thescreenmag by ANDREW LEE

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2015.0 3 THE SCREEN MAGAZINE

A Magazine for Film Lovers 給愛電影的人的雜誌

女人為了生存，會走到那個禁區？

本土地電影只能以色與性彈出

Love movie Love life

映誌 | The screen

3761 6661

The screen 04

Forward / 前言 text by /Andrew Lee

Publisher/ Mutiplex Cinema Ltd Editorial Direction/ Andrew Lee Creative Director/ Mary Chan Chinese Editors/ William Li English Editors/ Goufe Transty Contributors/ 垃圾子講剷片 Graphic Design/ Andrew Printing sponser/ COLHAM printing co., LTD.

hello.

Last week, I went to a very special restaurant with my friend for a dinner. We talked and discussed different perspective, feeling and feedback of how movies brought you, or even change you lifestyle. Everytime I watch a film, It was like experenicing a journary or a lecture in University. Either it is a bad movie or a stunning movie, you must experience your own lesson while watching it.

上星期跟一個朋友在餐廳高談闊論看電

I have expericence the living style of a prostitute which change the ways how i look at them after watching the series of Sex Workers. After watching SARA, I raised my understanding on the social problem in Hong Kong. SARA has also brought me back the habit of writing diary.

法。看過了《雛妓》認識了本地社會，

Drama and sex film is the theme and topic of this issue. Many people stereotyped movie about sex is a real sex movie or a comedy for entertainin. However, all movie have their own message to transmit to audienc. Last but not least, widening your eyes and perspective while watching movie may help you on understanding a film.

影的得著與體驗，或者說是看電影有沒有改變自己的生活。作為一個小小的香港電影迷，每次看完一齣電影，都會有一種反思與體會。即使是一齣參齊的電影，還是精彩絕倫，多多少少也會轉換我看一事一物的角度。看過了《性工作者系列》體會了性工者們的生活，改變了我對性工作者的看也帶回的寫日記的舊習。看過了《喜愛夜蒲》令的不想再去夜蒲。今期的主題是以本土以色為主導的電影，至於開於色的電影，大眾把他們標籤為笑片或軟色電影。其實也只不過是一套有信息的劇情片。很多時候就是觀眾把對性的電影有著什麼批判與定型，只是觀眾尚開視野想想性裡有什麼信息可以表達出來，總會領悟到一些與別不同的。

《金雞》Golden Chicken 2002

人的一生，職業也好，前途也好，你都有嘗試和轉變的可能，而生命，只有一次，不可逆轉。— 阿金

04 / March 2015

CONTENTS

Feature film___雛妓

Features topic___本土電影只能以色與性彈出

Someone you need to know＿與黃浩然面對面

Interview__導演訪談/不明的麥曦茵

Film from west__來自西方的性主題電影

Spotlight in channel＿電影台精選

Soundtracks in your list__兩隻不能錯過的原聲大碟

Your watchlist__兩套不能錯過的本土電影

Events __流動的影像

Events__ 第三十九屆香港國際電影節

女人為了改變自己的命運

究意要放棄多少東西付出多少代價。

feature film

雛妓 Sara

As her money runs out, Yuling/Sara checks into a hotel where she intends to hang herself. Just as Yuling is about to take her own life, she meets a Thai child prostitute who would change her desire to end her life.

於雜誌社工作的何玉玲花了四個月時間

Somehow, the urge to rescue this prostitute gives Yuling/Sara newfound life and energy. As she gets to know the child prostitute and during the dangerous rescue process, Yuling/Sara confronts her dark past.

難受，千方百計決定將Dok-My救出火

完成一篇關於官商醜聞的報道，卻基於雜誌社利益為由被老總抽稿。意興闌珊的她決定到泰國清邁散心，在酒吧遇上雛妓Dok-My，玉玲看在眼裡心感海。原來Dok-My令玉玲憶起自己十多年前的經歷，曾經被後父性侵而離家出走，令她遇上比她年長三十年的甘浩賢這位長腿叔叔。展開長達八年的不道德交易，她願意被包養以換取學位與棲身之所，兩人感情千絲萬縷，關係如父女又如情人般撲朔迷離⋯

| text / andrew | photo / Chan Kwong Shing | special thanks / Emperor Motion Pictures 映誌 | The screen

Sara is not only presenting “Sara” literally. It is not only tells Ah Sa, played by Sara raise and develop complex emotional relationship was sexual abuse from his stepfather, played by Simon Yam exchange for sex aids Mr. Kaxm to prostitution through Thailand Dok-My salvation and see themselves and carry out self Redemption growth story, it is brought out on “the fate of independent women how to” lay out the story of the questioning.

