我的(非)存在回忆录 Memoirs of the (Non)Existent Me

我的(非)存在回忆录

Memoirs of the (Non)Existent Me

导演|蒂亚戈·基斯滕马克

编剧|蒂亚戈·基斯滕马克

主演|桑尼·埃斯特、加芙列拉·雷斯、费尔南多·阿尔维斯·平托

制片人|蒂亚戈·基斯滕马克

摄影|加布里埃尔·德·卡瓦略、莱昂纳多·布里托

类型|剧情短片

时长|15分钟

完成时间|2021年

对白语言|葡萄牙语

字幕|英语

地区|巴西

制片公司|旋转电影工作室

故事梗概

玛丽娜的死亡将她的过去变成了遗产。她的回忆录和她的身份认同在一场关于她的性别的争端中被挟持了。

导演介绍

蒂亚戈以《你的王国来临》(2014)在电影学院出道,没有预算——接下来的两部作品《黑暗的旋律》(2016)和《今天之前》(2017)同样如此。通过他作为里约热内卢普通郊区的同性恋者的视角,他描绘了当地的LGBTQ群体和社会斗争。2019年推出了第四部作品《旋转电影》——与他的工作室同名。2021年,他完成了个人的第五部作品《我的(非)存在回忆录》。

他的独立作品不断获奖。他最大的成就之一是在第46届格拉玛多国际电影节(巴西历史最悠久的电影节)斩获大奖。他执导的短片被25个以上国家的电影节选中,如多伦多LGBT电影节、洛杉矶同志影展、芝加哥拉丁裔电影节等等,并最终在电视上播出。

在他6年的职业生涯中,蒂亚戈成为了巴西电影学院的正式成员,该学院是美国电影艺术与科学学院的巴西合作伙伴。

导演阐述

《我的(非)存在回忆录》是在巴西上次总统选举之后制作的,在这次选举中,巴西最保守的政治人物当选了。

根据巴西易装癖和变性者协会(ANTRA)公布的数据,当我们在2019年底拍摄这部电影时,巴西在针对变性人的暴力和谋杀率方面保持全球第一。他们的数据库显示,2020年的谋杀率比去年增加了48%左右,其中受害者大部分是黑人。

通过无视和隔离的历史背景,试图让社会少数群体噤声的做法,在巴西根深蒂固。而如今,随着政治鼓励的仇恨言论日益流行,这些行为愈演愈烈。

2018年,我们听到了最令人心碎的消息之一:作为人权倡导者的女同性恋警官玛丽埃尔·弗兰科被残忍地谋杀。两年后,她的声音依然强大,并在她的社区、行动和回忆录中回响。

这部电影的灵感正是来自这些勇敢的声音,并表明任何阻碍都永远不会让我们沉默。

Director|Thiago Kistenmacker

Screenwriter|Thiago Kistenmacker

Cast|Sanni Est, Gabriela Reis, Fernando Alves Pinto

Producer|Thiago Kistenmacker

Cinematographer|Gabriel de Carvalho, Leonardo Brito

Genre|Short Film, Drama

Length|15 min

Year|2021

Dialogue|Portuguese

Subtitles|English

Region|Brazil

Production Company|Rotatória Filmes

Synopsis

Marina’s death transforms her past into heritage. Her memoirs and the portrait of her identity are hostage in a dispute to claim her gender.

Director Biography

Thiago debuted with “Thy Kingdom Come” (2014) at film school without a budget as the following “Melody of Darkness” (2016) and “Before Today” (2017) would be. Through his perspective as a gay man in Rio de Janeiro’s popular suburbs, he portrayed the local LGBTQ community and social struggles. In 2019, he released his fourth work, “Rotatória Filmes,” the same name as his studio. In 2021, his 5th short movie “Memoirs of the (Non) Existent Me” would be finished.

He’s been constantly awarded with his independent work. One of his biggest achievements was winning a top award at the 46th Gramado International Film Festival, Brazil’s most traditional film festival. The short movies he directed were selected through 25+ countries in festivals such as Inside Out Toronto, Outfest, Chicago Latino Film Festival, Gaze and were eventually broadcasted on TV.

In his 6-year career in film, Thiago earned a spot as an official member of the Brazilian Movie Academy, a Brazilian partner of the Academy of Motion Picture Arts and Science.

Director’s Statement

Memoirs of the (Non) Existent Me” was produced after the last presidential election in Brazil, where the most conservative figures were elected.

When we shot the movie by the end of 2019, the country kept the first place worldwide in violence and murder rate specifically against transgender people, according to ANTRA (National Association of Travestis and Transexuals of Brazil). Their database shows that in 2020 the murder rate increased around 48% from last year, the majority of them being black.

The attempt to silence social minorities has been part of Brazil through a history of negligence and segregation. These attempts are now louder with the increasing popularity of hate speeches encouraged by the political environment.

