马非隐喻 A Horse Is Not a Metaphor

马非隐喻

A Horse Is Not a Metaphor

导演|芭芭拉·汉默

编剧|芭芭拉·汉默

主演|芭芭拉·汉默

制片人|芭芭拉·汉默

摄影|芭芭拉·汉默、芭芭拉·克鲁蒂尼斯、弗洛丽·伯克、克里斯·夏沃、朱利安·鲁宾斯坦

类型|短片

时长|30分钟

完成时间|2009

对白语言|英语

字幕|无

地区|美国

制片公司|无

故事梗概

作为一名癌症“健儿”而不是“幸存者”,芭芭拉·哈默 (Barbara Hammer) 乘风破浪,爬着艺术家乔治亚·奥基夫新墨西哥州幽灵牧场的红山、怀俄明州大角的青草山麓,以及纽约伍德斯托克的绿树成荫的小路,将疾病转变为康复。

梅雷迪思·蒙克 (Meredith Monk) 令人难以忘怀的美妙音乐在这部电影中强调和赞扬,在我们可能最沮丧的时候让我们振作起来。

导演介绍

小时候,芭芭拉·汉默想活一个不辜负自己汉默(Hammer,锤子)这个名字的人生。作为1970年代的成人,她实现了自己的愿望:在她称之为“女权主义理想和女同性恋跳床的辉煌时期的十年中”,汉默惊人的一锤之音在多部赞扬并发现自己的女人的性特质(female sexuality)开创性电影中响起。接下来的四十年里,汉默创作了一百多部关于广泛不同主题的电影,她于三月 十六日在纽约去世,享年七十九岁。 汉默三十一年的伴侣弗洛里·伯克证实了汉默死于子宫内膜样卵巢癌。

导演阐述

自由即运动,自由即安逸;自由是一匹马,鬃毛和尾巴在风中飞舞。自由是我的眼睛和思想通过运动跟随表达的流动。自由就是骑着我的马踏上探索未知的小径,或者用癌症重生后的眼睛看世界,随着世界再次焕然一新。我正在完成一部电影,它展示了活在当下最充分和最自由地力量。

在我七岁时,在我六十七岁时,我的愿望都是一样的。我想要的只是我后院里有一匹马。年轻的时候,我真的相信我会在生日那天早上醒来,发现一匹拴着的马在吃着草坪上的草等着我。令人惊讶的是,我现在也会在生日当天去看一眼。也许这是我的天真,但更可能是让这个梦想一直存在的希望感。这种同样的期望和梦想的能力让我在严格的四个半月的化疗中保持希望,尽管其中一半时间是在床上度过的。当我做着日复一日恢复肌肉并通过越来越长的步行和远足时,我知道一切都是为了到时候我可以把腿摆到马鞍上,拍拍马的脖子,让她带我走上招手的小径做的准备。

这个梦想在今年夏天和秋天实现了。虽然我在后院没有发现一匹马,但我确实发现很多人慷慨地让我骑他们的马。我在纽约伍德斯托克的卡茨基尔山脉骑马并拍摄,为在新墨西哥州乔治亚·奥基夫的幽灵牧场和怀俄明州的雷德雷夫特牧场的大角山骑马做准备。美丽和奇迹不是用来表达我在高高的沙漠上漫步、攀登早雪覆盖的红色小山、或在山麓干枯的秋草中漫步时所感受到的兴奋和广阔的词语。无论我骑到哪里,我都带着我的摄像机,从马背上拍摄,我能够记录下充满希望的充满活力和多样性的风景。

当我接受大剂量的化疗时-治疗卵巢癌的推荐方法,我从来没觉得我想活着可以再拍一部电影。尽管如此,我并没有反对我二十年来的挚爱伴侣拍摄静像和录像。当一位旧金山的朋友和电影制片人飞过来带我去乡下休息一周的时候,我并不反对她在卡特里克河游泳时拍摄我的秃头和瘦骨嶙峋的身体。最后,在我自己的病床上,我确实用相机拍摄了滴进我身体内的一袋一袋的化学品、在场护士以及我自己肿胀的脸。在整个住院期间,我用马的形象作为冥想,将我带出病房,带到一个没有边界的地方。

实验电影最能传达癌症患者的情绪起伏。通过并置、剪辑节奏、图像超级渲染和个人观点,可以描绘出多层次的情感、体验、视觉和眼泪,这些都是实验电影的一些特征。传统的记录片方式会减弱情感冲击,无法传达我所经历的考验和希望的激动。

