「把你自己投入人生的旅程,自始至終都絕對不可以失去開放的胸懷和童稚的熱情,然後自然就會心想事成。」─ Federico Fellini

「我只做我真心想做而且十分感興趣的事。這樣,我便不會就事論事的工作,而是熱心的關心每一個項目,並且全心的投入。」─ Glenn Gould

人類是一個群體/由精神和靈魂所創/若其中一員被痛苦折磨/其他人的不安將會持續若你對痛苦沒有憐憫之心/你將不配擁有人類之名--波斯詩人Saadi Shirazi

2013年9月23日 星期一

2013香港華語紀錄片節短片類初審感言

今年(2013)擔任香港華語紀錄片節短片競賽的初選評委,如今得獎名單已公佈,很開心看到這樣的結果,也將當初的評審感言貼上來,英文部分由華語紀錄片節翻譯。

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有幸擔任這次初選的評委,看了許多台灣、香港、中國的紀錄短片,發現三地各有特色。中國部份常常描寫民生或社會問題,但卻有不少作品除了主題先行外,更會刻意配上催情的音樂,不免讓人質疑導演的觀點和心態,相較之下,記錄圖博小活佛《云上佛童》顯得誠懇平實,讓人看見童真和信仰的珍貴;另一部《二》則是紀錄一群好玩的青少年,全片幾乎以旁觀觀察的方式完成,在看不經意的鏡頭下,其實透露出了世代的代溝,具體而微地呈現了中國各種面向的問題。

香港作品有不少則著重在身分與國家的認同問題,其中最令我驚艷的,是曾翠珊的《冷雨盛夏》,影片不像一般紀錄片那樣執著於紀實,也並非一定得順著時間順序敘事而下,而是從個人身處異國的感觸開始延伸,有演出,有訪談,也有自剖,形式上揉合地恰到好處,進而討論自己的歸屬究竟何方。

台灣方面,沈可尚的《築巢人》像是把自己投入了自閉症家庭的現場,用近乎冷眼的方式讓我們看見父親的脆弱和瘋狂;林英作的《流浪的狗》記錄一位陶醉在地方文史工作的中年男子,主角的人格與心靈在導演細膩的描寫下,顯得動人無比,淡而有味。

上述雖然有不少優秀作品,但整體而言,大部分作品仍有些中規中矩,在觀點或敘事形式上太過單一。紀錄片雖以記錄現實為首要課題,但也另一方面,導演如何看待現實,如何呈現故事,也是同等重要的。這是這次的評審所感,也是作為一位觀者所期待的。

林木材

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得獎結果

長片組:冠軍:《急診》(導演:周浩,中國)
亞軍:《暖冬》(導演:鄭闊,中國)與《媽媽的村莊》(導演:許慧晶,中國)
季軍:《對岸異鄉人》(導演:蔡崇隆,台灣)

短片組:
冠軍:《築巢人》(導演:沈可尚,台灣)
亞軍:《冷雨盛夏》(導演:曾翠珊,香港)
季軍:《二》(導演:沈洁,中國)

華語紀錄片節:http://www.visiblerecord.com

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Statement of being Chinese Documentary Festival first round jury 

It is my fortune to be on the first round of jury selection of the documentary shorts this year. I saw many shorts from Taiwan, Hong Kong and mainland China, and discovered unique characteristics from each region. Mainland Chinese directors often describe people’s livelihood and social problems. However, other than emphasising the respective themes of their works, many directors deliberately accompany their films with emotive music, inevitably arousing audience’s suspicion on the films’ general mentality and point of view. Comparatively, Nature’s Kid, which delineates the lives of the children living Buddhas in Tibet, is more sincere and down-to-earth. It allows people to see the preciousness of childhood naivete and religiosity. The film Little Proletarian looks at a group of rowdy youngsters, and is made almost entirely with an observational approach. Through the indeliberate lens, the film has revealed the gaps across generations, concretely and intricately presenting the many current problems of China.

Hong Kong shorts focus on the issue of recognising its identity and its nation state. I was most enchanted by Tsang Tsui Shan’s Summer Rain. Unlike the usual documentaries, Summer Rain does not strictly record actuality, it does not necessarily need to be narrated chronologically, but is unfolded by the director’s personal sentiments inspired by her solitary stay in a foreign country. There are playacting, interviews and confessions. The various forms of presentation within the film have struck an appropriate balance, and can enable a discussion of where the “self” belongs to.

In the Taiwanese category, ShenKo-shang’s A Rolling Stone has virtually entered into a family with an autistic adult son. Through eyes that are almost cold, we see the helplessness and madness of a father; Lin Ying-tso’s Stray Dog depicts a middle-aged man who is immersed in local literary and historical work. Through the director’s refined portrayal, the dignity and the soul of the character has become infinitely moving, light and tasteful.

Although there are quite a few outstanding works mentioned above, the overall quality of this year’s submitted films is still merely fair. The films’ perspectives and forms are too conformed. Although documentary’s foremost concern is to document reality, but on the other hand, how the director treats reality and reveals the story are equally important. My thoughts as a jury member this time is also what a viewer is hoping for.


Wood Lin

Translated by Chinese Documentary Festival

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