In 2018, we’ve had one of the most heartbreaking news when Marielle Franco, a lesbian POC deputy, was murdered in a brutal effort to silence her as an advocate for human rights. Two years later, her voice is still strong and echoed through her community, actions and memoir.

This movie is inspired by all of these voices and states that those attempts will NEVER SILENCE US.

马塞洛 Marcello

马塞洛

Marcello

导演|弗朗西斯科·迪·朱塞佩

编剧|弗朗西斯科·迪·朱塞佩

主演| 洛伦佐·古乔内、蒂亚·布鲁诺、纳纳吉·夏加、福斯托·费兰特、

沃尔特·格列柯

制片人|朱塞佩·吉里奥罗索,詹尼·康尼佐

摄影|丹尼尔·塔伦蒂诺

类型|短片

时长|13分钟

完成时间|2021

对白语言|意大利语

字幕|英文

地区|意大利

制片公司|Eikona Film

故事梗概

马塞洛总是看向安德里亚,一个喜欢涂口红并渴望在生物化学课上引起他注意的年轻女孩。 尽管最初的印象是错误的,安德里亚并不是马塞洛所看向的人,但这背后还有更深层次的东西。 《马塞洛》 讲述的是一段跨越性别表达和个人成长之路的旅程。

导演介绍

弗朗西斯科·迪·朱塞佩 1997 年 2 月 4 日出生于巴勒莫。 2020 年,他在巴勒莫亚历山德罗·斯卡拉蒂音乐学院的钢琴大师杰纳罗·佩斯克的班上获得了一级钢琴学术文凭。除了音乐方面的经历,他在艺术上的造诣也是丰富持久的戏剧经历的结果,这段经历始于 2014 年与伊丽莎·帕里内罗的迪提拉姆剧院公司、巴勒莫的比昂多剧院和陶尔米纳古剧院和莫妮·奥瓦迪亚和马里奥等艺术家合作。 2019 年初,他在瓦伦西亚的华金罗德里戈音乐学院获得了伊拉斯谟奖学金,并在那里度过了将近六个月的时间,学习西班牙语和了解西班牙文化。 2019 年 11 月,他在朱塞佩·吉廖罗索指导的钢琴焦点学校开始了他的第一次电影学习,在那里他学习了电影的法则和基本镜头语言,并在老师的帮助和支持下,重拾了对这门艺术的热情和才能。 2020年4月,他制作短片《隔离检疫——隔离中的自画像》(Quarantine Lapse – a self-portrait on quarantine),参加“A casa con Oberon Media”短片电影节并入选国家级十佳。 2020 年夏天,他担任了吉吉·博鲁索导演的短片《罗莎莉亚和丹尼辛尼》(Rosalia a Danisinni)的助理。 2020 年 10 月,他制作了由 Piano Focale 和 Eikona Film 出品的短片《马塞洛》,并搬到华沙以伊拉斯谟奖学金学生身份在弗里德里克肖邦音乐大学攻读伴奏钢琴师硕士学位。

导演阐述

在尝试谈论性别认同、性别表达和一个人的身份时,找到正确的言语和方式并非易事。所以我决定以我确信的事情开始这段旅程:我自己,我的经历和我的感受。《马塞洛》就是这样诞生的。通过自我反省,我再现了主人公所身处的社会带来的不适感与不安全感。为了讲述这个故事,我使用了大量具有反射性的镜头影像。镜子是可以让我们意识到自己的少数物体之一,但同时也可能是骗人的。镜像并不总是清晰,它们可能模糊、肮脏、带有阴影。直视眼睛时也会发生同样的情况。眼睛可以用来观察、判断、比较他人,但也可以传递爱和情感,让我们改变自己所创造的自我印象和他人对我们的印象。 《马塞洛》展示出有时为了找到自我,我们需要将目光从镜子上移开,将目光转移到真正爱我们的人身上。我想讲述这个故事,因为我认为每个人一生中至少有一次会体会到和马塞洛同样的感受。即使我们认为自己可以自由抉择,我们仍然会受到同事、家人和朋友的影响,如今做自己仍然是一件非常困难的事。

Director|Francesco Di Giuseppe

Screenwriter|Francesco Di Giuseppe

Cast|Lorenzo Guccione, Tea Bruno, Nanaji Shakya, Fausto Ferrante,

Walter Greco

Producer|Giuseppe Gigliorosso, Gianni Cannizzo

Cinematographer|Danielo Tarantino

Genre|Short movie

Length|13min

Year|2021

Dialogue|Italian

Subtitles|English

Region|Italy

Production Company|Eikona Film

Synopsis

Marcello always stares at Andrea, a young girl who loves wearing lipstick and craves for his attention during biochemistry classes. Despite the initial wrong impression, Andrea is not what Marcello is staring at: there is something more behind the surface. ‘Marcello’ is a coming-of-age story of transgender self-expression.

