《链·爱》 Links Love

海报

《链·爱》

Links Love

2014 | 90 min | 夜奔 Ye Ben

剧情长片 Feature Film

编剧 Screenwriters

夜奔 Ye Ben, Dongdong, 系 Xi,Sylvia

主演 Cast

高娅媛 Gao Ya Yuan, Sylvia, 系 Xi, 潘恩蓓 Pan Enbe, 赵可Zhao Ke, 邵曦玥 Shao Xi Yue

制片人 Producer

Dongdong

摄影 Cinematographer

唐成骎 Yang Cheng Qin, 夜奔 Ye Ben

对白语言 Language

中文 Chinese

字幕 Subtitles

中英 Chinese, English

制作机构 Production Group

深秋小屋女性文艺网站 Autumn House Women’s Literary Website

www.ladyscn.com

 

故事梗概 Synopsis

四个都市白领女生,不同的人生路、不同的性格,Seven和Sylvia面临着对真爱的彼此接纳,系和Amber面临着五年之痒,以及对寻找自我的迷惘。一次意外,她们遇到了一个神奇的精灵,精灵赋予她们神奇的超能力,帮助她们看到现实中无法看到的景象,并勇敢寻找自我和真爱。故事从一开始的困惑、不安、无奈,到最终的释放自我。搞笑、亲情、友情、爱情等一系列经历,让剧中的四位主角最终获得了爱情正能量的美好结局。

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Four white-collar women in the city, each with different life paths and personalities. Seven and Sylvia struggle with learning how to truly accept each other’s love, while Xi and Amber’s relationship faces the test of afive-year itch. Through an unexpected occurrence, the women encounter a magic spirit that gives them super powers, allowing them to see things that don’t reveal themselves in real life, and encouraging them to find their true selves and true love. With laughter, love, and friendship, the four women are finally able to reach a joyful ending.

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导演简历 Bio-Filmography of Director

夜奔, 1980年5月出生, 金牛座, 西安美术学院油画专业毕业,北京电影学院导演进修班进修导演, 从业影视传媒多年,是多档栏目监制。情景剧《家有健客》编剧、导演现任北京世通华纳集团节目总监。新浪微博:@方咏平-无语夜奔。

夜奔

Ye Ben was born in May, 1980 and graduated from the Xi’an Academy of Fine Arts with a degree in oil painting. Ye Ben received training in film direction at the Beijing Film Academy and has worked in the film and television industry, including as producer of several TV shows, for a number of years.

 

导演阐述 Director’s Statement

拍摄《链·爱》是因为制片人Dongdong对边缘女性题材的执著以及对影视的热情打动了我。不敢称之为电影,也不敢有太多其他的奢望。但极短时间内拍这样一个片子对于我来说,无论是在拍摄运作上还是现场应变能力上都是一次很好的磨炼。希望能在同志群体中传到一些正能量,在娱乐的同时传达爱的自由观念。

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Dongdong, the producer of Links  Love, had been encouraging me to do a film about marginalized women. I hope that the LGBT community finds some positive strength through this film, which entertains but also expresses the freedom of love.

《夜》 The Night

《夜》剧照1

《夜》

The Night

2014 | 95 min | 周豪 Zhou Hao

剧情长片 Feature Film

编剧 Screenwriter

周豪 Zhou Hao

主演 Cast

周豪 Zhou Hao,刘潇潇Liu Xiaoxiao,李晋康Li Jinkang,周丰琦 Zhou Fengqi, 莫欢 Mo Huan

制片人 Producer

周豪 Zhou Hao

摄影 Cinematographer

杨占文 Yang Zhanwen

对白语言 Language

中文 Chinese

字幕 Subtitles

中英 Chinese, English

制作机构 Production Group

来路影视工作室 Next Way Studios

 

