前言ﾠForeword
拍板有限公司將於 11 月 6 日至 16 日期間，第五度與香港歌德學院合作，舉行備
受影迷愛戴的「 KINO 德國電影節（澳門站 ) 」。自 2016 年由拍板引入澳門的德國電
影節一直受觀眾歡迎，入場人數踴躍。今年受疫情影響，全球影展皆面對重重困難， 是屆香港的德國電影節改為部分以網上舉行，而澳門站則按實際條件繼續以實體形式 舉行，共放映十二部多元且精彩的德國電影，其中六部為德國新作品，題材多元；有 亮麗視覺去說城市的故事，有耳目一新的德語音樂劇電影，有意義深遠的兒童電影，
當然不會缺乏側重社會和歷史議題的作品。是次影展繼續設有重磅的「焦點導演」單 元，重點介紹德國新電影時期另一位非常重要且唯一的女導演⸺ 瑪格麗特．馮卓
塔，選放她三部不同創作時期的重要作品。是次澳門站「雲溫達斯 75 特別放映」選放
了兩部電影，包括為慶祝雲溫達斯 75 歲誕辰攝製的紀錄片《雲溫達斯的狂野之途》
及榮獲 1993 年「康城影展」評審團大獎《咫尺天涯》，並會舉行多場影展講座及映後
分享會。
開幕電影ﾠ法斯賓德自傳式電影ﾠ亞洲首映
今屆「 KINO 德國電影節（澳門站 ) 」奇妙地集合了德國新電影時期的三大巨匠，
除瑪格麗特．馮卓塔及雲溫達斯外，開幕片特別選了由 Oskar Roehler 執導的《壞
孩子法斯賓德》，以法斯賓德十餘年的電影生涯為題材，從 1969 年草創時期的《愛
比死更冷》講到 1982 年俗艷風格的新高峰《霧港水手》，最後結束於他 37 歲時的猝
逝。這位說出「我不放炸彈；我拍電影。」的電影奇才，37 年匆匆的人生，13 年的創 作生涯，有 44 部作品，當中只有 3 部是短片，長片還包括一套 5 集的電視電影和
14 集的鉅著《柏林亞歷山大廣場》； 不論是否已在 2018 年 KINO 澳門站的焦點導演
精選看過他的作品，今次必可從另一角度認識這位絕對會刺激思緒的電影奇才。是次 放映為康城影展全球首映後的亞洲首映，絕對是澳門觀眾之福。
“ Rise Up! Women! ” 焦點導演：瑪格麗特．馮卓塔
德國新電影受法國新浪潮影響，在 1960 年代至 1980 年代的二十多年間，湧
現一批影史垂名的導演們，瑪格麗特．馮卓塔（ Margarethe von Trotta ）便是其中
最為突出的女性導演。馮卓塔自 1970 年代開始獨立創作，到如今 78 歲高齡，自編
自導十多部電影，不算多產，但《德國姐妹》 （ Marianne and Juliane, 1981 ） 、 《羅
莎盧森堡》 （ Rosa Luxemburg, 1986 ） ，以及千禧後的《玫瑰圍牆》 （ Rosenstrasse, 、 《漢娜鄂蘭：真理無懼》 （ Hannah Arendt，2012 ）等，都在德國電影史上擲 2003 ）
地有聲，每一部都有她鮮明的作者印記。她作品內的每一個女性形象都很美，完全打 破了性別陳見，呈現精神上的美，知識份子的美，敢於獨立發聲的美。是屆影展主視
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覺設計的創作靈感正正來自馮卓塔的作品《羅莎盧森堡》，縱在高牆困難下，仍是朵
不會失去追求自由意志的鏗鏘玫瑰。無獨有偶，是屆多部影片都是從女性角度出發看 世界，由兒童至銀髮族，由古至今，個個都是揚眉女子⸺ 堅毅、知性、獨特。 多場影展延伸活動ﾠ增加闊度與溫度
是屆影展除了在永樂戲院放映外，並會在環境優美的澳門紐曼樞機藝文館放映四
場重要作品。包括《蘿莉破壞王》 、 《羅莎盧森堡》 、 《德國姊妹》及《咫尺天涯》，並設
映後分享會，分別邀請了本地影評人鄧志堅、香港影評人喬奕思及電影學者林瀚光
博士主講；此外，更特別策劃了四場不同主題的講座，分別有「我們都有「平庸之惡」 嗎？⸺ 漢娜鄂蘭的哲學」、 「劇場與法斯賓德」、 「文學與溫達斯⸺ Peter Handke 與 Wim Wenders 」以及「 Judith Kerr 的繪本世界」，讓澳門觀眾從不同藝術面向參
與是次影展。
今次「 KINO 德國電影節（澳門站 ) 」是拍板完成電影館營運服務後首個影展活
動，非常感恩香港歌德學院的持續支持，讓影展得以再來與澳門觀眾見面。雖然在 缺乏場地、資金及贊助下籌辦影展實困難重重，幸得一班孜孜不倦的熱血份子並肩作 戰，繼續盡力做到最好的精神，繼續難關難過關關過。路不是一天走出來，可能會跌 跌碰碰，只要有觀眾欣賞，相信有天我們的世界會開滿繁花。
KINO Macao 見！Viel Spaß！ 拍板有限公司
CUT Co. Ltd. partners with Goethe-Institut Hong Kong for the fifth time to present the popular German Film Festival — KINO Macao between November 6 and 16. Since the introduction to Macao by CUT in 2016, the German Film Festival has gained popularity over the years and attracted a large turnout. In light of COVID-19, all film festivals around the world have met different types of challenges this year, for example, part of the programme of the German Film Festival in Hong Kong had to be held online. KINO Macao, on the other hand, could continue to take place in physical form based on the situation of the city, featuring a total of 12 outstanding German films, six of which are the newest works covering a variety of topics. From an urban tale with stunning visuals to a refreshing German musical to a purposeful and powerful children’s film, the films this year also pay attention to social and historical issues. The programme of KINO Macao 2020 continues to comprise the Director-in-Focus session, which presents three major films of Margarethe von Trotta in different eras, one of the significant directors and the only female auteur during the New German Cinema. There is also Wim Wenders 75 - Special Screening session this year, presenting the documentary Desperado for the 75th birthday of the director and Wenders’ Faraway, So Close!, which won the Grand Prix du Jury at the 1993 Cannes Film Festival. Talks and post-screening sharing sessions are also highlights of KINO Macao 2020. Opening Film: Asia Premiere of Biography Work About Rainer Werner Fassbinder The German Film Festival — KINO Macao 2020 highlights the works of three film masters in the New German Cinema, including Margarethe von Trotta, Wim Wenders and Rainer Werner Fassbinder. The opening film of the festival is Enfant Terrible directed by Oskar Roehler, which focuses on the career of Fassbinder, from his debut feature film Lover Is Colder Than Death in 1969 to the powerful, vulgar-style Querelle in 1982 to his death at the age of 37. This movie legend once said, “I don’t throw bombs, I make films.” In a life span of 37 years and a film career spanning over 13 years, the number of Fassbinder’s works totalled 44, including three short films, a television series of five episodes and the 14-part Berlin Alexanderplatz. Whether the audiences watched his works at the Director-in-Focus session in KINO Macao 2018, they could still know more about this inspiring film talent from another perspective this time. What is also thrilling is the screening of Enfant Terrible in Macao marks the Asia premiere of the film after its world premiere at the Cannes Film Festival. “Rise Up! Women!” Director-in-Focus Session: Margarethe von Trotta Influenced by the French New Wave, the New German Cinema, during the period between the 1960’s and 1980’s, saw the emergence of numerous acclaimed directors. The most exceptional female director from this batch is Margarethe von Trotta, who
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has started independent productions since the 1970’s. Aged 78 now, she has written and directed over 10 films, including Marianne and Juliane (1981), Rosa Luxemburg (1986), Rosenstrasse (2003) and Hannah Arendt (2012), which are all highlights of the German cinema and showcase her distinctive auteur style. The images of each female character in her works do not only break conventional gender stereotypes but are also exquisitely crafted to showcase the female aesthetics in the spiritual, intellectual and independent aspects. The main visual design of KINO Macao 2020 is inspired by her masterpiece Rosa Luxemburg, depicting the title character as a rose in pursuit of free will and freedom albeit hardship. Coincidentally, many movies in KINO Macao 2020 are based on a female perspective, from kids to the elderly, from the past to the present, each illustrating visionary and power women — perseverant, intellectual and unique. Wide Array of Outreach Activities to Enhance Depth and Scope Apart from Cinema Alegria, KINO Macao 2020 also takes place at Macao Cardinal Newman Center for Culture and Performing Arts, which boasts a serene environment for the screening of four major films — including System Crasher, Rosa Luxemburg, Marianne and Juliane and Faraway, So Close! — followed by post-screening sharing sessions hosted by Macao film critic Quinton Tang, Hong Kong film critic Joyce Yang, and film scholar Dr. Derek Lam. Besides, there are also four talks on different topics this year: Philosophy Workshop: “Do We All Have the Banality of Evil? — Hannah Arendt's Philosophy”, “Theatre and Rainer Werner Fassbinder”, “Literature — Peter Handke and Wim Wenders”, and “Judith Kerr’s World of Children Books”. These talks allow the local audiences to engage with the film festival through artistic perspectives. The German Film Festival — KINO Macao 2020 is the first film festival presented by CUT after the end of its operation of Cinematheque · Passion. We are grateful for the continuous support from Goethe-Institut Hong Kong so that KINO Macao could be held once again. It is a challenging task to organize a film festival in the absence of venues, funding and sponsorships, but it’s fortunate that there is a group of vigorous and diligent film enthusiasts, who work side by side to strive for the best results and to overcome any challenges. Rome wasn't built in a day. There might be ups and downs along the path, but as long as the audiences appreciate our efforts, it is believed that our world will see the blooms of flowers one day. See you all in KINO Macao! Viel Spaß! CUT Co. Ltd.
