cinefan.com.hk
cinefan.com.hk
Jun/Jul
Programmes
六、七月節目
Long Live the Rebel
大島渚的顛覆美學（二）
六、七月節目
占士甸：阿飛不死
Jun/Jul Programmes
Oshima Nagisa James Dean Radical Vision II 主辦 Presenter
{
24
資助機構 Financially Supported by
主辦 Presenter
資助機構 Financially Supported by
25
}
Opening Gala Local Heroes開 幕 禮 之 夜
Local Heroes
本地薑
本地薑
微交少女
那夜凌晨， 我坐上了旺角 開往大埔的 紅VAN The Midnight After
7.6 2:30pm
}
導演：陳果 2014 粵語 124 分鐘 演員： 黃又南、文詠珊、任達華、惠英紅、 徐天佑、林雪、李璨琛
Dir: Fruit Chan 2014 Cantonese 124min Cast: Wong You-nam, Janice Man, Simon Yam, Kara Hui, Chui Tien-you, Lam Suet, Sam Lee
邊個話香港冇科幻電影！被選中的17 人，坐着由旺 角開往大埔的紅van，經過獅子山隧道，然後……街 道空無一人，香港變成一座死城?! 乘客一個個離奇死 亡，謎團接踵而來：沙士般的傳染病、神秘面罩人、 David Bowie 的神曲和來自未來的電話。天馬行空的 劇情和懸疑的佈置都是高手風範，改編自高登先有的 人氣網絡小說，落在陳果手中，果然是原汁原味的香 港製造。闊別十年再執導長片，陳果爆出一部驚慄 加科幻的地道cult 片，更有香港人面對逆境的刻劃和 隱喻。最恐怖的不是外星鬼怪，而是這個城市的人和 事，如今已不再熟悉。
Fruit Chan’s very Hong Kong story is based on a local internet sci-fi novel with a title made up of 17 Chinese characters plus a comma. A mini-bus leaves beautiful Mongkok one evening for Tai Po. It exits the Lion Rock Tunnel, drops off four Chinese University students and arrives in a Tai Po totally void of people and traffic. Then the passengers start dying horrible disfiguring deaths, or are raped and murdered by fellow travellers. A streetwise apocalyptic vision with special Fruit Chan characteristics, ingeniously aided by local rocker Jan Curious strumming a broom guitar and lip synching “This is ground control to Major Tom…”
導演陳果將出席映後座談會
Post-screening discussion with director Fruit Chan
{
2
20.7 2:00pm
}
導演：翁子光 2013 粵語 98 分鐘 演員：溫碧霞、麥德和、蔚雨芯、李靜儀、許雅婷 翁子光2009年的首作《明媚時光》是旗幟鮮明的獨 立號，事隔四年次作自言勇敢去探索工業運作，多點 賣弄暴力與情色，也多考量通俗劇，依然交出新鮮 視覺的成績。作為1982年《靚妹仔》跨代的續集回 應，如今三個未夠秤（許雅婷、李靜儀和蔚雨芯）對 性開放微訊援交，更加莽撞和脆弱，內心對真愛依然 存有一絲憧憬，要在愛情重傷中身心交瘁才學懂珍重 人生，翁子光見證女生情長，對男生寡情薄義痛心疾 首。當年《靚妹仔》的長樂街Peter仔（麥德和）與 Irene（溫碧霞）如今身為家長，竭力阻止悲劇發生， 兩個時代新舊片段對照，不勝唏噓。 導演翁子光將出席映後座談會 Post-screening discussion with director Philip Yung
May We Chat Dir: Philip Yung 2013 Cantonese 98min Cast: Irene Wan, Mak Tak-woh, Rainky Wai, Heidi Lee, Kabby Hui
Four years since his fiercely independent debut Glamorous Youth , Philip Yung has introduced elements of sex, violence and melodrama into his new film, May We Chat . The story centers on three underage women who are seeking compensated relationships via WeChat, and how they finally come to gain a sense of self-worth in the process. Despite numerous hurtful experiences, these women are still staunch believers in love. While Yung is sympathetic to female recklessness and vulnerability, he is much more critical of the heartless males portrayed in the film. A brave exploration of the contemporary sex industry, May We Chat can be seen as an intergenerational response to the seminal 1982 youth film Lonely Fifteen (dir. David Lai).
3
}
Opening Gala Local Heroes開 幕 禮 之 夜
Local Heroes
本地薑
本地薑
微交少女
那夜凌晨， 我坐上了旺角 開往大埔的 紅VAN The Midnight After
7.6 2:30pm
}
導演：陳果 2014 粵語 124 分鐘 演員： 黃又南、文詠珊、任達華、惠英紅、 徐天佑、林雪、李璨琛
Dir: Fruit Chan 2014 Cantonese 124min Cast: Wong You-nam, Janice Man, Simon Yam, Kara Hui, Chui Tien-you, Lam Suet, Sam Lee
邊個話香港冇科幻電影！被選中的17 人，坐着由旺 角開往大埔的紅van，經過獅子山隧道，然後……街 道空無一人，香港變成一座死城?! 乘客一個個離奇死 亡，謎團接踵而來：沙士般的傳染病、神秘面罩人、 David Bowie 的神曲和來自未來的電話。天馬行空的 劇情和懸疑的佈置都是高手風範，改編自高登先有的 人氣網絡小說，落在陳果手中，果然是原汁原味的香 港製造。闊別十年再執導長片，陳果爆出一部驚慄 加科幻的地道cult 片，更有香港人面對逆境的刻劃和 隱喻。最恐怖的不是外星鬼怪，而是這個城市的人和 事，如今已不再熟悉。
Fruit Chan’s very Hong Kong story is based on a local internet sci-fi novel with a title made up of 17 Chinese characters plus a comma. A mini-bus leaves beautiful Mongkok one evening for Tai Po. It exits the Lion Rock Tunnel, drops off four Chinese University students and arrives in a Tai Po totally void of people and traffic. Then the passengers start dying horrible disfiguring deaths, or are raped and murdered by fellow travellers. A streetwise apocalyptic vision with special Fruit Chan characteristics, ingeniously aided by local rocker Jan Curious strumming a broom guitar and lip synching “This is ground control to Major Tom…”
導演陳果將出席映後座談會
Post-screening discussion with director Fruit Chan
{
2
20.7 2:00pm
}
導演：翁子光 2013 粵語 98 分鐘 演員：溫碧霞、麥德和、蔚雨芯、李靜儀、許雅婷 翁子光2009年的首作《明媚時光》是旗幟鮮明的獨 立號，事隔四年次作自言勇敢去探索工業運作，多點 賣弄暴力與情色，也多考量通俗劇，依然交出新鮮 視覺的成績。作為1982年《靚妹仔》跨代的續集回 應，如今三個未夠秤（許雅婷、李靜儀和蔚雨芯）對 性開放微訊援交，更加莽撞和脆弱，內心對真愛依然 存有一絲憧憬，要在愛情重傷中身心交瘁才學懂珍重 人生，翁子光見證女生情長，對男生寡情薄義痛心疾 首。當年《靚妹仔》的長樂街Peter仔（麥德和）與 Irene（溫碧霞）如今身為家長，竭力阻止悲劇發生， 兩個時代新舊片段對照，不勝唏噓。 導演翁子光將出席映後座談會 Post-screening discussion with director Philip Yung
May We Chat Dir: Philip Yung 2013 Cantonese 98min Cast: Irene Wan, Mak Tak-woh, Rainky Wai, Heidi Lee, Kabby Hui
Four years since his fiercely independent debut Glamorous Youth , Philip Yung has introduced elements of sex, violence and melodrama into his new film, May We Chat . The story centers on three underage women who are seeking compensated relationships via WeChat, and how they finally come to gain a sense of self-worth in the process. Despite numerous hurtful experiences, these women are still staunch believers in love. While Yung is sympathetic to female recklessness and vulnerability, he is much more critical of the heartless males portrayed in the film. A brave exploration of the contemporary sex industry, May We Chat can be seen as an intergenerational response to the seminal 1982 youth film Lonely Fifteen (dir. David Lai).
3
}
「當一切裸裎淨盡，『淫褻』再不存在，代之是一種解放。」— 大島渚
為 題第二個環節的五部經典。首先是轉捩點的 紀念去年辭世的大島渚，我們繼續推出他專
當題材有別，大島渚的拍攝風格也不一而足，可以 有不拘一格卻一氣呵成的鏡頭角度（《日本的夜與 霧》），也有細心經營刁鑽構圖（《飼育》）， 有用色克制的《戰場上的快樂聖誕》（1983）， 也有色彩絢爛的《感官世界》；但最引發爭議的， 始終是他勇於打破禁忌，如《感官世界》除題材犯 禁，更在銀幕呈現無底線的性愛，當年遭日本禁 映，當地至今仍未見公映完整版。
Night and Fog in Japan
8.6 5:15pm 6.7 7:30pm
}
飼育
來到《戰場上的快樂聖誕》，拍英語片絲毫難不到 這個大師，儘管大片格局，也拍出獨家品味，不脫 犯禁壞孩子本色，雅俗共賞的同時，對戰爭和民族 的批判依然凌厲。
}
日本的夜與霧
《日本的夜與霧》（1960），因敏感政治題材和 尖銳的社會批判，上映四天便遭下片，大島渚憤而 離開松竹自組公司，開始了他六十年代再攀的另一 高峰。改編大江健三郎的《飼育》（1961）通過 黑人俘虜的命運，不留情面批判根植的民族性和民 族主義的空洞。其後大島渚最能引起話題的，當然 是驚世的《感官世界》（1976），該片纖毫畢現 極端的情慾世界，聯同《愛之亡靈》（1978）等 作品，皆突出「性與罪」的主題，兩者宿命難解的 密切關係，大島渚刻劃得最淋漓盡致。我們也放映 田中登的《實錄阿部定》（1975）作參考，此作 和《感官》同取材阿部定事件，藝術成就相當，但
兩者一併，更可知大島渚的鮮明個性。
8.6 7:30pm 5.7 5:30pm
The Catch (Shiiku)
(Nihon no Yoru to Kiri)
日本 1961 105分鐘 演員：三國連太郎、小山明子、三原葉子、中村雅子 日本 1960 107分鐘 中文字幕 演員：渡邊文雄、小山明子、桑野深雪、吉澤京夫
大 島 渚 的 顛 覆 美 學 （ 二 ）
Oshima Nagisa: Radical Vision II
O
ne of the most complex and inventive of Japan’s postwar film directors, Oshima’s decades as a filmmaker became known for controversy over politics as well as sexual explicitness in a career that we can see retrospectively as a struggle to expand the boundaries of Japanese films and to speak – not always gently – to both national and international audiences through the prisms of Marx and Freud. This HKIFF mini-retrospective not only showcases masterworks from his career but also juxtaposes the film that brought him global fame and infamy with an equally masterful version of the same story by Tanaka Noboru that followed a very different path. After graduation from Kyoto University, Oshima joined Shochiku, Ltd, where he directed his first film, A Town of Love and Hope (1959). The next year, Oshima exploded with a series of films including Night and Fog in Japan , whose political content and formal experimentation created conflict with Shochiku. As an independent producer, he created yet another controversial revision of Japan’s wartime past, The Catch (1961).
Through the 1960s, in the vanguard of Japan’s new wave, Oshima combined television and documentary production with powerful films that clarified his concerns both politically and stylistically. Death by Hanging (1968), Diary of a Shinjuku Thief (1968) and Boy (1969) explored corruption, dishonesty, social injustice and – in Thief – sexuality. Meanwhile, he experimented with new ways of telling stories including how he directed our eye and framed our attention as viewers. In the Realm of the Senses (1976), although retelling events in 1930s Japan, with its raw sexuality proved too strong for Japanese audiences and led to decades of censorship worldwide. Two years later, however, his Empire of Passion took the directorial prize at Cannes. After this, Oshima became established internationally and nationally, serving for decades as president of the Japanese Director’s Guild and producing a movie in English with the unlikely combination of David Bowie and Kitano Takeshi. While a stroke in 1996 cut short his career, he was able to complete one final film, Gohatto/Taboo in 1999. He died in 2013.
