天情，未能在香港國際電影節如期舉行。大師倘尚在人世，大抵會以 意難料，「百年費里尼」電影全展傾力籌備而成，無奈難敵世紀疫
翩翩奇想把現實的無奈轉化為哀喜交並的光影夢幻，輕輕化解遺憾。猶 幸，全展終趕及歲末前登場，得以不負眾望。
真幻難辨，虛實相融。費里尼 (1920-1993) 從意大利新寫實主義冶煉出 如真似夢的自我風格，解開現實纏腳的繩索，飛向玄思無盡的天空。對 馬戲團的着迷，幻化為影像的奇詭絢麗，借小丑的幽默癲狂，釋放壓抑 慾望、諷喻塵世光怪陸離，建構個人感知「靈性的真實」。在《大路》 (1954) 的粗漢、《花街春夢》(1957) 的妓女以至《美男子》(1976) 的情 聖身上，得失錯落之間透照蒼生虛寂，人間悲喜更見澄明。
回憶似夢，狂想如詩。個人歷練對鏡自照，折射出《浪蕩兒》(1953) 的 迷惘混沌、《八部半》(1963）的靈感枯竭，人生與電影渾然一體。前半 生搭建家鄉里米尼的夢幻樂園，下半生鑄造羅馬的永恆神話，從豐饒土 壤孕育出《羅馬風情畫》(1972) 及《想當年》(1973) 的碩果。
目眩神迷，超凡入聖。在《露滴牡丹開》(1960) ，以流麗黑白對照燈紅 酒綠的糜亂浮誇；來到《神遊茱麗葉》(1965) 及《愛情神話》(1969) ， 則以濃艷色彩繪染放浪情色的蒼白虛空。在Cinecittà夢工場內呼風喚 雨，聲色光影運籌於掌握之間；時而重現暴君的酒池肉林，時而翻起大 海巨浪，穿越古今，建構盛世輝煌，也歷盡時代滄桑。 幻想、愛慾、恐懼、懊悔，費里尼將一生榮枯，盡傾於電影裏；觀仰百 年一夢，且聽《月吟》(1990) 裏臨別之言：「若我們靜下來，或會恍然 而悟。」
C
elebrating the 100th anniversary of Federico Fellini’s (19201993) birth, Cine Fan mounts a full retrospective of his cinematic works. In the fantastical world the Italian maestro invented, the anarchic juxtaposition of fantasy and reality finds its amazing resonance in 2020, a year of turmoil and absurdity that echoes his imaginings.
Transitioning from his roots in Italian Neorealism, Fellini invented a distinctive style of arty symbolism and whimsical surrealism. Spinning off from La Strada (1954) and Nights of Cabiria (1957), which saw him rise to international stardom, he blended authenticity with outlandish flights of imagery, seeing beyond the grotesque of his characters into the abyss of loneliness. What he conceived is a vision of life that is “spiritually realistic”, genuinely tender and compassionate. An autobiographical vein running through nearly all of his films – be it post-adolescent limbo in I Vitelloni (1953), glamorous indulgence in La Dolce Vita (1960), or artistic crisis in 8½ (1963) – he transfigured his childhood reminiscence in Rimini and personal adventure in Rome into whimsical artifice that reflect his own fascination. Inspired by a lifelong obsession with the circus, he constructed his beguiling universe of “carnivalesque” spectacle, dreamlike imagery and bizarre scenarios to explore themes of memory, desire and artistic expression. A marvelous ship sailing in a plastic ocean, Venetians indulging in 18th Century’s decadence, and a pagan journey through Nero’s Rome – Fellini’s visionary creations transcend time and space, yet are never away from the safe haven of Cinecittà. In the dream factory he became an omnipresent sorcerer, creating cinema only a magnificent few can equal, while contemplating its decline alongside his own mortality. Everything he was, everything he imagined – dreams and desires, fears and regrets – is put into his cinema. To know him is to watch his films, in silence – as the last words in The Voice of the Moon (1990): “If we all quieted down a little, maybe we’d understand something.”
Federico Fellini 100 是紀念電影大師費里尼（1920-1993）誕生百周年的巡迴計劃，由Luce Cinecittà的寶娜魯榭蘿及卡米拉歌曼妮籌劃，於世界主要博物館及電影機構舉行。除特別註明外，所 有影片由Luce Cinecittà、博洛尼亞電影資料館及意大利電影實驗中心數碼修復。
2
Federico Fellini 100 is part of the Federico Fellini 100 Tour, a series of centennial tributes to Federico Fellini (1920–1993), which will travel to major museums and film institutions worldwide, coordinated by Paola Ruggiero and Camilla Cormanni from Luce Cinecittà. All films (unless noted) have been digitally restored by Luce Cinecittà, Cineteca di Bologna and Cineteca Nazionale.
合辦 Co-organizer
全力支持 Proudly Supported by
節目夥伴 Festival Partner
3
天情，未能在香港國際電影節如期舉行。大師倘尚在人世，大抵會以 意難料，「百年費里尼」電影全展傾力籌備而成，無奈難敵世紀疫
翩翩奇想把現實的無奈轉化為哀喜交並的光影夢幻，輕輕化解遺憾。猶 幸，全展終趕及歲末前登場，得以不負眾望。
真幻難辨，虛實相融。費里尼 (1920-1993) 從意大利新寫實主義冶煉出 如真似夢的自我風格，解開現實纏腳的繩索，飛向玄思無盡的天空。對 馬戲團的着迷，幻化為影像的奇詭絢麗，借小丑的幽默癲狂，釋放壓抑 慾望、諷喻塵世光怪陸離，建構個人感知「靈性的真實」。在《大路》 (1954) 的粗漢、《花街春夢》(1957) 的妓女以至《美男子》(1976) 的情 聖身上，得失錯落之間透照蒼生虛寂，人間悲喜更見澄明。
回憶似夢，狂想如詩。個人歷練對鏡自照，折射出《浪蕩兒》(1953) 的 迷惘混沌、《八部半》(1963）的靈感枯竭，人生與電影渾然一體。前半 生搭建家鄉里米尼的夢幻樂園，下半生鑄造羅馬的永恆神話，從豐饒土 壤孕育出《羅馬風情畫》(1972) 及《想當年》(1973) 的碩果。
目眩神迷，超凡入聖。在《露滴牡丹開》(1960) ，以流麗黑白對照燈紅 酒綠的糜亂浮誇；來到《神遊茱麗葉》(1965) 及《愛情神話》(1969) ， 則以濃艷色彩繪染放浪情色的蒼白虛空。在Cinecittà夢工場內呼風喚 雨，聲色光影運籌於掌握之間；時而重現暴君的酒池肉林，時而翻起大 海巨浪，穿越古今，建構盛世輝煌，也歷盡時代滄桑。 幻想、愛慾、恐懼、懊悔，費里尼將一生榮枯，盡傾於電影裏；觀仰百 年一夢，且聽《月吟》(1990) 裏臨別之言：「若我們靜下來，或會恍然 而悟。」
C
elebrating the 100th anniversary of Federico Fellini’s (19201993) birth, Cine Fan mounts a full retrospective of his cinematic works. In the fantastical world the Italian maestro invented, the anarchic juxtaposition of fantasy and reality finds its amazing resonance in 2020, a year of turmoil and absurdity that echoes his imaginings.
Transitioning from his roots in Italian Neorealism, Fellini invented a distinctive style of arty symbolism and whimsical surrealism. Spinning off from La Strada (1954) and Nights of Cabiria (1957), which saw him rise to international stardom, he blended authenticity with outlandish flights of imagery, seeing beyond the grotesque of his characters into the abyss of loneliness. What he conceived is a vision of life that is “spiritually realistic”, genuinely tender and compassionate. An autobiographical vein running through nearly all of his films – be it post-adolescent limbo in I Vitelloni (1953), glamorous indulgence in La Dolce Vita (1960), or artistic crisis in 8½ (1963) – he transfigured his childhood reminiscence in Rimini and personal adventure in Rome into whimsical artifice that reflect his own fascination. Inspired by a lifelong obsession with the circus, he constructed his beguiling universe of “carnivalesque” spectacle, dreamlike imagery and bizarre scenarios to explore themes of memory, desire and artistic expression. A marvelous ship sailing in a plastic ocean, Venetians indulging in 18th Century’s decadence, and a pagan journey through Nero’s Rome – Fellini’s visionary creations transcend time and space, yet are never away from the safe haven of Cinecittà. In the dream factory he became an omnipresent sorcerer, creating cinema only a magnificent few can equal, while contemplating its decline alongside his own mortality. Everything he was, everything he imagined – dreams and desires, fears and regrets – is put into his cinema. To know him is to watch his films, in silence – as the last words in The Voice of the Moon (1990): “If we all quieted down a little, maybe we’d understand something.”
Federico Fellini 100 是紀念電影大師費里尼（1920-1993）誕生百周年的巡迴計劃，由Luce Cinecittà的寶娜魯榭蘿及卡米拉歌曼妮籌劃，於世界主要博物館及電影機構舉行。除特別註明外，所 有影片由Luce Cinecittà、博洛尼亞電影資料館及意大利電影實驗中心數碼修復。
2
Federico Fellini 100 is part of the Federico Fellini 100 Tour, a series of centennial tributes to Federico Fellini (1920–1993), which will travel to major museums and film institutions worldwide, coordinated by Paola Ruggiero and Camilla Cormanni from Luce Cinecittà. All films (unless noted) have been digitally restored by Luce Cinecittà, Cineteca di Bologna and Cineteca Nazionale.
合辦 Co-organizer
全力支持 Proudly Supported by
節目夥伴 Festival Partner
3
《八部半》的第一個「半」，首執導筒的
生命中難以忘懷的時光，許是那迷惘混
費里尼與拉圖亞達合導，更由兩位明星夫
沌，卻又對浮華夢想心嚮往之的青蔥歲
費里尼
人擔綱主演。鄉下姑娘嚮往舞台華麗風
月？費里尼自言避免重看自己的電影，唯
光，跟隨劇團踏上旅途，首次表演因走光
《浪蕩兒》例外。五個青年在海邊小鎮遊
阿爾拔圖拉圖亞達
意外爆紅。神魂顛倒的團長為了捧她不惜
手好閒，情聖奉子成婚卻仍拈花惹草，編
與團員鬧翻，更辜負體貼情人，犧牲一切
劇懷才不遇更險誤中圈套；唯獨最年輕的
換來卻是鳳凰飛上枝頭離他遠去。舞台上
決心出走，踏上火車啟程奔向不可知的未
五光十色，舞台下七零八落；雖不脫新寫
來。告別童真眷戀與成長責任之間的患得
實主義風格，卻早見費里尼對人生如戲的
患失，費里尼在現實與夢幻的鋼線上找到
深刻感悟，對流浪藝人的悲喜錯落嘲諷之
微妙平衡，確定風格鶴立之地，一舉摘下
餘寄予同情。馬仙娜鋒芒初露，贏得意大
威尼斯銀獅獎，亦深深影響了史高西斯的
利銀絲帶獎最佳女配角。
《窮街陋巷》（1973）。
Fellini’s directorial debut – the half credit that later forms part of the title of his masterpiece 8½ – is a stunning film in tandem with veteran Alberto Lattuada. Featuring their actresswives, it’s a bittersweet story of life among a vaudeville troupe turned topsy-turvy when a beautiful ingénue becomes a temptress to the unwary leader. Simultaneously a reflection of Fellini’s neorealist root and an anticipation of his miraculous future, Variety Lights demonstrates his deep affection for his characters – the quixotic outcasts who greet life’s disappointment with resilience, hope, and a little smile.
A film of “profound originality” as commended by André Bazin, this bleakly funny study of five young men adrift in the wasteland of their seacoast town signified a notable departure of Fellini towards his own distinctive path. The semi-autobiographical work of sharply drawn character sketches – skirt chaser, aspiring writer, dubious dreamer – takes a definitive plunge into many of Fellini’s thematic pre-occupations: post-adolescent limbo and life’s responsibilities, marriage and infidelity, provincial nostalgia and city dream. A powerful influence on Mean Streets (1973), as Martin Scorsese proudly acknowledges.
Federico Fellini
Alberto Lattuada
意大利 Italy 1950 100min
Cast: Peppino De Filippo, Carla Del Poggio, Giulietta Masina
意大利銀絲帶獎最佳女配角 Italian National Syndicate of Film Journalists: Silver Ribbon for Best Supporting Actress
14.11 17:30 AH
5.12 15:30 TK
意大利 Italy 1952 87min
Cast: Alberto Sordi, Leopoldo Trieste, Brunella Bovo, Giulietta Masina
威尼斯影展競賽影片 Venice Film Festival: In Competition
7.11 17:00 AC
5.12 18:00 TK
費里尼個人執導首作即獲邀參與威尼斯影
新寫實主義滲入超現實想像，黑白中創造
展競賽，大師筆觸早見端倪。新婚夫婦來
色彩幻覺，費里尼選擇無人走過的路，光
到羅馬度蜜月，名門丈夫安排了緊密行
影世界從此不一樣。置身意大利戰後的荒
程，新娘卻趁機溜走追星，排除萬難為一
涼，被母親賣掉的笨女孩以笑忘憂，粗暴
見連環小說主角白酋長。追夢冒險觸礁令
江湖賣藝漢自困怒恨，走綱線的傻子甘願
她張惶失措，向親友掩飾妻子失蹤亦令他
為愛犧牲。聖女、罪人、天使墮落塵世，
狼狽不堪。安東尼奧尼的小故事交到費里
何嘗不是一樣的寂寞？且借馬戲、巡遊的
尼手上，原本的辛酸諷刺多了幾分妙趣幽
嬉笑喧鬧聊以慰藉，小丑、畸零從此相伴
默，夢想與現實的落差轉悲為喜；汗與淚
費里尼萬里同行，讓繽紛夢幻輕輕化解人
流過，何妨一笑解千愁。馬仙娜飾演的風
生命途的苦澀。首獲奧斯卡最佳外語片之
塵女子驚鴻一瞥，精靈慧黠的風姿，成了
作，馬仙娜的純真幽默，為亂世留下一道
《花街春夢》的雛形。
寧謐舒心的風景。
This satirical comedy launches the maestro’s solo directorial venture and introduces his collision of fantasy and reality that carves his signature cinematic landscape. A pair of provincial newlyweds who arrive in Rome for honeymoon find themselves caught in romantic misadventure and embarrassment when the naïve young bride sets out to meet her heartthrob, The White Sheik, star of a “fumetti” photo-comic strip. The little story about delusion and humiliation written by Michelangelo Antonioni is embellished with Fellini’s humor and empathy – and a glimpse of Giulietta Masina as the prostitute Cabiria.
Taking a path less traveled, Fellini blends neorealism with bizarre flights of imagery into wildest fantasy, making his cinema both magical and wholly unique. In a folktale-like odyssey through the waste grounds of postwar Italy, three freighted characters - a sweet naïve girl, a brutal strolling strongman, and a kind-hearted mischievous fool - impart a poetic fable of love and cruelty. The circus, the parades and the seashore have since become “Felliniesque” visual trademarks, while La Strada triumphed as the first of his four Oscars for Best Foreign Language Film.
