MOViE MOViE Magazine #67 - GIRL, IT'S SO CONFUSING SOMETIMES
GIRL, IT’S SO CONFUSING SOMETIMES
MOVIE-MOVIE-MAGAZINE #67 FOR MOVIE LOVERS
MOVING
Publisher MOVie MOVie
chief editOr leah Kee
creatiVe directOr
renatus Wu (edited hK)
editOrs eMMy chan
PinKy hO
JereMy KWOK
english editOr KeVin Ma
graPhic designer cathy chan (edited hK)
cOntributOrs
Michael freeMan
Jenny tsOi
rachelle WOng
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
fOrM sOciety
LEAH
Just a day after I received the thrilling news that my favourite team was set to compete in yet another World Championship finals, I couldn't resist booking a spontaneous flight to London to witness their last game in the stadium. The thought of seeing those final moments before they part ways was a bitter reminder of how precious every fleeting encounter is.
On that note, I'm so thrilled to introduce some incredibly talented friends on this platform, each brings their passionate work to share with our amazing readers. Journey with us as we delve into the sheer magic of film. Whether it unfolds on the silver screen or on our television sets at home, each story is a heartfelt celebration and a wonder to our lives.
Years ago, I found myself unable to exit an MTR station. The interface on the fare gate displayed an error. Usually, a visit to the customer service center and a quick look at your card would fix it. But when I told the man behind the counter, “I can’t leave,” he responded with a phrase that made me think there was something wrong with my Cantonese. So, I insisted and said, “No, you don’t get it. I can’t leave.” He repeated himself. This went on for a few more rounds. Now, out of his visible frustration, he yelled – and this is an approximate translation to English, “Look behind you, you fucking dumbass! You’re already outside the gates!” I looked to my left to find that I was indeed, outside the gates. The people in line behind me were snickering. To this day, I’ve never been more embarrassed in my life.
When I was 16 years old, I went to my local arthouse cinema in San Francisco to watch Billy Elliot (2000). I didn’t have any interest in ballet, and I couldn’t even understand a portion of the heavily-accented dialogue. Yet, it was easy for me as a teenager to relate to a rousing story of a fellow teenager overcoming difficult circumstances to chase an unlikely dream. After all, I wanted to work in film.
I felt the same vibe 24 years later when I watched Hiroshi Okuyama’s My Sunshine, an uplifting film that is likely both my favorite comingof-age film and favorite sports film of 2024. The underdog athlete story is hardly a new genre in popular cinema, but Okuyama tells it with so much beauty and elegance that it’s hard to resist the utterly captivating spell that his film casts.
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.
Just as Billy Elliot started with its titular character taking a boxing class in the beginning of the film, My Sunshine starts with its young hero Takuya (Keitatsu Koshiyama) taking part in ice hockey and baseball simply because that’s what boys do at his age are expected to do, not because he’s any good at either of them. However, when he sees Sakura (Kiara Nakanishi) practicing figure skating at the skating rink, he is immediately bewitched by both Sakura and the sport. Reminded of his young self, Sakura’s coach –former professional figure skater Arakawa (Sosuke Ikematsu) – decides to take Takuya on as a student and pairs him up with Sakura for a duo routine.
A former ice skater, Okuyama unreservedly channels his love and knowledge of the sport in the film. Handling the camera himself as the director of cinematography, the director glides across the ice with his actors during the skating sequences, beautifully capturing the sport with grace and authenticity. In a masterful case of using music to tell a story, composer Ryosei Sato plays only broken fragments of “Clair de Lune” throughout Takuya’s training process. When Takuya and Sakura’s routine finally comes together, hearing the song finally played in full creates one of the most transcendent cinematic musical moments in recent years.
Although My Sunshine could have easily ended at the one-hour mark as a lovely film about an underdog athlete and young love, it has a thirdact twist that changes the nature of the story. Okuyama refuses to deliver a typical crowdpleasing coming-of-age story for the masses, shifting the story’s focus to Arakawa’s sexuality to expose antiquated Japanese small-town mentality towards homosexuality. If Okuyama spends the first two-thirds of the film slowly lifting his audiences to the clouds, he spends the final third pulling them back to a sobering reality.
