失常 Unsound

失常

Unsound

导演|伊恩·沃森

编剧|艾利·伯纳姆

主演| 里斯·诺伊、伊安娜·潘德利斯、托德·麦肯尼、克里斯蒂·-阿努、宝拉·邓肯

制片人|Tsu Shan Chambers

摄影|肯特·马库斯

类型|剧情长片

时长|88分钟

完成时间|2019

对白语言|英语、澳大利亚手语

字幕|英文

地区|澳大利亚

制片公司|Wise Goat Productions

故事梗概

诺亚是一名吉他手,他退出乐队回到了悉尼母亲的家中想要再次和过去和解。因为一些旧伤诺亚和母亲发生了冲突,他跑出家门寻找慰藉,很快发现自己被一位充满活力和激情的跨性别者芬恩所吸引。芬恩为这里的听障人士社区工作,同时也经营着一个只供听觉障碍者的跳舞俱乐部。诺亚和芬恩相互吸引,一起探索新的事物,彼此分享他们独特的语言——诺亚的音乐以及芬恩的手语。这是芬恩的第一段关系,所以他们彼此珍视、小心翼翼地在一起,在家庭压力和俱乐部财政压力下,芬恩也努力开启新的生活,而诺亚决定重新捡起自己的音乐。但随着两人关系的密切,由于没有共同的语言可以依靠,他们只能冒着伤害对方的风险,去学会做真正的自己。

导演介绍

伊恩-沃森从事导演工作已超过30年。作为一名戏剧导演,他为墨尔本和阿德莱德州剧团、格里芬剧团、猎人谷剧团、维多利亚州艺术学院和国家戏剧艺术学院创作了许多不部戏剧作品。伊恩也是一名电视剧导演,他执导的电视剧时长超过200个小时,收获包括艾美奖在内的众多奖项提名。他也是澳大利亚导演协会最佳电视迷你剧导演奖的首届获奖者。

导演阐述

我是在《失常》这个项目已经完成了很多事情之后才加入的。在阅读剧本时,我被它其中所反映的人性以及对视点的精心设计所吸引,它同时也触及到了社区和身份认同的问题。芬恩首先是听障社区的一员,其次是一位跨性别者;诺亚既是乐手,也是一名男同性恋,他们都很年轻,两个人都处在自我寻找的过程中,芬恩要成为他必须成为的人,而诺亚想寻找到自己的声音。《失常》将这两个人的旅途编织成一段浪漫的爱情,以一种富有同情心又毫无修饰的方式,讲述了爱之力量以及双方的改变。

我既非听障者也非跨性别者。我是导演,我很清楚自己不知道什么。为了完成这部电影,我们咨询了许多专业人士,跨性别者和听障者顾问贯穿了剧本创作、拍摄和后期制作的各个方面。在所有阶段我们都紧密合作,精心呈现剧本和表演,让演员改变说话的方式,以及衣着、举止甚至是走路的形态。

我们的制作主旨一直是很简要的,因为我们把摄影机始终和主角保持在同一个视点上。如果芬恩或诺亚进入一个房间,镜头就会跟着他走。这种真实感使得《失常》在视觉和声音设计上呈现出沉浸的观感。

Director|Ian Watson

Screenwriter|Ally Burnham

Cast|Reece Noi, Yiana Pandelis, Todd McKenney, Christine Anu, Paula Duncan

Producer|Tsu Shan Chambers

Cinematographer|Kent Marcus

Genre|Feature film – Drama, romance

Length|88min

Year|2019

Dialogue|English and Auslan Sign Language

Subtitles|English

Region|Australia

Production Company|Wise Goat Productions

Synopsis

When gigging guitarist, Noah, finds himself disillusioned and transient, he quits the band of his 90’s pop icon mentor, and returns to his mother’s home in Sydney, Australia, seeking connection and rejuvenation. Clashing with his mother over old wounds, Noah seeks solace elsewhere, and soon finds himself swept up in the vibrant, passionate life and of a young, trans-man, Finn, who is a proud, Auslan-only speaker who works and runs a local centre and nightclub for his deaf community. Together, the pair traverse new ground, sharing their languages – Noah’s music and Finn’s signs – with one another. They move carefully, as this is Finn’s first relationship while he is on the precipice of diving into his trans journey. Finn struggles to spread his wings and come into his own, as he suffocates beneath his father’s over-protection and the financial strife facing his club. Determined to reapply to his music and join a community, Noah offers to help aid the club any way he can. But as the two become closer, and with no shared language to fall back on, they only risk hurting each other, as they learn to be true to themselves.

Director Biography

Ian Watson has been directing for over 30 years. As a theatre director his credits include productions for the Melbourne and Adelaide State Theatre Companies, the Griffin Theatre Company, the Hunter Valley Theatre Company, the Victorian College of the Arts and the National Institute of Dramatic Art.

In television Ian has directed over 200 hours of drama, with credits that include, the multi award winning and Emmy nominated, Love My Way, Carla Cametti P.D a six part miniseries for SBS, Wicked Love: The Maria KorpStory, the Emmy nominated Dance Academy, Janet King and Anzac Girls for the ABC and most recently House Husbands and Doctor Doctor for Channel 9.

