Taipei Film Festival / Taipei Film Festival

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. ...

The creator picks the film | the film, the gravity of the old ideas and values, The Big Issue editor Li Take

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Interview, author / Alice Chan, Pan coincides with the upcoming 2017 Taipei Film Festival, 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." You may not be familiar with the name, but you may not be unfamiliar if you talk about the human magazine, The Big Issue Taiwan, which he led and sold to street friends to help street friends. More or less, we have all bought one at the MRT station entrance or exit, or the crowded business district. Starting from the Internet, I created the music editor. The editor-in-chief of the magazine "Dazhi" since 2010, the magazine theme of the May issue is an extension of "movie", inviting many filmmakers and writers to Writing style talks about the classic movies in the heart; in the era of the newspaper industry's yearly decline, the recent creation of the art and life newspapers - The Affairs "Weekly Collection". This time we talked to him about the role of the film in his life; and this year's Taipei Film Festival, what other works he expected. Movies sometimes play a role of "change" in thought and emotion - after all, certain experiences are not really experienced in everyone's life; but at least through the film, the filmmakers seem to have experienced similar Emotions and plots may feel a little different value and cultural impact. Slowly, when we look back at the collisions and ideas brought about by a movie, we are also thinking about the old values ​​and logic. Li Takezhong, editor-in-chief of The Big Issue Taiwan "Dazhi", a recent new creation of the art and life newspaper - a media belonging to the Mars generation - The Affairs "Weekly Collection". Li Takezhong, editor-in-chief of The Big Issue Taiwan "Dazhi", a recent new creation of the art and life newspaper - a media belonging to the Mars generation - The Affairs "Weekly Collection". Movies sometimes play a role of "change" in thought and emotion - after all, certain experiences are not really experienced in everyone's life; but at least through the film, the filmmakers seem to have experienced similar Emotions and plots may feel a little different value and cultural impact. Slowly, when we look back at the collisions and ideas brought about by a movie, we are also thinking about the old values ​​and logic. Li Dianzhong, editor-in-chief of The Big Issue Taiwan "Dazhi", a recent new creation of the art and life newspaper - a media belonging to the Mars generation - The Affairs "Weekly Editor". Movies sometimes play a role of "change" in thought and emotion - after all, certain experiences are not really experienced in everyone's life; but at least through the film, the filmmakers seem to have experienced similar Emotions and plots may feel a little different value and cultural impact. Slowly, when we look back at the collisions and ideas brought about by a movie, we are also thinking about the old values ​​and logic. "Movies for me play the role of "the real world you have not experienced, but it is true that other corners may be happening"" "I don't care about the frequency or the number of times, usually watching the subject of interest, and it is certain. The work to be seen in the cinema." From the very beginning, it is straightforward to say that "quality" does not emphasize "quantity". For Li Takenzhong, pay attention to the picture, sound and light effects, scene design, or large-scale production biased towards "epic" It is the factor that allows him to enter the cinema; for example, "Interstellar Effect", "The Lord of the Rings", etc. "If you do not watch through the big screen, there will be differences in the feelings and impacts brought to us." / Media people, compared to the limitations of specific areas, types or forms of viewing, "the habit of watching movies, reading, listening to music is actually full of things like me, more like "omnivorous food." The taste is reflected in his habit of making magazines; although he does not chase specific directors, he still mentions his love for Wang Jiawei and Krzysztof Kieślowski's works, "especially red. White trilogy, there is an actor Julie Delpy (laughs) that I like very much." Like the general viewers, he enters the cinema and most of them