2022台北電影節：節目專刊

目次

02

CONTENTS

活動資訊 EVENT INFORMATION 02 03 04 05 06

選片指南 PROGRAM TALK

影迷觀影禮 CINEPHILE ONLY ｜周邊商品 MERCHANDISE

靠北影百貨 TFF MARKETPLACE ｜戶外放映 OUTDOOR SCREENING

電影正發生 IN PROGRESS

看電影約嗎 TFF AND CHILL

08

觀眾票選抽好禮 FESTIVAL GOODIES

09

HAPPY HOUR

10 11 12 14 15

影迷優惠 SPECIAL

好禮雙享受 GOOD THINGS COME IN PAIRS 香氛場 AROMA SESSION

正在拍片的我 FILMMAKERS IN PROGRESS

焦點講座 TALKS

16

購票資訊 TICKET INFORMATION

22

影展地圖 VENUE

24

場次表 SCREENING SCHEDULE

選片指南

06.11 SAT 13:30 - 16:00

PROGRAM TALK

12:30 日場影迷 通行證

三創生活 12F SYNTREND SHOW （台北市中正區市民大道三段 2 號）

獨家贊助

影迷召集令，等你來赴約！ 選片指南獨家搶先販售

加 贈

今夏 9 想和你膩在一起！ 陪你 99 價

$2,499

夏日 OUTDOOR 好物組

＊於報名表單搶先填選購買，若有少量釋出，將開放現場購買。 日場影迷通行證 ＊相關使用資訊請見 P.16

北影 24 周邊大禮包

聯名口罩組 (主視覺款、平安款)

平安不鏽鋼戶外運動保溫瓶、 平安漁夫帽

超值組合價＄2999 限量 20 組，買到賺到！

平安造型襪

平安木柄iO杯

加 贈

聯名北影清透 玻璃手沖組

平安營繩小包

13:30

平安不鏽鋼戶外運動保溫瓶

平安漁夫帽

選片指南！ FOLLOW ME ！ 選片指南小驚喜！影迷專屬回饋禮！

參加者即贈入場好禮聯名北影多喝水 MORE 氣泡水乙罐＆靜享雞湯麵乙盒， 數量有限，贈完為止。

16:00

電影萬歲，好禮波棒

參加者散場即贈萬波精選夏日飲品乙杯，數量有限，贈完為止。

＊活動詳情請關注台北電影節官方臉書專頁。 ＊主辦單位保留活動變更權。 02

活動資訊 EVENT INFORMATION

影迷觀影禮

C I NEPHILE ON LY 憑票根

把我最好的都給你♥台北電影節影癡專屬禮！ 僅此一場，錯過就沒機會啦∼ 時間｜06.19 SUN 13:00-20:00（數量有限，兌完為止） 地點｜松山文創園區文創大街（台北市信義區光復南路133號）

電子憑證購買金額滿 ＄2500 ，

即可兌換

煥采柔舒潔面露 15ML、

＋

24 電影海報 貼紙

B 綠茶平衡調理液 15ML、二重奏保濕精華乳 15 ML

絲漾博賦活藜麥 洗護髮三件組

聯名北影ProFast II 40W 快速充電頭

聯名北影防摔手機殼

周邊商品

M ERCHA N D IS E

質感皮革禮盒 含皮革置物、皮革杯 墊、皮革飲料提袋、皮 革面紙套

精選好禮

＋

6選1

城市系列職人精品 咖啡3入禮盒組

世民酒店台北北 門館 城景雙人房 一宿住宿券

06.19 SUN 限量夢幻逸品

靠北影百貨全國搶先開賣！

錯過了，別擔心，你還能在影展期間獲得∼ 販售資訊｜06.23—07.07 影展三大放映戲院（臺北市中山堂、信義威秀影城、光點華山電影館）影展服務台。

＊影展服務台營業時間：每日首場電影放映前30分鐘至末場電影開演後20分鐘。

聯名北影 經典短袖上衣

聯名北影口罩組 (10入組)

聯名北影造型襪

聯名北影防摔手機殼

聯名北影ProFast II 40W 快速充電頭

＊活動詳情請關注台北電影節官方臉書專頁。 ＊主辦單位保留活動變更權。 活動資訊 EVENT INFORMATION

03

靠北影百貨

TFF MARKETPLACE

週日下午逛市集！電影周邊買起來！ 時間｜06.19 SUN 13:00 - 20:00 地點｜松山文創園區文創大街（台北市信義區光復南路133號）

北影合作品牌、片商、劇組現場販售，走過路過都來看看！ 市集現場消費滿 ＄2000 即贈果嶼冰釀紅酒調理包&輕保養糖磚組2份，買滿滿，送滿滿！ 數量有限，贈完為止。

戶外放映

OUTDOOR SCREENING 週日晚上怎麼過？看場電影CHILL一下！ 時間｜06.19 SUN 19:00 - 21:00 地點｜松山文創園區文創大街（台北市信義區光復南路133號）

還記得那個《不能說的．秘密》嗎？15週年經典再現，不容錯過。 參加者享有以下四種飲品任挑任選！數量有限，贈完為止。

禁止酒駕

未滿十八歲禁止飲酒

至極梅酒60ML

禁止酒駕

未滿十八歲禁止飲酒

臺虎精釀臺虎生啤酒(嗨) 330ML

＊活動詳情請關注台北電影節官方臉書專頁。 ＊主辦單位保留活動變更權。 04

活動資訊 EVENT INFORMATION

御茶園精選飲品 （隨機不挑款）

當日精選咖啡 / 奶茶 （隨機不挑選）

電影正發生 IN PROGRESS 創作現場 ON-SITE

創作現場回到電影創作的源頭，以不同角度切入電影發生的初始。 透過觀看創作過程中的細節與思維，在人與人、人與環境、人與創作的關係之 中，探問電影語言如何產生。由藝術總監李天爵邀請多位電影及藝術工作者， 針對光復廳的環境特質創作文本，並將文本轉譯成影像，呈現電影美術的思考 歷程及執行方式。

日

期｜07.01 FRI - 07.03 SUN

時

間｜每日13:00 - 19:00

地

點｜臺北市中山堂2F光復廳（台北市中正區延平南路98號）

創作者｜李天爵（電影藝術總監、金馬獎最佳美術設計）及多位電影及藝術工作者

電影正發生 × 美學沙龍 茶敘 電影正發生與居家藝術美學品牌 AESOP 合作，碰撞精采火花！ 日

期｜06.07 TUE

時

間｜19:30-20:30

講

者｜蔡珮玲（電影藝術總監、金馬獎最佳造型設計）

日

期｜06.14 TUE

時

間｜19:30-20:30

講

者｜王誌成（電影藝術總監、金馬獎、台北電影獎最佳美術設計）

地

點｜AESOP忠孝概念店（台北市大安區敦化南路一段187巷21號）

人

數｜免費參加，限額25人

＊活動詳情請關注台北電影節官方臉書專頁。 ＊主辦單位保留活動變更權。 活動資訊 EVENT INFORMATION

05

看電影約嗎 周邊商品 TFF AND CHILL 平安×李霈瑜（大霈） 平安，無疑是看似最簡單卻又奢侈的願望。 熱愛戶外的影人大霈，設計一系列戶外相關周邊，獻給愛看電影又喜歡OUTDOOR的你！ 以有機色塊的設計，傳遞給影迷一股深呼吸的安定感， 能夠走出戶外，平安看電影，就是一種奢侈的幸福。

致 我最親愛的你，看電影，約嗎？

06

活動資訊 EVENT INFORMATION

平安木柄iO杯 露營必備裝盛容器，搭配平安 設計，高規格質感UPUP。

平安口罩組 (10入組)

平安營繩小包(灰、綠)

#標準醫療級成人口罩

OUTDOOR人出門在外，時尚要

#熔噴不織布

有！可自由調節長度的隨身小

100%台灣製造，舒服的口罩材

包讓你出門跑跳時尚又不卡卡！

質讓你戴著看電影不煩悶。

平安T恤(黑、白) 平安不鏽鋼戶外運動保溫瓶 有穿有保庇！親膚棉質讓人好安心。 一瓶在手，隨時補水讓你活力持

黑白兩款搭配不同平安組合，讓你情

久！600ML的標準容量隨身攜帶

侶裝OK！閨蜜裝OK！全家服裝OK！

不佔空間！

自己入手黑白兩色交替穿也OK！

平安漁夫帽

平安造型襪

大太陽，下雨天，出門在外有它

襪子永遠不嫌多！100%MIT，

就沒問題！

輕薄棉質好舒服，從頭到腳都

不退流行的大地色系配上刺繡的

要平安。

平安色塊，直接變身衣櫃中最百 搭的單品。

平安手作香皂禮盒

平安防摔手機殼

全國限量50組！大霈親手製作的

台灣製造，簡單的設計讓你的

香皂禮盒組，加入大霈親自精心

手機不簡單，透明底搭上平安

挑選的香味，洗了香香一整天！

色塊，再搭配柔和的粉框，給 你手機最時尚的外衣！

販售資訊 獨家線上通路

實體通路 06.19 SUN 靠北影百貨現場販售 06.23-07.07 影展三大放映戲院（臺北市中山堂、信義威秀影城、光點華山電影館）

＊影展服務台營業時間：每日首場電影放映前 30 分鐘至末場電影開演後 20 分鐘。

活動資訊 EVENT INFORMATION

07

觀眾票選抽好禮 FESTIVAL GOODIES

★★★★★

五星好評評起來

限量驚喜抽！抽獎時間及中獎名單請關注

＊每週固定抽出獲獎名單，獲獎者請於影展期間 至臺北市中山堂影展服務台領取，恕不提供代 領、寄送服務，敬請見諒。 ＊主辦單位保留活動變更權。

為你看過的電影打分數，就有機會抽中超限量好康禮！

台北電影節

Noras65+10 登山背包

Bike Backpack MTB 14 多功能日用背包

100%純棉標準雙人床包

Kabuto™ 人體工學椅 全能居家款

北影24周邊大禮包

Bike Backpack MTB 28 多功能日用背包

聯名北影M2整合型 LED微型投影機

日日抽！

每日公布於台北電影節 官網或影展戲院現場， 中獎者請憑存根聯於 06.23—07.07 至影展服 務台營業時間兌換，逾 時不候。

08

活動資訊 EVENT INFORMATION

天然美人限定禮盒

質感皮革禮盒

含花若盛開漢方面膜禮盒、積雪草 沁涼舒緩面膜、積雪草水感高效防 曬凝乳 SPF50+ PA++++

含皮革置物、皮革杯墊、皮革飲料 提袋、皮革面紙套

變水水限定彩妝禮盒 含超持妝無瑕粉餅、超持妝無瑕 粉餅粉盒、超顯白玫瑰濾鏡乳、 子彈唇膏正貨

HAPPY HOUR 憑指定場次票根

＊贈禮於電影散場後發放，每場次數量有限，兌完為止。 ＊主辦單位保留活動變更權。

電子憑證即可兌換該場次限定好禮

相關活動場次請關注

台北電影節

電影正發生 單元限定

禁止酒駕

聯名北影香氛卡

禁止酒駕

未滿十八歲禁止飲酒

精選夏日飲品

氣泡梅酒350ML

島嶼果乾水+果嶼×茶時90元 飲品兌換券

積雪草沁涼舒緩面膜

未滿十八歲禁止飲酒

金柑檸檬沙瓦330ML

當日精選咖啡 / 奶茶 （隨機不挑選）

御茶園精選飲品 （隨機不挑款）

絲漾博甦活髮韌洗護髮試用組

蒸氣眼罩試用包一片裝 （香味隨機不挑款）

聯名北影多喝水MORE氣泡水

城市系列職人精品咖啡 3入禮盒組 活動資訊 EVENT INFORMATION

09

影迷優惠 SPECIAL

數量有限 兑完為止

搭乘LINE TAXI至影展3處放映地點 （臺北市中山堂、信義威秀影城、光 點華山電影館）上、下車即享8折。 （折抵以25元為上限） 使用期限：2022.06.23 - 07.09

憑票根至臺虎精釀啜飲室消費（啜飲

憑北影24紙本票根至全國M·A·C

室大安、啜飲室LANDMARK、啜飲

門市，即享免費修眉服務乙次。

室台中），即享臺虎生啤酒小杯買1 送1優惠，每張票根限兌換乙次。

使用期限：2022.06.07 - 10.31

使用期間：2022.06.23 - 07.11

憑北影24節目專刊「墾趣廣告頁截

於Take a Snooze瞇一下官方網站輸

角」，至全國墾趣店櫃消費$1,000，

入優惠碼「 LOV E T F F 」 單 筆 消 費

即贈LUCI充氣式太陽能LED燈（價值

滿$500即享免運費；消費總金額

$1,280）。

$ 1,0 0 0 即 贈 2ML針管淡香水乙支 （隨機）。

使用期限：2022.06.23 - 07.31 使用期限：2022.06.23 - 10.31

加入氧顏森活官方網站會員，輸入

於Solide官方網站輸入優惠碼

優惠碼「fbm60」，消費$399即享

「TFF24」，消費北影24聯名系列

$60優惠。

產品即享$100優惠。 使用期限：2022.06.11 - 07.31

10

於BACKBONE官方網站輸入優惠

於GAGU SLEEP官方網站輸入優惠碼

碼「TFF24」，不限金額消費即

「TPFF24」，消費冰山床即享折扣

享92折優惠。

$6,000優惠。

使用期限：2022.06.11 - 07.11

使用期限：2022.06.11 - 07.31

活動資訊 EVENT INFORMATION

於in Pairs官方網站輸入優惠碼

於靜享官方網站輸入優惠碼

「TFF24」，消費北影24聯名系列

「TFF24」，雞湯麵系列不限金額

產品，即享單雙9折優惠。

消費即享9折優惠。

使用期限：2022.06.11 - 07.11

使用期限：2022.06.01 - 08.31

於果嶼官方網站輸入優惠碼

影展期間憑台北電影節紙本或電子

「TFF24」，不限金額消費即享9折

票券，享器材租金9折優惠

優惠。 使用期限：2022.06.23 - 07.09 使用期限：2022.06.30 - 12.30

好禮雙享受

GOOD THINGS COME IN PAIRS

想擁有迷人的雙眼，巧巧地在他身邊嗎？快來完成以下步驟吧！

｜問卷禮｜

｜拍照禮｜

STEP

STEP

STEP

STEP

掃描 QRCODE

憑 北 影 24 影 展 有 價 票 根，

拍攝「台北電影

按讚 Hershey’s

分享於個人 FB ＆ IG

並填寫線上問卷

至各影展服務台出示填寫完

節」相關照片

臉書專頁

（貼文、限時動態皆可）

成畫面，即可兌換美舒律蒸

（例：主視覺）

1

2

氣眼罩試用包一片裝 ( 香味 隨機不挑款 )

蒸氣眼罩試用包一片裝

1

2

STEP

3

即可兌換 Hershey’s 珍珠黑巧克力 乙盒

珍珠黑巧克力

活動資訊 EVENT INFORMATION

11

香氛場

精選 6 部電影搭配 6 款經

AROMA SESSION

典 香 水， 一 起 沉 浸 感 官 放 大的療癒時光。

06.24 FRI 19:00

華山 SHC 1

搭配香味：喀斯特 Karst 杜松 × 小茴香 × 檀香 帶有海邊礦物清新草本與暴風雨 前 的 氣 息。 海 水 的 離 開 及 返 回 以 恆 定 的 循 環 存 在， 時 間 同 時 推 進 與 停 止， 帶 出 了 影 中 人 難 以 言 喻 的心緒。

《海洋魔鏡》The Mirror Never Lies 影片介紹 p. 113

06.26 SUN 15:50

信義 HYC 11

搭配香味：米拉塞蒂 Miraceti 岩玫瑰 × 黃葵 × 安息香 辛辣卻振奮人心，散發辛香、香脂 與木質氣息， 襯托著主角以成熟 世故的觀點，看盡名利場上的浮世 光景。

《聖人皮條客》Saint Jack 影片介紹 p. 163 ©Restoration Courtesy of Shout! Factory and the American Genre Film Archive

06.29 WED 18:20 華山 SHC 2

搭配香味：馥香水 Rozu 玫瑰 × 紫蘇 × 癒創木 以法國現代主義設計師，同時也是 女 權 主 義 者 Charlotte Perriand 為靈感來源，木質玫瑰調，同時散 發綠意香氣與一抹細微的煙燻調

《聖女不祈禱》Clara Sola 影片介紹 p. 96

12

活動資訊 EVENT INFORMATION

07.01 FRI 21:20

信義 HYC 11

搭配香味：熾香水 Hwyl 柏樹 × 乳香 × 香根草 濃厚煙燻香調搭配上淡淡辛香，轉 為深綠木質苔蘚的靜謐氣息。香水 命名為啟發人心的情感與能量，宛 如這座牧場裡那堅定不移的銘心 愛情。

《愛別四季》 A Piece of Sky 影片介紹 p. 94

07.02 SAT 20:10

中山堂 TZH

搭配香味：埃雷米亞 Eremia 白松香 × 鳶尾花 × 日本香橙 原意為孤寂的荒野，亦是過去哲人 自省之地，人們相信來到此地能夠 享受難忘的心靈體驗。雨後潮濕的 土壤氣息、自然植被的生機，呼應 的女主角反思與追尋自我的勇氣。

《高原上的家屋》Utama 影片介紹 p. 64-65

07.03 SUN 18:30

信義 HYC 11

搭配香味：悟香水 Tacit 日本香橙 × 岩蘭草之心 × 羅勒 提振精神、活潑的香調個性，伴著 柑橘香氣的微風， 除了帶出這不被 疫情困境擊倒的女性故事的力量， 更點出她在堅毅中展現的樂觀。

《茜色如燒》 A Madder Red 影片介紹 p. 144

活動資訊 EVENT INFORMATION

13

正在拍片的我

FILMMAKERS IN PROGRESS CASTING BY 電影選角 的祕密

CASTING 如何找到對的人說故事？選角指導是影視產業中較容易被忽視，卻非 常重要的角色，今年的「正在拍片的我」將邀請經驗豐富的選角指導、導演、製 片們齊聚一堂，帶大家深入角色創造的世界，並一起討論在不同類型的作品中， 該如何為作品尋找合適的演員，打造出相應的世界觀。

日期｜06.25 SAT 時間｜14:00 - 16:00 地點｜臺北市中山堂2F光復廳（台北市中正區延平南路98號） 講者｜胡乃婷（選角指導）、游惠雯（選角指導） 李烈（電影製片）、九把刀（柯景騰；《月老》導演）

CASTING需要精準又敏銳的眼光，凡參加者即贈美舒律蒸 氣眼罩試用包一片裝（香味隨機不挑款），保養你的眼睛， 打造明亮雙眸！

蒸氣眼罩試用包一片裝

＊活動詳情請關注台北電影節官方臉書專頁。 ＊主辦單位保留活動變更權。

14

活動資訊 EVENT INFORMATION

焦點講座 TALKS 卓越貢獻獎講座：用電影打造台灣的共同回憶——朱延平 在台灣新電影興起的 1980 年代，

日期｜07.02 SAT

朱 延 平 以 笑 淚 交 織 的 故 事， 走 出

時間｜18:30 - 19:30

獨 樹 一 幟 的 通 俗 喜 劇 路 線， 屢 創

地點｜臺北市中山堂中正廳（台北市中正區延平南路98號）

票 房 佳 績， 更 挖 掘 許 多 影 壇 明 日

講者｜朱延平

之 星， 也 為 彼 時 的 台 灣 常 民 帶 來

主持｜塗翔文（資深影評人、台北電影節選片顧問）

充 滿 歡 笑 的 回 憶。 他 當 年 如 何 打 造 成 功 商 業 喜 劇， 於 今 又 如 何 提 攜 後 進， 推 動 電 影 文 化 交 流？ 且 聽這位台灣影壇最會說故事的人 娓娓道來。

* 此講座於《小丑與天鵝》放映後舉行。未購票欲參加者， 可現場排隊候補進場，座位有限，額滿為止。

德國電影的時代革命：奧柏豪森宣言 1962 年， 一 場 名 為「 父 輩 電 影

日期｜07.06 WED

已 死！」 的 記 者 會 上， 新 一 代 西

時間｜20:15-22:00

德電影人以一紙「奧柏豪森宣言」

地點｜光點華山電影館1廳（台北市中山區八德路一段1號）

在 德 國 影 壇 掀 起 時 代 革 命， 揭 開

主持｜王君琦（國家電影及視聽文化中心執行長）

德 國 新 電 影 序 幕。 在 台 北 歌 德 學 院 與 國 家 影 視 聽 中 心 的 協 助 下，

講者來賓將於官方臉書專頁公布，敬請期待！

特邀影視聽中心執行長王君琦與 德 國 影 人 對 談， 帶 大 家 回 到 德 國 新電影的原點。

* 此講座於《德國新電影 60 週年：短片選Ⅰ》放映後舉行。 未購票欲參加者，可現場排隊候補進場，座位有限，額滿為 止。

節目協力

活動資訊 EVENT INFORMATION

15

購票資訊

TICKET INFORMATION 早鳥票券

早

鳥

票

早 鳥 日 場 票 敬 老 愛 心 票

單場票券

全 學

票 生

票

平 日 日 場 票 敬 老 愛 心 票

日場影迷通行證

限量150組

190 150 120 240 210 170 120 2,499

元

張

元

張

元

張

元

張

元

張

元

張

元

張

元

組

銷售期間：06.12 SUN 12:00 起

至

06.22 WED 23:59 止

銷售期間：06.23 THU 00:00 起

及

影展各戲院現場

含日場影迷通行證、CamelBak 平安不鏽鋼戶外 運動保溫瓶、平安漁夫帽各乙件（市值＄1,779）

・選片指南獨家販售，一人限購乙組，售出後不得退換。 ・憑通行證於影展期間 06.23-07.07，可至影展現場購票處兌換當日該場地早場電影。 ・每日首場開演前 30 分鐘開始兌換，不限本人使用，單場次兌換張數不限，每日上限為 4 張。 ・每場次座位有限，換完為止，進場需同時出示票券與通行證。 ・特殊活動場次不得兌換。

注意事項： ・影展期間可於台北電影節影展現場售票處購票。服務時間為每日該場地首場開演前 30 分鐘起至末場開演後 20 分 鐘止。 ・電影片長超過 150 分鐘，各票價需加收 20 元。 ・日場票：限週一至週五 17：59 以前開演之場次。 ・敬老愛心票：僅供年滿 65 歲以上長者，或身心障礙人士與乙名必要陪同者（須同時入場）購買。 ・持學生票或敬老愛心票入場時請出示相關證件，如未出示，須補足差額方能入場。 ・以上票種僅適用 2022 第 24 屆台北電影節於臺北市中山堂中正廳、信義威秀影城、光點華山電影館放映之影片。 因「嚴重特殊傳染性肺炎（COVID-19）」，活動現場將實施相關防疫措施，並依疫情指揮中心發布事項調整，請務 必配合。 ・觀影全程須佩戴口罩。 ・入場時須配合測量額溫，額溫攝氏 37.5 度以上者將謝絕入場。

16

購票資訊 TICKET INFORMATION

購票須知 ・票券為唯一入場憑證，請妥善保存票券，遺失、毀損概不補發。 ・影展節目開演後 20 分鐘，不再開放入場，亦不得退票，敬請準時入場。 ・各個放映場地，敬請遵守各戲院外食規定。 ・各場次開演前 30 分鐘

網站停止販售該場次票券，僅可於影展現場服務台購買。

・各場次輪椅席有限，如有需要請預先洽詢觀眾服務專線：(02)2302-5788。 ・為維護觀影品質，年滿 3 歲或身高達 100 公分之兒童可持學生優惠票入場，兩者皆未達到標準者謝絕入場。 ・為了影廳內安全與維持逃生動線，請勿逗留、站立或坐在廳內走道與其他非座位處。 ・如遇天災或不可抗力之因素，主辦單位將依據台北市政府發佈之命令，決定是否取消放映，並儘速於官網公告相關訊息。 ・主辦單位保有更動節目之權利，所有演出時間及內容將依現場實際狀況而定。最新訊息與異動資訊隨時公布於官網。 ・本活動放映節目權利皆屬版權所有者，任何攝影、錄影、錄音行為皆屬違法，可能招致法律訴訟，本節保留要求違法觀 眾刪除檔案之權力。 ・影展工作人員為維護影展順利運行所採取之各種方法，皆為維護大眾最佳觀影狀況；本節不接受任何針對工作人員之惡 意行為，並視情況採取相應措施。

退票方式 ・退票最遲須於該放映場次開演前 3 日辦理，逾期恕不受理。 例：06.23 映演的場次，最遲需於 06.20 完成退票手續。 ・每張須酌收 10% 手續費。 ・網路購票使用刷卡結帳，退票金額將會退回原刷信用卡。如非直接於

購買，請與原購買人領取退票款項。

・電子票券或票券尚未取票而需退票，請使用網站退票申請系統或攜帶身分證及訂單編號至 提出申請，或以電子郵件、傳真至 ・紙本退票請至

服務處，於時限內

辦理退票。

服務處或於 06.14-06.22 週一至週五 11:00-18:00 至台北電影節臨時辦公室（台北市延平南

路 98 號 1 樓）。 ・06.23 起紙本單場票之退票請至影展現場服務台售票處辦理。團體票不得辦理退票。 ・「換票」視同「退票」，購買操作請謹慎小心，若須更換場次請依上述退票方式辦理。

購票資訊 TICKET INFORMATION

17

購票操作方式流程 售票系統： www.opentix.life APP 電子票券、超商取票（7-ELEVEN 門市、全家門市、萊爾富門市）或至

＊網路購票取票方式，須選擇

分銷點印出實體票券，影展現場不提供取票服務。

網路購票操作流程 登入或加入會員 ►

►

選擇該節目日期

場次 ►

刷卡完成付款 ►

搜尋節目 ►

點選購票 ►

2022 第 24 屆台北電影節 ►

選擇座位 ►

選擇票種

張數 ►

選擇節目 ►

選擇 App 電子票

分銷點或超商 ►

票券載入系統 APP 電子票 憑「取票序號」至分銷點取票

電子票 APP 購票操作注意事項 APP，請以智慧型手機至 App Store 或 Google Play 下載，即可使用電子票入場（支援

・APP 電子票載具為

Android 7.0 或 iOS 12.4.6 以上版本）。 ・APP 電子票不須支付取票服務費。 ・APP 電子票為線上即時票證，截取或翻拍畫面將無法通過驗票。 ・入場請確認手機隨身攜帶、電力充足，避免影響入場權益。 ・APP 票券將會於訂購完成 10 分鐘內自動載入 APP，請登入「購票帳號（手機號碼）」查看。票券顯示異常，請聯繫客 服中心。

「取票」機台操作流程（7-ELEVEN 門市、全家門市、萊爾富門市） 票券中心

► 售票系統

輸入「取票帳號」 ►

►

取票 ►

輸入取票代碼 ►

選擇

►

確認取票明細 ►

閱讀服務須知 ► 列印繳費單及持票須知 ►

持印有條碼之白色繳費單至櫃台，取得印有片名、場次、時間之電影票券

超商操作注意事項 ・機台印製實體票，每張手續費 10 元。 ・白色繳費單列印後，請於 10 分鐘內完成繳費取票。 ・操作過程中若靜止逾 2 分鐘，畫面將跳回首頁，該筆訂單失效，須重新操作。 ・超商取票每筆訂單至多可領取 8 張票券，超過 8 張票券請至

服務據點取票。

客服專線：(02)3393-9888（服務時間：週一至週五 09:00-20:00） 台北電影節觀眾服務專線：(02)2302-5788（服務時間：週一至週五 11:00-18:00）

18

購票資訊 TICKET INFORMATION

EARLY BIRD TICKETS • GENERAL NTD 190 PER TICKET • MATINEE NTD 150 PER TICKET (Valid only for screenings starting before 17:59 on weekdays) • DISABLED OR SENIOR CITIZEN: NTD 120 PER TICKET l

Early bird ticket sales begin at 12:00 on June 12 SUN on

and ends at 23:59 on June 22 WED.

INDIVIDUAL TICKETS • GENERAL: NTD 240 PER TICKET • STUDENT: NTD 210 PER TICKET • WEEKDAY MATINEE: NTD 170 PER TICKET • DISABLED OR SENIOR CITIZEN: NTD 120 PER TICKET l Individual ticket sales begin at 00:00 on June 23 THU on

and in all venues.

PLEASE NOTE • During the Festival, tickets are available at the information desks at Zhongzheng Auditorium at Taipei Zhongshan Hall, Vie Show Cinemas Taipei Hsin Yi and SPOT Huashan Cinema. • When the film is more than 150 minutes long and all kinds of tickets are subject to an additional NT$20. • Matinee tickets are valid only for screenings starting before 17:59 on weekdays (MON-FRI). • Disabled or Senior Citizen tickets are only for senior citizens aged 65 and plus or disabled person with one companion for the same screening. • All concession ticket holders must present valid IDs at entrance. If no valid ID is presented, the discount must be made up. • The information desks open 30 minutes before the first screening of the day and close 20 minutes after the last screening of the day starts in each venue. • All the tickets are valid only for the screenings in the 2022 Taipei Film Festival venues, including Zhongzheng Auditorium at Taipei Zhongshan Hall, Vie Show Cinemas Taipei Hsin Yi and SPOT Huashan Cinema. Due to the Covid-19 restrictions, please obey the following rules, which will be constantly adjusted according to the instructions issued by the Central Epidemic Command Center. • Masks must be worn throughout the screening. • Temperature must be taken at entrance. Those whose temperature is higher than 37.5 °C cannot be admitted.

購票資訊 TICKET INFORMATION

19

NOTES FOR TICKET SALES • Admissions are permitted only with valid tickets. Tickets will NOT be re-issued if they are lost or damaged. • Latecomers will NOT be admitted into the screening beyond the first 20 minutes of the film. Tickets can NOT be exchanged or refunded. • Please follow the food and beverage rules of each venue while attending. • Tickets to each screening are available at

only until 30 minutes before the film starts.. However, tickets can

be purchased at the information desks in Zhongzheng Auditorium at Zhongshan Hall, Vie Show Cinemas Taipei Xinyi and SPOT Huashan Cinema. • A limited number of wheelchair spaces are available. Please contact the customer service on (02) 2302-5788 in advance if needed. • In order to maintain the viewing quality, children older than three or taller 100 cm can be admitted with student tickets. If a child meets neither of criteria, it cannot be admitted. • In order to maintain the safety in the auditorium and keep the emergency pathways clear, please do not linger, stand or sit on the paths or anywhere other than the seats. • In the event of natural disasters or force majeure events, the Festival may cancel the screenings based on the instructions given by the Taipei City Government. Updates will be posted on Taipei Film Festival’s official website. • The Festival preserves all rights to change the program due to unexpected occurrences. Latest updates will be announced on Taipei Film Festival’s official website. • All the copyrights belong to the copyright holders. Any recording of image or sound is against the law and could be persecuted. The Festival reserves the right to delete these audio/visual files. • All the measures taken by the Festival staff are meant to ensure the smooth running of the Festival and maintain the best viewing quality. The Festival will not tolerate any offensive behavior towards the staff and appropriate measures will be taken according to the situation.

CHANGE AND REFUND • Tickets must be refunded 3 days prior to the screening date and they will be non-refundable after that. For example, a ticket to a screening on June 23 must be refunded by June 20. • A handling fee of 10% per ticket will be charged. • Refunds for the tickets paid by credit cards will be credited into the accounts. If the tickets are not purchased on , please get the refunds from the original buyers. • For electronic tickets and the tickets that have not been printed out, please apply for refunds on the website or go to an service center with valid ID and the order number at least three days prior to the screening day. Refunds can also be applied by email or fax. • For paper tickets, please go to an

service center or the pop-up Taipei Film Festival Office ( 1F, No.98 Yan-

ping South Rd., Taipei City 10042, Taiwan, 11:00-18:00 Mon-Fri, June 14-22.) • For paper individual tickets, please go to the information desks in Zhongzheng Auditorium at Zhongshan Hall, Vie Show Cinemas Taipei Xinyi and SPOT Huashan Cinema from June 23 onwards. Group tickets cannot be refunded. • Change of tickets will be processed as “refund”. Please book tickets with care and if any change of tickets is needed, please see the above for the process.

TICKET PURCHASE PROCESS •

Ticket Sales: www.opentix.life

• When purchasing tickets online, one must choose whether to get the tickets via ience stores (7-Eleven, FamilyMart and Hi-Life) or printouts at an not available in the Festival venues.

20

購票資訊 TICKET INFORMATION

App, kiosks in the convenservice center. Ticket printing service is

ONLINE TICKET PURCHASE PROCESS log in or register ►

program search ► 2022 24th Taipei Film Festival ► choose film/event ►

choose date ► click “purchase ticket” ► choose seat ► choose ticket type/number ► choose App electronic ticket or printout in convenience store/service center ® pay by credit card ► TICKETS DOWNLOADED TO APP/GET TICKETS AT SERVICE CENTER WITH THE “TICKET SERIAL NUMBER”

NOTES FOR PURCHASING APP ELECTRONIC TICKETS • Please download

app from Apple Store or Google Play (iOS 12.4.6 / Android 7.0 and later versions).

• No handling fees are charged for electronic tickets. • Screenshots of electronic tickets will not be accepted. • Please ensure the phone is well-charged to avoid problems at entrance • App electronic tickets will be automatically download to the app 10 minutes after the purchase is completed. Please log into the account and check and contact the service center if any problems occur.

TICKET PRINTOUT PROCESS AT KIOSKS IN 7-ELEVEN, FAMILYMART AND HI-LIFE ticket center ►

ticket sales system ► ticket printout ►

enter “ticket account” ►

enter “ticket number” ►

choose

check ticket details ►

► terms and conditions ► print out payment slip and notes on ticket ►

pay at the counter and get film tickets printed with film title and screening venue, time and date

NOTES FOR PRINTING OUT TICKETS IN CONVENIENCE STORES • NTD 10 handling fee per ticket will be charged • Please pay at the counter within ten minutes after the payment a slip is printed out. • If the process is paused for more than two minutes, it will go back to the homepage and the purchase will not be completed. The process must be started from the beginning again. • Up to eight tickets per order could be printed out via kiosks in convenience stores. For orders of more than eight tickets, please go to an

Service Center.

Customer Service: (02) 3393-9888 (9:00-20:00 MON-FRI) Taipei Film Festival Customer Service: (02) 2302-5788 (11:00 – 18:00 MON-FRI)

購票資訊 TICKET INFORMATION

21

西門站 六號出口 Ximen Station Exit 6

漢口街二段 Sec. 2, Hankou St.

武昌街二段 Sec. 2, Wuchang St.

漢中街 Hanzhong St.

峨嵋街 Emei St.

VENUE

西寧南路 Xining S. Rd. 成都路 Chengdu Rd.

影 展 地 圖

昆明街 Kuming St.

中華路一段 Sec. 1, Zhonghua Rd. 西門站 五號出口 Ximen Station Exit 5

中山堂 Taipei Zhongshan Hall

延平南路 Yanping S. Rd.

館

山電影

光點華

Cine

臺北 市中 山堂 (TZH)

光 點 華 山 電 影 館 (SHC)

台 北 市 延 平 南 路 98號

台北市八德路一段1號

No. 98, Yanping S. Rd., Taipei City (02)2311-3522

No. 1, Sec. 1, Bade Rd., Taipei City (02)2321-6299

Taipei Zhongshan Hall

22

影展地圖 VENUE

ma

SPOT-Huashan Cinema

國父紀念館站 五號出口 Sun Yat-sen Memorial Hall Station Exit 5 忠孝東路五段 Sec. 5, Zhongxiao E. Rd.

市府路 Shifu Rd.

市政府站 三號出口 Taipei City Hall Station Exit 3 松高路 Songgao Rd.

路

松仁路 Songren Rd.

基隆

仁愛路四段 Sec. 4, Ren'ai Rd.

一段 Sec . 1, Kee lu ng Rd.

松壽路 Songshou Rd.

信義威秀影城 Vie Show Cinemas Taipei Hsin Yi

象山站 一號出口 Xiangshan Station Exit 1

信義路五段 Sec. 5, Xinyi Rd.

台 北 信 義 威 秀 影城

(HYC) Vie Show Cinemas Taipei Hsin Yi

台北 市 松 壽 路 20號 No. 20, Songshou Rd., Taipei City 0965-307-405

影展地圖 VENUE

23

場次表

SCREENING SCHEDULE ★ 影人出席映後座談或導讀 With filmmakers' attendance ▲ 影片拷貝非英語發音且無英文字幕 Non-English films screened without English subtitles ☆ 影人出席網路直播座談 Virtual live Q&A session with filmmakers’ attendance 0+ 普 遍 級 一般觀眾皆可觀賞 G: General audience 6+ 保 護 級 未滿六歲不得觀賞，六歲以上未滿十二歲須由成人陪伴輔導觀賞 P: No children under 6 allowed. Children aged 6 to 12 must be accompanied by an adult 12+ 輔 1 2 級 未滿十二歲不得觀賞 PG12: No one under 12 allowed 15+ 輔 1 5 級 未滿十五歲不得觀賞 PG15: No one under 15 allowed 18+ 限 制 級 未滿十八歲不得觀賞 R: No one under 18 allowed R18 超限制級 未滿十八歲不得觀賞，入場前須簽觀影同意書 R18: The audience will be required to sign "Letter of Declaration" before entrance 場次及活動異動訊息，請以官網與戲院現場公布為準 Please refer to the announcement on website and venues for changing of ratings, screenings and events. 所有影廳皆設有無障礙設施 Accessibility for the disabled in all venues. 台北電影獎競賽 Taipei Film Awards 國際新導演競賽 International New Talent Competition 香氛場 Aroma Session

06.23

10

11

12

13

14

15

16

17

18

19

THU

20

21

22

23

24

98min｜0+ ★

19:20 P.10-11, 75 初戀慢半拍

中山堂 TZH

Mama Boy

信義威秀 10廳 HYC 10

122min｜15+

106min｜12+

84min｜12+

95min｜6+

14:00 P.122

16:50 P.50-51

19:20 P.95

21:30 P.60-61

壞壞壞天使

歡迎光臨便利黑店

紐約真人類

夏日悄悄話

Heavens Above

Convenience Store

Actual People

The Quiet Girl

信義威秀 11廳 HYC 11

88min｜6+

109min｜6+

117min｜18+

112min｜18+

14:20 P.64-65

16:30 P.119

19:00 P.101

21:40 P.163

高原上的家屋

瀕臨絕種的園長

荒墨生存法則

聖人皮條客

Utama

Anatolian Leopard

Robe of Gems

Saint Jack

光點華山 1廳 SHC 1

光點華山 2廳 SHC 2 10

24

11

12

場次表 SCREENING SCHEDULE

13

14

95min｜12+

121min｜12+

105min｜6+

16:00 P.115

18:20 P.154

21:00 P.152

第三次求婚

姑奶奶

大酒樓

Yuni

Madame

The Moon Palace

69min｜12+

331 + 40min｜6+

14:40 P.140

16:30 P.156

沉睡巨人之子

癡：導演剪輯版（含兩次中場休息）

The Children of the Sleeping Giant

Mr. Zhang Believes: Director’s Cut (With two intermissions)

15

16

17

18

19

20

21

22

23

24

06.24

10

11

12

13

FRI

中山堂 TZH

14

15

16

17

88min｜6+ ▲

102min｜12+ ★

15:00 P.160

17:20 P.174

19:30 P.15, 76

紙月亮

末路狙擊

昨日女孩

夢遊樂園

Paper Moon

Targets

Yesterday Girl

Melody-Go-Round

光點華山 2廳 SHC 2

06.25 SAT

中山堂 TZH

10

11

12

21

90min｜15+

112min｜6+

98min｜6+

99min｜12+ ★

16:20 P.193

19:00 P.126

21:20 P.16

服刑母親

後窗

誠實說謊家

草原上，我們開始跳舞

107 Mothers

Rear Window

Promises

Our Time on the Grass

160min｜12+

91min｜12+

111min｜15+

13:00 P.94

16:00 P.56-57

19:20 P.100

21:30 P.148

愛別四季

正義的現跡

重訪

就在今夜

A Piece of Sky

Leave No Traces

Pilgrims

The Passengers of the Night

85min｜6+

100min｜0+

86min｜0+

16:30 P.73

19:00 P.113

21:20 P.114

修行

海洋魔鏡

舞吧舞吧，孩子們

Increasing Echo

The Mirror Never Lies

The Seen and Unseen

127min｜12+

103min｜18+

99min｜15+

97min｜6+

13:00 P.78

16:10 P.110

18:40 P.135

21:00 P.102

月老

深空

Till We Meet Again

Shen Kong

恁阿嬤 cut 好

13

14

13

14

聖靈請回答

Leonor Will Never Die

15

16

17

18

19

15

16

17

18

19

The Sacred Spirit

20

21

22

23

24

20

21

22

23

24

96min｜6+ ▲★

94min｜12+ ★

96min｜18+ ★

09:50 P.50-51

12:10 P.60-61

14:20 P.18

17:00 P.21-22

19:40 P.58-59

歡迎光臨便利黑店

夏日悄悄話

Convenience Store

The Quiet Girl

滴水的推理書屋： 第 1-2 集

台灣短 SHOW Ⅰ

小藍

Taiwan Shorts Ⅰ

The Leaking Bookstore: Ep. 1-2

Little Blue

88min｜12+

126min｜18+

119min｜6+ ★

109min｜12+ ★

106min｜6+ ★

10:30 P.175

12:40 P.161

15:30 P.194

18:30 P.86-87

21:20 P.88-89

少年杜里斯

最後一場電影： 導演剪輯版

審判

台北電影獎－短片Ⅰ

台北電影獎－短片Ⅱ

The Trial

Taipei Film Awards Short Films Ⅰ

Taipei Film Awards Short Films Ⅱ

Young Törless

信義威秀 11廳 HYC 11

光點華山 1廳 SHC 1

The Last Picture Show: Director’s Cut

121min｜12+

85min｜6+

127min｜15+

88min｜12+

108min｜12+

11:50 P.130

14:30 P.132

16:40 P.131

19:30 P.134

21:40 P.124

戰火解密：娘子谷大屠殺

頓巴斯壕溝紀實

噩夢的倒影

Babi Yar. Context

Trenches

Reflection

保姆太辣了， 我怎麼辦！？

Intolerance

71min｜6+ ▲

106min｜18+

95min｜12+ ▲

133min｜6+

11:20 P.97

13:40 P.178-179

15:40 P.177

18:10 P.176

20:30 P.109

弗蕾達的抉擇

德國新電影 60 週年： 喪失名譽的 短片選Ⅰ 卡塔琳娜．布魯姆

Freda

11

空白

Babysitter

94min｜6+

光點華山 2廳 SHC 2 12

24

136min｜15+

95min｜6+

10

23

14:00 P.139

106min｜12+

信義威秀 10廳 HYC 10

22

93min｜15+

光點華山 1廳 SHC 1

12

20

12:30 P.162

信義威秀 11廳 HYC 11

11

19

102min｜6+

信義威秀 10廳 HYC 10

10

18

60th Anniversary of The Lost Honour of New German Cinema: Katharina Blum Short Films Ⅰ

愛的饗宴

加爾各答往事

Table for Love

Once Upon a Time in Calcutta

116min｜12+

85min｜15+

178min｜18+ ▲

72min｜6+

12:30 P.99

15:10 P.142

17:20 P.146

21:00 P.153

餓童當街

一二三我仨不落單

永別了，柏林

Moles

Three Tidy Tigers Tied a Tie Tighter

Fabian: Going to the Dogs

13

14

15

16

17

18

19

彩排記 + 黃老老拍案

Ode to Joy + A Portrait of Mr. Huang

20

21

22

23

24

場次表 SCREENING SCHEDULE

25

06.26 SUN

中山堂 TZH

10

11

12

15

16

17

18

19

20

21

101min｜0+ ★

95min｜0+

89min｜15+ ★

105min｜12+ ★

09:50 P.54-55

11:50 P.42-43, 69

14:40 P.48-49

16:50 P.23-24

19:30 P.17

獄見妳，愛上你

美國女孩

她和她們的電影課

Josefina

American Girl

Cinema Sabaya

台灣短 SHOW Ⅱ

216min｜0+ ★

87min｜0+ ★

16:40 P.83

21:30 P.80

阿媽有咗第二個

東方三俠

大俠胡金銓

神人之家

Mama’s Affair

The Heroic Trio

The King of Wuxia

A Holy Family

88min｜12+

109min｜6+

112min｜18+

116min｜6+ ★

123min｜6+

11:10 P.137

13:20 P.119

15:50 P.163

18:20 P.166

21:20 P.125

聽見貓在叫

瀕臨絕種的園長

聖人皮條客

半邊人

王者製造

Zuhal

Anatolian Leopard

Saint Jack

Ah Ying

Kingmaker

84min｜6+

72min｜6+ ▲

106min｜6+

121min｜12+

11:20 P.98

13:30 P.180-181 15:20 P.168

18:10 P.155

20:40 P.154

拉巴斯浮世繪

德國新電影 60 週年：短片選Ⅱ

萱堂閒話錄

姑奶奶

My Mother’s Rhapsody

Madame

光點華山 2廳 SHC 2

龍山寺之戀：數位修復版

Romance at Lung Shan 60th Anniversary of Temple: Restoration New German Cinema: Short Films II

331 + 40min｜6+

103min｜6+

69min｜12+

11:50 P.156

18:40 P.116

21:00 P.140

癡：導演剪輯版（含兩次中場休息）

娜娜：逝水年華

沉睡巨人之子

Mr. Zhang Believes: Director’s Cut (With two intermissions)

Before, Now & Then

The Children of the Sleeping Giant

10

11

12

13

14

15

10

11

12

13

14

15

16

17

18

19

16

17

18

19

20

21

22

23

24

20

21

22

23

24

90min｜15+

120min｜12+

180min｜12+

108min｜18+ ★

10:50 P.160

13:00 P.164

15:40 P.157

19:20 P.188

末路狙擊

面具

椒麻堂會

繪圖師的合約

Targets

Mask

A New Old Play

The Draughtsman’s Contract

信義威秀 10廳 HYC 10

121min｜6+

123min｜6+

86min｜12+

102min｜6+

98min｜6+

12:00 P.141

14:40 P.127

17:20 P.128

19:30 P.162

21:50 P.126

他方的短歌

永安鎮故事集

地方小鎮好吃驚

紙月亮

誠實說謊家

Haruhara-san’s Recorder

Ripples of Life

Somewhere Over the Chemtrails

Paper Moon

Promises

信義威秀 11廳 HYC 11

光點華山 1廳 SHC 1

光點華山 2廳 SHC 2

136min｜15+

105min｜6+

96min｜15+

95min｜12+

13:50 P.94

16:50 P.52-53

19:20 P.44-45

21:40 P.62-63

愛別四季

去你的垃圾山莊

黑夜結束之前

玫瑰男孩心貼心

A Piece of Sky

Costa Brava, Lebanon

Amparo

Softie

105min｜6+

111min｜15+

95min｜12+

100min｜0+

13:30 P.152

15:50 P.72

18:40 P.115

21:00 P.113

大酒樓

咒

第三次求婚

海洋魔鏡

The Moon Palace

Incantation

Yuni

The Mirror Never Lies

114min｜12+

99min｜15+

97min｜6+

103min｜18+

13:20 P.71

16:10 P.135

18:30 P.102

20:50 P.110

該死的阿修羅

恁阿嬤 cut 好

聖靈請回答

深空

The Sacred Spirit

Shen Kong

Goddamned ASURA

10

Gourmet Affairs: Ep. 1-2

14:00 P.189

98min｜6+ ★

11

24

美食無間：第 1-2 集

Taiwan Shorts Ⅱ

87min｜6+ ★

The Great Movement

中山堂 TZH

23

11:00 P.108

光點華山 1廳 SHC 1

MON

22

127min｜6+ ☆

信義威秀 11廳 HYC 11

26

14

91min｜6+

信義威秀 10廳 HYC 10

06.27

13

12

場次表 SCREENING SCHEDULE

13

14

15

Leonor Will Never Die

16

17

18

19

20

21

22

23

24

06.28

10

11

12

13

14

TUE

中山堂 TZH

16

19

20

21

22

75min｜12+

116min｜18+

94min｜6+

15:20 P.172

17:20 P.169

20:00 P.167

幸福岔路

無法和解或有限暴力+ 七美人 妓女。演員。皮條客 Seven Beauties

23

原野百合花

144min｜15+ ▲

126min｜18+

88min｜6+ ★

139min｜6+

12:40 P.144

15:50 P.161

18:40 P.192

21:20 P.105

茜色如燒

最後一場電影： 導演剪輯版

羅生門

公寓裡的兩個女人

Rashomon

The Apartment with Two Women

The Last Picture Show: Director’s Cut

100min｜15+

127min｜15+

122min｜15+

160min｜12+

88min｜6+

11:00 P.123

13:20 P.131

16:10 P.46-47

18:50 P.56-57

22:10 P.64-65

老男孩奮鬥日記

噩夢的倒影

冰島少年三加一

正義的現跡

高原上的家屋

The Heroics

Reflection

Beautiful Beings

Leave No Traces

Utama

106min｜18+

103min｜6+

94min｜6+

71min｜6+ ▲

13:40 P.177

16:10 P.90

19:00 P.97

21:20 P.178-179

喪失名譽的 卡塔琳娜．布魯姆

素還真

弗蕾達的抉擇

DEMIGOD: The Legend Begins

Freda

The Lost Honour of Katharina Blum

光點華山 2廳 SHC 2

116min｜12+

74min｜6+

85min｜15+

13:30 P.79

16:30 P.99

19:10 P.103

21:10 P.142

少年吔

餓童當街

魂牽夢屋

一二三我仨不落單

Untouchable

Moles

This House

Three Tidy Tigers Tied a Tie Tighter

11

12

13

14

10

11

12

13

14

中山堂 TZH

15

16

17

18

19

15

16

17

18

19

20

21

22

23

24

20

21

22

23

24

108min｜18+

96min｜6+

116min｜6+

123min｜15+

12:00 P.188

14:30 P.118

16:50 P.166

19:30 P.36

繪圖師的合約

人造眷戀

半邊人

異域

The Draughtsman’s Contract

After Yang

Ah Ying

A Home Too Far

信義威秀 10廳 HYC 10

信義威秀 11廳 HYC 11

91min｜6+

117min｜18+

139min｜12+ ★

88min｜12+

13:50 P.54-55

16:00 P.101

18:40 P.191

22:10 P.175

獄見妳，愛上你

荒墨生存法則

倒帶人生

少年杜里斯

Josefina

Robe of Gems

Mr. Nobody

Young Törless

131min｜15+

91min｜12+

96min｜15+

95min｜0+

88min｜12+

12:20 P.107

15:10 P.100

17:20 P.44-45

19:40 P.48-49

21:50 P.134

說好的幸福呢

重訪

黑夜結束之前

她和她們的電影課

Happiness

Pilgrims

Amparo

Cinema Sabaya

光點華山 1廳 SHC 1

119min｜0+

106min｜12+ ☆

106min｜6+

13:10 P.168

15:30 P.77

18:30 P.106

21:00 P.155

龍山寺之戀： 數位修復版

我吃了那男孩一整年的早餐

野蠻人入侵

萱堂閒話錄

My Best Friend’s Breakfast

Barbarian Invasion

My Mother’s Rhapsody

光點華山 2廳 SHC 2 12

13

保姆太辣了， 我怎麼辦！？ Babysitter

98min｜6+

Romance at Lung Shan Temple: Restoration

11

德國新電影 60 週年：短片選Ⅰ

60th Anniversary of New German Cinema: Short Films Ⅰ

119min｜15+

10

WED

24

Lilies of the Field

Not Reconciled + The Bridegroom, the Actress and the Pimp

光點華山 1廳 SHC 1

10

18

13:20 P.173

A Madder Red

信義威秀 11廳 HYC 11

17

82min｜6+ ▲

It

信義威秀 10廳 HYC 10

06.29

15

14

15

16

88min｜12+

106min｜15+

105min｜15+

16:10 P.137

18:20 P.96

20:50 P.136

聽見貓在叫

聖女不祈禱

海王星夜曲

Zuhal

Clara Sola

Neptune Frost

17

18

19

20

21

22

23

24

場次表 SCREENING SCHEDULE

27

06.30

10

THU

中山堂 TZH

11

12

13

14

15

16

17

18

180min｜12+

98min｜6+

90min｜15+

14:00 P.157

17:40 P.126

20:00 P.160

內陸帝國

椒麻堂會

誠實說謊家

末路狙擊

Inland Empire

A New Old Play

Promises

Targets

88min｜6+ ▲

121min｜6+

122min｜15+

216min｜0+ ★

11:50 P.174

14:00 P.141

16:40 P.122

19:20 P.83

昨日女孩

他方的短歌

壞壞壞天使

大俠胡金銓

Yesterday Girl

Haruhara-san’s Recorder

Heavens Above

The King of Wuxia

95min｜12+

160min｜12+

105min｜6+

122min｜15+

13:30 P.62-63

15:40 P.56-57

19:00 P.52-53

21:30 P.46-47

高原上的家屋

玫瑰男孩心貼心

正義的現跡

去你的垃圾山莊

冰島少年三加一

Utama

Softie

Leave No Traces

Costa Brava, Lebanon

Beautiful Beings

133min｜6+

66min｜6+

91min｜15+

121min｜12+

13:30 P.109

16:20 P.81-82

18:30 P.120

20:40 P.154

加爾各答往事

庭中有奇樹 + 海與岸

大獲拳勝

姑奶奶

The Champion of Auschwitz

Madame

Kaohsiung City + The Hostess

69min｜12+

72min｜6+

109min｜6+

17:10 P.140

19:00 P.153

20:50 P.119

沉睡巨人之子

彩排記 + 黃老老拍案

瀕臨絕種的園長

光點華山 2廳 SHC 2

The Children of the Sleeping Giant

11

10

11

FRI

中山堂 TZH

12

13

14

12

13

14

15

16

15

16

19

20

21

22

23

24

17

18

19

20

21

22

23

24

123min｜6+

11:20 P.161

14:10 P.167

16:20 P.125

最後一場電影：導演剪輯版

原野百合花

王者製造

The Last Picture Show: Director’s Cut

Lilies of the Field

Kingmaker

84min｜12+

86min｜12+

95min｜6+

88min｜6+

106min｜12+

13:00 P.95

15:10 P.128

17:20 P.60-61

19:40 P.192

21:50 P.50-51

紐約真人類

地方小鎮好吃驚

夏日悄悄話

羅生門

歡迎光臨便利黑店

Actual People

Somewhere Over the Chemtrails

The Quiet Girl

Rashomon

Convenience Store

95min｜0+

96min｜15+

108min｜12+

127min｜15+

136min｜15+

11:30 P.48-49

13:40 P.44-45

16:00 P.124

18:30 P.131

21:20 P.94

她和她們的電影課

黑夜結束之前

空白

噩夢的倒影

愛別四季

Cinema Sabaya

Amparo

Intolerance

Reflection

A Piece of Sky

95min｜12+ ▲

123min｜6+

84min｜6+

72min｜6+ ▲

13:40 P.176

16:00 P.84

19:10 P.98

21:20 P.180-181

愛的饗宴

我那遙遠的呼喚

拉巴斯浮世繪

Table for Love

Myanmar Remembered

The Great Movement

光點華山 2廳 SHC 2 11

Anatolian Leopard Ode to Joy + A Portrait of Mr. Huang

18

94min｜6+

光點華山 1廳 SHC 1

12

場次表 SCREENING SCHEDULE

13

14

15

德國新電影 60 週年：短片選Ⅱ

60th Anniversary of New German Cinema: Short Films Ⅱ

85min｜15+

116min｜12+

121min｜12+

15:50 P.142

18:00 P.99

20:40 P.130

一二三我仨不落單

餓童當街

戰火解密：娘子谷大屠殺

Three Tidy Tigers Tied a Tie Tighter

Moles

Babi Yar. Context

16

24

17

126min｜18+

信義威秀 10廳 HYC 10

信義威秀 11廳 HYC 11

23

11:20 P.64-65

Once Upon a Time in Calcutta

10

22

88min｜6+

光點華山 1廳 SHC 1

28

21

10:30 P.190

信義威秀 11廳 HYC 11

10

20

172min｜12+

信義威秀 10廳 HYC 10

07.01

19

17

18

19

20

21

22

23

24

07.02

10

11

SAT

中山堂 TZH

12

中山堂 TZH

16

17

18

19

20

21

22

160min｜12+

88min｜12+ ▲★60min

88min｜6+

13:40 P.56-57

17:00 P.26, 37

20:10 P.64-65

冰島少年三加一

正義的現跡

Beautiful Beings

Leave No Traces

小丑與天鵝 + 卓越貢獻獎講座

52min｜0+ ★

93min｜15+

87min｜0+ ★

97min｜6+

11:40 P.194

14:20 P.91-92

16:20 P.139

19:00 P.80

21:40 P.102

審判

台北電影獎－動畫片 服刑母親

神人之家

聖靈請回答

The Trial

Taipei Film Awards Animations

A Holy Family

The Sacred Spirit

107 Mothers

137min｜6+

116min｜18+

123min｜6+

10:20 P.107

13:10 P.145

16:10 P.169

18:50 P.127

說好的幸福呢

我心悵然如詩

七美人

永安鎮故事集

Happiness

Benediction

Seven Beauties

Ripples of Life

106min｜12+

82min｜6+ ▲

95min｜12+

86min｜0+

99min｜15+

12:00 P.106

14:30 P.173

16:30 P.115

18:50 P.114

21:00 P.135

野蠻人入侵

幸福岔路

第三次求婚

舞吧舞吧，孩子們

Barbarian Invasion

It

Yuni

The Seen and Unseen

恁阿嬤 cut 好

Leonor Will Never Die

331 + 40min｜6+

103min｜18+

105min｜15+

11:40 P.156

18:30 P.110

20:50 P.136

癡：導演剪輯版（含兩次中場休息）

深空

海王星夜曲

Mr. Zhang Believes: Director’s Cut (With two intermissions)

Shen Kong

Neptune Frost

11

12

10

11

12

13

14

13

14

15

16

15

16

17

18

19

20

21

22

23

24

17

18

19

20

21

22

23

24

105min｜6+

95min｜12+

96min｜15+

96min｜6+

105min｜6+ ★

09:50 P.52-53

12:20 P.62-63

14:30 P.44-45

16:40 P.118

19:00 P.19

去你的垃圾山莊

玫瑰男孩心貼心

黑夜結束之前

人造眷戀

歡迎光臨 二代咖啡：特別版

Costa Brava, Lebanon

Softie

Amparo

After Yang

Would You Like a Cup of Coffee?: Special Edition

94min｜12+ ★

89min｜15+ ★

99min｜12+ ★

102min｜12+ ★

112min｜6+

10:50 P.21-22

13:30 P.23-24

16:10 P.16

19:00 P.15, 76

21:50 P.193

台灣短 SHOW Ⅰ

台灣短 SHOW Ⅱ

草原上，我們開始跳舞

夢遊樂園

後窗

Our Time on the Grass

Melody-Go-Round

Rear Window

Taiwan Shorts I

信義威秀 11廳 HYC 11

91min｜12+

120min｜12+

139min｜6+

144min｜15+ ▲

100min｜15+

10:40 P.100

12:50 P.164

15:30 P.105

18:30 P.144

21:30 P.123

重訪

面具

公寓裡的兩個女人

茜色如燒

老男孩奮鬥日記

Pilgrims

Mask

The Apartment with Two Women

A Madder Red

The Heroics

光點華山 1廳 SHC 1

91min｜15+

106min｜15+

75min｜12+

86min｜0+

122min｜15+

11:20 P.120

13:30 P.96

16:00 P.172

18:00 P.85

20:30 P.122

大獲拳勝

聖女不祈禱

The Champion of Auschwitz

Clara Sola

無法和解或有限暴力+ 金門留念 妓女。演員。皮條客 Remember Me

光點華山 2廳 SHC 2 10

Taiwan Shorts II

11

12

壞壞壞天使 Heavens Above

Not Reconciled + The Bridegroom, the Actress and the Pimp

109min｜12+ ★

106min｜6+ ★

109min｜6+

88min｜12+

12:30 P.86-87

15:30 P.88-89

18:30 P.119

21:00 P.137

台北電影獎－短片 Ⅰ

台北電影獎－短片 Ⅱ

瀕臨絕種的園長

聽見貓在叫

Taipei Film Awards Short Films Ⅰ

Taipei Film Awards Short Films Ⅱ

Anatolian Leopard

Zuhal

13

14

15

16

24

Utama

119min｜6+

10

信義威秀 10廳 HYC 10

23

高原上的家屋

The Clown and the Swan + Outstanding Contribution Award: Kevin Chu

131min｜15+

光點華山 2廳 SHC 2

SUN

15

11:00 P.46-47

光點華山 1廳 SHC 1

07.03

14

122min｜15+

信義威秀 10廳 HYC 10

信義威秀 11廳 HYC 11

13

17

18

19

20

21

22

23

24

場次表 SCREENING SCHEDULE

29

07.04

10

MON

中山堂 TZH

11

12

13

14

15

16

17

18

102min｜6+

106min｜18+

172min｜12+ ★

11:00 P.176

13:20 P.162

15:50 P.177

18:20 P.190

愛的饗宴

紙月亮

Table for Love

Paper Moon

喪失名譽的 卡塔琳娜．布魯姆

Inland Empire

信義威秀 11廳 HYC 11

光點華山 1廳 SHC 1

97min｜6+

88min｜12+

139min｜12+

84min｜12+

13:50 P.102

16:10 P.175

18:20 P.191

22:00 P.95

獄見妳，愛上你

聖靈請回答

少年杜里斯

倒帶人生

紐約真人類

Josefina

The Sacred Spirit

Young Törless

Mr. Nobody

Actual People

127min｜15+

95min｜0+

122min｜15+

121min｜6+

92min｜6+ ▲

11:30 P.131

14:20 P.48-49

16:30 P.46-47

19:10 P.141

21:50 P.147

噩夢的倒影

她和她們的電影課

冰島少年三加一

他方的短歌

小說家電影

Reflection

Cinema Sabaya

Beautiful Beings

Haruhara-san’s Recorder

The Novelist’s Film

72min｜6+

106min｜6+

105min｜6+

180min｜12+ ★60min

11:10 P.153

13:00 P.155

15:30 P.152

18:30 P.157

彩排記 + 黃老老拍案

萱堂閒話錄

大酒樓

椒麻堂會

The Moon Palace

A New Old Play

11

12

13

14

15

16

10

11

12

13

14

15

16

85min｜6+

85min｜15+

74min｜6+

17:10 P.132

19:20 P.142

21:30 P.103

頓巴斯壕溝紀實

一二三我仨不落單

魂牽夢屋

Trenches

Three Tidy Tigers Tied a Tie Tighter

This House

19

20

21

22

23

24

17

18

19

20

21

22

23

24

112min｜18+

110min｜15+ ★

11:00 P.167

13:50 P.115

16:10 P.163

19:00 P.12-13, 70

原野百合花

第三次求婚

聖人皮條客

童話．世界

Lilies of the Field

Yuni

Saint Jack

Fantasy•World

95min｜6+

88min｜6+ ▲

87min｜6+

86min｜12+

117min｜18+

11:50 P.60-61

14:10 P.174

16:20 P.189

18:30 P.128

20:40 P.101

夏日悄悄話

昨日女孩

東方三俠

地方小鎮好吃驚

荒墨生存法則

The Quiet Girl

Yesterday Girl

The Heroic Trio

Somewhere Over the Chemtrails

Robe of Gems

88min｜12+

105min｜6+

95min｜12+

136min｜15+

137min｜6+

10:30 P.134

12:40 P.52-53

15:10 P.62-63

17:20 P.94

20:20 P.145

保姆太辣了， 我怎麼辦！？

去你的垃圾山莊

玫瑰男孩心貼心

愛別四季

我心悵然如詩

Costa Brava, Lebanon

Softie

A Piece of Sky

Benediction

光點華山 1廳 SHC 1

82min｜6+ ▲

94min｜6+

72min｜6+ ▲

14:40 P.173

16:50 P.97

19:10 P.180-181 21:00 P.168

幸福岔路

弗蕾達的抉擇

It

Freda

光點華山 2廳 SHC 2

30

18

95min｜12+

Babysitter

11

12

場次表 SCREENING SCHEDULE

13

14

15

16

24

17

94min｜6+

信義威秀 10廳 HYC 10

10

23

11:40 P.54-55

10

信義威秀 11廳 HYC 11

22

91min｜6+

光點華山 2廳 SHC 2

中山堂 TZH

21

內陸帝國

The Lost Honour of Katharina Blum

My Mother’s Rhapsody Ode to Joy + A Portrait of Mr. Huang

TUE

20

95min｜12+ ▲

信義威秀 10廳 HYC 10

07.05

19

德國新電影 60

98min｜6+ 龍山寺之戀：數位修復版

週年：短片選Ⅱ Romance at Lung Shan Temple: 60th Anniversary of Restoration New German Cinema: Short Films II

98min｜15+

69min｜12+

116min｜12+

16:20 P.74

19:00 P.140

20:50 P.99

不想一個人

沉睡巨人之子

餓童當街

Leave Me Alone

The Children of the Sleeping Giant

Moles

17

18

19

20

21

22

23

24

07.06

10

WED 信義威秀 10廳 HYC 10

11

12

13

14

15

16

18

19

20

21

22

133min｜6+

139min｜6+

106min｜12+

91min｜6+

93min｜15+

10:30 P.109

13:20 P.105

16:20 P.50-51

18:50 P.54-55

21:00 P.139

加爾各答往事

公寓裡的兩個女人

歡迎光臨便利黑店

獄見妳，愛上你

服刑母親

Convenience Store

Josefina

107 Mothers

Once Upon a Time in Calcutta The Apartment with Two Women

信義威秀 11廳 HYC 11

23

100min｜15+

120min｜12+

108min｜12+

131min｜15+

100min｜15+

10:40 P.123

13:00 P.164

15:40 P.124

18:10 P.107

21:40 P.121

老男孩奮鬥日記

面具

空白

說好的幸福呢

當女孩戀愛時

The Heroics

Mask

Intolerance

Happiness

Girl Picture

75min｜12+

84min｜6+

71min｜6+ ▲★120min

14:10 P.172

16:10 P.98

19:00 P.178-179

Not Reconciled + The Bridegroom, the Actress and the Pimp

光點華山 2廳 SHC 2

24

德國新電影 60 週年：短片選Ⅰ + 焦點講座：德國電影的時代革命：奧柏豪森宣言

無法和解或有限暴力+ 拉巴斯浮世繪 妓女。演員。皮條客 The Great Movement

光點華山 1廳 SHC 1

07.07

17

60th Anniversary of New German Cinema: Short Films | + Talk: Oberhausen Manifesto - a Revolution of a Generation

105min｜15+

121min｜12+

106min｜15+

15:50 P.136

18:20 P.130

21:00 P.96

海王星夜曲

戰火解密：娘子谷大屠殺

聖女不祈禱

Neptune Frost

Babi Yar. Context

Clara Sola

10

11

12

13

14

15

16

17

18

19

20

21

22

23

24

10

11

12

13

14

15

16

17

18

19

20

21

22

23

24

23

24

THU 光點華山 1廳 SHC 1

86min｜0+

100min｜0+

103min｜6+ ★ 60min

13:50 P.114

16:00 P.113

19:00 P.116

舞吧舞吧，孩子們

海洋魔鏡

娜娜：逝水年華

The Seen and Unseen

The Mirror Never Lies

Before, Now & Then

光點華山 2廳 SHC 2 10

11

12

13

14

15

74min｜6+

85min｜6+

178min｜18+ ▲

15:30 P.103

17:30 P.132

19:40 P.146

魂牽夢屋

頓巴斯壕溝紀實

永別了，柏林

This House

Trenches

Fabian: Going to the Dogs

16

17

18

19

20

21

22

場次表 SCREENING SCHEDULE

31

32

場次表 SCREENING SCHEDULE

節

目

專

刊

Catalogue

主要合作夥伴

合作單位

特別贊助

特別合作夥伴

指定特刊

目 次 Contents 6

局長序 Foreword from the Director General

8

主席序 Foreword from the Festival President

國際新導演競賽 International New Talent Competition 42 美國女孩 American Girl

開幕片

44 黑夜結束之前 Amparo

Opening Film

46 冰島少年三加一 Beautiful Beings

1 0 初戀慢半拍 Mama Boy

48 她和她們的電影課 Cinema Sabaya 50 歡迎光臨便利黑店 Convenience Store 52 去你的垃圾山莊 Costa Brava, Lebanon

閉幕片

54 獄見妳，愛上你 Josefina

Closing Film

56 正義的現跡 Leave No Traces

1 2 童話．世界 Fantasy・World

58 小藍 Little Blue 60 夏日悄悄話 The Quiet Girl 62 玫瑰男孩心貼心 Softie

星光首映

64 高原上的家屋 Utama

Gala Presentations 1 5 夢遊樂園 Melody-Go-Round 1 6 草原上，我們開始跳舞 Our Time on the Grass 1 7 美食無間：第 1-2 集 Gourmet Affairs: Ep. 1-2 1 8 滴水的推理書屋：第 1-2 集 The Leaking Bookstore: Ep. 1-2 1 9 歡迎光臨 二代咖啡：特別版 Would You Like a Cup of Coffee?: Special Edition

台北電影獎 - 劇情長片

Taipei Film Awards - Narrative Features 69 美國女孩 American Girl 70 童話・世界 Fantasy・World 7 1 該死的阿修羅 Goddamned ASURA 72 咒 Incantation 73 修行 Increasing Echo

星光首映｜台灣短SHOW I

Gala Presentations｜Taiwan Shorts I 2 1 吃葡萄不吐葡萄皮 Eating Grapes without Spitting Out the Skin 2 1 回家了 I’m Home 22 維蘇的注視 The Gaze 22 家家 Welcome Home

星光首映｜台灣短SHOW II

Gala Presentations｜Taiwan Shorts II 23 讀取中，請稍候 PIT-A-PAT 23 洋裝 The Dress 24 藥方 GuanYin Can’t Help 24 陀陀 Tuo Tuo

74 不想一個人 Leave Me Alone 75 初戀慢半拍 Mama Boy 76 夢遊樂園 Melody-Go-Round 77 我吃了那男孩一整年的早餐 My Best Friend’s Breakfast 78 月老 Till We Meet Again 79 少年吔 Untouchable

台北電影獎 - 紀錄片

Taipei Film Awards - Documentaries 80 神人之家 A Holy Family 81 海與岸 The Hostess 82 庭中有奇樹 Kaohsiung City, Yancheng District, Fubei Rd., No.31 83 大俠胡金銓 The King of Wuxia 84 我那遙遠的呼喚 Myanmar Remembered 85 金門留念 Remember Me

卓越貢獻獎 Outstanding Contribution Award 32 朱延平浮雕 Portrait of Kevin Chu 36 異域 A Home Too Far 37 小丑與天鵝 The Clown and the Swan

台北電影獎 - 短片

Taipei Film Awards - Short Films 86 小黃花 Little Yellow Flower 86 詠晴 Good Day 87 鍵盤俠 Keyboard Warrior 87 台北過手無瞑無日 Do Not Go Gentle in Taipei 目次 CONTENTS

003

88 講話沒有在聽 Can You Hear Me? 88 懸日與掛月 When Henge Meets Crescent 89 腸躁男孩 Irritable Boy 89 那天，我媽偷了老師的車 She Doesn’t Care

電影萬物論 World Cinema 118 人造眷戀 After Yang 119 瀕臨絕種的園長 Anatolian Leopard 120 大獲拳勝 The Champion of Auschwitz

台北電影獎 - 動畫片

Taipei Film Awards - Animations 90 素還真 DEMIGOD: The Legend Begins 9 1 島影 The Island of Us 9 1 當鯨魚游上沙灘 Alice on the Beach 92 白線REALIGN REALIGN 92 河豚 Bruise

未來之光 Future Lights 94 愛別四季 A Piece of Sky 95 紐約真人類 Actual People 96 聖女不祈禱 Clara Sola 97 弗蕾達的抉擇 Freda

1 2 1 當女孩戀愛時 Girl Picture 122 壞壞壞天使 Heavens Above 123 老男孩奮鬥日記 The Heroics 124 空白 Intolerance 125 王者製造 Kingmaker 126 誠實說謊家 Promises 127 永安鎮故事集 Ripples of Life 128 地方小鎮好吃驚 Somewhere Over the Chemtrails

電影萬物論│聚焦烏克蘭 World Cinema│Focus on Ukraine 130 戰火解密：娘子谷大屠殺 Babi Yar. Context 131 噩夢的倒影 Reflection 132 頓巴斯壕溝紀實 Trenches

98 拉巴斯浮世繪 The Great Movement 99 餓童當街 Moles 100 重訪 Pilgrims 101 荒墨生存法則 Robe of Gems 102 聖靈請回答 The Sacred Spirit 103 魂牽夢屋 This House

怪奇樂園 Wild Tales 134 保姆太辣了，我怎麼辦！？ Babysitter 135 恁阿嬤cut好 Leonor Will Never Die 136 海王星夜曲 Neptune Frost 137 聽見貓在叫 Zuhal

亞洲稜鏡 Asian Prism 105 公寓裡的兩個女人 The Apartment with Two Women 106 野蠻人入侵 Barbarian Invasion

Reality Bites

107 說好的幸福呢 Happiness

139 服刑母親 107 Mothers

109 加爾各答往事 Once Upon a Time in Calcutta

141 他方的短歌 Haruhara-san’s Recorder

108 阿媽有咗第二個 Mama’s Affair 110 深空 Shen Kong

亞洲稜鏡｜焦點影人：卡蜜拉．安迪尼 Asian Prism｜Filmmaker in Focus: Kamila ANDINI 113 海洋魔鏡 The Mirror Never Lies 114 舞吧舞吧，孩子們 The Seen and Unseen 115 第三次求婚 Yuni 116 娜娜：逝水年華 Before, Now & Then

004

非一般真實

目次 CONTENTS

140 沉睡巨人之子 The Children of the Sleeping Giant 142 一二三我仨不落單 Three Tidy Tigers Tied a Tie Tighter

作者視角 Visions 144 茜色如燒 A Madder Red 145 我心悵然如詩 Benediction 146 永別了，柏林 Fabian: Going to the Dogs 147 小說家電影 The Novelist’s Film 148 就在今夜 The Passengers of the Night

焦點影人：邱炯炯 Filmmaker in Focus: QIU Jiongjiong 152 大酒樓 The Moon Palace

179 農家日常紀實 Granstein 179 野草記 Weeds 179 暴政的烙印 Brutality in Stone

153 彩排記 Ode to Joy 153 黃老老拍案 A Portrait of Mr. Huang 154 姑奶奶 Madame 155 萱堂閒話錄 My Mother’s Rhapsody 156 癡：導演剪輯版 Mr. Zhang Believes: Director’s Cut 157 椒麻堂會 A New Old Play

經典重現｜德國新電影 60 週年：短片選 II Classics Revisited｜60th Anniversary of New German Cinema: Short Films Ⅱ 180 艾穆塔小鎮記事 Notes from Altmühltal 180 60號大樓施工中 BAU 60 1 8 1 賽馬場外 Trab Trab

焦點影人：彼得．波丹諾維茲 Filmmaker in Focus: Peter BOGDANOVICH 160 末路狙擊 Targets

1 8 1 在鹽田 Salinas 1 8 1 海報上的政治風暴 Weimar Republic Posters 1 8 1 傀儡人生 Puppets

161 最後一場電影：導演剪輯版 The Last Picture Show: Director’s Cut 162 紙月亮 Paper Moon 163 聖人皮條客 Saint Jack 164 面具 Mask

電影正發生：電影美術 In Progress: Production Design 188 繪圖師的合約 The Draughtsman’s Contract 189 東方三俠 The Heroic Trio

經典重現 Classics Revisited 166 半邊人 Ah Ying 167 原野百合花 Lilies of the Field 168 龍山寺之戀：數位修復版

190 內陸帝國 Inland Empire 1 9 1 倒帶人生 Mr. Nobody 192 羅生門 Rashomon 193 後窗 Rear Window 194 審判 The Trial

Romance at Lung Shan Temple: Restoration 169 七美人 Seven Beauties

專文 Essay

經典重現｜德國新電影60週年 Classics Revisited｜60th Anniversary of New German Cinema 172 無法和解或有限暴力 Not Reconciled or Only Violence Helps Where Violence Rules 172 妓女。演員。皮條客 The Bridegroom, the Actress and the Pimp 173 幸福岔路 It 174 昨日女孩 Yesterday Girl 175 少年杜里斯 Young Törless 176 愛的饗宴 Table for Love 177 喪失名譽的卡塔琳娜．布魯姆 The Lost Honour of Katharina Blum

196 漫遊在女性私密的記憶時光：從電影進入卡蜜拉・安迪尼的幻夢世界 198 邱炯炯：人生就是戲 200 忍看錦筆埋青塚

聊托浮雲作悼亡──彼得・波丹諾維茲

202 奧柏豪森宣言60週年：回到德國新電影原點 204 故事之外，景框之內──電影美術目光之處，就是電影發生的地方 206 Wandering in Memories and Time of Female Intimacy: Into the Dreamy Universe in Kamila Andini’s Films 208 Qiu Jiongjiong: Life Is a Drama 210 “Cinema is elegy.“ ──Peter Bogdanovich 212 The 60th Anniversary of Oberhausen Manifesto: Back to the Start of the New German Cinema 214 Beyond the Story, Inside the Frame: A Film Takes Place Where Production Design Casts Their Eyes

經典重現｜德國新電影60週年：短片選 I Classics Revisited｜60th Anniversary of New German Cinema: Short Films I 178 莫斯科的呼喚 Moscow Is Calling! 178 影子遊戲 Shadows

216 版權資料 Print Source 221 影片索引 Film Index 225 導演索引 Director Index 227 特別感謝 Acknowledgement

179 傳播科技小史 Technology of Communication

目次 CONTENTS

005

局長序

歷經過去兩年疫情的影響，台北電影節遵循嚴謹的防疫措施，依舊堅守崗位，持續達 成每年鼓勵台灣電影、影人，以及回饋觀眾的使命，其中艱辛，難以言喻。 今年，儘管疫情仍然變化莫測，台北電影節亦將一如既往，堅持帶給台灣觀眾寬闊的 觀影視野，得以欣賞來自不同文化、族群與觀點的作品，並持續策劃公眾參與活動、 講座與工作坊等，搭起影迷、影人與產業相互交流的橋樑。 除了疫情影響，隨著OTT平台的興盛，影視產業也面臨了許多限制與挑戰，電影產量 的波動、觀眾觀影習慣的改變，以及戲院經營型態的調整，都在不知不覺間影響著影 視產業的樣貌。面對局勢的變化，台北電影節除了強化節目選片的高度與廣度，提供 觀眾不可替代的觀影體驗外，也將持續與產業對話，實質鼓勵台灣幕前幕後的電影工 作者，肯定他們為當代留存記憶的努力不懈。 找到限制，就找到了自由，創意從而產生。在2022年，讓我們攜手迎接後疫情時代的 新局，留下值得回味的印記。

蔡宗雄 臺北市政府文化局局長 財團法人台北市文化基金會執行長

006

局長序 FOREWORD FROM THE DIRECTOR GENERAL

Foreword from the Director General

Under threat from the COVID-19 pandemic for two years in a row, Taipei Film Festival strictly follows the regulations and takes precautionary measures while working hard to accomplish its mission of encouraging the Taiwanese productions and filmmakers to thrive and showing great films to the audiences. The numerous difficulties they have overcome during the process cannot be put into words. Although the trajectory of the pandemic remains unpredictable this year, Taipei Film Festival continues to realize its goal of broadening the Taiwanese audience’s vision by showing them films that are rooted in different cultures, made by various peoples and shot from diverse viewpoints. Moreover, events, lectures and workshops will be held as in previous years, inviting the public to participate and bringing the film fans, the filmmakers and the industry representatives together. In addition to the pandemic, the rise of the OTT platforms poses many restrictions and challenges to the television and film industry. The fluctuation of production, the changes in people’s viewing habits and the adjustments adopted by movie theaters have gradually reshaped the audiovisual industry. Facing all these changes, Taipei Film Festival not only raises the quality but broaden its selection of films to provide the audiences with the irreplaceable viewing experience. Furthermore, the Festival carries on communicating with the industry and encouraging the cast and crew, acknowledging their effort in preserving the memories of our times. When we find restrictions, we also find freedom, from which creativity emerges. In 2022, let us face the post-COVID pandemic era together and leave memorable footprints for the future.

TSAI Tsung-hsiung Director General Department of Cultural Affairs, Taipei City Government Chief Executive Officer Taipei Culture Foundation

局長序 FOREWORD FROM THE DIRECTOR GENERAL

007

主席序

時間很快，接任主席已經一年，對於「台北電影節」有了由內而外的重新理解。這份 理解簡要地說，就是理想與現實。 理想的部分，由過往的歷史來看，「台北電影節」的基調非常清楚，一直著重在發現 新銳，也一直力求和庶民保持關聯。我們也秉持這份傳承，更希望與時俱進。而現實 的部分，這是擔任主席前無緣接觸的人力物力財力等結構，這個結構是支撐理想的框 架，但卻也可能是種種限制。因此如何務實地實踐甚至翻新理想，是我一年來反覆思 考的問題，為此內部同仁開了多次會議，期待未來大家能夠陸續看到這些會議結論的 具體執行。 舉例來說，去年開始的「演員工作坊」，未來會增加呈現的部分。呈現是演員訓練的 重要逗點，可以讓新手演員能藉此轉折，檢視實際表演時顯露出的優缺點，給自己機 會去更瞭解自己。更重要的是，呈現讓原本私密的演員培訓，和作為觀眾的一般大眾 發生連結，希望褪去表演高不可攀的神祕性。在此邏輯下，「國際提案一對一工作 坊」，「電影正發生」等行之有年的活動，都計畫做些與時俱進的調整，這就是過去 一年來我們思考的方向，讓現實不是限制，而是支撐理想的框架。 關於未來，希望「台北電影節」繼續個性鮮明地大膽創新，在蒼茫的電影大海中，發 揮最大新浪潮騷動。有理想我們才有方向，能務實才能具體實踐。 電影開始了，我們影展見。

易智言 台北電影節主席

008

主席序 FOREWORD FROM THE FESTIVAL PRESIDENT

Foreword from the Festival President

As time flies, it has been a year since I became the President of Taipei Film Festival and by now, I have gained a new understanding of the Festival, which could be summarized in two words, “ideal” and “reality”. In terms of the ideals, the history has shown us that the objective of Taipei Film Festival is very clear – it has always focused on discovering new talents and stayed in tune with the public. We aim to not only continue these traditions but also improve ourselves as time goes by. In terms of the reality, I learned about the structure of the material, financial and human resources for the first time. This structure is the framework for supporting our ideals, but it may impose various restrictions on our work. Therefore, how to realistically realize our ideals or even come up with new ones is the question that I have been thinking about since I took over the presidency. As a result, several meetings with my colleagues were held, and we hope that one by one, all the agreements reached in the discussion will be executed in the near future. For instance, more emphasis will be put on the presentation in “Actors Workshop”, which started last year. Presentation provides the new actors with the crucial turning point in the training; it allows them to spot their strength and weakness in their performance, giving them the chance to understand themselves. More importantly, presentation connects the private actor training with the public, unveiling the myth of acting, which seems unattainable to most people. Based on the same logic, adjustments are made in “Produire au Sud Taipei” and “In Progress”, which have been held for years. Having taken everything into account, this is the direction in which we are heading; instead of posing restrictions, we turn the reality into the framework that supports our ideals. As for the future, we hope that Taipei Film Festival will keep its distinctive features and be daring and innovative, stirring up new waves in the sea of cinema. Only when we have ideals can we find the direction. Only when we are being pragmatic can we realize our ideals. The film is starting. See you at Taipei Film Festival!