He was the inaugural winner of the Australian Directors Guild (ADG) Award for best direction in a television miniseries for his work on the Australian/UK production Tripping Over. Ian was again nominated in the miniseries category in 2009 for Carla Cametti P.D. in 2013 for Underbelly: BADNESS and again in 2015 for Anzac Girls.

Director’s Statement

I came onto the project late after much had already been set in place. On reading the script I was attracted to its humanity and the crafting together of two distinct points of view. For me UNSOUND deals with issues of community and identity. Finn identifies first as a member of the deaf community and secondly as a transitioning man. Noah identifies as both a member of the music and gay community. Both are in the process of self-realisation. They are young and it is what they do. Finn to be the man he has to be and Noah the musician in search of his voice. UNSOUND knits these two journeys together as a romance in a compassionate and unadorned way that makes the film ultimately about the transformative power of love.

I am neither, deaf or a transitioning man. I am the director and well aware of what I don’t know. To realise this film, we needed the talents and knowledge of those that do know. The trans and deaf consultants were across every aspect of the scripting, rehearsal, shooting process and during post production. At all stages we worked closely to craft the script and the performances. Changing dialogue, to discussions about wardrobe, mannerisms and how a man really walks!

The production brief was always about simplicity. We realized that the camera would always take a point of view with either of the central characters. If Finn or Noah enter a room the camera travels with him. This created a sense of immediacy and subjective storytelling. The experience of UNSOUND should be immersive both in its visuals and in its sound design.

新屋 Neubau

新屋

Neubau

导演|约翰·M·施密特

编剧|塔克·罗亚尔

主演| 塔克·罗亚尔、莫妮卡·齐默林、贾尔达·雷布林、明德·范

制片人|费边·阿尔滕里德

摄影|斯米娜·布卢斯

类型|戏剧

时长|81分钟

完成时间|2019

对白语言|德语

字幕|中文

地区|德国

制片公司|舒尔登伯格电影公司

故事梗概

勃兰登堡州的夏天。马库斯一面放不下亟需照料的祖母,一面又向往在柏林的新生活。一群尖叫的恶魔越来越频繁地出现在他的白日梦里,预示着一个奇特的城市寄身家庭将帮助他走出孤独。在爱上杜克之后,一切变得愈加复杂。因为马库斯其实已经收拾停当,准备搬往大城市居住。

导演介绍

约翰·玛利亚·施米特(Johannes Maria Schmit)1981年生于特里尔,他毕业于柏林恩斯特·布希戏剧艺术学院导演系,师从托马斯·奥斯特迈尔(Thomas Ostermeier)。其2009年由雷内·珀来施(René Pollesch)指导的毕业论文荣获特别表彰。施米特毕业后进入莱比锡中央剧院担任驻场导演,自2011年起以自由导演的身份活跃在德语区和瑞典戏剧界,并主要与戏剧团体“Institute”(马尔默/柏林)进行合作。他与表演艺术家伊吉·马尔姆博格(Iggy Malmborg)组建双人组合“白底白字”(White on White),其作品在全球引发关注。自从朗霍夫和希列(Langhoff/Hillje)联合执掌剧院,施米特的作品开始定期亮相柏林高尔基剧院。施米特自2013年起在多所大学和艺术高校任教。2017年2月,他与丹麦艺术家英加·格尔纳·尼尔森(Inga Gerner Nielsen)一起荣获莱比锡行动艺术奖。施米特自2019年1月起在斯德哥尔摩艺术大学攻读博士学位。《新屋》是他的电影处女作。

导演阐述

本片是一次没有普遍性的转化尝试。它努力呈现一个特殊人物的生活全貌,却不愿同与此相悖的规范起任何冲突。我们尽量避开“出柜剧”的模式,力求在具体的人际关系和不断变化的日常生活中还原乡村人民的形象。正如其中的风景大多短暂易逝,受此启发之下的影片没有大肆渲染转折,一切都在平淡之中悄然改变。承诺与关心是贯穿始终的道德价值,也为整部电影奠定了审美基础。在我看来,如何以理所当然的方式讲述主人公的人生计划,而不是对它的不稳定性避而不谈,是本片在构作和政治上所面临的挑战。

Director|Johannes M. Schmit

Screenwriter|Tucké Royale

Cast|Tucké Royale, Monika Zimmering, Jalda Rebling, Minh Duc Pham

Producer|Fabian Altenried

Cinematographer|Smina Bluth

Genre|Drama

Length|81min

Year|2019

Dialogue|German

Subtitles|Chinese

Region|Germany

Production Company|Schuldenberg Films

Synopsis

In the Brandenburg province, Markus is torn between his love for his grandmothers in need of care – one of them suffering from dementia – and his longing for urban self- determination in Berlin. Most of the time, left alone with his worries, he daydreams of a crowd of dazzling demons which act as harbingers of an urban elective family. When Vietnamese technician Duc enters his life, things become more complicated, as Markus has to decide if he should stay or go…

Director Biography

Johannes Maria Schmit works as a freelance director for German and Swedish theatres and is part of the performance duo White on White. The naturalistic drama Neubau is his feature film debut.

