The 45th Hong Kong International Film Festival Main Catalogue by HKIFF

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資助機構

Presented by

Financially Supported by

第四十五屆香港國際電影節

Photo by KAON

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Presented by

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AaronKwok st

HKiFF Ambassador

節

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電影節大使郭富城

HKIFF45 ONLINE 網上放映平台

Online Screening Platform

首度實體放映 X 網上串流 Hybrid Film Festival 電影節首度以混合模式舉行，可選擇戲院大銀幕或安坐家中欣賞精選環球佳作 HKIFF goes hybrid with both in-theatre and online screenings of worldwide titles for the first time

與影人線上對談 Meet the Filmmakers Online 世界各地影人將以不同方式與影迷交流，座談會及映後談分別於戲院及網上平台進行 Screenings and audience-engagement events will be featured in both physical and online formats

靈活安排觀影時間 Flexible Schedule 每個網上節目放映期長達72小時，期間可隨時觀看已購票的影片，安排觀影更具彈性 (影片開始播放後，須於24小時內觀看）

Great flexibility to arrange viewing schedule – each film or programme will be available for viewing for 72 hours

(Once the viewing starts, the purchased content can only be accessed within 24 hours)

詳情 Details

https://online45.hkiff.com.hk/ HKIFF45 ONLINE內容僅限香港地區於第45屆香港國際電影節期間觀看。 All HKIFF45 ONLINE content is available for viewing only in Hong Kong during the HKIFF45 period.

香港國際電影節協會鄭重鳴謝第45屆香港國際電影節的贊助及合作夥伴資助機構 Financially Supported by

同期活動 Concurrent Events

主力贊助 Premier Partner

香港國際電影節為香港影視娛樂博覽始創項目 HKIFF is a Founding Event of

資助 Supported by

節目夥伴 Festival Partners

We are proud to acknowledge and thank the Official Sponsors and Partners of the 45th Hong Kong International Film Festival 支持機構 Supporting Organisations

酒店夥伴 Hotel Partner

合作夥伴 Festival Supporters

公關公司 PR Partner

技術支援 Technical Partner

合作手機應用程式 Mobile App Partners

合作廣播機構 Broadcasting Partner

合作傳媒 Media Partners

香港國際電影節協會法律顧問 Honorary Legal Adviser, Hong Kong International Film Festival Society

霍璽律師 Angus FORSYTH

香港亞洲電影投資會法律顧問 Honorary Legal Adviser, Hong Kong - Asia Film Financing Forum

GALA PRESENTATION 星光盛宴 9 14

Galas 首映禮 Cinephile Paradise 影迷嘉年華

FIREBIRD AWARDS 火鳥大獎 28 38 50 60

Young Cinema Competition (Chinese Language) 新秀電影競賽（華語） Young Cinema Competition (World) 新秀電影競賽（世界） Documentary Competition 紀錄片競賽 Short Film Competition 國際短片競賽

PAN-CHINESE CINEMA 華語電影 69 74 79

Stanley Kwan, Filmmaker in Focus 焦點影人關錦鵬 Starting Afresh: 30th Anniversary of Jet Tone Films 澤東三十念念不忘 Chinese-language Restored Classics 華語修復經典

MASTERS & AUTEURS 大師與作者 87 100

The Masters 大師級 Auteurs 作者風

WORLD CINEMA 世界電影 110 133

Global Vision 環球視野 Iranian New Cinema 伊朗新電影

DOCUMENTARIES 紀錄片 140 150

CONTENTS

Reality Bites 真的假不了 Filmmakers and Filmmaking 影人影事

KALEIDOSCOPE 五光十色 157 164 173 181

Fantastic Beats 奇幻青春 Animation Unlimited 超人氣動畫 Poetry in Motion 詩影像 Restored Classics 修復經典

FOCUS 焦點 189

Shochiku Cinema: 100th Anniversary 松竹映画 100 周年

ACKNOWLEDGEMENTS & INDEXES 鳴謝及索引 204 206 209 211

Acknowledgements 鳴謝 World Sales & Print Sources 片源 Index of Films 影片索引 Index of Directors 導演索引

The 45 th Hong Kong international Film Festival 第四十五屆香港國際電影節

1 - 1 2 . 4 . 2 02 1

焦點影人關錦鵬

filmmaker in focus

主辦

Presented by

Photo by KAON

STANLEY KWAN

GALA PRESENTATION 星光盛宴

Galas 首映禮

OPENING FILM 開幕電影

GALAS 首映禮 2020 | Cantonese | DCP | Colour | 111min Director Sammo Hung, Ann Hui, Patrick Tam, Yuen Wo-ping, Johnnie To, Ringo Lam, Tsui Hark Producer Johnnie To, Elaine Chu Scriptwriter Sammo Hung, Au Kin-yee, Lou Shiu-wa, Melvin Luk, Patrick Tam, Yuen Wo-ping, Johnnie To, Yau Nai-hoi, Ringo Lam, Tsui Hark, Roy Szeto Cast Timmy Hung, Francis Ng, Jennifer Yu, Yuen Wah, Ng Wing Sze, Simon Yam, Cheung Tat-ming Production Milkyway Image World Sales Media Asia Film 導演洪金寶、許鞍華、譚家明、袁和平、杜琪峯、林嶺東、徐克監製杜琪峯、朱淑儀編劇洪金寶、歐健兒、呂筱華、陸渺回、譚家明、袁和平、杜琪峯、游乃海、林嶺東、徐克、司徒慧焯演員洪天明、吳鎮宇、余香凝、元華、伍詠詩、任達華、張達明

Septet: The Story of Hong Kong 七人樂隊 Just as a septet is a group of seven people playing music together, Septet: The Story of Hong Kong is a sonorous symphony created in concert by seven of Hong Kong’s most revered directors who come together for the first time to compose a symphony of stories for their city. Each director was responsible for making a short film on Hong Kong set within a designated decade from the 50s to the future. These stories include Sammo Hung’s Exercise, Ann Hui’s Headmaster, Patrick Tam’s Tender is the Night, Yuen Wo-ping’s Homecoming, Johnnie To’s Bonanza, Ringo Lam’s Astray, and Tsui Hark’s Conversation in Depth. Astray in particular is Ringo Lam’s swan song. Septet: The Story of Hong Kong is shot entirely on film as a tribute to the medium itself. The producer also hopes to inspire the next generation of filmmakers through this groundbreaking collaboration.

七位殿堂級導演聯手執導，每位導演由五十年代至未來，各自抽籤負責一個年代，執導一個與香港有關的故事。《七人樂隊》片名寓意各有風格才華的導演，猶如出色的樂手，走在一起便能合奏出令人共鳴的美妙樂章。七個導演作品包括洪金寶的〈練功〉、許鞍華的〈校長〉、譚家明的〈別夜〉、袁和平的〈回歸〉、杜琪峯的〈遍地黃金〉、林嶺東的〈迷路〉，及徐克的〈深度對話〉。其中林嶺東的〈迷路〉更是導演的最後遺作。《七人樂隊》全片用菲林拍攝，是一部向菲林拍攝年代致敬的電影。杜琪峯也希望透過今次七位導演的合作，將他們那一代香港導演無分門派的合作精神，啟迪並鼓勵到年青一代電影人。

Sammo HUNG was born in Hong Kong in 1952. He was a key member of the school’s troupe Seven Little Fortunes. Selected filmography: The Prodigal Son (81), Winners and Sinners (83). 洪金寶 1952 年生於香港，「七小福」成員之一，被同業尊為「大哥大」。主要作品有《敗家仔》(81)、《奇謀妙計五福星》(83)。

Johnnie TO was born in 1955. For the last two decades, he has been the most notable director in Hong Kong. Selected filmography: The Mission (99), Election (05). 杜琪峯 1955 年出生，作品極具個人風格，也是電影業界舉足輕重的領軍人物。主要作品有《鎗火》(99)、《黑社會》(05)。

Ann HUI was born in Liaoning, China in 1947. A key figure of the Hong Kong New Wave, she received a lifetime achievement award at the Venice Film Festival in 2020. Selected filmography: Boat People (82), A Simple Life (11). 許鞍華 1947 年生於遼寧鞍山，香港電影新浪潮主將，2020 年獲威尼斯影展終身成就獎。主要作品有《投奔怒海》(82)、《桃姐》(11)。

Ringo LAM (1955-2018) was born in Hong Kong. He was best known for his “On Fire” crime series. Selected filmography: City On Fire (87), Full Alert (97). 林嶺東 (1955-2018) 香港出生，擅拍犯罪動作片，以「風雲系列」享負盛名。主要作品有《龍虎風雲》(87)、《高度戒備》(97)。

Patrick TAM was born in Hong Kong in 1948. He is a key figure of the Hong Kong New Wave. Selected filmography: Love Massacre (81), Nomad (82), After This Our Exile (06). 譚家明 1948 年生於香港，香港電影新浪潮的佼佼者，以風格前衛見稱。主要作品有《愛殺》(81)、《烈火青春》(82)、《父子》(06)。

TSUI Hark was born in Vietnam in 1950, and immigrated to Hong Kong in 1966. He kept exploring various genres, gaining critical and commercial successes. Selected filmography: Dangerous Encounter of the First Kind (80), Once Upon a Time in China (91). 徐克 1950 年生於越南，1966 年移居香港，香港電影新浪潮代表之一。主要作品有《第一類型危險》(80)、《黃飛鴻》(91)。

YUEN Wo-ping was born in Guangzhou in 1945, one of the most influential figures in Hong Kong’s action cinema. Selected filmography: Snake in the Eagle’s Shadow (78), Drunken Master (78). 袁和平 1945 年生於廣州，人稱「八爺」，以武打動作設計蜚聲國際。主要作品有《蛇形刁手》(78)、《醉拳》(78)。

[ 創作概念 ]

CLOSING FILM 閉幕電影

GALAS 首映禮 Japan 日本 2021 | Japanese | DCP | Colour | 121min Director Hamaguchi Ryusuke Producer Takata Satoshi Scriptwriter Hamaguchi Ryusuke Cinematographer Iioka Yukiko Editor Hamaguchi Ryusuke Production Designer Nunobe Masato Sound Suzuki Akihiko Cast Furukawa Kotone, Nakajima Ayumu, Shibukawa Kiyohiko, Mori Katsuki, Kai Shouma, Urabe Fusako Production NEOPA Inc., Fictive LLC World Sales m-appeal

Wheel of Fortune and Fantasy Guzen to sozo 偶然與想像之輪 These three stories were conceived as the first three in a series of seven stories with the theme of “coincidence and imagination”. Coincidence has always been a subject of interest to me. Depicting coincidence is a manner that regards rarity as the essence of the world, rather than being based on reality. By creating a work with this title, I realised how it opens up the story in unexpected ways. Please enjoy being surprised by the unexpectedness of the world Hamaguchi Ryusuke

Magic (or Something Less Assuring) – When Meiko realises that the man her best friend has talked about as “hitting on her” is her ex-boyfriend, whom she broke up with a year-and-a-half ago, she wonders what she should do. Door Wide Open – A student who failed to graduate plots to trick his professor and has his class friend with benefits visit the professor’s office. Once again – Natsuko meets a housewife with a child who seems to be a classmate she couldn’t find at the college reunion. The two talk to each other and confirm the feelings they have harbored in their hearts.

[導演的話] 在我的構思中，這個系列共有七個故事，主題都是關於「偶然與想像」，這是系列裏的頭三個故事。我一直對「偶然」這個題目感興趣。描繪「偶然」，並非建基於現實，是把稀有事物視為世界之本。以此為片名來進行創作，我發現它令故事以意想不到的方式展開。請享受世事出乎意料帶來的驚喜。 [簡介] 〈魔法（或更不確定的事）〉：芽衣子意識到她最好的朋友邂逅了自己的前度，已經分手一年半了，她在想該怎麼辦。〈門常開〉：瀨川教授得了芥川獎，他的學生佐佐木因為畢不了業，計劃報復，找了過從甚密的女同學奈緒到訪瀨川的辦公室施展美人計。〈再一次〉：電腦病毒肆虐，系統工程師夏子失業，街上偶遇一女子，認出是她在舊生聚會盼望見到卻沒碰見的中學同學。談下去，她們各自隱藏心裏的一些感情，再次得到確認。

HAMAGUCHI Ryusuke was born in Kanagawa, Japan in 1978. After graduating from the University of Tokyo, he worked in the film industry for a few years before entering the graduate programme in film at Tokyo University of the Arts. His latest film, Wheel of Fortune and Fantasy, won the Silver Bear Grand Jury Prize at Berlinale. 濱口龍介 1978 年生於日本神奈川縣，畢業於東京大學文學系，曾擔任電影及電視節目助導，其後入讀東京藝術大學影像研究院。近年為黑澤清《間諜之妻》(20) 擔任編劇。最新作品《偶然與想像之輪》獲柏林影展評審團大獎。 © 明周文化

SELECTED FILMOGRAPHY 主要作品 2008 Passion 激情時代 2013 Touching the Skin of Eeriness 觸不到的肌膚 2015 Happy Hour 她們最好的時光 2018 Asako I & II 睡著吻別醒來抱擁 2021 Wheel of Fortune and Fantasy 偶然與想像之輪

GALA PREMIERE 隆重首映

GALAS 首映禮 2021 | Cantonese | DCP | Colour | 100min Director Ricky Ko Producer Lam Ka-tung Scriptwriter Ho Ching-yi, Lam Ka-tung Cinematographer Jam Yau Editor Yeung Kai-wing Production designer Yeung Yiu-wah Music Tomy Wai Sound Tony Cheng Cast Patrick Tse, Petrina Fung, Lam Suet, Chung Suet-ying Production Homemade Production World Sales Edko Films 導演高子彬監製林家棟編劇何靜怡、林家棟攝影邱忠業剪接楊啟榮美術楊耀華音樂韋啟良音響鄭耀宗演員謝賢、馮寶寶、林雪、鍾雪瑩

Time 殺出個黃昏 Time is a black comedy about three ex-assassins who live a lonely life after withdrawing from their profession. Through absurdist humour, I hope to bring out the social problems of empty nesters who, after their children have left home, must deal with all sorts of problems, including illness. Thanks to producer Lam Ka-tung for inviting me to direct this film, I hope Time can arouse public attention and call for more understanding of empty nesters. I am grateful to have invited two heavyweight actors of the Cantonese Cinema, Patrick Tse and Petrina Fung, to be the protagonists. These veteran actors came to work every day with joyful hearts, and kept their spirits high even when shooting continued past midnight. They offered to perform action sequences themselves, instead of using stuntmen. I am deeply touched and impressed by their professionalism and work ethic. Every film has its own difficulties and shortcomings. As a new director, I am thankful to each and every crew member for their efforts and support, ensuring a smooth flow throughout the whole production process.

[導演的話] 《殺出個黃昏》是一部黑色喜劇，講述三個曾幾何時是職業殺手的江湖中人，遠離殺手生涯後的孤獨生活，透過電影的拍攝手法，以幽默的方式巧妙地帶出現今社會的空巢老人在缺乏子女關懷及疾病纏身所引起的種種問題……多謝監製林家棟先生邀請我拍攝這部電影，希望電影能引起社會各界對空巢老人有更多的關注及了解。這部電影有幸邀請了兩位在粵語片年代份量超重的演員謝賢及馮寶寶擔任主角。兩位前輩每天均是懷着愉快的心情來開工，在拍攝到凌晨時份，他們依然精神奕奕。而在動作場面上，他們會要求親身上陣，盡量不用替身，他們的專業精神及操守，令我十分感動且敬佩！幕後團隊方面，部分人員在過往亦曾與我合作多次，對我的工作模式十分了解，非常合拍；而新合作的人員，在創作上亦帶給我很多新的啟發。每部電影都有其困難和不足，作為新導演的我在此非常感謝台前幕後每一位工作人員的努力及協助，令整個拍攝過程非常順利。

Ricky Ko

Ricky KO is a Hong Kong director and actor. He served as executive director for a number of acclaimed films including All’s Well, Ends Well Too 2010 (10), Ip Man: The Final Fight (13), Project Gutenberg (18) and The New King of Comedy (19). He also acted in Angel Whispers (15) and other films. Time is his directorial debut. 高子彬曾任《花田囍事 2010》(10)、《葉問 - 終極一戰》(13)、《無雙》(18) 及《新喜劇之王》 (19) 等電影的副導演，並於《花街柳巷》(15) 及《上身》(15) 參與演出。《殺出個黃昏》是其執導首作。

FILMOGRAPHY 作品年表 2021 Time 殺出個黃昏

GALA PRESENTATION 星光盛宴

Cinephile Paradise 影迷嘉年華

CINEPHILE PARADISE 影迷嘉年華 Czech Republic/Ireland/Poland/Slovakia 捷克／愛爾蘭／波蘭／斯洛伐克 2020 | Czech | Online | Colour | 118min Director Agnieszka Holland Producer Šárka Cimbalová, Kevan Van Thompson Scriptwriter Marek Epstein Cinematographer Martin Strba Editor Pavel Hrdlicka Production Designer Milan Bycek Music Antoni Komasa-Lazarkiewicz Sound Radim Hladik Jr. Cast Ivan Trojan, Josef Trojan, Juraj Loj, Jaroslava Pokorná, Ji í erný, Miroslav Hanuš Production Marlene Film Production World Sales Films Boutique

©Jacek Poremba

Charlatan

arlatán

我不是醫神 Charlatan tells the story of (Jan) Mikolášek’s rise and fall. Of his moral fall and of his constant fight with the darkness inside him. It is the story of the mystery of a man, of the mystery of his special gift, of the price he was ready to pay for it; the story of the paradox of strength and weakness, of love and hate. To tell this story with an epic scope – dozens of years, three different regimes, two World Wars – but one, that feels, at the same time, extremely intimate, I tried to find a sensual and minimalistic language. Static. Quiet. Spare dialogue. Hidden emotions. Extremely subjective passages of time: years pass in a few minutes, minutes are extended to feel like eternity. I tried to show a human soul without entering into the depth of psychological analysis, express interiority through behaviour. The faces of actors, the tension between the characters, their constant efforts to pass through each other’s armour are what drive the story forward; the background, the big history of the 20th century is reflected in their fate. Agnieszka Holland

[導演的話] 著名醫師米高拉錫，以獨特醫術名揚四海，富甲一方。在戰前捷克已儼如建制；即使在德國佔領時期，仍因替納粹官員治療而保持地位。戰後他以為跟以往無異。掌權的共產黨一樣是人，生病就需要醫生，尤其是神醫。然而局勢變化，當守護他的史太林信徒去世，新政府決定要摧毀他，因他顯得太特別、太富有、太獨立。影片說的就是他的起落、他的失德以及如何不斷與內心陰暗面搏鬥。故事也關於他的秘密和獨特天賦，以及他準備為此付出何種代價。那是一個關於強弱和愛恨的弔詭故事。史詩式的敘事架構，情節歷時數十載，經過三個政權、兩次世界大戰。然而也極為私密。我嘗試尋找一種感性而簡約的語言。靜止的鏡頭、寂默的氛圍、省略的對白、隱藏的情緒。極度主觀的時間流轉：分秒之間，數年便過去，而故事裏的數分鐘，則會感覺宛如永恆。我嘗試以行為彰顯內心，但求毋須進入心理分析的深處便可呈現一個人的靈魂。演員的臉容、角色間的張力、他們不斷突破對方防護機制的努力，都是驅動故事發展的因子。作為故事背景的二十世紀大歷史，則透過他們的命運反映出來。

Agnieszka HOLLAND was born in Warsaw, Poland in 1948. She graduated from Film and TV School of the Academy of Performing Arts in Prague in 1971. She began her film career working with Krzysztof Zanussi as assistant director, and Andrzej Wajda as her mentor. Her first feature, Provincial Actors (78), won the FIPRESCI Prize at Cannes. She won the Silver Berlin Bear Alfred Bauer Prize for Spoor at Berlinale in 2017. 安妮茜嘉賀蘭 1948 年生於波蘭華沙，1971 年在捷克布拉格 FAMU 電影學院導演系畢業。投身電影之初當波蘭贊祿西副導，華意達是她的啟蒙老師。首部長片《地方演員》（78）獲康城影展國際影評人聯盟獎。2017 年憑《獵肉者鄙》奪得柏林影展艾佛鮑華銀熊獎。

SELECTED FILMOGRAPHY 主要作品 1995 Total Eclipse 心之全蝕 2006 Copying Beethoven 貝多芬未緣曲 2011 In Darkness 無光歲月 2017 Spoor 獵肉者鄙 2019 Mr. Jones 新聞守護者 2020 Charlatan 我不是醫神

©Jacek Poremba

CINEPHILE PARADISE 影迷嘉年華 Germany/Ukraine/UK/Russia 德國／烏克蘭／英國／俄羅斯 2020 | Russian/Ukrainian/English DCP | Colour | 139min Director Ilya Khrzhanovskiy, Jekaterina Oertel Producer Sergey Adoniev Scriptwriter Ilya Khrzhanovskiy, Jekaterina Oertel Cinematographer Jürgen Jürges Editor Brand Thumim, Hoping Chen Production Designer Denis Shibanov Sound Maksim Demydenko, Borys Peter, Stefan Smith, Rob Walker Cast Natasha Berezhnaya, Vladimir Azhippo, Olga Shkabarnya, Luc Bigé, Alexey Blinov Production Phenomen Berlin Filmproduktion World Sales Coproduction Office

Persons Aged 18 and Above Only 只准18歲或以上人士

DAU. Natasha DAU. 娜塔莎之劫 Initially planned as a feature film, DAU started shooting in April 2007, […] sent back into the past, (hundreds of selected) participants lived just as their forebears had in the USSR, they worked, dressed, undressed, loved, denounced and hated one another. This unscripted life was filmed intermittently for the whole duration of the experience in the Institute (for Research in Physics and Technology), that lasted from October 2009 till November 2011. From the uniforms they wore to the language they used, their existence was governed by the Institute’s “local time” – 1952, 1953, 1956, etc. What was your impression of Natasha during the shoot? My impression of Natasha during the filming process was quite different from when I started editing her material. During the filming process I had a strong opinion about Natasha’s character. Natasha is a loud, resolute woman, not easy to get close to. But once I saw her scenes in the rushes I have been captivated by the power of her scenes and by their narrative potential. I saw layers of longing, hope, despair and strength hidden in a rough shell and discovered a striking similarity on a very personal, human and female level. Here was a story I knew I wanted to share. Interview with Jekaterina Oertel

[系列簡介] 「DAU」原定為一部劇情長片，於 2007 年四月開拍。……（數百個被揀選的）參演者仿照前蘇聯時期人們的生活，如他們的先輩一樣工作、打扮、卸裝、相愛、相恨。由 2009 年十月至 2011 年十一月，在沒有劇本的情況下，他們在國家科研中心進行以上生活，並被斷斷續續拍攝下來。上至制服，下至日常用語，事無大小不分內外，他們的生存狀態都受到科研中心所制定的「本地時間」即 1952、1953、1956 年等所規管。 [導演訪問] 在拍攝過程中，你對娜塔莎印象如何？葉卡塔蓮娜奧雅桃：拍攝過程中我對娜塔莎的印象，跟我開始剪接她的片段時完全不同。拍攝時我對她的角色有強烈看法。她是個惹人注目、個性堅強的女人，不容易親近。但當我看到她演出的毛片，馬上被她的壓場氣勢及表現的濃厚戲味所吸引。我看到在她粗獷的外表下隱藏了一層層渴慕、希冀、絕望和力量，讓我在個人經歷、人性和女性的層面上，發現了與她驚人的相似之處。這就是我想要分享的故事。

Ilya KHRZHANOVSKIY was born in Moscow in 1975. He graduated from the Russian State Institute of Cinematography in 1998. His debut feature 4 (04) earned him multiple awards including Tiger Award at IFF Rotterdam. DAU. Natasha is his second production and has been in the making since 2006. 伊亞哥沙諾夫斯基 1975 年生於莫斯科，畢業於俄羅斯國家電影學院，首部長片《4》贏得鹿特丹電影節老虎獎等多個獎項。自 2006 年起即拍攝第二個項目《DAU》系列，其中《DAU. 娜塔莎之劫》入圍柏林影展競賽單元，《DAU. 墮落》入選柏林影展特別選映單元。 Jekaterina OERTEL was born in St. Petersburg in 1966. She graduated from the Moscow Film and Theatre School in 1987 and began her career as a make-up artist. She has been working on DAU since 2008 as the Head of Make-up and Hair Design, pivoting to an editing and co-direction role during the post-production. 葉卡塔蓮娜奧雅桃 1966 年生於聖彼得堡，畢業於莫斯科電影戲劇學院，先當化妝師。2008 年起一直主理《DAU》項目的化妝和髮型設計，後期轉當剪接，並合導了其中的《DAU. 三天》、《DAU. 羅拉母親》、《DAU. 娜塔莎之劫》等。

SELECTED FILMOGRAPHY 主要作品 2004 4 2020 DAU. Natasha (co-dir) DAU. 娜塔莎之劫（合導） 2020 DAU. Degeneration (co-dir) DAU. 墮落（合導） 2020 2020 2020

DAU. DAU. DAU. DAU. DAU. DAU.

Natasha (co-dir) 娜塔莎之劫（合導） Nora Mother (co-dir) 羅拉母親（合導） Three Days (co-dir) 三天（合導）

CINEPHILE PARADISE 影迷嘉年華 Chile 智利 2019 | Spanish | DCP | Colour | 102min Director Pablo Larraín Producer Juan de Dios Larraín Scriptwriter Guillermo Calderón, Pablo Larraín, Alejandro Moreno Cinematographer Sergio Armstrong Editor Sebastián Sepúlveda Production Designer Estefanía Larraín Music Nicolas Jaar Sound Roberto Espinoza Cast Mariana Di Girolamo, Gael García Bernal, Paola Giannini, Santiago Cabrera, Cristián Suárez Production Fabula World Sales The Match Factory

©Pablo Larraín

Persons Aged 18 and Above Only 只准18歲或以上人士

Ema 焚心愛瑪 Describe your heroine Ema in your own words. What does she want out of life? Ema is a paradigm: she’s a character of characters. Daughter, mother, sister, wife, lover and leader. She’s very powerful and presents a striking, beautiful sort of femininity. She’s motivated by relentless individualism, as she clearly knows what she wants and is capable of seducing those around her in order to line up her destiny. She wants to be a mother and have a family; perhaps what moves and motivates her the most is love. You’re known for making Autopsies of the Past — is your latest film an autopsy of the future? I don’t think this is an autopsy of the future: it’s a testimony of today. The people from the generation that we can observe in this film, who were probably born during this century or towards the end of the previous one, belong to a generation that dances without any sort of shame. They express themselves with their bodies and with music in a way that is completely different to my generation. This is my first film set in present-day Chile, where I speak of a generation that isn’t my own. So it’s new. It was a very illuminating and fascinating process.

[導演訪問] 請描述一下女主角愛瑪。她的人生想得到什麼？愛瑪是一個多重角色的人物典型，集女兒、母親、姐妹、妻子、情人及領袖於一身。她充滿力量，展現女性魅力四射、美麗動人的特質。她的積極來自強烈個人意志，清楚知道自己所想所求，並且有能力誘使身邊人為她達成願望。她想成為母親及組織家庭；愛，或許就是激發她付諸實行的最大動力。愛瑪與丈夫的關係複雜，什麼令他們結合一起？這對夫妻有不少共通之處：職業、文化興趣、舞蹈。他們深愛對方。我覺得他們的婚姻關係看來功能失調，但到最後他們的感情變為有機成長。你的電影以「解剖過去」見稱，此新作是否「解剖未來」？我覺得此片不是解剖未來，而是見證當下。我們在電影中觀察到的新世代年輕人，大抵是生於本世紀或上世紀末，屬於跳舞無拘無束的一代。他們以身體及音樂表達自己，方式與我那一代截然不同。這是我首部以現代智利為背景的電影，論及並非自己那一代。這是一個全新體驗，創作過程富有啟發性，且極為有趣。

Interview with Pablo Larraín

Pablo LARRAÍN was born in Santiago, Chile in 1976 where he studied Audiovisual Communication at UNIACC University. He is a founding member of Fabula, a production company producing feature films, television and commercials. In 2006, he directed his first feature film Fuga, while The Club (15) won the Silver Bear Grand Jury Prize at the Berlinale. 柏比路拉林 1976 年生於智利聖地牙哥，於聖地牙哥科藝及傳理大學研讀視聽傳播。他創辦 Fabula 製作公司，製作長片、電視節目及廣告。2006 年執導首作《逃亡》，憑《神父俱樂部》(15) 贏得柏林影展評審團大獎。

SELECTED FILMOGRAPHY 主要作品 2008 Tony Manero 周末殺人狂熱 2010 Post Mortem 屍檔案 2012 No 向政府說不 2015 The Club 神父俱樂部 2016 Neruda 流亡詩人聶魯達 2019 Ema 焚心愛瑪

©Luis Poirot

CINEPHILE PARADISE 影迷嘉年華 Italy/UK 意大利／英國 2019 | Italian | DCP/Online | Colour | 101min Director Mohsen Makhmalbaf Producer Maysam Makhmalbaf Scriptwriter Marziyeh Meshkiny, Mohsen Makhmalbaf Cinematographer Maysam Makhmalbaf Editor Maysam Makhmalbaf Production designer Flavio Russo Music Gruppo Folk Verbicaro Nel Cuore Sound Farid Pirayesh Cast Ylenia Galtieri, Margherita Pantaleo, Raffaella Gallo, Paolo C. Santeramo, Danilo Acinapura Production Makhmalbaf Film House, Allelammie, Rai Cinema World Sales Makhmalbaf Film House

Marghe and Her Mother 半熟小小姐 The film narrates the story of three generations of women. Despite living together and in close proximity, their worlds have grown so apart that they struggle to understand one another.

[導演的話]

Although the film Marghe and Her Mother is made in Italy, the same story can happen every day throughout Europe or even in any country on the entire planet earth.

電影雖在意大利拍攝，但故事卻在歐洲、甚至全球各國每天上演。

Modern life, besides all its possibilities and numerous choices it has offered to the mankind, seems to have jeopardise some of their basic needs. Having a secure and stable job, a trusting friendship, a true love or sometimes even their basic human dignity…

影片描述三代女性的故事。雖然住在一起，近在咫尺，然而她們的世界愈來愈遠，要了解彼此，須幾經掙扎。

現代生活為人類帶來無限可能及無數選擇，不過似乎卻妨害了人的基本需要：安穩工作、互信友誼、真摯愛情，有時甚至是人的基本尊嚴……

Mohsen Makhmalbaf

Mohsen MAKHMALBAF was born in Tehran, Iran in 1957. He was imprisoned for five years for political activities. He and his family, including wife Marzieh Meshkini and daughter Samira Makhmalbaf, have become some of the most renowned Iranian filmmakers. He has made over 20 feature films and won awards worldwide. He is also an educator, establishing Makhmalbaf Film House in 1996. 慕森麥馬巴夫 1957 年生於伊朗德黑蘭，曾加入反抗王朝的政治組織，入獄五年，伊朗革命後從政治轉向寫作，81 年與多位回教藝術工作者成立與藝術中心，從事故事、戲劇和電影劇本寫作。至今執導超過二十部長片，屢獲殊榮。96 年創辦「麥馬巴夫電影之家」學校。

SELECTED FILMOGRAPHY 主要作品 1990 The Nights of Zayandeh-rood 撒恩達之夜 1995 Salaam Cinema 電影萬萬歲 1996 A Moment of Innocence 無知時刻 2001 Kandahar 坎大哈 2012 The Gardener (docu) 園丁偈語 ( 紀錄片 ) 2014 The President 總統大人着草了 2019 Marghe and Her Mother 半熟小小姐

CINEPHILE PARADISE 影迷嘉年華 Italty/France 意大利／法國 2019 | Italian/French | DCP | Colour | 128min Director Pietro Marcello Producer Pietro Marcello, Beppe Caschetto, Thomas Ordonneau, Michael Weber, Viola Fügen Scriptwriter Maurizio Braucci, Pietro Marcello Cinematographer Francesco Di Giacomo, Alessandro Abate Editor Aline Hervé, Fabrizio Federico Production Designer Tiziana Poli Music Marco Messina and Sacha Ricci for ERA, Paolo Marzocchi Sound Stefano Grosso Cast Luca Marinelli, Jessica Cressy, Denise Sardisco, Vincenzo Nemolato, Carmen Pommella, Carlo Cecchi Production Avventurosa, Ibc Movie, Rai Cinema World Sales The Match Factory

©foto di Francesca Errichiello

Martin Eden 筆路浮生 Martin Eden tells our story, the story of people who weren’t educated by their families or in school, but on the road. It’s the novel of the self-taught and those who believed in education as an instrument of emancipation, but were somehow let down by it. Going beyond this first reading, however, Martin Eden not only tells the story of a young proletarian who falls in love with a young woman of a higher social class and begins to dream of becoming a writer, it also paints the portrait of a successful artist (a shadowy self-portrait of Jack London himself), who inevitably loses the sense of his own art. We loosely interpreted London’s novel and took Martin Eden to be a fresco that foresaw the 20th-century’s perversions and torments, as well as its crucial themes: the relationship between the individual and society, the role of mass culture, the class struggle… We imagined our Martin crossing the 1900s, or rather a crasis, a dreamlike transposition of the 20th century, without time constraints, no longer in the original California of the novel but in a Naples that could be any city, anywhere in the world. Pietro Marcello

[導演的話] 這是我們的故事。不是關於在家庭或學校接受教育的人，而是關於在路上成長的人。這故事屬於自學成才者，以及那些相信教育是解放思想的工具卻難免失望的人。深入一點，本片不單是關於一個無產階級的年輕人，與上流社會的千金小姐墜入愛河，而夢想成為作家的故事，亦是描繪一個成功藝術家（傑克倫敦的半自傳），無可避免地迷失於自己的作品之中。我們以傑克倫敦的小說為概略藍本，將故事變為一幅濕壁畫，預視二十世紀的墮落與折磨，以及主題：個人與社會的關係，普及文化的角色、階級鬥爭。傑克倫敦筆下的反面英雄的寓言，在片中以意大利無政府主義者馬拉泰斯塔的錄像片段起首，其後與馬雅可夫斯基、斯蒂格達格曼、諾拉法蘭琪等二十世紀初「被詛咒詩人」的生活及作品平行對照。我們想像主角馬田跨越 1900 年代，二十世紀的夢幻轉移，沒有時間界限，不再是在原著中的加州，而是在拿坡里，或甚至是世界各地的任何城市。

Pietro MARCELLO was born in Caserta, Italy in 1976. He studied painting at the Accademia di Belle Arti. In 2009, he directed his first documentary feature, The Mouth of the Wolf, and in 2015 he directed his first fiction film, Lost and Beautiful. 彼得馬切羅 1976 年生於意大利卡塞塔，並在美術學院修讀繪畫。2009 年他執導首部紀錄長片《狼口》，贏得多個國際獎項，並於 2015 年執導首部劇情長片《美麗與消逝》。

SELECTED FILMOGRAPHY 主要作品 2009 The Mouth of the Wolf (docu) 狼口（紀錄片） 2011 The Silence of Pelešjan (docu) 佩雷斯漢的沉默（紀錄片） 2015 Lost and Beautiful 美麗與消逝 2019 Martin Eden 筆路浮生 2021 Per Lucio (docu) 致達拉（紀錄片）

©foto di Francesca Errichiello

CINEPHILE PARADISE 影迷嘉年華 USA 美國 2020 | Korean/English | DCP | Colour | 115min Director Lee Isaac Chung Producer Dede Gardner, Jeremy Kleiner, Christina Oh Scriptwriter Lee Isaac Chung Cinematographer Lachlan Milne Editor Harry Yoon Production Designer Yong Ok Lee Music Emile Mosseri Sound James Russell, Erik Duemig Cast Steven Yeun, Yeri Han, Alan Kim, Youn Yuh-jung Production Plan B World Sales A24

Courtesy of A24

Minari 農情家園 The thing I most wanted was to let people into this family’s world with sincerity and honesty, and without judgement of anyone in it. There’s so much more drawing us together as human beings than the superficial categories we have created. For some, Minari might be a chance to see a Korean American finally telling our story, but I have found these characters mean just as much to people from Arkansas – or from New York, or anywhere. That has been one of the most moving things to me, to see how such a personal story to me can touch so many different people in meaningful ways.

[導演的話]

Writing Minari had the feeling of a last-ditch effort, because what I was thinking was: If I could leave behind one story for my daughter to see, what would I want it to be? I wrote down eighty visual memories from when I was right around my daughter’s age. They ranged from my parents’ heated arguments in Arkansas, to a man who worked for my father dragging a cross around town, to my grandmother burning down half our farm. Looking through them I thought, maybe this is the story I’ve wanted to tell all along. Minari is not a factual representation of my childhood, and Jacob and Monica are not my parents. But there are resonances there, the personal significance is deep.

要寫這故事，感覺是孤注一擲，因為當時我的想法是：如果能留下一個故事給女兒看，該是怎樣？由自己還在女兒這個年紀時的記憶開始，我記下了八十個畫面，從父母在阿肯色州的激烈爭論、替我父親工作的男人抬着十字架在鎮上走，到我外婆燒掉了我們一半的菜園。回想起這些，也許這正是我一直想講的故事。這電影並非我童年時代的真實寫照，片中的爸媽也不是我的父母。但是當中有共鳴，個人意義深長。

我最希望能令觀眾以誠懇和真誠的目光觀看這個家庭，毋須論斷當中任何一人。比起人為的表面分類，有更多東西讓人與人連結一起。對一些人來說，這電影也許是個機會，可以看到美籍韓裔導演講述這個族群的故事，然而這些角色，也同樣是在講述阿肯色州居民，或紐約居民，以至其他任何地方的人的故事。對我來說，最感動的是，看到一個如此個人的故事，可以有意義地觸動到眾多不同的人。

Lee Isaac Chung

Lee Isaac CHUNG was born in the USA in 1978, a son of Korean immigrants and grew up in Arkansas. He studied biology at Yale University and film at the University of Utah. He resides in New York and manages the production company Almond Tree Films. His latest feature, Minari, won Best Motion Picture - Foreign Language at the Golden Globes. 鄭一朔 1978 年生於美國韓裔家庭，在阿肯色州長大，於耶魯大學修讀生物學，並於猶他大學修讀電影，現居紐約。2007 年完成首部長片《自由日》，入選康城影展「某種觀點」單元。新作《農情家園》獲辛丹斯評審大獎及金球獎最佳外語片。 ©Ribervic LLC

SELECTED FILMOGRAPHY 主要作品 2007 Munyurangabo 自由日 2010 Lucky Life 幸運人生 2012 Abigail Harm 得償所願 2020 Minari 農情家園

CINEPHILE PARADISE 影迷嘉年華 France/Italy 法國／意大利 2019 | French | DCP | Colour | 131min Director Roman Polanski Producer Alain Goldman Scriptwriter Robert Harris, Roman Polanski Cinematographer Pawel Edelman Editor Hervé de Luze Production Designer Jean Rabasse Music Alexandre Desplat Sound Lucien Balibar, Aymeric Devoldere, Cyril Holtz Cast Jean Dujardin, Louis Garrel, Emmanuelle Seigner, Grégory Gadebois Production Legende & R.P. Productions World Sales Playtime

An Officer and a Spy J’accuse 我控訴 Big stories often make great films, and the Dreyfus Affair is an exceptional story. A man unfairly accused is always fascinating, but it is also very much a current issue, given the upsurge in anti-Semitism. Picquart is a fascinating and complex character. He is not an active anti-Semite. He doesn’t like Jews, but that’s more out of tradition than belief. As a counter-intelligence officer, when he finds out that Dreyfus is innocent, he very much takes the case to heart and decides to uncover the truth. When he tells his commanding officers, he is ordered to keep quiet: the army would never make such mistakes! Despite the fiasco of 1870, the army, just like the Church, is sacrosanct. It doesn’t care a fig if soldiers feel remorse or find themselves facing a moral dilemma: it is above Truth and Justice. With today’s technology, it would be impossible to have a case in which a person was convicted on the basis of flawed handwriting analysis. And certainly not in the army, since the army’s mindset has changed. It is no longer “sacrosanct”. Today, we are allowed to criticise anything, including the army, whereas back then it had unrestricted power. But another affair is possible, definitely. All the ingredients are there for it to happen: false accusations, lousy court proceedings, corrupt judges, and above all “social media” that convict and condemn without a fair trial or a right of appeal. Interview with Roman Polanski

[導演訪問] 可否解釋一下你為何想拍一部關於德雷福斯事件，關於它作為法國和歐洲歷史象徵性轉捩點的電影？偉大的故事總可成就偉大的電影，何況德雷福斯事件實在十分獨特。一個人被冤枉的故事總有一定吸引力，但它其實一點也沒有過時，尤其是當下反猶浪潮又再高漲。電影的源頭在哪？我小時看過一部美國片《左拉光榮傳》，被裏面德雷福斯上校被羞辱的場景深深打動了。那時我便對自己說，有一天我會將這個可怕的故事搬上銀幕。這部電影的另一難度在於：如何向不熟悉有關歷史的年輕觀眾介紹德雷福斯事件。開始時我對人提及德雷福斯事件的拍攝計劃時，大家都說好啊，但我很快發現很多人根本不知道當年究竟發生了什麼事。它是那種所有人都覺得自己知道，但其實對實質內容一無所覺的歷史事件。我會說現在拍出來的是一部驚慄片！完全是主觀敘事，觀眾彷彿與皮卡爾上校一起調查，步步深入案情。當然，所有關鍵事件、大部分人物的對白都是真實的，因為它們都是取材自當代記錄。

Roman POLANSKI was born in 1933 in Paris. The controversial, yet internationally celebrated filmmaker has won many of the industry’s most prestigious accolades, including Berlinale Golden Bear with Cul-de-sac (66), the Palme d’or at Cannes and Academy Award for Best Director with The Pianist (02). 羅曼波蘭斯基 1933 年生於巴黎，父母分別為波蘭及猶太裔，童年輾轉在納粹陰影下度過。畢業於羅茲電影學院。1958 年以短片《兩個男人與衣櫃》受到注目，奠定日後以心理懸疑或荒謬處境透視人性陰暗的個人風格。1962 年拍成首部長片《水中刀》。憑《孤島驚魂》(66) 奪得柏林影展金熊獎。憑《鋼琴戰曲》(02) 奪得康城影展金棕櫚獎及奧斯卡最佳導演。

SELECTED FILMOGRAPHY 主要作品 1965 Repulsion 冷血驚魂 1968 Rosemary’s Baby 魔鬼怪嬰 1974 Chinatown 唐人街 1979 Tess 黛絲姑娘 2002 The Pianist 鋼琴戰曲 2010 The Ghost Writer 影子滅殺令 2019 An Officer and a Spy 我控訴

CINEPHILE PARADISE 影迷嘉年華 France/Germany 法國／德國 2019 | French/Nouchi | Online | Colour | 116min Director Dominik Moll Producer Caroline Benjo, Carole Scotta, Barbara Letellier, Simon Arnal Scriptwriter Dominik Moll, Gilles Marchand Cinematographer Patrick Ghiringhelli Editor Laurent Rouan Production Designer Emmanuelle Duplay Music Benedikt Schiefer Sound François Maurel, Noemi Hampel, Matthias Schwab Cast Denis Ménochet, Laure Calamy, Damien Bonnard, Valeria Bruni Tedeschi, Nadia Tereszkiewicz Production Haut et Court World Sales The Match Factory

©Jean-Claude Lother

Only the Animals Seules les Bêtes 情獸迷宮 When I read Colin Niel’s novel Seules les Bêtes I was immediately caught up in its unique atmosphere and quickly wondered how it could be adapted for the screen… There is undeniably something very cinematic about the book. Gilles Marchand and I liked the idea of embracing through this story the difficulties of the old French rural world, but also the astonishing situation of young people in an African megalopolis, and this global interconnection that now links us all. A way, through these singular characters and their secrets, of evoking the modern world. For us, the heart of the story does not lie in solving the mystery of the disappearance (the “whodunit”), but in the characters and what their journeys reveal about their respective dreams and worlds. These are five love stories, frustrated and asymmetrical ones, fueled by misunderstandings, secrets, fantasies, disappointment and disillusionment. Each of the characters is driven by the need to love and be loved. By hoping for this love, by wanting to believe in it, by seeking to share it, by trying to live it, each of them will imagine things, and everything they imagine will cause them to act. Sometimes for the better, but also for the worse. Dominik Moll

[導演的話] 當我讀哥連尼爾的同名原著小說時，迅即被其獨特氣氛吸引，很快便在想該如何改編故事搬上銀幕。劇情圍繞一個女人在暴風雪中神秘失蹤，五個故事徐徐展開，透現五個感人角色的所思所想。首個故事與其他故事交匯、互補又相衝，勾起讀者興趣，亦吸引我們想像隱藏在黑暗角落的秘密，構成不安氛圍。故事說到三分二時，突由法國鄉郊轉到非洲阿必尚的熱帶環境，兩個截然不同的世界交錯。編劇吉爾斯馬尚與我很喜歡這個故事意念，既是關於古老法國鄉郊的困境，亦牽涉非洲大都市的年輕人置身令人驚訝的狀況，而這種全球聯繫把人人連接一起。透過個別人物及他們各自的秘密，我們可窺見現今世界。於我們而言，故事重心並不在解開女人失蹤的疑團（所謂「誰是兇手」），而是在於每個角色，以及在過程中他們如何揭露各自的夢想與世界。五個愛情故事，皆是沮喪與失衡的，由誤解、秘密、幻想、失望及理想破滅交織而成。每一個角色，為愛與被愛的需要驅使支配。祈求得到愛、希望相信愛、尋求分享愛、致力活於愛，如此種種令他們幻想，而他們幻想的一切導致行為，有時變好，但有時亦會變壞。

Dominik MOLL is a French director and screenwriter, born in Bühl, Germany in 1962. His feature films Harry, He’s Here To Help (00) and Lemming (05) were selected to compete for the Palme d’Or at Cannes. Harry, He’s Here To Help won several César Awards including Best Actor, Best Director and Best Editing in 2001. 多米尼克摩爾法國導演兼編劇，1962 年生於德國比爾。2000 年執導的長片《一切都是為妳好》及 2005 年《過街老鼠》角逐康城金棕櫚獎，前者獲凱撒獎最佳男主角、最佳導演及最佳剪接等。 ©Dominik Moll

SELECTED FILMOGRAPHY 主要作品 2000 Harry, He’s Here to Help 一切都是為妳好 2005 Lemming 過街老鼠 2011 The Monk 墮樂的修行 2016 News From Planet Mars 癲離地中坑 2019 Only the Animals 情獸迷宮

CINEPHILE PARADISE 影迷嘉年華 Spain/USA/Italy 西班牙／美國／意大利 2020 | English | DCP | Colour | 92min Director Woody Allen Producer Letty Aronson, Erika Aronson, Jaume Roures Scriptwriter Woody Allen Cinematographer Vittorio Storaro Editor Alisa Lepselter Production designer Alain Bainée Music Stephane Wrembel Cast Wallace Shawn, Gina Gershon, Elena Anaya, Louis Garrel, Christoph Waltz Production Perdido World Sales The Mediapro Studio Distribution

Rifkin’s Festival 情迷電影節 Woody Allen originally conceived of Mort Rifkin, the protagonist of Rifkin’s Festival, as a younger man. But when his longtime friend and former casting director Juliet Taylor suggested Wallace Shawn for the role, he changed his mind. “I thought, ‘My God, how perfect! Wally has a comic persona as well as the ability to portray a poignant dimension,” says Allen. “But most importantly, he has a genuine intellectual quality. Some of the actors I had considered might have been intellectuals, but they didn’t give off that particular vibe. And I thought, ‘why not use a real intellectual?’ Once I made the shift in my mind, the person born to play the part emerged.”

[簡介]

Rifkin’s Festival begins in a therapist’s office, and the entire story is narrated by Mort looking backward on everything that happened to him not only during his trip to San Sebastian, but throughout his entire life. Mort tells stories of his parents, his early relationships with women, his marriage, and his struggles to find meaning. In a sense, the audience is placed in the role of the psychiatrist, listening to Mort and trying to assemble the pieces of the puzzle that led Mort to be so unhappy at the beginning of the film, and if there might be hope for him.

影片由心理輔導的房間開始，整個故事就是由主角憶述事情，不只談及聖塞巴斯蒂安電影節的旅程，更談到他的一生。他說到他的父母、年輕時跟異性的關係、婚姻，以至拼命尋找人生意義。從某種意義上說，觀眾就是在心理醫生的位置，聆聽主角的故事，拼砌出他為何在電影開頭如此不快樂的原因，以及他是否尚有希望。

活地阿倫起初構思主角是個相對年輕的人，但當他的老朋友兼曾為他擔任選角指導的茱麗葉泰萊建議由華萊士肖恩飾演時，他就改變了主意。他說：「天呀，太好了！華萊士既有逗趣的形象，亦有能力為角色添上沉鬱一面。但最重要是，他是貨真價實的知識分子。我考慮過的一些演員可能亦是知識分子，但他們並沒有表現出這種特別的氣場。我想，何不找真正的知識分子來演？一旦我改變了想法，命中注定最適合的人選就出現了。」

Woody ALLEN was born in Brooklyn, New York in 1935. At the age of 15, he started selling one-liners to gossip columns. After working as a stand-up comedian, he was hired to write What’s New, Pussycat? (65) and directed his feature debut What’s Up, Tiger Lily? in 1966. He won the Academy Awards for Best Picture, Best Director, Best Original Screenplay with Annie Hall in 1978. He was awarded the Honorary Palme d'Or at Cannes in 2002. 活地阿倫 1935 年生於紐約布魯克林區，撰寫笑話及楝篤笑出身，六十年代已是成名導演、演員和編劇，獲獎無數，佳作不絕，包括憑《安妮荷爾》贏得奧斯卡最佳電影，2002 年更獲康城影展頒發終身成就獎。千禧年後，多次在歐洲取景，如《迷失決勝分》(05)、《情迷巴塞隆拿》(08)、《情迷午夜巴黎》(11) 等。

SELECTED FILMOGRAPHY 主要作品 1977 Annie Hall 安妮荷爾 1979 Manhattan 曼克頓 1986 Hannah and Her Sisters 姊妹情深 2005 Match Point 迷失決勝分 2011 Midnight in Paris 情迷午夜巴黎 2013 Blue Jasmine 情迷藍茉莉 2020 Rifkin's Festival 情迷電影節

CINEPHILE PARADISE 影迷嘉年華 Italy 意大利 2020 | Italian | DCP/Online | Colour | 99min Director Daniele Luchetti Producer Beppe Caschetto Scriptwriter Domenico Starnone, Francesco Piccolo, Daniele Luchetti Cinematographer Ivan Casalgrandi Editor Daniele Luchetti, Ael Dallier Vega Production Designer Andrea Castorina Sound Carlo Missidenti Cast Alba Rohrwacher, Luigi Lo Cascio, Laura Morante, Silvio Orlando Production IBC Movie, Rai Cinema World Sales mk2 films

©IBC Movie

The Ties Lacci 婚姻不像你預期 When I first read Domenico Starnone’s Lacci (Ties), I found questions that concerned me and characters with whom it was easy to identify. Through a family story that covers thirty years, two generations, ties that are more like barbed wire than the bonds of love, you finish reading the book with one question in mind: Have you allowed your life to be governed by love?

[導演的話]

The Ties is a film on the secret forces that bind us. Love is not the only thing that unites people, there is also what remains when love is gone. People can stay together out of resentment, shame or dishonour, in a mad attempt to keep their promises. The Ties speaks about the damage that love causes when it makes us suddenly change route and, even worse, the damage it inflicts when it abandons us.

這部電影講述的是把我們緊緊相繫的神秘力量。不僅是愛令人們難捨難離，當愛不再存在了，還有些東西剩下來。人們可以是出於怨恨、恥辱、羞愧，或是愚蠢地企圖兌現承諾，因而糾結在一起。這故事是關於當愛令我們突然改變人生軌跡所造成的損害，或更糟的是，當愛離我們而去所造成的傷害。

For some time now, above all as a viewer, I have realised that what interests me in a story are relationships. For this reason, every time I find myself dealing with these themes as a director, I am unable to betray what forms the basis of my passion. Relationships, whether they are more explicitly set against the background of a social or political context, or contained in a private and circumscribed space, are a way of narrating not simply ourselves, but ourselves in the times in which we live.

當我第一次閱讀原著小說時，我在書中發現了令我關心的問題，以及感同身受的人物。這個家庭故事橫跨三十年，涉及兩代人，與其說是愛的連繫，更像是鐵絲網的糾纏。看完這個故事，內心想到一個問題：你是否容許自己的生活被愛所支配？

有好一段時間，尤其當我是觀眾時，我意識到故事中令我最感興趣的是感情關係。因此，每當我執導電影，要處理這些主題時，我都不得不忠於自己強烈情感所繫的基礎。不論是否有明確的社會或政治背景，還是在私密且受規限的空間中，感情關係都不僅是單純講我們這些人，更會涉及我們身處的時代。

Daniele Luchetti

Daniele LUCHETTI was born in Rome in 1960. He began his career as an assistant director and actor in films by Nanni Moretti. He made his directorial debut in 1988 with It’s Happening Tomorrow. 丹尼爾盧切堤 1960 年生於羅馬，父親是雕刻家，祖父是畫家。他曾就讀羅馬大學藝術系和高蒙電影學院，曾任蘭尼摩列提的助導及演員，1988 年執導個人首作《明日事》。

©Gianni Fiorito

SELECTED FILMOGRAPHY 主要作品 1991 The Yes Man 順從者 2003 Ginger and Cinnamon 薑與肉桂 2007 My Brother is an Only Child 紅與黑 2010 Our Life 我們的生活 2013 Those Happy Years 風流快活的日子 2020 The Ties 婚姻不像你預期

CINEPHILE PARADISE 影迷嘉年華 Germany/France 德國／法國 2020 | German | DCP | Colour | 90min Director Christian Petzold Producer Florian Koerner von Gustorf, Michael Weber Scriptwriter Christian Petzold Cinematographer Hans Fromm Editor Bettina Böhler Production designer Merlin Ortner Sound Andreas Mücke-Niesytka Cast Paula Beer, Franz Rogowski, Maryam Zaree, Jacob Matschenz Production Schramm Film Koerner & Weber World Sales The Match Factory

©Schramm Film

Undine 水漾的女人 At some point in the 1990s I read Peter von Matt’s book Romantic Treachery – The Faithless in Literature, which has a chapter about the undine myth, and the idea of betrayed love interested me. [...] What I did remember well was the sentence Undine calls out to the servants of the faithless man whom she has killed: “I wept him to death.” I always like that line of Fouqué’s. [...] And at some stage I also read Ingeborg Bachmann’s Undine Leaves. I liked the way it’s the Undine who speaks rather than some narrator or man. It’s a woman talking. You could make a film like that, I thought. One that’s about the undine or the undine’s despair. The curse in Ingeborg Bachmann is that men are never faithful because they basically only love themselves. And the breaking of this curse from a female perspective struck me as the right narrative approach; that our Undine doesn’t want to go back to the forest lake. That she doesn’t want to kill. There’s a man, Christoph, who’s the first to love her for herself, and it’s a love she’ll fight for. Christian Petzold

[導演的話] 1990 年代，我曾經讀過彼得馮馬特的《愛的背叛：文學裏的不忠》一書，其中一章講到水精靈神話，當中的不忠故事令我感興趣。我從小就知道水精靈故事，但我總是記錯情節。不過有句對白我記得很清楚，那是水精靈殺了那個不忠的男人後，向他的僕人大喊：「我用眼淚把他淹死了。」我一直喜歡穆特福開在《水妖記》裏寫的這句對白。關於水精靈的故事，我也常搞混了洛爾青的版本，或是安徒生的美人魚故事，都是以相異的形式呈現着相同的主題。後來我還讀了英格褒巴赫曼的小說《水精靈走了》。我喜歡故事由水精靈自己娓娓道來，而不是由某個敘事者或某個男人講述。這是一個女人在說故事。於是我想，我可以拍這樣的電影啊。一個關於水精靈的故事，或是關於水精靈絕望的故事。巴赫曼所寫的詛咒，是男人從來不忠，因為他們基本上只愛自己。從女性角度出發打破此詛咒，我認為是最好的敘事方式。我們的水精靈並不想回到森林的湖泊，她並不想殺人。而有一個男人出現了，第一個喜歡她是她的人，這是她會奮力捍衛的愛。

Christian PETZOLD was born in Hilden, Germany in 1960. He studied film directing at the German Film and Television Academy Berlin. In 1995 he directed his feature debut Pilot. In 2012, he won the Best Director Award at Berlinale with Barbara. His latest work, Undine, was awarded FIPRESCI Prize at Berlinale. 基斯頓柏索 1960 年生於德國希爾登，柏林影視學院畢業，95 年拍出首作《機師》。憑《被戀愛的秘密》(12) 獲柏林影展最佳導演獎。憑《水漾的女人》獲柏林影展國際影評人聯盟獎。

SELECTED FILMOGRAPHY 主要作品 2000 The State I Am In 我的飄移狀態 2012 Barbara 被戀愛的秘密 2014 Phoenix 火鳳凰 2018 Transit 時空中轉站 2020 Undine 水漾的女人

©Schramm Film

CINEPHILE PARADISE 影迷嘉年華 Japan 日本 2020 | Japanese | DCP | Colour | 115min Director Kurosawa Kiyoshi Producer Yamamoto Teruhisa Scriptwriter Hamaguchi Ryusuke, Nohara Tadashi, Kurosawa Kiyoshi Cinematographer Sasaki Tatsunosuke Editor Hidemi Lee Production Designer Ataka Norifumi Music Nagaoka Ryosuke Sound Yoshino Keita Cast Aoi Yu, Takahashi Issey, Higashide Masahiro Production C & I Entertainment Inc. World Sales Nikkatsu Corporation

Wife of a Spy Supai no Tsuma 間諜之妻 About the Film’s Intent

[導演的話]

Set in a city in Japan s rural countryside during the anxious and terrifying times of war, this film depicts a couple’s struggle to overcome distrust and stay faithful to their love for each other.

關於電影意圖

This is my first film that is set in the olden times. With the historical timeline and events of the society already fixed, I pondered with great interest as I imagined how conflicted the people must have felt when they thought of what to look forward to in their future. About the War This film is not about the war. As the background of this tale, it reveals the undeniable fact that Japan has committed numerous acts of ruthless violence on foreign soil. […]

此片背景是處於戰爭焦慮與恐懼時期的日本鄉郊小鎮，描述一對夫婦如何掙扎以戰勝不信任，並忠於彼此的愛。這是我首部以舊時代為背景的作品。歷史進程及社會事件早已定案，我倒是對於人在盼望未來時感受的矛盾充滿好奇。關於戰爭此片並非關於戰爭。作為故事背景，它呈現了日本在外國土地犯下無數暴行的不爭事實。兩位主角發現真相時飽受傷害，痛哭難過，情感交戰，最後令他們作出影響一生的決定。

I wanted to tell the story of those who kept their sanity amid all the rage, through this couple in the film. […] I’m not sure if the internal conflict experienced by this pair is something that this generation can empathise with. To a modern Japan that on the surface seems to have freedom and peace guaranteed, there is no saying when and where we may be visited by this madness again.

戰爭何用？沒有輕易答案。在世界各地的戰爭歷史，有些是以公義之名，有些是純粹侵略。難以相信政客及士兵所犯的暴行，是因為他們被魔鬼附體。不過，客觀而言，國家發動戰爭後被傲慢與貪婪牽引，到頭來偏離軌跡。這種「瘋狂」迅速傳遍人民，一致認同國家合理化的屠殺。每一個人都要與戰爭的「瘋狂」鬥爭。

I hope that this film will shed some light on the reality of this impending crisis, and create a sense of urgency in us.

透過片中夫婦，我希望訴說那些在憤怒中保持理智的人之故事。我不知道這一代能否體會他們的內心掙扎。現代日本表面上自由及和平得到保障，但不知何時何地或許會遇上這「瘋狂」。我盼此片能對近在咫尺的危機有所啟示，令大家居安思危。

Kurosawa Kiyoshi

KUROSAWA Kiyoshi was born in Kobe, Hyogo-ken, Japan in 1955 and is a graduate of the sociology department of Rikkyo University, Tokyo. He began making films in college with an 8mm camera. After working as an assistant director, he made his debut in 1983 with Kandagawa Pervert Wars. He was awarded Best Director at Venice with his latest work, Wife of a Spy. 黑澤清 1955 年生於日本兵庫縣神戶，立教大學社會系畢業。求學時期便拿起八米厘攝影機拍戲，學成後先做助導，83 年初執導演筒，完成《神田川淫亂戰爭》。擅於以類型電影呈現日常生活的種種危機，探索當代社會的恐怖本質與人性邪惡，以《X 聖治》(97) 等恐怖懸疑片廣受稱譽。新作《間諜之妻》奪威尼斯影展最佳導演銀獅獎。

SELECTED FILMOGRAPHY 主要作品 1997 Cure X 聖治 1998 Serpent's Path 蛇之道 2001 Pulse 惹鬼回路 2008 Tokyo Sonata 東京奏鳴曲 2016 Creepy 鄰家怪嚇 2020 Wife of a Spy 間諜之妻

社區放映會 Community Screenings

免費入場 Free Admission

承蒙香港藝術發展局資助，香港國際電影節協會精選四部電影，免費招待學生、慈善團體及公眾人士，並安排影評人於放映後與觀眾分享，以增觀影樂趣，長電影知識。 Financially supported by Hong Kong Arts Development Council, the Hong Kong International Film Festival Society has chosen four films for schools and the community. Post-screening discussions (in Cantonese) will follow.

所有社區放映會場次免費開放給公眾人士 All the Community Screenings are free and open to the public

A Leave 抗爭無休

Gunda 豬嘜農莊農莊生機勃發，小豬蹦跳嬉戲，與牛和獨腳雞為鄰。但自由隨時被奪去，牠們能否逃過任人宰割的命運？導演拒絕擬人化，拍出不同生命的共通情感，邀請觀眾感受動物農莊的溫柔與殘酷。 This is a world of animal consciousness – a mother sow and her adorable piglets; cows hanging about, and of a remarkable one-legged chicken, galloping away with his fellow birds. Gunda reflects the reality of intelligent life other than human beings.

中年漢靜坐示威要求無良傢俬廠賠償，敗訴後決定短暫休假，家中卻只有兩個把他當作透明的女兒。遇上共事青年意外受傷，令他重新思考社運份子與父親的雙重角色。 Taking a break from a sit-in protest against unfair dismissal, a middle-aged man is entangled in a clash of responsibilities, as he tries to fulfill his dual yet conflicting roles as a father and a social-activist. Lee Ran-hee’s directorial debut reflects dimensions of labour rights in contemporary Korea.

5/4（一 Mon）2pm

3/4（六 Sat）2:30pm

K11 Art House

講者 Speaker: 周思中 Chow Sze-chung

P.145

K11 Art House

設導演李蘭姬問答環節 Q&A with director Lee Ran-hee

P.122

Love Unto Wastes 地下情 Gorbachev. Heaven 詰問戈巴卓夫笑言曾身處天堂，如今卻淪落地獄的戈巴卓夫，在陰暗冬日看着舊日新聞片段，追憶逝水年華。《普京的證人》導演明斯奇全新訪談討論俄羅斯人追尋自由的方式，展示戈巴卓夫鮮為人知的生活及精神。 A vocal critic of Vladimir Putin throughout his career, Ukrainian-born documentarian Vitaly Mansky presents an intimate and compelling portrait of the former Russian premier Mikhail Gorbachev, through his insightful personal conversations with the progressive world leader.

台灣來的歌星家中遇害，病危的探員沒查出兇手，卻對死者身邊好友感興趣；米舖少爺熱戀墨鏡少女，同時搭上落泊女星。關錦鵬與編劇邱剛健借一宗離奇命案，揭示現代男女在前途未卜的城市，只知虛度青春。 Stanley Kwan’s atmospheric drama is about three disaffected women entering into a polyamorous relationship with a bored playboy. When one of the self-absorbed youths is murdered, the remaining three meet an eccentric cop, whose investigation affects them unexpectedly.

4/4（日 Sun）2pm

2/4（五 Fri）2:30pm

K11 Art House

講者 Speaker: 朗天 Long Tin

P.102

K11 Art House

講者 Speaker: 張偉雄 Bryan Chang

P.70

報名詳情 Registration Details: • 3月24日上午10時起接受公眾網上報名（www.hkiff.org.hk）。名額先到先得，額滿即止。

• Online registration for the public starts from 10am on 24 March at www.hkiff.org.hk. Seats available on a first-come, first-served basis.

• 部份門票將會預留給學校及慈善團體。有興趣之單位請於3月15日前電郵資料到outreach@hkiff.org.hk並以學校或團體名義登記。

• A number of tickets for each screening will be reserved for schools and charitable organisations. Interested parties should register with HKIFF at outreach@hkiff.org.hk before 15 March.

主辦 Presented by

資助 Supported by

FIREBIRD AWARDS 火鳥大獎

Young Cinema Competition (Chinese Language) 新秀電影競賽（華語）

YOUNG CINEMA COMPETITION (CHINESE LANGUAGE) JURY

新秀電影競賽（華語）評審團 YU Lik-wai is a Hong Kong filmmaker who lives and works in Beijing. His directorial feature films include Love Will Tear Us Apart (1999, In Competition, Cannes), All Tomorrow’s Parties (2003, Un Certain Regard, Cannes) and Plastic City (2008, In Competition, Venice). During his 24-year career as a cinematographer, he has shot almost all of Jia Zhangke’s films to date, and worked with Ann Hui and Lou Ye, among others. His international awards include Los Angeles Film Critics Association Award and Las Palmas de Gran Association Award for Best Cinematography. 余力為生於香港，現駐北京。執導長片包括《天上人間》（1999，入圍康城影展主競賽）、《明日天涯》（2003，康城影展「某種觀點」單元）以及《蕩寇》（2008，入圍威尼斯影展主競賽）。在二十多年的電影攝影師生涯中，拍攝了賈樟柯迄今幾乎所有影片，並多次與許鞍華及婁燁等導演合作。曾獲洛杉磯影評人協會獎及西班牙拉斯帕爾馬斯國際電影節最佳攝影等多項國際大獎。

William CHANG is an acclaimed Hong Kong art director, costume designer and film editor, who made his name working on Love Massacre (1981), Nomad (1982) and Last Affair (1983). Collaborating with Wong Kar Wai since 1988, he was awarded Technical Grand Prize at Cannes for In the Mood for Love (2000) and nominated for Best Costume Design at the Academy Awards for The Grandmaster (2013), among numerous accolades. In recent years, he has mostly worked with new filmmakers, offering support and coaching in film editing. 張叔平香港著名電影美術指導、服裝設計及剪接師。為《愛殺》（1981）、《烈火青春》（1982）、《花城》（1983）等電影擔任美術指導，自此聲名鵲起。1988 年開始與王家衛合作，憑《花樣年華》（2000）獲康城影展技術大獎，憑《一代宗師》（2013）獲提名奧斯卡最佳服裝設計，並屢次獲得香港電影金像獎及金馬獎的最佳美術指導、最佳剪接等獎項。近年多與新導演合作，擔任剪接指導。

La Frances HUI is Curator of Film at The Museum of Modern Art (MoMA) in New York. She has organised retrospectives on directors Lee Chang-dong, Andrey Zvyagintsev, Pedro Almodóvar and Tsai Ming-Liang, among others. She has been a selection committee member for New Directors/New Films festival, co-presented by MoMA and Film at Lincoln Center, and has been the festival’s co-chair since 2020. She was a film curator at Asia Society New York, and served on award juries for Busan International Film Festival and Udine Far East Film Festival. 許娜自 2015 起擔任紐約現代藝術博物館（MoMA）的電影策展人。曾策劃導演李滄東、安德烈薩金塞夫、艾慕杜華、蔡明亮、內田吐夢、攝影師李屏賓及馬哈茂德卡拉里的回顧展。她是 MoMA 和紐約林肯電影中心合辦的《新導演／新電影》電影節的選片委員會成員，並自 2020 年起擔任該電影節的聯席主席。曾任紐約亞洲協會電影策展人，並擔任釜山國際電影節、烏甸尼遠東電影節評委。

YOUNG CINEMA COMPETITION (CHINESE) 新秀電影競賽（華語） 2020 | Putonghua | DCP | Colour | 120min Director Cao Jinling Producer Liao Ching-Song Scriptwriter Cao Jinling Cinematographer Mark Lee Editor Liao Ching-Song, Huang Zimo Production Designer Yang Wei Music Lim Giong Sound Tu Duu-Chih, Tu Tse-Kang Cast Wang Chuanjun, Qi Xi, Si Ligeng Production Haining Weichuang Pictures World Sales Fortissimo Films 導演曹金玲監製廖慶松編劇曹金玲攝影李屏賓剪接廖慶松、黃子墨美術楊威音樂林強音響杜篤之、杜則剛演員王傳君、齊溪、斯力更

Anima Moerdaoga 莫爾道嘎 We are all alone when facing various choices in life. The times, personal dilemmas, and the pressure to survive are all tough choices for Linzi, a man who has never left the forest. After almost half his life, Linzi decides to go against the world to protect dozens of century-old trees. However, fate does not give him the chance to be a hero. All the residents must evacuate. The revival of nature, the absence of man. On the border of the forest, faced with cities and modern civilisation, Linzi stands still, desperate but determined. Cao Jinling

Moerdaoga means “to go into battle on horseback” in the Mongolian language. Anima was filmed on location in the Moerdaoga National Forest Park in Inner Mongolia, which is the largest virgin forest in China. The film is set in the 1980s when China had just launched the programme of economic opening and development. The deforestation was grievous in the north and west of China.

[導演的話] 當我們面對生活中各種選擇時，我們都是孤獨的。對於從未走出森林的林子來說，時代變遷、個人困境與生存壓力，都是棘手問題。半生怯懦，林子決定奮起與世界抗衡，保護數十棵百年老樹。然而命運沒有給他成為英雄的機會。居民都必須撤離，大自然復甦，人類退場。在森林的邊緣，面對城市和現代文明，林子昂首挺立，即使無望仍意志堅定。 [簡介] 在蒙古語中，莫爾道嘎是「駿馬出征」的意思。本片取景於內蒙古的莫爾道嘎國家森林公園，它是中國最大的原始森林。故事背景設定為 1980 年代，正是中國剛剛改革開放，啟動經濟發展計劃的時代，中國西北部是森林遭砍伐最嚴重的地區。

CAO Jinling was born in China in 1978. After receiving a doctorate in Dramatic Literature from Central Academy of Drama, she completed her study at USC’s School of Cinematic Arts. Her screenwriting credits include Meet Miss Anxiety (14), Crying Out in Love (16) and Seventy-Seven Days (17). Anima is her feature debut. 曹金玲 1978 年生於中國內蒙古，畢業於中央戲劇學院戲劇文學系，並於南加州大學電影藝術學院進修。曾參與編劇的電影有《我的早更女友》(14) 及《七十七天》(17) 等。《莫爾道嘎》是她導演的首部電影。

FILMOGRAPHY 作品年表 2020 Anima 莫爾道嘎

YOUNG CINEMA COMPETITION (CHINESE) 新秀電影競賽（華語） 2021 | Putonghua/Hunan dialect DCP | Colour | 108min Director Qi Rui Producer Zhang Xiang Scriptwriter Qi Rui Cinematographer Qi Rui Editor Qi Rui, Yang Xiao Sound Chen Siming, Mo Huijia Cast Li Yingchun, Yu Ying, Kong Jingyao, Chen Huihui Production Way Good Entertainment Co., Ltd Beijing Bigfishcine Co., Ltd World Sales HKIFF Collection 導演漆銳監製張翔編劇漆銳攝影漆銳剪接漆銳、楊瀟音響陳思明、莫惠嘉演員李迎春、余瑩、孔晶瑤、陳慧慧

The Day is Over Chitang 池塘 The Day is Over originates in a 2007 real-life event in Anhui, China. Deep in the mountains, girls longed for their migrant-worker fathers to return home, but to no avail. They try hard to live on their own, and face life’s challenges, in their parents’ absence. To me, they are like the seeds of wildflowers and grasses, falling into the earth and growing without direction. Then one day, they start looking for the meaning of their lives. All their choices seem gloomy. Yet I believe there is a moment in which their eyes sparkle with hope, when they decide to leave the mountains. I tried to stand by them, quietly observe and understand their world and their choice, and present their real lives as they are. I don’t want to dramatise the story or the characters. Without any deliberation in lighting and shooting angle, I intend to show the place as it is in a naturalistic, realist documentary style, and unfold what happened to the girls – let reality reveal itself, and let the story and the characters develop on their own.

