這不是音樂劇版或迪士尼版的《美女與野獸》，而是淒美愛情電影版之濫觴。野獸的城堡神秘得使人迷醉：真人手臂提著火炬的走廊、眼珠滾動的人面浮雕、變成鑽石的眼淚、能讓人穿梭各地的隱形手套、還有那位看守著永恆之花的希臘女神。導演把野獸的醜和美女的美不時並置，來表現人類內 / 外，意識 / 潛意識，獸性 / 人性的複雜性相。在兩個愛得傷痛欲絕的猙獰和美麗的面孔下，隱藏著一個無法破解的兩難：要靚定要心。當內在美戰勝外在醜時，人類的慾望魔咒方會化解，乾坤逆轉。

Unlike the musical or the Disney version, this is the first treatment of The Beauty and the Beast as a sentimental love story. The castle of the Beast is spellbinding: a corridor with real arms holding torches, reliefs of human faces with rolling eyes, tears that turn into diamonds, invisible gloves that appear everywhere, a Greek goddess guarding the eternal flower... Cocteau juxtaposes the ugly Beast and the Beauty to suggest the inside/outside, conscious/subconscious of human beings and the complex duality of bestiality and humanity.

31/12 (Sat) 7:40pm

你能想像穿過鏡子進入地府嗎？你能想像死神是一位美艷女子嗎？你能想像換取愛人還陽的條件是不可相見嗎？

詩人導演運用特有的想像力，把種種希臘神話人物穿梭於現代時空中。死神竟然愛上凡間詩人，黑白無常竟然是軍裝交通警，地府入口竟然是水溶鏡面。生 / 死、地府 / 陽間、夢景 / 現實展現一幕幕感人的愛情，帶領觀眾進入神秘詩化的陰陽路。

Can you imagine entering the underworld through a mirror, Death in the guise of a beautiful woman, or having one's lover return to life by promising never to see him again?
Exercising his unique imagination, the poet-director allows Greek mythological figures to roam in modern time and space. While Death falls in love with a poet on earth, the guardians of Hades appear as traffic cops. The entrance to the underworld is a mirror that dissolves into water.
Scenes of romantic love are set against the background of the underworld and this world, dreams and reality, leading the audience into a mysterious and poetic path between life and death.

1/1 (Sun) 7:40pm

同樣是出自十七世紀Charles Perrault 的手筆，《驢皮公主》就沒有他的其他童話作品《白雪公主》和《睡公主》般大行其道，皆因《驢皮公主》「意識不良，教壞細路」，故事中的少女主人說：”I want to marry daddy.” 這樣一個極具顛覆性的亂倫童話，落入法國新浪潮導演積葵．丹美的手中，便變成他向尚．高克多《美女與野獸》致敬的作品。藍色王國的皇后將不久人世，他向國王說：「你找個比我更漂亮的當皇后吧。」可是眾裡尋她，皇后的美，無人能及，世上只有他們的女兒才可媲美……積葵．丹美借將，找來高克多的御用演員兼情人尚．馬赫，挪移《美麗與野獸》的超現實童話觸覺，再注入他的拿手好戲音樂劇（經典有《秋水伊人》）體裁，炮製出這部仿如糖衣毒藥的不朽作。

Donkey Skin is told with the simplicity and beauty of a fairy tale, but with emotional undertones and a style that resembles Cocteau's surrealistic masterpiece Beauty and the Beast. Inside the blue kingdom, lying on her deathbed, the queen orders the king, "Promise me you'll marry only when you find a wife more beautiful than me." A search begins for such a woman, but it is by no means an easy task. All he has seen is one uglier than the one before, except one – his own daughter…Donkey Skin is no ordinary fairy tale. Its subversive ideologies are coated with a jolly good atmosphere of music and dance, orchestrated by the master of French musical, Jacques Demy (The Umbrellas of Cherbourg and The Young Girls of Rochefort). Cocteau's favorite actor, Jean Maris, plays the tragic king.

