2017 Taipei Film Festival / 2017 Taipei Film Festival

A touch of moonlight, reflecting the group image of Hong Kong's turbulent times: "When is the moon?"

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History is a piece of words, but it is also a plethora of enthusiasm; each person is close to each other, but in order to seek knowledge, it is also worth remembering. As we grow older, we feel that history is getting more and more fragrant, because history is mostly non-fiction, even more ridiculous than fiction. When you are close to people, there will always be a moment of unforgettable moments. Recording and narration, reappearing, and the taste of life that is both familiar and unfamiliar enough to make future generations feel invisible. The helplessness of the small people in the turbulent times of the big era, the love and hate of the high and low-ranking people, all the way to talk about the big screen goodbye; the turbulent and magnificent, or the nameless abandonment of the world, the chisel is especially deep. There was "Golden Age" before, and later "When is the moon", all from the director of Xu Anhua. "Golden Age" is about the soft and embarrassing emotional entanglement of the talented woman Xiao Hong, and her twists and turns in the war. In order to avoid the disappearance of culture in the war, the ordinary or noble past, Enron has witnessed. "When a few months of the moon" is the highest state of the spirit of the times, the precious cultural blood depends on the authentic people; under the moonlight, I am astonished. Heavy and dragging forward, the will involuntarily stayed in the fall of Hong Kong; the decisive and indifferent of the benevolent people is the documentary of "Most of the Moon" on youth and life. At the end of 1941, Hong Kong fell, and the Japanese invaded Hong Kong in mad looting. They searched for cultural figures stranded in Hong Kong and forced them to cooperate. The Hong Kong Dongjiang guerrillas received instructions from their superiors to rescue the cultural figures in Hong Kong and Kowloon. The sacrifices such as gun battles, street fighting, bombing and smoke were endless. In the three years and eight months of mourning, a group of licorice characters defended. Hong Kong and the ferocious Japanese army fight, dedication and deduction. The children’s personal feelings placed in the troubled times are equally tormenting. Inheriting the "Golden Age", "When the Moon is a Time" begins with the face of the legendary female "Prime School Teacher Fang Lan", and then creates the enthusiasm of the two-year special agent Li Jinrong and Liu Hezi of the short-gun team. The thrilling and unrequited heart of each line is full of sorrows, and at the same time, the path of suffering is a strange path that outlines the three people's vivid appearance. When is the moon? Ask the wine to ask the sky. I don’t know what the palace is, but what year is it. Taken from the fascinating singer of Su Dongpo, the fascinating singer of the water, and the direct question: "When is the moon?", not only the desire of the crowd in the turbulent times, but also the squad between Li Jinrong and the Japanese officers. "," the argument of "he". It seems that Pingyin calls the word to choose, but also listens to the thunder in silence, trying to reflect the inner monologue of the Hong Kong people in the enemy. People who are unable to sleep because of their enthusiasm, whether they are full of enthusiasm, should they be like each other, or if they are chilling? Good poetry and good words, into the title and into the soul, to see the "Ming" film Gao Ming. Love is a must, throwing a patriotic sentiment of blood and blood, there is still tenderness like water. In the last sentence, "I hope that people will last forever, and they will have a thousand miles." The love between Fang Lan and Li Jinrong is depicted in a few moments. Looking at the moon and night, thinking of the distant people, only those who are willing to miss, can last for a long time, no disaster and no disease; even if it is impossible to reunite, send a heart away from thousands of miles away, and enjoy this round of bright moon, so that it is easy to hope. When I look back at the red dust, there are lovers who hate the night, and the whole night is deeper. The poetry of "The Moon is a few times" is overflowing in the lines. Perhaps first-time, "When the moon is a little", the viewer will give the viewer a sizzling day, his wife's ion and the bloody anti-Japanese scene. But in reality, the protagonist’s daughter-in-law takes the lead in rescuing the literati. Although it is related to the life of the head on the waistband of the trousers, it is not humble; the daily leisurely is the cognitive change of the female slut, and it is also the feeling of sorrow and sorrow. It is the heroic spirit of Grand Theft Auto. The monologue and the lens language alone show a moment of aura. The film features an excerpt from the Chinese writer Mao Dun's "Twilight": "...the wind has gone with the declaration of the sunset. Like a sudden melting, the numerous golden eyes of the sea are flattened to the dark green face. There is a tragic and strong scream. The darkness of the night will be heavy and falling..." Like a whole wedge, the sunset is magnificent by the sea; the lofty ambition, the broad mind and the firm belief are always urging people. Prosperous. Director Xu Anhua’s joys and sorrows, which are still known in the film, are still in the film. Tragic physique should be praised, and public opinion is also reviewed through a surviving person. Recalling the fragmentary statement, that pity and vicissitudes of life made the people in the past jump on paper. Looking at Hong Kong today, high-rise buildings are more than a row of scales. Although they are sighed by the past, the group portraits of Hong Kong people in wartime are as vivid as they are. All Images Courtesy of Double Happiness Movie Double Happiness Movie. Join Polysh Facebook to read the latest and interesting movies and art articles at any time.

A soft kidnapping from the family drama, eager for a moment of guitar and sound: "Lao Niang's family"

