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◎台北 12/19(一) 21：50 12/23(五)14：20 |
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★Cannes 2011/Director’s Fortnight 鏡頭跟隨守夜人馬汀來到一座位於墨西哥西北海岸臨近美國邊界的特殊墓場，馬汀負責從黃昏到黎明看守著這座迷宮般的不夜城，導演安靜不語地旁觀眼前的超現實的景觀──一座座風格迥異，宛如別墅的奢華洋房，其實是安置墨西哥著名毒梟的陵寢。鏡頭前偶見開著豪華轎車前來「掃墓」的年輕遺孀與其幼子，抑或前來安排新近「因公殉職」同僚葬禮的黑道弟兄。如此死後哀榮代價幾何？觀者心中自有評斷。 販毒問題所引起的暴力抗爭是墨西哥及哥倫比亞、巴西等許多拉美國家目前所面臨的嚴峻考驗，許多毒販幫派均備有致命武器自衛，動輒掀起幫派格鬥或與官方警力發生不可思議的流血衝突，造成無辜傷亡及社會治安恐慌。不同於其它同類主題影片的喧囂嗜血風格，本片是一部平和反省暴力問題的作品，觀點犀利，鏡頭詩意，成績獲得影壇一致肯定。 本片導演納塔莉．艾爾瑪妲（Natalie Almada）是墨西哥新生代的優秀女性導演，之前的導演作品包括實驗短片《水的記憶》（All Water Has a Perfect Memory）、關於移民與販毒問題的獲獎記錄長片《彼方》（Al Otro Lado）以及在日舞影展獲得最佳紀錄片導演奬的《將軍》（El General）。 From dusk to dawn, Martin, the guardian angel whom, night after night, watches over the extravagant mausoleums of Mexico's most notorious Drug Lords. In the labyrinth of the cemetery, this is a film about violence without violence reminding us how, in the turmoil of Mexico's bloodiest conflicts since the Revolution, ordinary life persists and quietly defies the dead. El Velador presents in poetic images the expensive constructions to hold for the afterlife, like the old emperors or pharaohs, the corpses of wealthy and powerful drug traffickers, mostly killed in violent shootouts. Recipient of the 2009 Sundance Documentary Directing Award for her film El General, Almada’s most recent film El Velador premiered at New Directors/New Films and the Cannes' Directors' Fortnight. Her previous credits include All Water Has a Perfect Memory, an experimental short film that received international recognition; Al Otro Lado, her award-winning debut feature documentary about immigration, drug trafficking and corrido music. ◎For more info: http://www.altamurafilms.com/
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◎台北 12/25(日)14：30 12/26(一)19：40 |
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★Guadalajara IFF- Best Documentary 中美洲國家最嚴重的社會議題之一便是移民偷渡美國所導致的種種問題，與美國相臨的墨西哥尤然。然而，相對於偷渡過程中的人身威脅，偷渡移工勞動遭受剝削，以及移工子女們的教育等等不一而足的連串問題之外，移工留在家鄉的親人這方面所面臨的衝擊就較少有影像追蹤討論。 《留下的人》選擇將鏡頭轉向墨西哥移工留在家鄉的親人，對他們進行近距訪談。導演採樣墨西哥不同地區的移工家庭，訪問移工留在家鄉的父母妻小。在多數的例子中，移工的親屬家境固然受到改善，但家人親情與家庭機制卻遭到犧牲：成長中的孩子思念長期在外工作的父母，妻子與丈夫聚少離多婚姻關係受到考驗，老邁父母缺乏晚輩照顧，思親心切百般無奈。片中一位受訪妻子回憶偷渡丈夫慘死異鄉淚如雨下，另一位受訪妻子則無懼偷渡路途險峻，決意攜帶三名幼女赴美與夫婿團聚；但同時我們也看到選擇返鄉的昔日移工，快樂陪同孩子成長，與妻子牽手漫步鄉間。改善經濟生活或許不必然離開？「留下」展現了對另一種生命價值的肯定。 