YEE Chih-yen President of Taipei Film Festival

主席序 FOREWORD FROM THE FESTIVAL PRESIDENT

009

初戀慢半拍 Mama Boy

台灣 Taiwan ｜ 2022 ｜ DCP ｜ Color ｜ 98min

這是一場長不大男孩的年下初戀。年近 30 歲的小洪在水族館工作，一直單身， 直到碰上成熟美麗的樂樂。沒想到這個年紀比他大一截的女人，吸引了他的目 光和慾望。小洪用屬於他的方式喜歡著樂樂，而歷經世事的樂樂也好似再一次 找到戀愛的感覺；直到她那不成材的兒子、他那控制狂的老媽亂入破壞，一切 才終於變了調。

亞洲首映 Asian Premiere

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Xiao-hong, a shy 29-year-old fish store worker, lets his overprotective mother Meiling call the shots on everything in his life. After hearing about Xiao-hong's failed blind date, his cousin decides to take him to a sleazy local hotel, where Lele

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擅長拍攝台北的導演陳駿霖，繼《一頁台北》後，再次以獨特的奇幻視角捕捉 台北的清澈明淨，挖掘這座烏煙瘴氣的都會中，難得天真單純的靈魂，以及一 個個他與她撞上愛情習題的義無反顧。清新姐弟組合徐若瑄、柯震東，以自然 又自在的表演節奏，搭配徐文的優美配樂烘托，在攝影師包軒鳴的鏡頭下，綻 放獨特又迷人的台北氣味。

開幕片 OPENING FILM

oversees its prostitution business. Instead of falling for one of the prostitutes, Xiaohong ends up being enamored with Lele. Despite Meiling's watchful eye, Xiao-hong attempts an awkward courtship. However, as their unlikely bond develops, it appears that Lele sees Xiao-hong as a replacement for her wayward adult son, with whom she shares a contentious relationship.

2022 烏迪內遠東電影節 Udine Far East FF

DIRECTOR

陳駿霖，1978 年出生於美國，大學時曾任楊德昌導演工作 室助理，受其鼓勵返台拍片，而後返美攻讀南加大電影研 究所。畢業作《美》獲柏林影展短片競賽銀熊獎；首部長 片《一頁台北》獲柏林影展亞洲電影評審團獎；《明天記 得愛上我》再次入選柏林影展。《初戀慢半拍》為其 2022 年最新作品。 Arvin CHEN made his feature directorial debut with Au revoir Taipei and won the NETPAC Award at the Berlinale 2010. He then returned to Berlinale in 2013 with his Will You Still Love Me Tomorrow? and won the FIPRESCI Prize at Hong Kong Film Festival. Mama Boy is his third feature.

陳駿霖 Arvin CHEN EXECUTIVE PRODUCER

李耀華 Aileen LI SCREENPLAY

于瑋珊 Sunny YU 陳駿霖 Arvin CHEN CINEMATOGRAPHER

包軒鳴 Jake POLLOCK EDITOR

江翊寧 CHIANG Yi-ning ART DIRECTOR

梁碩麟 LIANG Shuo-lin MUSIC

徐文 HSU Wen SOUND

高偉晏 R.T KAO COSTUME

施筱柔 Lore SHIH CAST

徐若瑄 Vivian HSU 柯震東 Kai KO 于子育 YU Tzu-yu 范少勳 Fandy FAN 黑嘉嘉 Joanne MISSINHAM PRINT SOURCE

奇幻娛樂國際股份有限公司 FILMAGIC PICTURES CO.

06.23 THU 19:20 中山堂 TZH ★ 開幕片 OPENING FILM

011

童話．世界 Fantasy．World

台灣 Taiwan ｜ 2022 ｜ DCP ｜ Color ｜ 110min

誰說大野狼和小紅帽之間的關係，犯錯的一定是大野狼？律師張正煦處理一件 少女性侵案時，發現嫌犯竟是多年前的同一個客戶──補習名師湯師承。當年 的他為了追求事業表現，逐漸迷失對正義的執著，而犯下難以彌補的錯誤。如 今憶起彼時的遺憾，他決定面對內心懊悔，並為深愛的女孩復仇，不計代價追 求屬於自己的正義。

世界首映 World Premiere

(͡ ʘ ʖ͜

A cold, hard-nosed lawyer, Zhang, discovers that his past client, Tang, is involved in yet another case of sexual assault. Thirteen years ago, Zhang was a rookie and

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mentored by a senior lawyer, Tu. Young and ambitious as Zhang was, his outstanding

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律師出身的編導唐福睿，以法學專業為基底，挑戰台灣少見的法庭類型片。他 以童話故事中看似永恆不變的道德命題為引，挖掘千絲萬縷也難解的議題。透 過張孝全、李康生與尹馨等三位台北電影獎影帝后的精采詮釋，深入探問法律 是否能解決人世間所有是非黑白，以及那些連被害者自己都難以辨認的傷害？ 法律真能伸張正義，挽救所有受創的靈魂嗎？

閉幕片 CLOSING FILM

performance successfully helped Tang exonerated from the charge. However, the brutal cross-examination on the victim inevitably became his nightmare. After so many years, tormented by guilt, Zhang finally has the opportunity to atone for his mistakes and avenge the girl he loved. Challenged by Tu and Tang, he decides to pursue justice at any cost.

DIRECTOR, SCREENPLAY

唐福睿，取得法學碩士並以律師為業五年後，獲教育部公 費獎學金，赴美國加州藝術學院攻讀藝術創作碩士，主修 電影導演。首次創作電影劇本《童話．世界》便斬獲許多 獎項，並順利籌拍完成。此亦為他首部執導之劇情長片。 Freddy TANG Fu-jui practiced law as an attorney for many years. He then pursued an MFA degree at CalArts, specializing in directing. He is known for depicting people's plights under legal system.

唐福睿 Freddy TANG Fu-jui PRODUCER

麻生汶 MA Shen-wen CINEMATOGRAPHER

鍾艾 CHUNG Ai EDITOR

雷震卿 LEI Chen-ching MUSIC

侯志堅 Chris HOU SOUND

杜篤之 TU Duu-chih 江宜真 CHIANG Yi-chen CAST

張孝全 Joseph CHANG 江宜蓉 Cammy CHIANG 李康生 LEE Kang-sheng 尹馨 YIN Shin 夏于喬 Kimi HSIA PRINT SOURCE

主磐叙社有限公司 MG Storyteller Inc.

07.05 TUE 19:00 中山堂 TZH ★ 閉幕片 CLOSING FILM

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星光首映 GALA PRESENTATIONS 眾星雲集的放映現場，多元出采的台灣題材。精選台灣影視產業在故事、表演或議題上極具潛力的長、 短片，甚至劇集作品，本次在台北電影節隆重地大銀幕搶先呈現。 夢遊樂園 Melody-Go-Round

賴國安，導演、編劇，畢業 於復興美工。跟隨過台灣知 名燈光師李龍禹、導演陳國 富等人，曾在台灣、中國等 地 拍 攝 過 數 百 支 廣 告， 擁 有超過 26 年的廣告導演經 歷。2017 年執導首部劇情 長片《上岸的魚》，在國際 影展收穫眾多好評。 LAI Kuo-an's first feature, A Fish Out of Water, world premiered at Toronto and was in competition at San Sebastián and São Paulo and screened at worldwide film festivals, including Vancouver, Hamburg and Tallinn Black Nights.

夢遊樂園

世界首映 World Premiere

Melody-Go-Round 台灣 Taiwan ｜ 2022 ｜ DCP ｜ Color ｜ 102min

DIRECTOR, SCREENPLAY

賴國安 LAI Kuo-an EXECUTIVE PRODUCER

姚經玉 Gene YAO 賴國安 LAI Kuo-an 鄧文娟 Juno TENG PRODUCER

許家豪 HSU Chia-hao 江烽榮 CHIANG Feng-ron CINEMATOGRAPHER

衰事不斷的台生突發奇想，借來一棟豪華別墅，火速帶著女兒美樂、老婆慧敏入住，為全家改運。一家三口 看似迎接美好新生活，但屋內過時的裝潢仿若早已質變的家庭生活，隨時崩離。16 歲的美樂無法相信眼前的 一家和樂，竟是父母刻意粉飾太平，挫敗的她逃到荒廢的兒童樂園，沉溺在她幻想出的奇異世界──懸月王 國，並越陷越深……。 本片以如夢似幻的敘事風格，探究「空殼婚姻」的家庭癥結，奇幻又荒謬地呈現少女面對雙親關係生變時的 心理變化──感受被矇騙的憤怒、害怕被拋棄的絕望，又愛又恨的混沌糾結。導演賴國安藉由三人的戲劇化 轉變，重新檢視婚姻和家庭的關係與定義，並透過主角美樂及她編織的幻境世界，描繪現實的殘酷與面對後 的重生。

張效倫 CHANG Hsiao-lun EDITOR

陳曉東 CHEN Hsiao-tung 陳定南 Nanez CHEN 賴國安 LAI Kuo-an

Melody and her parents move into a mansion. It seems like a new start, but Melody's struggle has just begun. The

MUSIC

imagines her fantasy world - the Moon Kingdom. She indulges in the mirage to escape from reality. Unexpectedly, the

楊琬茜 YANG Wan-chien SOUND

周震 CHOU Cheng 蔡篤易 TSAI Du-yi

parents have already separated but live together for their daughter. Melody has already been aware of that emptyshell marriage, as cruel as if she is about to be abandoned. Based on the abandoned amusement park, Melody Moon Kingdom's companions kidnap Melody's parents and make her hunt them down. Will she stay in the illusion or come back to reality?

CAST

温昇豪 James WEN 曾珮瑜 Peggy TSENG 程希緹 CHENG Xi-ti PRINT SOURCE

想飛的魚電影製作有限公司 Flying Fish Films

06.24 FRI 19:30 中山堂 TZH ★｜ 07.03 SUN 19:00 信義 HYC 10 ★ 星光首映 GALA PRESENTATIONS

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謝升竑，獨立影像工作者與 紀錄片導演。2020 年以紀 錄短片《家族祭》獲屏東電 影節評審團優選獎、最佳剪 輯獎，並入圍 2021 年金穗 獎最佳學生紀錄片、德國卡 夫波伊倫影展紀錄片競賽單 元，《草原上，我們開始跳 舞》為其首部紀錄長片。 HSIEH Sheng-hung is an independent filmmaker. In 2020, his documentary short, Pakedavai, was nominated for Best Student Documentary at Golden Harvest Awards. O u r Ti m e o n t h e G r a s s i s Hsieh's first feature-length documentary.

世界首映 World Premiere

草原上，我們開始跳舞

Our Time on the Grass

台灣 Taiwan ｜ 2022 ｜ DCP ｜ Color ｜ 99min DIRECTOR, PRODUCER, CINEMATOGRAPHER

謝升竑 HSIEH Sheng-hung EDITOR

高鳴晟 KAO Ming-sheng MUSIC

盧卡 Luca BONACCORSI SOUND

夏百豪 Aviec HSIA

2018 年初，喧囂的台北市中心突然出現一頂白色大帳篷，吸引一群有著共同憧憬的藝術家，想要打造一塊無 拘無束與周遭共生的自由樂土──「草原自治區」實驗計畫。120 天內，聚落快速壯大，看似逐漸落實的夢 想藍圖，卻在某天爆出驚駭的殺人分屍案。漫天的輿論壓力迫使實驗中止，也打擊著爛漫青年的價值信仰。 歷經草原自治區的興起與幻滅，這群被放逐的年輕生命該何去何從？ 從記錄「野青眾」的成員為開端，卻因凶殺案的意外出現，將一場純粹的紀實轉化為富含層次的成長故事。 導演謝升竑透過不帶批判的手法，繞過社會事件慣有的腥羶炒作，將鏡頭對準被攝者的內心變化，以最貼近 人性的角度，闡述一段集體自我追尋途中的迷失跌撞。

PRINT SOURCE

流浪集影像 Everflood Studio

23-year-old young artist aims to build a settlement in Central Taipei, offering the artists a place to work with total freedom. As a result, he sets up a tent on the Huashan Grassland and carries out an experimental project called the "120 Grassroots Self-Autonomous Zone". As the settlement gets bigger and bigger, the Utopia gradually takes shape. Nonetheless, when the shocking murder and dismemberment of a woman happens on the Grassland, the authorities demolish the settlement and these young artists are chased out of the Grassland by the public opinion. Having experienced the rise and the fall of the 120 Grassroots Self-Autonomous Zone, where would this group of young people go as they are forced into exile?

06.24 FRI 21:20 信義 HYC 10 ★｜ 07.03 SUN 16:10 信義 HYC 10 ★ 016

星光首映 GALA PRESENTATIONS

奚岳隆，畢業於台灣藝術大 學多媒體動畫藝術研究所， 專精視覺藝術及特效運用， 擅長融合不同類型題材、掌 握故事節奏，以精準敏銳的 商業手法、高質感的視覺衝 擊，創造市場效應。曾執導 電視電影《愛情來的時候》 系列、電影《女鬼橋》，成 為 Netflix 最受海外觀眾歡 迎的台灣作品，打開國際知 名度。 Lester HSI graduated from the Department of Multimedia and Animation Arts at National Taiwan University of Arts. In 2009, he founded L Motion Production and directed the television drama, A Time of Love and the film, The Bridge Curse.

DIRECTOR

奚岳隆 Lester HSI EXECUTIVE PRODUCER

曾國駿 Gary TSENG PRODUCER

胡正華 Fiona HU SCREENPLAY

奚岳隆 Lester HSI 胡正華 Fiona HU 陳柏宗 CHEN Bo-zong 蕭維政 HSIAO Wei-cheng CINEMATOGRAPHER

黃柏雄 HUANG Po-hsiung

世界首映 World Premiere

美食無間：第 1-2 集 Gourmet Affairs: Ep. 1-2

台灣 Taiwan ｜ 2022 ｜ DCP ｜ Color ｜ 105min

不按牌理出牌的刑警朱坡，是破案王，也是品味卓絕的美食家；生無可戀的完美殺手黎子東，則將每道食物 都視為人生最後一餐，極其講究；菜鳥警察吳薇，外表瘦弱、個性直爽，卻深藏不為人知的祕密。某個冬夜， 朱坡、黎子東在一家熱門餐廳被迫併桌，懂吃的兩人對美食各有堅持，暗中較勁又暗地裡互相欣賞，還隨著 吳薇的加入激起更強烈的火花，結下同桌共餐的奇妙情誼。三人的命運因美食緊緊牽繫，隨著最後一頓飯的 落幕，殘酷的真相也隨之揭曉。 全劇以電影規格製作，融合警匪、美食、愛情、親情等多元類型，既有警匪動作的刺激快感，也有美食帶來 的療癒感受，反差卻不衝突，打造台劇新視野。隨著台灣美食傾巢而出貫穿全劇，傅孟柏、王柏傑、簡嫚書 等豪華演員陣容同台飆戲，豐富的視覺與味覺饗宴，打造充滿香味的感官新樂園。 Detective Chu Po not only solves the most crimes but is also a gourmet. Killer Li Tze-tung sees every meal as the

EDITOR

last in his life, and therefore he is an extremely picky eater. Novice police officer Wu Wei seems straightforward but

蕭秉亞 HSIAO Ping-ya

has a secret hidden in her heart. On one winter night when Chu Po and Li Tze-tung are forced to share a table in a

MUSIC

王建威 WONG Kin-wai SOUND

restaurant, their passion for food forms an unusual bond between them. Later after Wu Wei joins in, the fates of the trio become entwined. In the end, the cruel truth is unveiled as the last dinner draws to a close.

林傳智 LIN Chuan-zhi CAST

傅孟柏 FU Meng-po 王柏傑 WANG Po-chieh 簡嫚書 JIAN Man-shu 柯叔元 KO Shu-yuan 黃尚禾 HUANG Shang-ho PRINT SOURCE

麒翱股份有限公司 L Motion Production Co. Ltd.

06.26 SUN 19:30 中山堂 TZH ★ 星光首映 GALA PRESENTATIONS

017

廖 士 涵， 導 演、 編 劇、 製 片，畢業於政治大學廣播電 視 學 系。 製 片 作 品《 有 一 天》曾入選 2010 年柏林影 展論壇單元。執導電視作品 多次入圍金鐘獎；2018 年 執導首部劇情長片《粽邪》； 2019 年《樂園》獲金馬獎 最佳新演員入圍；2020 年 以《馗降：粽邪 2》獲金馬 獎三項入圍。 LIAO Shih-han graduated from the Department of Radio and Television at National C h e n g c h i U n i v e r s i t y. H e made his feature debut with The Rope Curse in 2018 and his 2019 film, The Paradise, was nominated Best New Performer at Golden Horse Awards.

DIRECTOR

廖士涵 LIAO Shih-han EXECUTIVE PRODUCER

李芃君 Daphne LEE 王小棣 WANG Shau-di PRODUCER

安哲毅 AN Je-yi SCREENPLAY

丁虹宇 DING Hong-yu CINEMATOGRAPHER

世界首映 World Premiere

滴水的推理書屋：第 1-2 集 The Leaking Bookstore: Ep. 1-2

台灣 Taiwan ｜ 2022 ｜ DCP ｜ Color ｜ 96min

在市區巷內經營推理書屋的辰緯，平日總愛與三五好友相聚店內，探究多年未解的懸案。而這些懸案也化為 他寫作的題材，發表於網路上，受到許多推理迷的推崇。未料某日，作品竟引來質疑聲浪，全因一名神祕網 友「阿鬼」指出故事的關鍵盲點。辰緯錯愕憤慨之餘，竟也恍似受到筆下角色指引，捲入一場接一場離奇的 犯罪事件，身旁推理同好全都牽涉其中，各有隱情。千絲萬縷的謎團，如同書屋中不明來源的滴水步步襲來； 盤根錯節的真相，最終能否撥雲見日？ 導演廖士涵為《茁劇場》操刀，改編作家臥斧的推理小說《FIX》，以台灣懸案為基礎，企圖揭開潛藏於平凡 社會秩序底下的罪愆。本劇卡司由羅宏正、李沐、黃河、林映彤主演，層層剖析角色靈魂，細緻又縝密地刻 畫人性，逐步拼湊出錯綜複雜的真相，直刺人性陰暗核心，翻轉觀眾既定想像。

李鳴 Ming LEE EDITOR

劉凱靜 LIU Kai-ching

Chen-wei runs a bookstore specialized in crime and thriller. Often, he and his friends gather in the bookstore to

MUSIC

investigate the cold cases. Inspired by these unsolved cases, Chen-wei publishes his writing on the net. As a result,

Y.C.H Jerry YU

Chen-wen has built a big following and is admired by countless fans of true crime. But one day, his work is questioned

SOUND

characters in his own writing and gets involved in an uncanny crime. Like the inexplicable leaking in the bookstore, the

余政憲 YU Cheng-hsien CAST

by a mysterious netizen called "ghost", who points out several flaws. Stunned and angry, Chen-wen is drawn by the case seems so complicated that one wonders if the truth will ever be unveiled.

羅宏正 Wes LO 李沐 Moon LEE 黃河 River HUANG 陳婉婷 CHEN Wan-ting 林映彤 LIN Yin-tung PRINT SOURCE

拙八郎創意執行股份有限公司 Eightgeman Ltd.

06.25 SAT 14:20 中山堂 TZH ▲★ 018

星光首映 GALA PRESENTATIONS

邱晧洲，1979 年出生於台 灣，畢業於世新大學廣播電 視電影學系研究所，身兼導 演、編劇。曾以電視劇作品 《落日》、《黑盒子》入圍 金鐘獎最佳導演獎項。涉獵 題材類型廣泛，近期作品包 括《生死接線員》、《魚生 知有你》等。 Haus CHIU graduated from the Depar tment of Radio, Television & Film at Shih Hsin University. Working as director and scriptwriter, Chiu was nominated Best Director at Golden Bell Awards for television dramas, Sunset and The Black Box.

世界首映 World Premiere

歡迎光臨 二代咖啡：特別版

Would You Like a Cup of Coffee?: Special Edition 台灣 Taiwan ｜ 2022 ｜ DCP ｜ Color ｜ 105min

DIRECTOR

邱晧洲 Haus CHIU EXECUTIVE PRODUCER

王子維 Jackie WANG PRODUCER

曾啓敦 Jacky TSENG CINEMATOGRAPHER

陳志軒 CHENG Chih-hsuan 鍾明達 CHUNG Ming-ta SCREENPLAY

楊惠文 YANG Hui-wen 徐彥萍 Juliana HSU EDITOR

咖啡店老闆卜碩，每天一早就為各色咖啡成癮患者，精心烹煮一杯杯充滿救贖的咖啡。從形色匆忙的上班族、 勤儉持家的家庭主婦，到刺探生意的同行業者，日復一日，直至夜幕低垂。他的咖啡資歷早已在台灣寫下一 頁傳奇，江湖傳聞他不收徒弟，但在遇上對咖啡師充滿憧憬的江克平後，兩人攜手闖盪咖啡江湖；也在這過 程中，遇上各自的愛情。咖啡路崎嶇，兩人一起，總好過單打獨鬥的艱辛。 曾多次入圍金鐘獎的導演邱晧洲，以咖啡多樣的風味，對照人性的多元樣貌，將近年大舉進駐台灣大街小巷 的「咖啡館」搬上螢幕。在寫實的日常故事裡，佐以充滿生活感的輕喜劇節奏，將飲者與咖啡師的互動化為 單元故事的引信，點燃角色之間的火花。隨著故事的推進，咖啡的滋味貫穿角色的互動與心境，細膩勾起觀 者的共鳴。邀請每一個為生活奔波忙碌的觀眾，用一杯咖啡的時間，品味一段人生。 Park Seok, the café owner, makes coffee for coffee addicts of all kinds; They include office workers, housewives and

李棟全 Wenders LI

his rivals who come to investigate. Day after day, Park Seok serves his customers till late evening. His track records

MUSIC

have made him a legend in the coffee business in Taiwan, and since he met Gang Gobi, Park Seok has stopped taking

王榮頤 Solo WANG SOUND

視元素股份有限公司 DIGITAL VISION

in any more apprentices. Together, the duo embarks on the exploration of coffee. During the journey, they both encounter the love of their lives. In a realistic style and through the characters' daily lives, Would You Like a Cup of Coffee? leads the audiences to understand and appreciate not only coffee but life.

CAST

鳳小岳 Rhydian VAUGHAN 林哲熹 JC LIN 隋棠 SUI Tang 項婕如 Chloe XIANG 李淳 Mason LEE PRINT SOURCE

甲普國際媒體股份有限公司 JA Production Inc.

07.03 SUN 19:00 中山堂 TZH ★ 星光首映 GALA PRESENTATIONS

019

星光首映｜台灣短

｜ SHOW GALA PRESENTATIONS

TAIWAN SHORTS

維蘇的注視 The Gaze

回家了

亞洲首映 Asian Premiere

I'm Home

台灣 Taiwan ｜ 2021 ｜ DCP ｜ Color ｜ 15min

海外留學的仁傑因簽證到期無法續留美國，被迫回到台灣老家，與 情感疏離的父親重新團聚。疏於表達情感的父與子，說出口的每句 話都讓親子關係更顯尷尬；大雨將仁傑困在這幢瀰漫父母記憶的老 房子裡，他試著搜尋父愛的痕跡，找到理解與接近父親的勇氣。寫 實的鏡頭語言，細膩呈現父與子的壓抑和張力。 Jen-chieh returns to Taiwan after his visa expires. In the old family home, he tries to find the traces of his father's love and the courage to get closer to his father.

吃葡萄不吐葡萄皮

DIRECTOR, SCREENPLAY, EDITOR

巫軒瑋 WU Hsuan-wei 世界首映 World Premiere

Eating Grapes without Spitting Out the Skin 台灣 Taiwan ｜ 2022 ｜ DCP ｜ Color ｜ 20min

年過 30 歲的瑋瑋一心想當配音員，用好聲音征服全世界，偏偏時 不我與，處處碰壁。人生陷入困頓之際，她意外發現過世的父親原 來是位債權人！為了夢想、尊嚴與相依為命的老母，瑋瑋搖身變為 鐵血討債人，誓言為她灰暗的人生注入金錢的光芒。全片運用大量 的手持運鏡、鏡位設計與活潑的剪輯，注入充滿動態感的喜劇能量。 Wei-wei longs to be a voice actress. Accidently, she finds out that many people owed money to her late father, and she makes them pay back with her voice.

PRODUCER

潘怡樺 PAN Yi-hua 巫軒瑋 WU Hsuan-wei CINEMATOGRAPHER

劉子端 LIU Tzu-tuan MUSIC

Paul KOZEL SOUND

林晉德 LIN Jin-de CAST

李慕恩 Neo LEE 班鐵翔 BAN Tie-hsiang PRINT SOURCE

巫軒瑋 WU Hsuan-wei

巫 軒 瑋， 畢 業 於 賓 州 州 立 大 學 電 影系、紐約市立大學電影研究所。 擅 長 寫 實 的 敘 事 風 格， 創 作 題 材 專 注 探 討 家 庭、 文 化 及 信 仰 的 故 事與衝突。 WU Hsuan-wei graduated in Film from Pennsylvania State University and City University of New York. Known for his realistic approach, he focuses on family, culture and religion.

DIRECTOR, SCREENPLAY

林㵟芝 LIN Wei-chih PRODUCER

白潔儒 PAI Chieh-ju CINEMATOGRAPHER

06.25 SAT 17:00 中山堂 TZH ★｜ 07.03 SUN 10:50 信義 HYC 10 ★

王嘉源 WANG Chia-yuan EDITOR

林㵟芝 LIN Wei-chih 施博瀚 SHIH Po-han MUSIC, SOUND

陳珍惠 CHEN Chen-hui CAST

張稜 CHANG Leng 陳季霞 CHEN Chi-hsia 黃惠卿 HUANG Hui-ching PRINT SOURCE

闊爾聲像工作室 Chrono Sound & Vision Studio

林㵟芝，1988 年出生於台灣，畢業 於台灣藝術大學電影所，致力於喜 劇的研究與創作，現為廣告導演。 作品曾入圍 4A 創意獎、數位奇點獎 等廣告獎項。《吃葡萄不吐葡萄皮》 為其畢業製作。 LIN Wei-chih currently works as a director in advertising. She obtained a master's degree from the Department of Motion Picture at National Taiwan University of Arts.

06.25 SAT 17:00 中山堂 TZH ★｜ 07.03 SUN 10:50 信義 HYC 10 ★ 星光首映｜台灣短 SHOW I GALA PRESENTATIONS ｜ TAIWAN SHORTS I

021

家家

世界首映 World Premiere

Welcome Home 台灣 Taiwan ｜ 2022 ｜ DCP ｜ Color ｜ 30min

短片由姚國禎和作詞人李焯雄共同編劇、劉若英主演，以疫情的生 離死別為背景，從寫實到科幻的未來，母女在彼此的愛裡生存、依 賴、也互相傷害。 「我唯一的家族『母族』深深影響著我。若試著打開我的時間之書， 頁數很多、記載很少，但多半與母親有關。」──姚國禎 This is a short film about women with a great influence in a Chinese family. In this mother-and-daughter relationship hides a cycle of love, life and hurting each other.

DIRECTOR

維蘇的注視

姚國禎 YAO Kuo-chen EXECUTIVE PRODUCER 世界首映 World Premiere

廖慶松 LIAO Ching-sung 阿信 Ashin PRODUCER

The Gaze

劉大武 Tawu LIU

台灣 Taiwan ｜ 2022 ｜ DCP ｜ Color ｜ 29min

維蘇在工作時摔下畫台，疏遠的女兒葦芯返家照護，負起晚輩的責 任。隱匿多年的衝突，就在朝夕相處下一一浮現。母女的身體雖流 著相同的血液，心的距離卻如此遙遠；心房始終不得碰觸，更遑論 開啟。裸身之下，一切無所遁形。 「父母作為我們身體最親密的對象，是學習的借鏡，也是傷害的來 源。」──劉喜瑄

SCREENPLAY

姚國禎 YAO Kuo-chen 李焯雄 Francis LEE CINEMATOGRAPHER

張誌騰 ZHANG Zhi-teng EDITOR

廖慶松 LIAO Ching-sung MUSIC

羅恩妮 Annie LO SOUND

Wei-su gets injured. Her daughter rushes to the hospital. While looking after her, her daughter realizes how distant they are from each other, but they both long to be understood.

杜篤之 TU Duu-chih

DIRECTOR, SCREENPLAY, EDITOR

香港商甲上娛樂有限公司台灣分公司 APPLAUSE ENTERTAINMENT LIMITED TAIWAN BRANCH (H.K.)

劉喜瑄 LIU Hsi-hsuan

CAST

劉若英 René LIU

姚國禎，參與多部電影製作，近期 美術指導作品包括《比悲傷更悲傷 的故事》、《刻在你心底的名字》 等電影。近年執導多部音樂錄影 帶，善於刻畫細膩的情感與角色。 YAO Kuo-chen graduated from Taipei National University of the Arts. His works were nominated for Best Music Video at Golden Melody Awards and Best Production Design at Golden Bell Awards.

PRINT SOURCE

EXECUTIVE PRODUCER

吳俊輝 Tony WU

06.25 SAT 17:00 中山堂 TZH ★｜ 07.03 SUN 10:50 信義 HYC 10 ★

PRODUCER

林娜 Linda LIN CINEMATOGRAPHER

王子碩 WANG Zi-shuo MUSIC

黃柔閩 HUANG Rou-ming 祝立群 CHU Li-chun SOUND

黃敏 Sandy WANG CAST

黃柔閩 HUANG Rou-ming 林嫣 LIN Yan 范姜泰基 FAN JIANG Tai-ji 林雅婷 LIN Ya-ting 鮑孟德 BAO Meng-de

劉喜瑄，畢業於世新廣播電視電影 所創作組，曾參與多部劇情片、廣 告、MV 等獨立影像製作，也創作日 記電影、實驗片、紀錄短片、平面 攝影等。近年將攝影鏡頭轉向自己， 關注肉身和生命的連結。 LIU Hsi-hsuan holds a master's degree in Radio, Television & Film from Shih Hsin University. She has worked as a producer of many features, commercials and music videos.

PRINT SOURCE

劉喜瑄 LIU Hsi-hsuan

06.25 SAT 17:00 中山堂 TZH ★｜ 07.03 SUN 10:50 信義 HYC 10 ★ 022

星光首映｜台灣短 SHOW I GALA PRESENTATIONS ｜ TAIWAN SHORTS I

洋裝

世界首映 World Premiere

The Dress 台灣 Taiwan ｜ 2022 ｜ DCP ｜ Color ｜ 29min

渴望愛情的女孩莊文琪，每天替性愛娃娃清潔打扮，送到房間給各 式嫖客享用。而這些流連性愛娃娃體驗館的男人裡，又唯有一位嫖 客行徑特別怪異，總在完事後為娃娃穿上紅色洋裝。一條洋裝，一 條迷離的線索，掀起文琪顫抖不已的渴望和遐想，撩動她制式而平 凡的工作日常。 「即將享受愛情的女人，是最美的。」──施方婷 Wen-chih's job is getting the sex dolls ready for the customers. One day, she meets a strange customer, who always puts a red dress on the doll after finishing the business.

讀取中，請稍候

DIRECTOR, SCREENPLAY, EDITOR

施方婷 SHIH Fang-ting 世界首映 World Premiere

PIT-A-PAT

PRODUCER

彭俞均 Katie PENG 何肇珩 HO Chao-heng CINEMATOGRAPHER

台灣 Taiwan ｜ 2022 ｜ DCP ｜ Color ｜ 26min

郭俊佑 Noah YO

「我是聽別人說的，如果遇到喜歡的人，心臟就會撲通撲通地跳。」 王雨晴與張容軒，兩位花季少女在課業、生活與友情中探索「什麼 是喜歡」，也在成長過程中學習面對自己與怦然心動的面貌。少女 的夢想與希冀，交織成一曲充滿奇幻童趣的青春進行曲。

江岳霖 Mason CHIANG

I heard that if I meet someone I fancy, my heart will beat fast and loud."It was Wang Yu-ching who told me that," Jung-hsuan says.

MUSIC SOUND

陸重光 LU Chung-guang 梁惠宣 LIANG Hui-xuan 黃楷涓 Kelly HUANG CAST

謝岫庭 Satine HSIEH 林澤凱 LIN Tse-kai 林士閔 LIN Shi-min 黃遷秝 HUANG Chien-li

施方婷，畢業於台灣藝術大學圖文 傳播學系，現就讀於北京電影學院 文學系研究所。 SHIH Fang-ting graduated from the Department of Graphic Communication Arts at National Taiwan University of Arts and currently studies at Beijing Film Academy.

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施方婷 SHIH Fang-ting DIRECTOR, SCREENPLAY

王彥蘋 WANG Yan-ping PRODUCER

楊維芳 YANG Wei-fang CINEMATOGRAPHER

06.26 SUN 16:50 中山堂 TZH ★｜ 07.03 SUN 13:30 信義 HYC 10 ★

李昆諺 LEE Kun-yan EDITOR

金翼全 CHIN I-chuan MUSIC

劉靜 LIU Ching SOUND

陳渥鈞 CHEN Wo-chun CAST

任敏嫻 Daphne JEN Min-hsien 蔡佳容 TSAI Chia-jung 黃博彥 HUANG Po-yen 杜瑋哲 TU Wei-che PRINT SOURCE

王彥蘋 WANG Yan-ping

王彥蘋，1996 年出生於台中沙鹿， 畢業於台北藝術大學電影學系，主 修剪輯。現為自由影像工作者，定 居台北。畢業作品《雨水直接打進 眼睛》入選酷兒影展與金穗獎，夢 想是拍溫柔的電影。 WANG Yan-ping graduated in Editing from the Department of Filmmaking at Taipei National University of the Arts. Currently, she works as a freelance filmmaker.

06.26 SUN 16:50 中山堂 TZH ★｜ 07.03 SUN 13:30 信義 HYC 10 ★ 星光首映｜台灣短 SHOW II GALA PRESENTATIONS ｜ TAIWAN SHORTS II

023

陀陀

世界首映 World Premiere

Tuo Tuo 台灣 Taiwan ｜ 2022 ｜ DCP ｜ Color ｜ 14min

服兵役的阿海，趁著部隊放假的兩天回到家中鹿場工作。潮濕的空 氣、草腥與血腥的氣味，攪和著阿海童年的回憶，以及對他而言最 重要的一隻鹿──陀陀。在這趟旅程中，他將重新梳理過去，以及 積累多年、未曾遺忘的情感。 During his weekend leave, Hai goes home to help out on the family deer farm. Upon his return, he discovers that he has to say goodbye to his favorite deer.

DIRECTOR, SCREENPLAY

藥方

朱建安 An CHU PRODUCER 世界首映 World Premiere

楊羚 YANG Ling 朱建安 An CHU

GuanYin Can't Help

CINEMATOGRAPHER

美國 USA ｜ 2022 ｜ DCP ｜ Color ｜ 20min

EDITOR

楊仲傑 YANG Chung-chieh

對張大富來說，女兒的思覺失調症是他人生的難題。縱使遍尋名醫， 靠妻子人脈遠走美國接受短期治療，卻始終沒有好轉跡象。疫情期 間，女兒病情再次惡化，人在異鄉，科學與宗教同時向絕望招手， 理性與寄望糾纏著他無助的心靈。哪一扇門才能通往真正的救贖？ A father is looking for a cure for his daughter who suffers from schizophrenia. While his mind trusts the doctor, his heart seeks refuge in religion.

洪冬人 HONG Dong-ren 朱建安 An CHU MUSIC

Emma PALM SOUND

林延融 LIN Yan-rong CAST

黃遠 Sean HUANG 陳文彬 Akira CHEN Wen-pin 張百惠 CHANG Pai-huei 謝瓊煖 HSIEH Chiung-hsuan 莊益增 CHUANG I-tseng

朱建安，1993 年出生於台北，畢業 於政治大學企管系、紐約哥倫比亞 大學電影研究所。短片《錦鯉墜落》 曾入選 2021 年台北電影節，《陀陀》 為其畢業製作。 An CHU's Falling Koi was selected for Taipei Film Festival 2021. In 2022, he obtained a master's degree from Columbia University and Tuo Tuo is his graduation film.

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朱建安 An CHU

DIRECTOR, SCREENPLAY, EDITOR

張筱榕 CHANG Hsiao-jung PRODUCER

李舒淇 Suki LI Shu-qi 譚銘恩 Sam TAN Ming-en

06.26 SUN 16:50 中山堂 TZH ★｜ 07.03 SUN 13:30 信義 HYC 10 ★

CINEMATOGRAPHER

池德恩 Joseph CHIH Te-en SOUND

常靜敏 Tina SHEUNG Ching Man 游順義 Justin YAU CAST

王展 WANG Zhan 陳奕安 Sadie C. 連廷瑜 Todd LIEN 彭南林 Arthur PENG PRINT SOURCE

張筱榕 CHANG Hsiao-jung

張筱榕，1993 年出生於台灣，現居 洛杉磯，畢業於美國加州藝術學院 電影與錄像藝術研究所，身兼電影 導演、畫家。曾入圍 2021 年 LICC 倫敦國際創意大賽，《藥方》為其 畢業製作短片作品。 CHANG Hsiao-jung is a film director a n d p a i n t e r. H e g r a d u a t e d f r o m California Institute of the Arts and now lives in Los Angeles. GuanYin Can't Help is his graduation film.

06.26 SUN 16:50 中山堂 TZH ★｜ 07.03 SUN 13:30 信義 HYC 10 ★ 024

星光首映｜台灣短 SHOW II GALA PRESENTATIONS ｜ TAIWAN SHORTS II

讀取中，請稍候 PIT-A-PAT

U H vin C

Ke

卓越貢獻獎

朱延平

1950 年 出 生 於

台灣，畢業於東吳大學

英文系。臨演起家，再從場記當上副導， 曾於 1979 年以首部編劇作品《錯誤的第 一步》獲得第 25 屆亞太影展編劇獎。在 八○年代台灣新電影發展時，獨樹一格 以執導商業電影為主，開創獨有的「朱 式電影風格」，從影 40 餘年累積共 100 多部賣座電影，包含鞏固許不了演藝地位 的首部執導處女作《小丑》、捧紅顏正國 的《好小子》、發跡郝劭文、釋小龍的《新 烏龍院》、王傑、張雨生領銜主演的《七 匹狼》、掀起台灣軍教片高潮的《大頭 兵》系列等。近年朱延平導演擔任中華 民國電影導演協會（簡稱導演協會）理 事長及中華民國電影事業發展基金會（簡 稱電影基金會）董事長，經歷「台北金馬 影展執行委員會」的轉型與「兩岸電影交 流委員會」的設立，推動導演協會參與 成員年輕化、聚焦創作討論與影視推廣， 他並以電影基金會董事長身分邀請在台 香港影人與業界交流，讓香港優秀創作者 節目協力

將相關經驗帶入台灣，增進台灣影視產製 的實力，在推動電影交流貢獻功不可沒。

026

卓越貢獻獎 OUTSTANDING CONTRIBUTION AWARD

NG

Born in 1950 in Taiwan, Kevin Chu graduated from the Department of English Language and Literature at Soochow University. Starting

as an extra, Chu was promoted to Script

DI

Supervisor and then assistant director. In

1979, he won Best Screenplay at the 25th Asia

Pacific Film Festival for Never Too Late to Repent ,

U T S TA

N

directing commercial films, establishing the unique

"Chu style". During his career that has spanned more

than four decades, he made more than a hundred box-

office hits, including The Clown , Chu's debut feature with which actor Hsu Pu-liao established his name, Young Dragons:

Kung Fu Kids that helped actor Yen Cheng-kuo rose to fame, Oolong Courtyard that discovered Hao Shao-

N UTIO

wen and Shi Xiaolong, Seven Wolves starring singers Dave Wong and Chang Yu-sheng, and

Naughty Cadets on Patrol and its sequels, which started a trend of Taiwanese movies set in the military. In recent years, Chu has served as chairman of Directors Guild of Taiwan and the Motion Picture Foundation, R.O.C. Fur thermore, Chu took par t in the transformation of the Taipei Golden

Horse Film Festival Executive Committee

IB

and the establishment of the Cross-

Strait Films Exchange Committee. For years, Chu has been

encouraging young directors

to join the Directors Guild of

Ta i wa n , c re a t i n g p l a t fo r m s

that allow filmmakers to discuss

AW A R D

T N CO

R

O

the first film he wrote. In the 1980s, despite

the rise of Taiwan New Cinema, Chu focused on

their work and promoting film and

television production. As the chairman of

the Motion Picture Foundation, he advocates the exchanges between the Taiwanese

and Hong Kong filmmakers, offering the

Hong Kong filmmakers an opportunity to

share their successful experiences with

their Taiwanese counterpar ts to improve

the Taiwanese television and film production

capacity. It goes without saying that Chu has

made an enormous contribution to the exchanges

between the Taiwanese and Hong Kong film industry.

卓越貢獻獎 OUTSTANDING CONTRIBUTION AWARD

027

1980 年《小丑》《大人物》1981 年《真假大亨》《天才蠢才》《傻兵立大功》《瘋狂 大發財》《大小姐與流浪漢》《十張王牌》1982 年《紅粉兵團》《大情聖》1983 年《迷 你特攻隊》《一九八三大驚奇》《四傻害羞》《田莊阿哥》《火龍任務 A 計畫》1984 年 《夜夜念嬌妻》《男人真命苦》《天生一對》《開心將軍》《醜小鴨》《七隻狐狸》（又名 :X 陷阱）1985 年《老少江湖》《老頑童與小麻煩》《小丑與天鵝》《少爺兵》1986 年 《大人物》《頑皮家族》《好小子》1987 年《大頭兵》《大頭兵 2 大頭兵出擊》（港譯： 痴線特警出更 特警出更 2 瘋狂大頭兵 傻瓜訓兵營）《大頭兵 3 阿兵哥》《先生騙鬼》 1988 年《報告典獄長》《天下一大樂》《天才小兵》《丑探七個半》1989 年《七匹狼》 《七匹狼 2》《傻龍出海》《愛拚才會贏》1990 年《異域》：自己最滿意的作品。 《異域 2 孤軍》《花祭》《遊俠兒》1991 年《大小老千》《大頭兵上戰場 雜牌軍》 《火燒島》1992 年《逃學外傳》《五湖四海》1993 年《劍奴之血獒劫》（港譯：劍奴） 《大小飛刀之九尾狐與飛天貓》《新流星蝴蝶劍》監製 1994 年《天使心》《祖孫情》 《終極獵殺》《卜派小子》（港譯：笑林小子 )《新烏龍院》（港譯：笑林小子 2：新烏龍院 )

028

卓越貢獻獎 OUTSTANDING CONTRIBUTION AWARD

1995 年《臭屁王》（港譯：蠟筆小小生）《逃學戰警》（港譯：新紮師兄追女仔）《新 烏龍院 2》（港譯：無敵反斗星）《中國龍》1996 年《號角響起》（港譯：四個不平凡 的少年）《頑皮炸彈》（港譯：漫畫王）《泡妞專家》（港譯：重慶愛情感覺）《情色》 《狗蛋大兵》（港譯：狗蛋奇兵）1997 年《火燒島之橫行霸道》《超級三等兵》（港譯： 頑皮故事）《捉姦、強姦、通姦》：通姦篇《天生絕配》《忍者兵》1998 年《小鬼遇到兵》 《女歡》1999 年《野孩子的秘密》（又名：房東老爸）《男生女生配》（又名：流氓學生） 2001 年《蘋果咬一口》2002 年《挖洞人》2003 年《猴死囝仔》 《超級模範生》 《搞鬼》 《來 去少林》（港譯：絕不放過你 )《野蠻小子》《灰色驚爆》《爺爺的家》2004 年《猴死囝仔》 《猴死囝仔 2 那年暑假》《人不是我殺的》《一石二鳥》《喜歡你喜歡我》2005 年《狼》 2007 年《 功 夫 灌 籃 》，2008 年 2 月 上 映。2009 年《 阿 凱 說 : 牛 奶 請 你 喝 》 2009 年《 刺 陵 》2010 年《 大 笑 江 湖 》2011 年《10+10》 中 的〈 無 國 籍 公 民 〉 （ 短 片 ）2012 年《 新 天 生 一 對 》2013 年《 大 尾 鱸 鰻 》 擔 任 監 製 一 職 2014 年《 大 宅 們 》2016 年《 大 尾 鱸 鰻 2》 擔 任 監 製 一 職 2018 年《 新 烏 龍 院 之 笑 鬧 江 湖 》

插畫

Dinner Illustration

卓越貢獻獎 OUTSTANDING CONTRIBUTION AWARD

029

徐若瑄 ①

點笑穴！以前那個年代，朱導的電影帶給觀眾好多快樂跟笑聲。

②

第一次見面是在公司開會，我非常非常緊張。在那之前我的經驗只有「少 女隊」，就算拍戲也都是配角或不重要的角色，面對我第一部主演的電

②

影，導演在我心目中就是神。沒想到朱導不只親切，連眼睛都在笑，笑 聲也很爽朗，令我非常難忘，他的笑聲可以療癒很多人。 ③

我的第一部朱延平就是《卜派小子》，還客串過《新烏龍院 2》，也是 郝劭文、釋小龍最紅的時候，我還特別飛到香港拍，對於那時在台灣土 生土長、沒見過什麼世面小小年紀的我來說，能跨海坐飛機出去拍戲， 就有種國際巨星的感覺。另一部是和豬哥亮大哥演父女的《新天生一 對》，導演一直想破壞我的輪廓，還訂做了整套暴牙。我一直很討厭長 相帶給我的限制，所以越醜越好，玩得超開心，有次太入戲笑太大聲，

③

暴牙還飛出來。

陳嘉樺 ELLA

與朱導第一次合作的心情？

還記得與朱導的第一次見面，或看的第一部朱導電影嗎？

講到朱延平導演，你第一個想到是什麼？

QUESTION

記憶中的朱延平

①

①

喜劇。有笑有淚經典不敗的商業大片大導演。

②

我看的第一部是朱導身兼導演、監製的《遊俠兒》，當年小虎隊三個男 孩紅成那樣，完全是我的青春時代，印象最深的就是蘇有朋哭得一把鼻 涕一把眼淚。朱導的電影雖然很多歡笑的梗，但都是小孩子最自然的呈 現，而且真的會逼出你的眼淚。

③

天哪我怎麼這麼幸運，居然可以成為他的電影角色之一！ 從小朱導在我心中就是很有份量的人，沒想到竟然有機會跟他合作，還 是跟當紅的仔仔、小小彬，還在我很熟悉的墾丁拍戲。記得劇組有兩個 小演員，朱導就像在帶孫子一樣引導他們，整個氣氛非常輕鬆、歡樂， 拍得非常開心。

030

卓越貢獻獎 OUTSTANDING CONTRIBUTION AWARD

①

他是一個非常有趣，什麼都好的「好好導演」。很會抓演員的特性，甚至去改造 他們。而且非常會說故事，一講就停不下來，讓聽的人腦中充滿畫面，直接就融 入在故事裡頭。

②

國中放假時和同學去西門町電影街看《七匹狼》，記得王傑大哥在裡面非常帥， 整個演員陣容超龐大，印象很深刻。

③

我的第一部電影就是和朱導合作，那時還是用膠片，不像現在可以一直回放，朱 導會很清楚自己有沒有拍到想要的東西，演員也要很清楚只有一次機會、必須迅 速融入角色。一出道就有這樣的經驗，對我後來的演員之路影響很深，我到現在 都還是自己上去測光，不用光替。

③

楊祐寧

分享一個你與朱導的回憶？

還記得第一部看的朱導電影嗎？

②

林志穎

第一次見到朱導的印象？

QUESTION

①

①

那時看完《大尾鱸鰻》的劇本就覺得很好笑，可能從小就看過他所有的電影、也 常常聽到導演的名字，所以第一次看到導演本人時，反而毫無距離感，有一種他 看著我長大的感覺。

②

《好小子》，影響我非常深。我從小就希望能成為好小子，會自己在房間裡偷偷 練功，還會在床上和門邊綁椅子自製機關，就像電影裡一樣。

③

有一次他在分享自己年輕拍電影被押去現場的故事，講得眉飛色舞很生動，也很 逗趣，結果講著講著突然就整個人飛出去。不知道哪來的線把他絆倒，我們就看 著一個老先生講著很好笑的事情、然後飛出去。大家看著他都很緊張，但又還持 續在剛剛的氛圍裡很想笑，結果他自己先笑出來，很大方地把氣氛帶動了起來， 是個天生有喜劇感的人。

卓越貢獻獎 OUTSTANDING CONTRIBUTION AWARD

031

文

雕

延平

浮

朱

他自詡是一位

第二回則是在電影圖書館遇見朱導，身旁還有陳耀

說故事的人，古

圻導演，他們一起來看卓別林電影，為什麼？「取

今中外這類能人極

經！」

多，但能以說笑話成為

一 方 之 霸， 台 灣 影 壇 的 前 三

名應該都叫做朱延平。

在錄影帶和影碟才剛起步的年代，影視素材有如大 霹靂爆發前期，從好萊塢大師名作中取材無疑是最

藍祖蔚︵國家電影及視聽文化中心董事長︶

便捷管道，從《小丑》到《天生一對》、從流浪漢 聚會有他，只要話匣子一開，全場目光都落在他身

到小丑、從裝扮到破鞋，那些苦中作樂、笑中帶淚

上，因為他聲音高亢、手舞足蹈、唱作俱佳，舞台

的無奈人生，你清楚看見許不了身上有著卓別林影

全是他的。然而，他的笑話多半來自生命血淚，如

子。是的，影子歸影子，橘逾淮為枳，「卓別林好

此真實，卻又如此不可思議。他曾遭刀槍威逼，也

笑，許不了更好笑！」邏輯一樣，招式相近，差別

曾被揶揄嗤斥，最後卻有如格林童話中的那位金鵝

在於許不了多了靦腆土味，朱延平懂得把外國笑料

傻子，不管牛鬼蛇神如何張牙舞爪，最終全都黏著

台灣化，關鍵也在於許不了服他，口口聲聲叫他師

他這隻金鵝，難捨難分。

父，不時還會變出更多花招，討師父和觀眾開心。

金鵝魅力來自於他知道觀眾要什麼，知道如何逗觀

還在大學唸夜間部時就做了導演，朱延平早期總騎

眾開心。他不想把電影院變教室，不愛講，也不會

著小摩托車去片場、去收款，完全沒有搖錢樹的身

講大道理，不信微言大義那一套，沒想過天下家國

段，也沒有驕縱奢華的傳聞，酬勞不高、常被賴帳

為己任，他只做自己，不愛的就不勉強。

都是原因。後來開了汽車，最著名的傳奇是他不保 養車子，水箱沒水也不加（因為不管車子，所以不

他寧願電影院像馬戲團，有時雜耍，有時特技；有

知道得加水），更別說汽缸了，開車開到汽缸燒乾

時 自 虐、 有 時 虐 人； 輕 薄 短 小 無 所 謂， 狂 言 扯 淡

壞了，那就再換車吧。他的心全放在他關心的事上

沒問題，他只在意能否搔中觀眾癢處，唯有聽見笑

面，其他，就是其他嘍。

聲，而且有如波浪翻滾，他才安心。雖然走出戲院， 觀眾常就把他拋到腦後，至少看電影當下，觀眾忘

然而，朱導在車上的時光卻也別具深情。

了生活煩憂，而且還不時回頭再重逢。 李行導演最後十年的人生行腳，身旁總有朱延平， 1984 年初夏，第一次在《醜小鴨》拍片現場遇見

接是他，送也是他，有信任，亦有託付。

朱導，他忙著張羅現場，沒空理我，倒是投資的湯

032

臣老闆湯君年侃侃說著他正開發糖玻璃：好萊塢和

兩人創作路數與風格大相逕庭，然而理念相近，都

香港電影常有明星飛身撞玻璃，總是毫髮無傷繼續

致力壯大金馬獎，也勤於連繫中港台三地導演，更

神勇，其實玻璃不是真玻璃，而是擬真糖玻璃，碎

熱衷推動兩岸電影交流，先是李行帶頭，他後援張

片 不 傷 身 ……「 只 要 音 效 配 得 好， 比 真 的 還 像 真

羅，李行的光環為他指路點燈；繼而是他接棒前衝，

的！」朱導好不容易喘了口氣，坐下來接話說：「電

李行作後盾，李行的熱情讓他得著煤薪柴火，風光

影就是魔術。」

前 行。 更 往 底 層 探 究， 實 則 是 心 意 相 通： 李 行 中

卓越貢獻獎 OUTSTANDING CONTRIBUTION AWARD

年喪子，朱延平童年就父子失和，他們相遇相合，

過，不強求精細完美，也不追求天邊彩虹，唯有看

各自補足了生命中殘缺隱憾的一角，沒能說出口，

過他的手稿，才知道他多講究文字，推敲到連標點

也無需說出口的默契把他們像親人一般緊緊繫綁一

符號都不放過，「隨便」之名來自槍口下討生活，

起， 李 媽 媽 一 句：「 延 平 比 顯 一（ 李 行 兒 子 ） 還

識時務者為俊傑的必要生存策略。

親！」是接納，亦是認同了。 他入行時正逢黑道中人操控台灣電影拍攝的黃金末 親情思慕是朱延平作品的隱性基因，從一鳴驚人的

期，軋明星、搶導演，電影江湖不時刀光劍影，不

《小丑》到票房破億的《功夫灌籃》，父不詳或者

乖乖聽話或不懂得變通，就沒有明天；不省錢不趕

父親缺席的孤兒情懷，以及孝順娘親的赤子心，都

工，就換人，他得像變色龍一般察言觀色並變身，

左右著他的角色設定：《小丑》中許不了任人揶揄

更 得 有 腦 筋 急 轉 彎 的 急 智 噴 發， 才 能 在 山 窮 水 盡

踐踏，只想討母親歡心；《功夫灌籃》中，周杰倫

時，拚出柳暗花明。在那個只看票房的現實名利場

棄嬰進少林；《異域》和〈無國籍公民〉中負不起

上，只有他一如長春花，四時常紅，昂然花開 40

責任，只會口號的家國父君，他從柏楊的小說，從

年。

羅大佑的〈亞細亞孤兒〉中找到自己的孽子情結， 也投射進自家親情失落的惆悵。

他形容自己的作品有如土狗，長相平平，卻很會看 家； 國 罵 不 離 口， 卻 很 能 引 共 鳴。 在 台 灣 電 影 靠

同樣地，少年 15、20 歲時的漂浪叛逆，多少也都

進口政策保護的半鎖國年代，唯有他能拳打港片、

成就了《好小子》、《老少江湖》、《中國龍》和

腳踢好萊塢，為台灣影人掙得面子及裡子。他擅長

《狗蛋大兵》中，他對古靈精怪、俐落滑溜和笑鬧

的娛樂片型不得評論青睞，不合國際影展口味，土

江湖的快意書寫，不敢也不會逞凶鬥狠的他，轉個

狗之名其實是另有缺憾的自嘲。直到因緣際會偕同

彎、側個身，把人生祈願放大到銀幕上，觀眾笑了，

《10+10》成員方能走過一趟柏林影展紅地毯，得

青春夢想悄悄也圓了。

嚐電影備受禮遇的尊崇滋味，後來他主導的電影基 金會放手支持金馬獎國際化，讓專業先鋒大膽創新

這輩子他與獎的緣份極淺，唯一拿到的競賽獎是以

逐夢，以宏觀包容安渡風雨淬煉。

《錯誤的第一步》獲得亞太影展編劇獎，偏偏，他 的編劇與文字功力卻是多數人忽略的重要事實。

我願意用「務實」兩個字註記我理解的朱延平。因 為務實，才能浮沉逐浪，日日好日；因為務實，工

他從臨時演員入行，靠著機伶很快做了副導，直到

作夥伴才能盡歡顏。2022 年初尾牙季節，他廣邀

蔡揚名把他關進旅館房間，琢磨他寫劇本，才算啟

來台港人齊聚一堂，時代變了，人才沒變，有緣相

蒙入室。他的電影即使編劇掛了別人姓名，拍片現

會，何不攜手前行？不張揚不自誇，只顧牽線，只

場都還是依據他最後修改的手稿，他看得到也看得

想玉成台港同業再起新局，能言善道的朱延平，做

懂別人的好，掐頭去尾，最終還是用了自己的語法

起事來，有著比他人更務實的生命哲學。

說好故事。 縱使他都戲稱自己是「朱隨便」，拍起電影得過且

卓越貢獻獎 OUTSTANDING CONTRIBUTION AWARD

033

VIN CHU OR

KE

P

F TRAIT O Tex t / LA N Ts u -we i ( C h a ir m a n o f t h e B o a rd, Ta iwa n Au di ov is ua l a n d Film In sti t ute )

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Kev i n C h u re g a rd s himself as a storyteller. F ro m a n c i e n t t i m e s u n t i l n ow, t h e re have been countless competent storytellers around the world. However, Chu is the only person who has managed to dominate the Taiwanese film industry with his skill in telling jokes.

At a gathering, as soon as Chu begins talking, he attracts everyone's attention. His sonorous voice and lively body language turn the occasion into a stage for his solo show. Most of the jokes he tells stem from the tears he had shed in life; they are so real and yet so unbelievable. In the past, Chu had been threatened at gunpoint, made fun of and dismissed, however, like Simpleton in the Brothers Grimm fairy tale The Golden Goose , no matter how the devil or the villains threaten him, they all end up sticking with him as if he was the golden goose. The charm of this golden goose comes from the fact that he knows what the audiences ask for and how to make them happy. He does not want to turn cinemas into classrooms; he does not and can not lecture people and never believes in any doctrines. He never regards serving the country as his duty; instead, he is always being himself and never forces himself to do anything he does not want to do. Chu prefers the cinemas to be like the circus; sometimes we see acrobatics and sometimes stunts; sometimes the performers torment themselves and sometimes they torment others. It is fine to be short and light-hearted; moreover, boasting or bantering is allowed since the only thing Chu cares about is whether his movies resonate with the audiences. Only when he hears waves of laughter coming from the viewers can he breathe a sigh of relief. Although the audiences hardly think of him after they walk out of the cinema, but at least, while they are watching the movie, they forget their worries and from time to time, they return to the cinemas for that experience. In the early summer in 1984, I ran into Chu for the first time on site while he was making Funny Face . Chu was so busy working that he had no time to speak with me, but Tong Cun-lin, the chairman of Tomson Group which invested in the film, talked to me about the sugar glass he was developing with such enthusiasm. Back then, we often saw Hollywood and Hong Kong stars smash the glass with their bodies, but they emerged completely unhurt and kept fighting courageously. In fact, the glass was not real glass but made of sugar and therefore, the shards could not hurt the actors. Tong said, "As long as you get the sound effects right, it looks even more real than the real glass!" Then Chu, who finally had time for a break, sat down next to us and replied, "Cinema is magic."

卓越貢獻獎 OUTSTANDING CONTRIBUTION AWARD

The second time I met Chu was in the Film Library (the nowadays Taiwan Film and Audiovisual Institute). Sitting next to Chu was another director, Chen Yao-chi, as they came to watch Charlie Chaplin's films. When I asked them why, they said, "To learn from Chaplin!" At the beginning of the time when audiovisual materials became readily available in large quantities thanks to the rise of video tapes and disks, to learn from the Hollywood masters was the quickest way. From The Clown (1980) to The Perfect Two (1984), from the tramp to the clown, from the costume to the threadbare shoes, Chaplin's influence is clearly seen in Hsu Pu-liao, who plays the protagonists in Chu's films, whose lives are dotted with laughter, tears and a sense of helplessness. Indeed, the influence is there, but once these things have been adopted in Chu's films, they are localized. "Chaplin's movies are funny, but Hsu Pu-liao is even funnier!" The logics are the same and the tricks are similar, but there is a difference as Hsu shows a kind of timidity and clumsiness unique to the Taiwanese. Chu is a master of localizing the jokes he learned from a foreign culture; maybe the key lay in the fact that Hsu Pu-liao admired Chu so much that Hsu not only regarded Chu as his mentor but often came up with tricks of his own to please Chu and the audiences. Chu was already a film director while still attending night college. Back then, Chu always rode a scooter to the studio and to collect money. He kept a low profile although his films did well at the box-office; he was never seen arrogant or flashy since he was not paid well and often owed his pay. Later he got a car, and legend has it that he never maintains his cars; he never tops up the radiator (since he pays no attention to the car maintenance, he has no idea what a radiator is), let alone the cylinder. When the cylinder burns out and the car breaks down, he just gets a new one. As he focuses his mind on only the things he cares about, he casts the rest aside. Nonetheless, the time Chu spends in the car means a lot to him. In the last ten years of his life, the late renowned film director Lee Hsing (1930-2021) was always accompanied by Chu. Chu drove Lee everywhere, revealing not only the trust between them but what Lee entrusted Chu with. Although the styles of their works cannot be more different, Lee and Chu shared the same ideas. Both of them were staunch supporters of the Golden Horse Awards and were keen to bring the filmmakers in Taiwan, Hong Kong and China together, encouraging exchanges between them. At first, Lee initiated the project while Chu helped him in organizing the events; Lee's reputation guided Chu and paved the path for him. Then Chu took over the mission while Lee played the supporting role. Lee's passion allowed Chu to carry on the mission smoothly. Looking deeper into their relationship, we can see that they truly understood each other. Lee lost his son in his middle years and Chu fell out with his father when

he was very young. When Lee and Chu met, they made up what was lost in their lives for each other. They did not and needed not to say it out loud as they were bonded just like family. Lee's wife once commented that Chu was closer to Lee than his own son, and that signified not only acceptance but recognition. The desire for family love is the recessive gene in Chu's works. From The Clown that made his name to Kung Fu Dunk (2008), which grossed hundreds of millions Taiwan dollars at the box-office, the fact that the hero in these films often regards himself as an orphan since his father is either unknown to him or absent in his life, and all he longs to do is to look after his mother demonstrates how Chu was influenced by his longing for family love when designing the characters. In The Clown , Hsu Pu-liao puts up with people's mocking and abuse just to make his mother happy; in Kung Fu Dunk , Jay Chou is a foundling raised in a kung fu school; in A Home Too Far (1990) and The Orphans (2011, short film), the father figures are irresponsible and do nothing but shout slogans. In the novels written by Po Yang and "Orphan of Asia ," the song written by Lo Ta-you, Chu sees himself as the rebellious son, reflecting upon his sadness and loss of family love. Meanwhile, Chu's drifting and rebellious years in his youth helped him shape the carefree street-smart characters and their whimsical actions that make fun of life and society seen in his films, including Kung Fu Kids (1986), The Young and Old Wanderers (1985), China Dragon (1995) and Naughty Boys & Soldiers (1996). Chu, who did not and dared not get into fights to be a hero, took an alternative approach, realizing his dreams in his youth by turning them into movies. As the audiences laugh, his dreams come true. Chu is never a favorite with the awards. The only prize he won was Best Screenplay at the Asia Pacific Film Festival for Never Too Late to Repent (1979). Nonetheless, most people tend to ignore the fact that Chu is a brilliant writer and scriptwriter. Starting his career as an extra, Chu was quickly promoted to assistant director due to his sharp wit, but it was not until director Tsai Yang-ming shut Chu in a hotel room and trained him to write a script that Chu discovered his own talent. Even when others are credited for the scripts of the films Chu directs, he always shoots the films based on the scripts he himself revises. Chu appreciates and understands other scriptwriters' input, but eventually, he molds the scripts into the stories told in his own words. Jokingly, Chu often calls himself, "Mr. Slipshod", claiming that he never pursues perfection or aims to achieve something unrealistic when making a film. Nonetheless, only when one reads his manuscripts can one see how meticulous Chu is about the wording and even the punctuation. "Being slipshod" is a way of adapting himself to the environment, in which he often worked at gunpoint.

Chu launched his career in film in the last stage of the golden era of the Taiwanese film industry, which was mostly controlled by the criminal gangs at that time. The gangsters threatened the stars and fought over the directors while violent incidents were no news in the industry. If a filmmaker was disobedient or failed to adapt themselves to the situations, their careers finished overnight. If a director was not careful with the budget or did not work overtime, they were immediately replaced. Under such circumstances, Chu became a chameleon, who adjusted his behavior according to the surroundings. A keen observer with quick wit, Chu fought against the odds and established a successful career. In a time when box-office revenue was everything, Chu was the only director who had not only kept impressive box-office records but maintained his career for four decades. Chu describes his own works as "Taiwan dogs"; despite their ordinary looks, they are excellent guard dogs. Chu's works are full of swearing and yet strike a chord with the audiences. At the time when the Taiwanese film industry relied on the protection of import film quota to survive, Chu's films were the only Taiwanese productions that beated the Hong Kong and Hollywood movies at the boxoffice, defending Taiwanese cinema in reputation and revenue. Nonetheless, Chu's forte lies in the commercial films that aim to entertain the mass audience, and it is not a genre favored by the critics or the international film festivals. Therefore, Chu's description of his works as "Taiwan dogs" is self-deprecating and reflects his regret of not being acknowledged. It was not until Chu made one of the segments of 10+10 (2011) that he had the opportunity to walk the red carpet at the Berlinale, enjoying the respect and honor reserved for filmmakers. Later when Chu became the chairman of the Motion Picture Foundation, the institute strongly supported and encouraged the Golden Horse Awards to turn international, allowing the pioneers to pursue their ambition and supporting them without reservation throughout the creation in every aspect. I would use the word, "pragmatic", to describe the Kevin Chu I know. Being pragmatic enables Chu to overcome all the obstacles and make every day a good day. Being pragmatic gives Chu the ability to properly look after those who he works with. In the beginning of 2022, before the Chinese New Year Chu invited a group of Hong Kong filmmakers who just relocated to Taiwan to gather together. Times have changed, but the talents remain the same. As fate brings us together, there is every reason for us to collaborate with each other. Keeping a low profile and never boasting, Chu is dedicated to finding suitable collaborators for his fellow filmmakers and creating another renaissance in the Taiwanese and Hong Kong film industry. Chu is highly articulate, but when it comes to work, he is more pragmatic and down-to-earth than anyone else, and it is a value he holds in life. Translated by Isabella HO

卓越貢獻獎 OUTSTANDING CONTRIBUTION AWARD

035

異域

A Home Too Far

台灣 Taiwan ｜ 1990 ｜ 35mm ｜ Color ｜ 123min

民國 38 年國民政府全面撤退，大批逃難的人潮湧向台灣與香港，還有一群難民進入中 緬邊境地帶。原盤踞在雲南一帶的殘餘國軍部隊九十三師亦被迫撤軍，卻受到中國共產 黨解放軍與緬甸軍隊的雙重夾擊，落入腹背受敵的孤軍境況。隨著身邊同袍、親人接連 在逃亡中傷病陣亡，漸漸不知為何而戰的異域生涯，究竟該何去何從？ 朱延平生涯中最具影響力的電影之一，也是他最滿意的代表作。改編自作家柏楊的戰爭 小說《異域》，演出陣容眾星雲集，包括劉德華、庹宗華、斯琴高娃，以及當年一票硬 底子演員柯俊雄、顧寶明、郎雄等共同詮釋。王傑演唱的電影主題曲〈家，太遠了〉與〈亞 細亞的孤兒〉更唱出異域孤兒的傷痛吶喊，轟動一時。本片上映前挑戰了台灣電檢制度， 最終成功一刀未剪上映，成為當年最賣座的國片。

DIRECTOR

朱延平 Kevin CHU PRODUCER

陸保全 LU Bao-cyuan SCREENPLAY

葉雲樵 YEH Yun-chiao CINEMATOGRAPHER

陳榮樹 CHEN Jung-shu EDITOR

周得陽 CHOW Tak-yeung 黃正祥 HUANG Zheng-xiang MUSIC

何國傑 Ricky HO

In 1949, as the KMT government retreat from China, waves of soldiers and civilians flock to Taiwan and Hong Kong. The KMT 93rd Division posted in Yunnan Province is forced to pull out but gets attacked by People's Liberation Army and the Burmese forces. While more and more comrades and family get killed, the surviving soldiers slowly lose faith, wondering what they are fighting for and where they should go. Adapted from Po Yang's novel, A Home Too Far is the most influential film Kevin Chu has made. With a star-studded cast, it was the highest-grossing movie of the year in Taiwan.

SOUND

林順郎 LAM Shun-long CAST

庹宗華 TOU Tsung-hua 劉德華 Andy LAU 柯俊雄 KO Chun-hsiung 斯琴高娃 SIQIN Gaowa 顧寶明 KU Pao-ming 郎雄 Paul LUNG PRINT SOURCE

國家電影及視聽文化中心 Taiwan Film and Audiovisual Institute

06.29 WED 19:30 中山堂 TZH 036

卓越貢獻獎：朱延平 OUTSTANDING CONTRIBUTION AWARD: KEVIN CHU

小丑與天鵝

The Clown and the Swan

台灣 Taiwan ｜ 1985 ｜ DCP ｜ Color ｜ 88min

走調的淒然樂曲，塗粉著裝的小丑，妝下的表情滿面哀苦，臉上粉飾的嘴角卻盡是笑意。 阿坤原是美豔歌舞女郎團裡的丑角，每每率先登台暖場，卻總是落得滿場喝倒采，被只 想看女郎大腿的觀眾驅趕下台，最終落得被老闆炒魷魚、流落街頭的窘況。幸好有歌舞 團台柱「天鵝」阿珠願褪下光環與阿坤一起流浪，一起尋找人生的新可能。然而儘管台 灣錢淹腳目，卻輪不到底層小人物翻身，生活的困境更讓人在幸福的面前自卑，到處都 不得志的小丑決定孤身離開，不再拖累天鵝飛上枝頭的鳳凰人生。

DIRECTOR

朱延平 Kevin CHU EXECUTIVE PRODUCER

胡執中 HU Chu-chung PRODUCER

柳青 LIU Ching 吳功 WU Kung SCREENPLAY

《小丑與天鵝》為本土諧星許不了家喻戶曉代表作《小丑》的變奏曲，本人卻在電影上 映前三天驟然病逝，成為他與朱延平導演合作的最後一部作品。他的逝世讓本片寫下當 年票房奇蹟，甚至較當年賣座的 007 系列與港片都更勝一籌。

陳家昱 CHEN Chia-yu

The expression hidden underneath the makeup is sad, but the clown forces a smile on his

MUSIC

CINEMATOGRAPHER

廖慶松 LIAO Ching-sung EDITOR

黃秋貴 HUANG Chiu-kuei

face. Kun, the clown in a dance troupe, performs the warm-up act but always gets booed by the audience, who cannot wait to see the sexy girls. In the end, the troupe owner fires him. Fortunately, Chu, the most popular dancer in the troupe known as "Swan", is willing to leave the glamour on the stage behind and start a new life with Kun. However, although Taiwan is undergoing an economic boom, the fortune doesn't trickle down to the bottom of society. Kun, who has been struggling, decides to leave Chu since she has a better chance to succeed on her own.

傅立 FU Li SOUND

高富國 KAO Fu-kuo CAST

許不了 HSU Pu-liao 甄秀珍 CHEN Hsiu-chen 方正 FANG Jing PRINT SOURCE

國家電影及視聽文化中心 Taiwan Film and Audiovisual Institute

07.02 SAT 17:00 中山堂 TZH ▲★ 卓越貢獻獎：朱延平 OUTSTANDING CONTRIBUTION AWARD: KEVIN CHU

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國際新導演競賽

INTERNATIONAL NEW TALENT COMPETITION

台灣唯一國際電影長片競賽，聚焦全世界在敘事技巧、形式風格掌握上極具潛力的新銳電影導演。 本競賽邀請 8 位初選評審與台北電影節選片團隊，共同從 94 國、544 件報名作品中，選出 10 部國 際影片與 2 部台灣作品角逐大獎。 夏日悄悄話 The Quiet Girl

＊預錄影人Ｑ＆Ａ將於每部入選影片首場放映後，於台北電影節 YouTube 官方頻道上架。

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國 際 新 導 演 競 賽

評 審

侯季然 HOU Chi-jan 電影導演。敘事風格詩意，關注歷史及 性別主題，作品橫跨劇情、紀錄、私電 影、影像詩等類型。2010 年首部劇情 長片《有一天》入選柏林影展；其他作 品有《我的 747》、《台灣黑電影》、 《 南 方 小 羊 牧 場 》、《 書 店 裡 的 影 像 詩》、《四十年》等。曾獲台北電影獎 百 萬 首 獎、 蒙 特 婁 奇 幻 影 展 最 佳 導 演 獎、 台 灣 酷 兒 影 展 首 獎、 香 港 ifva 亞 洲新力大獎等。

黃茂昌 Patrick Mao HUANG 評審團主席 Jury President 電 影 監 製， 畢 業 於 美 國 電 影 學 院 與 紐 約哥倫比亞大學電影研究所。2002 年 成 立 前 景 娛 樂 有 限 公 司， 從 事 影 視 製 作、發行與銷售。以題材多元和發掘新 導 演 獲 得 讚 譽， 擁 有 多 年 歐 洲 合 拍 經 驗，亦經常擔任各大電影節、創投會的 評審與講者。監製作品包括《金錢男孩 MONEYBOYS》、《郊區的鳥》、《再 見瓦城》、《冰毒》、《盛夏光年》等， 多次在國內外各大影展獲獎。 Patrick Mao HUANG studied Creative Film Producing in Columbia University Graduate Film School. He founded production/ distribution/ sales company Flash Forward Entertainment in 2002. Being praised for his distinguished eyes to spot new talents, Huang’s films were selected for the renowned film festivals worldwide and released globally. Huang specializes in international co-production between the East and the West. Huang is often invited to be the mentor in various international labs and project markets.

040

國際新導演競賽評審 INTERNATIONAL NEW TALENT COMPETITION JURY

HOU Chi-jan is a film director and screenwriter based in Taipei. His works are known for their poetic quality with the recurrent themes of time and memory. Hou made his first documentary short, My 747, in 2004. It won Asian New Force Grand Prix at ifva in Hong Kong. His feature debut, One Day, premiered in the Berlinale Forum 2010. Ode to Time, Hou’s latest feature documentary, competed in the Asian Future at Tokyo International Film Festival 2016.

許瑋甯 Ann HSU 台灣知名演員，主演作品橫跨華語影視 圈。2016 年以電影《紅衣小女孩》、 《失控謊言》和《世紀末的華麗》獲台 北電影獎最佳女主角，並以《相愛的七 種設計》、《紅衣小女孩》、《紅衣小 女孩 2》三度入圍金馬獎。2021 年主 演電影《當男人戀愛時》創下破 4 億台 幣票房佳績，並再次入圍台北電影獎最 佳女主角。 Ann HSU is a celebrated Taiwanese actress, who works in all Chinese-speaking territories. In 2016, she won Best Actress at Taipei Film Awards for The Tag-Along, White Lies, Black Lies and End of a Century: Miea’s Story. Furthermore, she has received three Golden Horse Award nominations for Design 7 Love, The Tag-Along and The TagAlong 2. In 2021, she was nominated Best Actress at Taipei Film Awards for Man in Love, which grossed more than 400 million Taiwan dollars at the box-office in Taiwan.

羅珮嘉 Pecha LO

錢翔 CHIENN Hsiang 資深攝影師、導演。從事影像工作 20 餘 年， 作 品 風 格 以 寫 實 為 基 調， 擅 長 描繪角色狀態，細緻捕捉其神情與靈 魂。2010 年 跨 界 擔 任 電 視 電 影《 歸 途》導演，入圍台北電影節劇情長片。 2014 年執導首部電影長片《迴光奏鳴 曲 》， 獲 台 北 電 影 獎 最 佳 劇 情 長 片， 並 入 選 盧 卡 諾、 釜 山 及 倫 敦 等 影 展。 2021 年再以新作《修行》入選釜山影 展， 並 獲 金 馬 獎 最 佳 女 主 角、 最 佳 改 編劇本入圍肯定。 CHIENN Hsiang is a senior cinematographer and director, who has worked in film for more than twenty years. Known for his realistic style, Chienn is specialized in depicting the states the characters are in and capturing their looks and spirits. In 2010, he directed the television film, Ranger, which was nominated Best Narrative Feature at Taipei Film Awards. In 2014, his directorial debut feature, Exit, won Best Narrative Feature at Taipei Film Awards and was selected for many international film festivals, including Locarno, London and Busan. His 2021 film, Increasing Echo, was selected for Busan and received nominations at the Golden Horse Awards, including Best Leading Actress and Best Adapted Screenplay.

畢業於美國加州州立大學廣電系，英國 倫敦大學電影史與視覺媒體研究所。曾 任 譯 者、 公 共 電 視 台 小 助 理， 和 社 區 大 學 電 影 學 程 講 師， 現 任 台 灣 女 性 影 像學會秘書長。評論散見《Giloo》、 《Openbook》 等 平 台。 近 期 擔 任 亞 洲女性影展聯盟、倫敦女性影展及德國 科隆女性影展主競賽、柏林影展泰迪熊 獎、金鐘獎及金馬影展奈派克獎評審。 Pecha LO received a BA in Broadcasting from California State University, Northridge and an MA in Film History and Visual Arts from University of London, Birkbeck. She had worked as a translator, an assistant at the Public Television Service and a lecturer in community colleges. Currently the secretary-general of Taiwan Women’s Film Association, Lo served as a jury member at many international film festivals, including Berlinale Teddy Award, Golden Bell Awards and the NETPAC Award at Golden Horse Awards.

國際新導演競賽評審 INTERNATIONAL NEW TALENT COMPETITION JURY

041

阮鳳儀，1990 年出生於新北新店，1997 年隨母親與妹妹移居

Fiona ROAN Feng-i was born in Taipei in 1990.

美國，2003 年回台。就讀台灣大學中文系期間，曾修習外文

She emigrated to the US with her mother and

系的電影課，奠定扎實的電影理論基礎。2014 年執導首部短 片《抹片檢查》，隔年赴美國電影學院攻讀電影創作碩士。長 期關注女性議題的她，擅以細膩的文字描摹角色內心處境，汲

She studied Chinese Literature at National Taiwan University and received an MA in Directing from the American Film Institute.

取自身生活經驗，轉化為影像創作。2018 年短片《姊姊》獲

Her 2018 short film, Jiejie, won the HBO Asian

東京短片節觀眾票選獎、高雄電影節國際短片競賽評審團特別

Pacific American Visionary Award. Her debut

獎。從短片擴寫出發，2021 年執導首部長片《美國女孩》於 東京影展亞洲未來單元首映，更於第 58 屆金馬獲最佳新導演、 最佳新演員、最佳攝影，以及觀眾票選最佳影片。

06.26 SUN 11:50 中山堂 TZH ★ 042

sister in 1997 and returned to Taiwan in 2003.

國際新導演競賽 INTERNATIONAL NEW TALENT COMPETITION

feature, American Girl, won Best New Performer, Best New Director, Best Cinematography, the Audience Choice Award and the FIPRESCI Prize at the Golden Horse Awards 2021.

美國女孩

◡╹ (๑ ╹

American Girl

๑)

台灣 Taiwan ｜ 2021 ｜ DCP ｜ Color ｜ 101min

DIRECTOR

阮鳳儀 Fiona ROAN Feng-i EXECUTIVE PRODUCER

「來來來，來台大；去去去，去美國。」一句琅琅上口的口號， 是 1960 至 1980 年代每個台灣家庭的嚮往。移居美國五年的芳

林書宇 Tom LIN Shu-yu

儀，因媽媽的病情復發，和妹妹舉家回台居住，也與獨自在台打

PRODUCER

拚的爸爸團聚。身分認同是芳儀回台後最大的課題，她仍朝思暮

苗華川 Clifford MIU 馬君慈 Amy MA

想著美國的一切，說著帶有口音的中文，與台灣教育體制格格不

SCREENPLAY

入，讓她遭受同儕的異樣眼光。

阮鳳儀 Fiona ROAN Feng-i 李冰 LI Bing

正值青春叛逆期，一心只想回美國的少女，每天與媽媽吵得不可

CINEMATOGRAPHER

開交；一生氣就躲進網咖，上網寫下滿滿的抱怨。隨著 2003 年

Giorgos VALSAMIS

SARS 疫情蔓延全台，妹妹被迫採檢隔離，鬧脾氣的芳儀卻在此

EDITOR

毛澤坤 MAO Zekun MUSIC

吳沛綾 WU Pei-lin SOUND

杜篤之 TU Duu-chih 江宜真 CHIANG Yi-chen CAST

時離家鬧失蹤。蠟燭兩頭燒，家庭紛爭越演越烈，芳儀與母親的 心結又該如何化解？ 延伸自 2018 年短片《姊姊》，阮鳳儀將自小赴美生活的個人經 歷搬上大銀幕，細膩側寫游移兩地的文化衝擊與磨合。作為第三 文化兒童的成長處境，結合部落格、即時通、流行金曲等耳熟能

林嘉欣 Karena LAM 莊凱勛 Kaiser CHUANG 方郁婷 Caitlin FANG 林品彤 Audrey LIN

詳的年代元素，觸發觀者回憶共鳴。林嘉欣、莊凱勛同台飆戲，

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When her mother suffers a relapse, Fen, who has lived in the US for

水花電影股份有限公司 Splash Pictures Inc.

