Cine Fan May/Jun/Jul 2021 Programme by HKIFF

May Jun Jul 2021

CIne fan

德格拉斯薛克 SIRK

世故之內凡俗之外

Cinefan 2021 05-07 Artwork.indd 33

法斯賓達 FASSBINDER

Films to Love and Films to Die For

30/3/2021 下午10:42

May Jun Jul 2021

Contents

To Sirk with Love, The Films of Douglas Sirk 愛以其道德格拉斯薛克

Cinema Heritage: From The Film Foundation 光影珍藏：電影基金會

The Golden Age 黃金時代

9 Restored Classics 修復經典

影片放映格式請參閱Cine Fan網頁 Screening format information please refer to the Cine Fan website 除特別註明外，所有非英語對白電影皆設有英文字幕。 Unless otherwise stated, all non-English speaking films are subtitled in English.

主辦 Presented by

Cinefan 2021 05-07 Artwork.indd 30

31/3/2021 上午11:15

香港藝術中心灣仔港灣道2號 Hong Kong Arts Centre 2 Harbour Road, Wanchai

The Grand Cinema 尖沙咀柯士甸道西1號圓方商場2樓 2/F, Elements, 1 Austin Road West, Tsim Sha Tsui

大館賽馬會立方 JC Cube, Tai Kwun 中環荷李活道10號 10 Hollywood Road, Central

K11 Art House 尖沙咀梳士巴利道18號 Victoria Dockside K11 MUSEA L4樓層 Level 4, K11 MUSEA, Victoria Dockside, 18 Salisbury Road, Tsim Sha Tsui

香港藝術中心古天樂電影院 Hong Kong Arts Centre Louis Koo Cinema 灣仔港灣道2號 2 Harbour Road, Wanchai

Back to the Screen 銀幕再現

An Obsession to Die For, Rainer Werner Fassbinder 絕世痴迷法斯賓達

Ticketing Information 購票須知

28 Screening Schedule 放映時間表

語言 Language (語言代碼 Language Code: ISO 639-2/B)

節目夥伴 Programme Partner

Cinefan 2021 05-07 Artwork.indd 31

字幕 Subtitles

默片 Silent

合作夥伴 Supporters

30/3/2021 下午10:42

RESTORED

修復典 CLASSIC

Cinefan 2021 05-07 Artwork.indd 2

30/3/2021 上午8:07

上

世紀五十年代荷里活黃金時期，是德格拉斯薛克通俗女人戲的高峰。他的巧手通俗劇，

往往褒貶不一，當時評論界鄙夷不屑，但電影極賣座，女性觀眾愛死了他戲中的恩怨愛恨，催淚感人。59年《春風秋雨》後金盤洗手到瑞士安享

晚年。七十年代起，歐洲不少新電影悍將如高達及法斯賓達等為他翻案，評論界才嚴肅地認定，薛克是偉大的作者導演，他以德國移民的眼睛看美國，透過通俗劇對美國戰後的物質主義，悄悄地作了不少精銳的批判和顛覆。

薛克的電影生涯可分為兩階段。他四十歲前都在德國度過，少年時已愛上舞台劇，舞台及電影導演雙棲；37年因政治傾向轉往美國發展，43年在

荷里活拍成《希特拉的瘋子》，事業在五十年代臻至頂峰，《地老天荒不了情》、《深鎖春光一

院愁》、《苦雨戀春風》及《春風秋雨》被視為他的力作，更一手捧紅了洛赫遜，成為五、六十年代炙手可熱小生。

薛克深諳布萊希特，但自言對美國通俗劇類型一見鍾情，故此完全依隨荷里活片廠制度。他常思考戲（play）及悅（pleasure）的關連，明白戲

一定要取悅觀眾。他認為與舞台劇相比，電影是技術媒體，導演必須對燈光、場景、氛圍和人物成竹在胸。他視導演為故事改造者，一切技術先行，他戲裏編劇可不斷更換，但布景、攝影、音樂、美術指導及剪接，差不多一直維持不變。他拿手的是場面調度，在瘋狂又荒謬而往往自相矛盾的情節中，以至如泣如訴的「快樂結局」裏埋下反諷的引子，讓觀眾領悟和發掘。

TO SIRK WITH LOVE THE FILMS OF DOUGLAS SIRK One of classical Hollywood's supreme stylists, Douglas Sirk raised the melodrama to an art form with his expressionist imagery and critical view of post-war America as an affluent society where – haunted by the fear of failure – private misery hid behind a facade of confidence. Appearances reign supreme in Sirk's intensely optical cinema: characters are often trapped in mirror reflections, unable to free themselves from society’s gaze. Sirk’s expressionism came from his German background: working with cinematographer Russell

individual's authentic self was hopelessly lost. Sirk straddled high and low culture effortlessly: he was equally at home adapting Faulkner or Remarque as he was working with popular fiction. Indeed, his artistry in utilizing the resources of pop culture – Rock Hudson as matinee idol, Frank Skinner's kitsch music, and other forms of "bad taste" – to fashion his ironic view of America has endeared him as the godfather of camp to such later filmmakers influenced by his style as Fassbinder, Almodóvar, Todd Haynes, and John Waters.

Metty – who remarked that they shot melodramas like

Once misunderstood as cheap or vulgar, Sirk’s

film noir – Sirk created a blatantly artificial world full of

melodramas are now properly appreciated for both

dramatic, shadowy contrasts in lighting and filled with

their hysterical excesses and subversively Freudian

garish colours, in which the larger-than-life emotions of

view of sexual repression in conservative, Eisenhower-

his characters reverberated within a hall of mirrors that

era America, replete with outrageous phallic imagery

was Sirk's vision of image-obsessed America, where an

critical of the period’s patriarchy.

Cinefan 2021 05-07 Artwork.indd 3

30/3/2021 上午8:07

Images courtesy of Park Circus/Universal

公認是薛克的代表作之一，開啟通俗劇的黃金時代。奧斯卡影后珍惠文，配初出道的英俊小生洛赫遜，演繹萊德格拉斯同名原著中的兜轉宿緣。花花公子卜因一次快艇意外，令本有美好家庭的海倫先淪為寡婦，後更失明。卜痛悔不已，易名相伴，開展了一段不離不棄又磨難重重的苦戀。薛克將通俗劇推向愛恕恩義的漩渦，卜痴情不息，以愛來償還海倫，攝影師羅素梅蒂放射特藝七彩魅力，令不問回報的愛散發動人色彩，珍惠文更憑此片第四度提名奧斯卡影后。

Magnificent Obsession 地老天荒不了情

美國 USA 1954 108min

Cast: Jane Wyman, Rock Hudson, Agnes Moorehead 奧斯卡金像獎最佳女主角提名 Academy Awards: Best Actress nomination

1.5

17:30 TK

4.7

14:30 AH

An object lesson in how Sirk's camp aesthetic turns trash into gold: will an egoistic playboy find redemption and become a distinguished neurosurgeon after he accidentally blinds a widow who is the object of his unrequited love? The sheer outrageousness of the premise would be off-putting enough in the hands of others, but Sirk revels in the melodramatic excess of this parable of "pay it forward" altruism, lavishing on it his trademark expressionist visuals. The film's success cemented Sirk's partnership with producer Ross Hunter at Universal, as well as cinematographer Russell Metty and stars Hudson and Wyman, marking the beginning of a series of landmark melodramas that would come to define the genre.

