第一屆澳門國際影展暨頒獎典禮 – 影壇盛事 首發光芒 1st International Film Festival & Awards • Macao

每一個影展,都有他們獨特的形態,而事情最有趣的階段,往往就是在開始時,一切仍在摸索,你可以感受到流動的生命力。第一屆澳門國際影展暨頒獎典禮剛圓滿結束,這次,你可以看到這個新的影展,是如何呈現亞洲以至世界的電影面貌,陣容強大的嘉賓與大師班、經典與新銳電影放映,讓觀眾可以了解國際,同時看到更真實的澳門。是的,更重要的是,影展中呈現出澳門的視角,融合傳統與現代、純樸與繁華、凝滯與流動的城市,正嘗試透過電影告訴世界,這裏是澳門,這裏獨一無二,同時與國際同步連結。
Every film festival has its own characteristics, and the most interesting phase is often the beginning when everything is still in flux and the possibilities are seemingly endless.
The 1st International Film Festival & Awards • Macao (IFFAM) was just successfully staged. This new film festival presents a rich program of Asian and international cinema along with a strong panel of renowned industry professionals and masterclasses. The program of classic and cutting-edge film screenings not only features international films, but also showcases the real Macau. The festival is a look into Macau’s perspective, one that juggles tradition and modernity, simplicity and prosperity, stability and fluidity. Through film, the festival conveys Macau’s unique contribution to the world.

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一屆澳門國際影展暨頒獎典禮(IFFAM)閉幕及頒獎典禮於 2016 年 12 月 13 日晚假澳門文化中心舉行,競賽環節精選了12套來自世界各地的佳作。IFFAM 的專業評審團隊也大有來頭,評審主席 Shekhar Kapur 是印度著名導演,曾經是戛納、倫敦及東京影展的評審;委員關錦鵬導演是台灣金馬獎及香港金像獎最佳導演得主;資深歐洲電影節策劃人 Giovanna Fulvi 與日韓演員渡邊真起子及鄭雨盛也是委員之一,選出 8 個正式競賽大獎及 4 個特別獎項:「澳門觀眾大獎」、「終身成就獎」、「華語電影特別貢獻獎」及「亞洲人氣電影大獎」。

「最佳電影」由講述南美巴塔哥尼亞一個牧場故事的《冬日將至》奪得,「評審團特別獎」則頒予英國電影《血濃於罪》。葡萄牙導演 Marco Martins 以《聖佐治》拿下「最佳導演」,同片男演員 Nuno Lopes 也成為「最佳男主角」。「最佳女主角」則是《血濃於罪》的 Lyndsey Marshal,《走火交易》奪「最佳劇本」。至於巴西電影《念念不亡》憑藉原創音樂及音效摘下「最佳技術貢獻獎」。充滿澳門本土風情的《骨妹》,除令 23 歲的演員余香凝勇奪「最佳新進演員獎」外,該片同時獲頒「澳門觀眾大獎」。

著名導演馮小剛是首屆 IFFAM 的「終身成就獎」得主。「華語電影特別貢獻獎」頒予影展特邀顧問于冬先生。「亞洲人氣電影大獎」當然是今年熱爆的韓片《屍殺列車》,監製李東河、演員金秀安、金義聖及崔宇植都有出席領獎。

第一屆澳門國際影展暨頒獎典禮得獎名單
  • 最佳電影:《冬日將至》
  • 評審團特別獎:《血濃於罪》
  • 最佳導演:Marco Martins《聖佐治》
  • 最佳男主角獎:Nuno Lopes《聖佐治》
  • 最佳女主角獎:Lyndsey Marshal《血濃於罪》
  • 最佳新進演員獎:余香凝《骨妹》
  • 最佳劇本:Amy Jump 及 Ben Wheatley《走火交易》
  • 最佳技術貢獻獎:《念念不亡》
  • 澳門觀眾大獎:《骨妹》
  • 終身成就獎:導演馮小剛
  • 華語電影特別貢獻獎:于冬
  • 亞洲人氣電影大獎:《屍殺列車》