22.11 Cast: Alberto Sordi, Franco Fabrizi, Franco Interlenghi
威尼斯影展銀獅獎 Venice Film Festival: Silver Lion
5.12 20:30 TK
8.11 14:15 TK
6.12 20:30 TK
意大利 Italy 1954 107min
Cast: Anthony Quinn, Giulietta Masina, Richard Basehart
奧斯卡金像獎最佳外語片 Academy Awards: Best Foreign Language Film 威尼斯影展銀獅獎 Venice Film Festival: Silver Lion
4
18:00 TK
意大利 Italy 1953 108min
映後座談會講者陳志華、王勛 Seminar with Ernest Chan, Geoffrey Wong
5
《八部半》的第一個「半」，首執導筒的
生命中難以忘懷的時光，許是那迷惘混
費里尼與拉圖亞達合導，更由兩位明星夫
沌，卻又對浮華夢想心嚮往之的青蔥歲
費里尼
人擔綱主演。鄉下姑娘嚮往舞台華麗風
月？費里尼自言避免重看自己的電影，唯
光，跟隨劇團踏上旅途，首次表演因走光
《浪蕩兒》例外。五個青年在海邊小鎮遊
阿爾拔圖拉圖亞達
意外爆紅。神魂顛倒的團長為了捧她不惜
手好閒，情聖奉子成婚卻仍拈花惹草，編
與團員鬧翻，更辜負體貼情人，犧牲一切
劇懷才不遇更險誤中圈套；唯獨最年輕的
換來卻是鳳凰飛上枝頭離他遠去。舞台上
決心出走，踏上火車啟程奔向不可知的未
五光十色，舞台下七零八落；雖不脫新寫
來。告別童真眷戀與成長責任之間的患得
實主義風格，卻早見費里尼對人生如戲的
患失，費里尼在現實與夢幻的鋼線上找到
深刻感悟，對流浪藝人的悲喜錯落嘲諷之
微妙平衡，確定風格鶴立之地，一舉摘下
餘寄予同情。馬仙娜鋒芒初露，贏得意大
威尼斯銀獅獎，亦深深影響了史高西斯的
利銀絲帶獎最佳女配角。
《窮街陋巷》（1973）。
Fellini’s directorial debut – the half credit that later forms part of the title of his masterpiece 8½ – is a stunning film in tandem with veteran Alberto Lattuada. Featuring their actresswives, it’s a bittersweet story of life among a vaudeville troupe turned topsy-turvy when a beautiful ingénue becomes a temptress to the unwary leader. Simultaneously a reflection of Fellini’s neorealist root and an anticipation of his miraculous future, Variety Lights demonstrates his deep affection for his characters – the quixotic outcasts who greet life’s disappointment with resilience, hope, and a little smile.
A film of “profound originality” as commended by André Bazin, this bleakly funny study of five young men adrift in the wasteland of their seacoast town signified a notable departure of Fellini towards his own distinctive path. The semi-autobiographical work of sharply drawn character sketches – skirt chaser, aspiring writer, dubious dreamer – takes a definitive plunge into many of Fellini’s thematic pre-occupations: post-adolescent limbo and life’s responsibilities, marriage and infidelity, provincial nostalgia and city dream. A powerful influence on Mean Streets (1973), as Martin Scorsese proudly acknowledges.
Federico Fellini
Alberto Lattuada
意大利 Italy 1950 100min
Cast: Peppino De Filippo, Carla Del Poggio, Giulietta Masina
意大利銀絲帶獎最佳女配角 Italian National Syndicate of Film Journalists: Silver Ribbon for Best Supporting Actress
14.11 17:30 AH
5.12 15:30 TK
意大利 Italy 1952 87min
Cast: Alberto Sordi, Leopoldo Trieste, Brunella Bovo, Giulietta Masina
威尼斯影展競賽影片 Venice Film Festival: In Competition
7.11 17:00 AC
5.12 18:00 TK
費里尼個人執導首作即獲邀參與威尼斯影
新寫實主義滲入超現實想像，黑白中創造
展競賽，大師筆觸早見端倪。新婚夫婦來
色彩幻覺，費里尼選擇無人走過的路，光
到羅馬度蜜月，名門丈夫安排了緊密行
影世界從此不一樣。置身意大利戰後的荒
程，新娘卻趁機溜走追星，排除萬難為一
涼，被母親賣掉的笨女孩以笑忘憂，粗暴
見連環小說主角白酋長。追夢冒險觸礁令
江湖賣藝漢自困怒恨，走綱線的傻子甘願
她張惶失措，向親友掩飾妻子失蹤亦令他
為愛犧牲。聖女、罪人、天使墮落塵世，
狼狽不堪。安東尼奧尼的小故事交到費里
何嘗不是一樣的寂寞？且借馬戲、巡遊的
尼手上，原本的辛酸諷刺多了幾分妙趣幽
嬉笑喧鬧聊以慰藉，小丑、畸零從此相伴
默，夢想與現實的落差轉悲為喜；汗與淚
費里尼萬里同行，讓繽紛夢幻輕輕化解人
流過，何妨一笑解千愁。馬仙娜飾演的風
生命途的苦澀。首獲奧斯卡最佳外語片之
塵女子驚鴻一瞥，精靈慧黠的風姿，成了
作，馬仙娜的純真幽默，為亂世留下一道
《花街春夢》的雛形。
寧謐舒心的風景。
This satirical comedy launches the maestro’s solo directorial venture and introduces his collision of fantasy and reality that carves his signature cinematic landscape. A pair of provincial newlyweds who arrive in Rome for honeymoon find themselves caught in romantic misadventure and embarrassment when the naïve young bride sets out to meet her heartthrob, The White Sheik, star of a “fumetti” photo-comic strip. The little story about delusion and humiliation written by Michelangelo Antonioni is embellished with Fellini’s humor and empathy – and a glimpse of Giulietta Masina as the prostitute Cabiria.
Taking a path less traveled, Fellini blends neorealism with bizarre flights of imagery into wildest fantasy, making his cinema both magical and wholly unique. In a folktale-like odyssey through the waste grounds of postwar Italy, three freighted characters - a sweet naïve girl, a brutal strolling strongman, and a kind-hearted mischievous fool - impart a poetic fable of love and cruelty. The circus, the parades and the seashore have since become “Felliniesque” visual trademarks, while La Strada triumphed as the first of his four Oscars for Best Foreign Language Film.
22.11 Cast: Alberto Sordi, Franco Fabrizi, Franco Interlenghi
威尼斯影展銀獅獎 Venice Film Festival: Silver Lion
5.12 20:30 TK
8.11 14:15 TK
6.12 20:30 TK
意大利 Italy 1954 107min
Cast: Anthony Quinn, Giulietta Masina, Richard Basehart
奧斯卡金像獎最佳外語片 Academy Awards: Best Foreign Language Film 威尼斯影展銀獅獎 Venice Film Festival: Silver Lion
4
18:00 TK
意大利 Italy 1953 108min
映後座談會講者陳志華、王勛 Seminar with Ernest Chan, Geoffrey Wong
5
意大利 Italy／法國 France
1955 113min Cast: Broderick Crawford, Richard Basehart, Giulietta Masina
威尼斯影展競賽影片 Venice Film Festival: In Competition
14.11 19:45 AH
6.12 17:30 TK
意大利 Italy／法國 France
1957 118min Cast: Giulietta Masina, François Périer, Franca Marzi
奧斯卡金像獎最佳外語片 Academy Awards: Best Foreign Language Film 康城影展最佳女主角獎 Cannes Film Festival: Best Actress
7.11 19:00 AC
12.12 14:15 AH
三名市井之徒，假扮神父或政府官員招搖
擺明車馬諷刺上流社會聲色犬馬的糜爛浮
撞騙，令貧苦農民甘心捧上血汗錢。小白
誇，哪知影片面世即被全球觀眾爭相膜
臉沉醉風流快活，窮畫家擔心妻離子散，
拜，康城還頒來金棕櫚加冕，令費里尼與
老騙子想供久別重逢的女兒上大學……最
馬斯杜安尼頓成鎂光燈下名人，登上影史
大的圈套，難道是令人以為老騙子對受害
不朽殿堂，順帶將自創的「paparazzo」變
農家的殘障女兒動了惻隱之心，改邪歸
為跟蹤偷拍的潮流代名詞。費里尼讓羅馬
正？前承《大路》後啟《花街春夢》，鋒
夜色透亮，行雲流水的鏡頭隨馬斯杜安尼
芒稍遜的《騙子》更貼近塵世打滾邊緣人
穿梭如實似虛的幻境，交織出一幅恍如米
的滄桑寫照；行騙與被騙皆只是寂寞的囚
高安哲羅的現代羅馬浮世繪。從耶穌像飛
徒，各有各的無奈。費里尼幾近荷里活黑
越青空，到美艷女星安妮達愛寶許願泉嬉
色電影類型之作，就此告別新寫實主義，
水，意大利的優雅與頹靡，都在流麗光影
踏上夢幻旅程。
裏，永恆刻銘。
A trio of conmen pose as priests and civil servants to swindle ignorant poor farmers out of their savings. What begins as comedy turns sour and tragic, as the aging leader receives his comeuppance on a stony hillside, for his deceptive sympathy to a peasant’s crippled daughter. Made between La Strada and Nights of Cabiria , this noir-like film may lack the flamboyance, yet is quietly heartrending with its empathy and stripped-down depiction of social outcasts. Fellini bid farewell to neorealism, as he strode ahead into his fantastical dreamland.
This Oscar-winning Palme d’Or winner rocketed Fellini and Mastroianni to international stardom in, ironically, a scathing satire of celebrity culture, and an incisive commentary on Rome’s deepening decadence. Leaping from one visual extravaganza to another, the camera accompanies Mastroianni’s tabloid journalist - a paparazzo, a term first coined in this film - as he chases through glamor or tedium for stories and women. Most unforgettable is the scene of Anita Ekberg wading into the Trevi Fountain, along with Fellini immersing himself in his fascinating vision.
費里尼曾說，令他最擔憂的角色，就是卡
夢見自己窒息，衝破車廂，冉冉飄向天
比利亞。她暴躁、驕矜、嘴角的笑總掛着
際，卻被扯回地面，跌進真實夢魘。導演
一絲輕蔑；她善良、執着、眼裏常含淚
自恐江郎才盡的戲碼，反成就創意登峰造
水，只因愛情失落。這個有着甜蜜夢想的
極的影史神級經典。折合拍過七部半電影
花街神女，祈求改變卻得不到聖母憐憫，
後，費里尼來一次半虛半實的對鏡自照，
一次又一次被騙。馬仙娜的雨傘，就像差
從創作瓶頸與婚姻危機，逃亡至夢幻避難
利的手杖，總以幽默與溫柔支撐着心底希
所，將潛意識壓抑的情慾與恐懼，轉化為
望。以妓女、聖女、愛妻混合體之姿，馬
歡愉慰藉。精神疲憊的現實，豐滿妓女的
仙娜首登康城影后寶座；三十六年後，費
回憶，妻妾成群的狂想，存在與虛無交錯
里尼獲頒奧斯卡終身成就獎的舞台下，那
游移；調度、結構、場面及配樂以無形見
個哭中帶笑的卡比利亞，依然令人牽掛。
有形，若隨意卻入意。夢幻無休無止，魔
Giulietta Masina is Cabiria, at times a waiflike prostitute who takes pride in owning a humble house by the sea, at times a tough cookie getting into fights and hiding to avoid police raids. A sinner seeking redemption from the Virgin Mary, and simultaneously a saint unyieldingly searching for true love. Betrayed time and again, Cabiria’s face retains its indomitable resolve, carrying her proudly through the gutters of Rome. Masina’s Chaplinesque innocence and comic invention deservedly won her Best Actress at Cannes, and Fellini would advance towards the consummate visual grandeur of La Dolce Vita .
意大利 Italy／法國 France
1960 176min Cast: Marcello Mastroianni, Anita Ekberg, Anouk Aimée
康城影展金棕櫚獎 Cannes Film Festival: Palme d'Or 奧斯卡金像獎最佳黑白片服裝設計 Academy Awards: Best Costume Design (Black-and-White)
12.12 16:30 AH
法才剛開始。 Transforming a filmmaker’s creative crisis into a grand epic of profound fascination and imagination, Fellini invented one of cinema’s most recognizable touchstones with his spiritual and artistic musings. Beginning with the iconic image of Mastroianni floating off into the sky, the dreamlike sequences revolve around a famed director, exhausted by his evasions, lies and sensual appetites. Notable for its sublime use of flashbacks and surrealistic touches interwoven with realism, this enduring semiautobiographical masterpiece works like magic and continues to cast its spell.
13.12 16:45 AH
意大利 Italy／法國 France
1963 138min Cast: Marcello Mastroianni, Anouk Aimée, Claudia Cardinale
奧斯卡金像獎最佳外語片及最佳黑白片服裝設計 Academy Awards: Best Foreign Language Film and Best Costume Design (Black-and-White) 2012《視與聲》史上最偉大電影第十位 #10 in Sight and Sound’s 2012 Greatest Films of All Time Poll
6
7
意大利 Italy／法國 France
1955 113min Cast: Broderick Crawford, Richard Basehart, Giulietta Masina
威尼斯影展競賽影片 Venice Film Festival: In Competition
14.11 19:45 AH
6.12 17:30 TK
意大利 Italy／法國 France
1957 118min Cast: Giulietta Masina, François Périer, Franca Marzi
奧斯卡金像獎最佳外語片 Academy Awards: Best Foreign Language Film 康城影展最佳女主角獎 Cannes Film Festival: Best Actress
7.11 19:00 AC
12.12 14:15 AH
三名市井之徒，假扮神父或政府官員招搖
擺明車馬諷刺上流社會聲色犬馬的糜爛浮
撞騙，令貧苦農民甘心捧上血汗錢。小白
誇，哪知影片面世即被全球觀眾爭相膜
臉沉醉風流快活，窮畫家擔心妻離子散，
拜，康城還頒來金棕櫚加冕，令費里尼與
老騙子想供久別重逢的女兒上大學……最
馬斯杜安尼頓成鎂光燈下名人，登上影史
大的圈套，難道是令人以為老騙子對受害
不朽殿堂，順帶將自創的「paparazzo」變
農家的殘障女兒動了惻隱之心，改邪歸
為跟蹤偷拍的潮流代名詞。費里尼讓羅馬
正？前承《大路》後啟《花街春夢》，鋒
夜色透亮，行雲流水的鏡頭隨馬斯杜安尼
芒稍遜的《騙子》更貼近塵世打滾邊緣人
穿梭如實似虛的幻境，交織出一幅恍如米
的滄桑寫照；行騙與被騙皆只是寂寞的囚
高安哲羅的現代羅馬浮世繪。從耶穌像飛
徒，各有各的無奈。費里尼幾近荷里活黑
越青空，到美艷女星安妮達愛寶許願泉嬉
色電影類型之作，就此告別新寫實主義，
水，意大利的優雅與頹靡，都在流麗光影
踏上夢幻旅程。
裏，永恆刻銘。
A trio of conmen pose as priests and civil servants to swindle ignorant poor farmers out of their savings. What begins as comedy turns sour and tragic, as the aging leader receives his comeuppance on a stony hillside, for his deceptive sympathy to a peasant’s crippled daughter. Made between La Strada and Nights of Cabiria , this noir-like film may lack the flamboyance, yet is quietly heartrending with its empathy and stripped-down depiction of social outcasts. Fellini bid farewell to neorealism, as he strode ahead into his fantastical dreamland.