大島渚最個人化的力作，也奠定他激進的國際名聲， 合流的高達七年後才拍出同等熱情與份量的《中國 女》。大島渚反身自躬，把自身學運經歷毫無保留暴 露銀幕。時空穿越兩代學運的兩次反安保條約，兩個 空洞的婚禮儀式上，還來一個死者一個失踪者的真 相。大島的長鏡頭糅合聚光燈的間離效果，透澈剖析 學運領袖心性，既壯觀復深沉：有人相信鬥爭，有人 相信團結，也有人只顧男女私情；有人不肯定自己， 也不信任他人；有人自以為是，排擠異見。鞭韃的何 止當時的政治理想！大島向阿倫雷奈的《夜與霧》致 敬，同樣反思迷霧裏的良心與責任。
1960《電影旬報》十大第十位 1961 東京記者協會藍絲帶獎最佳新導演 Japan 1960 107min Cast: Watanabe Fumio, Kuwano Miyuki, Tsugawa Masahiko
Oshima’s baptism in political films and controversy. A wedding ceremony threatened by fog becomes a stage for intergenerational confrontation between the old Japanese left of the 1950s and the new protestors of the 1960s. While the marriage brings these groups together, it becomes a theater – in Oshima’s sharp manipulation of speech and camera – to confront loss of ideals and the Stalinization of Communist rhetoric. Withdrawn by Shochiku only 4 days after its release because of a political assassination in Japan, this film frames Oshima’s subsequent career as one of challenge as well as sensation. #10 in 1960 Kinema Junpo 's Top 10 1961 Blue Ribbon Award, Best New Director
藏原維繕的《黑太陽》、潘禮德的《飼育》以至姜文 的《鬼子來了》都借鑑於此，改編大江健三郎的「真 身」來了！大島渚以反差強烈的風格化攝影回應原著 的文學世界，更有日本前衛電影之父松本俊夫編劇。 終戰前夕，墜機倖存的黑人美軍給村民俘虜，等待市 政府發落的當兒，緊絀的村人必須「飼育」黑人，誰 料他卻成了父權和民族劣根性的犧牲品，一切意外無 端都怪到他頭上。冷冽攝影中，孤立小村宛如神話異 域，這裏變成有酒今朝醉，性和歡樂都予取予攜，戰 場的勝負也是無可無不可的。最後純真小孩的白色小 手不斷撒下黑土，埋葬的可會是大和族魂的良心？
1961《電影旬報》十大第九位 Japan 1961 105min Cast: Mikuni Rentaro, Sawamura Sadako, Hugh Hurd
Oshima’s first independent production, based on the haunting novella by Oe Kenzaburo, deals with an African-American airman prisoner of war in an isolated Japanese village. The inhabitants must discover his humanity (and theirs) across barriers of language and culture. While less complex than other films – especially in the character of the black soldier himself – the film makes clear Oshima’s concerns with the collective divisions and limits of Japanese society, especially as they are made clear in the clash of peoples and cultures (resonating years later in Merry Christmas Mr. Lawrence ). #9 in 1961 Kinema Junpo 's Top 10
5
}
「當一切裸裎淨盡，『淫褻』再不存在，代之是一種解放。」— 大島渚
為 題第二個環節的五部經典。首先是轉捩點的 紀念去年辭世的大島渚，我們繼續推出他專
當題材有別，大島渚的拍攝風格也不一而足，可以 有不拘一格卻一氣呵成的鏡頭角度（《日本的夜與 霧》），也有細心經營刁鑽構圖（《飼育》）， 有用色克制的《戰場上的快樂聖誕》（1983）， 也有色彩絢爛的《感官世界》；但最引發爭議的， 始終是他勇於打破禁忌，如《感官世界》除題材犯 禁，更在銀幕呈現無底線的性愛，當年遭日本禁 映，當地至今仍未見公映完整版。
Night and Fog in Japan
8.6 5:15pm 6.7 7:30pm
}
飼育
來到《戰場上的快樂聖誕》，拍英語片絲毫難不到 這個大師，儘管大片格局，也拍出獨家品味，不脫 犯禁壞孩子本色，雅俗共賞的同時，對戰爭和民族 的批判依然凌厲。
}
日本的夜與霧
《日本的夜與霧》（1960），因敏感政治題材和 尖銳的社會批判，上映四天便遭下片，大島渚憤而 離開松竹自組公司，開始了他六十年代再攀的另一 高峰。改編大江健三郎的《飼育》（1961）通過 黑人俘虜的命運，不留情面批判根植的民族性和民 族主義的空洞。其後大島渚最能引起話題的，當然 是驚世的《感官世界》（1976），該片纖毫畢現 極端的情慾世界，聯同《愛之亡靈》（1978）等 作品，皆突出「性與罪」的主題，兩者宿命難解的 密切關係，大島渚刻劃得最淋漓盡致。我們也放映 田中登的《實錄阿部定》（1975）作參考，此作 和《感官》同取材阿部定事件，藝術成就相當，但
兩者一併，更可知大島渚的鮮明個性。
8.6 7:30pm 5.7 5:30pm
The Catch (Shiiku)
(Nihon no Yoru to Kiri)
日本 1961 105分鐘 演員：三國連太郎、小山明子、三原葉子、中村雅子 日本 1960 107分鐘 中文字幕 演員：渡邊文雄、小山明子、桑野深雪、吉澤京夫
大 島 渚 的 顛 覆 美 學 （ 二 ）
Oshima Nagisa: Radical Vision II
O
ne of the most complex and inventive of Japan’s postwar film directors, Oshima’s decades as a filmmaker became known for controversy over politics as well as sexual explicitness in a career that we can see retrospectively as a struggle to expand the boundaries of Japanese films and to speak – not always gently – to both national and international audiences through the prisms of Marx and Freud. This HKIFF mini-retrospective not only showcases masterworks from his career but also juxtaposes the film that brought him global fame and infamy with an equally masterful version of the same story by Tanaka Noboru that followed a very different path. After graduation from Kyoto University, Oshima joined Shochiku, Ltd, where he directed his first film, A Town of Love and Hope (1959). The next year, Oshima exploded with a series of films including Night and Fog in Japan , whose political content and formal experimentation created conflict with Shochiku. As an independent producer, he created yet another controversial revision of Japan’s wartime past, The Catch (1961).
Through the 1960s, in the vanguard of Japan’s new wave, Oshima combined television and documentary production with powerful films that clarified his concerns both politically and stylistically. Death by Hanging (1968), Diary of a Shinjuku Thief (1968) and Boy (1969) explored corruption, dishonesty, social injustice and – in Thief – sexuality. Meanwhile, he experimented with new ways of telling stories including how he directed our eye and framed our attention as viewers. In the Realm of the Senses (1976), although retelling events in 1930s Japan, with its raw sexuality proved too strong for Japanese audiences and led to decades of censorship worldwide. Two years later, however, his Empire of Passion took the directorial prize at Cannes. After this, Oshima became established internationally and nationally, serving for decades as president of the Japanese Director’s Guild and producing a movie in English with the unlikely combination of David Bowie and Kitano Takeshi. While a stroke in 1996 cut short his career, he was able to complete one final film, Gohatto/Taboo in 1999. He died in 2013.
大島渚最個人化的力作，也奠定他激進的國際名聲， 合流的高達七年後才拍出同等熱情與份量的《中國 女》。大島渚反身自躬，把自身學運經歷毫無保留暴 露銀幕。時空穿越兩代學運的兩次反安保條約，兩個 空洞的婚禮儀式上，還來一個死者一個失踪者的真 相。大島的長鏡頭糅合聚光燈的間離效果，透澈剖析 學運領袖心性，既壯觀復深沉：有人相信鬥爭，有人 相信團結，也有人只顧男女私情；有人不肯定自己， 也不信任他人；有人自以為是，排擠異見。鞭韃的何 止當時的政治理想！大島向阿倫雷奈的《夜與霧》致 敬，同樣反思迷霧裏的良心與責任。
1960《電影旬報》十大第十位 1961 東京記者協會藍絲帶獎最佳新導演 Japan 1960 107min Cast: Watanabe Fumio, Kuwano Miyuki, Tsugawa Masahiko
Oshima’s baptism in political films and controversy. A wedding ceremony threatened by fog becomes a stage for intergenerational confrontation between the old Japanese left of the 1950s and the new protestors of the 1960s. While the marriage brings these groups together, it becomes a theater – in Oshima’s sharp manipulation of speech and camera – to confront loss of ideals and the Stalinization of Communist rhetoric. Withdrawn by Shochiku only 4 days after its release because of a political assassination in Japan, this film frames Oshima’s subsequent career as one of challenge as well as sensation. #10 in 1960 Kinema Junpo 's Top 10 1961 Blue Ribbon Award, Best New Director
藏原維繕的《黑太陽》、潘禮德的《飼育》以至姜文 的《鬼子來了》都借鑑於此，改編大江健三郎的「真 身」來了！大島渚以反差強烈的風格化攝影回應原著 的文學世界，更有日本前衛電影之父松本俊夫編劇。 終戰前夕，墜機倖存的黑人美軍給村民俘虜，等待市 政府發落的當兒，緊絀的村人必須「飼育」黑人，誰 料他卻成了父權和民族劣根性的犧牲品，一切意外無 端都怪到他頭上。冷冽攝影中，孤立小村宛如神話異 域，這裏變成有酒今朝醉，性和歡樂都予取予攜，戰 場的勝負也是無可無不可的。最後純真小孩的白色小 手不斷撒下黑土，埋葬的可會是大和族魂的良心？
1961《電影旬報》十大第九位 Japan 1961 105min Cast: Mikuni Rentaro, Sawamura Sadako, Hugh Hurd
Oshima’s first independent production, based on the haunting novella by Oe Kenzaburo, deals with an African-American airman prisoner of war in an isolated Japanese village. The inhabitants must discover his humanity (and theirs) across barriers of language and culture. While less complex than other films – especially in the character of the black soldier himself – the film makes clear Oshima’s concerns with the collective divisions and limits of Japanese society, especially as they are made clear in the clash of peoples and cultures (resonating years later in Merry Christmas Mr. Lawrence ). #9 in 1961 Kinema Junpo 's Top 10
5
}
13.6 7:30pm SM
(HK Science Museum)
(Ai no corrida)
Empire of Passion (Ai no borei)
7.6 8:45pm AC 22.6 2:30pm GC
}
(The Grand Cinema)
18.7 7:30pm AC 快樂聖誕 戰場上的
In the Realm of the Senses
}
Merry Christmas Mr. Lawrence
15.6 2:30pm 11.7 7:30pm
}
實錄阿部定
AC
15.6 4:15pm 13.7 7:45pm 愛之亡靈
感官世界
12.7 9:00pm
}
A Woman Called Abe Sada (Jitsuroku Abe Sada)
日本 1976 101分鐘 演員：松田英子、藤龍也 解禁色情的真正意義，大島渚用一部戲來說個明白。 影片無視底線的感官滿足，轟炸國際影壇。大島渚 說，想看的都滿足夠了，就不是淫，而是解放。改編 自驚世駭俗的阿部定事件，影片比真事更聳動，阿部 定沉溺做愛，更切去愛人陽具收藏。大膽露骨的連場 性愛，由被動到主動，女性盡洩的情慾撩撥的已非感 官，色情在顛覆色情，當主僕相戀變男卑女尊，而私 密享樂不再顧忌旁觀的眼睛，解禁的何只色情，更有 階級之別、父權壓迫和社會規範。軍人街上列隊而 過，厭惡的眼神更是肉體歡愉予軍國主義的迎頭痛 擊。了解色情與藝術的必修經典。
1976《電影旬報》十大第八位 Japan 1976 101min Cast: Matsuda Eiko, Fuji Tatsuya
A film so shrouded by decades of controversy over sex (and subtexts of politics) that it is time to see it again. It caused riots at Cannes, while critic Andres Soares notes that it was received as “misogynistic, obscene, indecent, immoral, sick, vile, disgusting, and all that good stuff…” Yet, this intense encounter of a maidservant and a man in 1930s Japan, based on a true story, also became a powerful and explicit exploration of sex and power, subjugation and mastery, challenging the frontiers of the world onscreen and offscreen. Revolutions, and revelations, as filmmakers remind us, are not easy. #8 in 1976 Kinema Junpo 's Top 10 設映後座談會，講者朗天，主持李焯桃 Post-screening seminar with Long Tin. Moderator: Li Cheuk-to
{
6
導演：田中登 日本 1975 76分鐘 演員：宮下順子、江角英明
日本 1978 105分鐘 演員：藤龍也、吉行和子、田村高廣 《感官世界》的姊妹作，同樣改編真實事件，類近題 材給大島渚一次再思考，再鋪陳形式變奏的機會。 幽閉的情慾心靈，跳到四時變幻的美麗農村，時空打 開，思想空間卻侷促，大自然散發着危險，帶着戰爭 記憶的一匹餓狼，正噬向理想獵物──丈夫外出工作 的漂亮良家婦人。男女愛慾釋放了靈魂，下一步只能 是殺夫了。幽幽的鬼魂現身，沒有來索命，倒教偷情 男女更豁出所有，玉石俱焚一如《感官世界》，以最 不容於社會的愛慾，以證一己存在。無論人鬼、郊野 和農屋，在在構成美麗畫面，也氤氳恐怖。情慾影像 高手大島渚，摘下康城最佳導演獎。
1978《電影旬報》十大第三位 1978 康城影展最佳導演獎 Japan 1978 105min Cast: Fuji Tatsuya, Yoshiyuki Kazuko, Tamura Takahiro
Working as a French-Japanese coproduction, Oshima reframes the themes of obsessive passions and their consequences in ways that proved more amenable to both critical reception and audience popularity. Sumptuously filmed in a 19th century village setting, here an older wife and her lover, a discharged soldier, face the obstacles of a drunken rickshaw driver husband. They eliminate him while concealing the death from those around them. Nonetheless, social suspicion and the ghost of the husband allow Oshima to play once again with the limits of individual desire and collective constraint. The film that won Oshima Best Director at Cannes. #3 in 1978 Kinema Junpo 's Top 10 1978 Cannes Film Festival, Best Director
日本／英國 1983 123分鐘 中文字幕 演員：大衛寶兒、湯康迪、坂本龍一、北野武 大島渚四両撥千斤拍出首部英語片，令海外影迷如癡 如醉。英國大片親近觀眾像是前提，但大島渚的戰爭 片罕有地由角色推進，飛機大炮大場面闕如，卻自有 一貫我行我素的主題和影像風格。大戰期間日英兩軍 之間一樁禁色事件。一頭金髮的大衛寶兒以《沙漠梟 雄》彼得奧圖的中性美男子造型，來到軍紀嚴明的日 軍戰俘營，指揮官坂本龍一的心立即軟化。翻譯湯康 迪和軍曹北野武的關係亦敵亦友，亦展現武士道與 人文精神的對立辯證。大衛寶兒奪命也償命的死亡之 吻，是震撼的經典鏡頭。坂本龍一提升全片的音樂， 令他從此蜚聲國際。
1983《電影旬報》十大第三位 Japan/UK 1983 123min Cast: David Bowie, Tom Conti, Sakamoto Ryuichi, Kitano Takeshi
A twist on the World War II prisoner of war films that continue to haunt popular imagination (e.g. 2014’s The Railway Man ). Here, the actions of politics and war are intertwined uncomfortably yet masterfully with questions of guilt, honor and homoeroticism that supercharge events of life and death across cultures. With powerful and evocative performances among those who lead the British soldiers – both the enigmatic David Bowie and Tom Conti as a more acculturated officer – and Sakamoto Ryuichi and Kitano Takeshi as Japanese officers whose stories do not end with the tragic denouement of camp lives.
