MOViE MOViE Magazine#65 - THE SCRIPT, THE SCRIPT AND THE SCRIPT
THE SCRIPT, THE SCRIPT AND THE SCRIPT MOVIE-MOVIE-MAGAZINE #65 FOR MOVIE LOVER
18/08 (SUN) 22:00 19/08 (MON) 23:40
Publisher MOVie MOVie
fOrMer editOrial directOr
JOycelyn chOi
creatiVe directOr
renatus Wu (edited hK)
Managing editOr
leah Kee
hazel tO
english editOr
KeVin Ma
editOrial teaM
JereMy KWOK
JacK lO
clOris WOng
iVy zeng
graPhic designer
tuen sin Kuen (edited hK) fish ng (edited hK)
cOntributOrs
zOie laM
Mandy leung
KeVin Ma elaine shaM
sPecial thanKs
brOadWay/Palace/b+ cineMa/ brOadWay cineMatheque/ MOVie MOVie Pacific Place/ MOVie MOVie cityPlaza/ PreMiere eleMents/ My cineMa yOhO Mall
edKO filMs liMited
analOg dePt. recOrds
eslite
fOrM sOciety
hOng KOng arts centre
Jccac
PMq
White nOise recOrds zaPJOK café
THE SCRIPT, THE SCRIPT AND THE SCRIPT
As we enter the 12th year of MOViE MOViE, it's like watching a child grow from infancy to secondary school. Just as the child matures, MOViE MOViE has evolved and is ready for the next chapter in its life.
It's been an audacious journey for MOViE MOViE. Just like Alfred Hitchcock, who was once dismissed, he became the master of suspense as he found appreciation and support from François Truffaut. This journey is not just ours; it's yours, too, and we hope it inspires you as much as it motivates us.
Congratulations to two animations that screened at anifest last year: Another World, which entered the Annecy International Animation Film Festival, and Monsoon Blue, which won the Best Animated Short Film award at the Taipei Golden Horse Film Festival.
But wait, there's more to love about MOViE MOViE! We've carefully hand-picked 100 titles, each a gem waiting to be discovered. Plus, we've got some exclusive insights from our partners to share about the 12th year of MM.
As we bid farewell to Let's Talk About Sex, we're thrilled to announce the upcoming film festivals. From our annual anifest, featuring a diverse range of local and international animations, to the exciting debut of the BAD DAY MOViE MOViE FESTIVAL, a unique celebration of resilience and hope in cinema, there's a lot to look forward to. We can't wait to share these cinematic experiences with you. Remember, even on bad days, we'll always have movies. Embrace yourself and let movies be your constant companion.
MOViE MOViE 來到 12 歲生日了 ，而由她誕生至 今 ，養她育她的奶媽也從這裡畢業 ，不得不感謝 這位奶媽勞苦功高建立出 MOViE MOViE 自己的 生命和品格 大膽 、熱情 、愛電影 、好品味 ，並 擁有珍惜電影的能力和勇氣 。
這些繼續支持 MM、愛 MM 的理由還不足夠 嗎 ？ 由編輯部各人選出 100 部電影讓你重新愛 上 MOViE MOViE，亦有各界友好談談與 MOViE MOViE 的第 12 年 。
另外 ，「Let's Talk About Sex」電影節後 ，接踵而 來的 ，除了有「anifest 動画藝術祭 」，更有首次舉 辦的「BAD DAY MOViE MOViE FESTIVAL」，日子 難過 ，愛電影 ，同時也要愛自己 ，我們和電影一直 都在 。
teXt by hazel tO & leah Kee
JACK
This has been one of the most fruitful summers I have had in years. Everyday, I go to work anticipating what films I can see and I sure agree that Hitchcock is one of the best directors in film history. :)
WHAT THE MMM TEAM SAYS
觀點及意見，並不代表本刊立場 the VieWs, infOrMatiOn, Or OPiniOns eXPressed in the Magazine are sOlely thOse Of the indiViduals inVOlVed and dO nOt necessarily rePresent thOse Of MOVie MOVie
CLORIS
Someone once told me that the relationship between a fan and a film character is like a quiet crush. He said that I, standing in the centre of the stage, had no idea what the others in the crowd liked. It was a long, unrequited love with no end in sight. But, no matter when the story ends, he is still the main attraction, the unveiled answer at the end of the story. There are two kinds of people in this world: hopeless romantics and realists. Hopeless romantics believe in the power of love and seek deep connections, while realists prioritise logic and practicality. Indeed, everything is merely about favouritism.