《地老天荒不了情》賣座，薛克找珍惠文與洛赫遜再譜姊弟戀。中年寡婦生活富裕，子女成材，情傾風趣外向率真敢言的園丁，欲許終身之際，子女們深表遺憾， Images courtesy of Park Circus/Universal

壓力四方八面湧至。愛情和婚姻，來到薛

All That Heaven Allows

The most beloved and well-known of Sirk's melodramas is at once an affecting romance and a withering critique of post-war, small-town America, with its repressively conformist ethos. When a widow of means falls in love with her free-thinking, much younger gardener, the relationship leads to gossip and condemnation from her family and the community. All That Heaven Allows brings together all the key collaborators – stars Rock Hudson and Jane Wyman, cinematographer Russell Metty, and producer Ross Hunter – for the most perfect realisation of the Sirkian aesthetic, and has been hugely influential on such later filmmakers as Rainer Werner Fassbinder, Pedro Almodóvar, and Todd Haynes.

深鎖春光一院愁

美國 USA 1955 89min

Cast: Jane Wyman, Rock Hudson, Agnes Moorehead

1.5

20:10 TK

26.6 18:00 AH

克這位風格家手上，幕幕濃得化不開的特藝七彩攝影，扭盡心思的場面調度，以愛挑戰世俗道德規範，將階級藩籬拍出揪心之痛。難怪德國新電影悍將法斯賓達大受感動，奉薛克為明燈，還啟發他拍成《恐懼蝕人心》（1974），向這位「女性電影」大師致意。

Cinefan 2021 05-07 Artwork.indd 4

30/3/2021 上午8:07

《殺夫報》（1944）的芭芭拉史丹域與佛烈麥梅利重聚，寃侶變舊情人藕斷絲連。玩具商事業有成，奈何被太太與子女們冷落；美麗舊同事突然登門造訪，令平板沉

There s Always Tomorrow 斷腸春夢

悶的中產生活激起漣漪。薛克原打算以彩色攝製，卻被片廠拒絕，然老拍檔羅素梅蒂扭轉乾坤，黑白陰影中婚外情暗湧連

2.5

連，美國中產家庭的天真、冷漠和保守原形畢露，個人自由處處受家人制約，可憐復可悲。紅顏沒謀財害命，倒悄然引退，示範了愛是顧全大局，也輕輕卸下了對成

美國 USA 1955 84min

Cast: Barbara Stanwyck, Fred MacMurray, Joan Bennett

功男人的深刻批判。 Unusually for a melodrama, There's Always Tomorrow focuses on the domestic woes of a male protagonist: an entrepreneur and pater familias who has yielded to the demands of work and family, losing his zest for life until it is rediscovered through the appearance of an old flame. If '50s America was the Eisenhower era when "father knew best", Sirk dismantles this facade of patriarchal confidence with a devastating portrait of masculinity and fatherhood in crisis. Reunited a dozen years after Double Indemnity (1944), Fred MacMurray and Barbara Stanwyck are electrifying in their scenes together, while the children here are even more callous and obnoxious than those in All That Heaven Allows .

被視為美國豪門恩怨戲的原型，石油大亨富二代凱爾與設計師露茜成婚，助手米奇乃竹馬之友，正直能幹忠心。凱爾因不育而每日酗酒消愁，竟懷疑米奇與妻有染，

17:30 TK

18.7 映後座談會講者登徒、王勛 Seminar with Thomas Shin and Geoffrey Wong

15:30 AC

Written on the Wind 苦雨戀春風

自此踏上了豪門淪落路。薛克以倒敘方式開篇，一樁命案將貴胄的瘋狂浮誇拍得絲

2.5

絲入扣，暗地裏以曲筆嘲諷紈絝子弟無能、迂腐和衰敗，敲響了美國富族的喪鐘，如警世寓言。演其花痴妹妹的桃樂妃瑪朗瘋癲耀眼，最後繼承家業極具反諷意味。西班牙鬼才艾慕杜華自言《苦雨戀春風》百看不厭，確不為過。 Sirk's masterpiece is an outlandishly lurid, Freudian family melodrama characteristically stylised to the hilt with garishly expressionist Technicolor visuals. The Hadleys own half the oil in Texas, but the heir to the empire is an alcoholic with fears of sexual impotence, while his sister sleeps around town as a nymphomaniac. The company geologist and a secretary become romantically entangled with the dysfunctional siblings, but desire everywhere remains frustrated and unfulfilled. Sirk's delirious critique of a capitalist patriarchy undermined by repressed libidinal impulses represents the giddiest heights of cinematic camp, as phallic imagery abound from pistols to oil wells.

美國 USA 1956 99min

20:40 TK

Cast: Rock Hudson, Lauren Bacall, Robert Stack, Dorothy Malone 奧斯卡金像獎最佳女配角 Academy Awards: Best Supporting Actress

11.7 15:00 AC

Cinefan 2021 05-07 Artwork.indd 5

30/3/2021 上午8:07

乘《苦雨戀春風》賣座之勢，薛克將心儀已久的福克納小說《標塔》搬上銀幕，三位福將繼續愛恨糾纏。大蕭條時代，羅拔史德飾演的飛行員沉醉於以亡命表演討生活，冷落嬌妻，記者洛赫遜被飛行員浪族生涯吸引，同時戀上偶像之妻。史德貫徹失敗者形象，自毀而堅離地逃避現實，桃樂妃瑪朗則一改放蕩變情癡。薛克自言極愛飛行題材，數場飛機空中較勁如死神之吻，一新耳目。被譽為薛克最自覺及最具野心之作，大師本尊亦視為自己最佳作品。

The Tarnished Angels 碧海青天夜夜心

美國 USA 1957 91min

Cast: Rock Hudson, Robert Stack, Dorothy Malone

8.5

17:30 AC

3.7

14:45 AH

Sirk had read with admiration William Faulkner's novel Pylon when it was published in the ’30s, and jumped at the opportunity to direct an adaptation reuniting him with the cast and producer of Written on the Wind . The title refers to a trio of barnstormers - a war hero turned stunt pilot addicted to racing his plane, his long-suffering wife, and a loyal mechanic devoted to them both - as seen through the eyes of an alcoholic reporter. Evocatively set during Mardi Gras in Depression-era New Orleans, The Tarnished Angels is a quintessentially Sirkian tale of failure - of individuals and a nation not living up to their promise - and a neglected masterpiece that is among the director's most poignant works.

