Nov Dec 2019
CIne fan The Logic of Illusion
Jacques Tati
永遠 的幻 象師
積葵大地
CIne fan
Nov Dec 2019
目錄
Contents
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8
11
The Elusive Enchantment: Dietrich x Sternberg 靈光艷影 盡得風流 — 德烈治與史登堡
The Golden Age 黃金時代
Always a Rebel, Andrzej Munk 蒙克 — 鐵幕下的吶喊
影片放映格式請參閱Cine Fan網頁 Screening format information please refer to the Cine Fan website
主辦 Presenter
資助機構 Financially Supported by
香港特別行政區政府透過電影發展基金向本項目提供財政支援。有關財政支援與本項目的內容或在本項目中所表達的意見並無關連。 The Government of the Hong Kong Special Administrative Region provides funding support to the project through the Film Development Fund. The funding support bears no relationship whatsoever to the content of or views expressed in this project.
AC
TK
AH
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
大館賽馬會立方 Tai Kwun JC Cube 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
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The Logic of Illusion: Jacques Tati 永遠的幻象師 積葵大地
Back to the Screen 銀幕再現
Godard, Film, History 高達．電影．歷史
31 Ticketing Information 購票須知
32 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 Partners
合作夥伴 Supporters
字幕 Subtitles
默片 Silent
慵
懶眼神、高傲顴骨，婀娜 身姿穿上紳士西服，徐徐
吐出一口煙，磁性的嗓音正唱 着浪語狂歌；台下觀眾看得如 癡如醉，她的冷艷笑容依然滿
的大膽前衛，獨領風騷。
登堡將歐洲浪漫主義的激情融
史登堡極其個人的自虐執迷， 盡現在他精雕細琢的角色設 計，由深情女伶、愛國間諜、 不覊蕩婦以至權慾女皇，他為
入美國古典風格，打造荷里活 黃金時代的夢幻神話。《金髮 女神》（1932）的綺靡歌舞、 《玫瑰多刺》（1935）的錦衣 華服、《桃紅女霸》（1934）
不在乎。
這位銀幕上與私底下的女神塑
瑪蓮德烈治（1901-92）的傲然
造出百變魅影。同樣擁抱魔鬼
自我，與約瑟馮史登堡（1894-
媚惑，德烈治總為每位女性角
1969）的光影夢幻，成了影
色傾注不一樣的魅力，深得收
異國風情。這種「令人驚艷的
史上最令人目眩神迷的天作之
與放、迎與拒之真味，情愛關
唯美主義」，蘇珊桑塔格譽為
合。在奧地利大師的魔鏡下，
係總佔上風，男人只有不能自
建構出camp的藝術聖殿，讓繆
《藍天使》（1930）的妖嬈
拔的餘地。面對加利谷巴、加
斯女神受朝聖者永恆膜拜。
歌姬處女開腔驚為天人，為有
利格蘭、奇理夫布祿位位當時
聲電影寫下歷史；在《荒漠英 雄》（1930）以雌雄莫辨之姿 初登美國銀幕，顛倒性別角色
得令的型男巨星，她優雅而瀟 灑的氣度，依然盡得風流。
的侈宏場景，大師以神乎其技 的光影聲色美學，幻變出摩洛 哥、中國、西班牙及俄羅斯等
「男人不計其數，我方得上海 莉莉之名」（《上海快車》， 1932）。成就瑪蓮德烈治的不
在兩人合作的七部經典裏，史
朽芳名，則只須史登堡一人。
The Elusive Enchantment
靈 光 艷 影 德
烈
盡 得 風 流
治
D i e t r i c h
D
與 x
史
登
堡
S t e r n b e r g
onning a top hat, slipping
in The Blue Angel (1930) and
European sensibility and a style
into a tailcoat; through the
Morocco (1930), her lustrous
so expressionistic to American
haze of cigarette smoke, she
vitality was a perfect match for
screens, the lyrical filmmaker
sings in an alluring voice with
the provocative roles Sternberg
heightened his muse’s allure with
cold disdain. Here on stage is the
created for her, be it an enticing
chiaroscuro lighting, extravagant
seductive androgynous goddess
chanteuse in Blonde Venus (1932),
costumes and dazzling decors,
– Marlene Dietrich (1901-92), who
a patriotic spy in Dishonored
conjuring dream visions of
evokes desire for admiration, and
(1931), a femme fatale in The
exotic settings from Morocco
incites all to delve into the secret
Devil is a Woman (1935) and the
to Shanghai and even Imperial
behind her callous egotism.
hedonistic Catherine the Great in
Russia. These romantic fantasies
The Scarlet Empress (1934) – to
construed a delirious world of
Dietrich’s coolly transformative mystique and Austrian master Josef von Sternberg’s (1894-
each character she brings a fresh charisma, inducing charm as much
passions that overcomes strict realism and becomes landmarks
as villainy, sympathy and scandal.
of the cinematic art.
form one of the most legendary
“Camp is the outrageous
“It took more than one man to
partnerships in film history,
aestheticism of Sternberg's
indulging audiences in the
American movies with Dietrich,”
interplay of manipulation and
Susan Sontag’s accolade
masochism, in which men fall
encapsulated the six films of
one after another for her like
their collaboration during pre-
moths to a flame. Mesmerizing
code Hollywood, just at the
the world with her sultry songs
dawn of the Hays Code. Bringing
1969) visionary erotic aesthetics
change my name to Shanghai Lily,” she says in Shanghai Express (1932). But it only took Sternberg alone to transform Marlene Dietrich into a myth – and all of us into prisoners of their grandiose illusions.
鳴謝韓國電影資料館借出35米厘及數碼放映拷貝 35mm prints and DCPs courtesy of the Korean Film Archive
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3
The Blue Angel 藍天使 (Der blaue Engel)
晨鐘而始，喪鐘而結，為教授淪為小丑的跌宕一生回響。顫巍走過猶如 《卡里加利博士》(1920) 的變形街角，德高望重的教授陷於歌女蘿拉的
德國 Germany 1930 104min Co-stars: Emil Jannings, Kurt Gerron
妖艷魅惑無法自拔，意氣風發的雄鳴變為被閹割待宰的哀啼。世界有聲電 影先驅，史登堡以簡樸精闢音效襯托高反差光影，扭造痴戀的精神衝擊。 放浪迷離的瑪蓮德烈治高歌〈Falling in Love Again〉一鳴驚人成為銀幕女 神，光芒媲美憑《最後命令》（1928）榮登首屆奧斯卡影帝的艾美恩寧 斯。是次放映德語修復版，比同時拍攝的英語版更具神韻。 Giving off her heat waves of eroticism and icy chills of heartlessness to the mesmeric role of cabaret singer Lola Lola, Dietrich became an overnight sensation, casting her sensuous spell when singing “Falling in Love Again” in her smoky voice. Enchanted, Emil Jannings (winner of the first Academy Award for Best Actor), the pompous, wretched professor ends up in humiliation and self-destruction for his doomed love; while Sternberg scored an overwhelming triumph with his expressionist masterpiece of erotic obsession – and Germany’s most admired release of sound film in history.
Morocco 荒漠英雄
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15.12 16:45 AH
Images courtesy of Park Circus/Universal
一身紳士燕尾服與淑女親吻，德烈治剛柔並濟的性感英姿顛倒眾生，一躍 榮登荷里活神壇。史登堡首部美國電影，以光影詩意融入自然音響塑造異 國風情，調燮性別角色的微妙倒置，《電影筆記》譽為完美示範「全由意 識形態主導的情色故事」。冷艷神秘歌女來到摩洛哥賣藝，情傾玩世不恭 的傭兵（紅透的加利谷巴）；無奈委身老練富商，卻驚聞愛人在前線受
美國 USA 1930 92min Co-stars: Gary Cooper, Adolphe Menjou 奧斯卡金像獎最佳導演及 最佳女主角等四項提名 Academy Awards: 4 nominations including Best Director and Best Actress
傷，她毅然脫下高跟鞋，走向他的沙漠戰場……夢幻結局，為所愛一往無 前的浪漫主義，一如大師對電影藝術的追求。 In a stunning display of stylistic imagination, Sternberg’s first Hollywood film with Dietrich brought her to international stardom. Playing another sumptuous vamp, the radiant beauty dressed in top hat, white tie and tails capitalizes on a tycoon’s devoted affection for her, while she ultimately sacrifices everything for the man she truly loves, legionnaire Gary Cooper. With delicately textured effects of light and shadow, Sternberg creates a whimsical interplay between masculine and feminine characteristics, contriving his world of illusions with the exotic décor of Morocco and incendiary sexuality of his muse.