enjoy it with a relaxed and happy mood. "This kind of mentality is very good. This kind of In the state, the viewers can bring themselves into the film more easily.” The reason why people shape their own observations, values, and ways of thinking about the world are long-term accumulation from life. Education, school, media, experience, and their own ideas for things are slowly shaping. Most of them may not be called "belonging to themselves" at first, but they are not their own opinions, but are given; but once they are established, it is very difficult to be broken. Breaking or changing usually only happens when you encounter certain events in your life experience, and you have different ideas about certain things and issues. For me, the film sometimes plays a role of "change" in thought and emotion - after all, specific experience is not really experienced in everyone's life; but at least through the film, into it, watching It seems that they have experienced similar emotions and plots, and may feel a little different value and cultural impact. Slowly, when we look back at the collisions and ideas brought about by a movie, we are also thinking about the old values ​​and logic. In life, it plays a medium of relaxation and enjoyment. The film actually profoundly influences and impacts our ideology and the way we watch the world. "Long-term watching movies in this form will be like reading. There are subtle effects. Some things are in the present, maybe we can't understand them intuitively, or feel the changes that are brought to ourselves; but after reading them, or after some time, think back to some of them, Concepts, pictures or ideas actually change our thinking patterns and values. Therefore, for Li Takenzhong, movies are a medium that can be easily enjoyed, but at the same time they also play the "real world, you have not experienced, But it is true that other corners may be happening, a kind of change in life and even the impact of life. "Books are extended by text, and the film tries to revisit the scene, so that the viewers can feel more deeply." Following his writings on "Dazhi" in each issue, it is not difficult to find In the middle of Lee’s mouth, the influence of the film’s “submattering” is how to ferment on him. He believes that film, reading, and music are equally important. They are the source of ideas, but they are different in form. "In a way, writing and film are different but they can echo each other." The moment of falling in love with movies: From "Spring Rain" Going to "Fighting Club" Self-deprecating Because I can't clearly remember what happened before, Lee took it and said that it is difficult to recall the moment when he fell in love with the movie. "But it is also good. The same movie is repeated many times. Come to me. Said to be a new experience (laughs)." In the case of repeatedly watching the same movie, he can also compare his own observations and preferences for specific things. "Impressive movies, like the recent ones should be "Key Minorities"; a little longer ago, "Spy Shadow Action." "Disc Action", describing the story of the intelligence officer during the Cold War, Lee took the film in the movie. The atmosphere is very fascinating. If it is a movie that I have always loved, "The Fighting Club!" Li took it immediately; "The first rule of the Fighting Club: "You don't talk about the Fighting Club."" Not only is the line full of public opinion Impressed, the role of split personality has extended a fierce plot, and it has also struck the senses and consciousness. "This work reflects the perception of the social environment - it is very anti-institutional, anti-social, even anarchic. Thinking is very sharp." When it comes to encouraging young people or students to see, Robin Williams plays the role of a teacher who leads the poetry club. "I am deeply impressed by the fact that he stood on the table. "Standing on the table is to remind us that we must always look at things from different angles and perspectives." Or take the students to the courtyard and ask the students to walk. In the end, they will find that the pace of these students gradually becomes the same. Through these bridges, we will discuss "constrained psychology" and "seeing things." With a less typical teacher image, we watch him guide and train. The ability of students to think independently, but while thinking about themselves, they are awakened. 2017...

