惟所有事情都只是一個過程,孰好孰壞都只能待時日過去才能為這段歷史下定論。
Nonetheless, everything is just a point in our timeline, we could only justify this era as the time gone by.

最新消息 Latest News

序言

崔允信,獨立電影節節目策劃、影意志藝術總監


《台灣電影宣言》剛好在三十年前的一月發表,記下當時一班台灣電影工作者對電影環境的期望。今年電影節我們希望從新角度理解「台灣新電影」;讓更多觀眾重新認識台灣電影新浪潮同時,也聯繫今天香港的創作環境。常言科技進步、拍攝方便又便宜了,但拍電影較以往容易,作品多了,題材和風格卻越來越單一。回看八十年代的台灣電影,有些作品或電影人或許沒有得到即時認同甚或商業的肯定,但在題材、手法上,仍有許多值得今天電影人學習、延續的地方 。

我們時常討論何謂「獨立電影」,籠統地說,是指獨立於「主流」的作品。然而今時今日,在這連「主流」都歸邊的時代,許多實在而又值得關心的議題並沒人在談論,所謂主流,看到的偏偏只是一個虛假的世界。今年選映的電影,無論是本地或海外,都圍繞一些很在地的問題,從國土與自我身份出發,互相觀照。

今年我們遇到很大的困難,藝術中心電影院正值裝修期間,沒有了主場地,迫不得已把場地分散。未來場地也會是一個難題,不是不可以迎合社區放映的趨勢,但實在要思考原由。或許直接打壓尚未逼近,但不能無視眼前的事實,亦不能以商業理由把審查合理化。藉社區放映接觸更多觀眾的同時,我們也要抱着一份反抗的意志,希望有天可以影響到主流觀眾。

影意志邁向二十年,電影節也第十屆了。今天拍電影容易了,選擇太多,或者是時候改變一下方向。今後,希望影意志可以更早參與製作,拍出理念相近的電影,使這種精神得以持續。一個電影節辦幾多年,到頭來都只是可參考的歷史而已。我們從來沒有要發展成大型影展的願景,然這些年來影意志算是有點成績,一些想支持我們的有心人,就算不求回報,想知道捐助能否使計劃持續也正常不過。但我想正正因為沒有太多這種計算和考量,影意志才找自己的位置;繼續發掘獨立電影的新可能。

 

FOREWORD

Vincent Chui, HKindieFF Programme Curator, Artistic Director of Ying E Chi
Translated by Cheung Ka Wan


Taiwan Cinema Manifesto was issued 30 years ago in January 1987 by a group of Taiwanese filmmakers, declaring their expectations towards filmmaking environment. This year, we would like to ‘study’ Taiwan New Wave from a new angle, not only to introduce it to more audience, but also connecting it to the current creative atmosphere in Hong Kong. Thanks to the technology, filmmaking becomes easier and cheaper. But with more and more productions, themes and styles of films tend to be more and more homogenous. Although some of the Taiwan films in the 80s might not be able to gain an immediate appreciation or obtain a high commercial value, we can still learn how to write or film from the films or filmmakers.

'Indie film' is usually defined as film beyond the mainstream. However, the boundary of the mainstream is becoming vaguer and vaguer, and we can only see an artificial world in the so-called mainstream, while social issues that are worth caring are left unattended. Thus, no matter overseas or local films selected this year are all about various fundamental problems, from discussing a nation to knowing oneself.

Due to our main screening theatre Hong Kong Arts Centre is under renovation, screening venue became a big challenge for us this year. Hence, we have to hold our programmes in different locations. Nonetheless, screening venue would be a difficult question to us in the future as well. It is not that we do not cater to the trend of public screening, but we have to think the reasons behind. Perhaps direct suppression is not approaching, but we cannot neglect or rationalise censorship with business considerations. With public screenings, we can get in touch with new audience group, but at the same time, we have to maintain a rebellious attitude, hoping to influence the mainstream audience one day.

Ying E Chi is heading towards its 20th Anniversary and this year is also our 10th Hong Kong Independent Film Festival. Perhaps it is time for us to make some changes when filmmaking becomes easier and when there are wider choices in the film market. In order to sustain our independent spirit, Ying E Chi would like to join productions at an earlier stage from now on, shooting films with similar thoughts. Although we have organised film festival for many years, this is only a record in the history. Despite the achievements Ying E Chi has made, we have never wanted to expand the scale of the film festival. Supporters might not ask for returns, but their concerns whether the project they support can be maintained continuously is understandable. Yet, I think Ying E Chi can find its own place and keep discovering possibilities of indie films, precisely because we do not have many calculations in our operations.