2014在左邊的亞洲影展＋ EX!T 5第五屆台灣國際實驗媒體藝術展【遠離・遠離越南Près du Vietnam】

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Index

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製作人 Producer

策展人 Curator

活動資訊｜場次表 Info

焦點影人──潘黨迪專題Filmmaker in Focus: Phan Dang Di

社會面面觀──劇情片專題Social Landscape: Feature Film Program

異境重生──劇情片專題Inside but Beyond Vietnam: Feature Film Program

另一種愛情敘事──劇情片專題Another Love Story:Feature Film Program

生活即是戰爭──紀錄片專題Life Is War: Documentary Film Program

邊緣人物──紀錄片專題Marginal People: Documentary Film Program

「美」夢成真──紀錄片專題Past Nightmare, Future Dreams Documentary Film Program

焦點影人──阮純詩專題Filmmaker in Focus: Nguyen Trinh !i

特別注目──范筱的混種視界專題Special Regard: Siu Pham’s Hybrid Vision

虛構非虛構──實驗錄像專題Fiction Non Fiction: Experimental Video Program

公眾場域──實驗錄像專題Public Spaces: Experimental Video Program

工作人員 &特別感謝 Sta" & Special !anks

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在 2014，靠近越南文╱姚立群

在左邊的亞洲影展，從 2006年以來，立意做為一個另類的「亞洲影展」，是無庸置疑的。那不僅僅是從「東南亞影展－亞洲影展－亞太影展」這已近六十年的冷戰產物，所產生的反彈──因為時至今日，它的延續已顯得語無倫次，遑論更早於台灣政治上解嚴的時間點，屬於電影的「那個時代」已然變異。更是因為，在過去這類光鮮亮麗的國際場合裡，所標榜的亞洲人的友誼與藝術交流，長久以來並無助於彼此「走入亞洲」的行動。「在左邊的亞洲影展」誕生於數位時代，相信電影／影像具有

一定力量的文化載體，能夠較快地介紹當今全球化風潮的席捲下訊息萬變的的亞洲新貌。影展積極選擇足以彰顯進步思潮並帶動對話參與的作品，提供觀眾沿著創作者所代表的文化／跨文化脈絡，認識亞洲各個社會現實樣貌，以及回顧近現代發展歷史。第一屆影展邀請菲律賓策展人默文．埃斯皮納（Mervin Espina），呈現了二十部來自印尼、新加坡、馬來西亞、泰國、柬埔寨、緬甸、菲律賓等地的實驗／紀錄／劇情作品，非常多樣多元。

2010年的「韓國專輯」，策展人陳虹穎選擇了南韓十部紀錄片，帶出新近韓國社會運動的一部分群像，讓台灣觀眾更貼近觀看南韓社會，並反思現代發展歷程相近的台灣。由於第二屆參與的觀眾非常踴躍，帶動了台北之外的地區爭相邀映的盛況，促成第二年在台灣多地巡迴。而這整個維持了近一年的上映過程，猶如一群人共同如何透過影像搬運希望、激盪想像給另一群人的交換傳遞。

2014年，策展人張騰元提出以「越南」做為單一的焦點，策畫「遠離．遠離越南」專輯，除了影片放映之外，並邀請了潘黨迪與阮純詩這兩位在越南／國際的電影界與視覺藝術界分別具有重要地位的藝術家，來台與諸多與會嘉賓進行對話交流。特別的是，台灣國際實驗媒體藝術展（EX!T 5）將貢獻四個單元，聯名舉行。在第一屆中一塊缺席的東南亞，於焉補足。

Unless, perhaps, one day⋯a war. ──摘自《廣島之戀》

重逢之日不必是因為一場戰爭──越南於 1986年進行改革開放之後，成為了世所矚目的市場。多少年來，「亞洲」名號下的人文思想暨其影響力，在台灣被忽視或輕視，而代表越南的那一部分，也往往以一種汙名化的存在被表述著。當台灣也明白，亞洲各地在當代的資本主義交換之中作為最主要貢獻的勞動人力與自然資源，不能繼續粗暴地消費與剝削下去時，也應該認真地認識越南的文化及美學脈絡，進行知識與精神上的交流。

製作人語

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Vietnam Now Yao Lee-Chun Translation: Hsu Tien-Ying

Since its foundation in 2006, Shooting Left Asia has certainly remained an alternative film festival centering on Asian #lms. It not only serves as a strike against the Asia Paci#c Film Festival, #rst known as the South East Asian Film Festival and later the Asia Paci#c Film Festival, founded during the Cold War in an ideological combat against communist regimes nearly sixty years ago. Today, the APFF falters for it has no reason to sustain, not to mention that the de#nition of the “golden” days of cinema have changed greatly a$er the li$ing of the martial laws in Taiwan. An even stranger thing is that, on glamorous international occasions as such, the so-called befriending and exchange have never really helped the participating Asian countries to learn more about one another.

Born in a digital age, Shooting Le$ Asia believes that cinema / image as a cultural carrier has certain power to more quickly introduce Asia’s ever-changing looks to the audience as the world becomes more globalized by day. !e festival actively seeks works that manifest cutting-edge trends and encourage exchange of thoughts, so that viewers may more easily learn the present-day Asian societies and the cultural / cross-cultural contexts which the #lmmakers represent, while looking into the contemporary histories of those countries. !e #rst year, Pilipino curator Mervin Espina was invited to present more than 20 experimental / documentary / feature #lms from Indonesia, Singapore, Malaysia, !ailand, Cambodia, Myanmar, the Philippines and so on. !e resultant festival was highly diverse.

For “Korea Now” in 2010, curator Chen Hung-Ying chose to illustrate parts of the vast social movements in South Korea though the county’s documentaries. !e festival in that year allowed the Taiwan audience to more closely observe the South Korean society and re%ect on the circumstances in Taiwan, as the two states share rather similar courses of development in modern times. Seeing that the festival was well received by viewers in Taipei, organizations outside the capital were eager to invite us to screen the films. Hence Shooting Left Asia already started touring in Taiwan in its second year. !e tour, which in the end lasted for almost a year, delivered hope and evoked imagination through image, from one group of people to another.

In 2014, curator Chang Teng-Yuan proposed that Vietnam be the single focus of the year, and came up the “Far from Vietnam” theme. Other than #lm screenings, artists Phan Dang Di and Nguyen Trinh !i, respectively enjoying a high status for their #lms and visual artworks in the international community, will be exchanging ideas with various other honorable guests during their visit in Taiwan. And this year the special 5th Experimental Media Art Festival in Taiwan screening will be part of the SLA. Now the missing part (country) of the #rst year’s fest is #nally to be #lled.

“Unless, perhaps, one day⋯a war.”--Excerpted from Hiroshima Mon Amour

A second chance is now given to learn more of Vietnam, and luckily this time it’s not because the country is stranded in war. Vietnam has in fact been a much discussed market since its reform in 1986. Yet for many years the cultures and powers of Asian countries have been purposefully neglected or looked down upon in Taiwan, especially those of Vietnam which are often presented as the stigmatized. If people in Taiwan know that laborers and natural resources that come from its neighboring countries are the two most important contributors to a successful capitalist economy, and see that those cannot be bullied or exploited anymore, they must then try to take Vietnam’s culture and aesthetics much more seriously, and perform exchanges at intellectual and even spiritual levels with friends from this country.

Producer

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策展人語文／張騰元

在克里斯馬克的號召下，高達、雷奈等七位法國新浪潮的年輕導演，於 1967年集體完成了這部影史經典《遠離越南》（Loin du Vietnam），融合跨類型手法，串接風格殊異的短篇，反覆議論越南和反戰主題，陳辯人性的危脆和對立。片名透露著幾種意涵：遠離對越南國土的侵害，回到對歐美的反身思考，或反映出戰爭的創傷無法遠離⋯⋯片尾直陳：「戰爭就在我們周圍，越南是為了我們而戰！」可時至今日，當我們重新解讀這段話或整部影片，不禁疑問，越南是否終究只能作為影像論述的邊緣客體？真實的越南何在？而屬於越南的電影新浪潮又在哪呢？

越南，自 1975年南北越統一後，成為全面實行社會主義的共產專政國家，地理上是位於中南半島東側臨海的狹長型陸地，在熱帶季風吹拂與歷史變遷中，大略以北（河內）、中（順化）、南（西貢）三個主要城市地帶，兼融五十四個民族，形成它同中存異的人文景觀。既往而言，越南長期受到外部政權及文化影響，在西元前一世紀至十世紀間，實際由北方中國所統轄，十五世紀初，因國內動盪再度由中國明朝統治，待重新獨立後，仍維持著藩屬關係。十九世紀中，法國殖民越南，演變為法屬印度支那的一部份；二戰時又曾被日本短暫入侵；1945到 1975年間則陷入激烈的抗法、抗美（越戰）戰爭時期。直到 1975年胡志明率共產勢力佔領南越，才走向今日南北統一的局面。

隨著戰事遠離，越南電影中的戰爭元素逐漸化為背景，開始關注生活現實與個體命運；到了改革開放（1986-）以後，其電影環境卻遭受到幾波來自海外的衝擊，首先是好萊塢電影及電視流行文化大舉進入，再者是越裔導演的作品，如鄭明河的《姓越名南》（1989）、陳英雄的《青木瓜的滋味》（1993）、裴東尼的《戀戀三季》（1999）等，紛紛在 90年代的國際影壇代表越南發聲，這些現象促使越南對其電影產業重新檢討。近年則產生不少具代表性的本土導演及作品，如劉皇的《穿白絲綢的女人》（2007）、裴碩專的《慾如潮水》（2009）及潘黨迪的《紅蘋果的慾望》（2010）等，他們大多擅於描寫社會環境或人性本質，散發一定的藝術氣息，而在國際電影競賽嶄露頭角。

策展人

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因此，從另個面向來看，在國際印象中，越南電影也正脫離過去《遠離越南》、《越戰獵鹿人》、《現代啟示錄》等為詮釋或省思越戰，而讓越南真實面貌被遮蔽或陷入刻板的西方眼光，在世界電影潮流裡，它已逐漸超克歷史的命題，遠離《遠離越南》的西方反戰意識框架，爭取到自己的影像主體話語權。如今，存在著更多根基於越南當代社會議題，俱本土特色、原創性，且屬年輕世代的影像創作，尚待我們來發掘、關注及討論。

