cinefan.com.hk
cinefan.com.hk
Apr/May
The Ruthless Humanist
莫里斯皮亞勒
四、五月節目
成瀨巳喜男
Apr/May Programmes
110
年紀念展
主辦 Presenter
{
32
資助機構 Financially Supported by
四、五月節目
Naruse Mikio
赤裸真相
Maurice Pialat
Programmes
主辦 Presenter
110th Anniversary
資助機構 Financially Supported by
33
}
Maurice Pialat, The Ruthless Humanist I
2
莫里斯皮亞勒：赤裸真相（一）
Cine Fan
電影節發燒友 (HKIFF Cine Fan) 節目
40 Years Later: The Legacy of Ogawa Shinsuke
Financially supported by the Hong Kong Film Development Fund (HKFDF) and organised by the Hong Kong International Film Festival Society (HKIFFS), the HKIFF Cine Fan Programme was launched in April 2013 and based at the agnès b. CINEMA at the Hong Kong Arts Centre. With the aim to enrich and deepen the experience of Hong Kong moviegoers, the monthly programme features a variety of curated contemporary, retrospective and thematic showcases. In conjunction with the programme, the HKIFFS has introduced Cine Fan, a special privilege scheme for cineastes to enjoy ticket discounts both for the programme, and also the annual HKIFF, the Summer IFF, and other associated programmes. Please see P.27 for more details.
Local Heroes
預告片 Trailer
10
本地薑
Ichikawa Kon: 4 Classics Restored
HKIFF Cine Fan Programme 電影節發燒友(HKIFF Cine Fan)節目由 香港電影發展基金資助，2013年4月由 香港國際電影節協會創辦，以香港藝 術中心agnès b.電影院為放映基地。節 目旨於推廣豐富多元的電影文化，定 期為香港觀眾帶來主流電影以外的精 選佳作。 香港國際電影節協會同時推出全新 優惠計劃「電影節發燒友(HKIFF Cine Fan)」，為成功申請的影迷提供各種節 目的票價優惠。詳情請參閱第27頁。
7
回到三里塚：小川紳介的啟示
11
市川崑：審美時刻
Naruse Mikio, 110th Anniversary
14
Apr / May 2015
cinefan.com.hk
成瀨巳喜男110年紀念展
Back to the Screen
22
銀幕再現
Special Presentation
23
特備節目
Restored Classics AC 香港藝術中心agnès b.電影院 Hong Kong Arts Centre agnès b. CINEMA GC The Grand Cinema 署名文章內容不代表主辦機構意見。 The content of signed articles 影片放映格式請參閱Cine do not represent the viewsFan網頁 of the presenter. Screening format information please refer to the Cine Fan website
24
修復經典
Top 20 Must-See
26
廿大必看
Screening Schedule
28
放映時間表
H K I F F C i n e F a n J u n / J u l 2 0 1 5 P r o g ra m m e s 電 影 節 發 燒 友
主辦 Presenter
六 、 七 月 節 目
奧遜威爾斯回顧展
Orson Welles Retrospective 資助機構 Financially Supported by
畢業生．米克尼高斯
The Graduate．Mike Nichols
亂．黑澤明 合作夥伴 Cine Fan Supporters
Ran．Kurosawa Akira 2 0 1 5 年 5 月 8 日 開 始 售 票 Tickets available from 8th May 2015 onwards
Maurice Pialat, The Ruthless Humanist I
2
莫里斯皮亞勒：赤裸真相（一）
Cine Fan
電影節發燒友 (HKIFF Cine Fan) 節目
40 Years Later: The Legacy of Ogawa Shinsuke
Financially supported by the Hong Kong Film Development Fund (HKFDF) and organised by the Hong Kong International Film Festival Society (HKIFFS), the HKIFF Cine Fan Programme was launched in April 2013 and based at the agnès b. CINEMA at the Hong Kong Arts Centre. With the aim to enrich and deepen the experience of Hong Kong moviegoers, the monthly programme features a variety of curated contemporary, retrospective and thematic showcases. In conjunction with the programme, the HKIFFS has introduced Cine Fan, a special privilege scheme for cineastes to enjoy ticket discounts both for the programme, and also the annual HKIFF, the Summer IFF, and other associated programmes. Please see P.27 for more details.
Local Heroes
預告片 Trailer
10
本地薑
Ichikawa Kon: 4 Classics Restored
HKIFF Cine Fan Programme 電影節發燒友(HKIFF Cine Fan)節目由 香港電影發展基金資助，2013年4月由 香港國際電影節協會創辦，以香港藝 術中心agnès b.電影院為放映基地。節 目旨於推廣豐富多元的電影文化，定 期為香港觀眾帶來主流電影以外的精 選佳作。 香港國際電影節協會同時推出全新 優惠計劃「電影節發燒友(HKIFF Cine Fan)」，為成功申請的影迷提供各種節 目的票價優惠。詳情請參閱第27頁。
7
回到三里塚：小川紳介的啟示
11
市川崑：審美時刻
Naruse Mikio, 110th Anniversary
14
Apr / May 2015
cinefan.com.hk
成瀨巳喜男110年紀念展
Back to the Screen
22
銀幕再現
Special Presentation
23
特備節目
Restored Classics AC 香港藝術中心agnès b.電影院 Hong Kong Arts Centre agnès b. CINEMA GC The Grand Cinema 署名文章內容不代表主辦機構意見。 The content of signed articles 影片放映格式請參閱Cine do not represent the viewsFan網頁 of the presenter. Screening format information please refer to the Cine Fan website
24
修復經典
Top 20 Must-See
26
廿大必看
Screening Schedule
28
放映時間表
H K I F F C i n e F a n J u n / J u l 2 0 1 5 P r o g ra m m e s 電 影 節 發 燒 友
主辦 Presenter
六 、 七 月 節 目
奧遜威爾斯回顧展
Orson Welles Retrospective 資助機構 Financially Supported by
畢業生．米克尼高斯
The Graduate．Mike Nichols
亂．黑澤明 合作夥伴 Cine Fan Supporters
Ran．Kurosawa Akira 2 0 1 5 年 5 月 8 日 開 始 售 票 Tickets available from 8th May 2015 onwards
莫 里斯皮亞勒（1925-2003）的電影會令人想很多很多，想到地老天荒。都說同一電影不同年齡和 階段去看會有不同感受，皮亞勒的作品就一定是這樣，而且百看，不厭之外，會有百感。
25.4 5:45pm 23.5 2:30pm
}
難相廝守
他的導演生涯起步遲，拍成首作《赤裸的童年》（1968）時已43歲，可真是一鳴驚人，杜魯福推許 他是後新浪潮最佳導演。他深得雷諾亞和布烈遜兩者真傳，有雷諾亞的人文氣質、橫溢詩情、對社會 細緻深刻的觀察、指導演員的神級示範；也一如布烈遜畫家出身，聲影融合無間，自況色彩濃厚，省 略筆觸有若神來，對畫面、顏色、空間的處理有大將風範。他剖開赤裸現實，絕不迴避自身寫照，不 少人將他譽為法國的卡薩維蒂。他啟後的導演不計其數，阿薩耶斯、戴丹兄弟、德彼仙、杜蒙等新一 代最出色的，都有他的庇蔭。也許皮亞勒作品不多，香港影痴認識不深，Cine Fan會分兩部份連續展 出他一生十部長片，藉此推介這個被遺忘的一代大師。
}
赤裸的童年
2003年皮亞勒逝世時，康城影展主席Gilles Jacob說：「我們都變孤兒，法國電影都變孤兒了。」感 慨，是因為從此再沒有皮亞勒，一個獨一無二的導演。皮亞勒不只是法國電影的壞孩子，更是個怒孩 子，他狠批法國新浪潮不學無術，斥法國導演取悅觀眾厚顏無恥，八方樹敵的他，在《撒旦陽光下》 （1987）拿下康城金棕櫚獎時給喝倒采（評審團是一致通過的），他回敬：「你們不喜歡我，我倒也 不喜歡你們。」他是不折不扣的一根刺，一直在刺醒同道人。
25.4 2:30pm 9.5 5:30pm
We Won’t Grow Old Together
(Nous ne vieillirons pas ensemble)
Naked Childhood (L'Enfance nue)
法國 1972 107分鐘 中文字幕
法國 1968 83分鐘
莫 里 斯 皮 亞 勒 ： 赤 裸 真 相 ( 一） Maurice Pialat, The Ruthless Humanist I Maurice Pialat (1925-2003) makes us uncomfortable. He does not easily fit the categories of French cinema — too late for the Nouvelle Vague, he was neither popular nor a cult. Critics freely compare him to other directors – a French Cassavetes – but then rush to say how different he is. He won the Palme d’Or at Cannes in 1987, but few directors seem to receive such public criticism from other filmmakers for awkward connections or demanding presentations. Yet, at the same time fellow filmmakers praise his intense, inventive, personal control and his painterly scenes. And few directors can have so many films that stand out in the canon and yet seem quite so unknown. HKIFF’s two-part anthological retrospective brings the challenge of Pialat to contemporary Hong Kong audiences. Born in 1925 in a central French village, Pialat originally sought to be a painter, turning to film in his 40s. His first work, Naked Childhood (1968), won the Jean Vigo Prize, but seemed too late for the New Wave. Many films that followed were seen
as both autobiographical and formalist while they upended classic icons of French cinema: twisting the rebellious bourgeois woman (Loulou , 1980), the sexual coming-of-age of a young girl (To Our Loves , 1983), the priest’s crisis of faith (Under the Sun of Satan , 1987) and the troubled artist (Van Gogh , 1991). Meanwhile, he worked with the best actors — not only his discovery of the luminous Sandrine Bonnaire but also Gérard Depardieu, Isabelle Huppert, and others, including the gruff presence of Pialat himself on screen. His individualistic masterpieces here complement less frequently glimpsed works and provide a complex panorama of an artist and his work, constantly challenging, until his death in 2003. C ri t i c Ke n t Jo n e s o n c e w ro t e : “ B re a k i n g i n t o the moment. Rupturing the flow. Freedom and entrapment. The push/pull of Pialat’s seemingly instinctual cinema is all of a piece with his parade of prickly, discontented heroes” … and perhaps of Pialat himself.
一鳴驚人的首作，也是個孩子世界，但和《四百擊》 （1959）相比，杜魯福的社會性，皮亞勒有普世意 義了。但《赤裸》又豈只滿足於刻劃小男角給世界遺 棄和不被了解，那更是控訴大人對孩子的無情壓迫。 被母親遺棄的François在寄養或收養家庭之間猶如皮 球傳來轉去，沒哪個試圖了解過他，所有「父母」都 用固定框框去期望他，他也小心翼翼一路扮演，觀眾 都擔心他的真我甚麼時候被識穿。只一個「祖母」 懂得看穿表面，真心欣賞他的一切。皮亞勒始終比杜 魯福心軟，他拍自己感覺，沉浸其間，把我們也捲進 去。相比，杜魯福竟然是清醒的一個。
1969 尚維果獎 France 1968 83min Cast: Michel Terrazon, Linda Gutemberg, Raoul Billerey
François Truffaut’s The 400 Blows (1959), with its young protagonist painfully drifting from family to custodial care, galvanized the French New Wave. A decade later, Truffaut co-produced Pialat’s powerful debut, the story of another battered ten-year old, wandering through a system whose care he repels – sometimes violently – as he struggles to understand his own mother’s rejection. While the contrasts with Truffaut define Pialat’s emergent voice, fifty years later, this represents one of Pialat’s most haunting films.
此作及皮亞勒另外兩部《獻給吾愛》（1983）和《梵 高》（1991），給《電影評論》（Film Comment） 列入半世紀以來全球最優秀電影。皮亞勒赤裸裸自我 批判，把前妻和情人的故事搬演，說「難相廝守」， 其實他是想的，即使不愛妻子，但妻子是他成長的一 部份，他想永遠擁有，於是哀求她跟自己一起工作， 前妻美雪蓮自此成了他的監製。皮亞勒倒不介意展示 自己的窩囊和下流，他很明白男人在愛情裏總是自私 無情殘忍，結果自作自受。戲中尚和嘉芙蓮之間的拉 扯，比卡薩維蒂的夫妻更纏得深。成片後皮亞勒不忍 看，但他是比其他導演厲害的，因為敢拍出來，還這 般痛徹心脾。
1972 康城影展最佳男主角 France 1972 107min Cast: Marlène Jobert, Jean Yanne, Christine Fabréga
The end of an affair. Neither violent nor sentimentalized but instead dissected through recurrence and repetition. Yet still we follow director Jean (Jean Yanne) across five years of rupture and reconciliation with the younger, unlettered Catherine (Marlène Jobert). Closely based on Pialat’s experiences filming in the Camargue of southern France, yet at the same distanced and detached, nonjudgmental with regard to either side. A film of brutal honesty about endings so often made cinematically bittersweet. 1972 Cannes Film Festival, Best Actor
1969 Jean Vigo Prize 設映後座談會，講者黃愛玲，主持王勛 Post-screening seminar with Wong Ain-ling Moderator: Geoffrey Wong
{
2
3
}
莫 里斯皮亞勒（1925-2003）的電影會令人想很多很多，想到地老天荒。都說同一電影不同年齡和 階段去看會有不同感受，皮亞勒的作品就一定是這樣，而且百看，不厭之外，會有百感。
25.4 5:45pm 23.5 2:30pm
}
難相廝守
他的導演生涯起步遲，拍成首作《赤裸的童年》（1968）時已43歲，可真是一鳴驚人，杜魯福推許 他是後新浪潮最佳導演。他深得雷諾亞和布烈遜兩者真傳，有雷諾亞的人文氣質、橫溢詩情、對社會 細緻深刻的觀察、指導演員的神級示範；也一如布烈遜畫家出身，聲影融合無間，自況色彩濃厚，省 略筆觸有若神來，對畫面、顏色、空間的處理有大將風範。他剖開赤裸現實，絕不迴避自身寫照，不 少人將他譽為法國的卡薩維蒂。他啟後的導演不計其數，阿薩耶斯、戴丹兄弟、德彼仙、杜蒙等新一 代最出色的，都有他的庇蔭。也許皮亞勒作品不多，香港影痴認識不深，Cine Fan會分兩部份連續展 出他一生十部長片，藉此推介這個被遺忘的一代大師。
}
赤裸的童年
2003年皮亞勒逝世時，康城影展主席Gilles Jacob說：「我們都變孤兒，法國電影都變孤兒了。」感 慨，是因為從此再沒有皮亞勒，一個獨一無二的導演。皮亞勒不只是法國電影的壞孩子，更是個怒孩 子，他狠批法國新浪潮不學無術，斥法國導演取悅觀眾厚顏無恥，八方樹敵的他，在《撒旦陽光下》 （1987）拿下康城金棕櫚獎時給喝倒采（評審團是一致通過的），他回敬：「你們不喜歡我，我倒也 不喜歡你們。」他是不折不扣的一根刺，一直在刺醒同道人。
25.4 2:30pm 9.5 5:30pm
We Won’t Grow Old Together
(Nous ne vieillirons pas ensemble)
Naked Childhood (L'Enfance nue)
法國 1972 107分鐘 中文字幕
法國 1968 83分鐘
莫 里 斯 皮 亞 勒 ： 赤 裸 真 相 ( 一） Maurice Pialat, The Ruthless Humanist I Maurice Pialat (1925-2003) makes us uncomfortable. He does not easily fit the categories of French cinema — too late for the Nouvelle Vague, he was neither popular nor a cult. Critics freely compare him to other directors – a French Cassavetes – but then rush to say how different he is. He won the Palme d’Or at Cannes in 1987, but few directors seem to receive such public criticism from other filmmakers for awkward connections or demanding presentations. Yet, at the same time fellow filmmakers praise his intense, inventive, personal control and his painterly scenes. And few directors can have so many films that stand out in the canon and yet seem quite so unknown. HKIFF’s two-part anthological retrospective brings the challenge of Pialat to contemporary Hong Kong audiences. Born in 1925 in a central French village, Pialat originally sought to be a painter, turning to film in his 40s. His first work, Naked Childhood (1968), won the Jean Vigo Prize, but seemed too late for the New Wave. Many films that followed were seen
as both autobiographical and formalist while they upended classic icons of French cinema: twisting the rebellious bourgeois woman (Loulou , 1980), the sexual coming-of-age of a young girl (To Our Loves , 1983), the priest’s crisis of faith (Under the Sun of Satan , 1987) and the troubled artist (Van Gogh , 1991). Meanwhile, he worked with the best actors — not only his discovery of the luminous Sandrine Bonnaire but also Gérard Depardieu, Isabelle Huppert, and others, including the gruff presence of Pialat himself on screen. His individualistic masterpieces here complement less frequently glimpsed works and provide a complex panorama of an artist and his work, constantly challenging, until his death in 2003. C ri t i c Ke n t Jo n e s o n c e w ro t e : “ B re a k i n g i n t o the moment. Rupturing the flow. Freedom and entrapment. The push/pull of Pialat’s seemingly instinctual cinema is all of a piece with his parade of prickly, discontented heroes” … and perhaps of Pialat himself.
一鳴驚人的首作，也是個孩子世界，但和《四百擊》 （1959）相比，杜魯福的社會性，皮亞勒有普世意 義了。但《赤裸》又豈只滿足於刻劃小男角給世界遺 棄和不被了解，那更是控訴大人對孩子的無情壓迫。 被母親遺棄的François在寄養或收養家庭之間猶如皮 球傳來轉去，沒哪個試圖了解過他，所有「父母」都 用固定框框去期望他，他也小心翼翼一路扮演，觀眾 都擔心他的真我甚麼時候被識穿。只一個「祖母」 懂得看穿表面，真心欣賞他的一切。皮亞勒始終比杜 魯福心軟，他拍自己感覺，沉浸其間，把我們也捲進 去。相比，杜魯福竟然是清醒的一個。
1969 尚維果獎 France 1968 83min Cast: Michel Terrazon, Linda Gutemberg, Raoul Billerey
François Truffaut’s The 400 Blows (1959), with its young protagonist painfully drifting from family to custodial care, galvanized the French New Wave. A decade later, Truffaut co-produced Pialat’s powerful debut, the story of another battered ten-year old, wandering through a system whose care he repels – sometimes violently – as he struggles to understand his own mother’s rejection. While the contrasts with Truffaut define Pialat’s emergent voice, fifty years later, this represents one of Pialat’s most haunting films.
此作及皮亞勒另外兩部《獻給吾愛》（1983）和《梵 高》（1991），給《電影評論》（Film Comment） 列入半世紀以來全球最優秀電影。皮亞勒赤裸裸自我 批判，把前妻和情人的故事搬演，說「難相廝守」， 其實他是想的，即使不愛妻子，但妻子是他成長的一 部份，他想永遠擁有，於是哀求她跟自己一起工作， 前妻美雪蓮自此成了他的監製。皮亞勒倒不介意展示 自己的窩囊和下流，他很明白男人在愛情裏總是自私 無情殘忍，結果自作自受。戲中尚和嘉芙蓮之間的拉 扯，比卡薩維蒂的夫妻更纏得深。成片後皮亞勒不忍 看，但他是比其他導演厲害的，因為敢拍出來，還這 般痛徹心脾。
1972 康城影展最佳男主角 France 1972 107min Cast: Marlène Jobert, Jean Yanne, Christine Fabréga
The end of an affair. Neither violent nor sentimentalized but instead dissected through recurrence and repetition. Yet still we follow director Jean (Jean Yanne) across five years of rupture and reconciliation with the younger, unlettered Catherine (Marlène Jobert). Closely based on Pialat’s experiences filming in the Camargue of southern France, yet at the same distanced and detached, nonjudgmental with regard to either side. A film of brutal honesty about endings so often made cinematically bittersweet. 1972 Cannes Film Festival, Best Actor
1969 Jean Vigo Prize 設映後座談會，講者黃愛玲，主持王勛 Post-screening seminar with Wong Ain-ling Moderator: Geoffrey Wong
{
2
3
}
26.4 2:30pm 24.5 7:30pm
}
26.4 4:30pm 9.5 7:30pm
}
(Passe ton bac d'abord)
The Mouth Agape
(La gueule ouverte)
}
Seminars
座談會
7.4 Tue二 路路
會考為先
哀哉人生
Pass Your Exam First
1.5 5:15pm 23.5 5:00pm
Loulou
Daishima Haruhiko on the Narita Series 代島治彥談三里塚系列 時間 Time
法國 1974 85分鐘 皮亞勒寫母親父親，還有情人。很多的人際感情，包 括母子、父子、夫婦、戀人等，都切中要害，深入到 骨髓裏。父親爛滾，母親至死不諒，病得迷糊依然在 罵。就這樣一生一世了。鹹濕的父親，導演倒是體諒 的。當妻子離世，父親發覺沒有她很寂寞，留守舊房 子，他才不是花心男人吧。上帝造物弄人，情和性， 到幾時才能擺平？戀人有點父母感情的寫照，皮亞勒 又一次攬鏡自照，情人說：甚麼都我來安排，如果沒 有我……唉，是女人的錯，她自覺太重要了。男人對 她，圖個就手？還是安全感？於是被動去寵壞。怎麼 有人寫男男女女，寫得這麼貼心？皮亞勒直面衰老和 死亡的主題，比米高漢尼卡的《愛》（2012）早近 四十年，坦誠震憾的程度猶有過之。 France 1974 85min Cast: Nathalie Baye, Hubert Deschamps
Tackling similar themes as Haneke's Amour (2012), Pialat's take on aging and death is even more honest and heartbreaking, with a touch of his unique brand of tenderness. A woman dying of illness (Monique Mélinand) relies on but challenges her supportive relations with her son (Philippe Léotard), his wife (Nathalie Baye) and her husband (Hubert Deschamps). Far from any treacly solicitude or glorious endings, we are thrown into a world where the men are as busy with mistresses and flirtations as their imminent loss. Powerful emotions of death are there but how are we, as audience to other events, to grasp them?
France 1978 85min Cast: Sabine Haudepin, Philippe Marlaud, Annick Alane
Teenage life, ten years after the disorienting Naked Childhood . Indeed, Pialat had hoped to use the same people but ended with a mixture of professionals and local amateurs as the script emerged page by page. Again, what seems a familiar setting from French cinema before and after – the congeries of youths brought together by affairs, indulgence, protest and occasional studies – becomes tinged with uncertainties, failure, violence and adult advances that cast new shadows on any image of idyllic youth.
