第十三屆香港獨立電影節訂票冊子 13th Hong Kong Independent Film Festival Brochure

序言 過去一年半，香港不少抗爭者付出了很大的代價，最近在放映 《佔領立法會》與《理大圍城》之後，觀眾的心情都無比沉重，

討論時都表現出對未知的前途感到悲觀，好像找不到出路，但 回想起 2014 年 9 月 28 日的早上，又有多少人會想過自己幾小

時後會有催淚彈在你身邊爆破呢？重要的是我們那天都出來了。 獨立電影本來就是相對於主流電影工業而產生，填補主流電影

不敢或不想觸碰的空間，2014 年之後，影意志籌�了「兩傘紀

錄片工作坊」，期間完成了《亂世備忘》， 2016 年魚蛋革命之

後，香港獨立電影節放映了《地厚天高》，去年反送中運動期 間，「香港紀錄片工作者」更發表了《佔》和《理》兩部受到

藝術肯定的作品；只不過這些電影雖然受到很多觀眾留意，但 卻始終未能正常地在商業戲院發行放映，所謂非主流與主流的

界線變得越來越模糊。而回看這些電影的類型，由過去幾年廣 受觀眾留意的都是社會運動紀錄片，到今年的「香港獨立電影 節」，想不到大家將會看到的，卻是劇情短片的「收成期」， 年輕人把他們的抵抗意志，透過影像來一次大爆發。

雖然在放映渠道方面遇上種種困難，電檢處要求在電影放映之

前加上的聲明字句，亦響起了創作自由的警號，但我想強調的 是我們在這地方還是有拍攝、發放及觀賞電影的自由。幾天前 我問一個電影系畢業的內地生，問他為什麼在這時勢還希望留

在香港找工作，想不到他的答案非常簡單，他說無論如何，在 香港學習這幾年，令他知道香港擁有的自由空間還是比中國大

很多，所以請不要說我們要怎麼做到最後一天，而是要合力地 保護這地方，令她不會沉淪下去。

我們一向沒有強調舉辦了幾多屆「香港獨立電影節」，因為我 們從來不是朝什麼電影盛宴的方向去走，但今年決定加上第 13

屆，反而是更有決心一年一年地走下去，記得「第四屆香港獨 立電影節」時，我們策展了由已故的張鐵樑博士協助籌辦的「小 川紳介回顧展」，多謝「阿鐵」幫忙我們在�藝發局削資的一

年，令影意志之路線變得更明確更堅定；記得當時有位日本記

者問我，介紹小川紳介是希望香港觀眾有更多的選擇，還是希

FOREWORD A lot of protestors paid a high cost in the last one and a half year. In the recent screenings of Taking Back the Legislature and Inside the Red Brick Wall, audiences felt pessimistic about the future, because there seems to be no way out. But looking back at the morning of 28th September 2014, how many of us would think tear gas would be fired next to you? But what important was, we all came out that day.

To touch on topics that mainstream movies do not want to or do not dare to talk about, indie movies are created. Yellowing was produced in the Umbrella Movement Workshop’, organised by Ying E Chi after 2014; Lost in the Fumes was selected by HKIndieFF after the Fishball Revolution in 2016; two artistic films Taking Back the Legislature and Inside the Red Brick Wall were produced by Hong Kong Documentary Filmmakers during the Anti-Extradition Bill Protests last year. Despite their popularity, films still cannot be shown in commercial cinemas. The boundary between mainstream and non-mainstream becomes increasingly blurry. Thinking back to our selections these few years, we have never expected the wide spectrum of movies, from popular social movement documentaries to florishing short films. Youngsters express their will to resistance through images.

Although the fact that we have a lot of difficulties in distribution; The Office for Film, Newspaper and Article Administration (OFNAA) requested us to add a disclaimer before showing the film; freedom to creat is at stake, we still have the freedoms to film, to distribute and to appreciate films in this place. A few days ago I asked a film graduate from China why he would still want to stay in Hong Kong. To my surprise, his answer was very simple: during his studies in Hong Kong, he realised there is a much bigger room for freedom here than in China. Therefore, please don’t ask us how to work till the last day, but together with us, keep this place from sinking.

We have never emphasized how many years we have been organising HKIndieFF, because we never want to make the festival like a gala. But to show our determination to organise festivals in the future, we decided to add ‘13th’ to the title. I would like to thank the late Dr. Tit Leung Cheung for co-curating ‘Indie Focus -- Ogawa Shinsuke’ in the 4th HKIndie FF, the year that HKADC reduced our grant, the year that we had a clear direction for Ying E Chi. A Japanese reporter asked me if we wanted to offer Hong Kong audiences more choices or if we turn screenings into part of the resistance. I didn’t know how to answer at that time, but now I think we answered with actions. If the 14th HKIndie FF is unfeasible, then I hope the seeds of the previous 13 years have already been spread in the civic society. If there are no conventional ways to screen these movies, then I hope we would be ready to turn all sorts of screenings -- in the society, online, or other creative methods-- into mainstream and pass the indie voice on.

望像小川一樣將放映變成抗爭的一部份？ 那時候我不懂回答，

Let the world hears us.

14 屆香港獨立電影節」真的不能夠再舉行，我就希望過去這 13

Vincent Chui Artistic Director of Ying E Chi HKindieFF Programme Curator

但到了今天，相信我們的行動已經回答了大家。如果明年「第

年的種子已撒落民間，如果這些電影繼續找不到正常放映的途

徑，希望大家到時準備好將社區、網上或各種有創意的放映變 成主流，把這些獨立的聲音流傳下去。

一把聲音也許微弱，但合眾人的聲音，足以讓全世界都聽見！ 崔允信

影意志藝術總監

香港獨立電影節策展人

香港電影和你拍 shoot for hong kong stand together 兩家人 Two Families 導演 Director

21/1

香港 Hong Kong ｜ 2020 ｜ 70 分鐘 min ｜彩色 Colour

香港藝術中心古天樂電影院

胡俊銘 Frank Wu 廣東話、國語對白，中英文字幕 In Cantonese、Mandarin with Chinese and English subtitles

在主權移交後，香港社會不停發生動盪和遷徙，因此香 港又稱為移民之地。《兩家人》刻畫了在這千千萬萬的 人口流動之中，三代同堂的一家人，每個家庭成員都有 過海外居住的經驗，好不容易在香港同聚一堂，卻遇上 了反送中開始後一連串社會事件和新冠肺炎，結果令他

們再次漂流四方。家中電視慣常地開著，中國政府在大 氣電波中讀出對港政策同時，眾人若無其事地淋花、打 掃、吃晩�，家人之間隨意的一問一答都輕描淡寫著香

港正經歷的重大創傷。回首九七將臨之時，社會同樣經

歷過相同的氣氛和焦慮，不過這一次不再是虛驚一場。 現�科技和邊境政策令移民成為一個更輕易又急切的決

( 四 Thur )

7:30 pm

Louis Koo Cinema, Hong Kong Arts Centre

Hong Kong is also called as the migrant city since lots of movings and turmoils happened after the change of sovereignty. Two Families focuses on a family of three generations, in which everyone has overseas experiences. Finally, they are gathering in Hong Kong, but a series of anti-extradition bill protests and COVID make them scattered again. The TV is on, as usual, the Chinese government announces the latest Hong Kong Policies, while all of them act as usual: watering, sweeping and dining. Their plain conversation, however, tells Hong Kong is suffering from traumas. Looking back to 1997, people were equally strained, but this time is no longer a false alarm. Migration is a rapid and easy decision thanks to the current technology and border policies. They are family, yet, barely know about each other, and their paths will no longer cross. For all that, this is perhaps an image of our day-to-day life.

定，一家人既血脈相連又萍水相逢，彼此的命運不羈絆 彼此，如此千人一面的生活寫照，或許是我們每一個人 都面臨著的日常。

同場加映 Screening with

夢樂園 Magic Kingdom 導演 Director

吳澤羲 Nelson Ng Chak-Hei 香港 Hong Kong ｜ 2020 ｜ 15 分鐘 min ｜彩色 Colour

廣東話、普通話、英語對白，中英文字幕 In Cantonese、Putonghua、 English with Chinese and English subtitles

同場放映的《夢樂園》則回到九七，用短片形式述說一 個單親家庭於相同的低壓環境之下遠赴美國的故事，並 面對移民提出更為尖銳的質問⸺我們能逃到哪裏去？

單親爸爸阿傑為了兒子的將來，無奈選擇把他硬留在美

國讓熟人照顧，這個計劃最後迎來可怕的意外而告吹。 離開大多是�不由己的抉擇，但無人能抱著僥倖之心， 保證�一�風平浪靜。

2

Magic Kingdom of the same screening brings us back to 1997, portraits a single-parent family travels to America in a similar worrying climate, and questions emigration critically -- where can we escape to? For the future of his son, Kit decided to leave him to his close friend in the U.S. The plan has to be abandoned due to a horrible accidence. Leaving is mostly an involuntary decision, but no one can take a peaceful life as granted.

24/1

(日Sun )

7:30 pm

香港藝術中心古天樂電影院

Louis Koo Cinema, Hong Kong Arts Centre

1

我真係好＿鍾意香港 系列 I _______ love Hong Kong Series

2

香港多重奏 Hong Kong Polyphony Series

30/1

( 六 Sat )

7:30 pm

賽馬會創意藝術中心賽馬會黑盒劇場 Jockey Club Black Box Theatre, Jockey Club Creative Arts Centre

短片節目 Short Film Program

26/1

( 二 TUE )

7:30 pm

香港藝術中心古天樂電影院

Louis Koo Cinema, Hong Kong Arts Centre

3

《暴動之後，光復之前》街上一切彷彿都在跟 我們對話，訴說著那變質的香港。城裡有人失

落，有人失蹤，來為他貼張《尋人啟事》，找

到？找不到？�是��不是你的��？大澳兩

小無猜，小男孩暗暗喜歡小女神，小女神卻看 似�情鄰家大哥哥，原來一切只為了《和你寫

一封情信》，遙送思念。《第一晚》一架電單 車、兩個外賣仔，一個酒吧老闆娘。高速公路 上，泛藍天空下，亂世中，那個是下一個目的 地？日軍佔領香港的《四四年秋》，新界女生 匆匆闖入港島男孩的生命，約定重光後維港相

見。����的天安從香港孤身渡台，寄人籬

下倍添鄉愁，前路昏暗，惟盼《天暗亦明》。 示威堵路天天上演，的士司機大罵神憎鬼厭，

但 一 晚《 夜 更 》 旅 程， 卻 讓 他 把 漆 黑 重 新 看 清。躁動的黑夜再臨，老師又躲在家中歇斯底

里，思前想後，最終還是《出去》才能治癒自 我製造的恐懼。若然不想一成不變，天天只喝

In After the Riots, Before the Liberation, it feels like everything in the streets is in a dialogue with us, talking about how Hong Kong has changed. In the Missing, some feel lost while others are literally lost—maybe they all need to be found. Found them? Can’t find them?

Who’s more fortunate? Set in Tai O, little boy has a crush for a girl who falls for the big bro next door in Loves, With Love. In Blue Hour, one motorcycle and two food deliveries, a barista. On the highway, under the blue sky, where is their next destination in this hard times. In the Japanese-occupied Hong Kong of 1944, Days of Fall, a New Territories girl and a Hong Kong Island boy have a brief encounter, leading them to promise to meet again at Victoria Harbor when the war is over. In White Night, Tin On moves from Hong Kong to Taiwan alone. Struggles in a new country makes being homesick more unbearable.

For a taxi driver in Night is Young, the roadblocks caused by the daily protest are bothersome. But a night shift might have helped him to see the light in the dark. As night falls in Going Out, a teacher’s mind runs wild as he hides at home. Maybe his fear can only cure by “going out.” If one does not want to stick with the same script and drinks lemon tea everyday, why not take a sip of Lemon Milk?

The world will never be the same again.

我真係好＿鍾意香港 系列 I _______ love Hong Kong Series

暴動之後，光復之前 After the Riots, Before the Liberation 導演 Director

姚仲匡 Iu Chung Hong 香港 Hong Kong ｜ 2020 ｜ 15 分鐘 min ｜黑白 B&W

廣東話�白，中英文字幕 In Cantonese with Chinese & English subtitles

尋人啟事 Missing 導演 Director

朱家誠 Chu Ka Shing 香港 Hong Kong ｜ 2020 ｜ 16 分鐘 min ｜彩色 Colour

廣東話�白，中英文字幕 In Cantonese with Chinese & English subtitles

Lemon Tea，不妨偶然喝口 Lemon Milk《檸檬， 牛奶》，世界從此不再如常。

《若你尚在場》追查祖父被指控為共產黨員的

身世，從家族的肌理透視政治的命運。《電話 亭》一場雨使兩人躲在電話亭內，二人身影重

疊，只為等一個未曾響起的電話。《星期日早 上》譜寫一場現代男女關係的荒誕喜劇，滲透 家庭政治的角力。《男人老狗》老翁無罪釋放 出獄，闊別社會二十多年，隨心所欲之年卻處 處不隨心。《無依》老夫老妻的明媚在歲月下

已漸變為消逝的斜陽，沉落於大海的幽冥。《阿 毛》少數族裔來港後在城市的夾縫穿梭，然而

現實只是面貌不同，窮巷依舊。《絲絲》曾經

的當紅女星偶遇了「她」，兩人互為鏡像，分 享著同一種憂愁。《天堂有落》起床一天見盡

各種光怪陸離，各種離奇景象是伏筆了哪種未 來？《海盛路青年襲擊事件》青年一心想終止 電視合約，但面對橫蠻不講理的制度，反抗竟 演變成一場無稽的「襲擊」。

Sing Me L'Internationale investigates the truth behind a grandfather’s alleged communist party membership, which gives a glimpse of a family’s political destiny.

In End of the Rain, a man and a woman are stuck in a phone booth, pondering their fate and waiting for a phone call. Sunday Morning is a farcical comedy about the relationship of a young couple while addressing the political dynamic within a family. Man as a Dog sees a wrongly convicted man freed from prison after two decades, yet freedom does not make him feel free. Take Us to the Island tells the story of a longtime couple, whose years of admirable struggle is tested by the final stages of life. Mo tackles the everyday struggles of asylum seekers, as they strive to find a way to fulfill their most basic needs. In Queens, a has-been superstar encounters a mysterious female figure who mirrors her image and shares similar concerns. Sisyphus Dreaming centers on a young man waking up to a world that is stranger than his dream. What kind of future are these bizarre scenes foreshadowing? Once Upon a Time in Hoi Shing Road traces a young man’s quest to cancel his cable television.

But under the unreasonable system, resistance has turned into a senseless “attack.”

