單元規劃
PROGAMME
魔幻巴西
Enchanted Brazil
台灣與巴西多年來建立了重要的貿易關係，台灣成為巴西在亞洲的主要合作夥伴之一。
今年，我們邀請巴西成為焦點國家，展示其在藝術、音樂、舞蹈和藝術教育方面的卓越成就，
讓台灣的藝術和電影愛好者能夠深入了解巴西文化。
這個影展作為一扇門，讓觀眾探索巴西豐富的文化遺產和多樣的自然，
深入體會這個充滿活力的國家社會的價值。從引人入勝的風景到現代文化的織錦，
巴西在影展上的存在必定會為台灣的所有藝術和電影愛好者提供一次豐富的體驗。
Taiwan and Brazil have cultivated a significant trade partnership over the years, with Taiwan emerging as one of Brazil's primary collaborators in Asia. This year, we invite Brazil as the Country of Focus to showcase its recognized arts, music, dance, and art education to the arts and film enthusiasts in Taiwan. The festival serves as a gateway to explore the rich cultural heritage and diverse nature of Brazil, offering a deeper appreciation for the country's vibrant society. From its captivating landscapes to its modern cultural tapestry, Brazil's presence at the festival promises to be an enriching experience for all arts and film enthusiasts in Taiwan.
魯比之夢
Ruby
Guilherme Soster 吉列爾梅，索斯特 / Luciano Scherer 盧西亞諾・薛爾 / Jorge Loureiro 荷黑・羅雷羅
巴西 Brazil / 2015 / 17 min / 中英字幕 Mandarin & English /亞洲首映 Asia Premiere
• 3/16（六）13:00 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
• 3/22（五）16:10 嘉義市影視音基地 Chiayi Film Studio
【影片簡介｜PRODUCTION NOTES】
Ruby探索虛構和紀錄片之間的界線。這部影片呈現了藝術家敏感而主觀的宇宙，展示了其靈感和脆弱性。
Ruby is an outsider painter living alone in a house close to the beach. Ruby explores the boundaries between fiction and documentary.The film presents the artist's sensitive-subjective universe, with its inspirations and fragilities.
【導演簡介｜DIRECTOR PROFILE】
Guilherme Soster、Luciano Scherer和Jorge Loureiro是巴西的藝術家和電影製片人。Luciano Scherer在2000年代末在聖保羅開始他的畫家生涯。近年來，他致力於電影及其與當代藝術的關係，作品在世界各地的節日和機構展出，如里斯本藝術、建築和技術博物館，里約熱內盧現代藝術博物館和澳門東方博物館。Guilherme Soster自2008年以來一直從事電影工作，當時他製作了一些獲獎影片和錄像藝術作品的電子音樂。2015年，他開始編劇、執導和製作藝術電影，這些作品在不同國家的基金會、博物館和節日上展出。Jorge Loureiro是一位在視覺藝術和紀錄片領域工作的藝術家，他在杜塞爾多夫藝術學院學習。他的影片和藝術品曾在ZKM Karlsruhe、北京歌德學院和里約熱內盧現代藝術博物館等文化機構和電影院展出。他們的短片《Ruby》在各種節日中贏得了13個獎項，並在法國、比利時、葡萄牙、英國、哥倫比亞以及巴西各州上映，同時在巴西有線電視上播出。
Guilherme Soster, Luciano Scherer and Jorge Loureiro are brazilian artists and filmmakers.Luciano Scherer began his career as a painter in São Paulo at the end of the 2000s. In recent years he has dedicated himself to cinema and its relationship with contemporary art, exhibiting his work in festivals and institutions around the world, such as Museum of Art, Architecture and Technology in Lisbon, Museum of Modern Art in Rio de Janeiro and Orient Museum in Macau.Guilherme Soster has been working with cinema since 2008, when he producedsome electronic music that served as soundtracks for award-winning films and video art works. In 2015, he began writing, directing and producing art films,which have been shown at foundations, museums and festivals in different countries.Jorge Loureiro is an artist working across visual arts and documetary. He studied at Kunstakademie Düsseldorf. His films and artworks have been shown at ZKM Karlsruhe, Goethe Institute Beijing and Museum of Modern Art in Rio de Janeiro among other cultural institutions and cinematheques.Their short film "Ruby" won 13 awards at festivals and was shown in France, Belgium, Portugal, the UK, Colombia and in all the states of Brazil, as well asbeingbroadcast on brazilian cable TV.
我是路易莎
My Other Name is Luiza
安娜・路易莎・哈特曼 Ana Luísa Hartmann
巴西 Brazil / 2022 / 30 min / 中英字幕 Mandarin & English /亞洲首映 Asia Premiere
• 3/16（六）13:00 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
• 3/22（五）16:10 嘉義市影視音基地 Chiayi Film Studio
【影片簡介｜PRODUCTION NOTES】
Ana Luiza Parisi是一顆未磨礪的鑽石，她是大自然的力量，擁有一顆星星的靈魂，她在一個厭女又清教徒的世界中生存，通過扮演女演員、清潔工和交通小丑等多種角色。她淫蕩且令人暈眩的個性在Ana Luisa Hartmann的混合紀錄片中展現，Hartmann是導演和女演員，她對Ana Luiza的存在著迷至深，想要將她作為一個角色進行研究。為此，Hartmann提出了一些舞台遊戲，這些遊戲將解構Luiza的社會人物，揭示了一種深刻的悲劇性質，從而改變了兩者的軌跡。
Ana Luiza Parisi is diamond on the rough, a force of nature with the soul of a star who survives in a misogynist puritanical world by accumulating various occupations such as actress, cleaning lady and traffic clown. Her lascivious and vertiginous personality is unveiled in this hybrid documentary by Ana Luisa Hartmann, director and actress, who, obsessively enchanted by her presence, wants to study her as a character. To this end, Hartmann proposes stage games that will undo Luiza's social persona, revealing a deep tragic quality that modifies the trajectory of both.
【導演簡介｜DIRECTOR PROFILE】
Ana Hartmann，巴西人，1989年出生於阿萊格雷港。作為女演員，她曾是聖保羅兩個最重要且歷史最悠久的常駐劇院公司——Oficina劇院和Cemitério de Automóveis的演員陣容成員。在電視方面，她參與了在Globo、HBO、Fox和MTV製作並播放的影集，並於2020年擔任Netflix影集的女主角。她畢業於法雅浦大學的電影系，“Meu Outro Nome é Luiza”是她的首部短片作品，同時也是她的導演處女作。
Ana Hartmann, Brazilian, born in Porto Alegre, was born in 1989. As an actress, she was a member of the cast of two of the most important and long-lived permanent theater companies in São Paulo, Teatro Oficina and Cemitério de Automóveis. On television, she participated in series produced and shown on Globo, HBO, Fox and MTV, being the lead actress in a series on Netflix in 2020. Graduated in Cinema from Faap, “Meu Outro Nome é Luiza” is her first short film as a Director.
維拉諾瓦・阿蒂加斯：
建築師與光明
Vilanova Artigas :
The Architect and The Light
蘿拉・阿蒂加斯 Laura Artigas
巴西 Brazil / 2015 / 93 min / 亞洲首映 Asia Premiere/ 中英字幕 Mandarin & English /
• 3/23（六）19:10 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
【影片簡介｜PRODUCTION NOTES】
紀錄片《Vilanova Artigas: the architect and the light》重建了巴西建築師若昂·巴蒂斯塔·維拉諾瓦·阿蒂加斯的生平。他的親戚、朋友、學生以及他的六項主要作品講述了這位具有標誌性的拉丁美洲現代主義建築師的歷史。
The documentary "Vilanova Artigas: the architect and the light" rebuilds the life of the brazilian architect João Batista Vilanova Artigas. His relatives, friends, students and six of his major works tell the history of this iconic latinamerican modernist.
【導演簡介｜DIRECTOR PROFILE】
Laura Artigas：編劇、記者和電影導演。她在阿根廷的電影製片人胡安·何塞·坎帕内拉和艾達·波爾特尼克的“Escribir Cine”中獲得編劇學位。她編寫並執導了紀錄片《Vilanova Artigas: The Architect and the Light》（2015）和《The Firm Sticht》，這兩部作品在國內外節日上獲獎並放映。此外，她還在製片公司如Boutique Filmes、Conspiração、Vice、Mixer、Spray、Vetor、Cuatro Cabezas工作，參與了HBOMax、NatGeo、Discovery、E!、Band和OFF等平台的項目。她目前正在執導和編寫《Desengaveta》、《The Burn-Out Society》和《Breaking the Tabu》的四季。
Pedro Gorski：紀錄片和電視節目的導演，曾為A&E、GNT、TNT、Discovery Channel、Biography Channel、TV Cultura、TV Futura等頻道工作。作為執行製片人，他曾在MTV、Al Jazeera和Cartoon Network等頻道工作。他還執導了在多個影展上放映並獲獎的短片。《Vilanova Artigas - the architect and the light》是他的首部劇情長片導演作品。
Laura Artigas: screenwriter, journalist, and film director. She graduated in screenwriting at “Escribir Cine”, by the filmmakers Juan José Campanella and Aída Bortnik, in Argentina. She wrote and directed the documentaries Vilanova Artigas : The Architect and the Light (2015) and The Firm Sticht, both awarded and screened at national and international festivals. Furthermore, she worked in production companies such as Boutique Filmes, Conspiração, Vice, Mixer, Spray, Vetor, Cuatro Cabezas in projects for platforms such as HBOMax, NatGeo, Discovery, E!, Band, and OFF. She is currently directing and writing the four seasons of Desengaveta, The Burn-Out Society and Breaking the Tabu.
Pedro Gorski: Director of documentaries and TV shows, has worked for channels like A&E, GNT, TNT, Discovery Channel, Biography Channel, TV Cultura, TV Futura, among others. As executive producer he worked for channels like MTV, Al Jazeera and Cartoon Network. Also directed short films screened and awarded in several festivals. "Vilanova Artigas - the architect and the light" was his first feature film as director.
私密革命
Private Becomes Public
在社會轉變的浪潮中，一場革命風暴席捲藝術世界，人們運用藝術表達他們的情感、思想和生命敘事。
這種變革使藝術成為揭示私人故事的一種方式，模糊了個人和公共之間的界線。
因此，藝術演變成一種強大的工具，通過它，私人被引入公共領域。
Amidst societal transformations, a revolution sweeps through the art world as individuals harness art to articulate their emotions, thoughts, and life narratives. This change makes art a way to unveil private stories, blurring the boundaries between the personal and the public. Consequently, art evolves into a powerful instrument through which the private is brought into the public sphere.
合唱
Tutti
阿拉・莎薇斯卡 Alla Savytska
烏克蘭 Ukraine / 2022 / 32min / 中英字幕 Mandarin & English
• 3/17（日） 16:50 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
• 3/29（五） 16:10 秘書店 Meet Store
【影片簡介｜PRODUCTION NOTES】
《Tutti》是一部紀錄片，追蹤了世界著名的基輔兒童合唱團「舍德里克」面臨一場改變他們一生的事件。在戰爭的背景下，一群年齡介於12至17歲之間的兒童在2022年2月24日凌晨4點面臨著他們生活的重大變故。然而，在混亂中，音樂仍然是他們的慰藉。為了再次團聚，合唱團分散的成員必須齊聚華沙卡內基音樂廳的傑出舞台上演出。通過戰爭的考驗，他們學會了團結的真正含義和音樂的變革力量。
"Tutti" is a documentary film that follows the world-famous Kyiv children's choir "Shchedryk" as they face a life-altering event. Set against the backdrop of war, a group of children between the ages of 12 and 17 find their lives shattered at 4 am on February 24, 2022. However, amidst the turmoil, music remains their solace. To reunite once again, the scattered members of the choir must come together to perform on the prestigious stage of Carnegie Hall in Warsaw. Through the challenges of war, they learn the true meaning of togetherness and the transformative power of music.
【導演簡介｜DIRECTOR PROFILE】
2001年出生於基輔，導演自小就讀於瓦爾多夫學校"Sofia"。出於對攝影工作的熱愛，她開啟了她的電影製作之旅。作為基輔青年合唱團「舍德里克」的成員，她對音樂的力量有著深刻的了解。目前是基輔國立戲劇、電影和電視大學"television directing"專業的學生，《Tutti》是她的處女作兼畢業作品。
Born in 2001 in Kyiv, the director attended the Waldorf school "Sofia"from an early age. With a passion for camera work, she embarked on her filmmaking journey. As a member of the Kyiv Youth Choir "Shchedryk," she is intimately familiar with the power of music. Currently a student of "television directing" at the Karpenko-Kary Kyiv National University of Theater, Cinema, and Television, "Tutti" serves as her debut film and graduation work.
流浪者
The Wanderer
羅曼・基梅 Roman Khimei / 亞雷瑪・馬拉史楚克 Yarema Malashchuk
烏克蘭 Ukraine / 2023 / 64min / 中英字幕 Mandarin & English / 亞洲首映 Asia Premiere
• 3/17（日） 16:50 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
• 3/29（五） 16:10 秘書店 Meet Store
【影片簡介｜PRODUCTION NOTES】
Yarema Malashchuk和Roman Khimei通過呈現自己的身體置身於喀爾巴阡山脈的景觀中，創作了一系列舞台化的影像。以不自然的姿勢靜靜躺在那裡，穿著徒步旅行服裝，他們似乎在問我們：螢幕上到底描繪了誰？在《The Wanderer》（2022）中，藝術家們暗示了俄羅斯士兵的屍體，就像軍事攝影師的影像中所見，卻沒有直接談論。在軍事戰術和策略中也沒有坦率：2014年，一些俄羅斯武裝分子聲稱他們去烏克蘭不是為了戰鬥而是渡假；今天他們稱自己在訓練時迷路了。
Yarema Malashchuk and Roman Khimei work with staged images that show their own bodies in the landscape of the Carpathian Mountains. Lying still in unnatural positions, dressed in trekking clothes, they seem to ask us: who is depicted on the screen? In The Wanderer (2022), the artists allude to the corpses of Russian soldiers, as seen in the images by military photographers, without talking about it openly. There is no candor in military tactics and strategies either: in 2014 some Russian militants claimed that they went to Ukraine not to fight but on vacation; today that they got lost while training.
【導演簡介｜DIRECTOR PROFILE】
自2013年以來，基輔的藝術家兼電影製片人Roman Khimei和Yarema Malashchuk一直在視覺藝術和電影的交界合作。他們在烏克蘭基輔的螢幕藝術學院以攝影師身份畢業。著重於額外角色的作品與帝國主義的神話進行交流。他們獲得了PinchukArtCentre Prize（2020年）的主要獎，VISIO Young Talent Acquisition Prize（2021年），以及Young Ukrainian Artists Award（MUHi 2019）的大獎。他們的首部紀錄片《New Jerusalem》在Docudays UA IFF 2020首映，並獲得了Kharkiv MeetDocs的特別提及獎。這對二人還參與了Future Generation Art Prize 2021，參與了Haus der Kunst、Baltic Triennial 14、Gothenburg Biennial、Kyiv Biennial、M HKA、Albertinum、HMKW Dortmund、Museum Morsbroich等群展。他們的錄像作品被Frac Bretagne、Fondazione In Between Art Film Rome、Antwerp當代藝術博物館和Liechtenstein藝術博物館的收藏。Yarema和Roman是Prykarpattian Theater的成員，這是一個最近成立的藝術小組，他們創建了《希望與期望劇院》項目，該項目在2023年威尼斯建築雙年展期間在烏克蘭館進行了展示。
Collaborating at the edge of visual art and cinema since 2013, Kyiv-based artists and filmmakers, Roman Khimei and Yarema Malashchuk graduated as cinematographers from the Institute of Screen Arts in Kyiv, Ukraine. Focusing on the role of the extra, their works engage with imperialist mythologies. They were awarded the main award of the PinchukArtCentre Prize (2020), VISIO Young Talent Acquisition Prize (2021), as well as the Grand Prix at the Young Ukrainian Artists Award (MUHi 2019). Their debut documentary New Jerusalem premiered at Docudays UA IFF 2020 and received the Special Mention Award at Kharkiv MeetDocs. The duo also participated in the Future Generation Art Prize 2021, a group exhibitions at Haus der Kunst, Baltic Triennial 14, Gothenburg Biennial, Kyiv Biennial, M HKA, Albertinum, HMKW Dortmund, Museum Morsbroich. Their video works are in collections of Frac Bretagne, Fondazione In Between Art Film Rome, Museum of Contemporary Art Antwerp and Kunstmuseum Liechtenstein. Yarema and Roman are members of the Prykarpattian Theater, an art group that recently established the project Theater of Hopes and Expectations which was presented at the Ukrainian Pavillion during Venice Biennale Architettura 2023.
約會
It's a Date
娜迪亞・帕爾凡 Nadia Parfan
烏克蘭 Ukraine / 2023 / 6min / 無字幕 no subtitle / 台灣首映 Taiwan Premiere
• 3/17（日） 16:50 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
• 3/29（五） 16:10 秘書店 Meet Store
【影片簡介｜PRODUCTION NOTES】
2022年的基輔。黎明時分，一輛汽車以狂熱的速度穿越城市。這部現代翻拍克勞德·勒盧什（Claude Lelouch）的電影《C'était un rendez-vous》以主觀攝影機角度拍攝，在一個未經剪輯的單一鏡頭中，捕捉了由於戰爭引起的緊急狀態中的情感。
Kyiv in 2022. A car races at breakneck speed through the city at dawn. Filmed from a subjective camera angle in a single unedited shot, this contemporary remake of Claude Lelouch’s film C’etait un rendez-vous captures the emotions in a state of emergency caused by the war.
