【#第46屆香港國際電影節】青年大使 余香凝 😍
【#HKIFF46】Young Ambassador Jennifer Yu 😍
想知道香港國際電影節青年大使余香凝這兩年的身份變化、未來的演藝規劃以及個人取向？ 立即去片吧！ 。
另一位青年大使游學修的訪問和快問快答，下星期將就有得睇。大家可以設定推送通知，以獲取電影節的最新資訊🔔。
Wanna know the identity change, career plan and personal preference of HKIFF Young Ambassador – Jennifer Yu? Watch the video NOW!
Another HKIFF Young Ambassador -- Neo Yau will be featured in the Interview and Quick Q&A next week. You may set the push notification to receive the latest updates of HKIFF46 🔔.
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📅 HKIFF46 | 15-31 Aug 2022
#CineFan #電影節發燒友 : http://cinefan.com.hk/⠀
#HKIFF #香港國際電影節 : http://www.hkiff.org.hk/
#YoungAmbassador #JenniferYu #青年大使 #余香凝
https://fb.watch/dXy-Njzhnr/
[HKIFF46]第46屆香港國際電影節集中討論區
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【#電影節發燒友 5/6/7月】才情鬥智：劉別謙與比利懷特 ♟
【#CineFan May/Jun/Jul】Matching Wits: Lubitsch and Wilder ♟
「劉別謙筆觸」雖難以定義，但其精妙特色之一，是對充滿矛盾、缺憾以至擁抱雙重標準的人物，來一記幽默嘲諷之餘不乏了解同情。《#人約黃昏後》裏占士史超域與瑪嘉烈蘇莉雲飾演的店員，在職場上擺出一副冷面針鋒相對，在家卻是一面柔情與筆友互訴心聲。透過呈現兩人在公在私不同姿態的落差，互相鬥氣卻不知原來彼此傾慕，劉別謙對人性的描繪更生動細膩。讓秘密在聖誕夜揭盅，情緣更來得溫馨動人。
作為 #劉別謙 的得意門生，#比利懷特 在《#巴黎春戀》繼承了真傳秘技，亦發展出自我風格。由美國片廠移師巴黎實景，將錯摸橋段加以發揮，今回由情竇初開的柯德莉夏萍對碰情場老手加利谷巴，在華麗酒店房間內以輕音妙舞伴襯出愛情攻防戰。善用門開門閉、房內房外的「劉別謙筆觸」向恩師致敬，亦讓情慾暗自流轉。懷特創造了一部幽默、精緻而賞心悅目的浪漫喜劇，令觀眾忘掉年齡差距的愛情道德界線。
While the ineffable quality of “the #Lubitsch Touch” is hard to define, one of its distinctiveness is the critical affection for flawed characters who operate according to double standards. In #TheShopAroundTheCorner, two repressed employees of a Budapest leather goods boutique, played by James Stewart and Margaret Sullavan, scorn at each other at work while unwittingly adore one another via passionate anonymous correspondences. By playing up their incongruous attitudes and cranky peevishness, Lubitsch makes their secret amorous sides and final revelation to each other on Christmas night even more touching.
In #LoveInTheAfternoon, #BillyWilder manifested his deft understanding of “the Lubitsch Touch,” while crafting his own stylisation of romantic comedy. This time, the wickedly funny game of matching wits is between an innocent, blossoming girl, played by Audrey Hepburn, and a wealthy middle-aged playboy, played by Gary Cooper. Skillfully adopting Lubitsch’s tricks behind closed doors and shut blinds, Wilder pulls off portraying the love affair in question, delicately presenting desire and sexuality while avoiding any conservative outrage from the audience regarding the staggering age difference.
#HKIFF #香港國際電影節：http://www.hkiff.org.hk/
#CineFan #電影節發燒友：http://cinefan.com.hk/
【#CineFan May/Jun/Jul】Matching Wits: Lubitsch and Wilder ♟
「劉別謙筆觸」雖難以定義，但其精妙特色之一，是對充滿矛盾、缺憾以至擁抱雙重標準的人物，來一記幽默嘲諷之餘不乏了解同情。《#人約黃昏後》裏占士史超域與瑪嘉烈蘇莉雲飾演的店員，在職場上擺出一副冷面針鋒相對，在家卻是一面柔情與筆友互訴心聲。透過呈現兩人在公在私不同姿態的落差，互相鬥氣卻不知原來彼此傾慕，劉別謙對人性的描繪更生動細膩。讓秘密在聖誕夜揭盅，情緣更來得溫馨動人。
作為 #劉別謙 的得意門生，#比利懷特 在《#巴黎春戀》繼承了真傳秘技，亦發展出自我風格。由美國片廠移師巴黎實景，將錯摸橋段加以發揮，今回由情竇初開的柯德莉夏萍對碰情場老手加利谷巴，在華麗酒店房間內以輕音妙舞伴襯出愛情攻防戰。善用門開門閉、房內房外的「劉別謙筆觸」向恩師致敬，亦讓情慾暗自流轉。懷特創造了一部幽默、精緻而賞心悅目的浪漫喜劇，令觀眾忘掉年齡差距的愛情道德界線。
While the ineffable quality of “the #Lubitsch Touch” is hard to define, one of its distinctiveness is the critical affection for flawed characters who operate according to double standards. In #TheShopAroundTheCorner, two repressed employees of a Budapest leather goods boutique, played by James Stewart and Margaret Sullavan, scorn at each other at work while unwittingly adore one another via passionate anonymous correspondences. By playing up their incongruous attitudes and cranky peevishness, Lubitsch makes their secret amorous sides and final revelation to each other on Christmas night even more touching.
In #LoveInTheAfternoon, #BillyWilder manifested his deft understanding of “the Lubitsch Touch,” while crafting his own stylisation of romantic comedy. This time, the wickedly funny game of matching wits is between an innocent, blossoming girl, played by Audrey Hepburn, and a wealthy middle-aged playboy, played by Gary Cooper. Skillfully adopting Lubitsch’s tricks behind closed doors and shut blinds, Wilder pulls off portraying the love affair in question, delicately presenting desire and sexuality while avoiding any conservative outrage from the audience regarding the staggering age difference.
#HKIFF #香港國際電影節：http://www.hkiff.org.hk/
#CineFan #電影節發燒友：http://cinefan.com.hk/
唔知點解見到吳君如都唔開胃
可能細細個已經睇佢做霸王花果D又巴渣潑辣，又樣樣衰衰，永遠想搶女主角鏡頭果D衰樣影響
到佢家有喜事、洪興十三妹、金雞、歲月神偷呢D完全不同性格角色都好，都有種幾時下一場無佢戲份，想跳哂有佢份的場面的想法
可能細細個已經睇佢做霸王花果D又巴渣潑辣，又樣樣衰衰，永遠想搶女主角鏡頭果D衰樣影響
到佢家有喜事、洪興十三妹、金雞、歲月神偷呢D完全不同性格角色都好，都有種幾時下一場無佢戲份，想跳哂有佢份的場面的想法
【#電影節發燒友 5/6/7月】奇斯洛夫斯基：《藍白紅三部曲》
【#CineFan May/Jun/Jul】Kieślowski: THREE COLOURS TRILOGY
「三大理念只是藉口，跟現在沒有多大關聯。任何時代也有其困難之處，而每一代人都會懷念過往美好日子；我們都這樣告訴年輕一代。故此這個時代比其他時代同樣適合拍攝這些電影……」《#藍白紅三部曲》，#奇斯洛夫斯基 的命運三重奏被譽為詩意美學的巔峰作，今年適逢三部經典以4K修復完成，在這人心動盪的時代重溫傑作，更有如是命運的巧妙安排。
今個長周末，你更可以一氣呵成盡覽《藍白紅三部曲》，在當下重新思考自由、平等、博愛之外，同時領略奇氏對人性、生命以至愛的深刻體會。
“The idea of the three ideals is just a pretext; it’s not especially relevant to today. Any period has its difficulties, and every generation says things were better in the good old days; it’s what we tell the younger generation. So our time is as good as any other to make these films…” #Kieślowski’s metaphysical #ThreeColoursTrilogy is highly acclaimed as an artistic revolution. With their release in 4K restoration this year, this very moment, during a time of confusion in our modern life, is better than ever to revisit his three masterpieces.
This long weekend, you can immerse yourself in the THREE COLOURS TRILOGY in one go. Beyond contemplating liberty, equality, and fraternity, reconnecting with Kieślowski will help us understand ourselves and the world around us, and be reminded that we are not alone.
