滿地可耶穌
Jesus of Montreal
導演 Director:丹尼阿肯 Denys Arcand

加拿大、法國 Canada, France | 1989 | 119 分鐘 min | 彩色 Colour | 35mm 法語、英語和意大利語對白,中英文字幕 In French, English and Italian with Chinese and English subtitles

3/8 (六 Sat) 7:30pm

香港藝術中心古天樂電影院
Louis Koo Cinema, Hong Kong Arts Centre

購票 Ticketing

丹尼阿肯對傳統魁北克的天主教意識形態一次後現代式的對話。1989年勇奪康城影展評審團獎的《滿地可耶穌》,與同期馬田史高西斯《基督最後的誘惑》一樣強調耶穌的人性形象,對其生平有顛覆性的刻劃,然而其挑釁對象不止於宗教權威,還劍指現代社會的大眾傳播與消費文化。故事始於教堂每年傳統上演的耶穌受難曲,擔任主角的年輕創作人呼召來一群失意演員(其中一人正是由導演羅拔利伯殊飾演),銳意為劇場搞搞新意思。果然首演引來熱烈迴響,然而作者的人生劇本,也逐步跟着聖經人物的命定遭遇重疊。攝影棚喻為聖殿、律師的利誘如撒旦試探,乃至醫院手術作為神蹟展現、地鐵月台上傳揚新福音……中世紀一段段聖經情節,重現於八十年代的魁北克,看來竟然一點不違和。神話與現實猶如渾然一體,當見證真實如斯,焉能不奉信?

Denys Arcand’s film serves as a post-modern discourse on traditional Catholic ideology in Quebec. Like Martin Scorsese’s The Last Temptation of Christ, this 1989 Cannes Film Festival Jury Prize winner emphasises on the humanity of Jesus while subverting the established depictions of his life story. The film challenges not only the religious authority, but also the mass media and consumer culture. The story begins with a church’s annual Passion play, which is led by a young artist who plays Jesus this year. His refreshing use of real-life downcast characters in the play is well received, one of them was played by the director Robert Lepage. However, life imitates art when his story follows the path of the biblical figure he portrays. The film draws parallels to actual biblical scenes - such as an audition is akin to the corrupted temple and an attorney’s offer is like a test from Satan. The retelling of biblical tales in 1980s Quebec seamlessly merges mythology with reality. Its authenticity has the power to convert one to be a believer.

1989康城影展評審團大獎
Jury Prize, Cannes Film Festival 1989

1990加拿大金尼獎最佳電影、最佳導演、最佳原著劇本、最佳男主角、最佳攝影
Best Motion Picture, Best Direction, Best Original Screenplay, Best Actor in a Leading Role, Best Cinematography, Genie Awards, Canada 1990

1993、2004多倫多國際電影節加拿大影史電影十大第二位
No 2 of Top 10 Canadian Films of All Time, Toronto International Film Festival 1993, 2004

丹尼阿肯 Denys ARCAND

生於1941年,加拿大魁北克籍。曾於滿地可大學修讀歷史。六十年代開始為加拿大國家電影局攝製歷史記錄短片。1970年的第一部紀錄長片《棉花》以魁北克紡織工人的工會鬥爭活動為題材,被當局禁映了六年。其後數年內拍了三部劇情片,包括《臭銅板》(1971)、《巴當維尼》(1973)及《珍納》(1974)。七十年代中期,轉入電視台,工作了十多年。重拍電視後作品有:《美利堅帝國的衰亡》(1986)、《滿地可耶穌》(1989)。丹尼.阿肯電影作品中對政治進程不掩飾的冷嘲熱諷一直受業界肯定,其中《舒適與冷漠》(1982)獲得了魁北克評論家獎,而《美利堅帝國的衰亡》(1986)及《滿地可耶穌》(1989)除橫掃加拿大金尼獎外,更分別獲得1986康城影展國際影評人盟獎及1989評審團大獎,更入圍當年奧斯卡最佳外語片。他最後憑《老豆堅過美利堅》(2003)抱走2004奧斯卡最佳外語片。近作為《美利堅係咁先》(2019)。  

Was born in Deschambault, Quebec in 1941. While studying history at the University of Montreal, he co-produced Seul ou avec d’autres (1962). He joined the National Film Board from 1963-68 and directed 5 documentaries, including Treadmill (1969) and Cotton Mill (1970), a socio-political documentary on the textile industry which was banned for six years. His other major works include Dirty Money (1971), Réjeanne Padovani (1973), Gina (1974), La lutte des travailleurs d’hopitaux (1975), Duplessis (TV series, 1976), Comfort and Indifference (1982), Le crime d’ovide plouffe (1984), The Decline of the American Empire (1986), and Jesus of Montreal (1989). His cynicism on the course of politics in his films was recognized worldwide. He won the Québec Critics Prize with Comfort and Indifference (1981). Apart from winning major awards at the Genie Awards, The Decline of the American Empire and Jesus of Montreal won FIPRESCI Awards and Jury Prize at the Cannes Film Festival in 1986 and 1989 respectively and both nominated for Best Foreign Language Film at the Academy Awards then. He finally won the Academy Awards with The Barbarian Invasions (2003). His most recent work is The Fall of the Amercian Empire (2019).