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With a few inciting shots, lead the audience's eyes: a middle-aged woman, plain undressed, walked out of an old house, bought a newspaper, looking for a rental house. Uncovering the film's prelude, the stamina is strong; when the movie is over, it can be looked back. It turned out that this time the action of finding a house was the beginning of all revolutions. The story of the film "My Happy Family" is degenerate. It tells the story of Manana, who is the spiritual pillar of her family. On the 52nd birthday, she announced her plan to leave home for a long time without any emotion. Under the care and concern of relatives and friends, Manana always said faintly, "I need my own life", and that's all. No one believes. In this way, the "good mother" in a traditional impression is portrayed. After "a distance from home", the interpersonal structure in the family is more clearly seen. Through the speculation of the purpose of the mother's removal from the mother, the "home" is the most basic. "Interpersonal stress." Man-made individuals need the private domain of their own self, but they are unconcerned and unnecessarily lonely. Sometimes they must embrace the masses. People and people form a group. Once they enter a group, comparison, stress naturally arises, emotional threats, or a small number of thoughts are often suppressed by the majority, and all kinds of situations are not in the words. Therefore, the lack and complementarity of individuals and groups often pulls and lays the foundation for the conflict between the film "The Old Mother and the Family". "Lao Niang's Family" is based on a more subtle coordinate: "family." Home, regardless of any classification in the East and West, is basically included in the quadrant of the "group", but it exists uniquely - because in an organization like the family, "blood" is connected to each other. Parents come from different families and use "emotion" as the basis for implementing the relationship. Sometimes "law" is involved. Therefore, when individualism emerges, it is often subject to the soft abduction of the group, causing a certain degree of restriction on thinking and action. It is even harder to say that it is detached from the separation, and the full testimony of "cutting the continuation and resolving the chaos". Georgia can say that the well-directed duo director Nana Ekvtimishvili and Simon Gross have set the revolutionary creators in the film as the backbone of the three generations of the family: "Mother." The role of the mother is usually representative of tolerance in the family structure, seems to be able to withstand more, and is also a relatively strong internal manager than men. Assuming that the mother proposes to keep a distance from the group, the degree of surprise within the group and the feeling of reflection are even stronger. In the play, Manana had to wash clothes for her family, but the design of the house was old. There was only one big wardrobe, which was placed in the room of the daughter and the son-in-law. Every time Manana had to pick up the nursery and get up in the morning. , hurriedly sneaked into the room, so as not to open the switch to close the sound of the wardrobe, still asleep daughter. With a simple arrangement, you can place in-depth metaphors in it, and present the contrast between home, individual, collective and private desires clearly and unpretentiously. When the perspective turns to ourselves, if we look at the space of self-existence from the group, do we have the ability to know what we are missing? What is needed? Can I find reference values ​​from past group experiences? As a result, Manana's withdrawal, but turned back to the opportunity to review. Standing outside a certain distance, Manana actually can't get rid of the ingredients involved in the relative spectator's perspective, and watch the hidden substantive problems in the family; such as the marriage of daughters and daughters, the dispute caused by the inability to succeed in seeking children. The care of the elderly parents, the face problem of the sense of appearance; the understanding of the family role with the husband for many years. All kinds, all kinds, because of the revolution, have gained a calm look, while at the same time squatting. The sense of record of the hand-held lens runs through the whole movie, and it does not lyrically echo the central idea of ​​the story. All the games are arranged in tandem with exquisite scene scheduling, so that the characters' emotions are coherent, the moderate viewing distance is even, and even the reservation is retained. The time for the audience to save themselves. Especially the heroine's performance is amazing, it is undoubtedly a low-key and avant-garde movie. The tree in front of the floor-to-ceiling window was blown by the wind, and Manana turned out the dusty guitar for a long time, and exchanged the new string bought by the listing. The rustling sound of the wind, in the black box of the theater, caught us and Ma. Nana is a separate individual. At this time, like Manana’s accidental question: "What about you? You know what you are..." You have the courage to live in isolation, and you can't forget to explore yourself inward. You and me will survive after the confusion and clarification on this road. What do you want? Perhaps for Manana, it was just the leisure of the guitar. All Images Courtesy of Taipei Film Festival. Join Polysh Facebook to read the latest and interesting movies and art articles.

Emotional exchange transactions, building a barrier: "Woman from Java", "Evil Lady Mark White", "Her story is not yet to be continued"