薛克不顧關於二戰時德國士兵生活題材敏感，仍然專程往柏林取景，有說此舉為紀念他戰死沙場的兒子。二戰尾聲，駐守蘇聯戰線的德軍士兵，罕有獲三周休假回國，重遇舊同學及被視為政治犯的女兒，兩人一見鐘情火速成婚。純潔的愛情在廢墟般家園燃起，希望和絕望，快樂和苦痛，混而為一。全片以通俗劇形式反戰、反納粹、反殺戳，貫徹薛克荒謬反諷手法。英俊小生尊格溫一炮而紅，薛克視他為洛赫遜年輕版，讓他在《春風秋雨》裏演守護母女的癡情種。

A Time to Love and a Time to Die 無情戰地有情天美國 USA 1958 132min

Cast: John Gavin, Liselotte Pulver, Jock Mahoney 金球獎最佳男新演員 Golden Globe Awards: Most Promising Newcomer – Male

8.5

19:45 AC

10.7 14:30 AC

Sirk lost his son on the Eastern Front, and he uses this vividly nightmarish war film – shot in CinemaScope by Russell Metty – to take us on a dark journey to the end of the night, as a soldier on his furlough visits his hometown at the height of the Second World War, and falls in love amidst the horrors and absurdities of life in war-torn Nazi Germany. Erich Maria Remarque adapted his own novel and plays a key character, while Miklós Rózsa wrote the score. "I am going to write a madly enthusiastic review of Douglas Sirk’s latest film," wrote Godard, "simply because it set my cheeks afire." A young Klaus Kinski appears in a small role.

Cinefan 2021 05-07 Artwork.indd 6

30/3/2021 上午8:07

薛克重拍1934年尊史多露導演的同名電影，亦是他最後之作，透過兩對母女，創造了一個在男人世界掙扎求存的女性故事。二戰後，寡婦羅拉與女兒蘇絲來到紐

Imitation of Life 春風秋雨 (!(%()

約追逐演員夢，跟黑人寡婦安妮與女兒莎拉同住。羅拉為了事業犧牲了愛情和冷落女兒，換得星途燦爛，莎拉無法接受有色

美國 USA 1959 125min

人種身份，拋棄母親獨闖天下。薛克拍女

Cast: Lana Turner, John Gavin, Sandra Dee

性自強之路，從未如此不妥協又清晰，精

柏林影展競賽影片 Berlin International Film Festival: In Competition

煉營造母女對立，透視核心家庭的崩解和種族主義，打破通俗劇的快樂結局公式，心靈清明，從此收山。 Sirk's final film takes on renewed relevance in our time of Black Lives Matter, showing how the fair-skinned daughter of an African-American maid comes to hide her ethnicity and hate her blackness in response to societal discrimination. Sirk tells the story of two single mothers in parallel, as the maid's employer - a white woman - seeks success on stage to fulfill her career ambitions as an actress. Appearances and the desire for social recognition threaten to usurp the place of love, with a plethora of mirrors and reflected imagery throughout: a key visual motif characteristic of Sirk's mise-en-scene that is integral to his critique of '50s America.

改編自芬妮赫斯特同名小說，尊史多露忠於原著，比亞與女兒潔西相依為命，偶然認識黑人母女黛麗拉和女兒皮奧拉。黛麗拉因炮製班戟手藝出眾，比亞以其生意頭腦助她創業，開設餐廳，兩人由主僕變成生意夥伴。母親事業有成，皮奧拉卻受膚色種族困擾，斷絕母女關係出走。三十年代版本，將家庭、種族、親情和事業衝突集中於黑人母親身上。薛克59年開拍《春風秋雨》時未看過此片，情節背景人物關係不盡相同，不變則是女性自強和種族主義主題。 Two films directed by John M. Stahl - both adaptations of popular literature - were later remade by Douglas Sirk: Magnificent Obsession and this first attempt at filming Fannie Hurst's 1933 novel. Two single mothers - a white widow and her black housekeeper - form a strong bond over the years, but the maid's light-skinned daughter refuses to acknowledge her blackness, internalizing society's racism as a form of selfhatred directed towards her mother. Stahl's film differs from Sirk's with a lighter storyline for its white lead that is less critical of the American obsession with success and appearances, and a treatment of the black daughter's predicament that is not so overtly sexualised.

9.5

14:30 AC

金球獎最佳女配角 Golden Globe Awards: Best Supporting Actress

27.6

映後談講者林瀚光 Film talk with Derek Lam

19:30 AH

Imitation of Life 春風秋雨 (!(#$) 尊史多露

John M. Stahl 美國 USA 1934 111min

Cast: Claudette Colbert, Warren William, Rochelle Hudson

15.5 14:45 AC

奧斯卡金像獎最佳電影等三項提名 Academy Awards: 3 nominations including Best Picture 時代雜誌25部最具代表性種族電影之一 Time ’s Top 25 Important Films On Race

27.6 17:00 AH

Cinefan 2021 05-07 Artwork.indd 7

30/3/2021 上午8:07

難測婦人心

Leave Her to Heaven 榮登霍士四十年代最賣座電影神壇，大膽將黑色、心理驚慄、女性及通俗劇各類型挪移糅合，至今仍覺非同凡響。以莎士比亞哈姆雷特名句為片名，昭示女主角天賦的非凡命運。儼如希臘神話的希波

尊史多露

呂忒、賽蓮及美狄亞集於一身，珍泰妮飾演美艷絕倫的名媛，戀上

John M. Stahl 美國 USA 1945 110 min

Cast: Gene Tierney, Cornel Wilde, Jeanne Crain, Vincent Price 奧斯卡金像獎最佳攝影 Academy Awards: Best Cinematography 威尼斯影展競賽影片 Venice Film Festival: In Competition

映後談講者陳志華 Film talk with Ernest Chan

15.5 17:15 AC

26.6 15:15 AH

貌似父親的小說家，婚後愛得難捨難分，容不下任何人；小叔溺斃，胎兒流產，無所不用其極，甚至不惜自毀以達致完全佔有。荷里活奪命紅顏始祖之一，尊史多露以蔚為奇觀的特藝七彩，映襯詭譎陰寒的假面色相，艾慕杜華與托迪希恩斯亦甘拜為師。 A ravishing Technicolor masterpiece that became 20th Century Fox’s biggest box office hit of the 1940s, Leave Her to Heaven continues to spark critical debate more than seventy years later for its bold reinterpretation of established genres, and daring evocation of classical Greek mythology. At once film noir, psychological thriller and swooning melodrama, it stars a ferocious Gene Tierney as a beautiful young socialite, who draws Cornel Wilde’s successful yet unwitting novelist into a passionate affair, only to be overpowered by her intense jealousy and murderous possessiveness. Restored by Academy Film Archive and Twentieth Century Fox with funding provided by The Film Foundation.