This Oscar-winning Palme d’Or winner rocketed Fellini and Mastroianni to international stardom in, ironically, a scathing satire of celebrity culture, and an incisive commentary on Rome’s deepening decadence. Leaping from one visual extravaganza to another, the camera accompanies Mastroianni’s tabloid journalist - a paparazzo, a term first coined in this film - as he chases through glamor or tedium for stories and women. Most unforgettable is the scene of Anita Ekberg wading into the Trevi Fountain, along with Fellini immersing himself in his fascinating vision.
費里尼曾說，令他最擔憂的角色，就是卡
夢見自己窒息，衝破車廂，冉冉飄向天
比利亞。她暴躁、驕矜、嘴角的笑總掛着
際，卻被扯回地面，跌進真實夢魘。導演
一絲輕蔑；她善良、執着、眼裏常含淚
自恐江郎才盡的戲碼，反成就創意登峰造
水，只因愛情失落。這個有着甜蜜夢想的
極的影史神級經典。折合拍過七部半電影
花街神女，祈求改變卻得不到聖母憐憫，
後，費里尼來一次半虛半實的對鏡自照，
一次又一次被騙。馬仙娜的雨傘，就像差
從創作瓶頸與婚姻危機，逃亡至夢幻避難
利的手杖，總以幽默與溫柔支撐着心底希
所，將潛意識壓抑的情慾與恐懼，轉化為
望。以妓女、聖女、愛妻混合體之姿，馬
歡愉慰藉。精神疲憊的現實，豐滿妓女的
仙娜首登康城影后寶座；三十六年後，費
回憶，妻妾成群的狂想，存在與虛無交錯
里尼獲頒奧斯卡終身成就獎的舞台下，那
游移；調度、結構、場面及配樂以無形見
個哭中帶笑的卡比利亞，依然令人牽掛。
有形，若隨意卻入意。夢幻無休無止，魔
Giulietta Masina is Cabiria, at times a waiflike prostitute who takes pride in owning a humble house by the sea, at times a tough cookie getting into fights and hiding to avoid police raids. A sinner seeking redemption from the Virgin Mary, and simultaneously a saint unyieldingly searching for true love. Betrayed time and again, Cabiria’s face retains its indomitable resolve, carrying her proudly through the gutters of Rome. Masina’s Chaplinesque innocence and comic invention deservedly won her Best Actress at Cannes, and Fellini would advance towards the consummate visual grandeur of La Dolce Vita .
意大利 Italy／法國 France
1960 176min Cast: Marcello Mastroianni, Anita Ekberg, Anouk Aimée
康城影展金棕櫚獎 Cannes Film Festival: Palme d'Or 奧斯卡金像獎最佳黑白片服裝設計 Academy Awards: Best Costume Design (Black-and-White)
12.12 16:30 AH
法才剛開始。 Transforming a filmmaker’s creative crisis into a grand epic of profound fascination and imagination, Fellini invented one of cinema’s most recognizable touchstones with his spiritual and artistic musings. Beginning with the iconic image of Mastroianni floating off into the sky, the dreamlike sequences revolve around a famed director, exhausted by his evasions, lies and sensual appetites. Notable for its sublime use of flashbacks and surrealistic touches interwoven with realism, this enduring semiautobiographical masterpiece works like magic and continues to cast its spell.
13.12 16:45 AH
意大利 Italy／法國 France
1963 138min Cast: Marcello Mastroianni, Anouk Aimée, Claudia Cardinale
奧斯卡金像獎最佳外語片及最佳黑白片服裝設計 Academy Awards: Best Foreign Language Film and Best Costume Design (Black-and-White) 2012《視與聲》史上最偉大電影第十位 #10 in Sight and Sound’s 2012 Greatest Films of All Time Poll
6
7
《八部半》的自我剖析意猶未盡，費里尼
乘策拉丁文豪同名文學史詩的天馬，恣意
再以榮格心理學說潛進女性意識底層，為
行游古羅馬時空。從兩兄弟為美少年奴隸
愛妻馬仙娜獻上魔幻情書。丈夫忘記結婚
爭風吃醋，揭開奇幻之旅的帷幔，隨命運
紀念日，茱麗葉開始懷疑他有外遇，惶恐
流浪，任意識漂泊，自我創造奢靡淫樂之 神話。在片場搭建的玉殿、廢墟、迷宮、
的神秘、情色派對的放浪、馬戲團的瘋
曠野自由散策，浪蕩於專制暴君的酒池肉
狂，以特藝彩色的嫩綠嬌紅繪染心靈原始
林、兩棲情慾的愛恨糾纏；祭壇上的羔
意象，肆無忌憚將回憶、白日夢、性幻想
羊、海盜船上的鯨屍，劇場與電影、歷史
金球獎最佳外語片 Golden Globe Awards: Best Foreign Language Film
袒褐裸裎。鏡頭灑脫，夢像繽紛，是讓女
與幻象交媾成赤裸裸的人間色相，荒誕詭
性放任自由，抑或更孤單寂寞？費里尼首
喻在絢爛影像下開到荼蘼。費里尼的創作
意大利銀絲帶獎四大獎項 Italian National Syndicate of Film Journalists: 4 Silver Ribbon awards
次敞開彩色電影大門，迎來金球獎最佳外
欲火重燃，靈與慾水乳交融，冶煉出大膽
語片殊榮。
前衛的光影散文詩。
A gift for his wife-cum-muse Giulietta Masina, this psychoanalytical exploration into a woman’s repressed subconscious may as well be another of Fellini’s confessional laments about his own problems after the phenomenal success of 8½ . Disturbed by her husband’s infidelities, the bourgeois housewife embarks on a hallucinatory journey into a phantasmagorical world leading to her self-discovery. Filmed in Technicolor, Fellini’s first color feature transforms a kaleidoscope of dreams, cryptic spirits, and memories into a dazzling anthology of visual delights, taking home the Golden Globe for Best Foreign Language Film.
Describing it as a “science-fiction film”, Fellini set off a pagan magic-carpet ride through Nero’s Rome that almost looks like a futuristic utopia/dystopia. Spun from Petronius’ Satyricon, the free-form fantasia takes wing when two pansexual young men fight over the favors of a handsome slave boy, as they drift through a lustful, delirious landscape. A journey through time in the confines of Cinecittà studios, the dreamer’s sprawling expedition into sexual licentiousness, castration complex and libidinal release conjures up one of his most lavish cinematic myths.
8.11 17:35 TK
13.12 19:30 AH
Images courtesy of Park Circus/MGM
不安令她陷入精神錯亂的迷沼……召靈會
1965 144min Cast: Giulietta Masina, Sandra Milo, Mario Pisu
意大利 Italy／法國 France
22.11 14:30 TK
19.12 意大利 Italy 1969 130min
Cast: Martin Potter, Hiram Keller, Max Born
威尼斯影展Pasinetti獎最佳意大利片 Venice Film Festival: Pasinetti Award for Best Italian Film
美國 USA 1969 52min
Cast: Ennio Antonelli, Caterina Boratto, Marcello Mastroianni
29.11 16:45 AH
26.12 14:30 AC
神秘鉅作《馬斯托納之旅》半途夭折，費
「馬戲團何止是表演，更是人生。」小丑
里尼親身走過偌大佈景的廢墟，首度自我
是費里尼畢生最愛角色，那種妙想天開猶
剖析創作過程。應美國NBC電視台之邀受
如天使報喜，勾喚歡愉回憶，創造夢幻想
訪，啟發這部偽紀錄片的靈感。摯愛馬仙
像。孩提時一頭裁進馬戲團，展開生命奇
娜現身暢談《花街春夢》被剪片段；老拍
妙旅程，成為大導後親身探索魔法，為往
檔馬斯杜安尼忙於試身度位；一眾千奇百
昔輝煌留下溫暖印記。鏡頭在馴獸、雜
怪的臨時演員及製作人員參與選拔，驗證
耍、魔術的顛覆瘋狂裏恣意遊走，追尋風
試鏡比電影本身更離奇。從地鐵隧道內的
光一時的小丑足跡，浮現諧趣背後的歲月
幽靈瞥見《羅馬風情畫》的幻象，以古羅
滄桑。將喪禮變為華麗惡作劇，還原人性
馬鬧劇排演《愛情神話》的癲狂；與《八
矛盾對立的本質；兩派小丑終在劇場重
部半》及《追訪費里尼》對照，從虛構中
逢，共奏一闋和諧驪歌，裊裊餘音迴蕩對
呈現導演最真實的寫照。同場放映《樂隊
生死榮枯的沉思。
排練》（第13頁）。 An interview invitation by American TV agency NBC sparks a new film by Fellini, as he seeks out inspiration for future projects. His new film, The Voyage of G. Mastorna , abandoned during the making, presents the concept of his first pseudo-documentary, in which he reinvents audition of Mastroianni, and a parade of quirky extras and artists visiting his office for an opportunity. Spirits in catacombs and ancient Rome theatre reveal sketches for Roma and Fellini Satyricon , as the director shares the spontaneity and unorthodox approach of his filmmaking process. Screening with Orchestra Rehearsal (P.13).
8
A lifelong enthrallment with the circus, Fellini pays his tribute to the clowns in this memorably touching documentary, at once a celebration of the dying art, and a memorial of his childhood enchantment. Recreating his first experience of the circus, the filmmaker takes his camera into the heart of their elusive magic, and the homes of the once-famous clowns now long forgotten. Along with a slapstick funeral staged in a circus ring, the trumpet music resonating among empty seats is their requiem and their return to life, commemorating an affecting reconciliation.
15:30 AH
映後談講者佐治奧比恩高羅素 Film talk with Giorgio Biancorosso 英語主講 Conducted in English
19.12 18:00 AH
意大利 Italy／法國 France／西德 West Germany 1970 92min Cast: Riccardo Billi, Federico Fellini, Gigi Reder
威尼斯影展Pasinetti獎最佳意大利片 Venice Film Festival: Pasinetti Award for Best Italian Film
9
《八部半》的自我剖析意猶未盡，費里尼
乘策拉丁文豪同名文學史詩的天馬，恣意
再以榮格心理學說潛進女性意識底層，為
行游古羅馬時空。從兩兄弟為美少年奴隸
愛妻馬仙娜獻上魔幻情書。丈夫忘記結婚
爭風吃醋，揭開奇幻之旅的帷幔，隨命運
紀念日，茱麗葉開始懷疑他有外遇，惶恐
流浪，任意識漂泊，自我創造奢靡淫樂之 神話。在片場搭建的玉殿、廢墟、迷宮、
的神秘、情色派對的放浪、馬戲團的瘋
曠野自由散策，浪蕩於專制暴君的酒池肉
狂，以特藝彩色的嫩綠嬌紅繪染心靈原始
林、兩棲情慾的愛恨糾纏；祭壇上的羔
意象，肆無忌憚將回憶、白日夢、性幻想
羊、海盜船上的鯨屍，劇場與電影、歷史
金球獎最佳外語片 Golden Globe Awards: Best Foreign Language Film
袒褐裸裎。鏡頭灑脫，夢像繽紛，是讓女
與幻象交媾成赤裸裸的人間色相，荒誕詭
性放任自由，抑或更孤單寂寞？費里尼首
喻在絢爛影像下開到荼蘼。費里尼的創作
意大利銀絲帶獎四大獎項 Italian National Syndicate of Film Journalists: 4 Silver Ribbon awards
次敞開彩色電影大門，迎來金球獎最佳外
欲火重燃，靈與慾水乳交融，冶煉出大膽
語片殊榮。
前衛的光影散文詩。
A gift for his wife-cum-muse Giulietta Masina, this psychoanalytical exploration into a woman’s repressed subconscious may as well be another of Fellini’s confessional laments about his own problems after the phenomenal success of 8½ . Disturbed by her husband’s infidelities, the bourgeois housewife embarks on a hallucinatory journey into a phantasmagorical world leading to her self-discovery. Filmed in Technicolor, Fellini’s first color feature transforms a kaleidoscope of dreams, cryptic spirits, and memories into a dazzling anthology of visual delights, taking home the Golden Globe for Best Foreign Language Film.
Describing it as a “science-fiction film”, Fellini set off a pagan magic-carpet ride through Nero’s Rome that almost looks like a futuristic utopia/dystopia. Spun from Petronius’ Satyricon, the free-form fantasia takes wing when two pansexual young men fight over the favors of a handsome slave boy, as they drift through a lustful, delirious landscape. A journey through time in the confines of Cinecittà studios, the dreamer’s sprawling expedition into sexual licentiousness, castration complex and libidinal release conjures up one of his most lavish cinematic myths.
8.11 17:35 TK
13.12 19:30 AH
Images courtesy of Park Circus/MGM
不安令她陷入精神錯亂的迷沼……召靈會
1965 144min Cast: Giulietta Masina, Sandra Milo, Mario Pisu
意大利 Italy／法國 France
22.11 14:30 TK
19.12 意大利 Italy 1969 130min
Cast: Martin Potter, Hiram Keller, Max Born
威尼斯影展Pasinetti獎最佳意大利片 Venice Film Festival: Pasinetti Award for Best Italian Film
美國 USA 1969 52min
Cast: Ennio Antonelli, Caterina Boratto, Marcello Mastroianni
29.11 16:45 AH
26.12 14:30 AC
神秘鉅作《馬斯托納之旅》半途夭折，費
「馬戲團何止是表演，更是人生。」小丑
里尼親身走過偌大佈景的廢墟，首度自我
是費里尼畢生最愛角色，那種妙想天開猶
剖析創作過程。應美國NBC電視台之邀受
如天使報喜，勾喚歡愉回憶，創造夢幻想
訪，啟發這部偽紀錄片的靈感。摯愛馬仙
像。孩提時一頭裁進馬戲團，展開生命奇
娜現身暢談《花街春夢》被剪片段；老拍
妙旅程，成為大導後親身探索魔法，為往
檔馬斯杜安尼忙於試身度位；一眾千奇百
昔輝煌留下溫暖印記。鏡頭在馴獸、雜
怪的臨時演員及製作人員參與選拔，驗證
耍、魔術的顛覆瘋狂裏恣意遊走，追尋風
試鏡比電影本身更離奇。從地鐵隧道內的
光一時的小丑足跡，浮現諧趣背後的歲月
幽靈瞥見《羅馬風情畫》的幻象，以古羅
滄桑。將喪禮變為華麗惡作劇，還原人性
馬鬧劇排演《愛情神話》的癲狂；與《八
矛盾對立的本質；兩派小丑終在劇場重
部半》及《追訪費里尼》對照，從虛構中
逢，共奏一闋和諧驪歌，裊裊餘音迴蕩對
呈現導演最真實的寫照。同場放映《樂隊
生死榮枯的沉思。
排練》（第13頁）。 An interview invitation by American TV agency NBC sparks a new film by Fellini, as he seeks out inspiration for future projects. His new film, The Voyage of G. Mastorna , abandoned during the making, presents the concept of his first pseudo-documentary, in which he reinvents audition of Mastroianni, and a parade of quirky extras and artists visiting his office for an opportunity. Spirits in catacombs and ancient Rome theatre reveal sketches for Roma and Fellini Satyricon , as the director shares the spontaneity and unorthodox approach of his filmmaking process. Screening with Orchestra Rehearsal (P.13).
8
A lifelong enthrallment with the circus, Fellini pays his tribute to the clowns in this memorably touching documentary, at once a celebration of the dying art, and a memorial of his childhood enchantment. Recreating his first experience of the circus, the filmmaker takes his camera into the heart of their elusive magic, and the homes of the once-famous clowns now long forgotten. Along with a slapstick funeral staged in a circus ring, the trumpet music resonating among empty seats is their requiem and their return to life, commemorating an affecting reconciliation.