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"Love will accommodate, reflect and magnify the trap of gender in economic and emotional relationships. Love is so tempting, it is also that it always hides and Beautifies the deep inequalities in gender relations." - Eva Illouz, "Why Love Hurts : A Sociological Explanation "The Lady of the Officials", the Dilemma of the Construction of the People's Context: "The Woman from Java" Yai's young, self-explored life, sold as "married to the Netherlands" by a father's simple and ignorant transaction. The Javanese woman of the official." The honor of Mrs. Guan gave Yayi a glimmer of hope, and she looked forward to the opportunity to get rid of shame and turn over from gender and ethnic weakness. "Since my father sold me like a product, it became the most expensive item that others could not afford!" She read the newspaper, read books, and discussed her rights with a lawyer. The working class, religious groups and even the protesters all hope to get the help of the lady of the official; "Mrs. Guan", everyone shouts, the crowd context holds the words that are also secretly - they obey Yai, just because they are obeying In her identity - that is her shining title, but also the annotation of the patriarchal system on Yayi. Since then, how she strives to construct and build self-worth must be attached to this identity. Yayi may understand that he is only an audience used by these people, so she wrote to the writer, hoping to find an ally to speak for her before being betrayed and abandoned by the great history. The weak and dying Dutch husband's birthday, the fixed-position lens is aimed at Yai, watching her calm and solemn, she is everything, and accepts all kinds of guests. The long shot of a mirror highlights the oppressive feeling that Yayi is staring for a long time—it is a blockade that blocks our chances of approaching her, suggesting that Yayi is physically and psychologically restrained. Factory employees, colonial government officials, lawyers, religious groups... In this diverse living room, the most distinguished value is the independent and respected right to speak. The colonists recited the so-called law and justice to the colony, and Yai’s voice was ignored under the table. Her voice and story could only be expressed by the opportunity of the writer’s visit, but the whole film was the most powerful. Scene. The colonial country oppressed the skewness of women who were being oppressed by colonies and men, and they continued to perform in the living room of Yayi without answering. In the end, the one-way will of the colonizer rudely succumbed to the self-esteem she tried to maintain and establish; the closed door was forced to open, and the identity of Yayi was as faltering as the empty house and the health of her husband. The end of the film is a long, breathtaking silence. Yai stepped on the soft and graceful dance steps, and the gun in his hand swayed gently, and the momentum became a hollow gunshot. Just like the condolences in the HBO drama "Western Bliss World", "Music can't resist the piano that created it." How can the anti-antibody itself be based on the identity given by the patriarchal system? The living room is a discourse space for the masses to confuse and lie, how can Yayi get his identity? And what is her identity? Sitting on the sofa listening to the voices of all parties, but the original lively living room only left itself at this time, do not know what they should be. The problems and troubles that the parties gave her can be solved rudely, but the self-worth of Yayi still has no solution. Marriage secret room in the patriarchal system: "The evil woman Mark White" Catherine's royal blue dress is like a heavy cloud, drifting in the dull home; she is the heaviest ornament in the house. Her work and dressing were performed according to the table, and time was like a quiet dust falling on her shoulders, and she swayed and fell as she slept. Catherine, who loves the outdoors and the fresh air, can only wait and see the world as big as four window frames. Her likes and dislikes, interest was removed, and the whole life was squeezed into a neat and beautiful vest and skirt. But those unacceptable faces discarded by the husband and the father-in-law will not lie in the darkness; they will bubbling into the unconscious, and when the time comes, they will vent their arbitrarily. At that time, it happened to come to Catherine's door when her husband went out. The "Evil Woman Mark White" was changed from the Russian writer Leskov's short story "Mrs. Mark White of Mozambique", which is also reminiscent of Mrs. Mark White in Shakespeare's famous "Mark White". Shakespeare's Mrs. Mark White disgusted, spurned the weak, dragged her negative traits, and tried to climb the high level of the patriarchal system, but fell heavily because of her moral conscience. Catherine of "The Bad Woman Mark White" seems to be equally cold-blooded and cruel, but what drives her is not to imitate the power status of the patriarchal system, but the most feminine and irrational Gothic love. Catherine imprisoned her home and applied a "plague" called love to all the people who oppressed her in the patriarchal system to bury the marriage. French sociologist Eva Illouz writes that love will accommodate, reflect and magnify the traps of gender in economic and emotional relationships. Love is so tempting, it is also that it always hides and Beautifies the deep inequalities in gender relations. (From "Why Love Hurts: A Sociological Explanation") Catherine's love is not a solid feeling. It is a mirror of the demon, reflecting the autocracy and violence of the husband and the father-in-law, magnifying the crucifixion of Catherine, and a freedom The trap of the bait. At the end of the film, Catherine walked back to the empty city house and sat back to her standard sofa position. She stepped on the bloody pace to tear down the marriage chamber, but each step fell into a deeper hell, like a loop of mutual involvement. When she removed the last wall, she found herself facing the origin of the beginning, alone. The evil in the evil woman Mark White is not Catherine's madness to love and freedom, but the marriage under the patriarchal system, the viciousness of true love and freedom. The freedom that does not exist in the transaction, the desert that cannot be left out: "Her story is not to be continued" The wind and sand blows through the smoky vines in the central United States, and the skinny girl wears a waiter uniform and walks to the small restaurant to go to work. At the age of seventeen, Katie earned money to raise her mother and her dream of going to San Francisco to study hairdressing. But this is not the American version of the orphan woman's hard work, nor is it a self-reliant and sunny girl who brings inspirational stories; in this vast and endless land, the future cannot be seen. The vast space is like a closed playground. Katie spreads goodness, beauty and dreams, but the crowd around it has already rusted. In order to save money to go to San Francisco, in order to have mobility in this desolate town, there is a secret agreement between Katie and the man with a car in the town called "Hitchhiking", which is a sexual transaction. The cars that come and go are like sub-spaces that move. When Katie is "invited" to get on the bus and exchanges money and freedom of movement with physical autonomy, he is actually kidnapped by an invitation with exchange. Behavior in the name of a transaction seems reciprocal, but when Katie decides not to make money through the flesh, almost all "customers" are reluctant to respect her choice. The body as a container of one person is the basis for letting social behavior penetrate into consciousness, and is also the channel through which the self can get along with the society. (John O'nell "Five Body") Faced with these men, Katie does not have real autonomy and boundaries. The mobility and direction she gets from them is always only in the town; it is not possible to sail to the exit. In his own right, the practice ability of imprisoning and leaving, "going to San Francisco" has become an illusory and unattainable expectation. The operation of the town has long since failed. Katie’s money from the townspeople is more like the amusement park tickets in the amusement park. It is gradually exhausted in the closed system and cannot escape the gate of the amusement park. When she walked alone on the industrial road, the huge truck whizzed past, the sense of oppression and her own thinness, like the weakness of her destiny. If she encounters a kind of "professional exploitation" in disguise, she sees the power structure in the transaction; but this structure is not just a binary opposition between sex trading and class, but more ubiquitously permeates every corner of the town. Katie and the boss, friends and family interact with each other; she must be willing to see through and give up the money and freedom built on the power structure. At the end of the film, after walking through countless deserts, she reached out for the first time to take the initiative to stop the car - pre-viewing the "transaction" that was almost certain to happen again, but could not predict the direction that Katie would decide to walk next. She understood that she had to leave the town, and that the townspeople did not care for the goodwill garden vouchers for the dust. After embarking on the real road, they did not hesitate. All Images Courtesy of Taipei Film Festival. Join Polysh Facebook to read the latest and interesting movies and art articles.

A small figure of the face of the gathering of the times: "When is the moon", Ye Dejun and Liang Jiahui

