亞洲獨立視野Asian Indie Vision


革命進行式
Su Beng, the Revolutionist

30/1 (Sat) 3:00pm | 購票 Ticketing


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

台灣|2015|127分鐘|彩色| HD
國語對白、中英文字幕
導演:陳麗貴

獨立不能缺少勇氣,台灣獨立運動先軀者史明,以九十七歲的高齡,依然堅持著推動台獨的意志。史明書寫台灣的歷史,也曾以暗殺蔣介石、土製炸彈、武裝革命去改變歷史。史明就是一位革命家。獨自脫下沉重的衣服,嶙峋的身體在每朝早游泳,獨立的抗爭,其實每天也發生在他身上。

Taiwan|2015|127 min|Color| HD
In Mandarin with Chinese & English Subtitles
Director: Lihkuei Chen

Getting independence takes courage. Taiwan Independence Movement pioneer Su Bing still insists on advocating Taiwan independence despite of his old age of 97. Su Bing writes about Taiwanese history, he also tried to change history by assassinating Chiang Chieh-shih, planting improvised explosive device and starting armed revolution. He is simply a revolutionary. Every morning, he takes off those burdening clothes, and takes a solitary swim with his slender body; lonely struggle is what he experiences every single day.

星國戀
To Singapore with Love

1/2 (Mon) 9:45pm | 購票 Ticketing

 

新加坡|2013|70分鐘|彩色| HD
英文對白、中英文字幕
導演:陳彬彬

《星國戀》是紀錄片導演陳彬彬Tan Pin Pin ,透過採訪1960 至1970 年代,於新加坡受到政治壓迫的一群社運者、學運領袖及共產黨員的故事,展現他們現在流亡海外的生活情況,及對國家強烈的情感。 縱然堅持立場要付出巨大的代價,在異鄉漂泊近半世紀的流亡者,那渴望回家及思鄉之情仍不斷。導演讓眾被訪者坦誠地訴說其故事,描繪他們的那個火紅年代,嘗試與新加坡歷史展開一場對話。《星國戀》被定為「任何分級均不允許」的影片,影片不得在新加坡公映或發行。團隊沒有因為國家的否定而放棄與觀眾對話的權利,影片已於海外不同影展放映,及作影碟海外發行。

Singapore|2013|70min|Color| HD
In with Chinese & English Subtitles
Director: Tan Pin Pin

"To Singapore, with Love" was made by documentary director Tan Pin Pin through interviewing 1960's and 1970's Singaporean social activists, student movement leaders and communists who were being oppressed politically. Their stories reflect their lives in exile and their intense sentiments for their country.
Although holding on to one's stance has cost them a huge price, these political exiles who have been leading a wondering life for almost half a century, still suffer from homesick and have a strong desire to return to their homeland. The director let his interviewees to talk about their stories frankly, so as to illustrate those fiery years they belonged to and to construct a dialogue with Singaporean history. To Singapore, with Love was given a "Not Allowed for All Ratings" rating and hence banned for screening or distribution in Singapore. Even with the country's denial, the team refuses to give up having dialogues with audience. The film has already being shown in different film festivals overseas and its DVDs has also been distributed abroad.

家庭團聚
Reunification

31/1 (Sun) 7:30pm | 購票 Ticketing


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


美國|2015|85分鐘|彩色| HD
英語對白、中英文字幕
導演:曾穎馳

一九八二年,中英雙方為香港回歸問題展開會談,很多香港人對前途感到不安而選擇移民。當時導演的媽媽與兄妹先移民至美國洛杉機,而他就與留在香港成了「太空人」的爸爸一起生活,九歲時一心隨爸爸到美國團聚時卻發現家庭已起了變化。
二零一四年,導演透過攝影機審視了自己和家人的關係,當中有背叛,有遺憾。因為妹妹結婚,導演拿著攝影機隨著家人再次回憶。
《家庭團聚》以小見大,見證著上一代人為家庭而承受的政治,經濟和情感壓力,同樣以自己的家庭出發,一步一驚心,竟然與去年ifva 金獎的《32+4》遙遙呼應。

*字幕製作贊助: 美國駐香港總領事館

USA|2015|85min|Color| HD
In English with Chinese & English Subtitles
Director: Alvin Tsang