#HKIFF #香港國際電影節：http://www.hkiff.org.hk/
#CineFan #電影節發燒友：http://cinefan.com.hk/
【#CineFan May/Jun/Jul】Kieślowski: THREE COLOURS TRILOGY
「三大理念只是藉口，跟現在沒有多大關聯。任何時代也有其困難之處，而每一代人都會懷念過往美好日子；我們都這樣告訴年輕一代。故此這個時代比其他時代同樣適合拍攝這些電影……」《#藍白紅三部曲》，#奇斯洛夫斯基 的命運三重奏被譽為詩意美學的巔峰作，今年適逢三部經典以4K修復完成，在這人心動盪的時代重溫傑作，更有如是命運的巧妙安排。
今個長周末，你更可以一氣呵成盡覽《藍白紅三部曲》，在當下重新思考自由、平等、博愛之外，同時領略奇氏對人性、生命以至愛的深刻體會。
“The idea of the three ideals is just a pretext; it’s not especially relevant to today. Any period has its difficulties, and every generation says things were better in the good old days; it’s what we tell the younger generation. So our time is as good as any other to make these films…” #Kieślowski’s metaphysical #ThreeColoursTrilogy is highly acclaimed as an artistic revolution. With their release in 4K restoration this year, this very moment, during a time of confusion in our modern life, is better than ever to revisit his three masterpieces.
This long weekend, you can immerse yourself in the THREE COLOURS TRILOGY in one go. Beyond contemplating liberty, equality, and fraternity, reconnecting with Kieślowski will help us understand ourselves and the world around us, and be reminded that we are not alone.
#HKIFF #香港國際電影節：http://www.hkiff.org.hk/
#CineFan #電影節發燒友：http://cinefan.com.hk/
【#電影節發燒友 5/6/7月】CINE FAN ONLINE：《時光微塵》
【#CineFan May/Jun/Jul】CINE FAN ONLINE: THE DUST OF TIME
《#時光微塵》的特別之處，在於 #安哲羅普洛斯 延續反思歷史的一貫主題之外，更罕有地望向未來。安氏在訪問中談及六十年代曾在街頭被警察打至眼鏡飛脫，事件勾起他童年的苦痛回憶。他決心留在希臘拍電影，相信只有重拾過去，才能了解現在。《時光微塵》正是透過回溯歷史，審視當代希臘在政治、經濟及社會的窘局：導演A以至他的父母與女兒，迷失於過去與現在，又無法展望未來。與處身的當下互為對照，更覺安氏的非凡視野超越時空，為蒙塵的俗世，留下改變的希望。若錯過了上周末的放映，你亦可在7 月1 日至3日期間，於CINE FAN ONLINE重溫此傑作。
後話：記者問安氏，假如其15歲孫兒從雅典廣場示威回來，會對他說什麼？他回答：「我擔心他的安全，但會對他說：『我站在你身邊』。」
Besides his usual theme of reflecting on history, #TheoAngelopoulos’ #TheDustOfTime stands out for its exceptional vision for the future. In an interview, he recalled that he had been hit by a policeman in the streets in the 1960s. That incident brought back to him the earlier period of his life, and made him realise that the only way to understand the present is by returning to the past. Making THE DUST OF TIME is such an effort to examine the political, social and economic situations of contemporary Greece through taking a trip back to the history of the last half century. Through the lost cause of director A, his parents and his daughter, Angelopoulos left behind his profound contemplation of our modern world, and his visionary hope for our future. If you missed the screening last Sunday, you still have an opportunity to revisit this masterpiece via CINE FAN ONLINE platform, available from 1 to 3 July.
PS: When asked what he would say to his 15 year-old grandson if he returned from a protest in the square in Athens, Angelopoulos answered: “I would be afraid for his safety, but I would say to him ‘I am standing by you’.”
#HKIFF #香港國際電影節：http://www.hkiff.org.hk/
#CineFan #電影節發燒友：http://cinefan.com.hk/
【#CineFan May/Jun/Jul】CINE FAN ONLINE: THE DUST OF TIME
《#時光微塵》的特別之處，在於 #安哲羅普洛斯 延續反思歷史的一貫主題之外，更罕有地望向未來。安氏在訪問中談及六十年代曾在街頭被警察打至眼鏡飛脫，事件勾起他童年的苦痛回憶。他決心留在希臘拍電影，相信只有重拾過去，才能了解現在。《時光微塵》正是透過回溯歷史，審視當代希臘在政治、經濟及社會的窘局：導演A以至他的父母與女兒，迷失於過去與現在，又無法展望未來。與處身的當下互為對照，更覺安氏的非凡視野超越時空，為蒙塵的俗世，留下改變的希望。若錯過了上周末的放映，你亦可在7 月1 日至3日期間，於CINE FAN ONLINE重溫此傑作。
後話：記者問安氏，假如其15歲孫兒從雅典廣場示威回來，會對他說什麼？他回答：「我擔心他的安全，但會對他說：『我站在你身邊』。」
Besides his usual theme of reflecting on history, #TheoAngelopoulos’ #TheDustOfTime stands out for its exceptional vision for the future. In an interview, he recalled that he had been hit by a policeman in the streets in the 1960s. That incident brought back to him the earlier period of his life, and made him realise that the only way to understand the present is by returning to the past. Making THE DUST OF TIME is such an effort to examine the political, social and economic situations of contemporary Greece through taking a trip back to the history of the last half century. Through the lost cause of director A, his parents and his daughter, Angelopoulos left behind his profound contemplation of our modern world, and his visionary hope for our future. If you missed the screening last Sunday, you still have an opportunity to revisit this masterpiece via CINE FAN ONLINE platform, available from 1 to 3 July.
PS: When asked what he would say to his 15 year-old grandson if he returned from a protest in the square in Athens, Angelopoulos answered: “I would be afraid for his safety, but I would say to him ‘I am standing by you’.”
#HKIFF #香港國際電影節：http://www.hkiff.org.hk/
#CineFan #電影節發燒友：http://cinefan.com.hk/
【#電影節發燒友5/6/7月】悲傷草原 🍂
【#CineFan May/Jun/Jul】TRILOGY: THE WEEPING MEADOW 🍂
黑旗飄揚的海上葬禮、掛吊枯樹上的亡羊殘骸、隱現白幔間的樂師迎風奏樂……安哲羅普洛斯以淒美的攝影、場景與音樂，交織出《#悲傷草原》一幕幕超現實的夢幻景象，伴照孤女一生隨歷史洪流飄泊，奏起人類的命運輓歌。其中一場洪水淹沒村落的場景尤令人震撼，製作過程更恍如人意與天意的交匯──村落建於冬天乾涸的河床上，但只有三個月時間去搭景及拍攝，待洪水一到，村落便遭毀滅；得與失，彷彿同於一瞬。#卡蘭德若 的音樂，猶如以破碎回憶組成音符，在弦樂之中加入豎琴、手風琴與拜占庭時代的里拉琴，奏出流徙者對國土深沉的詠嘆，與自身的哀傷、苦難、失去的盼望幽幽迴盪。
以下短片，記錄了樂師在白幔間奏樂的製作過程：
https://www.youtube.com/watch?v=F99Bt8Slkwo
Lines of kayak solemnly paying tribute to a funeral; a herd of slaughtered sheep hanging omenlike on a tree; a group of travelling musicians playing their haunting score among a field of flying white sheets… a procession of starkly beautiful, almost mythical, images pave the life journey of Eleni, along her never-ending exile. The central event in #TheoAngelopoulos’ #TrilogyTheWeepingMeadow is the flooding of a village, which was filmed in a way that mirrors the relationship between human and nature – the village was built on the dry lake bed in winter, and in three months the crew had to build and shoot, then waited for the flood to come and completely destroy the village. The striking visuals are also graced by #EleniKaraindrou’s music – the film score, played by a string orchestra added with a harp, accordion and Constantinople lyra, is like being made of fragments of memory and of the resonance of a land, silently weeping with the pain, sorrow, and lost hopes of its displaced people.