若你尚在場 Sing Me L'Internationale 導演 Director

黃靜 Wong Ching 馬來西亞、香港 Malaysia, Hong Kong ｜ 2019 ｜ 21 分鐘 min

彩色 Colour ｜馬來語、國語、廣東話對白 , 英文字幕

In Malay, Mandarin, Cantonese with English subtitles

電話亭 End of the Rain 導演 Director

蔡煒樺 Choi wai wah 香港 Hong Kong ｜ 2020 ｜ 12 分鐘 min ｜彩色 Colour

廣東話對白， 中英文字幕 In Cantonese with Chinese & English subtitles

香港多重奏 Hong Kong Polyphony Series

4

夜更 Night is Young 導演 Director

郭臻 KWOK Zune 香港 Hong Kong ｜ 2020 ｜ 25 分鐘 min ｜彩色 Colour

廣東話�白，中英文字幕 In Cantonese with Chinese & English subtitles

第 57 屆金馬�最佳����

Best Live Action Short Film at the 57th Golden Horse Award

和你寫一封情信 Loves, With Love

四四年秋 1944, Days of Fall

出去 Going Out

導演 Director

導演 Director

導演 Director

陳寶雯 Jomin Chan 香港 Hong Kong ｜ 2020 ｜ 15 分鐘 min ｜彩色 Colour

陳志昇 Fisher Chan 香港 Hong Kong ｜ 2020 ｜ 9 分鐘 min ｜彩色 Colour

姚敏堃 Yiu Man Kwan Jason 香港 Hong Kong ｜ 2020 ｜ 14 分鐘 min ｜彩色 Colour

廣東話�白，中英文字幕 In Cantonese with Chinese &

廣東話，日語�白，中英文字幕 In Cantonese, Japanese with

廣東話�白， 中英文字幕 In Cantonese with Chinese & English subtitle

第一晚 Blue Hour

天暗亦明 White Night

檸檬，牛奶 Lemon Milk

導演 Director

導演 Director

導演 Director

English subtitles

葉兆聰 Sam Ip Siu Chung 香港 Hong Kong ｜ 2020 ｜ 21 分鐘 min ｜彩色 Colour

廣東話�白，中英文字幕 In Cantonese with Chinese & English subtitles

Chinese & English subtitles

周敬勤 Chow King Kan, Kingston 香港 Hong Kong ｜ 2020 ｜ 9 分鐘 min ｜彩色 Colour

國語、台語、廣東話�白， 中英文字幕 In Mandarin, Taiwanese, Cantonese with Chinese & English subtitles

陳惠沂 Wylie Chan 香港 Hong Kong ｜ 2020 ｜ 15 分鐘 min ｜彩色 Colour

廣東話�白，中英文字幕 In Cantonese with Chinese & English subtitles

星期日早上 Sunday Morning

無依 Take Us to the Island

絲絲 Queens

導演 Director

導演 Director

導演 Director

林子穎 Nora Lam 香港 Hong Kong ｜ 2020 ｜ 17 分鐘 min ｜彩色 Colour

古本森 Benson Koo 香港 Hong Kong ｜ 2020 ｜ 15 分鐘 min ｜彩色 Colour

莫育權 Green Mok Yuk Kuen 香港 Hong Kong ｜ 2020 ｜ 19 分鐘 min ｜彩色 Colour

廣東話對白， 中英文字幕 In Cantonese with Chinese & English subtitles

廣東話對白，中英文字幕 In Cantonese with Chinese & English subtitles

廣東話對白， 中英文字幕 In Cantonese with Chinese & English subtitles

男人老狗 Man as a Dog

阿毛 Mo

天堂有落 Sisyphus Dreaming

導演 Director

導演 Director

導演 Director

林希諾 LAM Hei Nok Diana 香港 Hong Kong ｜ 2020 ｜ 15 分鐘 min ｜彩色 Colour

廣東話對白，中英文字幕 In Cantonese with Chinese & English subtitles

馮嘉卓 Fung Ka Cheuk 香港 Hong Kong ｜ 2020 ｜ 30 分鐘 min ｜彩色 Colour

烏都�、�度�、��、廣東話對白，中英文字幕 In Urdo, Hindu,

English, Cantonese with Chinese & English subtitles

潘敏逸 Jas Pun 香港 Hong Kong ｜ 2019 ｜ 6 分鐘 min ｜彩色 Colour

廣東話對白， 中英文字幕 In Cantonese with Chinese & English subtitles

海盛路青年襲擊事件 Once Upon a Time in Hoi Shing Road 導演 Director

潘敏逸 Jas Pun 香港 Hong Kong ｜ 2019 ｜ 10 分鐘 min ｜彩色 Colour

廣東話對白， 中英文字幕 In Cantonese with Chinese & English subtitles

5

獨立焦點 indie focus

捷克電影新浪潮 Czech New Wave 策展人的話

陳序慶 第十三屆香港獨立電影節 聯合策展

1960 年代是新電影的黃金時代，世界各地先後出現翻天覆地的電影 運動：法國、英國、德國、日本、巴西等；在東歐地區，共產主義 管治下的捷克同樣精彩。一般認為，捷克電影新浪潮由 1963 年開 始， 至 1968 年蘇聯軍事介入「布拉格之春」，結束了當地的民主

運動時告一段落；然而，電影運動餘波未了，不服從作風依然持續。 是次專題，除了一些早期代表作，我們特地選映幾部「後革命」作 品，試圖展現電影人如何在夢想破滅，高壓氣氛下，仍不亢不卑， 逆權創作。

一如各地的新電影，導演們紛紛帶著輕巧的器材及非職業演員，走

上街頭，以近似直接電影的手法，拍攝小人物故事，呈現生活實感； 捷克新浪潮在這基礎上，結合其社會及文化元素，擺脫了傳統社會

主義美學的刻板印象，鐵幕下的一角，悠悠掀起。捷克不是大國，

卻是個文化強國，文學、音樂和藝術的成就尤其出色；新電影中很 多作品都受文學及當時流行的荒誕劇場影響。專政下的捷克，電影

製作由國營片廠管轄，審查是意料中事。當故事觸及敏感題材時， 導演們心知不能硬碰，從而取道隱喻和揶揄，幻想與奇情，喜劇包

裝悲劇；黑色幽默就是捷克新電影的精髓。米路斯 • 科曼曾言：「如 果不懂得笑，問題的解決方法就只有自殺。」或許面對荒謬，苦笑 是唯一出路。奈何道高一尺，魔高一丈，這些作品亦難逃刪剪，甚

至被禁的命運；儘管如此，仍無阻創作者們批判現實的動力和野心。 當極權統治者無所不用其極地去限制人們的自由時，創作人必須以 寬懷的心境，如水隨形的身段去迎抗。 仍然要相信這裡會有想像，共勉之。

6

curator statement Nose Chan Curator, 13th HKindieFF The 60s was the golden era of new movies, there were cinematic new waves around the globe one after another: in France, UK, Germany, Japan, Brazil, and in Czechoslovakia, which was ruled by the Soviet Union at that time. The Czechoslovak New Wave took place roughly from 1963 to 1968, the year that the Prague Spring was ended due to the Soviet military invasion. However, the attitude of disobedience from the social movement still left marks on the films, which made the New Wave be able to last slightly longer than the movement itself. Besides early representative films, we also selected some “post-revolutionary” works to show how filmmakers continued to create modestly, despite the disillusionment and oppression.

Like new waves in other places, directors carried their handy equipment to film stories of unimportant persons on the streets, played by non-professionals.

Moreover, they shot like direct cinema to show a sense of reality. To get rid of the conventional socialist aesthetic, the New Wave combined these with its social and cultural elements. Czechoslovakia was not big, but rich in culture, especially in literature, music and arts. Therefore, lots of films at that time were inspired by literature and the contemporary Theatre of the Absurd. The state-owned film studios supervised film productions in authoritarian Czechoslovakia, and censorship was inevitable. Directors knew certain sensitive topics could not be touched on directly, so they would use metaphors and jokes, imagination and absurd scenes to package the tragedy as comedy. That is why black humour is the core of the Czechoslovak films. Milos Forman once said, ‘If you don’t know how to laugh, the only solution is to commit suicide.’ Perhaps the only escape of absurdity is a bitter smile.

Nonetheless, most films were still forced to be re-edited or even banned. Still, these could not keep authors from being critical and ambitious.

When the totalitarian regime uses every way to limit the freedoms, creators have to resist reposefully with water-like strategies. Let’s keep on believing imaginations still exist in this place.

1965) 建立出一個「學派」。科曼在《消防員舞會》中繼續選用非職業

演員，描繪一班在鄉下的消防員試圖策劃一個有趣晚上而造成的混亂。 電影令某些評論員聯想起果戈里，但亦有部分人認為這是諷刺蘇共的作 品。故事雖設置於社區，幹部卻認為電影在取笑義務消防員，但當地村

民就出乎黨意料的喜歡這部作品。作品甚至受當時復蘇的捷克超現實主 義團體推祟為對日常生活的振奮��。

捷克�浪潮中最接近一個集體宣言的是由曼素、巴�、齊�洛娃、伊里 �、南米克和�爾�共同改編自赫拉巴爾的《底層的珍珠》( Perličky na

dně, 1965)。赫拉巴爾說他的個人生活經驗確實能成為充滿詩意的作品，

而他個人出版的《人民對話》 ( Hovori lidí, 1956) 就能反映出他沉迷於真

實對話和展視工人階級如何不同於官方所推祟的樸素單純。科曼和巴� 雖認同部分元素，但卻沒有他對離經叛道和超現實手法的執迷。

赫拉巴爾的中篇小說《嚴密監視的列車》該是他代表作。他運用他的早 年的戰爭經歷及講述自殺的作品，在這部小說中尋找英雄式的性啟蒙。 曼素的電影改編為作品增添了人性，而浪漫及喜劇般的轉折亦令電影在 世界各地大受歡迎並贏得奧斯卡最佳外語片。作品中的情感元素雖與科 曼和巴�的相近，不過赫拉巴爾和曼素的電影卻用魔幻影象結合喜劇和

悲劇。故事講述納粹入侵捷克後的地下反抗活動，且用諷刺和非一般的

浪潮奇蹟 彼得哈米斯

捷克、東歐電影學者 ( 譯：張嘉芸 )

因為 Blu-ray 和 DVD 的關係，很多老電影得以與年輕人接觸。亦因如此，

手法審視當時的英雄主義，電影中的英雄最後更是因故身亡而非為大眾 犧牲。最終種種元素導致官方批評電影取笑當時的反抗行動。

於 60 年代被視為其中一個最激進的導演，亦是浪潮中唯一一個女導演 ― 齊�洛娃。他的電影《雛�菊》至今仍未過時。主角雖由兩個非職業 演員擔任，但卻不自稱為現實主義作品。棄用傳統的敘事技巧，導演和

他的攝影師丈夫古車拉運用一系列事件來營造豐富的視�效果。《雛� 菊》與南米克的《����失蹤事件》在上映後很快就被 21 名國會成員

捷克斯洛伐克新浪潮終於迎來遲來的認可，被更多人認為它是戰後其中

因電影不乎社會主義或共產理想而要求下架，電影因此成為全城焦點。

政治邊界的電影。

早期的新浪潮電影大多只是拒絕傳統社會現實主義的美學標準(例如建

那時，很多人都驚訝受蘇聯嚴格管治的東歐居然出產了多部原創作品。

正面批評政權。當時的政權開始給予社會更大自由度，承認失實和過去

一個非常重要的電影新浪潮。是次專題挑選了七部超越當時美學標準及

電影很快就受到各大影展認可：楊卡達和艾馬克洛斯的《大街上的商

店》 ( Obchod na korze, 1965) 及伊里．曼素的《嚴密監視的列車》 ( Ostře

sledované vlaky, 1966) 分別於 1966 年和 1967 贏得奧斯卡金像獎；康城

影展則在 1968 年提名米路斯．科曼的《消防員舞會》( Hoří, má panenko,

1967) 和 在 1969 年 頒 發 最 佳 導 演 獎 給《 我 的 鄉 親 父 老 》( Všichni dobří

構理想，但與現實相違的敘述)，但在 1968 年，電影因布拉格之春而能 的錯誤，希望可以結合民主和黨的領導地位及廢除審查。

較為年長的�斯尼導演因此亦要等到 1968 年才獲得黨領導杜布切克的

默許，拍攝籌備多年的《我的鄉親父老》。電影中一系列的人物故事都 是根據導演母親的回憶而寫，刻劃一個從 1945 年到 1958 年的摩拉維亞

rodáci, 1968) 的導演沃�采克．���。

村莊：它被佔領的過程、村落中的集體意識、貪污事件及被共產黨接管

大概有兩個原因造就這種發展：

卻用抒情的手法拍出四季美麗的風景。可悲的是，電影中所代表希望的

一）流行文化傳統因 50 年代的大搜捕和政治正確運動而被壓止

二）當時從布拉格電影學院 (FAMU) 畢業的新生代導演試圖擺脫過時的

的經過，最後以 1968 年的村莊風景作結尾。雖牽涉政治題材，但導演

布拉格之春卻提前結束。

意識形態

伊里�在昆德拉的開創性小說《玩笑》出版前已着手將小說改編成電

科曼的《黑彼�》( Černý Petr, 1963) 就是其中一部代表早期新浪潮的電

亞，講述前共產黨員因一個輕率的政治「玩笑」而被迫勞動和監禁。故

影。電影講述一個平平無奇的雜貨店員工與幹部交涉和求愛失敗的過

程。科曼的電影受新寫實主義及真實電影（cinéma-vérité）所影響，拍

出與共產黨想要的虛假理想世界截然不同的日常生活。馬克思主義評論 家施維塔克在 1964 年的卡羅維瓦利國際電影節說：「《黑彼�》是一

部幾乎甚麼事也沒有發生的電影，但導演卻用幽默甚或殘酷的抒情體把 這些「沒事」如實地呈現給觀眾。」

科 曼 和 他 的 朋 友 巴 � 似 乎 用 他 們 後 來 的 電 影《 金 髮 女 郎 之 戀 》( Lásky

jedné plavovlásky, Forman, 1965) 及《 � � � � 》( Intimní osvětlení, Passer,

影，而電影最終在軍隊入侵捷克時完成拍攝。故事同樣設置在摩拉維 事主人翁懷着報復的意圖，在布拉格之春時回到故鄉，卻發現自己被強 硬派告發成「革命人士」。電影利用多個回憶影像，顯示過去與現在如 何相互影響，並將之建構成有力的對話。

曼素在《嚴密監視的列車》成名後，拍攝了兩部長片才再與赫拉巴爾合 作，並於 1969 年完成《�上的�雀》。電影用滑稽和抒情式的敘事手 法描繪 50 年代初的強制勞動營，同時批判共產黨的官僚制度。可是，

電影在製作二十年後，待蘇共在 1989 年解體後才能上映，並於一年後 在柏林影展贏得金熊獎。

7

1968 年 8 月之前製作的所有電影都必須通過審查，然而，這些電影出

他的電影集中被刪除。無論他們的電影有多成功，沒有一個能像從前一

段，直至完成後，最終還是要得到黨的意識形態委員會批准才能公映。

壞並且無法在國內外進行宣傳；齊�洛娃在此期間的困境亦被清楚紀錄：

現在一個意識形態開始瓦解的時期。 從技術層面來看，電影由劇本階 而根據最近的一項研究，通過�種種談判過程，有時可能會導致好電影

的出現。 但是，在回顧這一段時期，往往冠以事事皆有可能的「黃金 六十年代」，則未必太準確了。當時除了黨內的變革運動之外，還有鼓

樣繼續工作。曼素之後雖改編了赫拉巴爾兩個故事，但電影卻被蓄意破 她的電影《蘋果遊戲》( Hra o jablko, 1976) 需撤出國際影展並被禁映至

1978 年；《預製板故事》( Panelstory, 1979) 則不能在國外宣傳，而電影

直 到 1987 年 才 能 在 布 拉 格 上 映；《 不 幸 的 事 》( Kalamita, 1981) 在 完 成

勵年輕人的社會政策，要令年輕人在黨的「庇蔭」下成長。

後即被禁及被重新��。妥協似乎成了日常，部分導演亦認為這是他們

蘇聯於 1968 年入侵後推翻之前的所有改革，將之變更成對黨國有利的

捷克電影工作者導致他被禠奪國藉及無法在布拉格拍攝《莫扎特傳》。

政策，並維持相關政策 20 年至蘇共倒台。審查制度曾一度被廢除，但 及後換來的是更嚴苛的政策。為求禁止一切抵觸國策的項目，所有主

要職位都由實行強硬路線的黨員擔任。蘇聯除了任命當地的高級黨幹部 外，更持續多年實行幹部職務名單制。有評論指出，幹部職務名單制鼓

拍攝生涯的終結，但亦有些導演能從中獲利。根據科曼的說�，當時是 雖然財政狀況許可，而拍攝亦得以進行，但最後卻被傳�封�。換句話 說，審查就成了官僚制度中的把戲。冼米加在他的書《秩序的重建》中 把這段時期描述為「無法移動的年代」。

勵犬儒，即那些奉行務實政策的人。新浪潮因而急速湧退。巴蘭多夫製

當電影工作者享有比以往更大的藝術創作自由、排斥壓抑美學及理想的

來營造一個多疑的、憤世的、庸俗的、歇斯底里的情緒。」當時有超過

如何，電影的獨特性及新鮮感都為觀眾帶來驚喜。

片廠的劇作藝術部門主管曾把電影形容為「預謀的一部分…是精心策劃 一百部電影被禁，當中更有四部被永遠禁映，其中兩部是《消防員舞會》 及《我的鄉親父老》。 因為模稜兩可的美學本身就具顛覆性，所以此後

幾乎不再可能製作意義含糊或開放式電影。就瓦解文化這方面來說，蘇 共的確非常成功。

科曼、�斯尼、巴�和南米克與其他人或自願或因壓力而移民他國。曼

前景，就能造就出電影史上其中一個最出色的新浪潮。不論當時的環境

彼得哈米斯的著作有《捷克斯洛伐克新浪潮》（2005）、《捷克與斯洛伐克電影： 題材與傳統》（2009）和《斯洛伐克 1921 - 1991 最佳電影》（2018）；他亦編輯《中 歐電影》（2004）、《揚史雲梅耶電影：闇黑煉金術》（2018）及與博多姬斯合 編《中／東歐電影：1989 年後的轉化》（2013）

素和齊�洛娃則在 1976 年才能重新工作，而伊里�就發現《玩笑》從

The Miracle of the Wave Peter Hames Increasingly seen as one of the key cinematic movements of the post war era, the Czechoslovak New Wave is receiving a somewhat belated critical and historical recognition. The availability of many of the films on Blu-ray and DVD has meant that it has reached younger audiences for whom the films have often proved a revelation. This selection of seven of its key films crosses aesthetic and political boundaries in striking combination.

