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又是在一個風雨飄搖的時期籌備獨立電影節,守護東北,622公投,一切進行得如火如荼,不過到電影節進行時,相信已經是另一番景像。今次電影節第二部份的規模不大,不過會有更集中的專題討論,希望電影工作者,策展人,觀眾一起參與,整裝待發,一起守護,侍機反擊。

 

第一個環節會和中國獨立紀錄片研究會合作,選映一些在大陸不可能公映的作品,三部紀錄片,重新審視由五九到八九這段歷史,我自己的政治醒覺,就是在外國念大學時讀到文革和在香港經歷的八九六四。

 

澳門也在變化,城市發展急速(當然主要是靠賭業),但也令政府得以大量投放資源支持文創,陸續有澳門本土電影在戲院上映,同時也開始出現有批判性的獨立作品,華人民間電影聯盟,怎能少了澳門的部份。

香港方面,既有新力軍,也有先前和影意志合作過的導演繼續以影像探索社會,似乎保安員『實Q』是熱門的議題,難怪立法會也要高薪急聘保安員了。

 

香港電台電視部這些年來在平衡本地電視文化擔演著重要的角色,今次放映這系列令到年輕導演們可以有較大資源去獨立發聲,除了討論個別作品,也邀來港台監製一起加入討論。

 

華人民間集資計劃第一屆的成績很不錯,作品也受到其他影展的肯定,不過第二年的進度因種種原因延誤了,不過縱未達集資目標,其中一些導演經已開拍,我們會在電影節期間,安排試映,正好讓聯合製片人有更多的參與和了解製作進度。

 

說到底,獨立電影節只是影意志推動獨立電影眾多項目其中之一,未來會出版DVD,在戲院及富德樓放映,草根電影計劃亦會再次推出,在這關鍵時刻,我不知道拍電影和放電影的作用是甚麼,只知更要緊守崗位,引用今次參展電影作者之一黃飛鵬在臉書上分享過的一句,『電影是生活,而獨立就是姿態。』

 

崔允信
影意志藝術總監
『香港獨立電影節2014』策展人

 

 

   

Another precarious period stands to witness how The Independent Film Festival is coming to life. Battles at the Northeast, the 622 Referendum, things are really getting into full swing around here. It is impossible to suggest how things will turn out when the festival is fully operating. The second part of this year’s film festival will be smaller in scale, leaving room for filmmakers, curators and audience to join forces and reflect on the magnitude of our situation, and maybe even take action.

 

The first session is jointly organized by Chinese Independent Documentary Lab, showcasing three documentaries that will never get the opportunity to be released in Mainland China. These pieces all look into the history of 1959-1989, a special period of time which also marks my political awakening: reading about the Cultural Revolution while I was studying university overseas and going through 4thJune, 1989 in Hong Kong.

 

Macau is also undergoing drastic transformation as Hong Hong does: the city’s rapid development (thanks to its blossoming gambling industry) has allowed the government to put in more resources to promote local culture and creativity, getting more involved in releasing local films and increasing numbers of critical and independent works are being made. In the Chinese independent movie scene, Macau is gradually earning its place among them.

 

In Hong Kong, apart from the new wave of filmmakers, there are also film producers who have worked with Ying E Chi who explore different aspects of society through motion pictures. Apparently “security guards” are a heated topic these days, it is no wonder that the Legislative Council are hiring guards at high rates now.

 

Radio Television Hong Kong has played an integral part in balancing local television culture, and in presenting this series we hope to give young filmmakers a chance to voice their independent opinions, and discuss individual works with executive producers of RTHK.

 

The first Chinese Independent Filmmaking Fundraising Project (CIFFP) has been quite successful, and the works displayed were also acknowledged in other film festivals, but progress of the second CIFFP was elongated for various reasons, and while there was still a shortage of funds, some of the directors had already begun filming. During the film festival, we will also organize trial screenings so as to allow for better interactions of all co-producers with the production process.

 

The festival is just one of many projects of Ying E Chi, there will be DVD releases in the future, screenings in theaters and Foo Tak Building, the Grassroots Filmmaking Project will also be reintroduced. In this critical moment, I don’t know the true purpose of filmmaking and screening; I know only to keep doing what we do. To quote Wong Fei Pang, an independent filmmaker who joined this festival, “film is life, and independence is an attitude.”

 

Vincent Chui
Artistic Director of Ying E Chi

Curator of HKindieFF 2014