In 1982, when the British and Chinese government officials started the negotiation concerning the handover of Hong Kong, many Hong Kong people decided to immigrate due to a sense of insecurity about their future. At that time, the mother and siblings of the director already moved to Los Angeles in the USA, whereas he stayed in Hong Kong with his father, who became a so-called "astronaut" with his family being separated. However, when the director went all the way to the US for reunion with his father, his family was no longer the same.
Years later, the marriage of the director's sister in 2014 triggered him to reminisce about their post-immigration family past. Through the camera lens, he reexamined their relationship that was filled with betrayals and regrets.
Reunification captured how much pressure Hong Kong families from the previous generation suffered from, in terms of politics, economics and emotions. Similarly, exploring the theme of "family" from a personal perspective with an overwhelming emotional intensity, Reunion echoed last year's IFVA Gold Award winning documentary "32+4".

*Subtitles production sponsor: U.S. Consulate General Hong Kong

晚五朝九
5 to 9

28/1 (Thr) 9:30pm | 購票 Ticketing


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


中國、新加坡、日本、泰國|2015|90分鐘|彩色| DCP
普通話、日語、泰語對白,中英文字幕
導演:杜海、 鄭彌彬、宮崎大祐、拉錫奎蘇卡恩

2014年世界盃準決賽,巴西慘敗給德國一比七的一個晚上,下午五點,中國少年民工希望用辛苦儲來的積蓄與心儀的應召女郎共渡一宵,但她心裡卻另有打算。晚上九點,新加坡男教師與中國來的女孩幽會,卻遇上一個迷路的的士司機,令女孩心裡盤算着的說話,遲遲未能開口。零晨一點,一個日本色情電影放映師,面對來追債的流氓,誓要搶救被威脅燒毀的膠片。清晨三點,泰國的科幻片導演,遲遲未能把最後一場戲拍完,因為他愈來愈懷疑自己的太太,即是片中女主角和男主角有染。
四個來自不同國家的導演,一起參加過2014年Class of Berlinale Talents,接力地拍出了四個題材和風格迥異的故事,發生在同一個晚上,晚五朝九,反映出各地的社會政治變遷。

China, Singapore, Japan, Thailand|2015|90 min|Color| DCP
In Mandarin, Japanese and Thai with Chinese and English Subtitles
Director: Vincent Du, Tay Bee Pin, Daisuke Miyazaki, Rasiguet Sookkarn

2014 World Cup semi-final, the night which Brazil suffered a humiliating defeat of 7-1 by Germany. 5 p.m. the same day, young Chinese worker wished to spend a night with his long-admired call girl by using up his hard-earned savings, however, she had another plan in mind. 9 p.m, Singaporean teacher had a tryst with a girl from China, their encounter of taxi driver who lost his way made the girl unable to disclosed her prepared words. 1 a.m., facing thugs who dunned for debts, the Japanese porn movie projectionist vowed to save the films from being destroyed. 3 a.m., Thai science fiction film director had been postponing finishing up the last movie scene, as he had grown increasingly suspicious of his wife, who was the leading actress of the film, having an affair with the leading actor.
Four directors from four different countries, who joined the 2014 Class of Berlinale Talent, together filmed four stories of different themes and distant styles, which happened in the same night from 5 p.m. to 9 a.m. to reflect the political transformation of the societies.

首相官邸前的人們
Tell the Prime Minister

1/2 (Mon) 7:30pm | 購票 Ticketing



日本|2015|109分鐘|彩色| HD
日語對白,中英文字幕
導演:小熊英二

福島核災至今快將五年。《首相官邸前的人們》來得正合時宜,較諸2013年的《不要再有下一個福島》就核能作歷史回溯與批判,小熊英二更在意拉出的,是特定時刻的日本視野。核災的傷害與輻射後遺、社會運動的本質、日本當代歷史的曖昧右傾、人的差異與差異的感通與接壤,四組不同的軸,交織到同一個畫面之上。核電由謊言組成綿密又滿布錯誤的體系,資訊的謬誤與失落,觸發求知慾和忿懣的情緒,轉眼就形成了改變現狀的渴望,創造了日本自八十年代以來第一場大型社會運動的關鍵機緣。人在其中,沉默化為活力,化為音樂的年青節奏;傷害的痛楚夾雜著摸索學習組織社會運動的嘗新,在街頭呼吸自由的喜悅。這種跨階層的新社運形式相當程度上走出了七十年代安保運動留下的戒懼與陰霾,開劃了議會政治以外的格局,更直接為今年的反對新安保法運動提供了希望。如今已下野的前首相穿插在其中,既是權力與問題的象徵,也同時是活生生的真實的人,言談間難掩回憶的顫動與虛弱。導演小熊英二本身也是社會學家和優秀的作者,2015年秋天開始接連有作品譯成中文在台灣出版,是值得記下的名字。

