MOViE MOViE Magazine#57 - 16th Asian Film Awards Special Brochure

不知不覺亞洲電影大獎頒獎典禮已經來到第十六屆了！ 頒獎典禮此前曾經在香港、澳門以及釜山舉行，我很高興 本屆頒獎典禮重回香港舉行。疫情逐步緩和之際，電影工 業回復正常的同時，亞洲電影在過去一年有著非常傑出 的表現，我很高興再次與諸位電影幕前幕後同業聚首一 堂，繼續努力推廣和表揚亞洲電影及業內人才，印證著亞 洲電影在國際間的創造力和影響力。亞洲電影大獎學院 由釜山國際電影節、香港國際電影節及東京國際電影節 共同創立，有賴三大影展的代表與所有合作伙伴緊守崗 位，才得以繼往開來，攜手為亞洲各地培育年輕的電影人 才和觀眾。亞洲電影今日的閃耀離不開以往幾十年來的 積澱與成長，現在就讓我們來重溫過去十五屆的最佳電 影，一同懷著雀躍心情期待即將於香港故宮博物館舉行 的年度頒獎典禮。

Time flies, Asian Film Awards is stepping into its 16th year. The Awards have previously been held in Hong Kong, Macau and Busan, and I am delighted to see this year’s ceremony returning to Hong Kong. As the pandemic eases and the film industry returns to normalcy, Asian cinema has had an exceptional year. I am thrilled to gather again with fellow members of the film industry, both in front of and behind the scenes, to continue our efforts to promote and celebrate Asian cinema and Asian talents, while demonstrating the creativity and influence of Asian cinema on the international stage. The AFA is jointly organised by the Hong Kong International Film Festival, the Busan International Film Festival and the Tokyo International Film Festival. I would like to extend my gratitude to representatives from the three international film festivals, our committed partners and supporters, whose contribution has continued to nurture young film talent and audiences across Asia. The success attributes to the hard work of our fellow filmmakers over the past few decades, which Asian cinema never ceased to grow and advance. So let’s revisit the best films of the past 15 years and look forward to the annual awards ceremony at the Hong Kong Palace Museum with great excitement.

REVISITING THE BEST OF THE BEST AT ASIAN FILM AWARDS

重溫歷屆 亞洲電影大獎最佳電影

2007–2021

SUEN

連佩蔙 JOSIE LIN

Film critic/ journalist/ Part-time lecturer, The University of Hong Kong/ Lingnan University

亞洲電影大獎學院 執行董事 Executive Director of Asian Film Awards Academy

由影評人宣柏健撰寫

TEXT BY PATRICK SUEN

2007 2008

THE HOST

《 上流寄生族 》導演奉俊昊執導的第三部長片，繼《 殺人回憶 》後 再度請來宋康昊主演。電影以漢江出現的不明巨型怪物，帶出尋 常家庭在絕處求生的考驗，控訴駐韓美軍種下的禍害。《韓流怪嚇》 以怪物諷刺扭曲人性，當中對環保議題的反思，也與日後的《玉子》 遙相呼應。主修社會學的奉俊昊在災難片的框架中，注入他對當 代韓國的敏銳洞察，確立融合商業類型與社會批判的獨門風格。 宋康昊飾演渾噩中年入木三分，為他贏得亞洲電影大獎影帝殊榮。 電影在韓國錄得超過一千三百萬觀影人次，紀錄保持至 2009 年 才被《阿凡達》打破。

身兼小說作家的韓國導演李滄東，《密陽》延續前作《薄荷糖》及《愛 的綠洲 》對韓國社會基層小人物的人文關懷，暫別慣用的演員薛 景求及文素利，首次起用全度妍及宋康昊，分飾兒子被綁架撕票 的絕望母親及幫助她走出陰霾的車行老闆。片名中的「 密陽 」既 是片中案發地點，也借喻全度妍飾演的母親重拾久違的陽光，重 新出發。電影深入刻劃母親角色的痛苦與重生，同時一針見血直 指宗教與人性的衝突與矛盾。全度妍精準掌握角色由壓抑到崩潰 的演變，以大熱姿態成為首位奪得康城影后殊榮的韓國演員，並 同時在亞洲電影大獎封后，實至名歸。

擅長拍攝商業恐怖片的日本導演黑澤清，在《 東京奏鳴曲 》中回 歸寫實題材，透過一個平凡東京家庭的生活日常，側寫日本在後 泡沫時代的社會群像，家庭危機、父權瓦解、身份認同等議題共 冶一爐，與拍檔馬克斯曼尼克斯及田中幸子同獲亞洲電影大獎最 佳編劇獎項。一家之主突然被公司裁員、妻子默默照顧家庭擔任 賢妻良母角色、長子希望加入美國陸軍往中東參戰、踏入青春期 的次子厭惡學校生活，只想學琴。電影以平實手法交代家人之間 的互動，散發濃烈的隔膜與疏離感。每個家庭成員代表的正是不 同的社會和年齡族群，各有矛盾與心結，由次子彈奏的樂曲連繫 家人，饒有深意。

Before PARASITE, director Bong Joon-ho helmed his third feature film THE HOST starring Song Kang-ho whom he worked with in MEMORIES OF MURDER. The monster appearing at the Hangang River is a faint allusion to how the common people survive in despair, with the film being a blistering commentary on the ills brought about by the American military. Its cautionary message on environmentalism is also reflected in OKJA, Boon’s later work. As a sociology major, Boon sheds light on contemporary Korea in his films while balancing commercial viability and social criticism. Song Kang-ho’s penetrating performance as a muddle-headed father led him to win Best Actor at the Asian Film Awards. The film’s attendance record totalled more than 13 million, a record only broken by AVATAR in 2009.

︽韓流怪嚇︾ ︽密陽︾

ASIAN FILM AWARDS

SECRET SUNSHINE

Following his previous works PEPPERMINT CANDY and OASIS, Korean novelist and director Lee Changdong continued to maintain his humanistic concern for Korea’s disadvantaged in SECRET SUNSHINE. Instead of actors like Sol Kyung-gu and Moon So-ri whom Lee frequently worked with, Jeon Do-yeon and Song Kang-ho were cast respectively as the grief-stricken mother whose son was abducted and killed, and the car shop owner who pulls her through her darkest times. “Secret Sunshine” is the literal translation of the city that serves as the film’s setting and an allusion to Jeon Do-yeon’s character restarting her life. The film is a piercing portrayal of the mother’s agony and rebirth as well as the conflict between religion and humanity. Jeon Do-yeon gave a raw yet precise performance as her character transforms from suppression to complete devastation. As the favourite and eventual winner, Jeon became the first Korean ever to win Best Actress at the Cannes Film Festival. She was also crowned Best Actress at the Asian Film Awards for this film.

︽東京奏鳴曲︾

TOKYO SONATA

Japanese film director Kurosawa Kiyoshi, better known for mainstream horror films, returned to realist drama in TOKYO SONATA. Through depicting an ordinary family in Tokyo, the film makes astute observations on Japan’s post-bubble social phenomenon and topics including family crisis, the unravelling of patriarchy, and personal identities. Kurosawa, together with writing partners Max Mannix and Tanaka Sachiko, won Best Screenplay at the Asian Film Awards. In the film, the father loses his job while the wife continues to play the role of saintly mother and wife. The older son enlists in the U.S. Army for deployment to the Middle East and the younger son, entering puberty, goes to piano lessons instead of attending school. The film is down-to-earth in its approach of depicting the family’s interaction as they were estranged and alienated from each other. Though different in societal role and age, the family members are each stranded in their own dilemma. Amid their differences, the family reconnects through a poignant piano performance by the younger son.

MOTHER

韓國導演奉俊昊繼《 韓流怪嚇 》後再度問鼎亞洲電影大獎，繼續 反映社會邊緣族群苦況。男神元斌一改既定戲路，破格飾演捲入 一宗駭人命案的智障青年。他的母親堅信兒子無辜，決定找出幕 後真兇還兒子清白。素有韓國「 國民母親 」之稱的殿堂級演員金 惠子，化身為救兒子而不惜一切的苦心媽媽，走上無法回頭的不 歸路。當母愛大於一切，又可怎樣與草率的體制抗衡？ 金惠子的 神級演技成功融化觀眾，演活了為人母者的辛酸與無助，力壓裴 斗娜、李冰冰、松隆子及張榕容，勇奪亞洲電影大獎影后殊榮。

人死後魂歸何處，人與自然如何共生共存，向來是泰國導演阿彼 察邦韋拉斯花古的恆常命題。《 波米叔叔的前世今生 》中的主角 波米叔叔患急性腎病，決定回鄉在家人身邊度過殘生，其後更與 妻子的鬼魂及失蹤兒子化身成的紅眼猩猩精靈相遇，發現自己的 病可能與前世相關。阿彼察邦韋拉斯花古以唯美鏡頭拍攝生死議 題，哲思洋溢，同時延續他融會神話傳說、國族歷史、文化傳統及 佛理禪機的獨門風格，讓他成為當代泰國影壇的矚目巨匠，憑本 片勇奪康城影展金棕櫚獎後，再下一城奪得亞洲電影大獎最佳電 影殊榮。

UNCLE BOONMEE WHO CAN RECALL HIS PAST LIVES A SEPARATION

伊朗導演阿斯加法哈迪以擅長刻劃信仰、道德與人性矛盾見稱， 《伊朗式分居》中的一對中產夫婦因移民問題產生分歧分居收場， 意料之外的是丈夫尼達僱用的女傭因意外小產，女傭更控告尼達 謀殺，連場法庭攻防，揭出的不但是案件真相，還有潛藏伊朗社 會的階層、倫理及宗教問題，層層遞進，對人性弱點既帶批判亦 不失同情，奠定日後《 伊朗式離婚 》、《 伊朗式英雄 》等相類題材 電影的基礎。《伊朗式分居》在柏林影展中一鳴驚人，更在亞洲電 影大獎囊括最佳電影、最佳編劇及最佳導演三項大獎，足證阿斯 加法哈迪功力。

Taking the spotlight again at the Asian Film Awards after his win for THE HOST, Korean director Bong Joon-ho continued to reflect on the plight of the marginalised in society. Male heartthrob Won Bin, in a departure from his usual roles, played a mentally challenged man accused of murder. Certain of her son’s innocence, the titular mother is determined to find the real murderer. Legendary actress Kim Hye-ja, lauded as the archetypal mother figure in Korea, played a mother who stops at nothing to rescue her son even when faced with bureaucracy and red tape. Kim Hye-ja gave the performance of a lifetime as a despondent and helpless mother, and deservedly won Best Actress at the Asian Film Awards over nominees Bae Doo-na, Li Bingbing, Matsu Takako and Sandrine Pinna.

