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TIDF EXPRESS 發行
財團法人國家電影中心
主編
洪健倫
特約撰述
孫松榮、曾芷筠
特約翻譯
謝璇、洪健倫
美術設計
陳瑋華
印刷
威創彩藝印製有限公司
Publication TAIWAN FILM INSTITUTE Editor
Allen HONG
Feature
Song-Yong SING, Chihyung TSENG
Translator
Xuan XIE, Allen HONG
Design
Melody CHEN
Printer
Wei Chuang Artworks & Printing Co.,Ltd
02
OCT. 14 . 2014
影展快訊
Vol .
玩轉音像 ． 拼貼真實：專訪 TIDF 焦點導演艾倫 ． 柏林納 The Playful Montage of Realities：Interview with Alan Berliner By 洪健倫 Allen HONG Translated by 洪健倫 Allen HONG
—— 您的電影創作生涯，是從製作拼貼音像素材的實驗短片開 始。透過那樣的手法，您是否企圖藉此在這些音像素材中尋找 什麼特殊意義？例如各音像素材之間的詩意巧合，或是某種普 世本質？
—— 您在創作中期將鏡頭從家人轉向自己的身上，探索您所渴 望了解的幾個自身問題和困擾。請問當初是什麼原因讓你開始 轉變創作方向？ 柏林納
我一直認為，作為一個逐漸發展為專拍個人議題的導演，我在
在我電影創作的早期，我試著去更了解我和所謂「電影感」之
期間的成長與發展，都是根據我在創作的過程上一步一步──也一部一
間的關係──也藉此創作出令人玩味、動感且流暢的蒙太奇──不論是
部──逐漸向更大的「個人」概念靠近。拍完《親密陌生人》和《與誰
影像與影像、聲音與聲音，或是聲音與影像之間的拼貼。早年從 1980
和干》後，我隱約開始覺得，我似乎準備好要來創作更個人的題材，要
到 19985 年創作的拼貼作品，都是由檔案影像和錄音資料作為素材，其
來嘗試處理自傳類的東西了。而從很多方面來看，這都是在拍攝《同名
中有許多素材都是「挖寶」來的。我透過它們來探索如何以詩意的聯結，
電影》這部我用來探索我的名字的紀錄片背後，所帶給我的啟發。當我
串起各式各樣的主題、概念、圖像元素、運動方式以及其他影像元素。
開始朝這個方向前進時，我的失眠症也就變成一個顯而易見的題材。而
我希望利用這些讓人出期不意、甚至有時是超寫實的手法，在作品中打
《絕對清醒》也變成了我目前拍過最個人的作品。當然，到了下一部作
造出一種如歌般的童心趣味，讓其驚喜連連又不可預測。從現在回望我
品，我的家人又再度成為我的拍攝對象，這一次的主角是我的摯友、我
過去的這些作品，我可以看到當時已經有許多跡象顯示出，我已經開始
的表舅、以及我的啟蒙老師：愛德溫．荷尼。
柏林納
朝成為一個剪接家的方向前進了。
—— You started your career with combining footages and audio materials into experimental short films. What were you seeking among those images and sounds? May it be some universal essences, or the poetic coincidence between them?
—— After making biographical documentary films for your family members, you started making films about yourself— about the questions and problems you concern most. What was the reason of your change of subject? BERLINER Somehow I've always thought that my growth and evolution
-
BERLINER In those early days of filmmaking, I was trying to better
as a personal filmmaker was based on my ability to move closer and
understand my relationship to what I would call, "the cinematic" – the
closer – film-by-film – to the idea of "Personal" with a capital "P." After
指導單位
文化部
ways in which I could create meaningful, dynamic and fluid montages
making Intimate Stranger and Nobody's Business, there was a general
主辦單位
文化部影視及流行音樂產業局
– image to image, sound to sound, and sound to image. Those early
sense that I had been preparing to do something even more personal
承辦單位
國家電影中心
collage films made from 1980 to 1985 use archival images and sounds,
– to approach the idea of autobiography. In many ways that was the
many of them "found," to explore poetically resonant connections
inspiration behind The Sweetest Sound, a film centered around an
between a wide variety of themes, ideas, graphic elements, movements,
exploration of my name. Once I began moving in that direction, it wasn't
and many other cinematic essences. I sought to create a lyrically
such a big stretch for me to consider making a film about my insomnia,
controlled playfulness filled with surprise and unpredictability, even a
Wide Awake, which may be the most personal film I'll ever make. Of
surreal aesthetic at times. Now that I look back on them, I can see that
course, with First Cousin Once Removed, I've moved away from my own
in many ways I was discovering myself as an editor.