The creator picks up the film | "If our life is a movie," musician Chen Huiting

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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." Chen Huiting, you started to see her from Tizzy Bac, a band with a black humor and a little nervousness. From the solo album "21 grams", I used a delicate female writing to get to know her more deeply. In her mouth, the lyrics that claim to be "the grievance system" weave a gorgeous plot of the scene; the words full of narrative, frankly written inspiration are drawn from literature and film works. This time we talked to her about how the film's media made her "grievous" in her creations; and this year's Taipei Film Festival, what works she expected. If each of us lives in a science fiction movie, then "time" is the biggest villain in the movie, a villain. We started from birth, because of this linearity of time, we have begun to go to the end of the story, to the destined ending of the anti-reverse role. Chen Huiting, the creative musician, is the lead singer of Tizzy Bac. Since 2014, two personally created albums, 21g and Adult World, have been released, presenting a gorgeous and psychedelic music country with an electronic pop style. Chen Huiting, the creative musician, is the lead singer of Tizzy Bac. Since 2014, two personally created albums, 21g and Adult World, have been released, presenting a gorgeous and psychedelic music country with an electronic pop style. If each of us lives in a science fiction movie, then "time" is the biggest villain in the movie, a villain. We started from birth, because of this linearity of time, we have begun to go to the end of the story, to the destined ending of the anti-reverse role. Chen Huiting, the creative musician, is the lead singer of Tizzy Bac. Since 2014, two personally created albums, 21g and Adult World, have been released, presenting a gorgeous and psychedelic music country with an electronic pop style. If each of us lives in a science fiction movie, then "time" is the biggest villain in the movie, a villain. We started from birth, because of this linearity of time, we have begun to go to the end of the story, to the destined ending of the anti-reverse role. "If each of us lives, it is a movie." "Movies, reading, and music are all important to me. They are the window where I know and watch the world - physically and spiritually." Chen Huiting, who loves movies, enters the cinema at least twice a month. "There is no need to watch movies like DVD/MOD, etc." The movie is likened to a "image-based understanding of the world", although it is itself The input is music creation, but for her, "the film itself is a multi-faceted creative genre", which is a database for her accumulation and inspiration. In this huge database, she explores themes, details, emotions, and techniques. In life, "the popularity of movies, I think movies in my life are as natural as eating and exercising." With the existence." As far as creation is concerned, the stories circulating in the movie frame are often the subject of Hui Ting writing the lyrics again. Whether it is a work created from movies or literature, such as "Beautiful New World", "Chinese Flowers in Blossom" and "Invasion of Skin", the Chinese theme song "My Courage" and "Island of Time" And last year's "Tomorrow Project", which was built and carried out in a science fiction-like narrative structure. "Because of the movie, my usual thinking is very visual. For example, the writing of the lyrics also has a sense of picture, arranger. At the time, I often couldn't help but say, "Oh! This is a movie ending!"" It fits into the overlapping figures and emotions in the frame, such as poems and whispers like whispers, and is stunned with electric illusions. The melody of color and undulations stimulates a sad, soft and nervous soul. Let the novels of Tizzy Bac or Hui Ting bring a kind of fantasies to narrative and drama; the grievances and self-deprecation of life are caused by the words, such as the plot of the movie, to make the listener's heartbeat resonate with it. A love song is not just a love song, but also her reflection on life and emotional practice. When I fell in love with the movie, "Four Hundred Strikes" talked about the movies I watched as a child. In the growth process of Hui Ting, the golden age of Hollywood and Hong Kong movies was also indispensable. "When I was young, watching movies was just a show of fun. Remember very small and small. At the time, the first time I went to the cinema to watch the movie, the family took me to see it ("Journey to the West"!). I was so scared that I burst into tears, then dragged the adults to go home." Looking back at the memory The first time she saw the movie, she was "fear of the movie." Until the university stage, I participated in the course of French film appreciation. Under the guidance of the teacher, I watched many classic movies of the French New Wave. "This is how to "see" the movie - the original so-called "watching" movie means this!" But to be honest, the New Wave is often incomprehensible to me. But the film of that period will speak for myself. I only remember some of the movies that have deep impressions, not stories." Because of the contact with the French New Wave movie, Hui Ting began to sneak into the movie room of the school library. "The real love of movies should be "Four Hundred Strikes"! At that time, students were very keen on literary movies, and they went to a shop in Chongqing South Road to buy some hard-to-find art films. However, I don’t remember very well in the ages. "Laughs."" And really let her fall in love with the movie, it is Chu Fu's "Four Hundred Strikes". "At that time, watching "Four Hundred Strikes" is the time, not only in line with the identity of major subjects, but also through Wen Qing. The addiction is very impressive." "The picture of the boys in the last scene of the four hundred strikes is probably because of the classic relationship. I still remember it now (of course, it may be because it often appears on posters)." "Four hundred hits" impressive impression experience, Hui Ting reflects on the charm of video aesthetics in the film, "The movie is not necessarily a popular, everyone can understand, or a linear story. The image itself can cause The mind is inexplicable, often no less than words, or music that you love to listen to when you are young.” The 2017 Taipei Film Festival looks forward to the work of Manfi. At the beginning of the year, the release of "My Courage" single, the opportunity to cooperate with modern dancer Ye Wangzhou in MV shooting, has produced a very basic understanding and interest in modern dance, and also seen the performance of Yunmen Dance. Dance is a very moving art category for me; so I am very interested in the documentary about modern dance. I have seen Bina before. Bao Xu’s documentary was very touched. The first is "Manfi." At the beginning of the year, the release of "My Courage" single, the opportunity to cooperate with modern dancer Ye Wangzhou in MV shooting, has produced a very basic understanding and interest in modern dance, and also seen the performance of Yunmen Dance. Dance is a very moving art category for me; so I am very interested in the documentary about modern dance. I have seen Bina before. Bao Xu’s documentary was very touched. "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. The second is "Rock on the Road." I don't think much to say. First of all, it is the documentary of the rock band Wolf Alice. The work before the director is something that our young rock family must have seen. Since there are new works, of course you can't let go. ...