《活在三里塚》放映後
After the screening of The Wages of Resistance: Narita Stories
法國 1978 85分鐘 皮亞勒去小鎮拍中學生，物色流連咖啡館一幫少年， 用他們故事寫劇本。他堅持寫實，用紀錄片拍法，有 時更是偷拍，戲中人真實得又一次叫人難耐。也許都 是小鎮故事，但青春少年徬徨無助反叛盲撞，都一樣 吧。都來自低下層，家庭有問題，有代溝，提不起勁 讀書，愛蒲吧、抽煙、做愛，各有自己逃避的方式。 伊莉莎伯濫交變專一再變挺着大肚子，班納不羈一心 往巴黎闖，維拉莉結婚逃避，年紀小小要適應夫妻生 活。不管班納去了巴黎之後怎樣，他倒是快樂離開， 家人也開心送行。所以說，皮亞勒剖開殘忍的現實之 餘，心是善的。
4:50 – 6:00pm
地點 Venue 法國 1980 106分鐘 中文字幕 這裏有影史裏最性感的一對。謝勒狄帕度風華正茂， 一顰一笑迷得死人，路路這樣遊手好閒，依然可愛， 說服力沒話說；依莎貝雨蓓像個少女，演技已極深 刻。萊莉為了吊兒郎當的路路拋棄丈夫，路路受傷入 院，萊莉找丈夫慰藉，向他說：跟你才會悶，跟路路 不會，路路做愛不會停。很殘忍，只有皮亞勒才有這 樣的對白，還深愛妻子的丈夫把話和着血吞。萊莉後 來變得實際，是感情變了？還是給現實沖開，淡了？ 受害結果是路路，選擇權一直在她手裏。皮亞勒賞識 雨蓓，雨蓓說，他把演員變成生活，攝影機會無聲無 息的開關，演員自顧說着，不覺已成永恆畫面。
香港藝術中心agnès b 電影院 HK Arts Centre agnès b. CINEMA!
免費入場 Free admission 英語主講 Conducted in English
25.4 Sat六
France 1980 106min Cast: Isabelle Huppert, Gérard Depardieu, Guy Marchand
Bourgeois women gone astray fascinated the French – from Madame Bovary to Godard’s Two or Three Things I Know About Her (1967). Here, Isabelle Huppert (Nelly) incarnates the 1980s middle-class Frenchwoman and Gérard Depardieu (Loulou) is the wayward fellow who leads her astray as she pays his way. While French selfvisions of life and class are called into question, critic Janet Maslin noted “when it focuses coolly on Nelly and Loulou, it accomplishes something interesting, making these essentially familiar figures seem both petty and grand.”
Maurice Pialat
莫里斯皮亞勒：赤裸真相 時間 地點 講者 主持
Time
3:55 – 4:55pm
《赤裸的童年》放映後 香港藝術中心agnès b 電影院 HK Arts Centre agnès b. CINEMA! Speaker 黃愛玲 Wong Ain-ling Moderator 王勛 Geoffrey Wong Venue
免費入場 Free admission 粵語主講 Conducted in Cantonese
{
4
5
}
26.4 2:30pm 24.5 7:30pm
}
26.4 4:30pm 9.5 7:30pm
}
(Passe ton bac d'abord)
The Mouth Agape
(La gueule ouverte)
}
Seminars
座談會
7.4 Tue二 路路
會考為先
哀哉人生
Pass Your Exam First
1.5 5:15pm 23.5 5:00pm
Loulou
Daishima Haruhiko on the Narita Series 代島治彥談三里塚系列 時間 Time
法國 1974 85分鐘 皮亞勒寫母親父親，還有情人。很多的人際感情，包 括母子、父子、夫婦、戀人等，都切中要害，深入到 骨髓裏。父親爛滾，母親至死不諒，病得迷糊依然在 罵。就這樣一生一世了。鹹濕的父親，導演倒是體諒 的。當妻子離世，父親發覺沒有她很寂寞，留守舊房 子，他才不是花心男人吧。上帝造物弄人，情和性， 到幾時才能擺平？戀人有點父母感情的寫照，皮亞勒 又一次攬鏡自照，情人說：甚麼都我來安排，如果沒 有我……唉，是女人的錯，她自覺太重要了。男人對 她，圖個就手？還是安全感？於是被動去寵壞。怎麼 有人寫男男女女，寫得這麼貼心？皮亞勒直面衰老和 死亡的主題，比米高漢尼卡的《愛》（2012）早近 四十年，坦誠震憾的程度猶有過之。 France 1974 85min Cast: Nathalie Baye, Hubert Deschamps
Tackling similar themes as Haneke's Amour (2012), Pialat's take on aging and death is even more honest and heartbreaking, with a touch of his unique brand of tenderness. A woman dying of illness (Monique Mélinand) relies on but challenges her supportive relations with her son (Philippe Léotard), his wife (Nathalie Baye) and her husband (Hubert Deschamps). Far from any treacly solicitude or glorious endings, we are thrown into a world where the men are as busy with mistresses and flirtations as their imminent loss. Powerful emotions of death are there but how are we, as audience to other events, to grasp them?
France 1978 85min Cast: Sabine Haudepin, Philippe Marlaud, Annick Alane
Teenage life, ten years after the disorienting Naked Childhood . Indeed, Pialat had hoped to use the same people but ended with a mixture of professionals and local amateurs as the script emerged page by page. Again, what seems a familiar setting from French cinema before and after – the congeries of youths brought together by affairs, indulgence, protest and occasional studies – becomes tinged with uncertainties, failure, violence and adult advances that cast new shadows on any image of idyllic youth.
《活在三里塚》放映後
After the screening of The Wages of Resistance: Narita Stories
法國 1978 85分鐘 皮亞勒去小鎮拍中學生，物色流連咖啡館一幫少年， 用他們故事寫劇本。他堅持寫實，用紀錄片拍法，有 時更是偷拍，戲中人真實得又一次叫人難耐。也許都 是小鎮故事，但青春少年徬徨無助反叛盲撞，都一樣 吧。都來自低下層，家庭有問題，有代溝，提不起勁 讀書，愛蒲吧、抽煙、做愛，各有自己逃避的方式。 伊莉莎伯濫交變專一再變挺着大肚子，班納不羈一心 往巴黎闖，維拉莉結婚逃避，年紀小小要適應夫妻生 活。不管班納去了巴黎之後怎樣，他倒是快樂離開， 家人也開心送行。所以說，皮亞勒剖開殘忍的現實之 餘，心是善的。
4:50 – 6:00pm
地點 Venue 法國 1980 106分鐘 中文字幕 這裏有影史裏最性感的一對。謝勒狄帕度風華正茂， 一顰一笑迷得死人，路路這樣遊手好閒，依然可愛， 說服力沒話說；依莎貝雨蓓像個少女，演技已極深 刻。萊莉為了吊兒郎當的路路拋棄丈夫，路路受傷入 院，萊莉找丈夫慰藉，向他說：跟你才會悶，跟路路 不會，路路做愛不會停。很殘忍，只有皮亞勒才有這 樣的對白，還深愛妻子的丈夫把話和着血吞。萊莉後 來變得實際，是感情變了？還是給現實沖開，淡了？ 受害結果是路路，選擇權一直在她手裏。皮亞勒賞識 雨蓓，雨蓓說，他把演員變成生活，攝影機會無聲無 息的開關，演員自顧說着，不覺已成永恆畫面。
香港藝術中心agnès b 電影院 HK Arts Centre agnès b. CINEMA!
免費入場 Free admission 英語主講 Conducted in English
25.4 Sat六
France 1980 106min Cast: Isabelle Huppert, Gérard Depardieu, Guy Marchand
Bourgeois women gone astray fascinated the French – from Madame Bovary to Godard’s Two or Three Things I Know About Her (1967). Here, Isabelle Huppert (Nelly) incarnates the 1980s middle-class Frenchwoman and Gérard Depardieu (Loulou) is the wayward fellow who leads her astray as she pays his way. While French selfvisions of life and class are called into question, critic Janet Maslin noted “when it focuses coolly on Nelly and Loulou, it accomplishes something interesting, making these essentially familiar figures seem both petty and grand.”
Maurice Pialat
莫里斯皮亞勒：赤裸真相 時間 地點 講者 主持
Time
3:55 – 4:55pm
《赤裸的童年》放映後 香港藝術中心agnès b 電影院 HK Arts Centre agnès b. CINEMA! Speaker 黃愛玲 Wong Ain-ling Moderator 王勛 Geoffrey Wong Venue
免費入場 Free admission 粵語主講 Conducted in Cantonese
{
4
5
}
影
H K I F F
節
特
回到 三里塚 小川紳介 的啟示
電
刊
P u b l i c a t i o n s
第三十九屆 香港國際電影節特刊 The 39th Hong Kong International Film Festival Main Catalogue
40 Years Later: The Legacy of Ogawa Shinsuke
HK$100
3月25日出版 Available from 25 March
點
影
人
Sylvia Chang
HK$100
3月25日出版 Available from 25 March
Filmmaker in Focus
成瀨巳喜男 110年紀念展 Naruse Mikio, 110th Anniversary
1 1 N a r u s e
HK$65
3月30日出版 Available from 30 March
0 M i k i o ,
成瀨 巳喜男
張艾嘉
年 紀 念 展 1 1 0 t h A n n i v e r s a r y
Moleskine
張艾嘉特別版筆記本 Moleskine Sylvia Chang special edition notebook 3月25日出版 Available from 25 March
可於下列途徑購買： 1. 2. Available at: 1. 2.
Provided by The Film School of Tokyo
焦
焦點影人：張艾嘉 Sylvia Chang, Filmmaker in Focus
society.hkiff.org.hk網站 3月25日至4月6日期間，親臨香港國際電影節嘉賓及媒體接待處 (地址：九龍尖沙咀梳士巴利道十號香港文化中心行政大樓四樓展覽館) society.hkiff.org.hk HKIFF Hospitality & Media Suite (Address: Exhibition Gallery 4/F, Administration Building of HK Cultural Centre, 10 Salisbury Road, Tsim Sha Tsui, Kowloon) from 25 March to 6 April
曾 跟塚 小系 川列 紳」 介的 並攝 肩影 拍師 攝大 「津 三幸 里四 郎，以80歲的高齡，重返闊別四十 多年的三里塚，重訪抗爭英雄，反 省當年與今日，拍成新作《活在三 里塚》（2014），惜大津於去年 成片後撒手塵寰。我們選映此作的 同時，正好回望小川紳介的巨大影 響。「三里塚系列」在日本以至 世界紀錄片史上有無可取代的位 置，小川本人或許不自覺，該系列可視為日本 紀錄片分水嶺，明確將日本紀錄片帶離傳統的 「教育」及「公關」功能，變成紀錄甚至宣揚 社會改革的媒介，而且更和傳統發行渠道保持 距離，為觀眾帶來建制不想人民聽到的聲音。 這次選映系列的三部代表作，作為《活在三里 塚》的必要參考，也由此看到抗爭由盛轉衰， 以及小川從激進到謙卑的心路歷程，抗爭運動 可鑑。
40
ye a rs o n , O gawa S h i n s u ke ' s monumental Narita Series retains its place as a milestone of Japanese documentary filmmaking. Mostly shot in black and white, the images of farmers clashing with riot police are as vivid as ever. "Crush the Airport!", say the placards of the resisting farmers. Narita Airport is not crushed, but the imprint of the docile Japanese is forever shattered. In the 2010s, Otsu Koshiro, cameraman of the first film of the series, revisited Sanrizuka. Co-directed with Daishima Haruhiko, The Wages of Resistance: Narita Stories (2014) is an update on the people who lived on the land which is now the Narita Airport. Three entries of the Narita Series will be screened as reference, including Summer in Narita (1968) , in which Otsu was arrested with a trumped-up charge of "Obstruction of Formal Duties."
77 }}
影
H K I F F
節
特
回到 三里塚 小川紳介 的啟示
電
刊
P u b l i c a t i o n s
第三十九屆 香港國際電影節特刊 The 39th Hong Kong International Film Festival Main Catalogue
40 Years Later: The Legacy of Ogawa Shinsuke
HK$100
3月25日出版 Available from 25 March
點
影
人
Sylvia Chang
HK$100
3月25日出版 Available from 25 March
Filmmaker in Focus
成瀨巳喜男 110年紀念展 Naruse Mikio, 110th Anniversary
1 1 N a r u s e
HK$65
3月30日出版 Available from 30 March
0 M i k i o ,
成瀨 巳喜男
張艾嘉
年 紀 念 展 1 1 0 t h A n n i v e r s a r y
Moleskine
張艾嘉特別版筆記本 Moleskine Sylvia Chang special edition notebook 3月25日出版 Available from 25 March
可於下列途徑購買： 1. 2. Available at: 1. 2.
Provided by The Film School of Tokyo
焦
焦點影人：張艾嘉 Sylvia Chang, Filmmaker in Focus
society.hkiff.org.hk網站 3月25日至4月6日期間，親臨香港國際電影節嘉賓及媒體接待處 (地址：九龍尖沙咀梳士巴利道十號香港文化中心行政大樓四樓展覽館) society.hkiff.org.hk HKIFF Hospitality & Media Suite (Address: Exhibition Gallery 4/F, Administration Building of HK Cultural Centre, 10 Salisbury Road, Tsim Sha Tsui, Kowloon) from 25 March to 6 April
曾 跟塚 小系 川列 紳」 介的 並攝 肩影 拍師 攝大 「津 三幸 里四 郎，以80歲的高齡，重返闊別四十 多年的三里塚，重訪抗爭英雄，反 省當年與今日，拍成新作《活在三 里塚》（2014），惜大津於去年 成片後撒手塵寰。我們選映此作的 同時，正好回望小川紳介的巨大影 響。「三里塚系列」在日本以至 世界紀錄片史上有無可取代的位 置，小川本人或許不自覺，該系列可視為日本 紀錄片分水嶺，明確將日本紀錄片帶離傳統的 「教育」及「公關」功能，變成紀錄甚至宣揚 社會改革的媒介，而且更和傳統發行渠道保持 距離，為觀眾帶來建制不想人民聽到的聲音。 這次選映系列的三部代表作，作為《活在三里 塚》的必要參考，也由此看到抗爭由盛轉衰， 以及小川從激進到謙卑的心路歷程，抗爭運動 可鑑。
40
ye a rs o n , O gawa S h i n s u ke ' s monumental Narita Series retains its place as a milestone of Japanese documentary filmmaking. Mostly shot in black and white, the images of farmers clashing with riot police are as vivid as ever. "Crush the Airport!", say the placards of the resisting farmers. Narita Airport is not crushed, but the imprint of the docile Japanese is forever shattered. In the 2010s, Otsu Koshiro, cameraman of the first film of the series, revisited Sanrizuka. Co-directed with Daishima Haruhiko, The Wages of Resistance: Narita Stories (2014) is an update on the people who lived on the land which is now the Narita Airport. Three entries of the Narita Series will be screened as reference, including Summer in Narita (1968) , in which Otsu was arrested with a trumped-up charge of "Obstruction of Formal Duties."
77 }}
18.4 8:30pm
Provided by The Film School of Tokyo
Dir: Ogawa Shinsuke Japan 1968 108min
In 1968, the newly established Ogawa Productions moved to the Sanrizuka district to live among farmers and document those protesting against impending plans to build Narita Airport. Ogawa’s hand-held camera plunges us deep into the farmers’ grassroots campaign as they clash with riot police. Capturing the chaos and fervor on the ground, Summer marks the first of Ogawa’s seven documentaries about what would become a keystone in Japanese social movements. 設映後談，講者周思中 Post-screening talk with Chow Sze Chung
{
8
As his first international success, Ogawa’s fourth film on the Narita Airport project protests is a decidedly entrenched work: it follows villagers in recently built ‘fortresses’ and underground tunnels as they anticipate clashes with the police. Interspersed between scenes of escalating violence, the film’s candid encounters with villagers provide accounts of their ongoing struggle and a compassionate portrait of their radicalism. This is “a world… beyond success and defeat, comprehensible only to those who stand firm within it” (publicity note, 1971).
The Wages of Resistance: Narita Stories
Narita: Heta Village
導演：小川紳介 日本 1971 143 分鐘
Dir: Ogawa Shinsuke Japan 1971 143min
}
活在三里塚
三里塚抗爭真的是保衛家園那麼簡單？小川紳介不 這麼想。那如北越農民抗擊美帝轟炸一樣，是日本 人民覺醒的解放前哨戰。小川要攝影機站在抗爭農民 的一方，讓觀眾通過銀幕與權力對話。然而，防暴隊 沒有暗角也可拳打腳踢，雙手捧着攝影機就是「妨礙 公務」，給數人按在地上。屢遇挫折，但戰意高昂。 小川留了下來，繼續拍攝農民及學生鬥爭，完成七部 三里塚影片。拍攝時被警察逮捕的大津幸四郎離開小 川班底，改隨土本典昭，四十多年後才重回故地拍攝 《活在三里塚》。
Narita: Peasants of the Second Fortress
三里塚系列第四部，可能是整個系列最為西方世界認 識的一部，這與片中異常密集的衝突場面不無關係。 抗爭踏入第五年，農民設置多個防禦陣地（即片名中 的「寨」），農婦用鐵鏈自綁於樹，泥土下更有地 道。烽煙四起，農民猶豫是否調整策略：堅持打不還 手，還是動用一早預備好的竹矛及汽油彈，向政府以 高薪請來的臨時工大開殺戒？陣地被逐個擊破，向防 暴警察及臨時工宣揚道德感召，只是對牛彈琴。見慣 風浪的老人無奈承認，政府像癲狗，反對黨只是得把 口。
7.4 2:30pm
}
邊田部落 三里塚：
導演：小川紳介 日本 1968 108 分鐘
第二寨之人 三里塚：
三里塚之夏 日本解放戰線：
Summer in Narita: The Front Line for the Liberation of Japan
19.4 8:30pm
}
Provided by The Film School of Tokyo
}
Provided by The Film School of Tokyo
17.4 7:30pm
導演：小川紳介 日本 1973 146 分鐘 三里塚系列第六部，有如《三里塚之夏》的B面，先 前的戰意高昂，數年過後變節節敗退。三防暴隊殉職 令年輕農民羞愧自盡，外援學生逐漸退場，年輕農民 被砌詞扣押，警方蓄意離間村民，但他們仍能守望相 助，農婦苦中作樂，將蘿蔔刨成陽具祭神。動作場面 欠奉，小川卻脫胎換骨，成就日後以菲林紀錄天地人 的傳奇。鏡頭從學生警察轉向農民自身，他們不再是 左仔的鬥爭工具，而是和土地有深厚感情的血肉之 軀。小川的三里塚系列於此暫告一段落，之後他轉戰 山形，學做農民。 Dir: Ogawa Shinsuke Japan 1973 146min
Long hailed as one of Ogawa’s masterpieces, Heta Village is his sixth film about the farming community mired in a decade-long fight against the Narita Airport building project. The documentary’s lengthy scenes poignantly capture the faces of a community away from the frontlines, of villagers contending with their casualties and fading way of life. Having been entrenched in their daily protests for years, Ogawa’s solidarity with the farmers is deeply palpable in this quiet ode to Heta’s history and customs.
導演：大津幸四郎、代島治彥 日本 2014 140 分鐘 中文字幕 不是愛與和平，也不是表達訴求，抗議興建成田機場 的三里塚鬥爭，擺明是勇武農民硬撼國家暴力。40 年過去，當年在小川紳介三里塚系列掌鏡的大津幸四 郎，挺着80歲的老朽身軀，走訪昔日抗爭鬥士。眼 前這些毫無殺傷力的公公婆婆，怎樣回顧當年揭竿起 義？如何決定堅持或退場？你說你上月才去過成田機 場，證明抗爭無用？抗爭學生代文盲婆婆討回公道， 迫得當局在機場範圍讓出一片田。機場啟用三十多 年，原定的第二條跑道經修改後要等到2009年才落 成。 Dir: Otsu Koshiro, Daishima Haruhiko Japan 2014 140min
In 1966, the Japanese government devastated the rural lives of Sanrizuka district with a mighty airport – Narita – despite years of bitter struggle by local farmers and students. Today, as Japan confronts economic stagnation, political uncertainties and Narita expansion for the 2020 Olympics, filmmakers Otsu Koshiro – who filmed vivid documentaries of Narita in 1968 – and Daishima Haruhiko weave together new interviews and archival footage in a powerful indictment of state power versus ordinary people. 導演代島治彥將出席映後座談會 Post-screening discussion with director Daishima Haruhiko
9}
18.4 8:30pm
Provided by The Film School of Tokyo
Dir: Ogawa Shinsuke Japan 1968 108min
In 1968, the newly established Ogawa Productions moved to the Sanrizuka district to live among farmers and document those protesting against impending plans to build Narita Airport. Ogawa’s hand-held camera plunges us deep into the farmers’ grassroots campaign as they clash with riot police. Capturing the chaos and fervor on the ground, Summer marks the first of Ogawa’s seven documentaries about what would become a keystone in Japanese social movements. 設映後談，講者周思中 Post-screening talk with Chow Sze Chung
{
8
As his first international success, Ogawa’s fourth film on the Narita Airport project protests is a decidedly entrenched work: it follows villagers in recently built ‘fortresses’ and underground tunnels as they anticipate clashes with the police. Interspersed between scenes of escalating violence, the film’s candid encounters with villagers provide accounts of their ongoing struggle and a compassionate portrait of their radicalism. This is “a world… beyond success and defeat, comprehensible only to those who stand firm within it” (publicity note, 1971).
