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◎台北 12/17(六)17：50 12/21(三)17：00 |
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★Festival De San Sebastian 2002 / Special Prize of the Jury 阿根廷著名電影編導卡洛斯．索林（Carlos Sorin），個人第一部劇情長片《A King and His Movie》就在威尼斯影展獲得首部長片銀獎的肯定，為他奠定影壇基礎，之後續以《小故事》、《保鏢犬》Bombón、《永遠的微笑》、《聖地牙哥之路》等片持續發燒，成為不可多得的優秀喜劇電影作者。索林擅長呈現人類溝通無能的生命情境，但又難得持有高度的幽默感，是一位頗具深度的喜劇導演，常令陷入傷感的觀眾破涕為笑。看過2005 金馬影展《保鏢犬》Bombón的觀眾一定對此印象深刻。近作《窗外》及《貓咪不見了》一反喜劇風格，較為沈靜深幽，但不失精彩。 《小故事》這部令人笑中帶淚的公路電影堪稱索林從影迄今最受歡迎的電影作品，一共為他奪得22個國內外獎項，背景設在他鐘愛的阿根廷巴塔哥尼亞平原，荒漠的地景與人物的內在孤寂對應成趣。全片以三段交織緊密的故事構成，負病遠征尋找愛犬的固執老翁、家中無電源卻上電視競爭廚房電器的貧窮少婦、為了討好心上人而一再修改生日蛋糕設計的羞澀推銷員——各自為了不同的目標朝著相同的目的地前行，一路上發生許多令人意想不到的荒誕趣事，笑聲背後卻難掩淡淡的哀愁。 One of Carlos Sorin’s most acclaimed comedies, won him a total of more than 20 film awards. Near the provincial town of San Julian, three characters travel for the solitary highways of Patagonia on a journey that turns out to be life changing. Don Justo, an 80-year-old man walks and hitchhikes to a remote town to look for his long lost dog and seeks forgiveness in order to find peace within and to close a painful chapter in his life. Roberto, a lonely but talkative traveling salesman quests for the perfect birthday cake to give as a gift to a young widow’s kid in order to win her heart. María Flores, a poor young mother together with her baby, is pushed by her neighbor to travel to participate on a TV game show in order to get the grand prize - a multiple kitchen blender - that she does win eventually but doesn’t have electricity back home to use it. The three characters travel alone but their lives crosses without noticing it and all seemingly get what they are looking for, but somehow also with unexpected results…… ◎For more info: http://www.austinfilm.org/Page.aspx?pid=326
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◎台北 12/19(一)19：50 12/22(四)22：10 |
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★Argentinean Film Critics Association Awards / Best First Film, Best Cinematography, Best Actress 《魔沼》為阿根廷中生代優秀女編導魯柯希雅．瑪泰（Lucrecia Martel）於影壇崛起的一鳴驚人之作。該片共獲國內外十餘獎項肯定，為其奠定影壇基礎，2010年並獲美洲影壇專業人士票選為十年來最佳十部拉美電影的第一名！ 繼首部長片之後，瑪泰第二、三部編導的劇情長片《聖女》（The Holy Girl）及《失憶薇若妮卡》（The Headless Woman）則接連在2004及2008分別入圍坎城影展競賽片，其受矚目的程度可見一斑，兩部作品均以女性觀點切入，探討女性在現代生活遭遇的精神創傷和社會壓力。 《魔沼》可視為阿根廷中產階級之文化縮影及國家經濟衰敗崩盤的精彩寓言。編導瑪泰的劇本佈局精準，場面調度傑出，影片一開頭便為全片定調，暴雨將至前的窒息難耐，骯髒到令人作噁的泳池，以及一具具昏睡慵懶的日光浴者──怠惰疲憊的人物內在狀態以及冰冷疏離的人際關係一早便為悲劇收場寫下伏筆。夫妻之間形同陌路；未成年子女無政府狀態般撒野：山中亂槍傷人、無照駕駛不一而足；家境日衰用度卻毫不節制；盡責照料全家所需的原著民女僕，卻得忍受雇主無名地誣賴與指責──此乃拉美社會階級關係之典型描繪；而彷徨失措的孩童任其自生自滅，直至釀成悲劇是否帶給麻木不仁的劇中人些許警醒？ Set in a tropical town in the north of Argentina full of swamps that are deadly tramps for animals, Mecha and her husband Gregorio spend summers with their children at their rundown country house. The adults drink constantly while sunbathing next to a filthy swimming pool. The kids are on their own without the attention of the adults, dancing in town, running in the hills with shotguns, driving cars without licenses. Isabel, a family servant, constantly accused of stealing is the only comfort for one the teen girls. This is a story full of physical and psychological pain accompanied by bloodshed. Voted number one of "The 10 Best Latin-American Films of the Last 10 Years" by critics and curators polled by New York based film organization Cinema Tropical, The Swamp presents a vivid picture of a society divided by class and money as well as the problems faced by the former rich upper middle class that has fallen victims of Argentina’s severe chronic economic crisis. ◎For more info: http://www.litastantic.com.ar/