尤其，臺灣曾在 1970年代末，接收少數越南難民；經濟層面上，臺灣目前為越南第四大外資國及第五大貿易夥伴。自 1994年實行「南向政策」以後，現存近九萬越南婚姻移民居住在臺灣（佔東南亞新移民半數以上）。這時，值得臺灣深思，假如我們也需要遠離越南，或許應當遠離的是 1990年代以來在新自由主義下，對越南等東南亞國家那種全然經濟利益導向，甚至潛意識帶有次殖民意味的想像。並藉由當代越南影像作為媒介，重新建立起更對等認知彼此的眼光。

故這次與牯嶺街小劇場合作，策劃「2014在左邊的亞洲影展+EX!T5第五屆台灣國際實驗媒體藝術展－遠離．遠離越南 Près du Vietnam」及系列講座，聯合此二影展的脈絡，以雙重遠離之名，行靠近越南之實。盼為大眾引介越南電影發展現況和其鏡頭下的獨特觀點，為進一步觸探東南亞區域，開啟另一跨文化視角。

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From the Curator Chang Teng-Yuan Translation: Journey Chan

Initiated by Chris Marker, seven young directors influenced by La Nouvelle Vague, including Jean-Luc Godard and Alain Resnais, contributed to the classic Loin du Vietnam in 1967 using segments that are diverse in genre and styles, all discussing and debating issues regarding Vietnam, anti-war, and the fragility as well as confrontations of humanity. !e title of the #lm suggests several meanings: moving away from harms done to Vietnam, focus on re%ections on the United States and European countries, or mirror how it is impossible to move away from harms caused by war⋯ It was stated directly at the end of the #lm, “War is all around us, Vietnam is #ghting for us!” But, when we reinterpret this line or the entire #lm today, we cannot help but ask ourselves, is Vietnam ultimately just the marginalised object of #lm discourse? Where is the real Vietnam? Where is the nouvelle vague of Vietnam #lms?

Since the reunification of North and South Vietnam in 1975, Vietnam has become a socialist nation ruled by the communist party. Geographically, Vietnam is that long stretch of land bordering the sea along the eastern Indochina Peninsula; faced with tropical monsoons and historical changes, it is roughly divided into the three metropolises of northern (Hanoi), central (Hue) and southern (Saigon), encompassing fifty-four ethnicities and thus forming its similar yet di"erent human landscapes. Historically, Vietnam has long been influenced by foreign regimes and cultures. From 1st century B.C. to 10th century A.D., Vietnam was ruled by China, its northern neighbour; during the early 15th century, Ming Dynasty again ruled over due to its domestic turmoil, and Vietnam remained a vassal state to the Ming Dynasty even a$er regaining independence. During mid-19th century, Vietnam fell under the French colonization and became part of the French Indochina; it was brie%y invaded by Japan during WWII, and #erce Indochina War against France and Vietnam War against the United States struck respectively from 1945 to 1975. In 1975, the Ho Chi Minh-led Viet Cong force occupied South Vietnam, and the two halves reuni#ed as the Vietnam we know today.

With the war long past, war elements within Vietnam #lms moved into the backdrop, and everyday reality as well as destiny of the individual moved into focus; entering the post-reform and opening up period (1986-), the #lm industry faced impacts from overseas, #rst up was the widespread introduction of Hollywood #lms and popularisation of the TV culture, followed by works of Vietnam-descendant directors including Surname Viet Given Name Nam

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by Trinh T. Minh-ha (1989), !e Scent of Green Papaya by Anh Hung Tran (1993), and Three Seasons by Tony Bui (1999), all speaking on behalf of Vietnam on the international stage in the 1990s; such phenomena prompted Vietnam to rethink its #lm industry. Many iconic local directors and works have been produced in recent years, such as The White Silk Dress by Luu Huynh (2007), Adrift by Bui Thac Chuyen (2009) and Bi, Don't be afraid by Phan Dang Di (2010), all excelling at describing the social environment or the nature of humanity, artistically %avoured and rising in international #lm festivals.

Hence, seen internationally, Vietnam film is breaking away from the old interpretations of and re%ections on the Vietnam war in Loin du Vietnam, !e Deer Hunter, and Apocalypse Now, bringing out the reality in Vietnam that was hidden or stereotyped by Western perspective, gradually transcending from that worldwide trend of historical themes in #lms, moving away from the Western anti-war context in Loin du Vietnam, and gaining their own voice and subjectivity in #lms. Nowadays, there are more and more #lms created by the younger generation that are original with local flavours, and based on social issues in the contemporary Vietnam that await our discovery, attention and discussion.

To take it further, Taiwan took in a small number of Vietnamese refugees in the late 1970s. Economically, Taiwan is the fourth largest foreign investor and #$h largest trading partner of Vietnam. Since the implementation of the Go-South Policy in 1994, we currently have close to 900,000 Vietnamese marital immigrants living in Taiwan (over 50% of total Southeast Asian immigrants). !is is something we should think about in Taiwan, if we also need to distance ourselves from Vietnam, perhaps what we should really distance ourselves from is the economically driven interest and even the sub-colonial imagination we subconsciously hold towards the Southeast Asian nations such as Vietnam, brought about by the neo-liberalism since 1990s. Using Vietnam #lm as media, mutual understanding based on a more equal ground can again be established.

Therefore, I am working with Guling Street Avant-garde Theatre to plan Shooting Le$ Asia '14 & 5th Experimental Media Art Festival in Taiwan (EX!T 5) - Près du Vietnam and subsequent seminars, and extending the context of Shooting Le$ Asia to approach Vietnam from afar. I hope to introduce to the public in Taiwan the current status of #lm developments in Vietnam, and try to open up another cross-cultural aspect to further explore the Southeast Asian region.

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【開幕茶會】Opening餐桌上的家鄉—她的南國料理與故事Tea Party - !e Taste of Home: Her Southern Cuisine and Stories12/24 (Wed) 20:10 ＠牯嶺街小劇場藝文空間 GLT 2F Gallery

【特別放映＆座談】Special Screening & Talk 《姊妹，賣冬瓜》× 越南實驗記錄片交流放映會與談人：阮純詩導演、洪滿枝（南洋台灣姊妹會前副理事長）Let's Not Be Afraid!: A Conversation on Vietnamese Experimental-Docs Now

In Conversation: Director Nguyen Trinh Thi and Hong Man Chi, Ex-Vice Chairperson of TASAT

12/23 (Tue) 19:00-21:00 ＠南洋台灣姊妹會北部辦公室 TASAT

【焦點影人講座】Filmmaker in Focus ForumA. 潘黨迪導演 Director Phan Dang Di 越南社會景象及電影新浪潮的探尋主持人：洪健倫〈《放映週報》主編〉 Views in Vietnamese Society; Explorer in Film’s New Wave

Host: Allen Hong, Chief Editor of Funscreen

12/26 (Fri) 20:00-21:30 ＠牯嶺街小劇場藝文空間 GLT 2F Gallery

B. 阮純詩導演 Director Nguyen Trinh !i穿越地理與影像邊界：越南實驗電影樣態主持人：區秀詒（電影／影像藝術家）Across Geography and Image Border: Forms of Vietnam Experimental Films

Host: Au Sow Yee , Filmmaker and visual artist

12/27 (Sat) 19:10-20:40 ＠牯嶺街小劇場藝文空間 GLT 2F Gallery

【閉幕論壇】Closing Forum 亞洲複現：台灣—越南／東南亞電影交流展望與談人：潘黨迪導演、阮純詩導演、許家維（藝術家／打開─當代藝術工作站前站長）、徐明瀚（《Fa電影欣賞》執行主編）主持人：張騰元（策展人）Re-replicated Asia: Film Exchange between Taiwan and Vietnam (and Southeast Asia)

Panelists：Director Phan Dang Di; Director Nguyen Trinh Thi; Hsu Chia Wei, Artist and Ex-Director of Open-

Contemporary Art Center (OCAC); Austin Ming-Han Hsu, Executive Editor of Fa

Host: Chang Teng Yuan, Curator

12/28 (Sun) 15:30-17:30 ＠牯嶺街小劇場藝文空間 GLT 2F Gallery

活動資訊

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場次表

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23Tue

特別放映＆座談南洋台灣姊妹會 Special Screening & Talk ＠ TASAT19:00

24Wed

SLA社會面面觀 - 劇情片專題 Social Landscape:Feature Film Program 100 min18:30

SLA開幕茶會 -餐桌上的家鄉Opening Tea Party: The Taste of Home20:10

SLA生活即是戰爭 -紀錄片專題Life Is War: Documentary Film Program105 min20:30

25Thu

EX!T特別注目 - 范筱的混種視界專題Special Regard: Siu Pham’s Hybrid Vision120min18:00

影人出席映後座談 Post-screening Talk

EX!T虛構非虛構 -實驗錄像專題Fiction Non Fiction: Experimental Video Program71min20:40

26Fri

SLA焦點影人 - 潘黨迪專題Filmmaker in Focus : Phan Dang Di111min18:00

SLA焦點影人講座 A Filmmaker in FocusForum A 20:00

27Sat

SLA異境重生 - 劇情片專題Inside but Beyond Vietnam: Feature Film Program88 min13:00

SLA邊緣人物 - 紀錄片專題Marginal People: Documentary Film Program 120 min14:50

EX!T焦點影人 - 阮純詩專題Filmmaker in Focus: Nguyen Trinh Thi55 min18:00

EX!T焦點影人講座 BFilmmaker in Focus Forum B19:10

28Sun

SLA「美」夢成真 - 紀錄片專題Past Nightmare, Future Dreams: Documentary Film Program128 min13:00

SLA閉幕論壇 Closing Forum15: 30

EX!T公眾場域 - 實驗錄像專題Public Living: Experimental Video Program77 min18:00

SLA另一種愛情敘事劇情片專題Another Love Story: Feature Film Program85 min19:30

EX!T

EX!T

Info

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在｜左｜邊｜的｜亞｜洲｜系｜列

焦點影人──潘黨迪專題Filmmaker in Focus: Phan Dang Di

潘黨迪（Phan Dang Di），當今越南最具才氣亦最受國際矚目的獨立電影導演，其擔任製片／編劇／導演的《紅蘋果的慾望》（Bi, Don't Be Afraid, 2010）曾一舉囊括坎城影展國際影評人週兩項大的殊榮，及許多國際影展獎項的肯定。藉他本次訪台交流之際，我們除了將重溫《紅》片神采，更同場加映他曾入圍威尼斯電影獎競賽的短片《當我 20歲》（When I Am 20, 2006）

The most talented and internationally renowned independent film director in Vietnam, Phan Dang Di bagged two major prizes in the Critics Week from the Cannes International Film Festival with Bi, Don’t Be Afraid (2010) as the producer, scriptwriter and director, among many other international #lm festival awards. In reception of his latest visit to Taiwan, Bi Don’t Be Afraid will be screened once again. When I Am 20 (2006), a short film with which he was selected for the Venice Film Festival, will also be presented.

