MOVIE-MOVIE-MAGAZINE #40
SHALL I COMPARE THEE TO A SUMMER S DAY
ʬ上流寄生族ʭ
PARASITE
FOR MOVIE LOVERS
ᏤⰡ᧷
FRESH FROM CANNES!
FOREWORD ݺ㼭
PUBLISHER MOViE MOViE
Text by Joycelyn Choi General Manager of MOViE MOViE
EDITORIAL DIRECTOR Joycelyn Choi creative DIRECTOR Renatus Wu (EDITED.hk) Managing Editor Elaine Sham
個人去看可能一個拍爛手掌ɼ一個大叫 櫈ɻ當然每齣電影也不是一樣和同等的ɼ也
chinese editor Rita Cheung
有一定的客觀標準ɼ我們亦可以搬出作者論
Shall I Compare Thee To A Summer’s Day
Editorial Team Chun Lung Wong Dayuan Jeong Hannah Poon Karen Ma Lulu Liu Vanessa Man
Graphic designer Jenny Tsang (EDITED.HK) contributors James Marsh Matuesz Kolek Polly Yeung Tommy Ng 台ᔄ䑊 ຂᕊ
在銀幕上看到什麼ɼ大概就是你自己的 人生投影與電影修為ɻ因此同一套電影ɼ兩
editor Cora Chan
English editor James Marsh
看電影ɼ其實是看自身ɻ
special thanks Tessa Lau Esther Yeung Grace Cheung Joe Wong Venus Fong Hyman Hui Clarence Tsui Didi Wu Stannie Li Vivian Jiang Broadway/PALACE/AMC Edko Films Limited ad-lib Fresh Wave Hong Kong Arts Centre Hong Kong Museum Festival Hong Kong Philharmonic Orchestra ifva JCCAC Leisure and Cultural Services Department PMQ Kapok house by kubrick Storyteller ႄ㟞
又或不同論說ɻ但假如人人說好而你無動於 衷ɼ可能是眾人皆醉你獨醒ɼ可能是口味文 化差異ɼ也可能問題不在那部電影ɻ簡單來 說ɼ假如你心急如焚ɼ銀幕上任何一秒也是 像一光年長 ; 假如無心裝載ɼ每句對白也是 喃嘸ɻ看戲大概也講天時地利人和ɼ也許你 付出多少就得到幾多吧ʁ 每次來到康城ɼ首要當然是工作ɼ但同 時也是作為影迷的我學習的地方ɼ遇上怦然 心動的戲ɼ看前看後固然興奮ɼ就算不似預 期ɼ我也會事後看多篇影評來了解不同觀 點ɻ甲之熊掌ɺ乙之砒霜ɼ看電影不只是娛 樂與文化ɼ亦看視野與胸襟ɺ膽色與創新ɻ 在康城看電影ɼ付出時間與體力是必然ɼ熱 情與瘋狂則因人而異ɻ為了入場看戲ɼ排隊 一個小時是平常ɻ最瘋顛可由早上 8:30 一 路看到午夜放映ɼ餓著肚子或只在場次排隊 間吃乾糧ɻ但每次我特別珍惜在紅地氈主 場 Lumière 看競賽電影ɼ放映前有條從紅地 氈拾級而上的短片ɼ最後出現康城影展 logo 時ɼ全場觀眾就會一起拍手ɻ那種對電影與 影展的尊重和熱誠無可比擬ɻ映後每逢遇 standing ovationɼ同場的主創導演和演員往
往被感動至不能自已ɼ因為這是康城ɼ也因 為一剎那間彼此在此情此地接通了ʜʜ 今屆康城金棕櫚獎大獎得主ʬ上流寄生 族ʭ之好ɼ是它竟然神奇地十分富娛樂性ɼ卻 又同時有藝術電影所追求的藝術性與人文關 懷ɼ劇本強ɼ演員勁ɼ導演超班ɼ令人興奮ɼ相 信亦無人會異議此乃雅俗共賞真好戲ɻ但正 如導演奉俊昊呼喚ɼ為了電影ɼ請大家看後 不要多亂爆 spoilerɼ不要破壞了那跡近完美
的 twistɻ
在炎熱與抑鬱的夏天ɼ除了與情人一 起 滴 汗ɼ最 好 的 事 大 概 是 涼 冷 氣 看 電 影ɻ MOViE MOViE 為不同口味的影迷而生ɼ不
論 你 背 景 如 何ɼ但 願 你 在 MOViE MOViE www.moviemovie.com.hk MOVIE MOVIE For advertising, please Contact: E: chancora@moviemovie.com.hk T: 2528 8049
MMM #40: SHALL I COMPARE THEE TO A SUMMER S DAY
Cityplaza 戲 院 也 好ɼMOViE MOViE 頻 道 又
或 now E MOViE MOViE play 上找到自己那 杯茶ɼ同時不妨也挑戰一下ɼ看多一點點那
Watching a movie is like looking inside yourself. How you perceive a movie depends on the experiences and film knowledge you have acquired. This is why when two people watch the same film, one may call it a masterpiece, while the other may think it’s a waste of time. Of course, every film is different and there are certain techniques and theories with which we can measure a film. But theories aside, the most important thing about movie-watching is that you need to be in the zone. If you keep worrying about missing the last train home, or work tomorrow, it’s hard to truly appreciate what is on the screen. Going to the Cannes Film Festival may be considered work, but it’s also a great opportunity for a film buff like me to learn more about movies and the industry. Of course it’s a great feeling to discover a movie that really has an impact on you, but when a much hyped film doesn’t quite live up to expectations, I’ll still read the reviews to learn more about the different perspectives of critics and other viewers. Watching a movie is not merely about seeking entertainment, but more importantly, it’s about opening yourself up to different voices and opinions. Watching movies at Cannes is all about time and energy. It’s common to wait in line for an hour or more to catch a premiere. A cinephile’s daily schedule will be packed with screenings, from 8:30am to midnight, with only short breaks in between to grab a quick snack. But beyond the craziness, my most unique Cannes moment will always be watching competition films at the Auditorium Louis Lumière. Before every screening, the festival will show a clip, as the camera starts from the red carpet, and tracks all the way to the end, where it finds the Cannes logo. At this moment, the audience applauds together. To me, this moment truly realises the festivalgoers’ respect and love for movies, and for the festival. The film everyone was talking about this year was the Palme d’Or winner, PARASITE. Its genius lies in director Bong Joon-ho’s ability to intricately balance entertainment with artistry and empathy. With a strong script, incredible performances, and superb direction, it’s no surprise that PARASITE struck a chord with the international audience. As director Bong Joonho stated in his open letter, be sure not to spoil the movie for people who have yet to watch it. With the summer heat fast approaching, what could be better than watching a great movie in the A/C with your significant other? MOViE MOViE was created by and for movie buffs. We hope that this summer you’ll find your next favourite movie, or try something outside of your comfort zone at MOViE MOViE Cityplaza cinema, on MOViE MOViE channel, or now E MOViE MOViE PLAY.
comfort zone 以外的電影ɼ也許會發掘了另
一個自己ɻ
Translated by CC 1
WHAT DOES THE MMM TEAM SAY
W 這一期最喜歡的當然是和腐爛姐妹花想的 兩個私心 spotlights 對於 coming of age 和ʮ什麽都沒有發生ʯ的電影完全沒有抵 抗力ɻ在想ʮ什麽都沒有發生ʯ的專題才 突然想到幾年前在旅行的最後一日ɼ發現 同一班火車上有人和我一樣在看ʬM-Trainʭɼ 而傾談之後發現大家選這本書的原因也一 樣ɻ雖然之後沒有再聯絡了ɼ但想起來也 算是一起分享過一個特別的時刻吧ɻ祝這 位 pen pal 一切安好ɻ 今期的 Home Premieres 有點像一班駛往過
未知道ɼ但我的眼底告訴我ɼ我也老了ɻ
在菲林內ɼ還活現於今代電影當中ɻ用鏡
夏 天 也 是 戀 愛 的 季 節ɼ 在 翳 翳 焗 與 早過了那段透過 MSN 個人信息欄以歌詞抒
濕笠笠之中ɼ我們早就忘記本份ɻ來到好
情的十八廿二年華ɼ但有句當年常客我至
像 什 麼 都 要 發 生 的 夏 天ɼ 我 終 於 狠 下 心
今依然鍾愛 ʮ何妨迷路看風光ʯɻ
腸寫了ʢ懶ʣ浪漫的ʮ什麼都沒有發生 I
跌跌碰碰間迷上了電影中的光與影ɻ眾裡
懂ʬLOST IN TRANSLATIONʭ 那 種 不 用 宣
未能如當日所矢言賣字為活ʀ但能終日與
之於口的情感ɼ原來有時候說不出口的才
戲為伍ɼ甚至偶爾為 MMM 貢獻綿力薄材ɼ
最刻骨銘心ɻ中文用上了陳冠中ʬ香港三
ʢ陳老師ɼ十年了ɼ妳的說話我一直銘
部 曲 ʭ 最 長 的 一 章 命 名ɼ 原 文 的 語 帶 雙 關 所謂ʮ什麼都沒有發生ʯɼ其實不過
記於心ɻ學生不才ɼ妳大概不會在書局讀
自欺欺人ʀ英文是特意的完全相反ɼ一來
到我的作品ɻ但今天能叨 MMM 的光讓我
是讓整件事更加口不對心ɼ二來是我還是
的文字載於紙頁間ɼ望妳能讀到ɻʣ
時 候 父 親 愛 在 星 期 天 的 黃 昏 播 她 的 老 歌ɼ
必須要引用一下近年最愛的ʬCALL ME BY
YOUR NAMEʭ 分手後的一通電話ɼ以
你的名字呼喚我ɼ換來一句ʮI Remember
假期完結新一週將至的不安就全給投射在
ɻ對ɼ我們都沒有忘記ɼ要記 Everythingʯ
蔡琴的歌聲中ɻ那時在想ɼ這輩子我也會
住的會永遠記住ɻ只是ɼ像哥哥說ɼ扮什
討厭她的歌ɻ直到開始接觸台灣電影ɼ和
麼都忘了ɼ大家會好過一點ɻ
得知楊導和她的往事ɼ她的歌聲也開始擁
在心癢癢的夏天ɼ我以大概是史上最
有了她專屬的意義ɼ就如ʬ一一ʭ中 NJ 因
ʪShall 浪漫的情詩 莎士比亞的 sonnet 18
為愛情明白了音樂ɻ年來總遺憾自己沒早
台北之旅一切順利ɻ
ɼ因為人大了才看 Remember Everythingʯ
尋他千百度ɼ竟有天可將興趣變成了工作ɻ
太幸福ɻ
下的光影痕跡ɻ在此亦祝願 MM 實習之旅ɼ
人道的一抹青葱 我就想起楊導ʬ一一ʭ
那個小男孩的一句ɿʮ我還有很多事情還未
會知道了ʣɻ關於成長ɼ我還有很多事情還
時代擁有的ɺ失去的ɺ遺留的ɼ不只保存
所以也就希望下學年能在台北找到他們留
肆無忌憚大啖著麥當
勞的小男孩小女孩ɼ低頭看看自己眼前不
的ʢ鬱ʣ結ʢ關於這個結ɼ你長大一點就
與米歇爾改寫美國歷史的初次約會ʜ那個
點出生ɼ在大銀幕見證他們電影首映的一刻ɼ
對ɼ正如面對大叔ɼ我永遠只是個女孩ʀ 但當我看著辦公室
熱與抑鬱的夏天ʯɼ或許會輕輕舒解你背上
跨越二十年的韓國獨裁歷史ɼ還有奧巴馬
是侯導ɼ兩份歌單均由蔡琴的歌開首ɻ小
青春的殘酷本質ɻ我明白青春這回事是相
在炎熱與抑鬱的辦公室ɼ我寫給你ʮ在炎
英國搖滾巔峰ɺ黑手黨橫行西西里的 90 年代ɺ
手機有專屬兩位導演的歌單ɼ一是楊導一
眼底竟悄然地長了一條眼紋ɼ才猛然驚覺
啊ɼ我覺得ɼ我也老了ɻʯ由是這一夜ɼ坐
仿佛上了幾堂歷史課ɻ鋤田正義鏡頭下的
程與看菲林片一樣浪漫ɻ
不 經 不 覺ɼ 又 來 到 炎 熱 與 抑 鬱 的 夏 天ɻ夏天於我是成長的季節ɼ最近我發現
知道ɼ只是當我看著還未有名字的小表弟
去的高速列車ɼ看著車窗外的高山低谷飛過ɼ
頭想像過去ɼ重新演繹歷史ɼ這趟列車旅
ʮ在炎熱與抑鬱的辦公室ɼ無法停止寫詩ɻʯ
I Compare Thee To A Summer’s Dayʫ 為 這
如 果 人 生 如 戲ɼ 這 本 MMM 對 我 而 言 也
象徵著一個段落的結束ɻ謝謝 MMɼ為我
一期 MMM 命名 ʮShall I compare thee to a summer's day? Thou art more lovely and
的生活增添了一個精彩的段落ɼ也謝謝所
ɼ願在這個夏天ɼ我會遇 more temperateʯ
有參與在這個章節的人ɻ不知道下一個章
上一個如詩美麗的人ɼ希望你也是ɻ
節會是怎樣的故事ɼ但願我能如手中拿著 MMM 的你一樣ɼ懷著期待打開滿載豐富內 2
容的新一頁ɻ
WHAT DOES THE MMM TEAM SAY
MOVIE MOVIE ANIFEST ࠂ⩨㬊㶀2019 HIGHLIGHTS
M 為 期 一 個 月 的 MOViE MOViE anifest 動 画 藝術祭 2019 於五月完滿結束ɼ是次與動畫 支援計劃的合作ɼ以及藝術在醫院的支持亦 令觀眾可於大銀幕欣賞本地動畫師逐格雕 琢的得獎動畫ɻ此外ɼ由太古城中心全力支 持 的 Moving Anifest 動 人 動 畫 祭 亦 透 過 展 覽及連串動畫工作坊及分享會ɼ讓公眾與動 畫師──盧子英老師ɺ江記ɺ袁建滔ɺ許迅ɺ Tommy NgɺCheryl CheungɺStep C.ɺMay
LooɺAaron Lau 及 Eric Lee 等 近 距 離 接 觸
交流ʂ
MM 3 HAPPENINGS
Thank you for your support during the monthlong anifest, which came to an end this May. Joining hands with the Animation Support Program & with the support of Art in Hospital, we made it possible for audiences to see awardwinning works from local animators on the big screen. It was also our pleasure to co-organised Moving Anifest with Cityplaza, in which we presented a colourful & engaging exhibition area and hosted a series of animation workshops and talks with local animators including Lo Che Ying, Kong Kee, Toe Yuen, Eddy Hui, Tommy Ng, Cheryl Cheung, Step C., May Loo, Aaron Lau and Eric Lee. We look forward to seeing more local animations in the future. Thank you again for your participation!
WELCOME, MAYDAY
M
ʮ我們 天生 就是 派對動物 ~ʯ五迷們的大合 唱與喝彩仍不絕於耳ʂ 3Dʬ五月天人生無
限公司ʭ首映禮於五月二十日在太古城中心 中庭順利舉行ɼ五月天化身救世英雄ɼ為電 影首映舉行ʮ打卡ʯ及祝酒儀式ɼ與樂迷ʮ乾 杯ʯɻ當然不少得樂迷最期待的大合照環節ɼ 五月天不但在中庭與太古城中心全場四層 爆滿的樂迷大合照ɼ在首映禮結束後ɼ更親 身到 MOViE MOViE Cityplaza 戲院與首映場
“Let’s go party party all night, oh oh oh oh” May 20 was an exciting night for us all as Mayday celebrates the 3D MAYDAY LIFE Hong Kong Gala Premiere in Cityplaza with their fans and MOViE MOViE! The massive party kicked off with a toasting ceremony and group photo session on the ground floor of Cityplaza. Mayday then made an appearance and took group photos in each house of the premiere in MOViE MOViE cinema, taking the cinematic experience to another level!
的觀眾拍照留念ɻ各位樂迷戲迷若想重溫這 ʮ最好的一天ʯɼ就得馬上入場ɼ投身五月天 化身超級英雄的 3D 電影世界ʂ
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MM HAPPENINGS
WHY DON'T WE GO HAND IN HAND
W
MMM ᰰ̭䕞Ꭱٗᘍ MMM Membership Offers 最後機會ʂ MOViE MOViE Cityplaza 一週年優惠兩大超值 MMM 會員優惠 6 月 26 日完 結啦ɼ大家記住把握機會ʂ Grasp your last chance to enjoy these 2 amazing MOViE MOViE Cityplaza anniversary membership offers:
ᭌ̶ᮇᰰ䇤̭䔮̭ٗᘍ
ह㵹ᣕ㫓ٗᘍ
Buy-1-Get-1-Free Ticket Offer
Member-Get-Member Offer
Every Wednesday Night
會員逢購買星期三晚六點後正價場次ɼ即可
現有會員每推薦一位新會員即可獲戲院贈
享戲票買一送一優惠
券一張ʀ各獲薦新會員均可額外獲戲院贈
Members can enjoy buy-1-get-1-free on film tickets every Wednesday, for regular-priced screenings after 6pm
受條款及細則約束，詳情請參閱 MOViE MOViE Facebook 專頁。 Terms & conditions apply. For details, please refer to MOViE MOViE Facebook page.
券一張 For each successful referral, referrer will get 1 complimentary ticket; each referree will get an extra complimentary ticket
受條款及細則約束，詳情請參閱 MOViE MOViE Facebook 專頁。 Terms & conditions apply. For details, please refer to MOViE MOViE Facebook page.
YET ANOTHER AWARD FOR MOVIE MOVIE'S FABULOUS WEBSITE Congratulations, moviemovie.com.hk & K2! MOViE MOViE 網 頁 再 獲 設 計 大 獎ʂ 繼 四
月與著名環球電影資訊網站 Variety.com 一 同贏得有ʮ互聯網奧斯卡ʯ之稱的 Webby Honoree 後ɼ今 次 再 下 一 城 勇 奪 本 地ʮ香
港設計師協會環球設計大獎ʯ企業網站的 ʮ銀 獎 ʯʂ 不 得 不 感 謝 為 MOViE MOViE 設 計網頁的 K2 Digitalɼ創意無限又色彩繽紛
的網頁設計ɼ既具資訊性同時又充滿對電 影濃濃的愛ɼ更有影迷最愛的彩蛋ʂ大家 快 bookmark 我們的網頁 www.moviemovie.