Yu Hua said: "Everyone has a fictional world outside of their own real world, where many emotions, desires and imaginations are stored in anticipation of being awakened. Movies, literature, music, fine arts, all forms of art are like alarm clocks that wake up the emotions, desires and imaginations in the fictional world, giving people the opportunity to get up and go out.". In a fast-paced era, MM makes a traditional yet pure contribution to the cause of cinematic art, and brings a calm and warm atmosphere to the working environment, so that people can slow down and enjoy the beauty of art.
MOViE MOViE
DIRECTOR IN FOCUS
ALFRED HITCHCOCK
No director in film history occupies a space of such critical and commercial reverence as Alfred Hitchcock; Godard deemed him “the greatest creator of forms in the 20th century”, and in his commercial prime boldly asserted that Hitchcock “succeeded where Alexander, Julius Caesar, Hitler and Napoleon had all failed.” The British director, over the span of 6 decades in Hollywood, crafted his oeuvre of over 50 feature films; masterful thrillers exploring the recluse chasms of fear that, enrapturing audiences of past and present. Each of his meticulously crafted films is a statement of mastery, not just of suspense, as his household moniker might only suggest, but of cinematic storytelling itself; his control of the technical evinces such creativity and expression the manner in which he tells the story becomes the story itself, like, paraphrasing Hitchcock’s own words — a painter convincing through the stroke of the brush. MOViE MOViE is playing all the classics during the month of August, a handful of Hitchcock’s best, films that have undoubtedly redefined the cinematic pantheon and language. Rear Window, The Man Who Knew Too Much, Vertigo, Psycho, The Birds — you can’t go wrong with any of them! Every Friday at 10pm on the MOViE MOViE Channel, don’t miss it!
HITCHCOCK
teXt by JereMy KWOK
THE MAN WHO KNEW TOO MUCH REAR WINDOW VERTIGO
Deeply personal and revealing, yet incredibly elusive and mysterious, Hitchcock’s magnum opus Vertigo tells the story of James Stewart as a retired detective who becomes dangerously infatuated with the beautiful subject of his latest investigation. Initially received with polarizing reviews among critics and general audiences, this San-Franciscolensed tale of obsession now occupies revered real estate in the cinematic hall-of-fame, with “greatest” seemingly the only fitting adjective for it.
Starring the charismatic James Stewart and the stunning Grace Kelly, Hitchcock perfects the confined-space thriller troupe that he previously explored in Lifeboat and Rope with Rear Window Set entirely within a single apartment, the film follows an incapacitated photojournalist whose newfound voyeuristic hobby takes a dark turn. Every window and door provides a perfectly crafted twist in one of Hitchcock’s most satisfying thrillers. No film in Hitchcock’s pantheon of thrillers captures the allure and thrill of voyeurism quite like this one.
REAR WINDOW 《後窗》 02/08 (FRI) 22:00
After years of international success in the United Kingdom, Hitchcock’s transition to Hollywood not only marked a noticeable change in production scale, but also a symbolic marker of Hitchcock’s coming-to as a filmmaker.
Hitchcock’s 1956 Hollywood remake of his 1936 film The Man Who Knew Too Much shows 20 years of his artistic growth, with the director calling the original “the work of a talented amateur” and the remake “made by a professional.” The story follows frequent collaborators James Stewart and Doris Day as a married couple who become entangled in an assassination plot. With a narrative that slowly crescendos to its musical denouement, this remake is not only more polished and technically sound than the original; it is a grand statement of Hitchcock’s prowess at its absolute peak.
THE MAN WHO KNEW TOO MUCH 《擒凶記》 09/08 (FRI) 22:00
PSYCHO
Vertigo may be Hitchcock’s most heralded work, but Psycho is undoubtedly his most iconic. This pulpy black-and-white story of a roadside motel and its creepy owner has transcended its era to become a timeless classic and one of Hitchcock’s most accomplished works. With one of the most shocking mid-film twist in the history of cinema, it is an enthralling psychological horror that showcases the master of suspense at his most innovative and playful. Janet Leigh’s shower scene alone has been endlessly referenced, deconstructed and analyzed since its release.
PSYCHO
23/08 (FRI) 22:00
A wealthy San Francisco socialite pursues a romantic interest and ends up in a small coastal Californian town, where things take a turn for the bizarre when birds inexplicably start attacking the townspeople. Arguably Hitchcock’s last masterpiece, The Birds is a marvel of filmmaking and visual effects. Hitchcock radically omits a traditional score for a natural soundscape with unnerving effects. Adept in the rhythms of suspense, Hitchcock conjures universal terror from these innocent creatures of the sky, transforming them into harbingers of doom.