A short video showing the making of the travelling musicians scene:
https://www.youtube.com/watch?v=F99Bt8Slkwo
#HKIFF #香港國際電影節：http://www.hkiff.org.hk/
#CineFan #電影節發燒友：http://cinefan.com.hk/
【#CineFan May/Jun/Jul】TRILOGY: THE WEEPING MEADOW 🍂
黑旗飄揚的海上葬禮、掛吊枯樹上的亡羊殘骸、隱現白幔間的樂師迎風奏樂……安哲羅普洛斯以淒美的攝影、場景與音樂，交織出《#悲傷草原》一幕幕超現實的夢幻景象，伴照孤女一生隨歷史洪流飄泊，奏起人類的命運輓歌。其中一場洪水淹沒村落的場景尤令人震撼，製作過程更恍如人意與天意的交匯──村落建於冬天乾涸的河床上，但只有三個月時間去搭景及拍攝，待洪水一到，村落便遭毀滅；得與失，彷彿同於一瞬。#卡蘭德若 的音樂，猶如以破碎回憶組成音符，在弦樂之中加入豎琴、手風琴與拜占庭時代的里拉琴，奏出流徙者對國土深沉的詠嘆，與自身的哀傷、苦難、失去的盼望幽幽迴盪。
以下短片，記錄了樂師在白幔間奏樂的製作過程：
https://www.youtube.com/watch?v=F99Bt8Slkwo
Lines of kayak solemnly paying tribute to a funeral; a herd of slaughtered sheep hanging omenlike on a tree; a group of travelling musicians playing their haunting score among a field of flying white sheets… a procession of starkly beautiful, almost mythical, images pave the life journey of Eleni, along her never-ending exile. The central event in #TheoAngelopoulos’ #TrilogyTheWeepingMeadow is the flooding of a village, which was filmed in a way that mirrors the relationship between human and nature – the village was built on the dry lake bed in winter, and in three months the crew had to build and shoot, then waited for the flood to come and completely destroy the village. The striking visuals are also graced by #EleniKaraindrou’s music – the film score, played by a string orchestra added with a harp, accordion and Constantinople lyra, is like being made of fragments of memory and of the resonance of a land, silently weeping with the pain, sorrow, and lost hopes of its displaced people.
A short video showing the making of the travelling musicians scene:
https://www.youtube.com/watch?v=F99Bt8Slkwo
#HKIFF #香港國際電影節：http://www.hkiff.org.hk/
#CineFan #電影節發燒友：http://cinefan.com.hk/
【#第46屆香港國際電影節】青年大使 游學修😎
【#HKIFF46】Young Ambassador Neo Yau 😎
想知道香港國際電影節青年大使游學修對於創作的想法、對電影工作的期盼，以及個人取向？立即去片吧！🏃♂️ 🏃♂️ 🏃♂️
Wanna know the thoughts on creativity, career goals and the personal preference of HKIFF Young Ambassador – Neo Yau? Watch the video NOW! 🏃♂️ 🏃♂️ 🏃♂️
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🗓️ HKIFF46 | 15-31 Aug 2022
#CineFan #電影節發燒友 : http://cinefan.com.hk/⠀
#HKIFF #香港國際電影節 : http://www.hkiff.org.hk/
#YoungAmbassador #NeoYau #青年大使 #游學修
#ShawStudios #ShawCreativeHub
https://fb.watch/e3sfDW8cZ_/
【#HKIFF46】Young Ambassador Neo Yau 😎
想知道香港國際電影節青年大使游學修對於創作的想法、對電影工作的期盼，以及個人取向？立即去片吧！🏃♂️ 🏃♂️ 🏃♂️
Wanna know the thoughts on creativity, career goals and the personal preference of HKIFF Young Ambassador – Neo Yau? Watch the video NOW! 🏃♂️ 🏃♂️ 🏃♂️
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🗓️ HKIFF46 | 15-31 Aug 2022
#CineFan #電影節發燒友 : http://cinefan.com.hk/⠀
#HKIFF #香港國際電影節 : http://www.hkiff.org.hk/
#YoungAmbassador #NeoYau #青年大使 #游學修
#ShawStudios #ShawCreativeHub
https://fb.watch/e3sfDW8cZ_/
【#電影節發燒友 5/6/7月】劉別謙：顛覆兩性關係
【#CineFan May/Jun/Jul】Lubitsch’s Subversive Sexual Mores
破了洞的襪、間條睡衣與睡褲、精神病人的緊身衣，#劉別謙 借物件妙喻愛情，作品往往對兩性關係以至婚姻傳統作出顛覆諷刺。「在現代婚姻混亂的年代，我直接走進生命，拋開通俗概念，那些在電影裏常被扭曲的人生。」劉別謙在荷里活的第二作《#迴轉姻緣》，拍出了無聲但擲地有聲的多角情緣，以真誠而睿智的筆觸看待浪漫、婚姻以至出軌行為，獲希治閣讚揚為「純電影」的典範。
在《#第八夫人》妙趣橫生的連場夫妻鬥法中，妻子佔盡上風，丈夫被弄至精神衰弱，給捧讀《馴悍記》的花花公子當頭一棒；法國店舖櫥窗上一句「說英語、懂美國人」，順道對歐美文化差異來一記幽默諷刺。到《#蘇俄艷史》，巧借鐵幕冰美人到花都執行任務，偶遇口甜舌滑法國公子的故事，以愛情打破政治對立；在二戰前夕對列寧與希特拉大開玩笑，更是對共產主義以至資本主義的戲謔。
Sock with a hole in the toe, pajamas without the pants, tightening straitjackets… #ErnstLubitsch’s slyly witty blend of style and substance adds new layers of depth in his acute commentary on sexual mores, often subversive toward matrimonial conventions. “In this mix-up of modern matrimony I have gone straight to life and thrown aside the melodramatic ideas with which life is usually distorted in the movies.” That truthfulness embodied in #TheMarriageCircle, his second Hollywood film, counters American puritanical hypocrisy with European sophistication, and is hailed by Alfred Hitchcock as “pure cinema”.
In #BluebeardsEighthWife, the conflict between a married couple revolving around uneven power dynamics is reversed when the quick-witted wife outclasses her philandering husband. The sign of “English spoken. American understood.” on the French store window adds an ironic humour to the American-European cultural difference. In #Ninotchka, which stars Greta Garbo as a buttoned-down Soviet envoy who encounters a smooth-talking French Count during her mission in Paris, Lubitsch makes Lenin and Hitler the objects of his ridicule through this politically-charged romantic comedy, casting his mockery on the absurdity of both communism and capitalism
#HKIFF #香港國際電影節：http://www.hkiff.org.hk/
#CineFan #電影節發燒友：http://cinefan.com.hk/
【#CineFan May/Jun/Jul】Lubitsch’s Subversive Sexual Mores
破了洞的襪、間條睡衣與睡褲、精神病人的緊身衣，#劉別謙 借物件妙喻愛情，作品往往對兩性關係以至婚姻傳統作出顛覆諷刺。「在現代婚姻混亂的年代，我直接走進生命，拋開通俗概念，那些在電影裏常被扭曲的人生。」劉別謙在荷里活的第二作《#迴轉姻緣》，拍出了無聲但擲地有聲的多角情緣，以真誠而睿智的筆觸看待浪漫、婚姻以至出軌行為，獲希治閣讚揚為「純電影」的典範。
在《#第八夫人》妙趣橫生的連場夫妻鬥法中，妻子佔盡上風，丈夫被弄至精神衰弱，給捧讀《馴悍記》的花花公子當頭一棒；法國店舖櫥窗上一句「說英語、懂美國人」，順道對歐美文化差異來一記幽默諷刺。到《#蘇俄艷史》，巧借鐵幕冰美人到花都執行任務，偶遇口甜舌滑法國公子的故事，以愛情打破政治對立；在二戰前夕對列寧與希特拉大開玩笑，更是對共產主義以至資本主義的戲謔。
Sock with a hole in the toe, pajamas without the pants, tightening straitjackets… #ErnstLubitsch’s slyly witty blend of style and substance adds new layers of depth in his acute commentary on sexual mores, often subversive toward matrimonial conventions. “In this mix-up of modern matrimony I have gone straight to life and thrown aside the melodramatic ideas with which life is usually distorted in the movies.” That truthfulness embodied in #TheMarriageCircle, his second Hollywood film, counters American puritanical hypocrisy with European sophistication, and is hailed by Alfred Hitchcock as “pure cinema”.
