貴賓

Yolanda WANG is currently responsible for Nat Geo branded content partnership and channels business in China. In the past decade, she developed and launched more than 150 hours of Chinese-themed programs which were broadcasted home and abroad, including China from Above , Extreme China , One Strange Rock China version ,

Decision Makers and Guests

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Phoenix Satellite Television 鳳凰衛視中國 / 香港 China/Hong Kong www.phoenixtv-distribution.com 合作方式 Collaboration Opportunity 購片居多；有些情況下會合製；紀錄片宣傳 Acquisition mostly; by some circumstances, co-production; Documentary promotion

類別 | 長度 | 規格 Subject | Length | Format 52 分鐘或 25 分鐘的系列短片｜ HD 52’, 25’x n series | HD 近期委製、合製、購片之影片 Recent commission | co-production | acquisition ﬁlms 購片 Acquisition : Man 2.0 R-Evolution (5x52') Mediawan Schools Unlimited (10x60') Mediacorp The Forgotten Plague (53') PBS Distribution Epidemics: The Invisible Threat (52') ARTE FRANCE 66 Metres (a.k.a. Raising Sea Levels) (52') NEW DOCS 合製 Co-production: ANTARCTICA Symphony of Ice and Life(60’) cooperation with the Antarctica Forum P.R.C.

鳳凰衛視於 1996 年 3 月 31 日開播，致力於提供全世界的華人高品質的華語電視節目。鳳凰衛視共有六個電視頻道，包括鳳凰衛視中文台、鳳凰衛視資訊台、鳳凰衛視歐洲台、鳳凰衛視美洲台、鳳凰衛視電影台、以及鳳凰衛視香港台，觸及全球觀眾，並且在世界各地設有近 60 個記者站以及在地製作團隊。歷經 23 年的持續成長，鳳凰衛視已蛻變成國際級的全方位媒體集團，旗下涵括衛星電視、新媒體、週刊、LED 廣告板、數位科技、出版、影視內容製作、教育和線上廣播等。鳳凰衛視與時俱進，致力成為中國媒體圈中頂尖的內容提供者，得力於其強大的品牌形象與一系列優質節目，鳳凰衛視亦將觸角延伸到大眾流行領域，如：卡通、線上遊戲、網路金融、文創產業、雲端服務、會議、展覽等。 Phoenix Satellite Television began to broadcast on 31 March, 1996, striving to provide Chinese everywhere with high quality Mandarin Chinese television programming. Phoenix has six different television channels, including the Phoenix Chinese Channel, the Phoenix InfoNews Channel, the Phoenix Chinese News and Entertainment Channel which broadcasts in Europe, the Phoenix North American Chinese Channel, the Phoenix Movie Channel and the Phoenix Hong Kong Channel, which have achieved global coverage, with almost 60 news bureaus and production teams located worldwide. Twenty-three years of continuing growth has transformed the Phoenix Satellite TV into an international omnimedia group, which consists of satellite TV, new media, weekly magazine, LED billboard, digital technology, publishing, movies and TV drama productions, education and online radio, etc. Keeping up to be a premier content provider in Chinese media and taking advantage of its grand brand and series of high-quality programs, Phoenix TV has also outreached into more trendy areas such as cartoon, online games, online finance, creative culture industry, cloud services, convention and exhibition, to name a few.

國際貴賓 Decision Makers and Guests

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黃海波 HUANG Hai-bo 凰凰衛視中文台副台長 / 總編室主任 / 電影台台長 Deputy Head of Chinese Channel / Director of Chief Editor’s Ofﬁce / Head of Movie Channel hhuang@phoenixtv.com 負責處理鳳凰衛視的購片與銷售事宜、國際合作、節目策劃與管理等。 Handling with acquisition and sales for Phoenix TV, international cooperation, program scheming and management, ext.

Public Television Service Foundation (PTS) 台灣公共電視文化事業基金會台灣 Taiwan www.pts.org.tw 合作方式 Collaboration Opportunity 版權購買、合製、融資 Acquisition, Co-production and Co-funding

類別 | 長度 | 規格 Subject | Length | Format 50–90 分鐘的紀錄片 Ducumentary, 50–90 minutes 近期委製、合製、購片之影片 Recent commission | co-production | acquisition ﬁlms 合製：《助守在異鄉》（印尼）、《候鳥的旅程》（暫名）（澳洲）委製：《海的盡頭》、《獨舞者的樂章》、《斜坡上的老歌手》購片：《人類世》、《野化歐洲》、《資本主義的極限挑戰》 Co-production：Help is on the Way (Indonesia), Flyways (Australia) Commission：The Silence at the Edge of the Sea , Solo Dance , Classic Singers of the Kacalisiyan Acquisition: Breakpoint , Rewilding , System Error

台灣公視是華人社會中唯一受公視法保障的媒體，享有不受政府干涉內容的權利，以製作優質節目來傳達公共價值。雖然公視預算不及其他國家的公共媒體優渥，但經過多年的努力，公視在新聞、戲劇與紀錄片的製作上，建立了良好的口碑，在國際上也因頻頻獲獎，大幅提高能見度。近年來因應媒體發展新趨勢，公視也率先製播 4K 節目，並提供線上收看等加值服務。 With Public Television Act approved by the congress, Taiwan Public Television Service (PTS) was established as a non-profit TV station and started broadcasting in 1998. It’s Taiwan’s first PSB, free from political interference. PTS provides a wide range of quality and unbiased programs, which gain a lot of internaional recognition.

郭菀玲 GUO Wuan-ling 國際部經理 Director of International Department news50466@mail.pts.org.tw 公共電視國際部經理，負責策劃並督導公視國際交流業務、國際組織參與、世界公視大展精選、台灣國際兒童影展、公視節目的國際推廣，以及國際合製專案、亞洲紀錄片提案會與紀錄片平台業務，包括委製、合製與選購播映各類紀錄片。

Decision Makers and Guests

Our another mission is to support the production and broadcasting of documentaries. Through co-production, commission, and acquisition, we maintain two strands of documentary programs and support the development of documentaries both in Taiwan as well as around the world.

國際貴賓

Director of International Department is in charge of international exchanges and participation of PTS. We are organizing Mini INPUT (a screening festival of the best programs produced by global PSM) every year and biennial Taiwan International Children’s Film Festival to bring quality contents to Taiwan’s audience. And we introduce and promote best programs produced by PTS in the international arena.

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Tencent 騰訊中國 China v.qq.com 合作方式 Collaboration Opportunity 聯合出品、委託製作、版權購片、網路宣發 Co-production, commission, acquisition and digital distribution

類別 | 長度 | 規格 Subject | Length | Format 不限類別、長度，社會、自然類題材更佳，規格以 HD1080P 為基礎，以近 5 年內製作為佳。 Films of all formats and lengths are welcomed. Preferred film topics focus on society and natural history. Films should be HD with a resolution of 1080p, preferably produced within the last five years. 近期委製、合製、購片之影片 Recent commission | co-production | acquisition ﬁlms 騰訊視頻每年委制紀錄片超過 100 小時，合制超過 100 小時，採購 500 小時左右。 Tencent Viedo has commissioned over 100 hours, co-produced over 100 hours and acquired around 500 hours of documentary video.

騰訊視頻定位於中國最大線上視頻媒體平臺，以豐富的內容、極致的觀看體驗、便捷的登錄方式、24 小時多平臺無縫應用體驗以及快捷分享的產品特性，滿足使用者線上觀看視頻的需求。 Tencent Video is the largest online video platform in China. It serves audiences for online streaming with abundant video content, high quality viewing experience, multi-platform access and interaction, and convenient login and sharing functions.

朱樂賢 Lex ZHU 騰訊視頻紀錄片工作室總監 Director of Documentary Studio, Tencent Video lexzhu@tencent.com 負責騰訊視頻紀錄片頻道的節目運營及紀錄片的對外合作，包括聯合出品、委託製作、版權購片、網路宣發等。 In charge of content management and international cooperation over documentaries at Tencent Video, including coproduction, commission, acquisition and digital distribution. 國際貴賓 Decision Makers and Guests

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Tencent GUYU 騰訊谷雨中國 China gy.qq.com 合作方式 Collaboration Opportunity 版權購買、委託製作、聯合投資等 Copyright acquisition, commission production and joint investment

類別 | 長度 | 規格 Subject | Length | Format 各類優秀的現實題材紀錄長 / 短片 Various kinds of excellent realistic documentaries 近期委製、合製、購片之影片 Recent commission | co-production | acquisition ﬁlms 出品作品：《十年：吾兒勿忘》、《築城紀》、《和尚爸爸》、《彩雲要飄水要流》、《初三四班》自製作品：《加油！趕路人》、《千里家急》版權購入作品：《生命的頌歌》、《明天你是否依然記得我》、《悅讀：紐約公共圖書館》、《新聞編輯室—— 報業的衰落》 co-production: A Decade : Don’t Forfet It , My Son,Another Brick On The Wall , The Monk, the Pregnant, and the Children , Hidden Letters , A living Class In Wenchuan Recent commission: Come on! Passenger , Come back home Acquisition films: Twilight of a Life , Forget Me Not , Ex Libris: New York Public Library , The Newsroom: Off the Record

騰訊谷雨關注當下最具時代感和公共性的社會議題，以支持重要、嚴肅內容的創作與傳播，耕耘中國故事，繁榮業界生態為己任，是騰訊新聞重要的非虛構內容 IP 孵化平臺。騰訊谷雨旗下的影像故事欄目——谷雨影像，致力於打造最具品質、公信力和聲量的社會現實紀錄片與兼具社會人文價值、商業化能力的紀實類、微綜藝紀實類短視頻。短短幾年時間裏，谷雨持續推出優質紀錄片作品，由騰訊出品及支持的作品《築城紀》、《和尚爸爸》、《彩雲要飄水要流》等入圍 IDFA、Hot Docs 等國際紀錄片電影節，陸續資助了徐童導演的紀錄片《赤腳醫生》，作家龍應台與她母親的首支紀錄短片《天長地久》，並版權引進了《悅讀：紐約公共圖書館》、《明天你是否依然記得我》等優秀紀錄片作品。谷雨影像藉助騰訊新聞巨大的用戶基礎，通過新媒體推廣、網路播映、實體活動等手段，向中國觀眾推介了眾多國內外優秀的現實題材紀錄片。 GUYU Project is a non-profitable project supporting the creation and distribution of Chinese non-fictional works. The purpose of this project is to observe and document the changes of China’s current social situation as well as the influence of these changes towards China and the world. In the meantime, we also hope to discover and promote well-conducted and meaningful works by outstanding authors, and to lay the foundation of a platform for academic studies and exchanges. Based on the tremendous user-base of Tencent News, the newly built

Guyu Doc Project aims to introduce both domestic and foreign splendid nonfictional documentaries to Chinese audience through ways like new-media promotion, online release, offline activities and so on.

金輝 Bob JIN

擔任騰訊新聞 - 好雨知時工作室總監，負責騰訊新聞原創視頻節目的製作及運營。目目前自製節目有《十三邀》、

國際貴賓

騰訊新聞好雨知時工作室總監 Director of Tencent Hao YuZhiShi Studio bobjin@tencent.com

《和陌生人說話》、《時代我》、《不可說》等。

name) and so on.

Decision Makers and Guests

Director of Tencent HaoYuZhiShi Studio, responsible for the production and operation of original video programs. Current original programs include Xu’s 13 , Talk to Her , Hard Talk , Unsayable , My Legacy and I , Can’t Say (tentative

117

West Lake International Documentary Festival (IDF) 西湖國際紀錄片大會中國 China www.westlakeidf.com 合作方式 Collaboration Opportunity 西湖國際紀錄片大會 IDF 提案徵集與 D20 影片選片 IDF Pitching Section & D20 Nomination Competition Section

西湖國際紀錄片大會 West Lake International Documentary Festival（簡稱 IDF）是由浙江省新聞出版廣電局與中國美術學院聯合主辦的國際專業紀錄片盛會。大會以「I Documentary Fact，我紀錄事實」為學術宣言，宣導紀錄片回到真實本源，回歸人文關懷的價值觀，是集紀錄片展映、推優、提案、論壇、工作坊於一體的高品質紀錄片藝術平台。IDF 呈現出良好的品牌形象與口碑效應，正成為中國最具學術性、專業性、國際性的紀錄片影展之一。 West Lake International Documentary Festival (IDF) is a high quality platform for the arts and the humanities that promotes documentaries through screenings, competitions, pitchings, forums and workshops. The festival is held at the China Academy of Art, by the side of the West Lake in Hangzhou every year during the “golden” autumn season. IDF stands for I Documentary Fact and aims to explore the relationship between documentary creation subjects, objects and methods. The festival is centered on “discovering documentary subjects, designing experiment s for youth, holding high the will of the people, and reshaping the poetry of oriental culture”. Furthermore, IDF promotes the values associated with honest observation and humanitarian responsibility. IDF encourages reflection on human existence, especially in the natural world, through the lenses of documentaries. Through this form of record we can also think about the inheritance of culture through changing times, about the artistic expression of oriental poetry in a pluralistic society, and about initiating the return of documentary to its authentic core, returning us to the positive values of humanistic care.

周佳鸝 ZHOU Jia-li 學術活動部總監 Academic Committee Director zhoujiali2000@foxmail.com 周佳鸝，雪梨大學電影學碩士；華東師範大學傳播學博士；中國美術學院影視與動畫藝術學院副教授；西湖國際紀錄片大會學術活動部總監。研究方向為電影史、電影理論與文化傳播。出版《視聽語言》、《西湖國際紀錄片大會系列文獻集》、《生成的兩重面向——德勒茲影像理論研究》等著作。監製劇情電影《漫遊》、《麒麟街》，導演紀錄片《當附近遠去》、《建築的身體》等。

國際貴賓 Decision Makers and Guests

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ZHOU got her Master’s degree in Film Studies at The University of Sydney and PhD degree at East China Normal University. She is a lecturer at the school of Film and Animation in the China Academy of Art and the IDF Academic Committee Director. Her research areas include film history, film theory and cultural communication. She has published Film Language , Things and Sentiment- the Archives of IDF Ⅰ , Epoch and Scpoh - the Archives of IDF Ⅱ , The Dual Dimensions of Becoming: On A Deleuzian Philosophy of Imagery, Contemporary Cinema and several articles on academic journal such as Contemporary Cinema. She is also executive producer for dramas Vanishing Days and Kirin Street , as well as director of documentaries When the Nearby is Going Away and The Body of Architecture .

Directory of International Pitching Forums, Funds and Festivals 紀錄片提案大會、基金與影展介紹

紀錄片提案大會、基金與影展介紹 Directory of International Pitching Forums, Funds and Festivals 提案大會 Pitching Forum 時程 Timeline

提案方式 Category

條件 Eligibility

亞洲紀錄片提案大會 Asian Side of the Doc, ASD ｜亞洲 Asia www.asiansideofthedoc.com 開放報名：N/A Open for submission: N/A. 截止時間：十二月 Deadline: Dec. 舉行時間：一月 Take place in Jan.

．Open Pitching ．Docs In-Progress

Open Pitching: ．至少已有一投資者 A minimum of one funder is required. Docs In-Progress: ．提案需為後製階段或已完成影片 Project must be already filmed or in post-production. ．已籌措資金超過七成 70% or more of funding in place.