THE BIRDS
30/08 (FRI) 22:00
THE BIRDS
IN CINEMAS: LA CHIMERA
COMMENTS OF THE DIRECTOR
艾莉絲諾宜娃查 alice rOhrWacher
《睡王子的快樂傳說》、《蜂蜜仲夏夢》導演 Director of Happy As Lazarro and The Wonders
An Underground World
Where I grew up it was common to hear stories of secret finds, clandestine digs and mysterious adventures. You only had to stay at the bar until late at night or stop at a country inn to hear about so-and-so who’d uncovered a Villanovan tomb with his tractor, or someone else who, digging by the necropolis one night, had discovered a gold necklace so long it could go all the way round a house. Or someone else still who’d got rich in Switzerland with the sale of an Etruscan vase he’d found in his garden.
Stories of skeletons and ghosts, of getaways and darkness.
Life around me was made up of different parts: one solar and contemporary and busy, another nocturnal and mysterious and secret. There were many layers and we all experienced them: you only had to dig up a few centimetres of soil and the fragment of an artefact made by someone else’s hands would appear among the pebbles. What era was it looking at me from? You only had to go into the barns and wine cellars round about to realise that they had once been something else: Etruscan tombs, maybe, or shelters from bygone ages, or holy sites. The proximity of sacred and profane, of death and life, that characterised the years in which I was growing up has always fascinated me and given a measure to my way of seeing. This is why I decided at last to make a film that tells this layered story, this relationship between two worlds, the last part in a triptych about a local area whose attention is focused on one central question: what should it do with its past? As some grave-robbers say, down our way it’s the dead that give life.
La Chimera is the story of the ups and downs of a gang of tombaroli, or grave-robbers, violators of Etruscan tombs and peddlers of antiques to local fences. It is set in the 1980s when anyone who decided to become a tombarolo — crossing the tacit dividing line between the sacred and the violable — did so to turn the past around, to become new, something else. The tombaroli were, unquestionably, strong, youthful — and damned. They didn’t belong to the past and they weren’t the sons of their fathers, men who had grown up beside those ancient tombs without ever violating them. They were the sons of themselves. The world belonged to them: they could enter what were regarded as taboo places, smash vases and steal votive offerings, and sell them on. They considered them as nothing but museum pieces, old junk. No longer sacred objects.
The naivety of the people who had buried the stuff made them laugh.
Indeed, they wondered how it was actually possible for a people to leave all that wealth underground for souls… But never mind souls — they wanted to enjoy the gold themselves, and how!
The Etruscans dedicated their art, their craftsmanship and their resources to the invisible. For the grave-robbers, the invisible simply didn’t exist.
The film, based on Yu Hua’s novel Mistakes By The River, follows a chief of police as he investigates a series of murders in a riverside town in rural China in the 1990s. Though an arrest is made quickly, clues push the policeman to delve deeper into the hidden behaviour of the locals and piece together the truth. The film was selected to compete in the Un Certain Regard section of 76th Cannes Film Festival.
Takumi and his daughter Hana live in Mizubiki Village, close to Tokyo. Like generations before them, they live a modest life according to the cycles and order of nature. One day, the village inhabitants become aware of a plan to build a glamping site near Takumi’s house; offering city residents a comfortable ‘escape’ to nature. When two company representatives from Tokyo arrive in the village to hold a meeting, it becomes clear that the project will have a negative impact on the local water supply, causing unrest. The agency’s mismatched intentions endanger both the ecological balance of the nature plateau and their way of life, with an aftermath that affects Takumi’s life.
Fallen Leaves tells the story of two lonely people, Ansa and Holappa, who meet each other by chance in the Helsinki night and try to find the first, only, and ultimate love of their lives. Their path towards this honourable goal is clouded by the man’s alcoholism, the looming shadow of the war in Ukraine, and lost connections. Can there still be hope, on the other side for love, despite life’s general tendency to place obstacles in the way of those seeking their happiness?
World-renowned designer and creative director John Galliano has made a distinctive name in the fashion industry, working with global brands such as Givenchy, Dior, and Maison Margiela. A force to be reckoned with in the 1990s, Galliano set the standard like no other, winning awards and even the French Legion of Honor. However, after Galliano’s media fiasco in 2010 and 2011, his respectable reputation as one of the fashion industry’s most significant figures plummeted.
In Moonfall, a mysterious force knocks the Moon from its orbit around Earth and sends it hurtling on a collision course with life as we know it. With mere weeks before impact and the world on the brink of annihilation, NASA executive and former astronaut Jo Fowler is convinced she has the key to saving us all — but only one astronaut from her past, Brian Harper and a conspiracy theorist K.C. Houseman believes her. These unlikely heroes will mount an impossible last-ditch mission into space, leaving behind everyone they love, only to find out that our Moon is not what we think it is.