素人演員方郁婷、林品彤的精湛演技，精準捕捉千禧世代下青年 與家庭的社會焦慮。 five years, moves back to Taiwan with her mother and younger sister and is reunited with her father. Despite being born Taiwanese, Fen struggles to define her national identify. Missing everything in the US, Fen finds it hard to fit in with the school and feels alienated from her classmates. A rebellious teenager who longs to return to the US, Fen fights with her mother every day. When a SARS outbreak occurs, her sister is forced go into isolation and Fen disappears after having a big row with her mother. As the tension between mother and daughter intensifies, how will they reconcile with each other?

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推薦理由 Selection Note

《美國女孩》令人動容的地方在於她的「節 制」，適當地留白，即使不生於同一年代， 每個人都可以投射自己成長的過程 / 記憶，淡 淡然，但已足夠泛起無數漣漪。──初選評 審 鄺珮詩

2021 金馬獎最佳新導演、最佳新演員、最佳攝影 Best New Director, Best New Performer, Best Cinematography, Golden Horse Awards 2021 東京影展 Tokyo IFF

國際新導演競賽 INTERNATIONAL NEW TALENT COMPETITION

043

黑夜結束之前

( °͡

Amparo

) ʖ͜ ͡ °

哥倫比亞、瑞典、卡達 Colombia, Sweden, Qatar ｜ 2021 ｜ DCP ｜ Color ｜ 96min

DIRECTOR, SCREENPLAY

西蒙．梅薩．索托 Simón MESA SOTO PRODUCER

西蒙．梅薩．索托 Simón MESA SOTO Juan SARMIENTO G. CINEMATOGRAPHER

Juan SARMIENTO G.

1998 年哥倫比亞麥德林，單親媽媽安帕羅徹夜工作後返家，卻遍 尋不著兒女，輾轉得知兒子與社區青年被軍隊強行載往軍營，送 往惡名昭彰的險惡戰區。經歷過兩段失敗婚姻，安帕羅平日還要 面對年事已高的母親不理性地指責，怪罪她是個失格的妻子與母 親，讓安帕羅深信孩子是她活下去的唯一支柱。她開始與時間賽

EDITOR

跑，試著在一天之內籌錢買通相關人士，修改兒子的紀錄資料，

Ricardo SARAIVA

阻止兒子搭上這班死亡列車。

MUSIC

Benedikt SCHIEFER

九○年代的哥倫比亞烽火連天，政府經常突襲強行徵召年輕男性

SOUND

入伍，迫使許多母親透過黑市取得免役證明，讓孩子免於淪為戰

Ted KROTKIEWSKI CAST

爭下的砲灰。層層迂腐的軍官與關係人士，唯有一定經濟條件的

蘇卓拉．梅麗莎．托瑞斯 Sandra Melissa TORRES Diego Alejandro TOBÛN Luciana GALLEGO John Jairo MONTOYA

平民才能脫離惡性迴圈，無形讓兵戈成為窮人的宿命。梅薩．索

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潰堤的焦灼，為角色注入難以忽視的力量。隨著劇情跌宕起伏，

The Match Factory

托在極有限的預算下，以小人物透視國人的痛楚，並將自己與許 多哥倫比亞母親的傷痛記憶融入故事。第一次演戲的蘇卓拉．梅 麗莎．托瑞斯化為英勇的女主角，收斂自持的表情下湧動著瀕臨 大量臉部側寫堆疊，緊跟著安帕羅的鏡頭，創造出猶如《索爾之 子》的窒息感，如幻似真。 After a long night's shift, Amparo, a single mother of two, returns home to find her children are not there. She soon finds out that her son has been drafted during an army raid and will be sent to the front in a notorious war zone near the border. His fate seems sealed. With only a single day left until his departure, Amparo manages to contact a man who offers to alter Elias' files and get him out. With nothing much on her side, she embarks on a race against time to free her son in a society ruled by corruption.

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推 薦 理 由 Selection Note

《黑夜結束之前》不但透過緊湊劇情，勾勒了 一位宛如《暴動之城》裡的荷莉．貝瑞那般的 堅強母親；也藉這個強徵民兵的故事，讓人 看見九○年代哥倫比亞社會裡老百姓如草芥 的命運，以及在階級、性別的種種不公。── 初選評審 洪健倫

2021 坎城影展影評人週 International Critics' Week, Cannes 2021 聖賽巴斯提安影展 San Sebastián IFF 2021 釜山影展 Busan IFF

06.27 MON 19:20 信義 HYC 11 ｜ 06.29 WED 17:20 信義 HYC 11 ｜ 07.01 FRI 13:40 信義 HYC 11 ｜ 07.03 SUN 14:30 中山堂 TZH 044

國際新導演競賽 INTERNATIONAL NEW TALENT COMPETITION

西蒙．梅薩．索托，1986 年出生於哥倫比亞第二大城市麥德

Simón MESA SOTO was born in Medellin,

林，畢業於安條基亞大學影視傳播學系、倫敦電影學院電影製

Colombia in 1986. He studied Audiovisual

作研究所。創作主題多關注女性在父權社會的弱勢處境，畢業 製作《Leidi》獲得許多國際影展肯定，包括 2014 年坎城影展 短片金棕櫚獎，與 2015 年芝加哥影展最高榮譽金雨果獎。其

©SaraNanclares

Communication at the Universidad de Antioquia and in 2014, he finished an MA in Filmmaking at the London Film School. His graduation film, Leidi, won the short film Palme d'Or at

第二部短片《Madre》為瑞典製作公司發起的國際計畫「打破

Cannes 2014 and Gold Hugo at Chicago 2015,

沉默」（Break the Silence），為性暴力受害孩童發聲，以一

among many other prizes. His next short film,

位 16 歲少女去成人影片試鏡為題，獲得 2016 年坎城短片金 棕櫚獎提名。《黑夜結束之前》為梅薩．索托首部劇情長片， 部分改編自身經歷，在被軍隊強行徵召的情況下，他的母親奮

Madre, was nominated for the Palme d'Or at Cannes 2016 and went on winning many awards worldwide. Amparo is his first feature film.

力集資，企圖透過非法管道讓兒子免於戰火摧殘。

©Ocúltimo

國際新導演競賽 INTERNATIONAL NEW TALENT COMPETITION

045

冰島少年三加一

ヽ(●

Beautiful Beings

´ε ｀●

)ノ

冰島、丹麥、瑞典、荷蘭、捷克 Iceland, Denmark, Sweden, The Netherlands, Czech Republic ｜ 2022 ｜ DCP ｜ Color ｜ 122min 亞洲首映 Asian Premiere

DIRECTOR, SCREENPLAY

葛孟杜．艾拿．葛蒙森 Guðmundur Arnar GUÐMUNDSSON

對 14 歲的小艾來說，青春是一抹冰島首都雷克雅維克的天色，就算 陽光閃耀著，也總覺冷冽冰藍，難解而神祕。在這個懵懂又衝動的年

PRODUCER

紀，同儕偶爾帶你上天堂，但多半一起下地獄，弱肉強食和情義相挺

Anton Máni SVANSSON

的生存法則同時並存，上一秒才被霸凌的小艾，下一秒就開始保護被

CINEMATOGRAPHER

Sturla Brandth GRØVLEN

自己哥兒們欺負的孩子。各種血氣方剛的暴力，抽絲剝繭出原生家庭

EDITOR

的種種不堪，而發育中的身體，也悄然在夜夢裡偷偷蛻變，滋長出令

Andri Steinn GUÐJÓNSSON Anders SKOV

人不知所措卻前所未有的成長體驗。能夠好好長大成人，不知需要多

MUSIC

Kristian Eidnes ANDERSEN SOUND

Jan SCHERMER

大的祝福，因為他們永遠不知道會在哪一刻萬劫不復。 《冰島少年三加一》以近乎印象派的詩意攝影，捕捉男孩們成長過程 的殘酷與溫柔，善於敏銳觀察青少年群像的導演葛蒙森，深刻地描寫

CAST

出青少年男性的真實感受，令人身歷其境理解其偽裝在「有害的男子

Birgir Dagur BJARKASON Áskell Einar PÁLMASON Viktor Benóný BENEDIKTSSON Snorri Rafn FRÍMANNSSON

氣概」背後的層層複雜心理，青少年演員的群戲互動亦可圈可點。

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New Europe Film Sales

「這部片叩問了一些我在青少年時期最常浮現腦海的問題：何謂真正 的友誼？看起來像是壞朋友的人，有沒有可能是好朋友？如何找到屬 於自己的路？相信自己的直覺，於你而言又代表著什麼？」──葛孟 杜．艾拿．葛蒙森 Addi, a boy raised by a clairvoyant mother, decides to adopt a bullied misfit into his gang of outsiders. Left to their own devices, the boys explore aggression and violence but also learn about loyalty and love. As their behavior escalates towards life–threatening situations, Addi begins to experience a series of dreamlike visions. Can his newfound intuition guide him and his friends back to a safer path, or will they dive irrevocably into further violence? "I went into filmmaking because I aspired to move people and enrich their senses, like many great films have done for me. I hope that 'Beautiful Beings' also does that for some, with a story about friendship, the importance of role

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推 薦 理 由 Selection Note

models, self-acceptance and intuition." - Guðmundur Arnar Guðmundsson

看似普通的霸凌與青春成長故事，但隨著 劇情層層深入角色的不同面向後，電影越 來越迷人，最後甚至還結合了通靈等神祕 元素。主演的素人少年們集暴戾之氣與友 情光輝於一身，而極具魅力的主角或許就 是冰島未來的潛力新星。──初選評審 林 亞佑

2022 柏林影展 Berlinale

06.28 TUE 16:10 信義 HYC 11 ｜ 06.30 THU 21:30 信義 HYC 11 ｜ 07.02 SAT 11:00 中山堂 TZH ｜ 07.04 MON 16:30 信義 HYC 11 046

國際新導演競賽 INTERNATIONAL NEW TALENT COMPETITION

©Join Motion Pictures

葛孟杜．艾拿．葛蒙森 ，1982 年出生於冰島雷克雅維克。自

Guðmundur Arnar GUÐMUNDSSON graduated

美術系畢業後，開始攻讀編劇，並身兼導演及製片。短片作品

in Fine Art and studied Screenwriting. His

入選過多個國際影展，包括坎城、威尼斯等。首部劇情長片《青 春寂光物語》於 2016 年威尼斯影展威尼斯日首映，並獲酷兒 獅獎，隨後入選各大國際影展，囊括超過五十多個影展獎項。

©Lilja Jons

short films, including What Valley (2013) and Artun (2014), and feature debut, Heartstone (2016), were showcased and awarded at numerous festivals. Among these accolades

作品擅長捕捉青少年動蕩不安的青春氣息，巧妙結合冰島保守

are Cannes Film Festival, Venice Film Festival

的社會風情，烘托同性間幽微的情感關係。《冰島少年三加一》

and a nomination at the European Film Awards.

為其第二部劇情長片，善用冰島孤立的環境特性，突顯同儕團 體間的封閉，以及主角無處遁逃的困境與掙扎。

His debut feature, Heartstone, premiered in the Venice Days Competition in 2016 and ended up collecting over 50 awards worldwide. Beautiful Beings is his second feature.

國際新導演競賽 INTERNATIONAL NEW TALENT COMPETITION

047

©Ella Natek

奧 里 特． 福 克 斯． 羅 登，1983 年 出 生 於 以 色 列，2012 年

Orit FOUKS ROTEM graduated from Sam

畢業於耶路撒冷山姆史匹格影視學校，短片作品《Staring

Spiegel Film School with honors, winning her

Match》獲特拉維夫學生影展最佳編劇、耶路撒冷影展特別提 及。畢業後她在促進猶太人及阿拉伯人和平的國家教育中心工 作，帶領女性團體拍攝影片。作品包括兩部劇情短片，於塞拉 耶佛影展及耶路撒冷影展首映的《You Remain Silent》；以 ©Neta Alomin

及入選奧斯陸影展、布魯塞爾短片影展的《Veil》。《她和她 們的電影課》為其首部劇情長片。

class's Promising Director Award. Her diploma film, Staring Match, was screened at festivals all over the world, including San Sebastián, Montreal and won Best Screenplay at Tel Aviv Student Film Festival. After graduating, Fouks Rotem co-directed a documentary series and two short films. Cinema Sabaya is her feature debut, which participated in Jerusalem Film Lab and was supported by the Israeli Film Fund.

06.26 SUN 14:40 中山堂 TZH ｜ 06.29 WED 19:40 信義 HYC 11 ｜ 07.01 FRI 11:30 信義 HYC 11 ｜ 07.04 MON 14:20 信義 HYC 11 048

國際新導演競賽 INTERNATIONAL NEW TALENT COMPETITION

她和她們的電影課

(๑•́ ₃ •̀๑)

Cinema Sabaya 以色列、比利時 Israel, Belgium ｜ 2021 ｜ DCP ｜ Color ｜ 95min

DIRECTOR, SCREENPLAY

奧里特．福克斯．羅登 Orit FOUKS ROTEM PRODUCER

Maya FISCHER Gal GREENSPAN Roi KURLAND CINEMATOGRAPHER

年輕以色列女導演羅娜接下一個電影工作坊的培力計畫，要指導 一班素人拿起攝影機拍下自己的日常。九位師生齊聚一堂，來自 不同年齡、階級、信仰及文化背景，唯一的共同點都是女性。課 堂氣氛看似輕鬆，起初卻相處得如履薄冰，光是要用阿拉伯語或 希伯來語上課，就踩下第一顆地雷。然而，在每次作業分享中皆

Itay MAROM

能看見彼此的生命片段，大家漸漸發現，你我不一樣也都一樣。

EDITOR

共同女性處境凝聚了情誼與覺醒，課堂重點不再是學習拍攝技術，

Neta DVORKIS MUSIC

Karni POSTEL SOUND

Julien MIZAC

而是如何在握住攝影機的當下，找到自己的力量。 導演奧里特．福克斯．羅登以精巧的角色安排，藉演員不同的身 世背景，透析並勾勒出巴勒斯坦地區的多元文化面貌。她成功將

CAST

一群演員在固定空間內，透過半靠劇本、半靠即興的集體互動，

Dana IVGY Joanna SAID Amal MURKUS Ruth LANDAU Yulia TAGIL

醞釀出近似紀錄片的自然表演；同時在授課過程中，體現當代女 性在傳統家庭、信仰與自我之間所面對的內心拉扯。 「透過鏡頭觀看自己或他人，會有一種『直接』，反映出無從閃

PRINT SOURCE

躲的強烈現實。這樣的現實感遇上電影，更容易帶來情感上的擾

Memento International

動。」──奧里特．福克斯．羅登 In this heartfelt ode to the unifying power of art, nine women register for a video workshop, hoping to learn basic filmmaking techniques from young director Rona. As the strangers, both Arab and Jewish, share the raw footage they shoot each week with their classmates, they are confronted not only by the vast differences in their circumstances but also by striking points of connection. Growing closer, the students develop a strong, supportive community, even as they begin to grow suspicious of Rona's motives. Drawn from filmmaker Orit Fouks Rotem's experiences leading similar workshops in the Israeli towns of Acre and Givat Haviva, Cinema Sabaya is an unvarnished and genuinely engaging exploration of the joy of learning to see and to truly being seen.

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推薦理由 Selection Note

劇本巧妙，整體演出生動且自然。以深刻的 女性情誼，衝破猶太與阿拉伯的文化界線， 故事展現張力十足的可看性。本於親身經驗， 以色列女導演奧里特．福克斯．羅登自編自 導，運用後設電影、類紀錄片等手法，提出 對社會的觀察，以及對電影創作的反思。── 初選評審 袁支翔

2021 耶路撒冷影展最佳以色列首部作品 Best Israeli Debut, Jerusalem FF 2021 華沙影展奈派克獎、特別提及 NETPAC Award, Special Mention, Warsaw IFF 2021 塔林黑夜影展 Tallinn Black Nights FF

國際新導演競賽 INTERNATIONAL NEW TALENT COMPETITION

049

歡迎光臨便利黑店 Convenience Store

( ● ´ω ｀● ) ゞ

俄羅斯、斯洛維尼亞、土耳其 Russia, Slovenia, Turkey ｜ 2022 ｜ DCP ｜ Color ｜ 106min 亞洲首映 Asian Premiere

DIRECTOR, SCREENPLAY

米歇伊．鮑羅定 Michael BORODIN PRODUCER

慕哈巴特離鄉背井，從烏茲別克偷渡莫斯科邊陲，一個沒有合法 身分的女人，為了生存淪為當地超市的奴隸。苛刻老闆娘扣押她

Artem VASILYEV

的證件，還假好心把她許配給左右手，懷上他的骨肉。24 小時全

CINEMATOGRAPHER

年無休的招牌在夜裡閃耀，諷刺地彰顯她被凌遲的命運。慕哈巴

Ekaterina SMOLINA EDITOR

特目光所及之處出不了昏暗的超商走道，監視器畫面就是她人生

Alexandra PUTSYATO

的全部。當她剛產下的男嬰被無情送走，慕哈巴特終於推開超商

MUSIC

大門，為同在人間煉獄的移工找到奧援。自由與尊嚴，是否真的

Aleksey POLYAKOV SOUND

Igor GLADKIY CAST

Zukhara SANZYSBAY Lyudmila VASILYEVA Tolibzhon SULEIMANOV Nargis ABDULLAEVA PRINT SOURCE

Heretic

能隨之而來？ 本片改編自千禧時代發生於俄羅斯的真實案件，中亞非法移民被 囚禁在超市裡被迫提供免費勞力長達十年，事件被揭發後，移民 卻因未能取得合法居留權被全數遣返。同樣曾經身為非法移民、 在社會邊陲掙扎的導演鮑羅定，在首部長片中以社會案件為基底， 揭露黑暗真相時也回望私歷史。寬幅構圖讓生命的殘酷展露無遺， 陰沉的昏黃色調提煉惡夢的質地如影隨形。鏡頭跟隨主角，讓目 光探進尊嚴盡失、泯滅人性的修羅場，冷靜、嚴謹地打開地獄之 門，彷彿看見當代奴隸的真實悲歌。 「在俄羅斯官方說法中，奴隸並不存在。」──米歇伊．鮑羅定 Mukhabbat, an Uzbek immigrant, works at a convenience store on the outskirts of Moscow. Just like the rest of the immigrants at the store, she is forced to work without getting paid and endures mental and physical abuse, until the day she overcomes her fear and takes her fate into her own hands. Based on true events and active legal cases of immigrants in Russia, Convenience Store captures the terrible aspects of modern slavery in a visceral blend of realism, documentary style elements and grand scale cinema. "My film is about global issues: slavery, migration, economic and

▲

推 薦 理 由 Selection Note

全片以冷冽到幾乎失去現實感的鏡頭，向跨國 移工在異鄉遭遇的剝削提出深沉控訴。米歇 伊．鮑羅定不帶煽情的視角，成功帶領觀眾 進入一個無助的生命狀態中，調度冷靜出色， 極具大將之風。首次執導長片即有如此出色 表現，令人驚豔。──初選評審 李家驊

ecological crisis. At the same time, it is a very personal, intimate story about a woman and a mother; it is about love, friendship, justice, and dreams." - Michael Borodin

2022 柏林影展 Berlinale 2022 里斯本獨立影展 IndieLisboa IFF 2022 伊斯坦堡影展 Istanbul FF

06.23 THU 16:50 信義 HYC 10 ｜ 06.25 SAT 09:50 中山堂 TZH ｜ 07.01 FRI 21:50 信義 HYC 10 ｜ 07.06 WED 16:20 信義 HYC 10 050

國際新導演競賽 INTERNATIONAL NEW TALENT COMPETITION

米歇伊．鮑羅定，1987 年出生於烏茲別克首都塔什干附近的

Michael BORODIN was born in Toytepa, a small

小城托伊捷帕。18 歲起自學執起導筒。22 歲完成大學學業後，

town near Tashkent in Uzbekistan in 1987. He

鮑羅定移居莫斯科，計畫攻讀電影，卻先以非法移民的身分在 當地生活。鮑羅定四處打工賺取生活費，偶然進入俄羅斯導演 亞歷山大．米塔創辦的電影學校就讀。

made his first film at the age of eighteen. In 2010, after graduating from university, he moved to Moscow to study filmmaking, where, at first, he led the life of an illegal immigrant. He worked

2017 年，鮑羅定以 2014 年克里米亞危機為題材完成首部短 片《Crimea Is Ours》。2018 年以短片《Normal》叩關坎城 影展影評人週。鮑羅定的作品多與流離的生存狀態、世界脈

as a delivery guy and an odd-job worker, then had a chance to pursue his passion for movies by enrolling into Alexander Mitta Film School. He made his first short, Crimea Is Ours, in 2017,

動相互扣連，同時回應己身曾在社會結構邊陲生活的生命經

followed by Normal (2018) and The Registration

驗。首部長片《歡迎光臨便利黑店》讓居無定所的非法移工經

(2019). He also made a documentary, Cotton

驗成為創作的養分，同年推出記錄棉花產業勞動女性的作品

100%, in 2022. Convenience Store is his debut

《Cotton100%》。除了以電影倡議，鮑羅定持續在家鄉烏茲

feature.

別克與現居地俄羅斯實踐、推動社會議題。

國際新導演競賽 INTERNATIONAL NEW TALENT COMPETITION

051

去你的垃圾山莊

(⁎⁍̴ ̛ ᴗ ⁍̴ ̛ ⁎ )‼

Costa Brava, Lebanon 黎巴嫩、法國、西班牙、瑞典、丹麥、挪威、卡達 Lebanon, France, Spain, Sweden, Denmark, Norway, Qatar ｜ 2021 ｜ DCP ｜ Color ｜ 105 min

DIRECTOR

穆妮亞．阿勒 Mounia AKL PRODUCER

為了脫離貝魯特的塵囂與環境污染，一家五口在黎巴嫩深山築起世外 桃源。蘇拉亞與瓦利年輕時在抗爭第一線墜入愛河，為了共築家園，

Myriam SASSINE Georges SCHOUCAIR

也不願再花心力為國家奮鬥。蘇拉亞放棄創作歌手的身分，瓦利放棄

SCREENPLAY

廣闊，繼承了父親的頑固思想；大女兒塔拉屆滿 18 歲，身體與心理

穆妮亞．阿勒 Mounia AKL 克萊拉．洛奎特 Clara ROQUET CINEMATOGRAPHER

Joe SAADE EDITOR

Carlos MARQUES-MARCET Cyril ARIS MUSIC

了希望，回到自給自足的生活模式。小女兒梨姆未曾見過外面世界的 都起了變化，情慾漸漸滋長；還有受制於氣喘的阿嬤，滿心掛念著要 去哥倫比亞找女兒。五個人在此居住多年，直到執政者為了選戰作 秀，揮軍重機具進駐，在屋子正前方的空地炸出一個巨洞，宣告此處 即將開發成「環境友善」的垃圾掩埋場。 從小在黎巴嫩生長的導演穆妮亞．阿勒，與西班牙新銳導演克萊拉・

Nathan LARSON

洛奎特共同編劇，苦心挖掘幼年記憶，透過故事巧妙隱喻深受其害的

SOUND

集體意識與政治無能。劇中父親為家人構築的「愛的牢籠」，考驗著

Rana EID CAST

Nadine LABAKI Saleh BAKRI Nadia CHARBEL Ceana RESTOM Yumna MARWAN PRINT SOURCE

MK2 Films

家中每一個人。攝影鏡頭生動誠摯地捕捉角色間的情緒流轉，流暢的 敘事節奏，蘊藏豐富的文學性。 「我試圖透過這個家庭的狀態，映照當今社會的結構。」──穆妮亞． 阿勒 The free-spirited Badri family have escaped the toxic pollution and social unrest of Beirut by seeking refuge in the utopic mountain home they have built. But unexpectedly, a garbage landfill is built right outside their fence, bringing the trash and corruption of a whole country to their doorstep. As the landfill rises, so do tensions between leaving or resisting, threatening their idyllic home and family unity. "In 'Costa Brava, Lebanon', I try to look at this family's structure in the hope of mirroring the one of our society. The Badri family's ideal of staying pure by disdaining society is an escapist fantasy. But from fracture and discord there is an opportunity for the Badri family – and Lebanon – to rebuild with clear-eyed truth and compassion" - Mounia Akl

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推 薦 理 由 Selection Note

以垃圾掩埋場的入侵貫穿，描寫一個自由 奔放的家庭遭受環境劇變，自給自足的日 子飽受威脅。以沉穩的寫實調性，從容地 鋪陳家庭成員們的無奈與矛盾，融入豐富 的黎巴嫩時事對照不落俗套、諷諭性強， 略帶魔幻結尾尤其意境悠遠，極為迷人的 當代寓言。──初選評審 林姸嫻

2021 威尼斯影展 Venice FF 2021 多倫多影展奈派克獎 NETPAC Award, Toronto IFF 2021 倫敦影展觀眾票選獎 Audience Award, London FF

06.27 MON 16:50 信義 HYC 11 ｜ 06.30 THU 19:00 信義 HYC 11 ｜ 07.03 SUN 09:50 中山堂 TZH ｜ 07.05 TUE 12:40 信義 HYC 11 052

國際新導演競賽 INTERNATIONAL NEW TALENT COMPETITION

©Abbout Productions

穆妮亞．阿勒，1989 年出生於黎巴嫩，身兼編劇與導演，主

Mounia AKL holds a bachelor's degree in

要在貝魯特與紐約兩地進行創作。取得建築學位後，她赴紐約

Architecture from ALBA and an MFA in Directing

攻讀導演，畢業於哥倫比亞大學電影研究所。2016 年自編自 導短片《Submarine》以黎巴嫩垃圾危機為題，入選當年坎城 影展與多倫多影展。曾參與「黎巴嫩工廠」計畫，共同執導短 片《El Gran Libano》，為 2017 年坎城導演雙週單元揭幕。 ©Joe Saade

也曾執導過數部影集與時尚影片。《去你的垃圾山莊》為其首 部劇情長片，開發期間曾獲選坎城駐村計畫、都靈電影工作 坊，以及日舞影展編劇與導演工作坊。阿勒同時也是美國影藝 學院會員，目前正在貝魯特、巴黎與洛杉磯等地籌備多項新作 品，其中包括她的第二部劇情長片。

from Columbia University. Her shor t film, Submarine, was selected for Cannes 2016, Toronto, and Dubai Film Festival, where it won the Muhr Jury Prize. In 2017, Akl took part in the Lebanon Factory and co-directed a short film, El Gran Libano, which opened Cannes Directors' Fortnight and screened at London Film Festival. Costa Brava, Lebanon was developed during Cannes' Cinéfondation Residency. She has taught film directing at the NHSI Film Summer Institute at Northwestern University, Chicago.

國際新導演競賽 INTERNATIONAL NEW TALENT COMPETITION

053

哈維爾．馬可，1981 年出生於西班牙亞利坎提。身兼導演、

Javier MARCO was born in Alicante, Spain in

製片及剪輯，擁有電信傳播工程學士及電影電視碩士學位。

1981. A film director, producer and editor, his

2018 年完成短片《來自大海的陌生來電》，席捲各大國際短 片影展的獎項，包含里約熱內盧短片影展巴西大獎、布魯塞爾 短片影展大獎，並進入奧斯卡金像獎最佳實景短片的角逐名 單。他曾入選 2019 年雷克雅維克電影培訓計畫及 2020 年柏 林影展新銳營，2020 年分別以《A La Cara》獲得哥雅獎最佳 短片、《Amianto》獲 CinEuphoria Awards 五項大獎。《獄 見妳，愛上你》為其首部劇情長片。

short films were selected for many film festivals, including Clermont Ferrand, Palm Springs, Cleveland, FICG Guadalajara and Leeds. His A la cara (2019) won the Goya for Best Fiction Shor t Film and Uno (2018) won awards at Curta Cinema do Rio de Janeiro and Brussels Short Film Festival and was shortlisted for the Academy Awards. Josefina is his first feature.

06.26 SUN 09:50 中山堂 TZH ｜ 06.29 WED 13:50 信義 HYC 10 ｜ 07.04 MON 11:40 信義 HYC 10 ｜ 07.06 WED 18:50 信義 HYC 10 054

國際新導演競賽 INTERNATIONAL NEW TALENT COMPETITION

獄見妳，愛上你

(♥д

Josefina

♥)

西班牙 Spain ｜ 2021 ｜ DCP ｜ Color ｜ 91min 亞洲首映 Asian Premiere

DIRECTOR

哈維爾．馬可 Javier MARCO PRODUCER

中年男子胡安是一名木訥寡言的獄警，他百無聊賴的人生沒有離 坐監太遠，孤單乏味的生活中，只有每週日來探監的單親媽媽貝

Sergy MORENO

塔，能讓他乾涸的內心湧起小小漣漪，而他也只是靜靜地透過監

SCREENPLAY

視器，看著她與獄中的兒子會面，沒有進一步接觸的意圖。一次

Belén SÁNCHEZ-ARÉVALO CINEMATOGRAPHER

意外，他與貝塔在監獄外頭的公車站牌開啟交談，他不知為何脫

Santiago RACAJ

口謊稱自己的女兒約瑟菲娜也在獄中服刑，兩人的距離因而拉

EDITOR

近……。如同許多始於白色謊言的戀曲，對溫柔的想望滋潤了兩

Miguel DOBLADO MUSIC,SOUND

人枯槁的生命，最終也必須面對界線如何跨越的現實難題。而不

Por DETERMINAR

存在的約瑟菲娜，從頭到尾見證了這場從生無可戀中長出的魔幻

CAST

愛情。

艾瑪．蘇雷茲 Emma SUÁREZ 羅伯托．阿拉莫 Roberto ÁLAMO Miguel BERNARDEAU Manolo SOLO Simón ANDREU PRINT SOURCE

Feel Content

詮釋這場遲暮之愛的兩位西班牙資深影星艾瑪．蘇雷茲、羅伯托． 阿拉莫，低調自然的互動宛如探戈，進退充滿迷人的節奏。導演 哈維爾．馬可在寫實的影片基調裡添入苦樂參半的幽默，亦為故 事點綴神來一筆的機緣與巧合。 「《獄見妳，愛上你》談的是人類如何克服寂寞，兩個同樣有著 情感缺陷的人，被隔離在全然孤寂裡，藉由一場邂逅重新學習如 何與人連結。」──哈維爾．馬可 Juan, a prison officer, silently observes the visit every Sunday of Berta, mother of one of the inmates. The day he finally approaches her, he surprises himself by pretending to be the father of a made-up daughter inside the jail: Josefina. The need to fill the vacuum of their lives prompts Juan and Berta to continue meeting beyond the reality around them. "We could say that 'Josefina' deals with a human being's need to overcome loneliness. Both characters, Juan and Berta, find themselves at a time in their lives in which isolation overtook them. ... And when this

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推薦理由 Selection Note

寡言的中年獄警在巴士上注意到經常探監的 婦人。對於婦人的好奇與好感，隱瞞自己的身 份，提起勇氣和她攀談，發展出以為是感同身 受的情誼。從劇情巧妙的安排，演員自然的 表現，寂靜氛圍的營造，不炫技的攝影風格， 可以看出導演的純熟與從容。──初選評審 張三玲

encounter occurs, they complete each other in a certain way, perhaps because of that need they had to connect with a human being."- Javier Marco

2021 聖賽巴斯提安影展 San Sebastián IFF

國際新導演競賽 INTERNATIONAL NEW TALENT COMPETITION

055

正義的現跡

ヽ (*´ ∀ `) ﾉﾟ

Leave No Traces 波蘭、法國、捷克 Poland, France, Czech Republic ｜ 2021 ｜ DCP ｜ Color ｜ 160min

DIRECTOR

揚．馬圖申斯基 Jan P. MATUSZYŃSKI PRODUCER

Leszek BODZAK Aneta HICKINBOTHAM SCREENPLAY

Kaja KRAWCZYK-WNUK

1983 年，波蘭華沙，為期兩年的戒嚴令剛結束，青年傑格茲．贊 梅克就被共產黨惡警私刑毆打身亡，死時身上未有絲毫傷痕。唯 一目睹事發經過的友人誓言揭發真相，進而展開逃亡。傑格茲的 母親是著名詩人、社運人士，兒子離奇死訊引發群眾譁然、國際 媒體關注報導，葬禮更有萬人響應參與。然而軍警濫用權力、侵

CINEMATOGRAPHER

犯人權，執法部門操縱司法和檢察機關偽造隱瞞，腐敗的政權官

Kacper FERTACZ

官相護，利用人性的懦弱和對權力的恐懼，意圖瓦解抗爭，威脅

EDITOR

Przemysław CHRUŚCIELEWSKI MUSIC

Ibrahim MAALOUF SOUND

Cyprien VIDAL Kacper HABISIAK CAST

栽贓替罪羔羊。 本片代表波蘭角逐奧斯卡最佳國際電影，以真實案件為本，紮實 多線的劇本見證了時代青年之死，重構八○年代威權幽靈盤踞的 波蘭社會場景，戒嚴與獨裁的遺毒，陷於戒慎恐懼的市井小民該 如何自處？

Tomasz ZIĘTEK Sandra KORZENIAK Jacek BRACIAK Agnieszka GROCHOWSKA Mateuaz GÓRSKI

「只有當我們記得時，歷史才可能不重蹈覆轍。」──揚．馬圖

PRINT SOURCE

events, the film follows the story of Jurek – the only witness of the

New Europe Film Sales

申斯基 Poland, 1983. The country is shaken by the case of Grzegorz Przemyk – a high school student beaten to death by militia. Based on true beating, who overnight became the number one enemy of the state. The oppressive regime used its whole apparatus – the secret service, militia, the media and the courts – to squeeze Jurek and other people close to the case, including his parents and Przemyk's mother, Barbara. Based on a real-life story, Leave No Traces was in competition at Venice 2021 and represented Poland to compete for the Academy Award for Best International Feature Film.

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推 薦 理 由 Selection Note

《正義的現跡》重現波蘭白色恐怖時期的一 段漫長的伸張正義之路。面對眾多主要角色 及多線敘事，導演展現極為沉著且高超的調 度能力，絲毫沒有猶疑與青澀，是大氣的史 詩鉅作。──初選評審 洪健倫

2021 威尼斯影展 Venice FF 2021 倫敦影展 London FF 2021 哥特堡影展 Göteborg FF

06.24 FRI 16:00 信義 HYC 11 ｜ 06.28 TUE 18:50 信義 HYC 11 ｜ 06.30 THU 15:40 信義 HYC 11 ｜ 07.02 SAT 13:40 中山堂 TZH 056

國際新導演競賽 INTERNATIONAL NEW TALENT COMPETITION

揚．馬圖申斯基，1984 年出生於波蘭，畢業於波蘭卡托維茲

Jan P. MATUSZYŃSKI was born in 1984. He

電影學院，主修電影導演。後於波蘭電影大師安德烈．華依

graduated in Film Directing from Krzysztof

達創辦的波蘭電影學校完成紀錄片課程。紀錄片作品《Deep Love》獲莫斯科影展最佳紀錄片獎，與克拉科夫電影節最佳紀 錄片銀獎。首部劇情長片《The Last Family》改編真人真事，

©Marek Wesołowski

Kieślowski Faculty of Radio and Television, University of Silesia in Katowice and completed the Documentary Course in Wajda School. His documentary, Deep Love, was awarded Best

以精鍊的鏡頭描繪失序家庭，並細膩捕捉演員神情，獲盧卡諾

Documentary Award at Moscow 2014 and the

影展最佳演員獎項，爾後入選多個國際影展。《正義的現跡》

Silver Horn Award for Best Feature Documentary

為其第二部劇情長片，馬圖申斯基再度改編真實故事，瞄準波 蘭威權體制下的社會情境，以獨到銳利的劇本為歷史案件進行 沉著有力的重述，獲威尼斯、哥特堡等國際知名影展肯定。

Film at Kraków 2014. His feature debut, The Last Family, premiered at Locarno 2016, where it won Best Actor and was screened at over 100 festivals worldwide, winning many awards. Matuszyński also works in TV, his most recent series, The King of Warsaw, was released in October 2020. Leave No Traces is his second feature.

©Łukasz Bąk

國際新導演競賽 INTERNATIONAL NEW TALENT COMPETITION

057

小藍

)♥

₃ơ (๑ ơ

Little Blue 台灣 Taiwan ｜ 2022 ｜ DCP ｜ Color ｜ 96min 世界首映 World Premiere

DIRECTOR, SCREENPLAY

李怡芳 LEE Yi-fang EXECUTIVE PRODUCER

懵懂的青少女小藍，在海邊與足球隊校草發生了第一次。在她以為那 就是愛的時候，對方卻隨手讓她的私密照外流了，美好青春一夕崩

林仕肯 LIN Shih-ken

解。小藍這才發現，自己珍視的親密關係，在同儕眼中不過是個遊

PRODUCER

戲。她瞞著忙於工作和社交的母親，與陌生人展開一連串身體探索，

林仕肯 LIN Shih-ken 施永鴻 SHIH Yung-hung 郭斯恒 KUEK Shee Heng CINEMATOGRAPHER

趙冠衡 Eric CHAO

從中摸索愛與做愛的界線。然而這場成人遊戲，終將演變成一場失 控的成年禮。 導演李怡芳首部劇情長片，從情慾與身體反向探索女性的自我認同，

EDITOR

透過大篇幅的母、女情慾描寫，直視不同世代女性逐漸擺脫男性價值

陳曉東 CHEN Hsiao-tung

觀的覺醒。《該死的阿修羅》王渝萱首度擔綱主角挑戰演技極限，影

MUSIC

王榆鈞 Yujun WANG SOUND

郭禮杞 GUO Li-chi CAST

王渝萱 WANG Yu-Xuan 許乃涵 Helena HSU 葉廷麒 YE Ting-qi 周詠軒 CHOU Yung-hsuan PRINT SOURCE

日映影像 AVIEW IMAGES

視雙棲的演員許乃涵則顛覆其單口相聲「涵冷娜」的搞笑人設。本片 展現了近年台灣創作者難得一見的勇氣與自信。 「我發現當下的女孩談及性探索或是性覺醒，多半帶著一些羞恥和傷 痛，跟上個世紀的情況幾無差別。我想拍出那些難以傾訴又隱隱作痛 的傷痕，也許這樣的同理和言說，能讓戲院裡的女孩們從殘酷的成長 疤痕裡找到自己的力量。」──李怡芳 Little Blue is an obedient and naïve girl. On the beach, she loses her virginity to a boy, who not only plays on the school football team but is extremely popular with girls. At first, she thought she could win his love with her body, but to her embarrassment and astonishment, she finds out that the boy casually shows her intimate photos to his buddies. Her youth is destroyed when she realizes that the intimate relationship she cherishes means nothing more than a game to the boy. Keeping her mother in the dark, Little Blue begins exploring her body with strangers, figuring out the boundaries between intimacy and pleasure. Accidently, she discovers a secret she really doesn't want to know...

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推 薦 理 由 Selection Note

敢於剖析情慾題材且處理得宜，精準捕捉 青少年同儕的性 愛焦慮，呈現青春期中 自我認同的迷失與卡關。藉由故事中母女 兩世代女性心境的對照，凸顯主角在過程 中，對自己、對身體與世界的摸索懷疑到 釐清和解。故事性強、演員表現精湛，足 見創作者的野心、勇氣與企圖。──初選 評審 馬曼容

06.25 SAT 19:40 中山堂 TZH ★ 058

國際新導演競賽 INTERNATIONAL NEW TALENT COMPETITION

李怡芳，畢業於台灣大學外文系、愛丁堡藝術學院影視製作研

LEE Yi-fang graduated from the Department of

究所。曾以紀錄短片《愛情的互文性》入選台灣國際女性影展；

Foreign Languages and Literatures at National

後參與多部紀錄片及劇情片幕後工作，涵蓋劇本顧問、場記、 側拍、後期製片等職務。2020 年以長片劇本《三餘》獲頒拍 台北金劇本獎。首部劇情長片《小藍》獲文化部優良劇本獎及 長片輔導金的支持，並入選 2022 年 HAF 香港亞洲電影創投 會 WIP 單元。

Taiwan University and earned a master's degree in Film Production from Edinburgh College of Ar ts. In 1999, her shor t documentary, Juxtaposing Love, was selected for Women Make Waves International Film Festival in Taiwan. In 2020, her script, The Remains, won Golden Screenplay in Filming Taipei Screenplay Competition. Her debut feature, Little Blue, received grants from the Ministry of Culture in Taiwan and was selected for the Work-inProgress section at HAF 2022.

國際新導演競賽 INTERNATIONAL NEW TALENT COMPETITION

059

柯姆．巴瑞德，1981 年出生於愛爾蘭都柏林，從小在愛爾蘭

Colm BAIRÉAD was born in Dublin, Ireland

蓋爾語及英語的雙語教育環境中成長。受到熱愛電影的父親

and was raised bilingually through both Irish

影響，自幼便著迷看默片、好萊塢歌舞片及 1940 年代黑白電 影，後進入都柏林理工學院，攻讀電影。2005 年首部半自傳 短片《His Father's Son》，講述一個說愛爾蘭蓋爾語的家庭

Gaelic and English. He developed a fascination with film at a young age and went on to the Dublin Institute of Technology to study film and broadcasting. His first commissioned

在都柏林的故事，廣受國際影展好評，並獲得愛爾蘭公共電

short film, His Father's Son, enjoyed success

視 TG4 的資金，開啟他與 TG4 超過 15 年的密切合作關係。

on the international festival circuit. Bairéad's

巴瑞德也曾拍攝多部紀錄片，備受愛爾蘭及國際肯定。《夏 日悄悄話》為其首部劇情長片，於柏林影展首映，獲新世代 單元最佳影片。

development as a director has been strongly supported by TG4. He is the recipient of a distinction from the Screen Directors' Guild of Ireland for his "outstanding work as a director in the Irish language". The Quiet Girl is his feature debut.

06.23 THU 21:30 信義 HYC 10 ｜ 06.25 SAT 12:10 中山堂 TZH ｜ 07.01 FRI 17:20 信義 HYC 10 ｜ 07.05 TUE 11:50 信義 HYC 10 060

國際新導演競賽 INTERNATIONAL NEW TALENT COMPETITION

夏日悄悄話

(♛‿♛)

The Quiet Girl 愛爾蘭 Ireland ｜ 2022 ｜ DCP ｜ Color ｜ 95min 亞洲首映 Asian Premiere

DIRECTOR, SCREENPLAY

柯姆．巴瑞德 Colm BAIRÉAD PRODUCER

九歲小女孩凱特天性內向，卻偏偏生在一個過於喧囂的貧困大家 庭裡，她的生存策略，就是儘量讓人忘記自己的存在。即將臨盆

Cleona Ní CHRUALAOI

的媽媽，將凱特暫時託付給遠親照顧。這對農場夫妻恬靜寡言，

CINEMATOGRAPHER

但似乎能夠深刻同理凱特的內心。在他們的溫柔款待下，凱特開

Kate McCULLOUGH EDITOR

始跟著照顧農莊裡的動物，並在過程中學會聽從內心的聲音，時

John MURPHY

而釋放自我盡情奔跑，不想說話就讓自己獨處，漸漸綻放出生命

MUSIC

的自在。她也在這個過程裡，發現這個安靜家庭裡的傷心祕密。

Stephen RENNICKS SOUND

改編自愛爾蘭小說家克萊爾．吉根的短篇故事《Foster》，這部

Steve FANAGAN

以兒童觀點出發的影片特意以愛爾蘭蓋爾語完成，將話語權還給

CAST

凱瑟琳．克林區 Catherine CLINCH Carrie CROWLEY Andrew BENNETT Michael PATRIC Kate Nic CHONAONAIGH PRINT SOURCE

Inscéal

一個式微的語言及在大家庭中被忽略的小孩身上。初試啼聲的女 孩演員凱瑟琳．克林區，成功掌握靈魂人物的羞澀與內在騷動， 充滿靈光的攝影及配樂，靜靜烘托出震懾人心的沉默力量。 「電影人馬克．考辛斯曾說：『藝術一再昭示我們，若能敞開心 胸去近看一件微乎其微的小事，就能在其中看到大道理。』我深 受這樣的概念所吸引：在小地方裡看見廣袤及深刻，也是一種『敘 事謙遜』。這故事的情感底蘊，就是那樣的克制，及那樣的最終 宣洩，令我深深著迷。」──柯姆．巴瑞德 Cáit is a nine-year-old girl from an overcrowded, dysfunctional and impoverished family. As summer arrives and her pregnant mother's due date approaches, Cáit is sent to live with distant relatives. The Kinsellas are farming people, like her own, but hard-working and wanting for nothing, it seems. Despite a warm reception from the woman, Eibhlín, the man of the house, Seán, keeps his distance from Cáit and she from him, but over time, their strained relationship begins to deepen. Slowly, in the care of the Kinsellas, Cáit blossoms and discovers a new way of living. But in this house where affection grows and there are meant to be no secrets, she discovers one painful truth.

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影片透過孩童的視角，細膩地呈現了內向人 的世界，在慢下來的時間裡，看到親密的情 感經驗，如何在靜謐的日常裡娓娓流動。不 同語言安排所呈現的溝通狀態，及話語力量 作為主體賦權的過程，回應到片名命題，在 在令人驚豔。──初選評審 陳俊蓉

2022 柏林影展新世代單元兒童評審團特別提及、評審團大獎 Special Mention of Children's Jury, Grand Prix of the International Jury, Generation Kplus, Berlinale 2022 都柏林影展 Dublin IFF

國際新導演競賽 INTERNATIONAL NEW TALENT COMPETITION

061

玫瑰男孩心貼心

(♥д

Softie

♥)

法國 France ｜ 2021 ｜ DCP ｜ Color ｜ 95min

亞洲首映 Asian Premiere

DIRECTOR, SCREENPLAY

山繆．賽斯 Samuel THEIS PRODUCER

留著一頭金色長髮的清秀男孩強尼，與單親媽媽和其渣男情人住 在法國東部龍蛇雜處的社會住宅裡渾噩度日，儘管想討生活不得

Caroline BONMARCHAND

不強悍，強尼的內心卻是特別柔弱且敏感。早慧的他已經意識到

CINEMATOGRAPHER

母親的命運難以翻轉，卻也只是默默地看在眼裡，直到從大城市

Jacques GIRAULT EDITOR

Nicolas DESMAISON Esther LOWE MUSIC

來的新老師，發掘他天賦異稟的資質，不僅點燃他對智識的渴求， 也讓他懵懂的情感開始萌芽，覺醒後一發不可收拾，讓十歲那年 成為影響他一生的轉捩點。

Ulysse KLOTZ

延續《我媽媽是派對女孩》對藍領生活的關注，山繆．賽斯在這

SOUND

部自傳色彩濃厚的《玫瑰男孩心貼心》中，突破禁忌呈現一個孩

Fanny MARTIN Jeanne DELPLANCQ

子體會到的身體慾望與階級羞恥。他使用職業演員和在地素人分

CAST

別詮釋中產階級及勞動階級，讓雙方不同質地的表演撞擊出自然

Aliocha REINERT Antoine REINARTZ Mélissa OLEXA Izïa HIGELIN

火花。攝影鏡頭性感且不失優雅地在兩個階級之間遊走，來回鋪

PRINT SOURCE

Totem Films

陳強尼在臨界點上的內心暗潮洶湧。 「我們從出生起就烙印著社會階層的審判，有些人能成功逃脫， 卻阻止不了決定論的發展。在這部電影裡，我想試著探索離開的 必要性。」──山繆．賽斯 Ten-year-old Johnny stands out from his family and his tough neighborhood in Eastern France. He's sensitive, intelligent and interested in all kinds of things way beyond his years. Things change when a new teacher, fresh from the big city, takes over Johnny's class. Mr. Adamski believes in Johnny and wants to open a new world to him. And the sophisticated young teacher also intrigues the boy. "I try to give a voice to people who are never heard. To tell their stories, while respecting their complexity and without stigmatizing them for the social deprivation around them. ... They are tackling issues that are much broader than mere survival. This is the tale of a premature emancipation, of the child moving on." - Samuel Theis

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隨著小男孩的步伐，兜轉於學校的妥善照顧與 家庭失能間，細膩處理無助下欲尋得認同與 依靠的徬徨心境。流暢的剪接與劇本的堆疊， 幽微抓住男孩萌發的性別曖昧，不慍不火地處 理議題，完成一趟性向探索的成長旅程。── 初選評審 馬曼容

2021 坎城影展影評人週 International Critics' Week, Cannes 2021 鐵撒隆尼卡影展最佳影片 Best Film, Thessaloniki IFF

06.27 MON 21:40 信義 HYC 11 ｜ 06.30 THU 13:30 信義 HYC 11 ｜ 07.03 SUN 12:20 中山堂 TZH ｜ 07.05 TUE 15:10 信義 HYC 11 062

國際新導演競賽 INTERNATIONAL NEW TALENT COMPETITION

山繆．賽斯，1978 年出生於法國克勒特茲瓦爾，並於法德

Samuel THEIS is a French actor, film and

交界的福爾巴克長大。他在里昂國立藝術與劇場技術學校

theater director and screenwriter. Born in

（ENSATT）攻讀表演，後前往巴黎 La Fémis 攻讀編劇，並 與同學克萊兒．伯格、瑪莉耶．阿瑪秋凱莉巴薩，三人聯手完 成首部劇情長片《我媽媽是派對女孩》。作品巧妙遊走於劇情 與紀實的邊緣，獲邀成為 2014 年坎城影展一種注目單元開幕 ©Philippe Beheydt

片，並奪下最佳整體表現獎以及金攝影機獎。他同時身兼演員 和劇場導演，《玫瑰男孩心貼心》為其第二部劇情長片。

Creutzwald in 1978 and raised in Forbach, Theis studied Acting at ENSATT in Lyon and Scriptwriting at La Fémis in Paris. He codirected his debut feature, Party Girl, with Claire Burger and Marie Amachoukeli-Barsacq. A film that cleverly blurs the boundaries between feature and documentary, it was selected as the opening film of Un Certain Regard and won the Camera d'Or at Cannes 2014. Softie is his second feature.

©Avenue

國際新導演競賽 INTERNATIONAL NEW TALENT COMPETITION

063

高原上的家屋

(

Utama

)☞ ﾟ∀ﾟ ) ﾟ ☞ﾟ∀

玻利維亞、烏拉圭、法國 Bolivia, Uruguay, France ｜ 2022 ｜ DCP ｜ Color ｜ 88min

亞洲首映 Asian Premiere

DIRECTOR, SCREENPLAY

玻利維亞高原上，老夫妻安住一方家屋，每天早上，老爺爺領著駱馬

亞歷杭德羅．洛艾薩．格里希 Alejandro LOAYZA GRISI

出門放牧，老奶奶打水做飯。高原上的天空總是藍的，土地是黃的，

PRODUCER

雲朵永遠蓬鬆柔軟。他們的勞動單純而樸實，眼睛裡有著不需說出口

Santiago LOAYZA GRISI Federico MOREIRA

的情意，而大自然永遠在那兒。某天，住在城市裡的孫子來訪，打亂

CINEMATOGRAPHER

了兩人的生活節奏，年輕的他提議搬離這片什麼都沒有的空無之地，

Barbara ALVAREZ

年老的他堅持住在這片賦予一切意義的故土，她夾在中間左右為難。

EDITOR

大旱久久未解，死亡如禿鷹盤旋不已，在下一場雨來臨之前，乾涸的

Fernando EPSTEIN MUSIC

Cergio PRUDENCIO SOUND

Federico MOREIRA

靈魂能否找到回家的路？ 導演亞歷杭德羅．洛艾薩．格里希的首部劇情長片，以凝鍊的鏡頭語 言，訴說一段動人無比的流離之歌。生命的失落與復返、脆弱的克丘

CAST

亞語言文化、傳統與現代的衝擊，在沉默的高原山脈凝視下，散落遍

José CALCINA Luisa QUISPE Santos CHOQUE

地荒蕪。紮實的田調化為細膩的劇本，素人演員內斂又極富生活感的

PRINT SOURCE

In the Bolivian highlands, an elderly Quechua couple has been living the

Alpha Violet

演出，形塑出自然而不造作的清新詩意。 same daily routine for years. When an uncommonly long drought threatens their entire way of life, Virginio and Sisa face the dilemma of resisting or being defeated by the passage of time. With the arrival of their grandson Clever, the three of them will face, each in their own way, the environment, the necessity for change, and the meaning of life itself. "One of the goals of the film was to show that there's a reality coming for us, it's very real and very close, and we're not paying attention. We're not receiving the messages... it's amazing how we're ignoring it." - Alejandro Loayza Grisi

▲

推 薦 理 由 Selection Note

以玻利維亞高原為畫布，駱馬為旅伴，在 乾旱和死亡如影隨形的陰影下，一對老夫 妻在不需言詞的相愛相守中，直視生命與 死亡的循環。攝影出身的導演透過鏡頭道 出絕美悲傷的輓歌，這是只有對片中人物 真正充滿情感才拍得出來的作品。──初 選評審 張士達

2022 日舞影展全球劇情片類評審團大獎 Grand Jury Prize, World Cinema Dramatic, Sundance FF 2022 哥特堡影展 Göteborg FF

06.23 THU 14:20 信義 HYC 11 ｜ 06.28 TUE 22:10 信義 HYC 11 ｜ 06.30 THU 11:20 信義 HYC 11 ｜ 07.02 SAT 20:10 中山堂 TZH 064

國際新導演競賽 INTERNATIONAL NEW TALENT COMPETITION

亞歷杭德羅．洛艾薩．格里希，1985 年出生於玻利維亞。攝

Alejandro LOAYZA GRISI was born in La Paz,

影師出身，曾為記錄玻利維亞自然風土的《Planeta Bolivia》

Bolivia in 1985. He studied Communication at the

掌鏡，進而跑遍全國大小角落、深入了解各地不同的風俗民情 與自然生態。在這趟旅程中，他親眼見到氣候變遷對人們的影 響，以及正在逐漸消逝的傳統文化與生活方式。此次經驗對他

Catholic University of Bolivia and Advertising in Córdoba, Argentina. In 2010, he began working as a photographer and DoP for Alma Films. Having won two national prizes in photography,

意義重大，更促成他拍攝《高原上的家屋》，迫切地想要訴說

he started directing in 2014, mostly music

這片土地上發生的故事，以及人面對困境的心理狀態。原文片

videos, which led him to participate in the

名「Utama」即「家」之意，直指片中人物對生活的探問，與 此生的共同追尋。

Fenavid International Film Festival, Bogota Video Film Festival and Jaipur Film Festival. He has made a few short films and Utama is his first feature.

國際新導演競賽 INTERNATIONAL NEW TALENT COMPETITION

065

台北電影獎

TAIPEI FILM AWARDS

初戀慢半拍 Mama Boy

台北電影獎源於1988年的 「中時晚報電影獎」，並於1994年正 式改名為台北電影獎。做為台灣電影競賽主 場，每年以國片最高獎金「百萬首獎」為號召，拔 擢本土優秀影像創作者、鼓勵不同題材與表現形式，為 國片開發各種可能性。 ”Taipei Film Awards” is the only film competition exclusively aimed at Taiwanese filmmakers. Every year, the NT$1 million

正式競賽項目

Grand Prize for domestic films attracts Taiwan’s most outstanding filmmakers and encourages different themes and stylistic expressions, opening up all kinds of possibilities for Taiwanese cinema.

．最佳紀錄片 Best Documentary ．最佳短片 Best Short Film ．最佳動畫片 Best Animation ．最佳導演 Best Director ．最佳編劇 Best Screenplay ．最佳男主角 Best Actor ．最佳女主角 Best Actress ．最佳男配角 Best Supporting Actor ．最佳女配角 Best Supporting Actress ．最佳新演員 Best New Talent ．最佳攝影 Best Cinematography ．最佳剪輯 Best Editing ．最佳配樂 Best Music ．最佳美術設計 Best Art Design ．最佳造型設計 Best Makeup & Costume Design ．最佳聲音設計 Best Sound Design ．最佳視覺效果 Best Visual Effects ．傑出技術 Award for Outstanding Artistic Contribution

非正式競賽項目 NON-OFFICIAL AWARDS

OFFICIAL AWARDS

．最佳劇情長片 Best Narrative Feature

．觀眾票選獎 Audience Choice Award ．媒體推薦獎 Press Award

入圍獎項

．最佳劇情長片 ．最佳導演 ．最佳編劇 ．最佳女主角 ．最佳男配角 ．最佳新演員 ．最佳攝影 ．最佳剪輯 ．最佳配樂 ．最佳美術設計

美國女孩 American Girl

台灣 Taiwan ｜ 2021 ｜ DCP ｜ Color ｜ 101min

2003 年，移民美國五年的莉莉因罹患乳癌，抱病帶 著兩個女兒芳儀、芳安從洛杉磯回到新店，與疏離 多年的丈夫宗輝團聚。芳儀因為中文障礙，在班上 成績嚴重落後，被同學戲稱為「美國女孩」。橫衝 直撞的她面對母親生病深感無力，最渴望的就是回 到美國。而隨時擔心癌症惡化的莉莉不能諒解芳儀 的各種叛逆行為，家庭成員之間的緊張關係一觸即 發。在文化衝突、經濟、疾病等壓力之下，莉莉與 芳儀的衝突節節升高，並在小女兒芳安於 SARS 期 間被醫院隔離時達到高峰。分崩離析的一家人，因 一場意外的疫情被迫面對彼此的心結，獲得重新開 始的契機。

Winter, 2003.

DIRECTOR

Uprooted from Los Angeles after her mother is stricken

EXECUTIVE PRODUCER

with breast cancer, thirteen-year-old Fen struggles to adjust to her life in Taipei. As Fen navigates her way through school and reconnects with her long-separated father, her turbulent bond with her mother worsens. Fen drifts further away from her mother through a series of rebellious acts before her younger sister is misdiagnosed with SARS, pushing Fen and her mother towards a heated, long-gestating confrontation.

阮鳳儀 Fiona ROAN Feng-i 林書宇 Tom LIN Shu-yu PRODUCER

苗華川 Clifford MIU 馬君慈 Amy MA SCREENPLAY

阮鳳儀 Fiona ROAN Feng-i 李冰 LI Bing CINEMATOGRAPHER

Giorgos VALSAMIS EDITOR

毛澤坤 MAO Zekun MUSIC

吳沛綾 WU Pei-lin SOUND

杜篤之 TU Duu-chih 江宜真 CHIANG Yi-chen CAST

阮鳳儀，1997 年移居美國，2017 年畢業於美國電影學院電影創作碩士，隔年完成改編 自身移民經驗的短片《姊姊》。《美國女孩》為其首部劇情長片，獲 2021 年金穗獎優 良劇本獎特優，以及同年度金馬獎最佳新導演、觀眾票選最佳影片、最佳攝影、最佳新 演員，與費比西國際影評人獎等獎項。 Fiona ROAN Feng-I's debut feature, American Girl, won Best New Director, Best New Performer, Best Cinematography and the Audience Award at the Golden Horse Awards 2021.

林嘉欣 Karena LAM 莊凱勛 Kaiser CHUANG 方郁婷 Caitlin FANG 林品彤 Audrey LIN PRINT SOURCE

水花電影股份有限公司 Splash Pictures Inc.

2021 金馬獎最佳新導演、最佳新演員、最佳攝影 Best New Director, Best New Performer, Best Cinematography, Golden Horse Awards 2021 東京影展 Tokyo IFF

06.26 SUN 11:50 中山堂 TZH ★ 台北電影獎 - 劇情長片 TAIPEI FILM AWARDS - NARRATIVE FEATURES

069

入圍獎項

．最佳劇情長片 ．最佳編劇 ．最佳男主角 ．最佳女主角 ．最佳女配角 ．最佳剪輯

童話．世界

世界首映 World Premiere

Fantasy．World

台灣 Taiwan ｜ 2022 ｜ DCP ｜ Color ｜ 110min

張正煦律師處理性侵案，意外發現嫌犯竟是十多年 前另一件性侵案的客戶──補習班名師湯師承。彼 時張正煦剛出道執業，受雇於資深律師杜子甄，為 湯師承辯護脫罪。張正煦雖有疑慮，但為了追求事 業表現，仍強迫自己聽從杜子甄的教訓，漸漸迷失 自己對正義的執著，最終嚴重地摧毀被害學生，也 失去深愛的女孩。如今，張正煦面對恩師與昔日客 戶，在罪惡感侵襲之下，他為了彌補過去的錯誤， 也為當年深愛的女孩復仇，決定不計代價追求屬於 自己的正義。

A cold, hard-nosed lawyer, Zhang, discovers that his past client, Tang, is involved in yet another case of sexual assault. Thirteen years ago, Zhang was a rookie and mentored by a senior lawyer, Tu. Young and ambitious as Zhang was, his outstanding performance successfully helped Tang exonerated from the charge. However, the brutal cross-examination on the victim inevitably became his nightmare. After so many years, tormented by guilt, Zhang finally has the opportunity to atone for his mistakes and avenge the girl he loved. Challenged by Tu and Tang, he decides to pursue justice at any cost.

DIRECTOR, SCREENPLAY

唐福睿 Freddy TANG Fu-jui PRODUCER

麻生汶 MA Shen-wen CINEMATOGRAPHER

鍾艾 CHUNG Ai EDITOR

雷震卿 LEI Chen-ching MUSIC

侯志堅 Chris HOU SOUND

杜篤之 TU Duu-chih 江宜真 CHIANG Yi-chen CAST

張孝全 Joseph CHANG 江宜蓉 Cammy CHIANG 李康生 LEE Kang-sheng 尹馨 YIN Shin 夏宇喬 Kimi HSIA PRINT SOURCE

唐福睿，曾任執業律師五年，後獲教育部公費獎學金前往 CalArts 加州藝術學院攻讀藝 術創作碩士，主修電影導演。受益於過去的法學訓練與訴訟經驗，他擅長以寫實手法描 繪法律制度下的人性困境，並以成為編導並重的創作者為目標，致力開發在地原創題材。 Freddy TANG Fu-jui practiced law as an attorney for many years. He then pursued a MFA degree at CalArts, specializing in directing. He is known for depicting people's plights under legal system.

07.05 TUE 19:00 中山堂 TZH ★ 070

台北電影獎 - 劇情長片 TAIPEI FILM AWARDS - NARRATIVE FEATURES

主磐叙社有限公司 MG Storyteller Inc.

入圍獎項

．最佳劇情長片 ．最佳導演 ．最佳編劇 ．最佳男配角 ．最佳女配角 ．最佳剪輯 ．最佳配樂 ．最佳造型設計

該死的阿修羅 Goddamned ASURA

台灣 Taiwan ｜ 2021 ｜ DCP ｜ Color ｜ 114min

詹文在成年那天做了一個決定：讓子彈在夜市裡飛。 唯一死者是遊戲直播主小盛；Vita 接到未婚夫死訊， 社畜人生戛然而止；網路盜圖冒名詐騙的太妹琳琳 與記者黴菌在夜市約訪，卻讓他意外成為制伏凶手 的目擊證人；阿興深信摯友不是故意殺人，在兩人 創作的漫畫世界裡，只要有把梵天劍，就能斬斷時 空，在奈何橋相見。六人命運在夜市交錯，被迫面 對各自生命的缺陷與困境。此生莫向修羅墜，鬼畜 地獄苦輪迴，什麼是罪？誰沒有罪？

Dur ing the night of his 18th bir thday, Jan-wen

六個角色如同六道輪迴眾生，沉淪也好，絕望也罷， 善惡有時只不過是偶然，當阿修羅被黑暗吞噬，人 又怎樣才算完整？不過，若一開始詹文沒有犯案， 這一切會不會有什麼不一樣？

behavior at the crucial moment?

committed a random shooting homicide in the crowned night-market, with his self-made modified gun and for some mysterious reasons. The tragic incident caused the life of his family and friends, the victims and the witnesses all facing the tremendous impact in the aftermath. However, what if there was a chance for these people to make different choices, would the tragedy remain? Would it be a brand new outcome if they all altered their

DIRECTOR

樓一安 LOU Yi-an PRODUCER

高君亭 KAO Chun-ting 王興洪 WANG Shin-hong 莊志文 Derek CHUANG SCREENPLAY

樓一安 LOU Yi-an 陳芯宜 Singing CHEN CINEMATOGRAPHER

楊豐銘 YANG Fong-ming EDITOR

陳曉東 CHEN Hsiao-tung 樓一安 LOU Yi-an 陳芯宜 Singing CHEN MUSIC

秦旭章 CHUN Yuk-cheung 許家維 HSU Chia-wei 蔡佳穎 TSAI Chia-ying 川流 Flow SOUND

樓一安，電影編導，作品多觸及土地與階級問題，帶有多線敘事與黑色荒謬的色彩，首 部電影長片《一席之地》獲台北電影獎觀眾票選獎。電視作品亦屢獲肯定，以《快樂的 出航》、《台北歌手》分獲金鐘獎最佳導演、最佳編劇。 The work of director/screenwriter LOU Yi-an's frequently addresses issues of land use and social class through the use of multiple plot lines and dark humor.

胡序嵩 Sidney HU 林姷廷 LIN Yu-ting 楊子介 YANG Tzu-chieh CAST

黃聖球 Joseph HUANG 潘綱大 Devin PAN 王渝萱 WANG Yu-xuan 莫子儀 MO Tzu-yi 黃姵嘉 HUANG Pei-jia PRINT SOURCE

2021 金馬獎最佳女配角 Best Supporting Actress, Golden Horse Awards

內容物數位電影製作有限公司 Content Digital Film Co.,Ltd

06.27 MON 13:20 華山 SHC 2 台北電影獎 - 劇情長片 TAIPEI FILM AWARDS - NARRATIVE FEATURES

071

入圍獎項

．最佳劇情長片 ．最佳導演 ．最佳女主角 ．最佳男配角 ．最佳攝影 ．最佳美術設計 ．最佳視覺效果

咒

Incantation 台灣 Taiwan ｜ 2022 ｜ DCP ｜ Color ｜ 111min

我叫若男，製作此片的用意，是要請大家幫我一同 化解女兒遭受的詛咒。 過往的無知讓我害了孩子，以下這部影片的內容可 能藏著危險，包含我六年前所經歷的恐怖事實，如 果害怕無法承受，現在可以離開。願意留下來的， 請在觀看的過程中遵守我的每一個指示，以防受詛 咒影響。 首先，請跟著我默念以下咒語：「火佛修一，心薩 嘸哞。」

My name is Ruo-Nan, the reason why I'm making this video is that I hope people could help me lift the curse bestowed upon my daughter after watching what I have to say. Because of my ignorance, I never thought that it was my actions that brought the curse. The following content may contain certain hidden dangers and risks, which includes myself retelling the horrifying encounters that happened six years ago.

DIRECTOR, EDITOR

柯孟融 Kevin KO EXECUTIVE PRODUCER

楊旭奮 Push YANG 柯孟融 Kevin KO SCREENPLAY

張喆崴 Willie CHANG 柯孟融 Kevin KO CINEMATOGRAPHER

陳克勤 CHEN Ko-chin MUSIC

李銘杰 Rockid LEE SOUND

高偉晏 R.T KAO 李銘杰 Rockid LEE Richard HOCKS CAST

蔡亘晏 TSAI Hsuan-yen 高英軒 KAO Ying-hsuan PRINT SOURCE

柯孟融，堪稱全才型電影人，作品跨足廣告、微電影、MV、網劇等領域，曾以短片《那 一夜的正義》獲 2011 年台北電影獎最佳剪輯獎，曾執導劇情長片《絕命派對》、《率 性生活之末日逆襲》、《脫單告急》、《打噴嚏》等。 Kevin KO made his debut with 2009 horror Invitation Only, which is the first-ever slasher in Taiwan. Since then he's been known for his commercial taste as a director. In 2018, his romantic comedy, Dude's Manual, was released in China.

06.27 MON 15:50 華山 SHC 1 072

台北電影獎 - 劇情長片 TAIPEI FILM AWARDS - NARRATIVE FEATURES

牽猴子股份有限公司 Activator Co., Ltd

入圍獎項

．最佳導演 ．最佳男主角 ．最佳女主角

修行

Increasing Echo

台灣 Taiwan ｜ 2021 ｜ DCP ｜ Color ｜ 85min

嚴先生多年前有一次外遇，被太太抓到了。嚴先生 最終乖乖回家，小三不知去向。夫妻倆繼續生活， 但嚴太太成為這個家的發號施令者，嚴先生彷彿被 閹割般，日復一日的生活。某天，嚴太太接到一通 美國打來的電話，說當年的小三出車禍痴呆，住在 療養院，台灣沒有親友，希望嚴先生能念著當年露 水姻緣，幫忙去看看她。嚴太太憤怒掛了電話，心 底卻漾出一種勝利的感覺，多年的怨氣彷彿得以伸 張。嚴太太拉著先生一起去見癡呆的小三，作為對 先生的報復。然而從療養院回家後，嚴先生卻離家 出走了。

Mr. Yan's mistress from many years ago suffers from dementia and lives in a nursing home. Mrs. Yan is secretly pleased when learning about this news. Her grievances for many years are finally eased now. Mrs. Yan decides to take her husband to see the mistress, as revenge. Mr. Yan is aware of the revenge, but after all these years he seems like a castrated animal and loses

DIRECTOR, SCREENPLAY, CINEMATOGRAPHER

錢翔 CHIENN Hsiang PRODUCER

陳保英 CHEN Pao-ying 陳保珠 Chantel CHEN EDITOR

滕兆鏘 TERNG Jaw-chyang

the will to resist his wife's demand.

MUSIC

After seeing the mistress, Mr. Yan runs away. Their son's

SOUND

wedding is taking place soon. Mrs. Yan has to get her lost husband back to fulfill the family task.

侯志堅 Chris HOU 胡序嵩 Sidney HU 黃僩哲 Bonas HUANG CAST

陳以文 CHEN Yi-wen 陳湘琪 CHEN Shiang-chyi 黃柔閩 HUANG Rou-ming

兒子的婚禮在即，嚴太太必須趕緊找回先生，好讓 他坐上主桌。在這個混亂又痛苦的尋夫之旅中，她 重新審視了這一切的意義。

PRINT SOURCE

老灰狼影片製作有限公司 Gray Wolf International Film Production Co., Ltd.

錢翔，1967 年出生於台灣。2014 年首部劇情長片《迴光奏鳴曲》入圍金馬獎最佳新導 演獎，並入選盧卡諾影展、釜山影展及倫敦影展。他擅長以富詩意與韻律感的影像，描 繪生命複雜的情境，並深入角色內心。歷時七年，完成第二部劇情長片《修行》。 CHIENN Hsiang is a director and senior cinematographer. His first feature as director, Exit (2014), was selected for Locarno and Busan International Film Festival. In 2022, he completed his second feature, Increasing Echo. 2021 金馬獎 Golden Horse Awards

06.24 FRI 16:30 華山 SHC 1 台北電影獎 - 劇情長片 TAIPEI FILM AWARDS - NARRATIVE FEATURES

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入圍獎項

．最佳男主角 ．最佳攝影 ．最佳美術設計 ．最佳造型設計

不想一個人 Leave Me Alone

台灣 Taiwan ｜ 2021 ｜ DCP ｜ Color ｜ 98min

他的工作離不開金錢、慾望與凶險，她則是富商的 祕密情人。富商病危住院中，她卻完全見不到愛人。 當皮條客阿龍遇上藝廊經理乃文，孤獨的兩人搭上 彼此，每一次激情都是對現實的逃避。阿龍有青梅 竹馬的金莎要照顧，乃文也得決定肚子裡的孩子何 去何從，這是夜都會的紅男綠女愁語，擁有自我是 奢談，真情自然短缺。

Loong, coming from the lower echelons of society, fantasizes about elevating his status through his relationship with affluent, well-to-do Olivia. However, he realizes that his purpose in her life is nothing more than a means to allay her loneliness. Loong's half-sister Chinsha is always there, waiting for him. This is a food-chain of love and loneliness.

DIRECTOR, SCREENPLAY

范揚仲 FAN Yang-chung EXECUTIVE PRODUCER

黃江豐 Roger HUANG 雷建容 Jennie LEI PRODUCER

黃江豐 Roger HUANG 王思靜 Justine O. CINEMATOGRAPHER

夏紹虞 HSIA Shao-yu EDITOR

王馬修 Matthieu LACLAU 陳序慶 Nose CHAN Chui-hing 范揚仲 FAN Yang-chung 林姿嫺 LIN Tzu-shien MUSIC

徐文 HSU Wen 謝青翰 Cheer SOUND

范揚仲，從事廣告與電影製作多年。2012 年以《那一年曾做錯的事》獲金穗獎最佳劇 情片、最佳編劇及最佳整體演出。2013 年執導電視電影《權力過程》，獲台北電影獎 最佳女配角及金鐘獎迷你劇集電視電影獎、導演獎、編劇獎等。 FAN Yang-chung has worked in advertising and film in Taiwan for decades. His television film, The Will to Power, won four prizes at Golden Bell Awards 2013. Leave Me Alone is his debut feature. 2021 金馬獎 Golden Horse Awards 2021 大阪亞洲電影節 Osaka Asian FF

07.05 TUE 16:20 華山 SHC 2 074

台北電影獎 - 劇情長片 TAIPEI FILM AWARDS - NARRATIVE FEATURES

杜篤之 TU Duu-chih 杜則剛 TU Tse-kang 朱仕宜 CHU Shih-i CAST

范少勳 Fandy FAN 莫允雯 Christina MOK 温貞菱 WEN Chen-ling PRINT SOURCE

一條龍虎豹國際娛樂有限公司 Yi Tiao Long Hu Bao International Entertainment CO.

入圍獎項

初戀慢半拍

．最佳女配角

亞洲首映 Asian Premiere

Mama Boy

台灣 Taiwan ｜ 2022 ｜ DCP ｜ Color ｜ 98min

小洪是一名溫和有禮，容易尷尬害羞的處男，直到 29 歲生日前都維持母胎單身。在水族館工作的小 洪，父親過世後，二十多年來都與母親美玲同住一 個屋簷下。美玲習慣控制小洪的生活，從吃東西的 順序到人生各個決定，使得小洪缺乏自信，難以自 在地跟同齡人相處，尤其是女生。小洪的表哥文豪 是個喜愛社交的人，交友廣闊，也經常與他分享與 女生相處的經驗。沒有任何戀愛經驗的小洪，就意 外在文豪的引薦下，遇見了一位讓他悸動不已的女 孩，愛情就這樣悄悄地在台北的夜晚揭開序幕。

Xiao-Hong is an introverted young man who has always lacked confidence with women, having grown up with an extremely controlling and dominating mother, Meiling. On his 29th birthday, Xiao-Hong's cousin Wen-Hao convinces Xiao-Hong to finally go lose his virginity at a brothel. Unable to actually do the deed with young woman arranged for him, Xiao-Hong flees in shame, but is stopped by the friendly, middle-aged manager of the brothel, Lele. As she consoles him, they start to make an unexpected connection with each other.

DIRECTOR

陳駿霖 Arvin CHEN EXECUTIVE PRODUCER

李耀華 Aileen LI SCREENPLAY

于瑋珊 Sunny YU 陳駿霖 Arvin CHEN CINEMATOGRAPHER

包軒鳴 Jake POLLOCK EDITOR

江翊寧 CHIANG Yi-ning MUSIC

徐文 HSU Wen SOUND

高偉晏 R.T KAO CAST

徐若瑄 Vivian HSU 柯震東 Kai KO 范少勳 Fandy FAN 侯彥西 Phil HOU 于子育 YU Tzu-yu

陳駿霖，2010 年首部劇情長片《一頁台北》由國際導演文．溫德斯擔任監製；2013 年《明天記得愛上我》於柏林影展大觀單元世界首映；2021 年完成第三部電影《初戀 慢半拍》，同年並拍攝第一部美國電影《台北愛之船》。

PRINT SOURCE

奇幻娛樂國際股份有限公司 FILMAGIC PICTURES CO.

Arvin CHEN directed the film, Au Revoir Taipei, and its follow up, Will You Still Love Me Tomorrow?. He recently completed his third and fourth films, Mama Boy, and Loveboat, Taipei.

2022 烏迪內遠東電影節 Udine Far East FF

06.23 THU 19:20 中山堂 TZH ★ 台北電影獎 - 劇情長片 TAIPEI FILM AWARDS - NARRATIVE FEATURES

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入圍獎項

．最佳男主角 ．最佳美術設計 ．最佳造型設計 ．最佳聲音設計

夢遊樂園

世界首映 World Premiere

Melody-Go-Round 台灣 Taiwan ｜ 2022 ｜ DCP ｜ Color ｜ 102min

故事從搬去借住的豪華別墅那天說起，看似美好的 新居生活，卻是美樂迷惘糾結的開始。慧敏和台生 是美樂的爸媽，夫妻關係早已生變，雙方另有其他 感情的寄託，為了顧及女兒，他們暗自協議等美樂 成年才離婚。但美樂早已察覺，表面上是家人、實 際感受卻虛假的關係，在美樂看來如同將被拋棄般 殘酷。美樂熱衷自創 Cosplay 角色扮演，別墅旁有 座荒廢多年的兒童樂園，她在這裡幻想出屬於她的 奇異世界──懸月王國。面對現實的殘忍，美樂沒 有退路，因而更耽溺在幻境之中。

Melody and her parents move into a mansion. It seems like a new start, but Melody's struggle has just begun. The parents have already separated but live together for their daughter. Melody has already been aware of that empty-shell marriage, as cruel as if she is about to be abandoned. Based on the abandoned amusement park, Melody imagines her fantasy world - the Moon Kingdom. She indulges in the mirage to escape from reality. Unexpectedly, the Moon Kingdom's companions kidnap Melody's parents and make her hunt them down. Will she stay in the illusion or come back to reality?

想不到懸月王國的夥伴竟綁架了台生與慧敏，並要 美樂將他們當成動物追殺，她才驚覺這個世界上最 割捨不下的，竟是又愛又恨的爸媽。美樂會如何面 對，抑或讓自己繼續在幻境之中逃避？

DIRECTOR, SCREENPLAY

賴國安 LAI Kuo-an EXECUTIVE PRODUCER

姚經玉 Gene YAO 賴國安 LAI Kuo-an 鄧文娟 Juno TENG PRODUCER

許家豪 HSU Chia-hao 江烽榮 CHIANG Feng-ron CINEMATOGRAPHER

張效倫 CHANG Hsiao-lun EDITOR

陳曉東 CHEN Hsiao-tung 陳定南 Nanez CHEN 賴國安 LAI Kuo-an MUSIC

楊琬茜 YANG Wan-chien SOUND

周震 CHOU Cheng 蔡篤易 TSAI Du-yi CAST

賴國安，首部劇情長片《上岸的魚》於多倫多影展世界首映，並入選西班牙聖賽巴斯提 安影展新導演競賽、巴西聖保羅影展主競賽、德國漢堡影展亞洲特快單元、塔林黑夜影 展、亞太電影大獎等十多個重要國際影展。 LAI Kuo-an's first feature, A Fish Out of Water, world premiered at Toronto and was in competition at San Sebastián and São Paulo and screened at worldwide film festivals, including Vancouver, Hamburg and Tallinn Black Nights.

06.24 FRI 19:30 中山堂 TZH ★｜ 07.03 SUN 19:00 信義 HYC 10 ★ 076

台北電影獎 - 劇情長片 TAIPEI FILM AWARDS - NARRATIVE FEATURES

温昇豪 James WEN 曾珮瑜 Peggy TSENG 程希緹 CHEN Xi-ti PRINT SOURCE

想飛的魚電影製作有限公司 Flying Fish Films

入圍獎項

．最佳新演員

我吃了那男孩一整年的早餐 My Best Friend's Breakfast

台灣 Taiwan ｜ 2022 ｜ DCP ｜ Color ｜ 119min

青春總有一股獨特的味道，視吃為人生第一要務 的吃貨女孩，誤打誤撞吃了暖男學長一整年的早 餐。吃帶來的不只是療癒感，也帶來了又酸又甜 的初戀滋味，她和同學們的故事，也是青春成長 的集體樣貌。

There is always a unique flavor of youth. A foodie girl who regards food as the most important thing in her life accidentally ate the breakfast of a warm-hearted male senior for a whole year. Eating not only brings her a sense of healing, but also the sour and sweet taste of her first love. The story of her and her classmates is also the collective image of youth growth.

DIRECTOR, SCREENPLAY

杜政哲 Ryan TU EXECUTIVE PRODUCER

梁宏志 Eric LIANG 劉創道 David LIU 王慧珍 Daphne WANG PRODUCER

呂學祥 Axiang LEU CINEMATOGRAPHER

曾憲忠 TSENG Hsien-chung EDITOR

顧曉芸 KU Hsiao-yun MUSIC

侯志堅 Chris HOU 周興哲 Eric CHOU SOUND

杜篤之 TU Duu-chih 杜則剛 TU Tse-kang 陳煜杰 CHEN Yu-chieh CAST

杜政哲，2001 年開始編劇工作，編劇作品《16 個夏天》叫好叫座，以《酸甜之味》獲 金鐘獎最佳編劇。執導電視劇《若是一個人》提名金鐘獎最佳導演；編劇作品《華燈初 上》成為話題之作。《我吃了那男孩一整年的早餐》為其首部劇情長片。 Ryan TU began working as a screenwriter in 2001. He wrote the well-received The Way We Were and won Best Screenwriter at Golden Bell Awards for Family Time. He directed TV series, I, Myself, which was nominated Best Director at Golden Bell Awards and wrote the popular drama, Light the Night. In 2022, he directed My Best Friend's Breakfast.

李沐 Moon LEE 周興哲 Eric CHOU 宋柏緯 Edison SONG 何思靜 Jean HO 陳淑芳 CHEN Shu-fang PRINT SOURCE

華映娛樂股份有限公司 SKY FILMS Entertainment Co., Ltd.