life, and returned to family portraiture, this time centered around my
Supervised by
Ministry of Culture
Organized by
Bureau of Audiovisual and Music Industry Development, MOC
Executed by
Taiwan Film Institute
friend, my cousin, and former mentor, Edwin Honig.
—— 他是《以遺忘為詩》的主人翁，這部片的拍攝也是出於 您強烈的個人動機，但您如何面對如此沉重的題材，尤其看到 摯愛的親人在鏡頭前逐年衰弱，您是否曾有難以繼續下去的時 刻？ 柏林納
我必須強調我非常愛、也非常仰慕愛德溫，而且多年來我們的
感情也非常緊密。我很了解他，而且最重要的是，我知道他一定希望我 能夠堅持到底完成這部影片。愛德溫是一位詩人，也是一位詩人的翻譯 家。他相信文字的力量。他也相信，詩人在世上所扮演的角色，是為一 切無形不可見的事物賦予形體，為生命中黑暗的角落帶來曙光，以及無 懼無愧地面對人性的缺陷與脆弱，他相信風險背後的價值。愛德溫也是 一位良師，我想你可以從影片中看的出來，他對於自己身上發生的事情 也非常好奇，不斷試圖去解釋，也試圖教導我去理解記憶正在他腦海中 消逝的情形。愛德溫以前常說，一個優秀的詩人應該能夠撼動他人的靈
* 完整專訪內容將刊於 10 月 15 日上線之第 480 期《放映週報》 網址：www.funscreen.com.tw _Continued on p.3, right column.
* The complete interview (Chinese translation only) will be updated on www.funscreen.com.tw on Oct. 15.
相關活動 EVENTS 時間 | 13 : 30 - 16 : 30
大師講堂 _ Master Class
日期 | OCT. 18 (SAT)
真實，歡迎想像 — 艾倫 · 柏林納 A Master Class with Alan BERLINER
講者 | 艾倫 · 柏林納 Alan BERLINER 導演 filmmaker
地點 | 文化部華山小客廳 @ The Foyer
* 座位有限，請至官網 www.tidf.org.tw. 預約報名。現場如有空位，將開放排隊入場。 * Limited seats available, for admission please reserve your seat at www.tidf.org.tw. On the Spot admissions will be available shall there be seat vacancies.
TIDF 2014 9th TAIWAN INTERNATIONAL DOCUMENTARY FESTIVAL 第九屆台灣國際紀錄片影展
焦點 FEATURE
行動理想貼緊農村社會現實
導演 鄒雪平
專訪中國獨立電影導演鄒雪平
Ideal Realized in the Reality of Rural China: Interview with Chinese independent filmmaker ZOU Xueping
By 曾芷筠 Chihyun TSENG Translated by 洪健倫 Allen HONG
did you place your attempt as an auteur ? Was any part of you deconstructed or aroused during the process ?
鄒雪平自 2010 年參與北京草場地工作站「民間記憶計劃」以來，從《饑
month— to me, it was a fair amount. That's how I began my career in the
餓的村子》採訪 50 年前經歷饑荒的老人們的生命故事、《吃飽的村子》
first two years. Last year, the White Rabbit Gallery in Australia started
以放映回饋與當代連結，直至《孩子的村子》完成了這程追尋，朝向理
to sponsor me on the equipment. Also, the environment is better now.