MEMORY
《失憶殺神》
導演 directOr
馬田甘寶 Martin caMPbell
演員 cast
里安納遜 liaM neesOn
佳皮雅斯 guy Pearce
蒙妮卡貝露琪 MOnica bellucci
CHANNEL PREMIERE 頻道首播
08/09 (SUN) 22:00
09/09 (MON) 23:50
Alex Lewis is an expert assassin with a reputation for discreet precision. Caught in a moral quagmire, Alex refuses to complete a job that violates his code and must quickly hunt down and kill the people who hired him before they and FBI agent Vincent Serra find him first. Alex is built for revenge but, with a memory that is beginning to falter, he is forced to question his every action, blurring the line between right and wrong.
Witness the legendary rivalry between Audi, led by Roland Gumpert, and Lancia, led by Cesare Fiorio, at the 1983 World Rally Champion. The Audi Quattro, with its groundbreaking four-wheel-drive system, clashes with the determined Lancia 037, showcasing the exhilarating world of rally racing and the triumph of the sport spirit. Lancia fights against all odds to reclaim its former glory with bold innovation and unwavering courage — Get ready for a heart-stopping journey!
LET ME GO
導演 directOr
MaXiMe raPPaz
演員 cast
Jeanne balibar
thOMas sarbacher
Pierre-antOine dubey
CHANNEL PREMIERE 頻道首播
15/09 (SUN) 22:00
16/09 (MON) 23:50
A middle-aged seamstress devoted to raising her disabled son in a secluded town near the Swiss Alps. Once a week, she escapes to a nearby mountain hotel, engaging in secretive encounters with random men who pass through. Over time, she began to crave more, which coincided with the decision of one of her partners to spend more time in Switzerland and pursue a relationship with her. She let go of her role as a single mother and carer, briefly putting her needs and desires first and becoming fascinated by the prospect of a different life and ultimately feeling free.
In the immortal words of Bob Dylan, the times are always a-changing. In addition to the literal gust that blows through the chilly Mongolian capital city of Ulaanbaatar in City of Wind, the more substantial wind in the film is a figurative one: the winds of change.
On the surface, Ze (Tergel Bold-Erdene) seems like a normal Mongolian 17-year-old on the surface. However, Ze is also living another life as a shaman named the “Grandfather-Spirit”. Donning a costume and putting on a throaty voice, he has a divine gift of channeling the spirits of the dead to speak to families in his community. Despite his classmate’s mocking, Ze is proud of using his gift to help people, but his world turns upside down when he holds his usual ritual for Marala, a younger girl who is about to have heart surgery. Jaded and blunt, Marala tells Ze that she sees his profession as a sham, but Ze begins to develop a crush on her as they form a bond, and love has a way of changing a person. Soon, Ze is dyeing his hair and rebelling against his teachers.
Director Lkhagvadulam Purev-Ochir’s feature directorial debut is an insightful coming-of-age film about the clash of tradition and modernity told from the perspective of a young man who literally embodies both. Using her real-life encounter with a surprisingly young shaman as inspiration, PurevOchir crafts a mature and nuanced tale in which the protagonist doesn’t simply have to choose one of his two lives. While Ze is overwhelmed by discovering love, sexuality and individuality for the first time, what he must learn is how to let both traditions and modernity co-exist within him. One can sense that this is also an internal conflict faced by Purev-Ochir, who was born and raised in Mongolia, but is now based full-time in Europe.
Through Ze’s story, Purev-Ochir also portrays the changes blowing through her hometown. Defying foreign perception of Mongolia, Purev-Ochir puts modern Ulaanbaatar front and center with its skyscrapers, shopping malls and nightclubs. Purev-Ochri’s camera floats above the yurt districts on the city’s outskirts — where Ze and a majority of the city’s population live — providing literally a bird’s eye view of a place that holds so many different dreams and aspirations. Ze’s dream is to buy a modern apartment in the city center, a dream that seems so simple, but so hard to attain in actuality for Mongolian youths who face a cruel society that demands young people to achieve success far too early in life. For scenes set in the yurt districts, Purev-Ochir often places the city center deep in the background, like it’s a hazy, distant pipe dream. Earlier this year, I met Tergel Bold-Erdene as the host of a panel for Best New Actor nominees at the Asian Film Awards (he won the Orizzonti award for Best Actor in Venice for this performance and eventually won at the AFA as well). Though he was shy at first because of our language barrier, Tergel showed a more playful side when he revealed that his dream was to do action films, and that his favorite film was the Fast & Furious series. I could tell at that point that despite his lack of performing experience, Tergel injected in Ze an authentic sense of youthfulness and a changing Mongolia that no actor can pretend. Purev-Ochir’s ability to capture that in her film is key to its success.