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23.11 17:15 AH
28.12 14:30 AC
Dishonored 忠節難全
花街神女變身愛國間諜，德烈治發揮煙視媚行的貓兒天賦，色誘敵方刺探情 報。靈貓遇着狡鼠，與俄國上校墜入愛情心理戰，令她的忠誠受到考驗。影 片當年大捷，令對家MGM出動嘉寶複製同一間諜角色；高達推崇為十大最 佳美國有聲電影之一。史登堡巧用鋼琴奏出戰樂、戀曲與驪歌，以視覺幻象
美國 USA 1931 91min Co-stars: Victor McLaglen, Gustav von Seyffertitz 美國國家評論協會十大電影之一 USA National Board of Review’s Top Ten
重塑家鄉維也納，借一戰時期政治陰險，為女性獻上純潔榮譽桂冠。層層疊 疊的縹緲影像，令女間諜神秘面紗若隱若現，在犧牲的神壇上，是為國、為 愛，或只不過忠於自己？ In a powerful role of a prostitute-turned-spy that even Greta Garbo had to reprise, Dietrich becomes a femme fatale who devotes her gifts for seduction to the patriotic cause – until her loyalty is put to the test in a fatal game of cat and mouse with a roguish Russian colonel and ends up in the political intrigue. An opulent re-imagination of his native Vienna, Sternberg’s espionage melodrama continues his examination of feminine mystique and tragic sacrifice on the altar of her love. Lauded by Godard as one of the ten best American sound films.
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15.12 19:00 AH
RESTORED
修復 典 CLASSIC
Shanghai Express 上海快車 若說一個導演不惜一切，只為成就一個女人的美麗，那該是《上海快 車》。史登堡以登峰造極的光影美學，雕琢出德烈治的絕艷輪廓，迷離意 態在頹廢的東方情調中飄蕩。叛軍煞停京滬快車脅持人質的驚慄犯罪戲 碼，旨在承載交際花上海莉莉與英國軍醫舊情復熾的浪漫故事。火車軌上
美國 USA 1932 82min Co-stars: Clive Brook, Anna May Wong, Warner Oland 奧斯卡金像獎最佳攝影 Academy Awards: Best Cinematography
雞飛狗走，廣東話此起彼落的「真實感」不必深究；中國妓女（黃柳霜） 手刃仇人，與莉莉為愛犧牲，女性剛毅之美才是亮點。火車站旁若無人的 深情一吻，為夢幻故事來個圓滿結局。 Welcome on board the visual and sensual terrain of Shanghai Express , into Sternberg’s vehicle of fantasy, romance and danger heading in one direction – the stupefying beauty of Dietrich. Wallowing in her fabulous black plumage, the notorious Shanghai Lily is languorous but fearless in offering herself to the revolutionary to relieve her beloved British officer from bondage. In an oriental grace accentuated by Anna May Wong, the riot of light and space captured in the most delectable chiaroscuro cinematography becomes a moving parade of delirious exoticism that almost seems real.
24.11 17:30 AH
22.12 14:30 AC
5
Blonde Venus 金髮女神
湖中仙女、賢妻良母、歌廳女伶、落泊蕩婦⋯⋯瑪蓮德烈治以變色龍之 姿，穿透男性凝視，傲然自立。德國歌女為讓美國丈夫（夏拔馬素）治病
美國 USA 1932 93min Co-Stars: Cary Grant, Herbert Marshall
重操故業，接受富家子襄助（風流倜儻的加利格蘭，對他動情是順理成章 吧？），被丈夫逐出家門，帶着幼子顛沛流離。陳套道德故事，史登堡以 精煉調度，建構出既華麗又頹靡的夢幻。從猩猩變身金髮維納斯的冶艷
映後談講者羅玉華 Film talk with Fiona Law
歌舞，盡展女神的絕代芳華，成為影史經典。性感嗓音、挑釁眼神媚惑難 拒，更何況，這「壞女人」竟是顧家愛子？ Nymph-mother-starlet-whore-heroine, the rise and fall of Marlene Dietrich affirms a woman’s ability to transform herself in the face of oppressive forces - in her legendary metamorphosis from a chained gorilla into a glittering Aphrodite amongst the savages. In extremes of glamor and squalor, Sternberg remodels the morality tale of a devoted mother’s misadventures into a probing analysis of gender and exploitation, in a fascinating mixture of harsh realism and romantic passions. Dietrich’s mysterious nature of magnetism and her vulnerability to love is sympathetic – who can resist the charms of Cary Grant?
30.11 19:00 AC
8.12 17:15 TK
The Scarlet Empress 桃紅女霸 自言此片是「一趟探索風格的不懈旅程」，史登堡借葉卡捷琳女皇的傳 奇，悉心打造一場斥近瘋狂的華麗視覺盛宴：堂皇宮殿、顯貴皮裘，還有 美艷不可方物的瑪蓮德烈治。純真德國公主，遠嫁俄國弱智儲君，與軍官 私通生兒，在跋扈老女皇死後，發動政變弒君，登上女皇寶座。史實暫擱 一旁，且看猙獰鬼怪雕像在閃爍燭光下扭曲成超現實夢魘，德烈治在幻渺
美國 USA 1934 104min Co-Stars: John Lodge, Sam Jaffe 美國國家評論協會十大電影之一 USA National Board of Review’s Top Ten
鏡頭下由天真無邪蛻變為權慾薰心的姿影。海斯法典厲行前夕，對放蕩情 色作最後擁抱。 A palace of gigantic grotesque gargoyles; skeleton presiding over the banquet table; ominous shadows under the flickerings of candles… in a hyperrealist atmosphere of nightmare, an ostensibly naïve German princess who fails to find love in her halfwit husband turns herself into the all-powerful Empress of Russia, Catherine the Great. Painted as an adventuress coated in luxurious furs, Dietrich transforms her sexuality into a political weapon, toning her enigma of innocence and brutality in Sternberg’s visual extravaganza mixing legend, romance and fairytale.
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22.12 16:30 AC
The Devil is a Woman 玫瑰多刺
大導與女神最後一次合作，雖面對外交風波與道德批判（十七分鐘片段被 剪），瑪蓮德烈治卻自言是最心愛電影。美艷絕倫的西班牙女郎，令男人神 魂顛倒；位高權重的軍衛被逗得心癢難耐，為她大灑金錢，只落得被玩弄擺 佈，與情敵決鬥更差點賠上性命。同一小說，在布紐爾手中成了超現實的
美國 USA 1935 79min Co-stars: Lionel Atwill, Cesar Romero, Edward Everett Horton 威尼斯影展最佳攝影獎 Venice Film Festival: Best Cinematography
《模糊的情慾對象》（1977）；史登堡親自掌鏡，雙面嬌娃的勾魂媚態， 在如夢似幻光影下更教人欲拒還迎。是女人變幻無常，還是男人執迷自虐， 才是情慾嘉年華的真實色相？ As a devilish Spanish beauty who makes a game of seducing and discarding her lovers, Dietrich gives an elegantly stylized performance that treads a fine line between ambiguity and self-parody. Adapting the same Pierre Louÿs novel as Buñuel did for That Obscure Object of Desire (1977), Sternberg transforms the comic-opera into his “heartless parable of man’s eternal humiliation in the sex struggle”. A pinnacle of visual style – in his own cinematography – as his final tribute to Dietrich, Sternberg proclaims that yielding to her allure is simply ineluctable.
映後座談會講者劉嶔、馮嘉琪 Seminar with Lau Yam and Kiki Fung
1.12 14:45 AH
28.12 16:45 AC
Seminar on Dietrich x Sternberg 德烈治與史登堡 座談會 1.12
Sun 日
AH
時間 Time: 4:05pm 《玫瑰多刺》放映後 After the screening of The Devil is a Woman 講者 Speakers: 劉嶔 Lau Yam 馮嘉琪 Kiki Fung
粵語主講，憑票入場 Conducted in Cantonese. Admission by Ticket
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金髮女神
Blonde Venus 約瑟馮史登堡
德國歌女遠嫁美國，為讓丈夫治病不惜重踏舞台，卻禁不住金錢慾
Josef von Sternberg
望誘惑，被丈夫摒棄後攜子漂泊流離，出賣色相維生，猶幸最終破
美國 USA 1932 93min
鏡重圓。瑪蓮德烈治合編故事，隱見自我身影；在管制加劇的荷里
Cast: Marlene Dietrich, Cary Grant, Herbert Marshall
活銀幕上，表面雖不脫女性為家庭犧牲的道德規範，卻透現拒絕性 別角色被定型的姿態：是賢良淑德、貪慕虛榮、放浪不覊，抑或同 集一身？「Hot Voodoo」等三場妖媚歌舞，盡展德烈治勾魂懾魄的
映後談講者羅玉華 Film talk with Fiona Law
情色誘惑；奧地利大師史登堡以凌厲光影、夢幻場面，擺脫片廠審 查及寫實主義的桎梏，讓德烈治在虛糜世界中，打破社會對女神貞 潔的迷思，逕自建立維納斯神話。
30.11 19:00 AC
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8.12 17:15 TK
A loving wife and mother, an immoral hedonist, or simply a woman struggling to be free? A melodrama of a housewife sinking into depravity before recovering her virtue is merely a strategy for Austrian director Josef von Sternberg to mythologize Marlene Dietrich’s persona with his fascinating mise-en-scène. A cynical refraction of Dietrich’s transcontinental experience, Blonde Venus conjures a frenzied, elusive world of passions and desires that overcomes strict realism, with an intuitive compass that challenges the ideals of female chastity and domesticity – and the moralistic admonitions of Hays Code. A visual and ideological triumph that conquers all with the bewitching charm of the legendary “Hot Voodoo” number.