解與紀念。導演在拍攝過程以具體行動直接介入現實參與並以忠實記
There are many opportunities to communicate with other filmmakers.
ZOU I know little about aesthetics. When I was filming or editing, I
錄。對她而言，歷史檔案的蒐集是為了更多行動的可能。
Some campus would invite us to screen our films. Also, some galleries
don't give too much thought to my materials. Yet, what is presented in
become more interested in our projects too. I think we're on the right
my film is definitely the best parts. The location of shooting is where I
track.
was born and raised. At the beginning, I know little about the elderlies.
相較於中國美院新媒體的訓練，吳文光 2004 年創建的草場地工作站對
They were just acquaintances to me. However, from '09 till now, in five
鄒雪平獨立創作的方方面面有著深遠改變。她目前剪輯中的新片仍持續
years, my relationship with the villagers changed dramatically. From
我希望能為村子多做一些有建設性的事情。我很期待！」
—— 在這種拍攝實踐中，與拍攝對象的關係似乎先於美學，您 怎麼置放作者的企圖？過程中拆解或勾動了自己的哪些部分？
After joining the Caochangdi Workshop (CCD) and participating the
鄒雪平
我對美學瞭解很少，在拍攝和剪輯過程中沒有考慮很多。但只
go on telling their stories year after year. I can't say that I don't have any
"Folk Memory Project" in 2010, ZOU Xueping started her Zoujia Village
要是放在片子中的片段，肯定是最好的部分。我拍攝的地方是我從小出
attempt. As long as you turn your camera on, there is always an attempt
trilogy project. In The Starving Village, she interviewed famine survivors
生長大的地方，村子的人都認識我。我一開始對村子的老人瞭解很少，
inside you. In the first two years, most of my filmmaking experiences
about their suffering 50 years ago. In Satiated Village, she opened up
只是見面打個招呼。從 09 年到現在，5 年時間，我和村裡人之間的關係
are emotional. I'd started without any plan. All I wanted was to get
conversations with the present society through the public screening
發生了很多改變，由不熟悉到熟悉，感情也一年年在積累。現在，我和
closer to the elderlies, talk about their memories of the past. Two years
of her work. The finale Children's Village concluded her persuasion
村裡的那些老人、中年人和孩子們是沒法分開的。也正是因為有了感情，
later, something started to change. For instance, the CCD resident
and led the story to reconciliation and commemoration. When making
我才能一年年地繼續創作。我不能說我沒有企圖，如果說沒有肯定是假
artists began to hold a "pre-trip workshop." Filmmakers would discuss
Children, the filmmaker put her ideal into actions. She directly
的。只要攝像機打開，都是作者的有意識。回村前兩年，拍攝過程大部
the missions they hope to achieve in their hometown. Maybe it could be
intervened the reality and honestly filmed her action. To her, collecting
分是感性的，沒有太多計劃，只想接近老人，採訪他們過去的歷史和記
regarded as the preparation of my film. I went through so many things in
historical material is an approach open to more possibilities of further
憶。兩年後，開始有了一些改變。比如回村前草場地的駐站者就會做「回
my journey. It always gives me a completely different experience every
actions.
村前的工作坊」，大家一起討論回村後想做的事，這算是回村前的準備
year. It helps me collecting history documents, as well as recording my
吧。5 年的回村過程經歷了太多，每年都有不同的體會。這個計劃一方
own story.
記錄村子裡一些不常被關注的人事，「我想和鄉村裡的親人待在一起。
strangers to friends, our bond fortified each year. Now I am inseparable with villagers of all ages. It is also because the bond between us that I'd
As a new media majored, Zou profit little from her academic training.
面收集過去的歷史檔案，再一方面也記錄自己的故事。 I want not only filming the history of the village, but taking part in
Instead, she is profoundly influenced by her experience in CCD, the workshop found by independent filmmaker WU Wenguang in 2004. Her
我覺得只記錄下村子的現實不是我想要的，我更想參與到現實中做我能
the reality to do what I can do. When I try to build the monument in
new working project is still about the overlooked stories of her village.