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◎台北 12/17(六)16：10 12/19(一)11：00 12/28(三)18：30 |
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★Cannes Film Festival 2001/ Young Critics Award Best Feature 本片導演亞德立安．凱塔諾（Israel Adrián Caetano）原籍烏拉圭，16歲時隨家人移民阿根廷。1998年與Bruno Stagnaro合導的首部劇情長片《披薩、啤酒與煙》（Pizza, Beer, Cigarettes）題材風格新穎備受讚賞，被影評人譽為阿根廷新電影的領導人物，也打開他的國際知名度。《移工哀歌》則是他個人單飛後的首部劇情長片，該片雖場景簡單但因預算拮据費時三年才告完成，作品備受讚譽，進一步在許多重要國際影展露臉。2006 年以《逃亡紀事》（Chronicle of an Escape）首度入圍坎城競賽獎項，是一位十分值得關注的拉美新銳導演。 本片講述玻利維亞非法移工Freddy在阿根廷工作時所發生的悲慘遭遇。像許多為生活所迫冒險至鄰國阿根廷工作賺錢養家的玻利維亞及巴拉圭非法移民一樣，他們要面對窮困寂寞、警方查緝、差別待遇、人種歧視以及時而發生的暴力霸凌等等難題。Freddy代表的是最不幸的那群，拋妻別女忍受孤獨，末了命喪異鄉。 編導提出此一尖銳社會議題，以簡潔有力的寫實手法精彩描繪了非法移工的艱難處境，最嚴重的可能還不在於他們無法享有正規居民的基本權利，而是某些地區對外來非同種移民的人種惡劣歧視，在多元種族文化混雜的拉丁美洲來說，這個問題尤其複雜，是一個迫切需要正視解決的區域社會議題。 The poignant story of Freddy, an illegal immigrant from Bolivia who must cope with the poverty, racism, and casual violence like many others that need to leave their countries to look for working opportunities. He leaves his wife and three daughters and travels to neighbor Argentina searching for employment to make money and sustain his family back home. He lands on a job as a grill cook in a café-bar in a the lower-middle class neighborhood in Buenos Aires where the owner is happy to hire immigrants without permits paying low wages and no benefits. In the café, Freddy meet Rosa, a waitress of Paraguayan/Argentine descent and also has to deal with the harassment of various café patrons who view all Paraguayans and Bolivians with disdain due to their ethnicity. ◎For more info: http://en.wikipedia.org/wiki/Bolivia_(film) |
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◎台北 12/20(二)18：40 12/26(一)21：40 12/29(四)16：20 |
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★Ariel Awards, Mexico 2006 / Silver Ariel of the Best Adapted Screenplay Category 影片改編自玻利維亞作家胡安．德雷卡科切亞（Juan de Recacochea）的同名小說，敘述玻利維亞籍的英語教師馬里歐（由墨西哥名演員Demián Bichir飾演）不滿自己國家的生活現況，對於美國充滿嚮往，一心想至邁阿密與分別多時的兒子團聚。他毅然辭掉工作帶著行囊長途跋涉到首都拉巴斯，計劃藉由觀光簽證滯美不歸，即便在美國只能淪落在餐館打黑工。 但一般玻利維亞居民要尋正當管道取得美簽難如登天，他當然也如多數申請人一樣被拒發簽證。他輾轉得知坊間盛行「花錢買美簽」的地下服務，情急之下決定走險路至銀樓偷竊購買美簽所需的高額費用。滯留期間他邂逅了一名來自鄉下的鋼管舞女郎白蘭卡。白蘭卡代表著另外一群不屑美國文化的玻利維亞人民（對美國速食文化嗤之以鼻），儘管生活艱難也不曾想要移民美國。白蘭卡下海賺錢準備存足了資本就要收手回家鄉開店。她愛上了馬里歐，也厭倦了夜店的工作，試圖說服他留下。但馬里歐心意已決，白蘭卡甚感無奈，仍表示願借錢給馬里歐助他圓夢，但為馬里歐所拒。 本片編導胡安．卡洛斯．瓦迪維（Juan Carlos Valdivia）為國際知名的玻利維亞導演，1995年開始拍片，以《Jonah and the Pink Whale》崛起影壇，甚獲矚目，之後離開電影工業不振的玻利維亞至墨西哥發展，所完成之《Elultimo Evangelio》，因涉及批評教會體制直到多年後才上映。他自墨西哥回到玻利維亞後於2005完成《美簽》，廣獲好評，2009再完成《南方安逸》這部批判玻利維亞社會階級的電影，大獲國際歡迎，並在日舞影展囊括最佳導演、最佳劇本兩項大獎。在2010台北電影節看過該片的觀眾一定對編導精闢的故事與運鏡印象深刻。 