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he 1st International Film Festival & Awards • Macao (IFFAM) Awards Ceremony was held at the Macao Cultural Centre on the evening of 13 December, 2016. The competition featured 12 entries from the U.K., Russia, Argentina, Portugal, Japan, India and Macau. IFFAM’s jury was an esteemed group of industry professionals. Jury chairman Shekhar Kapur is a renowned Indian director and has been on the jury for the Cannes, London and Tokyo Film Festivals. Jury member Stanley Kwan has won Taiwan’s Golden Horse Award and Hong Kong Film Award for Best Director. European film festival organizer Giovanna Fulvi, Japanese actress Makiko Watanabe, and Korean actor Jung Woo-sung were also on the jury. In addition to the eight, official jury-selected competition awards, there were also the Macau Audience Choice Award, the Career Achievement Award, the Special Contribution to Chinese Film Award, and the Asian Blockbuster of the Year Award.

Best Film went to “The Winter”, a story set on a ranch in Argentina’s Patagonia. The Jury Award was awarded to British film “Trespass Against Us”. Portuguese director Marco Martins won Best Director for “Saint George”, and its actor Nuno Lopes won Best Actor. Lyndsey Marshal won Best Actress. Best Screenplay went to “Free Fire”. 23 years old actress Jennifer Yu won Best New Young Actress. “Sisterhood” which is set in Macau won the Macau Audience Choice Award, while Brazilian film “Elon Doesn’t Believe in Death” won Best Technical Contribution.

Renowned director Feng Xiaogang received the first IFFAM Career Achievement Award. IFFAM advisor Yu Dong was given the Special Award for Contribution to Chinese Film. Asian Blockbuster Film of the Year award went to Korean zombie film “Train to Busan”. The film’s producer Lee Dong-ha, actors Kim Su-an, Kim Eui-sung, and Choi Woo-shik were on hand to receive the award.

The 1st International Film Festival & Awards • Macao
  • The Best Film Award: ‘THE WINTER’
  • Jury Prize: ‘TRESPASS AGAINST US’
  • Best Director: ‘SAINT GEORGE’ for Marco Martins
  • Best Actor Award: ‘SAINT GEORGE’ for Nuno Lopes
  • Best Actress Award: ‘TRESPASS AGAINST US’ for Lyndsey Marshal
  • Award for Best New Young Actress: ‘SISTERHOOD’ for Jennifer Yu
  • Best Screenplay:‘FREE FIRE’ for Amy Jump and Ben Wheatley
  • Award for Best Technical Contribution: ‘ELON DOESN’T BELIEVE IN DEATH’ for Original Music & Sound Design – Sound: Pablo Lamar and Original Soundtrack: Daniel Saavedra
  • Career Achievement Award: Feng Xiaogang
  • The MFTPA Special Award for Contribution to Chinese Film: Yu Dong
  • The ‘Eye of the Audience’ Macao Audience Choice Award: ‘SISTERHOOD’
  • Variety’s Asian Blockbuster Film 2016 Award: ‘TRAIN TO BUSAN’

星光熠熠的紅地毯

第一屆澳門國際影展暨頒獎典禮(IFFAM)開幕及閉幕紅地毯星光熠熠的程度,是近年亞洲影壇難得一見。出席的專業電影精英來自亞洲與世界各地,包括瑞士導演兼影展大使 Clemens Klopfenstein、澳門影視製作文化協會會長暨影展籌備委員會執行副主席周焯華先生、名譽顧問何超瓊女士、黃柏高先生、唐才智先生、特邀顧問向華強先生、陳嵐女士等,大家互相交流,令影展盛況越見精彩。

多位紅星名人亦盛裝出席,包括著名導演馮小剛、內地型格演員張涵予、氣質脫俗的焦點女演員桂綸鎂、IFFAM明星大使張根碩、鳳小岳、正忙於拍攝「春嬌」系列第三集《春嬌救志明》的楊千嬅、香港金像獎影后惠英紅等。而參展電影的演員或主要工作人員均有出席,本土電影《骨妹》更由主演梁詠琪與導演及一眾演員一同走紅地毯,為首屆IFFAM增添非常耀眼奪目的星光。

