Film Fest Watch

2010金馬影展

2010-10-31T01:42:00.000+08:00

一年一度全台灣規模最龐大的國際影展「金馬影展」，昨日舉辦套票首賣會及唯一一場選片指南講座，吸引數百位熱情影迷從一大清早就來排隊購票，頂著微風細雨，漫長的排隊隊伍引起路人矚目，甚至有民眾以為是有百貨周年慶熱鬧開打。而影展今年一樣祭出了不可思議的華麗片單，超過兩百部來自全球各地的精彩電影，讓影迷們紛紛吶喊實在是太難選擇啦，因此金馬影展也特地舉辦一場盛大的選片指南活動，讓影迷們一次就能夠全面且迅速的全盤了解片單，好在茫茫片海中規畫出自己完美的2010金馬影展行程。

今年金馬影展為回饋忠實影迷，不僅硬咬牙將套票價格降低，還推出超低價的日場套票給影迷作搭配選擇，並將售票方式作了大調整，影迷只要走到自家巷口的7-11便利商店，就可以直接簡單操作ibon機器來購得票券，不需要再經歷每年排隊劃位的漫長等待過程，不僅節省了金錢，更節省了寶貴的時間。

而今日來到套票首賣會現場購票的觀眾，則可以獲得獨家的金馬影展限定托特包，參加選片指南活動，更可以獲得限量版的橫式影展海報，現場也提供美味的咖啡與高級的德國愛寶琳娜天然氣泡礦泉水給影迷賞味。

今年的大型選片指南講座，分別由金馬影展執行長聞天祥、影展總監陳俊蓉、知名影評人塗翔文、影展節目經理陳曉珮分別為影迷們介紹兩百多部影展電影。聞天祥執行長介紹大師級導演如阿巴斯、肯洛區、李維特都有新作參展之外，也推薦了近年橫掃世界各大影展、生猛有力的菲律賓與寶萊塢電影，幽默風趣的講談讓全場影迷哈哈大笑，而知名影評人塗翔文則推薦充滿在地活力的香港電影以及法國新浪潮大師侯麥專題，影展總監陳俊蓉推薦「酷電影」單元，包括同志、搖滾樂、傳奇人物與經典電影重現等等，影展節目經理陳曉珮介紹保證讓影迷看的心花怒放的動畫單元。馬不停蹄的精彩影片介紹，讓影迷們聽得如癡如醉。

2010金馬影展將於11月4日開幕，今日10月16日開始販售套票，10月23日開放套票劃位，影展期間將有許多國外影人來台參展，並舉辦豐富的周邊活動，絕對要給台灣影迷一場最難忘的心靈饗宴。

2010金馬國際影展
時間：2010年11月4日～18日
*「愛情哲學大師──艾力‧侯麥」專題 11月19日～25日
地點：國賓長春影城、國賓微風影城、台北新光影城

2010女性影展

2010-10-31T01:37:00.000+08:00

愛情、麵包、青春、家庭、身體與性解放……當代女性像八爪章魚般，什麼都想抓。女性主義的浪潮催生亞洲各國的女性影展，女性影展也成為見微知著、洞悉女性思潮的窗口。

2010台灣國際女性影展，10月8日起在台北新光影城上映，以10天時間上映58部參展影片。

牽阮的手民主運動vs.情愛

當代女性如何看待愛情？女導的觀點可以見之一斑。
以執導紀錄片「無米樂」一炮而紅的情侶檔導演顏蘭權、莊益增，這回以關照女權鬥士田媽媽愛情與婚姻的「牽阮的手」為影展開幕，透過交錯的歷史影像、訪談與畫龍點睛的動畫，觀照田媽媽經歷的民主運動和兒女情愛。片中雖不免觸及民主運動，但顏蘭權再三強調，「愛情」才是主角。

與愛無關施暴男性發言

郭笑芸執導的「與愛無關」突破家暴議題一向以女性為主軸的拍攝方式，讓動手施暴的男性發言：「打妳的時候，我也很心疼啊。」片中記錄施暴男人在參加家暴問題心理輔導課中，陳述為何動手施暴的經驗，平衡觀照家暴議題。

本屆影展新添的「青春記事簿」單元，呼應「青春17歲」的主題，囊括少女情懷的遐想、初嘗禁果的羞澀與同儕壓力的焦慮。

等待回家的日子孤女迎新

韓裔法籍導演烏妮‧勒孔特執導的「等待回家的日子」是其中的亮點。今年四月由日、韓、台、印組成的「亞洲女性電影聯盟」首度頒發年度影片獎，「等待回家的日子」拔得頭籌。
電影描述一位被生父遺棄在孤兒院的韓國小女孩，原本抗拒孤兒院清寒、管教嚴厲、競爭激烈的生活，在嘗試自殺、逃跑無效後，逐漸改變心意，迎向新生活。

臉紅的夏日發現身體祕密

「拜金少女」則描述一位害羞的少女因渴望同儕認同，學會以身體換取金錢和虛榮心。少男愛上少女，和她共度一夜春宵，但因經驗不足而失敗，成為全校笑柄，少男因此羞愧走上絕路，造成無法挽回的遺憾。

男男女女，變變變的歷程，是吸引女導們的另一焦點。女影開幕外片、由「摩托車日記」副導索羅門諾芙執導的「臉紅的夏日」，描述一位雌雄同體的阿根廷「小男孩」，在情竇初開之時竟然初潮，因而發現自己身體的祕密，藉成長歷程的性別焦慮與混亂，反思性別。

當他變成她夫妻變成姊妹

台灣女導陳詩姍的「當他變成她」，講述她國小數學老師原本是男人，有老婆也有小孩。歷經20年的掙扎，他動了變性手術，歷經人生巨變的妻子，最後和他從夫妻變成姊妹。

「對話跨性別」探索跨性別者從女變男的歷程，從預備變性前服用睪酮素，到其間身體的改變，變性者如何看待自己的身體與性別，又如何從旁人的眼光認知自我？跨性別者如何與其他社群對話？讓人深思性別議題。

寶萊塢尋芳記尋死前的火光

「寶萊塢尋芳記」裡一位剛丟掉工作、一心尋死的英語教師，死前想找個女人，沒想到竟遇見一位男子扮成的「妓女」，磨擦出意想不到的火光。

雖然劇場工作者王墨林批評女性影展長年大量探索女性身體與性議題，較少關注生命本身的寂寞與孤獨，早已「新鮮感不再」。

但是本屆女性影展總監游婷敬認為，「女性的身體並沒有想像中那麼被解放」，即使女影已耕耘身體議題十多年，可探索的層面依舊不少，「不同族群、不同世代的身體呈現不同樣貌，」女影思潮的前瞻性不虞匱乏。「台灣年輕女導在動畫方面明顯很出色！」游婷敬也讚揚台灣參展影片在數位動畫方面的成就。

妹妹揹著洋娃娃想像空間無限

其中如：余紫詠的「鮽中娛」、張淑滿「妹妹揹著洋娃娃」、劉韋吟「胖奇」、黃慈怡的「洞」等，或描述女子受魚牽引回到出生源頭的奇遇；或以背光拼貼手法呈現女孩成長的故事；或以身體出現奇異的黑洞隱喻欲求不滿；或從胖女孩的角度來討論女性身材議題，皆充滿想像空間。

官方網站

2010台灣國際紀錄片雙年展獎項出爐！

2010-10-31T01:31:00.002+08:00

官方網站

「2010第七屆台灣國際紀錄片雙年展」競賽單元得獎名單終於在30日晚間揭曉，競賽單元共劃分為國際長片競賽獎、國際短片競賽獎、亞洲獎及台灣獎四大類別，本屆總計有1,527件作品角逐競賽，競爭程度為歷屆之最！12位國內外重量級評審經過密集看片和審慎討論後，終於遴選出各獎項得主。

2010第七屆台灣國際紀錄片雙年展競賽單元得獎名單:

國際長片競賽獎 International Feature Length Competition、國際短片競賽獎 International Short Film Competition、亞洲獎 Asia Vision Award、台灣獎 Taiwan Award、觀眾票選獎 Audience Choice Award

2010南方影展

2010-10-31T01:26:00.000+08:00

南方影展嘉義場，千呼萬喚始出來!

眾所期待的2010第十屆南方影展，今年將正式於嘉義，高雄，台南三地巡迴。11/5~7週五至星期天，首站將到那剽悍又好吃的火雞肉飯故鄉，嘉義表演藝術中心。

本次影展各國強片代表齊聚一堂，互相較勁。電影發源地法國，在奇士勞斯基的電影紅藍白系列演出的Marion Stalens（瑪荷永史達蘭），貼身地紀錄她的親姐妹，大名鼎鼎的茱麗葉畢諾許，各位可千萬別錯過這部亞洲首映的【茱麗葉畢諾許】。而島國代表，有新加坡岩井俊二之稱的廖捷凱，則為您獻上如詩如夢的【紅蜻蜓】。國寶級二人組，壞壞卻又搞笑惹人愛的牛仔女同志，竟然也有澳洲導演為她倆拍了【頂級無敵雙辣妹】?!

大中國，導演趙大勇以極簡冷峻的影像風格寫下了下流詩人，騙子，與性剝削者的生命詩篇【尋歡作樂】。來自遙遠彼端的北歐芬蘭，今次首度露臉但來勢洶洶，送上生猛赤裸的男人密室告白實錄，【男子漢三溫暖】。馬來西亞真實事件改編，搬演著青春校園殘酷話劇的【鬥陣我和你】，被比擬為大馬版九降風。活像潮牌主理人的香港帥氣青年導演郭臻，則苦嘆香港人生大不易的短片

二連發【媽媽離家上班去】與【一天】。

另外筆者不得不提及今年南方影展競賽片的廝殺激烈程度，以【綠的海平線】囊括國內外大小獎項的郭亮吟，今年端上【軍教男兒─台灣軍士教導團的故事】。04年以崑濱伯的【無米樂】席捲國內外大小影展的導演顏蘭權和莊益增，這次則紀錄大時代保守背景下，高中生與大她16歲的醫師禁忌戀情，【牽阮的手】。馬來西亞僑生導演作品，玩弄了虛實，乃至假戲弄真的自殺紀錄【假如我是真的】。意識片段交錯的劇情片【放心漫舞】與【悟】，同樣探討著夢與現實。本土動畫大躍進，令人驚豔的【櫻時】讓人墜入信仰的旋渦。嘉義場次佳片如潮，大家千萬可別錯過了。

更多最新動態

CNEX明日家園影展

2010-10-31T01:19:00.002+08:00

CNEX《明日？家園！》主題紀錄片影展即將於10月28日至11月7日展開，今年的華人世界十年十問來到了「下一代的家園」，提醒觀眾思考環境和環保的議題。CNEX執行長蔣顯斌、行政院文化建設委員會二處處長陳濟民、本屆影展綠色合作夥伴台達電子文教基金會執行長海英俊、《歸途列車》導演范立欣、以及《帶水雲》導演黃信堯來到開幕記者會現場，一起以行動支持CNEX《明日？家園！》主題紀錄片影展的策展理念，共同將來自世界各地、關注環境議題的影像推廣至台灣。

CNEX 執行長蔣顯斌表示，因應今年影展主題，主辦單位所有製作物皆由環保再生有機素材製作，包含文宣品、特刊、以及影展紀念T恤。原本想像很容易的事情，卻在執行上遇到許多狀況，才發現愛護地球是需要大家齊心協力完成的。他很誠摯地感謝長期致力於國內環保教育推廣的台達電子文教基金會本次也成為影展的綠色合作夥伴，藉由台達電子文教基金會在環保領域相關資源的挹注，讓CNEX《明日？家園！》主題紀錄片影展更成功。
文建會二處處長陳濟民表示，自《不能面對的真相》、《正負2度C》等紀錄片上映以來，關心環境、環保等議題的紀錄片在社會上備受重視，很高興能夠看到台灣和世界上都有許多影像工作者以攝影機記錄下各種面向的議題，並且有CNEX視納華仁台北分會舉辦主題紀錄片影展，讓台北的觀眾可以接收到不同的訊息。

台達電子文教基金會執行長海英俊表示，台達電子文教基金會從成立至今屆滿二十周年，一直持續以教育的方式，強化台灣社會對能源與氣候議題的重視程度，力圖將環保觀念及行動帶入每個家庭，每個人的生活中。很高興今年與CNEX合作的影展能夠將兩者結合，讓更多觀眾透過影像參與世界上對於相同議題的討論，最終希望大家能受到啟發並進而採取環保行動。今年影展放映地點特別選在台灣首座「鑽石級」綠建築圖書館—台北市立圖書館北投分館放映相關議題影片，更是具有相得益彰的指標意義。

中國導演范立欣帶著國際獲獎連連的作品《歸途列車》首度登台，而台灣知名紀錄片導演黃信堯也將在影展放映作品《帶水雲》。兩位導演笑稱自己分別是兩岸不同類型的型男，此記者會可以說是「兩岸型男大車拼」。范立欣很驚訝的表示，在台灣能夠有這麼多人關心環境議題、甚至舉行影展討論，這在世界各地都是少見的，也非常期待能夠在影展現場和觀眾交流分享。而《歸途列車》在國際上各影展都奪下紀錄片大獎，范立欣現場自曝忘了報名金馬獎，深感遺憾，只能希望自己的下一部影片不會再忘記了。而黃信堯則是相當讚許台灣紀錄片工作者的努力和成就，每年眾多的紀錄片影展，更代表了台灣觀眾對於紀錄片的鑑賞能力不斷提升。黃信堯也說到《帶水雲》拍攝過程的艱辛，在看不見地面的雲林口湖鄉甚至自購了單人獨木舟，以方便現場拍攝。

CNEX 《明日？家園！》主題紀錄片影展即將於10月28日至11月7日展開，透過綠色建築、水資源、污染、動物保育、環境保護、地球暖化造成的天然災害、資源回收、新能源、基因改造與有機食品……等議題，探討人與自然環境之間的共生關係。更多活動詳請請見cnexff.pixnet.net/blog

場次表

2010首屆兩岸紀錄片導演交流影展

2010-10-31T01:09:00.002+08:00

2010-10-31 ~ 2010-11-13 02:00 ~ 05:00

http://web.huashan1914.com/exhibition/playing_detail.php?cate=&id=267

【聯合報╱記者周美惠】2010.10.30 09:12 pm

兩岸三地18位紀錄片導演、50部紀錄片明天將齊聚台北「首屆兩岸紀錄片導演交流影展」，當中尤以指導出張藝謀、陳凱歌等名導的「中國紀錄片之父」司徒兆敦最受矚目。

此次影展以「家園」為名，有一半以上為全台首映甚至是世界首映，內容含生活、教育、傳統文化和獨特的少數民族文化傳承，相當多樣。司徒兆敦將在明天的開幕儀式上介紹中國紀錄片發展史；現場並將播映參展50部紀錄片剪輯成半小時左右的預告片。

此一影展的策展人陳念萱表示，紀錄片是生活真實的呈現，民眾可以從兩岸三地的紀錄片很快理解彼此的生活方式與差異，舉辦紀錄片交流展是增進理解、彼此激盪的最佳途逕。為期兩周的紀錄片影展，每部作品都有導演親臨現場與觀眾交流，全程免費觀影。