卵巢癌3期不容易诊断,并且两年内复发的几率为70%。如果女同性恋者没有孩子,并且由于持续的恐同医学职业而很少进行妇科检查,那么她们患这种疾病的风险就会增加。这也是一种很难在转移前发现的疾病。作为一名患有癌症的女同性恋者,我想向观众介绍我艰难的医学诊断,让他们更加有防范意识,以及我们大家都能分享的积极的希望态度。

“幸存者”在我看来从来都不是一个适合癌症患者的词。我会选择一个代表繁荣、幸福感、崇高和热爱生活的词。马不是一个隐喻,而是一个活生生的、能呼吸的、充满力量和自豪感的生物,我与它一刻一刻地生活在一起。让我能够分享给其他面临着和我同样生活挑战的人,并让我得以展出这部电影。

Director|Barbara Hammer

Screenwriter|Barbara Hammer

Cast|Barbara Hammer

Producer|Barbara Hammer

Cinematographer|Barbara Hammer, Barbara Klutinis, Florrie Burke, Chris Schiavo, Julian Rubenstein

Genre|Short Film

Length|30 min

Year|2009

Dialogue|English

Subtitles|None

Region|United States

Production Company|None

Synopsis

As a cancer ‘thriver’ rather than ‘survivor’, Barbara Hammer beats against the odds. She climbs the red hills of Georgia O’Keefe’s Ghost Ranch in New Mexico, the grassy foothills of the Big Horn in Wyoming, and leafy paths in Woodstock, New York, beating her illness.

The haunting and wondrous music of Meredith Monk underscores and celebrates in this film that lifts us up when we might be most discouraged.

Director Biography

As a child, Barbara Hammer always wanted to live up to her name. As an adult in the 1970s, she got her wish: her striking voice rang out in groundbreaking films that celebrated female sexuality just as she was discovering her own, during the decade she called “that glorious time of feminist ideals and lesbian bed-hopping.” Hammer, who created more than 100 films on widely diverse topics over the next 40 years, died in New York, March 16th at age 79.  Hammer’s partner of 31 years, Florrie Burke, confirmed Hammer died from endometrioid ovarian cancer.

Director’s Statement

Freedom is movement, freedom is ease; freedom is a horse galloping with its mane and tail flying in the wind. Freedom is my eye and mind following the flow of expression through movement. Freedom is riding my horse on a trail exploring the unknown or seeing with the eyes that cancer has given me, as the world becomes new again. I am completing a film that shows the power of living in the present to the fullest and with the greatest freedom.

When I was seven and when I was sixty-seven, my desire was the same. All I wanted was a horse in my backyard. I truly believed as a youngster that I would wake up one morning on my birthday and find a horse there, eating grass on the lawn and waiting for me. To my surprise, I still hope for a horse on my birthday. Perhaps it is my naiveté but more likely it is a persistent sense of hope that keeps this dream alive. The same ability to hope and dream kept me alive throughout the rigorous four and a half months of chemotherapy even though half of that time was spent in bed. As I built my muscles back day by day by taking longer and longer walks and hikes, I knew I was preparing for the day when I could swing my legs into the saddle, pat my horse on her  neck, and ask her to carry me onto the beckoning trail.

My dream came true for me this summer and fall. Although I did not find a horse in my backyard, I did find many people who generously let me ride their horses. I rode and filmed in the Catskill Mountains of Woodstock, and in New York in preparation for the rides in New Mexico at Georgia O’Keefe’s Ghost Ranch and in the Big Horn Mountains at Red Reflet Ranch in Wyoming. Beauty and wonder are not the words to capture the thrill and vastness I felt loping the high desert, climbing the red hills covered by innocent snow, or loping through the dry fall grasses of the foothills. Wherever I rode I took my video camera with and filmed from the horseback, I was able to record the vibrancy and variety of landscape that filled me with hope.

When I was undergoing extensive chemotherapy, the recommended procedure for ovarian cancer, I never thought I could or would want to make another film. Still, I didn’t give up on photography and filming, my loving partner of 20 years. When a friend and filmmaker flew from San Francisco to take me to the countryside for a week of retreat, I did not protest to her shooting my bald head and skinny body as I swam in the river. Eventually from my own bed in the hospital, I did use my camera to film the huge bags of chemicals dripping into me, the nurse at present, and my puffy face. Throughout the time, I used horse as a meditation image to take me out of the confines of the hospital room and to a landscape that has no boundaries.

