電影新可能﹕濱口竜介



文:林家威 /翻譯: 曼懿


兩年前在本影展策劃「日本獨立最前線」的時候,介紹了濱口竜介的三部短片,還預測未來十年他最有機會成為新一代日本電影大師。今年憑五個小時十七分的《她們最好的時光》(Happy Hour) 送四位平凡地生活在神戶,從未拍攝過電影的家庭主婦和辦公室女郎殺入世界四大影展之一的羅迦諾國際電影節 (Locarno International Film Festival),並獵獲最佳女演員,緊接著又在最早加冕侯孝賢和賈樟柯的南特影展擒獲最佳電影第二名和最受觀眾歡迎獎,最近又在新加坡國際影展受封最佳導演,兩年前的預言彷彿逐漸演變成事實。

事實上,今年三十七歲,畢業於東京大學文學系的濱口竜介很早就與電影結下不解之緣。在大學,他參加電影研究會社,拍了幾部8毫米的短篇。在課餘,每年都看約三百多部不分古今東西的電影,是名符其實的電影狂(cinefil),還專門研究美國古典電影大師Howard Hawks,法國新浪潮大師Eric Rohmer和美國當代獨立電影大師 John Cassavetes的電影並深受他們的影響。修讀的雖是文學,畢業論文寫的卻是 John Cassavetes論。畢業後,他也沒有走其校友們進入名門大企業或政府官僚的精英分子之路,而投入收入不穩定,生活崎嶇的電影界,從最低層的第四副導和PA做起。刻苦耐勞了好幾年,知道自己不是做副導和PA的料,剛好碰上剛成立的東京藝術大學電影系碩士班招生,他就義無反顧地去報考了。可惜第一年沒考上,要在第二年重考才獲得入學資格。

濱口在東京藝術大學導演系師從北野武和黑澤清,在學期間拍攝了許多短篇。畢業作的處女長篇"PASSION"一鳴驚人,很快就獲得主流電影圈許多監製的注目和橄欖枝。所謂「道不同不相為謀」,經和很多監製的切磋交流後,他很快就意識到在主流電影工業的成本預算,演員主導的限制下會帶給自己很多創作的不自由和傷害,所以他毅然放棄進入主流電影圈的機會,誓要殺出一條非主流卻可以滿足自己的創作自由的電影道路。

當然,這條道路荊棘密佈,濱口的創作道路也不是一帆風順。可是在主流商業電影輝煌不再,獨立電影又難成氣候的這十年間,堅持不斷創作和拍攝的濱口並沒被經濟資源貧乏,製作條件不理想等不利的客觀因素打到,反而交出了多部長篇,中篇和短篇電影的輝煌成績單。毫無疑問,這些創作經驗的累積都集大成地,分分秒秒地完全體現在他最新作品《她們最好的時光》(Happy Hour)裡。
《她們最好的時光》的電影計劃產自2013年,濱口在神戶開辦的一個即興表演工作坊。在工作坊裡,他試鏡了許多沒有表演經驗的素人,最後選擇了十七位,根據他所觀察到各人的特徵和表演潛能,聆聽到各自對生活和人生的感受和想法後,為大家度身編寫劇本,然後用八個月的時間進行拍攝。其實移居神戶開始這電影計劃前,濱口在經歷311大地震大海嘯後滿目瘡痍的東北部,與紀錄片導演酒井耕合導了四部紀錄片(即出名的《東北紀錄映畫三部作》(2011到2013年),在日本評論界被認為是眾多311紀錄電影中最出類拔萃的一個系列),期間他也在東京一間叫作ENBU的電影專門學校指導缺乏表演經驗的學生,拍攝了一部虛實交錯於舞台劇,電影與現實生活之間,超過四小時的長篇大作《親密》(2012年)。正如他本人在訪談所說,如果沒有拍攝《東北紀錄映畫三部作》和《親密》的經驗的話,就不會有《她們最好的時光》的出現。的確,在東北訪問和對話了許多親身經歷311大地震的普通人後,濱口領悟到即使遠離他熟悉的東京,在任何地方都可以找到拍攝電影的可能性,同時發現普通人即興說故事的能力可以比任何精心佈局的電影劇本更精彩動人,他們樸素豐富的臉部表情也可以比任何專業演員和明星更有銀幕魅力。而在ENBU的教學經驗則令他對自己那套指導非職業演員的方法論有更強的信心,加上超長的《親密》在電影評論圈和普通觀眾群都獲得成功的評價,更讓他放膽創作,無懼電影長度的限制。