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The storytelling of history is not unusual, and the point of view is a difficult problem. However, the work of Xu Anhua, the director of the detailed director, always has a strong humanistic landscape regardless of the era. The main line is full of flavor, and the branch line is also intriguing; recently, the "Maylight of the Moon" has just released, in addition to the main line of heavyweight superstars, there are more beautiful warm branches, enriching the whole story. Between 1942 and 1944, the Japanese occupied Hong Kong, and the guerrillas "Dongjiang Column" secretly rescued cultural figures. Jianghu and the people joined hands to organize young people to fight against Japan. In the era of war and the streets of Hong Kong, where the smoke was filled, the background of this era came to the hands of Xu Anhua, but it opened a life story that was very subtle. The heroes of Jianghu stood up to protect the literati and the girl who was afraid of the night. Warning; walking into the dark, anti-Japanese, worrying, aunts, and aunts, but have the courage to save lives. A small but heavy figure gathers into this unique and beautiful era. Ye Dejun, the protagonist of Fang Lan’s mother, and Liang Jiahui, who is a guest of old makeup and reminiscent of memories, are particularly eye-catching in this story. The Dongjiang column organized the people to assist the anti-Japanese, and Fang Lan, who loves literature and art, took on the task of transmitting intelligence. The mother of Fang Lan was the portrayal of the worried mother in the chaotic era. In the turbulent times, you can't count on how great a mother should be. She is selfish, broken, and good-faced, and regards her child as the only one in her life. Like all the mothers of Greater China, she is accustomed to criticizing and concealing her fears to prevent her daughter from being protected. Although she does not know the big words, she can insist on daily complication. She can’t stop her daughter from embarking on danger. I want her to bring herself - mother, in this big age than anybody is inconspicuous, courage but not lose anyone. From "Peach Sister" to "When is the Moonlight", Ye Dejun has already been familiar with the eyebrows of Hong Kong's old-time women, and his rough face is always a firm and elegant figure when he is wolf; rude and selfish thoughts help His own people are full of selflessness; worrying all the time, the courage to show things does not lose the young righteous. Such a small and popular character, in the delicate and precise performance of Ye Dejun, became the most beautiful branch outside the main line in the movie of Xu Anhua. In addition, I have to admire Liang Jiahui, although he only shoulders the story of telling the past, but when it comes to the story, the thick glasses underneath the wrinkles. However, when the end of the song is scattered, the hunchback of the car, driving the door, and avoiding the invitation to work together, the move in one go to bring the current gray in Hong Kong, despite the times shifting, personnel are not right, the small people have to do their best in any era. Survival, and the story of history speaks of this, leaving the viewers to think carefully about the intriguing nature of the review. Image Courtesy of Double Happiness Movie & Taipei Film Festival. Join Polysh Facebook to read the latest and interesting movies and art articles.

Between life and death, slowly lose, remember firmly: "I remember under the cherry blossoms"

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Chuhai worked in the soba noodle shop, and it looked like a calm young girl. The eyebrows were smiling, but they looked stubborn. The summer is coming, the sun is beautiful, and the Fireworks Festival is waiting for the corner. However, the early sea did not show his smile, as if the heart of the heart is in his arms, can not think of a thorough. On the occasion of the summer season, students who had been taught in Chuhai suddenly appeared, and at the same time they met the young craftsman Xiong Taro who made traditional hand-dyed cloth. Can these temperatures, like the warmth of summer, take care of the life in the early sea and pull her out of the abyss of memories? The memory of the cage, life and death, "I remember under the cherry blossoms" is only 88 minutes long, most of the shots are taken in natural light, the color is bright, the summer is clear and the atmosphere is flowing, and the protagonist’s expression in the beginning of the sea is hidden and hidden. The strong contrast is also the tension of the whole movie. The film's film head takes a long shot to bring out the tranquility of the cherry blossoms and the beautiful scenery of the sun. In the middle of the path is the figure of the early sea, the face has no expression, it is thoughtful. Chuhai said to himself: "The cherry blossoms of that year, I will always remember." Memory is sometimes like a strong cage. The first sea is deeply trapped. In the past, he became a shackle and trapped himself in the future. The narrative of the whole movie is trivial but keeps flowing, without any sense of delay. When the mind is trapped, the details of life are presented in the slightest ripples. The axis of the story is simple, following the daily life of the first sea, stretching from the moment, picking up the curtains of time and looking back at the past in the first sea. Behind the lazy life, it is the entire life that has been hollowed out. Leaving a person, jealousy and sadness are not simply because they cannot be separated, but part of themselves are not forgotten in the past. The good and beautiful gifts and the right encounters have been smashed, the followers can chase, "I remember under the cherry blossoms" on a double axis, combining the feelings of the first sea for the self-proclaimed boyfriend, and the people who are entering her life. interactive. The memories of the living and the deceased are intertwined with each other, overlapping the rich appearance of life. Pulling up the thread between the living and the dead is a gift and acceptance. At first, the sea always owes a debt, and is deeply guilty about the dead boyfriend and his family. It can't really accept the last letter of her boyfriend's death, or the greetings and warmth of her family. In the new life rhythm, Chuhai met the students in the cinema at the beginning of the movie, and the students presented the albums recorded by Chuhai himself; Xiong Taro, who is engaged in the handicraft industry, tore off a hand-dyed handkerchief as a gift. The hand-made objects are like a heartfelt gift, which makes the first sea feel happy, but at the same time uneasy. Uneasy about the heavy meaning behind this mind, and the fear of the relationship behind the gift. Perhaps this is a topic that everyone must face. How to accept the gift and face the relationship between the person, whether it exists between the living, or between life and death. Life is constantly losing, and looking for a true self in the loss. The whole movie is surrounded by big questions about life: What should be forgotten and what should be remembered? The past has been paralyzed, and the living beings are constantly reminiscing. These recollections seem to be lighter than weight, but they are incomparably heavy. Like the letterhead that is pressed deep in the drawer and has not been able to spur the courage to open the seal, the first sea will be buried deep in the memory valley, but in the future, every day and the evening, the people who are dead will be left behind. All weights of the person. In the film, the mother who died of her boyfriend told the early sea: "Life is constantly losing, and looking for the true self in the loss." "I remember under the cherry blossoms" walks at a gentle pace, passing through the life and death, walking through the sorrowful valley, walking through the days that once thought it was embarrassing, naked to the memory itself, facing the fact that it is constantly losing, The power and light of life are discovered. Nakagawa Ryotaro talks about memory, talks about life and death, and tells the most painful subject in life in a light way. Regarding those who have already left, may regret or be stunned, but they cannot be chased. Climbing the life with poetic language, he exquisitely expresses the innermost emotional flow and precipitation of the human heart, and counts the sigh of death and the sigh of life. All Movie Images Courtesy of Taipei Film Festival. Keep an eye out for the 2017 Taipei Film Festival. Join Polysh Facebook to read the latest, interesting interviews and movie articles. (adsbygoogle = window.adsbygoogle || []).push({});

The creator picks up the film | "The essence of life is the most exciting movie", photographer Zhang Wei