Director’s Statement

This film is the attempt of translation without generalization, seeking to visualize the world of a very special character without involving a conflicting norm as a means of comparison. We tried to work around the genre of a coming of age drama, showing peoplefrom the countryside in concrete relations and in their everyday life. Inspired by the timelessness of the landscape within the film, turning points are not dramatized in an edgy way but carried gently from hill to hill.

怪异天才 Enfant Terrible

怪异天才

Enfant Terrible

导演|奥斯卡·罗勒

编剧|克劳斯·里克特

主演|奥利弗·马苏奇 / 卡蒂娅·里曼 / 弗里达·洛维萨·哈曼

制片人|马库斯·季默 / 史提芬·安特 / 乌瓦·舒特

摄影|卡尔-弗里德里希·科斯尼克

类型|传记

时长|134分钟

完成时间|2020年

对白语言|德语 / 法语 / 英语

字幕|中文

地区|德国

制片公司|巴伐利亚电影公司 / X Filme制片公司 / 西德广播公司 / 巴伐利亚广播公司 / 德法公共电视台

故事梗概

1967年,22岁的赖纳·维尔纳·法斯宾德登上慕尼黑“反剧院”的舞台,而且很快成为该剧团的负责人,没有人怀疑这位无所顾忌的无名小辈会成为战后最重要的德国电影人之一。他充满激情和动力的性格很快吸引了一群由演员、自恋者和追求者组成的粉丝团。仿佛意识到了自己的生命有限,他近乎疯狂地创作了一部又一部电影。虽然法斯宾德激进地贯彻了他的创作理念以及他对社会和人的看法,但他在专业和私人生活方面都呈现了两极分化的状态。

尽管早期遭遇挫折,但他的许多电影在全世界最著名的电影节上取得了突破,并受到观众、影评人和其他同行的欢迎和憎恨。他的愤怒,他对爱的渴望,以及他的自我剥削,同时也强加在他周围的每个人身上,使他成为最令人难忘和激进的电影导演,一个“坏孩子”。

导演介绍

奥斯卡·罗勒以编剧的身份开始了他的职业生涯,并凭借他的第二部作品《无处可逃》(2000)崭露头角,这部影片是关于他母亲的私人肖像,在戛纳电影节导演双周单元首映,并获得了德国电影奖最佳影片奖。他的其他获奖电影包括:《焦虑》(2003,柏林电影节主竞赛单元提名),《求爱三兄弟》(2004,威尼斯电影节地平线单元提名),改编自米歇尔·乌埃勒贝克同名小说的《基本粒子》(2006,柏林电影节主竞赛单元提名),《犹太人苏斯:无良电影》(2010,柏林电影节主竞赛单元提名)是他评价最两极分化的作品之一,《生命之源》(2012,卡罗维发利电影节主竞赛单元提名),以及《佣人变奏曲》(2018)。《怪异天才》是奥斯卡·罗勒的最新作品,并向最传奇和激进的德国电影人之一赖纳·维尔纳·法斯宾德致敬。