《雛妓》所最終呈現的圖景，是超越了

At the opening Sara asked, ‘How many cost for a woman in order to change their own destiny, .’ Sara’s mother, Sara yourself, Dok-My, three different years or different regions of the women, all at a young age in exchange for the survival and development opportunities with the flesh. Mother struggling to survive in order not to lose the shade bookstore owner at the expense

改變自己的命運，究竟要放棄多少東

「雛妓」字面的範圍的。它不僅道出了阿Sa飾演的Sara從被繼父性侵，以性換取任達華飾演的甘浩賢的助養並發展出複雜的情感關係，到透過泰國雛妓DokMy看到自己並開展救贖與自我救贖的成長故事，更是在故事鋪陳中帶出關於「女性如何才能命運自主」的追問。開篇Sara就在獨白中問，一個女人為了西付出多少代價。Sara的母親、Sara自己、清邁的Dok-My，三個不同年代或者不同地域的女性，都在年輕的時候用肉體換取生存和發展機會。母親在生存的掙扎中為了不失去書店老闆的蔭蔽而犧牲了Sara，痛苦地默認了後夫對Sara 的玷污；Sara為了改變命運，用身體換

SARA 雛妓 Director/ Herman Yau 導演/ 邱禮濤 Cast/ Charlene Choi, Simon Yam 主演/ 蔡卓妍任達華 3月5日已上映 Available on 5th March

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映誌 | The screen

feature film

取甘浩賢的助養，在曖昧難以界定的情

的證據，她可以任意擁有店裏喜歡的

為它成本較低門檻不高且非常個人化，

感糾葛中，懷著複雜的心境走出一條人

筆。這是她被繼父強暴所得到的補償，

雖然口述的成本更低，但卻提供不了書

生的新路，卻也不斷受制於往事的陰

她不僅用它們來寫日記，更多次試圖用

寫程度的私密性和安全性。

影；Dok-My年幼就被家人賣去酒吧，

它們來自衛。助養人甘浩賢也送過一支

用肉體換取一家人的生存機會，對她來

海明威鋼筆給Sara，這裡面包含了甘對

第二個符號是「魚」，甘浩賢總是去夜

說，夢想已經是太過奢侈的東西，但遇

她的情感和寄望，最後Sara也像海明威

釣並在走前將所有魚放生，而就是在碼

到Sara後，她的人生也發生了轉機，最

一樣成為了一名優秀的記者，並且在她

頭垂釣的地方，他撿到了Sara的生命文

終轉向何處，這在電影裡是留白的部

決定寫Dok-My的故事時，拿出這支筆

本（日記），遇到了自比為遊蕩小魚的

分。電影一直在引發觀者自問，作為一

堅定自己的內心。而整個電影，Sara都

Sara。這也對應了之後，甘不捨但主動

個女性，在當下的處境中，對於自己的

不斷拿著各種筆在書寫，記錄自己的生

離開了Sara，給她新的自由，就好比放

命運前路，究竟可以有哪些選擇。觀者

命和見聞。筆之於她，是禮物/補償，

魚歸海一般。雖然當時Sara並不想要這

不難發現，選擇範圍其實是非常小的。

是防衛的武器，是生命的見證，也是僅

自由，就像她曾經說的，魚可能並不想

有的自我表達與訴說的途徑。這也讓我

被放歸大海而是想被帶回家一樣。這一

一個是「筆」這個符號。Sara少女時期

不禁想到，書寫幾乎是女性唯一能守護

段又像買賣，又像父女，又像戀人的魚

繼父是文具店老闆，作為繼父「錫」她

的自我表述和生命經驗展現的途徑，因

水關係，改變了Sara的命途，雖以魚兒

of Sara, a painful default after husband of Sara tarnished; Sara order to change the fate of the body in exchange for Mr. Kam with the sponsorship, is difficult to define the ambiguous emotional entanglements in, with mixed mood out a new path in life, but also continue to be subject to the shadow of past events; Dok-My young family it was sold to the bar, with the body in exchange for a person’s chance of survival, for her, a dream already is too extravagant things, but after encountering Sara, her life has also undergone a turning point, where the final turn, which is the blank part in the movie. Movie viewers have been caused by ourselves, as a woman, in the present situation, for their own destiny

road before, exactly what are my options. Viewers can easily find the range of choice is actually very small.

The entire film, Sara are constantly holding a variety of pen writing, recording his own life and knowledge. Pen in her gift / compensation, are defensive weapons, is the witness of life, self-expression and also the only way to tell for. That I can not help thinking, writing is almost the only way women can guard the self-expression and life experience of the show, because it is low cost threshold is not high, and very personal, lower cost, although oral, but they can not provide the degree of writing the privacy and security.

One is the “pen” symbol. Sara adolescent stepfather was a stationery shop owner, a stepfather, “tin” her evidence, she can have a store like any pen. This is her stepfather raped compensation was, she not only use them to write a diary, more times trying to use them to defend itself. Help raise people Ganhao Xian also sent over a Hemingway pen to Sara, which contains this sweet to her emotions and hopes, like Hemingway, like Sara finally become a good reporter, and she decided to write Dok-My When the story, took the pen harden their hearts.

The second symbol is the “fish”, Gan Haoxian always go night fishing and walking all the fish before release, but is fishing at the

feature film

回歸大海結束，卻也在心中留下久久不

得已的情況下的艱難求生者。

散的漣漪。最後一個印象深刻的片段是Sara去見病危的母親。這個曾經為了生存捨棄和出賣了她的母親，在臨死前對她說出了內心的痛苦與懺悔，在得到Sara的原諒後離開了人世。這個與母親最後時刻的和解，而不是與Dok-My的道別，完成了 Sara的自我救贖與重生。她在Dok-My身上看到了自己，又在自我生命的回溯中更深體會了母親當時的掙扎、痛苦與無奈，最終選擇了原諒同樣為了命運而血淋淋地掙扎、割捨過的母親，同時也是接納了背負著沈重過去的自己。但她很可能不會原諒繼父，因為繼父於她是純粹的掠奪者，是利用自身優勢脅迫和剝削她的加害者，而不像母親，是在迫不

