《浮云》
Zero Thousand Li under the Clouds
2013 | 83 min |程裕苏 Andrew Yusu Cheng
剧情长片 Feature Film
编剧 Screenwriter
程裕苏 Andrew Yusu Cheng
主演 Cast
臧晓玉 Zhang Xiaoyu, 于博宁 Yu Bolin
制片人 Producer
程裕苏 Andrew Yusu Cheng
摄影 Cinematographer
张月宝 Zhang Yuebao
对白语言 Language
中文 Chinese
字幕 Subtitles
英文 English
故事梗概 Synopsis
影片取材于导演身边的真人真事，由三段构成：女作家是个孤儿，在一次采风中结识了在青海玉树的干妈。干妈是个上海姑娘，解放前考取昆明西南联大，期间爱上了同班藏族同学，毕业后跟随他到玉树，做起了土司夫人，开始了漂泊的人生。为新书积累素材，作家把干妈接到上海，采访她传奇的一生。采访过程中，干妈突然坐化。遗嘱中，干妈吩咐女作家将其遗物，一串红念珠带到玉树，交个她的上师，以此来超度她的灵魂。女作家为了实现干妈的遗愿，踏上了去玉树的路上。
大伟被医生告知得了晚期癌症，只能活三个月。为了一个大学毕业时在火车站台上的誓言：彼此在离开这个世界前一定要见一面，大伟踏上了去玉树的路上，寻找在那当了20年乡村教师的同学翔子。
小宝从小对外星人和UFO 感兴趣。在北京的后海，小宝遇到了一个神人，那个人说在那里已经等小宝一百多年了，那个人还教了小宝一种宇宙语，说学会了可以直接和外星人交谈。某天晚上，外星人托梦给小宝，告诉小宝只要他来玉树，就可以见到他们，他们会把小宝带离地球。于是小宝离开北京，踏上了去玉树的路上。
三人在唐蕃古道上相遇，相知，相离。。。沿途，纯净的天空中，青藏高原美幻绝伦的浮云，一幕一幕地跟随着主人公们，春风化雨般地洗涤着天上和人间。
A Shanghai writer raised in an orphanage invites her godmother to her Shanghai home. The godmother was originally from Shanghai but had married a Tibetan classmate and moved with him in the 1950s to Yushu, on the Tibetan Plateau. When the godmother dies unexpectedly in Shanghai, she leaves a will pleading for the writer to bring her prayer beads back to her Tibetan Buddhist teacher in Yushu so that her soul may be freed to heaven.
Da Wei lives in Beijing and has been told by his doctor that he has three months to live. He departs for Yushu in search of Xiangzi, a poet and university classmate who had disappeared twenty years earlier, in order to keep the vow he made back then that the two would see each other one last time before leaving this world.
Meditating each night, Xiaobao believes he can enter the core of the universe and communicate with aliens. One night, a message is sent to his dreams by an alien stating that only in Yushu would he encounter the UFO that would take him away from Earth and return him to his homeland on another planet. With this message, Xiaobao sets off on the road to Yushu, looking for the UFO and aliens.
The three meet and separate on the Tibetan Plateau, a world mirrored by floating clouds that gaze down constantly,illuminating a Zero Thousand Li journey under the moon and sky of Tibet.