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As the 2017 Taipei Film Festival is about to begin, Polysh invites several creators who love to watch movies in the fields of writing, music, performing arts and photography to talk about their "movie love". One day a creator picks up the film and shares how they "watch the movie." Also in image creation, the relationship between film and photography is very close, and even affect each other. Photographer Chang Chang, who has lived in Eastern Europe since 2003, is currently based in Slovenia on the Balkans. With a deep humanistic story and people's status in different environments, he has been working and living in Taipei and Europe for a long time. He continues to collect stories in words and images. This year’s latest photo collection, “The Escape Scene on the Back of the Moon,” was the first time that the refugees crossed the border in Europe in 2015, Zhang Wei went to the border between Slovenia and Croatia, and near the center of the refugees in the Slovenian-Austrian border. Distance image record. This time, I was even more fortunate to invite Zhang Wei to talk with us about how I walked into photography from the very beginning of the film, how to see the relationship between the two, and my love for the film. The essence of life is the most exciting movie. The movie has 20 grids per second and 24 hours a day. If the person's life is converted into a negative film, it can be 24 circles around the earth. Everyone chooses to perform their own movies in their own way. Zhang Chang, who has lived in Prague, Czech Republic since 2003, is currently based in Slovenia on the Balkan Peninsula. Focusing on the marginalized people ignored by the mainstream society, Zhang Wei successively photographed the largest psychiatric hospitals in the whole of Central Europe, the country hunters, the traditional Czech circus, the Hungarian Gypsy village, the Czech A film industry and so on. At present, Yu Xuexue has performed a solo exhibition of "Left Atrium Right Ventricular", exhibiting nearly 300 works in Europe and Slovenia, in the 14 years of living in Europe. Photography © Xiaotian / 阮玺张雍 Simon Chang, who lived in Prague, Czech Republic since 2003, is currently based in Slovenia on the Balkans. Focusing on the marginalized people ignored by the mainstream society, Zhang Wei successively photographed the largest psychiatric hospitals in the whole of Central Europe, the country hunters, the traditional Czech circus, the Hungarian Gypsy village, the Czech A film industry and so on. At present, Yu Xuexue has performed a solo exhibition of "Left Atrium Right Ventricular", exhibiting nearly 300 works in Europe and Slovenia, in the 14 years of living in Europe. Photography © Little days / The essence of life is the most exciting movie. The movie has 20 grids in one second and 24 in one day...

Writing the humanity's teasing with technology: "Path from G planning"

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The kick-off, the light source comes from the mobile phone, the direction of light projection, is a semi-naked sleeping male body. Subsequently, the owner of the mobile phone brought a light bag - the bag was insignificant and less, and left. "There is a kind of bird in the world that has no feet. It can only fly and fly all the time. When it is tired, it will sleep in the wind. This kind of bird will only go down once in a lifetime, and that time is the time of death." - "A Fei Zheng Chuan This sentence is like the director Jérôme Reybaud in the "Path from the G plan", the protagonist Pierre's portrayal. Symbolizing freedom, but also breaking the title "At the same time, we need to bear the "loneness" from freedom." Without leaving her boyfriend, Piye began to travel in a directionless road, relying on the positioning function of the friends, the roadside picnic, and the "desire"; the left-behind boyfriend also used the dating software to track away Go to Pie. The development of the story is natural, but it also carries an incredible fantasy. The so-called fantasy is not defined in "non-realistic", but rather "super-realistic." Out of the wandering, Piye attempted to deliberately not set goals. Although he did not say it, he was faintly able to piece together through the plot. He wanted to enjoy the "real freedom" in his heart. This road trip, with the French and Italian borders as the limit, he follows the friends of the friends and friends, facing up to the "sexual needs" of his heart, without any disguise; tired, just borrowing a bed for the night, every other day, Keep moving forward. "Desire" rather than simply "desire." What Pierre wants, the surface seems to be unable to rule out something other than "non-sex." As the journey freely radiates, it seems to be able to smell that he has more pursuits than "sex", vaguely emerging: this "freedom" is calmly placed in love, body and mind; he reflects on the way to the passengers and their respective The propositions of life, although they have the obligations and responsibilities that bind them, give them stability and protection. No one can clearly determine whether it is good or bad. Tricky technology faces the provocation of human nature, and the fascinating "humor". Modern society's dependence on technology sometimes exceeds our own imagination. Through the lens of Jérôme Reybaud, we see our own funny and find hidden behind the soft and hard body. Romantic orientation. Piye's boyfriend, relying on a lower body photo from a friend's software, recognized Piye, his face was a long-lost thought; Pierre and the unfamiliarity between several bed friends, the night's edge, but took up The agreement to send parcels to the gunners; the code of "too familiar can not make love", the owner of the bar mentioned this seemingly paradoxical, contradictory paradox... in the immersion in the modern technology network, the contradiction Familiar voices. While reflecting, I laughed unconsciously. As mentioned above, this film has sneaked a lot of humanity on the scientific side of Leng Bing; in other words, the "randomness" hidden inside, in addition to realistically presenting the "non-linear" of life, often does not follow the causal logic and enriches the sensibility. Romantic elements. Boldly adopting the "long lens" smooth movement, eliminating the sense of presence of the handheld camera, it seems cold but poetic, and even the most extreme limit of a mirror, just right! Adhering to the principle of going to the scene, the overall rhythm is full of charm, and the technical side is remarkable. In particular, the arrangement of several games: the dream of sleeping in the Pied car, violently interpreting like a dream of a true boyfriend; when you are young, you secretly love Pied's tutor, forgetting masturbation, and entering the picture, it is difficult to define what is reality. A female passenger on the Alfa Romeo, after arriving at the destination, one person in the glass house, one person outside the glass house, one mirror, the picture is smooth, the focus and the movement of the characters, the light and dark realistic design, two The moving figure is delicately extended; between the rigid and the soft, the deployment is extremely appropriate. To set off on the journey, you have to undertake the "beauty and torture" on the way. This movie is like a one-sided two-side slowly diverging, and finally becomes a circle; you can find the casualness of "Spring Breeze", projected across the wall Face, two men lying under the hanging picture, hidden but wild erotic desire; can also see the creator's intention to give rational discussion, at the end of the film, do not want to tell Pierre Boyfriend, Pierre, the sudden netizen, the struggle on his face Difficult. Both rationality and sensibility are combined, humanity and technology are well explained, and they are all integrated into a journey of unplanned aircraft transportation. If you can, freely, casually, even once, it is absolutely happy!