Hot Docs 提案大會 Hot Docs ｜加拿大 Canada www.hotdocs.ca/i/submit-a-pitch 開放報名：十一月 Open for submission: Nov. 截止時間：一月 Deadline: Jan. 舉行時間：五月 Take place in May.

．Round Table Pitch

．已籌措資金最少需達兩成 A minimum of approximately 20% of its financing in place. ．需第三方（電視台、發行商、網路平台、合格影視機構或協會等）背書 The commitment of at least one third party market partner such as broadcaster, distributor, sales agent, online platform, or eligible film board or film institute.

坎城國際紀錄片展 MIPDoc ｜法國 France www.mipdoc.com 開放報名：一月 Open for submission: Jan. 截止時間：三月 Deadline: Mar. 舉行時間：四月 Take place in Apr.

．MIPDoc International Pitch ．Commissioners’ Meet-up （依特定分組進行提案 Pitch the project to the targeted group of commissioning editors through individual meetings）

N/A

瑞士真實影展創投會議 Pitching du Réel ｜瑞士 Switzerland www.visionsdureel.ch/en/industry/project-presentations/pitching-du-reel 開放報名：N/A Open for submission: N/A. 截止時間：十二月 Deadline: Dec. 舉行時間：四月 Take place in Apr.

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．Open Pitching

．提案需發展為具有院線潛力之長片 Feature length documentaries ．需為完整之計畫，並已有籌措基本資金 The project must already be well developped and have (basic) funding in place. ．提案性質需適合國際合製、國際資金，國際市場銷售的潛力 The project and subject must be adapted for international co-production and financing, have potential in international markets and address an international audience. ．導演及製片需出席 The director as well as the producer attend the event.

新鮮提案 Fresh Pitch ｜中國 China www.freshpitch.net 截止時間：四月 Deadline: Apr. 舉行時間：六月 Take place in Jun.

．Open Pitching

．題材需與中國相關 Topic/subject relating to China.

（2020 年活動因疫情延期）

雪菲爾德紀錄片市場展 Shefﬁeld Meetmarket ｜英國 UK sheffdocfest.com/view/meetmarket 開放報名：十一月 Open for submission: Nov. 截止時間：二月 Deadline: Feb. 舉行時間：六月 Take place in Jun.

．One-to-one Meetings

N/A

法国陽光紀錄片提案大會 Sunny Side of the Doc, SSD ｜法國 France www.sunnysideofthedoc.com/sunnyside 開放報名：一月 Open for submission: Jan. 截止時間：四月 Deadline: Apr. 舉行時間：六月 Take place in Jun.

．Open Pitching ．Docs In-Progress

．至少已有一投資者 A minimum of one funder is required. ．已籌措資金最少需達三成 At least 30% of the budget already confirmed.

亞洲紀錄片提案會 The Asian Pitch, TPA ｜日本 NHK、韓國 KBS、台灣 PTS 共同舉辦 Co-organized by NHK (Japan), KBS (South Korea), PTS (Taiwan)

www.nhk.or.jp/asianpitch/ofﬁcial 開放報名：N/A Open for submission: N/A. 截止時間：四月 Deadline: Apr. 舉行時間：七月 Take place in July.

．Open Pitching

．導演需為亞裔 Directors must be of Asian origin and come from South Asia, China, Taiwan, Hong Kong, Korea, Japan and other Asian countries. ．個人或製作公司不可提案超過五件，且提案需為個人紀錄片 Participants can submit no more than 5 proposals per person/production house. And each proposal should be a one-off documentary. ．檔案資料總計不可超過 7 分鐘 Archive footage should be kept to a minimum of below 7 mins. ．影片長度需為 52 分鐘 Duration of each story should be 52 min. ．需為單集紀錄片 Each proposal should be a one-off documentary.

時程 Timeline

提案方式 Category

條件 Eligibility

CNEX 華人紀錄片提案大會 CNEX Chinese Doc Forum, CCDF ｜台灣 Taiwan ccdf.cnex.org.tw 開放報名：四月 Open for submission: Apr. 截止時間：五月 Deadline: May. 舉行時間：九月 Take place in Sep.

．Open Pitching

．與兩岸三地或是世界各地華人相關的議題 Topic/subject relating to Chinese cultures or societies. ．已經公開發表之作品不得提案 Projects that have screened publicly may not enter.

DMZ 國際紀錄片提案會 DMZ Industry ｜韓國 Korea dmzdocs.com/en/industry/dmz-docs-pitch 開放報名：四月 Open for submission: Apr. 截止時間：五月 Deadline: May. 舉行時間：九月 Take place in Sep.

．Open Pitching

Production Pitch (30%~70%): ．項目與亞洲相關且製作完成度需介於 30％至 70％間 Asia projects between 30% production stage and up to 70 % completed of the production ．獲獎提案需在 DMZ 進行亞洲首映 The award winning projects require Asian premiere screening at DMZ Docs ．國際合製提案需有 30％的資金來自亞洲 International co-production projects with over 30 percent of Asian regional finance Rough Cut Pitch (Post-production): ．項目與亞洲相關且處於後製或近成片階段 Asian projects in post-production or in the final stage of completion. ．申請時須提交 30 分鐘以上的粗剪 Over 30min rough cut reel should be submitted ．從未發行過紀錄片項目（除電影節外） Never been released Documentary project (except for film festival)

東京紀錄片提案大會 Tokyo Docs ｜日本 Japan tokyodocs.jp/en 開放報名：四月 Open for submission: Apr. 截止時間：六月 Deadline: Jun. 舉行時間：十一月 Take place in Nov.

．Open Pitching

．開放日本及亞洲紀錄片工作者提案 Filmmakers living in Japan or other parts of Asia, or anyone submitting proposals related to Japan or other parts of Asia are eligible to enter. ．個人提案需附上先前提案清單以及一封廣播或製作公司的推薦信 Proposals submitted by individuals should be accompanied by a list of past projects and a letter of recommendation from a broadcaster or television production company.

哥本哈根紀錄片提案會 CPH: FORUM ｜丹麥 Denmark cphdox.dk/en/industry/market-funding/cphforum 開放報名：九月 Open for submission: Sep. 截止時間：十一月 Deadline: Nov. 舉行時間：三月 Take place in Mar.

．Open Pitching

N/A

阿姆斯特丹提案大會 IDFA Forum ｜荷蘭 Netherlands 開放報名：六月 Open for submission: Jun. 截止時間：八月 Deadline: Aug. 舉行時間：十一月 Take place in Nov.

．Central Pitch ．Round Table Pitch ．Rough Cut Project

Round Table Pitch: ．提案不可在後製或粗剪階段 Projects can be in all stages of production, except post-production/rough cut stage. Central Pitch: ．提案不可在後製或粗剪階段 Projects can be in all stages of production, except post-production/rough cut stage. ．沒有資金上的限制 There are no restrictions regarding the amount of financing already in place. Rough Cut Project: ．提案需完成 75% A minimum of 75% of your material must be shot.

GZDOC 廣州紀錄片提案會 GZDOC DocuMart ｜中國 China www.gzdoc.cn ．Open Pitching

．提案須在 2020 年前處於調研階段、拍攝階段、後期製作階段，成片不得報名 The pitching projects shall be at the stage of either pre-production, shooting or post-production before 2020. The completed films do not qualify for this session. ．提案須具有鮮明的中國元素（在中國拍攝或與中國主題相關，人文、歷史、社會、科技、自然等題材不限）The pitches shall have distinctive Chinese elements (Either it is shot in China or it is about China, including culture, history, social issues, technology, nature etc.).

萊比錫紀錄片合製市場展 DOK Leipzig: DOK Co-Pro Market ｜德國 Germany www.dok-leipzig.de/industry/co-pro-market/about 開放報名：五月 Open for submission: May 截止時間：八月 Deadline: Aug. 舉行時間：十月 Take place in Oct.

．Individual Meetings

．需準備影像素材 You must have some visual material. ．若以下描述符合您的提案，請註明 Please specify if you have been selected by Doc Montevideo pitching forum, BDC discoveries, East Doc Platform/Ex Oriente, Polish Doc Lab or have received support from 13th DOK Co-Pro Market, Arab Fund for Arts and Culture, or are taking part in the Documentary Campus Masterschool, or you’re an EWA member. ．需已具備部分自籌資金 We also require you to have secured some home financing.

澳洲國際紀錄片提案大會 AIDC: The FACTory International Pitching Forum ｜澳洲 Australia www.aidc.com.au/pitches-marketplace/the-factory 開放報名：十月 Open for submission: Oct. 截止時間：十二月 Deadline: Dec. 舉行時間：三月 Take place in Mar.

．Open Pitching

．項目需為針對電視播映和影院發行的紀錄片形式 Projects need to be recognised factual documentary formats intended for broadcast and distribution. ．項目須在開發或製作階段 Projects should be at development or production stage.

Directory of International Pitching Forums, Funds and Festivals

開放報名：三月 Open for submission: Mar. 截止時間：九月 Deadline: Sep. 舉行時間：十二月 Take place in Dec.

紀錄片提案大會、基金與影展介紹

www.idfa.nl/en/info/idfa-forum

121

基金 Funds 各基金申請規定與辦法，詳見各主辦單位網站 Please check the official websites for more and updated information. 單位 Organization

基金名稱 Fund

截止時間 Submission Deadline

網站 Website

阿姆斯特丹國際紀錄片影展 IDFA

IDFA Bertha Fund

Classic: 2020 年 6 月 10 日及 12 月 10 日 June 10, 2020 & December 10, 2020 Europe - International Coproduction: 2021 年 4 月 1 日 April 1, 2021 Europe - Distribution: 於 2020 年 10 月 1 日間持續接受報名 Accepting applications on a continuous basis until October 1st, 2020 NFF+ IBF Co-production scheme: 2019 年 4 月 23 日 April 23, 2019 (no new deadline)

www.idfa.nl/en/info/idfa-bertha-fund

翠貝卡電影協會 Tribeca Film Institute

TFI Documentary Fund

四月 Apr.

www.tfiny.org/programs/detail/tfi_ documentary_fund

Tribeca All Access

十一月 Nov.

www.tfiny.org/programs/detail/ tribeca_all_access

Doc Society Circle Fund

僅限受邀 By invitation only

docsociety.org/britdoc-circle

Threshold Fund

僅限受邀 By invitation only

docsociety.org/threshold

Doc Society Journalism Fund Bertha Doc Society

暫停受理 Currently unavailable

docsociety.org/bertha-journalism

Script Development Fund

三月 Mar.

acf.biff.kr/eng/default.asp

Post-production Fund

四月 Apr.

Asian Network of Documentary (AND) Fund

四月 Apr.

Women In Film

Film Finishing Fund

即將宣布 TBA

womeninfilm.org/programs/filmfinishing-fund-2/

Chicken & Egg Pictures

Accelerator Lab

六月 Jun.

www.chickeneggpics.org

美國山地電影節 Mountain Film Festival

Mountainfilm Commitment Grant

七月 Jul.

www.mountainfilm.org/initiatives/ commitment-grants

Alter-Ciné Foundation

Documentary Film Grant

八月 Aug.

www.altercine.org/html/en/ programme-de-bourses.php

DMZ 韓國國際紀錄片電影節 DMZ International Documentary Film Festival

The DMZ Docs Fund

八月 Aug.

dmzdocs.com/en/production-support/ dmz-docs-fund/intro

加拿大國際紀錄片影展 Hot Docs

CrossCurrents Doc Fund

九月 Sep.

www.hotdocs.ca/i/crosscurrents-docfund

Catapult Film Fund

全年開放 Rolling Funds

catapultfilmfund.org

日舞影展協會 Sundance Institute

Documentary Film Program (Documentary Fund)

全年開放 Rolling Funds

www.sundance.org/programs/ documentary-film

Fledgling Fund

Outreach and Engagement Fund

暫停受理 Currently unavailable

www.thefledglingfund.org

Impact Partners Films

Development Fund

全年開放 Rolling Funds

www.impactpartnersfilm.com/ development-fund

福特基金會 Ford Fundation

JustFilms

全年開放 Rolling Funds

www.fordfoundation.org/work/ourgrants/justfilms

國際紀錄片協會 International Documentary Association (IDA)

Pare Lorentz Documentary Fund

七月 Jul.

www.documentary.org/funding/parelorentz-documentary-fund

IDA Enterprise Documentary Fund

Application for Development Grants: 2020 秋季開放 open Fall 2020

www.documentary.org/funding/idaenterprise-documentary-fund

Doc Society （原為 BRITDOC）

亞洲電影基金 Asian Cinema Fund (ACF)

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影展 Festival 各影展報名規定與辦法，詳見各主辦單位網站 Please check the official websites for more and updated information. 舉辦時間 Time

報名截止時間 Submission Deadline

網站 Website

日舞影展 Sundance Film Festival

美國 USA

一月 Jan.

Early/Official dealine: 八月 Aug. Late deadline: 九月 Sep.

www.sundance.org

True/False 影展 True/False Film Festival

美國 USA

三月 Mar.

Regular deadline: 2020 年 10 月 13 日 Oct. 13, 2020 Late deadline: 2020 年 11 月 17 日 Nov. 17, 2020

www.truefalse.org

塞薩洛尼基紀錄片影展 Thessaloniki Documentary Festival

希臘 Greece

三月 Mar.

First deadline: 八月 Aug.（適用 2018 年 11 月至 2019 年 3 月間完成之影片 for films completed between November 2018 and March 2019） Second final deadline: 十一月 Nov.（適用 2019 年 4 月至 2019 年 11 月間完成之影片 for films completed between April 2019 and November 2019） 2020 即將宣布 TBA 2020

www.filmfestival.gr

哥本哈根國際紀錄片影展 CPH:DOX

丹麥 Denmark

三月 Mar.

First deadline: 2020 年 9 月 1 日 Sep. 1st, 2020（適用於 9 月 1 日前完成之影片 September 1 for films completed before that date） Second final deadline: 2020 年 12 月 1 日 Dec. 1st, 2020（適用於 9 月 1 日後至 12 月 1 日前完成之影片 December 1 for films completed after September 1）

cphdox.dk

Hot Docs 加拿大國際紀錄片影展 Hot Docs Film Festival

加拿大 Canada

四月 Apr.

Early deadline: 十一月 Nov. Regular deadline: 十二月 Dec. Late deadline: 一月 Jan. 即將宣布 TBA

www.hotdocs.ca

瑞士真實影展 Visions du Réel

瑞士 Switzerland

四月 Apr.

First deadline: 十月 Oct.（適用於 2019 年 9 月底前完成之影片 for films finished by the end of September 2019） Second final deadline: 十二月 Dec.（適用於 2020 年 3 月 15 日前完成之影片 for films finished by 15 March 2020）

www.visionsdureel.ch/en

台灣國際紀錄片影展 Taiwan International Documentary Festival (TIDF)

台灣 Taiwan

五月 May. (Biennale)

十二月 Dec. TIDF 2020 因疫情延至 2021 年春天舉辦 TIDF 2020 postponed to Spring 2021

www.tidf.org.tw/en

雪菲爾德紀錄片影展 Sheffield Doc/Fest

英國 UK

六月 Jun.

Eary deadline: 十月 Oct. Regular deadline: 二月 Feb. Late deadline: 三月 Mar. 即將宣布 TBA

sheffdocfest.com

AFI DOCS 紀錄片影展 AFI DOCS Documentary Film Festival

美國 USA

六月 Jun.