We are honored to receive another award for the design of MOViE MOViE website! After being internationally recognized by the Webby Honoree (regarded as “the Internet’s highest honor” by the New York Times) alongside world-renowned movie website Variety.com last April, MOViE MOViE’s website brought home another win! We are grateful to receive the Silver Award in corporate website category at the HKDA Global Design Awards this year. We would like to thank K2 Digital for designing our uniquely vibrant and informative website. This one’s for you all moviegoers and cinephiles! Bookmark where we share our love: www.moviemovie.com.hk
com.hk 吧ʂ HOT NEWS
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HOUSE BY KUBRICK PRESENT & COMING
H
䰨ᒞ⟯䔤＋ᄾຠ (?) 㬊㶀უȟ፣ᗕ䛺ఋ㋀ڥ䰨ᒞ❴⃢
Romantic Artist Brings Back Classic Movie Scenes
本地藝術家 Kylie Chanɼ把將近滿瀉的少女 心ɼ盡情傾注在一字一句中ɼ寫成十封獻給 電影男明星的情書ʂ畫展將於六月在 house by kubrick 舉辦ɼ邀請你一起邂逅張國榮ɺ
梁朝偉ɺ古天樂ɺ周星馳ɺ彭于晏ɺ吳彥祖ɺ 周杰倫ɺ黎明ɺ梁家輝及金城武等超級偶像ɼ 以超大型壁畫ɺ電影微光投射作品ɺ明星作 品時間軸及手寫信件ɼ與你重溫感動人心的 經典電影片段ɻ現場將有多種限量電影藝術 精品發售ɼ電影迷萬勿錯過ʂ
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Classic movie scenes will never grow old. Hong Kong artist (and super film buff!) Kylie Chan has hand-painted ten love letters to ten charming movie stars, namely Leslie Cheung, Tony Leung Chiu Wai, Louis Koo, Stephen Chow, Eddie Peng, Daniel Wu, Jay Chow, Leon Lai, Tony Leung Ka Fai and Takeshi Kaneshiro. The exhibition takes place in house by kubrick this June, featuring a giant wall painting dedicated to these super idols and a list of arty souvenirs that capture the most classic movie scenes for you to take home with. Time travel with Kylie this June and revisit these old but gold special moments that once made your hearts throb!
HOT NEWS
㬊㶀უ῁ᵵ $UWLVW 3URğOH ɼ土生土長香港女子ɼ畢業於倫 Kylie Chanʢ陳佳ʣ 敦 坎 伯 韋 爾 藝 術 學 院ʢCamberwell College of Arts ɼ作品散見於本地及海外不同雜誌ɼ已出 in Londonʣ 版十多本關於電影或旅遊的 Zineʢ獨立書誌ʣɼ於各 大獨立書店及畫廊售賣ɻ熱愛參與世界各地的 Zine Festivalɼ曾於台灣及日本舉行個人畫展ɼ讓作品衝出
香港ɼ為展覽常客ɻ曾出版的 Zine 有ɿʬ致親愛的金 城武先生ʭɺʬ致親愛的李炳憲先生ʭɺʬ致親愛的山 田孝之先生ʭɺʬDear Joseph Gordon LevittʭɺʬDear ɺʬ 佳 春 日 報 ʭ及ʬI shoot you you Keanu Reevesʭ 等ɻ shoot me I shoot you backʭ
Kylie Chan-Kai is a Hong Kong based artist, who received her B.A. from Camberwell College of Arts in London. Being absolutely passionate about movies and travelling, Kylie’s work revolving around the topics is often seen on local and overseas magazines and printed media, as well as published into more than ten zines that are currently available in major independent bookstores and galleries in town. She actively participates in Zine Festivals worldwide and has largely expanded the scope of her audiences by holding solo exhibitions in Taiwan and Japan previously. Zines that she has published include: Dear Takeshi Kaneshiro, Dear Lee Byung-hun, Dear Yamada Takayuki, Dear Joseph Gordon Levitt, Dear Keanu Reeves, Kai-Chuen Daily News, I shoot you you shoot me I shoot you back and more.
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7
bc Sunday – June, 2019 ： Parenting ❣䕥ᮧ
W
到底怎樣才算是好父母ʁ該讓孩子自由奔 放地成長抑或應該循規蹈矩ʁ該告訴孩子 什麽是是非對錯ʁ還是應該讓他們從錯誤 中學習ʁ而身為子女ɼ又該如何與父母相 處ʁ這大概是每個人的終身課題ɻ六月的 bc Sunday 從 5 套電影中ɼ帶出父母和子女
的百態ɼ讓人一起探討當中的相處之道ɻ
BC SUNDAY– PARENTING
Which style of parenting is best? Permissive, authoritarian, authoritative, or hands-off? How should you teach your child right from wrong? What is the best way to communicate with our parents? In June, bc Sunday presents five films exploring five wildly different approaches to parenting.
ᩫౝ吋 Screening Venue ⮫㔮䰨ᒞ͚ᓰ Broadway Cinematheque ᩫ᭯䫀 SCREENING TIME ښᰵ䕏ᭌᬒ ᮇ̷ 9 ᭯ࡷ
Every Sunday at 9:30pm
8
《ᙵ็ᘎ》ٿ
MOMMY
《⪏҉㮔ᓰθ》
2/6 (SUN)
GRADUATION
9/6 (SUN)
ᄻ⑁ Director
ᄻ⑁ Director
㫖㋚㭚 Xavier Dolan
ധ䛹Ⅽ⽳ധ Cristian Mungiu
天才導演薩維杜蘭由母親角度ɼ刻畫與兒
考試如人生戰場ɼ只許勝不許敗ʁ住在羅
子難捨難離的愛恨ɻ單親媽媽獨力照顧患
馬尼亞小鎮的麗莎ɼ背負著醫生父親的厚
過度活躍症的兒子ɼ承受著他時而瘋狂時
望ɼ自小品學兼優ɼ只差一步就能獲取獎
而溫馨的愛ɼ一直遊走於爆炸邊緣ɻ新鄰
學金到英國讀大學ɻ誰料考試前夕ɼ麗莎
居的出現ɼ意外緩和二人繃緊失衡的僵局ɼ
在學校附近慘遭侵犯ɼ大好前程幾乎毀於
不過這對母子能否從此過著幸福快樂的生
一旦ɻ正直不阿的父親從不貪圖金權利誘ɼ
活ʁ影片中一比一的獨特畫面好比母子關
現在卻面對兩難抉擇ɿ讓負傷的麗莎憑實
係中愛與痛的比例ɼ大膽挑戰傳統電影拍
力應試ʁ還是靠關係走捷徑幫女兒作弊ʁ
攝手法ɼ杜蘭更藉此和大師尚盧高達齊齊
為了女兒ɼ父親決定搏一鋪ʜ導演基里斯
榮獲康城影展評審團獎ɻ
汀穆基以父女題材ɼ揭示貪污社會利益勾結ɺ
A widowed single mum finds herself burdened with full-time custody of her explosive 15-yearold ADHD-addled son. As they try to make ends meet and struggle with their impetuous and unpredictable ménage, the new girl across the street, Kyla, offers some much-needed support. Together, they find a new sense of balance, and hope is regained. Jury Prize winner, Cannes Film Festival.
兩代溝通隔膜及人生所不能承受的妥協與 無助ɻ榮獲康城影展ʮ最佳導演ʯ大獎ɻ Romeo Aldea, a physician living in a small mountain town in Transylvania, has raised his daughter Eliza with the idea that once she turns 18, she will leave to study and live abroad. His plan is close to succeeding - Eliza has won a scholarship in UK. She just has to pass her final exams. On the day before her first written exam, Eliza is assaulted in an attack that could jeopardize her entire future. Now Romeo has to make a decision. There are ways of solving the situation, but none of them using the principles he, as a father, has taught his daughter. Best Director, Cannes Film Festival. BCSUNDAY
《⺋㭻❥》
CAPTAIN FANTASTIC
《⣨⦰ൎ》
16/6 (SUN)
THE GLASS CASTLE
《㜕᭯უ䪤ᠴᑂ》
23/6 (SUN)
YOU'RE UGLY TOO
ᄻ⑁ Director
ᄻ⑁ Director
ᄻ⑁ Director
㣘㒲 Matt Ross
ᓤⅭͦᅩ❫ٸ䰤䵀 Destin Daniel Cretton
仙ٸ䌜ᠬ Mark Noonan
30/6 (SUN)
ʮ脫俗虎爸ʯ班ɼ一直深惡痛絕物質掛帥的
電影改編自作家珍納華斯同名回憶錄ɻ一
Stacey 在母親離世後無依無靠ɼ只好跟隨
大城市ɼ所以帶同妻子與六位兒女ɼ到山
對反社會的父母帶著孩子ɼ過著自由漂泊
多年沒見的舅父 Will 前往都柏林鄉郊ɼ開
中過著桃花源式的自給自足生活ɼ同時親
的生活ɻ性格極端的父親認為主流價值和
始相依為命生活ɻStacey 因為被診斷出有
自教授子女各式各樣的技能ɼ務求從 6 歲
資本社會是可笑的ɼ所以決定自己教他們
渴睡症而沒有學校願意接收ɼ幸好有鄰居
到 18 歲的他們都能精通物理ɺ哲學ɺ政治ɺ
科學和生存之道ɻ喜歡畫畫的母親沉溺於
Emilie 充當家教老師教授知識ɼ充實了孤
打獵ɺ攀山ɺ搏擊等十八般武藝ɻ可惜好
新事物ɼ拋下照顧家庭的重任ɻ當山窮水
單的生活ɻ當一切慢慢重上軌道時ɼStacey
景不常ɼ天堂式的生活突逢巨變ɼ班給子
盡時ɼ他們搬進破舊小屋並稱之為ʮ玻璃
赫然發現 Will 是因為要照顧她才得以離開
女們最後一個特別任務ɼ為各人重返現代
城堡ʯɻ然而當孩子們漸漸長大ɼ開始發現
監 獄 的 假 釋 囚 犯 ﹗ Will 更 不 時 酗 酒 嗑 藥ɼ
社會做好準備ʜʬ娛樂大亨ʭ莫羅斯自編
自己的不同ɼ家庭亦開始失序ɼ當溫飽也
多次險犯假釋條件ɼStacey 也不知道究竟
自導ɼ本片榮獲康城影展ʮ一種關注ʯ單
無著落時ɼ兄弟姐妹決定逃離父母ɼ融入
是誰照顧誰ɻ而他入獄的原因ɼ竟然是一
元導演獎ɻ Deep in the forests of the Pacific Northwest, isolated from society, a devoted father dedicates his life to transforming his six young children into extraordinary adults. But when a tragedy strikes the family, they are forced to leave this self-created paradise and begin a journey into the outside world that challenges his idea of what it means to be a parent and brings into question everything he's taught them. Prize for Best Director, Un Certain Regard in Cannes Film Festival.
TV BCSUNDAY HIGHLIGHTS
主流社會ɻ最後主角重遇露宿的父母ɼ開
個令 Stacey 永遠都不能釋懷的秘密ʜ 本片
始審視自己童年陰影及與父母的關係ɻ
入圍第六十五屆柏林影展ɻ
Chronicling the adventures of an eccentric, resilient and tight-knit family, THE GLASS CASTLE is a remarkable story of unconditional love. Oscar winner Brie Larson brings Jeannette Walls’s best-selling memoir to life as a young woman who, influenced by the joyfully wild nature of her deeply dysfunctional father, found the fiery determination to carve out a successful life on her own terms.
Will is released from prison on compassionate leave to care for his niece Stacey after the death of her mother. As they both head into the sleepy Irish midlands and attempt to be a family, they suffer a series of setbacks; Stacey is refused admission to the local school because of her recently developed narcolepsy; Will repeatedly comes close to breaking his prison-ordered curfew; and his attempts at being a father figure to her pro ve disastrous… As Stacey’s future hangs in the balance and Will must reckon with his own demons they search for a new way forward together. 9
ʬ冥王星時刻ʭ
ʬ木已成舟ʭ
す̶ᅳ僛⊗⒛స䯈ⴚ❴ロ
6 –22.6 2019
Вⴚ❴◧䊤吋 ᅞ仆⍜䰨ᒞ 拍一部電影不是一朝一夕的事ɼ由前期籌備到拍攝到後期 製作ɼ每個環節都需要製作團隊付出努力ɼ而拍出好的電 影要付出更多的心血ɼ尤其是在香港社會環境及氣氛之下ɼ 參與電影製作實在需要各方面的支援ɼ亦需要更多香港觀 眾的支持ɼ才可成就香港電影發展ɻ 第十三屆鮮浪潮國際短片節為大家帶來共 55 部本地及 國際作品ɼ讓我們一起感受各位電影製作人的努力ɻ
3 ๔♓吋 1/ 䪸ᎂ䰨ᒞ ：特別呈獻章明導演入圍第 71 屆康城電影節的
新作ʬ冥王星時刻ʭ(2018)ɼ籌備多年ɼ戲內外都反映到拍
電影的困難ɼ電影透過寫實風格的影像講述電影製作者的 艱辛及堅持ɻ上屆本地競賽ʮ鮮浪潮大獎ʯ得主曾慶宏新 作ʬ木已成舟ʭ(2019)ɼ亦將率先登場ɼ為短片節揭開序幕ɻ
2/ ϋ≟᭶ ：短片節今年增設ʮ新銳導演搜映ʯ系列ɼ呈獻 楊婕ɺ侯季然ɺ黃河及佐藤快磨四位亞洲新晉導演共九部 優秀作品ʀ同場加映ʮ焦點影人系列ʯ︰ʬ黑暗中潛行 張作驥回顧展ʭ(2018) 短片劇本創作比賽中脫穎而出的兩部
作品ʬ蝴蝶ʭ及ʬ黑暗之光ʭɼ創意無限ɼ意味深遠ɻ
3/ ᱙ౝ x స䯈 ：19 部本地競賽作品及 23 部精選國際短片將 組合成十大主題ɼ從工作到家庭ɺ性到愛ɺ大眾到小眾ɼ創意ɺ 娛樂性及思考性兼備ɻ題材廣泛ɼ如ʬ赤手ʭ講述在港少 數族裔面對的挑戰ɺʬ兩種孤獨ʭ處理劏房問題的及刻劃精 神病患者狀況的ʬ蛋ʭɼ透視香港及各地文化ɼ不容錯過ʂ
す̶ᅳ僛⊗⒛స䯈ⴚ❴ロ 䪭⺕⤫ₐڙ䪸⮩ਜ਼ ロ ：2019 Ꭱ 6 ᰵ 6-22 ᬒ ᒖ㯸 ：2019 Ꭱ 6 ᰵ 29-30 ᬒ ᩫൡౝ ：⮫㔮䰨ᒞ͚ᓰ、MOViE MOViE Cityplaza ࣷ
MT CINEMA YOHO MALL 㾠ᗲ ：www.freshwave.hk
IN CINEMAS
C
ᄻ⑁ Director ӷᬷ Bong Joon-ho ⑁ Cast ႸᏤᬷ Song Kang-ho ᱻ Lee Sun-kyun 䋆↊⣺ Cho Yeo-jeong
PARASITE
PARASITE
《̷≮ჱ⩌》
史上首部韓國電影勇奪康城金棕櫚獎﹗譽 滿 全 球 大 導 演 奉 俊 昊 繼ʬ 韓 流 怪 嚇 ʭ 後ɼ 與影帝宋康昊四度攜手ɼ以瘋狂黑色幽默 探討社會黑暗面ɻ窮爸爸基澤ʢ宋康昊 飾ʣ 一家四口全是無業遊民ɼ他們終日望天打 卦ɼ直至長子基佑ʢ崔宇植 飾ʣ以偽造文 憑ɼ成功受聘為神秘富豪ʢ李善均 飾ʣ子 女的補習老師ɼ這潦倒的一家彷彿重獲生機ɼ ʮ共享ʯ上流人的榮華富貴ɼ但無止境的貧 富差距最終令人性失控 .....
̷ᬒ IN CINEMAS
20/6 THU
The winner of Palme d’OR – Cannes Film Festival. Ki-taek's family of four is close, but fully unemployed, with a bleak future ahead of them. The son Ki-woo is recommended by his friend, a student at a prestigious university, for a well-paid tutoring job, spawning hopes of a regular income. Carrying the expectations of all his family, Ki-woo heads to the Park family home for an interview. Arriving at the house of Mr. Park, the owner of a global IT firm, Ki-woo meets Yeon-kyo, the beautiful young lady of the house. But following this first meeting between the two families, an unstoppable string of mishaps lies in wait.
lI really respect films that deal with heavy political issues very
seriously but I much prefer to mix that with humor, While they`re laughing I want them to be hit like a hidden blade behind their pocket when they`re not expecting it... This is the 1st Palme d'Or that South Korea has ever received, and this year is the 100th anniversary of Korean cinema, because of that, the award is even more meaningfulz Bong Joon-ho, director
IN CINEMAS
11
IN CINEMAS
C
ᄻ⑁ Director ധݖ㞫䇊 ݖKelly Asbury ⑁ Cast
( 㠞㿋㖟⑁ ENGLISH VOICE CAST) Kelly Clarkson Nick Jonas Blake Shelton Pitbull
UGLYDOLLS
UGLYDOLLS
《ὐ㶝㶝》ڢ
⢸߈Ⴜ Wang Leehom
( ᐐᲞ㾞㖟⑁ CANTONESE VOICE CAST) 䙚⁐ Joyce Cheng 㽞ᐤ䤄 Alfred Hui ̷ᬒ IN CINEMAS
27/6 THU
12
ʬ 史 力 加 2ʭʬ 銃 夢ɿ 戰 鬥 天 使 ʭ 鬼 才 班 底 得 意 炮 製ɼ 全 球 狂 銷 10 億 元 趣 怪 兵 團 UglyDolls 首度進軍大銀幕ʂ遠在樣衰衰村
莊ɼ一班騎呢怪公仔ɼ過著ʮ唔知醜ʯ的 快樂生活ɻ一日ɼ勇於冒險的 Mo 姐ɼ同 好友 MC 狗ɺ牛華ɺ鑊橙ɺ蝠仔同灰爆等ɼ 闖到完美至上的頂呱呱洋娃娃學院ɼ發現 一個從未想像過的美麗新世界ɻ一班樣衰 衰公仔決定要ʮ變靚 Dʯɼ企圖擠身完美公
From the filmmakers of SHREK AND ALITA: BATTLE ANGEL comes a new animated musical adventure, starring the acting and singing voices of Kelly Clarkson, Nick Jonas, Janelle Monáe, Blake Shelton and Pitbull. In the adorably different town of Uglyville, the free-spirited Moxy and her UglyDolls friends confront what it means to be different, struggle with their desire to be loved, and ultimately discover that you don’t have to be perfect to be amazing because who you truly are is what matters most.