【導演簡介｜DIRECTOR PROFILE】
1986年生於伊凡-法蘭科夫。這位烏克蘭的電影製片人和導演擁有基輔-莫西拉學院的文化研究學位，以及布達佩斯中歐大學的社會人類學學位。在2012年至2013年期間，她成為富布萊特獎學金學者，前往費城的天普大學。2015年，她在華茲達學院（Wajda School）完成了一門紀錄片製作課程。她的首部劇情長片《熱唱者》於2019年在瑞士「異象影展」首映，並獲得烏克蘭影評協會和烏克蘭電影學院頒發的最佳紀錄片獎。
Nadia Parfan Born in Ivano-Frankivsk in 1986. The Ukrainian filmmaker and producer has a degree in cultural studies from the Kyiv-Mohyla Academy and in social anthropology from the Central European University in Budapest. From 2012 to 2013, she was a Fulbright Scholar at Temple University in Philadelphia. In 2015, she completed a documentary filmmaking course at the Wajda School in Warsaw. Her feature-length debut Heat Singers premiered at Visions du Réel in 2019 and was awarded Best Documentary by both the Ukrainian Film Critics Association and the Ukrainian Film Academy.
塵土
Handful of Dirt (Garstka ziemi)
伊莎貝拉・祖布斯卡 Izabela Zubrycka
波蘭 Poland / 2023 / 13min / 中英字幕 Mandarin & English / 台灣首映 Taiwan Premiere
• 3/17（日） 15:00 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
• 3/29（五） 14:00 秘書店 Meet Store
【影片簡介｜PRODUCTION NOTES】
有沒有一種方式可以想像自己的葬禮呢？Halina是波德拉謝地區最後的喪禮歌手之一。她的兒子Andrzej是一名掘墓人。數千人在他們的陪伴下穿越到另一邊。他挖，她唱。在他們的存在中，生命與死亡相互碰撞。
Is there a way to envision oneʼs funeral? Halina is one of the last funeral singers in Podlasie. Her son Andrzej is a gravedigger. Thousands of people have crossed to the other side accompanied by them. He dug, she sung. Throughout their existence, life collided with death.
【導演簡介｜DIRECTOR PROFILE】
Izabela Zubrycka（波蘭，比亞維斯托克。1998年）是波蘭羅茲的波蘭國立電影學院電影電視導演系的學生，並且擁有華沙大學和瓦伊達學院的新聞和攝影學位。她執導了短片《Szepty》（Whispers，2019年）和《Garstka ziemi》。
Izabela Zubrycka (Białystok, Poland. 1998) is a student of Film and Television Directing at the Polish National Film School in Łódź and a graduate in Journalism and Potography from the University of Warsaw and the Wajda School. She has directed the short films Szepty (Whispers, 2019) and Garstka ziemi.
生水泥
Cemento Grezzo
克里斯汀・巴利克坦 Christian Balictan
瑞士 Switzerland / 2022 / 17min / 無字幕 no subtitle / 亞洲首映 Asia Premiere
• 3/16（六） 18:45 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
• 3/22（五） 15:05 嘉義市影視音基地 Chiayi Film Studio
【影片簡介｜PRODUCTION NOTES】
一種材料。一種風格。一個目的。一個結構。白天。夜晚。悲劇。變革。痛苦。單調。
A material. A style. A purpose. A structure. The day. The night. The tragedy. The change. The pain. The monotony.
【導演簡介｜DIRECTOR PROFILE】
1998年出生於瑞士盧加諾。是一位瑞士-菲律賓籍的電影製片人和攝影師。目前在瑞士義大利大學（Università della Svizzera italiana）攻讀哲學和媒體傳播學。
Born in 1998 in Lugano, Switzerland. A Swiss-Filipino filmmaker and photographer. Studies philosophy and media communication at USI (Università della Svizzera italiana).
未來想像
Imaging the Unknown
在藝術的領域中，我們超越現實的限制，展望未來無限的天際。創新與想像交織在一起，我們大膽地探索前方無
盡的可能性。雖然未來可能籠罩著不確定性，但它作為我們的指引之星，照亮著奇幻的景色和無盡的潛力。
當我們踏入未知的領域時，讓我們利用想像力呼喚出通往充滿無限可能性的未來之路。
In the realm of art, we transcend the constraints of reality to envision the limitless horizons of the future. Innovation and imagination intertwine as we boldly explore the boundless possibilities that lie ahead. While the future may be shrouded in uncertainty, it serves as our guiding star, illuminating the fantastical landscapes and endless potentials awaiting us. As we venture into the unknown, let's use our imagination to light the way towards a future full of endless possibilities.
鬼影公平貿易
Ghost Fair Trade
勞倫斯・邦文 Laurence Bonvin
瑞士 Switzerland / 2022 / 38min / 中英字幕 Mandarin & English / 亞洲首映 Asia Premiere
• 3/16（六） 18:45 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
• 3/22（五） 15:05 嘉義市影視音基地 Chiayi Film Studio
【影片簡介｜PRODUCTION NOTES】
在塞內加爾國際貿易中心（CICES）的場地上，自1974年以來，每年都舉辦達喀爾國際博覽會。這部電影透過這個標誌性活動以及貫穿該場地生活的所有其他商業、文化和政治活動，向我們介紹了一座現代主義建築的傑作，並與日常生活的寧靜形成對比。一個敘事浮現，透過無形的存在喚起了這個地方複雜的歷史，其中巫術主義、現代主義、獨立和後殖民遺產緊密交織在一起。
On the site of the International Centre for Foreign Trade of Senegal (CICES), the Dakar International Fair has been held annually since 1974. The film introduces us to a masterpiece of modernist architecture through this flagship event and all the other commercial, cultural and political activities that punctuate the life of the site and contrast with the calm of daily life. A narrative emerges, with invisible presences that evoke the complex history of the place, where animism, modernism, independence and post-colonial heritage are intertwined.
【導演簡介｜DIRECTOR PROFILE】
1967年出生於瑞士錫耶爾。她在亞爾的國家高級攝影學院（École Nationale Supérieure de la Photographie）獲得學位。她的作品曾參與眾多國內和國際展覽。她先前的影片，包括《飛行之前》（2016年）和《阿萊奇底部的負片》（2019年），都在柏林影展首映，並獲得多個獎項。《幽靈公平貿易》是她最新的影片，於2022年在Nyon的《Réel之幻象》影展首映。
Born in 1967 in Sierre, Switzerland. Laurence Bonvin received her degree from École Nationale Supérieure de la Photographie in rles. Her work has been in numerous national and international exhibits. Her previous films, BEFORE THE FLIGHT (2016) and ALETSCH NEGATIVE (2019) both premiered at the Berlinale and received several prizes. GHOST FAIR TRADE is her most recent film premiering at Visions du Réel in Nyon 2022.
塩月桃甫
Toho Shiotsuki
小松孝英 Takahide Komatsu
日本 Japan / 2020 / 85min / 中英字幕 Mandarin & English
• 3/24（日） 13:00 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
【影片簡介｜PRODUCTION NOTES】
出身日本宮崎的藝術家小松孝英，某天在古董店找到一幅原住民少女油畫，發現該作品畫家鹽月桃甫對台灣美術具有重要貢獻，在日本卻默默無名。
大正十年，鹽月桃甫以殖民政府教育者的身份來到台灣，深愛台灣原住民及其文化，但當局卻開始實施同化政策、走向戰爭⋯。動盪的年代，鹽月桃甫思考的是什麼、如何體現在創作中？小松追尋這位百年前的同鄉藝術家，思考「自由」對藝術家的意義。
Miyazaki artist Komatsu Takahide stumbled upon a painting of a Taiwanese indigenous girl in local antique shop. He discovered the painter Shiotsuki Toho had made significant contributions to Taiwanese art scene although remaining unknown in Japan.
Toho arrived in Taiwan as an educator under the colonial government in 1921, harboured a deep love for Taiwanese indigenous people and cultures. However, the Japanisation policies and the move towards the war began. In this turbulent era, what did Toho contemplate and express thoughts through art? Komatsu embarked on a journey to trace this century-ago fellow artist, pondering what "freedom" means to an artist.
【導演簡介｜DIRECTOR PROFILE】
小松孝英1979年生於宮崎縣延岡市，是一位當代藝術家，曾參與十多國的個展和藝術博覽會。作品獲企業、聯合國生物多樣性公約秘書處收藏。《塩月桃甫》為他的首部紀錄片作品，他的第二部紀錄片作品《中村地平》預計2024年3月公開發表。
About Komatsu Takahide Komatsu Takahide is a contemporary artist born in 1979 in Miyazaki, Japan. He has held solo exhibitions and participated in art fairs in over ten countries. Artworks collected by private corporations and the UN Secretariat of the Convention on Biological Diversity. "Shiotsuki Toho" is his first documentary film, and his second documentary film "Nakamura Chihei" will be launched in March 2024.
未來的衝擊
Future Shock –
The End of Eternity
蘇匯宇 Su Hui-Yu
台灣 Taiwan / 2023 / 58min / 中英字幕 Mandarin & English
• 3/29（五） 15:00 秘書店 Meet Store
• 3/30（六） 18:10 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
【影片簡介｜PRODUCTION NOTES】
年代不明的時空裡，地球上最後的人類A，發現一則來自1972年的訊息。訊息精準預測了人類的命運，他決定踏上旅程，前往尋覓這個「來自過去的未來」。途中他化為各種狀態，穿梭在生命與政治的預言之中，而夢魘裡的神祇與惡魔X，也一路如影隨形。一切恍如昨日記憶，卻又拉著他走向未知的衝擊……。視覺藝術家蘇匯宇繼短片《未來的衝擊》後，以長片再創第二部曲，開啟未來學大師托弗勒的古老預言寶盒。別於短片以章節為經緯，續作呈現出無盡的公路之旅；吳可熙突破肢體與性別框架，與變裝皇后Popcorn張牙舞爪、激烈又親密的互動，堪稱從影以來最突破演出。刻意打破錄像、實驗、劇情與紀錄等類型藩籬，融合寰宇蒐奇式的傳說，串連台灣人追尋現代與渴求未來的集體記憶。錯綜複雜的視覺風格與碎片化影像，歡迎觀眾自行拼湊、主觀理解。
A, the last human on the planet. X, the god, demon, or the future in A's nightmares. In 1972, a futurologist book precisely predicted the human destiny manifested in East Asia. In an unknown era, the last human found a mysterious message from an electronic device and embarks on a quest for a future from the past. In ten chapters, the audience explores this dream-like prophecy.
【導演簡介｜DIRECTOR PROFILE】
蘇匯宇，導演、新媒體藝術家。2017年《超級禁忌》、2018年《唐朝 · 綺麗男》兩度入選鹿特丹影展短片競賽，並獲邀舉辦個人專題。2021年短片《未來的衝擊》獲金穗獎評審團特別獎，2023年於台北當代藝術館舉辦「三廳電影」個展，《未來的衝擊－永恆的消逝》為其首部長片作品。
Su Hui-yu is a Taiwanese director and artist active in contemporary art and film. His works have been featured at prestigious festivals and exhibitions. Both his video shorts, Super Taboo and The Women's Revenge, premiered at IFFR's Ammodo Tiger Short Competition. Future Shock – The End of Eternity is his first feature film.
西塔
Theta
陸明龍 Lawrence Lek
英國 England / 2022 / 12min / 中英字幕 Mandarin & English / 台灣首映 Taiwan Premiere
• 3/17（日） 13:00 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
【影片簡介｜PRODUCTION NOTES】
西塔跟隨一輛自動駕駛的警車，他們在巡邏著被廢棄的智慧城市(北京)的街道時，面臨著危機。在北京並非一切如表面所見，它神秘地變成了一個鬼城。當西塔逐漸向觀音敞開心扉時，他們揭示了城市被遺棄的背後更黑暗的原因。《西塔》延續了勞倫斯·萊克不斷發展的中國未來主義宇宙，他在這個宇宙中探討了在人工智慧時代的身份、監視和共情的問題。
A, the last human on the planet. X, the god, demon, or the future in A's nightmares. In 1972, a futurologist book precisely predicted the human destiny manifested in East Asia. In an unknown era, the last human found a mysterious message from an electronic device and embarks on a quest for a future from the past. In ten chapters, the audience explores this dream-like prophecy.
【導演簡介｜DIRECTOR PROFILE】
Lawrence Lek（陸明龍）是一位以其CGI電影、原聲帶和沉浸式虛擬世界而聞名的倫敦藝術家，他的作品通常設定在一個中國未來主義宇宙中。他的作品將世界建構視為拼貼藝術的一種形式，融合歷史和虛構元素，以發展基於非人類視角的推測性虛構故事。
Lawrence Lek is a London-based artist known for his CGI films, soundtracks, and immersive virtual worlds, often set within a Sinofuturist universe. His work explores worldbuilding as a form of collage, incorporating historical and imaginary elements to develop speculative fictions based on nonhuman perspectives.
我自己的風景
My Own Landscapes
安東尼・夏邦 Antoine Chapon
法國 France / 2022 / 18min / 中英字幕 Mandarin & English / 台灣首映 Taiwan Premiere
• 3/17（日） 13:00 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
【影片簡介｜PRODUCTION NOTES】
在參加戰爭之前，一位前軍事遊戲設計師製作了遊戲情境，以準備士兵應對文化震撼，並治療創傷。一旦戰爭結束，他與自己的身份、生活以及視頻遊戲的關係都發生了變化。
Before going to war, a former military game designer made video game scenarios that prepared soldiers for cultural shocks, and that healed trauma. Once back from war, his relationship with his identity, with life, and with the video game, changed.
【導演簡介｜DIRECTOR PROFILE】
生於1990年，安托萬·夏邦（Antoine Chapon）修讀美術、哲學和社會科學。他的作品通過電影、CGI動畫和檔案材料創造混合形式。他關注風景、創傷和新技術之間的關係。他曾在ZKM|卡爾斯魯厄（德國，2019年）、龐畢度中心（法國，2020年）、威尼斯建築雙年展（意大利，2021年）和新加坡藝術博物館（2023年）展出。他是柏林影展人才和IDFA學院的校友。他的第一部影片《My Own Landscapes》獲得了眾多獎項，包括2020年《Réel之幻象》電影節最佳短片獎和2021年安格爾首部影片節特別評審提名。該片入選了Palm Springs（2020）、Sundance（2021）、Telluride（2021）、True/False（2021）和薩拉熱窩（2021）等多個影展。《My Own Landscapes》入圍了2023年塞薩爾奧斯卡短紀錄片類別。他目前正在製作下一部短片《The Orchards》，得到了法國國家電影中心（CNC）、Ciclic、法國Île-de-France區域文化事務署（DRAC）和法國電視的支持。他還正在創作他的首部長片《Nehir》，得到了LaScam和CNC的支持。
Born in 1990, Antoine Chapon studied fine arts, philosophy and social sciences. His work creates hybrid forms using cinema, CGI animation and archives. He focuses on the relationship between landscapes, traumas and new technologies. He has exhibited at the ZKM|Karlsruhe (Germany, 2019), the Centre Pompidou (France, 2020), the Venice Architecture Biennale (Italy, 2021) and the Singapore Art Museum (2023). He is a Berlinale Talents and IDFA Academy alumni. His first film My Own Landscapes won numerous awards, including Best Short Film at the Visions du Réel festival (2020) and Special Jury Mention at the Premiers Plans festival in Angers (2021). The film has been selected at festivals such as Palm Springs (2020), Sundance (2021), Telluride (2021), True/False (2021) and Sarajevo (2021). My Own Landscapes was selected for the 2023 César Academy in the Short Documentary category. He is currently finishing work on his next short film The Orchards, supported by the CNC, Ciclic, DRAC île-de-France and France TV. He is writing his first feature film Nehir, supported by LaScam and the CNC.
傑夫・麥克菲特里奇：
繪畫人生
Geoff McFetridge：
Drawing A Life
丹・科弗特 Dan Covert
美國 USA / 2023 / 81min / 中英字幕 Mandarin & English / 亞洲首映 Asia Premiere
• 3/16（六） 20:10 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
【影片簡介｜PRODUCTION NOTES】
《Geoff McFetridge: Drawing a Life》是對這位時代最具遠見的藝術家之一的生活和工作進行詩意且親密的探索，同時也探討了構成充實生活的普遍問題。
Geoff McFetridge: Drawing a Life is a poetic and intimate look into the life and work of one of the most visionary artists of his time, while also exploring the universal questions of what makes a fulfilling life.
【導演簡介｜DIRECTOR PROFILE】
丹·科弗特（Dan Covert）在他的職業生涯開始時為MTV音樂錄影帶大獎設計標誌，擔任《Newsweek Magazine》的封面藝術指導，並在普拉特學院教授字體和新媒體課程。
他對敘事和設計的熱情在美國平面藝術協會（AIGA）邀請他執導有關他們傑出獎章得主的影片系列時碰撞在一起。現在他已經為AIGA執導了超過60部影片，講述了世界著名設計師，如米爾頓·格拉澤、大衛·卡森和黑豹黨藝術指導埃默里·道格拉斯等人的故事。這些作品在SXSW、翠貝卡電影節和Raindance等影展上首映。
作為一位屢獲殊榮且資深的商業導演，他曾為包括Coach、Peloton、Olay、Sweetgreen、Oatly、Nest、Lincoln、RAM、強生和強生、Delta、Hennessy和蓋茨基金會在內的標誌性品牌工作。他為Rivian創作的最近影片幫助其首次公開募股成為歷史上第六大。
丹透過藝術家的眼光創作影像，並以獨特的能力透過引導真實人物、演員和名人的表演，讓他們真實的自我閃耀在影片中。
他的短片和商業廣告獲得了Webby Awards、Vimeo Staff Picks的肯定，觀看次數達到數百萬，並獲得了主要影展的認可。丹是製片公司Dress Code的聯合創始人，是一位出版的作者，也是由Uprise Art代表的雕塑家和畫家。
Dan Covert began his career designing logos for MTV’s Video Music Awards, art directing covers for Newsweek Magazine, and teaching type and new media classes at Pratt Institute.