焦點影人

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當我 20歲 When I Am 20（Khi tôi 20）

潘黨迪 Phan Dang Di

劇情∣ 2006∣ color∣ 20min

2008威尼斯影展短片競賽

女子甘願成為妓女，提供性服務賺錢來貼補家用，她的男友不僅知情，也接受其選擇。本片以越南為背景，細膩描繪這對二十多歲年輕情侶的相處時光和關係變化，更是首部入圍威尼斯電影節競賽的越南電影！可一窺導演潘黨迪初期如何在當時相對保守的社會環境下，膽大心細地嘗試特殊題材，及有別於國內主流的創作表現形式，進而造就他日後個人風格，與對獨立電影路線的堅持。

A young woman prostitutes herself to earn her living and her boyfriend accepts it: this tale of a twenty-something, within the context of Vietnam, is an exceptionally bold and daring story in terms of character building , artistic vision and expression. Fully committed in his way of thinking, and not only in this short #lm project, young director Phan Dang Di has been constantly facing unsettling challenges. His uncompromising approach however raised his works above conventional mainstream standard and helps forming his individual voice.

紅蘋果的慾望Bi, Don't Be Afraid（Bi, Đừng Sợ）

潘黨迪 Phan Dang Di


2010坎城影展國際影評人週 / 2010第七屆香港亞洲電影節最佳新導演獎

《紅蘋果的慾望》敘述在炎熱悶濕的越南城鎮舊宅第裡，住著三代同堂的平凡家庭；家中成員包括整天在河畔旁製冰廠玩耍的六歲少年小畢，年邁三十卻還小姑獨處的阿姨，經常出外飲酒與女按摩師廝混的父親，與日理家務還求歡不成的母親，這一切在長年在國外，重病纏身的爺爺回來之後起了變化⋯⋯

In an old house in Hanoi, Bi, a 6-year-old child lives with his parents, his aunt and their cook. His favorite playgrounds are an ice factory and the wild grass along the river. After being absent for years, his grandfather, seriously ill, reappears and settles at their house. While Bi gets closer to his grandfather, his father tries to avoid any contact with his family. Every night, he gets drunk and goes and see his masseuse, for whom he feels a quiet strong desire. Bi's mother turns a blind eye on it. !e aunt, still single, meets a 16-year-old young boy in the bus. Her attraction to him moves her deeply.

Director

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社會面面觀──劇情片專題Social Landscape: Feature Film Program

越南電影於題材開發及反映社會現實的能力已日趨豐厚，本專題涉及到兒童視角的貧民世界；街頭攤販的微妙互動；歸鄉移民的憂傷記憶；陰暗角落的血腥暴力等，集合多部帶有成熟影像語言和適切敘事節奏的劇情短片，可謂當代越南社會的一次縮影！

Vietnamese cinema is becoming more mature in its selection of themes and the perspectives it takes to reflect society. This program showcases a ghetto community from a child’s view, the subtle relationships among street vendors, sorrowful memories of immigrants who return home, and blood and violence in dark corners. A collection of short feature #lms characterized by a mature cinematic language and #tting, rhythmic narratives make a caricature of contemporary Vietnam.

社會面面觀

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破車輪 !e Rip（Lỗ thủng）

黎平江 Le Binh Giang


2012越南國際電影節

年輕男子牽著摩托車來到路邊的機車修理站，這個修理站是一位退伍老兵所擁有的。在更換被鐵釘戳破的輪胎時，他們日常如紀錄片式的對話就此展開，卻巧妙地穿引出許多越南社會現況。導演運用純熟的剪輯技巧和高明的編劇手法，將結局帶向屬於道德層面的省思。

A young man takes his Cub motorbike to a street side reparation workshop owned by an old man in military uniform to mend its inner tire. !e tire is so badly thrust by a nail it cannot be mended but be replaced by a new one. !e story then unfolds like a documentary with heartfelt and ordinarily “human” exchange and sharing. It is as real and human as its ending, which leaves viewers with surprise and unpleasantness about deceptions that have become almost as normal in today society.

街頭冤家!e Bookseller And !e Shoe Seller（Bán Sách và Bán Giày）

阮智遠 Nguyen Tri Vien


在胡志明市的大街上，一位書販和一位鞋販共同在人行道上擺地攤。狹窄空間加上書販主動挑釁，引發兩人接連不斷的紛爭，使衝突持續升溫！本片擅於利用小場景、少量角色和帶點詼諧的表演方式，使我們聚焦在平凡人物間的互動，及人際關係微妙的改變。而兩位演出經驗豐富的越南演員也是使本片成功的重要因素。

On one little street of Saigon, a bookseller and a shoe-seller share a piece of pavement of barely ten–thirty square meters to sell their goods. The small space leads to various bumps and crashes, mostly begin with some petty irritation from the book seller’s side. The participation of two veteran actors Thanh Loc and Le Binh with exquisite acting skills is one of many elements that helps the #lm deliver the message successfully.

Feature

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KFC2

黎平江 Le Binh Giang


男孩小胖，非常愛吃家裡的肉，但不曉得父親藏在冰箱的竟是人肉，而他的父親則是一個嗜好姦屍的外科醫生。有天，小胖結織了以偷東西維生、母親為妓女的兩兄妹，這兩兄妹卻打算去小胖家偷東西。意外地，哥哥目睹自己母親也淪為小胖父親手下受害者的慘況，連串離奇悲劇，一發不可收拾。本片是導演黎平江《KFC》三部曲的第二部，未來預計重新剪輯為長片，但獨立觀看，依然張力不減。頗有韓國暴力電影之風，及成為越南類型導演的潛力！

An obese boy called Fatty loved to eat the meat his father had in his fridge, not knowing that he was eating human parts kept by his father, a necrophilia surgeon who took pleasure in having sex with the bodies of his dead patients. The boy befriended another boy and his sister who pick-pocketed for a living. The brothers’ mother was a prostitute. One day, they planned on stealing from Fatty’s house. !e elder happened to witness his mother being intimate with Fatty’s father, who then murdered her and continued to make love with her corpse⋯

船民記憶!e Fading Light（!eo hướng đèn mà đi）

善杜 Thien Do


1970到 80年代間的混亂時局，造成眾多越南難民乘船偷渡海外。以此作為遙遠的故事背景，男主角幼時跟家人逃至美國，許多年後他回到越南，尋訪記憶底的家鄉；不斷出現的海水意象，讓難以抹滅的情感和鄉愁更加瀰漫開來。昔日的船民潮對越南人來說，是一個敏感話題，但也是永難忘懷的一段歷史，深深烙印於個人的生命之中。

Like many Vietnamese refugees who %ed overseas by boat due to political turbulence in the 1970s and 1980s, the protagonist and his family moved to the United States in pursuit of a new life when he was a small child. Many years later, he returned to Vietnam to see his hometown, which has remained a dear part of his memories. Scenes of tapping ocean waves suggest his everlasting longing for home. While many Vietnamese people are reluctant to recall this part of the history, to the protagonist this is even more than an unforgettable experience. It has e"ectively le$ as strong spiritual imprint on him.

社會面面觀

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潘朵拉寶盒 Pandora’s Box（Chiếc Hộp Pandora）

鄧越德 Dang Viet Duc


小孩們的冒險地點是一個老舊火車站，他們沒意識到正要進入一個並不純然美好的現實世界，在這趟探索旅途中，惟有與生俱來的仁慈之心，才是他們最珍貴的隨身行李。片名引用自希臘神話「潘朵拉寶盒」，當所有陰暗和醜陋遍佈人間，跟隨童蒙視角前進，或許能拾獲一絲安慰。而本片作為數量日增的兒童電影之一，人物設定和背景環境，亦悄悄顯露不少社會訊息。

In children’s eyes, the world is full of colors and adventures. !ey are Penguin and Eagle, covered by a %oat

of crocodiles, their territory is an old railway station. !e little children don’t know that they are going to enter a world which is not simply a game but in this adventure their only luggage is their kindness. According to Greek Mythology, when the gods opened the Pandora box, lots of seeds of epidemic diseases, wars, envy, hatred⋯ flew out and mankind has had to live with these bad things ever since. The Pandora box, in contrary to its name, is as bright as a modern fable, nurtures good things in the society which still has lots of question marks.

Feature

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離

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遠

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越

南

異境重生──劇情片專題Inside but Beyond Vietnam: Feature Film Program

本專題之作品透露強烈的藝術性格，雖均出自越南新銳創作者的手筆，亦完全於越南當地取景攝製，其陌生化、異質化的視覺空間表現，卻逐漸超越本土視野，頗有向法國的高達（Jean-Luc Godard）、克里斯馬克（Christ Marker）和泰國的阿比查邦（Apichatpong Weerasethakul）等世界級電影大師繼承及再開拓的意味，潛力無限，值得觀者們鑑賞關注。

All of the works of this program contain strong artistic sentiments. Created by emerging Vietnamese filmmakers and entirely shot on local locations, their visuality and sense of space, so foreign and heterogeneous, gradually transcend regional perspective. They are not only inherited elements of films by international auteurs such as Jean-Lu Godard and Christ Marker from France and Apichatpong Weerasethakul from !ailand, but also each take a venture into new territories that demand viewers’ attention.

異境重生

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沈默吶喊A Silent Shout（Tôi muốn rao lên）

杜文皇 Do Van Hoang

劇情∣ 2014∣ B/W∣ 21min

建立於物質慾望而相結合的一對戀人，隱藏著難以名狀的關係角力。影片起始於一個遭闖入偷竊的房間，在男女主角逾發不和諧和挑釁式的互動中，預示了他們破碎的未來。以斷裂跳躍的敘事、黑白朦朧的影像，搭配詩句式的字卡，導演杜文皇自稱受啓發於法國導演高達（Jean-Luc Godard）的《斷了氣》，和土耳其作家奧罕．帕慕克（Ferit Orhan Pamik）的名著《我的名字叫紅》。

!e movie is about traces, disintegration, and the feeling of being adri$. Two people are in love with each other through the tangible objects. !e #lm opens with a break-in and several stolen objects. A sense of losing traces, #lled with shadows of violence and unexpectedness is provoked, foreseeing a disintegrated future. In the anxious space remained an old cloth—a hidden, humble and sensitive trace. !e story tells the journey of the old cloth with the Man—the Woman and the Anonym, challenging their sensitive and hard-to-identify existences.