In his body of work, Thai director Apichatpong Weerasethakul has always contemplated the soul’s journey after death and the symbiosis between human and nature. Uncle Boonmee, suffering from a failing kidney, decides to prepare himself for death by returning home to the countryside. He encounters the ghost of his deceased wife and his estranged son, appearing in the guise of a jungle creature. The titular character also reflects on his past lives which may have karmic connections to his current illness. In the film, Apichatpong Weerasethakul mused on life and death with ethereal sensibility and philosophical reflections. He crafted a unique style that perfectly blends myth and folklore, Thai history, cultural traditions, and Buddhist beliefs, making him one of the most original voices in Thai Cinema. For this film, Apichatpong Weerasethakul won the coveted Palme d’Or at the Cannes Film Festival before winning Best Film at the Asian Film Awards.

2010 2011 2012

The oeuvre of Iranian director Asghar Farhadi thrives on conflicts in religion, morality and humanity, issues brilliantly explored in A SEPARATION. A middle-class couple, Nader and Simin, separate because they have different plans when faced with the possibility of immigration. Further adding to the complication is the accidental miscarriage of the helper hired by Nader, an event that leads to Nader being accused of murder. The ensuing legal turmoil not only unravels the truth but also brings to the surface the intricate class struggle, ethical values and power of religion in Iranian society. The tightly woven and layered plot is critical yet sympathetic of the foibles of human nature. The film’s success led to other similarly-themed films by Farhadi including LE PASSÉ and A HERO. A SEPARATION cleaned up at the Berlin Film Festival by winning multiple awards before winning Best Film, Best Screenplay and Best Director at the Asian Film Awards.

憑《 蘇州河 》打響國際知名度的內地導演婁燁，作品多以錯綜複 雜的都會男女關係，側寫當代中國國情及社會變化。《浮城謎事》 找來婁燁愛將秦昊飾演不忠渣男，出軌時被妻子發現，出軌對象 更被車撞死，而渣男更被揭同時金屋藏嬌並育有一子，真相愈辨 愈明，人心愈描愈黑。電影刻劃當今中國火速發展下的普世價值 及道德觀，一宗車禍連結不同階層，反照浮城武漢下的虛怯人心， 故事佈局綿密環環相扣，榮獲亞洲電影大獎最佳編劇，而飾演情 婦的齊溪演活被渣男蒙在鼓裡的悲憤，勇奪亞洲電影大獎最佳新 演員獎項。

MYSTERY

Mainland director Lou Ye, who gained international prominence with SUZHOU RIVER, continues to bring to light social issues and changes in contemporary Chinese society through stories on complex relationships in the metropolis. In MYSTERY, Lou Ye cast his frequent collaborator Qin Hao as the unfaithful husband whose affair is discovered by his wife. The truth continues to unravel as the mistress is killed in an auto accident and there is yet another mistress with an illegitimate child. Exposing the characters’ increasingly murky secrets, the film depicts the mores and values of rapidly developing China. Through the accident, people from different social classes become intertwined as their fear and vulnerabilities shape each other’s destiny. MYSTERY won Best Screenplay at the Asia Film Awards for its layered and intricate plot while Qi Xi won Best Newcomer for her searing performance as the mistress who was herself betrayed.

︽一代宗師︾

THE GRANDMASTER

念念不忘，必有迴響。王家衛執導個人首部荷里活電影《 藍莓之 夜》後十年磨一劍，在香港影壇當年興起的《葉問》系列電影風潮

2013 2014 2015

AFA07 AFA08 AFA09

中另闢蹊徑，為這位一代宗師的故事注入獨門敘事風格，散發淡 然遺憾。與王家衛合作無間的梁朝偉化身葉問，來港後將武術發 揚光大。和葉問相識相知的宮二戲份突出，為報父仇而決意孤身 走完人生路，內心的千迴百轉極有發揮，為章子怡贏得亞洲電影 大獎影后殊榮。電影貫徹王家衛的唯美影像風格，北地雪國南方 街巷融情入景，服裝、美術、音樂錦上添花，同時奪得亞洲電影大 獎最佳攝影、最佳造型設計、最佳原創音樂及最佳美術指導獎項。

True to the film’s classic line ‘Whatever is fixed in the mind will blossom one day’, Wong Kar Wai took time in preparing THE GRANDMASTER after directing MY BLUEBERRY NIGHTS, his first Hollywood film. Unique among the various “Ip Man” films popular in Hong Kong at the time, Wong injected his unique narrative style, tinged with melancholy, into the martial arts grandmaster’s story. Tony Leung Chiu Wai, Wong’s frequent collaborator, is transformed into Ip Man who eventually spread Wing Chun worldwide after he came to Hong Kong. Zhang Ziyi stole the spotlight from Leung as Gong Er, Ip’s friend and fellow martial artist. She brought to life a multi-layered character who seeks revenge for her father by choosing a lonely path in life, and the role garnered Zhang Best Actress at the Asian Film Awards. Wong Kar Wai’s signature aesthetics included capturing the stunning snow-swept landscapes of Northeast China and street scenes in Southern China which is highlighted by sumptuous costume, production design and music. For these achievements, the film also won multiple Asian Film Awards including Best Cinematography, Best Costume Design, Best Original Music and Best Production Design.

︽推拿︾

BLIND MASSAGE

婁燁繼《 浮城謎事 》再度奪得亞洲電影大獎最佳電影之作，故事 改編第八屆茅盾文學獎得主畢飛宇同名小說，以南京一間盲人按 摩中心為場景，刻劃一眾按摩師對生活、愛情和夢想的期盼及掙 扎，深入描繪他們如何應對身處的環境和挑戰，以匠心獨運的影 像及聲效設計建構屬於他們的世界，奪得亞洲電影大獎最佳攝影 實至名歸。手搖鏡頭和特寫，映襯角色的躁動不安，探索看得見 與看不見之間的界線，顛覆一般觀眾對盲人的既定想像。

BLIND MASSAGE marked Lou Ye’s second win of Best Film at the Asian Film Awards after MYSTERY. Adapted from Bi Feiyu’s eponymous novel which won the 8th Mao Dun Literature Award, the story centers around a massage parlour in Nanjing that is run by blind masseurs. Lou observes the daily lives of the masseurs, including their struggles and aspirations towards love and reaching their dreams. The camerawork gives perspective on the environment and challenges faced by the masseurs, presenting their autonomous world through unique imagery and sound design. The film deservedly won Best Cinematography at the Asian Film Awards with the hand-held camera and close-ups that highlight the restlessness of the characters, explore the boundary between the sighted and non-sighted, and upend the audience’s notions of blind people.

ASIAN FILM AWARDS

從影五十年的台灣名導侯孝賢，八十年代初開啟「 台灣新電影 」 風潮，多部作品如《風櫃來的人》、《悲情城市》、《戲夢人生》、《好 男好女》等均驚艷國際影壇，2014 年他更獲亞洲電影大獎終身成 就獎。籌備多年的《刺客聶隱娘》一反商業武俠類型公式，說的是 唐代刺客聶隱娘的故事，但完全不以打鬥場面或炫目功夫為賣點， 聚焦她在行動失敗後，面對自己及昔日舊愛的種種兩難。全片僅 得十多句對白，豐富的電影語言、配合壯麗的綠林山川，打造出 令人神迷的詩意場景。舒淇沉穩內斂，演活聶隱娘充滿壓抑及矛 盾的內心掙扎，贏得亞洲電影大獎影后殊榮。

With a film career that spans five decades, Hou Hsiao-Hsien ushered in the era of Taiwanese New Wave in the early 1980s. His numerous works including THE BOYS FROM FENGKUEI, A CITY OF SADNESS, THE PUPPETMASTER, and GOOD MEN, GOOD WOMEN won critical acclaim and awards in international film festivals. In 2014, Hou received the Lifetime Achievement Award at the Asian Film Awards. Many years in the making, THE ASSASSIN tells the story of Nie Yinniang, an assassin during the Tang dynasty. A diversion from conventional wuxia films, the film is largely absent of non-stop action and dazzling fight scenes. It is focused instead on Nie’s dilemma regarding her own future and past love after a failed mission. THE ASSASSIN may have only a dozen lines of dialogue, but it is rich in cinematic language with lush scenery and poetic visuals. For her tour-de-force yet nuanced performance in portraying the character’s inner turmoil and conflict, Shu Qi won Best Actress at the Asian Film Awards.