Earlybird deadline: 十一月 Nov. Regular deadline: ㄧ月 Jan. Late deadline: 二月 Feb. 即將宣布 TBA

afi.com/afidocs

邊鋒紀錄片節 Doc Edge Festival

紐西蘭 New Zealand

六月 Jun.

Earlybird deadline: 九月 Sep. Regular deadline: 十二月 Dec. Late deadline: ㄧ月 Jan. 即將宣布 TBA

docedge.nz

萊比錫國際紀錄片影展 DOK Leipzig

德國 Germany

十月 Oct.

Final entry deadline: 八月 Aug.

www.dok-leipzig.de/en

山形國際紀錄片影展 Yamagata International Documentary Film Festival (YIDFF)

日本 Japan

十月 Oct. (Biennale)

International Competition: April 15, 2021 New Asian Currents: May 15, 2021

www.yidff.jp

阿姆斯特丹國際紀錄片影展 International Documentary Film Festival Amsterdam (IDFA)

荷蘭 Netherlands

十一月 Nov.

First deadline: 五月 May.（適用於 2019 年 8 月 1 日至 2020 年 4 月 30 日間完成之作品 for all works completed between August 1st, 2019 and April 30th, 2020） Second deadline: 八月 Aug.（適用於 2020 年 4 月 30 後完成之作品 for all works completed after April 30th, 2020）

www.idfa.nl/en

中國（廣州）國際紀錄片節 Guangzhou International Documentary Film Festival

中國 China

十二月 Dec.

August 31, 2020 2020 年 8 月 31 日

www.gzdoc.cn

Directory of International Pitching Forums, Funds and Festivals

國家 Nation

紀錄片提案大會、基金與影展介紹

影展名稱 Name

123

CCDF Project Status CCDF 歷屆入選提案現況

CCDF 歷屆入選提案現況 CCDF Project Status CCDF-1 入選提案現況 CCDF-1 Projects Status CCDF 1

提案名稱 Title

提案者 Participant(s)

製作現況 Production Status

少年 * 小趙 A Young Patriot （原提案片名：《愛國 90》Patriotism 90）

杜海濱 DU Hai-bin

已完成 Done

入圍加拿大多倫多影展、日本「山形國際紀錄片電影節國際競賽單元」、第三十八屆亞美國際影展競賽單元及莫斯科國際電影節紀錄片競賽單元；獲得香港國際電影節紀錄片競賽評審團獎；入圍雪菲爾德提案大會；陽光紀錄片提案會最佳提案；入圍墨爾本國際電影節；CNEX 監製、美國 ITVS、法國 24 Images 聯合出品；獲得日舞影展協會紀錄片項目、法國 CNC、法國 Région Pays de la Loire、韓國釜山亞洲電影補助 Selected by 40th Toronto International Film Festival, Yamagata International Film Festival, 38th Asian American International Film Festival, competition and 37th Moscow International Film Festival, Documentary Program "Free Thought", competition; Won 39th Hong Kong International Film Festival, Jury Prize; Selected by 22nd Sheffield Doc/Fest, competition; Won Best Pitch at SSD; Selected by 63rd Melbourne International Film Festival; Produced by CNEX, ITVS, and 24 Images; Funded by Sundance Institute DFP, CNC, Région Pays de la Loire, ACF

窮爸爸，富爸爸 Poor Dad, Rich Dad

黎小鋒 LI Xiao-feng

停拍 Stagnating

邊境少女 Border Girls

陳富 CHEN Fu

已完成 Done

鳳凰視頻紀錄片大獎最具人氣獎、陽光華語紀錄片大獎入圍 Selected into iSunTV Chinese Documentary Awards, v-ifeng Award

Code Red

Risa MORIMOTO 李嘉雯 Diana Chiawen LEE

已完成 Done

掘土人 The Tomb Digger

史祖德 Gary SHIH 霍寧 HUO Ning

已完成 Done

洗腳 Where I Should Go

李軍虎 LI Jun-hu

已完成 Done

機器○人 Man-chine

蔡崇隆 TSAI Tsung-lung 蕭立峻 Richard HSIAO

已完成 Done

找不到國小 School From No Where

章大中 CHANG Ta-chung

已完成 Done

葉雲 YE Yun

已完成 Done

獲台灣新聞局高畫質節目補助；台灣公共電視 HD 頻道播出 Funded by GIO Taiwan; Broadcasted on PTS Taiwan

對看 Look Love

入選 2014 年台北「好提案」與雪菲爾德提案會；獲得福特基金會、日舞影展協會紀錄片項目、亞洲紀錄片連線；CNEX 監製；入圍 2015 山形國際紀錄片電影節「亞洲新浪潮單元」、2015 釜山國際電影節「超廣角單元」最佳紀錄片 Pitched at Taipei “Good Pitch” and Sheffield Doc/Fest; Funded by Ford Foundation JustFilms, Sundance DFP and AND; Produced by CNEX Studio; Selected by 2015 Yamagata International Documentary Film Festival and Busan International Film Festival (won Mecenat Award) 首獎

幸福定格 Love Talk （Original title：Double Happiness Limited）

沈可尚 SHEN Ko-shang 盧元奇 LU Yuan-chi

已完成 Done

Best Pitch

獲得日舞影展協會紀錄片項目補助；入選亞洲提案大會、雪菲爾德提案會；CNEX 合製 ; 入選 2018 西寧 FIRST 青年電影展、香港華語紀錄片節亞軍； 2018 年於台灣院線上映，2019 於香港院線上映 Funded by Sundance DFP; Pitched at ASD & Sheffield MeetMarket; Co-produced by CNEX Studio; Selected by 2018 FIRST International Film Festival, Chinese Documentary Festival (won Best Documentary Second Runner-up ); Theatrical released in 2018, Taiwan; Theatrical released in 2019, Hong Kong

墨魂 Inky Soul

陳惠美 Vivien H.M. CHEN 莊濟寰 Roger C.H. CHUANG

已完成 Done

獲得台灣國藝會視聽媒體藝術類補助；入圍陽光華語紀錄片獎、台灣國際女性影展 Funded by National Culture and Arts Foundation; Selected by iSunTV Chinese Documentary Awards, Women Make Waves Film Festival

麵包情人 Money and Honey

李靖惠 Jasmine C.H. LEE

已完成 Done

獲得亞洲紀錄片連線、釜山國際影展補助；入圍 2012 年台灣國際紀錄片雙年展台灣獎、2012 年金馬獎最佳紀錄片及最佳剪輯獎……等多個國際獎項；2012 年於台灣院線上映；獲得 2012 年華語紀錄片節亞軍、2013 年加拿大國際影展傑出紀錄片獎……等多個國際獎項 Funded by AND, BUSAN International Film Festival; Selected by Taiwan International Documentary Film Festival, 2012 Golden Horse Film Festival, ect.; Theatrical released in 2012, Taiwan; Won the Silver Award at 2012 Hong Kong Chinese Film Festival, Excellence Documentary Award at 2013 Canada International Film Festival, etc.

海上情書 Trapped at Sea, Lost in Time （原提案片名：《滿載》MANSAI – A Fisherman’s Last Odyssey）

黃茂昌 Patrick HUANG 柯能源 KO Neng-yuan

已完成 Done

何穎賢 Cecilia HO 翁子光 Philip YUNG

停拍 Stagnating

入選高雄電影節；2015 年於台灣院線上映 Selected by Kaohsiung Film Festival ; Theatrical released in 2015, Taiwan 莫失莫忘 Dope & Hope

一不小心成了藝術家 Accidental Artist

沈曉閩 SHEN Xiao-min

停拍 Stagnating

三峽啊 Oh, The San Xia （Original title: Three Gorges）

王利波 WANG Li-bo

已完成 Done

陽光電視台委製；獲得陽光紀錄片提案會歷史與科學類最佳提案；入選 2012 年新北市紀錄片影展；2013 年香港國際電影節評審團獎；2013 年台灣南方影展首獎；First Hand Films 發行 Commissioned by SUNTV; Won the Best History and Science Project in the pitching session of SSD; Screened at New Taipei City Documentary Festival; Won the Jury Prize at 2013 Hong Kong International Film Festival, the First Prize at South Taiwan Film Festival; Released by First Hand Films

紡織城 Weaving

王楊 WANG Yang

已完成 Done

跑酷少年 Bazaar Jumpers

郝智強 HAO Zhi-quiang

已完成 Done

獲得上海電視節白玉蘭獎「最佳中國紀錄片」、2014 華盛頓華語電影節「紀錄片長片主競賽」單元入圍；CNEX 監製 Won Best Chinese Documentary Award at Shanghai International TV Festival; Selected by DC Chinese Film Festival; Produced by CNEX

CCDF 1-9 Project Status

入選亞洲提案大會；獲得日舞影展協會紀錄片項目、IDFA、韓國釜山亞洲電影資金、 MIDA 補助；CNEX 合製；入選 2017 加拿大 Hot Docs 國際紀錄片影展（世界首映）、2018 莫斯科國際紀錄片電影節（獲最佳導演獎）、中國獨立影像年度展 CIFF 廣闊天地單元、香港“決絕”97 年以來的中國獨立紀錄片大展、香港華語紀錄片節長片競賽單元、印度 Urban Lens 影展、廣州國際紀錄片節終評競賽單元 Pitched at ASD; Produced by CNEX Studio; Supported by Sundance Institute DFP, IDFA, Asian Cinema Fund, MIDA; Co-Produced by CNEX ; Selected by 2017 Hot Docs (world premiere),2018 Moscow International Documentary Film Festival (won Best Director), China Independent Film Festival, Chinese Independent Documentary Film after 1997, Chinese Documentary Festival, India Urban Lens Film Festival, Guangzhou International Documentary Film Festival

歷屆入選提案 CCDF

125

CCDF-2 入選提案現況 CCDF-2 Projects Status CCDF 2

提案名稱 Title

提案者 Participant(s)

製作現況 Production Status

西街故事之二──寇叔 Tales of West Street (Part Two) – Mr. Kou

余迅 YU Xun

製作中 In Production

昨日狂想曲 The Shoe Shiner’s Journey （原提案片名：《老劉 * 狂想曲》Liu’s Long March）

黎小鋒 LI Xiao-feng 賈愷 KIA Kai

已完成 Done

CNEX 監製；獲得釜山 AND 基金；入選 2016 FIRST 青年電影展（獲得最佳紀錄片長片獎） Produced by CNEX Foundation Limited; Funded by AND; Selected by 2016 FIRST International Film Festival (won Best Documentary)

Dense with Hong Kong

Isabelle MAYOR Jan VASAK

停拍 Stagnating

宅．私塾 Home School

黃建亮 Albert HUANG

已完成 Done

王文明 WANG Wen-ming 王一飛 WANG Yi-fei

已完成 Done

獲得台灣新聞局高畫質電視節目補助；CNEX 監製 Funded by GIO Taiwan; Produced by CNEX 首獎

風沙線上 Whisper of Minqin （原提案片名：《黃沙已上白雲間》The Sandstorm Intrusion 2012）

Best Pitch

獲得 2014 香港華語紀錄片節冠軍獎；入選亞洲提案大會；獲得 NHK 合製；獲得日舞影展協會紀錄片項目補助；第二屆亞洲彩虹獎「電視紀錄片攝影獎優秀獎」；CNEX 監製 Won the first prize at Chinese Documentary Festival; Pitched at ASD; Co-produced by NHK; Funded by Sundance Institute DFP; Won the Best Documentary Cinematography Award at Asia Rainbow TV Awards; Produced by CNEX Studio

我只想忘記你 I Just Want to Forget You

管盛盛 GUAN Sheng-sheng Alexis MESTRE

停拍 Stagnating

尋岸 Maineland （Original title: Maine-Land China）

王淼 WANG Miao

已完成 Done

入選 2017 SXSW 影展（世界首映，獲評審團獎提名）、波士頓獨立電影節（獲得評審團特別獎）、新罕布夏影展（觀眾票選獎）、溫哥華國際影展、馬里蘭國際影展 Selected by 2017 SXSW (world premiere, nominated for Grand Jury Award), Independent Film Festival Boston (won Special Jury Prize), New Hampshire Film Festival (won Audience Choice Award), VIFF Official Selection, Maryland Film Festival Official Selection

毋知 Unknown

洪雅純 Meta HUNG 謝佩芳 Steffi HSIEH

製作中 In Production

未來無恙 Turning 18 （原提案片名：《風神少年》Winding on the Road）

賀照緹 HO Chao-ti

已完成 Done

2011 年阿姆斯特丹提案大會 IDFA one-on-one meetings 項目；台灣公共電視預購；獲得日舞影展協會紀錄片項目補助、國藝會補助、2016 釜山影展「亞洲紀錄片連線」補助、新北市紀錄片獎、福特基金會資金；入選 2018 英國雪菲爾德國際紀錄片影展、釜山影展、 2019 新加坡國際電影節、荷蘭亞洲影展（獲青年評審團最佳女導演獎）、台北電影節最佳紀錄片入圍 2011 IDFA one-on-one meetings; pre-sale to PTS Taiwan; Funded by Sundance Institute DFP, National Culture and Arts Foundation, 2016 Asian Network of Documentary (AND) Fund, New Taipei City Doc, Ford Foundation JustFilms; Selected by 2018 Sheffield Doc/Fest, Busan International Film Festival, 2019 Singapore International Film Festival, CinemaAsia Film Festival (won Youth Jury Award-Best Female Director), Taipei Film Festival (nominaed for Best Documentary)

養奢 Farming Luxuries （Original title: Songs From the Farm）

何泱 Alice HO 謝駿毅 HSIEH Chun-yi

已完成 Done

星童 Star Child

龍淼淵 Andrew LONE 鍾秋夢 Zita ZHONG

製作中 In Production

人禍 Men-Made Hell

顧仁權 GU Ren-quan Rene SEEGERS

陽光衛視委製 Commissioned by SUNTV

裸婚 Naked Marriage

王國慶 WANG Guo-qing

停拍 Stagnating

看不見的跑道 Forever Runner （Original title: Once a Runner）

章大中 CHANG Ta-chung

已完成 Done

2013 年於台灣院線上映；Les Ecrans De Chine 歐洲紀錄片影展放映；獲得法國 ICTV 製作公司合作國際電視版 Theatrical released in 2013, Taiwan; Screened at Les Ecrans De Chine Documentary Film Festival; Co-produce with ICTV France for a TV version

三輪車電影 Tuk Tuk Cinema

盧幹文 K.M.LO

已完成 Done

CNEX 監製；馬尼拉哥德學院資助部分拍攝旅費 Produced by CNEX; Subsidized by Goethe Institute Manila

歷屆入選提案 CCDF CCDF 1-9 Project Status

126

漁人悲歌 Last Catch

Rosie DRANSFELD 莊芳芳 ZHUANG Fan-fan

已完成 Done

帶孩子上班去 Working, with Child Around

吳汰紝 Wuna WU 李孟津 Ging LEE

已完成 Done

李雅玲 LEE Ya-lin 郭芙成 KUO Fu-cheng

停拍 Stagnating

馬占冬 MA Zhan-dong 孫曉筠 Sunny SUN

後製中 In Post-production

公共電視委製 Commissioned by PTS Taiwan

跨越失控 Beyond Tourette （Original title: Strides Across Tics）獲得中國（廣州）國際紀錄片節預售方案第三名 Won the third prize at GZDOC Pitching