导演简历 Bio-Filmography of Director
程裕苏(导演、编剧、摄影，学者)，荣获多项重要国际电影大奖，中国新生代导演代表人物, 是最早将DV 和RED 4K 电影技术引到中国的人士之一。程裕苏导演，获悉尼大学电影制作硕士；墨尔本大学维多利亚艺术学院电影/视觉人类学博士；北京大学佛学博士（师从佛学和国学泰斗楼宇烈教授）。 2013年，凭艺术成就，获“澳洲总理” 大奖。电影代表作品：2001年完成电影处女作《我们害怕》；2003年完成影片《目的地，上海》；2013年完成《浮云》。
重要学术和电影奖项：
2014年作品《浮云》获北京国际电影节“优秀民族影片奖”
2013年程裕苏导演获澳洲“总理大奖”
2012年程裕苏导演获澳洲“罗曼学者” 大奖
2004年作品《目的地，上海》获鹿特丹国际电影节国际影评人大奖
2004年作品《目的地，上海》获欧洲国际艺术电影节最佳影片“金钥匙”奖
2004年作品《目的地，上海》香港国际电影节银摄影机奖
2002年作品《我们害怕》获温哥华国际电影节“龙虎金奖”
程裕苏导演，被美国《新闻周刊》、《洛杉矶时报》，英国《环球银幕》、BBC、“四频道”，德国《明镜》周刊，香港《南华早报》誉为：“中国新电影的代表人物。”，电影作品在30多个国际电影节展映。
Andrew Yusu Cheng is a filmmaker, script writer and scholar. He holds a PhD in Buddhism from Peking University and a PhD in Film/Visual Anthropology from Melbourne University. His academic awards include the Norman MacGeorge Scholar Award from Melbourne University (2012) and the Prime Minister’s Australia Asia Scholar Award from the Australian government (2013).
Filmography:
2001 Shanghai Panic
Dragons & Tigers Award, 2002 Vancouver International Film Festival
2003 Welcome to Destination Shanghai
Awards: FIPRISCI Award, 2004 Rotterdam International Film Festival
Golden Key Award, 2004 Europe Arts Film Festival
Silver DV Award, 2004 HONG KONG International Film Festival
2013, Zero Thousand Li under the Clouds and Moon
Award: Best Ethnic Film, 2014 Beijing International Film Festival
Andrew Yusu Cheng’s films have been invited to over 30 film festivals, and have screened at MoMA, Lincoln Centre, Centre Georges Pompidou, and elsewhere.
导演阐述 Director’s Statement
当素食正在取代鲍鱼，成为宴请的范儿时，电影《浮云》犹如一道赏心悦目的光影素宴，试图给习惯了重油口味的电影观众换个口味。
影片深入唐番古道的密境，运用好来坞高科技的IMAX及高速和低速电影拍摄技术，在海拔4500米以上的青藏高原全程拍摄。
影片适合那些想上路，或正在路上的驴友；那些没去过西藏，或各种原因去不了西藏的；那些想看青海湖的油菜花，唐番古道的星宿海，德令哈的满月，青藏高原的繁星，玉树的彩云，以及神秘的雍布拉康 – 西藏吐蕃王朝的第一座宫殿，传说中外星人经常出没的地点。
影片暗合了当下正在流行和倡导的慢生活方式：找块地方，看部这样的电影，让心慢下来，跟着的影片的主人公归隐到田园，到遥远的玉树，经历一下诗人海子眼中的面朝大海，春暖花开，以及沧海桑田，物我两忘。
This is a road movie shot in Yushu, Tibet. It infuses the latest 4K digital film technology with an Eastern philosophical core mentality. The film aims to salute a passing Chinese era when morality had not been replaced by money, poetry and romance were valued, and people did not have to be in Tibet to see a blue sky, a full moon and blossoming flowers.
This film is the first episode of my Tibetan trilogy. Aesthetically, it is tailored to the local Tibetan philosophical view that everything has a soul, be it a floating cloud or a human being. This view holds that through a silent gaze, people can communicate with anything: clouds, flowers, lakes, etc.
I try to achieve here a cinematic narration not through a linear dramatic construction of incidents, but through keeping the space vacant and the rhythm paced so that a private space can be reserved for the viewer to sense the vibration in terms of their own contexts. A similar approach is often adopted in the traditional Chinese painting style known as liu bai (留白).
The film also pays tribute to the 1940s classic Chinese road movie Eight Thousand Li under the Clouds and Moon, which shows scenes of blood, death and turmoil in the breathless darkness of wartime.