06.29 WED 15:30 華山 SHC 1 台北電影獎 - 劇情長片 TAIPEI FILM AWARDS - NARRATIVE FEATURES

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入圍獎項

．最佳劇情長片 ．最佳導演 ．最佳編劇 ．最佳男主角 ．最佳男配角 ．最佳配樂 ．最佳美術設計 ．最佳造型設計 ．最佳聲音設計 ．最佳視覺效果 ．傑出技術

月老

Till We Meet Again 台灣 Taiwan ｜ 2021 ｜ DCP ｜ Color ｜ 127min

慘遭雷擊而死的阿綸來到陰間，生前所有記憶歸零。 他必須做出選擇：投胎轉世卻可能變成蝸牛；或是 擔任神職，累積陰德再修轉世為人的正果。阿綸決 定成為月老新鮮人，與個性爆衝的粉紅女 Pinky 搭 檔，來到人間執行任務，但當阿綸遇見狗狗阿魯及 牽著牠的主人小咪時，他前世的記憶都回來了。小 咪是他生前的摯愛，阿綸希望能幫助陽間的小咪覓 得新姻緣，偏偏每條綁在小咪手上的紅線都會被燒 毀！原來，有些事，一萬年也不會變。

Ah-Lun, who has a choice to make in the underworld, decides to be a god of love in Chinese mythology. As he advances with his tasks on Earth, his biggest challenge is to tie a red string with the woman he loved the most.

DIRECTOR, SCREENPLAY

九把刀（柯景騰）Giddens KO EXECUTIVE PRODUCER

盧維君 LU Wei-chun PRODUCER

方曉茹 Molly FANG 金東炫 Paul D. KIM CINEMATOGRAPHER

周宜賢 CHOU Yi-hsien EDITOR

高鳴晟 KAO Ming-cheng 王瀞巧 WANG Ching-chiao

同一時間，從陰間逃到人間的鬼頭成展開腥風血雨 的復仇行動，找上五百年前背叛且殺害自己的馬賊 兄弟。當阿綸還在為小咪綁不上紅線雀躍，鬼頭成 早已將小咪視為下一個要毀滅的目標。

MUSIC

侯志堅 Chris HOU SOUND

高偉晏 R.T KAO 朱仕宜 CHU Shih-yi CAST

九把刀，本名柯景騰。2000 年起開始在網路上發表創作小說，作品廣受年輕人喜愛， 成為暢銷小說作家。曾有數部小說作品被改編拍攝成電影，包括《樓下的房客》、《等 一個人咖啡》、《那些年，我們一起追的女孩》等。 Giddens KO was born in Changhua in 1978. He is a writer and director, known for mon mon mon MONSTERS, Café．Waiting．Love, You Are the Apple of My Eye, among others.

2021 金馬獎最佳視覺效果、最佳造型設計、最佳音效 Best Visual Effects, Best Makeup & Costume Design, Best Sound Effects, Golden Horse Awards

06.24 FRI 13:00 華山 SHC 2 078

台北電影獎 - 劇情長片 TAIPEI FILM AWARDS - NARRATIVE FEATURES

柯震東 Kai KO 宋芸樺 SUNG Yu-hua 王淨 Gingle WANG 馬志翔 Umin Boya PRINT SOURCE

麻吉砥加電影有限公司 Machi Xcelsior Studios

入圍獎項

．最佳女配角 ．傑出技術

少年吔

Untouchable

台灣 Taiwan ｜ 2022 ｜ DCP ｜ Color ｜ 119min

火拼現場刀光棍棒之間，金盆洗手的「少年」黃少 軍奮不顧身為刑警阿唐擋刀，這一刀也劃開兩人深 埋已久的祕密。

"Siaulian", who is released from prison and trying to

少年與阿嬤相依為命，和阿唐一起長大，倚賴米粉 湯攤維生。少年考進警校，阿唐追隨同樣的夢想。 米粉攤酒客鬧事，一場血氣方剛的失誤讓阿唐誤傷 人命，少年出面頂罪入獄，阿嬤默默承受，讓阿唐 背負這個祕密當上警察。各堂口將衝突怪罪給少年 四處追殺，阿唐被逼得走投無路只好找回過往弟兄， 尋仇報復掀起腥風血雨遭到通緝。阿唐一心想讓少 年免於被捕，同事勸他別為了罪犯賠上一切，往日 情誼與新仇舊恨糾纏，在黑白兩道對峙之間，人性 的修羅場也於焉展開。

responsible for the fight. Siaulian is forced to form

turn his life back to track, runs into his childhood friend Tang, now a police officer, in a gang fight. Siaulian is wanted by the gangs since he has been made the one his own gang in order to protect his family and seek revenge. Eventually, he is wanted by both the gangsters and the police. As for Tang, he is struggling to protect

DIRECTOR, SCREENPLAY

顏正國 YEN Cheng-kuo EXECUTIVE PRODUCER

湯湘竹 TANG Hsiang-chu CINEMATOGRAPHER

姚宏易 YAO Hung-i EDITOR

廖慶松 LIAO Ching-sung 姚宏易 YAO Hung-i

his dearest friend as he is actually the reason why

MUSIC

Siaulian was sentenced to prison.

舒涵 Shellen 李千那 Chienna LEE 張峰議 Vic CHANG SOUND

杜篤之 TU Duu-chih 吳書瑤 WU Shu-yao CAST

顏正國，導演、演員，曾以《好小子》系列電影成為當紅童星。首部劇情長片《角頭 2： 王者再起》入選義大利烏迪內遠東電影節，在台創下破億票房；《少年吔》為其自編自 導自演，向影史經典《少年吔，安啦！》致敬之作。

顏正國 YEN Cheng-kuo 黃尚禾 HUANG Shang-ho 段鈞豪 DUAN Chun-hao 張寗 CHANG Ning 李千那 Chienna LEE PRINT SOURCE

原典國際影視製作有限公司 Yuan Dian Film Co., Ltd.

YEN Cheng-kuo broke out as one of the best-known child stars for his role in The Kung-fu Kids. Untouchable is his second feature dedicated to Dust of Angles (1992).

06.28 TUE 13:30 華山 SHC 2 台北電影獎 - 劇情長片 TAIPEI FILM AWARDS - NARRATIVE FEATURES

079

入圍獎項

．最佳紀錄片 ．最佳剪輯 ．最佳配樂

神人之家

亞洲首映 Asian Premiere

A Holy Family

台灣、法國 Taiwan, France ｜ 2022 ｜ DCP ｜ Color ｜ 87min

離家二十年，導演阿良回到偏遠農村的家鄉，當他 與家人重新面對彼此時，卻發現當年迫使他逃跑的 人事物不曾改變。國小就通靈的哥哥，與十二尊神 明讓信仰成為一家人的救贖，也成了詛咒。從沉默 到慢慢說出心裡話，阿良日復一日記錄著這一次的 重逢，逐漸意識到他的缺席也是這個家難以癒合的 傷口。

After 20 years of absence, director Elvis Lu A-liang returns home to his family. He comes back with the aim of facing the real motive of his departure: the stubborn belief in the power of his elder brother, A-zhi, a psychic in the village, who promises to change the lives of his clients, despite the poverty which haunts him and his parents, as well as the repeated failures of his agricultural enterprises. Their father, addicted to

DIRECTOR

盧盈良 Elvis LU A-liang PRODUCER

陳璽文 Stefano CENTINI Jean-Laurent CSINIDIS CINEMATOGRAPHER

盧盈良 Elvis LU A-liang 周文欽 CHOU Wen-chin 陳彰光 CK CHEN

gambling, and their mother, seriously ill, also seem to

EDITOR

rely all their chances of redemption on the gods. A-liang

黃懿齡 HUANG Yi-ling

documents day by day, realizing that in the end, maybe the real wound in the family life was, in fact, his own departure.

MUSIC

許志遠 Point HSU SOUND

Damien GUILLAME Gilles BÉRNARDEAUG 黃年永 Eddie HUANG 吳峟賢 WU Yu-hsien PRINT SOURCE

飛望影像有限公司 Volos Films LTD.

盧盈良，嘉義縣民雄鄉人，畢業於台灣藝術大學電影所。平時靠著打影像雜工過活，也 是自由紀錄片工作者，熱愛真實電影，影像創作多與弱勢族群的生命相關，近年投入探 討信仰及性別議題的領域。 Elvis LU A-liang is a Taiwanese documentary director. The Shepherds (2017), his first feature documentary, was nominated Best Documentary at Taipei Film Awards.

2022 瑞士真實影展 Visions du Réel

06.26 SUN 21:30 信義 HYC 10 ★｜ 07.02 SAT 19:00 信義 HYC 10 ★ 080

台北電影獎 - 紀錄片 TAIPEI FILM AWARDS - DOCUMENTARIES

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．最佳紀錄片

海與岸

The Hostess

台灣 Taiwan ｜ 2021 ｜ DCP ｜ Color ｜ 48min

下海，常被用來指涉進入酒店產業，入行就是淪 落風塵、捲入危險的海。大眾為酒店小姐定義生 活處境，而在社會既有的道德框架中，她們是一 群失語的人。《海與岸》記錄了三位酒店工作者 的真實樣貌，以及他們從酒店去汙名倡議到組織 工會，與社會對話的過程。然而來自家人與大眾 的不理解，又該如何面對？酒店工作對她們來說， 是海抑或是岸？

"Xià hǎi" (go to the sea) is often used to describe women who are involved in hospitality industry, falling into a socially unrespectable profession, namely, be drawn into the dangerous sea, which is defined by society for these mistresses. In the social frame, these mistresses are seen as aphasiac. The Hostess recorded the authentic faces of the three mistresses while working, and how they provoke destigmatization and organize a union, in terms of communicating with society. However, the denial and derecognition from the family and society turn out to be the biggest challenge. How are they going to face it?

DIRECTOR, EDITOR

趙若彤 CHAO Ruo-tong PRODUCER

蔡崇隆 TSAI Chung-lung 吳政龍 WU Cheng-lung CINEMATOGRAPHER

趙若彤 CHAO Ruo-tong 葉澤邦 IP Chak Pong MUSIC

李坤憲 LI Kun-hsien SOUND

林晉德 LIN Chin-te PRINT SOURCE

趙若彤 CHAO Ruo-tong

趙若彤，畢業於中正大學傳播學系，現為自由影像工作者，從事紀錄片、劇情片、平面 攝影等影像創作近四年。喜歡以影像創作的方式帶入自身關注的議題，並嘗試融合不同 影像手法，建立鮮明的風格。 CHAO Ruo-tong has been working in image creation for around four years. She likes to talk about issues of concern in the form of image and tries to fuse various photography techniques to establish a distinctive style. 2022 金穗獎 Golden Harvest Awards

06.30 THU 16:20 華山 SHC 1 台北電影獎 - 紀錄片 TAIPEI FILM AWARDS - DOCUMENTARIES

081

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．最佳攝影 ．最佳聲音設計

庭中有奇樹

Kaohsiung City, Yancheng District, Fubei Rd., No.31 台灣 Taiwan ｜ 2021 ｜ DCP ｜ Color ｜ 18min

殘舊大樓裡，隱含著被遺忘的面容。萎靡破落中， 無聲的凝望是具韌性的生活質地。破敗的庭院，一 株雀榕於破巖盤根蔚綠，但無人知曉烈火將襲。

As a storied apartment complex awaits its eventual demolition, its inhabitants teeter on the edge of poverty - unaware that the deadliest building fire in the city's history will soon arrive.

DIRECTOR, CINEMATOGRAPHER, EDITOR

曾威量 CHIANG Wei Liang PRODUCER

劉純佑 LIU Chun-yu SOUND

高偉晏 R.T KAO PRINT SOURCE

高雄市電影館 Kaohsiung Film Archive

曾威量，曾為金馬電影學院、盧卡諾電影學院學員。短片作品關切東南亞離散裔群，並 巡迴柏林、威尼斯等國際影展。首部劇情長片計畫入選坎城影展電影基金會劇本工作 坊、東京新銳營，並獲頒法國國家電影中心劇本寫作獎。 Born in Singapore and based in Taiwan, CHIANG Wei Liang's work focuses on the Southeast Asian diaspora in modern Asia and has been presented and awarded at various international film festivals. 2021 高雄電影節 Kaohsiung FF 2022 台灣國際紀錄片影展 TIDF

06.30 THU 16:20 華山 SHC 1 082

台北電影獎 - 紀錄片 TAIPEI FILM AWARDS - DOCUMENTARIES

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．最佳紀錄片

大俠胡金銓 The King of Wuxia

台灣 Taiwan ｜ 2022 ｜ DCP ｜ Color, B&W ｜ 216min

胡金銓是武俠電影劃時代的宗師，他所開創的電 影美學，至今深深影響徐克、李安等知名導演， 甚至世界影壇。本片跨越台、港、中、美，透過 四十幾位重量級人物的訪談，深入解析胡金銓電 影的過人之處，亦首次揭露他追求完美的瘋魔作 風，以及曲折漂泊的生命歷程。透過石雋的腳步， 重返當年拍攝場景，彷彿穿越時空。俠客老矣， 卻不放棄尋覓大導演的身影，五十年的記憶如靈 光閃現，真摯動人。

King Hu is the epoch-making master of martial arts cinema. His aesthetics has influenced renowned directors such as Tsui Hark and Ang Lee, and world cinema. Traveling to Taiwan, Hong Kong, China and the US, this film analyzes the extraordinary artistry of Hu's works through interviews with over 40 distinguished figures. This is also the first time to reveal his pursuit of perfection and wandering life journey. Following

DIRECTOR

林靖傑 LIN Jing-jie PRODUCER

許卉林 HSU Hui-lin 塗翔文 Steven TU CINEMATOGRAPHER

陳香松 TAN Heong-song EDITOR

Shih Chun's footsteps, like traveling through time, this

林靖傑 LIN Jing-jie 施建宇 SHIH Chien-yu

film returns to the sets. In fifty years of memories, the

MUSIC

swordsmen turned old but never gave up searching for the great director's influences.

李宜蒼 Sky LEE 翁士凡 WENG La-fa SOUND

黃年永 Eddie HUANG 陳奕伶 CHEN Yi-ling 蔡文懷 TSAI Wen-huai PRINT SOURCE

華映娛樂股份有限公司 SKY FILMS Entertainment Co., Ltd.

林靖傑，台灣知名導演。執導作品屢獲國內外獎項肯定，2007 年《最遙遠的距離》獲 威尼斯影展國際影評人週最佳影片，近年代表作有聚焦作家王文興的紀錄片《尋找背海 的人》與劇情片《愛琳娜》。 LIN Jing-jie is a well-known director in Taiwan. In 2007, he won Best Film in the International Film Critics' Week at Venice for The Most Distant Course.

06.26 SUN 16:40 信義 HYC 10 ★｜ 06.30 THU 19:20 信義 HYC 10 ★ 台北電影獎 - 紀錄片 TAIPEI FILM AWARDS - DOCUMENTARIES

083

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．最佳紀錄片

我那遙遠的呼喚 Myanmar Remembered

台灣 Taiwan ｜ 2021 ｜ DCP ｜ Color, B&W ｜ 123min

二戰時，日本發動大東亞戰爭佔領緬甸，切斷盟軍 援華唯一的滇緬公路，美軍只能飛越駝峰路線到雲 南運補，盟軍因而發動遠征軍，兩次入緬與日征戰， 打通中印公路，讓戰局得以逆轉，也讓無數青年命 喪異鄉。 70 多年後，歷經緬甸排華及國共內戰後的分治，戰 勝的中華民國駐印遠征軍與戰敗的日軍墳墓遭受了 不同的命運，讓緬甸戰場上的英靈與後裔無所適從。

A great number of youths sacrificed their lives to help re-write the history of World War II in Burma, aka Myanmar nowadays. A look at the cemeteries of the ROC Expedition Army in India versus those of the Japanese Burma Area Army renders a stark contrast to the ways how the unsung heroes have been treated. A sensitive chord is struck in the region's geopolitics involving Japan, Taiwan, and China. History emerges as a new battleground for a multilateral political tug-of-war.

歷史記憶被棄置於異邦，任由政治利用擺弄。攝影 機走入歷史時空，由印度開始走訪中印公路，透過 駐印遠征軍、日軍遺屬和台灣兵，以緬北為坐標， 重返戰地現場，探究因政治流變的歷史話語權。

李立劭，曾四度獲金穗獎，六度入選台灣國際紀錄片影展，三度入圍台北電影獎，兩 度入圍金馬獎。曾以《公視紀實─獨舞者的樂章》獲金鐘獎最佳非戲劇類導演獎。近 年持續關注國族認同及戰爭歷史詮釋議題，《我那遙遠的呼喚》為其最新橫跨四國拍 攝之作。 LEE Li-shao got involved in documentary in 1999. Lee excels at documenting borderline characters of history, and national and ethnic identity issues. Myanmar Remembered is Lee's latest work.

07.01 FRI 16:00 華山 SHC 1 084

台北電影獎 - 紀錄片 TAIPEI FILM AWARDS - DOCUMENTARIES

DIRECTOR, CINEMATOGRAPHER, EDITOR

李立劭 LEE Li-shao PRODUCER

吳家惠 WU Chia-hui SOUND

林冠戎 LIN Kuan-jung 吉米音樂 Jimmy Music PRINT SOURCE

艾巴克影像體有限公司 IBAK IMAGE STUDIO

入圍獎項

．最佳紀錄片 ．最佳剪輯 ．最佳配樂 ．最佳聲音設計

金門留念 Remember Me

台灣 Taiwan ｜ 2022 ｜ DCP ｜ Color, B&W ｜ 86min

金門，台灣最接近中國的前線島嶼。一名金門男孩 因國共戰爭流離失所，多年後開了間相館，為守衛 金門的軍人拍下一張張青春正盛的紀念照。一名對 蔣經國又愛又恨的台灣軍官，因退伍前的無心之過， 而終其一生留在島上。一名中國女孩，懷抱台灣夢 嫁到金門，穿起台灣軍服，日日表演砲擊祖國的戲 碼。一座島，三個人，見證兩岸一甲子的歷史變遷。 在這裡，從蔣介石到習近平都是配角，戰地前線老 相館牆上，一幀幀泛黃的照片裡，每一張青春的臉 才是這齣歷史劇的主演。青天白日滿地紅，青春沒 有百日紅，戰事已歇，青春亦遠，唯有金門故事堪 可留念。

Quemoy Island sits 2km off China's southeastern coast; it is Taiwan's territory, a frontline outpost in the Cold War battle against Communism. There is a photographer, who witnessed the cruelty of war, and also shot many portraits of soldiers' young faces. However, with Quemoy become the most pro-Chinese place after the end of the Cold War, the photographer turns to shoot the former enemies - the Chinese. Every picture in

DIRECTOR, EDITOR

洪淳修 HUNG Chun-hsiu EXECUTIVE PRODUCER

曾文珍 TSENG Wen-chen CINEMATOGRAPHER

許維昶 HSU Wei-chang MUSIC

溫子捷 WEN Tzu-chieh 游學謙 YU Hsueh-chien

this film recalls the youthful days of modern East Asia,

SOUND

and the small potatoes just like you and me... Please

蔣震道 CHIANG Chen-tao 許嵐婷 HSU Lan-ting

remember me!

PRINT SOURCE

紅潤影像製作有限公司 Ruddy Production

洪淳修，紀錄片導演。作品包括《刪海經》、《河口人》等，曾獲金穗獎最佳紀錄片、 台北電影獎最佳剪輯、日本國際環境映畫祭綠色印象賞等獎項肯定。關注城市、國境邊 陲，呈現區域間的矛盾與衝突，近年從事紀錄片教學。 HUNG Chun-hsiu holds a master's degree in Documentary from Tainan National University of the Arts. His works include The Lost Sea (2014), Fishermen in the City (2006) and Farmers in the City (2005). 2022 台灣國際紀錄片影展 TIDF

07.03 SUN 18:00 華山 SHC 1 台北電影獎 - 紀錄片 TAIPEI FILM AWARDS - DOCUMENTARIES

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詠晴

Good Day 台灣 Taiwan ｜ 2021 ｜ DCP ｜ Color ｜ 19min

台商家誠被妻子趕出家門，正在協商離婚，連兒子都勸趕緊簽一簽 離婚協議書。這天，他潛回家中打包高爾夫球具，恰巧強颱「詠晴」 來襲，一只與妻子同名的颱風……。 Chia-chen is turned out by his wife whom he is going to divorce. One day, he sneaks back home while typhoon "Yong-Ching", which has the same name as his wife, is coming...

DIRECTOR, SCREENPLAY

張誌騰 ZHANG Zhi-teng PRODUCER

小黃花

林儀芬 Fenda LYN 周嘉儀 Joyce CHOU 世界首映 World Premiere

CINEMATOGRAPHER

周宜賢 CHOU Yi-hsien EDITOR

Little Yellow Flower

李宜珊 Jovi LEE Yi-shan

台灣 Taiwan ｜ 2022 ｜ DCP ｜ Color ｜ 30min

阿南重回令他傷心的老厝，瓜棚上黃花怒放，引來群蟻傾巢而出。 年少的阿南曾因噴殺螞蟻導致瓜棚上的黃花全數枯死，造成父子間 嚴重的衝突與無可挽回的遺憾。如今他看著包尿布、身上爬滿螞蟻 的癱瘓父親，過往的痛苦記憶重新湧上心頭。 When A-nan looks at his paralyzed father in bed with ants crawling all over his body, it brings back painful childhood memories. Can he restore the long-frozen father-son relationship?

SOUND

杜篤之 TU Duu-chih 杜亦晴 DU Yi-ching CAST

胡世山 samhu 黃士魁 HUANG Shih-kwei PRINT SOURCE

林儀芬 Fenda LYN

張誌騰，攝影出身的新手導演，24 歲 曾以《醉・生夢死》入圍金馬獎最佳 攝影，渴望在故事中打破社會偏見。 2021 首次執導短片《詠晴》叩關釜山 影展，並獲金馬獎最佳劇情短片。 ZHANG Zhi-teng's first film, Good Day, was in Wide Angel Asian short film competition at Busan and also won Best Short Live Action Film at Golden Horse Awards.

．最佳短片 入圍獎項

DIRECTOR, CINEMATOGRAPHER

林見坪 LIN Chien-ping PRODUCER

李宜芸 LI Yi-yun

．最佳攝影 ．最佳聲音設計 ．傑出技術

SCREENPLAY

林見坪 LIN Chien-ping 白韻如 PAI Yun-ju EDITOR

陳博文 CHEN Po-wen 林見坪 LIN Chien-ping SOUND

杜篤之 TU Duu-chih CAST

王淮仲 WANG Huai-zhong 蔡明修 TSAI Ming-siou PRINT SOURCE

放逐引力國際影業有限公司 Gravity Exile Films

林見坪，畢業於紐約視覺藝術學院電 影系。善於運用畫面與聲音的對應， 探究人物的內心世界。2005 年執導 作品《小站》獲威尼斯影展最佳短片 銀獅首獎。 LIN Chien-ping graduated from S.V.A. in New York. His film, Small Station, won Best Short Film Silver Lion at Venice 2005.

．最佳視覺效果 入圍獎項 06.25 SAT 18:30 信義 HYC 10 ★｜ 07.03 SUN 12:30 華山 SHC 2 ★ 086

台北電影獎 - 短片 I TAIPEI FILM AWARDS - SHORT FILMS I

06.25 SAT 18:30 信義 HYC 10 ★｜ 07.03 SUN 12:30 華山 SHC 2 ★

台北過手無暝無日 Do Not Go Gentle in Taipei

台灣 Taiwan ｜ 2021 ｜ DCP ｜ Color ｜ 30min

這夜，小安和咪咪想找尋一名男子狂歡一夜，兩人遇上了正在等待 工作任務的神祕男子阿凱，三人湊在一塊，經歷了這一晚。她們各 自沒有得到自己想要的東西，一切卻都不一樣了。 One night, Ann and Mimi want to have a blast. They meet A-Kai. They not only fail to get what they want but end up getting involved in a crime.

DIRECTOR

王逸鈴 WANG Yi-ling PRODUCER

郭柏村 KUO Bo-tsun

鍵盤俠

SCREENPLAY

王逸鈴 WANG Yi-ling 梁秀紅 LEONG Siew Hong CINEMATOGRAPHER

陳克勤 CHEN Ko-chin

Keyboard Warrior

EDITOR

台灣 Taiwan ｜ 2022 ｜ DCP ｜ Color ｜ 30min

愛好武術的英宏，常在網路上發表對武術的見解。一日，英宏與三 名青少年起衝突，陰錯陽差以一招擊倒對方，過程被手機錄影上傳 至網路，讓他意外成為網紅「打牛哥」。他享受名聲帶來的轉變， 卻與昔日好友漸行漸遠。 Ying-hong, a martial arts lover, accidentally becomes the Internet celebrity "Kung Fu Man". He has to face the challenges from not only others but his true self.

王逸鈴 WANG Yi-ling 張雅婷 CHANG Ya-ting MUSIC

王韻筑 Liv W. 葉柏成 Dizparity 徐平 HSU Ping SOUND

李俊逸 LI Chun-yi 歐千綺 OU Chien-chi 張易婷 Mei CHANG Yi-ting 陳晏如 Sylvia CHEN Yen-ju

王逸鈴，畢業於台灣藝術大學電影學 系。 導 演 作 品 曾 入 圍 多 項 國 內 外 影 展，包括法國坎城影展電影基石競賽 單元、台北電影節等，並曾於金穗獎、 台灣國際女性影展等影展獲獎。 WANG Yi-ling lives in Taipei, Taiwan. She has made several short films. Her short film was selected for the 70th Festival de Cannes Cinéfondation Competition and other prestigious film festivals.

CAST

劉立 Leo LIU

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PRODUCER

拾影像文化有限公司 FILM10 PRODUCTION, LTD.

李英宏 LI Ying-hung 劉瑜萱 LIU Yu-shiuan CINEMATOGRAPHER

王逸帆 WANG I-fan MUSIC

杜蟲 DUANGER 邱群 QINQINQIN SOUND

吳侑庭 WU Yo-ting CAST

黃泰維 Teddy Ray HUANG PRINT SOURCE

李英宏 LI Ying-hung

劉立，1991 年出生於台灣，畢業於台 北藝術大學電影系。作品擅長以荒謬 諷刺的喜劇手法，反映當代議題。

．最佳短片 入圍獎項

王渝萱 WANG Yu-xuan 潘綱大 Devin PAN 李雪 Angel LEE

DIRECTOR, SCREENPLAY, EDITOR

06.25 SAT 18:30 信義 HYC 10 ★｜ 07.03 SUN 12:30 華山 SHC 2 ★

Leo LIU was born in 1991 and graduated f ro m Ta i p e i N a t i o n a l U n i ve rs i t y o f t h e A r t s . H e i s k n o w n fo r r a i s i n g contemporary social issues in satirical comedy.

．最佳短片 入圍獎項

．最佳新演員 ．傑出技術

06.25 SAT 18:30 信義 HYC 10 ★｜ 07.03 SUN 12:30 華山 SHC 2 ★ 台北電影獎 - 短片 I TAIPEI FILM AWARDS - SHORT FILMS I

087

懸日與掛月

When Henge Meets Crescent 台灣 Taiwan ｜ 2021 ｜ DCP ｜ Color ｜ 25min

受疫情影響，少年一家人從國外搬回台灣南部小鎮。因從事建設公 司的父親與村長的土地開發合作案，孤獨的少年結識了村長的兒 子，個性一冷一熱的兩人一拍即合，成了莫逆之交。隨著土地糾紛 演變成索賄案，村長家名譽遭受波及，也影響了兩人純真的友誼。 A bribery scandal in a small village throws a gloom over Wen-He and Jun-Yo's friendship. They have been kept apart by their families. The pandemic isolates not only individuals but communities.

DIRECTOR, SCREENPLAY

呂柏勳 LU Po-shun EXECUTIVE PRODUCER

講話沒有在聽

於蓓華 YU Pei-hua 楊孟穎 YANG Meng-yin PRODUCER

呂慧恬 LU Hui-tian

Can You Hear Me?

CINEMATOGRAPHER

台灣 Taiwan ｜ 2021 ｜ DCP ｜ Color ｜ 25min

EDITOR

阮翔雯 JUAN Hsiang-wen

一覺醒來，阿忠驚覺自己死了，太太和子女正處理他的身後事。鬼 阿忠喋喋不休，一家人各說各話，荒唐事連番發生──兒子說媽媽 謀殺親夫、員警莫名見鬼、太太不顧反對硬要推阿忠去河堤。雖然 太太聽不見鬼阿忠的半句話，卻對阿忠的最後心願心有靈犀。 Jhong wakes up and finds himself dead. He watches his remaining family dealing with his death. Although his wife couldn't hear what he has to say, she comprehends what's on his mind.

呂柏勳 LU Po-shun 張雅婷 CHANG Ya-ting MUSIC

巫康裘 WU Kang-chiu SOUND

吳松翰 WU Song-han CAST

李文和 LI Wen-he 李俊佑 LI Jun-yo PRINT SOURCE

DIRECTOR, EDITOR

李念修 LI Nien-hsiu EXECUTIVE PRODUCER

陳寶旭 Rachel CHEN 黃薇夏 Vita HUANG

LU Po-shun currently works as a freelance filmmaker, committing to authentic stories. Filming is refilming, he believes every ordinary around us mirrors individuals to the existence of various communities.

．最佳短片 入圍獎項

財團法人公共電視文化事業基金會 Public Television Service Foundation 高雄市電影館 Kaohsiung Film Archive

呂柏勳，畢業於台灣藝術大學圖文傳 播藝術學系，雙主修電影學系，現為 自由影像工作者。致力於影像相關創 作，作品多以日常經歷出發，關注影 像如何梳理個人生命史，擴及映照族 群乃至集體的生存狀態。

PRODUCER

董思玫 TUNG Szu-mei SCREENPLAY

李念修 LI Nien-hsiu 許世輝 HSU Shih-hui CINEMATOGRAPHER

鍾明達 CHUNG Ming-ta MUSIC

溫子捷 WEN Tzu-chieh CAST

金士傑 KING Shih-chieh 楊貴媚 YANG Kuei-mei 竺定誼 CHU Ting-yi 張詩盈 CHANG Shih-ying 梁舒涵 LIANG Shu-han

李念修，編劇、剪輯、導演三棲的創 作者，過去十幾年的剪輯經驗累積了 對人物細膩的觀察眼光，近年開始跨 足編劇及導演工作。 LI Nien-hsiu has acquired a good eye for character through her editing experience for more than a decade and has started working as a writer and director in recent years.

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．最佳短片 入圍獎項

打勾勾娛樂有限公司 Deal Entertainment Inc.

．最佳編劇

06.25 SAT 21:20 信義 HYC 10 ★｜ 07.03 SUN 15:30 華山 SHC 2 ★ 088

台北電影獎 - 短片 II TAIPEI FILM AWARDS - SHORT FILMS II

06.25 SAT 21:20 信義 HYC 10 ★｜ 07.03 SUN 15:30 華山 SHC 2 ★

那天，我媽偷了老師的車 She Doesn't Care

台灣 Taiwan ｜ 2021 ｜ DCP ｜ Color ｜ 30min

濱海小鎮，中二少女小春和媽媽阿水承租高老師夫婦的房子。某天， 高太太將夫妻感情失和的怨氣出在小春身上，踩到阿水的底線，她 決定來個絕地大反攻。小春發現朋友豪豪喜歡的人竟然不是自己， 也無法接受的採取了行動。 Xiao-Chun lives with her mother Shui in the rented room owned by the Gaos. One day when Mrs. Kao takes out her rage on Xiao-Chun, Shui decides to fight back...

DIRECTOR, SCREENPLAY

詹欣怡 ZHAN Xin-yi EXECUTIVE PRODUCER

腸躁男孩

李宜珊 Jovi LEE Yi-shan PRODUCER

賴育珊 LAI Yu-shan CINEMATOGRAPHER

Irritable Boy

陳千華 CHEN Chien-hua

台灣 Taiwan ｜ 2021 ｜ DCP ｜ Color ｜ 26min

楊雅鈞 YANG Ya-jun

EDITOR

與困擾共處，是告別焦慮的最佳方式。愷愷，患有腸躁症的十歲男 孩，想在中秋節將情書交給暗戀的同學小潔，情竇初開的心卻伴隨 著屎在滾。當他趁著午休沒人，準備將情書偷偷放到小潔的抽屜時， 卻因為太過緊張，挫屎在內褲上。本片以寫實的筆觸刻畫日常，描 繪微不足道又尷尬的童年糗事。 Growth is learning to live with trouble. Kai, a ten-year-old boy with irritable bowel syndrome, plans to send the love letter to his crush, Jenny on Moon Festival.

MUSIC

莊捷安 CHUANG Chieh-an SOUND

許家馨 XU Jia-xin CAST

謝瓊煖 XIE Qiong-xuan 鄭逸軒 CHENG Yi-hsuan 劉晏汝 LIU Yan-ru

詹欣怡，畢業於朝陽科技大學傳播藝 術系。現居竹南，《那天，我媽偷了 老師的車》為其大學畢業製作作品。 ZHAN Xin-yi graduated from the Department of Communication Arts at Chaoyang University of Technology. She Doesn't Care is her graduation film.

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賴育珊 LAI Yu-shan

．最佳女配角 入圍獎項

DIRECTOR

陳浩維 CHEN Hao-wei 王韋喬 WANG Wei-chiao PRODUCER

張凱妮 CHANG Kai-ni SCREENPLAY, EDITOR

陳浩維 CHEN Hao-wei CINEMATOGRAPHER

廖敬堯 LIAO Ching-yao MUSIC

陳昶豪 CHEN Chang-hao SOUND

鄭維芝 Wing CHENG CAST

鄭逸軒 CHENG Yi-hsuan 吳宏修 WU Hong-xiu PRINT SOURCE

財團法人公共電視文化事業基金會 Public Television Service Foundation

陳浩維，出生於台灣台中。《腸躁男 孩》為其首部編導與剪輯的作品。

06.25 SAT 21:20 信義 HYC 10 ★｜ 07.03 SUN 15:30 華山 SHC 2 ★

CHEN Hao-wei was born in Taichung, Taiwan. Irritable Boy is the first film he wrote, directed and edited.

王韋喬，出生於台灣高雄。《腸躁男 孩》為其首部導演作品。 WANG Wei-chiao was born in Kaohsiung, Taiwan. He served as director on Irritable Boy.

．最佳新演員 入圍獎項 06.25 SAT 21:20 信義 HYC 10 ★｜ 07.03 SUN 15:30 華山 SHC 2 ★ 台北電影獎 - 短片 II TAIPEI FILM AWARDS - SHORT FILMS II

089

入圍獎項

．最佳動畫片 ．最佳造型設計 ．最佳視覺效果 ．傑出技術

素還眞

DEMIGOD: The Legend Begins 台灣 Taiwan ｜ 2022 ｜ DCP ｜ Color ｜ 103min

The young and talented martial artist Su Huan-jen

少年素還真身懷絕藝，初入江湖想見識廣大世界， 卻因為新結識的好友──寰宇堡少主禹歡，而捲入 險惡的奪權紛爭，就連疼愛他的老師八趾麒麟，都 因他遭難。真相如霧，凶手卻在身邊；傳說力量現 世，一場驚天對決即將展開。一人三化的由來，未 公開的白蓮祕辛，且看素還真如何力挽狂瀾、阻止 凶徒野心；如何仗劍而行，在江湖中走出自己的路。 一個屬於霹靂的傳奇，即將誕生。

makes his first venture into the martial arts world to find his parents, but is dragged into a conspiracy surrounding the Five Mountains. Framed as a murderer, he must find the true culprit and clear his name, but before he can, tragedy befalls Eight-Toed Qilin, his beloved master. As the true mastermind behind the murders unseals the legendary power of Five Mountains,

DIRECTOR, SCREENPLAY

黃強華 HUANG Wen-chang EXECUTIVE PRODUCER

黃亮勛 HUANG Liang-hsun CINEMATOGRAPHER

李瑞峰 LI Ruei-fong 黃光謹 HUANG Guang-jin EDITOR

高鳴晟 KAO Ming-cheng

Su Huan-Jen must discover his true destiny with the

MUSIC

help of the mystical beast of Qilin, and save the world

張衞帆 CHANG Wei-fan

from overwhelming destruction.

SOUND

劉小草 Agnes LIU 曾雅寧 Ning TSENG 眶框外音像製作所股份有限公司 AACROSS STUDIO LTD. DUBBING ACTOR

黃文擇 HUANG Wen-tze PRINT SOURCE

黃強華，霹靂國際多媒體股份有限公司董事長。早期投身錄影帶市場，後成立霹靂衛星 電視台，推出結合科技與傳統的「霹靂布袋戲」，發展為多元化經營的霹靂國際多媒體， 締造台灣布袋戲的奇蹟。主導霹靂布袋戲劇情，得「十車書」美名。 HUANG Wen-chang is the chief director of Pili puppet show series, which is composed of more than 3,000 hours over 30 years in Taiwan. The local fans admire him as an "intellectual writer".

06.28 TUE 16:10 華山 SHC 1 090

台北電影獎 - 動畫片 TAIPEI FILM AWARDS - ANIMATIONS

霹靂國際多媒體股份有限公司 PILI INTERNATIONAL MULTIMEDIA

當鯨魚游上沙灘 Alice on the Beach

台灣 Taiwan ｜ 2022 ｜ DCP ｜ Color, B&W ｜ 11min

愛麗絲搭上手扶梯，手中的商場推車突然鬆脫，向海洋奔去。海面 上，愛麗絲意外發現擱淺的鯨魚並開始呼救。前往探查的救生員發 現只是錯覺，礁石在退潮時激出鯨魚擺尾的模樣。 Alice sees a stranded whale. When the lifeguard goes in to rescue it, a wave swallows him. Then Alice turns into a whale to save him.

DIRECTOR, SCREENPLAY

吳德淳 WU De-chuen PRODUCER

島影

鄭怡萍 CHENG Yi-ping MUSIC

福多瑪 Thomas FOGUENNE SOUND

The Island of Us

左興 TSO Hsing

台灣 Taiwan ｜ 2022 ｜ DCP ｜ Color ｜ 19min

吳德淳 WU De-chuen

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怕光的苗仔和需要光才能存在的影子，是彼此活下去的目的，苗仔 決心找到彼此共存的方法。旅途中，他遇上許多神奇生物自成一個 小小的國度，有著他們對愛的表達方式，奇妙而殘忍。苗仔試著理 解與幫助，卻讓他們愈陷愈深。 Seed, who can't get under the sun, and the shadow, who needs light to exist, are the meaning of life to each other. They go on a journey in this strange world.

入圍獎項

余聿 YU Yu SCREENPLAY

余聿 YU Yu 唐國開 Thomas TANG MUSIC

SOUND

歐千綺 OU Chien-chi 陳晏如 Sylvia CHEN Yen-ju 張易婷 Mei CHANG Yi-ting PRINT SOURCE

余聿 YU Yu

WU De-chuen graduated from NYC School of Visual Arts. His animations are inspired by his personal experience. His The Magical Tracing won Best Animated Short Film at Golden Horse Awards 2021.

．最佳動畫片

DIRECTOR, CINEMATOGRAPHER, EDITOR

張易婷 Mei CHANG Yi-ting 陳立唐 Lewis CHEN Li-tang

吳德淳，畢業於美國紐約大學視覺藝 術研究所。以動畫創作見長，創作題 材多來自個人生命經驗。近期以《海 角天涯》獲第 58 屆金馬獎最佳動畫 短片獎。

余聿，畢業於南加州大學動畫學系研 究所，參與 LA 多項停格動畫製作。 2018 年回台灣成立踩影子停格動畫工 作室，製作獨立短片及商業專案，期 許每個作品故事都能比上一個更好。

07.02 SAT 14:20 信義 HYC 10 ★

YU Yu graduated from the University of Southern California with an MFA in Animation. In 2018, she returned to Taiwan and founded her own studio, Shadow Step.

．最佳動畫片 入圍獎項 07.02 SAT 14:20 信義 HYC 10 ★ 台北電影獎 - 動畫片 TAIPEI FILM AWARDS - ANIMATIONS

091

河豚 Bruise

台灣 Taiwan ｜ 2021 ｜ DCP ｜ Color ｜ 6min

很小的時候，我第一次聽到河豚這個字。拜託愛畫畫的爸爸畫給我 看，他拿了一張 A4 的紙，在左上角畫了一隻很小的河豚。那張紙 我一直收著，現在回想起來，那張紙就和爸爸一樣，留了一大片空 白給我。 When I first heard of "puffer fish", I asked Dad to draw one for me. He drew a small one on a large piece of paper, leaving me with a big blank space. DIRECTOR, SCREENPLAY, EDITOR

黃秉安 HUANG Ping-an

白線 REALIGN

MUSIC

盧廣仲 Crowd LU PRINT SOURCE

擺擺映畫 baibaiyy studio

黃秉安，1999 年出生於台灣台中，目 前是個做動畫的人。

REALIGN

台灣 Taiwan ｜ 2022 ｜ DCP ｜ Color ｜ 16min

一個關於空間與時間維度的故事，講述一名茫然迴盪於房間、街道 與巨牆外湖泊裡的男孩，在經歷一場場雷雨腐蝕的時間後，他決定 邁步前往乘載一切重力的白線。

HUANG Ping-an was born in Taichung City, Taiwan, in 1999. She is a director working on 2D animation.

REALIGN is an animation film about space and time dimension. It depicts a boy who decides to walk towards the line that behold the gravity after thunderstorms corroded time.

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DIRECTOR, SCREENPLAY, EDITOR

黃睿烽 HUANG Ruei-feng PRODUCER

吳至正 Sheep WU MUSIC

邱盛揚 CHIU Sheng-yang SOUND

高偉晏 R.T KAO PRINT SOURCE

羊王創映有限公司 Aries Creative

黃睿烽，2000 年開始創作動畫，擅 於藉鏡頭與人物走位，掌握敘事節奏， 並以畫面構圖見長。喜歡下雨，常在 這些日子裡感應到更飽滿的人生，靈 感湧現。 HUANG Ruei-feng started working in animation in 2000. His forte lies in the composition of an image and the rhythm of the narrative. He is fond of rain, which brings him inspirations.

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．最佳視覺效果

07.02 SAT 14:20 信義 HYC 10 ★ 092

台北電影獎 - 動畫片 TAIPEI FILM AWARDS - ANIMATIONS

07.02 SAT 14:20 信義 HYC 10 ★

未來之光 FUTURE LIGHTS 蒐羅來自各大影展中獲獎加持的新銳導演作品，同時也藉由這些作品呈現全球新晉創作者站在電影最前 線上，對影像美學形式的大膽挑戰與突破。 聖靈請回答 The Sacred Spirit

愛別四季

亞洲首映 Asian Premiere

A Piece of Sky

瑞士、德國 Switzerland, Germany ｜ 2022 ｜ DCP ｜ Color ｜ 136min ©Bernhard Keller

愛情讓來自谷地的馬可征服冷峻的阿爾卑斯山， 在坡上的牧地村落與安娜相戀。他整地牧牛、她 經營旅館，兩人騎重機飆過山尖，在如茵綠草間 愛撫，於萬物繁盛的夏季結婚。冬天悄然侵襲， 蟄伏於馬可腦中的瘤被切除，卻反讓他退化成一 頭野獸。他乖張且近乎原始的行為，逐漸瓦解美 麗溫煦的愛情。在春天到來之前，他們將迎向什 麼樣的結局？

Despite a lowlander, Marco is a robust fellow. He is

《愛別四季》將阿爾卑斯山時而薄霧蔓延、時而晴 空萬里的自然美景化為敘事角色，影像飽含節氣， 鏡頭和緩移動如隨風擺動的雲。故事跟隨四季更 迭，端看大地的脈動如何牽引人類與動物的心性。 合唱團的歌唱穿插其中，在季節轉換的節奏之餘， 疊加一層樂章般的分節。一首隱於世外的情愛哀 歌，也富有盛宴的神采。

Their love is gentle and beautiful; unable to fully

working as a farmhand for mountain farmer Alois in a remote Swiss alpine village, and even at the regulars' table at the local inn, where people are slowly learning to appreciate this iced tea drinker. Anna is a local village girl; she has a daughter, Julia, from a previous relationship. Some doubt whether this new relationship will work out – but neither Marco nor Anna. They get married. fathom it, they express it in simple words. The trust between them grows and their tenderness endures. But soon Marco seems to lose control of his impulses more and more often...

麥 可． 科 赫，1982 年 出 生 於 瑞 士， 就 讀 科 隆 媒 體 藝 術 學 院 期 間 曾 參 與 電 視 電 影 演 出， 也 曾 執 導 舞 台 劇。 畢 業 製 作 短 片 《Polar》 入 選 柏 林 影 展， 首 部 長片《Marjia》更叩關盧卡諾影 展主競賽，《愛別四季》為其第 二部長片，榮獲柏林影展特別提 及。 Michael KO C H studie d at the Academy of Media Arts Cologne. After his award-winning shor t film, Polar, he made his debut feature, Marija, which premiered in competition at Locarno 2016. A Piece of Sky is his second feature film.

©hugofilm Armin Dierolf

DIRECTOR, SCREENPLAY

麥可．科赫 Michael KOCH PRODUCER

Christof NERACHER CINEMATOGRAPHER

Armin DIEROLF EDITOR

Florian RIEGEL MUSIC

Tobias KOCH Jannik GIGER SOUND

Tobias KOCH CAST

Michèle BRAND Simon WISLER Elin ZGRAGGEN Daniela BARMETTLER Josef ASCHWANDEN PRINT SOURCE

New Europe Film Sales

2022 柏林影展特別提及 Special Mention, Berlinale

06.24 FRI 13:00 信義 HYC 11 ｜ 06.27 MON 13:50 信義 HYC 11 ｜ 07.01 FRI 21:20 信義 HYC 11 ｜ 07.05 TUE 17:20 信義 HYC 11 094

未來之光 FUTURE LIGHTS

紐約眞人類

Actual People

美國 USA ｜ 2021 ｜ DCP ｜ Color ｜ 84min

紐約市，青春正盛的大四女孩芮莉，生活充斥著 酒精派對與一夜情，一如所有的大學生。也如同 所有的準畢業生，迷惘於即將到來的未知新人生。 好不容易迎來大學生涯的最後一週，芮莉卻驚恐 地發現水逆纏身，不僅感情生活一片混亂、課業 面臨重修延畢的危機，室友還將她掃地出門，一 件件打擊她脆弱的心神。面對即將裂成碎片的人 生，她該如何收拾好自己、爬完這段成長荊棘路？

What's worse than graduating without a job, a

華裔美籍新導演基特．佐哈，自編自導自演首部 劇情長片，以極為精彩的劇本，刻畫這名紐約女 大生面對的存在焦慮。但導演並不急著為每個事 件找到解方或下一步，而是以近似私電影的親密 鏡頭步步跟隨，貼近觀看主角的生活起居與人際 應對，並在大量的對話與多重手機自拍畫面拼貼 中，讓碎片世代青春的偽裝、沮喪與情感挫折， 在坦率又誠實的鏡頭下一覽無遺。

There, she encounters a familiar face that will change

boyfriend, or a sense of purpose? Not being able to graduate at all. Riley, an Asian-American girl, is a senior at an unidentified NYC college, who is dealing with tons of problems. But Riley has met Leo. He's also Asian-American, living in Philly, handsome, and he listens to her. He must care about her. So, Riley decides to shirk all responsibilities in New York to pursue him during a catastrophic night back in Philly. the course of events and make her reconcile with her failures and shortcomings in the process of becoming an actualized person.

基 特． 佐 哈，1995 年 出 生 的 華 裔美籍人，身兼作家、導演與演 員，現居紐約。《紐約真人類》 為其首部編導的劇情長片，並親 自出演女主角，將自己的中美混 血背景與新世代觀點置入，清新 寫實的風格入選 2021 年盧卡諾 影展 Filmmakers of the Present 單元。 Kit ZAUHAR is an Asian-American w r i t e r, d i r e c t o r a n d a c t r e s s who received a BFA in Film and Television Production from NYU Tisch School of Ar ts. Her first feature, Actual People, premiered at Locarno 2021.

DIRECTOR, SCREENPLAY

基特．佐哈 Kit ZAUHAR PRODUCER

Andrew NADKARNI Jason WANG 基特．佐哈 Kit ZAUHAR CINEMATOGRAPHER

Owen SMITH-CLARK EDITOR

Kira DANE MUSIC

Richard Phillip SMITH SOUND

One Thousand Birds CAST

基特．佐哈 Kit ZAUHAR Vivian ZAUHAR Scott ALBRECHT Isabelle BARBIER Gabrielle RICHARDSON PRINT SOURCE

視幻文化 Parallax Films

2021 盧卡諾影展 Locarno FF 2021 美國斯蘭丹斯影展 Slamdance FF 2022 全州影展 Jeonju IFF

06.23 THU 19:20 信義 HYC 10 ｜ 07.01 FRI 13:00 信義 HYC 10 ｜ 07.04 MON 22:00 信義 HYC 10 未來之光 FUTURE LIGHTS

095

聖女不祈禱 Clara Sola

瑞典、哥斯大黎加、比利時 、德國 Sweden, Costa Rica, Belgium, Germany ｜ 2021 ｜ DCP ｜ Color ｜ 106min

在哥斯大黎加雨林的偏遠鄉村裡，40 歲的克拉拉 因先天疾病而被村民視為聖女，擁有上帝賦予的 特殊治癒能力。已屆中年的她長期與母親、姪女 同住，親密的家庭關係與村民的崇仰卻無法撫慰 她長期受困病痛的心靈。姪女新男友的出現，激 起她潛藏的性慾，一股覺醒的力量逐步引導她跨 越自然和神祕的界線。 神祕主義與詩意風格結合哥斯大黎加的邊境森林、 薄霧和溪水，並以自然攝影捕捉空氣裡濕漉漉的 女性慾望。女主角克拉拉超自然的形象，以及有 如行為藝術的魔幻寫實情節，宛若一場女性自我 解放的寓言。而導演刻意讓克拉拉的神力遊走在 真實與幻想之間，藉以烘托她矛盾多舛的命運。

Clara, 40, is believed to have a special connection to God. As a "healer", she sustains a family and a village in need of hope, while she finds solace in her relationship with the natural world. After years of being controlled by her mother's repressive care, Clara's sexual desires are stirred by her attraction to her niece's new boyfriend. This newly awakened force takes Clara to the unexplored territory, allowing her to cross boundaries, both physical and mystical. Empowered by her selfdiscovery, Clara gradually frees herself from her role as "saint" and begins to heal herself.

娜塔莉．阿爾瓦雷斯．梅森，哥 斯大黎加裔瑞典人，電影編劇、 導演，畢業於紐約哥倫比亞大學 電影碩士。 她曾入選柏林影展新 銳營、多倫多影展電影製作人實 驗室、紐約藝術家學院等。《聖 女不祈禱》為其首部劇情長片， 代表哥斯大黎加角逐 2022 年奧 斯卡最佳國際電影。 Nathalie ÁLVAREZ MESÉN is a Costa Rican-Swedish screenwriter and director. She graduated from the Stockholm University of the Arts and Columbia University's Graduate Film Program. She made a couple of short films and Clara Sola is her first feature.

DIRECTOR

娜塔莉．阿爾瓦雷斯．梅森 Nathalie ÁLVAREZ MESÉN PRODUCER

Nima YOUSEFI Alan McCONNELL Géraldine SPRIMONT Anne-Laure GUÉGAN Karina AVELLAN TROZ SCREENPLAY

娜塔莉．阿爾瓦雷斯．梅森 Nathalie ÁLVAREZ MESÉN Maria Camila ARIAS CINEMATOGRAPHER

Sophie WINQVIST EDITOR

Marie-Hélène DOZO MUSIC

Ruben DE GHESELLE SOUND

Charles DE VILLE CAST

Wendy Chinchilla ARAYA Daniel Castañeda RINCÓN Ana Julia PORRAS ESPINOZA Flor María VARGAS CHAVEZ PRINT SOURCE

Luxbox

2021 坎城影展導演雙週 Directors' Fortnight, Cannes 2021 倫敦影展 London FF 2022 鹿特丹影展 IFF Rotterdam

06.29 WED 18:20 華山 SHC 2 ｜ 07.03 SUN 13:30 華山 SHC 1 ｜ 07.06 WED 21:00 華山 SHC 2 096

未來之光 FUTURE LIGHTS

弗蕾達的抉擇

Freda

法國、海地、貝南共和國 France, Haiti, Benin ｜ 2021 ｜ DCP ｜ Color ｜ 94min

弗蕾達一家四口住在海地的熱鬧市鎮，信仰虔誠的 母親經營一間街邊雜貨鋪，支持著全家人的生活。 人類學的課堂上，弗蕾達與同學們思辨談論著海 地的動盪現實；街道上，槍聲與抗議聲此起彼落。 年輕人在夜裡聚會跳舞、拒絕頹喪，享受難得的 無憂時光。海地的政治局勢難解，去留更是沒有 標準答案，而弗蕾達的家人終將給出各自的回答。 海地演員潔西卡．潔內悠斯首部執導劇情長片， 以主角弗蕾達的掙扎聚焦母女關係與國情變化， 將國族與性別權力議題透過主角身旁的親友一一 刻畫。反覆重演的暴力與悲傷，伴隨著勇氣與陪 伴相互呼應，寫實刻畫人類面臨困厄逼臨之際， 依然以智慧和真情面對的生命姿態。

Freda lives with her family in a poor neighborhood of Port-au-Prince. They make ends meet thanks to their small street shop. Faced with precarious living conditions and the rise of violence in Haiti, each of them wonders whether to stay or leave. Freda wants to believe in the future of her country. "Above all, I wanted to show Haitian society from a female perspective because this perspective is generally overlooked. Women are under-represented and the analysis of the situation in our country is monopolized by men. I wanted to do it through fiction because that's how I began my acting career when I was 17." - Gessica Généus

潔西卡．潔內悠斯，1985 年出 生 於 海 地， 身 兼 演 員、 編 劇、 導 演。 曾 參 與 演 出 多 部 海 地 影 視 作 品， 並 以《Cousines》 獲 布 魯 克 林 影 展 最 佳 女 演 員 獎。 曾 執 導 紀 錄 片《The Day Will Dawn》，《弗蕾達的抉擇》為 其首部劇情長片。 Gessica GÉNÉUS is an actress, singer and director from Haiti. Af t e r g r a d u a t i n g f ro m Ac t i n g International in Paris, she returned to Haiti and set up her own production company. In 2017, she made a documentary titled The Day Will Dawn. Freda is her first feature.

DIRECTOR, SCREENPLAY

潔西卡．潔內悠斯 Gessica GÉNÉUS PRODUCER

Jean-Marie GIGON 潔西卡．潔內悠斯 Gessica GÉNÉUS Faissol GNONLONFIN CINEMATOGRAPHER

Karine AULNETTE EDITOR

Rodolphe MOLLA SOUND

Thomas VAN POTTELBERGE CAST

Néhémie BASTIEN Djanaïna FRANÇOIS Fabiola RÉMY Gaëlle BIEN-AIMÉ Juancito JEAN PRINT SOURCE

SaNoSi Productions

2021 坎城影展 Cannes 2021 倫敦影展 London FF 2022 鹿特丹影展 IFF Rotterdam

06.25 SAT 11:20 華山 SHC 1 ｜ 06.28 TUE 19:00 華山 SHC 1 ｜ 07.05 TUE 16:50 華山 SHC 1 未來之光 FUTURE LIGHTS

097

拉巴斯浮世繪 The Great Movement

玻利維亞、法國、卡達、瑞士 Bolivia, France, Qatar, Switzerland ｜ 2021 ｜ DCP ｜ Color ｜ 84min

海拔 3600 公尺的雲中之城，高空纜車劃過天際， 磚牆上斑駁堆疊著廣告傳單，玻利維亞首都拉巴 斯乘載了眾生的想望與苦悶。經過七天的徒步遷 徙，艾德與同伴遠從礦坑來到市中心，為了爭取 工作機會而上街抗議。但迫於溫飽，他們在艾德 教母的介紹下，成為市場中廉價的運貨工，然而 艾德不久後卻因不明原因病倒，在教母的指引下， 去找神祕的浪人巫師治病。

Bolivia, today. After walking for a week, Elder and

延續前作《玻利維亞幻夜之光》，克洛．羅素持 續關照玻利維亞底層的勞動階級，試圖將鏡頭拉 遠，描繪都市的社會紋理，直觀生活在其中的各 色人物，並在歌頌消費文化的共產國家裡，彰顯 祖先遺留下來的原民色彩。精巧安排的聲響設計， 石破天驚的蒙太奇剪接，讓人不得不直視群體中 被資本主義壓垮的個體。全片使用 16mm 底片拍 攝，以斑斕的場面調度刻畫專屬拉巴斯的城市浮 世繪。

" 'The Great Movement' is an exploration of this

his miner companions arrive in La Paz to demand for the reinstatement of their job. Suddenly, Elder starts to feel sick... With the help of the elderly Mamá Pancha, Elder and his friends find work in the market. But Elder's condition worsens, he is choking and struggling for breath... Mamá Pancha sends him to Max, a witch doctor, hermit and clown, who may be able to bring the young man back to life.

relationship between the individual and the multitude. The film wants to give an account of the way this system functions." – Kiro Russo

克 洛． 羅 素，1984 年 出 生 於 玻 利 維 亞 拉 巴 斯， 就 讀 布 宜 諾 斯 艾 利 斯 電 影 大 學， 主 修 導 演。 首 部 劇 情 長 片《 玻 利 維 亞 幻 夜 之光》曾入選超過 80 個國際影 展， 並 獲 2016 年 盧 卡 諾 影 展 Filmmakers of the Present 單元 特別提及。 Kiro RUSSO trained at FUC Buenos Aires and has directed three short films. His debut feature, Dark Skull, won the Special Mention of Filmmakers of the Present at Locarno 2016. The Great Movement is his second feature.

©socavon - altamar films

DIRECTOR, SCREENPLAY

克洛．羅素 Kiro RUSSO PRODUCER

克洛．羅素 Kiro RUSSO Pablo PANIAGUA Alexa RIVERO CINEMATOGRAPHER

Pablo PANIAGUA EDITOR

克洛．羅素 Kiro RUSSO Pablo PANIAGUA Felipe GÁLVEZ SOUND

Mauricio QUIROGA Mercedes TENNINA Juan Pedro RAZZARI Emmanuel CROSET CAST

Julio César TICONA Max Bautista UCHASARA Francisca Arce DE ARO Israel HURTADO Gustavo Milán TICONA PRINT SOURCE

Best Friend Forever

2021 威尼斯影展地平線單元評審團特別獎 Special Jury Prize, Orizzonti, Venice FF 2021 聖賽巴斯提安影展 San Sebastián IFF 2021 紐約影展 New York FF

06.26 SUN 11:20 華山 SHC 1 ｜ 07.01 FRI 19:10 華山 SHC 1 ｜ 07.06 WED 16:10 華山 SHC 1 098

未來之光 FUTURE LIGHTS

餓童當街

亞洲首映 Asian Premiere

Moles

哥倫比亞 Colombia ｜ 2021 ｜ DCP ｜ Color ｜ 116min

迪迪和街童之友如鼴鼠般住在地下水道，餓童當 街有嘻哈，底層不見天日的苦，他們在饒舌中全 力轟炸。餓童小隊總是一起行動，街頭洗車、乞 討，賺錢買強力膠吸食，在幻覺中度日。年紀最 大的街童本想帶大家去深山投靠奶奶，卻只見彈 痕累累的廢墟一片，迪迪更因爭吵而與大家走散。 孤身一人的迪迪遇上有過人想像力的街童女孩， 兩人相偕啟程尋找地圖上的天堂。

Titi, Carlitos, Betún, John and Pinky, are a group

哥倫比亞新生代導演卡洛斯．薩帕塔第二部劇情 長片，融合紀錄片式的街頭特寫觀察，以及素人 童星唱作俱佳的驚人演出，流暢的 MV 式運鏡與 大量的音樂元素融合，從嘻哈音樂、寓言歌謠、 豔麗塗鴉到奔放的穿搭，展現拉美獨有的魔幻美 學，與地方街童的強勁生命力。

tightly in this third world city urban tale.

of street children who keep on the move, escaping from a system that is setting their sewer homes on fire. After arriving at John's grandma's town, which has also been set on fire, they are reduced to ashes, their hearts broken. Titi fights with John and leaves his friends. He will start a new path with La Ratona. La Ratona is looking for paradise and convinces Titi to come along. Tragedy and fantasy are intertwined

卡洛斯．薩帕塔，1986 年生於 波哥大，畢業於哥倫比亞大學理 工學院主修電影導演。2015 年首 部作《Las tetas de mi madre》 於 墨 西 哥 瓜 達 拉 哈 拉、 西 班 牙 馬 拉 加 影 展 首 映。2021 年《 餓 童當街》於塔林黑夜影展世界首 映。 Carlos ZAPATA was born in Bogotá in 1986. He graduated in Film Directing from Colombia University. His first feature, Las tetas de mi madre, premiered at Málaga Film Festival 2015. His 2021 film, Moles, premiered at Tallinn Black Nights Film Festival.

DIRECTOR

卡洛斯．薩帕塔 Carlos ZAPATA PRODUCER

Nicolás Martínez LOZANO Cristina VILLAR ROSA Federico Nieto El’ GAZI SCREENPLAY

Samuel PINAZO 卡洛斯．薩帕塔 Carlos ZAPATA CINEMATOGRAPHER

Nicolás Martínez LOZANO EDITOR

卡洛斯．薩帕塔 Carlos ZAPATA Marco Antonio FONSECA MUSIC

Manuel GORDILLO SOUND

Andrés SILVA CAST

Isaac RODRÍGUEZ Dayana VARGAS José VARGAS Dsney NARVÁEZ Juan PULIDO PRINT SOURCE

Perrenque Media Lab

2021 塔林黑夜影展 Tallinn Black Nights FF

06.25 SAT 12:30 華山 SHC 2 ｜ 06.28 TUE 16:30 華山 SHC 2 ｜ 07.01 FRI 18:00 華山 SHC 2 ｜ 07.05 TUE 20:50 華山 SHC 2 未來之光 FUTURE LIGHTS

099

重訪

Pilgrims 立陶宛 Lithuania ｜ 2021 ｜ DCP ｜ Color ｜ 91min

英德蕾和保羅相約故地重遊，重返她的男友、他 的兄弟馬塔斯的命案現場。但這不是單純的緬懷 之旅，保羅堪比警方辦案，仔細調查了馬塔斯喪 命之夜的行蹤──短暫停留的機場航廈、餐館裡 發生爭執的桌旁、大宅院裡的神祕地窖、被反鎖 的後車廂。保羅偏執地尋找命案關鍵人物，就這 樣一步步靠近馬塔斯生命最後時刻的地點……。 全片以靜止的攝影為主軸，刻意屏除音樂讓寂靜 貫穿其中，藉大量的沉默烘托不安的氣氛。兩位 主角難以捉摸的行動、極少的交談，為觀者帶來 強烈的不安，導演巴雷薩更透過兩人的積極行動， 引導觀者踏上重返犯罪現場的旅程。

Indre and Paulius drive to somewhere near the airport, where his brother and her boyfriend died. That evening they see Matas arrive on a late flight. An old lady shows Indre and Paulius around a big family house for sale but refuses to follow them into the cellar, where they try to line up how the forensic photos on Paulius's phone were taken. As they emerge, the old lady's grandson recognizes them and kicks them out before Paulius damages the old lady's car. When the pair find Ieva, Paulius demands to know why she did not call the police on that night and Ieva tells Indre that she witnessed what seemed to be only a typical bar fight...

勞 里 納 斯． 巴 雷 薩，1988 年 出 生於立陶宛，擁有維爾紐斯大學 應用數學系與立陶宛音樂與戲劇 學院的電影攝影系雙學位。2014 年以短片處女作《Dembava》入 選塔林黑夜影展，拍攝多部短片 後，2021 年以首部劇情長片《重 訪》獲威尼斯影展地平線單元最 佳影片。 Laurynas BAREIŠA graduated in Cinematography from Lithuanian Academy of Music and Theater and obtained a master's degree in Film Directing in 2016. He has made a few shorts and Pilgrims is his feature debut.

DIRECTOR, SCREENPLAY, EDITOR

勞里納斯．巴雷薩 Laurynas BAREIŠA PRODUCER

Klementina REMEIKATĖ CINEMATOGRAPHER

Narvydas NAUJALIS SOUND

Julius GRIGELIONIS CAST

Gabija BARGAILAITĖ Giedrius KIELA Paulius MARKEVIČIUS Indrė PATKAUSKAITĖ Jolanta DAPKŪNAITĖ PRINT SOURCE

REASON8 Films

2021 威尼斯影展地平線單元最佳影片 Best Film, Orizzonti, Venice FF 2021 塔林黑夜影展 Tallinn Black Nights FF 2022 紐約新導演 新電影影展 New Directors/New Films

06.24 FRI 19:20 信義 HYC 11 ｜ 06.29 WED 15:10 信義 HYC 11 ｜ 07.03 SUN 10:40 信義 HYC 11 100

未來之光 FUTURE LIGHTS

荒墨生存法則

亞洲首映 Asian Premiere

Robe of Gems

墨西哥、阿根廷 Mexico, Argentina ｜ 2022 ｜ DCP ｜ Color ｜ 117min

伊莎貝爾帶著孩子回到墨西哥鄉間別墅，乍似歲 月靜好，但大宅的破敗與荒涼卻隱隱浮現。伊莎 貝爾與丈夫漸行漸遠，為了尋找失蹤已久的姐妹， 女傭瑪莉亞與當地巡警的兒子向一樁罪行日漸靠 攏，伊莎貝爾對埋伏在社會邊陲的潛規則與危機 渾然未覺，更不顧瑪莉亞的勸阻堅持涉入尋人。 巡警、女傭與貴婦，三個女人帶著各自的無能為 力與罪疚，蹚入這場即將被黑暗侵蝕的漩渦渾水。

Isabel and her family take possession of her mother's

融合長居墨西哥邊城十餘年的經驗以及田野調查， 導演洛佩茲．加拉多的首部長片鋒利地鑿開埋伏 在小鎮風光底下的暗流，在罪與罰、羈絆與疏離 之間，散落遍地傷痛。電影召喚蟲鳴、人語的聲 響共同躁動，以流暢的鏡頭穿梭在夢與現實之間， 捕捉乾燥空氣之中的墨西哥暗影。

with Adan, the son of a local policeman. Isabel decides

villa in rural Mexico where they reconnect with their long-time domestic worker Maria. But things have never been the same since Isabel's mother left. Once so well looked after, the house is now bare and neglected. Isabel and her husband are growing apart, and their children are increasingly worried about them. Maria's sister's disappearance has left her family in distress and forced her to engage in criminal activities to go on a dangerous quest, neglecting her own children, as well as her housekeeper's warning that she does not understand how things work in Mexico's poorer regions.

娜 塔 莉 亞． 洛 佩 茲． 加 拉 多， 1980 年出生於玻利維亞，以墨 西哥為創作基地。曾任阿根廷名 導阿隆索《走出安樂鄉》及墨西 哥導演卡洛斯．雷卡達斯《寂靜 之光》剪輯。2007 年以短片《In Heaven Like in Earth》 入 選 坎 城影展影評人週；《荒墨生存法 則》為其首部劇情長片，榮獲柏 林影展評審團獎。 Natalia LÓPEZ GALLARDO is a Mexican-Bolivian filmmaker, writer, editor and actor. Her short film, In Heaven Like in Earth, was screened in the International Critics' Week at Cannes 2007. Robe of Gems is her first feature.

DIRECTOR, SCREENPLAY

娜塔莉亞．洛佩茲．加拉多 Natalia LÓPEZ GALLARDO PRODUCER

Fernanda DE LA PEZA Joaquín DEL PASO 娜塔莉亞．洛佩茲．加拉多 Natalia LÓPEZ GALLARDO CINEMATOGRAPHER

Adrian DURAZO EDITOR

Omar GUZMAN 娜塔莉亞．洛佩茲．加拉多 Natalia LÓPEZ GALLARDO Miguel SCHVERDFINGER MUSIC

Santiago PEDRONCINI SOUND

Guido BERENBLUM Thomas BECKA CAST

Nailea NORVIND Antonia OLIVARES Aida ROA Daniel GARCIA PRINT SOURCE

Visit Films

2022 柏林影展評審團獎 Jury Prize, Berlinale 2022 紐約新導演 新電影影展 New Directors/New Films

06.23 THU 19:00 信義 HYC 11 ｜ 06.29 WED 16:00 信義 HYC 10 ｜ 07.05 TUE 20:40 信義 HYC 10 未來之光 FUTURE LIGHTS

101

聖靈請回答 The Sacred Spirit

西班牙、法國、土耳其 Spain, France, Turkey ｜ 2021 ｜ DCP ｜ Color ｜ 97min

老實的荷西平日是個話少又不善交際的酒吧老闆， 暗地裡卻是飛碟愛好者祕密組織的資深成員。沉 默的他，唯有每週與同好交流外星人資訊時才會 瞬間活起來。這天，荷西突然接獲組織領袖胡立 歐過世的消息，震驚的是，他竟然被指名為接班 人！同時間，鎮上一名小女孩在一週前失蹤，巧 合的時間點引起組織成員騷動，自認掌握宇宙祕 密的荷西又該採取什麼行動？

José Manuel spends his days running a bar and taking

結合科幻小說與無政府主義，導演賈西亞．伊巴 拉創造出一群古怪的角色，從他們對飛碟的異常 執著，以致集體忽略潛藏其中的犯罪可能性。儘 管這起不尋常的失蹤事件發生在日常，卻意外被 神祕主義信徒的反常行為與信仰淡化，營造出詭 譎不安的氛圍，並透過日常街坊間的言談，冷眼 諷刺凡人的迷信與盲從。

spirit, a plan that requires his niece Verónica and her

care of his once-clairvoyant mother Carmina. His sister Charo's daughter Vanesa has been missing for a month, and the distraught mom regularly taking to the airwaves to stoically plead for the child's safe return alongside the girl's twin sister Verónica. José Manuel is the exalted "Cosmic Pharaoh" of the OvniLevante Association of Ufology. Later José Manuel is tasked to fulfill the prophecy and invoke the ancient supposed "gifts", leading to a surprising revelation in a town, where everyone is looking to make sense of the world.

查 馬． 賈 西 亞． 伊 巴 拉，1980 年 出 生 於 西 班 牙 埃 爾 切， 畢 業 於阿利坎特大學廣告和公共 關 係 學 系， 身 兼 導 演、 製 片。 2009 年 短 片《The Attack of the Nebulosa-5 Robots》 入 選 100 多 個 海 內 外 國 際 影 展， 並獲獎項肯定。 Chema GARCÍA IBARRA is a Spanish director and educator. His shorts were screened at Sundance, Berlinale and San Sebastián. Ibarra currently teaches the Antifilmmaking Course at Madrid Film School. The Sacred Spirit is his first feature.

DIRECTOR, SCREENPLAY

查馬．賈西亞．伊巴拉 Chema GARCÍA IBARRA PRODUCER

Miguel MOLINA Leire APELLANIZ Marina Perales MARHUENDA Xavier ROCHER Enes ERBAY CINEMATOGRAPHER

Ion DE SOSA EDITOR

Ana PFAFF SOUND

Marianne ROUSSY Roberto FERNÁNDEZ Laure ARTO CAST

Nacho FERNÁNDEZ Llum ARQUES Joanna VALVERDE Rocío IBÁÑEZ PRINT SOURCE

Heretic

2021 盧卡諾影展特別提及 Special Mention, Locarno FF 2022 西雅圖影展評審團特別獎 Special Jury Prize, Seattle IFF

06.24 FRI 21:00 華山 SHC 2 ｜ 06.27 MON 18:30 華山 SHC 2 ｜ 07.02 SAT 21:40 信義 HYC 10 ｜ 07.04 MON 13:50 信義 HYC 10 102

未來之光 FUTURE LIGHTS

魂牽夢屋

亞洲首映 Asian Premiere

This House

加拿大 Canada ｜ 2022 ｜ DCP ｜ Color ｜ 74min ©Julie Artacho

康乃狄克州，布里奇波特市，2008 年。14 歲女 孩妲拉在房內上吊身亡。她的靈魂以未來的成年 面貌再次現身，與母親兩人開始一趟又一趟不可 能的生命回溯之旅。他們談論這間屋子、談論家 族的遷徙，從海地、美國到魁北克，在日常的慶 祝與忽然的哀悼之間，一起重新構築家族記憶。

Bridgeport, 2008. A teenage girl is found hanged

本片以 16mm 膠卷攝影，特殊的光影質地和如畫 的色彩，緋紅、靛藍、碧綠、霧白，隨著日夜流轉， 將觀眾拋往陌生的霧境。亡者既是時空旅行的嚮 導，也是入境和留宿的乘客。由外，我們遊覽著 自然景致與植栽園藝；入內，我們棲居於平穩尋 常的門戶和牆面之間。悲劇與希望，真相或虛構 的辯詰，彷彿從未停止增長，一如屋裡盎然的綠 意。詩意的對白與獨白持續流洩，訴說那些曾經 的存在，與即將繼續的旅程。

space and the violence that can jeopardize it.

in her room. While everything points to suicide, the autopsy report reveals something else. Ten years later, the director and cousin of the teenager examines the past causes and future consequences of this unsolved crime. Like an imagined biography, the film explores the relationship between the security of the living

"I am a child of Haiti. In a way, I refuse reality and try to understand it through art. Knowing that I won't be able to do it completely, I tell stories, constant wanderings without precise paths or destinations. I dream of coming home. So, I travel endlessly in my head, in my heart, on the page, then onto the screen." - Miryam Charles

瑪麗安．查爾斯，加拿大導演、 攝 影 師、 製 片。2008 年 開 始 拍 攝 短 片， 作 品 多 次 入 選 國 際 影 展，2018 年《Drei Atlas》 獲 Cinema on the Bayou 電 影 節 最 佳實驗短片，《魂牽夢屋》為其 首部長片。 Miryam CHARLES is a director, producer and cinematographer of Haitian descent living in Montreal. She directed several shor ts t h a t we re p re s e n t e d a t m a ny international film festivals. This House is her first feature.

DIRECTOR, SCREENPLAY

瑪麗安．查爾斯 Miryam CHARLES PRODUCER

費利克斯．杜富爾拉佩列耶 Felix DUFOUR-LAPERRIÈRE CINEMATOGRAPHER

Isabelle STACHTCHENKO 瑪麗安．查爾斯 Miryam CHARLES EDITOR

Xi FENG MUSIC

Romain CAMIOLO SOUND

Gordon Neil ALLEN Olivier CALVERT CAST

Schelby JEAN-BAPTISTE Florence Blan MBAYE Eve DURANCEAU Matthew RANKIN Yardly KAVANAGH PRINT SOURCE

Oyster Films

2022 柏林影展 Berlinale

06.28 TUE 19:10 華山 SHC 2 ｜ 07.04 MON 21:30 華山 SHC 2 ｜ 07.07 THU 15:30 華山 SHC 2 未來之光 FUTURE LIGHTS

103

亞洲稜鏡 ASIAN PRISM 座標定錨亞洲，在這片擁有豐富文化背景的廣袤土地，以不同電影語言和類型呈現多元的亞洲當代風景， 映射出該地區特有的風貌與議題。生活與文化的交匯，迸發獨具思考的新觀點。 阿媽有咗第二個 Mama's Affair

公寓裡的兩個女人

The Apartment with Two Women 南韓 South Korea ｜ 2021 ｜ DCP ｜ Color ｜ 139min

20 歲出頭的以庭和母親秀京同住一個屋簷下，母 女倆命中互剋，相看兩厭。獨力扶養女兒長大的 秀京即將放下艱難的過去，與未婚夫展開新生活； 從小承擔母親暴躁情緒的以庭，童年的不愉快讓 她難以擺脫長期壓抑的情緒。當兩人在超市停車 場發生意外，單純的摩擦直接升級成兩個女性積 累已久的情感風暴，衝突一觸即發。母親與女兒 難分難解的矛盾糾葛，總在切斷臍帶後才真正展 開。 本片為南韓新生代導演的首部劇情長片，在傳統 家庭倫理戲碼的框架下，細膩地勾勒出兩位女性 的處境，以及她們全力以赴活出精采人生的生動 樣貌。攝影機精準捕捉日常事件的戲劇性，呈現 狀似失能的家庭關係，引導觀者反思主流價值觀 對家庭、母親與女兒的身分所施加的刻板印象。

Yi-jung is in her late twenties and still lives with her mother. Having raised her daughter alone, Su-kyung is now ready to start a new life with her fiancé. Not so Yi-jung, who from an early age has all too often had to serve as an outlet for her irascible mother's frustrations. The many years of disregard have left her with a crippling mixture of suppressed feelings towards her mother. When an argument between the two escalates in a supermarket car park, Su-kyung hits her daughter with her car. Just an accident, the mother claims. Malicious intent, Yi-jung retorts. This rebellion marks the beginning of an arduous process for both women to cut the cord.

金 世 仁，1992 年 出 生 於 南 韓 仁 川， 畢 業 於 韓 國 影 視 學 院。 學 生 時 期 即 執 導 多 部 短 片， 包 括《Submarine Sickness》、 《Hamster》、《Playing with Fire》 與《Container》 等。《 公 寓裡的兩個女人》為其首部劇情 長片，也是畢業製作，細膩又寫 實地呈現當代女性故事。 KIM Se-in was born in Incheon, South Korea in 1992. A graduate of the Korean Academy of Film Arts, she has made several short films. The Apartment with Two Women is her debut feature, which won New Currents Award at Busan 2021.

DIRECTOR, SCREENPLAY, EDITOR

金世仁 KIM Se-in PRODUCER

JOH Gunshick JO Seong-won CINEMATOGRAPHER

MOON Myoung-hwan MUSIC

LEE Min-hwi SOUND

PARK Yong-ki CAST

IM Jee-ho YANG Mal-bok JEONG Bo-ram YANG Heung-ju LEE Yu-kyung PRINT SOURCE

FINECUT

2021 釜山影展年度最佳女主角、奈派克獎、新潮流單元最佳影片與觀眾票選獎 Best Actress, NETPAC Award, Best Film and Audience Prize of New Currents Award, Busan IFF 2022 柏林影展 Berlinale 2022 紐約新導演 新電影影展 New Directors/New Films

06.28 TUE 21:20 信義 HYC 10 ｜ 07.03 SUN 15:30 信義 HYC 11 ｜ 07.06 WED 13:20 信義 HYC 10 亞洲稜鏡 ASIAN PRISM

105

野蠻人入侵 Barbarian Invasion

香港、馬來西亞 Hong Kong, Malaysia ｜ 2021 ｜ DCP ｜ Color ｜ 106min

導演羅傑想開拍新電影，繆思女神李圓滿卻帶著 兒子前來參與。「我們是要拍洪常秀的電影嗎？」 李圓滿滿心期待，偏偏羅傑要拍的是東南亞版《神 鬼認證》，還要她轉型參與緊鑼密鼓的武術訓練。 好不容易全心投入電影拍攝，偏又殺出前夫這個 程咬金，就在圓滿焦頭爛額之際，竟傳來兒子遭 到綁架的壞消息……。

Is it a comedy? An action film? A philosophical

馬來西亞新浪潮導演陳翠梅睽違多年的電影新作， 導而優則演，層次綿密不輸《媽的多重宇宙》， 還有卡薩維蒂新浪潮的作者感性。一部瘋狂劇組 的後設電影，看女神為母則強變身女打仔、從散 文電影橫跨動作片，導演發揮獨立製片精神，集 編、導、演於一身，從構思到拍攝全都快、狠、準！

a Hong Sang-soo film?", she asks. But since he is

treatise? Barbarian Invasion is all of these, even if it starts off quietly. Li Yoon Moon drags her young son around with her; the sole purpose of his existence seems to be to exhaust his mother. She arrives to visit someone who at first seems to be an old friend, but we soon realize he is actually a director looking to cast her in his latest project. "Are we going to make more interested in making a Malaysian Bourne Identity, he asks her to undertake three months of intensive martial arts training for the role.

「私電影不僅僅代表個人！」──陳翠梅

陳翠梅，1978 年出生於馬來西 亞，畢業於麻六甲多媒體大學。 2006 年，首作《愛情征服一切》 獲鹿特丹金虎獎，影像語言冷靜 穩重、長短片橫跨諸多類型，為 「大馬電影新浪潮」旗手，2017 年 創 辦 SeaShorts 東 南 亞 短 片 節，現為大荒電影負責人。 TA N C h u i M u i i s a M a l ay s i a n director and producer. After several shorts, she made her feature debut, Love Conquers All, which won a Tiger Award at Rotterdam 2006. Barbarian Invasion is her latest film, which was selected for Rotterdam 2022.

DIRECTOR, SCREENPLAY

陳翠梅 TAN Chui Mui PRODUCER

胡明進 WOO Ming Jin Bianca BALBUENA CINEMATOGRAPHER

鬼佬 Gwai Lou EDITOR

黃凱韻 WONG Kai Yun MUSIC

Kamal SABRAN SOUND

Akritchalerm KALAYANAMITR CAST

陳翠梅 TAN Chui Mui 張子夫 Pete TEO Bront PALARAE 李添興 James LEE 黃之豫 Zhiny OOI PRINT SOURCE

海鵬影業 Swallow Wings Films

2021 上海電影節評審團大獎 Grand Jury Award, Shanghai IFF 2021 新加坡影展 Singapore IFF 2022 鹿特丹影展 IFF Rotterdam

06.29 WED 18:30 華山 SHC 1 ☆ ｜ 07.02 SAT 12:00 華山 SHC 1 106

亞洲稜鏡 ASIAN PRISM

說好的幸福呢

亞洲首映 Asian Premiere

Happiness

哈薩克 Kazakhstan ｜ 2022 ｜ DCP ｜ Color ｜ 131min

直銷霸主在銷售會上呼風喚雨，她賣美妝產品， 也販賣幸福。她召喚女性內心渴望獨立自主、勇 敢無懼的心。在台上，她是千千萬萬女性膜拜的 女神；在家中，卻淪為一無是處的女人。在她如 陽光般燦爛的亮橘色套裝底下，是長年家暴永無 消退一日的傷疤；豔紅色高跟鞋踩著的，是她忍 辱負重的荊棘之路。當女兒奉子成婚，即將步上 自己的後塵，她在另一扇地獄之門開啟之際，看 著鏡中滿臉鮮血的自己，她能逃脫婚姻的牢籠， 還是成為夢魘底下的厲鬼？ 哈薩克導演阿斯卡．烏札巴耶夫一反其擅長的喜 劇風格，以沉穩鋒利的角度，直面哈薩克傳統價 值對女性的壓迫，長驅直入揭開家門後的傷口。 沒有名字的角色們，似乎都在呼喚每一位身陷陰 影中的女性。

A woman is standing in front of the mirror. She is beautiful and has a striking face and strong cheekbones. She is bracing herself, a last vestige of self-respect driving her on. Her body is black and blue from the marks of many years of abuse. She swathes it in the orange dress that represents her working life. In this world she is a successful influencer promoting a product line called "Happiness" that – as she demonstrates in her hypnotic sales pitches – is supposed to make women attractive and happy. But terror reigns at home; it even reigns in her newlywed daughter's house too. A self-determined life is something about which a woman in Kazakhstan dares not even dream.