[導演的話] 《池塘》是一個尋找自我存在意義的過程。我試着站在女孩一邊，安安靜靜地去聽、去看、去理解她們的現實和選擇。我並不想強加過多的戲劇感在敘事和人物之上，也沒有刻意修飾光線和角度，只是用一種記錄真實的方式，來展現這個地方，跟發生在她們身上的事。只為：讓現實能自然生長，長出她們原來的樣子。即便那在我們看來是最灰色無光甚至是黑暗的選擇，我想也許有那麼一個瞬間，她們的眼睛裏是有光的，她們才會那樣選擇離開大山。這一天就這麼過去了，再也不會回來了，就像她們的生命一樣。

Just one day in their lives. This day is gone, and they will never return. Qi Rui

QI Rui was born in Jiangsu, China. He studied cinematography at the Beijing Film Academy, and has engaged in documentary filmmaking since 2001. He was the director of photography and art for The Sunflowers (04), and was selected for the AFA Training Program of the 2006 Busan Film Festival. The Day is Over is his directorial debut feature. 漆銳生於江蘇，畢業於湖南大學，並於北京電影學院進修攝影。2001 年開始拍攝紀錄片， 2004 年為《葵花朵朵》任攝影及美術指導。《池塘》是他的導演首作。

FILMOGRAPHY 作品年表 2021 The Day is Over 池塘

YOUNG CINEMA COMPETITION (CHINESE) 新秀電影競賽（華語） 2021 | Cantonese | DCP | Colour | 112min Director Jun Li Producer Mani Man Scriptwriter Jun Li Cinematographer Leung Ming-kai Editor Heiward Mak, Jun Li Production Designer Albert Poon Music Wong Hin-yan Sound Cyrus Tang Cast Francis Ng, Tse Kwan-ho, Loletta Lee, Cecilia Choi, Chu Pak-hong, Baby Bo, Will Or Production/World Sales mm2 Entertainment 導演李駿碩監製文佩卿編劇李駿碩攝影梁銘佳剪接麥曦茵、李駿碩美術潘燚森音樂黃衍仁音響鄧學麟演員吳鎮宇、謝君豪、李麗珍、蔡思韵、朱栢康、寶珮如、柯煒林 Persons Aged 18 and Above Only 只准18歲或以上人士

Drifting 濁水漂流 This is a story about dispossession and the failure of social infrastructure, about how a group of people depended on each other for survival, and their quest for dignity and justice. It is based on a true event of this group of homeless men and women who decided to sue the government for its violent clearance of the streets in 2012. During the pre-production of this film, the social movement in Hong Kong had already erupted. Without knowing November 2019 would be the city’s worst month, we opted to continue because we felt that the story was urgent. Now the work captures those emotions – the anger and hopelessness – of this contemporary moment. This film would have had a different look and quality if it was shot in a different period, but the most valuable feature of this work is its rawness and directness at its destined time. Jun Li

[導演的話] 第一次接觸深水埗露宿者，我還是個二十出頭的學生記者。那時大家在玉石市場門口席地而睡，你坐下來，他們就會開始講，前世今生，所有無法痊癒的傷口，所有無法遺忘的痛苦，當中所有細節。後來我離開香港一段時間，再回來探望，木屋已建得非常綢密，圍藩愈建愈高，人去人來，大家相忘於江湖。我作為外來人，要接觸他們愈來愈困難，亦把這因外來侵犯而衍生的改變寫下，把善意與敵意都寫下。很多人知我拍這部戲，都想問為什麼。為什麼他們會住在街上—他們做了什麼令自己流落在街上？這部戲不要回答這個問題，因為我不是要譴責或同情。我只關注這當下的露宿生活與狀態。我相信，無論來自哪裏，過去做過什麼，都有權爭取自己應份的尊嚴，都有權得到作為人的待遇和尊重。

Jun LI was born in 1991. He studied journalism in Hong Kong and gender studies at Cambridge. His short film, Liu Yang He, won the Fresh Wave Award and Best Director (Open Division) at the Fresh Wave International Short Film Festival. His feature debut Tracey (18) was nominated for nine awards at the Hong Kong Film Awards. Drifting is his second feature. 李駿碩生於 1991 年，畢業於香港中文大學新聞系，並於劍橋大學完成性別研究哲學碩士課程。憑《瀏陽河》獲鮮浪潮國際短片節鮮浪潮大獎及公開組最佳導演獎，憑《吊吊揈》入圍金馬獎最佳劇情短片。他的首部長片《翠絲》(18) 獲香港電影金像獎九項提名。《濁水漂流》是他執導的第二部長片。

SELECTED FILMOGRAPHY 主要作品 2017 Liu Yang He (short) 瀏陽河（短片） 2018 My World (short) 吊吊揈（短片） 2018 Tracey 翠絲 2021 Drifting 濁水漂流

YOUNG CINEMA COMPETITION (CHINESE) 新秀電影競賽（華語） 2021 | Tibetan | DCP | B&W | 93min Director Lotan Producer Pema Tseden Scriptwriter Lotan Cinematographer Tsering Yangjyab Editor Sangdak Jyab, Deng Yuanhao, Jiglo Production designer Lan Zhiqiang Sound Lou Kun Cast Sonam Nyima, Nyangshik Gyal, Japal Tso, Tenzin Dorje Production Hangzhou Qinzizai Industrial Co., Ltd, Mani Stone Pictures World Sales Hangzhou Qinzizai Industrial Co., Ltd 導演洛旦監製萬瑪才旦編劇洛旦攝影才讓楊杰剪接桑斗杰、鄧元昊、久羅美術蘭志強音響婁堃演員索郎尼馬、娘秀加、加華草、旦增多杰

Lost Milu 迷路 I am the son of a herder. When I was a child I went through migration year after year. Most of the time we had to migrate because of the changing seasons. But then we were also forced to relocate because there had been too much snow, or because there was not enough pasture. Migrating herders live a life of unimaginable hardship, against a backdrop of vast grassland and snowclad peaks. This has been deeply imprinted onto my memory. I was still a student at Beijing Film Academy when, on one of my trips home, I passed by the Riyue Mountain. From the car I saw a man moving towards the mountain with a large herd of yaks in the heavy snow. It reminded me of childhood scenes migrating with the adults of the family. The stories recounted by the elders rose from the depths of my memories. There and then I had this urge to connect these fragments of memory into a complete story. In our lives we go through countless miseries. We get lost. Some couldn’t make it to the end. But most forge on and live a rewarding life. I guess that’s why humankind is able to last and thrive until this day. Lotan

[導演的話] 作為牧民的兒子，小時候每年都會經歷遷徙。雖然更多的遷徙是季節更迭的結果，但有些遷移是因為雪災或草勢不旺。在茫茫草原，皚皚雪峰中，遷移的牧民總會遇到難以想像的艱辛，這在我心中留下了不可磨滅的記憶。在北京電影學院上學的時候，一次回家經過日月山，剛好下了雪。在慢行的車上我看到大雪中有人趕着大群犛牛往山裏走，這使我忽然想起小時候自己跟着大人遷徙的瞬間。那些終生難忘的記憶，那些老一輩傳說的故事，又一次回到我的腦海。就是那次，我有了一種衝動，一定要把那些記憶碎片連接成一個完整的故事。電影的故事從兩戶牧民遷徙途中遇暴風雪而迷路開始。在人的一生中，也會遇到無數的艱難困苦，也會迷路。有些人沒能走到終點，更多的人堅強地走到了盡頭，生命也因此而精彩。我想這也是人類繁衍生息到今天的原因吧。本片從人與自然關係的具體視角出發，表達生命的艱難，人性本有的自私、恐懼，還有父母對於孩子偉大的愛。面對死亡，面對抉擇，面對大自然，在現實和希望中一切變得難以想像。我希望拍成一部思考人類生命歷程的電影。

Lotan was born in Qinghai Province, China in 1988. He graduated from Beijing Film Academy and participated in the production of Wangdrak’s Rain Boots (18) and Balloon (19). Lost is his directional debut. 洛旦 1988 年生於青海省海南藏族自治州，畢業於北京電影學院。曾擔任《旺扎的雨靴》 (18) 和《氣球》(19) 等多部影片的執行導演。《迷路》是他導演的首部長片。

FILMOGRAPHY 作品年表 2018 The Knot (short) 結（短片） 2021 Lost 迷路

YOUNG CINEMA COMPETITION (CHINESE) 新秀電影競賽（華語） 2020 | Putonghua/Chongqing dialect DCP | Colour | 133min Director Li Dongmei Producer Wang Hongwei Scriptwriter Li Dongmei Cinematographer Shen Xiaomin, Zhang Yalong Editor Zhao Huifeng, Zhang Zhongchen Production Designer Xu Dan Music Hu Zijian, Zhang Yiyun Sound Li Danfeng Cast Cheng Shuqiong, Wang Xiaoping, Ge Wendan Production Langli (Chongqing) Film & Media Ltd. World Sales Yilisoo Films 導演李冬梅監製王宏偉編劇李冬梅攝影沈曉閩、張亞龍剪接趙會豐、張中臣美術徐丹音樂胡子建、張譯勻音響李丹楓演員程術瓊、王小平、葛文丹

Mama Mama he qitian de shijian 媽媽和七天的時間 My mother died on 29th August, 1992, by the lunar calendar, when I was 12 years old. 27 years after, my memory returned to the moments related to my mother’s death and the daily routine in the village and it occurred to me to write a series of events spanning a 7-day period around my mother’s death. I used the film to reconcile myself with my 12-year-old self and with my mother to whom I didn’t say goodbye. I saw myself terrified and helpless while facing my mother’s death. I saw my grandmother having to face the pain of losing her daughter. I saw my father full of guilt, kneeling in front of the grave crying, but still lamenting the injustice that fate had not given him a son. The film bears the memory of that summer. I tried to present those memories in the most simple and concise way. Emotions and feelings are restrained just like a painting without any modification or rendering. Like the people I have known, the characters of my film eat, walk and sleep every day and then suddenly face the fine line between birth and death. Li Dongmei

[導演的話] 1992 年農曆八月二十九日，是我媽媽去世的日子，那一年我十二歲。二十七年過去了，我的記憶會反覆回到那些和媽媽去世相關的片段，以及村莊裏的一些日常。2019 年的一天，我在清晨的公園慢跑，突然想到要寫一個關於媽媽去世和她去世前後村莊發生的一系列事件。我用這部影片，和紀錄在影片裏和我記憶相仿的時光片段，跟十二歲的自己和解，跟沒有好好說再見的媽媽告別。這是一次異常艱難的創作。不僅僅是因為在製作過程中，經費難以為繼，更艱難的是那些過去的記憶和情感再次被反覆的喚起和刺痛。我在電影裏看到媽媽和她沉重的生命，三十六歲，生下五個女兒，因為丈夫家裏重男輕女的思想，最後搭上自己的性命。這部電影承載了很多我對那個夏天的記憶。我嘗試用最質樸最簡潔的方式去呈現那些記憶片段。情感和情緒是克制的，就像是一幅白描的畫，不做任何修飾和渲染。但是每一個鏡頭裏的時光，都是我的記憶裏二十七年以來反覆的迴響。曾經有這樣一些人，他們的生命像電影展現的這樣存在過。每天吃飯，走路，睡覺。然後出生和死亡就在一線之間。

LI Dongmei was born in a rural village in Chongqing Province, China. She studied English and American literature at university, and became an English teacher at Futian Middle School. She studied filmmaking at the Victorian College of the Arts at the University of Melbourne. Mama is her feature debut. 李冬梅生於重慶一個小山村裏，大學主修英美文學，畢業後回家鄉當了幾年中學英語老師。及後於墨爾本大學維多利亞藝術學院修讀電影。《媽媽和七天的時間》是她的首部長片。

SELECTED FILMOGRAPHY 主要作品 2013 Paper Fish (short) 紙魚（短片） 2015 The Corn is Flowering (short) 陽光照在草上（短片） 2020 Mama 媽媽和七天的時間

YOUNG CINEMA COMPETITION (CHINESE) 新秀電影競賽（華語） 2020 | Mandarin/Minnan/Malay DCP | Colour | 105min Director Chong Keat-aun Producer Brian Lim Scriptwriter Chong Keat-aun Cinematographer Chan Hai Liang Editor Tan Wei Jian, Kong Jing Rong Production Designer Sam Chiang Music Yii Kah Hoe, Super Fun Entertainment Sound Tee Wei-Ehien, Jiam Tee-Meng Cast Jojo Goh, Season Chee, Pearlly Chua Production/World Sales Asteri Production 導演張吉安監製林乾峯編劇張吉安攝影陳海量剪接陳偉健、江竟榮美術蔣保鄯音樂余家和、大茶飯娛樂經紀公司音響鄭偉謙、嚴世茗演員吳俐璇、徐世順、蔡寶珠

The Story of Southern Islet 南巫 The story originates from my parents’ experience when I was 11 years old, blending elements of Southeast Asian belief systems from various diverse ethnic groups. Chong Keat-aun

On the macro level of society, this film is about politics in Malaysia… Politics is about majority rule. So if the Chinese population in Malaysia is a minority, it has to follow the majority’s decision. This survival of the fittest as a pattern in politics has become more and more evident… It is plain that politics is a form of witchcraft – you become submissive. That’s why I was saying witchcraft is just the foreword of this film, a reference symbol. What I’m really talking about are ethnic groups, boundaries, races, even identities, even this mistrust in politics, this fear. Being melancholic may help get attention, but it is mostly superficial. I feel that true sorrow is not the sorrow narrated by a guy who has the chance to study abroad and then live a good life. To truly walk among the people and take in life on the edge, such kind of sorrow does not have the wailing drama we might have imagined.

[導演的話] 源自十一歲那年，父母的親身經歷。作品串連東南亞特栗的信仰符號、赤道意象，隱喻多元族群的融匯與對立。 [導演訪問] 回到整個社會一個比較大的面向來說，它（巫術）基本上就是整個馬來西亞的政治。……政治都是少數服從多數，所以馬來西亞的華人是少數的話，就是要服從多數。當政治這種所謂弱肉強食的形態愈來愈明顯之後 ⋯⋯很明顯的，其實政治就是一種巫術，你會很聽話。所以我說巫術其實是這部電影的引子，它是一個引導的符號，其實裏面我說的還是族群、邊界、種族，甚至是身份認同，甚至對政治的一種不信任，那種懼怕。悲情容易吸引目光，可是這種悲情很多時候它是很表面的。我覺得真正悲情的東西，它並不是一個有機會到國外留學，然後有機會每天生活得很好的人訴說的悲情。真正走到民間去感受這些邊緣人物的生活，悲情之中，並沒有我們想像中的欲生欲死。

Interview with Chong Keat aun Initium Media

〈專訪《南巫》導演張吉安：巫術基本上就是整個馬來西亞的政治〉端傳媒

CHONG Keat-aun is a Malaysian director and performing artist. His short film Cemetery of Courtesy was selected for the Busan International Film Festival in 2017. He was named Best New Director at the Golden Horse Awards for his debut feature film, The Story of Southern Islet. 張吉安馬來西亞導演及行為藝術家。2017 年首部導演短片《義山》入圍釜山電影節。《南巫》為其首部劇情長片，獲得金馬最佳新導演獎。

FILMOGRAPHY 作品年表 2017 Cemetery of Courtesy (Short) 義山（短片） 2020 The Story of Southern Islet 南巫

YOUNG CINEMA COMPETITION (CHINESE) 新秀電影競賽（華語） 2020 | Putonghua/Wuhan dialect DCP | Colour | 88min Director Han Shuai Producer Huang Xufeng, Liang Ying Scriptwriter Han Shuai Cinematographer Peter Pan Editor Tom Lin Production Designer Xu Yao Music Hank Lee Sound Zhu Yunhao Cast Gong Beibi, Huang Tian, Zhang Xinyuan Production Factory Gate Films World Sales Rediance 導演韓帥監製黃旭峰、梁穎編劇韓帥攝影潘駿春剪接林欣民美術徐耀音樂李衡音響朱雲浩演員龔蓓苾、黃天、張新園

Summer Blur Hannan xiari 漢南夏日 This is a story about a girl’s secret world - it is small, ordinary, and contemporary. In the summer of her thirteenth year, Guo begins to get a taste of what it is like to be a woman in this world. Abandoned by her mother, suffering the manipulations of love, living in the gaze of other men, and facing death... How will she survive all this? Life can be hard sometimes and girls can turn bad. You might think life will destroy her, but she will survive. Han Shuai

[導演的話] 表面上沒有社會事件和政治議題，這個故事只關於一個女孩的秘密世界，很微小，很普通，很當下。十三歲的夏天，一個姑娘對身為「女人」存在於世的狀況有了最初的認識。在朦朧的自覺中，掙扎與痛苦接踵而至：面對母親的拋棄、愛意的捆綁、異性的目光、生命的喪失，她該如何在夾縫中生存下去？生活很艱難，女孩時而惡劣，你以為她被摧毀，其實她沒有。

HAN Shuai graduated from the Central Academy of Drama with a PhD. Summer Blur is her feature debut. 韓帥畢業於中央戲劇學院，著有《新感覺電影：婁燁電影的美學風格與形式特徵》。《漢南夏日》是她的首部劇情長片。

FILMOGRAPHY 作品年表 2012 The Time to Live and the Time to Die (short) 一九九九（短片） 2014 The Son (short) 東尼與明明（短片） 2015 Last Shot (short) 最後一鏡（短片） 2020 Summer Blur 漢南夏日

YOUNG CINEMA COMPETITION (CHINESE) 新秀電影競賽（華語） 2020 | Putonghua | DCP | Colour | 103min Director Zhou Ziyang Producer Luna Wang, Qian Yini Scriptwriter Zhou Ziyang Cinematographer Matthias Delvaux Editor Liu Xinzhu Production Designer Peng Shaoying Music Jan Weigel Sound Rocky Zhang Cast Huang Xuan, Yang Zishan, Tu Men Production Juben Pictures, Old Beast Films World Sales Picture Tree International 導演周子陽監製王魯娜、錢藝妮編劇周子陽攝影 Matthias Delvaux 剪接劉新竹美術彭少穎音樂 Jan Weigel 音響張金岩演員黃軒、楊子珊、涂們

Wuhai 烏海 I am grieved that under China’s rapid economic development, desire and distorted money-oriented values have brought such great harm to people. This film, reflecting on this issue, is like a fable that inspires and challenges the audience. At the same time, it profoundly investigates human nature. I try to use the energy of life to interpret depression, and further understand the meaning of life. So I conceive of a series of symbols of strong vitality, such as pregnancy, fetuses, lungfish, dinosaurs, animals, and desire, to contrast with reality, threat, stress and depression. All of these will lead to life, birth and rebirth in the end. What I want to present in my second film is drama, philosophical thinking, and more sophisticated aesthetics within the framework of genre films. It will break new ground in Chinese auteur films, pay tribute to Kurosawa Akira’s film essence and the peak of the fifth generation in the 1990s, and strike a and deep connection with millions of Chinese people.

[導演的話] 我痛心於在經濟高速發展下，慾望和以錢為核心的扭曲價值觀，給人帶來的巨大傷害。這部電影就是在反思這一問題，它像是一個寓言，讓人們產生思考的同時，也深入挖掘了人性。我用生命的能量來解讀它的壓抑，以此更深入地理解生命的意義。所以我構思出胎兒、恐龍、動物等生命力象徵。而它另外一個主題講的就是生命、人的誕生和重生。強的戲劇性、故事性與哲學性，是這部電影的特點。我想用類型片的質感，荷里活的強劇作，來做中國現實主義風格電影，突破中國作者電影這幾十年來的風格，回歸到黑澤明電影以及中國第五代導演九十年代高峰期的創作風格，好看，且有深度。同時，能和無數當下的中國人產生強烈共鳴。這是我想在第二部電影中實現的。

I firmly believe that this is a film that will strongly resonate with people, as the struggles of the characters in the story is the reality of what is happening today in China. Zhou Ziyang

ZHOU Ziyang was born in 1983 in Ordos City, China. In 2017, he directed his first feature film, Old Beast, for which he won the Best Original Screenplay award and FIPRESCI prize at the Golden Horse Film Festival. Wuhai is his second feature film. 周子陽 1983 年生於內蒙古鄂爾多斯市。2017 年執導首部長片《老獸》，獲金馬獎最佳原著劇本、最佳男主角，及金馬影展國際影評人費比西獎。《烏海》是他的第二部長片。

FILMOGRAPHY 作品年表 2017 Old Beast 老獸 2020 Wuhai 烏海

FIREBIRD AWARDS 火鳥大獎

Young Cinema Competition (World) 新秀電影競賽（世界）

YOUNG CINEMA COMPETITION (WORLD) JURY

新秀電影競賽（世界）評審團 Lemohang Jeremiah MOSESE is a filmmaker and visual artist from Lesotho. His second narrative feature film This Is Not A Burial, It’s A Resurrection (2019) won numerous international awards, including the Firebird Award for Young Cinema and FIPRESCI Prize at the Hong Kong International Film Festival, and Special Jury Award for Visionary Filmmaking at Sundance Film Festival. He served as a juror for several film festivals, and has been invited to give master classes from refugee camps to Cambridge University. 林蒙亨耶利米摩西斯是來自萊索托的導演及視覺藝術家。第二部劇情長片《逆葬重生》（2019）在各大影展屢獲殊榮，包括香港國際電影節新秀電影火鳥大獎和國際影評人聯盟獎，以及辛丹斯電影節 Visionary Filmmaking 特別評審團獎。曾為柏林影展短片單元等擔任評審，並應邀於難民營以至劍橋大學主講大師班。

Jérôme BARON has been artistic director of the Festival des 3 Continents since 2010. After having taught cinema in various French universities, he remains a professor at Ciné-Sup, the only Higher School Preparatory Classes of Cinema in France. Since 2004, he has chaired the Cinématographe, ranked first heritage cinema in the country, which also promotes access to culture and education for all through cinema. He is the author of Jacques Demy and more recently, Other Continents - Movements of Present Cinema. 謝洛美拜倫自 2010 年起擔任法國南特三洲影展藝術總監，為期十二年。曾於多間法國大學教授電影，現於法國唯一高校電影課程預備班 Ciné-Sup 任教。自 2004 年起出任法國首屈一指的戲院遺產 Cinématographe「放映機」主席，致力透過電影推廣文化及教育。著作包括《積葵丹美》及近作《跨洲：現代電影運動》。

Winnie FU is an editor, film critic and curator of exhibitions, design and publishing projects. She was Programmer of the Hong Kong Film Archive from 1998 to 2017, where she curated exhibitions of film history and moving images, and edited related exhibition catalogues and programme booklets. In 2017, she founded the cultural and media organisation CoDeCode Limited, where she planned and organised a number of cross-disciplinary art and cultural exhibitions. 傅慧儀身兼編輯、影評、策展人，籌劃各類型展覽、設計和出版項目。1998 至 2017 年間任香港電影資料館節目策劃，籌備多項以電影歷史及影視創意為主題的展覽，兼任多本展覽場刊及節目簡介的編輯。2017 年成立一二一二有限公司，主導文化項目，曾策劃多項與藝術創作及文化相關的跨界別展覽。

YOUNG CINEMA COMPETITION (WORLD) 新秀電影競賽（世界） Greece/Poland/Slovenia 希臘／波蘭／斯洛文尼亞 2020 | Greek | DCP/Online | Colour | 91min Director Christos Nikou Producer Iraklis Mavroidis, Angelo Venetis, Aris Dagios, Nikos Smpiliris, Mariusz Włodarski, Christos Nikou Scriptwriter Christos Nikou, Stavros Raptis Cinematographer Bartosz winiarski Editor George Zafiris Production Designer Efi Birba Music The Boy Sound Leandros Ntounis, Kostas Koutelidakis Cast Aris Servetalis, Sofia Georgovasili, Anna Kalaitzidou, Argiris Bakirtzis Production Boo Productions, Lava Films World Sales Alpha Violet

©Bartosz Swiniarski

Apples Mila 無忘果 How selective is our memory? Do we remember what we have experienced or only what we have chosen to remember? Can we forget the things that hurt us? Could it be that deep down we don’t want to forget painful experiences because without them we lose our existence? In the end, are we simply the sum of all those things we don’t forget? When I had the first idea for what became Apples, about eight years ago, I was trying to get over the loss of the closest person to me, and all of these questions regarding identity and loss, memory and pain were very much on my mind. Apples is an allegorical comedy-drama. It is at its core an effort to explore how our memory functions. As a reflection on identity and loss, on memory and pain, Apples also explores what – and who – makes you the person you are, how much of this is authentically you and how much is imposed or created by others. It is exciting, and, in a way absurd, how quickly time passes from the moment we enter adulthood: how fast we forget the most important events or people in our lives, when at the same time we might very clearly remember insignificant details and sensations. Christos Nikou

[導演的話] 人的記憶如何取捨？我們是否記得一切經歷，抑或只是選擇性記憶？可否遺忘傷痛之事？會否是內心深處不想忘掉傷痛，因為沒了這些記憶，我們就失去存在意義？到頭來，我們會否只是沒忘掉之事的總和？八年前我開始構思本片時，正努力從失去至親的傷痛中恢復，有關身份、失去、回憶與傷痛的問題，正在我腦海縈繞。這是一部富寓意的悲喜劇，核心是探索記憶如何運作。透過呈現身份與失去、回憶與傷痛，本片亦想探討什麼以及誰人構成你之為你，多少是真正的你，多少是加之於你或由他人創造的你。成年之後，時間過得飛快，令人既興奮又感荒謬：我們很快忘記生命中最重要的人和事，但同時可能清楚記住無關痛癢的細節和感覺。影片以反烏托邦開始，迅即轉向以人為本。影像風格使我專注於主角實際及存在的孤獨。為聚焦其情感，使用了 4：3 畫面比例，就像片中的寶麗萊照片，連繫過往回憶。窄畫框中，我們體驗主角的超現實、傷痛，甚至有點可笑的存在。我常把他置於充滿戲劇諷刺和雙重意義的世界。雖非喜劇，但在人的壓抑生活中加入幾個超現實滑稽場面，可令人暫且喘一口氣。

Christos NIKOU was born in Athens, Greece in 1984. His short film KM participated in over 40 international film festivals, and won Best Short Film at the Motovun Film Festival in Croatia. For the past decade, he has worked as assistant director on many feature films including Dogtooth (09) and Before Midnight (13). Apples is his first feature film. 基斯圖歷高 1984 年生於希臘雅典。首部短片《KM》於克羅地亞莫托文電影節獲最佳短片獎。曾為《狗牙》(09) 及《情約半生》(13) 等多部電影擔任助導。《無忘果》是其首部長片。

FILMOGRAPHY 作品年表 2012 KM (short) KM（短片） 2020 Apples 無忘果

YOUNG CINEMA COMPETITION (WORLD) 新秀電影競賽（世界） Thailand/Switzerland 泰國／瑞士 2021 | Thai | DCP/Online | B&W | 115min Director Taiki Sakpisit Producer Cattleya Paosrijaroen, Soros Sukhum Scriptwriter Taiki Sakpisit Cinematographer Chananun Chotrungroj Editor Harin Paesongthai, Lee Chatametikool Production Designer Rasiguet Sookkarn Music Morinaga Yasuhiro Sound Akaritchalerm Kalayanamitr Cast Manatsnan Phanlerdwongsakul, Sunida Ratanakorn, Chalad Na Songkhla Production/World Sales 185 Films

The Edge of Daybreak Phayasohk Phiyohkyam 破曉有時 The Edge of Daybreak is constructed through a mental landscape evolving around the born and bred military family members who are driven to self-destructive behaviour by ambition, inner desire and compulsions. Unfolding amid the rising atmosphere of the Cold War in South-East Asia and the shadows of political oppression in Thailand during the 1970s and 2000s, the structure and themes deal with the dualities of spiritual despair and physical annihilation, forces of nature in the form of humans and animals, and the immaterial, as memories and dreams. I wrote this film when I was deeply preoccupied with the physical and mental crises that my family members were experiencing, that also parallel the period of political unrest in Thailand. These events had consumed my life and the way to deal with this personal grief is through cinema. Making this film is my attempt to reconcile with these traumas. It inspired the premise for the film, which meditates on a family’s paradise lost into the abyss. The Edge of Daybreak is ultimately about the fragile human experiences, the search for connection, spiritual redemption and the attempt to survive harsh realities.

[導演的話] 《破曉有時》由一幕幕內心景象構成：泰國那些出身於軍人家庭的人，籠罩在東南亞日益凝重的冷戰氣氛下，活在 1970 年代鎮壓學運和千禧年代軍事政變的陰影中，日漸被野心、慾望和各種衝動驅使，終至幹出自毀的行徑。本片的結構和主題涉及精神絕望和肉體消亡的對比，同時表現出人類和動物所具有的自然力量，以及記憶和夢所表現的無形力量。我是對家人當時所體驗的身心危機耿耿於懷，才編寫這部影片，他們的艱難時刻剛好也是泰國政治動盪的時期。這些事件令我的人生飽受煎熬，而要化解這個人的悲哀，得靠電影。拍電影是我嘗試跟這些創傷和解的途徑。由此催生了本片的大前提，就是去思考一個家庭如何失去樂園，陷入深淵。本片最終是關於人的經驗如何脆弱，如何尋覓知己，獲得精神救贖，並設法在逆境中生存下去。

Taiki Sakpisit

Taiki SAKPISIT is a filmmaker and visual artist working in Bangkok. His moving images and experimental shorts have been presented at numerous exhibitions and film festivals. A Ripe Volcano (11) was screened internationally at more than fifty film festivals and museums. 泰奇錫比軾 1975 年生於泰國，畢業於美國三藩市州立大學，主修電影。曾製作多部實驗短片及流動影像作品。《破曉有時》是他首部劇情長片。

SELECTED FILMOGRAPHY 主要作品 2008 Whispering Ghosts (short) 私語幽靈（短片） 2013 The Age of Anxiety (short) 焦慮年代（短片） 2018 A Certain Illness Difficult to Name (short) 某種無以名之的病（短片） 2021 The Edge of Daybreak 破曉有時

YOUNG CINEMA COMPETITION (WORLD) 新秀電影競賽（世界） Italy 意大利 2020 | Italian | DCP/Online | Colour | 108min Director Nicolangelo Gelormini Producer Davide Azzolini Scriptwriter Nicolangelo Gelormini, Massimiliano Virgilio Cinematographer Agostino Vertucci Editor Nicolangelo Gelormini Production Designer Marcella Mosca Music Golden Rain Sound Cantiere Sonoro Cast Cristina Magnotti, Valeria Golino, Pina Turco Production Dazzle Communication, Indigo Film, Rai Cinema World Sales True Colours - Glorious Films

Fortuna – The Girl and the Giants 小公主升空傳說 Making a film out of this terrible news story implies a necessity to experience this horror without showing it. By contaminating different genres, the film tries to let the viewer experience the moods and feelings of the little protagonist, without however exhibiting the violence she was subjected to. In a narrative circuit divided into two mirror-like acts, the dreamlike representation of an alternate childhood clashes with the grim chronicle of the abuses suffered by little Fortuna: a universe made of impressions and alienating incursions of reality, but also daily life, games and relationships. Between reality and fantasy, starting from a dream we venture inside a nightmare: reality, a dark place where the children’s need for love is betrayed by adults.

[導演的話] 將一段可怕的新聞改編為電影，意味着有必要道出恐怖之處，卻不用拍出殘酷鏡頭。影片混雜了不同的類型元素，設法令觀眾體會小主角的種種心情和感受，卻不必呈現她所遭受的暴力。敘事架構分為鏡像倒映般的兩大段落，另類童年的夢幻想像，與小幸遭受虐待的真實事件互相衝擊：呈現出來的世界由印象與異化現實交織而成，而日常生活、各種遊戲及人際關係也同時包括其中。介乎現實和幻想之間，我們由一場美夢闖進一個夢魘：現實，竟是一處黑暗之所，孩子需要的愛都在這裏被成年人出賣了。

Nicolangelo Gelormini

Nicolangelo GELORMINI was born in Naples, Italy in 1978. He studied architecture at Centro Sperimentale di Cinematografia. He has worked as assistant to Paolo Sorrentino. Fortuna – The Girl and the Giants is his debut feature. 尼高安哲羅茲洛米尼 1978 年生於意大利拿坡里，取得建築學學位後，於羅馬電影實驗中心進修，曾任著名導演保路蘇雲天奴的助手。《小公主升空傳說》是他執導的首部長片。

SELECTED FILMOGRAPHY 主要作品 2010 Reset (short) 重啟（短片） 2014 Irpinia che guarda il mare (short) 海邊的伊皮尼亞（短片） 2020 Fortuna – The Girl and the Giants 小公主升空傳說

YOUNG CINEMA COMPETITION (WORLD) 新秀電影競賽（世界） Azerbaijan/Mexico/USA 阿塞拜疆／墨西哥／美國 2020 | Azerbaijani | DCP/Online | Colour | 92min Director Hilal Baydarov Producer Hilal Baydarov, Elshan Abbasov Scriptwriter Hilal Baydarov, Rashad Safar Cinematographer Elshan Abbasov Editor Hilal Baydarov Music Kanan Rustamli Sound Orkhan Hasanov Cast Orkhan Iskandarli, Rana Asgarova, Maryam Naghiyeva Production Ucqar Film World Sales Pluto Film

©Ucqar Film

In Between Dying S p l nmi

Ölüml r Arasinda

霧中不知身是客 A central concern in all my work is the person who is trying to understand the reason he is alive, present, here, in this world. The person who can’t love, yet only believes in love. The person who is trying to find his real family, certain that this will bring real meaning to his life. Davud is the person in this story, who reminds us of the possibility of love. I wanted to visualize his path somehow, and it became the film In Between Dying.

[導演的話]

I always keep in mind Bresson’s emphasis: “Feeling before understanding”, and so I’ve always focused on moments of inspiration. There is no doubt in the moment of inspiration, questions can destroy all my concentration. It helps therefore to work consistently with a group of colleagues who have come to understand this process and embrace it as their own. Also, I’m shy, and find it hard to communicate with people I don’t know – so because of this, most of the people I work with consistently are in fact my family and close friends. In an environment like Azerbaijan, there can be many restrictions, but actually, I have to confess that I love the restrictions and limitations. In a way, they have forced me, and all of us, to find new ways to express our feelings. Hopefully, that comes across in the films.

我一直牢記布烈遜所說：感覺先於理解。因此我總是專注於那些靈感時刻。毫無疑問，在靈感時刻，任何的提問都可能會破壞我所有的專注力。因此，持續跟那些了解並擁抱此過程的同伴一起工作是最好的。此外，我很怕生，很難與我不認識的人交流，所以大部分一直和我共事的人，實際上都是我的家人和密友。在阿塞拜疆這樣的環境，可以遇上很多限制，但事實上，我得承認我喜歡這些約束和限制。從某種意義來說，它們迫使我，以至我們所有人，去找尋新的方式表達自己的感受。但願電影能表達出這一點。

我所有作品主要關心的，是那個嘗試去理解自己為何活在此時、此地的人。不能愛卻又只相信愛的人。嘗試找尋自己的真正歸宿，並深信這會為自己生命帶來真正意義的人。在這個故事裏，達夫就是這樣的人物，提醒我們愛的可能。我想以某種方式把他的經歷表現出來，因此成了這部電影。

Hilal Baydarov

Hilal BAYDAROV was born in Baku, Azerbaijan in 1987. After graduating with a Master’s degree in Computer Sciences, he left for Sarajevo to study film at Sarajevo Film Academy. He was a student under acclaimed Hungarian filmmaker Béla Tarr, who founded the Film Factory school in Sarajevo. In Between Dying is his second feature film. 希拉爾拜特羅夫 1987 年生於阿塞拜疆巴庫，取得電腦碩士學位後，前往薩拉熱窩電影學院修讀電影，師從貝拉塔爾。至今已完成五部紀錄片及兩部劇情長片，《霧中不知身是客》是他的第二部劇情長片。

SELECTED FILMOGRAPHY 主要作品 2018 Hills Without Names 無名之山 2018 Birthday (docu) 孤獨生日（紀錄片） 2019 Mother and Son (docu) 母與子（紀錄片） 2020 Nails in My Brain (docu) 腦中釘（紀錄片） 2020 In Between Dying 霧中不知身是客

©Türkan Hüseynova

YOUNG CINEMA COMPETITION (WORLD) 新秀電影競賽（世界） Kosovo 科索沃 2021 | Albanian | DCP | Colour | 111min Director Norika Sefa Producer Besnik Krapi Scriptwriter Norika Sefa Cinematographer Luis Armando Arteaga Editor Stefan Stabenow, Norika Sefa Production Designer Arben Shala Sound Risto Alchinov Cast Kosovare Krasniqi, Erjona Kakeli, Rozafa Çelaj, Basri Lushtaku Production/World Sales Circle Production

Looking for Venera Në kërkim të Venerës 少女的快樂與哀愁 I wanted to portray that lively, dynamic life, similar to what I grew up with. Living in a big family was a reason to question reality, somehow… Because we all lived the very same situations, yet the emotions, perceptions, were so different. There was this position of doubt, that makes one question everything; I loved to play with these kinds of uncertainties. Also, the society I live in, usually people don’t express what they feel, it’s not in our culture, we lack the tools to do so.… and I find myself always trying to stick to characters that are mainly occupied with hiding their feelings and conceptions. […] Besides that state of uncertainty, having lived in a three-generation family, I was attracted to the way privacy, or the lack of privacy works in this co-existence. So my aim was to treat the space as a perpetual chance for surprise... I tried to also activate the audience’s curiosity to that which is left unseen... I wanted to show a world where anything could feel possible. That’s why I chose to tell the story through Venera, because her age allowed me to play further with this; …while Venera muses on the meaning of life, the film shows a sense of life’s absurdity. Norika Sefa

[導演的話] 我希望呈現那種活潑、動感的生活，類似我自己的成長經歷。大家庭生活總是提供了質疑現實的理由，儘管我們活在相似的處境，情緒和感受卻每每截然不同。這正是懷疑所在，令人質疑一切。我喜歡處理這種不確定。在我身處的社會，人們通常不會說出自己的感受，而我發現自己對那些總將自己感受和想法隱藏起來的角色特別注意。除了那不確定的狀態，在三代同堂家庭長大的我，對私隱也十分關注。所以我想在影片的空間尋找機會製造驚奇。我嘗試把玩邊緣，那安全地帶，那條家庭與外界之間的狹窄界線。我嘗試引起觀眾好奇心，猜度看不見的事情。這樣說吧，電影並不直接透過故事表達什麼。事實上，那只是一個簡單故事，幾乎有點「老掉牙」，但我的想法是用我熟悉的生活肌理豐富它，我想把它放到一個位置，讓觀眾感受到某些複合──複合概念比正與邪的概念有趣多了。我不急於作出結論，嘗試讓它保持開放──我希望展示的，是任何事情都有可能的世界。因而我選擇透過維納拉講述這故事，她的年紀容許我放肆一下。當維納拉思考生命的意義時，影片顯示了生命的荒謬。

Norika SEFA was born in Kosovo. She graduated from the Academy of Performing Arts in Prague and previously made a hybrid documentary, Desde Arriba (18), under the guidance of Werner Herzog. Looking for Venera is her first feature film. 洛妮卡施花生於科索沃，畢業於布拉格演藝學院，曾在荷索指導下完成混合紀錄短片《從上面看》(18)。《少女的快樂與哀愁》是她首部劇情長片。

SELECTED FILMOGRAPHY 主要作品 2016 Flutter (short) 聳動（短片） 2018 Desde Arriba (short) 從上面看（短片） 2021 Looking for Venera 少女的快樂與哀愁

YOUNG CINEMA COMPETITION (WORLD) 新秀電影競賽（世界） Brazil/France 巴西／法國 2020 | Portuguese/German DCP | Colour | 93 min Director João Paulo Miranda Maria Producer Denise Gomes, Paula Cosenza, Didar Domehri Scriptwriter João Paulo Miranda Maria Cinematographer Benjamín Echazarreta Editor Benjamin Mirguet Production designer Isabelle Bittencourt Music Nicolas Becker Sound Léo Bortolin Cast Antônio Pitanga, Ana Flavia Cavalcanti, Aline Marta Maia, Sam Louwyck Production Be Bossa Entertainment, Maneki Films World Sales Celluloid Dreams

Persons Aged 18 and Above Only 只准18歲或以上人士

Memory House Casa de Antiguidades 荒屋幻憶 The surreal invasion of the invisible into the visible has always been present in my films. Different times and dimensions meet one another in the same scene.

[導演的話]

Cristovam seeks his origins, finding traces of his ancestry. The figure of the old black man is mythical in Brazilian popular culture, as a spiritual presence for the most humble. The visual effects in the movie, especially those on Cristovam’s face, with his skin and soul marked by age, are a projection of strength coming from his distant ancestors, an embodiment of the past, with a spiritual dimension.

基斯杜華姆追源溯始，找到他遠祖的足跡。年老的黑人，在巴西流行文化是一種神話形象，代表最謙卑的精神存在。電影中的視覺效果，尤其是在基斯杜華姆面上，跟歲月留在他皮膚和靈魂的痕跡一起映照出來的，是來自他遠祖的力量投射，一種具備精神層面，對過去的體現。

Facing a conservative society, he witnesses the intolerance and prejudices of the past shaping current politicians, businessmen and real separatist movements. There is a distinct division in Brazilian society between a richer South, identifying with its European origins, and a poorer North, populated by descendants of African slaves and Indigenous tribes. The film portrays the revolutionary figure of the Northern man who incarnates the spirit of the “Boiadeiro” (Brazilian cowboy). Cristovam seeks revenge to exculpate his sins as he feels responsible for an intolerant society. Through the abandoned house, he connects with his remote past, to animals and his deity, and transforms into both a bull and a cowboy. He is empowered to make his final, great gesture.

無形的超現實影像摻入有形的事象世界，在我的電影並不罕見。同一場景裏，不同時空彼此相遇。

面對一個保守社會，他見證了往日的狹隘與偏見，如何塑造了當下的政客、商人和真正的分離主義運動。較富庶、認同歐洲文化的巴西南部，與較貧窮、由黑奴後代和原住民佔主要人口的北部，有很明顯的分歧。電影刻劃這個具革命形象的北方來客，他傳承了「博阿迪羅」（巴西牛仔）的精神。基斯杜華姆覺得社會變得如此不寬容，自己責無旁貸，因此尋求贖罪之道。透過廢屋，他跟遙遠的過去、跟動物，以至與自己的神性連結起來，蛻變為牛與牛仔。他獲得了力量，擺出他那最後的偉大姿勢。

João Paulo Miranda Maria

João Paulo MIRANDA MARIA was born in Porto Feliz (Sao Paulo), inland city of Brazil in 1982. He studied Cinema in Estacio de Sá College and holds a Master’s degree in Multimedia from Unicamp. His short films were selected for Cannes and Venice. Memory House is his first feature. 祖奧保羅米蘭達瑪利亞 1982 年生於巴西聖保羅市，短片《命令行動》(15) 入圍康城影展影評人周，《與魔鬼共舞的女孩》(16) 則獲康城影展短片評審團特別表揚。《荒屋幻憶》是他首部長片作品。

SELECTED FILMOGRAPHY 主要作品 2015 Command Action (short) 命令行動（短片） 2016 The Girl Who Danced with the Devil (short) 與魔鬼共舞的女孩（短片） 2017 Meninas Formicida (short) 滅蟻少女（短片） 2020 Memory House 荒屋幻憶

YOUNG CINEMA COMPETITION (WORLD) 新秀電影競賽（世界） Denmark 丹麥 2021 | Danish | DCP | Colour | 123min Director Jonas Kærup Hjort Producer Rikke Tambo Scriptwriter Jonas Kærup Hjort Cinematographer Jacob Sofussen Editor Jonas Kærup Hjort Production Designer Sabine Hviid, Kristina Kovacs Music Sven Dam Meinild, Thomas Dybdahl Sound Lars Halvorsen, Rune Palving Cast Joen Højerslev, Joen Bille, Malene Melsen, Anne Fletting Production Tambo Film, Chezville World Sales TVCO

The Penultimate Den næstsidste 奪魄迷樓 For as long as I can remember, the feeling of confinement has lived within me. An irrational feeling that I think has arisen from an innate hypersensitivity towards the world. It’s always there. It has become an existential living condition and a way of expressing myself artistically. From this place springs the story of The Penultimate. Through absurdity and black humour, the journey of the insignificant Water Inspector reflects upon the world of today’s despair: the fear, the hopelessness, the neglect, the feeling of despondency, the ambiguity, the relentless objectivity, all cultivated to confront the audience, with themselves, as part of a poetic creation - as part of an authentic narrative about ourselves. The building is an institutional non-place, created as a place of projections from the mind. We never know whether what we see is real, the result of a dream, or just a hallucination. A world without meaning. No logical explanation exists, for what is inherently without logic. However, still a world with recognisable social structures: bureaucracy, homelessness, loneliness, courts, etc. Conflicts we all know about. We are all trapped in situations we cannot escape, even though others may think we can.

[導演的話] 在我的記憶裏，幽閉感一直在我內心揮之不去。我覺得那來自一種與生俱來的，對世界過份敏感的非理性感受。它一直在那裏。它已變成一種存在主義式的生活狀態，一種用藝術去表述自我的方式。《奪魄迷樓》的故事就在這裏開始。在荒謬感與黑色幽默下，微不足道的水務專員經歷，反映了今時今日的絕望世界：恐懼、無望、被忽視、沮喪、模棱兩可、不斷被客體化，統統推到觀眾面前，要他們面對、投入這部關於我們的詩意作品，成為敘事的一部分。所謂迷樓，是建制化的無何有之鄉，是心靈的投射之地。我們從不曉得我們看見的究竟是真實，抑或夢境，又或是幻覺使然。一個沒有意義的世界。沒有邏輯解釋，因為那根本就是沒有邏輯的。然而，我們依然可憑社會結構去辨識這個世界：官僚制度、無家可歸、寂寥、法庭等等，是我們都熟悉的衝突。我們都困在不能逃離的處境，即使其他人覺得我們還可以。

Jonas Kærup Hjort

Jonas KÆRUP HJORT is a Danish filmmaker based in Copenhagen. Before getting into the film industry, he worked professionally as a theatre director and actor. In 2017, he graduated from The National Film School of Denmark with the film In a Month, which won the FilmFunen Talent Award, as well as three awards at the Ekko Shortlist Awards. The Penultimate is his first feature. 祖拿斯約特在丹麥哥本哈根居住。投身電影業前，他是專業劇場導演及演員。2017 年畢業於丹麥國立電影學院。短片作品《三旬》(17) 獲頒最佳新秀獎，並連奪三項艾克入圍獎。《奪魄迷樓》是他首部劇情長片。

SELECTED FILMOGRAPHY 主要作品 2013 Brat (short) 壞孩子（短片） 2017 In a Month (short) 三旬（短片） 2021 The Penultimate 奪魄迷樓

YOUNG CINEMA COMPETITION (WORLD) 新秀電影競賽（世界） Iran 伊朗 2020 | Persian/Turkish/Kurdish DCP/Online | B&W | 102 min Director Ahmad Bahrami Producer Saeed Bashiri Scriptwriter Ahmad Bahrami Cinematographer Masoud Amini Tirani Editor Sara Yavari Music Foad Ghahremani Sound Hasan Mahdavi Cast Ali Bagheri, Farrokh Nemati, Mahdieh Nassaj World Sales Persia Film Distribution

The Wasteland Dashte Khamoush 命運荒原 My father was a worker in an industrial factory and he retired after thirty years of hard work. I am proud of him and since I learned filmmaking, I have always wanted to make a film about him and his honourable efforts. My film The Wasteland is a tribute to my father and all the hardworking labourers around the globe… human civilisation would not have achieved this level of progress without their efforts.

[導演的話] 我父親是一家實業製造廠的工人，三十年來辛勤工作，然後退休。我對他一生引以為榮。自從我學拍電影以來，一直想拍一部關於他的電影，講述他的光榮事跡。我的電影《命運荒原》就是向我父親及全世界的勤勞工人致敬。沒有這些工人的努力付出，人類文明不可能進展到今天的地步。

Ahmad Bahrami

Ahmad BAHRAMI was born in Shahryar, Iran in 1972. Graduating from Soureh University with a BA in Cinema (Directing), he has made short films, feature films, and documentaries as well as tele-movies for Iranian television. The Wasteland is his second feature. 阿密巴拉米 1972 年生於伊朗沙里雅爾，畢業於肅拉大學，獲電影導演學士學位，曾為伊朗電視台製作短片、長片、紀錄片及電視電影。《命運荒原》是他的第二部長片。

SELECTED FILMOGRAPHY 主要作品 2017 Panah 帕納 2020 The Wasteland 命運荒原

FIPRESCI PRIZE JURY

國際影評人聯盟獎評審團 Pierre-Simon GUTMAN is deputy editor of L’Avant Scene Cinéma review. After studying at La Sorbonne, he wrote his PhD thesis on the American filmmaker Michael Cimino. He has written for 3 Couleurs, Les Fiches du Cinéma and Eclipse(s). He teaches cinema at l’ESRA in Paris and Bruxelles, after having previously taught at the universities Paris VII and Nancy 2. He was also a programmer for Critics’ Week at the Cannes Film Festival, on both the features and short films committees. 皮亞西蒙古特曼《L’Avant Scene Cinéma》（電影前景）雜誌的副主編。索邦大學畢業後，博士論文以美國導演米高契敏奴為研究對象。曾為《3 Couleurs》、《Les Fiches du Cinéma》及《Eclipse(s)》等刊物撰文。現於巴黎及布魯塞爾的電影學院教授電影，曾於巴黎第七大學及南錫第二大學任教，並曾任康城影展影評人周節目策劃。

Andreea P TRU is a Romanian film critic and programmer, currently based in Spain. Her writings have appeared in several international publications, including Senses of Cinema, Kinoscope, Vague Visages, Indiewire and Desistfilm. She is a programmer for Tenerife Shorts – La Laguna International Film Festival, as well as a member of the selection committees at Las Palmas de Gran Canaria International Film Festival and Valladolid International Film Festival. Previously, she worked for Romanian Film Promotion, and was also a coordinator at Pavilion art centre in Bucharest. 安芝亞帕特魯羅馬尼亞影評人兼節目策劃，現駐西班牙，其文章見於《Senses of Cinema》及《Kinoscope》等國際刊物。現任拉拉古納國際電影節特內里費短片的節目策劃，並是拉斯帕爾馬斯國際電影節及瓦拉多利國際電影節的選片委員。曾於創辦特蘭西瓦尼亞國際電影節的羅馬尼亞電影推廣處任職，亦曾於布加勒斯特之 Pavilion 藝術中心擔任統籌。

Viswanath SUBRAHMANYAN is a freelance film critic, who has specialised in film studies and film appreciation, with over three decades’ experience critiquing and writing on cinema. He has served on juries of several national and international film festivals, and officiated as International and Asian cinema curator for Bengaluru International Film Festival since its inception. He is also engaged in the selection of shorts and documentaries for Bengaluru International Short Film Festival. He is the author of Random Reflections: A Kaleidoscopic Musings on Kannada Cinema. 維斯瓦納蘇布拉曼揚印度資深記者，專於電影研究及電影欣賞，撰寫及評論電影逾三十年。曾為多個當地及國際電影節擔任評審。班加羅爾國際電影節成立至今，他一直為其國際及亞洲電影節目策展，並為班加羅爾國際短片節挑選短片及紀錄片。著作有《隨機反射：卡納達語電影的幻變凝思》。

HKIFF45 ONLINE 網上放映節目表

Online Screening Schedule 每個網上節目放映期長達 72 小時（影片開始播放後，須於 24 小時內觀看） Each film will be availble for viewing for 72 hours (Once the viewing starts, the purchased content can only be acccessed within 24 hours)

14 24 四 THU

五 FRI

34 六 SAT

44 日 SUN

• 我不是醫神 Charlatan • 寇比力克如是說 Kubrick by Kubrick • 最後的城市 The Last City • 孕陽 Sole

一 MON

• 尋找畢京柏 Peckinpah Suite • 家暴裁决 Verdict • 無定向喪心家庭事件簿 Bad Tales • 高燒夢迴亞馬遜 The Fever

• 菲屠龍戰記 Mindanao • 半透明水謎之忽然奢華 Accidental Luxuriance of the Translucent Watery Rebus • 暗夜無星至天明 Endless Night

二 TUE

84 四 THU

• 抗爭無休 A Leave

94 五 FRI

104 六 SAT

• 法國歌王私影像 Aznavour by Charles • 國際短片競賽節目（一） Short Film Competition Programme I • 只能沒有你 Son-Mother

• 虔誠者塔可夫斯基 Andrey Tarkovsky. A Cinema Prayer • 無心有罪 Careless Crime • 惡之三聯畫 Irradiated • 國際短片競賽節目（二） Short Film Competition Programme II • 寶寶不見了 Where is Pinki?

• 前衛短片專輯 Avant Garde Shorts Programme • 童病相憐 Brother's Keeper • 造王者艾美黛 The Kingmaker • 小狗九的三宅一生 Marona's Fantastic Tale • 捕鯨少年的奇幻漂流 The Whaler Boy

• 我與布魯塞爾的距離 Ghost Tropic • 牧馬恩仇記 The Horse Thieves. Roads of Time

• 圍爐夜話︰奧遜威爾斯與丹尼士賀巴 Hopper/Welles • 國際短片競賽節目（三） Short Film Competition Programme III

• 風火臨山 Fire Will Come • 和理非革命神話 I Am Not Alone

• 亞細亞閃亮人生 Asia

• 半熟小小姐 Marghe and Her Mother

• 情獸迷宮 Only the Animals

• 史太林大國葬 State Funeral

三 WED

• 世紀初的辯證莊園 Malmkrog

• 荷里活音效大師班 Making Waves: The Art of Cinematic Sound

• 尋找隱世女聲 + 秘密與規條 Hidden + 180° Rule

114 日 SUN

• 小公主升空傳說 Fortuna - The Girl and the Giants • 鹿陽大暴走 Luginsky • 婚姻不像你預期 The Ties • 世界動畫精選 World Animation • 命運荒原 The Wasteland • 無忘果 Apples • 破曉有時 The Edge of Daybreak • 只一山人 The Last Hillbilly • 敗犬拳王（前篇） Underdog: Part One • 敗犬拳王（後篇） Underdog: Part Two • 霧中不知身是客 In Between Dying • 水俁曼荼羅 Minamata Mandala • 鼻子，歌劇與史太林 The Nose or the Conspiracy of Mavericks • 我的家庭X光片 Radiograph of a Family • 影癡亡命癲涯路 Yellow Cat

124 一 MON

詳情 Details

• 只能唱的心聲 All the Things We Never Said • 令和選戰 Reiwa Uprising • 奧姆真理教與我 Me and the Cult Leader • 搶親大龍鳳 Ulbolsyn

FIREBIRD AWARDS 火鳥大獎

Documentary Competition 紀錄片競賽

DOCUMENTARY COMPETITION JURY

紀錄片競賽評審團 Luke LORENTZEN is an Emmy Award-winning documentarian. His most recent film, Midnight Family (2019), has won over 35 international awards, including the Firebird Award for Best Documentary at the Hong Kong International Film Festival and Special Jury Award for Cinematography at Sundance Film Festival. His other work includes the Netflix original series Last Chance U, which won an Emmy for Outstanding Serialized Sports Documentary. With Kellen Quinn he is co-founder of Hedgehog Films. 盧卡羅連遜紀錄片導演兼艾美獎得主。近作《搶錢急救之家》(2019) 於世界各大影展榮獲超過 35 個獎項，包括香港國際電影節紀錄片競賽火鳥大獎，及辛丹斯電影節評審團特別攝影獎，並入圍 2020 年奧斯卡最佳紀錄片。其他作品包括 Netflix 原創《最後機會大學》，此系列獲艾美獎傑出運動系列紀錄片。他與凱倫昆恩共同創立刺猬電影。

KUO Ming-jung specialises in film festival management, programming and distribution. Previously Programme Director for Taipei Film Festival, she has developed new programmes such as In Progress: VR and the workshop initiative Produire au Sud Taipei. She edits special issue publications Portuguese Cinema and Twenty in an Instant, and has served on juries and selection panels for Locarno Film Festival Open Doors, Taipei Golden Horse Film Festival and International Film Festival Rotterdam. She is currently the Artistic Director of the Singapore International Film Festival. 郭敏容現任新加坡國際電影節藝術總監及羅迦諾電影節 Open Doors 工作坊評選委員。曾於獨立片商、製片公司、國片發行及國內外影展等機構任職，2011 年起加入台北電影節負責選片及節目策劃，2014 至 2018 年任該影展策展人，規劃「主題城市」、「焦點影人」、「電影正發生」等單元。為《葡萄牙電影》、《一瞬二十》等書總編輯，並擔任本地及國際影展正式或會外賽評審。

Pan Chin-pang LEI is now an Assistant Professor in the Department of Communication at the University of Macau, and a columnist for several media in Hong Kong and Taiwan. His research focuses on Chinese films, popular culture, star studies and urban space. He has published several books, including Invisible Macau: the Ignored City and Culture and Dream and the City: Anita Mui and Hong Kong Pop Culture. He also served as a juror in various film festivals in Taiwan and mainland China. 李展鵬現為澳門大學傳播系助理教授，研究興趣為華語電影、性別議題、明星研究、流行文化及城市空間等。身兼專欄作者，文章見於香港及台灣報刊及網上媒體，並出版多本著作，包括《隱形澳門：被忽視的城市與文化》、《夢伴此城：梅艷芳與香港流行文化》等，曾任金馬影展奈派克獎、台灣國際紀錄片影展、台灣酷兒影展及中國大陸華語電影傳媒大獎的評審。

DOCUMENTARY COMPETITION 紀錄片競賽 Denmark/France/Sweden/Norway 丹麥／法國／瑞典／挪威 2021 | Danish/English/Dari/Russian DCP | Colour | 90min Director Jonas Poher Rasmussen Producer Monica Hellström, Signe Byrge Sørensen Cinematographer Mauricio Gonzalez-Aranda Editor Janus Billeskov Jansen Production Designer Jess Nicholls Music Uno Helmersson, Bente Egelund Jørgensen Sound Edward Björner Production Final Cut For Real World Sales Cinephil

Flee 逃不出的記憶 Amin wanted to come to terms with his past - because all the trauma associated with his childhood was creating distance between everyone in his life, not being able to share his full self had become a heavy burden for him. But he also wanted to share his story to make people understand what it means to flee for your life. The animation made Amin feel comfortable with getting his story out, we could use his real voice in the film, but he could still remain anonymous. This was also important for Amin as he has family who moved back to Afghanistan and he wants to respect their privacy too. I wanted to make these episodes, and these experiences, come to life through scenes rather than talking heads — animation takes this kind of storytelling to another level in terms of the creative possibilities to tell this previous life. The deeper he went into traumatic situations, the more concise details he would remember from his past. Over the course of three or four years, we did more than a dozen interviews together, each one stemming from an initial three-day session where Amin poured out his life story in often graphic and heartbreaking detail. Jonas Poher Rasmussen

[導演的話] 阿密希望逐步接納自己的苦難記憶，因為童年時的創傷，令他對所有人都保持距離，無法跟別人分享自己的全部，這已成了他的沉重包袱。而他想分享自己的故事，也是希望人們能夠了解逃亡意味着什麼。動畫令阿密放心說出自己的故事，我們可以在影片中用他的真實聲音，但他仍可保持匿名。這對阿密也很重要，因為他有家人已搬回阿富汗，他想尊重他們的隱私。透過場景而非「大頭訪問」，我想逼真還原那些事件、那些經歷。動畫容許我們這樣去講述阿密從前的遭遇，將這種敘事方式帶到了另一層次。我之前曾為電台製作紀實節目，使用多年的採訪技巧，是令受訪者躺下，閉上眼睛，憶述事物的形貌、氣味和感覺，他們的記憶變得強烈而直接，就像他們正在經歷一樣。阿密愈是憶起傷痛的處境，愈記得過去的細節。三、四年間，我們做了十多次訪談，由最初為期三天的會面開始延伸出來，在那次會面，阿密以逼真且令人心碎的細節，傾吐他的人生故事。

Jonas Poher RASMUSSEN was born in Denmark in 1981. He graduated from the Danish film school Super16 in 2010, and made his documentary debut with Noget om Halfdan (06). 約納斯波赫拉斯穆森 1981 年生於丹麥，2010 年畢業於哥本哈根 Super16 電影學校。 2006 年完成首部紀錄長片《關於哈德丹》。

SELECTED FILMOGRAPHY 主要作品 2012 Searching for Bill 尋找阿標 2015 What He Did 為愛犯的罪 2021 Flee 逃不出的記憶

DOCUMENTARY COMPETITION 紀錄片競賽 France/Qatar 法國／卡塔爾 2020 | English | DCP/Online | Colour | 80min Director Diane Sara Bouzgarrou,Thomas Jenkoe Producer Jean-Laurent Csinidis Cinematographer Thomas Jenkoe Editor Théophile Gay-Mazas Music Jay Gambit Sound Diane Sara Bouzgarrou, Pierre Armand Production Films de Force Majeure World Sales The Party Film Sales

The Last Hillbilly 只一山人 Why use “Hillbilly” in the title of the film?

[導演訪問]

We were struck by the way Brian uses this insult and twists it to his advantage to question the history and culture of this region. Of course, there is the will to assert something about the insult itself, but his gesture goes beyond provocation: Brian uses this word to outline his identity and question the stereotypes behind it. […]

為什麼片名用了 Hillbilly（山區老粗）這個字眼？

Very early on, he appeared to us as an amazing film character. First of all, with his psychological density, the accuracy of his thought process, and his very unique view of the world around him. Then there is his voice, his oral inventiveness, his flow, which inspired us a lot. He is also able to unleash disillusioned and consistent anger, in surprisingly calm and specific words. Brian deconstructs people’s prejudices just by the way he is and speaks. […] Sometimes even when pretending to confirm them! It’s paradoxical, subtle... and captivating. Creating a film work around him and with him was particularly exciting. We wanted to invite viewers to share this experience, to live in Brian’s inner world, and to walk across his universe, in his shoes, for the duration of a movie.

片中主人翁拜恩列治故意借用這個帶有侮辱意味的字眼，去探討阿帕拉契山區的歷史和文化問題，他這份膽識打動了我們。當然，他對這種侮辱不無認同之處，但他的做法遠不止於挑釁，而是利用這個詞語勾勒出他的身份，質疑這種叫法背後隱藏的種種成見。我們很早就覺得他是個絕佳的電影角色。首先，他有細緻複雜的感受，思考周密準確，對身邊世界的見解非常獨特。然後是他有副吸引人的嗓子，可以即興抒發，創意泉湧，暢所欲言，對我們可謂啟發良多。他還能用令人驚訝的鎮定口吻，選詞擇句，表達出對現實失望的一貫憤怒。拜恩只是單純以自己的為人及言談舉止，來解構人們的偏見，有時甚至會假裝那些偏見說得有理！看似自相矛盾，卻十分微妙，令人着迷。環繞着他，與他一起拍攝電影，特別令人興奮。我們希望邀請觀眾分享這種經驗，在短短一部片的時間內，去設身處地，活在拜恩的內心世界，穿行於他的廣闊天地。

Diane Sara Bouzgarrou and Thomas Jenkoe

Diane Sara BOUZGARROU was born in France in 1985. Her film I Remember Nothing (17) was acclaimed at numerous festivals: Cinéma du Réel, Torino Film Festival, RIDM. 黛安莎亞博絲嘉露 1985 年生於法國。作品《我一無所記》(17) 獲法國真實電影節青年評審團特別表揚。

SELECTED FILMOGRAPHY 主要作品 2011 La femme enfant (short) 半熟女人（短片） 2017 I Remember Nothing (docu) 一無所記（紀錄片） 2017 N 49° 24’ 24’’ E 3° 36’ 23’’（short, 短片） 2020 The Last Hillbilly (co-dir) 只一山人（合導）

Thomas JENKOE lives and works together with Bouzgarrou in Lille. His film Memories from Gehenna (15) won the French competition award at Cinéma du Réel and was shown at IFF Rotterdam, and DocFortnight at MoMA in New York. 湯瑪士贊哥埃與博絲嘉露一起在法國里爾生活及工作。作品《地獄回憶錄》(15) 獲法國真實電影節的法國競賽獎。

SELECTED FILMOGRAPHY 主要作品 2015 Memories of Gehenna (docu) 地獄回憶錄（紀錄片） 2020 The Last Hillbilly (co-dir) 只一山人（合導）

DOCUMENTARY COMPETITION 紀錄片競賽 Japan 日本 2020 | Japanese | DCP/Online | Colour | 114min Director Sakahara Atsushi Producer Sakahara Atsushi, Matsuo Etsuko Cinematographer Yamada Tatsuya, Takashima Masato Editor Watanabe Junko Music Soulcolor Sound Ochiai Ryoma Production Good People Inc World Sales HKIFF Collection

Me and the Cult Leader Aganai 奧姆真理教與我 Aum Shinrikyo, a religious cult, attacked the Tokyo subway system with sarin gas on 20th March, 1995. Thirteen people died, and more than 6,000 people were injured. I was a victim of that tragedy. I had made a promise to my high school friend that I will become an acclaimed filmmaker. Sadly, he committed suicide, and I regretted that I couldn’t stop him. For the past 30 years, I have been endeavouring to pursue my dream, and keep my promise. My determination is even stronger after the sarin attack. I decided to get married after the incident. A couple of days before our wedding, my wife revealed to me that she had once joined Aum Shinrikyo, though she was never serious about it. I married her anyway, but we separated after a year and a half. Finally, I decided to face Aum Shinrikyo for my own resolution. I convinced the cult’s non-criminal executive to appear in my film. I started shooting in 2015 and made the first cut, but didn’t like it. I dismissed the editor, shot additional footage and re-edited it by myself.

[導演的話] 邪教團體奧姆真理教於 1995 年 3 月 20 日在東京地鐵發動沙林毒氣襲擊，導致 13 人身亡，6,000 多人受傷。我是當中一名受害者。我曾承諾高中好友，要成為一名好導演。但第二年朋友就自殺了，我遺憾無法阻止他。過去三十年，我努力成為導演，是追尋夢想，也為了遵守諾言。沙林事件後，我更加全力以赴。恐襲事件後我決定結婚，但在婚禮前幾天，未婚妻突然告訴我她曾經加入奧姆真理教，雖然並非很認真。我們還是結婚了，但一年半後就分開。最終，我下定決心要直面奧姆真理教，並說服了集團的行政要員參與影片。我從 2015 年開始拍攝，完成了初剪，但並不滿意。我解僱了剪接師，補拍一些鏡頭，自己重新完成剪接。

Sakahara Atsushi

SAKAHARA Atsushi was born in Kyoto, Japan in 1966. He studied at Kyoto University, started his career in an advertising agency and then earned an MBA at the University of California. He produced a short film, Bean Cake, which won the Cannes Palme d’Or in 2001. 阪原淳 1966 年生於日本京都，曾就讀京都大學，畢業後加入廣告事務所，隨後於美國加州大學獲工商管理碩士學位。他監製的短片《豆餅》於 2001 年獲康城影展短片金棕櫚獎。

FILMOGRAPHY 作品年表 2012 Don’t Call Me Father (short) 別喚我做爸爸（短片） 2020 Me and the Cult Leader 奧姆真理教與我

DOCUMENTARY COMPETITION 紀錄片競賽 Germany 德國 2021 | German | DCP | Colour | 217min Director Maria Speth Producer Maria Speth Cinematographer Reinhold Vorschneider Editor Maria Speth Sound Oliver Göbel, Adrian Baumeister, Niklas Kammertöns Production Madonnen Film World Sales Films Boutique

Mr. Bachmann and His Class Herr Bachmann und seine Klasse 非常德教室 Dieter Bachmann and I have known each other for decades. After he had started to work in Stadtallendorf as a teacher, he kept telling me for years about this town and the students of Georg Büchner School, and how I should really take a look myself.

[導演的話]

By visiting Dieter Bachmann in his class, you will experience a teacher who builds a personal, emotional rapport with his students. Someone who does not merely impart knowledge but who involves his full personality with all his weaknesses and strengths. Someone who has no taboos and engages his students without prejudice. Not in the service of political correctness but as lived, emotional openness without any hidden resentment. He creates an open atmosphere without fear in which his students feel safe, where they can show themselves and develop. School becomes their living room, a trusted space where they can talk about anything they have on their minds. With a teacher who in conversation challenges, provokes, encourages, strengthens, promotes solidarity and empathy. Someone who knows that strengthening self-worth can be more important than the Pythagorean theorem. Someone who throws all his abilities in the balance so non-academic skills can develop as well. Juggling. Shaping stone. Building tables. Dancing. Making music. Important activities to foster communication among the students and help overcome social, cultural, and linguistic barriers.

施塔特阿倫多夫位於德國中部四面環山的平原。前往該處時，遠遠便見噴煙的工廠大煙囟，就像一個偌大的工業園，一邊是住宅區，另一邊是木屋舊村。由於炸藥工廠沒被戰火摧毀，戰後新工業轉移至這裏發展，費茲溫特鑄造廠和費拉羅朱古力廠成了新的市中心。

我和巴克曼老師相交經年，他在施塔特阿倫多夫當老師之初，便不停和我提起他的城市、他學校裏的學生，並着我該來看看。

到訪巴克曼先生的教室，你會發現他是個很能跟學生建立個人的、情感的和睦關係的老師。他不止傳授知識，還把自己的人格完全投入教學，包括自己所有的優點與缺點。與學生相處時，他毫無忌諱，全沒偏見，也不搬弄政治正確，坦誠打開自己。他創造了一個沒有恐懼的開放氛圍，學生身處其中，會感到安全，從而不怕展示自己，發展學習。學校變成他們的客廳，一個互信的空間，其中他們大可暢所欲言。他挑戰、同時也鼓勵學生，增強他們的能力；提倡團結，主張同理心，明白真正的成長不限於純學術的修習；致力謀求平衡，令學生的非學科能力也能在課堂中發展，跨越社會、文化及語言的樊籬。

Maria Speth

Maria SPETH was born in Titting, Germany in 1967. Her debut feature The Days Between premiered at the IFF Rotterdam in 2001 and won the VPRO Tiger Award. Her most recent work, Mr. Bachmann and His Class, won the Silver Bear Jury Prize at Berlinale. 瑪莉亞史碧絲 1967 年生於德國蒂廷，導演首作《時日》(01) 即摘下鹿特丹國際電影節老虎大獎。新作《非常德教室》獲柏林影展評審團銀熊獎。

SELECTED FILMOGRAPHY 主要作品 2001 The Days Between 時日 2007 Madonnas 聖母 2010 9 Lives (docu) 九命少年（紀錄片） 2014 Daughters 女兒們 2021 Mr. Bachmann and His Class (docu) 非常德教室（紀錄片）

©Wolfgang Borrs

DOCUMENTARY COMPETITION 紀錄片競賽 Iran/Norway/Switzerland 伊朗／挪威／瑞士 2020 | Farsi/French | DCP | Colour | 81min Director Firouzeh Khosrovani Producer Fabien Greenberg, Bård Kjøge Rønning Cinematographer Mohammad Reza Jahanpanah Editor Farahnaz Sharifi, Rainer Maria Trinkler Production Designer Morteza Ahmadvand Music Peyman Yazdanian Sound Ensieh Maliki, Hugo Ekornes Production Antipode Films World Sales Taskovski Films

Radiograph of a Family 我的家庭 X 光片 A revolution took place in my home. It affected every corner of our domestic life. My father and mother each represented one side. I drew neutral borders for myself within their zones of control; unclear borders which were never recognised! Religion began to creep in through the cracks. Wine, music and dance, as ordered by Fatwa, were forbidden. The framed copy of Venus by Velazquez was taken down from the walls for the crime of nakedness. Fatwas became the orders of the day. The revolution gave my mother the role of an Islamic combatant. She tried to convert me. This frightened my father. Religion became a nightmare for me. Islamic iconography replaced all the impure objects my mother removed from our home. These new images that filled our walls were the verses from the Quran, the icon of Imam Ali and a painting of headless Imam Hossein riding his horse. This film is a narrative of the covert and overt conflicts that affect our lives. Forbidden images become the pivotal point of the story. My mother, struggling with images of herself unveiled, rips up the photographs from our family albums. I imaginatively piece them back together and draw in the missing parts of the headless torsos and armless bodies. My childhood passed between these two poles. I was constantly forced to choose between the two. Each day I endured imposition from one side and acceptance from the other. The revolution had played its role and taken its toll.

[導演的話] 革命就在我家中發生。我們日常生活的每一個角落都被革命影響。我父親和母親各自代表一方。我在他們的控制區內自畫中立界線，但這條模糊的界線從未被認可！宗教開始尋隙入，美酒、音樂與舞蹈成為禁忌。維拉斯奎茲的維納斯對鏡梳妝畫像複製品因裸露罪名，要從牆上取下，伊斯蘭教裁決成為日常秩序。革命令家母成為伊斯蘭鬥士，她嘗試改變我，此舉嚇壞了家父。對我來說，宗教宛如噩夢，伊斯蘭的標語符號代替了母親移走的一切不潔之物。我家牆壁重新掛上的是可蘭經文、哈梅內伊的肖像和無頭先知伊瑪目胡笙縱馬奔馳的畫像。本片說的就是這一段若隱若現，影響我們生活的故事。被禁的影像成為故事的支點。家母撕毀了家族相簿的相片，我以想像把它們重新拼貼，重新畫上缺去的人物頭顱及手腳。我的童年在兩極中度過。每一天我得在接受與失衡的兩極裏忍受過來。革命扮演了它的角色，令我們付出了沉重的代價。

Firouzeh Khosrovani

Firouzeh KHOSROVANI was born in Tehran, Iran. She studied in Italy before returning in 2002 and acquiring her Master’s degree in Journalism. Her film Rough Cut (08), won thirteen international film festival awards. Her latest film Radiograph of a Family was awarded Best Feature-Length Documentary at IDFA. 菲羅茲高絲洛雲妮於伊朗德黑蘭出生，復負笈意大利，2002 年回國考獲新聞學碩士學位。憑短片《初剪》(08) 摘下多個國際電影節獎項。《我的家庭 X 光片》是她的最新作品，獲 2020 年 IDFA 最佳紀錄片獎。

SELECTED FILMOGRAPHY 主要作品 2004 Life Train 生命列車 2008 Rough Cut (short) 初剪（短片） 2014 Fest of Duty 責任節日 2020 Radiograph of a Family 我的家庭 X 光片

DOCUMENTARY COMPETITION 紀錄片競賽 Sweden 瑞典 2021 | Kurdish/Arabic | DCP | Colour | 91min Director Hogir Hirori Producer Antonio Russo Merenda, Hogir Hirori Cinematographer Hogir Hirori Editor Hogir Hirori Music Mohammed Zaki Sound Jens Kihlen Production Lolav Media, Ginestra Film World Sales Dogwoof

©Lolav Media/Ginestra Film

Sabaya 拯救 ISIS 性奴 Growing up in Northern Iraq my whole childhood was plagued by war and persecution because of my Kurdish ethnicity. My family lost everything and we constantly had to flee our homes. Life was full of hardships, but at least we had each other. I always wished I had a camera back then, to document the injustice my people were subjected to. [...] With Sweden now as my home base, I have had the opportunity to go back to document the fate of the Yazidis, a religious minority of Kurds. Through history, the Yazidis have endured and survived countless genocides as they have tried to uphold their own religion. In August 2014, the Yazidis became victims of a genocide by Daesh (ISIS) in its campaign to force them to convert to Islam. This has led me to make a trilogy of documentaries, to show the real consequences of war, and the raw and unretouched fate of the Yazidis in Northern Iraq. […] Sabaya is a film about those who risk their lives every day to save others. It is a documentary about the intolerable and unacceptable consequences of war, about abuse and suffering, but also about humankind and compassion, second chances in life and new beginnings.

