MOViE MOViE Magazine#39 - THERE'S A LIGHT THAT NEVER GOES OUT

MOVIE-MOVIE-MAGAZINE #39 THERE’S A LIGHT THAT NEVER GOES OUT

FOR MOVIE LOVERS

lTake me away from herez lThat`s why I`m herez

COLD WAR

FOREWORD ‫⿾׋‬

PUBLISHER MOViE MOViE

Text by Joycelyn Choi General Manager of MOViE MOViE

EDITORIAL DIRECTOR Joycelyn Choi creative DIRECTOR Renatus Wu (EDITED.hk)

“I still haven’t forgotten the images from your movies.”

— JR, Faces Places

Managing Editor Elaine Sham

教我如何不愛她ʜʜ

editor Cora Chan

新浪潮教母 Agnès Varda 走了ɼ大約最

chinese editor Rita Cheung

浪漫又合宜的告別式就是 JR 以彩色汽球伴

English editor James Marsh

著紙牌 Varda 升空ɻJR 說因為她喜歡ʬ紅汽 球ʭ那套電影ɼ當然紙牌 Varda 早前也代真人

Editorial Team Dayuan Jeong Lulu Liu Karen Ma Hannah Poon

出征奧斯卡ɼ成為梅姨等人拍合照的一時佳 話ɻ 人走了ɼ留下的電影卻滲著溫度ɻ第一

Graphic designer Ken Mak (EDITED.hk)

There’s a Light that Never Goes Out

contributors James Marsh ᕣ૰ Gary Mak Stephen Chung Pauline@Midori.illustration special thanks Tessa Lau Esther Yeung Grace Cheung Joe Wong Krystal Chow Didi Wu Priscilla Chung Vivian Jiang Broadway/PALACE/AMC Edko Films Limited ad-lib Asian Film Awards house by kubrick Storyteller

齣推介給大家的當然是 Varda 和 JR 合拍的

ʬ眼睛相旅行ʭ ɼ視野胸襟壯闊ɼ二人逆年齡 差距的友誼更動人ɻ片中請 Varda 吃閉門羹 的是新浪潮中名氣最大之一的高達ɻ本月ɼ 我們頻道會播放他們的電影ɼ未知可否算是 另一種相遇的緣份ʜ 我在清明節誕生ɼ小時候婆婆常說為什 麼不在兒童節出生ɼ死亡永遠是中國人的忌 諱ɼ但沒有結束的話ɼ也許活著又沒有太大 的意思吧ʁ當然像 Alexander McQueen 般巨 星殞落叫人扼腕嘆息ɼ但那些轟天動地的革 命ɼ慶幸還有電影把它們一一留低ɻ 近年ɼ大家發現動畫不只是屬於小孩子 ʮ卡通ʯ ɼ這次我們得到盧子英老師的指導ɼ 的 與動畫支援計劃一起合作的 anifest 動画藝 術祭便呈現了世界各地頂尖動畫的不同面貌 和表現手法ɼ2Dɺ3Dɺ定格到油畫一應俱全ɼ 題材更多元化ɼ最開心是能將一班本地新晉 電影動畫師的得獎作品帶到大螢幕ɼ更得到 Cityplaza 支持ɼ舉行各項動畫分享及工作坊ɼ

承傳了 Varda 和 JR 的表現ɼ人和交流最重要ɻ

How can I not love her? ‘The Godmother of French New Wave’ Agnès Varda has left us.

What better way to bid her a fond farewell than JR strapping colourful balloons to his cardboard cut-out of Agnès, and releasing her into the sky? JR said he was inspired by her love of the film RED BALLOON. And of course we cannot forget when JR brought a lifesize Agnès Varda cutout to the Oscar nominees luncheon, and A-listers like Meryl Streep and Martin Scorsese scrambled to score a selfie with her.

Agnès Varda may have passed away, but she has left us many classics to revisit. The first one I would recommend is of course Agnès and JR’s FACES PLACES, which is not only a beautiful celebration of the everyman, but also captures the duo’s lovely friendship. This April, not only are we featuring Agnès Varda’s seminal works, but also Godard’s History of Cinema, who refused to welcome Agnès and JR into his home in the documentary.

I was born on Ching Ming Festival and ever since I was a child, my grandmother would always wonder why I wasn’t born a day earlier, so my birthday would fall on International Children’s Day. I guess death is always a taboo in Chinese culture, but without an end to our lives, that makes all our living moments count, then what does it mean to live? Although we may feel sad about mourning the passing of legends and icons like Alexander McQueen, at least we can learn more about them through films and documentaries.

In recent years, animation has gradually become something more than children’s cartoons. We’re honoured to have Mr. Neco Lo as our guide, and to join hands with the Animation Support Program, to curate anifest 2019.

The animation festival features award-winning animated films from different corners of the world, showcasing many different animation techniques. We’ll also be screening award-winning works by local animators on the big screen and, with support from Cityplaza, hosting a series of sharing sessions and workshops on all things animation. Be sure not to miss it!

Translated by CC

www.moviemovie.com.hk MOVIE MOVIE For advertising, please Contact: E: chancora@moviemovie.com.hk T: 2528 8049

MMM #39: THERE’S A LIGHT THAT NEVER GOES OUT

1

lI don’t see you very well, but I see youz

WHAT DOES THE MMM TEAM SAY

最近與初認識的說起ʮ靈魂伴侶ʯ這 回事ɼ記憶猶新ɻ Soul mate 在如今ʮ浪漫ʯ才是罪名的

W

世代頗具爭議性ɻ大概愛寫的人總是矯情ɼ 我還是會細細聲承認相信ʮ靈魂伴侶ʯ的 存在ʢ雖然總被罵睇戲燒壞腦同 too young

ɻ關於 soul mateɼ在腦裡第一秒 too naiveʣ

浮 起 的 是 BEFORE Trilogy 的 Jesse & Celine

ʢ僅限於第一ɺ二集ɼ第三集在我的記憶裡

沒有發生ʣɼ那種ʮ我不認識你但我懂你ʯɺ 那種ʮI wish I’d met you earlier, I really like

talking to youʯ的微妙情愫ɻ來到現實世

界ɼ或許是影迷多心ɼ但華妲與丹美這一對ɼ 毫無懸念ɻ華妲永遠對世界好奇ɼ丹美的 世界絢爛如畫ɼ二人同樣心愛電影ɼ她有 她追求女性自主ɼ他有他姹紫嫣紅裡的風 花雪月ɻ看著他們倆的黑白舊照ɼ還是怦 然心動 或許世界很殘酷ɼ但還是苟延殘 喘一點只有你懂我懂的美好ɻ 不經不覺丹美離開已經 30 年ɻ然後我

縱 然 我 們 會 有 所 失 去ɼ 但 我 們 還 有 電 影ɺ

我一向覺得自己寫的文章不夠 juicyɼ所以

文字ɺ音樂去承載和延續回憶ɼ就像 Eric

初 次 寫 MMM #38 時ɼ 我 不 斷 翻 閱 過 往 的

Clapton 用 12 bar Blues 彈出自己大起大落

雜誌ɼ很想迫自己榨出一點點文采ɻ然而

的藍調人生ʀ華妲以光影表達對世界的好

Elaine 的一句ʮ我們不會改寫你文章ɼ文筆

奇和熱愛ɺ抒發對丹美的思念之情ɼJR 又

是屬於自己的ʯɼ讓我開始學習欣賞自己的

以一張張相片跟華妲 再見一樣ɻ是啊ɼ我

電影寫作ɻ現在ɼ能在出版雜誌上孕育屬

們都捉不住時間的流逝ɺ人的離去ɼ但是

於自己文字ɼ知道我寫的東西會落入你的

there is a light that never goes outɻ

眼中ɼ微微拉闊了你的電影世界ɼ是滿足的ɻ

其實對 Agnes Varda 了解不太深ɼ只看過她

有幸在最後的青春年華中遇上 MM 是一種

三五部作品而已ɼ還是在上學時為了了解

緣份ɻ記得還在大學早年的時候便開始認

新浪潮不得不看才忐忑不安在圖書館借碟

識 MMɼ想著如果能在這裡工作大概會是

片ɻ去年看了ʬ眼睛相旅行ʭ才對於 Varda

一段有趣且精彩的歷程ɼ現在回想起來感

的生活有一點點膚淺的了解ɻ現在不禁在想ɼ

覺挺奇妙ɻ一直很喜歡文字ɼ在這裡短短

如果結尾高達打開了家門會怎樣ɼ電影會

數月或許能做到的不多ɼ但如果我們在這

有更美好的結局嗎ʁ兩人在鏡頭前談天說

本 MMM 中的一言一句能為你帶來一點觸動ɼ

地會是怎樣的景象ʁ不過想想高達肯定在

帶你走入了某部電影當中的世界ɼ大概我

觀眾看不見的時候為 Varda 打開很多次自

已不往此行ɻ

己家的門ɼ好像也沒那麼遺憾ɻ最後的最後ɼ 請問高達幾時再拍片ʁʁ 2

們看到ʬ眼睛相旅行ʭFACES PLACESɼ一 句輕如鴻毛的玩笑ɼ讓她憶起最愛ɼ華妲 還 是 一 下 子 紅 了 眼 睛ɻ 面 對 離 別ɼ 我 們 都軟弱無力ɻ由是ɼ送給你們ʬThere’s a

ɼ在同樣不仁慈 Light that Never Goes outʭ

的善良與邪惡之間ɼ我們記住ɼ有燈就有人ɻ 人生有一個懂你的人ɼ於願足矣ɻ願 華妲與丹美天上團聚ɻ快樂就好ɻ

If a director’s job is deciding what’s in and out of a frame, a critic’s job is to delineate the four corners of that frame. As I’ve watched and wrote more, I’ve continually found myself widening the dimensions of the frame- reading close, but also reading wide. I’ll scrutinize a childhood story a director shares, parse through the cinematographer’s influences and locate the film in a broader socio-historical context. MOViE MOViE lends itself to this kind of writing and thinking, and under this internship I’ve even managed to gain access to the directorial insights of director Chang Dong Lee and Yeon Sang Ho. I hope to use all I’ve learned here to broaden my critical frame even more.

WHAT DOES THE MMM TEAM SAY

MOViE MOViE CITYPLAZA 1ST ANNIVERSARY CELEBRATION

MOViE MOViE Cityplaza 開幕一週年啦 ! 打

響頭炮的慶祝活動是 3 月 14 號晚的開幕派 對暨ʬ假面酒店ʭ香港首映禮ɻ當日現場星 光熠熠ɼ黃修平ɺ王宗堯及邵音音等影人均 前來慶賀ɼ場面熱鬧ʂ為了支持本地藝術創

M

作ɼ緊接著的是週末一連兩天的 Every Life is A Song 音樂表演ɼ以及與本地紙藝品牌 ditto ditto 合辦的活版印刷工作坊ɼ讓我們的影

院充滿文化氣息ʂ MOViE MOViE Cityplaza 主流話題作與藝術電影並重ɼ最後的壓軸驚 喜是紀錄片ʬ英倫壞男孩 : McQueenʭ的特 別放映ɼ為這一系列的慶祝活動寫下圓滿句 號ɻ

8

Thank you for your amazing support, MOViE MOViE Cityplaza has just turned 1! The opening ceremony and Hong Kong premiere of MASQUERADE HOTEL marked the beginning of our 1st anniversary celebration. We are honoured to have celebrities such as veteran actress Shaw Yam-yam, director Adam Wong Sau Ping and actor Gregory Wong join us to celebrate this joyful moment. As a cultural hub for local artists and creative people, we’re happy to have invited budding musicians from the Every Life is A Song project to share their music and experience with us as well as collaborating with the local letterpress brand ditto ditto in hosting a moviethemed workshop. As a cinema for everyone, we’re also screening MCQUEEN on April 10 to mark the end of the celebration.

MOViE MOViE CITYPLAZA

WHY DON T WE GO HAND IN HAND

W MMM ᔻ‫ޤ‬ʸ㐕ໆԁႏ MMM Membership Offers

MOViE MOViE Cityplaza 為慶祝一週年ɼ特意推出兩大超值 MMM 會員優惠ʂ MOViE MOViE Cityplaza turns 1 in March! To celebrate, why don’t we go hand in hand – on the 2 amazing membership offers!

ᒒᕒʾᒺᔻ‫ޤ‬ㆮʸ㏴ʸԁႏ

‫⺶۽‬ኬⲒԁႏ

Buy-1-Get-1-Free Ticket Offer Every Wednesday Night

Member-Get-Member Offer

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.

PMQ COFFEE AGENDA‫⁎ࠆݫ‬ᨇ๶㢌 ʮPMQ Coffee Agenda 咖 啡 生 活 市 集 ʯ將 於 4 月 19 至 22 日載譽歸來ɼ此次市集與啡聞 Coffeeder 再度合作ɼ邀請香港及日本ɺ台灣

優異出眾的咖啡師ɼ包括多位世界咖啡賽事 冠軍及評審ɼ帶來咖啡的匠心滋味ʀ更有多 元的工作坊和互動體驗ɼ分享咖啡知識和 文化ɻ

"PMQ Coffee Agenda" is back on 19th to 22nd April! Diverse outstanding local and overseas baristas from Japan and Taiwan, including judges and champions of the world coffee competitions, are invited to present their conventional, brewing techniques and ingenuity of coffee. A plenty of refreshing coffee workshops will be held, sharing with you the particular coffee knowledge and culture!

2019. 4. 19 | 14:00 - 20:00 2019. 4. 20 - 22 | 12:00 - 20:00

香港中環鴨巴甸街 35 號 PMQ 元創方 PMQ, 35 Aberdeen Street, Central HOT NEWS

http://bit.ly/2TRJl1r

9

૽⫎⨰㭂㢪

BCSUNDAY：OLIVIA COLMAN 《₍✥⚀㐤⾲⅝ʿ》

S

《ࡃ㌓‫ئ‬Ḟॖ》The Lobster ങ᭴

7/4 (SUN)

Director Yorgos Lanthimos

Hyde Park on Hudson ങ᭴

14/4 (SUN)

Director

ീᙂⳇ⾾⬅

⟕᫇●♘ Roger

Screening Venue Ⅾ⡁‫ٺ‬㣌ྗˮ࿘ Broadway Cinematheque

單身就是罪ʂ在不久的未來ɼ單身男女被

1939 年ɼ二戰如箭在弦時ɼ美國總統羅斯

SCREENING TIME 㐦ᒩᕩᑽ Every Sunday 21:30

找到另一半ɼ否則將被變成一種動物ɼ流

Ꮺᒓ६㷉

Ꮺᒓᒪ㟋

ぐん‫ۋ‬㇫⎊

Details & Ticketing

關 進 城 中 酒 店ɼ 規 定 他 們 在 45 天 之 內 要 放森林ɻ其貌不揚的中年男子被妻子拋棄 後變回單身ɼ於是被送到配對中心ɻ為了 不被變成動物ɼ他逃到森林中ɼ遇到了其 他單身者和他們組成的叛軍團隊ɻ而在這ɼ 最重要的規條就是不可戀愛ɼ一經發現就 將面臨刑罰ɻ不料ɼ他卻遇上同樣配對失 敗的近視女ɼ二人墜入愛河ɼ但這件事被

1974 年ɼ出生於英國的奧莉花高雯ɼ雖然

沒有出眾的五官和樣貌ɼ但演技卻入木三 分ɼ時而讓人捧腹大笑ɺ時而讓人若有所 思ɻ2017 年ɼ她贏得了金球獎最佳女配角ɼ 而今年則憑ʬ爭寵ʭ安妮女王一角橫掃威 尼斯影展ɺ金球獎和奧斯卡最佳女主角獎ɻ 四月的 bc Sunday 與大家一起回顧這位影后 的作品ɼ看看她如何用怪趣ɺ幽默的演技ɼ

BCSUNDAY: OLIVIA COLMAN

征服觀眾ʂ

Born in 1974 in England, Olivia Colman decided to be an actress from a very young age. In 2017, she won a Golden Globe for Best Supporting Actress for The Night Manager.