故事梗概 Synopsis

《夜》讲述城市入夜后发生在一个男妓,一个妓女,和另一个隐瞒身份的神秘男生,以及嫖客之间的故事。晚上的小巷变得与白日两样,各色人物都在夜色中生长了出来。男妓无名,可他却像希腊神话中爱上自己影子的美貌少年那喀索斯,即使职业如此,也是深深的恋慕着镜中的自己。在遇到了一个名叫水仙的妓女时,随口编撰了名字:夜来香。时日渐走,水仙对他生产了不该酿造的情感,但是对于一个有着“水仙”性格的夜来香而言,他人于他也只是他人。兴致来时,夜来香会带人去他的秘密之地:高速路上的隧道,在那里他不再是卖主,而成了顾客。神秘男生也被他带去过,可是这个神秘人物却说他“当然不是了”。夜色没有想象的仔细,它的疏忽生育了不该产下的结果,而夜来香或许就是一直不透露身份的男子的原因。

《夜》剧照2

A young man stands in front of a mirror. The night belongs to him. Every evening, he appraises his appearance and, attired in a new shirt, leaves his apartment to wait in a poorly-lit alleyway for his johns. One night he meets a female prostitute of his age who’s new to this part of town. They flirt and wander the streets, toy with the idea of renting their bodies out to each other, and name themselves after flowers: he calls himself Tuberose and she, Narcissus. The strangers they follow remain faceless—until Rose, a one-night stand, falls in love with Tuberose. With help from Narcissus, Rose uses all his charm to try to win over the young sex worker. Although Tuberose responds with cool reserve, it becomes increasingly difficult for him to remain aloof. In this visually impressive, sensual film debut in which the director also plays the leading role, twenty-one-year-old filmmakerZhou Hao demonstrates all the poetic intensity of a Jean Genet in describing these three misfits’ mutual search for intimacy. The love songs of Taiwanese singer Teresa Teng help the protagonist get in touch with his locked-away emotions.

 

导演简历 Bio-Filmography of Director

周豪1992年生于中国重庆。成长于普通的工人家庭。自幼对艺术有着浓厚兴趣。高中时对更着迷于文学,音乐和电影艺术。高中毕业考入理工大学的艺术系,学习广播电视编导专业,大一下学期开始尝试短片创作。大二开始筹拍电影《夜》,和同学成立了小型剧组,最终花费数百元完成影片拍摄,影片在大三时完成全部制作。

周豪导演照

Zhou Hao was born in 1992 in Chongqing. He was born into a working class family. Since he was a child, he has had a strong interest in the arts. Later, in high school, it became more obvious that literature, music and film art were to a part of his life. As he wanted to pursue his passion, he has since September, 2011 been studying RTA (Radio and Television Arts) in the School of Media at Chongqing University of Posts and Telecommunications.

In recent years, Zhou Hao has discovered a way to realize himself as an artist: produce films. For him, film can be a perfect combination of art, literature, music and photography. Since then, he has directed several short narratives. While making those short narratives, he decided to challenge himself by making a feature film. Thus appears his first feature film The Night.

In recognition of his talent, The Nighthas been selected for screening at the 64th Berlin International Film Festival.

 

导演阐述 Director’s Statement

起初想根据希腊神话那喀索斯(Narcissus),希腊神话中爱上自己影子的美貌少年,改编一部现代版的有关自恋性格特征的故事,故事的结尾如神话中所讲述那样投水自杀。最后经过思考,构想,选择和演变之后,故事发展成了一个发生在夜晚的几个边缘人物的故事。虽然最初的构想被改得面目全非,但故事中关于“水仙”“自恋情节”的象征从影片开始贯穿始终。

《夜》剧照3

The initial idea was inspired by the story of Narcissus in Greek mythology. The story is about a beautiful boy who falls in love with his own reflection, then falls in the river. I wanted to do a modern adaptation of this story, exploring the type of narcissistic personality trait that leads to suicide by drowning. With thoughtful planning, organization of ideas and careful selection, the story has evolved into a treatment of several marginal figures with passing interactions with one another throughout the night. Although the initial idea has changed beyond recognition, the idea of Narcissus and narcissistic situations were nonetheless carried out magically throughout the film.