The Wages of Resistance: Narita Stories
Narita: Heta Village
導演：小川紳介 日本 1971 143 分鐘
Dir: Ogawa Shinsuke Japan 1971 143min
}
活在三里塚
三里塚抗爭真的是保衛家園那麼簡單？小川紳介不 這麼想。那如北越農民抗擊美帝轟炸一樣，是日本 人民覺醒的解放前哨戰。小川要攝影機站在抗爭農民 的一方，讓觀眾通過銀幕與權力對話。然而，防暴隊 沒有暗角也可拳打腳踢，雙手捧着攝影機就是「妨礙 公務」，給數人按在地上。屢遇挫折，但戰意高昂。 小川留了下來，繼續拍攝農民及學生鬥爭，完成七部 三里塚影片。拍攝時被警察逮捕的大津幸四郎離開小 川班底，改隨土本典昭，四十多年後才重回故地拍攝 《活在三里塚》。
Narita: Peasants of the Second Fortress
三里塚系列第四部，可能是整個系列最為西方世界認 識的一部，這與片中異常密集的衝突場面不無關係。 抗爭踏入第五年，農民設置多個防禦陣地（即片名中 的「寨」），農婦用鐵鏈自綁於樹，泥土下更有地 道。烽煙四起，農民猶豫是否調整策略：堅持打不還 手，還是動用一早預備好的竹矛及汽油彈，向政府以 高薪請來的臨時工大開殺戒？陣地被逐個擊破，向防 暴警察及臨時工宣揚道德感召，只是對牛彈琴。見慣 風浪的老人無奈承認，政府像癲狗，反對黨只是得把 口。
7.4 2:30pm
}
邊田部落 三里塚：
導演：小川紳介 日本 1968 108 分鐘
第二寨之人 三里塚：
三里塚之夏 日本解放戰線：
Summer in Narita: The Front Line for the Liberation of Japan
19.4 8:30pm
}
Provided by The Film School of Tokyo
}
Provided by The Film School of Tokyo
17.4 7:30pm
導演：小川紳介 日本 1973 146 分鐘 三里塚系列第六部，有如《三里塚之夏》的B面，先 前的戰意高昂，數年過後變節節敗退。三防暴隊殉職 令年輕農民羞愧自盡，外援學生逐漸退場，年輕農民 被砌詞扣押，警方蓄意離間村民，但他們仍能守望相 助，農婦苦中作樂，將蘿蔔刨成陽具祭神。動作場面 欠奉，小川卻脫胎換骨，成就日後以菲林紀錄天地人 的傳奇。鏡頭從學生警察轉向農民自身，他們不再是 左仔的鬥爭工具，而是和土地有深厚感情的血肉之 軀。小川的三里塚系列於此暫告一段落，之後他轉戰 山形，學做農民。 Dir: Ogawa Shinsuke Japan 1973 146min
Long hailed as one of Ogawa’s masterpieces, Heta Village is his sixth film about the farming community mired in a decade-long fight against the Narita Airport building project. The documentary’s lengthy scenes poignantly capture the faces of a community away from the frontlines, of villagers contending with their casualties and fading way of life. Having been entrenched in their daily protests for years, Ogawa’s solidarity with the farmers is deeply palpable in this quiet ode to Heta’s history and customs.
導演：大津幸四郎、代島治彥 日本 2014 140 分鐘 中文字幕 不是愛與和平，也不是表達訴求，抗議興建成田機場 的三里塚鬥爭，擺明是勇武農民硬撼國家暴力。40 年過去，當年在小川紳介三里塚系列掌鏡的大津幸四 郎，挺着80歲的老朽身軀，走訪昔日抗爭鬥士。眼 前這些毫無殺傷力的公公婆婆，怎樣回顧當年揭竿起 義？如何決定堅持或退場？你說你上月才去過成田機 場，證明抗爭無用？抗爭學生代文盲婆婆討回公道， 迫得當局在機場範圍讓出一片田。機場啟用三十多 年，原定的第二條跑道經修改後要等到2009年才落 成。 Dir: Otsu Koshiro, Daishima Haruhiko Japan 2014 140min
In 1966, the Japanese government devastated the rural lives of Sanrizuka district with a mighty airport – Narita – despite years of bitter struggle by local farmers and students. Today, as Japan confronts economic stagnation, political uncertainties and Narita expansion for the 2020 Olympics, filmmakers Otsu Koshiro – who filmed vivid documentaries of Narita in 1968 – and Daishima Haruhiko weave together new interviews and archival footage in a powerful indictment of state power versus ordinary people. 導演代島治彥將出席映後座談會 Post-screening discussion with director Daishima Haruhiko
9}
Local Heroes 本地薑
市川崑：審美時刻
修復
Ichikawa Kon : 4 Classics Restored
踏血尋梅 （導演版） Port of Call (Director’s Cut)
19.4 2:30pm Dir: Philip Yung 2015 Cantonese/Putonghua 120min Cast: Aaron Kwok, Jessie Li, Michael Ning, Elaine Jin, Patrick Tam
少女時光明媚，但歲月不靜好，不快樂的梅，要獨 立救自己，走上網交路，她最後的恩客，是聰。索K 索high了，我想死脫口而出。梅帶出臧Sir，負責查她 的死因，臧Sir很怪，會在案發現場拍照留念，不是 不想破案，但對人的底蘊更好奇。他很快尋到聰，一 個三失青年，跟梅一見如故。真兇殺案改編，不問誰 是兇手，只問為甚麼。翁子光第三作大大開拓野心和 電影視角，跳躍時空探討失落的世代，幕後三大師杜 可風、廖慶松和杜篤之聯袂助陣（掌鏡、剪接、混 音），吳里璐精心改造郭富城。這個臧Sir造型突出， 花白髮黑框眼鏡不修邊幅，再一次影帝出來了？
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 (Glamorous Youth , 33th HKIFF) chooses to focus not on the crime or the investigation, but 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 and unforgiving reality.
{
10
經典
}
導演：翁子光 2015 粵語／普通話 120 分鐘 中文字幕 演員：郭富城、春夏、白只、金燕玲、譚耀文、 邵美琪、蔡潔
導演翁子光將出席映後座談會 Post-screening discussion with director Philip Yung
red Resto ics s s Cla
與 黑合 澤稱 明日 、本 木影 下壇 惠「 介四 、騎 小士 林」 正的 樹市 川崑（1915-2008），名作多不勝 數，不同年代的觀眾，會有不同的 親近。對於年輕一代，可能是打開 推理潮流的《八墓村》（1996）及 遺作《犬神家一族》（2006），早 一些當會鍾情《古都》（1980） 和《細雪》（1983）。電影節 七年前重點回顧，曾帶來《心》 （1955）、《緬甸豎琴》（1956）、《野火》 （1959）和《雪之丞變化》（1963）等令他備 受肯定為嚴肅文學性導演的代表作。這一次再 見《雪之丞變化》外，尚連同三部美學形式突 出的五、六十年代作品，以最新數碼復修版面 世，讓我們深化對大師與時並進獨特審美觀的 認識，也是他誕生百年的最佳紀念 。
I
chikawa Kon (1915-2008), became a postwar master of multiple genres of Japanese cinema, often in collaboration with his wife, screenwriter Wada Natto (1920-1983). While claiming Disney as a major influence, Ichikawa proved brilliantly flexible in a remarkably varied range of projects (sometimes abandoned by others). With Wada, he gained fame for such masterpieces as The Burmese Harp (1956), Conflagration (1958), Fires on the Plain (1959) and Tokyo Olympiad (1965). After her retirement, he continued to explore literary classics such as I Am a Cat (1975) and The Makioka Sisters (1983). Although retired from directing, he made his final appearance before the camera as a director in Mitani Koki’s 2008 The Magic Hour .
11
}
Local Heroes 本地薑
市川崑：審美時刻
修復
Ichikawa Kon : 4 Classics Restored
踏血尋梅 （導演版） Port of Call (Director’s Cut)
19.4 2:30pm Dir: Philip Yung 2015 Cantonese/Putonghua 120min Cast: Aaron Kwok, Jessie Li, Michael Ning, Elaine Jin, Patrick Tam
少女時光明媚，但歲月不靜好，不快樂的梅，要獨 立救自己，走上網交路，她最後的恩客，是聰。索K 索high了，我想死脫口而出。梅帶出臧Sir，負責查她 的死因，臧Sir很怪，會在案發現場拍照留念，不是 不想破案，但對人的底蘊更好奇。他很快尋到聰，一 個三失青年，跟梅一見如故。真兇殺案改編，不問誰 是兇手，只問為甚麼。翁子光第三作大大開拓野心和 電影視角，跳躍時空探討失落的世代，幕後三大師杜 可風、廖慶松和杜篤之聯袂助陣（掌鏡、剪接、混 音），吳里璐精心改造郭富城。這個臧Sir造型突出， 花白髮黑框眼鏡不修邊幅，再一次影帝出來了？
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 (Glamorous Youth , 33th HKIFF) chooses to focus not on the crime or the investigation, but 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 and unforgiving reality.
{
10
經典
}
導演：翁子光 2015 粵語／普通話 120 分鐘 中文字幕 演員：郭富城、春夏、白只、金燕玲、譚耀文、 邵美琪、蔡潔
導演翁子光將出席映後座談會 Post-screening discussion with director Philip Yung
red Resto ics s s Cla
與 黑合 澤稱 明日 、本 木影 下壇 惠「 介四 、騎 小士 林」 正的 樹市 川崑（1915-2008），名作多不勝 數，不同年代的觀眾，會有不同的 親近。對於年輕一代，可能是打開 推理潮流的《八墓村》（1996）及 遺作《犬神家一族》（2006），早 一些當會鍾情《古都》（1980） 和《細雪》（1983）。電影節 七年前重點回顧，曾帶來《心》 （1955）、《緬甸豎琴》（1956）、《野火》 （1959）和《雪之丞變化》（1963）等令他備 受肯定為嚴肅文學性導演的代表作。這一次再 見《雪之丞變化》外，尚連同三部美學形式突 出的五、六十年代作品，以最新數碼復修版面 世，讓我們深化對大師與時並進獨特審美觀的 認識，也是他誕生百年的最佳紀念 。
I
chikawa Kon (1915-2008), became a postwar master of multiple genres of Japanese cinema, often in collaboration with his wife, screenwriter Wada Natto (1920-1983). While claiming Disney as a major influence, Ichikawa proved brilliantly flexible in a remarkably varied range of projects (sometimes abandoned by others). With Wada, he gained fame for such masterpieces as The Burmese Harp (1956), Conflagration (1958), Fires on the Plain (1959) and Tokyo Olympiad (1965). After her retirement, he continued to explore literary classics such as I Am a Cat (1975) and The Makioka Sisters (1983). Although retired from directing, he made his final appearance before the camera as a director in Mitani Koki’s 2008 The Magic Hour .
11
}
1.5 7:45pm
}
2.5 7:30pm
}
(Ototo)
(Enjo)
8.5 7:30pm
}
東京世運會
Conflagration
}
雪之丞變化
弟弟
炎上
Her Brother
3.5 7:00pm
Tokyo Olympiad
An Actor’s Revenge (Yukinojo henge)
日本 1960 98 分鐘 演員：岸惠子、川口浩、田中絹代、森雅之 日本 1958 99 分鐘 演員：市川雷藏、仲代達矢、中村雁治郎、蒲路洋子 50年代末是市川崑一個重要創新時期，首個闊銀幕 作品，就改編三島由紀夫的《金閣寺》，與其說是電 影事業一個賭博，不如視之為他和編劇拍檔妻子和田 夏十對日本人極致審美態度一次大膽陳述，聰明之 處是不逼迫自己去理解三島的美醜對立。市川崑視覺 上盡情釋放，大膽的心象描 ，前衛的蒙太奇，以及 空寂的攝影（溝口健二御用攝影師宮川一夫），回到 1950年7月2日大學生林養賢焚寺事件的心理推敲， 醜和尚變高中美少年，豁達的瘋狂代替曖昧的癡迷。
1958 《電影旬報》十大電影第四位 1959 東京記者協會藍絲帶獎最佳男主角 Japan 1958 99min Cast: Ichikawa Raizo, Nakadai Tatsuya, Nakamura Ganjiro, Uraji Yoko
Adapted from Mishima Yukio’s Temple of the Golden Pavilion which was based on real events in postwar Japan, Ichikawa draws out a finely-etched portrait of loss and madness within the confines of a temple and school. Master Tayama adopts Goichi Mizoguchi, son of a friend, as his successor without realizing the obstacles facing the boy. His academic failings converge with his discoveries of corruption in the world around him to lead to his descent into alienation and madness in the name of purity. A fiery parable of the generation who grew up in Japan in the ashes of the Second World War. #4 in 1958 Kinema Junpo ’s Top 10 1959 Blue Ribbon Award, Best Actor
{
12
這次非出自和田夏十手筆，找來成瀨愛用的水木洋子 改編幸田文，點點荒謬感，隱隱諷刺性。針對小津維 繫家庭和諧的傳統，企圖打碎日本核心價值觀。卡士 已是一個造句，森雅之是時代的無能男家長，田中絹 代是沉迷宗教神不守舍的後母，川口浩是漫無目的奔 馳的弟弟，不斷犯錯消耗生命，岸惠子這個姊姊以無 邊活力維繫家庭，只好不斷拒絕追求和婚聘。明朗攝 影夾雜褪色的時代理解，日式大屋刻意空蕩蕩，暗角 處處。菲林冲印使用「殘銀法」令暗處顯現更多細節 和層次，是大膽的技術創新。山田洋次也改編為《給 弟弟的安眠曲》（2010）向他致敬。
1960 《電影旬報》十大電影第一位 1961 東京記者協會藍絲帶獎最佳影片、 最佳導演及最佳女主角 Japan 1960 98min Cast: Kishi Keiko, Kawaguchi Hiroshi, Tanaka Kinuyo, Mori Masayuki
Lovingly adapted from the autobiographical novel by Aya Koda, this film explores a complicated family triangle composed by a brutally uncaring father, a sober and protective elder sister, Gen (from whose viewpoint we see the story), and a wild and over-indulged younger brother, Hekirou. Gen, exquisitely incarnated by Kishi Keiko must grow in her understanding and independence as she negotiates the shoals created by these men. Ichikawa brings out the sentimental depths of the story with his careful framing, his sensitive use of music to his incredible manipulation of the light and the color palette of the film. #1 in 1960 Kinema Junpo ’s Top 10 1961 Blue Ribbon Award, Best Film, Best Director & Best Actress
日本 1965 170分鐘
日本 1963 114 分鐘 演員：長谷川一夫、山本富士子、若尾文子、 市川雷藏、勝新太郎 日本藝能地位如梅蘭芳、任劍輝的長谷川一夫第300 部紀念作，也是告別作。重拍衣笠貞之助和伊藤大 輔1935年作品，市川崑不但對人，也對野郎歌舞伎 （男旦）、時代劇、早期電影，以至衣笠曾代表的新 感覺派等等的江戶情趣、日本美學再三致敬。 事上 忠實改編，長谷川是萬人迷乾旦雪之丞，也同時化身 兩個凡夫歹徒，成全復仇任務。復古審美同時包羅時 代驚豔，演浪路的若尾文子絕豔上場。歌舞伎台上精 緻形態，藉電影感拓展變化，古典呼吸前衛，現在看 來，精神健在。 Japan 1963 114min Cast: Hasegawa Kazuo, Yamamoto Fujiko, Wakao Ayako, Ichikawa Raizo
Punished for his flops by being forced to readapt a melodramatic serial, Ichikawa instead created a marvel of a play within a play, where kaleidoscopic motives and perspectives of actors and identities turned mediocrity into high art. At the center stands Nakamura Yukinojo (Hasegawa Kazuo), a popular 19th-century kabuki actor specialising in women’s roles, and his quest to revenge the death of his parents. When the daughter of one of those he holds responsible, Namiji, falls under his spell, Yukinojo weaves together dramas on stage and off in devastating plots that create a mesmerizing film.
奧運場上是較量，奧運紀錄片也無可避免，是柏林 1936 vs 東京1964。市川崑把持當時方興未艾的觀 察美學，拍攝策略是「距拍」，跟蘭妮萊芬斯坦那 「我在場、我話事」的鏡頭很不同。影機未曾打擾運 動員，甚至觀眾，捕捉很專注的競賽氣氛，卻巨細無 遺；闊銀幕、長焦距、慢鏡頭，技驚四座，運動紀錄 片的美學從此改寫。開場高空視角穿越雲端容或向 《奧林匹亞》（18 屆）致敬，對照機中人吧，原來 暗示美國是納粹，市川崑又特意跟一名乍得選手上街 走走，鋤強扶弱立場鮮明。難怪當時媚美的日本官方 不滿，迫他剪短及重剪結尾。這次當然放映導演足 本，復現時代見證。
1965 《電影旬報》十大電影第二位 Japan 1965 170min
As Tokyo takes on the challenges of the 2020 Olympics, a classic vision of its 1964 predecessor, when the postwar city rose from the ashes onto the world stage. Originally offered to Kurosawa (who instead chose to direct the opening and closing), the film concentrates even more than its forerunner (Leni Riefenstahl’s Olympia , 18th HKIFF) on the athletes and lives of the games rather than glorification of the event – to the disappointment of the Tokyo Olympic Committee who forced serious editing onto Ichikawa. Nonetheless, it remains one of the greatest sports movies of all time, and a beautiful as well as timely work on its own. #2 in 1965 Kinema Junpo ’s Top 10
13 }} 13
1.5 7:45pm
}
2.5 7:30pm
}
(Ototo)
(Enjo)
8.5 7:30pm
}
東京世運會
Conflagration
}
雪之丞變化
弟弟
炎上
Her Brother
3.5 7:00pm
Tokyo Olympiad
An Actor’s Revenge (Yukinojo henge)
日本 1960 98 分鐘 演員：岸惠子、川口浩、田中絹代、森雅之 日本 1958 99 分鐘 演員：市川雷藏、仲代達矢、中村雁治郎、蒲路洋子 50年代末是市川崑一個重要創新時期，首個闊銀幕 作品，就改編三島由紀夫的《金閣寺》，與其說是電 影事業一個賭博，不如視之為他和編劇拍檔妻子和田 夏十對日本人極致審美態度一次大膽陳述，聰明之 處是不逼迫自己去理解三島的美醜對立。市川崑視覺 上盡情釋放，大膽的心象描 ，前衛的蒙太奇，以及 空寂的攝影（溝口健二御用攝影師宮川一夫），回到 1950年7月2日大學生林養賢焚寺事件的心理推敲， 醜和尚變高中美少年，豁達的瘋狂代替曖昧的癡迷。
1958 《電影旬報》十大電影第四位 1959 東京記者協會藍絲帶獎最佳男主角 Japan 1958 99min Cast: Ichikawa Raizo, Nakadai Tatsuya, Nakamura Ganjiro, Uraji Yoko
Adapted from Mishima Yukio’s Temple of the Golden Pavilion which was based on real events in postwar Japan, Ichikawa draws out a finely-etched portrait of loss and madness within the confines of a temple and school. Master Tayama adopts Goichi Mizoguchi, son of a friend, as his successor without realizing the obstacles facing the boy. His academic failings converge with his discoveries of corruption in the world around him to lead to his descent into alienation and madness in the name of purity. A fiery parable of the generation who grew up in Japan in the ashes of the Second World War. #4 in 1958 Kinema Junpo ’s Top 10 1959 Blue Ribbon Award, Best Actor
{
12
這次非出自和田夏十手筆，找來成瀨愛用的水木洋子 改編幸田文，點點荒謬感，隱隱諷刺性。針對小津維 繫家庭和諧的傳統，企圖打碎日本核心價值觀。卡士 已是一個造句，森雅之是時代的無能男家長，田中絹 代是沉迷宗教神不守舍的後母，川口浩是漫無目的奔 馳的弟弟，不斷犯錯消耗生命，岸惠子這個姊姊以無 邊活力維繫家庭，只好不斷拒絕追求和婚聘。明朗攝 影夾雜褪色的時代理解，日式大屋刻意空蕩蕩，暗角 處處。菲林冲印使用「殘銀法」令暗處顯現更多細節 和層次，是大膽的技術創新。山田洋次也改編為《給 弟弟的安眠曲》（2010）向他致敬。
1960 《電影旬報》十大電影第一位 1961 東京記者協會藍絲帶獎最佳影片、 最佳導演及最佳女主角 Japan 1960 98min Cast: Kishi Keiko, Kawaguchi Hiroshi, Tanaka Kinuyo, Mori Masayuki
Lovingly adapted from the autobiographical novel by Aya Koda, this film explores a complicated family triangle composed by a brutally uncaring father, a sober and protective elder sister, Gen (from whose viewpoint we see the story), and a wild and over-indulged younger brother, Hekirou. Gen, exquisitely incarnated by Kishi Keiko must grow in her understanding and independence as she negotiates the shoals created by these men. Ichikawa brings out the sentimental depths of the story with his careful framing, his sensitive use of music to his incredible manipulation of the light and the color palette of the film. #1 in 1960 Kinema Junpo ’s Top 10 1961 Blue Ribbon Award, Best Film, Best Director & Best Actress
日本 1965 170分鐘
日本 1963 114 分鐘 演員：長谷川一夫、山本富士子、若尾文子、 市川雷藏、勝新太郎 日本藝能地位如梅蘭芳、任劍輝的長谷川一夫第300 部紀念作，也是告別作。重拍衣笠貞之助和伊藤大 輔1935年作品，市川崑不但對人，也對野郎歌舞伎 （男旦）、時代劇、早期電影，以至衣笠曾代表的新 感覺派等等的江戶情趣、日本美學再三致敬。 事上 忠實改編，長谷川是萬人迷乾旦雪之丞，也同時化身 兩個凡夫歹徒，成全復仇任務。復古審美同時包羅時 代驚豔，演浪路的若尾文子絕豔上場。歌舞伎台上精 緻形態，藉電影感拓展變化，古典呼吸前衛，現在看 來，精神健在。 Japan 1963 114min Cast: Hasegawa Kazuo, Yamamoto Fujiko, Wakao Ayako, Ichikawa Raizo
Punished for his flops by being forced to readapt a melodramatic serial, Ichikawa instead created a marvel of a play within a play, where kaleidoscopic motives and perspectives of actors and identities turned mediocrity into high art. At the center stands Nakamura Yukinojo (Hasegawa Kazuo), a popular 19th-century kabuki actor specialising in women’s roles, and his quest to revenge the death of his parents. When the daughter of one of those he holds responsible, Namiji, falls under his spell, Yukinojo weaves together dramas on stage and off in devastating plots that create a mesmerizing film.