[導演的話] 我的童年在伊拉克北部庫爾德人聚居地度過，連年戰禍。我的家庭失去一切，同時要不斷遷徙。生活固然艱難，但起碼我們還在一起。我常想，那時有一部攝影機便好了，把我們身受的種種不義都記錄下來。後來，我離開了故國，在瑞典定居下來。然而，即使是二十年後的今天，各種戰亂不安仍然在我家鄉纏繞未去。我以瑞典為製作基地，有機會回去記錄耶茲迪人的命運。耶茲迪人是庫爾德的少數族裔，歷史上，他們承受了無數的殺戮仍得以倖存，他們不得不把自己的宗教信仰隱藏起來。2014 年 8 月，大量耶茲迪人遭受強迫他們改信伊斯蘭教的伊斯蘭國（ISIS）屠殺，令我產生製作一個紀錄片三部曲的念頭，希望藉此顯示戰爭的真正後果，以及伊拉克北部耶茲迪人真實而慘酷的命運。於是有了 2016 年的《救我一命的女孩》、2017 年的《拆彈生死線》及今天的《拯救 ISIS 性奴》。《拯救 ISIS 性奴》記錄了一群人如何每天冒着生命危險去拯救他人。它是一部有關無法忍受及不能接受的戰爭後果，關於受虐與苦難的紀錄片。除此，它也關於人類及同情，關於生命的第二次機會，關於重新開始。

Hogir Hirori

Hogir HIRORI was born in Duhok, Iraqi Kurdistan in 1980. He has lived in Stockholm since 1999 and works as a freelance photographer, editor and director, while running his own production company, Lolav Media. His co-directing The Deminer (17), premiered at IDFA and received the Special Jury Award for Best Documentary Feature. 荷基爾希羅里 1980 年生於伊拉克庫爾德斯坦杜霍克，99 年移居瑞典斯德哥爾摩，現任兼職攝影師、剪接師及導演，並創辦洛拉夫媒體製作公司。前作《拆彈生死線》(17) 獲阿姆斯特丹國際紀錄片電影節最佳紀錄片評審團特別獎。

SELECTED FILMOGRAPHY 主要作品 2016 The Girl Who Saved My Life 救我一命的女孩 2017 The Deminer (co-dir) 拆彈生死線（合導） 2021 Sabaya 拯救 ISIS 性奴

©Elias Berglund

DOCUMENTARY COMPETITION 紀錄片競賽 Switzerland/Germany/Georgia 瑞士／德國／格魯吉亞 2021 | Georgian | DCP | Colour | 91min Director Salomé Jashi Producer Vadim Jendreyko, Erik Winker, Martin Roelly, Salomé Jashi Cinematographer Goga Devdariani, Salomé Jashi Editor Chris Wright Music Celia Stroom Sound Philippe Ciompi Production Mira Film, CORSO Film, Sakdoc Film World Sales Syndicado

Taming the Garden 逐水移樗 Some time ago, the entire country of Georgia witnessed a surreal scene – a large tree floating in the sea. That was when we learned that the most powerful man in the country had a new passion – to own century-old trees on his private estate. Witnessing this image was like seeing a glitch in the real world. It was as if I had seen something I should have never seen. It was beautiful, like real-life poetry, but at the same time it seemed to be a mistake, a kind of discomfort. I embarked on filming this process as Georgia’s whole coastline was involved in implementing one man’s desire. I wanted to explore what was behind this mesmerisingly strange image; to tell about the ambition of a powerful man, who alters landscapes, moves trees, leaves witnesses perplexed – all for the sake of his pleasure. The material spoke of many different aspects of life, which found symbolic expressions in the film, such as the idea of manhood, or forced migration, or uprooting, which is not just a physical process. I also relate the theme of uprooting to my country, where values and a sense of stability are constantly floating. Salomé Jashi

[導演的話] 不久前，全格魯吉亞都目睹一個超現實景象：一棵大樹在海上漂浮。我們才曉得全國權力最大的男人興起了新的旨趣：要把百年老樹都移到他的私人花園。見證這情景就像看到現實發生的小差錯，像看見不該看到的事情。它很美，像生活裏的詩，但同時它似乎是錯的，帶來某種不安。我要把這過程紀錄下來。格魯吉亞整個海岸線都為了滿足一個人的私慾而掀動起來。我想探索這奇異影像背後究竟有什麼，講述這位大人物的野心，他移山易樹，做出令世人瞠目結舌的舉措，一切真的只為了他個人的快樂？素材涉及生活不同方面，當中不乏象徵表達，例如雄風、迫遷，或連根拔起，都不只是物理過程。我也把連根拔起這主題扯上價值與安全感都面臨風雨飄搖的我國。我把影片視為一次步入超現實世界的旅程。弔詭的是，這超現實世界是有事實基礎的。影片拍攝近兩年，每個月我都帶着小型攝製隊到海邊，一切沒預先計劃好，所以別具挑戰。尤其是那背後的大人物令不少被訪者有所畏懼，恐怕在鏡頭前說了什麼會帶來不好的後果。這種恐懼，就像其他脆弱的民主國度，已深深注入我們的血液。

Salomé JASHI was born in Tbilisi, Georgia in 1981. She first worked as a reporter. In 2005, she won a British Council scholarship to study documentary filmmaking at Royal Holloway. Her The Dazzling Light of Sunset (16) was awarded the Main Prize at Visions du Réel’s Regard Neuf Competition. 莎樂美查施 1981 年生於格魯吉亞第比利斯，新聞系畢業，曾任記者數年。2005 年獲英國文化協會獎學金往倫敦進修紀錄片製作，以《落日炫暉》(16) 獲瑞士真實電影節導演首作獎。

SELECTED FILMOGRAPHY 主要作品 2006 Their Helicopter (short) 直升機公園（短片） 2016 The Dazzling Light of Sunset 落日炫暉 2021 Taming the Garden 逐水移樗

DOCUMENTARY COMPETITION 紀錄片競賽 Ukraine/Germany/Latvia/Qatar 烏克蘭／德國／拉脫維亞／卡塔爾 2020 | Russian/Kurdish/Ukrainian/German/Arabic DCP | B&W | 103min Director Alina Gorlova Producer Maksym Nakonechnyi Cinematographer Vyacheslav Tsvetkov Editor Olha Zhurba, Simon Mozgovyi, Alina Gorlova Music Goran Gora, Serge Synthkey Sound Vasyl Yavtushenko Production Tabor LTD World Sales Square Eyes

This Rain Will Never Stop 江湖夜雨無從斷 I started working on This Rain Will Never Stop four years ago. Initially, it was supposed to be a character-driven short. I already knew it would be about Andriy Suleyman. However, while filming, I realised that the scope of the piece could have been wider. I understood that there was potential to say something more universal about the impact of war. Through black-and-white, I thought that I could create this unified space, from Donbas to Syria. That’s also the reason why I decided not to add captions introducing the different places. Later in postproduction, I realised how black-and-white cinematography seemed to reflect the conflict between war and peace, two opposite sides that form our world. It embodies a sort of yin-and-yang stylisation. While filming, I realised how much these people are losing, how many connections and bonds are broken because of this war. I’d like to bring this feeling to audiences, which is perhaps difficult to describe with words but is something I was able to express through the language of film. When you’re losing your roots, you’re basically losing your direction in life.” Interview with Alina Gorlova The Calvert Journal

[導演訪問] 拍攝計劃是怎樣開始的？這是四年前開始籌備的。原本構思是一部由角色帶動的短片。那時我已很清楚是去拍攝安德魯蘇利文的事跡，但隨着拍攝展開，我發現作品涵蓋的幅度可以更廣。我明白到它可以觸及更普遍的課題：不限於敘利亞和烏克蘭的衝突，而是關於戰爭的影響本身。為何選擇黑白影像？黑白影像令我可以將不同地域發生的事連結起來，它們都承受類似的暴力，作出類似的掙扎。透過黑白影像，我想我可以創造出一個連結的空間，統合由頓巴斯到敘利亞的廣大地區。也是這個原因，令我決定不用字幕介紹不同地方。在後製階段，我更發現黑白攝影似乎更能反映戰爭與和平的衝突。戰爭與和平，就像陰與陽的關係，成為構成我們世界的兩股對立力量。影片令觀眾產生強烈感受…… 我自己何嘗不是？當我們在烏克蘭政府控制區及分離共和國控制區之間的一個檢查站拍攝時，目睹每一天經過那裏的人，目睹了他們如何貧困，如何需要前來烏克蘭這邊購買及收集食物。這些經驗讓我們所拍攝的衝突有了人性一面。影片亦以此為目標：還戰爭以人文的面貌。

Alina GORLOVA was born in Ukraine and graduated from Karpenko-Kary Kyiv National University of Theatre, Film & Television. In 2016, she completed her first documentary, Kholodny Yar. Intro. Her second documentary, No Obvious Signs (18), won multiple awards. 阿蓮娜歌洛娃生於烏克蘭，畢業於基輔卡爾賓高卡里戲劇影視大學。除了拍攝紀錄片，她也有製作劇情短片。

SELECTED FILMOGRAPHY 主要作品 2012 The First Step in the Clouds (short) 雲上第一步（短片） 2017 Invisible Battalion (short) 看不見的軍營（短片） 2018 No Obvious Signs 無明顯跡象 2020 This Rain Will Never Stop 江湖夜雨無從斷

FIREBIRD AWARDS 火鳥大獎

Short Film Competition 國際短片競賽

SHORT FILM COMPETITION JURY

國際短片競賽評審團 NISHIKAWA Tomonari is a Japanese filmmaker and artist. He teaches in the Cinema Department at Binghamton University. His short film, Ten Mornings Ten Evenings and One Horizon (2016), received a Firebird Jury Prize at the Hong Kong International Film Festival. He served as a juror for Ann Arbor Film Festival and dresdner schmalfilmtage, among others. He is a co-founder of KLEX: Kuala Lumpur Experimental Film, Video, & Music Festival, and Transient Visions: Festival of the Moving Image. Filmography: Apollo (2003), Shibuya – Tokyo (2010), Manhattan One Two Three Four (2014). 西川智也是日本導演兼藝術家，現居紐約，於賓漢頓大學的電影部任教。他的短片《十晨十夕一地平》(2016) 獲香港國際電影節國際短片競賽評審團獎。曾為安娜堡電影節、德累斯頓電影節、波哥大電影大學 EUREKA 電影節擔任評審。他是 KLEX 吉隆坡實驗電影、錄像及音樂節，以及 Transient Visions 流動影像節的合辦人。短片作品包括《阿波羅》(2003)、《澀谷─東京》(2010)、《曼克頓一二三四》(2014)。

Maike Mia HÖHNE serves on the Sharjah Film Platform Advisory Committee advisory council, and was head of Berlinale Shorts from 2007 to 2019. She is a professor for film at the University of Applied Sciences Europe in Hamburg and artistic director of the Hamburg Short Film Festival. Currently she is working on a new feature, to be shot soon. Filmography: Petit Voyage (1996), Fin de siglo (1998), Von der Hingabe (2002), Eine einfache Liebe (2005), Warum wir waren was wir waren (2011), and 3/4 (2014). 邁姬美亞漢娜為世界各地不少機構及電影節擔任策展人及評審，並參與沙迦電影平台顧問委員會。2007 至 2019 年間出任柏林影展短片單元的主管。她現於漢堡的歐洲應用科學大學任教電影，自 2019 年起出任漢堡短片節的藝術總監，同時亦正在執導最新長片作品。導演作品包括《小旅程》（1996）、《世紀末遇見你》（1998）、《由奉獻開始》（2002）、《簡單的愛》（2005）、《故我緣何》（2011）及《3/4》（2014）。

LEUNG Ming-kai is a cinematographer and filmmaker from Hong Kong. His cinematography works include Sylvia Chang’s Murmur of the Hearts (2015), Johnny Ma’s Old Stone (2016), Anocha Suwichakornpong’s By the Time It Gets Dark (2016), Ray Yeung’s Suk Suk (2019) and Jun Li’s Drifting (2021). He has also directed several short films, including Three Boys (2007), and Lock (2007). His debut feature, Memories to Choke On, Drinks to Wash Them Down (co-written and co-directed with Kate Reilly) won Best Screenplay at the 2021 Hong Kong Film Critics Society Awards. 梁銘佳是攝影師也是導演，香港土生土長。曾為張艾嘉導演的《念念》（2015）、馬楠的《老石》（2016）、安諾釵舒域察歌邦的《入黑之時》（2016）、楊曜愷的《叔•叔》（2019）和李駿碩的《濁水漂流》（2021）掌鏡，並於加拿大及泰國獲提名年度最佳攝影獎。他執導過多部短片，包括 2007 年的《Three Boys》及《Lock》。他和 Kate Reilly 合力編導的《夜香•鴛鴦•深水埗》（2019）奪得 2021 年香港電影評論學會大獎最佳編劇。

SHORT FILM COMPETITION 國際短片競賽

Short Film Competition Programme I 國際短片競賽節目 ( 一 ) Blessed Winter Ishik aldida 敲門

Dir: Emetjan Memet Uyghur 維吾爾語 2020 DCP/Online Colour 12min

The story takes place in winter. […] Everyone in the film has their own troubles. […] It seems that this winter is as cold as any winter. But […] there is still something warm to comfort people. It’s like the song that rings in the restaurant near the end of the film. So I decided to call it Blessed Winter.

[ 導演的話 ] 這故事發生在冬天。片中角色各有煩惱。這個冬天好像都會很冷，但還有溫暖的東西撫慰人心，就像片末在餐廳響起的那首歌。

Emetjan Memet Emetjan Memet was born in Xinjiang province, China in 1991. He is currently studying at Beijing Film Academy, majoring in directing. Selected filmography: Alikis (19), Blessed Winter (20). 艾麥提麥麥提 1991 年生於中國新疆，現於北京電影學院主修導演。導演作品有《埃里克斯》(19)、《敲門》(20)。

Vadim on a Walk Vadim na progulke 華汀出行 Finally, Vadim ventures outside the tight square space where he has been sitting. He embraces the brave new world and his renewed life.

Dir: Sasha Svirsky Russia 俄羅斯 2021 DCP/Online Colour 8min

[ 簡介 ] 華汀終於離開了他坐了很久的狹窄方型空間，擁抱勇敢新世界及他的新生。

Sasha SVIRSKY is an independent animation film director based in Moscow, Russia. He graduated from Grekov Art College in Rostov-on-Don, Russia. Selected filmography: Mirs Pirs (09), A Virgin Wind (18), Vadim on a Walk (21). 沙薩史維斯基是居於莫斯科的獨立動畫導演。他畢業於頓河畔羅斯托夫的格烈可夫藝術學院，主修繪畫。導演作品有《美斯皮斯》(09)、《處子之風》(18)、《華汀出行》(21) 等。

Motorcyclist’s Happiness Won’t Fit Into His Suit

Al motociclista no le cabe la felicidad en el traje

樂不稱身的電單車手

Picture by Stefanie Reinhard

Dir: Gabriel Herrera Mexico 墨西哥 2021 DCP/Online Colour 10min

A young motorcyclist rides in circles on his motorcycle. The more he rides, the more beautiful he gets. Is his beauty his, or does his beauty belong to someone else? Is he playing the game of the world, or is the world playing his game? Where does he end and the world begin? Gabriel Herrera

[ 導演的話 ] 年輕電單車手騎着電單車轉圈。他開車愈久，就變得愈美麗。這種美態是屬於他，還是別人的？他在玩世界的遊戲，還是世界在玩他的遊戲？他會在哪兒終結，而世界在哪兒開始？

Gabriel HERRERA is a video artist born in Mexico. He studied film at the Escuela Nacional de Artes Cinematográficas in Mexico City and at the Polish National Film School in Łód . Selected filmography: First Movement For 20 Men In an Empty Room (08), How to Reach God Through Proper Exercising (16), Motorcyclist’s Happiness Won’t Fit Into His Suit (21). 加比奧赫里拉生於墨西哥，是錄像藝術家。他曾在墨西哥城國立電影學院及波蘭羅茲電影學院修讀電影。導演作品有《給空房 20 個男人的第一樂章》(08)、《怎樣好好運動來遇見神》(16)、《樂不稱身的電單車手》(21) 等。

To Calm the Pig Inside Ang Pagpakalma sa Unos 風暴難平

Dir: Joanna Vasquez Arong The Philippines 菲律賓 2020 DCP/Online B&W 18min

The Philippines is vulnerable to natural disasters. […] (Since 2020) the Covid-19 has been plaguing the country. And similar stories of continued suffering from mismanagement of these disasters persist. (This film) became a contemplation on how people cope with both personal and collective pain.

[ 導演的話 ] 菲律賓常有天災，每年遭遇至少二十次颱風，2020 年起又被新冠病毒侵襲。天災後，總會有善後不當令災民雪上加霜的故事出現。本片探討人們如何應對個人及集體傷痛。

Joanna Vasquez Arong Joanna VASQUEZ ARONG pursued a Political Science/International Studies degree at Boston College and started filmmaking in Beijing. Selected filmography: Neo-Lounge (07), Yugong Yishan (08), To Calm the Pig Inside (20). 榮安娜於波士頓學院修讀政治科學及國際研究，後在北京開始拍攝電影。導演作品有《異鄉人的北京》(07)、《愚公移山》 (08)、《風暴難平》(20) 等。

SHORT FILM COMPETITION 國際短片競賽

Short Film Competition Programme I 國際短片競賽節目 ( 一 ) O Black Hole! 噢，黑洞！

Dir: Renee Zhan UK 英國 2020 DCP/Online Colour 16min

A woman who can’t stand the passing of time turns herself into a black hole. A thousand unchanging years pass inside her warm and dark embrace until, finally, the Singularity awakens inside. An immovable woman meets an unstoppable girl in this epic 2D/3D space opera about the meaning of transience and letting go.

[ 簡介 ] 無法接受時間流逝的她，將自己變成了黑洞。在她溫暖及黑暗的懷中，千年不變而過，直至一天奇點甦醒。這部平面及立體的太空歌劇，由一個動不了的女人遇上一個停不了的女孩，探索無常及放手的意義。

Renee ZHAN is a Chinese-American director and animator from Houston, Texas. She graduated from Harvard University in 2016 with a degree in Visual and Environmental Studies. Her latest work O Black Hole! (20) has been to international film festivals including Locarno, Toronto and Chicago. Selected filmography: Pidge (14), Hold Me (Ca Caw Ca Caw) (16). 詹渃瀾是美籍華裔導演，生於美國得州侯斯頓。2016 年於哈佛大學畢業，主修視覺及環境研究。其他導演作品有《鴿子皮治》 (14)、《抱緊我（卡哥卡哥）》(16) 等。新作《噢，黑洞！》入選多個國際電影節，包括羅迦諾、多倫多及芝加哥。

Loose Fish 游魚 Growing up in a Moroccan port town, a boy seeks work on fishing boats, hoping to earn enough money to escape to a different life than the one in store for him.

Dir: Francisco Canton, Pato Martinez Argentina 阿根廷 2020 DCP/Online Colour 16min

[ 簡介 ] 出生於摩洛哥漁港的少年，每天清晨在碼頭找工作努力賺錢，抵住風高浪急在漁船上協助捕魚，寄望有日能擺脫網中魚兒的宿命，游向不一樣的未來。

Francisco CANTON and Pato MARTINEZ started working together on fashion brands, music projects and advertising. Loose Fish is their latest short film. 法蘭斯高肯頓、柏度馬甸尼斯最初於時裝品牌、音樂計劃及廣告上合作，《游魚》是他們的最新短片。

The Chicken 雞在紐約

Dir: Sora Neo USA 美國 2020 DCP/Online Colour 14min

Taking cues from An Afternoon on November 3rd by Shiga Naoya, The Chicken expands on the ways that structural violence permeates our present-day lives […] a growing police presence, limited access to healthcare, and gentrification by the well-meaning liberal middle class […]. Told through the lens of being Japanese in America, this adaptation recasts Shiga’s century-old story as an examination of contemporary New York City.

[ 導演的話 ] 本片以志賀直哉《十一月三日下午的事》為靈感，探討制度暴力如何滲透今天的生活。警察無處不在，醫療服務不足，一片好心的自由派中產逐漸變成貴族。透過留美日本人的眼睛，本片改編百年前的故事，場景設定於今天的紐約市。

Sora Neo SORA Neo is a filmmaker, artist, and translator based in New York and Tokyo. He graduated in Philosophy and Film Studies from Wesleyan University. Selected filmography: Seachange (17), The Chicken (20). 空音央以紐約及東京為家，是電影導演、藝術家及翻譯。他在維思大學畢業，主修哲學及電影。導演作品有《大遷徙》(17)、《雞在紐約》(20) 等。

SHORT FILM COMPETITION 國際短片競賽

Short Film Competition Programme II 國際短片競賽節目 ( 二 ) Lizard 蜥蜴

Dir: Akinola Davies Jr. UK 英國 2020 DCP/Online Colour 18min

[…] The circumstances that created Lizard have haunted and continued to goad me in a way that allowed me to relentlessly question the vulnerable landscapes in which we as Africans were nurtured […] Growing up in Lagos was extremely inspiring […] Being surrounded by such strong matriarchs was another formative reminder of those who navigated a spiritual and moral code. Our mothers were and continue to be the backbone of what permitted us to hang on to our innocence.

[ 導演的話 ] 啟發本片的背景，仍令我深感震撼，令我無休止地質問我們非洲人成長的危險環境。在拉各斯成長，令人獲益良多。我的成長環境由強勢的母親們主導，也塑造了游走於靈魂及道德法則之人的人格。我們的母親以前是、現在也是我們的精神支柱，讓我們可以保持純真。

Akinola Davies Jr. Akinola DAVIES Jr. was born in London to Nigerian parents. He is a multi-disciplined filmmaker and artist whose works often explore community, race, identity, and gender. Selected filmography: Welcome to Nollywood (07), Black to Life (19), Lizard (20). 亞堅路拿戴維斯生於倫敦，父母為尼日利亞人。他從事不同範疇的創作，主題包括社區、種族、身份及性別。導演作品有《歡迎來到羅里活》(07)、《英國史的黑人》(19)、《蜥蜴》(20) 等。

Letter From Your Far-Off Country 遠方家國的來鴻

Dir: Suneil Sanzgiri USA/India 美國／印度 2020 DCP/Online Colour 17min

Letter From Your Far-Off Country is the second film in a series of new works addressing ancestral memory, diaspora, history, decoloniality, and cross-continental solidarity […] Through a letter written by the filmmaker to a distant relative, who was a revolutionary freedom fighter, prisoner’s rights activist, and Communist party leader, […] these shorts look towards the slippery, unstable, and liberatory possibilities of the moving image, seeking to reclaim the past from erasure and provide a journey towards a potential future.

[ 導演的話 ] 本片是一系列的第二部，該系列關注遠祖的回憶、移民、歷史、去殖及不分地域的團結。一位導演寫信給一個遠房親戚，該位親戚是個自由鬥士、囚犯權益關注者及共黨領袖。這些短片目視流動影像滑不溜手、不穩定，充滿解放的可能，嘗試令過去不會被湮沒，並構成一個通往潛在未來的旅程。

Suneil Sanzgiri Suneil SANZGIRI is an Indian American artist, researcher, and filmmaker, working to understand how systems of oppression are informed and reinforced by trauma, history, and memory. His work has been screened nationally and internationally. Selected filmography: The Reunion (19), At Home but not at Home (19), Letter From Your Far-Off Country (20). 辛尼爾桑吉里是美籍印裔的藝術家、研究者及導演，他致力研究創傷、歷史及記憶如何構成及加強壓逼的體制。他的作品在海內外放映，包括：《團圓》(19)、《在家，不在家》(19)、《遠方家國的來鴻》(20)。

Here, Here 傷痕處處

Dir: Joanne Cesario The Philippines 菲律賓 2020 DCP/Online Colour 18min

A few years ago, news broke that in Lobo, a town in my province, a foreign extraction company sought to take over the area in the hope of mining gold […] Thankfully, the local government backed up the community in expressing their strong disapproval. […] In Here, Here, I wanted to re-imagine the town of Lobo years after the extraction company has begun operating in the place. As much as the film is plot-based and characterdriven, it is also a loose and experimental visual study on landscapes and terrains, both natural and beyond.

[ 導演的話 ] 幾年前，一間外國開採公司為了在羅保鎮（位於我居住的八打雁省）採金，企圖控制該地區。幸好居民的反對得到當地政府支持。我嘗試在本片重新想像，該公司在那兒開始營運多年後的景況。影片既有劇情及人物，同時也是一次既自由又富實驗性的映像研究，對象是自然與超自然的風景及地勢。

Joanne Cesario

Joanne CESARIO grew up in the Province of Batangas in the Philippines. She has been working across film, small press, and photography since 2013. Selected filmography: Uwian Na (16), Here, Here (20). 祖安塞薩里奧長大於菲律賓的八打雁省。她自 2013 年從事電影、小型出版社及攝影的工作。導演作品有《回家吧》(16)、《傷痕處處》(20) 等。

SHORT FILM COMPETITION 國際短片競賽

Short Film Competition Programme II 國際短片競賽節目 ( 二 ) KKUM 母親的夢

Dir: Kim Kang-min South Korea 南韓 2020 DCP/Online B&W 9min

I used to love experimental film and animation when I was an animation student, […] but I have been trying to change and develop my style and technique over time and I figured out my style of filmmaking is getting closer to narrative, […] KKUM is the most personal film I have made but it is also about a mother’s love and care, which audiences can relate to with the same emotion.

[ 導演訪問 ] 我學習動畫時，很喜歡實驗電影及動畫，但之後不斷改變及磨鍊我的風格及技術，終於發覺我愈來愈接近敘事式風格。本片是我最個人的作品，片中母親對兒子的關愛，會令觀眾有共鳴。

Interview with Kim Kang-min Animation World Network KIM Kang-min was born in Incheon, South Korea. He graduated from the California Institute of the Arts and currently works as a freelance artist. Selected filmography: 38-39°C (11), Dear Flower (15), KKUM (20). 金剛敏生於韓國仁川。他在美國加州藝術學院畢業，現為自由身藝術家。導演作品有《38 至 39 度》(11)、《親愛的花》(15)、《母親的夢》(20) 等。

The Nightwalk 夜逃 How did you meet Jarvis? Did he easily open up to you?

Dir: Adriano Valerio France 法國 2021 DCP/Online Colour 15min

Jarvis is one of my best friends. […] The only gap in our correspondence was just after he moved to Shanghai. […] We actually wrote the script together and he is the author of the photos that are the basis of the film’s story. [...] This film was a way for him to overcome the trauma he experienced, by juggling very personal elements of his story with some fictional elements. Interview with Adriano Valerio Clermont-Ferrand International Short Film Festival

[ 導演訪問 ]

你怎樣認識查維士？他容易對你暢談嗎？他是我一個好友，他移居上海前我們還一直通訊。本片劇本其實由我倆合編，作為影片基礎的相片也是他拍的。我覺得他透過本片，混合他最私密的經歷及虛構元素，去克服他當時遇到的創傷。克萊蒙費朗短片節

Adriano VALERIO was born in Italy in 1977. He is now Head Professor at EICAR where he teaches Directing and Film Analysis. His films were selected and awarded at acclaimed international film festivals including Cannes and Venice. Selected filmography: 37°4 S (13), Mon amour, mon ami (17), The Nightwalk (21). 艾治安奴維拉利奧 1977 年生於意大利。他現為巴黎國際電影學院主教授，任教導演及電影分析。他的作品曾入選康城、威尼斯國際影展，並贏獲獎項。導演作品有《南緯 37.4 度》(13)、《我的愛人，我的朋友》(17)、《夜逃》(21) 等。

Under the Heavens Seiva Bruta 無處是天堂

Dir: Gustavo Milan Brazil 巴西 2020 DCP/Online Colour 17min

Under the Heavens is a reflection on the pain of abandonment. As the social and political crisis in Venezuela deepens with each passing day, more and more people are forced to leave their families behind and immigrate to neighboring countries in search of better opportunities. Though their minds are set for rational goals, their hearts and bodies long for the loved ones who stayed behind.

[ 導演的話 ] 本片反映離棄之苦。由於委內瑞拉的社會及政治危機日益惡化，愈來愈多人被迫離開家庭，移居到鄰國找尋機會。他們即使有着理性的目標，但他們身心都是思念着遺留在家鄉的摯親。

Gustavo Milan Gustavo MILAN is a Brazilian filmmaker currently living in New York City. He graduated from the French school of documentary Les Ateliers Varan in Paris, and then began filmmaking in 2014. Selected filmography: A Vida é um Romance (14), Monica (18), Under the Heavens (20). 古斯塔夫米蘭巴西導演，現居紐約。他畢業於巴黎紀錄片學校化朗工作坊，其後於 2014 年起開始拍攝電影。導演作品有《生活是小說》(14)、《莫妮卡》(18)、《無處是天堂》(20)。

SHORT FILM COMPETITION 國際短片競賽

Short Film Competition Programme III 國際短片競賽節目 ( 三 ) Wuqiao Circus 吳橋馬戲團

Dir: Lukas Berger Portugal 葡萄牙 2020 DCP/Online Colour 14min

[…] Berger follows the lives of the performers outside the limelight. At times, the camera looks inside one of the apartments, showing the artists going about their daily routine of housework, preparing dinner or simply relaxing while watching TV… highlighting the spectacle of the circus, the other-worldliness of it embedded in the banal, concrete routine of a daily life.

[ 影評摘錄 ] 伯格拍攝表演者在舞台下的生活，攝影機有時走進他們的公寓，記錄他們做家務、煮飯，或只是看電視來放鬆。本片突出了馬戲團的超現實戲劇性，是包含在最平凡的日常生活之中。

Rouven Linnarz Asian Movie Pulse Lukas BERGER is an Austrian photographer and director. He has worked in China, Ethiopia, Pakistan and Russia. His films have screened at various film festivals. Selected filmography: Circus Debere Berhan (15), Circus Movements (19), Wuqiao Circus (20). 盧卡斯伯格是奧地利攝影師及導演，作品曾於不同電影節放映。他曾在世界各地工作，包括中國、埃塞俄比亞、巴基斯坦、俄羅斯，等等。導演作品有《德卜勒伯爾漢馬戲團》(15)、《馬戲動作》(19)、《吳橋馬戲團》(20) 等。

Microcassette - The Smallest Cassette I’ve Ever Seen Mikrokazeta – najmanja kazeta koju sam ikad vidio

微型卡式帶奇緣

Dir: Igor Bezinovi , Ivana Pipal Croatia/Serbia 克羅地亞／塞爾維亞 2020 DCP/Online Colour 19min

Our film is based on a documentary microcassette audio recording that was found in a junk yard in Croatia some years ago. The voice of a little girl which we heard on the tape served as inspiration for our own imagination and our filmmaking process, so departing from real life we drifted into our imaginations.

[ 導演的話 ] 本片的創作是基於一盒在克羅地亞垃圾場找到的微型卡式錄音帶。帶上小女孩的聲音啟發我們的幻想及創作，使我們脫離現實生活，飄進我們的幻想之中。

Igor Bezinovi and Ivana Pipal Igor BEZINOVI was born in Croatia in 1983. He has directed a dozen short films, the feature-length documentary The Blockade (12) and feature fiction-documentary A Brief Excursion (17). 伊戈比先諾域 1983 年生於克羅地亞，拍過十餘部短片，亦有紀錄長片《封鎖》(12) 及劇情紀綠片《短暫的遠足》(17)。 Ivana PIPAL is a freelance visual artist from Croatia. She earned her MA in Animated Film and New Media from the Academy of Fine Arts in Zagreb. 伊凡娜琵寶是克羅地亞自由身視覺藝術家，她在薩格勒布美術學院碩士畢業，主修動畫及新媒體。

Souvenir Souvenir 戰爭回憶 The film relates Bastien’s multiple and unsuccessful attempts to initiate a dialogue with his grandfather using an excellent combination of art styles to lay out a story of war trauma, family conflict, creative process and ultimately filial love... Dir: Bastien Dubois France 法國 2020 DCP/Online Colour 16min

[ 簡介 ] 本片糅合不同藝術風格，道出巴斯蒂多次想他祖父說出他的戰爭經歷。故事主題包括戰爭創傷、家庭衝突、創作，最終就是祖孫情。

Bastien DUBOIS was born in Lille, France in 1983. His first independent film, Madagascar, a Journey Diary (10), was screened at Sundance and was nominated for an Academy Award in 2011. Since 2013, he has run the NGO Art Brutal, nurturning young animators and offering them annual grants. Selected filmography: Face from Place (12), Cargo Cult (13), Souvenir Souvenir (21). 巴斯蒂安杜拜斯 1983 年生於法國里爾，首部獨立影片《馬達加斯加旅行日記》(10) 曾在辛丹斯電影節放映，並獲提名 2011 年奧斯卡。2013 年起，他創辦「直接藝術」培養年青動畫師，並提供年度資助。導演作品有《平凡面孔》(12)、《貨物祟拜》 (13)、《戰爭回憶》(20) 等。

SHORT FILM COMPETITION 國際短片競賽

Short Film Competition Programme III 國際短片競賽節目 ( 三 ) The Chick Tan Poush 沒有家鄉的小雞

Dir: Bijan Aarabi Iran 伊朗 2020 DCP/Online Colour 13min

Undocumented immigrants face a wide range of dangers. Women who migrate illegally are far more vulnerable to unsafe conditions, especially violence and sexual abuse. Illegal female immigrants lose everything in the dangerous process of immigration: past memories, present pleasures, and future dreams, everything except for love. Because Love knows no borders.

[ 導演的話 ] 非法移民要面臨很多不同的

危險。女性非法入境者的危險更大，尤其容易遭遇暴力及性侵。她們冒險偷渡，也會失去一切：過去的回憶、當下的愉悅、未來的夢想。除了愛。因為愛沒有邊界。

Bijan Aarabi Bijan AARABI was born in 1980 and holds a B.A in Film Directing from Tehran Soureh University. Selected filmography: Lost Dream (10), Larvae (17), The Chick (20). 比詹亞拉比生於 1980 年，畢業於德黑蘭蘇里大學，主修電影導演。導演作品有《遺失的夢》(10)、《幼蟲》(17)、《沒有家鄉的小雞》(20) 等。

Night Bus 夜車 This animation film is a suspenseful and thrilling tale that depicts human emotions and elations as well as kinship in all animals. There will be a time when, humans or animals alike, will grow from their weakness to find strength in the quest for survival. Dir: Joe Hsieh Mandarin 國語 2020 DCP/Online Colour 19min 導演：謝文明

Joe Hsieh

[ 導演的話 ] 這是一部講感情的動畫片，

在懸疑驚悚的故事裏表現人跟人的感情，以及動物之間的親情，人跟動物都會在某一刻，從柔弱中生長出強大的力量，找到生命的出口。

Joe HSIEH is a Taiwanese animation director. His works often explore the dark side of human nature through horror and suspense. He participated in No.7 Cherry Lane (19) directed by Yonfan. His latest work Night Bus (20) won Best Animated Short Film at the Golden House Awards. Selected filmography: Meat Days (08), The Present (12), Night Bus (20). 謝文明台灣知名動畫導演，作品擅以手繪動畫探討人性陰暗面，風格驚悚異色風格屢獲國際影展注目。曾參與楊凡導演的動畫長片《繼園臺七號》(19)。新作《夜車》(20) 贏獲金馬獎最佳動畫短片。其他導演短片有《肉蛾天》(08)、《禮物》(12)。

I Am Afraid to Forget Your Face 只怕忘掉你的臉

Dir: Sameh Alaa Egypt/France/Qatar/Belgium 埃及／法國／卡塔爾／比利時

2020 DCP/Online Colour 15min

Though its name isn’t mentioned, Cairo plays a big role both in Fifteen (2017) and in I Am Afraid to Forget Your Face. […] The city is very unique. I actually shot both films where my grandparents used to live. That’s where I grew up, I like it a lot. It doesn’t have a particular message other than that’s where my characters are living. The city also feels like a character to me, it’s what moves me. Interview with Sameh Alaa Talking Shorts

[ 導演訪問 ] 雖然片中沒明言是開羅，但這城市在《15》(17)及《只怕忘掉你的臉》均扮演重要角色。

這城市非常獨特，我其實是在祖父母以前住的地方拍這兩部片，也在那兒長大，我很喜歡那兒。除了角色住在那裏，這個設定沒特別含意。對我來說這城市也像一個角色，所以令我很感動。

Sameh ALAA was born in Cairo, Egypt and studied filmmaking at EICAR, Paris. I Am Afraid to Forget Your Face (20) is the first Egyptian film in 50 years to be selected for the Official Short Film Competition at the Cannes Film Festival 2020. 沙馬亞拉生於開羅，於巴黎電影學院修讀電影。《只怕忘掉你的臉》(20) 是五十年來首部競逐康城短片大獎的埃及電影。

Photos: Rouge, Center Stage@Fortune Star Media Limi

（Not for sale 非賣品)

(Please visit the HKIFF webpage at www.hkiff.org.hk to purchase. 如欲購買，請瀏覽香港國際電影節網站 www.hkiff.org.hk)

PAN-CHINESE CINEMA 華語電影

Stanley Kwan, Filmmaker in Focus 焦點影人關錦鵬 Stanley Kwan is lauded as the Hong Kong director of women’s cinema. From his directorial debut feature, Women, to his latest work, First Night Nerves, the delicate sensitivity of his lens is celebrated for its full realisation of female characters and transformative representations of women. Nevertheless, he reiterated that he had no intention of becoming a maker of women’s films. A closer look at his oeuvre reveals prominent portraits of the city, the era and its people from a humanistic perspective. Both imbued in the beauty of decadence, Love Unto Wastes, occasioned after the signing of the Sino-British Joint Declaration, and Hold You Tight, pertaining to the post-handover period, evoke the anxiety for the future and the phantom of death that beset Hong Kong people. Even though Center Stage and Everlasting Regret are set in Shanghai, these films still emanate from Hong Kong. From Yang Yin: Gender in Chinese Cinema and Still Love You After All These, which offer personal discourse of his sexual identity, to Lan Yu’s crafting of a moving gay romance, Kwan’s films are exemplary explorations of sexuality and gender in Hong Kong cinema, honest and profoundly enchanting. 關錦鵬被譽為擅拍女性題材的香港導演，從首作《女人心》到近作《八個女人一台戲》，他細膩的感性觸覺，每每令鏡頭下的女性別具神采。然而他不下一次提到自己並非立心要拍女性電影，回顧他的作品，其實更多是以人文角度，述說城市、時代和人際關係。中英聯合聲明簽署後的《地下情》，到主權移交後的《愈快樂愈墮落》，透過頹廢之美，屢次透出港人面對未來的不安，死亡陰影如影隨形。由《阮玲玉》到《長恨歌》，即使背景在上海，仍以香港為本位。從《男生女相》和《念你如昔》談及自己的性傾向，到《藍宇》拍出同性之間的動人愛情，在香港電影的性別探索路上，均是坦然和漂亮的示範。

Moleskine 今年再度與香港國際電影節合作，為關錦鵬設計特別版筆記簿。 Moleskine has collaborated with the HKIFF to create a special edition notebook for Stanley Kwan.

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STANLEY KWAN, FILMMAKER IN FOCUS 焦點影人關錦鵬

Women 女人心

1985 | Cantonese 粵語 DCP | Colour | 91min Cast: Cora Miao, Chow Yun-fat, Cherie Chung, Elaine Jin 演員：繆騫人、周潤發、鍾楚紅、金燕玲

Stanley Kwan shows a remarkable understanding of women’s sensibilities in his debut feature, foreshadowing his eventual reputation as one of Chinese cinema’s foremost feminist voices. After Po-yee discovers that her husband is having an affair with a younger, sexier woman, she is suddenly single again. She finds camaraderie in a “Spinsters’ Club” of ageing single women, but is torn between her renewed personal freedom and the comfort of domesticity. Nominated for multiple Hong Kong Film Awards, including Best Director. 關錦鵬由電視台菲林組轉戰電影圈，成為新浪潮時期最搶手副導演，再晉身導演之列，首作即嶄露鋒芒。夫婦已婚八年，妻子發現丈夫有外遇，毅然提出離婚，帶着年幼兒子搬回娘家。加入單身俱樂部，生活可以更精彩，卻發現無論如何也是寂寞。男人不及石頭沉實，在父權社會，怎樣爭寵，妻子與情敵都在吃苦頭。諷刺異性戀婚姻的脆弱，調侃大男人的幼稚，輕鬆幽默且不失細膩不落俗套，並觸及同性與雙性戀，把感情關係的離離合合，拍出時代氣息。

Love Unto Wastes 地下情

1986 | Cantonese 粵語 DCP | Colour | 96min Cast: Tony Leung Chiu-wai, Irene Wan, Elaine Jin, Chow Yun-fat, Tsai Chin 演員：梁朝偉、溫碧霞、金燕玲、周潤發、蔡琴

After impressing Hong Kong cinephiles with his debut, Stanley Kwan arrived on the international scene with this atmospheric drama that premiered at the Locarno Film Festival. Three disaffected women – a model, an actress, and a singer – enter into a polyamorous relationship with a bored playboy. When one of the self-absorbed youths is mysteriously murdered, the remaining three meet an eccentric cop, whose investigation affects them in unexpected and revealing ways. 八十年代文藝傑作，與楊德昌《青梅竹馬》（1985）氣息相近，借一宗離奇命案，揭示現代男女的愛情浪擲、青春虛度。台灣來的歌星（蔡琴）在家中遇害，大限將至的探員（周潤發）沒查出兇手，卻對死者身邊好友感興趣。米舖少爺（梁朝偉）熱戀墨鏡少女（溫碧霞），同時搭上落泊女星（金燕玲），在前途未卜的城市，只知燃燒虛空生命。關錦鵬與編劇邱剛健得意之作，寫出盡在不言中的意境。後段赴台灣拍攝，對照出香港的人際隔閡與惆悵蒼涼。

Rouge 胭脂扣

1987 | Cantonese 粵語 DCP | Colour | 93min Cast: Anita Mui, Leslie Cheung, Alex Man, Emily Chu 演員：梅艷芳、張國榮、萬梓良、朱寶意

Anita Mui and Leslie Cheung, two bright Hong Kong flames extinguished all too soon, are forever enshrined in Stanley Kwan’s award-winning classic, now restored to its full glory. At her most captivating and romantic, Mui plays Fleur, an elegant courtesan in the 1930s, who begins an affair with Chan, scion of a wealthy family. When his family objects to their relationship, the pair agrees to a suicide pact. Flash forward 50 years, and Fleur, now a ghost, searches for Chan in a Hong Kong that is completely transformed. 如夢如幻月，若即若離花，時移世易，石塘咀倚紅樓早已面目全非，卻有癡心女子重回舊地，欲登報尋人。如花苦候十二少，以為是五十年不變的誓言，如今幻作煙雲字，錯付千般相思。李碧華的艷鬼還魂故事，落在關錦鵬手中，化成了淒美浪漫。堅持不用特技，不要道士捉鬼，不用女鬼飛天，摒棄當時港產片慣見的驚嚇搞笑伎倆，着重刻劃情感，以精緻的美術與攝影，渲染出塘西風月的頹廢美。梅艷芳提議張國榮合演，銀幕上充滿默契，成就不朽傳奇。

Full Moon in New York 人在紐約 A stellar trio of award-winning Chinese actresses – Siqin Gaowa, Sylvia Chang, and Maggie Cheung – headlines this New York-set immigrant drama. Each possessing unique experiences and dreams, three women from China, Taiwan and Hong Kong find friendship in this unfamiliar and unwelcoming city. Kwan intelligently examines identity, socio-political belonging, female sexuality and racism in this richly-detailed snapshot of the Asian diaspora experience. 1989 | Cantonese/Putonghua/English 粵語／普通話／英語 35mm | Colour | 88min

Cast: Sylvia Chang, Maggie Cheung, Siqin Gaowa 演員：張艾嘉、張曼玉、斯琴高娃

來自台灣的雄屏（張艾嘉）醉心劇場表演，卻因華裔身份處處碰釘；趙紅（斯琴高娃）從大陸嫁到美國，英語一竅不通，文化差異令她苦惱不堪；香港移民鳳嬌（張曼玉）賺錢至上，父親為她操心婚事，她卻似另有想法。人在異鄉，舉杯暢飲，寒夜高歌，偶然互訴心事，不知明日如何。影片借中港台三女性在紐約生活的掙扎與無奈，反映流徙海外的華人命運。用心經營氣氛，甚至刻意用彩色攝影拍出黑白感覺，突顯離散處境的陰鬱灰冷。

STANLEY KWAN, FILMMAKER IN FOCUS 焦點影人關錦鵬

Center Stage（Director’s Cut）阮玲玉（導演版）

1991 | Cantonese/Putonghua 粵語／普通話 DCP | Colour | 155min

Cast: Maggie Cheung, Tony Leung Kafai, Chin Han, Carina Lau

Undeniably one of Stanley Kwan’s signature works, this kaleidoscopic biopic of Chinese silent film star Ruan Lingyu earned Maggie Cheung a Best Actress nod at Berlinale. Kwan challenges traditional film form by ambitiously mixing extracts from Ruan’s films with behind-thescenes footage, stunning recreations, and interviews with both his cast and Ruan’s surviving contemporaries. What emerges is an incisive postmodern interrogation of filmmaking, and a powerful portrayal of the feminist struggle. 關錦鵬歷來結構最複雜最具野心之作，透過敘述一代默片女星阮玲玉死於「人言可畏」的命運，一方面從香港角度出發，重塑三十年代上海影業黃金時代，拼合成一幅聯華影人群像，雙城今昔對照；一方面也在思考電影本質，虛實真假交融。別開生面的形式實驗，突破傳統人物傳記拍法，結合戲劇、戲中戲、真訪問及偽訪問，不但使張曼玉與阮玲玉兩代女星隔世對話，以現代目光理解當年女性悲劇，更令張曼玉成為首位在柏林影展獲封影后的華人演員。

演員：張曼玉、梁家輝、秦漢、劉嘉玲

紅玫瑰白玫瑰 Red Rose White Rose

1994 | Putonghua 普通話 35mm | Colour | 110min Cast: Joan Chen, Veronica Yip, Winston Chao 演員：陳沖、葉玉卿、趙文瑄 Persons Aged 18 and Above Only 只准18歲或以上人士

Stanley Kwan’s lush adaptation of Eileen Chang’s novel is a seductive and stinging look at patriarchal Chinese society. An upwardly-mobile gentleman enters into a torrid affair with “red rose”, whose free spirit and vivacity make her a desirable yet disreputable partner. He ultimately chooses “white rose”, leading to a socially-approved yet passionless marriage. Featuring exquisite cinematography from Christopher Doyle, this sensual and quietly devastating drama is perhaps Kwan’s most underrated work. 振保生命裏有兩個女人，一個是熱烈的情婦，一個是聖潔的妻子。紅玫瑰風情萬種，轟轟烈烈；白玫瑰晶瑩剔透，神聖不可侵。花，有情才香，振保先是被老同學的妻子嬌蕊深深吸引，卻礙於體面，順從母親意願娶了嫻靜純淨的煙鸝。愈是想扮演好人，愈是走不出虛偽的輪迴。張愛玲原著，林奕華改編，關錦鵬把傳統壓迫下的兩性悲劇，化作愛慾詩篇。小蟲的音樂風流婉轉，朴若木的美術配合杜可風的攝影，精雕細琢出濃烈視覺效果，盡現華麗的荒涼。

Yang Yin: Gender in Chinese Cinema 男生女相：華語電影之性別 Stanley Kwan examines queer themes in Chinese film for this insightful documentary, produced for the British Film Institute’s “Century of Cinema” series. Using film clips, personal recollections, and interviews with film luminaries (including Ang Lee, Tsui Hark, Chen Kaige and Leslie Cheung), Kwan demonstrates how Chinese cinema has challenged gender norms for years, while asserting his own sexuality in a poignant conversation with his mother. 1996 | Cantonese/Putonghua 粵語／普通話

Digital Betacam | Colour | 79min

電影誕生百周年之際，應英國電影協會之邀，回顧兩岸三地影史，關錦鵬別出心裁，捨棄傳統編年史模式，選擇以貼身個人自述，探究華語電影的性別議題。從父親的缺席談起，走訪張徹、吳宇森、張國榮、徐克、陳凱歌、楊德昌、侯孝賢、李安、蔡明亮等影人，窺探陽剛電影中的男性情誼，追溯三十年代上海電影對性的坦誠開放態度，指認華語影史的性別越界傳統。再由電影回到自身，與母親談及同志身份，成了擲地有聲的註腳。

Still Love You After All These 念你如昔

1997 | Cantonese/Putonghua 粵語／普通話

Digital Betacam | Colour | 45min

In this short documentary, produced in anticipation of the 1997 Handover, Stanley Kwan reveals both personal and collective memories of his beloved Hong Kong as it nears its reunion with China. Kwan narrates this contemplative journey, mixing clips from his films with excerpts from his stage play and evocative images from Hong Kong life. Through sharp editing and expressive montage, Kwan constructs a visual and aural metaphor of Hongkongers struggling with their identities in the face of an uncertain future. 台灣電影學者焦雄屏促成「香港情懷」系列，邀請香港導演從個人角度談九七，許鞍華交出《去日苦多》，關錦鵬就完成了本片。可視為《男生女相》續篇，談個人在東京街成長與性啟蒙經歷、跟母親看廣東大戲的童年回憶，再談到移民去留抉擇，加上《中國旅程九七》舞台嘗試，菲林不斷落下，時間滴答倒數。面對主權移交的悵惘，《帝女花》名句「不認不認還須認」，既是身份認同的探索，亦是時代感懷。

STANLEY KWAN, FILMMAKER IN FOCUS 焦點影人關錦鵬

Hold You Tight 愈快樂愈墮落 After coming out cinematically, Stanley Kwan tackles queer issues in this fictional work about a closeted homosexual, a married couple, and a bisexual stud, whose stories intertwine luridly. Boasting a nonlinear narrative that moves freely from moment to moment, Hold You Tight is a melodrama that has fun with time, space and sexual orientation. In an explicit statement linking sexuality to the political turmoil in Hong Kong, the coupling of decadence and happiness feels like a melancholic irony. 1998 | Cantonese 粵語 35mm | Colour | 99min Cast: Chingmy Yau, Sunny Chan, Eric Tsang, Lawrence Ko 演員：邱淑貞、陳錦鴻、曾志偉、柯宇綸

青馬大橋上湧起密雲，伸手抱緊看命運降臨，害怕悲劇重演，這麼煩囂城中，沒理由相戀可以沒有暗湧。邱淑貞是兩生花，機場擦肩而過，一個意外死了，一個在異地繼續生活。三個男人各懷心事，唐先生（曾志偉）和小哲（柯宇綸）都看上了已婚的馮偉（陳錦鴻），而馮正經歷喪妻之痛。錯綜複雜的五角關係，是生命無常更是流動不息的多元愛慾。身處九七前後的時代轉折，關錦鵬在創作裏坦然面對同志身份與慾望，手搖鏡頭捕捉人心浮動的歷史時刻。

The Island Tales 有時跳舞 Entering the 21st century, Stanley Kwan’s stylistic experimentation and thematic ambition grew more pronounced. He reunited with Hold You Tight screenwriter Jimmy Ngai for this quirky existential drama about strangers on an island during a pandemic. An all-star international cast play the isolated characters who struggle with quarantine, each other, and ultimately themselves. Gradually, they discover that, despite being separated by age, origin, language and even sexuality, they can still find a connection. 2000 | Cantonese/Putonghua/English/ Japanese 粵語／普通話／英語／日語 Digital Betacam | Colour | 103min Cast: Michelle Reis, Shu Qi, Osawa Takao, Momoi Kaori

生有時，死有時，哀慟有時，跳舞有時。疑似病毒突襲小島，隔離令下，是共患難的一夜。日本記者（大澤隆夫）正在島上休養；美國歸來的女強人（李嘉欣）竭力忘記過去，偕日籍好友（桃井薰）到此遊玩；愛撒謊的少女（舒淇）等待跟新男友約會；拍罷情慾片的男星（張智霖）來散心避靜……日本出資製作，捕捉世紀末憂鬱，刻意打亂時序，營造富舞台感的疏離效果。千禧之劫如夢一場，愛在瘟疫蔓延時，沒有人是孤島，然而每個人內心都是孤島。

演員：李嘉欣、舒淇、大澤隆夫、桃井薰

Lan Yu 藍宇 Meant merely as a diversion among his countless one-night stands, Handong’s sexual relationship with a sensitive college boy turns unexpectedly into something deeper – and even a life-changing initiation. Undeterred by Handong’s compulsive promiscuity and impulsive marriage, Lan Yu’s devotion cannot escape its unforgiving fate. Superbly acted by Hu Jun and Liu Ye, Stanley Kwan’s adaptation of an internet novel is a poignant portrait of a gay relationship filled with passion and deception, yearning and regret. 2001 | Putonghua 普通話 DCP | Colour | 86min Cast: Hu Jun, Liu Ye, Su Jin 演員：胡軍、劉燁、蘇瑾 Persons Aged 18 and Above Only 只准18歲或以上人士

本來純粹肉體交易，商場兼情場老手捍東，遇上青澀大學生藍宇，一晌貪歡，過後始知遇上最愛。十年間分分合合，終究是念念不忘。改編北京網絡小說，編劇魏紹恩去蕪存菁，張叔平大刀闊斧剪接，關錦鵬發揮圓熟技藝，拍出超越性別的深情，含蓄細緻，令人輾轉低迴。也側寫了京城變遷，六四一夜是感情確認，貪腐之風蠶蝕人心，新時代大興土木已留不住美好時光。連綿的工地圍板，配上一曲〈你怎麼捨得我難過〉，道盡無邊思念，教人黯然神傷。

Everlasting Regret 長恨歌 Stanley Kwan returned to Shanghai for this gorgeous literary adaptation of Wang Anyi’s popular novel. Sammi Cheng transfigures herself into Wang Qiyao, a young woman in 1930s Shanghai who enters high society after nearly winning a beauty contest. However, as China’s turbulent post-war history unfolds, she begins a decades-spanning cycle of being used and abandoned by different men. Kwan transposes Wang Qiyao’s remarkable life and tragic death to strikingly reflect the evolution of the 20th century China. 2005 | Putonghua 普通話 DCP | Colour | 109min Cast: Sammi Cheng, Tony Leung Ka-fai, Hu Jun, Daniel Wu 演員：鄭秀文、梁家輝、胡軍、吳彥祖

改編王安憶原著，卻注滿個人情懷，開場已說得明白，上海只是繁華大都會的佈景，電影就把舊上海原本獨擁的長恨歌，變成與香港互相映照的鏡子。王琦瑤生逢亂世，在錯誤年代，總是遇上錯誤的人。掌軍政大權的李主任、風流倜儻的富家子、衝動莽撞的少年，幾段情事滄桑迷離。而默默守候的程先生，見證女神誕生與毀滅，是為城市留下記憶的癡情人。情節跨越時代，敘事省略，鏡花水月，虛中有實。有人遠走他方，也有人死守，與城市共存亡。

First Night Nerves 八個女人一台戲 Stanley Kwan assembles a powerhouse cast for his nostalgic and visually spectacular journey backstage at the venerable City Hall. Sammi Cheng and Gigi Leung play feuding actresses amidst the behind-the-scenes chaos of their soon-to-open stage production. For his longawaited return, Kwan smartly explores the disparate cultures of show business and sisterhood, giving voice to marginalised communities, while commenting engagingly on the dismal state of art and film in Hong Kong. 2018 | Cantonese/Putonghua 粵語／普通話

DCP | Colour | 100min Cast: Sammi Cheng, Gigi Leung, Bai Baihe, Angie Chiu

演員：鄭秀文、梁詠琪、白百何、趙雅芝

一世人兩姊妹，句句夭心夭肺，不是冤家不聚頭，始終山水有相逢。蜚聲國際大導演炮製舞台劇，兩大女主角交手，由台前鬥到幕後。首演前七日綵排，拉開錯綜複雜人際關係，逐步揭露八個女人台上台下恩怨情仇。關錦鵬睽違多年，執起導筒再探女人心。除了鄭秀文、梁詠琪互鬥演技火花四溢，其他演員亦大放異彩，白百何風流倜儻，甘國亮更以驚喜造型爭妍鬥麗。全程本地拍攝，笑盡城中荒唐事，並特意以大會堂為舞台，拍出莫捨莫忘的香港情懷。

PAN-CHINESE CINEMA 華語電影

Starting Afresh: 30th Anniversary of Jet Tone Films 澤東三十念念不忘 As the saying goes: “no man ever steps in the same river twice, for it’s not the same river and he’s not the same man.” The same philosophy is embraced by Jet Tone in the restoration of its masterpieces. Some studios aim to restore the films to their original form, while some, like Jet Tone, strive for improvement with advanced technologies in order to achieve the optimal sound and vision that were unattainable in the past, realising the original creative ideal to the fullest. Following Ashes of Time Redux in 2008, Jet Tone further restores four classics by Wong Kar Wai for its 30th anniversary – not for recalling memories, but for starting afresh. 古希臘哲學家赫拉克利特有句名言：「人不能踏進同一條河兩次。」這也是澤東的修復理念。有些修復是盡量回復當年公映原貌；有些則利用最新科技精益求精，達致當初因技術限制無法實現的聲畫效果，臻於完美，實踐創作初衷。澤東就是採取後者做法，在《東邪西毒終極版》（2008）之後，趁着三十周年紀念，四部最新修復的王家衛作品，再造新猷。

STARTING AFRESH: 30TH ANNIVERSARY OF JET TONE FILMS 澤東三十念念不忘 1995 | Cantonese | DCP | Colour | 99min Director Wong Kar Wai Producer Wong Kar Wai Scriptwriter Wong Kar Wai Cinematographer Christopher Doyle Editor William Chang, Wong Ming-lam Production Designer William Chang Music Frankie Chan Sound Raymond Mak, Ching Siu-lung Cast Leon Lai, Michelle Reis, Kaneshiro Takeshi, Charlie Young, Karen Mok Production Jet Tone Films Ltd. World Sales Block 2 Distribution 導演王家衛監製王家衛編劇王家衛攝影杜可風剪接張叔平、黃銘林美術張叔平音樂陳勳奇音響麥一鳴、程小龍演員黎明、李嘉欣、金城武、楊采妮、莫文蔚 © 1995 JET TONE PRODUCTIONS LTD. © 2019 JET TONE CONTENTS INC. ALL RIGHTS RESERVED

Fallen Angels 墮落天使 With Fallen Angels, the last scene, which is in the noodle shop, was shot on the first day. It was supposed to be the first day because at the time I wanted to tell the story backward. And so we went to that noodle shop — it is so small, the only way you can use it to shoot is with a wide-angle lens—but I felt that a wide-angle lens was quite ordinary. So I asked my cameraman, “Do we have an extra-wideangle?” […] The people seem to be apart, but in fact they are very near. So actually it fits the content. Interview with Wong Kar Wai Peter Brunette, Wong Kar-wai

With Fallen Angels, I have changed the format to CinemaScope, because it was originally what I had intended to release the film in. When we were cutting the film, we accidentally turned the Steenbeck on anamorphic instead of standard. I felt that the film looked much more interesting because the setting enhanced the distance of the characters on top of the extreme wide angle that we shot with. Back then, it was impossible to shoot a film in standard and release it in anamorphic. With this restoration, we have successfully fulfilled this wish. Wong Kar Wai

[導演訪問] 《重慶森林》原本有第三個故事，講一個殺手，想拍得像梅維爾的《獨行殺手》。但拍完頭一個故事，已經太長了，第三部分只好放棄。《重慶森林》之後，我仍然忘不了第三個故事，就嘗試發展成《墮落天使》，把焦點放在殺手身上。《墮落天使》拍麵店那場，開鏡第一天拍的，原意是故事頭一天，因為當時想拍倒敘。到了麵店，發現地方淺窄，只能用廣角鏡拍，但我覺得廣角鏡太普通，問攝影師有沒有超廣角鏡。他說：「有，但女演員拍出來會很怪相。」我說：「試試看吧。」拍完第一天，發現效果不錯，人物像分隔很遠，事實上近在咫尺，跟影片內容很吻合。《王家衛》 [導演的話] 我將《墮落天使》改為 CinemaScope，因為我原本打算用這個格式放映。當年剪接時，曾意外將 Steenbeck 調到闊銀幕變形鏡頭的效果。我覺得這樣看起來更有趣，在我們的超廣角鏡之上，進一步拉闊了人物距離。那時我們不可能用這個效果來放映。透過這次修復，終於實現了這個願望。

WONG Kar Wai was born in Shanghai in 1958 and immigrated to Hong Kong when he was five. He was recognised as one of the most promising filmmakers with his first feature film, As Tears Go By in 1988. His works competed at Cannes, including Happy Together (97), which won him Best Director, In the Mood for Love (00), and My Blueberry Nights (07). 王家衛 1958 年生於上海，五歲移居香港，畢業於香港理工學院美術設計系。81 年考進無綫電視第一期編導訓練班，後於無綫工作，82 年開始任電影編劇。88 年執導首作《旺角卡門》，97 年憑《春光乍洩》獲康城影展最佳導演獎，01 年《花樣年華》獲法國凱撒電影獎最佳外語片，及康城影展最佳男演員及技術大獎。

SELECTED FILMOGRAPHY 主要作品 1988 As Tears Go By 旺角卡門 1990 Days of Being Wild 阿飛正傳 1994 Chungking Express 重慶森林 1994 Ashes of Time 東邪西毒 1997 Happy Together 春光乍洩 2000 In the Mood for Love 花樣年華 2013 The Grandmaster 一代宗師

STARTING AFRESH: 30TH ANNIVERSARY OF JET TONE FILMS 澤東三十念念不忘 1997 | Cantonese | DCP | Colour/B&W | 96min Director Wong Kar Wai Producer Wong Kar Wai Scriptwriter Wong Kar Wai Cinematographer Christopher Doyle Editor William Chang, Wong Ming-lam Production Designer William Chang Music Danny Chung Sound Tu Duu-Chih Cast Leslie Cheung, Tony Leung Chiu Wai, Chang Chen Production Jet Tone Films Ltd. World Sales Block 2 Distribution 導演王家衛監製王家衛編劇王家衛攝影杜可風剪接張叔平、黃銘林美術張叔平音樂鍾定一音響杜篤之演員張國榮、梁朝偉、張震 © 1997 BLOCK 2 PICTURES INC. © 2019 JET TONE CONTENTS INC. ALL RIGHTS RESERVED

Persons Aged 18 and Above Only 只准18歲或以上人士

Happy Together 春光乍洩 After Fallen Angels, everyone asked me if I was going to make a film on the 1997 handover. Since I didn’t know anything about it, I thought the best way to avoid answering the question was to go make a movie abroad. I am a fan of Manuel Puig’s novels, and one of them is called The Buenos Aires Affair. I liked the title. It gave me the idea to go film in this city that was somewhat the antithesis of Hong Kong. Then little by little, as I was making Happy Together, I distanced myself from the initial project, and, finally, it was as if I had re-created Hong Kong in Buenos Aires. Interview with Wong Kar Wai Positif

During a fire accident in 2019, we lost some of the original negative of Happy Together. In the ensuing months, we tried to restore the negative as much as we could, but a portion of it had been permanently damaged. We lost not only some of the picture but also the sound in those reels. As a result, I had to shorten some of Tony Leung’s monologues, but with the amazing work of L’Immagine Ritrovata, we managed to restore most of the scenes to better quality. Wong Kar Wai

[導演訪問] 我原本想改編 Manuel Puig 的《The Buenos Aires Affair》，但計劃流產，最後變成兩個香港人的故事。拍攝地點是布宜諾斯艾利斯的 La Boca，龍蛇混雜。儘管很多人拿槍向我們要錢，但從未發生衝突，我們還與當地居民成了朋友。故事始於夏天，是非常冷的夏天，色彩也用了較冷的黑白。當兩人又在冬天偶遇，當地冬天很暖，一個想再續前緣，一個只想維持朋友關係，色彩傳達出溫暖。然後兩人決定不再見面，但情感仍在，彩色片段時現，如甜美的過去，是一種心情寫照。 Caetano Veloso 的音樂，第一次聽到已非常心動。音樂在我的電影並非純粹是配樂，而是電影聲音的一部分。探戈的作用在於連結兩人。音樂的節奏有時比音樂本身更重要。《電影雙周刊》 [導演的話] 2019 年一次失火，我們失去了《春光乍洩》的一些原底片。之後幾個月，我們盡力搶救修復，但有些部分已遭永久損壞，不僅失去了某些影像，聲軌亦遭殃。因此修復後不得不精簡了梁朝偉的獨白，但經過博亞電影修復所的努力，成功將大部分畫面都修復到更佳質素。

STARTING AFRESH: 30TH ANNIVERSARY OF JET TONE FILMS 澤東三十念念不忘 2000 | Cantonese | DCP | Colour | 98min Director Wong Kar Wai Producer Wong Kar Wai Scriptwriter Wong Kar Wai Cinematographer Christopher Doyle, Mark Lee Editor William Chang Production designer William Chang Music Michael Galasso Sound Tu Duu-Chih, Kuo Li-Chi, Ching Siu-lung Cast Tony Leung Chiu Wai, Maggie Cheung, Rebecca Pan, Siu Ping-lam Production Jet Tone Films Ltd. World Sales Block 2 Distribution 導演王家衛監製王家衛編劇王家衛攝影杜可風、李屏賓剪接張叔平美術張叔平音樂 Michael Galasso 音響杜篤之、郭禮杞、程小龍演員梁朝偉、張曼玉、潘迪華、蕭炳林 © 2000 BLOCK 2 PICTURES INC. © 2019 JET TONE CONTENTS INC. ALL RIGHTS RESERVED

In the Mood for Love 花樣年華 I cut the sex scene at the last moment. I suddenly felt I didn’t want to see them having sex. [...] You know, what kept me working on this film for such a long time was that I became addicted to it – specifically, to the mood it conjured up. I most of all wanted to capture that period, which was a much more subtle time than our own. From the very beginning I knew I didn’t want to make a film about an affair. That would be too boring, too predictable, and it would have only two possible endings: either they go away together or they give each other up and go back to their own lives. What interested me was the way people behave and relate to each other in the circumstances shown in this story, the way they keep secrets and share secrets. Interview with Wong Kar Wai Tony Rayns, Sight and Sound

Chungking Express was made before 5.1 Surround Sound, so we had to retool the settings and sound configurations this time. Likewise, we also remixed In the Mood for Love, and Robert Mackenzie did a great job as we collaborated remotely during the pandemic. Wong Kar Wai

[導演訪問] 我在最後階段才剪走梁朝偉和張曼玉的那場床上戲。我突然不想看到他倆發生關係。當我告訴張叔平，他說也有同感。我最想捕捉那個年代的含蓄隱晦。從一開始，我就不想拍一個只是關於出軌的故事，那太老套了，結局只有兩個可能，不是在一起，就是分手，各自回到配偶懷抱。我感興趣的是戲中人在故事處境中的行為，如何保守秘密及分享秘密。兩人配偶都沒出鏡，最主要原因是兩位主角要演繹的，是他們對配偶所說所為的猜測。我們會看到兩人之間存在兩重關係—偷情和被壓抑的同病相憐。這是我從阿根廷作家 Julio Cortazar 學到的技巧。他喜歡用這種結構，像—個環，蛇的頭尾連在一起。《視與聲》 [導演的話] 《重慶森林》拍攝時仍未有 5.1 環迴立體聲，因此修復時需重新調整。同樣地，《花樣年華》亦經過重新混音，我們在疫症期間與羅拔麥肯齊遙距合作，他的努力令影片聲音得以大大提升。影片用了我最喜歡的 1.66：1 闊銀幕比例，但印製影碟時往往轉成 1.85：1，最新修復版保持了原本比例。

STARTING AFRESH: 30TH ANNIVERSARY OF JET TONE FILMS 澤東三十念念不忘 2004 | Cantonese/Putonghua/Japanese DCP | Colour | 128min Director Wong Kar Wai Producer Wong Kar Wai, Eric Heumann, Ren Zhonglun, Zhu Yongde Scriptwriter Wong Kar Wai Cinematographer Christopher Doyle, Lai Yiu-fai, Kwan Pun-leung Editor William Chang Production designer William Chang, Alfred Yau Wai-ming Music Peer Raben, Umebayashi Shigeru Sound Claude Letessier, Tu Duu-Chih Cast Tony Leung Chiu Wai, Zhang Ziyi, Gong Li, Faye Wong, Kimura Takuya Production Jet Tone Films Ltd. World Sales Block 2 Distribution

2046 During the process of restoring many of the pictures that you are about to watch, we were caught in a dilemma between restoring them to the form in which the audience had remembered them and to how I had originally envisioned them. There was so much that we could change, and I decided to take the second path, as it would represent my most vivid vision of these films. As the saying goes, “No man ever steps in the same river twice, for it’s not the same river and he’s not the same man.” Since the beginning of this process, these words have reminded me to treat these restorations as an opportunity to present new works, from a different vantage point in my career. Having arrived at the end of this process, these words still hold true. I invite the audience to join me in starting afresh, as these are not the same films, and we are no longer the same audience.

導演王家衛監製王家衛、Eric Heumann、任仲倫、朱永德編劇王家衛攝影杜可風、黎耀輝、關本良剪接張叔平美術張叔平、邱偉明音樂 Peer Raben、梅林茂音響 Claude Letessier、杜篤之演員梁朝偉、章子怡、鞏俐、王菲、木村拓哉

[導演訪問] 為什麼要挑「2046」這個號碼？因為大家都說「五十年不變」，是很嚴肅的政治議題，問題是，第一，變或不變，不是我們可以決定操縱的，第二，我們根本看不透改變會是什麼。所以我用這個「承諾」來講一個愛情故事。《花樣年華》結束在梁朝偉到吳哥窟對洞傾訴心事，《2046》則是從另一個洞開始。看《2046》，你會發現梁朝偉以前愛過一位有夫之婦，回頭看《花樣年華》就可以看到張曼玉的故事。同樣，如果你對劉嘉玲有興趣，回頭看《阿飛正傳》就可以找到連結。對我而言，《2046》是個總結，每個人物都是一個章節，我把這三部電影定位為六十年代的三部曲。《自由時報》

Wong Kar Wai [導演的話] 有時修復是盡量回復觀眾記得的模樣，有時是修復到導演原先想做到的效果。我採取了後者做法，實踐創作初衷。古語有云：人不能踏進同一條河兩次。自修復開始，這句話就提醒我，把這些修復視為再造新猷的機會。因此我邀請觀眾跟我重新出發，這些電影不會一成不變，觀眾亦然。

PAN-CHINESE CINEMA 華語電影

Chinese-language Restored Classics 華語修復經典

CHINESE-LANGUAGE RESTORED CLASSICS 華語修復經典 1934 | Silent with Orchestral Music Score DCP | B&W | 76min Director Wu Yonggang Producer Luo Mingyou Scriptwriter Wu Yonggang Cinematographer Hong Weilie Production Designer Wu Yonggang Cast Ruan Lingyu, Li Keng, Zhang Zhizhi Production Lianhua Film Co. Ltd. Print Source China Film Archive 導演吳永剛監製羅明佑編劇吳永剛攝影洪偉烈美術吳永剛演員阮玲玉、黎鏗、章志直

The Goddess Shennv 神女 Ruan Lingyu exhibits two kinds of smiles in The Goddess. One comes from the heart like sunlight bursting out, manifesting the happiness inside her, as in the scenes where she’s playing with her child. The other is a sort of manic laughter, which her character uses like a self-defensive weapon to express her dignity vis-à-vis her nemesis, the obnoxious ruffian who exploits her, and to express her contempt for this character.

吳永剛導演曾以「感光最快的底片」來形容阮玲玉，我想他在《神女》中對此一定有深刻的體會。阮玲玉在《神女》中的笑容是有兩種的：一是發自內心的喜悅笑容，尤其是在她與兒子（黎鏗飾）嬉耍玩樂時，那是陽光中綻發的笑容。二是神經質的狂笑，是她用來表達個人尊嚴的自衛武器，乃針對逼害她的流氓（章志直飾）而發，用來表示鄙視對方所作所為的不堪入目。

[…] Ruan’s smile stems from mother earth and the grassroots, one that shows an ability to survive against adverse odds and to strike blows at the hardships of life. When it turns into hysterical laughter, it strikes fear at her nemesis – far better than words to hit back at her oppressor. The calmness of her smile belies an acceptance of the agony of her suffering while her mocking smile is so that she can unbosom herself. Whether her interpretation is positive or negative, it is permeated with a stringent life force, one which splits into two Bakhtin’s theory of ambivalent laughter but merge to eventually reach the same goal.