His passion for storytelling and design collided when the American Institute of Graphic Arts called upon him to direct a film series about their distinguished medalists. Today, he has directed over 60 films for AIGA, telling the stories of world-renowned designers like Milton Glaser, David Carson and Emory Douglas the Art Director of the Black Panther Party. This work has premiered at SXSW, Tribeca Film Festival, and Raindance
among others.
As an award-winning and tenured commercial director, he has worked for iconic brands including Coach, Peloton, Olay, Sweetgreen, Oatly, Nest, Lincoln, RAM, Johnson & Johnson, Delta, Hennessy, and The Gates Foundation. His recent films for Rivian helped their IPO become the 6th largest in history.
Dan composes images through the eye of an artist, and has a unique ability to capture authentic moments on film by shepherding performances from real people, actors and celebrities alike by letting their true selves shine.
His short films and commercials have earned Webby Awards, Vimeo Staff Picks, garnered millions of views, and gained recognition from major film festivals. Dan is the Co-Founder of the production company Dress Code, a published author, and a sculptor and painter represented by Uprise Art.
普丁的夢
Dreams about Putin
娜斯蒂亞・柯爾基亞 Nastia Korkia / 弗拉德 · 菲什斯 Vlad Fishez
比利時Belgium、匈牙利Hungary、葡萄牙Portugal / 2023 / 30min / 中英字幕 Mandarin & English / 台灣首映 Taiwan Premiere
• 3/17（日） 13:00 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
【影片簡介｜PRODUCTION NOTES】
在2022年2月24日烏克蘭全面入侵開始後，許多人開始夢見普京。他們在媒體上分享這些夢。已經有超過1000個夢關於普京的記錄。這部影片試圖通過現成素材和在虛幻引擎中製作的3D遊戲動畫的結合，來反映有關壓迫的主題，以描繪受戰爭影響的人們的真實夢境，並探索社會中集體無意識的主題。
After the beginning of the full-scale invasion of Ukraine on February 24, 2022 many people started to dream about Putin. And they shared these dreams in the media. Over 1000 dreams about Putin are documented. This film is an attempt to reflect on the theme of repression through a combination of found footage and 3D game animation made in Unreal Engine in order to portray the authentic dreams of those affected by the war and explore the theme of the collective unconscious in society.
【導演簡介｜DIRECTOR PROFILE】
Nastia Korkia是一位居住在德國的俄羅斯藝術家和電影製片人。她從由葡萄牙、匈牙利和比利時三所大學聯合提供的DocNomads Erasmus計劃中獲得碩士學位。
她的紀錄片長片《GES-2》在第78屆威尼斯電影節首映。她的作品曾在IDFA、柏林評論家周、DOK萊比錫、True/False、Sheffield DocFest、卡塞爾納基爾電影節、紐約大都會博物館等地放映。
Nastia Korkia is a Germany based artist and filmmaker of Russian origin.She received her MFA from DocNomads Erasmus Program delivered by a consortium of three universities in Portugal, Hungary and Belgium.Her documentary feature film "GES-2" premiered at the 78th Venice Film Festival.
Her works were screened at IDFA, Berlin Critics Week, DOK Leipzig, True/False, Sheffield DocFest, Kasseler Dokfest, Metropolitan Museum, NY, among others.
對應力量
Antipode
生命，就像藝術一樣，是一幅被對立力量和對比塗鴉的畫布。從大自然的和平之美到社會的複雜性，這些差異塑造了我們
的生活。透過藝術的鏡頭，我們踏上了一段揭示光明與黑暗、希望與絕望交錯的旅程。
從大自然的寧靜到社會的挑戰，我們了解到生命的本質在對比中顯露出來。
Life, much like art, is a canvas painted with opposing forces and contrasts. From the peaceful beauty of nature to the complexities of society, these differences shape our lives. Through the lens of art, we embark on a journey that unveils the interplay between light and darkness, hope and despair. From the calmness of nature to the challenges of society, we learn that the essence of life is revealed in contrast.
關於奧隆約克的
「部份」
Part of . ... Olonyok
葉菁 Ye Jingle
台灣 Taiwan/ 2023 / 9min / 中英字幕 Mandarin & English
• 3/30（六） 16:10 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
【影片簡介｜PRODUCTION NOTES】
影像以追尋Olonyok（Tano Bora 獵豹兄弟組合團員，）為引子，以追尋它的蹤跡而展開的保育園區田野紀錄。創作者以追隨者的角度，直觀且視觸地連動出原野中動物的行動痕跡。從而延展出景框以外動物的棲息場域、人與動物關係的延展討論，也由此直觀的視觸野生動物的命運狀態。
The Tano Bora, meaning ‘The Magnificent Five’ in Swahili, was the famed cheetah coalition here in the Masai Mara—captivating observers with their stealth, strategy, and striking beauty. The artist follows one of the cheetahs from the perspective of a follower, intuitively and visually connecting the traces of movement in the wilderness. The body image is used as a means of creation to extend the habitat of the animals beyond the frame. In this way, the cycle of "life and death" is explored, thus visually touching the traces of the fate of wild animals.
【導演簡介｜DIRECTOR PROFILE】
葉菁，長於湖北，旅居多地，現居台北/台南。大學畢業於英國瑪麗皇后電影研究專業，後轉向實驗電影創作。多年致力於移動影像及展覽電影的創作與研究。
YE Jingle, grew up in Hubei, has traveled extensively and now lives in Taipei/Tainan. She graduated from Queen Mary's Film Studies Program in the UK and turned to experimental filmmaking after graduation. She also focuses on the creation and research of moving images and exhibition films.
給納博依所的一首詩
Write a Poem for Naboisho
葉菁 Ye Jingle
台灣 Taiwan/ 2023 / 23min / 中英字幕 Mandarin & English
• 3/30（六） 16:10 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
【影片簡介｜PRODUCTION NOTES】
《納博依所》（Naboisho）是一場對于自然界的呼喚，一個重新認識土地、動物和生態的旅程。通過田野的方式，我們紀錄並追蹤每日野生動物的蹤跡，深入了解它們的生存狀態。這片土地承受著集體牧場所帶來的壓力，但同時也承載著無盡的生命力量。并把這片獻給所有在保育區工作的人，那些建設和保護者們，以及土地上所有奔跑著的生物。這是一個關於和諧共處的故事，一個關於人類與自然和諧相處的呼喚。
Naboisho, which means “coming together” in the Maasai’s Maa language, is a community response to the challenges of the privatization of group ranches in the Greater Mara Region. Strain was put on the soil, endemic vegetation, and the wildlife because of intensive herding and various tourism activities such as camping and off-road vehicle activity. I use a field diary to record and track the daily tracks of wild animals and their survival status. In this way, I re-learn about the land, the animals, and the ecology. This film is dedicated to all those who work, build, and protect the conservation areas, and all the creatures that run on the land.
【導演簡介｜DIRECTOR PROFILE】
葉菁，長於湖北，旅居多地，現居台北/台南。大學畢業於英國瑪麗皇后電影研究專業，後轉向實驗電影創作。多年致力於移動影像及展覽電影的創作與研究。
YE Jingle, grew up in Hubei, has traveled extensively and now lives in Taipei/Tainan. She graduated from Queen Mary's Film Studies Program in the UK and turned to experimental filmmaking after graduation. She also focuses on the creation and research of moving images and exhibition films.
法西斯電影的誕生
The March on Rome
馬克．庫辛思 Mark Cousins
義大利 Italy/ 2022 / 97min / 中英字幕 Mandarin & English / 亞洲首映 Asia Premiere
• 3/23（六）16:00 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
【影片簡介｜PRODUCTION NOTES】
透過鮮為人知的檔案和他典型的電影分析，馬克·庫辛思（Mark Cousins）講述了法西斯主義在意大利的崛起以及其在1930年代歐洲的影響。這既是一部試論式電影，也是一份歷史文件，庫辛思通過現在的視角將歷史置於背景中，將鏡子對準了一個逐漸崛起的極右翼和被操縱媒體的政治風景。
Through little-seen archive and his characteristically cinematic analysis, Mark Cousins narrates the ascent of fascism in Italy and its fall-out across 1930s Europe. Both essay film and historical document, Cousins contextualises history through the now, holding a mirror to a political landscape of a creeping far right and manipulated media.
【導演簡介｜DIRECTOR PROFILE】
馬克·庫辛思（Mark Cousins）是一位愛爾蘭-蘇格蘭導演和作家。他的電影包括《The Story of Film: An Odyssey》、《What is This Film Called Love?》、《Life May Be》、《A Story of Children and Film》、《Atomic》、《Stockholm My Love》、《I am Belfast》和《The Eyes of Orson Welles》等，這些作品在坎城、柏林、聖丹斯和威尼斯電影節上首映，並贏得了意大利獎、皮博迪獎、史丹利·庫布里克獎和歐洲電影獎創新敘事的獎項。他曾在伊拉克、塞拉耶佛（圍城期間）、伊朗、墨西哥、亞洲各地以及歐洲的美洲拍攝。
馬克的著作包括《Imagining Reality: The Faber Book of Documentary》和《The Story of Looking》。他與蒂爾達·斯溫頓（Tilda Swinton）合作舉辦創新的電影活動，並試圖找到探索主題（觀看、城市、電影、童年和康復）的新電影方式。
他的14小時紀錄片《Women Make Film》試圖重新思考電影。他的最新作品包括《The Storms of Jeremy Thomas》、《The Story of Looking》和《The Story of Film: A New Generation》。他曾走過洛杉磯、貝爾法斯特、莫斯科、北京、倫敦、巴黎、柏林、達卡和墨西哥城，喜歡夜泳。
Mark Cousins is an Irish-Scottish director and writer. His films – including The Story of Film: An Odyssey, What is This Film Called Love?, Life May Be, A Story of Children and Film, Atomic, Stockholm My Love, I am Belfast and The Eyes of Orson Welles – have premiered in Cannes, Berlin, Sundance and Venice film festivals and have won the Prix Italia, a Peabody, the Stanley Kubrick Award and the European Film Award for Innovative Storytelling. He has filmed in Iraq, Sarajevo during the siege, Iran, Mexico, across Asia and in America in Europe.
Mark’s books include Imagining Reality: The Faber Book of Documentary and The Story of Looking. He has collaborated with Tilda Swinton on innovative film events, and tries to find new, filmic ways to explore his themes: looking, cities, cinema, childhood, and recovery.
His 14 hour documentary Women Make Film tries to rethink cinema. His newest films are The Storms of Jeremy Thomas, The Story of Looking and The Story of Film: A New Generation. He has walked across Los Angeles, Belfast, Moscow, Beijing, London, Paris, Berlin, Dakar and Mexico City and likes night swimming.
纖縛萬物
The Knots We Knot
雅德阿娜・維拉・格瓦拉 Adriana Vila Guevara / 芭芭拉・桑琪絲・巴洛索 Bárbara Sánchez Barroso
西班牙Spain、委內瑞拉 Venezuela / 2023 / 8min / 中英字幕 Mandarin & English
• 3/17（日） 15:00 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
• 3/29（五） 14:00 秘書店 Meet Store
【影片簡介｜PRODUCTION NOTES】
這部16毫米的影片是在聖塔克雷谷的一次駐地研究期間進行的成果。根據藝術家的說法，“這是一次仔細思考的相遇的翻譯。這是一種閱讀細微之處、凝視眼神、用心聆聽環境沙沙聲的相遇。一種成為一體的應用草圖。一種最平凡的相遇，既身體的、反思的、共生的，也是處於特定情境中的。作為版本故事的翻頁，它們包含在它們的簡單性、持久性和延續性中。一種時空，讓每一個過程中所建議的東西成為現實。接受主觀性的提議，一次又一次地更新我們所看到的方式，更新每個姿勢及其脈搏，以編織線條的形式。在選定的交錯路徑上認識行者的狀態。”
通過藝術家與環境之間的共存，他們創造了一部直接而詩意的電影，其中環境元素，深入了解，揭示了它們的共生狀態；換句話說，它們被呈現為相互關聯和相互依存，其中一些元素照顧著其他元素。影像與藝術家先前分享的閱讀片段對話，以反映有關生命體的這種共生狀態。
This 16 mm film piece is the result of research carried out during a residence in the Vall de Santa Creu. According to the artists “it is a translation of an encounter that thinks carefully. One that reads between the lines, looks into the eyes, listens to the rustle of the environment with attention. An applied sketch of becoming-one-with. A sketch, from the most mundane, of an encounter, physical, reflective, symbiotic and situated. A turning of pages as versions of stories that are contained in their simplicity, in their duration and continuation. A space-time to become what is suggested in each passage. An acceptance of the proposal of subjectivity, updating again and again the way in which one who is presented to us is received, updating each gesture and its pulse, in the weaving of string figures. Recognizing the condition of walkers on selected intertwined paths".
From coexistence - between both artists and the environment - they create a film of direct yet poetic language, where the elements of the environment, well known in depth, reveal their condition of symbiosis; that is to say, they are shown as interrelated and interdependent, taking care of some elements of others. The images dialogue with fragments of the readings that the artists had previously shared in order to reflect on this symbiotic condition of beings.
【導演簡介｜DIRECTOR PROFILE】
Adriana Vila Guevara（1981年出生於加拉加斯）是委內瑞拉藝術家、電影製片人和人類學家，居住在加泰羅尼亞-西班牙。她的電影作品涉足非虛構、實驗電影領域，受到對世界和自我的反思、直覺和負責任的關係的影響。
Bárbara Sánchez Barroso（1987年出生於萊里達）主要從事視頻和視頻裝置，以及表演和寫作。她擁有巴塞羅那大學的美術和視覺傳達學學位，比利時HISK的碩士學位和瑞典馬爾默藝術學院的藝術研究碩士學位。
兩位藝術家的作品已在歐洲、北美和拉丁美洲的重要電影節和藝術中心展出。其中，Adriana Vila Guevara 在電影製作方面著重於非虛構、實驗性電影，以直覺和深刻的反思與世界和自我建立關係。而Bárbara Sánchez Barroso則主要以視頻和視頻裝置為主，作品涵蓋表演和寫作，關注後人類主義、新物質主義以及女性主義和非人類中心的視角。
Adriana Vila Guevara (Caracas, 1981) is a Venezuelan artist, filmmaker and anthropologist living in Catalunya-Spain. Her film work moves in the realms of non-fiction, experimental filmmaking, influenced by a reflexive, intuitive and responsible relation with the world and the self.
Her film pieces embrace the materiality and immateriality of film combining analogue-photochemical and video formats, as single-channel, film performance, and installation. Interested in the intersection between poetics and politics, and how cinema can explore and transform states of conscience, as a useful stimulation for the times we are living and the times to come.
Doctor and Master’s degree in Anthropology (Universidad de Barcelona), she has developed her artistic work creating a deep relation between anthropological questioning and experimental cinema, both as phenomenological practices. During the past decade she has devoted to developing and sharing DIY processes in analogue filmmaking. She has collaborated with national and international universities, film and art institutions, passionately teaching non-fiction film and experimental photochemical laboratory practices, as well as other approaches to anthropology and ethnographic methodologies for the arts.
She has screened her work at relevant festivals and art centers, in Europe, North America and Latin America, such as IFFR Rotterdam Film Festival, Oberhausen IFF, Edinburgh International Film Festival, International Video art festival LOOP, Museo de Bellas Artes Caracas, La Pedrera (Gaudi), FID Marseille, Margaret Mead Film Festival, Microscope Gallery NY, Crossroads SF MoMa, among other.
Bárbara Sánchez Barroso (Lleida, 1987)
works mainly with video and video installation, as well as performance and writing. She has a degree in Fine Arts and Audiovisual Communication from the University of Barcelona, a postgraduate degree from HISK, Belgium and a Master's degree in artistic research from the Malmö Art Academy, Sweden.
Her work has been exhibited in solo and group exhibitions at Bienal Sur, Riyad and Rosario, Miró Foundation, Barcelona; La Capella, Barcelona; Centrum, Berlin; Palazzo Ca'Tron, Venice; MoCA, Taipei; MKHA, Antwerp; HIAP, Helsinki; MUST, Lecce; CAC, Quito; Bòlit, Girona, and La Panera, Lleida, among others, and at festivals such as Loop, Barcelona, and Kasseler Dokfest, Kassel. Her works are part of the Han Nefkens Foundation, Naturgy Foundation, MACBA and the national collection of Catalunya.
She considers herself a storyteller, who believes in the political dimension of the vulnerable and in the power of narrative, probing the boundaries between reality and fiction. She especially likes stories based on posthumanism and new materialisms, with feminist and non-anthropocentric perspectives.
能量大躍進
Super Jump
當我們穿梭於時光的迂迴曲折和生命中不斷展開的事件中，變化成為我們不斷伴隨的伙伴。
無論是因為偶然相遇，還是生命中的關鍵時刻，每一次飛躍都帶來一波波的變革。
然而，飛躍不僅是動作，它也是一股推動我們向新高度發展的力量，無論為行動或內心成長。
隨著我們邁出的每一步，同時都在創造一個美好的故事，途中學到的經歷，努力成為更好的自己。
As we journey through the twists and turns of time and life's unfolding events, change becomes our constant companion. Whether sparked by a chance encounter or a key moment in our personal story, each leap forward brings a wave of transformation. Yet, leaping isn't merely about physical movement; it is also a force that propels us to new heights, both in our actions and in our inner growth. With each step we take, we craft a beautiful story, embracing the lessons learned along the way as we strive to become the best version of ourselves.