After being denied an American visa, Mario, an English professor that is eager to immigrate to the US and live with his son, becomes involved in a web of criminal activities and gets entangled with Blanca a beautiful striper. The film presents the contrast between an elementary professor, like many other middle class professional, that is fed up with Bolivia general situation and sees immigrating to the US as a scape from a reality he despised and Blanca who loves her country landscape and culture and looks down upon the US food, lifestyle and culture. Blanca tries to convince him to stay and open a small store with her in her hometown in the Bolivian lowlands. But Mario seems immune to romantic and to Blanca’s offer and his obsession to leave his country leads him to do what ever it takes to get his visa. He is involved in treacherous situations that demonstrate his determination. The film shows the great gap between the rich and the poor and in between some in the impoverished middle class that like Mario doesn’t see any opportunities in their own countries to fulfill dreams that are beyond their reality. ◎For more info: http://www.ondamaxfilms.com/library.php?page=visa |
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◎台北 12/22(四)20：30 12/25(日)12：50 12/28(三)11：00 |
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★2010 Rio International Film Festival / Best Actress Bianca住在里約熱內盧，是名貌不驚人但具有表演才華的年輕劇場演員，參與小劇場演出雖然有趣，但不夠她的生活開銷，時常得接些膚淺的商業案子補貼用度，例如受雇扮演性感女神瑪麗蓮夢露為男性壽星祝壽，或是扮成恐怖電影中的受害角色在街上發放商業宣傳品。 Bianca嘗試突破這樣的困頓生活，抱著希望參加一部由歐洲投資的跨國製作選角的徵選，巴西這方的編導被她的個人故事所感動，將之編入電影劇本，並決定邀她主演自己的故事。這天大的好運讓Bianca喜出望外，推掉一切與拍攝檔期衝突的零工，不料，就在導演準備開拍的前夕接到資方的命令：該片主角得改由該國女星出任以利歐陸行銷。Bianca明星夢終究難圓，末了只得無奈接受片中龍套舞者的角色──回到個人故事的原點… 飾演本片女主角的卡琳．泰勒絲（Karine Teles）活躍於巴西里約熱內盧劇場界，16年的演員生涯已累積超過30部以上的劇場作品，偶或參與電影演出，本片為其首次擔綱演出電影作品，細膩具說服力的演出讓她在2010年里約熱內盧影展摘后，是位靠演技取勝的實力派演員。 1977出生的巴西青年導演古斯塔沃．畢濟（Gustavo Pizzi），從19歲便開始投入電影攝製工作，拍過許多得獎短片如《7 Minutes》 以及《Ivan's Distraction》；2006導過一部紀錄長片《Simple Past》，本片則是他個人的首部劇情長片。 Small details may change everything in careers where talent and success are indispensable. Craft is about everyone that longs to live from the work they chose and love. This is not an easy path. Working hard, studying, getting better everyday sometimes is not enough. Craft emerged from the desire to say something: What is the importance of luck in anyone’s career? How far does your talent and effort take you? Is that enough to guarantee you a solid career? Is luck part of the craft? The term craft here relates to work, and Bianca, our “hero,” knows her craft. She is a somewhat young and very talented theater actor whose career hasn't happened yet. So in order to make a living she does small acting jobs, like impersonating movie divas and promoting events. After auditioning for a big international film, she finally gets the part. The director, inspired by her personality and her work, changes the character he wrote into a version of Bianca and makes her one of the leads. Is this the chance of a lifetime? The film shows how many in Brazil as in most Latin American countries people deal with failure and don’t give up at times even challenging fate. ◎For more info: http://www.riscadofilme.com.br/index.php?secao=diretor |
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◎台北 12/16(五)22：40 12/24(六)18：40 12/27(二)16：30 |