This past year, she won Best Actress awards at the Venice Film Festival, Golden Globes and the Oscars for her outstanding performance in The Favourite. This April, bc Sunday presents four films starring Olivia Colman, to showcase her impressive versatility.

BC SUNDAY

首領發現後ɼ他們面臨殘酷的懲罰ʜ A love story set in the near future where, according to the rules of The City, single people are arrested and transferred to The Hotel.

There they are obliged to find a mate within 45 days, otherwise they will be transformed into an animal of their choosing and cast out into The Woods. A desperate divorcee, David (Colin Farrell), escapes The Hotel and hides in The Woods, where he discovers The Loners, and falls in love, in a flagrant breach of their rules.

Michell

福大宅內ɼ發生了兩件至今仍為人津津樂 道的事件ɿ扭轉全球局勢的ʮ熱狗外交ʯɼ 以 及 他 和 紅 知 己 黛 絲 的 私 交ɻ 羅 斯 福 遠 房表妹黛絲ɼ輾轉下竟做了總統情婦ɼ此 風流韻事一直無人知曉ɼ直到她百年歸老ɻ 而她的日記中ɼ記載了為何當年英國王室 首次訪美ɼ羅斯福為何以普通不過的美式 熱狗招待ɼ更以第一身披露當中點滴和他 們的絕密情史ʂ In 1939, President Roosevelt readies to host the royals of England for a weekend at the Hyde Park on Hudson, marking the first-ever visit of a reigning British monarch to America. As Britain faces imminent war with Germany, the royals are desperately looking for support.

Seen through the eyes of Daisy, the weekend will produce not only a special relationship between two nations, but also the President and herself.

《ᖎᑅ࿜㌡タᣏᘶ》 《Ᏽு 365 ᑦ》I Give It A Year ങ᭴

21/4 (SUN)

Director Dan Mazer

Murder on the Orient Express 28/4 (SUN) ങ᭴

Director Kenneth Branagh

˸㶳ᑔ

▒്૲Ώ♅

公 關 女 強 人 和 小 說 作 家 相 識 不 久 就 閃 婚ɼ

推理經典回歸ʂ改編自英國ʮ偵探小說女

但熱戀過後ɼ兩人相處問題不斷浮現ʂ老 婆擁有超強事業心ʀ老公卻天性吊兒郎當ɻ 加上性事不協調ɺ婚姻顧問又不可靠ʜ夫 妻關係岌岌可危之際ɼ舊愛突然回歸ɼ想 和 老 公 重 拾 舊 好ʀ 事 業 有 成 的 青 年 才 俊ɼ 也在老婆身邊噓寒問暖ɼ令兩人頓時質疑 誰才是自己的理想伴侶ʂ未滿結婚一週年 的他們能否重新修補關係ʁ Ambitious high-flyer Nat and struggling writer Josh fall in love at first sight at a party. After seven months, they decided to marry. The spark between them is undeniable, but no one is convinced that they will last. Josh’s ex-girlfriend and Nat’s handsome American client could offer attractive alternatives. As their first year of marriage unfolds, temptation and incompatibility put their relationship in jeopardy.

王ʯ阿嘉莎克利斯蒂的代表作ɻ因風雪停 駛的豪華火車ʮ東方快車ʯ上發生離奇命 案ɼ私家神探受命調查ɼ挑出十三位背景 迴異的嫌疑人 –– 商人助理及管家ɺ美豔寡婦ɺ 英國醫生ɺ奧地利教授ɺ俄羅斯公主及女 傭ɺ未婚年輕女教師ɺ汽車推銷員ɺ列車長ɺ 伯爵夫婦及瑞典女傳教士ɻ私家神探誓要 爭分奪秒緝拿兇手ɼ解開一切謎底ʂ ᦪᱲ↿⟞ Naomi Kawase What starts out as a lavish train journey through Europe quickly unfolds into one of the most stylish, suspenseful and thrilling murder mysteries ever told. From the novel by best-selling author Agatha Christie, the story tells of thirteen strangers stranded on a train, where everyone’s a suspect. One man, legendary detective Hercule Poirot (Kenneth Branagh), must race against time to solve the 11 puzzle before the murderer strikes again.

IN CINEMAS

C

Director ͺ͆㒈ピ Ian Bonhôte ྠྴ⨞㏹਎ Peter Ettedgui ᭴‫ ޤ‬Cast Alexander McQueen ങ᭴

MCQUEEN

MCQUEEN

《⩢пન⁡ಜ： McQueen 》

ʮ沒有人發掘 McQueenɼ是他自己發掘了自 己ɻʯ

ʬ英倫壞男孩 : McQueenʭ記錄了已故

時 裝 鬼 才 Alexander McQueen 短 暫 而 璀 璨

的一生ɻ來自倫敦街頭的窮小子ɼ被稱為ʮ英

國時尚叛逆分子ʯ的 McQueen 毫不畏懼地

McQueen is a personal look at the extraordinary life, career and artistry of designer Alexander McQueen. Through exclusive interviews with his closest friends and family, recovered archives, exquisite visuals and music, McQueen is an authentic celebration and thrilling portrait of an inspired yet tortured fashion visionary.

向世界展現其驚世的藝術才華及獨特的時 尚品味ɻ本片除節錄了 McQueen 歷年來最 具代表性的時裝騷ɼ訪問他的家人及摰友ɼ 更首度公開 McQueen 生前的珍貴影像及錄 音ɼ讓觀眾再度細味 McQueen 的畢生心血 以及揭露其輝煌背後的各種犧牲ɻ電影入 圍ʮ英國奧斯卡ʯ英國年度最佳電影及最

ʿᒓᑦᕒ IN CINEMAS

11/4 THU

佳紀錄片兩項大獎ɻ

lMy shows are about sex, drugs and rock `n` roll. It`s for the

excitement and the goosebumps.

I want heart attacks. I want ambulances.z Alexander McQueen

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IN CINEMAS

IN CINEMAS

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Director ྔ⛃ྔ৶㭙ᑔ਎ Pawel Pawlikowski ᭴‫ ޤ‬Cast ⎐೎ன۵⫥ Joanna Kulig ᬋ῔ᑔ㭙ṁ Tomasz Kot ങ᭴

COLD WAR

COLD WAR

《եᆓᅱᔮ》

勇奪第 71 屆康城影展最佳導演獎ɼ橫掃歐 洲電影節五項大獎ɼ問鼎奧斯卡最佳外語片ɺ 最佳導演及最佳攝影ʂ二戰後鐵幕下的波 蘭ɼ嚮往自由的音樂家 Wiktor 與才華橫溢 的音樂少女 Zula 一見鍾情ɼ他們無懼在諜 影重重的環境下交心相愛ɼ更為了脫離共 產主義的陰霾ɼ相約逃出波蘭ɼ但 Zula 並 未應約現身ɼ令 Wiktor 孤身流亡巴黎ɻ輾 轉多年ɼ二人在東ɺ西歐離離合合ɼ徘徊 於愛與痛之間ɻ在動蕩大時代ɼ愛火能否 超越一切障礙 ?

ʿᒓᑦᕒ IN CINEMAS

18/4 THU

Swept away more than hundred awards and nominations including Cannes Film Festival Best Director Award, five European Film Awards and Oscars Best Foreign Language Film nomination, Cold War is a passionate love story between a man and a woman who meet in the ruins of post-war Poland. With different backgrounds and temperaments, they are fatally mismatched and yet fatefully condemned to each other. Set against the background of the Cold Wat in the 1950s in Poland, Berlin, Yugoslavia and Paris, the couple are separated by politics, character flaws and unfortunate twists of fate- an impossible love story in impossible times.

Cold War is dedicated to Pawel Pawlikowski`s parents, whose names the protagonists share. The real Wiktor and Zula died in 1989, just before the Berlin Wall came down. They had spent the previous 40 years together, on and off, breaking up, chasing and punishing each other on both sides of the Iron Curtain. lThey were both strong, wonderful people, but as a couple, a never ending disaster,` Pawel Pawlikowski, director

IN CINEMAS

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IN CINEMAS

THE CROSSING

《㐪ᒘ૙》

Director Ⅽ㣀 Bai Xue ᭴‫ ޤ‬Cast 㷌ਸ Huang Yao ಴㡫 Sunny Sun ᬋ‫؟‬ᐷ Carmen Soup ѕⵒᮾ Ni Hongjie ᥨ⟞ӷ Kong May Yee Elena ༩ࠜᓭ Liu Kai Chi ᴴ‫ ׫‬Jiao Gang ങ᭴

ʿᒓᑦᕒ IN CINEMAS

9/5THU

THE CROSSING

C

16 歲的佩佩 ( 黃堯 飾 ) 每天跨境由深圳到

香港上學ɼ命運就夾在兩座城市之間ɻ她 為了實現與好友 ( 湯加文 飾 ) 到日本賞雪的 約定ɼ四出打工努力儲錢ɼ後來因一次意外ɼ 發現跨境之路竟可成為賺錢捷徑ɼ她開始 冒險走私水貨手機ɼ慢慢沉溺在虛榮的快 樂ɺ朦朧的好感與歸屬的溫暖ɻ她拼命想 越過成長的關卡ɼ卻像困在魚缸裡的小鯊魚ɼ 看不到未來ʜʜ田壯壯監製ɺ新銳導演白雪 首部作品ɼ入選柏林影展ʮ新生代ʯ單元ɻ

Sixteen-year-old Peipei crosses the border nearly every day, travelling between her mainland China home and her Hong Kong high school.

Customs officials glimpse her school uniform and innocent face and wave her through without a second thought. Grown up in a tropical climate, Peipei and her best friend dream of going to Japan to see real snow but they don’t have money. To earn money, Peipei joins a gang of smugglers and begins to smuggle iPhones from Hong Kong to mainland. She doesn’t know her well-paid job will render her routine into something highly risk.

lI made my decision to write a story about the cross-boundary

children, those who have to commute between Shenzhen and Hong Kong every single dayʜMy film is actually talking about people with embarrassment. Peipei is one of them. They have family but no friend in Shenzhen and they study but have no home in Hong Kong.z Bai Xueɼdirector

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IN CINEMAS

MOViE MOViE 㩧ᒓᒒᕒ૙ MOViE MOViE HOME PREMIERES EVERY ● SUNDAY 10:00 PM TEXT BY Hannah Poon Illustrated by KEN MAK

*Also available on MOViE MOViE on Demand & MOViE MOViE PLAY # ┱↢ଔᔿᏧ‫ئ‬，ん͉ MOViE MOViE 㢵⾸㦫㐯 (NowTV ch 116) Ե΍᳏ᬉ。

April ऴᔾ

方向ɼ是一種由心的直覺ɼ無從可見ɼ只 可 感 受ɼ 由 是 每 一 刻 的 跳 動 都 是 活 生 生 的ɻ直覺有時像個失靈的指南針ɼ亂指一 通ɼ但我們還是會跟著磁針走ɼ走向未知 的將來ɻ 我們是自己人生的掌舵者ɼ而未來的 軌跡總預見不到ɻ正正是未知的跳動ɼ讓 人生充滿刺激和驚喜ɼ這才是真正的活著ɻ 這個四月ɼMOViE MOViE 與你重返四 個起點ɼ每一步都是一個新發現ɼ走進未知ɼ 創造關於愛與夢想的故事ɻ

Director ⫥⫥⩂୊Ⲭ‫؝‬Գ LILI FINI ZANUCK ᭴‫ ޤ‬Cast ERIC CLAPTON PATTIE BOYD GEORGE HARRISON CHARLOTTE MARTIN BOBBY WHITLOCK ị㦀 AWARDS NOMINATED FOR BEST MUSIC FILM, GRAMMY AWARDS ങ᭴

ዠ‫ܕ‬ᙂᗆ⟞Ợ「ᕏω㦈ស㣌ྗ」

OFFICIAL SELECTION OF THE TORONTO INTERNATIONAL FILM FESTIVAL ۞ൢ૨і૨४㢄㣌ྗ╈

十二小節之間ɼ六根結他弦線上ɼ能勾著無 盡憂愁ʁ 坐 擁 18 座 格 林 美 獎 的 結 他 之 神 Eric

Claptonɼ他的藍調奏的不只是哀愁ɼ還是生

命的吶喊ɻ他改寫了藍調音樂的歷史ɼ光輝 背後有著跌宕起伏的一生──曾經酗酒ɺ吸 毒ɺ意外喪失幼子ɼ令他多年萎靡不振ɻ是 音樂ɼ讓他找到紓解ɼ逐步走出陰霾ɼ憑一 雙手ɺ一個結他逆轉人生ɻ 由ʬDriving Miss Daisyʭ監 製 執 導ɼ收

錄 Clapton 殿堂級好友 B.B. KingɺJimi

HendrixɺGeorge Harrison 等 珍 貴 訪 問ɼ加

上大量私人影片ɺ照片ɺ海報及日記ɼ拼湊 出他人生的藍調 12 小節ɼ看他如何以音樂 跨越生活中的痛苦ɼ攀至頂峰成為音樂歷史 上最偉大的結他手之一ɻ

ERIC CLAPTON: LIFE IN 12 BARS

ERIC CLAPTON: LIFE IN 12 BARS

《Eric Clapton：Ⲱら̪⁎》

I once headed east to a faraway continent that beheld so much beauty. I had always believed that was my destined land. But as I was sailing crossing the Pacific Ocean, I became intrigued by something further south, some place further than the faraway. I’m not sure if it was the waves or my heart, but my boat slowly wafted south-eastwards. Seeing the sun rise from a different side was when I realised that if I kept cruising with the wind, voyaging across the oceans, I would always find somewhere new.

This April, MOViE MOViE steers you off course, and onto four alternative routes.

