【亞洲首映Asian Premiere】

野花盛放的記憶Wild Flowers

卡菈．克蘭切維奇 Karla CRNČEVIĆ｜克羅埃西亞 Croatia、西班牙 Spain｜2022｜DCP｜Colour｜11 min

離開家鄉，你只能帶走最重要的東西。1992年，導演的父親在克羅埃西亞獨立戰爭爆發後首次返鄉，並用VHS攝影機記錄戰時荒蕪的村落與摧毀的家屋，拍下他人生唯一的錄影帶。30年後，父親闡述殘存腦中的經歷，記憶終將消逝，但私影像與記憶的交疊關係，彷若錄影帶中的野花，重新綻開。

卡菈．克蘭切維奇：「（關於與父親討論影片內容的畫外對話）對我而言很重要的提問是：為何一個從未想過要拍攝的人會拿起攝影機？他在這之後又如何記得這一切？這顯然是他生命的重要時刻，所以即使過了30年，他仍清晰記得影像中某些片段，但有些部份卻也完全消失在他的記憶之中。我想用個人的記憶來面對影片的物質性，我與父親對話的重要意義在於，他能用我的眼睛再『看』一次這些影像，在記憶的縫隙和黑點中試圖記憶——就像從畫面刮痕中創造故事，即便這都是已然發生之事。」

My father used a camera just once in his lifetime. After 30 years he asked me to digitise the VHS material he filmed. I was wondering what he remembers. 

‘(On the decision to have a counterpoint between the images and the conversation in the soundtrack.) A question that is very important for me is why someone who never thought about using a camera takes one, and how he remembers it later. For him it was a very important moment in his life. It’s obvious that he clearly remembers some points of the recording even though it was 30 years earlier; but other moments are totally lost in his memory. I wanted to face the materiality of film with the memory of a person. For me there was something very meaningful in that conversation; him “seeing” images once more with my eyes, in the gaps of his remembering, in black spots, intending to remember—it was like creating a story from scratch even if it already happened.’ - Karla CRNČEVIĆ

2023 FIDMarseille 馬賽國際影展

2023 Dokufest 科索沃國際紀錄片影展

三月八日實錄備忘 March 8, 2020: A Memoir

費拉特．尤杰爾 Firat YÜCEL｜土耳其 Turkey、荷蘭 Netherlands｜2023｜DCP｜Colour｜16 min

螢幕錄影開始：搜尋引擎鍵入關鍵字，伊斯坦堡的即時影像監視器成為記憶憑證，配著男聲女聲交錯描述畫面。2020年3月8日的影像，景框外的婦女運動，聞聲而不見人群，爾後迎來疫情空如鬼城的街景。全片透過即時影像監視器，在攝影機「死角」和不全影像中，探索並記憶封城前最後「群聚」。

費拉特．尤杰爾：「有別於一般監控電影多探討個人權利，或從保護個資的面向切入，本片則從集體權利的視角來討論，指出國家與企業不僅監管人們的個資，還監控群眾的動向，以防範人們集結抗議。《三月八日實錄備忘》試圖顛覆這樣的國家邏輯，將監視影像為我們所用，來講述屬於我們的故事——3月8日的女性主義者夜間遊行（Feminist Night March）活動。透過電腦螢幕，我們將由上至下的監控轉化為由下往上的監視。我們採用桌面紀錄片（desktop documentary）的策略，突顯出那些被視為國有的影像素材，可以成為下層平民書寫自己歷史的素材。事實上，這是我們城市的影像，它不屬於個人，而是屬於人們、群體與公眾的。」

A desktop documentary about the Feminist Night March protest in Istanbul in 2020, entirely created with screen recordings of the event and its aftermath, deconstructing and repurposing touristic and surveillance images.

‘It is a film that speaks about surveillance not in terms of personal rights, or private data protection, as it’s usually done, but in terms of collective rights. The state and corporations do not only surveille our private data, they also monitor the movements of the masses, in order to prevent people from coming together to protest. This film turns this state logic on its head: we use the images of surveillance to tell our own story, the story of the Feminist Night March, thereby turning surveillance into sousveillance; watching from below, in this case from our laptop’s monitors. The film suggests that by using desktop documentary strategies, we can write our own histories from below, with footage that is supposedly state-owned. In fact, it’s the footage of our own city. It belongs to the people, not to individuals but to masses, to the public.’ - Firat YÜCEL

2023 Dokufest 科索沃國際紀錄片影展

2023 Kasseler Dokfest 德國卡塞爾紀錄片及錄像節

【亞洲首映Asian Premiere】

在戰場上 On the Battlefield

泰瑞莎・戴思安 Theresa DELSOIN、洛怡嵐 Lisa Marie MALLOY、史杰鵬 J.P. SNIADECKI、雷・懷特克 Ray WHITAKER ｜美國 United States｜2024｜DCP｜Colour｜17 min

南伊利諾州開羅市俗稱「小埃及區」的草地一方，曾經是風起雲湧的黑人運動聚集地。一位收音師走進現已樹草蔓生的空地，讓收音桿收進風吹草動、小孩玩耍、民權運動家查理斯・柯恩的演說片段、人們的歌唱。聲音召喚著記憶，也使過去、現在、未來的地方音景交纏不止。

「小埃及影像集社」是涵蓋多元種族、世代的藝術家團體，成員來自美國伊利諾州南部開羅市的「小埃及區」及芝加哥。該社一方面藉由集結合作，實踐共創世界觀的創作模式；另一方面又因南伊利諾州長期以來深陷經濟及種族不平等問題，成員們也以此作為探究該區社會不公義的途徑。他們運用激發思辨的虛構敘事及強調觀念的實驗玩興，試圖為社區理念及反抗精神創造嶄新的表達語法，並參與開羅市的市鎮復振，此為集社的首部作品。

小埃及影像集社：「作為首作，《在戰場上》是歡慶開羅市愉悅與力量的序曲，這座市鎮因各式匯流與碰撞而聞名：北與南、密西西比河與俄亥俄河、黑人民權運動及白人優越主義。我們提供一處交會、抵抗與靈感的孔徑，邀請觀者一探這佈滿泥濘的歷史與充滿力量的空間。」

In Little Egypt, Southern Illinois, Ray Whitaker explores former housing projects of Cairo's Black community of his hometown. His mic captures sounds of nature and life. Guided by a 1970 LP featuring Reverend Dr. Charles Koen, Whitaker seeks audible connections between past, present, and future.