My Sunshine may be different from Billy Elliot in its refusal to give us a definitive happy ending, it is still successful spiritual successor to the British classic in that it encourages us to question and defy traditional values. With both this film and his award-winning debut Jesus (also playing on MOViE MOViE) – about a young boy who literally summons a miniscule Jesus Christ to answer his prayers – Okuyama shows that he doesn’t hesitate to prod the status quo, though he does it in a gentle manner.
In any case, by the time Okuyama ends the film with the lovely Humbert Humbert song that inspired the film, even those who don’t necessarily agree with his storytelling choices will likely be moved by this wonderful sophomore effort. As this generation’s answer to Billy Elliot, My Sunshine will inspire a new generation of audiences to think outside the box and pursue love in any form.
In the world of cinematic art, Jia Zhangke is undoubtedly one of the most influential directors in contemporary China. With his authentic and profound narrative style, he captures the intersection of societal change and individual fate in China, earning widespread acclaim on the international film stage. In the interview, Jia Zhangke shared his unique insights into filmmaking and reflected on the creative process and inspirations behind several of his past works. His films will be featured on the MOViE MOViE channel (Now TV ch 116) in December, offering audiences a glimpse into Chinese stories and historical reflections through the lens of a master filmmaker. Let us step into his cinematic world and experience the unique perspectives and deep insights he brings to the screen.
在電影藝術的世界裏 ，賈樟柯無疑是當代中國最 具影響力的導演之一 ，他以真實且深刻的敘事手 法 ，捕捉了中國社會的變遷與個體命運的交織 ， 受到國際影壇的高度評價。在訪談中 ，賈樟柯深 入分享了他對電影創作的獨到見解 ，並回顧了過 去幾部作品的創作歷程與靈感來源。賈樟柯的作 品將在 12 月於 MOViE MOViE 頻道（Now TV ch 116）中與觀眾見面 ，讓更多觀眾能夠一窺這位大 師鏡頭下的中國故事與時代縮影。讓我們一同走 進這位大師的電影世界 ，感受他鏡頭下的獨特視 角與深邃洞察 。
(Fri) 22:00
DECEMBER
Hong Kong's winter brings fluctuating warmth and chill, and the transition between December and January is a time for reflection and anticipation. As the past year's stories linger, the future begins to unfold. This period, bridging the old and new year is not only for gathering with loved ones but also for reorganizing our thoughts and regaining inner strength. Despite past challenges, films remain our steadfast companions, transporting us through different worlds and emotions and offering warmth amidst the cold. This year, MOViE MOViE presents a selection of soul-stirring films to guide you through this season, bringing new hope and courage for the year ahead.
“Robot dreams is a reflection on friendship. Its importance and its fragility. The passing of time, loss but also about overcoming it. Why do we constantly put our relationships in danger?”
—Pablo Berger
ROBOT DREAMS
ROBOT DREAMS
《汪汪夢裡人》
導演 director
巴伯羅柏格 pablo berger
EXCLUSIVE PREMIERE 獨家首播
22/12 (SUN) 22:00
23/12 (MON) 23:45
A bittersweet buddy comedy, Robot Dreams follows Dog, who is lonely, whiling away long evenings in his Manhattan studio apartment. Tired of his solitary life, he decides to purchase a friend, Robot, a fun-loving companion. After an idyllic day on the beach, they soon become separated. Devastated at the loss of his friend, Dog does everything in his power to get Robot back.
Wim Wenders' classic road movie, Paris, Texas, won the Palme d'Or at the Cannes Film Festival in 1984 and now celebrates its 40th anniversary. The film tells the story of a silent man wandering alone through the deserts of Texas, with his heart set on a "Paris" located in Texas—a place that remains unreachable, keeping his journey unending. Written by Pulitzer Prize-winning screenwriter Sam Shepard and filmed by cinematographer Robby Müller, the film presents a European perspective on the fading American Dream. Combined with outstanding performances from Harry Dean Stanton and Nastassja Kinski, along with Ry Cooder's haunting blues soundtrack, Paris, Texas has cemented its place as an irreplaceable classic. The desert in the film symbolises Travis' yearning for freedom, reflecting his escape from the past. When his brother Walt tells him, "There's nothing out there," Travis finally awakens, realising that he must confront the mistakes he once made and begin his journey of redemption. However, rebuilding his relationship with his son, Hunter, is difficult. At first, Hunter keeps his distance from his father, but a Super 8 film reel capturing joyful family moments rekindles his memories, leading to their reconnection. Forty years on, Paris, Texas remains powerfully relevant. The film is not only Travis' journey of self-redemption but also a profound meditation on love, loss, and belonging.
