「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












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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