親愛的澳門電影界朋友： 我非常榮幸能夠代表歌德學院歡迎你參加第五屆德國電影節 ( 澳門站 )。當全球各
地電影節都必須以串流形式舉行時，澳門卻十分有幸能夠為電影愛好者提供真正的光 影體驗。歌德學院與拍板有限公司黃若瑩小姐領導的優秀團隊合作，為今年德國電影 節帶來源源不絕的精彩內容。從浪漫熱戀與不為人知的秘密，到不同時代的非凡個性 人物，再到充滿戲劇張力的故事，每套電影均送上不同驚喜。對德國新浪潮感興趣的 朋友，亦有機會透過電影節認識當中的三位著名導演：影展開幕電影《壞孩子法斯賓 德》揭示寧那．華納．法斯賓德的放蕩不羈之生活及工作，還有以刻劃銀幕上女性形 象等聞名的瑪格麗特．馮卓塔，以及創作多部 20 世紀電影佳作的雲溫達斯。
在電影院中觀看電影，是為了在漆黑中感受色彩，體驗光與影的交錯，踏上一趟
又一趟情感強烈的虛幻旅程⸺ 相較以往，我們現在更需要體驗這一切。請殷切期盼
2020 德國電影節的精彩電影！Herzlich willkommen（熱烈歡迎）！ Almuth Meyer - Zollitsch 博士 香港歌德學院院長
Dear film friends in Macao, It is a very special pleasure for me to welcome you on behalf of the Goethe-Institut to this 5th edition of KINO German Film Festival in Macau. While film festivals all over the world have to switch to streaming platforms, Macau is in the fortunate position of being able to offer film lovers a true theatrical experience. The great team around Rita Wong of CUT Lda., together with the Goethe-Institut, has put together an exciting program of German films: Love and other secrets, extraordinary personalities in their times, and stories full of drama and thrill - the films in KINO span a wide range. Anyone interested in the New German Film has the chance to get to know three famous directors: Rainer Werner Fassbinder, whose ecstatic life and work is portrayed in the opening film Enfant Terrible; Margarethe von Trotta, who became famous not least because of her impressive film portraits of important women; and Wim Wenders, to whom we owe some icons of 20th century film. To see a film in the cinema is to experience colors in the dark, light against shadows, strong emotions and imaginary journeys - everything we need today more than ever. Look forward to all the wonderful films in KINO 2020 German Film Festival – “Herzlich willkommen!” Dr. Almuth Meyer - Zollitsch Director of Goethe - Institut Hongkong
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開幕電影ﾠOpening Film
亞洲首映 Asian Premiere
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06 . 11ﾠ五ﾠFri 21:15 永樂戲院 Cinema Alegria
壞孩子法斯賓德ﾠEnfant Terrible 年少輕狂而才華洋溢的法斯賓德，在慕尼黑一家小劇院首次登台後便技驚四座。
這位既能演又能寫的壞孩子隨即開始了他放蕩不羈的電影人生，短短十數年拍攝了超 過四十部作品。他的生活既光彩奪目又混亂不堪，雖然長期出入各種國際影展，但也 醜聞不斷，永遠是新聞的中心，各界對他的作品也是褒貶不一。身為 1970 年代「德 國新電影」的心臟，法斯賓德一心想成為全世界最好的導演，不停拍出更好的作品， 卻在 1982 年用藥過量而死。
奧斯卡羅勒的這部傳記式電影，精彩地刻劃了這位二十世紀下半葉德國電影其中
一位最偉大人物的一生：他的殘暴與憐憫，他對愛的渴求和睥睨，他頹廢的意志與可 怕的創造力。他是德國電影曾經的高峰，一個真正的怪異天才。 ◎ 2020 年康城影展世界首映及官方競賽片 ◎ 2020 年漢堡影展德國首映及開幕電影
When 22-year-old Rainer Werner Fassbinder storms the stage of a small, progressive theatre in Munich 1967, and seizes the production without further ado, nobody suspects this brazen young rebel to become one of the most important post-war German filmmakers. Despite early setbacks, many of his films breakthrough at the most renowned films festivals and polarise the audience, critics and filmmakers alike. His anger and his longing for love, as well as his self-exploitation, have made him the most memorable and radical film director, an enfant terrible. In this film, Germany’s star director Oskar Roehler dedicates himself to one of the greatest icons of German cinema in the second half of the 20th century, Rainer Werner Fassbinder, interpreting the life and impact of this cinematic legend in artistically innovative form. ◎ World premiere (virtual) and official selection - Cannes Film Festival 2020 ◎ German premiere and opening film - FilmFest Hamburg 2020
導演 Director
Oskar Rohler
德國 Germany ｜ 2020 │彩色 Colour │ 134' ｜德語、法語及英語， 中英文字幕ﾠIn German, French & English with Chinese & English
subtitles
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「我不放炸彈 ; 我拍電影。」 文／安娜
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這個世界上有林林種種的導演，即
使是好導演，他們「好」的方式也不盡相
同。有一種好導演，絕大部分人看過他們 的電影之後，都會多少找到值得欣賞的地 方；同時，又有另一種好導演，他們命定 地只會被強烈地喜愛或強烈地厭惡。德國 導演法斯賓德完全符合後者的標準―他的 電影到今天仍然激起或正或反、難以一概 而論的反應，但唯一可以確定的是，它們 絕不會令你不痛不癢地離開戲院。
生於 1945 年，在敗戰後的慕尼黑
成長，法斯賓德從孩提時代開始就受大 量電影薰陶。二十出頭之際，他曾兩
度投考剛成立的德國電影電視學院，但 都落第而回；法斯賓德改從小型劇場起 There are an array of talented directors in this world, and each outstanding director is unique in terms of their talents. There is a type of remarkable directors that most people could always find the strengths of their works; meanwhile, there is another type of top-notch directors that are destined to be overwhelmingly loved or hated by the audiences. German director Rainer Werner Fassbinder belongs to the latter type — although his films are still highly polarized and hardly generalized, the only certainty is that you will not leave the cinema unbothered after watching his works.
“I Don’t Throw Bombs, I Make Films”
⸺ 寧那 · 華納 · 法斯賓德 Text: David Chan 步，一方面累積編導經驗，另一方面則 招攬台前幕後的合作班底（這個時期的主
要合作演員如 Hanna Schygulla 、 Irm
Hermann、Harry Baer，配樂的 Peer Ra b e n ， 後 來 都 成 為 他 終 生 的 核 心 伙 伴） 。 1969 年，法斯賓德以超低成本完 成首作《愛比死更冷》，四個月後再將自 己的劇場作品《外籍工人》拍成電影。翌
年，法斯賓德以後無來者的速度，完成 了七部長片作品。法斯賓德揉合法國電 影新浪潮與劇場疏離效果的風格，述說 當代德國中下層的頹唐壓抑生活，使他
在歐陸影壇中嶄露頭角。直至他在 1982
年猝然離世之前，法斯賓德總共創作了 四十四部電影電視作品，包括他慎密琢
Born in 1945 and growing up in Munich after Germany conceding defeat in World War II, Fassbinder had been nurtured by films since childhood. In his early twenties, he had twice applied to the newly-established German Film and Television Academy Berlin but the attempts were in vain; he then decided to kick-start his career with small-scale theatre productions, accumulating experiences in writing and directing while recruiting the potential cast and production crew for future works (Hanna Schygulla, Irm Hermann and Harry Baer were the actors he frequently worked with at that time, while he regularly worked
— Rainer Werner Fassbinder
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磨、發揮言情片框架的傑作《四季商人》 和《 恐懼蠶食心靈 》、改編文學作品的
《芳心寂寞》和《霧港水手》、檢視同性戀 者 / 跨性別身份的《狐及其友》和《一年
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有十三個月亮》、梳理德國戰後復興歷史
的「 BRD 三部曲」、還有不能不提十五個
半小時長的畢生巨作《 柏林亞歷山大廣
場》 （德國導演 Tom Tyker 曾說，如果法
斯賓德的作品加起來是一座七寶樓臺， 那《柏》就是一切的地基） 。
狂暴激烈―若這並不是法斯賓德作
品的全部，也準是它們給人的第一印
象。逾越常規的慾望、偏執到難以承受 的愛恨、扭曲的精神欺凌與自虐、最低 等卑賤的厭棄感，這些題材通通以極端 的程度在法斯賓德的電影中反覆出現。 某程度上， 「愛」是貫穿他大多數作品的
主題，但這個「愛」卻往往以功利性、剝 削性、令人痛苦的姿態呈現。法斯賓德 其中一個最獨到的洞察是，他認知到現 代資本主義社會中， 「愛」終究會變成一
種―甚至是最重要、最難抵禦的―權力 操控與交易手段。
所以有不少人會批評法斯賓德的電
影過於悲觀和犬儒。對此，法斯賓德自 己也有過一套解釋；他說，在銀幕上的 絕望，是希望令觀眾在電影結束後，在 銀幕以外意識到並思考如何改變這個絕 望的局面。他由此至終，都是一個煽動
者、叛逆者，密集地向觀眾拋擲出無形 的的重磅爆彈，炸掉現狀令我們終有一
with Peer Raben for score, all becoming his major partners for lifetime). Love Is Colder Than Death (1969) was his debut feature film on a low budget, and the director adapted his play Katzelmacher into a film four months later. In the following year, Fassbinder, at an unprecedented speed, completed seven feature films. His works, influenced by both the French New Wave and Verfremdungseffekt (alienation effect) from the theatrical world, explore the depressed and oppressed life of the lower middle class in contemporary Germany, earning him a place in the European cinema. Fassbinder had completed a total of 44 films and television productions before his death in 1982, including: The Merchant of Four Seasons and Ali: Fear Eats the Soul, the deliberately-crafted melodrama films that are widely regarded as masterpieces; Effi Briest and Querelle, adapted from classic literature; Fox and His Friends and In a Year of Thirteen Moons, which delve into homosexuality and transgender; the BRD Trilogy that deals with the reconstruction of Germany after WWII; and, of course, the epic Berlin Alexanderplatz, which lasts 15 hours and a half (German director Tom Tyker has once said if all the works by Fassbinder equate to a seven-storey tower Berlin Alexanderplatz is then the foundation of everything). Violent and ferocious — these might not describe all the works by Fassbinder but these are likely the first impression for his films. From desires that are be-
天―或許―都能夠生活在沒有傷害、沒 有壓迫的地方。
安娜簡介｜居於香港，撰寫電影評論外亦有策劃 電影節目。天秤座，寫作令他自由。
yond the social norms and stubbornness to unbearable love and hatred to mental bullying, self-harm, degrading and disgust, these are the themes that his films explore over and over again to an extreme degree. “Love” is also a common theme behind most of his works to a certain extent, but this “love” is often presented in a utilitarian, exploitative, and painful manner. One of the most unique insights Fassbinder has is his recognition that “love” will eventually become a means — the most important and undeniable means — for power manipulation and trade in the modern capitalist society.