Eric Clapton, the name that leaves an eternal flame in the Rock and Roll Hall of Fame, bears an unimaginable life history of pain and sorrow. From alcohol and drug abuse, to the traumatic experience of losing his son, the 17-time Grammy Award winner has found his inner strength and healing in music.

Directed by the producer of DRIVING MISS DAISY, the documentary recounts the personal story of Clapton through his own videos, photos and diaries, as well as interviews with friends and contemporaries, including B.B. King, Jimi Hendrix and George Harrison. With a guitar and 12 bars, the legend triumphs his own darkness and writes a musical history that generations are told.

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MM HOME PREMIERES

Director KEN SCOTT ᭴‫ ޤ‬Cast ˸‫ ͅئ‬DHANUSH ㆮ୊⚘⌄⎐ BÉRÉNICE BEJO ⨞ᾤ⬅㕴̯⮶ ERIN MORIARTY ị㦀 AWARDS WINNER OF THE RAY OF SUNSHINE AWARD, NORWEGIAN INTERNATIONAL FILM FESTIVAL ᝟Ỿቜ஖४㢄㣌ྗ╈ RAY OF SUNSHINE Ợ ങ᭴

ਘ‫⮓܂‬

100 歐羅ɼ不代表你不能壯遊歐洲各國ɻ

窮ɼ不代表你不能用雙手創造機會ɻ印度 窮小子阿賈為了完成亡母心願ɼ拿著 100 歐羅和骨灰龕毅然踏上巴黎之旅ɻ第一站 到達宜家傢俬ɼ即遇上女神瑪莉ɻ為了慳錢ɼ 阿賈當晚順道藏入衣櫃過夜ɼ怎料一起身 衣櫃已正在運送到英國途中ʂ阿賈跟著衣 櫃輾轉流落西班牙ɺ羅馬和利比亞ɼ還巧 遇巨星ɺ黑幫和海 ɻ這趟ʮ衣櫃之旅ʯ令 身無分文的印度小子領悟到ɼ世界充滿著 無限的可能ɼ人生就掌握在他手中ʂ ʬ星爸克超有種ʭ導演堅史葛寓意喜劇ɼ

ʬ星光夢裡人ʭ 3 大金像級巨星ɿ丹努什ɺ

ʬ盜海狙擊ʭ巴哈亞迪風趣演繹ɼ 貝妮絲碧祖ɺ 娛樂無窮ɻ

Don’t let poverty grind you down or limit how far you can go. Because when you can’t afford a plane ticket, you can always travel around the world in a wardrobe! A poverty-stricken fakir from India flies to Paris with only 100 euros in his pocket. Smart enough to sneak into an IKEA wardrobe to save on hotel fees, the young man wakes to find that he and the wardrobe are being shipped to England. Stuck inside a tiny box, the humble fakir embarks on a fortuitous adventure across Europe, revealing that anything is possible.

THE EXTRAORDINARY JOURNEY OF THE FAKIR

THE EXTRAORDINARY JOURNEY OF THE FAKIR 100 蚊ɼ窮遊精彩人生ʁ

《㉧⭸ೆ೙⻇ᠢ‫ۄ‬ᑏ⺶》

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別說事業走上軌道ɺ開始組織家庭ɼ日

Director NOBUHIRO YAMASHITA ᭴‫ ޤ‬Cast ᖲ⁲㹩ໜ RYÛHEI MATSUDA ⇞ᕱ㡫ಠ YöKO MAKI ᆮ⁲Ⴆᚏ㪁 Erika Toda ૯⾾‫ ⑤׊‬RIKU Onishi ങ᭴

൶˗ᐜཝ

本一個宅男阿叔過了而立之年ɼ仍終日無所 事事ʮ毒ʯ在哥哥家中ʂ雖兼職哲學講師ɼ 但這位宅叔仍是不折不扣的寄生蟲ɼ還要經 常利用姪仔買漫畫ɺ騙零用錢ɼ讓早已看透 世事的姪仔哭笑不得ɻ直至遇上一見鍾情的 女神ɼ宅叔毅然決定ʮ脫毒ʯɼ追女神追到夏 威夷ʂ

MY UNCLE

三十而立ʁ

MY UNCLE

《ᅽ⅛ᣢ⁡‫》ےے‬

What could be more heart-warming than a jaunty story about a young boy determined to get his otaku uncle out of the house? When he is not teaching, a part-time philosophy lecturer stays in the spare room of his brother’s house and reads comic books all day, every day. Not until an encounter with his goddess does this downright otaku uncle pluck up the courage, with the help of his nephew, to chase the love of his life, even if it means flying across the ocean to Hawaii.

ʬLa La La Rock 到底ʭ導演山下敦弘再

次施展他的另類大叔幽默ɼ巧選ʬ字裡人間ʭ 松田龍平演性格古怪的叔叔ɼ打造叔姪的浪 漫溫情笑片ɻ Ở೙㩧፵ Exclusive Premiere

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APRIL'S DAUGHTER

APRIL'S DAUGHTER

《㢞᳏̪ᣟ 》

Director ●㭙᧊ⴘ޿ MICHEL FRANCO ᭴‫ ޤ‬Cast ⨞῔⳹㣈⪬ EMMA SUÁREZ ೎ன‹⭐㕴௫ㆮΉ㕴 ANA VALERIA BECERRIL ၎㕴Գ㠾㕴ᛅ ENRIQUE ARRIZO ị㦀 AWARDS WINNER OF SPECIAL JURY PRIZE, UN CERTAIN REGARD IN CANNES FILM FESTIVAL ങ᭴

᝟Ỿ༑৬ྗൢ「ˏ␱㠛᧚」けഖॲṁ‫׆‬Ợ

ʮ你的女兒就是我的女兒ɼ你的男人也是我

的男人ɻʯ愛與嫉妒ɼ往往只有一線之差ɼ偉 大的母愛ɼ也不過如此ɻ十七歲少女與男友 未婚懷孕ɼ叮囑同住的姊姊切勿告知長期缺 席的母親ɼ姊姊卻把母親找來了ɻ母親把女 嬰視為己出ɼ悉心照顧孫女和初為人母的女 兒ɻ可是慈祥的母愛開始泛濫ɼ她逐漸想把

女兒的一切據為己有ɼ慢慢越過道德界線ɼ 走向極端ʜʜ ʬ校園欺凌後ʭ導演米高法蘭哥ɺʬ胡莉

糊濤ʭ艾瑪蘇蕾茲出神入化演技ɼ送上一段 扭曲的母女孽緣ɼ獲康城影展ʮ 一種關注 ʯ

A mother’s love is the most powerful force in the world. At least that’s what we are told.

Seventeen and pregnant, Valeria warns her half-sister to never tell their long-absent mother, April, about her condition. The concerned sister decides to go against Valeria’s will and notifies their mother of the news.

April arrives and takes great care of her daughter, even treating the new-born baby as her own. The mother-daughter reunion seems perfectly fine, until April crosses the line and tries to strip everything away from Valeria.

Spanish actress Emma Suárez, star of Pedro Almodovar’s JULIETA, redefines unwavering motherly love.

評審團獎ɻ

18

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小時候ɼ媽媽教導為人要正直ɼ不做ʮ狼

May ̒ᔾ

來了ʯ放羊的孩子ɼ也不做河邊貪肉的狗ɻ 人不為己天誅地滅ɼ我感到很疑惑ɼ不解 大人為何常常說的話自相矛盾ɻ人漸漸長大ɼ 便發現ɼ不擦上司鞋ɼ就上不到位ʀ不吹 噓優點ɼ就追不到女孩ʀ不編造一些故事ɼ 就偷不到一點快樂ɻ人漸漸成熟ɼ便明白ɼ 騙得到人ɼ也騙得到自己ɻ不然ɼ怎麼在 這荒謬世界生存ʁ 五月ɼMOViE MOViE 與你走進偽善的 現實世界ɼ看透人間私慾與腐敗ɼ刺穿包 著人性的泡沫ɻ

Director RUBEN ÖSTLUND ᭴‫ ޤ‬Cast Գ㣈ᑔὧ၎ CLAES BANG ͺ⫥⫪Ⅽፖ⚘ ELISABETH MOSS ᖗᒝ്㥬ᑔ DOMINIC WEST ị㦀 AWARDS WINNER OF PALME D'OR, CANNES FILM FESTIVAL ങ᭴

㯈㇜ଔૈі

᝟Ỿ༑৬ྗൢ「㕹ᚱᡊỢ」

THE SQUARE

THE SQUARE 《ᑅഋ⾲̪࿁》

NOMINATED FOR BEST FOREIGN LANGUAGE FILM, ACADEMY AWARDS ዠ‫ܕ‬ଔᑔ‫「ڠ‬ᕏω૥よḚ」

來自上流社會的博物館館長基斯頓ɼ希望 透 過 藝 術 展 覽ʮ 方 格 ʯ 來 喚 醒 社 會 公 義ɼ

呼籲人們關懷社會ɻ另一邊廂ɼ基斯頓被 偷取了手機和銀包ɼ為了報復ɼ他竟然ʮ說

一套ɼ做一套ʯɼ做出了愚昧幼稚的行為ɼ 因而惹來輿論譴責ɻ在文藝圈內高舉道德 旗幟ɼ轉過頭卻違背自己的藝術宣言ɼ這 些環環相扣的事件ɼ令他與博物館的聲譽

危在旦夕ɻ 榮獲奧斯卡ʮ最佳外語片ʯ提名和康

She was taught integrity as a child –not to lie, or be greedy, and not to be selfish. As much as she wished to live up to these words, she soon learnt that the world is everyone for themselves. She swam against the current with all her strength, but slowly tired after many disappointments and betrayals. Failing to overpower the torrent of reality, she was washed out to sea, chained, powerless, and vain. She realises non-resistance is the best weapon to confront the world. At least in this way, she could finally accept the lie she tells herself and embrace the masqueraded person she sees in the mirror, for this is the only face she now can recognise.

This May, MOViE MOViE enters the pseudo worlds so close to truth it frightens us.

Christian, respected curator of a contemporary art museum, launches an art installation named “The Square”, with the aim of advocating social justice and individual responsibilities among its visitors. Despite his righteous artistic campaign, it is never easy to live up to these ideals – Christian’s foolish response to the theft of his phone sends him and the museum into a spiralling public disgrace. Winner of the Palme d'Or at the Cannes Film Festival, and nominated for the Best Foreign Language Film Academy Award, THE SQUARE projects middle-class hypocrisy onto the canvas of art.

城影展最高殊榮ʮ金棕櫚獎ʯɼʬ愛情中的 不可抗力ʭ瑞典大導演魯賓奧士倫ɼ以嬉 笑怒罵形式描繪中產眾生相ɼ嘲諷上流人 士的偽善和雙重標準ɼ揭露道德敗壞的社 會醜態ɻ

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19

FRAMING THE ABSURD Skewering the art world in Ruben Östlund s THE SQUARE

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.

In a sequence towards the end of Ruben Östlund’s Palme D’Or winner The Square, a performance artist turns a stately fundraising event into a shockingly violent and primal melee. The event in question is hosted

by Stockholm’s X-Royal art museum, and attended by hundreds of wealthy patrons and benefactors, all doled out in their finest evening wear. As part of the evening’s celebrations, the performer is ushered into the room amidst a cacophony of sound, emulating the tropical climate of the rainforest. Oleg materialises, mimicking the movements and behaviour of a large primate. He roams through the grand ballroom, approaching guests at random, smelling and touching them with total disregard for their personal space.

At first, the diners marvel at the impressive physicality of his performance.

Oleg never breaks character, but as his actions become increasingly invasive, the mood of the room changes. Oleg becomes increasingly aggressive, pawing and clawing at the women in particular, as well as Dominic West’s celebrated artist, and eventually their adulation turns hostile and the guests revolt against the actor.

The scene was inspired by a real-life incident that occurred in Stockholm in 1996, in which Ukranian performance artist Oleg Kulik attacked a spectator and damaged numerous other works of art, while imitating a vicious dog. In The Square, Oleg is played by Terry Notary, a hugely accomplished American actor, stuntman and movement coach.

Notary has garnered worldwide acclaim for his performance capture work, most notably as Rocket in the recent Planet of the Apes films, Groot in Avengers: Infinity War, and as the eponymous giant primate in Kong: Skull Island. Östlund is satirising many things during this sequence. Firstly, the absurd lengths to which artists are willing to go for their

20

craft. In his efforts to make a statement about the human condition and imposed social boundaries, Oleg willingly abandons everything that makes him a man, offending and injuring many bystanders in the process, and ultimately triggering a violent, injurious response from them.

On the flip side, Östlund is also gleefully mocking the self-important art world and its benefactors. They fall over themselves to be seen as understanding and supporting contemporary fine art - widely regarded as the cutting edge of all art forms - only to reveal their lack of understanding, failure to embrace provocative and challenging work, ultimately responding with fear, hostility, and violence.

At the centre of the film is Christian, the museum’s curator and gatekeeper for what is hot and what is not. Wonderfully played by Danish actor Claes Bang, Christian is as absurd, flawed and utterly constrained by the arbitrary rules of his own making. He is first introduced while being interviewed by Elisabeth Moss’ American journalist, struggling to explain the flowery language he used to describe the museum’s upcoming show. This immediately undercuts the air of pretentious cool he strives so hard to project at all times, and is only exacerbated after his wallet and phone are stolen in an elaborate mugging, a legitimate feat of performance art in its own right.

Ashamed of falling victim to such an accomplished piece of confidence trickery, Christian quickly becomes obsessed with tracking down the perpetrator and retrieving his stolen belongings. This journey forces Christian into neighbourhoods of Stockholm he would otherwise never frequent, and dealing with people struggling on the fringes of society - a far cry from the patrons and art snobs who populate his daily life. This ridiculous comedy of errors unfolds all while Christian should be focusing on the imminent opening of a new show, and the PR disaster

that is forming around a provocative ad campaign he failed to veto.

The irony surrounding Christian continues when we witness what a lousy father he is. He also engages in a one-night-stand with a journalist, which results in a ridiculous argument over a used condom. It would appear that the primary tastemaker of the art world is incapable of adequately caring for his own creations, and terrified at the prospect of creating more.

Perhaps The Square’s strongest statement, however, comes in its opening moments, when we witness the beautiful classical architecture outside the X-Royal being unceremoniously demolished to make way of the titular new work, and centrepiece of the museum’s new show. Far from decreeing triumphantly out with the old and in with the new, Östlund immediately highlights the absurdity of modern art. Glorious statues and beautifully cobbled courtyards are bulldozed, broken and swept aside - after hundreds of years - to make way for a few strips of neon light. This world, the modern art world, has gone mad, Östlund seems to say. More infatuated with the empty frame - one that invites the spectator to stand inside of and marvel at oneself - than the work of art it once helped present.