Cinefan 2021 05-07 Artwork.indd 8

31/3/2021 上午1:09

RESTORED CLASSICS

修復經典

白頭偕老

Make Way for Tomorrow

李奧麥加利

Leo McCarey

李奧麥加利憑《春閨風月》（1937）榮膺奧斯卡最佳導演，曾言獎項錯配電影。繾綣心頭覺得實至名歸的，是同年公映的《白頭偕老》。鶼鰈情深半世紀，處身大蕭條的耄耋夫妻因失業多年，房子遭銀行沒收，被迫分開暫居子女公寓，卻備受冷落嫌棄。在各奔東西前，往最快樂的過去走一回；車站一別，心知可能後會無期。荷里活罕有觀照生命，風格節制沉實而不失幽默，窺探時代巨輪下變質的親情孝道，更瞥見人生的悲喜無奈，啟迪小津的《東京物語》（1953）。終結時莫失莫忘愛和尊嚴，直教奧遜威爾斯由衷感嘆「頑石也垂淚」。 When accepting the Best Director Oscar for The Awful Truth (1937), Leo McCarey remarked “Thanks, but you gave it to me for the wrong picture.” He was referring to Make Way for Tomorrow , released the same year, in which an elderly couple is forced to separate after they lose their house, and none of their children has the means to take them both in. Foreshadowing Ozu Yasujiro’s Tokyo Story (1953), McCarey’s heart-wrenching Depression-era drama depicts a country in a state of change, a film Orson Welles declared “would make a stone cry.”

美國 USA 1937 91 min

Cast: Victor Moore, Beulah Bondi, Fay Bainter, Thomas Mitchell

9.5

20:00 AC

18.7 17:30 AC

Cinefan 2021 05-07 Artwork.indd 9

30/3/2021 上午8:07

慾海情魔

Mildred Pierce 米高寇蒂斯

連發槍聲劃破寂靜，《北非諜影》（1942）金像導演米高寇蒂斯

Michael Curtiz

將黑色懸疑植入占士堅的心理小說，自編一宗謀殺案，以倒敘揭示

美國 USA 1945 111min

美國大蕭條下家庭的愛恨糾纏。死者臨終前呼喚的米爾德，本是屈

Cast: Joan Crawford, Jack Carson, Zachary Scott, Ann Blyth 奧斯卡金像獎最佳女主角 Academy Awards: Best Actress

身廚房的家庭主婦，經歷離婚、當女侍應、開設餐廳事業有成，繼而再嫁空心闊少爺，一心望為驕縱女兒帶來優裕生活，無奈未能滿足她的虛榮，屢屢姑息終致悲劇結局。鍾歌羅馥失意美高梅跳槽華納後首作，演繹獨立女性步步維艱入木三分，吐氣揚眉摘下演藝事業唯一奧斯卡后冠；被女兒刮一巴掌的經典一幕，那頹然跌坐的錯

映後談講者劉嶔 Film talk with Lawrence Lau

15.11

29.11

17:30 AC

19:45 AH

14:30 AC 9.5

19:30 AH 5.6

愕，也是對美國春夢的覺醒？ Transforming James M. Cain’s psychological novel as a murder mystery, Casablanca (1942) Oscar-winning director Michael Curtiz crafts a portrait of family dysfunction and toxic mother-daughter relationship with hard-boiled suspense and dramatic artifice. Told in flashback from the moment of her husband’s death, the gripping noir melodrama traces the treacherous life of Mildred, a housewife-turned-successful restauranteur, who is hell-bent on freeing her family from economic hardship, but suffers the humiliation of her cruel and ungrateful daughter. Reinventing herself in an iconic performance, Joan Crawford resuscitated her career and won her only Oscar.

Cinefan 2021 05-07 Artwork.indd 10

30/3/2021 上午8:07

夏日驚魂

Suddenly, Last Summer 富可將稀世食肉花移植到私人花園，貴婦卻敵不過上帝寵召獨生子的宿命。以重金助建醫院利誘年輕醫生孟甘穆利奇里夫，為失心瘋姪女進行腦白質切除手術，原來只為求愛兒的暗黑秘密消失人世，耽溺於母子情結永不願醒。田納西威廉斯筆下人吃人的世界何止是隱喻，執迷的瘋狂虎視着脆弱靈魂伺機而噬。約瑟曼基維茲任鏡頭凝神靜觀，精雕細琢的對話裏暗露解剖刀的機鋒，透出嘉芙蓮協賓懾人氣勢下掩不住的內心虛

約瑟曼基維茲

Joseph L. Mankiewicz 英國 UK／美國 USA 1959 114min

Cast: Elizabeth Taylor, Katharine Hepburn, Montgomery Clift

金球獎最佳女主角（劇情片） Golden Globe Awards: Best Actress (Drama)

怯，讓伊莉莎伯泰萊在精神崩潰裏迸發出撕心裂肺的狂號，在海斯法典的夾縫中，道破為世不容的同性戀、暗娼與亂倫。 Tennessee Williams’ unfathomable one-act, grotesque psychodrama reached its Gothic heights in this Joseph L. Mankiewicz’s adaptation. Unfolded with a striking monologue by Katharine Hepburn, a filthy-rich southern matron who entices a surgeon to lobotomise her hysterical niece, the melodramatic shocker gradually reveals the truth of her deceased son’s proclivities as the psychiatrist tries to probe his patient’s trauma. With its explicit ambiguity that slyly made it past the Production Code, Mankiewicz gets close to visually represent the forbidden, daringly manifested in Elizabeth Taylor’s climactic outcry that heralds beyond-thepale revelations of homosexuality, incest and cannibalism.