Thus, Fassbinder's films are criticised by many as too pessimistic and cynical. He has come up with his own response toward his critics, remaking that the pessimism on the cinema screen is a way for the audiences to realize and ponder over how they could change this situation in reality after watching the films. Fassbinder is an agitator and rebel from the beginning to the end, throwing invisible bombs again and again to the audiences in hopes of dismantling the status quo that one day, perhaps, we could live without harm and oppression.
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David's bio | David is a film critic and art/ film programme curator currently living in Hong Kong. As a Libra, writing frees his mind like nothing else.
08 . 11ﾠ日ﾠSunﾠ16:00
澳門紐曼樞機藝文館 Macau Cardinal Newman Centre of Cutural and Performance Arts
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蘿莉破壞王ﾠSystem Crasher 有著天使面孔的 Benni，卻有一個可怕的外號： 「系統破壞者」。她只要一發嬲就
會暴走大肆破壞，任何特殊學校、女童宿舍或助養家庭會被她拆翻天，最終只能將她 趕走。在她死亡金屬的嘶吼和染滿鮮血的拳頭之下，這個從德國社福體制中跌落的九 歲小女孩只有一個心願，回家和媽媽住在一起。
年輕女導演蘿拉芬沙伊德憑這部處女作撗掃德國各項電影大獎，甚至代表德國提
名奧斯卡最佳外語片。她以寫實不煽情的手法，除了呈現邊緣孩童及原生家庭的問題 外，更觸及社工及教育工作者的掙扎與困境，立體地呈現制度與人性之間的衝突。 ◎ 榮獲第 69 屆「柏林影展」Alfred Bauer 銀熊獎、競賽片讀者評審獎
◎ 榮獲 2020 年「德國電影獎」最佳電影金獎、最佳導演、最佳男主角、最佳女主角、最佳女配角、最佳 劇本、最佳剪接、最佳聲音設計 8 項大獎
Foster home, group home, special needs school – no matter where Benni ends up, she is always immediately kicked out. The uncontrollable nine-year-old is what the child protection services refer to as a "system crasher". Finally, when no solution is in sight and there is apparently no place left to send Benni, the anger-management trainer Micha tries to free her from her spiral of anger and aggression. Nora Fingscheidt’s first feature, presented as one of four German-language films in competition at Berlin, sets the bar high and is powerful in terms of both form and content. ◎ Winner - Silver Bear Alfred Bauer Prize and Berliner Morgenpost Reader's Jury Award, Berlin International Film Festival 2019 ◎ Winner - Best Feature Film in Gold, Best Director, Best Performance by an Actor in a Leading Role, Best Perfor-
mance by an Actress in a Leading Role, Best Performance by an Actress in a Supporting Role, Best Screenplay, Best Editing, Best Sound Design, German Film Awards 2020
設映後座談 Post-screening Talk 講者 Guest：澳門影評人ﾠ鄧志堅ﾠQuinton Tang (Macao Film Critic) 語言 Language：粵語 Cantonese
導演 Director
Nora Fingscheidt
德國 Germany ｜ 2019 │彩色 Colour │ 118' ｜德語，中英文字幕ﾠ
In German with Chinese & English subtitles
08.11ﾠ星期日ﾠSunﾠ19:30 永樂戲院 Cinema Alegria
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天使愛柏林ﾠCleo - If I Could Turn Back Time 相傳柏林有一個可以逆轉時間的魔法時鐘，自少失去父母的 Cleo 偶然之下得到
時鐘的藏寶圖，在冒險家保羅和曾活在柏林的各路歷史人物幫助下，她決定踏上這趟 瘋狂的尋寶之旅，闖遍柏林的大街小巷。到底她能不能順利回到過去、拯救父母？
新銳導演艾力史密特在柏林影展短片單元獲獎無數，首次執導劇情長片立即為觀
眾帶來驚喜，透過另類目光穿梭柏林，為這座傷痕累累的城市寫下一則繽紛美麗的現 代童話。
◎ 提名第 69 屆「柏林影展」最佳首部劇情長片、 「新生代」兒童單元最佳電影
A magic clock which can turn back time and a topsy-turvy journey across the city of Berlin – it is a lifetime opportunity for the bright girl Cleo to undo the loss of her parents. With the help of the newly met adventurer Paul and the souls of the city, Cleo revives Berlin with her fabulous imagination. After winning various short film awards, Erik Schmitt’s debut feature provides an alternative look to the traumatic city Belin in a playful and fantastical way. ◎ Nominee - Best Film in Generation Kplus section and Best First Feature, Berlin International Film Festival 2019
導演 Director
Erik Schmitt
德國ﾠ Germany ｜ 2019 │彩色ﾠ Colour │ 99' ｜德語，中英文字幕ﾠ
In German with Chinese & English subtitles
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09.11ﾠ星期一ﾠMonﾠ21:15 永樂戲院
Cinema Alegria
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金魚俱樂部ﾠThe Goldfish 工作狂基金經理 Oliver 因為一時貪快發生嚴重車禍，最終落得下肢癱瘓，但他
的賺錢野心卻絲毫未減。他甚至盯上一個名叫「金魚」的殘障群組，打算利用社會對 殘障人士的包容，從瑞士偷運非法巨款回到德國。然而這群身體和智力障礙的隊友卻 令他始料不及，一連串荒誕的意外遭遇接踵而來……
年輕導演阿里雷扎葛拉珊的這部處女作被媒體譽為德國「近年最佳的喜劇電
影」，獲得 2 億票房和 3 周冠軍喜劇，德國影帝湯姆施寧瞓身演出，詼諧而體貼地道
出弱勢群體的喜與悲。
◎ 2020 年「巴伐利亞電影獎」最佳新導演
Hard-working portfolio manager Oliver ends up paraplegic after a devastating car crash. When his illegal financial transactions in Zurich are about to blow, he meets a band of disable people named “Goldfish Group”. He decides to use the group as the disguise to smuggle 1.2 million Euros across the German-Swiss border. But the rousing road trip – beyond the boundaries of greed, glamour, luck and legality. With this his first feature film, the German director of Iranian origin Alireza Golafshan puts his name to a good-natured comedy on disability and tax evasion. ◎ Best New Director - Bavarian Film Awards 2020
導演 Director
Alireza Golafshan
德國 Germany ｜ 2019 │ 彩色 Colour │ 112' ｜德語，中英文字幕ﾠ
In German with Chinese & English subtitles
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11.11ﾠ星期三ﾠWedﾠ19:30 永樂戲院 Cinema Alegria
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愛情相對論ﾠRelativity 人世間的所有相遇，似乎都是命中注定。超市女職員 Nora 曾經不相信命運，
直到她遇上物理系研究生 Aron ，才明白機遇和命運間的巧妙結合。然而命運卻將
Aron 的生命帶走，Nora 又再回到原點，無法釋懷的她只能從陌生男子 Natan 身上 尋求慰藉。但這次，她卻覺得冥冥之間她與 Natan 有某種宿命連繫…… 擁有日本血統的德國年輕女導演 Mariko Minoguchi 在她的首部長片中立即展露 鋒芒，透過意味深長的相遇和回憶，訴說愛情與量子力學間的巧妙關連。
◎ 榮獲 2020 年「德國電影評論協會獎」最佳首部劇情長片、最佳劇本 ◎ 提名 2020 年「德國電影獎」最佳剪接
Have you ever had a déjà vu experience? Have you ever met a person you think you already know? Nora fall in love with Aron at first sight. Their fatal encounter soon develops into an unforgettable love story, until a bank robbery takes the life of Aron. The brutal bereavement brings Nora to Natan, who saves her life and offers her support and stability. But Nora has the odd feeling she already knows him… Everything seems fatal, and yet everything is undecided. Young director Mariko Minoguchi gains international attention with her debut feature Relativity. It is a love story in Schrödinger’s cat paradox. Sensible and full of meaning. ◎ Winner - Best Feature Film Debut and Best Screenplay, German Film Critics Association Awards 2020 ◎ Nominee - Best Editing, German Film Awards 2020
導演 Director
Mariko Minoguchi
德國ﾠGermany｜2019 │彩色 Colour │ 110'｜德語對白， 中英文字幕ﾠIn German with Chinese & English subtitles