Beyond the "story", the most fascinating thing about the movie: Interview with Shen Keshang, director of the Taipei Film Festival

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Interview, author / Alice Chan, Sun Zongxi Photography / Manchi Collaboration / Anbang, Yun Pin Movie Images Courtesy of Taipei Film Festival 2017 The Taipei Film Festival entered its 19th year and experienced the so-called "official storm" last year. This year is like injecting A new blood, re-starting; of particular concern, the "Director" work and responsibility was delivered to the 2013 Taipei Film Awards, the first prize winner - director Shen Keshang. Originally a film creator, he is now the core of the film festival planning and curatorial team. This time, he entered the Taipei Film Festival with a wonderful character switch. The sentence is Shen Keshang’s own description, “causing some possibility of qualitative change”. In the hot afternoon of June, the Taipei Film Festival is poised for success. Polysh invited Shen Keshang to walk around Taipei to share the different "possible" and "quality changes" that this year's film festival belongs to. In Taipei, he knows Shen Keshang with the filmmakers and film festivals he bred. You may have been through the Million Award-winning work "The Nesting Man". Compared with most other documentary films, "The Nesting Man" fades away from the whitewash or "forever inspirational" documentary propaganda content, boldly slashing the daily routine between families of autistic patients; day after day, ordinary as you and me, ending with sharp The darkness and heavyness that are unknown in this life. To a certain extent, it is even a cruel blow to us who are long-term habits and tend to watch the "beautiful" in life. After nearly three hours of interviews and chats, I revisited the real power of "The Nesting Man" and suddenly understood that everything could not be separated from the city of Taipei. Shen Keshang grew up in his mouth "the fiercest and most powerful 90s" - Taipei about 20 years ago; the living circle is centered on the Chiang Kai-shek Memorial Hall, and the independent music, underground theater, and wild lily are all in the air... The power and atmosphere of the stock "we want to change." At that time, he was a soldier at the presidential palace, and he was ready to go to the town at any time. "Taipei is really a place where all new forces are eager to enter." At that time, the Taipei Film Festival and even the entire city. In fact, they all want to change, operate, and even dare to go to an unknown situation - "We don't know where things will go, but just walk around!" 』, a forward-looking atmosphere. Looking back now, after a wave of social changes, this feeling seems to fade. At that time, the Taipei Film Festival and even the whole city tried to change, operate, and even dare to go to an unknown situation--"We don't know where things will go, but just walk around!" 』, a forward-looking atmosphere. Looking back now, after a wave of social changes, this feeling seems to fade. Speaking of this, "This is why I love this "Johnny Keck" in the two competitions of the Taipei Film Festival." For Shen Keshang, "Johnny. The characters in Keck are what the people of Taipei are now – everyone is working hard to survive, and the heart is still holding the expectation of light; “But if you look at it, everyone is like a little dust, floating. It’s gone, it’s impossible to settle. The dust that can’t be settled, there’s a kind of light, soft, soft, and I don’t know where to go. Although with hope, it’s a bit boring.” “Johnny. Keck"|Huang Xi|2017 Taipei Film Festival "International New Director Competition" and "Taipei Film Award" were shortlisted. "Johnny. Keck"|Huang Xi|2017 Taipei Film Festival "International New Director Competition" and "Taipei Film Award" were shortlisted. In the past 20 years, the temperament of the turmoil has continued, but it has formed a repressed undercurrent. "You want to settle, but you can't settle it." The changing atmosphere of the city naturally affects the film festival it bred; especially After the turmoil of last year, when the Taipei Film Festival found Shen Keshang as the director, he felt very unreasonable at first. "The film festival has a professional film festival. The film festival is like an "institution". How much can this organization do with the international and Taiwanese film festivals? It should not be considered in the direction of an "activity". I have considered it for a long time. Because I have always thought about the network of the exhibition, I am thinking about the direction of being "served" (the viewer) or the "winner" (the finalist, the winner). I don’t know how to connect in the back. However, he also raised a question in his mind. "Is there any public affairs that can cause some kind of qualitative change?" Shen Keshang, who claimed to be raised all the way by the Taipei Film Festival, recognized himself. I have never been