中文|Cindy Hsu 徐熙婷
The 3rd edition of First Films returns from 5 - 8 December 2024 at Golden Age Cinema, curated by Paul Struthers and Jess Ellicott. Dedicated to challenging, inspiring, and entertaining, this year’s program features works from two classic directors and four emerging talents.
致力於介紹新銳導演的初試啼聲之作的 「首部作品(FIRST FILMS)」影展即將在12月5日至8日展開!本次精選了兩部經典作品來自Rose Troche 和 Apichatpong Weerasethakul 導演,同時也將介紹觀眾當代新導演的四部長片,雪梨的觀眾和影迷千萬別錯過!
開幕片:《我女朋友的女朋友》(Go Fish, 1994)
Opening the festival is the 4K restoration of Go Fish (1994), directed by Rose Troche. Winner of the Teddy Award for Best Feature Film at the 1994 Berline International Film Festival, this groundbreaking debut offers an intimate and vibrant portrait of Chicago’s lesbian community.
「妙趣橫生且性感迷人」——《IndieWire》
今年是 Rose Troche 執導的《我女朋友的女朋友》首映30週年,本次特別放映4K數位修復版。本片描繪了90年代芝加哥女同志群像關於愛情和身分的探尋,同時也探討了出櫃、雙性戀、酷兒創作者的責任等面向。有限的成本創造出世紀末獨特的電影筆觸,不僅具有開創性及影響力,更是一部值得一看再看的經典佳作。
《正午顯影》(Mysterious Object at Noon, 2000)
Apichatpong Weerasethakul’s audacious debut, Mysterious Object at Noon (2000), selected for Venice, Rotterdam, and New York Film Festival, the film seamlessly blends documentary and surrealism, delivering a genre-defying vision that remains unparalleled.
「將虛構與非虛構、幻想與現實交織、揉和的驚艷之作」——強納森・羅森鮑姆《芝加哥讀者報》
泰國名導 Apichatpong Weerasethakul 初試啼聲之作!以16mm黑白膠卷拍攝,大膽結合紀錄片形式和超現實主義,創造出 Apichatpong 作者印記的起點。
《正午顯影》以故事接龍為核心,邀請旅途中形形色色的路人參與,不同年齡、性別、階級的想像交織其中,形塑出難以定義、超乎常理的奇妙冒險。
《所有憂傷的年輕人》(All, Or Nothing at All, 2023
Contemporary works include Jiajun “Oscar” Zhang’s All, Or Nothing at All (2023), an evocative exploration of modern romance and isolation, with some of the most striking on-screen fashion of the year.
"Threading various narrative avenues and aesthetic textures, All, or Nothing at All offers an entertaining examination of a new generation of young adult disaffection amidst the overload of contemporary living that conceptually parallels the multistory consumerist landscape where it’s set." ——MoMA
「本片饒富趣味地審視了新世代年輕人的不滿情緒。」——New Directors/New Films
中國新銳導演張家駿(Jiajun “Oscar” Zhang)的驚艷處女作。
影片以兩段式的結構,講述上海宏偉的環球港購物中心內各式各樣的人們,有員工、漫遊者和夢想家等等,在這裡找尋與現代世界聯繫的故事。張家駿的電影讓人聯想到早期的王家衛作品(特別是《春光乍洩》),透過濃烈的情感刻畫、華麗的視覺效果和令人難忘的表演,深刻探討當代愛情與孤獨
《Mountains》(2023)
Monica Sorelle’s Mountains (2023) received Special Mention: U.S. Narrative Feature at the 2023 Tribeca Film Festival; the film poignantly captures the tension between personal ambition and familial duty, making it a timely and deeply relatable film.
"Monica Sorelle’s narrative feature debut is a slice-of-life portrait of an immigrant worker and family man gradually contending with his class aspirations and housing insecurities in a rapidly gentrifying neighbourhood." —— Robyn Citizen | TIFF
「潛力新銳導演的驚艷處女作」—— The Playlist
來自海地的建築工人Xavier一心希望給家人買新房子,擁有更好的生活品質,所以在產業結構轉換的邁阿密打拚。然而,隨著房價不斷攀升,再加上兒子想走不同的人生路,家人和社區的關係面臨了嚴峻的考驗。
憑藉出色的表演和對世代衝突的即時探討,與個人理想與家庭責任之間掙扎得深刻描繪,讓本片導演 Monica Sorelle 榮獲獨立精神獎「值得關注獎」,而主演 Atibon Nazaire 也獲提名「最佳突破表現」,更使影片本身成為當今不可錯過的佳作。
《The Hidden Spring》(2024)
Jason Di Rosso’s meditative The Hidden Spring (2024) uses an intimate, essayistic form to mirror the emotional and philosophical distance between father and son, delving into personal grief and the fractured ways we understand reality.
「敘事方式從容且複雜,有著催眠般的吸引力。」——《The Monthly》
澳洲知名影評及廣播節目主持人 Jason Di Rosso 從伯斯到雪梨,橫跨4000公里的距離,記錄了父親臨終前試圖透過替代靈性療法來治療絕症的過程。
透過親密且富有散文感的影像,反映出父子間情感與思想上的隔閡,不僅是關於個人的哀傷,更是關於現實深刻且往往破碎的理解方式,讓人聯想到Chantal Akerman的《非家庭電影》(No Home Movie)與 Laurie Anderson的《犬之心》(Heart of a Dog),並帶領觀眾進入一場關於時間、記憶與親情的冥想之旅。
閉幕片:《Seeking Mavis Beacon》 (Seeking Mavis Beacon, 2024)
Closing the festival is Jazmin Renée Jones’s genre-defying Seeking Mavis Beacon (2024), winner of the Bay Area Documentary Award at the 2024 San Francisco International Film Festival. This compelling documentary unravels the mystery behind the iconic Haitian-born model who graced the cover of the groundbreaking ’80s educational software Mavis Beacon Teaches Typing, a cultural phenomenon that shaped millions of lives.
「尖銳、有趣,並且發人深省。」——《洛杉磯時報》
在 2024 年日舞影展首映並榮獲舊金山國際影展金門獎最佳灣區紀錄片的《Seeking Mavis Beacon》,是新銳導演 Jazmin Renée Jones 的迷人且類型融合的首部作品。
這部紀錄片揭開了 Mavis Beacon 這位海地裔模特的神秘面紗——她曾是1980 年代現象級教育軟體《Mavis Beacon Teaches Typing》的封面主角。隨著兩位熱血業餘偵探的尋人旅程,進一步探討了數位身份、人工智慧,以及黑人在科技領域中常被忽視的代表性議題,更是結合了懸疑、文化批判與情感共鳴等多元面向,精彩、不容錯過。
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