阿芙蓉 WaState 獲得亞洲紀錄片連線補助 Funded by AND

CCDF-3 入選提案現況 CCDF-3 Projects Status CCDF 3

提案名稱 Title

提案者 Participant(s)

製作現況 Production Status

婚禮主持人 Wedding Host

錢偉榮 Warren CHIEN 許慧晶 HSU Hui-jing

停拍 Stagnating

吳皓 WU Hao

已完成 Done

獲得日舞影展協會紀錄片項目補助 Funded by Sundance Institute DFP

成名之路 The Road to Fame

入選阿姆斯特丹提案大會 Round Table 項目；獲得福特基金會補助；與 BBC、荷蘭 VPRO 電視台、丹麥電視台、CNEX 等合製；由 CAT&Docs 發行； 2014 年亞太電影節評審團大獎、最佳剪輯 Pitched at IDFA Forum (Round Table); Funded by Ford Foundation; Co-produced by CNEX, BBC, VPRO, DR TV; Release by CAT&Docs; Won Asia Pacific Film Festival, Jury Prize, Best Editing

廢城記 A Tale of Waste City

曾茜 ZENG Xi 周洋 ZHOU Yang

已完成 Done

陽建軍 YANG Jian-jun

製作中 In Production

獲得日舞影展協會紀錄片項目補助；CNEX 監製 Funded by Sundance Institute DFP; Produced by CNEX 最佳提案獎特別獎 ASD

海星計畫 Starfish Project

獲得中國四川金熊貓電視節「活力中國」優秀紀錄片獎、入選中國（廣州）國際紀錄片節最佳預售方案 Won “the best film award” at Gold Panda; Pitched at GZDOC

我只認識你 Please Remember Me （Original title: The Unforgettable）

趙青 ZHOU Qing

已完成 Done

Best Presented Pitch ASD Award

獲得亞洲提案大會最佳提案獎；獲得 Sundance、BRITDOC、荷蘭 IDFA 資金贊助；入選 2015 阿姆斯特丹國際紀錄片影展、2016 紐約紀錄片影展、廣州國際紀錄片節（贏得「年度最佳紀錄片」、「最佳紀錄長片」及「最佳國際傳播中國紀錄片」） Won Best Asian Side of the Doc Project at ASD; Funded by Sundance Film Institute, IDFA and BRITDOC Foundation; Selectd by 2015 IDFA, 2016 DOC NYC, GCDOC (won Best Doc Grand Prize, Best Doc Feature, and Best Chinese Doc for International Communication)

十三街天台屋 13th Street Rooftop Housing

林偉東 LAM Wai-tung 梁祐暢 LEUNG Yau-cheong

後製中 In Post-production

入選香港 CNEX 紀錄片提案大師班 Selected by CNEX HK Documentary Pitching Master Workshop

最具國際潛力獎最佳提案獎 Best Presented Pitch Project with most international potential

爆走廚房 Kitchen of Gangsters

諶靜蓮 CHEN Jing-lian 廖克發 LAU Kek-huat

製作中 In Production

南島盛艷之花 The Dream in the Mirror

盧彥中 Adoing LU 張鎮瀅 CHANG Chen-ying

已完成 Done

杜海 Vincent DU

已完成 Done

解修遠 XIE Xiu-yuan

已完成 Done

黃惠偵 HUANG Hui-zhen

已完成 Done

入選 2013 新北市紀錄片獎 Selected by New Taipei City Doc

搖滾日記 Almost Famous 入選中國（廣州）國際紀錄片節最佳預售方案；獲得半島電視台委製 Pitched at GZDOC; Commissioned by Al Jazzera

專護房 A State of the Old （原提案片名：《老人國》）入圍西安國際民間影像節的提案大會 Pitched at Xi’an China International Folk Vedio Festival

我和我的 T 媽媽 The Priestess Walks Alone （原提案片名：《我的 T 媽媽》My T Mama）

2015NHK 國際合製、2014 仁川紀錄片提案大會；新北市電影製作補助；亞洲電影基金補助；短片輔導金、Doc Doc 公視發展基金；獲得亞洲紀錄片連線項目補助；入選新北市電影製作補助 Co-produced by NHK; Won DocEdge Award, 2014 Docs Port Incheon, fund by 2014 New Taipei City Film Production Grant, 2014 Asian Cinema Funded, 2013 Taiwan Cultural Foundation Film Fund, 2012 Doc Doc PTS Development Fund, and New Taipei City

最後的收割 Last Harvest

王暉 Jane H. WANG 張峻 ZHANG Jun

已完成 Done

特別獎 TTVF TTVF Award

入圍 Whistler 紀錄片影展、加拿大電影局；2015 多倫多 Planet In Focus Environmental Film Festival 的閉幕式影片首映；2015 加拿大惠斯勒電影節（Whistler Film Festival）獲得：World Documentary Award 和 AWFJ（Alliance of Women Film Journalists）EDA（Excellent Dynamic Activism）Best Female-Directed Documentary Award；2016 年 4 月參加巴黎 International Environmental Film Festival 競賽單元 Selected by Whistler Film Festival; Selected by National Film Board of Canada; Closing film at Planet In Focus Environmental Film Festival (premiere); Won World Documentary Award and AWFJ(Alliance of Women Film Journalists) EDA(Excellent Dynamic Activism) Best FemaleDirected Documentary Award at Whistler Film Festival; Competition film at International Environmental Film Festival 晨晨跨海上學去 Chen-chen Goes to School Across the Sea

吳淑美 WU Shwu-mey 王秋萍 Felice C.P. WANG

已完成 Done

十個修祠堂的人 Building for Memory

汪哲 WANG Zhe

後製中 In Post-production

盲行者 In My Eyes （原提案片名：《不完美的精采》）

韓軼 HAN Yi

已完成 Done

獲得中國（廣州）國際紀錄片節最佳預售方案、入選 Hot Docs 提案會；2018 第 21 屆上海國際電影節金爵獎入圍 Won the Best Pitch at GZDOC; Pitched at Hot Docs; Selected by 2018 Shanghai International Film & TV Festival (nominated for Golden Goblet Awards)

我的同班同學們──中國電影第五代 My Classmates: The New Wave of Chinese Cinema

製作中 In Production

蘇鈺婷 Angel SU

已完成 Done

獲得福特基金會補助 Funded by Ford Foundation

一冊木造技研所 Woody Daddy CNEX 監製 Produced by CNEX

CCDF 1-9 Project Status

陳焱 Lora Y. CHEN

歷屆入選提案 CCDF

127

CCDF-4 入選提案現況 CCDF-4 Projects Status

Tokyo Doc Award

東京紀錄片提案大會特別推薦獎

CCDF 4

最佳提案獎

Best Presented Pitch

提案名稱 Title

提案者 Participant(s)

製作現況 Production Status

冰川日記 Exploration of Life

周宇 ZHOU Yu 孫尨 SUN Meng

製作中 In Production

食為天 To Live For Food （原提案片名：《重建餐桌》Reconstruction of Food）

商明 Mike SHANG

已完成 Done

脈搏 Last Rockers

蘇哲賢 James SU 于思茗 Magnolia YU

製作中 In Production

高樓背後 My Home Was My Castle （Original title: Who'll Gimme Shelter）

吳建新 WU Jian-xin 徐穎潔 Hanah HSU

已完成 Done

十年之後又一年 A New Start

解修遠 XIE Xiu-yuan

已完成 Done

北海老英雄 Captain Okela （原提案片名：《船長．黑黠仔》）

蔡宇軒 Vincent TSAI 盧曉筠 Frances LU

已完成 Done

東北偏北 North by Northeast

丁一 DING Yi 史杰鵬 J.P. SNIADECKI

製作中 In Production

南國小兵 Southland Soldier

李立邵 LEE Li-shao

已完成 Done

CNEX 監製；獲得丹麥電視台資金承諾 Produced by CNEX; Received LOC from NHK & DR

入圍荷蘭 IDFA 提案大會；獲得 NHK 與丹麥電視台資金支持；CNEX 監製 Pitched at IDFA Forum; Funded by NHK and DR; Produced by CNEX

2013 新北市紀錄片獎優選 Won the Best Awand at New Taipei City Documentary Film Festival

入選 2015 金穗獎特別放映 / 公視播映、入圍 2015 香港華語紀錄片節、入圍 2014 高雄電影節 Selected by Golden Harvest Awards, Chinese Film Festival, KAOUHSIUNG Film Festival

我在台灣．我正青春 I Am in Taiwan

傅榆 FU Yue 賀照緹 HO Chao-ti

已完成 Done

2013 新北市紀錄片獎首獎 2013 New Taipei City Documentary Film Award

最佳提案獎

Best Presented Pitch

朱古力城 Chocolate City

盧幹文 K. M. LO 吳芷瑩 WU Chi-ying

停拍 Stagnating

大路朝天 The Road

張贊波 ZHANG Zan-bo

已完成 Done

獲得 DR、SVT、IKON、DMZ 紀錄片資金、CNEX 資金、IMS 基金、BRITDOC 基金、DFI 基金；曾參與東京天才訓練營、華人紀錄片提案大會、阿姆斯特丹國際紀錄片節論壇；入選 2015 阿姆斯特丹國際紀錄片影展（世界首映）；2016 哥德堡電影節、Human Rights Human Wrongs Film Festival、雪梨影展、Hot Docs at the Palace、AFI Docs、紐西蘭國際影展、DMZ Docs、台灣國際紀錄片影展（贏得「華人紀錄片獎首獎」），第 53 屆金馬獎最佳紀錄片入圍 Funded by DR、SVT、IKON、DMZ Docs、CNEX、IMS、BRITDOC、DFI; Pitched at Talents Tokyo, CCDF, IDFA Forum; Selected by 2015 IDFA, International Documentary Film Festival Amsterdam (world premiere), 2016 Göteborg Film Festival, Human Rights Human Wrongs Film Festival, Sydney Film Festival, Hot Docs at the Palace, AFI Docs, New Zealand International Film Festival, DMZ Docs, TIDF, Taiwan International Documentary Festival (Won the Chinese Documentary Grand Prize), Golden Horse Awards (nominated for Best Documentary)

非常舞蹈 Twist （原提案片名：《多少次散場，忘了憂傷》）

梁邁 LIANG Mai 戴年文 DAI Nian-wen

已完成 Done

絲襪的秘密 The Secret Behind the Stockings

Nicola CONTINI Alessandro CARROLI

已完成 Done

與歐洲藝術電視台合製；入選 2016 Biogra Film Festival Co-produced with ARTE; Selected by Biogra Film Festival

醃製 Preverves

謝明洋 Norbert SHIEH 金基鎮 KIM Ki-jin

後製中 In Post-production

有一艘船 The Boats

蔡一峰 TSAI Yi-feng

停拍 Stagnating

消失的檔案 Vanished Archives

羅恩惠 Connie Y.W. LO 葉漢明 IP Hon-ming

已完成 Done

再會阿爸 Unfinished Conversations （原提案片名：《尋找阿爸》Searching for My Father）

陳婉真 Kite CHEN

後製中 In Post-production

詩之一生 A Lifetime Poem

康世偉 Ben KANG 王鑫 WANG Xin

已完成 Done

搖滾在二十、四十、六十歲 Rock on, 20 40 60

侯祖辛 HOU Zu-xin 劉斌 LIU Bin

已完成 Done

獲國藝會、台北市文化局補助 Funded by National Culture and Arts Foundation, Department of Cultural Affairs, Taipei City Government

那個靜默的陽光午後 The Silent Teacher

陳志漢 Maso CHEN 吳郁玟 WU Yu-wen

已完成 Done

入圍新北市紀錄片獎；入選亞洲提案大會、仁川紀錄片提案會；入選加拿大 Hot Docs 國際紀錄片影展；2017 年於台灣院線上映 Selected by New Taipei City Doc; Pitched at ASD, Docs Port Incheon; Selected by 2017 Hot Docs; Theatrical released in 2017, Taiwan

CCDF 1-9 Project Status

特別項目

女神降臨 Female Pachiachiang

特別項目

此後 From Now On

張志宏 CHANG Chih-hung

已完成 Done

入圍 2014 關渡電影節、2015 香港華語紀錄片節 Selected by Kuan-Du Film Festival and Chinese Film Festival 陳文彬 Akira W.P. CHEN 張名威 CHEUNG Ming-way

已完成 Done

入圍 2014 年新北市紀錄片、入選 2018 台灣國際紀錄片影展 Selected by 2014 New Taipei City Doc, 2018 Taiwan International Documentary Festival 特別項目特別項目

台北抽搐 TPE-TICs

林琬玉 LIN Wan-yu

已完成 Done

嘉義國際藝術紀錄片影展首映、入圍台北電影節、入圍城市遊牧影展 Premiere at Chiayi City International Art Documentary Film Festival; Selected by Taipei Film Festival and Urnab Nomad Film Fest 挖玉石的人 Jade Miners （Original title: The Jade）

趙德胤 Midi Z

已完成 Done

入圍鹿特丹國際影展、新加坡東南亞影展、布宜諾斯艾利斯國際影展、入圍台北電影節 Selected by International Film Festival Rotterdam, Southeast Asia Film Festival, and the Buenos Aires International Film Festival; Selected by Taipei Film Festival

最具國際潛力獎 Project with most international potential 亞洲提案大會特別推薦獎 ASD Award ASD

歷屆入選提案 CCDF

128

獲得第三十屆華沙國際電影節最佳短片紀錄片獎、第三十屆 IDA 美國紀錄片協會最佳學生紀錄片、2015 羅馬獨立電影節最佳國際短片紀錄片獎、 2015 加州 Albany 電影節最佳短片紀錄片獎、獲北美華人電影節評委會獎；入圍歐洲國際電影節最佳短片紀錄片、入圍 First look 電影節最佳短片紀錄片、參展 2015 坎城電影節短片角、邀請參展 2015 韓國堤川國際音樂 & 電影節；提名西雅圖短片國際電影節最佳短片紀錄片、提名聖路易斯國際電影節最佳短片紀錄片；參展 2015 戛電影節短片單元；獲得 2015 中國紀錄片學院獎最佳短片紀錄片獎、中國半夏電影節最佳短片紀錄片 Won the Best Shorts Award at Warszawski Festiwal Filmowy, won the Student Documentary Award at 30th International Documentary Association, the Best Shorts Award at Rome Independent Film Festival, the Best Short Award at Albany FilmFest, Selected by European Film Festival, First look Film Festival; Participated in Festival de Cannes, invited by Jecheon International Music & Film Festival; Nominated for Best Short documentary film award at Seattle shorts film festival and at St. Louis International Film Festival; Screened at Short Film Corner at Cannes International Film Festival; Won the Best Short Documentary Award at China Academy Awards for Documentary Film (CAADF), the Best Short Documentary Award at Vision Youth Awards

CCDF-5 入選提案現況 CCDF-5 Projects Status CCDF 5

提案名稱 Title

提案者 Participant(s)