14.11ﾠ星期六ﾠSatﾠ16:30 永樂戲院 Cinema Alegria
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紐約，我來了！ﾠI Have Never Been To New York 「我從未去過紐約！」就因為這一句話，足以令當紅電視節目主持 Lisa 姐人生發
生翻天覆地的變化。意外失憶的母親 Maria 只記得自己未去過紐約，於是頭也不回 地逃出醫院，搭上郵輪一走了之。Lisa 得悉阿媽出走，唯有與化妝師好友一起趕上
郵輪齊踏征途。橫衝直撞三人行，各自修行尋開心，沿途載歌載舞，高潮迭起！
音樂劇 Ich war noch niemals in New York 十年來累積超過四百萬觀眾入場觀
賞，電影改編自這齣德國街知巷聞的名劇，重現多首奧地利天王 Udo Jürgens 經典 金曲。
◎ 提名 2020 年「德國電影獎」最佳男配角、最佳美術指導、最佳服裝設計、最佳化妝、最佳視覺效果和動畫
“I've Never Been to New York!” is the only thing Maria, the mother of successful TV presenter Lisa Wartberg, can remember after she loses her memory after an accident. The old lady soon flees from the hospital and sneaks aboard a luxurious cruise ship as a stowaway to New York. In order to find her mother Lisa has to jump on board too! The unplanned journey begins and keeps surprising everyone before the ship anchors in New York… Film adaptation of the musical of the same name featuring songs by Udo Jürgens, an icon of German pop music for decades. This film is a brilliant showcase of German musical film. ◎ Nominee - Best Performance by an Actor in a Supporting Role, Best Production Design, Best Costume Design, Best Makeup, Best Visual Effects and Animation, German Film Awards 2020
導演 Director
Philipp Stölzl
德國ﾠGermany ｜2019 │彩色ﾠColour │ 129'｜德語， 中英文字幕ﾠIn German with Chinese & English subtitles
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15.11ﾠ星期日ﾠSunﾠ16:30 永樂戲院 Cinema Alegria
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希特拉偷走我的粉紅兔ﾠWhen Hitler Stole Pink Rabbit 如果今夜逃亡，媽媽只可讓你帶走一個毛公仔，你會點揀？九歲的 Anna 沒有帶
走她的粉紅色兔仔，在舉家流亡的路上只能念念不忘。她不知道這個希特拉到底是 誰，更不知道她即將展開的逃亡之旅有多麽艱辛。這個被希特拉偷走粉紅兔和童年的 小女孩，漸漸見識到世上的各種可怕真相。
電影改編自猶太裔童書作家朱迪絲克爾（ Judith Kerr ）的同名著作。她將童年跟
隨家人逃亡的經歷寫成半自傳小說系列。奧斯卡最佳外語片獎得獎人嘉露蘭靈嘉將原 著搬上大銀幕，從一個小女孩的觀點揭露極權統治下的歐洲歷史。 ◎ 榮獲 2020 年「德國電影獎」最佳兒童電影
◎ 榮獲 2020 年「巴伐利亞電影獎」最佳青年電影
In 1933 Berlin, nine-year-old Anna has to flee with her entire family to Zurich due to Hitler, the man on the posters who is about to change the whole of Europe. She has to leave everything behind, including her beloved pink rabbit, and to face a new life full of challenges and privations abroad. Film adaptation of Judith Kerr's semi-biographical children's book about how her Jewish family escaped from the Nazis. Oscar-winning filmmaker Caroline Link put on the screen the cruel history of Germany from a girl’s perspective. ◎ Winner - Best Youth Film, Bavarian Film Awards 2020 ◎ Winner - Best Children’s Film, German Film Awards 2020
導演 Director
Caroline Link
德國及瑞士ﾠGermany & Switzerland │ 2019 │彩色 Colour │ 119'｜ 德語、法語及英語，中英文字幕ﾠ In German, French & English with
Chinese & English subtitles
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焦點導演
Director-in-Focus
文ﾠText 喬奕思ﾠJoyce Yang
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歷史陰影中的玫瑰鋒芒 ⸺ 瑪格麗特 · 馮卓塔
Thorns on Roses in the Shadows of History — About Margarethe von Trotta
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德國新電影受法國新浪潮影響，在 1960 年代
至 1980 年代的二十多年間，湧現一批影史垂名的導
演們，如法斯賓德（ Rainer Wener Fassbinder ） 、
沃克施隆多夫（ Volker Schlöndorff ） 、華納荷索
（ Werner Herzog ）等。瑪格麗特馮卓塔便是其中最
為突出的女性導演。她的創作深受英瑪褒曼啟發， 是褒曼讓她明白人生與電影可以合而為一，個人的 感情、恐懼以及所遭受的磨難都可以放到電影中。
（ Searching 2018 年她就拍攝了紀錄片《尋找褒曼》 ，通過電影與自己的藝術啟蒙者重遇。 for Bergman ） 馮卓塔自 1970 年代開始獨立創作，到如今 78 歲高齡，自編自導十多部電影，不算多產，但《德國 姐妹》 （ Marianne and Juliane, 1981 ） 、 《羅莎盧森
堡》 （ Rosa Luxemburg, 1986 ） ，以及千禧後的《玫 瑰圍牆》 （ Rosenstrasse, 2003 ） 、 《漢娜鄂蘭：真理
無懼》 （ Hannah Arendt, 2012 ）等，都在德國電影史 上擲地有聲，每一部都有她鮮明的作者印記。蘇珊桑
塔格形容馮卓塔為 “ a great feminist filmmaker ”，
然而，僅女性主義尚不足以涵蓋她的藝術成就，馮卓 塔的電影也是政治的。德國二戰後的社會巨變就是她 作品中無處不在的宏闊背景，在主角身上投下歷史的 陰影。馮卓塔擅以史詩式的描繪刻畫角色與社會之間 的關係，態度嚴謹而有思辯深度。她偏好紮根現實更
甚於浪漫想像，不少作品是從歷史人物而來，如《德
國姐妹》是取材自 1970 年德國極左派恐怖份子的真
實事件， 《羅莎盧森堡》為這位波蘭猶太裔馬克思主 義學者作影像傳記， 《漢娜鄂蘭：真理無懼》則特寫
了二戰後最重要的哲學著述《平庸之惡》的誕生。馮
卓塔對女性墮胎權、恐怖主義、罪惡、種族創傷、性 別困境等的表述充滿力度，其女性角色往往有無窮鬥 志，哪怕在無力刺破的政治陰影之中，也選擇以個體 生命的堅毅態度，展現玫瑰的鋒芒。
Inspired by the French New Wave, the New German Cinema, during the period between the 1960’s and 1980’s, saw the emergence of numerous acclaimed directors, including Rainer Wener Fassbinder, Volker Schlöndorff and Werner Herzog. Among this generation, Margarethe von Trotta is definitely the most prominent female director, whose works have been profoundly inspired by Ingmar Bergman. Von Trotta has learnt from Bergman that life and filmmaking can be one and that personal feelings, fears and suffering can all be put into a film. Searching for Bergman, a documentary she made in 2018, serves as her tribute to Bergman for reunion. Starting independent productions since the 1970’s, von Trotta, now aged 78, has written and directed over 10 films, including Marianne and Juliane (1981), Rosa Luxemburg (1986), Rosenstrasse (2003) and Hannah Arendt (2012), which are all highlights of the German cinema and showcase her distinctive style. Susan Sontag has once hailed von Trotta as a great feminist filmmaker — but she is more than that. Politics is a major theme of her films, which dwell on how the protagonists live in the shadows of the German history and the drastic changes in society after World War II. She excels at her epic, rigorous and thoughtful portrayal of the relationship between her characters and the society, while her style is deeply rooted in reality rather than romantic beliefs, with many of her works based on real-life characters and events. For instance, Marianne and Juliane is based on the real-life account of the far-left terrorists in Germany in 1970; Rosa Luxemburg is an autobiographical film about the eponymous Polish-Jewish Marxist; and Hannah Arendt portrays how the “Banality of Evil”, one of the most important philosophical notions, has been developed after WWII. In regards to abortion rights of women, terrorism, crimes, racial trauma, gender dilemma and other topics, Von Trotta takes a strong stance in her films, and the female characters all possess an unrelenting fighting spirit — albeit living in the shadows of politics that often render them powerless, they each continue on their lives with perseverance alike the thorns on roses.
