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The Protests Sustain








The Dossier



Taiwan Shorts Selection




The End of the Special Time
We Were Allowed




Sunflower Occupation



Umbrella movement shorts selection







因此,香港獨立電影節作為香港的一個「人」,它不但是關於獨立電影,更是關於香港的獨立電影,關於香港。我城的雨傘仍在堅持運動,怎樣以電影呼應這場運動於是成為本屆影展的一個重要思考。對我來說,本屆放映的影片其實在探討一個潛在的主題———— 抗爭的延續。






從這些影片中,我們希望能帶出廷續抗爭的例子和可能性,讓觀眾將影片扣連到當下的社會,從自已的位置重新出發。不論是理論或實際層面,抗爭總不能架空離地,廷續也不能只有空談。正如今屆影展宣傳的設計:我解讀為依靠各人緊守自己崗位上的手藝,將個人的、內在的的思考實行出來,轉化成眾人的行動。承接上一屆宣傳海報上一個人拿著旗幟,宣示「起義」的一系列設計,今屆的設計已經發展成一個小團隊的協力工作。這讓我想起那句非洲諺語:「If you want to go fast, go alone; if you want to go far, go together」。香港獨立電影節裡那些關於抗爭、現實、「他人」的影片,或者就是在提醒,只要「我們」行出來,總會有同行的人在旁。現實可能是個困境,會不斷地消耗「個人」行動的意志,但即使走累了,也會有人一起走下去。



The Protests Sustain 

Text: Cheung Tit-Leung


Even a film festival needs its own character, especially in the time there are film festivals filling up each days of the calendar. The character of a film festival is embedded in its selection of films and subjects it discussed, in which the audience may get to know the festival like getting to know a person. And if a festival is a social being, it is not a solitude existence in a cave, but a part of the larger society. It will have its own opinions on current issues, and its expression and interaction with the society will not be merely limited to the films.


Hence, as a "Hongkonger", the Hong Kong Independent Film Festival concerns not only independent cinema, but Hong Kong independent cinema, and above all, Hong Kong. While "it's just the beginning" of the Umbrella Movement in our city, how to respond to the Movement through films becomes a critical question to this year's Festival. It appears to me that an underlying theme is explored in this year's selections, and that is, the sustainability of protests.


Protest is not a holiday activity that last for a day. Protest can only be sustained when it is integrated into ordinary, transformed and spread. ,Sunflower Occupation is an account of Taiwan's Sunflower Student Movement from multiple perspectives. Although the occupation of the Legislative Yuan was ceased, it continues to influence the recent nine-in-one elections. The Dossier presents Tibetan author Woeser in her persistence against the authority, illustrating his humble defense of the independence and dignity of individuals. Co-organized with Sangwoodgoon, the programme in relation to the Food and Farming Film Festival is itself a continuation of the Anti-High Speed Rail Movement and Tsoi Yuen Village Movement in Hong Kong years ago.


Resistance and subversion don't just happen on the street, but in creative output as well. Reality is given a wider berth in imagination: documentary can be fictive, and fiction can also be authentic. Directed by Midi Z, the fictional film Ice Poison can be seen as a direct cinema in documentary tradition that depicted the brutality and estrangement of life in Myanmar. A similar estrangement can be seen in the documentary Wuchao Gate. In front of Wuchao Gate Square in Kaifeng, people live in an insane reality in which life is more dramatic than drama. And Yumen takes this Gansu city as a stage of performance, as the government and capitalists have abandoned the city after exploiting it for oil, and turned it into a deserted city. Together with the remaining inhabitants, the directors have staged an avant-garde performance on memory. Similarly, the documentary The End of the Special Time We Were Allowed blurs the boundary of reality and fiction, as the director himself impersonates his close friend who has committed suicide to experience the desperate struggle behind the dreams of a musician. The memory is painful, yet by reproducing the painful past masochistically, it might be a kind of therapy to sadness.


We hope to bring forth the manifestation and possibilities of sustaining a protest through these films, linking up the films to the present and moving on as you are. Whether in theory or in practice, a protest should not be unrealistic, nor should it be just a blabber. I take the poster design of this year's Festival as a metaphor: by taking their crafts diligently in their respective positions, everyone has transformed the individual and internal reflections into a collective action. While the theme of last year's poster design was seemingly a "Revolt" that depicts a person holding a banner, it has been transformed into a collaboration of a small team in this year's design. I am reminded of an African proverb: "If you want to go fast, go alone; if you want to go far, go together." The Hong Kong Independent Film Festival, with its showings about films related to protest, reality and the "others", is prompting us that, as we stand to the front, there are always companions standing by. Reality is dire and it can deplete the will to action. However, there are always someone walking along, despite we may get tired.




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