我的診所 The Clinic

翁明 Aung Min｜緬甸 Myanmar｜2010｜DCP｜Colour｜21 min

小鎮醫生穿梭在診所、家戶間看診，醫療資源有限的他，仍盡其所能地與死神搏鬥、醫治病患。周旋在病患與死亡之間，儘管感到無助，他仍在心中保留了一塊角落，安放他對文學的寄託與視病猶親的垂憐。紀錄長片《診所》被攝者翁明醫生初試啼聲的影像創作，從最熟悉的自身日常出發，紀實也抒懷。兩片前後對照之下，也對比出創作心境與社會狀態的轉變。

翁明：「這是我早期的電影創作之一。當時我有個工作夥伴爵（Jeu），他平常擔任婚禮攝影，也會帶著攝影機跟我四處拍攝。此外，團隊還有一名仰光電影學校的學生，名叫帖莫奈，正開始學習剪輯。2010年時，在街上持攝影機是違法的，執法單位可能會來找碴。我們決定在診所內拍攝一部電影，並在外出時格外小心。最初，我們考慮只拍攝身為醫生的我，但要拍醫生，不可能不讓病患入鏡。拍這部片時，緬甸已經發生兩次軍事政變，這部電影完成於第二次政變的十年後，幾乎所有抵抗勢力都被粉碎，人民也被擊潰。在貧困、疾病，以及無所不在的黑暗下，群眾幾乎失去了所有希望。現在，隨著另一場發生於2021年的軍事政變，糟糕的局勢捲土重來，人民彷彿重新經歷那段艱苦的歲月。即使過了14年，我希望這部片能讓觀眾理解緬甸的局勢。」

In an impoverished outskirt of Yangon where the healthcare needs of the neighbourhood is great, a doctor tries to deal with the patients’ problems and also his own.

‘This is one of my very first films, I had a coworker, Jeu, who used to do photoshoots at weddings. He followed me around with a camera. And a Yangon Film School student, The Maw Naing, who started learning editing. In 2010, it was illegal to carry a camera on the streets and could land you in trouble with the authorities. We decided to make a film within the clinic and when we went out, we were very careful. We were first thinking of filming only me, the doctor, but it was impossible to film the doctor without the patients. By the time we made that film, there were already two separate military coups in Myanmar. The film was made 10 years after the second military coup. Almost all signs of resistance were crushed, and the people were defeated. With poverty, diseases, and darkness everywhere, people have lost almost all hope. Now, along with another military coup in 2021, this dreadful situation has returned. It is like reliving the memories and the era of hardship. I hope the film will shed light on the situation in Myanmar even after 14 years.’ - Aung Min

2012 Wathann FF 緬甸瓦旦電影節

古城故事 Mrauk Oo Story

翁明 Aung Min、丹覺泰 Than Kyaw Htay｜緬甸 Myanmar｜2015｜DCP｜Colour｜25 min

緬甸妙烏古城區，四位以撿拾垃圾為業的小孩，邊工作邊嬉鬧，玩耍度日。直到某天，其中一位拾取了觀光客遺落的平板電腦，導致同伴間的摩擦，更引起警察與大人的注意。電子新玩意的吸引與本無竊意的行為，卻引發出更多意料之外的事件。

翁明：「這是TEN MEN製作的其中一部教學作品。我們帶著緬甸若開邦的工作坊成員來到妙烏邦，在一座座古老的寶塔裡拍攝，男孩們在那收集塑膠製品賺取生計。片中角色由非職業演員飾演，他們只依循簡單的表演指示。歷時五天的工作坊中，演員們建立和角色的深度連結並得以表達自我。2015年電影拍攝時，妙烏仍是相對平靜的小鎮，但這座城市正變成緬甸內亂的戰區。」

Amidst the ancient city of Mrauk Oo, a group of young boys earn a living by collecting plastic among the ancient pagodas. With the introduction of a modern electronic device, conflict arises and grows among the boys.