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馮卓塔 1942 年生於柏林，是深受二戰影響的一代。她的母親本為俄國貴族， 1917 年俄國大革命後流亡德國，此後一直以無國籍人士身分在德國生活。馮卓塔
與母親相依為命，生活窮苦，也是直到第一次結婚時才取得德國公民身分。知道她 的這些經歷，也就不難明白她作品中反覆出現的姐妹式情誼、身分創傷等母題了。 她 2003 年的作品《玫瑰圍牆》回到 1943 年的柏林，寫一個猶太家庭中的女性，母
親、姐妹之間的關係在政治裹挾下走向激烈的衝突。 《漢娜鄂蘭：真理無懼》最為精
彩的就是重現了這位哲學家的身分處境，寫出了漢娜如何帶著逃離集中營的創傷經 歷，提出「惡」的辯證，當然她也為這一振聾發聵的勇敢洞察付出了代價。
馮卓塔的作品都很平實誠懇，娓娓道來，但每一個女性形象都很美，完全打破了
性別陳見，呈現精神上的美，知識份子的美，敢於獨立發聲的美。馮卓塔自言，幾乎
在她所有作品背後，她都在問自己一個問題：當面對的是無力改變的社會和歷史時 候，她該如何？相信所有的觀眾都會感受到這個問題從未過時，或者可以在馮卓塔的 電影中得到啟發。
喬奕思簡介｜影評人，香港電影評論學會會員。曾任香港國際電影節國際影評人費比西獎、
CASCADIA International Women's Film Festival、IFVA awards 評審。電影方面參與編輯的書籍 有《異色經典⸺ 邱剛健電影劇本選集》(2018) 等。
Joyce Yang’s bio | Joyce YANG, a film critic, member of Hong Kong Film Critics Society. She has served as a jury member for FIPRESCI Prizes of HKIFF, CASCADIA International Women’s Film Festival and IFVA awards. She has co-edited a book on the selection of Chiu Kang-Chien’s award-winning film scripts.
Born in Berlin in 1942, von Trotta and her generation were profoundly affected by WWII. Her mother, a Russian aristocrat, fled in exile to Germany after the Russian Revolution of 1917, and had lived in the western country since then as a stateless person. Living with little money but having a close bond with her mother, von Trotta only obtained the German citizenship after her first marriage. Taking account of her experiences, it is not difficult to understand why her films typically center on themes like sisterhood and the examination of identities. Her work, Rosenstrasse (2003), explores the relationships of sisters and mother-daughters in a Jewish family in Berlin in 1943 amid the fierce political struggles. The most exciting part about her other film Hannah Arendt is the examination of the identities of the eponymous philosopher, depicting how Arendt is traumatized by her experience in the escapee from the concentration camp, how she puts forward the notion of the “Banality of Evil”, and how she eventually pays the price for her enlightening and bravery insights. Von Trotta’s films are candid, sincere and eloquent, and the images of each female character in the works do not only break gender stereotypes but are also exquisitely crafted spiritually, intellectually and vocally. Von Trotta has once said she asks herself one question in most of her films: how does a person act when being subjected to historical and social events and conditions over which she has no influence? It is believed that all the audiences probably think this question is still as relevant as ever, and von Trotta’s films could be our inspirations.
注釋 1｜其原話為 Bergman gave me this idea that life and filmmaking can be one, that your own
feelings and your own fears and suffering can all be put into a film.
注釋 2｜其原話為：the life of Hannah Arendt poses a question I ’ ve asked in most of my films - of Rosa
Luxemburg, of Marianne and Juliane, and others: how does a person act when subjected to historical and social events and conditions over which she has no influence?
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07.11ﾠ星期六ﾠSatﾠ16:30
焦點導演
Director-in-Focus
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永樂戲院 Cinema Alegria
漢娜鄂蘭：真理無懼ﾠHannah Arendt 「邪惡以『平庸』的方式體現於人間，其特徵是人們停止和拒絕思考。」⸺ 漢娜
鄂蘭。
漢娜鄂蘭（ Hannah Arendt ， 1906-1975 年）是 20 世紀最偉大的女性思想家
之一。在納粹劊子手艾希曼的世紀審判中，她親臨審判現場報導；聽著艾希曼的自 白，她發現眾人眼中的惡魔，其實只是「依法行事」的平凡人。她不但提出「邪惡的平
庸」，更大膽指出猶太人也是這場悲劇的共犯。文章刊出後輿論譁然，讓她飽受評擊 與威脅。但她毫不畏懼，捍衛真理，終生論述邪惡的本質。
馮卓塔的這部傳記電影不但記錄了漢娜從審判到整理出其思想的過程，也從側面
描寫了她的感情、家庭和踏上思考之路的人生經歷。德國影后芭芭拉蘇高娃更憑此片 第三度榮登德國奧斯卡影后。
◎ 榮獲 2013 年「德國電影獎」最佳電影銀獎、最佳女主角 ◎ 榮獲 2013 年「巴伐利亞電影獎」最佳女主角
In 1961, one of the greatest philosopher, Hannah Arendt, gets to report on the trial of the notorious Nazi war criminal, Adolf Eichmann. Her report—controversial both for her portrayal of Eichmann and the Jewish councils—introduced her now-famous concept of the “Banality of Evil.” The result is a bitter public controversy in which Arendt is accused of blaming the Holocaust's victims. Now that strong willed intellectual is forced to defend her ideas in a struggle that will exact a heavy personal cost. The sublime Barbara Sukowa reteams with director Margarethe von Trotta for a brilliant new biopic of the influential German-Jewish philosopher and political theorist. They beautifully turn the often invisible passion for thought into immersive, dramatic cinema. ◎ Winner - Silver Lola for Best Film and Best Performance by an Actress in a Leading Role, German Film Awards 2013 ◎ Winner - Best Actress, Bavarian Film Awards 2013
導演 Director
瑪格麗特 · 馮卓塔
Margarethe von Trotta
德國、盧森堡、法國及以色列ﾠ Germany, Luxembourg, France & Israel │ 2012 │彩色ﾠColour │ 113 '｜德語、法語、英語、希伯來語 及拉丁語，中英文字幕ﾠIn German, French, English, Hebrew & Latin with Chinese & English subtitles
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14.11 星期六 Sat 19:30
焦點導演
Director-in-Focus
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澳門紐曼樞機藝文館 Macau Cardinal Newman Centre of Cutural and Performance Arts
羅莎盧森堡ﾠRosa Luxemburg 馬克思主義革命家羅莎盧森堡（ Rosa Luxemburg，1871-1919 年）是現代歐洲政
治史上最迷人的人物之一。她一生為爭取婦女權利和國家改革而奮鬥，從波蘭走到德
國投入工人運動，期間因反對一戰而遭多次入獄，但仍然不為強權而低頭。出獄後創 立德國共產黨，正值人生高峰卻在 47 歲時被謀殺身亡。
馮卓塔透過羅莎的 2500 封書信和演說，重新刻劃這位激進革命家的形象。她以
一個女性的角度追隨著羅莎的足跡，從她的革命熱情到她的私人情感，到最終被暗殺 的悲劇命運；而榮獲當年康城影后的芭芭拉蘇高娃更加傾力演出，把一位女革命家的 細膩思想和堅強意志展現得更為立體和富有深度。 ◎ 榮獲 1986 年「德國電影獎」最佳電影金獎、最佳女主角 ◎ 榮獲 1986 年「康城影展」最佳女主角 ◎ 提名 1986 年「康城影展」金棕櫚獎
Margarethe von Trotta’s remarkable biopic explores one of the most fascinating figures in modern European political history. Having fought for women’s rights and to revolutionise the state in early 20th century Poland and Germany, Marxist revolutionary Rosa Luxemburg (1871-1919) formed the famous Spartacist League, later the Communist Party of Germany before her murder in Berlin aged 47. The film traces Luxemburg’s political and moral development from journalist and author to dissenter from the party line and imprisoned pacifist. Portrayed masterfully by von Trotta regular Barbara Sukowa, Luxemburg’s character comes alive on screen with more depth and complexity. ◎ Winner - Best Feature Film in Gold, Best Director, Best Performance by an Actress in a Leading Role, Best Performance by an Actress in a Supporting Role, Best Performance by an Actor in a Supporting Role, German Film Awards 1986 ◎ Winner - Best Actress, Cannes Film Festival 1986 ◎ Nominee - Palme d'Or, Cannes Film Festival 1986 設映後座談ﾠPost-screening Talk 講者ﾠGuest：香港影評人喬奕思ﾠJoyce Yang (Hong Kong Film Critic) 語言ﾠLanguage：粵語ﾠCantonese 導演 Director
瑪格麗特 · 馮卓塔
Margarethe von Trotta
西德ﾠWest Germany │ 1986 │彩色 Colour │ 122'｜ 德語、法語及波蘭語，中英文字幕ﾠIn German, French & Polish with
Chinese & English subtitles
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16.11ﾠ星期一ﾠMonﾠ19:30
焦點導演
Director-in-Focus
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澳門紐曼樞機藝文館 Macau Cardinal Newman Centre of Cutural and Performance Arts
德國姊妹ﾠMarianne & Juliane Juliane 和 Marianne 是一對成長於二戰時期西德的姊妹。兩人雖出自同一個壓 抑保守的家庭，但個性與命運迥異。姊姊 Juliane 是女權記者，尋求體制內改革的可 能性，妹妹 Marianne 則是一名激進的革命行動派。隨著妹妹的政治行動變得越發 危險，姊姊陷入了在政治與家人之間選擇的困境。在那個被稱之為「鉛一般沈重」的
50 年代，所有人的命運都被時代牢牢困住。
馮卓塔的這部曠世巨作被瑞典電影大師英瑪褒曼（ Ingmar Bergman ）視為此生
最愛的電影之一。改編自真實事件，本片被公認為德國新電影的經典之作，而首次合 作的芭芭拉蘇高娃更憑此片獲得威尼斯影展和德國奧斯卡雙料影后。 ◎ 榮獲 1982 年「德國電影獎」最佳電影金獎、最佳女主角