I AM NOT MADAME BOVARY

擅長以幽默手法諷刺民情百態的馮小剛，在《 我不是潘金蓮 》中 一針見血，批判拉攏關係走後門的社會陋習。范冰冰飾演的農村

婦人，因為一己執著，將一宗普通不過的瑣碎離婚官司無限放大， 演變成荒誕至極的鬧劇。馮小剛對社會弊病的刻劃舉重若輕，嬉 笑怒罵中帶來反思。片中的圓形及方形畫面暗合「天圓地方」哲學， 表達角色經歷的前後轉折。范冰冰素顏上陣演活刁蠻村婦，力壓 惠英紅、黑木華、孫藝真等強勁對手，成為亞洲電影大獎影后。

馮小剛繼《我不是潘金蓮》後再下一城，憑《芳華》連續兩年奪得 亞洲電影大獎最佳電影殊榮。電影橫跨七八十年代中國文革及中 越戰爭等重要事件，馮小剛把年輕時在軍隊文工團的回憶，結合 作家兼編劇嚴歌苓的故事，以影像譜寫青春與成長之詩，刻劃一 眾年輕人如何被時代的巨輪輾碎夢想和未來，餘下的只有血汗和 無奈。馮小剛由自身經歷出發，滿載個人情感，集體回憶也引發 觀眾共鳴。新晉演員鍾楚曦飾演舞蹈隊成員，聰慧靈巧，贏得觀 眾喜愛。

THE ASSASSIN AFA10

YOUTH

2016 2017 2018

AFA11 AFA12

A master in making sly social commentaries, Feng Xiaogang lampooned the incompetence of Chinese society and bureaucracy with I AM NOT MADAME BOVARY in which politics and relationships supersede justice. Fan Bingbing plays a rural woman bent on clearing her name in a trivial divorce case by taking on the Chinese legal system at all costs. Feng’s absurdist dark comedy is potent in pointing out social ills while eliciting reflections through satire. The images, framed in circle and square, alluded to the Chinese philosophy of “circular heaven and square earth” that mirrors the character’s precarious journey through the maze-like legal framework. Fan Bingbing played against type as a plain yet fierce village woman and won Best Actress at the Asia Film Awards over strong contenders including Kara Wai, Kuroki Haru and Son Ye-jin.

After winning Best Film at the Asia Film Awards for I AM NOT MADAME BOVARY, Feng Xiaogang repeated the feat with YOUTH the very next year. The coming-of-age film is set against the sweeping historical canvas of China’s Cultural Revolution and Sino-Vietnamese War during the 1970s and 1980s. The film is drawn from Feng’s own experiences in the military art troupe during his youth combined with the semi-biographical novel by screenwriter Yan Geling. Basked in dreamy soft focus and lush colors, the youths experience the joys and tribulations of growing up. However, their aspirations and future are crushed by the wheel of time. For the filmgoers, Feng’s deeply personal film also evokes nostalgia and resonance. YOUTH also featured Zhong Chuxi who charmed the audience in her film debut as the clever and good-natured dance troupe member.

日本導演是枝裕和擅寫家庭，作品處處流露人文關懷。為是枝裕 和贏得康城金棕櫚大獎的《小偷家族》，與他在 2004 年拍攝的《誰 知赤子心 》同出一轍，聚焦被社會遺忘的貧困階層生活。是枝裕 和在拍攝《誰調換了我的父親》中叩問家庭的定義，來到《小偷家 族》，一群淪落人組成比很多有血緣關係的親人更有愛的家庭，彼 此扶持相濡以沫，顛覆傳統家庭概念。與是枝裕和合作多年的殿 堂級演員樹木希林離世前動人演出，配合本屆亞洲電影大獎最佳 原創音樂得主細野晴臣的樂章，有如流水行雲，令人低迴。

︽小偷家族︾

SHOPLIFTERS

The Japanese auteur Kore-eda Hirokazu is lauded as a humanist adept in family dramas. In SHOPLIFTERS for which he won the Palme d’Or at the Cannes Film Festival, Kore-eda Hirokazu revisited the lives of the impoverished and those forgotten by society not unlike his 2004 film NOBODY KNOWS. While LIKE FATHER, LIKE SON contemplates what truly defines a family, SHOPLIFTERS features a group of downtrodden characters that form a makeshift family. They forge a stronger and more loving bond than those related by blood, subverting notions of traditional families. The film also featured the inimitable actress Kiki Kirin, a frequent collaborator of Kore-eda Hirokazu, in one of her final performances. The film’s lyrical quality is highlighted by Hosono Haruomi’ score which won Best Original Music at the Asian Film Awards.

︽上流寄生族︾

PARASITE

《 韓流怪嚇 》、《 骨肉同謀 》導演奉俊昊巔峰之作，請來合作無間 的宋康昊，伙拍李善均、崔宇植、李姃垠及曹如晶等，演繹集黑

色幽默、驚悚懸疑及社會批判於一身的警世寓言。金氏一家長居 半地下室，全家因長期失業及無正職工作而令生活困頓，偶然機 會下他們找到上流機會，逆襲富人成為寄生族。電影反映當代社 會貧富兩極下基層處境，議題引發全球觀眾共鳴，不但為奉俊昊 贏得康城影展金棕櫚大獎，更讓本片成為首部獲得奧斯卡最佳電 影及最佳原創劇本獎項的非英語電影，在亞洲電影大獎中同時奪 得最佳編劇獎自是毫無懸念。

After THE HOST and MOTHER, director Bong Joon-ho reached even greater heights with PARASITE. In addition to Song Kang-ho, Bong’s frequent collaborator, the social satire also featured Lee Sun-kyun, Choi Woo-shik, Lee Jung-eun and Cho Yeo-jeong. In this dark and funny thriller that also functions as a biting social commentary, the destitute and unemployed Ki family has been living in a semi-basement apartment. Seeing an opportunity, they swindle their way into infiltrating an upper-class household. The film symoblises the yawning gulf between the rich and poor in contemporary society which resonates around the world. Also winning a well-earned Best Screenplay at the Asian Film Awards, PARASITE not only won the prestigious Palme d’Or at the Cannes Film Festival but also became the first non-Englishlanguage film to have won Best Picture and Best Original Screenplay at the Oscars.

︽間諜之妻︾

WIFE OF A SPY

憑《東京奏鳴曲》奪得亞洲電影大獎最佳電影的日本導演黑澤清， 在本屆亞洲電影大獎再憑本片獲得此項殊榮。原為電視電影的《間 諜之妻》，刻劃二戰時一對商人夫婦在得悉日軍在中國的惡行後， 甘願背負叛國罪名，決意將事實公諸於世。蒼井優飾演間諜之妻， 由開頭對丈夫的懷疑，到後來決定與丈夫站在同一陣線，心理轉 折拿捏得宜。電影以華美服飾及精細設計重現四十年代日本面貌， 贏得亞洲電影大獎最佳造型設計。

Japanese director Kurosawa Kiyoshi triumphed at the Asian Film Awards again with WIFE OF A SPY, repeating his success of winning Best Film after TOKYO SONATA. Originally a television film, WIFE OF A SPY is set during the WWII with a couple having the moral courage to confront the entire nation after witnessing war crimes committed by the Japanese army against Chinese people. Aoi Yu delivered an insightful and nuanced performance as the titular character who initially suspects his husband and eventually stands steadfastly by him. For the elegant costumes and gorgeous set designs recreating Japan in the 1940s, the film also won Best Costume Design at the Asian Film Awards.

JURY PRESIDENT

第十六屆亞洲電影大獎

評審主席

導演張藝謀執導首部作品《紅高粱》即斬獲柏林影展最佳 影片，自此就一直透過電影用真誠的敘事手法拍出引起 亞洲以至世界觀眾共鳴的作品。導演往往是一部作品的 龍頭，然而對於導演這角色，張藝謀淡然道出他的經驗之 談：「 但凡當過導演的都知道，沒有百分百的以自我為中 心，在某一方面，你總會有妥協，有忍讓，有遷就，但也有 堅持 所以我常說，拍電影就是一個面對困難、克服困 難的過程，在這個過程中，你能保持多少自我？得看運氣， 得看時機，得看條件。導演都是很自我的人，誰都想做一 個隨心所欲的導演，誰能做到？ 反正我做不到。」其答案 也許戳破大眾對導演這崗位的想像，反而讓我們窺探電影 創作的現實。話雖如此，就算張藝謀做不到隨心所欲，但 他至今對電影創作還是抱持著巨大熱忱，其作品備受大眾

認可，獲獎無數。在他逾四十年的電影人生中，他仍然孜 孜不倦地探索電影藝術裡不同的創作領域 還未上映 的新作《 堅如磐石 》中，便是他首次嘗試拍攝掃黑警匪題 材。張藝謀貴為中國第五代導演的領軍人物，至今仍然耕 耘不輟，在自己不同階段的電影留下傳承的印記。

Ever since his first film RED SORGHUM won him Best Film at the Berlinale, Zhang Yimou never fails to produce works that resonate with Asian and international audiences with his mastery in sincere storytelling. For the director to often be regarded as the head of a production, Zhang Yimou speaks of his experience in the role of director, “Anyone who has been a director knows that you can’t be self-absorbed. In some way you will always have to compromise, to give in, but also to persist — so I always say that filmmaking is a process of facing challenges and overcoming them, and in this process, how much of yourself can you be? It depends on luck, it depends on timing, it depends on conditions. Directors want to get his or her own way but hardly any succeed, including myself.” The answer may not be as imposing as one might expect, instead it gives us a glimpse into the reality of filmmaking. That said, even if Zhang Yimou faced restrictions, he still has a great passion for filmmaking, with his work being internationally acclaimed and rewarded numerous awards 35 years since RED SORGHUM, the award-winning director remains passionate and enthusiastic about cinema. In his upcoming film UNDER THE LIGHT, Zhang Yimou had his first tryout with the crime genre. As the leading figure in China’s fifth generation of directors, Zhang Yimou has continued to advance and to nurture, leaving great legacy in different stages of his works.

拍電影就是一個面對困難

ZHANG YIMOU

張藝謀

“Filmmaking is a process of facing challenges and overcoming challenges.”