15:30 AH
映後談講者佐治奧比恩高羅素 Film talk with Giorgio Biancorosso 英語主講 Conducted in English
19.12 18:00 AH
意大利 Italy／法國 France／西德 West Germany 1970 92min Cast: Riccardo Billi, Federico Fellini, Gigi Reder
威尼斯影展Pasinetti獎最佳意大利片 Venice Film Festival: Pasinetti Award for Best Italian Film
9
這個羅馬，只屬於費里尼！年輕導演來到 美麗之城，俯瞰鬥獸場外熙攘，創造片廠 內的戶外盛宴；觀眾叫囂的劇院、妓女招 展的娼館，頹靡、華麗，有如萬花筒般魅 力四射，註定意亂情迷。古老壁畫因建地
意大利 Italy／法國 France
1972 119min Cast: Peter Gonzales Falcon, Fiona Florence, Pia De Doses
鐵瞬間灰飛煙滅，宗教莊嚴聚會變身華麗
法國影評人協會最佳外語片 French Syndicate of Cinema Critics: Best Foreign Film
21.11
映後談講者鄧小樺 Film talk with Tang Siu Wa
14:30 TK
20.12 14:00 AH
Images courtesy of Park Circus/MGM
意大利 Italy／法國 France
1973 126min Cast: Pupella Maggio, Armando Brancia, Magali Noël, Ciccio Ingrassia
奧斯卡金像獎最佳外語片 Academy Awards: Best Foreign Language Film
14.11
映後談講者紀陶 Film talk with Keeto Lam
12
14:30 AH
20.12 16:45 AH
時裝表演……神秘而奇異的羅馬，成了最
一幕幕旖旎風月圖鑑，一襲襲奢靡宮廷華衣，為十八世紀風
令人驚嘆的電影舞台；在母親放任的懷抱
流才子卡薩諾瓦重新塑像，毫不掩飾華麗一生爬滿虱子，啃
裏，回憶與想像自由翱翔，現實與夢幻互
蝕糜爛荒淫下的虛無。破格起用當奴修打蘭飾演情聖，化上
相滲透，現代科技與遠古文明恣意碰撞。
妖嬈濃妝，展開艷福無邊的奇幻旅程。鐵鳥周遊列國，以高
是古都消逝？是新城重生？費里尼的羅
超獵艷及性愛絕藝鑄造個人神話，經世濟民的才學卻被忽
馬，是永恆！
略，浮沉草野，共舞餘生唯有機器玩偶。費里尼以連串羅馬
This is Fellini’s Rome, and nobody else’s. In a hallucinatory trip through his memories and fantasies, told in a delirious stream of consciousness, a young man embraces the urban fantasia as he shoots the bustling cityscape and indulges in the pleasures of the flesh and spirit. From an ecclesiastical fashion show, to ancient frescoes unearthed in a subway, glimpses of a monumental past collide with the decadence of the age of modernism. A sprawling, kaleidoscopic tribute to the Eternal City, Roma proves to be a most exuberant and extravagant cinematic spectacle.
鬧劇矯飾隱喻符號，建構肉慾橫流的漶漫世界；沉溺享樂的 盛宴過後，煙花散盡，獨剩杯盤與聲名狼藉的落寞。 Reinventing the myth of Casanova, Fellini sketches his own conception of characterization for the legendary Venetian libertine of the 18th century. The portrait of the licentious intellectual is imbued with an air of solemnity, anchored by an astonishing performance by Donald Sutherland as a pathetic victim of his own virility and vanity. In a romantic pessimism crafted in preposterous imagery, elaborate costume and stylized set design, Fellini gradually turns his despise and ridicule into pity for his embittered hero through his journey of debauchery, alienation, and ultimate fall.
Cast: Donald Sutherland, Tina Aumont, Cicely Browne
15.11 17:45 AC
20.12 19:15 AH
塵菌漫天紛飛，懷鄉情思隨風飄蕩。回望
樂團在古老小教堂進行排練，電視台前來
青蔥歲月，在三十年代法西斯的張狂裏，
採訪。樂器五花八門，演奏家七嘴八舌，
伴隨四季更迭起伏：篝火大會驅去嚴寒，
連工會代表也來說三道四。鏡頭前嬉笑玩
激發青春慾望；性幻想、對獨裁的膜拜，
鬧，排練時各彈各調；指揮震怒當眾咆
在炎夏燃燒；家庭喧鬧，隨落葉歸於死別
哮，樂手乘機策動示威逆權反抗。混亂之
的沉寂；孔雀在飄雪裏驚艷開屏，暗戀對
際大地震動，天降鐵球破牆而入，驚魂甫
象卻在春回時嫁人遠去……費里尼半自傳
定的團員終同心協力完成演奏，然而鏡頭
巔峰作，電影與人生合而為一，回憶、夢
背後……經歷《美男子》的失落後，費里
幻、諷喻混雜在家鄉里米尼的大觀園，在
尼獲國家電視台委約拍攝此作，重拾創作
馬戲團般的調度中悲喜錯落，滲透大師簽
主權，透過老拍檔作曲家尼諾羅塔的最後
名式筆觸。奧斯卡凱旋曲四度高奏，圓滿
樂章，以渾然一體的抑揚頓挫，飄蕩對紛
譜寫影史傳奇。
擾政局的弦外之音。同場放映《費里尼的
Lust, sin, and the loss of innocence, all passionately reflected in Fellini’s most personal film. Fueled entirely by nostalgia, this carnivalesque portrait of Rimini during Mussolini’s dictatorship showcases the director’s signature themes of social rituals, sexual fantasies, and political subtexts. From the spring tradition of the burning of the witch, to frenzied fascist worshipping, indelible images fill the colorful dream world of the maestro’s childhood with satire and stylistic playfulness. Going beyond its Oscar accolades, this masterpiece leaves an enduring legacy that transformed cinema forever.
意大利 Italy 1976 155min
奧斯卡金像獎最佳造型設計 Academy Awards: Best Costume Design
導演筆記》（第8頁）。 Taking full creative control again after the setback in Fellini’s Casanova , the master hit the right note in this television production. Supposed to be a documentary about an orchestra rehearsal in an ancient oratory, the verité is soon spun into a satirical drama of social revolt as the musicians, backed by formidable union representatives, uphold their individuality, and collectively rebel against the conductor’s authority. The last musical work of Nino Rota wonderfully complements the comic and chaotic moments, in this pointed allegory of the sociopolitical climate of Italy in the seventies. Screening with Fellini: A Director’s Notebook (P.8).
29.11 意大利 Italy 1978 73min
Cast: Balduin Baas, Clara Colosimo, Elizabeth Labi
意大利銀絲帶獎最佳電影音樂 Italian National Syndicate of Film Journalists: Silver Ribbon for Best Score
16:45 AH
26.12 14:30 AC
13
這個羅馬，只屬於費里尼！年輕導演來到 美麗之城，俯瞰鬥獸場外熙攘，創造片廠 內的戶外盛宴；觀眾叫囂的劇院、妓女招 展的娼館，頹靡、華麗，有如萬花筒般魅 力四射，註定意亂情迷。古老壁畫因建地
意大利 Italy／法國 France
1972 119min Cast: Peter Gonzales Falcon, Fiona Florence, Pia De Doses
鐵瞬間灰飛煙滅，宗教莊嚴聚會變身華麗
法國影評人協會最佳外語片 French Syndicate of Cinema Critics: Best Foreign Film
21.11
映後談講者鄧小樺 Film talk with Tang Siu Wa
14:30 TK
20.12 14:00 AH
Images courtesy of Park Circus/MGM
意大利 Italy／法國 France
1973 126min Cast: Pupella Maggio, Armando Brancia, Magali Noël, Ciccio Ingrassia
奧斯卡金像獎最佳外語片 Academy Awards: Best Foreign Language Film
14.11
映後談講者紀陶 Film talk with Keeto Lam
12
14:30 AH
20.12 16:45 AH
時裝表演……神秘而奇異的羅馬，成了最
一幕幕旖旎風月圖鑑，一襲襲奢靡宮廷華衣，為十八世紀風
令人驚嘆的電影舞台；在母親放任的懷抱
流才子卡薩諾瓦重新塑像，毫不掩飾華麗一生爬滿虱子，啃
裏，回憶與想像自由翱翔，現實與夢幻互
蝕糜爛荒淫下的虛無。破格起用當奴修打蘭飾演情聖，化上
相滲透，現代科技與遠古文明恣意碰撞。
妖嬈濃妝，展開艷福無邊的奇幻旅程。鐵鳥周遊列國，以高
是古都消逝？是新城重生？費里尼的羅
超獵艷及性愛絕藝鑄造個人神話，經世濟民的才學卻被忽
馬，是永恆！
略，浮沉草野，共舞餘生唯有機器玩偶。費里尼以連串羅馬
This is Fellini’s Rome, and nobody else’s. In a hallucinatory trip through his memories and fantasies, told in a delirious stream of consciousness, a young man embraces the urban fantasia as he shoots the bustling cityscape and indulges in the pleasures of the flesh and spirit. From an ecclesiastical fashion show, to ancient frescoes unearthed in a subway, glimpses of a monumental past collide with the decadence of the age of modernism. A sprawling, kaleidoscopic tribute to the Eternal City, Roma proves to be a most exuberant and extravagant cinematic spectacle.
鬧劇矯飾隱喻符號，建構肉慾橫流的漶漫世界；沉溺享樂的 盛宴過後，煙花散盡，獨剩杯盤與聲名狼藉的落寞。 Reinventing the myth of Casanova, Fellini sketches his own conception of characterization for the legendary Venetian libertine of the 18th century. The portrait of the licentious intellectual is imbued with an air of solemnity, anchored by an astonishing performance by Donald Sutherland as a pathetic victim of his own virility and vanity. In a romantic pessimism crafted in preposterous imagery, elaborate costume and stylized set design, Fellini gradually turns his despise and ridicule into pity for his embittered hero through his journey of debauchery, alienation, and ultimate fall.
Cast: Donald Sutherland, Tina Aumont, Cicely Browne
15.11 17:45 AC
20.12 19:15 AH
塵菌漫天紛飛，懷鄉情思隨風飄蕩。回望
樂團在古老小教堂進行排練，電視台前來
青蔥歲月，在三十年代法西斯的張狂裏，
採訪。樂器五花八門，演奏家七嘴八舌，
伴隨四季更迭起伏：篝火大會驅去嚴寒，
連工會代表也來說三道四。鏡頭前嬉笑玩
激發青春慾望；性幻想、對獨裁的膜拜，
鬧，排練時各彈各調；指揮震怒當眾咆
在炎夏燃燒；家庭喧鬧，隨落葉歸於死別
哮，樂手乘機策動示威逆權反抗。混亂之
的沉寂；孔雀在飄雪裏驚艷開屏，暗戀對
際大地震動，天降鐵球破牆而入，驚魂甫
象卻在春回時嫁人遠去……費里尼半自傳
定的團員終同心協力完成演奏，然而鏡頭
巔峰作，電影與人生合而為一，回憶、夢
背後……經歷《美男子》的失落後，費里
幻、諷喻混雜在家鄉里米尼的大觀園，在
尼獲國家電視台委約拍攝此作，重拾創作
馬戲團般的調度中悲喜錯落，滲透大師簽
主權，透過老拍檔作曲家尼諾羅塔的最後
名式筆觸。奧斯卡凱旋曲四度高奏，圓滿
樂章，以渾然一體的抑揚頓挫，飄蕩對紛
譜寫影史傳奇。
擾政局的弦外之音。同場放映《費里尼的
Lust, sin, and the loss of innocence, all passionately reflected in Fellini’s most personal film. Fueled entirely by nostalgia, this carnivalesque portrait of Rimini during Mussolini’s dictatorship showcases the director’s signature themes of social rituals, sexual fantasies, and political subtexts. From the spring tradition of the burning of the witch, to frenzied fascist worshipping, indelible images fill the colorful dream world of the maestro’s childhood with satire and stylistic playfulness. Going beyond its Oscar accolades, this masterpiece leaves an enduring legacy that transformed cinema forever.
意大利 Italy 1976 155min
奧斯卡金像獎最佳造型設計 Academy Awards: Best Costume Design
導演筆記》（第8頁）。 Taking full creative control again after the setback in Fellini’s Casanova , the master hit the right note in this television production. Supposed to be a documentary about an orchestra rehearsal in an ancient oratory, the verité is soon spun into a satirical drama of social revolt as the musicians, backed by formidable union representatives, uphold their individuality, and collectively rebel against the conductor’s authority. The last musical work of Nino Rota wonderfully complements the comic and chaotic moments, in this pointed allegory of the sociopolitical climate of Italy in the seventies. Screening with Fellini: A Director’s Notebook (P.8).
29.11 意大利 Italy 1978 73min
Cast: Balduin Baas, Clara Colosimo, Elizabeth Labi
意大利銀絲帶獎最佳電影音樂 Italian National Syndicate of Film Journalists: Silver Ribbon for Best Score
16:45 AH
26.12 14:30 AC
13
費里尼與英瑪褒曼蹓躂時浮想的意念，
昔日拍檔模仿荷里活歌舞片巨星珍姐與佛
合拍沒成真，但足已引人遐思。中年漢
烈而紅極一時，闊別多年後應電視台之
不經意闖進神秘女兒國，女性主義大會如
邀，在聖誕綜藝節目再度表演。忘了亦忘
火如荼舉行。倉惶逃離現場，卻遇上鄉下
不了是踢躂舞的步伐，也是忐忑依然的舊
胖婦企圖強暴，又誤登喪妹亂竄汽車，還
情綿綿。高雅文化隨黃金年代悄然遠去，
1980 139min Cast: Marcello Mastroianni, Anna Prucnal, Bernice Stegers
陰差陽錯走進舊同學慶祝征服女性的狂歡
庸俗娛樂早跟電視登堂入室。重登舞台是
派對。荒誕夢幻之旅滑入陰道似的遊戲軌
喚回光輝歲月，抑或只是淪為觀眾笑柄？
跡，少年時性啟蒙與幻想回憶在樂園裏痛
費里尼與老拍檔馬斯杜安尼及愛妻馬仙娜
意大利銀絲帶獎最佳導演及 最佳攝影等四大獎項 Italian National Syndicate of Film Journalists: 4 Silver Ribbon awards including Best Director and Best Cinematography
快淋漓。群芳風姿幻變，戴上母親、妻
的夢幻組合，首次亦是唯一的合作。最是
子、妖精、繆思等面譜，是讓女性獨立解
人間留不住，沒有了鎂光燈，何妨在人生
放，是男性自我沉溺，抑或只道出「男人
舞台上努力演下去。一個溫暖告別，為逝
無法了解女人」的事實？
去時代優雅謝幕。
Women’s liberation on display, or male egoism in disguise? Beyond doubt is Fellini’s autobiographical hero being always smothered by women. A mysterious encounter leads Snàporaz, a libidinal creature, into an erotic yet frightening odyssey of sexual fantasies. From a feminist conference to a sex-crazed maniac’s lavish celebration, a variety of women ranging from old crones, hot-rodding punks to seductive nymphs in his life are conjured. Originally conceived as a joint project with Ingmar Bergman, Fellini’s self-reflective mid-life crisis film is equally fitting to be “sincere to the point of being indecent".
