“景观”从来不仅仅指自然世界或土地本身。它的概念诞生于画家第一次在画布上为其设下框架的那一刻，而电影更让景观变得辽阔而立体。在影像中，景观化为节奏与视野——一种由空间与时间构成的主动力量，朝向凝视它的观者延展。

酷儿短片单元《移动景观》探讨了被影像景观所激发、并反过来赋予景观生命的酷儿欲望与记忆——一种视觉与运动之间的动态交换，在不断的流动中相互塑形。景观总是在移动与变形中。当观众回应这些流动，他们被卷入其中——重拾记忆、激荡欲望，并在微妙的不安中重新感受自身身份。四部来自不同时空的作品，以各自独特的风格揭示了景观如何召唤出酷儿的记忆、欲望与身份。

《闪瞬》（小田香）通过火车车窗展开——一段从萨拉热窝到萨格勒布的旅程，在地理与回忆的交错中前行。飞驰的景观成为酷儿时间与空间的诗性表达，唤起一种”错位”于时间与地点的存在感。

《蒙迪尔2010》（罗伊·迪布）以汽车的移动视角捕捉世界。两位男同性恋恋人穿越被禁止的边境；随着风景变换，他们的情感与关系也随之流动。这场”不可能的公路之旅”成为一种越界的寓言，跨越空间亦映照着性欲与身份的跨越。

《蓝宝石与女奴》（L. 富兰克林·吉列姆）描绘了由一名侦探穿行的都市景观。街景显现出多重面貌，而侦探的身份也随城市的形态不断变换。影片以视觉语言探索种族、性别与性欲的流动与不稳定性，在都市空间中游走。

《弯人时刻》（芭芭拉·哈默）追寻着由艺术家的身体与电影技术共同塑造的景观——时间与空间在运动中弯曲。即便性欲并未被直接表现，它仍在影片中以触觉、共鸣与能量的方式持续流动。作品邀请观众去感受时间与空间的延展性，以及欲望在景观中的有形律动。

即便景观看似静止，它仍脉动着不可见的流动——一种持续在时间、空间与情感中迁移的能量。《移动景观》单元中的四部影片，将酷儿性延展至时间与空间的维度，编织出一幅永不停歇的酷儿电影景观。

——菅野优香

Landscape is never simply the natural world or the land itself. It came into being when painters first framed it on canvas, and cinema has since made the landscape even more expansive and dimensional. In film, landscape becomes rhythm and vision—an active force composed of space and time that reaches toward those who gaze upon it.

The queer short film program Mobile Landscape explores queer desires and memories that both animate and are animated by cinematic landscapes—a dynamic exchange where vision and motion continually reshape one another. A landscape is always shifting and transforming. As spectators respond to these movements, they are drawn in—retracing memories, stirring desires, and experiencing their identities as subtly unsettled. The four works selected here, made in different times and places, each reveal how landscape summons queer memories, desires, and identities in its unique style.

FLASH (ODA Kaori) unfolds through a train window—a journey from Sarajevo to Zagreb that traces both geography and recollection. The passing landscape becomes a poetic expression of queer temporality and spatiality, evoking a sense of being “out of joint” in time and place.

Mondial 2010 (Roy Dib) captures the world from the perspective of a car in motion. Two gay lovers embark on a journey across forbidden borders; as the scenery shifts, so do their emotions and their relationships. This impossible road trip becomes an allegory of transgression, where crossing space mirrors the crossing of sexual boundaries.

Sapphire and the Slave Girl (L. Franklin Gilliam) depicts an urban landscape navigated by a detective. The streetscape reveals multiple faces, and the detective transforms in response to the city’s changing contours. The film offers a visual exploration of the instability of race, gender, and sexuality, moving through the urban environment.

Bent Time (Barbara Hammer) traces a landscape shaped by the artist’s body and cinematic technology, where time and space bend into motion. Even when not explicitly represented, sexuality pulses through the film—tactile, resonant, ever-present. The work invites us to feel the elasticity of time and space, the palpable rhythms of desire woven into the landscape.

Even when a landscape seems fixed, it pulses with unseen mobility as a site of continual temporal, spatial, and affective movement. The four films in this program make queerness relevant to time and space, composing a queer cinematic landscape that never stops moving.

——Yuka Kanno

QUEERVISIONS 的联合策展人及组织者，同时任教于日本京都同志社大学全球研究研究科，担任电影与酷儿研究教授。她的研究聚焦于电影与艺术中的性别、性取向与种族议题，探讨身份、社群与行动主义在多样放映实践中的表现与意义。她的著作包括《酷儿电影：以不同的方式存在于世界与时间中》（2023，日文）与《酷儿电影研究》（2021，日文），并参与撰写《Routledge 日本电影手册》（2020）、《日本电影书》（2020）以及《田中绢代：国家、明星与女性主体性》（2019）等国际出版物。

Co-organizer and curator of QUEERVISIONS and a professor of film and queer studies at the Graduate School of Global Studies, Doshisha University, Kyoto, Japan. Her research focuses on gender, sexuality, and race in film and art, exploring questions of identity, community, and activism in diverse screening practices. Her publications include Queer Cinema: To Exist Differently in the World and in Time (2023, in Japanese) and Queer Cinema Studies (2021, in Japanese), as well as contributions to The Routledge Handbook of Japanese Cinema (2020), The Japanese Cinema Book (2020), and Tanaka Kinuyo: Nation, Stardom and Female Subjectivity (2019).