At the time, many found it surprising that so many original works should emerge from what was perceived as one of the most conformist regimes in Soviet-dominated Eastern Europe. Film festival recognition soon followed and culminated in the award of Hollywood Oscars to Ján Kadár’s and Elmar Klos’s The Shop on the High Street (Obchod na korze, 1965) in 1966 and Jiří Menzel’s Closely Observed Trains (Ostře sledované vlaky, 1966) in 1967. Miloš Forman’s The Firemen’s Ball (Hoří, má panenko, 1967) was nominated in 1968 and Vojtěch Jasný’s All My Good Countrymen (Všichni dobří rodáci, 1968) won the Best Direction prize at Cannes in 1969.

There were probably two reasons for these developments. Firstly, a broad cultural tradition had merely been suppressed by the political orthodoxies and persecutions of the 1950s. Secondly, a predominantly younger generation of filmmakers had emerged from the Prague Film School (FAMU) who sought to develop their talents without reference to outdated ideological guidelines.

One of the first films to indicate a new course was Forman’s Black Peter (Černý Petr, 1963), which charted the low key story of a young assistant in a grocery store, his encounters with authority, and unsuccessful attempts to interest the opposite gender.

Influenced by neo-realism and cinéma-vérité, Forman portrayed an everyday world far removed from the idealised and false vision preferred by the Communist Party. As the Marxist critic, Ivan Sviták, put it at the Karlovy Vary Film Festival in 1964, ‘Black Peter is a film in which almost nothing happens, but that “nothing” is presented with such credibility, humour, substantiality, and even a certain cruel lyricism that the audience never loses touch with the screen’.

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獨立焦點 indie focus

For a period, Forman and his friend, Ivan Passer, seemed to have established a ‘school’ of filmmaking with their follow-up films, Loves of a Blonde (Lásky jedné plavovlásky, Forman, 1965) and Intimate Lighting (Intimní osvětlení, Passer, 1965). Forman’s later film, The Firemen’s Ball, while continuing to use non-actors, was seen by critics as reminiscent of Gogol and by others as a satire on the Communist Party. It recorded a night of chaos in which a provincial fire brigade attempts to organise an evening of entertainment. Although rooted in the community in which it was set, the authorities considered it to be making fun of the volunteer fire brigades who provided the backbone of the service. However, when shown to the local villagers, who the Party thought would object, it received unqualified approval. It was simultaneously admired by the resurgent Czech Surrealist group as a coruscating examination of the everyday.

The nearest the Czech Wave came to a collective statement was with their adaptation of Bohumil Hrabal’s stories, Pearls of the Deep (Perličky na dně, 1965). Menzel, Passer, Věra Chytilová, and Jaromil Jireš all participated along with Jan Němec and Evald Schorm. According to Hrabal, the direct life experience could become a poetic act, and his privately published People’s Conversations (Hovori lidí, 1956) revealed an obsession with authentic speech and a representation of the working class at odds with official simplifications. While Forman and Passer shared some of these objectives, they did not have a similar obsession with the eccentric and the surreal.

Hrabal’s novella Closely Observed Trains was probably his most orthodox. Drawing on his wartime experiences and earlier works that had focussed on the subject of suicide, he now concentrated more on his hero’s search for sexual initiation. Menzel’s film version gave the film a humanist flavour and a romantic and comic turn that won a Hollywood Oscar and made it popular all over the world. While its sensibility shared elements with Forman and Passer, Hrabal and Menzel worked closely on a film that mixed comedy and tragedy with an often magic imagery. Set against a background of the Nazi protectorate and the underground resistance, the theme of heroism receives an ironic and unusual examination. The Czechs’ Švejkian resistance to the Nazi occupation nonetheless met official criticism for ‘making fun’ of the Resistance. The hero’s eventual death was more a matter of accident than heroic sacrifice.

One of the most radical of the 60s directors was Věra Chytilová – the only woman amongst the new grouping. Her film Daisies (Sedmikrásky, 1966) remains challenging to this day and avoided any pretence at realism despite the two protagonists being played by non-professionals. Lacking any conventional narrative, the film takes the form of a series of ‘happenings’ which give full range to the visual experiments of her cinematographer-husband, Jaroslav Kučera. Together with Němec’s The Party and the

Guests (O slavnosti a hostech, 1966), it became the focus of an immediate scandal in which 21 members of the National Assembly demanded its withdrawal on the grounds that it had ‘nothing in common with socialism or the ideals of Communism’.

If the early films of the New Wave were mainly distinguished by their rejection of the aesthetic norms of Socialist Realism (i.e. conventional narrative forms harnessed to the building of an ideal and far from evident reality), no explicit criticism was permitted until 1968. This was the year of the Prague Spring when the Communist Party began to introduce liberal reforms, acknowledged the distortions and failures of the past, sought to combine democracy with the leading role of the Party, and abolished censorship.

Vojtěch Jasný, one of the older directors, had planned his All My Good Countrymen for many years but it was only given the go-ahead in 1968 (apparently with the approval of Party leader Alexander Dubček). The film focuses on life in a single Moravian village from the years 1945-58 together with an epilogue set in 1968. A collection of stories and characters apparently based on his mother’s reminiscences, it follows the processes of dispossession, collectivisation, and corruption that followed the Communist takeover.

Despite its political theme, it’s fundamentally a lyrical film set against the enveloping beauty of the landscape and progression of the seasons. Unfortunately, its reference to the hopes presented by the Prague Spring proved to be premature.

Jireš’s adaptation of Milan Kundera’s seminal novel The Joke (Žert) was prepared with the author prior to publication and completed filming against a background of the invading armies. Again set in Moravia, it tells the story of a former Communist who ends up enduring forced labour and imprisonment for an ill-advised political ‘joke’. Intent on revenge, he returns to his home town during the Prague Spring only to discover that the hardliner who denounced him has become a ‘reformer’. Presented mainly through flashbacks, the film strikes a powerful interplay and debate between past and present.

Following his success with Closely Observed Trains, Menzel made two further features before reuniting with Hrabal for Skylards on a String (Skřivánci na niti), which was completed in 1969. This comic and sometimes lyrical portrait of a forced labour camp in the early 1950s was nonetheless a powerful attack on the Communist bureaucracy. As a result, it could not be released until after the fall of the Communist regime in 1989. Over 20 years after its production, it won the Golden Bear at the Berlin Film Festival in 1990.

All of the films released prior to August 1968 had been produced under conditions of censorship. However, they appeared at a time when the ideological ice was beginning to crack. Technically, the films had to be approved at script stage, after completion and finally by the ideological commission of the Communist Party. According to a recent study, these negotiations could sometimes lead to constructive outcomes. But, in what has retrospectively – and probably inaccurately – been dubbed ‘The Golden Sixties’, many things were possible. Apart from the movement for change within the Party, there was an official policy of encouraging youth – a youth that had grown up and been ‘nurtured’ under Communism.

Following the Warsaw Pact invasion of 1968, the reforms of the 1960s were reversed in favour of a static and sterile world that was to survive for the next 20 years. While censorship had been formally abolished, even stricter controls were now imposed. Hard line Communists were placed in key positions to ensure that no deviations from official policies could be initiated. This ‘Nomenklatura’ system was consistently applied and senior Party positions were approved by Moscow. As one critic put it, the ‘Nomenklatura’ system supported cynics or, at best, pragmatists. The New Wave was swiftly disowned.

The head of dramaturgy at the Barrandov Studios described the films as part of ‘a premeditated strategy…designed to build up a climate of scepticism, cynicism, vulgarity and hysterical emotions’. Over 100 films were banned with four listed as ‘banned forever’. Two of the four were The Firemen’s Ball and All My Good Countrymen. To produce a film that might appear ambiguous – or open to different meanings – would become almost impossible. Aesthetic ambiguity was in itself, subversive. The Party largely succeeded in its self-appointed task – the liquidation of a culture.

Forman, Jasný, Passer and Němec (among thousands) emigrated either voluntarily or because of pressure. Menzel and Chytilová were unable to work again until 1976 while Jireš found The Joke deleted from his filmography. None were able to continue the level of work that had previously been possible and despite some achievements Menzel made two further adaptations of Hrabal - interesting work was deliberately sabotaged and promoted neither at home nor abroad. Chytilová’s struggles have been well documented. Her film The Apple Game (Hra o jablko, 1976) was withdrawn from international festivals and unreleased until 1978. Prefab Story (Panelstory, 1979) was not promoted internationally and denied a Prague screening until 1987. Calamity (Kalamita, 1981) was banned after completion and re-edited. Compromise was the norm and some directors found their careers at an end. Others, however, exploited the situation to their own advantage. Forman noted that it was Czech filmmakers who were behind the withdrawal of his Czech citizenship and opposed his shooting of Amadeus (1984) in Prague. Financial considerations prevailed and shooting went ahead, but only under conditions of press blackout. In other words, censorship was now a matter of bureaucratic control. In his book, The Restoration of Order, Milan Šimečka characterised the period as an ‘age of immobility’.

The New Wave was one of the most remarkable movements in film history when filmmakers achieved an unusual degree of artistic freedom combined with the rejection of repressive artistic codes and the promotion of new social realities. Whatever the conditions from which it arose, the originality and freshness of the films continues to astonish and surprise.

Peter Hames is author of The Czechoslovak New Wave (2005), Czech and Slovak Film: Theme and Tradition (2009), and Best of Slovak Film, 1921-91 (2018). He is editor of The Cinema of Central Europe (2004), The Cinema of Jan Švankmajer: Dark Alchemy (2008), and Cinemas in Transition in Central and Eastern Europe after 1989 (with Catherine Portuges, 2013).

捷克電影新浪潮 Czech New Wave

9

1968 年�城��最佳��

Best Director, 1969 Cannes Film Festival

我的鄉親父老 All My Good Countrymen 導演 Director

18/1

捷克 Czech ｜ 1968 ｜ 120 分鐘 min ｜彩色 Colour

香港藝術中心古天樂電影院

沃依采克．雅斯尼 VojtEch Jasný 捷克語對白，英文字幕 In Czech with English Subtitles

這是一首捷克戰後重生又再度墜落，橫跨 20 年的悲劇史

詩。故事由 1948 年二戰結束共產取得政權始，至 1968

年蘇聯軍隊壓境為止。一個原本平靜質樸的鄉村，好日 子回復了沒多久便迎來了共產批鬥時代。順應天命、相

濡以沫的街坊鄰舍從此敵我分明，把弄權力，人心沉淪。 七個朋友分道揚鑣，命運迴異。唯是農民 Frantisek 20

年來堅持著村子舊有精神，捱過迫害，成為村內不滅的 精神領袖。土地、四時花樹和村中老人，都是沉默但銳 利的時代見證者。新浪潮「御用」攝影師 Jaroslav Kučera

温柔捕捉時代起伏和見證者之魂，導演沃�采克．�斯 尼花上近十年完成精煉的劇本，兩者融合而成就了恢宏 的抒情詩。

10

獨立焦點 indie focus

( 一 Mon )

7:30 pm

Louis Koo Cinema, Hong Kong Arts Centre

Spanning two decades, All My Good Countrymen chronicles the turmoil of Czechoslovakia from its 1948 post-war revival to the 1968 Soviet military’s invasion. Under the post-war Communist regime, a simple village has barely recovered before the communist “struggle sessions” arrive. The new reality drives the once altruistic neighbors apart, dividing them as they fall prey to power strugglesa. Seven friends go their separate ways, as each is dealt a very different hand in life. Yet only František the farmer has upheld the village’s time-honored spirit, becoming the town’s steadfast leader despite the persecution he faces. Having spent ten years honing the script, writer-director Vojtěch Jasný partners with New Wave’s most notable cinematographer Jaroslav Kučera, whose gentle touch is instrumental in capturing the passion of the times.

1990 年柏林��金��

Golden Bear at the 1990 Berlin International Film Festival

繩上的雲雀 SKYLarks on the String 導演 Director

19/1

捷克 Czech ｜ 1969 ｜ 96 分鐘 min ｜彩色 Colour

香港藝術中心古天樂電影院

伊里．曼素 JiRí Menzel 捷克語對白，英文字幕 In Czech with English Subtitles

此片於 1968 年「布拉格之春」遭蘇聯和華約鎮壓後被 禁映，至 21 年後天鵝絨革命，共產政權被推翻才得以重

見天日。導演伊里．曼素把被壓迫者的酸楚生活，拍成 幽默而充滿希望的温情故事。改編自捷克作家赫拉巴爾

的小說，在 50 年代的共產捷克，一群被定性為資產階 級的平民被送到鋼鐵回收場，回收場另一邊反革命女囚

犯們正在服役，眾人皆忘掉這群「黨的敵人」，深被吸 引。性、愛、互助、追求自由的人性未被懲罰消磨。伊 利．曼素此次較其前作《嚴密監視的列車》(1968)的敘

事風格直接質樸，但同樣人性飽滿，點出現實政權空洞 洗腦之無效⸺連「體制代表」的年輕獄警最後也和囚 犯一同圍爐取暖。

( 二 Tue )

7:30 pm

Louis Koo Cinema, Hong Kong Arts Centre

In the aftermath of 1968’s Prague Spring, the Soviet and Warsaw Pact invasion caused the film to be banned for over 20 years until the fall of the Communist regime. Director Jiri Menzel saw the plight of the oppressed, and made this heartwarming comedy filled with hope. Adapted from Czech writer Bohumil Hrabal’s short stories, a group of “bourgeois suspects” are sent to work in a junkyard for “rehabilitation” in 1950s Czechoslovakia. On the other side of the junkyard, a group of “anti-revolutionary” female prisoners are serving their sentence. The dirty rags on these “enemies of the party” have done nothing to dampen the men’s interest. Sex, love, benevolence, and pursuit of liberty are part of their human nature that cannot be diminished by any punishment. Compared to Menzel’s previous film, Closely Watched Trains (1968), the narrative style of Larks on a String is more straightforward while maintaining the Czech auteur’s trademark humanity.

同場加映 Screening with

不了情 Magnificent obsession (p.17)

捷克電影新浪潮 Czech New Wave

11

1964 盧�諾��金帆�

Golden Sail Award at 1964 Locarno International Film Festival

黑彼德 Black Peter 導演 Director

20/1

捷克 Czech ｜ 1963 ｜ 85 分鐘 min ｜黑白 B&W

香港藝術中心古天樂電影院

米路斯．科曼 Miloš Forman 捷克語對白，英文字幕 In Czech with English Subtitles

青春不殘酷，只是自由和真象不過虛妄，無奈茫然不知 喜怒其所往。16 歲少年彼得，在 60 年代的一個夏天當

小型超市實習生，職責是全日監視街坊有否偷竊。父親 日夜灌輸要攖取權力，才能成為真男人，成長一課是不 能隨自身意志行事，強權代替真理，對不義之事噤聲。

電影以手提攝影機捕捉彼得，穿街過巷的長鏡頭是「只 能如此」精妙留白。米路斯．科曼一鳴驚人的首作，新

浪潮初期奠基作品，紀實和虛構交纏，以輕慢的散文步 調拍成這齣青春之歌。米路斯． 科曼自此片確立及後 (如

《消防員舞會》(1969) )起用非職業演員、即興對白、實

境拍攝的寫實風格，同時融入劇情片敘事，日常悵惘、 社會荒謬矛盾透過虛實相間的影像有力呈現。

同場加映 Screening with

( 三 Wed )

7:30 pm

Louis Koo Cinema, Hong Kong Arts Centre

Milos Forman’s feature film debut is less of a cruel story of youth, but more of a reality check for a generation at a loss for freedom and catharsis. In a 1960s summer, sixteen-year-old Petr starts his job as a supermarket trainee, whose duty is mainly to keep an eye on any potential theft in the shop. Meanwhile, his father lectures him daily on the importance of seizing power—the mark of a real man, he says. A young man like Petr has no chance to grow up according to his own will because power has replaced truth in a world where injustice is met with silence. The film captures Petr with handheld camerawork that features long takes following the protagonist across town— leaving room for the audience to ponder the inner life of the helpless teenager. Forman’s impressive first film is a foundational work of the Czech New Wave. Walking between the lines of documentary and fiction, it is a youthful picture that maintains a laid back rhythm.