导演阐述

我看的第一部法斯宾德电影是《四季商人》,当时我12岁,是在寄宿学校里的一座能容纳大约20人的家庭影院。这部电影像子弹一样击中了我的心,从那时起,我就一直期盼着法斯宾德的下一部电影。等待的时间并不长。几乎每隔六个月,就会有短小精悍的、怪诞而深刻的新作问世,它们把扭曲的镜子对准20世纪70年代早期的德国社会、小资产阶级和反动分子,对于十来岁的我来说,它们给我留下了深刻的印象。这是我以前从未见过、也从未想过的德国现实,而这些电影给了我去了解这些现实的工具和手段。因此,我很早就开始了写作的尝试。法斯宾德的电影对近于荒废的德国电影业来说是一大福音。19岁的时候,我终于去了柏林,去探寻正在崩溃的现代结构,以及传奇的法斯宾德——他当时已经三十多岁了,声名鹊起。我很快就游历了那些可以接近我的偶像(即与他合作的明星)的地方,比如英格丽·卡文、库尔特·拉布、福尔克·施彭勒等人,他们常常在巴黎酒吧和萨维尼广场附近的百慕大三角地区买醉,或是庆祝他们的奢侈派对,我一开始不敢进去,只能“把鼻子贴在玻璃上窥探”。后来我认识了他们中的一些人,并有幸和他们一起合作拍摄。法斯宾德和他的朋友们之所以如此出名,是因为他们成功地将文化景观与他们风格迥异的电影结合在了一起,以至于在国际上获得了声誉。他们是一个由赌徒、戏剧演员和兼职演员组成的同性恋团体,个性分明,来自四面八方:从南部的巴伐利亚州到乌发电影公司的资深明星。他们中的大人物,年轻的法斯宾德,是当时以及今天德国电影界唯一的摇滚明星,他往往戴着太阳镜出现,一身皮革,一副扑克脸,身边总是有两个同样穿着皮衣的保镖。他在戛纳糟蹋酒店房间,冷漠对待演员,放其他人鸽子,最终在所有人的注视下毁了自己的生活。他把同性恋前卫场面的怪异和解放带入德国电影和德国文化界,即使是许多与同性主题无关的电影,他也会进行象征化、美学化的处理。他的情节剧《十三个月亮》是独特的,以一种诗意却又夸张的方式讲述故事。你可以看出来,法斯宾德最初来自戏剧界的底蕴。他像布莱希特一样一本正经地讲社会寓言,《卡斯特婆婆升天记》就是一个例证。法斯宾德的血液里流淌着世间罕见的摇滚乐。他让每个人都出了名。名声也很重要——通过独创性从一个局外人的位置崭露头角,进而占据国际影坛关注的一席之地。法斯宾德与安迪·沃霍尔、简·方达、德克·博加德等名人都有过往来。他的追求越来越高,他的电影变得越来越神秘和疯狂,而他自己也渐渐濒临破产。个人生活和社会境况让他疲于奔忙,无论他精力多么旺盛似乎都不够。大马戏团、聚光灯、毒品,他创造的传奇最终吞噬了他。对我来说,他是柏林夜空中的一颗彗星,是在风中摇曳的霓虹灯招牌,是一块迸发鲜艳色彩来展示自己的巨石,同时它又具有战后德国社会冰冷、灰暗的底色,伴以所有晦暗的思想、悲观主义和自我怀疑。法斯宾德故事中的每一个破碎的英雄都是他本人的一块拼图,每当这些人物死去,他也就死了一遭。最后,他像真正的摇滚乐手一样死去,生命在碎片中耗尽,极度孤独。他在创作的熔炉中烧掉了友谊,然后继续前进。“尸体铺就了”他的道路。我们要感谢他留下来的39部电影。从惊险的情节剧到精彩的黑色喜剧,再到伟大的社会戏剧,应有尽有。每一部电影都不一样,几乎每一部电影都是一个惊喜。虽然它们并非完美无缺。

制作完美的电影并不是他的目标。他太冲动了,太情绪化了。为了制作这些写实的电影,他必须把生活融入其中。这就是症结所在。他没有退路,不像其他人那样可以匍匐前进。于他而言,艺术和生活是完全交织在一起的。

他是一个非常年轻的人,拥有极大的智慧和幽默感。在德国电影导演和作家中,他是独一无二且影响深远的人物。

一切为了艺术和生活,仿佛没有明天。遵循这一座右铭就意味着不会变老。法斯宾德免于成为一个重复自己、无聊度日的老者。他在自己创作鼎盛的辉煌时期离开了我们,年仅37岁。

Director|Oskar Roehler

Screenwriter|Klaus Richter

Cast|Oliver Masucci, Katja Riemann, Frida-Lovisa Hamann

Producer|Markus Zimmer, Stefan Arndt, Uwe Schott

Cinematographer|Carl-Friedrich Koschnick

Genre|Biopic

Length|134min

Year|2020

Dialogue|German, French, English

Subtitles|Chinese

Region|Germany

Production Company|Bavaria Filmproduktion, X Filme Creative Pool, WDR, BR, Arte

Synopsis

When 22-year-old Rainer Werner Fassbinder storms the stage of the ‘Antitheater’ (Anti-Theatre) in Munich, 1967 and seizes the theatre production without further ado, nobody suspects this brazen nobody to become one of the most important post-war German filmmakers. His passionate and driven character swiftly attracts a bunch of dedicated admirers made up of actors, narcissists and suitors. As if he senses his limited life span, he almost frantically creates film after film. While Fassbinder radically pursues his creative vision and views of society and people, he polarises professionally and privately.

Despite early setbacks, many of his films breakthrough at the most renowned films festivals and are hailed and hated by audience, critics and fellow filmmakers. His anger and his longing for love as well as his self-exploitation, which he also imposes on everyone around him, have made him the most memorable and radical film director, an enfant terrible.

Director Biography

Oskar Roehler started his career as a screenwriter and had his breakthrough with his second feature NO PLACE TO GO (DIE UNBERÜHRBARE; 2000), a very personal portrait of his mother, which premiered in Cannes (Director’s Fortnight) and received the German

Film Award (Lola) for best film. His other award winning films include ANGST (DER ALTE AFFE ANGST, 2003 – Berlinale Official Competition), AGNES AND HIS BROTHERS (AGNES UND SEINE BRÜDER; 2004 –

Venice Orizzonti) as well as his film adaptation of Michel

Houellebecq’s novel ELEMENTARY PARTICLES (ELEMENTARTEILCHEN;

2006 – Berlinale Official Competition). With JEW SUSS: RISE AND FALL (JUD SÜSS – FILM OHNE GEWISSEN; 2010 – Berlinale Official Competition) Oskar created one of his most polarizing films. After SOURCES OF LIFE (DIE QUELLEN DES LEBENS; 2012 – Karlovy Vary Official Competition) and his ‘Masterand Servant’ portrait OUTMASTERED (HERRLICHE ZEITEN; 2018), ENFANT

TERRIBLE is Oskar’s latest film and homage to one of the most legendary and radical German Filmmakers – Rainer Werner Fassbinder.