欄間雕刻魔術師
The Magician of Lattice
Carving: Chao-min Chen
蔡仲達 Tsai Chung-Ta
台灣 Taiwan / 2023 / 8min / 中英字幕 Mandarin & English / 世界首映 World Premiere
• 3/31（日） 14:25 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
【影片簡介｜PRODUCTION NOTES】
出生於1955年的陳佐民從事欄間雕刻製作超過40年，於108年獲頒文化部傳統匠師，是一名專業的欄間鑿花工藝師，陳佐民目前經營著全台僅存的花板雕刻工廠，2011年日本大地震後，面對外銷的困境，陳佐民說「傳統行業可以轉型，但是傳統工藝不能中斷，如果沒有自己的文化，就等著被同化」。近年來，他積極透過傳承計畫，讓更多人學習欄間雕刻技術，一步步復興欄間工藝文化
Born in 1955, Chao-min Chen has dedicated over 40 years to the art of wood lattice carving. In 2019, he was recognized as a Traditional Craftsman by the Ministry of Culture. A master in carving lattice wooden panels, Chen runs one of the few remaining decorative panel carving workshops in Taiwan. Faced with export challenges after the 2011 earthquake in Japan, Chen stated, “Traditional industries may adapt and evolve, but the legacy of traditional craftsmanship must always be preserved. If we do not safeguard our own culture, we risk being assimilated." In recent years, he has been passionately involved in heritage programs, educating others in lattice carving techniques in an effort to revive this important cultural craft.
【導演簡介｜DIRECTOR PROFILE】
小學六年級一場話劇的演出，開啟我日後從事傳播的工作，投入這工作將近30年，一路從助理、執行製作、副導演、導演，在經歷每個 拍攝過程中，都充滿很多的學習與驚奇。今年有幸拍攝嘉義市工藝家的紀錄片，發覺在嘉義市這個都市中，蘊含了許多珍貴事物的「老東西」，而這「老東西」並沒有消失，相反的，年輕一代的輕實力正在翻轉地方老文化！青年藝術家正創造出無形新價值，承接老匠師豐富且多樣的過往，讓城市的日常多了有趣的樣貌。這城市因為他們，變得如此多樣可愛，當我們一次又一次的被堅毅動人的嘉義市魂撼動著，著實由內而外的滿足，由裡到外的臣服。
A straight play during my 12th year of elementary school opened the door to my future career in communication. Over nearly 30 years in this field, I have progressed from an assistant role to positions as a production manager, assistant director, and finally director. Each shooting process has been a journey filled with invaluable learning experiences and moments of wonder.A straight play during my 12th year of elementary school opened the door to my future career in communication. Over nearly 30 years in this field, I have progressed from an assistant role to positions as a production manager, assistant director, and finally director. Each shooting process has been a journey filled with invaluable learning experiences and moments of wonder.Having inherited the rich and diverse past of the old artisans, the young talents are creating intangible new values, adding a lively appearance to the city’s daily life. Because of them, this city has become diverse and charming. As we are repeatedly moved by the determined and inspiring spirit of Chiayi City, we feel completely fulfilled from the inside out and wholeheartedly embrace it.
大林風華錄
The Splendor of Historical
Dalin
南華大學社會責任計畫 USR of NHU
台灣 Taiwan / 2023 / 35min / 中英字幕 Mandarin & English / 世界首映 World Premiere
• 3/31（日） 14:25 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
【影片簡介｜PRODUCTION NOTES】
民國40-60年代在嘉義大林戲院、酒家、茶室及旅社相繼興起，大林有「小北投」之封號。當時小姐來自全國各地，為了維持家庭經濟，來大林來找工作，曾造就當時地方經濟繁榮，但對不少的大林人而言，卻是一段既愛又恨的記憶。透過不同觀點的訪談與觀察，「小北投」的故事，讓我們看見當時年代台灣女性為家庭犧牲展現的生命韌性…
From the 1940s to the 1960s in the Republic of China, Dalin theaters, restaurants, teahouses and hotels sprang up in Chiayi. Dalin was known as "Little Beitou," and at that time, young ladies came to Dalin from all over the country to find work in order to maintain their family's economy. While this made the local economy prosperous at that time, for many Dalin people, it was a memory that was both loved and hated.
【導演簡介｜DIRECTOR PROFILE】
本片是台灣嘉義南華大學USR(大學社會責任參與計畫)集眾人之力製作完成，透過與社區耆老訪談，還原當時偏鄉小鎮的一段歷史。期許透過鏡頭，讓大家看見台灣女性的不同風貌及對在地文化保存的重視。
This film was produced by the USR (University Social Responsibility Participation Project) of Nanhua University in Chiayi, Taiwan, with the collective efforts of everyone. Through interviews with the elders of the community, it restores a period of history of the rural town at that time. I hope that through the lens, everyone can see the different styles of Taiwanese women and the importance they attach to the preservation of local culture.
記不起來的夢
A Dream of Death
王岑瑜 Wang Cen-Yu
台灣 Taiwan / 2023 / 3min / 中英字幕 Mandarin & English
• 3/22（五） 14:00 嘉義市影視音基地 Chiayi Film Studio
• 3/31（日） 13:00 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
【影片簡介｜PRODUCTION NOTES】
夢的語言提醒我們，所謂的「真實」早已經過心智的運作與轉換，然而夢境之中與真實之間存在的落差，是否又提醒著什麼......
透過作夢者描述夢境的過程，以及追隨他人的記憶回顧以重構事件。畫面的選擇來自真實情節，在真實與虛幻交織的情境中，打造一種似是而非的狀態，形塑已逝者那份既存在又不存在的形象。
The language of dreams reminds us that the "reality" has long undergone the workings and transformations of the mind. However, the disparities between the dream world and reality may serve as a reminder of something profound.
Through the dreamer's narration of the dream process and retracing events by following others' memories, the selection of scenes originates from real-life situations. In the interweaving of reality and illusion, a state of seeming truth yet non-truth is crafted, shaping the image of the departed as both present and absent.
【導演簡介｜DIRECTOR PROFILE】
王岑瑜，目前就讀於國立臺南藝術大學動畫藝術與影像美學研究所。創作常以生命經驗和生活中的感知作為靈感，專注於探討女性、記憶、死亡等議題。作品以紀錄和再現真實為表現手法，嘗試營造出虛實之間的空白，從中尋找對話和反思的可能性。
Cen Yu Wang, currently studying in the Graduate Institute of Animation and Film Art at National Tainan University of the Arts. Her creations often draw inspiration from life experiences and perceptions in daily life, focusing on exploring topics such as women, memory, and death. Employing recording and reproduction of reality as artistic methods, attempts to create a blank space between reality and illusion, seeking possibilities for dialogue and reflection within it.
體內戰爭
Body War
陳昱維 Chen Yu-Wei
台灣 Taiwan / 2023 / 6min / 無字幕 no subtitle
• 3/22（五） 14:00 嘉義市影視音基地 Chiayi Film Studio
• 3/31（日） 13:00 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
【影片簡介｜PRODUCTION NOTES】
古今哲學探討的一大重點始終在於：人如何確定自己的存在不是一場虛幻？然而長期受困於免疫疾病的患者對於生活或甚至是生存的寄託反而可能建立於，會不會身體或是感知的痛苦其實只是一種幻象或是夢境？
從「牽亡」的概念為發想，將免疫疾病比喻為一場自己與己身身體的長期抗戰，於戰爭中死亡的亡靈透過凝視生前的記憶切片，重新檢視與探索生命、存在如何在始終流動與不穩定的狀態下，與其共存與找到平衡。
One major focus of philosophical inquiry has been: how can individuals determine that their existence is not an illusion? However, for those enduring chronic immune diseases, reliance on life might paradoxically hinge on whether the pain is merely a dream.
Inspired by the concept of khan-bông(a traditional taiwanese ritual) likening immune diseases to a prolonged battle against one's own body, the spirits of those who die in this war revisit fragments of their memories to re-examine and explore how life and existence coexist and find balance amid perpetual flux and instability.
【導演簡介｜DIRECTOR PROFILE】
陳昱維，出生於高雄，曾任台灣國際酷兒影展執行統籌，現就讀於台南藝術大學影像研究所碩士。生命經歷的疾病與離散，總將自身帶往全然不同於過往想像的道路，而踏入了影像與藝術的領域。在過程中不斷的思考與探詢：藝術與作品如何幫助我們用更「好」的重新解構與結構人類與存在的本質。
Born in Kaohsiung,. Life experiences of illness and diaspora have steered Yu-Wei onto paths vastly different from what he once envisioned, leading him into the realms of film and art. Throughout this journey, Yu-Wei continually ponder and explore how art and works can assist us in better deconstructing and reconstructing the essence of humanity and existence.
細碎生命
Pulverizing Lives
生命就像一個拼圖，由許多散落在各處的片段和時刻組成。
有時候，我們需要藝術幫助我們把這些片段拼湊在一起，造出完整的畫面。
藝術使我們凝視生活的現實，且理解生命中每個片段的含義。
通過用藝術探索生活的碎片，我們可以在日常生活中找到美好和意義。
Life is like a puzzle, made up of many pieces and moments scattered everywhere. Sometimes, we need art to help us put these pieces together and see the bigger picture. Art allows us to gaze upon the reality of life, helping us understand the significance of each fragment in life better. By using art to explore life's fragments, we can find beauty and meaning in the everyday life.
此刻嘉義
Ranma in Chiayi
吳永欽 Wu Yung-Chin
台灣 Taiwan / 2023 / 25min / 中英字幕 Mandarin & English / 世界首映 World Premiere
• 3/31（日） 16:35 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
【影片簡介｜PRODUCTION NOTES】
欄間，是日本和室裝潢用的建築特色，民國六十年代，欄間開始運輸到臺灣進行加工，嘉義市欄間工廠林立，但因為時代變遷以及建築習慣改變，導致欄間逐漸被淘汰，時至今日，所有的欄間工廠近乎倒閉，僅剩陳佐民藝師還在經營，他希望可以將欄間做到藝術生活化，讓更多人了解木工藝，並且傳承欄間和木雕藝術。
Ranma is an architectural feature in traditional Japanese interior decoration. Around the 1970s, they were transported to Taiwan for processing. There were already quite a few ranma factories in Chiayi City. Times have changed, and people building buildings instead of houses. So ranma is being
gradually phased out by the market over time. In Chiayi City,all ranma workshops closed down until now. Master Chen Tzuo-Ming was the only one left.He philosophy is geared towards creating art that integratesinto everyday life as much as possible. So that more people get to know about woodcraft,and pass on the heritage and art of ranma and wood carving.
【導演簡介｜DIRECTOR PROFILE】
吳永欽是一名經驗豐富的紀錄片導演，以其冷靜客觀的風格捕捉傳統文化的內涵，紀錄片題材包含音樂家、陶藝家、木雕師、彩繪等。更拍攝諸多國家工藝成就獎得主，曾以台灣傑出音樂家蕭泰然先生的紀錄片，榮獲美國休士頓影展青銅獎。透過優秀的攝影技巧和敘事功力，吳永欽導演以獨特的視角以及敘述詮釋傳統文化之美，展現傳統文化之美在現代社會扮演的角色以及未來的發展。
Wu Yung-chin is a seasoned documentary director renowned for his composed and unbiased approach to capturing the essence of traditional culture. His documentary portfolio spans diverse subjects such as musicians, ceramic artists, woodcarvers, painters and more. Additionally, he has documented numerous recipients of the National Craft Achievement Awards. Among his notable works is a documentary featuring the exceptional Taiwanese musician, Tyzen Hsiao, which earned the Bronze Award at the Houston Film Festival. Through his exceptional skills in cinematography and storytelling, Director Wu provides a unique interpretation of the beauty inherent in traditional culture, highlighting the role it plays in contemporary society and exploring its future development.
義方
Yifang
洪鈞元 Hong Jun-Yuan
台灣 Taiwan / 2023 / 14min / 中英字幕 Mandarin & English / 世界首映 World Premiere
• 3/31（日） 16:35 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
【影片簡介｜PRODUCTION NOTES】
紀錄片傳主林義方（1926-2018），民國15年（大正15年）出生於嘉義，青年時期前往日本廣島留學，1945年廣島原爆期間，因恰巧出勤離開廣島市，而幸運的在這次災難中倖存。1946年2月從日本返國後，隨即投入國民教育，1947年又遇二二八事件。這一段流變、離散與居所難以定錨的狀態，以及面對歷史事件猶如失語的情感壓抑，反映出當時部分嘉義市民面臨時代困境的縮影，突顯出嘉義市獨特的歷史容貌。本片以訪談結合田野、重演與非虛構的穿插，試圖塑造私歷史及大時代間的對話及隱喻關係。
The film director, Hong Jun-yuan, hails from Chiayi, Taiwan, by way of marriage to a local. His work interweaves the remarkable contributions of his wife’s grandfather from the Japanese colonial era, reflecting the minor yet significant events in the daily lives of Chiayi’s residents during that historical period. Starting with the family history narrative, the discussion delves into the everyday experiences of regular individuals amid major historical shifts. It outlines how pivotal historical junctures have affected individual lives. Moreover, by adopting the perspective of ordinary people, it reconstructs the dispersion and transformations brought by key historical events such as the Pacific War, the Hiroshima atomic bombing, and the issue regarding Taiwan’s sovereignty in relation to the Republic of China. The incorporation of scenes from the markets in Chiayi County and City within the film, juxtaposed with a comparison between the past and present, provides viewers with a retrospective glimpse into the life journey as it unfolds against the backdrop of changing historical eras.The protagonist of the documentary, Yifang Lin (1926-2018), was born in Chiayi in the 15th year of the Republic of China (Taisho 15th year). When he was young, he went to Hiroshima, Japan to study with his elder brother. During the atomic bombing of Hiroshima in 1945, he happened to leave Hiroshima because of work and survived this disaster.
【導演簡介｜DIRECTOR PROFILE】
國立臺南藝術大學藝術創作理論研究所博士。作品足跡遍佈世界各地，數次入選各類國內外影展及錄像藝術節。曾獲第九屆塞爾維亞Holywood Serbia國際影展最佳實驗影片、俄羅斯聖彼得堡國立大學SmolShorts獨立影展觀眾票選獎、韓國首爾EMF梨花電影節入圍、法國Rencontres Internationales Paris/Berlin影展入圍、丹麥哥本哈根60秒短片藝術節評審團十大最佳影片及觀眾票選獎、西班牙馬德里AFIAS動態影像節入圍、日本東京HorsPistes電影節入圍等。
Jun-Yuan Hong holds a PhD in Art Creation and Theory from the Tainan University of the Arts. He is now an Assistant Professor in the Bachelor Program in Taiwan Humanities and Creativity, National Chung Hsing University.
國寶手工旗袍師傅-
李清江
Renowned National Master in Handmade Qipao:
Cing-jiang Lee
蔡仲達 Tsai Chung-Ta
台灣 Taiwan / 2023 / 9min / 中英字幕 Mandarin & English / 世界首映 World Premiere
• 3/31（日） 14:25 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
【影片簡介｜PRODUCTION NOTES】
李清江出生於1946年，是嘉義市碩果僅存的手工旗袍老師傅，從過去當學徒、到承接經營三美旗袍，製作手工旗袍的經驗已超過一甲子，許多名人、歌手、政治人物的衣著皆出自他手。老師傅李清江，堅持一針一線縫製旗袍，他能一直做下去的祕訣，就是客人拿到旗袍後滿意的反應。李清江說旗袍養活了他們一家大小，他會繼續做下去。直到做不動為止。這是他一甲子來對手藝的自信與堅持，也是對旗袍放不下的感情。
Born in 1946, Cing-jiang Lee is one of the last remaining master qipao tailors in Chiayi City. His journey, spanning over six decades, began as an apprentice and later led to him managing the esteemed Sanmei Qipao shop. Many celebrities, singers, and political dignitaries have been graced by his skill in handcrafting qipaos. Master Lee commits himself to the detailed and precise crafting of each qipao, focusing on every individual stitch. His motivation comes from the joy and satisfaction his clients feel upon receiving their garments. Lee reflects that making qipaos has not only supported his family but also become a part of his life's work. He intends to continue this legacy until he no longer can, a testament to his confidence in his craft and his deep, enduring love for the art of qipao.
【導演簡介｜DIRECTOR PROFILE】
小學六年級一場話劇的演出，開啟我日後從事傳播的工作，投入這工作將近30年，一路從助理、執行製作、副導演、導演，在經歷每個 拍攝過程中，都充滿很多的學習與驚奇。今年有幸拍攝嘉義市工藝家的紀錄片，發覺在嘉義市這個都市中，蘊含了許多珍貴事物的「老東西」，而這「老東西」並沒有消失，相反的，年輕一代的輕實力正在翻轉地方老文化！青年藝術家正創造出無形新價值，承接老匠師豐富且多樣的過往，讓城市的日常多了有趣的樣貌。這城市因為他們，變得如此多樣可愛，當我們一次又一次的被堅毅動人的嘉義市魂撼動著，著實由內而外的滿足，由裡到外的臣服。
A straight play during my 12th year of elementary school opened the door to my future career in communication. Over nearly 30 years in this field, I have progressed from an assistant role to positions as a production manager, assistant director, and finally director. Each shooting process has been a journey filled with invaluable learning experiences and moments of wonder.A straight play during my 12th year of elementary school opened the door to my future career in communication. Over nearly 30 years in this field, I have progressed from an assistant role to positions as a production manager, assistant director, and finally director. Each shooting process has been a journey filled with invaluable learning experiences and moments of wonder.Having inherited the rich and diverse past of the old artisans, the young talents are creating intangible new values, adding a lively appearance to the city’s daily life. Because of them, this city has become diverse and charming. As we are repeatedly moved by the determined and inspiring spirit of Chiayi City, we feel completely fulfilled from the inside out and wholeheartedly embrace it.