Director Zhang Yimou, Jury President

第十六屆亞洲電影大獎

林明禎出生於馬來西亞檳城，2015 年在台灣以歌手身分 出道，2017 年出演首部電影《救殭清道夫》在香港電影界 嶄露頭角，同時燃起她對演戲的熱忱，矢志要成為一名演 員，自此專注於發展演藝事業。或許作為一位新演員，要 如海綿吸水般積極地吸收學習，還得如海綿具有捏塑的 彈性。談及電影教會她最重要的一課，這位新生代演員就 有這樣的體會：「愛有時候會使人脆弱；但沒有愛你無法 堅強。電影類型多樣化，但我發現沒有一部電影是和愛無 關的。愛是一種元素。沒有愛，我們便不存在。」林明禎出 道至今踏進第六年的時間，其充滿活力的形象和率真的 個性深得觀眾喜愛，成為炙手可熱的演員，近期主演的喜 劇電影《 飯戲攻心 》（2022）更登上香港最賣座喜劇電影， 然而她依然柔軟且求知若渴，懷著滿腔熱情和好奇，期待 著往後的新嘗試和挑戰。

Born in Penang, Malaysia, Lin Min Chen began her career as a singer in Taiwan in 2015. In 2017, she made her mark in Hong Kong’s film industry with her first starred film VAMPIRE CLEANUP DEPARTMENT. This opportunity sparked her passion for acting and rooted her determination to become an actress, focusing on this path ever since. As a newcomer, perhaps, one has to soak up new things as keenly as a sponge and be as adaptive as its structure. Speaking the most important lesson that film has taught her, the newcomer shares her experience, “Love can sometimes make you weak, but without love, you can’t be strong. A film can be in many genres, yet I found none that wasn’t about love. Love is a fundamental element. We don’t exist without love.”

Stepping into her sixth year in the industry, Lin Min Chen has become a popular actress with her delightful image and genuine personality. She recently starred in the comedy TABLE OF SIX (2022), which acclaimed the highest box office among comedy films in Hong Kong. Yet, Lin Min Chen is still gentle and keen on learning. With her passion and curiosity, Lin looks forward to new challenges that life will bring ahead.

LIN MIN CHEN

但我發現沒有

“A film can be in many genres, yet I found none that wasn’t about love.”

︐

林明禎

16

th

SAMMO

身為七小福大師兄的洪金寶，從演員到動作指導，由導演 以至出品人，幕前幕後的表現皆備受肯定，為香港乃至華

語電影界留下了濃墨重彩的一筆。1982 年，洪金寶以由 其執導並主演的警匪電影《提防小手》榮獲第二屆香港電

影金像獎最佳男主角，同時憑藉其導演及參演的武打電

影《 敗家仔 》贏得最佳動作指導。其對事業的熱愛讓他年

至古稀仍堅守工作崗位，繼 2016 年執導及主演動作電影

《 我的特工爺爺 》後，洪金寶於 2018 年擔任《 殺破狼 貪 狼》的動作導演，再次奪得香港電影金像獎最佳動作設計

的殊榮。在連同六位香港知名導演聯手執導的電影《七人 樂隊 》，當中洪金寶執導的故事《 練功 》以五十年代香港 為背景，訴說自身學藝成長的歲月，希望將功夫藝術傳承 下去。洪金寶參演的電影多不勝數，且題材種類多元，為 亞洲電影的繁榮帶來巨大貢獻及深遠影響，值得無數後

輩學習與傳承，此次獲頒終身成就獎完全是實至名歸。

As the most senior member of ‘Seven Little Fortunes’, Sammo Hung has always been widely acclaimed for his exceptional performance both in front of and behind the scenes. From an actor to a martial artist, from a director to a producer, Hung left his remarkable legacy to Hong Kong and Chinese film industry. In 1982, Sammo Hung was awarded Best Actor at the 2nd Hong Kong Film Awards for CARRY ON PICKPOCKET, which he directed and starred in; while receiving the Best Action Choreography award for his impressive work on the martial arts movie THE PRODIGAL SON. Hung’s great passion for his career has kept him at work even in his senior age. After directing and starring in the action film MY BELOVED BODYGUARD in 2016, he took on the role of acting director for Paradox in 2017, which won him again Best Action Choreography. In the film THE STORY OF HONG KONG (2020), which was directed by six renowned Hong Kong directors, Sammo Hung’s story of EXERCISE sets the scene in 1950s Hong Kong and tells the real-life story of Hung’s martial arts journey, hoping to pass on the beloved traditional Kung Fu. With his numerous films and diversified subjects, Hung has made an invaluable contribution to the prosperity of Asian cinema. Leaving a profound impact on the industry, Hung is doubtlessly the perfect choice for Lifetime Award as he sets a great example for junior filmmakers to learn from and pass on.

HUNG

從演員到動作指導

由導演以至出品人

幕前幕後的表現皆備受肯定

留下了濃墨重彩的一筆為香港乃至華語電影界

From an actor to a martial artist, from a director to a producer, HUNG left his remarkable legacy to Hong Kong and Chinese film industry.

日本著名演員阿部寬對演戲的熱愛為日本影視帶來

了活力與養分，是日本影視發展的重大功臣，在亞洲 的影響力可謂是數一數二。原來這位影帝自小便受

到亞洲電影的薰陶，那微妙的光緣影份讓他從銀幕 前的觀眾走到戲內當演員：「在那個年代有很多傑出

的演員，例如李小龍、成龍、元彪、周潤發和梁朝偉。 我小時候觀看他們的電影，那些極具影響力的亞洲

電影，實在讓我獲益良多，對我而言如聖經一樣，真 的很感恩曾經觀看過它們。」難怪阿部寬從影以來，

勇於挑戰多面向的角色。不論是《 窈窕淑女 》的少爺 伊集院忍、《橫山家之味》活在哥哥陰影底下的良多， 抑或是《 比海還深 》裏沉迷過去的丈夫，他精湛的演 技賦予了每個角色獨一無二的魅力。

Internationally acclaimed Japanese actor Abe Hiroshi contributed outstandingly to the Japanese cinema with his great passion towards acting and is regarded as one of the most influential in Asia. The actor was greatly inspired by Asian cinema since he was a child, and it was that subtle resonation with Asian cinema that brought him from being an audience to being an actor, from the crowd to the stage, “There were many amazing actors at that time, such as Bruce Lee, Jackie Chan, Yuen Biao, Chow Yun Fat and Tony Leung. I grew up watching their films. I learned a lot by watching the most powerful Asian films of that time. Those films were a kind of bible to me. I’m really grateful that I could see them.” No wonder Abe Hiroshi challenged himself with a wide range of roles throughout his career. Whether for it to be the young master Shiniji Iju in his film debut —

HAIKARA-SAN GA TŌRU (1987), Ryota in STILL WALKING (2008) who lives in the shadow of his brother, or the pastobsessed husband in AFTER THE STORM (2016); Abe Hiroshi’s exquisite acting skill can always bring each character a unique charm.

HIROSHI

“I learned a lot by watching the most powerful Asian films of that time. Those films were a kind of bible to me. I’m really grateful that I could see them.”

Abe Hiroshi, Japanese Actor

那些極具影響力的 亞洲電影

DECISION TO LEAVE 《分手的決心》

SOUTH KOREA 南韓

DRIVE MY CAR

JAPAN 日本

POET 《古來詩人皆寂寞》

KAZAKHSTAN 哈薩克

PONNIYIN SELVAN: PART I

《聖河之子：朱羅王朝戰紀 1 》

INDIA 印度

WHEN THE WAVES ARE GONE 《湧浪之後》

THE PHILIPPINES, FRANCE, PORTUGAL, DENMARK

菲律賓、法國、葡萄牙、丹麥

KORE-EDA HIROKAZU 是枝裕和

BROKER 《孩子轉運站》｜ SOUTH KOREA 南韓

PARK CHAN-WOOK 朴贊郁

DECISION TO LEAVE 《分手的決心》｜ SOUTH KOREA 南韓

HAMAGUCHI RYUSUKE 濱口竜介

DRIVE MY CAR ｜ JAPAN 日本

DAREZHAN OMIRBAYEV 達赫讓奧米巴夫

POET 《古來詩人皆寂寞》｜ KAZAKHSTAN 哈薩克

DAVY CHOU 周戴維

RETURN TO SEOUL《回首爾後》｜ FRANCE, GERMANY, BELGIUM, CAMBODIA, QATAR 法國、德國、比利時、柬埔寨、卡塔爾

OKADA MASAKI 岡田將生

DRIVE MY CAR ｜ JAPAN 日本

MIYAZAWA HIO 宮澤冰魚

EGOIST 《愛是自私》｜ JAPAN 日本

YIM SI-WAN 任時完

EMERGENCY DECLARATION 《緊急迫降》｜ SOUTH KOREA 南韓

OH KWANG-ROK 吳光祿

RETURN TO SEOUL 《回首爾後》｜ FRANCE, GERMANY, BELGIUM, CAMBODIA, QATAR 法國、德國、比利時、柬埔寨、卡塔爾

MICHAEL HUI KOON MAN 許冠文

WHERE THE WIND BLOWS 《風再起時》｜ HONG KONG 香港

ANDO SAKURA 安藤櫻

A MAN 《那個男人》｜

JAPAN 日本

LAURA BASUKI 羅拉巴蘇 姫

BEFORE, NOW & THEN 《娜娜的逝水年華》｜ INDONESIA 印尼

KIM SO-JIN 金素辰

EMERGENCY DECLARATION 《緊急迫降》｜ SOUTH KOREA 南韓

YIN TAO 殷桃

HOME COMING 《萬里歸途》｜ MAINLAND CHINA 中國大陸

KAWAI YUUMI 河合優實

PLAN 75 《七五計劃》｜ JAPAN 日本

PARK HAE-IL 朴 海 日

DECISION TO LEAVE 《分手的決心》｜ SOUTH KOREA 南韓

NISHIJIMA HIDETOSHI 西島秀俊

DRIVE MY CAR ｜ JAPAN 日本

SUZUKI RYOHEI 鈴木亮平

EGOIST 《愛是自私》｜ JAPAN 日本

ZHANG YI 張譯

HOME COMING 《萬里歸途》｜

MAINLAND CHINA 中國大陸

MOHSEN TANABANDEH 莫森塔納 班 德

WORLD WAR III 《片場風暴》｜ IRAN 伊朗

TONY LEUNG CHIU WAI 梁朝偉

WHERE THE WIND BLOWS 《風再起時》｜ HONG KONG 香港

SYLVIA CHANG 張艾嘉

A LIGHT NEVER GOES OUT 《燈火闌珊》｜ HONG KONG 香港

KARENA LAM 林嘉欣

AMERICAN GIRL 《美國女孩》｜ TAIWAN 台灣

HAPPY SALMA 哈琵 薩 爾馬

BEFORE, NOW & THEN 《娜娜的逝水年華》｜ INDONESIA 印尼

TANG WEI 湯唯

DECISION TO LEAVE 《分手的決心》｜ SOUTH KOREA 南韓

BAISHO CHIEKO 倍賞千惠子

PLAN 75 《七五計劃》｜ JAPAN 日本

MAKBUL MUBARAK 馬克布穆巴拉克

AUTOBIOGRAPHY 《獨裁的豢養》｜ INDONESIA, FRANCE, SINGAPORE, POLAND, THE PHILIPPINES, GERMANY, QATAR 印尼、法國、新加坡、波蘭、菲律賓、德國、卡塔爾