製作現況 Production Status

回家吃自己 No Country for Young Man

龔萬祥 Sean, W.H.KUNG

後製中 In Post-Production

豔陽樓 Bright Sun Mansion （原提案片名：《伶人故事─漂泊在紐約的追夢人》A Peking Opera Master in New York）

郭海濤 GUO Hai-Tao 喬．比尼 Joe BINI

已完成 Done

小小世界 Little People Big Dreams

Tokyo Docs Award

東京紀錄片提案會推薦獎

MAK Chun Kit 曾鑫 Cindy ZENG

已完成 Done

陳榮燦 Larry CHAN 李秀湖 Edmen LEE 陳佩儀 Panda CHAN 吳洋洋 Chelsea NG

已完成 Done

入選雪菲爾德紀錄片影展 Selected by Sheffield Doc/Fest

時勢 Hero or Rebel

Best Presented Pitch

獲得日舞影展基金；CNEX 監製 Funded by Sundance post production; Co-produced by CNEX

最佳提案獎

推薦獎 CNEX-WCSFP CNEX-WCSFP Bursary

獲得國藝會及新北市紀錄片補助 Funded by National Culture and Arts Foundation, New Taipei City Documentary Film Festival

獲得東京紀錄片提案大會最佳亞洲提案 Won Tokyo Docs Best Asian Pitch Award

徐自強的練習題 Condemned Practice Mode （原提案片名：《女王魔咒》The Devil in Confession）

紀岳君 CHI Yueh-chun 蕭立峻 Richard HSIAO 蔡崇隆 TSAI Tsung-lung

已完成 Done

獲得文化部影視與流行音樂產業局、民間司法改革基金會、新北市紀錄片獎補助；短版獲得 2015 新北市紀錄片首獎、長版入選 2017 台北電影獎記錄片（世界首映，獲得台北電影獎觀眾票選獎）與 2017 社會公義獎、2017 金馬獎最佳紀錄片入圍、2017 南方影展入圍（獲得南方獎與人權關懷獎），2018 台灣國際紀錄片影展臺灣競賽入圍 Funded by National Culture and Arts Foundation, Judicial Reform Foundation, New Taipei City Doc; Selected by 2017 Taipei Film Festival (world premiere, won audience award and social justice award), Golden Horse Awards (nominated for best documentary), South Taiwan Film Festival (won South Grand Prize and Human Rights Award), 2018 Taiwan International Documentary Festival 一個中國私家偵探的愛情 Love in a Detective’s Eye

馬珊珊 Suzie MA

製作中 In Production

農夫河牧羊人 Farmer River Goatherd

王文明 WANG Wen-ming 王飛一 Eason WANG

後製中 In Post-Production

台灣棒球魂 Baseball Spirit of Taiwan

楊明森 Brian YANG 張明仁 Jack CHANG

製作中 In Production

假若我有靈魂 Kaspar X – If I Had a Soul （原提案片名：《酷兒》All About Myself）

溫澤仁 Hau Man WAN

已完成 Done

入選 2015 美國奧斯丁同志電影節（獲得最佳記錄短片及評審獎）、香港同志影展、2016 上海驕傲電影節（獲短片競賽單元第二名及觀眾票選獎） Selected by 2015 The Austin Gay + Lesbian International Film Festival (won Best Documentary Short Award and Jury Award), Hong Kong Lesbian & Gay Film Festival and 2016 Shanghai Pride Festival (Short Film Competition Best Film Runner-up, won Audience Choice)

我的生命線 My Dear Lines

張楠 ZHANG Nan 張勇 ZHANG Yong

後製中 In Post-production

入圍中國廣州國際紀錄片節；參與亞洲紀錄片提案大會與法國陽光紀錄片提案大會、2019 新北市紀錄片獎優選影片 Selected by GZDOC; Pitched at ASD and SSD; 2019 New Taipei City Documentary Film Award

女影回聲 Behind CWFF

姜娟 JUAN Jiang 鄭逸豪 Jeffery CHENG

後製中 In Post-production

推手 The Manipulator （Original title: The Manipulator）

費牖明 FEI You-ming 劉碩 LIU Shuo

製作中 In Production

狂山之海 Wild Mountains Over the Sea

黃胤毓 HUANG Yin-yu 製作中 In Production 山上徹二郎 Tetsujiro YAMAGAMI

獲得瑞士真實影展國際提案單元之首獎；入選柏林影展新銳營 Won HEAD – Genève Postproduction Awardt at Visions du Réel; Selected by Berlinale Talents 奈何橋 On the Bridge of Death and Life （原提案片名：《生死大橋》）

Lola LIU Wolfgang BERGMANN

已完成 Done

尋找．另一個故事 LI Yuan-chia: Tell Me What Is Not Yet Said

廖憶玲 LIAO I-ling 朱柏穎 CHU Po-ying

製作中 In Production

梧桐樹 Caro Mio Ben (My Dear Beloved) （Original title: Wish Tree）

蘇青 SU Qing 米娜 Mina 郭曉東 GUO Xiao-dong

已完成 Done

入選 2015 廈門亞洲提案大會與法國陽光紀錄片提案大會提案，獲得釜山國際電影節亞洲紀錄片連線基金；入選 2017 日本「山形國際紀錄片電影節亞洲新浪潮單元」、2018 西寧 FIRST 青年電影展 Pitched at Asian Side of the Doc and Sunny Side of the Doc, funded by Busan International Film Festival Asian Network of Documentary (AND) Fund; Selected by 2017 Yamagata International Documentary Film Festival, 2018 FIRST International Film Festival

二十四號大街 24th Street

潘志琪 PAN Zhi-qi

已完成 Done

入圍 ASD 亞洲陽光紀錄片大會「中國提案日」、入選 2015 年浙江省文化精品扶持工程、入選 2016 印度 Docedge 紀錄片論壇；2015 the Asian Pitch 勝出提案；2015MIDA 紀錄片導演計畫優秀提案，獲得 2015 DMZ Docs Fund 基金；入選 2017 阿姆斯特丹國際紀錄片影展、2018 哥德堡電影節、第 30 届英國 One World 媒體獎、捷克 One World 國際人權電影節、上海電視節 ( 入圍最佳紀錄片 )；2018 金馬獎最佳紀錄片入圍 Selected by Asian Side of the Doc, Brilliant Theatrical Stage in Zhejiang Province, Docedge Kolkata, the Asian Pitch (won the Asian Pitch) ; Selected by 2015 MIDA Filmmaker Plan, funded by DMZ Docs Fund; Selected by 2017 IDFA, International Documentary Film Festival Amsterdam, 2018 Göteborg Film Festival, One World Media Award, One World International Human Rights Documentary Film Festival, Shanghai International Films & TV Festival (nominated for best documentary); Golden Horse Award (nominated for best documentary)

雙縫 The Tailors （原提案片名：《廿雙巧手》）

胡斯翰 Stephen Gurie WOO 宋軒麟 Alfred SUNG

已完成 Done

獲得香港藝術發展局及香港紀錄片拓展計劃資助 ; 入選 2019 舊金山亞美電影節（世界首映） Funded by Hong Kong Art Development Council and Hong Kong Documentary Initiative. Selected by 2019 CAAMFest (world premiere)

CCDF 1-9 Project Status

亞洲紀錄片提案會推薦獎 ASD ASD Award

歷屆入選提案 CCDF

文化部紀錄片補助、國藝會紀錄片導演國際發展專案－國際專業人士合作計畫 Funded by Ministry of Culture, National Culture and Arts Foundation (Worldwide Incubating Platform for DOC Filmmakers)

Sheffield Doc/Fest Award

入選 2014 年英國謝菲爾德紀錄電影節 MeetMarket 提案單元、2015 年歐洲廣播電視聯盟提案大會；入選 2016 阿姆斯特丹國際紀錄片影展（世界首映）、2017 年第 24 屆德國法蘭克福電視論壇、2017 年第 17 屆波蘭索伯特電影節紀錄片競賽單元獲評審團榮譽獎 Pitched at Sheffield Doc/Fest Meet Market, EBU Eurovision Creative Forum; Selected by 2016 IDFA, International Documentary Film Festival Amsterdam (world premiere), the 24th annual the Television Workshop Development Politics in Frankfurt, Germany, the 17th annual Sopot Filmfestival in Poland (won Jury award)

雪菲爾德紀錄片影展推薦獎

Special ASD Invitations

亞洲紀錄片提案會特別邀請獎

亞洲紀錄片提案會特別邀請獎 Special ASD Invitations 贊助獎 CNEX-WCSFP Bursary CNEX-WCSFP 最具國際潛力獎 Project with Most International Potential

亞洲紀錄片提案推薦獎 GZDOC Award GZDOC 仁川紀錄片提案會推薦獎 Docs Port Incheon Award

129

CCDF-6 入選提案現況 CCDF-6 Projects Status

提案名稱 Title

提案者 Participant(s)

製作現況 Production Status

搖搖晃晃的人間 Still Tomorrow （Original title: Balancing Act）

范儉 Jian FAN 徐子淘 XU Zi-tao 程樂兒 Leer CHENG

已完成 Done

獲 2015 Tokyo Docs 最佳亞洲提案獎、2016 中國紀錄片學院最佳攝影獎、2018 比利時國際健康電影節國際競賽單元一等獎、2018 貝爾法斯特電影節最佳紀錄片、2018 美國 Superfest 殘疾人電影節最佳長片獎；入選 2016 阿姆斯特丹國際紀錄片影展（世界首映，獲競賽單元「最佳紀錄片長片評審團特別獎」）、2017 英國雪菲爾德紀錄片影展、加拿大 Hot Docs 國際紀錄片影展、上海國際電影節、莫斯科國際電影節、AFI Docs、美國全景紀錄片影展、True/False Film 影展、廣州紀錄片電影節、波蘭 WATCH DOCS 人權電影節 Won Best Asian Pitch Award at 2015 Tokyo Docs, 2016 CAADF Best Cinematography Award, 2018 The International Health Film Festival ImagéSanté：1er Prix de la Compétition Internationale, 2018 Belfast Film Festival: Maysles Brothers Award, 2018 Superfest International Disability Film Festival: Best of Festival, Feature; Selected by 2016 IDFA (world premiere, won Special Jury Award for Feature-Length Documentary); 2017 Hot Docs, Sheffield Doc/Fest, Shanghai International Film Festival, Moscow International Film Festival, AFI Docs, Full Frame Documentary Festival, True/False Film Festival, GZDOC Film Festival, WATCH DOCS Human Rights In Film International Film Festival 不一樣的女兒 A Different Daughter

林皓申 LIN Hao-shen 施佑倫 SHIH Yu-lun

製作中 In Production

黑夜王國編年史 Chronicles of the Night Kingdom

瑪鯊苗醬 Masamojo

製作中 In Production

牧者 The Shepherds

盧盈良 Elvis LU 周怡珍 Kay CHOU

已完成 Done

獲文化部電影短片輔導金及新北市紀錄片補助；入選 2017 澳洲雪梨世界電影節（入圍最佳紀錄片）、2018 美國費城獨立影展（入圍最佳紀錄片）、 2018 第四十屆台灣金穗獎（獲一般組最佳紀錄片獎）、2018 捷克國際獨立影展（獲最佳紀錄片獎）、2018 第二十屆台北電影節（入圍最佳紀錄片）、2018 南方影展 / 人權關懷獎 Funded by Ministry of Culture and New Taipei City Doc; Selected by 2017 Sydney World Film Festival (nominated for best documentary), 2018 Philadelphia Independent Film Awards (nominated for best documentary), Golden Harvest Award (won best documentary), Czech International Independent Film Festival (won Best Documentary), Taipei Film Festival (nominated for best documentary), 2018 South Taiwan Film Festival Human Rights Award

不即不離─我的馬來亞之戀 Absent Without Leave （Original title: Absent Without Leave - “Love in Malaya”）

廖克發 LAU Kek-Huat 諶靜蓮 CHEN Jing-lian

Sheffield Doc/Fest Award

雪菲爾德紀錄片影展推薦獎

東京紀錄片提案會推薦獎 Tokyo Docs Award 亞洲紀錄片提案會推薦獎 ASD Award ASD

CCDF 6

已完成 Done

入選柏林影展第 15 屆新銳營；入選 2016 台北電影節、2016 高雄電影節、2016 釜山影展超廣角紀錄片競賽單元 Selected by Berlinale Talents; Selected by 2016 Taipei Film Festival, Kaohsiung Film Festival and Busan International Film Festival Wide Angle Section

廣場上的舞蹈 Dance on the Square

康世偉 Ben KANG

已完成 Done

獲得家春秋口述史紀錄計畫最佳提案獎，2017 年光影紀年 - 中國紀錄片學院獎入圍獎 Won Best Pitch Award in JIACHUNQIU Oral History Video Recording Project, nominated for Best Documentary Award at 2017 China Academy Awards of Documentary Film

入戲 In Character

董雪瑩 Tracy DONG

已完成 Done

入選 2016 年中法影視行業高層論壇 pitch 環節、2016 年 SUNDANCE-CNEX 的剪輯工作坊；獲得日舞影展紀錄片基金；入選 2018 屆哥德堡電影節、西寧 FIRST 青年電影展、2018 年華盛頓華語電影節評委會大獎、2019 年入圍英國華語視像藝術節、2019 年入圍台灣遊牧影展 Selected by The Franco-Chinese Film and Television Meetings, Sundance CNEX Editing Workshop; Funded by The Sundance Institute documentary Film Program and Fund; Selected by 2018 Göteborg Film Festival, FIRST International Film Festival, 2018 DC Chinese Film Festival Jury Award, 2019 Chinese Visual Festival, 2019 Urban Nomad Film Festival

廣州愛情故事 Guangzhou Love Story （Original title: A Guangzhou Love Affair）

黃昱祥 Kathy HUANG 林立仁 Debbie LUM

製作中 In Production

獲得 Center for Asian American Media, Chicken & Egg Pictures, Firelight Media, ITVS’s Diversity Development Fund 資金 Funded by Center for Asian American Media, Chicken & Egg Pictures, Firelight Media, ITVS’s Diversity Development Fund 阿紫 The Good Daughter （Original title: If She Leaves）

吳郁瑩 Sally WU 江松長 S.Leo CHIANG

已完成 Done

獲得 Lef Post Production Grant 及 WGBH-OUTPOST 補助；獲 2019 年第 56 屆金馬獎最佳紀錄片提名、2020 台北電影獎最佳紀錄片 Funded by Lef Post Production Grant and WGBH-OUTPOST; Selected by 2019 Golden Horse Awards (nominated for Best Documentary), 2020 Taipei Film Festival (won Best Documentary Award) 最佳提案獎

Best Presented Pitch

張楠 ZHANG Nan 張勇 ZHANG Yong

已完成 Done

入選 2018 鹿特丹影展（獲亞洲電影評審團獎提名）、上海國際電影節、韓國堤川音樂國際電影節、韓國 EBS 國際紀錄片節、洛杉磯國際電影節競賽單元、華盛頓華語電影節、絲綢之路國際電影節（獲得金絲路傳媒榮譽「最佳紀錄片」）、入圍中國（廣州）國際紀錄片節“金紅棉”評優單元終評；獲得 2018 光影新紀年─中國紀錄片學院獎「最佳紀錄長片」 Selected by 2018 International Film Festival Rotterdam (Nominated for Netpac Award), Shanghai International Film & TV Festival, Jecheon International Music & Film Festival, EBS International Documentary Festival, LA Film Festival, DC Chinese Film Festival, Silk Road International Film Festival (won Best Documentary), GZDOC Golden Kapok Award Trophy finalist; Won 2018 China Academy Awards of Documentary Film Best Documentary Award