漂流心滋味Mui（Mùi）

黎寶 Le Bao


一個外表黝黑、衣著簡陋的年輕少女懷孕了，但無從得知小孩的父親是誰。她撐著小船，來到污濁水岸邊、破舊的窮人社區，尋訪一間可讓她待產的神祕診所。在那裡，她與一位有同樣遭遇的女子成為朋友。某天，這個女子不告而別，主角卻發現她住在一個潛艇般的密閉空間裡。她們再次相遇，感受彼此的心靈。開放式曖昧結局，精湛的攝影，都令人再三回味。

The young woman got pregnant but we never know who is the father. She found a torn place above the dark water to stay and wait for the due day. In that strange clinic, she made friend with another woman, who share the same fate with her. A$er giving her kid away, the other woman left. Our protagonist searched for her friend and found that woman in a submarine-like shelter. !ey found warm feelings again, holding each other. However, the story did not end like that.

Feature

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情牽末日!e Last Day On Earth（Ngày cuối cùng ở mặt đất）

朱陳明德 Chu Tran Minh Duc

劇情∣ 2011∣ B/W∣ 16min

片中的胡志明市化作一個使人陌生且帶有末日氛圍的背景，在低限技術與情節下，營造出人們逃離地球前夕的詭異情境，像是一部極短篇科幻片，亦神似克里斯馬克（Chris Maker）的《堤》；寂靜、高反差的黑白影像，與畫外的呢喃低語，引領觀者屏息至最後一刻。

A surreal story about the ending and the runaway, remotely resembles Chris Maker’s La Jetée, is set in Saigon. The moving images, the silences, the whispers. With a fine cinematic sensibility, Chu Tran Minh Duc has made a #lm that makes you stay silent in front of the screen when the last scene #nishes.

有人要進去叢林了 Someone Is Going To Forest（Ai đó đang đi vào rừng）

張明貴 Truong Minh Quy


第十八屆釜山國際影展短片競賽 / 2014第四屆台灣國際錄像藝術展

傳說有個在森林裡被殺的女人，死後徘徊不去，甚至會勾引過路客。某天，一個年輕男子在森林中發現眼前有位女子，隨即感到無法自拔的慾望，沒想到，慾望卻瞬間演變成暴力。本片靈感取自真實的森林兇殺案，交疊了幻覺與現實、過去和現在，讓反覆重演的暴力事件以如夢的形式顯現。

!ere is a place said to be where a woman killed in the forest still wanders and seduces people. A young man #nding a woman walking in the forest feels uncontrollable desire. !at desire soon turns into violence. Overlapping illusion and reality, past and present, the repeating history of violence unfolds in a dreamlike manner.

異境重生

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Feature

另一種愛情敘事──劇情片專題Another Love Story: Feature Film Program

兩人世界，可能構築於一段黑色懸疑、跨越時空的尋愛之旅，或深深庭院中一對夫妻的詭譎關係，又或是在現代公寓電梯裡迸發的情慾異想⋯⋯古老的愛情命題，在多元新穎的越南短片中各自精彩表述。

A lovers’ world may be constructed upon a romance-seeking journey across different times and places that’s somehow shrouded in mystery. It can also be based on a strange relationship between a husband and a wife living in a quiet house. It can even be composed of lust and fantasies set in a modern apartment elevator. Love, this ever-lasting motif, is extraordinarily expressed in this diverse selection of short #lms.

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另一種愛情敘事

愛的受難日Birthday（Ngày Sinh Nhật）

段俊德 Doan Tuan Duc

劇情∣ 2013∣ B/W∣ 17min

畢和娜住在一個沒太多裝飾，但還算漂亮的房子。在畢生日那天，娜送他一份禮物：一捲錄音帶，裡頭錄著他們十六歲時的對話。如今，他都是成年人了，娜希望能永遠陪在畢的身邊。但也許是娜的過度關心，反而使畢的生日充斥著詭異肅穆的氣氛。

Bi and Na live together in a sparsely decorated yet beautiful house. On Bi’s birthday, Na gives him a present—a recorded tape of their conversations when he was sixteen. Bi is now an adult, Na is a sweet gentle woman one wishes to have by his side. !ere is however the lingering feeling of unease in Na’s overbearing careness to Bi, in the strangely solemn air surrounding the two and in the special birthday present.

電梯春光Close, Open（Đóng vào, mở ra）

杜國忠 Do Quoc Trung


2014德國 REC國際電影節

擔任電梯管理員的年輕男子，為日復一日、單調乏味的工作，感到無聊得快要發慌。他長期困在這個令人窒息、四面鐵壁，且進出複雜的電梯中；直到有天，一位舉止奇特的女子出現在他的電梯裡，才激起一段化學反應⋯⋯本片幾無對白，僅靠影像和場面調度，建立起明確的敘事意圖。

The story is about a young man who works as an elevator’s keeper. His life and work just repeat day-by-day and he’s stuck in this sti%ing elevator with walls and tangs. !en one day, a strange girl comes out⋯

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死了都要愛One Day（Một Ngày）

阮武明 Nguyen Vu Minh Duc


一個經常戴著橡膠面具、掩飾真正臉孔的神秘男子。他遊走於城市角落，與難以辨識全貌的人們相見，好像即將要去執行一件重要的事情。在黑色愛情電影般的佈局裡，丟出一個出乎意料的結尾！

!e #lm follows a mysterious man whose real face is always hidden underneath a rubber mask on one strange day. His journey passes through corners, meets blurry faced people, as if to avoid and is about to do something very serious. The cinematic piece of work by Nguyen Vu Minh Duc keeps viewers wonder about the character’s secretive behavior and leaves them stunned at the surprising ending. One Day also displays a great amount of intricacy and sophistication of the filmmaker in terms of angle shots, image composition and editing.

深閨情迷!e Cat And !e Orange Seeds（Hạt cam và

Con mèo vàng không tuổi）

阮黎皇越 Nguyen Le Hoang Viet


一場意外，丈夫癱瘓了。美麗少婦對丈夫不離不棄，每天都無微不至地照顧著他。他們住在簡潔明亮、卻幾乎無人聞問的院落裡，任何一點細微的聲響或騷動，彷彿都能勾動少婦寂寥的心緒；她的出口，只能存在於浪漫的回憶與幻想。唯美的畫面，更為此情此景增添悲傷。

After an accident, the husband becomes paralyzed. Yet the wife stays in the marriage to take care of him daily. !e #lm is full of beautiful shots which sadden the couple’s distress even more as it evokes a lovely past that was not so further away but will forever stay as memory. Sadness initiates beautiful dream that soon turns to wishful thinking and breaks into despair. !e story of !e Cat and the Orange Seeds is not a new one yet the way it is done, it is a tragedy beautifully told with pure cinematic beauty and capable of truly touching tour heart.

重返定律Everything Returns（Tất cả mọi

thứ đều quay trở lại）

黎林圓 Le Lam Vien


男孩住在公寓裡頭，他偶然發現，所有不經意掉到樓下的物品，都會再回到房間裡頭。在這個有趣的情節設定中，導演要讓觀眾猜想，究竟是不是所有事物都能重返身邊？

The film sets an interesting premise, where everything returns. However in the end, the director makes viewers wonder, whether everything really returns?

Feature

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生活即是戰爭──紀錄片專題Life Is War: Documentary Film Program

戰爭，不僅具現為無情的砲火殺戮，更直顯於日常生活本質，那是人們為維續生存或個體價值時，所產生的各種碰撞與衝突。本專題透過鏡頭的微觀審視，使越南 1980年代末革新開放（Đổi mới）到二十一世紀步入現代化轉型過程中，關於社會階層、中產家庭教育、居住權利、跨性別等諸類議題都隱然若揭。

War is not only manifested through relentless killing, but also though everyday life. It concludes the clashes and con%icts among people as they strive to survive or sustain certain values. Showing detailed observations made via the camera lens, this program suggests a range of topics like class, family education of the bourgeois, the right of abode, and transgenderness, spanning from the post-economic reform (“Đổi mới”) times in the 1980s to the 21st century.

生活即是戰爭

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Docum

entary

宜市不宜家Land（Đất）

阮英舒 Nguyen Anh Th 紀錄∣ 2011∣ color∣ 15min

土地問題近年困擾著許多越南人。不單是官方土地計劃會議中爭論不休，在首都河內市郊一個正都更為新市鎮的村莊裡，人們同樣天天為居住而苦惱！地價持續地飛漲，也對所有村莊（現改稱城鎮）居民的生活造成極大改變。心隨境轉，還是境隨心轉？每一個人都在尋找自己的一套適應方式。

A subject that has haunted many Vietnamese in the recent years is land. Not only in land planning conferences, but also in a village that has been upgraded to a town on the outskirts of Hanoi, the daily concern of the people there is also land. !e land price increases and the lives of all residents in this village (now called town) have signi#cant changes. Each person has their own attitude to adapt the changes.

家有惡童Give Me A Ticket To Childhood（Cho tôi một vé về tuổi

thơ）

阮明芳 Nguyen Minh Phuong

紀錄∣ 2012∣ color∣ 16min

隨著中產階級人口的增加，許多越南小孩的童年生活早已豐衣足食，甚至被百般呵護，但一不小心，可能就演變成親子相處間的難題或對立。本片導演將攝影機朝向自己的家庭內部，紀錄最熟悉卻也最難客觀面對的父親、母親和弟弟。除了直接曝露家人關係，亦試圖透過多角度的碰撞、提問，間接反映出更多關於越南教育及中產家庭的現況。

With documentary Give Me A Ticket To Childhood, the camera follows familiar characters such as father, mother, brother, director Minh Phuong makes the best use of the right time to sketch out a lively picture of his family with a multidimensional view and many questions addressing various hot issues of the current Vietnamese education as well as family culture.