失傳的裱褙真功夫-
蔡慶謀
The Lost Art of Mounting and
Framing: Ching-mou Tsai
蔡仲達 Tsai Chung-Ta
台灣 Taiwan / 2023 / 9min / 中英字幕 Mandarin & English / 世界首映 World Premiere
• 3/31（日） 14:25 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
【影片簡介｜PRODUCTION NOTES】
16歲開始，蔡慶謀在臺北學習裱褙技藝，1994年回到嘉義，推動美街造街運動，成為「朝海裱畫店」第二代負責人羅勝雄的徒弟，日後也成為了羅家女婿。現在與妻子羅文冶一起合作裱褙工藝。蔡慶謀說:「將每一個創作者的心血用最適合的方式好好對待，這是對藝術品的負責，也是對裱褙工藝的態度」。上一代交到蔡慶謀手上的不止有純熟的裱褙技術，還有一份真誠待人的心意。
Starting at the age of 16, Ching-mou Tsai began his apprenticeship in the art of mounting and framing in Taipei. In 1994, he returned to Chiayi and launched the Art Street Makeover Movement, an initiative that used art to revitalize the local community. He then became an apprentice to Sheng-hsiung Luo, the second-generation owner of Chao Hai Framing Shop, and later married Luo’s daughter and became a member of the Luo family. Today, he collaborates with his wife, Wen-ye Luo, in this meticulous craft. Ching-mou Tsai believes in honoring every artist's work with the utmost care, stating, "Our responsibility to the art extends beyond mere respect for each artist's efforts; it's a profound commitment to the fine craft of mounting and framing." The legacy bestowed upon Tsai by the craftsmen of yesteryears goes beyond just the mastery of mounting and framing techniques; it's a deep-seated dedication to treating others with genuine kindness and respect.
【導演簡介｜DIRECTOR PROFILE】
小學六年級一場話劇的演出，開啟我日後從事傳播的工作，投入這工作將近30年，一路從助理、執行製作、副導演、導演，在經歷每個 拍攝過程中，都充滿很多的學習與驚奇。今年有幸拍攝嘉義市工藝家的紀錄片，發覺在嘉義市這個都市中，蘊含了許多珍貴事物的「老東西」，而這「老東西」並沒有消失，相反的，年輕一代的輕實力正在翻轉地方老文化！青年藝術家正創造出無形新價值，承接老匠師豐富且多樣的過往，讓城市的日常多了有趣的樣貌。這城市因為他們，變得如此多樣可愛，當我們一次又一次的被堅毅動人的嘉義市魂撼動著，著實由內而外的滿足，由裡到外的臣服。
A straight play during my 12th year of elementary school opened the door to my future career in communication. Over nearly 30 years in this field, I have progressed from an assistant role to positions as a production manager, assistant director, and finally director. Each shooting process has been a journey filled with invaluable learning experiences and moments of wonder.A straight play during my 12th year of elementary school opened the door to my future career in communication. Over nearly 30 years in this field, I have progressed from an assistant role to positions as a production manager, assistant director, and finally director. Each shooting process has been a journey filled with invaluable learning experiences and moments of wonder.Having inherited the rich and diverse past of the old artisans, the young talents are creating intangible new values, adding a lively appearance to the city’s daily life. Because of them, this city has become diverse and charming. As we are repeatedly moved by the determined and inspiring spirit of Chiayi City, we feel completely fulfilled from the inside out and wholeheartedly embrace it.
八年級粧佛師的逆襲-
陳任達
The Unconventional Path of a
Deity Statue Carver:
Ren-da Chen
蔡仲達 Tsai Chung-Ta
台灣 Taiwan / 2023 / 8min / 中英字幕 Mandarin & English / 世界首映 World Premiere
• 3/31（日） 14:25 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
【影片簡介｜PRODUCTION NOTES】
陳任達出生於1993年，崑山大學機械系畢業。大學畢業後，與父親陳榮進學習粧佛工藝，於2021成立利元雕佛社，2022參與北港工藝坊舉辦的五湖四海宴。陳任達不僅是工藝師，也是一名道士，熟悉從神像製作到完成開光的種種科儀。陳任達說「不停的學習，是對手藝負責，也是對傳統的尊重。」他喜歡每一尊神佛都有不同的面貌，對他來說每一尊用心製作的神像都是他傳承與守護這個行業的心意。
Ren-da Chen , born in 1993, graduated from the Department of Mechanical Engineering at Kun Shan University. After completing his university education, he apprenticed under his father, Rong-jin Chen, to master the art of deity statue carving. In 2021, he established the Liyuan Sculpture Studio and participated in the Wuhu Sihai Showcase, a traditional arts exhibition at Beigang Craft Workshop, in 2022. Ren-da Chen is not just a craftsman; he is also a Taoist priest, adept in the entire process from crafting to consecrating deity statues. He believes that "Continuous learning is not only a commitment to our craft but also a form of respect for tradition." For Chen, giving each deity statue a distinct appearance is not just an artistic choice but a reflection of his dedication to preserving and honoring this ancient profession.
【導演簡介｜DIRECTOR PROFILE】
小學六年級一場話劇的演出，開啟我日後從事傳播的工作，投入這工作將近30年，一路從助理、執行製作、副導演、導演，在經歷每個 拍攝過程中，都充滿很多的學習與驚奇。今年有幸拍攝嘉義市工藝家的紀錄片，發覺在嘉義市這個都市中，蘊含了許多珍貴事物的「老東西」，而這「老東西」並沒有消失，相反的，年輕一代的輕實力正在翻轉地方老文化！青年藝術家正創造出無形新價值，承接老匠師豐富且多樣的過往，讓城市的日常多了有趣的樣貌。這城市因為他們，變得如此多樣可愛，當我們一次又一次的被堅毅動人的嘉義市魂撼動著，著實由內而外的滿足，由裡到外的臣服。
A straight play during my 12th year of elementary school opened the door to my future career in communication. Over nearly 30 years in this field, I have progressed from an assistant role to positions as a production manager, assistant director, and finally director. Each shooting process has been a journey filled with invaluable learning experiences and moments of wonder.A straight play during my 12th year of elementary school opened the door to my future career in communication. Over nearly 30 years in this field, I have progressed from an assistant role to positions as a production manager, assistant director, and finally director. Each shooting process has been a journey filled with invaluable learning experiences and moments of wonder.Having inherited the rich and diverse past of the old artisans, the young talents are creating intangible new values, adding a lively appearance to the city’s daily life. Because of them, this city has become diverse and charming. As we are repeatedly moved by the determined and inspiring spirit of Chiayi City, we feel completely fulfilled from the inside out and wholeheartedly embrace it.
隱形之森－
亞馬遜的故事
The Invisible Forest –
Stories From The Amazon
安迪・柯斯塔 Andy Costa
巴西 Brazil / 2023 / 27 min / 中英字幕 Mandarin & English
• 3/16（六）13:00 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
• 3/22（五）16:10 嘉義市影視音基地 Chiayi Film Studio
【影片簡介｜PRODUCTION NOTES】
在亞馬遜地區嚴重森林砍伐的時代，我們深入探討那些將森林視為生活不可分割一部分的個人的奮鬥和韌性故事。這些人捍衛著森林，面對入侵者的騷擾，並在追求照顧地球最大熱帶雨林的過程中保護他們的知識和文化的傳承。這部紀錄片揭示了他們保護亞馬遜至關重要的遺產的旅程和奉獻。
In a time of advanced deforestation in the Amazon, we delve into the stories of struggle and resilience of individuals who view the forest as an inseparable part of their lives. These are people who shield the forest, confront the harassment of invaders, and safeguard the transmission of their knowledge and culture in the pursuit of caring for the planet's largest tropical rainforest. This documentary uncovers their journey and dedication to preserving the Amazon's vital legacy.
【導演簡介｜DIRECTOR PROFILE】
Andy Costa 擁有管理學和專案管理學位，但自2018年起，他完全致力於電影業和影片製作。他曾擔任製片、編輯和導演等多種角色。他是Dot Films的創始合夥人，該公司專注於社會和人道主義事業，同時也擁有大量的企業和教育客戶。
Andy Costa holds a degree in administration and project management, but since 2018, he has been fully devoted to the film industry and video production. He has worked in various roles such as producer, editor, and director. He is a founding partner of Dot Films, a production company that focuses on social and humanitarian causes, while also maintaining a substantial portfolio of corporate and educational clients.
基輔之光
The Lights of Kyiv
賽爾希 · 蒂柯妮克 Serhii Tykhoniuk
瑞士Switzerland、烏克蘭Ukraine / 2023 / 17min / 中英字幕 Mandarin & English
• 3/17（日） 16:50 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
• 3/29（五） 16:10 秘書店 Meet Store
【影片簡介｜PRODUCTION NOTES】
在她的同胞Serhii Tykhoniuk警覺的攝影機面前，Lisa喚起了她的故鄉，她與之聯繫的自由感的喪失，
它的氣味...這是被迫流亡的人們帶著在行李箱中的想像碎片。
Before her compatriot Serhii Tykhoniuk’s watchful camera, Lisa evokes her hometown, the loss of the keen sense of freedom that she connects with it, its smells… as many fragments of imagination that people forced into exile take with them in their suitcase.
【導演簡介｜DIRECTOR PROFILE】
2004年出生於烏克蘭的蒂柯妮克。自南烏克蘭戰爭爆發以來，他搬到基輔，並於2020年從基輔媒體藝術學院（KAMA）畢業，專攻電影製作。在烏克蘭爆發全面戰爭之前，他曾在基輔文化藝術大學學習電影電視導演專業。自2022年起，謝爾輝以瑞士為基地，成為洛桑藝術學院（ECAL）電影系的學士生。
他的第一部紀錄短片《基輔之光》在尼永國際紀錄片電影節的官方選片中首映，並在盧塞恩的UFM（青年電影節）上獲得了「最佳U-20電影獎」。
Born in 2004 in Mariupol, Ukraine. Since the beginning of the war in southern Ukraine, he moved to Kyiv where in 2020 was graduated in Filmmaking from the Kyiv Academy of Media Arts (KAMA). Before the full-scale war in Ukraine he was a student at the Kyiv National University of Culture and Arts in Film and Television Directing. Since 2022 Serhii is based in Switzerland as a BA-student at ECAL (École Cantonale d’Art de Lausanne), cinema department.
His first documentary short "The Lights of Kyiv" had its premiere in the Official Selection at Visions du Réel International Film Festival in Nyon and received "The best U-20 film award" at UFM in Lucerne.
高俊宏 作品精選
Best of Kao Jun-Honn
高俊宏Kao Jun-Honn
台灣 Taiwan/ 1997-2022 / 90min / 中英字幕 Mandarin & English / 世界首映 World Premiere
• 3/17(日) 18:25 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
【影片簡介｜PRODUCTION NOTES】
《出海口─重返小說》Estuary: Return to the Novel,
台灣 Taiwan / 2019 / 22 min
中英字幕 Mandarin / English
《一帆風順》 Smooth sailing
單頻道錄像 Single channel video
台灣 Taiwan / 2021 / 7 min
中英字幕 Mandarin / English
《回製：泡沫的消失》 Re-making: The Vanishing Bubble
台灣 Taiwan / 2020/ 7min
無字幕 no subtitles
《劉海蟾》Liu Haichan
台灣 Taiwan / 2018 / 14min
中英字幕 Mandarin / English
【導演簡介｜DIRECTOR PROFILE】
1973年生於台灣，1998年畢業於台北藝術大學美術系，獲學士學位；2017畢業於台南藝術大學藝術創作理論研究所博士班，獲博士學位，現高雄師範大學跨藝所助理教授。創作媒介以計畫性創作、身體、錄像、非虛構書寫為主。作品長期關注歷史、空間、生命政治、新自由主義、東亞、原民等議題。1995年起舉辦多次國內外個展、聯展與參與雙年展，並於香港、法國、英國、綠島等地進行駐村創作；作品曾入選與獲得數屆台新藝術獎。撰有《Bubble Love》、《家計畫》、《公路計畫》、《群島藝術三面鏡》、《拉流斗霸：尋找大豹社事件隘勇線與餘族》等書，獲2016年金鼎獎年度最佳圖書獎、2021年Openbook好書獎等。
Born in Taiwan in 1973, he graduated from the Department of Fine Arts at Taipei National University of the Arts with a Bachelor's degree in 1998; in 2017, he received his Doctorate from the Art Creation and Theory Research Institute at Tainan National University of the Arts. He is currently an assistant professor at the Cross-Art Institute at Kaohsiung Normal University. His creative media are mainly project-based creation, body, video, and non-fiction writing. His works have long focused on issues such as history, space, life politics, neoliberalism, East Asia, and indigenous people. Since 1995, he has held numerous solo and group exhibitions domestically and internationally and participated in biennials. He has also engaged in artist residencies in places such as Hong Kong, France, the UK, and Green Island. His works have been selected for and won several Taiwan Shin Art Awards. He has written "Bubble Love", "Home Project", "Highway Project", "Archipelago Art Three-Sided Mirror", "La Liu Dou Ba: Searching for the DaBao Society Incident and the Remainder Tribe", etc. His books won the Best Book of the Year Award at the Golden Tripod Awards in 2016 and the Openbook Good Book Award in 2021.
星塵15749001
Stardust 15749001
侯季然 Hou Chi-Jan
台灣 Taiwan/ 2003 / 11min / 中英字幕 Mandarin & English
• 3/30 (六) 13:00 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
【影片簡介｜PRODUCTION NOTES】
人不在的時候，空房間裡到底發生了什麼事？就像一則寓言：在遙遠的森林中，沒有任何人的見證下，有一棵樹默默地倒下了，那它算不算倒了呢？在人類的經驗之外，時間與空間是否仍然存在？仍然持續？如果是，那是一種什麼狀態？
這是一部紀錄「無人狀態」的影片，選擇的材料是空房子的影像。當一個個形貌各異的空房從眼前流過，我們看到的除了房間的機能、坪數、價錢、地段…..等屬於「人」的部份之外，還看到了什麼？也許是電視新聞喃喃說的：天文學家用太空望遠鏡，觀察到千萬光年之外的某一粒星塵；也許是億萬年後，某一束從流散電波裡破解出的歷史影像；某個心靈無意間經驗了在宇宙漫長的膨脹過程中，某一粒星塵在某一星系的某一個時間點的狀態……
It’s a film about the status without a single soul, and all materials selected are images of empty houses. As each empty house in different style drifting by, besides all the human elements such as function, area measure, price and location, what else do we see?
Perhaps as the TV news murmurs, by the telescope witnesses an astronomer one stardust beyond million light-years; perhaps a historical image decoded from a loose electric wave hundreds of millions years later; perhaps a certain spirit accidentally learns the status of a certain stardust in certain time and galaxy…
【導演簡介｜DIRECTOR PROFILE】
電影導演。敘事風格詩意，關注歷史及性別主題，作品橫跨劇情、紀錄、私電影、影像詩等類型。2010年以首部長片《有一天》入選柏林影展。其他作品有《我的747》、《台灣黑電影》、《南方小羊牧場》、《書店裡的影像詩》、《四十年》等。曾獲台北電影獎首獎、蒙特婁奇幻影展最佳導演獎、台灣酷兒影展首獎、香港IFVA亞洲新力大獎等。
Hou Chi-jan is a film director and screenwriter based in Taipei, his works are known for its poetic quality with the recurrent themes of time and memory.
Hou made his firs documentary short, My 747, in 2004. It won Asian New Force Grand Prix at IFVA, Hong Kong. His feature debut, One Day, premiered at the 2010 Berlinale Forum. Ode to Time, Hou’s latest feature documentary, competed in the Asian Future at the 2016 Tokyo International Film Festival.
感傷之旅
Sentimental Journey
吳俊輝 Wu Chun-Huei、辛建宗 Hsin Chien-Chung
台灣 Taiwan/ 2003 / 30min / 中英字幕 Mandarin & English
• 3/30 (六) 13:00 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
【影片簡介｜PRODUCTION NOTES】
一個女孩描述他的男友成為同志的經歷。一開始她只是個平凡的女孩，感受到被愛的喜悅，但是當男子離開後留給她的理由確是追求同性的真愛，對她而言是個很大的打擊。於是她也開始了對同性的交往過程，這個過程也帶給她與男子同樣的衝擊，而在此時他們之間似乎才真正的沒有距離。男子似乎是從追尋的過程中回來了，但是女子的心情事複雜的，她對於他的離去，彈琴就當作是一種報復吧。對於不再恨的恨意，以及對於大提琴的性愛觀，彼此就像不相交的歪斜線一樣，綿綿密密的成為冷靜語調中被包覆的錯雜情感。作品的處理由幾年來的旅遊紀錄開始，藉由愛情故事與異質化的影像，探索性頃向與當代性別關係。將原始素材重新拆解速度、構圖、顏色。使用影像特質的差異性，將影像作彼此的對話、融合，產生新的閱讀向度。
This is a 3-part love story. One girl is talking a story of her ex-boyfriend. He went aboard to chase for homosexual love. Although she stayed home, both of them are experiencing almost simultaneously unbounded sexual exploring journey in each end. The traditional narrative monologue is manipulated as a link to all the experimental segments. As the story goes on, the emotion of those original extremely abstract experimental footages are becoming touchable and understandable. The very original footages, which had been proceeded as, speed changing, deformation, reframing, and composition, are the film-diary of Tony Wu from his past travel experiences. This film is also exploring the texture-differences among different media. The raw materials combine 8mm, 16mm and DV.
【導演簡介｜DIRECTOR PROFILE】
吳俊輝
長期在台灣致力於實驗電影的創作、研究、教學、推廣與國際交流。電影作品曾於巴黎龐畢度中心、紐約現代美術館放映。《感傷之旅》獲2003年台北電影節台北電影獎最佳實驗片獎；《諾亞諾亞》獲2004年台北電影節台北電影獎最佳實驗片獎與金穗獎優等影片獎。2006台北雙年展「（限制級）瑜珈」、2012年台北雙年展「現代怪獸/想像的死而復生」參展藝術家。
辛建宗
台灣獨立製片導演。自1997年擔任Rock TV編導起從事影像製作，1998年起擔任上百部知名品牌電視商業廣告導演，作品以獨立製片概念及人性關懷的理念，持續創作社會觀察兼具娛樂價值的影像作品，身兼編劇、導演、剪輯、製片等多重身分，曾獲得台北電影節最佳實驗片獎項及入圍電視金鐘獎最佳編劇、最佳導演等肯定。
Chun-Hui Wu
Dedicated to the making, studying, teaching and advocacy of experimental film in Taiwan, and promotes exchange of this kind with the international community. His films have been shown at the Museum of Modern Art in New York, Centre Pompidou in Paris etc. His film “Sentimental Journey” (2003) was named the Best Experimental Film at 2003 Taipei Film Festival, and “Noah Noah” (2004) won the same award at 2004 Taipei Film Festival and the 27th Golden Harvest Award. He presents his films at the 2006 Taipei Biennial: “Dirty Yoga” and 2012 Taipei Biennial: “Modern Monsters / Death and Life of Fiction”.