Director’s Statement

I felt like Klaus Richter: the first film I saw, was “Händler der vier Jahreszeiten”, I was 12 at the time, and there was a home cinema in the boarding school that could accommodate about 20 people. This film pierced the heart of my twelve-year-old self like a bullet. From then on I sat and waited for the next Fassbinder film to be released. And the wait was not long. Almost every six months, new, small, partly bizarre, partly deep films were published, which aimed their distorting mirror at society, the petty-bourgeois, original reactionary, Germans of the early 1970s, which I at 12-, 13-, 14-year-old could then takeaway deeply impressed by their impact on me. It was a German reality that I had never seen before and that I had never thought about. Fassbinder’s films gave me the tools and the means to do so. As a result, I started my first attempt at writing early on. These films were a great blessing within the deserted film industry of Germany. And when I went to Berlin at 19-years-old on the hunt of the collapsing modern structures and that legendary Fassbinder, who was still almost a professional youth at the time, he was in his mid-thirties, and I soon went to the places where I could be close to my idol and his stars, Ingrid Caven, Kurt Raab, Volker Spengler and many more, who got drunk in the Paris bar and in the Bermuda Triangle around Savignyplatz and where they celebrated their extravagant parties, and “pressed my nose against the glass” because I didn’t dare to go in at first. I later got to know some of them and had the honor of shooting with them himself. What made Fassbinder and his friends so famous and notorious was the fact that they had managed to mix up the cultural landscape with their poisonous cocktail of most different films, so much so that international fame had already dawned on them. They were a gay group of gamblers, thesbians, and parttime actors who achieved this, a colorful bunch that came from everywhere: the deepest Bavarian province to the original stars of the UFA. The big shot amongst them, young Fassbinder, was the only rock star in German Cinema at the time as well as to this day, who ultimately only appeared in sunglasses with mirrored glass, completely dressed in leather and a poker face, always flanked by two bodyguards, also dressed in leather. He got away with devastating hotel rooms in Cannes, appointing stars and dropping others and eventually ended up destroying his own life with everyone watching. He brought the eccentricity and the liberation of the gay avant-garde scene into German cinema and into the German cultural scene, even with the many films that had nothing to do with this topic, to symbolize, aestheticize and at the same time update the form. The topics were always new and contemporary with the really good films. His melodrama “In a year with thirteen moons” was unique, it played with poetic and theatrical means and exaggerated them. Fassbinder originally came from the theatre world, and you could tell. He told social parablesin as strict a manner as Brecht. Mother Küster is just one example. Fassbinder had the kind of rock and roll in his blood which you can’t buy. He made everyone famous. And fame was important too – to gain fame from an outsider position through ingenuity and to get into the key position of international cinematic attention. Andy Warhol, Jane Fonda, Dirk Bogarde. He searched ever higher, his films became increasingly hermetic and crazier, and he himself progressively broke. He had so much to work through personally and with German society, that a single life, however intense, simply wasn’t enough. The big circus, the limelight, the drugs, the legends he created finally devoured him. For me, he was a comet in the night-sky of Berlin, a bright neon sign fluttering in the wind, a monolith that invented bright colors to stage itself, but which was actually made of the cold, gray bedrock of post-war German society. With all the dark thoughts, the pessimism, the self-doubts that went with it. Every broken hero of his stories who perished himself was a fragment of Fassbinder. And with each of them he died a little more. In the end he died like real rock and rollers do, burned out with his life in shards and extremely lonely. He burned friendships in the furnace of his productivity and moved on. “Corpses paved” his way. We owe 39 films to him. Everything was there: from the breathtaking melodrama to wonderful evil black comedies to the great social dramas. Every film was different, almost every film a surprise. He was not infallible.

It wasn’t his aim to make perfect films. He was too impulsive for that, ultimately too emotional. He had to put life in order to make these real-life films. That was the crux. He had no retreat where he could have crawled like the others. Art and life were completely intertwined.

He was a very young man with great wisdom and humor. He was the unique, the formative among German film directors and authors.

Everything for art and living as if there was no tomorrow. Living by this motto means not getting old. Fassbinder was spared the hassle of being a veteran, just repeating himself and doing boring stuff. He died at the height of his creative glory – at the age of 37.