Kevin Ma is a writer and English subtitler in the film industry, and the Hong Kong Consultant for Italy's Udine Far East Film Festival. He was an English Editor at YesAsia.com and the Entertainment Editor of Cathay Pacific's inflight magazine. He has contributed to publications by the Asian Film Awards. South Korea's Bucheon International Fantastic Film Festival, Poland’ s Five Flavours Film Festival, Hong Kong International Film Festival, Hong Kong Asian Film Festival and the Hong Kong Film Archive.
KRZYSZTOF KIEŚLOWSKI'S THE THREE COLOURS TRILOGY 奇斯洛夫斯基｢藍白紅三部曲｣
“That’s the greatest sin a director can commit; to make a film simply because he wants to make a film.”
— Krzysztof Kieślowski
100 個愛上 MOViE MOViE 的理由
Are you ready to fall in love this summer?
Here are 100 reasons why you should… MOViE MOViE offers a global cinematic experience, showcasing films from 40 countries; 70% of the titles featured on MOViE MOViE are award-winning or film festival gems, ensuring you only see the best of the best; Always get the latest and hottest releases, with exclusive and cinema co-release titles; MOViE MOViE is easily accessible anytime, anywhere. What are your reasons to love MOViE MOViE? #100 reasons to love MOViE MOViE
100 REASONS TO LOVE MOVIE MOVIE
愛上一個人，有時莫名奇妙，不問因由；
愛上 MOViE MOViE，卻有千個百個理由
喜歡它帶我遊歷世界，看盡四十個國家的風景；
喜歡它夠高質，超過七成電影都是國際影展得獎作或參展作；
喜歡它充滿新鮮感，為觀眾呈獻與戲院同步上映新作；
喜歡它自由自在，讓我隨時隨地，好戲連場；
愛一個人，需要一心一意；
愛上 MOViE MOViE，就可以貪新戀舊；
你今日愛上 MOViE MOViE 的理由，又是什麼呢？
#100 個愛上 MOViE MOViE 的理由
PAIN AND GLORY
《萬千痛愛在一身》
“Love may move mountains… but it’s not enough to save the person you love.”
THE LEGEND OF 1900 (DIGITALLY RESTORED)
《聲光伴我飛 》(全新數碼修復)
“You’re never really done for, as long as you've got a good story and someone to tell it to.”
PERFECT DAYS
《新活日常》
“There are no nobodies.”
— Wim Wenders
TOKYO STORY
《東京物語》 「東京真是大啊， 不小心走散的話， 可能一輩子都見不到了。」
*uPcOMing title 即將推出
ROBOT DREAMS
《汪汪夢裡人》
“Do you remember? Dancin' in September...”
TRIANGLE OF SADNESS
《上流落水狗 》
“While you’re swimming in abundance, the rest of the world is drowning in misery, and that's not the way it’s meant to be.”
每個人都有不開心的時候。無論是與家人吵架、 分手、身體不適，以至下雨才忘記帶傘，事情無分 大小也足夠讓種種情緒鋪天蓋地襲來。疲憊、迷 茫、焦慮，面對這些情緒，我們很容易認為它們是 「負面的」，想盡辦法逃離。然而，若果我們學會擁 抱自己的內在情緒，「Bad Day」能夠讓我們更瞭 解自己，也能使我們更好地面對每日的生活。 這次，MOViE MOViE 與提供危機支援服務的 「 明愛向晴軒 」，以及創意團隊 EDITED 聯手合辦 BAD DAY MOViE MOViE FESTIVAL。與大家一起 在戲院聚首，在光影之間分享和接著彼此的情緒。 無論日子有多壞，要記得，電影一直都在。
接下來由我們眾人對談分享我們眼中的「Bad Day」以及這次電影節所選的作品。
BAD DAY MOVIE MOVIE FESTIVAL: A CONVERSATION
文字整理 JacK lO, sOfia Viale
MM MOVie MOVie
gn gary ng
明愛向晴軒家庭危機支援中心高級督導主任
sc sally chOi
明愛向晴軒危機專線及教育中心高級督導主任
rW renatus Wu
edited.hK 創作總監
Jc JOycelyn chOi
MOVie MOVie 時任行政總監
df dennis fung
MOVie MOVie 影展經理
MM 首先，為什麼這次 MOViE MOViE 和明 愛要合作做一個電影節呢？ BAD DAY MOViE MOViE FESTIVAL 到底是怎麼一 回事呢？