Japan|2015|109 min|Color| HD
In Japanese with Chinese and English Subtitles
Director: Eiji Oguma

It has been almost 5 years since the meltdown of Fukushima Daiichi Nuclear Plant. "Tell The Prime Minister" came at the right time as a fair comparison with 2013's Fukushima Never Again, so audience could reflect on and criticize the disaster and nuclear power development as a whole. What Eiji Oguma would like to shed light on was the state of Japan in midst of this critical moment. Its consequence is fourfold: the hazard of the nuclear accident and aftermath of radiation leakage, the essence of social movement, the right wing tendency of Japanese modern history & the differences of stance between citizens and how these differences encounter and collide; interweaving a complete social fabric.
Nuclear power evolved from a system that was full of lies, mistakes, lapses of information and disappointment to a bloom of indignation and yearning for truth, ultimately turned into an urge for a change in status quo. This series of events led to the biggest-scale social movement ever in Japan since the 1980s.
The disaster triggered the younger generation in Japan to break their silence and transformed it into music and other forms of activism and arts. Despite their pain, they started taking tentative steps to pioneer social movements and feeling the bliss of freedom. Not only did this new form of cross-class social movement break away from the fear and haunting experience of the national security movement in the 1970s and created a new political environment outside of the parliament, but it also provided hope for this year's anti-national security bill movement.
Playing a role as the centre of power and culprit of the accident, former prime minister of Japan admitted responsibility and resigned. However, in this film, as how a human being should normally feel, he could not conceal his vulnerability and terror in retrospect of the disaster as well. Being a sociologist and a well-known writer, Eiji Oguma has had his works translated into Chinese and distributed in Taiwan since Autumn 2015. Eiji Oguma is a name you should remember.

凝視大師班
Regarding the Lives of Others

31/1 (Sun) 9:45pm | 購票 Ticketing


日本|2010|90分鐘|彩色| HD
日語對白,英文字幕
導演:代島治彥

夥拍《活在三里塚》前,代島治彥已與大津幸四郎結緣。除了為小川紳介當攝影師,大津亦為另一位日本紀錄片大師土本典昭當攝影。面對水俁病事件的病人,大津和土本找尋着另一種凝視的方式,一種能穿透痛苦的視角,讓病人還原為「人」的方法。以攝影拷問攝影,代島治彥讓兩位紀錄片大師在攝影機前自白,訴說著歷年來思考的攝影倫理。

Japan|2010|90 min|Color| HD
In Japanese with English Subtitles
Director: Daishima Haruhiko

"The Wages of Resistance: Narita Stories" was not the first collaboration work of Daishima Haruhiko and OTSU Koshiro. Apart from Shinsuke Ogawa, OTSU was also a cinematographer for another Japanese master of documentary film Noriaki Tsuchimoto. Filming patients who suffered from Minamata disease, OTSU& Noriaki sought another means of cinematography with a new angle that transcends their pain. Rather than focusing on their suffering from the disease, he returned to a representation from a more humanistic perspective. In a way of confession, Daishima Haruhiko documented these two Japanese documentary film masters' years of thoughts and theories about photography ethics.

導演簡介
Director Biography






杜海 Vincent Du
長期關注中國社會議題,紀錄片作品入圍多項國際影展。

A documentaty filmmaker, focuses on issues in China's society. His works have aired on AL Jazeera and been selected at International film festivals.

鄭彌彬 Tay Bee Pin
新加坡資深獨立製片,參與超過二十五個國際影展,監製作品曾入圍鹿特丹影展。

An alumni of Berlinale Talent And Rotterdam Lab, Tay Bee Pin's forst produced film "Breakfast Lunch Dinner" has travelled to over 25 international festivals. His film projects have also been selected four times at Golden Horse film Project Promotion.