做的。2012 年我試圖建立紀念碑時，村子的 8 歲到 15 歲的孩子跟著我
2012, kids at the age of 8 to 15 all helped me to fund for my plan. They
"I want to stay with my family in the village, and make more practical
一起統計和募捐，他們主動拿起攝像機，這讓我非常感動。但另一方面，
voluntarily picked up the camera — I was deeply touched by that.
contribution for my hometown. I'm looking forward to it," said Zou.
在做碑的過程中，支持者大多數是老人和孩子，中年人卻無視，這又讓
Although my construction was mostly advocated by the elder villagers
我痛心。心情很復雜。我的家人在 2011 年時反對我做現在的工作，他
and children, it was overlooked by the middle-aged inhabitance — it was
們覺得做這樣的紀錄片不會掙錢，特別擔心我以後的生活。做紀念碑時，
a huge frustration to me. The feeling was very complicated. At first, my
他們起初有點不支持我，因為看到我還在回村拍攝，還是看不慣。後來
family denounced my project. They thought making a documentary like
爸媽改變了想法，說是做紀念碑還是好的，這是為因飢餓死去的人做紀
this won't make a living. Yet, when I was building the monument, they
念。我聽到這些特別感動。這就是我的父母。在整個過程中，我自認為
criticized me again at the beginning. Later, my parent started to take it
是自救的過程中。當我沒法改變別人，就先改變自己。這就是在拍攝過
as meaningful mission for those who suffer and died from the famine.
程中體會到的。我確實改變了很多，不管對過去的歷史記憶的瞭解，還
I was so touched by hearing this. This is my family. Throughout the
是對我村子的人，我和他們之間的感情加深，都是因為回村，我才會感
process— I'd regard it as a self-help — I changed myself when changing
悟到鄉村的社會現實和我自己的現實。
others seems to be impossible. I did changed a lot in my understanding
_ 訪談 INTERVIEW
—— 獨立影像工作者如何尋找資金夥伴等資源？草場地的工作 方法對您有何影響？現在大環境有變好嗎？ 鄒雪平
我從大學畢業後就來到北京的草場地工作站，這個空間對我來
of my village, as well as of my people. It is my returning to hometown
說很重要。我可以利用很多的資源，在這裡學到了很多知識。2010 年有 了民間記憶計劃，草場地工作站駐站的年輕作者，開始回村採訪記錄， 之後從村子帶回素材到草場地，大家再一起整理素材，做自己的紀錄片，
—— In your practice of filmmaking, the relationship between you and your subject seems to be prior to your aesthetics. How
在這個過程中我們有很多的交流。像我這樣的年輕人，回村拍片開支不 會太多。像我在大學的時候就買了攝像機，機器不用擔心，在村子拍攝， 就一直在家裡住和吃。在北京生活，我們每個年輕人每月有 1000 元的 生活補貼，對我來說，基本夠用。這是一開始的兩年。去年澳大利亞白 兔美術館更提供設備上的資助，而且現在的環境比較好，有很多交流機 會。比如一些大學會邀請我們去放映片子，國內一些空間也對這個計劃 感興趣。我自己感覺是在往好的方向發展。
—— How does a Chinese independent filmmaker find resource or fund for his/her project? Does the environment improve today ? ZOU I became a staff of CCD in Beijing soon after I graduated from college. This facility means a lot to me. It has abundant resources, and gives me a lot of knowledge. When the Folk Memory Project was initiated in 2010, all of the young filmmakers in CCD went back to their hometown to film their stories. Then we gathered in CCD again to examine the materials we collected and make our films. We talked over our projects a lot in the process. To a young filmmaker like me, making film in my hometown doesn't cost much. I bought my camera when I was a college student, so the equipment was not an issue to me. When I shoot in the village, I lived with my family. When I came to Beijing, all the young filmmakers would receive 1,000 RMB living allowances each
相關活動 EVENTS
場次 _ Screening
孩子的村子 Children's Village
日期 | OCT. 16 (THU) 時間 | 19 : 30 地點 | 府中15 @ Fuzong15
TIDF 2014 9th TAIWAN INTERNATIONAL DOCUMENTARY FESTIVAL 第九屆台灣國際紀錄片影展
that I'd became so close to my people, and that I can recognize not only the social reality in rural China, but the reality of myself.