Director Biography

Francesco Di Giuseppe was born on February 4, 1997 in Palermo. In 2020 he obtained the 1st level Academic Diploma in piano at the Alessandro Scarlatti Conservatory of Palermo in the class of maestro Gennaro Pesce. His accomplishments in the field of art, apart from those in music, is also the result of his extensive and long-lasting theatrical experience which began from 2014 with Elisa Parrinello’s Compagnia del Teatro Ditirammu, working with artists such as Moni Ovadia and Mario Incudine with whom he had the opportunity to limestone stages such as those of the Teatro Biondo in Palermo and the Ancient Theater of Taormina. At the beginning of 2019 he won an Erasmus scholarship at the Conservatori Superior de Música Joaquín Rodrigo in Valencia, where he lived almost six months and had the opportunity to learn the Spanish and get to know the culture of that country. In November 2019 he began to study film for the first time with Piano Focale school directed by Giuseppe Gigliorosso, from whom he learned the basic language of cinema, rediscovering, with the help and support of teachers, his passion and the talent for this art. In the April of 2020 he made the short movie “Quarantine Lapse – a self-portrait on quarantine”, participating in A casa con Oberon Media, a short film festival, in which he was selected among the top ten at national level. In the summer of 2020 he was the assistant to the direction of the short movie made by the director Gigi Borruso entitled “Rosalia a Danisinni”. In October 2020 he made the short film “Marcello” produced by Piano Focale and Eikona Film and in the same month he moved to Warsaw to attend his first year of the master’s degree in accompanist pianist at Uniwersytet Muzyczny Fryderyka Chopina as an Erasmus student.

Director’s Statement

Finding the right words and ways to talk about gender identity, gender expression and one’s identity is never easy, so I decided to start this trip with something I was sure about: myself, my experience and feelings. That’s how Marcello was born. Through an introspection process, I recreated the protagonist’s discomforts and insecurities because of the society he lives in. To tell this story, I largely used reflected images. The mirror is one of the few objects who makes us conscious of ourselves, but can also be deceiving at the same time. Images in mirrors are not always clear: they can be obscured, besmirched, shaded. The same happens with watching eyes. They look, judge, compare ourselves with others, but eyes can also impart love and affection, allowing us to get over the image we created of ourself and the one people have about us. Marcello shows that sometimes, in order to find ourselves, we need to look away from mirrors and shift the gaze to the ones that really loves us as who we are. I wanted to tell this story because I think everybody at least once in life has felt what Marcello feels. Even when we think we are free to make our choices, still we are influenced by colleagues, family, friends. I wanted to tell this story because nowadays being ourselves can be really difficult.

卡丽娜的服装 Karina’s Suit

卡丽娜的服装

Karina’s suit

导演|弗兰克·贝尼特兹

编剧|约翰·莫拉

主演| 约翰·莫拉、伊万·皮纳库

制片人|莎拉·鲍蒂斯塔

摄影|奥古斯托·卡罗

类型|短片

时长|20分钟

完成时间|2021年

对白语言|西班牙语

字幕|英语

地区|哥伦比亚

制片公司|滑翔机电影公司

故事梗概

缪特的表妹卡丽娜是一名从事性工作的跨性别女性。这一天,缪特来到城里,想要说服卡里娜回到老家探望病重的母亲。唯一的条件是:卡瑞娜必须打扮成男孩,因为她的母亲永远不会接受她孩子的新身份。

导演介绍

弗兰克·贝尼特兹于哥伦比亚国立大学电影学院,并获得了编剧硕士学位,后任教于哥伦比亚外事大学,教授电影制作。同时,他也是滑翔机电影公司的创始人和导演,自2010年以来创作多部获奖短片。

弗兰克·贝尼特兹的作品:

专题纪录片:

《黑豹》(后期制作中)

短片:

2021年《卡丽娜的服装》

2018年《逃亡者》

2012年《娃娃》

2012年《我害怕》

2011年《200分钟》

导演阐述

《卡丽娜的服装》的创作灵感来源于编剧兼演员约翰·莫拉与该故事的原型卡丽娜的一次会面。卡丽娜被养育自己的村庄所歧视和排斥。在短暂的会面中,卡丽娜找到了一个自由、不被评判的空间来展现她的人生经历。约翰和卡丽娜的会面非常随意,甚至都没有一次正式的告别。卡瑞娜回到了她的村庄,一段时间后,约翰便失去了与她的所有联系。

把卡丽娜的故事改编成短片的想法也伴随着一个两难的问题:影片中的跨性别角色能否由一个非跨性别的演员饰演?这一问题引发了多次讨论。讨论的最终结果是,大部分人坚信顺性别者无法饰演跨性别者(无论男女)——让一个男人来饰演跨性别女人只会强化该女性其实是男性的叙事。考虑到跨性别者一直在为得到社会认可、做自己身体的主人而抗争,这一论点是十分有力的。