宮崎大祐 Daisuke Miyazaki
黑澤清副導出身,當代日本重要獨立導演,曾被名為「日本七大不可錯過之獨立導演」

An emerging director, he was named one of "7 Japanese independent film directors you must check out" by Raindance Film Festival in 2013.

拉錫奎蘇卡恩 Rasiguet Sookkarn
泰國新銳電影美術指導,曾參與《瑪麗快樂真快樂》等片,獲得不少獎項。

An award-winning production designer on many Thai award-winning films such as "Eternity and Mary Is Happy, Mary Is Happy". He also direct music videos for Thai independent bands and is lauded for his strong visual style.

小熊英二 Eiji Oguma
小熊英二就任於東京慶應義塾大學政策管理學系教授一職。其研究包括國族主義、殖民政策以及從歷史社會學角度看現代日本的民主與社會運動等理念。他的著作曾獲六大日本負盛名的獎項。福島事件後,他參與了不少在東京的反核運動。 《首相官邸前的人們 》是他第一部跟反核戰友及義工們共同完成的電影。

Eiji OGUMA is a professor of the Faculty of Policy Management at Keio University in Tokyo. His research covers national identity and nationalism, colonial policy, and democratic philosophy and social movements in modern Japan from the perspective of historical sociology. His publications have been awarded six of the most prestigious prizes in Japan. After Fukushima, he participated in and gained credibility with the anti-nuclear movement in Tokyo. This is his first film, completed with the cooperation of many activists and voluntary filmmakers.

代島治彥 Daishima Haruhiko
生於1958年。在博報堂工作之後,代島治彥於1988年建立了Sukoburu Kobo工作室,製作了「Pineapple Tours (1992) 」等其他電影與電視節目。於1993年的山形國際紀錄片影展,他與他人聯合舉辦了First Nations Moving Images計畫。在1994至2003年間,他經營著一間影院,Box Higashinakano 。代島治彥曾執導Galaxy Prize-winning View on War —The World of (Filmmaker) Kuroki Kazuo (2006),並於日本廣播協會播出。

Born in 1958. After working for Hakuhodo, he established Sukoburu Kobo in 1988. Produced Pineapple Tours (1992) and other films and TV programs. For YIDFF 1993, he co-coordinated the First Nations Moving Images program. Ran the cinema Box Higashinakano from 1994 to 2003. His work as director includes the Galaxy Prize-winning View on War—The World of (Filmmaker) Kuroki Kazuo (2006), broadcast on NHK.
陳麗貴 Lihkuei Chen
1979年台大外文系畢業;年美國奧斯汀德州大學視聽教育碩士。1989年投入紀錄片創作迄今。曾任:人民做主教育基金會董事長、台北市女性權益促進會理事、台北市女性影像學會理事長、財團法人國家電影資料館董事、蔡瑞月基金會董事。1990年獲金穗獎;2009年獲鄭福田文化獎;2010年獲邀美國台灣同鄉會放映《紅色戒嚴》;2012年德國杜賓根大學台灣電影節主題導演;2013年獲日本名古屋大學、愛知大學、一橋大學聯合邀請,放映紀錄片《暗暝e月光》。

Lihkuei Chen has been a documentary filmmaker and an activist of social movements in Taiwan since 1989. Her first short film Happy Birthday, Caddy won 1990 Golden Harvest Award. In 2009, she was granted Cheng Fu-Tien Award for Cultural Achievements; in 2010, invited by Taiwanese American Association to present Red Caution in America; in 2012, invited by University of Tubingen , Germany as the theme director to present works in Taiwan Documentary Festival. in 2013, Nagoya University, Aichi University, Hitosubashi University in Japan gave a joint invitation to show Moonlight in the Dark night .

