"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.
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. 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