但对我来说,最切实的论点是关于代表的问题,或者更确切地说,是关于虚构的问题。我认为虚构不应该被条条框框所限,虚构作品中的代表不应被视为一种关照现实的方法,而应被视为美学、艺术等方面的纯粹代表。无论演员有什么样的性别身份或性取向,我们都需要捍卫他们在小说中扮演他们想要的角色的可能性。他们在其代表的宇宙中表现如何,则是另一个问题。

一开始,约翰就申请饰演主角卡丽娜,因为他与卡丽娜有过亲密交谈,并且他也是剧本的最初作者,同时也是一名专业演员。在准备工作中,约翰不仅需要了解卡丽娜的世界,还要向同一社区的其他跨性别女性寻求建议——这些女性并不觉得自己被冒犯,相反,她们表现出了对约翰的支持。其中一个名叫瓦莱里娅·加西亚的女孩甚至同意出演这部短片。

卡丽娜这一角色超越了她的外表。她的内心时常模棱两可、充满矛盾,她的力量更多地存在于她的内心,而不是她那强烈、难以捉摸的外貌。她有时会怀疑自己,但当她的弱点出现时,她又会证明自己。她有意识的目标、战斗和生存混杂着无意识的回归。她对母亲又爱又恨,她重返故居的目的也是想要和她的母亲再次交谈,与母亲和解,让她明白自己作为卡丽娜的身份,同时仍然还是母亲的女儿。显然,《卡丽娜的服装》是一个带着失败基调的回归故事,但这只是卡丽娜的改变以及彻底弄清自己是谁的准备工作。

Director|Frank Benitez

Screenwriter|John Mora

Cast|John Alexander Mora, Iván Piñacué

Producer|Sara Bautista

Cinematographer|Augusto Caro

Genre|Short film

Length|20min

Year|2021

Dialogue|Spanish

Subtitles|English

Region|Colombia

Production Company|Planeador Films

Synopsis

Muete travels to the city to visit his cousin Karina, a transgender woman that does sex work. Muete tries to convince her to return to their town because her mother is very ill. The only condition: Karina has to dress as a boy, as her mother would never accept her child’s new identity.

Director Biography

A graduate of the National University of Colombia Film School with a master degree in scriptwriting. Teacher of filmmaking at El Externado University in Colombia. Founder and director of Planeador Films, producing several award-winning short films since 2010.  

Filmography:

 “El Pantera” (Feature- documentary) in post-production

“Karina’s suit” (Short) 2021

“Fugitives” (Short) 2018

“Muñeca” (Short) 2012

“I’m scared” (Short) 2012

“Minuto 200” (Short). 2011

Director’s Statement

Karina’s suit arose from a meeting between John Mora, co-writer and actor, and the woman who inspired this story. During the brief time that their friendship lasted, she, a person originally from the province and discriminated by her social context, found a space of freedom to reveal some of her experiences without being judged. As casual as their meeting was, so was their farewell; Karina returned to her village, and some time after, John lost all contact with her.

With the idea of turning one of Karina’s stories into a short fiction film, a dilemma also arose: could a character, in this case, a transgender character, be performed by an actor/actress who is not transgender? Multiple discussions have taken place around this, and voices are raised that firmly believe that the role of a trans, man or woman, cannot be performed by cisgender people; that a man performing a trans woman, would only reinforce the narrative that the woman is actually a man. It’s a valid argument, especially thinking about the struggle of trans people to be recognized as their own in their bodies.

But for me, the most valid argument has to do with the issue of representation, or rather, with fiction, since I believe that it should not have restrictions. Representation in fiction should be judged not as an approach to a reality, but as representation itself, in aesthetic, artistic, etc. terms. It is about to defend the possibility of people who have acting as a profession, regardless of their gender identity or sexual orientation, to perform the role they want in fiction. Whether they do it badly or well within the represented universe, that is another discussion.

From the beginning, John applied for the leading role because of the closeness he had had with Karina, also because he was the initial writer of the script, and obviously because of his profession. His preparation consisted not only in getting to know Karina’s world, but also in seeking advice from other trans women from the same community; women who never felt disrespected and who, on the contrary, showed their support; one of them, Valeria García, even agreed to appear in the film.

Karina’s character goes beyond her appearance, she is someone with ambiguities and contradictions, with a strength that lies more in her inner self than in her violent and unstable surface. She sometimes doubts, but proves herself as her weaknesses appear. Her conscious objective, fighting and surviving, is mixed with the unconscious one of returning, and that return also has to do with talking to her mother again, whom she loves and hates, reconciling with her, making her understand that she is Karina, and that she is still her daughter. Karina’s suit is a story apparently about a return with a tone of defeat, but it is only Karina’s change and the preparation to make clear, once and for all, who she is.