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HAPPY AS LAZZARO

HAPPY AS LAZZARO 《⇺ỿಉ⅛࿜ឈҠほ》

Director ⨞⫥⚘ピೝ஘ᘀ ALICE ROHRWACHER ᭴‫ ޤ‬Cast ADRIANO TARDIOLO LUCA CHIKOVANI ALBA ROHRWACHER ị㦀 AWARDS WINNER OF BEST SCREENPLAY, CANNES FILM FESTIVAL ങ᭴

᝟Ỿ༑৬ྗൢ「ᕏω،ᕴỢ」

在一個與世隔絕的意大利小鎮ɼ純樸善良 的拉扎羅與驕橫的年輕貴族結為朋友ɻ某 天ɼ這位任性公子一時貪玩ɼ自導自演了 一場綁架案ɼ拉扎羅被捲入好友的鬧劇之中ɼ 以致陷入昏迷ɻ數十年後一醒過來ɼ拉扎 羅 少 年 容 貌 依 舊ɼ 但 他 的 家 園 面 目 全 非ɼ 世外桃源被現代化瓦解ɼ淪為失樂園ɻ一 顆流落街頭的善良之心ɼ能夠抵抗現實的 殘酷ɼ兌現當年與舊友許下的承諾嗎ʁ

Is innocence a blessing or a curse? The young, kind-hearted Lazzaro lives his life as a peasant in a remote Italian village. One day, he is befriended by a young nobleman, who orchestrates his own kidnapping for fun. Dragged into the drama of his defiant friend, Lazzaro ends up in a coma for years. The young man wakes up having not aged a bit, only to find out the only home he knows has already turned into an abandoned land. The pure hearted lad makes his way back home to his old friend, to fulfil a promise made years earlier.

ʬ蜂蜜仲夏夢ʭ編導諾宜娃查康城最佳 劇本得獎作品ɼ以 16 米厘菲林質感呈現魔 幻寫實的故事ɼ帶領觀眾穿梭城市與農村ɼ 留下單純與現實角力的足印ɻ

lHappy as Lazzaro ʜ is the sanctity of living in this world without thinking ill of anyone and simply believing in human beings. Because another way was possible, the way of goodness, which men have always ignored but which always reappears to question them. Like something that might have been but that we`ve never ever wanted. z Alice Rohrwacher, director

Ở೙㩧፵ Exclusive Premiere

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21

THE IMAGE BOOK

將新舊影像分解再重組ɼ堆疊成瑣碎雜亂 的蒙太奇ʀ聲音ɺ音樂ɺ旁白錯落於影像

Director ഹ↴㭙㑇 JEAN-LUC GODARD ᭴‫ ޤ‬Cast ഹ↴㭙㑇 JEAN-LUC GODARD (NARRATOR) ị㦀 AWARDS WINNER OF PALME D'OR SPÉCIALE, CANNES FILM FESTIVAL ങ᭴

᝟Ỿ༑৬ྗൢ「ṁ‫׆‬㕹ᚱᡊỢ」

身上ɼ各訴各自的故事ɻ音畫錯配ɼ聲音 和影像才進行真正的對話ʀ影像拼貼成詩ɼ 畫面與畫面才產生了詞語ɼ論述著一個一 個道理ɻ 這是一部五個章節的電影ɻ首兩章從 電影史切入ɼ探討戰爭ɺ法律ɺ資本主義 等體制的本質ɻ後三章剝去媒體硬加在阿 拉伯民族的外殼ɼ深入考究阿拉伯文化信 ʬTHE IMAGE BOOKʭ的五個章節就如五根 手指ɼ各有感知ɼ拼湊起來像一隻靈活舞 動的手ɼ編製出一部關於世界ɺ屬於世界 的ʮ手作電影ʯɻ

榮 獲 康城 影 展 首 屆ʮ 特 別 金 棕 櫚 獎ʯɼ

新浪潮大師尚盧高達再以論文電影ɼ在文明ɺ 公義ɺ道德高地上作尖銳的批判ɼ疾呼絕 望的聲音ɻ

THE IMAGE BOOK

仰ɼ暗示大西方主義的偏頗與虛偽ɻ高達說ɼ

Images disintegrate and reassemble into montages that tell stories of their own; music and narrations mismatch into meaningful dialogues with the montages they accompany – this is when words are turned into speeches, notes create songs, and images become films.

Godard’s cinematic collage is comprised of 5 chapters. Through the history of cinema, they probe the nature of war, law, capitalism and other ideologies that constitute the civilisation we live in today. Meanwhile, they unveil a side of the Arab world coated with western stereotypes, thereby questioning the prejudices shaped by cinematic representation.

lTo say that The Image Book is an act of courage,

that it is unprecedented, is a platitude. But this is the feeling that keeps coming back to me.z Bernard Eisenschitz, Film Critic

22

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26/5 (SUN) 24:00 | 27/5 (MON) 23:45

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MM HOME PREMIERES

LOVELESS

LOVELESS 《㢜⿈˂↫Ⴠ 》

Director ೎࿍ᳰⲬ㕹ਫ਼૲ ANDREY ZVYAGINTSEV ᭴‫ ޤ‬Cast ῔⫥⪯ன⚘ᨡ஘ MARYANA SPIVAK 㠾‫ૈ؝‬ピᑔ ALEXEY ROZIN 㶳⛃ピ৶޿૲ MATVEY NOVIKOV ị㦀 AWARDS WINNER OF PALME D'OR, CANNES FILM FESTIVAL ങ᭴

᝟Ỿ༑৬ྗൢ「㕹ᚱᡊỢ」

夫妻婚外各有自己幸福ɼ彼此之間的感情 早已燃盡ɼ離婚乃是無可避免的結局ɻ無 情父母沉醉在私慾中ɼ準備開展新生活之時ɼ 兒子已變得可有可無ɻ二人吵鬧時完全漠 視孩子感受ɼ以致他無聲失蹤ɻ離婚在即ɼ 他們唯有一同尋找兒子下落ɻ家庭崩裂之際ɼ 這對父母慢慢暴露自己原來從不稱職ɼ沒 有好好了解兒子生活ɼ現在更因私心釀成 悲劇ɻ離婚從來不是兩個人的事ɼ感情可 以結束ɼ但愛情結晶也可以拋諸腦後ʁ ʬ荒謬啟示錄ʭ金球獎俄羅斯導演薩金

塞夫繼ʬ爸不得愛你ʭɺʬ母親的罪愛ʭ再

Love can die out; a marriage can end; but a parent’s responsibility always remains.

A Russian couple is going through a bitter divorce, and are separately embarking on new lives with new partners. During the course of their feud, the selfish couple drives away their almost “disposable” son, through their indifference to caring for him. Their selfcentredness surfaces as they go search for their disappeared son, exposing them as parents who love no one but themselves.

Like his equally thought-provoking dramas LEVIATHAN, THE RETURN, and ELENA, director Andrei Zvyagintsev addresses troubling parental bonds and responsibilities in the most uncanny and brutal way.

次從破碎家庭中探討愛與親子關係ɼ平淡 中道出親情如紙的酸澀ɻ

5 ᔾ， MOViE MOViE ‫۽‬ᢖ㏴ʿ᜝‫͇₍↢≚۔‬Ϯ॓‫۾‬ങಷྶ ᳙ⲕ㕢ੇ૛Π‫。ޑ‬

More works from acclaimed Russian director Andrey Zvyagintsev in May, only on MOViE MOViE.

《᷷˂ྜྷჀΤ》

THE RETURN

10/05 (FRI)22:00

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《ு୹ͩᢓⓊ》

THE BANISHMENT

《⪳ョࠅ⍠㙥》

17/05 (FRI) 22:00

LEVIATHAN

24/05 (FRI) 22:00 23

MIDORI.ILLUSTRATION MIDORI.ILLUSTRATION

໺৕「ኔኔ」 ị！

PALM D'PAWS

習慣了趕出書的前夕總是要 OTɼ但這一晚是快樂的ɼ因為這一晚 # 腐爛姊妹花一邊 OT 一 邊看貓貓狗狗才是正經事ʢ來個不是對談的對談ʣɻ

Text by elaine sham & cora chan

Hannibal Marvin 《ᆬ㦠‫׋‬ૠ㮒྘》THE MAN WITHOUT A PAST

4/5 (SAT) 24:00

《ᗖྶ㐶》PATERSON

18/5 (SAT) 24:00

Mimi 《⇟⇵↫ᑏ⺶》FACES PLACES

25/5 (SAT) 24:00

⣞؆ы：˗ⓥ⦙љ㭂

⣞؆ы：（љ࿁६）㭂

⣞؆ы：ࡉ。（ᷔᶣ）

㦹ы：㓜೙ଆಜধ

㦹ы：⠪ⴛṳᔸ㭂！！！！！！

㦹ы：ࡉ。

Ⓔ㷉：Т‫۾‬๭⚘ㇻ‫ݬ‬

‫˜ێ‬؇؆：⇧Τߏ֑，Τㇻ！

᭴ᇏ：ࡉ（⦳ʸˀച⢈ὣ） （Ա㒝〺೿Աವೃෞᯀ）。

你知道嗎ʁ芬蘭怪傑郭利斯馬基差不多每

當 Adam Driver 是個 Bus Driverɼ住在 Paterson

說到 FACES PLACES又 是 揪 心ɻ 華 妲 90 歲

一部電影都有一隻狗狗呢ʂʬ扑頭前失魂

一個叫 Paterson 的詩人ɻ只可以說占渣木殊

還是對世界如此好奇ɼ我是覺得她真的會

後ʭ的 Hannibalʢ牠的真名是 Tähti [H 字

要大大力發音 ]ɼ大家跟我唸一遍ʂʣ拿下 了金棕櫚狗狗獎ɼ而ʬ心靈港灣ʭ的 Laika 也奪下了評審團狗狗獎呢ɻ 哈 哈ɼ 顏 值 爆 燈ʢʂʂʂʣɼ 而 且 超

strikes againɼ故事平淡但當中有你ɼ詩意盎

然的巴士司機ɻ睇落什麼都沒有發生ɼ但餘 韻很長ʢ第一次看是睡著了但學阿巴斯話齋 ɻ 觀眾睡著是好事ʣ PATERSON 裡面的老虎狗 Nellie 其實已

長生不老ɻ 浪漫地想ɼ她回到積葵丹美的懷抱還 是好的ɼ畢竟她真的好愛他ɻ 至於 Mimi 拿獎ʢ還是量身訂造ʣɼ應 該就是我們都是奴才的緣故吧ɻ牠就是走

乖的可愛狗狗ɼ卻有著叫人聞風喪膽的名

ʢ對ɼ是 經離去了ɼ但占渣木殊還是給ʮ她ʯ

字呢ɻ

她ɼ她是女生喔ɼ只是在電影反串成男生而已ʣ

袋 袋 平 安 金 棕 櫚 貓 貓 獎 了ʢ 還 是 量 身 訂

很高的評價ɼ說她有一把獨特的聲音ɼ可以

造ʣʜʢʬ狗眼看人間ʭ的 Hagen 淚奔中ʣ

牠其實是第二屆金棕櫚狗狗獎的得主ɼ 算是老戲骨了ɻ

來走去走上華妲的肩上拍張照啊ɼ然後就

表達自己呢ʂ導演還叫大家要領養代替購買 ɻ 喔ʢ因為 Nellie 也曾是被遺棄的狗狗喔ʣ 小提示ɿPATERSON 要記住看到最尾喔ɼ 狗狗超好笑ɻ

Hagen

說到狗界影帝ɼ這一隻準沒錯了吧ɼ眉頭 深鎖ɼ有點劉青雲的影子ʢ樣子很有深度 的狗狗ʣɻ 這部電影最厲害的是ɼ共用上了 274 隻 狗狗演員ɼ當中很多都是在愛護動物協會 之 類 的 animal shelter 中 生 活 的 狗 狗ɻ200 多隻狗狗在布達佩斯街上追著小女孩的 畫面還是震撼到不行呢ʢ我 too young too

ɻ naïve 的小腦袋ʣ

你可能會覺得這是爭取動物權益ɺ史 詩式ʮ狗狗復仇記ʯ的電影ɼ但其實諗深一層ɼ

所謂ʮ雜種狗ʯ與ʮ純種狗ʯɼ可能也可以 套用到性別ɺ性取向ɺ或是種族ʢWHITE

WHITE GOD 4/5 (SAT) 24:00 26

⣞؆ы：љ㭂

GOD 為何是 White 呢ʣ的議題 畢竟多

᭴ᇏ：（Ⴉ↷᪑㛤）ᷔᶣ

事之秋ɼ是自作孽也是自作多情吧ɻ

᪑໫：（Ⴉ↷᪑㛤）ᷔᶣ

PALM D'PAWS

T

Gary Mak

TOP PICKS

㶜⡧๽ Gary Mak Ⅾ⡁‫ٺ‬㣌ྗˮ࿘✼↰

1

2 《ኪ㏒ᴙ㠴ᬜᓬ⅛Ⲱ》

《ᔾὣˬᑏ》 A TRIP TO THE MOON ങ᭴

Director

ങ᭴

Ϋᦱᙳ㕴⡬ᑔ GEORGES

MÉLIÈS

Director

㠾࿚㏹ሜਘ࿥ᯬ ABDELLATIF

KECHICHE

這是電影發明最早期的作品ɼ佐治梅里耶斯

一部可以當成愛情片看的電影ɼ其中對女女

用最原始的方法拍攝科幻故事ɻ它是電影史

之間的感情和情慾的描寫去到好盡ɻ它鋪敘

上重要的一頁ɼ內裡的影像時至今日仍具標

和刻劃了一段愛情由開始至破滅時ɼ當中的

誌性ɻ

3

失落與創傷ɼ讓人刻骨銘心ɻ

4

《⇟⇵↫ᑏ⺶》FACES PLACES

《ܴ֯⿾ぱ》GOODBYE TO LANGUAGE

ങ᭴

Director

ങ᭴

⨞㶦⚘⬹୎ AGNÈS

5

BLUE IS THE WARMEST COLOUR

VARDA

Director

ഹ↴㭙㑇 Jean-Luc

Godard

̒ᔾ㈘，ۨᑇ MOVIE MOVIE

法國新浪潮之母 Agnès Varda 剛以 90 歲高

法國新浪潮中仍在世的導演所餘無幾ɼ高

⦓㑍ᕃ‫ ۋت‬MOVIE MOVIE

齡辭世ɼ這正是需要回顧其作品的時刻ɻ這

達至今仍堅持突破電影的界限ɼ是個 true

PLAY 㷉፵ AVAILABLE ON MOVIE MOVIE ON DEMAND & MOVIE MOVIE PLAY STARTING FROM MAY.