In #BluebeardsEighthWife, the conflict between a married couple revolving around uneven power dynamics is reversed when the quick-witted wife outclasses her philandering husband. The sign of “English spoken. American understood.” on the French store window adds an ironic humour to the American-European cultural difference. In #Ninotchka, which stars Greta Garbo as a buttoned-down Soviet envoy who encounters a smooth-talking French Count during her mission in Paris, Lubitsch makes Lenin and Hitler the objects of his ridicule through this politically-charged romantic comedy, casting his mockery on the absurdity of both communism and capitalism
#HKIFF #香港國際電影節：http://www.hkiff.org.hk/
#CineFan #電影節發燒友：http://cinefan.com.hk/
第46屆香港國際電影節呈獻 《光影浪潮 香港電影新動力》
HKIFF46 Celebrates 25A with Special Programme
為慶祝香港特別行政區成立25周年舉辦的《光影浪潮 香港電影新動力》巡迴影展，將於第46屆香港國際電影節隆重登場。是次活動由創意香港與香港國際電影節協會合辦，除放映節目外，同時舉辦攝影展，四位劇照師以另一種光影藝術，展現香港電影的非凡魅力。
今屆香港國際電影節精選十部本地傑作，不單標誌着香港電影在題材、風格以至美學上的創新突破，亦捕捉了城市、社會以至民生在25年來的不同面貌。
精選作品
1999 《#細路祥》（陳果導演）
2001 《#少林足球》（周星馳導演）
2001 《#麥兜故事》（袁建滔導演）
2003 《#PTU》（杜琪峯導演）
2004 《#旺角黑夜》（爾冬陞導演）
2007 《#投名狀》（陳可辛導演）
2011 《#桃姐》（許鞍華導演）
2013 《#一代宗師》（王家衛導演）
2015 《#踏血尋梅》（翁子光導演）
2019. 《#少年的你》（曾國祥導演）
是次巡迴影展於四月在烏甸尼遠東電影節揭開序幕，六月在峇里島接力，並在七月於倫敦和曼谷舉行。繼香港後，將於年底前陸續前往其他城市，包括北京、哥本哈根、悉尼、首爾、新加坡、斯德哥爾摩、檀香山、東京、布拉格及迪拜。
第46屆香港國際電影節將於8月15至31日以實體與網上混合模式舉行。完整節目將於7月27日公布。
The 46th Hong Kong International Film Festival (HKIFF46) will celebrate the 25th anniversary of the establishment of the Hong Kong Special Administrative Region by bringing home the world-touring “Making Waves – Navigators of Hong Kong Cinema” programme in August this year.
Co-presented with Create Hong Kong, HKIFF46's Making Waves programme will start with an exhibition of film and behind-the-scenes stills by four renowned unit photographers. It will also showcase the screening of ten seminal films exemplifying the diversity and creativity of post-1997 Hong Kong cinema.
Ten films to feature:
1999 #LittleCheung by Fruit CHAN
2001 #ShaolinSoccer by Stephen CHOW
2001 #MyLifeAsMcDull by Toe YUEN
2003 #PTU by Johnnie TO
2004 #OneNiteInMongkok by Derek YEE
2007 #TheWarlords by Peter Ho-sun CHAN
2011 #ASimpleLife by Ann HUI
2013 #TheGrandmaster by WONG Kar Wai
2015 #PortOfCall by Philip YUNG
2019 #BetterDays by Derek Kwok-cheung TSANG
The Making Waves touring programme was first launched in April in Udine, Italy, before travelling to Bali, London and Bangkok. After Hong Kong, it will visit other cities before the end of the year, including Beijing, Copenhagen, Sydney, Seoul, Singapore, Stockholm, Honolulu, Tokyo, Prague, and Dubai.
Taking place this year from 15 to 31 August for 17 days, HKIFF46 will go hybrid again, featuring in-theatre and online screenings and audience-engagement events. It will unveil its complete programme at a special media event on 27 July.
#HKIFF #香港國際電影節：http://www.hkiff.org.hk/
#CineFan #電影節發燒友：http://cinefan.com.hk/
HKIFF46 Celebrates 25A with Special Programme
為慶祝香港特別行政區成立25周年舉辦的《光影浪潮 香港電影新動力》巡迴影展，將於第46屆香港國際電影節隆重登場。是次活動由創意香港與香港國際電影節協會合辦，除放映節目外，同時舉辦攝影展，四位劇照師以另一種光影藝術，展現香港電影的非凡魅力。
今屆香港國際電影節精選十部本地傑作，不單標誌着香港電影在題材、風格以至美學上的創新突破，亦捕捉了城市、社會以至民生在25年來的不同面貌。
精選作品
1999 《#細路祥》（陳果導演）
2001 《#少林足球》（周星馳導演）
2001 《#麥兜故事》（袁建滔導演）
2003 《#PTU》（杜琪峯導演）
2004 《#旺角黑夜》（爾冬陞導演）
2007 《#投名狀》（陳可辛導演）
2011 《#桃姐》（許鞍華導演）
2013 《#一代宗師》（王家衛導演）
2015 《#踏血尋梅》（翁子光導演）
2019. 《#少年的你》（曾國祥導演）
是次巡迴影展於四月在烏甸尼遠東電影節揭開序幕，六月在峇里島接力，並在七月於倫敦和曼谷舉行。繼香港後，將於年底前陸續前往其他城市，包括北京、哥本哈根、悉尼、首爾、新加坡、斯德哥爾摩、檀香山、東京、布拉格及迪拜。
第46屆香港國際電影節將於8月15至31日以實體與網上混合模式舉行。完整節目將於7月27日公布。
The 46th Hong Kong International Film Festival (HKIFF46) will celebrate the 25th anniversary of the establishment of the Hong Kong Special Administrative Region by bringing home the world-touring “Making Waves – Navigators of Hong Kong Cinema” programme in August this year.
Co-presented with Create Hong Kong, HKIFF46's Making Waves programme will start with an exhibition of film and behind-the-scenes stills by four renowned unit photographers. It will also showcase the screening of ten seminal films exemplifying the diversity and creativity of post-1997 Hong Kong cinema.
Ten films to feature:
1999 #LittleCheung by Fruit CHAN
2001 #ShaolinSoccer by Stephen CHOW
2001 #MyLifeAsMcDull by Toe YUEN
2003 #PTU by Johnnie TO
2004 #OneNiteInMongkok by Derek YEE
2007 #TheWarlords by Peter Ho-sun CHAN
2011 #ASimpleLife by Ann HUI
2013 #TheGrandmaster by WONG Kar Wai
2015 #PortOfCall by Philip YUNG
2019 #BetterDays by Derek Kwok-cheung TSANG
The Making Waves touring programme was first launched in April in Udine, Italy, before travelling to Bali, London and Bangkok. After Hong Kong, it will visit other cities before the end of the year, including Beijing, Copenhagen, Sydney, Seoul, Singapore, Stockholm, Honolulu, Tokyo, Prague, and Dubai.
Taking place this year from 15 to 31 August for 17 days, HKIFF46 will go hybrid again, featuring in-theatre and online screenings and audience-engagement events. It will unveil its complete programme at a special media event on 27 July.
