2014年TIDF由活動統籌吳凡策劃的「記錄X記憶:訪談(Documemory: Interview)」單元,企圖討論記錄片中「記憶」與「真實」的關係,該年的切入點為紀錄片中常見的創作手法——訪談。片單挑選了導演克勞德・朗茲曼的兩部作品,其一是被喻為影史最偉大的紀錄片《浩劫》(1985),以及續作《浩劫:未竟審判(The Last of the Unjust)》(2013)。
克勞德・朗茲曼出生於1925年,在一個東歐移民法國的猶太家庭裡長大,二次大戰期間積極參與地下抗德工作。他在1950年代與哲學家沙特(Jean-Paul Sartre)與西蒙波娃(Simone de Beauvoir)成為戰友,並曾與西蒙波娃有過一段同居戀情。1986年起接任《現代》雜誌(Les Temps Modernes)總編輯,是重要的知識份子。他從1970年開始拍攝紀錄片,所有影片關注納粹大屠殺的真相與其對後世的影響。除了曾獲得法國政府頒發榮譽軍團勳章、柏林國際影展的榮譽金熊獎⋯⋯,其代表作《浩劫》更多次在各種國際票選中,寫入史上最偉大紀錄片之列。
The
Taiwan Spectrum section, a part of Taiwan International Documentary Festival since 2014, aims to review and explore
Taiwanese documentaries from new perspectives, supplement what these films may
lack, formulate new historical perspectives, and engage in discourse with the
fiction film-centred narratives of Taiwanese film history. Examples include the
2014 theme of ‘When Camera Comes in Between’, which centred on the relationship
of those in front of and behind the camera, and in which five Taiwanese documentaries
were selected for further discussion; and the 2016 retrospective ‘What’s the
Colour for Documentary? – The 30th Anniversary of Green Team’, in which
documentaries by Green Team (active 1986-1990) were subtitled in Chinese and
English, and re-released and contrasted with CTS news reels.
Although
the Green Team films have long been recognised for their significance, their
works have never been widely disseminated after the group disbanded. During the
planning stages of the 2016 TIDF, we came to the striking realisation that even
with the exemplary status that Green Team enjoys, the discourse that their
works seek to engage in has never gone through serious development simply
because nobody could view them. Such is the disappointment that results from
these works remaining unseen!
In
other words: in the 2016 TIDF, we attempted to make ‘unseen’ works seen by
improving their visibility and readability, and to enable these works to become
known by an audience who brought with them the discourse of a new generation.
This was an unforgettably wonderful experience, letting classic works cross
into a new era to see the light of day again, and it was this experience that
informed and encouraged us in curating this year’s Taiwan Spectrum.
創立於1989年的山形國際紀錄片影展(Yamagata International Documentary Film Festival,YIDFF),是亞洲第一個以紀錄片為主的國際影展。創始者之一的傳奇導演小川紳介,當年邀請了來自亞洲各地重要的紀錄片導演共同發表宣言,奠定其走向與重要性。此後,山形影展每兩年舉辦一次,至2017年正式邁入第十五屆,而該影展也早已成為亞洲導演最嚮往的紀錄片聖地。
這次,我受邀參加的DokuFest國際影展,全名為「DokuFest: International Documentary and Short Film Festival」,以紀錄片和短片放映為主,週邊還有多不可數的各種工作坊與各式活動。邁入第十六屆的DokuFest早已累積一定聲望,是歐洲南部的巴爾幹半島地區規模最大、最富盛名的國際影展。
年輕導演陳梓桓以攝影機記錄下自身參與雨傘運動的經驗和觀察,深情訴說著年輕世代對香港的愛與擔憂。正如著名電影理論家David Bordwell對此片的評論:「看著這部令人心碎又充滿希望的電影,你會驕傲香港有這樣的年輕人。就像一直以來,學生們代表的正直與正義。(You feel proud of the young people ofHong Kong while watching this heartbreaking, hopeful film. As often happens, the students were both righteous and right.)」
在亞洲,也陸續有不少紀錄片提案會循著歐美模式成立,像是CNEX的華人紀錄片提案大會(CCDF)、廣州紀錄片大會、Tokyo Docs、Asian Side of Doc……等等,而來自西方、握有資金投資權的委製編審(commission editor)們,給亞洲影片的建議關鍵字總有:國際觀眾、故事結構、人物角色、明確議題。
開幕片選映導演Jahmil XT Qubeka的劇情片《性教慾》(Of Good Report),部分情節是少女學生與老師發生性關係。South Africa Film and Publication Broad(南非電影與出版局)從劇情簡介中得知該女學生年齡為16歲(未成年),以兒童不宜等理由禁止影片播映。影展單位一直到當天下午才知道,因此決定不先對外公佈,還是讓觀眾入場。
亞洲最具規模的釜山國際影展,2014年於「紀錄片廣角」單元選映了討論世越號沉船事件的紀錄片《潛水鐘》(Diving Bell ; The Truth Shall Not Sink with Sewol),引起政府和受難家屬的強烈反彈。在一面反對聲浪中,影展仍堅持放映,韓國文化部以影展單位無視政府規勸,強行上映為由,正式宣佈將中斷釜對影展的國家補助。
第七屆(2015)南韓DMZ Docs國際紀錄片影展於9月17至24日舉辦,這次我榮幸受邀擔任南韓競賽單元的評審,也參與了一場名為「Making Documentary in Asia」論壇,與談者有南韓導演Jung-hyun Mun(《龍山風雲》、《Fluid Boundaries》)、印度Docedge Kolkata的代表Nilotpal MAJUMDAR、印尼In-Docs策劃人Amelia HAPSARI、印尼Jogja-NETPAC Asian Film Festival策展人Budi IRAWANTO 與廣州紀錄片大會代表曾鋒。
然而,對亞洲來說,更特殊是各國的情勢,對拍攝紀錄片而言,在不同的國家有各自的禁忌、限制與壓力,它們來往往自政治、經濟、宗教或民情;像是北京獨立影像展已被中共當局停辦多次,新加坡影片《星國戀》也被新加坡政府勒令禁播,而釜山影展播出沉船事件紀錄片《The Truth Shall Not with Sewol》也引來極大的政治壓力。