forgotten as a creator. "When they come to me, I look forward to a stronger and intimate emotional connection with it. I don't know what kind of chances are there, let me give feedback and try. For a long time, I think that the core condition for "changing" is to throw in unexpected elements or clean up the original battlefield; just like the arrangement of chemical elements. There must be an unexpected element in order to really cause change." A kind of feedback with emotional projection and curiosity about the unknown, seeing himself as an unexpected element, Shen Ke still took over the position of director . "Creator" or "Director", the little change of the 2017 Taipei Film Festival with the background and experience of the original film creator, Shen Keshang really walked into the film and exhibition team, thinking about "curator" and "film creator" The relationship between the relationship and the so-called "serving Taiwanese filmmakers". "What is the "service" Taiwanese filmmaker? This can be narrowly thought of as "self-proclaimed." But expand to see, is the Taiwanese filmmaker we serve really enough? It helps all filmmakers to do more with other international networks. Is there a high-level link? Have you observed more forward-looking or trending ideas and shared them with the audience?” he asked himself. “And between the filmmakers and the film creators, there must be clear barriers and opposition. Or can they build relationships in the direction of mutual help and support?” The city needs a clear reason for the Taipei Film Festival, not because there are film festivals in all cities. Based on this thinking, Shen Keshang gave himself a clear direction. "For me, on the emotional side, the Taipei Film Festival is definitely the creator of "I know that my work is not a commercial element and expectation". Through this film festival, I have the opportunity to connect with the world, including local audiences, publishers, etc. Because I was raised by the Taipei Film Festival, I would like to take this opportunity to It’s possible to raise other new filmmakers.” The past few film directors, many of whom are filmmakers who study movies in the industry, and not real film creators, look at the angles and methods of the film, and the creators do not The same thing; "But the difference can also be touched. If the combination is a wonderful intersection, the point of view will be many yuan, rich and huge." He brought his own creative experience and tried to borrow this time. Opportunities reveal the context of film creation to the audience. "I have enjoyed discussing and merging with each of the characters in order to make a movie. "Why is this dress?", "Why is the scene like this?", "Why is music so cut?" Individuals constantly discuss, think, dialectically, try, understand, analyze, and design. When you enjoy and understand such a creative process, you will know the ideas and pictures that the film presents, and the source from which it comes." A film festival unit cannot Just introduce the film, and then look forward to the box office, but must have the concept of education in it; this "education" is not to teach the audience what, but to introduce the audience to the discussion. When this era can't compare with the past era, Shen Keshang believes that any film festival is bound to create the "viewing experience" of the film festival alone; "the film exhibition will eventually go to a "theatre style" experience concept, in a special, not special In the case of witnessing the situation, there are conditions for existence. This makes the film festival not only think about the direction of the box office considerations - it is not a box office, not a movie, but a link in the mysterious thing of the movie. Like this year's VR at Cannes Film Festival, The real power is not VR, but when the technology has not yet created a film element, and everyone is still exploring the possibility, the film festival can use this to discuss and think, this is the "film exhibition experience." So this year through the new topic The design, "The film is happening | Hearing the heartbeat of the film: Lin Qiang", the selection of the venue, the unit for new immigrants, etc., create an "experience that must be a film festival to participate"; he was interviewed, Just finished the special event in the swimming pool to watch the "Blue Gate". "That feels like watching a movie in the amniotic wrap." He described, "The atmosphere between you and the film blends together, and you will be more convinced of the things in the movie, and the preferences or impressions of the film will change. - A feeling of "the love of movies." With such experience in film festivals, "the possibility of "movie art" can be more deeply conveyed to the audience, and it can also interact more fully with it. This is a beautiful thing in the movie. I hope to bring a small qualitative change after I became a director." "Uncover" the creative context in film music...