男生女生變Who Are You?（Bạn là ai?）

黃玄媚 Hoang Huyen My


Sun的生理上是個女孩，喜歡打扮得跟男生一樣、喜歡同性。她可以用符合自己內心想要的穿著，與朋友們自然相處，但在家人面前卻無法如此。Sun辛苦地以兩種面貌活著，徘徊在兩個衝突的世界。如何做自己、又同時被家人接納，這會是永恆難解還是暫時的問題呢？

Sun is a tomboy, likes to dress like a boy and loves people of the same sex. To Sun, to friends who are similar to Sun, that is natural, but to Sun’s family, is not. Walking on the #ne line between two desires: being herself and being accepted, Sun has to find a temporary solution. Touching on a hot and controversial issue, Who Are You? is daring in terms of expressing, and straightforward in its point of view. Like its own character who has to live with two faces, the #lm oscillates between two con%icting worlds.

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失落的真善美Story Of Kindness / How To Behave（Chuyện Tử Tế）

陳文瑞 Tran Van Thuy


癌症末期的攝影師 Dong Xuan !uyet請他的朋友們製作一部以「tử-tế」為主題的電影（在舊時漢越字詞中，tử與 tế两個字合起來，表示最微小的節），去闡述關於人類間的關係、博愛及仁慈。於是作者開始挖掘越南國家口號的背後真相，揭示社會底層的困苦場面。本片製作於 1980年代末、越南的社會主義統一重建時期結束前，因不迎合官方宣傳題材，而顯得罕見，甚至一度被列為禁片。導演陳文瑞（Tran Van !uy），當時身在被國家控管的電影體系中，勇於涉險拍攝本片，追求心目中的真理。雖然這已是二十七年前完成的作品，但並未喪失與現今的關聯，尤其值此越南再度面臨社會轉型的變動時期。

Dying of cancer, the cameraman Dong Xuan !uyet asks his friends to make a #lm on the subject of “tử-tế” —human relations, fraternity or, simply, kindness⋯Story of Kindness is a very rare Vietnamese film produced before Vietnam's socialist subsidy period ended in the late 1980s, but not catering to the usual official propaganda lines. Tran Van Thuy, as all other filmmakers of that time, was working within the state-controlled film system, yet he was so brave to the extent of risking his own security to make a #lm that forcefully pursued the truth. Although the #lm was produced as long as 27 years ago, it still hasn't lost its edge and relevance today, especially as the Vietnamese society is once again going through a turbulent period of transition.

巷弄生存日記Saving（Để Dành）

偉阮英風 Vy Nguyen Anh Phong


婦人、二兒子和大兒子一家生活在河內舊城區中一條細小的巷弄裡。與許多常居在此的家庭為鄰。她的生活等同於一連串憂勞無返的工作歲月。年事漸高的她每天仍以販賣綠茶，來養活自己及其中一位患有精神障礙的兒子。她對人生沒有抱怨，只能不斷保持冷靜堅毅的態度，面對每個可能會威脅到他們生活的大小事件⋯⋯

!e woman lives with her second son and her #rst son’s family in a small alley in Hanoi’s old town, where lots of families in the same company have been living for years. Her life is a series of relentless working years along with uncompensated losses. At an old age, she still sells green tea daily to support herself and her mentally incapable son. Being asked about her life, she has no complaints but keeps her calmness as well as is always steady at every event that may threaten their life.

生活即是戰爭

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邊緣人物──紀錄片專題Marginal People: Documentary Film Program「邊緣」是一種相對概念，可泛指地理上的邊陲，

或任何主流之外少數群體的處境。如沿海漁村面臨全球氣候變遷的威脅；農民至城市蓋高樓卻過著河岸上的帳篷生活；女工依賴外資廠商謀生而命運載浮載沉；同性戀者在傳統「恐同」環境中現身與融入⋯⋯藉由詩意溫柔的記錄影像，一齊向邊緣的彼端傾訴。

“Being marginal” is a comparative description. It can refer to staying in geographical margins, or living as a minority group other than the mainstream. A coastal village may be threatened by climate change, and farmers could have helped to build skyscrapers while still living in riverside tents themselves. Female factory workers struggle to stay with foreign companies to live a better life, while gay people carefully make a presence in a conservative, homophonic society and try to fit in. Stories are told by marginalized people to the majority groups through these poetic documentaries.

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邊緣人物

女工之夢Worker's Dream（Giấc mơ là công nhân）

陳若草 Tran Phuong Thao


2007法國真實電影節青年導演獎

以實行社會主義卻逐步進入世界資本體系的越南為背景，追蹤幾位年輕女子為了進入外資工廠謀生，而從貧窮的北部省分，遷移至首都內河市附近的工業區。從她們真誠且深入的陳述中，透露了僱傭過程的剝削，及外資工廠要求高效能卻低薪苛刻的勞動條件。市場消費主義的誘惑，和她們想望改善生活與家計的行動，交互拉扯出建設發展中的矛盾現實。本片為導演陳若草（Tran Phuong !ao）顯現人道關懷視角、在國際獲的紀錄片首作，其它作品如《人間有你》（With or Without Me）及《親親爺爺》（Grandfather）曾分別受邀展於 2013新北市電影節與 2014CNEX「愛去．愛來」影展。

Set in socialist Vietnam’s integration into the world capitalist system, this moving documentary follows the lives of several young women from poor northern provinces who migrated to Hanoi in hopes of finding work in foreign-owned factories in an industrial zone near Hanoi. In their candid and intimate narratives, these women workers revealed the exploitation of some domestic employment temporary agencies, the harsh working conditions with high speed and low pay in foreign-owned factories, the temptation of consumerism in a market system, the implications for the environment in Vietnam, and their dreams and actions to improve their lives and their families.

愛男愛女Love Man Love Woman（Chuyện thày Đức）

阮純詩 Nguyen Trinh Thi


2007舊金山國同志電影節

大師劉玉（Lưu Ngọc Đức）是河內市最為突出的靈媒之一，導演阮純詩來到他所處的社區，藉由關注習慣男扮女裝的主角，與他周遭充滿生氣的人群，探索在越南往常「恐同」社會裡，這位具有所謂娘娘腔及同性戀特徵的男性，如何於傳統母道信仰的宗教場域中，找到立身處世的方式；也為觀者提供一種有別於西方對性別問題的解讀。

Through Master Luu Ngoc Duc, one of the most prominent spirit mediums in Hanoi, and his vibrant community, the film explores how e"eminate and gay men in homophobic Vietnam have traditionally found community and expression in the country’s popular Mother Goddess Religion, Đạo Mẫu.

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消逝的海岸線Nautical Mile 2011（Hải Lý 2011）

范秋姮、陳清軒 Pham Thu Hang, Tran Thanh Hien


在越南北三角洲海岸的一個小漁村，正面臨海平面上升帶來的問題。居民的土地與大海比鄰，氣候變遷的影響便首當其衝。連岸邊古老的教堂也難逃隨著時間被海水摧枯拉朽的命運。影像中的動與靜皆詩意如畫，彷彿為此蕭瑟殘景留下印記，低語訴說一個簡明又普世性的環境訊息。

A fishing vil lage on the coast of the Northern Delta has to deal with salt water intrusion. While land is extended out to the sea and elsewhere, these people must face the consequences of climate change. Even the Ancient Church cannot escape the destructive force of time and the harshness of change. With still and moving images of picturesque visuals, Nautical Mile 2011 leaves enduring marks and carries a simple yet universal environmental message.

高樓邊的帳篷Masons（!ợ hồ）

胡文和 Ho Van Hoa


原本在郊外生活艱難的窮困農人，必須轉行到河內市區當泥水工，才能勉強糊口度日。每天卸下簡陋的個人保護裝備後，他們回到髒污運河旁的臨時帳蓬，盡可能省吃儉用，並相濡以沫地克服思鄉之情。城市化下的悲苦及灰暗，藉由冷靜平緩的鏡頭，讓這群在吊車與高樓大廈間討生活的人們娓娓道來。

The struggling l ives of poor farmers from countryside, trying to make ends meet in Hanoi as masons are not simple. Working in construction sites, they have to wear personal protective equipment and obey the rules of the employer. Returning to temporary shelters next to #lthy canals, they live in community to reduce spending and try to get over homesickness. The way Masons nonchalantly and calmly lets the characters talk while facing cranes and sky-scrapers paints a painful picture of the downside of urbanization.

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「美」夢成真──紀錄片專題Past Nightmare, Future Dreams: Documentary Film Program

越戰時期，美國對越南的侵略舉世皆知，而今日越南，某些人依舊背負著戰時遺留的傷痕，軍事行動早轉為資本主義的來襲，傳自西方的文化風潮或美好生活模式，也已成為當地年輕人追求自我實現的效仿途徑。不同世代間的夢魘╱夢想如何矛盾並存，四部觀念互異的紀錄片，對照出不可承受的輕與重。

The world knows that the United States effectively invaded Vietnam during the Vietnam War. Today, certain elders still bear the scars in%icted by the war. Yet military actions have long been replaced by capitalism, cultural trends and a rosy outlook of life, and the young locals now long to pursue their ideals like their western counterparts do. How shall the nightmares / dreams of di"erent generations cohabit in a somewhat strange kind of peace, and how do these four documentaries, their views, present the unbearable lightness and heaviness of being?

﹁美﹂夢成真

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20歲的天空When We Are 20（Khi ta 20）

阮英舒 Nguyen Anh Thu


三個剛好滿二十歲的女孩，一位追求成為職業模特兒；一位夢想出國讀書；另外一位則以結婚生子為首要目標，她們真誠地展開對自我認同的實現。片中可見越南年輕女性關於未來的嚮往及想像，在她們身上，似乎漸漸看不到戰爭世代所背負的沈重包袱，而多了一點現代生活的普遍憂慮。

The story is about the choices of 3 girls who have just turned 20 in Hanoi capital city. One wants to become a model. One wants to study abroad. !e other wants to get married and become a mother. !eir honest con#dence opens a diverse and colorful picture of a generation who thinks about themselves, lives for themselves in the interrelation with the present.

