Restored Classics 修復經典

KALEIDOSCOPE 五光十色

Restored Classics

修復經典

Tih Minh

天謎

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

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。 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

You Only Live Once

逃命鴛鴦

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

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”.

Tom Gunning The Films of Fritz Lang: Allegories of Vision and Modernity [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》）。

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

Breathless À bout de souffle 斷了氣

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

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。 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

Death of a Bureaucrat La Muerte de un Burócrata 官僚之死

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

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”.

Mario Rodriguez Alemán Mujeres, 1 August 1966

[Restoration Notes] 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. [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

[修復筆記] 《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）

Chess of the Wind Shatranj-e Baad 風中殘局

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 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.

Gita Aslani Shahrestani

[Restoration Notes] 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. [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。

[修復筆記] 《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。 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

©Kanoon

Tribute to the Teachers

Bozorgdasht-e Mo’allem 向老師致敬

Iran 伊朗 | 1977 | Persian DCP | Colour | 17min Director  Abbas Kiarostami Production  Kanoon World Sales  mk2 Films

©Kanoon 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

Two Solutions for One Problem

Do Rah-e Hal Baraye Yek Massaleh 一個問題兩種解決

Iran 伊朗 | 1975 | Persian DCP | Colour | 5min 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 [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