雖然在Sara自殺的情節上我覺得鋪陳得不夠合理，但這些都掩蓋不了整體敘事與符號運用的光彩。從一個更為廣闊的社會視角來看，《雛妓》中的女性在與命運的角力中經歷的艱難取捨，也體現在其它複雜的社會關係／互動中。就好比故事輕輕帶過的媒體面臨的兩難：要揭露的對象（官、商、官商勾結……）卻也同時是媒體賴以生存的資金來源；媒體原本以公眾知情為己任，但卻常常不得不做出捨棄公眾利益的選擇。如果我們將眼光從性別不平等上升到更廣義的不平等，會發現所有的被壓迫者的命運掙扎都有十分相似的面貌。

pier where he picked up the life of Sara text (diary) encountered since the ratio of wandering fish of Sara. This also corresponds to the later, but willing to give up the initiative to leave Sara, her new freedom, like put the fish to the sea in general. At the time, Sara did not want this freedom, just as she had said, the fish may not want to be returned to the sea but wanted to be just like home. This section like a sale, like daughter, like lovers Yushuiguanji changed Sara’s lives for the better, although the end return to the sea to fish, but also in the hearts left lingering ripples. The last segment is impressive to see dying mother Sara. In order to survive this once abandoned and betrayed by her mother, before she died she uttered inner pain and repentance, forgiveness after obtaining Sara passed away. The final moments of reconciliation with the mother, rather than with the Dok-My farewell, Sara completed

映誌 | The screen

self-salvation and rebirth. She saw him in the Dok-My own, self life back again in deeper experience of the mother at the time of struggle, pain and frustration, and ultimately chose to forgive the same fate and bloody struggle, the mother had to give up, but also accepted burdened with heavy past self. But she probably will not forgive stepfather because her stepfather is pure predators, using their own advantages coercion and exploitation of her assailant, unlike his mother, under compelling circumstances were difficult to survive. There are several fragments and the use of symbols are touched me.

feature film

feature topic

本土電影只能以彈出 Sexual film is the only way to stand out in Hong Kong. | text / andrew | illustration / Rubbish

映誌 | The screen

feature topic

沒有代表作的今年

色與性成本土主流

迎，令香港電影業的形象畫上污點，雖

去年，沒有什麼具代表性而發人深省的

在近幾年的電影題材裡，出現了好幾部

然說欣賞現影是主觀主導的，但是這三

香港電影。很多電影都是電聲大，雨點

與援交有關的題材，而在一五年也上

齣電影的安排也十分低俗，只是為了滿

小，例如《香港仔》、《那夜淩晨我坐

映了兩部與「鴨」有關的電影。另一方

足性飢渴的香港人。

上旺角開往大埔的紅VAN》等。兩套

面，有關性的電影都出奇地引起港人的

電影的影評也是壞多於好，令更多香港

關注，而且票房也出奇地較一般愛情劇

人對本土電影大失信心。但去年上映的

情片好。到底，是否香港人愛性？還是

純香港電影裡有心思的相信是新晉導演

有別的原因令到這類的題材堆在同一年

黃浩然的《點對點》，（也是今期的其

內，或者是接近的幾個月內推出，相信

中一個話題）。其它的都是犯駁與合拍

要問一問電影的投資者才知道。

片，不如2013年般全年起碼尚有《激

不如以往的感染力有時批評港產電影也是為了它好，一窩蜂的針對同類題材而沒有變革只會兩敗俱傷。以援交題材來說，去年上映的同類電影都是以青少年做援交為主，偏偏鮮見對她們的關心，難以引人思考，令到社會深入反思。某程度上比起港台

戰》與《狂舞派》令人難忘。在影迷眼中，2014年的港片大多令人失望，有些

軟色的蘭桂坊系列

的單元劇更加差勁，港台的劇集優點是

人認為紀錄片比劇情片更勝一籌，奈何

《喜愛夜蒲》開拍三個續集，但電影劇

寫實，它們不會考量演員到底有沒有樣

香港不如台灣金馬獎或許是奧斯卡般表

本與演員的演技也不太成熟，只利用

貌，電影是否好笑。《微交少女》的失

彰一下拍紀錄片的人們。

性感的靚模為賣點，可是卻很受大眾歡

敗是常常拿著向老香港電影黎大偉《靚

A year without representation Last year, there is no representative of the Hong Kong film and thought-provoking. Many movies are electro-acoustic and no rain, for example, Aberdeen, That night I got the morning bound for Tai Mong red VAN and so on. Two movie critics and bad than good, so that more people in Hong Kong loss of confidence in the local cinema. However, the Hong Kong film released last pure mind, there is believed to be new director Raymond Wong’s Point to Point, (which is now on a topic). Others are guilty of barge and co-productions, as there are at least 2013 as the annual “Unbeatable” and The Way We Dance unforgettable. In the eyes of the fans, the 2014 Hong Kong films are mostly disappointing than some

people think that a documentary feature film better, but since Hong Kong is better to Taiwan Golden Horse Award in recognition of what is perhaps the Oscar-like people making documentaries.

investors should ask the movie to know.

