【真實撞擊】離線列車

No Data Plan

類別: 電影
分級:普遍級
時間:
主辦:
旗艦館
無可售場次

節目介紹

國影電影編號:M202202002

放映規格:DCP

級別:普遍級

片長:70分鐘

發音:英語、他加祿語

字幕:中英

離線列車No Data Plan

米可.瑞維雷薩Miko REVEREZA|菲律賓Philippines、美國United States|2018|DCP|Colour|70 min

2021 TIDF台灣國際紀錄片影展|國際競賽優等獎

多年來,他與菲律賓裔母親已將躲藏視為日常,在美國的移民法律規範下,導演是一位「沒有身分」的移民者。他跳上火車,記錄自己一路從洛杉磯到紐約,漫長且充滿不確定感的旅程。一路上,他躲避追查,避免留下任何資料,路途所拍下的影像配上內心自白,竟成了無聲者最有力的表述。

米可.瑞維雷薩:「一個離散的族群是由遠距關係構成的,而這些距離則在我們身上及周遭逐漸體現,所愛的人沒有了實際形體,我們也因時間的鴻溝錯過彼此至關重要的片段。隨著時間過去,距離愈發明顯,人與人之間也變得更加疏離。我們不斷移動、遷徙,甚至在靜止狀態下也召喚著曾經的動態,或是夢想著未來的脫逃。香妲・艾克曼曾透過影片精確表達了一種無家、卻仍繼續拍攝家庭電影的狀態,她作品中的這種狀態,迴盪在現今無國籍電影工作者的景況之中,表達出失根者空洞的鄉愁。巧的是,英文中的鄉愁一詞來自古希臘文,原意為英雄自海上回歸鄉土;如果海能作為當今社會中,因受國界阻隔的種種離散象徵,表示我們也喪失了返家的能力。如果移動成為人唯一的日常,那麼將你我的存在置入動態影像便是適得其所。」

'Mama has two phone numbers. We do not talk about immigration on her “Obama phone”. For that we use the other number with no data plan', says the narrator as he crosses the United States by train. From Los Angeles to New York, multiple voices share thoughts, dreams and histories that evoke images far away from the enclosed interior of the train, creating a site of precarious movement, migration, and fugitivism.

Miko REVEREZA: 'A diasporic community is one built from the fallouts of long distance relationships… Within time, we embody distance in ourselves and in our surroundings… Images of loved ones with missing frames, like gaps in time, we miss crucial pieces of each other. As more time passes, the distance becomes increasingly felt; we too have become distant. We are constantly moving, migrating. Even in stasis we conjure the movement we once made, or dream of a future escape. Chantal AKERMAN… aptly conveys a situation of never having a home but making home movies anyway, a common premise in her films echoed in today's stateless filmmakers, who address the hollowness of nostalgia when you've been uprooted all your life. Fittingly, the word ""nostalgia"" derives from the ancient Greek word ""nostos"", referring to the theme of a hero returning home from sea. If the sea is analogous to the separations of a now bordered society, we too have lost our ability to return home. If movement becomes one's only sense of normalcy, it is appropriate that we have placed our existences in the moving images.'

米可.瑞維雷薩

影像工作者,以菲律賓馬尼拉為主要活動基地。作為在美國成長的無證移民,他的特殊經歷也展現在作品之中。他的影片曾在盧卡諾影展、鹿特丹影展、山形國際紀錄片影展、紐約影展等各地國際影展放映。並獲選為2018年《Filmmaker Magazine》25名獨立電影新秀之一、入選2019年羅伯‧佛萊赫堤電影研討會,並且取得博雅大學電影碩士學位。

Miko REVEREZA is a filmmaker based in Manila, Philippines. His upbringing as an undocumented immigrant in the United States informs many of his films. REVEREZA's films have been widely screened and exhibited internationally at festivals such as Locarno, Rotterdam, Yamagata IDFF, NYFF Projections, and the Art of the Real festival at the Film Society of Lincoln Centre. He was named by the Filmmaker Magazine as one of the 25 New Faces of Independent Cinema in 2018. He is a 2019 Flaherty Seminar Artist and a recent Bard MFA graduate.

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