Experimental film can best convey the emotional ups and downs of a cancer patient. The multi-layers of feelings, experiences, visions and tears can be portrayed through juxtapositions, rhythms of editing, superimpositions of images, and a personal point of view which are some of the hallmarks of experimental film. A traditional documentary approach would weaken the impact of emotion and could not convey both the trials and the thrills of hopes that I experienced. .

Ovarian cancer at stage three is hard to diagnosed with 70% chance of recurrence within two years. Lesbians increase their risk of getting thid disease if they have not had any children and have infrequent gynecological exams due to the homophobic doctors. It is also a difficult disease to detect before metastises. As a lesbian with cancer, I want to bring to audiences both my difficult medical diagnosis so that they can be more aware of the disease and more positive with hope that we can all share with each other.

‘Survivor’ has never seemed to me to be the right word for a person who lives with cancer. I would choose a word that signifies flourishing, a sense of wellbeing, exaltation and love of life. The horse is not a metaphor, but a living, breathing creature of power and pride that live with me in every moment of y life. Let me share it with others who face the same life challenges I face; let me show this film.

台北爸爸,紐約媽媽(未完成)Taipei Dad, New York Mom (Unfinished)

台北爸爸,紐約媽媽(未完成)

Taipei Dad, New York Mom (Unfinished)

导演|陈俊志

编剧|陈俊志

主演| 无

制片人|陈俊志

摄影|陈俊志

类型|纪录片

时长|55分钟

完成时间|不可考(实际未完成)

对白语言|普通话、闽南话、英语

字幕|无

地区|中国台湾

制片公司|无

故事梗概

以社會運動和紀錄片聞名的陳俊志,在2011年出版了〈台北爸爸,紐約媽媽〉,震撼文壇。他以同性戀長子的眼光,用盡氣力血淚書寫自身和家族的流散;不僅榮獲台北國際書展大獎,也由導演黎煥雄改編為同名舞台劇。身為導演,影像化自然是他的目標。

陳俊志於2018年末離世。這部從未公映的同名紀錄片,嚴格說來並未完成,受限素材畫質不佳,但已看得出結構與企圖。他顯然不滿足於文字已描述的,而改以他和金馬影后楊貴媚於2011年台北國際書展朗讀節的聲音演出來貫穿,其中既有父母手足的現身說法,也有因婚姻血緣擴散而出的家族肖像,有和早逝姊姊的摯友悲喜重逢,也有回憶當年弟妹赴美前宛如手足俱斷的不知所措。與文字相較,這是一部家族私史多過情海翻騰的作品。

导演介绍

陳俊志,1967年生於台北。畢業於台大外文系,紐約市立大學電影製作碩士,身兼導演與作家,台灣同志影像先鋒。1997年首部紀錄長片《不只是喜宴》即入圍日本山形紀錄片影展。1999年《美麗少年》為首部院線上映台灣同志紀錄片。代表作尚有《幸福備忘錄》、《玫瑰戰爭》、《沿海岸線徵友》。

导演阐述

无。

Director|Mickey Chen

Screenwriter|Mickey Chen

Cast|None

Producer|Mickey Chen

Cinematographer|Mickey Chen

Genre|Documentary

Length|55min

Year|Unfinished

Dialogue|Chinese, English

Subtitles|None

Region|Taiwan, China

Production Company|None

Synopsis

Known for his documentary films and involvement in gay rights movement, Mickey Chen shocked the literary world by publishing, in 2011, Taipei Dad, New York Mom, an autobiography about his torn-apart family and his life as the gay eldest son. Since he passed away in December 2018, this documentary film of the same name was left unfinished but shows enough promise and paints a heartbreaking portrait of his troubled family.

Director Biography

Mickey Chen was a filmmaker, writer, and pioneer of Taiwan’s queer cinema. His debut documentary feature Not Just a Wedding Banquet competed at Yamagata 1997. His Boys for Beauty (1999) was the first LGBT documentary released in Taiwanese cinemas.

Director’s Statement

None.