Sexual film became a main stream In recent years, the movie theme, there has been the subject of several related enjo ministry, and in 2015 also released the two and “whore” about the movie. On the other hand, about the nature of Hong Kong movies are surprisingly caused concern, but the box office is also surprisingly better than the average love drama. In the end, whether Hong Kong people love sex? There are other reasons to make this kind of subject matter to pile in the same year, or close to launch a few months, I believe that

Series of Lan Kwai Fong Lan Kwai Fong had shooted three sequels, but the screenplay and the acting is not very mature, sexy young model using only as a selling point, but very welcomed by the public, so that the image of the Hong Kong film industry, drawing on the stain, although Shadow is a subjective appreciation now dominant, but this arrangement three films are very vulgar, just to satisfy hunger and thirst of Hong Kong people. The lack of influent of current film Sometimes criticized for its Hong Kong-produced film is also good for the swarm of similar themes but no change will suffer. To enjo theme, the release of

feature topic

妹仔》致敬，事實上《靚妹仔》不是一

似的題材是不是多了點，看了導演邱禮

部講述援交的電影，只是那個年代的花

濤的《雛妓》，不是要幫他做宣傳，而

季少女處於反叛與迷失之間，兩者並無

是從人格，從社會題材、從他過往所做

關係。口說致敬，其實只是一種抽水。

的事上感受到他的真誠。從《性工作者

其實每個年代皆有代表青年的電影，九

十日談》到《我不賣身，我賣子宮》，

十年代有部電影叫《老泥妹》，就是講

都看到他是個有心的人。《雛妓》關心

述留連尖沙咀不願回家的青年人。零九

的是泰國的妓女，眾所周知泰國是一個

年畢國智拍了一部叫《囡囡》的作品，

提供性旅遊的地方，也是販賣人口的國

內容是探討女孩當援交的原因，人物的

家。拍攝這樣的一個國家，對於觀眾來

描寫也比較合理與立體，同時也講到援

說有助建構一定的世界觀。相對停留在

交所遇到的問題，警惕時下的青年人。

本地的援交題材，口味會不一樣。情片

一如以往以援交為題材去年的「援交片」給人的感覺大致是為了拍攝而拍攝，為了反映所謂的事情而去做一件事，反倒是顯得有些審美疲。性電影在香港都算上是普遍，奈何相

好。到底，是否香港人愛性？還是有別的原因令到這類的題材堆在同一年內，或者是接近的幾個月內推出，相信要問一問電影的投資者才知道。要問一問電影的投資者才知道。

last year’s films are similar to teenagers do enjo mainly happens uncommon for their care, it is difficult thought-provoking, so that the social-depth reflection. To a certain extent the unit RTHK drama more than bad, drama advantage of RTHK is realistic, they do not consider the actor in the end there is no appearance, whether funny movie. Micro-pay girl failure is often held to the old Hong Kong movie Lonely Fifteen tribute, in fact, Lonely Fifteen is not a movie about compensated dating, but the rebels and lost of youngsters in that era, there is no relationship between the two. In fact, every age Jieyou representatives of youth films, there nineties movie called Emo Girl is about young people linger in Tsim Sha Tsui reluctant to go home. Only compensated dating Last year, The movie about ‘compensated dating’ shoot roughly, in order to reflect the so-called thing and do something, but

映誌 | The screen

rather a bit fatigued, nor those of the best works director. Sex movies are counted in Hong Kong is widespread, but since similar theme is not to take on? Recently, the director saw Herman’s Sara, from his personality, from social themes, feel his sincerity from what he did in the past, and therefore very much looking forward to this movie holds heart. From the Sex workers in ten days to True woman to sell and then founded his publishing house have taken further, are determined to see that he is a man. Sara is concerned with prostitutes in Thailand, it is not only provide sex tourism in Thailand is a local, but also human trafficking. Shooting in such a country, for the audience to help construct a certain worldview. Relative to stay in the local enjo theme, taste will be different.

feature topic

1/性工作者十日談 2/雛妓 3/飛虎出征 4/微交少女 5/囡囡 6/販賣愛 7/金雞SSS 8/金鴨

Out of expectation Although sexual theme is not a big deal, but since the audience is not required to stay with the actors what fantasy and curiosity, do not need to rely on swearing vent. Do not look to Hong Kong Film with proud of shooting film about sex. Last year, there is a film director spoke proudly broadcast three films at the festival. If Hong Kong is to rely on the theme of sex to make the public feel happy, the city will be a bit too self-esteem.

事實往往不如所料雖然有性題材的電影並不是什麼大事，奈何觀眾需要的不是停留與對演員有什麼幻想與好奇，也不需要依靠講粗口發洩。並不是對性有什麼批判，只是要在性之間想想有什麼信息可以表達出來。寄望今年香港電影不要再以「性」為驕傲，諸如去年的電影節裡某電影導演還要驕傲地向觀眾講到在電影節播三級片好像很開心似的。如果香港要靠性電影去令市民感到開心，這個城市的人未免會太自卑。

9/靚妹仔

People you should know...