濱口電影的題材,就像他崇敬的小津和成瀬一樣,基本上都來自我們的日常生活,而且是很微不足道的平凡生活,在這裡很少有主流電影充滿戲劇性的故事情節,也沒有反映現實社會和政治的偉大主題和訊息,可是只要看了其任何一場戲的調度,無不被其鏡頭的嚴格謹慎,聲音處理的細緻豐富所吸引,如果導演沒有豐富的觀影經驗和對電影的深入探討,是難於有如此自信卻充實的影像表現的。可是對演員的演出指導,尤其他們所說的台詞,所在畫面呈現的一切身體的動作,表情和手勢卻又是那麼自然又充滿張力。在細緻鋪陳,精心設計出來的看似無意渾然天成的影像聲音背後,看完濱口的電影之後,也許我們都有一種想和別人交流溝通的衝動,因為它呈現的,原來就是你我他都經歷著的日常生活情感世界,只是我們卻無法用語言陳述整理出來,但濱口卻娓娓地通過電影道了出來。
這次我們很幸運可以同時看到濱口早期的代表作《激情時代》和最新的《她們最好的時光》。

沒有日語片名,夠膽用八十年代高達(Godard)的代表作"Passion"為這部電影命名的濱口從一開始就已經流露出其對這部畢業作品的自信和野心。 "Passion"於高達而言是描述電影受難的過程,濱口的Passion卻是描述一群受激情困擾的男女們的愛情受難記。遠離高達(Godard)的形式和內容,濱口更趨向 Cassavetes那樣活生生赤裸裸地暴露和捕捉男女之間極端不穩定,充滿神經質卻真實的感情世界。影痴們當然毫無懸念地很容易在這裡找到後期 Cassavetes兩部代表作Husband和Love Streams的精神脈絡和呼吸節奏,但濱口竜介別無分行的獨門技藝和風格;大量令人不安卻真實殘酷的對話,雖是霎那卻彷彿捕捉到永恆、充滿電影感的臉部表情特寫,早已在這部電影渾然天成。濱口描寫黑夜抑壓不住的激情和奔流師法 Cassavetes,但到了白天的場景,卻像楊德昌般理智冷酷地觀察發生在大都會的男歡女愛。兩種互相衝突的電影風格在這里奇跡般的融合,實在不能不佩服濱口的藝高人膽大。

《她們最好的時光》也是一部奇蹟的電影。最平凡的日常生活在濱口的鏡頭下竟然可以如此暗潮洶湧。我們完全無法預測四個女主角的下一分種,任由電影的魔力帶領我們進入一個未知的世界。如果《激情時代》是濱口表達對三十歲以前將要談婚論嫁的男女之間感情的懷疑和嘲諷的話,《她們最好的時光》無疑是他對四十歲來臨前已經結婚生子的男女們那種缺乏激情,充滿矛盾與虛偽的情感世界的豁達肯定與釋懷。在317分鐘裡,除了演員們孤獨一人的時候,只要畫面裡出現兩個人,我們就聽到大量如洪水般的對白和告白。不需要華美的影像風格和攝影機動作,精通Eric Rohmer電影的濱口當然知道即使只讓演員在戲裡喋喋不休,電影也可以很精彩,但是他更希望我們留意沉默的那些瞬間,鏡頭的張力和強度是如何奪回對白的主導權。濱口絕對是相信無數微不足道,瑣碎平凡的鏡頭慢慢累積是可以凝聚充滿張力和強度的戲劇性效果的導演。即使沒有奪目華麗的影像和峰迴路轉的故事情節,在他電影裡的每一份每一秒都流淌著電影的血液,呼吸著電影的脈搏。

二十一世紀已經開始了十五年,剛告別一百二十年生日的電影也應該進入新的紀元。但是即使如此仍然很多人對舊世紀的電影製作和發行宣傳的方法論執迷不悟,往往成為舊制度的犧牲品。《她們最好的時光》正在日本各大城市商業公映並獲得很好的票房成績,濱口竜介創作和製作電影的方式,不但開拓了電影新的可能性,也帶給許多電影人很大的反思和刺激。這個時候無論在商業電影或獨立電影圈都裹足不前的香港導入濱口竜介,無疑正是最好的時光。