套電影簡單地從人民出發ɼ紀錄一些鄉村裡

artistɻ電影反思不少當代電影的毛病ɼ同時

小市民的人物訪問ɼ從中看到人性和心靈

對電影語言和影像之間的存在關係提出疑

上的故事ɼ是一部富有人道精神的作品ɻ好

問ɻ

6 看ʂ

7

《ऴ⅗ᎋ》 《Ⲱ⅖☦ʾ㒝ᔮˬ☦》RED ങ᭴

Director KRZYSZTOF KIESLOWSKI

《⼺ᲃỪ J 》STRANGER BY THE LAKE ങ᭴

Director

THE 400 BLOWS ങ᭴

㠾і۵ሜ㏹ ALAIN

個人對奇斯洛夫斯基情有獨鍾ɼ其實ʬ紅ʭ

這套電影開啟了法國新浪潮ɻ適逢法國新浪

絲毫也不遜色於ʬ藍ʭɻ電影講述緣份和偶

這是一套拍攝得非常赤裸裸的 gay filmɼ以 偵探懸疑片的方式呈現同志之間的情慾ɼ讓

潮 60 周年ɼ現在是絕佳的時機重溫這部杜

遇──這些捉摸不到ɺ卻牽引著自己的命運

人非常緊張又滿足ɻ

魯福導演的經典ɻ這絕對是所有自命影迷的

9

人都必須觀看的電影ɻ

和關係的東西ɻ他成功將一些難以影像化的

8

概念拍攝出來ɼ是不可多得的作品ɻ

GUIRAUDIE

Director

ଁᑔᨁ૲ᑔ਎

ങ᭴

Director AKI KAURISMÄKI

㢢਎㒹‫׊‬ᑔ㪏਎

TRUFFAUT

10

《ᦿ▸‫》⁎̷ˉ׋⅛ےے‬UNCLE BOONMEE

《ᆬ㦠‫׋‬ૠ㮒྘》

THE MAN WITHOUT A PAST

ᖗ㯈⎼ FRANÇOIS

《՜ᑦ⁒㔮》WINTER SLEEP ങ᭴

Director

㯈㕴᣻⪬⧆ⴘ Nuri

WHO CAN RECALL HIS PAST LIVES ങ᭴

Bilge Ceylan

Director

㠾ྠഌ㒈㥬ሜᑔ⩇۵ APICHATPONG WEERASETHAKUL

導演冷幽默式的拍攝方法無出其有ɼ極為獨

土耳其導演 Ceylan 的作品具有現代主義導

導演 Apichatpong Weerasethakul 拍攝的電影

特和具辯識度ɻ他在表面上平面的視角和故

演的遺風ɼ甫出現便具有大師的風範ɻ在電

一向別樹一格ɻ這部電影運用了介乎敘事與

事情節中蘊藏了很多內心的感情ɼ是ʮ外冷

影裏ɼ他運用環境和天氣顯示主角的內心世

非敘事之間的手法ɼ十分引人入勝和具原創

內熱ʯ的一部作品ɻ

界ɼ從而準確地刻劃主角對人間冷酷且不至

性ɼ牽引著觀眾觀賞的意欲ɻ

TOP PICKS

不近人情的狀態ɼ在挖掘人性黑暗面的同時 卻沒有喪失人性本身ɻ

27

㠄ᑇ⬢ଷ⅛̌ʾ̋

5 THINGS WE LOVE ABOUT AGNÈS VARDA

1 2

她頂著一頭紅髮ɼ髮頂如雪ɼ90 歲依 舊對世界好奇ɼ依舊愛玩愛笑ɼ像個小女孩ɻ 我們在電影

看到她為女性發聲ɼ溫柔地

改變電影歷史ɼ而我們更加難以忘記的是 她在電影

5 ⬹୎ⅲ「⬕㦷」，ᒶଣ

新浪潮之母艾麗絲華妲剛離開了我們ɻ

對丈夫積葵丹美的魂牽夢縈ɻ

We are saddened to hear that veteran filmmaker Agnès Varda, the “Godmother of French New Wave”, has passed away. With a remarkable career spanning more than six decades in cinema, Varda was a filmmaker, photographer (and cat lover) who never ceased to be curious about the world and its people.

願華妲在天上與丹美團聚ɼ她的作品 將長留影迷心裡ɼ與銀幕光影之中ɻ

70 ໝϜⅲ「ࢴ㦷」。

Varda s most iconic signature is her dual-toned bowlFXW KDLUVW\OH ZKLFK VKH KDG ZRUQ VLQFH KHU ğUVW ğOP ⬹୎ˏ⁥ሠᏥ̞㈹㑁 50 ଌ،ႎḚ‫☸ݸ‬㙼Ḛ，΢‫ۈ‬Ϝଣ ྐྵᦔㅄ㑁ͯΰ㣌ྗゖ␙，⁡⦰ᦔᕖ۞⧀㑁㣌ྗ⽖η。 ଣᄱ⮏Ꮵྗ⚯㬡，ॼ 26 ᢳሠ̞́⁥ⓧˏଌ㣌ྗ《≿⿰

ႎ̢》(1955)，͠‫⻘ע‬ⅲη㧰᏾ഘ㣌ྗᢶ‫܂‬，㑰ᆓ᳦

᧊४㣌ྗଝᡪ˹⟵ⅲ㕵⿀ዃᆾ。

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⬹୎ⅲ㣌ྗ⚯ັ֨ή「ㆥ」，ଫ《≿⿰ႎ̢》(1955)、

《㨑㐡ⅲỜಠ》(2003)、《ᦚᲚ˖ⅲ⬹୎》(2008)。 ⬹୎‫׾‬⒤ⅲ⽖ḚՌ‫ ܇‬Ciné-Tamaris ឳぺ˖ⅲܑ⎟

ḵെᒶଣⅲთㆥ「⨳⬕⬕」（Zgougou）。

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《⇟⇵↫ᑏ⺶》

FACES PLACES

《⒜ໆሮ㈶》

JACQUOT

⬹୎ᕏთଣⅲ˔૲，ᕏ⟞㶦ⅲ⑈⮬˸⟞。˸⟞㢻ˠྯ， ଣሠ̞˕ଌ㣌ྗ‫ូܔܙ‬ᒶരᮋⅲ˔૲⦱ᐡ：《⒳ໝቅ ㉍》(1991)、《ଣо 25 ᢳ̞》(1993) ‫⟞˸《ݸ‬ⅲ

㣌ྗೌ೚》(1995)。

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5

《ʸ⅗㢰ʸ૒》

ONE HUNDRED AND ONE NIGHTS

《ᦃᲃʿ⅛⬢ଷ》

THE BEACHES OF AGNÈS

《⇶∌⇂ᑦ⻍》ዠ‫ܕ‬㕹ӏỢᕏω☸㙼Ḛ，⬹୎˙Ѐ֨ ຫՆ६‫ڏ‬೮，െㅒ JR ຯ⮏㉾ଣ⇞́ˏូ૯റⅲ́ྋ♑

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ˑྐᤷὺˮ，ᐁ‫׍‬૰˖。

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28

《ˡ⟇⅛㢵ྀವೃ》

THE WORLD OF JACQUES DEMY

《૙ᩕᒟᅽ೙》

VAGABOND

ऴᔾ㈘，ۨᑇ MOViE MOViE ⦓㑍ᕃ‫ ۋت‬MOViE MOViE PLAY （ Now E ）㕞ᬜ⬢ଷᔸᬜᓬ⅛Π‫ 。ޑ‬Re-visit Agnès Varda s most iconic works on MOViE MOViE on Demand service & MOViE MOViE PLAY (Now E).

AGNÈS VARDA

MM AVENGERS ˂ᒟ⩢㢊⡵↗

BRIE LARSON

BENEDICT CUMBERBATCH

M Text by: Lulu Liu 《㞾̥ᔜԛ》SHORT TERM 12

27/4 (SAT) 22:00

《⿧⋿㐦ᆔ》THE IMITATION GAME

13/4 (SAT) 22:00

ʮ奇異博士ʯ班尼狄甘巴貝治化身絕頂聰明

ʬMarvel 隊長ʭ強勢上畫ɼ緊接四月上映

ʮMarvel 隊長ʯ貝兒娜森同時也是奧斯卡影

后ɼʬ閃亮曙光ʭ則比ʬ抖室ʭ更早ɼ更有

的電腦之父艾倫圖靈ɼ在二戰期間歷經重

之戰ʭʂ這些ʮ超級英雄ʯ們拯救世界的

新晉奧斯卡影帝雷米馬利克ɼ是一個關於

重困難ɼ發明了世上首部電腦破譯納粹密碼ɼ

畫面在我們腦海揮之不去ɼ但原來他們也

青年收容所的故事ɻ貝兒娜森飾演的年輕

促成二次大戰結束ɻ戰爭英雄背後ɼ他背

拍過不少相對小眾的獨立藝術電影ɻ今個

收容所主管 Graceɼ在照顧收容所內被大人

四 月ɼ 終 局 開 戰 之 前ɼMOViE MOViE 先

虐待的孩子的同時ɼ還要面對自己的心魔ɻ

Fans 們引頸以待的ʬ復仇者聯盟 4ɿ終局

與你回到英雄未ʮ雄ʯ時ʂ When they are not saving the world, many of Marvel’s superheroes also appear in arthouse films. As we all approach the Endgame this April, MOViE MOViE reveals the secret, indie identities of the Avengers’ biggest stars!

Captain Marvel Brie Larson plays Grace, who looks after the children and teenagers in a residential treatment facility, where she must also face challenges in her own life.

MARVEL 㡟㞵 CAPTAIN MARVEL ̶​̶ ㆗ԟஒᚮ BRIE LARSON

L E V R A M N I A T P CA DOCTOR STRANGE HULK

BLACK

WIDO W

SCARLETT JOHANSSON

負著一個不能說的秘密ʜʜ ʬ解碼遊戲ʭ勇奪奧斯卡最佳原創劇本及 7 項大獎提名ɻ Doctor Strange Benedict Cumberbatch plays mathematical genius Alan Turin, who forms a gifted team of genius codebreakers who helped win World War II.

૪₋‫ڃ‬઱ DOCTOR STRANGE ̶​̶ ὐശṥ⁈๯㆗ᦚ BENEDICT CUMBERBATCH

MARK RUFFALO

《んՇ㤁⛆ᅽ》YOU CAN COUNT ON ME

6/4 (SAT) 22:00 《ၷ㏪๯ੇ㡛ሯ》VICKY CHRISTINA BARCELONA

20/4 (SAT) 22:00

在巴塞隆拿的盛夏ɼʮ黑寡婦ʯ施嘉莉祖安 遜繼續性感嫵媚ɼ明媚風光與陽光下ɼ與 閨蜜同時情陷ʬ浮花ʭ彭妮露古絲及ʬ美 麗末日ʭ哈維亞巴頓曖昧不明之間ɻ活地 亞倫賣座浪漫愛情喜劇ɼ勇奪金球獎最佳 電影ɻ

ʮ變形俠醫ʯ麥克雷法路不亂發脾氣搞亂檔ɼ 轉走溫情路線ʂ一個四處流浪ɺ麻煩纏身 的男人ɼ意外與失散多年ɺ但童年時相依 為命的妹妹重逢ɻ多年未見ɼ二人能成為 彼此的依靠嗎ʁ Hulk Mark Ruffalo plays Terry, an aimless drifter who reunites with his long-lost sister, only to upset her precariously balanced small town life.

Black Widow Scarlett Johansson appears opposite Iron Man 3’s Rebecca Hall, in Woody Allen’s exotic, Spanish-set love triangle.

ㄵུЇ㕀 HULK ̶​̶ 㶜Ԝ㢱ᦳ㉵ MARK RUFFALO 4 ᔾ㈘ۨᑇ MOViE MOViE ⦓㑍ᕃ‫ ۋت‬MOViE MOViE PLAY 㷉፵ ALSO AVAILABLE ON MOVIE MOVIE ON DEMAND AND MOVIE MOVIE PLAY starting from April.

MM AVENGERS

㶿೷் BLACK WIDOW ̶​̶ ᑈ࢏⫎⍹ಷ㐶 SCARLETT JOHANSSON

29

Hirokazu Kore-eda, The moving images of life and death

死亡這回事像一波漣漪ɼ難免殃及池魚ɻ 死亡和家庭 是枝裕和的電影中的兩 個重要命題ɻ因為ɼ如此剛好ɼ他的電影 中ɼ大海老是伴隨死亡出現ɻ如以父親葬 禮作開首的ʬ海街女孩日記ʭʢ日語ɿ海街

diaryʣ直接以ʮ海ʯ命名ɼ而他的早期電

影中ɼʮ海ʯ已是常出現 是枝裕和那片 無法跨越的汪洋大海ɼ就像是電影中的死 Text by: Karen Ma Edited by: Elaine Sham & Cora Chan

亡象徵ɻ生與死ɼ如影隨形ɼ既然無法避 免死亡ɼ是枝裕和由是在光影中輕撫我們 支離破碎的小心臟ɼ惦記ʮ他的離去是因 為被大海上遠處閃爍的光芒所呼喚ʯʢʬ幻 之光ʭʣɻ面對至親離去ɼ我們還是可以到 海邊眺望ɼ想像他們在閃閃發亮的對岸ɻ 由是 4 月ɼMOViE MOViE 透過是枝裕和 抽離卻又隱含溫情的早期作品ɼ與你凝視 死亡ɻ

生死同行

ᒟᖴ⼟‫⁎ · ݡ‬ᢣ‫⺶۽‬

We seldom talk about death, as it seems too far in the distant future to us. But in fact, it is an inevitable part of life. As the well-known philosopher Martin Heidegger says, we could never understand life without understanding death. In April, MOViE MOViE invites you to explore “Life and Death” through the lens of Japanese auteur Hirokazu Kore-eda.

Kore-eda’s films mainly revolve around two major themes – family and death. The sea often acts as a symbol of mortality in his films.

The wife in MABOROSI accepts her husband’s suicide at the seaside, the elder brother in NOBODY KNOWS buries his dead sister near the sea, and the brother in STILL WALKING drowns and loses his life at sea. The ocean in Kore-eda’s films is a space of separation between the living and the dead. While it may be filled with tears of mourning, the water also heals the wounds of heartbreak. And while death is inevitable, perhaps Kore-eda is trying to tell us that while we can never escape death, we can always look at the light twinkling on the sea, and imagine our loved ones there.

Every Sat midnight in April 4 ᔾ㐏ᒒᕒԶ᪑૒ ⿖⇡ۨᑇ MOViE MOViE ⦓㑍ᕃ‫ ۋت‬OTT MOViE MOViE PLAY （ Now E ）㷉፵ Available on MOViE MOViE on Demand & MOViE MOViE PLAY (OTT service on Now E)

30

HIROKAZU KORE-EDA

走一段記憶ɼ你會選擇哪一段ʁ與是枝裕 和其他題材寫實的作品不同ɼ這套電影設 定奇幻ɼ藉著虛擬的ʮ天國中途站ʯɼ探討 逝者對生命的追憶ɻ如果死亡後能伴隨著 一段記憶ɼ生命的重量是否會有不同ʁ那 段我們選擇的記憶是否就象徵我們這段生 《ˀʸ⒒૙॓》AFTERLIFE

6/4 (FRI) 23:50

命的意義ʁ回憶蘊含的不單是生命中的片

下一站天國

有人說ɼ人死如燈滅ɻ但如果死後可以帶

If you could take just one memory with you to the afterlife, what would it be? In a fantasised setting, the film discusses how the departed would look back at their life. Do the memories that the characters choose define the meanings of their lives? How does the interpretation of their memories affect their choices? Through his reserved cinematic style, Kore-eda shows the different reactions and feelings of his characters.