Once famous for their impersonations of Fred Astaire and Ginger Rogers, a retired tap dance couple reunite after several decades to perform in a TV variety show featuring weirdos and look-alikes. Boasting affecting performances by Mastroianni and Masina in their only collaboration, Fellini’s boisterous comedy remains a wise, compassionate spectacle of a vanished romanticism and civility, yet satirical of the vulgar excesses of the electronic age. Meandering through magic moments to a bittersweet finale, the valedictory, however poignant, proves that cinema still entrances us, as it always did.
意大利 Italy／法國 France
15.11 20:45 AC
26.12 17:15 AC
意大利 Italy／法國 France
1983 129min Cast: Freddie Jones, Barbara Jefford, Victor Poletti, Pina Bausch
意大利銀絲帶獎最佳導演及最佳攝影等五大獎項 Italian National Syndicate of Film Journalists: 5 Silver Ribbon awards including Best Director and Best Cinematography
28.11
14
14:45 AH
26.12 20:15 AC
從無聲的喧鬧碼頭，走進默片時代一戰前
緬懷大半生電影生涯，費里尼再砸碎記憶
夕的回憶旅程；音樂奏起，伴隨豪華郵輪
之鏡，把夢幻碎片鑲嵌入意大利片廠的往
啟航，為歌劇女伶舉行骨灰撒海的告別
昔輝煌。一邊籌拍卡夫卡小說《美國》改
式。甲板成了荒誕劇舞台，貴賓光怪陸離
編的電影，一邊接受日本電視台訪問，喚
的本相如潮湧現，矯揉假面更被塞爾維亞
回少年的我，以記者身份初次踏足夢工
難民無意間戳破。借記者之眼旁觀上流社
場，目眩神迷念念不忘。古老電車穿越時
會的虛妄，以華麗歌劇靡靡之音襯托貴族
空長廊，拍片進展與回憶反溯糾纏交錯，
倉惶逃難的窘態。編舞大師翩娜包殊飾演
七顛八倒的拍攝亂象激盪五光十色的魅
奧匈帝國失明公主，為沒落的歐洲文化留
惑。老拍檔馬斯杜安尼魔術棒一揮，與安
住靈光。曲終人散，費里尼的鏡頭從「茫
妮達愛寶在《露滴牡丹開》許願泉嬉水一
茫大海」拉回攝影棚，電影與人生，何嘗
幕重現眼前，那管歲月無情，美麗早已凝
不是一場虛幻遊戲？
鑄，地久天長。
Emerging from sepia-tinted silent film aura on the eve of World War I, a luxury ocean liner embarks on a voyage, carrying aristocrats, composers and singers for the memorial service of a famed diva. The absurdity and ignorance of the upper classes are soon revealed upon the arrival of a group of Serbian refugees on board. Fabricated entirely in Cinecittà studios, Fellini’s stylized comedy embellished with opera music is a quiet remembrance of an extravagant bygone era, a playful commentary on art and artists, as well as a breaking wave with visual fantasia.
A moving ode to past cinematic glories, this pseudo-documentary ironically begins with a TV project by a Japanese crew. Leading the dumbfounded amateurs on a tour to Cinecittà as he prepares for his new film, Fellini takes on a magical, evocative trip through his tumultuous career, from eyes wide open to lifelong devotion. Imbued with warmth and wistfulness, the fragmented reminiscence evokes its most haunting moment, when Mastroianni the magician retrieves the iconic Trevi Fountain scene from La Dolce Vita . Anita Ekberg wipes off a tear. So do we.
意大利 Italy／法國 France／西德 West Germany
1986 128min Cast: Marcello Mastroianni, Giulietta Masina, Franco Fabrizi
意大利銀絲帶獎最佳男主角及最佳女主角等四大獎項 Italian National Syndicate of Film Journalists: 4 Silver Ribbon awards including Best Actor and Best Actress
29.11 14:30 AH
8.11 20:50 TK
27.12 14:30 AC
27.12 17:15 AC
意大利 Italy 1987 107min
Cast: Sergio Rubini, Antonella Ponziani, Maurizio Mein
康城影展四十周年紀念大獎 Cannes Film Festival: 40th Anniversary Prize
15
費里尼與英瑪褒曼蹓躂時浮想的意念，
昔日拍檔模仿荷里活歌舞片巨星珍姐與佛
合拍沒成真，但足已引人遐思。中年漢
烈而紅極一時，闊別多年後應電視台之
不經意闖進神秘女兒國，女性主義大會如
邀，在聖誕綜藝節目再度表演。忘了亦忘
火如荼舉行。倉惶逃離現場，卻遇上鄉下
不了是踢躂舞的步伐，也是忐忑依然的舊
胖婦企圖強暴，又誤登喪妹亂竄汽車，還
情綿綿。高雅文化隨黃金年代悄然遠去，
1980 139min Cast: Marcello Mastroianni, Anna Prucnal, Bernice Stegers
陰差陽錯走進舊同學慶祝征服女性的狂歡
庸俗娛樂早跟電視登堂入室。重登舞台是
派對。荒誕夢幻之旅滑入陰道似的遊戲軌
喚回光輝歲月，抑或只是淪為觀眾笑柄？
跡，少年時性啟蒙與幻想回憶在樂園裏痛
費里尼與老拍檔馬斯杜安尼及愛妻馬仙娜
意大利銀絲帶獎最佳導演及 最佳攝影等四大獎項 Italian National Syndicate of Film Journalists: 4 Silver Ribbon awards including Best Director and Best Cinematography
快淋漓。群芳風姿幻變，戴上母親、妻
的夢幻組合，首次亦是唯一的合作。最是
子、妖精、繆思等面譜，是讓女性獨立解
人間留不住，沒有了鎂光燈，何妨在人生
放，是男性自我沉溺，抑或只道出「男人
舞台上努力演下去。一個溫暖告別，為逝
無法了解女人」的事實？
去時代優雅謝幕。
Women’s liberation on display, or male egoism in disguise? Beyond doubt is Fellini’s autobiographical hero being always smothered by women. A mysterious encounter leads Snàporaz, a libidinal creature, into an erotic yet frightening odyssey of sexual fantasies. From a feminist conference to a sex-crazed maniac’s lavish celebration, a variety of women ranging from old crones, hot-rodding punks to seductive nymphs in his life are conjured. Originally conceived as a joint project with Ingmar Bergman, Fellini’s self-reflective mid-life crisis film is equally fitting to be “sincere to the point of being indecent".
Once famous for their impersonations of Fred Astaire and Ginger Rogers, a retired tap dance couple reunite after several decades to perform in a TV variety show featuring weirdos and look-alikes. Boasting affecting performances by Mastroianni and Masina in their only collaboration, Fellini’s boisterous comedy remains a wise, compassionate spectacle of a vanished romanticism and civility, yet satirical of the vulgar excesses of the electronic age. Meandering through magic moments to a bittersweet finale, the valedictory, however poignant, proves that cinema still entrances us, as it always did.
意大利 Italy／法國 France
15.11 20:45 AC
26.12 17:15 AC
意大利 Italy／法國 France
1983 129min Cast: Freddie Jones, Barbara Jefford, Victor Poletti, Pina Bausch
意大利銀絲帶獎最佳導演及最佳攝影等五大獎項 Italian National Syndicate of Film Journalists: 5 Silver Ribbon awards including Best Director and Best Cinematography
28.11
14
14:45 AH
26.12 20:15 AC
從無聲的喧鬧碼頭，走進默片時代一戰前
緬懷大半生電影生涯，費里尼再砸碎記憶
夕的回憶旅程；音樂奏起，伴隨豪華郵輪
之鏡，把夢幻碎片鑲嵌入意大利片廠的往
啟航，為歌劇女伶舉行骨灰撒海的告別
昔輝煌。一邊籌拍卡夫卡小說《美國》改
式。甲板成了荒誕劇舞台，貴賓光怪陸離
編的電影，一邊接受日本電視台訪問，喚
的本相如潮湧現，矯揉假面更被塞爾維亞
回少年的我，以記者身份初次踏足夢工
難民無意間戳破。借記者之眼旁觀上流社
場，目眩神迷念念不忘。古老電車穿越時
會的虛妄，以華麗歌劇靡靡之音襯托貴族
空長廊，拍片進展與回憶反溯糾纏交錯，
倉惶逃難的窘態。編舞大師翩娜包殊飾演
七顛八倒的拍攝亂象激盪五光十色的魅
奧匈帝國失明公主，為沒落的歐洲文化留
惑。老拍檔馬斯杜安尼魔術棒一揮，與安
住靈光。曲終人散，費里尼的鏡頭從「茫
妮達愛寶在《露滴牡丹開》許願泉嬉水一
茫大海」拉回攝影棚，電影與人生，何嘗
幕重現眼前，那管歲月無情，美麗早已凝
不是一場虛幻遊戲？
鑄，地久天長。
Emerging from sepia-tinted silent film aura on the eve of World War I, a luxury ocean liner embarks on a voyage, carrying aristocrats, composers and singers for the memorial service of a famed diva. The absurdity and ignorance of the upper classes are soon revealed upon the arrival of a group of Serbian refugees on board. Fabricated entirely in Cinecittà studios, Fellini’s stylized comedy embellished with opera music is a quiet remembrance of an extravagant bygone era, a playful commentary on art and artists, as well as a breaking wave with visual fantasia.
A moving ode to past cinematic glories, this pseudo-documentary ironically begins with a TV project by a Japanese crew. Leading the dumbfounded amateurs on a tour to Cinecittà as he prepares for his new film, Fellini takes on a magical, evocative trip through his tumultuous career, from eyes wide open to lifelong devotion. Imbued with warmth and wistfulness, the fragmented reminiscence evokes its most haunting moment, when Mastroianni the magician retrieves the iconic Trevi Fountain scene from La Dolce Vita . Anita Ekberg wipes off a tear. So do we.
意大利 Italy／法國 France／西德 West Germany
1986 128min Cast: Marcello Mastroianni, Giulietta Masina, Franco Fabrizi
意大利銀絲帶獎最佳男主角及最佳女主角等四大獎項 Italian National Syndicate of Film Journalists: 4 Silver Ribbon awards including Best Actor and Best Actress
29.11 14:30 AH
8.11 20:50 TK
27.12 14:30 AC
27.12 17:15 AC
意大利 Italy 1987 107min
Cast: Sergio Rubini, Antonella Ponziani, Maurizio Mein
康城影展四十周年紀念大獎 Cannes Film Festival: 40th Anniversary Prize
15
剛從精神病院出來的伊凡，彷彿聽見來自 荒野水井的呼喚，又像是月亮的呢喃。四
21.11
出尋索欲聽玉輪的聲音，瘋狂追求人間月
17:45 TK
亮女神，卻遇着不甘投閑的退休法官、似 癲還醒的奇人異士，在紛擾的世道跌跌碰 碰。費里尼最後之作，早已了無覊絆超然
意大利銀絲帶獎最佳電影音樂 Italian National Syndicate of Film Journalists: Silver Ribbon for Best Score
Cast: Antonio Cifariello, Livia Venturini, Maresa Gallo
據搖滾樂舞池，甚至令月亮成為凡人俘
1990 121min Cast: Roberto Benigni, Paolo Villaggio, Nadia Ottaviani
由新寫實主義推手薩瓦提尼領軍，費里尼的一段以貼近現 實的稜鏡撰寫社會日誌，折射城市愛情的複雜面相。年輕 記者為了報導，走進破落公寓大樓，找到了婚姻介紹所， 訛稱為家境豐裕但患有狼人症的鄉下朋友物識結婚對象。 以為無傷大雅的玩笑，沒想到純真少女竟願意下嫁，只望 擺脫貧窮。以紀實之鏡穿過迷宮似的走廊，以夢幻之眼捕 捉貧苦庶民的鮮活生態，短短十七分鐘，已讓人看透生命 的窘迫與無奈。
虜。把赤子之心交托羅拔圖貝尼尼，任由 豐饒想像盡情奔放，在頹弊荒唐的社會現 實裏守護瘋狂的澄明，留下靜謐叮嚀，傾
28.11 17:30 AH
27.12 19:45 AC
19:45 AH
意大利 Italy 1953 17min
物外，隨興之所致，就讓優雅的華爾茲佔
意大利 Italy／法國 France
12.12
聽心泉的月吟。 Profoundly freewheeling, Fellini’s swansong is an endearing ode to the romanticism of lunatics, like passing a torch to the young creative spirit represented by Roberto Benigni. Searching for the moon's voice, a young man released from a mental institution becomes infatuated with his “lunar goddess”, and interacts with a medley of weirdos in his phantasmagorical odyssey. Evoking cynicism to the ills of the modern world, yet it’s a euphoria that prevails, for the absurdist art of a maestro who has fashioned one of the most enchanted film worlds.
A delightful contribution to the cinematic exploration conceived by neorealist Cesare Zavattini on creating a “journal” of romance in postwar Italy, Fellini’s fancy-tinged satire is an affectionate contrivance about a young reporter on an assignment to investigate matrimonial agency, struck by a pure country girl struggling to escape from poverty. Wandering through a labyrinthine building in tour-de-force shots of odd bustling people, Fellini’s camera sketches a vivid yet surrealistic portrait of urbanites in the vicissitudes of life. 意大利 Italy／法國 France 1962 55min Cast: Peppino De Filippo, Anita Ekberg
蕩漾於《十日談》瘟疫蔓延時的自由與放縱，費里尼的邈 思遐想承傳薄伽丘的精神，以羅馬為舞台呈現當世荒誕面 貌。道貌岸然的安東尼博士以打擊傷風敗俗為己任，當性 感女神安妮達愛寶從巨型廣告板「活」過來，他欲以唐吉 訶德之姿對抗「美女金剛」的誘惑，落得倉惶失措。費里 尼把惡意抨擊《露滴牡丹開》的衛道之士壓縮到小男人身 上，放在誇張戲謔鏡頭之下，對道德虛偽來個冷嘲熱諷。
「我的生活就是拍電影，那是我，那是我 的生命。」為紀念費里尼誕生百周年，曾 參與《珍姐與佛烈》製作的德露莉奧，就 以電影探進大師的魔幻人生。詭譎奇趣的 夢幻想像，原來深受心理學家伯恩哈德的 影響，對占星玄學、心靈感應的着迷啟發 無數創作靈感。從檔案發掘出大量罕見資 料及珍貴片段，找來一眾好友、拍檔細說 安瑟瑪德露莉奧 Anselma Dell'Olio 意大利 Italy 2020 90min
像導演威廉佛烈金及戴米恩查素娓娓道來
6.11
28.11 20:00 AH
獨一無二的「情感真實」，重塑大師靈性 的生命寫照。 Produced for the centenary of Federico Fellini’s birth, Dell'Olio offers an insightful reconstruction of the master’s rapport with the spiritual and the supernatural. Drawing from unseen archival materials and film clips, the documentary delves into Fellini’s fascinating and mystical vision, inspired by Jungian psychoanalysis, as well as his lifelong passion for esoterica and astrology. It’s an unprecedented and intimate portrait of the great filmmaker, as told through a chorus of voices, ranging from close friends and collaborators to Oscar-winning directors like William Friedkin and Damien Chazelle.