奧運場上是較量，奧運紀錄片也無可避免，是柏林 1936 vs 東京1964。市川崑把持當時方興未艾的觀 察美學，拍攝策略是「距拍」，跟蘭妮萊芬斯坦那 「我在場、我話事」的鏡頭很不同。影機未曾打擾運 動員，甚至觀眾，捕捉很專注的競賽氣氛，卻巨細無 遺；闊銀幕、長焦距、慢鏡頭，技驚四座，運動紀錄 片的美學從此改寫。開場高空視角穿越雲端容或向 《奧林匹亞》（18 屆）致敬，對照機中人吧，原來 暗示美國是納粹，市川崑又特意跟一名乍得選手上街 走走，鋤強扶弱立場鮮明。難怪當時媚美的日本官方 不滿，迫他剪短及重剪結尾。這次當然放映導演足 本，復現時代見證。
1965 《電影旬報》十大電影第二位 Japan 1965 170min
As Tokyo takes on the challenges of the 2020 Olympics, a classic vision of its 1964 predecessor, when the postwar city rose from the ashes onto the world stage. Originally offered to Kurosawa (who instead chose to direct the opening and closing), the film concentrates even more than its forerunner (Leni Riefenstahl’s Olympia , 18th HKIFF) on the athletes and lives of the games rather than glorification of the event – to the disappointment of the Tokyo Olympic Committee who forced serious editing onto Ichikawa. Nonetheless, it remains one of the greatest sports movies of all time, and a beautiful as well as timely work on its own. #2 in 1965 Kinema Junpo ’s Top 10
13 }} 13
10.4 7:30pm 2.5 2:30pm
}
©1967 Toho Co., Ltd. All Rights Reserved
}
飯
願妻如薔薇
Wife! Be Like a Rose!
2.5 5:15pm
Repast
a.k.a. A Married Life (Meshi)
©1967 Toho Co., Ltd. All Rights Reserved
(Tsuma yo bara no yo ni)
成 瀨 巳 喜 男 110 年 紀 念 展
Naruse Mikio, 110th Anniversary 小津安二郎、溝口健 在 四二 大、 日黑 本澤 導明 演及 － 成瀨巳喜男（1905-69） 中，成瀨是最感性的。假如小津電影是人間悲 歡離合的昇華，成瀨則是對生之奔波與徒然的 沉思。成瀨1920年進入松竹，1929年開始執 導默片，1934年加盟P.C.L.（後為東寶），自 此拍攝有聲片，至1967年完成遺作，一生默默 耕耘，戰後風格尤為成熟，佳作連篇；改編文 學作品無數，對林芙美子情有獨鍾，改編林氏 六作，部部都是名作。他最深刻低徊的作品， 大多有高峰秀子的身影，兩人合作無間，她只 有在他的鏡頭下特別孤高性感。寡言的成瀨敏 感而內斂，沉重內心戲是標記，複 雜的情感，平靜底下的暗湧，寄寓 在流轉的眼神裏，一個回眸，比千 言萬語都動人。
K
urosawa Akira, a former assistant, once likened Naruse Mikio’s (1905-69) films to “a great river with a c a l m s u r fa c e a n d a ra gi n g current in its depths.” While Naruse is known for a certain “invisible” style – as demonstrated by his actors’ emotionally controlled performances – it is the filmmaker’s singular mastery of film narrative that strongly distinguishes his work. His ability to weave strands from short stories into a tapestry of meaning onscreen has a nuanced quality not unlike many of the novelistic works from which he adapted to film. Along with his personal upbringing , Naruse’s literary affinities with authors such as Hayashi Fumiko may also explain his interest in exploring the lives of the Japanese working-class via the cinematic heroine. Casting his eye upon the marginalized (laborers, shopkeepers, geisha, widows, etc.), Naruse dissects the disintegration of postwar Japanese society by portraying women characters as fully {
14
天氣陰晴，驟來的濃霧、閃電、細雨，往往成 為情節轉捩點，人難逆天的陰影揮之不去。但 成瀨又不盡是悲觀，正因為處境不由人，他的 人物更加抱緊生命，不甘隨風而逝。成瀨深深 體會女性自主之甘苦，從中提煉受難的美學， 塑造無數剛柔並濟的女性形像，風雨飄搖中緊 守慾望與尊嚴，不奢求憐憫。他的通俗劇來自 對世事的透徹體會，日常瑣碎事完全入戲，漫 然分枝的故事由細節展開，拋開戲劇化的起承 轉合，綿延不斷的生活、磨人的家事與情事中 自有人生真諦。喜愛內景的成瀨也拍外景， 內、外景每有寄意，陳設一絲不苟，空間調度 盡現人物關係。只此一家的流暢 與委婉，一切渾然天成，在感情 的沉澱裏，濃濃的戲味與人味化 不開。
hu m a n i n d i v i d u a l s w i t h t h e capacity for desire, ambition and making mistakes. Naruse’s ability to dissect s o c i e t y i n m i c ro c o s m o f t e n inspired some of his most potent subjects: domestic life. Exposing both fragility and resilience in the ties between friends, family, spouses and lovers, Naruse’s films remind us of the inevitable d a n ge rs o f hu m a n re l a t i o n s h i p s – fo r their tendency to mollify and alienate people in their respective misery. Such harsh observations about human nature and its illusory promise reach the heart of Naruse’s cinema, one in which people are caught in the unrelenting flow of time and where people inevitably suffer the consequences of their past, alone. Naruse’s concise filmmaking discipline eschewed simple sentiment to reach deeper into the well of the human condition. Punctuated by subtle humor found in everyday helplessness, Naruse’s timeless, elegant cinema deserves to be savored at the pace of life.
日本 1951 97 分鐘 中文字幕 演員：原節子、上原謙、島崎雪子、杉村春子、杉葉子 日本 1935 74 分鐘 中文字幕 演員：丸山定夫、伊藤智子、千葉早智子、英百合子 成瀨的第二部有聲片，改編備受好評的中野實劇作， 也是首部在美國公映的日本有聲片，後期名作的主題 已盡現其中。年輕獨立的君子婚期在即，到鄉間尋找 拋妻棄兒與藝伎同居的生父；這另一個家，比想像中 不間單。只有成瀨，才可把多情男人與痴情女子的三 角戀愛拍得不含批判，卻富人情。成瀨對「第三者」 態度從來曖昧，溫吞的男人不一定討好，但多愁的正 室女詩人與委婉的第三者，各有千種心事，真是漫漫 的賬，不由外人說對錯。秀逸的千葉早智子飾君子， 兩年後與成瀨結為夫婦。
1935《電影旬報》十大電影第一位 Japan 1935 74min Cast: Maruyama Sadao, Ito Tomoko, Chiba Sachiko, Hanabusa Yuriko
Hoping to reunite her estranged gold-prospecting father with her poet mother, Kimiko (played by Chiba Sachiko, Naruse’s then-fiancée) sets out to reclaim her father (Maruyama Sadao) from his mountain-village home, where he has lived with his ex-geisha mistress and their children for many years. Wife! reveals Naruse’s knack for subtle humor, despite the film’s sobering revelations about family, class, and gender roles in interwar Japan. Deemed “one of the triumphs of Japanese sound-film” by Donald Richie, the film was the first Japanese talkie released in the West. #1 in 1935 Kinema Junpo ’s Top 10 設映後座談會，講者籐原基斯， 主持何思穎 （英語主講） Post-screening seminar with Chris Fujiwara Moderator: Sam Ho (Conducted in English)
婚後幾年過去，初之輔飯來張口，眼睛再沒離開過 報紙，三千代端來飯鍋後出神：生命啊，都花在廚 房和飯桌之間了。這時來了個放浪的俏姪女，三千代 出走，是想找回自己？還是對老公灰了心？她沒說清 楚，成瀨也沒有，妻子之苦比男人的更複雜。成瀨初 改編林芙美子，日本銀幕罕見傳統枷鎖裏女性竭力自 主，小津裏看慣的原節子，也釋出機靈的生活感性。 不過自主只像放個假，四分三逆光精心搭建的佈景， 把小夫妻拍得很美，連帶甜美生活的貓咪、疑似的大 團圓，都更像諷刺。
1951《電影旬報》十大電影第二位 1952 東京記者協會藍絲帶獎最佳影片及 最佳女主角 Japan 1951 97min Cast: Hara Setsuko, Uehara Ken, Shimazaki Yukiko
Considered a revival piece in Naruse’s mid-career, Repast stars the luminous Hara Setsuko as Michiyo, housewife to salaryman husband Hatsunosuke (Uehara Ken) in Osaka. Her 5-year marriage has long since dulled, as she finds domestic duties mechanical and her husband uninspiring. The arrival of her spirited niece Satoko incites Michiyo’s disdain for her passionless marriage, and leads her in search of the life she once knew in Tokyo… As Naruse’s first film adaptation of Hayashi Fumiko’s feminist novels, Repast was at the beginning of a wave of shomin-geki films about the working-class in mid-century Japan. #2 in 1951 Kinema Junpo ’s Top 10 1952 Blue Ribbon Award, Best Film & Best Actress
15
}
10.4 7:30pm 2.5 2:30pm
}
©1967 Toho Co., Ltd. All Rights Reserved
}
飯
願妻如薔薇
Wife! Be Like a Rose!
2.5 5:15pm
Repast
a.k.a. A Married Life (Meshi)
©1967 Toho Co., Ltd. All Rights Reserved
(Tsuma yo bara no yo ni)
成 瀨 巳 喜 男 110 年 紀 念 展
Naruse Mikio, 110th Anniversary 小津安二郎、溝口健 在 四二 大、 日黑 本澤 導明 演及 － 成瀨巳喜男（1905-69） 中，成瀨是最感性的。假如小津電影是人間悲 歡離合的昇華，成瀨則是對生之奔波與徒然的 沉思。成瀨1920年進入松竹，1929年開始執 導默片，1934年加盟P.C.L.（後為東寶），自 此拍攝有聲片，至1967年完成遺作，一生默默 耕耘，戰後風格尤為成熟，佳作連篇；改編文 學作品無數，對林芙美子情有獨鍾，改編林氏 六作，部部都是名作。他最深刻低徊的作品， 大多有高峰秀子的身影，兩人合作無間，她只 有在他的鏡頭下特別孤高性感。寡言的成瀨敏 感而內斂，沉重內心戲是標記，複 雜的情感，平靜底下的暗湧，寄寓 在流轉的眼神裏，一個回眸，比千 言萬語都動人。
K
urosawa Akira, a former assistant, once likened Naruse Mikio’s (1905-69) films to “a great river with a c a l m s u r fa c e a n d a ra gi n g current in its depths.” While Naruse is known for a certain “invisible” style – as demonstrated by his actors’ emotionally controlled performances – it is the filmmaker’s singular mastery of film narrative that strongly distinguishes his work. His ability to weave strands from short stories into a tapestry of meaning onscreen has a nuanced quality not unlike many of the novelistic works from which he adapted to film. Along with his personal upbringing , Naruse’s literary affinities with authors such as Hayashi Fumiko may also explain his interest in exploring the lives of the Japanese working-class via the cinematic heroine. Casting his eye upon the marginalized (laborers, shopkeepers, geisha, widows, etc.), Naruse dissects the disintegration of postwar Japanese society by portraying women characters as fully {
14
天氣陰晴，驟來的濃霧、閃電、細雨，往往成 為情節轉捩點，人難逆天的陰影揮之不去。但 成瀨又不盡是悲觀，正因為處境不由人，他的 人物更加抱緊生命，不甘隨風而逝。成瀨深深 體會女性自主之甘苦，從中提煉受難的美學， 塑造無數剛柔並濟的女性形像，風雨飄搖中緊 守慾望與尊嚴，不奢求憐憫。他的通俗劇來自 對世事的透徹體會，日常瑣碎事完全入戲，漫 然分枝的故事由細節展開，拋開戲劇化的起承 轉合，綿延不斷的生活、磨人的家事與情事中 自有人生真諦。喜愛內景的成瀨也拍外景， 內、外景每有寄意，陳設一絲不苟，空間調度 盡現人物關係。只此一家的流暢 與委婉，一切渾然天成，在感情 的沉澱裏，濃濃的戲味與人味化 不開。
hu m a n i n d i v i d u a l s w i t h t h e capacity for desire, ambition and making mistakes. Naruse’s ability to dissect s o c i e t y i n m i c ro c o s m o f t e n inspired some of his most potent subjects: domestic life. Exposing both fragility and resilience in the ties between friends, family, spouses and lovers, Naruse’s films remind us of the inevitable d a n ge rs o f hu m a n re l a t i o n s h i p s – fo r their tendency to mollify and alienate people in their respective misery. Such harsh observations about human nature and its illusory promise reach the heart of Naruse’s cinema, one in which people are caught in the unrelenting flow of time and where people inevitably suffer the consequences of their past, alone. Naruse’s concise filmmaking discipline eschewed simple sentiment to reach deeper into the well of the human condition. Punctuated by subtle humor found in everyday helplessness, Naruse’s timeless, elegant cinema deserves to be savored at the pace of life.
日本 1951 97 分鐘 中文字幕 演員：原節子、上原謙、島崎雪子、杉村春子、杉葉子 日本 1935 74 分鐘 中文字幕 演員：丸山定夫、伊藤智子、千葉早智子、英百合子 成瀨的第二部有聲片，改編備受好評的中野實劇作， 也是首部在美國公映的日本有聲片，後期名作的主題 已盡現其中。年輕獨立的君子婚期在即，到鄉間尋找 拋妻棄兒與藝伎同居的生父；這另一個家，比想像中 不間單。只有成瀨，才可把多情男人與痴情女子的三 角戀愛拍得不含批判，卻富人情。成瀨對「第三者」 態度從來曖昧，溫吞的男人不一定討好，但多愁的正 室女詩人與委婉的第三者，各有千種心事，真是漫漫 的賬，不由外人說對錯。秀逸的千葉早智子飾君子， 兩年後與成瀨結為夫婦。
1935《電影旬報》十大電影第一位 Japan 1935 74min Cast: Maruyama Sadao, Ito Tomoko, Chiba Sachiko, Hanabusa Yuriko
Hoping to reunite her estranged gold-prospecting father with her poet mother, Kimiko (played by Chiba Sachiko, Naruse’s then-fiancée) sets out to reclaim her father (Maruyama Sadao) from his mountain-village home, where he has lived with his ex-geisha mistress and their children for many years. Wife! reveals Naruse’s knack for subtle humor, despite the film’s sobering revelations about family, class, and gender roles in interwar Japan. Deemed “one of the triumphs of Japanese sound-film” by Donald Richie, the film was the first Japanese talkie released in the West. #1 in 1935 Kinema Junpo ’s Top 10 設映後座談會，講者籐原基斯， 主持何思穎 （英語主講） Post-screening seminar with Chris Fujiwara Moderator: Sam Ho (Conducted in English)
婚後幾年過去，初之輔飯來張口，眼睛再沒離開過 報紙，三千代端來飯鍋後出神：生命啊，都花在廚 房和飯桌之間了。這時來了個放浪的俏姪女，三千代 出走，是想找回自己？還是對老公灰了心？她沒說清 楚，成瀨也沒有，妻子之苦比男人的更複雜。成瀨初 改編林芙美子，日本銀幕罕見傳統枷鎖裏女性竭力自 主，小津裏看慣的原節子，也釋出機靈的生活感性。 不過自主只像放個假，四分三逆光精心搭建的佈景， 把小夫妻拍得很美，連帶甜美生活的貓咪、疑似的大 團圓，都更像諷刺。
1951《電影旬報》十大電影第二位 1952 東京記者協會藍絲帶獎最佳影片及 最佳女主角 Japan 1951 97min Cast: Hara Setsuko, Uehara Ken, Shimazaki Yukiko
Considered a revival piece in Naruse’s mid-career, Repast stars the luminous Hara Setsuko as Michiyo, housewife to salaryman husband Hatsunosuke (Uehara Ken) in Osaka. Her 5-year marriage has long since dulled, as she finds domestic duties mechanical and her husband uninspiring. The arrival of her spirited niece Satoko incites Michiyo’s disdain for her passionless marriage, and leads her in search of the life she once knew in Tokyo… As Naruse’s first film adaptation of Hayashi Fumiko’s feminist novels, Repast was at the beginning of a wave of shomin-geki films about the working-class in mid-century Japan. #2 in 1951 Kinema Junpo ’s Top 10 1952 Blue Ribbon Award, Best Film & Best Actress
15
}
7.4 8:30pm 3.5 2:30pm
}
在尾形家的宅邸裏，瑣碎家事日日上演，修一不是夜 歸就是老往外跑，偌大的屋裏總覺鬱悶，似在提醒菊 子丈夫不解溫柔。籬笆外的小道，是個透氣的窗口， 在這裏跟家翁散步，令菊子的生活添回朝氣，閒談裏 憑花草寄意，盡是說不出口的心事。原節子、山村聰 翁媳間似有若無的情意，比甚麼都實在；原節子的 媳婦，呼應她在小津電影的莊重，又添芳心寂寞的美 態。成瀨將川端康成的空靈化為意在言外的詩意，成 就一部他最擅長的家庭劇。原節子、上原謙夫婦，彷 彿在這裏延續《飯》那似完未完的故事。
1954《電影旬報》十大電影第六位 Japan 1954 95min Cast: Hara Setsuko, Yamamura So, Uehara Ken, Nagaoka Teruko
日本 1954 101分鐘 中文字幕 演員：杉村春子、澤村貞子、細川千賀子、望月優子 成瀨第四度改編林芙美子，藍本是三個短篇，特別體 貼女人心事，幾個退休藝伎，浮花浪蕊盡後，靜嚐幽 獨。風光不再的倉橋洗盡鉛華，以放高利貸維生，每 日踏遍四通八達的市町，在嬉笑怒罵中收數，也收 風。昔日姊妹大嘆這人巴辣無情，再勢利的她卻有 顆脆弱的心，驟見舊情人芳心柔腸百結。演配角從來 搶鏡的杉村春子少有地擔正，演繹倉橋的外剛內柔爐 火純青。成瀨通過倉橋的步伐帶出小市民日常作息片 段，剪接不着痕跡，如生活節奏流暢自然。神女生涯 原是夢，醒後再留戀還得繼續上路。
1954《電影旬報》十大電影第七位 Japan 1954 101min Cast: Sugimura Haruko, Sawamura Sadako, Hosokawa Chikako, Mochizuki Yuko
#6 in 1954 Kinema Junpo ’s Top 10
#7 in 1954 Kinema Junpo ’s Top 10
16
(Ukigumo)
}
Sudden Rain (Shuu)
日本 1955 124 分鐘 中文字幕 演員：高峰秀子、森雅之、中北千枝子、 岡田茉莉子、山形勳
Weaving together three short stories by Hayashi Fumiko, Late Chrysanthemums is a superb example of Naruse’s narrative mastery. The film follows three former geishas as they grapple with the realities of their current lives. Kin, now a moneylender, visits her fellow ex-colleagues to collect debts while reconnecting with old flames. The latter pair, Tomi and Tamae, console themselves with drink as they bemoan migraines, gambling habits and their adult children’s decisions. This sweeping character study offers little respite for these women, marginalized by age, gender and the changing times.
{
Floating Clouds
7.4 6:30pm 10.5 5:00pm
(Bangiku)
Based on Kawabata Yasunari’s novel, Sound of the Mountain portrays an aging patriarch’s attempts to alleviate the troubled marriages of his children, especially the one between his philandering son Shuichi and his child-like wife Kikuko (Hara Setsuko). As the father-in-law develops a faintly inappropriate fancy towards his daughter-in-law, the film also reveals the inward aggressions, suppressed histories and hidden sufferings that ripple beneath the rigid surfaces of a Japanese family. One of Naruse’s personal favorites, this tersely executed film leaves life’s unrelenting misfortunes in plain view.
設映後談，講者馮嘉琪 Post-screening talk with Kiki Fung
}
驟雨
日本 1954 95 分鐘 中文字幕 演員：原節子、山村聰、上原謙、長岡輝子
Late Chrysanthemums
9.5 2:30pm
浮雲
a.k.a. The Echo (Yama no Oto)
}
晚菊
山之音
Sound of the Mountain
26.4 6:30pm 3.5 4:30pm
日本電影黃金期傑作中的傑作，連小津都羨慕說自己 拍不來的。也是林芙美子筆下的人物，花樣年華的雪 子在越南愛上已婚男富岡，戰後歸來，富岡郎心如 鐵，雪子卻一次次貪看負心人的背影。兩個命運貌合 神離，愛飄泊於不同身體，終掉落虛空，再難相認。 成瀨把感情激流在沉靜跳接中一直沉澱，叫人屏息。 長期攝影拍檔玉井正夫的無瑕構圖和燈光佈置是經典 中經典，利用陰暗房間和雨水反差營造生離死別，淒 美得無以名狀；高峰秀子和森雅之投入角色之深，也 令畫面散發異樣陰森。
1955 《電影旬報》十大電影第一位 1956 東京記者協會藍絲帶獎最佳影片 Japan 1955 124min Cast: Takamine Hideko, Mori Masayuki
Consistently lauded as a masterpiece, powerful in its evocation of female mentality and postwar malaise, Floating Clouds is Naruse’s fifth adaptation of a Hayashi Fumiko’s novel. The story of downtrodden Yukiko (Takamine Hideko) and her rakish lover Kengo (Mori Masayuki) interweaves the memory of their love affair during wartime Indochina with the sordid state of their current non-relationship in Japan, one eroded by Kengo’s repeated betrayal and Yukiko’s cyclical descent into squalor. The film deals directly with the inability to return to the past – a theme similarly explored, years later, in Resnais’ Hiroshima Mon Amour (1959).
日本 1956 91 分鐘 中文字幕 演員：原節子、佐野周二、小林桂樹、香川京子 成瀨看七年之癢，調侃婚姻生活的幻滅感，真似輕快 幽默版的《飯》。幾個細節道盡男人雖愛主導，事無 大小卻總依賴妻子的品性，叫人忍俊不禁。亮太郎與 文子結婚多年，開始每為小事挑剔；隔壁夫婦倒是女 尊男卑，形成有趣的對比。原節子一舉手一投足都是 矜持，心底失望默默由空氣傳遞。流水賬背後是精心 鋪排的 事，矛盾徐徐展開，夫婦與鄰居交錯相遇， 惹人浮想連篇。相比程式化地言歸於好，成瀨拍出愛 與角力交集的終章，讓剪不斷理還亂的夫妻齟齬在無 言與輕盈中化解，絕對是神來之筆。 Japan 1956 91min Cast: Hara Setsuko, Sano Shuji , Kobayashi Keiju ,Kagawa Kyôko
Hara Setsuko’s beatific smile plays piercing counterpoint in this pseudo-tragicomic tale. Her on-screen marriage to Ryotaro (Sano Shuji) seethes with resentment just beneath the surface of an orderly domestic life – filled with daily repetitions and routine conversations – until the couple’s money worries (and their crumbling peripheral world) threaten to break through. Beyond its fill of underhanded insults, is this marriage (or marriage in general) merely a bitter pill to swallow? Naruse’s measured exercise in dramatic subversion excels in sustaining tension, heightening the uneasy realization that there’s no easy resolution in marital strife.