人物: 澳門特別行政區政府社會文化司司長譚俊榮博士、澳門特別行政區政府旅遊局局長暨影展籌備委員會主席文綺華女士、澳門影視製作文化協會會長暨影展籌備委員會執行副主席周焯華先生、影展形象大使張涵予先生、明星大使張根碩先生、鳳小岳先生、著名導演兼影展大使許鞍華女士、Clemens Klopfenstein 先生、評審團主席 Shekhar Kapur 先生、名譽顧問黃柏高先生、唐才智先生、何超瓊女士、特邀顧問 Deborah Valdez Hung 女士、洪永時先生、陳嵐女士及向華強先生、著名導演馮小剛先生、電影發行商及製片人于冬先生、編劇李敏女士、著名演員曾志偉、金燕玲、關之琳、秦海璐、梁詠琪、楊千嬅、林嘉欣、桂綸鎂、曾寶儀、曾國祥、胡杏兒、蔡卓妍、何超儀、謝婷婷、衛詩雅、丁子高、鄭秀妍、澳門演藝人協會代表及一眾參展電影人員等貴賓。

The opening and closing of 1st International Film Festival & Awards • Macao (IFFAM) were Asia’s most star-studded red carpet events in recent years. In attendance were top film industry professionals from Asia and around the world including: Swiss director and IFFAM Ambassador Mr. Clemen Klopfenstein; President of MFTPA and Executive Vice President of IFFAM Organizing Committee Mr. Alvin Chau; IFFAM Honorary Advisors Ms. Pansy Ho, Mr.Paco Wong and Mr. Alex Dong, Special Advisors Tiffany Chen and Charles Heung.

As for the stars, there were Mainland actor Zhang Hanyu, IFFAM’s actress-in-focus Kwai Lun-Mei, IFFAM Talent Ambassadors Jang Keun-suk and Rhydian Vaughan, Miriam Yeung who is currently filming “Love off the Cuff”, Hong Kong Film Award for Best Actress Wai Ying Hung, Gigi Leung and other actresses from “Sisterhood” and many more.

People: Dr. Alexis Tam, Ms. Maria Helena de Senna Fernandes, Mr. Alvin Chau, Mr. Zhang Hanyu, Mr. Jang Keun Suk, Mr. Rhydian Vaughan, Ms. Ann Hui, Mr. Clemens Klopfenstein, Mr. Shekhar Kapur, Mr. Paco Wong, Mr. Alex Dong, Ms. Pansy Ho, Ms. Deborah Valdez Hung, Mr. Stephen Hung, Ms. Tiffany Chen and Mr. Charles Heung, Mr. Feng Xiaogang, Mr. Yu Dong, Ms. Erica Lee, Mr. Eric Tsang, Ms. Elaine Jin, Ms. Rosamund Kwan, Ms. Qin Hailu, Ms. Gigi Leung, Ms. Miriam Yeung, Ms. Karena Lam, Ms. Kwai Lun-Mei, Ms. Bowie Tsang, Mr. Kwok Cheung Tsang, Ms. Myolie Wu, Ms. Charlene Choi, Ms. Josie Ho, Ms. Jennifer Tse, Ms. Michelle Wai, Mr. Real Ding, Ms. Jessica Jung, representative of Macau Artistes Association, representative of exhibiting films, etc.


推動澳門影壇發展

為期6日的第一屆澳門國際影展暨頒獎典禮總共放映超過50場亞洲及世界首映,很多電影的台前幕後都出席支持。舉行世界首映的《土竜の唄 香港狂騷曲》導演三池崇史 、演員生田斗真及本田翼也親臨澳門。韓國電影《潘朵拉》的台前幕後更出席新聞發佈會及首映禮。「藏龍」單元放映會,播放了9套特別推介電影,包括日本驚悚懸疑大師黑澤清首部外語片《攝拍勾魂》。港產電影有《海上花》30周年,特意放映修復版以作慶祝,還有澳門本土作品《那一年,我十七》。

今次影展特邀12位亞洲重量級導演推介「亞洲導演選映經典」,「世界影展全景觀」呈獻奧斯卡大熱作品《第一夫人:積琪蓮甘迺迪》及《情繫海邊之城》。奧斯卡得獎導演湯瑪士麥卡菲(Tom McCarthy)及荷里活著名監製 Gianni Nunnari在影展期間進行的大師班,分享商業與獨立製作的利弊。另外更有為業界而設的「臥虎項目創投工作坊」,旨在為有質素的電影尋找潛在投資者,最後亦成功選出4個優秀計劃,可能下一屆IFFAM,導演們就會帶作品到澳門給觀眾欣賞。