#HKIFF #香港國際電影節：http://www.hkiff.org.hk/
#CineFan #電影節發燒友：http://cinefan.com.hk/
為慶祝香港特別行政區成立25周年舉辦的《光影浪潮 香港電影新動力》巡迴影展，將於第46屆香港國際電影節隆重登場。是次活動由創意香港與香港國際電影節協會合辦，除放映節目外，同時舉辦攝影展，四位劇照師以另一種光影藝術，展現香港電影的非凡魅力。
今屆香港國際電影節精選十部本地傑作，不單標誌着香港電影在題材、風格以至美學上的創新突破，亦捕捉了城市、社會以至民生在25年來的不同面貌。
精選作品
1999 《#細路祥》（陳果導演）
2001 《#少林足球》（周星馳導演）
2001 《#麥兜故事》（袁建滔導演）
2003 《#PTU》（杜琪峯導演）
2004 《#旺角黑夜》（爾冬陞導演）
2007 《#投名狀》（陳可辛導演）
2011 《#桃姐》（許鞍華導演）
2013 《#一代宗師》（王家衛導演）
2015 《#踏血尋梅》（翁子光導演）
2019. 《#少年的你》（曾國祥導演）
是次巡迴影展於四月在烏甸尼遠東電影節揭開序幕，六月在峇里島接力，並在七月於倫敦和曼谷舉行。繼香港後，將於年底前陸續前往其他城市，包括北京、哥本哈根、悉尼、首爾、新加坡、斯德哥爾摩、檀香山、東京、布拉格及迪拜。
第46屆香港國際電影節將於8月15至31日以實體與網上混合模式舉行。完整節目將於7月27日公布。
又將少年的你當香港電影
【友好分享】韓女獨有戲：韓國女性獨立電影系列 🦸♀️
【HKIFF Sharing】Women Direct. Korean Indies! – Korean Women Independent Film Series 🦸♀️
7️⃣七月節目時間表 𝐉𝐮𝐥𝐲 𝐒𝐜𝐡𝐞𝐝𝐮𝐥𝐞:
16/7 (六Sat) 2:30pm | 🔥《逆權烈女》 Boundary: Flaming Feminist Action
30/7 (六Sat) 3:00pm | ✊《J姐姐連環抗議事件》 Sister J
🎟門票現已開售 Tickets are available now
👉https://bit.ly/39T4Xsg
🔥《#逆權烈女》𝐁𝐨𝐮𝐧𝐝𝐚𝐫𝐲: 𝐅𝐥𝐚𝐦𝐢𝐧𝐠 𝐅𝐞𝐦𝐢𝐧𝐢𝐬𝐭 𝐀𝐜𝐭𝐢𝐨𝐧 바운더리
16/7 (六Sat) 2:30pm
導演 Director：#尹佳賢 Yun Ga-hyun
2021 DMZ國際紀錄片電影節最佳韓國紀錄片《逆權烈女》記載導演尹佳賢與朋友們在2016年的首爾江南站發生隨機謀殺女性案後，組成了名為「火爆女權行動」的組織，探討女性議題。剃光頭、留體毛、露乳頭、參與選舉……她們不斷用打破常規的方式去表達訴求、呼籲大眾反思父權與仇女現象。
✊《#J姐姐連環抗議事件》𝓢𝓲𝓼𝓽𝓮𝓻 𝓙 재춘언니
30/7 (日Sun) 3:00pm
導演 Director：#李秀妌 Lee Soo-jung
2020釜山國際電影節最佳紀錄片《J姐姐連環抗議事件》中的林栽椿被導演親切地稱為「J姐姐」，他在結他廠工作了30年，卻突然被無理解僱，此後他花了逾十年時間於帳篷靜坐抗議，為復職苦苦掙扎。他和同事與支持者一起，在劇場演出、玩結他、以唱作抗爭，展示藝術和勞工維權運動之間的可能性。
🔗節目詳情 Details:
https://bit.ly/3sWsIWP
_______
#香港藝術中心 #HongKongArtsCentre #韓女獨有戲 #韓國電影 #女導演 #獨立電影 #KoreanIndies #IndependentFilm #WomenDirect #WomenDirector #Film #Korea #Cinema
【BC Sunday ● 七月 – 宋康昊x朴海日】
一位是新鮮出爐康城影帝，一位是大鐘獎及青龍獎雙料影帝，韓國影壇雙雄齊聚大銀幕，必定是好戲保證！
適逢最近兩部康城得獎電影《孩子轉運站》（Broker）及《分手的決心》（Decision to Leave）上映，BC Sunday七月為大家獻上多套由兩位影帝級實力派男星宋康昊及朴海日分別主演的好戲，當中包括勇奪康城金棕櫚獎的《上流寄生族》（黑白版），大家把握機會了！
🔵 除了 BC 放映外，新增 PREMIERE ELEMENTS 場次！
購票請往：https://bit.ly/bcsunday
【#電影節發燒友 5/6/7月】《十誡》馬拉松
【#CineFan May/Jun/Jul】THE DECALOGUE Marathon
「#奇斯洛夫斯基 與 #皮斯維茲 合編的劇本，展示他們把意念戲劇化的非凡能力，並非只是侃侃而談。透過生動描繪故事，讓觀眾自行領略其觀點，比直述更富力量。他們以嘆為觀止的技藝一揮而就，你毫不察覺，直至後來才明白意念已深入心坎。」史丹利寇比力克的敏鋭觀察，道出了《#十誡》歷久不衰的魅力所在。
今個周末，你可以走一趟《十誡》馬拉松，一氣呵成，親自感悟這「深入心坎」的震撼。
“They have the very rare ability to dramatise their ideas rather than just talking about them," Stanley Kubrick has said about writers #KrzysztofKieślowski and #KrzysztofPiesiewicz for their screenplays of #TheDecalogue. “By making their points through the dramatic action of the story they gain the added power of allowing the audience to discover what's really going on rather than being told. They do this with such dazzling skill, you never see the ideas coming and don't realize until much later how profoundly they have reached your heart.”
This weekend, you can participate in THE DECALOGUE marathon, watching the ten episodes in one go to relish the profundity of this enduring masterpiece.
#HKIFF #香港國際電影節：http://www.hkiff.org.hk/
#CineFan #電影節發燒友：http://cinefan.com.hk/
【#CineFan May/Jun/Jul】THE DECALOGUE Marathon
「#奇斯洛夫斯基 與 #皮斯維茲 合編的劇本，展示他們把意念戲劇化的非凡能力，並非只是侃侃而談。透過生動描繪故事，讓觀眾自行領略其觀點，比直述更富力量。他們以嘆為觀止的技藝一揮而就，你毫不察覺，直至後來才明白意念已深入心坎。」史丹利寇比力克的敏鋭觀察，道出了《#十誡》歷久不衰的魅力所在。
今個周末，你可以走一趟《十誡》馬拉松，一氣呵成，親自感悟這「深入心坎」的震撼。
“They have the very rare ability to dramatise their ideas rather than just talking about them," Stanley Kubrick has said about writers #KrzysztofKieślowski and #KrzysztofPiesiewicz for their screenplays of #TheDecalogue. “By making their points through the dramatic action of the story they gain the added power of allowing the audience to discover what's really going on rather than being told. They do this with such dazzling skill, you never see the ideas coming and don't realize until much later how profoundly they have reached your heart.”
This weekend, you can participate in THE DECALOGUE marathon, watching the ten episodes in one go to relish the profundity of this enduring masterpiece.
#HKIFF #香港國際電影節：http://www.hkiff.org.hk/
#CineFan #電影節發燒友：http://cinefan.com.hk/
【光影浪潮 香港電影新動力】第四站於泰國舉行✈️
【Making Waves - Navigators of Hong Kong Cinema】The Fourth Stop is Thailand ✈️
《光影浪潮 香港電影新動力》第四站將分別於7月22-24日、7月29-31日及8月5-7日於曼谷、清邁及孔敬舉行，選映包括《#一秒拳王》、《#殺出個黃昏》、《#好好拍電影》、《#喜歡妳是妳》、《#胭脂扣》(修復版)、及《#梅艷芳》6部電影; 泰國知名影星Chanon SANTINATORNKUL更會親身出席7月22日舉行的《一秒拳王》泰國首映禮，與曼谷觀眾見面。此外，大會將通過ARHT Media的全息投影技術，讓曼谷觀眾與《殺出個黃昏》的監製兼知名演員林家棟作實時交流。
7月22日至31日期間，更會於SF World Cinema's Sky Lobby 舉辦攝影展，透過4位香港著名攝影師的作品，展現香港電影的非凡魅力。
有關電影片目、放映時間及票務詳情，可瀏覽SF Cinema官方網站： https://www.sfcinemacity.com/
“Making Waves - Navigators of Hong Kong Cinema” film programme will land separately in Bangkok (22-24 July), Chiang Mai (29-31 July) and Khon Kaen (5-7 August) with screening of #OneSecondChampion, #Time, #KeepRolling, #TheFirstGirlILoved, #Rouge (Restored), and #Anita. ONE SECOND CHAMPION will kick off the programme on 22 July with a personal appearance of Thai co-star Chanon SANTINATORNKUL. Actor-cum-producer Gordon Lam will appear in a live hologram using ARHT Media's HoloPresence™ technology to meet the Bangkok audience before the screening of TIME, which he also co-wrote.
There is also an exhibition at SF World Cinema's Sky Lobby in Bangkok from 22 to 31 July showing the works by four Hong Kong renowned unit photographers, recounting their unique perspectives on Hong Kong cinema.