#1 in 1955 Kinema Junpo ’s Top 10 1956 Blue Ribbon Award, Best Film 設映後談，講者劉偉霖 Post-screening talk with William Lau
17
}
7.4 8:30pm 3.5 2:30pm
}
在尾形家的宅邸裏，瑣碎家事日日上演，修一不是夜 歸就是老往外跑，偌大的屋裏總覺鬱悶，似在提醒菊 子丈夫不解溫柔。籬笆外的小道，是個透氣的窗口， 在這裏跟家翁散步，令菊子的生活添回朝氣，閒談裏 憑花草寄意，盡是說不出口的心事。原節子、山村聰 翁媳間似有若無的情意，比甚麼都實在；原節子的 媳婦，呼應她在小津電影的莊重，又添芳心寂寞的美 態。成瀨將川端康成的空靈化為意在言外的詩意，成 就一部他最擅長的家庭劇。原節子、上原謙夫婦，彷 彿在這裏延續《飯》那似完未完的故事。
1954《電影旬報》十大電影第六位 Japan 1954 95min Cast: Hara Setsuko, Yamamura So, Uehara Ken, Nagaoka Teruko
日本 1954 101分鐘 中文字幕 演員：杉村春子、澤村貞子、細川千賀子、望月優子 成瀨第四度改編林芙美子，藍本是三個短篇，特別體 貼女人心事，幾個退休藝伎，浮花浪蕊盡後，靜嚐幽 獨。風光不再的倉橋洗盡鉛華，以放高利貸維生，每 日踏遍四通八達的市町，在嬉笑怒罵中收數，也收 風。昔日姊妹大嘆這人巴辣無情，再勢利的她卻有 顆脆弱的心，驟見舊情人芳心柔腸百結。演配角從來 搶鏡的杉村春子少有地擔正，演繹倉橋的外剛內柔爐 火純青。成瀨通過倉橋的步伐帶出小市民日常作息片 段，剪接不着痕跡，如生活節奏流暢自然。神女生涯 原是夢，醒後再留戀還得繼續上路。
1954《電影旬報》十大電影第七位 Japan 1954 101min Cast: Sugimura Haruko, Sawamura Sadako, Hosokawa Chikako, Mochizuki Yuko
#6 in 1954 Kinema Junpo ’s Top 10
#7 in 1954 Kinema Junpo ’s Top 10
16
(Ukigumo)
}
Sudden Rain (Shuu)
日本 1955 124 分鐘 中文字幕 演員：高峰秀子、森雅之、中北千枝子、 岡田茉莉子、山形勳
Weaving together three short stories by Hayashi Fumiko, Late Chrysanthemums is a superb example of Naruse’s narrative mastery. The film follows three former geishas as they grapple with the realities of their current lives. Kin, now a moneylender, visits her fellow ex-colleagues to collect debts while reconnecting with old flames. The latter pair, Tomi and Tamae, console themselves with drink as they bemoan migraines, gambling habits and their adult children’s decisions. This sweeping character study offers little respite for these women, marginalized by age, gender and the changing times.
{
Floating Clouds
7.4 6:30pm 10.5 5:00pm
(Bangiku)
Based on Kawabata Yasunari’s novel, Sound of the Mountain portrays an aging patriarch’s attempts to alleviate the troubled marriages of his children, especially the one between his philandering son Shuichi and his child-like wife Kikuko (Hara Setsuko). As the father-in-law develops a faintly inappropriate fancy towards his daughter-in-law, the film also reveals the inward aggressions, suppressed histories and hidden sufferings that ripple beneath the rigid surfaces of a Japanese family. One of Naruse’s personal favorites, this tersely executed film leaves life’s unrelenting misfortunes in plain view.
設映後談，講者馮嘉琪 Post-screening talk with Kiki Fung
}
驟雨
日本 1954 95 分鐘 中文字幕 演員：原節子、山村聰、上原謙、長岡輝子
Late Chrysanthemums
9.5 2:30pm
浮雲
a.k.a. The Echo (Yama no Oto)
}
晚菊
山之音
Sound of the Mountain
26.4 6:30pm 3.5 4:30pm
日本電影黃金期傑作中的傑作，連小津都羨慕說自己 拍不來的。也是林芙美子筆下的人物，花樣年華的雪 子在越南愛上已婚男富岡，戰後歸來，富岡郎心如 鐵，雪子卻一次次貪看負心人的背影。兩個命運貌合 神離，愛飄泊於不同身體，終掉落虛空，再難相認。 成瀨把感情激流在沉靜跳接中一直沉澱，叫人屏息。 長期攝影拍檔玉井正夫的無瑕構圖和燈光佈置是經典 中經典，利用陰暗房間和雨水反差營造生離死別，淒 美得無以名狀；高峰秀子和森雅之投入角色之深，也 令畫面散發異樣陰森。
1955 《電影旬報》十大電影第一位 1956 東京記者協會藍絲帶獎最佳影片 Japan 1955 124min Cast: Takamine Hideko, Mori Masayuki
Consistently lauded as a masterpiece, powerful in its evocation of female mentality and postwar malaise, Floating Clouds is Naruse’s fifth adaptation of a Hayashi Fumiko’s novel. The story of downtrodden Yukiko (Takamine Hideko) and her rakish lover Kengo (Mori Masayuki) interweaves the memory of their love affair during wartime Indochina with the sordid state of their current non-relationship in Japan, one eroded by Kengo’s repeated betrayal and Yukiko’s cyclical descent into squalor. The film deals directly with the inability to return to the past – a theme similarly explored, years later, in Resnais’ Hiroshima Mon Amour (1959).
日本 1956 91 分鐘 中文字幕 演員：原節子、佐野周二、小林桂樹、香川京子 成瀨看七年之癢，調侃婚姻生活的幻滅感，真似輕快 幽默版的《飯》。幾個細節道盡男人雖愛主導，事無 大小卻總依賴妻子的品性，叫人忍俊不禁。亮太郎與 文子結婚多年，開始每為小事挑剔；隔壁夫婦倒是女 尊男卑，形成有趣的對比。原節子一舉手一投足都是 矜持，心底失望默默由空氣傳遞。流水賬背後是精心 鋪排的 事，矛盾徐徐展開，夫婦與鄰居交錯相遇， 惹人浮想連篇。相比程式化地言歸於好，成瀨拍出愛 與角力交集的終章，讓剪不斷理還亂的夫妻齟齬在無 言與輕盈中化解，絕對是神來之筆。 Japan 1956 91min Cast: Hara Setsuko, Sano Shuji , Kobayashi Keiju ,Kagawa Kyôko
Hara Setsuko’s beatific smile plays piercing counterpoint in this pseudo-tragicomic tale. Her on-screen marriage to Ryotaro (Sano Shuji) seethes with resentment just beneath the surface of an orderly domestic life – filled with daily repetitions and routine conversations – until the couple’s money worries (and their crumbling peripheral world) threaten to break through. Beyond its fill of underhanded insults, is this marriage (or marriage in general) merely a bitter pill to swallow? Naruse’s measured exercise in dramatic subversion excels in sustaining tension, heightening the uneasy realization that there’s no easy resolution in marital strife.
#1 in 1955 Kinema Junpo ’s Top 10 1956 Blue Ribbon Award, Best Film 設映後談，講者劉偉霖 Post-screening talk with William Lau
17
}
}
24.5 2:30pm
}
Daughters, Wives and a Mother (Musume tsuma haha)
When a Woman Ascends the Stairs
18.4 2:30pm 24.5 5:00pm
}
放浪記
a.k.a. A House of Geisha (Nagareru)
}
娘．妻．母
流逝
Flowing
18.4 6:00pm 23.5 7:30pm 女人踏上樓梯時
26.4 8:30pm 10.5 7:00pm
Her Lonely Lane
a.k.a. A Wanderer's Notebook (Horoki)
日本 1956 117 分鐘 中文字幕 演員：田中絹代、山田五十鈴、高峰秀子、杉村春子 《晚菊》後意猶未盡，繼續講藝伎的故事吧，原作來 自另一女作家幸田文，舞台集中在沒落的藝伎之家， 幾乎全是他最愛的內景，自然得心應手。卡士集歷代 六大名女優，一時無兩：栗島澄子、山田五十鈴、田 中絹代、杉村春子、高峰秀子及岡田茉莉子，各有各 形態又各有各算計，眼珠骨碌碌的又精明又銷魂，也 有說不盡的婉約，無非為在不念舊不長情的物質世界 守住女人尊嚴。也是成瀨處理複雜人物關係的最完美 示範，前情後債千絲萬縷，節奏不慌不忙，構成一幅 戲味無窮的群像，越看越好看。
1956 《電影旬報》十大電影第八位 1957 東京記者協會藍絲帶獎最佳女主角 Japan 1956 117 min Cast: Tanaka Kinuyo, Yamada Isuzu, Takamine Hideko, Sugimura Haruko
Capturing life in the midst of changing times, Flowing is based on Koda Aya’s remarkable autobiographical novel about women who cohabit a geisha house in decline. The widowed Rika (Tanaka Kinuyo, well known as Mizoguchi’s Oharu) works as a maid in the house run by proud mistress Tsutayako (Yamada Isuzu), who strives to save not only her struggling establishment but also a fading way of life. A complicated portrait about work, traditions and the illusions of female camaraderie, this magnificent and poignant ensemble piece shines with performances by some of Japan’s finest actresses. #8 in 1956 Kinema Junpo ’s Top 10 1957 Blue Ribbon Awards, Best Actress
{
18
日本 1960 123 分鐘 中文字幕 演員：原節子、高峰秀子、三益愛子、森雅之、 寶田明、仲代達矢
日本 1960 110分鐘 中文字幕 演員：高峰秀子、森雅之、仲代達矢、團令子 最現代又最風格化的成瀨作品，構圖、陳設、剪接以 至音樂都用心經營，高峰秀子親任服裝設計，黑白影 像裏，銀座酒吧地帶的聲色與風流格調非凡。夜店媽 媽生圭子，每日不管喜歡不喜歡，總得笑臉迎人，包 括森雅之在內的男客無一不想與她春風一度，英俊經 理仲代達矢也一往情深，她卻永遠可望不可即，游 刃於男人的慾望與失望之間。再幹練的女人也難過情 關，她自過得與眾不同。成瀨着力打磨一個不再似雪 子般沉溺的女主角，高峰秀子散發成熟女人魅力，就 是失足也充滿尊嚴，一個漂亮的手勢叫人嘆為觀止。 Japan 1960 110min Cast: Takamine Hideko, Mori Masayuki, Nakadai Tatsuya, Dan Reiko
Naruse’s recurrent themes of feminine perseverance and life’s uncertainties culminate in arguably his most exquisite film. Set in Ginza’s bustling alleyways, the film follows young widow Keiko (Takamine Hideko), a senior bar hostess, as she attempts to remain resilient in the face of financial difficulty, a self-serving family and a series of devastating betrayals. Although caught between traditional and modern ideals, Keiko never fails to maintain an appearance of calm determination under great personal suffering. In portraying her internal travails through everyday events, this is an ultimate tribute to the “consummate Naruse heroine” (Judy Bloch).
成瀨的彩色闊銀幕很絢麗，還有眾星排場：原節子， 高峰秀子，森雅之，寶田明⋯⋯三代家庭像喜劇惹 笑，但後來笑聲都變黑色。原節子飾演的妻子因丈夫 身亡獲大筆保險金，她回到母親的大家庭，哥哥說投 資，妹妹說買樓，錢都賒借了去。成瀨的人物總有生 活上這樣那樣的金錢瓜葛，來得很真。原節子喪夫自 由了，卻墮進和仲代達矢的姐弟戀，兩人在視線間剪 接裏由 腆到吻下去的一場戲，成瀨的神乎其技，浪 漫得叫人流淚。人和家庭要離散，戲沒有完，餘韻都 在我們的現實裏。 Japan 1960 123min Cast: Hara Setsuko, Takamine Hideko, Takarada Akira, Koizumi Hiroshi
Sanae (Hara Setsuko), a recent widow, has returned to the family home with a sizable sum of insurance money – an event that triggers discord in a family already coming apart at the seams. With great performances by an A-list cast, Daughters, Wives, and a Mother contrasts Sanae’s virtuous daughter against her scheming, cashstrapped, and self-centered relatives, highlighting the mismatch between how people ought to be versus how they actually behave as a family. Naruse’s usual grim outlook on modern society is no less tarnished by this film’s resplendent color and Tohoscope cinematography; rather, the vibrancy only enhances the loathsome quality in human nature.
©1967 Toho Co., Ltd. All Rights Reserved
(Onna ga kaidan o agaru toki)
日本 1962 121分鐘 中文字幕 演員：高峰秀子、寶田明、加東大介、小林桂樹 成瀨與高峰秀子又一代表作，最後一次改編林芙美 子，自傳搬上銀幕，亦參考舞台改編，直接引用書中 段落融合內心獨白，成文學改編典範。是林氏的放浪 私記，也是大正時代庶民生活的浮世繪。林氏成名前 生活拮据，幾度鍾情薄倖文人情深緣淺，世界彷佛偏 要跟她過不去，窮困處只及關心生活的最根本：食、 與色，但始終拒絕讓物質世界主宰個人。成瀨自小覺 得受世界背叛，自然感同身受 ，盡得林氏以冷眼對 抗荒謬的精髓。高峰秀子破格演繹受貧窮與情事所困 的女文人，萎靡與清高兩面一體。 Japan 1962 121min Cast: Takamine Hideko, Takarada Akira, Kato Daisuke, Kobayashi Keiju
Naruse’s personal sympathies and identification with the working class are deeply palpable in his celebratory biopic of Hayashi Fumiko – the author whose works he has adapted in half a dozen films. Based on her autobiography, Her Lonely Lane traces Hayashi from her impoverished roots; her days working in a series of browbeating jobs; her calamitous relationships with men; and eventually, to her literary success. Naruse regular Takamine Hideko compellingly portrays the famous novelist, a tenacious woman who finds her voice in writing about the often-sordid turmoil of real life. 設映後座談會，講者舒明， 主持李焯桃（粵語主講） Post-screening seminar with Shu Ming Moderator: Li Cheuk-to (Conducted in Cantonese)
19
}
}
24.5 2:30pm
}
Daughters, Wives and a Mother (Musume tsuma haha)
When a Woman Ascends the Stairs
18.4 2:30pm 24.5 5:00pm
}
放浪記
a.k.a. A House of Geisha (Nagareru)
}
娘．妻．母
流逝
Flowing
18.4 6:00pm 23.5 7:30pm 女人踏上樓梯時
26.4 8:30pm 10.5 7:00pm
Her Lonely Lane
a.k.a. A Wanderer's Notebook (Horoki)
日本 1956 117 分鐘 中文字幕 演員：田中絹代、山田五十鈴、高峰秀子、杉村春子 《晚菊》後意猶未盡，繼續講藝伎的故事吧，原作來 自另一女作家幸田文，舞台集中在沒落的藝伎之家， 幾乎全是他最愛的內景，自然得心應手。卡士集歷代 六大名女優，一時無兩：栗島澄子、山田五十鈴、田 中絹代、杉村春子、高峰秀子及岡田茉莉子，各有各 形態又各有各算計，眼珠骨碌碌的又精明又銷魂，也 有說不盡的婉約，無非為在不念舊不長情的物質世界 守住女人尊嚴。也是成瀨處理複雜人物關係的最完美 示範，前情後債千絲萬縷，節奏不慌不忙，構成一幅 戲味無窮的群像，越看越好看。
1956 《電影旬報》十大電影第八位 1957 東京記者協會藍絲帶獎最佳女主角 Japan 1956 117 min Cast: Tanaka Kinuyo, Yamada Isuzu, Takamine Hideko, Sugimura Haruko
Capturing life in the midst of changing times, Flowing is based on Koda Aya’s remarkable autobiographical novel about women who cohabit a geisha house in decline. The widowed Rika (Tanaka Kinuyo, well known as Mizoguchi’s Oharu) works as a maid in the house run by proud mistress Tsutayako (Yamada Isuzu), who strives to save not only her struggling establishment but also a fading way of life. A complicated portrait about work, traditions and the illusions of female camaraderie, this magnificent and poignant ensemble piece shines with performances by some of Japan’s finest actresses. #8 in 1956 Kinema Junpo ’s Top 10 1957 Blue Ribbon Awards, Best Actress
{
18
日本 1960 123 分鐘 中文字幕 演員：原節子、高峰秀子、三益愛子、森雅之、 寶田明、仲代達矢
日本 1960 110分鐘 中文字幕 演員：高峰秀子、森雅之、仲代達矢、團令子 最現代又最風格化的成瀨作品，構圖、陳設、剪接以 至音樂都用心經營，高峰秀子親任服裝設計，黑白影 像裏，銀座酒吧地帶的聲色與風流格調非凡。夜店媽 媽生圭子，每日不管喜歡不喜歡，總得笑臉迎人，包 括森雅之在內的男客無一不想與她春風一度，英俊經 理仲代達矢也一往情深，她卻永遠可望不可即，游 刃於男人的慾望與失望之間。再幹練的女人也難過情 關，她自過得與眾不同。成瀨着力打磨一個不再似雪 子般沉溺的女主角，高峰秀子散發成熟女人魅力，就 是失足也充滿尊嚴，一個漂亮的手勢叫人嘆為觀止。 Japan 1960 110min Cast: Takamine Hideko, Mori Masayuki, Nakadai Tatsuya, Dan Reiko
Naruse’s recurrent themes of feminine perseverance and life’s uncertainties culminate in arguably his most exquisite film. Set in Ginza’s bustling alleyways, the film follows young widow Keiko (Takamine Hideko), a senior bar hostess, as she attempts to remain resilient in the face of financial difficulty, a self-serving family and a series of devastating betrayals. Although caught between traditional and modern ideals, Keiko never fails to maintain an appearance of calm determination under great personal suffering. In portraying her internal travails through everyday events, this is an ultimate tribute to the “consummate Naruse heroine” (Judy Bloch).
成瀨的彩色闊銀幕很絢麗，還有眾星排場：原節子， 高峰秀子，森雅之，寶田明⋯⋯三代家庭像喜劇惹 笑，但後來笑聲都變黑色。原節子飾演的妻子因丈夫 身亡獲大筆保險金，她回到母親的大家庭，哥哥說投 資，妹妹說買樓，錢都賒借了去。成瀨的人物總有生 活上這樣那樣的金錢瓜葛，來得很真。原節子喪夫自 由了，卻墮進和仲代達矢的姐弟戀，兩人在視線間剪 接裏由 腆到吻下去的一場戲，成瀨的神乎其技，浪 漫得叫人流淚。人和家庭要離散，戲沒有完，餘韻都 在我們的現實裏。 Japan 1960 123min Cast: Hara Setsuko, Takamine Hideko, Takarada Akira, Koizumi Hiroshi
Sanae (Hara Setsuko), a recent widow, has returned to the family home with a sizable sum of insurance money – an event that triggers discord in a family already coming apart at the seams. With great performances by an A-list cast, Daughters, Wives, and a Mother contrasts Sanae’s virtuous daughter against her scheming, cashstrapped, and self-centered relatives, highlighting the mismatch between how people ought to be versus how they actually behave as a family. Naruse’s usual grim outlook on modern society is no less tarnished by this film’s resplendent color and Tohoscope cinematography; rather, the vibrancy only enhances the loathsome quality in human nature.