阿 斯 卡． 烏 札 巴 耶 夫，1983 年 出 生 於 哈 薩 克， 以 類 型 電 影 見 長。執導多部電影、電視劇，多 為票房常勝軍。本片為其第五部 劇 情 長 片， 也 曾 執 筆 十 部 電 影 劇 本， 並 有 四 部 製 片 經 歷。 創 立製片公司 Almaty-based 567 Creative Laboratory Studio 在 哈薩克頗富盛名，為當地著名創 作團隊之一。 Askar UZABAYEV was born in Kazakhstan in 1983. Founder of the Almaty-based 567 Creative L a b o ra to r y S t u d i o p ro d u c t i o n c o m p a n y, U z a b a y e v i s w e l l established in his home country and has directed 16 films.

DIRECTOR

阿斯卡．烏札巴耶夫 Askar UZABAYEV PRODUCER

Bayan MAXATKYZY SCREENPLAY

Assem ZHAPISHEVA 阿斯卡．烏札巴耶夫 Askar UZABAYEV CINEMATOGRAPHER

Max ZADARNOVSKY EDITOR

Aset MAMYROV MUSIC

Bagym MUKHITDENOVA SOUND

Zurab KURMANBAYEV CAST

Laura MYRZHAKMETOVA Yerbolat ALKOZHA Almagul KAZIKHAN PRINT SOURCE

567 Creative Laboratory

2022 柏林影展大觀單元觀眾票選獎 Audience Award, Panorama, Berlinale

06.29 WED 12:20 信義 HYC 11 ｜ 07.02 SAT 10:20 信義 HYC 11 ｜ 07.06 WED 18:10 信義 HYC 11 亞洲稜鏡 ASIAN PRISM

107

阿媽有咗第二個 Mama's Affair

香港 Hong Kong ｜ 2022 ｜ DCP ｜ Color ｜ 127min

前知名音樂經紀人美鳳，慧眼發掘多位香港巨星， 卻在婚後選擇相夫教子，一別樂壇數十載。看似 婚姻美滿的她，卻在 17 歲兒子啟程英國升學之際， 斷然決定復出樂壇，找回當年發光的自己。她在 一次聚會中發掘潛力男孩方晴的好歌喉，決心將 他推向舞台；身世單薄的方晴激起她的母愛照護， 卻勾起兒子的不諒解，揭開母子長年未解的感情 裂痕。

Mei-fung was once a top artiste manager but she

繼首部作品《29+1》精準刻畫輕熟女的過渡期， 香港新銳導演彭秀慧再次將鏡頭瞄準已婚婦女的 二度就業痛。演技派女星毛舜筠細膩詮釋身兼母 親、妻子與職場女強人等三種角色的中年女性， 如何在生活中切換角色面孔，如無形的暖風吹拂 旁人；香港偶像男團「MIRROR」成員姜濤、柳應 廷分飾潛力新星與兒子，選秀冠軍姜濤的好歌聲 貫穿全片，打造出宛如經典《下一站 ... 天后》的 現代版青春成長喜劇。

flourishes, her son Hin only sees a caring mother

quit when she got pregnant. After years of living as a housewife, distance has grown between her and her husband. The fact that her 17-year-old son Hin is about to study abroad prompts her to re-enter the entertainment world. A chance encounter with Ching, a delivery boy at a local cafe, leads her to a talented singer. With her connections and his raw talent, the public soon falls in love with him. But while her career turning into a career-driven stranger. When their family falls apart and Ching arrives on the scene, a rivalry develops between Hin and Ching...

彭 秀 慧，1975 年 出 生 於 香 港， 畢業於香港演藝學院表演系，後 加入劇團成為全職舞台劇演員， 身 兼 編 劇、 導 演、 演 員。2018 年 首 部 劇 情 長 片《29+1》 獲 香 港電影金像獎新晉導演、法國尼 斯影展外語片最佳導演。《阿媽 有咗第二個》為其第二部劇情長 片。 Kearen PANG is a Hong Kong actor, writer and director. She co-wrote the script of Isabella with director Pang Ho-cheung, which competed at Berlinale 2006. Her directorial debut, 29+1, won Best New Director at Hong Kong Film Awards 2018.

DIRECTOR, SCREENPLAY

彭秀慧 Kearen PANG PRODUCER

霍汶希 Mani FOK 彭秀慧 Kearen PANG CINEMATOGRAPHER

劉君樂 Oliver LAU EDITOR

李謙明 J. Him LEE 彭秀慧 Kearen PANG 石繕滎 Jojo SHEK MUSIC, SOUND

黃艾倫 WONG Ngai Lun 翁瑋盈 Janet YUNG Wai Ying CAST

毛舜筠 Teresa MO 姜濤 KEUNG To 柳應廷 Jer LAU 鄧麗英 TANG Lai Ying 岑珈其 Kaki SHAM PRINT SOURCE

英皇電影 Emperor Motion Pictures

2022 大阪亞洲電影節 Osaka Asian FF 2022 芝加哥亞洲躍動電影節觀眾票選獎 Audience Choice Awards, Asian Pop-up Cinema

06.26 SUN 11:00 信義 HYC 10 ☆ 108

亞洲稜鏡 ASIAN PRISM

加爾各答往事

Once Upon a Time in Calcutta 印度、法國、挪威 India, France, Norway ｜ 2021 ｜ DCP ｜ Color ｜ 133min

加爾各答。女伶艾拉的獨女驟逝，傷慟情未已， 還被女兒生前的醫療債給壓垮。她疲於奔波在商 展、占星節目主持，還要抽空與銀行周旋。艾拉 屈服於意圖不軌的地方建商；與教師丈夫同床異 夢，一心只想離婚；還愛上青梅竹馬的橋樑工程 師。隨著同父異母的弟弟佔據家族戲院，艾拉也 想賣地籌錢，並進一步與高利貸展開協商。

After the loss of her only daughter, Ela not only loses

印度新銳導演阿迪亞．維克蘭．山古塔以一尊科 學園區的恐龍雕像拆遷為靈感，呈現有別於泰戈 爾、薩雅吉雷人文精神的西孟加拉批判觀點。泥 淖之都、時代荒流，高架道路凌空而過蚊蟲蔓生 的泥濘，橋下小人物的愛情野心與家族陰謀都是 共產的遺跡，還有一個個詩人雕像見證的時代靈 魂。

give her a loan, Ela succumbs to her lascivious boss,

her identity as a mother but the reason to be with her husband. While trying to find a new identity, she tries to reignite her relationship with an old lover. Desperate to move out of her husband's house and buy a place of her own, Ela confronts her stepbrother to claim her half of the share in their ancestral property, but he refuses to comply. When the banks refuse to who runs a fraudulent real estate business. Their lives finally culminate when the crimes of Ela's boss are discovered, leading to Ela losing her new-found identity, love and independence.

阿迪亞．維克蘭．山古塔，1983 年出生於加爾各答，畢業於知名 印 度 國 家 設 計 學 院， 後 於 電 視 台 Channel [V] 擔任編導數年。 2014 年首部劇情長片《平行戀 人》獲威尼斯影展威尼斯日最佳 新導演、印度電影獎新導演，並 受邀至倫敦、紐約等國際影展放 映。 Aditya Vikram SENGUPTA's debut film, Labour of Love, premiered at Venice 2014, where it won the Fedeora Award for Best Debut Film. His second feature, Jonaki, was selected for Rotterdam 2018. Once Upon a Time in Calcutta is his third feature.

©For Films

DIRECTOR, SCREENPLAY, EDITOR

阿迪亞．維克蘭．山古塔 Aditya Vikram SENGUPTA PRODUCER

Priyanka AGARWAL Anshulika DUBEY Shashwat SINGH Vokram MOHINTA CINEMATOGRAPHER

Gökhan TIRYAKI MUSIC

Minco EGGERSMAN SOUND

Hindole CHAKRABORTY Bruno TARRIERE CAST

Sreelekha MITRA Satrajit SARKAR Arindam GHOSH Shayak ROY Bratya BASU PRINT SOURCE

PLUTO FILM Distribution Network GmbH

2021 威尼斯影展 Venice FF 2022 紐約新導演 新電影影展 New Directors/New Films

06.25 SAT 20:30 華山 SHC 1 ｜ 06.30 THU 13:30 華山 SHC 1 ｜ 07.06 WED 10:30 信義 HYC 10 亞洲稜鏡 ASIAN PRISM

109

深空

亞洲首映 Asian Premiere

Shen Kong 澳門 Macau ｜ 2021 ｜ DCP ｜ Color ｜ 103min

鼠年春節，中國各地城市因疫情陸續封城，官方 廣播在空蕩蕩的社區裡迴盪，襯著此起彼落的炮 竹聲響，份外淒涼。停工的男子李由百無聊賴， 揪到被迫滯留當地的女子宵宵上街散心，一男一 女沿著空無一人的街道漫遊，闖入停業的遊樂園， 在斷電的 KTV 放聲歡唱，深入不知名的廢墟找樂 子……青春的肉體像魚，在壓抑的水缸裡蠢蠢欲 動；發洩不了的情慾又似火，燒得兩人血脈賁張， 誰還在乎病毒的近身撒野？ 導演陳冠取景中國湖南，以多變的鏡頭捕捉年輕 男女在無人街道上的歡恣嬉鬧，攝影時而近身窺 探、時而上帝視角，挑釁著觸碰彼此的情感與道 德底線。魔幻的場景、清冷的色調，噴發的荷爾 蒙在病毒肆虐的城市裡蔓延，讓這場虛實難辨的 雙人漫舞越跳越癡狂，頭破血流也想繼續闖。

When the pandemic breaks out, Li You is given a long vacation while Xiao Xiao is forced to remain in a city that she does not know well. A strange atmosphere hangs over the urban landscape. The two of them wander the streets in search of fun things to do. Meanwhile, their emotions, state of mind, ethical values and physical instincts gradually become tools of desire. Once they have indulged in their pleasures and their euphoria reaches a climax, what else is left for them to set their hearts on, apart from the marks they have left on the city?

陳 冠， 身 兼 導 演、 編 劇， 畢 業 於 法 國 EICAR 電 影 藝 術 學 院 導 演 系。2016 年 執 導 短 片 作 品 《F**k》。2021 年 首 部 劇 情 長 片《深空》獲選為威尼斯影展威 尼斯日開幕片。 CHEN Guan is a writer, director and actor who earned a degree in Film Directing from EICAR in Paris. His short film, F**k, premiered at Côté Court Film Festival. Shen Kong is his first feature.

DIRECTOR, SCREENPLAY

陳冠 CHEN Guan PRODUCER

何旋 HE Xuan 李天鈺 LI Tianyu CINEMATOGRAPHER

楊正 YANG Zheng EDITOR

陳冠 CHEN Guan 曹航琛 CAO Hangchen MUSIC

李楊帆 LI Yangfan SOUND

張陽 ZHANG Yang CAST

魏如光 WEI Ruguang 鄧珂玉 DENG Keyu PRINT SOURCE

Asian Shadows

2021 威尼斯影展威尼斯日 Venice Days, Venice FF

06.24 FRI 16:10 華山 SHC 2 ｜ 06.27 MON 20:50 華山 SHC 2 ｜ 07.02 SAT 18:30 華山 SHC 2 110

亞洲稜鏡 ASIAN PRISM

卡蜜拉 ・ 安迪尼 KAMILA ANDINI 焦點影人 Filmmaker in Focus

1986 年出生於印尼雅加達，為 2019 年台北電影節焦 點影人嘎林．努戈羅和之女，赴澳洲求學後返鄉投身導 演工作。2011 年以首部劇情長片《海洋魔鏡》 初試啼聲，於國際間嶄露頭角，並入選台 北電影節國際新導演競賽；2017 年以長 片《舞吧舞吧，孩子們》獲柏林影展新 世代單元評審團大獎；2021 年少女成 長電影《第三次求婚》獲多倫多影展站 台單元最佳影片。2022 年最新劇情長片 《娜娜：逝水年華》入選柏林影展主競賽， 片中演員蘿拉・芭蘇琦更以傑出的表演獲最佳 配角，《Variety 綜藝報》更以「猶如王家衛遇上 阿比查邦」盛讚其優美的鏡頭與細膩的情感刻畫。卡蜜 拉・安迪尼長期關注社會文化、性別、平權與環境議題，逐漸 奠定自己獨特的風格與犀利的視角，是近年備受矚目的印尼新 銳女導演。 Kamila ANDINI is a mother and filmmaker based in Jakarta, Indonesia. Her concern of social culture, gender equality and environmental issues leads her to make films with a distinctive perspective. In 2011, she released her debut feature, The Mirror Never Lies, followed by her second feature, The Seen and Unseen, in 2017. She also creates short films, including Following Diana, Memoria, Sekar and Back Home, to show her voice and vision in filmmaking. Yuni is her third feature, which had its world premiere in Platform competition at Toronto 2021. Before, Now & Then is her latest film.

作品年表 Filmography

年份 Year

原文片名 Original Title

片名 Title

形式 Form

職位 Position

2011

Laut Bercermin

海洋魔鏡 The Mirror Never Lies

Feature

D, CW

2015

Sendiri Diana Sendiri

Following Diana

Short

D, W

Memoria

Short

D, W

2016 2017

Sekala Niskala

舞吧舞吧，孩子們 The Seen and Unseen Feature

D, W, P

2018

Sekar

Short

D, P

2019

Mountain Song

Feature

EP

2019

Angel Sign (segment “Back Home“)

Feature

CD

TV Movie

CD

第三次求婚 Yuni

Feature

D, CW, EP

2020

Anugerah Terindah

2021 2022

Nana

娜娜：逝水年華 Before, Now & Then

Feature

D, W

2022

Sepanjang Jalan

Along the Road

Short

D, W

導演 Director (D) 、編劇 Writer (W)、製片 Producer (P)、共同導演 Co-Director (CD)、共同編劇 Co-Writer (CW)、 監製 Executive Producer (EP)

海洋魔鏡

The Mirror Never Lies

印尼 Indonesia ｜ 2011 ｜ DCP ｜ Color ｜ 100min

父親出海捕魚後就未曾返家，行蹤成謎，相信父親依然活著的女孩芭琪，帶著傳說中具 有魔力的鏡子，四處尋找父親的下落。有天，一位青年自雅加達來訪，要在村落裡研究 當地的海豚，進而向芭琪那美豔動人卻不願以真面目示人的母親借宿客房。青年的到來， 輕輕撩撥起母女之間的矛盾關係；難以言喻的憂傷與情慾、成長的複雜心情，在湛藍的 班達海域裡餘波蕩漾。 故事場景在印尼東南方蘇拉威西的瓦卡托比群島，被稱為「海上吉普賽」的海洋游牧民 族「巴霍人」依賴大海維生。本片為當時 23 歲的導演首部劇情長片，以令人驚豔的水 下攝影捕捉當地充滿魅力的海洋景觀，呈現人與自然密不可分的關係；並以豐富的情感 細節，動人描繪女孩如何從喪父之痛破繭，以自己的樣貌自信而美麗地重生。

DIRECTOR

卡蜜拉．安迪尼 Kamila ANDINI PRODUCER

嘎林．努戈羅和 Garin NUGROHO Nadine CHANDRAWINATA SCREENPLAY

Dirmawan HATTA 卡蜜拉．安迪尼 Kamila ANDINI CINEMATOGRAPHER

Rachmad "Ipung" SYAIFUL EDITOR

Wawan I. WIBOWO MUSIC

The film follows Pakis, a young girl of the Bajau people – a minority group of sea nomads in Indonesia. Pakis' father is lost at sea, and her mother labors to make ends meet in his absence. Without a real answer as to her father's fate and unable to accept that he is gone, Pakis struggles both with her new reality and her relationship with her mother. When a stranger appears in their small fishing village to research on dolphins and boards with the small family, conflicts come to a boil. The Mirror Never Lies examines the personal drama on the stage of the Pacific Ocean, as well as the slow suffocation of fishermen's livelihood by sea pollution.

Thoersi ARGESWARA SOUND

Khihmawan SANTOSA CAST

Gita NOVALISTA Atiqah HASIHOLAN Reza RAHADIAN Eko Zainal B.A PRINT SOURCE

Fourcolours Films

2011 釜山影展 Busan IFF 2012 柏林影展 Berlinale 2012 台北電影節國際青年導演競賽特別推薦獎 Special Jury Prize, International New Talent Competition, Taipei FF

06.24 FRI 19:00 華山 SHC 1 ｜ 06.27 MON 21:00 華山 SHC 1 ｜ 07.07 THU 16:00 華山 SHC 1 亞洲稜鏡｜焦點影人：卡蜜拉．安迪尼 ASIAN PRISM ｜ FILMMAKER IN FOCUS: KAMILA ANDINI

113

舞吧舞吧，孩子們 The Seen and Unseen

印尼、荷蘭、澳洲、卡達 Indonesia, The Netherlands, Australia, Qatar ｜ 2017 ｜ DCP ｜ Color ｜ 86min

男孩坦德拉生了重病嚴重昏迷，雙胞胎姐姐坦德莉難掩哀傷，陷入沉默。夜幕低垂時， 姐姐卻看見弟弟起身，他們一起跳舞歌唱，不願分離，也不願醒來。白晝宛若夢魘幻境， 夜晚才是姐弟倆快樂遊玩的現實。天體運轉，月亮盈虧，為了拯救弟弟，坦德莉化身傳 統皮影戲的神祇，在皎潔月光下翩翩起舞，在水稻田間與神靈展開對話，將濃稠的情感 意念化為舞動身體的力量。 晝與夜、生與死，看似相對的兩端如何達到共生與平衡。雙胞胎手足思念的情感穿越兩 界，透過舞蹈儀式架構出一個真實與虛幻並存的雙生「視」界。本片為導演的第二部長 片，持續透過孩子的視角，以獨特的魔幻寫實風格，詩意地呈現傳統峇里文化的生命哲 學。 「我們的文化是由信仰、神話和宇宙萬物塑造的，持續在看得見的事物與看不見的事物 （Sekala/Niskala）之間尋求和諧共處，對我的國家而言，現實主義就是超現實的。」── 卡蜜拉．安迪尼 One day in a hospital room, 10-year-old Tantri realizes that she will not have much time with her twin brother, Tantra. Tantra's brain weakens and he starts to lose his senses, one by one. Tantra is now spending most of his time lying in the hospital room while Tantri has to accept the reality

DIRECTOR, SCREENPLAY

卡蜜拉．安迪尼 Kamila ANDINI PRODUCER

Gita FARA Ifa ISFANSYAH 卡蜜拉．安迪尼 Kamila ANDINI CINEMATOGRAPHER

Anggi Frisca DANCE EDITOR

Dinda AMANDA MUSIC, SOUND

森永泰弘 MORINAGA Yasuhiro CAST

Ni Kadek Thaly Titi KASIH Ida Bagus Putu Radithya MAHIJASENA Ayu LAKSMI I Ketut RINA Happy SALMA PRINT SOURCE

Cercamon

that she has to face life alone. This situation opens up something in Tantri's mind. Tantri keeps waking up in the middle of the night from a dream and seeing Tantra. The night becomes their playground. Together, Tantri experiences a magical journey and emotional relationship through body expressions. 2017 多倫多影展 Toronto IFF 2017 釜山影展 Busan IFF 2018 柏林影展新世代單元評審團大獎 Grand Prix of the International Jury, Generation Kplus, Berlinale

06.24 FRI 21:20 華山 SHC 1 ｜ 07.02 SAT 18:50 華山 SHC 1 ｜ 07.07 THU 13:50 華山 SHC 1 114

亞洲稜鏡｜焦點影人：卡蜜拉．安迪尼 ASIAN PRISM ｜ FILMMAKER IN FOCUS: KAMILA ANDINI

第三次求婚

Yuni

印尼、新加坡、法國、澳洲 Indonesia, Singapore, France, Australia ｜ 2021 ｜ DCP ｜ Color ｜ 95min

叛逆少女悠妮酷愛紫色，那不但是她的本命色，她還得了看到紫色就要偷的壞毛病，一 度被老師叫進辦公室關心。她跟那些遵守戒律、乖乖結婚生子的女同學不同，成績優異 的她，夢想著申請獎學金去大城市，追隨在雅加達工作的父母。街坊常言，不能拒絕提 親超過兩次，而她的心思壓根不在那些提親的男人身上，只顧著暗戀文學老師，使喚學 弟幫她寫詩詞作業。六月即將結束，屆滿 18 歲的她要如何選擇自己的出路？ 導演安迪尼透過文學、舞蹈與音樂，關照伊斯蘭保守社會下的性別、情慾與身體政治。 獨特的影像詩學讓人想起蘇菲亞．柯波拉《死亡日記》，更融入印尼傳奇詩人沙巴迪． 佐科．達莫諾的代表作《六月的雨》，將女主角對比六月的旱季之雨，擁有果敢、堅忍 且直率的獨特性格。

DIRECTOR

卡蜜拉．安迪尼 Kamila ANDINI PRODUCER

Ifa ISFANSYAH SCREENPLAY

卡蜜拉．安迪尼 Kamila ANDINI Prima RUSDI CINEMATOGRAPHER

張毓軒 TEOH Gay Hian EDITOR

利．查泰米提古 Lee CHATAMETIKOOL MUSIC

Alexis RAULT

Yuni is a teenage girl - smart with big dreams of attending university. When two men she barely knows ask to marry her, she rejects their proposals, sparking gossip about a myth that a woman who rejects three proposals will never marry. The pressure is building when a third man asks for her hand, and Yuni must choose between the myth of a final chance at marriage, or her dream of future happiness. "I have heard so many stories of a potential teenage girl losing over marriage in my country, and I feel like I need to talk about this. But this particular story is not about winning the society; it's about

SOUND

LIM Ting Li CAST

Arawinda KIRANA Kevin ARDILOVA Dimas ADITYA PRINT SOURCE

Cercamon

liberating ourselves." - Kamila Andini

2021 多倫多影展站台單元最佳影片 Platform Prize, Toronto IFF 2021 釜山影展 Busan IFF 2021 新加坡影展 Singapore IFF

06.23 THU 16:00 華山 SHC 1 ｜ 06.27 MON 18:40 華山 SHC 1 ｜ 07.02 SAT 16:30 華山 SHC 1 ｜ 07.05 TUE 13:50 中山堂 TZH 亞洲稜鏡｜焦點影人：卡蜜拉．安迪尼 ASIAN PRISM ｜ FILMMAKER IN FOCUS: KAMILA ANDINI

115

娜娜：逝水年華

亞洲首映 Asian Premiere

Before, Now & Then

印尼 Indonesia ｜ 2022 ｜ DCP ｜ Color ｜ 103min

前夫被擄的夢魘在夜裡張開爪牙，反覆朝美麗婦人娜娜襲來。儘管再婚生活看似安逸富 裕、精緻合宜，蟄伏於她髮髻暗處、關於丈夫與自己的祕密，總讓娜娜如清醒在寐的遊 魂，被過去的創傷所縈繞。在這之中，唯一能療癒且解其心緒的，卻是那位意外闖入生 命中的陌生屠婦。 繼描繪青少女的精采前作《第三次求婚》，安迪尼再次聚焦女性命運，將時空設定在 1960 年代中期。彼時印尼首任左派領導人蘇卡諾被獨裁者蘇哈托將軍推翻，左翼人士盡 遭肅清。娜娜的情慾和身分在這動盪的時代裡，分裂出過去、現在與未來的時間差，而 她則在此間來回自我辯證，以溫柔和尊重持續呵護愛的餘燼。

DIRECTOR

卡蜜拉．安迪尼 Kamila ANDINI PRODUCER

Ifa ISFANSYAH Gita FARA SCREENPLAY

卡蜜拉．安迪尼 Kamila ANDINI Ahda IMRAN CINEMATOGRAPHER

Batara GOEMPAR EDITOR

The late 1960s. Nana cannot escape her past. Poverty-stricken, having lost her family to the war in West Java, she marries again and begins a new life. But the past lives on in her dreams. Her new husband is wealthy, but her place in the family is menial, and he is unfaithful. Nana suffers in silence until the day she meets one of her husband's mistresses and everything changes. Ino is someone she can trust, someone who offers her comfort and to whom she can confide her secrets, past and present. Together, the two women find the hope of new freedom...

Akhmad Fesdi ANGGORO MUSIC

Ricky LIONNARDI SOUND

Nakorn KOSITPAISAL Suchada SUPROMIN CAST

Happy SALMA 蘿拉・芭蘇琦 Laura BASUKI Arswendy Bening SWARA Ibnu JAMIL PRINT SOURCE

前景娛樂有限公司 Flash Forward Entertainment

2022 柏林影展最佳配角 Best Supporting Performance, Berlinale

06.26 SUN 18:40 華山 SHC 2 ｜ 07.07 THU 19:00 華山 SHC 1 ★ 116

亞洲稜鏡｜焦點影人：卡蜜拉．安迪尼 ASIAN PRISM ｜ FILMMAKER IN FOCUS: KAMILA ANDINI

電影萬物論 WORLD CINEMA ©Jérôme Prébois

在包羅萬象的電影世界，呈現世界各國最動人有趣的故事，以及各國影壇巨星最精采的演出，在歡笑和 淚水中，看見不同的人生與觀點。 誠實說謊家 Promises

人造眷戀 After Yang

美國 USA ｜ 2021 ｜ DCP ｜ Color ｜ 96min

如同往常般，傑克一家四口和樂融融，但本應是 愉快的家庭舞蹈大賽，卻在「哥哥」楊倒下後就 此變調。那個有張亞裔面孔、陪伴女兒成長的仿 生人楊，是傑克為了讓領養的女兒接近其血緣文 化，而購入的家庭成員。由於機型過於老舊，傑 克奔波苦尋修理管道，卻也因此發現存放其體內 的記憶資料，循著層層碎片檢視，傑克也發現這 個仿生人內心世界意想不到的溫度，與他們從未 知道的祕密。

When his young daughter's beloved companion - an

改編短篇小說《Saying Goodbye to Yang》，導 演郭共達將日常生活佐以軟科幻題材，在將逝的記 憶中，探討關於存在的本質，並試圖從無機冰冷的 機體抽絲剩餘的情感與溫熱的記憶，探究親情與愛 情的羈絆究竟如何生成。柯林．法洛深刻詮釋揪心 父親，《雨傘學院》韓裔明星賈斯汀．閔則飾演仿 生人楊，日裔音樂人 ASKA 更為本片力邀坂本龍 一，攜手打造一座近未來的記憶博物館。

overwhelming. But I hope my film has a relationship to

android named Yang - malfunctions, Jake searches for a way to repair him. In the process, Jake discovers the life that has been passing in front of him, reconnecting with his wife and daughter across a distance he didn't know was there. "At the moment, our whole world is experiencing the trauma of a global crisis. It's in that context that we ask: Where do we find meaning? The loss of life, and the way we've responded to it, sometimes very poorly, can be the now, whether it's the pandemic or just life itself." – Kogonada

郭共達，韓裔美國導演，早年化 名 Kogonada，以分析影像的錄 像論文作者身分為人熟知。2017 年首部長片《構築心方向》在日 舞影展首映，並入選台北電影節 國際新導演競賽；於坎城影展首 映的《人造眷戀》為其第二部作 品， 近 期 共 同 執 導 影 集《 柏 青 哥》。 Kogonada's debut film, Columbus, premiered at Sundance 2017. He wrote and directed his second feature, After Yang, for A24.

DIRECTOR, SCREENPLAY, EDITOR

郭共達 Kogonada PRODUCER

Theresa PARK Andrew GOLDMAN Caroline KAPLAN Paul MEZEY CINEMATOGRAPHER

Benjamin LOEB MUSIC

Aska MATSUMIYA 坂本龍一 SAKAMOTO Ryuichi SOUND

Ruy GARCÍA CAST

柯林．法洛 Colin FARRELL Jodie TURNER-SMITH 曾晶瑩 Malea Emma TJANDRAWIDJAJA 賈斯汀．閔 Justin H. MIN Orlagh CASSIDY PRINT SOURCE

A24 Films

2021 坎城影展 Cannes 2022 日舞影展 Sundance FF 2022 全州影展 Jeonju IFF

06.29 WED 14:30 中山堂 TZH ｜ 07.03 SUN 16:40 中山堂 TZH 118

電影萬物論 WORLD CINEMA

瀕臨絕種的園長

Anatolian Leopard

土耳其、波蘭、德國、丹麥 Turkey, Poland, Germany, Denmark ｜ 2021 ｜ DCP ｜ Color ｜ 109min

安卡拉市中心，一座歷史悠久的動物園，即將被 阿拉伯商人改建為主題樂園。唯一能改變它命運 的，是園中那隻受國家法定保育、瀕臨絕種的安 納托利亞豹。坐鎮 22 年的園長，感嘆於無人理解 他對動物園的愛，只能在跨年夜對著豹傾吐怨言， 想不到眼前這隻國寶，居然一動也不動……。 土耳其導演凱耶許為劇中卡夫卡式的人物穿上保 護色，在孤島般的巨籠中被動求生，等著被所謂 的「進步改革」爪牙吞噬；而檢察官的暗喻警語， 則為全片增添類黑色電影的致命吸引力，鋒利探 問土耳其近代全面私有化與現代化的代價，並時 而浮現郭利斯馬基式的社會關懷與冷調幽默。在 繁華的都會叢林中，人與獸一起面對瀕臨絕種的 生命威脅。

Dedicated to his work for 22 years, Fikret is the director of Turkey's oldest zoo in Ankara. Like much of the country, the institution is undergoing a process of privatization, but one obstacle stands in the way: its oldest inhabitant, the Anatolian leopard, an endangered species indigenous to the region and protected by law. On New Year's Eve, tipsy and bored, Fikret finds himself paying a visit to the leopard, though he soon realizes his old friend is bereft of life. Determined to hide the inconvenient truth, Fikret and his assistant fake the leopard's escape, setting in motion an absurd charade that inevitably turns the ensuing capture attempt into a three-ring circus while rousing Fikret's

埃 姆 雷． 凱 耶 許，1984 年 出 生 於土耳其安卡拉，取得法律學士 後轉赴倫敦電影學院攻讀電影製 作。2014 年 以 畢 業 製 作《The Translator》獲邀於 200 多個海 內外影展放映，並入圍第 28 屆 歐洲電影獎。《瀕臨絕種的園長》 為其首部劇情長片。 Emre KAYIŞ was born in Ankara. He studied Law in Turkey and Film at the London Film School. His credits include the short film, The Translator. Anatolian Leopard is his feature debut.

long-buried idealism.

DIRECTOR, SCREENPLAY

埃姆雷．凱耶許 Emre KAYIŞ PRODUCER

Olena YERSHOVA CINEMATOGRAPHER

Nick COOKE EDITOR

Ricardo SARAIVA Olivia NEERGAARD-HOLM SOUND

Tobias ADAM CAST

Uğur POLAT Ipek TÜRKTAN Tansu BİÇER PRINT SOURCE

Luxbox

2021 多倫多影展費比西國際影評人獎 FIPRESCI Prize, Toronto IFF 2021 安塔利亞影展最佳首部影片、最佳藝術指導 Best First Film Award, Best Art Director Award, Antalya FF

06.23 THU 16:30 信義 HYC 11 ｜ 06.26 SUN 13:20 信義 HYC 11 ｜ 06.30 THU 20:50 華山 SHC 2 ｜ 07.03 SUN 18:30 華山 SHC 2 電影萬物論 WORLD CINEMA

119

大獲拳勝

The Champion of Auschwitz 波蘭 Poland ｜ 2020 ｜ DCP ｜ Color ｜ 91min

1940 年，波蘭冠軍拳王泰迪參與華沙圍城保衛戰 的武裝部隊，華沙被破，他在逃亡法國途中被捕， 成為第一批被送往奧斯威辛集中營的戰囚。集中 營裡朝不保夕，納粹士兵視為遊戲的地下拳擊賽， 成為泰迪為生存而拼搏的重要戰爭。然而，一次 次激勵人心的勝利，卻讓納粹長官警覺到囚犯的 反抗意識，轉而強化管制，眼見衝突逐漸升溫， 獲勝已然成為集中營裡殘酷的生存之路。

It is 1940. The first transport of prisoners arrives at

波蘭新銳導演馬切伊．巴切夫斯基首部劇情長片， 將戰後被忽視的華沙拳王故事搬上大銀幕，背號 「77」的囚犯在三年內贏了 40 戰，他的奮鬥故事 成為奧斯威辛囚犯倖存者的集體記憶。波蘭金獎 演員彼得．葛洛瓦茲基透過長時間密集的身體訓 練，精采演繹波蘭影史最「痛」的角色。

Champion of Auschwitz tells an unknown story of one

the newly created concentration camp Auschwitz. One of them is Tadeusz "Teddy" Pietrzykowski, pre-war boxing champion of Warsaw. The camp officers force him to fight in the ring for his and other prisoners' lives. However, his every win strengthens the hope that Nazis are not invincible. The officers notice that the growing resistance and the confrontation with the authorities of the camp becomes inevitable. The of the first inmates of camp Auschwitz-Birkenau, prisoner number 77. During his three-year stay in the camp, "Teddy" fought over 40 victorious duels, becoming a symbol of hope for victory over Nazi terror.

「我的爺爺是集中營倖存者，這個故事一直存在 我的血脈之中。」──馬切伊．巴切夫斯基

馬切伊．巴切夫斯基，1986 年 出生於波蘭，畢業於法學院。曾 任 智 財 權 法 教 授， 並 於 紐 約、 芝 加 哥 等 地 授 課。 後 前 往 波 蘭 Gdynia 電影學校深造，2017 年 完成首部改編史蒂芬．金小說的 短片《My Pretty Pony》，2020 年 完 成 首 部 劇 情 長 片《 大 獲 拳 勝》。 Maciej BARCZEWSKI is a Polish f i l m p r o d u c e r, d i r e c t o r a n d screenwriter. A graduate of Gdynia Film School, he made the short film, My Pretty Pony, in 2017. The Champion of Auschwitz is his first feature.

DIRECTOR, SCREENPLAY

馬切伊．巴切夫斯基 Maciej BARCZEWSKI PRODUCER

Krzysztof SZPETMAŃSKI Leszek STARZYŃSKI CINEMATOGRAPHER

Witold PŁÓCIENNIK EDITOR

Leszek STARZYŃSKI MUSIC

Bartosz CHAJDECKI SOUND

Mariusz BIELECKI Jarosław BAJDOWSKI Tomasz DUKSZTA CAST

彼得．葛洛瓦茲基 Piotr GŁOWACKI Grzegorz MAŁECKI Marcin BOSAK Marian DZIĘDZIEL Piotr WITKOWSKI PRINT SOURCE

海鵬影業 Swallow Wings Films

06.30 THU 18:30 華山 SHC 1 ｜ 07.03 SUN 11:20 華山 SHC 1 120

電影萬物論 WORLD CINEMA

當女孩戀愛時

亞洲首映 Asian Premiere

Girl Picture

芬蘭 Finland ｜ 2022 ｜ DCP ｜ Color ｜ 100min

咪咪屢屢在女孩團體裡衝突闖禍，樂可卻總困惑 於自己能夠愛誰。即將迎來一場大賽的艾瑪苦練 多年滑冰，卻始終無法克服最難的招式。在即將 到來的三個禮拜中，三人彷彿經歷一場場搖晃又 旋轉的時光。做愛與戀愛、相聚或分離、交心或 冷戰，不間斷地演練與挫折，宛如踩進一個不時 短路的青春迴圈。

B e s t f r i e n d s M i m m i a n d Rö n k kö wa n t to l i ve

芬蘭導演艾莉．哈帕薩洛以週記式的敘事結構， 探究女孩成長過程中，時而直率、時而反覆不安 的情感特色，直接卻不帶批判。透過靈動的攝影 與樂曲，將少女獨有的親密和芥蒂描摹得淋漓盡 致。三個年輕演員各有鮮明個性，幽微投射欲望、 親子與人際難題，一次次將觀眾拋向點餐台、溜 冰場、派對舞池，與城市的寂寥黑夜。隨著影片 起舞，仿似也重新回味了青春時代的溫度和或許 未完成的人生軌跡。

Three Fridays is all it takes to turn their worlds upside

adventurous lives, loaded with experiences and passion. Emma, on the contrary, has given her whole life to figure skating. Nothing gets between her and success. But when the girls meet, life opens whole new paths, and they all rocket in new directions. While Mimmi and Emma experience the earth moving effects of first love, Rönkkö is on a quest to find pleasure. down. "It kind of became my mission to depict girls in a much more complex and realistic way than we are used to seeing in cinema. And to create a film where girls are valued as exactly who they are." – Alli Haapasalo

艾 莉． 哈 帕 薩 洛，1977 年 出 生 於 芬 蘭 克 拉 瓦。 畢 業 於 紐 約 大 學 Tisch 藝術學院，主修編劇與 導演。2016 年執導首部劇情長 片《Love and Fury》， 創 作 內 容多關注女性與性別議題，並以 《當女孩戀愛時》入選 2022 年 柏林影展新世代單元。 Alli HAAPASALO is a Finnish film director and screenwriter, who graduated from Tisch School of the Arts. She made her debut feature, Love and Fury, in 2016, followed by Force of Habit in 2019. Girl Picture is her third feature.

DIRECTOR

艾莉．哈帕薩洛 Alli HAAPASALO PRODUCER

Leila LYYTIKÄINEN Elina POHJOLA SCREENPLAY

Ilona AHTI Daniela HAKULINEN CINEMATOGRAPHER

Jarmo KIURU EDITOR

Samu HEIKKILÄ MUSIC

Jan FORSSTRÖM SOUND

Anne TOLKKINEN CAST

Aamu MILONOFF Eleonoora KAUHANEN Linnea LEINO Mikko KAUPPILA Amos BROTHERUS PRINT SOURCE

光年映畫有限公司 Light Year Images

2022 日舞影展全球劇情片類觀眾票選獎 Audience Award, World Cinema Dramatic, Sundance FF 2022 柏林影展 Berlinale

07.06 WED 21:40 信義 HYC 11 電影萬物論 WORLD CINEMA

121

壞壞壞天使

亞洲首映 Asian Premiere

Heavens Above

塞爾維亞、德國、北馬其頓、斯洛維尼亞、克羅埃西亞、蒙特內哥羅、 波士尼亞與赫塞哥維納 Serbia, Germany, North Macedonia, Slovenia, Croatia, Montenegro, Bosnia and Herzegovina 2021 ｜ DCP ｜ Color ｜ 122min

大塊頭老好人史托揚頭上突然冒出一個光環，在 鄰里引起一陣騷動，大家將他視為天使再世。偏 偏老婆一心只想讓史托揚回復正常，還聽從電視 神棍的建議，精心策畫讓老公變成大壞蛋，迫使 上帝收回光環。古怪的是，隨著史托揚越壞，頭 上的光就越亮，還從底層工人絕地翻身，晉身上 流！

Stojan is as dull and simple as he is kindhearted.

橫跨 1993、2001、2026 年的三段式超現實黑色 喜劇。故事從共產主義在東歐崩潰的頭幾年談起， 剛脫離無神論的人民重新接觸基督教，親身經歷 革命後的種種經濟困頓。導演以各種宗教奇蹟所 展現的貪婪人性，帶出東歐人民對宗教的迷信， 與對資本主義的上癮實為一體，勾勒出東歐前共 產主義國家轉變為資本主義之後的怪誕現象。

the unwilling saint, begins to like his new lifestyle and

When a freak accident changing a light bulb puts a glowing halo above his head, he quickly becomes the new attraction around town. His strong-willed wife Nada isn't at all amused about the unwanted attention amongst their neighbors. After several tries, nothing can remove the shining annoyance and turn her husband back to his former unremarkable self. Stojan, quickly turns to sinister crimes... Heavens Above is a dark comedy told through three stories of one family and spanning over three decades (1993, 2001, 2026). The film explores the impact of miracles on modern society. Numerous characters

塞 登． 德 拉 戈 耶 維 奇，1963 年 出 生 於 塞 爾 維 亞， 持 有 臨 床 心 理 學 學 位，1989 年 以《 我 們 不 是天使》獲選南斯拉夫 1947 至 1995 年十部最偉大的藝術電影 之 一；2012 年 以 探 討 同 志 權 益 的《彩虹保衛隊》獲柏林影展三 個獎項。 Srdjan DRAGOJEVIĆ is the author of eight feature films and eight books. His film, The Parade, was a huge box-office hit in Europe in 2012 after receiving three awards at Berlinale.

reappear, intertwine and affect each other's destinies in increasingly bizarre circumstances. ©Delirium Films

DIRECTOR, SCREENPLAY

塞登．德拉戈耶維奇 Srdjan DRAGOJEVIĆ PRODUCER

Biljana PRVANOVIĆ 塞登．德拉戈耶維奇 Srdjan DRAGOJEVIĆ CINEMATOGRAPHER

Dušan JOKSIMOVIĆ EDITOR

Petar MARKOVIĆ MUSIC

Igor PEROVIĆ SOUND

Ognjen POPIĆ Julij ZORNIK Zoran MAKSIMOVIĆ CAST

Goran NAVOJEC Ksenija MARINKOVIĆ Bojan NAVOJEC Miloš SAMOLOV Nataša MARKOVIĆ PRINT SOURCE

PLUTO FILM Distribution Network GmbH

2021 盧卡諾影展獨立青年評審團獎 Prize of the Independent Young Jury, Locarno FF 2021 烏克蘭敖德薩影展 Odesa IFF

06.23 THU 14:00 信義 HYC 10 ｜ 06.30 THU 16:40 信義 HYC 10 ｜ 07.03 SUN 20:30 華山 SHC 1 122

電影萬物論 WORLD CINEMA

老男孩奮鬥日記

亞洲首映 Asian Premiere

The Heroics

法國 France ｜ 2021 ｜ DCP ｜ Color ｜ 100min

年屆半百的老男孩米榭，膝下有一個 17 歲的兒子 和剛出生不久的孩子，但他一點也不想負起照顧 責任，反而花大把時間泡在摩托車的世界裡。老 男孩離過婚、酗過酒、反覆戒毒，還沒有固定工 作。明明睡得不多，卻把人生活得像場失序的惡 夢，總在半夢半醒之際試圖掙扎著脫身，不讓自 己被失敗淹沒。 導演羅伊細膩描繪一位有藥物成癮的中年男子， 在遇上生命中各種崩潰時刻──毒癮發作、照顧 新生兒、經濟困頓時的處境，帶出社會中許多隱 形人的人生煩惱。他保留男主角面臨困難時偶然 展現的純真可愛，也不以衝突緊張來描繪貧困與 成癮的問題，而是保留真實性，引導觀眾脫離上 帝視角，亦不因悲情而寄予同情。

Michel, a former junkie, is an eternal kid who only dreams of motorcycles and hangs out with his eldest son, Leo, and his buddies. At the age of fifty, he has to deal with the baby he just had with his ex, and struggles not to repeat the same mistakes, while trying to be a good guy. "I like to think that writing is a bandage to better understand elements and situations in our past and present lives. Maybe making a film allows us to transfigure misunderstandings and to try and find new byways to make it better. I start from real experiences, and I invent fiction in which characters are put in largerthan-life situations and every possible narrative thread allows me to generate dramatic tension." - Maxime Roy

馬 克 西 姆． 羅 伊，1988 年 出 生 於法國，身兼演員、編劇、導演。 2018 年 以 首 部 短 片《Beautiful Loser》獲克萊蒙費宏短片影展 最佳首作，該片亦由他與男主角 法蘭索瓦．克雷頓共同編劇。兩 人於 2021 年再度合作，將短片 故事延伸為首部劇情長片《老男 孩奮鬥日記》。 M a x i m e R OY i s a d i r e c t o r, screenwriter and actor. In 2018, he directed his first short film, Beautiful Loser, which won awards at Clermont-Ferrand and other festivals. The Heroics, an extension of Beautiful Loser, is his debut feature. DIRECTOR

馬克西姆．羅伊 Maxime ROY PRODUCER

Alice BLOCH Miléna POYLO Gilles SACUTO SCREENPLAY

馬克西姆．羅伊 Maxime ROY 法蘭索瓦．克雷頓 François CRÉTON CINEMATOGRAPHER

Balthazar LAB EDITOR

Nicolas DESMAISON Clément CANDELARA MUSIC

Pierre ROUSSEAU SOUND

François ABDELNOUR François FAYARD Jeanne DELPLANCQ Martial DE ROFFIGNAC CAST

法蘭索瓦．克雷頓 François CRÉTON Roméo CRÉTON Richard BOHRINGER Ariane ASCARIDE Patrick D'ASSUMÇAO PRINT SOURCE

Pyramide International

2021 坎城影展 Cannes

06.28 TUE 11:00 信義 HYC 11 ｜ 07.03 SUN 21:30 信義 HYC 11 ｜ 07.06 WED 10:40 信義 HYC 11 電影萬物論 WORLD CINEMA

123

空白

Intolerance 日本 Japan ｜ 2021 ｜ DCP ｜ Color ｜ 108min

偷竊未果的初中女學生，與超市店長展開追逐， 卻在橫越馬路時意外車禍身亡。葬禮結束後，憤 怒的父親指控店長誣陷，而他的前妻、肇事駕駛、 女學生的老師，以至地方媒體，盡皆捲入這場名 為「正義」，卻人人暗含私心尋找自我救贖的風 暴之中。 日本知名導演吉田惠輔以濫捕而凋零的漁村市鎮 為場景，冷靜節制的鏡頭語言，犀利剖開日本社 會鄉愿又保守的一面。宛如《海邊的曼徹斯特》 遇上《陽光普照》的漫漫贖罪長路，日本奧斯卡 影帝松坂桃李將店長的心境轉折詮釋得絲絲入扣； 而飾演父親的老牌演員古田新太更是睽違多年挑 大樑，演活日本男性一家之主既可恨又可憐的盲 目之心。 「我曾經是個躺平族，常對沒有看到現實的自己感 到恐懼，進而拍這部片警惕自己。」──吉田惠輔

Naoto Aoyagi runs a supermarket. One day, he sees a middle school student stealing cosmetics in his store. As the middle school student runs out of the supermarket, she gets hit by a car and killed in the accident. The girl's father, Mitsuru Soeda, does not believe the accusation that his daughter was stealing from the store. He begins to place people involved in his daughter's death, including Naoto Aoyagi and the car driver, into a corner. Meanwhile, Naoto Aoyagi and the female car driver become confused by Mitsuru Soeda's pressure and the intense media coverage.

吉 田 惠 輔，1975 年 出 生 於 日 本 埼玉縣，畢業於東京視覺藝術專 門學校。曾師從塚本晉也，並擔 任燈光師。2006 年首部劇情長 片《生之夏》獲夕張奇幻影展大 獎，並以漫畫改編電影《銀之匙》 廣 為 人 知。2021 年《 空 白 》 獲 獎無數，更獲選為東京影展焦點 影人。 YOSHIDA Keisuke studied at Tokyo Visual Arts School. Also working as a lighting engineer and writer, he has made Café Isobe, Sankaku, The Workhorse & the Bigmouth, My Little Sweet Pea, Silver Spoon, Himeanole, Thicker than Water and Come on Irene.

DIRECTOR, SCREENPLAY

吉田惠輔 YOSHIDA Keisuke PRODUCER

佐藤順子 SATO Junko CINEMATOGRAPHER

志田貴之 SHIDA Takayuki EDITOR

下田悠 SHIMODA Haruka MUSIC

世武裕子 SEBU Hiroko SOUND

松浦大樹 MATSUURA Daiki CAST

古田新太 FURUTA Arata 松坂桃李 MATSUZAKA Tori 寺島忍 TERAJIMA Shinobu PRINT SOURCE

KADOKAWA CORPORATION

2021 東京影展 Tokyo IFF 2022 橫濱電影節最佳影片、最佳導演、最佳劇本、最佳男主角 Best Film, Best Director, Best Screenplay, Best Actor, Yokohama FF

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電影萬物論 WORLD CINEMA

王者製造

Kingmaker

南韓 South Korea ｜ 2022 ｜ DCP ｜ Color ｜ 123min

1960 年代，共和黨鐵腕專政，懷著民主改革熱血 的反對黨新秀金澐範，雖勤跑基層宣講，卻遲遲未 能選上議員。對政治見解獨到的無名素人徐昌大， 因欣賞金澐範的理念，毛遂自薦成為他的影子操 盤手。不論是執政黨奧步盡出的民代選舉，或爭 權奪利的總統候選人初選，金澐範台前宣揚理念， 徐昌大則在幕後打點現實籌碼，兩人一路闖進總 統大選。就在金澐範聲勢如日中天之際，一場神 祕的意外，讓兩人亦師亦友的關係出現了裂痕。

Dreaming of changing the world, Seo Chang-dae

南韓導演邊聖鉉繼黑幫電影《不汗黨：地下秩序》 後再上層樓，南韓最帥大叔李善均詮釋選戰操盤 手的老謀深算，突顯政黨政治與選舉制度下，宏 大理念與現實利益的曖昧，回顧南韓民主改革初 期的艱辛。而邊聖鉉亦以本片拿下百想藝術大賞 最佳導演，飾演政治家的薛景求也登上百想影帝 寶座。

presidential election.

takes part in the Kim Woon-bum's political campaign. To resist the current dictatorial ruling party, Seo adopts very aggressive propaganda campaign, and it makes Kim become the strongest candidate in the opposition party. When ambitious Seo believes that unjustified means is necessary in politics, Kim has a firm belief that it is not real politics. While their conflict deepens, the ruling party secretly contacts Seo to win for the next

邊聖鉉，1980 年出生於南韓首 爾，畢業於首爾藝術大學。2010 年 首 部 劇 情 長 片《The Beat Goes On》以作為南韓第一部嘻 哈音樂電影而聞名；2016 年《不 汗黨：地下秩序》入選坎城影展 午夜單元；《王者製造》為其第 四部長片作品。 BYUN Sung-hyun made his feature debut, The Beat Goes On, in 2010. H i s s e c o n d fe a t u r e , W h a t c h a Wearin'?, was a box-office success in Korea in 2012. His third feature, The Merciless, premiered at Cannes 20 1 6. K i n g m a k e r i s h i s fo u r t h feature.

DIRECTOR, SCREENPLAY

邊聖鉉 BYUN Sung-hyun PRODUCER

YI Jin-hee CINEMATOGRAPHER

CHO Hyoung-rae EDITOR

KIM Sang-bum MUSIC

KIM Hong-jip LEE Jin-hee SOUND

PARK Yong-ki CAST

李善均 LEE Sun-kyun 薛景求 SUL Kyung-gu 朴仁煥 PARK In-hwan 趙祐鎮 JO Woo-jin PRINT SOURCE

M-Line Distribution

2022 百想藝術大賞最佳導演、最佳男主角、最佳男配角獎 Best Director, Best Actor, Best Supporting Actor, Baeksang Arts Awards 2022 烏迪內遠東電影節 Udine Far East FF

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誠實說謊家 Promises

法國 France ｜ 2021 ｜ DCP ｜ Color ｜ 98min

小鎮市長克萊蒙絲任期將至，貧窮、失業問題仍 像毒瘤般侵蝕城市命脈。她與忠誠的左右手亞吉 跑基層，竭盡所能在政治利益與人民福祉之間居 中協調，力求實踐政治承諾，然而城市依然籠罩 在陰霾之下。這天，克萊蒙絲迎來高升部長的大 好時機，她卻突發奇想打破當初競選連任的承諾。 她的高潔情操與政治野心陷入掙扎，到底該選擇 贏得民心，還是換取更輝煌的政治生命？

Clémence, the fearless mayor of a town near Paris, is

受到選舉啟發，法國導演克里多夫在日常的政治 中搬演政治的日常，找來甫獲柏林影展榮譽金熊 獎的法國影后伊莎貝．雨蓓飾演高深莫測的小鎮 市長，細細鋪排政客間的各懷鬼胎，政治究竟是 治理眾人之事，還是滿足個人的權力遊戲？

"A few years ago, after a French election, I began

「政治的世界裡，承諾就是交易的貨幣。 」── 湯瑪士．克里多夫

completing the final term of her political career. With her faithful right-hand man Yazid, she has long fought for this town plagued by poverty, unemployment and slumlords. However, when Clémence is approached to become Minister, her ambition arises, questioning her devotion and commitment to her citizens. Will her political integrity and election promises survive her newly found ambition?

thinking about this story. I wanted to make a film questioning the possibility of political courage. ... Promises are the currency of politics. Whether materialized by a position, a subsidy, an alliance… promises are what the protagonists trade throughout the

湯 瑪 士． 克 里 多 夫，1976 年 出 生 於 法 國。2013 年 以 短 片 《Rétention》 嶄 露 頭 角， 巡 迴 世界 40 多個影展，並躋身凱薩 獎最佳短片預選名單。首部長片 《The Eavesdropper》 於 倫 敦 影展、都靈影展放映；第二部長 片《誠實說謊家》則獲選為威尼 斯影展地平線單元開幕片。 T h o m a s K R U I T H O F wa s b o r n in France in 1976. Working as a writer and director, he has made two features, The Eavesdropper and Promises, and one short film Rétention.

film." - Thomas Kruithof

© Jérôme Prébois

DIRECTOR

湯瑪士．克里多夫 Thomas KRUITHOF PRODUCER

Thibault GAST Matthias WEBER SCREENPLAY

Jean-Baptiste DELAFON 湯瑪士．克里多夫 Thomas KRUITHOF CINEMATOGRAPHER

Alex LAMARQUE EDITOR

Jean-Baptiste BEAUDOIN MUSIC

Grégoire AUGER SOUND

Nicolas PROVOST Jon GOC CAST

伊莎貝．雨蓓 Isabelle HUPPERT Reda KATEB PRINT SOURCE

Elle Driver

2021 威尼斯影展 Venice FF

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電影萬物論 WORLD CINEMA

永安鎭故事集

Ripples of Life

中國 China ｜ 2021 ｜ DCP ｜ Color ｜ 123min

暗夜裡，一群雄心萬丈的劇組，來到編劇認定「什 麼都不會發生」的永安鎮。導演打算讓女性獨立 意識在此萌芽，偏偏永安鎮事發不斷，先是飯店 老闆娘因田調而點燃了逃脫現狀的想法；女主角 試圖返樸歸鄉失敗，更突顯她生活的暗潮洶湧。 最終主創團隊內鬨，戲謔透露了導演的創作辯證， 僅是一起以永安鎮為名的自我膨脹與角力。 中國新銳導演魏書鈞以異常銳利的洞察，高度批 判的筆觸，一面描繪在不斷加速現代化進程的當 代中國，城市與原鄉因內在空洞與對現實的不滿， 彼此不斷投射浪漫想像的荒謬情景；另一面則對 電影創作者的藝術動機、產業問題，進行犀利而 赤裸的揭露與自省。

A film crew arrives in remote town Yongan. The fresh air they bring in spreads ripples in the heart of Gu, the owner of a local restaurant. She dreams of another life. Movie star Chen is back in her hometown; she expects to revisit her childhood friends and the good old days. An endless debate persists between the director and the writer, revolving from cinema to life. Shooting must start, although consensus is never reached.

魏 書 鈞，1991 年 出 生 於 中 國 北 京，處女作《浮世千》初試啼聲 即 入 選 釜 山 影 展， 爾 後 以 短 片 《延邊少年》、劇情片《野馬分 鬃》與《永安鎮故事集》陸續獲 得各大國際影展肯定，是中國近 年備受矚目的新銳導演。 WEI Shujun was born in Beijing. Starting his career as an actor at the age of fourteen, he completed a master's degree at the Communication University of China. His film credits include the short film, On the Border, and Striding into the Wind (Cannes 2020).

DIRECTOR

魏書鈞 WEI Shujun PRODUCER

黃旭峰 HUANG Xufeng 梁穎 LIANG Ying SCREENPLAY

康春雷 KANG Chunlei 魏書鈞 WEI Shujun CINEMATOGRAPHER

王階宏 WANG Jiehong EDITOR

馬修 Matthieu LACLAU SOUND

杜篤之 TU Duu-chih 杜則剛 TU Tse-kang CAST

楊子姗 YANG Zishan 黃米依 HUANG Miyi 劉洋 LIU Yang 康春雷 KANG Chunlei PRINT SOURCE

可樂藝術文創股份有限公司 Cola Films Co., Ltd.

2021 坎城影展導演雙週 Directors' Fortnight, Cannes 2021 釜山影展 Busan IFF 2021 平遙電影展費穆榮譽最佳導演 Fei Mu Awards Best Director, Pingyao IFF

06.27 MON 14:40 信義 HYC 10 ｜ 07.02 SAT 18:50 信義 HYC 11 電影萬物論 WORLD CINEMA

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地方小鎭好吃驚

亞洲首映 Asian Premiere

Somewhere Over the Chemtrails 捷克 Czech Republic ｜ 2022 ｜ DCP ｜ Color ｜ 86min

在一個平靜祥和的小鎮，一群義消大叔終日閒晃。 有人鎮日抑鬱、緬懷已逝的妻子；有人疑神疑鬼， 每天照網路傳言以白醋消毒飛機雲散播的化學毒 劑。復活節這天，一輛失控的卡車衝撞露天慶祝 派對，使得恐攻流言四起，種族本位浮上檯面。 新聞與謠言假假真真，連拖曳綿長不明冷凝氣體 的飛機，都比平常多了好幾架在上空盤旋。

Standa and Bronya are volunteer firefighters in a small

人心惶惶之際，義消大叔隊化身驍勇小尖兵，肩 負起追查真相、保家衛民的重責大任。然而日常 不再尋常，處處充斥著陰謀論，誰才是最大的陰 謀家？荒謬古怪的敘事基調，冷調幽默的鏡頭節 奏，不管是諷刺集體愚昧或針砭政治時事，愈用 力說實話，就愈像是笑話。

and misinformation, into which the locals, including

village. While Standa is looking forward to the birth of his son, Bronya is no longer enjoying life because his wife has recently died. Things begin to change when a van crashes into a crowd during the Easter Fair. Before anyone notices, the driver runs away. People believe that it is a terrorist attack and the festive mood is replaced by an atmosphere of fear, hatred the frightened Standa, sink. Bronya, who is convinced of terrorism, is trying to do something to improve the situation. The sense of danger pumps new blood into his veins, and the fire brigade becomes a militia.

亞當．科羅曼．李班斯基，1994 年 出 生 於 捷 克， 畢 業 於 布 拉 格 表演藝術暨影視學院電影導演學 士。求學期間即以多部自編自導 短片嶄露頭角，受邀各大國際影 展，並獲捷克獅獎二度提名。《地 方小鎮好吃驚》為其畢業作品， 入選柏林影展。 Ad a m Ko l o ma n RY B AN SKÝ is a Czech film director and screenwriter. He began studying Directing at FAMU in 2013 and has made several short films. In 2021, Rybanský graduated from FAMU with his feature debut, Somewhere Over the Chemtrails.

©Btratri

DIRECTOR

亞當．科羅曼．李班斯基 Adam Koloman RYBANSKÝ PRODUCER

Eva PAVLÍČKOVÁ Pavel VÁCHA SCREENPLAY

亞當．科羅曼．李班斯基 Adam Koloman RYBANSKÝ Lukáš CSICSELY CINEMATOGRAPHER

Matěj PIŇOS EDITOR

Alan SÝS SOUND

Adam BLÁHA CAST

Michal ISTENÍK Anna POLÍVKOVÁ Miroslav KROBOT PRINT SOURCE

PLUTO FILM Distribution Network GmbH

2022 柏林影展 Berlinale

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電影萬物論 WORLD CINEMA

電影萬物論｜聚焦烏克蘭 ｜ WORLD CINEMA 粹屠殺、蘇聯掌權到近年的族群紛爭，歷史檔案與民生景象交織，透過電影觀看兩國糾結的前世今生。 戰火解密：娘子谷大屠殺 Babi Yar. Context

FOCUS ON UKRAINE

烏俄戰火自今年三月持續至今仍未艾，本單元選映三部作品，試圖梳理烏克蘭與俄國的國族關係，從納

戰火解密：娘子谷大屠殺 Babi Yar. Context

荷蘭、烏克蘭 The Netherlands, Ukraine ｜ 2021 ｜ DCP ｜ B&W, Color ｜ 121min

幾世紀以降，猶太人、烏克蘭人、俄羅斯人在烏 克蘭的土地上共存，直到 1941 年 9 月 29 日，短 短 48 小時內，近三萬四千名猶太裔烏克蘭公民慘 遭納粹滅絕小隊屠殺。影片從烏克蘭民族主義者 與納粹德國沆瀣一氣談起，先是將戰爭行動嫁禍 猶太人，接著戰後紅軍處決納粹軍官、群情沸騰； 直至蘇聯進入鐵幕，史達林意識形態抹煞了「娘 子谷大屠殺」的存在，萬千骨骸被遺忘，化身蘇 維埃偉大人民的墓碑。

On September 29-30, 1941, Sonderkommando 4a of

紀錄片大師洛茲尼察善於爬梳檔案影像，並以神 乎其技的剪輯將這些片段組成流暢敘事，翻轉歷 史真相。他這次挑戰被蘇聯封鎖多年的禁忌題材， 重現屠殺的事件始末。

past overshadows the future, it is the voice of cinema

the Einsatzgruppe C, assisted by two battalions of the Police Regiment South and Ukrainian Auxiliary Police, and without any resistance from the local population, shot 33,771 Jews dead in the Babi Yar ravine in the north-west of Kiev. The film reconstructs the historical context of this tragedy through archive footage documenting the German occupation of Ukraine and the subsequent decade. When memory turns into oblivion, when the that articulates the truth.

「我的作品不選邊站，也不存在個人詮釋，僅平 鋪直述事件始末，讓觀眾自行理解。」──瑟蓋． 洛茲尼察

瑟蓋．洛茲尼察，1964 年出生 於烏克蘭，畢業於基輔理工大學 數學系，任基輔賽博格中心研究 員。 後 前 往 莫 斯 科 電 影 學 院 深 造，執導多部劇情片與紀錄片， 入選多個國際影展，也參與編纂 多部蘇聯時期的檔案影像紀錄 片。 Sergei LOZNITSA graduated from the Kiev Polytechnic in 1987 and went on to study at the Russian State Institute of Cinematography (VGIK) in Moscow. In addition to 23 documentaries, he has made four feature films, which all premiered at Cannes.

DIRECTOR, SCREENPLAY

瑟蓋．洛茲尼察 Sergei LOZNITSA PRODUCER

瑟蓋．洛茲尼察 Sergei LOZNITSA Maria CHOUSTOVA EDITOR

瑟蓋．洛茲尼察 Sergei LOZNITSA Danielius KOKANAUSKIS Tomasz WOLSKI SOUND

Vladimir GOLOVNITSKI PRINT SOURCE

ATOMS & VOID

2021 坎城影展金眼睛獎特別提及 Golden Eye Special Mention, Cannes 2021 阿姆斯特丹紀錄片影展檔案影像再造獎 ReFrame Award for Creative Use of Archive, IDF Amsterdam 2021 倫敦影展葛里遜獎特別提及 Grierson Award Special Mention, London FF

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電影萬物論｜聚焦烏克蘭 WORLD CINEMA ｜ FOCUS ON UKRAINE

噩夢的倒影

Reflection

烏克蘭 Ukraine ｜ 2021 ｜ DCP ｜ Color ｜ 127min

2014 年，頓巴斯戰爭煙硝揚起，外科醫師瑟西在 東烏戰區被俘。醫治者成為送行者，將同胞的屍 首推向火焰。他被迫錄下不實自白獲釋，原以為 自己終於走過死亡幽谷，地獄的回憶卻歷歷在目。 雖然瑟西溫暖安靜的家不受戰火侵襲，但遠方的 槍聲仍隱隱作響。他嘗試與前妻、女兒重新建立 情誼，直到死亡再次親臨，將他推向恐懼的漩渦。

Ukrainian surgeon Serhiy is captured by the Russian

烏克蘭導演瓦夏諾維奇回到烏俄戰爭的起點，採 集頓內次克人民共和國內「隔離監獄」生還者的 證言，交織成一首獻給逝者的輓歌，與留給世人 的警世寓言。緩和的步調與俐落的風格更顯戰爭 的殘酷，直面戰火如何讓靈魂化為灰燼，陰霾為 何如影隨形。

being again, how to be a father and help his daughter,

「這部作品源自一隻撞上我家窗戶而亡的鴿子， 以及我的女兒。」──瓦倫廷．瓦夏諾維奇

military forces in the conflict zone in Eastern Ukraine and while in captivity, he is exposed to horrifying scenes of humiliation, violence and indifference towards human life. After his release, he returns to his comfortable middle-class apartment and tries to find a purpose in life by rebuilding his relationship with his daughter and ex-wife. He learns how to be a human who needs his love and support. "It is a translucent story about the child's realization that human life is finite. This is also a story about the responsibilities of adults to loved ones, to themselves, and the whole world in which they fulfil their potential." - Valentyn Vasyanovych

瓦倫廷．瓦夏諾維奇，烏克蘭導 演、製片、攝影師。以紀錄片起 家，曾任《過於寂靜的喧囂》製 片與攝影。以《末日荒蕪詩篇》 獲威尼斯影展地平線單元最佳影 片。最新作《噩夢的倒影》身兼 導演、攝影、製片、剪接，入選 威尼斯影展主競賽。 Va l e n t y n VA S YA N O V YC H graduated from the Wajda School a n d m a d e h i s d e b u t fe a t u r e , Business As Usual, in 2012. His works, Atlantis, won Best Film Award in Orizzonti at Venice 2019 and Reflection was in competition at Venice 2021.

DIRECTOR, SCREENPLAY, CINEMATOGRAPHER, EDITOR

瓦倫廷．瓦夏諾維奇 Valentyn VASYANOVYCH PRODUCER

Iya MYSLYTSKA 瓦倫廷．瓦夏諾維奇 Valentyn VASYANOVYCH Vladimir YATSENKO Anna SOBOLEVSKA SOUND

Serhiy STEPANSKIY CAST

Roman LUTSKIY Nika MYSLYTSKA Nadia LEVCHENKO Andriy RYMARUK Ihor SHULHA PRINT SOURCE

New Europe Film Sales

2021 威尼斯影展 Venice FF 2021 釜山影展 Busan IFF 2022 哥特堡影展 Göteborg FF

06.25 SAT 16:40 信義 HYC 11 ｜ 06.28 TUE 13:20 信義 HYC 11 ｜ 07.01 FRI 18:30 信義 HYC 11 ｜ 07.04 MON 11:30 信義 HYC 11 電影萬物論｜聚焦烏克蘭 WORLD CINEMA ｜ FOCUS ON UKRAINE

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頓巴斯壕溝紀實 Trenches

法國 France ｜ 2021 ｜ DCP ｜ B&W, Color ｜ 85min

頓巴斯，2014 年，烏俄雙方甫簽署停火協議，一 支烏克蘭軍旅小隊位居前線，防備著三、四公里 外虎視眈眈的俄軍與親俄分離主義者的火力。寂 靜的草原上，壕溝搭了又炸、毀了再搭，緊張和 不安的氣息瀰漫。士兵的日常機械而規律，巡邏 盯哨，重複揮舞著圓鍬和鐵鏟，沙包、頭盔與防 彈背心觸手可及，隨時備戰。更多時候，他們飲 食梳洗、清潔消遣，將不尋常的日常過得平常， 直到下一枚火箭炮落下。

In Donbas Ukraine, while precarious truces and

導演呂．布侯曾擔任戰地記者，他憑藉過往戰地 經歷，以黑白攝影蹲點勾勒士兵的前線生活。影 片以洗練且精準的視角，紮實記錄烏克蘭士兵面 對戰火逼近的身體感知與思考。他們的對話中有 生活的期盼，也有茫然，更多的是對家國的義憤 與願景，在在突顯侵略背後無情的代價與殘酷的 剝奪。隨著鏡頭走過戰壕日常，緊密交織的國際 政治和經濟現實也於焉浮現。

cinematic journey revealing the naked truth and

ceasefires are negotiated far away by diplomats, Ukrainian soldiers fight against separatists supported by Russia. At an age when some are experiencing the best years of their lives, in the frontline men and women are fighting, condemned to dig and dig up again the trenches, while bombs keep on falling on them. French war journalist and first-time director Loup Bureau takes us on an immersive and stunning roughness of survival, in what is called to be the last conflict on European soil.

呂．布侯，1990 年出生於法國， 曾任戰地記者，深入報導阿拉伯 之 春、 敘 利 亞 內 戰 與 頓 巴 斯 戰 爭。身兼導演、攝影師，曾因拍 攝庫德族民兵，於土耳其遭到起 訴與監禁。《頓巴斯壕溝紀實》 為其首部執導的紀錄長片，於威 尼斯影展首映。 Loup BUREAU is a French director and journalist, who spent several years working as international reporter, covering the Arab Spring, the Syrian war and the RussianUkrainian conflict in the Donbas region. Trenches is his first feature film.

©Lea Mandana

DIRECTOR

呂．布侯 Loup BUREAU PRODUCER

Caroline NATAF CINEMATOGRAPHER

呂．布侯 Loup BUREAU EDITOR

Léo GATELIER Catherine CATELLA MUSIC

Gustave RUDMAN RAMBALI SOUND

Jérôme WICIAK PRINT SOURCE

Films Boutique

2021 威尼斯影展 Venice FF 2021 阿姆斯特丹紀錄片影展 IDF Amsterdam

06.25 SAT 14:30 信義 HYC 11 ｜ 07.04 MON 17:10 華山 SHC 2 ｜ 07.07 THU 17:30 華山 SHC 2 132

電影萬物論｜聚焦烏克蘭 WORLD CINEMA ｜ FOCUS ON UKRAINE

怪奇樂園 WILD TALES ©SWAN Films

腦洞大開，葷素不忌，刺激感官的狂歡派對正在醞釀。怪奇樂園裡，什麼都可能發生、什麼都不奇怪。 無論概念、風格或敘事手法，不依循傳統路線，唯有跳出框架，方能心領神會。 海王星夜曲 Neptune Frost

保姆太辣了，我怎麼辦！？ Babysitter

亞洲首映 Asian Premiere

加拿大、法國 Canada, France ｜ 2022 ｜ DCP ｜ Color ｜ 88min

新手爸爸賽德里克在一場直播中強吻女記者，仇 女言論還遭輿論撻伐，面臨公司無限期停職。他 向記者弟弟求助，兩人籌劃要寫一本「道歉書」。 然而賽德里克的老婆才懶得管他，崩潰的地方媽 媽只想誠徵保姆支援，好讓她能拋下家庭回歸職 場。偏偏就在此時，神祕的美豔保姆循著廣告現 身，賽德里克一家人的生活也開始天翻地覆……。

Middle-aged sexist Cédric is suspended from work

加拿大才女導演莫妮雅．修克黎挖掘厭女文化與 女性主義的複雜迷人，在狹隘又過度「性」化的 日常中探尋救贖。本片由《巴黎聖羅蘭》攝影師 裘賽．戴夏伊斯掌鏡，以嬉鬧的泡泡糖繽紛色彩 捕捉蒙特婁郊區曠男怨女的情慾，將妖豔又奇幻、 可口又迷離的日夜盡收眼底。

upside down.

「#MeToo 只是其中一個視角，被慾望和社會支配 的人生才是重點。」──莫妮雅．修克黎

after drunkenly kissing a female reporter on live TV. Stuck at home with his girlfriend and their baby, Cédric teams up with his brother to co-author a book, apologizing for their past misogyny. Enter Amy: a mysterious and provocative young babysitter who, like a Mary Poppins of the libido, forces the trio to confront their sexual anxieties while turning their lives

"I never try to get people to think about something specific when they see my films. [...] I want men and women to question the balance, or rather the imbalance, of their intimate relationships and how this affects the rest of their lives." - Monia Chokri

莫 妮 雅． 修 克 黎，1983 年 出 生 於加拿大蒙特婁，畢業於蒙特婁 戲劇藝術學院，隨後參演魁北克 名導丹尼斯．阿坎德、札維耶． 多藍的電影。2019 年首執導筒 的劇情長片《哥哥戀愛了，我怎 麼辦！？》入選坎城一種注目開 幕片，並獲評審團怦然心動獎。 Monia CHOKRI is a Canadian stage and television actor and film director. Her first feature film, A Brother's Love, won the Un Certain Regard jury's Coup de Coeur at Cannes 2019. Babysitter is Chokri's second feature.

DIRECTOR

莫妮雅．修克黎 Monia CHOKRI PRODUCER

Martin PAUL-HUS Catherine LÉGER Pierre-Marcel BLANCHOT Fabrice LAMBOT SCREENPLAY

Catherine LÉGER CINEMATOGRAPHER

裘賽．戴夏伊斯 Josée DESHAIES EDITOR

Pauline GAILLARD MUSIC

Emile SORNIN SOUND

François GRENON CAST

帕特里克．希文 Patrick HIVON 莫妮雅．修克黎 Monia CHOKRI Nadia TERESZKIEWICZ Steve LAPLANTE Hubert PROULX PRINT SOURCE

BAC Films International

2022 日舞影展 Sundance FF

06.25 SAT 19:30 信義 HYC 11 ｜ 06.29 WED 21:50 信義 HYC 11 ｜ 07.05 TUE 10:30 信義 HYC 11 134

怪奇樂園 WILD TALES

恁阿嬤 cut 好

Leonor Will Never Die

菲律賓 Philippines ｜ 2022 ｜ DCP ｜ Color ｜ 99min

熱愛動作片的老牌編劇雷娜正過著平凡淡泊的退 休人生，卻意外被天外飛來的電視機迎頭重擊、 陷入重度昏迷，還一頭撞進自己編寫的劇本，劇 中肌肉硬漢男主角羅瓦多甚至與已故兒子同名。 而雷娜不僅身兼腦內劇場的導演和編劇，還軋上 一角跟著羅瓦多出生入死，小劇場就這樣在腦內 激烈上演。華麗又俗氣的對白、不順眼就開打的 白爛情節連番上陣，更不忘安插經典英雄救美橋 段，一路迎向你追我跑、槍林彈雨，情節還不斷 修改的故事結局！

Leonor Reyes was once a major player in the Filipino

編劇兼導演埃斯科巴藉由主角雷娜所創造的 1980 年代 B 級動作片，呈現創作者如何面對失去生命 的傷痛。電影中滑稽卻不幸的事件、不斷修改的 結局和劇作家的反思相互交織，真切袒露一位母 親對電影的熱愛，與內心深藏的心碎。

and transporting her inside the incomplete movie.

film industry after creating a string of successful action films, but now her household struggles to pay the bills. When she reads an advertisement looking for screenplays, Leonor begins tinkering with an unfinished script about the quest of young noble Ronwaldo, who was forced to avenge his brother's murder. While her imagination provides some escape from reality, she goes all-in after an accident involving a television knocking her out, sending her into a coma Now Leonor can play out her wildest dreams firsthand and discover the perfect ending to her story.

瑪蒂卡．拉米雷斯．埃斯科巴， 1992 年出生於菲律賓馬尼拉， 身兼導演、攝影師，畢業於菲律 賓大學。她曾入選柏林影展東京 新銳營、亞洲電影大獎學院，與 泰國 Purin Pictures 電影基金。 《恁阿嬤 cut 好》為其首部劇情 長片。 Mar tika Ramirez ESCOBAR graduated from the University of the Philippines with her thesis film, Stone Heart, which competed at Busan 2014. Currently, she works as a freelance director and cinematographer. Leonor Will Never Die is her debut feature.

DIRECTOR, SCREENPLAY

瑪蒂卡．拉米雷斯．埃斯科巴 Martika Ramirez ESCOBAR PRODUCER

Monster JIMENEZ Mario CORNEJO CINEMATOGRAPHER

Carlos MAURICIO EDITOR

Lawrence S. ANG MUSIC

Alyana CABRAL Pan DE COCO SOUND

Corinne DE SAN JOSE CAST

Sheila FRANCISCO Bong CABRERA Rocky SALUMBIDES Anthony FALCON PRINT SOURCE

Cercamon

2022 日舞影展全球劇情片類最佳創新精神評審團特別獎 Special Jury Award for Innovative Spirit, World Cinema Dramatic, Sundance FF 2022 烏迪內遠東電影節 Udine Far East FF 2022 全州影展 Jeonju IFF

06.24 FRI 18:40 華山 SHC 2 ｜ 06.27 MON 16:10 華山 SHC 2 ｜ 07.02 SAT 21:00 華山 SHC 1 怪奇樂園 WILD TALES

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海王星夜曲 Neptune Frost

盧安達、美國 Rwanda, USA ｜ 2021 ｜ DCP ｜ Color ｜ 105min ©Geordie Wood

東非蒲隆地共和國的山峰上，一群來自鈳鉭鐵礦 坑的電腦駭客企圖顛覆世界秩序，跨性別的駭客 與擁有神祕力量的礦工，在暴力的脅迫下分別踏 上未知的旅程，旅途上遇見名為純真、記憶、心 理等人物，逐步催化兩人的相遇，展開令人目眩 神迷的羅曼史。

A collective of computer hackers escape from

詩 人 兼 音 樂 家 索 爾． 威 廉， 和 伴 侶 安 妮 西 婭． 烏澤曼聯手執導，延伸其 2016 年另類嘻哈專輯 《MartyrLoserKing》，攜手百老匯音樂鬼才林曼 努爾．米蘭達打造龐克科幻音樂劇。滿滿的哲思 意象，如發燙的熔漿在影片中四溢，不論今與昔、 男或女、殖民與民主地、記憶與預知，皆用熱力 四射的歌曲，對科技文明提出詰問。

materials, on which the producers of iPhones and

「我們迫切需要勇於挑戰既定敘事架構的藝術創 作，當電腦運算快速散播，猶如殖民遺毒擴散四 溢，音樂就是我們的時光機。」 ──索爾．威廉

their deadly work in a coltan mine and establish a community in the hills of Burundi, with the intersex runaway Neptune as the shining star at its center. Using her highly advanced consciousness, they hack the internet to tell the world that something has to be changed in the industries producing the raw computers so depend. In spiky raps on top of driving beats, the rebels call for technology to be used to liberate humanity from its stereotypical thinking and oppression. Neptune Frost is a story that demystifies the connection, that highlights technology as awareness, that shatters convention and honors the means through which this conversation is taking place.

索 爾． 威 廉，1972 年 出 生 於 美 國，身兼嘻哈歌手、詩人、作家 與演員。《海王星夜曲》為兩人 首度共同執導的非洲未來主義劇 情長片。 Saul WILLIAMS is an American poet, musician and actor. As a musician, he has released six albums. Neptune Frost is his directorial debut.

安 妮 西 婭． 烏 澤 曼，1975 年 出 生於盧安達，身兼演員、劇作家 與導演。《海王星夜曲》為其第 二部導演作品。 Anisia UZEYMAN is an actress, playwright and director. In addition to numerous music videos, she made her feature debut, Dreamstates, in 2016.

©SWAN Films

DIRECTOR

索爾．威廉 Saul WILLIAMS 安妮西婭．烏澤曼 Anisia UZEYMAN PRODUCER

Stephen HENDEL Ezra MILLER SCREENPLAY, MUSIC

索爾．威廉 Saul WILLIAMS CINEMATOGRAPHER

安妮西婭．烏澤曼 Anisia UZEYMAN EDITOR

Anisha ACHARYA SOUND

Blake LEYH CAST

Cheryl ISHEJA Elvis NGABO "Bobo" Diogene NTARINDWA "Atome" Bertrand NINTERETSE "Kaya Free" PRINT SOURCE

Kino Lorber

2021 坎城影展導演雙週 Directors' Fortnight, Cannes 2021 多倫多影展 Toronto IFF 2022 日舞影展 Sundance FF

06.29 WED 20:50 華山 SHC 2 ｜ 07.02 SAT 20:50 華山 SHC 2 ｜ 07.06 WED 15:50 華山 SHC 2 136

怪奇樂園 WILD TALES

聽見貓在叫

亞洲首映 Asian Premiere

Zuhal

土耳其、德國 Turkey, Germany ｜ 2021 ｜ DCP ｜ Color ｜ 88min

38 歲執業女律師祖哈，在伊斯坦堡擁有漂亮的公 寓。雖然每天不免為瑣事煩心，但整體生活依然 規律。某夜開始，公寓不知何處斷斷續續傳來幼 貓的叫聲，她開始與鄰居交談，尋找聲音的源頭。 奇怪的是，整棟公寓似乎只有她聽見，仿若那聲 音唯獨召喚著她，而她的幻想猜疑也讓鄰居背地 稱她為「瘋癲的貓小姐」。祖哈陷入人生兩難， 是要繼續破解這道喵喵叫的謎題，還是選擇聽而 不見，找回原本的生活節奏？ 導演艾利夫．杜魯以溫柔幽默的敘事口吻，透過 看似荒謬的尋貓之旅，精準映照當代社會疏離的 人際互動關係，以及人類內在的孤寂。精練的鏡 頭呈現出室內場景在視覺上的狹仄，晃動的手持 鏡頭更增添人物內心的不安定，勾勒出一則充滿 奇幻色彩的都會女性抒情小品。

Meow. Meow. Meow. Streets and homes of Istanbul are always full of lovely cats. When lonely hard-working lawyer Zuhal hears a cat's meowing somewhere near her rented flat, suddenly nobody believes that it may be possible. Evidently, all unfriendly hateful people start whispering rumors and gossips about a crazy suspicious cat lady. While Zuhal eagerly waits for an arranged romantic date after a very long break, she goes mental to find the mysterious cat. She brings a hammer to demolish the wall, ignoring her angry landlord. But what if there is, after all, no cat in the wall?

納 茲 莉． 艾 利 夫． 杜 魯，1979 年出生於土耳其安卡拉，於荷蘭 學 習 影 視 製 作， 並 從 事 編 劇 工 作。2009 年回到家鄉拍攝電影， 也為土耳其與荷蘭兩地電視劇撰 寫劇本。短片作品備受國際影展 肯定，《聽見貓在叫》為其首部 劇情長片。 Nazli ELIF DURLU is a Turkish filmmaker, who received a master's degree from University of Utrecht in the Netherlands. She has written and directed three short films, Trust Me, Later and The Horse and the Nightingale. Zuhal is her debut feature.