不完美的完美 Imperfectly Complete

不完美的完美

Imperfectly Complete

导演|邱新达

编剧|邱新达

主演|克莉丝·昂、扎乌·迈·赫特

制片人|克莉丝·昂、维克多·曹

摄影|内森·沃特兰

类型|剧情短片

时长|14分钟

完成时间|2021

对白语言|缅甸语、英语

字幕|中英

地区|美国

制片公司|美国南加州大学电影学院

故事梗概

露西照顾同为缅甸移民却盲眼的网络歌手欧文多年,两人互有情愫。欧文即将手术重见光明,露西却挣扎是否该坦承自己隐藏多年的身份。

导演介绍

邱新达(Bruce Chiu),编剧、导演,出生于台北,现旅居洛杉矶。于台北拍摄广告多年后,他至美国南加州大学(USC School of Cinematic Arts)进修电影硕士,主修导演,擅长家庭写实与社会议题剧情片。在美期间创作多部短片,并入围多个国际电影节,包括英国瑞丹斯影展(Raindance Film Festival)、加拿大多伦多亚洲国际影展、美国亚特兰大同志电影节、台湾酷儿影展等。

导演阐述

酷儿即使认同自己的身份,对于在所爱的人面前完全揭露自己依旧是个不亦跨越的鸿沟。本片即在探讨这个第二个接纳的过程。藉由美籍缅甸裔跨性别演员克莉丝(Chrissy)的诠释,本片展现酷儿心里的挣扎,同时也呈现他们善良、勇敢、坚强的一面,更要对所有的人说,不论你是谁,你都值得被爱。

Director|Bruce Chiu

Screenwriter|Bruce Chiu

Cast|Chrissy Aung, Zaw Myo Htet

Producer|Chrissy Aung, Victor Tsao

Cinematographer|Nathan Votran

Genre|Short film, Drama

Length|14 min

Year|2021

Dialogue|Burmese, English

Subtitles|Chinese, English

Region|United States

Production Company|USC School of Cinematic Arts

Synopsis

Lucy has been taking care of Owen, a blind guitarist she has admires admired for years. When Owen is about to get his vision back, Lucy faces the struggle of whether to reveal her true identity to Owen since the nightmare of her past still haunts her.

Director Biography

Bruce Chiu is a director and screenwriter, born in Taipei and based in Los Angeles. He worked in the advertising industry for many years in Taipei before going to the U.S. to study filmmaking at the School of Cinematic Arts, University of Southern California. He specializes in making dramas on family and social issues. In his time in the U.S. he made many short films and was selected for several international film festivals including Raindance Film Festival, Toronto Reel Asian Film Festival, Out on Film Atlanta’s LGBTQ Film Festival, Taiwan International Queer Film Festival, etc.

Director’s Statement

Even if a queer person acknowledges their identity, truly revealing oneself before their loved ones is often still a gap that cannot be bridged. This film explores this second process of acceptance. Through the interpretation of American-Burmese transgender actor Chrissy, the film shows queer people’s inner struggles but also presents their kind, brave, and strong side, and even more importantly, tells everyone, no matter who you are, that you deserve to be loved.

无政府主义 Anarkia

无政府主义

Anarkia

导演|塞缪尔·卡萨雷斯

编剧|塞缪尔·卡萨雷斯

主演|加布里埃拉·帕拉西奥、娜塔莉亚·佩兹、安东尼奥·尼诺

制片人|塞缪尔·卡萨雷斯

摄影|克里斯蒂安·鲁伊兹

类型|剧情短片

时长|20分钟

完成时间|2020年

对白语言|西班牙语

字幕|英文

地区|哥伦比亚

制片公司|德拉科电影工作室

故事梗概

安东尼娅是一个不成功的老朋克歌手,父亲去世后,她从母亲那里偷钱来偿还朋克音乐比赛的债务,她组起了乐队,一个鼓手和她最好的朋友费尔南达一起参加了比赛。

导演介绍

塞缪尔·卡萨雷斯出生在哥伦比亚波哥大市。十五岁时,他从波哥大的学校毕业。之后他在豪尔赫·塔迪奥·洛萨诺大学学习导演、电影和电视制作。他参加了几个电影工作坊,包括与电影导演若昂·佩德罗·罗德里格斯合作的《变形艺术》。

除了大学项目,他还与丹尼尔·维拉克斯合作,为其纪录片《在河边》担任剪辑师,并为其电视连续剧预告片《卡林菲诺》担任摄影师。

2018年,塞缪尔创办了西弗勒斯电影工作室,并执导了他的首部短片《猥亵》。

导演阐述

《阿纳基娅》的诞生是为了能够引发对青年、友谊和爱情话题的反思,这是朋克文化中的矛盾、悖论和冲突所蕴含的普世价值,是一种音乐、文化、社会和政治运动,通过艺术、反叛、社会动荡和无政府主义呼吁逾规/颠覆。这部短片叙述了在个人悲剧中普遍存在的主题,如主人公的悲剧,并讲述了一个特定的背景,同时揭露了一个城市,如哥伦比亚的朋克场景。出于这个原因,我们的动机是能够从中提出关于人类现状的问题,其中朋克是我们的基础和画布,重新思考我们作为一个社会,无论是在一个破旧的社会结构的运作中,如当代的社会结构,还是在哥伦比亚这样的国家中侵蚀腐败、暴力和有罪不罚的政治机器,以及超越全球的框架。