西貢塗鴉客Saigon—the sleepless city (AM to PM)（Sài

Gòn thành phố không ngủ (AM to PM)）

Siro


塗鴉藝術被帶入越南，甚至已經活躍了好一段時間。其中有一群喜歡在深夜時段進行街頭彩繪的年輕人，習慣被稱作「塗鴉藝術家」。儘管社會大多對這種行為抱持反對和歧視的態度，他們仍不減熱情、投入全部精力於創作之上。有趣的是，許多河內市區常見的塗鴉壁畫、背後創作者們皆在本片「半現身」說法，反映出外來文化的影響，及某種對自由的渴望。

GraBti has been imported into Vietnam for some time and %ourished for about #ve years. !e #lm is the story of young people who love painting on the streets—the “graBti artist” —the way that people talk about them. !ey work mainly at night early dawn. Despite opposition and social discrimination against their passion, these young people still live with total dedication to their work. An interesting point of this documentary is the “appearances” of the creators of the wall paintings in Saigon—those are anonymous but famous in Saigon graffiti scene. Made by the insiders, the documentary is so vibrant and full of true feelings.

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霧中傷痕March Fog（Sương mù tháng 3）

張武瓊 Truong Vu Quynh


1968年 3月 16日一個起著大霧的早晨，美軍第 23步兵師第 11旅第 20團第 1營 C連的官兵，發動了歷史上留名的美萊村（Mỹ Lai）大屠殺，在越南廣義省（Tỉnh Quảng Ngãi）殺害了504位無辜的民眾，此事件後來引起美國國內的反戰情緒。劫後餘生者中，有兩位在美萊事件紀念中心工作，每一天他們都在回顧及正視那段令親友失去性命的慘痛經歷。在他們腦海裡，悲傷回憶彷如那場三月的霧，永遠地籠罩著。

In the fogg y morning of March 16, 1968, a group of American troop committed the My Lai massacre, killing 504 innocent civilians in Quang Ngai. Among the victims who survived, two are currently working at Son My Memorial Centre. Everyday they have to revisit and confront the past with the haunting recollection of the incident that fell upon their loved ones. To their mind, the fog layer that covered the horrendous memory has seemingly never faded away.

土地屬於誰？Who Owns !e Land?（Đất đai thuộc về ai?）

段紅黎 Doan Hong Le


奠玉—─越南中部、峴港市附近的一個小鄉鎮，美越戰期間是反抗美軍的重要據點之一，當地人為了保護他們的土地而紛紛參戰犧牲。越戰結束的三十五年後，美國商業投資者回到這裡、聯合政府單位，企圖徵收農地來建造一個高爾夫球場。在人民極力想維持農耕生活、爭取土地權益的抗爭聲中，歷史，顯得格外諷刺。

Dien Ngoc, a town close to Da Nang city, used to be a heroic land of revolutions, people sacri#ced a lot to protect their land. 35 years a$er the war, American investors return to build a golf course on the same farmers’ lots. !e #lm portrays the #ght for the land of the farmers in Dien Ngoc.

﹁美﹂夢成真

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焦點影人──阮純詩專題Filmmaker in Focus: Nguyen Trinh !i

阮純詩（Nguyen Trinh !i）是以河內為實踐基地的獨立電影兼錄像／媒體藝術家，她將新聞學、攝影、國際關係及民族誌電影等豐富的學養背景，化作多樣性的音像藝術創作、研究與推廣，藉此揭開被主流論述所隱蔽、曲解而遺失的歷史區塊，並不斷試驗藝術家在越南的身分位置，建立批判反思視角。作品廣受邀展於歐美、亞洲等地，如新加坡雙年展、雅加達雙年展、台北關渡雙年展、奧伯豪森國際電影節、曼谷實驗電影節等。

A Hanoi-based independent filmmaker and video and media artist, Nguyen Trinh Thi turns her rich knowledge in journalism, photography, international relations and ethnography into the making, study and promotion of video art, and aims to unveil the lost parts of history once hidden or distorted by the mainstream. She has also continued to experiment with and re%ect upon an artist’s status and position in the Vietnam society. She has been widely invited to participate in international events throughout Europe, America and Asia, such as the International Short Film Festival Oberhausen, Singapore Biennale, Jakarta Biennale, Bangkok Experimental Film Festival, and Kuandu Biennale in Taipei.

焦點影人

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前線戰歌Song To !e Front（Bài ca ra trận Re-Cut）


實驗∣ 2011∣ B/W∣ 6min

2012曼谷實驗電影節

這是阮純詩的「越南經典舊片衍用」系列首作。她使用 1973年出品的越南戰爭主題電影《前線戰歌》（Song To !e Front），作為改作的素材。拆解了該片原為社會寫實音樂劇，所具有的美學範式及浪漫元素，換以跳接手法剪輯其中的固定式鏡頭畫面，搭配史特拉汶斯基的古典樂《春之祭》，來打破原電影的核心敘事，並轉化為抽象短篇。目的是希望讓觀者有更多想像空間，去重新解讀那些強迫塑造思想觀點的史詩鉅作。

!is is the #rst from the intended “Vietnamese Classics Re-Cut Series” by Nguyen Trinh !i.

"Song To !e Front by Vietnamese artist, Nguyen Trinh !i takes a historical Vietnamese war film from 1973 as its central source. Re-editing Bai ca rat ran (Song To The Front), produced by the Vietnam Feature Film Studio and directed by Tran Dac, Trinh !i has turned this rarely seen black and white classic feature into a small vignette that decomposes the aesthetic and romantic elements of this social-realist melodrama. ...Trinh !i’s version of Song To !e Front plays with the original plot line in a deliberately ambiguous manner, desiring an imaginative space for the viewer to reinterpret what were intended to be very literal epics that enforce an ideological view. ..." (Written by Zoe Butt, Director and Curator of Sàn Art, Ho Chi Minh City)

失聲的編年史Chronicle Of A Tape Recorded Over（Biên niên sử cuốn băng đã bị

xoá）


實驗記錄∣ 2011∣ color∣ 25min

2011奧伯豪森國際短片電影節 / 2011DMZ韓國國際紀錄片電影節 / 2012 曼谷實驗電影節

作者踏上了後世皆知、越戰時所謂的「胡志明小道」，這組在叢林中綿長的軍事通道網路，連接著越南的北方和南方，對於北越社會主義終能在 1975年打敗美國支持的南越政權，曾發揮莫大功用；但戰時因美軍的強力轟炸，有難以計數的越南人死傷於道上。攝影機沿著這些路徑，觀察當地村民的今日生活，引導他們已接龍的方式建構自身的故事。作者並置了現在與過去、真實及虛構，努力地匯編一份採集而來的歷史。

Using ‘exquisite corpse’, a method by which each collaborator adds to a composition in sequence, the filmmaker began her journey over the Vietnam War’s notorious Ho Chi Minh Trail. This interconnected system of jungle roads connecting the North with the South was instrumental for the eventual victory of the Vietnamese communists from the North over the American-backed Southern regime in 1975. Tens of thousands of people died along this trail during the war as it was heavily bombed by the American army. Along these roads, the #lmmaker asked local villagers to contribute their tales while the camera was observing their present-day life, merging past with present, reality with #ction, in her e"ort to assemble a piece of collective history, a history told by the people from the bottom up.

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我為美而死I Died For Beauty


實驗∣ 2012∣ color∣ 9min

某家亞洲工廠正舉行開幕慶祝典禮，穿著正式的歐洲人遍佈會場，彼此握手寒暄，引頸期盼地環顧四周。隨這曖昧不明的開頭，和西方古典樂曲的推進，可發現廠內亞洲工人都被監看著，將要放入展示廳的機車零件處理得亮麗新穎。同時，影像及音樂常因突然穿插的工廠環境音，造成不和諧的視聽衝擊；而詩人艾蜜莉‧狄金森的詩作《我為美而死》（I died for beauty），亦被引置到這個屬於當代及全球化的境況之中，反思什麼是「美」？誰又為美犧牲？

Set in a factory in Asia during an undefined celebration event, Europeans in suits are seen in long wandering shots as they greet one another, shake hands discretely, and look about them expectantly. Further into this ambiguous opening, and propelled by classical Western opera and symphonic orchestrations, Asian workers are observed putting finishing touches of paint and polish onto gleaming surfaces of what will soon be on display in motorbike showrooms. The images and music are sharply punctuated by the abrupt and raw intrusions of live factory sounds that conclude in a jarring visual exclamation, exhuming the verses of an Emily Dickinson poem and laying them out in a contemporary and globalized context.

序破急Jo Ha Kyu


實驗∣ 2012∣ color∣ 12min

2012英國布里斯托短片及動畫節 / 2012奧伯豪森國際短片電影節 / 2013新加坡東南亞電影節

在日本傳統通俗藝術的敘事結構中，「序破急」（jo-ha-kyû）是一項不可或缺的創作概念，但本片作者對其意涵採取較為鬆散的詮釋及挪用，用它來對應自己於日本 311大地震後（2011年）、在東京的主觀經驗。依此方式，這部作品欲探討的是關於具象／抽象間的衝突及共存──在客觀觀察與主觀經驗之間，敍事與非敍事之間，紀錄與虛構之間。

The essentia l concept of narrative structure in traditional Japanese temporal arts, jo-ha-kyû, is loosely interpreted against the filmmaker’s subjective experience of Tokyo shortly a$er the 2011 Japanese earthquake. In a way, the piece is about the conflict and co-existence of the concrete and abstract worlds, between objective observances and subjective experience, narrative and non-narrative, documentary and #ction.

焦點影人

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風景系列 1 Landscape #1


錄像（原為錄像裝置）∣ 2013∣ color∣ 5min

2013雅加達雙年展 / 2013曼谷藝術文化中心 / 2014福岡美術三年展 / 2014法國尼姆當代藝術館

旅程中，遼闊空曠的景色反使人自疑：我究竟在追尋什麼？一個神秘的東西，一個犯罪場景，還是驚奇懾人的事物？作者表示，當她於網路上搜尋舊檔案照片時，無意間看到數百個景物圖像裡，存有許多被攝者，他們都呈現同一種姿態──即用手指著某方，去說明一些過往的事件，一些事物消逝的地點，或證據的所在──就如同見證（或指證）者般。於是，她把無數越南新聞攝影師所描繪、大量且姿態一致的見證者影像聚集起來，彷彿他們集體指出一個方向，一條能走出過去的道路，或一段虛構的旅途。

As the journey starts, wide empty landscapes make one wonder what one is looking for. A mysterious object? A crime scene? Something horrifying? The scenes are getting more and more specific, but they do not lead to any concrete solution ─ only an injury in place of a

metaphor with the idea of landscapes as quiet witnesses to history in mind, the artist came upon hundreds of images online in which anonymous persons were portrayed in landscapes ─ and always in the same position, pointing to indicate a past event, the location of something gone, something lost or missing. We are left knowing nothing about the people, their speci#c thoughts or feelings, only with their repetitious sameness ─ always indicating, pointing to ‘evidence’ of something ─ never good. Together these anonymous witnesses, portrayed in compelling uniformity by innumerable Vietnamese press photographers, seem to be indicating a direction, a way forward out of the past, a #ctional journey.