焦點 FEATURE
《迷霧聖城 》劇照
_Continued from p.1. 魂深處。這也是我想在這部作品中所做的，我是在遵從他的指導。說了 這麼多，如此直接與近距離地和失憶面對面，讓《已遺忘為詩》的記錄 過程成為我所遇過最困難的拍攝經驗。很難堅持下去，但是我仍不斷鼓 起勇氣繼續拍攝，因為我知道愛德溫一定希望不論要花多少時間，不論 它變得有多麼困難重重，我一定會堅持和這個拍攝計畫一起走下去。
—— "First Cousin Once Removed” is made out of strong personal motivation. Mr. Edwin Honig is also one of the most important person in your life. How did you manage to deal with such a heavy subject of filming the one you love weakening each year in front of your camera? Was there any moment that you thought you couldn't go on anymore?
比紀錄片還陌生： 界線歸零後的極限光景 -Stranger Stranger Than Than Documentary Documentary :: The The Extreme Extreme View View without without Boundaries Boundaries
BERLINER It's important to understand that I loved and admired Edwin very much, and had a very strong bond with him for many years. I knew him very well, I knew his work very well, but perhaps most importantly, I knew that he would have wanted me to continue making the film right up until the very end. Edwin was a poet and a translator of poets. He believed in the power of words. He believed in the role of the poet to make the invisible visible, to shed light on the dark corners of life, to be
何謂紀錄片？紀錄片的可能與極限又在哪裡？「比紀錄片還陌生」單元
The last kind of these reinterpreted documentaries includes The
unafraid and unashamed to confront human foible and human fragility.
中的十三部短片，試圖重新闡釋紀錄片的型態與涵義。首先，從《探訪
Questioning, The Private Life of Fenfen, and I think This is the Closest
He believed in taking risks. Edwin was also a teacher. I think you can
日》、《東京梭影》、《佔領第 561 小時》到《迷霧聖城》，影像回歸
to How the Footage Looked. This kind of documentaries center on the
see throughout the film that he's very curious about what's happening
一種寂靜而蓄勢待發的狀態。「紀錄」二字並非意味著事件的現場性，
confrontation of individual and the world. They reveal the oppression
to him, and he's trying to explain – trying to teach me about his memory
而是一種始終處於尚未突發的態勢。而納入話語、聲響與任何影像修辭，
of the national violence, the omnipresence of personal stories, and the
loss. Edwin used to say that a good poem should move people in their
不在於解釋，更多是作為評論世界的言外之意。
self-reference in home video. This form of documentaries becomes the
souls. That's what I wanted to do with my film. I was following his advice.
motivation and witness of the intervene and inquiries of life and politics.
Having said all of that, confronting memory loss so intimately and so
再者，由《花山牆》、《來自地球的你》至《小宇宙》，幾乎溢出現實
These contemporary documentaries demolishes the boundaries
directly made First Cousin Once Removed the most difficult filmmaking
事件的素材，關於生死、外太空與奇異的精神視域，無不是弔詭地述說
between recording, experiment, aesthetics and politics. Thus, it provides
experience I've ever faced. It was hard to go on, but I took strength from
著影像無法觸及的情事，寓言是它最好的名字。而第三種型態，《皇后
an opportunity for people to experience the moment of being refreshed
knowing that Edwin would have wanted me to go all the way with the
夢工場》、《馬德里獨白》、《突尼西亞你好嗎》，紀實影像是觸視感
again.
project, however long it took, and however challenging it became.