男性新娘子
I Was a Male War Bride 由唇槍舌劍到撞入乾草堆燃起愛火，被委派共同執行任務的法國男與美 國女軍尉，想結婚先要過五關斬六將，填表等批兼要辦三次婚禮。新婚 之夜想同床共枕一波三折，丈夫更逼不得已以「軍妻」身份「嫁」到美 國。加利格蘭與安秀麗丹飾演歡喜冤家，鬥嘴搶白的即興節奏感活靈活 現；荷里活大導演侯活鶴士走進二戰過後的德國，以靈動調度與荷里活
侯活鶴士
Howard Hawks 英國 UK 1949 105min Cast: Cary Grant, Ann Sheridan, Marion Marshall
片廠的審查制度鬥智鬥力，嬉笑怒罵性別政治比《熱情如火》（1959） 更深入透徹，對軍隊繁文縟節的諷刺痛快淋漓，對女性機智的頌讚更為 典範。編劇神來之筆改編真人真事橋段，昂藏六尺的加利格蘭變身俏護
映後談講者馮嘉琪 Film talk with Kiki Fung
士的絕核一幕，令電影的神經喜感更添現實荒謬。 A deconstruction – and a reinvention – of Cary Grant’s screen persona? Confined in a sidecar, chair and bathtub, he is the virile, bemused French captain who hates, loves and marries the self-assured American lieutenant, and faces his final humiliation to become a war bride in order to follow his spouse back to the USA. In quirky, farcical humor through wordplay and near-absurd circumstances, Hollywood master Howard Hawks’ masterly control of camera and composition, with an air of spontaneity in Grant and Sheridan’s performance that recalls His Girl Friday (1940), turns the screwball comedy genre upside down with gender role reversal in a mixture of innuendos against confinements, nightmarish bureaucracy – and the studio censorship regime.
8.12 19:30 TK
29.12 14:30 AC
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香港電影資料館電影院
Cinema, Hong Kong Film Archive
香港科學館演講廳
Lecture Hall, Hong Kong Science Museum
香港太空館演講廳
Lecture Hall, Hong Kong Space Museum
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只准
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節目詳情 Programme Details
蒙克 — 鐵幕下的吶喊
ALWAYS A REBEL, ANDRZEJ MUNK
假
如華意達是波蘭新電影的當然基石，蒙克
林主義的電影。蒙克敢言和尖銳的敘事觸角，平實
（1920-61）可能就是旁邊默然佇立的紀念
而不失想像力的影像風格，與黑色幽默可謂一拍即
碑。其實說他是戰後影響力最深遠的電影人之一，他
合；《英雄》（1958）和《一生倒運》（1960）的
也當之無愧：贊祿西、波蘭斯基、史高林莫斯基等波
戲謔與反諷，便一再借大時代小人物處境，探討制
蘭名導，固然統統當過他的學生，捷克電影新浪潮的
度與人性的潛在污點，難怪當局要借小事把他開除
冒起，也公認與他有關。假如1961年他沒有因交通
出共黨，並且沒停止過派人監視他。
意外英年早逝，歐洲電影史可能會更加精彩⋯⋯
蒙克戰時是華沙地下軍成員，曾經逃出納粹戰俘
不過現實沒有假如，大抵也毋須假如，蒙克給影迷
營。這些經歷都反映在《一生倒運》和《英雄》的
留下的作品已足夠豐饒。首部劇情長片《路軌上的
故事細節裏，而遺作《女乘客》（1963）對德國戰
人》（1957）引入主觀敘事，在共產現實主義美
後愧疚的檢視，更表露出他寬厚的同理心和反思人
學旁邊投放了強烈的照明彈，照出各種個人主義和
性的深度，可惜他最終無法親自完成這部傑作，令
自由詮釋的創作可能，被視為東歐第一部批判史太
人扼腕不已。
A
story exonerating a suspect instead of proving his guilt. With
n unsung hero of the anti-heroic trend of the Polish
both Eroica (1958) and Bad Luck , Munk boldly questioned the
school, Andrzej Munk (1920-61) remains one of the most influential voices in European cinema, despite having
concept of heroism with tragically ironic humor during a time
just made four feature films in his lifetime. That’s not only
when war heroes are showered with unquestioning praise.
because Munk is a brilliant cinematic stylist [see the complex
Even with his incomplete masterpiece, Passenger (1963), he
narrative structure of Man on the Tracks (1957) or the
took the non-traditional route by taking the perspective of
jump cuts in Bad Luck (1960) for examples]; it’s also because
the oppressor during the Holocaust.
he was a playful rebel who cleverly used cinema as his tool
Perhaps the most telling thing from Munk’s life is that
of dissent and question important issues.
despite his claims of being a leftist, he was kicked out of
Even before he began his feature film career, Munk
Stalinist organization Polish United Workers Party for having
made documentaries that went against the mainstream
“right-wing tendency”. Once a rebel, always a rebel.
propaganda-esque tone. With fictional narratives, the director continued his subversive streak in even more creative ways. Going against typical mystery narratives, neo-realistic drama
Man on the Tracks sees its investigators spending most of the
節目夥伴 Programme Partner
Man on the Tracks
路 軌 上 的 人 (Czlowiek na torze)
波蘭 Poland 1957 80min Cast: Kazimierz Opalinski, Zygmunt Maciejewski
1.12 17:30 AH
28.12 19:00 AC
夜行列車緊急煞停，但阻不了輾斃路軌上的人。初步 調查死者是一名因批評社會主義工作模式而被解僱的 工程師。有人說他工作態度惡劣，瞧不起人；有人指 他冥頑不靈，不肯追隨群眾路線，投入改革。然而隨 着不同人作供披露，真相似現還隱，觀眾看到的版本 相衝相合，愈發惹人深思。說它是波蘭《羅生門》容 或失焦，但其引入主觀敘事，一新左翼現實主義客觀 美學，則確實對東歐電影，尤其是後來的捷克新浪潮 影響至大，蒙克亦憑本片躋身波蘭新電影作者行列。
卡羅維法利電影節最佳導演獎 Karlovy Vary International Film Festival: Crystal Globe for Best Director
Andrzej Munk’s feature debut begins as a “whydunit” surrounding an investigation after a near-derailment left a veteran engineer dead. Inspectors are quick to blame the victim, who was known for his difficult personality. However, the testimonies of his coworkers slowly reveal a consummate professional with oldschool work ethics that clashed with Poland’s new socialist reality. Released after the 1956 upheaval that saw Polish workers demanding better work conditions under the Stalinist regime, this subversive neo-realist drama about generational clashes remains one of the most influential films of Polish cinema.
Eroica 英 雄
波蘭 Poland 1958 78min Cast: Edward Dziewonski, Barbara Polomska 馬德普拉塔電影節最佳劇本獎及 國際影評人聯盟獎 Mar del Plata Film Festival: Best Screenplay, FIPRESCI Prize
人民需要英雄，英雄便告誕生。蒙克的英雄組曲由兩篇 小說組成，第一個故事講述心無大志的小男人神推鬼 使，誤打誤撞，穿越波蘭和匈牙利國境，促成兩國士兵 共抗納粹；第二個故事敘述納粹波蘭戰俘營內，逃獄者 失蹤後被許為傳奇英雄。在蒙克充滿黑色幽默的調度和 鏡頭下，傳統愛國主義宛如被置入反諷調合器，調出別 開生面的感性政治雞尾酒。當人們拿着機槍衝鋒，蒙克 的男主角則抓住酒瓶翻滾，槍林彈雨點綴的並非英雄的 衣冠，而是人性的蒼涼。
映前簡介講者
12
莫妮卡塔娜錫克，英語主講 Introduction by Monika Talarczyk (in English)
1.12 19:30 AH
28.12 20:45 AC
Andrzej Munk takes a comedic look back at the World War II resistance movement that he was a part of with two stories of accidental heroes. In part one, a coward unwittingly becomes a messenger between local insurgents and the Hungarian army after escaping the Warsaw Uprising. In the second story, a soldier tries to instill hope in his fellow prisoners of war by hiding another soldier in an attic to create the illusion that he escaped. Though darkly funny in its tragic irony, Eroica is also a thought-provoking film about heroism in wartime.
莫妮卡塔娜錫克是電影研究學者，現任波蘭洛茲電影學院副教授， 專長於波蘭電影歷史及女性電影。她為《政治評論》雜誌定期撰 稿，亦是國際影評人聯盟及歐洲婦女視聽網絡的成員。她的電影著 作於2014年獲波蘭電影學院獎，並曾兩度獲提名Kino電影雜誌獎。
Bad Luck
一 生 倒 運
(Zezowate szczęście)
波蘭 Poland 1960 107min Cast: Bogumil Kobiela, Maria Ciesielska, Helena Dabrowska 康城影展競賽影片 Cannes Film Festival: In Competition
30.11 16:15 AC
一個刑滿卻不肯出獄的囚徒，向獄長娓娓道來他倒霉的 一生。由被同學欺淩到在戰俘營被揭穿假扮軍官，糊 裏糊塗被衰運牽着鼻子走，害怕自由只因不懂在社會體 制下生存。蒙克盡情發揮黑色幽默觸覺，借丑角遭遇揭 露波蘭的苦難，穿越意識形態分歧，直抵人性底層。君 子好逑或好色孟浪，隨波逐浪或同流合污，如何黑白分 明？命途多舛也許只是對大戰前後投機主義的懲罰式批 判。蒙克擅用默片快鏡及喜劇剪接，讓哀愁在誇張底下 似隱還現，道盡大時代小人物的悲涼。
29.12 17:00 AC
Munk combines the narrative structure of Man on the Tracks and the ironic humor of Eroica for his third film. Told entirely in flashbacks, this satire sees a self-proclaimed “unlucky” man who tells his life story to a prison guard in hopes of staying in prison. Though the film will be remembered for its Chaplin-esque silent comedy sequences and some of the most impressive visual flourishes in Munk’s career, Bad Luck is also a meditative journey through Poland’s tumultuous early 20th century history, including the Nazi occupation and the post-Stalinist era.