推开世界的门 Forever 17

推开世界的门

Forever 17

导演|洪荣杰

编剧|洪荣杰

主演| 梁进龙、何鑫、曾文威、高翰文

制片人|吴绣华

摄影|李植熹

类型|短片

时长|36分钟

完成时间|2019

对白语言|广东话

字幕|中英

地区|香港

制片公司|Keep In Touch Production

故事梗概

Ricky和Roger是对相恋超过四十年的伴侣,然而,Roger在近期过世了;每次Ricky整理那张他们曾经共枕的床时,回忆便从各个角落、每一次的触碰中袭来,无处可躲。Ricky在抽屉里找到两个红包,那是将近半世纪以前Roger第一次和Ricky的家人一起过年时,Ricky父母给Roger的。

紧接着,剧情回溯两人的故事,一路从Ricky出柜、受家人否定,一直到他遇见Roger。这则故事重新想象了另一个未来:2029年,香港通过同婚立法,Ricky和Roger还有另外两对女同志成了香港第一批结婚的同性伴侣。Ricky的父母把他们的婚戒给了Ricky和Roger,传承了一份不分性别的祝福,实现了异性恋父母对酷儿孩子与他丈夫的接纳。本片看起来好像是个平凡又梦幻的故事,这是许多酷儿梦想的未来,但因现存的歧视和偏见,这些想象往往遥不可及。《Forever 17》透过酷儿们对双方的关爱、背叛、死亡去学懂怎样宽恕和治愈,从苦痛中复原,得到爱的传承,和永恒的承诺。《Forever 17》告诉我们,酷儿之间的终身伴侣关系并非遥不可及。

导演介绍

洪荣杰(IMDb)是香港浸会大学电影学院的讲师,他于芝加哥艺术学院取得硕士学位后,现正于伦敦大学金匠学院媒体与传理学系修读研究学位。洪荣杰获奖众多,他所制作的电影曾于全世界上百个影展放映。他的短片《有人》和《天使》都于鹿特丹影展首映,并且在香港及外地许多影展获奖。他的第一部长片《无声风铃》获颁六个国际性的电影大奖,获柏林影展泰迪熊奖提名,以六种语言于十四个国家上映。在西班牙和意大利,他也得到了最佳导演奖和最佳新兴导演奖。

导演阐述

《Forever 17》是《烟花火》(标题暂定)三部曲的第一发。本片献给两位香港酷儿的灵魂人物:演员和歌手张国荣,以及去年(2018)自杀的歌手与友人卢凯彤。仅以本片怀念两人。尽管香港酷儿社群在经历不同的社会问题,我们必须从死亡的悲痛中走出,共同构筑一个明亮的未来:我们可以与伴侣白头偕老,我们可以过着不受恐惧和歧视侵扰的生活,我们可以真正觉得自己也是社会的一份子。

「简单平凡的生活」看起来似乎再容易不过,但仅属于「平凡」的异性恋者。《Forever 17》将酷儿放入每个人都冀望体会的日常之中。我们一直被标签为「异类」。而我们也一直不见容于社会期待的「正常」框架之中。在香港,无论是街上或媒体,我们几乎看不到酷儿伴侣的身影,更遑论一同变老或长期伴侣关系的议题。《Forever 17》旨在述说一个LGBT社群中落失的故事,藉此展望一个更为开放、明亮的未来。

Director|Kit Hung

Screenwriter|Kit Hung

Cast|Jun Leung, Sam Ho, Clifford Tsang, Ko Hon Man

Producer|Connie Ng

Cinematographer|Lee Chik Hei

Genre|Short film

Length|36min

Year|2019

Dialogue|Cantonese

Subtitles|Chinese, English

Region|Hong Kong, China

Production Company|Keep In Touch Production

Synopsis

Ricky and Roger lived together and fell in love with each other for more than 40 years. Roger passed away recently, and every time Ricky tidies up their bed, memories flood him from every corner and at every touch. Inside a drawer, he found two red envelopes given to Roger by Ricky’s parents nearly half-century ago, on the day Roger spent the 1st Chinese New Year dinner with Ricky’s family… 

A flashback shows the love story between Ricky and Roger, from Ricky’s coming out and the disapproval of his family, to the time he met with Roger. The story re-imagines a future for us: in 2029, Hong Kong passed same-sex marriage legislation, Ricky and Roger and two other lesbian couples become the first registered same-sex married couples in Hong Kong. Ricky’s parents gave them their own wedding rings as a blessing, the best proof of acceptance from the heterosexual parents to his queer son and his partner. The film carries on as an ordinary and fairy-tale-like story, a future a lot of queer people desire but struggle to imagine due to stigma and discrimination. Forever 17 tells us that a lifelong queer relationship comes to existence through love and care, betrayal and forgiveness, pain and recovery, death and survival,  inheritance and eternity, and honouring mutual commitments.