New path for possibility of film:
Ryusuke Hamaguchi


By Lim Kah Wai /Translated by Vanessa Wong Man Yi


Back in 2014, Hong Kong Independent Film Festival's "Japan Indie Frontline" introduced three short films directed by Ryusuke Hamaguchi. At that time, Hamaguchi was in my anticipation that he will be the next master of Japanese cinema in coming decades. This year in 2015, the four female leads, who are ordinary housewives and office ladies from Kobe without any previous filming appearance, caught the attention of everyone in Hamaguchi's whooping 5 hours 17 minutes film "Happy Hour". The film received rave reviews and got the nod from the Locarno International Film Festival, one of the four world largest film festivals, receiving the best actress award. As in Nantes Three Continents Festival with the glorious array of two prominent directors Hou Hsiao-hsien and Jia Zhang-ke, "Happy Hour" also garnered Silver Montgolfiere and Audience Award. More recently, Hamaguchi himself received the Best Director Award at the Singapore International Film Festival. He has gained prominence with a turning point in his career—the prediction two years ago has become true.

Hamaguchi, 37, first came into contact with films while studying for his degree in Literature at the Faculty of Letters, The University of Tokyo. While at university, he joined the film research society and made a number of 8mm short films. He was best known by his friends as a cinephilia who watched around 300 classic and contemporary, western and eastern, short and long films a year. He was highly influenced by the master of American classic film, Howard Hawks, the master of French New Wave, Éric Rohmer, and the pioneer of American independent film, John Cassavetes. Although he majored in literature, Hamaguchi wrote his dissertation on the theory of John Cassavetes, proving his specialization in films. Upon graduation, he did not pave the way for himself to serve in the international firms and the bureaucracies, but shift his attention developing his career path in the film sector, with relatively unstable income and a rugged life. To go from those beginnings to becoming a director in this field, he began with the Fourth Assistant Director and Production Assistant. After several years, he realized his talent should be taken elsewhere. At the same time, Tokyo University of the Arts announced the launch of its masters program in film studies. He took a run at the admission and was admitted in his second attempt.

During his studies at the Tokyo University of the Arts, Hamaguchi filmed a number of short films under the guidance of prominent directors Takeshi Kitano and Kiyoshi Kurosawa. Hamaguchi has received critical acclaim for his impressive graduation debut "PASSION" and gathered much attention from producers in the mainstream film circle for his flair for filming. Birds of a feather flock together – Hamaguchi communicated with numerous producers, and when he was surprised by the whole production budget and the actors-oriented in the mainstream film industry, he realized that this will be an obstacle to his freedom of creation. He gave up the chances to work in the mainstream film industry, instead, drawing his own film path with freedom on creation.

Then again, this road was never easy, and Hamaguchi had a tough time of it. The depression stage of Japanese mainstream film and the developing stage of independent film led to meagre funds and limitations on production. Hamaguchi did not lose his passion in his film creation, notwithstanding, he produced numerous long and short films. Without doubt, these creation experience spiced up the diversity of his works, and precisely reflected in his recent work "Happy Hour" – "The Best Moment of Her Life" (BRIDES).