點

對

點

Knowing the director of Point to Point Raymond Wong began in 2010, when we work in the Owners magazine. He is nonfull-time editor, on weekdays but also on video production business, interest and “bad addiction” driven, is also involved in teaching hockey (he represented Hong Kong during 2004-2005,), busy, busy often delay in turnaround. As a colleague, I think this is a bit of a mess, sometimes very impatient, so he was able to take the taste of slow living there this movie, people to see comfortable, indeed I have a surprise. Raymond Wong was born in 1971, 43 years, serving the Open University of Humanities and Social Sciences lecturer. 1993 graduated from the Academy of Performing Arts (studying TV movie). I like to sell cooked cooked attitude and asked him, graduated twenty years, four have

映誌 | The screen

three powers directorial debut film, may be ashamed, feel ugly. ‘Ugly !’ he readily answered. If there are no award or record, people may ask, ‘Who’s that?’ ‘I have the advantage of name, because of using the same name with the actor Wong Ho Ying.’ Moreover, Raymond Wong’s old classmates mostly are have is to produce top TV news department, then are there any students in filmmaking? ‘In my impression, no, probably just me.’ When it comes to this, another dialogue suddenly dead air. To be honest, he answers, I should feel ashamed.

People you should know

點

對

點

認識《點對點》導演黃浩然始於 2010

演藝學院（修讀電視電影）。我以似熟

年，那時大家在《車主》雜誌工作。他

賣熟的態度問他，畢業廿年，四張有三

是非全職編輯，平日還要兼顧影像製作

才首次執導電影，可會感到羞愧，感到

的生意，興趣及「爛癮」驅使，也參與

「醜」。他爽快地答：「醜！好醜！照

曲棍球教學（他曾於2004至 2005年期

寫！」無往績，人家可能會問「呢個人

間，代表香港出戰全運會），很忙，忙

係乜水呢？」「我個名已有優勢，同演

到經常遲遲未交稿。作為同事，我覺得

員黃浩然一樣，人家還以為黃浩然演而

這個人有點亂，有時也很性急，所以，

優則導。」

他能夠拍到這種有慢活味道的電影，讓

黃浩然 Raymond Wong

人看得舒服，的確令我有驚喜。

本土導演 Film Director 第34屆香港電影金像獎新晉導演提名

再追問一下，原來黃浩然同屆同學，有不少都已是電視台新聞部的製作部高

黃浩然 1971年出世，43歲，現職公開大

層，那麼，有沒有同學仍在從事電影的

學人文社會科學院講師。1993年畢業於

製作？「以我印象，應該冇，可能只有我。」說到至此，彼此對話突然死氣。老實講，他這樣的答，感到羞愧的應該是我。

Inter v iews

U N I D E N T I F I E D H E I WA

interview with the Director

不

| s: Screen Magazine | h: Heiward Mak

明的

麥

曦

茵

s: How do you define your own existence value and moral? h: My school grades are just average, not good at sports, then, one to be a good boy, one to be a bad boy, in order to attract attention. Being evil child, I felt cool even my mother was punishing me, even feel cool! In high school, i chose to be a good girl, because it could obtain satisfaction in my painting easily, and say no to make troublesome in order to get attention. Do a better woman,Be a better me. s: Are there any difficulties on using new actor or actress? h: In this current situation, when we are craving youth film, but there is no idol, I have a few want to try to do some performances by reforming or group of new people, and see what. “Ambiguous” Most of the actors are “High Noon,” the actor, they each have their individual potential, individual ability, but is really a lack of opportunity for youth film casting.You can not believe the couple who can play that play, but only actor ever believe. So it will be very contradictory, and what I want you to believe, or to take out? Why not give the next opportunity for a decade? Why do adults can decide not to use the new, we want to do what you want, but some can not? You do not believe my eyes, I feel, I find willing to believe.

映誌 | The screen

s: What is the concept of Ambiguous? h: I think the Ambiguous is very faithful film to face young people, they’re not all bad people, they will love, but lack the courage to take. Every step they are very worried, very timid. Because they have 26, 27, was three years old or less, and then began scared myself into the middle, into a crisis situation, it will be more desire stable and cruel words will speak export: I the people around him have been married for child-birth, open guanputou, they have life, and I still do? I am still waiting for you, I ranged up. Those cruel things have been dug up, it will become less ambiguous cute. s: Why do you refuse to make a commercial movie to earn profit? h: A lot of people will be very easy to assume that, or to the outside perspective to judge what a person is doing, but in fact this is not related to success, but only preferences. Preference is at

s: 你如何介定自已的存在價值？ h: 我讀書的成績一般，又不擅長運動，那麼，一是做個乖孩子，一是做個壞孩子，才能引起注意。」她小學時代選擇做個極度搗蛋的「邪惡」孩子，每次被母親體罰時，竟然覺得「很爽」！中學時代，反而化身乖女孩，因她已能在畫畫中取得滿足感，毋須

this moment I think we can do it. Make

借助「搞事」而取得注意。做一個更

money at the box office is most people’s

好的女人。

concerns; if you want to domestic filming, I felt like I was master had, and will make a lot of money. But I can not stand

s: 你拍電影總是採用新演員，採用新演員有何艱難之處? h: 在這個時勢，當大家都渴求青春片，

myself to do it, may really be against

但沒有青春偶像的時候，我都幾想嘗

with money.