DIRECTOR

納茲莉．艾利夫．杜魯 Nazli ELIF DURLU PRODUCER

Anna Maria ASLANOĞLU SCREENPLAY

納茲莉．艾利夫．杜魯 Nazli ELIF DURLU Ziya DEMIREL CINEMATOGRAPHER

Sebastian WEBER EDITOR

Buğra DEDEOĞLU Selda TAŞKIN MUSIC

Alexander LAWRENCE Yusuf Tan DEMIREL SOUND

Fatih RAGBET CAST

Nihal YALÇIN Sadi Celil CENGIZ Çağdaş Ekin ŞIŞMAN Sena BAŞDOĞAN Sencar SAĞDIÇ PRINT SOURCE

FILM REPUBLIC

2021 安塔利亞影展 Antalya FF 2022 伊斯坦堡影展 Istanbul FF

06.26 SUN 11:10 信義 HYC 11 ｜ 06.29 WED 16:10 華山 SHC 2 ｜ 07.03 SUN 21:00 華山 SHC 2 怪奇樂園 WILD TALES

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非一般眞實 RE ALITY BITES 影像氾濫的世界裡，記憶與真相的面貌愈發模糊，為了呈現「真實」，虛構與紀實再也不是涇渭分明的 二元創作路徑。本單元選映跨越紀實與虛構界線的作品，帶你看見創作者們如何於虛實模糊曖昧的交界 上，追尋並貼近心中的真實。 他方的短歌 Haruhara-san's Recorder

服刑母親

107 Mothers

斯洛伐克、捷克、烏克蘭 Slovakia, Czech Republic, Ukraine ｜ 2021 ｜ DCP ｜ Color ｜ 93min

高牆鐵網的彼端，有個由女性和孩子組成的世界， 她們天天一起生活工作，隨時受人監管，個人隱 私如無物。那是烏克蘭唯二允許女受刑人與孩子 一同生活的女子監獄。獄中臨盆的列莎被判處七 年徒刑，如同其他服刑母親，當孩子年滿三歲， 就要被送往孤兒院，母子分離。孩子們在獄中迎 接人生，天真無邪的笑顏烙下鐵籬網的印痕，只 待三歲生日蛋糕的蠟燭吹熄，母親也將消失在他 們的人生。

Lesya has committed a crime of passion, which

取材自導演實地走訪女子監獄的大量訪談，匯集 成電影中令人鼻酸的經歷。紀實與虛構交織，真 實身分為受刑人的素人演員與專業演員穿插，寫 實呈現獄中母親與孩子們的心聲。

"I also wanted the film to deliver an authentic collective

「電影為這群被定罪的母親們提供集體證詞，片 中的生產鏡頭並非演出，而是真確地發生在現實 之中。」──彼得．克雷克斯

brings her a seven-year sentence in one of Odessa's women's correctional facilities. She has just given birth to her first child, and now she is entering a world populated only by women: inmates, nurses and wardens, women of all ages, wives and widows, daughters, sisters, pregnant women and women with children. If it were not for the color of the uniform, it would sometimes be hard to tell the difference in their identities.

testimony of the convicted mothers [...] the loneliness they feel when their children are taken away and they despairingly finish their birthday cake; the flashes of happiness when the women briefly forget they're in prison." - Peter Kerekes

彼 得． 克 雷 克 斯，1973 年 出 生 於捷克，身兼製片、導演，他於 斯洛伐克布拉提斯拉瓦影視學院 主修電影，2003 年首部紀錄長 片《66 Seasons》 獲 捷 克 影 評 人 獎、 伊 赫 拉 瓦 紀 錄 片 影 展 最 佳 紀 錄 片，2013 年 以《Velvet Terrorists》 獲 多 個 國 際 影 展 肯 定。 現 為 歐 盟 紀 錄 片 碩 士 學 程 DocNomads 的講師。 Peter KEREKES graduated from the Film and Television Faculty of the Academy of Performing Arts in Bratislava. In 2003, he directed and produced his first feature-length documentary, 66 Seasons. 107 Mothers is his debut feature.

DIRECTOR

彼得．克雷克斯 Peter KEREKES PRODUCER

Ivan OSTROCHOVSKÝ SCREENPLAY

Ivan OSTROCHOVSKÝ 彼得．克雷克斯 Peter KEREKES CINEMATOGRAPHER

Martin KOLLAR EDITOR

Martin PIGA Thomas ERNST MUSIC

Lucia CHUT'KOVÁ SOUND

Tobiáš POTOČNÝ CAST

Maryna KLIMOVA Iryna KIRYAZEVA Lyubov VASYLYNA PRINT SOURCE

Films Boutique

2021 威尼斯影展地平線單元最佳劇本 Best Screenplay, Orizzonti, Venice FF 2021 芝加哥影展最佳導演 Best Director, Chicago IFF 2021 聖賽巴斯提安影展 San Sebastián IFF

06.24 FRI 14:00 信義 HYC 10 ｜ 07.02 SAT 16:20 信義 HYC 10 ｜ 07.06 WED 21:00 信義 HYC 10 非一般真實 REALITY BITES

139

沉睡巨人之子

亞洲首映 Asian Premiere

The Children of the Sleeping Giant 義大利 Italy ｜ 2021 ｜ DCP ｜ Color ｜ 69min

古老的城鎮，神聖的儀式，義大利阿布魯佐山區 的村民在黑夜火光中暫緩了時間。這座人煙罕至 的小鎮，放眼盡是白髮老人，恍若鬼城。18 歲的 西蒙和弟弟是唯二的年輕面孔，兩人經常穿梭於 群山間、參與傳統生活與宗教祭典，也同時熱愛 煙火、賽車、槍彈遊戲；然而傳統與現代往往是 兩條平行線，無聲的壓抑與孤獨蔓延其間。 本片透過年輕人西蒙的視角，講述一個正在慢慢 消逝的小城鎮與其傳統記憶。導演帕洛塔試圖在 同一場景中創造不同時空維度的世界，從主角對 自我內在與身分的探索開始，一路延續到物理空 間的探索，再藉由他迷失山區景觀之中，以細膩 的鏡頭捕捉其內心的困惑，並貼近這個隱蔽角落 中各式角色的情緒擴張與失落。

Simone is a young man that brings forward traditions and memories of a small mountain community that is slowly fading away. At the same time, Filippo is trying to distance himself, spiritually and mentally, from the community. "The ultimate goal was to try to create an intentionally magical universe, a middle ground between a dark fairy tale and a coming-of-age film, where viewers can get lost into the dilated pace of an apparent silence, trying to find inside themselves the true meaning of the film. A dark and tragic truth that will probably always exist in such a little and hidden world, but universally understandable." – Lorenzo Pallotta

洛 倫 佐． 帕 洛 塔，1992 年 出 生 於義大利阿布魯佐，畢業於米蘭 SAE 藝術學院，從事紀錄片、廣 告、 短 片 等 導 演 工 作。2017 年 創 立 Limbo Film，2019 年 完 成 兩部短片作品，《沉睡巨人之子》 為其首部長片。 Lo re n zo PA L LOT TA wa s b o r n in Abruzzo, Italy in 1992. After attending the SAE Institute in Milan, he began making documentaries, commercials, web series and short films. The Children of the Sleeping Giant is his first feature.

DIRECTOR, SCREENPLAY

洛倫佐．帕洛塔 Lorenzo PALLOTTA PRODUCER

洛倫佐．帕洛塔 Lorenzo PALLOTTA Andrea GATOPOULOS Marco CRISPANO Stefano SCHIAVONE CINEMATOGRAPHER

Andrea Benjamin MANENTI EDITOR

Massimo DA RE MUSIC

Freddie MURPHY Chiara LEE SOUND

Tommaso BARBARO CAST

Filippo LANCI Simone CARUSO Mattia CARUSO PRINT SOURCE

Lights On

06.23 THU 14:40 華山 SHC 2 ｜ 06.26 SUN 21:00 華山 SHC 2 ｜ 06.30 THU 17:10 華山 SHC 2 ｜ 07.05 TUE 19:00 華山 SHC 2 140

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他方的短歌

Haruhara-san's Recorder 日本 Japan ｜ 2021 ｜ DCP ｜ Color ｜ 121min

朋友離世後，沙知從博物館離職，到咖啡館打工； 她搬到常客推薦的套房，展開新生活。掛念她的 親友陸續到訪，生活在他方，日子就在咖啡店工 作、偶爾的出遊，以及與客人下午茶的萍水相逢 日常中，緩緩卸下生命中不能承受之重，「我已 經沒事了喔！」沙知說。

Starting to work part-time at a cafe after quitting the

改編自日本作家東直子的同名短歌，新銳導演杉 田協士第三部劇情長片，找來《偶然與想像》攝 影師飯岡幸子操刀。透過手機拍照、迷路的女子、 退信，甚至是直笛聲，串連驚喜情境，刻寫日常魔 法，頗有侯孝賢《珈琲時光》的輕熟女肖像之風， 獲國際名導濱口竜介選為 2021 年度十大佳片。

again, her image remains in Sachi's mind, and the

job as a curator at an art museum, 24-year-old Sachi has moved to an apartment room, where a regular at the café recommended. The whole renewal of her job and home is for overcoming the incident that her partner, Yuki, lost her life by suicide when they were living together. Yet, while Yuki can never be seen illusion still appears in front of Sachi's eyes. Gradually, Sachi chooses to live her own life, being watched over by her uncle and aunt who have been taking care of her from the young age, friends, former colleagues, the café manager and others.

「就像吹直笛這樣一個宛如從口袋拿出手機般下 意識的舉動，卻可能對他人造成無法預期的影響， 就是我在電影中想表達的狀態。」──杉田協士

杉 田 協 士，1977 年 出 生 於 日 本 東京，畢業於立教大學。就學時 師從筱崎誠，畢業後曾擔任青山 真治、熊切和嘉、黑澤清等知名 導 演 的 副 導。2011 年 首 部 劇 情 長片《A Song I Remember》於 東京影展首映；2017 年《Listen to Light》獲多個國際影展青睞； 《他方的短歌》為其第三部劇情 長片。 SUGITA Kyoshi studied Film at Rikkyo University. He had worked as assistant director before making his debut feature, A Song I Remember, in 2011 and second feature, Listen to Light, in 2017. Haruhara-san's Recorder is his third feature.

DIRECTOR, SCREENPLAY

杉田協士 SUGITA Kyoshi PRODUCER

髭野純 HIGENO Jun CINEMATOGRAPHER

飯岡幸子 IIOKA Yukiko EDITOR

大川景子 OKAWA Keiko MUSIC

SKANK SOUND

黃永昌 HWANG Young-chang CAST

荒木知佳 ARAKI Chika 新部聖子 NIIBE Minako 金子岳憲 KANEKO Takenori 伊東沙保 ITO Saho 能島瑞穗 NOJIMA Mizuho PRINT SOURCE

Iha Films

2021 馬賽影展國際競賽首獎、觀眾票選獎 Grand Prix of the International Competition, Audience Award, FIDMarseille 2021 紐約影展 New York FF 2021 釜山影展 Busan IFF

06.27 MON 12:00 信義 HYC 10 ｜ 06.30 THU 14:00 信義 HYC 10 ｜ 07.04 MON 19:10 信義 HYC 11 非一般真實 REALITY BITES

141

一二三我仨不落單

Three Tidy Tigers Tied a Tie Tighter 巴西 Brazil ｜ 2022 ｜ DCP ｜ Color ｜ 85min

世界疫情一波接一波，另一種新型疾病又在暗中 作祟。傳言病毒將侵蝕大腦，讓人忘卻一切，殖 民與獨裁歷史記憶也將了無痕跡。人們殷殷期盼 「黃金時代」的來臨，就算光明璀璨的未來並不 清晰。年輕酷兒三人成行，在被疫情抽乾活力的 聖保羅四處晃悠。老城摩登與古典共融，當代風 景是層層疊起的歷史，他們交換疾病與逝去的愛 戀，也為年邁的男同志送一份禮物。當他們打開 記憶匯聚的古董店大門，那裡有一個有故事的女 人，唱一首有故事的歌曲。 酷兒導演維納格雷以如沐春風的影像，撿拾散落 城市的吉光片羽，讓歷史、記憶、HIV 等議題都輕 盈揚起。在近乎透明的眼光中，最濃烈的性愛也 清澈、最恐慌的疫病也安寧。輕快的影像節奏搭 配電子聲響，向宇宙發射酷兒電波。

São Paulo, in a dystopian future not so very far from the present. A virus is circulating, one that mainly attacks the brain and the ability to remember. A state that has forgotten a past marked by colonialism and dictatorship desperately awaits some indeterminate "Golden Phase." Three young queer people drift through a city bled dry by the pandemic and rampant capitalism, remembering each another's late lovers, sharing their experiences with HIV, getting makeup tips for masked faces and ultimately coming together with others forgotten by society for an antique revue in the salon of a singer named Mirta. In Three Tidy Tigers Tied a Tie Tighter, the margins of society glitter, forgotten by the pandemic.

古 斯 塔 沃． 維 納 格 雷，1985 年 出生於巴西里約熱內盧。曾於古 巴就讀國際電影 電視學校，主 修編劇；並於巴西聖保羅攻讀文 學。長年關注性別議題，創作形 式含括劇情及紀錄，《一二三我 仨不落單》為其第六部長片。 Gustavo VINAGRE was born in 1985. He studied Literature at Universidade de São Paulo and Scriptwriting at EICTV in Cuba. He has made several short films and documentaries. Three Tidy Tigers Tied a Tie Tighter is his sixth feature.

DIRECTOR

古斯塔沃．維納格雷 Gustavo VINAGRE PRODUCER, EDITOR

Rodrigo CARNEIRO SCREENPLAY

古斯塔沃．維納格雷 Gustavo VINAGRE Tainá MÜHRINGER CINEMATOGRAPHER

Cris LYRA MUSIC

Marco DUTRA Caetano GOTARDO SOUND

Ruben VALDES CAST

Isabella PEREIRA Pedro RIBEIRO Jonata VIEIRA Filipe ROSSATO Gilda NOMACCE PRINT SOURCE

Carneiro Verde Filmes

2022 柏林影展泰迪熊獎 Teddy Award, Berlinale

06.25 SAT 15:10 華山 SHC 2 ｜ 06.28 TUE 21:10 華山 SHC 2 ｜ 07.01 FRI 15:50 華山 SHC 2 ｜ 07.04 MON 19:20 華山 SHC 2 142

非一般真實 REALITY BITES

作者視角 VISIONS 歷經千錘百鍊方油然生成的作者風格，以別具匠心的個人視角，講述一則則不為人知的生活日常，以小 見大卻又見微知著。透過大師手筆的領航，細細品味小至家庭、大至國族的精采故事。 就在今夜 The Passengers of the Night

茜色如燒 A Madder Red

日本 Japan ｜ 2021 ｜ DCP ｜ Color ｜ 144min

一場車禍帶走良子的丈夫，為了一句得不到的道 歉，良子拒領賠償金，和兒子相依為命。長輩的 療養費、母子的生活費，龐大的經濟重擔落在她 肩頭。疫情襲來，經營多年的咖啡店因此倒閉， 良子還得在色情按摩店兼差。命運載浮載沉，良 子卻總是以一句「我們一起加油吧！」輕巧帶過， 而她最愛的紅色，會是生命熱情的顯現，抑或毀 壞一切的烈焰？

Seven years ago, Yoichi died in a traffic accident. His

尾野真千子睽違四年獨挑大樑，詮釋柔軟又堅毅 的靈魂，更是首度與石井裕也合作，和永瀨正敏、 小田切讓等眾星同台飆戲。2020 年日本發布緊急 事態宣言，石井裕也感於生活深深被撼動，於同 年完成本片，烙印下疫情時期的生命樣態，描繪 屬於這個時代的愛與希望，將衝擊與困境熬成一 帖苦口良藥，獻給在命運中掙扎的人們。

In 2020, Japan entered its first COVID-19 state of

wife, Ryoko, did not receive any compensation from his death. Therefore, she has since raised their son, Junpei, by herself, who is now a high school student. In addition, Ryoko runs a café to make ends meet and cares for her father-in-law, who lives in a nursing home. The COVID-19 pandemic is making the situation even harder, and what worries her even more is the fact that Junpei is bullied at school.

emergency, and it was in the same year that Ishi finished this film. Having witnessed the lives under threat from COVID, it portrays the love and hope of

石井裕也，1983 年出生於日本 埼玉縣。早期作品即備受矚目， 後執導《從河底問好》成為日本 藍絲帶導演獎最年輕得主。曾以 《宅男戀愛字典》橫掃日本電影 學院獎七項大獎。作品另有《我 們家》、《東京夜空最深藍》等。 ISHII Yuya is a Japanese film director, writer, editor, producer and actor best known for his movie, The Great Passage, for which he won Best Director at Japanese Academy Awards 2013.

our times.

DIRECTOR, SCREENPLAY

石井裕也 ISHII Yuya PRODUCER

永井拓郎 NAGAI Takuro 神保友香 JIMBO Yuka CINEMATOGRAPHER

鎌苅洋一 KAMAKARI Yoichi EDITOR

岡崎正弥 OKAZAKI Masaya 石井裕也 ISHII Yuya MUSIC

河野丈洋 KONO Takehiro SOUND

柴崎憲治 SHIBAZAKI Kenji CAST

尾野真千子 ONO Machiko 和田庵 WADA Iori 片山友希 KATAYAMA Yuki 小田切讓 ODAGIRI Joe 永瀬正敏 NAGASE Masatoshi PRINT SOURCE

可樂藝術文創股份有限公司 Cola Films Co., Ltd.

2022 日本電影旬報獎最佳女主角、最佳新人男演員 Best Actress, Best New Actor, Kinema Junpo Awards 2022 日本每日電影獎最佳女主角、最佳新人 Best Actress, Sponichi Grand Prix Newcomer Award, Mainichi Film Awards 2022 橫濱電影節最佳女主角、最佳女配角 Best Actress, Best Supporting Actress, Yokohama FF

06.28 TUE 12:40 信義 HYC 10 ▲｜ 07.03 SUN 18:30 信義 HYC 11 ▲ 144

作者視角 VISIONS

我心悵然如詩

Benediction

英國 UK ｜ 2021 ｜ DCP ｜ Color ｜ 137min

煙硝瀰漫，戰場上士兵心黯淡。曾赴一戰前線的 年輕詩人親眼目睹恐懼如何吞噬心靈、生命無意 義地消逝，他向軍方提出抗議，卻被迫以精神狀 況不佳為由遣送療養院治療。柔情似水的他，卻 總是愛上錯的男人；煉獄般的戰爭景象，在他筆 下化為憤怒的詩篇，千瘡百孔的心該何去何從？

Benediction explores the turbulent life of WWI poet

聚焦英國戰爭詩人齊格菲．薩松的生平故事，導 演泰倫斯．戴維斯以驚人的情感張力描繪一個迷 茫而渴求救贖的靈魂。他在片中巧妙置入一戰檔 案影像，以幽魂般的鏡頭遊走，穿梭於每一個脆 弱又心碎無比的時刻。英國男星傑克．洛登獨挑 大樑，內斂細緻的演出後座力十足，在鏡頭的凝 視下，世界充滿了罪咎、羞愧與懲罰，人物在其 中遊走不歇，卻始終逃不出內心的荒蕪迷宮。

well as stars of London's literary and stage world, he

Siegfried Sassoon. The writer and soldier was a complex man who survived the horrors of fighting in the First World War and was decorated for his bravery but who became a vocal critic of the government's continuation of the war when he returned from service. Adored by members of the aristocracy as embarked on affairs with several men as he attempted to come to terms with his homosexuality. At the same time, broken by the horror of war, he made his life's journey a quest for salvation, trying to find it within the conformity of marriage and religion.

泰 倫 斯． 戴 維 斯，1945 年 出 生 於英國利物浦。以捕捉人物幽微 隱晦的情感見長，作品富有濃厚 文學氣息，被譽為英國當代最具 影 響 力 的 導 演 之 一。 首 部 長 片 《遙遠的聲音，寂靜的生活》獲 坎城影展費比西國際影評人獎， 《我心悵然如詩》是他睽違五年 的最新力作。 Terence DAVIES graduated from the National Film and Television School in the UK and established his name with The Terence Davies Trilogy. His first feature, Distant Voice, Still Lives, won the FIPRESCI Prize at Cannes 1988. He has since made nine features.

DIRECTOR, SCREENPLAY

泰倫斯．戴維斯 Terence DAVIES PRODUCER

Michael ELLIOTT Deborah ASTON CINEMATOGRAPHER

Nicola DALEY EDITOR

Alex MACKIE MUSIC

Ed BAILIE Abi LELAND SOUND

Stephen GRIFFITHS Andy SHELLEY CAST

傑克．洛登 Jack LOWDEN Peter CAPALDI Jeremy IRVINE Simon Russell BEALE Kate PHILLIPS PRINT SOURCE

BANKSIDE FILMS LTD

2021 多倫多影展 Toronto IFF 2021 聖賽巴斯提安影展 San Sebastián IFF 2021 倫敦影展 London FF

07.02 SAT 13:10 信義 HYC 11 ｜ 07.05 TUE 20:20 信義 HYC 11 作者視角 VISIONS

145

永別了，柏林

Fabian: Going to the Dogs 德國 Germany ｜ 2021 ｜ DCP ｜ Color ｜ 178min

年輕的歷史博士法比安，白天寫廣告文案，晚上 流連柏林歌廳聲色犬馬。一戰倖存後，法比安從 此成為清醒而疏離的和平主義者；而他的紈絝摯 友拉布德，才華洋溢的共產主義學者，卻不敢交 出完成多時的重要博士論文。法比安為愛淪陷， 迷戀想當演員的律師柯內莉亞，卻親眼目睹夢想 與幸福的腐朽；深信宿命論的他，該如何在友情 與愛情之間找到平衡？

Berlin, 1931. Jakob Fabian works in the advertising

曾為 1980 年代德國類型電影重要推手，名導葛拉 夫改編西德兒童文學之父艾瑞克．卡斯特納 1931 年自傳小說《法比安》，邀請《無主之作》湯姆． 希林與莎斯基亞．蘿絲達爾領銜主演，還原二戰 前的柏林，並靈活變換影像風格，從卡通式的地 下社會風光到新浪潮式靈肉掙扎，剖析小說文字 背後深埋的戰爭禍根。

Fabian finds difficult to come to terms with. But it's not

department of a cigarette factory during the day and drifts through bars, brothels and artist studios with his wealthy friend Labude at night. When Fabian gets to know the self-confident Cornelia, he manages to shed his pessimistic attitude for a brief moment. He falls in love. But then he too falls victim to the great wave of layoffs, while Cornelia makes a career as an actress thanks to her boss and admirer. An arrangement that just his world that is falling apart...

多 明 尼 克． 葛 拉 夫，1952 年 出 生於慕尼黑，畢業於慕尼黑影視 大學。曾執導多部電影長片，也 深 耕 電 視 圈， 參 與 無 數 影 集 製 作， 並 以 犯 罪 警 匪 類 型 見 長。 1988 年《Die Katze》獲德國電 影獎最佳導演，為德語影壇堅實 的類型創作者。 Dominik GRAF is a German director working in film and television. A graduate of University of Television and Film Munich, he is best known for Beloved Sisters and Der Felsen, both were in competition at Berlinale.

「2021 年的我們，依然活在威瑪時代。」 ──多 明尼克． 葛拉夫 DIRECTOR

多明尼克．葛拉夫 Dominik GRAF PRODUCER

Felix VON BOEHM SCREENPLAY

Constantin LIEB 多明尼克．葛拉夫 Dominik GRAF CINEMATOGRAPHER

Hanno LENTZ EDITOR

Claudia WOLSCHT MUSIC

Sven ROSSENBACH Florian VAN VOLXEM SOUND

Florian NEUNHOEFFER Martina BAHR CAST

湯姆．希林 Tom SCHILLING 亞伯拉罕．舒赫 Albrecht SCHUCH 莎斯基亞．蘿絲達爾 Saskia ROSENDAHL Michael WITTENBORN Petra KALKUTSCHKE PRINT SOURCE

海鵬影業 Swallow Wings Films

2021 柏林影展 Berlinale 2021 鹿特丹影展 IFF Rotterdam 2021 釜山影展 Busan IFF

06.25 SAT 17:20 華山 SHC 2 ▲｜ 07.07 THU 19:40 華山 SHC 2 ▲ 146

作者視角 VISIONS

小說家電影

The Novelist's Film

南韓 South Korea ｜ 2022 ｜ DCP ｜ B&W, Color ｜ 92min

小說家造訪遠方老友的書店後，在路上遇見電影 導演與其妻子，談起那部最終沒有被改編成電影 的小說。他們在公園遇見女演員，小說家說服她 出演自己夢想開拍的電影。兩人回到書店，舊雨 新知共飲，女演員沉沉睡去。

Famous novelist Junhee meets up with two acquain-

洪常秀第 27 部長片找回他的繆思金珉禧，以及《在 你面前》李慧英、《江邊旅館》奇周峰同台演出。 故事由閒散的對話鋪滿，看似未經修飾又處處驚 喜，縝密精巧間仍見真實閃現。影片靈感源自幾 年前散步時拍攝的日常影像，習慣隨手拍攝的洪 常秀，不僅在本片保留了一段當時隨興捕捉的短 片，更試圖在無意識創生的畫面與有劇本依循的 創作之間，探問影像的本質。

has begun to question her approach to writing and

tances. The first runs a bookstore and has not given her any feedback about her last book. The second is a filmmaker, who never adapts Junhee's novel as planned. But the more pressing issue is that Junhee has not published anything in a while. Instead, she is having doubts about the sensibility that forged her charismatic, scathing personality. During a stroll in the park with the film director and his wife, she meets a famous actress, who is experiencing a similar hiatus. The two connect so deeply that an idea for a film, which would be her first, soon begins to germinate in the novelist's mind.

洪 常 秀， 當 代 亞 洲 電 影 作 者 導 演，以簡約的寫實風格著稱。創 作能量豐沛，2020 年起接連以 《逃亡的女人》、《引言》獲得 柏林影展最佳導演、最佳劇本。 《小說家電影》為其第 27 部長 片，再獲評審團大獎肯定。 HONG Sang-soo studied at the Chung-Ang University in Seoul and the Art Institute of Chicago in the US. A regular guest at the prestigious film festivals, he has written and directed 27 films since 1996.

「我認為絕對的自然並不存在，我也無意追求自 然。我的導演風格只是剛好相對來說比較自然。 」──洪常秀 DIRECTOR, PRODUCER, SCREENPLAY, CINEMATOGRAPHER, EDITOR, MUSIC

洪常秀 HONG Sang-soo CAST

李慧英 LEE Hye-yeong 金珉禧 KIM Min-hee 徐永嬅 SEO Young-hwa 奇周峰 KI Joo-bong PRINT SOURCE

可樂藝術文創股份有限公司 Cola Films Co., Ltd.

2022 柏林影展評審團大獎 Grand Jury Prize, Berlinale 2022 伊斯坦堡影展 Istanbul FF 2022 布宜諾斯艾利斯獨立影展 BAFICI

07.04 MON 21:50 信義 HYC 11 ▲ 作者視角 VISIONS

147

就在今夜

亞洲首映 Asian Premiere

The Passengers of the Night 法國 France ｜ 2022 ｜ DCP ｜ Color ｜ 111min

1981 年法國大選，左派首次推翻保守派的長期執 政，人們歡欣湧上巴黎街頭慶祝祖國新生。然而， 剛經歷病痛與婚變的伊莉莎白，卻面臨了艱困的 挑戰，毫無工作經驗的她，必須重回社會，撫養 嚮往成為詩人的兒子、滿懷社會理想的女兒，與 因緣際會而暫時收留的街頭陌生少女。一個屋簷 下，四個截然不同的靈魂在醉人的巴黎努力生存； 生活的殘酷與不堪，隨著搖曳且迷幻的樂聲，被 塞納河畔的夜色輕輕撫慰。

On the election night in 1981, celebrations spill out

法國影后夏綠蒂．甘絲柏格領銜主演，輕盈而溫 柔地詮釋女主角的脆弱敏感，導演巧妙將希維特 《北方的橋》與侯麥《圓月映花都》的流光碎影， 緩緩地流淌在夜晚的巴黎城市裡。膠卷質地的畫 面搭配具時代感的音樂，帶領觀眾緬懷其成長的 八○年代，成為一封獻給上個世紀夜巴黎的情書， 以及四段在路上的故事。

her free spirit has a lasting influence. Elisabeth and

onto the street. There is an air of hope and a change throughout Paris. But for Elisabeth, her marriage is coming to an end, and she will have to support herself and her two teenage children. She finds a job at a late-night radio show and encounters a troubled teenager named Talulah, who she invites to her home later. With them, Talulah experiences the warmth of a family for the first time. Although she suddenly disappears, her children grow in confidence, begin to take risks, and change the trajectory of their lives.

米 夏 埃 爾． 艾 斯，1975 年 出 生 於巴黎，畢業於 La Fémis 法國 高等電影學院製片部門。首部長 片《Memory Lane》即入選盧卡 諾影展。他擅長勾勒城市與時代 的氛圍、角色細膩感性的心境， 近作《我的巴黎舅舅》以巴黎恐 攻為背景，深刻展現其對人性溫 暖而敏銳的觀察。 Mikhaël HERS graduated from La Fémis. After three acclaimed shorts, he made his debut feature, Me mo ry La n e ( Lo car no 2010) , followed by This Summer Feeling (Rotterdam 2016) and Amanda (Venice 2018). The Passengers of the Night is his fourth feature.

DIRECTOR

米夏埃爾．艾斯 Mikhaël HERS PRODUCER

Pierre GUYARD SCREENPLAY

米夏埃爾．艾斯 Mikhaël HERS Maud AMELINE Mariette DÉSERT CINEMATOGRAPHER

Sébastien BUCHMANN EDITOR

Marion MONNIER MUSIC

Anton SANKO SOUND

Vincent VATOUX Caroline REYNAYD Sylvain MALBRANT Daniel SOBRINO CAST

夏綠蒂．甘絲柏格 Charlotte GAINSBOURG Quito RAYON-RICHTER Noée ABITA Megan NORTHAM Thibault VINÇON PRINT SOURCE

東昊影業有限公司 Andrew Film Co., Ltd.

2022 柏林影展 Berlinale

06.24 FRI 21:30 信義 HYC 11 148

作者視角 VISIONS

永別了，柏林 Fabian: Going to the Dogs

邱炯炯 QIU JIONGJIONG 焦點影人 Filmmaker in Focus 作品年表 Filmography 150

年份 Year

片名 Title

形式 Form

職位 Position

2007

大酒樓 The Moon Palace

Documentary

D, W, P

2008

彩排記 Ode to Joy

Doc short

D, W, P

2009

黃老老拍案 A Portrait of Mr. Huang

Doc short

D, W, P

2010

姑奶奶 Madame

Documentary

D, W, P

2011

萱堂閒話錄 My Mother’s Rhapsody

Documentary

D, W, P

2015

癡 Mr. Zhang Believes

Documentary

D, W

2021

椒麻堂會 A New Old Play

Feature

D, W

導演 Director (D) 、編劇 Writer (W)、製片 Producer (P)

焦點影人：邱炯炯 FILMMAKER IN FOCUS: QIU JIONGJIONG

記憶與幻境的工坊：《椒麻堂會》手稿展 A Workshop of Memories and Illusions: An Exhibition of A New Old Play Manuscripts 電影《椒麻堂會》是關於邱炯炯個人、家族與時代的魔幻史詩，為了將記憶與幻境化為實物， 身為藝術家的他慎重繪製手稿，將私人家庭記憶與國族時代變遷交匯。透過模擬的工作室空 間，展出包含鉛筆及水彩分鏡圖、盡顯細節的場景圖，以及粉蠟筆細膩繪製的人物圖等 45 件手稿，引領觀者一覽邱炯炯打造魔幻堂會戲台的紙上旅程。 The film, A New Old Play, is a magic realism epic poem about Qiu Jiongjiong, his family and the times. In order to materialize the memories and illusions, Qiu, as an artist, meticulously drew all these pictures, blending his personal memories of his family with the changes in the times and the country. In this simulated workshop, 45 manuscripts, including the storyboards in pencil and watercolor, the detailed drawings of the scene design and the character designs in oil pastel, lead the viewers to see how Qiu created such a magic show on paper.

地點 Venue：臺北市中山堂第一展覽室 Taipei Zhongshan Hall Exhibition Room 時間 Time：06.16 THU - 07.06 WED 10:00-17:00（免費參觀）

藝術家、電影導演。1977 年出生於四川樂山的川劇世家，從小跟著名角爺爺接觸傳統 戲曲文化。18 歲自藝術學院輟學，立志成為獨立創作的藝術家。他從事繪畫、攝影， 紙上作品多數為肖像畫。自 2006 年起開始拍攝紀錄片，首部作品《大酒樓》為即 將消逝的成長記憶留下珍貴的紀錄。爾後接連以身邊親人為 題，完成《彩排記》、《黃老老拍案》、《萱堂閒話錄》等紀錄片， 後兩部加上《姑奶奶》合稱「話癆三部曲」，平實記錄人物的口述故事。擅長以 鏡頭捕捉人物的精髓與神韻，從平凡無奇的日常生活發掘趣味盎然的一面。人物對白 以四川方言為主，時常在電影中穿插說書般的自述旁白，或以川劇元素交織。無論是 動態影像或靜態作品，皆可窺見劇場的質地，搬演過程中有意無意透見生命的靈光。 邱炯炯曾說：「我的片子不管悲喜都是狂歡的。」2021 年最新作品《椒麻堂會》為 其首部劇情長片，以魔幻寫實的風格講述一代川劇伶人的悲歡離合、興衰跌宕，獲得 盧卡諾影展評審團特別獎，為當代備受矚目的中國導演之一。

QIU Jiongjiong was born in China in 1977. A contemporary artist and director, he has experimented in documentary since 2006. His first three documentary features, The Moon Palace, Madame, My Mother's Rhapsody, were selected for ”Best Ten Documentaries of the Year” at China Independent Film Festival. Supported by Sundance’s Grant for Post-Production, his experimental documentary feature, Mr. Zhang Believes, premiered at Locarno 2015 and screened at Singapore and MoMA’s Documentary Fortnight. His first fiction film, A New Old Play, received the Special Jury Prize at Locarno 2021.

焦點影人：邱炯炯 FILMMAKER IN FOCUS: QIU JIONGJIONG

151

大酒樓

The Moon Palace

中國 China ｜ 2007 ｜ DCP ｜ B&W ｜ 105min

嘉州城西有一酒樓，邱先生與他的酒肉朋友們喜歡在這兒喝點小酒、享受脂腴美饌，在 牌桌與酒桌間話家常、聊人生。此乃人間廣寒宮，市井之中有酒仙，平凡無奇的對話在 酒氣薰陶下昇華。攝影機隨著掌鏡人穿梭其間，流轉映照出多樣紛陳的世間百態，在看 似隨性的剪輯當中，醞釀生活的幽默與閒情。天下無不散的筵席，大酒樓的微醺傳奇歷 歷在目，流轉在動態影像裡。 在得知父親經營的大酒樓即將關門大吉，邱炯炯便帶著攝影機前往拍攝。擅長靜態攝影、 繪畫的邱炯炯，本片是他創作的首部紀錄長片。席間觥籌交錯，影像浸淫著酒氣，如家 庭電影般的私影像，記錄伴其成長的時空。配樂由妹妹刁力力操刀，兄妹合力為家族的 大酒樓寫下傳奇。

DIRECTOR, PRODUCER, SCREENPLAY, EDITOR, SOUND

邱炯炯 QIU Jiongjiong CINEMATOGRAPHER

邱炯炯 QIU Jiongjiong 陸偉 LU Wei 楊勇 YANG Yong MUSIC

刁力力 DIAO Lili CHARACTER

「我花了一個月的時間拍完，拍完就倒閉了。這種電影敘事應該稱為雜耍敘事，你看著 很亂，但裡面會有很多信息。」──邱炯炯

邱志敏 QIU Zhimin 賀佳琪 HE Jiaqi 王開華 WANG Kaihua 溫科 WEN Ke

The Moon Palace is a portrait of Qiu's father and the restaurant he ran. In this experimental

Uluka Productions

PRINT SOURCE

black-and-white documentary, vivid evocations of Sichuan opera alternate with Qiu's father's elegies to wine and Qiu's aunties' reminiscences about politics, art and movie stars. The simulated interviews with non-synchronous sounds compose a patriarchal portrait that is rambunctious, probing, nostalgic and critical. "At the end of May 2006, I got the news that my parents would close the restaurant that had been open for fourteen years in July. Because I felt sorry, I decided to make a film about it. The filming began after daily meals and slight inebriation... [as the atmosphere] became more and more screwed up." - Qiu Jiongjiong

2008 中國獨立影像展 China Independent FF 2022 鹿特丹影展 IFF Rotterdam

06.23 THU 21:00 華山 SHC 1 ｜ 06.27 MON 13:30 華山 SHC 1 ｜ 07.04 MON 15:30 華山 SHC 1 152

焦點影人：邱炯炯 FILMMAKER IN FOCUS: QIU JIONGJIONG

黃老老拍案

A Portrait of Mr. Huang 中國 China ｜ 2009 ｜ DCP ｜ B&W ｜ 40min

退休警官黃老老，茶餘飯後話當年，走跳江湖半輩子，駭人聽聞怪 事啥子全見過。他面對鏡頭不害臊，氣定神閒，一一道給各位看倌 聽仔細。法醫剖開一具腐爛的女屍，蛆兒爬滿身；平凡農民，挑著 情人心肝招搖過市。知了唧唧的夏日午後，且聽黃老老展現四川人 的麻辣勁兒，驚悚襲來，別怪我沒先告訴你。 In this short documentary that focuses on current storyteller and ex-cop Huang Songnian, Qiu playfully splices montage cuts between Huang's stories of police work, Sichuan opera excerpts and Qiu's charming chalk drawings.

彩排記 Ode to Joy

中國 China ｜ 2008 ｜ DCP ｜ B&W, Color ｜ 32min

在一次追憶川劇名角邱福新逝世 20 週年的場合上，一齣齣不瘋魔 不成活的戲碼正輪番上演。鏡頭遊走在台前台後，貼身捕捉屬於一 個世代戲曲人的喜樂哀愁──青衣奶奶、小丑爺爺、搖旦奶奶、花 臉爺爺。出身川劇世家的邱炯炯從小就在劇團兜轉，爺爺邱福新雖 英年早逝，但他的氣度與身影，長存在人們的記憶裡。曲終人不散， 致敬越陳越香的歡快時光。

DIRECTOR, PRODUCER, SCREENPLAY, CINEMATOGRAPHER, EDITOR, SOUND

邱炯炯 QIU Jiongjiong CHARACTER

黃鬆年 HUANG Songnian PRINT SOURCE

Uluka Productions

「20 年來，因為他，我越來越愛插科打諢。爺爺以他巨大的吸引力 帶我進入一個世界，一個我極度認可的世界。」──邱炯炯 May 2007. Everyone is busy in rehearsal. In progress: A special performance of the Sichuan opera "Joker" figure, commemorating the 20th anniversary of an old Sichuan opera actor's passing.

2022 鹿特丹影展 IFF Rotterdam

DIRECTOR, PRODUCER, SCREENPLAY, CINEMATOGRAPHER, EDITOR, SOUND

邱炯炯 QIU Jiongjiong CHARACTER

趙羞新 ZHAO Xiuxin 富思聰 FU Sisong 艾桂枝 AI Guizhi 孟海帆 MENG Haifan 王開華 WANG Kaihua PRINT SOURCE

Uluka Productions

2009 中國獨立影像展 China Independent FF 2022 鹿特丹影展 IFF Rotterdam

06.25 SAT 21:00 華山 SHC 2 ｜ 06.30 THU 19:00 華山 SHC 2 ｜ 07.04 MON 11:10 華山 SHC 1 焦點影人：邱炯炯 FILMMAKER IN FOCUS: QIU JIONGJIONG

153

姑奶奶 Madame

中國 China ｜ 2010 ｜ DCP ｜ B&W ｜ 121min

故事在鋼琴樂音中揭開序幕。碧浪達頂著一頭蓬鬆捲髮，指間叼著煙、手裡握著麥克風， 網格衣包裹著肉感的身軀，充滿磁性的嗓音迷離地唱著情與愛，這是屬於她夜晚的小小 舞台。白天，他是時尚裁縫樊其輝，夜幕低垂時，則搖身一變成為足蹬 20 公分高跟鞋 的碧浪達夫人，風情萬種，剛烈而美豔。在鏡頭前面，她以真面目示人，侃侃而談那缺 乏安全感的童年、不被社會認可的性別認同，一路走來顛簸的心酸血淚，都化為她舞台 上的光和熱。

DIRECTOR, PRODUCER, SCREENPLAY, CINEMATOGRAPHER, EDITOR, SOUND

邱炯炯 QIU Jiongjiong CHARACTER

樊其輝 FAN Qihui PRINT SOURCE

Uluka Productions

邱炯炯在北京三里屯南街的「法雨」酒吧初次看見碧浪達的演出後，立刻深受吸引，跟 拍了近十場，累積了超過 20 小時的影像素材。這是他首次將攝影鏡頭對向親友之外的 人物，以兩小時的紀錄長片篇幅，呈現一齣濃墨重彩的獨角戲，為碧浪達傳奇的一生， 留下難以忘懷的見證。 「我想做一部兩個小時的獨角戲，乾乾淨淨，利利索索。觀眾在畫外以笑聲和掌聲暗示， 這更符合舞台規律。」──邱炯炯 This vibrant portrait of a trans performer who styles himself "Bilan de Linphel" (birth name Fan Qihui) is at the same time personally intimate and exhilaratingly expansive. It was filmed by Qiu Jiongjiong over a couple of days of interviews, plus several weeks recording his stage shows in Beijing. A tailor by trade, Fan is no lip-synching "impersonator": kohl-eyed, bearing a magnificent curly wig, they belt out the cynical, idealistic, broken-hearted, proudly defiant lyrics of jazzy numbers. Interspersed are Fan's sometimes angry, sometimes tearful, occasionally selfdestructive and always bitterly ironic tales of being a queer person in contemporary China. Fan flourished performing their various identities for peril and pleasure. This is life as a knockout performance: resplendent and ultimately tragic. 2010 北京獨立影像展 Beijing Independent FF 2014 台灣國際紀錄片影展 TIDF 2022 鹿特丹影展 IFF Rotterdam

06.23 THU 18:20 華山 SHC 1 ｜ 06.26 SUN 20:40 華山 SHC 1 ｜ 06.30 THU 20:40 華山 SHC 1 154

焦點影人：邱炯炯 FILMMAKER IN FOCUS: QIU JIONGJIONG

萱堂閒話錄

My Mother's Rhapsody

中國 China ｜ 2011 ｜ DCP ｜ B&W ｜ 106min

因為老屋拆遷，八旬老太太被打亂舊有生活，個性倔強的她，迫於無奈而搬進六旬兒子 的家。活過大半輩子再與兒子同住屋簷下，總有點寄人籬下的不痛快。老太太坐在鏡頭 前，爽朗道來其 80 多年的人生經歷，中氣十足，卻也絮絮叨叨。反應依舊靈敏的她， 也為兒子家的生活增添不少插曲，全家人就在這一來一往間，帶出許多家族陳年往事。 繼《大酒樓》和《黃老老拍案》後，邱炯炯再次將鏡頭聚焦自己的親人。本片主角是導 演的奶奶林志剛，人如其名，性格剛硬而堅韌，帶領大家庭走過半世紀的風風雨雨，憶 起當年依然辛辣犀利、詼諧逗趣。鏡頭動人地記錄奶奶的妙語如珠，在風格獨到的配樂 烘托下，譜出一曲屬於老太太的狂想曲。 「我覺得所有事物都有黑色幽默的成分，都是悲喜交加的，可以是一個非常邪惡的東西， 也可以是非常美好的東西。」──邱炯炯

DIRECTOR, PRODUCER, SCREENPLAY, CINEMATOGRAPHER, EDITOR, SOUND

邱炯炯 QIU Jiongjiong MUSIC

刁力力 DIAO Lili CHARACTER

林志剛 LIN Zhigang 邱志敏 QIU Zhimin 溫科 WEN Ke PRINT SOURCE

Uluka Productions

The mother in focus is Lin Zhiguang, who is, in fact, Qiu Jiongjiong's paternal grandmother. This thoroughly entertaining film is Qiu's expansive family chronicle, a documentary in the form of an art/folk tale. Lin, born to a wealthy family in 1926, lived through the Chinese civil war, the Communist Revolution, the Anti-Rightist Campaign and more. A formidable seamstress, cook and manager, she had seven children with her husband, who was the ticket seller for the famous itinerant Sichuan opera troupe, Xinyouxin. Lin tells her story and that of her children with confidence and charisma. Qiu frames and fragments her tales with amusing disruptions, including a be-winged adult Cupid and a rooster, whose every intense expression spookily mirrors her words.

2011 北京獨立影像展 Beijing Independent FF 2011 中國獨立影像展 China Independent FF 2022 鹿特丹影展 IFF Rotterdam

06.26 SUN 18:10 華山 SHC 1 ｜ 06.29 WED 21:00 華山 SHC 1 ｜ 07.04 MON 13:00 華山 SHC 1 焦點影人：邱炯炯 FILMMAKER IN FOCUS: QIU JIONGJIONG

155

癡：導演剪輯版

Mr. Zhang Believes: Director's Cut

中國 China ｜ 2015 ｜ DCP ｜ Color, B&W ｜ 331min

張先癡的一生，堪稱是見證近代中國政局跌宕的活化石。出身國民黨高官世家，卻投身 共產主義革命事業，一片癡心卻敵不過被反右運動打為「黑五類」，昔日的「進步學生」 竟在勞改營度過長達 23 年的人生。邱炯炯在讀過張先癡的回憶錄《格拉古軼事》後， 就此跌入這飽受大時代蹂躪的小人物悲劇場景中，電影從張先癡的童年談起，以三幕劇 的形式交織著虛構重演與紀實元素，穿插皮影戲、默片、定格動畫等不同的藝術表現手 法，一個個人物在歷史洪流中粉墨登場，命運的時不我與、詭譎，奇幻而悲涼。而從張 先癡個人故事所折射出的新中國，樣貌殘酷、癲狂，宛如一齣超現實的魔幻史詩。本次 放映為珍貴的導演剪輯版，大時代的祕密與暗影盡在其中。 「七○後正好是過渡的一代，那邊還沒有脫節，這邊又迎來巨變，很多東西促使我拍了 這部片。在這部片裡，我想找的是人的溫度，因為我之前的電影也是使用口述敘事，這 種方式已經不能滿足我，我希望能找到一種更有煙火氣的東西。」──邱炯炯 Qiu Jiongjiong's brilliant fiction-documentary hybrid is based on the life of Zhang Xianchi, a so-called "rightist" persecuted for his unorthodox beliefs. But Qiu turns it into something extraordinary: a mixture of first-person testimony, filmed theater, historical fantasy, and social realist drama, interspersed with vivid surreal tableaux.

DIRECTOR, SCREENPLAY, EDITOR

邱炯炯 QIU Jiongjiong PRODUCER

孔麗葒 KONG Lihong 邱炯炯 QIU Jiongjiong CINEMATOGRAPHER

彭帆 PENG Fan MUSIC

刁力力 DIAO Lili SOUND

銀瑤 YIN Yao 婁堃 LOU Kun CHARACTER

張先癡 ZHANG Xianchi 張新偉 ZHANG Xinwei 馬小鷗 MA Xiao'ou 蔡逸凡 CAI Yifan PRINT SOURCE

Uluka Productions

Born into a Nationalist Kuomintang family in the 1930s, Zhang became a progressive young "leftist" and Communist Party supporter, after betraying his Nationalist father. Zhang joined the Communist Youth League and attended military college. Two years later, stigmatized by his family background, he lost his job and turned to journalism. In 1958, he was sentenced to five years' re-education through labor.

2015 盧卡諾影展 Locarno FF 2015 新加坡影展 Singapore IFF 2016 香港電影節 Hong Kong IFF

06.23 THU 16:30 華山 SHC 2 ｜ 06.26 SUN 11:50 華山 SHC 2 ｜ 07.02 SAT 11:40 華山 SHC 2 156

焦點影人：邱炯炯 FILMMAKER IN FOCUS: QIU JIONGJIONG

椒麻堂會

A New Old Play

香港、法國 Hong Kong, France ｜ 2021 ｜ DCP ｜ Color ｜ 180min

上個世紀的四川，軍閥長年割據，熱愛戲劇的少將劉樹成組建自己的戲班「新又新」。 邱福年幼即入戲班，頗具天份的他很快就成為當家台柱。國共內戰爆發，戲班盛況不再， 邱福鎮日流連鴉片煙館，戲班經營不善，只得拱手讓給新政權。新時代來臨，邱福必須 懂得適應，他學習新事物、編演新戲、招募新團員，在變動的時局下踉蹌地且走且唱。 身為丑角的命運就是注定在時代的洪流中面對一次又一次的榮衰，維持身段乘浪漂流， 即使牛頭馬面領著走上黃泉，也必須面不改色地上路。 本片為邱炯炯首部劇情長片。出身川劇世家的他，故事靈感來自川劇名角的爺爺邱福新 的人生經歷。導演以其擅長的黑色幽默風格，濃烈的悲劇色彩混搭著荒誕詭譎的場景與 情節，透過小人物的命運，寫實地映照出中國近代史的動盪與流離。電影巧妙地運用劇 場敘事手法，許多佈景亦為導演親手繪製，時空在今昔之間變換自如，百年的時光就在 幕啟幕落間一一上演。史詩般的磅礴格局，不僅呈現一代伶人的悲歡離合，還有他的癲 狂、苦澀、遺憾與淒涼。 One evening in the 1980s, Qiu Fu, a leading clown-role actor in 20th-century Sichuan opera, is coming to the end of his life, and must set off for the Ghost City. Along the way, he meets old friends.

DIRECTOR, SCREENPLAY, EDITOR

邱炯炯 QIU Jiongjiong PRODUCER

丁寧遠 Ding DING 楊瑾 YANG Jin CINEMATOGRAPHER

馮宇超 Robbin FENG Yuchao MUSIC

刁力力 DIAO Lili SOUND

王然 WANG Ran CAST

易思成 YI Sicheng 關南 GUAN Nan 邱志敏 QIU Zhimin 顧桃 GU Tao 薛旭春 XUE Xuchun PRINT SOURCE

視幻文化 Parallax Films

Qiu Fu's life in opera unfolds against the backdrop of a secular upheaval. The "New-New" Troupe, in which he grows up and learns his trade, is affiliated with the military. As power shifts, the troupe is cast loose to wander through a broken world. Despite this unsettled destiny, shaped by war, famine and political turmoil, Qiu Fu becomes one of the finest clown-role performers in Sichuan opera. And yet, one day he finds himself clapped in a pigsty as a political revolution rages outside.

2021 盧卡諾影展評審團特別獎 Special Jury Prize, Locarno FF 2021 新加坡影展 Singapore IFF 2022 鹿特丹影展 IFF Rotterdam

06.27 MON 15:40 中山堂 TZH ｜ 06.30 THU 14:00 中山堂 TZH ｜ 07.04 MON 18:30 華山 SHC 1 ★ 焦點影人：邱炯炯 FILMMAKER IN FOCUS: QIU JIONGJIONG

157

彼得．波丹諾維茲 PETER BOGDANOVICH 焦點影人

1939 年出生於美國紐約，影評、策展人 出身，新好萊塢電影時期導演。六○年代 初於紐約 MoMA 現代藝術博物館擔任策 展人，為《電影筆記》等雜誌撰寫影評。 因深受法國新浪潮影響，而決定展開導演 生涯，首部長片《末路狙擊》頗富讚譽，

Filmmaker in Focus

緊接著《最後一場電影》獲奧斯卡八項大 獎提名，再以《紙月亮》創下票房佳績並 提名金球獎最佳導演。正逢事業巔峰之 際，他卻面臨票房慘跌危機，直到 1985 年才以《面具》再創高峰。身為電影史學 者，他也拍攝約翰．福特、巴斯特．基頓 等紀錄片，一生累積 30 餘部創作與等身 著 作， 昆 汀． 塔 倫 提 諾、 蘇 菲 亞． 柯 波 拉等名導皆深受其影響。2022 年一月逝 世，享年 82 歲。 Pe t e r B O G DA N OV I C H ( 1 9 3 9 - 2 0 2 2 ) wa s a n American director, writer, producer, actor, critic and film historian. Starting his career as a film journalist, he made his feature debut, Targets, in 1968. His best-known works include The Last Picture Show (nominated for Best Director at the Academy Awards), Nickelodeon (nominated for Berlin Golden Bear), Mask (nominated for Palme d'Or) and They All Laughed (nominated for Venice Golden Lion). An accomplished film historian, he had directed documentaries such as Directed by John Ford and The Great Buster – A Celebration and published over ten books.

158

焦點影人：彼得・波丹諾維茲 FILMMAKER IN FOCUS: PETER BOGDANOVICH

作品年表 Filmography

年份 Year

片名 Title

形式 Form

職位 Position

1966

The Wild Angels

Feature

CW

1967

The Great Professional: Howard Hawks

Doc TV Movie CD

1968

末路狙擊 Targets

Feature

D, W, P

1968

Voyage to the Planet of Prehistoric Women

Feature

D

1 97 1

Direted by John Ford

Documentary

D, W

1 97 1

最後一場電影 The Last Picture Show

Feature

D, CW

1972

愛的大追蹤 What’s Up, Doc?

Feature

D, W, P

1973

紙月亮 Paper Moon

Feature

D, P

1974

黛絲米勒 Daisy Miller

Feature

D, P

1975

At Long Last Love

Feature

D, W, P

1976

Nickelodeon

Feature

D, CW

1979

聖人皮條客 Saint Jack

Feature

D, CW

1981

哄堂大笑 They All Laughed

Feature

D, CW

1984

The City Girl

Feature

EP

1985

面具 Mask

Feature

D

1988

Illegally Yours

Feature

D, P

1990

Texasville

Feature

D, CW, P

1992

大人別出聲 Noises Off...

Feature

D, EP

1993

愛情有什麼道理 The Thing Called Love

Feature

D

1995

Picture Windows - Song of Songs (1 episode)

TV Series

D

1995

Never Say Goodbye AIDS Benefit by Yoko Ono

Short

D, CW

1995

Fallen Angels - A Dime A Dance (1 episosde)

TV Series

D

1995

Prowler

TV Movie

D

1996

To Sir, with Love II

TV Movie

D

1997

The Price of Heaven

TV Movie

D

1997

Rescuers: Stories of Courage: Two Women

TV Movie

D

1998

Naked City: A Killer Christmas

TV Movie

D

1999

The Wonderful World of Disney - A Saintly Switch

TV Series

D

2001

貓眼 The Cat’s Meow

Feature

D

2004

The Mystery of Natalie Wood

TV Movie

D

2004

黑道家族 The Sopranos - Sentimental Education (1 episode)

TV Series

D

2004

Hustle

TV Movie

D

2007

Tom Petty and the Heartbreakers: Runnin’ Down a Dream

Documentary

D

2014

百老匯風流記 She’s Funny That Way

Feature

D, CW

2014

Phantom Halo

Feature

P

2018

The Great Buster: A Celebration

Documentary

D, W, P

2018

風的另一頭 The Other Side of the Wind

Feature

EP

導演 Director (D) 、編劇 Writer (W)、製片 Producer (P)、共同導演 Co-Director (CD)、共同編劇 Co-Writer (CW) 、監製 Executive Producer (EP)

焦點影人：彼得・波丹諾維茲 FILMMAKER IN FOCUS: PETER BOGDANOVICH

159

末路狙擊 Targets

美國 USA ｜ 1968 ｜ 35mm ｜ Color ｜ 90min

江湖在走，猛藥要有。社會無情、喋血四處，虛構情節也不再驚心動魄。知名恐怖片演 員揚言退休，軟硬兼施才被說服到汽車露天戲院見觀眾最後一回。乖巧的青年擊斃家人， 又隨機射殺行經公路的民眾。夜幕降臨、好戲登場，滿場觀眾睜大雙眼，渾然未覺無情 的子彈即將把他們帶離人生舞台。 美國著名 B 級片獨立製片人羅傑．柯曼找上萌發導演夢的波丹諾維茲，找來《科學怪人》 波利斯．卡洛夫主演，任他盡情發揮，只要求電影包含三大要素：40 分鐘的創作橋段、 20 分鐘卡洛夫的畫面，與 20 分鐘《古堡驚魂》的段落。波丹諾維茲以此為基準，取材 德州大學槍擊案，以雙線敘事帶出步步逼近的恐怖元素，現實與虛構在銀幕上精采交鋒， 拆下驚悚電影的表象，同時提煉真實社會的殘酷。 After unhinged Vietnam vet Bobby Thompson kills his wife and mother, he goes on a brutal shooting spree. Starting at an oil refinery, he evades the police and continues his murderous

©Images courtesy of Park Circus & Paramount

DIRECTOR, PRODUCER, SCREENPLAY, EDITOR

彼得．波丹諾維茲 Peter BOGDANOVICH CINEMATOGRAPHER

László KOVÁCS SOUND

Sam KOPETZKY Verna FIELDS CAST

波利斯．卡洛夫 Boris KARLOFF Tim O'KELLY Nancy HSUEH James BROWN Arthur PETERSON PRINT SOURCE

Park Circus Group

outing at a drive-in movie theater, where Byron Orlock, a retired horror film icon, is making a promotional appearance. Before long, Orlock, a symbol of fantastical old-fashioned scares, faces off against Thompson, a remorseless psychopath rooted in a harsh modern reality. Renowned American B-movie producer Roger Corman invited director Peter Bogdanovich and actor Boris Karloff to make Targets. Inspired by the University of Texas tower shooting, Bogdanovich unveiled the horror elements in a dual narrative, blurring the boundaries between the real and the fictional.

06.24 FRI 15:00 中山堂 TZH ｜ 06.27 MON 10:50 中山堂 TZH ｜ 06.30 THU 20:00 中山堂 TZH 160

焦點影人：彼得．波丹諾維茲 FILMMAKER IN FOCUS: PETER BOGDANOVICH

最後一場電影：導演剪輯版

The Last Picture Show: Director's Cut

美國 USA ｜ 1971 ｜ DCP ｜ B&W ｜ 126min

©1971, renewed 1999 Columbia Pictures Industries, Inc. All Rights Reserved

1950 年代德州，無望的青年死守一座垂垂老矣的小鎮。陽光男孩杜安與鎮上最富有的女 孩潔西打得火熱，一場聖誕夜的裸體泳池派對開拓了潔西的處女地，而桑尼則沉醉在與 球隊教練老婆的不倫戀。滾滾黃沙吞噬凋零的靈魂，乾枯的塵土卻掩蓋不住勃發的青春 慾動，隨著潔西勾上桑尼，三人的友情分崩離析。韓戰開打，將上戰場的杜安，終於和 桑尼和解，兩人在即將關門大吉的戲院，看了最後一場電影。 改編自《斷背山》編劇賴瑞．麥可莫特瑞早期的半自傳小說，波丹諾維茲在電視衝擊電 影市場之際，選擇以絕美的黑白攝影描繪一座荒蕪且逐漸消亡的小鎮。在好萊塢的底蘊 上，開闢屬於新潮流的作者美學，一舉入圍奧斯卡八項大獎，更成為跨時代的經典之作。

DIRECTOR

彼得．波丹諾維茲 Peter BOGDANOVICH PRODUCER

Stephen J. FRIEDMAN SCREENPLAY

賴瑞．麥可莫特瑞 Larry McMURTRY 彼得．波丹諾維茲 Peter BOGDANOVICH CINEMATOGRAPHER

Robert SURTEES EDITOR

Donn CAMBERN

High school seniors and best friends, Sonny and Duane, live in a dying Texas town. The

SOUND

handsome Duane is dating Jacy, a local beauty, while Sonny is having an affair with the coach's

Calvin LOESER Tom OVERTON

wife, Ruth. As graduation nears, both boys contemplate their futures. While Duane eyes the

CAST

army and Sonny takes over a local business, each boy struggles to figure out if he can escape this dead-end town and build a better life somewhere else. Adapted from Larry McMurtry's semi-autobiographical novel, Bogdanovich decided to shoot in black and white at the time when Hollywood was threatened by the rise of television. Not only did he create an aesthetic that belonged to the new wave cinema but the film won eight nominations at the Academy Awards.

蒂莫西．博頓斯 Timothy BOTTOMS 傑夫．布里吉 Jeff BRIDGES 西碧兒．雪柏 Cybill SHEPHERD 班．強森 Ben JOHNSON 克蘿麗絲．莉姬曼 Cloris LEACHMAN PRINT SOURCE

Park Circus Group

1972 奧斯卡金像獎最佳男配角、最佳女配角 Best Actor in a Supporting Role, Best Actress in a Supporting Role, Academy Awards 1972 英國影藝學院電影獎最佳劇本、最佳男配角、最佳女配角 Best Screenplay, Best Supporting Actor, Best Supporting Actress, BAFTA 1972 金球獎劇情類最佳男配角 Best Supporting Actor in a Motion Picture, Golden Globe Awards

06.25 SAT 12:40 信義 HYC 10 ｜ 06.28 TUE 15:50 信義 HYC 10 ｜ 07.01 FRI 11:20 中山堂 TZH 焦點影人：彼得．波丹諾維茲 FILMMAKER IN FOCUS: PETER BOGDANOVICH

161

紙月亮

Paper Moon

美國 USA ｜ 1973 ｜ DCP ｜ B&W ｜ 102min

美國經濟大蕭條，詐欺師在葬禮上被誤認為遺孤艾蒂的生父，被迫從堪薩斯州啟程，將 艾蒂交給遠在密蘇里的阿姨。詐欺師丟包艾蒂不成，反被緊咬吐回賠償金，老司機帶上 小司機，沿途騙售精裝聖經給死者家屬，錢途不可限量的艾蒂奇招百出，可愛之餘卻滿 腹鬼點子，千里回家之路岔出行騙江湖的不歸路。當旅程迎來終點，詐欺師拿起艾蒂獨 自在馬戲團紙月亮上拍下的獨照，才發現彼此早已互拐了真心。 為了振興 1930、40 年代類型電影，波丹諾維茲執導的公路喜劇類型大作，歡笑滿堂、 溫馨滿點，動人的結局其實直到拍攝後期才真正定案。年僅九歲的童星塔圖姆．歐尼爾 與父親聯手演出，看似甜美如天使、一轉身卻有小鬼的算計，渾然天成的自然演技，讓 她成為奧斯卡影史上最年輕的女配角得主。 Real-life father and daughter Ryan and Tatum O'Neal team up as slick con-artists Moses Pray and Addie Loggins in 1930s Kansas. When "Moze" is unexpectedly saddled with getting the 9-year-old Addie to relatives in Missouri after the death of her mother, his attempt to dupe her out of her money backfires, and he's forced to take her on as a partner. Swindling their way through farm country, the pair is nearly done in by a burlesque dancer and an angry bootlegger.

©Image Courtesy of Park Circus/ Paramount

DIRECTOR, PRODUCER

彼得．波丹諾維茲 Peter BOGDANOVICH SCREENPLAY

Alvin SARGENT CINEMATOGRAPHER

László KOVÁCS EDITOR

Verna FIELDS SOUND

Kay ROSE Frank E. WARNER CAST

雷恩．歐尼爾 Ryan O'NEAL 塔圖姆．歐尼爾 Tatum O'NEAL Madeline KAHN John HILLERMAN P.J. JOHNSON PRINT SOURCE

Park Circus Group

Paper Moon is a road trip comedy made by Bogdanovich, who aimed to revive the genre popular in the 1930s and 1940s. Full of joy and laughter, the ending was not decided till the end of the shooting.

1973 聖賽巴斯提安影展最佳導演、評審團特別獎 Best Director, Special Prize of the Jury, San Sebastián IFF 1974 奧斯卡金像獎最佳女配角 Best Actress in a Supporting Role, Academy Awards 1974 金球獎最佳女性新演員 Most Promising Newcomer-Female, Golden Globe Awards

06.24 FRI 12:30 中山堂 TZH ｜ 06.27 MON 19:30 信義 HYC 10 ｜ 07.04 MON 13:20 中山堂 TZH 162

焦點影人：彼得．波丹諾維茲 FILMMAKER IN FOCUS: PETER BOGDANOVICH

聖人皮條客

Saint Jack

美國 USA ｜ 1979 ｜ DCP ｜ Color ｜ 112min

©Restoration courtesy of Shout! Factory and the American Genre Film Archive

1970 年代的新加坡，美國掮客傑克白天為華人老闆工作，晚上替外國旅客拉皮條，夢想 打造自己的高級招待所。超群的時間管理術與絕佳的好人緣，讓他深受員工與顧客的愛 戴。傑克在神祕金主的支持下，搞起專門供越戰美軍玩樂的情色渡假村。未料某日金主 委託了特別任務，讓他陷入利與義之間的良心抉擇。 史上首部完全在新加坡拍攝的好萊塢電影，故事結合了當地性產業與越戰元素，卻因部 分內容過度露骨，而遭星國禁止上映，直到 2006 年才解禁。本片拍攝地點廣泛，部分 已不復存在，不僅記錄下七○年代新加坡的城市樣貌與常民生活，更透過男主角傑克的 刻寫，展現新加坡的多元種族與文化特色。

DIRECTOR

彼得．波丹諾維茲 Peter BOGDANOVICH PRODUCER

羅傑．柯曼 Roger CORMAN SCREENPLAY

彼得．波丹諾維茲 Peter BOGDANOVICH Howard SACKLER Paul THEROUX CINEMATOGRAPHER

羅比．穆勒 Robby MÜLLER EDITOR

Saint Jack tells the tale of an American hustler whose chaotic business is to "satisfy the needs"

William C. CARRUTH SOUND

of visiting businessmen in Vietnam War-era Singapore. Flowers believes that since people make

Jean-Pierre RUH

love for so many crazy reasons, why shouldn't money be one of them?

CAST

Ben Gazzara plays Flowers as a breezy Fitzcarraldo type, a man preternaturally driven towards delivering the classiest brothel and the absolute best in carnal pleasures to GIs, expats and other wayward souls lost in Southeast Asia. Based on the novel by Paul Theroux, Saint Jack marked the first of several critical comebacks for Bogdanovich. In a humanist return to form matching The Last Picture Show, the filmmaker gives Gazzara room to ride the line between savvy, charismatic huckster and moralistic citizen of the world.

Ben GAZZARA Denholm ELLIOTT James VILLIERS Joss ACKLAND Rodney BEWES PRINT SOURCE

American Genre Film Archive

1979 威尼斯影展 Venice FF

06.23 THU 21:40 信義 HYC 11 ｜ 06.26 SUN 15:50 信義 HYC 11 ｜ 07.05 TUE 16:10 中山堂 TZH 焦點影人：彼得．波丹諾維茲 FILMMAKER IN FOCUS: PETER BOGDANOVICH

163

面具 Mask

美國 USA ｜ 1985 ｜ DCP ｜ Color ｜ 120min

陽光明媚的加州，少年洛基患有罕見的顱骨發育異常疾病，年少無畏的他，在快速增生 的頭骨之下依然有一顆與他人無異、輕盈燦爛的心。他酷愛搜集棒球球員卡，有年輕辣 媽與一票哈雷騎士相伴，以幽默化解嘲弄與歧視。母子倆無視洛基命不久矣的診斷，讓 他恣意享受青春。洛基毅然決然讓母親自己面對藥癮，前往盲人夏令營當義工，邂逅了 初戀。在夏天的尾巴，美女與野獸的童話故事正要展開，告別的日子卻也悄然逼近。 在面臨票房失利、女友被謀害之後，波丹諾維茲以改編自真人真事的《面具》回歸影壇， 宛如《象人》的通俗、暖心版本，叫好又叫座。《她們》蘿拉．鄧恩飾演盲眼少女，甫 踏入演員界的傳奇歌手雪兒則擔綱主演，並一舉榮獲坎城影展最佳女演員。

©Image Courtesy of Park Circus/ Paramount

DIRECTOR

彼得．波丹諾維茲 Peter BOGDANOVICH PRODUCER

Martin STARGER SCREENPLAY

Anna HAMILTON PHELAN CINEMATOGRAPHER

László KOVÁCS EDITOR

Barbara FORD MUSIC

Rocky Dennis is an intelligent, outgoing and humorous teenager, who suffers from a facial deformity called "lionitis" and has now outlived his life expectancy. While his mother, Rusty, struggles to fight for his acceptance in the public school system, he proves himself to be a highly accomplished student. Though Rocky endures ridicule for his appearance, he finds love and respect from his mother's biker gang family, and even experiences his first love. After the previous flop and the murder of his girlfriend, Bogdanovich returned to the scene with Mask. A movie based on a true story, it not only did well at box-office but received critical acclaim, winning singer-turned-actress Cher Best Actress at Cannes.

Dennis RICOTTA SOUND

John M. STACY Sam SHAW CAST

雪兒 Cher 山姆．艾略特 Sam ELLIOTT 艾瑞克．史托茲 Eric STOLTZ 蘿拉．鄧恩 Laura DERN PRINT SOURCE

Park Circus Group

1985 坎城影展最佳女演員 Best Actress, Cannes 1986 奧斯卡金像獎最佳化妝 Best Makeup, Academy Awards

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焦點影人：彼得．波丹諾維茲 FILMMAKER IN FOCUS: PETER BOGDANOVICH

經典重現 CLASSICS REVISITED 歷經時代的淘洗，經典電影所留下的，不只是其傳遞的永恆訊息，還有他們保留的時代記憶，如今透過 重映，再次鮮活地重現大銀幕。其中更有不少彼時未能於台灣上映的作品，終於能在本地戲院與觀眾的 面前首現風采。 半邊人 Ah Ying

半邊人

國際首映

International Premiere

Ah Ying

數位修復 Restored

香港 Hong Kong ｜ 1983 ｜ DCP ｜ Color ｜ 116min ©hkmdb

看著成日在市場忙活、庸碌一生的父母，魚販二 代阿瑩只能在搖滾樂裡尋求慰藉，短暫實踐對未 來與命運的抗命。一日，阿瑩走進香港電影文化 中心應徵工讀生，認識了自美國返港、充滿藝術 家傲骨的老師張松柏。兩個來自不同文化背景、 操著不同語言的靈魂，開始有了交集，也對彼此 的未來帶來關鍵的改變。 獨樹一格的虛實交錯敘事手法，為香港電影新浪 潮發軔之先河，榮獲第三屆香港電影金像獎最佳 影片、最佳導演及最佳剪接。本片採現場拍攝、 同步錄音，直視生活底層的無奈飄盪；而流轉其 間，理想和現實都被半閹割、半綑綁的「半邊人 們」，平凡而寫實的生活影像如訴時代的消逝、 社會的變遷與情感的浮動。遙看 39 年前英殖時期 的香港，回望現今回歸後的境況，兩個時代透露 的暗湧與無家之感，如出一貫。

Allen Fong based Ah Ying on the real-life story of actress Hui So Ying and Koh Wu, a Chinese-American artist. The platonic relationship between Hui and Koh provides the basis of this intimate film, which traces Ah Ying's struggle to realize her artistic talents in an impoverished and overcrowded home. With the exception of Peter Wang, the entire cast are non-professional actors. The actress who plays Ah Ying is a fish vendor in real life; her film family is her real family. A clash of cultures peculiar to Hong Kong is personified in the film's main characters and emphasized in dialogue that is a mixture of Cantonese, Mandarin and English.

方 育 平，1947 年 出 生 於 香 港， 畢 業 於 香 港 浸 會 大 學 傳 理 系。 1981 年首部執導劇情長片《父子 情》獲第一屆香港電影金像獎最 佳導演；著名導演作品包括《美 國心》、《一生一台戲》、《藏道》 等。 Allen FONG studied at the University of Georgia and the University of Southern California. Back in Hong Kong, he made his first feature, Father and Son, in 1981, followed by Ah Ying in 1983.

DIRECTOR

方育平 Allen FONG PRODUCER

翁子忠 YUNG Ji Chung SCREENPLAY

施揚平 SZE Yeung Ping 王正方 Peter WANG CINEMATOGRAPHER

陳樂儀 CHAN Lok Yee EDITOR

秋木涼 CHAU Mok Leung 吳金華 NG Kam Wah MUSIC

林敏怡 LAM Man Yee SOUND

黃國雄 WONG Kwok Hung CAST

王正方 Peter WANG 許素瑩 HUI So Ying PRINT SOURCE

銀都機構有限公司 Sil-Metropole Organization Ltd.

1984 香港金像獎最佳影片、最佳導演、最佳剪接 Best Film, Best Director, Best Film Editing, Hong Kong Film Award 1984 柏林影展 Berlinale 2021 香港電影節 Hong Kong IFF

06.26 SUN 18:20 信義 HYC 11 ★｜ 06.29 WED 16:50 中山堂 TZH 166

經典重現 CLASSICS REVISITED

原野百合花

Lilies of the Field

美國 USA ｜ 1963 ｜ 35mm ｜ B&W ｜ 94min

浪跡天涯的自駕男子霍默隻身來到亞利桑那州， 途經一群德國修女的居所。起先只想借水暫歇， 卻意外在修女的堅持下，誤打誤撞接下了不可能 的神聖任務：為她們蓋一座教堂。隨著小鎮人們 的加入，霍默也越來越難以脫身。神的功課、勞 動的試煉，加之文化的衝擊，共譜一曲荒唐笑鬧 的多語言喜劇。

When traveling African-American handyman Homer

影片改編自威廉．白瑞德的同名小說，主角霍默 能文能武、忙得要命，不但要揮汗做工，還要能 歌善舞，偶爾還得兼任代駕與翻譯。非裔美籍演 員薛尼．鮑迪以細膩的演技精湛詮釋主角的真摯 與信念，更以本片成為影史首位拿下奧斯卡影帝 的非裔演員。導演雷夫．尼爾森善用人物對比， 英德西三語並進，一次次辯證漂泊和定居、交往 和信念等生命難題，淬鍊成一部平實自然的原野 喜劇，亦是一幅動人的移民社會浮世繪。

believe that he has been sent by God to help build

Smith stops by a farm in rural Arizona, he is welcomed by a group of Roman Catholic nuns, who have emigrated from Germany. Realizing that the farm needs a lot of work, Homer takes on a number of repair projects for the women, who are led by the headstrong Mother Maria. Impressed by Homer's kindness and strong work ethic, the nuns come to them a chapel. Adapted from the novel by William E. Barrett with the same title, Lilies of the Field is a down-to-earth heartwarming comedy that portrays the immigrants in society. It won African-American actor Sidney Poitier Best Actor at the Academy Awards.

雷 夫． 尼 爾 森（1916-1987）， 1916 年 出 生 於 美 國 紐 約， 身 兼 導演、製片、編劇和演員，早期 多參與電視節目的製作和演出， 並於二戰期間撰寫多部百老匯劇 本。曾執導之電視、電影類型多 元， 產 量 頗 豐。1987 年 於 美 國 加州辭世。 Ralph NELSON (1916-1987) was an American director, producer, screenwriter and actor. Having worked in television, film and theater, he produced a wide range of productions, including Lilies of the Field and Charly.

©1963 Theodore Holm Nelson, Ralph Bahnsen Nelson, Peter Powers Nelson and Meredith Nelson Wiltsie. All Rights Reserved

DIRECTOR, PRODUCER

雷夫．尼爾森 Ralph NELSON SCREENPLAY

James POE CINEMATOGRAPHER

Ernest HALLER EDITOR

John W. McCAFFERTY MUSIC

Jerry GOLDSMITH SOUND

Carlton W. FAULKNER Del HARRIS CAST

薛尼．鮑迪 Sidney POITIER 莉莉婭．斯卡拉 Lilia SKALA Lisa MANN Isa CRINO Francesca JARVIS PRINT SOURCE

Park Circus Group

1963 柏林影展最佳男演員 Best Actor, Berlinale 1964 奧斯卡金像獎最佳男主角 Best Actor, Academy Awards 1964 金球獎劇情類最佳男主角 Best Actor in a Motion Picture, Golden Globe Awards

06.28 TUE 20:00 中山堂 TZH ｜ 07.01 FRI 14:10 中山堂 TZH ｜ 07.05 TUE 11:00 中山堂 TZH 經典重現 CLASSICS REVISITED

167

龍山寺之戀：數位修復版

Romance at Lung Shan Temple: Restoration

亞洲首映 Asian Premiere

數位修復 Restored

台灣 Taiwan ｜ 1962 ｜ DCP ｜ B&W ｜ 98min

秦小芳父女從山東來台，為了籌錢替父親治病， 小芳在龍山寺前擺攤賣藥。她的甜美歌喉吸引了 左右鄰近攤位的客人，生意興隆。一日，歌聲優 美的小芳在河邊洗衣服，引起電台作曲家唐亮的 注意，兩人產生若有似無的火花；返家途中，又 偶遇攝影記者羅忠。唐亮及羅忠都對小芳一見傾 心，展開熱烈追求，彼此暗中較勁；偏偏唐亮的 青梅竹馬表妹也對他窮追不捨，錯綜複雜的關係， 意外演變成一場詼諧荒謬的四角戀曲。 本片為傳達族群融合概念的歌唱喜劇，情節輕鬆 幽默，呈現了外省與本省一家親的溫馨題材。經 典童謠〈丟丟銅〉成為國台語雙聲道的賣藥歌曲， 融合多重文化元素，記錄當年台灣的時代氛圍。 〈綠島小夜曲〉作曲家周藍萍更為女主角莊雪芳 量身打造多首電影插曲，讓改編自印尼民謠的〈出 人頭地〉成為膾炙人口的金曲。

To afford her father's treatment, mainlander Chin Hsiao-fang quits school and helps sell medicine at Lung Shan Temple. Yet, she gets rejected by the other people because they think only islanders are allowed to do business in the temple. Chin loves singing and looks for another job opportunity at a radio station. There, she gets to meet Tang Liang. Meanwhile, photojournalist Lo Chung encounters Chin while looking for a model and sees her potential. Both Tang and Lo have feelings for Chin. While they are trying so hard to win Chin over, Tang discovers that Lo is actually his long-lost brother Tang Ming...

白克（1914-1964），1914 年出 生 於 廈 門，1945 年 來 台， 為 白 色恐怖受難者，也是台灣戰後第 一代導演及影評人。導演十餘部 台語片，代表作為《黃帝子孫》、 《瘋女十八年》、《龍山寺之戀》 等。1962 年 遭 警 備 總 部 以「 海 外通敵」罪名逮捕並被迫認罪， 1964 年遭槍決身亡。 PAI Ko (1914-1964) was one of the Taiwanese film directors and critics who emerged after WWII. Hailed as the godfather of the Taiwaneselanguage cinema, he made more than ten Taiwanese-speaking films. A victim of White Terror, Pai was executed in 1964.

DIRECTOR

白克 PAI Ko PRODUCER

任寶齡 JEN Pao-ling SCREENPLAY

白克 PAI Ko 徐天榮 HSU Tien-jung CINEMATOGRAPHER

蔣超 CHIANG Chao EDITOR

王正清 WANG Cheng-ching MUSIC

李林 LI Lin SOUND

廖世武 LIAO Shi-wu CAST

莊雪芳 CHUANG Hsueh-fang 唐菁 TANG Ching 龍松 LONG Song 蘇麗華 SU Li-hua PRINT SOURCE

國家電影及視聽文化中心 Taiwan Film and Audiovisual Institute

06.26 SUN 15:20 華山 SHC 1 ★｜ 06.29 WED 13:10 華山 SHC 1 ｜ 07.05 TUE 21:00 華山 SHC 1 168

經典重現 CLASSICS REVISITED

七美人

數位修復 Restored

Seven Beauties 義大利 Italy ｜ 1975 ｜ DCP ｜ Color, B&W ｜ 116min

©1988 CSC

來自義大利拿坡里的帕斯卡里，本身是個搖擺過 市的風流郎，因家中有七姐妹，而被街坊暱稱為 「七美女」，實則諷其為小白臉。性情中人如他， 無法忍受姐姐賣身為娼，而動念殺了妓院老闆， 還以精神疾病躲過法院判決。時光一轉，他從病 院被徵召前往二戰前線，又因逃兵而被送入納粹 集中營。好不容易死裡逃生，復又掉入另一場人 間煉獄。

In 1930s Italy, Pasqualino, a low-level Sicilian thug,

義大利重量級導演韋特繆勒的驚世之作，讓她成 為奧斯卡史上第一位入圍最佳導演的女性。風格 強烈，看似瘋癲獵奇、切換於淫欲與奴役之間， 卻又揉合性別與政治，並充滿挑釁。片中運鏡自 由奔放，不僅彰顯濃烈的地方色彩，更對比底層 草民在律法、戰爭與疾病禁錮下的身體與心靈， 諷喻力道強勁。當活下來成為歹命人的唯一選擇， 尊嚴與榮譽面臨政治集權的拷打，身而為人究竟 該順從同流，抑或起身反抗？

In a strong personal and provocative style, Wertmüller

kills a man who disgraced his sister. Pasqualino pleads insanity and manages to escape imprisonment by joining the military, but he decides to go AWOL when things get too heavy. Unfortunately, he soon finds himself stuck in a concentration camp. There, Pasqualino vows to do anything in order to survive, even if that means seducing an obese, female German camp commandant or ratting out his own pals.

blends gender with politics in this seemingly crazy story. It asks the question of whether one should surrender or fight when one's dignity is trampled over

里娜．韋特繆勒（1928-2021）， 出生於羅馬，身兼導演、編劇， 也跨足劇場和影視。自 1960 年 代起，她的電影創作生涯跨越多 個時代，並多次入選盧卡諾、柏 林和坎城等國際影展。2019 年 獲頒奧斯卡金像獎終身成就獎。 Lina WERTMÜLLER (19282021) was an Italian director and screenwriter best known for Seven Beauties, Camorra and Crystal or Ash, Fire or Wind, as Long as It's Love.

by an authoritarian regime.