意大利 Italy／法國 France 1968 43min
@1967- TF1 DROITS AUDIOVISUELS PRODUZIONI EUROPEE ASSOCIATES S.A.S
19:30 AC
16
康城影展開幕電影 Cannes Film Festival: Opening Film
故人鮮為人知的點滴，還有兩位奧斯卡金
Recapturing the free spirit of Boccaccio, Fellini touched upon the ludicrous aspect of moralizing campaigns in this satirical comedy. The surreal play sees Dr. Antonio, an unbending puritan, driven berserk when the enchanting, provocative Anita Ekberg featured on a giant advertising billboard comes to life and divulges his hidden desires. Through his clumsy quixotic battle, the director made a searing denunciation of hypocrisy, and seemingly a sardonic retribution to the Catholic’s condemnation of La Dolce Vita .
Cast: Terence Stamp, Salvo Randone, Marina Yaru
改編愛倫坡短篇小說，去其形而取其神，費里尼攝出詭異 驚慄的暗黑風格，混和《露滴牡丹開》的浮華夢魘與《神 遊茱麗葉》的迷幻艷色，勾勒被魔鬼試探的靈魂窘相。泰 倫斯史丹飾演以莎劇聞名的英國演員，來到羅馬參與「天 主教西部片」，酗酒嗑藥的頹敝在鎂光燈下無所遁形，娛 樂染缸的糜爛令精神加速崩潰。法拉利紅色跑車載着失喪 靈魂飛馳，逃避瘋狂，卻衝向地獄的深淵。讓撒旦化身白 衣女孩，以絢麗影像活現「別與惡魔賭頭顱」的靈幻，更 覺毛骨悚然。
法國電影筆記年度十大影片 Cahiers du Cinéma: Top 10 Film Award
Inspired by an Edgar Allan Poe’s story, Fellini compounded the macabre master’s gothic horror with his visual frenzy of sumptuous debauchery and colorful flourishes. Arriving in Rome to make a Catholic Spaghetti Western, a dissolute English film star is sucked into a swirling vortex of deceits, illusions and selfloathing, recurrently haunted by the Devil in the guise of a pale girl. In a fervent attempt to escape madness in a red Ferrari, he descends into his own personal hell.
17
剛從精神病院出來的伊凡，彷彿聽見來自 荒野水井的呼喚，又像是月亮的呢喃。四
21.11
出尋索欲聽玉輪的聲音，瘋狂追求人間月
17:45 TK
亮女神，卻遇着不甘投閑的退休法官、似 癲還醒的奇人異士，在紛擾的世道跌跌碰 碰。費里尼最後之作，早已了無覊絆超然
意大利銀絲帶獎最佳電影音樂 Italian National Syndicate of Film Journalists: Silver Ribbon for Best Score
Cast: Antonio Cifariello, Livia Venturini, Maresa Gallo
據搖滾樂舞池，甚至令月亮成為凡人俘
1990 121min Cast: Roberto Benigni, Paolo Villaggio, Nadia Ottaviani
由新寫實主義推手薩瓦提尼領軍，費里尼的一段以貼近現 實的稜鏡撰寫社會日誌，折射城市愛情的複雜面相。年輕 記者為了報導，走進破落公寓大樓，找到了婚姻介紹所， 訛稱為家境豐裕但患有狼人症的鄉下朋友物識結婚對象。 以為無傷大雅的玩笑，沒想到純真少女竟願意下嫁，只望 擺脫貧窮。以紀實之鏡穿過迷宮似的走廊，以夢幻之眼捕 捉貧苦庶民的鮮活生態，短短十七分鐘，已讓人看透生命 的窘迫與無奈。
虜。把赤子之心交托羅拔圖貝尼尼，任由 豐饒想像盡情奔放，在頹弊荒唐的社會現 實裏守護瘋狂的澄明，留下靜謐叮嚀，傾
28.11 17:30 AH
27.12 19:45 AC
19:45 AH
意大利 Italy 1953 17min
物外，隨興之所致，就讓優雅的華爾茲佔
意大利 Italy／法國 France
12.12
聽心泉的月吟。 Profoundly freewheeling, Fellini’s swansong is an endearing ode to the romanticism of lunatics, like passing a torch to the young creative spirit represented by Roberto Benigni. Searching for the moon's voice, a young man released from a mental institution becomes infatuated with his “lunar goddess”, and interacts with a medley of weirdos in his phantasmagorical odyssey. Evoking cynicism to the ills of the modern world, yet it’s a euphoria that prevails, for the absurdist art of a maestro who has fashioned one of the most enchanted film worlds.
A delightful contribution to the cinematic exploration conceived by neorealist Cesare Zavattini on creating a “journal” of romance in postwar Italy, Fellini’s fancy-tinged satire is an affectionate contrivance about a young reporter on an assignment to investigate matrimonial agency, struck by a pure country girl struggling to escape from poverty. Wandering through a labyrinthine building in tour-de-force shots of odd bustling people, Fellini’s camera sketches a vivid yet surrealistic portrait of urbanites in the vicissitudes of life. 意大利 Italy／法國 France 1962 55min Cast: Peppino De Filippo, Anita Ekberg
蕩漾於《十日談》瘟疫蔓延時的自由與放縱，費里尼的邈 思遐想承傳薄伽丘的精神，以羅馬為舞台呈現當世荒誕面 貌。道貌岸然的安東尼博士以打擊傷風敗俗為己任，當性 感女神安妮達愛寶從巨型廣告板「活」過來，他欲以唐吉 訶德之姿對抗「美女金剛」的誘惑，落得倉惶失措。費里 尼把惡意抨擊《露滴牡丹開》的衛道之士壓縮到小男人身 上，放在誇張戲謔鏡頭之下，對道德虛偽來個冷嘲熱諷。
「我的生活就是拍電影，那是我，那是我 的生命。」為紀念費里尼誕生百周年，曾 參與《珍姐與佛烈》製作的德露莉奧，就 以電影探進大師的魔幻人生。詭譎奇趣的 夢幻想像，原來深受心理學家伯恩哈德的 影響，對占星玄學、心靈感應的着迷啟發 無數創作靈感。從檔案發掘出大量罕見資 料及珍貴片段，找來一眾好友、拍檔細說 安瑟瑪德露莉奧 Anselma Dell'Olio 意大利 Italy 2020 90min
像導演威廉佛烈金及戴米恩查素娓娓道來
6.11
28.11 20:00 AH
獨一無二的「情感真實」，重塑大師靈性 的生命寫照。 Produced for the centenary of Federico Fellini’s birth, Dell'Olio offers an insightful reconstruction of the master’s rapport with the spiritual and the supernatural. Drawing from unseen archival materials and film clips, the documentary delves into Fellini’s fascinating and mystical vision, inspired by Jungian psychoanalysis, as well as his lifelong passion for esoterica and astrology. It’s an unprecedented and intimate portrait of the great filmmaker, as told through a chorus of voices, ranging from close friends and collaborators to Oscar-winning directors like William Friedkin and Damien Chazelle.
意大利 Italy／法國 France 1968 43min
@1967- TF1 DROITS AUDIOVISUELS PRODUZIONI EUROPEE ASSOCIATES S.A.S
19:30 AC
16
康城影展開幕電影 Cannes Film Festival: Opening Film
故人鮮為人知的點滴，還有兩位奧斯卡金
Recapturing the free spirit of Boccaccio, Fellini touched upon the ludicrous aspect of moralizing campaigns in this satirical comedy. The surreal play sees Dr. Antonio, an unbending puritan, driven berserk when the enchanting, provocative Anita Ekberg featured on a giant advertising billboard comes to life and divulges his hidden desires. Through his clumsy quixotic battle, the director made a searing denunciation of hypocrisy, and seemingly a sardonic retribution to the Catholic’s condemnation of La Dolce Vita .
Cast: Terence Stamp, Salvo Randone, Marina Yaru
改編愛倫坡短篇小說，去其形而取其神，費里尼攝出詭異 驚慄的暗黑風格，混和《露滴牡丹開》的浮華夢魘與《神 遊茱麗葉》的迷幻艷色，勾勒被魔鬼試探的靈魂窘相。泰 倫斯史丹飾演以莎劇聞名的英國演員，來到羅馬參與「天 主教西部片」，酗酒嗑藥的頹敝在鎂光燈下無所遁形，娛 樂染缸的糜爛令精神加速崩潰。法拉利紅色跑車載着失喪 靈魂飛馳，逃避瘋狂，卻衝向地獄的深淵。讓撒旦化身白 衣女孩，以絢麗影像活現「別與惡魔賭頭顱」的靈幻，更 覺毛骨悚然。
法國電影筆記年度十大影片 Cahiers du Cinéma: Top 10 Film Award
Inspired by an Edgar Allan Poe’s story, Fellini compounded the macabre master’s gothic horror with his visual frenzy of sumptuous debauchery and colorful flourishes. Arriving in Rome to make a Catholic Spaghetti Western, a dissolute English film star is sucked into a swirling vortex of deceits, illusions and selfloathing, recurrently haunted by the Devil in the guise of a pale girl. In a fervent attempt to escape madness in a red Ferrari, he descends into his own personal hell.
17
贗品
F for Fake 電影是變戲法，曾當魔術師的奧遜威爾斯當然點頭稱是。他在火車站月 台表演魔術，並告訴觀眾，魔術師不過是出色的演員，而他正要拍一 部關於虛構和贗品的電影，一部關於偽畫大師艾米爾德荷利和他的傳記 作者奇里福艾雲的紀錄片。且慢！我們真要相信他嗎？艾雲論盡別人欺 世之際，卻被揭偽造荷里活大亨侯活曉士的自傳；威爾斯繆斯女友Oja
奧遜威爾斯
Orson Welles 法國 France／西德 West Germany 1973 89min Cast: Orson Welles, Oja Kodar, François Reichenbach
Kodar迷人姿態引君入甕，連畢加索的凝視都被收納為「演出」…… 威 爾斯早着後現代的先鞭，將藝術的權威標準徹底拉到反思的天秤上，剝 洋蔥般的結構層層琢磨創作之本質。其豐富龐雜、野心之巨無出其右。 Before its current incarnation as an essay film par excellence, F for Fake began life as a straightforward documentary by cameraman François Reichenbach on the legendary art forger Elmyr de Hory, until midway through production, Hory's biographer Clifford Irving was himself exposed as having penned reclusive billionaire Howard Hughes's purported autobiography as a hoax. Welles reedited and reconceived Reichenbach's project as a self-reflexive inquiry into the nature of movies as the art of illusion, incorporating his own sleight of hand as a cinematic magician with a colorful anecdote involving Pablo Picasso and Welles’ muse Oja Kodar that is told with a raconteur's gusto.
映後談講者林瀚光 Film talk with Derek Lam
6.12 14:30 TK
19.12 20:00 AH
舞台春秋 Limelight
人生可以重來，遺憾卻接踵而至。差利自況大片，將忘年戀、藝術 掙扎、與時代脫節的焦慮和死亡的恐懼，以及一生喜劇形象之愛與 執，各種母題共冶一爐。借一個酗酒過氣喜劇演員救回自殺妙齡女
差利卓別靈
舞者一命，從而相濡以沫，彼此鼓勵重踏舞台的故事，盡情透闢發
Charles Chaplin
揮，反躬自省之餘不忘自嘲，成就畢生傑作。影片初映正值麥卡錫
美國 USA 1952 137min Cast: Charles Chaplin, Claire Bloom, Buster Keaton
主義風眼，差利流亡，美國上畫影院零落，廿年後重映方在全球廣
1973 奧斯卡金像獎最佳原創音樂 1973 Academy Awards: Best Original Score
映後談講者張偉雄 Film talk with Bryan Chang
15.11 14:30 AC
22
29.11 19:30 AH
受稱譽，更為差利贏得一面奧斯卡獎項。基頓驚鴻一瞥，兩大傳奇 笑匠只此一次同場演出，蔚為佳話。片末代表差利終極藝術想像的 嘉麗寶琳最後一舞，也許註定長久潤澤影迷心田。 Persecuted in America for his leftist sympathies, Chaplin turned nostalgically to the milieu of Victorian London's music halls where he began his career for this late masterpiece about the relationship between an aging comedian who has lost his audience and a young ballerina he rescues from suicide. Bazin praised Limelight for the ambiguity with which Chaplin presented the relationship between art and life, illusion and reality, not least in the film's suggestions of autobiography, culminating in a legendary sketch featuring Chaplin for the first and only time together with Buster Keaton as a has-been comedy duo.
23
贗品
F for Fake 電影是變戲法，曾當魔術師的奧遜威爾斯當然點頭稱是。他在火車站月 台表演魔術，並告訴觀眾，魔術師不過是出色的演員，而他正要拍一 部關於虛構和贗品的電影，一部關於偽畫大師艾米爾德荷利和他的傳記 作者奇里福艾雲的紀錄片。且慢！我們真要相信他嗎？艾雲論盡別人欺 世之際，卻被揭偽造荷里活大亨侯活曉士的自傳；威爾斯繆斯女友Oja
奧遜威爾斯
Orson Welles 法國 France／西德 West Germany 1973 89min Cast: Orson Welles, Oja Kodar, François Reichenbach
Kodar迷人姿態引君入甕，連畢加索的凝視都被收納為「演出」…… 威 爾斯早着後現代的先鞭，將藝術的權威標準徹底拉到反思的天秤上，剝 洋蔥般的結構層層琢磨創作之本質。其豐富龐雜、野心之巨無出其右。 Before its current incarnation as an essay film par excellence, F for Fake began life as a straightforward documentary by cameraman François Reichenbach on the legendary art forger Elmyr de Hory, until midway through production, Hory's biographer Clifford Irving was himself exposed as having penned reclusive billionaire Howard Hughes's purported autobiography as a hoax. Welles reedited and reconceived Reichenbach's project as a self-reflexive inquiry into the nature of movies as the art of illusion, incorporating his own sleight of hand as a cinematic magician with a colorful anecdote involving Pablo Picasso and Welles’ muse Oja Kodar that is told with a raconteur's gusto.
映後談講者林瀚光 Film talk with Derek Lam
6.12 14:30 TK
19.12 20:00 AH
舞台春秋 Limelight
人生可以重來，遺憾卻接踵而至。差利自況大片，將忘年戀、藝術 掙扎、與時代脫節的焦慮和死亡的恐懼，以及一生喜劇形象之愛與 執，各種母題共冶一爐。借一個酗酒過氣喜劇演員救回自殺妙齡女
差利卓別靈
舞者一命，從而相濡以沫，彼此鼓勵重踏舞台的故事，盡情透闢發
Charles Chaplin
揮，反躬自省之餘不忘自嘲，成就畢生傑作。影片初映正值麥卡錫
美國 USA 1952 137min Cast: Charles Chaplin, Claire Bloom, Buster Keaton
主義風眼，差利流亡，美國上畫影院零落，廿年後重映方在全球廣
1973 奧斯卡金像獎最佳原創音樂 1973 Academy Awards: Best Original Score
映後談講者張偉雄 Film talk with Bryan Chang
15.11 14:30 AC
22
29.11 19:30 AH
受稱譽，更為差利贏得一面奧斯卡獎項。基頓驚鴻一瞥，兩大傳奇 笑匠只此一次同場演出，蔚為佳話。片末代表差利終極藝術想像的 嘉麗寶琳最後一舞，也許註定長久潤澤影迷心田。 Persecuted in America for his leftist sympathies, Chaplin turned nostalgically to the milieu of Victorian London's music halls where he began his career for this late masterpiece about the relationship between an aging comedian who has lost his audience and a young ballerina he rescues from suicide. Bazin praised Limelight for the ambiguity with which Chaplin presented the relationship between art and life, illusion and reality, not least in the film's suggestions of autobiography, culminating in a legendary sketch featuring Chaplin for the first and only time together with Buster Keaton as a has-been comedy duo.
