"Those Who Make Revolution Halfway Only Dig Their Own Graves" was classified Category III Film and only aged 18 or above shall be admitted.
未滿十八歲及於此公佈前已購票之觀眾，請填妥退款表格並附上戲票 (連同票根) 於 2019年8月30日前郵寄或親身到影意志有限公司辦理退票手續。退款表格可電郵至hkindieff@gmail.com索取。
Ticket holders under 18 years old who have bought the tickets before this announcement, please mail the refund form and the ticket (with the ticket stub) to Ying E Chi on or before 30 August 2019 for refund application. Refund form can be requested by sending an email to email@example.com
查詢電話 ：2836 6282
Enquiry: 2836 6282
Refund Form (Eng)：https://drive.google.com/file/d/1EhuInyxywI49pX1Nz7GkSVanfxe7swmj/view?usp=sharing
"The Decline of the American Empire" was classified Category III Film and only aged 18 or above shall be admitted.
自六十年代起，魁省經歷了一連串政治事件，當中引發的社會矛盾以1970年的「十月危機」、1980年及1995年的兩次獨立公投最為激烈。加拿大政府為回應訴求推行了多項社會改革，其中包括完善電影審查及資助制度，為總部設於滿地可（其象徵意義不容忽視）的國家電影局及影視管理局增設法語部門，都大大刺激了魁北克電影發展。到七十年代，導演如克勞德朱特拉、尚皮亞利費華、皮亞法拉度和米修布洛特（同時是出色攝影師）等漸趨成熟，開始得到國際影壇認可，作品屢獲殊榮。1986年，《美利堅帝國的衰亡》在康城影展及奧斯卡金像獎大放異彩，國內外票房雙雙報捷，叫好叫座；及後的《滿地可耶穌》（1989）和《老豆堅過美利堅》（2003）先後奪得康城影展評審團獎及奧斯卡金像獎最佳外語片，令丹尼阿肯成為魁北克電影中重要的作者。1999年，當地影人為抗議有「加拿大奧斯卡」之稱的金尼獎過於側重英語片，決定另起爐灶，創立了專為加拿大法語片而設的Jutra Awards（現叫Prix Iris），進一步鞏固魁北克電影的地位 ；千禧前後，一批新導演湧現——尚馬克維利和丹尼斯維爾諾夫相繼被荷里活吸納，後者更火速成為A級大導；天才美少年、康城寵兒薩維杜蘭去年也完成了他首部英語片，似乎為魁北克電影開闢出另一片天地。特別一提，今次選映的《革命半途而廢的人終將自掘墳墓》（2016）描寫幾位於2012年魁北克學生運動失敗後的年輕人的躁動與不安，形式獨特、不拘一格，與今天的香港對照，觀眾必有極大共鳴。
Quebec, the largest province of Canada, has maintained its own language—Quebec French—due to its historical background and the will of its people. Quebecers value freedom and dignity. Despite the omnipresence of Anglophone influence, Quebec has its own distinct cultural identity with strong ties to its French colonial past. It also has a long tradition of filmmakers who insist on using their own “dialect” to tell local stories about the lives and changes in their society.
Since the 60s, Quebec has experienced a series of political crises, among which the October Crisis in 1970, the independence referendum in 1980 and 1995 are the most intense. The Canadian government took measures of social reformation in response, including refining the film censor and funding system, and introducing French department in the headquarters of both Telefilm Canada and National Film Board of Canada, which located symbolically in Montreal. Filmmakers like Claude Jutra, Jean-Pierre Lefebvre, Pierre Falardeau and Michel Brault, also a remarkable cinematographer, started to receive international recognition and won numerous awards in the 70s. The Decline of the American Empire (1986) achieved box office success in both domestic and overseas cinemas, meanwhile highly acclaimed at the Cannes Film Festival and the Academy Awards. Jesus of Montreal (1989) won the Jury Prize at the Cannes Film Festival and The Barbarian Invasion (2003) the Best Foreign Language Film at the Academy Awards, making Denys Arcand became an important auteur in Quebecois cinema. In 1999, local filmmakers protested against the Genie Awards, also known as the “Canadian Oscars”, in favour of Anglophone films, hence they set up Jutra Awards, now named Prix Iris, to consolidate the francophone film's position. Around 2000, Jean-Marc Vallée and Denis Villeneuve of the new filmmaker generation were accepted by Hollywood and the latter even became a top-ranked director rapidly. The handsome and talented Xavier Dolan, who is well received at the Cannes Film Festival, finished his first English feature last year, seemingly creating a new possibility for Quebecois films. One of our programmes, Those Who Make Revolution Halfway Only Dig Their Own Graves (2016) described the uneasiness of several youngsters after the failure of the Quebec student protest in 2012 with a unique style. Audience's sympathy will surely be evoked when they compare it with the current situation of Hong Kong.
It seems to have no way out for dialect films due to market monopoly and globalisation. Yet Quebecois films stand out modestly with great quantity and quality, especially their animations and documentaries, one of the origins of direct cinema. Numerous renowned filmmakers contribute to sustaining the Canada film industry but we can only show limited works of theirs on account of the scale of the festival. We leave the rest for film-lovers to dig out.
Lastly, we would like to thank the Film Development Fund and Consulate General of Canada, Hong Kong and Shanghai cordially for their support, so that the festival can take place smoothly.
Curator of "Indie Focus 2019: The Local Power of Quebecois Independent Cinema"
(English translated by Karen Cheung)