An intimate and discerning depiction of the impact of migration on families and villages left behind by loved ones who have traveled North for work. Migration from poorer to richer countries is an issue that has inspired numerous films and documentaries that deal with this delicate and painful problem. The filmmakers present the stories from families of very different regions of Mexico giving “those who remain” - parents, wives, sons and daughter - the opportunity to candidly share their experiences, and express their feelings of love and sorrow for those absent that need to emigrate facing the challenges of crossing a well-fortified border without passports or visas to find higher salaries to sustain their families and save money. ◎For more info: http://www.losquesequedan.com/ |
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◎台北 12/18(日)18：40 12/19(一) 16：10 |
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★Sundance Film Festival 1999 / Best Latin American Film 本片導演亞力亨卓．史賓格曾留學倫敦學習電影製作，1991回到墨西哥市開始從事製片工作，曾任後來以《地獄怪客》、《羊男的迷宮》等片走紅全球的墨西哥奇幻導演吉勒摩．戴托羅（Guillermo Del Toro）首部劇情長片《魔鬼銀爪》（Cronos，甫於2011金馬奇幻影展放映過）的合作製片。史賓格於90年代後期轉型製導雙棲，個人所執導的首部劇情長片《聖徒與我》備受影壇肯定，榮獲日舞影展年度最佳拉美影片及洛山磯影展最佳影片。史賓格擅長以黑色喜劇進行社會批判，近年與美國知名影壇多棲才子約翰．塞爾斯常有密切合作。 《聖徒與我》敘述一名貌美的年輕寡婦Esperanza的愛女不明原因病死醫院且被迅速安排下葬未能見到最後一面，Esperanza心靈備受煎熬，但經由所信仰崇拜之聖徒反覆顯靈告知女兒其實還活在人世，Esperanza懷疑愛女被醫院以詐術轉賣給雛妓販賣集團，於是開始上窮碧落下黃泉地跨國追尋，甚至不惜犧牲色相潛入妓女戶一探究竟。Esperanza的旅程揭露墨西哥與美國洛杉磯邊界所充斥的色情行業，無辜少女遭受人口販賣集團控制的社會問題昭然若現，誇張的黑色幽默難掩至親拆散的大痛。傳統宗教在墨西哥民眾心中仍具有崇高地位，但如何能安慰張狂失序的現實生存備受考驗。本片可視為略帶拉美魔幻寫實風格筆觸的另類公路電影，表面上雖為萬里尋女的旅程，實際上更可被視為一段自我追尋的歷程。 本片原著編劇Maria Amparo Escandon所寫就的同名電影小說廣受歡迎，迄今已被20種語言以上翻譯出版。 Main character Esperanza learns of a sudden death of her teenage daughter Blanca in a hospital where she was having a minor operation. Mourning and fill with grief, the vision of a saint appears on the greasy glass door of her oven, telling Esperanza that Blanca is not dead. Despite warnings from her best friend and the local priest, in search of Blanca she embarks on an incredible journey across Mexico and over the border to Los Angeles working in brothels to look for clues from pimps and shady characters to continue her search. This path also helps her shed her inhibitions becoming a different Esperanza, a liberated independent woman. Based on bestseller novel with the same name that has been translated in more than 20 languages, Santitos is the first film directed by Alejandro Springall which won him the Best Latin American Film Award in Sundance Film Festival 1999 as well the Best Film Award in Los Angeles Film Festival. Springall is also co-producer of world famous Mexican directors such as like Guillermo Del Toro (Cronos) and has close collaboration with internationally renowned multi-talent such as John Sayles. ◎For more info: http://www.imdb.com/title/tt0126651/reviews |
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◎台北 12/21(三)20：40 12/26(一)14：50 |