巴赫金在《拉伯雷及其世界》提到狂歡節的笑是曖昧的。阮玲玉的笑容固然不是在一個「狂歡化」理論背景下的產品，但我卻發現她的笑容具備巴赫金所云的曖昧性及雙重性。她的笑源自大地草根，既曉得於逆境中珍重生命求取活力氣息，也冷然對連串的磨難作出還擊。由沒來由乃至歇斯底里的狂笑，令對手也望而生畏，遠勝千言萬語的反覆控訴。其中的從容是源自生命最苦澀處的體認，而戲謔嘲弄則是一種情緒的宣洩；無論正與反的演繹發揮，均洋溢一重教人積極煥發的生命力⋯⋯ 湯禎兆《世紀回眸：中華電影經典展》

Tong Ching-siu (Translated by Stephen Teo) A Century of Chinese Cinema: Look Back in Glory [Restoration Notes]

[ 修復筆記 ]

The restoration of The Goddess is supported by the KT Wong Foundation. Zou Ye is commissioned to compose the new orchestral music score.

《神女》的修復工作由拿督黃紀達基金會支持，並委約作曲家鄒野譜寫全新交響樂配樂。

WU Yonggang (1907-1982) was born in Shanghai, China. After working as set designer for more than a decade, his filmmaking talent is finally recognised. His 1934 directorial debut, The Goddess, becomes one of the most significant silent films in the history of Chineselanguage cinema. He has directed over 30 films throughout his tumultuous career. 吳永剛 (1907-1982) 生於上海，江蘇吳縣人。曾在多間電影公司擔任美工師將近十年，自學而成導演。在田漢支持下，於 1934 年編導處女作《神女》，成為中國電影史上經典默片之一。一生執導作品逾三十部。

SELECTED FILMOGRAPHY 主要作品 1934 The Goddess 神女 1936 The Desert Island 浪淘沙 1936 The Pioneers 壯志凌雲 1938 Rouge Tears 胭脂淚 1950 A Remote Village 遼遠的鄉村 1962 The Jade Hairpin 碧玉簪 1980 Evening Rain 巴山夜雨

CHINESE-LANGUAGE RESTORED CLASSICS 華語修復經典 1956 | Putonghua | Colour | DCP | 98min Director Sang Hu Scriptwriter Xia Yan Cinematographer Qian Jiang Production Designer Chi Ning Music Liu Ruzeng Sound Chen Yanxi Cast Bai Yang, Wei Heling, Guan Zongxiang Production Beijing Film Studio Print Source China Film Archive 導演桑弧編劇夏衍攝影錢江美術池寧音樂劉如曾音響陳燕嬉演員白楊、魏鶴齡、管宗祥

New Year’s Sacrifice Zhufu 祝福 Lu Xun’s original story is vehemently anti-Confucian. It exposes a Confucian family system that tortures its victims beyond death. The narration is personal, told by a scholar of the Lu family who is complicit in Xianglin’s wife’s death and haunted by her questions of the afterlife. […] For Lu Xun, Chinese modernity is “the path of evolution” while tradition is a retrogressive “suicidal turning back.”

[影評摘錄]

In the film, the personal voice disappears, a linear plot replaces the narrator’s retrospective reconstruction of the widow’s life, and the message is explicit and collective. The film’s final scene is powerful, ending rather than beginning with the dying widow’s question: “After death, is there such a thing as a soul?” This death scene follows the rich red interior shots of the Lu household during the New Year festivities. In contrast, a medium closeup of Xianglin’s homeless wife sitting outside alone on a cold snowy night is muted in shadow. On the verge of death, she slowly stands up and staggers offscreen. […]

電影中，個人聲音消失了，線性敘事取代敘事者在回憶中重構寡婦一生，訊息明顯。影片最後一場強而有力，以垂死寡婦的詰問作終結而非作起始：「一個人死了之後，到底有沒有魂靈？」死亡緊接在魯家滿屋艷紅喜慶賀新年場面之後，對照無家可歸的祥林嫂在風雪寒夜獨坐在黑暗陰影之中。死亡將至，她站起來踉踉蹌蹌步出畫面。鏡頭從遠拉近，她步向攝影機，向觀眾（而非敘事的讀書人）叩問死後靈魂何去何從。最後鏡頭映着她黑暗背影在雪中倒下死去，畫外男聲旁白代表國家讚揚寡婦美德。

The socialist message is clear. Such family-national tragedies, the voiceover claims, cannot happen in the new China. Socialist realist film in China demonizes the feudal past and romanticizes the revolution within a melodramatic mode that polarises rich and poor, past and present, and exploiters and victims. The revolutionary poor are new heroes and masters of the new China.

魯迅原著極度反儒家，反映了儒家禮教的家庭體系把受害者折磨至死亦不休。從個人敘事出發，說書者是魯家的讀書人，其家中各人合謀導致祥林嫂之死，亦受到她詰問來生所困擾。對魯迅而言，中國現代化是「進化之途」，而傳統則是倒退的「走向自殺」。

社會主義的訊息顯而易見。這種家庭與民族的悲劇，如旁白所言，不會再在新中國發生。中國的社會寫實電影妖魔化封建時代而浪漫化革命，以通俗化的故事令貧富懸殊、過去與現代、剝削者與受害者的對比更趨兩極。貧窮革命者成了新中國的新英雄及新主人。

Christ Berry and Mary Farquhar China on Screen: Cinema and Nation

Sang Hu (1916-2004) was a Chinese director and screenwriter born in Shanghai. His screenplays including Liaisons after Sunset (42) and The Wedding Night (42) were adapted by legendary director Zhu Shilin. In 1944 he made his directorial debut, Long Life the Teacher. The three films on which he collaborated with celebrated author Zhang Ailing earned worldwide accolades. 桑弧（1916-2004）浙江寧波人，生於上海市，中國導演兼編劇，創作的劇本《人約黃昏後》(42) 及《洞房花燭夜》(42) 曾被名導朱石麟搬上銀幕。1944 年執導首作《教師萬歲》，曾與張愛玲三度合作，作品屢獲殊榮。

SELECTED FILMOGRAPHY 主要作品 1947 Love Without End 不了情 1947 Long Live the Mistress 太太萬歲 1949 Sorrows and Joys of a Middle-Aged Man 哀樂中年 1954 The Butterfly Lovers 梁山伯與祝英台 1956 New Year's Sacrifice 祝福

CHINESE-LANGUAGE RESTORED CLASSICS 華語修復經典 1972 | Mandarin | Colour | DCP | 99min Director Li Hsing Producer Hu Cheng-Ting Scriptwriter Chang Yung-Hsiang Cinematographer Lai Cheng-Ying Editor Chen Hung-Min Production designer Chou Chih-Liang Music Saito Ichiro Sound Huang Chin-Chih Cast Ou Wei, Tang Pao-Yun, Ko Hsiang-Ting, Fu Pi-Hui Production Ta Chung Motion Picture Co. Print Source Taiwan Film and Audiovisual Institute 導演李行監製胡成鼎編劇張永祥攝影賴成英剪接陳洪民美術鄒志良音樂齋藤一郎音響黃金治演員歐威、唐寶雲、葛香亭、傅碧輝

Execution in Autumn Qiujue 秋決 Director Li Hsing has always been an advocate for traditional Chinese family values and morals. In the early 1970s, Lee, insisting on his principles, decided to make Execution in Autumn, a period ethical drama, which became the ultimate embodiment of Li’s integrity and artistic creativity. […] By today’s standards, the leitmotif is very conservative and the moral of the film is rather explicitly expressed. Nevertheless, this method was not only taken for granted but praised at that time. Setting aside the ideology expressed in the film, it is a serious production and the aesthetic achievements are undeniable. It is a straightforward story but each of the main character has a distinctive personality and function in the film. Everything in the film centres on the theme of life and death; the change of the seasons reflects the spiritual journey Fe Gang is going through. The film is well-structured; the images, music and acting are composed in such harmony that the course of the events is vividly chronicled. […] Fe Gang’s “enlightenment” is the core of the film and it is the fruit of the love of two women (Grandmother and Lien), the preaching of two men (the scholar and the prison guard) and the inspiration from the cycle of seasons and the new life in Lien’s womb. Liang Liang The River of Shadow and Light: Greatest Chinese-Language Films

[影評摘錄] 向來在作品中謹守中國傳統家庭倫理觀念的導演李行，在 1970 年代初期抱着孤注一擲的執念，開拍了這部在當時被認為「完全不符合時代潮流」和「完全不具有市場價值」的古裝人生哲理片，可以說是他個人性格和藝術精神的終極體現。沒想到這個超級純真之舉，最後竟出人意料的大受觀眾歡迎，藝文界尤其反應熱烈，公映之後叫好叫座，成為台灣電影中最重要的代表作之一。以今日的眼光看來，本片的主題其實頗為保守，說教的方式也未免過於直白，但在當年的台灣社會卻被認為理所當然，甚至普遍受到稱頌。若撇開見仁見智的意識形態不談，則本片在製作上的嚴謹以及在電影美學上的表現，確有其令人尊崇之處。全片故事簡單，場景集中，幾個主角的性格和戲劇功能均鮮明突出，自始至終緊扣生死主題，四季景物的變化烘托着裴剛的心性轉變，結構完整，音畫與演出的配合恰當地呈現出一種時移事往的感覺，在國片中不可多得。裴剛的感悟過程，無疑是本片的精神核心。編導透過老奶奶和蓮兒這兩位女性分別表現出的一剛一柔的愛；書生與牢頭這兩位男性各自代表的理性與感性的教化力量，加上老天透過四時變化和蓮兒懷孕表現出來的生命啟發，諸種力量的交錯作用下才使裴剛終在死前悟道。

LI Hsing was born in Shanghai in 1930, and moved to Taiwan in 1948. He co-directed his first film, Brother Liu and Brother Wang on the Roads in Taiwan with Chang Fang-Hsia and Tien Feng in 1958. He won seven Golden Horse Awards for Best Feature Film, and was named Best Director three times. 李行 1930 年生於上海，48 年遷居台灣。曾任記者，58 年首執導筒，與張方霞、田豐合導《王哥柳哥遊台灣》。曾三度榮獲金馬獎最佳導演，並有七部執導作品獲金馬獎最佳劇情片，其健康寫實風格對台灣影壇影響深遠。

梁良《光影的長河：影史百大經典華語電影》

SELECTED FILMOGRAPHY 主要作品 1965 Beautiful Duckling 養鴨人家 1972 Execution in Autumn 秋決 1978 He Never Gives Up 汪洋中的一條船 1979 The Story of a Small Town 小城故事 1979 Good Morning, Taipei 早安台北

CHINESE-LANGUAGE RESTORED CLASSICS 華語修復經典 1979 | Cantonese | Colour | DCP | 88min Director Tsui Hark Producer Ng See-yuen Scriptwriter Lam Fan Cinematographer Fun Chin Yu Editor Wong Chi-hung, Pang Chin-kuen, David Wu Tai-wai Cast Lau Siu-ming, Wong Shee-tong, Michelle Yim Production/World Sales Seasonal Film Corporation 導演徐克監製吳思遠編劇林凡攝影范金玉剪接黃志雄、彭展權、胡大為演員劉兆銘、黃樹棠、米雪

The Butterfly Murders 蝶變 The Butterfly Murders is an important first in more ways than one. It will go down in history as the first film of the Hong Kong New Wave, as well as the first film by Tsui Hark, arguably the most influential filmmaker in post-war Hong Kong. […] The Butterfly Murders is a remarkably accomplished film that embodies much of Tsui’s formal and thematic characteristics to come: his career-long obsession with historical turbulence as social and political allegory, a fondness for complicated stories peopled by collectives of characters, meticulous attention to character design that includes costumes bordering on the outrageous, meticulous attention to art design that includes imaginative use of props and sets that evoke the fantastic... In retrospect, the film is a preview of great things to come. […] Ever ambitious, Tsui chronicles events in The Butterfly Murders with an invented system of time calibration. He calls it the New Era. The movie, for example, starts in Year twenty-four of the New Era. He proves to be prophetic. The film represents not only a new era for martial-arts films but also one for Hong Kong cinema. History calls it the New Wave. Sam Ho A Century of Chinese Cinema: Look Back in Glory

[影評摘錄] 《蝶變》在香港電影史中有兩個重要的「第一」。這是新浪潮首部作品，也是徐克這名戰後其中一位最有影響力的電影工作者的第一部作品。無論如何，《蝶變》是一部技藝精湛的出色作品，箇中顯露出不少日後形式與題旨上的個人特色，包括徐克一直鍥而不捨的社會及政治寓言，集體人物的結構，錯綜複雜的情節，精心塑造的人物，精緻創新的美術設計，及極富創意的佈景與道具等。今天看來，《蝶變》其實預示了徐克往後出現的佳績。徐克在其電影生涯中曾多次重新界定了武俠類型，而《蝶變》更是這方面首度嘗試。徐克本來就是重新演繹的佼佼者，不管執導或監製，他都樂此不疲地重拍或改編舊片。給徐克反轉得最多的類型，得數武俠片，《新蜀山劍俠》、《黃飛鴻》系列、兩集《東方不敗》、《刀》等，都把類型推向新的方向，成績美不勝收。《蝶變》未來主義式的設計、創新的機動道具、科學化的動作演繹、普及文化的大量挪用（古龍小說、日本漫畫、希治閣的《鳥》等），在在也是日後佳績的先聲。信心爆棚的徐克，以「新紀元」交代故事的時間。他果然洞悉先機，電影不僅開闢武俠片新紀元，也開拓了香港電影新紀元。歷史稱之為「新浪潮」。何思穎《世紀回眸：中華電影經典展》（何慧玲譯）

TSUI Hark was born in Vietnam in 1950, and immigrated to Hong Kong in 1966. He kept exploring various genres, gaining critical and commercial successes. His directing debut The Butterfly Murders (79) was a landmark of the Hong Kong New Wave. 徐克 1950 年生於越南，66 年移居香港，75 年畢業於美國德州大學電影系，77 年回港，到無綫電視任編劇，後轉投佳視，拍成《金刀情俠》。後投身電影界，拍出首作《蝶變》(79)，成為香港電影新浪潮代表作。

SELECTED FILMOGRAPHY 主要作品 1979 The Butterfly Murders 蝶變 1980 Dangerous Encounters of the First Kind 第一類型危險 1983 Zu: Warriors from the Magic Mountain 新蜀山劍俠 1986 Peking Opera Blues 刀馬旦 1991 Once Upon a Time in China 黃飛鴻 2011 The Flying Swords of Dragon Gate 龍門飛甲 2018 Detective Dee: The Four Heavenly Kings 狄仁傑之四大天王

CHINESE-LANGUAGE RESTORED CLASSICS 華語修復經典 1983 | Cantonese | Colour | DCP | 116min Director Allen Fong Producer Yung Ji-chung Scriptwriter Sze Yeung-ping, Peter Wang Cinematographer Chan Lok-yee Editor Chow Cheung-kan, Ng Kam-wah Music Lam Man-yee Sound Huang Jun-Shi Cast Hui So-ying, Peter Wang, Hui Pui Production Feng Huang Motion Picture Co. World Sales Sil-Metropole organisation Ltd. 導演方育平監製翁子忠編劇施揚平、王正方攝影陳樂儀剪接秋木涼（鄒長根）、吳金華音樂林敏怡音響黃鈞世演員許素瑩、王正方、許培

Ah Ying 半邊人 Extremely personal without being autobiographical, Ah Ying is a defiantly uncommercial drama, which miraculously made it to the big screen during the waning years of Hong Kong’s cinematic New Wave. In relating the neo-realistic tale of friendship between an aspiring filmmaker and a budding actress, director Allen Fong refused to succumb to the narrative’s potential for glossy romance. The end result was one of the era’s most understated and emotionally subtle masterpieces — it also picked up Hong Kong Film Awards for Best Picture, Director and Editing. The title character is no starry-eyed lass but a fishmonger who toils in her parents’ market stall. Neither drudge nor angel, Ah Ying is a fleshand-blood human being modelled on the performer impersonating her, Hui So-ying. […] George Chan Lok-yee’s cinematography captures a tangible sense of the city, often providing viewers with a fly-on-thewall perspective of Ah Ying’s life. There is a vivid palpability to her cramped living quarters, the denizens of which are played by the actress’s own family. Of the exterior scenes, most remarkable is a sequence involving Cheung’s stalled Volkswagen on the Tsing Fung Street Flyover. The film’s agelessness is affirmed by the continued veracity of Fong’s 1983 statement: “The better I got to know Ah Ying, the more it struck me that her life reflected a great deal of contemporary Hong Kong: its quality, its tensions and its contradictions.”

[影評摘錄] 方育平是香港最不跟風從俗的電影導演，但並不表示他大唱高調，相反地，他的電影充滿世俗社會的實感，直接反映香港現實生活一些真相，只是他不採取做戲咁做的煽情戲劇手段而已。《半邊人》的內容，已經超出了反映香港現實的層面，而寫及較廣泛的海外華人，他們雖然作風與口音有異，但更有共同的基本特性，互相啟發，關係密切。這種同屬一家的親情，在女主角的潮州家庭當中，也有很淋漓的呈現，父母、子女、兄弟姐妹之間常有爭吵，但親情的溫暖蓋過一切不和。當然，本片亦真實反映出理想與現實的矛盾，王正方這角色一直懷才不遇，難展抱負，自比為一架老爺車，最後難逃在劏車場被壓扁的命運。女主角方面，愛情、興趣與家庭環境等都有不如理想之處。本片最後的調子是比較哀愁的。不過賣魚女許素瑩終於做了這部電影的主角，而方育平這部絕不妥協的電影亦告拍成，則證明希望在人間，堅持理想，是有可能成為現實的。《半邊人》在唐片中是很罕貴的創作，其個人性比《父子情》更強，更排除戲劇化，而拍得人物生動真實，細節有趣，旨意微妙，兼具華人共性，以及感人的溫暖，積極的上進，是不可多得的電影。

Paul Fonoroff South China Morning Post, 10th July, 2015 Allen FONG was born in Hong Kong in 1947. After graduating from the University of Southern California Cinema School, he returned to Hong Kong and joined the TV station RTHK. He won his first Best Director at the Hong Kong Film Awards with his directorial debut, Father and Son, and became one of the few filmmakers to have won this kudo three times. 方育平 1947 年生於香港。畢業於浸會學院傳理系，並於南加州大學電影系取得碩士學位，回港後加入香港電台電視部任助理編導。1981 年憑首作《父子情》獲第一届香港電影金像獎最佳導演獎，是少數三奪此殊榮的導演。

石琪《經典 200 ─ 最佳華語電影二百部》 SELECTED FILMOGRAPHY 主要作品 1981 Father and Son 父子情 1983 Ah Ying 半邊人 1986 Just like the Weather 美國心 1990 Dancing Bull 舞牛 1997 A Little Life-Opera 一生一台戲

CHINESE-LANGUAGE RESTORED CLASSICS 華語修復經典 1996 | Cantonese/English/German | Colour DCP | 97min Director Clara Law Producer Bridget Ikin Scriptwriter Eddie Fong, Clara Law Cinematographer Dion Beebe Editor Suresh Ayyar Production Designer Yee Chung-man Music Davood A. Tabrizi Sound Roger Savage Cast Annette Shun Wah, Annie Yip, Anthony Wong Production Hibiscus Films Print Source National Film and Sound Archive of Australia 導演羅卓瑤監製 Bridget Ikin 編劇方令正、羅卓瑤攝影 Dion Beebe 剪接 Suresh Ayyar 美術奚仲文音樂 Davood A. Tabrizi 音響 Roger Savage 演員 Annette Shun Wah、廖安麗、Anthony Wong

Floating Life 浮生 HEAVEN AND EARTH, ALL existence a journey,

[導演的話] 《浮生》的靈感源自我雙親對兒女們堅定不移的愛及恆久的信心。

Time, all generations travel, Floating life a dream, how often is happiness? from a Tao poet

Floating Life describes most aptly for me the world of an immigrant. An immigrant is cut off from history, both from one’s personal history and the nation’s history. He/She has to learn to love “floatingly”. What does existence mean away from one’s country, the non-existence of an existence when one is cut off from one’s roots? Yet aren’t we all transient beings passing though this place called Earth? We are mortals that will pass away. We always try to hold hard onto a little space and call it our own. Are we not all immigrants to the world? Where are our roots? At the end of the 20th century, we still try to differentiate by our colours, by our gods, by where we come from, the East or the West. The paradox. Ancient Chinese philosophy teaches that there is a cosmic order to the universe. This order extends from heaven to earth, from country to man, from father to son… and so forth. I believe in this. This belief has given me strength and faith when I was making this film. Clara Law

故事講香港主權歸屬中國的前夕，一個家庭的五個兒女從香港移轉到澳洲的遭遇及心路歷程。兒女們經歷着各自的掙扎，為着撇下父母、家庭及自己的根源而頭痛。愈掙扎他們就對父母家庭及所來自的世界愈難捨難分。我要探討的是離開了所屬家國後生存會是怎麼一回事，還有存在本身叫人疑惑之處。這些問題我愈是想，就愈感到莫名。我們究竟從何而來？我們不都是世界上的移民嗎？我們的根又在那裏？二十世紀，我們不都是成為無根的人嗎？然而，我們總仍攀扶着一丁點的空間，稱之為自己的空間，又試圖透過膚色、所信的神、來自東方抑或來自西方等等去跟別人劃清界線…… [導演訪問] 整個故事環繞着「屋」去發展，有何喻意？屋，對居於德國的阿恩象徵和諧，對父親而言是繼後香燈及家庭興旺的基礎，對阿冰則是無菌無塵。屋代表着片中每個角色的不同心態。對移民來說，屋與離鄉別井尋求美好居所息息相關。最終在《浮生》，那些能夠快樂地把自己移植到他鄉土壤的家庭才有希望。

Clara LAW was born in Macau in 1957. She graduated from the University of Hong Kong with a degree in English Literature, then studied film direction and writing at the National Film School in London. After returning to Hong Kong to work on a number of films, she moved to reside in Australia in 1995. 羅卓瑤 1957 年生於澳門，在香港受教育，畢業於香港大學英國文學系，82 至 85 年進入英國國立電視電影學院，畢業作品《外國的月亮圓些？》(85)，87 年入香港電台電視部任助理製片。現居澳洲。

SELECTED FILMOGRAPHY 主要作品 1988 The Other Half and the Other Half 我愛太空人 1990 Farewell, China 愛在別鄉的季節 1992 Autumn Moon 秋月 1996 Floating Life 浮生 2000 The Goddess of 1967 遇上 1967 的女神

大師班

MASTER CLASS

原一男 Hara Kazuo 4/4 ( 日 Sun ) 香港大會堂 Hong Kong City Hall © Wolfgang Wesener

弗德烈懷斯曼 Frederick Wiseman 2/4 ( 五 Fri )

2:30pm 《令和選戰》放映 Screening of Reiwa Uprising 7:00pm 映後談 Post-screening Talk 主持：黃國兆（導演兼影評人） Moderator: Freddie Wong (Filmmaker and critic) 日語主講，粵語即時傳譯，憑票入場 Conducted in Japanese with Cantonese interpretation. Admission by ticket only.

香港大會堂 Hong Kong City Hall

2:30pm 7:00pm

放映 Screening 映後談 Post-screening Talk

主持：楊紫燁（奧斯卡得獎紀錄片導演） Moderator: Ruby Yang (Oscar-winning documentarian)

《令和選戰》(p.97) Reiwa Uprising

《波士頓市政廳》(p.90) City Hall 英語主講，憑票入場 Conducted in English. Admission by ticket only.

《水俁曼荼羅》(p.96) Minamata Mandala

MASTERS & AUTEURS 大師與作者

©Roy Andersson Film Production • Studio 24

The Masters 大師級

THE MASTERS 大師級 Sweden/Germany/Norway 瑞典／德國／挪威 2019 | Swedish | DCP | Colour | 76min Director Roy Andersson Producer Pernilla Sandström, Johan Carlsson Scriptwriter Roy Andersson Cinematographer Gergely Pálos Editor Johan Carlsson, Kalle Boman, Roy Andersson Production Designer Anders Hellström, Frida E. Elmström, Nicklas Nilsson Sound Robert Hefter Cast Martin Serner, Jessica Louthander, Tatiana Delaunay, Anders Hellström Production Roy Andersson Filmproduktion World Sales Coproduction Office

©Roy Andersson Film Production • Studio 24

About Endlessness Om det oändliga 明明無盡 Some of the themes in About Endlessness are presented in your other films: optimism represented by youth, but also war and despair, and the absence of God. Here you show a priest who doesn’t believe in God. Would you say there is always a balance between hope and despair? The main theme of my work is the vulnerability of human beings. And I think it is a hopeful act to create something showing vulnerability. Because if you are aware of the vulnerability of existence, you can become respectful and careful of what you have. I wanted to emphasise the beauty of existence, of being alive. But of course, to get that, you need to have a contrast. You need to show the bad side, the cruel side of existence. Looking at art history, for example, a lot of paintings are very tragic. But even if they depict cruel and sad scenes, by painting them the artists have in some way transferred the energy and created hope. Though you have these historical scenes, there is a sense of timelessness to your films and here it also ties into the title. The “endlessness” of the title has nothing to do with the never-ending space. It is not in terms of science, endlessness in this film is about the endlessness of signs of existence, the signs of being human.

[導演訪問] 《明明無盡》裏有一些主題，常見於你的其他電影：青年代表希望，不過亦有戰爭與絕望，以及上帝的缺席。片中神父並不相信神。你認為希望與絕望之間是否總能平衡？我的作品主題是人類的脆弱，我認為展現脆弱是希望之舉。因為當人注意到脆弱的存在，你會學懂尊重及珍惜。我想強調存在之美、生存之美。然而，要呈現美需要有對比，展示存在的敗壞及殘酷。回望藝術史，不少畫作也很悲慘。即使畫作描繪殘酷與悲傷，但畫家可透過畫作傳達力量，創造希望。影片雖有歷史場景，卻有永恆無盡的感覺，片名亦如是。對，畫面雖是九月、雪景或歷史場景，但我希望呈現時間綿延、永恆無盡的感覺。片名「無盡」與空間的無止境無關，並非科學概念，而是關乎存在徵兆、人類徵兆之無盡。

Interview with Roy Andersson by Philippe Bober

©Studio 24

Roy ANDERSSON was born in Gothenburg, Sweden in 1943. His first feature, A Swedish Love Story (70), won four prizes at Berlinale. After a career as an awardwinning commercial director, he returned to a renewed filmmaking career with The Living Trilogy (00-14). A Pigeon Sat on a Branch Reflecting on Existence (14) won the Golden Lion award at Venice. 羅伊安德遜 1943 年生於瑞典哥德堡，69 年在瑞典電影學院畢業，畢業後首部長片《瑞典愛情故事》(70) 光芒四射。81 年成立「24 製片廠」，拍攝廣告逾四百部，其後回歸電影，作品風格獨特。憑《二樓傳來的歌聲》(00) 獲康城評審團獎。憑《鴿子在樹上反思存在意義》(14) 獲威尼斯金獅獎。

SELECTED FILMOGRAPHY 主要作品 1970 A Swedish Love Story 瑞典愛情故事 2000 Songs from the Second Floor 二樓傳來的歌聲 2007 You, the Living 人啊，你為甚麼 2014 A Pigeon Sat on a Branch Reflecting on Existence 鴿子在樹上反思存在意義 2019 About Endlessness 明明無盡

THE MASTERS 大師級 France/Greece 法國／希臘 2019 | English/Greek/French/German DCP | Colour | 124min Director Costa-Gavras Producer Michèle Ray Gavras, Alexandre Gavras Scriptwriter Costa-Gavras Cinematographer Yorgos Arvanitis Editor Costa-Gavras, Lambis Charalampidis Production Designer Spyros Laskaris, Philippe Chiffre Music Alexandre Desplat Sound Nikos Papadimitriou, Marianne Roussy-Moreau, Costas Varibopiotis, Edouard Morin, Daniel Sobrino Cast Christos Loulis, Ulrich Tukur, Alexandros Bourdoumis, Daan Schuurmans Production KG Productions World Sales Elle Driver

©KG Productions

Adults in the Room 國債大風暴 Looking back on the Greek economic crisis, we tend to forget it was triggered by the governments who had ruled the country for the 30 years previous to its onset in 2008. It was the incompetence and cronyism of New Democracy (the right-wing party) and Pasok (the Socialist party) that allowed the 320-billion-euro debt to accrue. Greece’s colossal debt is impossible to repay and everyone knew it. However, with no qualms whatsoever, France and Germany continued selling products (cars, arms, defense systems etc.) to a country they knew was deeply in the red.

[導演的話] 回顧希臘經濟危機，我們往往會忘記引發危機的，是 2008 年危機初發時已統治該國三十年的民選政府，是當時無能且任人唯親的兩大政黨（右翼的新民主黨，以及泛希臘社會主義運動）容許國家累積了高達 3200 億歐元的債務。

And the European Commission allowed this to happen.

希臘的巨額債務無法償還，方眾所周知。然而，法國和德國卻毫無疑慮地，繼續向他們知道深陷財政赤字的希臘售賣汽車、軍備、國防系統等產品。而歐盟亦允許這種事情發生。

In 2015, Michèle was producing a film in Thessaloniki during the Greek bank closures. On July 14th she sent me an interview with Yanis Varoufakis in The New Statesman with a short note: There is a film here.

2015 年，在希臘政府宣布銀行暫停營業期間，妻子米雪雷加拉斯正在塞薩隆尼基監製一部電影，她在七月十四日發了一篇《新政治家》專訪經濟學家揚尼斯瓦魯法基斯的文章給我看，並附上說明：這可以是一部電影。

From the start of the crisis, I could tell Greece was embarking on a long drama – one of many it has known since its foundation in 1821 as a nation-state. The idea of a film was born once I became aware of the poverty and powerlessness in which much of the Greek people were trapped.

自從經濟危機爆發以來，我已知道希臘正開始漫長的戲劇性事件：是 1821 年立國以來，眾多戲劇性事件之一。當我意識到許多希臘人被困於貧窮及無能為力時，就馬上有了拍攝這部電影的想法。

Costa-Gavras

Costa-Gavras was born in Greece in 1933. He graduated from the National Institute of Film (IDHEC) and directed his first feature film, Compartiment Tueurs, in 1965. His political films, Z (69), Missing (82), and Music Box (89) won Best Foreign Language Film at the Academy Awards, Palme d’Or at Cannes, and Golden Bear Best Film at Berlinale respectively. Since 2007, he has been President of the Cinémathèque Française. 哥斯達加華斯 1933 年生於希臘，畢業於巴黎高級電影研究學院，65 年執導首部長片《火車情殺案》。擅拍政治題材，憑《大風暴》(69) 獲奧斯卡最佳外語片獎，《大失蹤》(82) 獲康城影展金棕櫚獎，《大控訴》(89) 獲柏林影展金熊獎。現為法國電影館主席。

SELECTED FILMOGRAPHY 主要作品 1969 Z 大風暴 1982 Missing 大失蹤 1989 Music Box 大控訴 2002 Amen. 納粹天國阿門 2019 Adults in the Room 國債大風暴

©KG Productions

THE MASTERS 大師級 USA 美國 2020 | English | Colour | 275min Director Frederick Wiseman Producer Frederick Wiseman, Karen Konicek Cinematographer John Davey Editor Frederick Wiseman Sound Frederick Wiseman, Christina Hunt, Emmanuel Croset Production Zipporah Films, Inc. World Sales The Party Film Sales

City Hall 波士頓市政廳 I made City Hall to illustrate why government is necessary for people to successfully live together. City Hall shows a city government offering a wide variety of important and necessary services to a major American city whose population exemplifies the history of diversity of America. The Boston city government is designed and strives to offer these services in a manner consistent with the Constitution and democratic norms. Boston’s city government is the opposite of what Trump stands for. Frederick Wiseman

In the ample filmography of Frederick Wiseman, City Hall follows immediately after his previous film Monrovia, Indiana. The new film is undoubtedly the most explicitly political ever made by this venerable director. It stands as a profession of faith in American democracy (as defined by Abraham Lincoln in his Gettysburg Address – “government of the people, by the people, and for the people”), as well as acting as a counterpoint to the nightmare of Trump’s effort to demolish American institutions. By filming what amounts to a virtuous politics of public service and inclusiveness, City Hall offers an alternative model. As the mayor of Boston says in the middle of the film: “I realise in Boston we can’t solve the problems of the United States of America in here… All it takes is one city.” Antoine Guillot (journalist at France Culture)

[導演的話] 我拍《波士頓市政廳》，闡明人民能合群而居，政府不可或缺。影片展示在人口代表着美國多元文化歷史的主要城市，市政府如何提供一系列重要且必須的服務。波士頓市政府的規劃，正是在符合美國憲法與民主價值的原則下，致力提供這些公共服務。它與特朗普代表的一切，正正對立。 [影評摘錄] 《波士頓市政廳》是懷斯曼在《小鎮大國度》後又一力作，無疑是他歷來政治取態最鮮明的一部，代表着對美國民主（林肯總統在《蓋茲堡演說》定義的民有、民治、民享政府）的信念，同時抗衡特朗普致力摧毀美國制度的這個噩夢。透過拍攝如何善用政策提供公共服務、推動社會共融，影片提供了可行的榜樣。正如波士頓市長在片中所言：「我明白單在波士頓，我們無法解決美國所有問題……但可由一個城市做起。」拍過美國各州後，懷斯曼重返出生地，那是他作為東歐猶太移民之子成長之地。從玻璃幕牆到富殖民地色彩的紅磚小屋，形形色色建築的畫面穿插其中，可感受到他的無比喜悅，就像小男孩對公共工程目眩神迷，即使是垃圾車碾壓廢物、道路修葺、為消防車噴漆，一切看來洋洋壯觀。

Frederick WISEMAN was born in Boston, USA in 1930. He has created over 30 documentaries examining social issues and institutions. In 2016, he received an Honorary Academy Award from the Academy of Motion Picture Arts and Sciences. 弗德烈懷斯曼 1930 年生於美國波士頓，耶魯大學法律系畢業，及後旅居巴黎，1967 年開始執導，專門拍攝美國社會日常生活題材的紀錄片，成為享負盛名的紀錄片大師。2016 年獲奧斯卡頒發終身成就獎。

©Wolfgang Wesener

SELECTED FILMOGRAPHY 主要作品 1967 Titicut Follies 誰主瘋騷 2001 Domestic Violence 家庭暴力啟示錄 2013 At Berkeley 直擊柏克萊 2015 In Jackson Heights 紐約巴別塔 2017 Ex Libris: The New York Public Library 紐約公共圖書館 2020 City Hall 波士頓市政廳

THE MASTERS 大師級 Russia 俄羅斯 2020 | Russian | DCP | B&W | 120 min Director Andrei Konchalovsky Producer Andrei Konchalovsky, Alisher Usmanov Scriptwriter Andrei Konchalovsky, Elena Kiseleva Cinematographer Andrey Naidenov Editor Sergei Taraskin, Karolina Maciejewska Production designer Irina Ochina Sound Polina Volynkina Cast Julia Vysotskaya, Vladislav Komarov, Andrei Gusev Production Andrei Konchalovsky Studios World Sales Films Boutique

Dear Comrades! Dorogie Tovarishchi! 親愛的同志 The process of making films about the 1960s is increasingly becoming the process of restoring the historical authenticity of the era, a fairly difficult task all in itself. Recently we’ve all been seeing plenty of films where the 60s-70s-80s of the XX century look fake and contrived, without any resemblance to the Soviet films made at the time, like The Cranes Are Flying or Ballad of a Soldier. So, my goal was to scrupulously and in great detail reproduce the era of the USSR’s 1960s. I think that the Soviet people of post-war time, the ones who fought in the WWII until victory, deserve to have a movie that pays tribute to their purity and the tragic dissonance that followed the realisation of how different the communist ideals were from the reality around them.

[導演的話] 拍攝一部關於二十世紀六十年代的電影，過程愈來愈顯得是在還原時代的歷史真相，本身就有一定難度。最近我們都看了很多關於二十世紀六十、七十和八十年代的電影，裏面的時代感看來都很假，很人工，一點都不像那時拍攝的蘇聯電影，例如《仙鶴飛翔》或《士兵之歌》。因此，我旨在認真細緻地將六十年代的蘇聯還原出來。我認為，我們絕對應該為二次大戰後的蘇聯人民，那些奮力作戰並獲得勝利的人拍一部電影，向他們的純潔致意。而當他們發現共產主義理想與周遭的現實有這麼大的出入時，也值得後人向他們送上一聲問候。

Andrei Konchalovsky

Andrei KONCHALOVSKY was born in Moscow in 1937, and is a theatre, film director and screenwriter. His films, TV and theatre productions have won prizes at Venice, Cannes and San Sebastian and Emmy, Oscar and Laurence Olivier awards. He won the Best Director award twice at Venice for The Postman’s White Nights (14) and Paradise (16), and the Special Jury Prize for Dear Comrades!. 安德烈岡查洛夫斯基 1937 年生於莫斯科，出身藝術世家，入讀俄羅斯電影學院，曾為塔可夫斯基編劇。1965 年完成首作《第一位老師》。80 年移民美國，九十年代返回俄羅斯。電影拍攝以外，亦活躍於舞台創作及電影劇製作。憑《郵差的白夜》(14) 及《見地獄見天堂》(16) 兩度奪得威尼斯影展最佳導演獎，憑《親愛的同志》獲威尼斯影展評審團特別獎。

SELECTED FILMOGRAPHY 主要作品 1979 Siberiade 西伯利亞之歌 1985 Runaway Train 暴走列車 2002 House of Fools 愛在瘋煙四起時 2014 The Postman’s White Nights 郵差的白夜 2016 Paradise 見地獄見天堂 2020 Dear Comrades! 親愛的同志

THE MASTERS 大師級 Mexico/Spain 墨西哥／西班牙 2019 | Spanish | DCP | B&W | 147min Director Arturo Ripstein Producer Miguel Necoechea, Mónica Lozano, Antonio Chavarrías, Marco Polo Constandse Scriptwriter Paz Alicia Garcíadiego Cinematographer Alejandro Cantú Editor Mariana Rodríguez Production Designer Alejandro García Music David Mansfield Sound Aldo Navarro Cast Sylvia Pasquel, Alejandro Suárez, Greta Cervantes, Daniel Gimenez Cacho Production Carnaval Films, Oberon World Sales Latido Films

Persons Aged 18 and Above Only 只准18歲或以上人士

Devil Between the Legs El Diablo entre las Piernas 愛恨兩腿間 In your film, you handle themes like violence against women, physical or verbal, refusing to treat them via a black and white moral compass. What was you starting point when creating the toxic, yet loving, relation between Beatriz and her husband? The starting point was giving thought to the idea that jealousy doesn’t end at a certain age. Attraction and repulsion don’t end at a certain age. Relationships of crazy love are also ones of crazy hate. Sexuality is usually presented via young people and beautiful bodies. We thought, at our age, that it was fundamental to talk about passionate madness which goes beyond physical strength. In the same way the third character in this trio, Dinorah, functions according to a very different scale of grey where she plays both roles, the repressed and repressor. Where did this character start from? The characters come, fundamentally, from perverse innocence. She believes that if her employer has a jealous husband it’s because he loves her. There’s this crazy thing going on, where she feels very close to Beatriz, maybe wants to be her but thinks that the jealousy of her husband can only come from his adoration of her. Hence she’s a perverse fairy godmother, who protects this situation, the woman that takes care, reacts, attacks, and takes a stand. Interview with Arturo Ripstein Variety

[導演訪問] 影片涉及對婦女身體或語言暴力等問題，卻沒有非黑即白的道德審判。片中老夫妻愛恨交纏的關係最初是如何構思的？最初構思是妒忌不止於某個年齡，吸引與排斥亦然。瘋狂的愛，也是瘋狂的恨。性慾通常透過年輕人及美麗軀體呈現。到了我們的年紀，談及超越身體的熾熱狂慾是基本需要。女傭是片中第三個主要人物，既壓制別人又受到壓制，帶着不同程度的灰色。她的角色從何而來？這角色基本上來自反常的無知。她相信僱主碧翠絲有一個妒忌丈夫，只因他愛她。瘋狂的事繼續，她感到與碧翠絲親近，或者想變成她，但以為她丈夫的妒忌只是來自對她的愛慕。作為一個乖張的救星，她想延續現況，是一個照顧、回應、攻擊及採取立場的女子。影片開首，你用了「Ich Bin von Kopf bis Fuße von Liebe Eingestellt」，令人即時聯想到馮史登堡的《藍天使》。這首歌與電影主題有什麼關連？霍蘭德創作的原曲在三十年代十分流行，其後被譯作「Falling in Love Again」（「再次墜入愛河」），英文歌詞與原作並不相關。在原裝德文歌詞，你會聽見「男人對我像燈蛾撲火」，正說明了她的本性，你無從逃避。

Arturo RIPSTEIN was born in Mexico in 1943. His father, Alfredo Ripstein, Jr. is an acclaimed producer. He began his career as assistant director of Luis Buñuel, and made his directorial debut, Tiempo de morir, in 1966. Active in both fiction film and documentary, he is one of the most prolific directors in Mexico. 奧圖魯利普斯坦 1943 年生於墨西哥市，父親是著名電影製片人，拍電影前修讀法律、歷史和藝術史，初擔任布紐爾助手，1966 年執導《大限難逃》，劇情片外也拍紀錄片，成為墨西哥創作力最旺盛而多產的導演。

SELECTED FILMOGRAPHY 主要作品 1986 The Realm of Fortune 富貴不留人 1994 The Queen of the Night 不夜天皇后 1996 Deep Crimson 深深的腥紅 1999 No One Writes to the Colonel 沒有人寫信給上校 2015 Bleak Street 窮街柳巷 2019 Devil Between the Legs 愛恨兩腿間

THE MASTERS 大師級 The Philiphines 菲律賓 2019 | Filipino/English | DCP | B&W | 282min Director Lav Diaz Producer Piolo Pascual, BB. Joyce Bernal, Erickson Raymundo, Enrico A. Roque Scriptwriter Lav Diaz Cinematographer Daniel Uy, Lav Diaz Editor Lav Diaz Production Designer Lav Diaz Sound Corinne de San Jose Cast Joel Lamangan, Piolo Pascual, Shaina Magdayao, Pinky Amador Production Spring Films World Sales Indie Sales

©LavDiaz

The Halt Ang Hupa 末世昏天 The Halt is quite a dark and bleak feature showing a dystopian future. Do you have any hope for the future? It’s true that the film is quite desperate in tone, but there is a lot of hope there as well, especially in the last part. We have to return to the foundations of our lives on this planet, the small things, which also includes taking care of our environment. There is a lot of that in The Halt as well as presenting how the whole of South-East Asia has turned black because of volcanic eruptions. So there is this bleak picture of the world, but there is hope, since it asks us to examine the world at large, the world in front of us. Many reviewers of the film concentrate on the character of President Navarra in The Halt, stating he is a reminder of figures such as Rodrigo Duterte or even Donald Trump. He is all of them. When I created this character, he became a composite of all despots, totalitarian leaders and megalomaniacs… If you psychoanalyse the whole set-up of leadership in the world, there is psychosis everywhere. We always elect and have leaders such as these that I mentioned: cruel and mad men, but at the same time somewhat funny because of their looks, their weight or other attributes. Interview with Lav Diaz Asian Movie Pulse

[導演訪問] 《末世昏天》是一部黑暗黯淡的電影，呈現反烏托邦的未來。你對未來是否存有希望？影片主調確實頗為絕望，但仍存在不少希望，特別是結尾部分。我們必須回到地球生命的基本，細微事物，包括環境保護。影片展示整個東南亞地區因火山爆發而陷入黑暗，因此全球變得黯淡荒涼。不過它邀請觀眾審視我們面前的整個世界，故此希望仍在。很多觀眾把焦點放在總統角色上，認為他有菲律賓總統杜特爾特甚至特朗普的影子。他是集眾人於一身。當我創作這角色時，將暴君、極權領袖及自大狂融為一體。他是杜特爾特、馬可斯、特朗普、阿薩德，甚至是差利卓別靈在《大獨裁者》裏仿希特拉的角色。若你將全世界領袖作精神分析，會發現精神病無處不在。我們經常選出這樣的領袖：殘忍、瘋狂，但因外貌、體重及其他特徵，令他們看來同時有點滑稽。當你看看從古至今的領袖，便會察覺這是多麼荒唐。你認為這是部科幻片嗎？是，也不是。它可以屬於科幻片類型，但同時有很強的現實基礎。影片背景是 2034 年，然而故事可以發生於過去或現在。所以可說是科幻片，也可說是社會寫實電影。

Lav DIAZ was born in the Philippines in 1958. He worked as journalist, photographer and scriptwriter before directing. Making films since the late 1990s, his breakthrough came with the five-hour feature Batang West Side (2002). In 2016, he won the Venice Golden Lion Best Film with The Woman Who Left. He is heralded as the most active proponent of “slow” cinema. 拉夫狄亞茲 1958 年生於菲律賓，大學主修經濟，曾為音樂雜誌執筆，當過攝影師，後修讀電影製作課程，寫過電視及電影劇本。1992 年舉家移居紐約，1998 年隻身回馬尼拉定居，拍成首部長片《綁匪》(02)。作品以長篇及緩慢節奏見稱。憑《出獄的女人》(16) 獲威尼斯影展金獅獎。 ©BradleyLiew

SELECTED FILMOGRAPHY 主要作品 2004 Evolution of a Filipino Family 一個菲律賓家庭的進化 2013 Norte, The End of History 罪與罰末世篇 2016 A Lullaby to the Sorrowful Mystery 革命英雄安眠曲 2016 The Woman Who Left 出獄的女人 2019 The Halt 末世昏天 2020 Genus Pan 人畜之別

THE MASTERS 大師級 Romania/Serbia/Switzerland/Sweden Bosnia Herzegovina/Macedonia 羅馬尼亞／塞爾維亞／瑞士／瑞典／波黑／馬其頓 2020 | French/Hungarian/German/Russian Online | Colour | 200min Director Cristi Puiu Producer Anca Puiu, Smaranda Puiu Scriptwriter Cristi Puiu Cinematographer Tudor Panduru Editor Drago Apetri - Andrei Iancu, Bogdan Z rnoianu Production Designer Cristina Barbu Sound Jean-Paul Bernard Cast Frédéric Schulz-Richard, Agathe Bosch, Marina Palii, Ugo Broussot, Diana Sakalauskaité, István Téglás Production Mandragora, Iadasarecasa World Sales Shellac

Malmkrog 世紀初的辯證莊園 The problems posed by adapting a real event for the screen are to a large extent contiguous with those that arise in the case of creating a film version of a literary text. The risk of manipulating events or distorting the author’s intention in order to put forward your own ideas, seems almost insurmountable. Perhaps this is why this screen version of Vladimir Solovyov’s Three Conversations seems to be a doubly onerous task. On one hand, it must recreate an epoch, with its language, traditions and customs, and, on the other, it must respect the spirit of Three Conversations and thereby its author’s intentions. At the same time, in regard to the cinema properly speaking, the text constrains me to reformulate a large part of everything that has to do with image, acting and setting within a story told in the past tense. Therefore I decided to conceive the film as an interrogation of cinema and memory, allowing myself to imagine it step by step everyday, taking into account each vibration of the space, every change of the daylight, every fluctuation of the weather, every spasm of my intuition. These are the limits within which I plan to install my personal interpretation of a text that I consider to be, in many ways, prophetic.

[導演的話] 把真實事件搬上銀幕，跟改編文學文本，兩者遭遇的困難不相伯仲。無論是篡改真實事件，還是扭曲作者原意，以突出自己的想法，這種危險似乎都是無法克服的。也許因此要把索洛維約夫的《三個對話》改編成電影似乎是個加倍沉重的任務。一方面，必須以其語言、傳統和習俗，重構那個時代，另一方面，必須尊重原作的精神，尊重作者的意圖。同時，就電影而言，在這個以過去式時態講述的故事中，文字迫使我重新建構與影像、表演和場景有關的大部分內容。因此，我決定將這部影片視為對電影和記憶的審問，容許我每天一步一步想像它，考慮空間的每次顫動、光線的每次變化、天氣的每次變動、直覺的每次湧現。這是一個我認為在許多方面都是預言性的文本，當我計劃置入我對它的個人解釋，這些都是限制所在。

Cristi Puiu

Cristi PUIU was born in Bucharest, Romania in 1967. He studied painting in Geneva, Switzerland. Upon returning to Romania, he continued painting, co-wrote scripts, and began making films in 2000. His short film, Cigarettes and Coffee (04), won the Golden Bear at Berlinale and The Death of Mr. L z rescu (05) won the Un Certain Regard award at Cannes. 基斯蒂培訏 1967 年生於羅馬尼亞布加勒斯特，共產倒台後，入讀日內瓦視覺藝術高等院校，畢業後回羅馬尼亞繪畫及撰寫電影劇本，2000 年開始執導電影，並以短片《煙與咖啡》 (04) 贏得柏林影展最佳短片金熊獎。憑《無醫可靠》(05) 獲康城影展「某種觀點」大獎。

SELECTED FILMOGRAPHY 主要作品 2001 Stuff and Dough 無命錢 2005 The Death of Mr. L z rescu 無醫可靠 2010 Aurora 破曉 2016 Sieranevada 耐人尋味的追悼晚餐 2020 Malmkrog 世紀初的辯證莊園

THE MASTERS 大師級 The Philippines 菲律賓 2019 | Tagalog/Filipino | Online | Colour | 124min Director Brillante Mendoza Producer Brillante Ma Mendoza Scriptwriter Honee Alipio Cinematographer Odyssey Flores Editor Diego Marx Dobles Production Designer James Rosendal Music Teresa Barrozo Sound Ishizaka Hiroyuki Cast Judy Ann Santos, Allen Dizon, Yuna Tangog Production/World Sales Center Stage Productions

Mindanao 菲屠龍戰記 Death has always been occasioned in the Filipino experience. The families, relatives from distant lands, friends and even politicians take part in the lamay or the practice of mourning to send off the dead to the next life. Pakikiramay or compassion for the bereaved loved ones is a social duty of everyone related to the dead. The film Mindanao started with research on children with cancer temporarily sheltered in House of Hope in Davao City. Majority of the patients are children from all over Mindanao. The experiences of the people in the epic tale and the current people of Mindanao is still very much the same, death lurks behind them. It was such a sad realisation for us. Thus, we ended up merging the epic tale with the story of Saima (Judy Ann Santos), a Maguindanaoan mother to an ailing child with cancer, and whose husband is a combat medic (Allen Dizon) deployed in an offensive operation in Mindanao. I envisioned the epic tale to be in animated images. We took time in the development of the animation, and I am happy with the rendition of the animators, truly we can be proud of their craft and talent, and I may say this film is also a tribute to the animation artists of our country. Brillante Mendoza

[導演的話] 每個跟死者有關連的人，都有社會責任對死者家屬有同理心。這部電影源於達沃市兒童癌病中心「希望之家」的資料搜集，那裏收容的病童，大都是棉蘭老島的兒童。跟本片創作顧問阿曼度盧討論後，我們決定在軍中尋找有小孩患癌的家長，或是已經病癒的，我們由此開始把兩大類的死亡（病死和因戰爭而死）放在一起。其中一位母親跟我們分享，說她兒子臨終前告訴她，他正在爬上魔豆的莖，那是她以前跟他講過的《傑克與魔豆》童話故事。編劇研究棉蘭老島常見的民間傳說，其中一個故事是一對戰士兄弟對抗兩條噴火惡龍的史詩故事。英雄的征戰和悲劇，呼應着影片主角莎瑪的悲痛遭遇。我想像以動畫呈現屠龍的史詩故事。我們花時間去製作動畫，我對動畫師的表現感到滿意，可以為他們的技藝和才華感到自豪，這部電影也是向我們國家的動畫藝術家致敬。最後，這是我首部由菲律賓的角度，真實的與想像的，去探討死亡觀的電影。在戰場，生存者得勳章。在與癌症搏鬥的戰場，生存者獲慶賀。但我們不要忘記死去的人。

Brillante MENDOZA was born in San Fernando, Philippines in 1960. Since his 2005 directorial debut, The Masseur, Mendoza’s films have been celebrated at many of the world’s most prestigious film festivals, winning awards at Berlin (Tirador), Cannes (Trap, Kinatay, Ma’ Rosa), and Venice (Thy Womb). 布里楊文杜沙 1960 年生於菲律賓聖法蘭多。2005 年拍成首部劇情長片《情慾按摩院》，其後多部作品在國際屢獲殊榮，包括 2009 年憑《男孩看見血地獄》獲康城影展最佳導演獎。

SELECTED FILMOGRAPHY 主要作品 2005 The Masseur 情慾按摩院 2009 Kinatay 男孩看見血地獄 2012 Thy Womb 出讓丈夫的女人 2016 Ma’ Rosa 羅剎媽媽 2019 Mindanao 菲屠龍戰記

THE MASTERS 大師級 Japan 日本 2020 | Japanese | DCP/Online | Colour | 371min Director Hara Kazuo Producer Kobayashi Sachiko, Hara Kazuo, Nagaoka Noa, Shimano Chihiro Cinematographer Hara Kazuo, Nagaoka Noa Editor Hata Takeshi Sound Ogawa Takeshi Production Shisso Production, inc. World Sales Media Space, Inc.

Minamata Mandala 水俁曼荼羅 In this film, I did my utmost to depict in detail the emotions of Minamata disease sufferers, and others who are fighting to resolve the problem. Although I endeavoured to avoid casting matters in terms of right and wrong, at times I was unable to suppress my anger, which I hope you’ll forgive as part of my charm. One of the difficulties we faced in making this documentary was the reality that our subjects would not cooperate fully with the filming of it. I believe this was due to their deep-seated distrust of the mass media. […] Filmmakers always hope their subjects will bear their souls, but the authorities’ disinclination to decisively resolve the Minamata disease issue forces those affected to battle with the strain and pressure it levels upon their everyday lives, so they are too preoccupied to accept the presence of cameras. The desire for them to talk frankly about their situation and expose themselves, especially because of their suffering, is merely the motive of the filmmaker. The finished film has a prodigious length of over six hours. Even so, there were many episodes that I wanted to include but was forced to leave out because they did not go far enough. More scenes were omitted, with great reluctance, than those which barely made the cut. Ultimately, a film can only be assembled from the footage available, and many people passed away before this documentary could be completed.

[導演的話] 我相信拍紀錄片的首要原則是捕捉人們的情緒，例如不同的心情及愛恨的表現。深入描繪這些情緒，才能揭露不人道的制度如何剝奪我們的自由，當權者如何殘酷無情。我盡力在本片詳細刻劃水俁病患者以及為解決此問題而抗爭的人的情緒。儘管我設法避免以是非對錯來表達事情，但有時無法抑制憤怒，望大家體諒。拍這部紀錄片的困難之一，是現實上拍攝對象無法充分配合。這是由於他們不信任傳媒，已根深蒂固。導演總希望被拍的人能向自己掏心掏肺，但當局不願果斷解決水俁病問題，令受害民眾因日常生活的壓力而掙扎，弄得心力交瘁，根本無法再面對鏡頭。渴望他們坦率談論自身處境，尤其是傾訴痛苦，這不過是導演的心願而已。拍成的影片長度驚人，超過六小時。即便如此，有許多片段我本想加進去，卻因拍得不夠深入而被迫放棄。與保留的場景相比，有更多場景刪掉了，這實在是逼不得已。說到底，一部電影只能由拍下的片段剪輯而成，而許多人在這部紀錄片完成前，已不幸離世。

Hara Kazuo

HARA Kazuo was born in Ube City, Yamaguchi Prefecture, Japan in 1945, and attended Tokyo College of Photography before dropping out to work as support staff at a special education school. He founded Shisso Production with Kobayashi Sachiko in 1972. 原一男 1945 年生於日本山口縣，就讀東京攝影學院，中途退學。1972 年與小林佐智子成立疾走製作公司，同年完成首部紀錄片《再見 CP》。他亦曾任浦山桐郎與熊井啟的副導演。

SELECTED FILMOGRAPHY 主要作品 1974 Extreme Private Eros: Love Song 1974 極私愛慾•戀歌 1974 1987 The Emperor’s Naked Army Marches On 祭軍魂 1994 A Dedicated Life 全身小說家 2017 Sennan Asbestos Disaster 石棉村大訴訟 2019 Reiwa Uprising 令和選戰 2020 Minamata Mandala 水俁曼荼羅

THE MASTERS 大師級 Japan 日本 2019 | Japanese | DCP/Online | Colour | 249min Director Hara Kazuo Producer Shimano Chihiro Cinematographer Hara Kazuo, Shimano Chihiro, Kishi Kentaro, Horii Ikuma, Nagaoka Noa, etc. Editor Tanaka Demo, Koike Miki Sound Takada Yoshinori, Minami Yukiya, Usui Masaru Production Fukyo Films World Sales My Theater D.D, Inc.

Reiwa Uprising Reiwa Ikki 令和選戰（前名：令和新選組） Why devote so much time to shooting footage? My answer is, in order to depict the life of the protagonist in front of the camera, you spend a long time shooting, then compress it tightly, which reveals the dramatic aspects of their life. However, for this film, I could not use this method. So, what could I do? When you become lost, all you can do is go back to where you started. Essentially, a candidate in an election campaign is the subject of my documentary. Election campaigns are about putting forth pledges for voters to consider. To do so, candidates must endeavour to present their own thoughts and beliefs, and way of life. Their tools are their words. Having arrived at this realisation, it became clear to me what I should film: their words.

[導演的話] 2019 年日本參議院選舉期間，我邊拍攝邊聽着令和新選組的候選人說話，不想錯過隻字片言。他們的演說極具說服力，直達我心坎。聽其言令我感到安慰。我從未有過如此體驗。開拍前我很緊張，因為我以往的方法今次並不適用。日本選舉只有十七天，而我過往的紀錄片至少要用一年拍攝，甚至三、五年。十七天一閃即過，我如何能在短時間捕捉一切？

Words that inspire the act of voting for a certain candidate, the physical act of going out and voting, and the impulse to take action. You might say that I myself was inspired to bring to light the spectacular nature of such words.

為何投入大量時間拍攝？我的答案是，為了描繪主角的生活，你需要長時間拍攝，然後壓縮片段，以表現人物生命的戲劇性。不過在此片卻無法運用此方法，那我該如何？當一個人迷失，唯一可做的是重新回到起點。紀錄片的主角是競選活動的一個候選人，而競選活動就是向選民推銷政綱。為此，候選人必須展示其思想與信念，以及生活方式。言語是他們的工具。明白這點後，我開始清楚要拍什麼：他們的言語。

Frankly speaking, would focusing on words, captured in imagery and sound, make it possible to make a thoroughly entertaining documentary?

言語，驅使選民為某候選人投下一票，身體力行，並激發投票意欲。你可以說我是受啟發去帶出這些言語令人驚訝的特質。

I was unsure. For me, Reiwa Uprising is a substantially experimental, adventurous documentary.

坦白說，聚焦言語，以影音捕捉言語，能拍出一部娛樂性豐富的紀錄片嗎？我不肯定。對我來說，《令和選戰》是一部大膽實驗、冒險創新的紀錄片。

Hara Kazuo

THE MASTERS 大師級 Italy/France/Germany 意大利／法國／德國 2020 | Arabic/Kurdish | DCP | Colour | 100 min Director Gianfranco Rosi Producer Donatella Palermo, Gianfranco Rosi, Serge Lalou, Camille Laemlè, Orwa Nyrabia, Eva-Maria Weerts Cinematographer Gianfranco Rosi Editor Jacopo Quadri Sound Gianfranco Rosi, Stefano Grosso Production 21Uno Film, Stemal Entertainment, Rai Cinema World Sales The Match Factory

Notturno 天涯夜曲 At the origin of this film is a narrative intuition born of the belief that a total immersion in the Middle East would allow me to tell the story of those places, the subject of woeful misunderstandings and as many prejudices, in an unprecedented way. During the three years I spent in Lebanon, in Iraq, in Syria and Iraqi Kurdistan, my vision evolved, it became “illuminated” so to speak. [...] On my journey I met people who live in war zones: Shiites, Alawites, Sunnis, Yazidis, Kurds. They live on either side of the borders because they were born there or because they were forced into exile, and they are all victims of war, the result of ancestral conflicts and the greed of the powerful. I was able to get a taste of the life and a certain “normality” that inhabits the fronts of the conflict. It is this vitality I wanted to capture, and to do this I needed the light of day. Notturno is a political film, but it does not aim to take on the question of politics. It does not investigate the causes of conflict or the multiple religious and territorial problems at play. I simply wanted to stay as close as possible to the men, women, and children whose tenacious survival serves as the metaphor for the absolute that moves me the most: the human being. Gianfranco Rosi

[導演的話] 本片源於一種敘事直覺，相信徹底深入中東，便可讓我用前所未有的方式述說彼方故事，處理那些被無數誤解和偏見妨礙的主題。過去三年，我來回黎巴嫩、伊拉克、敘利亞及伊拉克庫爾德人聚居地，擴闊了視野，可說是被點亮了。離開前我曾想過只在晚間拍攝，就像把拍攝對象、我自己，以至觀眾皆置於黑暗中，從而表達我們都身處無知狀態。這想法很誘人，但勘景之後發現只能放棄。途中我遇見在戰地生活的人：什葉派、阿拉維派、遜尼派、雅茲迪人、庫爾德人……他們在邊境兩邊居住，都是戰爭受害人，飽受祖輩衝突和權貴掠奪之苦。我從他們的「日常」體會生活滋味，想捕捉的就是這種生命力，而要做到這一點，我需要日光。這是一部政治電影，但目的不在探討政治問題，它無意探究衝突成因，或各種相關的宗教及領土問題。我只想盡量貼近他們，他們頑強地生存儼然是最能感動我的絕對隱喻，那就是人本身！《天涯夜曲》是對陷於戰爭黑暗中的人們的頌歌，如同蕭邦的夜曲裏，黑暗只是藉口，一切皆為活物提供揚聲的機會。

Gianfranco ROSI was born in Asmara, Eritrea in 1964. He graduated from New York University’s Film School in 1985. His films have won various awards at international film festivals, including Fire at Sea (16), which won Golden Bear for Best Film at the Berlinale. 吉安法蘭高羅西 1964 年生於厄立特里亞首都阿斯馬拉，於意大利完成大學課程後，到紐約大學電影學院深造，1985 年畢業，並移居紐約。憑《怒海公民》(16) 獲柏林影展金熊獎。《天涯夜曲》是他的最新作品。

SELECTED FILMOGRAPHY 主要作品 2008 Below Sea Level 水平線下 2010 El Sicario, Room 164 殺手 164 號房 2013 Sacro GRA 一條大路通羅馬 2016 Fire at Sea 怒海公民 2020 Notturno 天涯夜曲

THE MASTERS 大師級 Chile 智利 2020 | Spanish | DCP | B&W | 70min Director Raúl Ruiz, Valeria Sarmiento Producer Chamila Rodriguez, Galut Alarcón Scriptwriter Raúl Ruiz, Valeria Sarmiento, Omar Saavedra Santis Cinematographer Diego Bonacina Editor Galut Alarcón Production Designer Raúl Ruiz Music Jorge Arriagada Sound Galut Alarcón Cast Rubén Sotoconil, Claudia Paz, Luis Alarcón Voice Cast Sergio Hernández, Chamila Rodriguez, Néstor Cantillana Production Poetastros Print Source Enrique León

The Tango of the Widower and Its Distorting Mirror El Tango del Viudo y Su Espejo Deformante

鰥夫探戈與鏡像 The found footage is completely chaotic in composition, full of short repeated fragments from previous scenes, like sharp pieces that have no connection to one another, an inaccessible and evanescent nightmare, populated with inverted images, both in terms of frames and the reversion of cadences. In addition to this, there are other fragments of scenes, with new shots that show a different point of view of the same scenes repeated previously. Valeria Sarmiento wanted to connect the concept of this filmic enigma with the distorting mirrors that her husband liked so much. She lucidly remembers a handwritten text in one of Ruiz’s notebooks, where he generically describes his intention to give a film a spiral structure but intervened with a “narrative mirror”, so that the film somehow makes the viewer revisit previously watched scenes, but in a different sensory experience, delivering new symbols which are redundant in form but not in content. This text has been key to deciphering this mysterious footage, and has articulated the structure of The Tango of the Widower in two parts: the first is the original, and the second is its double, seeking to produce a new narrative landscape that provides ideas for a new language and new interpretations.

[製作簡介] 剪接室內，華拉莉雅莎美安杜與團隊為對白定調，了解到人物處身的城市及時代，猶如在開發中被廢置的鬼域。這為故事營造獨特氛圍，在生死之間滲透，鬼魅浮現於肉血之中，佔據着現實的日常生活。也有不少符號來自馬普切人及智利南部奇洛埃島的魔幻想像，這些都是盧易茲光影世界的靈感泉源。找到的片段一片凌亂，支離破碎的短片前後重複，就像個別組件，互不相干，恍如難以捉摸、轉瞬即逝的夢魘，無論是場面架構或節奏的起承轉合，皆充滿顛倒的影像。此外還有其他零碎場面，新片段與之前的場面重複，卻以不同的角度呈現。莎美安杜希望把迷離光影的概念，與亡夫鍾情的變形鏡意念融合。她清楚記得盧易茲的記事簿有一段手寫文字，描述他試圖賦予電影一個螺旋結構，卻被「敘事之鏡」介入，令觀眾重返之前看過的場面，但有不同的觀感體驗，帶來嶄新符號，在形式上重疊，但在內容上迥異。這些文字對破譯神秘片段至為關鍵，並清晰闡明影片的前後部分：上半部是原本，下半部是它的重複，旨在創造一個嶄新敘事領域，帶來新的語言及新的詮釋。

Raúl RUIZ (1941-2011) was born in Puerto Montt, Chile. In the 1960s, this playwright became one of the leading figures in Chile’s cinema industry. Exiled from his country in 1973 due to Pinochet’s military coup, he began making films in France and Switzerland, producing over 100 films in his 40-year career. 拉烏盧易茲（1941-2011）生於智利蒙特港，1960 年代初已是多產編劇，後往阿根廷讀電影，1968 年開始執導，成為智利電影界領軍人物，並身兼社會黨電影顧問。因智利政局動蕩，1974 年移居法國。

SELECTED FILMOGRAPHY 主要作品 1968 Three Sad Tigers 三隻慘老虎 1983 City of Pirates 海盜城 1999 Time Regained 重拾逝去時光 2010 Mysteries of Lisbon 里斯本密語 2020 The Tango of the Widower and Its Distorting Mirror (co-dir) 鰥夫探戈與鏡像 ( 合導 )

Valeria SARMIENTO was born in Valparaíso, Chile in 1948 and studied philosophy and filmmaking at the University of Chile. She has directed numerous television documentaries and short films and is a prolific editor. She is the wife and working partner of the late director Raúl Ruiz. 華拉莉雅莎美安杜 1948 年生於智利瓦爾帕萊索，於智利大學修讀哲學及電影，1974 年開始以巴黎為工作基地，執導紀錄片及劇情片。她是已故丈夫拉烏盧易茲的拍檔，任他作品的剪接與創作夥伴。

1984 1998 2012 2020 2020

Notre Marriage 我們的婚姻 L’inconnu de Strasbourg 史特拉斯堡的陌生人 Lines of Wellington 威靈頓戰線 The Tango of the Widower and Its Distorting Mirror (co-dir) 鰥夫探戈與鏡像 ( 合導 ) Behind the Rain 雨水之後

MASTERS & AUTEURS 大師與作者

Auteurs 作者風

AUTEURS 作者風 Hungary 匈牙利 2020 | Hungarian | DCP | Colour | 114min Director Bence Fliegauf Producer Ernö Mesterházy, Bence Fliegauf, Monika Mécs Scriptwriter Bence Fliegauf Cinematographer Mátyás Gyuricza, Ákos Nyoszoli Editor Gábor Terence Gelencsér, Dávid Kovács, Wanda Kiss Music Bence Fliegauf, Péter Fancsikai, Tamás Beke Sound Tamás Beke Cast Juli Jakab, Lázló Cziffer, Lilla Kizlinger, Zsolt Végh, István Lénárt Production Fraktál Film, M&M Film Production World Sales Films Boutique

Forest – I See You Everywhere Rengeteg - Mindenhol Látlak 走入寂寞森林 [Is] your current film, Forest – I See You Everywhere the second part of Forest? How did this concept come about? I was working for six years on a project about the Chernobyl nuclear disaster. [...] In the end, the project turned to three countries for coproduction including Hungary, Germany and Ukraine. Right before shooting, the American HBO series came and took it all. The rest is history. So I had no other option, I had to make a film immediately. I could not sit back and write for another two or three years. So to kill this restlessness, I tried to go back to my roots. And the roots were in Forest. Why are you also the screenwriter, producer and composer of the film? Isn’t it difficult paying attention to so many details? The nature of the difficulties depends on the scale of the project. This is a micro-budget film, in this case fewer people, fewer problems. Being a control freak also helps. Besides, there was nobody in this film who has only one duty. The location manager made the sandwiches, the actors carried the tripods. I love this method, people are deeply involved, they don’t feel they work for production, they feel they are the production itself. So the whole thing turns to a synergic creative process. It’s organic, it’s real and very, very exhausting.

[導演訪問] 新作《走入寂寞森林》可是你前作《見樹不見林》的續集？創作意念是怎樣的？我想拍一部關於切爾諾貝爾核電廠災難的電影，籌備了六年，過程很痛苦。我嘗試說服別人，這很值得拍（當時沒有一部認真以此為題材的劇情片）。最後這計劃找到三方投資—匈牙利、德國及烏克蘭聯合攝製。然而就在開鏡前，美國的 HBO 來了，接手了一切，之後的事大家都知道了。因此我沒有選擇，不得不立即開拍另一部電影，不能閒坐着再花兩、三年時間構思新的劇本。為了平息不安，我嘗試回到根本，而我的根就是《見樹不見林》。為什麼你可以身兼多職，既是編劇、監製，兼作配樂？這樣一心多用有困難嗎？有沒有困難視乎影片的規模。這是一部低成本製作，人少，問題便少。假如你是控制狂，就更沒問題了。其實攝製隊成員幾乎沒有誰不是身兼多職的：場地經理炮製三文治，演員抬腳架。我喜歡這種方法，人們都全情投入，沒有為製作而製作的感覺，而是，他們就是製作本身。因此，整件事變成一個協力創作過程，很機動，真實而極之極之累人。

Interview with Bence Fliegauf

Bence FLIEGAUF (formerly Benedek Fliegauf) was born in Budapest, Hungary in 1974. He worked for several TV channels and soon became an assistant director and a screenwriter, before plunging into documentaries and short films in 2000. In 2012, Just the Wind won Silver Bear the Jury Grand Prix at Berlinale. 賓尼德費高夫 1974 年生於匈牙利布達佩斯，曾修讀舞台設計，當過楊素及阿柏蘇甫斯士的助導。2012 年憑《風聲鶴唳》獲柏林影展評審團大獎。

SELECTED FILMOGRAPHY 主要作品 2003 Forest 見樹不見林 2004 Dealer 愛粉不愛神 2007 Milky Way 銀河影像 2012 Just the Wind 風聲鶴唳 2020 Forest – I See You Everywhere 走入寂寞森林

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AUTEURS 作者風 Latvia/Czech Republic 拉脫維亞／捷克 2020 | Russian | DCP | Colour | 100 min Director Vitaly Mansky Producer Natalia Manskaia, Filip Remunda, Vít Klusák Cinematographer Alexandra Ivanova Editor Yevgeny Rybalko Music K rlis Auz ns Sound Anrijs Krenbergs Production Studio Vertov, Hypermarket Film World Sales Deckert Distribution

Gorbachev. Heaven 詰問戈巴卓夫 How easy was it to persuade Gorbachev to take part in the film?

[導演訪問]

It took quite some time to persuade him, despite the fact we were on very friendly terms. He was happy to have conversations with us, but felt his health didn’t really allow him to be the hero of a documentary – which is why it took so long to convince him.

說服戈巴卓夫參與影片可有遇上什麼困難？

The film has a very poetic style. What was the thinking there? Initially, our intention was to make a film just inside his house, never to leave its confines, and to make an even more poetic, minimalistic, and, in a way, romantic image of his solitude in his old age. However, circumstances changed. Gorbachev had to move permanently to the hospital. He wasn’t able to return to his home so we started to film him in his office. This disturbed the plans of our film. What most surprised you about how Gorbachev behaved or what he told you? He wasn’t embarrassed to remain himself in the film. He wasn’t embarrassed to show his physical condition even when his assistants would sometimes try to intervene to prevent the film showing him as he is.