人物: 著名導演杜琪峯先生、楊凡先生、張艾嘉女士、瑪士麥卡菲先生、三池崇史先生、黑澤清先生、朴正祐先生、製作人 Gianni Nunnari 先生、Peter Smith 先生、評審團成員鄭雨盛、Giovanna Fulvi、關錦鵬、渡邊真起子、演員章子怡、姚煒、鶴見辰吾、金南佶、文正熙、鄭鎮榮、金大明、金周現、生田斗真、本田翼、張敬軒、Marfarida Vila Nova等貴賓。

The 1st International Film Festival & Awards • Macao (IFFAM) was an exciting 6-day film extravaganza with over 50 films making their Asian and even world premieres. Many of the film industry’s on-screen as well as off-screen luminaries were in attendance. Director Takashi Miike, actor Toma Ikuta and actress Tsubasa Honda graced the red carpet with the world premiere of “The Mole Song – Hong Kong Capriccio” at IFFAM. The cast and crew of Pandora attended press conference and red carpet. Other exciting events included the “Hidden Dragons” film screenings, which featured nine specially selected films including Kiyoshi Kurosawa’s first foreign-language film “Daguerrotype”. There was a 30th anniversary screening of a restored version of Hong Kong film “Immortal Story”. Local Macau film “Yesterday Once More” also featured in the program. The “Crossfire” films were selected by 12 respected Asian directors, while the “Best of Fest Panorama” featured Oscar-favorite “Jackie” and “Manchester by the Sea”. Aside from screenings, there were also workshops for film professionals. Oscar-winning director Tom McCarthy and renowned Hollywood producer Gianni Nunnari gave masterclasses, and the Crouching Tigers Project Lab connected filmmakers with financiers.

People: Mr. Johnnie To, Mr. Yonfan, Ms. Sylvia Chang, Mr. Tom McCarthy, Mr. Takashi Miike, Mr. Kiyoshi Kurosawa, Mr. Park Jung-woo, Mr.Jung Woo-sung, Ms. Giovanna Fulvi, Mr. Stanley Kwan, Ms. Makiko Watanabe, Mr. Gianni Nunnari, Mr. Peter Smith, Ms. Zhang Ziyi, Ms. Yao Wei, Mr. Shingo Tsurumi, Mr. Kim Nam-gil, Ms. Moon Jeong-hee, Mr. Jung Jin-young, Mr. Kim Dae-myeong, Ms. Kim Joo-hyeon, Mr. Toma Ikuta, Ms. Tsubasa Honda, Mr. Hins Cheung, Ms. Martarida Villa Nova,etc.


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《骨妹》愛與被愛

《骨妹》是怎樣的一套電影呢?這是澳門導演徐欣羨的首部長片。這是一套澳門電影。這是關於骨妹(按摩女郎)工作的電影。「這也可以是一齣關於錯失關係的電影。」導演這樣說。沒有過分的渲染,才是首部長片作品,徐欣羨就交出了這套豐富而不嘩眾取寵的作品。
Sisterhood is Macanese director Tracy Choi’s debut feature film. This is a movie about Macau and the lives of two masseuses. “It’s also a movie about lost relationships,” says the director. Choi’s debut feature film is understated in its execution, but delivers a story rich in sentiment.
身為「第一屆澳門國際影展」競賽項目的唯一一套澳門電影,徐欣羨很高興這電影可以代表澳門,甚至在這裏首映。同時,她也希望這電影可以呈現到澳門的精神面貌。

桃花崗與過去的澳門

「例如我特意加入了桃花崗這場景。我自己對這地方沒有太大的印象,但我媽媽說當年也會帶我到那裏吃飯呢!而在做資料搜集時,我得知很多骨妹也愛在下班後到那裏喝奶茶、用餐,於是我就想到重現那個場所。」