Information on the programme, screening schedule, and ticketing is available on the SF Cinema official website: https://www.sfcinemacity.com/
#thearhtofbeingpresent #Hologram #HoloPresence
🗓️ HKIFF46 | 15-31 Aug 2022
#HKIFF #香港國際電影節：http://www.hkiff.org.hk/
#CineFan #電影節發燒友：http://cinefan.com.hk/
【Making Waves - Navigators of Hong Kong Cinema】The Fourth Stop is Thailand ✈️
《光影浪潮 香港電影新動力》第四站將分別於7月22-24日、7月29-31日及8月5-7日於曼谷、清邁及孔敬舉行，選映包括《#一秒拳王》、《#殺出個黃昏》、《#好好拍電影》、《#喜歡妳是妳》、《#胭脂扣》(修復版)、及《#梅艷芳》6部電影; 泰國知名影星Chanon SANTINATORNKUL更會親身出席7月22日舉行的《一秒拳王》泰國首映禮，與曼谷觀眾見面。此外，大會將通過ARHT Media的全息投影技術，讓曼谷觀眾與《殺出個黃昏》的監製兼知名演員林家棟作實時交流。
7月22日至31日期間，更會於SF World Cinema's Sky Lobby 舉辦攝影展，透過4位香港著名攝影師的作品，展現香港電影的非凡魅力。
有關電影片目、放映時間及票務詳情，可瀏覽SF Cinema官方網站： https://www.sfcinemacity.com/
“Making Waves - Navigators of Hong Kong Cinema” film programme will land separately in Bangkok (22-24 July), Chiang Mai (29-31 July) and Khon Kaen (5-7 August) with screening of #OneSecondChampion, #Time, #KeepRolling, #TheFirstGirlILoved, #Rouge (Restored), and #Anita. ONE SECOND CHAMPION will kick off the programme on 22 July with a personal appearance of Thai co-star Chanon SANTINATORNKUL. Actor-cum-producer Gordon Lam will appear in a live hologram using ARHT Media's HoloPresence™ technology to meet the Bangkok audience before the screening of TIME, which he also co-wrote.
There is also an exhibition at SF World Cinema's Sky Lobby in Bangkok from 22 to 31 July showing the works by four Hong Kong renowned unit photographers, recounting their unique perspectives on Hong Kong cinema.
Information on the programme, screening schedule, and ticketing is available on the SF Cinema official website: https://www.sfcinemacity.com/
#thearhtofbeingpresent #Hologram #HoloPresence
🗓️ HKIFF46 | 15-31 Aug 2022
#HKIFF #香港國際電影節：http://www.hkiff.org.hk/
#CineFan #電影節發燒友：http://cinefan.com.hk/
係咪《一秒拳王》個配角？
希望吸引到啲泰國人睇港產片啦
希望吸引到啲泰國人睇港產片啦
【《孩子轉運站》導演映後談】全港獨家，只此一場——《孩子轉運站》導演映後談，身在日本的導演是枝裕和將以視像出席映後分享，讓香港觀眾可與是枝裕和對話！資深影評人登徒主持，即場日語、粵語翻譯。
📅日期：7月19日 (星期二)
🕐時間：12:55 場次
🎥地點：九龍站圓方PREMIERE ELEMENTS 戲院
🎫機會難逢，撲飛請往：bit.ly/BrokerSharing
⭐️2022香港上映韓片開畫票房冠軍、本年度最賣座韓國電影、票房衝破400萬
⭐️《上流寄生族》宋康昊憑本片贏得康城影帝🏆
⭐️日本金像導演是枝裕和自編自導首部韓語電影
⭐️《屍殺半島》姜棟元 Ｘ 《屍戰朝鮮》裴斗娜 Ｘ 《德魯納酒店》李知恩IU Ｘ 《梨泰院Class》李周映
🎡《孩子轉運站》(Broker) 感動熱映第三周！
#康城影展最佳男主角 #康城影展人道精神獎 #是枝裕和 #孩子轉運站 #Broker #宋康昊 #康城影帝 #姜棟元 #裴斗娜 #李知恩 #IU #李周映
【#電影節發燒友 5/6/7月】「邊境三部曲」：打破隔閡的渴望 🚧
【#CineFan May/Jun/Jul】Trilogy of Borders: Desire to Cross the Line 🚧
「神最先創造的是旅程，接着疑惑與鄉愁來了。」《尤利西斯的凝望》這一句，或許道出了 #安哲羅普洛斯 對生命所思：人生旅程之中，邊界必須存在；若無界限、毋須跨越，那麼生命將變得毫無意義。在「邊境三部曲」，安氏深刻描繪出人世間的種種邊界──外在的與內在的、社會的與精神的、政治的與文化的。邊界象徵着分離，卻也因而喚起對打破隔閡的渴望。
在《#鸛鳥踟躕》，那個記者猶如奥德修斯的兒子忒勒瑪科斯，追蹤希臘政治家的軌跡之時，由歷史的旁觀者變為神話的參與者，體驗流徙者的喜與哀，生命有所改變。在《#尤利西斯的凝望》，導演A在追尋三卷早期影像的菲林之餘，亦找回個人以至文化的根源，與自我迷失的靈魂深沉凝望，重新審視一生所愛所求。對安氏而言，每超越一條界線，每踏出一趟旅程，也就是一個新的開始。
"The first thing God created was the journey, then came doubt, and nostalgia." What we hear in #UlyssesGaze may reflect what Angelopoulos thinks of life: to make a genuine, life-affirming journey, we require the presence of borders; for without boundary, there is no crossing, and the journey of life becomes meaningless. In his “Trilogy of Borders”, Angelopoulos portrays various types of borders – external and internal, social and psychic, political and cultural. While border always represents separation, it also elicits a desire to “cross the line” and to overcome the disconnection.
In #TheSuspendedStepOfTheStork, the journalist grows as a person during his Telemachian odyssey following the Greek politician: from being the alienated observer of history, he has become an active particikatrinapant in mythical stories, gaining insight into the joy and sorrow of the displaced. In ULYSSES’ GAZE, through tracking down three missing reels of early film footage, director A recovers the root of his personal and cultural histories, leading him to a profound gaze into his own soul. For Angelopoulos, every border crossed, every journey embarked, is a new beginning of life.
🗓️ HKIFF46 | 15-31 Aug 2022
#HKIFF #香港國際電影節：http://www.hkiff.org.hk/
#CineFan #電影節發燒友：http://cinefan.com.hk/
【#CineFan May/Jun/Jul】Trilogy of Borders: Desire to Cross the Line 🚧
「神最先創造的是旅程，接着疑惑與鄉愁來了。」《尤利西斯的凝望》這一句，或許道出了 #安哲羅普洛斯 對生命所思：人生旅程之中，邊界必須存在；若無界限、毋須跨越，那麼生命將變得毫無意義。在「邊境三部曲」，安氏深刻描繪出人世間的種種邊界──外在的與內在的、社會的與精神的、政治的與文化的。邊界象徵着分離，卻也因而喚起對打破隔閡的渴望。
在《#鸛鳥踟躕》，那個記者猶如奥德修斯的兒子忒勒瑪科斯，追蹤希臘政治家的軌跡之時，由歷史的旁觀者變為神話的參與者，體驗流徙者的喜與哀，生命有所改變。在《#尤利西斯的凝望》，導演A在追尋三卷早期影像的菲林之餘，亦找回個人以至文化的根源，與自我迷失的靈魂深沉凝望，重新審視一生所愛所求。對安氏而言，每超越一條界線，每踏出一趟旅程，也就是一個新的開始。
"The first thing God created was the journey, then came doubt, and nostalgia." What we hear in #UlyssesGaze may reflect what Angelopoulos thinks of life: to make a genuine, life-affirming journey, we require the presence of borders; for without boundary, there is no crossing, and the journey of life becomes meaningless. In his “Trilogy of Borders”, Angelopoulos portrays various types of borders – external and internal, social and psychic, political and cultural. While border always represents separation, it also elicits a desire to “cross the line” and to overcome the disconnection.
In #TheSuspendedStepOfTheStork, the journalist grows as a person during his Telemachian odyssey following the Greek politician: from being the alienated observer of history, he has become an active particikatrinapant in mythical stories, gaining insight into the joy and sorrow of the displaced. In ULYSSES’ GAZE, through tracking down three missing reels of early film footage, director A recovers the root of his personal and cultural histories, leading him to a profound gaze into his own soul. For Angelopoulos, every border crossed, every journey embarked, is a new beginning of life.