The courage to face "real": chasing the journey of disappearance, "The Lost Archives"

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"For me, what is the use of a movie, whether it is a feature film or a documentary, it doesn't matter. A good movie is about truth, not fact." - Sergei Eiseinstein This year's Taipei Film Festival focuses In recent years in Hong Kong, the theme "Hong Kong Progressive" has been set up. In several video creations different from commercial techniques, the audience will see the contradiction and complexity of the city under the geographical and historical factors. Several creators complete the valuable spirit of the work in the limits of reality. When nationalism and global competition redefine contemporary, Hong Kong, the front line of the most turbulent turmoil in East Asia, this long-term partner with Taiwan, we can't help but understand its increasingly difficult situation and more comprehensive after China's rise. Looks like. The director of the news, Luo Enhui, met several stories of juvenile delinquents in the "June 7 Riot" in several gatherings with friends. At that time, she was deeply touched and began to record their thoughts by video; just asking for dictation When the story is authentic, she can only find a 21-second street view in the historical archives. All the files are intentionally turned into “empty clips”; and her tracking process almost overturns the original intention of the recorded characters. Deriving the truth into a more complex and dangerous face. The June 7th riots launched a local protest campaign in Hong Kong in 1967. This was a leftist trade union organization protesting against the British government's street movement, but it evolved into a violent crackdown and assassination, and a random bomb bomb attack. It lasted for eight months and was implicated in countless days. In the absence of any filming budget, Luo Enhui explored the clues of the June 7 incident and repeatedly returned to the United Kingdom and Hong Kong to make up for the British government documents and news messages at the time, but there was no real report from the local left. Until the film entered the post-production stage, she was exposed to the CCP’s relatives who planned the movement and obtained the first-hand personal record. She spent another more than a year re-interviewing the production. The film begins with a recollection, and the lens is intended to focus on the incompleteness and tears of the participants, reminding the viewer to enter a story that reveals the scars of others. The following narrative is an interview lens, which is interspersed with multiple lines and avoids any emotional medium. For example, the search is to let the audience track and examine the truth in the discourse. However, the information is more complicated and there is no a priori. Under the premise, the audience is almost lost in the arguments of all parties. At this moment, Luo Enhui deliberately cut into the key person letters, and the main motivation behind the incident gradually became clear. Under the link of "personal", it became the innocent pusher of "collective violence". At that time, many young participants had passed away. Isolating the society and avoiding the past, some enter the core of the power of the establishment, and wash away the suffocation of the streets of the day. Between the egg and the high wall, she does not set an absolute right and wrong, but allows each respondent (excluding the extremes of both parties) to express the six or seven events that she/she looks back on for the rest of her life. The truth finally stopped at the end of the paragraph, and Ron Hui told us more about the facts that were conducive to the complete facts, but she was "screened" by others. The film's review of the history of the June 7th incident is only the beginning. It gives the viewer more, is the author's absolute belief in the pursuit of truth, and maintains criticism and questioning of each link in the process. For the creators, this is the courage to persist in the mind; for the Hong Kong people who are in the chaos of the times, this is a reflection on the facts and the manipulation behind them; for every "individual", this is the evil of ordinary people. The contemporary return of history is the most alarming alarm. The film's publication was squeezed in Hong Kong and was the international premiere of this year's Taipei Film Festival. Here, I wish the "Disappeared Archives" and its behind-the-scenes team. All Images Courtesy of Taipei Film Festival. Keep an eye out for the 2017 Taipei Film Festival. Join Polysh Facebook to read the latest and interesting movies and art articles.

The gap cut by glass: the struggle between traditional circumcision and the pursuit of comradely love, "cutting love"