田中登是日活粉紅映畫皎皎的代表人物，主演的宮下 順子亦是日活名女優。這部經常拿來跟《感官世界》 相提並論的粉紅映畫，同樣取材阿部定事件，田中登 高超的踩着色情、藝術以至電檢糾結的鋼線，血腥 和張狂的性愛，有影像也有想像，才沒有跟一年後的 《感官》遭遇同一禁映命運。真人阿部定的那句「光 線令人虛怯」，給田中登發展出幽室悠悠的迷人光 線，沒想到絢爛色彩和變化萬千的構圖，竟是資金短 缺的結果。全片取女性角度，閃回把性上癮交代得更 完整，更有一段帶着陽具的逃亡戲。和《感官》同受 稱譽，同樣位列電影旬報年度十大。
1975《電影旬報》十大第十位 Dir: Tanaka Noboru Japan 1975 76min Cast: Miyashita Junko, Esumi Hideaki
A year before Oshima’s Realm , director Tanaka Noboru tackled the same materials in a Roman porn film, subtitled a docu-drama. Unlike Oshima’s obsessive staging of key events, Tanaka developed the female protagonist (marvelously personified by Miyashita Junko) within a life history and intimate story, while framing the film within the erotic sensibilities of a Japanese audience. While Oshima’s film is still unavailable in Japan in uncensored form, Abe Sada became a box office success as well as Tanaka’s masterpiece. Only released internationally after Realm’s internationally scandalous success, HKIFF offers a rare opportunity to compare visions side by side. #10 in 1975 Kinema Junpo 's Top 10
#3 in 1983 Kinema Junpo 's Top 10
7
}
13.6 7:30pm SM
(HK Science Museum)
(Ai no corrida)
Empire of Passion (Ai no borei)
7.6 8:45pm AC 22.6 2:30pm GC
}
(The Grand Cinema)
18.7 7:30pm AC 快樂聖誕 戰場上的
In the Realm of the Senses
}
Merry Christmas Mr. Lawrence
15.6 2:30pm 11.7 7:30pm
}
實錄阿部定
AC
15.6 4:15pm 13.7 7:45pm 愛之亡靈
感官世界
12.7 9:00pm
}
A Woman Called Abe Sada (Jitsuroku Abe Sada)
日本 1976 101分鐘 演員：松田英子、藤龍也 解禁色情的真正意義，大島渚用一部戲來說個明白。 影片無視底線的感官滿足，轟炸國際影壇。大島渚 說，想看的都滿足夠了，就不是淫，而是解放。改編 自驚世駭俗的阿部定事件，影片比真事更聳動，阿部 定沉溺做愛，更切去愛人陽具收藏。大膽露骨的連場 性愛，由被動到主動，女性盡洩的情慾撩撥的已非感 官，色情在顛覆色情，當主僕相戀變男卑女尊，而私 密享樂不再顧忌旁觀的眼睛，解禁的何只色情，更有 階級之別、父權壓迫和社會規範。軍人街上列隊而 過，厭惡的眼神更是肉體歡愉予軍國主義的迎頭痛 擊。了解色情與藝術的必修經典。
1976《電影旬報》十大第八位 Japan 1976 101min Cast: Matsuda Eiko, Fuji Tatsuya
A film so shrouded by decades of controversy over sex (and subtexts of politics) that it is time to see it again. It caused riots at Cannes, while critic Andres Soares notes that it was received as “misogynistic, obscene, indecent, immoral, sick, vile, disgusting, and all that good stuff…” Yet, this intense encounter of a maidservant and a man in 1930s Japan, based on a true story, also became a powerful and explicit exploration of sex and power, subjugation and mastery, challenging the frontiers of the world onscreen and offscreen. Revolutions, and revelations, as filmmakers remind us, are not easy. #8 in 1976 Kinema Junpo 's Top 10 設映後座談會，講者朗天，主持李焯桃 Post-screening seminar with Long Tin. Moderator: Li Cheuk-to
{
6
導演：田中登 日本 1975 76分鐘 演員：宮下順子、江角英明
日本 1978 105分鐘 演員：藤龍也、吉行和子、田村高廣 《感官世界》的姊妹作，同樣改編真實事件，類近題 材給大島渚一次再思考，再鋪陳形式變奏的機會。 幽閉的情慾心靈，跳到四時變幻的美麗農村，時空打 開，思想空間卻侷促，大自然散發着危險，帶着戰爭 記憶的一匹餓狼，正噬向理想獵物──丈夫外出工作 的漂亮良家婦人。男女愛慾釋放了靈魂，下一步只能 是殺夫了。幽幽的鬼魂現身，沒有來索命，倒教偷情 男女更豁出所有，玉石俱焚一如《感官世界》，以最 不容於社會的愛慾，以證一己存在。無論人鬼、郊野 和農屋，在在構成美麗畫面，也氤氳恐怖。情慾影像 高手大島渚，摘下康城最佳導演獎。
1978《電影旬報》十大第三位 1978 康城影展最佳導演獎 Japan 1978 105min Cast: Fuji Tatsuya, Yoshiyuki Kazuko, Tamura Takahiro
Working as a French-Japanese coproduction, Oshima reframes the themes of obsessive passions and their consequences in ways that proved more amenable to both critical reception and audience popularity. Sumptuously filmed in a 19th century village setting, here an older wife and her lover, a discharged soldier, face the obstacles of a drunken rickshaw driver husband. They eliminate him while concealing the death from those around them. Nonetheless, social suspicion and the ghost of the husband allow Oshima to play once again with the limits of individual desire and collective constraint. The film that won Oshima Best Director at Cannes. #3 in 1978 Kinema Junpo 's Top 10 1978 Cannes Film Festival, Best Director
日本／英國 1983 123分鐘 中文字幕 演員：大衛寶兒、湯康迪、坂本龍一、北野武 大島渚四両撥千斤拍出首部英語片，令海外影迷如癡 如醉。英國大片親近觀眾像是前提，但大島渚的戰爭 片罕有地由角色推進，飛機大炮大場面闕如，卻自有 一貫我行我素的主題和影像風格。大戰期間日英兩軍 之間一樁禁色事件。一頭金髮的大衛寶兒以《沙漠梟 雄》彼得奧圖的中性美男子造型，來到軍紀嚴明的日 軍戰俘營，指揮官坂本龍一的心立即軟化。翻譯湯康 迪和軍曹北野武的關係亦敵亦友，亦展現武士道與 人文精神的對立辯證。大衛寶兒奪命也償命的死亡之 吻，是震撼的經典鏡頭。坂本龍一提升全片的音樂， 令他從此蜚聲國際。
1983《電影旬報》十大第三位 Japan/UK 1983 123min Cast: David Bowie, Tom Conti, Sakamoto Ryuichi, Kitano Takeshi
A twist on the World War II prisoner of war films that continue to haunt popular imagination (e.g. 2014’s The Railway Man ). Here, the actions of politics and war are intertwined uncomfortably yet masterfully with questions of guilt, honor and homoeroticism that supercharge events of life and death across cultures. With powerful and evocative performances among those who lead the British soldiers – both the enigmatic David Bowie and Tom Conti as a more acculturated officer – and Sakamoto Ryuichi and Kitano Takeshi as Japanese officers whose stories do not end with the tragic denouement of camp lives.
田中登是日活粉紅映畫皎皎的代表人物，主演的宮下 順子亦是日活名女優。這部經常拿來跟《感官世界》 相提並論的粉紅映畫，同樣取材阿部定事件，田中登 高超的踩着色情、藝術以至電檢糾結的鋼線，血腥 和張狂的性愛，有影像也有想像，才沒有跟一年後的 《感官》遭遇同一禁映命運。真人阿部定的那句「光 線令人虛怯」，給田中登發展出幽室悠悠的迷人光 線，沒想到絢爛色彩和變化萬千的構圖，竟是資金短 缺的結果。全片取女性角度，閃回把性上癮交代得更 完整，更有一段帶着陽具的逃亡戲。和《感官》同受 稱譽，同樣位列電影旬報年度十大。
1975《電影旬報》十大第十位 Dir: Tanaka Noboru Japan 1975 76min Cast: Miyashita Junko, Esumi Hideaki
A year before Oshima’s Realm , director Tanaka Noboru tackled the same materials in a Roman porn film, subtitled a docu-drama. Unlike Oshima’s obsessive staging of key events, Tanaka developed the female protagonist (marvelously personified by Miyashita Junko) within a life history and intimate story, while framing the film within the erotic sensibilities of a Japanese audience. While Oshima’s film is still unavailable in Japan in uncensored form, Abe Sada became a box office success as well as Tanaka’s masterpiece. Only released internationally after Realm’s internationally scandalous success, HKIFF offers a rare opportunity to compare visions side by side. #10 in 1975 Kinema Junpo 's Top 10
#3 in 1983 Kinema Junpo 's Top 10
7
}
1
955年9月30日下午5時半，《巨人》煞科不到 兩個星期，占士甸駕駛着他的保時捷跑車於公 路高速撞毀，即時身亡，終年23歲。短短十六個月 的大電影演出生涯戛然而止，然而六十年來，他的 早逝啟發了無數音樂、影像的創作，不少美國偶像 均有他的影子，他的肖像出現在流行商品市場。他 的形象超越時代，成了一個不朽的傳奇。 他反叛，亦世故；他敏感，亦執着；他誠實，也 狡譎；他孤獨，同時卻招搖；他難以預測、脆 弱、任性、討人厭、討人愛.....。對年輕一代的觀 眾，認同他的（超）時代形象，不是憑酷酷造型 照片，而是他一生三齣電影作品。這是一個難得 的機會，香港首度將他演出的三部影片的全新修
復版，一起放到大銀幕上去跨代致意。 上世紀五十年代美國青年文化帶動下新一代演員冒 起，街頭味挑戰片廠古典氣息。以紐約The Actors Studio為首的方法演技派改良史坦尼斯拉夫斯基系 統，先是馬龍白蘭度、孟甘穆利奇里夫呼應時代， 繼而占士甸更貼近青年人生、家庭、情感種種問 題，切身貼心盡情演繹。自此，荷里活不再只有硬 漢和英雄大丈夫，柔腸男兒也可以占士甸原型一個 又一個系譜接力下去：馬田辛、尊沙維治、麥狄 倫、添摩菲赫頓、里華馮力士（另一個Good-DieYoung）、基斯頓史利達、麥狄文、李安納度狄卡 比奧、羅拔柏迪臣、萊恩哥斯靈⋯⋯
修復
red Restosics Clas
經典
占
士
甸
：
阿
Long Live the Rebel: James Dean
T
wo years as a Hollywood star; sixty years as a global icon. James Dean emerged from a broken family life in the heartland to rediscover himself as a searcher in three key films that linked him inextricably to American myth. Indeed, as his aura has endured over decades among teenagers worldwide, we have been perhaps slower to appreciate the power of his acting and the choice of roles in the three films presented here which embody a public career defined by excellence, depth and unforgettable performances. Born in 1931 in Depression-era Iowa, Dean’s family life was disrupted by his family’s move to California and his mother’s early death, which meant that he spent years among Quaker relatives in Indiana. On returning to his father in California and enrolling in UCLA, Dean discovered a passion for acting that would eventually lead him to Lee Strasberg Actors Studio and scattered roles in film and television. While often “seen” as a young Marlon Brando, Dean’s engagement with his major roles, beginning
飛
不
with his selection for Kazan’s East of Eden in 1953, brought out a vulnerability and pain that set his rebellious characters apart from Brando’s T-shirt and leather jacket in The Wild One (1953). Brando, too, had other defining roles before and after that moment, while Dean’s roles converged in an eternal triptych of youth, beauty, anguish and the search for love. Moreover, these onscreen images have resonated strongly with Dean’s offscreen life, whether his search for love and sexual identity in a world where bisexuality was covered up by Hollywood studios, or his passion for fast cars and racing that led to his tragic death in a car crash in 1955 in the valley where East of Eden takes place, before either Rebel or Giant were even released. Hence, the uniquely sad memorial of an actor all of whose Oscar nominations and global awards were posthumous, recognition of a career that never came to be. Nonetheless, these restorations allow us to glimpse his youth – and ours – anew.