[Cannes] 2010坎城影展片單出爐

2010-04-15T23:52:00.003+08:00

第63屆坎城影展將於今年的五月十二至二十三日舉辦，開幕片由大導演Ridley Scott的新片《羅賓漢》雀屏中選，這也是羅素克洛久違的英雄鉅片。非競賽片部份有Woody Allen的新片《You Will Meet a Tall Dark Stranger》，也是一部聚集許多明星的鉅片，例如Naomi Watts、Antonio Banderas、Josh Brolin與Anthony Hopkins等。

完整片單如下：

IN COMPETITION（競賽單元）
Tournee, directed by Mathieu Almaric
Des Hommes des Dieux, directed by Xavier Beauvois
Biutiful, directed by Alejandro Gonzales Innaritu
Hors-la-loi, directed by Rachid Bouchareb
Un Homme Qui Crie, directed by Mahamat-Saleh Haroun
Housemaid, directed by Im Sangsoo
Copie Conforme, directed by Abbas Kiarostami
Outrage, directed by Takeshi Kitano
Poetry, directed by Lee Chang-dong
Another Year, directed by Mike Leigh
Fair Game, directed by Doug Liman
You, My Joy, directed by Sergei Lovnitsa
La Nostra Vita, directed by Daniele Luchetti
Utomlyonnye Solntsem 2, directed by Nikita Mikhalkov
La Princesse de Monptpensier, directed by Bertrand Tavernier
Uncle Boonmee Who Can Recall His Past Lives, directed by Apichatpong Weerasethakul

OUT OF COMPETITION（非競賽片）
You Will Meet A Tall Dark Stranger, directed by Woody Allen
Tamara Drewe, directed by Stephen Frears
Wall Street – Money Never Sleeps, directed by Oliver Stone

MIDNIGHT SCREENINGS（午夜單元）
Kaboom, directed by Gregg Araki
L’Autre Monde (Blackhole), directed by Gilles Marchand

UN CERTAIN REGARD（一種注目）
Blue Valentine, directed by Derek Cianfrance
O Estranho Caso de Angelica, directed by Manouel de Oliveira
Les Amours Imaginaires (Heartbeats), directed by Xavier Dolan
Los Labios, directed by Ivan Fund and Santiago Loza
Simon Werner a Disparu… directed by Fabrice Gobert
Film Socialisme, directed by Jean-Luc Godard
Unter Dir Die Stadt (The City Below), directed by Christoph Hochhausler
Rebecca H. (Return to the Dogs), directed by Lodge Kerrigan
Pal Adreinn (Adrienn Pal), directed by Agnes Kocsis
Udaan, directed by Vikramaditya Motwane
Marti Dupa Craciun (Tuesday, After Christmas), directed by Radu Muntean
Chatroom, directed by Hideo Nakata
Aurora, directed by Cristi Puiu
Ha Ha Ha, directed by Hong Sangsoo
Life Above All, directed by Oliver Schmitz
Octubre, directed by Daniel Vega
R U There, directed by David Verbeek
Rizhao Chongqing (Chongqing Blues), directed by Xiaoshuai Wang

SPECIAL SCREENINGS（特別放映）
Inside Job, directed by Charles Ferguson
Over Your Cities Grass Will Grow, directed by Sophie Fiennes
Nostalgia for the Light, directed by Patricio Guzman
Draquila - L’Italia Che Trema, directed by Sabina Guzzanti
Chantrapas, directed by Otar Iosseliani
Abel, directed by Diego Luna

COMPETITION JURY （評審團名單）
Tim Burton, president （主席：提姆波頓）
Alberto Barbera 
Kate Beckinsale 
Emmanuel Carre 
Benicio Del Toro 
Victor Erice 
Shekhar Kapur 
Giovanna Mezzogiorno

[TFF] 崔貝卡影展推出線上觀影服務

2010-04-13T15:04:00.001+08:00

著名的紐約崔貝卡影展，今年除了可以到現場共襄盛舉之外，影展單位也提供了線上隨選視訊的服務，讓觀眾不用出門，在家也可以看到這些影片。

從影展開幕當天（4/21）開始，將提供15部影片可線上隨選（今年共有77部長片與46部短片），除了完整影片之外，還有幕後特輯、導演專訪、紅毯聚焦等相關影片。

以下是提供隨選服務的影片清單：

The Birth of Big Air

Climate of Change

Hellfighters

The Immaculate Conception of Little Dizzle

sex & drugs & rock & roll

Through the Fire

TiMER

My Last Five Girlfriends

The Swimsuit Issue

The Trotsky

The Wild and Wonderful Whites of West Virginia

[News] 六堆影遊記：「六堆常民人物誌」巡迴影展

2010-04-05T11:29:00.001+08:00

客家委員會臺灣客家文化中心籌備處於97年規劃以「常民」為主題的記錄片拍攝案，以近1年的時間完成10部30分鐘以內的系列紀錄片，名為「六堆常民人物誌」。拍攝地點遍及南部客庄，所觸及的議題包括客家婦女、外籍配偶、客籍老兵、返鄉與留鄉的青年及中老年等，由紀錄片《生命》導演吳乙峰擔任藝術指導，率領七位新生代導演共同拍攝，是台灣首部客家常民系列紀錄影片，更是台灣文化與鄉土教育的最佳教材！

看電影拿DVD，還有導演來分享拍攝秘辛！「六堆常民人物誌」巡迴放映給你好康的！
http://www.wordpedia.com/Ylmovies/liudui/festival/

北區
日期	地點	放映影片
4月3日(六) 14:30	台北市立圖書館總館8樓團體欣賞室	《尋找香蕉的秘方》、《驛鄉》
4月4日(日) 14:00	新竹影像圖書館	《高樹》、《萬巒妹仔》
4月17日(六) 14:00	國立中央圖書館台灣分館1樓簡報室	《紅土的天空》、《春天的對話》
4月29日(四) 19:30	台北誠品信義店3樓書區Forum	《萬巒妹仔》、《啊啊阿公》
6月20日(日) 14:30	桃園客家文化館1樓A5視聽簡報室	《媽媽的味緒》、《萬巒妹仔》
中區
5月1日(六) 15:00	國立臺灣美術館影音藝術廳	《火庄遊俠》、《阿秋綜藝團》
5月2日(日) 15:00	國立臺灣美術館影音藝術廳	《媽媽的味緒》、《驛鄉》
5月16日(日) 15:00	台中誠品園道店3樓文學書區	《阿秋綜藝團》、《媽媽的味緒》
6月5日(六) 15:00	台中市文化局放映廳	《火庄遊俠》、《啊啊阿公》

[News] 法國女性影展揭幕陳映蓉短片入圍

2010-04-03T02:02:00.002+08:00

（中央社）法國克蕾泰依女性影展今天揭幕，有來自25國的影片參展，放映55部女性導演的作品。台灣年輕導演陳映蓉參與「台北異想」計畫的短片「走夢人」入選競賽類短片。

第32屆法國克蕾泰依（Cretail）女性影展今天晚上開幕，影展安排放映55名導演、近80部女性影人影片。影展分劇情長片、紀錄片和短片競賽項目。

短片競賽片單包括陳映蓉拍攝台北夜生活的11分鐘短片「走夢人」、美國華人Chloe Zhao 10分鐘短片「女兒」，與其他來自丹麥、菲律賓、荷蘭、比利時、加拿大、英國、美國、喬治亞、北歐等地，共30部短片。

本屆女性影展有10部劇情長片角逐獎項，馬來西亞導演林麗娟（Charlotte Lim Lay Kuen）本月稍早才在法國杜維爾（Deauville）亞洲影展，獲國際影評人獎的作品「我的女兒」也入圍。其他入圍影片分別來自西歐國家、烏克蘭、澳大利亞等地。

另外，紀錄片競賽類也有10部角逐獎項。影展訂10日晚公布得獎名單。

本屆影展另設跨歐非電影專題，在法語系非洲國家慶祝獨立50週年之際，透過電影認識非洲。並特設非洲女導演專題。

第32屆法國克蕾泰依（Cretail）女性影展官方網站

[SIFF] 新加坡電影節鄭文堂眼淚出征

2010-04-03T01:05:00.000+08:00

2010-03-30 18:15:18　中央社記者蔡和穎台北30日電

第23屆新加坡國際電影節「亞洲電影競賽」競賽影片入圍名單出爐，鄭文堂執導的國片「眼淚」將角逐獎項，他將在4月飛抵新加坡出席首映，並參加頒獎典禮。

新加坡國際電影節（Singapore International Film Festival）將於4月22日揭曉得主，「眼淚」是唯一入圍競賽影片的台灣電影。電影發行商佳映娛樂今天表示，鄭文堂將代表劇組出席。

新加坡國際電影節今年選出來自泰國、印度、印尼、土耳其、韓國、斯里蘭卡等國競賽影片，共同爭取最佳影片、導演、演員、攝影獎項，及亞洲電影促進聯盟（NETPAC）頒發的會外獎項「亞洲電影獎」。

「眼淚」獲選去年金馬影展開幕片，電影融合警匪動作類型片和深刻的人性刻劃，由蔡振南、鄭宜農、房思瑜等人擔綱演出，目前在台上映。

[JIFF] 全州國際電影節將於4月登場

2010-04-03T00:58:00.000+08:00

（韓聯社全州3月31日電）

第11屆全州國際電影節（JIFF）將於4月29日隆重開幕。全州國際電影節組委會31日在全州數位獨立影院舉行記者會，公開了今年電影節的日程、作品和活動等有關資訊。

組委表示，今年電影節的主題是自由、獨立、溝通，將從4月29日起在南韓聲音文化殿堂和包括電影之街的影院等共14個影館，放映作品。

為期9天的該電影節將共放映來自韓、美、日等世界49個國家的209部影片。其中，長短篇影片分別各有131部和78部。《Should have kissed》被選為開幕作品。閉幕作品是墨西哥導演岡薩雷斯．魯比奧的《To the sea》。

[BIFFF] 布魯塞爾奇幻影展台灣已映演片單

2010-04-02T14:46:00.005+08:00

今年台北金馬奇幻影展正如火如荼準備展開之際，遠在地球比端的比利時，在類似的時間點，也正要盛大舉辦類似的奇幻影展，由於小金馬是第一次嘗試舉辦，不妨也可以對照一下已有28年歷史的布魯塞爾影展，作為繼續進步的指標。

由於兩個影展的性質雷同，我們就先從片單來看看有什麼相同的片子吧！

台灣已經映演過影片（院線類）

20th Century Boys: Chapter 3 - Redemption 20世紀少年最終章

Fish Story 一首PUNK歌救地球

Invitation only 絕命派對（國片之光啊！台灣電影果然還是只能入圍一部）

Kick-Ass 特攻聯盟（閉幕片，台灣4/16上映）

Orphan 孤兒怨

Possessed 纏身

Summer Wars 夏日大作戰

Thirst 蝙蝠‧血色情慾

台灣已經映演過影片（影展類）

Cold Souls 靈魂冷凍庫（2009金馬）

Vampire Girl vs Frankenstein Girl 吸血鬼少女大戰科學女怪人（2009金馬）

此次金馬奇幻也有選映的影片

Daybreakers 血世紀（加映）

The Eclipse 蝕

Ink 陰間說書人
Kanikosen 蟹工船
Symbol 睡衣男闖雞關

[HKIFF] 小龍不死：香港電影節特刊紀念李小龍七十冥壽

2010-04-02T14:14:00.000+08:00

2010年適逢國際巨星李小龍七十歲冥壽，今年香港國際電影節(3月21日至 4月6日) 將特別呈獻主題紀念活動：「李小龍 7010」，包括一系列李小龍電影回顧、展覽、座談會，以及全新專題特刊《小龍不死》，藉此向這位一代電影巨星致敬。

「李小龍 7010」對全球電影觀眾而言可謂別具意義，亦是亞洲首次於同一電影節期內放映九部李小龍有份參演的電影。是次電影回顧特別精選李小龍於不同年齡拍攝的佳作，讓來自世界各地的影迷見證李小龍在電影中成長，當中包括李小龍於 1950 年至 1973 年間的電影作品，如 1950 年的《細路祥》，當時飾演主角的李小龍年僅10歲；及 1960 年李小龍 20 歲時的作品《人海孤鴻》。另外亦有 50 年代李小龍參與演出的《雷雨》；及於1973年拍攝、令李小龍蜚聲國際的《龍爭虎鬥》。

香港國際電影節協會總監邵淑慧表示：「一代傳奇人物李小龍是香港獨有的文化遺產，他啟發全球的電影製作人及影迷。事實上，不論是過去還是現在，只要是為電影業開拓及引領前路的香港影壇人才，電影節均會全力支持。」

作為國際巨星，李小龍不斷吸引世界各地影迷留意香港的動作電影。他的電影影響後世流行文化的不同範疇，包括健身、音樂、運動、舞蹈、電視遊戲及哲學，並把功夫電影打入主流，讓全世界認識香港電影作品。

《小龍不死》是香港國際電影節協會為「李小龍 7010」印製的專題特刊，讓影迷重溫李小龍一生，感受李小龍為所有接觸過他的人及影迷所帶來的震撼和感動。書中特載資深影評人石琪、張偉雄、李照興及蒲鋒的文章，分析李小龍電影帶來的深遠影響，評論包括 50 年代李小龍參演的粵語電影，以至 70 年代的功夫電影。

[SFIFF] 2010舊金山影展華語/東亞片映演名單

2010-03-31T21:53:00.005+08:00

Cinema by the Bay

灣區電影

Empire of Silver 《白銀帝國》/ Christina Yao 姚樹華 / China, Taiwan, HK

New Directors

新銳導演

A Brand New Life 《等愛我的人》（香港電影節譯名）《嶄新的一天》（釜山電影節譯名）/ Ounie Lecomte 烏妮‧勒孔特 / South Korea, France

World Cinema

世界電影

Air Doll《空氣人形》 / Hirokazu Kore-eda 是枝裕和 / Japan
Bodyguards and Assassins 《十月圍城》/ Teddy Chen 陳德森 / HK, China
Moscow / Wang Cheol-mean / South Korea
Nymph《森靈》 / Pen-ek Ratanaruang 彭力雲旦拿域安 / Thailand
Vengeance《復仇》 / Johnnie To 杜琪峰/ HK, China, France
Woman on Fire Looks for Water《遺情》 / Woo Ming-jin 胡明進 / Malaysia, South Korea
Last Train Home《歸途列車》 / Lixin Fan 范立欣 / Canada, China
Yellow Sheep River《黃羊川》 / Liu Soung 劉嵩 / Taiwan

Shorts

短片集錦

Sleeping with Her《片刻暖和》（收錄於Imperfect Unions）

---------------------------------------------------------------
台灣還是只有一部作品，只是換成了黃羊川。另有溫知儀短片作品《片刻暖和》。