◎ 榮獲 1981 年「威尼斯影展」金獅獎、最佳女主角、影評人費比西獎
Two sisters take diverging paths to emancipation in West Germany. Juliane is a feminist journalis while Marianne a revolutionary terrorist. As Marianne’s political activism becomes more dangerous, Juliane is torn between her politics and the need to protect her sister and family. But when Marianne is imprisoned, Juliane is forced to confront the realities and harsh power of the state. As Margarethe von Trotta’s first collaboration with her muse Barbara Sukowa, this film was selected by Ingmar Bergman as one of his favourite films of all time. Justly considered one of the classics of the New German Cinema movement, this film tells a prescient and intimate story of Germany based on the real life story of the Enslein sisters. ◎ Winner - Best Feature Film in Gold, Best Performance by an Actress in a Leading Role, German Film Awards 1982 ◎ Winner - Golden Lion Award, FIPRESCI Prize and Best Actress, Venice Film Festival 1981
設映後座談ﾠPost-screening Talk 講者ﾠGuest：香港影評人喬奕思ﾠJoyce Yang 語言ﾠLanguage：粵語ﾠCantonese
導演 Director
瑪格麗特 · 馮卓塔
Margarethe von Trotta
西德ﾠ West Germany │ 1981 │彩色 Colour │ 106' ｜德語，中英文 字幕ﾠIn German with Chinese & English subtitles
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CELEBRATE 75
雲溫達斯 75 特別放映
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迷失與尋找：雲溫達斯的電影之路
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文／林瀚光博士
德國導演雲溫達斯（ Wim Wenders ）沒
有拘泥於其國籍身份，從他的身上可以體現 出一種世界主義的形式，這在現今對全球化 進程懷有敵意的環境中，可謂難能可貴。溫 達斯於戰後六十年代邁向成年，跟其同輩的 歐洲人一樣，通過法國電影，醉心於光影世 界 ⸺ 他在魯爾工業區長大，然後在巴黎
定居的數年期間，越發喜愛電影，更立志以 電影製作人為終身職業。返回德國後，他成 為了電影評論家，在慕尼黑的一家電影學校 讀書，並於 1970 年畢業，同年完成個人首
部劇情長片，以 16 毫米膠片拍攝的《夏日
記遊》 。
其電影作品在短時間內便吸引了國際
影評人的關注。經過兩部改編自文學經典的 作品後（一部改編自彼得．漢德克的小說，
溫達斯其後會跟他再度合作；另一部是改 編自納撒尼爾．霍桑的作品） ，溫達斯著手
籌備其「公路片三部曲」 （即《愛麗絲漫遊城
As much a German filmmaker as a filmmaker of the world, Wim Wenders embodies a form of cosmopolitanism that has become increasingly rare in our present-day environment hostile to all forms of globalization. Characteristic of the postwar European generation that came of age in the Sixties, Wenders became enamored of the movies by way of French cinephilia: after growing up in the industrial Ruhr valley, he spent a number of years in Paris, where his obsessive filmgoing made him determined to forge a career as a filmmaker. Returning to Germany, he became a film critic and enrolled in Munich’s film school, graduating in 1970 with his debut feature, the 16mm Summer in the City. It took very little time for Wenders to attract international critical attention as a filmmaker. After making two adaptations of literary works (by Peter Handke, with whom he would again collaborate, and Nathaniel Hawthorne), Wenders embarked upon the
Lost and Found: The Cinematic Wanderings of Wim Wenders Text: Dr. Derek Lam
so-called “Road Movie” trilogy (Alice in the Cities, The Wrong Move, Kings of the Road) with actor Rüdiger Vogler that came to define the early part of his career. Working with cinematographer Robby Müller – with whom he would collaborate for decades – Wenders shot on 16mm, improvising loosely without a complete script as he went along, in search of human relationships across alien landscapes, whether in Germany or America (on whom a character famously remarks: “The Yanks have colonized our subconscious!”) The cultural dynamics between Germany and America were further explored in Wenders’s personalized adapatation of Patricia Highsmith (The American Friend) – co-starring Dennis Hopper and Bruno Ganz, with significant roles for veteran Hollywood directors Sam Fuller and Nicholas Ray. Wenders was invited by Francis Ford Coppola to direct Hammett for Zoetrope Studios, although the self-reflexive noir was plagued by
市 》、 《 歧路 》及《 公路之王 》），其中演員
魯迪格 · 福格勒參演了他早年多部執導的作 品，而與攝影師羅比．穆勒的合作，更達數
十年之久。 「公路片三部曲」以 16 毫米膠片
拍攝，沒有完整的劇本，溫達斯沿途即興創 作拍攝，無論是在德國還是美國，他試圖在 寂然的自然風光下探討人際關係（電影中有
一句名言： 「那些美國佬已經殖民了你的潛 意識！」） 。
在改編自派翠西亞．海史密斯的《美國
朋友》中，溫達斯進一步探討德國和美國之
間的文化角力，該片由派翠西亞 · 海史密斯 和般奴．堅斯主演，荷里活資深導演山姆．
富勒和尼古拉斯 · 雷也出演了要角。在法蘭
斯．福特．哥普拉的邀請下，溫達斯為幻 影座製片公司執導有自反意味的黑白片《神
探漢密特》，但兩人在創作上出現分岐，令
該片需大幅刪減及重拍。在《巴黎，德州》 中，溫達斯重回公路片的格局，該片更是他
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生涯中最獲好評的電影之一，斬獲了康城影 creative differences between Wenders and 展金棕櫚獎⸺ 該片進一步延伸《愛麗絲漫 Coppola that involved much of the film being 遊城市》探討的母題，剖釋在荒野迷失靈魂 cut and reshot. With Paris, Texas (awarded the Palme d’Or at Cannes), Wenders re的男人如何與世界再度對話連接。 turned to the “road movie” genre for one of 藉著與彼得．漢德克及般奴．堅斯再 his greatest critical successes: revisiting and 度合作的《柏林蒼穹下》，溫達斯在康城影 expanding upon themes explored in Alice in 展勇奪最佳導演獎，該片以天使的視角， the Cities, Wenders once again contemplated 展現分裂的柏林。數年後，在德國統一的 the soul of a man lost in the wilderness who 背景下，他再度審視相關主題，拍下《柏林 embarks on a quest for reconnection. Wenders won the Best Director award 蒼穹下 》續集《 咫尺天涯 》。在這兩部作品 at Cannes for Wings of Desire: a luminous 之間，他執導了科幻公路長片《直到世界末 portrait of divided Berlin from the perspec日》，時長近五個小時。雖然該片當時票房 tive of angels and another collaboration with 大敗，但往後卻成為經典 cult 片之一。 Peter Handke and Bruno Ganz. He revisited 溫達斯近年劇情長片的產量零星和不平 this material several years later with a sequel 衡，但他對紀錄片創作卻重燃熱情。事實 within the context of Germany’s reunification (Faraway, So Close!) In-between, Wenders 上，他在職業生涯中拍攝了多部出色的劇情 made an epic sci-fi road movie (Until the 長片，讓人很容易忽視其紀錄片的表現。例 End of the World) with a total running time of 如，他製作了多部有關日本的精彩紀錄片， nearly five hours that was commercially un包括以小津安二郎為題的《尋找小津》和紀 successful at the time, but has since gained 錄時裝設計師山本耀司點滴的《城市時裝速 a cult reputation. Feature filmmaking has become more 記》，以及與尼古拉斯．雷合作的《水上回 sporadic and uneven for Wenders in recent 光》。近年，其紀錄片的焦點投放在不同媒 years, although he has taken a renewed in介的藝術家，包括描繪古巴音樂人的《樂士 terest in documentaries. It is easy, in fact, to 浮生錄》、以 3D 電影拍攝技術紀錄舞者碧 overlook Wenders’s achievement in this form, 娜 • 鮑許生涯的同名作《 Pina 》和攝影師 as he has made a number of exceptional es-
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say films over the course of his career: the wonderful travel diaries he made in Japan (Tokyo-Ga, a personal meditation on Yasujiro Ozu, and Notebook on Cities and Clothes, his portrait of fashion designer Yohji Yamamoto), for instance, or his collaboration with Nicholas Ray (Lightning Over Water). More recently, Wenders has focused as a documentarian on artists in different mediums: the Cuban musicians of Buena Vista Social Club, a 3D film of Pina Bausch’s choreography (Pina), the photographic work of Sebastião Salgado (The Salt of the Earth). A lifelong Catholic, Wenders’s latest documentary is an intimate portrait of Pope Francis (A Man of His Word). No biography of Wim Wenders is complete, however, without mentioning his love of rock music: from the live footage of Chuck Berry shot by Wenders himself in Alice in the Cities to the performance of Nick Cave and the Bad Seeds in Wings of Desire (not to mention the director’s close association with U2 & Bono, culminating in their collaboration on The Million Dollar Hotel), Wenders has featured a host of musical giants on his soundtracks, including Lou Reed, the Kinks, & such artists as Ry Cooder or CAN: an appropriately starry mixtape for the cinematic road trip of our dreams.
