由釜山國際電影節建立的大家庭

Kevin Ma

過去20年，釜山國際電影節與韓國電影工業一 起成長。當韓國新浪潮令電影工業蓬勃發展， 成為世界影業重鎮之際，釜山國際電影節也成 為一個在全球地位舉足輕重的電影盛事。這個 電影節的主辦者不單為韓國觀眾帶來全球最 優秀的電影，同時也設立多個以工業為本的項 目，從構思到放映，為電影製作的各個階段提 供支援。

Park Sung-ho於2008年開始在釜山國際電影 節工作，擔任節目統籌，其後於 2019 年加入 電影節的東南亞電影節目籌委會。他說：「我 們知道前來電影節的不單是觀眾，還有導演、 製片人和投資者。另一方面，也有不少製片人 或投資者想尋找新的電影製作項目或發掘新導 演。因此，我們想搭建一個平台，供雙方洽談 業務。」Park更讚揚釜山國際電影節聯合創辦 人、已故的金智奭在這方面的貢獻，他是推動 釜山國際電影節擴充和發展的幕後功臣。

這些努力的結果，就是設立了釜山推廣計劃， 即後來的亞洲電影基金。跟香港亞洲電影投資 會一樣，釜山推廣計劃／亞洲電影基金為亞 洲電影人提供平台，讓他們與有可能合作的 製片會面，同時又設立劇本開發基金、後期 製作基金及亞洲紀錄片聯盟基金，為電影人 提供資助。

香港編劇及導演張經緯於2017年首次出席釜山 國際電影節，以他執導的首部劇情長片《藍天白 雲》參加「新潮流」競賽單元，並於翌年憑新作 《狂人日記》贏得劇本開發基金的資助。他表 示電影市場讓他有機會對韓國電影工業更深入 了解，他說：「我在亞洲電影基金認識一位韓 國人，他是一家設於香港的製作公司的聯合創 辦人，將很多韓國電影工業的情況告訴我。能 夠與業內人士真誠交流，對我而言實在非常有 意義。」

香港發行及製作公司高先電影的創辦人曾麗芬 說：「亞洲電影基金是我最早參與的其中一個電 影交易會，各項安排十分妥善，參與的電影項目 亦經過精心挑選。」該公司的電影《八個女人一 台戲》（2018）於釜山國際電影節舉行世界首 映。「即使在初期，釜山國際電影節已放映如黃 精甫這樣的香港年青導演的作品，同時亦放映來 自世界各地的影片，令人感到這是個名副其實的 國際電影節。」

釜山國際電影節於 2005 年成立亞洲電影學 院，旨在為亞洲各地的年青電影人提供培訓。 在為期兩周的訓練營中，舉行多個工作坊、專 題講座，並有短片製作實習，由著名電影人擔 任導師。 曾於 2009 年參加亞洲電影學院的香港電影攝 影師及導演梁銘佳表示，對於新入行的電影 人，特別是那些沒有接觸過海外同業的人來 說，這是極好的體驗。他說：「在香港，你沒 有機會見到其他地方的電影人如何拍片。在亞 洲電影學院，我們可與來自伊朗、阿富汗、日 本和韓國等地的人合作。不同的人有不同的工 作方式，對同一個故事也有不同的看法，你必 須學懂如何去溝通。」自從參加亞洲電影學院 後，梁銘佳成為區內一位多產的電影攝影師， 作品包括安諾釵舒域察歌邦的《入黑之時》 （ 2016 ）、馬楠的《老石》（ 2016 ）、楊曜 愷的《叔．叔》（ 2019 ）及李駿碩的《濁水 漂流》（ 2021 ）。他亦是備受好評的本地獨 立電影《夜香・鴛鴦・深水埗》（ 2019 ）的 聯合導演。

Park說：「中國和日本擁有龐大的國內市場， 韓國的國內市場則較細小。韓國的票房市場規 模其實相當大，屬全球首屈一指，堪與法國媲 美。可是，我們認為這個市場很小，因為與我 們為鄰的都是巨人。因此，我們一直希望與鄰 近國家合作。」Park於2013年移居柬埔寨，後 來加入設於當地的製作公司Anti-Archive，成 為合伙人；他參與製作的電影曾於康城、威尼 斯、柏林等影展內放映，當然還有釜山國際電 影節。