Director Biography

Kit Hung (IMDb) is a lecturer at the Film Academy, Hong Kong Baptist University.  Graduated with Master in Fine Arts at the School of the Art Institute of Chicago, he is currently undertaking a research degree studies in the Department of Media and Communications at the Goldsmiths College, University of London.  He is an award-winning director with his films screened at over 100 international film festivals.  His short films “invisible people (有人)” and “I am not what you want (天使)” premiered at the Rotterdam International Film Festival and received awards from festivals in Hong Kong. His first feature film “Soundless Wind Chime” has won 6 international awards and was nominated for the Teddy Awards at Berlin Film Festival, released in 14 countries in 6 different languages.  He also received Best Director and Best New Director awards in Spain and Italy. 

Director’s Statement

Forever 17  is the first part of the “Fire Work” (working title) trilogy. The film is dedicated to two honourable queer icons from Hong Kong, actor and singer Leslie Cheung (张国荣), and singer and friend Ellen Loo (卢凯彤), who died of suicide. The queer community in Hong Kong must free themselves from the sorrow of their death, and build a brighter future together: we can grow old together with our life long partners, we can lead a life without fear and discrimination, and that we can feel as, and actually be a part of the society.

“A simple, ordinary life” seems to be easy to achieve but, unfortunately, that is only true for “the ordinary”, heterosexual people. Forever 17  put queerness into an ordinary life looks forward to. We have always been stigmatized as “the others” and “the different”, and we do not fit within the normality of social expectation. In Hong Kong, seldom do we see queer couples on the street or media, let along those, together, growing old and facing challenges of maintaining long term relationship. Forever 17  seeks to tell that lost story for the LGBT community, envisioning a more open and brighter future for us.

姑奶奶 Madame

姑奶奶

Madame

导演|邱炯炯

编剧|邱炯炯

主演|樊其辉

制片人|无

摄影|邱炯炯

类型|纪录片

时长|120分钟

完成时间|2010

对白语言|四川方言

字幕|中英

地区|中国

制片公司|星空间

故事梗概

在夜晚,他是华丽的、庄严的、刻薄的、胆怯的、恶毒的、势利的、羞涩的、不幸的、⻛情万种的、⺟仪天下的、冥顽不灵的碧浪达夫⼈的;⽩天没,他是京城⽂明的时尚裁缝樊其辉,裁缝是个健谈的⼈,他经常会去同性恋的专⻔的据点——⽐如公园和浴室寻找故事——邂逅,调情,做爱,吃饭……裁缝说他天⽣就喜欢男⼈。

在裁缝眼⾥,他的⽗⺟是不幸的;他的童年⼀直缺乏安全感,也没有什么意思。⻓⼤后的裁缝靠做⾐服的微薄收⼊供⾃⼰去了⼴州,他想在那⾥实现⾃⼰的理想——做⼀名⾛红的“妓⼥”……确实,他遇⻅了⼀些让他刻⻣铭⼼的男⼈——⽆论是在北京还是在⼴州——那时他还很年轻。

姑奶奶樊其辉有两重身份,健谈的裁缝,浪荡的碧浪达夫⼈。通过极具波普味道,放浪形骸的碧浪达夫⼈,裁缝哀悼着他⾃⼰不合时宜的尴尬身份。舞台上⿊暗悲伤的碧浪达,是裁缝的挽歌。

《姑奶奶》的记录⼿法⽆疑在做减法,直奔最极端的记录⽅式去了,除了歌曲演唱的记录,就只剩⾚裸裸的访谈,屏蔽了⼈物旁枝末节的其他现实。⿊⽩影调更是减法,消减掉⾊彩可能造成的多义,只留下⼀个单⾊世界。⽂本和对象度身订做,互为镜像,映照了对⽅。(何佳《MADAME》)