陳彬彬 Tan Pin Pin
陳彬彬是電影《新加坡風》及《備忘錄》的獲獎導演。她的電影以關注新加坡及其個人經歷見稱,作品曾於柏林,釜山等多個地方放映。她的電影在新加坡經常連場爆滿 , 除了戲院,校園甚至新加坡航空均見她作品的放映蹤跡。她的《備忘錄》曾於真實電影節、台灣國際紀錄片影展榮獲多個獎項,而另一套作品《搬家》也在「學生奧斯卡」得獎。同時,她是新加坡國際電影節的幹事成員,亦曾擔任新加坡國家檔案館及The Substation藝術中心的董事會成員。此外,她是新加坡獨立電影製作人推廣團體filmcommunitysg的其中一位創辦成員。

Tan Pin Pin is an award-winning director of "Singapore GaGa" and "Invisible City". She is known for films that focus on Singapore and her histories which have screened in Berlinale, Busan, Vision du Reel, Flaherty Seminar as well as on Discovery Networks. In Singapore, the films have received sold out theatrical screenings, screened on Singapore Airlines and toured schools. She has won awards from Cinema du Reel, Taiwan International Documentary Festival for "Invisible City" as well as a Student Academy Award for "Moving House". She is a board member of the Singapore International Film Festival. Previoulsy, she was a board member of the National Archives of Singapore and The Substation, Centre for the Arts as well as a co-founding member of filmcommunitysg, an advocacy group for Singapore independent filmmakers.

曾穎馳 Alvin Tsang
曾穎馳在九歲時從香港移民到了洛杉磯,並在加州福尼亞大學聖地牙哥分校學習視覺藝術與媒體時開始了電影職業生涯。在《猶在鏡中》(Through A Lens Darkly) 導演Thomas Allen Harris執導的THAT'S MY FACE (2001) 紀錄片中,他作為編輯助手,與其一同身處巴西與美國探索,揭開了非裔美國人的神秘面紗。
回歸洛杉磯後,曾作為膠片轉磁帶助手與上色師于多間荷里活後期製作工作室工作,並剪輯了Josiah Lee執導的短片"Handling The A.M. " (2006),其中討論了亞裔美國人帶予人的刻板印象之謬論。

移居紐約布魯克林區後,曾穎馳負責剪輯Robert E. Holley執導的"Love Me Through It" (2008),意在提升社會對愛滋病毒的認知。另外,他曾擔任協助編劇與聯合製片人,參與製作了Ermena Vinulan執導的《茶與正義》(Tea And Justice),其為第一部關於紐約市警察局在職亞裔美國女性公務員的獲獎紀錄片。
除此之外,曾穎馳與Vinluan聯合製作、並親自拍攝剪輯了一部關於菲律賓美國戰爭的紀錄短片《朋友》(Amigo) ,體現了獨立導演John Sayles製作電影的過程。
他還為集作曲家、演唱者、舞蹈編導及電影製作人於一生的奇才Meredith Monk (The House Foundation)及多媒體藝術家Shalom Neuman (FusionArts Museum) 擔當紀錄片導演,亦涉獵時尚界為Michael Kors的部分系列製作過宣傳短片。
曾穎馳目前正在編寫與執導其個人創意紀錄片,而《家庭團聚》("Reunification") (2015)」則是他首部長片。
Alvin Tsang was born in Hong Kong and immigrated to Los Angeles at age 9. Tsang earned a degree in Visual Arts (media) at The University of California, San Diego, where he began his film career as an editing assistant for "That’s My Face" (2001), a film by Thomas Allen Harris (director of "Through A Lens Darkly") exploring the mythical African "face" found in Brazil and the United States. After moving back to Los Angeles, Tsang served as a telecine/colorist assistant at several Hollywood post-production houses.Tsang edited Josiah Lee's "Handling The A.M." (2006), a short film about the absurdity and falsity of Asian American stereotypes. When he moved to Brooklyn, New York, Tsang edited Robert E. Holley's HIV/AIDS awareness film, LOVE ME THROUGH IT (2008) and served as assistant editor and co-producer for Ermena Vinulan's award-winning documentary, "Tea And Justice" (2007), about the very first female Asian-American NYPD officers on the force. Also co-produced with Vinluan, Tsang shot and edited a short documentary on legendary independent director John Sayles's process in making his film "Amigo" (2010) about the Philippine-American War. He serves as a video documentarian for the pioneering composer-singer-choreographer-filmmaker Meredith Monk (The House Foundation) and multimedia artist Shalom Neuman (FusionArts Museum) and has created short promos of several of fashion designer Michael Kors's collections. Tsang currently writes and directs his own creative documentary films. "Reunification" (2015) is his first feature film.