虽然这部短片呈现了粗糙的主题,但它忠于这个音乐场景所代表的内容,它本质上不是糖衣炮弹,相反,它通过苛刻的方式呈现了反霸权的提议。因此,这部电影是一种反抗行为,它发酵成一种游击式电影,以证明生活也可以从艺术的边缘涌现。它是一种不完美的电影,但更自由。

在《阿纳基娅》中,一个女孩将经历关于家庭、性和社会冲突的内在旅程,以达到她对环境和她自己的哀悼的宣泄。历史向我们展示了一个在个人危机、暴力和腐败的问题背景下出现的人性的宇宙。生活在这样的环境中,忍受它并努力成为一个艺术家,就是一种反叛的行为。

对历史的讨论向我们反映了一个人,当她走到了人性最脆弱的极限,并找到了一种方法来救赎自己,因为她曾处于最黑暗的深渊,为此,这部短片试图为像阿纳基娅这样的隐形人发声,她们在音乐、艺术和朋友中找到了改变自己和重新审视自己的机会。

Director|Samuel Casallas

Screenwriter|Samuel Casallas

Cast|Gabriela Palacio, Natalia Páez, Antonio Niño

Producer|Samuel Casallas, Nicolas Casanova

Cinematographer|Cristhian Ruiz

Genre|Featured Short Film

Length|20min

Year|2020

Dialogue|Spanish

Subtitles|English

Region|Colombia

Production Company|Drako Films

Synopsis

After her father’s death, Antonia, an unsuccessful old punk singer, steals money from her mother to pay off the debt of a punk battle music contest where she participates together with her band made up of a drummer and Fernanda, her best friend.

Director Biography

Samuel was born in the city of Bogotá. At the age of fifteen he graduated from school in Bogotá. Afterwards he studied direction, film and televisión production at the Jorge Tadeo Lozano University. He courses several film workshops including “The art of Metamorphosis” with the filmmaker Joao Pedro Rodríguez.

Besides the university projects, he has worked with Daniel Velázquez as an editor in his documentary “On the Edge of the River” and cinematographer for his tv serie teaser “Calinfierno”.

In 2018, creates the film production company Severus Films and directs his debut short film “Stuprum”.

Director’s Statement

Anarkia was born with the motivation of being able to provoke a reflection on youth, friendship and love, universal values within the contradictions, paradoxes and conflicts of punk, a musical, cultural and social and political movement that appeals to transgression-subversion through of art, rebellion, social unrest and anarchism. The short narrates universal themes represented in individual tragedies such as that of the protagonist and at the same time exposes a city and speaks of a specific context such as the Colombian Punk scene. For this reason, our motivation is to be able to raise questions about the human condition where punk is our base and our canvas in order to rethink ourselves as a society, both in the functioning of a worn out social fabric, such as the contemporary one, and the political apparatus that eats away at corruption, violence and impunity to countries like Colombia and that transcends a global framework.

Although the short film presents crude themes, it does so with fidelity to what this musical scene represents, which is intrinsically not syrupy but on the contrary presents counter-hegemonic proposals through harshness. Therefore, the film is an act of resistance that was fermented as guerrilla cinema to demonstrate that life can also spring from the fringes of art. It is an imperfect cinema but freer.

In Anarkia a girl will go through an internal journey with domestic, sexual and social conflicts to reach the catharsis of mourning against her environment and against herself. History shows us a universe with characters that have emerged in a problematic context, of personal crisis, violence and corruption. Living in the midst of this, enduring it and trying to be an artist despite everything, becomes an act of rebellion.

The discourse of history reflects us to a person who goes to the extreme limit of his human fragility and finds a way to redeem himself having been in the darkest abyss of his being, for this reason the short film seeks to give voice to that range of invisible people like Antonia, individuals who find in music, art and friends their opportunity for change and to rethink themselves.

怪美 Beauty In Ugliness

怪美

Beauty In Ugliness

导演|张季维

编剧|无

主演|无

制片人|张劭贤

摄影|陈人宾、涂楚风、何雨晴

类型|纪录片

时长|45分钟

完成时间|2020

对白语言|普通话

字幕|中文

地区|中国大陆

制片公司|无

故事梗概

《怪美》关注的是起源于欧美的变装皇后文化。两名同性恋者,主要通过变装的方式,在中国珠海的校园、乡村和剧院里行走。纪录片通过与游客的碰撞和交流,观察和记录了中国人对变装皇后文化的反应和态度,记录了两位体验者的感受。

导演介绍

张季维,北京师范大学珠海分校电影学专业的大四在读学生。在大学的学习生活中,他拍摄了许多微电影并担任导演、编剧和演员的职务。他设计的主题大多是LGBT题材及酷儿电影。《怪美》是其纪录片拍摄的处女作。