仔之列ɼ但被自命男神的大劉百般嫌棄 ..... 他們最終能否成功大變身ʁ抑或憑著繽紛 的缺陷去贏取小朋友的歡心ʁ
lThe UglyDolls` road to movie stardom began about 17 years
ago, when David Horvath, an illustrator, comics artist and toy designer, then based in Los Angeles, sent some letters to his girlfriend (now, wife) Sun-Min Kim, who was living in South Korea at the time. The letters also included some endearing character drawings, which inspired Kim to hand-sew a gift for Horvath: an interpretation of one of his drawings, as a plush doll.z IN CINEMAS
IN CINEMAS
C
ᄻ⑁ Director ᱻჄᒒ LEE Jong-un ⑁ Cast 㫈ᮜⅯ SUL Kyung-gu ڕᏓ຺ JEON Do-yeon
BIRTHDAY
BIRTHDAY
《↿ᰶҍ⮱⩌ᬒᰰ》
根據韓國ʮ世越號海難事件ʯ遺屬重生事 蹟感人改編ɼ比悲傷更悲傷的最悲傷ɼ藉 以撫慰人心的療癒之作ɿ仲日ʢ薛景求 飾ʣ 與順南ʢ全度妍 飾ʣ是對平凡的父母ɼ養 育著兩個可愛的子女ɻ直到 2014 年 4 月 16 日ɼ兒子秀浩ʢ尹燦榮 飾ʣ死於那一場絕 望意外ɼ讓原本幸福的家庭瞬間瓦解ɼ仲 日和順南的婚姻也破裂殆盡ɼ只能日復一日ɺ 年復一年不斷悲痛的思念ɻ一年一天ɼ在
After April 2014… A story of those left behind. ‘Jung-il’ and ‘Soon-nam’ miss their son, ‘Su-ho’, who passed away in a terrible accident. His family’s longing for him only gets bigger as his birthday approaches. Su-ho’s birthday without Su-ho… Family and friends plan to gather and present their special memories of him as gifts. One day a year, where we all come together for you… “We will never forget you.”
沒有秀浩的秀浩生日ɼ被留下的家人和朋 友相聚一刻ɼ決定送給彼此最珍視的重要 回憶ɻʮ留不住你ɼ但我們會永遠記住你ɻʯ ̷ᬒ IN CINEMAS
30/5 THU
lI hope it`ll be a movie where we can share the pain with those who bear scars that can`t be erased.z LEE Jong-un, director
IN CINEMAS
13
MOViE MOViE 仃ᭌ๖ MOViE MOViE HOME PREMIERES EVERY ● SUNDAY 10:00 PM TEXT BY Vanessa Man&Hannah Poon Illustrated by Jenny Tsang (Edited.hk)
*Also available on MOViE MOViE on Demand & MOViE MOViE PLAY # ロⰛຯᰶᩦࠂ，㿸В MOViE MOViE 䰨㻃䵨䖀 (NowTV ch 116) ڙѵ◧⏃。
June ښᰵ
堅持是最強大的信仰ɻ 面對磨人的現實ɼ堅持能造就攝影大 師傳奇一生ʀ面對夢中人的拒絕ɼ堅持能 讓一段美滿情緣絕處逢生ʀ面對強權的威脅ɼ 堅持能讓人為自己所相信的真相和價值觀 而戰ʀ面對不堪回首的過去ɼ堅持能助我 們審視人生ɼ做個更好的自己ɻ 彈指間 2019 年又快走到半途ɼMOViE MOViE 以五齣電影為有願未圓的你注支強
心針ɼ別待一年走到盡頭時才大喊ʮAnother
yearʯʂ
lMay he click into eternity.z – David Bowie 70 年代ɼ熱愛搖滾與貓王的鋤田正義懷
著攝影夢來到英國ɼ與 David Bowie 一ʮ拍ʯ
ᄻ⑁ Director Ⱕ࣌㸂㒻 Hiromi Aihara ⑁ Cast 䠑⩝ₐ㓖 Masayoshi Sukita ᭜㸂হ Hirokazu Kore-eda
即合ɼ成就了萬千樂迷珍重收藏的ʬHeroesʭ
唱片封面ɻ除了為 David Bowie 和 Iggy Pop 等英國搖滾天王拍下無數經典照片ɼ他也曾
౯᱙咺̭ Ryuichi Sakamoto
與坂本龍一的 YMOɺ寺山修司ɺ山本寬齋等
ࢍ⍐᱕₷ Jim Jarmusch
各界先鋒合作ɻ紀錄片走訪大量經典搖滾現 場ɼ並收錄了鋤田最佳ʮ拍ʯ檔 坂本龍 一ɺ占渣木殊ɺ是枝裕和等的採訪片段ɼ讓 你親身走過鋤田正義最搖滾的 70 年代ɻ
SUKITA: THE SHOOT MUST GO ON
SUKITA: THE SHOOT MUST GO ON
《䠑⩝ₐ㓖 ：ᄘⱌ乕》
Sedulity is the greatest faith. Lost and chased into a hedge maze, little Danny runs for his life and manages to escape. Held captive for 7 years in a small room, Joy seizes every chance to regain her freedom for the sake of her son. Trapped by a boulder in an isolated slot canyon, Aron amputates his own arm to save his life. Sedulity could be the most tested faith there is, but also the most powerful when we hold onto it. As we approach the halfway point of 2019, it’s time for a shot in the arm. This June, MOViE MOViE brings you five stories made possible by holding on, holding strong.
You may not recognize his name, but you probably know his greatest works: including the cover of David Bowie’s 1977 album, Heroes. Masayoshi Sukita, whose photographs forever defined the image of the rock star, has also become a major name in his own right. Ever since Sukita found his muse in Bowie in 1972, the impeccable duo has continued to made countless iconic images. Sukita has also collaborated with many massive stars in the industry. Including interviews from Ryuichi Sakamoto, Jim Jarmusch, Hirokazu Kore-eda and more, the documentary is a retrospective look at the accomplishments Sukita has made in rock-and-roll history.
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《Ỻ⟯ፊస》
集團或非謀利機構爭取利益ɻ她心狠手辣ɺ 善於計謀ɼ偏偏卻有堅定的政治立場ɼ不為
ᄻ⑁ Director
金錢所動ɼ決不支持日益猖獗的槍械問題ɻ
㈱㔝叒⮨ John Madden ⑁ Cast
她受聘支持立法ɼ對持槍人進行嚴格的背景
䁊㡉ଶ䁊㺬ྤ Jessica Chastain
審查ɼ一班權貴大鱷與她勢成水火ɼ誓要將
仙ٸटผ Mark Strong
她置於死地ɻ意志堅毅的利莎孤注一擲ɼ以
ㆠ倅㜿ќ Michael Stuhlbarg
ʮ局中局ʯ賭上說客生涯奉陪到底ʂ
ḛ⻫➦䵀 Sam WatersTon ᄷ߈๘倅 John Lithgow
金像級導演ʬ寫我深情ʭ約翰麥登執導ɼ
⡻䴲 AWARDS
Nominated For The Best Actress – Motion Picture Drama, Golden Globes Award ऺ䛾⤰⡻「ᰭҠຠͨ㻿」
金球影后ʬ星際啟示錄ʭ謝茜嘉謝西婷演活 女強人的複雜女性內心世界ɼ叫人又愛又
MISS SLOANE
重量級說客利莎專門游說國會議員ɼ為商業
MISS SLOANE
Elizabeth Sloane is Washington D.C.’s most sought-after lobbyist, best at utilising her political savvy and eloquence to persuade politicians to enact legislations that benefit her clients. Manipulative and interest-driven, she refuses to bend the rules and lobby against gun control. With her career and personal safety on the line, can Miss Sloane beat the odds and force her personal agenda through? Directed by Academy Award nominee John Madden of SHAKESPEARE IN LOVE, INTERSTELLAR star Jessica Chastain delivers one of her finest performances as the devious lobbyist.
恨ɼ被視為奧斯卡滄海遺珠ɻ一眾實力演員 鬥智鬥演技ɼ劇力逼人ɼ帶領觀眾一步一步 掀開政壇黑暗內幕ɻ
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SICILIAN GHOST STORY
SICILIAN GHOST STORY
《㺬㺬䛹䰏㊮᳣》
根據 1993 年轟動一時的黑手黨冷血綁架事 件改編ɻ九十年代的黑手黨殘忍不仁ɼ暗殺ɺ 綁架等恐怖活動十分猖獗ɻ在西西里的小村
ᄻ⑁ Director
∂℁ດߍ㫖⪣ᅩϋ Fabio Grassadonia ႶᲞᅩດ⯛ϋ⇆ Antonio Piazza ⑁ Cast
Julia Jedlikowska Gaetano Fernandez Corinne Musallari
莊ɼ男孩朱塞佩突然神秘失蹤ɼ全村人若無
其事ɼ隻字不提ʀ女孩露娜為找尋情人ɼ獨 自勇闖叢林ɺ潛入暗黑的湖中世界四出找尋 他的蹤影ʜʜ 康城影展影評人周開幕電影ɼ透過以童
話夢幻色彩包裝殘酷的現實世界ɼ在美善與 醜惡的角力間ɼ以一紙情書讓小情人在夢中
In a small Sicilian village, a young boy, Giuseppe, disappears. To save him, Giuseppe’s girlfriend Luna rebels against the village’s code of silence, and the lurking forces of the mafia, embarking on a solo rescue into the unknown woods and mystifying lake. Perhaps only their indestructible innocent love can combat the darkness and help her rescue him. Inspired by true events from 1993, this modern fairy tale presents a chilling depiction of the revolting crimes sweeping Sicily at that time. The film screened in International Critics' Week at the 2017 Cannes Film Festival.
連繫ɼ在沉重和暴力中重拾希望與救贖ɻ
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TV HIGHLIGHTS
GANGSTER'S PARADISE exploring the protective and empowering perspective of youth in SICILIAN GHOST STORY
Text by James Marsh James is a film critic for RTHK Radio 3, South China Morning Post and Asian Editor of ScreenAnarchy.com. Also he is a programmer for Fantastic Fest.
On 23 November, 1993, 11-year-old Giuseppe Di Matteo was kidnapped by members of the Sicilian Mafia. Posing as police officers, the kidnappers told the boy he was being taken to meet his father, Santino Di Matteo, who was being held on the Italian mainland. In truth, however, Giuseppe’s father, also a mafioso, had been arrested in connection with the assassination of a judge, Giovanni Falcone, and was now ratting out his co-conspirators. As the mafia attempted to blackmail Di Matteo into withdrawing his testimony, Giuseppe was held for 779 days, in poor conditions and woefully mistreated. Ultimately it proved for naught. Di Matteo’s testimony couldn’t be retracted, and after two years of confinement and torture, Giuseppe was strangled to death, and his body dissolved in a barrel of acid. SICILIAN GHOST STORY, directed by Fabio Grassadonia and Antonio Piazza, recounts these horrific events, but does so from a unique, even beautiful perspective. The film is not interested in organised crime or violence against children, but rather is a dream-like, escapist fantasy, told from the point of view of Giuseppe’s forlorn classmate and first love, 12-year-old Luna (Julia Jedlikowska). It received its world premiere at the 2017 Cannes Film Festival, where it opened the Un Certain Regard section, and received a ten-minute standing ovation. For Luna, Giuseppe is the handsome, charismatic focus of her adolescent affections. She is somewhat aware that his family is rich, but otherwise fails to comprehend why her parents are discouraging her from spending so much time with him. Giuseppe is flirtatious, but it is Luna who makes the first move. No sooner has she professed her love for him, Giuseppe disappears.
At first, Giuseppe’s parents claim their son is sick, and that is why he hasn’t been at school. But as the days become weeks, Luna becomes increasingly frustrated at everyone’s lack of interest in his whereabouts. She visits his house repeatedly, only to be violently turned away. With the help of her friend, Loredana (Corinne Musallari), she makes and distributes fliers around the community, but nobody wants to help. What is it they know that Luna doesn’t? As Luna slowly pieces together the mystery surrounding her young beau’s disappearance, she grows detached from the realities of the world around her. Unable to let loose on those responsible, she inevitably starts acting out at home, becoming increasingly uncooperative, rebellious and provocative. It doesn’t take long before her parents are enraged, and begin to suspect she may even be having mental issues. Experiencing events from Luna’s perspective ensures that SICILIAN GHOST STORY is wholly different from similarlythemed films, such as Ridley Scott’s recent effort, All the Money in the World. Detailing the kidnap and ransom of John Paul Getty III, grandson to oil tycoon J. Paul Getty, that film very much follows the traditional thriller template we might expect. We see the victim’s relatives, as they scramble to make tough decisions, converse with law enforcement and negotiation specialists, while we also trace the hostage’s evolving relationship with his kidnappers. In SICILIAN GHOST STORY, we see nothing of the Di Matteo family, their interactions with the law or the criminals, and learn nothing of the efforts being made to find Giuseppe - other than those by Luna herself.
We see Giuseppe slowly succumbing to illness and malnutrition, due to the poor conditions in which he is held. However, his weakening condition confirms that he is unable to mount any kind of escape on his own. As a result, the film is more reminiscent of Guillermo el Toro’s Spanish War fantasy, Pan’s Labyrinth. Both films follow a young female protagonist as she attempts to process a series of shocking man-made events by escaping into a wooded fairytale world of magical enchantment that ultimately protects her. Not as overtly fantastical as del Toro’s film, Grassadonia and Piazza nevertheless acknowledge repeatedly that Luna’s naive perspective and understanding of the world is what shields her from its horrors. Benh Zeitlin’s BEASTS OF THE SOUTHERN WILD and, more recently, Issa Lopez’s TIGERS ARE NOT AFRAID also show us the coping mechanisms of young girls in hostile environments, be they abject poverty and abandonment, in the case of Beasts, or the crime-ridden slums of Mexico City, as in Tigers. For Luna, it is her lack of understanding that, ironically, empowers her to keep asking questions and keep searching, when the adults around her are too afraid to do so. Luna’s youth, and femininity, also work in her favour. The villains of the piece refuse to acknowledge the threat of a young village girl to their gruesome plot. For the audience, Luna’s rose-tinted perspective goes one further, saving us from witnessing the full extent of the unfolding horrors. Because of this, the grisly, vicious, evil subject matter is presented as a beautiful, exploratory, and ultimately life-changing story that ends on a note of surprising, yet well-earned, optimism.
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《㒻సす̭ᗲ㌐》
SOUTHSIDE WITH YOU
SOUTHSIDE WITH YOU
美國前總統奧巴馬在哈佛法律系實習時ɼ邀 請律師行督導員米歇爾進行初次約會ɻ他施 展渾身解數ɼ由參觀藝術館ɺ看名導史派克
ᄻ⑁ Director ᱻᄌಓᅩ Richard Tanne ⑁ Cast ⟱ଶḛ㦯 Tika Sumpter ߍ㬴㕣 Parker Sawyers ⡻䴲 AWARDS
Nominated for Grand Jury Prize, Sundance Film Festival ऺ䓈ͦ䰨ᒞロ「㾂ᄖ๔⡻」
李的ʬ不作虧心事ʭɺ一杯朱古力雪糕ɼ一對
小飛象耳朵ɼ到一場勉勵人心的公開演說ɼ
奧巴馬以迷人魅力與才智贏得伊人芳心ɼ就 這樣一起走上了幸福之路ɻ 由著名音樂人 John Legend 監製ɼ李察
坦尼首部自編自導作品ɻ南部漂亮景緻與柔
和音樂伴隨一段改寫美國歷史的偉大愛情 萌芽ɼ輕鬆小品同時蘊藏政治隱喻與弦外之 音ɻ獲辛丹斯電影節ʮ評審大獎ʯ提名ɻ
Summer 1989, Chicago. A first date that changed American history. In 1989, future U.S. President Barak Obama is a Harvard law student and intern at a Chicago law firm. Trying to woo his supervisor, Michelle Robinson, Obama takes her on a date where they visit the city’s Art Institute, watch a screening of Spike Lee’s DO THE RIGHT THING, and attend a community meeting, where Obama gives an inspirational speech. At first insisting that this is not a date, Michelle is soon won over by Obama’s irresistible charm and intellect. Their first kiss outside an icecream parlour gently transforms this “nondate” into a fateful moment that would change history.
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已屆花甲之年的韋東尼過著平凡的退休生 活ɼ某天他收到初戀情人維妮母親留給他的 一份遺物──他的故友范亞恩的日記ɻ當年
ᄻ⑁ Director 䈡㜿ᒩᴒ Ritesh Batra
維妮與他分手後迅速戀上范亞恩ɼ東尼一怒
⑁ Cast
之下寫了封信ʮ祝福ʯ二人ɼ不久范亞恩便
ࢍጰ≈ᓤ䈀 Jim Broadbent
離奇自殺身亡ɻ四十年後ɼ東尼再次面對這
㋍㦯㫺㤺 Charlotte Rampling ⺃㞫䰟 Joe Alwyn
段青春憾事ɼ透過不同人的回憶細碎ɼ重新
ㆠ䰗合༙㢶 Michelle Dockery
拼湊被撕去的頁面ɼ赫然翻出驚人秘密ʜʜ 改編自得獎暢銷小說ɼʬ美味情書ʭ康
Directed by Ritesh Batra (THE LUNCH BOX) and adapted from Julian Barnes’ 2011 Man Booker prize-winning novel, THE SENSE OF AN ENDING tells the story of Tony Webster, a retired man who lives an ordinary life. One day, Tony’s routine is disrupted by the arrival of a letter. It turns out that the mother of his first love, Veronica, has passed away and left him an old diary from his deceased friend, Adrian. It forces Tony to confront long-buried memories and decipher the whole truth of his devastating past.