Walking in Taipei|Looking for movie glimmers in the city lanes, the three small shops we visited during those nights

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Interview, author / Alice Chan, Yu Lai, Pan with meat photography / Jacqueline lichen waste & splendid time pictures / All stores offer All Movie Images Courtesy of Taipei Film Festival to get to know a city, whether it is a traveler or a local person The pace; perhaps the cup of coffee accompanying his own reading of philosophical, perhaps the picture of the line between the characters in the novel, perhaps this less typical travel guide, perhaps a film that ignores the memory and emotions of the city. Regarding the impression of the city, we occasionally missed the words, and we filled it with pictures. The stories in the photos are filled with flowing pictures. Writing a movie in a city always makes people live in the scene and pursues their own familiarity. Figure. Living in Taipei, I am convinced that I have already seen the scenery of the big and the alleys. However, according to the footsteps of the Taipei Film Festival, I found many small spaces in the corner of the city, in addition to the various incidents of people’s affairs, they also carried Messages, pictures and stories that echo the film's media. This time, we did not follow the director's lens and picture to re-watch the corner of Taipei, and instead explored the fermentation relationship between the film and the various spaces and fields in Taipei Lane. Lichens and Harmony | Night Sleeping Night 6/17 The Dadao Village at the end of the 19th century is the epitome of Taipei's prosperous and popular culture at that time. Foreign foreign merchants, Japanese-ocean mixed coffee shops, and teahouses are all in the lanes. Cloth, tea, Chinese medicine and spices, this hawking conveys the daily appearance of the market. Today, after more than 100 years of vigorous development, the street profile and the old city temperament are still preserved. It should be proved that the people on this land have a dual understanding of the history, but the difference is that the new combination of culture and trend The vitality of the city, the bustle of the city is managed as a popular folk song with an ancient flavor, a catchy mouth and a bit of culture. An old building in Minle Street, one side of the courtyard scattered with the sun, corresponding to the quaint facade, it was discovered that a small shop that picked up Taiwan's memory - "little reptiles". "Lichen", the indicator of ecological air, is the first plant that grows when the creatures open up the soil, and also the clothes of the land; the "fall" comes from the Japanese dialect, and the "wild" is rough, primitive, and unrecognized. The meaning - from the naming can give a glimpse of the three shop owners Xinhan, A Pang and Mulan, for the protection of local culture and simple creation. The style of returning to life and the philosophy of life are distributed in the daily necessities such as bronzes, pottery plates, ancient props and hardware parts scattered in the store. "The lichens and wastes want to do a good job of organizing and presenting the elements of Taiwan. Let more people see the beautiful place. It sounds a bit empty, but we work hard to bring this idea to life." A Pang explained that trying to promote guardianship is both skill and memory. The movie is a bit like a crystal ball for me (although there is no crystal ball in my life). When I have a question, I will look for a movie that seems to be answered. I feel that I can find some clues and then show it. The picture is often unexpected (sometimes answering the question right away, sometimes it will be inexplicably XD by the content at the time). Image Courtesy of 2017 Taipei Film Festival. Image Courtesy of 2017 Taipei Film Festival. In addition to groceries and accessories, lichens and wastes as a combination of art and cultural exhibitions, naturally become one of the first choices for this year's Taipei Film Festival. . It is expected that the film "The Big Tree" ("The English film" is "Trivisa", which is the three poisons in the Sanskrit (greedy, sorrowful, crazy), it is already very attractive." A Pang added), single The words taken from the elements of heaven and earth are quite resonating with the lichens and deserts. On the space screening which is different from the general viewing, "I think the film and our philosophy are given a perspective or context. Use the various channels of the five senses to shape and materialize so that others can perceive them. Both provide another aspect or perspective so that everyone can understand the world from another angle." Apo said, showing movies here. It fits well with the spirit of lichens and deserts. "When you watch a movie, you put yourself in another time and space. It may take a long time to remember that a certain clip or light is also worthwhile. It seems to collect more imaginations of the world. Just like the one-sided patio, this form of field There are many time and space background factors, people who explore and understand may imagine various life pictures in this building at that time; but for those who don't know, they may completely imagine another plot." Resonance; misreading may also be a good taste. But what is certain is definitely different from the previous viewing experience. Taipei Film Festival "Trees and Big Winds" to capture the venue clothing deserts Earthing Way|No. 34, Minle Street, Datong District, Taipei City...