透過這些不同的項目，釜山國際電影節慢慢建 立起一個由亞洲電影人組成的大家庭，他們將 電影節視為自己的第二個家。馬來西亞導演廖 忠權於2012年以亞洲電影學院參加者的身份出 席釜山國際電影節，他說：「這是個真正的亞 洲電影節，以亞洲為對象，讓我們前來，享受 最輕鬆自在的時光。這裡總是讓人感到一份親 切和關懷，有如置身一個穩妥可靠的地方。即 使我們工作上可能正面對各種不堪的情況，但 一定會找到對你的遭遇感同身受的人，或遇到 願意幫助你的人。」

廖忠權的製作伙伴和太太Bianca Balbuena是 以菲律賓為基地的多產製片人，兩人就是在釜 山國際電影節內相識。Balbuena說：「在東南 亞，我們沒有機會接觸世界各地的電影。但當 你到釜山去，就可以看到各式各樣的電影，獲 得全面的電影體驗；釜山就在亞洲，要前往很 方便。釜山國際電影節歡迎不同的人前來，對 待你就像家人一樣。你會認識到來自五湖四海 的電影人，甚至遠自孟加拉和蒙古。這個地方 讓人可以彼此互相支持和鼓勵。」

廖忠權和 Balbuena 為東南亞的新晉電影人擔 任製片，將他們在釜山國際電影節學到的心 得和經驗發揚光大。 Balbuena 曾擔任製片的

作品包括：Pepe Diokno的《Engkwentro》 （2009），該片於威尼斯影展獲地平線獎；拉 夫迪亞茲的《革命英雄安眠曲》（ 2016 ）， 影片於柏林影展獲艾佛鮑華獎；以及榮獲上海 國際電影節評審委員會大獎的《野蠻人入侵》 （2021）。Balbuena於2018年贏得釜山的亞 洲電影委員會聯盟年度最佳製片人獎。

Park說：「歐洲多個電影節的節目策劃都告訴 我們，他們不會在歐洲見面，因為他們不會互 訪彼此的電影節，但他們全都前來釜山聚會。 即使他們最初只是打算來搜羅韓國電影，結果 卻將興趣伸延至其他亞洲導演身上。因此， 釜山國際電影節是個聚會、與人接洽、交朋結 友，以至建立師徒關係的好地方。」

Park又指出，東南亞電影人之間的合作，往往 在釜山開始；其中一個好例子，是最近完成的 日本–菲律賓合拍片《Gensan Punch》，由獲 獎菲律賓導演布里揚文杜沙執導。本片的日本 製片及主角特地親自前往釜山國際電影節，只 是為了邀請文杜沙加入這個拍片項目。 表讚賞。他說：「我的電影舉行首映後，有位 年輕的觀眾在街上竟然認出片中女主角梁雍 婷。那位影迷只是個普通觀眾，只看過那部電 影一次！我看得出他們看待電影的態度確實很 認真。」

廖忠權說：「我認為香港的電影人應到釜山去體 驗一下。他們可以看電影，即使去參加派對，結 識其他電影人也不是一件壞事。亞洲人可能認為 在這種場合去派對玩樂不太好，但你同時可以認 識其他電影人，跟他們一起討論。」

「你還會遇到是枝裕和！」Balbuena補充道。

翻譯：藍天雲

Kevin Ma

For the past two decades, the Busan International Film Festival (BIFF) has grown in parallel with the Korean film industry. Just as the Korean New Wave expanded the film industry into a powerhouse in world cinema, BIFF has also become one of the most important events on the global film festival circuit. BIFF isn’t simply a film festival that screens the best in world cinema to Korean audiences; festival organisers have also established industry-oriented programmes that support film productions in all stages, from conception to exhibition.

“We realised that it wasn’t just about the audiences that were coming to the festival. We also had directors, producers and financiers coming as well,” says Park Sung-ho, who started working as a programme coordinator at BIFF in 2008 before joining BIFF’s programming committee for Southeast Asian cinema in 2019. “On the other hand, there were producers or financiers looking for new projects or new directors. So, we wanted to make a platform for these business meetings.” Park credits the late Kim Ji-seok, who also co-founded BIFF, as the mastermind of BIFF’s expansion initiatives.

This resulted in the establishment of the Pusan Promotion Plan (PPP), which later became the Asian Cinema Fund (ACF). Like the Hong Kong-Asia Film Financing Forum, the PPP/ACF offers a platform for Asian filmmakers to meet potential co-producers and provides grants for filmmakers in the form of their Script Development Fund, Post-Production Fund and Asian Network of Documentary Fund.

