華人影像精選.jpg 

北電影節編輯部

 

         許多電影在中國拍攝完成後,因題材敏感等種種因素,未必有機會在中國上映,本屆台北電影節邀請10部連中國觀眾都難得一見的獨立、年輕、非主流的中國影片,包括賈樟柯的《河上的愛情》、來自蒙古的《札賚諾爾》、濟南的《老年男女》等,另有五位中國導演也都將隨片來台參展。此外,還有兩部極成熟的香港類型電影:《證人》和《機動部隊》。特別挑選幾部影片逐一介紹。

 

       《滾拉拉的槍》描述苗族成年禮,導演寧敬武是個北京漢人,但他的《滾拉拉的槍》在雲南拍攝,對象是苗族,他們的男人仍頂著戰國時期的髮髻、赤腳行走,還穿著自己織染的衣服,並保持對森林、土地的尊敬與親密關係。《流离》題材有如中國版的《貧民百萬富翁》,導演彭韜專拍禁忌議題電影,去年電影節放映過他的《血蟬》,拍攝拐騙殘障兒童行乞的故事,今年電影節將放映他的第二部作品《流离》,談的是拐騙年輕女子賣淫的故事,他的兩部片題材都有如中國版的《貧民百萬富翁》。

 

       《再見烏托邦》大談中國搖滾樂,導演盛志民曾任多部陳果與賈樟柯電影的製片和副導。《再見烏托邦》講述中國搖滾樂的黃金20年。影片從198659開始,26歲的崔健在北京工人體育館,以一首<一無所有>劃出中國搖滾樂的先聲。影片遍訪20年來中國搖滾樂史上重要人物:崔健、何勇、張楚、竇唯、吳珂父母…等人,見證一段美好的搖滾烏托邦。《完美生活》則是混合劇情與紀錄片形式,導演唐曉白曾以《動詞變位》觸碰六四天安門事件,引起廣泛注意;在《完美生活》中的兩位主角,一個是生活在寒冷北方的虛構人物,一個是移居香港的真實女子;導演用紀錄片與劇情片兩種手法雙線進行,又安排這一實一虛兩角色在深圳擦身而過。

 

         本屆最低調的話題電影便是《麥收》,導演徐童是本次來台導演中最低調卻也最受矚目的一位,他的首部紀錄片《麥收》,描述北京城郊幾個應召女郎的故事,影片中幾個從事應召工作的人物和她們身邊的人,都被徐童拍攝得富生命力且有尊嚴,因而在不同影展得到觀眾與評審的肯定。不過,應導演的要求,《麥收》在電影節以最低調方式推出,觀眾可在電影節現場憑身分證購票入場。

 

 

Chinese Films You Can’t See in China

 

Many Chinese directors find that once they complete films, they are unable to ever screen them to audiences in their own country for fear of meeting with censorship or punishment by their own government. Such films are however often able to be shown outside of China, and the 2009 TaipeiFF is proud to present several such films, including Jia Zhang-ke’s Cry Me a River, the Mongolian film Jalainur and Zi Han’s Mr. Jia and His Friends. Also, five mainland Chinese film directors will attend screenings to present their works.

 

This rare, cutting edge section of Chinese films appears in TaipeiFF’s “Chinese Cinerama” section, a showcase for films from greater China including China, Hong Kong and Taiwan.

 

Lala’s Gun is a coming of age tale about a boy from one of the ethnic minorities in southwestern China, the Miao, though it is told by director Ning Jing-wu, a Han Chinese from Beijing. Director Peng Tao, a specialist in disallowed subject matter, meanwhile delivers a Chinese answer to Slumdog Millionaire with his Floating in Memory, the story of a girl who is kidnapped into the sex trade.

 

Night of an Era looks back at China’s rock scene of 20 years ago from the present day, starting with China’s godfather of rock, Cui Jian performing ”Less than Nothing”, the song that changed Chinese rock and roll forever, in Beijing’s Worker’s Stadium on May 9, 1986. The film’s director, Sheng Zi-min, is best known as a producer who’s worked on films by Jia Zhang-ke and Hong Kong’s Fruit Chan.

 

Director Emily Tang is best know for China’s only film to date to address, albeit through inference and omission, the Tiananmen massacre of 1989, her 2001 work Conjugation. Here she returns with Perfect Life, a story about two girls, one form north China, the other seeking a new cosmopolitan life in the south.

 

Wheat Harvest may be the most attention getting film in this section, having won awards and critical recognition at festivals around the world. This documentary about prostitutes on the outskirts of Beijing comes from first time director Xu Tong.

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