🗓️ HKIFF46 | 15-31 Aug 2022
#HKIFF #香港國際電影節：http://www.hkiff.org.hk/
#CineFan #電影節發燒友：http://cinefan.com.hk/
《惡與他們的距離》導演穆罕默德拉穌羅夫(Mohammad Rasoulof)於7月8日與另一位導演Mostafa Al-Ahmad遭拘捕。拉穌羅夫的監製於上週六更新狀況，表示拉穌羅夫曾於德黑蘭的伊溫監獄遭審問，並關押於單獨囚室。該處是伊朗專門關押政治犯的監獄，之前曾被揭發虐囚事件。
據悉此次拘捕是由於拉穌羅夫與Mostafa Al-Ahmad近日在社交媒體上發表聲明，反對安全部隊早前於抗議糧價上漲的示威中以武力鎮壓平民。此外，拉穌羅夫拍攝了紀錄片《Intentional Crime》，調查伊朗異見詩人兼電影製作人阿布汀之死，也被認為是另一個遭拘禁之原因。阿布汀因「反政府宣傳」被判刑6年，在囚期間曾兩度確診新冠肺炎，當時一張他被銬在床上的照片在社群媒體上引起軒然大波，維權組織認為阿布汀之死與伊朗監獄拒絕提供醫療照顧予囚犯有關。
拉穌羅夫身上背負著長達二十年禁拍令，卻從未因壓迫而停止創作。2019年，他因拍攝《就算世界與我為敵》(A Man of Integrity)，被伊朗政府沒收護照及判監一年。電影狠批社會黑暗，獲康城影展「一種關注」大獎。後來他再次違抗禁拍令拍攝柏林影展金熊獎作品《惡與他們的距離》(There Is No Evil)，以死刑的道德爭議為題，透過四個互相牽連的獨立故事，探討在極權下追求自由的可能。去年BC上映《惡與他們的距離》(There Is No Evil)大受歡迎，香港亞洲電影節亦曾舉辦拉穌羅夫的回顧展，拉穌羅夫在絕境和恐懼中堅持拍攝的精神令人敬佩，希望導演一切平安。
【#電影節發燒友 5/6/7月】《塞瑟島之旅》：航向快樂之地 🛶
【#CineFan May/Jun/Jul】JOURNEY TO CYTHERA: Heading to “Ineffable Happiness” 🛶
塞瑟島之旅是一趟從未展開的旅程，因為塞瑟島並不存在。在十七世紀法國畫家安東尼華托筆下，這希臘小島擁有「妙不可言的快樂」，然而隨所有探險船相繼沉沒，烏托邦的神話亦告破滅。#安哲羅普洛斯 的《#塞瑟島之旅》走進希臘的神話與歷史的黑暗，重新探索這片理想被埋葬之地。老父Spyros是現代的奥德修斯，流亡三十年後歸國回鄉，對革命的夢想不變、與妻子的愛意不渝，卻發現當代希臘已容不下他的過去與現在，被迫再度漂泊。與父如同陌路的導演兒子Alexander（也是安氏本人）卻依然相信塞瑟島的存在，航向快樂之地的旅程，未來終有一天將會實現。
The journey to Cythera is a voyage which never takes place, because Cythera does not exist. This Greek island is the 17th century France painter Antoine Watteau’s mythical place of “ineffable happiness”, but now exists only as a synonym for Utopia after all the ships heading for it had sunk. #Angelopoulos’ #JourneyToCythera invites one to descend into the myth and the dark side of Greek history, where all the “Greek ideals” lie buried. Like Odysseus, the old man Spyros returns home after 30 years, with his dream of revolution and his love of his wife unchanged, yet only finds himself to be sent away again for living in a past that Greece tries to forget, and a present that the Greek fails to embrace. But his son Alexander (that is, Angelopoulos himself) obstinately believes in the existence of Cythera, and a voyage to the island of mythical hedonism is possible, one day in the future.
🗓️ HKIFF46 | 15-31 Aug 2022
#HKIFF #香港國際電影節：http://www.hkiff.org.hk/
#CineFan #電影節發燒友：http://cinefan.com.hk/
【#CineFan May/Jun/Jul】JOURNEY TO CYTHERA: Heading to “Ineffable Happiness” 🛶
塞瑟島之旅是一趟從未展開的旅程，因為塞瑟島並不存在。在十七世紀法國畫家安東尼華托筆下，這希臘小島擁有「妙不可言的快樂」，然而隨所有探險船相繼沉沒，烏托邦的神話亦告破滅。#安哲羅普洛斯 的《#塞瑟島之旅》走進希臘的神話與歷史的黑暗，重新探索這片理想被埋葬之地。老父Spyros是現代的奥德修斯，流亡三十年後歸國回鄉，對革命的夢想不變、與妻子的愛意不渝，卻發現當代希臘已容不下他的過去與現在，被迫再度漂泊。與父如同陌路的導演兒子Alexander（也是安氏本人）卻依然相信塞瑟島的存在，航向快樂之地的旅程，未來終有一天將會實現。
The journey to Cythera is a voyage which never takes place, because Cythera does not exist. This Greek island is the 17th century France painter Antoine Watteau’s mythical place of “ineffable happiness”, but now exists only as a synonym for Utopia after all the ships heading for it had sunk. #Angelopoulos’ #JourneyToCythera invites one to descend into the myth and the dark side of Greek history, where all the “Greek ideals” lie buried. Like Odysseus, the old man Spyros returns home after 30 years, with his dream of revolution and his love of his wife unchanged, yet only finds himself to be sent away again for living in a past that Greece tries to forget, and a present that the Greek fails to embrace. But his son Alexander (that is, Angelopoulos himself) obstinately believes in the existence of Cythera, and a voyage to the island of mythical hedonism is possible, one day in the future.
🗓️ HKIFF46 | 15-31 Aug 2022
#HKIFF #香港國際電影節：http://www.hkiff.org.hk/
#CineFan #電影節發燒友：http://cinefan.com.hk/
【#第46屆香港國際電影節】第46屆香港國際電影節呈獻 田中絹代導演作品展 🏅
【#HKIFF46】 HKIFF46 honours Tanaka Kinuyo with tribute 🏅
田中絹代在日本影史佔據着至高無上的地位，不僅公認是昭和時代最偉大的女演員，更是第二位坐上導演席的女性，導與演的才華同樣超卓。第46屆香港國際電影節呈獻「柔韌之鏡──田中絹代導演作品展」，選映其執導的全六部長片及演藝遺作，並舉辦座談會，紀念這位為電影奉獻一生的非凡女性。
七部精選作品
1953 《戀文》
1955 《月昇物語》
1955 《永恆的乳房》
1960 《流亡王妃》
1961 《只有黑夜的女子》
1962 《阿吟小姐》
1974 《望鄉》（熊井啟導演）
除執導作品之外，是次回顧展更特別選映田中絹代的最後巔峰作，由熊井啟執導的《望鄉》（1974），其渾然忘我的演出與老妓女形神合一，榮登柏林影后。
第46屆香港國際電影節將於8月15至31日以實體與網上混合模式舉行。完整節目將於7月27日公布。
The 46th Hong Kong International Film Festival (HKIFF46) will pay homage to the legendary TANAKA Kinuyo, a name synonymous with the Golden Age of Japanese cinema.
Renowned for her collaborations with OZU, MIZOGUCHI, KINOSHITA, and SHIMIZU as an actor, TANAKA broke many new grounds as Japan’s second-ever female film director. Honouring her monumental place in cinema history, HKIFF46 will present a unique seven-film programme, "Portraits of Women – A Tribute to Tanaka Kinuyo", including all six films under her direction, alongside a seminar.
Portraits of Women – A Tribute to Tanaka Kinuyo:
1953 Love Letter
1955 The Moon Has Risen
1955 Forever a Woman (a.k.a. The Eternal Breasts)
1960 The Wandering Princess
1961 Girls of the Night
1962 Love Under the Crucifix
1974 Sandakan No. 8
KUMAI Kei’s Sandakan No. 8 (1974), a film widely considered to be TANAKA’s last great acting role for which she won a Silver Bear for Best Actress at the 25th Berlin International Film Festival, will complete the programme.
HKIFF46 will take a hybrid format, featuring screenings and audience-engagement events simultaneously in theatres and online from 15 to 31 August. It will unveil its complete programme on 27 July.