Hong Kong writer-director Cheung Kingwai, who first attended BIFF in 2017 to present his fictional feature directorial debut Somewhere Beyond the Mist in the New Currents competition and won the Script Development Fund for his project The Idiots in the following year, said that the market gave him a chance to learn more about the Korean film industry. “I met the Korean co-founder of a Hong Kong-based production firm at ACF, and he told me a lot about the state of the Korean film industry. Having that frank exchange with someone in that industry was very meaningful for me,” said Cheung.

“The ACF was one of the first project markets I participated in. It was very well-organised and the projects were well-chosen,” says Winnie Tsang, founder of Hong Kong film distributor and producer Golden Scene. The company’s First Night Nerves (2018) had its world premiere at BIFF. “Even early on, BIFF screened films by young Hong Kong filmmakers like Wong Ching-po. It also programmes all kinds of films from the world, so it felt like a truly international festival.”

In 2005, BIFF also established the Asian Film Academy, an incubation programme that brings together young filmmakers from across Asia for a two-week filmmaking boot camp that includes workshops, special lectures and a short film production overseen by renowned filmmakers acting as mentors.

Hong Kong cinematographer and director Leung Ming-kai, who attended the AFA in 2009, says that the experience is great for up-and-coming filmmakers, especially those with no overseas experience. “In Hong Kong, you wouldn’t be able to see how filmmakers in other places work. At AFA, we had collaborators from places like Iran, Afghanistan, Japan and Korea. When people have different ways of working and seeing a story, you have to learn how to communicate,” says Leung. Since attending AFA, Leung has become a prolific cinematographer in the region with films like Anocha Suwichakornpong’s By the Time It Gets Dark (2016), Johnny Ma’s Old Stone (2016), Ray Yeung’s Suk Suk (2019) and Jun Li’s Drifting (2021). He also co-directed critically acclaimed local indie Memories to Choke On, Drinks to Wash Them Down (2019).

“While China and Japan enjoy large domestic markets, Korea has a smaller domestic market,” says Park. “Korea has one of the biggest box office markets in the world; it’s as big as France. Yet, we think it’s very small because our neighbours are giants. So, we always want to collaborate with our neighbours.” Park moved to Cambodia in 2013 and has since become a partner of Cambodiabased production outfit Anti-Archive, whose films have screened in Cannes, Venice, Berlin and of course, BIFF.

Thanks to these programmes, BIFF has slowly built a family of Asian filmmakers who now view the festival as a home away from home. “It’s really an Asian festival, targeted at Asia, where we can come and have the most relaxing time,” says Malaysian director Bradley Liew, who first attended BIFF as an AFA participant in 2012. “It was always a very maternal feeling, like we’ve come to a safe space. Even if we’re having the worst time of our careers, we will always find someone to empathise or assist us in some way.”

“In Southeast Asia, we don’t have access to world cinema. When you go to Busan, which is very accessible because it’s in Asia, you get to see all kinds of films there. It’s a holistic experience of cinema,” says Liew’s producing partner and wife Bianca Balbuena, a prolific

Philippines-based producer who actually met Liew at the festival. “BIFF is also very inclusive. It treats you like a family. You get to meet filmmakers from all over, even from Bangladesh and Mongolia. So, it’s a whole eco-system of supporting and cheering on each other.”

Both Liew and Balbuena have since paid what they learned at BIFF forward by producing films for up-and-coming Southeast Asian talents. The producer of Pepe Diokno’s Engkwentro (2009), winner of the Orizzonti award in Venice, Lav Diaz’s A Lullaby to the Sorrowful Mystery (2016), winner of the Alfred Bauer Award in Berlin, and Shanghai Film Festival Jury Award winner Barbarian Invasion (2021), Balbuena also won the Producer of the Year award in 2018 from Busan’s Asian Film Commissions Network.

“Festival programmers from European festivals tell us that they don’t meet in Europe because they don’t go to each other’s festivals, but all of them meet in Busan,” says Park, “Even though they initially looked for Korean projects, they’ve expanded their interest in other Asian directors since then. So, BIFF is a good place to meet, approach people, befriend people, and possibly create a mentor-mentee relationship.” Park says that filmmaking collaboration among Southeast Asian filmmakers often start in Busan, citing the recently completed Japan-Philippines co-production Gensan Punch by award-winning Filipino director Brillante Mendoza as a prime example. The film’s Japanese producer and main actor travelled all the way to BIFF just to invite Mendoza to the project.

Cheung also credits BIFF for spending nearly three decades to cultivate a culture where fans truly appreciate the films. “After my film’s premiere, a young audience member actually recognised Rachel Leung, my film’s main actress, on the street. The fan was just a regular audience member who had seen the film once! I could tell that they really take film seriously.”