©CSC

DIRECTOR, SCREENPLAY

里娜．韋特繆勒 Lina WERTMÜLLER PRODUCER

Arrigo COLOMBO CINEMATOGRAPHER

Tonino DELLI COLLI EDITOR

Franco FRATICELLI MUSIC

Enzo JANNACCI SOUND

Mario BRAMONTI Venanzio BIRASCHI CAST

吉安卡羅．吉安尼尼 Giancarlo GIANNINI Fernando REY Shirley STOLER Elena FIORE PRINT SOURCE

Fondazione Centro Sperimentale di Cinematografia

2019 坎城影展 Cannes

06.28 TUE 17:20 中山堂 TZH ｜ 07.02 SAT 16:10 信義 HYC 11 經典重現 CLASSICS REVISITED

169

經典重現｜德國新電影：奧柏豪森宣言 60 週年 ｜ CLASSICS REVISITED 60TH ANNIVERSARY OF NEW GERMAN CINEMA

奧柏豪森宣言 1962 年 2 月 28 日 傳統德國電影的頹敗，終於瓦解了我們抗拒的思維的經濟基礎，賦予新型態 的電影誕生契機。 年輕的德國短片電影工作者、導演與製片人，在近年於許多國際影展上獲得 絕大多數的獎項，也獲得國際評論者的肯定。他們的作品與成功，顯示了德 國電影的未來，掌握在那些能夠以新的電影語言說話之人。 在德國，一如其他國家，短片已成為一種學派，以及長片的實驗場。我們主 張我們有權創造「新德國電影長片」。這種新電影需要新的自由，免於既有 產業的傳統，免於商業夥伴的外在影響，免於特定利益集團的把持。 對於產製新德國電影，我們對概念、形式與營收模式都有具體構想，我們齊 聚一堂，也準備好承受財務風險。 舊電影已死，我們相信新電影。 Oberhausen Manifesto 28.2.1962 The collapse of conventional German film has finally removed the economic basis for a mentality that we reject. This gives the new kind of film the chance to come to life. German short films by young filmmakers, directors and producers have in recent years received a large number of prizes at international festivals and gained the recognition of international critics. These works and their successes show that the future of German film lies with those who have proven that they speak a new film language. In Germany, just as in other countries, short film has become a school and place of experiment for feature film. We declare our right to create the New German feature film. This new film needs new freedoms. Freedom from the conventions of the established industry. Freedom from the outside influence of commercial partners. Freedom from control by special interest groups. We have concrete intellectual, formal, and economic ideas regarding the production of the new German film. Together, we are prepared to take economic risks. The old film is dead. We believe in the new one.

節目協力

幸福岔路 It

©Beta Film

1962 年，一群年輕創作者起草一份於奧柏豪森短片影展公開的電影宣言，在德國影壇掀起了時代革命， 而後影響七、八○年代享譽世界影壇的「德國新電影」。今年台北電影節特別選映宣言簽署者的長、短 片作品，帶你回到德國新電影最初的起點。 171

妓女。演員。皮條客

數位修復 Restored

The Bridegroom, the Actress and the Pimp 西德 West Germany ｜ 1968 ｜ DCP ｜ B&W ｜ 23min

深夜街道上，風塵女子等待顧客上門；劇場中，一鏡到底的漫長辯 證；妓女透過結婚重獲新生，最終卻射殺皮條客。混合紀錄、劇場、 電影敘事等多種影像語言，以 12 顆鏡頭巧妙轉譯劇作家布魯克那 1926 年的舞台劇《青春的痛苦》。 「這是一部直面西方墮落的電影。」──尚馬希．史特勞普 This tale of silent hatred is set in Munich, where a troupe of young actors perform in a theater. A marriage between a white woman and a black man is sealed.

無法和解或有限暴力

DIRECTOR, SCREENPLAY

數位修復 Restored

Not Reconciled or Only Violence Helps Where Violence Rules 西德 West Germany ｜ 1965 ｜ DCP ｜ B&W ｜ 52min

改編自德國作家亨利希．伯爾的長篇小說《九點半的撞球》，描繪 來自科隆的中產家庭，歷經 1910 年代末德意志皇帝專制時期、納 粹時期，以至 1950 年代戰後德國經濟奇蹟。三代的壓抑與覺悟， 透過跳接記憶閃現；多人稱敘事拼湊不堪回首的真相，提醒世人莫 忘納粹惡源，與歷史中不斷再現的極權主義。 "Long live dynamite!" Straub-Huillet attempt to unmoor their audience by denying them the soothing reassurances of conventional storytelling, spatial continuity or psychological explanation as they hopscotch across

SOUND

尚馬希．史特勞普 Jean-Marie STRAUB Peter LÜTZ PRODUCER Klaus ECKELT Klaus HELLWIG Herbert LINDER CAST 丹妮艾勒．蕙葉 Danièle HUILLET CINEMATOGRAPHER Irm HERMANN Niklaus SCHILLING Kristin PETERSON Hubs HAGEN Hanna SCHYGULLA EDITOR Peer RABEN 丹妮艾勒．蕙葉 Danièle HUILLET 萊納．韋納．法斯賓達 Rainer Werner 尚馬希．史特勞普 Jean-Marie STRAUB FASSBINDER PRINT SOURCE

BELVA FILM

1968 曼海姆影展 IFF Mannheim-Heidelberg 1969 倫敦影展 London FF 1975 威尼斯影展 Venice FF

the chronologies of Heinrich Böll's novel, moving freely between the Kaiser autocracy of the 1910s and the Adenauer economic miracle of the 1950s. In doing so, they chart the origins and legacy of Nazism, and the moral demands of obedience and sacrifice within the German bourgeois family. DIRECTOR, PRODUCER, SCREENPLAY,

SOUND

EDITOR

Paul SCHÖLER

丹妮艾勒．蕙葉 Danièle HUILLET 尚馬希．史特勞普 Jean-Marie STRAUB

CAST

CINEMATOGRAPHER

Wendelin SACHTLER Gerhard RIES Christian SCHWARZWALD 尚馬希．史特勞普 Jean-Marie STRAUB

Henning HARMSSEN Georg ZANDER Ulrich HOPMANN Ernst KUTZINSKI PRINT SOURCE

BELVA FILM

MUSIC

François LOUIS 1965 柏林影展 Berlinale 1965 紐約影展 New York FF 1966 坎城影展 Cannes

丹妮艾勒．蕙葉（1936-2006）、尚馬希．史特 勞普，來自法國的導演夫妻組合。1963 至 2006 年間完成多部劇情片、紀錄片與短片作品，以嚴 謹、實驗的拍攝手法，與強硬的左翼政治立場聞 名。蕙葉於2006年病逝，史特勞普持續創作至今。

Danièle HUILLET (1936-2006) and Jean-Marie STRAUB were a duo of filmmakers. Their films are noted for their intellectually stimulating style and radical, communist politics. Though both were French, they worked mostly in Germany and Italy.

06.28 TUE 15:20 中山堂 TZH ｜ 07.03 SUN 16:00 華山 SHC 1 ｜ 07.06 WED 14:10 華山 SHC 1 172

經典重現｜德國新電影 60 週年 CLASSICS REVISITED ｜ 60TH ANNIVERSARY OF NEW GERMAN CINEMA

幸福岔路

It

西德 West Germany ｜ 1965 ｜ DCP ｜ B&W ｜ 82min ©Ulrike Schamoni

同居於柏林的情侶希爾克與曼弗雷德，分別擁有 各自的工作，小倆口享受當下頗為幸福快意的日 子。某日，希爾克察覺自己意外懷孕，深知另一 半還不想有小孩，在彼時社會仍視墮胎為禁忌下， 希爾克依舊決定瞞著伴侶遍訪名醫，盼望不著痕 跡地讓生活返回原狀。然而，她極力掩飾的真相 仍瞞不過曼弗雷德的法眼，謊言戳穿後，兩人看 似完美的幸福，也跟著悄然變調。

Young couple Hilke and Manfred live in Berlin. They

德國導演烏利希．夏孟尼的首部劇情長片，以趣 味即興的表現手法、呈現當代親密關係中的矛盾 與曖昧，也意圖衝撞當時固有的價值觀。鏡頭透 過男主角從事的房地產仲介工作，帶領觀眾看見 在西德戰後經濟奇蹟下，飽受轟炸摧殘的柏林浴 火重生之過程。本片在當年德國電影獎包辦最佳 導演在內的五項大獎，也被視為德國新電影第一 波浪潮的重要代表作。

sour...

both have jobs and enjoy their carefree life. One day, Hilke finds herself pregnant. Knowing that Manfred isn't ready for having a child, Hilke decides to have an abortion even though it is a taboo in society. She secretly looks for a doctor, hoping that their life will return to normal after it. Nevertheless, Manfred finds out about the truth and after her lies are exposed, their seemingly happy and perfect life begins to turn

In an improvised style, director Schamoni conveys the conflicts and ambiguities in a contemporary romantic relationship. Through Manfred as estate agent, he shows the audience how Berlin rises from the ashes after WWII.

烏利希．夏孟尼（1939-1998）， 出 生 於 柏 林 的 電 影 世 家， 以 導 演、 編 劇 及 演 員 等 多 重 身 份 聞 名，為 1962 年奧柏豪森宣言成 員 之 一。1966 年 曾 以《 幸 福 岔 路 》 提 名 坎 城 金 棕 櫚 獎， 並 獲 得 德 國 電 影 獎 多 項 獎 項 肯 定。 知名導演作品包含包含《Same Time, Next Year》、《One》等。 Ulrich SCHAMONI (1939-1998) was a German director, screenwriter, actor and a member of the Oberhausen group. His It competed at Cannes 1966 and Next Year, Same Time won the FIPRESCI Prize and a Silver Bear at Berlinale 1967.

©Beta Film

DIRECTOR, SCREENPLAY

烏利希．夏孟尼 Ulrich SCHAMONI PRODUCER

Horst Manfred ADLOFF CINEMATOGRAPHER

Gérard VANDENBERG EDITOR

Heidi GENÉE MUSIC

Hans POSEGGA SOUND

Sepp SCHILLER CAST

Sabine SINJEN Bruno DIETRICH Horst Manfred ADLOFF Harry GILLMANN PRINT SOURCE

Beta Film GmbH

1966 坎城影展 Cannes 1966 盧卡諾影展特別提及 Special Mention, Locarno FF 1966 德國電影獎最佳導演、最佳女主角、最佳攝影 Best Director, Best Actress, Best Cinematography, German Film Awards

06.28 TUE 13:20 中山堂 TZH ▲｜ 07.02 SAT 14:30 華山 SHC 1 ▲｜ 07.05 TUE 14:40 華山 SHC 1 ▲ 經典重現｜德國新電影 60 週年 CLASSICS REVISITED ｜ 60TH ANNIVERSARY OF NEW GERMAN CINEMA

173

昨日女孩 Yesterday Girl

西德 West Germany ｜ 1966 ｜ DCP ｜ B&W ｜ 88min ©Martin Kraft

二戰結束後的 20 年，鐵幕下東、西德冷戰持續。 跟大多數東德人一樣，為遠離共產社會的壓榨， 年輕的猶太女孩安妮塔不畏艱難，從家鄉萊比錫 逃至西德，只為尋求美好歸宿。然而現實不如預 期，她先被同事誣告，後又繳不出學費而被驅逐 出宿舍，甚至被人搞大肚子，流落街頭以偷竊維 生。原以為他方是自由烏托邦，荒誕際遇卻讓她 頓失人生方向，漸漸被西德的資本社會吞噬。

The story of Yesterday Girl is based on Kluge's short

克魯格改編自己撰寫的小說《Anita G.》，透過東 德女孩在西德的多舛遭遇，犀利剖析二戰後兩德 社會的生活歧異，也藉猶太人身份道出飄零的感 悟，映射祕密警察嚴刑迫害的歷史後遺症。不依 循傳統敘事，克魯格以跳躍且斷裂的節奏，顯影 隱沒在兩德高牆下的族裔傷痕。本片亦被視為奧 柏豪森宣言後，開啟德國新電影浪潮的開山長片 作品。

from her jobs for trivial reasons. Economic difficulties

story Anita G., which is inspired by actual events. Anita, the main character, is one of the hundreds of thousands of East Germans who emigrated to West Germany between 1948 and 1982. The beginning of the film shows her being charged with theft and put into prison. When Anita is released from custody, she is determined to leave her past behind, but her resolve is not easy to implement. She is repeatedly dismissed force her to relocate several times until she finally lands in the office of a Cultural Service employee as his mistress.

亞歷山大．克魯格，集導演、編 劇、演員、影評、學者於一身， 為 奧 柏 豪 森 宣 言 起 草 者 之 一。 1932 年出生於德國哈爾伯施塔 特，大學修習歷史、法律及音樂， 後獲法學博士。1958 年擔任佛 瑞茲．朗的助手，開啟從影生涯； 1966 年執導首部劇情長片《昨 日女孩》勇奪威尼斯影展評審團 特 別 獎， 揚 名 國 際。1982 年 榮 獲威尼斯影展終身成就獎。 Alexander KLUGE is an acclaimed German author and filmmaker. One of the founders of the Oberhausener Manifest, he is best-known for Yesterday Girl, The Female Patriot and The Candidate. He has won four Venice Golden Lions among others. DIRECTOR, PRODUCER, SCREENPLAY

亞歷山大．克魯格 Alexander KLUGE CINEMATOGRAPHER

艾德葛．萊茲 Edgar REITZ Thomas MAUCH EDITOR

Beate MAINKA-JELLINGHAUS SOUND

Klaus ECKELT Hansjörg WICHA CAST

亞歷山德拉．克魯格 Alexandra KLUGE Hans KORTE Edith KUNTZE-PELOGGIO Palma FALCK Ado RIEGLER PRINT SOURCE

Deutsche Kinemathek

1966 威尼斯影展評審團特別獎 Special Jury Prize, Venice FF 1967 紐約影展 New York FF

06.24 FRI 17:20 中山堂 TZH ▲｜ 06.30 THU 11:50 信義 HYC 10 ▲｜ 07.05 TUE 14:10 信義 HYC 10 ▲ 174

經典重現｜德國新電影 60 週年 CLASSICS REVISITED ｜ 60TH ANNIVERSARY OF NEW GERMAN CINEMA

少年杜里斯

數位修復 Restored

Young Törless

西德 West Germany ｜ 1966 ｜ DCP ｜ B&W ｜ 88min

1900 年，一間軍事化管理的奧地利男子寄宿學 校，剛入學的少年杜里斯內向又害羞，對未來充 滿迷惘。性情豪爽的同窗拜納堡建議杜里斯畢業 前安份地服從體制，然而拜納堡卻在發現巴西尼 偷了他的零用金後，決定不向校方舉報，而是以 此作為把柄，夥同死黨對他予取予求。杜里斯冷 眼觀察同學之間的殘酷施虐，妄想從中理解人性 陰影下的衝突與矛盾，直到事態一發不可收拾。

At a boarding school in 1900s Austria, cruel bullies

改編自奧地利文豪羅伯特．穆齊爾著名小說，雪 朗多夫首部執導作品，精準深刻，透過冷靜的黑 白攝影與特寫鏡頭，探照懵懂少年對於道德、階 級與權力遊戲的思量，並為原著增添時代精神， 直指歐洲當代的社會衝突與二戰後的省思。26 歲 的雪朗多夫在戰後的瓦礫堆中重塑德國電影樣貌， 打響「德國新電影」名號。

Adapted from Robert Musil's acclaimed novel, Young

Beineberg and Reiting go to great lengths to embarrass, abuse and dehumanize their pathetic classmate, Basini. The lowly Basini shows no opposition to his position as the object of constant brutality, and neither does Törless, a perceptive yet detached friend of the bullies. But as Törless watches idly, the tormentors begin to turn the whole school violently against Basini.

Törless launched the New German Cinema movement and garnered the International Critics' Prize at Cannes 1966 for first-time director Volker Schlöndorff.

沃 克． 雪 朗 多 夫，1939 年 出 生 於德國威斯巴登，為德國新電影 的耀眼旗手。年少時期曾赴法國 擔任雷奈、梅爾維爾、路易馬盧 等電影大師的助理導演。著名作 品 還 包 括《 喪 失 名 譽 的 卡 塔 琳 娜．布魯姆》、獲得坎城金棕櫚 獎與奧斯卡最佳外語片獎的《錫 鼓》。 Volker SCHLÖNDORFF studied at IDHEC in Paris. A prominent member of the German New Wave and a regular at the prestigious film festivals, he won Palme d'Or for The Tin Drum at Cannes 1979.

DIRECTOR, SCREENPLAY

沃克．雪朗多夫 Volker SCHLÖNDORFF PRODUCER

Louis MALLE Franz SEITZ CINEMATOGRAPHER

Franz RATH EDITOR

Claus VON BORO MUSIC

Hans Werner HENZE SOUND

Klaus ECKELT CAST

Mathieu CARRIÈRE Marian SEIDOWSKY Bernd TISCHER Fred DIETZ Lotte LEDL PRINT SOURCE

Seitz GmbH Filmproduktion

1966 坎城影展費比西國際影評人獎 FIPRESCI Prize, Cannes 1966 德國電影獎傑出長片、最佳新導演、最佳劇本 Outstanding Feature Film, Best New Direction, Best Screenplay, German Film Awards

06.25 SAT 10:30 信義 HYC 10 ｜ 06.29 WED 22:10 信義 HYC 10 ｜ 07.04 MON 16:10 信義 HYC 10 經典重現｜德國新電影 60 週年 CLASSICS REVISITED ｜ 60TH ANNIVERSARY OF NEW GERMAN CINEMA

175

愛的饗宴

數位修復 Restored

Table for Love

西德 West Germany ｜ 1967 ｜ DCP ｜ B&W ｜ 95min

年輕的攝影師伊莉莎白愛上醫學生羅夫，漫漫人 生自此有了甜蜜的轉折。婚姻和孩子的誕生，逐 漸改變兩人的關係；伊莉莎白對愛情的期盼、對 性靈的探索，夾雜在家務與工作之間，愛情是否 還能一如過往的順理成章？ 導演艾德葛．萊茲以文學篇章式的手法細寫男女 內心，從生命的熱情乃至茫然迷失，從感情的萌 生再到轉移，夾雜信仰與死亡的辯證，濃縮在這 部黑白攝影、存在主義風格濃厚的作品裡。隨著 鏡頭流轉，侷限的室內視野、透露自由氣息的戶 外風情，導演屢屢將主角放進不可迴避的生命情 境，來回逼視。而人類永恆的叩問：渴望、疏離、 不安、陌生，則成為這部兼具散文和紀錄片氣質 的劇情電影中，時時掛念的深沉絮語。

When young photographer Elisabeth falls in love with medical student Rolf, her life takes a turn. As they get married and the children are born, their relationship changes. Stuck between her duty as a mother and wife and her work, Elisabeth longs for love and sex, but will she find what her heart desires? Shot in black and white and in the style of Existentialism, director Reitz portrays how passion burns in the protagonists and how they end up being lost in their lives in a subtle yet detailed way. By putting the couple in the unavoidable situations in life, Reitz looks into the meaning of desire, isolation, anxiety and alienation.

艾 德 葛． 萊 茲，1932 年 出 生 於 德國莫爾巴赫，身兼導演、電影 學者，也是奧柏豪森宣言簽署人 之一。影視創作橫跨劇情、紀錄 與實驗，以總長超過 54 小時的 《故鄉》三部曲史詩電視劇集 聞 名。 作 品 包 括《The Trip to Vienna》、《Zero Hour》、《The Other Home》等。 Edgar REITZ is a German filmmaker and author born in 1932. A member o f t h e O b e r h a u s e n g ro u p, h e is best-known for his 54-hour television epic, Home from Home. His first feature, Table for Love, won Silver Lion at Venice 1967.

DIRECTOR, PRODUCER, SCREENPLAY

艾德葛．萊茲 Edgar REITZ CINEMATOGRAPHER

Thomas MAUCH EDITOR

Beate MAINKA-JELLINGHAUS Anni GIESE Elisabeth ORLOW Maxi MAINKA MUSIC

Maurice RAVEL Klavierkonzert G-DUR SOUND

Herbert PRASCH Hansjörg WICHA CAST

Heidi STROH Georg HAUKE Nina FRANK Ruth VON ZERBONI PRINT SOURCE

Edgar Reitz Filmstiftung

1967 威尼斯影展最佳首部作品 Best First Work, Venice FF

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經典重現｜德國新電影 60 週年 CLASSICS REVISITED ｜ 60TH ANNIVERSARY OF NEW GERMAN CINEMA

喪失名譽的卡塔琳娜．布魯姆

The Lost Honour of Katharina Blum

數位修復 Restored

西德 West Germany ｜ 1975 ｜ DCP ｜ Color ｜ 106min ©Martin Kraft

拘謹文靜的卡塔琳娜在狂歡節派對上邂逅一位謎 樣男子，豈料春宵一刻，隔日醒來竟有大批重裝 軍人闖入她的公寓，平靜祥和的生活瞬間墜入煉 獄。故事背景為 1975 年西德，描繪二戰後社會集 體共識不明的動盪年代，無辜的公民被冠上包庇 恐怖份子罪名，不僅成為眾矢之的，還淪為警方 與嗜血媒體惡意中傷的受害者。層層逼近的威脅， 考驗著她的尊嚴與道德底線。

When a young woman spends the night with an

本片為七○年代最通俗且直指人心的政治電影之 一，雪朗多夫與馮．卓塔改編諾貝爾文學獎得主 亨利希．伯爾同名小說，犀利評論中央權力、個 體自由與媒體操縱的利害關係。電影問世近 50 年，仍能切身反映今日大眾傳媒以言論自由之名， 戕害意志自由之現況。

Crafting one of the most accessible and direct works

alleged terrorist, her quiet, ordered life falls into ruins. The Lost Honour of Katharina Blum portrays an anxious era in West Germany amid a crumbling postwar political consensus. Katharina, though apparently innocent, suddenly becomes a suspect, falling prey to a vicious smear campaign by the police and a ruthless tabloid journalist that tests the limits of her dignity and her sanity.

of 1970s political filmmaking, Volker Schlöndorff and Margarethe von Trotta deliver a powerful adaptation of Heinrich Böll's novel, a stinging commentary on state power, individual freedom and media manipulation that is as relevant today as when it was released.

©Kinowelt GmbH

沃克．雪朗多夫，年少時期曾擔 任雷奈、梅爾維爾、馬盧等電影 大 師 的 助 理 導 演。 與 該 時 妻 子 馮．卓塔共同執導此作品。 Vo l ke r S C H LÖ N D O R F F i s a prominent member of the German New Wave and a regular at the prestigious film festivals.

瑪格麗特．馮．卓塔，1942 年 出生於柏林，德國新電影重要發 起人之一。著名作品包括《玫瑰 圍牆》，與獲威尼斯金獅獎肯定 的《德國姊妹》等。 Margarethe VON TROTTA is a German director and a member of the German New Wave. She had worked with Volker Schlöndorff on many films before developing a successful career of her own, receiving numerous awards. DIRECTOR, SCREENPLAY

沃克．雪朗多夫 Volker SCHLÖNDORFF 瑪格麗特．馮．卓塔 Margarethe VON TROTTA PRODUCER

Willi BENNINGER Eberhard JUNKERSDORF Gunther WITTE CINEMATOGRAPHER

Jost VACANO EDITOR

Peter PRZYGODDA MUSIC

Hans Werner HENZE SOUND

Klaus ECKELT Wolfgang LÖPER Willi SCHWADORF CAST

Angela WINKLER Mario ADORF Dieter LASER Jürgen PROCHNOW PRINT SOURCE

Tamasa Distribution

1975 聖賽巴斯提安影展 San Sebastián IFF 1976 德國電影獎最佳女主角、最佳攝影 Best Performance by an Actress in a Leading Role, Best Cinematography, German Film Awards

06.25 SAT 15:40 華山 SHC 1 ｜ 06.28 TUE 13:40 華山 SHC 1 ｜ 07.04 MON 15:50 中山堂 TZH 經典重現｜德國新電影 60 週年 CLASSICS REVISITED ｜ 60TH ANNIVERSARY OF NEW GERMAN CINEMA

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經典重現｜德國新電影 60 週年：短片選 I

Classics Revisited ｜ 60th Anniversary of New German Cinema: Short Films I ©MARIAN STEFANOWSKI

莫斯科的呼喚 Moscow Is Calling!

西德 West Germany ｜ 1959 ｜ DCP ｜ B&W ｜ 12min

本片於 1957 年世界青年與學生聯歡節舉辦期間祕密 拍攝，記錄下歐洲左派青年對共產主義的嚮往與破 滅。鏡頭捕捉下荒涼的景象與肅殺之氣，是極為珍貴 的歷史素材。

Source: filmportal.de

彼得．夏孟尼（1934-2011），奧柏豪森 宣言成員，曾執導多部長片及電視劇集。 Pe te r S C H A M O N I ( 1 9 3 4 – 20 1 1 ) wa s a German film director, producer, and screenwriter. His Hundertwasser's Rainy Day was nominated Best Documentary Short at 1972 Academy Awards.

In August 1957, Peter Schamoni and Jost Vacano travel as official participants at the VI. World Youth Festival in Moscow and secretly film behind the scenes.

影子遊戲 Shadows

西德 West Germany ｜ 1960 ｜ 35mm ｜ B&W ｜ 10min

建築物的影子、公車的影子、孩童們奔跑玩樂的影 子……在誰也不會注意到的都市角落裡，影子悄悄地 扭動身軀。摩登感十足的爵士樂，勾勒出童心未泯的 遊戲時間。

漢斯．于根．波朗德（1934-2014），奧 柏豪森宣言成員，執導多部長片並兼任製 片人。 Hans Jürgen POHLAND (1934-2014) was a German film producer, director and screenwriter.

Life in Berlin like you've never seen before! The shadows of the town are what this experimental film offers us.

06.25 SAT 13:40 華山 SHC 1 ▲｜ 06.28 TUE 21:20 華山 SHC 1 ▲｜ 07.06 WED 19:00 華山 SHC 1 ▲★ 178

經典重現｜德國新電影 60 週年：短片選 I CLASSICS REVISITED ｜ 60TH ANNIVERSARY OF NEW GERMAN CINEMA: SHORT FILMS I

傳播科技小史

Technology of Communication 西德 West Germany ｜ 1961 ｜ 35mm ｜ Color ｜ 12min

彷彿有自己的生命一般，影像在此片中增生、變形、 失真、扭動、閃爍不停。早期新電影健將艾德葛．萊 茲以嶄新的影像語言，拼貼出現代化發展下的傳播演 進史。 Director Reitz further pursues the glory of sensually brittle material fragmentation in Technology of Communication. ©MARIAN STEFANOWSKI

1962 奧柏豪森短片影展 ISFF Oberhausen

艾德葛．萊茲，1932 年出生，奧柏豪 森宣言代表人物。長片作品《愛的饗 宴》曾於威尼斯影展獲獎。 Edgar REITZ is a German filmmaker and author born in 1932. A member of the Oberhausen group. His first feature, Table for Love, won Silver Lion at Venice 1967.

農家日常紀實 Granstein

西德 West Germany ｜ 1964 ｜ 35mm ｜ B&W ｜ 13min

位於法國、瑞士交界的小農村，地勢封閉且氣候嚴苛， 但苦哈哈的日子還是得繼續過下去。本片忠實記錄下 農村一家 12 口的煩惱與快樂，間接勾勒出現代化發 展下的農業困境。

克里斯提安．德默，1935 年出生，奧 柏豪森宣言成員，後以演員身份活躍 於電視圈。 Christian DOERMER is a German actor and director. He has appeared in 83 films and television shows since 1954.

Doermer brings the audience to a 12-member peasant family. You meet the "simple people" and briefly get acquainted with their lives and their fears about the future.

野草記 Weeds

西德 West Germany ｜ 1962 ｜ 35mm ｜ Color ｜ 12min

井井有條的城市裡，地上突然冒出一叢野草。市民請 政府派人清除，卻效率不彰越弄越糟糕。宛若卡夫卡 極短篇，事不關己的政府人員與其機械式的行政流 程，一則挖苦官僚體系的警世寓言。

1962 曼海姆影展 IFF Mannheim-Heidelberg

沃 夫 剛． 烏 爾 奇（1922-2016）， 奧 柏豪森宣言成員，曾執導多部動畫長 片及動畫劇集。 Wolfgang URCHS (1922- 2016) was a German filmmaker known for Kontraste (1964), Maschine (1966) and The Pistol (1963).

Weeds is an animated film about a weed that waits and grows. ©MARIAN STEFANOWSKI

暴政的烙印 Brutality in Stone

西德 West Germany ｜ 1961 ｜ 35mm ｜ B&W ｜ 12min

紐倫堡，納粹大型集會地點遺址。鏡頭往來穿梭於巨 大的迴廊與高聳的樑柱之間，這些建築不僅是納粹政 府意志的具象化，也同時沉痛地提醒我們，暴政的烙 印永遠無法消除。 Filmmaker Alexander Kluge demonstrates how Nazi architecture used dimensions to bolster the group's politics.

1961 奧柏豪森短片影展 ISFF Oberhausen

彼得．夏孟尼（1934-2011），奧柏豪 森宣言成員，曾執導多部長片及電視 劇集。亞歷山大．克魯格，1932 年出 生，奧柏豪森宣言代表人物。創作不 輟，長片作品《昨日女孩》曾於威尼 斯影展獲獎。 Peter SCHAMONI (1934 –2011) was a German film director, producer, and screenwriter. Alexander KLUGE is an acclaimed German author and filmmaker. One of the founders of the Oberhausen Manifesto.

經典重現｜德國新電影 60 週年：短片選 I CLASSICS REVISITED ｜ 60TH ANNIVERSARY OF NEW GERMAN CINEMA: SHORT FILMS I

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經典重現｜德國新電影 60 週年：短片選 II

Classics Revisited ｜ 60th Anniversary of New German Cinema: Short Films II

艾穆塔小鎭記事 Notes from Altmühltal

西德 West Germany ｜ 1961 ｜ 35mm ｜ B&W ｜ 18min

戰後西德經濟起飛，南方的古老小鎮艾穆塔卻被時代 遺忘，年輕人口外流，但地方議會的仕紳官僚仍無所 作為，當地望族則沉浸在先人往日的榮光中，小鎮的 未來前途茫茫。 A d o c u m e n ta r y w h i c h e m p h a s i ze s t h e d e c l i n i n g populations in rural settings due to migration and notes how such places come with "a lot of past but not much present or future".

60 號大樓施工中 BAU 60

西德 West Germany ｜ 1960 ｜ 35mm ｜ B&W ｜ 12min

建築工法日新月異，工人拿著新工具努力跟上時代腳 步。西德的經濟奇蹟造就許多線條洗練的嶄新建築， 展現摩登都會的榮光，但對幕後無名英雄而言，生命 卻並非如此光鮮亮麗。

1961 曼海姆影展 IFF Mannheim-Heidelberg

漢斯．羅夫．史托貝爾（1929-1991）與 海恩利胥．提查夫斯基（1924-2003）， 創 作 搭 檔 組 合，1963 年 以 紀 錄 片 《Notabene Mezzogiorno》同獲德國電 影獎最佳新導演。 Hans Rolf STROBEL (1929-1991) was a German writer and director. Heinrich TICHAWSKY (1924-2003) was a German writer and director, who often collaborated with Hans Rolf Strobel. 1961 奧柏豪森短片影展 ISFF Oberhausen

迪特．勒梅爾，奧柏豪森宣言簽署者，後 執導多部電視電影及影集。 Dieter LEMMEL is a German director and writer known for Arsène Lupin (1971), Die fünfte Kolonne (1963) and Der Prozeß beginnt (1969).

BAU 60 is a documentary about construction work. Source: filmportal.de © absolut Medien GmbH

06.26 SUN 13:30 華山 SHC 1 ▲｜ 07.01 FRI 21:20 華山 SHC 1 ▲｜ 07.05 TUE 19:10 華山 SHC 1 ▲ 180

經典重現｜德國新電影 60 週年：短片選 II CLASSICS REVISITED ｜ 60TH ANNIVERSARY OF NEW GERMAN CINEMA: SHORT FILMS II

賽馬場外 Trab Trab

西德 West Germany ｜ 1959 ｜ 35mm ｜ B&W ｜ 11min

賽馬場外，騎師與愛駒為賽事熱身，票口地上散落著 不被幸運之神眷顧的彩票，擴音器裡賽事轉播喋喋不 休。一連串音畫拼貼，間接呈現一場場重複上演的喧 鬧金錢遊戲。

德騰．施萊爾馬赫（1927-2004）， 奧柏豪森宣言成員，後以編劇居多， 曾參與創辦烏爾姆設計學院電影系。 Detten SCHLEIERMACHER (1927-2004) was born in 1927. He is a German director, screenwriter and production designer.

A precise and elegant account of a racecourse. It does so without narration or images of either horses or patrons; everything we see has been captured either pre- or post-race.

在鹽田 Salinas

西德 West Germany ｜ 1960 ｜ 35mm ｜ B&W ｜ 10min

烈日當頭，地中海小島鹽田裡，工人將浮現的白色結 晶堆成山、裝滿貨車。他們在鹽田邊喝水、用餐與苦 力，日復一日，年復一年。高超構圖與活潑剪輯，呈 現鹽田日常的節奏。

© DFF-Deutsches Filminstitut & Filmmuseum, Frankfurt

1959 曼海姆影展 IFF Mannheim-Heidelberg 1961 科克影展最佳紀錄片 Grand Prize for Best Documentary, IFF Cork

萊蒙．盧耶（1932-1965），奧柏豪森 宣言成員，兩度以短片在柏林影展獲 獎，33 歲英年早逝。 Raimond RUEHL (1932-1965) was a German film-maker whose Gesicht von der Stange? won Best Short Film at Berlinale 1961.

Salinas is an ethnographic account of the men who work in the salt fields in Spain.

海報上的政治風暴 Weimar Republic Posters

西德 West Germany ｜ 1962 ｜ 35mm ｜ Color ｜ 10min

一次大戰後，德國第一個民主政體威瑪共和國成立， 短短 15 年後在納粹奪權下淪陷。片中大量威瑪時期 的政宣海報與畫外的政治口號對照，拼貼出民主曇花 一現與民粹狂熱蔓延的始末。

1962 奧柏豪森短片影展 ISFF Oberhausen

哈洛．申夫特（1928-2016），奧柏豪 森宣言成員，1954年入行後創作不輟， 曾獲奧斯卡最佳短片提名。 Haro SENFT (1928-2016) was a German filmmaker. His short documentary, Kahl, was nominated Best Documentary Short Subject at Academy Awards 1961.

This is a montage of 180 political posters from the period 19181933, a documentation of the political forces that competed in the Weimar Republic and the downfall of democracy.

傀儡人生 Puppets

西德 West Germany ｜ 1964 ｜ 35mm ｜ B&W ｜ 11min

落幕的傀儡戲台，一個小配角有了自主意志，帶著觀 眾走進後台看見傀儡世界的眾生相：有人心懷鬼胎， 也有許多烏合之眾。本片以偶動畫結合二戰新聞片， 諷刺極權下盲從的民粹。

波里斯．馮．波列匈（1911-1989）， 奧柏豪森宣言年紀最長的成員，導演 作品以偶動畫短片為主。 Boris VON BORRESHOLM (1911-1989) was a German writer, director and producer. His 1971 animation short, Die Ordnung, won a Silver Bear at Berlinale.

A minor character from a collection of marionettes takes viewers through a small world theater, where they come across various types, including the seducer, the demagogue and the obedient masses.

經典重現｜德國新電影 60 週年：短片選 II CLASSICS REVISITED ｜ 60TH ANNIVERSARY OF NEW GERMAN CINEMA: SHORT FILMS II

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電影正發生：電影美術 IN PROGRESS: PRODUCTION DESIGN

在造訪、爬梳電影創作的多重面向的過程裡，「電影正發生」逐漸從再現電影如何被完成的實際過程， 更加趨近嘗試抽取、討論創作本身的精髓與思維。當電影創作中的每一個脈絡被單獨討論，是具體而微， 亦是幻化為真的過程。 倒帶人生 Mr. Nobody

以 視 覺 為 途 徑， 電 影 得 以 現 形。 景 框 內 是 故 事 專 屬 的

世 界， 世 界 本 身 有 自 己 的 語 言， 一 種 看 得 見 的 語 言。

電 影 美 術， 實 是 建 立 視 覺 本 身 語 言 的 賦 權 者。 當 鏡 頭

成 為 眼 睛， 在 一 個 被 打 造 出 來 的 時 空 之 中， 如 何 轉 譯

這個宇宙本身的話語？

﹁ 電 影 正 發 生 ﹂ 在 電 影 配 樂、 剪 接、 聲 音 設 計 之 後，

線 上 展 覽 、創 作 現 場 、影 片 放 映 與 座 談 。 ──

美 術 指 導 的 實 務 創 作 歷 程，

將 焦 點 投 向 電 影 美 術 的 範 疇， 透 過 三 條 路 徑 看 電 影 美

術的創作

線上展覽鋪排藝術總監

打 開 他 們 的 工 作 場 域、 直 接 進 入 創 作 者 的 腦 海， 呈 現

每 一 位 創 作 者 自 身 的 創 作 經 驗 與 方 法。 創 作 現 場 則 挑

美術指導分享他

戰 思 維 與 概 念， 撐 開、 突 破 對 電 影 美 術 的 既 定 想 像。

影片放映與座談則讓七位藝術總監

們獨到的美術觀點，豐富看電影的多元視角。

Films become tangible in front of our eyes. The story world lives and breathes exclusively within the frame, and it speaks its own tangible language. Production design is an enabler to visual languages. When lens become our eyes, how do we interpret those vocabularies in this built universe? After film score, editing, and sound design, "In Progress" focuses on production design this edition. We offer three paths to approach production design, including "Online Exhibition", "On-Site", as well as "Screenings and Q&As". The online exhibition deciphers creative processes of production designer / art director, unveils their field works, and walks into personal creative experiences and methods. On-site challenges existing concepts, and pushes the boundary of production design. Screenings and Q&As invite seven production designers / art directors to explain their perspectives, and enrich our viewing experiences.

電影正發生：電影美術 IN PROGRESS: PRODUCTION DESIGN

183

�上�覽

ONLINE EXHIBITION

來����工作�走走

Visit Production Design Studios 在挖掘、探究台灣電影美術「創作過程」的前期調查過程中，我們發現並沒有一套既定的 標準作業流程；而不同藝術總監

美術指導的思考路徑與邏輯、關注焦點更有所不同。如

何定義「電影美術」或「電影美術的工作流程」？顯然沒有標準答案。 為回應並陳述此觀察，線上展覽首先以電影美術「設計空間與場景」──為電影說故事的 特性為主軸，以藝術總監

美術指導的工作空間與日常場景為素材進行設計。將展覽化作

一頁劇本，模擬、陳設出虛構的電影美術工作環境，並藉此打破實體展覽的侷限，帶觀眾 在線上走進多位藝術總監

美術指導的工作室。

展出內容以「辦公室」、「個人工作室」、「書房」三個空間為概念切出三部分。從具象 化的手繪辦公室拼湊「電影美術工作者的日常」，介紹美術組的組成與基本工作內容；再 直擊實際的個人工作室，聚焦七位藝術總監

美術指導個人創作故事，窺探他們的腦內世

界；最終分享他們的私房書單、片單、靈感資料庫，呈現抽象化的書房概念，看見創作者 的養成。 線上展覽不設限特定動線與路徑，三個空間概念相互串聯交錯，就像是電影美術工作不一 定存在的標準作業流程。而伴隨著這間虛構美術辦公室的誕生，從一頁紙的劇本到場景與 畫面的構成，彷彿也正在經歷一次美術設計的歷程，與電影正發生的創作現場遙相呼應。

As we study the creative process in production design in Taiwan, we realize there are no standardized procedures. Each production designer/ art director thinks, focuses, and acts differently. Obviously, there are no conclusive definitions on production design or its working process. In response to this observation, the online exhibition focuses on how the production design “designs spaces and sets” in its storytelling, and on the designs around where and how production designer/ art director work. As a page of script, the exhibition simulates and fabricates a fictional work environment. Without limitations in physical exhibitions, visitors can walk into multiple production designer/ art director studios online. The exhibition is divided into three spaces: office, studio, and study. The hand-painted office portrays the daily life of production designer/ art director, and explains their compositions and tasks. In the studio, we get a glimpse of seven creative minds. Their reading lists, film lists, and idea archives in the abstract study reveal how creators are made. Without fixed routes or paths, three spaces intertwine and overlap in the online exhibition, just as there may not be standardized processes in production design. This fictional art studio evolves from a page of script, a set, to a scene, as if an art design process. It correlates with the in the program.

184

電影正發生：電影美術 IN PROGRESS: PRODUCTION DESIGN

參���參�作品

Exhibiting Production Designer/ Art Director(s) 展覽與七位台灣電影藝術總監

美術指導合作，包含在台灣電影最低迷的時期，跟著大師導演工作且深受

他們影響的黃文英、王誌成、李天爵；從獨立製片一路做到商業、跨國製作的黃美清、蔡珮玲；伴隨著台 灣電影市場進化，美術組編制日漸成熟，從美術組員做到美術指導的新生代代表陳炫劭；以及創作路線專 一但風格獨特的趙思豪。 除了呈現每位藝術總監

美術指導不同的思考方式，亦期盼經由梳理他們的工作經歷與入行時機，勾勒出

一絲台灣電影美術的發展狀況與面貌。展品包括《一路順風》、《返校》、《無聲》、《健忘村》、《夕 霧花園》、《我沒有談的那場戀愛》、《海上花》等片的設計手稿、設定歷程資料與服裝道具等，皆將在 此次展出中一次曝光。

開展日期｜ 06.09 THU 線上開展 展覽路徑｜台北電影節官方網站 www.taipeiff.taipei

→ 活動資訊 → 電影正發生

參 展 人 ｜王誌成、李天爵、陳炫劭、黃文英、黃美清、趙思豪、蔡珮玲（依筆畫順序）

The exhibition includes seven production designers/ art directors in Taiwan. With experiences in the darkest time of film industry/ the industry, Huang Wen-ying, Wang Chih-cheng, and Lee Tien-chueh have worked and been influenced by film masters. Starting as independent producers, Huang Mei-Chiang and Penny Tsai have participated in multiple commercial and international productions. Chen Hsuan-shao develops his career along with film industry/ the industry in Taiwan, and witnesses how filmmaking processes mature. Chao Shihhao has exhibited a focused but unique creative style. Besides presenting their thinking processes, their career beginnings and experiences also coincide art design development in Taiwan. Exhibits include design manuscripts, research data, costumes, and props for multiple films, including Godspeed, Detention, The Silent Forest, The Village of No Return, The Garden of Evening Mists, I missed you, and Flowers of Shanghai.

Date: June 9th THU Exhibition: Taipei Film Festival website www.taipeiff.taipei → Event → In Progress: Production Design Artist: WANG Chih-cheng, LEE Tien-chueh, CHEN Hsuan-shao, HUANG Wen-ying, HUANG Mei-ching, CHAO Shih-hao, Penny TSAI (In Chinese character order)

電影正發生：電影美術 IN PROGRESS: PRODUCTION DESIGN

185

�作現場 ON-SITE

李��

LEE Tien-chueh ╳ Taipei Film Festival 創作現場試著回到電影創作的源頭，以不同角度切入電影發生的初始。透過觀看創作過

程中的細節與思維，在人與人、人與環境、人與創作物的關係之中，探問電影語言如何 產生。 創作現場的三天，光復廳將成為「電影美術是什麼」、「可以是什麼」的討論場域。此

� ╳ 北���

次創作現場由藝術總監李天爵，邀請多位電影及藝術工作者，一起針對光復廳的環境特 質創作新的文本，並將文本轉譯成影像。創作現場將呈現電影美術的思考歷程及執行方 式，邀請觀眾親身見證並參與語言、文字及概念視覺化的過程。

日期：07.01 FRI – 07.03 SUN 時間：每日 13:00-19:00 地點：臺北市中山堂 2F 光復廳

On-Site goes back to the starting point of filmmaking and approaches creative details and ideas from different perspectives. It explores how film languages are generated between people, between people and environment, as well as between people and creative works. Over three days, Guangfu Room will be a discussion place for "what production design is and what it can be". Production designer Lee Tien-chueh invites artists to create new texts, and translate them into visuals, based on environment qualities in the room. On-Site will reveal how production design thinks and works, and invites viewers to witness and participate in how languages, words, and concepts are visualized.

Date: 07.01 FRI – 07.03 SUN Time: PM 13:00–19:00 Location: Guangfu Auditorium, Taipei Zhongshan Hall 2F

技術協力

186

電影正發生：電影美術 IN PROGRESS: PRODUCTION DESIGN

�作團� Artist

李天爵，藝術總監。主張運用戲劇感知的

建構取代既有形式呈現來經營電影美術。 以《臉》獲第 46 屆金馬獎最佳美術設計。 LEE Tien-chueh tends to replace existing formats in production design with theatrical

廖文鈴，美術指導。《臉》、《軍中樂園》、《健忘村》、《老大人》 之場景設計皆出自其手。

LIAO Wen-ling is an art director for advertisement and films. His set design works include Face, Paradise in Service, The Village of No Return, and Dad’s Suit.

structure. He received Best Art Direction for

蘇達，表演指導。以「編導演教」

Face at the 46th Golden Horse Awards.

洪伯豪，導演。以寫實風格見長，著重人類情感。《老 大人》獲第 21 屆台北電影獎四項大獎，最新作品為劇 集《第三佈局：塵沙惑》。

進行影像與劇場之全面藝術創

作，特別強調以角色與人物來推 進的戲劇架構。 Soda Voyu is a performance in-

HUNG Po-hao is known for realistic styles and emotional details in his works. He won four major awards with Dad’s Suit at the 21st Taipei Film Awards. His latest work is TV series Trinity of Shadows.

周以文，導演、資深攝影指導。擅於捕捉角色內在情感， 以《老大人》獲第 21 屆台北電影獎最佳攝影。

CHOU I-wen is a direc tor and senior photography director, known for por traying internal emotions in characters. He won Best Photography at the 21 st Taipei Film Awards.

structor. He directs, writes, acts and teaches in video art and theater a n d e m p h a s i ze s t h e d r a m a t i c structure driven by characters.

張晟越，電影攝影師。 攝影作品包括《艋舺》、《紅樓 夢》、《疑霧公堂》。

CHANG Cheng-yueh is a film photographer. His previous works include Monga, The Story of the Stone, and Mystery in the Mist.

羅頌策，聲音指導。作品跨足劇場、獨立樂團、電影與

陳懋璋，技術統籌、藝術家。展覽技術團隊 ART WAR

鳥》、《衝組》等。

的荒謬，感受性優先。

LO Song-ce is a sound designer, with works spanning across

CHEN Mao-chang is a technical director and artist. He runs

theater, indie band, film and contemporary art. He now

ART WAR COMPANY with the focuses on the essence of

focuses on film and drama.

survival, control, escape and the ridiculousness of fate.

王佳惠，造型指導。擅長以細節塑造角色及人物關係。

鄭意嫻，劇服設計師。擅長寫實風格，著重服裝與角色

WANG Chia-hui is a costume designer and make-up artist

CHENG Yi-hsien is a costume designer. Specialized in the

known for creating the characters and the relationships between

realistic style, she focuses on building the relationships

them with details. Her works include Face, The Bold, the Corrupt

between the characters and their costume. Her recent works

and the Beautiful and The Magician on the Skywalk.

include Old Man Wonderland.

當代藝術。作品包括《軍法局》、《帝國大廈》、《菜

作品包括《臉》、《血觀音》、《天橋上的魔術師》。

COMPANY 負責人，關注生存本質、控制、逃逸、宿命

建構的對話。近期作品《幸福老人樂園》。

牧冬，編劇。12 月出生，週末的台北人。

聶彤、楊琇雯，電影執行美術。參與作品包羅

Mustang is a screenwriter who was born

NIEH Tung and YANG Hsiu-wen are passionate

in December and now lives in Taipei for

about production design, with a wide variety of

weekends. Driven by curiosity, she tries to

works in their portfolio.

在好奇中想找出保持祕密的祕訣。

萬象，熱血沸騰的美術組成員。

find the secret of keeping secrets.

電影正發生：電影美術 IN PROGRESS: PRODUCTION DESIGN

187

�圖師的��

英國 UK ｜ 1982 ｜ 35mm ｜ Color ｜ 108min

The Draughtsman's Contract

▲

影 片 推 薦人 Guest Curator

黃文英，曾於美國紐約及百老匯 劇 場 從 事 劇 場 美 術 設 計 工 作， 1994 年起與侯孝賢導演合作， 兼作美術與造型設計。代表作有 《海上花》、《刺客聶隱娘》、 《范保德》等片。 HUANG Wen-ying had worked as art director in theater in New York. Since 1994, she had served as production and costume designer on Hou Hsiao-hsien's films, including Flowers of Shanghai and The Assassin.

才華洋溢，成名在望的年輕繪圖師與富裕的莊園 夫人簽訂合約，在 12 天內畫出 12 張莊園的景緻， 並滿足對方的肉體慾望。每天，繪圖師配合著自 然光線動筆，而整個莊園則無分尊卑遷就於他傲 慢蠻橫的構圖需求。富人們輕蔑、敵視平民，繪 圖師直言反抗毫不畏懼，卻渾然不知自己已深陷 一樁複雜的陰謀……。

In 1694, an English noblewoman named Mrs. Herbert

身為構圖祖師爺的導演彼得．格林納威，早在 40 年前就推出這部成名鉅作，不但有經典中央 構圖，外加全片鏡位、人物與陳設、佈局皆恣意 遊走於方形、三角形到圓形等幾何構圖，再加上 致敬巴洛克畫家的表現手法，復刻卡拉瓦喬的明 暗對比、林布蘭的倒三角光、維梅爾的空間感， 與拉圖爾的燭火等不勝枚舉。本片拍攝於貨真價 實的百年莊園，重現 17 世紀的豪門細節，令人 身陷懸疑之際，又忍不住分神欣賞這豐盛滿溢的 美學饗宴。

Mrs. Herbert's married daughter, Mrs. Talmann tells

hires a haughty artist, cocksure Mr. Neville, to sketch a series of 12 portraits of her husband's estate. Neville insists he be allowed the use of her body for pleasure as payment, and the deal is closed. A perfectionist, Neville insists that nothing and no one be moved while he works on a scene, but stone statues begin to change locations and poses. Then Neville that her father may have been murdered and she has enough evidence to indict the painter, so she blackmails him into serving her sexual needs as well. Eventually Mr. Herbert's body does turn up in a ditch, and Neville's sketches provide crucial information about not only the murder but the job that Neville has actually been hired to perform.

▲

推 薦 理 由 Guide

如果談到電影美術，導演彼得． 格林納威的每部作品都影響我甚 深。而我看這個導演的第一部片 子正是《繪圖師的合約》，它帶 給我在色調設定上的啟示，是我 美術生涯中啟蒙我的重要作品。 When talking about production design, every film Peter Greenaway made has strong influence on me, and the first Greenaway film I saw was The Draughtsman's Contract. The color scheme demonstrated in this film played a crucial and inspiring role in my career as production designer.

©British Film Institute

DIRECTOR, SCREENPLAY 彼得．格林納威 Peter GREENAWAY PRODUCER David PAYNE CINEMATOGRAPHER

Curtis CLARK EDITOR John WILSON PRODUCTION DESIGNER Bob RINGWOOD MUSIC Michael NYMAN SOUND Godfrey KIRBY CAST Anthony HIGGINS, Janet SUZMAN, Anne-Louise LAMBERT, Hugh FRASER, Neil CUNNINGHAM PRINT SOURCE British Film Institute

1982 威尼斯影展 Venice FF 1982 紐約影展 New York FF 1983 柏林影展 Berlinale

06.27 MON 19:20 中山堂 TZH ★｜ 06.29 WED 12:00 中山堂 TZH 188

電影正發生：電影美術 IN PROGRESS: PRODUCTION DESIGN

東�三俠

香港 Hong Kong ｜ 1993 ｜ DCP ｜ Color ｜ 87min 數位修復 Restored

The Heroic Trio

▲

影 片 推 薦人 Guest Curator

陳 炫 劭， 電 影 美 術 指 導，2010 年進入陳宏一導演工作室正式入 行。2019 年以《夕霧花園》獲 金馬獎最佳美術設計提名肯定。 CHEN Hsuan-shao started his career as art director in 2010. In 2019, he was nominated Best Art Direction for The Garden of Evening Mist at the Golden Horse Awards. ▲

推 薦 理 由 Guide

這部我國小時期的電影，是啟蒙 我感受到電影美術存在的作品之 一。它以中式武俠精神及師徒傳 承為主幹，融入當年西方正流行 的美國英雄及西部賞金獵人形 象，靈活加進日式末日風格，塑 造想像中的未來香港。本片影射 中港關係，蘊含政治反思，借鏡 多元風格且不凌亂的設計，即使 多年後再重看，仍值得學習。

三位命運迥異的女俠，一是自幼被武林高手收 養，栽培成夜間仗義的神祕女飛俠東東；二是同 被收養，卻被清朝宦官陳公公捉走，收編為殺人 武器並改名的陳三；以及逃離陳公公後成為一名 為金錢服務，骨子裡卻正義感爆表的潑辣性感女 捕頭陳七。在某一次的盜嬰陰謀中，女俠們狹路 相逢，命運的牽引交織更讓對立的三人決定攜手 同盟大戰一場。

Tung and Ching were orphans adopted by a martial

大量混融了港式武俠、日本動漫和美式超級英雄 等元素的經典邪典電影，集末日、科幻、武俠、 警匪、奇幻，與愛情風格於一路。梅艷芳、楊紫 瓊與張曼玉三大女星破天荒合作演出，並由一手 打造《東方不敗》林青霞造型的余家安擔任美術 指導，從末日場景的細節塑造、風情各異的女俠 造型配色，到東西衝突的冷熱兵器、道具設定大 亂鬥，絕對稱得上是 20 世紀前衛盡出的經典奇 俠片。

The three girls confront each other during a

arts expert and trained into righteous and brave heroines. However, after Ching gets kidnapped by a hundred-year-old eunuch Chan, her memories are erased, and she turns into a cruel killer. Another girl Chat is also kidnapped by Eunuch Chan, but she manages to escape and becomes a criminal hunter. Tung conceals her real identity and marries the police inspector Lau.

conspiracy orchestrated by the eunuch. Ching decides to leave the eunuch and Tung and Chat support her. The Heroic Trio step into the eunuch's secret dungeon and start the battle against him...

I saw The Heroic Trio when I was little, which prompted me to take an interest in production design. In this film, it combines the elements of the Chinese martial arts and the American Western. Despite the multiple styles, the design is neat, and it taught me a lot.

DIRECTOR 杜琪峯 Johnnie TO EXECUTIVE PRODUCER 程小東 CHING Siu Tung PRODUCER 禤嘉珍 Catherine HUN,

陳佩華 CHAN Pui Wah SCREENPLAY 邵麗瓊 Sandy SHAW CINEMATOGRAPHER 潘恆生 POON Hang Sang, 劉滿棠 Tom LAU EDITOR 金華製作有限公司 Kam Wah Production Co. ART DIRECTOR 余家安 Bruce YU MUSIC 胡偉立 William WU SOUND 吳國華 NG Kwok Wah CAST 楊紫瓊 Michelle YEOH, 梅艷芳 Anita MUI, 張曼玉 Maggie CHEUNG, 劉松仁 Damian LAU, 黃秋生 Anthony WONG, 白石千 James PAK PRINT SOURCE Media Asia Film Distribution (HK) Limited 1994 香港電影金像獎最佳電影歌曲 Best Original Film Song, Hong Kong Film Awards

06.26 SUN 14:00 信義 HYC 10 ★｜ 07.05 TUE 16:20 信義 HYC 10 電影正發生：電影美術 IN PROGRESS: PRODUCTION DESIGN

189

內陸�國

美國 USA ｜ 2006 ｜ 35mm ｜ Color ｜ 172min

Inland Empire

▲

影片推薦人 Guest Curator

李天爵，對於電影美學的經營， 主張運用戲劇感知的建構，來取 代既有形式呈現。以《臉》獲第 46 屆金馬獎及第四屆亞洲電影 大獎最佳美術設計。 LEE Tien-chueh believes that t h e ex i s t i n g fo r m s s h o u l d b e replaced by the structure of our perception of drama. He won Best Art Direction for Face at the 2009 Golden Horse Awards and the 2010 Asian Film Awards. ▲

推薦理由 Guide

「《內陸帝國》是大衛對不同世 界 與 空 間 維 度 的 信 念 表 達。」 ──《在夢中》

好萊塢女明星妮基參與了一部電影重拍，與男演 員戴文假戲真做。然而拍攝期間她卻陷入認知混 亂，懷疑自己真正的身分其實是劇中角色蘇，妮 基只是她為了逃避家暴丈夫，從潛意識中分裂的 角色。無盡的恐懼讓她跌入夢魘般的迷宮，碎片 般的多線情節也讓女主角崩解的心理狀態更加碎 裂。 電影大師大衛．林區親自以數位攝影機拍攝的首 部劇情長片，與《Lost 檔案》美術指導克里斯 蒂娜．安．威爾森聯手打造出影史最奇幻、自由 的電影美學。全片以濃墨暗黑作為主色調，彷若 內心被支配、吞噬後的低吟惡咒反覆縈繞；間歇 的高反差燈光，讓暗夜更深、烈陽更銳，不寒而 慄地直入眼窩。無所不在的紅色，飛濺於床單、 沙發，或極度近攝而致變形的紅唇上，同時以綠 色佐襯而愈顯鮮明，令人坐立難安。各分鏡的用 色與攝影實驗盡是視覺奇觀，三小時的片長在沒 有劇本的情況下拍攝完畢，劇情需耐心服用，感 官務必開到最強。

After an uncomfortable, borderline disturbing visitation by a cryptic neighbor, the fading movie star, Nikki Grace, is thrilled to hear that she has just landed herself the female lead role in director Kingsley Stewart's sensational Southern melodrama called "On High in Blue Tomorrows". However, as she gradually disappears into her complex role, Nikki's character, Susan Blue, starts to emerge from the labyrinthine pathways of her unconscious, creeping into her delicate consciousness. More and more, as Nikki's dissociation becomes more aggressive, and her selftranscendent experience sets in motion a sometimes subtle, sometimes profound transformation, parallel worlds interweave, and a mysterious lost girl tuned into the TV sitcom, Rabbits, begins to take shape. Is Stewart's ambitious project doomed to fail?

影像──由外而內經雙眼接收， 構成了表層意識；由內而外從精 神內核溢出，投映成深層意識。 大衛．林區的影像是人類深層潛 意識的體現。陷入其夢境，猶如 探索自我內核，最原始的創造驅 力深藏其中。 Inland Empire is how David Lynch expresses his beliefs in the different worlds and dimensions. The image Lynch creates is the embodiment of the subconscious hidden deep in our minds. It ventures into dreams as if exploring the core of one's inner self, where the most original creativity lies.

DIRECTOR, SCREENPLAY, CINEMATOGRAPHER, EDITOR, MUSIC, SOUND 大衛．林區 David LYNCH PRODUCER

大衛．林區 David LYNCH, Mary SWEENEY ART DIRECTOR 克里斯蒂娜．安．威爾森 Christina Ann WILSON CAST 蘿拉．鄧恩 Laura DERN, 傑瑞米．艾朗 Jeremy IRONS, 賈斯汀．瑟魯斯 Justin THEROUX PRINT SOURCE Tamasa Distribution

2006 威尼斯影展數位未來電影影展獎 Future Film Festival Digital Award, Venice FF 2006 紐約影展 New York FF 2006 美國國家影評人協會獎最佳實驗片 Experimental Film Award, National Society of Film Critics

06.30 THU 10:30 中山堂 TZH ｜ 07.04 MON 18:20 中山堂 TZH ★ 190

電影正發生：電影美術 IN PROGRESS: PRODUCTION DESIGN

���生

法國、德國、加拿大、比利時 France, Germany, Canada, Belgium ｜ 2009 ｜ DCP ｜ Color ｜ 139min

Mr. Nobody

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影片推薦人 Guest Curator

蔡珮玲，1996 年進入廣告圈擔 任美術設計，2008 年開始投入 電影美術。曾五度入圍金馬最佳 美術設計，代表作有《迴光奏鳴 曲 》、《 血 觀 音 》。2019 年 憑 《夕霧花園》獲金馬獎最佳造型 設計。 Penny TSAI began her career as art director in advertising. She was nominated Best Art Direction five times at the Golden Horse Awards and won Best Makeup & Costume Design for The Garden of Evening Mist in 2019.

在那全人類都獲得永生的 2092 年，高齡 120 歲 的最後自然人尼莫．諾巴帝在過世前回顧了漫長 的一生。隨著他沙啞顫抖的嗓音娓娓道來，卻 發現故事裡的家庭關係、戀愛對象與職業都存 在著不同人同時參與的多重版本，出現分歧的還 有他生命裡的重大意外，甚至曾經數次死於非 命……。

It's the year 2092. Mars is the number one holiday

造型與場景藉由豐富色彩、光線與運鏡的轉換， 映照不同時空人物狀態推進故事；華麗轉場搭配 特殊化妝，加上五百多個視覺合成鏡頭，打造出 珍獸與天使的幻境、冷凍艙與火星太空站，以及 尖端飛躍的未來猜想。跨越比利時、德國與加拿 大取景，暢玩蝴蝶效應與平行世界概念，上天下 海、穿梭今昔，見證宇宙、世界與人類的誕生、 死亡、腐敗以至虛無。絢目而繽紛的電影技法匯 聚全片，只為辯證一個人生最細微、最基本，也 最尋常的小小問題。

been a thousand men, and no one. He has lived a

destination. In hospital, as the world's media looks eagerly on, an old man is dying. The last mortal on earth, he is 120 years old. He doesn't know it, but his name is Nemo. His memory has gone, wiped clean by age. But slowly, under hypnosis, fragments of the past begin to emerge. As old Nemo recalls his pasts, an infinity of lives is revealed - he has thousand lives, and none at all. "Everything could have been anything else and it would have just as much meaning", he tells a young journalist. "We live in the imagination of a seven-year-old child, who is faced with an impossible choice."

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推薦理由 Guide

本片獲威尼斯影展最佳藝術成就 獎以及歐洲電影獎觀眾票選獎， 是將科幻及寫實，未來及過去的 時間軸轉換得極為細膩的電影。 它的美術替時間錯綜複雜又多重 線路的劇情梳理得整齊得宜，風 格明確卻又能維持不踩過劇情本 身。與特效的結合，對於材質及 色彩應用非常高段，在溫柔及冷 冽的情緒間、真實與虛假的變換 中都能能處理得完美，是我心中 最愛的電影美術之一。 T h e p ro d u c t i o n d e s i g n i n M r. No-body helps the audience understand the complicated multiple plots in a neat and appropriate way without upstaging the story. The combination of the production design with the special effects, the clever use of materials and color and the shift between the real and the unreal are perfectly executed.

DIRECTOR, SCREENPLAY 賈柯．凡．多梅爾 Jaco VAN DORMAEL PRODUCER Philippe GODEAU CINEMATOGRAPHER Christophe BEAUCARNE EDITOR Susan SHIPTON, Matyas VERESS PRODUCTION DESIGNER Sylvie OLIVÉ MUSIC Pierre VAN DORMAEL SOUND Frederic DEMOLDER, Dominique WARNIER, Emmanuel DE BOISSET, Jane TATTERSALL, Lou SOLAKOFSKI CAST 傑瑞德．雷托 Jared LETO, 莎拉．波利 Sarah POLLEY, 黛安．克魯格 Diane KRUGER, 萊斯．伊凡 Rhys IFANS PRINT SOURCE WILD BUNCH

2009 威尼斯影展 Venice FF 2009 多倫多影展 Toronto IFF 2010 歐洲電影獎觀眾票選獎 People's Choice Award, European Film Awards

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羅生門

日本 Japan ｜ 1950 ｜ DCP ｜ B&W ｜ 88min 數位修復 Restored

Rashomon

「要不是那陣涼爽的風，我也不會殺了他。」

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影 片 推 薦人 Guest Curator

王誌成，日本武藏野美術大學映 像學系畢業，1991 年開始投入 電影美術設計，曾和侯孝賢、王 家 衛、 陳 凱 歌 等 導 演 合 作。 憑 《返校》先後獲 2019 年金馬獎 及 2020 年台北電影獎最佳美術 設計。 WANG Chih-cheng had worked with renowned directors such as Hou Hsiao-hsien, Wong Kar Wai and Chen Kaige. Wang won Best Art Direction for Detention at the Taipei Film Awards and the Golden Horse Awards.

貧民狼狽地衝進傾頹半倒的古城門下避雨，遇見 了極度困惑而失神的樵夫與和尚，從他們口中聽 聞了一段詭譎難辨的犯罪事件。一名盜賊在森林 中遇上武士夫婦，強姦了武士的妻子，隨後樵夫 發現了武士的屍體。然而在盜賊、武士之妻與武 士鬼魂的口中，卻有著截然不同的故事版本，究 竟誰說的才是事情的真相？ 影史最有名的對稱性構圖與人性辯證電影，美術 松山崇搭建了西元 798 年平城京時代的羅生門 建築，滂沱大雨的場景出動了三台消防車與造雨 機，並以墨汁為雨水染色，加強畫面對比。攝影 宮川一夫在離地數公尺高處拉起棒球網，鋪設 樹葉製造陰影，再透過八面巨大鏡子反射自然光 線，神乎其技地令演員的身影與表情在黑白灰三 色調中，細緻呈現陰晴真假之間交織的魄力。

As heavy rain pours monotonously out of a dark sky, under Kyoto's once-glorious front gate, a poor woodcutter and a faithful priest gather around a feeble campfire to share with a wet commoner their take on the mysterious murder of a valiant samurai in a lush bamboo forest, and the brutal sexual assault of his wife by the notorious bandit, Tajomaru. Before court and through a series of uncomfortable flashbacks, strikingly different points-of-view inextricably interweave with half-truths, coverups, and the supernatural, to further blur the lines between memory and fact. However, who is the evildoer behind this intricate conundrum? In the end, on the basis of personal perspective, can there be an absolute truth?

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推 薦 理 由 Guide

我從《羅生門》反覆得到了很多 啟發。電影角色的「各說各話」 彷彿電影美術最初開始發想時的 混沌；角色的「自欺欺人」也告 誡我各個環節都不可過猶不及。 我認為最可怕的是角色所說、所 信的，都是自己所希望的。這些 都可以印證在電影美術的工作 中，謹慎看待，反覆思考。 Rashomon inspired me in many aspects. The different accounts told by the characters feel like the beginning of my work on each film. The most terrifying thing is that their accounts reflect what they want things to be, and it makes me think cautiously about every decision I make in the design.

DIRECTOR 黑澤明 KUROSAWA Akira PRODUCER 箕浦甚吾 MINORU Jingo SCREENPLAY 黑澤明 KUROSAWA Akira,

橋本忍 HASHIMOTO Shinobu CINEMATOGRAPHER 宮川一夫 MIYAGAWA Kazuo EDITOR 西田重雄 NISHIDA Shigeo PRODUCTION DESIGNER 松山崇 MATSUYAMA Takashi MUSIC 早坂文雄 HAYASAKA Fumio SOUND 大谷巖 OTANI Iwao CAST 三船敏郎 MIFUNE Toshiro, 京町子 KYO Machiko, 森雅之 MORI Masayuki, 志村喬 SHIMURA Takashi PRINT SOURCE KADOKAWA CORPORATION

1951 威尼斯影展金獅獎 Golden Lion, Venice FF 1951 美國國家評論協會獎最佳導演 Best Director, National Board of Review 1952 奧斯卡金像獎最佳外語片 Best Foreign Language Film of Academy Honorary Award, Academy Awards

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�窗

美國 USA ｜ 1954 ｜ DCP ｜ Color ｜ 112min 數位修復 Restored

Rear Window

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影 片 推 薦人 Guest Curator

趙思豪，畢業於復興美工，從事 電視廣告美術設計。與鍾孟宏導 演團隊長期合作，以《停車》、 《一路順風》、《同學麥娜絲》 三度榮獲金馬獎最佳美術設計。 CHAO Shih-hao mainly works as art director in advertising. A longterm collaborator with director Chung Mong-hong, Chao won Best Art Direction three times for Parking, Godspeed and Classmates Minus at the Golden Horse Awards. ▲

推 薦 理 由 Guide

攝影記者傑夫意外摔斷了腿，不得已窩在小鎮裡 的公寓休養。儘管有看護和美麗女友輪班照顧， 困在輪椅上的他仍是百無聊賴，只能透過窗戶 悄悄窺看左右鄰居的生活。從看似完美的新婚 佳偶、寵愛小狗的中年夫婦，到穿著性感的女舞 者，他不但用眼睛看，還不時拿起相機長鏡頭侵 門踏戶；沒想到看著看著，就被他發現了一樁謀 殺案……。

L.B. "Jeff" Jefferies is an immobilized photojournalist

本片被譽為驚悚大師希區考克的經典作，場景全 數搭建於片場室內棚，多數鏡頭更透過主角的公 寓窗戶拍攝，設定三種視角──主角從室內向窗 外看的場景、主角眼中看到的一切，以及主角的 反應，交織出多層次的角色情境。公寓內冷冽的 色調呼應主角的處境與懸疑的氣氛，窗外的鄰居 家景更一一設計符合各戶的視覺氣息，儘管全 片圍繞著主角與他的視界，卻彷彿有層層謎團潛 藏，而觀眾更如同目擊證人，尾隨他的情緒與思 緒一路抽絲剝繭探尋。

soon brings his girlfriend, Lisa, in on the thrill of his

who, after breaking his leg photographing a racetrack accident, finds himself wheelchair bound and confined to the walls of his apartment. His rear window looks out onto a courtyard and several other apartments, where the binocular-wielding Jefferies spends his days as a voyeur spying on his neighbors. Jefferies gradually becomes more and more engrossed with this activity of his, and voyeurism. It's all fun and games for the two until they witness what they believe to be a murder in progress, becoming increasingly convinced as they continue to observe the apartment.

這部 1954 年的經典電影，久到 都忘了是何時跑去戲院看的，但 它一直殘存在我腦海之中。全片 都在片場中搭景拍攝，從開始的 矛盾糾結到結尾的平靜有序，把 謀殺片的懸疑一點一點娓娓道 來。而這一切又只發生在一個房 間的視窗向外輻射 100 公尺範圍 內，男主角的活動區域幾乎就靜 止地靠在窗邊，十分考驗導演說 故事功力和拍攝技巧，場景配置 也不容小覷。 This 1954 classic has stayed in my mind ever since I saw it. Entirely shot in the studio, it tells a murder mystery from a gripping start to a calm and orderly ending. It all happens within such a small space that it truly tests the director's skills in storytelling and mise-enscène.

©Park Circus/Universal

DIRECTOR, PRODUCER 亞弗烈．希區考克 Alfred HITCHCOCK SCREENPLAY 約翰．麥克爾．海耶斯 John Michael HAYES CINEMATOGRAPHER Robert BURKS EDITOR George TOMASINI ART DIRECTOR Joseph McMillan JOHNSON,

Hal PEREIRA MUSIC 法蘭茲．威克斯曼 Franz WAXMAN SOUND Harry LINDGREN, John COPE CAST 詹姆斯．史都華 James STEWART, 葛麗絲．凱莉 Grace KELLY, Wendell COREY, Thelma RITTER, 雷蒙．布爾 Raymond BURR PRINT SOURCE Park Circus Group 1954 威尼斯影展 Venice FF 1954 紐約影評人協會最佳女主角 Best Actress, NYFCC Award

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��

數位修復 Restored

法國、義大利、德國 France, Italy, Germany ｜ 1962 ｜ DCP ｜ B&W ｜ 119min

The Trial

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影 片 推 薦人 Guest Curator

黃美清，於法國巴黎學習劇場設 計，1990 年代中起投身於電影 美術、敘事空間創作。憑《艋舺》 等電影四度獲得台北電影獎最佳 美術設計，並四度入圍金馬獎最 佳美術設計。2018 年受邀設計 北影主視覺。 HUANG Mei-ching studied stage design in Paris before moving into film. She won Best Art Direction four times at the Taipei Film Awards and was nominated four times at the Golden Horse Awards.

普通上班族 K，在家中被自稱警方的人叫醒並嚴 厲質詢，告知他已被捕，即將接受審判，原因不 明；隔壁房裡，公司同事以指控者的身分見證 了這一切。雖然尚未受到羈押，K 卻開始承受房 東、鄰居與主管的歧視與非議，不甘受辱的他決 心奮起以一己之力釐清真相、反抗司法體制巨 獸！ 改編自卡夫卡的同名小說。導演奧森．威爾斯 在當年尚未成為奧賽美術館的廢棄火車站裡， 放入上千張桌椅、打字機與臨演，打造出一望 無 際 的 辦 公 室 場 景， 成 就 令 人 震 撼 的 美 術 奇 觀。片頭使用當時風靡的針幕動畫（Pinscreen Animation），串連頭尾的氣氛森然；主角 K 穿 梭在層層疊疊的法院、教堂與豪宅間尋求公理與 真相，透過門與門的場景切換、張力十足的俯仰 角鏡頭與遠近景對比，引領觀眾追隨主人公的 情緒奔馳，從理直氣壯到慌亂瘋狂，層次豐富， 令人目不暇給。

The Trial is based on Franz Kafka's novel with the same title. Kafka was an attorney, and the story reflects his experience with the criminal justice system in his home city of Prague. The story begins with a man called Josef K awakened at 6:15 AM by two inspectors who inform him that he is arrested and suspiciously scrutinizes all of his words. Although under arrest, he is not taken into custody and the inspectors interrogate him intermittently during his daily routine. As he goes through his normal activities, everyone he talks to speaks to him as though he is guilty of something, just as the inspectors do, and he continually attempts to defend himself. In the end, two inspectors throw Josef into a pit, toss in dynamite, and Josef dies in the explosion.

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推 薦 理 由 Guide

青少年的我，曾經有段時期在卡 夫卡的文字裡思考、叛逆、迷惘 著。在一個不經意的夜晚，遇見 奧森・威爾斯的《審判》，那個 瘋狂而劇烈的觀影衝擊至今無法 忘記。同時，開啟了我探索影像 傳遞的真實感和空間語言的抽象 性這段旅程。 近 30 年後，有機會在北影邀請 下遞出片單在大銀幕重溫。對我 而言，這是一部體現文本、影像 與空間辯證的極致作品，也是把 我推向從事電影美術工作的重要 關鍵。 One night in my teen years, I saw The Trial by Orson Welles. I can never forget the crazy strong impact it had on me. It sent me on a journey of exploring the sense of reality that the image conveys and the abstract spatial language. It also inspired me to become a production designer.