有鬼 NOBODY

有鬼

NOBODY

导演|林纯华

编剧|林纯华

主演|简扶桑、吴亚鄀

制片人|黄丽玉

摄影|许之骏

类型|剧情长片

时长|83分钟

完成时间|2020

对白语言|中文、闽南语

字幕|中英

地区|中国台湾

制片公司|陈女士音像制作有限公司

故事梗概

沉默的老人独居在顶楼加盖的套房,有天一个少女闯入家中,目的是想藉由他的窗口去窥视对面的大楼,原来少女父亲的外遇对象就住在对面大楼中。不管老人怎麽拒绝,就是拒绝不了少女的死缠烂打。当少女频繁出入老人家中,楼下邻居怀疑起老人买春,对他更不以为然。其中一名邻居患有唐氏症,他因误会而冲动闯入老人家翻箱倒柜,当时老人不在家,而让他却搜出老人的假阳具……少女的母亲对家庭失望,把注意力转移到来学钢琴的男学生上,却意外发现男学生跟自己的儿子是对恋人,沮丧茫然时,又误以为女儿跟糟老头援交……这些误解将老人逼入险境,冲突中揭露了老人的秘密,原来他的生理性别是女性,他怪异的行径源自于他过往的伤痛。

导演介绍

林纯华,1976年生于台湾,电影研究所硕士毕业,有近二十年的编剧经验,制作过动画短片,曾获得金穗奖、电影剧本写作奖。

导演阐述

每个人都对自己有些误解、对别人有些误解,因不凑巧人时地物而产生更大的误解,误解解开时也没人认错道歉,或进而去彼此了解,依旧维持疏离冷漠。基本上我对人际关系是失望的,但剧情结尾还是编排出一个希望,让少女去拯救老人。有些人脆弱而卑微过着自己想要的生活,尽管不符合丰富多彩的普世价值,但这是她们选择的,要是有人发现这样的人,也请体谅他们的脆弱易碎,请勿拍打碰触、请小心轻放。

Director|Chun-Hua Lin

Screenwriter|Chun-Hua Lin

Cast|Fu-Sang Jian, Ya-Ruo Wu

Producer|Li-Yu Huang

Cinematographer|Chih-Chun Hsu

Genre|Feature Film

Length|83min

Year|2020

Dialogue|Chinese, Taiwanese

Subtitles|Chinese, English

Region|Taiwan, China

Production Company|Ms. Chen Production Co., Ltd.

Synopsis

A retiring old man lived in an illegally-built suite on top of a building. One day, the girl broke into his place and found a way to spy on her father’s affair partner through the window. No matter how hard the old man refused, he made compromise to the girl at last. Seeing frequent visits to the elderly’s place, neighbors began to suspect that the old man was hiring prostitutes. One of the neighbors, who burst into his home out of misunderstanding, had Down’s syndrome. While the man was not at home, the neighbor found his dildo…

For being disappointed by her family, the girl’s mother turned to focus on a boy student of her piano lesson, later she surprisingly found out that he was in a relationship with her own son. The mother then began to worry about whether her daughter was with the old man…

Misunderstandings and rumors between Zhen-zhen and the old man were intensified, but more scandalous secrets of her family were revealed.

Director Biography

Chun-Hua LIN, born in 1976 in Taiwan, holds master degree from Institute of Film Study. She has nearly 20 years of screen play experiences, and has produced several short animated films. She has won Golden Harvest Award and Best Screen Play Award.

Director’s Statement

Everyone has misunderstandings of both themselves and others. It can become more severe if no one tries to empathize. Even though misunderstandings can be resolved, not everyone sincerely apologize, or try to understand each other better, continuing their indifference and alienation. I have no account on human relations nowadays. However, I added a plot that the girl was to save the old man, which will be hopeful to the audience. Some people live against the value of current rich and colorful society, but still making effort to live in their own ways. They are vulnerable and insecure. If such people are encountered, we need to understand their fragility. 

造口人 Stoma

造口人

Stoma 

导演|洪荣杰

编剧|李志超、洪荣杰

主演| 林耀声、曾国祥、陈惠敏

制片人|周强、莉莲·奥特

摄影|拉奎尔·费尔南德斯

类型|剧情

时长|99分钟

完成时间|2020

对白语言|英语、汉语普通话、粤语、德语

字幕|中英

地区|中国香港

制片公司|明洞电影、KALLIOPEIA PRODUCTIONS、DECOY COLLECTIVE

故事梗概

香港新进年轻摄影师林(Lim)罹患罕见的癌症,迫使他去瑞士求医接受一项超高风险手术。 在与他那拘谨的兄长呆在一起的同时,他与初恋情人一位银行家Andre重新点燃了充满激情和动荡的关系。 手术失败后,兄长和情人弃他而去,林独自一人为生存而战,腰部挂着一个造口,寻找活下去的理由。

*造口是通过外科手术在腹部形成的开口,以取代肛门的功能。

导演介绍

洪荣杰,美国芝加哥艺术学院硕士毕业,现职香港浸会大学电影学院讲师。洪荣杰的电影作品曾入选超过120个国际电影节,亦得到多项国际奖项。他的首部剧情片「无声风铃」于柏林电影节提名小泰迪熊奖,并列入最后三强甲名单,于16个国家,六种不同语言发行。他现为英国伦敦大学金匠学院的博士研究生,「造口人」是他的第二部长片作品。

导演阐述

《造口人》里有这样的一个中特写镜头:“医生,求你把我的屁眼还给我。”子念躺在病床上哀求医生。“我不能带着造口过活,我是同性恋,求求你。”