23
銀幕 再現
RESTORED
修復
典
CLASSIC
浮生若夢
All That Jazz 擅拍歌舞片的卜科西，憑《歌廳》（1972）已名留影史，七年後根據曾 經心臟病發並逃出鬼門關的經歷，夫子自道，再登高峰，拍出了自己的 《八部半》（1963），與黑澤明《影武者》（1980）共享康城金棕櫚 殊榮。百老匯導演是個工作狂，煙不離手，興奮劑提神，一邊籌備新編 的歌舞劇，一邊剪接自己的電影，還要忙於縱情酒色，周旋於前妻與情 人之間。結果遇上美麗的死亡天使，知道大限將至，回首前塵，回憶與
Bob Fosse 美國 USA 1979 123min Cast: Roy Scheider, Jessica Lange, Ann Reinking, Leland Palmer 康城影展最佳電影金棕櫚獎 Cannes Film Festival: Palme d'Or 奧斯卡金像獎最佳剪接、最佳美術指導、 最佳造型設計、最佳改編音樂 Academy Awards: Best Editing, Best Art Direction, Best Costume Design, Best Adaptation Score
銀幕 再現
Mean Streets
夜闌心難靜，令人目盲耳聾的酒色財氣，掩不住四滲的血腥汗臭。紐約市 小意大利區的窮街陋巷間，寄存了太多揮之不去的情緒、莫名奇妙的瘋 狂。史高西斯拍到第三部長片，從費里尼《浪蕩兒》（1953）借來自我尋 索的能量，將自小耳濡目染的人事情境、兄弟情仇，以至宗教疚歉、生命 救贖，一股腦兒注入一個為保兄弟陷入四面楚歌的故事。夏菲基圖固然演 活英雄氣短護花餘恨，羅拔迪尼路四處搗亂的瘋情演出，更超越了「出 位」兩字，其影響遠達王家衛首作《旺角卡門》（1988）。全片揮灑自如
馬田史高西斯
Martin Scorsese 美國 USA
1973
110min
Cast: Robert De Niro, Harvey Keitel, David Proval 美國影評人協會獎最佳男配角 USA National Society of Film Critics Awards: Best Supporting Actor
的原創鏡頭俯拾皆是，最後十五分鐘的剪接調度，更是導演才情的終極認
絕相信到安然接受，復以華麗歌舞為人生謝幕。 映後談講者劉偉霖 Film talk with William Lau
21.11 20:30 TK
24
Back To The Screen
窮街陋巷
卜科西
當下、幻想與現實、舞台與私生活，全都交織在一起。面對死亡，由拒
Celebrated choreographer and filmmaker Bob Fosse brings his own sordid story to life in toe-tapping style through the misadventures of Broadway director Joe Gideon (brilliantly portrayed by a never-better Roy Scheider). Through a blizzard of booze, pills, women, and some of the greatest show tunes of all time, this Palme d’Or winner paints a surreal yet unflinching portrait of showbiz at its most stressful, from its dizzying highs to the depths of despair. The result is a spectacular parallel and tribute to Fellini’s 8 ½ (1963).
Images courtesy of Park Circus/Warner Bros.
© 1979 Columbia Pictures Industries, Inc. All Rights Reserved.
Back To The Screen
13.12 14:15 AH
證。 “You don’t make up for your sins at church, you do it on the streets”. So begins Martin Scorsese’s semi-autobiographical breakthrough, in which unknown performers Harvey Keitel and Robert De Niro explode onto the screen as a pair of young punks growing up in New York City’s Little Italy. From its inventive camerawork and jukebox soundtrack, to its compassionate portrayal of gangsters and lowlifes, this I Vitelloni -inspired classic set the tone for Scorsese’s entire career, and remains as fresh and electrifying today as it did almost 50 years ago.
映後談講者家明 Film talk with Fung Ka-ming
7.11 14:30 AC
22.11 20:35 TK
25
銀幕 再現
RESTORED
修復
典
CLASSIC
浮生若夢
All That Jazz 擅拍歌舞片的卜科西，憑《歌廳》（1972）已名留影史，七年後根據曾 經心臟病發並逃出鬼門關的經歷，夫子自道，再登高峰，拍出了自己的 《八部半》（1963），與黑澤明《影武者》（1980）共享康城金棕櫚 殊榮。百老匯導演是個工作狂，煙不離手，興奮劑提神，一邊籌備新編 的歌舞劇，一邊剪接自己的電影，還要忙於縱情酒色，周旋於前妻與情 人之間。結果遇上美麗的死亡天使，知道大限將至，回首前塵，回憶與
Bob Fosse 美國 USA 1979 123min Cast: Roy Scheider, Jessica Lange, Ann Reinking, Leland Palmer 康城影展最佳電影金棕櫚獎 Cannes Film Festival: Palme d'Or 奧斯卡金像獎最佳剪接、最佳美術指導、 最佳造型設計、最佳改編音樂 Academy Awards: Best Editing, Best Art Direction, Best Costume Design, Best Adaptation Score
銀幕 再現
Mean Streets
夜闌心難靜，令人目盲耳聾的酒色財氣，掩不住四滲的血腥汗臭。紐約市 小意大利區的窮街陋巷間，寄存了太多揮之不去的情緒、莫名奇妙的瘋 狂。史高西斯拍到第三部長片，從費里尼《浪蕩兒》（1953）借來自我尋 索的能量，將自小耳濡目染的人事情境、兄弟情仇，以至宗教疚歉、生命 救贖，一股腦兒注入一個為保兄弟陷入四面楚歌的故事。夏菲基圖固然演 活英雄氣短護花餘恨，羅拔迪尼路四處搗亂的瘋情演出，更超越了「出 位」兩字，其影響遠達王家衛首作《旺角卡門》（1988）。全片揮灑自如
馬田史高西斯
Martin Scorsese 美國 USA
1973
110min
Cast: Robert De Niro, Harvey Keitel, David Proval 美國影評人協會獎最佳男配角 USA National Society of Film Critics Awards: Best Supporting Actor
的原創鏡頭俯拾皆是，最後十五分鐘的剪接調度，更是導演才情的終極認
絕相信到安然接受，復以華麗歌舞為人生謝幕。 映後談講者劉偉霖 Film talk with William Lau
21.11 20:30 TK
24
Back To The Screen
窮街陋巷
卜科西
當下、幻想與現實、舞台與私生活，全都交織在一起。面對死亡，由拒
Celebrated choreographer and filmmaker Bob Fosse brings his own sordid story to life in toe-tapping style through the misadventures of Broadway director Joe Gideon (brilliantly portrayed by a never-better Roy Scheider). Through a blizzard of booze, pills, women, and some of the greatest show tunes of all time, this Palme d’Or winner paints a surreal yet unflinching portrait of showbiz at its most stressful, from its dizzying highs to the depths of despair. The result is a spectacular parallel and tribute to Fellini’s 8 ½ (1963).
Images courtesy of Park Circus/Warner Bros.
© 1979 Columbia Pictures Industries, Inc. All Rights Reserved.
Back To The Screen
13.12 14:15 AH
證。 “You don’t make up for your sins at church, you do it on the streets”. So begins Martin Scorsese’s semi-autobiographical breakthrough, in which unknown performers Harvey Keitel and Robert De Niro explode onto the screen as a pair of young punks growing up in New York City’s Little Italy. From its inventive camerawork and jukebox soundtrack, to its compassionate portrayal of gangsters and lowlifes, this I Vitelloni -inspired classic set the tone for Scorsese’s entire career, and remains as fresh and electrifying today as it did almost 50 years ago.
映後談講者家明 Film talk with Fung Ka-ming
7.11 14:30 AC
22.11 20:35 TK
25
GODARD, FILM, HISTORY
老導演為新電影選角，進度不佳，女兒和姪兒 卻嚷着要他陪去薩拉熱窩演舞台劇，連家中不 快樂的女傭也說跟去瞧瞧。導演臨陣退縮，年
高達
輕人先被困叢林，後遭法西斯士兵虐殺，慘事 成了新作情節，期間一場莫扎特音樂會要舉行 了，但因為沒有揭琴譜的人遲遲不能開始…… 高達再次告訴觀眾，故事對他來說是等待被超 越的框架。那對知識份子偽善和無能的持續鞭 撻，令人看得如坐針氈。革命不是請客吃飯，
╳
莫扎特知道，只是太多人忘記了。 Godard addresses the war in Sarajevo and Europe's responsibility by questioning the capacity for art to intervene. Preparing for a movie that addresses history's tragic repetitions, the aged filmmaker Vicky Vitalis accompanies his young daughter and nephew on their idealistic quest to mount a play by Alfred de Musset in war-torn Sarajevo. On their way, however, the youngsters are abandoned by Vitalis to face a tragic outcome. Guilt-ridden, Vitalis attempts to recreate the tragedy on film, only to be faced with its box-office failure. Meanwhile, Mozart's music lives on at a youth concert nearby.
20.11
電影 ╳ 歷史
FOR EVER MOZART
19:15 AH
永遠的莫扎特 法國 France／瑞士 Switzerland 1996 86min Cast: Madeleine Assas, Bérangère Allaux, Ghalia Lacroix 威尼斯影展影評人獎 Venice Film Festival: Filmcritica Award
講者：香港大學比較文學系講師林瀚光博士 Speaker: Dr. Derek Lam, Lecturer of Comparative Literature at the University of Hong Kong
戀人總在尋覓，尋找靈光，尋找寧芙，尋找愛
電 影 課 程 Film Course
與被愛。藝術與情，思考與愛，表達與傳遞， 再加上對美國的恨愛仇情，造就了當年康城驚 艷，高達作品中絕無僅有的愛之詩篇。一部絕 對可倒過來看的作品——時間倒流，先有當下
電影課程上回探索高達向電影史觀招魂，今回且看大師千禧年後更一往無前， 新作破格不斷。自創科技告別語言，讓影像自由散策，在地獄、煉獄和天堂恣 意遊走，譜寫自己的人間神曲，叩問人類文明、戰爭、政治議題，甚至出其不 意來一闋愛之詩篇。當人人仍拘泥於時空順逆、因果虛實的辯證，高達對電影、 生命與世界的思索，早已超然物外。 Moving into the Millennium, Jean-Luc Godard remains at the cutting-edge of cinema. Conceiving our music in the spirit of Dante, experimenting new technology as he bids goodbye to language, or reversing to the past in praise of love, Godard’s exploration of images, sounds and montage is simultaneously amazing and confounding. In the second part of this film course, we’ll see how the master continues to challenge the very limits of filmmaking, while offering illuminating reflection on our world.
放映 Screening
+ 講座 Lecture 28
粵語主講 Conducted in Cantonese
講座長約一小時 Lecture: approximately 1 hour 套票優惠 Package Discount:
六堂七折 30% off for 6 sessions
兩堂或以上七五折 25% off for 2 sessions or more
高達課程特刊 Godard Film Course Catalogue
才有過去，先有結束才有邂逅的愛之探索。黑 白和彩色的前後片段，既可視為雙重奏，復可 視為虛與實，善與惡，果與因。到頭來觀眾會 發現，真正的時間序列交由每個心靈自決，愛 自身才會如如朗現。 Returning to Paris and shooting in monochrome, Godard tells the story of Edgar, an artist working on a project about how love evolves at different stages in life. Multiple love stories unfold through Edgar's project and his relationship with "Elle" ("Her"), a working-class intellectual who opposes her grandparents selling the true story of their involvement in the French Resistance to Hollywood producers. Reversing conventional expectations, an extended flashback that details Edgar's initial encounter with "Elle" in Brittany is shot in color on digital video, as Godard meditates on love, resistance, and the past as both memory and history.
23.12
IN PRAISE OF LOVE 愛之頌 (ELOGE DE L'AMOUR)
法國 France／瑞士 Switzerland 2001 97min Cast: Bruno Putzulu, Cécile Camp, Jean Davy, Françoise Verny 康城影展競賽電影 Cannes Film Festival: In Competition
出席講座的觀眾將獲贈課程筆記《高達．電影．歷史》（中文版）
Audience who attends the course is eligible for a complimentary copy of Godard, Film, History (Chinese version only)
19:30 AC
講者：錄像創作人及文化藝術工作者馮美華 Speaker: May Fung, video artist and cultural worker
29
GODARD, FILM, HISTORY
老導演為新電影選角，進度不佳，女兒和姪兒 卻嚷着要他陪去薩拉熱窩演舞台劇，連家中不 快樂的女傭也說跟去瞧瞧。導演臨陣退縮，年
高達
輕人先被困叢林，後遭法西斯士兵虐殺，慘事 成了新作情節，期間一場莫扎特音樂會要舉行 了，但因為沒有揭琴譜的人遲遲不能開始…… 高達再次告訴觀眾，故事對他來說是等待被超 越的框架。那對知識份子偽善和無能的持續鞭 撻，令人看得如坐針氈。革命不是請客吃飯，
╳
莫扎特知道，只是太多人忘記了。 Godard addresses the war in Sarajevo and Europe's responsibility by questioning the capacity for art to intervene. Preparing for a movie that addresses history's tragic repetitions, the aged filmmaker Vicky Vitalis accompanies his young daughter and nephew on their idealistic quest to mount a play by Alfred de Musset in war-torn Sarajevo. On their way, however, the youngsters are abandoned by Vitalis to face a tragic outcome. Guilt-ridden, Vitalis attempts to recreate the tragedy on film, only to be faced with its box-office failure. Meanwhile, Mozart's music lives on at a youth concert nearby.
20.11
電影 ╳ 歷史
FOR EVER MOZART
19:15 AH
永遠的莫扎特 法國 France／瑞士 Switzerland 1996 86min Cast: Madeleine Assas, Bérangère Allaux, Ghalia Lacroix 威尼斯影展影評人獎 Venice Film Festival: Filmcritica Award
講者：香港大學比較文學系講師林瀚光博士 Speaker: Dr. Derek Lam, Lecturer of Comparative Literature at the University of Hong Kong
戀人總在尋覓，尋找靈光，尋找寧芙，尋找愛
電 影 課 程 Film Course
與被愛。藝術與情，思考與愛，表達與傳遞， 再加上對美國的恨愛仇情，造就了當年康城驚 艷，高達作品中絕無僅有的愛之詩篇。一部絕 對可倒過來看的作品——時間倒流，先有當下
電影課程上回探索高達向電影史觀招魂，今回且看大師千禧年後更一往無前， 新作破格不斷。自創科技告別語言，讓影像自由散策，在地獄、煉獄和天堂恣 意遊走，譜寫自己的人間神曲，叩問人類文明、戰爭、政治議題，甚至出其不 意來一闋愛之詩篇。當人人仍拘泥於時空順逆、因果虛實的辯證，高達對電影、 生命與世界的思索，早已超然物外。 Moving into the Millennium, Jean-Luc Godard remains at the cutting-edge of cinema. Conceiving our music in the spirit of Dante, experimenting new technology as he bids goodbye to language, or reversing to the past in praise of love, Godard’s exploration of images, sounds and montage is simultaneously amazing and confounding. In the second part of this film course, we’ll see how the master continues to challenge the very limits of filmmaking, while offering illuminating reflection on our world.