This film cements Forman’s style of using non-professional actors, improvised dialogue, and location shooting in his later films, such as Firemen’s Ball (1969). Everyday anguish and society’s travesty are vividly presented in this documentary-like fictional film.

逆權熊貓 panda moonwalk or Why meng meng walks backwards (p.17)

消防員舞會 the FiremEn’s Ball 導演 Director

22/1

捷克 Czech ｜ 1967 ｜ 71 分鐘 min ｜彩色 Colour

香港藝術中心古天樂電影院

米路斯．科曼 Miloš Forman 捷克語對白，英文字幕 In Czech with English Subtitles

新浪潮旗手米路斯．科曼在流亡美國前於捷克拍成的最

後作品，沿襲捷克荒誕幽默敘事傳統的集大成之作。捷 克一個偏遠小鎮，消防員團隊上下為身患絶症的前局長

舉行致敬舞會，但在僵化的層級文化，和早已空洞的革 命團結精神底下，舞會演變成一場覆水難收的鬧劇。在 捷克被禁多年，這齣黑色喜劇廣被視為以小見大、諷刺 東歐共產管治的精闢寫照，而同樣可見的是人性的同情

和貪婪、人民對權威荒謬且強制的命令只能苟且、陽奉 陰違。眾人立於熊熊烈火，把酒觀賞的他們臉上掠過淡 漠的哀愁。喧鬧過後，老伯回到火災現場、躺在自己無

瓦遮頭的床，俯視的遠鏡掃過茫茫白雪，百姓的無依和 生命微小之願，心領神會。

12

獨立焦點 indie focus

( 五 Fri )

7:30 pm

Louis Koo Cinema, Hong Kong Arts Centre Czech New Wave stalwart Milos Forman’s last film before his exile to the United States is a masterpiece in the tradition of absurdist humor. In a small Czechoslovak town, the fire department is holding a ball in order to raise money for their former chairman. Yet the rigid hierarchical culture and hollow spirit of solidarity have turned the ball into an unstoppable farce. From a rigged beauty pageant with unwilling participants to a raffle whose prizes are stolen, the party builds up to a climatic meltdown of the ages. Banned in Czechoslovakia for years, this black comedy is widely seen as the perfect satire of the communist state’s bureaucratic mindset. The film exposes how people can only respond to the authority’s absurd mandates with deceit and hypocrisy. Although Forman’s boisterous comedy is a merciless takedown of communist culture, the filmmaker has also shown a soft spot for the insignificant proletariat beneath his scorn for human greed.

雛孖菊 Daisies 導演 Director

23/1

捷克 Czech ｜ 1966 ｜ 74 分鐘 min ｜黑白、彩色 B&W, Colour

香港藝術中心古天樂電影院

維拉．齊媞洛娃 VEra Chytilová 捷克語對白，英文字幕 In Czech with English Subtitles

《雛孖菊》被譽為新浪潮標誌性的前衛作品。以實驗精 神著稱的女導演齊媞洛娃併貼出超現實花花世界，對影 像形式和社會現況作出喧囂的反撲。在黑白戰爭歷史片

段間，兩個恍若雙生兒的泳裝瑪莉出場，如同失落了靈

魂和存在感的嘻哈人偶，忽發奇想展開一個「世界有多 壞、我們便多壞」的墮落生活。四處滋擾予取予携呃飲 呃食，她們以虛無撕開「正常世界」的布景幕，跳躍於

平行時空間，聲與畫，歷史與當下，個人和群體，蝴蝶、

鐵絲、香腸與紅玫瑰、長曝的火車軌鏡頭和「身首異處」

( 六 Sat )

2:00 pm

Louis Koo Cinema, Hong Kong Arts Centre

Known for her playful and experimental style, director Věra Chytilová puts together a kaleidoscopic world in this iconic Czech New Wave film—a surrealist rebuke of the oppressive times. The film starts with black-and-white historic images of war, as the two main characters takes center stage in their swimsuits. Like a pair of marionettes that has lost their souls, they capriciously decide that the world is “spoiled” and their response is to turn the world upside down with their mischievous ways. Its surprise mix of food, butterflies, human bodies, and flowers is an aesthetic feast that may seem nonsensical at first glance, but its sharp critique on patriarchy and authoritarianism is crystal clear. Daisies is an unstoppable revolutionary march that has never ceased to be funny.

的併剪效果，普普、達達主義及各種抽象的影像共冶一 爐。彷彿風馬牛不相及，實則是對戰後社會威權政治和 父權等價值觀念尖刻的批判。革命進行曲音樂奏響，一 場激進的美學饕宴以後設的敘事落幕，把形式實驗進行 到底。

同場加映 Screening with

sugar (p.17) 捷克電影新浪潮 Czech New Wave

13

1968 ����佳���

Best Foreign Language Oscar at the 1968 Academy Awards

嚴密監視的列車 Closely Watched Trains 導演 Director

24/1

捷克 Czech ｜ 1966 ｜ 92 分鐘 min ｜黑白 B&W

香港藝術中心古天樂電影院

伊里．曼素 JiRí Menzel 捷克語對白，英文字幕 In Czech with English Subtitles

故事發生在二戰時被納粹佔領的捷克小鎮火車站，一個 被性無能困擾的新紮火車調度員、一個沉溺温柔鄉的車

站協調員、一個心癢難耐的偽善站長，在戰火當前，眾 人忘記現實殘酷，夢牽魂縈都是性。沒有色欲倫落，只

有安靜幽默，穿透小人物的無際幻想和欲望，壓迫日常 的大政治背景秘而不喧悄悄閃現。本無心懷衛國之志的 火車調度員米洛斯，如何脫胎成抗爭英雄「真男人」？ 導演伊利． 曼素最受稱譽也廣為國際所識之作，以安靜

詩意的日常製造隱約可聞的畫外音，那就是小人物身處 殘暴絕境的無聲凝視和悲劇抵抗。

14

獨立焦點 indie focus

(日Sun )

2:30 pm

Louis Koo Cinema, Hong Kong Arts Centre

Set in a Nazi-occupied Czechoslovak town, a young train station apprentice is troubled by his inability to perform sexually. His older colleagues—a womanizing train dispatcher and a jaded stationmaster—are barely qualified to give him any advise. Even as the prospect of war looms large, these characters seem to have forgotten the impending doom as they indulge in fantasies of sensual pleasure. A sly comedy filled with poignant observations, Closely Watched Trains gives viewers a glimpse of the common people’s daily malaise in the cusp of a historic turning point. How could a sex-obsessed simpleton transform into a resistance hero? Filmmaker Jiří Menzel’s most acclaimed film is one of Czech New Wave’s masterpieces—a tragicomedy about the resistance of ordinary folks in the darkest hour.

玩笑 The Joke 導演 Director

25/1

捷克 Czech ｜ 1969 ｜ 81 分鐘 min ｜黑白 B&W

香港藝術中心古天樂電影院

耶路米．伊里殊 Jaromil Jireš 捷克語對白，英文字幕 In Czech with English Subtitles

一句戲言，一生驟毁，從此被驅逐至時代和世界邊際以 外。電影攝於「布拉格之春」時期，改編自民主運動文 藝 界 旗 手 米 蘭 昆 德 拉 的 同 名 小 說。1950 年 代 的 共 產 捷

克，大學生路德維克給愛人寫下一句笑話，結果被愛人

「篤灰」。路德維克十五年後從布拉格回鄉，睥睨一切， 決心「復仇」。導演耶路米 • 伊里殊工整地把主人翁當

年的屈辱和今天回鄉浪盪街頭平行剪接互為呼應，教人

目睹偽善搭起的「民主」、以及意識形態的糖衣包裝下， 泯滅人性的瞬間，如何成為了終生創痛的烙印。而精心 計算的復仇大計，也不過淪為一場新的玩笑。這和戲中 後革命年輕一代追求小資，把史大林共產主義拋諸腦後

( 一 Mon )

7:30 pm

Louis Koo Cinema, Hong Kong Arts Centre

Who could have imagined a little quip has the power to destroy a man’s life? Shot during the Prague Spring, the film is an adaptation of Milan Kundera ’s novel of the same name. Set in 1950s Czechoslovakia during the Communist regime, university student Ludvík writes a joke for his lover, who reports him to the Communist party. When Ludvík returns to Prague fifteen years later, he vows to avenge those who have wronged him. Director Jaromil Jireš uses precise cross-cuts of the protagonist’s harrowing past and his presentday revisit, illustrating how the hypocritical “democracy” built with a phony façade has allowed a malevolent moment that causes lifelong trauma. Perhaps the meticulously calculated revenge plot has been reduced to a new joke. This is as ironic as the post-revolutionary generation’s abandonment of Stalin's communism for their pursuit of a petty bourgeois lifestyle.

同樣諷刺。

同場加映 Screening with

大數據 MV algo-rhythm (p.17)

捷克電影新浪潮 Czech New Wave

15

香港歌德學院 呈獻 Goethe-Institut Hong kong Presents

奧伯豪森國際短片節選映 International Short Film Festival Oberhausen’s Selection 在全球一體的年代，塞內加爾、德國與中國，何必分那 麼細。《大數據 MV》Algo-rhythm 短片揉合 hip-hop、街

頭塗鴉等元素，以明快的節奏針砭大數據帶來的威脅。 人性在數位時代分崩離析，成為算式中一個又一個的數 位。Sugar 則 躍 進 末 世； 未 來 的 人 類 進 駐 地 底， 被 科 技

矇蔽感官；反而機械人 Sugar 藉由人工智能，已經習得

思考與感受的能力。當機器比起人類更有生氣時，生而 為人，又意味著甚麼？《逆權熊貓》Panda Moonwalk or

Why Meng Meng Walks Backwards 娓娓道來一則有趣的新

聞。 柏 林 動 物 園 裏， 住 著 一 隻 大 熊 貓 夢 夢， 她 個 性 出 眾，只愛倒後行，憨厚片段下卻盡是波譎雲詭，暗藏了 一場關於社會、性別的重大思辯。《不了情》Magnificent

Obsession 更是荒誕離奇：橫流的物慾、天壇與福娃、老

人的夢魘互為表裡，橫飛的意象共冶一爐，勾勒出現代

In the age of globalization, perhaps Senegal, Germany, and China are not that far away from each other. Algo-rhythm combines elements of hip hop music and graffiti to comment on the threat of big data in lively pace. Humanity is breaking apart in the digital age, becoming one digit after another within the algorithm. Sugar takes a leap to the post-apocalyptic world, where humans go underground while their senses are dulled by technology. Yet Sugar the sophisticated robot has acquired the ability to think and feel.

When a robot is livelier than a human, what does it tell us about our kind? Panda Moonwalk or Why Meng Meng Walks Backwards tells the fascinating story of a panda in the Berlin Zoo. Meng Meng the female panda will only walk backwards, and the human interpretation of her odd habit gives rise to discussions of social and gender issues. Magnificent Obsession is a bizarre hodgepodge of desires—a side-scrolling show of objects and symbols coming straight from a nightmare. As the director stated, “Each part of it is trying to express different feelings but they are all about the obsession of contemporary China.”

中國光怪陸離的眾生相。

大數據 MV Algo-rhythm 導演 Director

馬努 ． 陸克齊 Manu Luksch 德國 Germany ｜ 2019 ｜ 14 分鐘 min ｜彩色 Colour

法語、窩路夫語對白，英文字幕 In French & Wolof with English subtitles

逆權熊貓 Panda Moonwalk or Why Meng Meng Walks Backwards 導演 Director

克斯廷 ． 漢內特 Kerstin Honeit 德國 Germany ｜ 2018 ｜ 8 分鐘 min ｜彩色 Colour

英語、德語、國語對白，英文字幕 In English, German, Mandarin with English subtitles

Sugar 導演 Director

約恩 ． 梅爾哈斯 Bjørn Melhus 德國 Germany ｜ 2019 ｜ 21 分鐘 min ｜彩色 Colour

�語對白，英文字幕 In English with English subtitles

不了情 Magnificent Obsession 導演 Director

鍾甦 Su Zhong 德國 Germany ｜ 2018 ｜ 26 分鐘 min ｜彩色、黑白 Colour，B & W

沒有對白 Without dialogue

本節目內短片將於「捷克電影新浪潮」節目作同場加映，請參閱放映時間表 The above short films will be screening with Czech New Wave’s Programme, please refer to the screening schedule for details.

17

紀實力量，和勇不分 documentary power peaceful, valiant we're as one 22/1 9:15 ( 五 Fri )

紅磚危城 Save PolyU 導演 Director

張凱傑 Cheung Hoi Kit 香港 Hong Kong ｜ 2020 ｜ 60 分鐘 min ｜彩色 Colour

廣東話對白，中英文字幕 In Cantonese with Chinese and English subtitles

若欲整理香港抗爭歷史，抗爭者在理工大學被警察圍堵 的十多天必定是重要的里程碑，因為那是港人經歷過最

心痛無力的時刻。觀看《紅磚危城》就如重溫一切警暴 片段，是一個自揭傷口的過程，唯獨在事過境遷後會發 現，政府的暴力不只在於他們對一群從未經訓練的年輕 人出動軍事模式的攻擊，更在於他們對程序的執著和崇 拜而產生的冷血無情。此片將警方的說話紀錄得相對完

整，他們一面對被困的人冷嘲熱諷，一面以官僚式手段 打發前來提供法律援助的人離開，以執法為名，把抗爭

pm

香港藝術中心古天樂電影院

Louis Koo Cinema, Hong Kong Arts Centre

30/1

( 六 Sat )

2:15 pm

賽馬會創意藝術中心賽馬會黑盒劇場 Jockey Club Black Box Theatre, Jockey Club Creative Arts Centre

The fact that protesters were surrounded by the police in the Hong Kong Polytechnic University for more than 10 days must be an important incident in Hong Kong Resistance History, as it was also the most powerless moment for most Hongkongers. Watching Save PolyU seems like scratching our wounds by reviewing all the videos of police brutality. This documentary records a relatively complete conversations of the police, how they mocked trapped protesters and used bureaucracy to dismiss people who came to provide legal aids.

While the police were pushing the protesters to the edge in the name of law, protesters inside tried to entertain themselves. Those clumsy escapes and disputes could display the highest life-force, and this is perhaps what we Hongkongers must guard.

者逼向絕路。同時間，理大內的抗爭者有時自尋娛樂， 有時笨拙逃生和爭執的片段卻展現了最強的生命力，這 或是所有香港人今後都必須堅守的力量。

我 ，直擊真相 i - Documentary of the Journalist 導演 Director

23/1

日本 Japan ｜ 2019 ｜ 113 分鐘 min ｜彩色 Colour

香港藝術中心古天樂電影院

森達也 Tatsuya Mori 日語對白，中英文字幕 In Japanese with Chinese & English subtitles

記者望月衣塑子，出名為求真相，敢於挑戰高官。其著 作《新聞記者》，被改篇成同名電影，創出票房佳績之 外，更在第 43 屆日本電影學院獎頒獎典禮上獲得最佳

電影等多個大獎。與此同時，拍過奧姆真理敎的紀錄片 導演森達也，把鏡頭對準現實的望月，直擊她和政府官 員 的 角 力。 望 月 的 尖 銳 質 問， 在 西 方 媒 體 中 是 非 常 普

遍，但她在保守日本政治體制下，就被官方視為眼中釘。 森達也更嘗試記者的角色，親身體驗被官僚系統拒諸門 外，揭露政府無視公眾知情權。

18

( 六 Sat )

4:00 pm

Louis Koo Cinema, Hong Kong Arts Centre

Isoko Mochizuki is a journalist best known for her relentless inquiries that often challenge the Japanese government’s lack of transparency.