雖然事實上我們提出的條件不俗，也着實花了一點時間說服他。和我們聊天他是高興的，但他覺得自己的健康實在不容許他成為紀錄片的主角，這也是為何我們這麼久才成功說服他。影片的風格十分詩意，你們的想法是怎樣的？我們原本只想在他的屋子裏拍攝，不外出，令影片更詩意，更簡約，以浪漫的影像表現他晚年的孤獨心境。然而，後來情況有變，戈巴卓夫不得不在醫院長期留醫，他不能回家，因此我們開始在他的辦公室拍攝。這干擾了影片的拍攝計劃。訪談中戈巴卓夫的言行有什麼最令你們出乎意料？他從不介意在影片中始終保持自我，也從不介意在鏡頭前展示身體狀況，即使他的助手有時嘗試干預，避免影片把他拍得如斯老弱。

Interview with Vitaly Mansky

Vitaly MANSKY was born in 1963 in Lviv, Ukraine. He graduated from VGIK. Since the 1980s he has directed over 30 documentaries, including a trilogy on the three Russian presidents, Gorbachev, Yeltsin and Putin. President of Artdocfest in Moscow. 維德利明斯奇 1963 年生於烏克蘭利維夫，畢業於莫斯科國家電影學院，俄羅斯 Artdocfest 紀錄片電影節主席。從八十年代開始，執導超過三十部紀錄片，包括有關戈巴卓夫、葉利欽、普京的俄國最高領導人三部曲。

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SELECTED FILMOGRAPHY 主要作品 2008 Virginity 童貞 2011 Motherland or Death 祖國古巴 2015 Under the Sun 幸福北韓 2018 Putin’s Witnesses 普京的證人 2020 Gorbachev. Heaven 詰問戈巴卓夫

AUTEURS 作者風 France/Cambodia 法國／柬埔寨 2020 | French | Online | Colour | 88min Director Rithy Panh Producer Catherine Dussart Scriptwriter Rithy Panh, Agnès Sénémaud, Christophe Bataille Cinematographer Prum Mesa Editor Rithy Panh Music Marc Marder Sound Eric Tisserand Buto Artist Bion Voice Cast André Wilms, Rebecca Marder Production CDP World Sales Playtime

©RP

Irradiated Irradiés 惡之三聯畫 Surviving genocide makes you feel like the leftovers of the killers’ macabre feast, the waste. Eluding the vigilance of the killers. Like in the bad joke “They could have finished the job!” The scum left from the massacre. A fault in the system. […] The obsessive fear of being sucked into the void. Of words choking in your throat. For life to be a mere leftover. […]

[導演的話]

An idea occurred to me, about a film on the (atomic) bomb and devastation.

我帶着悲痛，沉重卻又合該如此。這是我的一部分，給予我審視世界的重量。一切我所作之事，皆表達了害怕遺忘和背棄的焦慮。我曾面對沉默和退縮的誘惑。在黑暗中擁抱絕望。在暈眩中墮進孤寂。在那裏人類只有邪惡。沉默未能助我找到死，或生。

Did we take stock of the destructive follies of the 20th century? Not really. What did we learn about our capacity to annihilate ourselves? Close to nothing. I wanted to mention the bombs as a drastic human destructive power. The relentless violence of bombings during the Vietnam War, Hiroshima atomic disaster, and the Cambodian genocide, which was like a bomb fragmenting the soul. Note: some of the survivors who wrote about Hiroshima ended up killing themselves, as well as other witnesses having written on other disasters (Haraguchi Kikuya, Hara Tamiki… Primo Levi, Jean Améry, etc.). A living testimony, and then I would say they chose to die with dignity, not betraying the dead.

在種族滅絕中倖存，令你覺得自己恍如恐怖殺人血宴過後的殘渣，避過了兇徒的虎視。就像冷笑話「他們應該片甲不留！」大屠殺死剩種，系統中的缺陷。如待宰的小牛，有時得以逃出屠場，在巴黎街頭絕望狂奔……墮進虛空的過度恐懼。欲語無言，只餘殘生。

靈感一現，一部關於原子彈及毀滅的電影。廿一世紀毀滅性的蠢事，我們統計過嗎？大抵沒有。人類自我毀滅的能力，我們所知多少？幾乎全無。我想展示炮彈對人類的龐大毀滅力量。越戰、廣島原爆及赤柬種族屠殺期間的狂轟濫炸，像把靈魂摧毀。註：一些書寫廣島原爆經歷的倖存者最終自殺，為其他災難撰文的目擊者亦殊途同歸（包括原口喜久也、原民喜、普利摩李維、尚埃莫里等）。活着的見證，我會說他們選擇有尊嚴地死去，而非背棄亡靈，向歷史的沉痛與悲劇投降。

Die with dignity and don’t surrender to the pain and tragedy of history. Rithy Panh Rithy PANH was born in Phnom Penh, Cambodia in 1964. He graduated from the Institut des hautes études cinématographiques (IDHEC) in Paris. Starting from his first documentary Site 2, he has created a number of documentaries and feature films that deal with the traumatic legacy of the Khmer Rouge regime. 潘禮德 1964 年生於柬埔寨金邊，十一歲被赤柬關進勞改營四年，逃往泰國後轉抵法國， 85 年考入巴黎高等電影學院。自 89 年首作《地點》開始，拍攝多部探索赤柬時代悲劇的紀錄片及劇情片。憑《被消失的影像》(13) 獲康城影展「某種觀點」大獎。

SELECTED FILMOGRAPHY 主要作品 1994 Rive People 粒粒皆辛苦 2003 S21: Khmer Rouge Killing Machine S21 S21 赤柬殺人機器 2013 The Missing Picture 被消失的影像 2018 Graves Without a Name 無名孤塚 2020 Irradiated 惡之三聯畫

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AUTEURS 作者風 Canada 加拿大 2021 | French | DCP | Colour | 75 min Director Denis Côté Producer Denis Côté, Andreas Mendritzki, Annie St-Pierre, Aonan Yang Scriptwriter Denis Côté Cinematographer François Messier-Rheault Editor Nicolas Roy Sound Jean-François Caissy, Frédéric Cloutier, Clovis Gouaillier Cast Maxim Gaudette, Larissa Corriveau, Eve Durancea Production Inspiratrice & Commandant, Greenground Productions World Sales Greenground Productions

Social Hygiene Hygiène Sociale 戲在瘟疫蔓延時 Once again, you bring us to a place where we did not expect to find you. What are the origins of this project? Truthfully I wrote it on vacation, without any clue if it would ever see the light of day. I spent a month in Sarajevo in the fall of 2015. I had no friends there and no plans of how I would fill my days. I wandered around a lot, I read about the Balkan War. The more I learned about the war, the more its reality struck me as absurd. I was also reading a lot of Robert Walser. His prose is light as air, weightless. It was in this state of alienation and the influence of Walser that I wrote these dialogues. Each morning, in the only non-smoking café in Sarajevo, or in the eccentric Zlatna Ribica coffeehouse right next door, it felt like I was living Antonin’s life a little bit and also the lives of these five women. A considerable number of projects were filmed during the pandemic. Do you think that Social Hygiene speaks in its own way to this very unusual period? I don’t think so. The film is anachronistic and timeless. I suspect it’s more likely the decision to make this film during the pandemic that is a bit more telling. There is a desire to flee and to defy reality in this film. What is troubling or perhaps presciently apocalyptic is the fact that the script was already called Social Hygiene in 2015 and involved characters who conversed at a considerable distance from each other.

[導演訪問] 再一次，你把我們帶到一個無法預計你的地方。整個電影計劃其實是怎樣開始的？老實說劇本是我度假時寫的。寫時沒想過它會否有天得見天日。2015 年秋天我在薩拉熱窩住了一個月，我沒有朋友在那裏，也沒有想過怎樣過日子。我四處逛，閱讀關於巴爾幹半島戰爭的書，知道得愈多，就對箇中的荒謬愈有感受。我也讀了很多羅拔華爾沙。他的散文輕如鴻毛。正是這種疏離的狀態和華爾沙給我的影響，令我寫下那些對白。每天早上，我跑到薩拉熱窩唯一不准吸煙的咖啡座，又或者隔鄰的山娜里比卡咖啡室，令我覺得自己活得愈來愈像安東尼，也愈來愈明白那五個女人的想法。世紀疫症期間有不少電影開拍，這是否也是你回應這個時代的作品？我不同意。這齣電影並非切合時代，沒有時間性，也許我決定在疫症期間拍攝它有關。裏面有一種逃避及反抗現實的欲望。有趣的是影片 2015 年已有 Social Hygiene（「公共衛生」）這個片名，角色保持距離地對話也是一早想好的。

Interview with Denis Côté Denis CÔTÉ was born in New Brunswick, Canada in 1973. As a film critic-turned filmmaker, his first feature-length film, Drifting States (05), won the Golden Leopard (Video Competition) at the Locarno International Film Festival. His thirteenth feature, Social Hygiene, was awarded the Encounters award for Best Director at the 2021 Berlinale. 丹尼郭迪 1973 年生於加拿大紐賓士域，蒙特利爾阿安色大學電影系畢業，曾當新聞工作者及影評人。2005 年憑首部長片《北國》獲羅迦諾電影節最佳錄影作品獎。憑《戲在瘟疫蔓延時》榮獲柏林影展「賞遇」單元最佳導演。

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SELECTED FILMOGRAPHY 主要作品 2010 Curling 冰上滾石 2016 Boris Without Béatrice 折翼大丈夫 2017 A Skin So Soft (docu) 爆肌六壯士（紀錄片） 2019 Ghost Town Anthology 人間鬼鎮 2021 Social Hygiene 戲在瘟疫蔓延時

AUTEURS 作者風 The Netherlands/Lithuania 荷蘭／立陶宛 2019 | Russian | Online | Colour/B&W | 135min Director Sergei Loznitsa Producer Sergei Loznitsa, Maria Choustova Cinematographer Abakishev, Alekperov, Alekseev, Aranyshev, etc. Editor Danielius Kokanauskis Sound Vladimir Golovnitski Production Atoms & Void, Studio Uljana Kim World Sales Atoms & Void

State Funeral Gosudarstvennyye Pokhorony 史太林大國葬 The day of Stalin’s death was a pivotal point in the history of the USSR. This event brought with it a change, though almost invisible and ephemeral at the start, which ultimately brought down the entire communist regime. The fear, the tradition of silent obedience and servility, dominating the country, built by the will, cruelty and despotism of one tyrant, lingered on for many years, but the regime lost its backbone and was doomed. The death of Stalin meant the death of an epoch. Without even realising this, millions of people, mourning the Leader in March 1953, were also living through a lifechanging experience in their own private histories. It is crucial for me to bring the spectator inside this experience – not as an impartial observer of a historical event or an admirer of rare archival footage – but as a participant and a witness of a grandiose, terrifying and grotesque spectacle, revealing the essence of a tyrannical regime. I see this film as a visual study of the nature of Stalin’s personality cult and an attempt to deconstruct the ritual, which formed the foundation of the bloody regime. It is unthinkable that today, in Moscow circa 2019, 66 years after Stalin’s death, thousands of people gather at his tomb on March 5th, in order to lay flowers and mourn his death. I believe it’s my duty as a filmmaker to employ the power of documentary image to appeal to the minds of my contemporaries, and to seek truth. Sergei Loznitsa

[導演的話] 1953 年 3 月 5 日，連場大病後，全世界無產階級領袖、蘇聯大元帥、蘇共中央委員會總書記史太林同志，在其鄉間別墅突然與世長辭。蘇聯全國立時籠罩在一重愁雲慘霧中。數以百萬計的群眾從不同角落湧到莫斯科，為的是要參加葬禮，向這位「所有孩子的朋友」、「偉大的舵手」、國際無產階級的「領袖與教師」告別。克拉斯諾戈爾斯克的俄羅斯國家檔案館收藏了當年 3 月 5 日至 9 日期間拍攝的史太林葬禮片段。這些片段不只包括放置史太林棺木的莫斯科聯盟之家，也完整紀錄了蘇共及政府官員在紅場和下葬地列寧墓的悼詞演說，甚至蘇聯各地工廠、學校、辦公室及醫院舉行的追思會狀況都紀錄在案，參與悼念人數以百萬計。擺在我面前的材料汗牛充棟，不同機組在那三天從未間斷地拍下了人們輪候進入聯盟之家的情況。那些獲准入內的「幸運兒」組成兩條人鏈，步上置滿鮮花和橫額的大階梯，趨近史太林的棺木。大量片段是黨內要員和蘇聯知名人士魚貫來到棺旁「光榮守護」。也有藝術家戴上死亡面具，或為死者作最後的肖像畫…… 影片會順序展示那四天的情況—由公布史太林死訊到紅場葬禮。我企圖展示震驚的感覺如何緩緩化為一場集體歇斯底里，最後聚焦成那場發生於離克里姆林宮三公里的特魯布納耶廣場人踩人慘劇，數以百計的悼念者因而喪失了性命……

Sergei LOZNITSA was born in Baranovichi, USSR (now Belarus) in 1964. After studying Applied Mathematics and working as a specialist in artificial intelligence research, Loznitsa switched to filmmaking. In 2018, he won the Un Certain Regard Directing Prize for Donbass at the Cannes Film Festival. 沙基羅斯尼薩 1964 年生於前蘇聯巴拉諾維奇（今白俄羅斯），後移居烏克蘭基輔，畢業於莫斯科國家電影學院。及後加入聖彼得堡紀錄片電影廠，開始炮製紀錄片，並執導劇情片，憑《霧裏人鬼神》(12) 獲康城影展國際影評人聯盟獎，《瘋狂的邊境》(18) 亦贏得康城影展「某種觀點」最佳導演獎。

SELECTED FILMOGRAPHY 主要作品 2010 My Joy 我快樂你大鑊 2012 In the Fog 霧裏人鬼神 2017 A Gentle Creature 鐵幕溫柔女子 2018 Donbass 瘋狂的邊境 2019 State Funeral 史太林大國葬 2020 A Night at the Opera (short) 歌劇院之夜（短片）

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AUTEURS 作者風 France 法國 2021 | French | DCP | Colour | 92min Director Benoît Jacquot Producer Kristina Larsen Scriptwriter Benoît Jacquot Cinematographer Christophe Beaucarne Editor Julia Gregory Production Designer Pascale Consigny Sound Nicolas Cantin Cast Charlotte Gainsbourg, Niels Schneider, Nathan Willcocks Production Les Films du Lendemain World Sales Les Films du Losange

©Christophe Beaucarne Les Films du Lendemain

Suzanna Andler 崖上迷情 […] I soon learned (Marguerite Duras) loved cinema as a reason for being together, but that most films, with few exceptions, meant nothing to her, or worse. For me, it was the opposite, and endless discussions or disputes ensued. Which perhaps explains the gesture from her that was my stroke of luck: confiding in me, a believer, that which she attributed to the “cinema,” and of which she preferred to unburden herself, as long as there was a bond of trust… More broadly, beyond the extension of the stage to real-life locations, I think the theatre (that snake in the grass) confronts the cinema with its very freedom: the show rolled out before a generally static audience is replaced by the free-ranging viewpoint, with a scope of 360° if one wants, of a camera that takes an equally static audience on an imaginary journey, going closer or wider, skirting or confronting, according to the inflections of what is played out, no longer on stage but on screen… I would like to find the successive figures of a mental and sentimental geometry – beach house, morning till night, steeped in tracking shots, wide shots and closeups, murmurs behind the words, on the lookout for Suzanna Andler. Benoît Jacquot

[導演的話] 我很快便意識到，瑪格烈特杜哈絲之所以熱愛電影，是因為可以藉此與人們聚在一起，但是大多數電影，除少數例外，對她而言毫無意義，不然就是糟糕透頂。對我來說，事情剛好相反，（因此我擔任她的助導時）總會有無休止的討論或爭執。也許這可以解釋她對我的特殊態度，而這一點正是我的運氣：她肯對我這個信徒坦白道出她認為「電影」的魅力所在。而且只要彼此信任，她願意對我盡情傾訴。大體而言，將她的舞台原作搬演到現實場景之餘，我認為劇場（那藏在暗處的敵人）要面對的，是電影自由自在的表達方式：一齣戲通常在安靜不動的觀眾眼前展開，但電影鏡頭的視點卻靈活多變，如果需要的話，可以來個 360 度轉移，把同樣安坐戲院的觀眾，帶上想像的旅程，或靠近，或走遠，或側拍，或正面，根據演員語調的抑揚變化而定，不再是在舞台上，而是在銀幕上…… 我想找出可以表現心理曲折和情感演變的連串意象 ──海濱別墅，從早到晚，籠罩在跟拍鏡頭、全景鏡頭和特寫鏡頭之中，話語背後是含混不清的呢喃，畫面密切注視着蘇珊娜的身影。

Benoît JACQUOT was born in Paris, France in 1947. He began his career as assistant director of Marguerite Duras films, before making his first film, The Musician Killer (75). He has since gone on to direct more than forty films, and also works in operas. Suzanna Andler is his latest feature film. 班諾亞積高 1947 年生於法國巴黎，電影生涯始自為杜哈絲電影擔任助導。75 年執導首部長片《師奶殺手》，至今執導作品逾四十部，並擔任歌劇導演。《崖上迷情》是他的最新作品。

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SELECTED FILMOGRAPHY 主要作品 1995 A Single Girl 單身少女 1999 Keep It Quiet 家醜不外傳 2012 Farewell, My Queen 別矣，瑪麗皇后 2014 3 Hearts 三顆痴痴的心 2021 Suzanna Andler 崖上迷情

AUTEURS 作者風 Kazakhstan/France 哈薩克／法國 2020 | Kazakh/Russian DCP/Online | Colour | 71min Director Adilkhan Yerzhanov Producer Serik Abishev, Olga Khlasheva Scriptwriter Adilkhan Yerzhanov Cinematographer Azamat Dulatov Editor Adilkhan Yerzhanov Production Designer Yermek Utegenov Music Alua Orentai Sound Ilya Gariyev Cast Assel Sadvakassova, Yerbolat Alqozha Dinara Sag Production Sunny Production World Sales Arizona Productions

Ulbolsyn 搶親大龍鳳 The main idea: There is a patriarchal world in the East full of traditions and obedience. Ulbolsyn always stepped out of line. She is an embodiment of rebellion and the hunger for freedom. Her fight for her little sister’s freedom takes the form of Sisyphus’ doomed fight with the rock, because men rule in the East and their principles are always more important than women’s voices. But the power of reason must defeat traditions. This is the basic idea.

[導演的話]

Genre: Some kind of Asian Thelma & Louise, in which an escape from traditions happens in a remote Kazakh village.

類型：類似亞洲版《末路狂花》，這個關於逃出傳統的故事，發生在哈薩克一個偏遠村莊。

主要意念：東方是個父權世界，滿是傳統和服從。烏博森總是走出界線，她是叛逆和渴求自由的化身。她為妹妹的自由而戰，就如西西弗斯與巨石看似徒勞無功的搏鬥，因為東方世界是由男人話事，男性的準則總是蓋過女性的聲音。但是理性力量必然擊倒傳統。這是故事的基本意念。

Adilkhan Yerzhanov

Adilkhan YERZHANOV was born in Djezkazgan, Kazakhstan, in 1982. In 2009 he graduated from the Kazakh National Academy of Arts as a film director. He has made shorts, feature films and a documentary. His latest feature, Yellow Cat, competed in Venice, Orizzonti. 阿迪罕葉爾扎諾夫 1982 年生於吉爾吉斯傑茲卡茲甘，2009 年畢業於吉爾吉斯國立藝術學院。以《擁抱世界盡頭的溫柔》入選康城影展「某種觀點」單元。近作《影癡亡命癲涯路》入選威尼斯影展地平線單元。

SELECTED FILMOGRAPHY 主要作品 2014 The Owners 屋主 2016 The Plague at the Karatas Village 卡拉塔斯的瘟疫 2018 The Gentle Indifference of the World 擁抱世界盡頭的溫柔 2020 Yellow Cat 影癡亡命癲涯路 2020 Ulbolsyn 搶親大龍鳳

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AUTEURS 作者風 Kazakhstan/France 哈薩克／法國 2020 | Kazakh/Russian DCP/Online | Colour | 89min Director Adilkhan Yerzhanov Producer Serik Abishev, Olga Khlasheva Scriptwriter Adilkhan Yerzhanov, Inna Smailova Cinematographer Yerkinbek Ptyraliyev Editor Adilkhan Yerzhanov Production designer Yermek Utegenov Music Alim Zairov, Ivan Sintsov Sound Ilya Gariyev Cast Azamat Nigmanov, Kamilla Nugmanova, Sanjar Madi Production Zerde Films, Short Brothers, QAZAQ FILM, Arizona Productions World Sales Arizona Productions

Yellow Cat Sary mysyq 影癡亡命癲涯路 Are there any heroes of ancient folklore who serve as the prototype for the main characters of the film Yellow Cat? Yes, there is such a character from folklore – Ertostik; he is a kind of superhero, echoing to some extent, the images of Beowulf or Hercules. It was interesting for me to show the fairytale hero, Kermek, who lives in the modern world, but according to the rules of the ancient legend. The main character of the film Kermek is a big fan of Alain Delon and his hero in the film Le Samouraï. Does this mean that you see some kind of relationship between these characters, and some kind of commonality between Jean-Pierre Melville’s films and your films? What does this film, in particular, and French cinema in general mean to you? At first glance, there is nothing in common, but you can find similarities in the form – I love Melville’s pauses and rhythm. I like the progression of his directing style: each action is progressive and clearly built into the chain of the general dramatic movement. Melville’s films, in particular, and French cinema in general are the culture that influenced Kermek, and, through him, influenced the film as a whole. I think these connections emphasise the peculiarity of the inner world of the heroes. Interview with Adilkhan Yerzhanov

[導演訪問] 是否用了民間傳說的人物作為主角原型？是的，我們民間傳說有個叫 Ertostik 的人物，可說是超級英雄，某程度上近似貝奧武夫或者大力神海格力斯的形象。把一個童話般的主人翁放在現代世界，卻仍遵循古老傳說的行事方式，對我來說很有趣。主角是阿倫狄龍的影迷，很愛他在《獨行殺手》的角色。你是否想呈現他們之間的某種關聯？或是呈現你的電影和梅維爾電影的某種共通？《獨行殺手》和法國電影，對你有什麼影響？表面上看，沒有什麼共通，但你可在形式上找到相似之處。我喜歡梅維爾電影的停頓和節奏。我喜歡他的導演風格：每個動作都是層層遞進的，並清晰融入到戲劇性動作的建立裏。梅維爾的電影，以至法國電影，這些文化深深影響我的主角，也通過他影響着這部電影。這些聯繫突顯了主角內心世界的獨特。電影有不少地方參考了安德魯懷斯、畢加索、馬蒂斯等畫家的作品。這些藝術對你有什麼影響？在影片裏向畫作致敬，某程度令我的創作多了一個維度。我深信聯想是藝術之本。引起聯想並不會干擾情節。必要時，我總是很樂意向我心目中的偉大畫家致敬。

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黑澤清 Kurosawa Kiyoshi 《間諜之妻》Wife of a Spy (P.26)

濱口龍介 Hamaguchi Ryusuke 《偶然與想像之輪》 Wheel of Fortune and Fantasy (P.12)

基斯頓柏索 Christian Petzold 《水漾的女人》Undine (P.25)

丹尼郭迪 Denis Côté 《戲在瘟疫蔓延時》Social Hygiene (P.104)

安諾釵舒域察歌邦 Anocha Suwichakornpong 《撲朔留離》Come Here (P.175)

阿迪罕葉爾扎諾夫 Adilkhan Yerzhanov 《搶親大龍鳳》Ulbolsyn (P.107) 《影癡亡命癲涯路》Yellow Cat (P.108)

WORLD CINEMA 世界電影

Global Vision 環球視野

GLOBAL VISION 環球視野 Spain 西班牙 2020 | Spanish | DCP | Colour | 91min Director Pedro Collantes Producer Daniel Remón Scriptwriter Pedro Collantes, Daniel Remón Cinematographer Diego Cabezas Editor Pedro Collantes Production Designer Lorena Puerto Music Yuri Méndez Sound Ramón Rico Cast Macarena García, Nacho Sánchez, Ingrid García-Jonsson Production Tourmalet Films World Sales Filmax

The Art of Return El Arte de Volver 明媚晨光 In The Art of Return I would like to encapsulate a feeling. The feeling of a common ground steadily eroding when returning home after a period abroad. By creating a juxtaposition of encounters that accumulate in Noemi’s body and soul, my intention is to capture the unconscious fragmenting of personal relationships with its mix of both emotional and lighthearted, humorous moments. I’m interested in contrasting those moments of disintegration that are the result of small decisions, with the perspective of Noemí’s grandfather: an understanding friend who is sagely approaching death.

[導演的話] 我想在《明媚晨光》封存一種感覺，一種出走了一段時間後回到家裏，發現跟身邊人共同點持續消失的感覺。女主角個人與那些暖心、幽默的動情時刻之間，形成了無意識的碎片。透過並置她身心累積起來的經歷，我嘗試捕捉這些碎片。微小決定帶來瓦解一刻，我有興趣從女主角祖父的角度，對照這些矛盾的時刻。他同時是了解她的朋友，並且以智者的步姿迎接死亡。

Pedro Collantes

Pedro COLLANTES was born in Madrid, Spain and studied cinema at Valladolid University, specialised in editing at TAI Arts University (Madrid) and did an MA at the Netherlands Film Academy. His short films have screened at numerous international film festivals, including IFFR and Chicago IFF. The Art of Return is his first feature film. 柏度哥蘭泰斯在西班牙馬德里出生，於華拉度列大學修讀電影，復於馬德里 TAI 藝術學院進修剪接專業，荷蘭電影學院碩士畢業。短片作品獲邀參加各大電影節，包括鹿特丹電影節、芝加哥電影節等。《明媚晨光》為其首部劇情長片。

SELECTED FILMOGRAPHY 主要作品 2011 15 Summers Later (short) 十五個夏天後（短片） 2014 Serori (short) 芹菜（短片） 2015 Nothing Stranger (short) 他鄉（短片） 2018 Three Years Move (short) 還有三年（短片） 2020 The Art of Return 明媚晨光

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GLOBAL VISION 環球視野 Israel 以色列 2020 | Hebrew/Russian DCP/Online | Colour | 85min Director Ruthy Pribar Producer Yoav Roeh, Aurit Zamir Scriptwriter Ruthy Pribar Cinematographer Daniella Nowitz Editor Neta Dvorkis Production Designer Tamar Gadish Music Karni Postel Sound Shahaf Wagshal, Amir Boverman Cast Alena Yiv, Shira Haas, Tamir Mulla Production Gum Films World Sales Intramovies

Asia 亞細亞閃亮人生 What was your inspiration for making Asia?

[導演訪問]

Fourteen years ago, my older sister passed away after a few unbearable months in a hospital bed. All I felt at the time was a terrible sense of helplessness in the face of her constantly deteriorating condition. My mother spent days and nights at her side. The hardships she experienced seemed to have little effect on her endless devotion. Amid all the pain, she remained strong and focused. She never allowed herself to reach a breaking point. For a long time, I was absorbed in my own pain over the loss of my sister. Only years later I was able to look back and contemplate my mother’s endless dedication and empathy. Those moments, etched in my memory, haunted me unceasingly. They prompted me to explore the subject of motherhood; to understand how and when a woman becomes a mother.

影片靈感來自哪裏？

This is how I came up with the character of Asia. A young woman who never chose motherhood, and to whom the role doesn’t come easily at all. The small age difference between Asia and Vika combined with their physical resemblance, undermine the implicit division of mother and daughter. From this point of departure, I went on to explore the elements of motherly devotion; its nature, development and boundaries. Interview with Ruthy Pribar

十四年前，我姊姊在醫院病床上度過了痛楚難當的幾個月，然後去世。看着姊姊病情日漸惡化，我當時極度無助。母親日夜陪伴在側，儘管千辛萬苦，似乎無阻她傾盡所有去照料姊姊。她保持堅強和專注，不讓自己崩潰。很長一段時間，我因為失去姊姊而陷於悲痛，直到數年後，才能回想母親的無盡奉獻與感同身受。那些刻在我心底的片段揮之不去，促使我去探討何謂母性，去了解一個女人如何、何時成為母親。我就是這樣構思了愛莎這個角色。她是一位從未準備好成為母親的少婦，對她來說，擔當母親角色亦並不容易。她與女兒維嘉年齡相距不遠，外貌也像，看上去其實不似母女。我便由此出發，探討母愛是什麼，及其本質、進展與界線。影片大多數幕後人員都是女性，對電影有何影響？這是一部關於女性的電影，從女性角度出發。我們仍缺少由女性製作而且關於女性的電影。起用女性幕後人員，是我有意的選擇。我很意識到電影業界性別不均。我決定當有機會拍電影時，會盡力讓女性擔任關鍵崗位。我想與那些將自己生活和見解投放到工作的女性一起拍片。這從影片中可以看得出來。

Ruthy PRIBAR was born in Israel in 1982. She graduated with honours from the Sam Spiegel Film School in 2012. Her short films Last Calls (12) and The Caregiver (17) were screened and awarded at numerous festivals worldwide. Asia, developed at the Cannes Residency Program, is her first feature film. 露菲普里巴 1982 年生於以色列，2012 年畢業於耶路撒冷森史畢高影視學院。在學期間開始拍短片，《亞細亞閃亮人生》是她的首部劇情長片。

©Barak Brinker

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FILMOGRAPHY 作品年表 2012 Last Calls (short) 最後來電（短片） 2017 The Caregiver (short) 私家看護（短片） 2020 Asia 亞細亞閃亮人生

GLOBAL VISION 環球視野 Ukraine 烏克蘭 2019 | Ukrainian | DCP | Colour | 108min Director Valentyn Vasyanovych Producer Iya Myslytska, Valentyn Vasyanovych, Vladimir Yatsenko Scriptwriter Valentyn Vasyanovych Cinematographer Valentyn Vasyanovych Editor Valentyn Vasyanovych Production Designer Vladlen Odudenko Sound Serhiy Stepansky Cast Andriy Rymaruk, Liudmyla Bileka, Vasyl Antoniak Production Garmata Film Studio World Sales Best Friend Forever

Persons Aged 18 and Above Only 只准18歲或以上人士

Atlantis 荒蕪世紀詩篇 What was the starting point for the film?

[導演訪問]

By 2017, the conflict with Russia in the Ukrainian territory had lasted for almost three years… I also understood that this war was the most relevant topic and that I had to film it. […]

影片從何開始？

At some point, I came across information about the catastrophic deterioration of the water quality in the occupied territories; predictions indicated that this crisis would eventually become an irreversible disaster for the entire eastern region. This problem was mainly due to the large number of waste mines: the water from the shafts was not pumped out properly, thus resulting in increased mineralisation of the ground water. The situation was destined to deteriorate every year, and over time the territory become an uninhabitable desert. Worst of all, this change was irreversible, no way to fix it. With that in mind, I came up with the idea to shift the story to the near future, to 2025, portraying the results of the war. I wanted to show the end of metallurgical plants, the minefields, the unemployed people, the environmental catastrophe. Despite this dark context, I also wanted a way out for the protagonist, a person that has lost everything in this war. I wanted to understand what kept him going in this dead territory. Interview with Valentyn Vasyanovych

直至 2017 年，烏克蘭與俄羅斯的衝突已持續了近三年。我認為這戰爭是最貼近時勢的題材，我必須拍下來。我偶然發現一些關於佔領區內水質被嚴重污染的資料，預測顯示這危機最終會在整個東部地區釀成無可挽回的災難。問題主要在於大量廢棄礦場：礦井的污水沒有妥善排放，導致地下水源礦化增加。情況逐年每況愈下，長久下去該區將成為不宜居住的荒蕪之地。最糟糕的是，這改變不能逆轉，無法修復。以此為藍本，我想到將故事變為發生在 2025 年的可見未來，描繪戰爭的後果。我想展示冶金工廠的下場，還有礦井、失業工人及環境災難。儘管題材灰暗，我仍想為在戰爭中失去一切的主角提供出路。我想知道什麼令他在這死域中堅持下去。「黑鬱金香行動」是否真有其事？是，這是一個人道救援行動，致力偵查及挖掘雙方陣營的軍人遺體。我們與組織緊密聯繫，他們亦參與拍攝，共同討論，以確保影片的真確性。我們很感謝組織協助拍攝，他們亦很欣賞我們製作的士兵屍體模型，我們將模型送贈作學術用途，亦邀請法醫在片中真身演繹。

Valentyn VASYANOVYCH was born in Zhytomyr, Ukraine in 1971. He has diplomas as a cameraman and documentary film director from the Karpenko-Kary National University of Theatre, Cinema and TV. He also studied at the Andrzej Wajda Master School of Film Directing in Poland. He is working on both documentaries and fiction films. 華倫廷華斯恩諾維治 1971 年生於烏克蘭日托米爾，畢業於卡彭高加里國立戲劇、電影及電視大學，獲攝影師及紀錄片導演文憑。他亦曾於波蘭安德烈華意達電影研究學院進修。他現從事紀錄片及劇情片創作。

SELECTED FILMOGRAPHY 主要作品 2004 Against the Sun (short) 逆向太陽（短片） 2012 Business as Usual 一切照常 2013 Credenza 櫥櫃 2017 Black Level 黑度 2019 Atlantis 荒蕪世紀詩篇

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GLOBAL VISION 環球視野 France 法國 2020 | French | DCP | Colour | 96min Director Naël Marandin Producer Julien Rouch Scriptwriter Naël Marandin Cinematographer Noé Bach Editor Damien Maestraggi Production Designer Denis Hager Music Maxence Dussère Sound Jocelyn Robert Cast Diane Rouxel, Finnegan Oldfield, Jalil Lespert, Olivier Gourmet Production Diligence Films, France 3 Cinema, Kien Productions World Sales Kinology

Persons Aged 18 and Above Only 只准18歲或以上人士

Beasts La Terre des Hommes 雄獸之地 All my films tell stories of bodies and domination. Here, my female lead deals with the hold of a powerful man. One day, someone brought me to a livestock market in Burgundy. This place struck me by the way it works, its structure, how theatrical it is. Livestock as far as the eyes can see. Busy men. And the only woman is the secretary. I was witnessing the violence of supply and demand, and I discovered the politics of cattle breeding. I decided to immerse my female lead in the power stakes of this industry. When we started looking for funding with my producer, people were puzzled by the screenplay: “We don’t really understand the story… What is this young woman complaining about? It’s just a questionable relationship…” That is precisely the blind spot that I wanted to address. The Weinstein case broke a few months later and people’s outlook on the film changed. But the screenplay itself hadn’t changed a bit! I wanted forms of cinema that were new for me: very long sequence shots, movement. For the first time I used dollies, a crane, a Steadicam. That allowed me to convey to the audience what my female lead is experiencing “in real time”.

[導演訪問] 我所有的電影都是關於身體和支配的故事。在本片，我的女主角得設法擺脫一個有權有勢的男人對她的控制。一天，有人帶我去布根地參觀一個牲口市場。這地方的營運模式和架構充滿了戲劇性，令我震驚不已。放眼望去均是牲畜，還有一堆忙忙碌碌的男人。唯一的女性就是秘書。我目睹了供求之間的暴力場面，發現了養牛的政治運作。我決定讓我的女主角投入這行業的權力關係網。當我們開始和製片人一起尋找資金時，看過劇本的人都感到困惑：「我們不是很了解那個故事……這個年輕女人在抱怨什麼？這不過是一段有點耐人尋味的關係而已……」這個盲點正是我想解決的。幾個月後，美國電影大亨溫斯坦性侵案曝光，人們對這部電影也刮目相看，但其實劇本一點也沒有改動！我想找出對我而言是新穎的電影形式：漫長的鏡頭，緩慢的運動。這是我第一次使用推軌及升降鏡頭，還有攝影機穩定器。這使我能夠向觀眾傳達出女主角在「實時」所經歷的事情。

Interview with Naël Marandin

Naël MARANDIN is a French director, scriptwriter and actor born in France in 1981. He works with fiction that is steeped in reality. Beasts is his second feature. 尼爾馬蘭甸 1981 年生於法國巴黎。他的作品常在現實中發掘虛構素材。《雄獸之地》是他的第二部長片。

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SELECTED FILMOGRAPHY 主要作品 2007 Foreign Bodies (short) 外來的親密（短片） 2010 Sibylle (short) 西比爾（短片） 2016 She Walks 站街女 2020 Beasts 雄獸之地

GLOBAL VISION 環球視野 Georgia/France 格魯吉亞／法國 2020 | Georgian | DCP | Colour | 125min Director Déa Kulumbegashvili Producer Ilan Amouyal, David Zerat, Rati Oneli, Paul Rozenberg Scriptwriter Déa Kulumbegashvili, Rati Oneli Cinematographer Arseni Khachaturan Editor Matthieu Taponier Production Designer Guram Navrozashvili Music Nicolas Jaar Sound Séverin Favriau, Tengo Mandzulashvili, Stéphane Thiebaud Cast Ia Sukhitashvili, Rati Oneli, Kakha Kintsurashvili, Saba Gogichaishvili Production O.F.A., First Picture World Sales Wild Bunch

Beginning 一切從那火開始 Yana’s crime, and her tragic demise are loosely inspired by a true story. A mother who did the unthinkable. She never explained her reasons; didn’t justify her actions, as though her unspeakable crime was meant to happen. Over time, I found myself returning to this woman; she haunted my thoughts. I was unable to intellectually process her crime or emotionally grasp her condition. Our need to understand the unthinkable often propels us to create distance with those who commit these acts. We tend to think that those who deviate from the norm can only come from a different background. This immediate separation opens up the possibility of rationalisation and pity. It permits us to try to understand, to judge and even sometimes to forgive. This woman, who only vaguely shares traits with the character of Yana, did not grant people that distancing process. She was familiar. She shared her background, social surroundings and upbringing with many. She was one of those young women who, as many generations of women before, accepted the given structure around them. As the character of Yana developed, I knew that the film would tell her story; not the story of her crime, but of her daily life, her routine, her normality, as well as the differences and nuances in her mundane routine. In other words, everything preceding the crime. Yana became an autonomous fictional character. She does not bear any resemblance to anyone in particular and all the events described in the film are a product of my imagination.

[導演的話] 楊娜所犯的罪及其悲劇，啟發自真人真事。為人母者做出不可思議的事，她從沒解釋有何苦衷，沒有合理化自己行為，彷彿那極其殘忍的罪行本該發生。久不久我便想起這女子，她在我腦內揮之不去。我無法理性上處理她的行為或情緒上掌握她的心理狀況。然而她是如此熟悉。我在市郊小鎮長大，她隨時是我在那裏認識的人。我們需要去理解無法想像的事情，這些需要往往令我們與那些人保持距離。我們傾向認為偏離社會規範的人，只會來自跟我們完全不同的背景。這即時的割離造就了合理化和同情的可能，容許我們去理解、去判斷，有時甚至去原諒他們。然而，楊娜沒有令人產生上述的距離感，她是我們熟悉的人，她的背景、社會環境及教養跟很多人一樣。就像過去很多世代那樣，她只是接受周遭環境模塑的其中一個年輕女子。創作楊娜這角色時，我知道電影會講述的，並非她罪行的故事，而是她的日常生活，以及箇中微細差異。換言之，是她犯罪前的一切經歷。楊娜自動成為一個虛構角色，不對應任何人，而電影描述的所有事件，都是我想像的產物。

Déa Kulumbegashvili Déa KULUMBEGASHVILI is a Georgian writer/director based in Tbilisi. Her debut short film Invisible Spaces (14) was nominated for a Short Film Palme d’Or at the Cannes Film Festival. Beginning is her first feature, which was an Official Selection at Cannes. 迪雅古琳比加殊維利 1986 年生於格魯吉亞，短片首作《隱形空間》(14) 入選康城影展角逐短片金棕櫚，《一切從那火開始》是她執導的首部長片，獲邀入選康城影展。

FILMOGRAPHY 作品年表 2014 Invisible Spaces (short) 隱形空間（短片） 2016 Léthé (short) 遺忘河（短片） 2020 Beginning 一切從那火開始

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GLOBAL VISION 環球視野 Turkey 土耳其 2020 | Turkish/Kurdish DCP/Online | Colour | 85min Director Ferit Karahan Producer Kanat Do ramacı Scriptwriter Ferit Karahan, Gülistan Acet Cinematographer Türksoy Gölebeyi Editor Sercan Sezgin, Hayedeh Safiyari, Ferit Karahan Production Designer Tolunay Türköz Sound Srdjan Kurpjel Cast Samet Yıldız, Ekin Koç, Mahir Ipek, Nurullah Alaca, Cansu Fırıncı, Melih Selçuk Production Asteros Film World Sales Intramovies

Brother’s Keeper Okul Tira i 童病相憐 I spent six years of my childhood at a boarding primary school. And the reason I wanted to make this film has a lot to do with the fears that remain with me from those boarding school days. Fear is as old as humanity itself; and schools are one of the places that most effectively perpetuate the tradition of spreading fear and using it as a disciplinary tool. At boarding schools in particular, these fears tend to be many layered. Of course, not all the teachers I encountered were bad; they, too, were continuing a tradition learned earlier in life: inspiring fear! Strinking fear into the hearts of children to make them grow up. Don’t let them object to anything... The control exercised over our young bodies was later applied to our minds. I realise today that to control children is essentially to control the future. […] Through Yusuf’s story, the film sets out to examine the prevalence of lies in oppressed societies and the ramifications of even a single trivial lie. It also seeks to question the innocence of an entire society. In other words, Brother’s Keeper is the film of a long tradition; it is a film of fear. Ferit Karahan

[導演的話] 故事設定於一所男生寄宿學校，以嚴苛紀律和鐵腕管理見稱。十二歲的尤瑟夫，望為患病同窗求醫，任務看似簡單直接，他卻要面對學校的官僚制度、行政人員的麻木不仁，還有地域的崎嶇險阻。童年時我有六年在寄宿小學度過。拍此片是為了直面過往寄宿生活遺留的恐懼。恐懼與人類本身一樣源遠流長，而學校正是其中一處持續散播恐懼傳統之地，作為維持紀律的工具。特別是寄宿學校，恐懼更是層層疊疊。當然不是每個我遇到的老師都是壞人。他們只是承襲了自幼習得的傳統：喚起恐懼！在小孩心裏激發恐懼，因為恐懼使人成長。別讓他們反對任何事……年輕身體承受的操控，伸延至心智。我現已明白，操控小孩，就是操控未來。在文化傳承及個人性格形成，家庭扮演重要角色，創造我們所謂的「人性」，並形成社會和文化秩序。然而把孩子抽離家庭關係，試圖以其他虛假聯繫取代，只會破壞社會秩序。此片希望透過尤瑟夫的故事，探討在壓抑社會下謊言瀰漫，即使是一個微小的大話，衍生的結果無窮無盡。影片亦詰問整個社會的幼稚無知。換言之，這是一部關於悠久傳統、關於恐懼的電影。

Ferit KARAHAN was born in Mu , Turkey in 1983. He started working as first assistant director. His short films Before the Flood (10) and Yusiv’s Dream (11) won awards and honourable mentions at various festivals. His feature debut The Fall From Heaven won Best Film at the Antalya Film Festival. 法列卡拉漢 1983 年生於土耳其穆什。出道時為多部電影擔任助導。兩部短片《水災之前》 (10) 及《尤瑟夫之夢》(11) 曾在多個電影節獲獎。首部長片《墜落天堂》(13) 獲安塔利亞電影節最佳電影。 ©Bagerkaya

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FILMOGRAPHY 作品年表 2010 Before the Flood (short) 水災之前（短片） 2011 Yusiv’s Dream (short) 尤瑟夫之夢（短片） 2013 The Fall From Heaven 墜落天堂 2020 Brother’s Keeper 童病相憐

GLOBAL VISION 環球視野 Poland/France 波蘭／法國 2019 | Polish | DCP | Colour | 116min Director Jan Komasa Producer Aneta Hickinbotham, Leszek Bodzak Scriptwriter Mateusz Pacewicz Cinematographer Piotr Soboci ski Jr. Editor Przemysław Chru cielewski Production Designer Marek Zawierucha Music Galperin Brothers Sound Kacper Habisiak, Marcin Kasinski, Tomasz Wieczorek Cast Bartosz Bielenia, Aleksandra Konieczna, Eliza Rycembel, Tomasz Zi tek Production Aurum Film World Sales New Europe Film Sales

Persons Aged 18 and Above Only 只准18歲或以上人士

Corpus Christi Bo e Cia o 流氓神父 Corpus Christi was actually inspired by true events. Was it just one particular story? There was one case, which actually generated some headlines in Poland, of a boy who impersonated a priest for about three months. His name was Patryk and he was probably 19 years old at the time… We changed his name to Daniel, but the characters are similar and so is the way that led him to this small town. This boy performed weddings, baptisms and conducted funeral ceremonies. He was fascinated by all this and really wanted to become a priest. So we based the film on his story, but Mateusz added the part about the juvenile detention centre and the accident that shook up the entire town… The whole controversy arose from the fact that he actually turned out to be much more efficient than his predecessor. That’s the thing – it was someone outside of the Church, who didn’t care much for the official dogma, and people were happy with his work! ...similar cases come to light every year, and not just in Poland – in Spain, one man impersonated a priest for over a dozen years! The reasons why they do it can be very different. Very often they just try to hide from the justice system and it’s much easier to trick a small community that doesn’t ask too many questions. Interview with Jan Komasa by Marta Balaga

[導演訪問] 《流氓神父》啟發自真人真事，是否取材自某一特定故事？一個名叫帕德烈的十九歲男孩假扮神父三個月，這宗個案在波蘭成為頭條新聞。我們將他易名丹尼爾，個性相似，逃到小鎮的經歷也接近。他主持婚禮、洗禮及葬禮，對此產生興趣，真的想成為神父。我們以此故事為藍本，編劇加入青年教導的劇情，以及小鎮曾經歷意外創傷的設定。爭議之處在於，他比上任神父取得更大成效，關鍵在於他來自教會外，不在乎教條，而民眾卻滿意他的工作！類似事件每年都有，不單發生在波蘭；在西班牙，就有一個男人假扮神父超過十二年！他們原因各有不同，不過很多時是為了逃避司法機關，而且要在純樸小鎮蒙混欺騙也比較容易。男主角丹尼爾看不到自己的成果。最大的改變發生時，他已不再站於聖壇後。此片結局是個宿命。這個為社區貢獻良多的人，到頭來只有他得不到任何喜悅或滿足。丹尼爾曾有機會，但他選擇了慢性自殺之路。是悲劇，但美麗之處在於他有所成就，讓居民有足夠力量去接納他人。這正是片名「Corpus Christi」（基督聖體）的意思。不是徹底地寬恕，只是默默地接納。或許有點諷刺，但我們可稱之「和解的奇蹟」。

Jan KOMASA was born in Poland in 1981 and is a director, screenwriter, and producer. He studied directing at the Łód Film School. His short film Nice to See You (04) won 3rd prize at the Cannes Film Festival (Cinefondation). His feature film debut, Suicide Room (11), premiered at the Berlinale. 楊高馬薩 1981 年生於波蘭波茲南，身兼導演、編劇及監製，曾於羅茲電影學院修讀導演課程。2004 年完成首部短片《很高興見到你》，獲康城影展電影奠基競賽三等獎。首部劇情長片《自殺聊天室》(11) 於柏林影展首映。

SELECTED FILMOGRAPHY 主要作品 2004 Nice to See You 很高興見到你 2007 The Flow (docu) 暗流（紀錄片） 2011 Suicide Room 自殺聊天室 2014 Warsaw 44 浴血華沙 2019 Corpus Christi 流氓神父 2020 The Hater 仇恨之網

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GLOBAL VISION 環球視野 Spain 西班牙 2019 | Galician/Spanish | Online | Colour | 90min Director Eloy Enciso Cachafeiro Producer Beli Martínez, Eloy Enciso Cachafeiro Scriptwriter Eloy Enciso Cachafeiro Cinematographer Mauro Herce Editor Patricia Saramago Production Designer Melania Freire Sound Juan Carlos Blancas, Miguel Martins Cast Misha Bies Golas, Verónica Quintela, Manueal Pumares, Suso Meilán, Celsa Araújo Production/World Sales Filmika Galaika

Endless Night Longa noite 暗夜無星至天明 I was looking for texts approaching not so much what happened during the first decade of Franco’s dictatorship (facts from the past), but how a totalitarian system affects common people’s lives. As back then no one could publish in a straightforward way what was going on, I started diving into the literature made in exile. The majority of the writers and intellectuals left Spain during or right after the Civil War and they continued publishing from Argentina, Mexico, France… I found the works of Max Aub, Luis Seoane, Ramon de Valenzuela… These texts are the basis for the first chapter of the film. The second part of the process consisted of reading memoirs from those who lost the war and decided, or had to stay in the country. They lived in silence during those years, but they could finally publish their memories of what had happened once Franco died.

[導演訪問]

The film is… I wouldn’t say historical, but it happens in a historical time, and because the production couldn’t afford a complex set design, I assumed natural landscape comprehends, somehow, all eras. Nature is past, present, and future at the same time, and if there is a thesis for this film, I would say it’s not far from this idea…the principle Straub and Huillet’s filmography is based on, and Straub used to say: “Making the revolution is putting very old but forgotten things back in their place.” Galician and Spanish landscapes are full of silenced stories of resistance.

電影的第三部分又怎樣？

Eloy Enciso Cachafeiro

電影透過若干象徵角色，把佛朗哥三十年獨裁統治重現銀幕。你是怎樣選擇對白和處境所依據的文本？與其選取關於過去（尤其是頭十年獨裁統治）事實的文本，不如聚焦於極權體制如何影響平民生活。因為當時沒有人可直接記述發生了什麼事，我開始埋首探研流亡文學。大部分作家和知識分子都在內戰期間或其後離開西班牙，繼續在阿根廷、墨西哥、法國等地出版作品。這些文本構成了電影第一節的基礎。第二節則是閱讀回憶錄的結果，作者是輸了內戰，然後決定或不得不留在國內的人。他們在那些年保持沉默地生活，直至佛朗哥死後，終可憶述當年事。

那是來自四十年代被關進監獄或加利西亞集中營的囚犯親筆書信。囚犯獲准在嚴密審查下，每周和家人通信一次。我發現它們具備我感興趣的元素：以平白的語言表達個人的掙扎與矛盾，表達一個想盡方法磨蝕所有尊嚴（無論是政治或人性的）的獨裁體制。聆聽這些書信，觀眾可清晰看見這不僅是意識形態的鬥爭，還是辯證的、哲學的鬥爭；也是一場渴求愛與自由，跟偏狹的人性經驗概念之間的鬥爭。後者透過暴力、恐懼和卡夫卡式官僚系統加諸個人身上。

Eloy ENCISO CACHAFEIRO was born in Galicia, Spain in 1975. He studied filmmaking in Cuba, before launching his career with the documentary, Pic-nic (07). His second documentary, Arraianos (12), was awarded the Grand Prix for Avant-Garde and Genre at the Buenos Aires International Festival of Independent Cinema. 艾萊安西索卡察菲路 1975 年生於西班牙加利西亞的梅拉，現於加利西亞及葡萄牙兩地定居及工作。2003 年始拍攝短片，07 年拍攝首部紀錄長片《旅．行》。他的第二部紀錄長片《山林深處有人家》(12) 獲布宜諾斯艾利斯國際獨立影展大獎。 ©03TamaradelaFuente

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SELECTED FILMOGRAPHY 主要作品 2007 Pic-nic (docu) 旅．行（紀錄片） 2012 Arraianos (docu) 山林深處有人家（紀錄片） 2019 Endless Night 暗夜無星至天明

GLOBAL VISION 環球視野 Brazil/France/Germany 巴西／法國／德國 2019 | Tukano/Portuguese | Online | Colour | 95min Director Maya Da-Rin Producer Maya Da-Rin, Leonardo Mecchi, Juliette Lepoutre Scriptwriter Maya Da-Rin, Miguel Seabra Lopes, Pedro Cesarino Cinematographer Bárbara Alvarez Editor Karen Akerman Production Designer Ana Paula Cardoso Sound Felippe Schultz Mussel, Breno Furtado, Romain Ozanne Cast Regis Myrupu, Rosa Peixoto, Johnatan Sodré, Kaisaro Jussara Brito Production Tamanduá Vermelho, Enquadramento Produções World Sales Still Moving

The Fever A Febre 高燒夢迴亞馬遜 The original idea was born while I was shooting two documentary films in Amazonia, during which I met various Indian families who had left their villages in the forest and moved to the city. I wound up getting close to one of these families and the relationship I established with them sparked the story. I therefore decided to shoot the movie in Manaus, a city that I had previously visited a couple of times and which had always intrigued me, being an industrial hub located in the middle of the forest. In a way, my starting point is based on true stories. They interested me mainly because they were stories of characters with whom I could interact in my everyday life. We are all aware of how cinema has the propensity to exoticise indigenous peoples and tends to see them through a romantic and positivistic prism, as remnants of that which western cultures were in the past and not as contemporary complex societies. But the project’s initial argument was very different from what it turned out to be. It took six years of work and numerous trips to Manaus before we were able to begin shooting. Interview with Maya Da-Rin

[導演的話] 我在亞馬遜地區拍攝兩部紀錄片時，有了開拍這部劇情片的念頭。我在那裏遇到一些土著家庭，他們離開森林深處世代居住的土地，去到城市生活。我也遇到已定居城市的土著新生代，他們背負着過去傳統，在巴西社會掙扎求存，尋找自己的位置。他們跟我講述的經歷，揭示土著文化與西方文明之間複雜且緊張的關係，這一關係正是巴西自殖民時代以來的歷史印記。在這些相遇的推動下，我開始下筆，構思這部電影，講述居於瑪瑙斯的父女兩代關係。 [導演訪問] 影片人物從何而來？你常想以非專業演員為主角嗎？我認識了這樣一個從森林移居城市的土著家庭，與他們建立的關係，啟發此故事。我決定在瑪瑙斯拍攝此片，它是位處森林之中的工業樞紐，我曾數次到訪這座城市，令我着迷。我的出發點取材自真人真事。他們吸引我，是因為這些是我日常接觸到的人物之故事。眾所周知，電影有傾向以探奇角度去描繪土著，透過浪漫化及正面積極的有色棱鏡去觀看，讓他們看來像西方歷史文化的遺民，而非存在於現代複雜社會。不過，這電影計劃最初的論點跟後來的結果截然不同。製作長達六年，我們多次到訪瑪瑙斯才能展開拍攝。

Maya DA-RIN was born in Rio de Janeiro, Brazil in 1979. She studied at Le Fresnoy – Studio National des Arts Contemporains in France, and the Sorbonne Nouvelle. Her work has been shown at festivals around the world, and her feature debut, The Fever, won three awards at Locarno Film Festival. 瑪雅達琳 1979 年生於巴西里約熱內盧，曾參加古巴電影學院的電影工作坊，畢業於法國國立現代藝術中心，並於新索邦大學取得電影及藝術史碩士學位。首部劇情長片《高燒夢迴亞馬遜》獲羅迦諾電影節國際影評人聯盟獎。

FILMOGRAPHY 作品年表 2002 The World Tilts to Here (short) 世界向這裏傾斜（短片） 2007 Margin (docu) 邊沿（紀錄片） 2009 Lands (docu) 土地（紀錄片） 2011 French Version (short) 法國版本（短片） 2019 The Fever 高燒夢迴亞馬遜

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GLOBAL VISION 環球視野 Belgium 比利時 2019 | French | Online | Colour | 85min Director Bas Devos Producer Marc Goyens, Bas Devos, Nabil Ben Yadir, Benoit Roland, Tomas Leyers Scriptwriter Bas Devos Cinematographer Grimm Vandekerckhove Editor Dieter Diependaele, Bas Devos Production Designer Quinten, Jonathan Van Essche Music Brecht Ameel Sound Boris Debackere Cast Saadia Bentaïeb, Maaike Neuville, Stefan Gota, Cedric Luvuezo, Willy Thomas, Nora Dari Production Quetzalcoatl, 10.80 films, Minds Meet World Sales Rediance

Ghost Tropic 我與布魯塞爾的距離 I wanted to create a portrait of a Brussels woman in the way that I see them in the Cité, in Molenbeek or in the subway […] to tell something of the story about this underexposed and underrepresented generation of women. I wanted to make a film that can be viewed as a snapshot. In this case, a single night. With a short epilogue that takes place in a different time and place. The timeline is linear. The scenes merge into one another.

[導演的話] 我想描繪身在布魯塞爾的中年女人，就像我在舊城區、莫倫貝克或地鐵看到的那些女人。透過那個女人的形象，我也許可以講述她這一代女性的故事，她們的事跡往往甚少被人報導，也很少有作品描寫。我想拍一部可當作快照的電影，一個晚上的快照。簡短的結尾則在另一時空發生。時間順序是直線發展，各個場景融合為一。

By creating a minimalist portrait, both in terms of content and form, I believe that I can reduce the distance between the viewer and Khadija’s character. […] To achieve that, I aim to create as much space as possible in which to look at her. Simplicity is therefore important in order to be able to show her in all her complexity.

我相信一幅無論內容和形式都是極簡作風的肖像，可以縮短觀眾與角色卡迪亞的距離。我想讓她展現人前，伸手可觸。為此，我想要創造出盡可能多的空間，從中觀察她的舉動。因此，簡約的處理十分重要，這樣才能顯露她的所有複雜性。

Brussels has been my home for almost 20 years. And yet the city is still partly unknown to me. […] As if it floats before my eyes, sometimes in sharp relief, and at other times, dim once more. This apparent formlessness makes this city interesting cinematically. It can feel both familiar and mysterious at the same time. And Khadija’s journey reflects that character: everyday, ordinary, and yet alienating and somehow magical.

我在布魯塞爾定居差不多二十年了。然而，這座城市仍有些陌生的部分，好像無法完全掌握。這城市彷彿在我眼前漂浮，有時形象鮮明，有時又黯淡不清。這種明顯的變幻無常，使城市在畫面上變得趣味盎然，讓人同時感到熟悉，又覺得神秘。卡迪亞的旅程反映了這種特色：日常平凡的生活，儘管免不了疏遠隔膜，可總是教人驚歎不已。

Bas Devos

Bas DEVOS was born in Zoersel, Belgium in 1983. He studied at LUCA School of Arts in Brussels, and directed his first short film, Taurus, in 2006. Devos’ debut feature film, Violet (14), won the Jury Prize at Berlinale Generations. Hellhole (19) won him Best Director for Firebird Young Cinema at The Hong Kong International Film Festival. Besides his film work, he is involved in theatre as a director and light designer. 巴斯德夫斯 1983 年生於比利時，曾編導四齣短片，首部長片《單車少年之死》(14) 獲柏林影展新世代單元評審團獎，憑《下一站，地獄》(19) 獲香港國際電影節火鳥大獎新秀電影最佳導演。除了拍電影外，也曾擔任劇場導演及燈光設計師。

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SELECTED FILMOGRAPHY 主要作品 2006 Taurus (short) 金牛座（短片） 2014 Violet 單車少年之死 2019 Hellhole 下一站，地獄 2019 Ghost Tropic 我與布魯塞爾的距離

GLOBAL VISION 環球視野 Kazakhstan/Japan 哈薩克／日本 2019 | Kazakh/Russian | Online | Colour | 83min Director Yerlan Nurmukhambetov, Lisa Takeba Producer Yuliya Kim, Ichiyama Shozo, Kinouchi Hikaru Scriptwriter Yerlan Nurmukhambetov, Lisa Takeba Cinematographer Aziz Zhambakiyev Editor Nursultan Nuskabekov, Anne Luc Production Designer Sasha Shegay Music Akmaral Zykayeva Sound Audrey Vlaznev Cast Moriyama Mirai, Samal Yeslyamova, Madi Menaidarov Production Film Film Film, East Wind, Horse Thieves Production Committee World Sales Hakuhodo DY Music & Pictures Inc.

The Horse Thieves. Roads of Time 牧馬恩仇記 The idea came from a real story that happened a few years ago in Kazakhstan. I want to tell the story in the realities of 1990s because in this period people were wild and hungry, and they didn’t care about other people’s lives. It was a wild time in all post-soviet countries with a lot of crimes and no justice. The main character is Olzhas. He takes care of his little sister, brother and baby horses. He symbolises life and a new beginning. I want to show how defenseless and fragile childhood is. The boy loses his sense of purity and changes drastically because of the destruction of his safe, sensible, idyllic world by beastly evil.

[導演的話] 故事靈感來自幾年前在哈薩克發生的真實故事。偷馬賊劫殺了三人，遇害者每個都有家庭和孩子。我把故事背景搬到 1990 年代，那是蘇聯解體後一個令人困惑的時期，人們在捱餓，為了金錢被殺，許多人鋌而走險，無法無天。故事主角是個男孩，他要幫忙照顧年幼弟妹，還要照料幼馬。他象徵生命和新開始。我想呈現童年是何等脆弱，當邪惡摧毀他幸福及田園詩般的世界，他也不再天真無邪，將要經歷徹底的轉變。

Yerlan Nurmukhambetov

Endo Shusaku’s Deep River and Sawaki Kotaro’s Midnight Express inspired me to start backpacking during my college days. I saw Luna Papa when I was in high school, so I wanted to visit Uzbekistan. It is such a beautiful country that I became fascinated by Central Asia ever since. So I’ve been thinking of doing something interesting there. My film is about how Olzhas loses his father twice and grows up. Every child has to cross the border between a child and an adult. I’m very interested by “border crossing” and I became a backpacker because of that. Growing up is a kind of border crossing, so I wished to depict the boundary between children and adults.

耶蘭努爾穆汗別托夫讀過遠藤周作的《深河》和澤木耕太郎的《深夜特急》後，大學時代開始，我就常常當背包客去旅行。高中時看過電影《誰來為我摘月亮》，很嚮往烏茲別克。當我真的去到那裏，發現那是個非常美麗的國家，就被中亞吸引住了。本片講述男孩如何兩度失去父親後成長，而每個小孩都終將成為大人。我對「越境」感興趣，這是我愛當背包客的原因，而我相信成長也是一種「越境」，我希望探索由兒童到長大成人之間的界線。竹葉理沙

Lisa Takeba Yerlan NURMUKHAMBETOV was born in Kazakhstan in 1976 and graduated in screenwriting at the Kazakh National University of Arts. His debut feature Walnut Tree (15) won the New Currents Award at Busan. 耶蘭努爾穆汗別托夫 1976 年生於哈薩克，畢業於哈薩克國立藝術大學，主修編劇。首部個人執導的長片《胡桃樹》(15) 獲釜山電影節新流獎。

SELECTED FILMOGRAPHY 主要作品 2011 Little Hunter (co-dir) 小男孩獵人（合導） 2011 The First Rains of Spring (co-dir) 春天的第一場雨（合導） 2015 Walnut Tree 胡桃樹 2019 The Horse Thieves. Roads of Time (co-dir) 牧馬恩仇記（合導）

Lisa TAKEBA was born in Japan in 1983. Her works The Pinkie (14) and Haruko’s Paranormal Laboratory (2015) were screened at the Rotterdam International Film Festival. 竹葉理沙 1983 年生於日本，現定居東京。首兩部長片《彷徨的尾指》(14) 及《春子超常現象研究所》(15) 均入選鹿特丹電影節。

2014 2015 2019 2019

The Pinkie 彷徨的尾指 Haruko’s Paranormal Laboratory 春子超常現象研究所 The Horse Thieves, Roads of Time (co-dir) 牧馬恩仇記（合導） Signal 100 信號 100

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GLOBAL VISION 環球視野 South Korea 南韓 2020 | Korean | DCP/Online | Colour | 81min Director Lee Ran-hee Producer Shin Woon-seop Scriptwriter Lee Ran-hee Cinematographer Noh Sin-ung Editor Lee Yeon-jung Production Designer Kim So-hee Sound Han Dong-hoon Cast Lee Bong-ha, Kim Ah-seok, Shin Woon-seop World Sales INDIESTORY Inc.

A Leave Hyu-ga 抗爭無休 There was a laid-off worker, who has been on the street for more than ten years, left the sit-in three times, and back to the sit-in three times. I asked him why he came back. If I knew why he returned, it felt like I could understand how he was able to fight on the streets for more than a decade.

[導演的話]

He replied that “because it has been planned and I have to finish it”. He always came back and kept his schedule and finished it. I tried to focus on what he might have seen, heard and felt while on the sit-in site, outside the sit-in site.

他回答說︰「因為我已計劃好，必須把計劃完成。」他總會跑回來，依照他的時間表，完成計劃。我試着把焦點放在他的所見所聞和他的感受上，無論是在靜坐現場，還是在他離開現場之後。

有一名被裁員的工人在街頭靜坐示威十多年了，曾三次終止，又三度恢復。我問他為什麼又回來抗議。要是我知道他回來的原因，我好像就可以明白他如何能在街頭堅守十年以上。

Lee Ran-hee

LEE Ran-hee was born in Seoul, South Korea in 1971. She graduated from Myongji University, Department of English Linguistics and Literature. She has worked as actress and planner at Hangang Art Company since 1996. A Leave is her first debut feature. 李蘭姬 1971 年生於南韓首爾。畢業於明知大學英語語言學及文學系。執導過多部短片，亦曾參與幕前演出。《抗爭無休》是她執導的首部長片。

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SELECTED FILMOGRAPHY 主要作品 2009 A Perm (short) 電髮（短片） 2014 A Night Before the Wedding (short) 婚禮前夕（短片） 2016 A Tent (short) 帳篷（短片） 2020 A Leave 抗爭無休

GLOBAL VISION 環球視野 Malta 馬爾他 2021 | Maltese | DCP | Colour | 94min Director Alex Camilleri Producer Rebecca Anastasi, Ramin Bahrani, Alex Camilleri, Oliver Mallia Scriptwriter Alex Camilleri Cinematographer Léo Lefèvre Editor Alex Camilleri Production Designer Jon Banthorpe Music Blake Jessee Sound Robert Bonello Cast Jesmark Scicluna, Michela Farrugia, David Scicluna Production Noruz Films, Luzzu Ltd, Pellikola, Maborosi Films World Sales Memento Films International

Luzzu 滄海漁生 Your film offers a vivid example of the struggles one feels between tradition and modernity. Where do you stand? I sympathise with Jesmark as he grapples with shedding this incredibly rich heritage that raised him. Our families provide a foundation of meaning in our lives. At the same time, they can limit our freedom, and the growth that may be necessary. Jesmark’s boat is his connection to the past – generations of fathers and sons who’ve passed down this vessel with love and pride. But Luzzu takes on new meaning for Jesmark as he comes of age in a rapidly modernising country with no place for traditional fishermen. I think this kind of dilemma is often felt in immigrant families, my own included. At times Luzzu feels almost documental, with a lot of realism. Are you attached to this aspect of cinema? I am most moved by films that harness reality… I was also eager to find ways for Luzzu to belong to our current moment, challenging the nostalgic view of fishing in the Mediterranean. Early in my research, I came to learn about the network of contracted labour from South and Southeast Asia – sea workers (like the character Uday) who travel the world to make their living in various marinebased industries. In Malta, these men are denied official residence status, and a kind of “handshake” loophole sees the men living just off-shore, on their boats.

[導演訪問] 你這部電影以生動例子道出了人們掙扎於傳統與現代的感受。你的立場是什麼？我很同情傑斯馬克，他自小受到深厚博大的捕魚傳統所熏陶，卻要想盡辦法擺脫這種影響。家庭為我們的人生意義立定根基；同時也限制了我們的自由及必要的成長。傑斯馬克的漁船是他與過去連結的紐帶——幾代人帶着愛與自豪，把這艘船，父子相傳下去。但是，當傑斯馬克踏入成年，面對迅速現代化、傳統漁業毫無可為的國家，一艘「魯茲」（馬爾他語，即色彩亮麗的手製漁船）對他卻有了新的意義。我認為，包括我在內的移民家庭，經常會陷入這種困境。有時影片的感覺就像紀錄片，有很多寫實鏡頭。你對這方面特別感興趣嗎？充分駕馭現實的電影令我深受感動……我也渴望為本片找到切合時代的方法，挑戰那種耽於昔日地中海捕魚風光的懷舊看法。搜集資料初期，我得知有很多漁民是從南亞和東南亞來的契約合同工。這些海上工人（如片中的 Uday）遠渡重洋，靠從事各種海洋產業維生。在馬爾他，這些人被剝奪了正式居留權，不過法律上出現了一種大家默認的漏洞，使他們可以靠岸而居，住在船上。

Interview with Alex Camilleri

Alex CAMILLERI is a Maltese-American filmmaker, a film editor of various films that screened at major festivals, and an associate editor on HBO’s Fahrenheit 451. Luzzu is his feature-length directorial debut. 阿歷斯卡米萊里是馬爾他裔美國導演，負責剪接的電影曾在各大影展放映，也是 HBO 電影《華氏 451 度》的副剪接師。《滄海漁生》是他的首部劇情長片。

FILMOGRAPHY 作品年表 2010 Still Here (short) 仍在此地（短片） 2017 Prickly Pear (short) 有刺的梨（短片） 2021 Luzzu 滄海漁生

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GLOBAL VISION 環球視野 Czech Republic/Ukraine/Slovakia 捷克／烏克蘭／斯洛伐克 2019 | Czech/German/Russian/Interslavic DCP | B&W | 169min Director Václav Marhoul Producer Václav Marhoul Scriptwriter Václav Marhoul Cinematographer Vladimír Smutný Editor Lud k Hudec Production Designer Jan Vlasák Sound Pavel Rejholec Cast Petr Kotlár, Udo Kier, Lech Dyblik, Stellan Skarsgård, Harvey Keitel Production Silver Screen World Sales Celluloid Dreams

Persons Aged 18 and Above Only 只准18歲或以上人士

The Painted Bird Nabarvené Ptá e 色鳥 After reading the original novel The Painted Bird, many people are shocked by the descriptions of violence and brutality. Jerzy Kosi ski’s conception of violence can be disturbing, but it is not one-dimensional, or even two-dimensional. For Kosi ski, violence unveils and frames the essence of humanity. For the filmed version of this classic novel, my goal was to create a series of tableaux that, cumulatively, takes our protagonist on a journey to the very heart of the dark human soul. Each part of the series is a visual clue, a sort of lost fragment of a larger painting, a canvas that draws the protagonist irrevocably toward a final catharsis. It is intended as a kind of gradual peeling away of layers so that, by the end, the viewer has arrived at the very core of our central character, who has discovered a hard-won truth. The soul of The Painted Bird is poetry. It’s the story’s spirit of the ballad, its quiet urgency, the vivid internal world of our central character, the Boy, whose nature is beautiful despite the horror around him. It’s also the story of the historical and geographical setting, and the characters the Boy encounters. It’s not always important that we love these characters or mourn their fate. What is important is that we see them and bear witness. I tried resolutely to avoid pathos, and to eliminate well-worn clichés, exploitative melodrama and music that attempts to evoke artificial feelings. Absolute quiet can be as stark and more emotionally charged than any music.

[導演的話] 很多讀過《色鳥》原著小說的讀者都會被書中的暴力及殘忍形容嚇驚了。高辛斯基的暴力概念也許確實令人不安，但那不是單次元，甚至不是平面的。對高辛斯基來說，暴力揭示甚至構成了人性的本質。要把這部經典小說搬上銀幕，我的目的是要創造一連串畫面，讓主角沿着他的歷程，逐步深入人類暗黑之魂的核心。每一串畫面都是一條視覺線索、一幅更大畫作失落了的碎片，一個讓主角無可避免趨往終極洗滌之途畫作的框架。就像剝洋葱那樣，一層一層地剝盡，直至觀眾到達主角的內心深處，發現得來不易的真相。《色鳥》的靈魂是詩歌、民謠的故事精神、主角的內心世界。我們的主角小子，雖然被恐怖包圍，本性卻是美麗的。但《色鳥》並非只是他的故事，也是他所身處的歷史和地理設定、他遇上的人物的故事。我嘗試堅決避免濫情，拒絕陳腔濫調，避開通俗劇情和會努力嘗試矯情的配樂。絕對的靜默，有時比任何音樂更能帶來情緒充電的效果。我們用 35 米厘菲林拍攝，銀幕比例 1 比 2.35，這個長寬比例是最能承載豐厚情感的格式。

Václav Marhoul Václav MARHOUL was born in Prague, Czech Republic in 1960. After graduating from the Prague Film Academy, Marhoul worked for the “Prague Five” theatre group, and Barrandov Film Studios, ascending the ranks to General Director. He directed his debut feature, Smart Philip, in 2003. 華克拉夫馬哈爾 1960 年於捷克布拉格出生。布拉格電影學院畢業後，在劇團和片廠擔任演員和編劇，逐步晉升為導演，2003 年拍出處女作《機靈菲臘》。《色鳥》是其第三部長片。

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FILMOGRAPHY 作品年表 2003 Smart Philip 機靈菲臘 2008 Tobruk 杜布魯克 2019 The Painted Bird 色鳥

GLOBAL VISION 環球視野 Hungary 匈牙利 2020 | Hungarian | DCP | Colour | 94min Director Lili Horvát Producer Dóra Csernátony, Lili Horvát, Péter Miskolczi Scriptwriter Lili Horvát Cinematographer Róbert Maly Editor Szalai Károly Production Designer Sandra Sztevanovity Music Gábor Keresztes Sound Rudolf Várhegyi Cast Natasa Stork, Viktor Bodó, Benett Vilmányi Production Poste Restante World Sales NFI World Sales

Persons Aged 18 and Above Only 只准18歲或以上人士

Preparations to be Together for an Unknown Period of Time Felkészülés Meghatározatlan Ideig Tartó Együttelétre

相約在布達佩斯 Where did the idea come from?

[導演訪問]

A woman, brimming with love, travels to the man she will start a new life with. Yet, on arrival, he reacts strangely, saying, “I don’t know you. This is the first time in my life I’ve ever seen you”. Reality shudders – we don’t know whether the man or the woman is telling the truth. When this situation came to me, I didn’t know yet who the woman was and who the man was, but this was the core idea around which the story of Preparations would grow.