Little Egypt Collective (LEC) is a multi-racial, multi-generational group of artists from ‘Little Egypt’ in Southern Illinois and Chicago. Their work is a mode of collective world-building and a means of investigating conditions of inequality in Southern Illinois, a region historically marked by economic and racial injustices. They utilise speculative fiction and conceptual playfulness to generate new expressions of community spirit and resistance, and participate in Cairo’s resurgence. This is LEC’s first work.

‘As the first Little Egypt Collective release, this film is an overture celebrating the joy and power of Cairo, a town famous for confluences and collisions: between the North and South; the Mississippi and the Ohio rivers; and Black liberation and white supremacy. We offer an aperture of encounter, resistance, and inspiration, and invite audiences into these muddy histories and potent spaces’. - Little Egypt Collective

2024 Berlinale 柏林影展

2024 Cinéma du Réel 法國真實影展

【亞洲首映Asian Premiere】

無盡的藍 Blue

維奧萊娜．安普迪亞．羅德里格斯 Violena AMPUDIA RODRIGUEZ ｜古巴 Cuba、比利時 Belgium｜2023｜DCP｜Colour｜17 min

「我是母親了嗎？」、「我是『它』的母親嗎？」一場以產後經驗為題的工作坊，將參與者的心情或夢境以藍曬顯影，伴隨臂彎裡生命的哭嚎渲染傳遞。以集體共創方法，關注女性在身體心理、身分關係的重大變化，將既私密又集體的經驗化成不同層次的藍，彷彿低聲輕哄寶寶入睡，又溫柔撫平憂鬱哀傷。

維奧萊娜．安普迪亞．羅德里格斯：「我的母親是一位負責照超音波的古巴婦產科醫師。在我還是小女孩的時候，我的頭頂總是圍繞著無數個直挺的大肚子。她們對未來的恐懼和期望，伴隨著新生命的形象誕生，成為我開始創作的主題⋯⋯。我一直很想以產後憂鬱為題，這主題非常複雜，卻又常年被忽略壓抑，我因而深感討論的必要。很多女性都有類似經驗，社會卻沒做好討論的準備，許多為此所苦的母親只能藏起心情，或從頭到尾根本不理解自己正在經歷什麼。

我開始在許多跟母親有關的社群上發文，徵求有類似情況並想抒發心情的女性來參與這部集體創作，結果隔天回覆訊息的數量讓我非常驚喜。之後，我決定舉辦一個藍曬影像工作坊，邀請她們蒐集自己的記憶、相片、文字創作、夢境、想法等等，任何與產後當時有關的心情紀實皆可，其間迸發的創意令我深受啟發。我們在大學攝影系的暗房舉行為期兩週的工作坊，過程中可見這些物件如何讓她們打開心房，透過遊戲般的實作，捨棄見證式的訪談節錄，將沉重記憶轉化為表露心聲的創意之作。」

Blue, a collaborative process with women who have experienced postpartum depression. The director organises a cyanotype workshop for these mothers to create their own images that illustrate their condition: from their fears, dreams, and experiences through the different shades of blue.

‘When my mother worked as an ultrasonographer of pregnant women in Cuba, I was a little girl who grew up surrounded by big bellies at the level of my head. Their fears and expectations in relation to the future, embodied in the figure of a new human being, became a subject of interest for me…Postpartum depression was a topic I always wanted to address, because of the complexity of the subject, how underrepresented it is and the need to explore it. It is something that many women have suffered as mothers, but for which society is very unprepared to deal with and therefore the same mothers who suffered it, end up hiding it or not understanding what they are going through…So, I began to publish posts on the social media pages of mothers, calling for those who had gone through this situation and wanted to express themselves through a collective film. It was very exciting to see the amount of mail I got the next day. Then, I organised an intimate workshop of cyanotypes in which I asked these mothers to collect memories, photos, writings, dreams, thoughts... related to that time. It was inspiring to see their limitless creativity and their openness and need to express themselves. For two weeks I was giving this workshop in the darkroom of the photography department at our university and it was beautiful to see how externalising their condition in other objects helped them to open up, to play and to transform such a heavy experience into a creative process that spoke of their feelings without having to resort to conventional testimony.’ - Violena AMPUDIA RODRIGUEZ

2023 Festival dei Popoli 義大利波波利國際紀錄片影展

2023 Ji.hlava IDFF 捷克伊赫拉瓦國際紀錄片影展

 ▀ ▙ ▝▚ ——— 𝟮 𝟬 𝟮 𝟰 𝗧 𝗜 𝗗 𝗙 ——— ▘ ▞ ▘ ▜

► 5.10-5.19 國家影視聽中心｜臺灣當代文化實驗場C-LAB​｜光點華山電影館｜京站威秀

►TIDF官網：​http://www.tidf.org.tw/

►TIDF臉書：https://www.facebook.com/TIDF.info

►TIDF IG：https://www.instagram.com/tidf.tw/

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