George Hsin
An independent filmmaker from Taiwan. Since 1997, he has been working in film production as a director for Rock TV and, from 1998, has taken on the role of director for hundreds of well-known branded TV commercials. His works are created under the concept of independent production and the philosophy of caring for human nature. His consistent efforts focus on creating films that both observe society and provide entertainment value. Simultaneously serving in multiple roles as screenwriter, director, editor, and producer, he has received recognition including the Best Experimental Film award at the Taipei Film Festival, and nominations for Best Screenwriter and Best Director at the Golden Bell Awards.
去年火車經過的時候
Last Year When the Train
Passed by
黃邦銓 Huang Pang-Chuan
台灣 Taiwan/ 2018 / 18min / 中英字幕 Mandarin & English
• 3/30 (六) 13:00 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
【影片簡介｜PRODUCTION NOTES】
「去年，火車經過你家時，我拍了這張照片，那時的你在做什什麼呢？」
“ What were you doing while I took this photo when the train passed through your house last year ? ”
【導演簡介｜DIRECTOR PROFILE】
黃邦銓的作品，《回程列車》與《去年火車經過的時候》兩部作品連續兩年獲得法國克萊蒙費宏實驗競賽首獎，並於盧卡諾、MoMA紀錄片雙週及IDFA阿姆斯特丹國際紀錄片影展放映。近期與林君昵導演合作，關注台灣日治時期歷史與美術史，如《天亮前的戀愛故事》和《甘露水》。
HUANG Pang-Chuan's both works “ Return ” and “ Last Year When the Train Passed by ” have won The Lab Grand Prix in Clermont-Ferrand Festival, two years in a row. Recently he collaborate with Lin Chunni, focusing on Taiwan pre-war history, such like projects “ Before the Dawn ” and “ Kam Loo Tsui ”, they were also presented at major festivals, such as Locarno Festival, IDFA, MoMA Doc Fortnight etc...
早期抽象
Early Abstractions(16mm)
哈利．史密斯 Harry Smith
美國 USA / 1939-1956 / 23min / 無字幕 no subtitle
• 3/24 (日) 14:55 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
【影片簡介｜PRODUCTION NOTES】
《早期抽象》由六部電影組成，長度從 2 到 5 分鐘不等， 這些作品從1939年到1952年陸續製作完成。深受到美洲原住民文化、爵士樂、卡巴拉神秘主義和超現實主義的啟發，導演哈里·史密斯為了開創觀影的多重可能性，在膠卷底片上貼了圓形、可移動的貼紙，或直接塗漆，建構出自帶能量的有機輪廓，建構了自己的形狀、色彩、光線和時間的電影宇宙，揭示了實驗影像最為異想天開、繽紛燦爛的一面。
正如美國前衛電影教父約拿斯．梅卡斯（Jonas Mekas）所說：「你可以為了純粹的色彩享受而看，你可以為了看影像運動而看，或為了隱藏的象徵符號而看，不管如何，哈里·史密斯的作品永遠比我所看過的任何其他電影的層次都多。」
“Early Abstractions” is comprised of six films that vary in length from 2 to 5 1/2 minutes. The works were produced over a 7 year period from 1946 to 1952. Inspired by Native American cultures, jazz, the Kabbala, and surrealism, Smith assembled his own cinematic universe of shape, color, light and time. “Early Abstractions” reveals the whimsical, mystical side of experimental film. As Jonas Mekas has said, "You can watch them for pure color enjoyment; you can watch them for motion- Harry Smith's films never stop moving; or you can watch them for hidden symbolic meanings, alchemic signs. There are more levels in Harry Smith's work than in any other film I know."
【導演簡介｜DIRECTOR PROFILE】
美國電影作者、畫家、音樂學家、民族誌學家、收藏家和神秘主義者。 史密斯最為人所知的是於1952年編撰完成《美國民間音樂選集》，影響60 年代民謠音樂復興的推動。他在實驗電影創作和繪畫方面的貢獻也備受推崇，別具個性且創新的藝術追求，也讓他被視為廿世紀最豐富的跨領域藝術家之一。
American filmmaker, painter, musicologist, ethnographer, collector, and mystic. Smith is best known as the compiler of the Anthology of American Folk Music (1952), which served as a catalyst and influential source for the folk revival of the 1960s. Appreciation also has grown for his contributions as an experimental filmmaker and painter. An autodidact and polymath whose eccentric but innovative artistic pursuits and collecting are legendary, he was one of the most colourful multidisciplinary artists of the 20th century.
蒙特婁的一秒
One Second in Montreal(16mm)
麥可．史諾 Michael Snow
加拿大 Canada / 1969 / 26min / 無字幕 no subtitle
• 3/24 (日) 14:55 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
【影片簡介｜PRODUCTION NOTES】
一系列的雪景，環繞著蒙特婁一座紀念碑的四面八方，一張接一張地、持續地構成了這部關於時間的電影實驗。看似平凡無奇的靜照，在導演斯諾極簡的影像序列構組中，提供了對時間的微妙解讀，畫面或長或短、自成一格，看似缺席的內在張力，反而放大了時間作為電影中最純粹的存在，穿透影像躍然銀幕。《蒙特婁的一秒》既陌生又熟悉地喚醒觀眾的影像感知力，剝奪了傳統敘事的情節模式，逼使觀眾純淨地探索自我與影像之間的可能性。電影學者希特尼 （P.Adams Sitney）盛讚本片為導演邁克爾・斯諾探討時間本質的傑作：「一部充滿攻擊性，卻令人難以忘懷的邊緣之作。」
A collection of snow scenes, all still photographs of potential sites for a monument in Montreal, follow one another for twenty-two minutes. The film is aggressive, yet haunting. It too is at the edge, at the point where an image of an actuality provides a firmer ground for meditation than an abstract image or no image at all. This particular film proves the subtlety of Snows genius, in his ability to locate a precise Image of time without resorting to nostalgia or any iconic representation of the past or futurity. The shots are held longer and longer as we enter the middle of the film, and they shorten towards the end. “One Second in Montreal” offers a subtle reading of time, distinctions in the duration of one very long hold and one just slightly shorter. The absence of internal movement denies the sense of temporal scale.
【導演簡介｜DIRECTOR PROFILE】
麥可・史諾，1928年生於加拿大多倫多，當代最具影響力的前衛藝術大師。早年為職業音樂家，六〇年代開始涉足繪畫及雕塑，並發展攝影與實驗電影的創作，1967年以《波長》探索時間、影像、聲響、運動與感知的可能性，被譽為前衛電影史上的典範之作，奠定麥可史諾前衛大師的地位。曾於世界各大當代藝術館舉辦電影回顧與藝術展，獲頒加拿大勳章、法國藝術與文學騎士勳章等榮譽。
Michael Snow (1928 – 2023) was a Canadian artist. One of the world’s leading experimental filmmakers. His best-known films are Wavelength (1967) and La Région Centrale (1971), with the former regarded as a milestone in avant-garde cinema. Michael Snow’s extensive and multidisciplinary oeuvre includes painting, sculpture, video, film, sound, photography, holography, drawing, writing, and music. His work explores the nature of perception, consciousness, language, and temporality.
午後的迷惘
Meshes of the Afternoon
亞歷山大・罕密德 Alexander Hammid、瑪雅．黛倫 Maya Deren
美國 USA / 1943 / 14min / 無字幕 no subtitle
• 3/24 (日) 14:55 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
【影片簡介｜PRODUCTION NOTES】
午後，陽光搖曳、樹影婆娑，女人的白日長眠，彷彿釋放了潛意識的所有夢靨，在一次又一次的跟蹤尾隨裡，瞥見轉角的神秘人影，赫然發現椅子上沈睡的自己，舞動著性與死亡的風景。
《午後的迷惘》是美國實驗電影中最具影響力的作品之一，由瑪雅・黛倫自導自演，不僅在掀起了獨立前衛電影運動，並直接啟發了肯尼思·安格、斯坦·布拉哈奇等創作者，開啟六〇年代新美國電影浪潮。全片以一名女子的白日夢為主軸，反覆出現的抽象視覺隱喻與超現實敘事，搭配夢靨般的神秘氛圍及高度風格化的肢體語言，以幾近精神分析的手法鋪陳出一段詭魅詩篇。
A woman returning home falls asleep and has vivid dreams that may or may not be happening in reality. Through repetitive images and complete mismatching of the objective view of time and space, her dark inner desires play out on-screen.
Directed and played by Maya Deren, “Meshes of the Afternoon” is one of the most influential works in American experimental cinema. It established the independent avant-garde movement in film in the United States, now known as the New American Cinema. It directly inspired early works by Kenneth Anger, Stan Brakhage, and other major experimental filmmakers..
【導演簡介｜DIRECTOR PROFILE】
美國電影導演、演員、電影理論家、人類學家、舞蹈家及詩人。1917年生於烏克蘭基輔猶太人家庭，童年時舉家遷至美國，以開創性的實驗電影、獨立製片及巫毒信仰聞名，亦是40、50年代前衛藝術的重要推手。
Maya Deren was one of the most pre-eminent avant-garde filmmakers of the 20th century; her first film “Meshes of the Afternoon” (1943), is the most renown experimental film throughout all of film history. She became known as a major proponent of the “trance” film, and her movies are a transitional link between the European avant-garde films of the 1920’s, and the American avant-garde films of Kenneth Anger, Gregory Markopoulos, Stan Brakhage and others. Deren was also a poet and developed an interested in modern dance. In her experimental films, she also collaborated with other artists, including poet Anaïs Nin, dancer Frank Westbrook, and her filmmaker-husband, Alexander Hammid.
堤
La Jetée
克里斯・馬克 Chris Marker
法國 France / 1962 / 28min / 中英字幕 Mandarin & English
• 3/24 (日) 14:55 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
【影片簡介｜PRODUCTION NOTES】
第三次世界大戰後，巴黎因核爆殘破不堪，為了繼續生存，科學家利用戰俘做實驗，試圖在時間裡找尋意識的出口，但卻不斷地失敗。直到男子的出現，他腦中揮之不去一段記憶：機場堤道上的女子回憶，讓這一切似乎有了轉機⋯⋯。
融合劇情、實驗、科幻等多重風格，本片不僅被視為前衛實驗的影史經典，也被奇幻名導泰瑞吉蘭奉為個人啟蒙圭臬，以此為藍本拍出科幻名片《未來總動員》。全片以靜照的極簡影像敘事，從現實、記憶、到未來想像，將每一格畫面幻化成時間記憶裡的瞬息永恆，實踐了電影之於文學與後設的語境探索，堪稱靈光消逝年代裡的最後一道曙光，班雅明、蘇珊桑塔格信徒必看。
The Third World War has engulfed the whole planet. Radioactivity is spreading. A team of scientists realize that the only way out is to send someone into the past or the future. They set to work in underground concentration camps. Before his dramatic demise, the hero will have a love affair with a woman living in another temporal space.
The 1962 French science fiction by Chris Marker is also known in English as “The Pier”. Constructed almost entirely from still photos, it tells the story of a post-nuclear war experiment in time travel. It won the Prix Jean Vigo for short film. The 1995 science fiction film “12 Monkeys “was inspired by, and takes several concepts directly from, La Jetée.
【導演簡介｜DIRECTOR PROFILE】
生於1921 年，身兼作家、導演、評論及藝術創作於一身，為法國當代最具前衛實驗精神之創作者。六○年代起即從事影像創作，作品橫跨劇情、紀錄、實驗、錄像等領域，與亞倫雷奈、高達同為新浪潮運動的先驅，創作形式具高度實驗性，獨特的拼貼美學和自由的散文式影像，也讓他被譽為電影散文家。代表作品有《堤》、《紅在革命蔓延時》、《日月無光》等。
Chris MARKER was a French writer, photographer, documentary director, multimedia artist and film essayist. He began his career as a journalist in the 1950s and befriended many members who were associated with the so-called Left Bank Film Movement including Alain Resnais and Agnes Varda. In 1953, Marker collaborated with Resnais on the documentary “Statues Also Die” which won the 1954 Prix Jean Vigo. Marker and Resnais had subsequently collaborated on several films. Marker’s best-known films include “La Jetée”, “Le Fond de L'Air est Rouge”, and “Sans Soleil”.
巴索里尼的奧秘
Pier Paolo Pasolini -
Una Visione Nuova
賈恩卡洛・斯卡爾基利 Giancarlo Scarchilli
義大利 Italy / 2022 / 71min / 中英字幕 Mandarin & English / 台灣首映 Taiwan Premiere
• 3/30（六） 20:10 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
【影片簡介｜PRODUCTION NOTES】
《巴索里尼的奧秘》是一部記錄顯著變革的人物的敘述作品。當巴索里尼將貝納多·貝托魯奇聘為《Accattone》電影的助理導演時，貝托魯奇開始涉足詩歌創作。同樣的情況也出現在文琛佐·切拉米身上，他是巴索里尼的前中學生，巴索里尼在電影《Uccellacci e Uccellini》中將他引入電影世界。帕索利尼有一種在別人未能察覺的地方發現才華的本事，宛如占卜者。同樣的情況也出現在羅拉·貝蒂、丹特·費雷蒂、達尼洛·多納蒂、莫里康內等人身上。在電影和文化領域中的所有這些重要人物都深受他們與帕索利尼相遇以及他有魅力的個性影響。
Pier Paolo Pasolini - A New Vision is the narration of personalities who underwent significant changes after encountering Pasolini. Bernardo Bertolucci starts writing poetry when Pasolini involves him as an assistant director in the film Accattone. The same happens to Vincenzo Cerami, his former middle school student, whom he introduces to the world of cinema in the film Uccellacci e Uccellini. Sergio Citti is a painter when Pasolini senses in him the ideal narrator to tell stories about the suburbs. Pasolini had a knack for uncovering talent where others didn't perceive it, like a diviner. The same thing happened with Laura Betti, Dante Ferretti, Danilo Donati, Morricone, and many others. All significant figures in cinema and culture owe much to the encounter they had with Pasolini and his charismatic personality.
【導演簡介｜DIRECTOR PROFILE】
出生於羅馬。他在1974年至1976年間居住在倫敦，並積極投入短篇故事和詩歌的創作。回到意大利後，他成為塞爾吉奧·奇蒂（Sergio Citti）和維托里奧·加斯曼（Vittorio Gassman）的最親密的合作者。
他最新的作品《Pier Paolo Pasolini - Una Visione Nuova》（2022）是一部電影紀錄片，曾在都靈電影節首映，並於威尼斯國際電影藝術展的最新一屆中獲得“Premio Kinéo”獎。該片提名2023年Nastri d'Argento獎的“電影，表演，文化”部門，並獲得2023年BAFF最佳紀錄片獎。在意大利，由Medusa Film S.p.a.進行戲劇性的影片放映。
Scarchilli’s biography born in Rome. He lived in London from 1974 to 1976 and he intensified writing short stories and poems. Back in Italy, he becomes closest collaborator of Sergio Citti and Vittorio Gassman.
"Pier Paolo Pasolini - Una Visione Nuova" (2022). Film-doc presented at Turin Film Festival, winner “Premio Kinéo” during the last edition of “Mostra Internazionale d'Arte Cinematografica” of Venice. Candidate for the Nastri d'Argento 2023, section "CINEMA, SPETTACOLO, CULTURA " and BAFF Award 2023 Best Documentary. Theatrical event screening by Medusa Film S.p.a. in Italy.
曼斯・伯薩斯 作品精選
Best of Måns Berthas
曼斯・伯薩斯 Måns Berthas
瑞典 Sweden / 2024 / 50min / 中英字幕 Mandarin & English / 世界首映 World Premiere
• 3/16（六） 15:15 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
【影片簡介｜PRODUCTION NOTES】
它赫茲了！
一位女音樂家希望揭示聲音對我們產生的未知影響，而她沒有預料到的是納粹在二戰期間可能牽扯其中。
Oh, it Hertz!
A female musician wants to reveal how sound affects us in ways unknown to most people. What she didn't expect was that World War II Nazis might be implicated.
狗仔男孩
盧卡斯，一位年輕且全情投入的金屬樂迷，正在醫院探望剛逝去的祖父。儘管有著血緣關係，他不想讓老人被埋在家族墓地。黑暗的秘密浮出水面，當機會來臨時，他尋求報復。
Bitchboy
Lukas, a young dedicated metal head, is visiting his recently departed grandfather at the hospital.
Despite the bloodline, he doesn’t want the old man to be buried in the family grave.
Dark secrets come to light, and when opportunity comes, he seeks revenge.
冠軍
嚴寒的冬季。在一個偏遠小屋裡結冰的婚姻。一個來自過去的男人回來尋求報復，久違的感情重新燃起。一場無言的戰鬥開始，永恆的三角關係終於迎來了結局。
Champion
Harsh midwinter. A frozen marriage in a remote cabin. An man from the past returns to seek revenge, and long lost feelings come alive.
A wordless battle begins and the eternal triangle finally comes to an end.
瑞典經典
一位身穿破爛婚紗的女人在森林中被一聲震耳欲聾的汽車喇叭聲驚醒。她發現她的丈夫在附近的撞車中，他受傷嚴重但還活著。在破碎的車內，他們開始談論他們的關係，很快似乎變得和他們的Saab一樣支離破碎。
A Swedish Classic
A woman in a tattered wedding gown wakes in the forest to the sound of a deafening car horn. She finds her husband in the crashed car nearby. He’s in bad shape but alive. In the wrecked interior, they start to talk about their relationship, which soon seems to be as demolished as their Saab.