JC 我萌生這個節目的源頭已經很久了。我們 去年在 anifest 動画藝術祭的時候做了一 套電影叫做《深海》，是和抑鬱症有關，而 我見到香港有很多朋友都有抑鬱症或者 情緒的難處。那時我就想不如我們找一些 專業的朋友做一個和 well-being 有關的 節目，希望可以幫助大家關注心理健康。 RW 其實我們這一兩年時間都和明愛向晴軒 合作做一個 brand 叫做 bad day。那陣時 社會的大環境令到大家的心情和狀態都 很低迷，發生了很多自殺案，讓人一時之 間感覺很無助。我們和向晴軒一起去計畫 bad day，希望大家知道怎樣去渡過這個 bad day，知道 bad day 不是洪水猛獸，還 會有希望的。我們藉著這個電影節可以和 更多的人交流，推廣 bad day 這種概念。
GN 向晴軒運作了 20 年，上年開始和阿卓合 作做 bad day festival，效果感覺不錯。我 們希望這個電影節能將 bad day 推廣危 機教育給予大眾認識，告訴他們危機和 bad day 並不可怕，是世上每人都會經歷 的。
MM 什麼是 bad day 呢？ GN Bad day 在這個世界沒有一個定義，是一 種很有趣的概念，bad day 不一定是單純 的 bad。例如我因為考試失敗而找到一些 不同的方向，所以 bad day 也可以導致很 多有趣的人生結果。我們想大家去思考和 關注 bad day 是因為讓大家不知道該怎 樣度過 bad day 的時候，去思考和定義今 日是個怎樣的 bad day，自然地找到度過 bad day 的方式。
SC 有些 bad day 大家知道它會過，例如遲到 或掉了錢包；有些 bad day 大家不知道 何時會過，例如婚外情，分了手。假如你
找到 bad day buddies，你就會發現不只 有你在經歷 bad day，他們也會明白你，
令你的 bad day 過得好一點。很多人會覺 得我們需要在 bad day 裏面找到問題的 解決方法，但其實 90% 的 bad day 是不 會有解決方法的，問題是我們如何沒那麼 辛苦度過這 24 小時。
JC Bad day 是個有盡頭的隧道，就算未必是 真的 24 小時，都一定有其他日子會發現 到希望。我覺得 bad day 這個概念最吸引 我是在 bad “day” 而不是 bad “life” 。Bad life 是沒有希望的，而 bad day 還可以盼 望更好，多壞的日子都會有完結的時候。 對我來說，我解決 bad day 的方法就是看 電影，因為看電影可以幫助我們去辨別一 些情緒，得到一些抒發，例如你看《 汪汪 夢裡人 》，你看的時候會笑但又會哭，情 緒得以發洩。
MM 為什麼是電影呢？
GN 我們常常聽到很多人在危機的時候不懂 得說他們發生了什麼和自己的感受，而 我們就會推薦他們去看電影或者聽音樂 去度過 bad day。其實電影或是一些影像 可以幫助人去表達自己的情感，讓情感可 以抒發和投放出來，度過 bad day。我們 也可以從電影中將自己代入另一個角色， 去經歷某一種平時經歷不到或者甚至是 未經歷過的事情，透過電影去感受到 bad day 這個概念，讓他們從電影裡領悟和感 受到 bad day 的狀況。
Someone suggests a game during a dinner party with life-long friends to put their cell phones on the table and share everything from phone calls to texts and emails. As secrets from the friends who started the game for fun become exposed, the night spirals out of control beyond prediction and imagination!
Based on a true story, this human drama depicts the nine-year journey of a husband, who was diagnosed with dementia at the age of 39, and his wife. Tadano Koichi, who lives with his wife Mao and their two daughters, is a salesman at a car dealership leading a fulfilling life. One day, he begins to forget the names of his customers and other oddities begin to occur, and eventually Koichi is diagnosed with earlyonset Alzheimer's disease. The couple spend their days feeling overwhelmed by anxiety, but after an encounter, they realise that they don't have to give up on life.
At a fading vacation resort, 11-year-old Sophie treasures rare time together with her loving and idealistic father, Calum. As a world of adolescence creeps into view, beyond her eyes Calum struggles under the weight of life outside of fatherhood.
Twenty years later, Sophie's tender recollections of their last holiday become a powerful and heartrending portrait of their relationship, as she tries to reconcile the father she knew with the man she didn't.