99 }}
CineFan-CritC-2C2O.indd 1
2/5/14 下午5:59
死
1
955年9月30日下午5時半，《巨人》煞科不到 兩個星期，占士甸駕駛着他的保時捷跑車於公 路高速撞毀，即時身亡，終年23歲。短短十六個月 的大電影演出生涯戛然而止，然而六十年來，他的 早逝啟發了無數音樂、影像的創作，不少美國偶像 均有他的影子，他的肖像出現在流行商品市場。他 的形象超越時代，成了一個不朽的傳奇。 他反叛，亦世故；他敏感，亦執着；他誠實，也 狡譎；他孤獨，同時卻招搖；他難以預測、脆 弱、任性、討人厭、討人愛.....。對年輕一代的觀 眾，認同他的（超）時代形象，不是憑酷酷造型 照片，而是他一生三齣電影作品。這是一個難得 的機會，香港首度將他演出的三部影片的全新修
復版，一起放到大銀幕上去跨代致意。 上世紀五十年代美國青年文化帶動下新一代演員冒 起，街頭味挑戰片廠古典氣息。以紐約The Actors Studio為首的方法演技派改良史坦尼斯拉夫斯基系 統，先是馬龍白蘭度、孟甘穆利奇里夫呼應時代， 繼而占士甸更貼近青年人生、家庭、情感種種問 題，切身貼心盡情演繹。自此，荷里活不再只有硬 漢和英雄大丈夫，柔腸男兒也可以占士甸原型一個 又一個系譜接力下去：馬田辛、尊沙維治、麥狄 倫、添摩菲赫頓、里華馮力士（另一個Good-DieYoung）、基斯頓史利達、麥狄文、李安納度狄卡 比奧、羅拔柏迪臣、萊恩哥斯靈⋯⋯
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Long Live the Rebel: James Dean
T
wo years as a Hollywood star; sixty years as a global icon. James Dean emerged from a broken family life in the heartland to rediscover himself as a searcher in three key films that linked him inextricably to American myth. Indeed, as his aura has endured over decades among teenagers worldwide, we have been perhaps slower to appreciate the power of his acting and the choice of roles in the three films presented here which embody a public career defined by excellence, depth and unforgettable performances. Born in 1931 in Depression-era Iowa, Dean’s family life was disrupted by his family’s move to California and his mother’s early death, which meant that he spent years among Quaker relatives in Indiana. On returning to his father in California and enrolling in UCLA, Dean discovered a passion for acting that would eventually lead him to Lee Strasberg Actors Studio and scattered roles in film and television. While often “seen” as a young Marlon Brando, Dean’s engagement with his major roles, beginning
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with his selection for Kazan’s East of Eden in 1953, brought out a vulnerability and pain that set his rebellious characters apart from Brando’s T-shirt and leather jacket in The Wild One (1953). Brando, too, had other defining roles before and after that moment, while Dean’s roles converged in an eternal triptych of youth, beauty, anguish and the search for love. Moreover, these onscreen images have resonated strongly with Dean’s offscreen life, whether his search for love and sexual identity in a world where bisexuality was covered up by Hollywood studios, or his passion for fast cars and racing that led to his tragic death in a car crash in 1955 in the valley where East of Eden takes place, before either Rebel or Giant were even released. Hence, the uniquely sad memorial of an actor all of whose Oscar nominations and global awards were posthumous, recognition of a career that never came to be. Nonetheless, these restorations allow us to glimpse his youth – and ours – anew.
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CineFan-CritC-2C2O.indd 1
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14.6 2:30pm 12.7 6:30pm
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14.6 6:00pm
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15.6 7:00pm 13.7 4:00pm
}
蕩母痴兒
Seminars 座談會
Rebel Without a Cause
巨人
阿飛正傳
East of Eden
13.6 Fri 五
Giant
Oshima Nagisa 大島渚的顛覆美學
導演: 伊力卡山 美國 1955 115分鐘 中文字幕 阿飛尋母，不在峰迴路轉，卡爾小小年紀已長了一身 刺，過程愈擁抱卻愈傷害親人。史坦貝克的《伊甸園 東》在美國保守的南部揭示聖經寓意的父子情仇，反 映個人成長心志，伊力卡山（《碼頭風雲》）也代入 個人經驗，偏偏選中飾演卡爾的新人也是同一路人， 令影片有濃得化不開仇父情結。占士甸與飾演父親的 梅斯對手戲時即興改對白，梅斯不斷向卡山投訴，二 人鏡頭外互不瞅睬，卡山樂於將這些角力原汁原味搬 上菲林。有影評指初出道的占士甸模仿白蘭度，但他 其實開了美國電影演繹神經質情緒的先河呢！
Dir: Elia Kazan USA 1955 115min Cast: James Dean, Julie Harris, Raymond Massey Another parable of the dysfunctional American family, evoking the Biblical story of Cain and Abel. Here, Dean works with the novel from John Steinbeck and direction of Elia Kazan to incarnate Cal, son of a patriarchal California former. Cal competes with his brother, Aron (Richard Davalos) for both paternal love and the awakening affections of a girlfriend Abra (Julie Harris). As he also struggles with social prejudices against the dramatic landscapes of California in a nation preparing to enter World War I, Dean masterfully situates American angst in the history, culture and the landscape of the West. 設映後座談會，講者陳志華，主持張偉雄 Post-screening seminar with Ernest Chan. Moderator: Bryan Chang
{
10
導演: 佐治史提芬 美國 1956 201分鐘 中文字幕 導演：尼古拉斯雷 美國 1955 111分鐘 中文字幕 紅衣的熱血反叛，藍牛的發光發冷──尼古拉斯雷的 色彩意符，大銀幕修復再現。當然，《阿飛正傳》經 典，因占士甸傷感的桀敖不馴原始形象，更因他的早 逝造就神話。但除此，《阿飛》還有更多更多。少 年的憤怒、反叛和異化，正面衝擊自滿自大的美國社 會；父母都無能去明白他們，三個年輕主角像受傷的 獸，拒絕跟美國的優越感同流合污。「為什麼我們要 這樣？」「因為你得做點什麼。」咀嚼對白，竟隱藏 更深病狀，那是質疑生命的虛妄，或曰存在主義。格 局不純，語焉不詳，更是影片魅力。《阿飛》是對時 代的顛覆，回看，竟然一直沒有過時。
Dir: Nicholas Ray USA 1955 111min Cast: James Dean, Natalie Wood, Sal Mineo, Jim Backus The ultimate troubled teen movie. James Dean, who would die before the film was released, shows up in eternal youth as a suburban problem kid seeking family and stability but finding only fleeting moments of escape and love. Problems at home with a weak father and domineering mother. Fights at school. Deadly car races. Gang rumbles, switchblades out. Confrontations with the police. And dreams. An epic of confusion, loss and mistrust with poignant performances by Dean, Natalie Wood and Sal Mineo, making this film the tragic myth of teenagers around the world. HKIFF presents a brilliantly restored print, once again in its eternal youth.
時間 地點 講者 主持
Time
9:15-10:15pm 《感官世界》放映後 Venue 香港科學館演講廳 Hong Kong Science Museum Lecture Hall Speaker 朗天 Long Tin Moderator 李焯桃 Li Cheuk-to
占士甸飾演Jett從窮小子搖身一變成石油巨富，本是 配角而已，佐治史提芬斯（《郎心如鐵》）的愛將 一直是伊莉莎白泰萊，心目中的「巨人」則是散發 著好男人氣質的洛克遜，然而始終是「缺憾」的占士 甸「偷走」了影片。上半部尾段Jett出手打洛克遜三 拳，不少觀眾覺得大快人心。下半部他不到十場戲， 卻讓影迷深刻感受到他老來模樣；富甲一方，卻孤獨 空虛，洛克遜又來跟他單挑，這次他只一臉張惶，最 後一個人醉臥豪華大廳。占士甸也以這一場沒有門徒 的「最後的晚餐」，為流星閃耀般的演藝事業鞠躬謝 幕。
Dir: George Stevens USA 1956 201min Cast: Elizabeth Taylor, Rock Hudson, James Dean Dean anchors a swirling family saga of class, race and love based on Edna Ferber’s novel of the Texas oil boom. While the story follows the lives of rancher Bick Benedict (Rock Hudson), his wife, East Coast socialite Leslie (Elizabeth Taylor) and their children, ranch hand Jett Rink (Dean) evolves from employee, to unwelcome neighbor, competitor and catalyst as oil changes the values of land and society in World War II. Ferber’s critique of racial discrimination and her complex generations of female characters enrich the panoramic plot, while Dean himself garnered an Oscar nomination for his final film.
14.6 Sat 六
James Dean 占士甸：阿飛不死 時間 地點 講者 主持
Time
4:30-5:30pm 《蕩母痴兒》放映後 Venue 香港藝術中心agnès b 電影院 HK Arts Centre agnès b. CINEMA! Speaker 陳志華 Ernest Chan Moderator 張偉雄 Bryan Chang
11 } 免費入場 Free admission 11Cantonese }} 粵語主講 Conducted in11 11
}
14.6 2:30pm 12.7 6:30pm
}
14.6 6:00pm
}
15.6 7:00pm 13.7 4:00pm
}
蕩母痴兒
Seminars 座談會
Rebel Without a Cause
巨人
阿飛正傳
East of Eden
13.6 Fri 五
Giant
Oshima Nagisa 大島渚的顛覆美學
導演: 伊力卡山 美國 1955 115分鐘 中文字幕 阿飛尋母，不在峰迴路轉，卡爾小小年紀已長了一身 刺，過程愈擁抱卻愈傷害親人。史坦貝克的《伊甸園 東》在美國保守的南部揭示聖經寓意的父子情仇，反 映個人成長心志，伊力卡山（《碼頭風雲》）也代入 個人經驗，偏偏選中飾演卡爾的新人也是同一路人， 令影片有濃得化不開仇父情結。占士甸與飾演父親的 梅斯對手戲時即興改對白，梅斯不斷向卡山投訴，二 人鏡頭外互不瞅睬，卡山樂於將這些角力原汁原味搬 上菲林。有影評指初出道的占士甸模仿白蘭度，但他 其實開了美國電影演繹神經質情緒的先河呢！
Dir: Elia Kazan USA 1955 115min Cast: James Dean, Julie Harris, Raymond Massey Another parable of the dysfunctional American family, evoking the Biblical story of Cain and Abel. Here, Dean works with the novel from John Steinbeck and direction of Elia Kazan to incarnate Cal, son of a patriarchal California former. Cal competes with his brother, Aron (Richard Davalos) for both paternal love and the awakening affections of a girlfriend Abra (Julie Harris). As he also struggles with social prejudices against the dramatic landscapes of California in a nation preparing to enter World War I, Dean masterfully situates American angst in the history, culture and the landscape of the West. 設映後座談會，講者陳志華，主持張偉雄 Post-screening seminar with Ernest Chan. Moderator: Bryan Chang
{
10
導演: 佐治史提芬 美國 1956 201分鐘 中文字幕 導演：尼古拉斯雷 美國 1955 111分鐘 中文字幕 紅衣的熱血反叛，藍牛的發光發冷──尼古拉斯雷的 色彩意符，大銀幕修復再現。當然，《阿飛正傳》經 典，因占士甸傷感的桀敖不馴原始形象，更因他的早 逝造就神話。但除此，《阿飛》還有更多更多。少 年的憤怒、反叛和異化，正面衝擊自滿自大的美國社 會；父母都無能去明白他們，三個年輕主角像受傷的 獸，拒絕跟美國的優越感同流合污。「為什麼我們要 這樣？」「因為你得做點什麼。」咀嚼對白，竟隱藏 更深病狀，那是質疑生命的虛妄，或曰存在主義。格 局不純，語焉不詳，更是影片魅力。《阿飛》是對時 代的顛覆，回看，竟然一直沒有過時。
Dir: Nicholas Ray USA 1955 111min Cast: James Dean, Natalie Wood, Sal Mineo, Jim Backus The ultimate troubled teen movie. James Dean, who would die before the film was released, shows up in eternal youth as a suburban problem kid seeking family and stability but finding only fleeting moments of escape and love. Problems at home with a weak father and domineering mother. Fights at school. Deadly car races. Gang rumbles, switchblades out. Confrontations with the police. And dreams. An epic of confusion, loss and mistrust with poignant performances by Dean, Natalie Wood and Sal Mineo, making this film the tragic myth of teenagers around the world. HKIFF presents a brilliantly restored print, once again in its eternal youth.