Edit murmur notes: "Before the game, you must overcome the fear", the challenge of the next collaboration with the Taipei Film Festival

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Recalling the press conference that was released on the shortlist of the "International New Directors Competition" at the Taipei Film Festival that day, under the introduction of the filmmaker Sun Zongxi, there was a short but happy conversation with Huang Xi, one of the only Taiwanese directors who was shortlisted. Her finalist work, Johnny. "Keck", the phrase by Hou Hsiao-hsien said: "It is the first time that after the director of Yang Dechang, he shot the city's work for the first time." I was troubled by the fact that my ability to be versatile in social activities in the past did not work smoothly. The head flashed over the name of a friend who was also working at Hou Hsiao-hsien’s director company. He randomly asked, “Do you know xxx?” Huang Xi and Zong Yi said in unison: “Know!” The three laughed out Suddenly, I feel that the accumulation of the past has come in handy. "Johnny. Keck"|Huang Xi|2017 Taipei Film Festival "International New Director Competition" was shortlisted by director Huang Xi's first feature film "Johnny Keck", created by Hou Hsiao-hsien director, Hou Dao personally supervised, Yao Hongyi photography, Lin Qiang and Xu Zhiyuan Soundtrack. Through the three lonely souls and delicate emotional descriptions, the contemporary pulsation and loss in the eyes of young creators are presented. The three roles of Ke Yulun, Reima Xidan and Huang Yuan are drifting on the daily and full of coincidence and coincidence, weaving the intertwined moments between people. "Johnny. Keck"|Huang Xi|2017 Taipei Film Festival "International New Director Competition" was shortlisted. Director Huang Xi's first feature film "Johnny Keck" was created by Hou Hsiao-hsien's director, and Hou Dao personally supervised, Yao Hongyi photography, Lin Qiang and Xu Zhiyuan scored. Through the three lonely souls and delicate emotional descriptions, the contemporary pulsation and loss in the eyes of young creators are presented. The three roles of Ke Yulun, Reima Xidan and Huang Yuan are drifting on the daily and full of coincidence and coincidence, weaving the intertwined moments between people. The so-called "accumulation in the past", the vernacular point is that it is a strange hobby that you love to collect "people." Famous or unknown, as long as you study the work or appreciate it, you will find a way to pull into Polysh, let them become a team or introduce through the article, to write and screen to let you know. In the film industry, I also know a few talented or experienced creators who are gradually becoming the nutrients of Polysh in various ways. Looking back at Polysh's first film-related article was at the end of 2015, and Sun Zongxi, who had just removed the identity of Maison Motion's Meisheng International Film Director, wrote the guide "Nuhuo Border". Compared to other Polysh themes (lifestyle, architecture, design, art, etc.), the film is relatively young and late for us to develop on the website. During this period, we have joined many excellent writers who volunteered to write movies. The pure love of movies, some of them study movies themselves, some are struggling in the film and performing arts industries; our exploration in the film is still a long way from experience, but we are working hard. "The Funeral of Rose"|Mr. Matsumoto|2017 Taipei Film Festival "Classic Reproduction" 导演Mr. Matsumoto, who died in April this year, and his 1969 filming of the Japanese gay film pioneer "The Funeral of Rose", after 4K repair, this year will Asian premiere at the Taipei Film Festival! "The funeral of Rose" caused a lot of controversy in the past. In addition to inviting gays and lesbians with disguise, the film was noisy, and the elements