為了可以更像真地扮演骨妹,片中兩位年輕主角廖子妤與余香凝甚至真的學習按摩技巧,「我們真的去學了踏背、推油、開背等技巧,那時身邊人知道我們正在學按摩,無論在公司或家中,都會叫我們幫忙按按呢。」余香凝笑說,「但就算只學了一會,手指都已經發痛了。」可見骨妹這行業,其實也是笑淚交織。

《骨妹》當然也是一個關於記憶的故事。梁詠琪的角色是一名骨妹,她與三名同事情同姊妹,甚至與一名姊妹同居,有了一段淡然而純真的關係。後來,即使她「好命」找到一個愛她的男人,嫁往台灣,卻持續酗酒,未能忘懷當年發生過的事──她與好姊妹曾一起撫養一名孩子,就如兩個母親般。

具層次的表達

「我覺得導演很厲害。因為我在現實中是一個外表堅強,內裏柔弱的人,但飾演的角色卻是外表柔弱,內裏堅強。這樣令到角色更有層次。」在片中擔演年輕版梁詠琪的廖子妤這樣說,她也笑說自己可以自由發揮,因為她飾演的是過去的人,她可以毫無包袱。

而導演亦會將廖子妤的演出片段,交予梁詠琪參考,讓二人可以飾演同一角色——一個從孤兒院出來,在骨場工作,與女性好友同賦同居最終卻彼此錯失的故事。

而飾演片另一位女主角余香凝也覺得自己的角色很豐富,「我很多時就是一個大姊姊般,帶着子妤的角色,但當有了嬰兒後,卻是子妤去照顧我,二人一起去養育孩子。」

二人提到片中重要的一幕,余香凝的角色懷孕卻不知父親是誰,只好拉廖子妤到墮胎診所去,「那裏是真的診所,有着真的工具,去到那種地方,我自然就感到害怕。」余香凝說,而在那一幕,廖子妤決定把對方拉走,並承諾二人一起照顧孩子。即使命運令到最後二人錯失彼此,那一幕卻是全片最觸動人的位置之一,二人其實承認了對彼此的愛,而且用承擔責任去說明這件事。

雖然題材是關於按摩場所,但在這電影中,展現的卻是人與人關係中最質樸的部分。如是者,或者可以說,《骨妹》其實是一套關於愛的電影。

Sisterhood is the only film from Macau in the first International Film Festival & Awards Macau (IFFAM), and director Tracy Choi is excited to be representing her city. She hopes the film shows the city’s face and unique spirit. “I deliberately included a scene at Tou Fa Gong. Personally, I don’t have much of an impression of this place, but my mother told me that she used to take there to eat! When I was doing research for the film, I found out that lots of masseuses love to go there after work. So I decided to recreate that place.” In order to be convincing in their roles as masseuses, actresses Fish Liew and Jennifer Yu spent time learning massage techniques. But Sisterhood is really a story about memory and remembering. Gigi Leung also plays a masseuse, who is really close to the masseuses, even living with one of them. After she marries a man and moves to Taiwan, she turns to drinking to forget that she spent a year raising a child together with her good “sister”.

“I think the director is amazing. I’m someone who looks strong, but is actually quite vulnerable on the inside. But the character I play is a woman who looks weak but is actually quite strong. This gives the character more depth.” Fish Liew plays the younger version of Gigi Leung’s character. Leung would get to see Liew’s rough cuts, which helped the create a coherent character – a girl who grew up in an orphanage, worked as a masseuse and misses out on a relationship. Yu, who plays the other lead, says of her character, ”I play the elder sister to Liew, but after I have a baby, the roles reverse and we raise the child together.” Yu mentions a critical scene in the film when her character finds out she’s pregnant, but doesn’t know who the father is. She ends up dragging Liew to the abortion clinic with her. “We filmed in a real clinic with real surgical equipment. Once there, I felt scared.” In that scene, Liew drags Yu away and promises to take care of the child with Yu. Fate intervenes in the end. But this is one of the most moving scenes in the film, where the two acknowledge the depth of their love for each other. While much of the action revolves around a massage parlor, the story brings out the complexity of human relationships. Ultimately, Sisterhood is a movie about love.