Her non-fiction book, The Journalist, is the source material for a political drama of the same name, which won several awards— including Picture of the Year—at the Japan Academy Film Prize.

Meanwhile, documentary filmmaker Tatsuya Mori follows the real Mochizuki, witnessing her many battles with government officials. The seasoned journalist’s investigative style is quite common in western media. Yet under the conservative Japanese political establishment, her vigorous questioning is seen as “problematic” by those in power.

Mori even tries his hand in reporting, as he fruitlessly requests permission to film cabinet meetings. But the wall of bureaucracy is proven too tough to crack, exposing the government’s disregard for the public’s right to know.

第 57 屆台北金馬影展 最佳紀錄片獎

Best Documentary of the 57th Golden Horse Awards

迷航 Lost Course 導演 Director

23/1

香港 Hong Kong ｜ 2019 ｜ 179 分鐘 min ｜彩色 Colour

香港藝術中心古天樂電影院

李哲昕 Jill Li 普通話對白，中英文字幕 In Putonghua with Chinese & English subtitles

2011 年，面對貪污官員非法買賣土地，烏坎村民決定集

體抗議。事件引來全球媒體關注，更意外引發一場前所 未有的中國基層民主實驗。影片分為兩部分，上半部「抗 爭」，記錄村民如何試圖通過抗爭和公平選舉重奪對土

地的權利；選舉實現過後民意危機及政治黑幕接踵而來， 下半部「之後」聚焦抗爭之後的現實困境與個人的兩難

抉擇。導演由 2011 年開始，追蹤三位主角：老謀深算的

( 六 Sat )

7:30 pm

Louis Koo Cinema, Hong Kong Arts Centre

Covering a period of six years, the film chronicles a grassroots democratic movement in the southern Chinese village of Wukan. The villagers band together to protest the corrupt local officials before ousting them and setting up elections of their own. However, after taking control of their destiny, the villagers find themselves beset by the same corruption and cynicism endemic to their previous leaders.

Following three main characters, Li reveals the complexities of their struggles, triumphs, and setbacks from the inside.

運動領袖林伯、啟蒙村民抗爭意識的青年阿宏、受到感 染回鄉投入抗爭的少年阿興。六年間個體命運隨事件劇

變起伏，有人陷入貪污迷局、有人遠走他鄉、有人意興 闌珊……更難的是，要如何安放自己的內心？影片完整 深入地記錄了其中成敗跌宕，直達人性層面去審視社會 運動和社會變革的複雜多變。

我的兒子是死刑犯 Me and My Condemned Son 導演 Director

24/1

台灣 Taiwan ｜ 2019 ｜ 75 分鐘 min ｜彩色 Colour

香港藝術中心古天樂電影院

李家驊 LEE Chia Hua 國語、台語，中英文字幕 In Mandarin, Taiwanese with Chinese & English subtitles

面對十惡不赦的殺人兇手，我們有足夠的同理心去了解

他們背後的故事嗎？三個被判死刑的犯人，三宗冷血兇 案⸺一個殺友勒索、另一位則以百刀弒父、還有一宗

轟 動 全 台 灣 的 隨 機 殺 人 事 件。 從 媒 體 報 道 中 聽 來 的 故

事，都很難令人對他們有任何憐憫之心。但導演李家驊 則嘗試從近距離的角度去展示三個死刑犯的另一面。本

片的訪問人物，包括律師、法官、反死刑倡導者、獄警、 甚至犯人……各人的切身體驗，令觀眾可以看到「怪物」 背後的社會悲劇。旨不在博取同情，但凝視人性最黑暗 的深淵，是了解至親痛苦的開端。

(日Sun )

4:30 pm

Louis Koo Cinema, Hong Kong Arts Centre

Do we have the empathy to listen to the story behind unforgivable killers? Three death row inmates, three chilling murder cases—one kills his friend and asks for ransom, the other stabs his father over a hundred times, and lastly a shocking mass killer on a rampage.

When we hear these stories on the news, it is difficult to muster any sympathy for the culprits. Yet director Lee Chia-Hua attempts to show us different sides of these three death row inmates from an intimate distance. The film features interviews of attorneys, judges, anti-death penalty advocates, correctional officers, and even the inmates…. Their varying perspectives and experiences give audience a chance to understand the far-reaching tragedy that is behind these “monsters.” The film does not aim to elicit sympathy. But to gaze at the darkest void of human nature is the beginning of empathizing with the family’s pain.

第 57 屆台北金馬影展 最佳紀錄片獎 提名 台北電影獎 2020 最佳紀錄片提名

Best Documentary Nomination of the 57th Golden Horse Awards Best Documentary Nomination of the Taipei Film Awards 2020

19

社區反送中前進 March on, In Defiance of Tyranny 導演 Director

30/1

香港 Hong Kong ｜ 2020 ｜ 86 分鐘 min ｜彩色 Colour

賽馬會創意藝術中心賽馬會黑盒劇場

盧敬華 Lo King Wah �東�對白，中文字幕 In Cantonese with Chinese subtitles

2014 年雨傘運動結束後，香港民主勢力分成了兩派，對 抗爭手法甚至理念都有過近乎水火不容的對立。社區前 進的每個成員就是從這樣的政治形勢，甚或於社會公民

意識未崛起之前誕生。或被標籤為「左膠」的他們未必 有勇武青年的躁動和勇氣，但同樣對於政權有痛心疾首

的憤怒。因此無懼失敗地在社區深耕細作，憑著一隻咪 和一個易拉架，深入並關懷弱勢群體，在社會運動上擔 當著重要的角色。資深新聞工作者盧敬華和江瓊珠帶觀 眾認識這個低調又強大的社區組織，呈現同在極權壓迫

之下，依然相信議會和社區工作之重要性的社區前進， 如 何 在 2019 年 種 種 事 件 中 遊 走 於 街 頭、 議 會 和 社 區 之

( 六 Sat )

4:00 pm

Jockey Club Black Box Theatre, Jockey Club Creative Arts Centre

Hong Kong democrats split into two groups af ter the 2014 Umbrella Movement, they are very different from beliefs to forms of protesting. This particular political situation or prior to the trend of civic consciousness arouses members of ‘Community March’ to do community works fearlessly. Perhaps they are labelled as leftards for they don’t have the courage and impetuosity of the front-line protesters, but they hate the regime all the same. With a mic and a pull-up banner, they took up an important role to take care of the minority. In this documentary, senior journalists Lo King Wah and Kwong King Chu show the audience how strong this low-key community is; their faith in council and the importance of community work, despite the political repression; how they voiced out on the streets, in the council, and between communities in 2019 thanks to their belief, bringing democracy closer to living.

間，以「為民發聲」為理念，突破民生與民主之對立。

自由的滋味 The Taste of Freedom 《刑．暴．誌－記抗爭者》試圖透過今天香港人的公民

下去的動力。

As Hong Kong’s civil rights continue to deteriorate, One Country, Through Torture examines the distance between Mainland China and Hong Kong in the aftermath of the extradition bill and Hong Kong national security law. Through four Chinese protesters’ accounts of torture, Hong Kong protesters can put themselves in their Mainland counterparts’ shoes, relate to their suffering, and cherish the remaining freedom we have. “What connects Hong Kong people is pain.” This statement makes a profound impression in Always in My Mind. The film depicts the close connection between the incarcerated and the people outside. These comrades in arms express their feelings for each other and share life events through letters even though they are separated by walls of prison. With this precious connection, they find the motivation to keep going.

刑 ． 暴 ． 誌－記抗爭者 One Country, Through Torture

念念不忘 Always in My Mind

28/1

導演 Director

導演 Director

Jockey Club Black Box Theatre, Jockey Club Creative Arts Centre

權利日漸被侵蝕，在逃犯條例、港版國安法拍板後，探 問中國大陸與香港的距離。 從中國四位抗爭者所受的酷

刑訪談，讓香港抗爭者真身�擬體會酷刑的滋味，自由 更見可貴。「真正連結香港人的，是痛苦。」這句話的

��，在《念念不忘》一片中，更���。影像、聲音

交織出鐵牢內外的人們緊緊相連，監獄內外的手足以書

信交流種種情感、生活點滴，以此作為連結彼此，支撐

江瓊珠 Kong King Chu 香港 Hong Kong ｜ 2020 ｜ 48 分鐘 min ｜彩色 Colour

廣東話、普通話對白，中英文字幕 In Cantonese、Putonghua with Chinese and English subtitles

20

佚名 anonymous 香港 Hong Kong ｜ 2020 ｜ 41 分鐘 min ｜彩色 Colour

廣東話對白，中英文字幕 In Cantonese with Chinese and English subtitles

( 四 Thur )

7:30 pm

賽馬會創意藝術中心賽馬會黑盒劇場

書人頌 Ode to Book People 導演 Director

29/1

香港 Hong Kong ｜ 2020 ｜ 84 分鐘 min ｜彩色 Colour

賽馬會創意藝術中心賽馬會黑盒劇場

江瓊珠 Kong King Chu 廣東話、國語對白，中英文字幕 In Cantonese、Madarin with Chinese and English subtitles

( 五 Fri )

7:30 pm

Jockey Club Black Box Theatre, Jockey Club Creative Arts Centre

在過去重大社會事件裏，城市中愛書、賣書、說書和作書的人無縫融入

於遊行隊伍之中。然而此紀錄片將把這一眾人帶到聚光燈之下，由書店 開始探討文藝空間的價值。導演江瓊珠本是愛書人，三四年間走訪過香

港、新加坡及馬來西亞的獨立書店，探究各書店工作者對於書、社區、 生活等範疇的態度，展現在不同經營理念底下，獨立書店如何可成為一 個多變、包容，並刺激思想的空間。這些工作者面對社會帶來的新舊挑 戰，仍然在書店自得其樂地工作，每人都發言堅定，從不在乎資本主義

社會所強調的商業價值，甚至逆其道而行，只為了把好作品及作者帶給 人。正因如此，這些書店能作出不同新嘗試，對社會事件保持敏銳的眼

Booklovers, booksellers, storytellers and writers can easily squeeze into various demos of important issues. This documentary brings this group of people in the limelight, discussing the value of art space in bookshops. The book-loving director Kong King Chu visited independent bookshops in Hong Kong, Singapore and Malaysia for three to four years, tried to understand how a bookshop can become a dynamic, inspiring and heartwarming space, even these booksellers carry different attitude towards life, books and community, as well as management beliefs. These booksellers do not care about the commercial value emphasized by the capitalist society and they are content in their own way by sharing their enthusiasm about books with the others in spite of all difficulties.

Thus, they keep trying new methods to sharpen their touch on social issues and become an important starting point for the general public to reflect upon conflicts in our society.

光，成為了大眾反思社會矛盾的重要出口。

遍地開花：紀錄短片系列 Blossom Everywhere: Documentary Shorts Compilation 香港、日本、比利時，三地紀錄片導演的鏡頭聚焦 1997 到 2019 的香港。

2019 年夏天，吶喊聲響徹街頭巷尾，運動的頌歌亦隨之揚起。日本導演 堀井威久麿 Ikuma Horii 剛好身處其中，透過他異鄉人的視點 , 勾勒出一

幅獨一無二的《香港画》。「被時代選中」的三位年輕人，共歷一場香 港與台灣時空交錯的對話，一起《尋找，1997》。《傾城》追蹤年輕�

��女���備戰民主派初選，盼由街頭抗爭走進議會，傾力捍衛我城。 鏡頭�錄他們的心路歷程⸺ 一路走來，荊棘滿途，唯意志依舊堅定。

《榮光燦爛》把鏡頭聚焦《願榮光歸香港》的創作軌跡，見證音樂如何

連結社會，為運動留下印記。即使或已成「禁歌」，它仍長存於各人心中， 永不停奏。到底是甚麼牽動著無數素未謀面，身份、角色迥然不同的人， 在這場運動中共同進退？世界再壞，那股敢於站在當權者對立面的勇氣

也絕不泯滅。四部短片捕捉的身影均為著同一個地方，同一個目標奮鬥。

27/1

Louis Koo Cinema, Hong Kong Arts Centre

Documentary directors from Hong Kong, Japan, and Belgium, focus their lens on Hong Kong from 1997 to 2019.

In the summer of 2019, howls for change reverbrated through the streets as songs of movement ascended. Japanese director Ikuma Horii finds himself in the thick of it, so he sketches the unique Hong Kong-Ga from the perspective of an outsider. In Looking for 1997, three “chosen” young people engage in a dialogue that transcends the space and time between Hong Kong and Taiwan. Insurgent follows young female activit Wong Ji Yuet as she prepares for the pro-democracy camp’s primary election, hoping to bring the street protests to the legislature. The film documents these determined activists’ progression in face of unsurmountable obstacles. Glory to Hong Kong focuses on the making of the titular song, which has been an instantly recognizable staple of the movement even though it has since been “banned.” But what is the underlying motivation that causes these complete strangers from all walks of life to come together for this movement? No matter how bad the world has become, the courage to stand up against those in power will never be smothered. These four short films feature people who are all striving for the same place and the same goal.

尋找 ， 1997 Looking for 1997

導演 Director

導演 Director

日本 Japan ｜ 2020 ｜ 28 分鐘 min ｜彩色 Colour

7:30 pm

香港藝術中心古天樂電影院

香港画 Hong Kong-Ga 堀井威久麿 Ikuma Horii

( 三 Wed )

小小紀錄片工作者 small Documentary Filmmaker 比利時 Belgium ｜ 2020 ｜ 21 分鐘 min ｜彩色 Colour

廣東話、英語、日語對白，英文字幕 In Cantonese、English、Japanese with English subtitles

國語、廣東話、英語對白，中英文字幕 In Mandarin, Cantonese, English with Chinese & English subtitles

傾城 Insurgent

榮光燦爛 Glory to Hong Kong

導演 Director

導演 Director

紀錄片工作者 KR Documentary Filmmaker KR 香港 Hong Kong ｜ 2020 ｜ 32 分鐘 min ｜彩色 Colour

廣東話對白，中英文字幕 In Cantonese with Chinese & English subtitles

鄧卓儒 Heyson Tang 林子穎 Nora Lam 香港 Hong Kong ｜ 2020 ｜ 30 分鐘 min ｜彩色 Colour

廣東話對白，中英文字幕 In Cantonese with Chinese & English subtitles

21

導演簡介 Director biography 蔡煒樺 Choi wai wah 古本森 Benson Koo 香 港 視 覺 藝 術， 影 像 導 演 及 創 作 人。 曾 於 香 港 藝 穗 會 舉 辦 首 個 個 人 畫 展《 扭 曲 》，2016 年 在 大 阪 新 世 代 藝 術 博 覽 會 (Unknown ASIA Art Exchange Osaka) 獲得藝評人推介獎。

2018 年創辦網上影像平台《浪頻道》策劃及製作多個獨立短片及短篇紀錄片。

新晉香港導演。曾經執導香港青年會音樂短片，畢業作為《外賣仔》（2017）。 作品入選 2017 哥林堡國際學生電影節，以及《香港無毒戲》禁毒電影比賽 ( 第 八區 )。曾參與《逆流大叔》製作，並執導《電話亭》。

A new director based in Hong Kong. Choi directed the music video of the Hong Kong Youth Association, and his graduation work The Delivery in 2017. His films are officially selected in Colombo International Student Film Festival 2017, and as finalist in the Anti-drug Film Project 2018- District 8. Choi also participated in the filming of Men On The Dragon in 2018, and directed《電話亭》.

短片作品《被消失的》在香港電台舉辦的凝視香港短片比賽 2019 獲得冠軍及最

佳導演 ; 另一作品《罪夢犯》獲得香港人權藝術獎 2020 亞軍 ; 最新的藝術企劃 《末日亭》將公開投稿的末日留言影像化，持續至今。

Hong Kong visual artist, video director, and creator. His first solo gallery debuted in The Fringe Club in Hong Kong showcased the “ 扭曲 ” Collection. He received Reviewers Award in 2016 at the Unknown ASIA Art Exchange Osaka.