Passenger 女 乘 客
(Pasażerka)
安德烈蒙克 Andrzej Munk 域托萊謝維茲 Witold Lesiewicz
波蘭 Poland 1963 58min Cast: Aleksandra Slaska, Anna Ciepielewska, Jan Kreczmar
30.11 14:30 AC
一艘途經英格蘭開往歐洲大陸的郵輪上，高貴的德國女 乘客與一名波蘭女子重逢，勾起她的二次大戰回憶。丈 夫從不知道她曾在奧斯威辛集中營服役，更不曉得她如 何救回該波蘭女子一命。然而，隨着她前後不一致的懺 悔揭露，事情遠沒初看時偉大，她的「證供」掩藏的軟 弱人性和暗黑心理也超乎觀眾想像。電影部分於集中營 實地拍攝，期間蒙克不幸因車禍喪生，由助手把已拍成 的段落和圖片串連完成，造就的疏離感反增作品深度， 摘下康城影展國際影評人聯盟獎。
29.12 19:15 AC
康城影展國際影評人聯盟獎及評審團特別表揚獎 Cannes Film Festival: FIPRESCI Award, Special Jury Honorable Mention
Munk’s last film presented a new dimension to freedom, though he was unable to accomplish due to his accidental death. Taking over the unfinished task, his former collaborators put together a significant part of the film, bridging scenes together with narration. On a cruise, a woman’s encounter with someone from her past forces her to remember her days as an “overseer” in a Nazi concentration camp and her battle of wills with one of the prisoners. A harrowing depiction of the Holocaust, the footage gathered here hint that Passenger would’ve easily been the director’s masterpiece.
Monika Talarczyk is a film scholar and Associate Professor of the Lodz Film School in Poland. She specializes in the history of Polish film and women's cinema. A regular collaborator of "Political Critique”, as well as a member of FIPRESCI and EWA (European Women's Audiovisual Network). She won the Polish Film Institute Award for her film book in 2014, and was nominated twice for the "Kino" film magazine award.
13
Image courtesy of TASCHEN
Jacques Tati. The Complete Works HK$ 2,000
有沒有想過，你可以將積葵大地帶回家？ TASCHEN將於Cine Fan「永遠的幻象師 積葵大地」其中三場放映，每場送出最新 《Jacques Tati. The Complete Works》套裝乙份（價值HK$2,000）！每套五冊珍藏 了積葵大地導演的筆記、草圖、相片及劇照，還有數百封從未公開的信件等，彌足珍貴。所 有出席「永遠的幻象師 積葵大地」節目的觀眾，均有機會獲此貴品。 觀看場次越多，得獎機會越大，機不可失 ！ Have you ever thought that you can bring TATI home? TASCHEN will offer three newly released “Jacques Tati. The Complete Works” box sets (worth HK$2,000) in three selected Cine Fan screenings of “The Logic of Illusion: Jacques Tati” to lovers of Jacques Tati. This stunning five-volume publication showcases the acclaimed French director’s notes, sketches, photographs, film stills, as well as hundreds of unpublished letters. Each filmgoer of the “The Logic of Illusion: Jacques Tati” programme will have a chance to win this valuable gift. The more screenings you watch, the higher the chance! *套裝將於電影放映完畢後送出 The box set will be given away after the screenings
憑 Cine Fan 會員卡或今期 Cine Fan 門票票尾到 TASCHEN 香港門市購買任何產品， 即享有9折優惠！
Enjoy 10% discount upon purchase at TASCHEN Store Hong Kong by presenting Cine Fan Privilege Card or any ticket stub of Cine Fan Nov/Dec Programmes. TASCHEN香港門市：中環荷李活道10號大館01-G02舖 TASCHEN Store Hong Kong: Shop 01-G02 Tai Kwun, 10 Hollywood Road, Central
地和布烈遜是法國電
通基頓的冷面和差利的溫柔，把
處多過跟機器糾纏。
影兩巨頭。」積葵大
自己曾經參與默劇表演的經驗，
他也是施梵素美動畫裏的幻象
地（1907-82）的才華不單讓杜
以及對體育運動的熱愛，融入
師，透過電影的魔法變出想像豐
哈絲驚歎，杜魯福亦推許他跟布
電影創作裏。他為自己度身訂做
富的世界，大衛連治、羅伊安德
烈遜一樣，在拍戲過程同時發明
了于洛先生的形象，高高瘦瘦，
遜、韋斯安德遜都受他影響。他
電影。兩位大師確有不少共通之
咬着煙斗，戴一頂圓邊帽，穿上
並不着重個人表演，反而多拍群
處：拒跟從公式、不輕易妥協、
乾濕褸，或會拿一把傘，看來笨
戲，愛用遠景和長鏡頭，透過精
慢工出細貨，並嚴格控制每個細
手笨腳，時常闖禍，與日漸現代
心設計的場面調度，呈現妙趣幽
節。他們的主角，同是沉默是金
化的城市生活格格不入，像個獨
默的眾生相。他的《嬉戲時間》
的信徒；然而少說話不等於忽視
行俠，但不求功利，心地善良，
（1967）尤其為人稱道，不只
聲音，借用電影研究者黃愛玲的
童心未泯。有時他是大城市裏迷
因為不惜工本搭景拍攝，前後拍
說法，他們對聲音的思考比誰都
途的小人物，困在迷宮似的辦公
了三年，拍到最終破產，更是因
深刻獨到。
室；有時他恍如跟機械文明搏鬥
為每寸畫面都充滿非凡創造力，
積葵大地常被譽為喜劇泰斗，接
的唐吉訶德，實際上喜歡跟人相
在冰冷世道，自製嬉戲時光。
「
16
大
U
niversal in appeal yet unmistakably French, the comedies of Jacques Tati are not only among the greatest ever made by a performer/director in the manner of Chaplin or Keaton, but have immeasurably enriched the very language of cinema itself. Tati bore witness to (or anticipated) the material transformation of postwar France in the midst of Europe's economic miracle, transitioning from sleepy villages and old-fashioned neighborhoods to standardized, gadget-filled suburban housing and a high-tech Paris rebuilt almost beyond recognition – emblems of the new consumer society that brought with it the dreaded threat of Americanization.
The remarkable art of Jacques Tati consists not only of his own comic turns as the iconic Mr. Hulot – a tall, charmingly awkward figure seen always with hat, raincoat, and pipe, ill-adapted to modern society with his oldfashioned ways – but with his uniquely cinematic form of humor. A master at staging in depth, Tati's mise-enscène fully exploits his characteristic wide-shot compositions by positioning gags in every conceivable nook and cranny of the frame, from background to foreground, requiring an alert viewer's active participation in visually registering the humor. Individual gags often function like motifs in a musical composition.
The Log
Loosely episodic, the films’ narratives are hardly plot-driven, but allow for a leisurely observation of the comedy in the minutiae of daily life. Notably, Tati sought to "democratize" his narratives by focusing less on a central character, than to find humor in passers-by peripheral to the narrative. For all of Tati's visual imagination, however, don't forget the sound: there may be little dialogue, but the funny manipulation of everyday sounds (and fragments of speech) forms a musique concrète-like soundtrack sure to tickle the most curmudgeonly of viewers. In sum, Tati represents film comedy at its purest: as formal abstraction.
ic of Ill
Jacque 永遠
s Tati
的幻
積葵 節目夥伴 Programme Partner
usion
象師
大地
17
The School forPostmen
法朗索雅受訓成為郵差叔叔，務求送信快
(L'École des facteurs)
原亦屬意由克里蒙執導，但他因故退出，
郵差學校
穩準，可惜事與願違，騎着單車橫衝直 撞，烏龍百出。積葵大地曾主演雷內克里 蒙的短片《小心左邊》（1936），本片 改由大地自編自導自演，成為其個人創作 的起點。他在本片已着重視覺笑料，揚棄 滔滔不絕的對白，創作出用肢體語言引人 會心微笑的郵差角色。往後多部作品的母 題，在此都有跡可尋。可視為其首部長片
法國 France 1947 16min Cast: Jacques Tati, Paul Demange
《節日》的雛型。同場放映《節日》。 In this delightful short, Tati plays the provincial postman François as he takes part in a training programme to speed up his delivery in order to incorporate a mail plane that shortens the route by a ten percent reduction in time. Traveling on his bicycle at high speeds, François gets involved in numerous stunts and gags that would be repeated and incorporated in Tati's follow-up feature film Holiday . Timing is everything: 16-minute is all it takes for Tati to launch himself as one of the world's greatest filmmakers. Screening with Holiday .
2.11 15:30 TK
14.12 19:45 AH
L'Ecole des facteurs, Jacques Tati (1947) © Les Films de Mon Oncle – Specta Films C.E.P.E.C.