SAIM SADIQ 賽姆 薩 迪克

JOYLAND 《愛情美樂地》｜

PAKISTAN 巴基斯坦

JIGME TRINLEY 久美成列

ONE AND FOUR 《一個和四個》｜ MAINLAND CHINA 中國大陸

HAYAKAWA CHIE 早川千繪

PLAN 75 《七五計劃》｜ JAPAN 日本

KIM SE-IN 金世仁

THE APARTMENT WITH TWO WOMEN《相近不相親》｜

SOUTH KOREA 南韓

LOUISE WONG 王丹妮

ANITA 《梅艷芳》｜ HONG KONG 香港

LEE JI-EUN 李知恩

BROKER 《孩子轉運站》｜ SOUTH KOREA 南韓

YANG ENYOU 楊恩又

LIGHTING UP THE STARS 《人生大事》｜ MAINLAND CHINA 中國大陸

PARK JI-MIN 朴智 敏

RETURN TO SEOUL 《回首爾後》｜ FRANCE, GERMANY, BELGIUM, CAMBODIA, QATAR 法國、德國、比利時、柬埔寨、卡塔爾

MAK PUI TUNG 麥沛東

THE SPARRING PARTNER 《正義迴廊》｜ HONG KONG 香港

MAKBUL MUBARAK 馬克布穆巴拉克

AUTOBIOGRAPHY 《獨裁的豢養》｜ INDONESIA, FRANCE, SINGAPORE, POLAND, THE PHILIPPINES, GERMANY, QATAR 印尼、法國、新加坡、波蘭、菲律賓、德國、卡塔爾 CHUNG SEO-KYUNG, PARK CHAN-WOOK 丁瑞慶、朴贊郁

DECISION TO LEAVE 《分手的決心》｜ SOUTH KOREA 南韓

HAMAGUCHI RYUSUKE, OE TAKAMASA 濱口竜介、大江崇允

DRIVE MY CAR ｜ JAPAN 日本

LIU JIANGJIANG, YU MIN 劉江江、宇 敏

LIGHTING UP THE STARS《人生大事》｜ MAINLAND CHINA 中國大陸

LAV DIAZ 拉夫迪亞茲

WHEN THE WAVES ARE GONE 《湧浪之後》｜ THE PHILIPPINES, FRANCE, PORTUGAL, DENMARK 菲律賓、法國、葡萄牙、丹麥

KIM SANG-BUM 金尚範

DECISION TO LEAVE 《分手的決心》｜ SOUTH KOREA 南韓

YAMAZAKI AZUSA 山崎梓

DRIVE MY CAR ｜ JAPAN 日本

ZHU LIN, WEI YONG, GAO QIONGJIALI

朱琳、魏永、高瓊嘉麗

LIGHTING UP THE STARS《人生大事》｜ MAINLAND CHINA 中國大陸

A. SREEKAR PRASAD

PONNIYIN SELVAN: PART I 《聖河之子：朱羅王朝戰紀 1 》｜ INDIA 印度

DOUNIA SICHOV

RETURN TO SEOUL 《回首爾後》｜ FRANCE, GERMANY, BELGIUM, CAMBODIA, QATAR 法國、德國、比利時、柬埔寨、卡塔爾

BATARA GOEMPAR

BEFORE, NOW & THEN 《娜娜的逝水年華》｜ INDONESIA 印尼

KIM JI-YONG 金智龍

DECISION TO LEAVE 《分手的決心》｜ SOUTH KOREA 南韓

LU SONGYE 呂松野

ONE AND FOUR 《一個和四個》｜ MAINLAND CHINA 中國大陸

URATA HIDEHO 浦田秀穂

PLAN 75 《七五計劃》｜ JAPAN 日本

RAVI VARMAN 拉維瓦爾曼

PONNIYIN SELVAN: PART I 《聖河之子：朱羅王朝戰紀 1 》｜ INDIA 印度

CHO SANG-KYUNG 趙 相慶

ALIENOID 《祖宗膠戰外星人》｜ SOUTH KOREA 南韓

DORA NG, KAREN YIP 吳里璐、葉嘉茵

ANITA 《梅艷芳》｜ HONG KONG 香港

RETNO RATIH DAMAYANTI

BEFORE, NOW & THEN 《娜娜的逝水年華》｜ INDONESIA 印尼

SHINOZUKA NAMI 篠塚奈美

EGOIST 《愛是自私》｜ JAPAN 日本

EKA LAKHANI

PONNIYIN SELVAN: PART I《聖河之子：朱羅王朝戰紀 1》｜ INDIA 印度

VIDA SYLVIA THERESIA

BEFORE, NOW & THEN 《娜娜的逝水年華》｜ INDONESIA 印尼

RYU SEONG-HIE 柳成 ��

DECISION TO LEAVE 《分手的決心》｜ SOUTH KOREA 南韓

LI MIAO 李淼

HOME COMING 《萬里歸途》｜ MAINLAND CHINA 中國大陸

THOTA THARANI

PONNIYIN SELVAN: PART I 《聖河之子：朱羅王朝戰紀 1 》｜ INDIA 印度

BILL LUI, ANDREW WONG 雷楚雄、黃 敏 軒

WHERE THE WIND BLOWS 《風再起時》｜ HONG KONG 香港

JAY SEUNG JAEGAL 諸葛昇

ALIENOID 《祖宗膠戰外星人》｜ SOUTH KOREA 南韓

WEI MING, ZHANG FAN, SHI WEN, CAI MENG 魏明、張帆、施雯、蔡猛

MOON MAN 《獨行月球》｜ MAINLAND CHINA 中國大陸

SRINIVAS MOHAN 斯里尼瓦斯莫 漢

RRR 《雙雄起義》｜ INDIA 印度

SATO ATSUKI 佐藤敦紀

SHIN ULTRAMAN 《新 超人》｜ JAPAN 日本

CHAS CHAU, LEUNG WAI KIT, KWOK TAI, LAW MAY 鄒志盛、梁偉傑、郭泰、羅慧媚

WARRIORS OF FUTURE 《明日戰記》｜ HONG KONG 香港

CHO YOUNG-WUK 曹永旭

DECISION TO LEAVE 《分手的決心》｜ SOUTH KOREA 南韓

ISHIBASHI EIKO 石橋英子

DRIVE MY CAR ｜ JAPAN 日本

A.R. RAHMAN 阿拉拉卡拉赫曼

PONNIYIN SELVAN: PART I 《聖河之子：朱羅王朝戰紀 1 》｜ INDIA 印度

JÉRÉMIE ARCACHE, CHRISTOPHE MUSSET

RETURN TO SEOUL 《回首爾後》｜ FRANCE, GERMANY, BELGIUM, CAMBODIA, QATAR 法國、德國、比利時、柬埔寨、卡塔爾

BAHMAN GHOBADI, VEDAT YILDIRIM

THE FOUR WALLS ｜ TÜRKIYE 土耳其

TU DUU-CHIH, WU SHU-YAO 杜篤之、吳書瑤

ANITA 《梅艷芳》｜ HONG KONG 香港

KIM SUK-WON, KIM EUN-JUNG 金石源、金恩廷

DECISION TO LEAVE 《分手的決心》｜

SOUTH KOREA 南韓

NOMURA MIKI, OBO TATSUYA 野村美紀、大保達哉

DRIVE MY CAR ｜ JAPAN 日本

VINCENT VILLA

RETURN TO SEOUL 《回首爾後》｜ FRANCE, GERMANY, BELGIUM, CAMBODIA, QATAR 法國、德國、比利時、柬埔寨、卡塔爾

RAGHUNATH KEMISETTY

RRR 《雙雄起義》｜ INDIA 印度

WHEN THE 到作者名作由史詩大片

記本屆亞洲電影大獎最佳電影提名

憑第十六屆亞洲電影大獎的候選最佳電影名單，會發現 當今亞洲電影的多元面貌。

從產業的角度，印度泰米爾語大片《聖河之子：朱羅王朝

戰紀 1》堪稱典範。根據上世紀五十年代同名歷史小說改 編，以南印度十世紀朱羅王朝為題的歷險故事。兩集合共 耗資五億港元，百份百史詩格局，近三小時的首集熱熱鬧 鬧，連場奇觀、大戰及歌舞。我們跟著機靈的主角穿梭名 勝、翻山涉水，誓要破壞王朝大臣的篡位陰謀。印度電影 又怎少得俊男美女？寶萊塢大美人艾絲維亞莉保養極好， 她的皇后角色，到下集相信一樣關鍵。 南韓朴贊郁的《 分手的決心 》固然不失禮，挾去年康城最 佳導演及無數影評人獎年度十大的榮譽而來，大概是今 年角逐得獎呼聲最高的戲。早前在香港公映，我們也看得 特別投入： 湯唯演殺人疑犯，把朴海日的資深幹探弄得 情迷意亂、七上八落。拍過「 復仇 」系列的朴贊郁處理當 代黑色電影，好看本來就不是懸念。全片看下去，佈局與 調度也真的太強；峰迴路轉，意象豐富到不得了。畏高者 看到影片那座筆直陡削的高山，不發惡夢才怪！ 類型之外，今年最佳電影同樣有些傑出的作者作品。這些 戲相對較靜態，卻每每更深邃、更值得細味。