Rachelle Wong is an emerging cultural worker and subtitler within the performing arts and film industries, with experience at the WKCDA, Ying E Chi, Hong Kong Independent Film Festival and NYCU Muslim Film Festival. Her works have been featured in 1M1A and scaefzine. She was also a guest speaker at the Hong Kong Institute of Contemporary Culture Lee Shau Kee School of Creativity.
“Instead of replacing the camera with the rifle, why not have one in each hand?” —Masao Adachi
The
Girl Who Ran
My friend runs an Instagram page called “@ runninginfilms”. Flicking through it, I wonder why sweeping running shots are so prevalent in films across the world. For example, who can forget Antoine Doinel’s invigorating sprint towards the sea he has longed for all his life in 400 Blows? Funny enough, the first time I saw Moving, I thought I might have found the answer to the universal appeal of cinematic runs.
The 12-year-old protagonist of Moving, Ren, is perhaps the perfect embodiment of the word “genki.” This is a girl who carries herself with an almost enviable blitheness, unfazed by whatever setbacks she faces, and whose actions speak as loud as her bubbly nature. These qualities are perhaps best illustrated by her whooping nine running scenes in the film, ranging from joyous jogs to literally breathtaking long runs that make you admire young Tomoko Tabata’s athletic ability. Rather than situating her in some criminal underbelly or a raging typhoon, director Shinji Somai places her in a scenario no less tumultuous than the previous two: her parents' separation. Even for a girl with ever-renewing optimism and vigour, this is perhaps one of the most seismic events anyone her age could encounter. In true Somai fashion, she navigates this turbulent time through torrential rain and blazing fire. While these pathetic fallacies encapsulate her bustling confusion and angst as she experiences the disintegration of her family, it is with the various running scenes throughout the film we see how her very visceral struggles to come to terms with her new predicaments are demonstrated. After all, in Somai’s world, the words of adults might be deceitful, but the instinctive and candid actions of children are not.
In Ren’s first running scene, she skips school to race back home as her father moves out. Here, she gallops towards her destination with her merry steps still tinged with naivete. The camera tracks along with her incessantly as if it
Moving
is equally captivated by this magnetic ebullience. Unbeknownst to her at this point, her world is about to turn upside down. In many of the running scenes afterwards, she starts running away from things instead of towards them as the emotional toll of her parents’ separation begins to weigh on her. At first, it is from the hard truth spewed out by her classmate who has lived through her parents’ painful divorce. Then, it is from her parents and their endless tit-for-tats. Most notably, she dashes off after a disappointing chat with her father by the river. Instead of following her along as usual, the camera, as if feeling her deflation, only slightly tilts up to show the distance of her trail, leaving behind her dad, who is dumbstruck and unable to catch up. Over the course of these runs, the usual gaiety and reassurance in her strides gradually dim, and they are in turn replaced with a fight-or-flight urgency, and her exhaustion becomes almost tangible. This is why it is all the more electrifying to see Ren, after going on a mesmerising and transformative midnight adventure, regain her conviction to run forward again. No longer escaping from her reality, she now runs to embrace an unknown, yet exciting future. Unlike how Antoine Doinel charges towards the Normandy sea with a slight suspense of uncertainty, her steps are steadfast and jubilant, as if pronouncing proudly: “I know where I’m going!”. Yet the liberation they both share is beyond exhilarating.
It is perhaps in the ever-ongoing motion of running the exuberance of youth can be most palpably manifested. Under the gaze of the camera, these are moments of utter freedom. One looks and feels unstoppable. The world passes by, and even sweat glimmers. Whether paired with the perfect needle drops or not, hardly anything comes as cinematic as that, and rarely is anything more liberating to witness.