告別十二歲 Heart of a Lion （原提案片名：《足球小將》The Young Footballer）

徐瑋超 XU Wei-chao 李寧 LEE Ning

已完成 Done

獲得 2015 廣州紀錄片大會提案獎、2018 新鮮提案真實影像大會金獎及最具人氣獎、入選 2020 FIRST 青年電影展 Won the Best pitch at 2015 GZDOC , 2018 Fresh Pitch Gold Award and Audience Award. Selected by 2020 FIRST International Film Festival

寂靜生長 To Be A Buddha or Not

蔡杰 CAI Jie 郉北冽 XING Beilie

後製中 In Post-production

我的寶貝 Dear

錢思如 QIAN Siru

製作中 In Production

時光機 Our Time Machine （Original title: Ma Liang's Time Machine）

孫揚 SUN Yang 黃俊如 Wendy HUANG

已完成 Done

CCDF 1-9 Project Status

入選 2015 仁川提案大會、2015 IDFA 提案會、2016 Sheffield MeetMarket；由 ITVS 資金支持，獲 Catapult Film Fund、Sundance Institute（日舞協會）和 Tribeca Film Institute ( 紐約翠貝卡電影協會 ) 獎金補助；《時光機》由漫步光影傳媒、魚 + 熊電影工坊、北京稻秋漫吹文化傳媒有限公司以及 ITVS 共同製作，CPB 資助，並由大象紀錄和上海麗安文化發展有限公司聯合製作；獲 2019 翠貝卡電影節「最佳攝影」、2019 洛杉磯亞太影展「評審團大獎（國際紀錄片）」、2019 舊金山國際亞美電影節「最佳紀錄片」 Selected by 2015 Doc Port Incheon, 2015 IDFA Forum, and 2016 Sheffield MeetMarket. Funded by Sundance and Tribeca All Access（TAA). A coproduction of WALKING IRIS MEDIA, FISH + BEAR PICTURES, and BREEZY DOC & INDEPENDENT TELEVISION SERVICE (ITVS), in association with MEDOC (Beijing) Media&Culture Co., Ltd. & Shanghai LIAN Cultural Development Co., Ltd., with funding provided by the CORPORATION FOR PUBLIC BROADCASTING (CPB). Won “Best Cinematography” at 2019 Tribeca Film Festival, “Grand Jury Award (International Documentary Feature)” at 2019 Los Angeles Asian Pacific Film Festival, and “Best Documentary” at 2019 CAAM FEST

聯合公寓 The United House

王申 WANG Sean 陳延企 Chris CHEN

已完成 Done

入圍 2015 年中國紀錄片學院獎以及北京電影學院金字獎 Shortlisted by 2015 China Academy Awards for Documentary Film (CAADF) and Golden Word Award, Beijing Film Academy

東莞色變 The Less Sexy Town

劉柳 LIU Liu 黎曉煒 LI Xiao-wei

停拍 Stagnating

蹦火 Spark on the Ocean

周文欽 CHOU Wen-chin

製作中 In Production

參加 2016 DOC+ 紀錄片工作坊 Attended 2016 DOC+ Documentary Workshop

仁川紀錄片提案會推薦獎 Docs Port Incheon Award 亞洲紀錄片提案會特別邀請獎 Special ASD Invitations

最具國際潛力獎

歷屆入選提案 CCDF

Project with most international potential

130

黃河尕謠 Stammering Ballad （原提案片名：《黃河謠》）

特別推薦獎 CNEX-ASD CNEX-ASD Special Award

CCDF-7 入選提案現況 CCDF-7 Projects Status CCDF 7

提案名稱 Title

提案者 Participant(s)

製作現況 Production Status

上岸 The Shore

莫津津 MO Jin-jin 邢北冽 Eddie XING

後製中 In Post-production

獲得 2016 Talents Tokyo 2016 大獎、獲得 Next Masters Support Program 資金 Won Talents Tokyo award; Funded by the project development fund from Next Masters Support Program 岸上漁歌 Ballad on the Shore （Original title: Ballad beyond Edge）

馬智恆 MA Chi-hang 鄭惠森 Haze CHENG

已完成 Done

獲得香港藝術發展局、衛奕信勳爵文物信託、Pure Art Foundation 資金；入選嘉義國際藝術紀錄片影展 Funded by Hong Kong Art Development Council, The Lord Wilson Heritage Trust and Pure Art Foundation; Selected by Chiayi International Art Doc Film Festival

文林銀行 Bank in School

陳志漢 Maso CHEN

後製中 In Post-production

入選廣州紀錄片提案大會（獲得十大最佳提案獎） Selected by GZDOC (Won Best 10 Pitches)

芳舟 Lady of the Harbour （原提案片名：《夫子方舟》Arks of Confucius）

王申 Sean WANG 趙佳 ZHAO Jia

已完成 Done

獲得釜山影展「亞洲紀錄片連線」補助；入選 Hot Docs 提案大會、仁川紀錄片提案會、澳洲國際紀錄片大會、亞洲陽光紀錄片提案大會；入選 2017 阿姆斯特丹國際紀錄片影展、2018 捷克 One World 國際人權電影節國際競賽單元、羅馬尼亞 One World 人權電影節 Funded by Asian Network of Documentary (AND) Fund; Pitched at Hot Docs, Docs Port Incheon, AIDC and ASD; Selected by 2017 IDFA, International Documentary Film Festival Amsterdam, 2018 One World International Human Rights Documentary Film Festival, One World Romania

我跟著你 I Follow You （原提案片名：《我的世界》Mine World, My Word）

人民醫院 People’s Hospital （原提案片名：《親密的陌生人》Intimate Strangers）

陳琦 CHEN Qi

後製中 In Post-production

陳思毅 CHEN Siyi 徐若菡 XU Ruohan

製作中 In Production

提案會邀請獎 Special ASD Invittion ASD 邀請獎 AIDC Award AIDC

入選 2017 年仁川紀錄片提案會 Pitched at 2017 Docs Port Incheon

2017 IDFA 提案大會；獲 IDFA Bertha 基金、美國 Chicken and Egg 女性導演基金及 SFFILM (San Francisco International Film 支持 Pitched at 2017 IDFA; Received grants from IDFA Bertha Fund, Chicken & Egg Pictures and SFFILM (San Francisco International Film Festival) 江南棄兒 China’s Forgotten Daughters （Original Title: China’s National Children）

杜海 Vincent DU 韓萌 HAN Meng 黃昱祥 Kathy HUANG

已完成 Done

入選東京紀錄片提案會（獲得最佳亞洲提案獎和 SSD 獎）、法國陽光紀錄片提案大會、入圍 2018 洛杉磯亞太電影節、2018 香港亞洲電影節、捷克 One World 電影節 Pitched at Tokyo Docs (won Best Asian Pitch Award and Sunny Side of the Doc Award), Sunny Side of the Doc, 2018 Los Angeles Asian Pacific Film Festival, 2018 Hong Kong Asian Film Festival, 2018 The One World Film Festival

拉一碗麵 Noodle Kid

霍寧 HOU Ning 史祖德 Gary SHIH

Tokyo Docs Award

東京提案會邀請獎

最具國際潛力獎最佳提案獎 Best Presented Pitch 雪菲爾德提案會邀請獎 Sheffield Doc/Fest Award Project with Most International Potential 提案會邀請獎 IDFA Award 廣州紀錄片提案大會亞洲紀錄片最佳提案獎 IDFA GZDOC Asian Best Pitch

已完成 Done

入選 2015 MIDA 導演計畫、2015 廣州紀錄片提案大會最佳提案、2016 BCM 提案、2019 萊比錫國際紀錄片及動畫影展入圍國際紀錄長片；24 屆釜山影展超廣角單元最佳紀錄長片、 2020 義大利波隆那人物傳記電影節評審團推薦獎 Selected by 2015 MIDA Filmmaker Plan ; Pitched at 2015 GZDOC (won best pitch), 2016 Busan Content Market, 2019 DOK Leipzig Official Selection; 24th BIFF Mecenat Award, 2020 Biografilm Festival Special Mention

樂土樂土 Black Pottery Village

王建軍 WANG Jian-jun 韓蕾 HAN Lei

後製中 In Post-production

入選 2014 Sundance-CNEX 工作坊、獲得 2014 MIDA 導演計畫優勝提案、獲得 2014 北回歸線紀錄片天使基金優勝提案、獲得 2014 廣州紀錄片提案大會最具國際潛力方案、入選 2015 亞洲紀錄片提案大會 Selected by 2014 Sundance-CNEX Workshop, 2014 MIDA Filmmaker Plan; Pitched at 2014 GZDOC (won Project with Most International Potential) and 2015 ASD

塵囂之外 Far From the Crowd

吳建新 WU Jian-xin

停拍 Stagnating

出走瀘沽湖 Love in the Valley of Daughters

阮行恩 Han YAN 劉穎謙 Eddie LIU

製作中 In Production

獲得香港紀錄片種子基金補助、獲得 HAF Award (Hong Kong Project) 資金 Funded by Hong Kong Documentary Seed Grant and HAF Award (Hong Kong Project)

交代 Homo-wives

余潤澤後製中 In Post-production Alexandra Moss （原提案者郭容非 GUO Rong-fei）

獲得 Hot Docs Cross Current Fund、Sundance documentaty Fund 資金補助；入選 IDFA Summer School Funded by Hot Docs Cross Current Fund, Sundance documentary fund; Selectd to IDFA Summer School

他已，化為一座島 He Has Become an Island

鄭晴心 CHENG Ching-hsin 劉家欣 LIU Chia-hsin

後製中 In Post-production

吳柏泓 WU Po-hung 孔祥珩 KUNG Hsiang-heng 鄭敬儒 CHENG Jing-ru

後製中 In Post-production

旦增色珍 Tenzinsedon 廖茗 Ming

後製中 In Post-production

獲得國藝會補助 Funded by National Culture and Arts Foundation

救命人 The Road Home

汕尾以南 A Village by the Sea

李瑾 Jill LI 柴子文 Samuel CHAI

後製中 In Post-production

沉陷區 Zone of Subsidence

胡波 HU Bo

製作中 In Production

入選新鮮提案─東山真實影像提案大會，獲得銅獎項 Pitched at Fresh Pitch – Dongshan (won Bronze Award)

一歲一枯榮 Grass Waving in the Wind

趙昶通 ZHAO Chang-tonga

後製中 In Post-production

江橋夢 The Dream of Super Bridge

王楊 WANG Yang 王國慶 WANG Guo-qing

後製中 In Post-production

入選 2016 廣州紀錄片提案大會 GZDOC（獲得「中國故事」國際提案大會十佳方案第一名）、新鮮提案─東山真實影像提案大會銀獎、亞洲紀錄片提案大會、Hot Docs Dealmaker 提案單元 Pitched at GZDOC, Fresh Pitch – Dongshan (won Silver Award), ASD and Hot Docs Dealmaker

CCDF 1-9 Project Status

歷屆入選提案 CCDF

參與仁川提案會、2019 Hot Docs 提案大會；獲得 HotDocs Cross Funds 基金支持 Pitched at Docs Port Incheon, Hot Docs Deal Maker; Funded by Hot Docs Cross Current Fund Kora: a circle life (TV Version), 2019 Hot Docs Best Canadian Short Documentary

Docs Port Incheon Award

GZDOC Asian Best Pitch

提案會邀請獎 Special ASD Invitation ASD 廣州紀錄片提案大會亞洲紀錄片最佳提案獎

孜廓路 Tsekhor

仁川提案大會邀請獎

獲得新北市紀錄片獎補助 Funded by New Taipei City Doc

131

CCDF-8 入選提案現況 CCDF-8 Projects Status

提案名稱 Title

提案者 Participant(s)

製作現況 Production Status

逆者 The Road Less Traveled （Original title: The Machine）

陳文良 Martin CHEN 李嘉雯 Diana Chiawen LEE 陳怡君 Gwyneth CHEN

已完成 Done

入選 2018 亞洲紀錄片提案大會、2018 國際紀錄片工作坊暨提案大會 Pitched at 2018 ASD, 2018 Crossing Borders Taipei, Leipzig 完成作品《The Machine 逆戰》電視版 52 分鐘：Knowledge Network 預售，Discovery Asia 購買，Little Dot Studio 購買 Pre-sale to Knowledge Network, sold to Discovery Asia, sold to Little Dot Studio’s - USA, UK, Canada, Australia - Digital 《The Road Less Traveled 逆者》電影版 107 分鐘：2020 在台灣院線上映 Theatrical release in Taiwan, 2020

曠野歌聲 Singing in the Wilderness

陳東楠 Dongnan CHEN

後製中 In Post-production

入選 2016 新鮮提案、2018 Hot Docs Deal Maker 提案單元、亞洲提案大會 (TAP)、2019 日舞影展峰會、2019 DMZ 提案會、2019 日舞影展故事和剪輯工作坊；獲山下紀錄片實驗室基金、日舞紀錄片基金、DMZ 基金 Selected by 2016 Fresh pitch, 2018 Hot Docs Deal Maker, The Asian Pitch (TAP), Sundance Summit, DMZ pitch, Sundance Story and Edit Lab; Funded by Shanxia Documentary Lab, Sundance Documentary Fund, and DMZ Fund

超齡爸媽 The Parents Dream

欒誠偉 Mickey Luan Tommaso Muzzi

製作中 In Production

獲香港文藝復興基金會補助 Funded by Renaissance Foundation

家書 Family Letter

入選 2017 廣州國際紀錄片節 GZDOC（獲得「中國故事」國際提案大會十佳方案第三名）、2018 新鮮提案；獲得國藝會補助 Pitched at 2017 GZDOC (won the third place of Best Pitch ), 2018 Fresh Pitch; Funded by National Culture and Arts Foundation

落地・生根 Born in the USA

陳明望 Homa CHEN 梁文心 Wendy LIANG

後製中 In Post-production

入選 2017 廣州國際紀錄片節 GZDOC；獲得騰訊谷雨資金 Pitched at 2017 GZDOC; Funded by Tencent Guyu Project 水下 Underwater

滕仲愷 TENG Zhong kai 張獻民 ZHANG Xianmin

製作中 In Production

他鄉 Lost Hometown

李婕 LI Jie 周浩 ZHOU Hao

後製中 In Post-production

憂鬱之島 Blue Island

陳梓桓 CHAN Tze Woon 任硯聰 Peter YAM

製作中 In Production

我們的青春，在台灣 Our Youth in Taiwan

傅榆 FU Yue 洪廷儀 HUNG Tin-Yi

已完成 Done

楊淑玲 YONG Shu Ling 鄭熙恩 Lisa TEH 已完成 Done

在那桃花盛開的地方 Where the Peach Is in Bloom

蔣春華 JIANG Chunhua 王馨璇 WANG Xinxuan

後製中 In Post-production

入選仁川紀錄片提案大會（獲得加爾各答提案會邀請獎）、英國謝菲爾德紀錄電影節 MeetMarket 提案單元；獲得騰訊谷雨、山下紀錄片實驗室資助、Journeyman Pictures 預付；CNEX 聯合制作 Pitched at Docs Port Incheon (won DocedgeKolkata Award), Sheffield Meet Market; Funded by Tencent Guyu Project, Shanxia Documentary Lab, pre-sale to Journeyman Pictures; Co-produced by CNEX