時間 地點 講者 主持
Time
9:15-10:15pm 《感官世界》放映後 Venue 香港科學館演講廳 Hong Kong Science Museum Lecture Hall Speaker 朗天 Long Tin Moderator 李焯桃 Li Cheuk-to
占士甸飾演Jett從窮小子搖身一變成石油巨富，本是 配角而已，佐治史提芬斯（《郎心如鐵》）的愛將 一直是伊莉莎白泰萊，心目中的「巨人」則是散發 著好男人氣質的洛克遜，然而始終是「缺憾」的占士 甸「偷走」了影片。上半部尾段Jett出手打洛克遜三 拳，不少觀眾覺得大快人心。下半部他不到十場戲， 卻讓影迷深刻感受到他老來模樣；富甲一方，卻孤獨 空虛，洛克遜又來跟他單挑，這次他只一臉張惶，最 後一個人醉臥豪華大廳。占士甸也以這一場沒有門徒 的「最後的晚餐」，為流星閃耀般的演藝事業鞠躬謝 幕。
Dir: George Stevens USA 1956 201min Cast: Elizabeth Taylor, Rock Hudson, James Dean Dean anchors a swirling family saga of class, race and love based on Edna Ferber’s novel of the Texas oil boom. While the story follows the lives of rancher Bick Benedict (Rock Hudson), his wife, East Coast socialite Leslie (Elizabeth Taylor) and their children, ranch hand Jett Rink (Dean) evolves from employee, to unwelcome neighbor, competitor and catalyst as oil changes the values of land and society in World War II. Ferber’s critique of racial discrimination and her complex generations of female characters enrich the panoramic plot, while Dean himself garnered an Oscar nomination for his final film.
14.6 Sat 六
James Dean 占士甸：阿飛不死 時間 地點 講者 主持
Time
4:30-5:30pm 《蕩母痴兒》放映後 Venue 香港藝術中心agnès b 電影院 HK Arts Centre agnès b. CINEMA! Speaker 陳志華 Ernest Chan Moderator 張偉雄 Bryan Chang
11 } 免費入場 Free admission 11Cantonese }} 粵語主講 Conducted in11 11
}
電影節發燒友2014 HKIFF Cine Fan 2014
入會即送門票四張* Join and Get 4 Free Tickets*
* 每場最多2張。門票數量有限，先到先得。 Max. 2 tickets per screenings. Tickets are available on a first-come, first-served basis.
Merry Christmas Mr. Lawrence
Au Hasard Balthazar
A Woman Called Abe Sada
Empire of Passion
戰場上的快樂聖誕
驢子巴特薩
7/6 8:45PM
實錄阿部定
14/6 8:30PM
15/6 2:30PM
15/6 4:15PM
愛之亡靈
米歲高齡辭世，作為一代電影大師，以及六十年
可洛斯楊素（1921-2014）於今年年初以九十二
Annie Hall 安妮荷爾 4/7 7:30PM
Giant
Amadeus Late Spring
巨人
晚春
15/6 7:00PM
莫扎特傳 20/7 5:00PM
19/7 4:30PM
Fee / 費用 # HK$10,000 Patron Privilege / 贊助會員 HK$120 Classic Privilege / 會員 HK$80 Student Privilege / 學生會員
由楊素的劇情長片《歸途》（1964）開始，他就持續 以其獨特的電影語言，展現戰爭的殘酷，描述鎮壓與
# 電影節發燒友(HKIFF Cine Fan) 2014年會籍有效期為發卡日至2014年12月31日。 HKIFF Cine Fan 2014 privilege is valid from the privilege card issue date to 31 December 2014.
入會的優惠細節及迎新禮品選擇，詳情請登入 Privilege details and welcome gift choices, please visit cinefan.com.hk
贊助會員▲及會員 Patron Privilege▲ and Classic Privilege 門票優惠 Ticket Promotion
折扣 Discount
電影節發燒友(HKIFF Cine Fan)節目及 夏日國際電影節各場正價門票 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* Regular-priced HKIFF Cine Fan Programme & Summer International Film Festival (SIFF) tickets Tickets of other programmes coorganised by HKIFFS and its partners*
八五折
▲
15% off
學生會員 (只限本地全日制學生申請) Student Privilege 門票優惠 Ticket Promotion
折扣 Discount
電影節發燒友(HKIFF Cine Fan)節目門票 (只限學生會員優惠，不設其他學生優惠票) 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 * Regular-priced HKIFF Cine Fan Programme tickets (No other student discount than Student Privilege) Tickets of other programmes co-organised by HKIFFS and its partners *
七折
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
30% off
Subject to final agreement from HKIFFS & its partners. HKIFFS reserves all rights and final decision to cancel or vary the discount offer.
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.
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： 香港國際電影節協會辦事處 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5時； 〈公眾假期除外〉
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 offices: 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)
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
楊 素
Miklós Jancsó & The Hungarian Long Take
贊助會員只限年滿18歲或以上人士申請。贊助會員獨享額外優惠，詳情請參閱cinefan.com.hk。 Patron Privilege is applicable to persons aged 18 or above. Extra privileges for Patron Privilege, please visit cinefan.com.hk.
網上申請：cinefan.com.hk
楊素曾獲1972年康城影展最佳導演及1990年威尼斯影 展終身成就獎。親眼看過他的電影，就會明白其中視 覺上的震撼，足以叫人驚嘆。他晚年仍有執導電影， 2012年就曾參與雜錦影片《匈牙利10+1》，拍攝其中 一段。貝拉塔爾稱楊素為匈牙利最偉大的導演，從貝 拉塔爾的電影，就可見楊素的影響無處不在。
匈 牙 利 長 鏡 頭 大 師
(For Hong Kong Full Time Students only)
* 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。
代匈牙利新浪潮的代表人物，他一直以鮮明的導演風 格與超長鏡頭見稱。《圍捕》（1966）令他在國際影 壇聲名鵲起，匈牙利大平原開始成為其作品裏恆常出 現的背景。代表作《紅軍與白軍》（1967）為長鏡頭 立下典範，充份利用闊銀幕經營畫面構圖。《紅色讚 歌》（1972）為他贏得康城影展最佳導演獎，以連綿 的長鏡頭表現農民抗爭與武力鎮壓。及後的《依麗釵 吾愛》（1974）取材希臘神話，在追求形式方面去得 更盡，鏡頭來得更長。
迫害，思考權力與暴力，探索革命的本質。他曾修讀 法律、民族誌與藝術史，開創出糅合歷史與政治、民 族戲劇、舞蹈和歌詠，以及高難度鏡頭調度的電影風 格。他儼然是電影的編舞家，在遼闊的外景空間，往 往調動數以百計演員，在平原上策馬奔馳，配合攝影 機運動及演員走位，以非常精心設計的場面調度與風 格化表演，成就了猶如舞蹈一般的長鏡頭美學。
M
iklós Jancsó (1921-2014) became one of Hungary’s most respected film directors in a career spanning five decades shaped by the rise and fall of communism in his homeland. His work was consistently characterized by a critical examination of Hungarian history and its resonances in the present – a position more allegorical in times of Russian domination but one that continued even after the end of that regime. His style was also distinctive – marked by long, sinuous camera shots and the presence of symbolic elements that recur across stories. But also versatile and inventive. Jancsó studied in Hungary and Romania (his mother’s homeland) before becoming a prisoner in World War II. Afterwards, he turned to film, including a decade that he spent learning craft through newsreels under early Communist rule. He made several films in the late 1950s and 1960s before gaining world attention with The Round-Up (1966), which competed at Cannes. The more controversial The Red and the White (1967) followed, whose Cannes screening was prevented by the events of May 1968.
Although Jancsó’s subsequent films continued to grapple with personal and philosophical conflicts of Hungarian history, he also became more involved with symbolic and stylized films during the 1970s, as well as engaging in a number of Italian co-productions. His reputation suffered although his pivotal film of 1985, Season of Monsters , while initially rejected by critics as self-parody has since been reread as a new gestational moment, which was, in fact, recognized at its screenings in Venice. This film also marked his turn to contemporary Hungarian stories that would become the hallmark of a newly successful career in the 1990s and 2000s. The Lords Lantern in Budapest (1999) marked a change of style and theme that revitalized Jancsó’s career. The satirical film and its five sequels produced through 1996 followed two gravediggers, Pepe and Kaka, in their perambulations around post-communist Hungary. The films both criticized younger generations for their lack of connection with the history that had so dominated Jancsó’s oeuvre and invited them as spectators through incorporation of popular musical groups.
13 }} 13
電影節發燒友2014 HKIFF Cine Fan 2014
入會即送門票四張* Join and Get 4 Free Tickets*
* 每場最多2張。門票數量有限，先到先得。 Max. 2 tickets per screenings. Tickets are available on a first-come, first-served basis.
Merry Christmas Mr. Lawrence
Au Hasard Balthazar
A Woman Called Abe Sada
Empire of Passion
戰場上的快樂聖誕
驢子巴特薩
7/6 8:45PM
實錄阿部定
14/6 8:30PM
15/6 2:30PM
15/6 4:15PM
愛之亡靈
米歲高齡辭世，作為一代電影大師，以及六十年
可洛斯楊素（1921-2014）於今年年初以九十二
Annie Hall 安妮荷爾 4/7 7:30PM
Giant
Amadeus Late Spring
巨人
晚春
15/6 7:00PM
莫扎特傳 20/7 5:00PM
19/7 4:30PM
Fee / 費用 # HK$10,000 Patron Privilege / 贊助會員 HK$120 Classic Privilege / 會員 HK$80 Student Privilege / 學生會員
由楊素的劇情長片《歸途》（1964）開始，他就持續 以其獨特的電影語言，展現戰爭的殘酷，描述鎮壓與
# 電影節發燒友(HKIFF Cine Fan) 2014年會籍有效期為發卡日至2014年12月31日。 HKIFF Cine Fan 2014 privilege is valid from the privilege card issue date to 31 December 2014.
入會的優惠細節及迎新禮品選擇，詳情請登入 Privilege details and welcome gift choices, please visit cinefan.com.hk
贊助會員▲及會員 Patron Privilege▲ and Classic Privilege 門票優惠 Ticket Promotion
折扣 Discount
電影節發燒友(HKIFF Cine Fan)節目及 夏日國際電影節各場正價門票 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* Regular-priced HKIFF Cine Fan Programme & Summer International Film Festival (SIFF) tickets Tickets of other programmes coorganised by HKIFFS and its partners*
八五折
▲
15% off
學生會員 (只限本地全日制學生申請) Student Privilege 門票優惠 Ticket Promotion
折扣 Discount
電影節發燒友(HKIFF Cine Fan)節目門票 (只限學生會員優惠，不設其他學生優惠票) 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 * Regular-priced HKIFF Cine Fan Programme tickets (No other student discount than Student Privilege) Tickets of other programmes co-organised by HKIFFS and its partners *
七折
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
30% off
Subject to final agreement from HKIFFS & its partners. HKIFFS reserves all rights and final decision to cancel or vary the discount offer.
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.
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： 香港國際電影節協會辦事處 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5時； 〈公眾假期除外〉
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 offices: 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)
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
楊 素
Miklós Jancsó & The Hungarian Long Take
贊助會員只限年滿18歲或以上人士申請。贊助會員獨享額外優惠，詳情請參閱cinefan.com.hk。 Patron Privilege is applicable to persons aged 18 or above. Extra privileges for Patron Privilege, please visit cinefan.com.hk.
網上申請：cinefan.com.hk
楊素曾獲1972年康城影展最佳導演及1990年威尼斯影 展終身成就獎。親眼看過他的電影，就會明白其中視 覺上的震撼，足以叫人驚嘆。他晚年仍有執導電影， 2012年就曾參與雜錦影片《匈牙利10+1》，拍攝其中 一段。貝拉塔爾稱楊素為匈牙利最偉大的導演，從貝 拉塔爾的電影，就可見楊素的影響無處不在。
匈 牙 利 長 鏡 頭 大 師
(For Hong Kong Full Time Students only)
* 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。
代匈牙利新浪潮的代表人物，他一直以鮮明的導演風 格與超長鏡頭見稱。《圍捕》（1966）令他在國際影 壇聲名鵲起，匈牙利大平原開始成為其作品裏恆常出 現的背景。代表作《紅軍與白軍》（1967）為長鏡頭 立下典範，充份利用闊銀幕經營畫面構圖。《紅色讚 歌》（1972）為他贏得康城影展最佳導演獎，以連綿 的長鏡頭表現農民抗爭與武力鎮壓。及後的《依麗釵 吾愛》（1974）取材希臘神話，在追求形式方面去得 更盡，鏡頭來得更長。
迫害，思考權力與暴力，探索革命的本質。他曾修讀 法律、民族誌與藝術史，開創出糅合歷史與政治、民 族戲劇、舞蹈和歌詠，以及高難度鏡頭調度的電影風 格。他儼然是電影的編舞家，在遼闊的外景空間，往 往調動數以百計演員，在平原上策馬奔馳，配合攝影 機運動及演員走位，以非常精心設計的場面調度與風 格化表演，成就了猶如舞蹈一般的長鏡頭美學。
M
iklós Jancsó (1921-2014) became one of Hungary’s most respected film directors in a career spanning five decades shaped by the rise and fall of communism in his homeland. His work was consistently characterized by a critical examination of Hungarian history and its resonances in the present – a position more allegorical in times of Russian domination but one that continued even after the end of that regime. His style was also distinctive – marked by long, sinuous camera shots and the presence of symbolic elements that recur across stories. But also versatile and inventive. Jancsó studied in Hungary and Romania (his mother’s homeland) before becoming a prisoner in World War II. Afterwards, he turned to film, including a decade that he spent learning craft through newsreels under early Communist rule. He made several films in the late 1950s and 1960s before gaining world attention with The Round-Up (1966), which competed at Cannes. The more controversial The Red and the White (1967) followed, whose Cannes screening was prevented by the events of May 1968.