放映 Screening
+ 講座 Lecture 28
粵語主講 Conducted in Cantonese
講座長約一小時 Lecture: approximately 1 hour 套票優惠 Package Discount:
六堂七折 30% off for 6 sessions
兩堂或以上七五折 25% off for 2 sessions or more
高達課程特刊 Godard Film Course Catalogue
才有過去，先有結束才有邂逅的愛之探索。黑 白和彩色的前後片段，既可視為雙重奏，復可 視為虛與實，善與惡，果與因。到頭來觀眾會 發現，真正的時間序列交由每個心靈自決，愛 自身才會如如朗現。 Returning to Paris and shooting in monochrome, Godard tells the story of Edgar, an artist working on a project about how love evolves at different stages in life. Multiple love stories unfold through Edgar's project and his relationship with "Elle" ("Her"), a working-class intellectual who opposes her grandparents selling the true story of their involvement in the French Resistance to Hollywood producers. Reversing conventional expectations, an extended flashback that details Edgar's initial encounter with "Elle" in Brittany is shot in color on digital video, as Godard meditates on love, resistance, and the past as both memory and history.
23.12
IN PRAISE OF LOVE 愛之頌 (ELOGE DE L'AMOUR)
法國 France／瑞士 Switzerland 2001 97min Cast: Bruno Putzulu, Cécile Camp, Jean Davy, Françoise Verny 康城影展競賽電影 Cannes Film Festival: In Competition
出席講座的觀眾將獲贈課程筆記《高達．電影．歷史》（中文版）
Audience who attends the course is eligible for a complimentary copy of Godard, Film, History (Chinese version only)
19:30 AC
講者：錄像創作人及文化藝術工作者馮美華 Speaker: May Fung, video artist and cultural worker
29
天籟不存，我們的音樂註定要從地獄奏起。高
情節也許從來不重要：一男一女，錯誤的時間，
達今次找來梅芮迪斯蒙克（Meredith Monk）
未必全對的人，來過，愛過，吵過，一層一層地
助拳配樂，向但丁的《神曲》致敬，把電影分
建立，又一層一層地剝落；和他們相關或不相關
為地獄、煉獄和天堂三大篇章。地獄篇是背景
的狗兒，由導演本人愛犬擔綱演出；牠經過的
脈絡：遍布人間的戰爭與暴力事件，在高達獨
叢林、海邊；那彷彿永遠泊不了岸的觀光船；讀
門蒙太奇下懾人心魄；煉獄篇由他本人粉墨登
着書和年輕人一句沒一句搭訕着的教授……內外
場，亦虛亦實地進行各種對波斯尼亞、以巴局
影像行雲流水，詩意念白渾然天成。高達剛在短
勢、電影和文學的思辯，包括對傳統正反拍剪
篇前作《3D鐵三角》（2013）對3D技術痛加批
接的尖銳批判；天堂篇則是危機與寧靜辯證結
判，今輪拈來竟順手來個空前的靜止搖鏡、框外
合的湖濱散記意象，充分展示何謂不安之安。 Godard returns to Sarajevo with a question that has long haunted him: what role can artists and intellectuals play when they intervene in politics and history? With a three-part structure borrowed from Dante, Godard first depicts war ("Hell") with a montage of found footage, before taking us to postwar Sarajevo ("Purgatory") and a cultural conference presided over by Godard himself and other real-life poets and thinkers, where we are introduced to the film's young protagonists Judith and Olga – a journalist and a film student – who choose opposite paths towards changing society. A coda ("Paradise") ironically considers the aftermath of martyrdom.
27.11
OUR MUSIC
19:15 AH
高達神曲 (NOTRE MUSIQUE) 法國 France／瑞士 Switzerland 2004 80min Cast: Sarah Adler, Nade Dieu, Rony Kramer, Georges Aguilar 聖塞巴斯蒂安電影節國際影評人聯盟獎 San Sebastián International Film Festival: FIPRESCI Prize
因拷貝問題，本場放映格式將為 DVD The screening of this film will be sourced from DVD due to issues with the print copies
講者：香港大學比較文學系講師林瀚光博士 Speaker: Dr. Derek Lam, Lecturer of Comparative Literature at the University of Hong Kong
切接，在人人一度不（敢）談真實的完全自戀年
11.12 19:30 AH
GOODBYE TO LANGUAGE 3D 告別言語 3D (ADIEU AU LANGAGE) 法國 France／瑞士 Switzerland 2014 70min Cast: Hélonse Godet, Kamel Abdelli, Richard Chevallier, Roxy Miéville 康城影展評審團獎 Cannes Film Festival: Jury Prize
講者：香港城市大學創意媒體學院互媒藝術副教授黎肖嫻博士 Speaker: Dr. Linda Chiu-han Lai, Associate Professor in Intermedia Arts, School of Creative Media, City University of Hong Kong
高達跑上一艘豪華郵輪捕捉乘客的故事，一切
五隻手指，五個章節。《告別言語》後，高達
如其所是莫名隱晦，偶爾嗅出資本主義的噁心
還有話要說，告誡我們不要只顧動腦筋，更要
味道，也偶爾散發左翼理想的殘餘魅力，也許
用手去思考，去創造。延續《世界電影（眾
游弋於孕育歐洲文明的地中海才是最重要的。
數）史》的自由拼貼手法，再開新篇，挪用舊
另一邊廂，一個既是中途油站也是母土隱喻的
有的新聞與電影片段，剪貼出影像書，月旦世
家庭正在解構，當你以為那只是一場思想實
情，論證文明世界的墮落：戰爭不斷重演，西
驗，審訊已緩緩開始。社會主義既一度被披上
方霸權對東方的扭曲與偏見，還有他對阿拉伯
壞蛋的臉紗，高達有責任為大家重新展露其真
世界的看法。當世界走向毀滅，希望何在？康
容，並提醒大家，電影與思考亦應以真實為對
城影展頒予特別金棕櫚獎，表揚其超然成就。
象，一往無前，永不言悔。 Godard's first fully-digital feature begins with an ensemble drama set on a Mediterranean cruise ship fragmented to the point of abstraction, as various characters (a French journalist, a former Nazi spy, a Russian officer, an Israeli academic...) are caught in a historical intrigue involving gold coins from the Spanish Civil War that went missing owing to Soviet involvement. The film's second movement addresses the media and contemporary electoral politics by focusing on a TV news crew and a French family operating a gas station. A final movement features locales of historical and cultural significance: Egypt, Palestine, Odessa, Greece, Naples, and Barcelona.
4.12
FILM SOCIALISM 電影社會主義 (FILM SOCIALISME) 法國 France 2010 101min Cast: Jean Marc Stehlé, Agatha Couture, Mathias Domahidy, Patti Smith 康城影展「某種觀點」環節 Cannes Film Festival: Un Certain Regard Section
30
講者：影評人朗天 Speaker: Long Tin, film critic
19:00 AH
As Godard approaches 90, he offers us another meditative reflection on the technologies and implications of cinema, in counterpoint to the atrocities of the Holocaust, the Israeli-Palestinian conflict and struggles across the Middle East. In five chapters, which Godard likens to the five fingers of the hand, he recycles images, sounds, and ideas from previous works, but also explores new territory. Recalling his collage masterpiece Historie(s) of Cinema , The Image Book shows him pushing the manipulation of image and sound to a new level.
代，作出了直面真理的宣言。八十三高齡於老頑 童竟真如履平地。不看未看還須看之傑作！ Ever the cinematic pioneer, Godard's Goodbye to Language is at once an exploration of 3D photography, but also a collage of philosophical, literary and political musings that reference everything from Jean-Paul Sartre to Mary Shelley. Ostensibly a dual narrative about two couples wrestling with infidelity, he has loftier ambitions than mere storytelling. Godard and cinematographer Fabrice Aragno spent four years developing their own cameras and technology, resulting in feats of cinematic innovation every bit as impactful to film language as the jump cuts of Breathless back in 1960. While some have labeled the film incomprehensible and pretentious, such criticisms are meaningless to Godard, who continues to challenge our understanding and perceptions of cinema, and by extension, the world as we know it.
觀眾請自備3D眼鏡或可到戲院購買 Please bring along your own 3D glasses or buy a pair at the cinema
18.12
THE IMAGE BOOK
19:30 AH
圖像策（又名：影像書） (LE LIVRE D’IMAGE) 法國 France／瑞士 Switzerland 2018 84 min 康城影展特別金棕櫚獎 Cannes Film Festival: Special Palme d'Or 電影筆記年度十大 : 最佳電影 Cahiers du Cinéma: Best Film
講者：影評人朗天 Speaker: Long Tin, film critic
31
天籟不存，我們的音樂註定要從地獄奏起。高
情節也許從來不重要：一男一女，錯誤的時間，
達今次找來梅芮迪斯蒙克（Meredith Monk）
未必全對的人，來過，愛過，吵過，一層一層地
助拳配樂，向但丁的《神曲》致敬，把電影分
建立，又一層一層地剝落；和他們相關或不相關
為地獄、煉獄和天堂三大篇章。地獄篇是背景
的狗兒，由導演本人愛犬擔綱演出；牠經過的
脈絡：遍布人間的戰爭與暴力事件，在高達獨
叢林、海邊；那彷彿永遠泊不了岸的觀光船；讀
門蒙太奇下懾人心魄；煉獄篇由他本人粉墨登
着書和年輕人一句沒一句搭訕着的教授……內外
場，亦虛亦實地進行各種對波斯尼亞、以巴局
影像行雲流水，詩意念白渾然天成。高達剛在短
勢、電影和文學的思辯，包括對傳統正反拍剪
篇前作《3D鐵三角》（2013）對3D技術痛加批
接的尖銳批判；天堂篇則是危機與寧靜辯證結
判，今輪拈來竟順手來個空前的靜止搖鏡、框外
合的湖濱散記意象，充分展示何謂不安之安。 Godard returns to Sarajevo with a question that has long haunted him: what role can artists and intellectuals play when they intervene in politics and history? With a three-part structure borrowed from Dante, Godard first depicts war ("Hell") with a montage of found footage, before taking us to postwar Sarajevo ("Purgatory") and a cultural conference presided over by Godard himself and other real-life poets and thinkers, where we are introduced to the film's young protagonists Judith and Olga – a journalist and a film student – who choose opposite paths towards changing society. A coda ("Paradise") ironically considers the aftermath of martyrdom.
27.11
OUR MUSIC
19:15 AH
高達神曲 (NOTRE MUSIQUE) 法國 France／瑞士 Switzerland 2004 80min Cast: Sarah Adler, Nade Dieu, Rony Kramer, Georges Aguilar 聖塞巴斯蒂安電影節國際影評人聯盟獎 San Sebastián International Film Festival: FIPRESCI Prize
因拷貝問題，本場放映格式將為 DVD The screening of this film will be sourced from DVD due to issues with the print copies
講者：香港大學比較文學系講師林瀚光博士 Speaker: Dr. Derek Lam, Lecturer of Comparative Literature at the University of Hong Kong
切接，在人人一度不（敢）談真實的完全自戀年
11.12 19:30 AH
GOODBYE TO LANGUAGE 3D 告別言語 3D (ADIEU AU LANGAGE) 法國 France／瑞士 Switzerland 2014 70min Cast: Hélonse Godet, Kamel Abdelli, Richard Chevallier, Roxy Miéville 康城影展評審團獎 Cannes Film Festival: Jury Prize
講者：香港城市大學創意媒體學院互媒藝術副教授黎肖嫻博士 Speaker: Dr. Linda Chiu-han Lai, Associate Professor in Intermedia Arts, School of Creative Media, City University of Hong Kong
高達跑上一艘豪華郵輪捕捉乘客的故事，一切
五隻手指，五個章節。《告別言語》後，高達
如其所是莫名隱晦，偶爾嗅出資本主義的噁心
還有話要說，告誡我們不要只顧動腦筋，更要
味道，也偶爾散發左翼理想的殘餘魅力，也許
用手去思考，去創造。延續《世界電影（眾
游弋於孕育歐洲文明的地中海才是最重要的。
數）史》的自由拼貼手法，再開新篇，挪用舊
另一邊廂，一個既是中途油站也是母土隱喻的
有的新聞與電影片段，剪貼出影像書，月旦世
家庭正在解構，當你以為那只是一場思想實
情，論證文明世界的墮落：戰爭不斷重演，西
驗，審訊已緩緩開始。社會主義既一度被披上
方霸權對東方的扭曲與偏見，還有他對阿拉伯
壞蛋的臉紗，高達有責任為大家重新展露其真
世界的看法。當世界走向毀滅，希望何在？康
容，並提醒大家，電影與思考亦應以真實為對
城影展頒予特別金棕櫚獎，表揚其超然成就。
象，一往無前，永不言悔。 Godard's first fully-digital feature begins with an ensemble drama set on a Mediterranean cruise ship fragmented to the point of abstraction, as various characters (a French journalist, a former Nazi spy, a Russian officer, an Israeli academic...) are caught in a historical intrigue involving gold coins from the Spanish Civil War that went missing owing to Soviet involvement. The film's second movement addresses the media and contemporary electoral politics by focusing on a TV news crew and a French family operating a gas station. A final movement features locales of historical and cultural significance: Egypt, Palestine, Odessa, Greece, Naples, and Barcelona.
4.12
FILM SOCIALISM 電影社會主義 (FILM SOCIALISME) 法國 France 2010 101min Cast: Jean Marc Stehlé, Agatha Couture, Mathias Domahidy, Patti Smith 康城影展「某種觀點」環節 Cannes Film Festival: Un Certain Regard Section
30
講者：影評人朗天 Speaker: Long Tin, film critic
19:00 AH
As Godard approaches 90, he offers us another meditative reflection on the technologies and implications of cinema, in counterpoint to the atrocities of the Holocaust, the Israeli-Palestinian conflict and struggles across the Middle East. In five chapters, which Godard likens to the five fingers of the hand, he recycles images, sounds, and ideas from previous works, but also explores new territory. Recalling his collage masterpiece Historie(s) of Cinema , The Image Book shows him pushing the manipulation of image and sound to a new level.
代，作出了直面真理的宣言。八十三高齡於老頑 童竟真如履平地。不看未看還須看之傑作！ Ever the cinematic pioneer, Godard's Goodbye to Language is at once an exploration of 3D photography, but also a collage of philosophical, literary and political musings that reference everything from Jean-Paul Sartre to Mary Shelley. Ostensibly a dual narrative about two couples wrestling with infidelity, he has loftier ambitions than mere storytelling. Godard and cinematographer Fabrice Aragno spent four years developing their own cameras and technology, resulting in feats of cinematic innovation every bit as impactful to film language as the jump cuts of Breathless back in 1960. While some have labeled the film incomprehensible and pretentious, such criticisms are meaningless to Godard, who continues to challenge our understanding and perceptions of cinema, and by extension, the world as we know it.
觀眾請自備3D眼鏡或可到戲院購買 Please bring along your own 3D glasses or buy a pair at the cinema
18.12
THE IMAGE BOOK
19:30 AH
圖像策（又名：影像書） (LE LIVRE D’IMAGE) 法國 France／瑞士 Switzerland 2018 84 min 康城影展特別金棕櫚獎 Cannes Film Festival: Special Palme d'Or 電影筆記年度十大 : 最佳電影 Cahiers du Cinéma: Best Film
講者：影評人朗天 Speaker: Long Tin, film critic
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