🗓️HKIFF46 | 15-31 Aug 2022
#HKIFF #香港國際電影節：http://www.hkiff.org.hk/
#CineFan #電影節發燒友：http://cinefan.com.hk/
【#電影節發燒友 5/6/7月】《戲諜人生》：劉別謙以幽默對抗極權 ⚔️
【#CineFan May/Jun/Jul】TO BE OR NOT TO BE: That is Lubitsch’s Question ⚔️
以二戰時期波蘭淪陷來當鬧劇背景，以二流劇團演員在街頭扮演希特拉，以喬裝偽冒深入納粹敵陣，再以插科打諢搗破德軍間諜陰謀……#劉別謙 大開政治玩笑的《#戲諜人生》，當年公映時受到嚴峻抨擊，但時間證明這部喜劇傑作經得起歷史考驗。藝高人膽大，劉別謙敢將劇團的荒謬胡鬧與戰爭的殘酷瘋狂並排對比，戲中戲的架構精準到位，把莎士比亞的名句無縫植入把玩一番，希魔侵略世界的野心更淪為被恥笑的鬧劇。以幽默對抗極權之外，不忘招牌的談情說性：妻子偷情之餘原來暗通地下抵抗組織，丈夫生死攸關之際還來爭風吃醋。對這齣集劇場、文學、戰爭、政治、情慾於一身的高雅喜劇，豈可只是嗤之一笑？
A screwball set in occupied Warsaw; a mediocre stage actor mimics Hitler; the Gestapo is foiled by a deceptive troupe; Nazi’s conspiracy is wrecked by a folly… #Lubitsch’s political farce in #ToBeOrNotToBe was criticised by many as tasteless and inappropriate at the time of its release, but it won on the judgement of history. Lubitsch did something rare by interweaving farce and disaster in a rigorously structured fashion as to elicit anxiety and hilarity at once. He plays up Shakespearean poem as a weapon against tyranny and lampoons the Führer himself, while continuing his funny games of unfaithful deceptions and romantic rivalry. A sophisticated comedy infused with theatre, literature, war, politics and sexual innuendos is way more than the easy laugh.
🗓️ HKIFF46 | 15-31 Aug 2022
#HKIFF #香港國際電影節：http://www.hkiff.org.hk/
#CineFan #電影節發燒友：http://cinefan.com.hk/
【#CineFan May/Jun/Jul】TO BE OR NOT TO BE: That is Lubitsch’s Question ⚔️
以二戰時期波蘭淪陷來當鬧劇背景，以二流劇團演員在街頭扮演希特拉，以喬裝偽冒深入納粹敵陣，再以插科打諢搗破德軍間諜陰謀……#劉別謙 大開政治玩笑的《#戲諜人生》，當年公映時受到嚴峻抨擊，但時間證明這部喜劇傑作經得起歷史考驗。藝高人膽大，劉別謙敢將劇團的荒謬胡鬧與戰爭的殘酷瘋狂並排對比，戲中戲的架構精準到位，把莎士比亞的名句無縫植入把玩一番，希魔侵略世界的野心更淪為被恥笑的鬧劇。以幽默對抗極權之外，不忘招牌的談情說性：妻子偷情之餘原來暗通地下抵抗組織，丈夫生死攸關之際還來爭風吃醋。對這齣集劇場、文學、戰爭、政治、情慾於一身的高雅喜劇，豈可只是嗤之一笑？
A screwball set in occupied Warsaw; a mediocre stage actor mimics Hitler; the Gestapo is foiled by a deceptive troupe; Nazi’s conspiracy is wrecked by a folly… #Lubitsch’s political farce in #ToBeOrNotToBe was criticised by many as tasteless and inappropriate at the time of its release, but it won on the judgement of history. Lubitsch did something rare by interweaving farce and disaster in a rigorously structured fashion as to elicit anxiety and hilarity at once. He plays up Shakespearean poem as a weapon against tyranny and lampoons the Führer himself, while continuing his funny games of unfaithful deceptions and romantic rivalry. A sophisticated comedy infused with theatre, literature, war, politics and sexual innuendos is way more than the easy laugh.
🗓️ HKIFF46 | 15-31 Aug 2022
#HKIFF #香港國際電影節：http://www.hkiff.org.hk/
#CineFan #電影節發燒友：http://cinefan.com.hk/
【#電影節發燒友 5/6/7月】哥斯達加華斯的政治驚慄 🔪
【#CineFan May/Jun/Jul】Costa-Gavras’ Political Thrillers 🔪
同為希臘當代電影大師，作品同樣指涉政治，#哥斯達加華斯 與安哲羅普洛斯的風格與取態卻是截然不同。有別於安氏虛實交錯的隱喻，哥斯達加華斯則善用荷里活式的快速節奏營造攝人的驚慄氛圍、建構緊湊敘事，公然向軍政府投下政治炸彈。《#大風暴》把希臘議員林布拉基斯遇襲案的報道文學改編搬上銀幕，揭發政警黑三方勾結的駭人真相；同樣改編真人真事，《#大失蹤》則以智利軍事政變為題，借美國保守商人尋找失蹤記者兒子的故事，劍指美國與當地軍政府的勾當。兩片先後摘下奧斯卡最佳外語片及康城影展金棕櫚大獎，更令哥斯達加華斯登上政治驚慄片大師寶座。
特別一提是兩位剛去世的偉大藝術家：尚路易杜寧南在《大風暴》飾演法官，憑出色演技榮獲康城最佳男演員獎；Vangelis為《大失蹤》配樂，賦予影片別具一格的驚慄節奏，謹此向兩位先賢致敬。
Both are Greek master filmmakers whose works are politically charged, #CostaGavras and Theo Angelopoulos take a diverging path in their directing styles. Unlike Angelopoulos’ elusive allegory, Costa-Gavras adopts Hollywood convention to create swiftly paced, tension-building scenes that aim directly at the junta. In #Z, the reenactment of an assassination is a head-on furious attack on an authoritarian regime which resolves to absurdly desperate measures for clinging to power; whereas #Missing is a strikingly realistic recount of a conservative father in search of his missing journalist son, exposing the conspiracy between the US government and the Chilean regime. Gaining the Oscar Best Foreign Language Film and Cannes Palme d'Or respectively, both films anchor Costa-Gavras as a master of political thrillers.
A special homage to two great artists who recently passed away: Jean-Louis Trintignant, who plays the magistrate in Z, is awarded Best Actor at Cannes for his distinguished performance; Vangelis, who contributes the electrifying score for MISSING. Both will be missed for their remarkable contributions to cinema.
🗓️ HKIFF46 | 15-31 Aug 2022
#HKIFF #香港國際電影節：http://www.hkiff.org.hk/
#CineFan #電影節發燒友：http://cinefan.com.hk/
【#CineFan May/Jun/Jul】Costa-Gavras’ Political Thrillers 🔪
同為希臘當代電影大師，作品同樣指涉政治，#哥斯達加華斯 與安哲羅普洛斯的風格與取態卻是截然不同。有別於安氏虛實交錯的隱喻，哥斯達加華斯則善用荷里活式的快速節奏營造攝人的驚慄氛圍、建構緊湊敘事，公然向軍政府投下政治炸彈。《#大風暴》把希臘議員林布拉基斯遇襲案的報道文學改編搬上銀幕，揭發政警黑三方勾結的駭人真相；同樣改編真人真事，《#大失蹤》則以智利軍事政變為題，借美國保守商人尋找失蹤記者兒子的故事，劍指美國與當地軍政府的勾當。兩片先後摘下奧斯卡最佳外語片及康城影展金棕櫚大獎，更令哥斯達加華斯登上政治驚慄片大師寶座。
特別一提是兩位剛去世的偉大藝術家：尚路易杜寧南在《大風暴》飾演法官，憑出色演技榮獲康城最佳男演員獎；Vangelis為《大失蹤》配樂，賦予影片別具一格的驚慄節奏，謹此向兩位先賢致敬。
Both are Greek master filmmakers whose works are politically charged, #CostaGavras and Theo Angelopoulos take a diverging path in their directing styles. Unlike Angelopoulos’ elusive allegory, Costa-Gavras adopts Hollywood convention to create swiftly paced, tension-building scenes that aim directly at the junta. In #Z, the reenactment of an assassination is a head-on furious attack on an authoritarian regime which resolves to absurdly desperate measures for clinging to power; whereas #Missing is a strikingly realistic recount of a conservative father in search of his missing journalist son, exposing the conspiracy between the US government and the Chilean regime. Gaining the Oscar Best Foreign Language Film and Cannes Palme d'Or respectively, both films anchor Costa-Gavras as a master of political thrillers.
A special homage to two great artists who recently passed away: Jean-Louis Trintignant, who plays the magistrate in Z, is awarded Best Actor at Cannes for his distinguished performance; Vangelis, who contributes the electrifying score for MISSING. Both will be missed for their remarkable contributions to cinema.
🗓️ HKIFF46 | 15-31 Aug 2022
#HKIFF #香港國際電影節：http://www.hkiff.org.hk/
#CineFan #電影節發燒友：http://cinefan.com.hk/