喀布爾我的愛（預告片，製作中）
講述一群女性阿富汗記者的故事，追蹤她們在喀布爾陷落之前、期間和之後的旅程。她們破碎的夢想是在自己的土地上擁有講述故事的事業；在塔利班接管阿富汗期間，她們絕望的、自行記錄的逃離嘗試；以及事後。對於那些逃脫的人來說：流亡的創傷。
Kabul mon amour (trailer, work in progress)
The story of a group of female Afghan journalists, following their journeys before, during and after the fall of Kabul. Their broken dream to have careers telling the stories of their own land; their desperate, self-documented attempts to flee Afghanistan during the Taliban takeover; and the aftermath. For those who escaped: the trauma of exile.
【導演簡介｜DIRECTOR PROFILE】
Måns Berthas是一位導演、編劇和攝影導演。他在電影業工作長達二十年，執導過無數紀錄片和劇情片。Måns在Alma Manusutbildning接受了電影和戲劇系列的劇本撰寫訓練。
他的短片《Champion》（2015年）是第一部被義大利銷售公司Lights On選中的電影。《Champion》和其他作品在200多個國際電影節上放映。 Måns在世界各地創作，並獲得了30多個國際獎項。他近期擔任了紀錄片《Oh it Hertz》的攝影導演，並獲得了兩個最佳攝影獎。目前，Måns正在籌備兩個紀錄片計畫，同時也致力於創作一部長篇劇情片。
Director Måns Berthas is a director, screenwriter and director of photography. He has worked in the film industry for twenty years and has directed both documentary and fiction. Måns is a trained screenwriter at Alma Manusutbildning in film and drama series.
His short film "Champion" (2015) was the first film to be picked up by the Italian sales company Lights On. Both "Champion" and his other films have been shown at a total of over 200 international film festivals. Måns has worked around the globe and his films have received more than 30 international awards. For his most recent work as DoP, on the feature documentary ”Oh it Hertz", he received two award for best cinematography. Måns is currently developing two documentary projects and also writing on a feature.
葉奕蕾跳格精選
Best Jumping Frames Curated
by Elysa Wendi
葉奕蕾 Elysa Wendi
台灣 Taiwan / 2022-2023 / 16min / 中英字幕 Mandarin & English
• 3/23 (六) 13:00 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
【影片簡介｜PRODUCTION NOTES】
她面對沒有盡頭的復健、她的身體無法忘記傷患、她想達到別人的要求，卻摔了一跤⋯⋯以三位舞者的受傷經驗，以及身體拉扯的影像為喻，思索如何與創傷共存，在土崩瓦解的世界中走下去。
She faces endless rehabilitation; her body keeps recalling the injury; she wishes to appease, yet she fell……Three dancers who have confronted injuries filled the visual with strain on the body. The film ponders how to co-exist with the trauma and keep going after one’s world falls apart.
【導演簡介｜DIRECTOR PROFILE】
葉奕蕾，策展人、獨立舞蹈及影像創作者，現於香港及新加坡兩地工作。她在2015年與電影監製蔡绍勇創立了Cinemovement ──集合跨媒介影片創作的平台。
現時為「跳格 — 香港國際舞蹈影像節」策展人, 游走於影像創作、展演與策劃的工作。
Elysa Wendi is an independent curator, artist and filmmaker working in between Hong Kong and Singapore.
She co-founded ‘Cinemovement’ — a platform for inter-disciplinary film creation together with film producer Jeremy Chua in 2015.
She now works as curator for ‘Jumping Frames – Hong Kong International Movement-image Festival’ and is currently exploring her works in film, photography, and performance.
張紫茵為導演及藝術家，生於香港。她的作品圍繞身份的雙重面向： 個人與政治、記憶與遺忘。活動影像作品曾於美國Whitney Museum of American Art、荷蘭Kunstinstituut Melly 及荷蘭國家電影資料館等展出，並入選「鹿特丹國際電影節、「列斯國際電影節」、「台灣國際紀錄片影展」及「里斯本酷兒電影節」等。此外亦曾獲得香港M+博物館、英國文化協會、「跳格 — 香港國際舞蹈影像節」及美國Visual AIDS委約。
Dorothy Cheung
Dorothy Cheung (b. 1987) is a filmmaker and artist from Hong Kong. Her practice explores the notion of identities and home through a double perspective - personal and political, memory and forgetfulness. Her moving-image works are internationally exhibited in Whitney Museum of American Art, Kunstinstituut Melly (formerly known as Witte de With Center for Contemporary Art) and EYE Film museum, and selected for film festivals including International Film Festival Rotterdam, Leeds International Film Festival, Seoul Women’s Film Festival, South Taiwan Film Festival and Queer Lisboa. She has also received commission from M+ (Hong Kong), British Council (Hong Kong/UK), ‘Jumping Frames – Hong Kong International Movement-image Festival’ and Visual AIDS (US).
黎宇文 作品精選
Best of Maurice Lai
黎宇文 Maurice Lai
台灣 Taiwan / 2020-2021 / 21min / 中英字幕 Mandarin & English
• 3/23 (六) 13:00 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
【影片簡介｜PRODUCTION NOTES】
香夭 A Fading Flower
「我們是不是已經回不去?」這是我拍攝時最大的感覺。香港出生及成長的我在2019年告 別生活了四十多年的地方到臺南定居。太太是土生土長臺南人,19歲離開家鄉到香港讀書工 作,在香港生活了二十多年後,跟隨我回到自己家鄉生活。兩人回望彼岸,好不容易沉靜下 來的感覺,再湧心頭, 2020年以舞蹈影像形式創作了這作品。這是一個肢體與世界的對 話,從香港跨過來臺南,再從臺南呼喊回去香港,抗爭是真的,渺小卻也是事實,但願我們 都能透過海的連結、地景的延伸,再次用我們的肢體,舞出我們的心裡話。
《山林轉換:走跳計畫初步》
本片紀錄臺灣中生代具有代表性的兩位舞蹈家:陳武康與余彥芳,以島嶼環境為布幅的走跳計劃。計畫初期兩人尾隨藝術家高俊宏踏查日據時期大豹溪流域隘勇線遺址的腳步入山,並將山途顛簸的身體和歷史現場的感官衝擊轉換爲新北市板橋驫舞排練場的一場即興演出。走跳計畫以身體穿越市井街道、歷史現場,一路走走跳跳,以展覽、直播、現場演出等不拘形式即時輸出,一種身體的說唱藝術,帶有即時性、就地取材、稍縱即逝的脆弱質地,意圖藉此處理一種直接而透明的體感表達曲徑。
A Fading Flower
"Have we reached a point of no return?" This was my biggest feeling during filming. Born and raised in Hong Kong, I bid farewell to the place where I had lived for over forty years in 2019 and settled down in Tainan. My wife, a native of Tainan, left her hometown at 19 to study and work in Hong Kong. After living in Hong Kong for over twenty years, she followed me back to her homeland. As we both look back on the other side, the feelings that have finally calmed down resurface. In 2020, I created this work in the form of dance imagery. It is a dialogue between the body and the world; crossing from Hong Kong to Tainan, and then calling back to Hong Kong from Tainan. The struggle is real and it may seem insignificant but it's still a fact. We hope that through the connection of the sea and the extension of the landscape, we can once again use our bodies to dance out the words in our hearts.
This film documents two representative mid-generation dancers in Taiwan: Chen Wu-Kang and Yu Yen-Fang, with a roaming project set against the backdrop of the island environment. At the beginning of the project, they followed the footsteps of artist Kao Jun-Honn into the mountains to investigate the remains of the Duau River Basin's Duan bravery line from the Japanese colonial period, transforming the bumpy body on the mountain journey and the sensory impact of the historical site into an impromptu performance in the Banqiao Taoyuan rehearsal venue in New Taipei City. The roaming project traverses urban streets and historical sites with the body, walking and hopping along the way, delivering in real-time through exhibitions, live streaming, on-site performances and other informal outputs. It's a kind of physical storytelling art, characterized by its immediacy, site-specific material, and ephemeral fragility, with the intention of processing a direct and transparent path of bodily expression.
Beginning Step into Walk/Dance Project
Two of Taiwan’s renowned choreographers in their 40s, Chen Wu-kang and Yu Yen-fang, have come together in a collaborative dance project that explores the island through walking. This film documents their mountaineering journey as guided by acclaimed visual artist and mountain guide Kao Jun-honn through the Savage Line along the Llyung Topa (Dabao River), which culminates in an improvisational performance of this experience at HORSE Dance Theatre in New Taipei City.
【導演簡介｜DIRECTOR PROFILE】
黎宇文香港出生及成長，定居台南。游走於影像、舞蹈、戲曲及飲食文化之間的斜槓人生。香港演藝學院電影製作藝術碩士，桃花源粵劇工作舍創辦人之一，活躍於香港與台灣的舞蹈影像導演。現為桃花源粵劇工作舍董事會副主席及舞台技術統籌、不加鎖舞踊館董事會主席、康樂及文化事務署演藝專責委員會(戲劇)增補委員、香港舞蹈年獎評審委員。2020年在台灣成立好順景藝術工作室，從事影像創作。 亦於台北藝術大學舞蹈學系研究所及台南應用科技大學藝術學院舞蹈系擔任兼任助理教授，分享舞蹈影像藝術。
任職香港無線電視(TVB)節目部品牌推廣科編導期間，所執導宣傳作品「我有種」於PROMAX電視推廣大獎2005（亞洲區）獲得「最佳假日及節日宣傳片」金獎。2012年澳洲 ReelDance Moving Image Collection (MIC)把Maurice舞蹈影像作品《一杯茶》選為藏品,在悉尼 University of New South Wales (UNSW)作永久收藏。2015年，Maurice獲香港舞蹈聯盟，頒發香港舞蹈年獎－「最值得表揚舞蹈錄像及攝影」。憑西九文化區製作《觀・影—香
港舞者》(2018) 及《觀・影：城市舞畫組曲》(2022) 與澳洲編舞兼錄像導演蘇·希利 (Sue Healey) 共同獲香港舞蹈年獎「傑出視覺設計」。2017年獲城市當代舞蹈團頒發「城市當代舞蹈達人」，表揚他在舞蹈界的成績和貢獻。2023年台灣第一屆雲舞台獎，Maurice導演的舞蹈電影《bulabulay mun?》獲得舞蹈類首獎。
Maurice LAI Yu-man Born and raised in Hong Kong, live in Tainan, an MFA graduate in Cinema Production of the School of Film and Television of The Hong Kong Academy for Performing Arts. Maurice is one of the founders of Utopia Cantonese Opera Workshop, one of the most active dance filmmaker in Hong Kong and Taiwan. He is currently an adjunct assistant professor at School of Dance of Taipei National University of the Arts and College of Arts of Tainan University of Technology, the Vice- chairman of the Board of Directors and Coordinator (Technical Support) of Utopia Cantonese Opera Workshop, the Chairman of the Board of Directors of Unlock Dancing Plaza, co-opted member of the Art Form Sub-committee (Theatre) of LCSD and jury member of The Hong Kong Dance Awards. In 2020, he set up HoShunKing Artistic Workshop in Taiwan. Maurice received Gold Award of Best Holiday/Seasonal Promo in PROMAX ASIA 2005. In 2012, ReelDance Moving Image Collection (MIC) of Australia selected his dance video A Cup of Tea as part of its collection archived in University of New South Wales in Sydney. He received The Hong Kong Dance Award for Outstanding Achievement in Video and Photography for Dance in 2015 and Outstanding Visual Design with Australian choreographer-cum-dance filmmaker Sue Healey for ON VIEW: HONG KONG in 2018 and for ON VIEW: PANORAMIC SUITE in 2022 produced by West Kowloon Cultural District. In 2017 he received the City Contemporary Dance Laureate from City Contemporary Dance Company.In 2023, he won the best film（dance category) of the Taiwan Cloud Stage Award by his dance film ‘bulabulay mun?’.
呂威聯 作品精選
Best of William Lü
呂威聯 William Lü
台灣 Taiwan / 19min / 無字幕 no subtitle / 世界首映 World Premiere
• 3/23 (六) 13:00 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
【影片簡介｜PRODUCTION NOTES】
仍然
(2014)
舞蹈是一種普遍的語言。在這個背景下，電影製片人/編舞家威廉·呂（William Lü）探索了將舞蹈和動作作為對話的概念，這是一部關於一個年輕人對渴望和失去掙扎的敘事電影。《仍然》講述了一段被不確定性環繞的關係故事。零散的對話、空洞的擁抱和相互衝突的慾望阻礙了這位年輕人的清醒時刻，因為他努力接受現實。
UN/SUFFOCATE
(2021)
《Un/Suffocate》是對全球大多數人在拖延的疫情中所經歷的絕望、孤立和窒息的一種視覺舞曲的回應。
通過導演和基於任務的舞蹈即興表演，導演威廉·呂和舞者陳怡青（Yi-Ching Chen）探索了極簡和有機的動作。這部作品是由Dancecology舞蹈公司委託製作，在宜蘭傳統藝術中心拍攝。
BREAKING WAVES
(2020)
由NACH委託製作，這部舞蹈電影在台東令人驚嘆的景觀中展開，那裡的山脈與海洋相會。它探索了內在聲音的力量，這種力量被節奏感的波浪所象徵。超越字面意義，影片突顯了內心對話中的力量。舞者的身體與台東的紋理視覺交織在一起，創造出一種迷人的視覺交響曲，這反映了內心聲音與令人驚嘆的背景之間的舞蹈。
REELING REVERIE（初步編輯）
(2023)
在這部電影致敬作品中，《REELING REVERIE》被描繪為對電影轉化力量的衷心頌歌。敘事源於個人經歷，圍繞一位年輕女子在劇院中尋找安慰和逃避的故事。電影院被描繪為聖所，成為探索慾望、挖掘夢想和擁抱各種情感的門戶。隨著年輕女子沉浸於電影的世界，舞蹈呈現為一次自我發現之旅，銀幕成為反映她夢想和情感的鏡子，最終引領她深刻認識到自己真正的自我。
STILL
(2014)
Dance is a universal language. With this in mind, filmmaker/choreographer William Lü explores the idea of using dance and movement as dialogs in this narrative film about a young man who struggles with longing and loss. STILL tells a story of a relationship bound in a cycle of
uncertainty. Disjointed dialogues, empty embraces, and opposing desires impede the young man's waking hours as he struggles to come to terms with his reality.
UN/SUFFOCATE
(2021)
Un/Suffocate is a visual ballad in response to the despair, isolation, and suffocation most people worldwide experienced during the dragged-on pandemic. Through directed and task-based dance improvisation, director William Lü and dancer Yi-Ching Chen explored minimal and organic movements. The work was commissioned by the Dancecology dance company and filmed at the Yilan National Center for Traditional Arts.
BREAKING WAVES
(2020)
Commissioned by NACH, this dance film unfolds in Taitung's breathtaking landscapes, where mountains meet the ocean. It explores the strength of the inner voice, symbolized by the rhythmic waves. Delving beyond the literal, the film highlights the power within one's inner dialogue. The dancers' bodies intertwine with Taitung's textured visuals, creating a mesmerizing visual symphony that mirrors the dance of the inner voice against the stunning backdrop.
REELING REVERIE (rough edit)
(2023)
In this cinematic tribute, REELING REVERIE unfolds as a heartfelt ode to the transformative power of cinema. Drawing from personal experience, the narrative centers around a young woman who discovers solace and escape in a theater. Cinemas, portrayed as sanctuaries, become a gateway for exploring desires, unearthing dreams, and embracing a spectrum of emotions. As the young woman immerses herself in the cinematic realm, the dance unfolds as a journey of self-discovery, where the silver screen becomes a mirror reflecting her dreams and emotions, ultimately leading her to the profound realization of her true self.
【導演簡介｜DIRECTOR PROFILE】
呂威聯，出生於台北，從小先後在印尼及美國長大。他在美國和荷蘭擁有超過15年的業界舞蹈經驗。
曾在 Codarts 鹿特丹藝術大學及Holland Dans Festival 擔任客席講師。在美國著名舞團-Backhausdance，獲頒連續兩次”萊斯特·霍爾頓”的最佳表演獎。作品曾在韓國釜山的國際短片節、巴賽隆那的MECAL、好萊塢的亞洲影像，墨爾本的Sandfly國際影像紀錄以及阿姆斯特丹的Cinedans，活躍於每個國際影展。
William Lü began his film studies at Chapman University under the advisory of Gil Bettman and dance training under the artistic direction of Cyrus Parker-Jeannette. He became one of the founding members of a critically acclaimed American contemporary dance company, Backhausdance, based in Los Angeles. In 2004, the Beverly Hills Journal named him as one of the Male Dancers of the Year. He received the Lester Horton Awards for his performance with Backhausdance in 2007 and 2008. His other credits include Helios Dance Theater (USA), Regina Klenjoski Dance Company (USA), De Dutch Don’t Dance Division (the Netherlands), Lonneke Van Leth Productions (Netherlands), Disneyland (USA), Yo-yo Ma/SONY production, and Het Internationaal Danstheater in Amsterdam.
