導演 Director
維拉．齊媞洛娃 VEra Chytilová
捷克 Czech｜1966｜74分鐘min｜黑白、彩色B&W, Colour
捷克語對白，英文字幕 In Czech with English subtitles
《雛孖菊》被譽為新浪潮標誌性的前衛作品。以實驗精神著稱的女導演齊媞洛娃併貼出超現實花花世界，對影像形式和社會現況作出喧囂的反撲。在黑白戰爭歷史片段間，兩個恍若雙生兒的泳裝瑪莉出場，如同失落了靈魂和存在感的嘻哈人偶，忽發奇想展開一個「世界有多壞、我們便多壞」的墮落生活。四處滋擾予取予携呃飲呃食，她們以虛無撕開「正常世界」的布景幕，跳躍於平行時空間，聲與畫，歷史與當下，個人和群體，蝴蝶、鐵絲、香腸與紅玫瑰、長曝的火車軌鏡頭和「身首異處」的併剪效果，普普、達達主義及各種抽象的影像共冶一爐。彷彿風馬牛不相及，實則是對戰後社會威權政治和父權等價值觀念尖刻的批判。革命進行曲音樂奏響，一場激進的美學饕宴以後設的敘事落幕，把形式實驗進行到底。
Known for her playful and experimental style, director Věra Chytilová puts together a kaleidoscopic world in this iconic Czech New Wave film—a surrealist rebuke of the oppressive times. The film starts with black-and-white historic images of war, as the two main characters takes center stage in their swimsuits. Like a pair of marionettes that has lost their souls, they capriciously decide that the world is “spoiled” and their response is to turn the world upside down with their mischievous ways. Its surprise mix of food, butterflies, human bodies, and flowers is an aesthetic feast that may seem nonsensical at first glance, but its sharp critique on patriarchy and authoritarianism is crystal clear. Daisies is an unstoppable revolutionary march that has never ceased to be funny.
導演介紹 Director Biography
維拉．齊媞洛娃 Věra Chytilová
1929年於俄斯特拉發（現捷克）出生，1962年於捷克電影電視學院畢業。決心攻讀電影前，曾研究哲學和建築，亦做過時裝模特兒及場務。畢業後隨即執導極具其實驗風格的首部長片《不一樣的》（1963）。三年後藉破格大膽的《雛孖菊》（1966）蜚聲國際，惜被政權以「浪費食物」為由封禁。68年後為少數於蘇聯入侵捷克後留國的新浪潮導演，卻一度被禁拍片8年。76年被解禁後旋即以《蘋果遊戲》回歸影壇，及後於當地繼續藝術生涯直至於2014年在布拉格逝世。以其無限創意及前衛美學聞名，齊媞洛娃不僅是捷克新浪潮中不容忽視的力量，更是女性主義電影中的俵俵者。
Věra Chytilová was born in 1929 in Ostrava, Czechoslovakia. Prior to her enrolment at FAMU in 1957, she studied philosophy and architecture, as well as working as a model and a clapper girl. After her graduation, she worked on her debut feature, Something Different (1963) in which her signature experimental style already shines through. Daisies (1966), with its avant-garde surrealism and anarchist approach, was released to international acclaim. It did not, however, stop the censorship from the authority on the ground of ‘food wastage’. Unlike her peers, she stayed in Prague after the Soviet Invasion but was imposed a directorial ban until it was lifted in 1975. She made a delightful return with The Apple Game the year after and has since continued her directing career in her home country until her death in 2014. Best known for her fervent innovation and aesthetic audacity, Chytilová was a formidable force not only in the Czech New Wave, but also the feminist cinema.