导演阐述

这次创作,我们大胆地选择了让主创团队的成员成为被拍摄对象,也就是我和制片人,主动地通过变装的方式与游客互动。同性恋的变装文化多数在酒吧进行,我们希望通过将变装搬到阳光之下,观察游客的反应。我们也希望借由这部作品,让观众思考美的多元性,美的各种可能。

Director|Jiwei Zhang

Screenwriter|None

Cast|None

Producer|Shaoxian Zhang

Cinematographer|Renbin Chen, Chufeng Tu, Yuqing He

Genre|Documentary

Length|45min

Year|2020

Dialogue|Chinese

Subtitles|Chinese

Region|China

Production Company|None

Synopsis

BEAUTY IN UGLINESS focuses on the drag culture originated from Europe and America. Two homosexuals walk through the campus, countryside and theater in Zhuhai, China mainly within full drag looks. Through collision and communication with tourists, the documentary observes and records the reaction and attitude of Chinese people to drag culture, and records the feelings of the two participants.

Director Biography

Jiwei Zhang, a senior at Beijing Normal University Zhuhai,majoring in film studies. During his life in the university, he has made many short films and served as director, screenwriter and actor. Most of his topics focus on LGBT and queer films.

Beauty In Ugliness is his first time making a documentary.

Director’s Statement

In this film, we boldly chose to let the members of our team become the subjects, that is, the producer and me, actively interact with tourists through cross dressing. Drag culture is mostly performing inside of LGBT bars. We hope to observe the reaction of the tourists by showing drag culture in the public. We also hope through this film that audiences can think about the diversity of beauty and various possibilities of beauty.

灵魂出俏 She Takes Me Over

灵魂出俏

She Takes Me Over

导演|马熊

编剧|迈克尔·辛纳拉尔、马熊

主演|迈克尔·辛纳拉尔、比弗豪森、范特西、大·奈斯提、弗洛珍·洛丽塔、伊内玛·诗德、奈玛·莉莉、思

制片人|石婷婷

摄影|T哥

类型|音乐录像带

时长|5分12秒

完成时间|2021

对白语言|英语、汉语

字幕|英语

地区|中国

制片公司|美杜莎唱片公司

故事梗概

灵魂出俏(She Takes Me Over)是迈克尔·辛纳拉尔(Michael Cignarale)收录于其迷你专辑《肆意高潮》(Operatic Orgasm)内出道曲的MV。 迈克尔是上海地下酷儿派对平台美杜莎的创始人。美杜莎现已成为上海变装和酷儿音乐俱乐部中最重要平台之一。

导演介绍

马熊(Matthew Baren)是一位电影制作人和酷儿社活动组织者,现居住于上海。他执导的作品包括《司机》(2017)和《奢华》(2018)。

导演阐述

灵魂出俏(She Takes Me Over)是对女性能量的颂扬,它是酷儿赋权模式的一种,植根于酷儿浩室音乐(House Music)的表达方式和血统。这首歌有趣性感,坎普且充满力量。在制作此MV的时候,我想要捕捉到这种精髓,将它稳稳地定位在上海的地下酷儿文化场景中。从镜头前的变装皇后们到摄制组的酷儿们,几乎每一位参与了视频制作的人都得以在这一场景中安家。

Director|Matthew Baren

Screenwriter|Michael Cignarale, Matthew Baren

Cast|Michael Cignarale, Beaverhausen, Fantasia, Dai Nasty, Frozen Lolita, Enema Stone, Nama Lily, Sky

Producer|Tingting Shi

Cinematographer|T.J. Gilbert

Genre|Music Video

Length|5min12s

Year|2021

Dialogue|English, Chinese

Subtitles|English

Region|China

Production Company|Medusa Records

Synopsis

She Takes Me Over‘ is the music video of debut track from the EP ‘Operatic Orgasm‘ by Michael Cignarale. Michael is the founder of Medusa, an underground queer party that has become one of the most important community platforms for drag and queer club music in Shanghai.

Director Biography

Matthew Baren is a filmmaker and queer community organiser based in Shanghai. His work as director includes The Driver (2017) and Extravaganza (2018).

Director’s Statement

The song ‘She takes Me Over‘ is a celebration of femme energy as a mode of queer empowerment, rooted in the language and lineage of queer house music.

It’s fun and sexy, camp and powerful. In making this music video, I wanted to capture that essence, whilst situating it firmly in Shanghai’s underground queer culture scene. Almost everyone who worked on the video makes their home in that scene, from the kweens in front of the camera to the kweers who were on the crew.