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★Latin American Film Festival Cinesul Brazil, 2006/ Best Documentary 本片藉由綽號「石拳」（Manos de Piedra）的巴拿馬貧窮街頭少年羅伯托．杜藍(Roberto Durán)於拳界的崛起，乃至擊敗美國拳王的英雄事蹟，引起當時巴拿馬乃至整個拉丁美洲國族自尊的提升，來檢視美國對於巴拿馬甚至拉美國家在政治上的壓抑關係。 巴拿馬地處北美洲與中南美洲之間的軍事戰略要地，1903年美國政府強行與巴拿馬政府簽訂協定開造運河以控制拉美的重要通道，並於運河西岸土地駐軍，令巴拿馬舉國不滿。故而當巴拿馬籍的杜藍在1980年擊敗美國拳王Sugar Ray Leonard時，杜蘭所代表的意義就不只是個人的勝利，而成為國族的雪恥… 本片編導碧圖卡．歐妲嘉（Pituka Ortega de Heilbron）1960年生於巴拿馬，曾任職文化雜誌Década編輯，1994年參加文學大師馬奎斯在古巴的編劇工作坊後決定從事拍片工作，從1994起開始參與編導製片等工作，陸續完成五六部作品，但直到2006的《拉丁拳王》這部紀錄長片才讓她受到較大的重視，影片深獲國內外好評，獲邀許多國際影展放映，並得到數個重要獎項的肯定，目前正在籌拍新片《路徑》(La Ruta)。 There are those who say that the heroes are not born, are made. The less regarded as heroic individuals often end up assuming that role. The history of the Fists of a Nation explores the phenomenon in the figure of the famous Boxer Roberto Durán, “Manos de Piedra”, a boy of the street, who since childhood has to fight to survive. Durán knock-out rival after rival including Sugar Ray Leonard an American hero and Gold Medal Olympic winner, becoming a perfect icon providing a sense of nationalism which so far has lacked strength in the country. However the taste of glory and pride takes very little time and Durán as his country embark on a historic journey full of ups and downs. Through images of sporting and historical archive, The Fists of the Nation aims to show how nations like Panama, often suffer from a low sense of self-esteem, clinging to heroes who happen to be erratic but who have the courage achieve the dreams that some times nations don’t dare to have. ◎For more info: http://hypatiafilms.com/filmograp.php |
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◎台北 12/18(日)16：30 12/20(二)14：40 |
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★Sundance International Film Festival 2006 14歲的美麗少女瑪黛努莎（Madeinusa）與單親父親和姊姊住在祕魯偏遠山區裡一個充滿宗教狂熱的閉塞村莊。瑪黛努莎思念人在遠方的母親，每每拿出母親留下的耳環睹物思人。像村中所有的少女一樣，瑪黛努莎一心想要在年度慶典中扮演聖母瑪莉亞的角色而決定權握在村長父親的手中。慶典從耶穌受難日算起直到耶穌復活，期間村裡會發生各式各樣的怪事，村民認為：這段期間無論做什麼都無罪開赦，因為「神死了，看不到地上的人作了些什麼」。 村長父親答應了瑪黛努莎扮聖母的請求，交換條件是瑪黛奴莎的處女夜權——一項父親等待許久欲在慶典期間縱容自我的慾望。瑪黛奴莎恐懼那一刻的到來，趁著一名外來青年的出現，寄望他帶她逃離父親的魔掌，讓她一圓尋母夢，於是天真地對青年主動獻身。在慶典結束前一夜父親得知瑪黛努莎已非處女之身，酒醉衝突中把她心愛的耳環毀了，瑪黛奴莎傷心至極，決定在慶典結束前做一件天地難容的事… 本片是秘魯知名編導克勞蒂亞．尤薩（Claudia Llosa）的首部劇情長片，對人心道德虛偽做出犀利的批判，表現可圈可點，獲得各界好評，共計為她贏獲了二十多項國內外電影獎項，為尤薩在影壇奠立根基。第二部長片《懼乳：傷心的奶水》則在形式技巧上更趨成熟穩健，表現極具神采，傳達深刻生命議題，勇奪2009柏林影展金熊獎，引起全球矚目，是位才華洋溢，令人期待的明日電影大師。該片同時也是克勞蒂亞．尤薩與秘魯年輕女星瑪嘉麗．索利耶（Magaly Solier）繼《瑪黛努莎》後的二次合作。索利耶1986生於秘魯，《瑪黛努莎》為其影壇處女作，與稍後的《懼乳：傷心的奶水》共計為她贏獲4座影后獎項，電影演出邀約不斷。歌聲優美的她亦朝歌壇發展，目前已推出兩張個人創作音樂專輯。 