‘It is one of TEN MEN Production’s teaching films. With the aid of workshop members from Rakhine, Mrauk Oo state, we shot among the ancient pagodas, and the boys making a living by collecting plastic among those ancient pagodas. It was done using non-actors and were only given simple instructions. Within the five days of workshop, the actors developed deep connections with the roles and were able to express themselves. When the movie was made in 2015, Mrauk Oo was a relatively peaceful town but now the city is on the brink of becoming a warzone in Myanmar’s civil war.’ - Aung Min and Than Kyaw Htay

2015 Wathann FF 緬甸瓦旦電影節

漁人故事 Fisherman Story

翁明 Aung Min｜緬甸 Myanmar｜2017｜DCP｜Colour｜26 min

在若開邦的丹兌村海岸邊，漁民們世代為生存奮鬥。老漁夫乘著老漁船，趁著潮起潮落，出海捕魚。他倚海為生，在國家政權多次動盪中，度過冬天、夏天和雨季，在日復一日彷彿封凍時間的生活裡，緩緩道出自己的生命哲學。

翁明：「這位漁民此生在緬甸社會主義時期和軍事獨裁政權下吃盡了苦頭。2016年，隨著民主轉型到來，他遙想過往被獨裁者迫害的記憶，以及關於仰光漁商的點點滴滴。同個漁村，青年們殷切等待著出海營生的機會，但老一輩的漁民卻不願傳承下去，他們認為這是一份充滿罪惡的生計，被歷代的獨裁者剝削。當獨裁統治於2021年回歸，軍方禁止捕魚並封鎖這塊區域。代代相傳的漁民傳統和漁村本身，一同面臨著滅絕。」

In a Myanmar fishing village near Ngapali Beach, a lifelong fisherman battles generations of hardship under dictatorships. He dreams of breaking the sea's vicious cycle for his grandson, shaping a poignant tale of their bond with the ocean.

‘The fisherman has suffered his entire life under both the Burmese socialist regime and the military dictatorship. In 2016, with the democratic transition on the way, he recalled the memories of abuse under dictators and Yangon fish merchants. In the same village, young boys eagerly await their chance at sea but the older generation is reluctant to pass it on. They see it as a life of sin and exploitation by the various dictators. With the return of dictatorship in 2021, the military has prohibited fishing and blockaded this region. The generation-long fishing tradition faces extinction, along with the village.’ - Aung Min

2017 Wathann FF 緬甸瓦旦電影節

塑袋奇想 Plastic Bag 

丹倫烏 Than Lwin Oo｜緬甸 Myanmar｜2024｜DCP｜Colour｜20 min

在緬甸，佛教徒自殺是嚴重的罪。凡自殺未遂者，在真正死去後，將在五次來生中承受500次同樣的折磨。但生活如此艱難，貧窮而苟活的人，該如何繼續生存下去？影片以許多意象式的場面，佐以奇想的迸發，在生活裡找到新的寄望。

丹倫烏：「我19歲時曾試著結束生命，為了一段愛情，當時沒有成功，我太怕死，卻也怕活⋯⋯在生命低潮灰黯時，人總傾向逃往更暗之處，想像自己的黑暗會消失其中，這讓我相當著迷。有光的地方能見物，身處暗處則能辨物。黑暗中的一切，無論是恐懼或欲望，都更原始、更赤裸，也更易分辨，我認為這麼一來，似乎也更能靠近真相一點。黑暗也是我國的故事，籠罩在最殘酷的集權統治之下，被邊界的大量戰事包圍，孤立於世界。」

Myanmar, a young boy haunted by the seal of sin, pursues an impossible love and loses himself.

‘When I was 19, I tried to kill myself for love. But I didn’t succeed. I was too afraid to die, afraid to live…When it is dark in our lives, we tend to flee to even darker places. We often imagine that our darkness will disappear there. I am obsessed with this thought. Where there is light you can see things, with darkness you can tell things. In the darkness everything is more raw, more naked. Our fears as well as our desires. It seems to me that we get a little closer to the truth. Dark is the story of my country, drowned after a short break in the cruellest of dictatorships, my country victim of a tight closure to the rest of the world, surrounded by a multitude of wars, especially on all its borders.’ - Than Lwin Oo

 ▀ ▙ ▝▚ ——— 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

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