的直擊，這指的是情感的瞬間變化、某種衛星網路圖繪世界的技藝，及 超速時間和影像語彙的相融。
By 孫松榮 Song-Yong SING
最後一類，是如《查房》、《議論芬芬》與《我認為這是最接近的樣子》
Translated by 謝璇 Xuen XIE
的作品，以個體與世界的遭逢為題，這是國家暴力的迫近、自我故事的 無所不在，及家庭錄影帶的自我指涉性，奠基於此，作為介入與詢問生 活與政治的動力和見證。中外世界的當代紀錄影片，關鍵地透過攝影機 質疑與拆解現實的力量，將紀實與實驗、美學與政治的界線歸零，讓人 們再一次體會新穎感知的時刻。 What is documentary? What is its limit, and its possibility? The thirteen selected short documentaries in "Stranger Than Documentary" intend to re-interpret the meaning and form of the genre. Firstly, in films such as The Visit, Substanz, The 561st Hour of Occupation and Cathedrals, the image return to a status of serenity and readiness. Documenting doesn't refer to presentism, but a condition of always being on hold. In addition, the usage of including conversations, sounds or any visual rhetoric doesn't mean to explain. It's a criticism of the world. Secondly, Hua-Shan-Quang, The Backup Tapes from Moon and Mars and The Claustrum are another kind of these reinterpreted documentaries: an allegory. The materials that almost exceed the realities in these films, either about life and death, outer space or the bizarre spiritual view, are all expressing the unapproachable stories. The third kind includes The Queen, This is Roberto Delgado, The Wall Would Ask You: Are You OK?. Image in documentary is the witness of the senses.
《花山牆 》劇照
放映場次 SCREENING 遇見陌生 #1 Meet Strangers #1
日期 | OCT. 18 (SAT)
時間 | 13 : 00
地點 | 新光二廳 @ Shin Kong Cineplex 2 放映電影 | 《探訪日》The Visit、《皇后夢工廠》The Queen、《花山 牆》Hua-Shan-Qiang、《東京梭影》Substanz
遇見陌生 #2 Meet Strangers #2 * 影人出席映後座談 * With filmmakers' attandance
日期 | OCT. 18 (SAT)
時間 | 15 : 00
地點 | 新光二廳 @ Shin Kong Cineplex 2 放映電影 | 《馬德里獨白》This is Roberto Delgado、《來自地球的你》 The Backup Tapes from Moon and Mars、《查房》The Questioning 、 《佔領第 561 小時》The 561st Hour of Occupation
TIDF 2014 9th TAIWAN INTERNATIONAL DOCUMENTARY FESTIVAL 第九屆台灣國際紀錄片影展
活動看板 EVENT BULLENTIN
活動看板 Event Bullentin 咖啡時光 Doc Café
觀眾票選獎 Audience Award
即日起至 10 /18，台灣國際紀錄片影展「咖啡時光」邀請你，
欣賞完競爭激烈的國際、亞洲與台灣競賽單元影片走出戲院，你也有話想說？將你對影片的評價留下，一同決定最佳觀眾票選獎得主。投下
在特色咖啡廳和旅店一起喝咖啡看紀錄片，與影人近距離互
票選單你就有機會得到影展特選的獎品，更有機會參與 10 月 16 日在 Legacy 舉辦的 TIDF 頒獎典禮，一起見證大獎得主誕生。
動，分享電影帶來的感動，等一個你共享咖啡時光！
YOU decide the winning film for TIDF Audience Award! Rate the film you just watched, and you might become one of the prizewinners, and
To provide a more intimate and relaxed environment for
also win a pass for TIDF award ceremony at Oct 16!
filmmaker-audience conversation, TIDF has programmed a series of Doc Café screenings taking place in 6 unique locations for you to explore your imaginations.