“Kit,你就当自己是代母,麻烦你把我的孩子生出来吧。”那是2014年的暑假,我和李志超(Julian)在伦敦的一家室外咖啡室坐着聊剧本。“就当是别人的故事拍出来。”他说完,我就知道,再多的讨论都是一样,我就是要把电影拍出来就好了。从Julian口中知道,《造口人》是Julian 两段发生在不同时空的经历交织而成,第一段是他的抗癌经历;第二段就是他和Andrea 那一段令人沉溺,但似有虚无的爱情故事。上面提到的这一个中特写镜头,也许能帮大家走入子念(Julian)的世界,感受一下,当造口成为唯一可以生存下去的条件,和男同性恋者屁眼的“性快感”成为极端对立的时候,在“残存”和“生活”之间的挣扎是怎样的一个感觉。一个造口,对Julian而言,除了无时无刻提醒他不能再“正正常常”地做爱之外,亦不断提醒他手术未能完全切除所有癌细胞的事实。由这一个镜头及对白开始,我们就可以看透子念和爸爸、和哥哥及和Andrea千丝万缕的纠缠。 

华人社会很多时候会因为“不吉利”而避免谈及疾病或癌症的东西,加上很多传统保守的思想,性及同性恋话题亦都被视为禁忌。患癌症的同性恋者就变成这双重禁忌内的隐形人。当健康、阳光、中产的物质生活等正面形象成为主流同志圈推崇的价值之余,我希望《造口人》可以以子念的经历作为一个例子,开启一扇窗,让观众有机会可以聆听这一群被边缘化同志的声音。有时候,健康,阳光及正面思想并不是想要就有。有很多人,都活在“明天活不下去”的阴霾下,正面生活,对他们来说根本是奢侈品。再加上一直倒退的香港生活价值,这一群边缘同志想发展一段亲密关系,往往就在长期被压抑及主流同志正典的大方向下被淹没下去。《造口人》除了是为Julian完成一个生前的心愿,亦希望可以把这些沉默连结起来,让大家听到他们内心的呼喊。

最后,记得Julian在最后一次见面的时候用了当时一首流行曲的几句歌词总结整套片子的精神和结尾 – 那是Dido 的 《White Flag》,歌词是这样的:

“我不会举手投降,门上没有白旗,我恋爱了,永远如是。”

谢谢祢,Julian。

Director|Kit Hung

Screenwriter|Julian Lee

Cast|Sing Lam, Stefan Kollmuss, Derek Tsang, Chan Wai Man

Producer|Chow Keung, Liliane Ott

Cinematographer|Raquel Fernández

Genre|Feature film

Length|99min

Year|2020

Dialogue|English, Mandarin, Cantonese, German

Subtitles|Chinese, English

Region|Hong Kong, China

Production Company|PINHOLE FILMS, KALLIOPEIA PRODUCTIONS, DECOY COLLECTIVE

Synopsis

A rare cancer forces Lim, an up and coming Hong Kong photographer, to brave his journey to Switzerland for a risky life-saving operation. While staying with his reluctant brother, he re-ignites a passionate and turbulent affair with an old flame, his first lover, a reckless banker.  Quickly abandoned by his brother and lover after his operation failure, he alone fights for his survival, with a stoma fitted to his waist, searching a reason to live on.

* STOMA is an artificial surgically created opening in the abdomen to replace the function of an anus.

Director Biography

Kit Hung graduated with an M.F.A. from the Department of Film, Video and New Media, School of the Art Institute of Chicago. Lecturer of the Academy of film, Hong Kong Baptist University. His films have won numerous international awards and were screened at over 120 international film festivals. His debut feature Soundless Wind Chime was one of the 3 finalists nominated for the Teddy Award at the Berlin International Film Festival, released in more than 16 countries in 6 languages. He is currently a research student in the department of Media and Communication in the Goldsmiths College, University of London, UK. Stoma written by Julian Lee, is Kit Hung’s second feature.

Director’s Statement

“Doctor, I need my anus back, I can’t live with a stoma, I am gay, please.”

It was 2014 when Julian and I were sitting by an outdoor cafe in London discussing the film. “Kit, just help me deliver the baby, treat it as somebody’s story.” Julian told me. That was the moment I knew I had to get it done. Julian told me that this film was the entanglement of two separate experiences of his, happening in different time and space – his cancer fighting story, and his indulging yet indistinct relationship with “Andrea”. The above line from Lim might well state how the result of a medical procedure, a stoma, has ruined a queer life, although it is considered the only way to survive. The existence of a stoma means the inability to enjoy gay sex. In Julian’s case, it was also the haunting of a surgical failure – the return of cancerous cells. The stoma, apart from being the result of a medical procedure, is also an object which keeps reminding Lim of the struggle between survival and the pleasure of living.