©1967 Toho Co., Ltd. All Rights Reserved
(Onna ga kaidan o agaru toki)
日本 1962 121分鐘 中文字幕 演員：高峰秀子、寶田明、加東大介、小林桂樹 成瀨與高峰秀子又一代表作，最後一次改編林芙美 子，自傳搬上銀幕，亦參考舞台改編，直接引用書中 段落融合內心獨白，成文學改編典範。是林氏的放浪 私記，也是大正時代庶民生活的浮世繪。林氏成名前 生活拮据，幾度鍾情薄倖文人情深緣淺，世界彷佛偏 要跟她過不去，窮困處只及關心生活的最根本：食、 與色，但始終拒絕讓物質世界主宰個人。成瀨自小覺 得受世界背叛，自然感同身受 ，盡得林氏以冷眼對 抗荒謬的精髓。高峰秀子破格演繹受貧窮與情事所困 的女文人，萎靡與清高兩面一體。 Japan 1962 121min Cast: Takamine Hideko, Takarada Akira, Kato Daisuke, Kobayashi Keiju
Naruse’s personal sympathies and identification with the working class are deeply palpable in his celebratory biopic of Hayashi Fumiko – the author whose works he has adapted in half a dozen films. Based on her autobiography, Her Lonely Lane traces Hayashi from her impoverished roots; her days working in a series of browbeating jobs; her calamitous relationships with men; and eventually, to her literary success. Naruse regular Takamine Hideko compellingly portrays the famous novelist, a tenacious woman who finds her voice in writing about the often-sordid turmoil of real life. 設映後座談會，講者舒明， 主持李焯桃（粵語主講） Post-screening seminar with Shu Ming Moderator: Li Cheuk-to (Conducted in Cantonese)
19
}
19.4 6:00pm 25.5 2:30pm
}
(Midareru)
}
亂雲
情迷意亂
Yearning
25.5 4:45pm
Scattered Clouds a.k.a. Two in the Shadow (Midaregumo)
成瀨 巳喜男 1 1 Nar use
0 Mi kio,
年 紀 念 展 110th Anniversar y
座談會 Seminars 座談會（一） Seminar I 時間 Time 18/4 (Sat 六) 4:30-5:30pm 《放浪記》放映後 After the screening of Her Lonely Lane 講者 Speaker 舒明 Shu Ming 主持 Moderator 李焯桃 Li Cheuk-to 粵語主講 Conducted in Cantonese
座談會（二） Seminar II
這一定是教成瀨執迷的故事，遺作《亂雲》裏的不倫 之戀，早由加山雄三及高峰秀子搬演過，哀怨處有過 之而無不及，宿命陰影瀰漫全片。禮子在丈夫身故後 心如止水，一心打理他的雜貨店，小店面臨新興超級 市場的衝擊，襯托人在時代變遷下之無力感。亡夫弟 弟幸司驀然表白，傳統的禮子進退維谷，心底再熾熱 也得逃情。火車駛到偏遠的郊外，繃緊的情感得以舒 緩，兩人漸行漸近，世俗規條的包袱竟如影隨形。距 離幸福只餘那麼一小步，而冥冥天意卻不為人道，結 局的震撼成瀨作品中無出其右。
1964 羅迦諾電影節最佳女主角 Japan 1964 98min Cast: Takamine Hideko, Kayama Yuzo, Kusabue Mitsuko, Shirakawa Yumi
What began as a quietly observed family drama has become one of Naruse’s most devastating depictions of thwarted love. A trenchantly beautiful film, Yearning centers on war widow Reiko (Takamine Hideko) as she dutifully tends to her in-laws’ small grocery shop, even as it faces insurmountable competition from the new supermarkets nearby. While her conniving relatives scheme to remove her from the business, she stands to protect the interests of her younger brother-in-law Koji (Kayama Yuzo), whose bad-boy behavior and sudden confession of love displace the mismatched pair into unknown, soul-crushing territory. 1964 Locarno International Film Festival, Best Actress
日本 1967 108 分鐘 中文字幕 演員：加山雄三、司葉子 成瀨去世前兩年拍成的遺作，也是極出色的一部，把 命運不在我手的處境化成兩個人的探戈。婚姻極美滿 的由美子突然丈夫身亡，事故的元兇三島被判無罪， 卻堅持支付由美子的生活費，兩人有意或無意間不停 遇上，有時極恨也有時極之愧咎，但心其實都善良。 司葉子含蓄內歛，加山雄三真情直率，兩人的反差， 再有成瀨精準的驚險懸疑手法，把既愛又恨的感情拍 得張力繃緊。片末兩人戰兢到旅館的一組戲，簡潔有 力，心理糾葛一瞬間閃現驚慄片的神采，不愧一部壓 卷作。
1967 《電影旬報》十大電影第四位 Japan 1967 108min Cast: Kayama Yuzo, Tsukasa Yoko, Kusabue Mitsuko
Made two years before Naruse’s death, Scattered Clouds is a wistful tale of lives entwined by fate and coincidence. Young widow Yumiko (Tsukasa Yoko) returns to her home town to eke out a living. Exonerated, Shiro (Kayama Yuzo) – the repentant man who killed Yumiko’s husband in a traffic accident – is transferred to a minor post in the same town. Despite their mutual reluctance, the two gradually fall in love, while the painful past looms over their relationship… Showing characters isolated in muted surroundings, Naruse’s final film eloquently reveals his clear-eyed view of human unhappiness. #4 in 1967 Kinema Junpo ’s Top 10
{
20
時間 Time 2/5 (Sat 六) 3:45-4:45pm 《願妻如薔薇》放映後 After the screening of Wife! Be Like a Rose! 講者 Speaker 籐原基斯 Chris Fujiwara 主持 Moderator 何思穎 Sam Ho 英語主講 Conducted in English 地點 Venue 香港藝術中心agnès b 電影院 HK Arts Centre agnès b. CINEMA!
喜男 成瀨 巳
日本 1964 98分鐘 中文字幕 演員：高峰秀子、加山雄三、草笛光子、白川由美
特 刊 Catalogue
百多頁精彩內容包括： ．成瀨巳喜男談成長、電影及創作過程 ．高峰秀子眼中的成瀨巳喜男，為何是個「壞叔叔」？ ．黑澤明、楊德昌、吉田喜重等大師導演向成瀨致敬 ．黃愛玲、馮嘉琪、舒琪等全新影評 ．成瀨畢生作品介紹
1 1 u s e N a r
0 i o , M i k
年 h 1 1 0 t
展 念 s a r y 紀 i v e r A n n
5
rice $6
售價 P
Over 100 pages and featuring: ．Naruse Mikio discussing his childhood and filmmaking ．Why did Takamine Hideko call Naruse the “Mean Old Man”? ．Tribute articles from Kurosawa Akira, Edward Yang, Kiju-Yoshishige Yoshida ．New essays from film critics Wong Ain-ling, Kiki Fung, Shu Kei, etc. ．Programme notes on all Naruse films Available at 可上此網站購買：society.hkiff.org.hk 每次購買12張或以上門票，可獲特刊書券， 免費換領《成瀨巳喜男110年紀念展》特刊一本。 Buy 12 or more tickets and get a voucher for one complimentary copy of the Naruse Mikio, 110th Anniversary catalogue.
19.4 6:00pm 25.5 2:30pm
}
(Midareru)
}
亂雲
情迷意亂
Yearning
25.5 4:45pm
Scattered Clouds a.k.a. Two in the Shadow (Midaregumo)
成瀨 巳喜男 1 1 Nar use
0 Mi kio,
年 紀 念 展 110th Anniversar y
座談會 Seminars 座談會（一） Seminar I 時間 Time 18/4 (Sat 六) 4:30-5:30pm 《放浪記》放映後 After the screening of Her Lonely Lane 講者 Speaker 舒明 Shu Ming 主持 Moderator 李焯桃 Li Cheuk-to 粵語主講 Conducted in Cantonese
座談會（二） Seminar II
這一定是教成瀨執迷的故事，遺作《亂雲》裏的不倫 之戀，早由加山雄三及高峰秀子搬演過，哀怨處有過 之而無不及，宿命陰影瀰漫全片。禮子在丈夫身故後 心如止水，一心打理他的雜貨店，小店面臨新興超級 市場的衝擊，襯托人在時代變遷下之無力感。亡夫弟 弟幸司驀然表白，傳統的禮子進退維谷，心底再熾熱 也得逃情。火車駛到偏遠的郊外，繃緊的情感得以舒 緩，兩人漸行漸近，世俗規條的包袱竟如影隨形。距 離幸福只餘那麼一小步，而冥冥天意卻不為人道，結 局的震撼成瀨作品中無出其右。
1964 羅迦諾電影節最佳女主角 Japan 1964 98min Cast: Takamine Hideko, Kayama Yuzo, Kusabue Mitsuko, Shirakawa Yumi
What began as a quietly observed family drama has become one of Naruse’s most devastating depictions of thwarted love. A trenchantly beautiful film, Yearning centers on war widow Reiko (Takamine Hideko) as she dutifully tends to her in-laws’ small grocery shop, even as it faces insurmountable competition from the new supermarkets nearby. While her conniving relatives scheme to remove her from the business, she stands to protect the interests of her younger brother-in-law Koji (Kayama Yuzo), whose bad-boy behavior and sudden confession of love displace the mismatched pair into unknown, soul-crushing territory. 1964 Locarno International Film Festival, Best Actress
日本 1967 108 分鐘 中文字幕 演員：加山雄三、司葉子 成瀨去世前兩年拍成的遺作，也是極出色的一部，把 命運不在我手的處境化成兩個人的探戈。婚姻極美滿 的由美子突然丈夫身亡，事故的元兇三島被判無罪， 卻堅持支付由美子的生活費，兩人有意或無意間不停 遇上，有時極恨也有時極之愧咎，但心其實都善良。 司葉子含蓄內歛，加山雄三真情直率，兩人的反差， 再有成瀨精準的驚險懸疑手法，把既愛又恨的感情拍 得張力繃緊。片末兩人戰兢到旅館的一組戲，簡潔有 力，心理糾葛一瞬間閃現驚慄片的神采，不愧一部壓 卷作。
1967 《電影旬報》十大電影第四位 Japan 1967 108min Cast: Kayama Yuzo, Tsukasa Yoko, Kusabue Mitsuko
Made two years before Naruse’s death, Scattered Clouds is a wistful tale of lives entwined by fate and coincidence. Young widow Yumiko (Tsukasa Yoko) returns to her home town to eke out a living. Exonerated, Shiro (Kayama Yuzo) – the repentant man who killed Yumiko’s husband in a traffic accident – is transferred to a minor post in the same town. Despite their mutual reluctance, the two gradually fall in love, while the painful past looms over their relationship… Showing characters isolated in muted surroundings, Naruse’s final film eloquently reveals his clear-eyed view of human unhappiness. #4 in 1967 Kinema Junpo ’s Top 10
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時間 Time 2/5 (Sat 六) 3:45-4:45pm 《願妻如薔薇》放映後 After the screening of Wife! Be Like a Rose! 講者 Speaker 籐原基斯 Chris Fujiwara 主持 Moderator 何思穎 Sam Ho 英語主講 Conducted in English 地點 Venue 香港藝術中心agnès b 電影院 HK Arts Centre agnès b. CINEMA!
喜男 成瀨 巳
日本 1964 98分鐘 中文字幕 演員：高峰秀子、加山雄三、草笛光子、白川由美
特 刊 Catalogue
百多頁精彩內容包括： ．成瀨巳喜男談成長、電影及創作過程 ．高峰秀子眼中的成瀨巳喜男，為何是個「壞叔叔」？ ．黑澤明、楊德昌、吉田喜重等大師導演向成瀨致敬 ．黃愛玲、馮嘉琪、舒琪等全新影評 ．成瀨畢生作品介紹
1 1 u s e N a r
0 i o , M i k
年 h 1 1 0 t
展 念 s a r y 紀 i v e r A n n
5
rice $6
售價 P
Over 100 pages and featuring: ．Naruse Mikio discussing his childhood and filmmaking ．Why did Takamine Hideko call Naruse the “Mean Old Man”? ．Tribute articles from Kurosawa Akira, Edward Yang, Kiju-Yoshishige Yoshida ．New essays from film critics Wong Ain-ling, Kiki Fung, Shu Kei, etc. ．Programme notes on all Naruse films Available at 可上此網站購買：society.hkiff.org.hk 每次購買12張或以上門票，可獲特刊書券， 免費換領《成瀨巳喜男110年紀念展》特刊一本。 Buy 12 or more tickets and get a voucher for one complimentary copy of the Naruse Mikio, 110th Anniversary catalogue.
Special presentatioN 特備節目
BAck to The Screen 銀幕再現
12.4 5:45pm GC (The Grand Cinema)
10.5 2:30pm AC
Manhattan 曼克頓
導演：活地阿倫 美國 1979 96分鐘
中文字幕
活地阿倫記憶裏小時候的紐約 是黑白色的，然而與《教父》 攝影師哥頓韋利斯做出來的卻 並非留在懷舊，成績很摩登很 minimal很cool；先聲奪人「第 一章」，活地尋找頌讚句子， 配以Gershwin經典音符，展開 向紐約示愛，亦解剖自己的序 幕。紐約是配角也是主角，小 店畫廊、街角戲院，以至古根 漢美術館、皇后堡橋下、中央 公園⋯⋯，伴着42歲說要寫書 的以撒跟17歲翠詩拍拖又鍾意 老友的婚外情人瑪莉，他有博 大文化藝術見識，犬儒冷嘲態 度背後卻是一個極度缺乏安全 感，情感心地脆弱的中年小男 人。活地為紐約電影建立智慧型愛念流淌的黑白崇高 詩意，像《天堂異客》、《便利店氹氹轉》、《凡事 哈》，一代代貫徹追隨。 1980 英國電影學院獎最佳電影及最佳劇本 1980 法國凱撒獎最佳外語電影 設映後談，講者張偉雄 Post-screening talk with Bryan Chang
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Dir: Woody Allen USA 1979 96min Cast: Woody Allen, Diane Keaton, Meryl Streep, Mariel Hemingway
New York City and witty repartees have rarely been as iconically entwined as in this cinematic love letter. Forty-something television comedy writer Isaac (Woody Allen) was dating seventeen-year-old Tracy (Mariel Hemingway) before he fell for his best friend’s mistress (Diane Keaton) – all while his ex-wife (Meryl Streep) writes a book about their failed marriage. A pitch-perfect comedy about the messiness of love and the trivialities of middleclass life, Manhattan strikes a masterful balance between drama, romanticism and Woody Allen’s incisive humor. Two years after Annie Hall , Allen reprised his collaboration with screenwriter Marshall Brickman and master cinematographer Gordon Willis (who recently died in 2014) to create a black-and-white, Gershwin-scored portrait of his beloved city, one evoking the nostalgia of old photographs and early cinema. 1980 BAFTA Awards, Best Film & Best Screenplay 1980 César Awards Best Foreign Film
11.4 5:30pm GC 17.5 2:00pm GC
Pride 大愛．同行
導演：馬修華卓斯 英國 2014 120 分鐘 中文字幕 1984年，英國政府對外於福克蘭戰役之後， 與中國簽訂決定香港未來的《中英 聯合聲明》，對內則飽受煤礦工人 長期罷工困擾。一群男女同志社運 人發起籌款運動支援罷工工人，無 奈性傾向問題竟令全國煤礦工會以 考慮形象為由，謝絕好意。於是他 他和她她改轅易轍，集中資源對威 爾斯一條煤礦小村實行人肉支援， 造就了一場無分性別、階級、城鄉 的戀戀大同盟。真人真事改編，匹 夫不可奪笑，平凡創出奇蹟；電影 正好提醒我們，尊嚴本就大過天， 只是在營營役役的生活裏，大部份 人不覺忘掉了。康城首映後全場起 立鼓掌，英國公映亦叫好叫座，是 繼《光豬六壯士》（1997）、《跳出我天地》 （2000）後又一有笑有淚，感人肺腑的勵志之 作。 2014 康城影展同志棕櫚獎 2014 金球獎最佳電影（喜劇及音樂劇）提名
Dir: Matthew Warchus UK 2014 120min Cast: Bill Nighy, Imelda Staunton, Dominic West, Paddy Considine
Based on a true story, Pride is a jubilant account of how two very dissimilar communities came to join forces during the miners’ strike in Thatcher-era Britain. A motley London-based group of lesbian and gay activists decides to extend support directly to a Welsh mining village. Though faced with considerable social stigma, the two groups gradually form an unlikely but strong alliance. A poignant yet hilarious British comedy reminiscent of The Full Monty (1997) and Billy Elliot (2000), Pride ’s solid casting and well-balanced script make the case for solidarity in the real world. 2014 2014
Cannes Film Festival, Queer Palm Golden Globe Awards, Best Picture (Comedy or Musical) Nomination
23 }} 23
Special presentatioN 特備節目
BAck to The Screen 銀幕再現
12.4 5:45pm GC (The Grand Cinema)
10.5 2:30pm AC
Manhattan 曼克頓
導演：活地阿倫 美國 1979 96分鐘
中文字幕
活地阿倫記憶裏小時候的紐約 是黑白色的，然而與《教父》 攝影師哥頓韋利斯做出來的卻 並非留在懷舊，成績很摩登很 minimal很cool；先聲奪人「第 一章」，活地尋找頌讚句子， 配以Gershwin經典音符，展開 向紐約示愛，亦解剖自己的序 幕。紐約是配角也是主角，小 店畫廊、街角戲院，以至古根 漢美術館、皇后堡橋下、中央 公園⋯⋯，伴着42歲說要寫書 的以撒跟17歲翠詩拍拖又鍾意 老友的婚外情人瑪莉，他有博 大文化藝術見識，犬儒冷嘲態 度背後卻是一個極度缺乏安全 感，情感心地脆弱的中年小男 人。活地為紐約電影建立智慧型愛念流淌的黑白崇高 詩意，像《天堂異客》、《便利店氹氹轉》、《凡事 哈》，一代代貫徹追隨。 1980 英國電影學院獎最佳電影及最佳劇本 1980 法國凱撒獎最佳外語電影 設映後談，講者張偉雄 Post-screening talk with Bryan Chang
{
22
Dir: Woody Allen USA 1979 96min Cast: Woody Allen, Diane Keaton, Meryl Streep, Mariel Hemingway
New York City and witty repartees have rarely been as iconically entwined as in this cinematic love letter. Forty-something television comedy writer Isaac (Woody Allen) was dating seventeen-year-old Tracy (Mariel Hemingway) before he fell for his best friend’s mistress (Diane Keaton) – all while his ex-wife (Meryl Streep) writes a book about their failed marriage. A pitch-perfect comedy about the messiness of love and the trivialities of middleclass life, Manhattan strikes a masterful balance between drama, romanticism and Woody Allen’s incisive humor. Two years after Annie Hall , Allen reprised his collaboration with screenwriter Marshall Brickman and master cinematographer Gordon Willis (who recently died in 2014) to create a black-and-white, Gershwin-scored portrait of his beloved city, one evoking the nostalgia of old photographs and early cinema. 1980 BAFTA Awards, Best Film & Best Screenplay 1980 César Awards Best Foreign Film
11.4 5:30pm GC 17.5 2:00pm GC
Pride 大愛．同行
導演：馬修華卓斯 英國 2014 120 分鐘 中文字幕 1984年，英國政府對外於福克蘭戰役之後， 與中國簽訂決定香港未來的《中英 聯合聲明》，對內則飽受煤礦工人 長期罷工困擾。一群男女同志社運 人發起籌款運動支援罷工工人，無 奈性傾向問題竟令全國煤礦工會以 考慮形象為由，謝絕好意。於是他 他和她她改轅易轍，集中資源對威 爾斯一條煤礦小村實行人肉支援， 造就了一場無分性別、階級、城鄉 的戀戀大同盟。真人真事改編，匹 夫不可奪笑，平凡創出奇蹟；電影 正好提醒我們，尊嚴本就大過天， 只是在營營役役的生活裏，大部份 人不覺忘掉了。康城首映後全場起 立鼓掌，英國公映亦叫好叫座，是 繼《光豬六壯士》（1997）、《跳出我天地》 （2000）後又一有笑有淚，感人肺腑的勵志之 作。 2014 康城影展同志棕櫚獎 2014 金球獎最佳電影（喜劇及音樂劇）提名
Dir: Matthew Warchus UK 2014 120min Cast: Bill Nighy, Imelda Staunton, Dominic West, Paddy Considine
Based on a true story, Pride is a jubilant account of how two very dissimilar communities came to join forces during the miners’ strike in Thatcher-era Britain. A motley London-based group of lesbian and gay activists decides to extend support directly to a Welsh mining village. Though faced with considerable social stigma, the two groups gradually form an unlikely but strong alliance. A poignant yet hilarious British comedy reminiscent of The Full Monty (1997) and Billy Elliot (2000), Pride ’s solid casting and well-balanced script make the case for solidarity in the real world. 2014 2014
Cannes Film Festival, Queer Palm Golden Globe Awards, Best Picture (Comedy or Musical) Nomination
23 }} 23
Restored Classics
12.4 2:30pm GC (The Grand Cinema) 觀眾請自備3D眼鏡 亦可到戲院購買
修復經典
The Last Emperor 3D
Please bring along your own 3D glasses or buy a new pair at the cinema.
末 代 皇 帝 溥 儀 3D 導演：貝托魯奇 中國／意大利／英國／法國 1987 163 分鐘 中文字幕 貝托魯奇最轟動的作品，覆蓋溥儀傳奇一生，反映中 國60年動蕩，4K修復，再轉3D， 二十多年後的新生命。3D，是 命裏如此。《末代》華麗打造， 一萬九千臨時演員、坂本龍一的 浩瀚音樂、仿真的華美宮廷服、 史無前例紫禁城拍攝，一切無邊 際，2D 裏不起眼的美麗細部多 的是，到3D 竟奇蹟現形。貝托 魯奇稱這做「純真3D」，沒有喧 賓奪主，其實細弄的構圖，層次 豐富的前中後景，早已是3D了， 3D 提升時代氛圍，令深陷末代王 朝、民國、偽滿洲、共產大陸的 人生傀儡更加倉皇。史詩只能在 紫禁城打造，也只有貝托魯奇能 幻化出來。 1988 奧斯卡金像獎最佳影片、 最佳導演等九項大獎
設映後談，講者劉嶔 Post-screening talk with Lau Yam
{
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25.5 7:30pm AC
Dir: Bernardo Bertolucci China/Italy/UK/France 1987 163min Cast: John Lone, Joan Chen, Peter O’Toole
Yo u m e a n i t d i d n o t h a v e e x t r a dimensions, already? We all remember the heady spectacles of the court, the glorious swirls of silk and scent, the martial masses and endless bureaucracies surrounding a fragile boy who struggles to become emperor and then to survive the end of empire: craftsmanship on an epic scale in the days before computer simulation. Now, this complex masterwork has been lovingly restored and the pomp and pageantry – as well as the intricate human stories woven through it – leaps from the screen for new generations to experience it and talk about the questions it raises.
1988 9 Academy Awards, including Best Picture and Best Director
Restored Classics 修復經典
The Color of Pomegranates (Sayat Nova) 紅塵百劫
導演：帕拉賈諾夫 蘇聯 1969 79分鐘 「看《紅塵百劫》像打開一道門，走進異度空間，時 間停頓，美麗大解放。」（馬田史高西斯）帕拉賈諾 夫橫空出世，拍下20世紀最美 的作品。記18世紀阿美尼亞詩 人Sayat Nova的一生，由成長、 戀愛、修道到死亡，一反平鋪敘 事，通過詩、帕拉賈諾夫的想 像，影像宛如幾百年前的模樣跑 到眼前，異色璀璨前所未見。芝 奧雷妮分飾六角，不分男女，帕 氏還扛起幕後多部門，靜止畫面 裏，角色物件服裝佈景七色紛 陳，水中書、教會羊、棉花天 堂……一切遠超現實。詩人的繆 思不死，帕氏的極端美學，也成 為爾後高達、麥馬巴夫等導演 的繆思。艱巨的修復工程去年完 成，經典原來更美。 1981 奧斯卡金像獎最佳男主角
Dir: Sergei Parajanov USSR 1969 79min Cast: Sofiko Chiaureli, Melkon Alekyan, Vilen Galstyan, Gogi Gegechkori
“In the temple of cinema there are images, lights and reality. Sergei Parajanov was the master of that temple” so wrote Godard about this director, whose masterpiece, The Color of Pomegranates , created a new language of film anchored in living palimpsests from medieval Armenia. Imbued with poetry, flowing sounds (water, wine, blood), religion and color, Parajanov created a mythic world of ethnic identity, aspiration, and loving arts, works, culture and language. Banned from export and withdrawn from circulation in the USSR, the film nonetheless has become a global classic. Restored by World Cinema Project, a programme of The Film Foundation and provided by Fondazione Cineteca di Bologna. 1981 Academy Awards, Best Actor in a leading role
設映後談，講者劉嶔 Post-screening talk with Lau Yam
25
}
Restored Classics
12.4 2:30pm GC (The Grand Cinema) 觀眾請自備3D眼鏡 亦可到戲院購買
修復經典
The Last Emperor 3D
Please bring along your own 3D glasses or buy a new pair at the cinema.