電影的意念從何而來？

I guarded that sprout of a scene for a long time, then suddenly – on a bus in Berlin – the ideas began to come. They should both be doctors, two people around 40 years old. The woman should come from a distant place, another continent. She needs to sacrifice something for him. And so on. I realised that what I wanted to speak about was the enormous role of our own imagination when we are in love. When we were already deep in the production of the film, that first scene still remained the heart of the story. I don’t think I spoke as much about any other scene to the two main actors as I did this one. Interview with Lili Horvát

一個滿懷愛意的女人，千里迢迢來到男人身邊，準備與他開展新生活。然而當她抵達時，男人的反應很奇怪，他說：「我不認識你，這是我頭一次見你。」事實令人發抖，我們不知道誰在說真話。當我想到這個處境，我還不知道這兩個人物是誰，不過電影就是由此中心意念發展出來。我把這一幕的念頭埋在心底一段時間，忽然之間，在柏林的一程巴士上，想法開始成形。他們應該都是醫生，大約四十歲。她應該來自遙遠的地方，從另一個洲遠道而來。她需要為他犧牲一些什麼之類。我想談的是，我們自己的想像力在愛情所扮演的重要角色。當我們拍攝得如火如荼時，這一幕仍然是故事的核心。我跟兩位主要演員講戲，其他部分也沒有這一幕講得那麼多。他們要把這樣極度複雜的東西，演繹出真實感，不僅是在觀眾觀看這一幕的時候，還要在整部電影放映完畢後，仍然覺得可信。剪接時，我們意識到這一幕就是電影的開始，必須一開始吸引住觀眾。為此我們決定把開頭一些很美的場景剪掉。

Lili HORVÁT was born in Budapest, Hungary in 1982. She studied audiovisual arts at the Sorbonne Nouvelle in Paris and film directing at the University of Theatre and Film in Budapest. Preparations to be Together for an Unknown Period of Time is her second feature. 莉莉荷華特 1982 年生於匈牙利布達佩斯，曾在巴黎新索邦大學修讀視聽藝術，在布達佩斯戲劇與電影學院修讀電影導演課程。《相約在布達佩斯》是她的第二部長片。

SELECTED FILMOGRAPHY 主要作品 2015 The Wednesday Child 悲傷的小孩 2020 Preparations to Be Together for an Unknown Period of Time 相約在布達佩斯

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GLOBAL VISION 環球視野 France 法國 2020 | French | DCP | Colour | 92min Director Charlène Favier Producer Edouard Mauriat, Anne-Cécile Berthomeau Scriptwriter Charlène Favier, Marie Talon Cinematographer Yann Maritaud Editor Maxime Pozzi Garcia Production Designer Julie Wassef Music LoW Entertainment Sound Gauthier Isern, Louis Molinas, Thomas Besson Cast Noée Abita, Jérémie Renier, Marie Denarnaud, Muriel Combeau Production Mille et une productions World Sales The Party Film Sales

©Charlie Bus Production

Slalom

Supported by 全力支持 CONSULAT GÉNÉRAL DE FRANCE À HONG KONG ET MACAO

雪裏迷徒 Does Slalom aim to fuel a debate and free up speech concerning the issue of sexual domination in sport? I wanted to break the silence a little. Originally, I wrote this film to open up the debate and make people think. And then the subconscious need to denounce such practices came to the fore as the main focus of the film. Sexual abuse and assault in sports is a taboo subject. I didn’t want Slalom to be a gut reaction to the issue of the status of women and sexual violence. It was about plunging the viewer into an intimate journey rather than pleading a case. The character of Fred is above all a man, a human being and not a monster. He slips up, he blames himself and he too is eaten up by guilt, desire and envy. I make films to say things that I have never been able to say. Because I have the feeling that I won’t be able to explain it orally and that people won’t believe or understand me. When I make films, there is a kind of dialogue that takes place between me and others. Speaking up and then denouncing are part of a very personal process. Writing the screenplay for Slalom allowed me to exorcise a lot of things. As a child, I felt different and, without the cinema, I think I would have completely cut myself off from the world.

Interview with Charlène Favier

[導演訪問] 影片意念從何而來？這是一部非常個人的電影。我在著名滑雪勝地瓦勒迪澤爾長大，參加過滑雪比賽。但這部電影並非自傳，儘管我確曾遭遇跟片中類似的權力關係，但與滑雪無關。我喜歡虛構故事，令我可從自身經歷裏退一步想。在我周圍，確實有很多年輕女性遇上類似片中的經歷，我聽到很多這樣的故事。影片是否旨在引發有關體育界性別支配的討論？我想稍為打破沉默，最初是希望可以展開討論並令人思考，然後潛意識裏覺得需要控訴這種行為，慢慢成為了電影的重心。體育界的性侵是個禁忌的話題。我不想影片只是對於女性地位和性暴力問題的直覺反應。我想令觀眾進入一趟私密旅程，而非在申冤。費德的角色首先是一個人，一個男人，而不是惡魔。他犯了錯，自責，也被內疚、慾望和嫉妒所吞噬。我拍片是為了把自己一直無法啟齒的東西說出來，因為我自覺無法用言語說清，別人也不會相信和理解我。我拍電影，令我與他人有了某種對話。大聲說出，直斥其非，是非常個人的過程。寫這個劇本，助我去除了很多陰影。小時候，我自覺是異類，如果沒有電影，我想我會完全自我封閉，與世隔絕。

Charlène FAVIER was born in Lyon, France in 1985. She was trained in acting at the Jacques Lecoq School in London, in directing at the Astoria Studio in New York and in writing at the FEMIS script workshop in Paris. At the same time, she wrote, directed and produced several short films and documentaries. Slalom is her first feature which was in the official selection of the Cannes Film Festival. 莎琳法維耶 1985 年生於法國里昂，在倫敦賈克樂寇戲劇學校修讀表演，並在紐約阿斯托里亞工作室修讀電影導演課程，曾參加巴黎 FEMIS 電影學院的編劇工作坊，執導多部短片及紀錄片。《雪裏迷徒》是她的首部劇情長片，入選 2020 年康城影展。

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Persons Aged 18 and Above Only 只准18歲或以上人士

SELECTED FILMOGRAPHY 主要作品 2012 Free Fall (short) 自由落體（短片） 2015 Omessa (short) 奧梅薩（短片） 2017 Amir et Léa (short) 阿米爾與蕾雅（短片） 2018 Odol Gorri (short) 紅血（短片） 2020 Slalom 雪裏迷徒

GLOBAL VISION 環球視野 Itaty/Poland 意大利／波蘭 2019 | Italian/Polish | Online | Colour | 100min Director Carlo Sironi Producer Giovanni Pompili Scriptwriter Giulia Moriggi, Carlo Sironi, Antonio Maca Cinematographer Gergely Poharnok Editor Andea Maguolo Production Designer Ilaria Sadun Music Teoniki Ro ynek Sound Michał Fojcik Cast Sandra Drzymalska, Claudio Segaluscio, Barbara Ronchi, Bruno Buzzi Production Kino Produzioni, Rai Cinema World Sales Luxbox

Sole 孕陽 Ever since I was young, I have been wondering what my life would be like if I became a father: what does becoming a father, becoming a parent, mean? Obviously, it has nothing to do simply with giving birth to a creature with one’s genetic traits, but rather with a change of attitude concerning one’s prospects, one’s expectations. How does it feel to lay one’s eyes on a newly born creature whom you have to take care of, whom you feel responsible for? I have wondered if I might ever become the father of a child who is not biologically my own, a route which is maybe less common, but no less concrete due to this. Sole is an attempt to answer such a question. I wanted to treat a story which was very crude on paper with almost paradoxical delicacy, because I believe that we can find the tenderness, the feelings which can urge a change in our lives in the most unexpected contexts. I saw a possibility before me of telling a love story, I realised that I was on ground which was new for me, and I wanted to go all the way because of this. Carlo Sironi

[導演的話] 年輕時我已一直想知道若成為父親，人生會是怎樣的；當上爸爸，為人父母，意味着什麼？顯然不只是把遺傳特徵傳給下一代，而是改變一個人對展望及期待未來的態度。看着一個需要你照顧及負責的初生嬰兒，感覺是怎樣的？我也想知道，我有沒有可能成為一個與孩子無血緣關係的父親，這情況也許不那麼普遍，但同樣實在。本片就是嘗試回答這個問題。我用了一個極端例子，但也確有其事：代孕在意大利是犯法的，領養人士卻有很多不法花招，販賣嬰兒確實存在。我問過羅馬少年法庭庭長，她確曾處理跟這電影類似的個案。但我想拍的不是販賣嬰兒的幕後操作，而是人們私下的故事：一個年輕人被要求假裝成父親，後來卻真的有了當爸爸的感覺。而那個決心賣掉嬰兒的母親，迫不得已要接觸初生女兒，跟假裝嬰孩父親的陌生人共處，面臨着種種感情矛盾。我馬上想到以近乎弔詭的微妙，去處理案頭這個仍相當粗糙的故事，因為我相信我們可從最意想不到的處境，找到溫柔，找到令我們想要改變人生的感覺。這可以發展成愛情故事，對我來說是新鮮題材，因此我想朝這方向拍下去。

Carlo SIRONI was born in Rome, Italy in 1983. His short films, Cargo (12) and Valparaiso (16) were in competition at the Venice and Locarno Film Festival respectively. Sole, his first feature film, was in competition in the Horizons section of the 76th Venice Film Festival. 卡洛西朗尼 1983 年生於意大利羅馬。曾入選柏林影展新秀營，短片《貨物》(19) 入選威尼斯影展，短片《天堂谷》(16) 入選羅迦諾電影節。《孕陽》是他的首部劇情長片，入選威尼斯影展地平線單元。

SELECTED FILMOGRAPHY 主要作品 2008 Sofia (short) 蘇菲亞（短片） 2012 Cargo (short) 貨物（短片） 2016 Valparaiso (short) 天堂谷（短片） 2019 Sole 孕陽

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GLOBAL VISION 環球視野 China/Japan 中國／日本 2020 | Putonghua/Japanese DCP | Colour | 100min Director Pengfei Producer Kawase Naomi, Jia Zhangke Scriptwriter Pengfei Cinematographer Liao Pen-Jung Editor Chen Po-Wen, Wong Yu-Hung Production Designer Shiokawa Setsuko Music Suzuki Keiichi Sound Zhang Nan Cast Wu Yanshu, Ying Ze, Kunimura Jun Nagase Masatoshi Production Nara International Film Festival, 21 Incorporation World Sales Beijing Hengye Herdsman Pictures 導演鵬飛監製河瀨直美、賈樟柯編劇鵬飛攝影廖本榕剪接陳博文、翁玉鴻美術塩川節子音樂鈴木慶一音響張楠演員吳彥姝、英澤、國村隼、永瀨正敏

Tracing Her Shadow You Jian Nailiang 又見奈良 Chinese-Japanese Friendship is a theme that I’ve always wanted to shoot, and I think this is also a very important theme. Throughout history, China and Japan went through different phases; we were brothers, teachers and students, friends, and enemies. Japan reminds many Chinese people about the unforgettable war. It is true that negative sentiment from the war between the two countries has laid shadows on people’s minds. However, more importantly, there was and is vivid love between them. Between the people of China and Japan, there are many touching and warm stories of humanity. The last generation to have gone through the war are now in their eighties. I want to record the stories of great love and good deeds from the people of the two countries while they are still alive. That is the most universal and precious quality of mankind.

[導演的話] 我一直想拍攝中日友好的題材，我認為這也是非常重要的主題。自古至今，中國和日本經歷了不同階段：彼此曾親如手足、情同師生、曾友好相待，也曾反目成仇。日本令很多中國人想起那場切齒難忘的戰爭。中日之戰帶來的負面情緒，確實在人們心中投下陰影。然而，更重要的是，他們曾經相親相愛，現在也仍然相知相交。在中日兩國人民之間，發生了許多溫暖感人、充滿人性的故事。經歷過那場戰爭的最後一代人，現在已八十多歲了。我想在中日這兩批人還在世時，拍下他們的故事，記下他們的大愛和善行，那是人類普世皆然的珍貴品質。

Pengfei

Pengfei was born in China in 1982 and graduated in films at the Institut International de l’Image et du Son in Paris. He returned to China in 2006 and later worked as the assistant director of Tsai Ming-Liang. He directed his debut feature Underground Fragrance in 2015. Tracing Her Shadow (20) is his third feature. 鵬飛 1982 年出生於中國京劇世家，旅法學習電影八年，畢業於法國國際影像與聲音學院導演系。2008 年起與蔡明亮合作，擔任《臉》助導、《郊遊》編劇及助導。15 年拍成首部劇情長片《地下•香》。《又見奈良》是其第三部長片。

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FILMOGRAPHY 作品年表 2015 Underground Fragrance 地下•香 2017 The Taste of Rice Flower 米花之味 2020 Tracing Her Shadow 又見奈良

GLOBAL VISION 環球視野 The Philippines/France 菲律賓／法國 2019 | Filipino/English | Online | Colour | 126min Director Raymund Ribay Gutierrez Producer Brillante Ma Mendoza Scriptwriter Raymund Ribay Gutierrez Cinematographer Joshua A. Reyles Editor Marx Dobles Production Designer Ryan Faustino Sound Bryan Dumaguina, Monoxide Works Cast Max Eigenmann, Kristoffer King, Jorden Suan Production Centerstage Productions, Playtime, Film Boutique World Sales Films Boutique

Verdict 家暴裁決 Domestic violence is the most prevalent form of abuse in the Philippines. My interest in making a film about this topic was raised when I came across a mother mending bruises all over her body while undergoing a medico-legal check-up. Apparently, she had been physically abused by her husband during an altercation at home. Upon following up on her case recently, I found out that she didn’t push through with the case against her husband due to its impracticality. The cost of pursuing a case in the Philippines is astronomically high for an average Filipino. Under these circumstances, society sees and expects the legal system to be equal in every aspect, for the defendant as well as for the victim. What I am trying to show in the film is that sometimes equality in litigation leads to a more complex procedure that in turn results in impunity for the perpetrator. Orderly judicial procedures are important, but if they are the only focus, they threaten to pervert the justice they seek.

[導演的話] 菲律賓的虐待個案中，家暴是最常見的。我想拍攝這個主題，源於我遇到的一位母親，她在接受法醫學檢查時，被發現渾身瘀傷。她顯然是在家庭爭執時遭到丈夫身體虐待。我最近跟進她的個案，發現她無力起訴丈夫。對一般菲律賓人來說，要提出訴訟，費用極度高昂。在這種情況下，社會期望法律制度在各個方面均對被告和受害人一視同仁。我在影片中試圖呈現的，是訴訟要求平等，有時會導致程序變得更複雜，結果反而令肇事者逍遙法外。司法有序很重要，但如果這是唯一的重點，就有可能令公義得不到彰顯。有時候，為了實現公義，它必須來得及時。如果要花費不合理且過長的時間才能得到判決，訴訟程序首先就破壞了尋求公義的意義。

There are times when justice needs to be timely in order to be justice at all. If getting a verdict takes unreasonable and inordinate time, proceedings take away the meaning of seeking justice in the first place. Raymund Ribay Gutierrez

Raymund Ribay GUTIERREZ was born in Manila, The Philippines in 1992. After graduating with a Bachelor’s degree in Multimedia Arts, he pursued a career in filmmaking under the mentorship of Brillante Ma Mendoza, the award-winning Filipino director. His debut feature Verdict won the Special Jury Prize in the Horizons section at Venice. 雷蒙里比古鐵雷斯 1992 年生於菲律賓馬尼拉馬卡蒂，大學時修讀多媒體藝術，畢業後有志從事電影創作，是菲律賓知名導演布里楊文杜沙的高足。首部長片《家暴裁决》獲威尼斯影展地平線單元評審團特別獎。

FILMOGRAPHY 作品年表 2016 Imago (short) 意象（短片） 2018 Judgement (short) 審判（短片） 2019 Verdict 家暴裁决

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GLOBAL VISION 環球視野 Russia/Poland/Belgium 俄羅斯／波蘭／比利時 2020 | Russian/English DCP/Online | Colour | 93min Director Philipp Yuryev Producer Aleksey Uchitel Scriptwriter Philipp Yuryev Cinematographer Mikhail Kursevich,Yakov Mironchev Editor Karolina Maciejewska, Alexander Krylov, Philipp Yuryev Production Designer Aleksey Uchitel Music Krzysztof A. Janczac Sound David Vrancken Cast Vladimir Onokhov, Kristina Asmus, Vladimir Lyubimtsev, Nikolay Tatato Production Rock Films, Orka Film, Man's Films Production World Sales Loco Films

The Whaler Boy Kitoboy 捕鯨少年的奇幻漂流 The idea for this film came to me during a trip to the Far North of Russia. We visited one small fishing village whose young women had all recently left to spend the summer studying in the big city. The girls’ departure was a real tragedy for the local guys, who were left to spend three long months alone. Surrounded by the endless tundra, the young men were completely isolated from women — it wasn’t like the girls from the next village could just come visit, and the internet connection was poor. The only place the boys could look at girls was in an erotic webcam chat that kept freezing.

[導演的話]

It was then that I drafted the first version of this story. I decided to move the setting to Chukotka, a small village populated by whale hunters. The protagonist, Leshka, experiences the typical teenage problems of loneliness, longing to find love, and feeling misunderstood by his friends. It is precisely these experiences that make the story universal and relatable to audiences beyond the remote location where the story unfolds and the little-known cultures and customs of the Russian Far North.

然後，我就寫了這個故事的初稿，決定把場景搬到楚科奇，搬到一個捕鯨者聚居的小村落。主角萊殊卡正在經歷諸如孤單、渴望愛情、感覺被友儕誤解等典型青少年煩惱。正是這些經歷，令這個故事即使發生在偏遠之地，即使觀眾未必認識俄羅斯極北地區那些鮮為人知的文化習俗，仍有其普遍性，能令觀眾理解共鳴。

拍攝這部電影的念頭，源於有次在俄羅斯極北地區旅行，當時我們到訪了一個小漁村，村裏的年輕女孩都去了大城市參加暑期班。她們離開的這漫長三個月，對於當地的男孩來說，簡直是災難。這些被無盡凍土地帶包圍的少男，在這段日子再看不到女孩，附近村落的女性不會來造訪，村裏的網絡也很差。男孩們唯一可以看到女孩的地方，就是在網上色情聊天室的攝影機鏡頭裏，但畫面一直卡住卡住的。

Philipp Yuryev

Philipp YURYEV was born in 1990 in Moscow. Despite having no prior film experience, he was accepted to the Russian State University of Cinematography. The Whaler Boy is his first feature. 菲臘尤里耶夫 1990 年生於莫斯科。儘管沒有任何電影拍攝經驗，仍被俄羅斯國立電影學院取錄。憑畢業短片《機械魚之歌》(13) 入圍辛丹斯電影節，《捕鯨少年的奇幻漂流》是他的首部長片。

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FILMOGRAPHY 作品年表 2008 The Morning with Different Eyes (short) 不同眼睛的早晨（短片） 2010 The Modified Landscape (short) 被修改的地形（短片） 2013 The Song of the Mechanical Fish (short) 機械魚之歌（短片） 2020 The Whaler Boy 捕鯨少年的奇幻漂流

GLOBAL VISION 環球視野 India 印度 2020 | Kannada | DCP/Online | Colour | 108min Director Prithvi Konanur Producer Krishnegowda Scriptwriter Prithvi Konanur Cinematographer Arjun Raja R Editor Shivakumara Swamy Production Designer Ramachandra Hosur Sound Krishanunni N R, Krishnamurthy G R Cast Akshatha Pandavapura, Gunjalamma, Deepak Subramanya, Sangamma Production Sapthagiri Creations World Sales Picture Tree International

Where is Pinki? Pinki Elli? 寶寶不見了 Where is Pinki? is an urban social thriller that tries to peek at certain aspects of society such as class, faith and marriage in 21st century India, including the police, child protection system, child exploitation system etc. In the end, it’s a human story that criss-crosses through the lives of seven people when their stories take a sudden dramatic turn. Although Where is Pinki? is a complete work of fiction, it is authentically based on various themes and inspired by a true story of a house-keeper being arrested after trying to exploit the baby that she was entrusted with. For realistic performances, mostly non-professional actors have been cast, with the exception Akshatha Pandavapura (as Bindu) and Deepak Subramanya (as Manjunath). Most members of the cast are regular people doing their actual job. I had to visit about half a dozen slums in Bangalore to audition and cast some of these enthusiastic and brilliant first-time actors.

[導演的話] 《寶寶不見了》是一部城市社會驚慄片，嘗試探討廿一世紀印度若干社會問題，諸如階級、信仰、婚姻，也包括執法制度、保護兒童制度、虐待兒童問題。說到底，它也是七個角色的生命在一次突然的戲劇性轉向後，彼此縱橫交錯的人文故事。雖然影片百分百虛構，但它的主題乃取材自家傭涉嫌虐兒被捕的真人真事。為了追求寫實的演出，我們起用的演員大部分都是非職業演員，除了飾演賓度的彭達華佩拉及飾演曼朱那思的迪柏克蘇普拉曼耶。大部分演員都是演回自己。為了安排試鏡，我走遍了班加羅爾市的貧民區，找到了這些才情橫溢的初哥演員。影片在班加羅爾市實地取景，為了增加逼真度，使用單一攝影機，以百分百手搖鏡拍攝。

The film is shot at actual locations in the city of Bangalore. To get a gritty realistic look and to visually support the frantic search for Pinkie, a 100% handheld shoot was done using a single camera. Prithvi Konanur

Prithvi KONANUR is a former software engineer and studied filmmaking at New York Film Academy. His debut feature, Alegalu (12), was produced by the Children’s Film Society of India and premiered at the Toronto International Film Festival (TIFF KIDS). Where is Pinki? is his third feature film. 普里特維康納努曾任職軟件工程師，因緣際會參與荷里活電影的編劇工作。及後往紐約電影學院深造。首部長片《海浪》(12) 由印度聯邦政府兒童電影協會製作。《寶寶不見了》是他的第三部作品。

SELECTED FILMOGRAPHY 主要作品 2008 A Conditional Truce (short) 風平浪靜之前（短片） 2012 Alegalu 海浪 2016 Railway Children 鐵道孩子 2020 Where is Pinki? 寶寶不見了

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WORLD CINEMA 世界電影

Iranian New Cinema 伊朗新電影

IRANIAN NEW CINEMA 伊朗新電影 Iran 伊朗 2020 | Persian | DCP/Online | Colour | 83min Director Farnoosh Samadi Producer Ali Mosaffa Scriptwriter Farnoosh Samadi Cinematographer Masoud Salami Editor Meisam Molaei Production Designer Siamak Karinejad Music Peyman Yazdanian Sound Amirhossein Ghasemi Cast Sahar Dolatshahi, Pejman Jamshidi, Hassan Pourshirazi Production Ali Mosaffa Productions World Sales Pluto Film

©Habib Majidi

180° Rule Khate Farzi 秘密與規條 Obsessed with making a trilogy about lies and secrets and their consequences, I made my first feature film, 180° Rule, as the first episode of three. It is based on a true story which happened to a friend and, as a woman raised in an Iranian society, I could closely relate to the events. The fact that in such circumstances the audience could freely judge but couldn’t clearly blame an individual, was my core motivation in this production. For anyone who watches this film, there’s a different narration based on their personal experience. To me, this just reveals how life-changing one supposedly insignificant decision may be. I also wanted to emphasise how we convert reality to what we can relate or want them to be. The cinematic term. “180° Rule”, the name I chose for this film, is also exactly what cinema does when converting reality. This said, I intentionally added critics as subtext to cleverly highlight the male dominated laws in Iran and to raise the questions of what if the man made it happen? Would there be equal legal rights for the woman?

[導演的話] 我一直渴望拍攝關於秘密、謊言及其後果的三部曲，《秘密與規條》是第一部，也是我的劇情長片首作。電影乃真人真事改編，當事人是我一個朋友，一個在伊朗社會長大的女子。她遭遇的事情我有深切體會。事實是：觀眾對相關情況固然可以自由作出判斷，但我們明顯無法歸咎於當事人。這就是本片最核心的製作動機。對不同的觀眾來說，基於他們各自的經驗可以看出不同的故事。於我，影片僅僅揭示了：一個表面看似不重要的決定如何改變了人生。我也想強調，我們如何將現實變成跟我們相關的樣子，或我們希望的模樣。電影的英文片名叫 180° Rule（「180 度規條」），那亦正正是電影改變現實的做法。我有意加入批判意識，突出伊朗男權主導的法制，提出假如是男人犯事又會如何？婦女能有平等的合法權利嗎？

Farnoosh Samadi

Farnoosh SAMADI is an Iranian director and scriptwriter who graduated from Fine Art Academy of Rome, Italy. Her first co-directed short film, The Silence (16), was nominated for the Short Film Palme d’Or at Cannes in 2016. Her second short film, Gaze (17), premiered in competition at the Locarno Film Festival. 180° Rule is her first feature film. 花露舒莎瑪迪生於伊朗，畢業於羅馬美術學院。首部短片《沉默》(16) 入選康城影展角逐短片金棕櫚。《秘密與規條》是她的首部劇情長片。

©ARASH VAKILZADEH

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FILMOGRAPHY 作品年表 2016 The Silence (short, co-dir) 沉默（短片，合導） 2017 Gaze (short) 凝視（短片） 2018 The Role (short) 試鏡（短片） 2020 180° Rule 秘密與規條 2020 Pilgrims (short) 朝聖（短片）

IRANIAN NEW CINEMA 伊朗新電影 Iran 伊朗 2020 | Persian | DCP/Online | Colour | 135min Director Shahram Mokri Producer Negar Eskandarfar Scriptwriter Nasim Ahmadpour, Shahram Mokri Cinematographer Alireza Barazandeh Editor Shahram Mokri Production Designer Amir Esbati Music Ehsan Sedigh Sound Parviz Abnar Cast Babak Karimi, Razieh Mansouri, Abolfazl Kahani, Mohammad Sareban, Adel Yaraghi Production Karnameh Institute of Arts and Culture World Sales DreamLab Films

Careless Crime Jenayat-e bi deghat 無心有罪 A thoughtless criminal act attempts to recreate significant historical events. But this movie does not try to re-enact history; rather it’s about Cinema itself. Shahram Mokri

Careless Crime is not a retelling of a historic event, but rather a meditation on the power of cinematic storytelling and how you have to deal with such a tragedy, its broader context and how it reflects modern-day Iran. The script […] follows a non-linear approach, a risky, but eventually quite interesting narrative concept which follows various incidents, characters and groups as well as what is essentially a movie within a movie with the story revolving around three soldiers. […] Right from the start, there is a feeling of tension in Careless Crime, a hint that the accumulation of these instances of careless behaviour will result in catastrophe. […] Even though the characters are unable to change their point of view, the audience, however, realises the potential threat and the looming danger. The image of a missile left in the desert, a dangerous weapon which might still blow up but has been left unattended is perhaps a core metaphor for the kind of carelessness Mokri portrays.

[導演的話] 一宗沒有深思熟慮的罪行，企圖重構舉足輕重的歷史事件。然而本片並非旨在重現歷史，而是關於「電影」本身。 [影評摘錄] 《無心有罪》並非把歷史事件重述一遍，而是去思考電影敘事的力量，以及我們怎樣面對這樣的悲劇，還交代了悲劇發生的背景，從中反映出現代伊朗的面貌。情節並非單線發展，其敘事概念可謂兵行險着，但到頭來相當有趣：隨着形形色色的事件和人物，還有戲中戲結構推進，故事圍繞着三個士兵展開。本片一開始就營造出緊張感，暗示這些一而再、再而三的無心之失，終會釀成災難。儘管這些角色無法改變他們的觀點，但是觀眾卻意識到潛在威脅，危險已迫近眉睫。遺留在沙漠上的一枚導彈，正是一副危險武器，可能仍會爆炸，卻無人理會，也許這就是導演莫奇里對無心之罪的核心隱喻。

Rouven Linnarz Asian Movie Pulse

Shahram MOKRI was born in Kermanshah, Iran in 1978. He studied in cinema at Tehran’s Soureh College. His second feature, Fish & Cat (13), won the Special Orizzonti Award for Innovative Content at the Venice Film Festival. 薩朗莫奇里 1978 年生於伊朗克爾曼沙赫市，曾在德黑蘭肅拉學院攻讀電影。第二部長片《一鏡殺到底》(13) 獲威尼斯影展地平線單元特別獎。

SELECTED FILMOGRAPHY 主要作品 2009 Ashkan, the Charmed Ring and Other Stories 關於搶劫的二三事 2013 Fish & Cat 一鏡殺到底 2017 Invasion 日蝕入侵 2020 Careless Crime 無心有罪

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IRANIAN NEW CINEMA 伊朗新電影 Iran/Germany 伊朗／德國 2021 | Persian | DCP | Colour | 117min Director Bardia Yadegari, Ehsan Mirhosseini Producer Farzad Pak Amin Mirhosseini Scriptwriter Bardia Yadegari, Ehsan Mirhosseini Cinematographer Navid Moheimanian Editor Hossein Tavakoli Production Designer Alireza Ghaffarzadeh Music Alireza Shams Eskandari Sound Alireza Ashegh Hosseini, Hasan Mahdavi Cast Bardia Yadegari, Ali Hemmati, Farideh Azadi, Sara Ajorlou, Gandom Taghavi Production Pak Film, Film In Iran World Sales MPM Premium

District Terminal Mantagheye payani 離留德黑蘭 We shot the film in our own neighbourhood, and played the parts ourselves. All the actors are appearing on screen for the first time, and play characters drawn from their experiences. The film, in the tension between these realities, portrays a world in which, under a totalitarian regime, everything is in a state of degeneration: the body and the soul, the smallest personal freedoms and the great social relations; the environment and the economy; and the body politic, too, is on the verge of disintegration. District Terminal is born of crisis and a fear of the future. It was written and filmed under the American embargo, rabid inflation and the shadow of war. This fear is narrated, as a futuristic short story, alongside the main storyline. The film was written and began filming well before the COVID-19 pandemic. A story that was supposed to be a metaphor for anxiety about the future, today depicts daily reality. The story pictures Peyman’s residential neighbourhood, years after a viral pandemic and environmental destruction have made it unlivable! What was meant as a warning has turned into a simple declaration of facts: if individuals and governments do nothing for our planet, dystopia will be just around the corner.

[導演的話] 我們在自己居住的社區拍攝，自己擔當演員。所有演員都是初次粉墨登場，扮演的角色取材於自身經驗。在各種現實環境的緊張狀態下，影片呈現出極權統治下的世界，一切都正在退化：肉身在退化，靈魂在退化，最微小的個人自由以至大社會關係、環境和經濟，以及身體政治，無一不在崩壞的邊緣。《離留德黑蘭》因危機及對未來的恐懼而被創作出來。它的背景是美國對伊朗的制裁、急速的通貨膨脹以及戰爭陰影。我們在主敘事之外配置一個關於未來的短篇故事，把恐懼表達出來。在新冠病毒肆虐之前，我們劇本已完成，並已開始拍攝工作。這故事本來是對未來焦慮的隱喻，如今卻成為日常現實的寫照。影片刻劃了一個被疫症摧殘、環境破壞，已經令人無法居住下去的住宅區！警世之言已化作事實的宣示：假如個人和政府再不為地球做點事，惡托邦就待在轉角處。

Bardia Yadegari and Ehsan Mirhosseini

Bardia YADEGARI and Ehsan MIRHOSSEINI have collaborated since 2015, writing four screenplays together, and directing the short film Unlimited Internet (17). Both appeared in 2020’s Berlinale Golden Bear winner There Is No Evil. District Terminal is their first feature. 艾辛梅荷西尼、巴迪亞耶德加里 2015 年開始合作，二人合寫了四個劇本，聯合執導短片作品有《無限上網》(17) 。他們都有演出《惡與他們的距離》(20)。《離留德黑蘭》是他們聯合導演的首部劇情長片。

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SELECTED FILMOGRAPHY 主要作品 2017 Unlimited Internet (short) 無限上網（短片） 2020 District Terminal 離留德黑蘭

IRANIAN NEW CINEMA 伊朗新電影 Iran 伊朗 2020 | Persian | DCP | Colour | 106min Director Reza Dormishian Producer Reza Dormishian Scriptwriter Reza Dormishian Cinematographer Aieen Irani Editor Haydeh Safi Yari Production designer Amir-Hossein Hadad Music Kayhan Kalhor Sound Mohammad-Reza Delpak Cast Pardis Ahmadieh, Negar Javaherian, Fatemh Motamed Aria, Bahman Farman Ara Production/World Sales Iranian Independents

No Choice Majboorim 沒有選擇的子宮 This is one female-centred film that happily takes being a woman professional for granted. Starring Fatemeh Motamed-Arya as a respected gynecologist and Negar Javaherian as a firebrand young lawyer facing off in powerful roles, while Pardis Ahmadiyeh plays the (street) girl who is the bone of contention. The drama is all about women’s bodies and their right to choose. The street girl Golbahar is a baby-making machine for her pimp Mojtaba, who sells the infants to his clients. All hell breaks loose when they realise her tubes have been tied during a miscarriage operation in the hospital, without her consent.

[影評摘錄]

[…] The moral compass swings back and forth between the lawyer and the doctor; as in Dormishian’s other films, it’s up to the viewer to decide who’s right. In the end both protagonists are social activists, but they come at problems from different angles. And the problems they take on, like poverty and homelessness, are so vast that they barely make a dent.

在律師和醫生之間，道德之爭來回搖擺，就像導演多米西安的其他電影一樣，交由觀眾判斷對錯。到最後她們兩人都是社會行動者，只是從不同角度面對問題。她們面對的社會問題，如貧窮和無家可歸，大得令她們動不了一根毛。

Near the end, Sara (the lawyer) is ordered to appear before two prosecutors in a black space, perhaps a police station. She holds her head high and sticks to her guns as they rattle off all the wrong causes she has championed: civil liberties, raising the marriage age, social justice, women’s rights. They sound very much like the themes of the director’s films. As closing advice, they tell her to “go out and make some money,” ironically echoing Golbahar’s pimp.

故事快要結束時，律師被下令來到一個類似警局盤問室的房間，面對兩個男人的審問。當他們一口氣指控她所倡議的公民自由、提高法定結婚年齡、社會公義、女性權利，她仍昂首挺胸，堅持信念。這些聽來都像是導演作品一貫主題。審問者最後的勸告，是叫她「出去賺點錢」，諷刺地跟皮條男如出一轍。

這部電影以女性為中心，自然樂於將職業女性視為理所應當。法蒂瑪慕塔密飾演富有聲望的婦科醫生，妮嘉查花希慕茵飾演敢於挑戰權威的年輕律師，都是強而有力的角色，互相角力。巴迪絲艾哈萬迪耶則飾演流落街頭的少女，亦是爭論的起因。劇情都是關於女性的身體及其選擇權。皮條男要街頭少女賣身代孕，把嬰孩賣給顧客。當他們發現街頭少女在上次流產時，醫院未經她同意就為她結紮，事情馬上變得一團糟了。

Deborah Young The Hollywood Reporter

Reza DORMISHIAN was born in Tehran, Iran in 1981. He studied English language and started writing as a film critic for several newspapers. He was an assistant to various Iranian filmmakers, including Dariush Mehrjui and Allireza Davudnejad. He has started making short films in 2002, before graduating to feature films. No Choice is his fifth feature. 雷薩多米西安 1981 年生於伊朗德黑蘭，曾在報章撰寫影評，亦曾擔任副導演及編劇。 2002 年開始製作短片。《沒有選擇的子宮》是他導演的第五部長片。

SELECTED FILMOGRAPHY 主要作品 2012 Hatred 憎恨 2014 I’m Not Angry! 我沒有生氣 2016 Lantouri 劫富幫 2017 White Chairs 沉默的感情 2020 No Choice 沒有選擇的子宮

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IRANIAN NEW CINEMA 伊朗新電影 Iran 伊朗 2019 | Persian | Online | Colour | 102min Director Mahnaz Mohammadi Producer Kaveh Farnam, Mohammad Rasoulof, Farzad Pak Scriptwriter Mohammad Rasoulof Cinematographer Ashkan Ashkani Editor Mohammadreza Muini Production Designer Siamak Karinezhad Music Amir Molookpour Sound Ensieh Maleki Cast Raha Khodayari, Mahan Nasiri, Reza Behboodi, Shiva Ordooie, Maryam Boubani Production Europe Media Nest s.r.o., Filminlran World Sales Beta Cinema

Son-Mother Pesar-Madar 只能沒有你 It is hard for me to imagine Iranian life without tragedy. The moral obligation to tradition in very unsafe situations can be extremely cruel and very effective. Leila does not have any choice. Her life does not completely belong to her. She is supposed to live in a way that society wants for her. It is tradition that decides her fate. Amir has to pretend to be deaf to survive. In this “son-mother” relationship, I try to show a critical view of our traditions and values imposed on us by the powers that be. We have become tools of our own oppression. Tragedy is what defines a lot of people’s lives in the Middle East, each of us has experienced or keeps experiencing tragic events. In Son-Mother, I deal with the question of what each of us is able to do in order to stay away from tragedy. What I try to do is present people with some kind of mirror using my films, telling them: Look at how you live your lives. Is this the right way? Is this how you want to live?

[導演的話] 我難以想像生於伊朗而非悲劇。身處險境，仍要履行傳統道德責任，可以極之殘酷，但（對控制人民）卻非常奏效。女主角麗娜沒有選擇，她的生命不完全屬於自己。她的生活方式要按照社會要求，傳統決定了她的命運。她的兒子阿米須裝聾扮啞以求生存。透過這種母子關係，我希望帶出批判觀點，思考被當權者加諸我們身上的傳統及價值觀。我們成了自我壓抑的工具。在中東，悲劇定義了不少人的生命，每個人曾經或現正經歷悲劇事件。我在本片探討每個人如何能避免悲劇發生。我嘗試以電影為鏡，讓人自照，告訴他們：看看自己的生活，反思這是正確的生活方式嗎？是你想要的生活嗎？

Mahnaz Mohammadi

Mahnaz MOHAMMADI was born in Tehran, Iran in 1975. She is a filmmaker, actor, and women’s rights activist, who has been imprisoned for her provocative views on social issues. She has directed the short documentary Women Without Shadows (03) and the feature documentary Travelogue (10). Son-Mother (19) is her fiction feature debut. 馬勒斯穆罕默德 1975 年生於伊朗德黑蘭，身兼導演及演員，亦是女權活動積極分子，因異見曾多次被捕入獄。《只能沒有你》是其首部劇情長片。

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FILMOGRAPHY 作品年表 2003 Women Without Shadows (short) 無影女性（短片） 2010 Travelogue (docu) 旅行誌（紀錄片） 2019 Son-Mother 只能沒有你

MASTER'S SHORT FILM 大師短片

IRANIAN NEW CINEMA 伊朗新電影 France/Iran 法國／伊朗 2020 | Persian | DCP/Online | Colour | 18min Director Jafar Panahi Producer Philippe Martin, Dimitri Krassoulia-Vronsky Cinematographer Solmaz Panahi, Jafar Panahi, Nader Saivar Editor Amir Etminan Sound Reza Delpak Production Les Films Pelléas World Sales mk2 Films

©OnP LFP

Hidden 尋找隱世女聲 Social films are inspired by the director’s “sensations” and “experiences”. These sensations/experiences erode the soul of the filmmaker until they can be released into a movie. This is the reason why a filmmaker cannot be told to make or not to make a movie. Telling them not to film will never breach their resistance; neither will it close all the paths leading to making a movie. The opposite is equally true: if they are commissioned a movie, something resists inside them and prevents them from making it! Three years ago, when I was shooting Three Faces, I was asked to make a short-film for the Paris Opera. I felt this resistance for two years. Don’t forget that since the Islamic Revolution, the opera as we know it has disappeared in Iran and that the oldest opera house of the country, located in Tabriz and built in the European style, had to close its doors and was destroyed after the Revolution, on a decision of the city’s imam who officially described it as a mediocre place promoting corruption... This historical building was replaced by a mosque. Since the screening of Three Faces, I’ve received many messages from movie lovers, telling me that this film reminded them strangely of their own lives and stories. After that, I came up with the idea of this short-film and I thought that, maybe, it could match the Paris Opera project.

[導演的話] 有關社會公義的電影，靈感來自導演的「感覺」和「經驗」。這些感覺和經驗會不斷磨蝕導演的靈魂，直到可以將之釋放到一部影片為止。這就是為什麼不可以叫一個導演拍電影，或是叫導演不拍電影。告訴他們別拍，絕不會瓦解他們的抗拒心理；也不會封閉拍電影的所有途徑。反之亦然：如果他們受委託去拍電影，心裏就會產生抗拒，反而構成妨礙！三年前，當我拍攝《伊朗三面戲劇人生》時，有人找我為巴黎歌劇院拍一部短片。我心生抗拒已有兩年了。不要忘記，自伊斯蘭革命以來，我們所知的歌劇在伊朗已不復存在。最古老的歌劇院位於伊朗西北部的大不里士，以歐洲風格建成，但也不得不關門，在大革命後更被摧毀。因為該市的伊瑪目正式宣布這是個助長腐敗的拙劣之地……這座歷史悠久的建築已被清真寺取而代之了。上述《伊朗三面戲劇人生》放映以來，我收到了許多影迷來信，告訴我這部電影竟然會使他們想起自己的生活和故事。其後，我想出了這部短片的意念，覺得這也許可以吻合巴黎歌劇院的拍攝計劃。

Jafar Panahi Jafar PANAHI was born in Mianeh, Iran in 1960. After graduating from the College of Cinema and TV of Tehran, he was mentored by Abbas Kiarostami and won the Camera d’Or at Cannes for his debut The White Balloon (95). In 2015, he won the Golden Bear Best Film at Berlinale for Taxi. He is currently fighting against his 20-year government-imposed ban on making films. 約化巴納希 1960 年生於伊朗，在德黑蘭影視學院攻讀導演，其後為電視台攝製多部劇集和紀錄片，在《橄欖樹下的情人》(94) 任助導。1995 年執導首作《白汽球》，奪得康城影展金攝影機獎。縱然被伊朗政府禁止拍片，仍創作不輟，2015 年憑《伊朗的士笑看人生》獲柏林金熊獎。

SELECTED FILMOGRAPHY 主要作品 1997 The Mirror 迷途小靈精 2000 The Circle 七女性 2006 Offside 越位女球迷 2015 Taxi 伊朗的士笑看人生 2020 Hidden (short docu) 尋找隱世女聲（紀錄短片）

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DOCUMENTARIES 紀錄片

Reality Bites 真的假不了

REALITY BITES 真的假不了 2021 | Mandarin | DCP | Colour | 95min Director Tsui Yung-Hui Producer Tsui Yung-Hui, Wu Kuang-Hua Cinematographer Chen Zhao-Hong, Zhan Jia-Wen, Li Han-Wen, Wu Kuang-Hua Editor Tsui Yung-Hui Music Bao Yuankai Sound Erica Hu Production Richland Production Co., Ltd World Sales Swallow Wings Films 導演崔永徽監製崔永徽、巫光華攝影陳昭宏、詹嘉文、李漢文、巫光華剪接崔永徽音樂鮑元愷音響胡席珍

Sounds of Taiwan: A Symphony by Bao Yuankai Tingjian Taiwan 聽見臺灣 Mr. Bao Yuankai was 69 years old when I first met him. His personal charm is manifested in his sense of humour, simplicity and sincerity. He has a unique presentation of his creativity. Although I do not understand music well, I am still deeply moved by his music. I am also strongly touched by his experience of learning music in childhood as well as his wonderful and extraordinary trip to Taiwan. The documentary is not filmed to recognise his accomplishments, but to explore a man’s enriched experience. In order to glorify the fate of a successful musician, I feel obliged to complete the production of this documentary.

[導演的話] 我認識鮑元愷時他六十九歲，幽默、簡樸和真誠的性情充滿了個人魅力。他對創作見解獨到，雖然不懂音樂但我深感共鳴；而聽他講童年學音樂的起步、來到台灣的奇妙緣份，都讓我受到觸動。拍這支紀錄片不為表彰他的成就與功業，單為觀看一個「人」豐沛的內在和經歷的命運；不讓青史成灰，我不拍會來不及，感覺有責任要做這件事。

Tsui Yung-Hui

TSUI Yung-Hui graduated from Fu Jen Catholic University. Her feature film debut Long Time No Sea (18) won Best Narrative Feature at the 2019 Asian Film Festival of Dallas and Special Jury Prize at the Seattle International Film Festival. 崔永徽輔仁大學中文系畢業。首部劇情長片《只有大海知道》獲 2019 年西雅圖國際電影節評審團特別獎。

SELECTED FILMOGRAPHY 主要作品 2010 The Life Coach (docu) 謝錦（紀錄片） 2011 Saving Shihsanhang Memories in lmages (short) 搶救十三行記憶影像（短片） 2018 Long Time No Sea 只有大海知道 2020 Sound of Taiwan: A Symphony by Bao Yuankai (docu) 聽見臺灣（紀錄片）

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REALITY BITES 真的假不了 2020 | Mandarin | DCP | Colour | 115min Director Chu Tien-Wen Producer Hou Hsiao-Hsien, Alex Yang Cinematographer Yao Hung-I Editor Liao Ching-Sung Music Summer Lei Sound Chen Jia-Li Production/World Sales Fisfisa Media 導演朱天文監製侯孝賢、楊順清攝影姚宏易剪接廖慶松音樂雷光夏音響陳家俐

Unfulfilled Dreams Yuanweiyang 願未央 At the invitation of The Inspired Island series, the novelist and screenwriter Chu Tien-Wen embarked on her directorial debut. She trained her movie camera on her novelist father Chu Hsi-Ning and translator mother Liu Mu-Sha. Precious personal artefacts such as love letters, diaries, photographs were laced into the storytelling. Trips to the old family home, visits to family and friends opened doors to an epic family history. Indeed, it was difficult to unravel a narrative for the film. Chu Tien-Wen admitted that after finishing shooting, she actually had to spend three times as long on editing. Chu started to go through the private letters between her father and mother. These letters were wrapped in old, crumbled buff envelopes, labelled “Not love letters” and tucked away in a drawer for decades. By day, Chu would sit alone in a café to read the letters. By night, she met with her sisters Tien-Hsin and Tien-Yi to share family tidbits, much like the One Thousand and One Nights of the Chu family. That was how they followed the breadcrumbs and began to connect the dots. In the words of the Chu sisters, this documentary had finally found its own structure. Golden Horse Film Festival 2020

[簡介] 小說家兼劇作家朱天文應「他們在島嶼寫作」系列之邀初執導筒，將影格停駐在小說家父親朱西甯與翻譯家母親劉慕沙身上，佐以情書、日記、相片等珍貴紀錄，尋訪舊居，走訪親友，為觀者敞開一段浩瀚的家庭私史。要梳理本片脈絡並不容易，朱天文坦言在採集資料後，剪接花了多於拍攝三倍的時間。為了找尋讓這部片更勝於外人執導的破口，朱天文開始翻閱父母當年魚雁往返的私密信件。那些信多年來就以破皺牛皮信封包裹，上頭寫着「非情書」，塞在抽屜裏。白天，朱天文獨自在咖啡廳讀信，晚上，她與妹妹朱天心、朱天衣相聚分享，彷如朱家的「一千零一夜」，也就此尋得線索，牽繫起滿地珠璣。借朱家姊妹之嗓述說，終讓紀錄片找到組織結構。這神來一筆，也讓剪接黃芝嘉不由驚嘆：「哇，朱爺爺顯靈了！」中段雖多以父親朱西甯為主軸，但朱天文也強調，縱然母親劉慕沙總自稱隱形的「後勤總司令」，然而她在家中的地位不可缺席，「從小她就營造出一個氣氛，這家裏最大的事就是寫作。一有人寫東西就安靜不能講話，閃遠點。這是她影響到我們的，這是我媽媽的功勞。」 2020 金馬影展

CHU Tien-Wen was born in 1956. She is one of Taiwan’s most prominent novelists, and is also best known for the screenplays she wrote for Hou Hsiao-Hsien’s films. Unfulfilled Dreams is her directorial debut. 朱天文生於 1956 年，台灣小說家，代表作有《荒人手記》、《世紀末的華麗》等。亦參與電影編劇，多與侯孝賢合作，憑《小畢的故事》(83)、《童年往事》(85) 及《好男好女》(95) 三度奪得金馬獎最佳劇本獎。《願未央》是她導演的首部影片。

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FILMOGRAPHY 作品年表 2020 Unfulfilled Dreams 願未央

REALITY BITES 真的假不了 France 法國 2019 | French | Online | Colour | 75min Director Charles Aznavour, Marc di Domenico Producer Charles de Meaux Cinematographer Charles Aznavour Editor Catherine Libert, Didier d’Abreu, Fred Piet Production Designer Frank Woodbridge Music Charles Aznavour Sound Bruno Ehlinger Production Anna Sanders Films, Artisan Producteur, Melodium World Sales Pulsar Content

Aznavour by Charles Le Regard de Charles 法國歌王私影像 Who is the author of this one-of-a-kind film? You or him?

[導演訪問]

This film has two heads. I like to refer it as a Charles Aznavour film realised by Marc di Domenico. Charles didn’t shoot aimlessly, he depicted something. I believe this film takes on my gaze while totally respecting his. My vision came out of his vision. He chose the places, the landscapes, the camera positions, the frame size, the plot. And it is me who selected, assembled and fine-tuned the raw material.

誰是這部獨特電影的作者？是你還是他？

How do you see its place in Aznavour’s works? To me, this film brings an additional emotion that completes his works. I’m very moved by the images because they also illustrate my past as part of an emigrant family. Charles told his story, his family’s story, as if I’m telling my family’s story in parallel to his. In the film, there are important figures, his career and his most famous songs that everybody knows about. I don’t wish to add anything to all that. But there’s a secret and personal aspect of his intimate side, as much as my intimate side, perhaps the viewers’ intimate side also. I’ve never intended to make the definitive Aznavour biopic, I simply let myself across the work of this man that I know, then made this film using his images and my emotions.

作者有兩個。我比較喜歡的說法，是由麥克迪多明尼高導演的查爾阿茲納弗電影。查爾不是亂拍的，他是有意圖的。這部電影是以他所看到的為前提，來帶出我所看到的，我所見的來自他所見的。他選了地點、風景、鏡頭位置、畫框大小，以及情節，而我則是從原材料挑選、組合、微調。電影完成了，你怎樣看它在阿茲納弗作品裏的位置？對來我說，本片就像對他作品錦上添花。片中影像令我很感動，因為我也來自移民家庭，查爾敘述自己及家人的故事，彷彿我也透過他說了我家人的故事。片中有不少重要人物、他的事業點滴、他的名曲，大家都熟知那些，毋須我補充。但有一些更秘密及私人的部分，既是他的私密，也是我的，更可能是一些看完本片的觀眾的。我無意去拍一部最權威的阿茲納弗傳記片，我認識他，而我只是順着他的事業，用他拍攝的影象，以我的情感製作這部電影。

Interview with Marc di Domenico Charles AZNAVOUR (1924-2018) was born in Paris, France. One of France’s most beloved crooners, he wrote and recorded over 1,000 songs, in numerous languages, and sold more than 100 million records worldwide. He died at his home in Mouriès, France in 2018. 查爾阿茲納弗 (1924-2018) 生於法國巴黎，父母是亞美尼亞人。法國國寶級抒情歌手，參與創作逾千首歌曲，唱片全球銷量超過一億張。2018 年在位於穆里耶的家中去世，享年 94 歲。

FILMOGRAPHY 作品年表 2019 Aznavour by Charles 法國歌王私影像

Marc di DOMENICO was born in Toulouse, France in 1963. With a background in music production, he produced the 2015 Charles Aznavour album, Encores, and directed the video for the song “Avec un Brin de Nostalgie”. 麥克迪多明尼高 1963 年生於法國圖盧茲，曾參與 Pepe el Moko 樂團，並擔任經理，及後成立唱片公司。2012 年開始拍電影，《法國歌王私影像》是他的最新作品。

SELECTED FILMOGRAPHY 主要作品 2013 It’s Springtime 春天到了 2013 Young Couples 兩對年輕伴侶 2019 Aznavour by Charles 法國歌王私影像

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REALITY BITES 真的假不了 Romania/Luxembourg 羅馬尼亞／盧森堡 2019 | DCP | Colour | 109min Director Alexander Nanau Producer Hanka Kastelicova, Bianca Oana Cinematographer Alexander Nanau Editor Alexander Nanau, George Cragg, Dana Bunescu Music Kyan Bayani Sound Angelo Dos Santos Production Alexander Nanau Production World Sales Cinephil

Collective Colectiv 醫官同謀 The investigations started to uncover a series of overwhelming facts about corruption in the healthcare system, which had endangered patients’ lives for years. By then, I was already following the journalists’ work with my camera, as they got caught up in a vortex of disclosures, reaching the highest levels of government. I followed every step and shared every risk the investigative team took.

[導演的話]

As a silent witness, equipped with my camera, I could experience and frame the genuine, intimate life of journalists, and understand the process of how news is being born. From the first simple question the journalist is asking himself, to researching, reporting, gathering evidence, fact-checking, approaching sources, up to deciding on page layouts, printing and publishing.

這些調查開始揭露一系列醫療系統腐敗的驚人真相，多年來一直在危害病人性命。隨着記者調查，愈來愈多事實曝光，直指政府最高層，我用攝影機跟隨調查的每一步，也跟記者一起面對風險。

With the change of the Minister of Health, I took the chance to get my lens on the inner workings of the state government too. I was lucky to be trusted by an open-minded new Minister who gave me unprecedented access to the system from within. I brought my camera into advisors’ meetings, during brainstorming sessions, and coaching meetings before going out to the press. I could witness crisis management decisions and personal breakdowns. I filmed as a blunt truth came to light about the fragility of democracies and their state institutions without the constant scrutiny of the media and citizenry.

儘管調查記者起初是在找尋簡單答案，但他們愈挖愈深，挖出整個醫療保健系統的謊言和腐敗網絡。即使備受質疑仍沒放棄追查，結果一名醫生走進編採室成為吹哨人，揭露羅馬尼亞醫院無法治好任何燒傷患者的實況。之後有更多人願意作證。

作為緘默的見證者，我帶着攝影機，可以體會和表現出新聞工作者真實與私密的生活，並了解新聞誕生的過程：由記者問自己第一個簡單問題開始，着手調查、進行報道、搜集證據、事實查證，接觸消息來源，到決定報章版面設計、印刷及出版。衛生部長被撤換，我也藉此機會紀錄了政府內部運作。我幸運地獲得開明的新任部長信任，給我前所未有的機會從系統內部進行觀察，讓我拍下他們會見傳媒前的顧問會、集思會及指導會議，給我見證了危機處理的決策過程以及個人失敗。我的紀錄片令直率的真相曝光，揭示缺乏傳媒和公民社會持續監察下，民主國家及其制度何其脆弱。

Alexander Nanau

Alexander NANAU is a German-Romanian filmmaker born in Bucharest, Romania in 1979. He studied directing at The Film and Television Academy Berlin (DFFB). His first feature documentary Peter Zadek Inszeniert Peer Gynt was released in 2006. 亞歷山大納瑙 1979 年生於羅馬尼亞布加勒斯特，畢業於柏林德國電影電視學院，2006 年完成首部紀錄長片《彼得查德克導演培爾金特》。

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SELECTED FILMOGRAPHY 主要作品 2006 Peter Zadek Inszeniert Peer Gynt 彼得查德克導演培爾金特 2010 The World According to Ion B. B 先生的藝想世界 2014 Toto and His Sisters 托托和他的姐姐們 2019 Collective 醫官同謀

REALITY BITES 真的假不了 Norway/USA 挪威／美國 2020 | DCP | B&W | 93min Director Viktor Kossakovsky Producer Anita Rehoff Larsen Cinematographer Egil Håskjold Larsen, Viktor Kossakovsky Editor Viktor Kossakovsky, Ainara Vera Sound Alexandr Dudarev Production Sant & Usant, Louverture Films World Sales Cinephil

Gunda 豬嘜農莊 Since I became a filmmaker I have always wanted to make a film about the creatures with whom we share the Earth, a film about animals as living, feeling beings in their own right. I wanted to make a film without patronising or humanising them, without any sentimentality, and without vegan propaganda. However, as the film I had in mind is not about dolphins, elephants, pandas or other cute animals we love to love, it was impossible to finance. I tried for almost three decades until I finally met Norwegian producer Anita Rehoff Larsen from Sant & Usant who took the risk on making it. We were unbelievably lucky to meet Gunda in the Norwegian countryside on the very first day of our research trip. Gunda is on the screen for over half of the runtime of the final film and is an extraordinarily powerful character – you do not need an interpreter to understand her emotions and experiences. As such I decided to make this film without any captions, voice-over, or music, you just need to watch it and allow yourself to feel. For me, the essence of cinema is showing, not telling. I do not make films if I want to tell an audience something I have no interest in prescribing an opinion. I make films if there is something I want people to see and to allow them to find their own conclusion.

[導演的話] 我幾乎是個城市小孩，但四歲時，我在鄉村住了幾個月，因而認識了華西亞。初見時，華西亞才幾周大，但漸漸成了我最好的朋友，我們共度的時光是我小時候最珍貴的回憶。可是有天，華西亞被殺了，變成了除夕晚餐的豬扒。我大感震驚，並立即決定吃素，成為了可能是蘇聯的第一個素食兒童。成為導演後，我一直想拍一部電影，關於同住在地球上的生物，關於動物憑與生俱來應有生存和感知的權利。不想擺出高人一等的姿態去拍牠們，也不想擬人化，不要多愁善感，也不是素食主義的宣傳。但由於我想拍的不是海豚、大象、熊貓或其他人認為可愛的動物，難以找到資金。找了近三十年，直至遇到現在的挪威製片人，她願意冒險嘗試。實地考察第一天，我們幸運地在挪威郊區發現甘妲。牠佔戲超過一半，而且是個非常強大的角色，毋須翻譯，已令人明白牠的情感和經歷。因此我決定棄用字幕、旁白和音樂，觀眾只需觀看，自行感覺。對我來說，電影本質是展現而非講述。如果沒有話想說，我不會拍電影。我希望人們看到我所展現的，並且自己得出結論。

Viktor Kossakovsky

Viktor KOSSAKOVSKY was born in Saint Petersburg (Leningrad at the time) in 1961. He began his career in motion pictures at the Leningrad Studio of Documentaries as assistant cameraman, assistant director and editor in 1978. He studied screenwriting and directing at Moscow HCSF. Since 1989, he has been making documentaries and winning over 100 awards in international festivals. 域陀高薩哥夫斯基 1961 年生於列寧格勒今聖彼得堡，78 年入行，在列寧格勒紀錄片工作室擔任助理攝影師、副導演及剪接師，88 年於莫斯科電影學院完成編導課程，92 年憑紀錄片《莊稼人家》開始備受注目。

SELECTED FILMOGRAPHY 主要作品 1992 The Belovs 莊稼人家 2003 Tishe! 安靜！ 2011 Long Live the Antipodes! 地球另一端 2018 Aquarela 水之萬象 2020 Gunda 豬嘜農莊

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REALITY BITES 真的假不了 Armenia/USA 亞美尼亞／美國 2019 | Armenian/English | Online | Colour | 93min Director Garin Hovannisian Producer Garin Hovannisian, Alec Mouhibian, Tatevik Manoukyan, Eric Esrailian Cinematographer Vahe Terteryan Editor Barry Poltermann Music Serj Tankian Sound Jeremy Grody Production An Avalanche Entertainment World Sales Submarine Entertainment

I Am Not Alone 和理非革命神話 Over Easter 2018, a man put on a backpack and went live on Facebook in an ancient Armenian town. He said that he and a dozen activists would walk for 14 days across the country. Once in the capital, they would lead a movement to topple the all-powerful regime that ruled the land. This was a fairytale.

[導演的話]

For 25 years, we have tried everything to bring down the regime: electoral campaigns, civic movements, violent uprisings. But nothing ever worked. Elections were rigged. Protests were violently shut down. As the country’s rulers grew rich and powerful, the people lived in poverty. Millions left Armenia. They knew nothing would change. That was the reality.

過去二十五年，我們用盡辦法試圖令政權倒台，包括競選活動、公民運動及武力抗爭，但都起不了作用。選舉被操縱，示威被武力鎮壓。當權者愈富愈強，人民卻活於貧窮。百萬人逃離亞美尼亞，因為知道改變無望。這是現實。

But the border between reality and fairytale had always been vague in Armenia. That is where the great Armenian stories had always taken place… As the revolutionaries walked and spread their message across the country, they were singing a song over and over again: “I am not alone, not alone, not alone.” And a stray dog joined them as they walked. There was the sense, for those who wanted to notice, that the fairytale was becoming stronger than the reality. We were headed for the great confrontation.

2018 年的復活節，一個在亞美尼亞古老小鎮的男人，揹起背囊，在臉書做直播。他說，他和十二個倡導者將用十四日走遍全國，到達首都後，會發起運動推翻統治國家的強大政權。這是神話。

然而，在亞美尼亞，現實與神話的界線一直模糊，偉大的亞美尼亞故事就此發生。以現實衡量，那個在臉書做直播的男人成功機會是零。他與支持者註定失敗。報告、民意調查、選舉結果皆清楚顯示。我們這些住在彼岸的人，察覺到別樣端倪。當改革倡導者步過全國，宣揚理念，他們不斷高唱：「我不是一人，不是一人。」一隻流浪狗也跟隨他們。就是這樣，神話超越現實，我們邁向偉大的抗爭。因此我們拍了《和理非革命神話》。

That is why we filmed I Am Not Alone. Garin Hovannisian

Garin HOVANNISIAN was born in 1986. An Armenian American writer and filmmaker, he has been an active participant in Armenia’s struggle for freedom. He has founded an arts foundation Creative Armenia, and in 2014 established a production company, Avalanche Entertainment, to produce a variety of projects for film and television. 加連何凡尼西安生於 1986 年，是美國籍亞美尼亞作家及導演，積極參與亞美尼亞自由抗爭運動。他成立「創意亞美尼亞」藝術基金會，並於 2014 年建立製作公司 Avalanche Entertainment，製作電影及電視節目。

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SELECTED FILMOGRAPHY 主要作品 2015 1915 (co-dir) 1915（合導） 2019 I Am Not Alone 和理非革命神話 2020 Truth to Power 真相力量

REALITY BITES 真的假不了 USA 美國 2019 | English/Tagalog DCP/Online | Colour | 100min Director Lauren Greenfield Producer Frank Evers, Lauren Greenfield Cinematographer Shana Hagan, Lars Skree Editor Per K. Kirkegaard Music Jocelyn Pook Sound Rasmus Winther Jensen Production Evergreen Pictures World Sales Dogwoof

The Kingmaker 造王者艾美黛 Imelda Marcos, the former First Lady of the Philippines, famed for her addiction to excess, has been an iconic figure in my longterm investigation of wealth through my photography and films. Astonished that she had managed to re-enter Philippine politics after being ousted by a popular uprising, I began filming her and discovered that, at age 85, she remained a skilled “political animal,” as her son Bongbong describes her. The Kingmaker chronicles her attempts to regain power through her son Bongbong’s bid to become vice-president. Imelda has worked to rewrite the history of her family and replace it with the narrative of a matriarch’s lavish love for her country. In an age when fake news manipulates elections, Imelda’s comeback story is a dark fairytale. It is brought into sharper focus by a little-known footnote of Imelda’s legacy — an island that she depopulated in order to import African animals for a safari park. The story of the neglected animals’ struggle today serves as a symbol of the plight of the Filipino people, forced to navigate the legacy of decades of corruption.

[導演的話] 在我長期進行的財富研探拍攝計劃中，以豪奢著稱的前菲律賓第一夫人艾美黛一直是我關注的人物。她被人民推翻，但居然能在菲律賓政壇捲土重來，不免令我深感訝異。我開始拍攝她的紀錄片，並且發現，儘管她已屆八十五歲高齡，依然是熟練能幹的「政治動物」（她的兒子如此形容她）。《造王者艾美黛》順時序拍攝她如何嘗試通過幫助兒子當選副總統以重掌權力。她努力重寫家族歷史，代之以一種慈母對祖國大愛的敘事。在這個假新聞操控選舉的年代，艾美黛的崔護重來，儼然是一則暗黑童話故事。她把某個島上的居民趕走，以便她從非洲運來動物，將該島改建成一個野生動物園，是較少為人知的焦點事件。這被人忽視的動物存亡掙扎故事，直是今天菲律賓人民被迫繼續受困於數十年來貪污政治的象徵與寫照。

Lauren Greenfield

Lauren GREENFIELD born in Boston in 1966, graduated from Harvard University with a degree in Visual and Environmental Studies. She has produced groundbreaking work on consumerism, youth culture, and gender for the last 25 years. The Queen of Versailles won the Best Documentary Director Award at the 2012 Sundance Film Festival. 羅蘭格林菲特 1966 年於波士頓出生，哈佛大學畢業，主修視覺與環境研究。過去二十五年環繞消費主義、青年文化及性別議題拍攝紀錄片及出版攝影集。2012 年憑《凡爾賽皇后》獲辛丹斯電影節最佳紀錄片導演殊榮。

SELECTED FILMOGRAPHY 主要作品 2012 Queen of Versailles 凡爾賽皇后 2018 Generation Wealth 財富世代 2019 The Kingmaker 造王者艾美黛

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REALITY BITES 真的假不了 Chile/USA/Germany/The Netherlands/Spain 智利／美國／德國／荷蘭／西班牙 2020 | DCP | Colour | 90min Director Maite Alberdi Producer Marcela Santibáñez Cinematographer Pablo Valdés Editor Carolina Siraqyan Production Designer Catalina Devia Music Vincent van Warmerdam Sound Roberto Espinoza, Salomé Román Production Micromundo Production World Sales Dogwoof

©Micromundo

The Mole Agent 臨時偵探無限耆 Why did you want to make this film? What led you to this story in particular? I decided to make this movie because I wanted to make a documentary about a private detective, a character usually reserved for fiction. I worked for a few months as an assistant to a private detective, and I realised that detectives work on cases where distrust was widespread in relationships. People want to investigate those around them more than ever before, and more private investigation agencies have started to open as a result. What mainly caught my attention was that cases could be easily solved by talking, without the need for detectives or agents. I saw cases of parents investigating their children, siblings following each other, bosses investigating their employees, and cases at nursing homes. With this in mind, my intention with this documentary was to go beyond a report of results. I was not interested in what exactly happened in the outcome of each case. Instead, I wanted to ask why there were these investigations, why there is such distrust, and what is behind that lack of communication or disconnection. That was the journey that I wanted to experience as a director. The starting point was the investigation, but the end result was not meant to be the case itself, but the social understanding behind it.

[導演訪問] 是什麼驅使你拍這部影片？通常是劇情片才有私家偵探，我就想拍一部關於私家偵探的紀錄片。我為一位私家偵探做了幾個月助理，注意到他處理的個案，多是關係裏瀰漫着不信任。人們比以往更想調查身邊的人，結果愈來愈多私家偵探社開業。特別引起我注意的，是那些原本可以透過對話輕易解決的個案，根本毋須找偵探調查。我看到一些父母調查子女，兄弟姊妹互相跟蹤，老闆調查員工，還有關於老人院的個案。想到這一點，我拍這部紀錄片的目的，是去檢視調查結果背後的東西。我對那些調查結果不感興趣，反而想問為何會有這些調查，為何會有這種不信任，缺乏溝通和聯繫的原因是什麼。調查只是起點，目的不在個案本身，而是背後的社會認知。沙治奧很適合臥底工作，因為他健康、記性好，而且很想去做，無人能阻止他。他近年喪偶，正想突破自己規律，尋找新的樂趣。這對私家偵探來說很重要，臥底需要對自己的工作感到興奮。我也覺得沙治奧很合適，因為他樂於接受不同體驗，而且善解人意。他願意冒險，工作令他感覺新鮮刺激。

Interview with Maite Alberdi

Maite ALBERDI was born in in Chile in 1983. She studied Film and Aesthetics at the Universidad Católica de Chile. As a director, she has developed a highly particular style that achieves an intimate portrayal of the characters she works with, through everyday stories in small-scale worlds. In 2016, The Grown-Ups was selected in competition at IDFA. 瑪蒂艾柏迪 1983 年生於智利聖地牙哥，在智利天主教大學修讀電影，2011 年完成首部紀錄長片《救生員》，《長大成人》(16) 入圍阿姆斯特丹國際紀錄片電影節長片競賽單元。

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SELECTED FILMOGRAPHY 主要作品 2011 The Lifeguard 救生員 2014 Tea Time 茶聚時間 2016 The Grown-Ups 長大成人 2020 The Mole Agent 臨時偵探無限耆

DOCUMENTARIES 紀錄片

Filmmakers and Filmmaking 影人影事

FILMMAKERS AND FILMMAKING 影人影事 Italy/Russia/Sweden 意大利／俄羅斯／瑞典 2019 | Russian | DCP/Online | Colour | 97min Director Andrey A. Tarkovsky Producer Andrey A. Tarkovsky, Dimitry Klepatski, Peter Krupenin, Pado Maria Spina Cinematographer Alexey Naidenov Editor Michał Leszczyłowski, Andrey A. Tarkovsky Sound Gianfranco Tortora, Sud Sound Studios (Roma) Production Andrey Tarkovsky International Institute, Klepatski Production, HOBAB, Revolver World Sales Syndicado

Andrey Tarkovsky. A Cinema Prayer Andrej Tarkovskij. Il Cinema come Preghiera

虔誠者塔可夫斯基 A large number of original theories have been put forward in an attempt to explain the Tarkovsky phenomenon in contemporary art. But what did Tarkovsky himself think about it? What were the principles that guided him in the creation of his masterpieces? Where did he get his inspiration? What did he live through and what did he want to communicate to the people who watched his films? Would it be possible, more than thirty years after his death, to hear again the voice of the director as he talks about his life, his profession, his vocation? These were the goals that I set myself in the making of the film, to take viewers back to the origins of the director’s thought and share the emotion of the encounter with the great artist, great man and life mentor that was my father.

[導演的話] 人們提出了很多獨到的理論去闡釋塔可夫斯基在當代藝術的成就，然而塔可夫斯基自己對此有何想法？是什麼引領他拍出這些傑作？他從哪裡得到創作靈感？他有過哪些經歷？他想向觀眾傳達什麼？在他去世三十多年後，是否還有可能由他以自己的聲音娓娓道來他的一生和電影事業？這就是我製作這部影片的目的，好讓觀眾一窺他的創作源頭，分享與他相逢的感受。這偉大的藝術家、偉人、人生導師，也正是我的父親。

Andrej A. Tarkovsky

Andrej A. TARKOVSKY was born in Moscow in 1970. Son of Andrey Tarkovsky. He has devoted his life and career to the preservation and promotion of his father’s work through publication of books and documentary filmmaking. He lives between Florence, Paris and Moscow. 安德烈 A. 塔可夫斯基 1970 年生於莫斯科，俄國導演安德烈塔可夫斯基的兒子。現居於佛羅倫斯、巴黎及莫斯科等地，透過出版書籍及製作紀錄片，致力保存及推廣其父親的藝術成就。

FILMOGRAPHY 作品年表 1996 Andrey Tarkovsky. The Reminiscence (short) 追憶塔可夫斯基（短片） 2006 Bastignano (short) 巴斯蒂尼亞諾（短片） 2019 Andrey Tarkovsky. A Cinema Prayer 虔誠者塔可夫斯基

©Alain Lenski

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FILMMAKERS AND FILMMAKING 影人影事 USA 美國 2020 | English | DCP/Online | B&W | 131min Director Orson Welles Producer Flip Jan Rymsza Cinematographer Gary Graver Editor Bob Murawski Sound Jussi Tegelman Production Royal Road Entertainment World Sales OPEN

Hopper/Welles 圍爐夜話：奧遜威爾斯與丹尼士賀巴 Two filmmakers, both of them revolutionaries, dined together one night in Beverly Hills, where such things could happen in 1970. One of them had recently seen his directorial debut take off in an explosion of fame and box-office receipts. People were calling him the voice of a generation, the prophet of a New Hollywood. His supper companion, meanwhile, had been in roughly the same place thirty years earlier. The ride hadn’t been as easy. Dennis Hopper, the livewire actor who’d held his own against James Dean and John Wayne, was now the director, producer, co-writer and star of 1969’s Easy Rider, less a movie than a full-on cultural phenomenon. He was given complete creative control over his next film. Orson Welles, the former “boy genius” and a mastermind of theatrical and radio sensations, had directed, produced, co-wrote and starred in Citizen Kane in 1941, forever altering our idea of what a visionary filmmaker could achieve. But that was then, and during the intervening decades, Welles found work only sporadically. He’d gained a reputation as being contrarian and difficult. Somewhat amazingly, the cameras were rolling when the two of them met, over plates of home-cooked pasta, at Welles’s rented house. Never seen until now, Hopper/Welles is the record of that extraordinary conversation, here presented raw and unvarnished. Emotions swirl through their playful, discursive, casually revealing back and forth: humor, arrogance, self-deprecation, hero worship, even a touch of professional jealousy.