《何娜老师》 KUMU HINA

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《何娜老师》

KUMU HINA

2014 | 77 min | 地安·海墨 Dean Hamer

纪录长片 Feature Documentary

主演 Cast

黄贵光 Wong-Kalu

制片人 Producer

小粥 Joe Wilson

动画制作 Animation

Jared Greenleaf

作曲 Composer

Makana

对白语言 Languages

英语,夏威夷语,汤加语 English, Hawaiian, Tongan

字幕 Subtitles

英文 English

制作机构 Production Group

Q波,Q Waves

 

故事梗概 Synopsis

想象的世界里,一个小男孩长大后成为他梦想中的女人,和一个年轻女孩能上升到成为一个优秀的领导者。欢迎来到KUMU HINA的夏威夷。Hina Wong-Kalu 是一个变性夏威夷本地的老师。她利用传统文化,激发学生成为所有男性呼啦剧团的领导者。 HINA另渴望爱情。将她的婚姻对一个年轻人从汤加实现她的梦想? KUMU HINA是一个了不起的故事,它告诉夏威夷崭新的一面。

Imagine a world where a little boy can grow up to be the woman of his dreams, and a young girl can rise to become a leader among men. Welcome to Kumu Hina’s Hawai’i. During a momentous year in her life in modern Honolulu, Hina Wong-Kalu, a native Hawaiian māhū, or transgender, teacher uses traditional culture to inspire a student to claim her place as leader of the school’s all-male hula troupe. But despite her success as a teacher, Hina longs for love and a committed relationship. Will her marriage to a headstrong Tongan man fulfill her dreams? An incredible docu-drama that unfolds like a narrative film, KUMU HINA reveals a side of Hawai’i rarely seen on screen.

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导演简历 Bio-Filmography of Director

地安·海墨是一个电影制片人, 作家和科学家。他已经赢得了艾美奖,圣丹斯电影节奖,纽约时报图书奖。自1986年以来, 他已多次访问中国,与年轻的科学家和活动家的同志的工作。

Dean Hamer is an Emmy and Sundance Award winning filmmaker, New York Times Book of the Year science author, and LGBT activist with a long history in communicating complex and controversial ideas to diverse publics. Together with partner Joe Wilson, he has directed and produced films on a variety of social issues that have screened and won awards at over 100 film festivals around the world. Their first feature documentary, OUT IN THE SILENCE, developed into a national anti-bullying and pro-equality campaign in rural and small town America. Their new film KUMU HINA is the core of the new A Place in the Middle movement, which advocates for gender diversity especially for youth.

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导演阐述 Director’s Statement

在一个跨性别和性别不服从的人在全世界都会面临敌意、暴力、歧视、拒弃甚至杀害的时代,《海墨地安》展示了另一种可能性:基于夏威夷的友善传统,我们可能拥有一个更加公正和多元的世界,在那里,所有人都会得到无条件的爱和尊重。

这部影片的全球首映是在夏威夷国际电影节的闭幕当晚,《海墨地安》的组创人员也开始了一场运动,即向全美和全世界传递“文化保存、赋权、性别多元和包容”的信息。这场运动的目标是帮助观众用新的、有力量的方式去重新审视自身,重新审视他们的家人、学校和社区,也是要确保任何人,尤其是年轻人,都不能仅仅因为他们不服从于社会传统的性别观念而面临骚扰、歧视或暴力。

At a time when transgender and gender nonconforming people the world over face hostility, violence, discrimination, rejection and even murder, KUMU HINA shows the possibility of a more just and inclusive world based on Hawaii’s tradition of aloha—unconditional love and respect for all.

With the world premiere of the film as the closing night feature at the Hawaii International Film Festival, the Kumu Hina team is embarking on a global campaign to spread a message of cultural preservation, empowerment, and gender diversity and inclusion across the U.S. and around the world. The aim of the campaign is to help audiences see themselves, their families, schools and communities in powerful new ways and ensure that no one, particularly youth, faces harassment, discrimination or violence because they don’t conform to society’s traditional view of gender norms.