Charlotte Wells’ superb and searingly emotional debut film, the winner of the French Touch Jury Prize at the Cannes 2022 Critics’ Week, received widespread critical acclaim. It picked up seven awards in British Independent Film Awards, including Best British Independent Film, Best Director and Best Screenplay. It also won the Outstanding Debut by a British Writer, Director or Producer at the 76th BAFTA Awards and was named the best film of the year by Sight and Sound, Indiewire, The Guardian, and The New York Times. The performance of Paul Mescal earned him a nomination for Best Actor at the 95th Academy Awards.
Fallen Leaves tells the story of two lonely people, Ansa and Holappa, who meet each other by chance in the Helsinki night and try to find the first, only, and ultimate love of their lives. Their path towards this honourable goal is clouded by the man’s alcoholism, the looming shadow of the war in Ukraine, and lost connections. Can there still be hope, on the other side for love, despite life’s general tendency to place obstacles in the way of those seeking their happiness?
A heartfelt ode to cinema and music, this Canneswinning gentle tragicomedy is the fourth part of Aki Kaurismäki’s working-class trilogy (Shadows in Paradise, Ariel, and The Match Factory Girl).
At an international boarding school, Miss Novak (Mia Wasikowska) joins the teaching staff to instruct a new class on “conscious eating.” Her impressionable teenage students each have their own reasons for joining the class — to improve fitness, reduce their carbon footprint, or get extra credit. Although early lectures focus on mindful consumption, Miss Novak's discussions soon become increasingly disordered and extreme. A suspicious headmistress, concerned parents and the failing health of her students lead everyone to question the inscrutable Miss Novak's motivations for teaching the class.
Throughout our 12-year journey, MOViE MOViE has been promoting film culture, evolving from a mere TV channel and magazine to establishing two cinemas in Cityplaza and Pacific Place, as well as co-organise the annual Life is Art film festivals, anifest, Life is Art Academy, and more. This time, we have invited our esteemed partners to share their valuable insights.
WHAT DRAWS YOU TO MOVIES?
為什麼你喜歡電影？
HOW HAVE MOVIES IMPACTED YOU?
電影對你生活最大的影響是什麼？
WHAT ASPECT OF MOVIE MOVIE DO YOU CHERISH THE MOST?
對MOViE MOViE印象最深刻的是什麼？
MOViE MOViE 一直致力推廣電影文化藝術 ，並由最初在 Now TV 的 頻道 、MMM 雜誌 ，拓展至於太古城中心及太古廣場設立戲院。此外 還與不同藝文團體舉辦跨界別的 Life is Art 電影節 、anifest 動画藝 術祭及 Life is Art Academy 等各有特色的主題活動 。今期 ，我們特 別邀請 MOViE MOViE 的合作夥伴去分享他們的見解 。
CORRIN CHAN
Council Member, The Hong Kong Institute of Architects
Regional Lead & Distributor, 24Bottles QUEENIE CHU
1 電影是我的養份來源、美感來源。
SIMON HANDFORD
Co-founder, ANON
1 I’m a total sucker for any new forms of entertainment and digital escape gaming, VR, MR, etc. However, I still believe nothing compares to a great movie at the cinema when it comes to true immersion. It’ s effortless and subliminal. I love how you can completely switch off the outside world and live inside someone’ s dream for a couple of hours.
2 Many films have left big impressions on me, but two, in particular, moved me. I grew up watching Ridley Scott’ s “Blade Runner” repeatedly. He loosely based the humid neon city backdrop on Hong Kong, which drew me here and made me feel at home. Additionally, watching David Fincher’ s “Fight Club”in the cinema, without knowing what to expect, rewired my brain about the infinite ways stories can be told in just two hours.
3 To me, movies are like fine wines. There are big-budget crowdpleasers, which can be great but predictable. Then there are characterful, rare wines made with passion by smaller producers often where the greatest gems are found. What I love about MOViE MOViE is the way it champions all films, both great and small. By finding, showing, promoting, and celebrating indie films, they serve both the industry and the audience.
4 While it would be great to see the brand expand globally, I’ m particularly interested in MOViE MOViE’ s involvement in revitalising Hong Kong’ s film industry. HK has had its heydays in global cinema, and I think it be great for MM to help set up Summer film camps, school screenings, and workshops to help inspire the next generation of HK filmmakers.