段ɼ更是我們對於這些片段的解讀ɼ這些 解讀會帶來甚麼不一樣的選擇ʁ是枝裕和 沿用一貫平實的鏡頭風格ɼ紀錄不同角色

哥哥捨身救人ɼ在大海中遇溺喪生ɼ種種 家庭中的矛盾和張力也圍繞著哥哥的死亡 而展開ɻ逝者已矣ɼ但父母對早逝的哥哥 念念不忘ɼ讓弟弟總活在陰霾下ɼ化為家 庭中無形的壓力ɻ一個人的離世ɼ成為整 個家庭中難以言喻的傷口ɻ主角曾與父親 在海邊相約看球賽的約定ɼ最後也成了永 《១ൟ೙ˬ‫》݌‬STILL WALKING

遠無法兌現的遺憾ɻ

13/4 (FRI) 23:55

改編自日本真實的遺棄兒童事件ɼ是枝裕 和用極為平實和抽離的電影語言向我們呈 現赤裸的殘酷現實ɻ母親為了愛情不惜拋 棄自己的四個孩子ɼ最後妹妹在疏忽照顧 下 意 外 失 救ɻ 哥 哥 只 能 把 她 裝 進 行 李 箱ɼ 送到海邊埋葬ɻ看著海旁埋葬妹妹的地方ɼ 他們沒有流一滴眼淚ɼ當中瀰漫的悲傷卻 《ま≢㈉ಉ࿁》NOBODY KNOWS

20/4 (FRI) 23:40

讓人透不過氣來ɻ這可能是是枝裕和的電 影中最沉重的一部ɼ卻同時是廣受好評的

Inspired by a real incident of child abandonment in Japan, Kore-eda shows us the cruel reality through his detached and unadorned lens. A mother abandons her four children, and the youngest finally loses her life due to neglect. The elder brother can only put her dead body in a suitcase, carry it to the seaside, and bury her there. This may be Koreeda’s heaviest and most heart-stopping film, but at the same time, it is regarded as his best work.

的由美子ɼ某天在家門外微笑地目送著丈 夫的背影ɼ卻沒想到那一刻已是永別ɻ丈 夫在毫無徵兆下自殺ɼ從此身邊的一景一 物都承載著這種痛ɼ化成牢牢地包裹著她 內 心 的 陰 霾ɻ 這 是 是 枝 裕 和 的 首 部 電 影ɼ 他借鑑侯孝賢的電影美學ɼ運用大量的長 鏡頭突顯這份悲傷的重量ɻ後來她搬到面

幻之光

氣般如影隨形ɻ本來與丈夫過著幸福生活

27/4 (FRI) 23:35

The death of a family member has become an unspeakable wound for the whole family.

The parents of the male protagonist keep his departed brother in mind, constantly drawing impossible comparisons between them. His parents hate the person that their son sacrificed his life for, and hope he would be tormented by guilt for his whole life.

Various conflicts and tensions surrounding the brother’s death gradually unfold. The dead has left for the afterlife, but what remains is an unspeakable pressure left on the family.

一部電影ɻ

喪偶是生命中難以承受的痛ɼ這種痛如空

《໌ˬԛ》MABOROSI

橫山家之味 誰知赤子心

在選擇時的反應和感受ɻ

The passing of one’s spouse is an unbearable pain. It diffuses in one’s life like air. Yumiko’s husband commits suicide without any warning. Since then, everything she sees reminds her of his death and her life is full of nothing but pain. With reference to Hou Hsiao-Hsien’s aesthetic, Kore-eda uses long shots to emphasise the severe sadness. “He left as he received a call from the light twinkling on the sea.” These words allow Yumiko to be relieved from her husband’s suicide and allow Kore-eda to offer a new annotation of death.

對海的地方ɼ終於在海濱上對丈夫的選擇 釋懷ɻ死亡在是枝裕和的語言中有了新的 詮釋ɻ

TV HIGHLIGHTS

31

MOViE MOViE ᴝ㷉ങ᭴

༬ഢᒂ

DIRECTOR IN FOCUS: YEON SANG HO 㥜̪॓⇟˗⅛༬ഢᒂ

YEON SANG HO IN THE EYES OF A KOREAN ʬ屍殺列車ʭ是香港史上最賣座韓國電影ɼ 全球票房逾八千萬美元ɼ捧紅了ʢ小編最 愛的ʣ馬東石與孔劉ɼ連帶導演延尚昊也 成了全球影迷趨之若鶩的響噹噹名字ɻ原 來延尚昊如ʬ捉妖記ʭ導演及ʮ史力加之父ʯ 許誠毅一樣是動畫師出身ɼ由是ʬ屍殺列車ʭ 的起源ʬ屍殺前傳ɿ首爾站ʭ同樣是一部 讓人腎上腺素激增的驚慄ɺ警世動畫ɻ延 尚昊的作品黑暗ɺ殘酷ɺ誠實ɼ他毫不忌 諱地以自己作品大談韓國本土的政治議題ɼ 由是這一期 MMM 邀請了我們的韓國實習 生寫一下她眼中的延尚昊ɼ看看韓國人對 這位一炮而紅的導演有什麼不一樣的看法ɻ Yeon Sang Ho’s films are dark, twisted and brutally honest, and always focused on his views on Korean society. Therefore, we invited our Korean intern – Dayuan to share Korean’s unique perspective on this beloved Korean director.

English Text by : Dayuan Jeong Translated by: Lulu Liu

作為第一部韓國製造的喪屍片ɼʬ屍殺列 車ʭ拓展了亞洲喪屍片的潛力ɼ它寓言性 十足ɼ遠遠超過一部只供飛機上消遣的速 食驚慄片ɻʬ屍殺列車ʭ以喪屍指代無情而 貪婪的人類 整個南韓因為某公司洩漏病 毒ɼ陷入喪屍危機ʀ忙於工作的單親父親 答應女兒帶她探望母親ɼ剛好坐上了前往 釜山ɺ準備爆發喪屍襲擊的列車ɻ整部電 影的角色ɼ包括主角在內ɼ都為了私利掩 蓋真相ɼ讓危機加劇ɻ 索 求 無 度 的 資 本 主 義ɼ 是 萬 惡 之 源ɻ 電影中此隱喻反映了 2014 年世越號沉沒事

32

故帶給韓國社會的文化創傷ɻ2014 年後的 韓國電影ɼ包括金成勳導演的ʬ活埋 35 夜ʭ

ʢ2016ʣ和ʬ屍殺列車ʭ都捕捉到了這樣的

延尚昊早在喪屍三部曲之前就完成了 ʬ一輩子豬玀ʭ這一部極其黑暗的動畫ɻ電 影開場就出現一具被害身亡的女屍ɻ鏡頭

情緒ɼ是韓國觀眾質疑政府與社會不停追

隨即轉到主角京名ɼ他正在洗澡 他剛

求ʮ現代發展ʯ的結果ɻ如此剛好的發行時機ɼ

剛殺了自己的妻子ɻ他打給中學同學鐘碩ɼ

該片在韓國本土獲得空前成功ɼ入場人次

後者當槍手代寫文章為生ɻ他們憶起當年

超越 1100 萬ɻ

在校時暴力不堪的回憶ɻ在學校裡ɼ學生

較次一些的電影或許會拿被困車廂這 一點大做文章ɼ驚嚇觀眾ɻʬ屍殺列車ʭ則 不止於此ɻ在片中ɼ列車無情地行進ɼ一

被分為ʮ狗ʯ和ʮ豬ʯ兩派ɻ他們被分為ʮ豬ʯɼ 即是受到壓迫的下等人ɼ受到來自ʮ狗ʯ

YEON SA

的公開霸凌ɻʮ狗ʯ大多都是些受到師長庇

節節車廂的分隔和喪屍的堵截象征著社會

護的富家子弟ɻ電影展現出來的殘暴勾起

階層分離僵化ɺ無法逃脫ɻ一些觀眾將ʬ屍

觀眾強烈的情感反饋ɼ很多觀眾甚至同情

殺列車ʭ與奉俊昊導演的ʬ末世列車ʭ相

起了弒妻的主角ɻ在這一電影勾勒出的奉

聯繫ɼ因為二者都使用列車空間作為暗喻

行虛無主義的韓國社會ɼ持續不斷ɺ永無

載體ɻʬ末世列車ʭ亦是一部使用列車搭載

止境的暴力ɼ冤冤相報ɼ循環往復ɻ延尚

社會寓言的傑作ɻʬ屍殺列車ʭ在ʬ末世列

昊呼籲我們反思韓國文化為何生出這樣深

車ʭ搭建的階層框架中加入了更多更當代ɺ

的恨意ɻ

複雜的元素ɻ電影不斷重覆ʮ讓他們進來

ʬ 一 輩 子 豬 玀 ʭ 似 乎 還 不 夠 殘 忍ɼ 延

是否安全ʯ這一問題ɼ車廂與車廂之間的門ɼ

尚昊又在ʬ打救豬玀ʭ中再下一城ɻ英文

就影射了難民危機的相關討論ɻ為了保證

名 THE FAKE 未 能 展 示 出 影 片 韓 文 名 SAI-

多數人的安全犧牲少數人這一決定看似合 理ɼ卻在牽涉到親人愛人時適得其反ɻ 除 此 之 外ɼʬ 屍 殺 列 車 ʭ 因 其 歌 頌 希

ɺ BIʮ 以 假 亂 真 ʯ 的 原 意ɻ 延 尚 昊 在ʮ 真 ʯ

ʮ假ʯ之間的灰色地帶遊走ɼ用一個村莊裡 類似邪教的信仰來探索ʮ真ʯɺʮ假ʯ的概

望ɺ人性和團結的結尾被算作延尚昊最ʮ溫

念ɻ該村莊的居民完全接納了某個以ʮ治癒ʯ

柔ʯ的作品之一ɻ延尚昊真正的才華在於

和ʮ奇跡ʯ為噱頭的類似宗教的信仰ɼ長

洞察人性的殘忍以及當代韓國社會人與人

者們因此被騙走大半身家ɻ電影結尾含糊

之間的疏離ɻ在因ʬ屍殺列車ʭ得到電影

不清ɼ出現了悔過和背叛的聲音ɻ但在接

人和影迷的盛讚之前ɼ延尚昊早因其動畫

受訪問時ɼ延尚昊表示ʬ打救豬玀ʭ更貼

作品成名ɻ動畫作為一種體裁本蘊含著夢幻ɺ

近他的設想ɼ因此優於ʬ一輩子豬玀ʭɻ延

童話的元素ɼ是一種逃離乏味現實的方式ɻ

尚昊特意摒棄了常規的為敘事服務的剪輯

延尚昊的動畫打破了這些既定印象ɻ他將

方式ɼ選擇了使觀眾較為不安的方式ɼ因

目光投向赤裸裸的現實ɼ對韓國最敏感的

為他不希望觀眾落入陷阱ɼ沉湎於自滿和

禁忌話題發表意見ɻ例如ʬ打救豬玀ʭ中

情感宣洩引發的快感ɻ這也概括了他作為

教會的虛偽ɼ以及ʬ一輩子豬玀ʭ中的貧

電影作者的立場ɻ他選擇誠實地描繪殘酷ɼ

困問題和社會階層差異ɻ相比吉卜力和彼

而非虛偽地粉飾太平ɻ

思美好的動畫而言ɼ延尚昊的這些作品為 韓式動畫定下殘酷ɺ現實的基調ɻ DIRECTOR IN FOCUS

Train to Busan is a new milestone in the evolution of the stale zombie genre, and it came from somewhere nobody was expecting: Korea. Yeon Sang-ho, director at the helm of Train to Busan, is also a surprise entry into the foray of zombie flicks, as he was known for deep, brooding and dark meditations on Korean culture. For many western fans, Train to Busan was the fresh new take they never knew they needed, and for Koreans, it was a transformation of Yeon they never expected.

Train to Busan places the genre’s allegorical element at the forefront, representing heartless human greed through mindless zombies. The protagonist, an absentee father obsessed with his career, promises to take his daughter to Busan to meet her mother. Meanwhile, a zombie outbreak is spreading across Korea, as the company responsible for a deadly virus leak plays dumb.

On the train, the father and daughter struggle to stay alive as a horde of zombies spreads through every carriage.

Capitalistic greed that sparks disasters and claims lives is a reflection of Korean society’s shared cultural trauma over, among other things, the Sewol Ferry disaster of 2014.

Many believe that the accident could have been prevented through tighter regulation of capitalistic ventures, moral leadership, and compassion. Korean films produced after 2014, such as Tunnel (Kim Seung-hun, 2016) and Train to Busan, have captured this scepticism towards the constant pursuit of “progress”.

The success of the film, which attracted more than 11 million viewers in Korea, is partly explained by its timely release.

A lesser film might have utilised the sense of entrapment to thrill the audience. Train to Busan, however, does more; employing the relentless and indifferent forward thrust of the train, the carriages and zombie roadblocks as symbols of social (in)mobility and inescapability. Korea has achieved political stability relatively recently, and the blood spilt in the student revolutions is still fresh for the generation with the most buying power right now. It also coincides with the generation Yeon was born into. Unsurprisingly then,

ANG HO

Korea has seen a rise in cinema that depicts class struggles, independent revolutionaries leading the way, and a critique of soulless modernity. Trapped on a train they can’t get off, running away from mindless zombies - it is the fear of the working class, who fear turning into thoughtless puppets for the company/ state, while being unable to escape the larger structure of capitalism.

The metaphor of the train as space has led many to draw comparisons between Train to Busan and Bong Joon-ho’s Snowpiercer, another internationally successful masterpiece with a powerful social allegory within a train. Train to Busan adds timely complexity to the ‘class debate’ present in Snowpiercer. For instance, thequestion of ‘is it safe to let them in,’ and decisions to close or open the gate, are reminiscent of discourse surrounding the refugee crisis. The primary ensemble sacrifices the few for the safety of the many, which seems like a rational decision, until it backfires when these choices lead to the deaths of their loved ones.

Despite all this, Train to Busan is considered one of Yeon’s ‘softest’ films, as it ends on a note of hope, humanity, and solidarity. Yeon’s true brilliance and expertise lie in his diagnosis of human cruelty and the general condition of alienation in contemporary Korean society. Before Yeon garnered the attention of critics and cinephiles alike with the success of his zombie flick, he was best known for his work in animation.