塞巴斯蒂奧．薩爾加多生平的《薩爾加多的
凝視》等。鑑於溫達斯一生都為天主教徒， 其最新的紀錄力作為《教宗方濟各：信守諾 言的人》 。
回顧溫達斯的生平，不得不提及他對
搖滾音樂的熱愛。從《愛麗絲漫遊城市》中 有關查克．貝里（ Chunk Berry ）的現場錄
像，到《 柏林蒼穹下 》中「尼克凱夫與壞種 子」 （ Nick Cave and the Bad Seeds ）的
現場演出（ 更不用說溫達斯與樂團 U2 的 ，溫達斯在 Bono 合作的《百萬美元酒店》）
影片中選用了多位樂壇天之驕子的作品配 樂，包括路．瑞德（ Lou Reed ） 、奇想樂團
（ the Kinks ） 、瑞．庫德（ Ry Cooder ）等，
為我們夢寐以求的公路片譜上合適真摯的 樂章。
林瀚光博士簡介｜林博士在香港大學任教電影。他
曾在香港國際電影節、澳門戀愛電影館和紐約電影 節工作。他在哥倫比亞大學獲得了電影導演的碩士 學位，並在香港大學獲得了比較文學博士學位。
Dr. Derek Lam’s bio | Dr. Lam teaches film at the University of Hong Kong. He has worked for the HKIFF, Macau's Cinemateca Paixão, and the New York Film Festival. He studied film directing at Columbia University, and obtained his Ph.D. in Comparative Literature at HKU.
13.11ﾠ星期五ﾠFriﾠ21:15 永樂戲院 Cinema Alegria
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雲溫達斯的狂野之途ﾠWim Wenders, Desperado 雲溫達斯於 1945 年出生，擅於製作充滿詩意和哲學性的電影，捕捉了整個戰後
一代的精神面貌。他的創作多樣化，包括劇情片、紀錄片以至裝置藝術，除了深具獨 特的藝術視野，他的拍攝方式也別樹一格，往往沒有完整劇本，隨著人物的旅程即興 創作。也正因這種非常規的創作方法，與電影工業格格不入甚至不歡而散。
這紀錄片為慶祝雲溫達斯 75 歲誕辰攝製，也藉此回顧這位享譽國際、走在德國
新電影最前線的一級大師的創作之路。片中加入了不少從未曝光的稀有片段，又重回 他多部經典作品的拍攝現場，並與多位同輩和合作對像，如哥普拉、威廉達福、帕蒂 史密斯和荷索等，探討這位電影奇才的影像人生。
Wim Wenders is considered one of the pioneers of New German Cinema and one of the most important and influential representatives of contemporary cinema. With never before shown archive material and extraordinary encounters with companions and contemporary witnesses such as Francis Ford Coppola, Willem Dafoe, Andie MacDowell, Hanns Zischler, Patti Smith and Werner Herzog, this documentary provides unique insights into the life and work of one of the most multifaceted artists of our times. Marking his 75th birthday, this documentary film is an intimate meditation on the work of a visionary who captured the zeitgeist of his generation. The documentary provides an up-close, exceptional window into the artistic process and achievement of an incomparable filmmaker – an improvisator who approaches every shoot as a journey into the unknown.
導演 Director
Eric Friedler & Campino
德國 Germany │ 2020 │彩色 Colour │ 120' │德語，中英文字幕ﾠ
In German with Chinese & English subtitles
15 . 11ﾠ星期日ﾠSunﾠ19:00
澳門紐曼樞機藝文館 Macau Cardinal Newman Centre of Cutural and Performance Arts
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咫尺天涯ﾠFaraway, So Close! 這部《柏林蒼穹下》 （ Wings of Desire, 1987 ）續集的故事發生在統一後的德國，
柏林圍牆已倒下，前東德的人獲得了自由，同時也要面對生活朝不保夕，未來充滿不
確定性。天使 Cassiel 為救自殺的女孩墮入凡間，經歷人世間的孤獨、暴力與色情，
為了生計更參與偷運軍火。他後來決定改過自身脫離軍火商的魔爪，想不到卻讓自己 身陷險境……
上一集飾演天使的般奴堅斯（ Bruno Ganz ）再次登場，加上娜塔莎金斯基
（ Nastassja Kinski ）和威廉達福的（ Willem Dafoe ）精彩演出，以及傳奇樂手盧里德
（ Lou Reed ）和前蘇聯總理戈爾巴喬夫的破格客串，還有 U2 樂隊主唱的主題曲，都 幫助了本片奪得康城影展評審團大獎。 ◎ 榮獲 1994 年「德國電影獎」最佳攝影金獎 ◎ 榮獲 1993 年「康城影展」評審團大獎 ◎ 提名 1993 年「康城影展」金棕櫚獎
The film opens with the angel Cassiel (Otto Sander) standing on the statue of the Angel of Victory overlooking post-Cold War Berlin. Growing ever more despondent over his fate as a mere observer of human life, rather than a vital part of it, Cassiel dreams of “crossing over” to the human world. And he does, as Karl Engel, a man who perhaps knows too much, perhaps like in many of Hitchcock's films, some harmless citizen who gets involved in an affair to which he is not up to. In fact, there is no one as kind and harmless as this newborn citizen of the Earth. We will follow Cassiels's adventures into a “thriller.” This story which gets mangled with his own life is about weapons, more precisely about a weapon deal where the weapons - or INSTRUMENTS of violence – are traded for IMAGES of violence. ◎ Winner - Best Cinematography, German Film Awards 1994 ◎ Winner - Grand Prize of the Jury, Cannes Film Festival 1993 ◎ Nominee - Palme d'Or, Cannes Film Festival 1993 設映後座談ﾠPost-screening Talk 講者 Guest：香港大學講師林瀚光博士ﾠDr. Derek Lam 語言 Language：粵語 Cantonese
導演 Director
雲溫達斯
Wim Wenders
德國及美國 Germany, USA │ 1993 │彩色及黑白 Colour, Black & White │ 146'｜德語，中英文字幕ﾠIn German with Chinese & English subtitles
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影展延伸活動ﾠFestival Extended activities *All the event will be conducted in Cantonese.
我們都有「平庸之惡」嗎？⸺ 漢娜鄂蘭的哲學 48
Do we have “the banality of evil” ? Hannah Arendt's philosophy 「平庸的惡」是甚麼呢？在今天的社會意 義裡，鄂蘭的政治哲學和「平庸的惡」， 與我們又有甚麼關係呢？
兩位畢業於台灣的哲學系青年，將與我 們分享和討論鄂蘭的哲學思想，帶領我 們用哲學的角度審視自己身處的時代。
日期ﾠDate
活動一
Activity 1
What is the “banality of evil"? How can the political philosophy of Hannah Arendt and her “banality of evil" affect us under today’s social context? We have invited two philosophy graduates to share and discuss with us Arendt's philosophical thought, allowing us to examine our time in the perspective of her philosophy.
｜31.10ﾠ星期六ﾠSat 19:00 - 20:00
地點ﾠVenue ｜邊度有書ﾠPin-to
Livros & Musica
講者ﾠGuest ｜李戊球ﾠ清華大學哲學碩士，主要研究政治哲學
Ball Lei (Master of Philosophy from Tsinghua University)
何烱元ﾠ東吳大學哲學學士，興趣在於研究佛教哲學與符號學 Ebenzer Ho（ Bachelor of Philosophy, Soochow University ）
《希特拉偷走我的粉紅兔 》作者 Judith Kerr 的童書世界 Judith Kerr 's children books 知名童書作家 Judith Kerr 愛把自身經
歷寫成童書和繪本，除了自傳小說《希特 拉偷走我的粉紅兔》外，她更創作了不少
受家人孩子啟發的小故事，深受歐洲孩 子的歡迎，她的作品風格簡潔卻溫馨感 人，藉這次分享會，將向小孩子分享她 最著名的兩本繪本《老虎來喝下午茶》和
《小貓莫格》 。
｜02.11ﾠ星期一ﾠMon 15:00 – 16:00 繪本書屋ﾠJúbilo 31 books 講者ﾠGuest ｜黃詠思ﾠWendy Wong 日期ﾠDate
地點ﾠVenue ｜井井三一
黃詠思，英文傳意系畢業，自由文字工作者、劇評 人、刺繡師、曾任繪本書店店長，閒時遊走於劇院和 電影院之間，喜歡透過圖像與映像理解世界。
活動三
Activity 3
The famous children’s book writer Judith Kerr, loves to write her own experiences into children’s books. In addition to the autobiographical novel “Hitler Stole My Pink Rabbit”, she also created many stories inspired by her family and her children, which are very popular in Europe. Her work style is simple but warm and touching. Through this talk, we will share her two most famous books “The Tiger Who Came to Teal” and “Mog the forgetful cat”. Welcome children to come.
