特別嘉賓介紹 Introduction to Special Guests

Photo Credit: Doria Dragusin

Maggie Lee

「新浪潮．新海岸：釜山國際電影節」策展人、 《Variety》亞洲電影首席影評人、東京及溫哥華國際電影節節目策劃 Curator of New Waves, New Shores: Busan International Film Festival; Asia Chief Film Critic, Variety; Curator for Tokyo and Vancouver International Film Festivals

Maggie Lee是影評人及電影策展人，於2007-2012間擔任《Hollywood Reporter》亞洲首席評論，及後加入美國電影刊物《Variety》任首席亞洲 影評人至今。自2002年起於日本工作及生活，現為東京國際電影節及温哥 華國際電影節擔任節目顧問。2010年，她獲得由釜山國際電影節和韓國電 影新聞協會所頒發的獎項，以表彰她對韓國電影的貢獻。 Maggie Lee is the Chief Asia Film Critic for American film publication, Variety. Lee joined Variety in 2012 after serving as the Asia chief critic for the Hollywood Reporter (2007–2012). She is now programming consultant for Tokyo and Vancouver international film festivals. In 2010, she received an award from the Busan International Film Festival and Korean Film Press Association for her contribution to Korean cinema.

南東喆 Nam Dong-chul

韓國節目聯合策展人、釜山國際電影節節目總監 Korean Programme Co-Curator; Program Director, Busan International Film Festival

南東喆自1995年起為韓國電影周刊《Cine 21》撰稿，2004年起擔任該雜 誌總編輯。他於2008年至2013年間擔任亞洲電影市場總經理，自2013年 擔任釜山國際電影節節目策劃，並於2019年起擔任該電影節節目總監。 Nam Dong-chul began as a staff writer in 1995 for the Korean weekly film magazine Cine21, and has been editor-in-chief since 2004. He served as general manager of Asian Film Market from 2008 to 2013. He worked as programmer of Busan International Film Festival from 2013 and as program director since 2019.

丁瑞慶

編劇 Screenwriter

丁瑞慶被認為是當今韓國最好的電影電視編劇之一，他與導演朴贊郁合作的 作品，深深地吸引著世界各地的觀眾，包括《親切的金子》（2005）、 《機器人之戀》（2006）、《饑渴誘罪》（2009）、《下女誘罪》 （2016）等，以及朴贊郁導演新作《Decision To Leave》。曾獲芝加哥 影評人協會獎及錫切斯電影節最佳編劇獎，並曾獲亞洲電影大獎、百想 藝術大賞、三藩市影評人協會獎等大獎的最佳編劇提名。 Chung Seo-kyung is regarded as one of the best film and television writers of Korea today. Her legendary and timeless works with Korean director, Park Chan-wook, have captivated audiences around the world. These films include The Handmaiden (2016), Thirst (2009), I’m a Cyborg, But That’s OK (2006) and Lady Vengeance (2005). She has been bestowed with screenwriting awards from the Chicago Film Critics Association Awards and the Sitges Film Festival, and has also been nominated for best screenwriting awards at the Asian Film Awards, Baek Sang Art Awards, San Francisco Film Critics Circle and several other awarding bodies. Her latest film collaboration with Park is Decision to Leave.

陳果 Fruit Chan

電影導演、編劇、製作人 Film Director, Screenwriter and Producer

陳果在80年代進入電影圈，曾為多部電影的副導演。他是一位多才多藝的 電影人，曾擔任電影製作的不同崗位：導演、編劇、監製、剪接等。1997 年導演獨立作品《香港製造》，獲盧卡諾國際影展評審團特別大獎、多個 金馬獎及香港電影金像獎獎項，為他帶來國際認可及稱譽。及後拍攝「九 七三部曲」及「妓女三部曲」，均入選多個國際影展及獲得多個獎項。除 獨立作品，陳果亦拍攝不同類型作品，如《三更2：餃子》（2004）、《那夜凌晨，我坐上了旺角開往大 埔的紅van》（2014）、《鬼同你住 》（2021）、香港作家西西紀錄片《我城》（2015）。 Fruit Chan entered the film industry in the 1980s and worked as an assistant director for several films. He is an all-round filmmaker – as a director, a screenwriter, producer and editor. In 1997, he directed the groundbreaking independent fiction feature, Made in Hong Kong, winning the Special Jury Prize at the Locarno Film Festival, and multiple Golden Horse Awards and Hong Kong Film Awards, bringing him international recognition and acclaim. He went on to direct the Handover Trilogy and the Prostitution Trilogy, which were screened at film festivals abroad and garnered many awards. His oeuvre includes commercial fare such as Dumplings (2004), The Midnight After (2014) and Coffin Homes (2021). He has also made a documentary, My City (2015), on the iconic Hong Kong writer, Xi Xi.

黃茂昌 Patrick Huang

前景娛樂創辦人、電影監製 Founder of Flash Forward Entertainment, Film Producer

黃茂昌畢業於紐約哥倫比亞大學電影研究所創意製片人組，並於2002 年在台北成立前景娛樂有限公司，從事影視製作、發行與銷售。他的 電影多次入選 國際知名 電影節，最新作品為入選康城的《金錢男孩 MONEYBOYS》。黃茂昌擁有多年歐亞合拍經驗，亦在各大訓練營、創投 與電影節擔任導師與評審工作。 Patrick Huang studied Creative Film Producing in Columbia University Graduate Film School. He founded production/distribution/sales company, Flash Forward Entertainment, in 2002. Being praised for his distinguished eyes to spot new talents, Huang’s films were selected by renowned film festivals worldwide and released globally. Huang specialises in international co-production between east and west. Huang is often invited to be the mentor in various international labs and project markets.