映後談講者博比 Film talk with Bobby Kwok

15.5 19:45 AC

5.6

17:00 AH

Cinefan 2021 05-07 Artwork.indd 11

30/3/2021 上午8:07

Back To The Screen

銀幕再現

曾經滄海難為水

Alice Doesn't Live Here Anymore 拍罷《窮街陋巷》（1973）的江湖混混，馬田史高西斯突來一部女

馬田史高西斯

性公路電影，同樣入型入格，教人五體投地。衰老公意外身亡，寡

Martin Scorsese

婦帶着兒子穿洲過省謀生而不忘追尋歌星夢的橋段，落在大師手上

美國 USA 1974 112min Cast: Ellen Burstyn, Alfred Lutter, Harvey Keitel, Kris Kristofferson

妙趣橫生，貼地庶民風味尤其颯爽。憑此片榮膺奧斯卡影后的艾蓮貝絲妲儼如愛麗絲上身，悲哭喜笑真性朗然；路上邂逅燥漢夏菲基圖與暖男基斯杜化遜擦出愛火，車內被鬼靈精兒子弄得啼笑皆非過癮抵死，與潑辣女侍應同事由交鋒到交心堪稱一絕。洋洋灑灑將荷里活式浪漫喜劇調度自如盡見功架，首拍人細鬼大的茱迪科士打，十二歲已技驚四座。 Alternating between gritty realism and amusing fantasy, Martin Scorsese’s witty blending of road movie with women’s self-realisation is a delightful departure from his male predominated gangster films. Ellen Burstyn gives a well-deserved Oscar-winning performance as the widow and mother, managing heartbreak and boisterous humour along her journey in search of a job and with hopes of reviving her abandoned singing career. Occasionally painful and sad, yet mostly rollicking and heartwarming, this exploration of human liberation, if not particularly women's, chants a most fascinating song of praise to independence of spirit.

奧斯卡金像獎最佳女主角 Academy Awards: Best Actress 英國電影電視藝術學院獎最佳電影、最佳劇本、最佳女主角、最佳女配角 BAFTA Awards: Best Film, Best Screenplay, Best Actress, Best Supporting Actress

8.5

14:45 AC

19.6 20:15 TK

Cinefan 2021 05-07 Artwork.indd 12

30/3/2021 上午8:07

Images courtesy of Park Circus/Universal

Back To The Screen

銀幕再現

幻夢成真

Field of Dreams 為了夢想，你可以走得多遠？半生循規蹈矩的農夫雷爾，聽見神秘聲音在耳邊縈繞：「若你建它，他就會來」。建什麼？他是誰？雷爾決定瘋狂一次，剷平粟米田，建成棒球場。有一天，他來了：是二十年代捲入假波醜聞而被終身禁賽的棒球巨星，回來延續他綠茵場上未竟之夢。然後，他也來了：是與棒球夢擦身而過、營營役役而終的亡

菲爾艾登羅賓遜

Phil Alden Robinson 美國 USA 1989 107min

Cast: Kevin Costner, James Earl Jones, Burt Lancaster

父。天堂何嘗不是在人間？夢想不只流於空談勵志，讓父子在幻夢中補償錯失的遺憾，真摯而情實。奇雲高士拿再演棒球片駕輕就熟；畢蘭加士打最後幕前演出，放下抱憾轉身而去，不諳棒球也足以動容。 Hearing a mystical voice urging “If you build it, he will come”, Ray, a dutiful farmer left musing over lost idealism, is propelled to answer the call. His haywire act of putting a baseball pitch amidst his crop heralds the arrival of ghostly Shoeless Joe, the baseball great who was brought low by throwing the 1919 World Series. Joe is given another chance to play again, and so is Ray – with his long-deceased father who missed his opportunity. A whimsical melodrama that skillfully amplifies baseball as a metaphor for living one’s dream, and a profound reflection on father-son relationship that still carries its emotional weight.

映後談講者家明 Film talk with Fung Ka-ming

16.5 14:30 AH

20.6 20:40 TK

Cinefan 2021 05-07 Artwork.indd 13

30/3/2021 上午8:07

Cinefan 2021 05-07 Artwork.indd 14

30/3/2021 上午8:17

Cinefan 2021 05-07 Artwork.indd 15

30/3/2021 上午8:17

這麼多年之後，也許我們還是無法接受法斯賓

法斯賓達是創作上的兼才，演員出身的他，身兼

們——儘管最後他沒離開歷史。三十七歲，剛憑

電影史上，他是有數被不斷研究的作者導演，作者

達（1945-82）那麼早便離開了電影，離開了我《過氣女星》拿下柏林影展金熊獎，便因服食過量藥物魂歸天國，死時身旁擱着下一部作品的筆記。英年早逝，令人握腕。

編劇、導演、演出，有時還擔當美術總監和剪接。論倡議者安德魯沙里斯就曾用整整一學期講授他的《中國輪盤》。

法斯賓達的早期作品帶有濃厚的前衛劇場風格（由

不過，假如有人說情願他消失，我們也不會感到奇

《愛比死更冷》〔1969〕到《死白仔》〔1971〕)，

百分之二百的爭議人物。他年少輟學，卻縱橫舞台

他流麗鏡頭下既被困亦自困的人物找到心靈契合，

怪。這位以各式暴力及控制狂稱著的天才導演，是及影棚，極度多產，在不足二十年的創作生涯裏，拍了四十多部電影、兩輯電視劇集、三部短片、四部錄像，更執導了二十四齣舞台劇。私生活上，他是著名的「壞孩子」，性伴侶有男有女，醜聞從未

間斷，但無損他身為德國新電影運動奠基者的聲譽。

七十年代初看過德格拉斯薛克的通俗劇後，彷彿從

醉心發展通俗劇（自《四季商人》以降），後期則

作出多方面的類型嘗試（「戰後女性三部曲」、《莉莉瑪蓮》、《霧港水手》等），被許為能有機結合布

萊希特間離劇場和法國新浪潮電影風格的影像派。他將悲劇宿命滲透入自我人生放於台上示眾，義無反顧，赤裸裸以生命創造傳奇。

節目夥伴 Programme Partner

Cinefan 2021 05-07 Artwork.indd 16

30/3/2021 下午10:42

絕世痴迷

法斯賓達

An Obsession to Die For Rainer Werner Fassbinder

Never an adorable son in his mother country, Rainer Werner Fassbinder (1945-82) is, beyond dispute, one of the most important directors of Germany's post-WWII era. A self-taught genius who never attended a film school, Fassbinder started his career as an actor, playwright and a director of avant-garde films. Along with his artistic versatility is his monstrous propensity of doing things his own way and manipulating anyone who entered his orbit. Always way ahead of his time, he remained a radical outsider in a bourgeois society. Fassbinder’s creative reawakening came in 1971, when he discovered the films of Douglas Sirk. As a bisexual man living in 1970s West Germany, Fassbinder felt a kinship with Sirk’s empathetic characters trapped by societal constraints. He channeled that inspiration with his own style of melodramas that subverted the genre while working within its thematic framework. His films often dealt with themes close to his heart,

including the racism he witnessed in the postwar reconstruction era (Ali: Fear Eats the Soul ), toxic relationships (Martha , Fox and His Friends ) and the plight of women in a society trying to rise above the ashes (The BRD Trilogy). Fassbinder’s life was even more colourful than his films. His relationships with both men and women – many of them his collaborators – are well documented, partly because they often served as his inspiration. In a Year with 13 Moons was a response to the tragic death of his former lover Armin Meier, and he dedicated The Bitter Tears of Petra von Kant to Irm Hermann, whose character of the long-suffering assistant clearly mirrored her own abusive relationship with the infamous director. Leaving an astonishing amount of work – 44 feature films, two TV series, different shorts and videos, and 24 plays – by the time of his death at age 37, Fassbinder was a tireless creator who often laid bare his soul for all to see, desperate to be understood.