Lü has served as a guest faculty for several renowned institutions and festivals including Codarts Rotterdam University for the Arts (Netherlands), ArtEZ (Netherlands), California Dance and Movement Educators Workshop (USA), Slask Dance Company Summer Intensive (Poland), Kelkope Dance Company Summer Intensive (Croatia), Haugesund Performing Arts High School (Norway), McCallum Theater (USA), Holland Dance Festival (Netherlands), and Martha Lucias College for the Performing Arts (Netherlands). His choreographic works have been presented at Dorothy Chandler Pavilion in Los Angeles, KCET/PBS Television, and the Open Dans Festival in the Netherlands, among other venues. He began pursuing filmmaking in 2012 and produced his first dance short, Partita for One, which was screened at the Scottish Dance Film Festival, and it was picked up by BBC Big Screen to be aired in the UK. STILL, his second work, received the Best of Fest award at the 2014 International Speechless Film Festival (USA), Best Musical Award at the 2015 Festigious Film Festival (USA), and Cinema & Dance Special Prize at the Festival Fiver (Spain) while screened at a dozen of other film festivals around the globe such as Busan International Short Film Festival and Sandfly International Short Film Festival in Melbourne. He relocated to Taipei at the end of 2016. In 2019, he co-founded Crazy Family Productions and has been producing commercials, shorts, music videos, and educational programs for institutions such as the National Kaohsiung Center for the Arts - Weiwuying and the Taipei National Theater.
明日樂園
Tomorrowland
袁廣鳴 Yuan Goang-Ming
台灣 Taiwan / 2014 / 4min / 無字幕 no subtitle
• 3/31（日） 13:00 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
【影片簡介｜PRODUCTION NOTES】
明日樂園以明日為題，試圖作為一個對於未來想像的投射，但這個想像面對的未來卻是一個「向死而生」的過程。袁廣鳴創作之初以個人生命經驗及反轉日常事物成為不同觀看經驗為創作主軸，2000年開始，從個人的生命經驗擴及對城市及全球化的的狀態描述，討論的對象逐漸從個人延伸至社會、全球性議題，但作品核心卻不斷叩問生而為人卻終將面對的問題：「我們為何而活、為何存在？」 全球化浪潮所造成的流動，身處在世界經濟結構體系中的我們也不能倖免，即便我們現在居於此處，卻也可能在不久之後迫於經濟、政治、氣候環境而遷移他處。究竟何處為「家」？「家」的概念，在這個時代似乎更為脆弱、流動與擴張。「家」，作為一個人最初始的社會關係建立與認知的場域，也反映自我身分的認同與定位，不僅是實體的居所，也是心靈的歸屬之地。這些現世狀態所造成「家」的不穩定性，也同樣反映在精神層面上，並影響身處這時代的創作者。袁廣鳴的影像往往脫離現實世界的臨場感，轉換為虛幻／虛擬的存在，以幽靈的形式，寄託在作品之中，形成一種徘徊於「無域之所」（non-place）的存在境遇。 與展名同名的新作《明日樂園》，影像中微風靜靜吹拂的無人遊樂園，看似寂靜，卻在片刻後莫名地炸毀。上世紀末的蘇聯解體，原以為為冷戰劃下句點，世界走向太平；但回看如今，世界似乎更為動蕩。後冷戰的年代，安逸的生活似乎只是頃刻的「確幸」，生活背面所潛藏的衝突一觸即發，如環境惡化、金融危機、貧富差距、跨境非法移民、能源危機等，戰爭型態從實體流變至虛擬，更潛移默化至生活中。 「明日樂園」此一命題所揭示的寓意，在本次個展的新作中逐一顯露：從象徵核爆的強光、解嚴之後台灣地區仍持續的演習、象徵全球化、資本主義的迪士尼遊樂園、在台人口比例逐步攀升的移工，到最後新作《向黑》連結因戰亂而迫於遷移離散的意象，每件作品互為文本，環扣著全球化下我們不得不去面對的處境。素來以發掘影像可能性並突破舊有形式見長的袁廣鳴，本次在體驗式演出作品《向黑》中隱去一切光源，試圖回到人類最初始的幽冥狀態，卻又以此作涵蓋本次個展中觸及的在世現象，這種原初狀態，如同加斯東・巴舍拉（Gaston Bachelard）認為有些意象必須以存有的直接臨在狀態來體驗 。這種體驗猶如進入一個黑洞，在邁向這黑洞的過程中，或許能找到一種原初的狀態，從內部確認我們的存有。
Tomorrowland attempts to project an imaginary future that pivots around German philosopher Heidegger’s concept of “being-towards-death.” Drawing from personal life experiences, Yuan Goang-Ming transforms the everyday into different viewing experiences. Since 2000, his focus has shifted to the city and globalization, from individual to social and global issues. But his practice continues to delve into the question that confounds humanity: Why do we live? Why do we exist? Living in an interconnected economic system, we are not exempt from the wave of globalization. We may very likely be forced to relocate in the foreseeable future due to economic, political, or climatic factors. So where exactly do we call “home”? The idea of “home” seems to be more fragile, fluid, and expanded now more than ever. Home, as the preliminary space where one learns to build relationships, awareness, and identity, is not only a physical living space, but also a sanctuary. "Home" in today's world is undergoing a drastic change, both on physical and psychological levels. This change has profoundly influenced the artists of our time, including Yuan Goang-Ming. His imagery is often pregnant with a sense of illusion and fictionality that allows his work to linger in a state of non-place. In Yuan's new work Tomorrowland, an empty amusement park stands quietly in the breeze, moments before being blown apart by a sudden explosion. After the collapse of the Soviet Union in the late 20th century, the Cold War ended and world peace seemed to have been restored. But now the world has plunged into greater turmoil. In the post-Cold War era, a peaceful life is only a facade, behind which such challenges lurk: environmental degradation, financial crisis, wealth inequality, illegal immigration, and energy crisis. The beginning of a different war dawns. No longer physical, this war insidiously percolates into our life. Meanings of Tomorrowland are slowly unveiled in the new works on view in this exhibition. Blinding bright light that symbolizes the flash of a nuclear explosion, the air raid drill that continues to take place in Taiwan even after the lift of martial law, Disneyland that represents globalization and capitalism, the rising number of migrant workers in Taiwan, and finally the concept of forced displacement in the new work Towards Darkness. Juxtaposed together, these works highlight the inevitable conflicts that we are faced with in a globalized world. Yuan is known for exploring possibilities in imagery by breaking free from old forms. In the immersive live exhibition Towards Darkness, a lightless space evokes the human embryonic stage, while hinting at the social issues touched upon in this exhibition. As French philosopher Gaston Bachelard once said, some imagery can only be experienced through being directly in its existing presence. This experience, much like walking into a black hole, could perhaps lead us towards a primordial state, allowing us to verify our existence from within.
【導演簡介｜DIRECTOR PROFILE】
袁廣鳴的作品以像徵隱喻，結合科技媒材的手法，深刻傳達出人們當下的生存狀態，以及對人的感知及意識與極具詩意的深入展現。2000年以前的創作，主要以個人的生命經驗及反轉日常事物成就新的觀看現實為創作基線，2000年開始，從個人的生命經驗擴展及對城市及轉化的狀態描述；“逝去中的風景”系列開始對於“家”及“身份”的概念描述，以微型自傳式的手法開創出以一種之間錄製藝術與電影之間的新型格式的動態影像作品，展現劇場式的日常。2014年的個展“不舒適的明日”由“家”的延伸至目前在新興底下的在地生存處境的探問，思辨現代人的困頓與憂懼。
Yuan Guangming's works employ symbolic metaphors, combining techniques of technology and media to profoundly convey the current state of human existence, as well as the perception and consciousness of individuals with a highly poetic depth. Prior to 2000, his creations primarily stemmed from personal life experiences and the transformation of everyday objects into new perspectives on reality. Starting from 2000, his works expanded from personal life experiences to descriptions of urban and transformative states. The "Scenes of Vanishing" series began to explore the concepts of "home" and "identity," using a mini-autobiographical approach to pioneer dynamic visual works that blur the lines between recorded art and cinema, showcasing a theatrical portrayal of daily life. His 2014 solo exhibition "Uncomfortable Tomorrows" extended from the concept of "home" to an exploration of the current local survival situation under emerging circumstances, contemplating the dilemmas and fears of modern individuals.
棲居如詩
Dwelling
袁廣鳴 Yuan Goang-Ming
台灣 Taiwan / 2015 / 1min / 無字幕 no subtitle
• 3/31（日） 13:00 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
【影片簡介｜PRODUCTION NOTES】
正午過後，陽光從左側窗外灑入「宜家家居」風格的客廳擺設，洋溢著溫馨與靜謐。瀰漫在此一時光之中的，並非自然的空氣。微微的氣泡迅速向上升浮；攤開的書本不自主地翻騰，我們恍然察覺――這是一個栖居水下的居家奇觀。此時，突如其來地，發自地底的一聲瞬間震爆，摧毀了眼前這個「小世界」。
Sunlight spills through the window into a living room, which looks much like what one usually sees in IKEA. We soon realize that this is the spectacle of an underwater dwelling. All of a sudden, an instant blast from underground demolishes this microcosm…
【導演簡介｜DIRECTOR PROFILE】
袁廣鳴的作品以像徵隱喻，結合科技媒材的手法，深刻傳達出人們當下的生存狀態，以及對人的感知及意識與極具詩意的深入展現。2000年以前的創作，主要以個人的生命經驗及反轉日常事物成就新的觀看現實為創作基線，2000年開始，從個人的生命經驗擴展及對城市及轉化的狀態描述；“逝去中的風景”系列開始對於“家”及“身份”的概念描述，以微型自傳式的手法開創出以一種之間錄製藝術與電影之間的新型格式的動態影像作品，展現劇場式的日常。2014年的個展“不舒適的明日”由“家”的延伸至目前在新興底下的在地生存處境的探問，思辨現代人的困頓與憂懼。
Yuan Guangming's works employ symbolic metaphors, combining techniques of technology and media to profoundly convey the current state of human existence, as well as the perception and consciousness of individuals with a highly poetic depth. Prior to 2000, his creations primarily stemmed from personal life experiences and the transformation of everyday objects into new perspectives on reality. Starting from 2000, his works expanded from personal life experiences to descriptions of urban and transformative states. The "Scenes of Vanishing" series began to explore the concepts of "home" and "identity," using a mini-autobiographical approach to pioneer dynamic visual works that blur the lines between recorded art and cinema, showcasing a theatrical portrayal of daily life. His 2014 solo exhibition "Uncomfortable Tomorrows" extended from the concept of "home" to an exploration of the current local survival situation under emerging circumstances, contemplating the dilemmas and fears of modern individuals.
道士吉祥
Taoist priest Ji-Siang
謝鎮安 Xie Zhen-An
台灣 Taiwan / 2023 / 14min / 中英字幕 Mandarin & English / 世界首映 World Premiere
• 3/31（日） 16:35 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
【影片簡介｜PRODUCTION NOTES】
道士，道教神職人員的專有名詞，入行即是修練、踏進別人人生的最後一段路，他們是一群像司儀的人，帶著大家避開禁忌、前往圓滿。《道士吉祥》記錄了林吉祥道士工作的真實樣貌，在傳統且繁瑣的工作下，如何找到生活中的平衡？對林吉祥來說，是工作亦或是修練？
The Taoist priest, a term exclusive to the clergy of Taoism, embarks on a journey of cultivation and steps into the final stage of others' lives. They are a group of people who, like masters of ceremonies, guide everyone to avoid taboos and pursue perfection. "Taoist priest Jixiang" documents the real work of Taoist priest Lin Jixiang. How does he find balance in life under the tradition and complicated work? To Lin Jixiang, is it work or cultivation?
【導演簡介｜DIRECTOR PROFILE】
謝鎮安，小安，1996年出生，台灣的紀錄片工作者。關注族群、文化、國族認同等議題。創作時多以陪伴者的角度拍攝，藉由自身軀殼沉浸在他人文化的方式，期望能夠呈現出最真實的一面。2018年開始紀錄片創作，其中以台灣民間信仰作為主要的創作題材。
Xie Zhen An, born in 1996, a Taiwanese documentary worker. Caring about ethnic relations, cultures, and national identity. Trying to film from a different angle, which is being a companion. Through emerging himself into others culture, wishing to present the true perspective.
張君慈 Chang Chun-Tzu
奶奶、叔叔與狗
The Grandmother,
The Uncle and
The Dog
台灣 Taiwan / 2021 / 20min / 中英字幕 Mandarin & English / 世界首映 World Premiere
• 3/30 (六) 16:10 嘉義市立博物館 放映室 Screening Hall of Chiayi Municipal Museum
【影片簡介｜PRODUCTION NOTES】
20 世紀後半葉，所謂的 "台灣奇蹟"，台灣工業的飛速發展，對一個高度多樣化、主要以農業為主且極具傳統色彩的社會產生了深遠的影響。轉型的速度之快，讓台灣人民具有高度的適應能力。這些轉變的速度要求台灣人民具備高度的適應能力。儘管在1990年代引入了民主制度，但社會發展仍然落後於不受拘束且以經濟增長為導向的變革。直至今日，傳統觀念和在一個以功利主義為本的社會中求生的需求，與現代台灣的主流敘事產生衝突。在這些變革中，由於缺乏團結讓許多人被遺漏在一旁。相反，傳統價值觀的要求增加了壓力並帶來了困苦。 在這樣的背景下，創作者使用一部紀實紀錄片來描述她自己家族歷史的一部分。她以黑白的相片、溫情的敘述，呈現了台灣未被講述的社會歷史中個別生命的宿命。通過這樣的方式，她深刻而感性地展示了這些生命所面臨的殘酷孤獨。被忽視的狗、殘障的叔叔和盡責盡職的祖母，成為一個象徵，代表了一個在追求自由和繁榮的過程中被遺忘的人們。
During the latter half of the 20th century the so-called Taiwan miracle, the islands rapid industrial development, left a deep impact on a highly diverse, largely agricultural and strongly traditional society. The sheer pace of the transformations demanded a high level of adaptability from the people of Taiwan. Despite the introduction of a democratic system during the 1990s, social development was lacking behind the unbridled and growth oriented economic change. Still today, traditional mindsets and the demands of survival in a meritocracy collide with public narrative of a modern Taiwan. During the transformations, lacking solidarity many were left out in the cold. Instead, the demands of traditional values added to the pressures and self-imposed hardship. Against this background, Chang uses an expository documentary that portrays a part of her own family history. She mirrors fatefully individualized biographies of Taiwan’s untold social history. With mellow sequenced photographic exposures and a balanced and tender narrative she provides a deep and emotional insight into the brutal loneliness that characterizes these biographies. A neglected dog, a handicapped uncle and a grandmother who did everything right, become symbols of a society that has left many people behind in its urge for freedom and prosperity.
【導演簡介｜DIRECTOR PROFILE】
張君慈 出生於台灣 現居德國漢堡。畢業於德國柏林白湖藝術學院空間策略學系藝術碩士 自2019年以來，作品關注在主題「家鄉」。她研究個人對家國的認同以及政府機構如何操控感知和身份，以培養個人的忠誠，另外探索基於個人記憶，並將其與官方敘事和理念形成對比。 奶奶，叔叔與狗為首部短片入選 2021 Berlin Indie Film Festive. 並於2023 放映於鳳甲美術館-台灣國際錄像藝術展。
Chang Chun Tze was born in Taiwan and currently resides in Hamburg, Germany. She graduated with a Master of Arts in Spatial Strategies from the Weißensee Academy of Art in Berlin. Since 2019, her work has focused on the theme of "homeland". She studies individual identification with the homeland and how government institutions manipulate perceptions and identities to cultivate personal loyalty. She also explores personal memories, contrasting them with official narratives and ideologies. Her first short film, "Grandmother, Uncle, and Dog," was selected for the 2021 Berlin Indie Film Festival and was screened at the Taiwan International Video Art Exhibition at the Phoenix Art Museum in 2023.
可愛極致
Lovely and Tip Top
于奇・阿里亞 Yuki Ellias
台灣 Taiwan / 2023 / 30min / 中英字幕 Mandarin & English / 世界首映 World Premiere
• 3/29 (五) 14:00 秘書店 Meet Store
【影片簡介｜PRODUCTION NOTES】
在一個充滿想像的印度或類似地方的昏昏欲睡的山村裡，活潑且有進取心的Lovely經營著一家內衣店，其獨特且令人著迷的風格為村民和店主自己帶來了許多樂趣。然而，這種幸福的生活卻處於變動的邊緣。隨著歸屬部門的陰謀詭計開始投下影子，她一生中所知曉的包容的小天地開始受到威脅，Lovely發現自己需要在這個不確定的領域中奪回她應有的位置。
In a sleepy mountain village in a dystopian India or thereabouts, the lively and enterprising Lovely runs a lingerie shop with its own quirks and enchantments for villagers and shop-owner alike. Yet, it is a charmed existence that is precariously perched at the edge of devastating change. As insidious schemes of allegiance cheerily launched by the Ministry of Belonging begin to cast a shadow on the pocket of tolerance known to her all her life, Lovely finds herself scrambling to reclaim her rightful place in an uncertain realm.
【導演簡介｜DIRECTOR PROFILE】
Yuki Ellias是一位在英國、美國、加拿大、澳洲、義大利和印度等地表演的演員和導演，他的舞台作品包括在皇家莎士比亞公司的Tim Supple的《仲夏夜之夢》，Opera North《魔笛》復興的動作導演，以及她在愛丁堡邊緣獲獎無數的演出《房間裡的大象》。她和她的父親、電影製作人Rafeeq Ellias一起進行了一場名為"失去金錢的精細藝術：投資創意事業的價值"的TED Talk。她也是來自賈克・樂寇劇院學校(巴黎)的培養出的教育學家，並且是倫敦國際表演藝術學校的認證教師。
Yuki Elias is an actor and director who’s performed across the UK, US, Canada, Australia, Italy, and India with stageworks including Tim Supple’s A Midsummer Night's Dream at the Royal Shakespeare Company, Movement Director for Opera North’s The Magic Flute revival, and her multi award-winning show Elephant in the Room, which also ran at the Edinburgh Fringe. She gave a TED Talk with her father, filmmaker Rafeeq Ellias, titled "The Fine Art of Losing Money: the value of investing in creative ventures. From the Jacques Lecoq School for Theatre (Paris), she is also a certified pedagogue from the London International School of Performing Arts.