以下放映內容 The Film You Are about to See

麥辛．馬提諾 Maxime MARTINOT｜法國 France｜2023｜DCP｜Colour, B&W｜11 min

影片開始，「請注意，以下放映內容皆由真實的電影歷史素材製作而成，即為影片開始前之免責聲明與警語。然而，任何藝術與工業之間的共謀、創作自由與法律之間的利益衝突，或影像中出現的道德暗示，皆純屬非蓄意之偶然」。

麥辛．馬提諾：「這部片的起點始於字卡這一素材，或者可以更廣泛地指影片開始前，出現任何用以控制觀眾體驗的言論形式。透過重複『以下放映內容』，我想顛覆那些試圖控制觀眾體驗的壓迫性文字。字卡後銜接的電影畫面，是基於影片節奏和剪接因素，但同時也是為了證實這些文本的真實性，因為它們有時可能看起來像笑話，可是實際上是取自真實的檔案影像⋯⋯從電影史看來，這些字卡的效果常與預期相反——變成在宣傳它們原本想要控制的影片！這也是關於禁忌事物悖論的一個好例子，被禁止的事物反而會引起慾望。這個悖論可能來自外在整體，也可能來自我們自己。身為觀眾的我們，也會自己設下屏蔽與逃脫，換句話說，我們知道自己想看什麼。如此一來，在這種悖論投射的電影中，批判性凝視有何地位，以及它在多少程度上能被創建或消解？」

The film you’re about to see incorporates real material from film history. However, any collusion between art and industry, conflict between freedom of creation and the law, or any hint of moralism in the life of images, are purely unintentional.

‘The starting point of the film is limited to a single material: title cards, or more broadly any form of speech that precedes a film to control the audience’s experience. By repeating this sentence, “the film you are about to see,” I wanted to subvert these repressive words that intend to control the audience’s experience. Then came images from films, for rhythm and editing reasons, but also to authenticate these texts which can sometimes seem like jokes but are actually taken from real archives…. The history of cinema teaches us that most of these title cards had the opposite effect to those expected: they mainly advertised the films they claimed to control! This is a good example of the paradox of what’s forbidden: what is forbidden creates desire. This paradox can come from an external whole, as it can come from ourselves. We spectators also create our own barriers and our own escapes: we know whether we want to see a certain thing or not. So, what is the place of the critical gaze, and to what extent can it be created, or dissolved, in this paradoxical projection in cinema?’ - Maxime MARTINOT

2023 IDFA 阿姆斯特丹國際紀錄片影展

2023 Cinéma du Réel 法國真實影展

【亞洲首映Asian Premiere】

致末日後的霧都 The Veiled City

娜塔莉．庫比德斯布萊迪 Natalie CUBIDES-BRADY｜英國 United Kingdom｜2023｜DCP｜B&W｜13 min

神祕女子從未來回到1952年的倫敦，試圖尋找世界走向末日的起點：一場霧霾之害。在她寫給妹妹的信中，描繪了末日初臨景況，人們視線不清、迷失方向，空氣令人窒息，更導致數千人致病死傷，然而無人敢說出這場霾害的真正原因⋯⋯。

娜塔莉．庫比德斯布萊迪：「我喜歡用檔案素材創作，將這些素材挪為它用，同時又不完全將其與原始背景分離。剪輯時，我心中會先有一個整體故事雛形，但實際的劇情編排卻是在處理素材時逐漸浮現。我們會根據視覺敘事和音樂剪出第一種組合，並且根據這個版本寫下劇本。我覺得將虛構元素與紀錄片傳統結合在一起時，可以在你我共享的現實中，創造出一個探索主體與詩意的空間。我希望透過創意和心理圖像式的方式，處理像是1952年大霧這樣的主題，創造出我們作為人類面對這一切時，一種探索新的情感與智識複雜性的電影體驗。」

The Veiled City is a sci-fi city symphony inspired by London’s Great Smog of 1952. Merging reality with fiction, the film invites us to understand the smog in the context of the present-day climate crisis.