Although Jancsó’s subsequent films continued to grapple with personal and philosophical conflicts of Hungarian history, he also became more involved with symbolic and stylized films during the 1970s, as well as engaging in a number of Italian co-productions. His reputation suffered although his pivotal film of 1985, Season of Monsters , while initially rejected by critics as self-parody has since been reread as a new gestational moment, which was, in fact, recognized at its screenings in Venice. This film also marked his turn to contemporary Hungarian stories that would become the hallmark of a newly successful career in the 1990s and 2000s. The Lords Lantern in Budapest (1999) marked a change of style and theme that revitalized Jancsó’s career. The satirical film and its five sequels produced through 1996 followed two gravediggers, Pepe and Kaka, in their perambulations around post-communist Hungary. The films both criticized younger generations for their lack of connection with the history that had so dominated Jancsó’s oeuvre and invited them as spectators through incorporation of popular musical groups.
13 }} 13
5.7 7:45pm 13.7 2:00pm
}
The Red and the White
6.7 5:30pm 20.7 8:30pm
} }
依麗釵吾愛
(Szegénylegények)
}
紅軍與白軍
圍捕
The Round-Up
6.7 2:30pm 19.7 7:00pm
Seminars 座談會
Electra, My Love (Szerelmem, Elektra)
(Csillagosok, katonák)
匈牙利 1966 90分鐘 楊素在國際影壇的成名作，個人風格已臻成熟，長鏡 頭已如行雲流水。1848年革命失敗的二十年後，荒 涼的大平原上，一座孤立的碉堡，囚禁著被圍捕的疑 犯。當權者要斬草除根，欲揪出曾經參與起義的游 擊隊員，於是威迫利誘囚犯互相揭發告密。在封閉的 環境裏，恐懼侵蝕人心，保命就得彼此出賣。倖存者 最後以為獲得特赦，然而希望燃起的瞬間，絕望亦緊 隨而來。楊素運用簡約對白，以布萊希特式的疏離效 果，呈現權力脅迫下的荒謬生存狀態。而這個十九世 紀革命份子被鎮壓的故事，亦讓當時共產鐵幕下的匈 牙利觀眾感同身受。 Hungary 1966 90min Cast: János Görbe, Zoltán Latinovits, Tibor Molnár
Unable to criticize the Soviet regime directly after the crackdown of 1956, Jancsó sought social parallels and parables in Hungarian history. This tense film of cause and betrayal focuses on prisoners in the aftermath of Lajos Kossuth’s failed revolutions of 1848 to tear Hungary from the Hapsburg crown. Using torture and trickery, guards turn prisoners against each other, although the cruelest twists of all come with the promise of freedom and redemption. Jancsó’s manipulation of the Hungarian landscape and his orchestration of powerful and suggestive story with few words earned him attention at Cannes and beyond.
匈牙利 1974 72分鐘 匈牙利／蘇聯 1967 90分鐘 本片是慶祝俄國「十月革命」五十周年的獻禮電影， 乃蘇聯、匈牙利「合拍片」，重塑當年共產黨紅軍與 擁護沙皇的白軍於伏爾加河畔對陣的慘烈戰況，但在 楊素手上，怎可能是歌功頌德的主旋律！無論哪一方 佔上風，只見生靈塗炭，沒有正義之師，沒有英雄， 甚至沒有主角，只有不斷的凌辱與殺戮，變相批判戰 爭的醜惡冷酷。楊素善用闊銀幕，亦示範了他的長鏡 頭威力，人物在廣闊的平原上，顯得格外渺小。白軍 命令護士在森林裏盛裝翩然起舞，紅軍拚死奮戰前唱 起激昂的《馬賽曲》，但都只是戰場上的棋子，落入 荒誕的人間地獄。 Hungary/USSR 1967 90min Cast: József Madaras, Tibor Molnár, András Kozák
What seems an unholy alliance of Jancsó and Soviet funding to produce a commemorative film of the October Bolshevik revolution in the USSR was derailed by the Hungarian’s critical eye on history. Focusing not on triumph but on Hungarian soldiers in the Russian civil war that followed, Jancsó produced a stylistically demanding film that also conveyed the heartlessness and meaninglessness of civil war in its absence of war film conventions, central characters or even clear moments of human connection. The USSR first reedited it towards more heroic propaganda and then banned it, although its style cemented the director’s global reputation. 設映後座談會，講者羅卡、劉嶔 Post-screening seminar with Law Kar and Lau Yam
{
14
於康城影展獲獎的《紅色讚歌》全片只有二十八個鏡 頭，《依麗釵吾愛》再下一城，更顯楊素調度場面駕 馭影像的爐火純青，用盡每本菲林拍攝單一鏡頭的長 度限制，只用了十二個鏡頭，以流麗運鏡與豐富畫 面，把匈牙利大平原變成舞台，重構希臘悲劇裏阿伽 門農女兒依麗釵的故事。遠征特洛伊的邁錫尼王阿伽 門農被妻子及其情夫所殺，謀朝篡位。滿懷悲憤的依 麗釵，一直等待流亡國外的弟弟回來，為父報仇，推 翻暴政。最後直升機從天而降，楊素借古喻今，繼續 思考革命與自由，在長鏡頭裏捕捉節奏與詩意，給古 典悲劇賦予現代感性。 Hungary 1974 72min Cast: Mari Töröcsik, György Cserhalmi, József Madaras
Another stylistically-sophisticated parable against repression completed under Soviet domination of his native Hungary. Here, Jancsó turns to the classical story of the daughter of King Agamemnon, whose family is torn apart by his murder by Queen Clytemnestra and her lover Aegisthus, unleashing human and divine debates over revenge and justice. Here, when the usurper Aegisthus allows his subjects to criticize his regime “freely,” we can still glimpse Jancsó’s preoccupation with the pain and frustrations of Hungary that within a few years would cast off Soviet domination and enter uncertain new worlds.
6.7 Sun 日
Miklós Jancsó & The Hungarian Long Take 匈牙利長鏡頭大師 楊素 時間 Time 地點 Venue 講者 Speaker
4:00-5:00pm 《紅軍與白軍》放映後 香港藝術中心agnès b 電影院 HK Arts Centre agnès b. CINEMA! 羅卡 Law Kar 劉嶔 Lau Yam
15 } 免費入場 Free admission } 粵語主講 Conducted in15Cantonese 15
}
5.7 7:45pm 13.7 2:00pm
}
The Red and the White
6.7 5:30pm 20.7 8:30pm
} }
依麗釵吾愛
(Szegénylegények)
}
紅軍與白軍
圍捕
The Round-Up
6.7 2:30pm 19.7 7:00pm
Seminars 座談會
Electra, My Love (Szerelmem, Elektra)
(Csillagosok, katonák)
匈牙利 1966 90分鐘 楊素在國際影壇的成名作，個人風格已臻成熟，長鏡 頭已如行雲流水。1848年革命失敗的二十年後，荒 涼的大平原上，一座孤立的碉堡，囚禁著被圍捕的疑 犯。當權者要斬草除根，欲揪出曾經參與起義的游 擊隊員，於是威迫利誘囚犯互相揭發告密。在封閉的 環境裏，恐懼侵蝕人心，保命就得彼此出賣。倖存者 最後以為獲得特赦，然而希望燃起的瞬間，絕望亦緊 隨而來。楊素運用簡約對白，以布萊希特式的疏離效 果，呈現權力脅迫下的荒謬生存狀態。而這個十九世 紀革命份子被鎮壓的故事，亦讓當時共產鐵幕下的匈 牙利觀眾感同身受。 Hungary 1966 90min Cast: János Görbe, Zoltán Latinovits, Tibor Molnár
Unable to criticize the Soviet regime directly after the crackdown of 1956, Jancsó sought social parallels and parables in Hungarian history. This tense film of cause and betrayal focuses on prisoners in the aftermath of Lajos Kossuth’s failed revolutions of 1848 to tear Hungary from the Hapsburg crown. Using torture and trickery, guards turn prisoners against each other, although the cruelest twists of all come with the promise of freedom and redemption. Jancsó’s manipulation of the Hungarian landscape and his orchestration of powerful and suggestive story with few words earned him attention at Cannes and beyond.
匈牙利 1974 72分鐘 匈牙利／蘇聯 1967 90分鐘 本片是慶祝俄國「十月革命」五十周年的獻禮電影， 乃蘇聯、匈牙利「合拍片」，重塑當年共產黨紅軍與 擁護沙皇的白軍於伏爾加河畔對陣的慘烈戰況，但在 楊素手上，怎可能是歌功頌德的主旋律！無論哪一方 佔上風，只見生靈塗炭，沒有正義之師，沒有英雄， 甚至沒有主角，只有不斷的凌辱與殺戮，變相批判戰 爭的醜惡冷酷。楊素善用闊銀幕，亦示範了他的長鏡 頭威力，人物在廣闊的平原上，顯得格外渺小。白軍 命令護士在森林裏盛裝翩然起舞，紅軍拚死奮戰前唱 起激昂的《馬賽曲》，但都只是戰場上的棋子，落入 荒誕的人間地獄。 Hungary/USSR 1967 90min Cast: József Madaras, Tibor Molnár, András Kozák
What seems an unholy alliance of Jancsó and Soviet funding to produce a commemorative film of the October Bolshevik revolution in the USSR was derailed by the Hungarian’s critical eye on history. Focusing not on triumph but on Hungarian soldiers in the Russian civil war that followed, Jancsó produced a stylistically demanding film that also conveyed the heartlessness and meaninglessness of civil war in its absence of war film conventions, central characters or even clear moments of human connection. The USSR first reedited it towards more heroic propaganda and then banned it, although its style cemented the director’s global reputation. 設映後座談會，講者羅卡、劉嶔 Post-screening seminar with Law Kar and Lau Yam
{
14
於康城影展獲獎的《紅色讚歌》全片只有二十八個鏡 頭，《依麗釵吾愛》再下一城，更顯楊素調度場面駕 馭影像的爐火純青，用盡每本菲林拍攝單一鏡頭的長 度限制，只用了十二個鏡頭，以流麗運鏡與豐富畫 面，把匈牙利大平原變成舞台，重構希臘悲劇裏阿伽 門農女兒依麗釵的故事。遠征特洛伊的邁錫尼王阿伽 門農被妻子及其情夫所殺，謀朝篡位。滿懷悲憤的依 麗釵，一直等待流亡國外的弟弟回來，為父報仇，推 翻暴政。最後直升機從天而降，楊素借古喻今，繼續 思考革命與自由，在長鏡頭裏捕捉節奏與詩意，給古 典悲劇賦予現代感性。 Hungary 1974 72min Cast: Mari Töröcsik, György Cserhalmi, József Madaras
Another stylistically-sophisticated parable against repression completed under Soviet domination of his native Hungary. Here, Jancsó turns to the classical story of the daughter of King Agamemnon, whose family is torn apart by his murder by Queen Clytemnestra and her lover Aegisthus, unleashing human and divine debates over revenge and justice. Here, when the usurper Aegisthus allows his subjects to criticize his regime “freely,” we can still glimpse Jancsó’s preoccupation with the pain and frustrations of Hungary that within a few years would cast off Soviet domination and enter uncertain new worlds.
6.7 Sun 日
Miklós Jancsó & The Hungarian Long Take 匈牙利長鏡頭大師 楊素 時間 Time 地點 Venue 講者 Speaker
4:00-5:00pm 《紅軍與白軍》放映後 香港藝術中心agnès b 電影院 HK Arts Centre agnès b. CINEMA! 羅卡 Law Kar 劉嶔 Lau Yam
15 } 免費入場 Free admission } 粵語主講 Conducted in15Cantonese 15
}
BAck to The Screen
7.6 6:00pm 4.7 7:30pm 19.7 2:30pm
銀幕再現
BAck to The Screen
12.7 2:30pm 20.7 5:00pm
銀幕再現
Annie Hall
Amadeus
安妮荷爾 導演：活地阿倫
美國 1977 93分鐘 中文字幕
他們邂逅，他們談論電影、文學、人生，他們分手， 他們嘗試揮揮手驅走遺憾。一段天 註定在紐約發生，穿越種種神經官 能症、性、自尊和想像迷霧，輕得 像雲最終好風如水的男女情事，進 出生活其實深嚼了時間，就是叫你 看得淡淡地心痛。無論你叫文青、 波希米亞，或者後來的優皮、布波 族，都可以在這裏找到身份的確認 點，因為那是無關乎種族、年齡、 文化差異以至性別的貼心實在。說 是活地阿倫的《男人四十》你未必 同意，是否他和戴安姬頓的真情剖 白更純屬八卦，不過一切場景對白 情節可視作為他倆度身訂造該無異 議，還在問一生一台戲的嚴肅純粹？這便是了。 1978 奧斯卡金像獎最佳影片、最佳導演、 最佳女主角、最佳原創劇本等
莫扎特傳 Dir: Woody Allen USA 1977 93min Cast: Woody Allen, Diane Keaton, Tony Roberts
導演：米路士科曼 美國 1984 180分鐘 中文字幕
Widely considered one of the finest comedies of all time, Annie Hall is Woody Allen’s masterwork – full of nakedly autobiographical touches and Allen’s signature neurotic, intelligent wit. The film is also a template for many of his subsequent films which feature himself as actor. It won four Academy Awards, including Best Picture and Best Director, beating popular nominees such as Star Wars . Here, Allen plays Alvy, a stand-up comic who is romantic yet insecure about love and sex. The story recounts his illfated and tumultuous relationship with the titular Annie Hall (Diane Keaton), which leads Alvy to wondering how it all ended up so badly. Funny, sad, painful, yet all the while illuminating in all the ways of human foibles.