城得獎導演賴舒彼查作品ɻʬ一年末緣ʭ占 布洛德賓及柏林影后ʬ緣來他不夠愛我ʭ夏 綠蒂藍萍動人演繹懸疑愛情故事ɼ探討回憶 的課題ɻ
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THE SENSE OF AN ENDING
THE SENSE OF AN ENDING
《䀻ᗲᬒ㽅》
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故事ɼ甚麼時候才到結局ʁ小說翻到最後
July ̰ᰵ
一頁ɺ電影看到片尾彩蛋ɺ復仇者聯盟完 成最後任務ɺ鐵王座坐上最後一王ɺ沒腳 的鳥兒落地一刻ɺ北極熊腳下的冰塊全化 為水ɺ地球滅亡一切化為塵土ʜʜ 有些結局或許是天注定ɻ或許ʮ天注定ʯ 也是我們告訴自己的一個故事ɻ其實有多 少不幸是自己種下的罪孽ɼ有多少墮落是 命運一早主宰ɼ我們終究沒有答案ɻ比結 局更重要的ɼ是還未寫到最後一字時ɼ可 以改寫結局的可能性ɻ又或者ɼ我們看到 的結局只是另外一個故事的開始ɻ 七月 MOViE MOViE 首映星期天ɼ發掘
Every story comes to an end, at some point or another: the last page of a novel; the last line in the movie credits; the completion of the Avengers’ last mission; the ruler on the Iron Throne is decided; the last message sent to your ex; the last breath of a dying man; the last tree falls in a forest; the last iceberg melts into the ocean; the day humanity ceases to exist… Perhaps some endings are destined to happen at a certain time in a certain way. Or sometimes ‘destiny’ is another story we tell ourselves. Before you reach the last page of your story though, write as unreservedly as you can. The ending is always in your hands; and your last word may be another beginning. This July, indulge in the limitless possibilities before the end game.
Endgame 前的無限可能ɻ
PEPPERMINT CANDY
PEPPERMINT CANDY 《㪱㢤㈃》
他跳上車軌ɼ對著迎面駛來的火車歇斯底 里地呼喊ɿʮ我要回去ʂʯ若果火車真的能
倒退ɼ或許他也能逆轉自己的過去ɻ是嗎ʁ
ᄻ⑁ Director ᱻ⏱Პ Lee Chang-Dong ⑁ Cast 㫈㕬Ⅿ Sol Kyung-Gu ᪴㉍ ݖMoon So-Ri 䛾↊⣺ Kim Yeo-Jin ⡻䴲 AWARDS
Winner of Best Film in Grand Bell Awards ớ⢟๔䥅⡻「ᰭٗ⻭҉৮⡻」
韓 國 新 片ʬ 燒 失 樂 園 ʭ 導 演 李 滄 東
1999 年經典之作ɼ由中年男子金永浩自殺
一刻ɼ倒帶回顧他的七段人生ɼ揭開尋死 真相ɻ金永浩本是年輕有為的大學生ɼ卻 因參軍時犯下一個錯誤而性情大變ɼ成了 一個暴戾ɺ麻木不仁的警察ɼ淪為獨裁者 的殺人工具ɻ金永浩自身的墮落ɼ其實映 照了那個時代ɼ韓國歷史上不能磨滅的傷痕ɻ 從青蔥歲月走到潦倒人生ɼ以至最終踏上
If a train can reverse its course, can a man also turn back the clock and live a different life? This early classic from BURNING director Lee Chang-dong begins with Yong-ho’s suicide on a railway line, before backtracking through his life to identify his loss of innocence. Yongho was once an upright university student with a passion for photography. But a fatal accident during his military service turns a once promising career into a brutal and soulless killing machine of Korea’s military dictatorship. Yongho’s road to suicide chronicles the trajectory of the development of modern South Korea, and his doomed life is Lee’s overarching metaphor for the nation’s dark and poignant history.
不歸路ɼ誤殺只是他的原罪ɼ真正謀殺人 性的是韓國的暴政與社會的默許ɻ他ɼ只 是個小人物ɼ一個時代的犧牲品ɻ
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蓮洛倫在懷孕期間ɼ得悉若果我們一代人 不身體力行保護地球資源ɼ孩子的生存將
ᄻ⑁ Director
會受到威脅ɻ因此她與一眾志同道合的電
㺬߈⟱ᬯ Cyril Dion ⦗叄㨛≈ Mélanie Laurent
影人到訪各國ɼ從政治ɺ經濟ɺ農業ɺ交
⑁ Cast
通ɺ教育多方面ɼ尋找既可行又有創意的
㺬߈⟱ᬯ Cyril Dion
方法拯救地球ɿ英國城市發行自己鈔票促
⦗叄㨛≈ Mélanie Laurent ⡻䴲 AWARDS
進本土經濟ʀ法國小農場的有機耕作產生
Best Documentary, César Award
比機械化大農場更具高經濟效益ʀ還有冰
ớ⢟∂సᦿܞ⡻「ᰭҠ㈭䠱❴」
島和印度的公民參與ɺ芬蘭學校的免考試 免評估制度ʜʜ這行人告訴我們ɼ拯救世界 不是宏大理想ɼ而是有賴每個社區自發自救ɻ 希望在明天ɼ但明天的希望掌握在我們今
TOMORROW
ʬ非常盜ʭɺʬ希魔撞正殺人狂ʭ女星瑪麗
TOMORROW 《㜗ጞౝ⤰㜗ጞ》
Human extinction is a story told again and again in movies and novels. But is this really just another story? Or is it a truth that seems too far-fetched to bother confronting? Mélanie Laurent, star of NOW YOU SEE ME and INGLOURIOUS BASTERDS, understands during her pregnancy that if our generation does not do something to save our planet, our children will face irreversible threats to their survival. Together with Cyril Dion, she travels the world to study constructive solutions to the environmental and social challenges in today’s world. From self-inventing a new currency in a small British city to organic agriculture in a French farm, the future of humanity starts with local communities – and in our own hands.
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THE UKNOWN GIRL
THE UNKNOWN GIRL
《♎ऺຠ႖》
兩奪康城最高殊榮ʮ金棕櫚獎ʯ戴丹兄弟又
憑新作ʬYoung Ahmedʭ捧走今屆康城ʮ最
佳導演ʯ獎ɼ前年他們亦以黑色懸疑ʬ無名
ᄻ⑁ Director
ᝡͦٱᑌ Jean-Pierre Dardenne, Luc Dardenne ⑁ Cast 㞫⟱ Adèle Haenel ⡻䴲 AWARDS Ꮴᒞᆂ〣䈪҉৮
Competing film for the Palm d Or, Cannes Film Festival
女孩ʭ競賽康城影展ɼ凱撒影后艾狄夏妮主 演年輕女醫生ɼ為社會邊緣階層發聲ɻ 深夜診所門鈴響起ɼ女醫生因已過求診
時間而拒絕應門ɻ翌日ɼ警察上門調查無名
女屍ɼ她才得知昨晚斷送了一條性命ɻ內疚
的她決意尋找無名少女命案真相ɼ四出調查 後ɼ卻漸漸發現案件滿佈嫌疑ɼ並且牽連甚
廣ʜʜ
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Directed by this year’s Cannes Best Director winners, the Dardennes (YOUNG AHMED), THE UNKNOWN GIRL is another self-reflexive tale about social justice and working-class problems, so realistic it’ll give you shivers. One night, Jenny, a young Belgian doctor working in a small clinic, refuses to answer the door, when the buzzer rings after hours. She is devastated to find out the next day that the girl she rejected was killed by the riverside. Overwhelmed with guilt, Jenny determines to investigate the girl’s identity, and soon uncovers the horrible truth behind her untimely death.
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康城影展最高榮譽金棕櫚獎ʬ華氏 9/11ʭ導
演米高摩亞ɼ繼ʬ美國黐 Gun 檔案ʭɺʬ美 國清一 Sickʭ後ɼ再以一貫挑釁幽默作風ɼ數
ᄻ⑁ Director ㆠ倅ᦖϋ Michael Moore ⑁ Cast ㆠ倅ᦖϋ Michael Moore ⡻䴲 AWARDS
落美國民生政治問題ɻ今次還高舉國旗到不 同國家ʮ踩場ʯɼʮ劫掠ʯ他們的優良社會政 策ʂ米高摩亞的ʮ侵略ʯ揭發多個完善社會
Winner of Best Documentary Feature - Audience
的ʮ機密情報ʯɿ原來芬蘭學生無考試ʀ法
Choice Award, Chicago International Film Festival
國小學生竟然拒喝可樂ʀWork-life balance
ớ⢟㟊ߍస䯈䰨ᒞロ「ᰭऄ㻭Ⱬ₎䓻㈭䠱❴」
對德國打工仔來說是基本ʀ伊斯蘭國突尼
Winner of Best Documentary Feature - Audience Award, Hamptons International Film Festival
斯在女權之路上比西方社會還走得更前ʀ
ớ⢟ᮛ䵀స䯈䰨ᒞロ「ᰭऄ㻭Ⱬ₎䓻㈭䠱❴」
在挪威監獄殺人犯所受的ʮ折磨ʯ竟然是咖 啡不夠熱ʂ 米高摩亞以ʮ侵略ʯ為名ɼ事實是自嘲 式揭穿原來建造一個國泰民安的社會不是 夢ɼ對美國觀眾當頭棒喝ɼ更榮獲芝加哥ɺ 漢普頓國際電影節ʮ最受觀眾歡迎紀錄片ʯɻ
WHERE TO INVADE NEXT
WHERE TO INVADE NEXT 《㒻䆙ܧ》
After winning Cannes’s highest award with FAHRENHEIT 9/11, Michael Moore continues to scrutinise America’s social and political problems in his satirical documentaries. This time, he leads an “army” into countries to “steal” their policy models! The goal of Moore’s “invasion” is simple – to uncover the “top secrets” of these exemplary societies: students in Finland have no standardised tests; French kids are served a healthy four-course meal every day at school; and universities in Slovenia don’t bankrupt their graduates. And there are more: Islamic country Tunisia is more progressive in gender equality than most western countries; a Norwegian inmate complains that the torture he suffers is cold coffee and microwaved lunches! Bringing to light these “intelligences”, Moore’s subversive documentary reveals that solutions to America’s deep-rooted problems are already out there – waiting to be “stolen”!
lI am an American. I live in a great country, that was born in genocide and built on the backs of slaves.z Michael Moore, director
䵨䖀仃᧚ Channel Premiere
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年度主題
從我城 入世界
七月作家特別號：西西時間 全本跨度，致敬初心 與這樣的一個作家同在
九月新系列專題：我城在他方 六個當代生活場域關鍵詞， 連結香港與世界文藝 島 結界 廢墟 天際線 地表之下
個人訂戶早鳥優惠 現於2019年7月10日前訂閱2019/20 年《字花》，可享早鳥優惠價HKD 300*（原價為HKD392） ，並加送第 80期「西西時間」乙本﹗ *已包括本地郵費 *全日制學生早鳥優惠為HKD240 更多訂戶獨家優惠，陸續有來 查詢：2135-7038 zihua2m@fleursdeslettres.com
或瀏覽zihua.org.hk ŴHXUVGHVOHWWUHV
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婆婆⁌我好想你⁌ 尤其是我看到那個還沒有名字 的小表弟⁌ 就會想起⁌你常跟我說⽅你老了Ố 我很想跟他說⁌我覺得⁌我也 老了ộộ ụ一一Ủ ──
MOViE MOViE ♓吋ᄻ⑁
ṷᓤᬹ
DIRECTOR IN FOCUS: EDWARD YANG
燈開燈關ɼ你已別離十二載ɻ 你那冷峻的雙眼ɼ憂民的真心ɼ 連結了二十世紀台北的歷史ɻ 你那偶爾的溫柔ɼ間歇的暴烈ɼ 造就過六旬人生兩段的愛情ɻ 一一相錯為十ʀ 由ʬ青梅竹馬ʭ的阿貞ɼ到ʬ牯嶺街少年殺人 事件ʭ一閃而過的汪妻ɼ 你們路半分手ɼ卻用十個年頭ɼ交織雕刻了 幕幕絢麗光影ɻ 一一相映為二ʀ 由ʬ麻雀ʭ首次為你配樂ɼ到ʬ一一ʭ拉大提 琴與你同台ɼ 你們幽明相隔ɼ卻在兩套電影ɼ並肩合奏過 段段真摯旋律ɻ 你離開的這十二年間ɼ 世界和我們所想的仍然不一樣ɼ 但你留給我們ɼ留給她們ɼ留給台灣最後的 呢喃絮語ɼ 我們都會ʬ一一ʭ謹記 ɻ His voice was piercing and loud, not to agitate the masses, but to resonate in an already reticent society. His words were simple and modest, not to simplify the world’s intricacies, but to convey the desolation of humanity in its sincerest form. He was at the vanguard of the Taiwanese New Wave, and to this day, his voice still penetrates, his words still influence. May the poet of cinema forever enlighten us. May his legacy live on.
INTRO by Wong Chun Lung & Hannah Poon
DIRECTOR IN FOCUS: EDWARD YANG
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ʮ要改變我ʁ我就跟這個世界一樣ɼ 這個世界是不會變的ʂʯ ʬ牯嶺街少年殺人事件ʭ
* ᪥ⷩԛᓖ❵ Digitally Restored Version
ౕṷᓤᬹ䰨ᒞ͚ ᄸᄸ㻀㻀，ࣺࣺ㺳㺳
楊導於 2007 年逝世之後ɼ大家對他的懷念
1961 年茅武殺人事件ɼ16 歲茅武因吃醋而
就會有楊導的回顧放映ɼ回顧展規模大小不
將 15 歲的女朋友劉敏連插五刀致死ɼ楊導
一ɼ但總能吸引我們一眾楊迷ɼ每次都樂此
剛好跟這少年同一年次ɼ事件影響他甚深ɻ
不疲一再翻看ɻ
但ʬ牯ʭ片雖然以這少年人的視點出發ɼ以
楊導二十多年的導演生涯ɼ只拍了七部 長片ɼ和幾部短片ɻ這次 movie movie 選映 四部電影ɼ當中以ʬ一一ʭ和ʬ牯嶺街少年
TEXT BY 台ᔄ䑊 㻃㻧㬊㶀ጒ҉㔲，仆⍜䰨ᒞ㾂䀃Ⴅᰰᰰ
ʬ牯嶺街少年殺人事件ʭ故事原型來自
好像一直不減ɼ每隔一段時間ɼ兩三年左右ɼ
少年與整個社會的對抗ɼ來審視六十年代台 灣的社會和政治狀況ɻ ʬ一一ʭ以吳念真飾演的 NJ 和小孩洋洋ɼ
殺人事件ʭ最為人傳頌ɼ但不要忽略ɼ這四
作為楊導演的代言人ɼ繼續為瘋狂的台灣社
部作品就是四種類型ɼ每一部都各有獨特風
會把脈ɻ雖然小孩洋洋戲份不少ɼ常常帶領
格ɼ每一部都是經典ɻ
觀眾進入劇情ɺ說出充滿智慧的禪語 ɼ但整
1986 年的ʬ恐怖份子ʭ是這次影展中最
體上電影還是以中年人 NJ 的視點為主ɼ面
早的一部ɼ講述現代都市人的孤寂疏離ɼ冷
對種種人生的無常ɼ已沒有ʬ牯嶺街少年殺
峻的視覺風格ɼ與內容極為相襯ɼ也較之前
人事件ʭ或ʬ獨立時代ʭ那種怒氣ɼ取而代之
兩部作品少了一點台灣氣息ɼ倒似是一部冷
是一份唏噓落寞ɻ
酷抽離的現代歐洲電影ɻ ʬ獨立時代ʭ也是針對台灣現代都市的 一齣電影ɼ只是沒有ʬ恐怖份子ʭ的冷酷ɻ楊
我初看ʬ一一ʭ時ɼ曾經覺得是楊導最 好的壓卷之作ɻ但經過一段時間後ɼ又覺得 比較喜歡ʬ牯嶺街少年殺人事件ʭɼ反反覆
導在這電影一反自己一向的沉靜穩健的敍
覆ɼ最後還是覺得兩者難分高下ɻ反正ɼ我
事風格ɼ展現一種略為躁動的節奏ɼ在瘋狂
就像個選擇困難症患者一樣ɼ在兩片間徘徊
神經質的表像之下ɼ骨子裡仍然是鬱導一貫
往返ɻ
對台灣的關懷和勸戒ɻ
ʮ這個社會還談感情ɼ 你不覺得是一件危險的事嗎ʁʯ ʬ獨立時代ʭ
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DIRECTOR IN FOCUS: EDWARD YANG
ʮ決定離開你ɼ 為的也是一個新的開始ʯ ʬ恐怖份子ʭ
EDWARD YANG ښᰵ， MOViE MOViE ◧ҍ䔮̷♓吋ᄻ⑁ ：ṷᓤᬹ⮱㋀҉ڥ ৮。 Every Fri 10pm in June, MOViE MOViE presents to
《➜ዧ㶄ᄾᎡ⃧ϧθУ》
《ᕽᕃЪၽ》
A BRIGHTER SUMMER DAY
TERRORIZERS
7/6 (FRI) 22:00
14/6 (FRI) 22:00
《̭̭》
《⢕⿸᭯А》
you the classic gems from Edward Yang.