短片《郵差學校》小試牛刀取得成功， 積葵大地首部長片乘勝追擊，將妙趣橫 生的派信絕技盡情發揮。純樸小鎮舉辦園 法國 France 1949 86min Cast: Jacques Tati, Paul Frankeur, Guy Decomble
遊會，烏龍郵差騎單車來送信，也順便湊 熱鬧。偶然看到一部誇張影片，吹噓美國 郵差不但用飛機派信，而且都是英勇鐵騎 士，他不甘示弱，決定以異想天開方式，
威尼斯影展最佳劇本獎 Venice Film Festival: Best Screenplay
2.11 15:30 TK
14.12 19:45 AH
攞命速遞密密送。大地在自己曾經逃避戰 火的小鎮取景，還找來當地居民客串演 出，對戰後美國文化的衝擊作出回應。大 地最早的彩色實驗，彩色及黑白版本同時 拍攝，惜彩色沖印技術未成熟，傳世的是 黑白版。同場放映《郵差學校》。 Tati's first feature film in which he reprises the role of François – the bumbling postman from his earlier short The School for Postmen – now caught up in a race to beat the Americans at rapid mail delivery. The backdrop of a quaint village visited by a traveling fair allows for a wealth of observational gags that led to Godard's praise of the film as "the birth of French neorealism." Originally shot in both black and white and color, the experimental color technique failed to process the color version upon the film's initial release. Screening with The School for Postmen .
Jour de fête, Jacques Tati (1949) © Les Films de Mon Oncle – Specta Films C.E.P.E.C.
18
于洛系列第一章，結合差利和基頓的喜 劇手法，創造出傻頭傻腦高佬的自我化 身，巴贊稱之為「難得糊塗的天使」。炎 炎夏日放大假，人人湧到海邊度假勝地， 沉默寡言的于洛也不例外。然而他撞板當 食飯，誤闖人家葬禮，更意外令煙花大綻 放。遇見靚女不敢靠近，趁着化妝舞會竟 可共舞。積葵大地發揮驚人想像，繼續聲 音實驗，更憑本片入選康城影展，兼獲提 名奧斯卡最佳原著劇本。「戇豆先生」路 雲雅堅遜深受本片啟發，更以《戇豆放大 假》（2007）致敬。 None shall sleep at the seaside resort Hôtel de la Plage, with vacationers forever awakened from their sleep by the antics of Mr. Hulot, the lovable, lanky, pipe-smoking character played by Tati for the first time in this classic French comedy. Tati finds inspiration for his humor through the loving observation of character types and situations that stem uniquely from daily life, while he perfects his art of staging in depth an array of visual gags that work hand in hand with a carefully designed soundtrack tickling viewers through the funny, abstract use of everyday, ambient sounds.
Les vacances de Monsieur Hulot, Jacques Tati (1953) © Les Films de Mon Oncle – Specta Films C.E.P.E.C.
法國 France 1953 87min Cast: Jacques Tati, Nathalie Pascaud, Micheline Rolla 路易德呂克獎 Prix Louis Delluc 康城影展競賽電影 Cannes Film Festival: In Competition
2.11 17:45 TK
7.12 14:30 TK
阿貝爾一家住在巴黎市郊的大宅，崇拜自 動化機械設備，為前庭的魚型噴泉沾沾自 喜。家中小孩卻覺得無聊乏味，寧願跟舅 父于洛在一起。這個居住在充滿人情味舊 社區的舅父有點糊裏糊塗，毫不適應先進 科技，被安排在工廠上班，當然鬧出笑話 連篇。積葵大地以接近默片的表演方式， 以及爐火純青的喜劇節奏，贏得票房和口 碑；激烈批判消費文化和冷冰冰的機械化 生活之餘，又溫柔擁抱精準構圖與節奏韻 律，這種矛盾特質，既夢幻，又迷人。 The charm of the old neighborhood is juxtaposed with the sterility of the modern suburbs in Tati's classic comedy. The Arpels wish to convert the ill-adapted Hulot to modern bourgeois ways, but their son Gerard would rather spend time with "mon oncle" and the ragamuffins pulling pranks in the traditional quartier. A wonder of production design that satirizes the modernist architecture and gadget-obsessed consumerist culture of France’s postwar economic boom, My Uncle also showcases Tati's unique cinematic style, in which sound plays an important role in contributing to the film's humor. An all-time favorite of David Lynch, Wes Anderson, and Aki Kaurismäki.
Mon Oncle, Jacques Tati (1958) © Les Films de Mon Oncle – Specta Films C.E.P.E.C.
My Uncle
我的舅舅
(Mon Oncle)
法國 France／意大利 Italy 1958 116min Cast: Jacques Tati, Jean-Pierre Zola, Adrienne Servantie 康城影展評審團特別獎 Cannes Film Festival: Jury Special Prize 奧斯卡金像獎最佳外語片 Academy Awards: Best Foreign Language Film
3.11 映後座談會講者林瀚光、陳志華 Seminar with Derek Lam and Ernest Chan
14:30 TK
22.12 19:45 AC
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杜魯福誇讚本片像是來自外星一樣獨特。積 葵大地傾盡所有搭建大型佈景，留下傳世 經典。于洛先生跑到現代化的巴黎，在人際 疏離的都會，跟前來觀光的美國女子萍水相
法國 France／意大利 Italy 1967 124min Cast: Jacques Tati, Barbara Dennek, Georges Montant
逢。影片角色眾多，盡顯都市生活光怪陸 離。嘆為觀止的群戲調度，如舞蹈般的動作
莫斯科國際電影節最佳導演獎 Moscow International Film Festival: Silver Prize Best Director
走位，加上獨創一格的聲音運用，毋須講 太多，已教人會心微笑。最後以旋轉木馬般 的車龍，把冷漠人間變成遊樂場似的嬉戲時 光。當年堅持70米厘菲林拍攝，畫面細節目 不暇給，每看一次都有驚喜新發現。
3.11 18:00 TK
8.12
Mr. Hulot is only one amongst dozens of characters roaming through Tativille – the film’s enormous sets that led to the filmmaker’s bankruptcy, but Tati was justifiably proud of the uncompromising realization of his magnum opus. Shot in 70 mm, Tati fills his architectural spaces with elaborate sight gags, choreographing their intricate details as if they were motifs being developed in a complex orchestral score. Film theorist Noel Burch asserts that the film must be seen "several times, each from a different seat in the auditorium," in order to savor its wealth of details.
14:30 TK
Image courtesy of TASCHEN
《嬉戲時間》外一章，于洛擔任汽車設計 師，帶着最新設計「古惑的車」由巴黎出 發，前往阿姆斯特丹參加車展。公路之旅 橫生枝節，不但遇警察攔截，更撞上離奇連 環車禍的荒誕場面，堪與高達在《周末》 （1967）的塞車長鏡頭在影史上並駕齊 驅。貫徹獨有的幽默與奇想，從日常處境發 法國 France／意大利 Italy 1971 97min Cast: Jacques Tati, Marcel Fraval, François Maisongrosse 美國國家評論協會最佳外語片 USA National Board of Review's Top Foreign Films
掘非常妙趣。在登月年代調侃機械文明，從 科技發展的高速公路打開缺口，反璞歸真。 由汽車水撥排遣塞車的沉悶，撐傘男女穿梭 於車前車後，拍出只此一家的童心與浪漫。 Will Mr. Hulot ever make it to the auto show in Amsterdam, with his newly-designed, gagdetpacked camper that he's delivering there personally from Paris? The epic traffic jam in Godard's Weekend (1967) doesn't look quite the same once you've seen the comic pile-up in Traffic . Tati's take on motor culture is every bit as hilarious as Hulot's previous outings, while boasting one of the loveliest moments of slow motion in the history of film: an antidote to our addiction to speed and modernity's oppressive obsession over rapidity.
23.11 Trafic, Jacques Tati (1971) © Les Films de Mon Oncle – Specta Films C.E.P.E.C.
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19:30 AH
7.12 16:15 TK
為瑞典電視台拍攝，積葵大地回首事業 起點，執導謝幕之作，將馬戲班搬上大 銀幕。表面上是馬戲表演現場紀錄，由大 地率領連場雜耍、魔術和歌舞，加上他拿 手的默劇演出，看似隨意安排，都是悉心 設計。表演者穿梭台前台後，觀眾亦熱情 參與，如開場前將交通「雪糕筒」戴在頭 上，都成了匯演一部分。形式與一年後英 瑪褒曼的《魔笛》（1975）堪可對照。 散場後更有小孩從觀眾席走到台上自尋樂 趣，流露把表演藝術傳承下去的寄望。 Based on Tati's music-hall act "Sporting Impressions," Parade was shot largely on video as a Swedish television production. Although Tati returns to his roots as a mime and assumes the role of the circus ringmaster, he is no more at the center of Parade than Mr. Hulot was in PlayTime . Rather, the film continues Tati's democratic celebration of the everyman – a spectacle focused not on a central character, but in which everyone gets to participate, with audience members being as much the source of gags as the performers on stage.
Parade, Jacques Tati (1974) © Les Films de Mon Oncle – Specta Films C.E.P.E.C.