Cinefan 2021 05-07 Artwork.indd 17

30/3/2021 下午10:42

殘兵退役回家，即被老母譏諷「好人早死，你卻回來」。上街賣梨，被老婆監視；求溺於醉鄉，卻困於暴力。當別人嗟嘆人生苦短，漢斯只嫌呼吸太長。當差被炒、無膽偷情，人生剩下重複工作與老婆嘮叨；背叛、原諒、再背叛，地平線等待他的只可能是虛無。法斯賓達受薛克影響後首部改變風格之作，敘事細緻綿長，刻劃角色有度，讓悲傷自然滲出，見證伺機崩壞的自毀生命。國際影壇從此對他另眼相看，他與依姆赫曼的無間合作擦出火花，啟動苦樂傳奇。

The Merchant of Four Seasons 四季商人

(Händler der vier Jahreszeiten) 西德 West Germany 1972 88min Cast: Hans Hirschmüller, Irm Hermann, Hanna Schygulla 德國電影獎最佳影片、最佳男主角及最佳女主角 German Film Awards: Best Feature Film, Best Actor and Best Actress

The first film of Fassbinder’s new creative phase is a stylistically self-aware story of a self-destructive man’s fall from grace. After being unceremoniously fired from the police force, Hans is now a fruit vendor whose never-ending frustrations with life turn him into an abusive bully. Even when his understanding wife helps him find small victories at work, Hans sinks into an existential crisis. Merciless in his comically melancholic depiction of arrested development, Fassbinder successfully reinvents himself as a thrilling new voice in the melodrama genre with this film.

16.5 17:15 AH

3.7

20:00 AH

成功時裝設計師柏特娜與拍檔瑪蓮同居，卻當她女傭役使；瑪蓮見盡她與家人、情人的愛恨糾結，卻彷彿對不可承受之虐甘之如飴。柏特娜對初入時尚界的卡蓮一見鍾情，從此不能自拔，幾乎把尊嚴雙手奉上。愛字頭上三把刀，男人固然不是好東西，女人的妒忌心與佔有慾燃燒起來，凶狠殘酷猶有過之。法斯賓達百分百的五幕女人戲，完美示範影機如何令劇場美學更上層樓。痴愛、寂寞與自虐的作者母題，如尖針直插觀眾心底，屬於看後一生難忘的傑作。網上放映 Online Screening

The Bitter Tears of Petra von Kant 柏特娜的苦淚

(Die bitteren Tränen der Petra von Kant) 西德 West Germany 1972 125min Cast: Margit Carstensen, Hanna Schygulla, Katrin Schaake, Irm Hermann

Fassbinder merges his love for Sirkian melodramas with his roots in theatre to thrilling results in one of his most acclaimed films, inspired by his own tumultuous affair with a young actor. Margit Carstensen gives an electrifying performance as a self-absorbed fashion designer who becomes consumed by her doomed love affair with an ingénue. Minimal in scale but flamboyant in emotions, Fassbinder’s meditation on loneliness can also be seen as a mea culpa, evident in his opening credits dedication to long-time collaborator Irm Hermann, who plays Petra’s silent, long-suffering assistant Marlene.

柏林影展競賽影片 Berlin International Film Festival: In Competition 德國電影獎最佳攝影、最佳女主角及最佳女配角 German Film Awards: Best Cinematography, Best Actress and Best Supporting Actress

16.5 19:30 AH

27.6 14:15 AH

2.7

CINE FAN ONLINE

Cinefan 2021 05-07 Artwork.indd 18

30/3/2021 下午10:42

花甲老婦邂逅比她年輕二十年的摩洛哥男子，一舞定情，虛稱共諧連理，怎知他當認真。子女都說她瘋了，更要命是男子的膚色，令街坊同事盡皆側目。一心以為有愛便能克服一切，卻不得不承認偏見和歧視才是人性根本。恐懼被孤立，害怕沒朋友，令本來相愛的人也只可彼此傷害。向薛克《深鎖春光一院愁》（1955）取經，法斯賓達以出色的調度，在演員入木三分的演繹下，折射出戀母隱喻、靈魂折磨、社會與階級批判，成就一代德國新電影經典。 Wandering into a bar one night, 60-year-old widow Emmi meets Ali, a much younger Moroccan man. The two unexpectedly fall in love, but their romance comes under threat from the intolerant attitude of those around them. In his reverent homage to Douglas Sirk, Fassbinder reworks Sirk’s All That Heaven Allows (1955) (which also inspired Todd Haynes’ Far from Heaven , 2002) into a quietly searing exposé of racism in 1970s Germany. Tragic, hopeful and cynical in equal measures, this heartrending melodrama is one of Fassbinder’s finest works and an iconic work of New German Cinema.

Ali: Fear Eats the Soul 恐懼蝕人心 (Angst essen Seele auf) 西德 West Germany 1974 93min Cast: Brigitte Mira, El Hedi ben Salem, Barbara Valentin 康城影展國際影評人聯盟獎及天主教人道精神獎 Cannes Film Festival: FIPRESCI Prize and Prize of the Ecumenical Jury

22.5 17:30 AH

26.6 20:10 AH

德國電影獎最佳女主角 German Film Awards: Best Actress

父親在羅馬旅行途中猝逝，瑪花回家後被歇斯底里的母親責難。拒絕了老闆的求婚，重遇片面之緣卻令她心跳難抑的富有工程師，以為找到真愛，誰知墜進無底黑洞，人生從此被吞噬。相貌堂堂的丈夫除了喜歡暴力性愛，還禁止她與外界聯絡，好不容易收養的黑貓也神秘死亡，瑪花唯有慌忙逃命。曾言看罷薛克電影領悟了愛情是最精良狡猾也最有效的社會壓迫工具，法斯賓達將性虐與被虐的相互依存關係刻劃得入木三分，愛慾從不須旁觀者置喙，信焉。 After her father’s abrupt death, virginal librarian Martha falls for civil engineer Helmut at first sight. But when they are married, Helmut’s controlling nature rears its ugly head – he forces her to read about his profession, sent in a resignation letter to the library on her behalf, and even disconnects their home’s telephone – and it’s too late for Martha to fight back. Fassbinder’s cynical attack on the institution of marriage employs Sirk’s classical visual trademarks to create a bleak examination into the sadist-masochistic nature of toxic relationships.