Madeinusa is a girl aged 14 with a sweet beautiful face who lives in an isolated village in the Cordillera Blanca mountain range of Peru. This strange place is characterized by its religious fervor. From Good Friday at three o'clock in the afternoon (just when Christ dies on the Cross) to Easter Sunday, the whole village can do whatever it feels like. During the two holy days, sin does not exist: God is dead and can't see what is happening. Everything is accepted and allowed, without any remorse. Year after year, Madeinusa, her sister Chale, and her father Don Cayo, the mayor and local big shot, maintain this tradition without questioning it. However, everything changes with the arrival in the village of Salvador, a young geologist from Lima, who will unknowingly change the destiny of the girl. Awarded the FIPRESCI in Rotterdam and many other International Film Festival Madeinusa is Claudia Llosa first feature film debut followed by The Milk of Sorrow which won her global fame with the Golden Bear Award from Berlin Film Festival in 2009. ◎For more info: http://www.soundsandcolours.com/articles/peru/the-magic-realism-of-peruvian-claudia-llosas-la-teta-asustada-and-madeinusa/ |
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◎台北 12/17(六)19：40 12/20(二)12：50 |
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★San Francisco International Film Festival 2011 這是一個關於人類如何得以從生命重創中走出，進而浴火重生的故事。 1980年代初期，薩共等左派組織成立馬蒂民族解放陣線（FMLN），採取武裝鬥爭路線，與薩國政府進行長達12年的慘烈內戰，前後計有8萬多人死亡。內戰造成薩國人民流離失所，經濟大幅衰退，直至1992年雙方於聯合國調停下簽署和平協定，結束內戰。 本片導演塔蒂雅．胡艾瑣（Tatiana Huezo）生於薩爾瓦多，四歲時躲避戰火移居母親家鄉墨西哥，但成長過程中經常返回探望父方在薩國的家人。大學就讀墨西哥電影中心，後至巴賽隆納攻讀紀錄片創作，作品包括《Caustic Time》（1998，短片），《The Core of the Earth》（2001，短片）以及《Family Portrait》（2008，紀錄片）。《烽火家園》(2011) 是她最新作品，以極其細膩詩意的鏡頭，捕捉一個令人動容的生命故事。 This is a story about mankind’s ability to arise, to rebuild and reinvent himself after surviving a tragedy, a story about a people that have learned to live with their sorrow and about how an annihilated town that re-emerges through the strength and deep love of its’ inhabitants for the land and the people. Cinquera a tiny place nestled in the mountains amidst the humid Salvadorean jungle. The film registers the jungle that surrounds Cinquera and intimate and reflexive conversations regarding the traumatic experiences of the civil war and once the fight was over the drive of the people to rebuild what has been destroyed. The Salvadoran Civil War (1980–1992) was a conflict in El Salvador between the military-led government of El Salvador and the Farabundo Martí National Liberation Front (FMLN), a coalition or umbrella organization of five left-wing militias. El Salvador's Civil War was the third longest civil war in Latin America after the Guatemalan Civil War and the Armed conflict in Peru. The conflict ended in the early 1990s. Some 80,000 people were killed during the civil wars. ◎For more info: http://tiniestplace.weebly.com/ |
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