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崔允信 影意志藝術總監

 

數碼科技確實降低了電影製作的門檻,但除了令更多人完成電影「夢」之外,還有甚麼意義呢?

 

成本降低了,作者更不用考慮市場,題材和型式都可以更大膽,輕便的器材使我們可以有新的視覺經驗,低成本不是一個限制,反而把我們從工業模式中釋放出來。今年選片時,其中一大特色是劇情片和紀錄片的界線好像模糊了, 所以選了年輕的趙德胤導演作為專題,並邀請他來港跟大家分享。

 

製作方法受到衝擊,放映模式也在改變,所以今年影展另一突破,是和生活館合作的『有種電影節』,希望把放映伸延到社區和農地去舉行。同時也延續去屆影展的『票價自定系列』節目,挑選了部份節目在富德樓放映,當中有多位曾經和影意志合作過的年輕導演,都參加了今年鮮浪潮短片比賽,我們希望藉此把他們的新舊作品一併介紹給觀眾。

 

台灣太陽花運動衍生了「太陽、不遠」這系列的紀錄片,香港當然也有不少人在拍攝雨傘運動,兩地製作人走在一起,一月廿七日來一起探討運動和拍片的路向。

 

今年李志超導演離我們而去,他的《妖夜廻廊》是獨立電影中的重要作品,也協助影意志打開了影院放映之路,這次放映,是懐念,致敬。

 

甚麼買片、賣片,創投融資,都不是我們的能力和興趣所在,我們仍然相信一個電影節只要有電影,創作人,觀眾,影展的工作人員就足夠了。今年將會有來自日本,泰國,台灣,中國等共十位電影工作者親身出席影展活動,這將會是一個認真對待作品,但同時又可輕鬆交流的電影聚會。

 

最後,引用趙德胤導演對獨立製作的看法:『我覺得獨立製作電影講的不是沒錢、沒人力、沒資源,我理解的是創作思考上的獨立與解放。』

 

 

 

 

Vincent Chui, Artistic Director of Ying E Chi

 

Digital technology does lower the threshold for filmmaking but what significance does it have apart from enabling more people to realize their "dream" of making films?

 

As the cost of filmmaking is reduced, filmmakers have less concern about the market and thus they can create films with more daring themes and structures. Lightweight equipment opens up a new visual experience for us. Lower cost is not a limitation, but rather a liberation from the industrial mode of filmmaking. A major characteristic of our selection of films this year is that the boundary between documentary and feature films seems to have blurred. We have chosen a young director, Midi Z, as our feature and we invited him to Hong Kong to share with us.

 

While traditional production method is undergoing a transformation, ways of screening are also changing. Therefore, another breakthrough of our film festival this year is cooperating with Sangwoodgoon to organize the "Food and Farming Film Festival". We hope to extend our screening to communities and farmland. We will also continue our 'Set Your Own Price Screening' series and hold some of the screenings in Foo Tak Building. Among which are films by some young directors we have worked with in the past who are participating in this year's Fresh Wave Short Film competition. We hope to take this chance to introduce both their new and old works to the audience.

 

Taiwan's Sunflower Student Movement prompted the making of a series of documentaries, "Sunflower Occupation". There are of course many people filming the Umbrella Movement in Hong Kong. On January 27, producers from these two places will come together to discuss the way forward for social movement and filmmaking.

 

This year, director Julian Lee has left us. His 'Night Corridor' is not only an important work in the independent film industry but also a major first step of Ying E Chi in showcasing films in cinemas. This screening serves as our remembrance and tribute to Julian.

 

Acquisition, distribution and venture capital financing are not where our strength and interest lie. It is still our firm belief that all a film festival needs are films, filmmakers, audience and the festival staff. A total of ten filmmakers from Japan, Thailand, Taiwan and China will be attending this year's festival. It will be a gathering that treats films seriously, but also welcomes relaxed interaction.

 

Citing Midi Z's view on independent production to conclude, "I think independent filmmaking is not about the lack of money, labor and resources. My understanding is that it is about the independence and liberation of creative thinking."

 

 

 

 

 

 

 

 

 

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