22.5 19:45 AH

17.7 17:30 AC

Martha

深閨怨婦

西德 West Germany 1974 116min Cast: Margit Carstensen, Karlheinz Böhm, Barbara Valentin, Peter Chatel 德國電影獎最佳女主角提名 German Film Awards: Best Actress nomination

Cinefan 2021 05-07 Artwork.indd 19

30/3/2021 下午10:42

馬戲團班主男友鎯鐺入獄，霍斯不名一文，唯有靠彩票翻身。幸運之神降臨頭上，但等待他的卻是無情的欺騙、歧視與剝削。以為與富公子相宿相棲可以躋身上流社會，到頭來愛情只是商品，財散盡便不值一顧。法斯賓達自演男主角，身披寫上「霍斯」珠片名字的牛仔褸，一副吊兒郎當，不羈裏有哀傷，純真夾雜蒼涼的外形，儼然是他夫子自況，身心內外的最佳寫照。片末霍斯在地下鐵站的遭遇，觀者無不心酸怵然，從而直視人性最低處，當有所悟？

Fox and His Friends 霍斯

(Faustrecht der Freiheit)

Fassbinder contemplates whether money can really buy love in his bittersweet tragicomedy. The writerdirector stars as Fox, a naïve former carnival worker who is quickly seduced into the upper class after winning 500,000 German marks in the lottery. To keep his snobby industrialist boyfriend Eugen pleased, Fox keeps throwing his money into the relationship until he is finally bled dry. Fassbinder continues with his cynical commentary on the economics of modern relationships and his fascination for characters who lose sensible judgment when love gets to their heads.

西德 West Germany 1975 123min Cast: Rainer Werner Fassbinder, Peter Chatel, Karlheinz Böhm 芝加哥國際電影節評審團特別獎 Chicago International Film Festival: Special Jury Prize

6.6

17:30 AH

11.7 19:25 AC

法斯賓達重拾前衛影像劇場風格之作，描繪一對中產夫婦欺瞞對方出差旅行，各自與情人幽會，卻神推鬼使在別墅碰個正着。以近乎完美的影機運動捕捉一場中國輪盤猜謎遊戲，將一眾人物有若棋子置於近鏡與反照下反覆審視，在互相猜度中牽引出潛藏內心的秘密。刻意安排一切的瘸腿女兒提出最後一問，直面德意志民族戰後最痛楚的自詰：法西斯真的過去了嗎？法斯賓達向對他影響極深的高達致敬，找來安娜卡蓮娜飾演情人，及《已婚婦人》女主角瑪莎梅希爾當配角。

Chinese Roulette 中國輪盤

(Chinesisches Roulette)

Gerhard (Allerson) tells his wife Ariane (Carstensen) that he’s going on a business trip, but he’s actually taking his French mistress (Karina) to the family mansion for a weekend tryst. But when Gerhard finds Ariane in the mansion with her lover (Lommel), the weekend getaway turns into a psychological battle of deception and betrayal. Fassbinder was given a larger budget for his first international co-production, but he delivered a denselypacked head-spinning return to his avant-garde roots that renowned film scholar Andrew Sarris once devoted an entire course to it.

西德 West Germany／法國 France 1976 86min Cast: Margit Carstensen, Alexander Allerson, Anna Karina, Ulli Lommel, Macha Méril

6.6

映後談講者朗天 Film talk with Long Tin

20:15 AH

11.7 17:20 AC

Cinefan 2021 05-07 Artwork.indd 20

30/3/2021 下午10:42

超越性別固然可以是神話，但在卑微的人間卻更可能是悲情夢話。艾雲為求滿足愛人慾求毅然變身艾薇拉，落得被歧視、被攻擊、被羞辱，甚至被剝奪做人的尊嚴，苦苦追求所愛卻只是徒然。她／他走過修道院、屠牛場憶起被遺棄、被凌虐的淒苦歲月，道盡人世情愛殘酷本相。法斯賓達以影片紀念自殺的前男友，十三個月亮代表人情緒最易高漲，也是最易交上惡運的一年。一如《苦雨戀春風》（1956）至死難休的情結，煉獄一早橫在跟前，不是咬咬牙就可挺過。 In the aftermath of his lover’s tragic death, Fassbinder produced one of his most empathetic films, a chronicle of the last days of a transgender woman. After being spurned by her lover, Elvira finds herself in one devastating encounter after another as she revisits the slaughterhouse where she worked as a man, an orphanage, and a cold-hearted former lover who has no memory of her. Desperate for love and acceptance in a cold, cruel world that has none to spare, Elvira is one of the most tragic characters in Fassbinder’s filmography.

In a Year with 13 Moons 十三個月亮

(In einem Jahr mit 13 Monden) 西德 West Germany 1978 124min Cast: Volker Spengler, Ingrid Caven, Gottfried John 芝加哥國際電影節最佳電影 Chicago International Film Festival: Bronze Hugo Best Film

12.6 19:45 AH

3.7

17:00 AH

映後談講者傅慧儀 Film talk with Winnie Fu

瑪麗亞的婚事從爆炸聲開始，希特拉的肖像畫破碎，嬰兒哭鬧，槍林彈雨，她和即將上前線的夏文簽下終身契約。之後夏文誤傳死訊，她為保生計，搭上美國黑人大兵，並懷了孩子，結果弄出人命。夏文頂罪入獄，不旋踵她成了富人情婦，一心賺一筆後與丈夫重新開始。假如愛就是犧牲，誰為誰付出更多？法斯賓達「戰後女性三部曲」首作，巧借荷里活奇女子通俗劇的精密格局，愛將漢娜舒古拉盡情演繹，敢愛敢恨，結局時觀眾除了隨同角色尖叫，別無選擇。 Maria Braun’s marriage began in a hail of gunfire and explosions, but it’s not even the most dramatic event in it. Fassbinder’s unique spin on classical Hollywood’s “woman’s pictures” follows a woman whose rise from the ashes in the aftermath of World War II parallels Germany’s post-war economic miracle. After a career of films that was more embraced abroad than at home, Fassbinder found long overdue recognition from German audiences with this offbeat epic. The film’s commercial and critical success even allowed Fassbinder to complete his “BRD Trilogy”.