團魚巖 Turtle Rock

蕭瀟 XIAO Xiao 林林 LIN Lin

已完成 Done

入選 2017 阿姆斯特丹國際紀錄片影展、2018 台灣國際紀錄片影展、2018 英國雪菲爾德紀錄片影展 Selected by 2017 IDFA, 2018 Taiwan International Documentary Festival, 2018 Sheffield Doc/Fest

胡阿姨的花園 Paradise Garden

潘志琪 PAN Zhiqi 商明 Mike SHANG

後製中 In Post-production

康世偉 KANG Shiwei

後製中 In Post-production

入選 2018 亞洲提案會 Pitched at 2018 The Asian Pitch

半世緣 A Lama & a Merchant （原提案片名：《喇嘛和商人的故事》）

歷屆入選提案 CCDF

入選 2017 東京紀錄片提案大會、2017 廣州國際紀錄片節 GZDOC（獲得「中國故事」國際提案大會十佳方案第三名）、Hot Docs Dealmaker 提案單元；獲得視襲時代 ( 北京 ) 文化傳媒股份有限公司資金、獲得日本 NHK 預售、獲得日本 impleo 公司預售 Pitched at 2017 Tokyo Docs, GZDOC (won the second place of Best Pitch ), Hot Docs Deal Maker; Funded by Visible Influence Pictures, pre-sale to NHK and Impleo Japan

再會啦白宮 See You White House

李建成 LEE Chien-Cheng 黃德生 HUANG Te-Sheng

製作中 In Production

楊佈新 Jonathan YANG 楊美雯 YANG Meiwen

已完成 Done

亞洲紀錄片提案會邀請獎東京提案會邀請獎 ASD ASD Invitation Award Tokyo Docs Award

騰訊谷雨最佳潛力獎 CNEX×Tencent CNEX× GUYU The Most International Potential Award 仁川提案大會邀請獎 Docs Port Incheon Award

獲新北市紀錄片獎補助 Funded by New Taipei City Doc

疾風魅影—黑貓中隊 Lost Black Cats

異國 The Land of Mutation

王佳音 WANG Jiayin 朱婷 Ada ZHU

後製中 In Post-production

網紅 Online Offline

陳頌 CHEN Song

製作中 In Production

入選 2017 廣州國際紀錄片節 GZDOC （獲得「中國故事」國際提案大會十佳方案）、第二屆東山新鮮提案大會銅獎、獲騰訊谷雨計劃基金 Pitched at 2017 GZDOC (won Top 10 Pitch ) , Fresh Pitch(won bronzr award) ; Funded by Tencent GUYU Project 非競賽功夫 Kung Fu 提案

Jerry Yu Helen Chan

停拍 Stagnating

Sheffield Doc/Fest Award

獲文化部及桃園市文化局補助；2018 年於台灣院線上映 Funded by Ministry of Culture and Department of Cultural Affairs, Taoyuan; Theatrical released in 2018, Taiwan

雪菲爾德提案會邀請獎

CCDF 1-9 Project Status

132

孺子不可教 Unteachable

入選 2017 Good Pitch、Docs By the Sea、Kartemquin Labs、翠貝卡電影協會 Network Market。入選 2019 年新加坡國際電影節（獲觀眾票選獎） Pitched at 2017 Good Pitch Southeast Asia, 2017 Docs By the Sea; selected by 2017 Kartemquin Labs, 2018 Tribeca Film Institute Network Market. Selected by Singapore International Film Festival 2019 (Winner of Audience Choice Award)

Best Pitch Award

最佳提案獎

入選 2018 台北電影獎（世界首映，獲最佳紀錄片）、2018 金馬獎最佳紀錄片；2019 年於台灣院線上映 Selected by 2018 Taipei Film Festival (world premiere, won Best Documentary)，2018 Golden Horse Awards Best Documentary; Theatrical released in Taiwan, 2019

AIDC Award

獲得香港藝術發展局計劃資助、香港紀錄片種子基金、Pure Art Foundation 資助、第二十三屆韓國釜山國際電影節亞洲電影基金入選資助項目、2019 新北市紀錄片獎獲資助優選影片；入選台北金馬創投會議 WIP 企劃案、日本東京紀錄片提案大會 - 最佳提案獎、韓國 DMZ 紀錄片投案大會－最佳製作投案獎、墨爾本澳洲紀錄片會議、日內瓦國際電影節及人權論壇、2020 法國陽光紀錄片提案大會一對一提案 Funded by Hong Kong Art Development Council, Hong Kong Documentary Initiatives Seed Grants, Pure Art Foundation, 23rd BIFF AND Fund, 2019 New Taipei City Documentary Film Award; Selected by Taipei Golden Horse Film Project Promotion WIP Forum, Tokyo Docs Pitch forum 2019 Best Pitch award, DMZ pitch forum 2019 Excellent project - Production pitch, AIDC, Geneva FIFDH Impact Day, Sunnyside of the Docs 2020 one on one pitch

澳洲國際紀錄片節獎

加拿大 Hot Docs 國際記錄片電影節邀請獎

Hot Docs Award

GZDOC Asian Best Pitch Award

後製中 In Post-production 廣州紀錄片提案大會亞洲紀錄片最佳提案獎

廣州紀錄片提案大會亞洲紀錄片最佳提案獎

GZDOC Asian Best Pitch Award

侯婕 Jess HAO 陳庭婷 Kiwi CHAN 周浩 ZHOU Hao

提案會邀請獎 IDFA IDAF Award

ASD Award

Far East Transvideo×CCDF: Potential Award

最佳提案獎 Best Pitch Award 亞洲陽光紀錄片提案會推薦獎 ASD 遠東 ×CCDF 潛力獎

CCDF 8

CCDF-9 入選提案現況 CCDF-9 Projects Status CCDF 9

提案者 Participant(s)

製作現況 Production Status

百年，孤寂 Solitude

李剛齡 LEE Kang-ling 許懷民 HSU Huai-min

停拍 Stagnating

築城紀 Another Brick On The Wall （Original title: The Builders of the Great Wall）

張楠 ZHANG Nan 祁郁 QI Yu 陳奕松 Ansell Durwin Uy TAN

製作中 In Production

入選 2019 年加拿大多倫多 Hot Docs 紀錄片電影節 Pitch Forum 主提案單元、入選 2020 年第十八屆香港亞洲電影投資會 WIP 計畫 Selected by 2019 Hot Docs Forum; Selected by 2020 18th Hong Kong - Asia Film Financing Forum (HAF) WIP projects

無臂七子 The Arms of Seven Men

金行征 JIN Xing-zheng 張超 ZHANG Chao

已完成 Done

獲得 2019 年度浙江省紀錄片「丹桂獎」最佳紀錄片；入圍 2019 年中國（廣州）國際紀錄片節 Won Best Documentary at the 2019 “Osmanthus Award,” Zhejiang Province; Selected by 2019 GZDOC

遙望繁星 Smog Town （原提案片名：《局長》 Smog Director）

韓萌 HAN Meng 杜海 Vincent DU

已完成 Done

阿志 My Psychic Brother

盧盈良 Elvis LU 李建良 LI Jian-liang

製作中 In Production

王申 Sean WANG 趙佳 ZHAO Jia

製作中 In Production

獲新北市紀錄片獎與國藝會資金 Won 2018 New Taipei City Documentary Film Award; Funded by NCAF 石史詩 Epic of a Stone 入圍瑞士真實電影節提案會 Selected by Pitching du Réel

工筆放肆 In Between Worlds

陳英尉 CHAN Ying-wai 李敏芝 LI Man-chi

後製中 In Post-production

雪水消融的季節 After the Snowmelt

羅苡珊 LO Yi-shan 吳璠 WU Fan

製作中 In Production

AIDC Award

澳洲國際紀錄片提案會邀請獎

The Best Pitch with a Local Theme Sponsored by Joseph TSENG

最佳在地題材提案獎︵曾煥哲先生贊助︶

獲 2017 東京紀錄片提案大會「卓越提案獎」；獲 DMZ 紀錄片「最佳提案獎」、「後期製作提案獎」；獲 NFF * IBF 聯合製作計畫專案支持；入選 2019 阿姆斯特丹國際紀錄片影展新人競賽單元、2020 12th DMZ 國際紀錄片影展亞洲競賽單元、哥本哈根紀錄片電影節，瑞士真實影展、捷克 One World 電影節等 Won “Excellent Pitch Award” at 2017 Tokyo Docs; Pitch at 2018 DMZ (won Best Project and Post Fin Award); Funded by Netherlands Film Fund and IDFA Bertha Fund Co-Production Scheme; Selected by 2019 IDFA Competition for First Appearance, 2020 DMZ International Film Festival, CPH:DOX, Visions du Réel, One World Film Festival

雪菲爾德紀錄片影展推薦獎 Sheffield Doc/Fest Award 新鮮提案邀請獎 Fresh Pitch Award

澳洲國際紀錄片提案會參與獎

AIDC Pass Award

提案名稱 Title

長大 Girlhood

周浩 ZHOU Hao 賀珊 HE Shan

製作中 In Production

棒！少年 Tough Out （Original Title: Baseball Boys）

許慧晶 XU Hui-jing 梁圓 LIANG Yuan

已完成 Done

獲 2018 西湖國際紀錄片大會優選提案；入選 2018 中國（廣州）國際紀錄片節「中國故事」國際提案大會十佳方案、2020 FIRST 青年電影展紀錄片觀眾選擇榮譽紀綠片組第一名 Won 2018 West Lake International Documentary Festival (IDF) Outstanding Proposal; Shortisted in Top 10 Pitches of 2018 GZDOC DocuMart, “China Story” International Pitching Session, 2020 FIRST Audience Choice Award First Place Documentary

子曰 Confucius’ Confusion

龍淼淵 LONG Miao-yuan

後製中 In Post-production

他們一百歲 They Are One Hundred Years Old

德格才讓 Dukar Tserang

製作中 In Production

Spi 烤火房的一些夢 Lost in Dreams （Original Title: Spi）

莎韻西孟 Sayun Simung 郭郁濃 KUO Yu-nung 洪頌茹 HUNG Sung-ju

製作中 In Production

獲 2017 年原住民族委員會補助、國家藝術文化基金會紀錄片專案補助 Funded by Council of Indigenous Peoples and NCAF Project Grants: Documentary Filmmaking

飛機下的蛋 Where Is My Flight Home?

王磊 WANG Lei 林家億 Jackie C. Lin

後製中 In Post-production

喧囂與孤獨 Chaos and Loneliness

陳長清 CHEN Chang-qing 于瑩瑩 YU Ying-ying 郭恒奇 GUO Heng-qi

製作中 In Production

顧桃 GU Tao 高巍 GAO Wei

後製中 In Post-production

最佳提案獎 The Best Pitch 亞洲紀錄片最佳提案獎 GZDOC Asian Best Pitch Award GZDOC 仁川紀錄片提案會推薦獎 Docs Port Incheon Award 紀錄片提案會推薦獎 IDFA Award IDFA

Hot Docs Award

加拿大 Hot Docs 國際記錄片電影節邀請獎

2019 國藝會紀錄片創作專案補助；2020 DMZ 紀錄片基金 Funded by NCAF Project Grants: Documentary Filmmaking; 2020 DMZ Docs Development Fund

參與 2018 第二届西湖國際紀錄片大會（IDF 創投） Pitched at 2018 West Lake International Documentary Festival (IDF)

浩特浩特・青 Haote Haote · Youth

接班硬世代 Tradition 2.0

劉曉蓉 Amber Liu 李剛齡 LEE Kang-ling 潘崇愷 Mark Pan

後製中 In Post-production

直到那一天 Until that Day

鄭灝勳 Covin Cheng 楊紫燁 Ruby Yang

製作中 In Production

獲 2018 東京紀錄片提案大會「卓越提案獎」 Won 2018 Tokyo Docs Excellent Pitch Award

CCDF 1-9 Project Status

歷屆入選提案 CCDF

騰訊谷雨 ×CNEX: 最佳國際潛力獎 Tencent GUYU×CNEX: Most International Potential Award 亞洲陽光紀錄片提案會推薦獎 ASD Award 東京紀錄片提案會推薦獎 Tokyo Docs Award

參與 2017 金馬創投會議 Selected by 2017 Golden Horse Film Project Promotion (FPP)

133

CCDF-10 入選提案現況 CCDF-10 Projects Status CCDF 10

提案名稱 Title

提案者 Participant(s)

製作現況 Production Status

小島大歌 Small Island Big Song

提姆柯爾 Tim COLE 陳玟臻 BaoBao CHEN

製作中 In Production

塵默呼吸 Silence in the Dust

李維 LI Wei 楊可若 Edmond YANG 邱陽 QIU Yang

後製中 In Post-production

真實生長 Dare to Grow Up

加拿大國際紀錄片影展推薦獎

Hot Docs Award

張琳 ZHANG Lin 粟國祥 SU Guo-xiang

已完成 Done

武小雯 WU Xiao-wen 林宸西 Veron LIN

製作中 In Production

伍心瑜 WU Hsin-Yu 王奕傑 Jerome WANG

後製中 In Post-production

獲得騰訊資金 Funded by Tencent

庵上人家 Lost&Found （Original title: Unconventionals in a Convent）參與 2020 年加拿大 Hot Docs 紀錄片提案大會

臨演人生 The Extra’s Journey

參加 2018 Crossing Borders 提案會、廣州紀錄片節提案會 Pitched at 2018 Crossing Borders International Documentary Pitching Forum, GZDOC

阿嘎日的天空 The Return of Agaar

楊波 Bo YANG 許小飛 XU Xiao-fei

製作中 In Production

逐格人生 Stop, Motion

王治德 Zed WANG 徐千淳 Tami XU

製作中 In Production

海螺 Conch Shell

胡田淨沙 HU Tianjingsha 徐瑋超 XU Wei-chao

後製中 In Post-production

參與 2019 德國萊比錫提案會 Selected by 2019 Dok Leipzig 製作顧問獎 CNEX CNEX Production Advisory Award

源 The Source

閻大眾 YAN Da-zhong 劉壯 LIU Zhuang 陳韻竹 CHEN Yun-zhu

製作中 In Production

翁丁 The Last Tribe in China

劉春雨 LIU Chun-yu 任曉宇 REN Xiao-yu

後製中 In Post-production

參與 2019 年廣州國際紀錄片節提案大會、2019 年 Fresh Pitch 新鮮提案大會、2020 年 Hot Docs “Deal Maker” Attended 2019 GZDOC, 2019 Fresh Pitch, 2020 Hot Docs “Deal Maker”

孤注 All In

周浩 ZHOU Hao 賀珊 HE Shan

後製中 In Post-production

張藝馨 ZHANG Yi-xing 李博 LI Bo

製作中 In Production

2019 年參加西湖紀錄片大會，獲得最佳入門獎第二名 2019 West Lake IDF Outstanding Proposal

無聲合唱團 The Silent Choir CCTV9 中國故事提案 CCTV9 China Story Pitch

明天，你好 Until Tomorrow

鄧偉 DENG Wei

製作中 In Production

拳后媽媽 Mom of the Ring

吳越 WU Yue 杜海 Vincent DU

製作中 In Production

IDF Award

絳紅森林 Dark Red Forest

金華青 JIN Hua-qing 吳恩熙 WU Enxy 李欣儀 LI Xin-yi

後製中 In Post-production

西班牙 Miradas 電影節創投發行獎；西湖國際紀錄片大會創投單元、日本 Tokyo Docs 創投大會、澳大利亞 AIDC 創投大會、瑞士 Vision du Reel 電影節創投 Docs in Progress 單元、Asterisk 市場營銷獎；加拿大 Hot Docs 電影節 Deal Maker 單元、紐西蘭 Doc Edge 電影節粗剪單元、韓國 EBS 電影節 H!Docs Pitch Pitched at MiradasDoc Market (Received International Distribution Award) West Lake IDF; Tokyo Docs, AIDC, Vision du Reel - Docs in Progress (Asterisk* Marketing Award); Hot Docs - Deal Maker, Doc Edge - Rough Cuts, EBS H! Docs Pitch