周敬勤 Chow King Kan Kingston

“Wave Channel”, was launched in 2018, an online video platform curating and producing many indie short films and documentaries.

剛剛畢業，拍了一部 80 分鐘的畢業作品《花糊》，暫時仍然漫無目的，兩手空

The film “ 被 消 失 的 ” put him in first place at the Filming Hong Kong competition hosted by RTHK. He also won the award for Best Director. The other film “ 罪夢犯 ” won him second place in the Hong Kong Human Rights Arts Prize 2020. The most recent is “ 末 日 亭”, an ongoing art project with open submission, visualising the spoken words on doomsday.

香港社會狀況未如理想，每天有很多不公平、不公義的事發生。大家都想為此

約恩．梅爾哈斯 Bjørn Melhus

空，社會的矛盾更加讓他日漸迷惘。所以希望在拍攝電影尋找人生意義。日前 出一分力，只盼黑暗的盡頭會是光明。

A fresh graduate, who has just filmed his 80-minute graduation work Come, Brothers!. An aimless, penniless young man who is disoriented amid the social divide. Therefore, he wishes to seek meaning to life through making films. Right now, a lot of injustice is going on in Hong Kong, and everyone wishes to contribute to our society. Yet, hope lingers as darkness comes before dawn.

Bjørn Melhus 為德國 - 挪威媒體藝術家。他的電影及影像裝置藝術大多呈現媒體 塑造現實此現象，借誇張、荒唐、滑稽的處理手法，帶出對大眾傳媒目的及策

略的質問，呈現媒體對現今社會的影響，重新定義大眾媒體及受眾的關係。其 作品曾多次於不同國際電影節放映及獲獎。

A German-Norwegian media artist. In his films and video installations, Bjørn Melhus deals with phenomena of the reality constructed by media. Through his often exaggerated, sometimes absurd and comical short films, he questions the motives and general strategies of the mass media and reflects on their influence on our society today, defines the relationship of mass media and viewer anew. His work has been shown and awarded at numerous international film festivals.

張凱傑 Cheung Hoi Kit 現 任 眾 新 聞 前 線 記 者， 有 份 製 作 的 2019 年 7 月 21 日「 元 朗 襲 擊 事 件 」 互 動 專 頁 ， 獲 得 今 年 8 月 由 亞 洲 出 版 業 協 會 舉 辦 的 SOPA 卓 越 數 據 圖 像「The Honorable Mention」 獎項，專頁在今年 5 月亦獲得由香港外國記者會、國際

特赦組織香港分會及香港記者協會 合辦的 「人權新聞獎」多媒體中文組別優異 獎。2019 年 11 月前線採訪香港理工大學衝突 ，執導及剪輯長達 60 分鐘的新 聞紀錄片《紅磚危城》，將參展 2021 年香港獨立電影節。

Hoikit Cheung, 26, a young and frontline journalist in Hong Kong, experienced and documented the Anti-Extradition Law Amendment Bill Movement in 2019. His information graphic of "721 Yuen Long Attack" won the "Honorable Mention" of the Society of Publishers in Asia 2020 Awards for Editorial Excellence.

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朱家誠 Chu Ka-Shing 畢業於香港浸會大學傳理學院電視電影主修。曾於 HKTV 工作，執導作品包括鮮 浪潮《羊書》，港台外判節目《惶然錄》等，目前從事編劇及導演工作。

Chu Ka-Shing graduated with a film major, in Film and Television Concentration from School of Communication, The Hong Kong Baptist University. He worked for HKTV, and his directorial works include Book of Flock (Featured in Fresh Wave International Short Film Festival), The Book of Disquiet (Commissioned RTHK TV Programme). He is now a screenwriter and director.

陳志昇 Fisher Chan 畢業於香港城市大學創意媒體系 , 主修電影藝術。畢業後投身於廣告製作 , 其後

受聘為全職電影編劇。回復自由身後亦繼續其影像工作 , 以編劇或導演身份參 與多部電影及電視製作。

Fisher graduated with a film major from the School of Creative Media, The City University of Hong Kong. After completing his education, Fisher works in the advertisement industry, and subsequently he develops his career as a film full-time screenwriter. Now resuming to selfemployment, Fisher also participates in numerous TV and film productions as a director or a screenwriter.

胡俊銘 Frank Wu 1995 年生於紐約。目前為自由身創作人。2020 年畢業於香港城市大學創意媒 體學院，主修文學士（創意媒體）。曾於澳洲悉尼大學修讀文學士，其後漸對

鄧卓儒 Heyson Tang 2016 年畢業於香港浸會大學傳理學院，曾任香港電台編導，現為自由身電影製

作人及影像記者。曾執導拍攝雨傘運動紀錄片《廣場志》(2014) 及劇情片《捕》 (2016)，也參與劇情片副導演工作包括劇情片《中英街一號》(2018) 及香港電

電影創作產生興趣。 留學期間深感電影乃一種文化，而文化亦離不開一個根，

台外判劇集《浮城絮語》―《避雨》(2019)。

《兩家人》等，以不同角度敘述港人的去留問題，紀錄當下的生活風貌，並平

Heyson Tang, a freelance filmmaker and visual journalist, has directed Umbrella Movement documentary film “ When September Ends” (2014) and short film “Comfort” (2016). He further took up the role as an assistant director in drama No.1 Chung Ying Street (2018) and commissioned RTHK TV Programme《浮城絮語》―《避雨》。

於是決意回港學習影像藝術。其作品包括《不同年的他》，《今天應該很高興》， 實地描繪人與人之間的真摯情感。

Frank was born in New York in 1995, and now he works as a freelance creator. He is a Bachelor of Arts (Creative Media) graduate from The School of Creative Media, The City University of Hong Kong. Apart from that, Frank also studied his another Bachelor of Arts programme in The University of Sydney, subsequently developed an interest in filmmaking. In the meantime, Frank firmly believes that films have to root in a culture to flourish, and that is why he attends further education on graphic studies in Hong Kong. His works include《不同年的他》，《今天應該

很高興》and Two Families : they record the local way of life and fraternity among people, and

further analyze the diaspora of HongKonger from a refreshing perspective.

姚仲匡 Iu Chung Hong 香港獨立電影導演，香港中文大學社會科學學士 ( 新聞與傳播 ) 及基督教研究 文學碩士。曾於民間團體民間人權陣線工作，遊走於社運與影像之間。曾為國

馮嘉卓 Fung Ka Cheuk 現任職自由身攝影師，休業期間會創作故事。2017 年畢業於香港浸會大學電影 學院，主修導演。

Now working as a freelance cinematographer, developing and creating stories in spare time.

Graduated from BU Film Academy in 2017, majoring in directing.

莫育權 Green Mok 於浸大傳理學院 , 主修電影。畢業後花了五年青春遊歷世界 , 更自覺渺小 , 企圖 回到創作當中尋找意義。

首作〈大龍鳳〉即入選鮮浪潮短片展等多個海內外電影節、並獲「台灣酷兒影

展 - 新酷子獎」及「張國興傑出青年傳播人獎 - 金獎」。繼有〈天還未亮〉、〈染〉 等劇情作品。近年分別憑〈在漂流地〉、〈絲絲〉連續兩屆獲「創 + 作」最佳

編劇獎等多個獎項。獨愛遊走偏鋒 , 期望發掘更多敍事可能。

Graduated from the Academy of Film in Hong Kong Baptist University. Green Mok’s first Freshwave short film The Dragon and Phoenix Show (2012) has been selected in film festivals across asia and earned The New Queer Award in Taiwan International Queer Film Festival.

His latest works The Drifters (2019) and Queens (2020), which were funded by the Microfilm Production Support Scheme (Music), received the Best Screenplay Awards in two consecutive years. His works also include The night is still young (2018) and The Coloring (2019). His next project will be a music video about a Gender Queer person.

際特赦組織 ( 香港分會 ) 於香港廢除死刑 20 周年拍攝紀錄片《香港廢死之路》 (2013)；劇情短片《自主時代》(2015) 曾於第 10 屆香港鮮浪潮國際短片展及第

26 屆柏林 REC 國際電影節獲特別表揚。此外，他亦是業餘攝影師，作品曾於倫 敦、羅馬、雅典等地展出。

Iu Chung Hong is an independent film director based in Hong Kong. He graduated from the Chinese University of Hong Kong. He worked in a NGO, Civil Human Rights Front. He has a vocation for social movement and film-making. He directed the documentary, Hong Kong's Road to the Abolishment of Death Penalty, for Amnesty International Hong Kong in 2013. His short film The Autonomous Era (2016) earned Special Mention in Fresh Wave International Short Film Festival 2015 and REC Filmfestival Berlin 2017. He is also an amateur photographer.

His photography works were exhibited in numbers of galleries in London, Rome, Athens and Chicago.

堀井威久麿 Ikuma Horii 出生於日本山梨縣。堀井大學時期主修超導工程，並透過自學成為影片導演。

自此他同時兼顧商業宣傳以及電影製作。他的短片「Sacrifice」紀錄了三一一大 地震後，那些被殃及的動物面臨的困境。此外，堀井曾被獲邀出席 2012 年洛杉

磯 Eiga 電影節，2013 年日本亞洲短片電影節，2014 年雅典國際短片影展，以 及 2014 韓亞國際短片影展。

Born in Yamanashi, Japan. Majored in superconducting engineering in college. Learned filmmaking by self-study, started to work as a video director. Filming and directing many commercial video & PVs. At the same time involved in film production, “Sacrifice”, A directorial and short film depicting the affected animals in the alert area after the Great East Japan Earthquake of March 11, 2011. Was invited to LA EIGA FEST 2012, Short Shorts Film Festival 2013, Athens International Short Film Festival 2014, Asiana International Short Film Festival 2014.

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耶路米 ‧ 伊里殊 Jaromil Jireš 1935 年生於布拉迪斯拉發(現斯洛伐克)，2001 年於布拉格逝世。同樣畢業 於

捷克電影電視學院(FAMU)，但礙於當時嚴謹的審查制度，未如其他新浪潮導演

多產。60 年代時只獲許拍攝兩部長片，卻不阻其作品受到國際關注。畢業後首

作 The Cry (1963)即入圍法國康城影展，而其最為享負盛名的作品《玩笑》(1969) 改編自米蘭 • 昆德拉的首本長篇小說，因旗幟鮮明地控訴極權主義，於短暫上 映後旋即遭到政府封禁長達二十年。70 年的作品《瓦萊莉和她的奇跡一週》即

被認為是捷克新浪潮的最後一部作品，蘇聯入侵後選擇留國發展，及後的職業 生涯仍熱衷創作，但將重心轉移於藝術紀錄片與電視劇。

Jaromil Jireš was born in 1935 in Bratislava, Czechoslovakia (Now the Slovakia Republic) and passed away in 2001 in Prague. Also an alumnus of FAMU, he was, however, less fortunate than his fellow schoolmates in terms of gaining approval from the authority. As a result, he was only able to produce two features in the 60s. Yet it did not stop the world from noticing his creative prowess. His first feature, The Cry (1963), made its debut at the 1964 Cannes Film Festival. The Joke (1969), adapted from the novel of the renowned Czech writer, Milan Kundera, was widely recognised as one of the hallmarks of the Czech New Wave. The film’s unapologetic criticism towards the totalitarian regime led to a 20-year ban after its short-lived release. His later work, Valerie and Her Week of Wonders (1970), arguably the last film of the Czech New Wave, was produced after the Soviet invasion. After which, he had stayed in the country to carry on his filmmaking career, as well as working on arts documentaries and television works.

伊里 ‧ 曼素 JiRí Menzel 1938 年於布拉格出生，2020 年因感染新冠肺炎於同地逝世。與其他新浪潮導

演一樣畢業於捷克電影電視學院(FAMU)，拍攝首作《底層的珍珠》Pearls of the Deep (1965)中的短片《巴泰沙之死》前曾擔任同窗齊媞洛娃之助手。執導勇奪

奧斯卡最佳外語片的《嚴密監視的列車》(1966)時年僅 27 歲。其後在《夏日狂

想曲》(1967)和《罪惡夜總會》(1968)繼續透過荒誕幽默反映黑暗現實。69 年 的《繩上的雲雀》雖被官方列為禁片，但極權倒台後重新上映，最終榮獲 1990

年柏林影展金熊獎。曼素擅於改編文學作品，曾六次將捷克著名作家赫拉巴爾 的作品搬上大銀幕，更多次與他本人合作。電影創作以外，曼素不但活躍於劇 場，亦曾參與大大小小的影視演出。

Jiří Menzel was born in 1938, in Prague, and passed away in his hometown in 2020 due to COVID-19. Along with his other peers from the Czech New Wave, he too, was educated at FAMU. Before making his directorial debut in 1965 with his episode in Pearls of the Deep (1965), he assisted the production of his schoolmate, Chytilová’s Something Different in 1963. Closely Watched Trains (1966), which won him the Best Foreign Language Film at the Academy Awards, was his first feature and was completed when he was merely 27 years old. His subsequent works, Capricious Summer (1968) and Crime in the Night Club (1968) are also acknowledged as the classics of the New Wave Movement for his clever interplay between subversive humour and social critiques. Although Skylards on the String (1969) was banned by the authorities immediately, it was at last released after the fall of communism and was awarded the Golden Bear at the Berlin International Film Festival 20 years later. As a director, Menzel is known for his deftness in literature adaptation. He has frequently collaborated with Czech writer Bohumil Hrabal and adapted his works for 6 times in his life. Aside from cinematic productions, he also led a fruitful career in the theatrical industry, as well as devoting himself to acting and teaching.

潘敏逸 Jas Pun 生於香港，長於香港。2019 年畢業於英國薩塞克斯大學，主修媒體實習並且完成

電影專業訓練計劃(電影製作)。她重視故事敘事，並將其技巧與哲學融入新聞以

及廣告，同時以自由身參與導演、藝術、以及編輯工作。最近她回歸電影業，協 助導演以及連戲剪接。在撰稿以及執導方面，她一直把握每個發揮所長的機會。

Born and raised in Hong Kong. Graduated from the University of Sussex, UK major in Media Practice and completed Film Professional Training Programme (Film Production) in 2019.

Believes strongly in story-telling and philosophy, she has worked in the fields of journalism and advertising, while also freelancing on short films as director, art and editing. Most recently she returns to filmmaking in the role of assistant directing and continuity. All the while she tries to write scripts and directs them whenever possible.

李哲昕 Jill Li 香港紀錄片導演，長期關注社會變革中個體的處境及抉擇。《迷航》為其執導

陳寶雯 Jomin Chan 於香港出生及成長。香港演藝學院電影電視系畢業，主修監製及製作管理。現 職製片，積極參與不同類型及題材的電影製作。首次執導短片，希望帶給你會

心微笑的感動。《和你寫一封情書》是送給香港人的情書，相信自己，為需要 捍衛的事情，全力以赴。

Born and raised in Hong Kong, Jomin Chan graduated from The Hong Kong Academy of Performing Arts with a Bachelor (Hons) of Fine Arts in School of Film/TV, majoring in Producing & Production Management Dept.. She is a film production manager and has been involved in the production of a wide genre of films. First time being the director of a short film, she hopes that the film will touch your heart with a knowing smile. “Loves, with love.” is a love letter to the people of Hong Kong. It tells the story of having faith in oneself and giving the best shot to fight for what one values and believes in.

克斯廷．漢內特 Kerstin Honeit

的首部紀錄長片，獲得第 57 屆台灣金馬獎最佳紀錄片獎，並入選 IDFA 荷蘭阿

Kerstin Honeit 於 柏 林 生 活 及 工 作，2014 至 2019 年 任 教 於 卡 塞 爾 藝 術 學 院， 現

國際電影節、HKAFF 香港亞洲電影節等。

技 和 流 行 文 化 的 形 象 霸 權。 其 作 品《Panda Moonwalk or Why Meng Meng Walks

姆斯特丹國際紀錄片節、TIDF 台灣國際紀錄片影展亞洲視野競賽、VIFF 溫哥華 Jill is a documentary director based in Hong Kong. Individual dilemmas in the midst of social changes have always been her topic of interest. Lost Course is the debut long documentary Jill directs, and it was awarded with the 57th Taipei Golden Horse Film Festival Best Documentary.