‘I was interested in working with archive material in a way that allowed me to reappropriate the footage while not completely separating it from its original context. I approached the edit with an overall story arc in mind, but the actual script emerged from working with the material itself—we cut a first assembly guided by visual storytelling and music, and I wrote the script in response to this first cut. I feel that combining fictional and documentary conventions creates the space to explore subjective and poetic aspects of shared reality. My hope is that by taking a creative and psycho-geographic approach to a subject like the Great Smog of 1952, I can create a cinematic experience that explores the new set of emotional and intellectual complexities we all now face as a species.’ - Natalie CUBIDES-BRADY

2023 Berlinale 柏林影展

2023 Sundance London 倫敦日舞影展

九龍東往事 An Asian Ghost Story

王博 WANG Bo｜荷蘭 Netherlands、香港 Hong Kong｜2023｜DCP｜Colour｜38 min

戰後東亞經濟起飛，假髮製造業為要角，香港則是供給與市場間的樞紐。但1965年美國為阻絕中國而制裁「亞細亞頭髮」，隨後更要求證明「非共產主義人髮」。本片重構檔案影像，藉隨波逐流的人、鬼、髮，講述亞洲現代化中的幽靈故事。

王博：「從對共產主義頭髮禁令出發，透過移動、離散與移民的故事，《九龍東往事》重新檢視香港作為一個居中調節不同世界的過渡之地，如何調配冷戰時期美國帝國主義和東亞秩序的關係。」

This film is about haunting memories of Asia’s late 20th-century modernisation, beginning with a 1965 United States embargo on the hair trade, known as the ‘Communist Hair Ban’.

‘Wigs were vital for the rise of the Asian economy in the post-war era. In the heyday of the 1960s, it was the number four export in Hong Kong’s export-oriented industrialisation. Between Mao's China—the largest source of hair supplies, and the insatiable Western market, Hong Kong functioned as the gateway. In 1965, the U.S. Treasury Department imposed an embargo on “Asiatic hair” to cut off foreign currency to Communist China in the hair trade. The highly racialized category of “Asiatic hair” was later revised as “communist hair,” to enable the wig industry to develop in U.S. allies, including mainly South Korea and Japan, which led to a significant reconfiguration of light industry in East Asia. Departing from the moment of the communist hair ban, through stories of movement, diaspora and migration, this project examines the role of Hong Kong as a transient space that mediates and sanitises the connection between different worlds. The relationship between U.S. Imperialism and East Asia order in the Cold War era.’ - WANG Bo

2023 New:Vision Award, CPH:DOX 哥本哈根國際紀錄片影展新視野獎

2023 Golden Dove Award, DOK Leipzig 德國萊比錫紀錄片與動畫影展金鴿獎

一扇中國工廠大門的二十四種電影視角 24 Cinematic Points of View of a Factory Gate in China

何銳安 HO Rui An｜新加坡 Singapore、西班牙 Spain｜2023｜DCP｜Colour, B&W｜25 min

2014年前後，幾間紐約上市的中國公司在其工廠門口裝監視器，所錄影像卻不見預期繁忙。一名導演受託以「電影視角」檢視這些影像，他回訪《工人下班》以降電影片段，透過並列影像，帶出工廠、工人與資本主義間的百年演變。

「《工人下班》常被稱為電影史上首批產製的影片，片中展示了大量工人走出盧米埃工廠的大門。藝術家何銳安指出，盧米埃兄弟選擇拍攝這個場景，是因為工人從工廠的約束中解放出來，影像捕捉到的不只是身體上的物理狀態，更包含精神狀態上擺脫階級身分，恢復個人生活。誠如馬克思所說，工人『在不工作時感到自在；在工作時不感到自在』，工廠的大門使這兩個狀態保持分離。何銳安也發現現代的監視攝影機提供了一個不同的視角，使人們得以窺視工廠大門內的世界。」——Tabakalera國際當代文化中心

Surveillance footage of factory gates from Chinese companies listed on the New York Stock Exchange is recontextualised through a historical lens, spanning a century of cinematic history to explore the evolution from workers’ rights to contemporary capitalism’s labour dynamics.

‘Workers Leaving the Lumière Factory (1895), by Louis Lumière is often referred to as the first batch of motion pictures ever made. The film shows a vast mass of, mostly female, workers pouring out of the gates of the Lumière Factory. The Lumière siblings chose to film this scene, artist Ho Rui An, argues, because workers being freed from the disciplinary confines of the factory was the perfect way to capture motion, in the physical sense, as well as transformation workers undergo when, shedding their class identity, they leave the factory behind and resume their personal lives. This is because, as Marx put it, the worker “feels at home when he is not working, and when he is working he does not feel at home.” Whereas factory gates kept these two worlds separate, the artist finds that current security cameras offer a different perspective, one that allows one a peek into the world inside the gates.’ - Tabakalera 

2023 SGIFF 新加坡國際電影節

2023 Videoex Experimental Film & Video Festival 瑞士Videoex實驗錄像電影藝術節

 ▀ ▙ ▝▚ ——— 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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