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In the season of going up the mountain, the growing season has a season of going up the mountain every year. It was eight weeks from the rest of the year. In the Kosza tribes of South Africa, circumcision is always held at fixed times every year to carry out the ceremony of becoming a real man for the boys in the tribe. At the same time, it is also the season when young men and their companions return to the tribe. They lead the boys to the path of adulthood and are called "caregivers" in the strict age group. In these eight weeks, they became the group. Called the leader of the "newbie" boys, the guardian, the lighter. Korani, who works part-time for white people in urban factories, returns to the mountains every year, repeating the tradition of turbulence in the body year after year, watching the young boys one by one receiving the pain after the knife falls. One side twisted the waiting time, the pain of the transitional body, and finally witnessed them become men. However, Korani’s heart contains a transparent but huge secret. This secret follows him, as if he has become a vow without evidence, but stubbornly, and has not left. Korani returns to the mountains every year, in order to see the childhood playmates, eight weeks of ceremonies, but also their quiet time to count down. The time is short, they meet in the evening, and passionately and passionately love - the annual circumcision ceremony in the tribe is also the time of their year and night. The sympathy of the comrades can not be seen under the traditional customs, not only taboos, but also sins. Ironically, through the annual traditional rituals, Korani can see the people who are in the heart, as if they are hiding in the last trace of light under the lion's claws, looking for hope in the most dangerous place, because looking outside, There is no way to escape. A rebellious young "glass" Every year, the boy endures the pain, waits for the wound to heal, completes the circumcision, leaves the mountain, and becomes a real man. Korani watched them leave in groups, but they were forever banned forever. Collan, who was circumcised in the past, was discriminated against and bullied, and now he has been trapped in the mountains for a long time. This year, Korani was specially entrusted by her uncle to take care of a child from the city (Johannesburg). He looked at the weak, but with stubborn eyes and unyielding temper, cast a dramatic in the traditional village. Shocking bombs. Kuanda is not afraid of the hostility of all people, bears the sin of not being forgiven, stubbornly adheres to his principles in the most traditional moments, he is not afraid of being discriminated against because he is an urban person, and even inadvertently touches the most unseen light. The taboos revealed the embarrassing relationship between Korani and another "caregiver." Kuanda is also a piece of "glass", a fragile "glass" that is ridiculed and bullied in the eyes of other Kosak boys. However, the thin, see-through "glass" is smashed while being damaging: the fragile and young glass, with its own broken stab wounding the people who block him and the traditional bondage, Drain the blood marks and wear the tradition. During the circumcision, Judas spy on Kolani's every move, tentatively trying to pick up the secrets of the bottom. However, Kanda did not want to report to Korani. He just repeatedly asked: "Do you want to leave?", "Are you afraid of what you love?" Korani, who is speechless, is just yelling. Be extravagant. However, is there really a way to escape? The traditions and disciplines of tribes and families are like dogmas that constrain Colani and Kanda, as if there is nowhere to go. Cut the bleeding marks, but lost the contradiction between the love of traditional etiquette and self, no compromise, and no compromise. Korani's childhood playmates (lovers) marry and have children, contrary to the sexual orientation, curled up under the tradition. Kanda tried to break through the tradition: "If I am a piece of glass, that's it! But I have to be the glass that pierces the unjust bondage." Korani was confused and stood at the intersection of the two roads. Three Kosak boys, three different roads, where is the road? Want to resist or tame? The image of director John Trengove is simple and degenerate. The scene is clean, there is no extra emotional delay, and there is a huge tension in the straight narrative. The director told a profound and far-reaching story through a simple and direct lens about the conflict between the traditional culture of South African tribes and modern life, and the huge gap between family ethics and masculinity and comradeship. The shocks and journeys that boys encounter during circumcision struggle between obeying traditional values ​​and self-identity. In recent years, the video stories and textual descriptions of queer and comrades have gradually increased, but they still lack the part of how minority faces comrades. When the values ​​of the comrades' love of comrades enter the tribe along with the rising tide of modernization, how do people view this group of deviations from traditional values? John Trengove uses stories to tell stories, but not just to tell a gay love story that takes place in a remote world corner. Instead, he wants to take the lens into the tribe and re-examine a circumcision with a more realistic and accurate image narrative. As well as facing the Western powers, the rise and fall of the Kosak tradition, choice and self-discipline. All Movie Images Courtesy of Taipei Film Festival. Keep an eye out for the 2017 Taipei Film Festival. Join Polysh Facebook to read the latest and interesting movies and art articles.

The creator picks up the film | "The movie is deep, but it is actually talking about your heart." Theatre actor/writer Deng Jiuyun