天才其實是怎樣的？天縱英資惜命運多 舛才華與壽元成反比？在一切早成陳腔 濫調之前，存在與遺忘之間，的確留下 一層媚俗，不過在米路士科曼手裏， 媚俗卻能舉輕若重地轉化，改從半瘋的 競爭者音樂家薩里耶利角度，徹底揭示 了天才掩映下，凡人無法自處的悲劇。 梅利阿伯拉罕的演繹發揮，加倍讓觀眾 從傾斜的視點，同時予聖與凡一個立體 判斷。利鎖易破，名關難過，藝術家的 身後身，半虛還實，如夢未幻，更多得 瀰漫全片的樂音縈繞，幾疑真有形而上 的隱喻與救贖。電影當年橫掃奧斯卡， 一舉摘下八項金像獎，修復版放映新增 二十分鐘的導演版，更能深入人性內 核，還怵然以安然。
設映後談，講者登徒 Post-screening talk with Thomas Shin
{
16
1985 奧斯卡金像獎最佳影片、最佳導演、 最佳男主角、最佳原創劇本等
Dir: Milos Forman USA 1984 180min Cast: F. Murray Abraham, Tom Hulce, Jeffrey Jones
The winner of eight Academy Awards, including for Best Picture and Best Director, Amadeus is a grandly entertaining dramatic adaptation of Peter Shaffer's Broadway hit about the supposed rivalry between musical genius Mozart and court composer Antonio Salieri. Based upon a Viennese urban legend, the tale recounts the demise of Mozart through a confession by Salieri that recalls the events leading up to the genius’ betrayal. One Flew over the Cuckoo’s Nest director Milos Forman, who emigrated to the US after making Czech New Wave classics such as The Fireman’s Ball , deftly balances humor, music and suspense while giving us extremely fine performances, particularly from lead F. Murray Abraham. While the American accents are jarring, it takes nothing away from this rousing work.
設映後談，講者家明 Post-screening talk with Fung Ka-ming
17
}
BAck to The Screen
7.6 6:00pm 4.7 7:30pm 19.7 2:30pm
銀幕再現
BAck to The Screen
12.7 2:30pm 20.7 5:00pm
銀幕再現
Annie Hall
Amadeus
安妮荷爾 導演：活地阿倫
美國 1977 93分鐘 中文字幕
他們邂逅，他們談論電影、文學、人生，他們分手， 他們嘗試揮揮手驅走遺憾。一段天 註定在紐約發生，穿越種種神經官 能症、性、自尊和想像迷霧，輕得 像雲最終好風如水的男女情事，進 出生活其實深嚼了時間，就是叫你 看得淡淡地心痛。無論你叫文青、 波希米亞，或者後來的優皮、布波 族，都可以在這裏找到身份的確認 點，因為那是無關乎種族、年齡、 文化差異以至性別的貼心實在。說 是活地阿倫的《男人四十》你未必 同意，是否他和戴安姬頓的真情剖 白更純屬八卦，不過一切場景對白 情節可視作為他倆度身訂造該無異 議，還在問一生一台戲的嚴肅純粹？這便是了。 1978 奧斯卡金像獎最佳影片、最佳導演、 最佳女主角、最佳原創劇本等
莫扎特傳 Dir: Woody Allen USA 1977 93min Cast: Woody Allen, Diane Keaton, Tony Roberts
導演：米路士科曼 美國 1984 180分鐘 中文字幕
Widely considered one of the finest comedies of all time, Annie Hall is Woody Allen’s masterwork – full of nakedly autobiographical touches and Allen’s signature neurotic, intelligent wit. The film is also a template for many of his subsequent films which feature himself as actor. It won four Academy Awards, including Best Picture and Best Director, beating popular nominees such as Star Wars . Here, Allen plays Alvy, a stand-up comic who is romantic yet insecure about love and sex. The story recounts his illfated and tumultuous relationship with the titular Annie Hall (Diane Keaton), which leads Alvy to wondering how it all ended up so badly. Funny, sad, painful, yet all the while illuminating in all the ways of human foibles.
天才其實是怎樣的？天縱英資惜命運多 舛才華與壽元成反比？在一切早成陳腔 濫調之前，存在與遺忘之間，的確留下 一層媚俗，不過在米路士科曼手裏， 媚俗卻能舉輕若重地轉化，改從半瘋的 競爭者音樂家薩里耶利角度，徹底揭示 了天才掩映下，凡人無法自處的悲劇。 梅利阿伯拉罕的演繹發揮，加倍讓觀眾 從傾斜的視點，同時予聖與凡一個立體 判斷。利鎖易破，名關難過，藝術家的 身後身，半虛還實，如夢未幻，更多得 瀰漫全片的樂音縈繞，幾疑真有形而上 的隱喻與救贖。電影當年橫掃奧斯卡， 一舉摘下八項金像獎，修復版放映新增 二十分鐘的導演版，更能深入人性內 核，還怵然以安然。
設映後談，講者登徒 Post-screening talk with Thomas Shin
{
16
1985 奧斯卡金像獎最佳影片、最佳導演、 最佳男主角、最佳原創劇本等
Dir: Milos Forman USA 1984 180min Cast: F. Murray Abraham, Tom Hulce, Jeffrey Jones
The winner of eight Academy Awards, including for Best Picture and Best Director, Amadeus is a grandly entertaining dramatic adaptation of Peter Shaffer's Broadway hit about the supposed rivalry between musical genius Mozart and court composer Antonio Salieri. Based upon a Viennese urban legend, the tale recounts the demise of Mozart through a confession by Salieri that recalls the events leading up to the genius’ betrayal. One Flew over the Cuckoo’s Nest director Milos Forman, who emigrated to the US after making Czech New Wave classics such as The Fireman’s Ball , deftly balances humor, music and suspense while giving us extremely fine performances, particularly from lead F. Murray Abraham. While the American accents are jarring, it takes nothing away from this rousing work.
設映後談，講者家明 Post-screening talk with Fung Ka-ming
17
}
Top 20 Must-See 廿
大
必
Au Hasard Balthazar 驢子巴特薩
導演：羅拔布烈遜 法國 1966 95分鐘 一隻驢子擁有千里迢迢朝拜聖嬰獻上寶物的聖王名字， 巧妙轉換成受壓逼的無辜生命。殘 酷的人倫隨着牠的經歷徐徐揭示， 牠身邊的人和事、和牠具有平行命 運的少女、一切不幸與傷悲、難耐 的生活，統統融會無間，聚成可能 是布烈遜最詩意、最虔誠的一次光 影禱告。非職業演員、非演出、去 情緒化中介…… 種種布烈遜風格在 在強化了影片對無情不義的控訴。 不，也許不能稱為控訴，當觀眾真 正與動物，因而其實也是某個自己 相遇相接時，神入或同情，種種弦 外之音，均無法表達於萬一，強化 乃同時變成淨化。認識布烈遜也許 不能從本片開始，但肯定會在本片 得到最深刻及豐富的體會和領悟。 2012《視與聲》史上最偉大電影第十六位
看
8.6 2:30pm 14.6 8:30pm
Dir: Robert Bresson France 1966 95min Cast: Anne Wiazemsky, Walter Green, François Lafarge
Once described by Jean-Luc Godard as the equivalent in French cinema as Mozart is in German music, Robert Bresson, whose work is characterized by his unsentimental style and his unique way of stripping away ‘acting’, made what is frequently considered his best film with the spiritual and transcendent Au Hasard Balthazar . A deceptively simple story about the life of a donkey, this is ultimately a moving parable about a beast who suffers for the sins of man. From his start as a newborn and his first owner, the shy farm girl Marie, to his brief moment of glory as a circus animal and ultimately his demise, Bresson’s spare, observant gaze makes us empathize with the creature and ultimately relate to its humanity.
5.7 2:30pm 19.7 4:30pm
Late Spring
(Banshun)
晚春
導演：小津安二郎 日本 1949 108分鐘 演員：笠智眾、原節子、杉村春子
Dir: Ozu Yasujiro Japan 1949 108min Cast: Ryu Chishu, Hara Setsuko, Sugimura Haruko
原節子的出現，使此作成為小津的 里程碑。她與笠智眾此後佔據了小 津影片大量空間，變奏的《麥秋》 與《秋日和》亦由原節子主演，同 是講待嫁女兒的故事。也是從這兒 開始，簡單的切割鏡頭與工整的畫 面，成了小津作品的基本文法，經 此過濾的情感，都變得剔透玲瓏。 紀子活在眼中只有父親的天地裏， 心上人從身邊溜走，她半點不覺可 惜。父親編了一個續弦的謊話，紀 子才肯披上嫁衣裳，卻不曉得父親 將默默面對孤獨餘生。父女生活圈 子圍繞着茶道、能劇等日本文化傳 統，配合着不徐不疾的畫面，可見別過庶民劇的 小津，正走往人生另一境界。
Though less renowned than Tokyo Story , Late Spring is the Real McCoy for Ozuphiles, and the master’s own favourite. Where else can the ordinary gesture of peeling an apple achieve such profound emotional impact? The incomparable Hara Setsuko makes her debut in an Ozu film, the first of many legendary father-daughter pairings with Ryu Chishu. Set in historic Kamakura, where Ozu himself resided, against a genteel and civilized background of kimonos, tea ceremonies and Noh plays, is a story of heartbreaking beauty. It is about ties of love, devotion and duty, that bind and eventually sever the intimate relationship between widower and his nubile daughter.
2012《視與聲》史上最偉大電影第十五位
#15 in Sight & Sound’s 2012 Greatest Films of All Time Poll
#16 in Sight & Sound’s 2012 Greatest Films of All Time Poll
設映後談，講者王勛 Post-screening talk with Geoffrey Wong
{
18
設映後談，講者黃愛玲 Post-screening talk with Wong Ain-ling
19
}
Top 20 Must-See 廿
大
必
Au Hasard Balthazar 驢子巴特薩
導演：羅拔布烈遜 法國 1966 95分鐘 一隻驢子擁有千里迢迢朝拜聖嬰獻上寶物的聖王名字， 巧妙轉換成受壓逼的無辜生命。殘 酷的人倫隨着牠的經歷徐徐揭示， 牠身邊的人和事、和牠具有平行命 運的少女、一切不幸與傷悲、難耐 的生活，統統融會無間，聚成可能 是布烈遜最詩意、最虔誠的一次光 影禱告。非職業演員、非演出、去 情緒化中介…… 種種布烈遜風格在 在強化了影片對無情不義的控訴。 不，也許不能稱為控訴，當觀眾真 正與動物，因而其實也是某個自己 相遇相接時，神入或同情，種種弦 外之音，均無法表達於萬一，強化 乃同時變成淨化。認識布烈遜也許 不能從本片開始，但肯定會在本片 得到最深刻及豐富的體會和領悟。 2012《視與聲》史上最偉大電影第十六位
看
8.6 2:30pm 14.6 8:30pm
Dir: Robert Bresson France 1966 95min Cast: Anne Wiazemsky, Walter Green, François Lafarge
Once described by Jean-Luc Godard as the equivalent in French cinema as Mozart is in German music, Robert Bresson, whose work is characterized by his unsentimental style and his unique way of stripping away ‘acting’, made what is frequently considered his best film with the spiritual and transcendent Au Hasard Balthazar . A deceptively simple story about the life of a donkey, this is ultimately a moving parable about a beast who suffers for the sins of man. From his start as a newborn and his first owner, the shy farm girl Marie, to his brief moment of glory as a circus animal and ultimately his demise, Bresson’s spare, observant gaze makes us empathize with the creature and ultimately relate to its humanity.
5.7 2:30pm 19.7 4:30pm
Late Spring
(Banshun)
晚春
導演：小津安二郎 日本 1949 108分鐘 演員：笠智眾、原節子、杉村春子
Dir: Ozu Yasujiro Japan 1949 108min Cast: Ryu Chishu, Hara Setsuko, Sugimura Haruko
原節子的出現，使此作成為小津的 里程碑。她與笠智眾此後佔據了小 津影片大量空間，變奏的《麥秋》 與《秋日和》亦由原節子主演，同 是講待嫁女兒的故事。也是從這兒 開始，簡單的切割鏡頭與工整的畫 面，成了小津作品的基本文法，經 此過濾的情感，都變得剔透玲瓏。 紀子活在眼中只有父親的天地裏， 心上人從身邊溜走，她半點不覺可 惜。父親編了一個續弦的謊話，紀 子才肯披上嫁衣裳，卻不曉得父親 將默默面對孤獨餘生。父女生活圈 子圍繞着茶道、能劇等日本文化傳 統，配合着不徐不疾的畫面，可見別過庶民劇的 小津，正走往人生另一境界。
Though less renowned than Tokyo Story , Late Spring is the Real McCoy for Ozuphiles, and the master’s own favourite. Where else can the ordinary gesture of peeling an apple achieve such profound emotional impact? The incomparable Hara Setsuko makes her debut in an Ozu film, the first of many legendary father-daughter pairings with Ryu Chishu. Set in historic Kamakura, where Ozu himself resided, against a genteel and civilized background of kimonos, tea ceremonies and Noh plays, is a story of heartbreaking beauty. It is about ties of love, devotion and duty, that bind and eventually sever the intimate relationship between widower and his nubile daughter.