末 代 皇 帝 溥 儀 3D 導演：貝托魯奇 中國／意大利／英國／法國 1987 163 分鐘 中文字幕 貝托魯奇最轟動的作品，覆蓋溥儀傳奇一生，反映中 國60年動蕩，4K修復，再轉3D， 二十多年後的新生命。3D，是 命裏如此。《末代》華麗打造， 一萬九千臨時演員、坂本龍一的 浩瀚音樂、仿真的華美宮廷服、 史無前例紫禁城拍攝，一切無邊 際，2D 裏不起眼的美麗細部多 的是，到3D 竟奇蹟現形。貝托 魯奇稱這做「純真3D」，沒有喧 賓奪主，其實細弄的構圖，層次 豐富的前中後景，早已是3D了， 3D 提升時代氛圍，令深陷末代王 朝、民國、偽滿洲、共產大陸的 人生傀儡更加倉皇。史詩只能在 紫禁城打造，也只有貝托魯奇能 幻化出來。 1988 奧斯卡金像獎最佳影片、 最佳導演等九項大獎
設映後談，講者劉嶔 Post-screening talk with Lau Yam
{
24
25.5 7:30pm AC
Dir: Bernardo Bertolucci China/Italy/UK/France 1987 163min Cast: John Lone, Joan Chen, Peter O’Toole
Yo u m e a n i t d i d n o t h a v e e x t r a dimensions, already? We all remember the heady spectacles of the court, the glorious swirls of silk and scent, the martial masses and endless bureaucracies surrounding a fragile boy who struggles to become emperor and then to survive the end of empire: craftsmanship on an epic scale in the days before computer simulation. Now, this complex masterwork has been lovingly restored and the pomp and pageantry – as well as the intricate human stories woven through it – leaps from the screen for new generations to experience it and talk about the questions it raises.
1988 9 Academy Awards, including Best Picture and Best Director
Restored Classics 修復經典
The Color of Pomegranates (Sayat Nova) 紅塵百劫
導演：帕拉賈諾夫 蘇聯 1969 79分鐘 「看《紅塵百劫》像打開一道門，走進異度空間，時 間停頓，美麗大解放。」（馬田史高西斯）帕拉賈諾 夫橫空出世，拍下20世紀最美 的作品。記18世紀阿美尼亞詩 人Sayat Nova的一生，由成長、 戀愛、修道到死亡，一反平鋪敘 事，通過詩、帕拉賈諾夫的想 像，影像宛如幾百年前的模樣跑 到眼前，異色璀璨前所未見。芝 奧雷妮分飾六角，不分男女，帕 氏還扛起幕後多部門，靜止畫面 裏，角色物件服裝佈景七色紛 陳，水中書、教會羊、棉花天 堂……一切遠超現實。詩人的繆 思不死，帕氏的極端美學，也成 為爾後高達、麥馬巴夫等導演 的繆思。艱巨的修復工程去年完 成，經典原來更美。 1981 奧斯卡金像獎最佳男主角
Dir: Sergei Parajanov USSR 1969 79min Cast: Sofiko Chiaureli, Melkon Alekyan, Vilen Galstyan, Gogi Gegechkori
“In the temple of cinema there are images, lights and reality. Sergei Parajanov was the master of that temple” so wrote Godard about this director, whose masterpiece, The Color of Pomegranates , created a new language of film anchored in living palimpsests from medieval Armenia. Imbued with poetry, flowing sounds (water, wine, blood), religion and color, Parajanov created a mythic world of ethnic identity, aspiration, and loving arts, works, culture and language. Banned from export and withdrawn from circulation in the USSR, the film nonetheless has become a global classic. Restored by World Cinema Project, a programme of The Film Foundation and provided by Fondazione Cineteca di Bologna. 1981 Academy Awards, Best Actor in a leading role
設映後談，講者劉嶔 Post-screening talk with Lau Yam
25
}
Top 20 Must-See 廿
Pierrot le Fou 狂人彼埃洛
大
必
看
1.5 2:30pm 22.5 7:30pm
電影節發燒友2015會員計劃 HKIFF Cine Fan 2015 Privilege Scheme
入會即送門票兩張 Join and Get 2 Free Tickets* * 數量有限，先到先得。Tickets are available on a first-come, first-served basis.
愛森斯坦萬萬歲 Eisenstein in Guanajuato
魔宮艷舞 The Tales of Hoffmann
卡里加利博士 The Cabinet of Dr. Caligari
的士司機巴納希 Taxi
大地之鹽 The Salt of the Earth
...及更多and more
會籍詳情如下 The privilege scheme details are listed below: 會員類別
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HK$100
HK$80
Annual Fee Valid Thru
2015年12月31日 31 December 2015
禮品
即日至2015年4月3日成為電影節發燒友 Join Cine Fan privilege from now to 3 April 2015
有效期至
Gift
第39屆香港國際電影節 VIP通行證乙張
One (1) 39th HKIFF VIP pass
第39屆香港國際電影節特選場次門票2張 (門票數量有限，先到先得) 2 complimentary tickets for selected screenings of the 39th HKIFF (on a first-come, first-served basis)
2015年4月4日或以後成為電影節發燒友 Join Cine Fan privilege on or after 4 April 2015 第40屆香港國際電影節 VIP通行證乙張
One (1) 40th HKIFF VIP pass
電影節發燒友四、五月節目換票證*2張 (換票證數量有限，先到先得) 2 ticket vouchers* for Cine Fan Apr - May Programme (on a first-come, first-served basis)
* 換票證只適用於換取電影節發燒友四、五月節目於香港藝術中心放映的未滿座場次。換票證數量有限，先到先得。(受有關條款及細則約束，詳情請參閱 http://goo.gl/935yrv) Ticket vouchers are applicable to redeem tickets for all non sold-out screening of Cine Fan Apr/May programmes shown at Hong Kong Arts Centre. Ticket vouchers are available on a first-come, first-served basis. (Offers are subject to relevant terms and conditions. For details, please refer to http://goo.gl/935yrv)
門票優惠 Ticket Promotion
贊助會員▲及會員折扣 Patron Privilege▲ and Classic Privilege Discount
學生會員折扣 Student Privilege Discount
電影節發燒友(HKIFF Cine Fan)節目各場正價門票 Regular-priced HKIFF Cine Fan Programme tickets
八五折 15% off
七折 30% off
#
其他由香港國際電影節協會及其合作夥伴合辦之電影節目門票* Tickets of other programmes co-organised by HKIFFS and its partners*
導演：尚盧高達 法國／意大利 1965 110 分鐘 命名便是詛咒。彼埃洛原本叫費迪南，厭倦了嬌 妻、巴黎和小資的正常生活，一頭栽進舊愛那 謎一般的世界，先後迎來死屍、追殺、徹底的浪 蕩與作惡，一路向南，來不及後 悔，只能不斷確認存在— 管它 是否叫瘋狂冒險。一切可跟她給 了他憂鬱的小丑這名字有關？高 達套用黑色電影故事結構，色彩 鮮活大膽、剪接異軍突起，集結 了最醜陋男神尚保羅貝蒙多、氣 質魔女安娜卡蓮娜，加上老拍檔 拉烏古達的攝影、安坦杜哈美的 配樂，和合出如煙花盛放般絢麗 的化學作用。誰說不可能把所有 東西都放入一部電影裏？高達藝 高人膽大，率先示範了既玩類型 又玩作者，出入布萊希特與後現代的種種可能 性。絕對神級之作。 1992 《視與聲》史上最偉大電影第十九位
設映後談，講者朗天
Post-screening talk with Long Tin
{
26
Dir: Jean-Luc Godard France/Italy 1965 110min Cast: Jean-Paul Belmondo, Anna Karina
Cine Fan夏日國際電影節各場正價門票 Regular-priced Summer International Film Festival (SIFF) tickets
八五折 15% off
香港國際電影節各場正價門票 Regular-priced Hong Kong International Film Festival (HKIFF) tickets
An electrifying highlight in Godard’s first prolific phase as director, Pierrot le Fou epitomizes the turbulent yet ebullient mid-1960s within a lovers-on-the-run story. Ferdinand (JeanPaul Belmondo)’s snap decision to escape his bourgeois existence and run away with ex-lover/ current babysitter Marianne (Anna Karina) leads them on a zeitgeist-quoting road trip – until Marianne’s criminal ties (and existential ennui) catch up to them. Referencing literature, art, cinema, war and consumerism, Godard infuses his acerbic view of contemporary society with brilliant reds, blues, whites and yellows (photographed by Raoul Coutard). Loosely based on Lionel White’s thriller Obsession , Pierrot le Fou does not merely portray the thinning line between love and violence – rather, it pays an intoxicating tribute to the power of pulp.
《第三十九屆香港國際電影節》特刊、 《焦點影人：張艾嘉》及《成瀨巳喜男110年紀念展》 The “39th HKIFF Main Catalogue”, “Sylvia Chang, Filmmaker in Focus”, “Naruse Mikio, 110th Anniversary”
#19 in Sight & Sound ’s 1992 Greatest Films of All Time Poll
3月22日或以前，4月7日或以後 香港國際電影節協會辦事處
九折 10% off 八折 20% off ^
▲
贊助會員獨享額外優惠，請參閱cinefan.com.hk。 Extra privileges for Patron Privilege, please visit cinefan.com.hk. # 只限學生會員優惠，不設其他學生優惠票。No other student discount than Student Privilege ^ 會員請於3月25日至4月6日期間，到香港國際電影節嘉賓及媒體招待處 (地址：九龍尖沙咀梳士巴利道十號香港文化中心行政大樓四樓展覽館)，出示有效電影節發燒友會 員證，以現金購買。 Privilege holders must present their valid HKIFF Cine Fan privilege card with cash at the HKIFF Hospitality & Media Suite (Address: Exhibition Gallery 4/F, Administration Building of HK Cultural Centre, 10 Salisbury Road, Tsim Sha Tsui, Kowloon) during 25 March to 6 April to enjoy the discount. * 香港國際電影節協會及其合作夥伴保留暫停或取消所有會員優惠的最終決定權。 Subject to final agreement from HKIFFS & its partners. HKIFFS reserves all rights and final decision to cancel or vary the discount offer. 更多優惠詳情，請參閱cinefan.com.hk More benefit details, please visit www.cinefan.com.hk
辦理入會手續
How to join the HKIFF Cine Fan
有意成為贊助會員者，請於辦公時間內致電2970 3300。
For application for Patron Privilege, please call 2970 3300 during office hours.
網上申請：cinefan.com.hk 須經網上申請系統上載個人照片（以2MB為限）。
親身遞交 須帶同近照一幀（護照相片）到以下地點期間辦理：
地址：九龍觀塘道370號創紀之城3期21樓（近牛頭角港鐵站） 時間：星期一至五上午10時至中午12時，下午2時至下午5時； 〈公眾假期除外〉 3月23日*至4月6日 香港國際電影節嘉賓及媒體招待處 地址：九龍尖沙咀梳士巴利道十號香港文化中心行政大樓四樓 展覽館 時間：星期一至日上午10時至下午7時 *3月23日上午10時至下午5時30分
Application online: cinefan.com.hk A recent passport photo (max. 2MB) is required.
Application in person Applicants can hand in their completed application forms together with a passport-sized photo to the following office: On or before 22 March, on or after 7 April The HKIFF Society Ltd. Address: 21/F, Millennium City 3, 370 Kwun Tong Road, Kowloon, Hong Kong (Opposite to Ngau Tau Kok MTR Station) Hours: Mon-Fri: 10:00-12:00, 14:00-17:00 (Except Public Holiday) 23 March* to 6 April The HKIFF Hospitality & Media Suite Address: Exhibition Gallery 4/F, Administration Building of HK Cultural Centre, 10 Salisbury Road, Tsim Sha Tsui, Kowloon Hours: Mon-Sun: 10:00-19:00 *23 March : 10:00 – 17:30
電影節發燒友(HKIFF Cine Fan)入會條款及細則，請參閱 HKIFF Cine Fan Privilege Scheme Terms and Conditions, please visit http://goo.gl/OqPjtn
Top 20 Must-See 廿
Pierrot le Fou 狂人彼埃洛
大
必
看
1.5 2:30pm 22.5 7:30pm
電影節發燒友2015會員計劃 HKIFF Cine Fan 2015 Privilege Scheme
入會即送門票兩張 Join and Get 2 Free Tickets* * 數量有限，先到先得。Tickets are available on a first-come, first-served basis.
愛森斯坦萬萬歲 Eisenstein in Guanajuato
魔宮艷舞 The Tales of Hoffmann
卡里加利博士 The Cabinet of Dr. Caligari
的士司機巴納希 Taxi
大地之鹽 The Salt of the Earth
...及更多and more
會籍詳情如下 The privilege scheme details are listed below: 會員類別
贊助會員 ▲
會員
學生會員
Privilege type
Patron Privilege
Classic Privilege
Student Privilege
年費
HK10,000
HK$100
HK$80
Annual Fee Valid Thru
2015年12月31日 31 December 2015
禮品
即日至2015年4月3日成為電影節發燒友 Join Cine Fan privilege from now to 3 April 2015
有效期至
Gift
第39屆香港國際電影節 VIP通行證乙張
One (1) 39th HKIFF VIP pass
第39屆香港國際電影節特選場次門票2張 (門票數量有限，先到先得) 2 complimentary tickets for selected screenings of the 39th HKIFF (on a first-come, first-served basis)
2015年4月4日或以後成為電影節發燒友 Join Cine Fan privilege on or after 4 April 2015 第40屆香港國際電影節 VIP通行證乙張
One (1) 40th HKIFF VIP pass
電影節發燒友四、五月節目換票證*2張 (換票證數量有限，先到先得) 2 ticket vouchers* for Cine Fan Apr - May Programme (on a first-come, first-served basis)
* 換票證只適用於換取電影節發燒友四、五月節目於香港藝術中心放映的未滿座場次。換票證數量有限，先到先得。(受有關條款及細則約束，詳情請參閱 http://goo.gl/935yrv) Ticket vouchers are applicable to redeem tickets for all non sold-out screening of Cine Fan Apr/May programmes shown at Hong Kong Arts Centre. Ticket vouchers are available on a first-come, first-served basis. (Offers are subject to relevant terms and conditions. For details, please refer to http://goo.gl/935yrv)
門票優惠 Ticket Promotion
贊助會員▲及會員折扣 Patron Privilege▲ and Classic Privilege Discount
學生會員折扣 Student Privilege Discount
電影節發燒友(HKIFF Cine Fan)節目各場正價門票 Regular-priced HKIFF Cine Fan Programme tickets
八五折 15% off
七折 30% off
#
其他由香港國際電影節協會及其合作夥伴合辦之電影節目門票* Tickets of other programmes co-organised by HKIFFS and its partners*
導演：尚盧高達 法國／意大利 1965 110 分鐘 命名便是詛咒。彼埃洛原本叫費迪南，厭倦了嬌 妻、巴黎和小資的正常生活，一頭栽進舊愛那 謎一般的世界，先後迎來死屍、追殺、徹底的浪 蕩與作惡，一路向南，來不及後 悔，只能不斷確認存在— 管它 是否叫瘋狂冒險。一切可跟她給 了他憂鬱的小丑這名字有關？高 達套用黑色電影故事結構，色彩 鮮活大膽、剪接異軍突起，集結 了最醜陋男神尚保羅貝蒙多、氣 質魔女安娜卡蓮娜，加上老拍檔 拉烏古達的攝影、安坦杜哈美的 配樂，和合出如煙花盛放般絢麗 的化學作用。誰說不可能把所有 東西都放入一部電影裏？高達藝 高人膽大，率先示範了既玩類型 又玩作者，出入布萊希特與後現代的種種可能 性。絕對神級之作。 1992 《視與聲》史上最偉大電影第十九位
設映後談，講者朗天
Post-screening talk with Long Tin
{
26
Dir: Jean-Luc Godard France/Italy 1965 110min Cast: Jean-Paul Belmondo, Anna Karina
Cine Fan夏日國際電影節各場正價門票 Regular-priced Summer International Film Festival (SIFF) tickets
八五折 15% off
香港國際電影節各場正價門票 Regular-priced Hong Kong International Film Festival (HKIFF) tickets
An electrifying highlight in Godard’s first prolific phase as director, Pierrot le Fou epitomizes the turbulent yet ebullient mid-1960s within a lovers-on-the-run story. Ferdinand (JeanPaul Belmondo)’s snap decision to escape his bourgeois existence and run away with ex-lover/ current babysitter Marianne (Anna Karina) leads them on a zeitgeist-quoting road trip – until Marianne’s criminal ties (and existential ennui) catch up to them. Referencing literature, art, cinema, war and consumerism, Godard infuses his acerbic view of contemporary society with brilliant reds, blues, whites and yellows (photographed by Raoul Coutard). Loosely based on Lionel White’s thriller Obsession , Pierrot le Fou does not merely portray the thinning line between love and violence – rather, it pays an intoxicating tribute to the power of pulp.
《第三十九屆香港國際電影節》特刊、 《焦點影人：張艾嘉》及《成瀨巳喜男110年紀念展》 The “39th HKIFF Main Catalogue”, “Sylvia Chang, Filmmaker in Focus”, “Naruse Mikio, 110th Anniversary”
#19 in Sight & Sound ’s 1992 Greatest Films of All Time Poll
3月22日或以前，4月7日或以後 香港國際電影節協會辦事處
九折 10% off 八折 20% off ^
▲
贊助會員獨享額外優惠，請參閱cinefan.com.hk。 Extra privileges for Patron Privilege, please visit cinefan.com.hk. # 只限學生會員優惠，不設其他學生優惠票。No other student discount than Student Privilege ^ 會員請於3月25日至4月6日期間，到香港國際電影節嘉賓及媒體招待處 (地址：九龍尖沙咀梳士巴利道十號香港文化中心行政大樓四樓展覽館)，出示有效電影節發燒友會 員證，以現金購買。 Privilege holders must present their valid HKIFF Cine Fan privilege card with cash at the HKIFF Hospitality & Media Suite (Address: Exhibition Gallery 4/F, Administration Building of HK Cultural Centre, 10 Salisbury Road, Tsim Sha Tsui, Kowloon) during 25 March to 6 April to enjoy the discount. * 香港國際電影節協會及其合作夥伴保留暫停或取消所有會員優惠的最終決定權。 Subject to final agreement from HKIFFS & its partners. HKIFFS reserves all rights and final decision to cancel or vary the discount offer. 更多優惠詳情，請參閱cinefan.com.hk More benefit details, please visit www.cinefan.com.hk
辦理入會手續
How to join the HKIFF Cine Fan
有意成為贊助會員者，請於辦公時間內致電2970 3300。
For application for Patron Privilege, please call 2970 3300 during office hours.
網上申請：cinefan.com.hk 須經網上申請系統上載個人照片（以2MB為限）。
親身遞交 須帶同近照一幀（護照相片）到以下地點期間辦理：
地址：九龍觀塘道370號創紀之城3期21樓（近牛頭角港鐵站） 時間：星期一至五上午10時至中午12時，下午2時至下午5時； 〈公眾假期除外〉 3月23日*至4月6日 香港國際電影節嘉賓及媒體招待處 地址：九龍尖沙咀梳士巴利道十號香港文化中心行政大樓四樓 展覽館 時間：星期一至日上午10時至下午7時 *3月23日上午10時至下午5時30分
Application online: cinefan.com.hk A recent passport photo (max. 2MB) is required.
Application in person Applicants can hand in their completed application forms together with a passport-sized photo to the following office: On or before 22 March, on or after 7 April The HKIFF Society Ltd. Address: 21/F, Millennium City 3, 370 Kwun Tong Road, Kowloon, Hong Kong (Opposite to Ngau Tau Kok MTR Station) Hours: Mon-Fri: 10:00-12:00, 14:00-17:00 (Except Public Holiday) 23 March* to 6 April The HKIFF Hospitality & Media Suite Address: Exhibition Gallery 4/F, Administration Building of HK Cultural Centre, 10 Salisbury Road, Tsim Sha Tsui, Kowloon Hours: Mon-Sun: 10:00-19:00 *23 March : 10:00 – 17:30
電影節發燒友(HKIFF Cine Fan)入會條款及細則，請參閱 HKIFF Cine Fan Privilege Scheme Terms and Conditions, please visit http://goo.gl/OqPjtn
Screening Schedule
場地 Venues
放映時間表
AC GC
香港藝術中心agnès b.電影院 香港灣仔港灣道2號 Hong Kong Arts Centre agnès b. CINEMA 2 Harbour Road, Wanchai, Hong Kong The Grand Cinema 九龍柯士甸道西1號港鐵九龍站圓方2樓 The Grand Cinema 2/F, Elements, 1 Austin Road West, Kowloon Station
Apr 四 月 日期 Date
7/4
二 Tue
May 五 月 時間 Time
座談會：免費入場 Seminar: Free Admission.