3 MOViE MOViE在推廣電影上非常「入屋」，除了在戲院的大銀 幕上呈現，通過Now TV的獨立頻道可在家欣賞。另外非常開心 可以不用搭飛機看到歐洲博物館的展覽（例如Rijksmuseum’ s Vermeer）和舞台演出（例如近期Royal Ballet’ s Swan Lake, The Met’ s Madama Butterfly）。
2 大概是累積了生活的小習慣吧。去日本旅行的時候會看清楚回程 車的班次，不想自己像《砂之女》的主角那樣被捉去配種。初出來工 作時會看清楚手上的文件，很喜歡幫自己的物件貼上名字，不想成為 阿巴斯的小孩要攀山越嶺去還作業（應該是Where is the friend’ s house？）。在路上跟陌生人聊得很開心時會想起《情留半天》，但事後 還是覺得《那年夏天，寧靜的海》和《空屋情人》能在沉默中建立關係 的人，才是真正的愛情。
3 MOViE MOViE藝術類電影的選擇非常到位。與香港藝術館合作舉辦 的演後談也非常有意思，讓我們可與觀眾有更多溝通和交流，介紹和 推廣藝術及香港藝術館的相關節目。
4 希望MOViE MOViE能繼續與香港藝術館合作，探索以不同角度和平 台與大眾分享藝術和文化。
MOVIE MOVIE
DJ/音樂/文藝/教育人
1 美好童年回憶，媽媽帶我去看The Sound of Music、Modern Times（Charlie Chaplin）等。中學青春期，預售三天自製首映率先睇 Saturday Night Fever、Grease等。大學開竅：主修電影，學習藝術/ 文化是一生無止境的追求，而且菲林時代拍片，是畢生難忘的創作 玩意。
2 電影和音樂/配樂的奇妙結合。影響一生一世的也是由音樂巨匠/偶 像的經典作品“Merry Christmas Mr. Lawrence”（ 1983）。 由高中到電台歲月，竟然可以夢想成真，於90年代可以先後真身走訪 坂本龍一、David Sylvian和David Bowie！Movie/Music is Dreams come true!!!
POON
Honorary Treasurer, The Hong Kong Institute of Architects 莫家詠博士
1 I love films because the good ones can always transport me to an alternative universe. I also like that idea of watching films on a big screen it makes everything literally larger than life! Stories and personalities unfolding in a dark room what can be more exciting?
2 Monty Python’ s Life of Brian. It broadened the range of my idea of a“comedy” and the realisation that words as well as wit are often more of a winning formula than grand scenes and actions.
12 YEARS
3 MOViE MOViE是一個非主流式電影平台，提供不同電影類型的 選擇性，給予觀眾有無限可能性。
4 MOViE MOViE可以向科技和教育那方面想想，怎樣培養小朋友 和年青人有更加完整的電影知識？怎樣在科技上加強對未來電 影發展的挑戰？
3 MOViE MOViE is to me two cinemas which guarantee good sound, good service, comfy seats and great film festivals. At both Pacific Place and Cityplaza, the food and drinks area also provides a nice and cosy area to mix with like-minded people! The popcorn at MOViE MOViE is also the best.
4 I hope MOViE MOViE can keep its niche by screening films of great quality (and not necessarily blockbusters). Please include more art films especially those which have been nominated (not necessarily won) in international festivals. Please also continue with Life is Art and Anifest, and feature promising film directors and screenwriters. The magazine (MMM), please keep this wonderful momento of a good life, and one of the best examples of films in design print! Vive MOViE MOViE!
MOViE 與多條 HBO 頻道，播放不同類別的荷里活猛片及橫掃國際影展電影； 各位更可同時獨家收看獲獎無數的 HBO 原創劇集和節目。
MOViE MOViE 為香港觀眾度身訂造， 致力提供最多元化的優秀電影， 搜羅全 球叫好叫座的的首輪人氣猛片、 更精挑細選橫掃國際影展的得獎傑作， 以至 口碑載譽的不朽經典，24 小時無間斷送上世界各地的高質好戲！
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HBO 為安坐家中的觀眾帶來荷里活猛片以及 HBO 得獎原創劇集。 每日 24 小 時不停熱播， 絕無廣告， 最適合電影愛好者。HBO 亞洲區觀眾亦可獨家欣賞 在電視上首播的精彩荷里活猛片及 HBO 得獎原創劇集和節目的頻道，如《權 力遊戲 》 等。 不能錯過的更有 HBO GO 服務， 提供超過 1,500 小時 HBO 原 創劇集與電影， 逾 500 部荷里活鉅製供自選點播， 其中 same time as U.S. 系 列更緊貼美國播映時間！ 立即申請 Now TV 全新歐美電影組合， 月費只需 $88*。 讓自己完全投入精彩 電影世界，拉闊生活娛樂視野。
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