DIRECTOR, SCREENPLAY 奧森．威爾斯 Orson WELLES PRODUCER Alexander SALKIND, Michael SALKIND CINEMATOGRAPHER Edmond RICHARD EDITOR Frederick Muller, Yvonne MARTIN ART DIRECTOR Jean MANDAROUX MUSIC Jean LEDRUT SOUND Jacques LEBRETON CAST 安東尼．柏金斯 Anthony PERKINS, 珍妮．摩露

Jeanne MOREAU, 羅美．雪妮黛 Romy SCHNEIDER, 奧森．威爾斯 Orson WELLES PRINT SOURCE Tamasa Distribution

1962 電影筆記十大佳片 Top 10 Film, Cahiers du Cinéma 1962 威尼斯影展 Venice FF 1964 法國影評人協會最佳影片 Best Film, French Syndicate of Cinema Critics

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專文

ESSAY 亞洲稜鏡｜焦點影人：卡蜜拉．安迪尼

Asian Prism ｜ Filmmaker in Focus: Kamila Andini 焦點影人：邱炯炯

Filmmaker in Focus: Qiu Jiongjiong 焦點影人：彼得．波丹諾維茲

Filmmaker in Focus: Peter Bogdanovich 經典重現｜德國新電影 60 週年

Classics Revisited ｜ 60th Anniversary of

New German Cinema

電影正發生：電影美術

In Progress: Production Design

專文 ESSAY

195

文

陳沛妤

印尼導演嘎林．努戈羅和透過電影展現身體舞動、傳唱生命的旋律、家族或藝術 史記憶、歷史創傷、特殊印尼藝術文化等深刻又憂傷的主題。那麼他的女兒卡蜜 拉．安迪尼，則是透過女性角度的陰性書寫，建立在這些基礎之上，又多了一份溫 柔、詩意與愛的溫暖。

承襲父親的創作手法並關注兒童視角 如果說父親所拍攝的電影 視角是來自小男孩，安迪 尼則完全 聚焦 在小女孩單純卻叛 逆的世界，藉此

憶時光

映照母親面對現實的壓力。《海洋魔鏡》透過一 位在漁村生活的女孩，因為父親出海 捕魚失 蹤

出內心的渴望，展現大海的殘酷。用薩滿的預言 當作神祕開端，猶如努戈羅和經常將劇中角色

視 為宿命論的存 在，卻用荒謬的內容觸及不願

在

性私密的

談及的現實，或許是父親的死亡。小女孩的日常

記

漫遊

女

而產生各種失常的行徑，透過海洋與鏡子映照

交雜著思念與夢境，透過男孩與女孩的純真與互相 扶持，以歌曲穿插隱喻環境變遷，卻用幽默的方式談 及夢境的連結，強烈的鏡子與海邊的光影反映超現實的

世界，海邊的小孩容易作夢，到底是夢想還是夢境？或是半

夜召喚的前世記憶？影片中記錄了出生、婚禮、喪禮、放生等傳統

儀式，類似努戈羅和早期的電影，經常以紀錄片型的拍攝方式與如詩如畫的攝 影構圖，保存對自然與災害的光影捕捉。更觸及環境與社會議題，例如對話中提 及人口外移、珊瑚島嶼代表海平面下降、海豚消逝反映生態與自然環境的改變、

從電影進入卡蜜拉・安迪尼 的幻夢世界

海上漁村的消逝與變遷，以及小女孩的父親經常告訴他「房子要建在海面上，才

不會破壞動物原本的生活環境」等。這些看似奇幻的世界觀，卻是他鄉的日常風 景，也是我們最常忽略關於建立人與自然的和諧。影片中大量呈現女性的養家現 實與男性的工作風險，透過大海孕育萬物的母親，呈現女性主導的海上屋世界。 同樣透過小女孩的視角，《舞吧舞吧，孩子們》則是將主角們設定為不可分割的 龍鳳胎姐弟，以強化悲劇的宿命論開場，將電影、舞台劇、夢境、神話、儀式與當 代舞蹈結合。男孩偷蛋後被神明懲罰，或是被指定為與神明溝通的對象，以蛋白 和蛋黃象徵一體且符合陰陽共生與平衡，作為生命循環的象徵。當雙胞胎一個休 眠而另一個活躍時，在許多抽象層面上則象徵著二元性，也像是做夢期間被神召 喚，透過弟弟操作皮影戲與神靈溝通，或是姐弟一起跳舞，隱喻姐姐就是月亮女 神等。各種印尼傳統神話，體現靈魂在印尼的日常性。並非是嚇人的鬼片，顛覆對 196

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陳沛妤，

東南亞恐怖片的刻板印象，其中動物造型與行為則隱喻了人與動物的連結性，或 人的動物性，而人被附身則是為神工作。劇情設定在醫院，隱喻生與死的邊界，

獨立藝評人。

姐姐從未在彼此都是現實世界的狀態下進醫院的房間，每次跟弟弟互動都是姐 姐在做夢，或是弟弟可以自由起身的想像。不同的場景猶如舞台劇的幕，當女孩 最後手握乾枯的水稻，象徵這齣獻給神靈的舞台劇結束，在印尼皮影戲裡卻是代 表下一個故事循環的開始，如同生命循環未曾結束過。

從女孩到女人 相較於女童視野，《第三次求婚》的主角正值青春期的探索階段，以紫色作為禁 忌的顏色來貫穿整個宿命。這個在印尼代表寡婦的顏色，也說明了女主角拒絕兩 次求婚後，第三次求婚後的婚禮帶來崩裂的心境。影片以伊斯蘭教的處女規定為 開端，控制青少年女性的性自主權益，並將女主角拒絕求婚的厄運論貫穿其中。 不同女性代表各階層的生活狀態，如傳統的奶奶、未受高等教育卻支持她追求夢 想的母親、被迫結婚的高中同學、早婚卻流產離婚的單身女性、一夫多妻的父權 制度，甚至也探討了飽受世俗眼光壓力的變裝男性心境，看似一位高中女生單純 的成長故事，卻反映許多印尼社會對女性的歧視縮影。畫面顏色濃烈而鮮豔，透 過劇中詩集《六月的雨》宣告女主角的六月婚禮，注定是悲慘的結局。 每個女人的長髮都有祕密，到了《娜娜：逝水年華》以母親與妻子的身分討論婚 姻與愛情，藉創傷與內疚反思女性的悲劇宿命角色，並以夢境為開場，貫穿伴隨 她在每一個事件發生前後的惡夢、預言或潛意識的反應，其實是真實的回憶及故 事預言，宣告她的命運即將會複寫歷史。女主角的內心不斷充斥著過去的戰爭、 家破人亡的創傷，認為是自己造就這些死亡。她帶著這些創傷活在當下，卻困擾 著她的生活態度，看似時空逆轉的場 景，她必須帶著過去與現在，替未來做 選 擇；縱使離婚受到親友的批判，卻沒人能理解她長年累積的問題，內心創傷與丈 夫的不忠、父權保守的婚姻制度等。音樂的使用卻讓整體氛圍輕鬆，面對外遇、 離婚、小孩嬉鬧等，沉重的人生事件與經歷則用冷靜理性的態度面對，彼此充滿 愛的溝通。影片設定在印尼共產黨蘇卡諾與蘇哈托交替的時代，充滿歐洲文化混 雜的印尼式上流社會生活。音樂的運用與攝影機運動、光影構圖等則類似王家衛 常用的浪漫、詩意與曖昧不明的氣氛。父親的角色在這部片的戲份較多，在其他 電影中經常被隱藏，這部片中的父親是既傳統又充滿愛，能夠包容與寵愛妻子的 一切，縱使外遇卻依然疼愛妻子與孩子們，面對流言蜚語仍保護妻子的形象，並 未把妻子當作物件，而是希望她快樂做自己，顛覆刻板印象。 綜觀上述，安迪尼試著將女性的宿命論透過影片提出討論，在面對印尼傳統壓抑 下，是否能透過如鏡子般的電影反思自身其實也擁有自主權的思考？又或只是另 一段無法改變的命運？而她的電影就像是帶領觀眾進入奇幻又充滿想像力的異 時空，如古典油畫既神祕又柔和，彷彿譜出人生中悲歡離合的旋律及詩詞。

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塗翔文

該怎麼形容邱炯炯？ 用時下年輕人最流行的新鮮詞語，就是「斜槓」二字吧！出身川劇世家，懂戲曲、 愛戲劇，擅長繪畫、攝影，尤其人像畫極有風格。然後拍電影，先是紀錄片，從 親友笑談拍到別人的人生況味；之後再拍劇情長片，自編、自 導、視覺美術一手包辦，熟稔出色到不像是第一部作 品，令人驚豔。 常常集中看一位導演的多部作品時，我習慣 從創作年表開始依序往下看，但面對邱炯 炯，我倒不覺得應該這麼照本宣科。似乎

邱炯炯

麻堂會》（2021）起始，反倒是最好的 切入 點。這部作品宛如他 斜槓 人 生的 滿漢全席，從形式到內容，彷彿畢其功

人生就

是

於一役，甚至已清晰得見其它幾部紀錄

戲

：

從最新的、也是他第一部劇情長片《椒

片作品的歷練與影響。 電影根據他的祖 父、也是 川劇名角邱福新

的生命歷程 改 編，但故事 卻從已死亡的主角 被牛頭馬面帶著走上黃泉路開始拍起。亡者笑談

生前、進入戲班的成長，伴隨著無情的時代動盪與局

勢變化。在這之間，陰陽兩隔、真真假假，忽而奇幻、忽而寫

實，有時還透過一個白臉丑角（他祖父在川劇中就是最著名的丑角）飾演的店小 二，在陰陽時空中巧妙穿梭。無論國民黨或共產黨上台下台，富足安樂或貧窮困 頓，演員永遠是眾人逃避現實的良藥，再怎麼轟轟烈烈、掌聲如雷，下了舞台卸 了妝，他們的人生好像也和所有百姓沒什麼兩樣，甚至更能看盡冷暖。 透過這陰、陽兩界的敘事流轉，邱炯炯將他對戲劇與人生界線模糊的體悟，表達 得淋漓盡致，並在悲喜劇的節奏間靈活遊走；更重要的是，在有限的成本條件內 呈現出獨特的藝術形式。看得出全片都在室內搭景完成，配合敘事上的虛實不 分、類型多元混雜，各種繽紛華麗的景片、道具、服裝，除了是豐富的次文本，更 能如瑞典名導洛伊・安德森般擅用視覺障眼法來擴充單一鏡頭裡的空間感，不用 實景、毋需特效，照樣能拍出半世紀的中國歷史。還不只於此，他懂得用光影變 化、煙霧色差，以及攝影機的運動，補充並延伸在有限空間中的場面調度，讓整 部電影雖長達三小時，卻不覺得視覺疲乏或流於舞台感，看得出他將人生化於戲 劇，再善用於電影形式呈現的創作能量。 這個清 楚的特質，看過 集 大 成般的《椒 麻堂會》後，再回過頭看他之前的紀錄 片，就更會有種柳暗花明的體會。他所有的紀錄片都以 人物為主，而且主角們 的性格與 經歷都存在巨大的「荒謬性」，輔以 戲劇形式的概念呈現，即使全是 訪談，也都鑲嵌著強烈的敘事體節奏，難得的還充滿幽默感，始終體現「人生如 198

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塗翔文，

戲」的母題。聽來雖像千古老調，卻仍充滿可看性。

資深影評人、台北電影節

首作《大酒樓》（2007）原是記錄父親即將歇業的酒樓「廣寒宮」，但在邱炯炯

節目組選片顧問。

灑脫自在的鏡頭語言下，酒樓根本是座舞台，從家人到酒客們個個像是輪番上場 的各色好演員，時而吟詩、時而論酒，當然還有票戲，最後，其實是對家族傳承的 溫柔抒發。將其配合《萱堂閒話錄》（2011）同看，從導演祖母的房屋拆遷聊起， 除了老太太本身性格可愛，依舊是貫穿家族與歷史長流的感懷。至於《彩排記》 （2008）表面上是一場表演的彩排紀錄，實則是對爺爺戲曲人生的致敬。 其他幾部把鏡頭轉向家族之外，同樣有類似的形式趣味。《姑奶奶》（2010）讓 舞台上高歌的碧浪達夫人與舞台下的男裁縫交錯面對鏡頭，同一個靈魂有不同 分身，主角語不驚人死不休地大鳴大放，從人生像糞便聊到執念賣身的青春歲 月，看似坦蕩赤裸，卻也像無時無刻不在「表演」。《黃老老拍案》（2009）則是 聽退休老警官說故事，一個比一個誇張到讓人分不清究竟是真是假。 至於2015年的《癡》，與其說是主人翁經歷大半生的顛沛流離與慘痛經歷，倒 不如將它看成邱炯炯接下來拍《椒麻堂會》的一場預演練習曲。透過張先癡的一 生，邱炯炯使用各種戲劇元素與影像手法，在夾敘夾議間試圖重現他的生命起 伏，亦彰顯這個人物面對政治、時代、信仰的混淆、荒謬與無奈，令人不勝唏噓。 本次影展尤其難得，特別放映長達五個半小時的導演版，當中穿插更多張先癡不 為人知的口述歷史回憶。 邱炯炯的成長背景與藝術涵養，形塑了他獨特而鮮明的影像風格，從紀錄片到劇 情片，他用影像說話，水到渠成、有跡可尋。雖然《椒麻堂會》只不過是他的第一 部劇情長片，卻已足以引頸期待他未來的作品與發展。

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黃建業

曾經導演過16部劇情長片，十多個電視製作和多部影壇大師紀錄片。彼得・波丹諾維茲在今年元 月六日因帕金森病逝於洛杉磯。 對老影迷來說，彷彿是一個淡忘的歷史名字，突然掠水浮光，一位曾帶動新好萊塢 電影的舵手級才子，與法國新浪潮遙相呼應地在電影的涯岸作浪興波，卻運 蹇時乖，《黛絲米勒》（1974）、《At Long Last Love》（1975）、《Nickel-

埋靑塚 悼 亡

odeon》（1976）票房連三敗後，很多作品均未得到公平的重視。紅塵 滾滾，世界的轉動未嘗不是囫圇吞棗般，輕率地忽略他並不驚世駭俗

筆

忍看錦 聊 托浮雲

的作品。於是《面具》（1985）、《聖人皮條客》（1979）甚至最早的 《末路狙擊》（1968）都鮮見提起。更不用說那些舉重若輕地繼承 霍華・霍克斯或布萊克・愛德華風格，趣味盎然的神經脫線喜劇了。 1939年7月30日出生於紐約金斯頓。彼得後來常提起他父親是美 術家，兼擅 鋼琴，比他母 親 大20歲，身上 兼具塞爾 維 亞 及猶太 血

作

統。父 親常帶 他們到附 近叫「A l d e n」的電 影 院，三 歲 時第一 部 看

的電 影 是《小飛象》（1941），其實並不喜歡。直到他看到霍克斯、福

特的《紅河谷》（1948）、《I Was a Male War Bride》(1949)、《黃巾騎 兵隊》（1949）、《疤面人》（1932）等片，才可謂終身受用。從12歲開始，到

30多歲（1952-1970），他建立自己的電影筆記卡片檔案五、六千張，成了他另類

的教育，加上日後跟影人大師深交，咸認他是一部電影百科全書。

——彼得・波丹諾維茲 彼得擅長感舊，以《末路狙擊》的老恐怖

驚悚電影對照當代的冷血；《最後一場電影》（1971）

描繪1951-1952年高校生活在韓戰中幻滅；《紙月亮》（1973）的大蕭條時代；以至《聖人皮條 客》漂泊浮沉在亞洲空虛的江湖。他的電影充滿輓歌式的嗟歎，所有的無可奈何都逝者如斯。 同時，地景本身常常就是角色，《末路狙擊》中冷血的洛杉磯聖費爾南多山谷停車場影院和貯油 廠；《最後一場電影》、《Texasville》（1990）實化了賴瑞・麥可莫特瑞原作的荒涼，街衢寥落無 人，乾草堆在風中滾動；《紙月亮》蕭條的堪薩斯小鎮，遊樂場是最五光十色的世界；然後《黛 絲米勒》的瑞士風光；《聖人皮條客》龍蛇雜處的新加坡；《大人別出聲》（1992）脫軌的舞台前 後；《哄堂大笑》（1981）中曼哈頓的天際線；《面具》的加州城鎮高校，埋藏洛基・丹尼斯溫文的 夢；《愛情有什麼道理》（1993）中鄉村音樂流淌著納許維爾。處處都是情景相融的精準背景。 更無法忘掉他電影中的葬禮。《紙月亮》從葬禮打開大蕭條的序幕；《最後一場電影》的葬禮像 火燒的雲，彷彿有半自傳性的私人感情（他父親在此片拍攝時離世）；《聖人皮條客》威廉的葬 禮，是漂泊的異鄉魂斷；《面具》的死亡，則教人痛悼一顆溫柔又充滿愛與溫暖的心。 彼德的電影溫文、機智、動人，常常來自他深情的主觀鏡頭與細緻的內在感情描述。《最後一場電 200

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黃建業， 資深電影學者，台北電影節 2021 卓越貢獻獎得主

影》高校同窗的互望，所有傷痕在沉默中一切了然；《面具》裡洛基的遠望，都是 偷偷隱藏遙不可及的夢碎時刻；《紙月亮》中替代式的父女關係，不管欺詐、爭 吵或默契，都是不景氣時代的尖刻與溫情。彼得的後拉鏡頭和客觀遠景，恰恰拉 開了濫情的耽溺，拓展成蕩漾的詩化風格。 無人該忽略他對表演的內行。15歲開始在美國戲劇藝術學院及密西根特拉弗斯 城展開學徒式學習。16歲正式學習表演，膽大妄為，騙重量級表演導師史黛拉・ 艾德勒自己已18歲。20歲便說服劇作家克利佛・歐戴茲，授權執導他在外百老匯 的作品。拍電影之前，他已然是位成熟的劇場導演，也一向將導演視為表演的延 伸。這是為何初生之犢竟敢糾正大明星如何唸對白、做動作，看看《最後一場電 影》，班・強森在湖畔跟兩個年輕人說「這個國家不知怎地變成這樣！」背景湖水 奔流。又或演怨婦的克蘿麗絲．莉姬曼戀愛時的笑靨桃花，後來開門時卻蒼涼得 像個沙漠。一段廚房的戲又教人想起威爾斯《安伯森家族》（1942）裡的艾格妮 絲．摩海德。兩人得到奧斯卡，絕非僥倖。 談到表演，也不得不提到他的即興本色。無論在喜劇或悲劇，彼得都會讓演員帶 有某種即興感。這跟一般習慣不盡相同，主要是利用演員投入角色之際，產生直 接的角色真實感。如《最後一場電影》、《面具》、《愛情有什麼道理》的新世代 姿態用語，都能回歸時代與年齡的生活。六○年代確實把生活況味的表演推進 新境，法國、東歐、英國、美國都重新尋覓表演和真實的意義。彼得・波丹諾維茲 與卡薩維蒂、法蘭西斯．柯波拉、馬丁．史柯西斯，都是這方面的推手。 值得一提的是，他也常表露其精彩的劇作才華，除了改編及原創劇本的成就，不 少人也聽過他為《末路狙擊》創作的巧思。原本幫羅傑・柯曼編撰《The Wild Angels》（1966）的他，正好柯曼手上有老牌恐怖片明星波利斯．卡洛夫兩個工作天 的合約，不可置信地提出由彼得執導另一部片的建議。彼得便以這兩天拍20分 鐘卡洛夫的戲，加上卡洛夫舊片的片段20分鐘，再另拍40分鐘其他故事，湊成另 一部80分鐘的電影，將卡洛夫的拍攝期延長為五天。彼得竟然一口答應，以查爾 斯・惠特曼隨機槍殺35人的事件為本，才華洋溢地創作出一個充滿感舊意識的驚 悚劇。 若看他受卡薩維蒂影響的《聖人皮條客》，也不得不佩服全劇近乎鬆散的結構。 起初會對片中亞洲人的歧視頗感不安，看完才發覺全片像羅曼．波蘭斯基的《唐 人街》（1974），投影出那幽暗蒼茫的黑色世界。 此次台北電影節只選映彼得的五部名作，其實他亦擅長浪漫喜劇，早期《愛的 大追蹤》（1972）教人想到霍克斯《育嬰奇譚》（1938），向經典神經脫線喜劇 致敬；還有戲裡戲外都充滿戲劇性八卦的《哄堂大笑》遺憾缺如。甚至伍迪・艾 倫風格的《百老匯風流記》（2014）也因片單有限未能邀展。讓人忽略他其實機 智、幽默與對電影傳統的卓識，也忽略他對女性的愛和觀點。只期待未來有專題 放映，再次親炙他那些透達浮生的蒼涼和睿智。 2022.5.7雨霽初晴 專文 ESSAY

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洪健倫

在台灣說起德國新電影，多數人不難想到三大巨擘──創作生涯短暫卻絢爛的萊納．韋納．法斯賓達（1945著墨。

展現疲態，甚至到了1950年代末，連評論界都已不想白費唇舌。 1962年2月28日，西德大型短片影展「奧柏豪森國際短片影展」中，26名德國電影

60

奧柏

豪

年輕短片與紀錄片電影工作者 1，一同舉行了名為「父輩電影已死！」記者會。會上，

森宣言

起草人之一的導演費迪南・奇鐸宣讀眾人簽署的宣言，並由導演亞歷山大・克魯格 主持記者會的訪談。

這份稱為「奧柏豪森宣言」的聲明簡潔有力，直指德國電影大破大立之時已至，近年 西德短片新銳於國際載譽不斷，德國電影的未來，掌握在這些「以新的電影語言說話」

的人。眾人也主張爭取一個不受現有產業制度、商業利益強勢介入的自由空間。「我們有創造

新德國電影的權力。」他們在文中強調，表示他們對概念、形式與營收模式已有具體方案，更準備放

回到德國新電影原點

手一搏。宣言最後甚至以一句「老電影已死，我們相信新電影」作結，展現他們對產業改革的決心。

最前衛的手法，呈現最真實家國 西德片廠為了利益，不斷重複脫離現實的通俗劇或警匪懸疑套路，雖受大眾喜愛，但對這群深受法蘭克福學派 思潮影響的創作者而言，電影作為一種藝術形式，應該持續開闢美學形式的蹊徑，並充分反映社會現況。 也因此，此次專題選映的1960年代短片選，反映了這些創作者關注的題材與創作方向。有人把鏡頭轉向尋常的 生活，如童心未泯的《影子遊戲》（1960）捕捉各處都會空間的人影，打造一個影子樂園；實驗紀錄片《60號 大樓施工中》（1960）則呈現一座大樓工地的生活；《在鹽田》（1960）透過剪接手法呈現鹽田工作日常；《農 家日常紀實》（1964）深入偏鄉農村拍攝12口之家的生活與煩惱。 另一方面，有人藉由攝影機記錄現代化發展下的西德社會，《賽馬場外》（1959）透過音畫的蒙太奇，呈現資本 社會中產階級揮擲金錢的娛樂。早期新電影健將艾德葛・萊茲的短片《傳播科技小史》（1961）嘗試以新影像 語言，詮釋現代傳播演進史。紀錄短片《艾穆塔小鎮記事》（1961）道出德國南方古鎮如何因地方仕紳的短視 近利，在現代化進程中擱淺。 也有人嚴肅反思納粹德國的瘋狂。兩位宣言代表人物克魯格與彼得・夏孟尼合導的紀錄短片《暴政的烙印》 （1961），讓人看見納粹政府如何將意志烙印在建築風格中；實驗短片《海報上的政治風暴》（1962）則通過 彼時的文宣圖像回顧威瑪共和國時期納粹的崛起與民主衰亡。 而亦有不少作品反映當代政治議題。《莫斯科的呼喚》（1959）呈現該時歐洲左派青年對共產主義過於美好的 嚮往；動畫《野草記》（1962）敘述一則現代社會官僚體系效率不彰的寓言；偶動畫《傀儡人生》（1964）則讓 一尊傀儡戲偶娓娓道來戲班內的形色社會縮影。

體制內的革命 灌溉第一波浪潮 回到奧柏豪森宣言，這份挾著伊底帕斯式弒父氣勢、桀驁不馴的聲明，固然引發媒體與業界譁然，但他們以有 202

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26

18

位電影導演，五位攝影師，一名電影配樂，一位動畫師，與一名演員。

週年

二戰後的西德，大片廠主導的德國電影產業以商業利益優先，持續複製類型套路，逐漸

1

名電影工作者中，共有

1982），狂人性格鮮明的韋納．荷索，以及優雅而細膩的文・溫德斯。但德國新電影如何開始？卻鮮有人

這

文

洪健倫，

組織的行動證明了自己。宣言發表四個月後，主要成員在慕尼黑設立了私有的非營利組織「德國青 年電影基金會」，並在1965年轉型為公共化的「德國青年電影委員會」，評選西德電影創作者的

台北電影節選片人。

首部長片補助。 克魯格於1966年完成的首部長片《昨日女孩》，成為第一部受該基金補助的作品。自此，該基金 會補助的片單，宛如一本德國新電影的編年史，他們的行動成功從制度引進國家資源，也成為日 後德國電影為時近20年新浪潮的重要活水。 在水到渠成之下，德國新電影在1966年迎來一波爆發：克魯格《昨日女孩》在威尼斯影展獲評審 團特別獎；《錫鼓》導演沃克．雪朗多夫首部長片《少年杜里斯》獲坎城影展費比西國際影評人 獎；同年入選坎城主競賽的還有導演烏利希．夏孟尼的首部長片《幸福岔路》，本片在當年德國電 影獎包辦最佳導演、劇情長片、女主角等五項大獎。艾德葛．萊茲也在年底完成《愛的饗宴》，隔 年於威尼斯影展獲最佳首部長片。 重要的是，這些長片延續了一貫的創作精神。例如時序跳躍的《昨日女孩》雖包著都會愛情故事 的皮，骨子裡卻以一名東德少女來到西德謀生的過程，呈現資本社會生存的坎坷。《幸福岔路》裡 除了描述年輕女子因意外懷孕被迫面對墮胎禁忌，也拍下戰後在經濟奇蹟裡浴火重生、房地產欣 欣向榮的西柏林；《愛的饗宴》亦讓我們看見生活現實壓力，讓一介凡夫被天真而過度豐盛的愛 壓得喘不過氣；《少年杜里斯》則以成熟的調度描繪青年群體的勾心鬥角，呈現創作者對人性及 權力慾望的洞見。

浪潮的側翼與女性身影 必須留意的是，奧柏豪森宣言簽署者並非西德唯一的電影先鋒。此外，在這恰好全由男性組成的 創作群體之外，彼時仍有數名女性創作者也站在浪潮前線。在有限的節目篇幅中，選片團隊也以 創作搭檔「史特勞普－蕙葉」的兩部前衛電影《無法和解或有限暴力》（1965）、《妓女。演員。 皮條客》（1968），與雪朗多夫和瑪格麗特．馮．卓塔合導的《喪失名譽的卡塔琳娜．布魯姆》 （1975）作為代表。 「史特勞普－蕙葉」由尚馬希．史特勞普與丹妮艾勒．蕙葉這對前衛創作夫妻檔組成，他們雖來自 法國，卻自1950年代末起長期以德奧作為根據地，成為德國前衛電影代表人物。生涯代表作《無 法和解》透過跳躍時序的破碎敘事，反思二戰前後正陷入民粹狂熱的德國，屬於中產階級的犬儒 與懦弱。短片《妓女》中，彷彿更可見德國新電影早期創作圈的緊密互動，初出茅廬的法斯賓達 率一眾「行動劇團」班底主演，刻畫一段迷離卻充滿力道的戀曲。 編導演全才的瑪格麗特・馮・卓塔不僅常在法斯賓達早期作品中客串，她更為人稱道的是其女性 電影先鋒的作者身份。她在《喪失名譽》首執導筒，與彼時創作搭檔兼伴侶的雪朗多夫共同編 導，在片場，馮・卓塔專司演員的劇本詮釋，雪朗多夫執掌技術執行。影片敘述1970年代動盪的德 國社會，清白小女子遭誣陷而捲入一連串政治與社會壓迫。

不只是曇花一現的狂飆 六○年代的早期德國新電影長片因受委員會的補助，又被稱作「德國青年電影」，但並非所有宣言 簽署者都有機會拍攝他們的長片作品，儘管成功爭取政策資源，也獲得國際矚目，但這群創作先 鋒的前衛手法卻未有效獲得觀眾支持。第一波浪潮看似曇花一現，但也因為他們敢於衝撞產業體 制，而衝出一道持續供給的活水，並創造改革的契機，後續才有法斯賓達、荷索與溫德斯等人在 七○年代的接棒，迎來大鳴大放「德國新電影」的第二波浪潮。 專文 ESSAY

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文

羅心彤

在電影創作的過程中，電影美術是將文本視覺化的重要轉譯角色。在各崗位的創作 者間不斷激盪、來回後，找出預期外的語言，包含與生命及無生命的對話；他 們在持續辯證的狀態下創作，是魔法發生的地方。台灣電影產業和分工

之內

還在持續成熟的發展階段，因應每部片的預算、需求而發展出不同編 制。一般來說，美術工作包含場景、陳設、造型、質感、美術等範疇。 透過「電影正發生：電影美術」單元策展，我們更進一步介紹「藝術 總監」的概念。簡單來說，藝術總監在電影前期企劃和籌備期就加

外，景

框

故事

之

入團隊，在討論中再定義編劇

導演的原始概念及想像，用視覺的

角度討論劇本，建立美學和世界觀，統籌影像中所有的視覺元素， 為作品定調。

在策展時，我們訪談七位藝術總監

美術指導。雖然電影美術的工作流

程難以被標準化，但在接近這個題目的過程中，我們試圖找出切入路徑，整

理出每位創作者都曾提到的幾個關鍵字，並以此概略為基礎，成為「電影正發生：

電影美術目光之處，就是電影發生的地方 ——

電影美術」的起始點。

在劇本中看見角色，在故事中刻下時間 切入劇本的方式，因創作者的個人方法或或劇本形式、片型的變化而有所不同。有些創作者傾向直覺 地以感受進入故事當中，抓出劇本的主題；有些以情緒切入、有些先想像空間，也有些擅長以視覺結構 圖分析劇本。總的來說，在閱讀劇本的過程中，藝術總監便需要掌握作品的美學方向、調性以及視覺元 素，且三者相互扣連。以劇本為基底，美術實則為電影建構了一個宏大且完整的世界觀，並在其中以視 覺語言─ ─包括造型、顏色、質感等將之提煉。在執行方面，經驗豐富的創作者在閱讀劇本後，便可擬 定美術預算，在實際操作上是必備的重要能力。 電影跟情感有關，觀眾透過角色來理解、進入、投射部分的自己到故事中。電影美術在建立角色方面至 關重要。創作者有些時候會模仿真正的人物讓角色更立體，想像這些角色在劇本之外的生活方式、喜 好、閱讀或音樂品味等等。角色身處的空間、物件的使用習慣和痕跡也都在描述角色細節，這個地方是 誰在住？使用錢包的習慣是什麼？諸如此類的提問都在尋找更多線索。在讓角色更立體的嘗試之中，為 空間和物件寫小傳，或為角色和物件的關係寫小傳，也是幫助建立角色的方式。隨著特效越來越進步， 影像的細節呈現反而更仰賴實物，因為細節可以透露非常多的訊息，細膩的場景氛圍與道具設定，也能 在拍攝時幫助演員進入角色，讓角色更有說服力。 除了讓角色與依附其上的細節本身說故事，電影更是透過時間和空間敘事的藝術。時間不只改變具體 物質的新舊，也在故事流動的過程中，讓場景和物件順應劇本階段而產生變化。而環境、場景和物件的 痕跡，也都在傳達故事。如何在影像中讓痕跡作用於無形，正是電影美術展現功力之處。在勘景時，美 術組要能閱讀場景本身所在環境因經歷過的故事而透露出的訊息，這是真實場域可以給予的厚度。而 在場景的推進之中，呈現出時間感，鋪排需要的細節，也是建立世界觀的重要一環。

用好的眼光積累美學，更看見對手 在製作上，美術組和各組的配合都很密切。在初期劇本定稿、場景設定和角色建立上，仰賴導演、編劇 和美術的大量溝通；預算和執行上，製片和美術得緊密配合；現場拍攝時和攝影也須協調，必得一再來 204

專文 ESSAY

羅心彤，

回確認。因應片型不同，或各導演所長和習慣的差異，產生各種合作方式。有些導演擅 長用空間說故事，劇本注重空間細節；有些導演擅長用視覺語言說故事，在讀本階段

台北電影節節目資深專員。

就可以把場景圖畫出來。溝通默契也因人而異，有些人透過其他藝術形式像音樂、手 繪插圖，更能找到共同的語言，不一定只依靠話語或各種設計圖、氛圍圖、參考圖。相 較於美感養成，找尋合適的合作對象也是一個重要的能力，從判斷電影裡的視覺元素 到是否為合適的合作對象都要培養好的眼光。

靠近創作核心的三種方式 為了提供更多路徑進入電影美術的工作領域，電影正發生規劃影片放映與座談、線上 展覽和創作現場三個部分。延續去年的規劃，七位藝術總監

美術指導推薦對他們至

關重要的作品。有些作品影響他們閱讀電影的方式、有些則提供更多思考角度、有些 在美學上刺激出不一樣的觀點。透過映後座談，邀請推薦人現身說法，讓我們得以有 機會在閱讀電影時借用他們的眼睛。 台灣的電影美術大都自己摸索、建立工作流程。訪談時，我們發現每個人都很好奇彼 此的作法以及思考脈絡，也讓這個單元有一點偷窺的有趣感。線上展覽也以這樣的 好奇心出發，邀請參與的藝術總監

美術指導以自身經驗為例，分享思考方式和作

法，試圖靠近他們怎麼思考電影、製作電影，以及如何培養電影創作上的美學思考。 藉由影片放映、線上展覽，勾勒一個電影美術概略樣貌，也幫助我們初步理解電影美 術工作。

一場挑戰創作本身的實驗──電影正發生：創作現場 相較於放映和展覽，創作現場在設定上具有實驗性。創作現場一直是電影正發生的要 角，不是複製及擷取當今電影美術的具體工作流程，更希望藉此創造一個提供討論的 場域，探問何謂電影美術的本質。我們好奇，當習慣了電影語言，我們能否回到創作的 源頭？在這樣的提問下，也許我們才能更被提醒創作的自由和突破限制的意義為何。 在創作現場，我們思考創作過程的多種可能。今年參與創作現場的藝術總監李天爵， 回望並整理了他多年的創作經驗，大膽且充滿野心的做出一個朝向未來的實驗。在時 間和預算的限制之下，這不是一個無止境的自由創意遊戲，得因其他創作者帶著單純 的熱情和玩心加入才得以呈現。我們在中山堂光復廳打造出一個空間，邀請觀眾參與 視覺化電影語言的過程。並且在現場加入展演語言的轉化，同時處理空間、影像化和 時間軸，呈現電影美術創作的思考秩序。這是一個奢侈的過程，是親臨現場才能獲得 的經驗，也鼓勵觀眾自己賦予它意義。 最後，每年電影正發生都仰賴我們邀請加入單元策畫的電影創作者的投入和參與。本 次合作的七位藝術總監及美術指導，都盡可能排出時間接受我們多次的訪問、拜訪和 拍攝，在整理展覽素材和提供片單上也不厭其煩的配合來回溝通。就算是在工作繁忙 的爆炸期或是人在海外也與我們通話討論。因為創作者們的熱情和慷慨分享，才能在 短時間內收集到豐富且珍貴的內容。為了不辜負所有人的信任與幫助，這也是戰戰兢 兢的策展工作裡，讓我們持續堅持、努力達標的力量來源。 專文 ESSAY

205

By CHEN Pei-yu

The films by the Indonesian director Garin Nu-

changes, while the characters humorously dis-

groho represent profound and sad motifs such

cuss connections of dreams. A surreal universe

as body choreography, hymns for life, memories

is reflected through stark lights and shadows of

related to family or art history, historical trauma,

the mirrors and the sea. Children by the sea tend

and specific Indonesian arts and cultures. Con-

to dream. Are these visions or dreams, or the

trastingly, on these foundations, his daughter,

memory of a past life summoned in the middle

Kamila Andini, carries out feminine writing from

of the night? The film records traditional cere-

women’s perspectives by adding tenderness,

monies such as birth rites, weddings, funerals,

poetic touches, and affective warmth.

and animal release, rendered in ways similar

Inheriting Her Father’s Approach and Attentive to Children’s Perspectives

perspectives of little boys, while Andini completely focuses on the innocent but rebellious world of little girls, reflecting the stress upon a mother in facing reality. In The Mirror Never Lies, a fishing village girl shows various abnormal her

because

father

was

lost at sea. Her

R WA N D E T

O R D IN IE S A N TIM ACY

inner longing

I IM NG I N M E M E E OF FEMAL

and the cruelty of the sea are reflected and rendered through the ocean and a mirror. The film

opens

tically

shadows in nature and disasters are captured and preserved through a documentary style as

The films by Andini’s father are based on the

behaviors

to those in Nugroho’s early films. Lights and

myswith

a

shaman’s prophecy, in a way similar to

Nugroho’s general cine-

well as poetic and picturesque cinematographic compositions. Moreover, in The Mirror Never Lies, environmental and social issues are tackled through dialogue, covering out-migration of people, the sea level decline indicated by coral islands, changes in the ecosystem and natural environment reflected by the endangered dolphins, the disappearance and change of fishing villages by the sea, and “houses should be built above sea level to prevent damage to the animals’ original habitats,” words repeatedly told by the little girl’s father. These seemingly fantastic worldviews are just ordinary in a foreign land, involving the creation of a harmony between man and nature which we tend to ignore. The realities of a woman raising a family and the work risk of men are represented abundantly in this film. The female-led universe around a sea house is portrayed through the sea, the mother nurturing all beings. The Seen and Unseen is similarly based on the perspective of a little girl. With a twin sister and her inseparable twin brother as the protagonists, the film’s fatalistic opening accentuates a sense of tragedy, combining cinema, theater, dreams, mythology, rituals, and contemporary

Into the Dreamy Universe in Kamila Andini’s Films

dance. The boy is punished by gods for stealing eggs, or designated as the subject for communicating with the gods. As symbols of the life cycle, the egg white and egg yolk embody oneness and correspond to the yin-yang symbiosis and balance. The scenes where one of the twins sleeping and the other being active, epitomize duality on abstract levels while sug-

matic approach. The characters are taken as fatalistic beings, while absurd content is deployed to tackle realities which people are reluctant to discuss, such as the disappearance of the girl’s father. Missing and dreams are part of the little girl’s daily life. Through the innocence of the girl and a boy who support each other, songs are interspersed as metaphors for environmental 206

專文 ESSAY

gesting being summoned by gods in a dream. Communication with the gods is made via a shadow play by the younger brother, while the sister metaphorizes the goddess of Moon when dancing with her younger brother. The ordinary nature of the spirits in Indonesia is embodied in local traditional myths. Rather than a scary ghost movie, this film subverts stereotypes of

horror movies from the Southeast Asian region.

scious reactions before or after each event the

Animals’ shapes and behaviors are metaphors

heroine encounters, which are actual memories

for connections between humans and animals

and prophecies based on stories, announcing

or for the animality of humans, while humans

that her fate will repeat itself, like history. The

-

are possessed in order to serve gods. The plot

trauma of past wars and broken families per-

is set in a hospital, a metaphor for the bounda-

sists in the mind of the heroine who believes

Translated by Sylvie LIN

ry between life and death. The brother is never

she is the cause of the deaths. She lives in the

present as a real person when his sister enters

present with these traumas which derange her

his ward. All their interactions take place in the

attitude towards life. In a situation with seem-

sister’s dream or in her imagination of her broth-

ingly reversed time and space, she must make

er being able to get up easily. The diverse set-

a choice about the future by carrying her past

tings are like the curtains of a stage play. The

and present. While her relatives and friends

last scene where the girl grasps a dry rice plant

criticize her for her divorce, no one can un-

in her hands symbolizes the end of the play

derstand her problems accumulated over the

dedicated to gods, which represents the start

years, involving her internal trauma, the infidel-

of the next story cycle in the Indonesian shadow

ity of her husband, and the conservative patri-

play, just like a never-ending life cycle.

archal marriage system. Meanwhile, the overall

CHEN Pei-yu Independent art critic.

From a Girl to a Woman In contrast to the visions of girls, the protagonist of Yuni is in her adolescence for exploration, with purple as the taboo color running through her destiny. An Indonesian symbol for widows, this color also illustrates the heroine’s broken heart following her third wedding after rejecting two proposals. The film starts with the virginity rule in Islam which controls teenage girls’ right for sexual autonomy, which runs parallel with the fatalism implied in the heroine’s refusal to proposals. The living conditions of different classes are represented through various female characters, such as a traditional grandmother, a mother without a degree but supporting her daughter to chase her dream, a high school classmate forced to marry, and a single woman who married early and divorced after a miscarriage. The film tackles patriarchal polygamy and even explores the mentality of a male cross-dresser under a heavy secular pressure. Apparently a simple bildungsroman of a senior high school girl, the film actually reflects the epitome of discrimination against women in Indonesian society. With images of strong and bright colors, the heroine’s wedding in June is announced through a book of poems titled “Rain in June”, indicating an inevitable tragic ending. A woman’s long hair covers up some secrets. In Before, Now & Then, marriage and love are discussed through the identities of being a mother and a wife. Women’s tragic fate is reflected

atmosphere becomes relaxing through the employment of music. The characters respond to drastic life events and experiences such as affairs, divorce, and children’s romps with a calm and rational attitude as well as communication filled with love. The background of the film is the European-style high society in Indonesia at the transition from Sukarno and Suharto, two communist leaders of the country. The use of music, camera movement, and light-shadow composition are similar to the romantic, poetic and ambiguous atmosphere typical of films by Wong Kar Wai. Compared to other films by Andini where the father figure is generally hidden, the presence of the father in this film is enhanced. Tradition-oriented and loving, he tolerates and cherishes everything about his wife. Although he has an affair, he still loves his wife and children. Facing rumors and gossip, he still protects his wife’s image. Rather than taking his wife as an object, he hopes she can freely be herself, thereby subverting male stereotypes. In summary, the mirror-like films by Andini attempt to discuss fatalism about women, exploring the possibility of women’s reflection when facing the repression of Indonesian traditions. Do they possess their own autonomy, or their fate remains inevitable? Andini’s films seem to lead the audience into a different time and space of fantasy and imagination, as mysterious and soft as a classical oil painting, where melodies and verses of joys and sorrows in life arise.

upon through trauma and guilt. The film starts with a dream that runs through and accompanies the nightmares, prophecies or subcon專文 ESSAY

207

By Steven TU

How to describe Qiu Jiongjiong? Perhaps with “slash”, a highly popular novel term among young people today! Born in a family closely associated with Sichuan opera, Qiu is an opera connoisseur and is passionate about theater. He also excels in painting and photography, and his portraiture is particularly idiosyncratic. Stepping into filmmaking, he first made documentaries covering relatives’ and friends’ jokes as well as life situations of others, before making his first feature films as a scriptwriter, director, and production designer. His first feature film represents a remarkable virtuosity rarely found in a debut. In viewing multiple works by one direc-

Q I U J I ON

tor, I generally follow his/her filmography

AMA ON

DR

G

JI

chronologically. But when it comes to

G: LIFE I

SA

Qiu Jiongjiong, I tend to abandon this convention and rather start with his latest output and debut feature A New Old Play as an ideal approach to his oeuvre. From form to content, this film epitomizes a panorama of his accomplished

“slash” career and even clearly indicates the trials and influences from his documentaries.

A New Old Play is adapted from the life story of

Qiu’s grandfather Qiu Fuxin, a famous Sichuan opera

actor. But the story begins with the dead protagonist led by

underworld guardians on the path to Hades. The deceased jokes about his development in the troupe during his lifetime, along with the merciless perils and fluctuations at the time, alternating between fantasy and realism, the real and the illusory. A shop boy played by a white-faced harlequin (the grandfather was known as a harlequin in Sichuan opera) swiftly shuttles through this in-between space at the yinyang divide. Whether the Kuomintang or the Communist Party dominates or withdraws, whether the people are rich and happy, or poor and distressed, actors always provide a useful remedy for escaping from reality. However, despite their splendid onstage presence and the audience’s thunderous applause, once the actors are off the stage without makeup, they live just like common people and profoundly perceive impermanence and human nature. In A New Old Play, the narrative flow between yin and yang indicates an awareness of the blurred boundary between drama and life, with clever shifts between tragic and comic rhythms. More importantly, Qiu Jiongjiong manages to represent unique art forms despite cost constraints. Presumably, the film was entirely shot with indoor settings. A rich sub-text is constructed with a true-false narrative, a blend of genres, as well as vivid and gorgeous fabricated scenes, props, and costumes. Similar to the famous Swedish director Roy Andersson’s approach, the spatiality in one shot is skillfully expanded via trompe-l’oeil, unfolding Chinese history of the past half-century without resorting to location shooting and special effects. Moreover, Qiu masterly complements and extends the mise-en-scène in limited space via nuanced light and shadow, chromatic aberration through smoke, and camera movements. Therefore, the three-hour film is not burdened with visual fatigue or theatricality, showing the director’s dynamism in representing hybrids of life and drama through elaborated cinematic forms.

208

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Steven TU Film critic, film selection consultant of Taipei Film Festival program team. Translated by Sylvie Lin

Such a distinctive trait can be grasped in hindsight when we look back at Qiu’s previous documentaries after watching A New Old Play which summarizes his oeuvre. Characters are central to all his documentaries, whose characteristics and experiences imply a profound “absurdity” represented with concepts of dramatic forms. Largely comprised of interviews, these documentaries imply a strong narrative rhythm imbued with a rare sense of humor, embodying their consistent motif, “life is like a drama”, while remaining highly intriguing regardless of the seemingly century-old cliché. In Qiu’s debut documentary, The Moon Palace, what is originally a record of his father’s restaurant “Guanghang Palace” soon to be closed is transformed via a spontaneous and free cinematographic language, virtually turning this restaurant into a stage with family members and customers becoming brilliant actors showing up successively. They recite poetry, comment on wine, and, of course, watch operas, ultimately conveying a lyricism of family heritage. The Moon Palace can be paired with My Mother’s Rhapsody which starts with tales of house demolition told by the director’s grandmother. In addition to the granny’s adorable personality, the film similarly delivers feelings that run through the extended family history. Meanwhile, Ode to Joy pays tribute to the life of the filmmaker’s grandfather as an opera actor. Qiu Jiongjiong also explores subjects beyond family, while maintaining his consistent formal qualities. In Madame, interesting cuts show Madame Bilan de Linphel singing on the stage and the tailor off the stage, both facing the camera, reflecting avatars of the same soul. The protagonist’s exhilarating chatter ranges from shitty life to her youthful obsession with selling her body. The seemingly frank and revealing confessions are, however, comparable to constant “performance”. A Portrait of Mr. Huang comprises stories told by a retired old police officer. Each of these tales is so exaggerated that one cannot tell whether it is true or false. Rather than a portrayal of the turbulent and painful experiences dominating the life of the protagonist Zhang Xianchi, Mr. Zhang Believes (2015) is better considered as a pre-étude for Qiu Jiongjiong’s next film, A New Old Play. Various dramatic elements and visual approaches are deployed to represent the fluctuations in Zhang’s life story involving descriptions and commentaries, mournfully revealing the character’s confusion, sense of absurdity, and helplessness in the face of politics, the status quo, and beliefs. In “Filmmaker in Focus”, Mr. Zhang Believes is particularly presented in the director’s five and half hour version. Based on his cultural upbringing and artistic cultivation, Qiu Jiongjiong has shaped a unique and distinctive visual style. In his works ranging from documentaries to feature films, the image-based storytelling unfolds naturally with peculiar traces, with his debut feature A New Old Play as a promising invitation to his upcoming films.

專文 ESSAY

209

By Edmond WONG

Once directed 16 fiction features, more

old horror/thriller in Targets with con-

documentaries about cinema masters, Pe-

temporary cold blood; in The Last Picture

ter Bogdanovich passed away due to Par-

Show, he painted a high school life disil-

kinson’s disease on January 6th this year

lusioned during Korean War between 1951 and 1952; the Great Depression in Paper

in Los Angeles. Even to senior cinephiles, “Peter Bogdanovich” is a name almost forgotten by history, suddenly rises to

E L E G Y.

”

“

NEMA

I

the surface of the water. This

mersed with elegiac lamentation – all the irreparable things have drifted away. Simultaneously, the landscape was often a character of its own. Targets’ cold-

ing waves parallelly with the

blooded drive-in theater and tank farm in

afar French New Wave, mis-

San Fernando Valley; the bleak and empty

fortunately went across three

streets and the haystacks tumbling in the

consecutive box office flops

wind in The Last Picture Show and Texas-

of Daisy Miller, At Long Last

ville visualized Larry Jeff McMurtry’s orig-

and

inal novel; the desolate Kansas town and

followed by many of his works

the kaleidoscopic carnival in Paper Moon;

were undervalued, this ever-shift-

Daisy Miller’s Swiss views; Saint Jack’s

ing world seems to recklessly overlook

complex scenarios in Singapore; the de-

his not-so-topical films. Consequently, the

railed actions at backstage and frontstage

titles such as Mask, Saint Jack, and even

in Noises Off; Manhattan’s skyline in They

and

Nickelodeon,

the earliest Targets were rarely mentioned. Needless to mention the zesty screwballs, of which effortlessly inherited the style of

All Laughed; Mask’s California high school life concealed Rocky Dennis’ tender dream; the country music embodied Nashville in The Thing Called Love. Emotions and landscapes are blended into one. The funerals in his films were truly unforgettable. The burial lifted the curtain on the Great Depression in Paper Moon; the one

Howard Hawks and Blake Edwards.

in The Last Picture Show was like a burn-

He was born on July 30th, 1939, in Kinston,

personal feelings (his father passed away

New York. Peter often brought up that his

during the shooting of this film); William’s

father was an artist and a pianist, 20 years

funeral in Saint Jack was a death of a wan-

older than his mother, and part Serbian

dering soul in a foreign land; the decease in

and part Jewish. His father often brought

Mask meant a loss of a heart full of warmth

them to a cinema named Alden located in

and love.

the neighborhood. He saw Dumbo at the age of 3 and didn’t quite like it. Until he saw Hawk’s and Edward’s Red River, I was a Male War Bride, She Wore a Yellow Ribbon, Scarface, and many more, he then started to fully appreciate cinema arts. Starting from the age of 12 till 30 (1952-1970), he created his own notes on films containing 5 to 6 thousand cards, this became his alternative education, plus, with the influences of his close cinema maestro friends, we could say that he was a universally acknowledged cinematic encyclopedia.

專文 ESSAY

world in hollow Asia. His films were im-

of the New Hollywood, mak-

——Peter Bogdanovich

210

Moon; to Saint Jack’s vagabond under-

virtuoso who once was a pilot

Love,

S

CI

Peter was very nostalgic, juxtaposing the

than a dozen TV productions, and many

ing cloud, perhaps it merged with some

Originating from his affectionate and subjective takes and his delicate portrayal of different feelings, Peter’s films were elegant, witty, and poignant. In The Last Picture Show, all the wounds were understood in silence by a look exchanged between the classmates; in Mask, Dennis’ gaze into the distance secretly concealed the heartbreak moments of unreachable dreams; in Paper Moon, the substitute father-daughter relationship, whether it was the lies, bickering or the chemistry between them, they were all acrimony and affection under the times

Edmond WONG Film researcher. Translated by Stephanie SU

of recession. Peter’s dolly-out shots and

Also worth mentioning, very often, he had

objective wide shots helped his films stay

shown his creative theatrical scriptwriting

away from melodramatic indulgence just

endowment, besides his achievement in

right, expanding them to a rippling poetic

adaptation and original screenplay writing,

style.

many have heard his inventive arrange-

No one should omit his mastery of acting. When he was 15 years old, he started to study acting at the American Academy of Dramatic Arts and as an apprentice in Traverse City, Michigan. Claiming that he was 18 years old to the heavyweight acting coach Stella Adler, the daring Peter started his official acting lessons at the age of 16. At 20, he persuaded Clifford Odets to let him direct one of his plays Off-Broadway. Before making films, he was already a seasoned stage director, and always saw directing as an extension of performing. No wonder this young man dared to cor-

ments for Targets. Originally, Peter was helping Roger Corman rewrite the script of The Wild Angels, while Boris Karloff owed Corman two workdays, Corman suggested Peter direct another film for him. Peter then used the 20 minutes he shot with Karloff during the two days, another 20-minute clip from Karloff’s previous film, shot 40 minutes of a different story, and then an 80-minute film was made. Peter surprisingly consented to this offer, based on the incident of “Charles Whitman’s random killing of 35 people”, he created a nostalgia-conscious thriller.

rect big movie stars on how to say dia-

It’s hard not to admire the loose story

logues and make body movements. In The

structure in Saint Jack, which was heavily

Last Picture Show, Ben Johnson told two

influenced by Cassavetes. At first, it was

young men at the riverside “How did this

fidgeting to watch how the Asians were

country become like this!” The river runs

discriminated against in the film, but after

wild in the background. Cloris Leachman

seeing the whole film I realized it was just

played a resentful housewife - she smiles

like Polanski’s Chinatown - projecting an

like a blossomed flower when she’s in love

abyss of despair.

but is desolate like a desert when opening the door afterwards. A scene in the kitchen reminds me of Agnes Moorehead in Orson Welles’ The Magnificent Ambersons. They both won Oscars, and that was definitely not out of pure luck.

Only five well-known films from Peter were selected for this edition of the Taipei Film Festival. The truth is he was also very good at rom-com, his early title, What’s Up, Doc?, reminds me of Hawk’s Bringing Up Baby, paying tribute to screwball classics;

Speaking of acting, we couldn’t miss his

also regrettably missing, They All Laughed,

inherent improvisation. Whether it’s come-

full of dramatic gossip whether onstage or

dy or tragedy, Peter always lets the actors

offstage; even the Woody Allen’s film style

carry a sense of improvisation. Unlike tra-

She’s Funny That Way wasn’t selected

ditional acting, the actors feel the authen-

because of the limited space, resulting in

ticity of the characters while they project

missing out on his wisdom, humor, the vast

themselves onto them. For instance, the

knowledge he had on the history of cinema,

language and words used by younger gen-

and the love and perspective he had toward

erations in The Last Picture Show, Mask

women. Hope that we could have another

and The Thing Called Love, could all relate

focus screening of his works in the future

to the time and age of the life depicted.

to experience his perception of seeing life

The 60s truly propelled the taste-of-life

through a lens once again.

acting to a new era, France, Eastern Europe, the UK, and the US all started once

Sunshine after the rain, May 7 th, 2022

again to search for the true meaning behind performing. Peter Bogdanovich, along with John Cassavetes, Francis Coppola, and Martin Scorsese were all the driving forces for it.

專文 ESSAY

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0T

The post-World War II West German film industry was dominated by major film studios which prioritized commercial interests and continued to reproduce clichés of genre films. The industry gradually declined to the extent that, in the late 1950s, film critics practically ignored it.

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In Taiwan, when speaking of New German Cinema, Rainer Werner Fassbinder (1945-1982) with a brief but brilliant artistic career, Werner Herzog with an idiosyncratic madness, and Wim Wenders with elegance and delicacy are the three giants generally evoked. But the actual origin of the New German Cinema remains barely explored.

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By Jianluen HUNG

Back to the Start of the New German Cinema On February 28, 1962, a press conference titled “Papas kino ist tot!” was held by 26 young German filmmakers of short films and documentaries on the occasion of the 8th International Short Film Festival Oberhausen, a large-scale short film festival in West Germany 1. At the conference, the manifesto signed by them was read by director Ferdinand Khittl, one of the drafters, while director Alexander Kluge hosted the interview.

The 26 filmmakers and film professionals comprised 18 directors, five cinematographers, one film scorer, one animator, and an actor.

1

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專文 ESSAY

Concise and powerful, this statement titled the “Oberhausen Manifesto” points to an inevitable breakthrough for German cinema, stating that its future should be in the hands of the emerging West German short filmmakers successively gaining an international reputation in recent years, who “speak in a new cinematic language”. The young filmmakers also advocated for a space free from strong intervention by the existing industrial system with commercial interests, emphasizing that “we have the power to create New German Cinema.” Moreover, they had conceived the concept, form, and revenue model of this cinema and were resolute to venture. The manifesto ends with these phrases, “The old cinema is dead. We believe in the new cinema.”

A Realism for the Home Country through the Most Avant-Garde Approach West German studios kept on reproducing escapist melodramas or clichés of cop thrillers, which were popular with the general public. Meanwhile, for these young filmmakers deeply influenced by the thinking of the Frankfurt School, cinema is an art form and a different aesthetic path should be created to fully reflect the status quo of society. Accordingly, in the program “60 th Anniversary of New German Cinema”, the selection of short films from the 1960s also reflects the subjects and cinematic orientations that interested these filmmakers. Some filmmakers focused the camera lens on ordinary life. For instance, Shadows (1960) captures shadows of people in urban spaces, creating a playground of shadows. The experimental documentary BAU 60 (1961) represents the life on the construction site of a building. Salinas (1960) presents the routine work on salt flats via specific editing approaches, while Granstein (1964) captures the life and distress of a family of twelve in a remote farming village. Other filmmakers recorded aspects of the West German society following modernization. Through a montage of sound and image, Trab Trab (1959) represents the costly recreations of the bourgeoisie in capitalist society. The short film Technology of Communication by Edgar Reitz, a major figure of the early New German Cinema, attempts to interpret the evolution of modern communication through an unconventional visual language. The short documentary Notes from Altmühltal reveals how the local gentry’s shortsightedness stagnated the modernization process in an old town in Southern Germany. Some filmmakers seriously reflected on the insanity of Nazi Germany. Imprints of the Nazi government’s will in its architectural style are represented in Brutality in Stone (1961), a short documentary co-directed by Kluge and Peter Schamoni, two representatives of the manifesto. The experimental short film Weimar Republic Posters (1962) tracks the rise of the Nazis and the decline of democracy during the Weimar Republic reflected in contemporary propaganda pictures. Moreover, a number of films reflect contemporary political issues. Moscow Is Calling! (1959) represents contemporary young European leftists’ over-idealizing longing for communism. The animated film Weeds (1962) is a fable about the bureaucratic inefficiency in modern society. Meanwhile, the main puppet in the animated film Puppets (1964) depicts the social microcosm formed by various puppets in the troupe.

Jianluen HUNG Programmer of Taipei Film Festival Program team. Translated by Sylvie Lin

The First Wave Poured through a Revolution within the System Back to the Oberhausen Manifesto. While this rebellious statement with an oedipedian patricidal vigor caused an uproar in the media and the industry, the signatories proved themselves with organized actions. Four months after the declaration, the key members founded Young German Film Foundation, a private non-profit organization in Munich, which was transformed into the public Kuratorium Junger Deutscher Film in 1965, in charge of selection for a debut feature grant for West German filmmakers. Kluge’s first feature film Yesterday Girl completed in 1966 was the first to receive the grant, and the list of films to be subsidized by the organization amounts to a chronicle of New German Cinema. On an institutional level, national resources were successfully introduced through the actions of these advocators, which became a major resource for the new wave of German cinema that would last nearly 20 years. New German Cinema naturally ushered in a wave of explosions in 1966. Kluge’s Yesterday Girl won the Special Jury Prize at the Venice Film Festival. Young Törless, the debut feature film by Volker Schlöndorff (director of The Tin Drum) won the FIPRESCI Prize at the Cannes Film Festival, where Ulrich Schamoni’s debut feature It was selected for the official selection. Further, It won five German Film Awards that year, including Best Director, Best Feature Film, and Best Actress. Meanwhile, Edgar Reitz’s Table for Love completed by the end of the year won the prize for best first film at the 1967 Venice Film Festival. Importantly, these feature films carried on a consistent creative spirit. For example, the anachronic Yesterday Girl under the surface of an urban romance essentially conveys the ups and downs of survival in capitalist society through the experience of an East German girl making a living in West Germany. It depicts a young woman forced to face the taboo about abortion due to unintended pregnancy and also captures the capital city Berlin rebuilt in post-war. Meanwhile, Table for Love allows perceiving the stress of life and reality via the character of an ordinary man overwhelmed by naive and excessive love. Through a masterly mise-en-scène, Young Törless depicts the intrigues of a group of boys, representing the filmmaker’s insight into human nature and desire for power. Female Figures: The Flank of the Wave Noteworthily, the signatories of the Oberhausen Manifesto were not the only pioneers in West Ger-

man cinema. In addition to this group composed entirely of male filmmakers, a number of female filmmakers were standing at the forefront of the wave. Within the limits of the program ”60th Anniversary of New German Cinema”, the female auteurs were represented with the following films: two avant-garde works by the filmmaking duo Straub-Huillet, namely Not Reconciled: or Only Violence Helps Where Violence Rules (1965) and The Bridegroom, the Actress, and the Pimp (1968), as well as The Lost Honour of Katharina Blum (1975) by Volker Schlöndorff and Margarethe von Trotta. “Straub-Huillet” refers to Jean-Marie Straub and Danièle Huillet, an avant-garde filmmaking duo. The French-born couple based in Germany and Austria since the late 1950s would become representative figures of German avant-garde cinema. In Not Reconciled, the representative work of their career, the cynicism and cowardice of the middle class amid the populist frenzy in Germany before and after World War II is reflected through a fragmented anachronic narrative. Meanwhile, the short film The Bridegroom, the Actress, and the Pimp gives an idea of the close interaction in the art scene associated with the early New German Cinema, with the fledgling Fassbinder leading members of the “Action-Theater” to perform and portray a mysterious yet powerful love story. A screenwriter, a director, and an actress, Margarethe von Trotta was known as a pioneering female auteur in cinema, in addition to her frequent guest appearances in Fassbinder’s early films. Her directorial debut, The Lost Honour of Katharina Blum, was co-written and co-directed with Schlöndorff, her collaborator and husband. On the set, von Trotta was responsible for actors’ interpretation of the script, while Schlöndorff was in charge of technical execution. The film represents the turbulent German society of the 1970s, where an innocent young woman is framed and involved in ongoing political repression. More Than Just a Flash in the Pan According to its funding source, the early New German Cinema of the 1960s was also termed “Young German Cinema”, but not all the signatories of the manifesto had the chance to make feature films. In addition, although these pioneering filmmakers successfully obtained policy-based resources, their avant-garde approaches failed to gain adequate support from the audience. While the first wave seemed short-lived, their initial collision with the status quo in the industry gave rise to a running stream of living water, created the turning point for revolution, and the baton would be passed down to Fassbinder, Herzog, and Wenders who ushered in a full-fledged second wave of German New Cinema in the 1970s. 專文 ESSAY

213

By LO Hsin-tung

In the process of filmmaking, production design lays a crucial translatory role in text visualization. After constant back-and-forth storming between creators in various positions, an unexpected language is determined, which implies dialogue with the living and the inanimate. These creators produce works in a state of incessant dialectics; it is where magic happens. Taiwan’s film industry and its labor division are still in a stage of development toward maturity; various line-ups have thus been developed in correspondence to the budgets and needs of different films. Generally speaking, the job of Art department includes the domains of scene-setting, furnishing, styling, texture, art design, etc. By curating the program titled “In Progress: Production Design”, we further introduce the concept of “production designer”. Simply put, a production designer joins a team as early as the pre-planning and preparation phases of film production, redefines the original concepts and imagination of the screenwriter/director through discussion, deliberates the script from a visual perspective, establishes aesthetics and a worldview, and integrates all the visual elements in image to set the tone for the work.

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A Film Takes Place Where Production Design Casts Their Eyes During the curation, we interviewed seven production designers/art directors. Despite the difficulty in standardizing the workflow of art design, in approaching this topic, we tried to seek entry paths and sorted out keywords commonly mentioned by individual creators. By summarizing the elements above, the starting point of “In Progress: Production Design“ was determined. See the Character in the Script; Carve Time into the Story The approach to a script varies depending on a creator’s individual method, or the script type and film genre. Some creators tend to intuitively enter a story following their feelings and grab the theme of a script; others approach through emotions, or imagine the space first; still others excel at analyzing a script with visual structure diagrams. In general, in the script reading process, the production designer has to grasp the aesthetic direction, tonality and visual elements of a work by interlinking the three aspects. Based on the script, the production 214

專文 ESSAY

designer actually constructs a grand and complete worldview for the film, which is then refined through a visual language including styling, color, texture, etc. In terms of execution, experienced creators are able to plan a production design budget after script reading; such ability is necessary and crucial in actual operation. Cinema is about emotion. Through characters, the audience understand and approach a story while projecting parts of themselves into it. Art department is essential in developing characters. Creators sometimes imitate actual persons to make characters more three-dimensional by imagining their lifestyles, preferences, reading or music tastes beyond a script. In addition, details of a character are also depicted through the space he/ she is in, his/her habits of objects usage and the traces left. Who lives in this place? What is the person’s habit of using his/her wallet? Such questions aim to seek more clues. In an attempt to make the character more three-dimensional, writing short biographies of spaces and objects or on the relationships between characters and objects also contribute to character development. Even though special effects have become more and more advanced, details in images come to depend more on actual objects because the details can reveal rich information. Delicate atmosphere in scenes and prop-setting can also help actors enter their roles during shooting, thus making the roles more convincing. In addition to making characters and the details attached to them tell stories, films are an art of narration through time and space. Time not only alters the newness and oldness of concrete materials, but also makes scenes and objects evolve in corresponding to diverse stages of the script during the flow of a story. Meanwhile, the story is also conveyed through traces of environment, scenes, and objects. How to make traces function imperceptibly in images is exactly where a production designer demonstrates his/her strength. During location scouting, the art design team have to read the messages revealed from the environment through the stories experienced in a location, which represents the thickness endowed by a real site. In the unfolding of a scene, a sense of time is represented in a way to deploy necessary details, which is also crucial in creating a worldview. Aesthetic Accumulation with a Good Eye to Better Identify One’s Match In production, the art design team cooperates closely with other teams. The initial stages such as script finalization, scene-setting, and character establishment rely on lots of communication between the director, screenwriter, and the production designer. In terms of budgeting and ex-

LO Hsin-tung Program senior coordinator of Taipei Film Festival program team. Translated by Sylvie LIN

ecution, the producer and the production designer must collaborate closely. During on-site shooting, the production designer has to coordinate with the cinematographer and carry out necessary back and forth confirmations. Diverse types of cooperation have emerged in responding to various film genres, or different strengths and habits of directors. Some directors excel at telling stories through space and emphasize spatial details in a script; others are good at telling stories using visual language and can draw pictures of scenes already during script-reading. Tacit understanding in communication also varies among individuals. For some people, words or various design drawings, ambience drawings, and referential drawings are not necessarily the only means in determining a common language, and other art forms like music and hand-drawn illustrations are better in this regard. Compared to aesthetic cultivation, finding suitable partners is also an important skill. Cultivating a good eye is essential for judging visual elements in a film and identifying suitable partners. Three Approaches to the Core of Creation To provide more paths into the job range of a production designer, three parts are planned for “In Progress“, including “Screenings and Q&As”, “Online Exhibition”, and “On-Site”. Following the planning of last year, seven production designers/art directors recommend works significant to them. Some works influence the ways they read films, others provide more perspectives of reflection, and still others stimulate different viewpoints aesthetically. “Screenings and Q&As” where recommenders are invited to speak provide us an opportunity to borrow their visions when reading movies. Most production designers in Taiwan explore and establish workflows on their own. During interviews, we find that everyone is very curious about others’ practices and contexts of thinking, which also imbues the program with a delight of peeping. Such curiosity is also the starting point for “Online Exhibition” where the participating production designers/ art directors share their ways of thinking and practices based on their experiences as examples in an attempt to approach their ways of reflecting on and producing films, and of cultivating aesthetic thinking in filmmaking. A sketch of production designers is outline through screenings and “Online Exhibition”, which also leads to a basic understanding about the job of production designers.

An Experiment Challenging Creation Itself: “In Progress: On-Site“ Compared to the screenings and “Online Exhibition“, the setting of “On-Site“ is experimental. “On-Site“ has been playing an essential role in “In Progress“. Rather than copying and capturing specific workflows of production designers today, it is intended to create a forum for discussion to explore the essence of art design. We wonder: can we return to the source of creation once we are used to a cinematic language? Such questioning can perhaps remind us of the meaning of creative freedom and breaking limits. In “On-Site“, we imagine various possibilities of creative process. Production designer Lee Tien-chueh who participates in “On-Site“ this year looks back and summarizes his long years of creative experience, carrying out an experiment towards the future in a bold and ambitious way. Under the constraints of time and budget, this is not an endless game of free creativity and can only be represented given other creators’ participation with pure enthusiasm and playfulness. We built a space in Guangfu Auditorium in Taipei Zhongshan Hall and invite audience to participate in a process of visualizing cinematic language. In addition, the site of the program additionally implies transformation of the language of exhibition while the order of thinking in realizing production design is represented by simultaneously processing the space, imaging and timeline. This is an extravagant process, an experience that can only be attained in person on-site, and the audience are encouraged to endow their own meanings. Last, every year, “In Progress“ depends on the input and participation of the filmmakers invited to join the program planning. The seven collaborating production designers and art directors this year have spared time as much as possible to accept our interviews, visits, and shooting sessions. They also took the trouble to communicate back and forth regarding organizing exhibition materials and providing filmographies. Even during the super-intense period of busy work or when they were abroad, they still dialogued with us. Thanks to the enthusiasm and generous sharing of these creators, we were able to collect rich and precious content in a short time. This is also the source of strength for our continuous persistence and effort to achieve our goal in the adventurous curatorial work and in trying to live up to the trust and help of everyone. 專文 ESSAY

215

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銀都機構有限公司

New Europe Film Sales

CHEN Hao-wei 陳浩維

Max SUEN

Natalia DĄBROWSKA

peking7341@gmail.com

maxsuen@silmetropole.com

natalia@neweuropefilmsales.com

+886-905-065-353

+852-5127-0111

Pyramide International

SKY FILMS Entertainment Co., Ltd.

Alberto ALVAREZ

華映娛樂股份有限公司

alberto@pyramidefilms.com

Simona LEE 李怡萱

+33-1-42-96-02-20

s012425@gmail.com

festivals@sanosi-productions.com +33-2-37-99-52-35

+49-89-417-76751

+48-698-903-038 O ──────────── Oyster Films

+886-2-8772-1006

Christina DEMETRIOU oyster.films.info@gmail.com

R ──────────── Splash Pictures Inc.

+49-176-611-70957 REASON8 Films

水花電影股份有限公司

Anna KRUPNOVA

Clifford MIU 苗華川

ak@reason8films.com

clifford@beringpictures.com

+44-791-462-1232

+886-930-360-295

CAO Liuying 曹柳鶯

Ruddy Production

Swallow Wings Films

info@parallaxchina.com

紅潤影像製作有限公司

海鵬影業有限公司

+49-157-393-47014

Mia CHENG 鄭紹敏

Albert YAO 姚聖洋

smcheng1220@gmail.com

pacificoceansy@gmail.com

+886-919-862-432

+886-2-2361-0873

P ──────────── Parallax Films 視幻文化

Park Circus Group Evie KORZEC marketing@parkcircus.com +44-141-332-2175

版權資料 PRINT SOURCE

219

Volos Films LTD.

Yuan Dian Film Co., Ltd

飛望影像有限公司

原典國際影視製作有限公司

Taiwan Film and Audiovisual Institute

Stefano CENTINI 陳璽文

LIU Yu-chen 劉又甄

國家電影及視聽文化中心

stefano@volosfilms.com

wing10100119@gmail.com

Lulu JENG 鄭熙穆

+886-2-2368-0538

+886-916-182-695

T ────────────

systemservice@tfai.org.tw +886-2-8522-8000

W ────────────

YANG Hao-chun 楊皓鈞 howardaustin0911@tfai.org.tw

WANG Yan-ping 王彥蘋 grainrain08@gmail.com

Tamasa Distribution

+886-916-396-573

Laurence BERBON laurence@tamasadistribution.com

WILD BUNCH

+33-1-43-59-01-01

Esther DEVOS festival@wbinter.eu

The Match Factory

+33-1-43-13-21-64

Valentina BRONZINI info@matchfactory.de

WU Hshan-wei 巫軒瑋

+49-221-539-7090

wudijackson@gmail.com +1-814-777-2265

Totem Films Núria PALENZUELA CAMON

WU De-chuen 吳德淳

nuria@totem-films.com

CHENG Yi-ping 鄭怡萍

+33-6-30-84-75-75

mandala4.films@gmail.com

U ────────────

Y ────────────

Uluka Productions

Yi Tiao Long Hu Bao International Entertainment Co.

DING Ningyuan 丁寧遠 ningyuan.ga@gmail.com +86-139-284-08964

Sivaneid LEE 李其璇

V ────────────

+886-918-982-266

Visit Films

YU Yu

Tarek SHOUKRI

余聿

ts@visitfilms.com +1-718-312-8210

220

一條龍虎豹國際娛樂有限公司

版權資料 PRINT SOURCE

sivaneid@gmail.com

yuyustopmo@gmail.com +886-912-508-382

影片索引 （依筆劃順序排序） 180

60號大樓施工中

一劃 ───────────── 142

一二三我仨不落單

127

永安鎮故事集

108

146

永別了，柏林

24

92

白線REALIGN

阿媽有咗第二個 陀陀

九劃 ───────────── 134

保姆太辣了，我怎麼辦！？

冰島少年三加一

193

後窗

21

吃葡萄不吐葡萄皮

174

昨日女孩

21

回家了

23

洋裝

大俠胡金銓

181

在鹽田

17

美食無間：第 1-2 集

152

大酒樓

128

地方小鎮好吃驚

120

大獲拳勝

二劃 ───────────── 169

七美人

118

人造眷戀

三劃 ───────────── 83

六劃 ───────────── 46-47

48-49

42-43, 69

美國女孩

她和她們的電影課

100

重訪 面具

37

小丑與天鵝

123

老男孩奮鬥日記

164

86

小黃花

180

艾穆塔小鎮記事

十劃 ─────────────

小說家電影

七劃 ─────────────

147 58-59

小藍

四劃 ─────────────

妓女。演員。皮條客

191

倒帶人生

145

我心悵然如詩

167

原野百合花

60-61

夏日悄悄話

77

我吃了那男孩一整年的早餐

190

內陸帝國

84

我那遙遠的呼喚

105

公寓裡的兩個女人

79 175 78 125

少年吔 少年杜里斯 月老 王者製造

五劃 ───────────── 141

他方的短歌

109

加爾各答往事

166

半邊人 去你的垃圾山莊

52-53 87

台北過手無瞑無日

97

弗蕾達的抉擇

160 56-57

末路狙擊 正義的現跡

修行

172

不想一個人

74

73

140

116

娜娜：逝水年華

沉睡巨人之子

22

家家

那天，我媽偷了老師的車

91

島影

初戀慢半拍

82

庭中有奇樹

135

恁阿嬤cut好

咒

136

海王星夜曲

154

姑奶奶

113

海洋魔鏡

173

幸福岔路

181

海報上的政治風暴

89 10-11, 75

八劃 ───────────── 72

98

拉巴斯浮世繪

81

海與岸

139

服刑母親

80

神人之家

189

東方三俠

95

紐約真人類

92 62-63 124 85

河豚 玫瑰男孩心貼心 空白 金門留念

162

紙月亮

90

素還真

144 16

茜色如燒 草原上，我們開始跳舞

影片索引 FILM INDEX

221

101

荒墨生存法則

179

農家日常紀實

64-65

高原上的家屋

132

頓巴斯壕溝紀實

十一劃 ─────────────

15, 76

153

彩排記

110

深空

18

36

異域

54-55

115

第三次求婚

178

莫斯科的呼喚

114

舞吧舞吧，孩子們

179

野草記

107

說好的幸福呢

106

野蠻人入侵

103

魂牽夢屋

181

傀儡人生

十五劃 ─────────────

十二劃 ─────────────

22

夢遊樂園 滴水的推理書屋：第 1-2 集 獄見妳，愛上你 維蘇的注視

194

審判

177

喪失名譽的卡塔琳娜．布魯姆

178

影子遊戲

148

就在今夜

179

暴政的烙印

161

最後一場電影：導演剪輯版

157

椒麻堂會

172

無法和解或有限暴力

131

噩夢的倒影

童話．世界

130

戰火解密：娘子谷大屠殺

詠晴

168

龍山寺之戀：數位修復版

黃老老拍案

十七劃 ─────────────

12-13, 70 86 153 44-45

黑夜結束之前

十三劃 ───────────── 179

傳播科技小史

99

餓童當街

十六劃 ─────────────

88

講話沒有在聽

181

賽馬場外

87

鍵盤俠

94

愛別四季

十九劃 ─────────────

176

愛的饗宴

122

壞壞壞天使

121

當女孩戀愛時

119

瀕臨絕種的園長

當鯨魚游上沙灘

156

癡：導演剪輯版

163

聖人皮條客

188

繪圖師的合約

96

聖女不祈禱

24

102

聖靈請回答

二十劃 ─────────────

腸躁男孩

192

91

89 155 71 126

222

十四劃 ─────────────

萱堂閒話錄 該死的阿修羅 誠實說謊家

影片索引 FILM INDEX

88

藥方

羅生門 懸日與掛月

二十二劃 ───────────── 19

歡迎光臨 二代咖啡：特別版

50-51 137 23

歡迎光臨便利黑店 聽見貓在叫 讀取中，請稍候

Film Index 139

(Alphabetical Order)

80

A Holy Family

36

A Home Too Far

144

A Madder Red

157

A New Old Play

94

A Piece of Sky

153 95

E ─────────────

107 Mothers A ─────────────

A Portrait of Mr. Huang Actual People

21

Eating Grapes without Spitting Out the Skin F ─────────────

146 12-13, 70 97

Fabian: Going to the Dogs Fantasy・World Freda G ─────────────

22

Gaze, The

121

Girl Picture

118

After Yang

71

Goddamned ASURA

166

Ah Ying

86

Good Day

Alice on the Beach

17

Gourmet Affairs: Ep. 1-2

91 42-43, 69

American Girl

179

Amparo

98

119

Anatolian Leopard

24

105

Apartment with Two Women, The

44-45

Granstein Great Movement, The GuanYin Can’t Help H ─────────────

B ─────────────

107

Happiness

130

Babi Yar. Context

141

Haruhara-san’s Recorder

134

Babysitter

122

Heavens Above

106

Barbarian Invasion

189

Heroic Trio, The

180

BAU 60

123

Heroics, The

46-47

Beautiful Beings

116

Before, Now & Then

145

Benediction

172 92 179

81

Hostess, The I ─────────────

21

I’m Home

Bridegroom, the Actress and the Pimp, The

72

Incantation

Bruise

73

Increasing Echo

Brutality in Stone

190

Inland Empire

C ─────────────

124

Intolerance

Can You Hear Me?

89

Irritable Boy

120

Champion of Auschwitz, The

91

Island of Us, The

140

Children of the Sleeping Giant, The

88

48-49

173

96

Clara Sola

37

Clown and the Swan, The

It J ─────────────

Cinema Sabaya

54-55

Josefina K ─────────────

50-51

Convenience Store

82

Kaohsiung City, Yancheng District, Fubei Rd., No.31

52-53

Costa Brava, Lebanon

87

Keyboard Warrior King of Wuxia, The

D ─────────────

83

90

DEMIGOD: The Legend Begins

125

87

Do Not Go Gentle in Taipei

188 23

Draughtsman’s Contract, The Dress, The

Kingmaker L ─────────────

161 18

Last Picture Show: Director’s Cut, The Leaking Bookstore: Ep. 1-2, The

影片索引 FILM INDEX

223

74

Leave Me Alone

193

Rear Window

Leave No Traces

131

Reflection

135

Leonor Will Never Die

85

Remember Me

167

Lilies of the Field

127

Ripples of Life

Little Blue

101

Robe of Gems

Little Yellow Flower

168

56-57

58-59 86 177

M ─────────────

102

Sacred Spirit, The

Madame

163

Saint Jack

Mama Boy

181

Salinas

108

Mama’s Affair

114

Seen and Unseen, The

164

Mask

169

Seven Beauties

Melody-Go-Round

178

Shadows

154 10-11, 75

15, 76 113

Mirror Never Lies, The

89

She Doesn’t Care

99

Moles

110

Shen Kong

152

Moon Palace, The

178

Moscow Is Calling!

191

Mr. Nobody

156

Mr. Zhang Believes: Director’s Cut

176

Table for Love

My Best Friend’s Breakfast

160

Targets

77

62-63 128

Softie Somewhere Over the Chemtrails T ─────────────

155

My Mother’s Rhapsody

179

Technology of Communication

84

Myanmar Remembered

103

This House

N ─────────────

142

Three Tidy Tigers Tied a Tie Tighter

136

Neptune Frost

78

Till We Meet Again

172

Not Reconciled or Only Violence Helps Where Violence Rules

181

Trab Trab

180

Notes from Altmühltal

132

Trenches

147

Novelist’s Film, The

194

Trial, The

O ─────────────

153

Ode to Joy

109

Once Upon a Time in Calcutta

16

Our Time on the Grass

24

Tuo Tuo U ─────────────

79 64-65

Untouchable Utama W ─────────────

P ─────────────

162

Paper Moon

179

Weeds

148

Passengers of the Night, The

181

Weimar Republic Posters

100

Pilgrims

22

Welcome Home

23

PIT-A-PAT

88

When Henge Meets Crescent

126

Promises

19

181

Puppets

60-61 192 92

224

Romance at Lung Shan Temple: Restoration S ─────────────

Lost Honour of Katharina Blum, The

Would You Like a Cup of Coffee?: Special Edition Y ─────────────

Q ─────────────

174

Yesterday Girl

Quiet Girl, The

175

Young Törless

R ─────────────

115

REALIGN

影片索引 FILM INDEX

Yuni Z ─────────────

Rashomon

137

Zuhal

導演索引 Director Index

(Alphabetical Order)

A ─────────────

52-53 AKL, Mounia 穆妮亞．阿勒 96 ÁLVAREZ MESÉN, Nathalie 娜塔莉．阿爾瓦雷斯．梅森 111-116 ANDINI, Kamila 卡蜜拉．安迪尼 B ───────────── 60-61 BAIRÉAD, Colm 柯姆．巴瑞德

97 GÉNÉUS, Gessica 潔西卡．潔內悠斯 146 GRAF, Dominik 多明尼克．葛拉夫 188 GREENAWAY, Peter 彼得．格林納威 46-47 GUÐMUNDSSON, Guðmundur Arnar 葛孟杜．艾拿．葛蒙森 H ───────────── 121 HAAPASALO, Alli 艾莉．哈帕薩洛

120 BARCZEWSKI, Maciej 馬切伊．巴切夫斯基

148 HERS, Mikhaël 米夏埃爾．艾斯

100 BAREIŠA, Laurynas 勞里納斯．巴雷薩

193 HITCHCOCK, Alfred 亞弗烈．希區考克

158-164 BOGDANOVICH, Peter 彼得．波丹諾維茲 50-51 BORODIN, Michael 米歇伊．鮑羅定

147 HONG Sang-soo 洪常秀 17 HSI, Lester 奚岳隆

132 BUREAU, Loup 呂．布侯

16 HSIEH Sheng-hung 謝升竑

125 BYUN Sung-hyun 邊聖鉉

92 HUANG Ping-an 黃秉安

C ───────────── 81 CHAO Ruo-tong 趙若彤 103 CHARLES, Miryam 瑪麗安．查爾斯 24 CHANG Hsiao-jung 張筱榕 89 CHEN Hao-wei 陳浩維 10-11, 75 CHEN, Arvin 陳駿霖 110 CHEN Guan 陳冠

92 HUANG Ruei-feng 黃睿烽 90 HUANG Wen-chang 黃強華 172 HUILLET, Danièle 丹妮艾勒．蕙葉 85 HUNG Chun-hsiu 洪淳修 I ───────────── 144 ISHII Yuya 石井裕也 K ─────────────

82 CHIANG Wei Liang 曾威量

119 KAYIŞ, Emre 埃姆雷．凱耶許

73 CHIENN Hsiang 錢翔

139 KEREKES, Peter 彼得．克雷克斯

19 CHIU, Haus 邱晧洲 134 CHOKRI, Monia 莫妮雅．修克黎 24 CHU, An 朱建安 26-37 CHU, Kevin 朱延平 D ─────────────

105 KIM Se-in 金世仁 174, 179 KLUGE, Alexander 亞歷山大．克魯格 78 KO, Giddens 九把刀 72 KO, Kevin 柯孟融 94 KOCH, Michael 麥可．科赫

145 DAVIES, Terence 泰倫斯．戴維斯

118 Kogonada 郭共達

179 DOERMER, Christian 克里斯提安．德默

126 KRUITHOF, Thomas 湯瑪士．克里多夫

122 DRAGOJEVIĆ, Srdjan 塞登．德拉戈耶維奇

192 KUROSAWA Akira 黑澤明

E ───────────── 137 ELIF DURLU, Nazli 納茲莉．艾利夫．杜魯 135 ESCOBAR, Martika Ramirez 瑪蒂卡．拉米雷斯．埃斯科巴 F ───────────── 74 FAN Yang-chung 范揚仲 166 FONG, Allen 方育平 48-49 FOUKS ROTEM, Orit 奧里特．福克斯．羅登 G ───────────── 102 GARCÍA IBARRA, Chema 查馬．賈西亞．伊巴拉

L ───────────── 15, 76 LAI Kuo-an 賴國安 84 LEE Li-shao 李立劭 58-59 LEE Yi-fang 李怡芳 180 LEMMEL, Dieter 迪特．勒梅爾 88 LI Nien-hsiu 李念修 18 LIAO Shih-han 廖士涵 86 LIN Chien-ping 林見坪 83 LIN Jing-jie 林靖傑

導演索引 DIRECTOR INDEX

225

21 LIN Wei-chih 林㵟芝

180 STROBEL, Hans Rolf 漢斯．羅夫．史托貝爾

22 LIU Hsi-hsuan 劉喜瑄

141 SUGITA Kyoshi 杉田協士

87 LIU, Leo 劉立 64-65 LOAYZA GRISI, Alejandro 亞歷杭德羅．洛艾薩．格里希 101 LÓPEZ GALLARDO, Natalia 娜塔莉亞．洛佩茲．加拉多 71 LOU Yi-an 樓一安 130 LOZNITSA, Sergei 瑟蓋．洛茲尼察 80 LU A-liang, Elvis 盧盈良 88 LU Po-shun 呂柏勳 190 LYNCH, David 大衛．林區 M ─────────────

106 TAN Chui Mui 陳翠梅 12-13, 70 TANG Fu-jui, Freddy 唐福睿 62-63 THEIS, Samuel 山繆．賽斯 180 TICHAWSKY, Heinrich 海恩利胥．提查夫斯基 189 TO, Johnnie 杜琪峯 77 TU, Ryan 杜政哲 U ───────────── 179 URCHS, Wolfgang 沃夫剛．烏爾奇

56-57 MATUSZYŃSKI, Jan P. 揚．馬圖申斯基

107 UZABAYEV, Askar 阿斯卡．烏札巴耶夫

54-55 MARCO, Javier 哈維爾．馬可

136 UZEYMAN, Anisia 安妮西婭．烏澤曼

44-45 MESA SOTO, Simón 西蒙．梅薩．索托 N ───────────── 167 NELSON, Ralph 雷夫．尼爾森 P ─────────────

V ───────────── 191 VAN DORMAEL, Jaco 賈柯．凡．多梅爾 131 VASYANOVYCH, Valentyn 瓦倫廷．瓦夏諾維奇 142 VINAGRE, Gustavo 古斯塔沃．維納格雷

168 PAI Ko 白克

181 VON BORRESHOLM, Boris 波里斯．馮．波列匈

140 PALLOTTA, Lorenzo 洛倫佐．帕洛塔

177 VON TROTTA, Margarethe 瑪格麗特．馮．卓塔

108 PANG, Kearen 彭秀慧 178 POHLAND, Hans Jürgen 漢斯．于根．波朗德 Q ───────────── 150-157 QIU Jiongjiong 邱炯炯 R ───────────── 176, 179 REITZ, Edgar 艾德葛．萊茲 42-43, 69 ROAN Feng-I, Fiona 阮鳳儀

W ───────────── 23 WANG Yan-ping 王彥蘋 87 WANG Yi-ling 王逸鈴 127 WEI Shujun 魏書鈞 194 WELLES, Orson 奧森．威爾斯 169 WERTMÜLLER, Lina 里娜．韋特繆勒 136 WILLIAMS, Saul 索爾．威廉

123 ROY, Maxime 馬克西姆．羅伊

91 WU De-chuen 吳德淳

181 RUEHL, Raimond 萊蒙．盧耶

21 WU Hsuan-wei 巫軒瑋

98 RUSSO, Kiro 克洛．羅素 128 RYBANSKÝ, Adam Koloman 亞當．科羅曼．李班斯基 S ───────────── 178-179 SCHAMONI, Peter 彼得．夏孟尼 173 SCHAMONI, Ulrich 烏利希．夏孟尼 181 SCHLEIERMACHER, Detten 德騰．施萊爾馬赫 175,177 SCHLÖNDORFF, Volker 沃克．雪朗多夫

Y ───────────── 22 YAO Kuo-chen 姚國禎 79 YEN Cheng-kuo 顏正國 124 YOSHIDA Keisuke 吉田惠輔 91 YU Yu 余聿 Z ───────────── 99 ZAPATA, Carlos 卡洛斯．薩帕塔

181 SENFT, Haro 哈洛．申夫特

95 ZAUHAR, Kit 基特．佐哈

109 SENGUPTA, Aditya Vikram 阿迪亞．維克蘭．山古塔

89 ZHAN Xin-yi 詹欣怡

23 SHIH Fang-ting 施方婷 172 STRAUB, Jean-Marie 尚馬希．史特勞普

226

T ─────────────

導演索引 DIRECTOR INDEX

86 ZHANG Zhi-teng 張誌騰

特別感謝 Acknowledgement

(依姓氏筆畫排序 in alphabetical order)

Deutsche Kinemathek

Steve CHEN

李旻潔

洪崇哲

許麗華

塗翔文

鄭瑋柏

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