The Marriage of Maria Braun 婚事

(Die Ehe der Maria Braun)

西德 West Germany 1979 120min Cast: Hanna Schygulla, Klaus Löwitsch, Ivan Desny, George Byrd 柏林影展最佳女主角銀熊獎 Berlin International Film Festival: Silver Bear for Best Actress

13.6 20:00 AH

10.7 17:15 AC

金球獎最佳外語片提名 Golden Globe Awards: Best Foreign Film nomination

Cinefan 2021 05-07 Artwork.indd 21

30/3/2021 下午10:42

二次大戰期間，德國歌后迷戀猶太作曲家，偏偏她的歌曲最能打動戰場上的納粹士兵，被軍方認為是激勵士氣的幸運象徵。致力挽救同胞免受納粹蹂躪的作曲家父親反對一對有情人來往，歌后的權勢友人也不容許她為愛投敵。好不容易待到戰爭結束，歌后欲重投愛人懷抱，無奈情天從不為她開眼。法斯賓達以薛克式的華麗運鏡，透現漢娜舒古拉時而低迴時而高張的矛盾面相，以歌后一生跌宕對照納粹興亡。一曲《莉莉瑪蓮》繞樑三日，幾疑只應天上有。

Lili Marleen 莉莉瑪蓮

西德 West Germany 1981 120min Cast: Hanna Schygulla, Giancarlo Giannini, Mel Ferrer

In an understatement and hyperbole resonating with Lili Marleen , a war-time song that united soldiers on both sides of the conflict, Fassbinder turned Lale Andersen’s memoirs into a lavish, grandiose wartime epic and one of his most ambitious films. When her melancholic ballad becomes a hit with soldiers on the battlefield, small-time German singer Willie Bunterberg is suddenly thrust into the spotlight as a superstar. But while the Nazis use Willie as their propaganda tool, her heart actually belongs to Robert, her Jewish lover in the antiNazi resistance.

19.6 14:30 TK

10.7 20:15 AC

「戰後女性三部曲」壓卷作，女主角羅拉是夜總會紅牌歌后，屈身為大鱷發展商的情婦。資本家自詡為自由市場的象徵，相信人人都有個價，慣於擺布別人的命運。忽然來了個新市政建築專員，有心矯正貪污歪風，還鍾情羅拉，難道正義竟來得及時？法斯賓達跟約瑟馮史登堡《藍天使》（1930）的妖嬈歌姬來一個對鏡互照，芭芭拉蘇高娃將雙面嬌娃的矛盾表現得淋漓盡致。殘酷現實從來不是非黑即白，就讓魔鬼披上糖衣色調，聰明人最好說一句：「我是快樂的。」

Lola

羅拉

The final film of Fassbinder’s BRD Trilogy is a loose reworking of Josef von Sternberg’s The Blue Angel (1930). In the town of Coburg, the implicit agreement among the city’s elites over reconstruction is threatened with the arrival of von Bohm, a straight arrow and the town’s new building commissioner. However, von Bohm finds himself falling head over heels for Lola, who works at the local brothel by night unbeknownst to him. Filmed in vivid colours, this breezy satire may be the closest that Fassbinder ever got to a romantic comedy.

西德 West Germany 1981 115min Cast: Barbara Sukowa, Armin Mueller-Stahl, Mario Adorf 德國電影獎最佳電影、最佳男主角及最佳女主角 German Film Awards: Best Film, Best Actor and Best Actress

19.6 17:20 TK

4.7

17:00 AH

Cinefan 2021 05-07 Artwork.indd 22

30/3/2021 下午10:42

過氣女星維羅妮卡在雨夜邂逅體育記者羅拔，很高興對方居然認不出她，過去她實在有太多輝煌，也有太多等待殞落的悲傷。記者逐漸發現她被女醫生用藥物操縱以謀奪財富，乃設法施以援手，誰料賠了女友性命，壞人仍紋風不動。影片根據德國五十年代著名影星施碧兒舒密斯的真事改編，屬「戰後女性三部曲」第二部，卻晚於《羅拉》公映，其凌厲冷酷的黑白影像為法斯賓達贏得柏林影展金熊獎，可惜卻成了他生前最後一部公映電影。 Though Fassbinder was influenced by Douglas Sirk throughout his career, the second film of his BRD Trilogy – based on the life of actress Sybille Schmitz – is more evocative of classic film noir. In post-war Munich, a reporter becomes obsessed with Veronika Voss, a Third Reich-era starlet who is held captive by a doctor who keeps her addicted to morphine. Unlike the other aspirational post-war heroines of the BRD Trilogy, Veronika is trapped in her memories of a glamorous past, falling prey to vultures who exploit her for their own benefit.

Veronika Voss 過氣女星

(Die Sehnsucht der Veronika Voss)

西德 West Germany 1982 104min Cast: Rosel Zech, Hilmar Thate, Cornelia Froboess 柏林影展最佳電影金熊獎 Berlin International Film Festival: Golden Bear for Best Film

20.6 14:30 TK

4.7

19:35 AH

映後座談會講者劉偉霖、王勛 Seminar with William Lau and Geoffrey Wong

四海為家的水兵在馬賽巧遇親兄弟，發現對方已成為一家惡名昭著的酒吧常客，並且與老闆娘珍摩露打得火熱。酒吧老闆歡迎狂蜂浪蝶看上他老婆，但開出跟他賭骰子的辣條件。兵哥來者不善，從容「應戰」，並且隨手將迎面而來的各種色誘殺機陷阱點撥開去。男女通吃的他固然對沾手血腥殊不介意，也似一早看穿一切如霧如電。法斯賓達身後才公映的遺作，將淫慾與暴力孤注一擲，押上最後的放縱與沉溺，儼然向世人宣示他理想中的自由人姿態。 Querelle is a handsome sailor who shares a complex love-hate relationship with his brother. When he arrives at the town of Brest, he is drawn into a seedy world of drugs, murder, and unbridled desire. Completed by Fassbinder just before his untimely death at age 37, this stylised “response” to Jean Genet’s 1947 novel is a consummation of the director’s favourite themes as well as a bold leap forward in cinematic depictions of queer desire. It’s an intriguing experiment that epitomised Fassbinder’s never-ending desire to innovate and evolve as a filmmaker.

Querelle

霧港水手（又名：水手奎萊爾）

西德 West Germany／法國 France 1982 108min Cast: Brad Davis, Franco Nero, Jeanne Moreau

20.6 18:00 TK

17.7 15:00 AC

威尼斯影展競賽影片 Venice Film Festival: In Competition

Cinefan 2021 05-07 Artwork.indd 23

30/3/2021 上午8:07

15/4

21:30

五光十色 Variety Lights

16/4

19:30

白酋長 The White Sheik

17/4

14:15

大路 La Strada

19:15

花街春夢 Nights of Cabiria

(四Thu)

(五Fri)

(六Sat)

21:40 16:45

21:45

18/4

(日Sun)

22/4 (四Thu)

23/4 (五Fri)

14:15

18:15

21:15

21:30