The film is also an official selection of International Documentary Film Festival Amsterdam (IDFA), Taiwan International Documentary Festival (TIDF), Vancouver International Film Festival (VIFF) and Hong Kong Asian Film Festival (HKAFF).

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於萊比錫視覺藝術學院任教。Honeit 透過影像作品、表演及裝置，探討資訊科 Backwards》於科隆短片電影節 2019 中獲得「Jury Prize」。

Kerstin Honeit lives and works in Berlin. She had been teaching at Kunsthochschule Kassel from 2014 to 2019, and she is currently a teacher at the Academy of Fine Arts Leipzig. Through video works, performance and installations, Honeit examines world of hegemonic image production in the media of information technology and pop culture. Her work “Panda Moonwalk or Why Meng Meng Walks Backwards” was awarded the Jury Prize by the Short Film Festival Cologne 2019.

江瓊珠 Kong King Chu 香港資深記者、作者及紀錄片導演，曾任出版策劃。著有多部書籍，包括《路

上見》及《從三斤半菜開始》。自 2004 年開始製作社區紀錄片，大部份以社會

運動為主題，作品包括關於「反高鐵、護菜園」運動的《菜園花花之愈抗爭愈

美麗》(2012)，以及紀錄參與社會運動的神父甘仔之《甘浩望巡禮之年》(2018)。 Kong is a knowledgeable journalist, writer, and documentary director based in Hong Kong, with experience in publishing planning. A number of books was written by her, including《路上見》 and《 從 三 斤 半 菜 開 始 》. Since 2004, Kong has been a proactive producer of community

documentary, notably for Blossom of Struggle - Women of Choi Yuen Village (2012) concerning the preservation of the Choi Yuen Village; and Franco Mella (2018), retelling the story of Rev. Franco Mella, who has enthusiastically participated in the local social movement.

李家驊 Lee Chia-hua 1978 年出生台北，政治大學廣告學系畢業，國立臺南藝術大學藝術創作與理論

紀錄片工作者 KR documentary filmmaker KR 前專題記者，主力跟隨社會不公議題，由性別、勞工到社會運動亦做過報導。 Former feature reporter in Hong Kong. Interested in social movement and gender related issues.

博士；現為朝陽科技大學傳播藝術系助理教授。2003 年，以個人生命經驗為題

的《25 歲，國小二年級》榮獲山形紀錄片影展亞洲單元特別賞、台北電影節最 佳紀錄片獎。2011 年，作品《起點》描述了殺人犯與被害者母親之間取得和解

的故事，導演由此對司法題材展現濃厚興趣，在兩年後又推出了記錄短片《我 無罪，我是鄭性澤》，對當時仍在受刑的死囚鄭性澤表示聲援。2014 年，他參

與了紀錄 318 學運的《太陽，不遠》的紀錄片計畫，執導其中的《看不見太陽 的那幾天》，入選台灣國際紀錄片雙年展與山形紀錄片影展。2016，延續李中 旺導演作品《夢想無限》的續作《夢想續航》上映，獲得好評。李家驊的影像 語言平易近人，多部作品皆充分展現出他的人道主義關懷與深刻自省。

郭臻 KWOK Zune 生 於 1985 年， 香 港。 畢 業 於 香 港 演 藝 學 院 電 影 電 視 系( 學 位 ) 後， 從 事 獨 立 電

影創作。作品多從基層人物的日常處境切入敍事。主要劇情作品包括：《一天》

(2008)、《媽媽離家上班去》(2009)、《流放地》(2012)、《十年》(《浮瓜》篇， 2015)、《夜更》(2020)。

born in 1985, Hong Kong. Zune works as an independent film director since graduated from local film school in 2009. His films are grounded with actualities and real characters. And received various awards in local and international competitions. Main works include: A Day in a Life (2008), Homecoming (2009), Downstream (2012), Ten Years (feature film, 2015), and Night is Young (2020).

Born in 1978 in Taipei, Lee Chia-hua graduated from the Department of Advertising at the National Chengchi University and from the Graduate Institute of the Tainan National University of Arts. Lee now works as an assistant professor of communications arts at the Chaoyang University of Technology. In 2003, the Spirit of 8, a documentary inspired by his life experience, was awarded with Yamagata International Documentary Film Festival Special Mentions and Taipei Film Festival's Best Documentary. Another film, Qi Dian (2011) illustrates the reconciliation between a murderer and his mother, which also alludes to the director’s keen interest in judiciary and justice. Two years later a short documentary, I am innocent , I am CHENG Hsing Tse was released to express support to the Death-row prisoner Cheng Hsing Tse. Lee further contributes to Sunflower Occupation documenting the Sunflower Student Movement in 2014, among which the unit he directed, 24 Days Without Sunlight was selected by the Taiwan International Documentary Festival and Yamagata International Documentary Film Festival. In 2016, he directs the celebrated For More Sun II as a legacy to Lee Jong-wang’s preceding work. Lee presents his graphic image amicably, with an extra hint on his humanitarian, thought-provoking reflection.

盧敬華 Lo King wah 林希諾 Lam Heinok Diana 2014 年香港浸會大學電影學院高級文憑畢業，主修後期製作。現時在劇團任職

藝術行政。喜歡留意有趣的人事。作品有畢業短片《好好保存 Keep It Well》 (2014)，《錯着 In Silence》(2015) 及《Man As A Dog》(2019)。

Lam Heinok Diana graduated under Higher diploma of Hong Kong Baptist University, Academy of Film studying Post-Production in 2014. She is now working as an administrative assistant. She directed short films “Keep It Well”(2014) , “In Silence”(2015) and “Man As a Dog”(2019).

曾 任 記 者 多 年， 退 休 後 專 注 拍 攝 獨 立 紀 錄 片， 尤 其 關 注 中 國 維 權 律 師 情 況，

以 及 香 港 社 會 運 動。 作 品 包 括 2017 年《709 人 們 》、2018 年《709 彼 岸 》、

2019 年《 我 們 也 許 相 遇 》、2020 年《709 伙 伴 》、《 社 區 反 送 中 前 進 》。 攝 影作品包括 2020 年《書人頌》、2020 年《刑．暴．誌》。

As a retired senior journalist, Lo focuses on filming independent documentary. In particular, Lo is attentive to the plight of Chinese Human Right Lawyer and the Hong Kong social movement. His production includes《 709 人們 》（2017）,《 709 彼岸》(2018), Until we meet (2019),《709 伙伴 》 (2020), March on, In Defiance of Tyranny (2020). His photography collection includes Ode to Book People (2020) and One Country, Through Torture (2020).

25

馬努．陸克齊 Manu Luksch 維也納藝術家、社運人士、電影工作者及研究者。Luksch 過去 20 年專注研究新

興科技對日常生活、社會關係、城市空間及政治體制的影響，現為倫敦薩默塞 特府的駐館藝術家，正以「演算法城市」的興起為研究對象，探索企業與政府 的關係及預測分析對社會帶來之影響。其作品《ALGO-RHYTHM》於 2019 年獲 得第 65 屆德國奧伯豪森國際短片電影節「ZONTA Award」，及於 2020 年奪得

Globale Perspektiven Awards 二等獎。

Manu Luksch is an artist, activist, filmmaker, researcher from Vienna. For the past 20 years she has been exploring the effects of emerging technologies on daily life, social relations, urban space, and political structures. As the resident artist at the Somerset House in London, her ongoing investigation on the rise of the ‘Algorithmic City, focuses on corporate-governmental relationships and the social effects of predictive analytics. Her work “ALGO-RHYTHM” won the ZONTA Award at the 65th Oberhausen Short Film Festival 2019, and 2nd Prize at the Globale Perspektiven Awards 2020.

米路斯．科曼 Miloš Forman 1932 年 於 恰 斯 拉 夫（ 現 捷 克 ） 出 生， 並 於 納 粹 德 國 的 極 權 統 治 下 失 去 雙 親。 1956 年於捷克電影電視學院（FAMU）編劇系畢業，職業生涯初期主要擔任編

劇及助理導演，憑首部長篇電影《黑彼德》（1963）一舉奪得瑞士盧卡諾影展

的最高榮譽金帆獎（Vela d’oro），《黑彼德》亦成為捷克新浪潮的開山作之一。 其後的作品《金髮女郎之戀》（1965）及《消防員舞會》（1967）雖接連入圍

奧斯卡最佳外語片，後者卻被官方永久禁播。1968 年蘇聯入侵捷克之際移居美

國，在當地繼續電影事業，並藉《飛越瘋人院》（1975）和《莫札特傳》（1984）， 兩度獲得奧斯卡最佳導演的殊榮。2018 年於美國康乃狄克州逝世。

Miloš Forman was born in 1932 in Cáslav, Czechoslovakia. He lost his parents under the Nazi occupation. In 1956, he graduated from Prague Film School (FAMU) and worked as a writer and assistant director thereafter. His first feature film, Black Peter (1963), was acknowledged as one of the pioneering works of the Czech New Wave and awarded the Golden Sail (Vela d’oro) at the Locarno International Film Festival. Subsequently, Loves of a Blonde (1965), and The Firemen's Ball (1967) continued to receive international recognitions, as both were nominated for Best Foreign Language Film at the Academy Awards, albeit the latter was permanently banned in Czechoslovakia. In the face of the imminent invasion of Czechoslovakia by the Soviets in 1968, he fled to America. There he enjoyed an eminent career, twice winning the title of Best Director at the Academy Awards with One Flew Over the Cuckoo's Nest (1975) and Amadeus (1984). In 2018, he passed away in Connecticut, USA, at the age of 86.

吳澤羲 Nelson Ng Chak Hei 在一個電影製作人的家庭出生，從 13 歲接觸電影場景開始，Nelson 並不對電影

感到陌生。在愛默生學院修讀電影，及在波士頓大學取得國際關係學位。回流 香港後，共同創立了 Stray Dogs，一間專注廣告的制作公司，同時亦在商業環 境外探索著不同人物故事去發展。

Born into a family of filmmakers in Hong Kong, Nelson Ng Chak Hei is no stranger to film sets since the age of 13. He went on to study film at Emerson College and graduated from Boston University with a degree in International Relations. After returning to Hong Kong, he co-founded Stray Dogs, a production house specializing in advertising, while exploring personal stories to develop outside the commercial sphere.

林子穎 Nora Lam 畢業於香港大學比較文學及法文系。紀錄片作品有《地厚天高》（2017）和《未

竟之路》（2016）。作品曾獲得香港電影評論學會年度推薦電影、台灣國際紀 錄片影展華人紀錄片獎評審團特別獎等，並入圍鹿特丹國際電影節等。現為導 演、編劇、剪接。

Graduated from the Department of Comparative Literature and French, the University of Hong Kong, Nora Lam is an award-winning director known for her documentary “Lost in the Fumes” (2017) and “Road not taken” (2016). Her works are widely celebrated with awards, including Hong Kong Film Critics Society- Films of Merit, Taiwan International Documentary FestivalSpecial Jury Prize. The film was also an officially selection in the International Film Festival Rotterdam. She is now a director, scriptwriter and editor.

小小紀錄片工作者 Small Documentary Filmmaker 年輕紀錄片工作者，覺得透過紀錄片的創作是一種理解世界，理解彼此的方式。 Young documentary Filmmaker who considers that creativity is a way of understanding oneself and others.

森達也 Mori Tatsuya 1956 年於廣島吳市出生。由八十年代起一直從事新聞紀錄，並擔任明治大學特 聘教授。1998 年，他執導以奧姆真理教為題的紀錄片「A」，是次電影獲邀入

選柏林影展，國際對此青睞有加。續集「A2」順勢於 2001 年推出，並贏得山 形紀錄片影展特別獎以及市民獎。2016 年，森親自追查作曲家佐村河內守捉刀 醜聞，並將訪問集結成《貝多芬的謊言》，揭示事件來龍去脈。

Born in 1956, Kure-shi, Hiroshima. Works in news documentary field since 80's. Directed 'A' in 1998, a documentary about Aum Shinrikyo has been invited to Berlinale and achieved high attention. The sequel 'A2' in 2001 has won the Special Prize and Citizens’ Award at Yamagata International Film Festival. And 'FAKE' in 2016 followed the ghost-writer on the news at that time.

Professor at Meiji University.

26

葉兆聰 Sam ip siu chung 土生土長香港人。2007 年畢業於香港浸會大學傳理學院，主修電視電影。畢業 後一直從事電影行業，主力擔任副導演崗位，曾參與的電影工作包括：《 竊聽 風雲 2、3》、《 風暴》、《 一念無名》、《 陀地驅魔人》、《 狂獸》等等。

Born and raised in Hong Kong, and attended Hong Kong University’s School of Communication, majoring in Film and Television. Since his graduation in 2007, he has worked primarily in the film industry as an assistant director, on films such as “Overheard 2 & 3”, “Firestorm”, “Mad World”, “Keeper of Darkness”, “The Brink” amongst other.

黃靜 Wong Ching

沃依采克．雅斯尼 VojtEch Jasný

傳媒工作者、文學雜誌編輯、藝評人。參與香港獨立電影《十年》(2015）中短片

1925 年 出 生 於 凱 爾 奇( 現 捷 克 )。1946 年 入 讀 捷 克 電 影 電 視 學 院(FAMU) 並 由

影評論學會大奬推薦電影。2018 年修讀倫敦金匠學院視覺人類學，現居倫敦。

傳片，後因友人 Radim Drejsl 的自殺而對共產主義失望。 58 年的作品《渴望》

〈冬蟬〉的編劇和演出，此片獲 35 屆香港電影金像奬最佳電影及第 22 屆香港電 Wong is a journalist, editor and art critic at various newspapers and magazines in Hong Kong and Asian media. She was a scriptwriter and actor in the segment “Season of the End” of the Hong Kong dystopian fiction anthology film Ten Years (2015), which was awarded the Best Film in the 35th Hong Kong Film Awards and Film of Merit in The Hong Kong Film Critics Society Awards . She studied MA in Visual Anthropology at Goldsmiths, University of London in 2018 and is currently based in the UK.

陳惠沂 Wylie Chan 生於⾹港，長於⾹港。2007 年畢業於⾹港藝術學院媒體藝術課程，主修數碼錄 像及電影。畢業後投身電影行業，主力擔任副導演崗位，曾參與的電影工作包

1950 年代開始創作電影。年少時曾與新浪潮另一名導卡爾 • 卡治拿拍攝政治宣 令其首獲提名金棕櫚。1963 年藉 When the Cat Comes 榮獲當年康城影展的評審

團特別獎。於 68 年的布拉格之春時執導其最為所人知的作品《我的鄉親父老》， 更以此片勇奪得 69 年康城最佳導演，惜在本國上映時即遭官方禁播。後因蘇聯 的入侵決定離開捷克，周遊數國之際亦繼續活躍於影壇，更開始教授電影，最 後在同鄉米路斯 • 科曼邀請下定居美國，2019 年於捷克普熱羅夫逝世。

Vojtěch Jasný was born in 1925 in Kelč, Czechoslovakia. He entered FAMU in 1946 and started directing in the 1950s. Initially a believer of socialism, he and fellow new wave director Karel Kachyňa made propaganda films for the regime, he nevertheless became disillusioned about communism after the alleged suicide of his friend Radim Drejsl. His breakthrough work, When the Cat Comes, with which he earned the Special Jury Prize at the Cannes Film Festival in 1963.

He made All My Good Countrymen (1968) in the heydays of the Prague Spring, a film widely considered his masterpiece and won him the Best Director Award in Cannes. Yet he found his work suffering the same fate as other films from the new wave as being banned. When the Soviet troops entered Prague, he soon went into exile. He remained as active as a filmmaker and began teaching in several countries before eventually settling in America, where he was reunited with former protegee and compatriot Miloš Forman. Jasný passed away in 2019 in Přerov, the Czech Republic.

括：《風暴》、《單身男女 2》、《華麗上班族》、《拆彈專家》等等。

Born and raised in Hong Kong. She graduated from Hong Kong Art School in 2007, majoring in digital imaging and films. She began her career in films since graduation and has mainly taken roles in Assistant Director. Films she has participated in includes: “Firestorm”, “Don’t Go Breaking My Heart 2”, “Office”,” Shock Wave” etc.

