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亞洲獨立精神
ASIAN INDIE SPIRIT


 

抗爭的延續

The Protests Sustain

 

 

玉門

Yumen

 

 

檔案

The Dossier

 

台灣獨立短片選

Taiwan Shorts Selection

 

 

特許時間的終了

The End of the Special Time
We Were Allowed

 

 

太陽.不遠

Sunflower Occupation

 

雨傘特輯

Umbrella movement shorts selection

 

抗爭的延續

文:張鐵樑

 

電影節也要有性格,特別是在天天都有電影節的年代,院線放映和電影節放映的分別或者就是在這「性格」上。一個電影節的性格,表現在它會專注放映怎樣的作品,論述怎樣的議題,讓觀眾感受這是怎樣的電影節,讓觀眾像認識一個人那樣去認識它。如果影展就像社會上的一個人,那代表它不會只活在自已的洞穴裡,它會與其他人建立關係。對應當下社會發生的事態,它更會有自已的意見,而這些反應與互動也不會只局限於電影的領域之內。

 

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。

 

抗爭不是假日活動,也斷不會一天事成。而要讓抗爭延續下去,便意味著抗爭需要融和日常,甚至將它轉化,再擴散開去。台灣太陽花學運的《太陽・不遠》,以一系列作品呈現了這場學運的各種視角。立院的佔領雖已結束,影響卻延伸到剛過去的九合一選舉。《檔案》中的西藏作家唯色,以個人持續與體制對抗,卑微地保護著「個體的獨立和尊嚴」。而與生活館合辦的「有種電影節」單元,本身就是反高鐵護菜園運動的廷續。

 

抗爭和顛覆不只發生在街道上,也在於影像創作之道上。「真實」可以有更廣闊的想像:紀錄片可以有劇情片元素,劇情片也可以像紀錄片一樣。獨立焦點導演趙德胤在其劇情片《冰毒》中,像是以紀錄片的直接電影手法,凝視異鄉人在緬甸生活的疏離和殘酷。這種疏離也同樣表現在紀錄片《午朝門》之中。在開封的午朝門廣場前,人們真實地活在瘋狂中,比戲劇更要戲劇化。而《玉門》的「舞台」是甘肅玉門,在油田被政府和商家用完即棄後,成為了空城,讓導演和剩下來的人和物演出了一場關於回憶的實驗劇場。《特許時間的終了》同樣把紀錄片「真實」的界線模糊起來,由導演親自扮演自殺身亡的摯友,透過模仿他在音樂理想底下絕望的心情。這過去是痛苦的,但將痛苦重現的自虐,或者是對傷痛的一種治療。

 

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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