such as documentaries and experimental films also caused great shock to the audience. The film story revolves around the life of the actor Eddie, citing the story of "Idiapus King". Eddie and the middle-aged males have a fleshy carnival, picking up guests at the Shinjuku gay men's attire bar, but the pictures are intertwined from time to time. Eddie's childhood memories, repeated smiles of the mother's horror, and the shackles lying in the pool of blood. Matsumoto Junfu is known as avant-garde and experimental film, and is the representative of Japan's 1960s New Wave movie with directors such as Terasyama Shuji and Oshima. "The Funeral of Rose" | Matsumoto Junfu | 2017 Taipei Film Festival "Classic Reappearance". The director of Matsumoto Junfu, who died in April this year, took the 1969 film of the Japanese gay film pioneer "The Funeral of Rose". After 4K restoration, this year will be the Asian premiere at the Taipei Film Festival! "The funeral of Rose" caused a lot of controversy in the past. In addition to inviting gays and lesbians with disguise, the film was noisy, and the elements such as documentaries and experimental films also caused great shock to the audience. The film story revolves around the life of the actor Eddie, citing the story of "Idiapus King". Eddie and the middle-aged males have a fleshy carnival, picking up guests at the Shinjuku gay men's attire bar, but the pictures are intertwined from time to time. Eddie's childhood memories, repeated smiles of the mother's horror, and the shackles lying in the pool of blood. Matsumoto Junfu is known for her avant-garde and experimental films, and is the representative of the Japanese New Wave movie of the 1960s with directors such as Terayama Shuji and Oshima. This theme has not been developed for more than two years. It has received news from filmmakers or special invitations, invitations to film festivals, etc.; consciously, in film exploration, regardless of the amount of space or experience, there is still room for improvement, but still receive these affirmations, but the heart is nervous but Full of joy. Therefore, this time I learned that I would like to cooperate with this year's Taipei Film Festival. My heart is a huge question to myself: "Do we make interesting, diverse and deep-cut plans?" (After all, I did have some hard work before.) The plan is a case of high and low.) As far as I am concerned, I am a little bit horrified at the heart of the pen-taught movie; the essays after watching the movie, once again watched, even if they are still intimate, will find that the pattern is not comprehensive or flawed. It is not the subject that I am good at. I only participated in two film joint writings on Polysh, and it is an interview with the filmmakers themselves (by the way, I will re-examine these two articles: Debussy Forest, interviewed by Gui Lunmei and Lu Yijing; Interview with Zhao Dejun "Goodbye Wacheng"). "Goodbye to the South, Southland"|Hou Hsiao-hsien|2017 Taipei Film Festival "The film is happening" Saying goodbye to the historical exploration of the "Taiwan Trilogy", Hou Hsiao-hsien officially entered the modern era, showing the sticky and grassy through several mediocrity states. Gorgeous at the end of the century. Lin Qiang is not only enchanted by the enchanting performance, but also with the industrial noise and anger of "self-destruction", which perfectly fits the boiling arrogance of the character body. How rich is the wild taste? Coppola said that like a dream, Bi Wei must agree. With the "people coming from the wind cabinet", "sea flowers" juxtaposed with the best choice of self-selection. "Goodbye to the South, South Country"|Hou Hsiao-hsien|2017 Taipei Film Festival "The film is happening". Saying goodbye to the historical exploration of the "Taiwan Trilogy", Hou Hsiao-hsien officially entered the modern era, through several rumors...