日日談 Daily Talk
時間 | 16 : 00 -17 : 30
日日談 講座 4 _ Mini TALK 4
日期 | OCT. 16 (THU)
亞洲紀錄片的今天 ─ 國際 vs. 本土 Asian Documentary Today
與談人 | 林樂群 台灣公共電視國際部經理 、張獻民 China 紀錄片研究學者、藤岡朝子《祭之馬》國際發行、Pimpaka TOWIRA《稻米之歌》製片
緊急公告 TIDF Announcement
地點 | 文化部華山小客廳 @ The Foyer
LIN Leh-chyun Director of International Dept., PTS Taiwan, ZHANG Xianmin Documentary Researcher, FUJIOKA Asako Distributor of The Horses of Fukushima, Pimpaka TOWIRA Producer of The Songs of Rice. * 報名請上官網 Please refer to our official website for further details about the admission.
10 /11 新光一廳 10:20《三里塚．第二堡壘的人們》發生拷貝技術控管失誤，導致本場次錯本放映狀況發生。 因小川拷貝珍貴且大量，來程後調度急促，導致此場放映失誤，深感抱歉。本場次的觀眾，可持原票券觀賞於 10/17 新光一廳 10:30《三里塚．第二堡壘的人們》 放映。補映場次將視拷貝調度與戲院協調狀況，再另行公告。造成不便，再次致歉。 We are sorry for our mistake in the screening of Sanrizuka – Peasants of the Second Fortress at 10:20, Oct. 11 in Sing Kong Cineplex 1. In order to compesate, we will allow admission for those who were effected to the next screening at 10:30, Oct. 17. Please bring your ticket for submission. We feel sorry causing your inconvenience.
《 A Visit 》劇照
曹文傑 TSAO Wen-Chieh 紀錄片導演、2014 TIDF 國際競賽單元初選評審 Filmmaker ; Selection committee member of the International Competition
TIDF 視野 VISION
我一直以為人生有太多的困頓和痛苦，而拍攝紀錄片是一個很好的出口。在過程中，你理解人、深入他者的世界或生命幽微處。那麼紀錄片的觀看呢？首先，我必須說很榮幸，再次擔任台灣國際紀錄片 影展的選片委員。整個過程就好像是在極短的時間內，做了一次深度的世界旅行。隨著影片一幕幕在你眼前展演，你去到不同國家，在不同城鎮、街道上遊走，隨著老婦人到了中南美小鎮的傳統市場上 作買賣；你也可能進入歐洲某個中產階級家庭的客廳，分享了這家人的私密光景。你認識了一個個平凡卻又勇敢的生命，被攝者、導演、攝影師…。你被鼓舞、被激勵、被啟發，通過不同的人、事、物， 你也因此更理解了自己。紀錄片這一扇扇開向世界的窗，讓我們與它鄉、異邦的被攝者、影片製作者彼此的生命交會出奇妙而緊密的連結。 I always think that there are too many obstacles and pains in our lives. Making documentary is an excellent exist for those frustrations. In the process, you get to know people, stepping deep into the world of others or the delicacy of one's life. Yet, what about the experience of watching documentaries? First of all, I have to say it is an honor for me to be the board member again to pick the shortlist for TIDF' International Competition. It is like I made an in-depth trip around the world in a very short time. As the films went on scene after scene before you, they brought you to different countries, walking with you on the streets of different towns. There you might follow an old woman making business in a traditional market located in a remote southern American village. You would also enter the house of a European middle-class family and take parts in the scenes of their private lives. By watching the films you befriend with a group of ordinary yet brave people — the subjects of the films, the filmmakers, and the cinematographer…… You'd be encouraged, inspired and enlightened by those stories. You also get to know yourself better in the process. Documentaries are windows that introduce us to the world and create amazing and tight bonds between us and the lives of the foreign land, her people, and the filmmakers.
TIDF 2014 9th TAIWAN INTERNATIONAL DOCUMENTARY FESTIVAL 第九屆台灣國際紀錄片影展