阿吟大人 (4K數位修復) Love Under The Crucifix

日本 Japan | 1962 | DCP | Color | 102 min

田中絹代第六部也是最後一部執導作品，首次嘗試了難度較高且具挑戰性的時代劇類型，將時空背景移至16世紀的日本。當時，豐臣秀吉為擴大地盤南征北戰，教會勢力的不斷擴張，促使天主教遭到禁絕與迫害。面對戰火頻仍的時代，田中絹代選擇將鏡頭轉向更為靜謐卻同等激烈的衝突現場——宗教奉獻與激情愛欲、政治權勢與茶道精神之間的拉扯對抗，進而帶出茶道大師繼女阿吟 (有馬稻子飾) 與已婚虔誠天主教徒武士右近 (仲代達矢飾) 淒美又大膽的禁忌之戀。透過阿吟的視角，勾勒出忠於自我的信念所在，為愛堅守到底的信仰早已遠超越宗教權勢的爭奪，一路走來始終忠於自己的選擇與信念，也鬆動愛情／宗教之於神聖／世俗的二元既定想像。

本片雖由松竹映畫發行，實際上由三位女演員久我美子、岸惠子、以及本片主角有馬稻子所創立的獨立製片公司「胡蘿蔔俱樂部」 (Ninjin Kurabu) 監製，其創立初衷為打造更加友善的演員工作環境，也和田中絹代對製作層面的改革厚望相互吻合。

For her sixth and final directorial work, TANAKA embarked on making a period drama, a genre considered challenging to seasoned filmmakers. Set in 16th-century Japan, this doomed romance follows two lovers—the daughter of a famous tea master and a married Catholic samurai—come to ruin for their forbidden mutual attraction. Though distributed by Shochiku, the film was produced independently by Ninjin Kurabu ("The Carrot Club"), a film company founded by actresses KUGA Yoshiko, KISHI Keiko, and ARIMA Ineko, who sought to enable better working conditions for actors within the studio system.

田中絹代 TANAKA Kinuyo (1909–1977)

日本影壇最具代表性的女演員、女性導演先驅。田中絹代自1924年始，從14歲演到65歲，演職生涯長達半世紀之久，一生共出演250多部電影，是少數跨足黑白到彩色、默片到有聲片的演員。作為「一代藝人」，其演出作品有如日本影史縮影，曾與多位知名大導演如小津安二郎、溝口健二、成瀬巳喜男、木下惠介、黑澤明等合作，尤以溝口健二的「繆思」身分為人所知。

對比演職生涯的極高讚賞，田中絹代的執導成就相形之下長期在國際影壇上受到埋沒，直到近年她的執導作品才被積極修復與重新檢視。1953年，她不顧周遭反對聲音，堅決執起導演筒，成為日本影史第二位女性導演 (僅晚於坂根田鶴子) ，甚至是首位也是當時唯一活躍於日本戰後電影黃金時代的女性導演。她在主流片廠的體制下完成了六部執導作品，乍看沿用常見的愛情通俗劇架構，實則挑戰了日本女性電影的既定路線，不僅碰觸其他作者極少涉及的創作主題，呈現出跳脫以往窠臼的銀幕女性形象，也主動和女性電影從業人員如編劇田中澄江、和田夏十等人合作，在體制內親手打造女性集體創作空間。

本屆影展將選映田中絹代的三部執導作品，透過她的創作軌跡，再次從當代視角重新反思日本電影中的女性主體性、性別樣態、影視產業運作、以及作者論途徑，也希冀還原田中絹代在影史上更為立體的獨特風采。

The formidable acting career of TANAKA Kinuyo, who starred in masterpieces of Japanese cinema by MIZOGUCHI Kenji, NARUSE Mikio, and OZU Yasujiro, has long overshadowed her pioneering status as a filmmaker—the second woman in Japan after wartime filmmaker TAZUKO Sakane and the only female director active during the post-war Golden Age of Japanese cinema. Between 1953 and 1962, TANAKA directed six feature films working within the mainstream cinema produced by the Japanese studio system. The six films TANAKA directed, while moving broadly within the genre conventions of the romantic melodrama to which she was mostly associated as an actress, disrupted the dominant representations of women in Japanese cinema of the time. She tackled unexplored topics such as breast cancer and questioned social issues such as women’s sexuality from an incisive perspective.

Her outstanding career in front of and behind the camera not only accompanies the history and technical transformations of cinema in Japan, from the silent era until the late 1970s. It also embodies the socio-political and cultural changes of Japanese society and its female members, offering a unique opportunity to examine the intersections between women’s authorship, representation, and gender discourses in modern Japan.