地點 Venue 片名 Film
14:30 16:50
AC AC
The Wages of Resistance: Narita Stories 活在三里塚 Daishima Haruhiko on the Narita Series
18:30 20:30
AC AC
10/4 五 Fri
19:30
AC
Wife! Be Like a Rose! 願妻如薔薇
q
11/4 六 Sat
q
代島治彥談三里塚系列 Sudden Rain 驟雨
q q 3
Sound of the Mountain 山之音
17:30
GC
Pride 大愛‧同行
q
12/4 日 Sun 14:30 17:45
GC GC
The Last Emperor 3D 末代皇帝溥儀 3D Manhattan 曼克頓
q q
17/4 五 Fri
AC
Summer in Narita: The Front Line for the Liberation of Japan
3
19:30
日本解放戰線：三里塚之夏
18/4 六 Sat
14:30 16:30 18:00 20:30
AC AC AC AC
Her Lonely Lane 放浪記 Seminar I on Naruse Mikio 成瀨巳喜男座談會（一） When a Woman Ascends the Stairs 女人踏上樓梯時 Narita: Peasants of the Second Fortress 三里塚：第二寨之人
q
19/4 日 Sun 14:30 18:00 20:30
AC AC AC
Port of Call 踏血尋梅 Yearning 情迷意亂 Narita: Heta Village 三里塚：邊田部落
q q
25/4 六 Sat
14:30 15:55 17:45
AC AC AC
Naked Childhood 赤裸的童年 Seminar on Maurice Pialat 莫里斯皮亞勒座談會 We Won't Grow Old Together 難相廝守
q
26/4 日 Sun 14:30 16:30 18:30 20:30
AC AC AC AC
The Mouth Agape 哀哉人生 Pass Your Exam First 會考為先 Late Chrysanthemums 晚菊 Flowing 流逝
q q
q 中文字幕 Chinese Subtitles
3 設映後談 Post-screening talk
2/5
3/5
五 Fri
14:30 17:15 19:45
AC AC AC
Pierrot le Fou 狂人彼埃洛 Loulou 路路 Conflagration 炎上
14:30 15:45 17:15 19:30
AC AC AC AC
Wife! Be Like a Rose! 願妻如薔薇 Seminar II on Naruse Mikio 成瀨巳喜男座談會（二） Repast 飯 Her Brother 弟弟
q
日 Sun 14:30
16:30 19:00
AC AC AC
Sound of the Mountain 山之音 Late Chrysanthemums 晚菊 An Actor's Revenge 雪之丞變化
q q
六 Sat
3D電影 3D Film
Ticketing Information 購 票 須 知 門票於2015年3月13日起公開發售 Tickets available from 13 March 2015 onwards 於香港藝術中心放映之電影節發燒友 (HKIFF Cine Fan) 場次 HKIFF Cine Fan screenings at HK Arts Centre
3
q
q
8/5
五 Fri
19:30
AC
Tokyo Olympiad 東京世運會
9/5
六 Sat
14:30 17:30 19:30
AC AC AC
Floating Clouds 浮雲 Naked Childhood 赤裸的童年 Pass Your Exam First 會考為先
3 q
10/5 日 Sun 14:30 17:00 19:00
AC AC AC
Manhattan 曼克頓 Sudden Rain 驟雨 Flowing 流逝
3 q
17/5 日 Sun 14:00
GC
Pride 大愛‧同行
22/5 五 Fri
19:30
AC
Pierrot le Fou 狂人彼埃洛
23/5 六 Sat
14:30 17:00 19:30
AC AC AC
We Won't Grow Old Together 難相廝守 Loulou 路路 When a Woman Ascends the Stairs 女人踏上樓梯時
q q q
24/5 日 Sun 14:30 17:00 19:30
AC AC AC
Daughters, Wives and a Mother 娘‧妻‧母 Her Lonely Lane 放浪記 The Mouth Agape 哀哉人生
q q
25/5 一 Mon 14:30 16:45 19:30
AC AC AC
Yearning 情迷意亂 Scattered Clouds 亂雲 The Color of Pomegranates 紅塵百劫
q q
q
導演將出席映後座談會 Post-screening discussion with the director
q q q
3
除特別註明外，所有非英語對白電影皆設有英文字幕，但不另設中文字幕。 Unless otherwise stated, all films (except English-speaking films) are subtitled in English.
於 The Grand Cinema 放映之電影節發燒友 (HKIFF Cine Fan) 場次 HKIFF Cine Fan screenings at The Grand Cinema
正價門票 Regular Ticket Price $65 門票優惠 Discount Schemes 八五折優惠 15% discount 會員 / 贊助會員 Cine Fan Classic Privilege / Patron Privilege ($55) 七折優惠 30% discount 學生會員 Cine Fan Student Privilege ($46) 九折優惠 10% discount 藝穗會會員 Fringe Club Members ($59)
1/5
正價門票 Regular Ticket Price
# 只適用於城市售票處售票櫃檯購票，售完即止。Available at the sales counter of URBTIX Outlets only, subject to availability.
《成瀨巳喜男 110 年紀念展》特刊 Naruse Mikio, 110th Anniversary Catalogue $65 每次購買12張或以上門票，可獲特刊書券，免費換領《成瀨巳喜男110年紀念展》特刊一本。 Buy 12 or more tickets and get a voucher for one complimentary copy of the Naruse Mikio, 110th Anniversary catalogue. 售票處購票 Counter Booking：城市售票網售票處 / URBTIX Outlets 網上購票 Online Ticketing：cinefan.com.hk / www.urbtix.hk 信用卡電話訂票 Credit Card Telephone Booking：2111 5999 流動購票應用程式 Moblie Ticketing App：My URBTIX 票務查詢 Ticketing Enquiries：3761 6661 於香港藝術中心放映之場次：每個節目開始前一小時起，剩餘門票只限於香港藝術中心售票處發售。 Screenings at HK Arts Centre: For screening about to start in one hour, all remaining tickets can only be bought at the box office of HK Arts Centre.
使用信用卡電話購票或網上購票 For Telephone Credit Card Booking and Internet Online Booking 手續費：每張訂購門票港幣8元（手續費不設退款）。以上手續費會因應購票通（香港）有限公司而調整。 A handling charge (which is non-refundable) is levied at HK$8 per ticket. The service fee is subjected to adjustment by Cityline (HK) Limited.
自助取票服務 Ticketing Collection Service 顧客選擇自助取票服務提取上述門票，可用電話購票或網上購票時使用的信用卡在購票通自助取票機刷卡提取門票，或親臨任何 一間城市售票處的售票櫃檯憑卡領取門票。 Customers choosing ticket collection service can collect their pre-paid tickets from Cityline Ticket Dispensing Machines or at the sales counter at any of the URBTIX outlets with the credit card used for telephone and online booking. 有關購票通自助取票機位置，詳情請登入www.cityline.com For details of the locations of Cityline Ticket Dispensing Machines, please visit www.cityline.com
滿座場次即場門票 Stand-by Tickets for Sold-Out Screenings 香港藝術中心的滿座場次，將有極少量即場門票於開場前30分鐘在香港藝術中心售票處發售，觀眾或未能獲安排入座。座位安排將視乎開場後30分鐘持普通門票觀眾入 場後之情況而定。每人限購即場門票2張。 A limited number of stand-by tickets for sold-out screenings of Cine Fan Programme are on sales at the URBTIX outlet of HK Arts Centre 30 minutes prior to the screening time. Seating is not guaranteed and subject to availability (30 minutes after the screening time). Each person can purchase up to 2 stand-by tickets.
《大愛．同行》及《曼克頓》 Pride & Manhattan $75 《末代皇帝溥儀 3D》 The Last Emperor 3D $100 門票優惠 Discount Schemes 八五折優惠 15% discount 會員 / 贊助會員 / 學生會員 / The Citizen Grand 會員 Cine Fan Classic Privilege / Patron Privilege / Student Privilege / The Citizen Grand Members 只適用於The Grand Cinema票房。Applicable to the Box Office at The Grand Cinema only.
網上訂票 Online Ticketing：cinefan.com.hk / www.thegrandcinema.com.hk 手機程式購票 Mobile Apps Booking：The Grand 信用卡電話訂票 Credit Card Booking：3983 0033 觀眾亦可親臨 The Grand Cinema 票房購買門票 Tickets are also available at the box office of The Grand Cinema. 凡經網上、電話及手機程式購票均會收取手續費。 Handling fee will be charged on each ticket purchased online or by phone or mobile apps. 所有場次不設劃位。Free seating for all screenings. 學生會員優惠票持有人，須於入場時出示有效電影節發燒友（HKIFF Cine Fan）學生會員卡。 HKIFF Cine Fan Student Privilege ticket holders must present valid Student Privilege Card upon admission.
退票及節目更改 Refund Arrangement and Programme Change 節目如有更改或取消，觀眾可按原定時間入場觀看替代影片，或可由通知當日起至2015年6月19日申請退票。 本訂票手冊付印時，大部份影片均未經電影、報刊及物品管理處檢查。將來如有影片被檢定為三級者，未滿18歲而於公布前購買該場門票的持有人，可申請退票。退 票表格可於電影節發燒友(HKIFF Cine Fan)網頁(cinefan.com.hk)下載。請將填妥之表格及完整電影門票，於截止日前寄交香港國際電影節辦事處 (香港九龍觀塘道370號 創紀之城3期21樓)。本會將以劃線支票寄回退款給持票人(購票手續費恕不退回)。 香港國際電影節協會保留更改放映節目、時間及地點的權利。有關節目更改或取消的最新消息，請參閱電影節發燒友（HKIFF Cine Fan）網頁及放映場地的通告。 For alteration or cancellation of screenings, ticket holders may choose to attend a screening of a replacement film at the same time slot or to get a refund. At the time when this booking folder goes to print, most of the films have not been submitted to the Office of Film, Newspaper and Article Administration. In case that a film is subsequently classified as Category III, refunds will be made to ticket holder under 18 years of age who buy tickets before the announcement. Refund application form can be downloaded from Cine Fan website (cinefan.com.hk). Completed forms with ticket(s) should be returned by post to the Hong Kong International Film Festival Society Limited (21/ F, Millennium City 3, 370 Kwun Tong Road, Kowloon, Hong Kong) on or before 19 June 2015. Refund cheques will be sent to ticket holders by post. (All services fees will not be refunded). The HKIFF Society reserves the right to change the programme and the schedule should unavoidable circumstances make it necessary. Screening alterations and cancellations will be announced on the HKIFF Cine Fan website and at the screening venues.
惡劣天氣之放映安排 Arrangements under Inclement Weather Conditions 當香港天文台發出八號或以上熱帶氣旋警告訊號或黑色暴雨警告時，電影節目可能會受影響而取消，或未能提供投映字幕。詳情請留意電影節發燒友（HKIFF Cine Fan） 網頁的最新公佈。 Screenings or electronic subtitles may be cancelled when tropical cyclone warning signal No. 8 is in force or Black Rainstorm Warning is issued. Please refer to the HKIFF Cine Fan website for the latest notice.
節目查詢 Programme Enquires：cinefan.com.hk / 2970 3300 / info@hkiff.org.hk
Screening Schedule
場地 Venues
放映時間表
AC GC
香港藝術中心agnès b.電影院 香港灣仔港灣道2號 Hong Kong Arts Centre agnès b. CINEMA 2 Harbour Road, Wanchai, Hong Kong The Grand Cinema 九龍柯士甸道西1號港鐵九龍站圓方2樓 The Grand Cinema 2/F, Elements, 1 Austin Road West, Kowloon Station
Apr 四 月 日期 Date
7/4
二 Tue
May 五 月 時間 Time
座談會：免費入場 Seminar: Free Admission.
地點 Venue 片名 Film
14:30 16:50
AC AC
The Wages of Resistance: Narita Stories 活在三里塚 Daishima Haruhiko on the Narita Series
18:30 20:30
AC AC
10/4 五 Fri
19:30
AC
Wife! Be Like a Rose! 願妻如薔薇
q
11/4 六 Sat
q
代島治彥談三里塚系列 Sudden Rain 驟雨
q q 3
Sound of the Mountain 山之音
17:30
GC
Pride 大愛‧同行
q
12/4 日 Sun 14:30 17:45
GC GC
The Last Emperor 3D 末代皇帝溥儀 3D Manhattan 曼克頓
q q
17/4 五 Fri
AC
Summer in Narita: The Front Line for the Liberation of Japan
3
19:30
日本解放戰線：三里塚之夏
18/4 六 Sat
14:30 16:30 18:00 20:30
AC AC AC AC
Her Lonely Lane 放浪記 Seminar I on Naruse Mikio 成瀨巳喜男座談會（一） When a Woman Ascends the Stairs 女人踏上樓梯時 Narita: Peasants of the Second Fortress 三里塚：第二寨之人
q
19/4 日 Sun 14:30 18:00 20:30
AC AC AC
Port of Call 踏血尋梅 Yearning 情迷意亂 Narita: Heta Village 三里塚：邊田部落
q q
25/4 六 Sat
14:30 15:55 17:45
AC AC AC
Naked Childhood 赤裸的童年 Seminar on Maurice Pialat 莫里斯皮亞勒座談會 We Won't Grow Old Together 難相廝守
q
26/4 日 Sun 14:30 16:30 18:30 20:30
AC AC AC AC
The Mouth Agape 哀哉人生 Pass Your Exam First 會考為先 Late Chrysanthemums 晚菊 Flowing 流逝
q q
q 中文字幕 Chinese Subtitles
3 設映後談 Post-screening talk
2/5
3/5
五 Fri
14:30 17:15 19:45
AC AC AC
Pierrot le Fou 狂人彼埃洛 Loulou 路路 Conflagration 炎上
14:30 15:45 17:15 19:30
AC AC AC AC
Wife! Be Like a Rose! 願妻如薔薇 Seminar II on Naruse Mikio 成瀨巳喜男座談會（二） Repast 飯 Her Brother 弟弟
q
日 Sun 14:30
16:30 19:00
AC AC AC
Sound of the Mountain 山之音 Late Chrysanthemums 晚菊 An Actor's Revenge 雪之丞變化
q q
六 Sat
3D電影 3D Film
Ticketing Information 購 票 須 知 門票於2015年3月13日起公開發售 Tickets available from 13 March 2015 onwards 於香港藝術中心放映之電影節發燒友 (HKIFF Cine Fan) 場次 HKIFF Cine Fan screenings at HK Arts Centre
3
q
q
8/5
五 Fri
19:30
AC
Tokyo Olympiad 東京世運會
9/5
六 Sat
14:30 17:30 19:30
AC AC AC
Floating Clouds 浮雲 Naked Childhood 赤裸的童年 Pass Your Exam First 會考為先
3 q
10/5 日 Sun 14:30 17:00 19:00
AC AC AC
Manhattan 曼克頓 Sudden Rain 驟雨 Flowing 流逝
3 q
17/5 日 Sun 14:00
GC
Pride 大愛‧同行
22/5 五 Fri
19:30
AC
Pierrot le Fou 狂人彼埃洛
23/5 六 Sat
14:30 17:00 19:30
AC AC AC
We Won't Grow Old Together 難相廝守 Loulou 路路 When a Woman Ascends the Stairs 女人踏上樓梯時
q q q
24/5 日 Sun 14:30 17:00 19:30
AC AC AC
Daughters, Wives and a Mother 娘‧妻‧母 Her Lonely Lane 放浪記 The Mouth Agape 哀哉人生
q q
25/5 一 Mon 14:30 16:45 19:30
AC AC AC
Yearning 情迷意亂 Scattered Clouds 亂雲 The Color of Pomegranates 紅塵百劫
q q
q
導演將出席映後座談會 Post-screening discussion with the director
q q q
3
除特別註明外，所有非英語對白電影皆設有英文字幕，但不另設中文字幕。 Unless otherwise stated, all films (except English-speaking films) are subtitled in English.
於 The Grand Cinema 放映之電影節發燒友 (HKIFF Cine Fan) 場次 HKIFF Cine Fan screenings at The Grand Cinema
正價門票 Regular Ticket Price $65 門票優惠 Discount Schemes 八五折優惠 15% discount 會員 / 贊助會員 Cine Fan Classic Privilege / Patron Privilege ($55) 七折優惠 30% discount 學生會員 Cine Fan Student Privilege ($46) 九折優惠 10% discount 藝穗會會員 Fringe Club Members ($59)
1/5
正價門票 Regular Ticket Price
# 只適用於城市售票處售票櫃檯購票，售完即止。Available at the sales counter of URBTIX Outlets only, subject to availability.
《成瀨巳喜男 110 年紀念展》特刊 Naruse Mikio, 110th Anniversary Catalogue $65 每次購買12張或以上門票，可獲特刊書券，免費換領《成瀨巳喜男110年紀念展》特刊一本。 Buy 12 or more tickets and get a voucher for one complimentary copy of the Naruse Mikio, 110th Anniversary catalogue. 售票處購票 Counter Booking：城市售票網售票處 / URBTIX Outlets 網上購票 Online Ticketing：cinefan.com.hk / www.urbtix.hk 信用卡電話訂票 Credit Card Telephone Booking：2111 5999 流動購票應用程式 Moblie Ticketing App：My URBTIX 票務查詢 Ticketing Enquiries：3761 6661 於香港藝術中心放映之場次：每個節目開始前一小時起，剩餘門票只限於香港藝術中心售票處發售。 Screenings at HK Arts Centre: For screening about to start in one hour, all remaining tickets can only be bought at the box office of HK Arts Centre.
使用信用卡電話購票或網上購票 For Telephone Credit Card Booking and Internet Online Booking 手續費：每張訂購門票港幣8元（手續費不設退款）。以上手續費會因應購票通（香港）有限公司而調整。 A handling charge (which is non-refundable) is levied at HK$8 per ticket. The service fee is subjected to adjustment by Cityline (HK) Limited.
自助取票服務 Ticketing Collection Service 顧客選擇自助取票服務提取上述門票，可用電話購票或網上購票時使用的信用卡在購票通自助取票機刷卡提取門票，或親臨任何 一間城市售票處的售票櫃檯憑卡領取門票。 Customers choosing ticket collection service can collect their pre-paid tickets from Cityline Ticket Dispensing Machines or at the sales counter at any of the URBTIX outlets with the credit card used for telephone and online booking. 有關購票通自助取票機位置，詳情請登入www.cityline.com For details of the locations of Cityline Ticket Dispensing Machines, please visit www.cityline.com
滿座場次即場門票 Stand-by Tickets for Sold-Out Screenings 香港藝術中心的滿座場次，將有極少量即場門票於開場前30分鐘在香港藝術中心售票處發售，觀眾或未能獲安排入座。座位安排將視乎開場後30分鐘持普通門票觀眾入 場後之情況而定。每人限購即場門票2張。 A limited number of stand-by tickets for sold-out screenings of Cine Fan Programme are on sales at the URBTIX outlet of HK Arts Centre 30 minutes prior to the screening time. Seating is not guaranteed and subject to availability (30 minutes after the screening time). Each person can purchase up to 2 stand-by tickets.
《大愛．同行》及《曼克頓》 Pride & Manhattan $75 《末代皇帝溥儀 3D》 The Last Emperor 3D $100 門票優惠 Discount Schemes 八五折優惠 15% discount 會員 / 贊助會員 / 學生會員 / The Citizen Grand 會員 Cine Fan Classic Privilege / Patron Privilege / Student Privilege / The Citizen Grand Members 只適用於The Grand Cinema票房。Applicable to the Box Office at The Grand Cinema only.
網上訂票 Online Ticketing：cinefan.com.hk / www.thegrandcinema.com.hk 手機程式購票 Mobile Apps Booking：The Grand 信用卡電話訂票 Credit Card Booking：3983 0033 觀眾亦可親臨 The Grand Cinema 票房購買門票 Tickets are also available at the box office of The Grand Cinema. 凡經網上、電話及手機程式購票均會收取手續費。 Handling fee will be charged on each ticket purchased online or by phone or mobile apps. 所有場次不設劃位。Free seating for all screenings. 學生會員優惠票持有人，須於入場時出示有效電影節發燒友（HKIFF Cine Fan）學生會員卡。 HKIFF Cine Fan Student Privilege ticket holders must present valid Student Privilege Card upon admission.
退票及節目更改 Refund Arrangement and Programme Change 節目如有更改或取消，觀眾可按原定時間入場觀看替代影片，或可由通知當日起至2015年6月19日申請退票。 本訂票手冊付印時，大部份影片均未經電影、報刊及物品管理處檢查。將來如有影片被檢定為三級者，未滿18歲而於公布前購買該場門票的持有人，可申請退票。退 票表格可於電影節發燒友(HKIFF Cine Fan)網頁(cinefan.com.hk)下載。請將填妥之表格及完整電影門票，於截止日前寄交香港國際電影節辦事處 (香港九龍觀塘道370號 創紀之城3期21樓)。本會將以劃線支票寄回退款給持票人(購票手續費恕不退回)。 香港國際電影節協會保留更改放映節目、時間及地點的權利。有關節目更改或取消的最新消息，請參閱電影節發燒友（HKIFF Cine Fan）網頁及放映場地的通告。 For alteration or cancellation of screenings, ticket holders may choose to attend a screening of a replacement film at the same time slot or to get a refund. At the time when this booking folder goes to print, most of the films have not been submitted to the Office of Film, Newspaper and Article Administration. In case that a film is subsequently classified as Category III, refunds will be made to ticket holder under 18 years of age who buy tickets before the announcement. Refund application form can be downloaded from Cine Fan website (cinefan.com.hk). Completed forms with ticket(s) should be returned by post to the Hong Kong International Film Festival Society Limited (21/ F, Millennium City 3, 370 Kwun Tong Road, Kowloon, Hong Kong) on or before 19 June 2015. Refund cheques will be sent to ticket holders by post. (All services fees will not be refunded). The HKIFF Society reserves the right to change the programme and the schedule should unavoidable circumstances make it necessary. Screening alterations and cancellations will be announced on the HKIFF Cine Fan website and at the screening venues.
惡劣天氣之放映安排 Arrangements under Inclement Weather Conditions 當香港天文台發出八號或以上熱帶氣旋警告訊號或黑色暴雨警告時，電影節目可能會受影響而取消，或未能提供投映字幕。詳情請留意電影節發燒友（HKIFF Cine Fan） 網頁的最新公佈。 Screenings or electronic subtitles may be cancelled when tropical cyclone warning signal No. 8 is in force or Black Rainstorm Warning is issued. Please refer to the HKIFF Cine Fan website for the latest notice.
節目查詢 Programme Enquires：cinefan.com.hk / 2970 3300 / info@hkiff.org.hk
cinefan.com.hk
cinefan.com.hk
Apr/May
The Ruthless Humanist
莫里斯皮亞勒
四、五月節目
成瀨巳喜男
Apr/May Programmes
110
年紀念展
主辦 Presenter
{
32
資助機構 Financially Supported by
四、五月節目
Naruse Mikio
赤裸真相
Maurice Pialat
Programmes
主辦 Presenter
110th Anniversary
資助機構 Financially Supported by
33
}