YI YI - A ONE AND A TWO
A CONFUCIAN CONFUSION
ښᰵ䊤ज MOViE MOViE 㜗䖥ࠆࣷ MOViE MOViE PLAY
21/6 (FRI) 22:00
28/6 (FRI) 22:00
吋᧚ Available on MOViE MOViE on Demand & MOViE
MOViE PLAY in June
ʮ你看到的我看不到ɼ我看到的你也看不 到ɻ我怎麼知道你在看什麼呢ʁ我們是不 是只能知道一半的事情呢ʁʯ ʬ一一ʭ
* ᪥ⷩԛᓖ❵ Digitally Restored Version
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MOViE MOViE ♓吋ᄻ⑁
⇠╕Ⱑ㒻：㜗♣㒻Ⴅ
⇠╕Ⱑ㒻
DIRECTOR IN FOCUS: NAOMI KAWASE ຂᕊ 仆⍜䰨ᒞ㾂䀃Ⴅᰰᰰ
若說初心ɼ河瀨直美可謂貫徹始終的導演了ɻ 從 1988 年創作第一部 8mm 短片 I focus on that which interests me 以來ɼ她就不曾偏
離過自己的喜好ɼ也從不畏懼在作品投射 成長經歷ɻ幼年失去父母ɼ被收養ɼ感到 祖 母 的 善 意ɼ 常 常 拿 著 8mm 攝影 機 拍 攝 周圍ɼ堅持紀錄片創作ɼ自己的生育ɺ老 去ɼ周圍人的死亡等等ɼ所有這些ɼ都能 一一在她的作品中找到呼應ɻ可以說ɼ這 位女藝術家的一生在電影中散落成了林中 小路ɼ細膩坦然ɼ也可以說ɼ她的電影作 品像一片森林ɼ收納了她感悟生死離散的 累累果實ɻ
Every Fri 10pm in July ̰ᰵ䕏ᭌρᮇ̷ 10 吋 㻭Ⱬज MOViE MOViE 㜗䖥ࠆࣷ OTT MOViE MOViE PLAY （ Now E ）吋᧚ Available on MOViE MOViE on Demand & MOViE MOViE PLAY (OTT service on Now E)
28
DIRECTOR IN FOCUS: NAOMI KAWASE
《ᯄᜭუ》
跡年ɼ鄉郊生活起了變化ɼ人們不得不走
了這第一部長片ɼ她回到奈良南部的故鄉
向未來ɻ儘管有這樣的歷史在背後ɼ河瀨
西吉野村ɼ住了幾個月ɼ在當地招募素人
直美卻是以對自然和自我的靈性表現ɼ讓
演員ɻ唯一的職業演員是飾演爸爸孝三的
整個故事自在鮮活起來ɻ紀錄片式的不徐
國村隼ɻ四十五天就拍完了ɻ
不疾ɼ對各種聲音的靈動捕捉ɼ以及坦誠
田原孝三一家五口的故事ɼ道出兩代
的 自 我 投 射ɼ 讓ʬ 暗 ʭ 成 為 一 部 雲 淡 風
人的離散ɻ曾經的 1971 年ɼ第二代的孩子
輕 但 韻 味 悠 長 的 作 品ɻ 作 品 中 的 許 多 場
們榮介和美智還在上小學ɼ田園生活十分
景ɼ如廚房ɺ隧道ɺ林中野餐ɼ仿佛有心跳ɼ
愜意ɻ跳到 1986 年ɼ正是戰後日本經濟奇
活脫脫地從記憶中走出來ɻ
暗戀家族
河瀨直美有九年的時間都在拍攝短片ɻ為
《ᯄᜭუ》SUZAKU
5/7 (FRI) 22:00
《すι⿄》
一對男女對大海迥然不同的態度ɼ承載了
熱帶琉球的奄美大島則是海的語言了ɻʬ第
對生命死亡的無所適從之感ɼ而新增添的
二 扇 窗 ʭ 是 河 瀨 直 美 的 第 五 部 劇 情 長 片ɻ
ʬ殯之森ʭɺ 此前陸陸續續拍攝了ʬ沙羅雙樹ʭɺ
元素ɼ如任薩滿的母親ɼ病床前的三味線 演奏等ɼ都讓這部作品多了靈性之光ɻ
ʬ垂乳女ʭ等ɼ她已然放輕了社會變化等議
題ɼ進入了對生與死的反復思考ɼʬ第二扇
窗ʭ便是她走出奈良ɼ從大海之怒的體悟中ɼ 感受到ʮ生其實就是正在死去ʯ的轉捩點了ɻ
第二扇窗
奈良對於河瀨直美來說是森林的故事ɼ亞
《すι⿄》STILL THE WATER
12/7 (FRI) 22:00
《⩉ঠϧ䫀》
於ʮ陌生老婆婆所給與的溫情ʯ的味覺表達ɼ
的 社 會 意 識 恰 如 其 分ɼ 樹 木 希 林 飾 演 善
呼應著她童年遭父母棄養ɼ原本不幸ɼ後
於 製 作 紅 豆 沙 的 老 婦 德 江 無 懈 可 擊ɼ 永
來得到祖母收養的感恩之心ɻ河瀨直美在
瀨正敏以一個落魄店長的形象承托起了
思考過生離死別等終極問題之後ɼ沒有對
道德困境ɼ缺乏家庭溫暖的少女則讓我們
生活疏離淡漠ɼ反而進入了對ʮ滋味ʯ的
看到了河瀨直美的自況ɻ這個所謂ʮ紅豆
頌讚ɻ這種忠實於生活體驗的態度ɼ本身
沙ʯ旅途中的故事ɼ帶著觀眾經歷紅豆所
就非常河瀨直美了ɻ
經歷的晴ɺ雨ɺ風ɼ本身就是河瀨直美關
甜味人間
這部河瀨直美的電影很甜ɻ關懷麻瘋病人
《⩉ঠϧ䫀》AN
19/7 (FRI) 22:00
《》ٶ
河瀨直美早就明言ɿʮʰ自然ʱ是我作品中
人士講解電影的美佐子ɼ都是關於ʮ缺失ʯ 的提喻ɼ卻在曖昧情感中照亮彼此ɻ河瀨 直美在ʮ失去光ʯ的前提之下ɼ更為突出
躍動的光斑等等ɼ也是只有心靈才能感受
聲音和觸覺的美學質感ɼ與其說是她的影
到的愛之光 為生活在都市中失落的男女
像實驗ɼ倒不如說是她對都市人該如何重
找到了一片光之森林ɻ第三次在河瀨直美
建生活感受的溫情引導ɻ
光
的主角ɻʯ這次ɼ她以ʮ光ʯ來觸發生命體
驗 既是視覺上可見的光ɼ電影ɺ夕陽ɺ
的電影中擔任男主角的永瀨正敏ɼ展現了 一位攝影師步入全盲的過程ɼ他與給視障
《》ٶRADIANCE
26/7 (FRI) 22:00
MM TV HIGHLIGHTS
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ϭ只䘪↿ᰶ⮩⩌ I REMEMBER EVERYTHING
I Text by elaine sham & Cora Chan
東京街頭 迷失的大叔與女生 日出以前 維也納的旅人 微雨中望穿秋水的伊人 車上勾著尾指的情人 昏黃的街燈 散落著戀戀風塵 我們 如此親密 如此接近 給我一個眼神 這夜 我們有沒有可能 半支煙的餘溫 仿佛什麼都要發生 卻 什麼都沒有發生
30
The traces of whiskey, cigarettes and lonely hearts, still linger in Tokyo, Rain falls slowly, gently, ceaselessly in Cherbourg. Glances exchanged still imprinted on the rear view mirror The sound of gentle caresses and little screams still echo in Indochine. At the decisive moment, without making much of a sound, It goes as softly as it came. And though all that we shared may only be dust in the wind, between your eyes and mine, I remember everything.
I REMEMBER EVERYTHING
7 月週末夜深ɼ讓我們忘記本份ɼ
讓我們口不對心ɻ Every Sat night, MOViE MOViE brings you a love story you never forget, and a love story that never happenedʜ
《ᗲϧ》THE LOVER
6/7 (SAT) 22:00
《㻗ჳ》CLAUSTROPHOBIA
13/7 (SAT) 22:00
《ᜭᜭ䷕ජ》DUST IN THE WIND
20/7 (SAT) 22:00
《Ⅱзϧ》
THE UMBRELLAS OF CHERBOURG 27/7 (SAT) 22:00
Every Sat at 10pm in July ̰ᰵ䕏ᭌښᮇ̷ 10 吋 㻭㵳ज㜗䖥ࠆ吋᧚
Available on MOViE MOViE on Demand & MOViE MOViE PLAY
MM TV HIGHLIGHTS
31
“MASARU, DO YOU THINK WE'RE DONE?” “HELL NO. WE HAVEN'T EVEN STARTED.”
小馬ɼ 我們完蛋了嗎ʁ
笨蛋ɼ 我們還未開始呢 !
ʬ壞孩子的天空ʭKIDS RETURN
ౕ▻⛞㜴ើ偞⮱๖ COMING OF AGE
C
Text by elaine sham & Cora Chan
青春是什麼ʁ人生是什麼ʁ我今晚不知道
E – elaine
C
雖然與主題無關ɼ但還是要特別說一
C
C - Cora
說到年輕就是任性ɼ我便想起ʬ我們是
天團ʭ 有什麼比對著看不起你ɺ不喜歡
喎ɻMy Little Airport 小飛機場在我的青春
說ɼʬ凡事哈ʭ這個中文片名既音譯也傳神ɼ
歲月裡留下了不少腳毛ɼ在那些懵懵懂懂
實在太點題ɼ實在太好啦ʂ好ɼ回到正題ɼ
你的人大叫ʮwe are the best!ʯ更狂妄呢ʁ
似懂非懂的日子ɼ我聽著ʬ和陳五 MSNʭ
這部電影實在陪伴我過了很多不知道算不
戲裏三人從頭到尾玩音樂都玩得一塌糊塗ɼ but who caresɼ年輕就是有不知天高地厚的
幻想有一天和不太熟的人結婚應該會幾開
算是 coming of age 的時刻 第一次是大
心ʀ在虛度光陰的小時光ɼ我聽著ʬ美孚
學一年級和電影同名的好友一起到電影中
根斯堡與白田珍寶金ʭɼ幻想有一天在炎熱
心看的ɼ在大學臨畢業前ɼ又和朋友們重看ɼ
下的原因ɼ是導演拍出外表好有型ɺ好灑脫
與抑鬱的辦公室ɼ無法停止寫詩ʢ托賴是
笑說我們畢業後ɼ大概也會像 Frances 一
的 punk rockers 也是凡人ɻ我十三歲時以為
竟然真的有這一天ʣɻ這一晚ɼ我和腐爛姊
樣迷惘ɻ對啊ɼ這也是我看ʬ凡事哈ʭ最
有型的人會免疫於這些青春期的煩惱ɼ之後
大的感悟 其實 coming of age 不止於十
才發現原來大家都一樣 -- 曾經都有不喜歡你
到現在還不知道自己想點才算正常吧ʁ
父母ɺ複雜又微妙的友情ʜ
妹花坐在青春的尾班車上ʢ只有我啦ʣ對 談青春ɼ在光影之中送別成長的記憶ɻ
幾歲的階段ɼ而作為不折不扣的 millennialɼ
ʢ為什麼夏天總是炎熱與抑鬱呢ʁ因為記憶
在 討 論 這 一 個 專 題 的 時 候ɼ 我 和 妳
是潮濕的ɼ青春期也是潮濕的ɻ在翳翳焗
E
濕笠笠之中ɼ我們也就悄然的長大了ʜʜʣ
非常膠著 我們都不願放棄定義自己的
最 近 在 妳 家 中 看 了 妳 最 愛 的ʬ 凡 事
一部薩維杜蘭的ʬ殺死我阿媽ʭɻʮ殺死我
E
哈ʭɼ記得去年看ʬ不得鳥小姐ʭLADY BIRD 從半場開始淚流不止ɼ而剛好這年夏天跟 Frances 一樣我 __ʢ18ʣ__ 歲了ɼ才發現原
來所謂 Coming of Age 沒有年齡限制 我 到現在還是一樣惆悵ɺ騷動與不安ɻ 32
coming of age storiesɼ而我放不低的就是這
權利啊ɻ但ʬWe Are The Bestʭ最令我放不
的 crushɺ經常在朋友面前 embarrass 你的
E
讓 我 也 over-sharing 地 說 一 下 定 義 自
己 的 coming of age stories 吧ʢ 我 總 是 說
得 太 多 我 知 道 ʣɻ18 歲 時 第 一 次 看 Sofia Coppolaɼ 就 是 現 在 最 喜 歡 的ʬLOST IN
阿媽ʯ這句話ɼ看得人動魄驚心啊ɼ如此狂妄ɼ
ɼ 只 記 得 畫 面 朦 朦 朧 朧ɼ TRANSLATIONʭ
不是只有騷動的青春才說得出口嗎ʁ年輕
Scarlett Johansson 在窗前的影子揮之不去ɼ
就是任性ɼ年輕就是矯情ɼ由是報紙上潑
但完全不明白當中在說什麼吧 畢竟那
墨的一場才來得如此驚天動地ɼ不是嗎ʁ
時候ʮ喜歡ʯ是一件很單純的事ɻ反而看 了很有感覺的是ʬTHE VIRGIN SUICIDESʭɼ MM TV HIGHLIGHTS
《Ծ᭜๖ !》WE ARE THE BEST
1/6 (SAT) 23:45
《THE BEATLES: EIGHT DAYS A WEEK -
《⃧₨䭬》I KILLED MY MOTHER
15/6 (SAT) 23:55
䊝䕻៘䵚ᰵ》THE BEATLES: EIGHT DAYS
A WEEK - THE TOURING YEARS 8/6 (SAT) 23:55
《∂ใᒿ》BAND OF OUTSIDERS
22/6 (SAT) 23:45
《θ৵》FRANCES HA
29/6 (SAT) 23:56
《ซ႖ၽ⮱๖⾧》KIDS RETURN
14/6 (FRI) 23:55
6 ᰵ䕏ᭌρ、้⌞ښ，ౕ▻⛞㜴ើ偞⮱๖，♎∂։ ⰸ… MOViE MOViE （୨）。 Watch our handpicked
《ᗲྒྷ⮱ᄼᗲ๘》THE EMPTY HOURS
《䱿ᄾᎡਗि》REBELS OF THE NEON GOD
21/6 (FRI) 00:55
28/6 (FRI) 00:15
13 歲的女生自殺不遂ɼ醫生問她ɼ妳才 13
狂奔ɼ也是叫人難以釋懷ɻ好一陣子我上
歲ɼ妳懂什麼啊ɻ她回了一句ɼʮObviously
班路上都在單曲循環這首歌ɼ走過九龍塘
ɻ doctor, you’ve never been a 13-year-old girlʯ
火車站到地鐵站的一段路ɼ都讓我有想ʢ推
對 啊ɼ 你 們 都 不 懂ɻ 青 春 的 騷 動 與 不 安ɼ
開所有路人ʣ奔跑的衝動呢ɻ或許過多兩
你們都不懂ɻ青春就是一個想被明白但又
年我就沒有在街上奔跑的勇氣了ʢ是跑不
不想人看穿的歲月ɻ
動吧ʣɻ
C
你 有 發 現 嗎ʁ 我 們 喜 歡 的 coming of
age 電影ɼ很多都在跑ɻ是因為我們都沒
E
The Beatles 就 是 定 義 每 一 個 人 的
ʮ太 coming of age 吧ɻ 我 寫 過 這 樣 一 句ɿ
年輕的我ɼ愛情就是披頭四的歌ʯɻ對ɼ在 披頭四以前ɼ情歌沒有意義 希望有一 天 我 也 能 將ʬSomethingʭ 送 給 遇 上 的 如 歌一樣美麗的人ʢ對ɼ就是ʬTHE PERKS
ʣɻ在天台表演 OF BEING A WALLFLOWERʭ
C ʬ四百擊ʭ結尾 Antoine 由感化中心偷走ɼ ʬDon’t Let Me Downʭ作結ɼ也是真的沒有 let me down 了ɻ 一直跑啊跑ɼ跑到海邊終於停下腳步再回
有經歷過那種整天在大街狂奔的輕狂歲
望鏡頭ɼ而 Antoine 就停留在那個法國海
月嗎ʁ
岸ɼ永遠年輕ɻ電影最尾以 freeze-frame 作結ɼ 第一次看完覺得ɿ哼ʁ即係點ʁ Antoine 一
對ɼ跑ɼ沒來由的跑ɼ想到什麼就去做ɼ
直渴求自由ɼ他聽媽媽的話去看海ɼ但逃
旁若無人ɼ根本不 care 誰在看ɼ就是青春ɻ
走了之後ɼ看到海之後又怎樣呢ʁ面對成
E
coming of age films on MOViE MOViE every Friday & Saturday late night in June!
C
說 到 The Beatlesɼ 又 想 起 我 最 愛 的
ʬFERRIS BUELLER’S DAY OFFʭɼʬTwist and
Shoutʭ就是青春的最佳證明吧ɻFerris 不
會長大也拒絕長大ɼ或許我們都變了ɼ唯 獨他永遠定格在人生最絢爛的時刻ɻ
ʬ法外之徒ʭBAND OF OUTSIDERS 三人沒事
長和人生ɼ我們也是同樣地迷失和不知所
做不如去跑羅浮宮破世界紀錄啦ɼ然後ʮ9
措吧ɻ說到這個專題ɼ除了ʬ四百擊ʭ以
分 43 秒ʯ就成了影迷心中的不朽經典ʢ皮
E
亞說的ʮ愛情標準時間ʯɼ心都疼了ʣɼ青
外ɼ又怎能不提 The Beatles 呢ʁ看著他們 從梳飛機頭的 Liverpool 小子ɼ變成西裝骨骨ɺ
knew what you were doing when you woke up
春再延續到ʬ戲夢巴黎ʭTHE DREAMERS 跟
迷倒萬千少女的少年ʀ從唱情歌的少年到
ʬ四百 著高達跑的三人行ɻ還有ʬ祖與占ʭ啦ɺ 擊ʭ啦ɼ還有近年ʬ凡事哈ʭFrances 在紐
約大街伴著 David Bowie 的ʬModern Loveʭ COMING OF AGE
成為最 experimentalɺ最前瞻的樂隊ɼ到最
後在天台跟大家說 the final goodbyeɼThe Beatles 真是印證著一個時代的開始和終結ɻ
就像 day off 之後女主角問 FerrisɼʮYou
this morning, didn’t you ʁʯ然後他豪邁的
說了一句ɼʮMe ʁ NOʯʢ笑ʣɻ 成長這 回事ɼ我們都是見步行步啦ʢ作好一輩子都 在 coming of age 的準備吧ʣɻ
33
lI`m so embarrassed.