“I think Hong Kong filmmakers should go have the Busan experience. They can watch films, and even going to a party to meet filmmakers is not a bad thing,” says Liew, “Asians may think that it’s a bad thing to be partying at such an occasion, but you’re also meeting filmmakers and having discussions.”

“And you’ll get to meet Kore-eda!” adds Balbuena.

放映 Screenings

慰安婦三部曲 Comfort Women Trilogy

04/12 (Sat) 1:00pm

慰安婦悲歌 The Murmuring 04/12 (Sat) 3:15pm*

漫漫哀傷 Habitual Sadness、我的氣息 My Own Breathing

請參閱票價優惠（72頁） Please refer to package discounts (P.72) *導演邊永妵將出席視訊映後談 Director Byun Young-joo will attend the after-screening talk virtually.

南韓 South Korea ｜DCP｜彩色 Colour｜韓語對白，中、英文字幕 In Korean with Chinese and English subtitles

導演 Director 邊永妵 Byun Young-joo

慰安婦悲歌 The Murmuring 1995 ｜100 mins

漫漫哀傷 Habitual Sadness 1997 ｜57 mins

我的氣息 My Own Breathing 1999 ｜77 mins

獎項 Award 1995 山形國際紀錄片節新亞洲浪潮獎 New Asian Currents Award, Yamagata International Documentary Film Festival 1995 影展 Festival 1996 釜山國際電影節 Busan International Film Festival 1996

影展 Festivals 1999 釜山國際電影節 Busan International Film Festival 1999 2000 台灣國際紀錄片影展 Taiwan International Documentary Festival 2000

影展 Festivals 1997 釜山國際電影節 Busan International Film Festival 1997 1998 台灣國際紀錄片影展 Taiwan International Documentary Festival 1998

南韓導演邊永妵以超過十年時間，追蹤一群於 二戰期間遭日軍性剝削的韓國婦女，拍攝成這 三部具歷史意義的紀錄片系列。

《慰安婦悲歌》（1995）是南韓首部得以在主 流戲院上映的紀錄片。邊永妵以鏡頭跟隨一群 慰安婦倖存者，見證她們每週在日本大使館外 抗議，要求日本政府為她們多年來痛苦道歉。 當其中一位婦女確診癌症時，邊永妵獲邀紀錄 她人生最後的日子，為她堅強面對死亡仍不言 棄的人生留下痕跡，拍成《漫漫哀傷》（1997）。 在三部曲最後一章《我的氣息》（1999），邊 永妵邀請其中一位受害人訪問其他日本慰安婦 受害人，呈現她們令人心碎的真實故事。

邊永妵的三部曲，不僅留下珍貴一手紀錄指證戰 爭暴行，亦為受害者們要求日本正式道歉的行動 爭取本地支持。看畢三部曲雖然要求時間與心 力，但亦能感受到婦女們苦中作樂的感染力、互 相扶持的真摯友誼和不受日常營役磨蝕的韌性。

Filmed over roughly a decade, Byun Young-joo’s landmark documentary series follows a group of Korean women who were sexually exploited by the Japanese during World War II. In The Murmuring (1995) – the first Korean documentary to receive a theatrical release in mainstream Korean cinemas – Byun follows a group of survivors who demonstrates outside the Japanese embassy in Seoul once a week, demanding the Japanese government to apologise for the pain they endured. When one of the women in the group is diagnosed with cancer, the survivors asked Byun to make Habitual Sadness (1997) to document her last days and the women’s effort to find solace as they face mortality. In the heartrending final chapter, My Own Breathing (1999), Byun brings in a former victim to interview fellow victims of Japanese sexual slavery. Not only is Byun’s trilogy an important first-hand account of wartime atrocities, it has also helped build support at home in the fight for an official apology from Japan. Though daunting in length and emotionally harrowing at times, those who see the trilogy in its entirety will also feel the women’s ability to spread joy to those around them, their loving friendship and their unwavering resilience even in everyday life.

映前映後 Before and After

南韓女性電影先鋒邊永妵，是女性主義電影群體 「Bariteo」的發起人之一。除了紀錄片，她亦導 演了三部劇情長片《密愛》（2002）、《Flying Boys》（2004）與《Helpless》（2012）。

A pioneer among Korean female filmmakers, Byun Young-joo is a founding member of feminist film collective, Bariteo. In addition to her documentaries, Byun has also made three dramatic narrative features to date: Ardor (2002), Flying Boys (2004) and Helpless (2012).