菲律賓名導演拉夫迪亞茲去年的《 湧浪之後 》是其一。黑 白攝影、一場一鏡、步調緩慢。老差骨作風剽悍，卻由於 見證過冷血緝毒行動，良知受責下，竟得皮膚怪病。同一 時間，有個與他充滿恩怨情仇的釋囚要來算帳。全片三小 時，兩條平行線最後才交疊一起，意念來自《 基度山恩仇 記》。迪亞茲以小見大，躁狂男人、跋扈警察，與當代菲律 賓政治有密不可分的關係。警校課室牆上一句標語點題， 真實該在哪裡尋獲？ 寄克里斯蒂名言： 不假外求，在我 們內心。

哈薩克的電影我們較少接觸（ 拜託別再提《 波叔 》好 了 ），今年有份角逐的《 古來詩人皆寂寞 》，導演達赫 讓奧米巴夫其實很資深。

事實上影片拍得極好，敘事分兩面： 一邊描寫當代

名不見經傳的詩人，被生活壓力、新媒體、語言被邊 緣化等裡外夾擊，新詩根本無人問津。另一邊講十九

世紀一位批判當權者的薄命偉大詩人，可憐的他慘 遭殺害後，連屍骨都不予安葬。人一輩子匆匆幾十年，

到底所謂何事？沒有市場的藝術、志業，還值得再做

下去？ 好喜歡影片大部份時候沒有對白，冷冷的荒 誕，默默讓觀眾與主角感同身受。另，戲裡兩段夢境 也拍得趣味盎然。

入圍本屆最佳電影還有這一部，大概很多人早就看

過了但亦值得在大銀幕再看：濱口竜介的《Drive My Car》。

相對幾部競逐對手，《Drive My Car》時間上有點輸蝕， 它是前年出來的，對某些觀眾印象或有些依稀。然而 再看還是非常出色，濱口把村上春樹的短篇解拆重

組，再添加細節編寫成這部三小時作品。家福悠介是 個德高望重的劇場藝術家，全片藉著他一趟廣島之

遊，寫他與亡妻、妻子情夫及司機的耐人尋味的關係， 一步步讓我們探進角色內心。濱口絕對是當代亞洲 電影編與導的高手，作品篇幅往往不短，但每場戲都 那麼中看。柳暗花明的看著看著，時間轉瞬就過去了。

DECISION TO LEAVE

PONNIYIN SELVAN: PART I

We see Asian cinema’s variety nowadays just by looking at the Best Film nomination list of the 16th Asian Film Awards (AFA).

PONNIYIN SELVAN: PART I, an Indian Tamil-language epic, is perhaps an exemplar for the film industry. Adapted from a 1950s historical novel about adventures in Southern India in the 10th Century during the Chola Dynasty, the film is definitely epic and the two episodes together cost half a billion Hong Kong Dollars in production. The three-hour first episode features endless happenings and spectacles, plus fights and dances. We follow our smart protagonist, who is determined to combat the usurper, and visit built and natural scenic spots in the course. Of course an Indian film cannot exist without handsomes and beauties.

Bollywood diva Aishwarya Rai Bachchan, still looking young and fresh at her age, plays the queen, a role that is expected to be key in also the next episode.

South Korean film DECISION TO LEAVE, which was among numerous critics’ top 10 of the year and with which director Park Chan-wook won Best Director at Cannes, is probably the hottest contender at this year’s AFA. When it was released in Hong Kong, we were perhaps particularly mesmerized by Tang Wei’s performance as the suspected killer who bewilders the inspector played by Park Hae-il. With Park Chan-wook’s Vengeance Trilogy, we should not be surprised that he is capable of creating an impressive film noir. The film excels in both its plot and mise-enscène, and is full of twists and turns and filled with imageries. The steep mountain will no doubt bring nightmares to those suffering from acrophobia!

Apart from genre films, this year’s nominations have some auteur titles that are more quiescent yet more profound.

FROM EPICS TO AUTEUR FILMS:

Among them is Filipino director Lav Diaz’s WHEN THE WAVES ARE GONE, most notable for its black and white cinematography, one-take scenes, and slow pace. A veteran inspector, consciencestricken after witnessing some murderous anti-drug campaigns, suffers from a severe anxiety-induced skin disease. At the same time, an ex-convict is after him for what he has wronged him. Two parallel plotlines only converge at the end after three hours, a treatment likely to be inspired by THE COUNT OF MONTE CRISTO. Diaz sees the bigger picture of the Philippines’ political scene from a manic man and a domineering cop who are both deeply engaged in political institutions. On the wall of the police cadet school, a quotation from Agatha Christie reads: “One must seek the truth from within, not without.” It points right to the core of this film: where can we find the truth?

We might be less familiar with Kazakh films (please don't mention BORAT anymore!), but Kazakh director Darezhan Omirbayev, whose POET is nominated for Best Film at AFA, is indeed an experienced filmmaker. There are two narratives in this well-made piece: an unknown poet today is confronted by the pressure of making a living, rise of new media and marginalization of the poetic language in an era when no one cares about contemporary poetry; a great poet in the 19th Century who criticized the ruling authority got murdered but his body not buried. What is the meaning of life that lasts for only a few decades? Is it worthwhile to persevere with a career on the arts that has no market? The film is without dialogue most of the time. I love this silence, which highlights the absurdity of life and let the audience steps into the poets’ shoes. The two dreams in the film are also made in a very interesting manner.

There is one more nominee, which many has seen but is still worth to be watched again on the big screen: DRIVE MY CAR by Hamaguchi Ryusuke. The film was released the year before, putting it in a slightly disadvantageous position as some viewers’ memories of it might have faded. I still find it brilliant when revisiting it. Hamaguchi reorganizes short stories by Haruki Murakami and adds details to create a three-hour long film. Kafuku Yusuke is a renowned theatrical artist, and the film follows his road trip to Hiroshima, in which his relationships with his late wife, her lover and the driver are revealed. Hamaguchi is definitely a savvy director and scriptwriter in contemporary Asian cinema. His films are usually quite long, but every scene turns out enjoyable, so much so that the passage of time becomes unnoticeable when we watch his films.

DRIVE MY CAR WAVES ARE GONE POET ASIAN FILM AWARDS

CO-ORGANIZERS FINANCIALLY SUPPORTERS

達赫讓奧米巴夫是哈薩克新浪潮的重要一員，1992 年執 導首部劇情長片《卡拉特》，在羅迦諾電影節獲得銀豹獎。

至今，他共拍攝了七部長片，其中 1998 年的《 兇手 》獲得 了康城影展「 一種關注 」大獎。在投身電影之前，奧米巴 夫在大學修讀數學，這背景令他以一種理性的角度思考 電影： 電影是由不同影像建立而成的解題，而影像就是 電影的語言。

語言是奧米巴夫作品中反復出現的主題，在 2021 年的《古 來詩人皆寂寞 》，他以平行方式敘述一位落泊的現代詩人 和一位 19 世紀傳奇詩人的故事。今次由亞洲電影大獎學 院與百老匯電影中心合辦的電影技術工作坊很榮幸邀請 到導演奧米巴夫親身來臨，探討電影語言，以及語言和電 影的關係。

A leading director of the Kazakh New Wave, Darezhan Omirbayev started out directing his first feature film KAIRAT in 1992, garnering the Silver Leopard Award at the Locarno Film Festival. He has made six more features since, with KILLER (1998) winning the Un Certain Regard Award at Cannes Film Festival. With a background in mathematics before making films, Omirbayev considers the cinema as a solution constructed by different images — the language of cinema.

Language is a recurring subject of Omirbayev’s oeuvre and is further explored in his latest feature, Poet, which juxtaposes stories of an unrecognized modern-day poet and a legendary 19th poet. In the Film Craft Workshop co-organized by the Asian Film Awards Academy and the Broadway Cinematheque, we are honored to have the director in person to talk about the language of cinema and the relationship of language and cinema.

達赫讓奧米巴夫

— Darezhan Omirbayev

電影和語言

OMIRBAYEV

不僅是在電影領域我希望本世紀將成為亞洲的世紀

“I belong to Asia and I hope this century will be the Century of Asia not only in cinema.”

第十六 屆亞洲電影大獎 入圍電影精 選 」由亞洲電影大獎學院主辦， MOViE MOViE 協辦，創意香港及 電影發展基金資助。八部入圍第 十六屆亞洲電影大獎的優秀作品 即將於香港限定放映，國際級導 演拉夫迪亞茲、濱口竜介、是枝 裕和、達赫讓奧米巴夫將訪港出 席放映並與觀眾會面交流，陣容 華麗，不容錯過！

The Asian Cinerama — 16th Asian Film Awards Selection is presented by the Asian Film Awards Academy, in collaboration with MOViE MOViE, and financially supported by Create Hong Kong and the Film Development Fund. Eight outstanding nominated films of the 16th Asian Film Awards will be screened in Hong Kong. Filmmaking masters Lav DIAZ, HAMAGUCHI Ryusuke, KORE-EDA Hirokazu, and Darezhan OMIRBAYEV will visit Hong Kong and greet the audience at the post-screening session. Don’t miss this once-in-a-lifetime opportunity!