《在勾引中学会爱》 Approach to Love

剧照3

《在勾引中学会爱》

Approach to Love

2013 |72 min|叶明 Ye Ming

剧情长片 Feature Film

编剧 Screenwriters

胡张晨Hu Zhangchen, 叶明 Ye Ming

主演 Cast

马铭远 Ma Mingyuan

制片人 Producer

刘毅 Liu Yi,胡张晨 Hu Zhangchen

摄影 Cinematographer

叶明 Ye Ming

对白语言 Language

中文 Chinese

字幕 Subtitles

中英 Chinese, English

制作机构 Production Group

大小元电影工作室 Daxiao Yuan Movie Studio

 

故事梗概 Synopsis

本片是中国科学技术大学学生团队制作的原创剧情长片,改编自同名网络小说,还原了12年前发生在科大的基情往事;讲述了三个懵懂的少年,在大学中成长,在勾引中学会爱的爱情故事。

This film is based on the true storythattook placeamong three boys at the University of Science and Technology of China. Wu Shuang and Xue Lei are good friends and they both have a crush on Chen Wei. After a period of suspicion, misunderstanding and forgiveness, Wu and Chen fall in love with each other, while Xue moves on and gives them his best wishes.

导演简历 Bio-Filmography of Director

本片导演叶明,兼任摄影,剪辑,编剧,毕业于中国科学技术大学电子科学技术系。本片为其处女作。

Film director Ye Ming, who is also a cinematographer, editor and screenwriter, graduated from the Department of Electronic Science and Technology of USTC. This ishis debut film.

导演照

导演阐述 Director’s Statement

本片改编自网络小说,考虑到电影节奏及剧作的完整性,对原作进行了适当增减,主要素材来源于原作前2/3内容。影片风格以写实为主,尽量还原校园生活的真实状态。性向方面,作平常化处理,未有刻意渲染差异。影片整体基调呈现出童话般的纯真美好,试图再现记忆中的青涩青春。

This film is based on an Internet novel. In consideration of the desired rhythm of the film and completeness of the story, a number of adaptions have been made. Two-thirds of the content is from the original novel. The style of the film is very realistic. It tends to represent the real situation of campus life. Regarding sexual orientation, it doesn’t emphasize differences. The film is beautiful and naïve, like a fairytale. It attempts to show the way youthful immaturity lingers in memory.

《金門銀光夢》 Golden Gate Girls

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《金門銀光夢》

Golden Gate Girls

2013 | 90 min |魏時煜S.Louisa Wei

纪录长片 Feature Documentary

编剧 Screenwriter

魏時煜 S.Louisa Wei

主演 Cast

伍錦屏 Sally Ng,小燕飛 Siu Yin Fei, 馬金鈴 Margareta Ma,朱迪絲梅因 Judith Mayne

制片人 Producer

羅卡 Law Kar, 魏時煜S.Louisa Wei

摄影 Cinematographer

魏時煜 S.Louisa Wei

对白语言 Languages

英中 English, Chinese

字幕 Subtitles

中英 Chinese, English

制作机构 Production Group

藍后文化傳播有限公司 Blue Queen Cultural Communication Ltd.

 

故事梗概 Synopsis

電影史上留名的女性導演遠比男性為少,1950年代以前的更備受忽視,本片追蹤太平洋戰爭爆發前後在美國和香港從事電影製作的女影人伍錦霞(1914-70)的事蹟。她是出生於三藩市的華僑第三代,早在1935年就在美國獨立拍製粵語片,並在香港和美國兩地製編導了8部粵語片,皆富於東方女性主義色彩。伍錦霞一生特立獨行、一身男裝打扮,人皆稱為「霞哥」,報界則譽之為「華南首位女導演」,生前花邊新聞極多,死後卻被人遺忘了二十多年。直至近年她的影片、遺物陸續被發現才漸有人研究。本片製作者搜集了大量有關影片、圖片和文獻,編導魏時煜赴美國訪問了伍的親友、同事,歷時兩年。並以伍氏和同期揚名國際的華裔女星黃柳霜(1905-61),40年代荷里活僅有的女導演桃樂西‧阿玆納(1897-1979)的事蹟作出對比。影片嘗試用國際的目光探視女性電影人在男性操控的電影工業中的奮鬥、起落,大變動時代中特別是大戰時期女性地位的提升,抗日戰爭中伍錦霞和黃柳霜作為華裔女影人的思想感情、和對祖國的貢獻,以及戰中和戰後她們的事業與命運。經過大量的資料搜証和訪問,本片重構伍錦霞由童年到青中年在美國和香港的經歷,包括她的家庭、事業、愛情和友情。在引用了一些珍貴的影片和新聞片之外更有不少一手圖片,構成這本以影像論述影人及其時代的傳記片,也是對跨地區、跨文化、跨性別的先驅伍錦霞,和她的同時代影人的致敬。