姚敏堃 Yiu man kwan jason 於 2009 年以優異生身份(Outstanding Student Award)畢業於香港理工大學多媒體 設計系 , 畢業後一直以自由創作人身份 , 從事獨立媒體製作及編導商業作品。

維拉．齊媞洛娃 VEra Chytilová 1929 年於俄斯特拉發(現捷克)出生，1962 年於捷克電影電視學院畢業。決心攻

讀電影前，曾研究哲學和建築，亦做過時裝模特兒及場務。畢業後隨即執導極 具其實驗風格的首部長片《不一樣的》(1963)。三年後藉破格大膽的《雛孖菊》 (1966)蜚聲國際，惜被政權以「浪費食物」為由封禁。68 年後為少數於蘇聯入

侵捷克後留國的新浪潮導演，卻一度被禁拍片 8 年。76 年被解禁後旋即以《蘋

果遊戲》回歸影壇，及後於當地繼續藝術生涯直至於 2014 年在布拉格逝世。以

有關獎項 , 姚執導的作品《相機槍》, 於 2010 年度獲 「ifva 獨立影片及影像媒 體比賽」中獲得「特別表揚獎」。同年 , 姚編導的紀錄片作品《童心。無窮》也 同時躋身是次比賽的十二強。

Graduated in 2009 as an Outstanding Student in Multimedia Design from The Hong Kong Polytechnic University. After completing his education, Yiu works as a freelance creator in independent media and commercial work. Yiu directorial piece, Camera Gun was awarded with a special mention in IFVA. In the same year, Yiu’s another documentary《童心。無窮》 was

also qualified as the twelve finalists in the same competition.

其無限創意及前衛美學聞名，齊媞洛娃不僅是捷克新浪潮中不容忽視的力量，

鍾甦 Zhong Su

Věra Chytilová was born in 1929 in Ostrava, Czechoslovakia. Prior to her enrolment at FAMU in 1957, she studied philosophy and architecture, as well as working as a model and a clapper girl. After her graduation, she worked on her debut feature, Something Different (1963) in which her signature experimental style already shines through. Daisies (1966), with its avant-garde surrealism and anarchist approach, was released to international acclaim. It did not, however, stop the censorship from the authority on the ground of ‘food wastage’. Unlike her peers, she stayed in Prague after the Soviet Invasion but was imposed a directorial ban until it was lifted in 1975. She made a delightful return with The Apple Game the year after and has since continued her directing career in her home country until her death in 2014. Best known for her fervent innovation and aesthetic audacity, Chytilová was a formidable force not only in the Czech New Wave, but also the feminist cinema.

中國杭州人，畢業於中國美術學院及四川美術學院。Zhong Su 以不同媒介進行

更是女性主義電影中的俵俵者。

創作，如油畫、影像及裝置藝術、紀錄片和實驗劇場，2011 年開始專注創作實 驗影像。其作品《Magnificent Obsession》2018 年獲得第 64 屆德國奧伯豪森國 際短片電影節「Prize of the Ecumenical Jury」。

Zhong Su is a native of Hangzhou, China. After graduated from China Academy of Art in Hangzhou and Sichuan Fine Arts Institute, Su worked on oil paintings, video and installation art, documentary films, and experimental theatre. He has specialized in experimental video art since 2011. His work “Magnificent Obsession” won the Prize of the Ecumenical Jury at the 64th International Short Film Festival Oberhausen in 2018.

27

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放映時間表 screening schedule 18/1 (一

Mon)

7:30pm

我的鄉親父老 All my good countrymen

香港藝術中心古天樂電影院

19/1 (二

Tue)

7:30pm

繩上的雲雀 + 不了情 Skylarks on the String + Magnificent Obsession

香港藝術中心古天樂電影院

7:30pm

黑彼德 + 逆權熊貓 Black Peter + PANDA MOONWALK or why meng meng walks backwards

香港藝術中心古天樂電影院

7:30pm

兩家人 + 夢樂園 * Two Families + Magic Kingdom

香港藝術中心古天樂電影院

20/1 (三 21/1 (四

Thur)

Louis Koo Cinema, Hong Kong Arts Centre

Louis Koo Cinema, Hong Kong Arts Centre

Louis Koo Cinema, Hong Kong Arts Centre

22/1 (五

Fri)

7:30pm

消防員舞會 the firemen's ball

香港藝術中心古天樂電影院

22/1 (五

Fri)

9:15pm

紅磚危城 * Save PolyU

香港藝術中心古天樂電影院

23/1 (六

Sat)

2:00pm

雛孖菊 + Sugar Daisies + Sugar

香港藝術中心古天樂電影院

23/1 (六

Sat)

4:00pm

我，直擊真相 * i - documentary of the journalist

香港藝術中心古天樂電影院

23/1 (六

Sat)

7:30pm

迷航 * Lost Course

香港藝術中心古天樂電影院

24/1 (日

Sun)

2:30pm

嚴密監視的列車 Closely watched train

香港藝術中心古天樂電影院

24/1 (日

Sun)

4:30pm

我的兒子是死刑犯 * Me and My Condemned Son

香港藝術中心古天樂電影院

24/1 (日

Sun)

7:30pm

短片節目 1 : 我真係好＿鍾意香港系列 * Short Film Program1: I _______ love Hong Kong Series

香港藝術中心古天樂電影院

25/1 (一

Mon)

7:30pm

玩笑 + 大數據 MV The Joke + ALGO-RHYTHM

香港藝術中心古天樂電影院

26/1 (二

Tue)

7:30pm

短片節目 2 : 香港多重奏 * Short Film Program 2: Hong Kong Polyphony Series

香港藝術中心古天樂電影院

27/1 (三

Wed)

7:30pm

遍地開花 : 紀錄短片系列 * Blossom Everywhere: Documentary Shorts Compilation

香港藝術中心古天樂電影院

28/1 (四

Thur)

7:30pm

刑．暴．誌 – 記抗爭者 + 念念不忘 * One Country, Through Torture + Always In My Mind

賽馬會創意藝術中心賽馬會黑盒劇場

29/1 (五

Fri)

7:30pm

書人頌 * Ode to Book People

賽馬會創意藝術中心賽馬會黑盒劇場

30/1 (六

Sat)

2:15pm

紅磚危城 * Save PolyU

賽馬會創意藝術中心賽馬會黑盒劇場

30/1 (六

Sat)

4:00pm

社區反送中前進 * March on, In Defiance of Tyranny

賽馬會創意藝術中心賽馬會黑盒劇場

30/1 (六

Sat)

7:30pm

短片節目 1 : 我真係好＿鍾意香港系列 * Short Film Program1: I _______ love Hong Kong Series

賽馬會創意藝術中心賽馬會黑盒劇場

*

38

Wed)

Louis Koo Cinema, Hong Kong Arts Centre

設映後問答 Post-screening Q&A

Louis Koo Cinema, Hong Kong Arts Centre

Louis Koo Cinema, Hong Kong Arts Centre

Louis Koo Cinema, Hong Kong Arts Centre

Louis Koo Cinema, Hong Kong Arts Centre

Louis Koo Cinema, Hong Kong Arts Centre

Louis Koo Cinema, Hong Kong Arts Centre

Louis Koo Cinema, Hong Kong Arts Centre

Louis Koo Cinema, Hong Kong Arts Centre

Louis Koo Cinema, Hong Kong Arts Centre

Louis Koo Cinema, Hong Kong Arts Centre

Louis Koo Cinema, Hong Kong Arts Centre

Jockey Club Black Box Theatre, Jockey Club Creative Arts Centre

Jockey Club Black Box Theatre, Jockey Club Creative Arts Centre

Jockey Club Black Box Theatre, Jockey Club Creative Arts Centre

Jockey Club Black Box Theatre, Jockey Club Creative Arts Centre

Jockey Club Black Box Theatre, Jockey Club Creative Arts Centre

購票須知 ticketing information 放映地點 SCREENING VENUE

香港藝術中心古天樂電影院

Louis Koo Cinema, Hong Kong Arts Centre 地址 ADDRESS

門票由 2021 年 1 月 4 日起於 POPTICKET 網頁發售

Tickets are available at POPTICKET from 4th January 2021 onwards

購票網址 TICKETING

香港灣仔港灣道二號

www.popticket.hk/events

�馬會創意藝術中心賽馬會黑盒劇場

節目查詢 PROGRAMME ENQUIRIES

2 Harbour Road, Wan Chai, Hong Kong

Jockey Club Black Box Theatre, Jockey Club Creative Arts Centre 地址 ADDRESS

九龍石硤尾白田街 30 號

( 港鐵石硤尾站 C 出口，步行約 5 至 8 分鐘 )

30 Pak Tin Street, Shek Kip Mei, Kowloon, Hong Kong (MTR Shek Kip Mei Station Exit C, 5-8 mins walk)

票價 TICKET PRICE $90

正價 Standard

購票優惠 DISCOUNT

七折優惠 30% Discount

全日制學生 Full-time students

八折優惠 20% Discount

60 歲或以上高齡人士、殘疾人士及看護人、影意志會員及 《字花》訂戶

Senior citizens aged 60 or above, people with disabilities and the minder, Club YEC and Fleurs des lettres subscribers

2836 6282

( 星期一至五上午 11 時至下午 6 時 11am – 6pm, Mon – Fri)

hkinideff@yingechi.org www.hkindieff.hk

備註 REMARKS

所有放映場次將不設劃位

All screenings offer free-seating

主辦單位有權更改節目內容及時間表，請留意網站公佈最新資訊。

ALL PROGRAMMES ARE SUBJECT TO CHANGE, PLEASE VISIT OUR OFFICIAL WEBSITE FOR THE LATEST NEWS.

影片等級須知 Film Categories

本宣傳刊物出版時，是次節目之電影尚未獲影視娛樂及 事務管理處評列等級，如有電影被列為三級者， 主辦單位將於 www.hkindieff.hk 網上公佈，敬請留意。

The Categories of all the films in the programme are not yet rated by the Television and Entertainment Licensing Authority at the time this booklet goes to print. If any films are classified as Category III, notice will be posted in www.hkindieff.hk

同一次交易中購滿五張正價戲票

Each purchase of 5 standard tickets or above

* 所有優惠先到先得，額滿即止

Limited tickets on a first-come-first-served basis

* 以上優惠不能於同一次購票中同時使用

Only one of the above discount offer can be used upon every single ticket purchase

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關於影意志及香港獨立電影節 About Ying E Chi and HKindieFF

第十三屆香港獨立電影節 (2021) 工作人員 TEAM OF 13th HKINDIEFF (2021)

是一個由獨立電影人組成的非牟利團體，成立於 1997 年，旨在團結

節目策劃 PROGRAMME CURATORS

本地獨立電影工作者，並致力推廣香港的獨立電影。2011 年，影意志

正式於澳門成立支部，希望加強港澳兩地獨立電影的交流。

本地電影的製作往往以商業投資意向為依歸，影片只為迎合市場，缺 乏對社會現況的反省和批判。我們主張獨立精神，以創作人為本⸺

製作模式獨立於主流工業，題材不以市場作主導；希望發掘更多具藝 術價值、能面向社會的作品。近年，獨立電影製作和發行均遇到不少

限制，20 年過去，影意志將繼續開拓更多放映渠道，讓自主創作更

能與本地觀眾接軌。 自 2008 年開始，影意志舉辦「香港獨立電影節」 (2008-2009 兩屆為「香港亞洲獨立電影節」)，讓香港觀眾欣賞到各 地優秀的獨立電影作品，豐富本地的觀影選擇。

Founded in 1997, Ying E Chi is a non-profit arts organisation that was established by a group of Hong Kong independent filmmakers. Our mission is to unite local independent filmmakers, as well as to distribute and to promote independent films.

In 2011, branch in Macau was founded to strengthen the cooperation between independent filmmakers in the two cities.

Local film productions are dominated by commercial hegemony. Many of the mainstream productions are market oriented, lacking in reflection and critique on status quo. Thus, we emphasise independent spirit, in which creativity comes first, and are intended to discover productions with greater artistic and social value.

Over the past few years, there are many constraints on independent production and distribution. As we did over the past two decades, we will keep exploring more channels for independent films to connect with general audience. Ying E Chi has been organising HKindieFF annually since 2008 (2008-2009 as Hong Kong Asian Independent Film Festival), in order to promote independent films of world cinema, and to provide alternative film selections for local audience.

九龍石硤尾白田街 30 號賽馬會創意藝術中心 L5-02 L5-02, Jockey Club Creative Arts Centre, 30 Pak Tin Street, Shek Kip Mei, Kowloon 電話 Tel +852 2836 6282

電郵 Email info@yingechi.org

網址 Website www.yingechi.org

Instagram

陳序慶 Nose Chan

節目統籌 FESTIVAL COORDINATOR 蔡嘉儀 Kaiu Choy

助理節目統籌 ASSISTANT FESTIVAL COORDINATORS

梁頌霖 Leung Chung Lam

黃玉兒 Rachelle Wong Yuk Yi

節目助理 FESTIVAL ASSISTANT 黃青宇 Wong Ching Yu*

訂票冊子文字 BOOKING FOLDER WRITERS

黃靜 Wong Ching 黃青宇 Wong Ching Yu 許朗 Rex Hui 陳世浩 Chan Sai Ho 王秀嵐 Rummy Wong

羅鍵鏘 陳欣儀 王凱怡 盧嘉怡 雷洱月

Francisco Lo Chan Yan Yee Nicole Wong Cathy Lo Moon Lui

訂票冊子翻譯 BOOKING FOLDER TRANSLATORS

張嘉芸 Karen Cheung Ka Wan

羅鍵鏘 Francisco Lo

概念及平面設計 CONCEPT & GRAPHIC DESIGN 江田雀 Peter Bird

網頁製作 WEBSITE PRODUCTION Arko Chan

電影節宣傳片製作 FESTIVAL TRAILER PRODUCTION

鄧卓儒 Heyson Tang

地址 Address

臉書 Facebook

崔允信 Vincent Chui

影意志影院 Ying E Chi Cinema

www.instagram.com/yingechi

香港獨立電影節官方網站及專頁 HKindieFF Website & Facebook

www.hkindieff.hk www.facebook.com/hkindieff

影意志仝人 PEOPLE OF YING E CHI 董事局成員 BOARD OF DIRECTORS 主席 CHAIRMAN： 陳序慶 Nose Chan 成員 MEMBERS

鍾德勝 Simon Chung 許雅舒 Rita Hui

藝術總監 ARTISTIC DIRECTOR

曾翠珊 Jessey Tsang 盧鎮業 Lo Chun Yip

崔允信 Vincent Chui

節目及行政經理 PROGRAMME & ADMINISTRATIVE MANAGER 梁頌霖 Leung Chung Lam

節目及行政助理 PROGRAMME & ADMINISTRATIVE ASSISTANT

黃玉兒 Rachelle Wong Yuk Yi

黃青宇 Wong Ching Yu

香港獨立電影節 2021 義工隊 HKINDIEFF 2021 VOLUNTEER TEAM 雷洱月 Moon Lui 薜伊婷 Ava Sit 馮子樂 Chick Fung 江曉琳 Jojo Kwong

黃雪晴 Shirley Huang 陳傲淇 Chan Ngo Ki

張恩儀 Yanny Cheung 史曉盈 Mandy Sze 王凱怡 Nicole Wong 盧嘉怡 Cathy Lo 許朗 Rex Hui

特別鳴謝 SPECIAL THANKS

王秀嵐 張子晴 麥早苗 傅嘉銘 陳世浩

Rummy Wong Candy Cheung Miumiu Mak Crystal Fu Chan Sai Ho

王宗堯先生 Mr Gregory Wong 香港電影評論學會 Hong Kong Film Critics Society 香港國際電影節協會 Hong Kong International Film Festival Society 捷克共和國駐港總領事館 Consulate General of the Czech Republic in Hong Kong 布拉格電影資料館 Národní filmový archiv, Prague * 藝術行政人員實習計劃由香港藝術發展局資助

THE ARTS ADMINISTRATION INTERNSHIP SCHEME IS SUPPORTED BY THE HONG KONG ARTS DEVELOPMENT COUNCIL

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主辦

Presented by

資助機構

Financially Supported by

贊助

Sponsor

節目夥伴

Festival Partners

特別鳴謝

Special Thanks