Director

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特別注目──范筱的混種視界專題Special Regard: Siu Pham’s Hybrid Vision

年逾六十的越南實驗電影創作者范筱（Siu Pham），其作品向來難以歸類，她擅長於個別作品中混融紀錄、劇情、行為表演、後設等情境，手法大膽且自由多變，使跳躍不連貫的影像結構竟能自成一格。隨意捻來的當代視覺語彙，準確凸顯在全球化浪潮下，越南企圖與世界接軌、步入爆炸式發展，所衍生的文化衝突及被扭曲的荒謬生命樣態。沉重之餘，像似一則犀利卻不失幽默的寓言啓示。

In her sixties, Vietnamese experimental filmmaker Siu Pham has long been known for her genre-defying works. She excels in mixing documentary, feature film, performance art, and meta-art in her individual artworks. Her approaches are so daring and free-%owing that the otherwise incongruous images become one unique, harmonious entity in her world. The visual language which seems to have been developed on her impulse renders a sharp picture of Vietnam struggling to catch up with the world under globalization through rocket development amidst cultural con%icts and distorted, absurd lives. Despite their heavy themes and penetration, her #lms are fun enough to be called fables.

特別注目

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EX!T Series山下沒有霧樂園Fog Over !e Summit And Storm In !e Plain

范筱 Siu Pham

實驗記錄 / 表演∣ 2014∣ color∣ 43min

一座主題樂園建造在被迷霧圍繞的山頂，象徵西式流行大眾娛樂已深深植入亞洲。在山腳，一位辛勤工作的農夫，試著耙理一小塊地。他的土地上，有間簡陋房舍，讓一位西方畫家用來當作工作室。雖然兩人不懂彼此語言，但因相互尊重及共享對大自然的感受，逐漸建立起友誼。有一天，暴風來襲引發了洪水，農夫跑來告訴畫家，自己父親過世的噩耗⋯⋯然而風災過後，山上的美好樂園未受太多影響，繼續誘惑著在霧中的人群。

An amusement park is built in the fog on a mountain, the western mode of popular mass entertainment begins to intrude to the far lands of Asia. At the mountain foot, a farmer is working hard, trying to plow on a small piece of land. On the land he works, there is a dilapidated house where a western painter uses as his working place. Although these two men do not understand each other's language, but a friendship is born between them, due to mutual respect and shared feelings for nature. !e area su"ers form %ood every year, one day when the windstorm begins, the farmer told his friend of his father's death. Of course the white man cannot assist the funeral, he shared his sadness with the farmer by painting a picture of a man as a refection about the death. Meanwhile, amusement parks in the mountains continued to entice the crowd in the fog⋯

西貢浮世繪Homostratus-Mother’s Room（Căn phòng của Mẹ）

范筱 Siu Pham

實驗紀錄 / 敘事 / 表演∣ 2014∣ color∣ 77min

2014紐約皇后區世界電影節最佳視覺效果獎 /

2014法國克緹爾女性影展 / 2014河內國際電影節

一個處於爆炸性發展的城市，過度擁擠的人群、機車，全都交雜在同個循環流動裡，群眾無意識地載浮載沉。混沌之中，日常生活可能成為某種集體宿命：一個祖母行將就木、一個離婚的女人不願照顧她那正值青春期的小孩、一個焦慮的父親教導兒子如何賺取生活費、一個年輕人夢想著免工作也可享有幸福生活；甚至，全球透明化的新規則也以各種正當名義干涉著人們的私生活⋯⋯這是一則怪誕的詩篇，講述在任何一座險中求進的大城市中，平凡人的奇特命運。

In a city with explosive development, overcrowded streets full with people on motorbikes, as if circulating streams where people %oating unconsciously. In such chaos lies a common story, where daily lives could be a particular collective destiny. A grand-mother is dying, a divorced woman who does not want to take care of her teenage child, an anxious father teaches his son earning his own living, a teenager dreams of a lucky life without having to work, and new global rules of transparency a"ecting private lives. Homostratus-Mother’s Room is a strange poem on destiny of an ordinary man, living in any big city full with risks and chances.

Special Regard

38

虛構非虛構──實驗錄像專題Fiction Non Fiction: Experimental Video Program

對越南當代實驗錄像來說，「虛構非虛構」這悖論式的標題，至少為兩個範疇作了提示：形式方面，紀錄／虛構、敘事化／抽象詩意化、電影／錄像藝術等屬性大哉問被暫時擱置，捨棄講究純粹性的審美品味，以視聽語彙的多重（不）合理運用，召喚複雜的（超）現實信息。社會學層面，則在相對壓抑的體制結構下，利用真實虛幻並進的曖昧手法，作為抵抗、突穿桎梏的最佳策略。本專題梭行於外在時空與個人精神世界的交疊及斷裂之間，亦是上述特徵的局部例證。

When it comes to contemporary experimental video art in Vietnam, the paradoxical theme of “#ction / non-#ction” helps to shed light on at least two things in two fields. Form-wise, the conventional comparisons between documentary / #ction, realistic narration / abstraction and poeticness, and #lm / video art are now left aside. Pure aesthetic pursuits have thus been overweighed by a more diverse visual and audio grammar (although sometimes illogical) to evoke delicate, (sur)real messages. Sociology-wise, within a relatively repressed structure, a half reality, half fantasy-based ambiguous approach is taken to #ght and penetrate barriers. Walking to and fro external environs and one’s spiritual world through their cracks and seams, this program well manifests the aforementioned phenomena.

虛構非虛構

39

EX!T Series

藍氣球之旅Travel With A Blue Balloon（Đi chơi với quả bóng xanh）

孔越百 Khong Viet Bach

錄像∣ 2014∣ color∣ 9min

帶著一顆藍氣球上路，開啓一趟自由與驚奇的旅途。作者讓藍氣球引領著他去到一些地方、接觸陌生人，發展出短暫但有趣的交流。在既定路線與隨機的逸離、轉換間，也投射了作者對創作的理解和態度。

Travels with a blue balloon. In a free and surprising way, a balloon leads the #lmmaker to some interesting connections with places and strangers.

黑色太陽Black Sun（Mặt trời đen）

張桂芝 Tr ng Que Chi


2014奧伯豪森國際短片電影節獲 / 2014義大利都靈影展

《黑色太陽》（Black Sun）原是一首1970年代的越南搖滾歌曲，描述 1975年統一前夕南越年輕人的心聲。時過境遷，一對年輕情侶漂泊於快速建設中的城市，馬路因四處施工而顛簸、舊街屋不斷被拆、高樓沿著地平線成排而起。他們努力地想從五光十色的城市空間內，尋覓到一處幽僻角落，因為在那裡，他們才擁有私密的時光，及短暫的平靜。

Black Sun is a Vietnamese rock n' roll song from the 1970s. Now the youths here are still singing this song. A young couple float around the most vibrant city of Vietnam. The city is an ongoing construction site with bumpy bare roads, slanted brick walls being demolished to give place to more high-rises which already line up along the horizon. The people in it wander from brightly lit spaces full of sounds and colours to smaller corners which enable quiet exchanges and intimate contacts. Amid the mosaic of things which exude both liveliness and unrest, the city’s young folks still manage to #nd their own way to an inner peace.

Experimental

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事件 1953 Case 1953（Hồ sơ 1953）

阮水仙 Nguyen Thuy Tien


本片假設有一位女子—水仙，她的回憶中出現一段空白。因此，她試圖從一名重要男子的生命史中，找到自己存在的證據。她將自己想像為每個曾與男子合照的女人，利用旁白虛構出拍照當時的情境。本片結合了平面影像、畫外音、行為表演等技巧，為「存在」及影音建構的「真實性」進行了多重辯證。

Case 1953 is the hypotheses of the gap in the memory of someone named Thuy Tien. She searches for evidence of her existance in the history of an important man.

四口之家Film No. 1（Phim số 1）

謝明德 Ta Minh Duc

實驗記錄 / 敘事∣ 2013∣ color∣ 27min

父親、母親和兒女，都出現在同一個居住空間，事實上卻獨自活在各自的小天地。本片以趨近紀錄片的拍攝方式，輔以低限敘事脈絡，及固定式長鏡頭，探測家人關係間的孤寂，建構一個壓抑、疏離的現代家庭切面。

The film examines the loneliness in the relations between the family members: father, mother, son and daughter; existing in the same space, the characters appear together but live separately in their own worlds.

虛構非虛構

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EX!T Series

生命之輕Light-Being（An nhiên）

阮皇江 Nguyen Hoang Giang

實驗動畫∣ 2014∣ B/W∣ 4min

個體的、微觀的、繁衍的、複製的、群體的、社會的、變異的、混亂的、自我與他者的⋯⋯所有對於生命現象之形容，或許皆因回歸本質而復於安寧。

Light-being；Adjective；Calm, tranquil by nature.

他方彼岸Another Place Across !e River（Ở Nơi Một Khác Bên Kia Sông）

張公松 Truong Cong Tung


「越過這條河到另一個地方——天堂、地獄、拯救、罪惡、懺悔、惡魔、上帝⋯⋯」這是作者在湄公河三角洲進行田調旅行後所製作的電影。影片材料包括旅途中拍下的紀錄影像，及部份虛構性的元素。一艘擱淺棄置的船；一個沒來由演奏起喪禮樂曲的管樂隊；一個男子俯趴在地上，面向他剛挖好的土坑；一棵樹，一畦池塘，一顆大石，一支旗幟，一場大火等。它們對作者而言都象徵著人類與大自然的關係情況。他的作品嘗試去挖掘關於社會現實的問題，更進一部地，提出城市發展對於個人／社會群體在心理／生理兩方面，潛在的改變及影響。

Another place across the river-heaven, hell, salvation, sin, repentance, evil, god⋯” !e #lm integrates documentary footage taken during the filmmaker’s trip around Mekong Delta region, with footages containing fictional elements. A stranded ship, a band that plays funeral songs for no apparent reason, a man who lies down with his face facing a pit dug by him, a tree, a pond, a rock, a %ag, a #re...they are signs signify, ins condition and relationship between humans and nature. Truong Cong Tung’s work tries to provoke questions about social reality, and to raise underlying questions about changes and impacts of urban development.