导演介绍

邱炯炯是⼀位跨越独⽴电影和绘画两条线索展开创作的艺术家。电影作品包括《彩排记》(2008)、《⻩⽼⽼拍案》(2009)2部短⽚,以及《⼤酒楼》(2007)、《姑奶奶》(2010)、《萱堂闲话录》(2011)、 《痴》(2015)、《椒麻堂会》(2021)5部⻓⽚。从《痴》到《椒麻堂会》,他完成了从早期以⼝述为主的纪录⽚到剧情⽚的过渡。家乡四川乐⼭和川剧世家的家族史是其影⽚中多次出现的主题,四川⽅⾔对⽩也是构成其影⽚独特⽂学趣味及叙事结构的重要因素。邱炯炯影⽚的独特性与他的画家身份密切相关,他的电影中存在着⼀种绘画性,从基于⼤量⽂本写作的剧本到⾼度依赖⼿⼯的制作⼿法,都提供了值得凝视与反复观看的体感温度。

邱炯炯的早期影⽚多次⼊选中国独⽴影像年度展⼗佳影⽚。《痴》⼊围第68届洛迦诺国际电影节、第15届MoMA国际纪录⽚双周及第40届⾹港国际电影节。《椒麻堂会》作为他的第⼀部剧情⻓⽚,于项⽬阶段获得⾦⻢创投会议CNC现⾦奖、荷兰⿅特丹HUBERT BALS FUND剧本及发展基⾦、⾹港亚洲电影投资会WHITE LIGHT后期制作⼤奖及法国⼤巴黎地区后期基⾦;成⽚于第74届洛迦诺国际电影节国际竞赛单元⾸映,并获得“评委会⼤奖”。

导演阐述

无。

Director|Qiu Jiongjiong

Screenwriter|Qiu Jiongjiong

Cast|Fan Qihui

Producer|None

Cinematographer|Qiu Jiongjiong

Genre|Documentary

Length|120min

Year|2010

Dialogue|Sichuan dialect

Subtitles|Chinese, English

Region|China

Production Company|Star Gallery

Synopsis

In the night, she is the gorgeous, dignified, acrimonious, cowardly, malicious, self-interested, bashful, unfortunate, amorous, matriarchal and bullheaded Madame Bilan de Linphel. In the day, he is a tailor, who is fast talker. He often goes to the city’s gays strongholds—parks and bathhouses—in search of stories – to meet by chance, flirt, make love, eat. Tailor said he was born to love men.

In Tailor’s eyes, his parents are unfortunate, his childhood, dull and without a sense of security. After growing up, Tailor funded his journey to Guangzhou on the meager income he earned as tailor. He went to realize his dream: to be a highly sought-after

“gigolo.” Indeed, he ran across some men who made their indelible marks—whether it was in Beijing or Guangzhou. He was young at that time.

Madame Fan Qihui has two identities: a talkative tailor, an indolent Bilan de Linphel. With a pop-infused flavor, a dissolute Madame Bilan de Linphel-cum-tailor lament the unseemliness of their dual identity. In the darkness of the stage, the desolate

Bilan de Linphel is the tailor’s elegy incarnate.

Director Biography

Qiu Jiongjiong is an artist who works across two strands: independent film and painting. His films include two short films, Ode to Joy (2008) and A Portrait of Mr. Huang (2009), and five full-length films, The Moon Palace (2007), Madame (2010), My Mother’s Rhapsody (2011), Mr. Zhang Believes (2015), and A New Old Play (2021). From Mr. Zhang Believes to A New Old Play, he has completed the transition from the early narrative-based documentaries to feature films. The family history of Qiu’s hometown, Leshan, Sichuan, and his Sichuan opera family are recurring motifs in his films, and the Sichuan dialects are also important factors in the unique aesthetic and narrative structure of his films. The uniqueness of Qiu’s films is closely related to his identity as a painter. From his script, which is based on a large number of script, to his highly manual production methods, there are always a remaining Painterly style, which provides a physical temperature that is worth gazing at and watching again and again.

Qiu Jiongjiong’s early films have been selected as among the top-ten films in China Independent Film Festival more than once. Mr. Zhang Believes was selected for the 68th Locarno International Film Festival, the 15th MoMA Doc Fortnight, and the 40th Hong Kong International Film Festival. Qiu’s first feature film, A New Old Play won the CNC Cash Award at the Taipei Golden Horse Film Project Promotion, the Hubert Bals Fund Script and Project Development in the International Film Festival Rotterdam, the White Light Post-Production Award at the Hong Kong – Asian Film Financing Forum during the project pitching session. The film was screened at the 74th Locarno International Film Festival and won the Special Jury Prize.

Director’s Statement

None.