Wendy Wong, graduated from the Major of English Communication, Wendy is a freelance writer, theatre critic and embroiderer. She likes to understand the world through images and films, from between theatre and cinema.
有興趣參加者請於 10 月 30 日（星期五）前電郵至 info.cutcompany@gmail.com 登記。 免費入場，座位有限，先到先得。 Please email us at info.cutcompany@gmail.com on or before 30th Oct for the prior registration. Free admission, limited seats. First-come-first-served basis.
劇場與法斯賓德
活動二
Activity 2
Theatre and Fassbinder 談論法斯賓德的電影，總是離不開他曾 經參與劇場的經驗，也愛談論他電影中 的劇場美學。電影和劇場之間本來有著 甚麼關係？法斯賓德的劇場經驗如何影 響他的電影？他電影的劇場美學又是怎 樣的？
日期ﾠDate
Talking about Fassbinder’s films is always inseparable from his experience in theater, we also love to talk about the style of theater aesthetics in his films. What is the original relationship between film and theater? How did Fassbinder’s theater experience affect his films? What is the theater aesthetics of his films?
｜01.11 ﾠ星期日ﾠSun 19:00 - 20:00
地點ﾠVenue ｜邊度有書ﾠPin-to
Livros & Musica Critic ）
講者ﾠGuest ｜Lawrence（劇評人ﾠTheatre
溫達斯的文學⸺ Peter Handke 與 Wim Wenders
活動四
Activity 4
Peter Handke and Wim Wenders
「以獨創性的語言探索人性的廣度與特殊」 Handke is an important writer and play這是 2019 年諾貝爾文學獎得主彼得・漢 wright in Germany, and also the screen德克（ Peter Handk ）獲得的榮譽。漢德 writer of four Wenders films: “Wings of Desire”, “The Goalkeeper's Fear of the 克是德國當代中很重要的作家和劇作者， Penalty”, “The Wrong Move”and “The 也是溫達斯四部電影的編劇：《柏林蒼穹 Beautiful Days of Aranjuez”. Local writer 下》， 《守門員的焦慮》， 《歧路》和《戀夏 Susanna will share with us about the cre絮語》等。本地作家袁紹珊將與大家分享 ation and influence between Handke and Wenders. 漢德克與溫達斯之間的創作及影響。 日期ﾠDate
｜07.11ﾠ星期六ﾠSat 19:00 – 20:00
地點ﾠVenue ｜邊度有書ﾠPin-to
Livros & Musica
袁紹珊，澳門詩人及作家，北京大學中文系及藝術系 學士、多倫多大學東亞系及亞太研究碩士。曾獲中外 多個文學獎項。作品散見於兩岸四地刊物：台灣《聯合 報》 、 《中國時報》及香港點心網等媒體。詩集包括「流 動三部曲」 《太平盛世的形上流亡》 、 《 Wonderland 》和 :
《愛的進化史》 ，此外尚有《流民之歌》 、 《苦蓮子》及中 英雙語詩集《這裡》 、 《裸體野餐》 。
講者ﾠGuest ｜袁紹珊ﾠSusanna
Un
Susanna Un, Macau poet and writer, graduated from Chinese and Art from Peking University, Master of East Asian and Asia-Pacific Studies, University of Toronto. He has won many Chinese and foreign literary awards. Her works are scattered in the publications of China, Hong Kong and Taiwan.
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放映時間表ﾠFilm Schedule
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永樂戲院
Cinema Alegria
06.11 星期五 Fri
07.11 星期六 Sat
08.11 星期日 Sun
09.11 星期一 Mon
11.11 星期三 Wed
13.11 星期五 Fri
14.11 星期六 Sat
開幕電影 Opening Film
壞孩子法斯賓德ﾠEnfant Terrible
2020｜134'｜ 21:15
漢娜鄂蘭：真理無懼ﾠHannah Arendt
2012｜113'｜ 16:30
天使愛柏林ﾠCleo – If I Could Turn Back Time
✽蘿莉破壞王ﾠSystem Crasher
19:30
16:00
2019｜99'｜B
2019｜112'｜B 21:15
愛情相對論ﾠRelativity
2019｜110'｜C 19:30
雲溫達斯的狂野之途ﾠWim Wenders, Desperado
2020｜120'｜B 21:15
紐約，我來了！ I Have Never Been To New York
✽羅莎盧森堡ﾠRosa Luxemburg
16:30
19:30
2019｜129'｜B
希特拉偷走我的粉紅兔
When Hitler Stole Pink Rabbit
星期日 Sun
2019｜119'｜B
星期一 Mon
2019｜118'｜C
金魚俱樂部ﾠThe Goldfish
15.11
16.11
澳門紐曼樞機藝文館
Macau Cardinal Newman Centre of Cutural and Performance Arts
16:30
1986｜122'｜B
✽咫尺天涯ﾠFaraway, So Close!
1993｜146'｜B 19:00
✽德國姊妹ﾠMarianne & Juliane
1981｜106'｜ 19:30
✽設映後座談ﾠPost-screening Talk
活動時間表ﾠActivity Schedule
邊度有書
Pin-to Livros & Musica
井井三一
Júbilo 31 books
皇都酒店
Lobby Lounge
活動一ﾠActivity 1
31.10 星期六 Sat
我們都有「平庸之惡」嗎？ ⸺ 漢娜鄂蘭的哲學 Do we have “the banality of evil”? Hannah Arendt's philosophy
19:00 – 20:00
01.11 星期日 Sun
活動二ﾠActivity 2 劇場與法斯賓德
Theatre and Fassbinder
19:00 – 20:00 活動三ﾠActivity 3
《希特拉偷走我的粉紅兔 》 作者 Judith Kerr 的童書世界 Judith Kerr's children books
02.11 星商一 Mon
15:00 – 16:00 活動四ﾠActivity 4
07.11 星期六 Sat
溫達斯的文學⸺ Peter Handke 與 Wim Wenders Peter Handke and Wim Wenders
19:00 – 20:00
16.11 星期一 Mon
閉幕音樂會
Closing Party
22:00 – 24:00
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影展團隊ﾠFestival Team 拍板有限公司ﾠCUT co. ltd. 營運總監ﾠ Chief Operating Officer ｜
黃若瑩ﾠRita Wong 藝術總監ﾠ Artistic Director ｜
朱佑人ﾠAlbert Chu 放映及技術統籌ﾠ Projection & Technical Coordinator ｜
高敏聰ﾠMosca Kou 字幕及影片運送ﾠ Subtitles, Film Logistics ｜
高敏聰ﾠMosca Kou 曹志興ﾠChou Chi Heng 莫若南ﾠMok Leok Nam 節目及市場推廣統籌ﾠ Festival Marketing Coordinator ｜
黃小雅ﾠPeeko Wong 邱逢霖ﾠReade Iao 節目及市場推廣統籌助理ﾠ Assistant Festival Marketing Coordinator ｜
梁妍慧ﾠVanessa Leong Laura Cheang Jerry Choi 影展冊子設計ﾠ Booklet Designer ｜
黃子瑋ﾠJimi Vong 影展冊子編輯 Booklet Editor ｜
黃小雅 Peeko Wong 影展冊子英文翻譯ﾠ English Translator of Booklet ｜
Tony 影展預告片剪接師ﾠ Editor for Trailer of Festival ｜
邱逢霖 Reade Iao
特別感謝ﾠSpecial Thanks
Dr. Almuth Meyer-Zollitsch Willi Kwok Anson Ng Lin Da Xiang Penny Lam Francisco Lo David Joyce Dr. Derek LAM Carlos Wong
票價ﾠ Price ｜
70 圓ﾠmop 購票網站ﾠ How to buy
https://event.1ticks.com/KINO
放映場地ﾠ Screening Venues ｜
永樂戲院ﾠCinema Alegria
⸺ 澳門鏡湖馬路 85 號ﾠ85 Estrada do Repouso, Macau
影片評級 Film Classification remarks ｜
A 組 Group A - 老少咸宜ﾠSuitable for all ages
B 組 Group B - 未滿十三歲不宜觀看ﾠNot suitable for children under 13
C 組 Group C - 未滿十八歲不宜觀看，十三歲以下禁止觀看ﾠFor persons aged 13 and above only, but not suitable for age under 18
D 組 Group D - 未滿十八歲禁止觀看ﾠPersons aged 18 and above only 主辦單位保留更改節目及影片放映時間之權利，努不另行通知。
Programmes and screening schedules are subject to change without prior notice.
澳門紐曼樞機藝文館ﾠMacau Cardinal Newman Centre of Cutural and Performance Arts ⸺ 澳門得勝斜路 55 號地下ﾠ55 Calçada da Vitória, Macau
ﾠ拍板有限公司 cut co. ltd.
ﾠcutcompanylimited
Email｜info.cutcompany@gmail.com Website｜cut-company.com