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楊凡:我不在乎

30 年是怎樣的一段歲月呢?那大概因人因事而異,有些事情卻恆久不變,例如那些被攝下的電影,也許在當年創作時毫無企圖,多少年後看回,卻是時代或精神狀態的記錄。然而,在30年後卻會被記住的電影,畢竟也並不多。楊凡的這套《海上花》,這次在「第一屆澳門國際影展」中,卻能以更美好的姿態,登上大影幕。
A lot can happen in a span of 30 years. Some memories fade, while others persist. Some films go unnoticed when they are first released, but decades later, they become a record of a certain time. Not many films stay in our hearts 30 years later. Yonfan’s Immortal Story has stood the test of time, screening once again to an appreciative audience at this first International Film Festival & Awards Macao.

《海上花》上映 30 年後,導演和主角能在影展華麗重聚,是劇情的一個美好的延續。 After 30 years, Immortal Story’s director and actors had a great reunion in IFFAM.

追求詩意

歲月浮光,楊凡這刻卻仍是那個深深懂得美麗與哀愁的人。與林青霞、張艾嘉等一代巨星份屬好友,張國榮未紅時已知曉此人,又發掘出吳彥祖等人,楊凡自己也交出了13套電影,往往被認為是唯美派的。年月過去,人的許多執著會被放下,楊凡對美感有一種執著,但對生命很多其他事情,他也學懂放下了。

「許多人說我是一個唯美的導演,他們這樣說時往往有一種不以為然,彷彿『唯美』只是簡單的東西!我現在也無所謂的認領這兩字,但你試試拍林青霞、張艾嘉,你能像我一樣拍出那美感嗎?那不是簡單的事啊。」

楊凡說,自己一生追求的其實是詩意。

「噯,說出口後我立即想反悔了。詩意這件事不該是我自己說的,應該由觀眾去感受。像悲傷也不是輕易能感覺得到,不是昨天沒有感覺今天開竅就會明白。假如你有那種空洞的感覺,你就喜歡,沒什麼道理。以往我總是希望別人能喜歡我的電影,總想探討理由為什麼別人不會喜歡。但是我又不會將就他們。這就有了矛盾。既然想知道理由,卻又不肯將就,就會讓自己的日子過得更加艱苦。」

歲月浮金

楊凡說,自己是個與電影談戀愛的人。但他也說,自己與電影談戀愛的日子,可能早已過去了。但這是真的嗎?

「我從懂事開始就想拍電影。小學就開始寫電影故事,中學在香港邵氏國泰片場走出走入,替明星拍照片,大學的時候就已經在荷里活片場工作,回到香港,馬上就發行歐洲電影。等到真正想自己拍部電影,就寫了《海上花》這個外國毒販和香港交際花的故事。這是我的第一個電影夢。」

這故事卻要花上十二年才能變成電影,「中間太多曲折離奇的事情了。拍齣電影需要很多的妥協,也需要極多能量。來到這刻,我已沒有能量再去拍電影了。」但那種對電影的愛真的會消退嗎?

「活了那麼多年,還會說賭氣話,可見心情還是年輕。要不就是中毒太深,不能自拔。但是精力畢竟不再,時代更是前進,識時務為俊傑,我還不笨呢⋯⋯」他說自己仍愛電影,「但愛電影與拍攝電影是兩回事呢!我現在一星期仍可以看4、5套電影啊!」

然而時代運作自有他的公義。30年了,《海上花》又再次在大銀幕上播放。這次,除了當年楊凡有意識捍衛的美感與哀愁,甚至連他當年無意去保留的80年代澳門景觀,也成了歷史的見證。你永遠不會知道,你的堅持,會為後來者帶來多大的價值。

「我永遠都不覺得清麗與哀愁是一小撮人的秘密。我製造的這些,在以往沒能發揚光大而已。現在我已不在乎了。」楊凡這樣說。

Having come of age in the film industry the same time as superstars Brigitte Lin, Sylvia Chang, Yonfan discovered the likes of Leslie Cheung before he became a star, and catapulted the careers of people like Daniel Wu. Yonfan has directed 13 films, which are known for being beautiful. While he is still as insistent as ever on the subject of beauty, Yonfan has, with time, learned to let go of other things. “A lot of people say that I direct beautiful films, but there’s always a hint of condescension, as though making something beautiful were a simple thing!” While others see beauty, Yonfan says that his films represent his lifelong pursuit of poetry. “I kind of what to take that back, because whether my films are poetic is not for me to say; it should be something the audience feels. For example, sadness is not easy to feel. In the past, I would want people to like my films; I’d always try to understand why people didn’t like my films. But I wasn’t willing compromise. Therein lied my conflict; wanting to know why but not wanting to change. That made life hard.”