ASIAN CINERAMA

印度 INDIA / 2022 / 167 MINS

導演 DIRECTOR

Mani Ratnam

演員 CAST

Vikram

Aishwarya Rai Bachchan

Jayam Ravi

語言 LANGUAGE

泰米爾語對白，英文字幕

In Tamil with English subtitles

亞洲電影大獎提名 ASIAN FILM AWARDS’ NOMINATIONS

最佳電影 最佳剪接 最佳攝影 最佳原創

音樂 最佳造型設計 最佳美術指導

Best Film, Best Editing, Best Cinematography, Best Original Music, Best Costume Design, Best Production Design

12.3 (SUN) 12:00PM

圓方 PREMIERE ELEMENTS

PONNIYIN SELVAN: PART I ︽緊急迫降︾

︾

斥資過億港幣打造的南印度史詩式動作巨製《聖河之子：朱羅王朝戰紀 1》， 由名導演 Mani Ratnam 改編 50 年代同名泰米爾歷史小說，以驚天動地的場 面、宏大的世界觀、鼎盛的明星陣容，打破了當地多項票房紀錄。公元 970 年，朱羅王朝陷入前所未有的危機，封臣和小酋長正密謀叛變，肩負重任的 Vanthiyathevan 要排除萬難，向皇室傳遞儲君的訊息。眾人各懷鬼胎，動蕩 的時代即將到來，皇位將由誰登上？

Set out to cross the Chola land, charming, brave young Vanthiyathevan is determined to deliver a message from the Crown Prince Aditha Karikalan, who is separated by situations with his younger brother Arunmozhi Varman and the emperor, to bring political peace to the Chola kingdom that is under threat from both internal and external forces. The monarch and heirs of the Chola dynasty are in danger, but Vanthiyathevan is willing to do everything it takes to protect the prince. With hurdles and twists, is Vanthiyathevan able to complete his mission and save the Royal family?

Tamil legendary director Mani Ratnam adapted from the Indian bestseller historicalfiction novel “Ponniyin Selvan” into a two-part epic that boasts spectacular battles on land and sea with music from two-time Oscar winner A. R. Rahman.

EMERGENCY DECLARATION

導演 DIRECTOR

韓在林 Han Jae-rim

演員 CAST

宋康昊 Song Kang-ho、李炳憲 Lee Byung-hun、

全度妍 Jeon Do-yeon、金南佶 Kim Nam-gil、

任時完 Yim Si-wan、金素辰 Kim So-jin、

朴解浚 Park Hae-joon

語言 LANGUAGE

韓語、英語（部分）對白，

中英文及韓文（部分）字幕

In Korean and English (in parts) with Chinese, English and Korean (in parts) subtitles

亞洲電影大獎提名

ASIAN FILM AWARDS NOMINATIONS

最佳男配角、最佳女配角

Best Supporting Actor, Best Supporting Actress

獎項及提名 AWARD AND NOMINATION

康城影展非競賽單元

Cannes Film Festival, Out of Competition

設映後分享 WITH POST-SCREENING SHARING

嘉賓 GUEST

任時完 Yim Si-wan

主持 MODERATOR

宣柏健（影評人）Patrick Suen (Film Critic)

11.3 (SAT) 7:30PM

耗資 300 億韓圜，韓國首部航空災難鉅作，真實改編史無前例空中恐怖襲 擊之康城影展參展作！《與神同行》《軍艦島》重金班底聯同康城影帝宋康昊、 影后全度妍、大鐘獎影帝李炳憲以及一眾黃金明星陣容魄力演出。

資深警探具仁浩隊長（宋康昊 飾）收到一宗飛機恐怖襲擊的情報，調查期間 卻發現疑犯柳鎮錫（任時完 飾）早已秘密登機，更驚覺愛妻亦登上了同一航

班，使他倍感擔憂。患有飛機恐懼症的暖心爸爸朴在赫（李炳憲 飾）成功制 伏柳鎮錫，但柳鎮錫已於三萬呎高空中散播生化病毒，乘客逐一離奇死亡。

Veteran chief police detective In-ho receives a terrorist threat against a plane. While investigating, he discovers that the suspect has boarded the flight. As the flight departs Incheon Airport for Hawaii, a man dies mysteriously. Fear and chaos spread quickly, both inside the plane and on ground. Hearing this news, Transport Minister Sook-hee sets up a counter-terrorism task force and calls an emergency meeting to find a way to land the aeroplane.

The title drew attention by presenting different spaces and characters in the sky and on the ground in realistic ways, as reflected in the lighting, art design and cinematography, bringing the most authentic look possible for a convincing, lifelike experience.

南韓 SOUTH KOREA / 2022 / 141 MINS

BROKER

南韓 SOUTH KOREA / 2022 / 129 MINS

導演 DIRECTOR

是枝裕和 Hirokazu Koreeda

演員 CAST

宋康昊 Song Kang-ho

姜棟元 Gang Dong-won

裴斗娜 Doona Bae

李知恩 Lee Ji-eun

李周映 Lee Joo-young

語言 LANGUAGE

韓語對白，

In Korean with Chinese and English subtitles

11.3 (SAT) 4:35PM

亞洲電影大獎提名 ASIAN FILM AWARDS’ NOMINATIONS

最佳導演、最佳新演員

Best Director, Best Newcomer

獎項及提名 AWARD AND NOMINATION

康城影展最佳男主角、天主教人道精神獎

Best Actor, Prize of the Ecumenical Jury at Cannes Film Festival

設映後分享 WITH POST-SCREENING SHARING

嘉賓 GUEST

是枝裕和 Hirokazu Koreeda

主持 MODERATOR

羅玉華博士（香港大學比較文學系講師） Dr. Fiona Law (Lecturer in Comparative Literature at the University of Hong Kong)

《 小偷家族 》金棕櫚獎得主是枝裕和再度揚威康城影展，首部韓語電影《 孩 子轉運站 》一舉摘下「 人道精神獎 」及「 最佳男主角 」兩項榮譽，宋康昊更 成史上首位韓國演員勇奪康城影帝！ 尚賢（ 宋康昊 飾 ）經營洗衣店，可惜 生意淡靜更負債纍纍。在一個雨夜，尚賢聯同好兄弟東洙（姜棟元 飾）秘密 帶走「 嬰兒暫存箱 」裡的男嬰。翌日，年輕的母親素英（ 李知恩 飾 ）卻找上 門要求領回自己的孩子！ 本想報警揭發，但素英最終竟同意讓兩個「 中間 人」為兒子尋覓更好的父母，並跟隨兩人同行。另一邊廂，兩名刑警一直暗 中跟蹤著他們收集證據，決心拉人定案！

Self-proclaimed benevolent broker Sang-hyun runs a laundry shop; his partner, Dongsoo, who grew up in an orphanage, works in a baby box facility. One night in pouring rain, the pair secretly carry off an infant who was left in the baby box. As they aim to secure a special deal by finding new parents for the baby, the baby’s mother So-young returns for her son and realises that her baby has been taken. Meanwhile, police detective Su-jin and her younger colleague are witnessing all this as they silently tail the group, hoping to catch them in the act at all costs. Brought together by chance through a baby box, the five individuals embark on an unusual and unexpected journey. In his first Korean film, Palme d’Or winner Koreeda Hirokazu depicts the lives of those who are marginalised and unprotected from society with a keen yet warm eye.

DRIVE MY CAR

導演 DIRECTOR

濱口竜介 Ryusuke Hamaguchi

演員 CAST

西島秀俊 Hidetoshi Nishijima

三浦透子 Toko Miura

岡田將生 Masaki Okada

霧島麗香 Reika Kirishima

袁子芸 Sonia Yuan

語言 LANGUAGE

日語對白，中英文字幕

In Japanese with Chinese and English subtitles

設映後分享WITH POST-SCREENING SHARING

嘉賓 GUEST

濱口竜介 Ryusuke Hamaguchi

主持 MODERATOR

馮嘉琪（香港國際電影節節目顧問） Kiki Fung (Programme Consultant, Hong Kong International Film Festival)

亞洲電影大獎提名 ASIAN FILM AWARDS’ NOMINATIONS

最佳電影、最佳導演、最佳編劇、 最佳男主角 最佳男配角 最佳剪接 最佳原創音樂、最佳音響

Best Film, Best Director, Best Screenplay, Best Actor, Best Supporting Actor, Best Editing, Best Original Music, Best Sound 獎項及提名 AWARD AND NOMINATION 奧斯卡金像獎最佳國際影片

Best International Feature Film at Oscars 康城影展最佳劇本、費比西國際影評人獎、 天主教人道精神獎

Best Screenplay, FIPRESCI Prize, Prize of the Ecumenical Jury at Cannes Film Festival 金球獎最佳外語片

Best Picture Non-English Language at Golden Globe Awards

《Drive My Car》改編自村上春樹短篇小說集《沒有女人的男人們》同名篇章， 舞台劇演員兼導演家福（ 西島秀俊 飾 ）與妻子過著幸福美滿的生活，卻因 愛妻驟逝而灰心喪志，妻子遺下的一盒卡式帶成為他思憶舊日時光的媒介。 兩年後，家福遇上了寡言的女司機美沙紀（三浦透子 飾），在盛載亡妻回憶 的車上，兩個陌生人的簡短交流演變為坦率的懺悔，家福並逐漸發現妻子 生前的秘密……

導演濱口竜介繼《偶然與想像》後再攀高峰口碑載道，本片勇奪奧斯卡最佳 國際電影獎、康城影展最佳劇本獎、費比西國際影評人獎及天主教人道精 神獎等逾 80 個獎項。

Oto, happily married to stage actor and director Yusuke Kafuku, suddenly dies and leave behind a secret. Two years later, Kafuku, still unable to fully cope with the loss of his wife, receives an offer to direct a play at a theatre festival and drives to Hiroshima with his car. There, he meets Misaki, a reticent woman assigned to become his chauffeur. As they spend time together, Kafuku confronts the mystery of his wife that quietly haunts him.

Based on a short story from Haruki Murakami’s novel “Men Without Women: Stories”, Ryusuke Hamaguchi’s Academy Awards-winning title depicts the interactions between the two intriguing characters inside a car, where the closedoff moving space takes viewers to discover aspects or thoughts that could not be put into words before.