試用一班新人重整或做一些表演，看

ARD MAK

看是怎樣的。我永遠不能拍出來，你

下的，然後開始驚自己步入中年，步

就無法相信那位新人能夠演那部戲，

入危機的狀況，便會更加渴求穩定，

而只相信以往的演員。這樣便很矛盾

而殘忍的說話便會講出口：我身邊的

了，究竟我要讓你先相信，還是先拍

人已經結婚生仔、開鋪頭，他們有生

出來？為什麼不能給予機會下一個年

活，我還在做什麼？我仍在等你，我

代？為什麼你們大人就能夠決定不能

不等了。那些殘忍的東西被挖出來，

用新人，我們自己想做一些想做的事

曖昧便會變得不再可愛。

卻不能？你們不相信我的眼光，我的

s: 為何一直拒絕拍商業電影?

感覺，我就找願意相信的。

h: 很多人會很容易地假設，或以外界的

s: 開拍《曖昧不明關係研究學會》的概念是什麼?

角度去判斷一個人在做什麼，但其實這並非關乎成功與否。喜好是在這一

h: 我覺得《曖昧不明》是很忠實地面對

刻我覺得可以做這件事。賺錢、票房

年青人，他們不是壞透的人，他們會

是大部分人的關注點；如果要到國內

去愛，只是缺乏勇氣去承擔。他們每

拍戲，我都覺得我是掌握得了，而且

行一步也很憂慮，很膽怯。因為他們

會賺很多錢。但我忍受不了自己做那

已經二十六、二十七歲，那三十歲以

件事，可能真的是跟錢作對。

Uncertain Relationships Society 曖昧不明關係研究學會曖昧不明關係研究會 Director/ Heiward Mak 導演/ 麥曦茵

映誌 | The screen

《香港仔》Aberdeen 2014

生活，便是吸氣，忍住，呼吸。— 邱健章

Film from West

性上癮

Nymphomaniac

Nymphomaniac is about a sex-addicted woman, spanning a period of several decades mentality, even a collection of a lot of semiotics, history, literature, religion and other issues, and then continue allusive, more linked to sexuality and social and human relations. Plot come boldly thrown logic values without doubt seems non, plus those made clear the scale of the challenge of suspected real sex, the scene told the audience like to sit back as a four-hour roller coaster, continue to accept the visual impact and thinking. Can accept those theories come, different people will have different opinions, but I really admire Lars

映誌 | The screen

von Trier to have different values, metaphor, irony and other elements, each seemingly unrelated, but a chain of interlocking coherent chapters each other, all in one. In the end, the audience looked like a literary autobiography as an epic, but Lars von Trier made a joke any connection with the audience, to the dark side of human nature and despair, into another level, half-truths have been important.

F i l m f r o m We s t

《性上癮》描述一個性愛成癮的女人，

章節中互相連貫，一氣呵成。到最後，

一段橫跨幾十年的心路歷程，甚至集

觀眾如像看了一部史詩式的文學自傳，

合大量符號學、歷史、文學、宗教等議

惟 Lars von Trier又跟觀眾開了一個玩

題，再不斷引經據典，更將性慾與社會

笑，把人性的陰暗面和絕望，推向另一

人文扯上關係。情節大膽得來又不時拋

個層次，真真假假已不重要了。

出似是疑非的邏輯價值觀，再加上那些擺明挑戰尺度的疑似「打真軍」場面，叫觀眾如像坐了一回四小時的過山車般，不斷接受著視覺和思維的衝擊。那 NYMPH()MANIAC 性上癮

些理論能否接受得來，不同人自有不同的見解，但我真佩服 Lars von Trier 能把不同的價值觀、比喻、諷刺等元素，

Director/ Herman Yau 導演/ 拉斯馮特爾

於每個看似互不相關，卻又連環緊扣的

Movie Channel Premiere

26/4 21:00 衛視電影台

導演/ 賴恩慈 Director / Herman Yau 主演 / 楊秀卓簡慧賢莫昭如謝至德 Cast / Prudence Liew, Anthony Perry

Kindly grandfather and granddaughter live in the garden elf village in order to make way for high-speed rail is disappear from the map, the two lucky bamboo blessing to the city, they encountered more and destroyed their homes due to the development of the city and the spiritual man; either live chemical building was forced repossession artists after ninety eight rootless, worse than the middle class, was blind photographer or Rural Life Yesun love, the face of relentless bulldozers and failed policies, whether trying to save the rapid loss of collective memories and each one has a tree of life?

電影是講述慈祥的爺爺與精靈孫女居住的菜園村為了讓路高鐵而被消失在地圖上，二人以富貴竹祝福城市，遇上更多因發展而被毀家園及心靈的城市人；無論是活化工廈被強迫收樓的藝術家、無根的八九十後、比下有餘的中產、被視而不見的攝影師還是熱愛鄉土生活的爺孫，面對無情推土機及失敗政策，能否竭力保存急速流失的集體回憶及每一棵有生命的樹？

N+N 映誌 | The screen

Spotlight in channel

Movie Channel Highlights

末

日

派

對

21/4 22:30 衛視電影台

主演 / 黃貫中謝安琪泰迪羅賓 Cast / Paul Wong,, Kay Tse, Teddy Robin

度

前

導演/ 何康王日平 Director / Ho Hong, Wong Yat Ping

18/4 20:30 衛視電影台

導演/ 麥曦茵 Director / Heiward Mak

第34屆香港國際電影節閉幕電影入圍第47屆金馬獎最佳改編劇本

主演 / 鍾欣潼陳偉霆 Cast / Gillian Chung, William Chan

香

港

仔

性我我

工不賣

作賣子

者身宮

Closing film of The 34th Hong Kong International Film Festival Nominee of the 47th Gold Horse Award Best adpated screenplay