Parade
馬戲匯演 法國 France／瑞典 Sweden 1974 89min Cast: Jacques Tati, Karl Kossmayer, The Williamses
24.11 19:30 AH
15.12 14:30 AH
Seminar on Jacques Tati
積葵大地座談會 3.11
Sun 日
TK
時間 Time: 4:25pm 《我的舅舅》放映後 After the screening of My Uncle 講者 Speakers: 林瀚光 Derek Lam, 陳志華 Ernest Chan 粵語主講，免費入場 Conducted in Cantonese. Free Admission
觀看「永遠的幻象師 積葵大地」場次，有機會獲贈 TASCHEN 出版《Jacques Tati. The Complete Works》 套裝乙份 （詳情見15頁） Giveaway of TASCHEN’s newly-published “Jacques Tati. The Complete Works” box sets at selected screenings of “The Logic of Illusion: Jacques Tati” (See P.15 for details)
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Back To The Screen
銀幕 再現
妙想天開 Brazil
1984沒有過去，前世成了今生神預言。老大哥在看着你，按章監視的 公務員卻悶極無聊，「發夢」變身銀翼英雄救美。不料夢中情人竟是被 國家機器通緝的「恐怖份子」，他為救所愛反被武警抓捕，幸獲飛天工 程師打救，有情人終成眷屬⋯⋯且慢！這個大團圓結局只是環球老闆鐵 腕強推，泰利基咸挾獎項與輿論頑抗，終令強權撤回，守護反烏托邦精 神的初衷。修復導演版原汁原味保留「踎低噴飯」的黑色幽默及癲狂 想像，攬炒奧威爾社會諷刺的辛辣與費里尼真幻難辨的詭譎，打造成 復古未來主義的科幻神作。劇情沒有最荒謬，現實只有更荒謬（已fact check）。 Battling oppressive bureaucracy of the totalitarian state, a docile officer falls into romantic fantasies with a mysterious beauty who is classified as a terrorist, and into a series of hellish nightmares as he tries to rescue her. Echoing Gilliam’s own off-screen strife with the monolithic MCA whom he fought for the right to final cut, this retro-futuristic classic combines George Orwell’s dystopian vision of 1984 with Federico Fellini’s imagination in 8½ (1963), yet blending his vicious brand of social satire à la Monty Python with an ambitious visual inventiveness. A prophecy of an extremely bleak future, or a present moment reminder that life under paranoia and control is actually real?
22
泰利基咸
Terry Gilliam 英國 UK／美國 USA 1985 142min Cast: Jonathan Pryce, Kim Greist, Robert De Niro 奧斯卡金像獎最佳編劇及最佳美術提名 Academy Awards: Best Writing and Best Art Direction Nominations 洛杉磯影評人協會最佳電影、最佳導演及最佳編劇獎 Los Angeles Film Critics Association Awards: Best Picture, Best Director and Best Screenplay
映後談講者登徒 Film talk with Thomas Shin
2.11 20:00 TK
14.12 14:45 AH
Back To The Screen
攻殼機動隊
Ghost in the Shell
銀幕 再現
RESTORED
修復
由漫畫（士郎正宗）到電視動畫（神山健治）到震驚全世界的劇場版，日 本人的「機械『人』性」探討早踰越Asimov「三大法則」（最新一部《未 來戰士》還在應用），追隨押井守的科幻世界，要代入追捕傀儡師的公安
典
CLASSIC
(Kokaku Kidotai) 押井守
Oshii Mamoru 日本 Japan 1995 83min
九課草薙素子的機械人心境。素子全身義體化血肉質量少過拍檔巴特，卻 潛入水底感受恐懼孤獨專注探索「我在」。巴特感慨：「沒有靈魂的傀儡 真可悲，尤其是身上流着紅色血液的」，提修斯的船體更換靈魂哲學在盡 致思辨。當年香港影迷私房擁抱，新港市相認到油麻地與東九景觀，此刻
映後談講者紀陶 Film talk with Keeto Lam
再次陶醉川井憲次的城市祭頌時，乍見十多把黃色小雨傘匆忙下課，我們 見證靈魂的力量，這經典OVA跟香港內在精神性跨時空心心相繫。 One of the most influential Japanese anime of all time, Oshii Mamoru’s groundbreaking vision of a futuristic Hong Kong has spawned a vast franchise of films, manga and TV series that continues to this day. The films iconic heroine – naked cyborg super soldier Major Kusanagi – wrestles with her own ambiguous identity while on the trail of an elusive hacker known as The Puppetmaster. Her mission explores the escalating synergy between humanity and technology, while questioning the very essence of sentient existence. Featuring an intoxicating score from Kawai Kenji and some of the most accomplished hand drawn animation ever rendered, Ghost in the Shell is a crowning example of cyberpunk sci-fi, and 20 years on endures as one of cinema’s most prophetic visions of the future.
3.11 20:45 TK
14.12 17:45 AH
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高 達 Godard,
電 影 課 程 Film Course 「電影史比其他歷史更加壯觀， 因它投射自身。」高達從個人目光 窺看的電影史觀，召喚偉大影像回魂， 亦向創新意念招靈，更是一代大師 對畢生追求的反思與生命的探索。 電影課程分上下兩部份，先從高達 後期論文電影的拆解入手，下回再 延伸至千禧後拍攝的新作， 探究他對世界的獨特視野。 “Isn't cinema dead?” Jean-Luc Godard
╳ 電 影 Film,
╳ 歷 史 History 放映 Screening
+ 講座 Lecture
may be right, yet he proves himself to be wrong. In a subversive and subjective look at film history, he brings back to life the mystical glory of the past, and the spirit of invention with a future. This film course, in two parts, will first focus on his overarching film essays, and then continue to explore his extraordinary worldview through his works in the new century.
22/11 (Fri) 7:30pm
高達十二月自畫像 JLG/JLG - Self-Portrait in December 林瀚光 Derek Lam
29/11 (Fri) 7:30pm
法國電影的兩個 50 年 2 x 50 Years of French Cinema
王勛 Geoffrey Wong
6/12 (Fri) 7:30pm
世界電影 ( 眾數) 史 : 1A + 1B Historie(s) of Cinema: 1A + 1B
林瀚光 Derek Lam
13/12 (Fri) 7:30pm
世界電影 ( 眾數) 史 : 2A + 2B Historie(s) of Cinema: 2A + 2B 徐匡慈 Clarence Tsui
20/12 (Fri) 7:30pm
世界電影 ( 眾數) 史 : 3A + 3B Historie(s) of Cinema: 3A + 3B
朗天 Long Tin
27/12 (Fri) 7:30pm
世界電影 ( 眾數) 史 : 4A + 4B Historie(s) of Cinema: 4A + 4B
朗天 Long Tin
地點 Venue: K11 Art House
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 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)
自畫像都有歷史／故事，卻非自傳。高達深居 簡出，喃喃自語在等，大概等死神罷；鐘點女 傭提出請辭，有關部門懷疑他老翻剪舊片侵犯 版權上門搜證，女調查員在Steenbeck菲林剪接 機前悟出蒙太奇左右手博弈道理。高達揮舞金 漆招牌電影筆：從文本閱讀到書寫到電視到明 信片到自然風景，思緒跳脫自由拼貼帶來出奇 視聽，回首可看成《世界電影（眾數）史》的 自序。獨居老人最後堅持活下去真情道白：好 不容易知道愛是什麼。大師自省省人之作，感 動尤深。
22.11 19:30 AH
JLG/JLG Self-Portrait in December 高達十二月自畫像
(JLG/JLG - autoportrait de décembre) 法國 France 1994 55min
“Self-portrait, not autobiography.” Godard reminds us in this melancholic and comedic retrospection before the completion of his magnum opus, Historie(s) of Cinema . Leafing through a notebook containing his thoughts and quotations, Godard meditates on his childhood portrait, noting his early inclination towards mourning, and offers philosophical musings on the meaning and nature of cinema in relation to history and memory. Amidst the citations of Wittgenstein, Beethoven, Renoir (among others), are sublime images of wintry landscapes juxtaposed with everyday encounters, involving a blind film editor, nubile cleaning ladies, and inspectors from the local film office.
講者：港大講師林瀚光博士 Speaker: Dr. Derek Lam, Lecturer at HKU
電影百年，跟法國電影百年紀念主席米修柏哥 里午敘，高達尖刻質問：有什麼好慶祝？為什 麼歸功盧米埃兄弟而不是盧米埃爸爸？柏哥里 回房反覆思慮，向酒店員工提及法國電影經 典名字，他只識網球手碧加卻不知積葵貝克。 一百周年不是自high的日子，玩字高質達人 當頭棒喝， No Copy Right實解「不要因循搞 作」。線性敘事梳理歷史的邏輯要摒棄，致敬 是跳線接通先賢神髓，召喚電影文化幽靈破棺 重生。他搜集電影前輩同輩深情話語，煉就出 永續萬年的電影精神。 Ever the contrarian, Godard responded to the British Film Institute's invitation to make a documentary about the centenary of French cinema by performing a Socratic dialogue with Michel Piccoli, cast here as the president of France's official centenary celebrations. Challenging the festivities as penance for our society's neglect of film history, Godard stresses the medium's connection to the past, subject to personal and collective amnesia. The film highlights the spirit of film criticism as the essence of French film culture, from iconic figures André Bazin to archivist Henri Langlois. A perfect prelude to Historie(s) of Cinema .