[HKIFF] 第34屆香港國際電影節得獎名單

2010-03-31T17:40:00.000+08:00

亞洲數碼錄像競賽
數碼錄像金獎《光斑》
數碼錄像銀獎《尋歡作樂》

人道獎紀錄片競賽
最佳紀錄片《上訪》
傑出紀錄片《赤柬人民公敵》

國際短片競賽
大獎《赫爾辛基變幻錄》
評審團獎《柏林圍牆》

國際影評人聯盟獎
國際影評人聯盟獎《尋歡作樂》
特別表揚《夜郎》

天主教文化獎
天文教文化獎《等愛我的人》
特別讚賞《盲神父與假釋女》

2010 年 3 月 30 日 (香港電影節官方稿) – 第 34 屆香港國際電影節今天宣布本年度亞洲數碼錄像競賽、人道獎紀錄片競賽、國際影評人聯盟獎、天主教文化獎及首屆舉行的國際短片競賽的得獎名單。盛大的頒獎典禮假香港文化中心隆重舉行，評審團成員包括去年榮獲康城影展最佳導演獎的布里楊文杜沙(《嫲嫲對婆婆》) 及楊凡(《淚王子》)均應邀出席該盛會。

亞洲數碼錄像競賽旨在發掘亞洲創作明日之星，開拓數碼拍攝新領域。本年度的數碼錄像金獎由曾在第31屆電影節勇奪國際影評人聯盟獎的楊恒(《檳榔》)奪得，得獎作品為《光斑》，評審認為該作品視覺風格強勁，用原創的電影語言描寫激化的人情關係，產生嶄新的電影藝術形式。數碼錄像銀獎則授予趙大勇的首部劇情片《尋歡作樂》。

趙大勇同時亦憑著《尋歡作樂》，於今年的國際影評人聯盟獎再下一城，作品以富詩意的手法，展現現代社會支離破碎的美感。而著名電影攝影師劉勇宏 (《盲井》)的首作《夜郎》則獲特別表揚。國際影評人聯盟獎自第 23 屆起在香港國際電影節每年頒發，旨在鼓勵新生代電影的發展。

本年度人道獎紀錄片競賽的最佳紀錄片由趙亮的《上訪》奪得，這長版本以史詩的幅度，剖析今日中國某些重大的社會及心理問題。傑出紀錄片的得主則為狄森巴和羅拔林堅導演的《赤柬人民公敵》，該片對柬埔寨「殺人場」發生的一切坦率道來，依然震撼。

第 34 屆香港國際電影節首次加入國際短片競賽，首屆大獎由 Hannes Vartiainen 及 Pekka Veikkolainen 執導的《赫爾辛基變幻錄》奪得，該片能夠運用影像和蒙太奇，確認正在消失中的環境以及時間的無常。由 Paul Cotter 執導的《柏林圍牆》則勇奪評審團獎，該片成功顯示即使柏林圍牆倒下20年後，仍然能帶出一份高漲的情緒。

香港國際電影節自 2004 年起與香港公教影視協會合辦天主教文化獎，旨在鼓勵及表彰電影人積極發掘藝術、人文及精神價值。本年度天文教文化獎由《等愛我的人》奪得，該電影屬法籍韓裔女導演烏妮勒孔特一部半自傳式作品，導演的藝術天份令不起眼的小事也變得重要。由卡魯斯哈羅(《戰場上的小人球》)的《盲神父與假釋女》則獲特別讚賞。

[SFIFF] Robert Duvall等人將於舊金山影展獲頒獎項

2010-03-31T17:12:00.005+08:00

2010舊金山影展昨日宣佈了今年的參展影片，其中包含了將於四月二十二日開幕當天揭幕的《Micmacs》（金馬奇幻影展譯為《異想奇謀：B咖的拯救世界大作戰》，4/18搶先上映！），是《愛蜜莉異想世界》導演Jean-Pierre Jeunet的新作，除此之外也有今年日舞影展獲得注目的浪漫喜劇《Happythankyoumoreplease》等177部參展影片，內容涵括劇情、紀錄、短片、國際影片等多元作品，也將有獎項、舊片重映、座談、講座等活動。

重要獎項名單：

Peter J. Owens Award

終生成就獎

美國老牌演員Robert Duvall
（教父、現代啟示錄）

Founder’s Directing Award

年度導演獎

巴西導演Walter Salles
（中央車站、革命前夕的摩托車日記）

Kanbar Award

傑出編劇獎

美國編劇、製片James Schamus
（臥虎藏龍、斷背山）

Mel Novikoff Award

舊金山灣區傑出貢獻獎

美國影評巨擘Roger Ebert

Golden Gate Persistence of Vision Award

其他類（紀錄片、短片、動畫片、電視類）終生成就獎

美國動畫短片導演Don Hertzfeldt

[BAFICI] 2010布宜諾獨立影展華語/東亞片映演名單

2010-03-31T11:34:00.025+08:00

布宜諾斯艾利斯國際獨立影展（簡稱布宜諾獨立影展）是拉丁美洲最重要的影展之一，本屆共有31部東亞（中港台日韓與東南亞）出品的影片，如下所示：

Competition / Cinema of the Future

競賽單元 / 電影的未來

A Summer Family/ Masaki Iwana / Japan

Exhausted《精疲力盡》/ Kim Gok金梏 /South Korea

I Went to the Zoo the Other Day/ Luo Li / Canada, China

Oxhide II《牛皮II》/ Liu Jia yin劉伽茵 / China

Focus & Retros / Focus 40 years of Berlin's Forum

焦點影片 / 重現柏林論壇四十年風華

A Dedicated Life《全身小說家》/ Kazuo Hara原一男 / Japan
Extreme Private Eros: Love Song《絕對隱私的性愛戀歌1974》/ Kazuo Hara原一男 / Japan
Oxhide《牛皮》/ Liu Jiayin劉伽茵 / China
The Emperor’s Naked Army Marches On《怒祭戰友魂》/ Kazuo Hara原一男 / Japan

Little Bafici

小小布宜諾影展

Beetle Queen Conquers Tokyo/ Jessica Oreck / USA, Japan
In the Attic: Who Has a Birthday Today?/ Jirí Barta / Checa, Eslovaquia, Japan
McDull, Kung Fu Kindergarten《麥兜響噹噹》/ Brian Tse謝立文 / China, HK, Japan

Panorama

觀摩

Eighteen《十八歲》/ Jang Kun-jae張建宰 / South Korea
Sex Volunteer/ Cho Kyeong-duk / South Korea
Sun Spots《光斑》/ Yang Heng楊恒 / HK, China
Woman on Fire Looks for Water《遺情》/ Woo Ming Jin胡明進 / Malaysia, South Korea
Yang Yang《陽陽》/ Chengyu-chien鄭有傑 / Taiwan
Yellow Kid《黃孩子》/ Mariko Tetsuya真利子哲也 / Japan

Panorama / Careers

觀摩 / 生涯綜觀

Like You Know It All《懂得又如何》/ Hong Sang-soo洪尚秀 / South Korea
Visitors (Jeonju Digital Project 2009)/ Hong Sang-soo洪尚秀 / Naomi Kawase / Lav Diaz / South Korea, Japan, Malaysia
Where Are You?《我不知道》/ Masahiro Kobayashi小林政廣 / Japan

Panorama / Late Night

觀摩 / 晚夜物語

Summer Wars《夏日大作戰》/ Mamoru Hosoda細田守 / Japan

Panorama / The Earth Trembles

觀摩 / 地球震動

Crossing the Mountain《翻山》/ Yang Rui楊蕊 / China
Petition《上訪》/ Zhao Liang趙亮 / China, France

Retros & Focus / Focus Radical visions from China

復刻流行重新聚焦 / 草根中國紀錄觀點

Bing Ai《秉愛》/ Feng Yan馮艷 / China
Disorder《現實是過去的未來》/ Huang Weikai黃偉凱 / China
Disturbing the Peace《老媽蹄花》/ Ai Weiwei艾未未 / China
Ghost Town《廢城》/ Zhao Dayong趙大勇 / China
Survival Song《小李子》/ Yu Guangyi於廣義 / China
Using《龍哥》/ Zhou Hao周浩 / China
Wheat Harvest《麥收》/ Xu Tong徐童 / China
Ximaojia Universe《神衍像》/ Mao Chenyu毛晨雨 / China

---------------------------------------------------------------
台灣只有陽陽一部片，請繼續加油。
日韓勢力還是持續壯大。
中國紀錄片竟然多到可以作成專題了！不可小覷！

San Francisco (April 22 - May 6) SFIFF 53 New Directors Competition Films

2010-03-31T11:03:00.004+08:00

http://www.fest21.com/en/blog/editor/san_francisco_april_22_may_6_sfiff_53_new_directors_competition_films

The 53rd San Francisco International Film Festival (April 22 - May 6) will award close to $100,000 in total prizes this year. The New Directors Prize of $15,000 is given to a narrative first feature that exhibits a unique artistic sensibility and deserves to be seen by as wide an audience as possible. An independent jury will select the New Directors Prize winner, to be announced at the Golden Gate Awards Wednesday, May 5.

Alamar, directed by Pedro González-Rubio, Mexico 2009
West Coast Premiere
The Mexican Caribbean's stunning Banco Chinchorro, home to the world's second largest coral reef, provides the setting and inspiration for this effortlessly beautiful story of a Mayan father and son as they spend a summer working (and playing) along the coast.

Animal Heart, directed by Séverine Cornamusaz, France/Switzerland 2009
U.S. Premiere
This potent first feature, set on a small two-person dairy farm deep in the Swiss Alps, is a courageously clear-eyed and forgiving look at the wildly dysfunctional marriage of a brutish dairy farmer and his beleaguered wife.

A Brand New Life, directed by Ounie Lecomte, South Korea/France 2009
Drawing on her childhood memories, director Lecomte creates an intimate portrait of an emotionally bereft nine-year-old and her irrepressible cohort at a South Korean Catholic orphanage.

The Day God Walked Away, directed by Philippe van Leeuw, France 2009
U.S. Premiere
The atrocities of the Rwandan genocide are explored through the experiences of one woman in this debut feature by cinematographer Philippe van Leeuw.

The Famous and the Dead, directed by Esmir Filho, Brazil/France 2009
U.S. Premiere
A 16-year-old Bob Dylan fan becomes obsessed by the images and murky fate of a girl in his town, his fascination growing with the appearance of her charismatic, sinister boyfriend.

Night Catches Us, directed by Tanya Hamilton, USA 2009
In the summer of '76, a former Black Panther returns to his working-class Philadelphia neighborhood where he is not exactly welcomed back with open arms. His best friend's widow and her daughter are the only ones who appreciate his predicament in this potent drama.

Northless, directed by Rigoberto Perezcano, Mexico/Spain 2009
The melancholy misadventures of a quiet young man who tries again and again to cross the border from Mexico into the U.S. take the form of visual poetry in this beguiling, deceptively quiet feature debut.

La Pivellina, directed by Tizza Covi and Rainer Frimmel, Austria/Italy 2009
A middle-aged circus performer, living with her husband in a trailer park on the outskirts of Rome, takes in an abandoned toddler and a surrogate family slowly forms in this brilliant neorealist portrait of itinerant but deeply interwoven lives.

Shirley Adams, directed by Oliver Hermanus, South Africa/USA 2009
In this unflinching drama, a determined mother tries to look after her teenaged son who has been left paralyzed from the waist down by a stray bullet.

Susa, directed by Rusudan Pirveli, Georgia 2010
North American Premiere
Twelve year-old Susa, living in a dreary suburb of a Georgian city, tours back streets delivering orders from an illegal vodka dispensary and waits for his father's return from the big city.

Tehroun, directed by Nader Takmil Homayoun, France/Iran 2009
A beggar rents a baby from local mobsters to ply his trade. When a prostitute steals the child he must delve into Tehran's underbelly to find her and retrieve the baby.

You Think You're the Prettiest, but You Are the Sluttiest, directed by Ché Sandoval, Chile 2009
North American Premiere
Horny twentysomething boy-men cruise around the suburbs of Santiago trying to get laid, but instead discover the meaning of life, sort of, in Chilean writer/director Ché Sandoval's mock epic.

In addition to these 12 films in competition, the New Directors section of SFIFF53 includes 15 out-of-competition films, which will be announced at the Festival's press conference Tuesday, March 30.

'Micmacs' to open S.F. International Film Fest

2010-03-31T10:58:00.003+08:00

G. Allen Johnson, Chronicle Staff Writer
Tuesday, March 30, 2010

Read more: http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2010/03/30/DDSH1CMO2E.DTL#ixzz0jieHX9IU

"Micmacs," another bizarre movie from the director of "Delicatessen" and "Amélie," will open the 53rd San Francisco International Film Festival, which runs April 22-May 6.

Jean-Pierre Jeunet's film, about a man with a bullet in his skull who lost his father in a land mine explosion and seeks revenge against weapons manufacturers, is actually a rather whimsical film.

"It's great fun as a movie, but it's also by a director who uses all the tools of cinematic craft," said Rachel Rosen, San Francisco Film Society director of programming. "It's good old-fashioned entertainment - it's basically a caper film."

The festival closes with a documentary, "Joan Rivers - A Piece of Work," and mayhem is promised at the Castro Theatre when Rivers herself makes an appearance.

Does the festival have a plan to manage the flamboyant comedian to keep things from getting out of hand?

"No," Rosen said. "I am just going to do whatever she says."

The festival also will honor actor Robert Duvall, director Walter Salles, screenwriter James Schamus, animator Don Hertzfeldt and film critic Roger Ebert and will feature conversations with musician-songwriter (and now Oscar winner) T Bone Burnett, editor Walter Murch - who gives the annual State of Cinema Address - and screenwriter Callie Khouri.

As is customary with most larger festivals nowadays, there is a featured centerpiece presentation. It is - ready? - "Happythankyoumoreplease," a low-budget film that is the debut of a director, Josh Radnor, who is best known as an actor on the television sitcom "How I Met Your Mother." It's an edgy but heartfelt look at a close-knit group of friends in their 20s in Manhattan and plays at the Sundance Kabuki Cinemas on May 1.

Also customary: parties. The opening-night bash is at the historic Regency, the closing night is at 1015 Folsom (is that a Rivers kind of place? Puhleeze ... ) and Radnor probably will hold court at the Manor West in SoMa.

Aside from the ancillary trappings, there are 177 films from all over the world, five world premieres and several North American and U.S. premieres, including local personality Joshua Grannell's directorial debut, "All About Evil," the kind of campy romp one would expect from the person better known as Peaches Christ.

Also worthy of note are three films restored at least in part by Martin Scorsese's Film Foundation, most notably Luchino Visconti's sublime visual feast "Senso" (1954), starring Alida Valli as an Italian countess and Farley Granger as an Austrian officer in war-torn 1866 Venice.

Also restored: From India, Satyajit Ray's 1958 masterpiece, "The Music Room," and American director Ted Kotcheff's 1971 Australian film of civilization versus Outback, "Wake in Fright," with Kotcheff scheduled to appear in person.

"It's part of what makes this festival so exciting," said Rosen, speaking of all the in-person filmmakers and actors. "There's a live element to them, and anything can happen."

