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Showing posts with label Venice Film Festival. Show all posts
Showing posts with label Venice Film Festival. Show all posts

Wednesday, September 16, 2009

[NEWS] 爭人權影片獲肯定 伊朗揚言抵制國際影展

【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】

Monday, September 14, 2009

[News] 李安不好意思「愛國」 華語片飲恨

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

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

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


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》

Friday, September 11, 2009

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

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

Thursday, September 10, 2009

[新聞] 威尼斯影展/盧卡斯頒金獅獎給皮克斯拉薩特

【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