I'm not a real person yetʜz
— Frances
Text by: elaine sham
還記得去年在戲院看ʬLADY BIRDʭ我是一
刻竟成了 Quarterlife crisisʢ好啦可能已經
貫的姍姍來遲ɼ錯過了開頭但情感來得快也
是 midlife crisisʣɼ彌留被困ɻ然後ɼ在ʢ快
來得莫名奇妙ɼ我在大銀幕下跟過去的自己
要ʣ27 歲那年雨下不停的夏天ɼ我在腐爛
打了個照面ɼ從半場開始淚流不止ɻ我常說 自己是個半成品ɼ想寫一本書卻覺得自己 沒有故事ɼ想愛一個人卻總只是 fall in love
with a fantasy 或許是個藉口也或許只是
當個鵪鶉的最佳理由ɻ由是聽到ʮ我想妳成 為最好的自己ʯ不禁心頭一震ɼ尤其是在這 個每個港女都要用ʮbe a better meʯ作為 IG caption 的年紀ɼ所謂 best version of myself
姊 妹 花 的 家ɼ遇 上 了 27 歲 的 Frances HAɻ Frances 跟我一樣ɼ很 messyʢ因為我們都
很 busyʣɼ所有好男孩都看不上眼然後說自
COMING OF AGE
《θ৵》FRANCES HA
己 undateableɼ好像在做自己想做的事但當 你問我ʮWhat do you doʯ的時候我還是笑
說 that’s such a stupid questionʢ要誠實回 答 I don’t really do what I do 或是我是個打 雜什麼都要 do 還是有點 embarrassingʣɻ
其實會不會已是當下ɼ而我走到最遠也不過
ʮ為何現實不是我想像的那樣ʯɼ其實
是一個半成品ʀ甚或是ɼ最好的自己早已離
在跌跌撞撞甩皮甩骨之中認清現實不如想
我而去ɼ而我將慢慢慢慢腐化化解成一個自
像才是正常應該就是我們這一代最大的 coming of age momentʢ或如畢明所謂ɼ第
己愈來愈討厭的人ɻ 24 歲 的 我 常 說 28 歲 的 女 人 最 美ʢ 因
二度 coming of ageʣɻ成長嘛ɼ就是學會妥
為那時候 28 歲好像永遠不會來ɼ因為那時
協 ʜʜ 少 少 囉ɼ面 對 朽 木 一 般 的 自 己ɼ能
候我不過是個說著風涼話的死
夠 抬 頭 說 一 句ʮI like things that look like
妹ʣɼ幻想
28 歲的自己應該已經長大成人 figured it all
outɼ會有一個很好的男朋友ɼ學懂了一點
ɼ凡事哈ɼ其實也不錯ɻ反正成長 mistakesʯ 的 growing pains 永遠都在ɼ生活的不完美
溫柔ɼ甚至好命已經嫁個有錢人或者坐緊
細 看 還 是 可 愛ɻ由 是 最 後 Frances 因 為 信
corner office 住私樓養狗狗ɻ然後過了兩年
箱不夠大而嘻嘻兩聲灑脫地成了ʮFrances
霎眼ʢ快要ʣ27 歲ɼ除了背上多了一個隱
ʢ只是如果我是 Frances 的話ɼ我的信 HAʯ
隱作痛的ʢ鬱ʣ結ɼ我還是照樣惆悵ɺ騷動
箱就會出現ʮSHAM Eʯ了ʣɻ面對生活的不
與不安 從很忙的工作ɼ換到更忙的工
如意ɼ眾生皆苦ɼ繼續緊記ɼDon’t lose the
作ʀ遇到幾個很好的人ɼ然後什麼都沒有發
humorɻ
生ɻ過往總是悄悄引以為傲的泛濫情感在這
COMING OF AGE
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㔮㔮䅳䅳，̭ऒ䁈……
WHAT IT S LIKE TO BE A FATHER IN ONE SENTENCE
W
《℁⊤䖱⌞》AFTER THE STORM
TEXT BY WONG CHUN LUNG & CORA CHAN
家家都有個奇怪的爸ɼ可以是蠻不講理而 且神經質ɼ又可以是弱不禁風ɺ沉默寡言ɼ 但當孩子需要他時ɼ他必定會挺身而出ɻ It goes without saying that being a dad is hard, and there are thousands of different ways to raise a child. This June, in honour of the most important men in our lives, MOViE MOViE has handpicked 8 movies that portray the joy and heartbreak of fatherhood.
《⪏҉㮔ᓰθ》GRADUATION
18:00 16/6 (SUN)
▝♎ݝࣸ 䛘⩌㔮䅳 ：
ʮ我願意變成我所鄙視的人ɼ只要你會成為
✣ݝ䈚ᒿ㔮䅳 ：
ʮ我買不起棒球手套ɼ卻會在風雨中跟你尋
The father who would risk it all for his daughter I would do anything to give you a better future, even if it means turning into someone I despise the most.
18:00 23/6 (SUN)
ϧᔄ̺ⴚ⮱ጒϧ❣㻗 ：
ʮ我或會忘記你的容貌ɼ 但永不會放棄尋回你ʯ
The father who tries I may have forgotten your eyes, your face, your voice, but I’ll never give up searching for you.
《⺋㭻❥》
CAPTAIN FANTASTIC
20:05 16/6 (SUN)
ᕗ䕻ࢎઓ㬴 ㉠ธ Daddy ：
ʮ我永遠都會是怪人ɼ而你們不必成為我ʯ
彩票ʯ The Father who is yet to be an adult I may not be able to buy you a new baseball glove, but I’ll always look for the lottery ticket with you in the pouring rain.
《௺ს》THE WDDING BANQUET
18:00 30/6 (SUN)
䚿 ⬧ݝᄴ䏺❣㻗 ：
ʮI watch, I hear, and I learnɼ其實我識英文 㗎阿仔ʯ
比我更好的人ʯ
《ᓤ䛹㧩⾦̸》SIDDARTH
20:00 23/6 (SUN)
IT S HARD TO BE NICE
《̰ᰵჿ》COLD IN JULY
20:00 9/6 (SUN)
ಸݝ䰴 㔮ڢଟ৸ ：
ʮ養不教ɼ父之過ɼ你可以變壞ɼ但我不會 放過你ʯ
The militant father I watch, I hear and I learn, and most importantly son, I do speak English.
《⛞̷⮱䇷䭬❥ 》
The eccentric, tree-hugging father “I’ll always be the odd one out, but you don’t have to be like me.”
The vengeful father: It might have been my fault that you’ve taken the wrong path, and now it’s my responsibility to right the wrong.
20:00 30/6 (SUN)
ᜢ̷ݝᓰऐ थᾌ㔮䅳 ：
ʮ阿仔ɼ我以前冇得揀ɼ我而家想揀返做 好人ʯ Still, a Nice Father? I didn’t have a choice, but now that I do, I want to be a good man.
《⩤⩌ຠ䏘》QISSA
18:00 9/6 (SUN)
⠩ݝ₨ ⢥❣䭬❥ ：
ʮ我要你本是男兒身ɼ你就不可以是女嬌娥ʯ The father who wants nothing more than a son I don’t care if you’re a boy or a girl, I’ll raise you as my son.
ښᰵ䊤，ह᭯ज MOViE MOViE 㜗䖥ࠆࣷ MOViE MOViE PLAY 吋᧚ Available on MOViE MOViE On Demand & MOViE MOViE PLAY starting from June.
36
MM TV HIGHLIGHTS
難民ɼ擁有ʮ難民ʯ的身份前ɼ也是國家公民ɼ
䰏䘶ݒᙈ
與你我一樣有著生存與自由的權利ɻ直至
SONG OF THE EXILE
一天ɼ他們家門被破ɼ身邊所愛被無情槍 火奪去ɼ所擁有的都化成戰爭與政權腳下
S
的灰燼ɼ每天活在不知明天身在何處的惶 恐之下ɻ他們同是人ɼ卻無辜成為國與國 之間政治遊戲的犧牲品ɻ
Text by: Hannah Poon
適逢 20/6 國際難民日ɼMOViE MOViE 為你送上 5 部扣人心弦的電影ɼ將世界另 一端正在發生的生存與尊嚴抗爭ɼ赤裸呈
Refugee, a name that inevitably suggests an “outsider”, often seems so far-fetched and detached from our lives. Before refugees became refugees, they were once nationals, people of a society entitled to the same rights to life and freedom as you and I. Even after they have fled their home, lost their family, and are taken over by this identity, they are still human and should be respected as such. In commemoration of World Refugee Day, on 20 June, MOViE MOViE takes you inside the lives of “outsiders” to celebrate one thing we all have in common – humanity.
現你眼前ɻ ښᰵ䊤，ह᭯ज MOViE MOViE 㜗䖥䵨䖀ࣷ MOViE MOViE PLAY 吋᧚。 Available on MOViE MOViE on Demand and MOViE MOViE PLAY starting from June.
SONG OF THE EXILE 《㈽㈱䷕ජ》
THE IMMIGRANT
《ጹ᱈ౕᒩ》
THE OTHER SIDE OF HOPE
22:00 1/6 (SAT)
ʬ心靈港灣ʭ芬蘭大導郭利斯馬基在柏林影
22:00 8/6 (SAT)
《ᔿ⊤ڙℾ》
FIRE AT SEA
22:00 15/6 (SAT)
20 年來ɼ多達 40 萬非洲及中東的難民湧
展摘下最佳導演銀熊獎ɻ敘利亞青年偷渡
入蘭佩杜薩島ɼ多人未到岸已葬身地中海ɻ
到芬蘭ɼ遇上落魄餐廳老闆ɼ擦出友情火花ɻ
紀錄片以意大利醉人島嶼的謐靜ɼ比照海
世界雖然醜陋ɼ但同是天涯淪落人ɼ二人
上一顆顆為生存而熄滅的生命之光ɼ彷如
還可碰著酒杯ɼ在街角微燈下找到慰藉心
死亡的無聲疾呼ɻ榮獲柏林影展金熊獎ʮ最
靈的港灣ɻ
佳電影ʯɻ
A young Syrian refugee seeks asylum in Finland and befriends a wretched restaurant owner, finding consolation in each other in our hollow and wicked world. LE HAVRE director Aki Kaurismäki won the Silver Bear for Best Director at the Berlin International Film Festival for this film.
Against the backdrop of the serene Sicilian island of Lampedusa, thousands of African and Middle-East refugees died in the Mediterranean Sea, before reaching the shore of hope. The film won the Golden Bear for Best Film at the Berlin International Film Festival.
《ί̓Ϯᓰ》
《≮䰏㔲⁹》
INCH' ALLAH
22:00 22/6 (SAT)
DHEEPAN
22:00 29/6 (SAT)
從波蘭來到紐約的女子在關口被迫與妹妹
加拿大女醫生遠赴巴勒斯坦難民營照顧孕
法國導演積克奧迪雅勇奪最高榮譽的金棕
分 離ɼ 從 此 分 道 揚 鑣ɻ 她 甘 願 淪 落 風 塵ɼ
婦ɻ一人的信念ɺ一段戰火中的友誼ɼ能
櫚獎ɻ斯里蘭卡三個素未謀面的難民假扮
捨身換取妹妹的自由ɻ追夢愛情劇情包裝下ɼ
對抗長年累月的政治衝突所消磨的意志
成一家人ɼ努力融入法國新生活ɻ當似是
是一個身在異鄉而要竭力掙扎求全的動人
嗎ʁ榮獲柏林影展 FIPRESCI 大獎及人道精
落地生根之時ɼ始發現家鄉的根彷如頭髮
故事ɻ
神獎ɻ
一樣ɼ剪也剪不斷ɻ
A young, beautiful Polish woman arrives in New York, only to lose her sister at the immigration checkpoint. As an outsider in the foreign land, she understands that the only thing that can reunite them is sacrificing her chastity.
Chloe, a young Canadian doctor caring for pregnant women in a Palestinian refugee camp, is confronted with the conflicts and agony sweeping the war zone. The film won the FIPRESCI prize and a special mention in the Ecumenical Jury Award at the Berlin International Film Festival.
Winner of the Palme D'Or at the Cannes Film Festival, director Jacques Audiard delivers a gripping and powerful tale about three Sri-Lankan refugees forging a family for their own survival. No matter how hard this pretend family tries to assimilate into a new life in France, the crisis of identity always follows.
MM TV HIGHLIGHTS
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MOVIE MOVIE PLAY PICKS! ᬒ「䴀」 ≮
KOREAN THRILLER
MOViE MOViE 於 Now E app 推 出 MOViE MOViE PLAY OTT 娛樂平台ɼ每月送上超過 100 部好戲ɼ支援不同流動裝置ɼ更毋須
簽約ʂ今個夏日ɼ為你送上刺激ʮ韓ʯ流ɼ 讓你隨時隨地ɼ想 Play 就 Play ʂ
MOViE MOViE launches MOViE MOViE PLAY on Now E app, as a one-stop OTT entertainment platform, showing over 100 films every month. This summer, MOViE MOViE PLAY presents to you 4 Korean ThrillersViewers can enjoy our MOViES anytime, anywhere, with no strings attached!
Text by Wong Chun Lung
康城影展中馬東石的現身為傳媒帶來有關 婚期的傳聞ɼ如果馬東石要封盤ɼ各位女 生想必心如刀割ʢ很割ʂʣʂ兩位ʮ最強 大叔ʯ孔劉和馬東石均不會加入拍攝ʬ屍 殺列車ʭ續集ɼ如果各位叔控想再見證兩 位大叔英勇殺出重重屍圍ɼ就記住點播這 《ᅺ݄⃧䏷》TRAIN TO BUSAN
24:00 6/7 (SAT)
套僅以十九天就超越千萬票房ɼ南韓首部 的本土喪屍電影啦ʂ
ʬ 哭 聲 ʭ 響 徹 南 韓 時ɼ 觀 眾 久 久 未 能 釋 懷ɼ除了因為結局有多重解釋ɼ更因為戲 中充斥著多種驚悚元素ɼ謀殺ɺ鬼神ɺ屍 變ɼ甚至是邪教ɻ為了要找出兇手ɼ觀眾 只得陷入兩個半小時毫無喘息空間的困境ɼ 而且每次重看ɼ戲中的細節總會滲透著能 《ਚ㖟》THE WAILING
24:00 13/7 (SAT)
推翻結論的證據ɼ唯有獨自面對ɼ不斷重 溫哭聲處處的每個場口ɼ才能找出真正的 兇手ɻ
男主角河正宇在戲中經歷了ʮ第一次ʯʂ 可惜卻不是女生們幻想的那種ɼ只不過是 食狗糧的第一次ɻ不過因為拍攝環境充斥 著灰塵ɼ加上活埋劇情需要滿面塵土ɼ正 宇的臉長出了青春豆ɼ久未復原ɻ女生們 雖然淚在心 《≨ 35 ้》TUNNEL
24:00 20/7 (SAT)
流ɼ但相信亦不會離正宇而去ɼ
所以你們若想與河正宇再次經歷他的ʮ第 一次ʯɼ就不能錯過這個與他活埋三十五夜 的機會啦ɻ
男士們若果不想與河正宇同困地底ɼ就得 入住不時佈滿血跡ɼ環境惡劣ɼ專為考生 而設的劏房ʂ條件聽來絕不吸引ɼ但卻會 有ʬ天國的眼淚ʭ女主角朴智英ɼ化身美 艷ʮ廿四孝阿珠媽ʯɼ不單關顧你的起居日 常ɼ更願意幫你調查近百萬韓元的水費單ɻ 《⟜㒗๖ऻ》QUEEN OF CRIME
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24:00 27/7 (SAT)
無奈在考試劏房中ɼ怪人百出ɼ想要有貼 心阿珠媽ɼ就得承受怪事不斷的日常生活ɼ 還有即將到來的司法考試ʜʜ
MOVIE MOVIE PLAY PICKS!
THRILLER WITH A TWIST Text by Dayuan Jeong
KOREAN THRILLER
Korean thrillers can be more than mere entertainment - they reflect the prominent fears and anxieties of contemporary society. Over time, nameless gangsters and fictional mass murderers become staples of pop culture, cannon fodder for the flawed heroes. The crime syndicate is defanged; Jack the Ripper becomes an overused archetype. Instead, very real insecurities pervade our society: safety and stability; rising indifference towards one another, suffocating residential spaces, and endemic capitalistic greed all inspire real horror in the cinema-goer. A recent series of natural disasters, coupled with human negligence, cut through the already strained social cohesion in an increasingly neoliberal Korea. TUNNEL, reflective of this sentiment, follows an average salaryman who gets trapped under the debris of a collapsed tunnel. The botched maintenance work reminds us of the colossal bureaucratic failure that cost the lives of so many students in the Sewol-ferry disaster. Throughout the film, we follow Jung Su’s deteriorating health, through snippets of phone calls with the outside world, just as the public was exposed to the unfolding horror of Sewol through live broadcasts from those on-board. Instead of blowing up the scale of an incident to an extinction level event, TUNNEL chooses to remain focused on one person, trusting that the audience does not need to see the whole world hand in the balance to care. Hollywood blockbusters raise the stakes absurdly high (think AVENGERS: ENDGAME, SAN ANDREAS, 2012, or GODZILLA), until the cost incurred to remedy these tragedies becomes infinite (whatever it takes). This means the audience never has to question what the protagonists do, or grapple with the ethical questions that real-life survivors of disasters must. However, TUNNEL, by focusing
MM TV HIGHLIGHTS
on saving just one man, allows the audience to empathise with his struggle, and relate it to their own lives. Both TUNNEL (Kim Seung-hun, 2016) and TRAIN TO BUSAN (Yeon Sang-ho, 2016) capture our scepticism towards the constant pursuit of modern ‘progress’ and perfection in the ‘system.’ TRAIN TO BUSAN has a different take on the claustrophobia of modern life. The capitalistic greed of a company leads to a zombie outbreak. A workaholic father, who has promised to take his daughter to visit her mother in Busan, must survive the trip with unwelcome passengers. This evokes a contemporary debate about nationalism and borders, most saliently embodied in the refugee ‘crisis.’ Do you open the train door to a survivor from the next carriage, or do you let your fear of the unknown keep the door shut? THE WAILING, another recent thriller, also struggles with this problem of distrust and fear. The movie is set in a small rural town called Gok-sung (the original Korean title of THE WAILING is Gok-Sung, which refers both to the village and the noun “wail”). One day, coinciding with the appearance of a foreigner, people in the town begin to die. Police investigations find the deaths were caused by a collective addiction to wild mushrooms. The inhabitants of Gok Sung, unconvinced by the police, decide to take matters into their own hands. Each of the characters in THE WAILING holds a different theory regarding the cause of the epidemic, but the movie is not interested in figuring out who is right. The film focuses not on the ultimate ‘truth’, but on the endless questioning. THE WAILING seems to suggest then that the way to navigate the ‘risk society’ characterised by uncertainty, the mysterious misfortune caused by an uncontrollable outside force, is for us to maintain a suspicious
nature and remain cautious of what entices us (and thus its slogan, ‘never be enticed!’) Recently, however, the thriller scene has become stale, oversaturated by a plethora of movies that can be described in a single phrase or two: “male psychopath stalks and murders female victims. Male duo solves crime and ends sexism.” QUEEN OF CRIME is a breath of fresh air, centring on an ‘ajumma’ (a slightly pejorative Korean term for a middle-aged woman associated with intrusiveness and brazenness) who sets out to learn why her son was charged a 1.2 million won (HK$8,000) water bill. While leaving audiences in stitches, QUEEN OF CRIME simultaneously offers an astute criticism on the intense competition and dehumanisation of Korea’s high-pressure standardised tests. Ultimately, Korean thrillers can be enjoyed as simple blockbusters, but it’s worth considering them within the context of Korea’s societal issues to gain a deeper appreciation. As Korean movies reach international audiences, riding Korea’s current ‘wave’ of global popularity, there is a risk of losing the specificity and urgency that within these locally relevant films. But with a conscious-minded audience, Korean thrillers can, instead of losing their message to the medium, pave the way for a greater understanding of Korea, through cinema.