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Hong Kong’s first “directress” was a San Francisco native and an open lesbian. Esther Eng (1914-1970) was a true pioneer in many senses. She made eleven Cantonese language films—one in Hollywood, five in Hong Kong, three in California, one in Hawaii and one in New York—all for Chinese audiences before, during and after WWII. She gave Bruce Lee his screen debut in his role as a baby girl in her 1941 film Golden Gate Girl. When production slowed in the 30s and 40s, she helped her father with his Chinese film import business and, later, ran theatres in New York that screened Chinese movies. While in New York City, she also opened at least four restaurants, including the Esther Eng Restaurant, a fine dining establishment frequented by celebrities like Marlon Brando and Tennessee Williams. Following her death in 1970, her obituary appeared in both Variety magazine and TheNew York Times.

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After the retirement of director Dorothy Arzner in 1943 and before Ida Lupino began directing in 1949, Esther Eng was, in fact, the only woman directing feature length films in America. However, the most conspicuous trace of her can be found in the vestiges or her New York City restaurant: the store front forms part of the iconic cityscape that decorates the cover of Madonna’s first album. Drawing on the marks she left in both the Chinese and English press, this film begins to recover some of her lost stories. Clips from her two surviving films, stills and posters from her other eight motion pictures, photos from her six personal albums, newsreels of San Francisco as she saw them, as well as hundreds of archival images are all collected to present her life and the tumultuous time in which she lived in a stunning display of visuals.

Golden Gate Girls is not just a biographical portrait of Esther Eng; it is also a tribute to pioneer women filmmakers working on both sides of the Pacific, and the courage with which they crossed boundaries of language, culture, race and gender.

 

导演简历 Bio-Filmography of Director

魏時煜,九十年代初到加拿大留學,獲得電影學博士。2001年移居香港,開始在香港城市大學任教。2003年起開始拍攝記錄片。2006年她的第一部記錄短片《崔健:搖滾中國》在香港有綫電視第13頻道播出。之後,她和上海女導演彭小蓮合作完成了首部記錄長片《紅日風暴》,分別于2007年和2009年在阿姆斯特丹國際紀錄片電影節和香港國際電影節放映,受到各地媒體好評,並受到學術界重視,很多學者撰文稱讚影片對於歷史書寫、對於紀錄片發展所作出的貢獻。從2009年起,她和監製羅卡合作,開始製作關於香港首位女導演伍錦霞的紀錄片《金門銀光夢》。2013年影片完成後,4月1日在香港國際電影節首映,立即引起國際媒體的重視。《好萊塢報道》稱本片的最大長處在于“把個人故事、時代背景和社會風氣作了無縫縫合,但留給觀衆很多解讀的可能性”;香港的《南華早報》、《明報》,以及美國之音等媒體對導演進行了採訪,認爲她為香港歷史的書寫作出的貢獻。本片將于2013年10月20日又作爲閉幕電影在臺灣女性影展上放映,其後還會在英國、美國各地的影展放映。魏時煜的紀錄片通常都包含大量的視聽材料,顯示出她超強的研究能力,對電影語言的掌握熟練,同行們稱讚她“做工”精細,剪輯、音樂和動畫製作都有相當高的水準。

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S. Louisa Wei was born in China during the Cultural Revolution but mainly grew up in China’s post-Mao era. She left China in 1992 to study literature and film in Canada. In 2001, she moved to Hong Kong and has been making documentary films there since 2003. During the past thirteen years, she has been teaching film production, story writing, and media culture courses at City University of Hong Kong. Her oeuvre as a documentarian includes the short musical Cui Jian: Rocking China (2006, DV, 35 min), broadcasted on Channel 13 of Cable TV Hong Kong, the feature length filmStorm under the Sun (2009, DV, 139 min), which premiered at IDFA in 2007, and then in a vastly revised version at the HKIFF in 2009. Her most recent feature documentary is Golden Gate Girls (a.k.a. Golden Gate Silver Light), sponsored by the Hong Kong Art Development Council.