The production of "The Best Moment of Her Life" was planned since 2013. Hamaguchi organized an improvisational acting workshop in Kobe. In the workshop, he selected a total of 17 participants with no acting experience and appearance out of a large number of applicants in casting. Observing different characteristics of each participants, discovering their potentials in performance, listening to their views towards living and lives, he tailored made a script for each participants, and spent 8 months on shooting and production. Prior to his migration to Kobe for the production project, Hamaguchi collaborated with director Ko Sakai to produce the notable "Touhoku Documentary Trilogy" (2001 to 2013) in North Eastern Pacific where was struck by the destructive 311 Great East Japan Earthquake and Tsunami. The trilogy was critically acclaimed and regarded as the remarkable series among all the 311 documentary films. During his production, he also tutored students with green performance experience in a film school ENBU in Tokyo, shooting an over 4 hours long film "Intimacy" (2012) setting in theatre into the realms of fantasy and reality, and in between the virtual film world and the real living world. In the conversation with Hamaguchi, he explained if he had never filmed "Touhoku Documentary Trilogy" nor "Intimacy", he would not have successfully produced "Happy Hour" – "The Best Moment of Her Life". Indeed, Hamaguchi was inspired by the interviews with ordinary people who experienced the 311 disasters—Even though he was distanced from his familiar Tokyo, he could find the possibilities of filming at anywhere. At the same time, he discovered impromptu stories from ordinary people could be more beautiful and touching than well-plotted storyline in films. Their natural, simple and rich facial expressions create the best scene than any professional actors and superstars. In addition to his experience in filming the trilogy, his teaching experience at ENBU also proved himself to be professional in teaching amateur actors/actresses with his own developed methodology and theory. The success and recognition of his long film "Intimacy" also gave him confidence to think big and create regardless of the length of the work.

Similar to his idols Yasujirō Ozu and Mikio Naruse, the theme of Hamaguchi's works were basically related to our ordinary living, especially presented in a subtle way. In Hamaguchi's films, despite they were not full of dramatic plots and scenes as in mainstream films, neither the messages or reflections of society nor the greatness of political environment, he has demonstrated marvelous mise-en-scène with the deliberate use of camera angles and the art of picture sound in his work turning out to be highly impressive. If a director is not equipped with rich reading experience nor an in-depth knowledge of film reading, it will be difficult for him to present his work with confidence. The guidance provided for the actors/actresses, especially on the lines they speak, their expression, body and hand gesture presents the natural yet powerful side of the characters in many of his beautiful scenes. Beyond this exquisite yet natural sound design, we will feel the sudden impulse to communicate with others after watching Hamaguchi's films. His films impeccably delineate our sentiment in our everyday living, for which we are not able to express through our languages.

In this year festival, we are very lucky to watch both Hamaguchi's signature and latest film: "PASSION" and "Happy Hour" – "The Best Moment of Her Life".

With no Japanese film title, Hamaguchi was on a tightrope using one of Jean-Luc Godard's well-received work "PASSION" as his film title, showing his confidence and ambition to his graduation project. Jean-Luc Godard's "PASSION" narrated the somberness and suffering of love and work, whilst Hamaguchi's "PASSION" expressed the complex, unspoken and contradictory feelings between a young couple. Different from Godard but similar to Cassavetes, Hamaguchi tended to be explicit in his delivery of the unstable and extreme love and relationships between male and female – nerve-racking yet real. Though cinephilia can unquestionably spot the rhythm and spirituality of Cassavetes's two notable works "Husband" and "Love Streams", Hamaguchi's recognizable directorial style: a widely use of unpleasant yet real and cruel dialogs, the capture of instant and eternity, close-up of cinematic faces, has been inherited in this film. Influenced by Casssavetes Hamaguchi, Hamaguchi depicted the irrepressible affection in the dark at night; whilst similar to Edward Yang, Hamaguchi also observed the love relationship in the metropolitan space. Two contradictory shooting style blended perfectly in a film, turning out to be truly impressive.

"Happy Hour" – "The Best Moment of Her Life" is a film full of miracles. The depiction of ordinary everyday life is far more complicated through the lens of Hamaguchi. We could never imagine what would happen next on the four female leads, allured by the development of the film bringing us to another unknown world until it paid off. If Hamaguchi aims to express his distrust and sarcasm on engaged couples aged before 30 in "PASSION", with no doubt, he expresses his certainty and relief on married couples heading into their 40s who live with no passion and sincerity but contradiction and hypocrisy in "Happy Hour" – "The Best Moment of Her Life". Within these 317 minutes, despite the number of actors/actresses in one scene – either one or two people, the scenes were then full of dialogs and monologs. Here, extravagant shooting style became unnecessary. Savvy director Hamaguchi, who is an expert of Eric Rohmer's works, knows the best of dialogs making the film fantastic. What's more, with his best use of silence scenes, the attention is shifted from dialogs to the power and strength of lens in his works. Hamaguchi is a director who holds all the correct beliefs that the accumulation of unnoticeable and quotidian use of lens can produce absolutely beautiful cinematography. Even though there are no glamorous pictures and dramatic storylines, the uniqueness of films are brightly and lively captivated in Hamaguchi's works every second, every minute.