7 ᰵ䊤ज MOViE MOViE PLAY ࣷ MOViE MOViE 㜗䖥ࠆ 吋᧚ Available on MOViE MOViE PLAY & MOViE MOViE on Demand service
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WE LIVE MOVIES
W 電
ᣎ㽗
ELAINE SHAM, CORA CHAN
᪴ႄ᪡⤳
Karen Ma
➦ݒ刡䁊
ႶἯᒞ❴ ϋ≟䰨ᒞ๔⡻
愛電影的人ɼ談的不止是愛ɼ而是和電 影依附與共生的關係ɻ 因此ɼ隨著 MOViE MOViE Cityplaza 戲院的開幕ɼ我們不再高談論愛ɼ我們 過的ɼ是ʮ電影式生活ʯɻ 為了讓你投入 # 電影式生活ɼ我們
特地請來不同界別的 creative peopleɼ與
䋆┑ 《⎃ٿຠ》⑁
ҍ◧ϭ叩ૉ₎䰨ᒞ ? 我的生活非常簡單和有規律ɼ不像電影中的角色那麼多高低 起伏ɻ其實我是一個很無聊的人ɼ根本不去 KTV, 不進任何 娛樂場所ɻ對我來說ɼ演戲是非常需要想像力的工作ɼ雖
你說電影ɼ說人生ɻ我們會為你送上他
然我沒有ʬ江湖兒女ʭ中巧巧的人生經歷ɼ但我在讀劇本時ɼ
們引以為傲的電影人生ɻ若你不只滿足 於 文 字ɼMOViE MOViE 頻 道ʢNow TV
能感受巧巧的情緒ɼ幻想出她的故事ɻ我在看電影時也一樣ɼ
群愛電影的人ɼ對著看ɻ
每一部作品都能為我帶來新的
不會限制自己看甚麼ɻ對我來說ɼ看一部電影如同看一本書ɼ
Ch 116ʣ也會播放足本影像版ɼ讓你與這
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Zhao Tao Lives Movies
What we talk about when we talk about “Live”? When we call ourselves movie lovers, we are not just talking about love, but the dependent and symbiotic life we share with movies. Therefore, following the opening of MOViE MOViE Cityplaza, we don’t talk about how we love movies anymore, but rather how We Live MOVIEs. In order to immerse you in the #WeLiveMOVIEs lifestyle, we have invited different creative people from various industries to talk about movies and life. We will share the cinematic life they take pride in. For those wanting more than just words, we will also showcase the full interviews on MOViE MOViE TV Channel (Now TV Ch 116). It will be a great way for movie lovers like you to engage with the conversations.
發ɻ
ҍᰭ⁐䈋ᝃᰭጹ᱈व҉⮱ᄻ⑁ᝃ⑁᭜㿝？ 其實我跟很多優秀的演員或導演交情不算很深ɼ我更多時 候是透過他們的作品了解他們ɻʢ是枝裕和導演剛好經過ʣ 正如我跟是枝裕和導演也是於各大影展才會見面ɼ打個招 呼ɻ演員也是一樣ɼ我對他們的了解都是基於他們的電影角 色ɼ比如鞏俐小姐的ʬ菊豆ʭ或ʬ鋼琴教師ʭ裡的伊莎貝雨蓓ɼ 從電影我仿佛能看到這些演員的性格ɺ想像和能力ɻ
ҍ㾺◧◧ϭ叩̭Ըጯ㸎䰭㺮㬊㶀䰨ᒞ䮏？
在我們年輕的時候ɼ我們一直在追求物質生活的滿足ɻ但 當我們能滿足生活的基本需要後ɼ便會發現我們精神上還 是空虛的ɻ所以我認為不論在任何一個城市裡ɼ在人具有 一定的生活基礎後ɼ一定要知道人類的空虛是因為缺乏精 神上的支柱ɻ藝術電影院的存在正正能讓人找到自己精神 上的支撐點ɻ
MM INSPIRATIONS
WE LIVE MOVIES
W 珍摩露是我非常欣賞的女演 員ɼ可惜她在不久前去世ɼ我 希望可以藉此向她致敬ʜ對 我來說她是法國女性力量的 化身ɻ
JULIEN-LOÏC GARIN
䰨ᒞᄺҍҳ㿗᭜ᔻ叩̭ఋθ？Ⴐຯ҂ઌ⮩
我還記得電影中的其中一幕是牠正在吃蘑
ҍ⮱ጒ҉হ⩌≨？
菇ɼ正投入在白日夢的世界裡ɼ就在那時
CEO of Le French May
電影算是我的必需品ɻ它不單是不同的故事ɼ
候牠便找回母親ɻ這是一部很感人的電影ɼ
也帶來了不同的顏色ɺ不同的世界和心情ɻ
也是在我記憶中除迪士尼卡通外最早看的
它對於建立我的身分十分重要ɻ特別我的
電影ɻ
行業需要創意ɼ而電影能豐富我自己ɻ它
Julien-Loïc Garin Lives Movies
把我帶到不同的情緒ɼ讓我在工作也能使用ɻ
ຯҍ㺮ౕ仆⍜ःᮜ̭䘕䰨ᒞ，ҍᰰ䖥
例如我其中一部分的工作是節目策劃ɼ電
᧴ਗԸౝ？
影能讓我發掘到很多有趣的主題ɼ令我渴
我認為香港這個地方本身便已經是一個很
望了解更多ɻ
好的拍攝場景ɻ例如香港的天際線便十分 聞 名ɼ 但 我 也 很 喜 歡 城 市 中 的 大 街 小 巷ɼ
ܳϘ̭У㜴䰨ᒞᰶ䬉⮱➖৮。
例如我居住的區域也充滿本土氣息ɻ這些
這 件 物 品 是 藝 術 家 Jean Cocteau 的 畫 作ɻ
地方是非本地人難以發現的ɼ他們只能看
他是有名的詩人和作家ɼ而且是五六十年
到這個城市表面的喧鬧ɻ人們應該在小巷
代具影響力的法國導演ɼ如ʬ美女與野獸ʭ
裡 探 索ɼ 看 看 在 那 裡 的 本 地 人 和 食 物 等ɻ
就是他其中一部有名的作品ɻ他在電影中
我大概會到尖沙咀ɼ或是一些較偏遠ɺ過
運用了很多視覺效果和劇場的元素ɻ他影
著鄉郊生活的新界地方ʵ那些人們難以在
響了我很多ɻ我很喜歡他簡單的畫風ɼ只
香港發現的地方ɻ
用一條線便能創造整個世界ɻ我們數年前 在 香 港 的ʮ 法 國 五 月 ʯ 中 舉 辦 了 一 個 他
㿝᭜ҍᰭ⁐䈋⮱⑁？
的 作 品 展 覽ɼ 而 且 還 在 電 影 節 和 MOViE
珍摩露是我非常欣賞的女演員ɼ可惜她在
MOViE 播放了他的電影ɻ
不 久 前 去 世ɼ 我 希 望 可 以 藉 此 向 她 致 敬ɻ 她是六七十年代的一個重要歌手ɼ也是一
ҍⰸ⮱す̭䘕䰨ᒞ᭜⩇叩？⪣᭯Бҍᰭ䰐
個很好的女演員ɻ她能駕馭很多不同的角色ɼ
ᔅ⮱㋀侄᭜⩇叩？
不論是間諜ɺ蕩婦ɼ還是在她年紀較大時
我看的第一部電影是法國導演 Jean-Jacques
飾演的祖母ɻ對我來說她是法國女性力量
ɼ是一部沒有對白 Annaud 的ʬ子熊物語ʭ
的化身ɼ我很欣賞她飾演的所有角色ɻ
的電影ɻ故事講述一隻熊失去了母親ɼ要 自己獨力生活ɻ那是我小時候最喜歡的電影ɻ WE LIVE MOVIES
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WE LIVE MOVIES
W 電影對我來說就如愛上的 女生ɻ在人群之中ɼ不論你 的視線望向哪裡ɼ都能感 受到她的存在ɼ她會在你 的視線範圍內發光ɻ
⍥Ⴅԛ
䰨ᒞᄺҍҳ㿗，᭜ᔻ叩̭ఋθ？
最喜歡的導演和演員是馬田史高西斯和李
電影是我看這個世界的渠道ɻ電影讓我能
安納度ɻ我喜歡李安納度ɼ除了因為他帥
《ਗ̭๖Ծᰰ丈》⑁
接觸這個世界ɼ從中學到很多東西ɻ打個
之外ɼ他演的角色全都是我很想演的角色ɻ
Yau Hawk Sau Lives Movies 42
譬喻ɼ電影對我來說就如愛上的女生ɻ在
無論是ʬ潛行凶間ʭ內的 leaderɺʬ無間道
人群之中ɼ不論你的視線望向哪裡ɼ都能
風雲ʭ裡的黑白兩道臥底ɼ或是ʬ娛樂大亨ʭ
感受到她的存在ɼ她會在你的視線範圍內
中很有野心和大志的年輕人ɻ他是一個很
發光ɻ在芸芸眾多的事物裡ɼ各人有不同
fancy 的 iconɻ我很喜歡那種描寫野心勃勃
的興趣ɼ有人喜歡賽車ɺ畫畫ɼ或是聽歌ɺ
的聰明人最後ʮ墜落ʯ的故事ɼ而馬田史
打架ʜʜ而我眼中那個閃閃發光的東西就是
高西斯很擅於拍這些故事ɼ例如ʬ娛樂大亨ʭ
電影ɻ
和ʬ華爾街狼人ʭɻ
Бҍ࢝䆎ᰭ⌞⮱ݨ䰨ᒞ moment ᭜⩇叩？
我最刻骨銘心的 moment 來自ʬ擊情ʭɼ裡
ҍᄺ MM ᰶ⩇叩࢝䆎？ᄺ MM ⮱䮏 ᰶ⩇叩᱈？
面女主角和 Clint Eastwood 說了一段說話ɼ
我對 MM 的印象是它選的電影很出色ɻ它
大概的意思是 : 我已經 32 歲了ɼ如果我足
有 比 較 文 藝 的 電 影ɼ 而 且 選 的 很 合 口 味ɼ
夠懂事ɼ其實我應該回去洗碗的ɻ我現在
有 些 很 想 看 的 電 影 在 裡 面 出 現ɻ 我 期 望
要去打拳ɼ或許短期內也不會有出色的表現ɼ
MM 戲院和電影中心一樣ɼ會上商業片之餘ɼ
但無奈令我開心的事情就是打拳ɻ如果我
也會放映一些較另類的好電影ɻ當你有想
連打拳都做不好ɼ我就甚麼都不是了ɻ這
看又找不到的電影ɼ到那裡看看就會找到ɻ
句對白很能說出我的心聲ɼ有時你很喜愛 的東西不等於是你擅長的ɼ甚至你也認為 自己不會有甚麼表現ɻ但沒辦法ɼ你就是 愛這種東西ɻ電影對我而言就是這樣ɻ ҍᰭૉ₎⮱ᄻ⑁হ⑁᭜㿝？
MM INSPIRATIONS
WE LIVE MOVIES
W 我不能停止拍電影ɼ 因為我已經對拍電影這件 事上癮了ɻ
Pen-ek Ratanaruang
䰨ᒞᄺҍҳ㿗᭜⩇叩̭ఋθ？
ҍᰭᘠౕ仆⍜ਗ㸎ःᮜ̭ൡ？ 如果我有機會在香港拍戲ɼ香港必是我最
《ḛ䱵》ᄻ⑁、㌕
對我來說ɼ電影 = 逃避沉悶日常ɻ我的電 影都較黑暗ɼ圍繞犯罪ɺ黑社會等ɼ因為
喜歡的地方之一ɿ我會拍有人在吃東西的
我的日常生活真的非常沉悶及平凡ɻ每天
場景ɼ因為香港是美食天堂 又或者拍那
起床ɺ跟我的小狗玩ɺ食早餐ɺ看書ʜʜ
個正在吃東西的人噎死ɻ
這並不會成就有趣的電影ɻ我早期經常從 報紙中找尋靈感ɼ只看頭版ɼ我便可以一 日之內寫出兩個劇本了ɻ看電影就是一件
ҍᰭᘠ◧⮱䰨ᒞ㻿㞟？
ʬ 畢 業 生 ʭ 的 Benjamin 吧ʢ 笑 ʣɻ 年 輕 時ɼ
Pen-ek Ratanaruang Lives Movies
具娛樂性的事情ɼ而我不能夠停止拍電影ɼ
我經常被我母親的朋友所吸引ɼ對她們有
因為我已經對拍電影這件事上癮了ɻ
所幻想ɻ當我第一次看到ʬ畢業生ʭ這套 電影時ɼ我想ɼ哇ɼ這是我本人的寫照啊ʂ
ҍᰭ⁐䈋⮱䰨ᒞᄻ⑁ / ⑁᭜㿝？
但在電影中的 Benjamin 真的和他母親的朋
我最欣賞的就是給予我製作電影勇氣的活
友那個了ʜʜ而我只可繼續幻想我母親的朋
地亞倫ɻ年輕的電影製作人有一點值得在
友和我的老師啊ɻ
活地亞倫身上學習的是ɼ他不會在意其他 人怎樣評論他的電影ɼ繼續拍自己想拍的ɻ
҉◧̭Ը䰨ᒞ㸪҉ϧ，ҍᄺ㜗ጞ⮱䰨ᒞ㸪
我們時常認為只有天才可以拍出電影ɼ平
҉ᰶϭ叩㺮Ⅿ？
凡人如我們不可能拍出什麼來ɻ然而ɼ活
我不會嘗試傳達某個信息給觀眾ɼ也沒有
地亞倫就給我們證明了拍電影其實不是什
什麼信息要給這個世界ɻ我認為作為一個
麼大不了的事情ɼ你只要拍出你所知道的
電影人ɼ唯一要做到的就是把娛樂帶給觀
故事就可以了ɻ我也很喜歡韓國導演洪尚秀ɻ
眾ɻ電影播放期間ɼ我要和觀眾的睡意抗
他也是拍身邊的人和事為主ɻ
爭 我拍的都是節奏較慢的電影ɻ我也希 望我的電影可以留在觀眾記憶中ɼ一個星期ɺ 數天ɺ甚或是數小時也好ɻ有很多很棒的 荷里活電影ɼ你在看的時候會覺得很刺激ʀ 但你走出戲院後ɼ便差不多把剛看過的電 影全都忘掉了ɻ我希望我的電影不會那麼 容易被觀眾遺忘吧ɻ
WE LIVE MOVIES
43
仆⍜ࢇ➖乕ロ 2019 ࢇ➖乕䂷
M
我們透過訪問對談ɺ工作坊等形式與
今年香港博物館節以ʮ變新ʯ為主題ɼ邀 請 大 家 一 同 見 證 和 參 與 博 物 館 的 蛻 變ɻ
觀眾交流ɼ並利用短片ɺ表演等媒介向其
MOViE MOViE 有幸與負責籌劃這場年度盛
他觀眾呈現這些意見ɼ希望觀眾投入深度
事的康樂及文化事務署市場及業務拓展總
參與後ɼ他們的需要和感受能真正地獲得
監毛詠仙 (Cynthia Mo) 傾談ɼ分享博物館
聆聽ɻ我們亦會邀請來自不同範疇的 12 位
節是如何體現變化與革新ɻ
生活家ɼ分享他們對館藏作品的見解ɻ 透過這些活動ɼ我們期望讓觀眾與博
為何會以ʮ變新ʯ作為今年博物館節
物館之間更了解彼此ɼ觀眾亦能從中得到
的主題ʁ使用ʮ新ʯ而非ʮ身ʯ是否意味
啟迪ɼ發現到自己在博物館未來發展中的
博物館需要革新ʁ
角色ɼ一起創造博物館不一樣的未來ɻ
MM
CM
希望你們不覺得這是個爛食字 gagɻ我
MM
今屆博物館節的重頭節目於初夏舉行ɼ
們都喜歡超人和 transformerɼ所以變身是
更與ʮ茶ʯ有密切關係ɻ你認為品茶如何
潛意識的指定動作ɻ不過大個之後ɼ對自
可以深化ʮ變新ʯ這個主題呢ʁ
己的要求不能停留在那階段ɼ要看似有深
Cynthia Mo 康樂及文化事務署 市場及業務拓展總監
CM MM
CYNTHIA MO MOVIE MOVIE
度一些ɺ有意思一些ɼ所以選擇了變新ʢ笑ʣɻ
CM
好ɼ說認真的ɻ時代在變ɼ博物館也必須
香茶更透心涼ʁ因此ɼ今年博物館節ɼ我
時刻追上步伐ɻ改變不單是外殼形體上的
們就與大家從品味茶香開始ɻ也許有人會
改變ɼ而是一種由內延伸至外的改變 ─ 擴
覺得中國茶文化太老舊ɼ但我們就改變大
大博物館的影響力ɼ拉近與大眾之間的距離ɻ
家的既有想象ɼ重新認識ʮ茶ʯ這個承載
今年的博物館節便希望能做到這件事ɻ
中國文化的獨特載體ɻ
踏進六月初夏時節ɼ有什麼比呷一口
我們的開幕活動ʮ相約在茶館 園遊 MM
那麼ɼ有甚麼是需要變的呢ʁ
CM
不知道啊ɼ不知道便問下囉﹕問人ɺ問
茶聚ʯɼ在茶具文物館這個充滿歷史的地方 舉行 這裏原是香港開埠時期第一座建成 的西式建築ɼ是法定古蹟ɼ最後成了保存
自己ɻ問人指的是聆聽觀眾的感受和期望ɼ
中國文化的文物館ɻ這個茶聚ɼ會為參加
我們希望博物館經過改變更能配合觀眾的需
者提供一趟穿梭時空的導賞之旅ɼ讓他們
要ɼ不問就改不對ɻ問自己是指發現本身仍
與官邸第一位主人德己立少將及其他關聯
MUSE FEST HK2019
待發展的潛力ɼ築構夢想ɻ在信納別人意願
人物ʮ相遇ʯɼ重新發掘文物館蘊藏的有趣
之前ɼ自己先要有些想望和追求ɻ其實我們
故事ɻ參加者又可以與茶藝師和學生一起
不會為變而變ɼ有些值得堅持的事要繼續下
學習慢泡一杯好茶ɼ享受沏茶的不同演繹ɻ
去ɼ例如我們對創新的熱情和對觀眾的信任ɼ
我們又請來業界對茶的新興推廣手法有卓
就值得繼續擁抱ɻ
見的朋友分享新趨勢ɼ是很有趣的講座ɻ 另一活動ʮ相約在茶館 茶苗清芬ʯ