[簡介] 兩位帶領電影起革命的導演，在比華利山共晉晚餐，時維 1970 年。其中一人剛憑首作名利雙收，被譽為時代之聲、新荷里活旗手。跟他共進晚餐的人，三十年前也曾如此，但叱吒風雲不容易。丹尼士賀巴，幕前演出可與占士甸、尊榮匹敵，1969 年自編自導自演兼監製的《迷幻車手》，不只是電影，更是炙手可熱的文化現象。下一部作品，他獲得了徹底的創作自由。奧遜威爾斯曾被譽為天才小子，曾在戲劇和廣播界引起哄動，1941 年自編自導自演兼監製《大國民》，從此改變了我們對於有遠見的導演能有多厲害的想法。然而，在隨後的幾十年，他只能斷斷續續地創作。他被認為是唱反調、難以合作的人。令人意外的是，當兩人聚首，在奧遜威爾斯租住的房子裏，吃着自家煮的意粉時，攝影機拍下了這一幕。片段從未曝光，影片紀錄了他們那場令人意想不到的對話，在此原汁原味奉上。在他們有趣好玩、東拉西扯、隨意卻吐露心聲的對話裏，情緒在打轉，來回表現出：幽默、傲慢、自卑、英雄崇拜，甚至還有一點事業上的妒忌。

Orson WELLES (1915-1985) was a child prodigy born in the state of Wisconsin. He produced hit radio dramas before going to Hollywood. At the age of 26, he made Citizen Kane, which topped the Sight and Sound Critics’ Poll for five decades. 奧遜威爾斯 (1915-1985) 是創意非凡、多才多藝的導演、編劇兼演員。生於美國威斯康辛州，精通莎士比亞，畢業後到過愛爾蘭演戲，回美後從事舞台劇演出，後進軍荷里活，演出和執導名作如雲。年僅 26 歲時，自編自導自演《大國民》，被英國權威電影雜誌《視與聲》連續五十年選為史上最偉大電影第一位。 ©Gary Graver | Royal Road Entertainment

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SELECTED FILMOGRAPHY 主要作品 1941 Citizen Kane 大國民 1947 The Lady from Shanghai 上海小姐 1958 Touch of Evil 歷劫佳人 1962 The Trial 審判 1965 Chimes at Midnight 午夜鐘聲 2020 Hopper/Welles 圍爐夜話：奧遜威爾斯與丹尼士賀巴

FILMMAKERS AND FILMMAKING 影人影事 France 法國 2019 | English/French | Online | Colour/B&W | 73min Director Gregory Monro Producer Martin Laurent, Jeremy Zelnik Cinematographer Radosław Ładczuk Editor Philippe Baillon Production designer Natalia Melak Music Vincent Theard Sound Geraud Bec Production Temps Noir, ARTE France, Telemark World Sales Mediawan

Kubrick by Kubrick Kubrick par Kubrick 寇比力克如是說 What was the impetus behind Kubrick by Kubrick?

[導演訪問]

I’ve always had Kubrick in the back of my mind as a possible subject for a documentary. [...] The best way to make something on Kubrick would be to allow him to speak in his own words. And in that case the best thing to do would be to use Michel (Ciment)’s original audio recordings from all his interviews, which would allow Kubrick to finally speak about his own work. It’s risky, because anything you make about Kubrick is risky, but for me the viewpoint of the documentary is really Stanley Kubrick’s and not my own.

是什麼驅使你拍《寇比力克如是說》？

Alongside the audio recordings, archive footage and clips from Kubrick’s different movies, you chose to recreate the set from 2001: A Space Odyssey in the documentary. What was the idea behind that? For me, and for many other people, the room at the end of 2001 remains a real mystery. People have been speculating about it for decades, and even Kubrick never really explained it. And he didn’t want to explain it. I felt that the room was the right place to set the documentary, because that mystery is also the mystery of Kubrick himself. Interview with Grégory Monro

我一直想拍一部關於寇比力克的紀錄片。但鑒於其作品以及別人已拍過有關他的影片，我必須謹慎。當我們跟監製討論這想法時，我們意識到最好的做法，就是由寇比力克親自去講自己。因此，最好就是採用米修西蒙做過所有訪談的原始錄音，由寇比力克去講自己的作品。這是冒險的，因為你拍寇比力克紀錄片本身就是冒險的。但於我而言，這部紀錄片要講的，不是我自己的觀點，而確實是寇比力克的觀點。除了訪談錄音、舊資料片段，以及寇比力克的電影片段外，你還在片中複製了《2001 太空漫遊》的場景模型，背後有什麼想法？我試圖尋找一種方式，透過影像去呈現寇比力克的訪談。對於我和許多人而言，《2001 太空漫遊》片末的房間仍是個真正謎團。數十年來，大家都在猜想它的意思，而寇比力克亦從沒真正解釋過，他並不想去解釋。我認為這個房間，是紀錄片的理想背景，因為這個謎，也是有關寇比力克本人的謎。《2001 太空漫遊》的房間，也象徵了寇比力克思維的複雜性，在畫面上透過一個場景空間去反映他的思想空間。

Grégory MONRO was born in France in 1975. He is a graduate from French Film School ESRA. Since 1999, he has written and directed several professional short films, and has directed several documentaries. 格哥利門羅 1975 年生於法國巴黎。畢業於法國高等影視學院 ESRA，1999 年開始編導短片，至今已製作了多部人物紀錄片。

SELECTED FILMOGRAPHY 主要作品 2014 Calamity Jane: Wild West Legend 狂野西部傳奇 2016 Jerry Lewis: The Man Behind the Clown 笑匠謝利路易 2018 Michel Legrand, Let the Music Play 配樂大師米修利格倫 2020 Kubrick by Kubrick 寇比力克如是說

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FILMMAKERS AND FILMMAKING 影人影事 USA 美國 2019 | English | Online | Colour | 94min Director Midge Costin Producer Bobette Buster, Karen Johnson, Midge Costin Cinematographer Sandra Chandler Editor David J. Turner Music Allyson Newman Sound David J. Turner, Kimberly Patrick, Qianbaihui Yang Production Ain't Heard Nothin' Yet, GoodMovies Entertainment, Busterfilms World Sales Dogwoof

Making Waves: The Art of Cinematic Sound 荷里活音效大師班 Nine years ago, Bobette Buster, a faculty colleague of mine at USC School of Cinematic Arts, approached me about making a documentary on sound in film. I had been recommended to her by seven-time Academy Award winning sound designer Gary Rydstrom, who Bobette had met while lecturing on sound and story at Pixar and who she asked to come on board as an advisor. It had been my dream to reach a wider audience and open people’s awareness about sound, so when Bobette asked me to collaborate – later bringing on experienced producer Karen Johnson (Kusama - Infinity) as a partner – I knew this was a golden opportunity. I wanted to capture the creative process that is involved on the part of directors, sound designers, and composers; to uncover their inspiration, as well as the collaborative process. It was so thrilling to be able to work with the greatest and most creative filmmakers and sound designers of our time; to get them to share their own discoveries – their “ah ha” moments – from these passionate and playful, yet professional and artistic experiments. I hope that with this film the audience’s ears and consciousness will be opened in a new way as they experience the concepts that are being discussed – that they will feel the connection between sound, our world, and our emotions.

[導演的話] 九年前，我在南加州大學電影藝術學院的同事芭波蓓斯特，為了製作一部關於電影聲音的紀錄片來找我。她在彼思動畫製作室講授電影聲音和故事時，遇見了七度奪得奧斯卡的音效師加利雷史東，邀請他出任紀錄片的顧問，而他則向她推薦了我。我一向希望可以接觸更多人，令大家更認識到電影聲音的重要，因此當芭波來找我合作時（後來還邀請了經驗豐富、曾監製《點止草間彌生》的嘉倫莊遜一起製作），我知道這是千載難逢的機會。我想捕捉在創作過程中，各個導演、音效師和作曲家各自參與的部分，一窺他們的靈感泉源，以及他們彼此合作的過程。能夠在影片中紀錄這些當今最偉大和最富創造力的電影創作者和音效師，實在太令人激動了。從他們既充滿熱情又活潑有趣、既專業又具藝術性的實驗，影片讓他們分享創作過程中那些靈光乍現的時刻。我希望觀眾看完這部影片，當他們體驗到片中所討論的東西時，耳朵和意識會以新的方式，去感受聲音、天地和情感之間的聯繫。

Midge Costin

Midge COSTIN was born in Massachusetts, USA. She studied in Smith University and University of Southern California School of Cinematic Arts. Her film credits span over 25 years, working her way up editing sound on Days of Thunder (90), Crimson Tide (95), Broken Arrow (96), and Armageddon (98). Making Waves: The Art of Cinematic Sound is her documentary feature debut. 蜜芝高斯婷生於美國麻省，先後畢業於史密斯學院及南加州大學電影藝術學院。80 年代開始，一直從事電影音效工作，參與作品包括《雷霆壯志》(90)、《紅潮風暴》(95)、《斷箭行動》(96)、《絕世天劫》(98) 等。現任教於南加州大學電影藝術學院。

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FILMOGRAPHY 作品年表 2019 Making Waves: The Art of Cinematic Sound 荷里活音效大師班

FILMMAKERS AND FILMMAKING 影人影事 Sweden 瑞典 2021 | English/Swedish/French/Japanese/Italian DCP | Colour | 94min Director Kristina Lindström, Kristian Petri Producer Stina Gardell Cinematographer Erik Vallsten Editor Hanna Lejonqvist, Dino Jonsäter Music Anna von Hausswolff, Filip Leyman Sound Brian Dyrby, Kristoffer Salting Production Mantaray Film World Sales Films Boutique

The Most Beautiful Boy in the World 魂斷美少年 The Most Beautiful Boy in the World is a story about obsession with beauty, about desire and sacrifice, about a boy whose life was changed forever when the film director Luchino Visconti declared him to be “the world’s most beautiful boy.” Who was this boy and what happened to him? This is the story of a film that destroyed someone’s life. It is also a story of family secrets, of searching for the truth.

[導演的話]

We filmed The Most Beautiful Boy in the World during five years in Stockholm, Copenhagen, Paris, Budapest, Venice, and Tokyo, following in Björn’s footsteps. We searched together with him to learn the truth about his mother’s death and his father’s identity by reaching into the archives and interviews with close family.

我們花了五年時間，跟隨伯恩的足跡，從斯德哥爾摩、哥本哈根、巴黎、布達佩斯、威尼斯，一路去到東京。我們跟他一起翻查檔案資料，追訪至親，找出他母親去世之謎，以及父親是誰。

[...] The rich archive material which we found throughout the process was also a big source of joy. The base for everything has been trust and Björn’s courage and wish to tell his story. 2021 marks fifty years since the world premiere of Death in Venice when the film director Luchino Visconti proclaimed Björn Andresén as “the world’s most beautiful boy”. The Boy is back! Kristina Lindström and Kristian Petri

這部紀錄片要講的是對美的迷戀、欲望與犧牲，以及伯恩安德森──當維斯康堤在《魂斷威尼斯》宣稱他是天下第一美少年時，他的人生從此改寫。他之後怎麼了？這是一部電影如何毀了一個人的故事，也是關於家庭秘密，以及尋找真相的故事。

我們找到豐富資料，也是拍攝過程的一大樂事。而一切的基礎，是來自信任，來自伯恩的勇氣，來自於他願意分享自己的故事。我們相信有趣的提問勝於簡單的答案。這並非簡單的故事。我們希望它能扣人心弦，呈現出伯恩本身複雜而有趣的個性。這是個多層次的故事，層層套疊。它讓我們聆聽這位少年自身的故事。他被塑造成一個形象、一個標誌性人物、一個幻想對象，完全凌駕了他的青春人生。 2021 年是《魂斷威尼斯》首映五十周年，現在，那個維斯康堤宣稱的「天下第一美少年」回來了！

Kristina LINDSTRÖM is a filmmaker and journalist. She has served as Head of Cultural and Factual Programming at public service broadcaster SVT where she has developed some of the channel most acclaimed programme formats and documentaries. 姬絲汀娜蓮施黛是記者兼電影人，在瑞典電視台任社會節目監製多年，作品多次獲得新聞獎及電視獎。

SELECTED FILMOGRAPHY 主要作品 2012 Palme (docu, co-dir) 人民首相之死（紀錄片，合導） 2021 The Most Beautiful Boy in the World (docu, co-dir) 魂斷美少年（紀錄片，合導）

Kristian PETRI is a filmmaker, writer, and culture journalist with a distinctly personal voice that transcends genre and form. 基斯頓柏提文化記者兼電影人，首部長片《夏日》入選康城影展導演雙周。

1995 2003 2018 2021

Between Summers 夏日 Details 枝節 L136 (docu) 冬日之光背後（紀錄片） The Most Beautiful Boy in the World (docu, co-dir) 魂斷美少年（紀錄片，合導）

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FILMMAKERS AND FILMMAKING 影人影事 Spain 西班牙 2019 | Spanish/English | Online | Colour | 70min Director Pedro González Bermúdez Producer José Skaf, Guillermo Farré, Maria José Bacallado Cinematographer Raúl Cadenas Editor Pedro González Bermúdez Music Remate, Wild Honey Sound Alonso Cano Production Turner, WarnerMedia Spain World Sales Luk Internacional, S.A.

Peckinpah Suite 尋找畢京柏 Peckinpah Suite gets close to the director of The Wild Bunch through the gaze of his youngest daughter, Lupita Peckinpah. Lupita was only a child when her father passed away in 1984. However, his figure has always been present in her memory. Lupita has accompanied a TCM troupe to Livingston, Montana, where his father spent his last years, to share experiences and memories about a man who has inspired all kind of legends. A film genius who revolutionised the art of film editing and how to shoot violence on screen; a tempestuous director on set and also in his personal relationships, but who, behind his public figure, hid many more unknown facets.

[簡介] 美國導演森畢京柏以《流寇誌》、《大丈夫》等樹立其暴力美學，對荷里活動作片影響深遠。本片跟隨他幼女露碧達的目光，尋找亡父昔日的足跡。1984 年森畢京柏逝世時，女兒年紀尚小，但父親的形象一直留在腦海。露碧達陪同特納經典電影頻道（TCM）的拍攝團隊，前往蒙大拿州利文斯頓鎮，去找父親度過其最後歲月的酒店套房，一邊分享她自身的經歷，一邊憶述這個充滿傳奇的男人的一些事跡。森畢京柏是電影天才，改革了電影的剪接藝術，以全新手法拍攝暴力鏡頭；不但在片場脾氣火爆，私底下對他人也相當暴烈，但在這個公眾人物背後，卻隱藏了許多不為人知的部分。

Pedro GONZÁLEZ BERMÚDEZ is a Spanish director and screenwriter, born in 1975. He has developed his work mainly in the field of documentary film. 帕度岡薩雷貝蒙迪斯 1975 年生於西班牙馬德里。畢業於法國高等影視學院 ESRA， 1999 年開始編導短片，至今已拍攝了多部人物紀錄片。

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SELECTED FILMOGRAPHY 主要作品 2011 Return to Viridiana (short) 華麗迪安娜話當年（短片） 2014 When Bette Davis Bids Farewell 比提戴維絲最後告別 2017 Nostromo: David Lean’s Impossible Dream 大衛連未圓的夢 2020 Peckinpah Suite 尋找畢京柏

KALEIDOSCOPE 五光十色

Fantastic Beats 奇幻青春

FANTASTIC BEATS 奇幻青春 Japan 日本 2020 | Japanese | DCP/Online | Colour | 91min Director Ishii Yuya Producer Ishii Yuya, Yang Jin Scriptwriter Ishii Yuya Cinematographer Kato Tetsuhiro Editor Fushima Shinichi Production Designer Takahashi Tsutomu Music Kono Takehiro Sound Shibasaki Kenji Cast Nakano Taiga, Oshima Yuko, Wakaba Ryuya Production Riki Project World Sales HKIFF Collection

All the Things We Never Said Ikichatta 只能唱的心聲 Family is a theme in many films of yours. What aspect of it are you tackling this time? This time the theme is love, instead of family. How did it feel to return to a more independent style of filmmaking? It was a thrilling experience and I’d love to make such movies again. In your independent productions, why are your characters more idiosyncratic? I inject into my characters the emotions of present-day Japanese society, and how it feels to be living in it. This naturally makes the characters idiosyncratic. It also reflects how difficult it is to express in words the tough situation of modern society. While filming the film’s confrontational scenes, how did you communicate with the performers? The last scene was really the key to this film so we had to be very determined. I put in a lot of effort to ensure a sustained passion until the end.

[導演訪問] 「家庭」是你很多部電影的主題，這次想探討什麼家庭問題？今次我沒有以家庭為主題，而是愛。這部電影比較像你早期的獨立電影，回到較獨立的製作，你的感覺如何？那是非常令人振奮的製作體驗，我希望能再拍這種作品。獨立製作下，你寫的角色都比較不尋常，為什麼？我把現今日本社會，以及活在日本社會的情感，直接投入於角色之中，於是就自然變得不尋常。亦反映了難以用言語表達的這種艱難社會狀況。拍攝情緒爆發的幾場戲，你是如何和幾位演員溝通？你怎樣看他們的演出？影片最後一場實在太重要，當然需要意志堅定。我花了很多心機，務求結尾保持感情澎湃。

Interview with Ishii Yuya

ISHII Yuya was born in Saitama Prefecture, Japan in 1983. He attended Osaka University of the Arts, where his graduation film Bare-assed Japan won the Grand Prize at the 2007 PIA Film Festival. He was the first recipient of the Edward Yang New Talent Award at the 2nd Asian Film Awards in 2008. 石井裕也 1983 年生於日本琦玉縣，在大阪藝術大學學電影，並於日本大學藝術系攻讀碩士。大學時拍了多部作品，在日本多個電影節屢次獲獎。2008 年獲第二屆亞洲電影大獎紀念楊德昌亞洲新秀大獎。

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SELECTED FILMOGRAPHY 主要作品 2005 Bare-Assed Japan 大和股 2007 Of Monster Mode 闔家怪 2013 The Great Passage 字裡人間 2017 The Tokyo Night Sky is Always the Densest Shade of Blue 東京夜空最深藍 2020 All the Things We Never Said 只能唱的心聲

FANTASTIC BEATS 奇幻青春 Italy/Switzerland 意大利／瑞士 2020 | Italian | Online | Colour | 98min Director Fabio & Damiano D’Innocenzo Producer Agostino e Giuseppe Saccà Scriptwriter Fabio & Damiano D’Innocenzo Cinematographer Paolo Carnera Editor Esmeralda Calabria Production Designer Emita Frigato, Paola Peraro, Paolo Bonfini Sound Marc Thill Cast Elio Germano, Tommaso Di Cola, Giulietta Rebeggiani, Barbara Chichiarelli, Gabriel Montesi, Max Malatesta Production Pepito Produzioni, Rai Cinema, World Sales The Match Factory

Bad Tales Favolacce 無定向喪心家庭事件簿 Our film is a dark fairy tale that relates to the worst aspects of a form of capitalism that does not belong to us by culture or tradition, but which, as (provincial) citizens of the world, we somehow feel we deserve. A complex story which combines with a striking, scornful miseen-scène, far from the realism of our previous film Boys Cry, transfiguring the present day into timeless cinematic language. We feel this story could have emerged from the pages of Updike, Vonnegut, Yates, Ibsen – or more obviously, from the collected works of the Brothers Grimm, beginning with the title. A world of sensations, bright colours and odors; yet in the distance, everything is burning. And as in every self-respecting fairytale, there is a narrator to spell out events. A mocking narrator who likes to shuffle the cards, to read ambiguity into the most normal gesture and to normalize the inhuman. Every film is a dream, after all. Bad Tales is about a broken dream. The shattered dream of a generation of young men and women who imagined their future with a sense of hope that has proven to be in vain. And their children, who don’t want to go anywhere near their own future. Damiano D’Innocenzo and Fabio D’Innocenzo

[導演的話] 不安、孤獨和擔憂已經紮根這個故事裏的家庭。「家」通常被認為像巢一樣，儘管也許是溫和地帶來限制的巢，然而如今卻是連串的難忍、冷漠和焦慮。只要看看家庭命案數字，就知這是真的。我們的電影是一個暗黑童話，講述了資本主義形態最壞的其中一個面向，這種形態不屬於我們的文化或傳統，但作為（狹義的）世界公民，我們不知怎的覺得是應得的。這是個複雜的故事，結合了觸目而輕蔑的場面調度，跟我們前作《青春輓歌》的寫實相去甚遠，把當下變成了沒有時間性的電影語言。這個故事，可以是源自厄普代克、馮內果、葉慈、易卜生的作品，或是更明顯的，從片名開始，源自格林童話集。一個充滿感覺、鮮艷色彩和氣味的世界，但由遠觀之，其實一切都在燃燒。就像每個童話故事都有個敘事者來說明事件。這個愛戲謔的敘事者，喜歡將故事洗牌，在最平常的姿態放入歧義，把野蠻殘酷變作尋常。畢竟，每部電影都是個夢。這部電影講述了一個破碎的夢。年輕一代想像未來充滿希望，終究證明是徒勞的，他們的夢破碎了。還有他們的孩子，甚至不想接近自己的未來。

Damiano D’INNOCENZO and Fabio D’INNOCENZO were twin brothers born in Rome, Italy, in 1988. Their debut film, Boys Cry, was presented at the Berlinale 2018 in the Panorama section. Bad Tales was awarded the Best Screenplay at Berlinale. 達米亞諾狄諾森佐、法比奧狄諾森佐 1988 年生於羅馬，為雙胞胎兄弟。2018 年合導首部長片《青春輓歌》，入選柏林影展面面觀單元。2020 年憑《無定向喪心家庭事件簿》獲柏林影展最佳劇本獎。

FILMOGRAPHY 作品年表 2018 Boys Cry 青春輓歌 2020 Bad Tales 無定向喪心家庭事件簿

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FANTASTIC BEATS 奇幻青春 Japan 日本 2020 | Japanese | DCP | Colour | 118min Director Yoshino Ryohei Producer Fukaya Yoshitaka Scriptwriter Yoshino Ryohei Cinematographer Hirai Eijiro Editor Yoshino Ryohei Production Designer Kobayashi Rakuko Music Kato Hisaki Sound Yoshikata Junji Cast Sakuma Yui, Nao, Kohinata Seiichi Production "Eternally Younger Than Those Idiots" Production Committee World Sales Hakuhodo DY Music & Pictures

Eternally Younger Than Those Idiots Kimi wa Eien ni Soitsurayori Wakai 永遠比那些笨蛋年輕 How to co-exist with others and society, despite a sense of incompleteness?

[導演的話]

The novel by Tsumura Kikuko has a variety of themes and I picked this as the focus of my adaptation. Horigai is a girl with lots of shortcomings, but few strengths to speak of. On the eve of her first full-time job, she is well-aware that she lacks something inside her. She’s so anxious that she won’t function properly in society. This is indeed a common thought among many at that stage of their lives. It is an initiation ritual when growing up. Horigai has been directing her troubles inwards. After meeting various persons and running into different sorts of incidents, she finally makes a bold move, exploding outwards.

津村記久子的原著有眾多主題，我決定集中於這個重點描寫。主角堀貝的缺點遠多於優點，她即將進入社會，她心知自我缺乏很重要的東西，很擔心不能在社會生存，為此焦慮不安。但這種苦惱，很多人都會在這個時期經歷，是普遍的成長禮。一直在內心苦惱的主角，在認識了不同的人，遇上不同的事後，終於作出大膽的行動，向外爆發。

How to co-exist with others and society despite a sense of incompleteness? This isn’t an empty “it’s okay” expression, but my sincere and personal message to her.

如何在存有失落感下，和其他人及社會好好共處？

如何在存有失落感下，和其他人及社會好好共處？絕不是「都無所謂啦」這麼泛泛之言，而是向主角送上真心勸勉。

Yoshino Ryohei

YOSHINO Ryohei was born in 1982. He started producing videos after participating in the New Cinema Workshop. Having graduated from Hosei University, he enrolled at Japan Institute of the Moving Image as a Lighting student. 吉野龍平生於 1982 年，就讀法政大學時參與「新電影工作坊」後開始製作錄像作品，大學畢業後入讀日本映畫學校修讀燈光技術。

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FILMOGRAPHY 作品年表 2012 Akaboshi 赤星 2015 Spring Has Come 春天來了 2018 In Search of Mizorogi Mitsuki 尋找溝呂木美月 2020 Eternally Younger Than Those Idiots 永遠比那些笨蛋年輕

FANTASTIC BEATS 奇幻青春 USA 美國 2020 | English | DCP | Colour | 105min Director Miranda July Producer Dede Gardner, Jeremy Kleiner, Youree Henley Scriptwriter Miranda July Cinematographer Sebastian Wintero Editor Jennifer Vecchiarello Production designer Sam Lisenco Music Emile Mosseri Sound Kent Sparling Cast Evan Rachel Wood, Gina Rodriguez, Debra Winger, Richard Jenkins Production Plan B World Sales Universal Pictures International

Kajillionaire 偷呃拐騙一家人 I saw these three figures sort of walk toward me in my mind: two women with long hair and a man. I remember thinking, well, I can either fall back asleep and just have this dream; or I can try to get my phone and start dictating. I reached across [my husband] for the phone and started quietly describing what I saw.

[導演的話]

The Dynes go to ridiculous lengths to get very small sums of money, and sometimes not even money but just worthless objects. They’re outsiders by choice and very self-righteous. There’s a quasireligious/political framework to it that’s not up for argument. You can’t opt-out in this family. I think we all can think of people who position themselves as outsiders and yet offer an incredibly rigid worldview.

片中戴斯一家人扭盡六壬，只是欺得分毫，有時甚至連破銅爛鐵，一文不值的東西，也要騙到手上。他們故意不合群，還極之自以為是。他們堅守着類似宗教和政治的神聖規條，不容別人爭辯。你也無法退出這個家庭。大家都可想到這種人，他們總認為自己格格不入，被社會排擠，但他們的世界觀卻十分僵化，頑固得令人難以置信。

There is something cult-like about the Dynes, but I would argue that all families are cults to some extent. Every family has its own way of doing things. And I think for all of us, there’s a point when you realise, “Oh, that’s just us. That’s not the only way or even the most common way that things are done.” And that’s a moment of sudden transformation.

戴斯這家人好像在信奉某種邪教，不過我認為所有家庭或多或少都是邪教。每個家庭都有自行其是的一套做法。我認為當我們都意識到「噢，原來只有我們才這樣。這不是做事的唯一方法，也不是大家都用的辦法」，那一刻我們才會恍然大悟，徹底改變。

我在腦海中看到三個人迎面而來：兩個長髮女子和一個男人。記得當時我在想，好吧，我要麼回頭再睡，就當做了一場夢；要麼找出手機，把夢境記述下來。我伸手越過身旁的丈夫，拿起手機，悄悄記下我在夢中所見。

Miranda July

Miranda JULY was born in Barre, Vermont, USA in 1974. She wrote, directed and starred in her feature debut, Me and You and Everyone We Know (05), winner of the Camera d’Or at the Cannes Film Festival and a Special Jury Prize at Sundance. Kajillionaire is her latest feature film. 美蘭達祖莉 1974 年生於美國佛蒙特州，加州柏克萊長大，從事跨媒體表演藝術、短篇小說創作。長片首作《你•我•他她他》(05) 一鳴驚人，獲康城影展金攝影機獎及辛丹斯電影節特別評審團大獎。《偷呃拐騙一家人》是她的最新長片。 ©Olivier Zahm

SELECTED FILMOGRAPHY 主要作品 2000 Nest of Tens (short) 你我他的窩（短片） 2005 Me and You and Everyone We Know 你．我．他她他 2011 The Future 未來 2014 Somebody (short) 某人（短片） 2020 Kajillionaire 偷呃拐騙一家人

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FANTASTIC BEATS 奇幻青春 Japan 日本 2020 | Japanese | DCP/Online | Colour | 278min Director Take Masaharu Producer Hiratai Yuji, Sato Gen Scriptwriter Adachi Shin Cinematographer Nishimura Hiromitsu Editor Suzaki Chieko Production designer Nitta Takayuki Music Tsushima Genichi Sound Tetsuo Segawa, Fujimaru Kazunori Cast Moriyama Mirai, Kitamura Takumi, Katsuji Ryo, Mizukawa Asami, Takiuchi Kumi Production/World Sales Toei Company, Ltd.

Underdog 敗犬拳王 What was your feeling when you were to make another boxing movie? I never thought of making another boxing movie because it’s tough. Sports and film don’t go well together because a real match can’t be set up, especially in boxing. It really depends on how much the actors are willing to give and it also takes time. But this film isn’t just about boxing but also about contemporary Japan. How were the actors of the three main characters? Moriyama is physically outstanding and he’s indispensable. Kitamura had the impossible task of portraying a pro boxer but his physicality and reflexes were amazing. Katsuji put in much work on the “Miyamoto Special” uppercut. They all trained with dedication and this was a driving force for the film. With the title Underdog I meant to show human potentials. What is your message to the audience? Why is boxing so enchanting? It’s just a short match made up of 3-minute rounds. But it gives you glimpses into this miniature of life. Beating up a person that you bear no grudges is more than just winning. No punching bag sets out to lose right from the start. Without the cheers of an audience, punching and getting punched have no sense. Movies are also made for an audience. With this film I’d like my audience to pass the story on.

[導演訪問] 與《100 円的愛》團隊再拍拳擊，有何感想？我本來沒想過再拍拳擊，因為很難拍。電影終歸不很適合拍體育，因為始終拍不出真的比賽，尤其是拳擊。演員只能裝打，效果視乎他們的努力，也很花時間。但今次不只是講拳擊，也探討現今日本社會問題。三位拳手主角表現如何？森山未來體能很好，沒有他不會成事。北村匠海的運動及反射神經很驚人，勝地涼苦練「宮本絕招」上勾拳成果很好。他們全心投入鍛鍊，是影片的動力。因此片名「Underdog」並非敗犬，而是表達人的潛能及可能。你對觀眾有什麼話說？拳擊為何令人着魔？三分鐘一回合，不足一小時的比賽，卻有能瞥見人生縮影的剎那。在擂台上打你不憎恨的人，爭取的不只是勝利。有魚腩拳手，但不會有從開始就想打輸的拳手。如無觀眾歡呼，拳手出拳或被打根本無意義，正如電影是為觀眾創作。所以我希望觀眾把故事流傳下去。

Interview with Take Masaharu TAKE Masaharu was born in Aichi Prefecture, Japan in 1967. After a stint as assistant director to directors like Ishii Takashi, Sai Yoichi and Morisaki Azuma, he made his first feature Boy Meets Busan in 2007 and 100 Yen Love (14) was chosen in Top 10 by Kinema Junpo. 武正晴 1967 年生於日本愛知縣。於電影界擔任助導十多年，協助過石井隆、崔洋一、森崎東等導演。第一部長片為《邂逅在釜山》(07)。2014 年作品《100 円的愛》獲選為該年《電影旬報》十大佳片。

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SELECTED FILMOGRAPHY 主要作品 2008 Café Daikanyama: Sweet Boys 代官山咖啡屋 2014 100 Yen Love 100 円的愛 2017 The Ringside Story 擂台物語 2018 We Make Antiques! 噓八百 2020 Underdog 敗犬拳王

FANTASTIC BEATS 奇幻青春 Japan 日本 2021 | Japanese | DCP | Colour | 124min Director Doi Nobuhiro Producer Aruga Takatoshi, Tsuchii Tomoo Scriptwriter Sakamoto Yuji Cinematographer Kamakari Yoichi Editor Hogaki Junnosuke Production Designer Sugimoto Ryo Music Otomo Yoshihide Sound Kabeya Takahiro Cast Suda Masaki, Arimura Kasumi, Kiyohara Kaya, Hosoda Kanata, Odagiri Joe Production Film-makers inc., Little More World Sales TBS Television Inc.

We Made a Beautiful Bouquet Hanataba mitaina koi o shita 她和他的戀愛花期 What was the challenge of directing this script?

[導演訪問]

The prevailing notion within Japanese romance dramas at the moment is that you need to build some sort of obstacle into the story to get the ball rolling on that romance. The challenge for us was a simple question: Is it really impossible to tell a story without such a device? To get the audience strongly invested in a realistic, life-sized love story, I believed the key would be how much I could believe in the actors and what was written in the script.

執導這個劇本得面對什麼考驗？

What was it like filming with Suda Masaki and Arimura Kasumi? While Suda and Arimura are two of the most iconic, wellestablished, and popular actors currently in their 20s, they have not lost touch with ordinary life, and give you the distinct sense that they live in the same age and breathe the same air as the rest of us. Whenever they are doing a scene, they aren’t concerned with how they appear on screen, and are simply trying to embody the raw chemistry that is generated between them. We were fortunate enough to shoot more or less in sequence for this project, so all I wanted from them was to live whatever scene we were shooting that day as authentically as possible, and simply repeat that process throughout the shoot.

日本浪漫愛情劇時下流行的觀念，是需要在故事中製造些人為障礙，愛情的發展才會節外生枝，引人入勝。我們面臨的挑戰其實是個簡單問題：是否沒有這樣的安排，就真的不能把故事說下去？要令觀眾深切感受一個逼真寫實的愛情故事，我認為關鍵在於我有多信任演員，有多相信劇本所寫的內容。跟菅田將暉和有村架純一起拍片是什麼感覺？雖然菅田和有村都是大家公認的人氣偶像，而且目前都是二十多歲，但他們並沒有跟一般人的生活脫節，且能傳達出與眾不同的感覺，好像跟我們都是生活於同一年代，呼吸着相同的空氣。他們無論拍哪一場戲，都不在意自己在銀幕上會是什麼形象，只是盡力表現出兩人之間最不加修飾的化學反應。我們很幸運，整部片差不多是依順序拍成。所以我要求他們的，只是按照當天開拍的任何場景盡可能真實地活一遍，並在拍攝當中重複那個過程。

Interview with Doi Nobuhiro

DOI Nobuhiro was born in Hiroshima prefecture in 1964. He is a renowned director of many Japanese dramas and debuted as a film director in 2004 with Be with You. His other notable works include The Wings of the Kirin (12) and Flying Colors (15). 土井裕泰 1964 年生於廣島縣。執導過多部電視劇，首部大銀幕作品是《藉着雨點說愛你》 (04)，其他電影名作包括《麒麟之翼》(12) 和《奇蹟補習社》(15) 等。

SELECTED FILMOGRAPHY 主要作品 2004 Be With You 藉着雨點說愛你 2012 The Wings of the Kirin 麒麟之翼 2015 Flying Colors 奇蹟補習社 2020 The Voice of Sin 罪之聲 2020 We Made a Beautiful Bouquet 她和他的戀愛花期

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KALEIDOSCOPE 五光十色

Animation Unlimited 超人氣動畫

ANIMATION UNLIMITED 超人氣動畫 France/Romania/Belgium 法國／羅馬尼亞／比利時 2019 | French | DCP/Online | Colour | 92min Director Anca Damian Producer Anca Damian, Ron Dyens, Tomas Leyers Scriptwriter Anghel Damian Editor Boubkar Benzabat Music Pablo Pico Sound Clément Badin Voice Cast Lizzie Brocheré, Bruno Salomone Production Aparte Film, Sacrebleu Productions, Mind Meets World Sales Charades

Marona's Fantastic Tale L'Extraordinaire Voyage de Marona 小狗九的三宅一生 Empathy lies at the very heart of my film, and as we are in a contemporary tale, the peculiarity that I wish to bring to it is that which comes more from the dog than from human beings. Thanks to animation, we are going to be able to amplify this by playing on anthropomorphism, and thus question the notion of giving. The story thus deals, with emotion and lightness, with this anthropocentrism deeply rooted in our western culture. Between the lines, the destiny of Marona likewise questions the role of a pet – which in turn represents nature – in our modern societies, and more precisely its function within the family home. Through a story accessible to the very youngest, I wish to raise as well these questions of society. I think that under this fairy-tale packaging, it’s a film, which we need: It’s time to find once again empathy towards those around us. A dog enables us to once more appreciate the scale of human values, love, and responsibility towards those we love. The fact of being next to one another during our lives offers us a necessary reflection on the re-evaluation of our dreams, weaknesses, ambitions and limits, and even if this exchange is limited to the life expectancy of a dog which by nature is shorter than our own.

[導演的話] 同理心是影片重心，由於我拍的是當代故事，我希望本片獨特之處是從狗而來，多於從人而來。幸虧是動畫，可以透過擬人化增強這點，藉此詰問什麼是真正付出。故事以富有感情又輕鬆活潑的手法，處理根植於西方文化、一切以人類為中心的心態。言外之意，是借助小狗瑪朗娜的遭遇，質疑那代表自然的寵物在現代社會所扮演的角色。更確切地說，是探究寵物在家庭內到底起着什麼作用。我也想藉着一個小朋友看得懂的故事，提出這些社會問題。在童話包裝下，這部電影是我們所需要的：是時候再次對周圍有生之物有着同理之心。狗可使我們重新理解人類的價值尺度、愛，以及愛的責任。既然在生活中大家都彼此緊靠，我們就有必要重新反省，重新評估我們的夢想、弱點、野心和限制，即使這種互相交流僅限於與一頭天生比人類短命的小狗。

Anca Damian

Anca DAMIAN was born in Cluj-Napoca, Romania in 1962. She received a Doctor’s degree in Film from the Academy of Theatre and Film Arts in Bucharest. Her live-action and animated features have screened at numerous festivals, including Busan, Locarno, and Karlovy Vary. 安加戴美安 1962 年生於羅馬尼亞克盧日納波卡市。畢業於布加勒斯特的戲劇及電影學院，取得電影博士學位，曾任電影攝影師、紀錄片編導及監製。2008 年執導首部長片《交錯約會》。導演作品曾在世界各大影展放映，包括釜山電影節、羅迦諾電影節等。

SELECTED FILMOGRAPHY 主要作品 2008 Crossing Dates 交錯約會 2011 Crulic – The Path to Beyond 兔子的日落大道 2013 A Very Unsettled Summer 夏天囉囉攣 2015 The Magic Mountain 唐吉訶德闖魔山 2019 Marona’s Fantastic Tale 小狗九的三宅一生

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ANIMATION UNLIMITED 超人氣動畫 Russia 俄羅斯 2020 | Russian | DCP/Online | Colour | 89min Director Andrey Khrzhanovsky Producer Andrey Khrzhanovsky Scriptwriter Yury Arabov, Andrey Khrzhanovsky Cinematographer Igor Skidan-Bosin Editor Taissia Krugovykh, Ilya Tomashevich, Veronika Utkina Production Designer Marina Azizyan, Alexandra Pavlova, Alexander Khramtsov, Varya Yakovleva Music D.Shostakovitch, Rossini, Verdi Sound Artem Fadeev Production/World Sales SHAR Studio

The Nose or the Conspiracy of Mavericks 鼻子，歌劇與史太林 The Nose or the Conspiracy of Mavericks is a sprawling but carefully controlled artistic study on the role of the artist, the audience and (as always) the nature of the oppression itself. It circumscribes the times and the rise of the Russian avant-garde scene, the Soviet Regime up to the Stalinist purges of intellectuals; it also feels like a cut-out, necessarily fragmented history of the artists who never really lived to enjoy their own fame – no wonder a big part of the film is in cut-outs, which impose a stylised, sometimes exuberant but also restrained movement. […] The Nose or the Conspiracy of Mavericks makes a plea for the artist in each one of us as rare gift to be defended from its oppressors; it portrays a meticulously constructed character stage, it uses music to its advantage, and works best as “total art” output – not downright experimental, and without the need to be radical. It is mostly atonal, and in a welcoming way.

[影評摘錄] 《鼻子，歌劇與史太林》看似結構龐雜，卻是小心經營的一部藝術影片，探討藝術家的角色、觀眾的作用，以及導演一貫關注的壓迫究竟是什麼。影片所表現的時代覆蓋了俄國前衛藝術的興起，以及蘇聯政權的嬗變，直至史太林清除知識分子為止；影片也像很多段剪得支離破碎的藝術家事跡，這些人幾乎在生前都享不到應有的盛譽──難怪片中大量出現剪紙般的圖案，由之形成的風格化運動，時而奔放，時而克制。影片為我們每個人心中的藝術家抱打不平，這是我們內心一份稀有禮物，得善加保護，免遭壓迫者消滅。影片刻劃出一個精心建構的角色舞台，充分利用了音樂的優勢，作為「整體藝術」發揮得可謂淋漓盡致──雖非徹頭徹尾的實驗之作，也毋須刻意顯得激進。音樂主要是無調性，而且雅俗共賞。

Vassilis Kroustallis Zippy Frames

Andrey KHRZHANOVSKY was born in Moscow, Russia in 1939. He graduated in 1962 from Gerasimov Institute of Cinematography (VGIK). His works are characterised by an interest in the history of Russian culture, including Once Upon a Time There Lived Kozyavin (66) and Room and a Half (08). He is also an educator, co-founding and teaching at School-Studio “SHAR”. 安德烈哥沙諾夫斯基 1939 年生於俄羅斯莫斯科，1962 年畢業於莫斯科國立電影學院。執導的動畫作品多關於俄羅斯文化歷史，包括《從前有個科扎文》 (66)、《一個半房間》(08) 等。他同時從事電影教育，創辦並任教於 SHAR 動畫學院。

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SELECTED FILMOGRAPHY 主要作品 1976 The House Built by Jack (short) 積克的房子（短片） 1985 The King’s Sandwich (short) 國王的三文治（短片） 1994 Lion with a Grey Beard (short) 灰鬍鬚獅子（短片） 2008 Room and a Half 一個半房間 2020 The Nose or the Conspiracy of Mavericks 鼻子，歌劇與史太林

ANIMATION UNLIMITED 超人氣動畫日本 Japan 2020 | Japanese | DCP/Online | Colour | 63min Director haiena Producer haiena Scriptwriter haiena Cinematographer N/inco Editor Jean-Pierre Fujii Production designer Jean-Pierre Fujii Music haiena Sound haiena, Jean-Pierre Fujii Voice Cast Otani Nobu, haiena, Mizuta Mao Cast Yumi Production J&H Films World Sales PIA Film Festival

Luginsky 鹿陽大暴走 In a world where people belong to either the higher or lower, a citizen suffers from chronic hallucinations due to a motorcycle accident. He has lost his job on top of that and copes by drinking too much at various bars. At one of the places he stumbles upon, a dancehall called “The Yellow Flashback,” he drinks some bootleg liquor made from unknown ingredients, based on a recipe by a retired boxer named Luginsky. He becomes hooked on this bootleg, which exacerbates his chronic hallucinations and increasingly blurs the line between reality and illusion, causing him to experience an irrational turn of events repeatedly.

[簡介] 因電單車事故而出現慢性幻覺症狀的主角鹿男，遊走於一個把市民劃分成「高等市民」和「平民」兩個階級的世界。禍不單行，身為「平民」的他還失掉工作，唯有終日流連酒吧，喝個酩酊大醉。有次偶然跑到一家名叫「黃色走馬燈」的舞場，喝了些違禁販賣的酒。這些酒的成分不明，按照退休拳師路堅斯基的秘方調製而成。他喝了之後神魂顛倒，欲罷不能，不但幻覺倍增，現實與幻想的界線也愈來愈模糊不清，一再經歷曲折離奇的荒誕事件。

haiena was born in Tokyo, Japan in 1977. He focused on writing post-modernist literature after graduating from a music school. He currently works as a beat-maker and does physical work on a per diem basis. Luginsky won the Cinema Fan Award at the PIA Film Festival 2020. haiena 1977 年生於日本東京。音樂專科學校畢業後，專注於後現代文學創作。目前他的工作是創作節拍音樂，同時從事日薪體力勞動。《鹿陽大暴走》在 2020 年日本 PIA 電影節贏得影迷獎。

SELECTED FILMOGRAPHY 主要作品 2020 Luginsky 鹿陽大暴走

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ANIMATION UNLIMITED 超人氣動畫

World Animation 世界動畫精選 I See the Abyss 我看見森淵

Dir: Karolina Kajetanowicz Poland 波蘭 2020 DCP Colour 4min

Inspired by the work of Polish poet Bolesław Le mian, a visual poem about being alive and wanting the opposite. A man walks his dog into the dark forest. Thoughts and sensations are swirling in their heads, but they are unable to communicate them. They walk together, yet are isolated.

[ 簡介 ] 受波蘭詩人萊希米安一首有關存活、渴求相反之物的視覺詩啟發，在這部作品中，男人和他的狗步入黑暗森林；各種想法和感覺在他們腦海中縈繞不散，卻無法宣之於口。他們並肩而行，卻孤獨而存。

Karolina KAJETANOWICZ was born in Wroclaw, Poland in 1993. She is a student in the animation faculty at The Polish National Film, Television and Theatre School in Łód . She also works at the small independent studio Yellow Tapir Films as an animator. 嘉露蓮娜卡耶塔諾維奇 1933 年生於波蘭弗羅茨瓦夫。她就讀波蘭羅茲國立電影電視戲劇學院動畫系，在黃貘獨立影視工作室任動畫師。

The Mistress of the Copper Mountain 銅山女王復仇記

Dir: Dmitry Geller Russian 俄羅斯 2020 DCP Colour 13min

In the Urals, there is a special culture – mining. And, like any culture, it has its own gods. In the Urals, this is the Mistress of the Copper Mountain. She manages the underground treasures, she is the keeper of the secrets of the mining professions. But she doesn’t open them to everyone, comprehension of secrets may cost lives. Every god requires his sacrifices.

[ 簡介 ] 礦業是烏拉爾山一帶的特有文化。而和任何文化一樣，它有自己的神祇 ─「銅山女王」。她負責保管地下寶藏，是礦業機密的守護者，並不會與所有人分享那些奧秘。而了解秘密的代價，可能是付上性命，畢竟神祇們都需要祭品。

Dmitry GELLER was born in Yekaterinburg (Sverdlovsk), Russia in 1970. He studied at the Highest Courses for Script Writers and Film Directors in Moscow. Selected filmography: Hello from Kislovodsk (01), Man Meets Woman (14), The Mistress of the Copper Mountain (20). 迪米崔蓋勒 1970 年生於俄羅斯葉卡捷琳堡（今斯維爾德洛夫斯克），曾修讀莫斯科編導高階課程（HCFDS）。導演短片有《來自基茲洛沃茨克的問候》(01)、《男女相逢》(14)、《銅山女王復仇記》(20)。

À La Mode 慌失失潮兵

Dir: Jean Lecointre France 法國 2020 DCP Colour 9min

In a kingdom tormented by fashion crazes, a queen and her court must always keep up with the new trends. If not, an abominable monster will consume them: the Ridicule. But with the arrival of a disarmingly natural cowboy, this nation of fashion victims laughs, and a simple question arises: what if the Ridicule isn’t what we think?

[ 簡介 ] 在一個受時尚詛咒的國度，那裏的女王及其屬下必須時常緊貼潮流，不然便會招致猛獸「嘲笑」的來襲。但隨着一位生性自然的牛仔到來，這個備受時尚殘害的地方都舉國開懷地笑了，一個簡單的問題也浮現︰「嘲笑」會否非如我們所想？

Jean LECOINTRE graduated from the Paris École Supérieure des Arts graphiques. He created his own collages for the press, publishing companies and TV, and turned to animation with Turkish Delights (03). 尚黎關特畢業於巴黎國立高等平面設計藝術學院，後為不同報章、出版社及電視台製作拼貼作品，2003 年起投入動畫製作。

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ANIMATION UNLIMITED 超人氣動畫

World Animation 世界動畫精選 Little Hilly 山川壯麗

Dir: Huang Yun-Hsien, Liao Pei-Yu 導演：黃勻弦、廖珮妤

Mandarin 國語 2020 DCP Colour 19min

A good vision is everyone’s want, but it is rare for a real individual, society, or country to be able to have a voice. We all yearn for our voices to be recognised and understood, and even when we are free to speak, we are not necessarily able to speak what we really want, what invisible forces prevent us from saying what is in our hearts?… Huang Yun-Hsien, Liao Pei-Yu

[ 導演的話 ] 美好願景人人嚮往，但現實的個人、社會、國家無法發聲的情況所在多有。尤其身為多元背景下的台灣人對此處境應該不陌生。我們都渴望自己的聲音被認同和被理解，但即使在可以自由發言的狀態下也很難達成，到底是什麼隱形的力量抑止我們說出心中的話呢？……

HUANG Yun-Hsien was born in Changhua, Taiwan in 1982. Sian believes that the stop-motion animation and dough-crafting both emphasise on the unique hand-made spirit. Selected filmography: Where Am I Going? (18), Little Hilly (20). 黃勻弦 1982 年生於台灣彰化，她相信定格動畫及搓麵工藝，都是手工精神的體現。導演作品有《當一個人》(18)、《山川壯麗》(20) 等。 LIAO Pei-Yu is a stop-motion animator, puppet designer and builder, and graffiti artist from Taiwan. She specialises in clay animation. 廖珮妤是台灣偶動畫師、角色設計製偶師，並從事塗鴉創作，專研黏土動畫。

Navozande, the Musician 瑟落天涯

Dir: Reza Riahi France 法國 2020 DCP Colour 15min

My arrival in France allowed me to take a step back from my own country… I realised how much I wanted to share our history. The history of a repressed and yet still hopeful people who are trying to free themselves from political regimes or violent occupations imposed upon them…I think it is important to take a close look at the consequences it can have on a life. Reza Riahi

[ 導演的話 ] 人在法國，令我能遠距離觀察故鄉，然後發現自己有多想分享我們的歷史。那是一群被壓迫、但仍抱有希望的人，孜孜不倦地嘗試擺脫政權的掌控、或加諸他們身上的暴行。我認為極有需要仔細審視這一切對人們生活的影響。

Reza RIAHI was born in Tehran in 1987. He studied Fine Arts in Iran and was later professionally trained at the Ecole de la Poudrière in Bourg-Les-Valences. He was the artistic director on The Breadwinner (17), which was nominated at the Oscars. 雷扎里亞希 1987 年生於德黑蘭，受訓於法國瓦朗斯堡普狄業學院。他是《持家小木蘭》(17) 的美術指導，該片獲提名奧斯卡最佳動畫。

Three Jumps to Happiness Trzy Skoki do Szcz 快樂三步曲

Dir: Artur Hanaj Poland 波蘭 2020 DCP Colour 12min

[This is] a black comedy describing one evening in the lives of several animals. A couple of turtles, a bear and a personal monkey trainer want to find their will to consciously manage their lives. The story follows the Aesopian tradition of narration by means of an animal fairy tale on the level of contemporary existential problems and attempts at understanding between the characters.

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[ 簡介 ]（這是一部）黑色喜劇，圍繞幾隻動物一晚的生活展開。一對龜、一隻熊、一隻猴子私人教練試圖重拾掌控自己意識和意欲。故事以伊索寓言式敘述傳統為基調，嘗試在當代存在危機的層面上，透過動物童話故事來了解角色間的張力。

Artur HANAJ graduated from the Film School in Łód , Poland, specialising in animated film and special effects. His works contain mostly stop-motion animation and motion design. Selected filmography: Invigilo (15), REM (17), Three Jumps to Happiness (20). 阿圖哈耐爾畢業於波蘭羅茲電影學院，專研動畫電影及特效。他的作品多涉及定格動畫製作及動態設計。導演作品有《覺醒》 (15)、《REM》(17)、《快樂三步曲》(20) 等。

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ANIMATION UNLIMITED 超人氣動畫

World Animation for Adults 成人動畫精選 Tie Elo 皮骨和合大法 Tie is a kind of parable about the ability we have to adapt to others and the world around us. With a dark environment, and bizarre characters, it’s a film with an optimistic view of the world where the power of cooperation overcomes any handicap. Dir: Alexandra Ramires Portugal/France 葡萄牙／法國 2020 DCP 11min

Interview with Alexandra Ramires The New Current

[ 導演訪問 ] 影片可說是個寓言，指出我們有能力去適應他人及周遭世界的變化。本片在幽暗環境拍攝，充滿怪異角色，對前景卻是一片樂觀，深信彼此合作定可克服任何障礙。

Alexandra RAMIRES graduated from the faculty of Fine Arts at the University of Lisbon in 2010. Drop By Drop (17) is her first film, co-directed with Laura Gonçalves. Tie is her debut as a solo director. 阿歷山大萊米爾 2010 年畢業於里斯本大學藝術系，《皮骨和合大法》是她個人導演的首部動畫短片。

GNT 三個女人一個博出位

Dir: Sara Hirner, Rosemary Vasquez-Brown Australia 澳洲 2020 DCP 4min

GNT was inspired by real conversations between young women, and the lengths we will go to, in order to validate our most vulgar curiosities and insecurities. It frames the contradictions of female friendship, through Glenn, Nikki and Tammy’s dynamic, often antagonistic co-dependency. Sara Hirner and Rosemary Vasquez-Brown

[ 導演的話 ] 影片靈感來自年輕女性的真實對話，以及我們如何花費唇舌，好證實我們具有最庸俗的好奇心和不安感，都是理所當然。格蓮、妮基和譚美，三人一見面就會盡情抒發，經常針鋒相對，其實誰也離不開誰，精闢勾勒出女性友情的恩恩怨怨。

Sara HIRNER is an artist, 2D animator and graphic designer based in Australia. 莎拉軒娜來自澳洲，為藝術家、2D 動畫設計師和平面設計師。 Rosemary VASQUEZ-BROWN is a 2D animator, designer and illustrator based in Australia. 羅絲瑪莉華昆斯布朗來自澳洲，為 2D 動畫設計師、設計師和插畫家。

Ghosts 失魂公寓 I try to portray the daily lives of two lovers who have lost something in life and become ghosts with experimental images and videos.

Park Jee-youn

Dir: Park Jee-youn South Korea 南韓 2020 DCP 10min

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[ 導演的話 ] 我想用實驗性的影像和錄像，刻劃一對愛侶的日常生活，他們的生命已失去寄託，變成鬼魂。

PARK Jee-youn was born in GyeongNam, South Korea in 1974. She graduated from Jinju Health College of Health Administration, and now works as the Art Director of Studio “Nowornever”. Selected filmography: Instant Memory (05), Skin and Mind (18), Ghosts (20). 朴志緣 1974 年生於南韓慶尚南道，畢業於晉州保健大學，現為 Nowornever 工作室藝術總監。導演作品有《即時記憶》(05)、《皮與腦》(18)、《失魂公寓》(20) 等。

ANIMATION UNLIMITED 超人氣動畫

World Animation for Adults 成人動畫精選 Affairs of the Art 愛癲事家庭

Dir: Joanna Quinn, Les Mills UK/ Canada 英國／加拿大 2021 DCP 16min

Beryl started as a very one-dimensional character in a comic strip I did at college. […] Audiences seemed to really like the character, and she enabled us to say things about women and society because she’s a typical, normally invisible middle-aged woman. Interview with Joanna Quinn and Les Mills

[ 導演訪問 ] Beryl 最初是我在大學創作的漫畫當中一個直腸直肚的角色。後來觀眾似乎真的很喜歡這角色，她的遭遇可以讓我們道出女性和社會的一些問題，因為她是那種典型的、通常在電影看不見的中年婦女。

Joanna QUINN was born in Birmingham, England. She studied in Graphic Design at Middlesex University, it was there that she adapted her drawing abilities to produce animated films. Selected filmography: Girls Night Out (87), Wife of Bath (98), Affairs of the Art (21). 祖安娜昆生於英國伯明翰。她在密德薩斯大學攻讀平面設計，期間製作動畫。導演作品有《女孩夜生活》(87)、《浴池之妻》 (98)、《愛癲事家庭》(21) 等。 Les MILLS was born in Cardiff, Wales. He worked as the Course Director in Film and Animation Production at the Film School of the University of Wales, Newport. Selected filmography: Girls Night Out (87), Wife of Bath (98), Affairs of the Art (21). 歷士米斯生於威爾士首都卡迪夫。他曾在紐波特的威爾士大學電影學院擔任電影暨動畫製作課程主任。導演作品有《女孩夜生活》(87)、《浴池之妻》(98)、《愛癲事家庭》(21) 等。

Just a Guy 男人啫

Dir: Hara Shoko Germany 德國 2020 DCP 15min

There are a lot of movies and documentaries about Richard Ramirez. […] None of those stories are about love. The sweet tenderness of love – and the harsh reality of a condemned rapist and serial killer. Is love a feeling so strong that it will conquer and overcome even the worst of us?

[ 簡介 ] 八十年代美國加州夜行殺手李察拉米雷斯的事跡，已被拍成很多電影和紀錄片。但沒有一個是關於愛情的故事，可以道出那甜蜜溫柔的愛情，還有這個被判刑的強姦犯兼連環殺手的殘酷現實。愛是否一種強烈感情，強烈得可以征服並戰勝我們當中最壞的一個人？

HARA Shoko was born in Okayama, Japan in 1988. Currently she is teaching Motion Graphics at the Duale Hochschule Baden-Württemberg Ravensburg. Selected filmography: Abita (12), What They Believe (16), Just a Guy (20). 原彰子 1988 年生於日本岡山市。目前她在德國巴登符騰堡大學拉芬斯堡分校講授動態圖像設計。導演作品有《福島少女阿碧泰》(12)、《他們的信念》(16)、《男人啫》(20) 等。

Little Miss Fate 命運小姐鳥 I have created a character who tries to explore destiny. […] When trying to influence the world, Little Miss Fate is surprised by the complexity of the system and her belief in self-determined destiny is questioned. Joder von Rotz Dir: Joder von Rotz Switzerland 瑞士 2020 DCP 8min

[ 導演的話 ] 我創造了一個嘗試探索命運的角色。命運小姐正要設法影響世界時，驚覺世界的體系極之複雜，雖然一貫相信命運由人自決，心中也興起疑問。

Joder von ROTZ was born in Kerns, Switzerland in 1987. Apprenticeship as structural draftsman. Little Miss Fate is his solo directorial debut. Selected filmography: Bier im Tier (co-dir, 12), M.T.E.O.D. (co-dir, 19), Little Miss Fate (20). 祖達馮羅斯 1987 年生於瑞士克恩斯。受過結構繪圖的學徒訓練。《命運小姐鳥》是他首部獨立執導的短片。導演作品有《動物之啤酒》( 合導，12)、《M.T.E.O.D》( 合導，19)、《命運小姐鳥》(20) 等。

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Poetry in Motion 詩影像

POETRY IN MOTION 詩影像 Croatia 克羅地亞 2020 | Croatian | DCP/Online | Colour | 80min Director Dalibor Bari Producer Ivan Kati Scriptwriter Dalibor Bari Editor Dalibor Bari Music Dalibor Bari Sound Dino Brazzoduro, Ivan Zeli Voice Cast Rakan Rushaidat, Ana Vilenica, Frano Maškovi Production/World Sales Kaos

Accidental Luxuriance of the Translucent Watery Rebus 半透明水謎之忽然奢華 I would describe my style as Silence Fiction (since the movie’s modernist style suggests the symbolic death of the science fiction genre of the past which once was concerned about the future). I also like how Fabien Lemercier (Cineurope) wrote about the film: “Accidental Luxuriance of the Translucent Watery Rebus is a hybrid work mixing rotoscopy, collages, found footage and experimental abstractions. The film is a dizzying whirlwind woven around an enigmatic narrative entanglement, at the border of the metaphysical thriller and of cosmico-political sci-fi.” Dalibor Bari

[導演的話] 我會稱自己的風格為「空幻小說」（Silence Fiction）（因為這部片的現代主義風格，象徵過去那種關注未來的科幻小說已經消亡）。我也喜歡影評人法比安勒默西耶在《歐陸電影》對本片的評述：「《半透明水謎之忽然奢華》是部混雜了多種技術的電影，包括動畫轉描、拼貼、尋獲佚失片段和充滿實驗性的抽象手法。這部影片恍如一股令人眩暈的旋風，圍繞着神秘的曲折敘事，既是探索形上哲理的驚慄片，也是具有宇宙隱喻和政治諷刺的科幻小說。」

Dalibor BARI is a Croatian experimental filmmaker who often explores traditional genres like science fiction and horror. Using found objects as his source material, Bari uses collage techniques in order to produce psychedelic narratives that blur the lines between the outer and inner realities. 達利博巴歷克羅地亞的實驗電影工作者，經常探索科幻小說和恐怖片等傳統類型題材。他喜歡運用現成物為創作素材，以拼貼手法產生撲朔迷離的敘事，模糊外在現實與內心世界的界限。

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SELECTED FILMOGRAPHY 主要作品 2010 The Horror of Dracula (short) 恐怖吸血殭屍（短片） 2015 Unknown Energies, Unidentified Emotions (short) 能量未知，情緒未定（短片） 2017 Astronaut of Featherweight (short) 羽量級太空人（短片） 2020 Accidental Luxuriance of the Translucent Watery Rebus 半透明水謎之忽然奢華

POETRY IN MOTION 詩影像 Thailand 泰國 2021 | Thai | DCP | B&W | 65min Director Anocha Suwichakornpong Producer Parinee Buthrasri, Mai Meksawan Scriptwriter Anocha Suwichakornpong Cinematographer Boonyanuch Kraithong Editor Aacharee Ungsriwong Production Designer Akekaret Homlaor Sound Ernst Karel Cast Apinya Sakuljaroensuk, Sornrapat Patharakorn, Waywiree Ittianunkul, Bhumibhat Thavornsiri, Sirat Intarachote Production Electric Eel Films, Diversion World Sales Rediance

Come Here 撲朔留離 Come Here is in black and white, with the aspect ratio 4:3. I chose to shoot it in this format because I wanted the film to explore an anachronistic sense of time, one that is caught between the modern representation of the young protagonists in juxtaposition to the historical underpinnings of their surrounding landscape. The starting point for the film was that I wanted to work with young people, and I wanted to make a film about them. What do they think about? What are their worries and dreams? These questions inevitably led me to question about love. In contemporary Thailand, the notion of love is a complicated one. Love, as an ideology, is inextricably linked to the idea of self and the nation. Societal pressure is such that it is no longer sufficient to have love for yourself, your family and friends. You must also love your nation, religion, and the king… By looking into cultural appropriation and history, Come Here raises questions about the relationship between art, life, and politics. How does one influence the other and what effects does time have on this relationship? What role can cinema play in capturing this essence? Anocha Suwichakornpong

[導演的話] 《撲朔留離》是黑白片，畫面比例是 4：3。我選擇用這個格式拍攝，因為我希望藉着影片探索今昔錯位的時間感，也就是那些過着現代生活的年輕主角，無法完全擺脫周遭自然風景所包含的歷史包袱。影片出發點是我想跟年輕人合作，想拍部電影來講述他們。他們在想些什麼？有什麼憂慮和夢想？這些問題無可避免地使我對愛生出疑問。在當今泰國，愛是個錯綜複雜的概念。愛作為一種意識形態，已跟自我和國家的觀念糾纏難分。社會的壓力，令人再無法單純只愛自己，愛家人及朋友；還得去愛國家，愛宗教，愛國王。〈友誼萬歲〉在西方是用於迎接新年的歌曲，歌詞懷想舊時，珍惜友誼。但在泰國，泰文歌詞是冷戰最嚴重時期由軍政府所作，歌名成了〈團結一致〉，通常在童軍大露營的尾聲合唱，歌詞跟國際版本大相逕庭，是在歌頌國王及全國團結。《撲朔留離》檢視文化挪用及歷史現象，就藝術、生活和政治的關係提出各種疑問。三者之間如何互相影響，時間又對三者的關係產生什麼效果？電影在捕捉這個要素時可以發揮怎樣的作用？

Anocha SUWICHAKORNPONG was born in Thailand in 1976. She received her MFA in Film from Columbia University, New York, where she was a recipient of a Hollywood Foreign Press Association Fellowship. Anocha’s thesis, Graceland (06), became the first Thai short film to be included in the Official Selection at the Cannes Film Festival (Cinefondation). Come Here is her latest feature. 安諾釵舒域察歌邦 1976 年生於泰國。九十年代負笈英倫，後於紐約哥倫比亞大學獲頒藝術碩士學位。畢業作品《恩寵地》(06) 是康城影展首部正式入選的泰國短片。《撲朔留離》是她的最新劇情長片。

SELECTED FILMOGRAPHY 主要作品 2006 Graceland (short) 恩寵地（短片） 2009 Mundane History 俗物人間 2016 By the Time It Gets Dark 入黑之時 2019 Krabi, 2562 (co-dir) 喀比的前世今生（合導） 2021 Come Here 撲朔留離

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POETRY IN MOTION 詩影像 Spain/France/Luxemburg 西班牙／法國／盧森堡 2019 | Spanish | Online | Colour | 85min Director Oliver Laxe Producer Andrés Vázquez, Xavi Font, Andrea Queralt, Mani Mortazavi Scriptwriter Oliver Laxe, Santiago Fillol Cinematographer Mauro Herce Editor Cristóbal Fernández Production designer Samuel Lema, Curru Garabal Music Xavi Font Sound David Machado, Sergio Da Silva, Amanda Villavieja, Xavi Souto Cast Amador Arias, Benedicta Sánchez, Inazio Abrao, Elena Fernández, David de Poso, Alvaro de Bazal Production Miramemira, 4A4 Productions, Kowalski Films, Tarantula World Sales Pyramide International

Fire Will Come O que arde 風火臨山 Wildfire has now become a major topic. Public opinion is searching for people to blame, it is out for blood. And of course, the figure of the pyromaniac is one of the most demonized today. I am always astounded when society ostracises an individual.

[導演的話]

From the second sequence of the film, we know that the main character has been charged with arson. Was he guilty? Has he made peace with the world, with nature? Is he a hopeless repeat offender? And what if he was innocent? We may ask ourselves those questions throughout the film. But once we get to share the daily life of Amador, his mother Benedicta and their animals, once we face with them the harsh weather conditions as they put the herd to pasture up hill and down dale, when we hear the stove purr or the rain patter continuously above their heads, we share the private lives of these people. We even end up liking Amador. As empathy sets in, questions dissolve. We can feel Amador’s maladjustment, his suppressed pain, his spiritual scar. “If they make suffer, it’s because they are suffering,” Benedicta says.

由第二場戲開始，我們得知主角曾被判以縱火罪名。但他真的有罪嗎？他是否已跟世界和解，不再仇視自然？還是他依然故我，屢犯不改？萬一他真的無辜呢？看電影時我們心中或會出現以上疑問。然而一旦我們了解到阿瑪多與媽媽貝妮蒂特飼養牲畜的日常生計，跟他們一起在嚴峻天氣上山下谷到處放牧，聽他們家中火爐呼呼作響，或屋頂雨聲綿綿不絕，我們就走進了他們的私人生活，最後甚至會對阿瑪多生出好感。當有了同情，先前的疑問就會消失。我們可以感受阿瑪多無法適應社會的困境，體會他抑壓心頭的痛苦，觸摸到他心靈受過的創傷。貝妮蒂特說：「要是他們令別人受苦，是因為他們自己正在受苦。」

I wanted Fire Will Come to be a dry melodrama, with held back tears. In my writing, I tried to instill a stripped-down psychology, close to the bone: the emotional roughness of the characters matches the starkness of their environment. Their restrained emotions finally explode with the fire.

山林大火現今已是重要課題。輿論要找箭靶，往往群起攻之，充滿嗜血味道。當然，大家都把縱火狂視為十惡不赦。看到社會一窩蜂排擠某人，我總是十分震驚。

我希望本片是一部不會催淚煽情的通俗劇，眼淚都往肚裏吞。編劇時我把心理刻劃盡量減少，刪掉多餘的交代：角色情感不加任何修飾，正襯托出他們極端貧瘠的環境。他們隱忍克制的情緒終於爆發，與大火一起熊熊燃燒。

Oliver Laxe

Oliver LAXE was born in Paris, France in 1982. The son of Galician parents, he grew up in Spain, France, and Morocco. After studying filmmaking at the Pompeu Fabra University in Barcelona, all three of Laxe’s feature films to-date have premiered at the Cannes Film Festival. 奧利華歷斯 1982 年生於巴黎，畢業於巴塞隆拿龐培法布拉大學，現於摩洛哥居住及工作。首部長片《你們都是船長》(10) 獲康城影展國際影評人聯盟獎。其後的《含羞草》(16) 和《風火臨山》均在康城影展首映。

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FILMOGRAPHY 作品年表 2010 You All Are Captains 你們都是船長 2016 Mimosas 含羞草 2019 Fire Will Come 風火臨山

POETRY IN MOTION 詩影像 Germany 德國 2020 | English | Online | Colour | 100min Director Heinz Emigholz Producer Frieder Schlaich, Irene von Alberti Scriptwriter Heinz Emigholz Cinematographer Heinz Emigholz, Till Beckmann Editor Heinz Emigholz, Till Beckmann Production designer Ueli Etter Music Kreidler (Alexander Paulick, Andreas Reihse) Sound Markus Ruff, Christian Obermaier Cast John Erdman, Jonathan Perel, Young Sun-han, Dorothy Ko, Susanne Sachsse, Laurean Wagner Production Filmgalerie 451 World Sales Filmgalerie 451

The Last City Die letzte Stadt 最後的城市 The first attempt to produce The Last City was in 2003. At that time the project was called Tale of Five Cities and was supposed to be produced by Karim Debbagh for Kasbah Films. [...] The new, and compared to Tale of Five Cities greatly altered project The Last City, picks up where the film Streetscapes [Dialogue] leaves off – although no knowledge of the previous film is necessary. Its protagonists have changed greatly and they have changed professions. The filmmaker has become an archeologist, and the psychoanalyst a weapons designer. They meet at an excavation site in the Negev Desert and continue their discussion in the Israeli city of Be’er Sheva. The film then proceeds with changing actors in changing roles; a circular dance that takes us to the cities of Athens, Berlin, Hong Kong and São Paulo. The protagonists’ dialogues deal with war, now obsolete social taboos, an old man’s encounter with his younger self, war guilt and cosmological musings. I lack the patience to give a more detailed summary of a film that cannot be retold. Suffice to say, one may wish to subject oneself to the experience to find out what it is about firsthand. It certainly isn’t monothematic in nature. Heinz Emigholz

[導演的話] 最初想拍《最後的城市》是在 2003 年，當時叫《五城記》，本來想拍的是埃及的亞歷山大港、伊朗的卡尚、阿根廷的布宜諾斯艾利斯、摩洛哥的非斯，以及德州侯斯頓。但由於找不到足夠資金，無法成事。如今我已拍了 83 部短片和 12 部長片，它們大部分沒有解說，也沒有演員演出，完全信任攝影機讓事物自我說明。這些影片多數在複雜的建築內拍攝，這是我作為攝影師的偏好。現在《五城記》計劃已改頭換面，由前作《市街風景 [ 對話篇 ] 》結束的地方接續下去，不過觀眾毋須看過前作也行。主要角色被我大改了，職業都改了，原本的電影導演變成了考古學家，臨床心理學家變成了武器設計師。他們在巴勒斯坦南部內蓋夫沙漠一個考古發掘現場會面，並在以色列城市貝爾舍巴繼續討論。影片接下來以不同演員，每人先後扮演不同角色，像一場圓舞，把我們帶到雅典、柏林、香港和巴西聖保羅。主角的談話涉及戰爭、現已過時的社會禁忌，一位老人與年輕時的自己相遇，也涉及戰爭罪咎，以及宇宙起源的沉思。我無法在此詳述本片內容，大家不妨自行體驗。本質上，它絕非單一主題。

Heinz EMIGHOLZ was born in Achim, Germany in 1948. He trained first as a draftsman before studying philosophy and literature in Hamburg. He began filmmaking in 1968 and has worked since 1973 as a filmmaker, artist, writer and producer in Germany and the USA. 漢斯艾密荷斯 1948 年生於德國，曾學習繪製圖則，在漢堡修讀哲學及文學。 68 年開始拍片，73 年起在德國及美國兩地從事電影及藝術創作。

SELECTED FILMOGRAPHY 主要作品 1974-2004 The Basis of Make-Up (series) 化妝基礎（系列） 2005-09 Sense of Architecture (series) 建築的感知（系列） 2015-17 Streetscapes (series) 市街風景（系列） 2020 The Last City 最後的城市

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POETRY IN MOTION 詩影像

Avant Garde Shorts Programme 前衛短片專輯 Stones 石投記

Dir: Michael Heindl Bolivia/Chile/ Peru 玻利維亞／智利／秘魯 2019 Colour DCP 3min

In a minimalistic manner, this film plays with the fact that the meaning of an action depends on the environment it takes place in. […] The simple action (of throwing a stone) is continued in different filming locations. The film starts in the completely emptied and desert-like landscape of the Altiplano in Bolivia and ends in the urban jungle of Santiago de Chile.