TEXT BY RACHELLE WONG
rachelle wong
WE ARE LITTLE ZOMBIES
《喪青獻世樂團》
導演 director
長久允 makoto nagahisa
演員 cast
二宮慶多 keita ninomiya
水野哲志 satoshi mizuno
奧村門上 mondo okumura
中島 sena sena nakajima
池松壯亮 sosuke ikematsu
菊地凜子 rinko kikuchi
永瀨正敏 masatoshi nagase
CHANNEL PREMIERE 頻道首播
01/12 (SUN) 22:00
02/12 (MON) 23:35
One sunny day, four young teens meet by chance at a crematorium. Hikari, Ikuko, Ishi and Takemura have all lost their parents at the same time. Hikari’s were in a car crash whilst on holiday. Ikuko’s were murdered by a deranged stalker. Ishi’s were in a gas explosion. Takemura’s killed themselves to escape the hell of debt. But none of them could shed a tear. They were like zombies, devoid of all emotion. Alone in the world with no future, no dreams or even the energy to move forward, our protagonists dress themselves in scraps from a garbage dump, turn their favorite items from their empty homes into musical instruments, and decide to form a kick-ass band. They call themselves LITTLE ZOMBIES.
An unexpected incident of a snow leopard breaking into the sheep pen of a local herder and killing nine rams not only causes a stir in the family, but also attracts a TV crew into the village… The swan song by the late Pema Tseden. Through a human-wildlife conflict, this film explores the intricate relationship between the local communities and the authority on the Tibetan plateau, delving into the symbiosis of humans and animals through the fantastical interaction between a young Tibetan monk and a snow leopard. This magical and visually stunning drama has won the Tokyo Grand Prix at the Tokyo International Film Festival, Best Screenplay and Best Cinematography at the Asian Film Awards.
Christian is a visionary scientist who studies migrating geese & working on a lifetime project. For his teenage son Thomas, the idea of spending a summer holiday alone with his father on a farm in the middle of nowhere with no WiFi, is a nightmare. However, father and son begin to bond as they come together on a madcap plan - to save an endangered species of geese. With Christian’s pilot skills and an ultra-light aircraft, they begin preparations for an extraordinary and perilous journey - the pair plan to lead the geese they’ve raised onto new and safer migration routes, guiding them to Norway.
“The younger generations realise that they will no longer be able to count on a world that has been exploited and worn down to the root. They are fighting for change.”
—Nicolas Vanier
BYE BYE MORONS
“The subject is serious, but the ambition is to take the audience on a journey.”
—Albert Dupontel
BYE BYE MORONS
《消廢者聯盟》
導演 director
艾爾拔杜龐蒂 albert dupontel
演員 cast
維珍妮愛菲亞 virginie efira
艾爾拔杜龐蒂 albert dupontel
尼古拉斯馬里 nicolas marié
CHANNEL PREMIERE 頻道首播 12/01 (SUN) 22:00
13/01 (MON) 23:35
When 43-year-old hairdresser Suze Trappet finds out that she's seriously ill, she decides to go looking for a child she was forced to abandon when she was only 15. On her madcap bureaucratic quest, she crosses paths with JB, a 50-year-old man in the middle of burnout, and Mr. Blin, a blind archivist prone to overenthusiasm. The unlikely trio set off on a hilarious and poignant helter-skelter journey across the city in search of Suze’s long-lost child.
The battle for the release of her son Murat from Guantanamo catapults Turkish housewife Rabiye Kurnaz from her terraced house in Bremen, Germany, straight into world politics and all the way to the Supreme Court in Washington. At her side is human rights lawyer Bernhard Docke - the reserved, level-headed lawyer and the temperamental Turkish mother with a wicked sense of humour – now fighting side-by-side to get Murat out.
Sandra is a young widow raising her young daughter on her own, while also caring for her sick father. She’s dealing with the loss of the relationship she once had with her father, while she and her mother and sister fight to get him the care he requires. At the same time, Sandra reconnects with Clément, a friend she hasn’t seen in a while and, although he’s married, their friendship soon blossoms into a passionate affair.
“This is the inner tension of my films: the temptation to be self-destructively melancholic crossed with a way of embracing life, of embracing fate.”
—Mia Hansen-Løve
THE WAY OF THE MASTER
see it on also available on
"One small step for man, one giant leap for mankind." At the beginning of 2025, MOViE MOViE will be presenting five documentaries showcasing the monumental leaps made by pioneers in different fields. Each film provides us unprecedented insight into these icons' artistic process and intimate lives, allowing us a glimpse into the elusive and an opportunity to walk beside them.