MM
透過ʮ變新ʯɼ你們希望觀眾從今年博
物館節得到甚麼啟發ʁ
就由一群喜愛茶藝的學生主持ɻ他們以行 動展示品茶ɺ沖茶並非成人專利ɻ大家一 起來欣賞少年學子的茶藝ɼ能為這一個夏
CM
我們希望在今年的博物館節中展現
日注滿陽光朝氣ɻ
以 人 為 中 心 的 蛻 變ɻ 因 此 我 們 要 策 劃 聆 聽ɼ讓公眾一起參與博物館ʮ變新ʯ的過程ɼ
MM
香港藝術館翻新重開便是一個很好的契機ɻ
後的構思和想法ʁ參加者又能從中有什麼
我們把藝術館旁邊的玻璃小屋改裝成一間
體驗ʁ
可否跟大家分享一下ʮ慌室派對ʯ背
ʮ策聽實驗室ʯɼ邀請不同的參與者前來表 達對藝術館的意見和想法ɼ與館長一同想象ɺ
CM
構思ɺ甚至創造博物館的未來節目ɼ為藝
搭飛機ɺ有人怕鬼ɺ怕昆蟲ɺ也有人怕結婚ɻ
術館注入新的活力ɻ
恐懼雖然無形ɼ卻又無處不在ɼ同時也切
每人都有各自害怕的事情ɿ有人害怕
實地左右著我們的思想和生活中做的大小
46
MUSE FEST
決定ɻ但其實我們知道自己真正懼怕的是
Ⱕ㈱ౕ㡣乕
㡣ڤ᪴➖乕
ᙹბ≫ᄺ
仆⍜Ⴅ乕
什麽嗎 ? 今年我們很高興能邀得新加坡科學中 心和香港科學館一同舉辦ʮ慌室派對ʯɼ在 博物館節期間打造數間ʮ恐懼挑戰室ʯɼ透 過不同感官測試ɼ讓大家一起解構恐懼的 原由和背後種種心理和科學原理ɼ並直視 恐懼ɻ不妨一家大小來ɼ以有趣又好玩的 方式ɼ挑戰自己的恐懼ɻ MM
對很多人來說ɼ遊逛博物館看似是個較
被動的體驗ɼ今屆博物館節有什麽與觀眾互 動的節目嗎ʁ CM
不要以為展品都是一動不動的待在那
裏ɼ博物館其實充滿生命ɼ而博物館內人 與人之間是有呼吸ɺ有交流的ɻ vA!ʢ香港視覺藝術中心ʣ藉本地媒體
藝術家吳子昆創作ʮ深度呼吸ʯ互動媒體 藝 術 裝 置ɼ 引 領 觀 眾 踏 上 一 趟 內 在 旅 程ɼ 進入藝術靜觀當中ɻ 配 合 展 覽ɼ 我 們 更 邀 請 到 對 藝 術 及 襌學有深度研究的常展法師策劃兩場表演ɼ 聯同編舞家 / 舞蹈家梅卓燕及頌缽演奏家曾 文通ɼ引領觀眾作深度的心靈觀照ɼ在浸 沉於寂靜之中ɼ走向物我兩忘的境界ɻ期 望透過聲音ɺ影像ɺ場景及舞蹈讓大家呼 吸藝術的養分ɼ並把這些養分融入於日常 生活之中ɻ 康 文 署 轄 下 的 博 物 館 存 在 已 久ɼ 要 變ɼ 真 的 不 容 易ɻ 決 定 什 麽 要 保 留 或 捨 去ɼ什麽應加強或改變ɼ其實需要很大智
©Science Centre Singapore
慧ɼ但這不正正是文化藝術有趣的地方嗎ʁ 博物館節來到第五屆ɼ我們的團隊充滿創 意ɼ也敢於挑戰ɼ在這些歷史悠久的博物
⌞Ꮣ॥
vA! ( 仆⍜㻃㻧㬊㶀͚ᓰ )
館陸續換上更年青ɺ更具吸引力的新裝之 際ɼ我們以新主題ɺ新亮點ɼ吸引大家的 關心和參與ɼ令她們的變革有了支點ɻʮ變 新ʯ最厲害的ɼ不在於外形ɼ反而是內在的ɻ 認識自己ɺ相信自己ɼ決心提升ɼ是一種 力量ɼ這種意志比ʮ變身ʯ更勁ɻ
有關香港博物館節 2019 詳情ɿ 請瀏覽 www.museums.gov.hk/mf2019
MUSE FEST
47
ႫኇҬᒲٱ ŇŪŭŮġőųŰŨųŢŮŮŦŴġŐŧŧŪŤŦ
ኇຟΡϞᒵ
25.5 – 31.8.2019
Critics’ Choice 2019 πġ(1939) Earth
ЈӴோோġ(2002) Japón
σಋҕġ(1971)
The Emigrants
ഡΰٖޟΡġ(1942)
People of the Mountains
ഏόġ(1985)
In the Wild Mountains
ࡥЬϞ߆ġ(1940)
The Grapes of Wrath
Land and Cinema
票價 Tickets: $60 香港電影資料館電影院 Cinema, Hong Kong Film Archive
信用卡電話購票 Credit Card Telephone Booking: 2111 5999 網上購票 Internet Booking: www.urbtix.hk 流動購票應用程式 Mobile Ticketing App:
門票現於城巿售票網發售 Tickets now available at URBTIX 節目詳情及購票優惠請參閱於城巿售票處備取的節目單張 For programme details and booking discounts, please refer to the programme brochures available at URBTIX outlets 只准18歲或以上人士觀看 Persons Aged 18 and Above Only
票務查詢 Ticketing Enquiries: 3761 6661 節目查詢 Programme Enquiries: 2734 2900 / www.lcsd.gov.hk/fp 本節目內容並不反映康樂及文化事務署的意見 The content of the programme does not represent the views of the Leisure and Cultural Services Department 如遇特殊情況，主辦機構保留更換節目的權利 The presenter reserves the right to change the programme should unavoidable circumstances make it necessary
主辦 Presented by
統籌 Organised by
T
Polly Yeung
TOP PICKS
2
《ຠϧ》 CITY OF WOMEN
《ᨓ㉆㛍䵚》 ERASERHEAD
ᄻ⑁ Director
ᄻ⑁ Director
䇨䛹ᅩ Federico Fellini
๔㶈䕐⇨ David Lynch
費里尼一直是我最喜歡的導演ɼ他利用其十
大衛連處女作ɼ很詭異但又會深深吸引你看
級想像力ɼ通過夢境去坦露其對女性的幻
下去ɼ當你偶然想到其中的關連性ɼ你會為
想和恐懼ɼ這部電影裡的女人們ɼ造型都超
自己鼓掌ɼ是一部非常實驗性但又極好看的
厲害ʂ
電影ɻ
3
4
《ࡄ䴀伻ߘ๏ጒൡ》
ṷᄣ᪴ Polly Yeung ็ٰ䰨ᒞ҉ޢϧ，䓾Ⱀ҉ݣ৮ᰶ䰨ᒞ「䲋ܳ⛌ຠ」 ࣷࠂ⪘❴「̓ใ」。
5
1
《௺ს》THE WEDDING BANQUET
THE LOVERS AND THE DESPOT
ᄻ⑁ Director
ᄻ⑁ Director
ᱻႶ Ang Lee
㒲᠁ㅎᠬ Robert Cannan 、㒲䭬⪣ Ross Adam
ښᰵ䊤，ज MOVIE MOVIE
很喜歡李安導演的場面設計ɼ特別是閙新房
都說人生如戲ɼ不過這部紀錄片裡的人物的
㜗䖥ࠆࣷ MOVIE MOVIE
那場ɼ從攝影機運動ɺ演員走位到場景佈置ɼ
經歷一定比電影更曲折離奇ɿ一對韓國電
完全把ʮ閙ʯ優雅地表現出來ɼ太厲害了ʂ
影夫妻被北韓獨裁者金正日綁架去拍戲ɼ這
PLAY 吋᧚ AVAILABLE ON MOVIE MOVIE ON DEMAND & MOVIE MOVIE PLAY STARTING FROM JUNE.
《፣ᩊᒞᾌ⮱ϧ》
MAN WITH A MOVIE CAMERA
6
已經很驚嚇ɼ而他們逃亡的經過ʜʜ只要你
7
稍微動用想像力ɼ都會手心冒汗ɻ
《ᣒ䓾♎䭽⏘ᯃ⮱㫺》 《๖യ♎䪭》SON OF SAUL
BLUE IS THE WARMEST COLOUR
ᄻ⑁ Director
ᄻ⑁ Director
ᄻ⑁ Director
शߍ㋚❫ច๘ Dziga Vertov
៶≈ᅩ㒻 László Nemes
䭬ᓲ䔗៶ലᔄ⒵ Abdellatif Kechiche
1929 年的實驗電影ɼ沒有對白ɼ也摒棄字幕ɼ
你必須有心理準備ɼ你將會進入一個日復日
每一刻都好看ɼ法國女演員蕾雅賽杜飾演的
只依靠一個個畫面排序來訴說事情ɼ出奇的
有人在你不遠處叫囂和你無法停下來看清
愛瑪神秘迷人ɼ我的眼睛無法抗拒她ʂ
好看ʂ畫面設計和剪接意念超凡ʂ
前方的環境裡ɼ107 分鐘後ɼ你將會深深吸
8
一口氣ɼ還好ʂ你已離開了那個可怕的集中
9
營了ɻ
10
《᭒ۙ》
SPRING, SUMMER, FALL, WINTER … AND SPRING
RYUICHI SAKAMOTO: ASYNC LIVE AT 《̭䤎᳄》VICTORIA
THE PARK AVENUE ARMORY
ᄻ⑁ Director
ᄻ⑁ Director
ᄻ⑁ Director
䛾ധᓤ Ki-duk Kim
ጡ䵀टലᠬ Sebastian Schipper
Stephen Nomura Schible
很長的一段時間ɼ我一直想著這部電影的很
我身為一個會獨自旅遊的女孩子ɼ看得驚心
從未看過如此特別的音樂會ɼ有機會在紀錄
多畫面ɼ是金基德導演作品裡我最喜歡的一
動魄ɼ每一刻都為女主角擔心ʂ而且導演採
片中看到坂本龍一大師的表演現場ɼ驚為
部ɼ它能帶領我思考人生ɻ
用一鏡到底的方式拍攝ɼ像是全程紀錄了女
天人ʂ
主角這一晚在柏林的驚險經歷ɼ結局出人 MM TV HIGHLIGHTS
意表ʂ
49
T
1
2
《ࠂᒞऻ》 THE CONGRESS
《ۤ㵭䛾傇ҙ》 COLD FISH
ᄻ⑁ Director
ᄻ⑁ Director
䭬䛹ᰩ Ari Folman
ిၽ⏘ Sion Sono
導演以瘋狂的想像力構想出人類大未來ɼ科
把人逼瘋有多好看ʁ這部會看得心驚膽顫ɼ
技已發達到侵犯人類地位的世代ɼ現實虛幻
一向喜歡看園子溫作品ɼ可是這部作品以後
已對調ɼ人類紛紛跳到動畫世界中生活 ...
再沒有出現過如此澎湃劇情張力的電影ɼ算
3
是前園子溫時代的最後一部佳作ɻ
4
《ᨓ㉆㛍䵚》ERASERHEAD
《䠩⥡᪆ፘ》THE PIANO TEACHER
ᄻ⑁ Director
ᄻ⑁ Director
๔㶈䕐⇨ David Lynch
ㆠ倅ᅩࢎ Michael Haneke
̰ᰵ䊤，ज MOVIE MOVIE
最怪ɼ沒有之一ɻ去除人性的角色ɼ粗糙的
當年一邊看一邊有感精神壓力很大ɼ變態的
㜗䖥ࠆࣷ MOVIE MOVIE
菲林質感再配上意識流的劇情ɻ猶記得那一
自殘著為了去抑壓對性的渴望ɻ導演於結局
段 演 唱ʬIn Heaven Everything is Fineʭɼ這
處理更是一絕ɼ沒看過這部戲之前不會相信
部戲直到現在仍然是我的惡夢ɻ
一句輕輕的問好是可以如此大殺傷力ɻ
Tommy Ng
TOP PICKS
ॠઌᔍ Tommy Ng ㅎ⮱⩤ϧ 仆⍜ࠂ⪘ᄻ⑁，ᰫതᄻすښᅳࠂ⪘ᩜᤡ㼵ްᄼಸЮ ẚ（䕟䮻㸪҉）䛾⡻҉৮《̓ใ》、ᐐॷ《ݧ᪆᷊ 䊤⎽》、《 nike air max 》、䰨ᒞ《Ϸᮇកᅺ》ࠂ⪘ 䘕ܳ，Вࣷⴚ❴《䔳ⴠ䂇》。 2018 Ꭱ⿸ࠂ⪘㸪҉ ბ Point Five Creations 。
5
PLAY 吋᧚ AVAILABLE ON MOVIE MOVIE ON DEMAND & MOVIE MOVIE PLAY STARTING FROM JULY.
6
7
《ႄ㸎ϧ䫀》THE GREAT PASSAGE
《̺ᔍᙈ》INFIDELITY
ᄻ⑁ Director
ᄻ⑁ Director
ᄻ⑁ Director
❴⍂䴵Ⱑ Sunao Katabuchi
ⴠς㸂Ό Yuya Ishii
叒ᄾም Siu Fung Mak
令我深刻之處在於電影寫下戰亂中日本民間
可沒想過字典是由一群極致重視生命的人
一位很敬佩的前輩ɼ繪畫風格每次都在尋求
女性的真實寫照ɻ沒有因道德觀塑造刻板的
所編寫ɼ他們歷經大半生將自己的經驗化為
突破ɻ多部作品中ɼ他對人性探討之深入更
婦女ɼ忠實呈現她對婚姻的失落ɼ對舊愛的
詞彙再組合成一本ʮ大渡海ʯ可以一群人長
是難得一見的ʂ畫面處理亦充滿幽默感ɼ古
依戀ɼ亦因為成為主婦而犧牲了畫畫時間的
年一起生活ɼ為一件事奮鬥著ɼ是何等熱血ɻ
裝兵將於城關前拿著手槍行刑ɼ這幕印象十
《䁊䁊ҍౕ̓⩹㻿㥪͚ឫݝ》
IN THIS CORNER OF THE WORLD
8
那種失落ɻ
9
10 分深刻ɻ
《䕆Ը̺⃧๗ۤ》 《䰕͚ᄼ⣖ᘼ》RAIN TOWN
LÉON: THE PROFESSIONAL
《ᅺ݄⃧䏷》TRAIN TO BUSAN
ᄻ⑁ Director
ᄻ⑁ Director
ᄻ⑁ Director
ⴠ⩝Ꮴ Ishida Hiroyasu
≈℁ᵾ Luc Besson
ᐣᅇᬷ Sang-ho Yeon
學生時期的他已經相當耀眼ɼ他筆下描繪的
我是個簡單的男人ɼNatalie Portman 很美ɻ
由動畫導演晉身到拍攝真人喪屍電影這個成
雨景浪漫非常ɼ作畫細膩的程度媲美繪本ɼ
我是個簡單的男人ɼNatalie Portman 很美ɻ
果很有驚喜ʂ處理喪屍群動作時ɼ屍群的肢
是部必定要看的動畫短篇ɻ
我是個簡單的男人ɼNatalie Portman 很美ɻ
體移動的方法令人相當心寒ʂ劇情亦十分出
電影也是很不錯ɻ
色ɻ絕對是一部必看的娛樂片佳作ɻ
MM TV HIGHLIGHTS
51
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MOVIE-MOVIE-MAGAZINE #40
SHALL I COMPARE THEE TO A SUMMER S DAY
WELCOME, MAYDAY!/ MOViE MOViE CITYPLAZA HOT NEWS! / IN CINEMAS《̷≮ჱ⩌》PARASITE《ὐ㶝㶝》ڢUGLYDOLLS《↿ᰶҍ⮱⩌ᬒᰰ》BIRTHDAY / MM HOME PREMIERES 㜴䮏हₒ《䠑⩝ₐ㓖：ᄘⱌ乕》 SUKITA: THE SHOOT MUST GO ON《㪱㢤㈃》PEPPERMINT CANDY / 仃ᭌ๖《Ỻ⟯ፊస》MISS SLOANE《㒻䆙ܧ》WHERE TO INVADE NEXT & MANY MORE/ ♓吋ᄻ⑁ ：ṷᓤᬹ DIRECTOR IN FOCUS: EDWARD YANG/ ♓吋ᄻ⑁ ：⇠╕Ⱑ㒻 DIRECTOR IN FOCUS: NAOMI KAWASE / ϭ只䘪↿ᰶ⮩⩌ I REMEMBER EVERYTHING / ౕ▻⛞㜴ើ偞⮱๖ COMING OF AGE / 䰏䘶ݒᙈ SONG OF THE EXILE / NOW E / ᬒ「䴀」≮ KOREAN THRILLERS/ 䰨ᒞᐼ⩌≨ WE LIVE MOVIES 䋆┑，JULIEN-LOÏC GARIN，⍥Ⴅԛ，PEN-EK RATANARUANG / CONTRIBUTORS: JAMES MARSH, MATUESZ KOLEK, POLLY YEUNG, TOMMY NG, 台ᔄ䑊 , ຂ ᕊ
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