華

麗

V A

之

後

18/4 22:30 衛視電影台

20/4 20:30 衛視電影台

21/4 21:00 衛視電影台

導演/ 彭浩翔 Director / Edmond Pang

導演/ 邱禮濤 Director / Herman Yau

導演/ 麥曦茵 Director / Heiward Mak

主演 / 楊千嬅曾志偉 Cast / Miriam Yeung, Eric Tsang

主演 / 劉美君黃秋生 Cast / Prudence Liew, Anthony Perry

主演 / 容祖兒林欣彤 Cast / Joey Yung, Mag Lam

Soundtracks in your list

1 《春嬌與志明》原聲大碟 Love in the Butt OST 一張充滿驚喜的原聲帶，也是值得自成一音樂大碟的OST。配樂是由本地獨立製作單位「有聲奶昔」主理，曲風軟性清新，如後巷聚的《好地方》用Rumber、密傳短訊的《Why Couldn’t Be Together Everyday》是帶點神秘的Bossa Nova；志明與春嬌駕車尋煙覓愛的《Swing Swing》是鋼琴與小提琴輕鬆三重奏，而幽默解碼的《n55IW!》是用弦樂譜出大調旋律，溫度剛剛好。買來送給想一起去掉煙癮的那個人吧！推介曲目 / 《Drenched》，《Love in the buff》

An OST contains surprises, it is like a published music album . Songs produced by local independent producers which are soft fresh genre, such as Good place with Rumber, Why Could not Be Together Everyday is a little mystery with Bossa Nova; Swing Swing played by a relaxed piano and violin. Besides, the humorous song n55IW! is a great tune melody chord notation. Bought a copy for your friend who want to quit smoking now!

《前度》原聲大碟 Song For EX OST 麥㬢茵的電影，總是伴隨著原聲大碟。而麥㬢茵導演的前度EX就是連帶著二汶與黃靖柔柔而感動的聲線。原聲帶裡只有四首歌有主音演繹，其中三首出自林二汶，而主題曲《there is no such thing》令觀者回味無窮，把聽者帶入要忘記是很難的無奈，就像電影中的獨白：戀愛超過一次的人，分了手的人，屬於過去的人；畢竟都是我們愛過的。推介曲目 / 《There is no such thing》，《Little girl in the world》

映誌 | The screen

The movies directed by Heiward Mak are always accompanies with a Original Soundtrack. And the soundtrack of EX are including the soft and touching voice of Eman Lam and Jing Wong. There are only four songs with vocal, and three of it are performed by Eman Lam, and the theme song There is No Such Thing are the most memorable one , It brings audiences to the frustration of forgetting memory, just like the quote from the film, ‘People who loved more than once, or broke up are belonging to the past; At least, we had loved.’

Your Movie Watchlist

1 《香港製造》 Made in Hong Kong 真正有人文關愛，寫實而真實的電影少之有少。或者假以時日香港製造的電影只會像其他工業一樣逐步的消失在群眾的眼前。今日的電影減產與轉型不成功，各種的青黃不接，很大程度上是電影人未能在電影的最基本出發。「日常」是電影最基本的出發點，社會上有不同的階層，而各階層都有不同的市井，時代的故事。陳果電影其中一個賣點是邊緣人，《香港製造》中的邊緣人包括了智障人士、單親家庭、輟學青年、古惑仔、自殺的少女和瀕死的少女，而發生故事的地

The selling point of Chan’s film is marginal, Made in Hong Kong including people with intellectual disabilities, single-parent families, out of school youth, Young and Dangerous, suicide, teenage girls and dying, and the story of what happened where public housing village.

方正是公共屋村。

《桃姐》 A Simple Life 許鞍華電影過程精采，結局並不會大鳴大放，《桃姐》一樣清淡。當曲終人散，故事給觀眾帶走，也許討論桃姐一生簡單，是苦難還是幸福；但有些影像是許鞍華導演去看去紀錄的，我們看她觀看的方式和旁觀的紀錄，去關心人的狀態。我看《桃姐》倒不是看桃姐何忠心耿耿，Roger如何以恩報恩，Roger以親人去送桃姐，因為桃姐是肯定的存在，這旅程必將到來，何必吶喊天地不仁。不如大音希聲。這電影結尾十分討人喜歡，《桃姐》不是一個描述無常的電影，我們的行為和選擇決定了我們是如何的人，然後我們繼續下去，把人生走完。

The ending of the movie is very likable and impressive, A Simple Life is not a description of impermanence movie, our behavior and determine how we choose the people, and then we continue to go through life.

映誌 | The screen

Events

M+/ Moving Images

項目分成展覽與專題放映兩部份。展覽將在土瓜灣「牛棚藝術村」及銅鑼灣 Midtown POP 舉行，展出超過 25 位藝術家作品，包括麥海珊、陳界仁、陳佩之、闞萱、張培力和朱加等，部分作品從 M+ 的流動影像館館藏選出。專題放映則將於油麻地百老匯電影中心

Project is divided into two parts screenings and thematic exhibitions. The exhibition will be at the To Kwa Wan Cattle Depot Artist Village and Causeway Bay Midtown POP held, featuring more than 25 artists, including Mak Hoi-shan, Chen Chieh-jen, Chen Pei, the Kan Xuan, Zhang and Zhu Canada etc, some works from M+ museum collections elected flow imaging.