[ 導演的話 ] 本片表現手法極為簡約，圍繞着一個動作，看其意義如何取決於動作發生的環境。扔石頭的簡單動作，在不同的拍攝地點接續出現。影片開頭是沙漠般荒蕪的玻利維亞高原，片末則是智利聖地牙哥的城市森林。

Michael Heindl Michael HEINDL was born in Linz, Austria in 1988. He often explores the possibilities of art in public space in his works. Selected filmography: The Semiotic Machine (18), Stones (19), Spring Will Not Be Televised (20). 米高軒度 1988 年生於奧地利林茨。其作品經常探索在公共空間創造藝術的可能性。電影作品有《符號學機器》(18)、《石投記》 (19)、《春天不會在電視轉播》(20) 等。

Lunar Dances Danzas Lunares 月舞 “Coyolxauhqui”, the lunar deity in Aztec cosmology, is a cinematic trance between mythology and political landscapes. This film is under the spell of historical violence against women in Mexico. Colectivo Los Ingrávidos Dir: Colectivo Los Ingrávidos Mexico 墨西哥 2020 Colour DCP 9min

[ 導演的話 ] 阿茲特克神話的月亮女神，在神話與政治交織的世界，舞出這部迷幻短片。影片彷彿被施了魔法，捲入墨西哥壓迫婦女的歷史暴潮。

Colectivo Los Ingrávidos is a Mexican art collective formed by independent audiovisual artists in 2011, strengthened and became anonymous, as of 2014 after the mysterious disappearance of 43 students in Iguala, Mexico. 無重創作組是由墨西哥從事視聽創作的獨立藝術家發起的藝術團隊。2011 年成立，後因 2014 年有四十三名學生在伊瓜拉神秘失蹤，形成更為嚴密的組織，作品皆匿名發表。

False Water L’eau faux 假水 There is friction in the water. An entity of the natural environment but also a constant subject of manipulation. When water became a “thing” that you can buy in a bottle, something changed. An experimental film with animation, puppeteering and actors. Dir: Serge Onnen, Sverre Fredriksen The Netherlands 荷蘭 2020 Colour DCP 15min

[ 簡介 ] 水也會有摩擦。水是大自然環境中獨立存在的實體，卻不斷受人操縱。當水變成放在瓶中販賣的「物品」時，便生出異樣變化。一部運用了動畫、木偶和演員的實驗電影。

Serge ONNEN was born in Paris, France in 1965. He made his first short film, Cloacinae (17), with Sverre Fredriksen. False Water is their second film. 瑟爾奧倫 1965 年生於法國巴黎。他與史彼艾弗域臣合作拍成首部短片《古羅馬下水道女神》(17)。《假水》是他們第二部電影。 Sverre FREDRIKSEN was born in Norway in 1981. He is an animation artist based in Amsterdam. 史彼艾弗域臣 1981 年生於挪威。長居荷蘭阿姆斯特丹的動畫師。

When We Are Nothing Left 一無所有時 A minimalist film about time, infinity and the life cycle, created in the spirit of William Blake. Shot with Bolex and hand processed on Film Farm in Mount Forest, Ontario, Canada, during the summer 2018. Dir: Milja Viita Canada 加拿大 2020 Colour DCP 8min

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[ 簡介 ] 一部關於時間、無限和生命周期的極簡電影，以威廉布雷克的精神創作。影片是在 2018 年夏季用寶力士攝影機拍攝，在加拿大安大略省森林山鎮的「電影農場」公司人手沖印。

Milja VIITA was born in Karjalohja, Finland in 1974. She is a contemporary artist working with time based arts. Selected filmography: Animal Bridge U-3033(18), When We Are Nothing Left (19), The Enemy Within Me (19). 米莉亞費達 1974 年生於芬蘭卡雅洛赫亞。她是當代藝術家，創作立足於時間的媒體藝術。導演作品有《動物橋 U-3033》(18)、《一無所有時》(19)、《我心中的敵人》(19) 等。

POETRY IN MOTION 詩影像

Avant Garde Shorts Programme 前衛短片專輯 Jatun Llaxta, Noh Kaah... 古文明迷蹤

Dir: Marcos Arriaga Canada 加拿大 2020 Colour DCP 8min

A short experimental film that explores ancient native cities in America. Images of Machu Pichu, Sacsayhuaman, Uxmal, Chichen Itza, and Mesa Verde had been blow up from Super 8 to 16 mm, hand developed and reticulated to create an evocative view of our past.

[ 簡介 ] 一部探索美洲古城的實驗短片。秘魯的印加帝國遺蹟馬丘比丘、薩克賽瓦曼；瑪雅古城烏斯馬爾、奇琴伊察；還有古普韋布洛人的建築遺址梅薩維德，六大古城的影像從超八放大至 16 米厘，經人手顯影，形成網狀，令人勾起過去種種回憶。

Marcos ARRIAGA was born in Lima, Peru. He was the Director of Photography on several independent productions and now works as a Film Technician at York University. 馬可斯艾利加出生於秘魯利馬。他曾擔任多部獨立製作的攝影指導，現在於約克大學擔任電影技師。

Aries 橫行白羊座 A single window frame; a portal. As the circular nature of time begins to reveal itself, a new decade begins.

Dir: Elian Mikkola Canada 加拿大 2020 Colour DCP 8min

[ 簡介 ] 一個靜室風景橫臥的鏡頭。一個窗框、一道星門，承載外在風光輪轉；鎢絲燈泡引導，新時代不動聲色閃過眼前。

Elian MIKKOLA was originally from Turku, Finland. She is part of La Lumière Collective based in Montréal and a current board member of the Queer City Cinema. Selected filmography: Waves (17), Magdaleena (19), Aries (20). 伊蘭米高拿原籍芬蘭圖爾庫。現為加拿大蒙特婁「光之組合」成員，也是加拿大里賈納同志電影節 Queer City Cinema 現任董事之一。導演作品有《浪》(17)、《瑪德蓮》(19)，《橫行白羊座》(20) 等。

Before the Collapse of Mont Blanc Avant l’effondrement du Mont Blanc 山崩雪塌前

Dir: Jacques Perconte France 法國 2020 Colour DCP 16min

Are we the very last to see the peaks of Mont Blanc? […] Mountains are falling, and there’s nothing we can do about it. And even if we have the means to rise to their height to admire them, to surpass those inaccessible peaks where many explorers lost their lives trying to gain the privilege of overcoming them, the mountains will continue to fall as they continue to rise. If Mount Blanc falls, it also rises. Jacques Perconte

[ 導演的話 ] 我們是最後一批看到白朗峰山巔的人嗎？峰頂已開始雪崩，我們卻無能為力。許多探險家為征服頂峰而命喪其中，即使我們有辦法爬到山頂欣賞雪山，攀越那些人跡罕至的山峰，但山岳會繼續塌下，正如山岳會持續上升。即使白朗峰（因雪崩而）變矮了，山也會長高的。

Jacques PERCONTE is a Paris-based filmmaker and visual artist. His works have mainly explored the digital medium since 1999. Selected filmography: After the Fire (10), Ettrick (15), Before the Collapse of Mont Blanc (20). 積葵柏康特巴黎電影製片人兼視覺藝術家。從 1999 年起，作品主要探索數碼媒體。導演作品有《大火過後》(10)、《埃特里克》(15)、《山崩雪塌前》(20) 等。

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May/Jun/Jul 2021

德格拉斯薛克 SIRK

法斯賓達

FASSBINDER

世故之內，凡俗之外 Films to Love and Films to Die For

地老天荒不了情 Magnificent Obsession / 四季商人 The Merchant of Four Seasons 深鎖春光一院愁 All That Heaven Allows / 恐懼蝕人心 Ali: Fear Eats the Soul 無情戰地有情天 A Time to Love and a Time to Die / 婚事 The Marriage of Maria Braun 春風秋雨 Imitation of Life / 過氣女星 Veronika Voss …等等 and more

HKIFFS 主辦 Presented by

KALEIDOSCOPE 五光十色

Restored Classics 修復經典

RESTORED CLASSICS 修復經典 France 法國 1918 | English | DCP | B&W | 384min Director Louis Feuillade Scriptwriter Louis Feuillade, Georges Le Faure Cinematographer Léon Clausse Editor Léon Clausse Cast Mary Harald, René Cresté, Georges Biscot, Édouard Mathé Production/World Sales Gaumont

Tih Minh 天謎 After the triumphs of his four great serials (Fantômas in 1913-1914, Les Vampires in 1915-1916, Judex in 1916 and La Nouvelle mission de Judex in 1917), Louis Feuillade found a new path in a genre that was running out of steam (having been initiated by Victorin Jasset and his 1908 film Nick Carter). He imagined a more open world, a story of espionage against a backdrop of colonial epic and parapsychology. In Tih Minh, this consists of nothing less than the destruction of the British empire in India and the upheaval of the global political balance… Dabbling in poetry, Louis Feuillade addressed his audience: “Good public, delighting in silent dramas / We offer you today in all its fresh splendour / Tih Minh, a novel of love and mad adventures / Of which Apollo was the printer / Here, O public, see a fine collection of images / Breathed into life French springtime sun / Without even having to turn any pages / At the cinema, admire each one”. The formula of the feuilleton remains, Tih Minh was to include 12 episodes that had a literary origin, published daily in Le Petit Parisien. Pierre Philippe

[影評摘錄] 四大系列（1913-14 年的《魅影大盜》、1915-16 年的《吸血鬼》、1916 年的《猶德士》及 1917 年的《猶德士的新任務》）報捷後，路易費雅德從停滯不前的類型片（由維托蘭雅塞開創，初見於其 1908 年的《神探卡特》）中找到新出路。他想像出一個更開闊的世界，以殖民地史詩及靈魂學為背景的間諜故事。《天謎》涵蓋的，不限於大英帝國在印度的破壞，以及全球政局的動蕩……沉浸於詩意中，費雅德致觀眾：「大家好，歡迎觀賞默片／我們今天為你帶來富麗堂皇的全新體驗／《天謎》是一部關於愛與瘋狂歷險的小說／阿波羅是其印刷商／大家來看珍貴影像／將法國春日注入生命／毋須揭開書頁／在戲院即可逐一細賞。」連載方式不變，《天謎》是十二集源自小說的系列故事，取材自《小巴黎》的每日連載。另一偉大成就：同名主角是歐亞混血年輕女郎瑪莉夏勞，她曾於費雅德 1918 年的《天謎》演出。她的演出光芒四射，與一眾意大利女伶並駕齊驅，在其後十年依然深受喜愛。縈繞着她的神秘氛圍（或許也是費雅德對她的愛意），啟發了導演的超現實想像，路易德呂克的風格亦默默受她影響。要去發掘這部鮮為人知的經典，理由無數。

Louis FEUILLADE (1873-1925) was born in Lunel, France. Once a journalist, he began his cinema career in 1906 as a scriptwriter at Gaumont and later became a director whose internationally popular screen serials were the most influential French films of the period around World War I. He directed over 630 films during his career. 路易費雅德 (1873-1925) 出生於法國盧內爾，曾任記者，1906 年加入高蒙電影公司成為編劇，後晉身導演。畢生執導超過 630 部影片，其犯罪系列名揚國際，是一戰時期最具影響力的法國電影。

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SELECTED FILMOGRAPHY 主要作品 1913-14 Fantômas 魅影大盜 1915-16 Les Vampires 吸血鬼 1916 Judex 猶德士 1917 The New Mission of Judex 猶德士的新任務 1918 Tih Minh 天謎

RESTORED CLASSICS 修復經典 USA 美國 1937 | English | DCP | B&W | 86min Director Fritz Lang Producer Walter Wanger Scriptwriter Graham Baker Cinematographer Leon Shamroy Editor Daniel Mandell Production Designer Alexander Toluboff Music Alfred Newman Sound Frank Maher Cast Sylvia Sidney, Henry Fonda, Barton MacLane Production Walter Wanger Productions World Sales Tamasa Distribution

You Only Live Once 逃命鴛鴦 Of all of Lang’s films, You Only Live Once deals with most directly with the power of romantic love. Jean-Luc Godard described Joan and Eddie, one of the models for the doomed couple in his epic of L’amour fou, Pierrot le Fou, as “the last romantic couple in the world.” […] You Only Live Once stages confrontations between different visions of the world, the lovers who can see something in each other no-one else can and the suspicious population whose sight is guided by sensational publications and limited to recognising mug shots. But Lang’s drama does not consist simply in valorising the lovers’ insight and condemning the population’s suspicion. In Lang’s world no one has a complete view of things and several sequences stage this visual uncertainty explicitly. Perhaps the most spectacular is Taylor’s jailbreak just before his scheduled execution. Following his retrieval of the gun from the isolation ward, Taylor takes the prison doctor a hostage and makes his way into the prison yard at night. In this nightscape of fog and darkness (which will become an archetypal film noir image) pierced by the beacons searching for Taylor (whom the guards can hear but not see) Lang pictures an uncertain world. Charged with equal parts violence and uncertainty, it recalls the line from Matthew Arnold that would supply the title for a later Lang film, “Where ignorant armies clash by night”.

[影評摘錄] 在弗烈茲朗的電影中，《逃命鴛鴦》最直接談及浪漫愛情的力量。尚盧高達形容主角鍾與艾迪是「世上最後的浪漫情侶」，也是其《狂人彼埃洛》裏落難鴛鴦的原型之一。弗烈茲朗罕有地將風格主題如此聚焦於一對情侶身上，並賦予強烈情感力量，全無妥協餘地。《逃命鴛鴦》刻劃世界不同觀點的衝突：情人眼望對方，看到別人見不到的；被嘩眾取寵傳媒牽引的好奇大眾，只看到嫌疑犯的通緝照。但弗烈茲朗的戲劇不只簡單地擁護情侶的慧眼而譴責大眾的懷疑，在弗烈茲朗的世界，無人全知一切，在幾個場景裏影像的捉摸不定更為明顯。當中最令人驚歎的可能是泰萊行刑前越獄的場面。他在隔離囚牢取得手槍後，挾持獄醫，企圖在晚上越過監獄操場。在濃霧與黑暗籠罩的夜色中（成為黑色電影的典型畫面），搜捕泰萊的燈塔強光及警號劃破黑暗（獄警聽到但看不見），弗烈茲朗描繪了一個充滿未知的世界。以暴易暴與對錯難分的題旨平分秋色，令人想起英國詩人馬修阿諾德的名句「無知的軍隊正於夜幕下廝殺」，成了弗烈茲朗日後的片名「Clash by Night」（《瓊霄奪愛》）。

Tom Gunning The Films of Fritz Lang: Allegories of Vision and Modernity

Fritz LANG (1890-1976) was born in Vienna and studied painting at the Viennese Academy of Fine Arts. He began writing screenplays in 1917 and made his directorial debut in 1919. He has then become acknowledged as one of the most important directors of the silent era and a pioneer in film. He moved to the US in the mid-30s, and made a variety of genre films for major studios in Hollywood. 弗烈茲朗 (1890-1976) 生於維也納，在維也納藝術學院修讀繪畫，1917 年開始寫電影劇本，兩年後執導首作《半堡壘》。他是德國默片時代重要導演，1931 年拍出其首部有聲片《M》，兩年後移居法國，再往美國，為荷里活各大片廠拍攝多部不同類型的作品，卒於比華利山。

SELECTED FILMOGRAPHY 主要作品 1922 Dr. Mabuse the Gambler 玩家馬布斯博士 1927 Metropolis 大都會 1931 M 1937 You Only Live Once 逃命鴛鴦 1943 Hangmen Also Die 劊子手之死 1945 Scarlet Street 蕩婦離魂記 1953 The Big Heat 火線密殺令

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RESTORED CLASSICS 修復經典 France 法國 1960 | French, English | DCP | B&W | 90min Director Jean-Luc Godard Producer Georges de Beauregard Scriptwriter Jean-Luc Godard Cinematographer Raoul Coutard Editor Cécile Decugis Music Martial Solal Sound Jacques Maumont Cast Jean Seberg, Jean-Paul Belmondo, Daniet Boulanger, Henri-Jacques Huet, Jean-Pierre Melville Production Les Productions Georges de Beauregard, Société Nouvelle de Cinématographie, Les Films Imperia World Sales Tamasa Distribution

Breathless À bout de souffle 斷了氣 The only thing is, one never does exactly what one intended. Sometimes one even does the opposite. At least this is true of me; but at the same time I am responsible for everything I do. After a certain time, for instance, I realised that Breathless was not at all what I thought. I thought I had made a realistic film like Richard Quine’s Pushover, but it wasn’t that at all. […] I would also like to compose shots that are magnificent in themselves like Fritz Lang, but I can’t. So I do other things. Although I felt ashamed of it at one time, I do like Breathless very much, but now I see where it belongs – along with Alice in Wonderland. I thought it was Scarface. Breathless is a story, not a thesis. A theme is something simple and vast which can be summed up in twenty seconds: vengeance, pleasure. […] In Breathless I was looking for the theme right through the shooting, and finally became interested in Belmondo. I saw him as a sort of block to be filmed to discover what lay inside. Seberg, on the other hand, was an actress whom I wanted to see doing little things which amused me: this was the cinéphile side of me, which no longer exist. Jean-Luc Godard Godard on Godard

[導演的話] 唯一是，人永遠不是知行一致，有時甚至反其道而行。至少我是如此；同時我又為自己所作所為負責。譬如說一段時間過後，我發現《斷了氣》並非如我所想。我本想拍一部像李察昆《警網煞星》那樣的真實電影，結果卻不似預期。首先是自己技術不夠，因而犯錯；後來發現我根本不是拍這類電影的導演。我有很多事情想做，卻無法實現。我想好像弗烈茲朗構建令人驚嘆的畫面，但做不到，所以去做其他東西。雖然我曾為此感到羞愧，但我很喜歡《斷了氣》，現在我亦明白它與《愛麗絲夢遊仙境》是同一歸屬。我曾以為它是《傷面人》。《斷了氣》是一個故事，而非一篇論文。主題簡單而寬廣，用二十秒便可概括：報復、喜悅。一個故事，只需二十分鐘便說完。《小兵》有一個主題：一個少年意識到自己的迷惘，並試圖弄個明白。在《女人就是女人》，一個少女想立即生小孩。在《斷了氣》，拍攝時我不斷找尋主題，最後對尚保羅貝蒙多產生興趣。我要以鏡頭發掘他裏面藏着的東西。另一方面，對於女星珍茜寶，我想看她做一些使我開心的小玩意：這是我作為影迷的一面，現已不復存在。

Jean-Luc GODARD was born in Paris, France, in 1930. He is a towering figure of the French New Wave. He made his groundbreaking feature debut Breathless in 1959. He formed the Dziga Vertov group and began making political films in the late 60s, returned to commercial filmmaking in the early 80s, and remains creative in the new millennium. He was awarded an Academy Honorary Award in 2010 and the Special Palme d’Or at Cannes in 2018. 尚盧高達 1930 年生於巴黎，五十年代與杜魯福等人在著名的《電影筆記》撰寫影評。 59 年執導長片《斷了氣》一鳴驚人，成為最具影響力的法國新浪潮導演。68 年五月風暴後曾組成維爾托夫小組，拍攝政治電影。八十年代起回到正統電影製作，至今年過九十仍不斷透過電影反思探索。2018 年憑《圖像策》獲康城影展史無前例頒發特別金棕櫚獎。

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SELECTED FILMOGRAPHY 主要作品 1960 Breathless 斷了氣 1962 My Life to Live 她的一生 1965 Alphaville 阿爾伐城 1983 First Name: Carmen 芳名卡門 1998 Historie(s) of Cinema 世界電影（眾數）史 2001 In Praise of Love 愛之頌 2018 The Image Book 圖像策

RESTORED CLASSICS 修復經典 Cuba 古巴 1966 | Spanish | DCP | B&W | 85min Director Tomás Gutiérrez Alea Producer Margarita Alexandre Scriptwriter Alfredo del Cueto, Ramón F. Suárez, Tomás Gutiérrez Alea Cinematographer Ramón F. Suárez Editor Mario Gonzále Production designer Luis Márquez Music Leo Brouwer Sound Eugenio Vesa Cast Salvador Wood, Silvia Planas, Manuel Estanillo, Gaspar de Santelices Production/World Sales Instituto Cubano del Arte e Industria Cinematográficos

Death of a Bureaucrat La Muerte de un Burócrata 官僚之死 Many scenes feature black humour: digging up the corpse to retrieve the union card, the nephew’s Buñuelian dreams, the first burial. But there are also influences from other styles: the Kafkaesque persecution of the nephew, for example, or the incident with the cemetery administrator, which is reminiscent of certain silent comedies. Death of a Bureaucrat hits the nail on the head and lashes out against everything that should be eradicated after the Revolution: those who act at the expanse of the people, such as any capitalist boss who randomly imposes his every whim; followers of “bustphilia” who place Martí statues at every corner, in every bar and, if they could, in every public bathroom, without any respect for the sacred figure of the Apostle of Independence; those who exploit the Revolution to love a so-called “sweet life”.

[影評摘錄] 正如片首的致謝名單上已註明，本片是向布紐爾、尚維果、羅路與哈地，以及從雷米埃兄弟至今那些對電影貢獻良多的人致敬……不少場面充滿黑色幽默：掘屍以取回工會證、姪兒的布紐爾式荒誕夢、首個葬禮。還有其他風格的影響：諸如姪兒面對卡夫卡式迫害，又或墳場管理人事件，令人想起默片喜劇。《官僚之死》直擊要害，痛斥革命後該當剷除的一切：那些犧牲人民的人，諸如資本家肆意妄為、偶像崇拜的信眾將馬蒂的塑像放滿每一角落、每間酒吧，甚至每間公共浴室，對民族獨立英雄的神聖塑像毫不尊重；還有那些利用革命去過所謂「甜美生活」的人。最後古提域斯阿利亞將拉丁箴言「castigat ridendo」加以實踐：以笑改變習慣（陋習）。馬利奧羅德基斯亞歷文

Mario Rodriguez Alemán Mujeres, 1 August 1966 [Restoration Notes]

[ 修復筆記 ]

The original negative of Death of a Bureaucrat was first evaluated in Havana in 2016 by archivists from both the Cineteca de Cuba and the Academy Film Archive. Though the physical condition initially seemed promising, the first scan in Los Angeles was problematic – as image stability and focus were severely affected by shrinkage from acetate deterioration. Multiple scanning techniques at Roundabout Entertainment finally provided a sharp and steady 4K scan. Image restoration was only extensively needed for a two-minute section in one reel, where the same acetate deterioration had caused the emulsion to stick, and then later tear away from the film. The sound was restored at Audio Mechanics in Burbank, California.

《官僚之死》的原裝負片最先於 2016 年由古巴電影資料館及電影資料學院的檔案專家在夏灣拿進行評估。雖然底片狀態起初看來不俗，但在洛杉磯一經掃瞄，問題便出現──醋酸鹽變質令底片收縮，導致影像不穩並影響對焦。回轉娛樂公司的多重掃瞄技術最後提供了清晰而穩定的 4K 掃瞄。唯一需要作廣泛影像修復的，是其中一卷菲林兩分鐘的一段，因醋酸鹽變質令乳膠黏合，之後撕離了影片。聲音則由加州伯班克的聲響機械負責修復。

Tomás GUTIÉRREZ ALEA (1928-96) was born in Havana, Cuba. After graduating from the Law Faculty of Havana University, he studied filmmaking in the Experimental Center of Cinematography in Rome. After the Cuban Revolution, he co-founded the Cuban Institute of Cinematographic Art and Industry (ICAIC) with a few young directors. He also engaged in mentoring young filmmakers in his late career. 湯瑪斯古提域斯阿利亞 (1928-96) 生於古巴夏灣拿，畢業於夏灣拿大學法律系，並於羅馬電影實驗中心修讀電影，深受意大利新寫實主義影響。古巴革命後，與幾位年輕導演一起創辦古巴電影藝術及工業學院 (ICAIC)。《低度發展的回憶》是他最廣為人知的作品。晚年亦致力於教育新晉電影人。

SELECTED FILMOGRAPHY 主要作品 1960 General Assembly 革命故事 1966 Death of a Bureaucrat 官僚之死 1968 Memories of Underdevelopment 低度發展的回憶 1993 Strawberry and Chocolate (co-dir) 草莓與巧克力（合導） 1995 Guantanamera (co-dir) 出殯也瘋狂（合導）

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RESTORED CLASSICS 修復經典 Iran 伊朗 1976 | Persian | DCP | Colour | 100min Director Mohammad Reza Aslani Producer Bahman Farmanara Scriptwriter Mohammad Reza Aslani, Hossein Rasayel Cinematographer Houshang Baharlou Editor Abbas Ganjavi Production Designer Sami Tahassoni Music Sheyda Gharachedaghi Sound Cast Fakhri Khorvash, Mohamad Ali Keshavarz, Akbar Zanjanpour, Hamid Ta'ati, Aghajan Rafii, Shohreh Aghdashloo, Shahram Golchin Production Sherkat-e Gostaresh-e Sanaye Cinema-e Print Source Cineteca di Bologna World Sales The Film Foundation/ World Cinema Project

Restored by Cineteca di Bologna at L’Immagine Ritrovata and The Film Foundation’s World Cinema Project. Funding provided by the Hobson/Lucas Family Foundation, in collaboration with Mohammad Reza Aslani

Chess of the Wind Shatranj-e Baad 風中殘局 Chess of the Wind might be one of the most emblematic films in the history of Iranian cinema, even though its visibility was limited to a disastrous preview at Tehran International Film Festival in 1976. Following the establishment of the Islamic government in 1979, the film was banned because of it non-Islamic content and the reels were subsequently declared lost. There was only a censored VHS, of very poor quality, circulating through informal channels. Although the film rested in obscurity for a long time, its aesthetic value was rediscovered in 2000 by a new generation of critics and cinephiles who classed it as one of Iran’s lost cinematic masterpieces. Chess of the Wind is a singular film, at the confluence of the aesthetics of Visconti and Bresson. The influence of painting can be found in each shot and the careful screenplay toys with multiple plot twists. It was only in 2015 that Aslani found the negatives of Chess of the Wind, quite by chance at a flea-market for vintage film costumes and accessories. He bought the reels and immediately sent them to France where they could be safely restored. Now we can fully rediscover all the originality and modernity of this fascinating film, which has spent almost 45 years in the shadows.

[簡介] 《風中殘局》可能是伊朗影史上最具標誌性的電影之一，即使它只於 1976 的德黑蘭國際電影節驚鴻一瞥。伊斯蘭政府在 1979 年成立後，影片因非伊斯蘭內容而遭禁映，拷貝亦宣告遺失。只有一個質素甚差的審查後錄影帶版本，在非法渠道流傳。雖然影片長年下落不明，但在 2000 年被影評人及影迷重新發現後，其美學價值深受稱頌，更被列為伊朗滄海遺珠經典之一。《風中殘局》是獨一無二的電影，薈萃維斯康堤及布列遜的美學於一身。每格畫面，以至精心策劃的奇情佈局，皆見油畫風格的影響。直至 2015 年亞斯蘭尼無意間在售賣舊電影服飾及配件的跳蚤市場發現《風中殘局》的負片拷貝，他遂買下拷貝，即時送往法國，讓影片能安全地得到修復。影片蒙塵 45 年後終重見天日，現在我們可全面發掘這部精彩電影的原創性及現代性。

Gita Aslani Shahrestani [Restoration Notes]

[ 修復筆記 ]

The 4K restoration of Chess of the Wind was completed using the original 35mm camera and sound negatives. Colour grading required meticulous work, notably reels 9 and 10 which called for an orange-tinting effect reminiscent of early silent cinema. The restoration was closely supervised by Gita Aslani Shahrestani and Mohammad Reza Aslani; the film’s cinematographer Houshang Baharlou also contributed to the grading process.

《風中殘局》的 4K 修復使用原裝 35 米厘影像及聲音負片。調色工作尤需細緻工夫，特別是第九及第十卷菲林，須仿傚早期默片的橙調染色效果。修復工作由吉塔亞斯蘭尼沙赫雷斯塔尼及穆罕默德歷沙亞斯蘭尼監督，攝影師胡桑巴哈盧協助調色。

Mohammad Reza ASLANI was born in 1943 in Rasht, Iran. He is a filmmaker, art theorist, graphic designer and poet known mostly for his experimental films and documentaries. His filmmaking career began as an art director and senior production designer in the newly founded National Iranian Radio and Television. 穆罕默德歷沙亞斯蘭尼 1943 年生於伊朗拉什特，身兼導演、藝術理論學者、平面設計師及詩人，以實驗電影及紀錄片廣為人知。他的電影事業始自加入新成立的伊朗國立電台及電視台，出任美術總監及高級美術指導。

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SELECTED FILMOGRAPHY 主要作品 1967 Occidental Exile (docu) 流亡西方（紀錄片） 1976 Chess of the Wind 風中殘局 1977 Thus They Say... (Short) 他們如是說（短片） 1978 Nowadays Child (docu) 今日孩子（紀錄片） 2008 The Green Fire 綠火

RESTORED CLASSICS 修復經典

First Case, Second Case

Ghazieh shekl-e aval, Ghazieh shekl-e dovom

課室外的選擇題 Iran 伊朗 1979 | Persian | DCP | Colour | 48min Director Abbas Kiarostami Scriptwriter Abbas Kiarostami Cinematographer Houshang Baharlou Editor Abbas Kiarostami Sound Changiz Sayad Cast Mehdi Azadbakht, Mohammadreza Barati, Hedayat Matin Daftari Production Kanoon World Sales mk2 Films

©Kanoon

Tribute to the Teachers

Two Solutions for One Problem

向老師致敬

一個問題兩種解決

Iran 伊朗 | 1977 | Persian DCP | Colour | 17min

Iran 伊朗 | 1975 | Persian DCP | Colour | 5min

Bozorgdasht-e Mo’allem

©Kanoon

Do Rah-e Hal Baraye Yek Massaleh

Director Abbas Kiarostami Production Kanoon World Sales mk2 Films

Shortly after its premiere in 1982 First Case, Second Case was banned by the authorities of the new-born Islamic Republic of Iran. ... The most important reason lies behind the fact that the pedagogic problem which the film proposes had a strong symbolic value for the political circumstances of that time; namely a filtering program by a fraction of the Islamic Republic under the name of “Cultural Revolution”. Although the preliminary intention for making the film was different than its current form, First Case, Second Case is conceived as an in-detail-historical document about the Iranian postrevolutionary socio-political mindset. … First Case, Second Case has been a pivotal political work – not because it uses political grammar and rhetoric or relies on an ideological framework – but for the exact opposite. This wonderful film lets the spectator experience the problems of our ideological structures for themselves. Through simply showing, and not telling, we see the complexities of Iranian politics, with its lack of emancipatory historiography. For ourselves, we can feel the pressures that have pushed us to the brink of amnesia. Azin Feizabadi Commenting and Translating Abbas Kiarostami

©Kanoon

Director Abbas Kiarostami Production Kanoon World Sales mk2 Films

[影評摘錄] 《課室外的選擇題》於 1982 年的德黑蘭電影節首映後，即被新成立的伊朗伊斯蘭共和國當局禁映。審查基於多種原因，最主要的是影片提出的教學問題，影射當時政治情況，指向伊斯蘭共和國部分當權者，以「文化大革命」之名進行過濾計劃。儘管影片原意並非如此，但《課室外的選擇題》被認為是關於伊朗後革命時代社會政治心態的詳盡歷史紀錄。雖然基阿魯斯達米並無此意，但是在製作差不多三十年後，影片展現的政治迫切性，預示了其未來。在 2009 年，不少政治家、知識分子、藝術家、社運人士及其他公民以此片作為「伊朗綠色革命」的研究和論證：從受訪者的姿態、語言、採用的革命辭彙，以至場景的色彩及燈光，簡言之，就是以 16 米厘菲林捕捉的一切。《課室外的選擇題》是一部舉足輕重的政治作品，不因它採用政治文法和修辭，或建基於意識形態框架，原因正正剛好相反。這部精彩電影讓觀眾自行體驗意識形態架構的問題。透過簡單展現，而非陳述，我們看見伊朗政治的複雜性，及其有欠開明的史學觀。觀眾亦感受到那種把我們推向失憶邊緣的壓迫。

Abbas KIAROSTAMI (1940-2016) was born in Tehran, Iran. He first began making short films in 1970 and was known to be part of the early Iranian New Wave of directors. International recognition started in the 1980s with feature films that focused on the lives of children. He won the Cannes Palme d’Or for 1997’s Taste of Cherry. 阿巴斯基阿魯斯達米 (1940-2016) 生於伊朗德克蘭，美術學院畢業後從事平面設計； 1970 年開始與兒童及青少年智能發展學院合作，執導短片《麵包與小巷》，74 年完成首部長片《小旅人》，憑《櫻桃的滋味》(97) 獲康城金棕櫚獎，逝世後留下遺作《廿四格》(17)。

SELECTED FILMOGRAPHY 主要作品 1987 Where Is the Friend’s Home? 踏破鐵鞋無覓處 1994 Through the Olive Trees 橄欖樹下的情人 1997 Taste of Cherry 櫻桃的滋味 1999 The Wind Will Carry Us 風再起時 2010 Certified Copy 似是有緣人 2017 24 Frames 廿四格

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FOCUS 焦點

Shochiku Cinema: 100th Anniversary 松竹映画100周年 From Japan’s first sound film and colour film, to its first Oscar-winner and the world’s longest running film series, Shochiku Cinema has become a legend within film history, transforming the cinematic landscape for over a century. Founded in 1920, Shochiku Cinema aimed to be innovative from the start. Under the leadership of Kido Shiro, directors like Ozu Yasujiro, Shimizu Hiroshi and Kinoshita Keisuke were blessed with creative freedom, and became formative masters of indelible styles that greatly influenced world cinema. Through its mentor-protégé system, fledging filmmakers including Imamura Shohei and Yamada Yoji also flourished as auteurs with their own brand. Celebrated for its shoshimingeki films about everyday people, Shochiku was not bound by its tradition of fundamentally uplifting filmmaking. During the post-war period, the studio made reforms to “take one step ahead of the audience”, giving rise to a new generation of revolutionary directors, among them Oshima Nagisa, Yoshida Yoshishige and Shinoda Masahiro. This heralded the advent of the Shochiku Nouvelle Vague and set a new milestone in Japanese film history. Celebrating the centennial of Shochiku Cinema, HKIFF45 launches a retrospective of 10 masterpieces that contribute to the studio’s enduring success. 從無聲黑白，到日本首部有聲片及彩色片，首獲奧斯卡最佳外語片殊榮，松竹映画「拍出實感、賦予希望」的信念秉持逾一世紀，成就享譽國際的大師，締造無數影史傳奇。成立於1920年，松竹電影在城戶四郎的領導下，清水宏、小津安二郎、溝口健二、木下惠介、小林正樹等一代巨匠，在導演制度的創作自由中盡展才華，自然寫實、含蓄優雅以至冷峻凌厲風格百花齊放，大師簽名筆觸影響深遠。無論是以百姓生活悲喜為主調的庶民劇，以至反傳統類型的武士道電影，廣受歡迎，更令日本電影藝術揚威海外。松竹的師徒制培育了接班人，今村昌平、山田洋次等導演承先啟後，自成一家。戰後銳意推行改革，雄心壯志的生力軍乘勢崛起，大島渚、吉田喜重及篠田正浩被譽為「松竹新浪潮三傑」，以叛逆奔放之姿，創作反映現實、批判社會的傑作，奠下日本電影新里程碑。為紀念松竹映画100周年，HKIFF45精選十部大師經典，讓影迷回顧其輝煌成就，見證日本的光影傳承。

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SHOCHIKU CINEMA: 100TH ANNIVERSARY 松竹映画 100 周年 1938 | Japanese | 35mm | B&W | 66min Director Shimizu Hiroshi Scriptwriter Shimizu Hiroshi Cinematographer Saito Masao Production Designer Esaka Minoru Music Ito Senji Sound Tsuchihashi Takeo, Mori Takenori Cast Takamine Mieko, Tokudaiji Shin, Saburi Shin Production/World Sales Shochiku Co., Ltd.

The Masseurs and a Woman Anma to onna 按摩師與女人 Among the unique films of Shimizu Hiroshi, this is probably his most unique. Shimizu had a special affection for travel and hot spring resorts, but this film feels as if the Shimizu group stopped off at a hot spring during their travels and suddenly decided to start shooting improvisationally. Along with A Star Athlete this is one of his most superb films and, of course, is based on one of his original scenarios. In his travel films, there’s no shortage of scenes of entertainers and peddlers who wander from place to place like migrant birds (mostly in Izu) and the blind masseuse at the resort is one of these. Contrary to expectations, he makes the blind masseuses the protagonists and the premise of the film lies in the joy these unexpectedly speedy protagonists take when they pass other travelers by whom they ought to be overtaken. Although their interest in a mysterious woman who arrives at the hot spring propels the story forward, in this pure Shimizu film even when there is a story it feels as if there isn’t, and one has to admire Shimizu’s style during these moments when play transcends the story. The technique of overlapping long shots to closeups in stages used in the scene when the woman with an umbrella lingers in the misty rain is eye-opening. It creates the effect of a silent film without meaning, however, and when searching for real content beyond the film’s formal beauty Shimizu’s weakness is revealed.

[影評摘錄] 這大抵是清水宏特色作品中最獨特的一部。清水對旅行與溫泉有特殊的喜愛，影片予人的感覺，就好像清水一夥旅行來到溫泉區，突然即興拍出的故事。它和《花形選手》都並列為清水出色小品，劇本當然亦是他原創的。清水的旅行電影不乏小商販和江湖藝人等角色，他們像候鳥一樣四處流徙（多在伊豆），度假區的失明按摩師便是這類人物。清水出人意表地以失明按摩師為主角，原該落在路人後頭的按摩師，卻出奇的健步如飛，他們趕上別人的喜悅成了影片前提。溫泉區來了謎一樣的女人，縱使按摩師對她的關心成了推展故事發展的動力，但純清水風格令故事顯得似有還無，當遊戲人間的感覺超越了故事，我們不禁佩服起清水來。其中一場，女主角打着雨傘在煙雨迷濛中徘徊，長鏡及近鏡交錯的疊鏡手法叫人大開眼界，製造出無關宏旨的默片效果，但如果在這種形式美中尋找實質內容，即暴露了清水的弱點。田中真澄、木全公彥、佐藤武、佐藤千廣編著《清水宏映画讀本》（衛靈譯）

Shimizu Hiroshi Eiga Dokuhon (Edited by Tanaka Masazumi, Kimata Kimihiko, Sato Takeshi and Sato Chihiro, translated by Sharon Hayashi)

SHIMIZU Hiroshi (1903-66) was born in Shizuoka Prefecture, Japan. He joined Shochiku’s Kamata Studio as a director’s assistant in 1922 and made his directorial debut, Beyond the Pass, in 1924, at the age of 21. He proceeded to forge a reputation as a skillful director, particularly of melodramas and comedies. After the war he established the Hachinosu Eiga studio to work independently. 清水宏（1903-66）出生於日本靜岡縣，1922 年進入松竹蒲田片場做助導，廿一歲便已晉身導演，執導首作《山道彼方》（24），拍文藝片與喜劇尤為出色。在松竹執導作品合共 140 部，戰後自組「蜂巢映画」自資攝製影片。

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SELECTED FILMOGRAPHY 主要作品 1933 Japanese Girls at the Harbor 港口的日本姑娘 1936 Mr Thank You 多謝先生 1938 The Masseurs and a Woman 按摩師與女人 1941 Ornamental Hairpin 簪 1948 Children of the Beehive 蜂巢的小孩

SHOCHIKU CINEMA: 100TH ANNIVERSARY 松竹映画 100 周年 1939 | Japanese | DCP | B&W | 143min Director Mizoguchi Kenji Producer Shirai Shintaro Scriptwriter Kawaguchi Matsutaro Cinematographer Miki Shigeto, Fuji Yozo Editor Kawahigashi Koshi Production Designer Mizutani Hiroshi Music Fukai Shiro Sound Shigita Ryuichi Cast Hanayagi Shotaro, Takada Kokichi, Kawanami Ryotaro, Mori Kakuko Production/World Sales Shochiku Co., Ltd.

The Story of the Last Chrysanthemum Zangiku monogatari 殘菊物語 The story’s tragic irony lies in its emotional structure that fully supports a discriminatory and class-conscious society. That in such a society the most discriminated against are often the staunchest supporters of such practices in an ironic but universal truth. But there will come a time when such relationships will be reversed, and it will be possible to distinguish, on the basis of will or intention, between those who oppose and those who just follow. […]

《殘菊物語》是悲劇，悲不在於俊男美女失落的愛情，而在於女性備受歧視不只全無反抗，反而助長歪風。故事的悲劇諷刺，正在於其情感結構對充滿歧視及階級意識的社會予以支持。在如此社會，受歧視的人成為歧視的最大支持者，諷刺之餘卻真實不過。然而時機一到，關係勢將逆轉，可從意志或意圖區分反對者與跟從者。

On the surface, the film is a tale of self-sacrifice and unrequited love. On a deeper level, it uses the plot to extol the victory of a woman defending her human dignity. […] The story reaffirms an essentially male-dominated, class-divided society, and its logic is to strengthen this. Herein lies its tragic irony. Mizoguchi’s film is not about love, it is about will, though to what degree this was consciously articulated is not clear. […] It is only in Mizoguchi’s version that we see the female protagonist fired with intensity, her generous spirit illmatched with the ambitious man trying to succeed in the world.

影片表面上是個關於自我犧牲與深情單戀的故事。更深層次上，它利用劇情去歌頌一個女子維護尊嚴的勝利。故事確立了社會基本上是男性主導、階段觀念明顯，以及鞏固這制度的邏輯，這正是悲劇諷刺所在。溝口的電影重點不在愛情，而在意志，雖然當中不知有多少自覺成份。《殘菊物語》的劇場版及電影版皆沒有超越失落愛情故事的層次，只有在溝口的版本中，可見女主角發光發熱，她恢宏大度卻錯配雄心勃勃、為求成功的男子。

[影評摘錄]

Sato Tadao Kenji Mizoguchi and the Art of Japanese Cinema [Restoration Notes]

[ 修復筆記 ]

The Story of the Last Chrysanthemum is presented in its original aspect ratio of 1.37:1. This new digital transfer was created in 4K resolution on a Scanity film scanner and restored by Shochiku Co., Ltd., at IMAGICA Corporation in Tokyo. The restoration was undertaken from a 35mm fine-grain positive and a 35mm duplicate negative. The original monaural soundtrack was remastered from a 35mm optical soundtrack print.

《殘菊物語》以原裝 1.37：1 比例放映。由松竹公司於東京的 IMAGICA 公司以 4K 數碼轉移。修復工作使用 35 米厘微粒正片及 35 米厘複製負片。原裝單聲軌由 35 米厘光學聲音拷貝修復。

MIZOGUCHI Kenji (1898-1956) was born in Tokyo, Japan. He is often named one of Japan’s three most important filmmakers (alongside Kurosawa Akira and Ozu Yasujiro). His cinema was rich in technical mastery and social commentary, specifically regarding the place of women in Japanese society. His film Ugetsu (53) won the Silver Lion for Best Director at Venice. 溝口健二 (1898-1956) 生於日本東京，與黑澤明及小津安二郎同被譽為日本三大名導，以長鏡頭及場面調度聞名於世，尤其擅長描寫女性面對社會不公的壓抑。憑經典作品《雨月物語》(53) 獲威尼斯影展最佳導演獎。

SELECTED FILMOGRAPHY 主要作品 1936 Naniwa Elegy 浪華悲歌 1939 The Story of the Last Chrysanthemum 殘菊物語 1952 The Life of Oharu 西鶴一代女 1953 Ugetsu 雨月物語 1954 Sansho the Bailiff 山椒大夫 1954 A Story from Chikamatsu 近松物語

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SHOCHIKU CINEMA: 100TH ANNIVERSARY 松竹映画 100 周年 1954 | Japanese | DCP | B&W | 156min Director Kinoshita Keisuke Producer Kuwata Ryotaro Scriptwriter Kinoshita Keisuke Cinematographer Kusuda Hiroyuki Editor Sujiwara Yoshi Production designer Nakamura Kimihiko Music Kinoshita Chuji Cast Takamine Hideko, Natsukawa Shizue, Ryu Chishu Production/World Sales Shochiku Co., Ltd.

Twenty-Four Eyes Nijushi no hitomi 二十四隻眼睛 The director evokes lyricism in Twenty-Four Eyes in basically three ways. First, he presents a set of individual characters, who are very much like us in their responses to everyday life. Oishi, an elementary school teacher, is such a character. She is a delicate, yet spiritually strong Japanese woman, who confronts many stages of hardship caused by the war. We impose our sense of values upon the values that she has, and we view her predicament, often thinking that if we were in her position, we would act as she does. […] Second, throughout the film, especially in scenes of emotional intensity, Kinoshita uses popular children’s songs associated with certain sentiments as a background. For example, “Furusato” (Home Town), which is a leitmotif of the film, incites in Japanese audiences a nostalgia for their hometown. […] Finally, the smooth rhythmic continuity of the entire drama makes it very easy to take the inside view. Into the main plot concerning Oishi’s relationship with the twelve children, Kinoshita weaves variations on contrasting moods – joy and sorrow, emotional climax and anticlimax. These moods naturally correspond to the ups and downs of Oishi and her students’ lives. Thus, we are kept from indulging in one particular mode of feeling for so long as to revolt against our identification with the individual characters; we are spared feeling that we have enough of this or that sentiment.

[導演的話] 大約 1951 年，政治上冒起反動思潮，我很多作品都嘗試與之抗衡，《卡門還鄉》是其一，本片是其二。日本憲法原則上不允許軍隊存在，但事實上當時卻以維護和平為理由興建了許多軍事基地。小學老師大石很喜愛她那十二個學生，並希望他們好好活着，別去打仗。她找機會教育孩子們戰爭的可怕後果，但學校卻灌輸學童說他們到二十歲就得為天皇犧牲。還要在畢業典禮上對着國旗高唱〈君之代〉，歌頌天皇。我最討厭這面旗和這首歌。松竹的觀眾大多是女性，我想我的影片在可能範圍內起到了好的作用。沒有任何邏輯論據可說服日本人認同戰爭是壞事。日本人是不講道理的，但會欣賞那些令人流淚的電影。要向他們傳達什麼，最好訴諸他們的感情。本片就是想對症下藥。但也許這種感情只是過眼雲煙。我用了大家耳熟能詳的古老兒歌。這些歌不僅貫串各場，而且讓觀眾憶起童年。影片如平靜的流水，今天可能再拍不到。在我的所有作品中，本片開展得最慢。這寧靜之流更能代表這些孩子生活的價值。風景的作用一樣。人在自然美景之前，會變得感人，脆弱、可愛，我很喜歡把人物置於風景的懷抱。

Keiko I. McDonald Cinema East: A Critical Study of Major Japanese Films

KINOSHITA Keisuke (1912-98) was born in Hamamatsu of Shizuoka prefecture, Japan. Considered one of the cinematic masters of the Japanese post-war generation, he excelled in many film genres while pushing the envelope in wild cinematic inventions. From his first feature, The Blossoming Port (43) to his final film, Father (88), he directed nearly fifty works. 木下惠介 (1912-98) 生於日本靜岡縣。1933 年加入松竹蒲田片廠技術部，其後轉到攝影部， 36 年終轉往導演部，當島津保次郎的助導。曾被召入伍，43 年終拍成首作《熱鬧的港口》，從影五十五年，完成了近五十部電影。

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SELECTED FILMOGRAPHY 主要作品 1949 Yotsuya Ghost Story 四谷怪談 1951 Carmen Comes Home 卡門還鄉 1954 Twenty-four Eyes 二十四隻眼睛 1958 The Ballad of Narayama 楢山節考 1964 The Scent of Incense 香華 1983 Children of Nagasaki 遺留此子在人間

SHOCHIKU CINEMA: 100TH ANNIVERSARY 松竹映画 100 周年 1958 | Japanese | DCP | Colour | 118min Director Ozu Yasujiro Producer Yamanouchi Shizuo Scriptwriter Noda Kogo, Ozu Yasujiro Cinematographer Atsuta Yuharu Editor Hamamura Yoshiyasu Production designer Hamada Tatsuo Music Saito Kojun Sound Senoo Yoshisaburo Cast Tanaka Kinuyo, Arima Ineko, Yamanouchi Fujiko, Saburi Shin Production/World Sales Shochiku Co., Ltd.

Equinox Flower Higanbana 彼岸花 Because of the film’s shifting plotlines and elliptical narration, parametric variations often function partly to indicate the passage of time. Our introduction to Hirayama’s office comes with a shot of clerks working while men wash windows; fifteen scenes later, there are no window-washers. Most prominent are the red objects dotted around the Hirayama home – table, radio, chair-cushion and teakettle. The amaryllis – the equinox flower of the title – puts out clusters of red blossoms. The cushion and teakettle function at once as props to be permuted within shots, as indices of changing narrative situations, and as pure spots of colour. “I wanted to highlight red here and there. Red turns out magnificently of Agfa film.” […] Equinox Flower revives the theme of the loss of masculinity, setting its hero’s decline against the quiet but assured authority of the father in Late Spring and the husband in Flavor of Green Tea over Rice. Although set in summer, this is a film of autumn, the time when the equinox flower blooms. Characterised as a willful, often petty and tyrannical father, Hirayama remains powerless. His daughters will do as they please, preferably with his content but if necessary without it. […] As Ozu puts it, “When his daughter is taken by another man, the father is jealous and he feels something physical and primitive.”

[影評摘錄] 因影片的主線轉移、敘事省略，景物變化往往用以呈現時光流轉。開首介紹父親平山的辦公室，抹窗工人在十五個鏡頭後已不見了。最顯眼是平山家處處可見的紅色物件，由飯枱、收音機、椅上坐墊以至茶壺。片名也綻放一片鮮紅。坐墊與茶壺的功能，既是場景道具，也是顯示敘事情景的變換，同時亦是顏色襯托。小津曾說：「我希望突出散布各處的紅色。紅色在愛克發菲林上特別華麗奪目。」《彼岸花》重拾男子氣概失落的主題，將主角的衰微與《晚春》父親及《茶泡飯之味》丈夫的沉靜自信互為對照。雖然時間設定為夏季，卻是一部秋天的電影，是彼岸花盛放之時。將父親刻劃成任性、小氣及專制，平山依然無權無勢。他的女兒自把自為，視他的認同可有可無。平山在家裏除了能關掉收音機外，所有戰役全軍覆沒。他怨恨女兒男友谷口，可能是出於競爭心態。正如小津表示「當他的女兒被另一男人搶去，父親妒忌，感覺切膚而原始。」在小津五十年代的電影裏，他幽默而感傷的父權失落主題，轉化到一個新的歷史層次；而《彼岸花》揭示了這種歷史性，寄予同情，且不失諷刺。

David Bordwell Ozu and the Poetics of Cinema

OZU Yazujiro (1903-63) was born in Tokyo, Japan. He joined Shochiku’s Kamata Studio as an assistant in the cinematography department in 1923, and directed his first film, Sword of Penitence, in 1927. Acclaimed for originating the “shomin-geki”, his experiences during the war resulted in his making more serious, thoughtful films at a much slower pace, best represented in Tokyo Story (53). 小津安二郎 (1903-63) 生於日本東京，1923 年進入松竹蒲田攝影廠工作。服兵役後回松竹任助導，27 年執導首作《懺悔之刃》。拍庶民劇顯露才華，其後轉拍嚴肅作品，多取材家庭和兩代關係，經典無數。

SELECTED FILMOGRAPHY 主要作品 1932 I Was Born But 我出生了，但⋯⋯ 1936 The Only Son 獨生子 1949 Late Spring 晚春 1953 Tokyo Story 東京物語 1958 Equinox Flower 彼岸花 1960 Late Autumn 秋日和 1962 An Autumn Afternoon 秋刀魚之味

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SHOCHIKU CINEMA: 100TH ANNIVERSARY 松竹映画 100 周年 1962 | Japanese | 35mm | B&W | 134min Director Kobayashi Masaki Producer Hosoya Tatsuo Scriptwriter Hashimoto Shinobu Cinematographer Miyajima Yoshio Editor Sagara Hisashi Production Designer Toda Shigemasa Music Takemitsu Toru Sound Nishizaki Hideo Cast Nakadai Tatsuya, Iwashita Shima, Ishihama Akira, Mikuni Rentaro Production/World Sales Shochiku Co., Ltd.

Harakiri Seppuku 切腹 The film’s assault on the heritage of Bushido was a major part of Kobayashi’s challenge to Kurosawa. To undertake this, Kobayashi extended the severe aesthetic style he had begun to practice in The Inheritance. Everything would be stylised; nothing that was unnecessary would remain in the film. […] He described in detail the chief elements of design. “At the samurai residence in Shirasu, there is a pure white seat for seppuku. On the seat, actor Nakadai Tatsuya sat motionless and actor Mikuni Rentaro sat down with the crest of oxidised silver on his back; a tense battle unfolds between them… I attempted to stylise the arts and acting as well as to create an extreme static-dynamic contrast.” Harakiri intensifies the new level of formalism in Kobayashi’s work, a new precision, an exacting attention to details of pattern, texture, tonality, graphic design, and movement, with all of this orchestrated across scenes in ways that establish repetition and variation. When Saito kneels before the ancestral armor, for example, his positioning in relation to the architectural features of the set and their graphical design is exacting and precise. The composition displays the fearful symmetry that Kobayashi employs as a metaphor for systems of power that seek to control and crush the individual.

[影評摘錄] 《切腹》對武士道傳統的攻擊，是小林正樹對黑澤明的挑戰。為達致此，他將從《遺產》開始實驗的冷峻美學風格變本加厲。一切變得風格化，無用之物一件不留，去蕪存菁。這種風格化在一絲不苟的場景設計中完全體現。小林正樹詳細解釋了設計佈局：「在白洲的諸侯大宅，有一張純白坐墊作切腹儀式。在坐墊上，演員仲代達矢肅然而坐，演員三國連太郎亦坐着，氧化了的銀冠在其身後，一場緊張決鬥於兩人之間展開。屋頂之瓦在素淨白沙上形成陰影。三國連太郎手中扇撥動有聲。周遭武士一則不動，一則群起而動。我們要求以新木搭景，場景設計精準，全無多餘道具。我試圖令藝術及演出臻於風格化，營造靜態與動態的極端對比。」《切腹》展現了小林正樹作品的形式主義推向新層次，新的精煉準繩，無論圖案、質地、色調、平面設計以及動作皆細緻入微、分毫不差，場面轉換悉心策劃，重複與變換調配有度。當齋藤在祖傳盔甲前下跪，他的位置與場景特徵及平面設計完全絕配。構圖展現的極端對稱，正是小林正樹對權威制度操控及衝擊個人之隱喻。

Stephen Prince A Dream of Resistance: The Cinema of Kobayashi Masaki

KOBAYASHI Masaki (1916-96) was born in Otaru, Japan. After graduating from Waseda University in Tokyo, he embarked on a career in film in 1941 as an apprentice director at Shochiku Studio. After being taken as a war prisoner, he returned to Shochiku in 1946 as an assistant director, and made his directorial debut in 1952 with My Son’s Youth. 小林正樹 (1916-96) 生於日本小樽市，早稻田大學文學部畢業後，1941 年加入松竹當見習導演。戰爭期間被召入伍並成為戰俘，46 年重返松竹擔任木下惠介的副導演，52 年執導首作《兒子的青春》。

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SELECTED FILMOGRAPHY 主要作品 1959-61 The Human Condition 人間的條件 1962 Harakiri 切腹 1964 Kwaidan 怪談 1967 Samurai Rebellion 奪命劍 1983 Tokyo Trial 東京裁判

SHOCHIKU CINEMA: 100TH ANNIVERSARY 松竹映画 100 周年 1962 | Japanese | 35mm | Colour | 112min Director Yoshida Yoshishige Producer Shirai Masao Scriptwriter Yoshida Yoshishige Cinematographer Narushima Toichiro Editor Sugihara Yoshi Production Designer Hamada Tatsuo Music Hayashi Hikaru Sound Hiramatsu Tokio, Yoshida Shotaro Cast Okada Mariko, Nagato Hiroyuki, Hidaka Sumiko Production/World Sales Shochiku Co., Ltd.

Love Affair at Akitsu Spa Akitsu Onsen 秋津溫泉 Based on Shinji Fujiwara’s eponymous novel, Love Affair at Akitsu Spa is adapted and directed by Yoshida Yoshishige. Richly evocative for its nuanced emotions, the original novel is a contemplative tale about an ailing student writer, engulfed by an apocalyptic mood during wartime, who ended up in the void and solitude formed by Japan’s defeat in the war. In the cinematic adaptation, wartime only serves as a prelude, while the focus is on how the protagonist forgets his idealistic passion amidst post-war chaos, and becomes a middle-aged degenerate. Through the film, screenwriter-cum-director Yoshida Yoshishige casts a critical eye over his own experiences in post-war society. The turning point for the protagonists is on the day Japan declared its defeat. Shusaku becomes a frivolous man suffering setbacks, while Shinko remains in love with him.

[影評摘錄] 《秋津溫泉》是吉田喜重在藤原審爾的同名原作的基礎上加以改編並親自導演的影片。原作焦點是擁有極其細膩的感受力，體弱多病的文學少年在戰時末世論式的氛圍中所進行的思索，故事是在日本戰敗後的虛脫感與寂寥感中落下帷幕。而電影版中戰時部分則只是一個序曲，重點放在主人公在戰後混亂中是如何忘記了年輕時理想主義的熱情，一步步蛻變為一個在市井中墮落的中年男子。集改編與導演於一身的吉田在影片中對他自己所經歷的戰後社會進行了猛烈批判。前面描述戰敗之日的情景就相當於一個分水嶺，以這一天為界，周作成了一個輕佻淺薄的才子，開始經歷挫折，而新子卻一心愛着周作。

Through a soldier’s temporary loss of sight, Yoshida vividly portrays the tragic complications faced by the Japanese people upon hearing the Japanese Emperor’s public broadcast on 15 August 1945. From Shinko’s gesture, who fervently picks up the scattered rice grains and runs wild, we see her attempt to overcome the sadness of defeat and reclaim the will to live.

……在禮節性的時間結束之後，新子對於生活的衝動就如決堤般噴湧而出。與此同時，周作則在戰後時間中鬆散地生活着。吉田通過失明的傷兵描寫了聽到 8 月 15 日的天皇廣播後，日本人那悲壯而又得不到回報的挫折，同時又在拼命用兩手捧起撒落的米粒後又奔跑起來的新子身上，看到了試圖戰勝悲愴並繼續活下去的生存意志。

Inuhiko Yomota Japanese Cinema and the Post-war Myths

吉田在 1962 年所描繪的天皇廣播的情景，可以說是日本電影中焦數次反覆描寫的戰敗之日情景的原型。四方田犬彥《日本電影與戰後的神話》

YOSHIDA Yoshishige was born in Fukui, Japan in 1933. Graduating from Tokyo University, he entered the Shochiku Studio in 1955 and debuted as a director in 1960 with Rokudenashi. He was a central member of the Shochiku Nouvelle Vague alongside Oshima Nagisa and Shinoda Masahiro. He collaborates with his actress-wife Okada Mariko in some of his most acclaimed films. 吉田喜重 1933 年出生於日本福井縣。於東京大學文學部畢業後，55 年加入松竹映画，並於 60 年執導首作《廢物》。與大島渚、篠田正浩同為松竹新浪潮領軍人物，並與妻子兼女星岡田茉莉子合作多部經典。

SELECTED FILMOGRAPHY 主要作品 1962 Love Affair at Akitsu Spa 秋津溫泉 1966 Woman of the Lake 女人之湖 1967 The Affair 情炎 1969 Eros Plus Massacre 情慾與虐殺 1973 Coup d’Etat 戒嚴令

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SHOCHIKU CINEMA: 100TH ANNIVERSARY 松竹映画 100 周年 1977 | Japanese HDCAM | Colour | 108min Director Yamada Yoji Producer Najima Toru Scriptwriter Yamada Yoji, Asama Yoshitaka Cinematographer Takaha Tetsuo Editor Ishii Iwao Production Designer Degawa Mitsuo Music Sato Masaru Sound Matsumoto Takashi Cast Takakura Ken, Takeda Tetsuya, Momoi Kaori Production/World Sales Shochiku Co., Ltd.

The Yellow Handkerchief Shiawase no kiiroi hankachi 幸福黃手絹 What inspired me to film The Yellow Handkerchief is the popular American folksong “Tie a Yellow Ribbon Round the Old Oak Tree". Our modern society, our living landscapes have become just like prose, lacking poetic ambience. Even when we bid farewell at the train station, the compartment windows are tightly closed and the train whistle can no longer be heard. A return trip from Tokyo to Osaka can now be made within the same day. As everything becomes convenient, the narrative is lost. That is to say, modern society cannot be transformed into films. On the contrary, this story is full of dramatic intensity. To embrace the same kind of experience is what many Japanese people yearn for, and such a hope galvanises us. This story does not have any intricate plot or surprising twists, nor a sensational ending. Nevertheless I think it can be made into a film even without these elements; Tora-san is made under the same philosophy. Tora-san did not have any stunning plot twists or narrative turns, only amazing characters… I believe, even like this, it can be made into films. The Yellow Handkerchief is filmed with such conviction. Yamada Yoji

[導演的話] 拍攝《幸福黃手絹》的契機，是聽了幾年前美國紅極一時的民歌〈繫條黃絲帶在老橡樹上〉（Tie a Yellow Ribbon Round the Old Oak Tree）……光是聽到歌詞，眼前就浮現橡樹上的黃色絲帶像花朵般盛開的畫面，覺得這真是一首很棒的歌。至於為什麼這樣的故事會打動我們的心呢？我想是因為在現今社會和生活中，風景已經變得像散文一樣，缺乏詩意。就算是在車站道別，車窗也完全緊閉，更不會響起汽笛聲。而且以前從東京到大阪，就像去了遠方，如今卻當天就能往返。儘管社會變得十分便利，卻也喪失了故事性。也就是說，現在的社會無法成戲，也無法入畫。相對地，這個故事充滿了戲劇性、故事性，而且那種想擁有同樣體驗的憧憬是現代日本人所希求的，也強烈地刺激了我們。的確，這個故事沒有曲折的情節和意外的發展，也沒有戲劇性的結局。但我總認為沒有那些也能拍成電影，我也透過同樣方式拍出了《男人之苦》，其他電影也都是在那樣的理念下完成。《男人之苦》的劇情沒有任何絕妙的起承轉合，有的只是充滿個性的人物……我相信即使是這樣也能拍成電影，《幸福黃手絹》就是基於這樣的信念拍出來的。《只想拍電影的人》

YAMADA Yoji was born in Osaka, Japan in 1931. He graduated from Tokyo University in 1954 and entered Shochiku Studio, working under Kawashima Yuzo and Nomura Yoshitaro as an assistant director. He directed his first film, The Strangers Upstairs, in 1963, and in 1969 launched the popular Tora-san series, the world’s longest running film series. 山田洋次 1931 年生於日本大阪，54 年畢業於東京大學法學部，考進松竹公司當助理導演，師從名導川島雄三及野村芳太郎。63 年拍攝首部劇情長片《樓上的陌生人》，69 年推出首部渥美清主演的長壽電影系列《男人之苦》。

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SELECTED FILMOGRAPHY 主要作品 1969 Tora-san, Our Lovable Tramp 男人之苦 1977 The Yellow Handkerchief 幸福黃手絹 1991 My Sons 兒子 2002 The Twilight Samurai 黃昏清兵衛 2016 What a Wonderful Family! 嫲煩家族 2020 Tora-san, Wish You Were Here 男人之苦─寅次郎返嚟啦！

SHOCHIKU CINEMA: 100TH ANNIVERSARY 松竹映画 100 周年 1979 | Japanese | DCP | Colour | 140min Director Imamura Shohei Producer Inoue Kazuo Scriptwriter Baba Masaru Cinematographer Himeda Shinsaku Editor Uraoka Keiichi Production Designer Satani Akiyoshi Music Ikebe Shinichiro Sound Yoshida Shotaro Cast Ogata Ken, Mikuni Rentaro, Baisho Mitsuko Production/World Sales Shochiku Co., Ltd., Imamura Production

Vengeance is Mine Fukushu suru wa ware ni ari 我要復仇 With Profound Desires of the Gods (1968) and Vengeance is Mine, Masao Tochizawa replaced Shinsaku Himeda as Imamura’s cameraman, Himeda’s deep-focus, black-and-white compositions giving way to Tochizawa’s bright but shallow colour style. The loss of depth in the images seems to have given Imamura a greater interest in montage as a means of maintaining his symbolic juxtapositions; the animal imagery no longer shares the frame with the characters, but appears in cutaways that interrupt the dramatic flow. At the same time, Imamura’s narrative style becomes more tortured and fragmented, as the classical unities of time and space of the early films are replaced by the discontinuous episodes of Profound Desires and the multi-level flashbacks of Vengeance is Mine. Psychological realism – the concentration on a single character developed in depth – is exchanged for the broad, flat characterisation of folktales and popular entertainments; the conflicting elements that Imamura once portrayed in a single character are now spread out over a large ensemble cast, as society replaces the individual as the focus of his work. Dave Kehr Film Comment, vol. XIX, n. 5, September-October 1983

[影評摘錄] 《我要復仇》建基於一個現代都市神話：一名慣犯偷竊、誘騙及殺人，橫行全國卻被免受懲罰，直至他被捕，其危險幻想才被制止。取材自真人真事，由佐木隆三改編成小說，故事跟隨榎津岩（緒形拳）78 日的犯罪軌跡，由開始以錘子殘殺維修工人，至最後情婦為愛獻身時把她勒死……今村昌平由始至終沒有對他作任何價值判斷，既不鄙視也沒原諒，使《我要復仇》更令人震撼。在《諸神的深慾》及《我要復仇》，栃沢正夫取代姬田真佐久成為今村昌平的攝影師。姬田深焦的黑白攝影，讓路予栃沢明亮而輕淺的色調。影像減低層次深度，讓今村可更好利用蒙太奇，保持其意象並列；動物影像毋須與人物於同一畫面並置，而是在打斷劇情發展的跳接畫面中出現。同時，今村的敘事風格變得更散亂零碎，早期電影着重時空契合的古典手法，已被《諸神的深慾》中不連貫的段落及《我要復仇》中多層次的閃回取而代之。聚焦於單一人物個性深邃發展的心理實感，變為民間故事與普及娛樂廣泛而平面的角色塑造；今村曾對單一人物矛盾性格的刻劃，現已分散於一眾角色，社會已取代個人成了他作品的重點。

IMAMURA Shohei (1926–2006) was born in Tokyo, Japan. He joined Shochiku Studio in 1951, serving as an assistant director to Ozu Yazujiro and co-authoring the screenplay to Kawashima Yuzo’s Sun in the Last Days of the Shogunate (57). He is the only Japanese director to win two Palme d’Or awards at Cannes, for The Ballad of Narayama (83) and The Eel (97). 今村昌平 (1926-2006) 生於日本東京，1951 年進入松竹任助理導演。曾任小津安二郎副導演，並曾為川島雄三寫《幕末太陽傳》(57) 劇本。憑《楢山節考》(83) 及《鰻魚》(97) 兩奪康城金棕櫚獎，是迄今唯一兩獲此殊榮的日本導演。

SELECTED FILMOGRAPHY 主要作品 1963 The Insect Woman 日本昆蟲記 1968 Profound Desires of the Gods 諸神的深慾 1979 Vengeance is Mine 我要復仇 1983 The Ballad of Narayama 楢山節考 1989 Black Rain 黑雨 2001 Warm Water Under a Red Bridge 赤橋下的暖流

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SHOCHIKU CINEMA: 100TH ANNIVERSARY 松竹映画 100 周年 1986 | Japanese | 35mm | Colour | 126min Director Shinoda Masahiro Producer Iwashita Kiyoshi, Motomochi Masayuki, Wakita Masatake Scriptwriter Tomioka Taeko Cinematographer Miyagawa Kazuo Editor Yamaji Sachiko Production designer Awazu Kiyoshi Music Takemitsu Toru Sound Yoshida Shotaro Cast Go Hiromi, Iwashita Shima, Hino Shohei Production Hyogensha, Shochiku World Sales Shochiku Co., Ltd.

Gonza the Spearman Yari no gonza 槍聖權三 “The medieval world seen through Chikamatsu’s drama is a world which cannot be dealt with using modern standards of logicality. I have become interested in such a world.” Masahiro Shinoda’s own words testify to his continuing obsession with the feudal world of Monzaemon Chikamatsu. As mentioned earlier, the first evidence of Shinoda’s fascination with Chikamatsu dates back to 1969 when he made Double Suicide. Experimenting with stylistics borrowed from Kabuki and Bunraku both, he explored the classical conflict between giri (social obligation) and ninjo (personal inclination) in the lives of commoners in the feudal society in which Chikamastsu himself lived… Unlike his low-budget black and white Double Suicide, Gonza the Spearman is given full luxury treatment. The samurai mansion is decorated with scrupulous attention to detail. Characters move in this rigorously formalised setting in ways that show how every aspect of daily life (and death) were controlled by its demands. The critic Tadao Sato observes that the character’s bowing, greetings, and even sword fights partake of a calculated rhythmic flow and also reflect the merihari style of Kabuki: the actor’s sudden halt in movement, where by he signals action leading to decisive outcome. It is as if life followed only prescribed motions, leaving no room for spontaneous, individual “breaks” with ceremony.

[影評摘錄] 「近松門左衛門淨瑠璃劇裏的中古世界，是一個不能以現代邏輯丈量的世界。對此世界，我愈來愈感興趣。」篠田正浩的話，可見他對近松門左衛門筆下封建社會一直深深着迷。篠田對近松門的神迷，可回溯至《心中天網島》。其風格實驗從歌舞伎及文樂取經，探索近松門身處封建社會的庶民生活中，「義理」與「人情」間的典型矛盾。有別於低成本黑白片《心中天網島》，《槍聖權三》極盡華麗。武士大宅裝潢細緻考究。在嚴謹場面調度下，人物一舉一動呈現生活（與死亡）的每個方面皆被需求所操控。影評人佐藤忠男觀察到角色的鞠躬、問候甚至比劍，皆依隨精密計算的節奏，亦反映歌舞伎張弛有度的風格：演員在動作中突然停頓，示意行動導致決定性結果。就好像生命只跟從既定動作，無任何空間讓個人自發「打破」儀式。一些影評人試圖尋找影片的現代性，突顯個人與社會的對立。例如羅拔史弗曼視此為「對現今日本文化的強烈控訴」，認為武士學習茶道是比喻「現代日本人學習使用電腦的新時尚，是另一種形式的嚴密管制」。無論如何，這是一部以嚴謹敘事、考究風格去探索心理及社會的電影。

Keiko I. McDonald ‘Gonza: the Spearman: Bunraku and a New Mode of Interpretation’, Japanese Classical Theater in Films SHINODA Masahiro was born in 1931 in Gifu, Japan. He joined Shochiku Studio in 1953 as an assistant director, and debuted as a director in 1960 with One-Way Ticket for Love, which he also scripted. He is a central figure in the Shochiku New Wave alongside Oshima Nagisa and Yoshida Yoshishige. 篠田正浩 1931 年生於日本岐阜，53 年加入松竹映画任副導演，師從小津安二郎、渋谷實等導演前輩。於 60 年編導首作《戀愛單程票》。與大島渚、吉田喜重同為松竹新浪潮領軍人物。

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SELECTED FILMOGRAPHY 主要作品 1965 With Beauty and Sorrow 美麗與哀傷 1969 Double Suicide 心中天網島 1986 Gonza the Spearman 槍聖權三 1971 Silence 沉默 1974 Himiko 卑彌呼 1990 Childhood Days 少年時代

SHOCHIKU CINEMA: 100TH ANNIVERSARY 松竹映画 100 周年 1999 | Japanese | 35mm | Colour | 100min Director Oshima Nagisa Producer Oshima Eiko, Nakagawa Shigehiro, Shimizu Kazuo Scriptwriter Oshima Nagisa Cinematographer Kurita Toyomichi Editor Ohshima Tomoyo Production Designer Nishioka Yoshinobu Music Sakamoto Ryuichi Sound Ando Kunio Cast Kitano Takeshi, Matsuda Ryuhei, Takeda Shinji, Asano Tadanobu Production Oshima Productions, Shochiku Co., Ltd. World Sales Tamasa Distribution

Gohatto 御法度 Why did you choose to adapt the work of Shiba Ryotaro on the Shinsengumi? Because it’s a story that everyone is familiar with in Japan. Shiba Ryotaro is a very popular writer, but maybe not for this particular genre of novels. I wanted to surprise the Japanese public by choosing a work that’s a bit different. It’s not only the history of the militia, but also the fall of the shogun Tokugawa and the restoration of the Emperor (Meiji). When I was a child, I was fascinated by this period and by the Shinsengumi, a group of samurais who were opposed to the restoration of the Meiji. You introduced the theme of homosexuality that doesn’t exist in other films within this genre. Is it present within the novel? It’s specific to this clan. But anyhow, in a group of men, there always exists an element of homosexuality. It’s the same thing in another kabuki classic (and the film) Chushingura (The 47 Ronin). Before, no one dared to suggest this homosexuality, whether latent or real. It was self-censorship. In my opinion, we cannot understand the world of samurais without showing this aspect of fundamental homosexuality. Interview with Oshima Nagisa by Max Tessier Positif, May 2000

[導演訪問] 「御法度」真有其事？故事裏的人物都存在的嗎？人物都是真實的，「御法度」也是，那是「禁」或「禁忌」的意思，我想藉此表現新選組的特性，以及幕府武士的終結。武士對決，都有規有矩，他們想藉着刀的力量，改變歷史軌跡。但那種武力在當時（1865）已經過時，要讓路給西方的軍火新科技。一直以來，刀是武士力量的象徵，不過事實上，刀是生與死的標記。同性戀的主題，在司馬遼太郎的原著也有的嗎？那是幕府武士的特徵，但不管怎樣，任何男人組織，常有同性戀，如歌舞伎。以前，我們不敢提起這種或明或暗的同性戀，大家會自動封口。我認為，若不呈現同性戀根深柢固的一面，無法理解武士世界。

你的導演手法頗古典。是的，這是一部歷史片，本身已夠古典。我描繪美的同時，也突出新選組武士的「殺人氣味」。但加納的美，卻跟色慾及死亡相連，會騙人的。你將年輕偶像，跟老一輩的演員放在一起，為什麼？我用年輕演員，也有非職業的，如崔洋一，他本是我的助手。職業演員很難找到武士的面孔，他們必須表現「殺人氣味」，崔洋一和北野武就可以。我向來不喜歡演員太職業，年輕人就有新鮮感。

OSHIMA Nagisa (1932-2013) was born in Kyoto, Japan. After graduating in 1954, he entered Shochiku Studio as an assistant director, and made his feature debut Street of Love and Hope in 1959. He later formed his own production company Sozosha and worked as an independent filmmaker. He is regarded as one of the pioneers of the Japanese New Wave. 大島渚 (1932-2013) 出生於日本京都。1954 年於京都大學法學部畢業，之後到松竹當助導，1959 年執導長片首作《愛與希望的街》。其後成立獨立製片公司「創造社」，作品以前衛新銳見稱，被譽為日本新浪潮旗手之一，蜚聲海外。

SELECTED FILMOGRAPHY 主要作品 1960 Cruel Story of Youth 青春殘酷物語 1960 Night and Fog in Japan 日本的夜與霧 1968 Death by Hanging 絞死刑 1971 The Ceremony 儀式 1976 In the Realm of the Senses 感官世界 1983 Merry Christmas, Mr. Lawrence 戰場上的快樂聖誕 1999 Gohatto 御法度

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