Experimental

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公眾場域──實驗錄像專題Public Spaces: Experimental Video Program

延續「虛構非虛構」專題所展現的越南實驗錄像特徵，本單元探索遊走於新舊媒材或具有跨媒體特質的錄像作品。數位攝影機／ 8釐米膠卷、電視機載體／廣播文本，分別通過直觀感性的攝錄或理性再配置，介入城市、住宅、交通運輸工具、廠房、郊區等公眾現場。這並非單純對越南的群體行為或空間紋理，進行眾生相般、人文地景式的調研拓印，更欲感知越南創作者的影像空間部署，如何拆解／重構現實場域，建立當代性的視域？甚至思考電影空間在越南如何成為一種公眾場域的問題！

In continuation of the Fiction Non Fiction: Experimental Video Program, which demonstrates the characteristics of experimental video art in Vietnam, this program explores more video artworks that either straddle between new and old mediums or possess a cross-media nature. Digital camera / 8mm film, TV as a carrier / broadcast text, through human emotion-based video works and mechanical arrangements, make their presence in private homes, transport systems and factories. They can be found both in the cities and the suburbs. This is not just any gross survey on a cultural landscape, some group behaviors, or the texture of a space. !is is to learn how Vietnamese #lmmakers deploy space in their works and build a contemporary vision by dissembling / reconstructing reality. How the cinematic space may serve as a kind of public space in Vietnam is also taken into account here.

公眾場域

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EX!T Series

火車日誌Train Journal（Trên Những Chuyến Tàu）

陳清軒 Tran Thanh Hien


這完全是在一輛往返河內市及海防市之間的火車上，所做的觀察紀錄。本片鮮明地呈現了火車裡的乘客各種樣態，及沿途風光中的景色和聲音，顯示作者對於臨場事物絕佳的掌握功力。片末一場偶發事件，在鏡頭精準地捕捉下，想必令觀者留下一聲嘆息。

An obser vationa l travelo g ue ta king place entirely on the train between Hanoi and Haiphong, this #lm vividly documents the sights and sounds of the train's passengers and passing landscapes.

每個人的故事!e Story Of Ones（Chuyện mọi nhà）

范玉麟 Pham Ngoc Lan


移動的公車上、倉庫裡、客廳、漂浮的船屋、老舊書店及廠房。以這些熟悉的地點當作不同角色的背景，現場撥放越南廣播節目，再用固定鏡頭拍攝。《每個人的故事》是一部紀錄片，它讓觀眾透過廣播和觀察人物在影片裡對內容的反應，產生對社會的反思。同時它也是一部具有實驗電影特點的作品，以不同人物與場景，搭配聲音的設置、剪接，統合了影像結構的一致性，喚起某種視覺、文字並置上的趣味感。

The Story Of Ones has lots of familiar yet simple, be it contexts on a bus trip, in a warehouse, a living room, a floating houseboat, an old bookshop and a factory. Set against these backgrounds, audiences as well as the characters listen to broadcast radio and television programs.

If examined carefully, !e Story Of Ones is a documentary, for viewers could comment and re%ect on society. It is also a #lm with distinctive experimental traits, evoking interesting resemblances with the visual—textual juxtaposition game.

Experimental

44

河岸留言（顏）At Water's Edge（Đảo Ngọc）

杜文皇 Do Van Hoang


河內的主要河道－紅河之中有一塊寧靜的沙洲小島，那已是一處當地人游泳、求涼快的社交聚點，也意外地成了一些人居住的地方。例如，一群來自不同社會領域的男人，找到這個遠離城市壓力的天然之地，他們愛好在這裡裸泳，毫不在意別人批判的眼光；一對年輕夫婦到此以獨特的方式慶祝結婚週年；岸邊一位離鄉背景的女人，則想透過導演的鏡頭紀錄去找尋救贖。

!e quiet island in the middle of the Red River is a place where swimmer's bodies are cooled in the waters rushing by and lives mingle in unexpected ways. A community of men #nds a natural place away from the city’s pressures to swim and exercise in nudity, a young couple celebrate an anniversary in a unique way and a woman seeks redemption through the filmmaker’s lens.

TV

孔越百 Khong Viet Bach


把自己的肖像變成畫面，再置入到不同生活空間的電視機上。《TV》的作者希望探究自身影像與大眾流行傳播媒介間的關係。至於是一幅自畫像？對媒體的一番評論？或一個視覺上的實驗？作者留下開放式的解讀空間。

Juxtaposing portrait of himself and the television against diferent backdrops, the filmmaker of T V sets to explore the relationship between the image of the self and the popular broadcasting medium. A self-portrait? A slice of critique towards the media? A visual experiment? !e #lmmaker leaves the answers to these questions open.

公眾場域

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EX!T Series

公眾生活Public Living（Chung Sống）

鄧祿 Dang Duc Loc


《公眾生活》的第一個畫面，便讓觀者瞥見數百萬越南人所熟悉的生活場域：社會住宅。剛開始，那些被暫時掩蓋的老舊區塊，似乎隱藏著不可告人的一面。隨後透過鏡頭調度，更多場域視角即被逐一揭開，被邊緣化的個體辛酸也漸漸現形。在兼顧客觀紀錄與社會寫實的方式下，作者相當節制自身對於內容上的干涉，僅透過簡單的問題，來讓被攝者自然地敍述及分享。關於紀錄片倫理的思考與拍攝位置的選擇，亦是本片值得我們詳加體會的部份。

The first frame of Public Living gives us a glimpse of the life which is familiar to millions Vietnamese in the city: social housing. And later the tragedy of marginalized individuals is gradually brought to life.

Merging objective documentary and social realism, Public Living allowed the characters to share their feeling through suggestive questions. While the camera records directly to expose reality, the film reveals a heavy and difficult yet important social subject in contemporary society.

Experimental

46

河內城市交響曲!e Sound We See: A Hanoi City Symphony（Những Âm !anh Ta !ấy: Bản giao

hưởng !ành Phố Hà Nội）

集體創作實驗記錄∣ 2013∣ B/W∣ 28min

《河內城市交響曲》是 DocLab和洛杉磯的非營利媒體藝術組織 Echo Park Film Center (EPFC) ，共同合作的影像計畫。以一個月的工作坊，集結十八位電影工作者，從當地人的獨特觀點出發，紀錄河內市的日常生活及節奏。他們以一天二十四個小時分段，拍攝一些最能代表這座城市的畫面，再將各時段的素材，濃縮為壯觀的二十四分鐘黑白影像，最後由兩位越南音樂家跨刀配樂！另值得一提，本片完全是由參與者自行操作超八釐米攝影機、沖洗底片，所攝製完成。且事先以華特魯特曼（Walter Ruttman）1927年的經典電影《柏林：大城市交響曲》（Berlin: Symphony Of A Great City）對照閱覽。

The Sound We See: A Hanoi City Symphony is a cinematic exploration of the dynamic urban environment of Vietnam’s capital. The film was made in partnership with Hanoi DocLab and the Echo Park Film Center (EPFC), a non-profit media arts organization based in Los Angeles. For a month, 18 local filmmakers worked together to document the

rhythm and movement of daily life in Hanoi from their unique perspectives. Dividing the day into its two-dozen hours, participants shot locations they felt best represented the city at each particular time of day and night with each hour becoming one minute in the #nal #lm. !e result is a spectacular 24-minute journey through Hanoi as it has never before been experienced. Shot on black and white Super 8 motion picture film and hand-processed by the filmmakers on-site at DocLab, The Sound We See: A Hanoi City Symphony

is a truly do-it-yourself production that references the classic cinema of Walter Ruttman’s 1927 masterpiece Berlin: Symphony Of A Great City while exploring new approaches to collaborative creative process and celebrating the energy and possibility of 21st century Hanoi.

!e #lm is accompanied by a live score composed speci#cally for the #lm by local musicians including Tri Minh and Luong Hue Trinh.

公眾場域

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特別感謝吳凡 / 李依佩 / 林仕杰 / 度昀奇洪容細 / 洪健倫 / 洪滿枝 / 徐明瀚張文馨 / 梁組盈 / 許岑竹 / 許家維陳俊蓉 / 區秀詒 / 陳萱白 / 楊子磊放映週報

Kim Linh / Lisa Marr / Le Vu Phuong !uyMai Tuan Cuong / Nguyen Trinh !iPham !i Binh Phuong / Phan Dang DiPhan Xine / Siu Pham / Truong Minh QuyVu Quynh Ha

Sta"策展人：張騰元選片人：潘黨迪、阮純詩、張騰元

製作人：姚立群藝術總監：吳俊輝執行製作：王永宏技術統籌：林育全行政：楊凱婷、楊宇軒、陳昱君英文秘書：陳倩如

文宣美術：劉孟宗宣傳影像導演：黃鼎鈞英文口譯：劉姿君、梁家瑜字幕翻譯：梁家瑜、徐硯怡、陳婉伶、林梓暘蔡世宗、陳善云

手冊編輯：楊凱婷美術編輯：劉孟宗手冊翻譯：許恬瑛、陳倩如

Curator: Chang Teng-Yuan

Programmer: Phan Dang Di, Nguyen Trinh Thi, Chang Teng Yuan

Producer: Yao Lee-Chun

Artistic Director Producer: Tony Chun-Hui Wu

Executive Producer: Wang Yung-Hung

Technical Cooperator: Lin Yu-Quan

Administrative Team: Yang Kai-Ting, Yang Yu-Xuan, Chen Yu-Chun

English Secretary: Journey Chan

Graphic Design: Marco Meng-Tsung Liu

Promotion Video Director: Huang Ting-Chun

Translators: Liu Tzu-Chun, Liang Chia-Yu

Subtitle Translators: Liang Chia-Yu, Yeni Hsu, Chen Wanling,

Tzu-Yang Lin, Shr-Tzung Tsai, Verna Chen

Program Editor: Yang Kai-Ting

Program Design: Meng-Tsung Liu

Program Translators: Hsu Tien-Ying, Journey Chan

主辦 Producer

合辦 Co-organizers

指導 Sponsors

Documents

2014在左邊的亞洲影展 ＋ EX!T 5第五屆台灣國際實驗媒體藝術展 【遠離・遠離越南Près du Vietnam】

2014在左邊的亞洲影展＋ EX!T 5第五屆台灣國際實驗媒體藝術展【遠離・遠離越南Près du Vietnam】