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「以此,我們以電影節,來回應我們的時代。」──崔允信(獨立電影節節目策劃、影意志藝術總監)

香港獨立電影節踏入第十年,所經歷的並非單是十屆影展。過去由於各種原因,獨立電影節不定期舉辦了十多次;亦正因為我們不希望它是每年一度、曲終人散的盛事,亦不想觀眾為朝聖而來,過目即忘,這種靈活和彈性卻成就了這個電影節的性格。《在地而立》一書作為紀錄,梳理十年間的經歷,細看獨立電影節長成的根莖──我們做了甚麼,做不到甚麼,亦思考獨立電影在今天香港的發展。配合出版,這次放映除了回顧過去重要的專題和關於獨立電影的討論,更想可以作補充和伸延。如2011年電影節的序言所說,希望可成就的不止於眼前的回報,讓我們放眼於更長遠的收成,未來再與樹下的人共享。

《亂世備忘》的軌跡始於雨傘運動影像工作坊及2016年的獨立電影節,過去一年導演與行政團隊帶着影片走遍各地,又在本地不同類型的場地播放和帶動討論。這是最後一場公開售票,仍然是在藝術中心,圓滿但並沒有結束,希望藉此以另一個方式延續它的意義。

2008年獨立電影節創辦之初,「獨立焦點」就成為當中一個重要環節,歷年的回顧展包括:山下敦弘、尊卡薩維蒂、小川紳介、艾麗絲華妲、麥馬巴夫家族、趙德胤、桑堤艾格曼及剛剛完成的台灣新電影專題。2011年獨立電影節舉辦小川紳介回顧展,回應當時的反高鐵運動,這不但打開了獨立電影節的社會面向,亦開展了我們在社會運動和電影間的探索,影響尤其深遠。《牧野村千年物語》是小川以十三年時間收割的最後一部長片,這次重映,加上《京都鬼市場・千年影院》這部紀錄當時搭建專用影院過程的短片,再來思考電影和展示方式的關係。2013年的焦點導演是法國新浪潮之母艾麗絲華妲,當年未能播放《幸福》這部重要作品,今次亦藉此把修復版帶到觀眾眼前。而《超級大國民》則是年初台灣電影新浪潮專題的延續,萬仁的作品貫徹與大眾對話的意圖,在今天的香港仍然非常耐看,若以此作提問,我們該如何面對目前的景況?

 

FOREWORD


‘This is how we respond to our time with our film festival.’ -Vincent Chui, HKindieFF Programme Curator & Artistic Director of Ying E Chi

It has been ten years since the first Hong Kong Independent Film Festival (HKindieFF), but we experienced much more than ten festivals. For different reasons, we organised more than ten festivals on an irregular basis. Flexibility is HKindieFF’s feature that we do not want it to be a mere annual event that the audiences come for films’ reputation and slip their mind once it is over. On Earth We Stand is a documentation of the last decade which records the growth of the HKindieFF and reflects the development of independent cinema in Hong Kong. Corresponding to the publication, this programme is a retrospective of the important sections at the previous festivals. On top of that, it aims to be a continuing discussion of the independent cinema. As in the foreword at the HKindieFF 2011, We are looking beyond the present and into the future.

Yellowing first screened in HKindieFF 2016. In the last year, the director and our team showcased it in various cities as well as in Hong Kong and initiated many meaningful discussions. This upcoming final screening will still in the Hong Kong Arts Centre, which is the same as the first one. It was a satisfactory result but not the end of it, Hopefully, this upcoming screening will be another way to perpetuate its significance.

At the beginning of HKindieFF in 2008, ‘Indie Focus’ was already an important part. We had curated retrospectives of Nobuhiro Yamashita, John Cassavetes, Shinsuke Ogawa, Agnès Varda, the Makhmalbaf family, Midi Z, Chantal Akerman, and the most recent one on Taiwan New Cinema. Ogawa’s retrospective in 2011 was a response to the protests against the high-speed railway project in Hong Kong. It focused on the social concerns of the independent films and closed the gap between social movements and films. Magino Village - A Tale was filmed for 13 years of Ogawa’s life which is also his last full-length film. In this screening programme, it is going to show with The Theatre of a Thousand Years - also directed by Owaga which records the process of constructing a specific theatre for Magino Village - A Tale and rethinks the relationships between films and ways of screening. At HKindieFF 2013, we did not screen Happiness directed by Agnès Varda, the mother of the French New Wave, now we are going to show the restored version of it. Super Citizen Ko is a continuation of the Taiwan New Cinema programme earlier this year. Director Wan Jen maintained a dialog with the public that is still very relevant in the Hong Kong context. Through this film, we would like to explore how we can deal with the current social circumstances.