I hope the film “Stoma” can open a window for us to hear the voices of the marginalized queer community. In Sinophone culture, we don’t like to talk about “illness”, especially “cancer”. Together with the taboo in sex and homosexuality, the story of a gay cancer survivor is almost invisible in society. While we continue to celebrate the mainstream, bright and sunny homonormative values in the queer community, “Stoma” seeks to explore the feelings and presents the journey of a queer cancer fighter: while intimacy and relationship are still hard to develop, the internalized homophobia that is inside us due to a long social suppression, plus the presence of a chronic illness (as a curse in the film), seems to have further muted us from reaching out. I hope “Stoma” can connect these silences and let the inner voices of the marginalized be heard.

To end this director’s statement, I would like to use a quote Julian during the coffee conversation. It is from the song “White Flag” by Dido, which might well explain to us the ending and life philosophy of Lim.

“I won’t put my hands up and surrender, there will be no white flag above my door, I’m in love and always will be.”

Thank you, Julian.

爱·杀 Wrath of Desire

爱·杀

Wrath of Desire

导演|周美玲

编剧|周美玲

主演|阳靓、翁嘉薇、徐宇霆、黄尚禾、陈俋君

制片人|刘芸后、周美玲

摄影|刘芸后

类型|情欲、惊悚、异色、酷儿

时长|119分钟

完成时间|2020

对白语言|中文、台语

字幕|英语

地区|中国台湾

制片公司|金禾创意股份有限公司

故事梗概

「谁,杀了杜小凤?」

  杜小凤是个女刺青师,刚出狱的更生人。

  率先自首的的人,叫刘以洁,她是个检察官,当年就是她亲手将杜小凤定罪的。

  然而,女检的新婚丈夫孟烨,却在清醒之后坦言:自己才是凶手。

  唯一能替杜小凤回答的,就只有她在狱中写的372封书信……

  这些信,是她不曾寄出过的情书;但在她出狱后,这些信却点燃了三人之间的嫉妒、欲火、以及不敢面对的感情……最后,这份来自地狱的爱,终于引来不可挽回的杀机。

导演介绍

周美玲,中国台湾导演和编剧,毕业于台湾国立政治大学哲学系,以其审美创造力和哲学思考出名。

周导演职业生涯都致力于描绘LGBT+关系。作为唯一一位公开同性恋的台湾导演,她的角色经过深思熟虑,比较现实。她与她的摄影合作伙伴共同发起了一个名为《六城彩虹》的项目,旨在制作6部关于不同亚洲城市的LGBT+群体的电影。

她是唯一一位在2019年被邀请成为奥斯卡学院成员的台湾女制片人。在她之前,来自台湾的学院成员有李安和侯孝贤。

导演阐述

欲望是唯一的真实,在欲望面前没有是非对错。人只需要对自己和自己的原则负责。性别则是生命幻象的极致,一个剥夺了许多欢愉的自我框架。在本片中,在欲望这项“原罪”的驱使下,让命运各自不同的三个人产生了错综复杂的交集。本片也是周美玲导演”六城彩虹”计划下的最新作品,以紫色作为其代表色,象征灵魂。

Director|Zero Chou

Screenwriter|Zero Chou

Cast|Peace Yang, Chia-Wei Weng, Yu-Ting Hsu, Shang-Ho Huang, Yi-Chun Chen

Producer|Yun-Hou Liu, Zero Chou

Cinematographer|Hoho Liu

Genre|Drama, Crime, Exotic, LGBTQ

Length|119min

Year|2020

Dialogue|Mandarin, Taiwanese

Subtitles|English

Region|Taiwan, China

Production Company|Harvest Production Films Co.

Synopsis

Androgynous Phoenix Du, the illicit daughter of a presidential candidate, kills the thug who breaks into her apartment to silence her. She comes before prosecutor Jade Liu, guilt-ridden from the suicide of her brother and her strict Catholic upbringing. Before demanding Phoenix’s three-and-a-half years sentence for manslaughter, Jade has a night of passion with her that redirects both their lives. Phoenix writes her hundreds of letters and begs her to wait for her release. In fear of her own desire, Jade marries Meng Ye, the genderless young man she saved from prison who reminds her of her brother…

Director Biography

Zero Chou, Taiwanese director and screenwriter, famous for aesthetical creativity and philosophical thinking, graduated from National Chengchi University with a bachelor degree in Philosophy.  

Chou is a director who has dedicated her entire professional career to depicting LGBT+ relationships. Being the only Taiwanese director who is openly lesbian, her characters are thoroughly contemplated and relatively realistic. Together with her cinematographer partner, she has launched a project called RainbowAround with the idea to produce 6 films about the LGBT+ communities of different Asian cities. 

She is the only Taiwanese female filmmaker who was invited to be Oscars Academy membership in 2019. Before, there are Ang Lee and Hou Hsiao-hsien.

Director’s Statement

Desire is the only truth. Faced with desire, there’s no right or wrong. One only has to answer to oneself and one’s own principles. Gender is life’s ultimate illusion, a tragic self-deception of the heart that robs so many of us of happiness. In this film, a crime of passion – and the criminality of desire – transforms the lives of three people. Zero Chou’s latest film is part of her Rainbow series. It represents violet, the color of the human soul.