NAM JUN PAIK
ALVAR AALTO
「 這是個人的一小步，卻是人類一大步。」 MOViE MOViE 於 2025 年開首為大家呈獻 5 部不同領域 先驅者的紀錄片 ，讓觀眾能夠與各位大師重溫看 似遙不可及的人生 ，一同漫步舊日的足跡 。
NAM JUN PAIK: MOON IS THE OLDEST TV 《激浪派錄像藝術教父:白南準》 AALTO 《Aalto建築情書》
(Fri) 22:00
Artist Nam Jun Paik envisioned the concept of “electronic super highways” and its potential, long before the internet was invented. He predicted the modern mode of creativity, where every artist could be his own channel. He foresaw technology’s ability to connect different cultures and perspectives. Moon is the Oldest TV details the life of the Korean-American artist’s life, how he became to be known as “The Father of Video Art, and how, through invention of form, his prescient embrace of technology in his works of innovation has shaped the world today.
An exploration of the life of Finnish architect Alvar Aalto, a defining figure in Scandic design and modern architecture. The captivating documentary examines and displays the beauty of his many creations left behind and the innovation and warmth of the spaces he designed. The documentary adopts a unique, intimate approach to Aalto’s career. Through 8mm home movies, albums, and letters, Virpi Suutari’s film has a sharp focus on the loving personal and working relationship between Aalto and his architect wife Aino, shedding light on the couples’ touchingly humanist vision behind their designs. 10/01 (Fri) 22:00
Award-winning director Giuseppe Tornatore pays tribute to the legendary Italian composer and maestro Ennio Morricone. Ennio, through interviews with figures spanning the breadth of influence Morricone himself had, is a comprehensive and triumphant celebration of Morricone’s music, from his early Italian pop songs to the many, many unforgettable film scores he’s created over his multi-decade spanning career; The Good, the Bad, and the Ugly; Cinema Paradiso; The Untouchables, just to name a few.
SATOSHI KON: THE ILLUSIONIST 《今敏:造夢大師》
Selected for Cannes Classics, this documentary, directed by Pascal-Alex Vincent ten years after the Japanese director and animator Satoshi Kon’s death, is a faithful tribute to the genius of an undeniable leading figure of animation. Kon’s uncompromising vision and devotion to perfection birthed seminal films such as Perfect Blue, Paprika, and Millenium Actress, much cited as the inspiration of many working artists today, Hosoda Mamoru and Mamoru Oshii, among others. The documentary provides a rare glimpse into his unfinished project, Dreaming Machine, and his unfulfilled ambitions, an assertion of Kon’s legacy as a timeless, universal visionary.
Nominated for the L'Œil d'Or at the 75th Cannes Film Festival, Bergman: A Year in a Life, a candid and intimate portrait of Ingmar Bergman, through a document of the filmmaker in the year 1957 – a year that saw the works of The Seventh Seal, Wild Strawberries, and four major theatrical productions – captures both the legacy of the titanic cinematic icon as well as, according to Liv Ullmann, “the most ordinary, everyday man that you could ever with.” 17/01 (Fri) 22:00 24/01 (Fri) 22:00
A quick Google search of the term “neo-noir” and the films that make up this “genre” will lead you to a Wikipedia article citing hundreds of films spanning multiple decades and countries. Born from the ashes of film noir, a contentious term regarding period and definition, but generally accepted to be a genre of crime flicks made in the 40s and 50s, these loosely connected films are done so by vague identification of visual style and theme. Take, for example, David Lynch’s Lost Highway, a cryptic mystery of a jazz saxophonist framed for murder. Made 56 years after The Maltese Falcon – the film many believe to be the start of film noir – Lynch’s jigsaw puzzle of our psychological underbellies shares a few common features with Huston’s 1941 film: a desolate, atmospheric mood of despair exacerbated by arrested angles and stark, dramatic lighting; the brooding male interiority; the sensual, tantalizing presence of the femme fatale. However, the tonal and stylistic schism between Huston’s hard-boiled stylization of alienation and doom and Lynch’s hallucinatory and frenzied rendition of similar themes seems too vast to simply be mended with the word “noir”.