29.11 19:30 AH
2 x 50 Years of French Cinema
法國電影的兩個 50 年
(Deux fois 50 ans de cinéma français) 瑞士 Switzerland／英國 UK／法國 France 1995
51min
講者：影評人王勛 Speaker: Film Critic Geoffrey Wong
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數 眾
Historie( of Cinema ) s 世界電影(
)史
Histoire(s) du cinéma
辯證是遊戲規則，語帶相關是手法，強勢蒙 太奇是日常，自由拼貼是高達。Histoire解歷 史，加「s」解作故事，從單一至無數，並且 有「你」（toi）在其中。高達電影史的第一 章，擲地有聲。「你」要能收能放，如美高 梅的Irving Thalberg，他腦中52個故事一起運 作，夢工場所有故事的基地；不讓荷里活專 美，蘇聯電影也發夢。伴隨歷史是故事，不 想靈魂磨滅，「你」要做溫柔派，法國有三個 「尚」（維果、高克多和雷諾亞）支撐大局，
6.12
要有信念默然以對、透視黑夜。
19:30 AH
1A + 1B
All the (Hi)stories + A Single (Hi)story 所有故事 + 一個歷史
(Toutes les histoires + Une histoire seule) 法國 France 1988 - 89 93min 法國凱撒榮譽大獎（頒予《世界電影（眾數）史》) Honorary César, César Awards, France (for Historie(s) of Cinema )
講者：港大講師林瀚光博士 Speaker: Dr. Derek Lam, Lecturer at HKU
In the first chapter, Godard contemplates the mythical power and glory of such classical Hollywood legends as movie mogul Irving Thalberg and billionaire Howard Hughes, even as it questions the potential and uses of the film medium as a descendant of photography, particularly with regards to sex and death. He then mourns the failed promise of cinema to develop as a uniquely dialectical medium based on the principle of montage, a failure attributed to the eclipse of silent cinema by the talkies and the dominance of Hollywood at the expense of other national cinemas.
跟影評人Serge Daney對談展開電影史第二章，
高達界定自己是電影史家，然而他向來自命畫家 身份去拍電影，談電影史時，也談藝術史，不 遺漏文學文本的想像，美學割席從不是高達杯
茶。Julie Delpy斗室讀出詩文，演繹Ezra Pound
時，Gustav Klimt的畫也在演繹她。之後Sabine Azéma飾演「fatal beauty」，發表高達在打字機
旁永遠想不到的女性電影人見地，大概是合導的 安瑪莉梅慧爾的心思啟發，讓高達清楚總結：電 影不是藝術，不是技巧，而是個謎；「她」值得 永續沉迷下去。
Only the Cinema consists in part of an extended conversation between Godard and film critic Serge Daney, in which Godard distinguishes film from television. Julie Delpy reads an extended excerpt from Baudelaire, while the myth of Orpheus is introduced as being central to the Historie(s) . Sabine Azéma as the figure of the femme fatale crystalizes the Freudian conflict between Eros (Love) and Thanatos (Death) in Fatal Beauty . Godard considers here the way cinema seizes upon mortality as spectacle as well as the realization of fantasies about women by male directors.
13.12
2A + 2B
Only the Cinema + Fatal Beauty 電影唯一 + 紅顏奪命 (Seul le cinéma + Fatale beauté) 法國 France 1997 56min 法國凱撒榮譽大獎（頒予《世界電影（眾數）史》) Honorary César, César Awards, France (for Historie(s) of Cinema )
26
19:30 AH
講者：百老匯電影中心總監徐匡慈 Speaker: Clarence Tsui, Director of Broadway Cinematheque
高達是二戰孩，對歐洲的野蠻史從不手軟，深 切痛恨巴爾幹半島戰火罪行。電影歷史、電影 故事，與電視新聞不盡不實關係糾纏。年邁 的Alain Cuny說茱麗葉庇洛仙是舊女星氣質， 意會故事回應歷史時的有限和無量。歐洲電影 人胼手胝足光復歷史說好故事，波蘭是一路奇 葩，德國未及交功課，意大利新寫實主義於是 締造最漂亮光景，《德國零年》（1948）結 局的孩子不歸身影經常被提起。那麼法國呢？
20.12 19:30 AH
3A + 3B
The Currency of the Absolute + A New Wave 絕對之代價 + 一個新浪潮
(La monnaie de l’absolu + Une vague nouvelle) 法國 France 1998
54min
法國凱撒榮譽大獎（頒予《世界電影（眾數）史》) Honorary César, César Awards, France (for Historie(s) of Cinema )
新浪潮着實以時代進行跨國革命，浪潮就在大 海，由德萊葉到尊福，當中浮沉。 Godard took the title of Episode 3A from André Malraux, The Currency of the Absolute , to address the then-current war in the former Yugoslavia and Europe's failure to intervene. The effects of wars (particularly WWII) on national cinemas are considered, with Italian neorealism cited as a specific example. A New Wave situates the French New Wave and Godard's own role therein within the context of film history. Godard fuses Malraux's idea of an imaginary museum with Henri Langlois' Museum of Cinema to clarify his own project of the Historie(s) .
講者：影評人朗天 Speaker: Film Critic Long Tin
高達原意製作十章向巴贊的《電影是什 麼？》致敬，現在八章則變成向昂利朗格拉 瓦及安德烈馬爾侯致敬。前者的電影中心被 高達稱讚為「真實收藏館」，而《絕對之代 價》正正借自後者的「想像收藏館」。來到 總結，高達先歌頌女性藝術家，影人代表自 然有杜哈絲及梅慧爾，陰性歷史的功課交給 觀眾，然後陳述男性黑暗的慾望，說穿了希 特拉與希治閣都是宇宙級控制家，只是前者 失敗後者成功，連同一批高達推崇的男導 演，給予未來電影故事一點想像。 Contemplating the power cinema holds over captive spectators, Godard famously declares: "Hitchcock succeeded where Alexander, Julius Caesar, and Napoleon failed: in taking control of the universe." Paradoxically, a moment of profound doubt from one of the medium’s truest believers. The final episode – on cinema’s “saturation of magnificent signs” – opens with a consideration of love and ends with a poetic envoi inspired by Borges likening films to dreams. The title comes from a Charles-Ferdinand Ramuz's novel Godard has long wanted to adapt that suggests to him the nature of cinema.
27.12
4A + 4B
19:30 AH
The Control of the Universe + The Signs Among Us 操控宇宙 + 兆象在咫尺
(Le contrôle de l’univers + Les signes parmi nous) 法國 France 1998 65min 法國凱撒榮譽大獎（頒予《世界電影（眾數）史》) Honorary César, César Awards, France (for Historie(s) of Cinema )
講者：影評人朗天 Speaker: Film Critic Long Tin
27
2019年11月30日或以前
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TICKETING INFORMATION
售票處購票 Counter Booking： 城市售票網售票處 / URBTIX Outlets
門票於2019年10月10日起於城市售票網公開發售
Tickets available from 10 October 2019 onwards at URBTIX 票價 Ticket Price 「高達．電影．歷史」之場次 "Godard, Films, History" screenings 於 K11 Art House 放映之場次 Screenings at K11 Art House
於香港藝術中心及大館放映之場次 Screenings at Hong Kong Arts Centre / Tai Kwun
購票須知 網上購票 Internet Booking： cinefan.com.hk / www.urbtix.hk
$100
信用卡電話購票 Credit Card Telephone Booking： 2111 5999
$85
流動購票應用程式 Moblie Ticketing App： My URBTIX (Android, iPhone/iPad versions)
$75
「高達．電影．歷史」電影課程套票優惠：同時購買兩場或以上的電影課程之正價門票可享七五折 優惠；同時購買六場電影課程之正價門票可享七折優惠。
票務查詢 Ticketing Enquiries：3761 6661
Package Discount for "Godard, Films, History": 25% discount to each purchase of 2 or above standard tickets to the film course. 30% discount to each purchase of standard tickets to ALL six film course sessions.
門票優惠 Discount Schemes
八折優惠 七折優惠 八折優惠 九折優惠
20% discount 30% discount 20% discount
10% discount
電影節發燒友會員 / 贊助會員 Cine Fan Classic Privilege / Patron Privilege 電影節發燒友學生會員 Cine Fan Student Privilege ^ Art House Loyalty Club會員購買K11 Art House各場次@ Art House Loyalty Club members for screenings at K11 Art House@ 「港樂會」+ / 「以舞會友」尊尚、精英會籍 + / 城市當代舞蹈團「舞蹈靈」卡會員 +、Dance, Kids Card 會員# /「進念之友」+ / 「中樂摯友會」+ / 藝穗會會員# / Perfect Cup卡會員# / 誠品人會員# HK Phil Club Bravo+/ Friends of HKDC Prestige, Classic Membership+/ CCDC Dance Inspirations+, Dance, Kids Card# / Zuni Friends+/ Friends of Hong Kong Chinese Orchestra +/ Fringe Club Members# / Perfect Cup Card Members# / eslite Members#
^ 學生會員優惠票持有人，須於入場時出示有效電影節發燒友(HKIFF Cine Fan)學生會員卡。 HKIFF Cine Fan Student Privilege ticket holder must present valid Student Privilege Card upon admission. @ 只適用於城市售票網售票處之售票櫃檯購票及戲院即場門票。Only available at the sales counter of URBTIX Outlets and Cinema door sales. + 只適用於城市售票網購票。Available at URBTIX only. # 只適用於城市售票網售票處之售票櫃檯購票。Available at the sales counter of URBTIX Outlets only. 每張門票最多只可享用其中一種購票優惠。All of the above discounts cannot be used in conjunction with any other discounts or offers.