It has been said for the 21st century at the 15 year mark, film production in its origin by 120 years should also have entered a new century. Many people have their own reasons to insist in the old style and method in film production, distribution and promotion, and unfortunately, these film produced in the old system were often scarified. Turning back to Hamaguchi, "Happy Hour" – "The Best Moment of Her Life" is now hitting the box office in Japan with rave reviews. He has not only created a new path for possibility in the film sector, but also allowed other filmmakers to pay critical attention on creativity in film production—this is now the best moment to introduce Ryusuke Hamaguchi to everyone in Hong Kong who works and creates in mainstream and independent film circle.

濱口竜介大師班
Ryusuke Hamaguchi's
Master Class


一月二十四至二十六日,日本導演濱口竜介將親臨香港獨立電影節2016,出席一連三天的放映。首天於星影匯放映其最新作品《她們最好的時光》,其後兩天則移師到香港藝術中心 agnès b. CINEMA,首先放映《激情時代》並於映後設有分享座談會,最後一天則放映《觸不到的肌膚》及舉行長達一個半小時之大師班,香港觀眾將有幸分享到導演濱口竜介獨特的電影創作和製作方式。

( *持有任何一場濱口竜介電影票尾均可出席大師班,先到先得,座滿即止。)

On 24th to 26th in January, Japanese director Ryusuke Hamaguchi is invited to the Hong Kong Independent Film Festival 2016 for a three-day consectutive screenings. His Latest film "Happy Hour" will be screened on the first day at The Metroplex. And the latter screenings will be held at the Hong Kong Arts Centre agnès b. CINEMA. There will be a Q&A session after the screening of "PASSION" and a 1.5 hour master class will be held on the last day after the screening of "Touching the Skin of Eeriness". Hong Kong audience would have a chance to share director Ryusuke Hamaguchi's exclusive way in creating and producing films.

(You may attend the 1.5 hour master class with any ticket stubs of Ryusuke Hamaguchi's films, entry upon first come first serve basis.)



導演簡介 Director Biography

濱口竜介 Ryusuke Hamaguchi

濱口竜介導演生於1978年神奈川縣。畢業於東京大學文學系。曾為電視節目擔任助理導演,其後於東京國立大學研究院修讀藝術與音樂。他的畢業作品《親密》在日本和國際電影節均獲得高度評價,並於2010年與韓國合作拍攝《深度》。2012年與酒井耕導演共同拍攝長達四小時的《海浪之音》。《海浪之音》為《東北紀錄片三部曲》的首部分,專訪居住東日本三陸沿岸地區居民在2011年大地震後的真實故事。

Born 1978 in Kanagawa. Graduated from Faculty of Literature, Tokyo University. After working as a assistant director for television programs, he entered Tokyo National University of Fine Arts and Music's visual laboratory postgraduate course. With his graduation film "PASSION" gaining high reputations in domestic and international film festivals, he has been constantly working on films such as Japanese/Korean collaborative film "The Depths"(2010), "The Sound of Waves" (2011, collaboration with director Ko Sakai) which is a documentary film composed by interviews made to the sufferers of the devastating Earthquake which hit the North Eastern Pacific coast in 2011, and also a four-hour lengthy "The Sound of Waves"(2012).

她們最好的時光
Happy Hour

24/1 (Sun) 2:00pm | 購票 Ticketing



日本|2015|317分鐘|彩色| DCP
日語對白、英文字幕
導演:濱口竜介
*設有20分鐘中場休息
放映地點:星影匯

四位各自有家庭和工作的女人,時常聚會在一起,是無所不談的閨密親友,直到有一天Jun說出一個隱藏很久的秘密後,大家的關係開始發生微妙的變化。不久,Jun失踪了。隨著Jun的失踪,不單她們之間,她們與丈夫,情人之間的感情和關係也進入一個無法逆轉的局面。
一部以四位從沒表演經驗的三十歲末的女人當主角的低成本獨立電影,而且全長五小時十七分,聽到如此介紹,看慣商業電影豪華演員陣容的你,肯定覺得《她們最好的時光》不是你杯茶,但是我想告訴你,你才是最適合看這部電影的觀眾。看完這部充滿張力和強度的三百一十七分鐘後,你也許反而會埋怨為何電影那麼短。