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★Locarno Film Festival 本片為以《中央車站》與《革命前夕的摩托車日記》等片紅遍全球的巴西名導華特．沙勒斯（Walter Salles）早期與搭檔丹妮葉菈．湯瑪絲（Daniela Thomas）合導的作品，前者執掌鏡頭，後者指導演員，描寫巴西幾個不同社會階層人物在千禧年到臨前後在各自生活上所遭受到的衝擊。 約翰在里約熱內盧重刑犯監牢中服刑，受到獄卒陷害令其出獄殺害受警方追緝的昔日同黨兄弟，以換得他的自由。在此同時，中產階級的教師瑪莉亞因同居男友突然出走而痛不欲生。約翰出獄後按照約定追到了住在貧民窟好友的妻小家中，狠心犧牲好友性命，換得自己的重生。然而，約翰在任務完畢後立即遭到警方追殺，他逃出市區貧民窟後轉身躲進鄰近的高樓。 千禧年進入倒數，傷心至極的瑪莉亞爬上大樓屋頂決定在千禧年到臨的時候消失人間。就在她尋死之際，約翰及時救了她，並以自身對生存的渴求喚醒了她繼續活下去的意志，兩個陌生人於是相擁渡過美好的一夜。 千禧年的第一日陽光普照，一切似乎充滿生機，兩人來到美麗的Copacabana海灘享受重獲新生的第一日，瑪莉亞興奮地跳進碧綠的海水中淨身，約翰微笑望著瑪莉亞飄盪在溫柔海水中的美麗身影，觀眾也被催眠似地希望影片在此收尾，無奈這只是短暫的烏托邦幻覺，下一刻世界將再度翻轉…… The life of João, a man imprisoned in Rio de Janeiro, could never have crossed with Maria, tormented alone in her apartment. But on December 31, 1999 hours before the big celebrations of the beginning of a new millennium, João flees from prison. At the same time, Maria moves distressed and helpless through city streets, João is chased into alleys and slums “fabelas” of Copacabana. The countdown starts to the turn of the year. The first Fireworks erupt. Without any perspective, Maria climbs to the roof of her building, the same place where João attempts to hide from his pursuers. This is the space between Heaven and Earth, Killer and Savior, the utopia of a single night, the city finally starting that embraces miracle if produces … until the arrival of the first day of the new Millennium. ◎For more info: http://www.celluloid-dreams.com/library/m_r/midnight/ |
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◎台北 12/17(六)19：40 12/20(二)12：50 12/21(三)11：00 |
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★Cannes IFF / Official Selection / Winner of the François Chalais Prize 帕特里修．古茲曼（Patricio Guzmán），國際知紀錄片導演，1941年生於智利聖地牙哥，於西班牙攻讀紀錄片製作。如同許多受到當局鎮壓 迫害的知識分子一樣，他也在1973年的智利軍事政變發生後流亡海外，住過古巴、西班牙，最後定居法國。古茲曼曾拍過多部探討智利政治歷史的紀錄片，其中又以長達5小時的紀錄片《智利之戰》（The Battle of Chile）最為知名，被譽為影史十大政治電影。他致力紀錄片推廣，在歐陸與拉美國家教授紀錄片拍攝，並於祖國首都創立了聖地牙哥國際紀錄片影展。他有兩句關於紀錄片的重要名言：「沒有紀錄片的國家，就像沒有家族相簿的家族。」；「有記憶的人可以度過最脆弱的時刻，沒有記憶的人不論身處何處都不存在。」 古茲曼的每一部影片幾乎都和20世紀智利的國家回憶有關：從《智利之戰》三部曲開始，一直到《智利總統阿言德》均不例外。《星空塵土》延續了此一主題，影片背景設在智利著名阿塔卡馬沙漠（Atacama Desert）的觀星站，這廂天文家舉頭上望廣闊星空尋找天體與生命源頭的關聯；那廂則見一班智利婦女在浩瀚沙漠中殷切爬梳，希望能尋回當年智利獨裁者皮諾切特統治期間受害親人的遺骸。浪漫的天上追星，與傷感的地下撿骨——導演將星塵與沙塵這兩種與生命的關聯對照並置，引人深思：對某些天文學家來說此刻看到的星塵只是已逝的過去；然而對於失去摯親的受害人家屬來說，眼前所見沙塵則似乎是永續存在的悲痛。 In Chile, at three thousand-meter altitude, astronomers from all over the world gather together in the Atacama desert to observe the stars. The desert sky is so translucent that it allows them to see right to the boundaries of the universe. It is also a place where the harsh heat of the sun keeps human remains intact: those of the mummies, explorers and miners, but also the remains of the dictatorship’s political prisoners. Whilst the astronomers examine the most distant galaxies in search of probable extraterrestrial life, at the foot of the observatories, women are digging through the desert soil in search of their disappeared relatives… Patricio Guzman most renowned documentaries include The Battle of Chile, Salvador Allende and many others where he examines Chilean past dictatorship, a theme of open debate in a fully recovered democracy. In Nostalgia for the Light Guzman presents with a poetic touch and in the best tradition of documentary films, a desert of particular beauty where astronomy, archaeology, and Chile’s political past meet in pursuit of discovering or recovering the past, the present and finally the character of time. “A country without documentary is like a family without family album.” “Those who have a memory are able to live in the fragile present moment. Those who have none don’t live anywhere.” ◎For more info: http://www.patricioguzman.com/ |
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