Yonfan has always loved film. “Making movies was what I’ve always wanted to do. I started writing screenplays in primary school. When I was in secondary school, I was always photographing stars at Shaw Brothers Studio. In university, I was already working at a Hollywood studio. When I got back to Hong Kong, I immediately started distributing European films. When I wanted to make my own film, I wrote Immortal Story, which was about the relationship between a foreign drug dealer and a socialite in Hong Kong.” It took 12 years for that story to be made into a film. “A lot of things happened in between. Making a film requires making compromises as well as a lot of energy. At this point in my life, I no longer have the energy to make films.” But he admits he still loves film. “Loving film and wanting to make films are two different things. I still watch four to five movies a week!” After 30 years, Immortal Story is once again being shown on the big screen. Watching it now, we not only appreciate Yonfan’s ability to translate beauty and sadness on screen, but how the film has preserved a slice of Macau from the 80’s. One never knows in the moment whether one’s insistence is worth it. Only time will tell.


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桂綸鎂 森林來的人

她說花了3天時間,才能走進那座森林。那不是物理意義上的,而是在藝術層面上。身為「第一屆澳門國際影展」的焦點演員,桂綸鎂這次帶來了她在《德布西森林》中的演出,「我需要將內心柔軟的部分開放,才能完全進入角色,這也許是危險的,但我選擇成為這一種演員。」不知不覺,這位清麗女子已是一名資深演員了,而她還年輕,她仍走在自己選擇的路上。
Kwai Lun-Mei was the actress-in-focus at the first International Film Festival & Awards Macau (IFFAM), where her newest film Forest Debussy premiered. “I had to open up the soft and vulnerable part of me to fully immerse in this role. It was a bit risky, but I chose to be an actress.” Kwai has slowly evolved into an accomplished actress. And she’s still only just beginning.
《德布西森林》Forest Debussy

演出中放下

在《德布西森林》中,桂綸鎂擔演一名遇上難關而必須逃往森林的鋼琴家,「森林就像一個囚牢,我的角色需要逃進森林,而這故事是關於她怎樣從森林中逃出來。」她說。

在華文地區,鮮有女演員適合演這角色了,全片對白極少,演員需要用肢體、表情等其他途徑去呈現角色的狀態,難度極高。但桂綸鎂接受了這挑戰,「我想,世界上有不同種類的演員。我是那種選擇把自己開放,從而感受的一種。這是我的選擇,這也許是危險的,但很有可能,這也會帶來你意想不到的結果。」

「例如說,我在《聖誕玫瑰》中,最後與楊采妮有一場對手戲。我在說着對白時,想的竟全是自己的黑暗面。在演出後,我卻發現,自己整個人輕了。因為我能誠實面對自己,所以我就能放下。」

這一刻的桂綸鎂

誠實才是最大的本領,桂綸鎂渴望真實坦然的演出,換個角度,她也相信藝術是有開放性的。「有次我看『雲門舞集』的演出,林懷民老師問觀眾,你們明白李白的詩嗎?就算不明白,你也可以感受得到,就如你面對大自然一樣。」

「有時回顧我過去演過的角色,也會想,如果現在我去演,可能會更有深度。但年輕時的那種勇敢,現在我也不能做到吧?我想,每個角色也是當下我的演繹,而某程度上,我也沒有完全抽離那些角色,我從她們身上得到很多,而這些東西加起來,才是現在這一個桂綸鎂。」

In Debussy Forest Kwai Lun-Mei plays a pianist, who in a crisis, has to flee into a forest. “The forest is like a prison. My character flees into the forest, and the story is about how she comes back out of the forest,” Kwai explains. Very few Chinese actresses were suited to play this role, which had very little dialogue and required the actress to rely on facial and body expressions and other means to convey the character’s state of mind. It was an extremely challenging role. Kwai strives to deliver authentic performances. “I saw a performance by Cloud Gate Dance Theatre, where Lin Hwai-min (the founder) asked the audience whether they understood Li Bai’s poetry. Even if you don’t understand it, you can feel it the way you can feel nature,” Kwai says. In a way, Kwai feels her way into her roles. “Every character I’ve played reflects my interpretation of that role in that moment.”