PK皇后 China PK Queen

PK皇后

China PK Queen

导演|魏建刚

主演|Jessica (访谈主角)

制片人|魏建刚

摄影|李硕

类型|纪录片

时长|37分钟

完成时间| 2021

对白语言|中文

字幕|中英文

地区|中国

制片公司|同志亦凡人

故事梗概

他每天下午4点多开始化妆,准备就绪在七点半上场演出,他不在剧场或酒吧,而是在家里,在手机前,他就是当下的网络职业变装皇后,他每天通过在线沟表演来获得粉丝的支持,虽然他非常喜欢做一个变装皇后,只是作为一个在线的变装皇后他要PK的不只是能力,还有偏见和歧视,同时面对在中国变装皇后的表演空间的局限,他更期待能更自由在线下在人群面前盛装表演。

导演介绍

魏建刚出生成长在新疆,就读于新疆艺术学院和上海戏剧学院。毕业以后,他来到了北京,在许多深受好评的戏剧和电影中参与演出, 他也曾在一些院校和学府任教戏剧类课程,2000年开始魏建刚对社区工作产生具有巨大的热情,他不断探索各种有意义的途径和相关的方式来参与和推动社会进步,2005年受邀在联合国儿童基金会担任儿童活动顾问。

同时在2005年他开始投身于纪录片制作和其他有利于中国社会进步的艺术创作。 2007年他创立了名为“同志亦凡人”的网络视频,旨在提高LGBT在社会中的能见度,在“同志亦凡人”有他主持并导演了400多部影像视频短片和纪录片,超过5000万人次观看。2010年开始做北京纪安德执行主任,他开创了一系列有影响力的公益项目,其中包括中国LGBT组织论坛,中国爱滋徒步,中国彩虹媒体奖,酷儿大学和性别友善厕等所项目。

2010-现在北京酷儿影展轮值主席/组委

2016年-2017年联合国开发计划署“亚洲同志项目”顾问

2018年法兰西共和国”自由,平等,博爱“人权奖

2016年德国柏林国际电影节泰迪熊奖评委

2013年丹麦哥本哈根国际同志电影节评委

2013年获得洛杉矶同志中心国际先锋奖

导演阐述

到目前为止大部分的工作和生活都在和性与性别,公民社会和人权议题一起成长,之前拍的东西都是为了提高性少数人群的能见度,为了发声,为了自己的话语权。现在离开了全职的NGO工作,成为了一个自由职业者,因为不是什么学院派,又无法完全摆脱一个社会活动家的思维方式,还是特别喜欢那些很少被看到的人和故事,那些有抗争的,那些勇敢为自己而活,那些让我觉得自己生活得太单调的人物故事

Director|Xiaogang Wei

Cast|Jessica(主要采访人物)

Producer|Xiaogang Wei

Cinematographer|Li Shuo

Genre|Documentary

Length|37min30s

Year|2021

Dialogue|Chinese

Subtitles|Chinese, English

Region|China

Production Company|QAF

Synopsis

Every day at 3pm Jessica starts his make-up to be ready for his performance at 7:30. He does not perform in a bar or in a theater but at home facing his mobile phone. He is an online professional Drag Queen. Each day of the week he gets online to perform and to receive “gifts” from his fans. Although he enjoys being a Drag Queen, he not only has to prove his talents and skills but also to fight against prejudices and discrimination. Even if the space for drag shows in China is constrained, he is always looking for opportunities to perform in front of live audiences.

Director Biography

Xiaogang Wei was born and raised in Xinjiang, China. He was trained as an actor at the drama department of the Xinjiang Arts Institute in Urumqi and at the Shanghai Drama Academy. Having a passion for community work and a drive to contribute to social change, Xiaogang has continually searched for meaningful ways to share his drama skills with others and to use them in socially relevant ways.

In 2005 he started to engage himself on the production side of various films and other productions benefiting different social movements in China. In 2007, he founded the LGBT webcast “Queer Comrades”, for which he hosted and directed more than 400 videos and reached over 50 million viewers/times. Until 2019, he was the executive director of the NGO Beijing Gender. Founded in 2002, it was the first Chinese NGO to focus on issues of gender, sexuality and sexual health, thus fulfilling a pioneering role in Chinese society. Together with the Beijing Gender, he launched a series of groundbreaking events in China, including Queer University, the China AIDS Walk, the China Rainbow Awards, the China LGBTI Conference and All Gender Toilet Program.

Today, Xiaogang focuses on documentaries and film making. He is a member of the organizing committee of the Beijing Queer Film Festival. He was a member of the jury at the 2016 International Berlin Teddy Film Festival.

In 2013 he got the Vanguard Awards from LA LGBT Center for his contribution to the LGBTI movement in China.

Director’s Statement

So far, most of my work and life have been growing up with issues of sexuality and gender, civil society and human rights. Most of my films were about to raise the visibility of LGBTI people in China, to speak out, and asking for equal rights. Now I have left my full-time NGO job and become a freelancer, because I am not an film academic, and I cannot completely get rid of the way of thinking of a activist. So my film still like focus on people and stories that are rarely seen, those who have struggled, those who are brave to live for themselves, those who make me feel that my life is too monotonous.