雷澤緯 Derek Lui

電影銷售及發行 Film Sales and Distribution

曾先後為丹麥和法國的電影銷售公司工作，參與多部入圍國際影展電 影之賣埠職務。2021年中回歸亞洲公司，加入CATCHPLAY旗下的影 響原創影視股份有限公司，從電影銷售擴展到電視劇和串流平台節目 的國際銷售及發行工作。2017年獲《Screen International》選為 其中一位「Future Leader in Sales」，過去亦曾任職電影院線節目 經理，負責電影採購及節目策劃工作。 After serving as the President of Sales at the Danish film sales company, LevelK, and handling sales to Asia for a French film sales company, Derek Lui has recently returned to work for an Asian company with the newly launched SCREENWORKS ASIA (a production subsidiary of CATCHPLAY), in charge of sales and international distribution for films, series, mini-series and factual entertainment produced with the international market in mind. Named as a“Future Leader in Sales”by Screen International in 2017, Lui also had film acquisition, film programming and film festival programming experience.

金正錫 Kim Jung-suk, Bryan

韓國電影振興委員會事務局長 Secretary-General, Korean Film Council

電影振興委員會事務局長金正錫從2021年開始總管韓國電影振興委員會 事務局，歷任韓國首個獨立電影專門網站、獨立電影專門發行公司（株） INDIEPLUG代表（2009-2015）和電影音樂著作權電影人對策委員會代表 （2011-2015）。此外，他還擔任電影振興委員會影像振興小委員會委員 （2010-2014, 2017-2020）以及韓國電影數碼流通協會代表（2019-2021）。 Secretary-General Kim Jung-suk of the Korean Film Council (KOFIC) has been managing the Korean Film Council Bureau since 2021. Secretary-General Kim served as the president of the first independent film website in Korea and the independent film distributor, INDIEPLUG (2009-2015), and as the head of the Countermeasure Committee for Soundtrack Copyrights. He was also a member of Subcommittee for Video Promotion in Korean Film Council (2010-2014, 2017-2020) and he served as the head of the Korean Film Digital Distribution Association (2019-2021).

鄺珮詩 Teresa Kwong

香港藝術中心節目總監、電影監製 Programme Director, Hong Kong Arts Centre; Film Producer

香港藝術中心節目總監。監製的長片有《老那》（導演：劉浩，2010）、 《大藍湖》及《河上變村》（導演：曾翠珊，2011及2014）、《點對點》 及《逆向誘拐》（導演：黃浩然，2014及2018）以及《叔．叔》（導演： 楊曜愷，2019）。《叔．叔》入選柏林國際電影節的「面面觀」單元。 Teresa Kwong is the programme director of the Hong Kong Arts Centre. Her producing titles include Addicted to Love (dir. Liu Hao, 2010), Big Blue Lake and Flowing Stories (dir. Tsang Tsui-shan, 2011 and 2014), Dot 2 Dot and Napping Kid (dir. Amos Why, 2014 and 2018), and Suk Suk (dir. Ray Yeung, 2019), which was screened in the Panorama section of the Berlin International Film Festival 2020.

朴世利 Park Se-ri

亞洲電影資助計畫經理 Manager, Asian Project Market

朴世利自2013年起加入釜山國際電影節的延伸項目亞洲電影資助計劃。她 主修英語和德語文學及語言，畢業後曾從事教育領域的工作。她曾在釜山 國際電影節擔任志願工作，及後更加入該電影節發展其事業，並於2010 年為該電影節的亞洲電影學院工作。 Park Se-ri has been working for the Asian Project Market (APM), a family programme of the Busan International Film Festival (BIFF), since 2013. She majored in English and German literature and language, and worked in the education field after her graduation. Her experience as a volunteer at BIFF led her career to festival organisation and she worked for the Asian Film Academy (AFA) of BIFF in 2010.

楊曜愷 Ray Yeung

電影監製及導演 Film Producer and Director

榮獲香港藝術發展局2021年度藝術家（電影）獎，楊曜愷於哥倫比亞 大學藝術碩士（MFA）畢業；2000年起主辦香港同志影展並任該協會 主席。首部長片《我愛斷袖衫》2005年於鹿特丹國際影展首映。其後 作品《紐約斷背衫》（2015）及《叔‧叔》（2019）亦入選多個國際 影展。《叔‧叔》先後入選釜山國際電影節及柏林國際電影節，並於 多個享譽國際的電影節及專業電影組織獲得獎項及提名——包括台北金馬獎、香港電影金像獎、香港 電影評論學會及亞洲電影大獎等。 Voted Artist of the Year (Film) by the HK Arts Development Council for 2021, Ray Yeung is a Columbia University MFA graduate. He is the Founding Chairman of the Hong Kong Lesbian and Gay Film Festival since 2000. Yeung's first feature film, Cut Sleeve Boys, premiered at the Rotterdam International Film Festival in 2005. His second feature, Front Cover (2015), was also selected by various international film festivals. His third feature, Suk Suk (2019), premiered at the Busan International Film Festival and Berlin International Film Festival, garnered awards and nominations from prestigious organisations including the Golden Horse Awards, Hong Kong Film Awards, Hong Kong Film Critics Society and the Asian Film Awards.