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As the 2017 Taipei Film Festival is about to begin, Polysh invites several creators who love to watch movies in the fields of writing, music, performing arts and photography to talk about their "movie love". One day a creator picks up the film and shares how they "watch the movie." Deng Jiuyun, from her figure on the stage, or a realistic, soft pen, saw a slow and firm female figure in the city; as a theatre actor who also wrote as a writer, she was still naked and monologous but still with There is a "performance" way to analyze the delicate emotions between people and people - just like a comb that combs thousands of hairs on the top; when performing and writing, slowly combing, really close to the free floating thoughts With emotion, trying to open a knot; after combing, it will be smooth. Slowly, but surely. It is a bit dangerous to show yourself to a strange audience and readers in such an intimate way. However, she believes that this is a "mission" for her as an actor/creator. "The movie is deep, but it is actually talking about my heart." Because it was touched by her words shared on Facebook, this time we talked with Jiuyun, how do she "see" how the acting is closer to the general public? "The movie"; and this year's Taipei Film Festival, there are several works she is looking forward to. Watching movies is as natural to me as three meals a day. Different types of works are like different eating habits, oriental tastes or Western dishes, which bring different feelings. For the average person, the movie may be just a pastime or leisure. But because I have confirmed that what I want to do now is performing arts, so for me, movies are a nutrient. Deng Jiuyun, an actor and writer, is the author of "Litte Notes" series, "My Actor's Diary", "Going to Dance", "The Temporarily Unable to Place". Deng Jiuyun, an actor and writer, is the author of "Litte Notes" series, "My Actor's Diary", "Going to Dance", "The Temporarily Unable to Place". Watching movies is as natural to me as three meals a day. Different types of works are like different eating habits, oriental tastes or Western dishes, which bring different feelings. For the average person, the movie may be just a pastime or leisure. But because I have confirmed that what I want to do now is performing arts, so for me, movies are a nutrient. Deng Jiuyun, an actor and writer, is the author of "Litte Notes" series, "My Actor's Diary", "Going to Dance", "The Temporarily Unable to Place". "The movie is deep, but it's actually talking about your own heart." It's the same way of watching movies, reading and watching theaters. It's the same thing for me." Jiuyun, who ingests three meals, regards movies as a diet closer to life than entertainment. "For the average person, the movie may be just a pastime or leisure. But because I have confirmed that what I want to do now is performing arts, so for me. Movies are a nutrient." Perhaps because the habits I watch may be strange, or perhaps from my multiple identities, so the angle of entry is different. Watching a movie, no matter what kind of movie, no matter how good or bad, I always look at the part of what I can get. During the interview, Jiuyun’s words are always reminiscent of the late writer John Berger’s book in The Way of Watching. “We only see what we are watching. Gazing is a choice.” In the "gaze" of the cloud, her way of watching movies is very close to her experience and mission. From models, TV, to the UK to learn to perform, drama, and then put yourself in the stage theater and writing, the nutrients of the film is not only the moisture of life, but also the source of creation. "When I first started writing scripts, I clearly understood that I was trying to share it with the text I am best at, making it a story. Over time, I hope that these things can be presented in images or stage plays. Let the audience and the actors resonate, not so close, close to the real life, the story of human nature, these have become her challenges in the creation of text and script. Therefore, when she was watching a movie, she focused on the plot. "It is about discussing human nature, affection, and love. Usually such a movie work, whether it is a worldly imagination - even if it is sometimes because of culture, the audience may be jealous - or It is a kind of challenge that the actor puts into the emotions and thoughts of the work itself." "As such a creator, you must go through some things, not let yourself be too comfortable (laugh), try to keep Thinking. Watching movies in this way is more because of her conscious "mission". "The mission of the actor is to let the soul enter his body. "Real emotions" are very important. What many actors pursue is like The moment of "the soul comes down." It is like being possessed by a character, reaching a state where a nightmare wakes up and everything is happening. This is a real moment, but it is also very painful because I feel deeply in myself. Being hurt." For her own sake, it is because of the time, emotion and life that are devoted to it. The process is actually hard and even painful. "When I create, my heart will remember these nutrients for watching movies, reading, and theater, and gradually accumulate and transform them." Different types of works are like different eating habits, "but whether it is oriental or Western cuisine. These will bring different feelings. Sometimes I walk into a movie theater or a DVD rental store. Even if I don't know which one I want to pick, I know exactly one direction: "I want to watch American movies today." "I want to watch a love movie today" (laughs)." She is seen in almost every type of film. In fact, in addition to her artistic works, she also watches a lot of commercial-oriented or Hollywood movies. The film works with high completion are actually very envious. A film with a high degree of integrity, the beauty of the character is not only externally presented, but deeply touched the heart, and these are in addition to the efforts of the actors. The result of the joint efforts of the director and photography, lighting, etc.. Self-deprecating is hard to realize how the "bad" in the movie happened. Her work has her own thoughts. "The work that usually completes a high degree of work, light and shadow is very good. I have been very interested in photography in recent years, and I found that in the movie, light and shadow plays an important and even the key to everything. - They can bring out the soul, and the film is also recorded by the light. How the director finds the character in the light, to some extent, shows how she/he loves the character, and there must be a deep emotional connection to the work." Fall in love with the movie The moment, "The Wish of Little Sun" "The first time I fell in love with a movie is an animated cartoon (laugh)!" Looking back at the impression of the first movie, Jiuyun couldn't help but laugh. "I really like Miss and Rogue. ", I bought a videotape at that time, and I was very impressed. Because I didn't like watching TV dramas and cartoons since I was a child, but this really made me sit in front of the TV and stared at the screen. It was about 90 minutes. The animation has brought me a lot of influence. In fact, almost any animated film is released now, I will go to the cinema." Until the middle school period, the teachers watched and shared and watched the North African DVD. "Gone with the Wind", "I am very fascinated by the female image inside, there is a kind of "Tian A! How can they make a woman so beautiful." Before that, Jiuyun also saw a lot of oriental screens in the movie screen. Women, "They are also very beautiful, but there is always a distance between the beauty, it seems that it is not related to themselves. But the women of these two movies have made me want to be "similar" to them, a little yearning. Even if the plot is not remembered, Jiuyun still remembers the kind of "beauty"; "It may be a bit like the age of mothers, and the yearning for actors Lin Qingxia and Maggie Cheung (laugh)!" The switch of the horror film, "I am crazy watching horror movies, ghost films, and only watching the East, like Japan, South Korea, Thailand, almost all the horror movies, until I saw a Thai "Ghost" When I was scared, I would never dare to continue watching. In the process, Jiuyun did not interrupt other types of art films, but the impact was not as big as the ghost film. When it comes to the work that I will keep revisiting, "Must be the director Jonathan Dayton and Valerie Faris's "The Wish of Little Sun"!" This movie is an opportunity for her to start to know and fall in love with the Japanese Dance Festival. "I liked the selection of the works that were selected by the Japanese Dance Film Festival. I thought that the screenplay of this film festival was very good. I found a movie that I liked very much. And "The Wish of Little Sun" is even low cost, but the script Very complete and very good film - simple, witty and funny, but very moving, and which has intriguing meaning, unforgettable." It even opened her ideals and goals - "If I I can write a script like this in my life, then I really have no regrets in my life (laughs).” The 2017 Taipei Film Festival is looking forward to the work of Manfi. I am very interested in this film. Although modern dance does not seem to have a specific rule, it actually touches some part of my heart. The first is "Manfi." I am very interested in this film. Although modern dance does not seem to have a specific rule, it actually touches some part of my heart. "Manfi" | Chen Huaien | 2017 Taipei Film Festival closing film, "Taipei Film Award" documentary shortlisted. Photography / Liu Zhenxiang, provided by Yunmen Foundation. Luo Manfei, who danced from college, went to New York to study modern dance, returned to Taiwan to train young dancers in the dance department, served as the second director of Yunmen Dance, and then set up a dance group in Taipei. Her modern dance is unique, Tao Li and the world dance everywhere. "In order to let more people jump, she created many large-scale dances for students." At the end of her illness, she was still in the final dance of the rehearsal. It was both a white snake and a black swan. The dance dress faded from black to gray. In the blockbuster "Elegy", she had been solitary and spinning. Following the second literary documentary, Chen Huaien directed the dance documentary, presenting his reluctance and call to the early death of the Roman dancers of Luo Manfei, telling her life of literature and dancing. "29+1"|Peng Xiuhui|2017 Taipei Film Festival "Asian Festival". Lin Ruojun, the life is well-managed, the successful women in the workplace, when the age of 30, everything is gradually out of control; Huang Tianle, life seems to be no margins, no way out, the round figure is always full of smiles. Two Hong Kong mature women left to join another life because of a move and a diary. Adapted from the stage play of the same name, the director's first feature film from the theater cross-border, depicting the history of Hong Kong pop culture in the 1980s and 1990s is a tribute to the times and a memory. The second is "29+1" and "Johnny Keck". "29+1" was originally a stage play, and it was directed by Peng Xiuhui, who was self-directed and self-directed. So I have already known some information about this movie since last year. Plus the director is a bit like my background, so I wonder how she transformed the script of the stage play into a movie. I see this work instead of being an actor, but how the director adjusts. Because the stage play can only be displayed linearly, but the movie can reproduce the plot of the past through the splicing, etc., so the way of telling the story will be completely different, and it is curious how she will dispatch. The plot is about two girls who are 30 years old, so they seem to resonate with themselves. "Johnny. Keck is a bit curious about director Huang Xi, because she was the director of Hou Hsiao-hsien, this is her first feature film, full of expectations. ...