Miss Bigelow's report on the announcement of the festival. E2
S.F. International Film Festival

When: April 22-May 6

Where: The Sundance Kabuki Cinemas, the Castro Theatre, Landmark's Clay Theatre and the Pacific Film Archive in Berkeley

Opening-night film: "Micmacs," directed by Jean-Pierre Jeunet ("Delicatessen," "Amélie")

Closing-night film: "Joan Rivers - A Piece of Work," a documentary directed by Ricki Stern and Annie Sundberg

Special events: The festival will honor actor Robert Duvall, director Walter Salles, screenwriter James Schamus, animator Don Hertzfeldt and film critic Roger Ebert and will feature conversations with musician-songwriter T Bone Burnett, editor Walter Murch and screenwriter Callie Khouri.

Tickets, schedule and information: The schedule is online at sffs.org. Tickets go on sale Thursday. (925) 866-9559. sffs.org.

Read more: http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2010/03/30/DDSH1CMO2E.DTL#ixzz0jie4Vxu3

Werner Herzog to head Berlin Film Festival jury

2009-11-20T04:16:00.004+08:00

BERLIN — Oscar-nominated German director Werner Herzog will lead the international jury at the 60th Berlin Film Festival from February 11-21, organisers said on Thursday.

The critically acclaimed Herzog, 67, will head the panel that chooses the winners of the festival's coveted Golden and Silver Bear prizes which will be awarded on February 20.

"Werner Herzog's films convey the artistic strength of cinema. We are very pleased to have this outstanding director as Jury President for the 60th anniversary of the festival," festival head Dieter Kosslick said in a statement.

Over a career spanning almost 50 years, Herzog has made more than 50 films. In 2009, Time magazine listed him as one of its top 100 most influential people in the world. The only other German on the list was Chancellor Angela Merkel.

He won an Oscar nomination for best documentary feature for his 2007 film "Encounters at the End of the World" and has a glittering array of awards from film festivals around the globe.

The Berlin film festival, known as the Berlinale, ranks below Cannes and alongside Venice among the world's top film festivals.

Last year's jury president was Oscar-winning Scottish actress Tilda Swinton.

Copyright © 2009 AFP. All rights reserved.

A debate over the festival effect

2009-11-20T04:15:00.001+08:00

Though buzz at fests can raise a film's profile, some say it's not a sure-fire predictor of Oscar gold.
By Christy Grosz
November 18, 2009

When "Slumdog Millionaire" premiered at the 2008 Telluride Film Festival, audiences cheered for the uplifting story about a kid from the Mumbai slums who wins big on a game show. After it went on to take home the coveted Audience Prize at the Toronto International Film Festival, the film's award season performance went on to mirror that of its winning main character.

Ultimately, "Slumdog" took home eight Oscar statuettes, including the one for best picture, which, for many people, further solidified the film festival's Oscar-auguring powers. But veterans of the circuit say that, while the attention movies and talent receive at film festivals is important, the "Slumdog" bullet train was an anomaly: Festivals represent just one cog in the overall award season machine.

For Toronto, "it always depends on what movies are screened," says Rob Friedman of Summit Entertainment, which picked up director Kathryn Bigelow's Iraq war drama, "The Hurt Locker" -- a film many believe is an Oscar contender -- at that festival last year. "Toronto is a great publicity opportunity, but I don't necessarily believe that it's a critical element in an academy season."

But many believe this year's "Slumdog" could turn out to be Lee Daniels' "Precious: Based on the Novel 'Push' by Sapphire," which so far has taken top prizes at Sundance and Toronto but was snubbed by the Gotham Independent Film Awards.

While "Precious" could still go on to become the juggernaut "Slumdog" turned out to be, it's just too early to tell. Toronto and Telluride, poised at the beginning of academy season in September, didn't solidify the race in a significant way because there are still several studio pictures yet to be seen, says James D. Stern, who produced "An Education," a Sundance pickup. "The Oscar race is more murky because I think people are waiting to see what is 'Avatar' really going to look like, what is ['The Lovely Bones'] really going to look like."

In fact, "Bones" and the highly anticipated Clint Eastwood project "Invictus" weren't on the circuit at all, which is why academy strategist Cynthia Swartz says some pundits place too much emphasis on festivals. "What they do is help the Oscar bloggers figure out what's going on," Swartz says. "I don't think your average academy member is paying attention to what's shown at Toronto. Many films that don't go to these festivals have done very well."

One Way Out Media's Tom Ortenberg agrees that Toronto shined a spotlight on a few films this year but did little to bring clarity to the race. "There were a lot of award-caliber pictures that played in the festival, but I think 'A Single Man' and 'A Serious Man' were probably the award season discoveries at Toronto," he says, adding "Up in the Air" as another potential contender.

The market component of festivals such as Sundance, Cannes and Toronto can have a halo effect for award fodder too. For example, "A Single Man" was able to capitalize on the press that the Weinstein Co.'s immediate pickup generated at Toronto. Weinstein, in turn, went into campaign overdrive for Colin Firth's performance in the Tom Ford-directed picture. In a very similar way, Mickey Rourke and Marisa Tomei earned Oscar nominations following "The Wrestler's" almost-immediate pickup at Toronto last year.

In many ways, the most important role any festival serves is getting the industry to see the films that are out there. "It's a forum where a lot of movies have a chance to first be exposed," Friedman says. Up till then, he says, "with 'Up in the Air' and 'The Men Who Stare at Goats,' people have been talking about them and not had the ability to see them."

calendar@latimes.com
http://theenvelope.latimes.com/news/more/print/la-en-festivals18-2009nov18,0,2181272.story

[NEWS] Macau to host first film fest

2009-10-13T16:18:00.003+08:00

澳門也要舉辦影展了！將於12月26日至1月2日舉行，有意角逐獎項者請於11月15日之前送件。中國大腕葛優將擔任第一屆評審團主席。
Gambling hub's inaugural effort features Ge You as jury chair
By Jonathan Landreth

Oct 13, 2009, 02:01 AM ET
BEIJING -- Adding the silver screen to mounds of gold, the southern China gambling hub of Macau will launch its first international film festival in December with a jury chaired by popular Chinese actor Ge You, local media reported Tuesday.

The inaugural Macau International Film Festival will run Dec. 26-Jan 2, China's state-run Xinhua News Agency said.

The MIFF jury will award prizes for best feature film, screenplay, director, actor, actress and newcomer. The deadline for submissions is Nov. 15.

Last year, Macau was host to industry trade show CineAsia, put on by Hollywood Reporter parent, the Nielsen Company. CineAsia 2009 will be held in nearby Hong Kong from Dec. 8-10.

Ge, one of China's most popular actors, was last seen in "If You Are the One," directed by Feng Xiaogang and produced by Beijing-based Huayi Bros. Pictures.

source:http://www.hollywoodreporter.com/hr/content_display/world/news/e3ib26dae96f6367a44a224908f4e8a2537

[NEWS] Johnnie To: It took years to find artistic balance

2009-10-10T14:20:00.001+08:00

(10-09) 06:28 PDT BUSAN, South Korea (AP) --

Johnnie To says it took him years to find the right balance between art and commerce, as the Hong Kong director known for his stylish gangster thrillers reviewed his 30-plus year career at one of Asia's top film festivals.

Speaking at the 14th Pusan International Film Festival in South Korea on Friday, To traced his personal history back to his first job as a 17-year-old messenger at leading Hong Kong broadcaster TVB.

The 54-year-old filmmaker said he became disillusioned with Hong Kong's star-driven system in the early 1990s, and after making a series of commercial films, he decided to carve his own path by founding his now famed production company, Milkyway Image, in 1996 with fellow director Wai Ka-fai.

"The main goal was originality," he said. "I decided that I didn't have to use stars. I would use whoever is right for the script."

But after Milkyway Image made a series of stylized films that bombed at the box office, like "The Longest Nite" and "The Mission," To said he was forced to reconsider.

"We had to think about our future development. If our box office results continued to suffer, we wouldn't be able to find any investors," he said.

Thus Milkyway Image turned to more mainstream fare starting in 2000 with the romantic comedies "Needing You" and "Love on a Diet," which both starred Andy Lau, one of Asia's biggest stars.

"I realized if I have to continue, I needed to balance both artistic and commercial factors," To said.

One of Hong Kong's most prolific filmmakers, To's body of work encompasses TV, comedy, art-house, action and kung fu. His recent works include "Election,""Exiled" and his 2009 English debut, "Vengeance," starring French rock star Johnny Hallyday. The film was nominated for the top Palme d'Or prize at the Cannes Film Festival earlier this year. He is often held up as one of Hong Kong's most distinctive filmmakers, especially when local stories are being overshadowed by big-budget martial arts and historical epics from mainland China.

To also made rare comments at the festival about his youth, revealing that he dropped out of secondary school to work at TVB, where he made his way up to TV drama director in 1977. He said he felt compelled to work harder than his colleagues because of his lack of formal education.

"I didn't go to film school. ... I learned about filmmaking as I worked on the job," he said.

[NEWS] Korean film in focus at Pusan festival

2009-10-09T17:23:00.003+08:00

This year’s event features four retrospectives on local cinema
October 09, 2009

Every year around this time, thousands of people head to the southern port city of Busan, where the smell of the sea riding a crisp autumn breeze mingles with the faint scent of filmstrips at the Pusan International Film Festival.

The festival, now in its 14th year, is set to screen its biggest lineup ever, with 355 films from 70 countries.

Part of the festival’s success can be attributed to the fact that it brings something new every year to cineastes who wait anxiously for the festival’s autumn opening.

“This year’s PIFF will have the largest number of films ever, and we will be graced with the most glamorous guests we have ever had,” PIFF director Kim Dong-ho said.

Kim, who has been with the festival since its inception, has good reason to be proud of this year’s lineup. The event will play host to 98 world premieres and 46 international premieres (films that are being shown there for the first time outside of their home country), which he says reflects the festival’s growing prestige.

Another feature of the festival is that it will screen more Korean films, both old and new, than ever before.

With the opening film “Good Morning President” at the head of the list, a number of first-run Korean films will be screened during the festival, according to event organizers. In the “Korean Cinema Today - Panorama” section in particular, premieres will outnumber previously released films.

There will also be four retrospectives on Korean cinema. The first spotlights the late Korean director Ha Kil-chong, who was an icon for contemporary intellectuals in the 1970s; this year marks the 30th anniversary of his death. There are also two retrospectives on the late director Yu Hyun-mok and the late actress Jang Jin-young, both of whom passed away this year. The final retrospective titled “Archaeology of Korean Cinema” is the outgrowth of a program that works to restore Korean films. The section features three Korean movies rarely screened for general audiences.

The festival has generated a good deal of buzz in the weeks leading up to its opening, largely due to the extraordinary lineup of Korean and overseas celebrities who are expected to attend. Among them are three international heartthrobs - Lee Byung-hun from Korea, Josh Hartnett from the United States and Takuya Kimura from Japan. All three star in the movie “I Come with the Rain” and will be featured in the festival’s Gala Presentation.

Hartnett shared his excitement about his first visit to Korea and meeting his fans in a letter released this week by the film’s local promotion agency, in which he wrote: “As you may know, I’ll be attending the Pusan Film Festival this year to promote the film ‘I Come with the Rain.’ I am very excited about my visit. Byung-hun Lee has told me many great things about Korea, and now I get to see it for myself. I’m looking forward to meeting our fans, eating some good food, seeing the sights. I hope you enjoy the film. See you soon.”

The film made headlines after tickets for the Busan screening sold out in less than a minute when online ticketing began late last month. The festival’s opening and closing films also sold out just as quickly.

But no worries, there are hundreds of other films in the festival’s main competition section, “New Currents,” which features outstanding films from Asian countries. Meanwhile, the “Flash Forward” section, which has been turned into a competition section this year, is more devoted to films from non-Asian regions like Europe.

“All the films featured in the New Currents section are either world or international premieres,” festival director Kim said. “And in general, the range of films that will be screened during the festival has been expanded to include underrepresented regions in African and Central Asian countries such as Tajikistan, Nepal and Bangladesh.”

Films will be screened in 11 different sections, including New Currents, Flash Forward and several special programs, during the festival. Screenings take place at four theaters in the Haeundae Beach area - Megabox, CGV-Centum City, Lotte Cinema-Centum City and the outdoor theater at the Busan Yachting Center - and two in Nampo-dong, downtown Busan (Daeyoung Cinema and Cinus).

The wide selection of films will be accompanied by various special events. PIFF Village, located in the Haeundae Beach area, is expected to be the main spot for major activities, such as actor and director question-and-answer sessions with fans.

In addition, there will be concerts every evening at 7:30 p.m. from today through next Thursday at outdoor theaters in Haeundae, giving audiences a chance to enjoy music and movies under the starlit autumn sky in Busan.

Meanwhile, the festival’s only audience-oriented party, “Cinematic Love,” will rock the beach from 10 p.m. Saturday until 4 a.m. the following day. The event features performances by bands Drunken Tiger and Daishi Dance.

For more information and tickets, visit www.piff.org.

By Park Sun-young [spark0320@joongang.co.kr]

[NEWS] 曼谷國際電影節開幕藝人走綠地毯推廣環保

2009-09-24T22:40:00.003+08:00

〔中央社〕2009年曼谷國際電影節今晚開幕，泰國本土與受邀出席的外國藝人衣香鬢影，走上主辦單位推廣環保、提醒全球暖化意識的「綠地毯」，為一週的電影節活動揭開序幕。

主演「鷹之路」（The Eagle Path）、多次應邀出席曼谷國際電影節的加拿大藝人卡斯特（Adam karst）走完綠色地毯後，接受媒體訪問時說，他多次參加曼谷國際電影節，每次出席都感覺影展越辦越有規模，相信未來將成為世界主要電影節之一。

雖然全球金融危機，但卡斯特不認為，經濟衰退會影響電影產業的發展，因為許多人還是喜歡看電影。

曼谷電影節今晚的開幕片為好萊塢影星尼可拉斯凱吉（Nicolas Gage）主演的「爆裂警官」（Bad Lieu-tenant）為開幕片；另外還有80部來自各國的電影參展。

這次參展影片中，參加主要競賽項目共有九部影片，包括伊朗、越南、比利時、南韓、德國、智利、加拿大、阿爾及利亞、中國等。

另外還有東南亞國家競賽項目、東南亞萬象、世界電影、紀錄片櫥窗、特別策劃、泰國萬象等。

今年曼谷國際電影節比較特別的部分，為主辦單位特別舉辦多場座談會，主題包括：「電影危機」、「泰國能提供什麼？」、「數位時代中保護你的電影」、「如何製作賣座電影？」、「泰萊塢」等，泰國與好萊塢電影專家將齊聚一堂，探討電影產業的想法和新知。

30日閉幕典禮當天，主辦單位特別規劃泰國電影「Sawasdee Bangkok」作為閉幕片，這天晚間舉辦的頒獎典禮，將頒發「金人鳥獎」（Golden Kinnaree Award）給獲獎的影片。

[Awards] Toronto FF Ends With Awards

2009-09-23T15:00:00.004+08:00

儘管多倫多影展並沒有競賽單元，但經過了12天的映演之後，仍有些許獎項。

Here are the winners of the 凱迪拉克觀眾票選獎（Cadillac People's Choice Awards）:

一般類（Overall）：

《珍愛人生》PRECIOUS: BASED ON THE NOVEL PUSH BY SAPPHIRE
by Lee Daniels

Runners-up:
MAO'S LAST DANCER
Bruce Beresford
MICMACS (Micmacs à tire-larigot)
Jean-Pierre Jeunet

紀錄片類（Documentary）:

《上流雙胞》THE TOPP TWINS
by Leanne Pooley

Runner up:
CAPITALISM: A LOVE STORY
Michael Moore

午夜狂熱類（Midnight Madness）：

《摯愛唯一》THE LOVED ONES
by Sean Byrne

Runner up:
DAYBREAKERS
Michael Spierig | Peter Spierig

THE SKYY Vodka AWARD FOR BEST CANADIAN FIRST FEATURE FILM
伏特加最佳加拿大首部劇情片獎：《野外狩獵》

The SKYY Vodka Award for Best Canadian First Feature Film went to to Alexandre Franchi for The Wild Hunt. Set in the fantasy-reality of a large role-playing game, this film captures the culture of costume play and the potentially dangerous intersection of the real and made-up worlds. The award carries a cash prize of $15,000.