Animation often carries a connotation of fantasy and fairy-tale; a fictional escape from dull reality. Yeon Sang-ho’s animations, however, defy such expectations. Instead, he turns to stark realism, criticizing the most ‘sensitive’ issues and taboos in Korea; such as irrational religions (in The Fake) or poverty and violent social hierarchies (The King of Pigs). By doing so, Yeon had already been establishing the tone of Korean animation, as distinctly brutal and honest compared to the fantastical work of Studio Ghibli and Pixar.

The King of Pigs, which Yeon produced before engaging in his Zombie trilogy, is a much darker watch. The film opens with the corpse of a murdered woman before moving

on to Huang Kyung-min, the protagonist, who killed his wife and is now taking a shower.

Huang calls Jung Jong-suk, a middle school classmate now reluctantly working as a ghostwriter. They recount their violent and shocking memories of public education, where students were divided into ‘dogs’ and ‘pigs.’ They were ‘pigs’, the downtrodden underclass, who were openly abused by the ‘dogs’- rich kids protected by their seniors and homeroom teachers. The cruelty displayed evokes such an intense emotional reaction from the audience, leading some to even empathise with Huang.

Incessant violence perpetuates cyclically in this nihilistic painting of Korean society, and Yeon urges us to reflect upon what drives our culture to reproduce this degree of hate.

As if The King of Pigs is not bleak enough, Yeon takes it a step further in The Fake.

The Fake does not convey what the original title, “Sai-Bi,’ attempts to convey. “Sai-Bi” is something that is faked with the intention of deceiving others into believing its authenticity.

Yeon plays in this grey area of The Fake, exploring this concept in a village town plagued by a cult-like religion. The village is completely indoctrinated with this new quasifaith of healing and miracles, deceiving the elderly into financial ruin. The film ends ambiguously with a cacophony of regret and betrayal, but in an interview, Yeon stated that The Fake comes closer to what he had envisaged and therefore is more satisfactory than The King of Pigs. Yeon had intentionally chosen the more disconcerting cut of the film over a narratively satisfying conclusion, because he did not want his audience to fall into the trap of complacency and comfort through catharsis. This encapsulates his vision as an auteur: honest brutality over false complacency.

《ʸ㍰ಉㅱỴ》

《ᆮᏵㅱỴ》

THE KING OF PIGS

4 ᔾ㐏ᒒᕒ̒ᑦ᪑૒ EVERY FRI MIDNIGHT IN APRIL ۨᑇ MOVIE MOVIE ⦓㑍ᕃ‫ ۋت‬OTT MOVIE MOVIE PLAY （ NOW E ）㷉፵ AVAILABLE ON MOVIE MOVIE ON DEMAND & MOVIE MOVIE PLAY (OTT SERVICE ON NOW E)

TV HIGHLIGHTS

5/4 (FRI) 24:10

《ൄᣏ‫׋‬Ҡ : 㩧᷼⒒》

SEOUL STATION

THE FAKE

12/4 (FRI)23:55

《ൄᣏ֧㌡》

19/4 (FRI) 24:20

TRAIN TO BUSAN

26/4 (FRI) 24:05

33

34

HISTORY OF CINEMA

㭂㐰‫⅛̽ݡ‬㢵ྀ۫

ʮ 高 達 和 他 的 電 影 史 ʯɼ 我 打 開 文 件 檔 案ɼ

聽過一個文學教授枚舉歷來的文學家ɼ荷

鍵下了這個題目ʀ二十多年前ɼ我以同樣

馬之後ɼ就是塞萬堤斯ɼ之後便只有福克

ʢHistoire(s) 的題目寫過一篇評介ʬ電影史ʭ

納了ɻʮ我們只得十隻手指ɼ所以可能就整

du cinémaʣ的文章ɼ今天再寫ɼ自然希望

個電影史就只得十部電影ʂʯ高達的意思

有新的角度ɺ新的看法ɻ於是我重看了這

不是說只有十部值得提的作品ʢʬ電影史ʭ

八合一ɼ長達二百六十多分鐘的傑作選段ɼ

引用ɺ呈現的電影片段ɺ硬照ɺ名稱便不

心頭依然震撼不已ɻ當下曉得ɼ還能有甚

下百部ʣɼ而是任何人的電影史都有其限制ɼ

麼新觀點呢ʁ除了如其所如ɼ把它的優點

一部好的電影史不在吹噓它有多全面ɼ而

和重要意義重述一般ɼ還可以怎麼樣呢ʁ

是向讀者或觀眾展示其適用範圍ɻ高達把

歷 史 一 向 都 有 兩 重 意 義ɿ 既 指 過 去

杜魯福放在狄德羅ɺ波特萊爾ɺ馬爾羅的

發生過的事件之和ɼ也指對這些事件的紀

學術脈絡中ɼ就在表明他的電影史正是法

㣌ྗۢ،਽،ᕴ；㣌ྗ⮏ηٝሳ：《ྯ̏ˑ⧀㪁᫓

錄ɻ前者是客觀的事實ɼ後者則無可避免

國知識分子的電影史ɼ初看不明所以的觀

㣌ྗ》、《᥉㑐˙⣵ᒝⅭⅲ⚯Ք㣌ྗ》、《㪁᫓ᕖᆔ：

有主觀的成份ɼ帶上紀錄者和述說者的史觀ɺ

眾只要接上這條文化線索ɼ做好觀念準備ɼ

˹㭕သ⧀㪁᫓㣌ྗ》。

處理事實的慣性和方式ɻ當高達為ʬ電影

就能與之相應ɻ

ᕌ૙ ᕣ૰，ྗけ́，̷ᎏഘߊώᐙᐷ、ᕊけ、،け、റを、

史ʭ取名 Histoire(s) du cinéma 時ɼ他就注

由是ɼ對於ʬ電影史ʭ的核心觀點ʮ電

入了一個很強烈的看法ɼ其實可以稱為視

影史必須由一個新浪潮的人來說ʯ這句話ɼ

野ɻ這個視野就是ɿ歷史既是單數也是眾

觀眾毋須覺得太傲慢ɻ固然那有最表面的

數ɻ單數是大歷史ɼ電影由十八世紀末發

意思ɿ法國新浪潮剛好處於電影發明至上

明ɼ經過若干大師ɺ巨匠ɺ鬼才ɺ各具才

世紀末的中間ɼ正好承先啟後ɼ繼往開來ɻ

華的電影人ɼ拍成若干堪稱第八藝術的各

更重要的是ɿ高達運用他一貫的影音割離ɺ

齣作品ʀ它們可歸納為若干類型ɺ不同流派ɼ

字幕混入ɺ反覆剪接ɼ將新聞紀實片段與

表現出各異的創作風格ɼ但整體來說就是

經典劇情片並置ɼ以他的新浪潮簽名式為

電影的歷史ɻ眾數則是不同人經歷的不同

電影何以成其電影下了最好的注腳ɻ那不

故事ɼ也是不同人述說的不同故事ɻ法文

斷重複的電子打字機聲音ɼ烘托的無非那

Histoire 一 字ɼ 根 本 就 是 雙 關 語ɼ 既 指 歷

史ɼ也指故事ɻ高達的電影史ɼ一開始便

力透畫面的ɼ對電影純粹的激情ɻʮ那是唯

一的方法ɻʯ高達喃喃自道ɿʮʢ畢竟ʣ我欠

HISTORY OF CINEMA

明白指出ɼ整理的歷史不能脫離個人的敘事ɼ

電影太多了ɻʯ一些只想在電影院攫取娛樂

而他拍的ɼ當然就是高達本人的電影故事ɻ

的觀眾ɼ大抵很難明白這種電影史吧ɻ

故 此ɼ 觀 眾 看ʬ 電 影 史 ʭɼ 就 是 透 過

ʢ欣賞ʣ高達本人去回顧ɼ同時展望電影的

發展ɻʬ電影史ʭ的八個部分ɼ頭兩個部分 成於八十年代末ɼ後六個部分要待差不多 十年後才完成ɻ它本身便構成了一段傳奇ɼ 一則ʢ艱難的ʣ歷史ɻ誠如高達在片中所說ɼ 電影史之所以難以縷述ɼ不是因為有太多 電影ɼ恰好相反ɼ而是太少ɻ高達引用他

《㭂㐰ˬ㢵ྀ۫》Ա㢌 4 ᔾۨᑇ MOVIE MOVIE ⦓㑍ᕃ‫ۋت‬

MOVIE MOVIE PLAY （ NOW E ）㷉፵。 ALL EPISODES OF HISTORY OF CINEMA ARE AVAILABLE ON MOVIE MOVIE ON DEMAND SERVICE & MOVIE MOVIE PLAY (OTT SERVICE ON NOW E)

TV HIGHLIGHTS

35

Stephen

TOP PICKS

T

1

2 《ၷ㏪ᥧ‫》֚ج‬

《ᣟ⿈⅛ܴ⅖》INCENDIES ങ᭴

Director

˸്ᑔ⛃ḓピ૲ DENIS

ങ᭴

VILLENEUVE

5

正在觀賞這部戲ɻ這是我最愛的劇情片ɼ沒

為我相信ɼ人生講運氣ɼ但做人不何靠運氣ɻ

有之一ɼ連ʮ出人意表ʯ也不足以形容這套 劇ɻ記得當年在百老匯看時ɼ故事揭盅的一

3

ങ᭴

BLUE IS THE WARMEST COLOUR ങ᭴

Director

㠾࿚㏹ሜਘ࿥ᯬ ABDELLATIF

2, 女女和男女的戀愛的行為或考慮或許不

Director NAGISA OSHIMA

同ɼ但愛這份本質上ɼ跟本完全沒有分別ɼ

6

一樣瘋狂ɺ出賣ɺ爭執ɺ變淡ɻ

《ൄ૳ଆಉ㭂ᘕ》TAG ങ᭴

《㮍ʿΤ⅛໙》IT FOLLOWS ങ᭴

KECHICHE

ɻ 1, 這套戲令我心動ɼ不ɼ令我想起ʬ心動ʭ

ᆓਦʿ⅛࿜ឈ⡧に MERRY CHRISTMAS,

4

《ኪ㏒ᴙ㠴ᬜᓬ⅛Ⲱ》

⦓㑍ᕃ‫ ۋت‬MOVIE MOVIE

MR LAWRENCE

ALLEN

我好 BUY 呢套戲ɼ但我唔 BUY 個道理ɻ因

ऴᔾ㈘，ۨᑇ MOVIE MOVIE

PLAY 㷉፵ AVAILABLE ON MOVIE MOVIE ON DEMAND & MOVIE MOVIE PLAY STARTING FROM APRIL.

Director

᨞ঃ̯і WOODY

你有多久沒有純粹地尖叫過ʁ我對上一次ɼ

刻ɼ全院大叫ɼ保証真人真事ɻ

㛏ቊҊ Stephen Chung 2008 ໝₖᜬᑞ㪁᫓ˮᐷ૯ೀᑕ⢄⧀ҷᎌೀ㡗，ή ᳦༶‫݋‬Ռ‫ ܇‬Secret Tour Hong Kong ۢᑦ 㐽‫ ׾׀‬Breakup Tours ⢌‫׾ܐ‬㏇́⓼。ᕍ۞⧀ Expedia, Nike, HKExpress ⓼༶‫ͳ݋‬؊，ۢ ᕍЊ⬹Ա⁥ᑞ 2017 ṁ㩾㑤⧂̃ೢҷ。 Stephen ᕍᑞ៉͆૯ೀۢώ๼૯ೀ༶‫☴݋‬ೡຫワສۢ TedX speaker 。

MATCH POINT

Director SION SONO

Director

૯⻘⟕ሧ●ֲḓ DAVID

ROBERT MITCHELL

如果你唔鍾意睇鬼片ɼ你就睇呢套鬼片啦ɻ

7 ‫ئ‬ᮈྀ‫ ۿ‬THE CONGRESS ങ᭴

Director FOLMAN

㠾㕴⏴ᕌ ARI

૯ාᪿ

७ಠᬳ

David Bowie x 坂本龍一ɻ講完ɻ

這套電影包含了以下元素﹕女學生 x 殺戮 x

看完有 100 個問題﹕如何定義生命ʁ心跳ʁ

怪x怪x怪x怪x怪x怪x怪x怪x怪x怪x

思 維ʁ 想 像 出 來 就 不 是 真 實ʁ 什 麼 是 真

8

怪x怪x怪x怪x怪x怪x怪x怪x怪x怪x

實ʁ人生尋開心就好了ʁ永生與永遠年輕

怪x怪x怪x怪x怪x怪x怪x怪x怪x怪

真的是好事嗎ʁ或許ɼ生老病死ɼ讓自己的

9

《ၷ㏪๯ੇ㡛ሯ》 㗰ᦓ⺾㐯ጇጇጇ GALAXY TURNPIKE

˕ㅠ໠ࡊ

ങ᭴ Director Woody Allen ᨞ঃ̯і

ങ᭴

Director KOKI MITANI

VICKY CRISTINA BARCELONA

10

意識消失於無形ɼ已經是生命最好的結局ɻ

《˂ᢔບ㶏⫓》

ANOMALISA ങ᭴

Director

ᘀώ⡃૲ᕌ , ᖗԳ⫦㑍

Duke Johnson, Charlie Kaufman

很多人說這套戲很爛ɼ但單單看人物性格角

很多人愛尋找人生ɼ但愈找愈迷失ɻ兩個女主

很怕傷春悲秋地談寂寞的作品ɼ但這套很好ɼ

色造型已令我目不暇給ɻ另ɼ這套戲的別名

角ɼ一個凡事計劃ɼ一個率性而行ɼ但她們一樣

因為她有橋ɼ用談話去談寂寞

叫ʮ太空版深宵食堂ʯɻ

迷失在巴塞羅那 - 或許因為她們從來沒有聆聽 過真正的自己想如何生活ɻ很愛電影最尾出現

36

的一句說話﹕ʮCristina continued searching... certain only, of what she didn't wantʯ

TOP PICKS

MOViE MOViE ᴝ㷉ྀ̪

今屆亞洲電影大獎ɼ役所廣司獲頒ʮ卓越

྇ᆞ༟۰

亞洲電影人大獎ʯɼ再憑ʬ孤狼之血ʭ勇

ARTIST IN FOCUS: KOJI YAKUSHO

如萬花筒般折射人性百態ɿ禽獸刑警ɺ毫

奪最佳男主角ɻ從影 40 年ɼ他飾演的角色 無悔意的死刑犯ɺ出軌丈夫ɺ被母親拋棄 的兒子ʜ每一個人物都是有血有肉的ɻ戲 中的役所廣司ɼ純真中不失性感ɼ冷酷中 不失熱情ɼ瘋狂中不失理智ɻ每一個眼神 與動作都傾心傾力ɼ為虛構角色灌注生命ɼ 角色因他而變得立體ɼ成了活生生的人物ɻ Koji Yakusho, Japan’s favourite actor, recently received the Excellence in Asian Cinema Award for his superior performances in a career stretching across four decades. “Yakusho,” which is both the name a local government office and means ‘versatility in roles,’ is an exceptionally fitting moniker for this great actor. From his humble start as a government officer, Yakusho made a slow but indelible impression upon Japanese audiences, of both the small and big screen as a versatile performer. He gained international stardom with his heart-warming performance as an ordinary ‘salary man’ in Shall We Dance (1996), which earned US$43 million worldwide.

