Poetry in Motion 詩影像

KALEIDOSCOPE 五光十色

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。 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

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

©Electric Eel Films, Diversion

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

Fire Will Come O que arde 風火臨山

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

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. 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. 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.

Oliver Laxe [導演的話]

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。

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。」

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 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。 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

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

©Filmgalerie 451

[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

Avant Garde Shorts Programme 前衛短片專輯

Dir: Michael Heindl Bolivia/Chile/ Peru 玻利維亞／智利／秘魯 2019 Colour DCP 3min

Dir: Colectivo Los Ingrávidos Mexico 墨西哥 2020 Colour DCP 9min

Dir: Serge Onnen, Sverre Fredriksen The Netherlands 荷蘭 2020 Colour DCP 15min

Dir: Milja Viita Canada 加拿大 2020 Colour DCP 8min

Stones 石投記

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. Michael Heindl

“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

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.

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. [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。

[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。

[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。

[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。

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

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

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

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。

Avant Garde Shorts Programme 前衛短片專輯

Dir: Marcos Arriaga Canada 加拿大 2020 Colour DCP 8min

Dir: Elian Mikkola Canada 加拿大 2020 Colour DCP 8min

Dir: Jacques Perconte France 法國 2020 Colour DCP 16min

Jatun Llaxta, Noh Kaah...

古文明迷蹤

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. [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

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。