THE CITY OF TORONTO AND ASTRAL MEDIA’S THE MOVIE NETWORK AWARD FOR BEST CANADIAN FEATURE FILM
城市媒體電影網絡獎：《開羅時光》

The City of Toronto and Astral Media’s The Movie Network Award for Best Canadian Feature Film was collected by Ruba Nadda for Cairo Time. Described by the jury as a superbly directed lyrical waltz of longing and desire across disparate worlds, with exquisite performances by Patricia Clarkson, Tom McCamus and Alexander Siddig. Generously co-sponsored by the City of Toronto and Astral Media’s The Movie Network, the award carries a cash prize of $30,000.

PRIZE OF THE INTERNATIONAL FEDERATION OF FILM CRITICS (FIPRESCI PRIZE)
費比西國際影評人獎：《寂寞難耐》、《哈德維伊》（可看些來自周星星的照片）

The jury members consist of jury president Diego Lerer (Argentina), Jan Schulz-Ojala (Germany), Hynek Pallas (Sweden), Kirill Razlogov (Russia), Denis Seguin (Canada) and Jorge Gutman (Canada).

The Prize of the International Federation of Film Critics (FIPRESCI Prize) for Discovery was awarded to Laxmikant Shetgaonkar for The Man Beyond the Bridge ( India ). Director Shetgaonkar, immersed in the culture of the rural region depicted in the film,tells his tale with grace and attentiveness, taking the villages traditions and beliefs seriously, while casting a critical eye on those who exploit them.

The Prize of the International Federation of Film Critics (FIPRESCI Prize) for Special Presentations went to Bruno Dumont for Hadewijch (France). This film is a hypnotic study of the possibilities and consequences that arise from an absolute belief in God, and the fascinating dynamic that emerges. Dumont has previously played at the Festival with La Vie de Jésus (99), Twentynine Palms (03) and Flandres (06). L’humanité and Flandres were both awarded the Grand Prix at the Cannes Film Festival.

For more information on these and all the films that screened in Toronto, visit the website: www.tiff.net

by Sandy Mandelberger, Festival Dailies Editor

[討論] 非得在高影如期播映《愛的十個條件》的十個理由

2009-09-21T08:51:00.013+08:00

撰文 / Horace
高雄市長陳菊表示，只為了70幾部電影其中的一部，爭議不斷，都是內耗，因此才決定提前播放熱比婭影片。陳菊強調，這並非在向中國示好，而是要平息爭議。

但陳市長，此舉不但無法解決爭議，此舉本身就是爭議。

以下羅列十個非得在高雄電影節如期播映此片的理由，僅供參考：

一、關於言論自由

台灣是一個自由民主的國家，在符合分級制度與智財權規範的狀態下，播映各種影片都不應該受到任何干預與限制，這已是全民共識，更受到我國憲法明文保障。如果中國政府可以對台灣的言論自由空間施壓，那不但是政府失職枉法，更是台灣主權的危機。今天連新疆獨立這種沒什麼台灣人在意的議題都可以被操控的話，那接下來那些被中國討厭的團體們，以後在台灣也得提心吊膽了。有一就有二，如果不在第一時間就做出正確的決定，解決這個問題，那麼問題只會越滾越大，最後無法收拾時，受害最深的是台灣人民的言論自由空間。

二、關於影展本質

高雄市政府表示：不願看到社會為了一部片的爭論，模糊了影展本質，所以決定要提前放映，這簡直是沒有邏輯可言，模糊影展本質的，並不是影展本身，相反地，是反疆獨的有心人士（可能包含中國政府）與媒介炒作政治議題，才導致影展本質的模糊，高市府提前放映的決定，不但無法解決爭議來源，反而落入了爭議的陷阱，傷害到的，恰恰正是影展引介國際觀點與推廣電影藝術的本質。

三、關於藝術策展單位尊嚴

高雄電影節乃至各大影展，在策劃上均煞費苦心，作為一個獨立藝術策展單位，一旦被剝奪了對藝術作品的定義權，那等於論述權力被政治力收編，獨立藝術策展單位不但沒有理由、不可能也不應該撤展，基本上也不需要針對為何不撤展說明理由，因為這才是正常狀態，影展的尊嚴不容妥協。

正如高影所言：「從事件開始，我們一直抱持希望，期待市政府可以做出更明智的決定，在經歷多方努力後得到這樣的結果，違反了一般影展常態，並不是我們所樂見，即便最後的決策並非策展單位所能左右，我們也必須向觀眾及創作者致歉。」

其實該致歉的是高雄市政府，只會說「尊重主辦單位」而躲在後面額手稱慶的陸委會也該被批判。總歸一句話，中央政府與地方政府都沒有尊重主辦單位，文化立國淪為選舉口號。

四、關於市政運作

市政機關對於各種利益團體應該公平對待，以全民福祉為依歸。如果以後會吵的孩子才有糖吃（而且吵的還不一定是孩子），那麼證明了此政府並沒有政治判斷的能力，而淪為特定團體的打手，把公僕作成私僕，恥之甚已。相較於北縣府處理樂生事件、三鶯/溪州部落事件的態度，高市府也沒有高明到哪裡去。只是，利益團體食髓知味之後會得寸進尺，惡果還是公部門與全民來承受。

四、關於兩岸關係

中國政府對於兩岸的主張是一國兩制，中華民國政府則並不認同這樣的觀點，自認是個主權獨立的國家。如今在中國的施壓之下，直接或間接影響到高雄市府的決策，明顯的有干預內政之嫌，國安相關單位應該強力抨擊此類行為，堅持我國行政機關的主體性。否則在兩岸關係的互動上，將逐步處於劣勢。

五、關於觀眾權益

高雄電影節早在九月初即公佈，將於影展的「人民力量」紀錄片專題中播映此片，沒想到在半個月之後，趕在賣票之前因某些說服力不足的理由趕緊撤片提早播映，不但有違誠信原則，也損害了影展期間觀眾觀賞此片的權益，這權益的損害並不能藉由提早播映得到解決，早已規劃觀賞的觀眾可以嘗試看看對高雄市政府提出國賠申請。

六、關於觀光

旅遊業者表示，播映此影片會影響大陸遊客造訪意願，但基本上，不是只有大陸觀光客會到高雄觀光，播放此影片的負面效應多大，其實也沒有客觀證據可證實。但即便真的撤片了，大陸觀光客就會來嗎？誰能保證？但可預見的，台灣乃至於國際影迷想去高雄電影節看此片的觀眾，可能就因此止步，而剛剛在世運會博得國際讚賞的高雄，卻可能因為此事件受到負面影響，城市形象的毀損，其傷害可能是較隱微而長遠的。

七、關於寒蟬效應

這部片七月受邀參加澳洲墨爾本影展（MIFF）時，也遭到中國抗議、要求禁播，但澳洲影展單位並沒有同意，中國因此退出影展，也表明不再參加往後的影展活動，此番舉動造成國際電影圈意論紛紛，若墨爾本影展向中國低頭的話，其他影展選片可能就得多一層政治考量，恐怕破壞了國際影展應有的言論自由舞台。

國際影展目前在墨爾本跟法蘭克福，已進行成功的播映，但許多影展仍在觀望當中，如今高雄電影節的撤片之舉，影響了影展動態，這也正是為何此事件會讓高雄電影節登上國際版面的原因。可惜高雄此次並沒有增添抗拒強權的力量，反而是增加寒蟬效應的推手，豈不怪哉？

八、關於國際聲譽

高影第一次，世界都在看，這應該是高雄電影節（甚至是全台灣的影展）世界能見度最高的一個事件了，要宣傳一個影展，果然有時候還是要挾外力以自重，但可惜的是這次我們沒有好好自重，反而落入國際傳媒話柄（是不是笑柄就自由心證了，請參見雍小狼之彙整）。

九、關於影展實務操作

這一點引用自Ryan連署文中所提：「依照影展慣例，策展單位會與國外影片公司簽訂放映的場次數量，一般三場至五場為常態。如果《愛的10個條件》原先簽訂四場，如今提前到下週9月22、23兩日在高雄電影圖書館放映之後，十月份高雄電影節正式放映的四個場次勢必要與國外片商研擬加映事宜（問題在於，依照影展慣例，國外片商往往不會允許在影展期間放映八次之多）」因此不但有合約的問題、錢的問題、程序的問題、原本時段補片的問題等等，當然也還有影展聲譽的問題。

十、關於駭客入侵

相信大家都知道中國駭客屢屢入侵與熱比婭有關聯的影展網站、售票系統等網路空間，展現了網路解放軍（或民兵）之強盛與實力，因此高雄電影節的網站也果不其然被入侵了。但你知道發動戰爭有時候是不長眼的，管你是誰，看起來像敵人就猛力砲轟，像是上回硬是要播的墨爾本影展被入侵了，這一點也不意外，但是另一個只是長得跟墨爾本影展（MIFF）有點像的倒楣鬼：墨爾本國際藝術展（MIAF）也被入侵了，這就讓人不禁讓人開始擔心起來。高影炸過了，現在應該要輪到電影圖書館了，然後台灣各大影展與圖書館也小心一點，可能沒來由的就被流彈掃到。有鑑於此，我們希望電影留在高雄電影節播就好，建立停損點，讓網軍不要波及到其他無辜的網站們。

總而言之，堅決反對政治力介入影展內容規劃與展演。廣義而言，影展也是一種媒體，影展的策展規劃與選片專業的重要性，等同於媒體對於媒介內容的自主性，即便公部門是資金來源，但也應該秉持著公共電視的精神，絕不將政府之黑手伸進媒體，掌控媒體內容。因此高雄市政府也不應把手伸進影展中，既然口頭上說要尊重專業考量，那就請聽從影展主席的意見，在影展中如期播映《愛的十個條件》。

[NEWS] "Precious" wins top Toronto film festival prize

2009-09-20T14:02:00.005+08:00

By Cameron French

TORONTO (Reuters) - "Precious: Based on the Novel Push by Sapphire" won the top award at the Toronto International Film Festival Saturday, giving the Oprah Winfrey-produced film some early momentum heading into Oscar awards season.

The film, a gritty tale of the abuse and redemption of a teenage girl in Harlem, captured the festival's People's Choice award, which is voted on by filmgoers. Last year it went to best picture Oscar winner "Slumdog Millionaire."

Critics have roundly praised "Precious" since its debut at the Sundance Film Festival in January, and audiences in Toronto warmly received the film, which is directed by Lee Daniels and will hit theaters in November.

"I made this film for every person out there who ever looked in the mirror and felt unsure about the person looking back," Daniels, who is traveling in Spain, said in a statement read out at an awards reception in Toronto.

In addition to "Slumdog Millionaire," past winners of the award that have gone on to win the best picture Oscar include "American Beauty" and "Chariots of Fire."

The festival, which wraps up later Saturday with a red-carpet screening of "The Young Victoria," a look at the British queen's early years, was notable this year for a lack of distribution deals signed as the independent film industry remains mired in a near two-year funk.

More than one-third of the more than 330 films screened entered the festival without distribution deals, and barely a handful were announced during the event's 10-day run.

Festival co-director Piers Handling said he expects more deals involving Toronto-screened films to soon be announced, but said the days of festival bidding wars were likely over.

"It's a combination of just an increasingly conservative marketplace in North America, the recession, as well as a glut of product," he told Reuters after the awards presentation.

"I think there will be fewer films being made."

Other winners included critics' awards for "The Man Beyond the Bridge," an Indian production featuring the little-used language of Konkani, and "Hadewijch," a French film that looks at the possibilities and consequences of a devoutly religious life.

The audience award for top documentary went to "The Topp Twins," which tells the story of a New Zealand lesbian country and western singing duo.

(Reporting by Cameron French; Editing by Xavier Briand)

http://www.reuters.com/article/entertainmentNews/idUSTRE58I15F20090919

[NEWS] 熱比婭影片提早在22、23日放映

2009-09-20T14:01:00.000+08:00

【聯合報╱記者謝梅芬】2009.09.19 10:11 pm

高雄電影節預計放映「愛的十個條件」引發陸客觀光團退房之說，高雄市政府19日晚上決定不僅要播放，還要提早到九月廿二、廿三日，在高雄市電影圖書館放映四個場次，在十月的電影節就不再放映。

高雄市長陳菊昨天表示，尊重藝術、創作及言論自由的立場，仍將排定放映。

據悉，昨天經過陳菊的指示之後，新聞處從下午起就進行長時間的討談，從要不要放映，到細節播映時間都一併討論，最後結論是提早在下周二下午2時，就要放映。

面對中國國台辦官員發言所引起的政治紛擾，許立明表示，來自包括市議會、旅館觀光業、影視與藝文團體等的各方不同意見，新聞處都注意到了，站在尊重各方意見的立場。

「為使爭議能夠儘速落幕，降低社會對立」許立明說，決定在電影節舉辦前，先讓熱比婭紀錄片以「特別邀請場」名義，提早在下周二、三在高雄市電影圖書館放映四個場次。

[NEWS] 《台北飄雪》入圍東京影展

2009-09-17T19:05:00.004+08:00

自由時報2009/09/17

陳柏霖在《台北飄雪》飾演陽光少年小莫。（圖由山水國際提供）
〔本報訊〕第22屆東京影展入圍名單公佈，由拍攝《那山、那人、那狗》的中國國寶級導演霍建起執導的第一部台灣、日本、中國、香港四地合拍片《台北飄雪》正式入圍，算是繼張作驥《黑暗之光》榮獲最佳影片十年後，再戰東京影展，希望能抱得大獎回台。

繼《黑暗之光》後多部台灣影片入圍東京影展，參與不同單元的觀摩與競賽，包括2002年《藍色大門》、2006年《盛夏光年》、2007年《最遙遠的距離》、2008年《九降風》等片。霍建起導演曾以華語片《暖》榮獲東京影展最佳影片，如今他將帶領一群台灣優秀明日之星，以《台北飄雪》前進東京影展，並計畫於2010年影展首映後，盛大上映。

《台北飄雪》改編自日本著名的青春愛情小說，啟用日本編劇，並由曾因《那山、那人、那狗》在日本聲名大噪的導演霍建起執導，大量起用台灣演員包括陳柏霖、楊祐寧、莫子儀以及超級名模蔡淑臻、紀培慧、台灣之寶金士傑、王娟等，全程於台灣取景，將台北打造成最浪漫美麗的都市。