Japan|2015|317 min|Color| DCP
In Japanese with English Subtitle
Director: Ryusuke Hamaguchi
*With 20 mins intermission
Screening Venue: The Metroplex

The protagonists, four ladies with their own career and family, are the closest friends that keep no secret from each other and meet up regularly. Until one day, Jun told a secret that she had hidden for long, changes started to take place in their relationship in a subtle way. Soon, Jun disappeared. With her disappearance, the ladies' relationship, or even their relationships with their loved ones all went into an irreversible situation.
An independent film starring with four inexperienced actresses in their thirties, and with a duration of 5 hours and 17 minutes. This description will definitely make you, who are more used to strong line-up, to think that "Happy hour" is not their cup of tea. However, I would say you are indeed the most suitable audience for the film. After watching this film, one will be deeply concerned by the undeniable and vigorous sentiments in the film. These 317 minutes of tension and intensity will instead make you complain for the short of length.

激情時代
Passion

25/1 (Mon) 8:00pm | 購票 Ticketing


*導演將出席映後問答環節
* Director will attend the post-screening Q&A session


日本|2008|115分鐘|彩色| HD
日語對白、英文字幕
導演:濱口竜介
放映地點:香港藝術中心 agnès b. 電影院

一對年輕男女在生日晚會向好朋友們宣布將要結婚的喜訊。一腳踏兩船的男人當晚卻和另外一位女朋友見面。而女孩其實以前也和男人的好朋友有一段剪不斷理還亂的感情…發生在大都會橫濱,三男三女的戀愛模樣和人間關係在濱口這部冷靜殘酷的長篇裡爆裂出的愛的激情與奔流。
沒有日語片名,夠膽用八十年代高達(Godard)的代表作"Passion"為這部電影命名的濱口從一開始就已經流露出其對這部畢業作品的自信和野心。

Japan|2008|115 min|Color| DCP
In Japanese with English Subtitle
Director: Ryusuke Hamaguchi
Screening Venue: Hong Kong Arts Centre agnès b. CINEMA

A young couple announced in the birthday party that they are soon to be married. The prospective groom, who was a two-timer, yet to meet the other girlfriend the same night. While the prospective bride indeed also had a confusing relationship with the groom's good friend. The story took place in metropolitan Yokohama, the dating and relationship of 3 men and 3 women would explode into passion and flux of love in this cruel feature film of Hamaguchi.
The film was released without a Japanese name. Hamaguchi's aggression and confidence to this graduation work was shown as he was dare to use Godard's masterpiece "Passion" (1982) to name the movie.

觸不到的肌膚
Touching the Skin of Eeriness

26/1 (Tue) 8:00pm | 購票 Ticketing


*映後將舉行一個半小時大師班分享
* Post-screening 1.5 hour master class will be held
日本|2013|54分鐘|彩色| DCP
日語對白、英文字幕
導演:濱口竜介
放映地點:香港藝術中心 agnès b. 電影院

情侶,朋友,兄弟。每一段關係都掀起周遭的疑惑。父親去世後,Chihiro搬與同父異母的兄弟Togo居住。雖然Togo及其女朋友Satomi熱烈歡迎Chihiro,但難以磨滅的寂寞卻纏繞著他,令他只醉心與朋友Naoya一起排練現代舞。然而這時,小鎮上出現了令人不安疑惑的事件。緊張的氣氛,純粹的舞蹈,謎一般的觸碰成為濱口竜介導演即將拍攝的電影《泛濫》前傳。

Japan|2013|54 min|Color| DCP
In Japanese with English Subtitle
Director: Ryusuke Hamaguchi
Screening Venue: Hong Kong Arts Centre agnès b. CINEMA

"Touching the Skin of Eeriness" directed by Ryusuke Hamaguchi is a mystery-driven drama full of brilliance and charm that acts as the prequel to his forthcoming feature "Floods". After the death of his father, Chihiro goes to live with older half-brother Togo . Although Togo and his girlfriend Satomi warmly take him in, Chihiro's loneliness still lingers, and
he becomes engrossed in practicing modern dance with classmate Naoya. However, disturbing events soon start to take place in the town where the two so innocently dance.