神之高原 Plateau of the Gods

黃胤毓 HUANG Yin-yu 菅谷聰 So SUGAYA

停拍 Stagnating

誠信之邦 P2P A Chinese Joke

康世偉 KANG Shi-wei

製作中 In Production

里長奧笑連 The Rookie Chief in Duke Hill

陳彥豪 CHEN Yen-hao 沈子琦 SHEN Chi-chi

製作中 In Production

范儉 Jian FAN 梁為超 Richard LIANG 江松長 S. Leo CHIANG

製作中 In Production

短片版本供公共電視「新創紀實短片」專案委製 Short version co-produced with PTS “Startup Short Documentary” Project

愛過 Born to Be Second

2017 獲得 Sundance Institute 基金支持、2018 獲得 Catapult Film Fund 基金支持、2018 取得 Al Jazeera Documentary Channel 半島電視台合製資金；2018 年獲得 IDF 杭州西湖國際紀錄片大會「最具潛力發展計畫」；2019 與日本 NHK 合作剪輯《愛過》28 分鐘短紀錄片 (Lens Version 單元 )、 2019 與騰訊（Tencent）新聞聯合出品製作本片 2017 Sundance Institute Documentary Fund, 2018 Catapult Film Fund, 2018 Al Jazerra Documentary Channel Co-production Fund; 2018 IDF Most Potential Development Plan; 2019 28-min short doc co-edited with NHK (Lens Version Program), 2019 Co-produced with Tencent News

正常生活 Her Normal Life

洪嘉寶 Hong Jia-bao 劉柳 LIU Liu

製作中 In Production

紐西蘭邊鋒紀錄片節邀請獎 Doc Edge Award 亞洲陽光紀錄片提案大會推薦獎 ASD Award 最具國際潛力獎 Highest International Potential Award

觀眾票選獎

CCDF 1-9 Project Status

Audience Choice Award

歷屆入選提案 CCDF

邀請獎 AIDC Invited Award AIDC 西湖國際紀錄片大會邀請獎

入選 2019 GZDOC、東京紀錄片提案大會 ( 獲最佳提案獎 )、2020 新鮮提案 Pitch at 2019 GZDOCS, 2019 Tokyo Docs (won Best Pitch Award) and 2020 Fresh Pitch

澳洲紀錄片提案大會推薦獎 AIDC Award 東京紀錄片提案大會推薦獎 Tokyo Docs Award 新鮮提案邀請獎 Fresh Pitch Award

騰訊谷雨 ×CNEX 最佳提案獎 Tencent GUYU×CCDF: Best Pitch Award

134

DOK Leipzig Award

德國萊比錫紀錄片提案大會推薦獎

製作顧問獎 CNEX CNEX Production Advisory Award

獲得 NHK 的製作基金；入選韓國 EIDF 提案會 Funded by NHK; Will be pitched at EBS International Documentary Festival (EIDF)

阿姆斯特丹國際紀錄片提案大會推薦獎 IDFA Award 最具國際潛力獎 Highest International Potential Award

獲得瑞士 Visions Sud Est 後製資金，參與香港亞洲電影投資會 WIP，上海國際電影節紀錄片創投 Received Visions Sud Est Post-production Fund; Will be pitched at Hong Kong-Asia Film Financing Forum (HAF) - WIP projects; Will be pitched at Shanghai International Film Festival (SIFF) - SIFF Documentary Project

歷屆入選提案 CCDF

CCDF 1-9 Project Status

135

十年。十問。

100 部華人紀錄片當代華人社會文化紀錄者 CNEX 的名字是由「看見未來」（See Next）的英文發音而來並有「華人新世代」（Chinese Next）的意涵

2007

2008

希望與夢想

2009

下一代的家園

2010

危機與轉機

2011

青春與公民

2012

教育？教育！

這是一個長期的年度影像徵集與展演計畫我們將緊貼著這個華人文化日趨繁複而龐大的時代以十年的時間對十個大主題邀請全球華人各路人馬一同觀察、思考、記錄、表達用影像與文字寫下當代華人的社會文化史為下一代的華人建立一個影像資料庫全球視野，在地行動 Connecting NEXT，Collecting NEXT，Creating NEXT，Culture NEXT 當代華人影像與文字正在彙集 Chinese 2.0，已經誕生。所有尚未被記錄，但終將被矚目的人，所有尚未被看見，但終將會發生的事，都會被記錄在 CNEX 給下一代太平盛世的備忘錄中。

組織 CNEX 為一非營利性質的民間文創組織，由兩岸三地熱愛紀錄片的人士組成，目前由北京國際交流協會、台灣蔣見美教授文教基金會、香港 CNEX 基金會共同推動。

遠景 CNEX 以開展文化資源、培育文化創意人才、促進華人社會和諧進步與華人文化的可持續發展為遠景，期望透過紀實文藝促進國際社會與華人的文化交流。

2013

愛的消失與重生

2014

安全感與信任感

2015

網絡與人生

目標

承諾與承擔

文化資源整合：與兩岸三地非營利機構合作，向企業籌募資金作為營運基礎，並與電子及平面媒體合作推動各項華人社會紀實文藝計劃。建立紀實文藝資料庫：以影音創作帶動文字論述，以文字論述促進影音創作，為 21 世紀的華人社會留下紀實文藝資料庫，促進紀實文藝產業的持續性發展。

2016 （年度）

（年度主題）

使命 CNEX 在大變遷的全球化時代，提供新一代華人紀實創作者及其文藝作品的創作與交流平台，幫助更多的專業人士以影音和文字的形式留下華人社會發展的生態軌跡。

行動自 2007 年起，連續十年，每年觀察該年度華人的精神動向與集體意識，選定與華人社會密切相關的年度主題，號召全球華人對此主題描述、響應、表達、對話，並以此主題進行徵案、拍攝、出版、展映、發行等活動。

紀錄片徵案與製作依照年度主題，進行紀錄片徵案與工作坊評選，每年選出數個企劃案進行拍攝；同時邀請華人地區的紀錄片工作者共襄盛舉，創造出該年度深具影響力的文化作品。

年度主題影展依照年度主題，每年舉辦主題紀錄片影展，邀集與該年度主題相關的國際紀錄片、華人紀錄片，甚至文字、圖像、音樂等文化作品，形成一年一度的影像嘉年華會。

發行與出版關於 CNEX About CNEX

136

CNEX 的徵案補助拍攝不同於一般捐贈性質的補助行為，CNEX 以創造文化產業規模經濟為遠景，所有的文字報告和影像作品，最終將製成系列出版物向海內外發行推廣，創造不容忽視的影響力與歷史價值。

提案大會與培訓工作坊 CNEX 自 2010 年起，每年舉辦 CNEX 華人紀錄片提案大會（CCDF），採取盛行於國際的「提案會」模式，幫助華人紀錄片工作者與國際性的電視台、基金、發行商與製片人，取得創作及發行的交流，進而鏈結合作的可能。於此同時，CNEX 亦希望透過與各個國際單位合作，深化在地紀錄片工作者的培育工作。多年來，CNEX 不斷開發各式工作坊的可能性，於 2011 年至 2017 年與日舞影展協會（Sundance Institute）合作紀錄片說故事工作坊，並於 CCDF 活動期間辦理製片工作坊、大師講堂。

10 Themes, 10 Years, 100 Chinese Documentaries

Preserving Contemporary Chinese Cultures What is CNEX CNEX is the short form of “Chinese Next” and “See Next”. It’s a non-profit foundation devoted to the production and promotion of documentaries of the Chinese people. CNEX strives to facilitate cultural exchange between Chinese and the rest of the world through supporting documentaries depicting contemporary Chinese – people of Chinese ethnicity, their living and their society. CNEX aspires to become a platform supporting Chinese documentary filmmakers to enhance a sustainable strategy for the contemporary Chinese documentary making. CNEX aims to establish and develop a library of global Chinese non-fiction works to preserve visuals and cultures of Chinese communities, especially in a time of unprecedented and rapid changes happening in this ancient culture. Who We Are We have a great team consisting of professional filmmakers, passionate staffs and volunteers, as well as an expanding advisory board. Three key founding members of CNEX are: Ben TSIANG (Chairman), Ruby CHEN (CEO) and CHANG Chao-wei (Chief Producer). CNEX believes the ultimate impact is making social reflection and dialogue through documentary films. CNEX is now engaging NGOs for each film produced to deliver social awareness and action. In short, CNEX is to be the bridge of film-makers and change-makers. What We Do ．Annual Thematic Production ．International Co-Production ．Publication and Distribution ．CNEX Documentary Film Festival and Campus Tour ．CNEX Chinese Doc Forum ．CNEX Doc Academy Theme of the Year 2007: Money 2008: Dreams and Hopes 2009: Next Generation’s Homeland 2010: Crisis & Opportunity 2011: Youth & Citizenship 2012: Education? Education! 2013: Dissolution and Restoration of Love 2014: Security and Trust 2015: Life@web 2016: Commitment & Accountability CNEX 台北 CNEX Taipei 台北市內湖區堤頂大道一段 223 號 6 樓 6F., No.223, Sec. 1, Tiding Blvd., Neihu Dist., Taipei City 114, Taiwan (R.O.C.) W www.cnex.org.tw / M contact@cnex.org.tw / T +886-2-27965820 / F +886-2-27965967

CNEX 香港 CNEX Hong Kong 香港九龍觀塘偉業街 118 號 Tuspark 7 樓 712 室

北京市朝陽區廣渠東路三號競園圖片產業基地 1 號庫東 2 層 2 F., Building No. 1, Jing Yuan No. 3, Guangqu East Rd, Chaoyang District, Beijing 100022, China W www.cnex.org.cn / M contact@cnex.org.cn / T +86-1064073571 / F +86-1064073571#8007

CNEX About CNEX

CNEX 北京 CNEX Beijing

關於

Unit 712, 7F, Tuspark, 118 Wai Yip Street, Kwun Tong, Kowloon, Hong Kong W www.cnex.org.hk / M contact@cnex.org.hk / T +852-35869041 ; +852-35869061 / F +852-30129947

137

第十一屆 CNEX 華人紀錄片提案大會工作人員 CCDF-11 Staffs 總體企劃暨國際顧問 Overall Planner and International Consultant Pat FERNS

CNEX Foundation

CCDF 榮譽主席 Honorary Chairman 蔣顯斌 Ben TSIANG

蔣顯斌 Ben TSIANG │陳玲珍 Ruby CHEN 張釗維 CHANG Chao-wei │董黎瀅 Christina TUNG

CCDF 主席 Chairwoman 陳玲珍 Ruby CHEN

拓展委員會 Corporate Development Committee

CCDF 總監 Director of CCDF 張與蘭 CHANG Yu-lan

董事局成員 Board Members

高級顧問 Members of Development Committee 董黎瀅 Christina TUNG 臺北辦公室 CNEX Taipei Office

CCDF 專員 CCDF Coordinator 吳定翰 Andre WU │黃寒 Stephanie HUANG CCDF 實習生 CCDF Intern 黃遠懷 Ian HUANG │李冠廷 Tin LEE CCDF 專案執行 CCDF Project Executive 陳湘 Hsiang CHEN 主視覺設計 Visual Designer 陳奕君 Sharon CHEN 美術編輯 Art Editor 闕嘉妏 CHUEH Chia-wen 手冊編輯 Catalogue Editors 張與蘭 CHANG Yu-lan │吳定翰 Andre WU 黃遠懷 Ian HUANG │黃寒 Stephanie HUANG 陳湘 CHEN Hsiang 現場口譯 Interpretors 黃致潔 Grace HUANG │鄭孟遷 Mark CHENG 手冊翻譯 Catalogue Translation 詹蕙璟 Adrianne CHAN │吳璠 Fanni WU 張新 CHANG Shin │黃遠懷 Ian HUANG 主辦單位與工作人員 CCDF Organization and Staffs

138

共同創辦人暨董事長 Co-Founder & Chairman 蔣顯斌 Ben TSIANG 共同創辦人暨執行長 Co-Founder & CEO 陳玲珍 Ruby CHEN 共同創辦人暨製作總監 Co-Founder & Chief Producer 張釗維 CHANG Chao-wei 總監 Director of CNEX Foundation & CCDF 張與蘭 CHANG Yu-lan CCDF 專員 CCDF Coordinator 吳定翰 Andre WU │黃寒 Stephanie HUANG

北京辦公室 CNEX Beijing Office

財務部門 Financial Department

內容總監暨合夥人 CCO & Partner 程十卉 Shirley Shihui CHENG

財務總監 Finance Director 李媛媛 Celina LEE

策劃發行總監 Business Development Director 劉美 Tracy LIU

會計專員 Accountant 許雅茹 HSU Ya-ru │何佳穎 Candy HO

製作協調 Production Coordinator 喬楠 Nancy QIAO │徐筱 Kay XU

製片部門 Production Department

項目助理 Project Assistant 林靖耘 Amy LIN 實習生 Intern 王渙若 WANG Huanruo

資深製作人 Senior Producer 沈如雲 SHENG Ru-uing 製作協調 Production Coordinator 胡清雅 HU Ching-ya │蔣湘伶 Sophia CHIANG 資訊工程部門 Information Technology Department

財務經理 Financial Manager 劉育倩 Aivi LIU 財務助理 Accounting Assistant 黃欣然 Shirley HUANG

資訊長 Chief Information Officer 伍國強 Giant WUU 資深系統架構師 Sr. System Architect 詹鎮源 Jesse CHAN

香港辦公室 CNEX Hong Kong Office 發行部門 Distribution Department 項目統籌 Project Executive 葉詠然 Kate IP 項目主任 Project Officer 鄭家燕 Kayin CHENG

CNEX Studio

發行經理 Distribution Manager 陳泊安 Nicholas CHEN 發行專員 Distribution Specialist 蔡曉松 Eric TSAI │陳科廷 Curtis CHEN 國際發行暨採購專員 International Distribution Specialist 詹蕙璟 Adrianne CHAN 節目暨行銷部 Programming & Marketing Department

共同創辦人暨執行長 Co-Founder & CEO 陳玲珍 Ruby CHEN

總監 Director 楊宗翰 Heimu YANG

共同創辦人暨製作總監 Co-Founder & Chief Producer 張釗維 CHANG Chao-wei

美術設計 Graphic Designer 陳奕君 Sharon CHEN

營運總監 Director of Operation 史祖德 Gary SHIH

剪輯師 Editor 廖榮棋 Alvin LIAO

誠摯地感謝所有曾經幫助 CNEX / CCDF 的人 We sincerely appreciate those who have supported CNEX / CCDF

CCDF Organization and Staffs

執行秘書 Executive Assistant of CEO office 黃寒 Stephanie HUANG

主辦單位與工作人員

共同創辦人暨董事長 Co-Founder & Chairman 蔣顯斌 Ben TSIANG

139

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