電影描寫來自中國知名女歌手來到台灣，遇到樂於助人的陳柏霖，在幫她找工作的同時，女孩邂逅了愛情，也遇見台北都市裡性格各異的男女，創造出多線交織的唯美愛情故事。

東京影展／霍建起「台北飄雪」角逐金麒麟
【世界日報╱娛樂新聞組北京18日電】2009.09.19 04:13 am

第22屆東京影展公布競賽單元的入圍名單，據華西都市報報導，中國導演霍建起執導的《台北飄雪》以及新人導演李芳芳的《天長地久》兩部華語片入圍，他們將和日本電影《相思樹》等其餘13部影片共同角逐金麒麟大獎。

據悉，早在2003年，霍建起就憑藉《暖》勇奪金麒麟大獎。

報導指出，霍建起的《台北飄雪》改編自日本著名青春愛情小說，全程在台灣取景，講述了大陸女歌手五月和台灣青年小莫之間的情感故事。女主角由童瑤扮演，男主角則是陳柏霖和楊佑寧擔任。發行方表示，這部影片會在大陸和日本市場獲得雙贏。

【2009/09/18 世界日報】

[NEWS] 爭人權影片獲肯定伊朗揚言抵制國際影展

2009-09-16T21:00:00.001+08:00

【中央社╱特拉維夫16日專電】2009.09.16 06:11 pm

描述伊朗民眾爭民主人權的影片，紛獲今年義大利威尼斯影展肯定，伊朗當局不以為然說，若西方世界影展變質為顛覆政府活動的秀場，不排除抵制。

伊朗新銳女導演馬蔻瑪爾巴夫（Hana Makhmalbaf）因執導「綠色的日子」（Green Days），入選為本屆威尼斯影展非競賽類影片。

這部影片為描述今年6月伊朗總統大選爭議，群眾相繼走上街頭，抗議選舉結果不公，並關注伊朗婦女人權。馬蔻瑪爾巴夫說，這是一部社會學電影，紀錄伊朗社會歷經希望和疑惑的變革過程。

而另一位伊朗女導演內沙特（Shirin Neshat）的作品「沒有男人的女人」（Women Withoun Men），描述1953年外國勢力介入伊朗政變期間4名女性的經歷，獲得最佳導演銀獅獎。

兩位伊朗女性在全球主流影展大放異彩，卻不容於當局。伊朗「德黑蘭時報」（Tehran Times）報導，伊朗總統艾馬丹加（Mahmoud Ahmadinejad）藝術顧問夏馬塔瑞（Javad Shamaqdari）說，擬抵制西方影展。

夏馬塔瑞表示，這些國際知名影展應瞭解，若藝術活動變質為顛覆伊朗當局活動的秀場，伊朗的藝術家與政府官員將會抵制影展。

他說，敵人向來對於在伊朗境內發動柔性政變未成感到失望，總想藉著國際性的藝術活動或影展，為他們的顛覆活動加溫，此次威尼斯影展即赤裸裸暴露敵人的計畫。

儘管夏馬塔瑞自信，藝術家與伊朗當局會採取同步行動抵制影展，不過沒有男人的女人於威尼斯影展首映時，導演與片中4位女主角分著綠色圍巾，聲援伊朗境內的民主運動與女權推動者。

【2009/09/16 中央社】

[NEWS] 「我的唐朝兄弟」入圍釜山影展

2009-09-16T16:04:00.004+08:00

【世界日報╱娛樂新聞組北京15日電】2009.09.16 04:11 am

由新銳導演楊樹鵬執導、姜武和胡軍領銜主演的古裝動作電影《我的唐朝兄弟》一舉入圍釜山影展極具風格化的「Midnight Passion」單元，成為入圍該單元的唯一一部中國影片。

據報導，導演楊樹鵬表示，《我的唐朝兄弟》講述一個發生在盛世大唐中葉的荒誕故事，由胡軍、姜武扮演的兩個情同手足的強盜攜手「作案」逾20年，從未失手從不言棄，然而這次，當他們進入一個安謐寧靜的村莊，「強盜」姜武卻莫名愛上純真的村姑羅娘，他想留下同她一起走完之後的歲月，一連串荒誕不經、令人啼笑皆非的「暴力」事件，就此拉開了帷幕。

報導指出，影片《我的唐朝兄弟》在韓國著名後期製作團隊的大力輔助下，目前已經完成後製，將於金秋隆重上映。

【2009/09/15 世界日報】http://udn.com/NEWS/ENTERTAINMENT/ENT3/5136377.shtml

[NEWS] 威尼斯影展／CNEX蔣顯斌計畫十年百部片

2009-09-16T15:59:00.003+08:00

【聯合報╱記者葛大維／綜合報導】2009.09.15 04:23 am

「1428」獲獎，CNEX執行長蔣顯斌(右起)、導演杜海濱、營運長陳玲珍。

圖／CNEX提供

計劃用「十年百部紀錄片」來記錄華人世界事實的CNEX基金會，由執行長蔣顯斌製作、大陸導演杜海濱執導的「1428」贏得今年威尼斯影展「地平線」單元的最佳紀錄片獎，該片承先啟後的意義，記錄去年汶川大地震生死哀痛與關懷，更呼應CNEX明年主題「下一代的家園」的願景。

蔣顯斌表示，「1428」在威尼斯影展得到肯定，更代表CNEX的創始意義，因為確定明年度主題「下一代的家園」之後，「1428」才開拍，如今得以讓全世界看到川震後的重建家園過程，意義遠比得獎更重要。未來CNEX將繼續落實「十年百部紀錄片」計畫。

【2009/09/15 聯合報】http://udn.com/NEWS/ENTERTAINMENT/ENT3/5135689.shtml

[影展介紹] 游擊加組織碰出新滋味：第一次看到這種影展

2009-09-15T18:28:00.006+08:00

就當前的台灣影展生態來說，基本上可以分成兩大類，一類是商業性的營利影展，另一類則是非商業性的非營利影展，目前以後者為多。而非營利影展裡，又可以概括地分為兩大類，一類是公部門為了特定功能與目的所舉辦的，另一類則是私人部門自行組織舉辦的，通常也是為了宣達特定的理念，其中後者缺乏了穩定的經費來源，資源少，加上草創期知名度低，行銷不易，都非營利了，又沒穩定資助，相較之下，是目前經營較為辛苦的一種影展。

在偶然的機會下，發現了原來有一些（素未蒙面、毫無掛葛、關係薄弱的）學長姐在搞這種事。

他們是「游擊電影」。

他們有著很好的理念，不甘於被主流市場宰制，因此希望透過一些特別的管道，把電影產製到發行的整個過程，都用獨立的精神達成，雖然沒有資源，但很有實驗精神。

關於游擊電影的理念大家可以自己去看，關於理念，藝術家從來不缺理念，真正困難的是，如何堅持理念，並真正落實理念？尤其是這種會被大家笑破大牙，恥笑你別在做白日夢的理念？

這也是為何我會無緣無故推介此影展的原因，就是因為他們真的沒有妥協，並且真的闖出了一條可行的途徑，串連散落的游擊軍，組成軍團，第一次打起了組織戰了！

這個影展叫「第一次影展」，蒐集了三十位新銳導演的處女作，串連了十一家藝文空間，也架起了部落格，找了贊助，搞起了預售端點，嘗試這種新型態的影展，RUN看看能不能成立這種營運模式。光是能夠把理想落實這件事，我個人就覺得十分不簡單了，無論成功與否，都將讓台灣影展圈再往前邁向一步。

時間就在九月底，各位有興趣的話，也注意一下吧！

[News] 李安不好意思「愛國」華語片飲恨

2009-09-14T17:57:00.004+08:00

蘋果日報2009年09月14日

【林慧娟╱威尼斯報導】「台灣之光」李安任本屆威尼斯影展評審團主席，香港導演楊凡的《淚王子》和鄭保瑞的《意外》兩華語片角逐金獅，雙雙摃龜，李安說：「我努力推，但很難。今年沒有愛國裁判，我也不好意思做愛國裁判。」

遺憾《蘿狄絲》落榜

威尼斯影展藝術總監馬可穆勒連續4年邀李安擔任評審，他今年終於首肯，他說：「剛開始很害怕，後來發現這是很棒的經驗。很開心和6名評審合作，得獎名單是經過討論得到的共識；看到得主拿獎的那一刻，我很開心。」

李安說：「我是邊學邊賣，我們好像七武士閉門開會，最後決定得獎名單。」有遺珠嗎？他表示：「我很喜歡奧地利片《蘿狄絲》（Lourdes，暫譯），但有評審嫌它無聊，很遺憾沒能給獎。」

今年共有27部影片參賽，評審平均每天看3到4部影片，李安說：「這裡是《魂斷威尼斯》的拍攝地點，我每天忙著看電影、開會，很可惜沒時間去海邊走走。」他昨結束評審工作，返回紐約，下月初將返台宣傳新片《胡士托風波》（Taking Woodstock）。

[翻譯] Fatih Akın's 'Soul Kitchen' wins Special Jury Prize at Venice

2009-09-14T17:25:00.006+08:00

Sunday, September 13, 2009
ISTANBUL - Daily News with wires

法特阿金拿下評審團大獎

"Lebanon," an Israeli film that recounts the 1982 invasion through the eyes of four soldiers in a tank, has won the top prize at the Venice Film Festival.

《黎巴嫩》藉由四個坦克車中軍人的眼睛，重現了1982年的戰爭，拿下了威尼斯影展的首獎。

The festival jury announced the Golden Lion and other prizes Sunday, the last day of the 11-day screening of films from around the world. “Women Without Men,” an Iranian film about the courage of women, took the No. 2 prize, the Silver Lion.

伊朗電影《沒有男人的女人》描繪了女性的勇氣，拿下了銀熊獎。

"Soul Kitchen," a comedy by German-Turkish director Fatih Akın, won the Special Jury Prize. The film depicts a Hamburg suburb in the throes of gentrification and was the only contender for the prestigious Golden Lion to offer full-bore humor. It represented a departure from the more serious tone set by Akın's 2004 Berlin Golden Bear winner "Head On" and 2007's "The Edge of Heaven," which won the screenplay award at Cannes.

法特阿金的喜劇片《心靈廚房》，則拿下了評審團大獎。這部片描繪了漢堡近郊的城鎮要從破敗轉變為良好住宅區時所產生的陣痛與掙扎，它也是被看好競逐金獅獎的影片中，唯一的一部喜劇片。這部片也是法特阿金在2004年柏林金熊獎作品《愛無止盡》、2007年坎城最佳劇本作品《天堂邊緣》之後，擺脫嚴肅議題的新作品。

"Lebanon," directed by Samuel Maoz, tells the story of Israeli paratroopers combing through a hostile town. The conflict is seen through the binocular-aided eyes of those inside a tank, with their cramped quarters lending an anxious sense of claustrophobia to the narrative.

山繆莫茲執導的《黎巴嫩》，是一個以色列傘兵們對敵國城鎮大開殺戒的故事，衝突藉由坦克車內的望遠鏡視角呈現，述說著他們難以言喻的焦慮感與幽閉恐懼。

"I dedicate this work to people all over the world that come back from war safe and sound," the director told the audience at the awards ceremony. "They work, get married, have children," but the memories get "stuck in their souls."

導演在典禮會場中對觀眾表示：「我要將這個作品獻給所有從戰場中倖存的戰士們，他們返回社會之後，工作、結婚、生子，但這些回憶仍深藏在他們的靈魂之中。」

Maoz was a young man when he served in the Israeli military during the invasion, which led to a long occupation of southern Lebanon.

莫茲在年少服兵役時經歷了這場戰爭，他有很長的一段時間都待在南黎巴嫩。

Variety has described the film, one of 25 which competed for the Golden Lion, as the "boldest and best of the recent mini-wave" of Israeli movies. The awards jury was headed by Ang Lee, himself a Golden Lion-winning director, who marveled that "Lebanon" was Maoz's first film and wondered what might he do next.

Variety描述這部影片，是近年最大膽也最優秀的以色列電影，本屆評審團主席李安，對於莫茲首部作品就能如此優異而感到驚訝，非常期待他之後的作品。

'Playing with the world like Chaplin'

像卓別林一樣遊樂世界

In "Soul Kitchen," restaurateur Zinos (Adam Bousdoukos) "holds the whole world on his shoulders, but he also plays with the world like a ball, like Charlie Chaplin," Akın said.

法特阿金認為，在《心靈廚房》中的廚師李諾斯「把整個世界都放在他的肩膀上，但它就像在玩球一樣地把玩世界，如同查理卓別林一般。」

"It must be something to do with his hair, he's like Samson," he said, referring to the biblical figure whose superhuman strength was linked to his hair.

「他的頭髮可以做些事兒，他就像是參孫。」法特阿金引用了聖經裡大力士參孫的形象，來比喻頭髮所帶來的超能力。

The son of Greek parents, Zinos is a long-haired, big-hearted youth who makes two round-trips from rags to riches with his restaurant in Hamburg-Wilhelmsburg, which is rife with property speculators.

身為希臘人之子，李諾斯是個留著長髮且擁有寬大胸懷的年輕人，他在漢堡威漢斯堡的餐廳由貧致富的過程中，充斥著許多投機的行為。

"The film is different from my earlier ones, a comedy with music and humor," said Akın, whose previous, award-winning films have dealt with themes of alienation and death. "I wanted to laugh."

早期得獎作品常常處理疏離與死亡的法特阿金說，「這部片與我早期的作品不太一樣，這是一部充滿音樂與幽默的喜劇片，我想要歡笑。」

Things begin to go wrong when Zinos's bourgeois girlfriend Nadine (Pheline Roggan) is transferred to Shanghai and his do-nothing brother Illias (Moritz Bleibtreu) is allowed out on weekends from his latest stint in prison.

劇情在李諾斯的中產階級女友娜汀搬到上海之後急轉直下，她那懶惰的哥哥依力亞斯在週末時假釋出獄。

A new cook, described by Akın as a "Don Quixote who wants to change the world," turns fish sticks and fries into a “nouvelle cuisine” sight to behold – but a turnoff for the regular clientele.

接著一位被阿金描述為「像是唐吉軻德想要改變世界一般」的新廚師，將魚刺跟薯條用一種新潮烹調的方式，來吸引大眾的目光，但正常的顧客並不買帳。

Things go from bad to worse for the lovelorn Zinos when he suffers a herniated disc and tax and health officials begin to hound him.

然而還有許多財務上、健康上的問題煩擾著李諾斯，對於思念女友的他來說，一切變得更糟了。

A combination of sheer grit, luck and chutzpah finally gathers the wind back into his sail.

在一連串的艱險與怪事之後，他秉持著一皮天下無難事的精神，加上好運的幫助下，最後還是讓他回歸正常的軌道上。

After his success at Cannes, Akin, 36, said he felt "a slave to my success, to the expectations of others who expected a certain type of serious film, but at the urging of my producer (Andreas Thiel), now sadly deceased, I freed myself of everything and told myself that laughter is part of life."