The term “film noir” was first coined by French critic Nino Frank in the summer of 1946. In the article named “A New Kind of Police Drama: the Criminal Adventure,” he used the term in reference to four of the seven American films to reach Parisian screens after years of censorship as a result from the war: John Huston’s The Maltese Falcon, Otto Preminger’s Laura, Edward Dmytryk’s Murder, My Sweet and Billy Wilder’s Double Indemnity. Though decades of retroactive analyses mainly approached “film noir” in an attempt to demystify the term and to define it as a genre with distinct formal and stylistic elements, Frank and his French contemporaries who echoed his praise of this newly dubbed mode of crime dramas were less interested in the oblique angles and harsh lighting than the allure and mystery these spaces and shadows might offer as an atmospheric stage primed for exploration of the complex human condition and well-suited to confront our social realities in a post-war landscape – elements that elevated “film noir” from whodunits and crimecapers.
This phenomenon of “film noir” wouldn’t garner widespread use – at least among critics and filmmakers beyond the original Parisian circles responsible for its conception – until the 1970s, after the old American studio system died and long after what we often designate as the peak of film noir (early 40s to late 50s, a highly contentious period in itself). The belated projections of a culture long distanced from what Nino Frank originally identified in this batch of films saw the proliferation of the term “film noir”, with its formal and visual characteristics in the forefront. After decades of homage, references and analyses, what began as a description used to reference a collective
step towards what Frank saw as a potential actualization of cinema and its immanent power as a product of transformative retrospection and projection has become this amorphous yet culturedefining “genre.” Out of its increasingly contentious formlessness in respect to time and geography, it later evolved to “neo-noir,” which many critics have just conceded as films born after the 60s that revived film noir and its conventions – the harsh lighting, complex narratives, moral ambiguity, the femme fatale, etc.
Now, after almost half a century of use, the term “neo-noir” has become a passing term, a vague descriptor you would find in an introduction to the latest mystery film out right now. An attempt to utilize neo-noir as a genuine emblem of a unifying filmic movement would be misguided, for film noir’s nebulous sensibilities as described in 1946 only carry weight in its historical circumstances, and any reference to its visual motifs and conventions, under this astringent lens of noir, would reduce it to cheap pastiche.
When looking back at the birth and evolution of "film noir," we see how it transformed from a simple term into a cultural phenomenon, influencing numerous visually striking and profound films in later generations. Over decades of development, "film noir" has far surpassed its origins, becoming a powerful tool for filmmakers across different eras and cultural contexts to explore themes of human nature, society, and morality. The genre's ambiguity and flexibility have allowed it to continuously evolve in various times and places, leaving a lasting impact on modern cinema.
In Park Chan-Wook’s Decision to Leave, he subverts the voyeuristic relationship associated with the femme fatale, injecting agency and interiority into Tang Wei’s Seo-rae, the object of a detective’s infatuation, the film a lush exploration of romance and loneliness in our modern digital landscape. The patented shadows of ambiguity and disillusionment find new colour in Lee Chang-dong’s Burning and Wei Shujun’s Only
The River Flows: the former a slow unravelling of a disappearance set within the grander mystery of a capitalist, classist and misogynistic society that promises false hope with nothing but clarity; the latter an oneiric, rural crime procedural that, like the cloaking shadows of the 40s, illuminates through obfuscation, the surreal, disorienting central mystery an externalization of a detective’s psychological machinations. Now decades removed from Lost Highway, Lynch’s meta-fiction of noir amalgamation and a definitive, final say on the genre as it was, the evolved, modern neo-noir is an archipelago, a magnification of the entropic landscape that thrived in spite of the Hollywood studio system, a landscape of storied aesthetics and tropes where each film is able to unearth something endemic to its own context through the familiar conduits of noir.
新黑色電影
LOST HIGHWAY
《妖夜慌蹤》
04/01 (SAT) 23:45
當「 黑色電影 」（film noir）這個詞彙首次出現 ，
最早由法國影評人 Nino Frank 於 1946 年夏天 提出 。在他的文章《A New Kind of Police Drama: the Criminal Adventure》中，Frank 用這個術語 形容四部在戰後終於登上巴黎大銀幕的美國 電影： 尊侯斯頓（John Huston）的《 群雄奪寶 鷹 》（The Maltese Falcon）、岳圖柏林明加（Otto Preminger）的《 絕代佳人 》（Laura）、愛華戴米杜 克（Edward Dmytryk）的《情海奇冤》（Murder, My Sweet）及比利懷特（Billy Wilder）的《 殺夫報 》 （Double Indemnity）。儘管隨後數十年的分析試圖 將「 黑色電影 」
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