DECISION TO LEAVE

亞洲電影大獎提名

ASIAN FILM AWARDS’ NOMINATIONS

導演 DIRECTOR

朴贊郁 Park Chan-wook

演員 CAST

湯唯 Tang Wei

朴海日 Park Hae-il

語言 LANGUAGE

）對白，中英文字幕 In Korean and Putonghua (in parts) with Chinese and English subtitles 南韓 SOUTH KOREA / 2022 / 138 MINS 11.3 (SAT) 7:00PM 圓方 PREMIERE ELEMENTS

最佳電影、最佳導演、最佳編劇、最佳男主角、 最佳女主角、最佳剪接、最佳攝影、

最佳原創音樂、最佳美術指導、最佳音響

Best Film, Best Director, Best Screenplay, Best Actor, Best Actress, Best Editing, Best Cinematography, Best Original Music, Best Production Design, Best Sound

獎項及提名 AWARD AND NOMINATION

康城影展最佳導演

Best Director at Cannes Film Festival

青龍獎最優秀作品獎、導演獎、劇本獎、

男主角獎 女主角獎

Best Film, Best Director, Best Screenplay, Best Actor, Best Actress, Best Music at Blue Dragon Award

大鐘賞最優秀作品獎、劇本獎、男主角獎

勇奪康城影展最佳導演，韓國暗黑大師朴贊郁繼《原罪犯》、《饑渴誘罪》後， 第三度揚威康城影展，與憑此片榮封青龍獎首位非韓裔的影后湯唯聯手共 創另一試煉人性話題作！ 一名男子從山頂神秘墮下身亡，刑警海俊（ 朴海 日 飾）奉命調查死者妻子瑞萊（湯唯 飾）。表現得異常冷靜的瑞萊，言談中 更透露自己早已預料到丈夫會魂斷山野。在監視瑞萊的同時，海俊漸漸對 這個嫌疑犯產生興趣，亦被她大膽的舉動所吸引 面對猜不透的瑞萊， 到底海俊是愈來愈走近真相，

還是一步一步跌入無盡深淵？

A man plummets to his death from the peak of a mountain in South Korea; no one knows if he jumped or if somebody pushed him. The detective-in-charge, Hae-joon, arrives on the scene and suspects that the dead man's wife Seo-rae may be the murderer, as she does not show any signs of agitation at the death. As the detective interrogates Seo-rae and observes her on a stake-out, he slowly develops an interest in her, and finds himself trapped in a web of deception and desire.

Considered one of the most prominent filmmakers of South Korean cinema, Park Chan-wook again demonstrates his mastery in form, style and temperament in the setup of a classic film noir, and with this title he won the Best Director at last year's Cannes Film Festival.

︽娜娜的 逝水年華︾

印尼 INDONESIA / 2022 / 103 MINS

導演 DIRECTOR

卡米拉安迪妮 Kamila Andini

演員 CAST

哈琵薩爾馬 Happy Salma

Laura Basuki

Arswendy Bening Swara

語言 LANGUAGE

印尼語對白，中英文字幕

In Indonesian with Chinese and English subtitles

設映後分享 WITH POST-SCREENING SHARING

嘉賓 GUESTS

哈琵薩爾馬 Happy Salma

卡米拉安迪妮 Kamila Andini

Batara Goempar

主持 MODERATOR

宣柏健（影評人）Patrick Suen (Film Critic)

亞洲電影大獎提名 ASIAN FILM AWARDS’ NOMINATIONS

最佳女主角 最佳女配角 最佳攝影 最佳造型設計 最佳美術指導 Best Actress, Best Supporting Actress, Best Cinematography, Best Costume Design, Best Production Design

獎項及提名 AWARD AND NOMINATION 柏林影展榮獲最佳配角銀熊獎； 入圍最佳電影金熊獎 Silver Bear for Best Supporting Performance at Berlinale; Nominee of Golden Bear for Best Film at Berlinale

入圍柏林影展「最佳電影金熊獎」，印尼新銳女導演卡米拉安迪妮帶領新浪 潮，展現亞洲女性爭取自主的女力。在 1960 年代改朝換代的印尼，娜娜經 歷過戰火洗禮，在戰爭中失去了家庭。雖然如今已再婚過著富裕無憂的生 活，但往事揮之不去，而且她在家中地位卑微，丈夫更有外遇。娜娜一直沉 默忍受，直至一天她認識了丈夫的其中一個情婦，一切就起了翻天覆地的 變化。情婦竟成為了她唯一可以信任的人，讓她得到慰藉，傾訴內心的秘密。 兩個女人的生命自此交織在一起，並共同尋找自由的希望……

In the late 1960s, Nana loses her poverty-stricken family to the war in West Java and re-marries for a new life with a wealthy husband. Yet her place at home is menial, and she suffers in silence from her husband's infidelity. One day, Nana meets one of the mistresses, Ino, and everything changes. Ino becomes the only person she trusts and offers her comfort. As they confide secrets to each other, their lives intertwine, and together they look for the hope to free themselves from the patriarchal social dictates of the era.

Concerned with social culture, gender equality and environmental issues, Indonesian director Kamila Andini delivers a remarkable portrait of a woman battling the trauma of war, fighting to find the meaning of her freedom as a woman in a patriarchal society, yet never once made herself a victim, even if she cannot be separated from making sacrifices.

10.3 (FRI) 7:30PM 金鐘 MOViE MOViE PACIFIC PLACE * 節目如有更改，恕不另行通知 All programmes are subject to change without prior notice.

WHEN THE WAVES ARE GONE

菲律賓、法國、葡萄牙、丹麥 PHILIPPINES, FRANCE, PORTUGAL, DENMARK / 2022 / 187 MINS

導演 DIRECTOR

拉夫迪亞茲 Lav Diaz

演員 CAST

John Lloyd Cruz

Ronnie Lazaro

Shamaine Centenera-Buencamino

語言 LANGUAGE

他加祿語、英語（部分）對白，英文字幕

In Tagalog and English (in parts) with English subtitles

10.3 (FRI) 8:10PM

金鐘 MOViE MOViE PACIFIC PLACE

亞洲電影大獎提名

ASIAN FILM AWARDS’ NOMINATIONS

最佳電影、最佳編劇

Best Film, Best Screenplay

獎項及提名 AWARD AND NOMINATION

威尼斯影展非競賽單元

Venice Film Festival, Out of Competition

設映後分享 WITH POST-SCREENING SHARING

嘉賓 GUEST

拉夫迪亞茲 Lav Diaz

主持 MODERATOR

林瀚光博士（香港大學比較文學系講師） Dr. Derek Lam (Lecturer in Comparative Literature at the University of Hong Kong)

曾勇奪威尼斯影展金獅獎的菲律賓國寶級導演拉夫迪亞茲，繼續以最新作 品《湧浪之後》反思菲律賓的政治近況。

菲律賓前總統杜特爾特以發起「 禁毒 」戰爭而揚名天下，他引起的反毒浪 潮濫殺無辜者不計其數，但他卻以此「 創舉 」受到國內上上下下的擁戴。 Hermes 是當局首屈一指的探員，當權者如何以殘酷不仁的手段剔除「 眼中 釘 」，他都看得一清二楚。他現正站在道德分叉路進退兩難，就算他避得過 良心的責備，也逃不了奇怪的皮膚病。在湧浪之後，真相最終會像他身上的 瘡疤一樣被紗布遮蓋，還是會被一層一層揭開？

One of the best investigators in the Philippines, Lieutenant Hermes, faces a moral dilemma concerning the murderous anti-drug campaign. The barbarity Hermes witnesses first-hand is destroying him physically and mentally. Feeling anxious and guilty, he is diagnosed with a severe skin disease. As he tries to heal, a dark past haunts him and eventually comes back for a reckoning.

Directed by Venice Golden Lion winner Lav Diaz, the political film discourses the fragility of humanity by presenting both believers and victims of this faulty police culture, albeit with varying degrees of acceptance, discussing human rights violations under the aegis of citizenry protection and duly constituted laws of the land; as well as discoursing on the fragility of humanity.

哈薩克 KAZAKHSTAN / 2022 / 105 MINS

導演 DIRECTOR

達赫讓奧米巴夫 Darezhan Omirbayev

演員 CAST

Yerdos Kanayev

Klara Kabylgazina

Gulmira Khasanova

語言 LANGUAGE

哈薩克語對白，英文字幕

In Kazakh with English subtitles

亞洲電影大獎提名

ASIAN FILM AWARDS’ NOMINATIONS

最佳電影、最佳導演

Best Film, Best Director

獎項及提名 AWARD AND NOMINATION

東京電影節最佳導演獎

Best Director Award, Tokyo International Film Festival

柏林影展「論壇單元」 Forum section of Berlin International Film Festival

設 1 小時映後電影技術工作坊

WITH A 1-HOUR POST-SCREENING

FILM CRAFT WORKSHOP

嘉賓 GUEST

達赫讓奧米巴夫 Darezhan Omirbayev

主持 MODERATOR

徐匡慈（影評人）Clarence Tsui (Film Critic)

語言 LANGUAGE 英語 English

康城及威尼斯得獎名導演達赫讓奧米巴夫是開創哈薩克電影新浪潮的領軍 人物之一，而且至今仍活躍於國際影壇。

中年詩人迪達在小報社做文員，期待有天能大展鴻圖。伯樂遲遲未到，嘔心 瀝血的作品無人問津，在繁華都市裡，詩人無用。失去讀者的詩人，就像沒 有觀眾的電影。

迪達偶然在書中找到同道中人 19 世紀哈薩克詩人 Makhambet Utemisov，他作為革命領袖慘遭殺害，但他的詩一直活著，為人傳頌。兩代 詩人逾越生死的情誼，以詩人的使命惺惺相惜。當迪達雀躍地來到一場為 他而設的讀詩會，他必須坦誠地面對自己，在成與敗、苦與樂間掙扎抉擇。 詩的力量是否足以推動他逆流而上？

Didar is a poet in his forties longing for recognition for his publications, despite being chained to his day job in a small provincial newspaper. One day, he is invited to give a reading in an author’s evening, hoping to make a favourable impression on his readers. Yet he learns that the reality is far from his expectations and finds himself torn between sorrow and ecstasy.

Considered a leading figure in Central Asian cinematography, Darezhan Omirbayev displays his mastery in this beautiful and melancholic feature, which is inspired by the life and art of the 19th-century poet Makhambet Utemisov, a crucial figure in contemporary Kazakh literature. Omirbayev brings together his personal experience and the poet’s life to find voices for poetry and literature in face of modern technologies.

工作坊與百老匯電影中心合辦 In collaboration with Broadway Cinematheque