36歲的法特阿金，在經歷了坎城的榮耀之後，對於許多人期待嚴肅影片應有的特定型態，他背負著沈重的壓力。但在製片Andreas Thiel的鼓勵之下，他已經走出了哀傷，解放了自己，並告訴自己，歡樂也是人生中的一部分。

"Soul Kitchen" was among 25 films in the running for the prestigious Golden Lion.

《心靈廚房》是25部競逐金獅獎的競賽電影之一。

Other awards

Iranian filmmaker and photographer Shirin Neshat snared the Silver Lion for best director for her feature debut with "Zanan Bedoone Mardan" ("Women Without Men").

The film depicts four women from all classes of society in Iran, 1953, on the eve of an American-aided uprising that deposed an elected government that had nationalized the oil industry, and led to the return of the shah.

But Neshat said the film aimed at providing encouragement to democracy-loving people in her country a half century after the events in the film.

The movie is about "the courage of the women and the people of Iran to take their lives into their own hands," she said after winning the Silver Lion.

Colin Firth took the best actor award for his role in Tom Ford's "A Single Man" as a college professor grappling with solitude after his longtime partner dies. Fashion designer Tom Ford made his directorial debut with the film.

Ksenia Rappoport, starring in the Italian film "La Doppia Ora," took home best-actress honors.

http://www.hurriyetdailynews.com/n.php?n=fatih-akins-soul-kitchen-wins-special-jury-prize-at-venice--2009-09-13

[翻譯] Samuel Maoz's Lebanon wins Golden Lion award

2009-09-14T16:49:00.003+08:00

The release from the 66th Venice Film Festival announced Samule Maoz's film Lebanon was the winner of the Golden Lion wars for best film.

第66屆威尼斯影展的最佳影片金獅獎頒給了山繆莫茲的作品《黎巴嫩》。

Reuters reports the film was shot almost entirely inside a tank. The film's director Samuel Maoz was recreating his experiences as a young Israeli conscript during the 1982 war. Maoz wanted to portray the feelings of claustrophobia and fear he personally felt.

路透社表示這部影片所使用的鏡頭，幾乎都在坦克車裡。山繆莫茲重現了他在1982年被徵召服兵役時，所體驗到的戰爭經驗，他試圖描繪出他所感受到的幽閉恐懼感與害怕。

Reuters quotes Maoz as saying during the ceremony, "I dedicate this award to the thousands of people all over the world who, like me, come back from war safe and sound. Apparently they are fine, they work, get married, have children. But inside, the memory will remain stabbed in their soul."

路透社引用了他在典禮上的話：「我要把這個獎獻給這世界上上千位跟我一樣從戰場中倖存的戰士們，表面上他們還活的好好的，返回社會中工作、結婚、生子，但內心裡，戰場的回憶卻如幽靈般揮之不去。」

Ang Lee who was this year's jury president and a two-time Golden Lion winner, speaking to reporters said:
"We all come from different countries but we are happy that we are not inside that tank. It could be any tank and any war in the world, that's what is so precious about the film.

本屆評審團主席李安表示：「我們雖然來自不同的國家，但我們看完影片後都有個共同的感受，那就是我們都很欣喜自己並不在那坦克車中。這種事可能發生在任何坦克車與任何戰爭之中，這也是這部影片如此珍貴的原因。」

"Although it's a narrow point of view, that of Israeli soldiers, the ripple is incredible."

「儘管這只是一個從個人角度出發的微小觀點，但對於以色列軍人來說，其對於內心的震撼是難以言喻的。」

http://www.digitaljournal.com/article/279160

[Awards] 66th Venice Film Festival Official Awards

2009-09-14T14:06:00.006+08:00

The 66th Venice International Film Festival ran 2nd to 12th September 2009.
The International Juries awarded the following prizes:
第66屆威尼斯影展於2009年9月2日至12日舉行，國際評審團決定了以下得獎名單：

Venezia 66
- Golden Lion for best film: Lebanon by Samuel MAOZ (Israel, France, Germany)
金獅獎（最佳影片）：《黎巴嫩》，導演山繆莫茲（此為他首部電影長片作品）
- Silver Lion for best director: Shirin NESHAT for the film Zanan Bedone Mardan (Women Without Men) (Germany, Austria, France)
銀獅獎（最佳導演）：《沒有男人的女人》，伊朗女導演席琳奈沙特
- Special Jury Prize: Soul Kitchen by Fatih AKIN (Germany)
評審團大獎：《心靈廚房》，導演法特阿金（知名作品：愛無止盡、天堂邊緣）
- Coppa Volpi for Best Actor: Colin FIRTH in the film A Single Man by Tom FORD (USA)
最佳男演員：柯林佛斯《單身男人》（知名作品：BJ單身日記、媽媽咪呀）
- Coppa Volpi for Best Actress: Ksenia RAPPOPORT in the film La doppia ora by Giuseppe CAPOTONDI (Italy)
最佳女演員：卡珊妮亞拉帕波《雙重時間》
- “Marcello Mastroianni” Award for Best New Young Actor or Actress: Jasmine TRINCA in the film Il grande sogno by Michele PLACIDO (Italy)
最佳新演員：詹思敏特林卡《大夢想》
- "Osella" for Best Technical Contribution: Sylvie OLIVÉ for the film Mr. Nobody by Jaco VAN DORMAEL (France)
最佳藝術貢獻：希薇雅奧莉芙《無名先生》
- "Osella" for Best Screenplay: Todd SOLONDZ for the film Life during Wartime by Todd SOLONDZ (USA)
最佳劇本：陶德索隆茲《戰時生活》

[翻譯] Live from the Toronto Film Festival: Day 1

2009-09-11T22:06:00.004+08:00

多倫多影展現場傳真：第一天
馬歇爾凡恩之老人叨絮

Marshall Fine
Author and film critic, www.hollywoodandfine.com
Posted: September 11, 2009 07:04 AM
http://www.huffingtonpost.com/marshall-fine/live-from-the-toronto-fil_b_283176.html

If it's the Thursday after Labor Day, then I must be in Toronto, queuing up with hordes of Canadian (and American) press for press screenings at the 2009 Toronto International Film Festival (hereafter: TIFF), an event I've been attending on-and-off (off years being due to mostly to the whims of idiot editors I've worked for in the past) since 1984.

一個勞工日之後的週四，我必須到多倫多，跟一群加拿大與美國的記者朋友們一起排隊，為了參加這個我從1984年起就跑遍了的多倫多影展。

Like all things, TIFF suffers from its own success and, of course, entropy. It has become a massive, sprawling showcase - the launch pad for the fall Oscar season (and the place where the best of what will be at the New York Film Festival gets seen first).

跟任何事物一樣，多倫多影展飽受他的成功與混亂之苦，它變成一個大規模的、近乎失控的展場，因為它是奧斯卡季節的起跑點。

I only took in a couple of screenings Thursday - more on those in a minute - but a pet peeve already has presented itself.

我週四只有去看幾場放映而已，大多只看幾分鐘，但已經足以惹惱我了。

Specifically: too many damned commercials before the start of each film, placed there obviously because they advertise sponsors of the festival. Yes, I know, no sponsors, no festival - that's the way of the world. But get a grip: I counted six of them at one point before one of the films I saw today - for Bell, Cadillac, Blackberry, Cineplex, some bank and the ever-present back-patting for volunteers. And of course, at least one for the festival itself.

特別是：每部影片開始前都有那該死的廣告，而且放在超級明顯的地方，為了討好影展的贊助商。當然，我知道他們是影展的衣食父母，舉世皆然。但是要知道，我今天要看一部電影之前，至少得看到它們六遍，Bell啦、Cadillac啦、Blackberry啦、Cineplex啦、某銀行啦，甚至連志工的背上也有廣告，當然啦，他們也沒忘記為影展本身做了點廣告。

Sure, each one is only 15 seconds or so. But at least when I'm watching TV, I can use the DVR to skip them. Here, you're a captive audience - and if you're seeing four or five movies a day, well, I have a feeling I'll be able to recite them by heart by Saturday.

而這些廣告每個至少都要來個15秒。拜託，我在看電視的時候，都可以用錄放影機跳掉廣告，但在這裡呢？卻得乖乖坐在這裡動彈不得。如果我一天看個四、五部片的話，這樣到禮拜六的時候，對這些廣告我肯定可以倒背如流。

Allow me a moment of in-my-day musing: I remember the glorious '80s, when a press badge got you into any film, anytime. You could walk into any public screening, even before the people with tickets were allowed in. Of course, almost all of the theaters where those public showings were held have vanished behind waves of urban renewal. The biggest of them is now a massive Pottery Barn on Bloor Street. And the venues, rather than being concentrated in the Yonge & Bloor neighborhood, are scattered all over downtown, making quick egress from one show to the next virtually impossible.

請容許我作個短暫的回想。想當年輝煌的八零年代，我只要掛個記者證便暢行無阻，愛看多少片子，想在什麼時候看都沒問題。可以參加任何的公開放映，甚至連賣票給觀眾的那種場次也行。但大部分的戲院都在都市更新之後消失了，以前最大的那幾家，現在已經變成了布魯爾街上的陶瓷廠。然後以前的評審場合，都不是集中在永吉和布魯爾這附近，而是散佈在市區那裡，想要輕易的從這場跑到那場，簡直是不可能的事。

Ahh, the good old days, when being a critic was actually a big deal. Now a press badge doesn't even get you into a press screening - at least not the dreaded "priority press" screenings, where we mere "regular" press have to line up so that priority press - whoever they may be; no one seems able (or willing) to answer that question - can be sure to get seats first. Then the rest of us ink-stained wretches (there's a phrase that dates me) are allowed in. It's a little too much like high school for my taste, with the masses waiting until the cool kids get their pick of seats.

啊，好漢別再提當年勇了，以前當影評真爽。現在呢，就算你有記者證，都還不一定進的去記者試映會呢，尤其是我們這種「一般的」媒體，還得先讓那些「高貴的」媒體先入座，等他們問完問題之後，才輪的到我們這些可憐蟲進去。

On the bright side, in acknowledgement of just how far it can be from screening to screening, this year for the first time the festival has provided us in the press with a free transit pass, which allows us to hop the ultraclean, quiet and upholstered subways to those far-flung venues. That's a real boon and one that I'm thankful for.

來講點正面的，今年主辦單位終於正視了每個場次之間要跑很遠這件事，因此首次發給記者免費通勤證，可以搭乘超乾淨、安靜又有座墊的地鐵，來解決穿梭展場這件事，我真的非常感謝主辦單位的恩惠。

So, on to the movies.

所以，好好看電影吧～

[翻譯] John Lennon’s Teenage Years to Feature in London Film Festival

2009-09-11T10:26:00.006+08:00

約翰藍儂少年時光現身於倫敦電影節

Preview by Farah Nayeri

Sept. 10 (Bloomberg) -- John Lennon’s teenage years will come to life with the world premiere of the movie “Nowhere Boy” at the London Film Festival next month.

一部拍攝約翰藍儂的年少時光的影片「無處男孩」（暫譯），將在下個月的倫敦電影節進行全球首映。

The first full-length feature by Sam Taylor-Wood stars Kristin Scott Thomas as Lennon’s Aunt Mimi. “Nowhere Boy” will be one of 15 movies making their global debut at the festival, which runs from Oct. 14 to Oct. 29.

Sam Taylor-Wood的第一部劇情長片，請來了Kristin Scott Thomas飾演藍儂的阿姨米米。「無處男孩」將與其他14部作品，在十月十四日至十月二十九日，在多倫多影展進行全球首映。

Opening the two-week jamboree will be “Fantastic Mr. Fox,” the first animation film by director Wes Anderson (“The Royal Tenenbaums,” “The Darjeeling Limited,”) with the voices of George Clooney, Meryl Streep, and Bill Murray.

這兩個禮拜的盛宴，將由「了不起的狐狸爸爸」揭開序幕，這是Wes Anderson（「天才一族」、「大吉嶺有限公司」導演）的第一部動畫長片，配音陣容十分堅強，有George Clooney、Meryl Streep與Bill Murray。

The London festival, which comes immediately after Venice and Toronto, is mainly an event for the general public, and a showcase for British cinema. This year, the LFF is striving to raise its international profile by giving a best-film award and holding news conferences with movie casts.

緊接著威尼斯與多倫多影展之後，倫敦電影節要為社會大眾展示許多英國電影。今年倫敦電影節更要透過頒發最佳影片獎，與明星訪談會，想要極力地提升其國際形象。

“Our ambition is to take the London Film Festival to the top tier,” said Amanda Nevill, director of the British Film Institute, which runs the event. She was speaking at a press event held in a London movie theater.

英國電影協會與倫敦電影節總監Amanda Nevill在倫敦影院對媒體表示：「我們的目標是將倫敦電影節提升到頂級的層次。」

To contact the writer on the story: Farah Nayeri in London farahn@bloomberg.net.
Last Updated: September 10, 2009 01:00 EDT

Source: http://www.bloomberg.com/apps/news?pid=20601088&sid=aS8gfW.2PN2M

[NEWS] Venice Film Festival - More highs than lows on the Lido

2009-09-11T10:22:00.003+08:00

FROM independent.co.uk

With politics, pilgrimages and Pixar on the menu, not to mention a gondola fleet of glamorous stars, this year's Venice Film Festival has been a return to form. About time too, says Geoffrey Macnab.

The Venice Film Festival has always had a Fellini-esque quality: a sense of carnival that can enrapture visitors, even as they have to deal with the logistical disorder that so often mars the event. This year, there have been technical mishaps but the mood has remained upbeat. The films themselves – when the festival has managed to screen them successfully – have been stronger and livelier than the meagre offerings of 2008.

The contradictory nature of the festival has been reflected in its choice of guests. The Lido last weekend was filled with balloons and cartoon bric-a-brac as John Lasseter and the Pixar team came to town to trumpet the forthcoming Up. Star Wars maestro George Lucas presented Lasseter with his Lifetime Achievement Award. Trotting down the red carpet not so many hours later was the President of Venezuela, Hugo Chavez. George W Bush's bête noire was in town for the premiere of Oliver Stone's new documentary, South of the Border.

In the film, Stone interviews the controversial Latin American leader at length, portraying him in an idealised manner different from how he is generally shown on Fox TV. The director then goes on to meet the other leftist leaders in the region – Evo Morales in Bolivia, Raul Castro in Cuba, Christina Kirchner in Argentina among them – who've stood up against US imperialism and International Monetary Fund interference.

Stone isn't exactly probing or confrontational in his approach. He asks his subjects soft-ball questions and flatters them assiduously. He plays football and eats coca leaves with his subjects. The only moment of tension comes when he inquires of Christina Kirchner how many pairs of shoes she has, as if she is the new Imelda Marcos. The Argentinean President puts the director of Wall Street and Born on the Fourth of July in his place for his sexism. Even so, it's a surprisingly enjoyable and relaxed tour around the Latin American political landscape.