2012《視與聲》史上最偉大電影第十五位
#15 in Sight & Sound’s 2012 Greatest Films of All Time Poll
#16 in Sight & Sound’s 2012 Greatest Films of All Time Poll
設映後談，講者王勛 Post-screening talk with Geoffrey Wong
{
18
設映後談，講者黃愛玲 Post-screening talk with Wong Ain-ling
19
}
Screening Schedule
場地 Venues
放映時間表
AC SM GC
香港藝術中心agnés b.電影院 香港灣仔港灣道二號 Hong Kong Arts Centre agnés b. CINEMA 2 Harbour Road, Wanchai, Hong Kong 香港科學館演講廳 香港九龍尖沙咀東部科學館道二號 Hong Kong Science Museum Lecture Hall, 2 Science Museum Road, Tsimshatsui East, Kowloon 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
June 六 月 日期 Date
7/6
8/6
Sat 六
July 七 月 時間 Time
座談會：免費入場，粵語主講 Seminar: Free admission/ Conducted in Cantonese
地點 Venue 片名 Film
14:30 18:00 20:45
AC AC AC
The Midnight After 那夜凌晨，我坐上了旺角開往大埔的紅VAN q 3 q Annie Hall 安妮荷爾 Merry Christmas Mr. Lawrence 戰場上的快樂聖誕 q
Sun 日 14:30 17:15 19:30
AC AC AC
Au Hasard Balthazar 驢子巴特薩 The Catch 飼育 Night and Fog in Japan 日本的夜與霧
13/6 Fri 五
19:30 21:15
SM SM
In the Realm of the Senses 感官世界 Seminar on Oshima Nagisa 大島渚座談會
14/6 Sat 六
14:30 16:30 18:00 20:30
AC AC AC AC
East of Eden 蕩母痴兒 Seminar on James Dean 占士甸座談會 Rebel Without a Cause 阿飛正傳 Au Hasard Balthazar 驢子巴特薩
15/6 Sun 日 14:30 16:15 19:00
AC AC AC
A Woman Called Abe Sada 實錄阿部定 Empire of Passion 愛之亡靈 Giant 巨人
22/6 Sun 日 14:30
GC
Merry Christmas Mr. Lawrence 戰場上的快樂聖誕
4/7
Fri 五
19:30
AC
Annie Hall 安妮荷爾
q
5/7
Sat 六
14:30 17:30 19:45
AC AC AC
Late Spring 晚春 Night and Fog in Japan 日本的夜與霧 The Round-Up 圍捕
q
Sun 日 14:30 16:00 17:30 19:30
AC AC AC AC
The Red and the White 紅軍與白軍 Seminar on Miklós Jancsó 楊素座談會 Electra, My Love 依麗釵吾愛 The Catch 飼育
3
6/7
q
3
11/7 Fri 五
19:30
AC
A Woman Called Abe Sada 實錄阿部定
12/7 Sat 六
14:30 18:30 21:00
AC AC AC
Amadeus 莫扎特傳 East of Eden 蕩母痴兒 In the Realm of the Senses 感官世界
q
13/7 Sun 日 14:00 16:00 19:45
AC AC AC
The Round-Up 圍捕 Giant 巨人 Empire of Passion 愛之亡靈
q
q
18/7 Fri 五
19:30
AC
Merry Christmas Mr. Lawrence 戰場上的快樂聖誕
q
Ticketing Information 購 票 須 知
19/7 Sat 六
14:30 16:30 19:00
AC AC AC
Annie Hall 安妮荷爾 Late Spring 晚春 The Red and the White 紅軍與白軍
q
門票於2014年5月14日起公開發售 Tickets available from 14 May 2014 onwards
20/7 Sun 日 14:00 17:00 20:30
AC AC AC
May We Chat 微交少女 Amadeus 莫扎特傳 Electra, My Love 依麗釵吾愛
q q
q q
於香港藝術中心及香港科學館放映之電影節發燒友 (HKIFF Cine Fan) 場次： HKIFF Cine Fan screenings at HK Arts Centre & HK Science Museum: 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)
Booking：城市電腦售票處 / URBTIX Outlets 售票處購票 Counter Booking： Booking：cinefan.com.hk / www.urbtix.hk 網上訂票 Online Booking： Booking：2111 5999 信用卡電話訂票 Credit Card Booking： Enquiries：3761 6661 票務查詢 Ticketing Enquiries： 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. 於香港科學館放映之場次：香港科學館不設城巿電腦售票處，臨時售票櫃位於電影開映前30分鐘提供服務，即場發售剩餘門票，只接受現金付款。 Screenings at HK Science Museum: There is no URBTIX counter sales at the Hong Kong Science Museum. Door ticket counter opens 30 minutes before the screening. Limited tickets to non sold-out screenings will be available at the door, subject to availability (Cash Only).
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 電腦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. www.cityline.com 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
3 q
q
q 中文字幕 Chinese Subtitles 3 設映後談 Post-screening talk 導演將出席映後座談會 Post-screening discussion with the director 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 《戰場上的快樂聖誕》Merry Christmas Mr. Lawrence : $75 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 Booking：cinefan.com.hk / www.thegrandcinema.com.hk 網上訂票 Online Booking： Booking：3983 0033 信用卡電話訂票 Credit Card Booking： 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. # The Grand Cinema放映場次之門票經由The Grand Cinema（網上、電話及票房）發售。 # Tickets for screenings at The Grand Cinema available at The Grand Cinema (via Internet Booking, Phone Booking or Box Office). 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。All screenings offer free seating.
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2014年8月8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。
以上優惠只適用於城市電腦售票處的售票櫃檯、網上及電話購票（適用於香港藝術中心及香港科學館之放映場次）或The Grand Cinema票房 （適用於The Grand Cinema之放映場次）。 The above offer is applicable to URBTIX Outlets, online and telephone booking (for screenings at HK Arts Centre and HK Science Museum) or Box Office at The Grand Cinema (for screenings at The Grand Cinema). 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.
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.
惡劣天氣之放映安排 Arrangements under Inclement Weather Conditions
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 8 August 2014. Refund cheques will be sent to ticket holders by post. (All services fees will not be refunded).
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.
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.
Enquires：cinefan.com.hk / 2970 3300 / info@hkiff.org.hk 節目查詢 Programme Enquires：
Screening Schedule
場地 Venues
放映時間表
AC SM GC
香港藝術中心agnés b.電影院 香港灣仔港灣道二號 Hong Kong Arts Centre agnés b. CINEMA 2 Harbour Road, Wanchai, Hong Kong 香港科學館演講廳 香港九龍尖沙咀東部科學館道二號 Hong Kong Science Museum Lecture Hall, 2 Science Museum Road, Tsimshatsui East, Kowloon 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
June 六 月 日期 Date
7/6
8/6
Sat 六
July 七 月 時間 Time
座談會：免費入場，粵語主講 Seminar: Free admission/ Conducted in Cantonese
地點 Venue 片名 Film
14:30 18:00 20:45
AC AC AC
The Midnight After 那夜凌晨，我坐上了旺角開往大埔的紅VAN q 3 q Annie Hall 安妮荷爾 Merry Christmas Mr. Lawrence 戰場上的快樂聖誕 q
Sun 日 14:30 17:15 19:30
AC AC AC
Au Hasard Balthazar 驢子巴特薩 The Catch 飼育 Night and Fog in Japan 日本的夜與霧
13/6 Fri 五
19:30 21:15
SM SM
In the Realm of the Senses 感官世界 Seminar on Oshima Nagisa 大島渚座談會
14/6 Sat 六
14:30 16:30 18:00 20:30
AC AC AC AC
East of Eden 蕩母痴兒 Seminar on James Dean 占士甸座談會 Rebel Without a Cause 阿飛正傳 Au Hasard Balthazar 驢子巴特薩
15/6 Sun 日 14:30 16:15 19:00
AC AC AC
A Woman Called Abe Sada 實錄阿部定 Empire of Passion 愛之亡靈 Giant 巨人
22/6 Sun 日 14:30
GC
Merry Christmas Mr. Lawrence 戰場上的快樂聖誕
4/7
Fri 五
19:30
AC
Annie Hall 安妮荷爾
q
5/7
Sat 六
14:30 17:30 19:45
AC AC AC
Late Spring 晚春 Night and Fog in Japan 日本的夜與霧 The Round-Up 圍捕
q
Sun 日 14:30 16:00 17:30 19:30
AC AC AC AC
The Red and the White 紅軍與白軍 Seminar on Miklós Jancsó 楊素座談會 Electra, My Love 依麗釵吾愛 The Catch 飼育
3
6/7
q
3
11/7 Fri 五
19:30
AC
A Woman Called Abe Sada 實錄阿部定
12/7 Sat 六
14:30 18:30 21:00
AC AC AC
Amadeus 莫扎特傳 East of Eden 蕩母痴兒 In the Realm of the Senses 感官世界
q
13/7 Sun 日 14:00 16:00 19:45
AC AC AC
The Round-Up 圍捕 Giant 巨人 Empire of Passion 愛之亡靈
q
q
18/7 Fri 五
19:30
AC
Merry Christmas Mr. Lawrence 戰場上的快樂聖誕
q
Ticketing Information 購 票 須 知
19/7 Sat 六
14:30 16:30 19:00
AC AC AC
Annie Hall 安妮荷爾 Late Spring 晚春 The Red and the White 紅軍與白軍
q
門票於2014年5月14日起公開發售 Tickets available from 14 May 2014 onwards
20/7 Sun 日 14:00 17:00 20:30
AC AC AC
May We Chat 微交少女 Amadeus 莫扎特傳 Electra, My Love 依麗釵吾愛
q q
q q
於香港藝術中心及香港科學館放映之電影節發燒友 (HKIFF Cine Fan) 場次： HKIFF Cine Fan screenings at HK Arts Centre & HK Science Museum: 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)
Booking：城市電腦售票處 / URBTIX Outlets 售票處購票 Counter Booking： Booking：cinefan.com.hk / www.urbtix.hk 網上訂票 Online Booking： Booking：2111 5999 信用卡電話訂票 Credit Card Booking： Enquiries：3761 6661 票務查詢 Ticketing Enquiries： 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. 於香港科學館放映之場次：香港科學館不設城巿電腦售票處，臨時售票櫃位於電影開映前30分鐘提供服務，即場發售剩餘門票，只接受現金付款。 Screenings at HK Science Museum: There is no URBTIX counter sales at the Hong Kong Science Museum. Door ticket counter opens 30 minutes before the screening. Limited tickets to non sold-out screenings will be available at the door, subject to availability (Cash Only).
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 電腦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. www.cityline.com 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
3 q
q
q 中文字幕 Chinese Subtitles 3 設映後談 Post-screening talk 導演將出席映後座談會 Post-screening discussion with the director 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 《戰場上的快樂聖誕》Merry Christmas Mr. Lawrence : $75 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 Booking：cinefan.com.hk / www.thegrandcinema.com.hk 網上訂票 Online Booking： Booking：3983 0033 信用卡電話訂票 Credit Card Booking： 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. # The Grand Cinema放映場次之門票經由The Grand Cinema（網上、電話及票房）發售。 # Tickets for screenings at The Grand Cinema available at The Grand Cinema (via Internet Booking, Phone Booking or Box Office). 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。All screenings offer free seating.
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2014年8月8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。
以上優惠只適用於城市電腦售票處的售票櫃檯、網上及電話購票（適用於香港藝術中心及香港科學館之放映場次）或The Grand Cinema票房 （適用於The Grand Cinema之放映場次）。 The above offer is applicable to URBTIX Outlets, online and telephone booking (for screenings at HK Arts Centre and HK Science Museum) or Box Office at The Grand Cinema (for screenings at The Grand Cinema). 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.
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.
惡劣天氣之放映安排 Arrangements under Inclement Weather Conditions
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 8 August 2014. Refund cheques will be sent to ticket holders by post. (All services fees will not be refunded).
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.
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.
Enquires：cinefan.com.hk / 2970 3300 / info@hkiff.org.hk 節目查詢 Programme Enquires：
cinefan.com.hk
cinefan.com.hk
Jun/Jul
Programmes
六、七月節目
Long Live the Rebel
大島渚的顛覆美學（二）
六、七月節目
占士甸：阿飛不死
Jun/Jul Programmes
Oshima Nagisa James Dean Radical Vision II 主辦 Presenter
{
24
資助機構 Financially Supported by
主辦 Presenter
資助機構 Financially Supported by
25
}