所有場次不設劃位。所有已出售的門票皆不能退款或更換。本會恕不負責任何門票遺失。 Free seating for all screenings. All tickets are non-refundable and non-exchangeable. HKIFF Society is not responsible for any lost ticket.
即日購票
滿座場次企位票
On-the-day Tickets
Standing Tickets for Sold-Out Screenings
於K11 Art House放映之場次：城市售票網將於放映前一天之下 午5時停止發售門票。觀眾可於電影放映當日到放映場地票房購 買剩餘門票，售完即止。 For screenings at K11 Art House, tickets are available at URBTIX till 5:00pm one day before respective screenings, after which tickets will be available only at the box office of the respective screening venues on the day of screening, subject to availability.
香港藝術中心滿座場次，將有少量企位票於開場前30分鐘在相關放映場地售票處發售， 觀眾或未能獲安排入座。座位安排將視乎開場後30分鐘持普通門票觀眾入場後之情況而 定。每人限購企位票1張。部份場次或未能提供企位票，恕不另行通告。 A limited number of standing tickets for sold-out screenings of Cine Fan Programme at Hong Kong Arts Centre are for sales at the URBTIX Outlet of respective venues 30 minutes prior to the screening time. Seating is not guaranteed and subject to availability (30 minutes after the screening time). Each person can purchase up to 1 standing ticket. Standing tickets are subject to change without prior notice.
於香港藝術中心及大館之場次：每個節目開始前一小時起，剩 餘門票只限於相關放映場地之售票處發售。 Screenings at HK Arts Centre / Tai Kwun: For screening about to start in one hour, all remaining tickets can only be bought at the box office of respective screening venues.
使用信用卡電話購票、 流動購票應用程式或網上購票
For Credit Card Telephone Booking, Mobile Ticketing App and Internet Booking 手續費：每張訂購門票港幣8元（手續費不設退款）。以上手續 費會因應購票通（香港）有限公司而調整。 A handling charge (which is non-refundable) is levied at HK$8 per ticket. The service fee is subjected to adjustment by Cityline (HK) Limited.
自助取票服務 Ticketing Collection Service 顧客選擇自助取票服務提取門票，可於10月11日開始，攜帶交 易使用的信用卡在購票通自助取票機刷卡提取門票，或親臨任 何一間城市售票網售票處的售票櫃檯憑卡領取門票。 Customers choosing ticket collection service can collect their prepaid tickets from Cityline Ticket Dispensing Machines or at the sales counter at any of the URBTIX Outlets with the credit card used for transaction from 11 October onwards.
電影分級制 The Film Classification
適合任何年齡人士 Suitable for All Ages
退票及節目更改
Refund Arrangement and Programme Change 節目如有更改或取消，觀眾可按原定時間入場觀看替代影片，或可由通知當日起至2020 年1月17日申請退票。退票表格可於電影節發燒友（HKIFF Cine Fan）網頁(cinefan.com. hk)下載。 For alteration or cancellation of screenings, ticket holders may choose to attend a screening of a replacement film at the same time slot or to get a refund on or before 17 January 2020. Refund application form can be downloaded from Cine Fan website (cinefan.com.hk).
惡劣天氣之放映安排
Arrangements under Inclement Weather Conditions 當香港天文台發出八號或以上熱帶氣旋警告訊號或黑色暴雨警告時，電影節目可能會受 影響而取消，或未能提供投映字幕。詳情請留意電影節發燒友（HKIFF Cine Fan）網頁的 最新公佈。 Screenings or electronic subtitles may be cancelled when tropical cyclone warning signal No. 8 is in force or Black Rainstorm Warning is issued. Please refer to the HKIFF Cine Fan website for the latest notice.
售票條款 Terms and Conditions 香港國際電影節協會保留更改放映節目、時間及地點的權利。有關節目更改或取消的最新 消息，請參閱電影節發燒友（HKIFF Cine Fan）網頁及放映場地的通告。 The HKIFF Society reserves the right to change the programme and the schedule should unavoidable circumstances make it necessary. Screening alterations and cancellations will be announced on the HKIFF Cine Fan website and at the screening venues.
兒童不宜 Not Suitable for Children
青少年及兒童不宜 Not Suitable for Young Persons and Children
只准18歲或以上人士 Persons Aged 18 or Above Only
本訂票手冊付印時，大部份影片均未經電影、報刊及物品管理辦事處檢查。將來如有影片被檢定為三級者，未滿18歲而於公布前購買該場門票的持有人，可申請退票。 At the time when this booking folder goes to print, most of the films have not been submitted to the Office for Film, Newspaper and Article Administration. In case a film is subsequently classified as Category III, refunds will be made to ticket holders under 18 years of age who bought the tickets before the announcement.
cinefan.com.hk / 2970 3300 / info@hkiff.org.hk
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HKIFFS
31
SCREENING SCHEDULE
放映時間表
NOVEMBER 十一月
02
15:30 TK
17:45 TK
20:00 TK
于洛先生的假期
妙想天開
六 Sat
郵差學校+節日
The School for Postmen + Holiday
Mr. Hulot's Holiday
Brazil
03
14:30 TK
16:25 TK
18:00 TK
20:45 TK
我的舅舅
積葵大地座談會
嬉戲時間
攻殼機動隊
My Uncle
Seminar on Jacques Tati
PlayTime
Ghost in the Shell
日 Sun
19:30 AH
22
高達十二月自畫像
JLG/JLG - Self-Portrait in December
五 Fri
23 六 Sat
24 日 Sun
14:45 AH
17:15 AH
19:30 AH
藍天使
荒漠英雄
車車車
The Blue Angel
Morocco
Traffic
15:15 AH
17:30 AH
19:30 AH
忠節難全
上海快車
馬戲匯演
Dishonored
Shanghai Express
Parade
19:30 AH
29
法國電影的兩個50年
2 x 50 Years of French Cinema
五 Fri
30 六 Sat
14:30 AC
16:15 AC
19:00 AC
21:30 AC
女乘客
一生倒運
金髮女神
桃紅女霸
Passenger
Bad Luck
Blonde Venus
The Scarlet Empress
DECEMBER 十二月
01
14:45 AH
16:05 AH
17:30 AH
19:30 AH
玫瑰多刺
德烈治與史登堡座談會
路軌上的人
日 Sun
英雄
The Devil is a Woman
Seminar on Dietrich x Sternberg
Man on the Tracks
Eroica
19:30 AH
06
世界電影（眾數）史：
Historie(s) of Cinema: 1A + 1B
五 Fri
座談會 Seminar
32
放映 + 講座 Screening + Lecture
簡介／映後談 Introduction／Film Talk
座談會：粵語主講 Seminar : Conducted in Cantonese
DECEMBER 十二月 14:30 TK
16:15 TK
于洛先生的假期
車車車
Mr. Hulot's Holiday
Traffic
07 六 Sat
14:30 TK
17:15 TK
19:30 TK
嬉戲時間
金髮女神
男性新娘子
Blonde Venus
I Was a Male War Bride
PlayTime
19:30 AH 世界電影（眾數）史：
Historie(s) of Cinema: 2A + 2B
14:45 AH
17:45 AH
19:45 AH
妙想天開
攻殼機動隊
Brazil
Ghost in the Shell
郵差學校+節日 The School for Postmen + Holiday
14:30 AH
16:45 AH
19:00 AH
藍天使
忠節難全
The Blue Angel
Dishonored
馬戲匯演
Parade
19:30 AH 世界電影（眾數）史：
Historie(s) of Cinema: 3A + 3B
14:30 AC
16:30 AC
19:45 AC
上海快車
桃紅女霸
我的舅舅
Shanghai Express
The Scarlet Empress
My Uncle
19:30 AH 世界電影（眾數）史：
Historie(s) of Cinema: 4A + 4B
14:30 AC
16:45 AC
19:00 AC
20:45 AC
荒漠英雄
玫瑰多刺
路軌上的人
英雄
Morocco
The Devil is a Woman
Man on the Tracks
Eroica
14:30 AC
17:00 AC
19:15 AC
男性新娘子
一生倒運
女乘客
I Was a Male War Bride
Bad Luck
Passenger
AC TK AH
08 日 Sun
13 五 Fri
14 六 Sat
15 日 Sun
20 五 Fri
22 日 Sun
27 五 Fri
28 六 Sat
29 日 Sun
香港藝術中心古天樂電影院 Hong Kong Arts Centre Louis Koo Cinema 大館賽馬會立方綜藝館 Tai Kwun JC Cube Auditorium K11 Art House
33
CINE FAN Nov Dec 2019 // The Elusive Enchantment: Dietrich x Sternberg 靈光艷影 盡得風流— 德烈治與史登堡 // Always a Rebel, Andrzej Munk 蒙克—鐵幕下的吶喊 // The Logic of Illusion: Jacques Tati 永遠的幻象師 積葵大地 // Godard, Film, History 高達．電影．歷史 // Blonde Venus 金髮女神 // I Was a Male War Bride 男性新娘子 // Brazil 妙想天開 // Ghost in the Shell 攻殼機動隊
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