舉行，以四個獨立主題:香港、希望、夢想及家，於四個周末共放映超過三十五齣香港及國際電影。影片來自多位著名藝術家及電影工作者如方育平、許鞍華、賈樟柯、關錦鵬、羅卓瑤、堅

黃浩然

盧治、寧瀛、鮑藹倫、蔡明亮、Wim

M+ 流動影像副策展人

Wenders、Apichatpong Weerasetgakul 及楊海固等，種類包括劇情片、短片、紀錄片、藝術家錄像及電視作品。

浮

生

浮

世

戀

曲

Films will show in the Broadway Cinematheque in Yau Ma Tei, The themes are Hong Kong, Hope, Dream and Home, to a total of four weekend show in Hong Kong and more than 30 international films. Films from many famous artists and filmmakers such as Allen Fong, Ann Hui, Jia Zhangke, Isaac Juilen, Stanley Kwan, Clara Law, Lu Jian rule, Ning Ying, Ellen Pau, Tsai Ming-liang, Wim Wenders, Apichatpong Weerasetgakul etc. Types including feature films, short films, documentaries, artist films or television works.

巴

黎

德

州

21/4 22:30 百老匯電影中心

導演/ 羅卓瑤 Director / Lo Cheuk Yiu

導演/ 陳耀成 Director / Simon Chan

導演/ 雲溫達斯 Director / Wan Wantaxes

Events

HKIFF / 39

親

愛

的

沒

肚

臍

的

女

兒

踏

血

尋

梅

23/3

18:30

UA Cine Moko

28/3

18:30

The Grand Cinema

6/4 22:30 香港文化中心大劇院

24/3

14:15

UA Cine Moko

6/4

16:15

UA Cine Moko

6/4 19:30 MCL 德福戲院

導演/ 陳可辛 Director / Peter Ho-Sun Chan

導演/ 瑪雅維歌娃 Director / Maya Vitkova

導演/ 翁子光 Director / Yung Chi Kwong

那時鐵幕未瓦解，寶莉恨國家，恨共

那時鐵幕未瓦解，寶莉恨國家，恨共產

少女時光明媚，但歲月不靜好，不快樂

產黨員的慈母，更不想在共黨國家生

黨員的慈母，更不想在共黨國家生孩

的梅，要獨立救自己，走上網交路，她

孩子，小心翼翼結果徒勞。沒陣痛，

子，小心翼翼結果徒勞。沒陣痛，沒臍

最後的恩客，是聰。索K索 high了，我

沒臍帶，她產下維琪，母女像沒牽連。

帶，她產下維琪，母女像沒牽連。沒肚

想死脫口而出。梅帶出臧 Sir，負責查

沒肚臍的維琪被封為國家女兒，享盡

臍的維琪被封為國家女兒，享盡特權，

她的死因，臧 Sir很怪，會在案發現場

特權，更有條代臍帶和國家主席的直通

更有條代臍帶和國家主席的直通電話

拍照留念，不是不想破案，但對人的底

電話線，寶莉的產後抑鬱從此沒回頭，

線，寶莉的產後抑鬱從此沒回頭，直至

蘊更好奇。他很快尋到聰，一個三失青

直至1989，維琪十歲打回原形。當然

1989，維琪十歲打回原形。當然是寓

年，跟梅一見如故。真凶殺案改編，不

是寓言，極超現實，尤其國家女兒呼風

言，極超現實，尤其國家女兒呼風喚

問誰是兇手，只問為甚麼。翁子光第三

喚雨，幽默又諷刺。三代母女的暴風關

雨，幽默又諷刺。三代母女的暴風關

作大大開拓野心和電影視角，跳躍時空

係，點滴是導演自身寫照，女性觸覺富

探討失落的世代，幕後三大師杜可風、

詩意，也縮影保加利亞 30 年巨變。獲布

詩意，也縮影保加利亞30年巨變。獲布

廖慶松和杜篤之聯袂助陣，吳里璐精心

達佩斯鐵達尼電影節最佳電影獎。

改造郭富城。

Years after their son Pengpeng is abducted, Tian Wenjun and ex-wife Lu Xiaojuan discover him living with poor Li Hongqin in a remote village. But Pengpeng does not remember his parents, and he now calls Hongqin “mother”. Can Pengpeng ever be Wenjun and Xiaojuan’s son again? Inspired by true events, Peter Ho-sun Chan’s powerful drama explores the desperate and heartbreaking emotions of parents – both real and adopted – grappling with the loss of children.

A Bulgarian female viewpoint on the traumas of Eastern Europe. Viktoria, an unwanted child born with no navel is named baby of the decade by the socialist regime in a surrealist celebration. But late Communism collapses in her teenage years, changing dynamics of her life, her mother and the world around her. With powerful performances by siblings Daria and Kalina Vitkova as Viktoria in these two contrasting chapters of her life and world.

A teenage prostitute is murdered; her body cut up and flushed down the toilet, and her severed head thrown into Victoria Harbor. Director Philip Yung chooses to focus on the dead girl and her family, the cop and his family, and the killer who is without a family. The result is a genre-bender that progresses as it digresses, an atmospheric mosaic of human lives and actions that invariably get complicated, out of order and beyond reason, and with the characters firmly grounded in gritty reality.