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許鞍華 以小人物拍出大世界

第一屆澳門國際影展暨頒獎典禮邀請了香港著名導演許鞍華(Ann)擔任影展大使,年近 70 歲的她,依然精力充沛,笑聲嘹亮,步履如飛,活脫脫一個影壇老頑童。
1st Macau International Film Festival & Awards • Macau has invited renowned Hong Kong filmmaker Ann Hui to be their ambassador. The nearly 70-year-old Ann is still young at heart.

商業 Vs 藝術

打從上世紀 70 年代開始,Ann 40 多年來拍片不知凡幾,文藝、武俠、動作甚至靈異等題材皆有涉獵,又奪得 5 屆香港電影金像獎最佳導演以及 3 次獲得金馬獎最佳導演,成績有目共睹,然而,Ann 多年來遊走於文藝片與商業片之間,有苦自己知:「據我的經驗,有時拍一些自己不熟悉故事,為票房而拍,多數不賣座;有時拍一些自以為很有藝術性的,出奇地又被影展拒諸門外。」一套寫民國女作家蕭紅的《黃金時代》,令Ann更加啼笑皆非:「本來想拍藝術片想參展,影展居然說看不懂,我說,你們影展的電影不是經常有懂沒懂嗎?」

好戲無疆界

Ann 的拍攝題材包羅萬有,唯獨有兩類片種,大導演也要舉手投降。「90 年盛行動作片,拍攝《書劍恩仇錄》給我很大壓力,因為不太懂,最後好像是武術指導指點拍攝,我只可坐在一旁。」另一類令 Ann 卻步的是恐怖片,雖然很多年前拍過《撞到正》、《幽靈人間》,但 Ann 卻說:「現在我不太想拍,因為有點邪,你不信那些東西就拍不出味道。」

Ann 不諱言文藝片比較適合自已,對小人物題材亦特別得心應手,好像《男人四十》、《女人四十》等,「因為小人物的故事人人不同,都有獨特個性。」就說《天水圍的日與夜》吧,Ann 說當初沒想過會發行上映。出乎意料之外,後來出影碟,內地觀眾的反應竟然出奇的好,令她既驚訝又鼓舞。說到好萊塢,Ann耍手擰頭,「外國什麼地方也不能吸煙,又要吃健康食物,可免則免了,哈哈哈!」

全力支持影展

Ann 今趟擔任第一屆澳門國際影展大使,認為影展推廣華語電影,對業界非常有幫助,「影展可以作為一個平台彌補電影院線的不足,作為電影人,當然是愈多愈好啦。」

Ann is probably the most versatile Hong Kong filmmaker, having made movies of all genres over a span of 40 years. She’s won five Hong Kong Film Awards and three Golden Horse Awards for best director. “In my experience, when I direct something for commerical reasons where I’m not passionate about the subject, it’ll usually perform poorly at the box office. And when I think I’m making an artistic film, it sometimes doesn’t get into film festivals,” Ann says with a laugh.

There are two types of films that are like kryptonite to Ann’s phenomenal filmmaking powers. “Action films were very popular in the 90s. Making The Romance of Book and Sword was hard, because I didn’t really know how to communicate what I wanted. ” Ann recounts. The other is horror. Years ago, she made The Spooky Bunch and Visible Secret. Ann says, “I don’t really want to make those films now because if you don’t believe in it, it’s hard to make something believable.” Ann says she prefers making films such as July Rhapsody and Summer Snow. “With human interest stories, every character has a different story and a unique personality.”

Ann, who is an ambassador for the first Macau International Film Festival, believes that promoting Chinese-language films will help the local industry. “Movie theaters make decisions based on purely commercial factors. Film festivals, on the other hand, offer an alternative.”

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