Throughout his career, Yakusho never settled with a single ‘image’ or showed any signs of complacency, despite his solid positioning in the industry. He continued to cross multiple genres - from comedies (THE KIYOSU CONFERENCE) to suspense (THE WORLD OF KANAKO, THE THIRD MURDER) and samurai films (A SAMURAI CHRONICLE) - imbuing each persona with subtlety and complexity.

《ⓐʾ໫ᣏ̪》

THE THIRD MURDER

5/4 (FRI)

《᫁➩》

THE WORLD OF KANAKO

12/4 (FRI)

《⹣ȃ』》

A SAMURAI CHRONICLE

4 ᔾ㐏ᒒᕒ̒ᒺʿ 10 ᒪ EVERY FRI 10PM IN APRIL ۨᑇ MOViE MOViE ⦓㑍ᕃ‫ ۋت‬MOViE MOViE PLAY 㷉፵ ALSO AVAILABLE ON MOVIE MOVIE ON DEMAND & MOViE MOViE PLAY

ARTIST IN FOCUS

19/4 (FRI)

《᪢㦃ᔻㄣ》

THE KIYOSU CONFERENCE

26/4 (FRI)

37

WE LIVE MOVIES

W ਽ঃ㲌ヱ

ELAINE SHAM, CORA CHAN Karen Ma, Hannah Poon The Mira

ṁ‫׆‬㲌ヱ

೎សྗḚ

ኽ〱 ᐷದᐦώ

̯ᨕ㣌ྗ૯Ợ

愛電影的人ɼ談的不止是愛ɼ而是和電

電影擴闊了我的 社交圈子ɼ 讓我認識更多 其他地方的人ɻ

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 你說電影ɼ說人生ɻ我們會為你送上他 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 Ch 116ʣ也會播放足本影像版ɼ讓你與這

྇ᆞ༟۰

㣌ྗയλϜを，ᒶဇ㷅ˏ्̢？

《ⓧ˕༂ᣦ́》⮏‫ܕ‬ᮋ޻

展上集合了很多不同國家的人ɼ因此電影也擴闊了我的社

群愛電影的人ɼ對著看ɻ

38

交圈子ɼ讓我認識更多其他地方的人ɻ ᕏ᪨‫ח‬ⅲ㣌ྗႎ╈ᆘയⅭᒶ⁡㷅？ 我最深刻的對白是在 David Lean 導演的 RYAN’S DAUGHTER

中ɼ最後神父說ɿʮ人類真是不可思議ɼ難以理解ɻʯ這套長 達三小時的電影ɼ內容講述一個女孩在成長過程中被欺凌ɼ

Yakusho Koji 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.

首先ɼ電影當然是我的工作之一ɻ此外ɼ各個電影節和影

這句對白點出了整部電影的主題和重點ɻ

߄йᕍՏ̢ⅲരᮋㅒλ‫ڪ‬ㅿ᪨‫？ח‬

我與是枝裕和導演在ʬ第三度殺人ʭ中第一次合作ɼ但之 前與他已互相認識ɻ他是一個很有個性的導演ɻ在拍攝ʬ第 三度殺人ʭ時ɼ劇本會在拍攝過程中一直更改ɻ在拍完當 天的戲份後ɼ導演會回去進行剪接和重新審視一次ɼ再決 定之後的劇本走向ɻ這是一個奢侈的拍攝方法ɼ而且只有 他能做到ɻ ゕᒶ͟λ‫ڪ‬ㅿᕏ᪨‫ח‬ⅲᮋ޻？ଫᗊ‫͠ۿ‬㉾͔をˏ۶づ，λ ᕒを⁡㷅？ 樹木希林小姐是一位很好的女演員ɼ但她是輕鬆對待演員的ɻ 可是ɼ當她對外發表自己患上癌症後ɼ她開始很努力做好 每一個角色ɼ希望能留下一些東西在世上ɻ我希望能問樹 木希林小姐ɼ為何她能成為這麼好的演員呢ʁ

WE LIVE MOVIES

WE LIVE MOVIES

W 電影給我很多刺激ɼ 跟太極一樣ɼ我的創作可以 順著走ɼ也可以逆流而上ɻ 所謂反其道而行 也是一種模仿ɻ

ⁿᒆ ‫׾‬Ⴭ㧣ࠑ

/ ྗけ́

㣌ྗയλϜを，ᒶဇ㷅ˏ्̢？ᕖࠜⅬλ

オ᳦ᆔоֱ̹ˏͬ㣌ྗḵި

ⅲ‫׾‬Ⴭࡴ？

不是在賣廣告ɼ這是我自己寫的書ʬ電影

電影給我很多刺激ɼ跟太極一樣ɼ我的創

未 死 ʙ 101 套 好 好 戲 ʭɼ 其 實 已 經 絕 版 了ɻ

作可以順著走ɼ也可以逆流而上ɻ

因為我很喜歡電影ɼ所以有一段日子ɼ寫

就如當年張三豐教張無忌ɼ問他ɼʮ你

Budming Lives Movies WE LIVE MOVIES

了 這 本 總 結 了 大 概 十 年 我 最 喜 歡 的 電 影ɼ

都看過了但你記得多少ʁʯɻ他說他已經忘

輯成一本書ɼ當時是百老匯電影中心總監

記了一大半ɼ但他沒有用ɻ其實你忘記越

Gary 幫忙ɼ我們是兩個傻人ɼ當時差不多

多越好ɼ因為要記得的不是招式ɼ而是心

是非典型肺炎之後ɼ很難做任何事ɼ但我

法ɻ我覺得電影能令我用自己的方式思考ɻ

們很想留下一點什麼給那個時代ɻ我們就

創作的時候ɼ我會回想原來寇比力克可以

以自己的方法ɼ可能是當時一些很荷爾蒙

這樣子ɼ或者黑澤明那樣做過ɻ所謂反其

式的感受ɼ講述我們怎樣欣賞電影ɻ這本

道而行也是一種模仿ɻ我可以故意模仿他ɼ

書除了是一個總結ɼ也是我們之間的一種

也可以故意跟他唱反調ɼ既然他可以從這

熱血ɻ

個角度撞擊過去ɼ我也可以從他的另一方 衝撞過去ɻ這種變化是無窮無盡的ɻ

Ѩଫλ⿀ॼ㪁᫓ሠˏ਽ᆫ，λᕒ㑤Ꭰ߄ˏ йঃᑜ？

ᕏ᪨‫ח‬ⅲ㣌ྗႎ╈ᆘയⅭᒶ⁡㷅？ 張艾嘉導演的ʬ最愛ʭɼ有一場戲在廚房裡ɼ

我在香港土生土長ɼ很愛這個地方ɼ也曾 經寫了一篇文章ʬ我的故鄉是銅鑼灣ʭɼ可

張艾嘉在跟林子祥聊天說ɼʮ我爸爸送了我

是我感覺很多導演未有把他們對這個城市

一副拼圖ɼ是一副雙面的拼圖ɻ一面是世

的愛呈現出來ɻ香港的都市神韻和表情只

界地圖ɼ一面是人的外貌ɼ我從世界地圖

用一個地方表達是不夠的ɼ所以我希望把

那一面開始拼ɼ怎麼拼都拼不到ɼ世界地

香港不同的地方都融入故事裡ɼ讓世界各

圖多繁複ɻ終於有一天爸爸說ɼ要先拼人ɼ

地觀眾都能夠感受到香港的氣質ɼ不論粗細ɺ

只要你搞好了人ɼ這個世界就會好ɻʯ電影

光暗ɼ我們的城市都值得有影像去捕捉和

給我們思考的空間實在很多ɼ這生人我一

結合一個真正屬於香港的故事ɻ

定會記得這句對白ɻ

39

WE LIVE MOVIES

W 與柳樂優彌一起合作ɼ 仿佛是跟爸爸ʢ是枝裕和導演ʣ說ɿ 我們現在可以振翅高飛了ɻ

༟ᱛ૫૫ಉ 《ᴰ‫ܕ‬ᨹಠ࿘》രᮋ、⛷،

യλϜを，㣌ྗᒶ⁡㷅？

Ѩଫ⁳λѷരᮋ，ᕏႲॼ㪁᫓߄ⴷঃᑜ۪

我是看電影長大的ɼ電影不但教懂我世上

ᓣ？

很多事物ɼ還在一些時候拯救了我ɻ

我一邊在香港不同街道行走ɼ一邊都在想ɿ 這個地方拍外景一定很好ɻ不過暫時還未

η᳦ᒶᗋ⼶‫ݸ‬ⅲྲཡ，λほ᳦͔യλⅲη

有概念拍一部甚麼電影ɻ

ިᕖ⁡㷅ྗ㦑？

Nanako Hirose Lives Movies 40

我跟隨是枝導演拍戲已有三年ɻ他為了培

ᕏࡊᢩ㒆ଌ㣌ྗ？

育新晉導演ɼ特意創立了ʮ導演助手ʯ的

Sweet Sixteen 是一部我在高中時代看的電

職位ɻ由寫劇本開始ɼ所有階段都讓我在

影ɼ當時感受很大ɻ另外我也很欣賞李滄東ɺ

旁向他提出意見ɼ這對我學習拍電影有很

賈樟柯的電影ɻ

大的幫助ɻ 因為柳樂優彌也是是枝導演提攜出來 的新人ɼ起初我有點抗拒選他做我的演員ɻ 可是劇本寫到一半遇到瓶頸ɼ不知如何寫 下 去 時ɼ 我 腦 海 便 出 現 了 柳 樂 優 彌 的 樣 子ɼ便以他作為角色的靈感寫下去ɻ到最後ɼ 除了柳樂優彌之外ɼ也想不到有哪個演員 可以出演這個角色了ɻ是枝導演就好像我 們的爸爸一樣ɼ在我的處女作與柳樂優彌 一起合作ɼ仿佛是跟爸爸說ɿ我們現在可 以振翅高飛了ɻ 我希望未來的作品能以是枝導演為基 礎ɼ創造一些跟他不一樣的電影ɻ

WE LIVE MOVIES

WE LIVE MOVIES

W 我沒有把小美 看成一個女性ɼ 而是神話傳說的化身ɻ

ᔶ⟇ჺಓ（ച⟇）

᳦ͅ㷆ࡊᢩᮋᆫ？

ᕖᦔᕖṁ‫׆‬Ⴒ⿀‫ܐ‬ηⅲരᮋ / ᮋ޻？

小時候ɼ我是個內向和孤獨的女生ɼ不太

我最希望合作可是已經沒機會的ɼ是張國榮ɻ

《˕૲》ᮋ޻

會表達自己ɻ直至一次獲得上台表達自己

時間是很巧合的ɿʬ三夫ʭ剛剛在 1/4 開戲ɼ

的機會ɼ便發現舞台上的自己頓然變得不

正正是張國榮死忌ɼ所以那天下午我獨自

再 孤 獨ɻ 後 來 有 位 導 演 來 學 校 找 小 演 員ɼ

走到文華酒店去ɻ相信跟他合作是所有女

選中了我ɼ那就是我的演藝生涯的開端ɻ

演員的夢想吧ɻ

《˕૲》യᮋ޻Ϝをᒶ㤖ັ૯ⅲ⡃㬡，λ₤

Chloe Maayan Lives Movies WE LIVE MOVIES

ᕏ᪨‫ח‬ⅲ㣌ྗႎ╈ᆘയⅭᒶ⁡㷅？

ᓁဇូ㦠ҧ⦪຃？

梁朝偉的一句台詞ɿʮ如果有多一張船飛ɼ

為 了 演 小 美 這 個 角 色ɼ 我 增 重 了 30 公 斤ɼ

你會不會跟我一起走ʁʯ當一個女人特別

連走路也覺得辛苦ɼ朋友們還以為我生病

期待一份情感或跟某一個人在一起ɼ其實

了呢ʂ其實演小美並沒有太多障礙ɼ因為

她的要求真的很簡單ɼ就是ʮ能不能給我

我沒有把小美看成一個女性ɼ而是神話傳

一張船飛ʯɻ

說的化身ɻ我視她自我掙扎和尋覓方向的 過程為一種自我鼓勵的力量ɼ從她的人生 中反思自己能不能更勇敢一點ɻ λⅲపపଫΰ⇐λ㐝й૯⦃ᮋ֨？ 她是個很神奇的媽媽ɼ對於我所有事情都 保持中立ɻ因為她是讀物理的ɼ她說她會 把我當作一個小實驗ɼ去看看自己生出來 的ʮ一塊肉ʯɼ與周邊環境和熱愛的事情會 產生怎樣的化學反應ɻ所以她從來沒有阻 止我去做任何實驗和冒險ɼ我也深信每個 化學反應都影響著我們人生ɼ該做的事就 去做吧ɻ

41

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MOVIE-MOVIE-MAGAZINE #39 THERE’S A LIGHT THAT NEVER GOES OUT

MOViE MOViE ANIFEST ‫ ⎥⻒Ⳕ⁼ؽ‬2019/ MOViE MOViE CITYPLAZA HOT NEWS! / IN CINEMAS《⩹іિ⁸ಳ : MCQUEEN》MCQUEEN/《ռᆪᆈᕅ》COLD WAR/《㑁ᒯ૰》THE CROSSING / MM HOME PREMIERES ⧀ᆫ㡗‫ܔ‬᢭《Eric Clapton 䡳ⳇ゠́⁥》ERIC CLAPTON: LIFE IN 12 BARS / 㩾ᒪᒩᕩ૰《ᑜഢ⿉́࿘》THE SQUARE / PALM D PAWS ༑৬ካካỢ / BEST OF CANNES / 㠛ᑞ⬹୎ⅲ̣˕̢ 5 THINGS WE LOVE ABOUT AGNÈS VARDA / ᒶᗋ⼶‫⁥ݸ‬ᢺ‫ ⻍ܔ‬HIROKAZU KORE-EDA, THE MOVING IMAGES OF LIFE AND DEATH / 㭙㑇‫͔ݸ‬ⅲ㣌ྗ‫ ܂‬HISTORY OF CINEMA / ᴴ㷠ྗ́：ྞᆵ༶‫ ܇‬ARTIST IN FOCUS: YAKUSHO KOJI / 㣌ྗབྷ⁥᨞ WE LIVE MOVIES ྞᆵ༶‫܇‬，༶ᱲଂ​ଂಠ，ₖᒝ，ᕍ⟞ᄑಪ / NOW E / CONTRIBUTORS: JAMES MARSH, ᕣ૰ , GARY MAK, STEPHEN CHUNG, PAULINE@MIDORI.ILLUSTRATION

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