The Venice festival was founded in the Mussolini era (its top prize used to be called the Mussolini Cup). Despite its fascist-era origins, it remains one event in Silvio Berlusconi's Italy where political debate is encouraged. From Erik Gandini's Videocracy (about the seamy side of Berlusconi's TV empire) to Michael Moore's rousing Capitalism: A Love Story, from Giuseppe Tornatore's kitsch epic Baaria (about a communist politician) to Stone's Chavez documentary, this year's programme has been full of films railing against right-wing corruption.

It has also been full of Werner Herzog films. No sooner had audiences recovered from the Sturm und Drang of Herzog's Bad Lieutenant: Port of Call New Orleans (the German director's attempt to make a Wagnerian cop-thriller) than they were confronted by another new Herzog movie, his eccentric, David Lynch-produced My Son, My Son, What Have Ye Done. This is a reworking of the Oedipus myth with the action transplanted from classical Greece to suburban San Diego. Michael Shannon brings the wild-eyed intensity that all Herzog leads need to his role as the flamingo-loving oddball who murders his mother and is put under siege by the cops. Even so, My Son, My Son is Herzog at half-cock: playful, self-indulgent but without the raw voltage of the director's best work.

One of the most powerful entries in the competition was Claire Denis's White Material, set in an unnamed African country where revolution is in the air: child soldiers are running amok and the regular army is fighting to restore order. Caught in the middle are plantation owners Maria and Andrea Vial (Isabelle Huppert and Christopher Lambert), the "white material" of the title. Maria wants to stay on the land but the fates are turning against her. Beautifully shot in wide-screen, the film plays like an intimate, arthouse version of Apocalypse Now. There is the same corruption, sense of moral decay, madness and (eventually) bloodshed found in Coppola's Vietnam epic, albeit in a film on a smaller scale.

Less bloody but equally distinctive was Jessica Hausner's Lourdes, a sly and provocative film about faith and miracles. Sylvie Testud stars as Christine, a young woman in a wheelchair who travels to Lourdes in hope of a miracle cure. Hausner films Lourdes with a quizzical, documentary-like eye, capturing the pilgrims on day-trips round the town. We observe the sometimes spiky relationships between the pilgrims in poor health and their carers. An Austrian who grew up a Catholic but now describes herself as agnostic, Hausner doesn't set out to mock her protagonists. She was working in co-operation with the Bishop's office in Lourdes and is respectful toward the town. Nonetheless, Hausner was clearly startled by her distributor's plans to premiere the film in Lourdes prior to its French release in December. It would be a great irony if a film is co-opted by the community whose beliefs and behaviour it analyses in such dryly satirical fashion.

Todd Solondz was back in Venice with Life During Wartime. The title might lead you to expect a drama about civilians under enemy occupation. It is a war film of sorts, but the war it chronicles is entirely in the domestic sphere. Solondz is US indie cinema's supreme chronicler of queasy family dysfunction, a film-maker whose pet subjects range from paedophilia and abortion to sibling jealousy and marital strife. His new film ploughs the same furrows as its predecessors, but in a self-reflexive and stylised fashion. Instead of New Jersey or New York – his usual home turf – he has set the film in Florida. (It was actually shot largely in Puerto Rico.)

The film features ideas and even actual characters (albeit played by different actors) from earlier films like Welcome to the Dollhouse and Happiness. Eccentric casting adds to the piquancy. Paul Reubens (the shamed former kids TV star Pee-Wee Herman), a frosty Charlotte Rampling, Ciará*Hinds, Ally Sheedy and Shirley Henderson are all on show here.

Almost equally bleak, although shorter on laughs, was Patrice Chéreau's oppressive and intense romantic psychodrama Persécution. This starred Romain Duris (of The Beat That My Heart Skipped fame) as Daniel, a resourceful but emotionally troubled young outsider, in love with the beautiful Sonia (Charlotte Gainsbourg) but incapable of trusting her. To add to the complications, Daniel is being stalked by an unnamed man (Jean-Hugues Anglade) who spotted him on the subway, fell in love with him and now wants to crash into his life. (This part of the plot is based on an incident in Chereau's own life when he was harassed by a stalker). If you like French films about neurotic characters agonising over the existential meaninglessness of relationships, you'll find this a blast.

As the festival hit its final few days, speculation began as to which film would be awarded the Golden Lion by Ang Lee's jury. Several contenders appear to be in the frame. John Hillcoat's stirring adaptation of Cormac McCarthy's dystopian novel The Road had its champions. The White Material divided audiences but seemed to many to be the strongest film Claire Denis had made since Beau Travail. Advanced word on former Gucci supremo Tom Ford's feature debut A Single Man (which screens late in the festival) was positive and there was curiosity about both Jaco Van Dormael's epic sci-fi fantasy Mr Nobody and Fatih Akin's Soul Kitchen.

It's impossible to second-guess festival juries. At least Venice 2009 has produced several worthy contenders, which is more than can be said for last year's edition.

SINK OR SWIM? OUR VERDICT ON THE FILMS

THREE MUST-SEES...

White Material
Dir. Claire Denis
Denis's intimate epic about white coffee-plantation owners caught in the maelstrom of African politics boasts another astonishing performance from Isabelle Huppert.

The Road
Dir. John Hillcoat
Imagine "Huckleberry Finn" rethought as a post-apocalypse allegory and you'll come close to the essence of Hillcoat's chilling Cormac McCarthy adaptation. Absorbing and affecting.

Lourdes
Dir, Jessica Hausner
A delicate and subtle satire about the power of miracles.

AND TWO TO AVOID...

Baaria
Dir. Giuseppe Tornatore
The "Cinema Paradiso" follow-up is an interminable Sicilian family epic.

The Informant!
Dir. Steven Soderbergh
Falling between two stools, this Matt Damon vehicle is neither "Oceans Thirteen"-style hokum nor a crusading drama a la "Erin Brockovich".

Source: http://www.independent.co.uk/arts-entertainment/films/features/venice-film-festival--more-highs-than-lows-on-the-lido-1785110.html

[NEWS] Toronto Film Festival 2009: A Primer

2009-09-11T10:17:00.005+08:00

2009多倫多影展入門

By Anthony Kaufman

The Toronto International Film Festival—which kicks off today—is the place where award-season campaigns begin, or end. From “American Beauty” in 1999 to more recent Academy-Award-winning independent-film breakouts such as “Juno” and “Slumdog Millionaire,” the winding path to Oscar’s Kodak Theater often starts up North. But just as buzz can boost a film, buzz can also kill (see last year’s “Miracle at St. Anna,” directed by Spike Lee).
多倫多影展對許多影片而言，是整個奧斯卡大戰的起點，或是終點。從1999年的「美國心玫瑰情」，到近年幾部獲得奧斯卡最佳影片的獨立製片，像是「鴻孕當頭」、「貧窮百萬富翁」等，都是從這裡開始發跡，而後直攻柯達戲院之顛。但水能載舟亦能覆舟，去年Spike Lee的「聖安娜的奇蹟」也是在這裡被毀滅的。

This year’s contenders are far more promising than last year’s, when only Mickey Rourke’s performance as “The Wrestler” stirred up much talk, helping to launch Rourke’s career comeback and the film’s healthy $45 million in global ticket sales.

Most notably, directors Jason Reitman and the Coen Brothers are back in Toronto this year, following their 2006 festival successes “Juno” and “No Country for Old Men,” respectively, with “Up in the Air,” an adaptation of Walter Kirn’s bestseller starring George Clooney, and “A Serious Man,” a dark madcap comedy set in 1967 suburban Minneapolis (far from “Fargo”). Both films are already generating the type of positive word-of-mouth that can build to a frenzy in Toronto, where much of the North American media press and critics annually coalesce.

The so-called “specialized” film industry could use some excitement. After corporate consolidation and economic doldrums led to the closing of numerous companies, including Time Warner subsidiaries Picturehouse and Warner Independent Pictures, and smaller concerns such as ThinkFilm and New Yorker Films, the business is in need of some renewed faith.

A new generation of film companies will be heading to the Canadian festival with hopes of rebuilding the momentum: Liberty Media Corp’s Overture Films, which shrewdly acquired the modest hit “The Visitor” at the festival in 2007, will hold two high-profile premieres, the North American debut of “Men Who Stare at Goats,” a war satire again starring Clooney, and Michael Moore’s latest documentary “Capitalism: A Love Story.” Newly created Apparition, backed by Twin Cities entrepreneur Bill Pohlad, will make its festival debut with Jane Campion’s “Bright Star.”

Film companies will also be looking to acquire available films for a reasonable price. Prior to the festival, fledgling player National Geographic World Films made one preemptive buy: the acquisition of “City of Life and Death,” a Chinese drama about the 1937 Japanese occupation of Nanking.

Source: http://blogs.wsj.com/speakeasy/2009/09/10/toronto-film-festival-2009-a-primer/

[NEWS] Toronto International Film Festival opens

2009-09-11T10:14:00.002+08:00

Toronto returns to the cinema world spotlight Thursday as the Toronto International Film Festival gets underway for 10 days of movie screenings, deal-making and celebrity-watching.

More than 330 titles from around the globe will unspool as part of the 34th edition of the annual movie-fest, known for being one of the most public film festivals on the international circuit and also as a successful launch pad and testing ground for films aspiring to the Academy Awards and other prominent year-end film honours.

"The No. 1 thing about the Toronto film fest — and it's become a cliché, but it actually is true — is it's just the best audiences in the world," Quentin Tarantino said in an interview while in Toronto in August.

"If you're looking at the Midnight Madness movies, they're here for it. If you're seeing the new Eric Rohmer [film], they're there for it. Whatever the proper audience for the movie is, the Toronto audience brings it."

This year's festival arrives at an odd crossroads, in that it is showcasing films largely made and financed before the global economic collapse, but a significant segment of which are still searching for distribution deals — possibly because of a still-anxious industry.

Industry representatives, on the other hand, are on the lookout for gems like Slumdog Millionaire, which grew from award-winning audience favourite at TIFF in 2008 to widespread critical acclaim and Oscar domination.

The festival's nearly 100 world premieres this year include anticipated Hollywood titles such as A Serious Man from Joel and Ethan Coen, Drew Barrymore's directorial debut Whip It! (featuring Canadian Ellen Page) and Jason Reitman's Up in the Air, one of two TIFF offerings starring George Clooney.

In addition to Clooney, Barrymore and Page, celebrities slated to make a red carpet appearance include Penelope Cruz (Broken Embraces), Julianne Moore (Chloe), Michael Caine (Harry Brown) and Oprah Winfrey, executive producer of another of the films with buzz this year, Precious: Based on the Novel Push by Sapphire.

"I think everyone can find something here that’s going to speak to them," festival co-director Cameron Bailey told CBC in a recent interview.

TIFF gets underway Thursday evening with the gala world premiere of the Charles Darwin drama Creation, which scored a last-minute, pre-festival distribution deal earlier this week. The festival continues through Sept. 19, closing with Quebec director Jean-Marc Vallée's royal costume drama The Young Victoria.

Source: http://www.cbc.ca/arts/tiff/story/2009/09/10/toronto-festival-opening-day.html

[新聞] 威尼斯影展／盧卡斯頒金獅獎給皮克斯拉薩特

2009-09-10T15:15:00.001+08:00

【聯合報╱記者葛大維／綜合報導】2009.09.07 03:54 am

威尼斯影展開始出現重量級的國際影人，「星際大戰」大導演喬治盧卡斯將頒發終身成就金獅獎給「皮克斯」動畫公司的創意執行總監約翰拉薩特。

北美館正在舉行「皮克斯動畫20年」國際巡迴展覽，非常轟動，不過「皮克斯」的創意執行總監約翰拉薩特昨日抵達威尼斯，他將從大導演喬治盧卡斯手中接受終身成就金獅獎。

「皮克斯」前身原是喬治盧卡斯電影公司的電腦動畫部，1984年愛穿夏夷花襯衫約翰拉薩特加盟，1995年「皮克斯」推出的動畫「玩具總動員」就贏得奧斯卡最佳動畫片，之後包括「怪獸電力公司」、「海底總動員」、「超人特攻隊」、「料理鼠王」、「瓦力」都抱得小金人。

「華氏911」導演麥可摩爾也帶新片「資本主義：一個愛情故事」來威尼斯；以「全面反擊」贏得奧斯卡女配角的蒂妲絲文頓也以新片「我是愛神」（暫譯）來威尼斯，合演的瑪麗莎貝蓮森曾是超級名模，轉進影壇曾演「酒店」、「亂世兒女」等片。

【2009/09/07 聯合報】
http://udn.com/NEWS/ENTERTAINMENT/ENT3/5120710.shtml

[新聞] 倫敦電影節10月登場播放全球逾300部影片

2009-09-10T14:51:00.001+08:00

（中央社記者黃貞貞倫敦9日專電）

第53屆倫敦電影節將於10月14日登場，播放李安執導的新片「胡士托風波」等300多部電影，開幕影片將全球首映由喬治庫隆尼等明星配音的動畫電影「了不起的狐狸爸爸」。

英國電影協會（British Film Institute）今天宣布，今年倫敦電影節從46個國家精選191部劇情片、113部短片。

「了不起的狐狸爸爸」（Fantastic Mr. Fox）是導演安德森（Wes Anderson）執導的第一部動畫片，改編自達爾（Roald Dahl）的暢銷童書。

「了不起的狐狸爸爸」的配音陣容十分堅強，除了帥哥喬治庫隆尼（George Clooney），還有影后梅莉史翠普（Meryl Streep）、實力派演員莫瑞（BillMurray ）等人。

另一部全球首映影片，是由泰勒伍德（SamTaylor-Wood ）執導，以「披頭四」（Beatles）樂團已故成員約翰藍儂（John Lennon）成長故事為主題的「無處男孩」（暫譯）（Nowhere Boy），本片安排在10月29日的閉幕播放。

倫敦電影節藝術總監荷本（Sandra Hebron）表示，今年共有15部影片在倫敦電影節舉行全球首映，23部是歐洲首映，包括李安的新片「胡士托風波」（TakingWoodstock）等146部影片則是英國首映，顯示倫敦電影節日益受到重視。

李安已確定將親自到倫敦為新片宣傳，正在義大利參加威尼斯影展的喬治庫隆尼也將參加倫敦電影節，為另一部新片「超異能部隊」（The Men Who Stare atGoats）宣傳。

喬治庫隆尼另一部喜劇新片「型男飛行日誌」（Upin the Air）也將在電影節播放，他堪稱是今年倫敦電影節「曝光率」最高的演員。

另外，中國導演陸川拍攝的「南京！南京！」、潘劍森執導的「壞人的節日」、南韓導演奉俊昊拍攝的「非常母親」等，都將在倫敦電影節放映。

依照前5年的慣例，今年倫敦電影節將在特拉法加廣場（Trafalgar Square）舉辦一場免費電影放映，另外，紀念倫敦地鐵開通，20多部以地鐵為主題的檔案短片在重新整理後，10月22日晚將首次與民眾見面。

荷本告訴中央社記者，今年英國電影協會提供90萬英鎊的資金推動倫敦電影節，使主辦單位「如虎添翼」，計劃再擴大舉辦更多場記者會；雖然英國經濟衰退，但電影市場未感受到寒意，贊助廠商也未見減少，希望影迷踴躍參與。

倫敦電影節門票23日先開放會員訂購，26日再開放給一般民眾。