Storm under the Sun has not only received warm feedback from audience members and film critics, but has also been viewed by historians and sinologists as a rare effort and an in-depth representation of Mao’s first nation-wide purge of writers. Partially sponsored by International Documentary Film Festival, Amsterdam, Storm has been written about and reviewed in journals in as many as five languages. It is currently housed in the permanent collections of three museums, two archives, and over 60 university libraries worldwide.

Golden Gate Girl portrays the life and times of Esther Eng, once honored “China’s first woman director.” The documentary has received positive reviews and attention from The Hollywood Reporter, Voice of America, South China Morning Post, Film Business Asian, etc. Elizabeth Kerr of The Hollywood Reporter praised the documentary for “its seamless ability to weave history, Sino-U.S. relations and social standards together to allow for inference and context.”

Wei makes historical documentaries from an explicitly personal perspective as a means to advocate for significant figures and voices lost to historical process. She plays the simultaneous roles of director, writer, and editor, not to establish a singular subjective viewpoint, but to ensure that life and the people in her films are presented intact, with all the complexity and failings of human intellect and sense.

 

导演阐述 Director’s Statement

本片拍攝的動機來自于導演在長期對女導演研究之中的一個發現:先鋒女性的故事常常被歷史有意識地遺忘,因爲歷史學家們總是不能把她們的作品輕易地分門別類。這部紀錄片把伍錦霞的精彩故事和另外兩位她同時代的女性編織在在一起:第一位國際知名的美籍華裔明星黃柳霜(1905-61)和唯一一位成功地從默片過渡到有聲片製作的好萊塢女導演桃樂西ž阿玆納(1897-1979)。伍錦霞(1914-70)是一位舊金山出生的“金門女”,她在太平洋兩岸導演製作了十部粵語片,被稱爲是“華南第一女導演”,在她活躍的年代,她常被稱爲是“中國唯一的女導演”。第二次世界大戰給了她機會,讓她能夠跨越文化、語言、種族和性別的界限,拍攝了一系列女性角色為中心的電影。鮮爲人知的是,在桃樂西ž阿玆納1943年退休之後,到女演員艾達ž露翩奴1949年底開始親執導筒之前,伍錦霞可能也是在美國拍長攝劇情片的唯一的女導演。時過境遷,伍錦霞不再能夠拍攝電影時,她又在紐約開餐館,使高檔中餐進入了美國人的生活。我們找到了關於她的很多中英文報刊,可以讓觀衆感受到她當年的影響。同時,導演找到了她兩部電影的片段,另外八部電影的劇照,涵蓋了從她的少年時到去世前的六本私人相簿,以及從美國和香港的十間資料舘找到的伍錦霞時代的影像資料。

 

My first encounter with Esther Eng took place in 2001 when I began conducting research on Chinese women directors. This research originated from the realization that women’s stories often got lost in the course of history writing, particularly in film history. Recovering such stories has become the main focus of my academic career. I did not consider making a documentary on Esther Eng until early 2009 when over 600 photos from her personal collection—including many stills from her films—fell into my hands. Her career and her life seemed to be an extraordinary case in the history of Hong Kong filmmaking, one that gave rise to many intriguing questions.

When I began to dig further into materials concerning Esther Eng, I found a few factors that together seemed to contribute to her success. First, she started her career with Heartaches (1935), a filmwith a patriotic mission. This helped her establish a positive public image with audiences on both sides of the Pacific as the second Sino-Japanese War was underway. Second, the fact that her first film was filled in a Hollywood studio was stressed and even exaggerated in local press, which gave her immense credibility as a new and young filmmaker. Third, her directorial debut was also a critical and box office success that opened up opportunities for more projects. Finally, she was able to draw talent from the many Cantonese opera performers who visited North and Central America during the 1940s during and after WWII. For fourteen years of her life, she was an active professional filmmaker; but by the time of her death, she was mostly remembered as a restaurateur.

When reconstructing Esther’s life, I was constantly amazed by how many times she had personally journeyed across oceans, but even more so by her casual boundary crossing in her everyday life. In order to find the narrative that would leave the most vivid impression of Esther and her time on the mind of today’s audience, this film has already gone through eight complete versions.