31/12 (Sat) 9:40pm
15/1 (Sun) 9:40pm

一名神秘青年，來到米蘭的一所郊外大宅，來歷不明，用心難測，但先後將那裡的人逐一迷倒、勾引，先是女僕、兒子，繼而是母親、女兒，最後連父親也活生生墮進他的慾網之中。柏索里尼謎一樣的佈局，借尚．高克多喜愛的神話、聯想，似有還無的質疑了中產階層的虛無、骨子裡的慾望橫流。戲中父親在日光下前行，隻手撇日，隻手掩眼，活像瞎子走路，一如尚．高克多的奧菲爾，從地獄中活命過來，象徵意義不言而喻。柏索里尼借大宅來喻城，不就是高克多借寓言來自省？

An enigmatic and symbolic look at the bourgeois milieu and the effect that a mysterious visitor has on one rural family. Into the life of this prominent Milanese family walks a young man, an angelic-looking stranger, whose spiritual sexuality touches each member of the household in a different way. He becomes involved with the housemaid, the son, then the wife and the daughter, and at last, the father. Then one day he disappears as mysteriously as he arrived, leaving everyone unable to cope with their spiritual void. Theorem is full of associations to Cocteau. The father is dazzled by the sun's reflection and tries to walk forward, simply like a blind man. He is like Orpheus coming back from hell blindfolded, Oedipus wandering in the streets of Thebes at the end of his life. It is a specific metaphor encompassing part of Cocteau's philosophy.

6/1 (Fri) 9:40pm
14/1 (Sat) 9:40pm

艾慕杜華曾經說過，他的模範導演正是尚．高克多。於是，他出道不久，便乾脆的將高克多的劇作 The Human Voice 搬進他的電影裡。《慾望之規條》的Carmen Maura，在台上表演的正是這齣劇作，劇中的戀人，獨佔虛空，等待另外的一半重投懷抱，那份失落，那份傍徨，便是高克多描寫失戀的典型。艾慕杜華借此烘托戲中的戀人們，無條件不留餘地盡情愛到底，最終換來的就是這份失落，不論是戲中的同志導演愛上不領情的小男生，還是熱情青年熱戀同志導演不果，因愛成恨的惡作劇，統統都是人性的聲音、慾望之規條。

Law of Desire has a scene of Carmen Maura playing on stage, which is the extract of Cocteau's play, The Human Voice. In the play, Cocteau visualizes the archetype of love despair, which predominantly appears in his works, that a man no longer respond to anything his lover said on the phone. Conversation becomes monologue. Almodovar transplants this despair into Law of Desire, by suggesting the collapse of relationship of a gay director, Paolo, with his bisexual lover, young and passionate Antonio. It offers an exhilarating romp detailing the erotic adventures of them as the story accelerates into a tragic finale. Law of Desire is the work Almodovar shares most of Cocteau's attitude towards love and relationship, it also explains why Almodovar often recalls that Cocteau is indeed a role model for his filmmaking.

7/1 (Sat) 9:40pm
16/1 (Mon) 9:40pm

如果說尚．高克多不是實驗電影的始祖，那麼稱他為這場地下電影運動的教父準不會有錯。美國女前衛電影導演瑪雅．戴倫的作品，很明顯受到尚．高克多影響，她的《時間變形中的儀式》(1945 / 15 mins / 黑白/ 無聲) 便重整了《詩人之血》的影像，減去對慾望的描繪，重新整理了感情，作品中展現的「時間」，更是戴倫執迷不悔的成果。她的《沉思暴力》(1948 / 12 mins / 黑白)，探討了「變易」的主題。《煙花》(1947 / 20 mins / 黑白) 是堅納夫．安格的經典名作，他自導自演遭強暴的過程，當中點煙的靈感，正好來自尚．高克多的作品。《情歌愛曲》 (1950 / 26mins / 黑白 / 無聲)則是唯一一部由文豪尚．惹內執導的作品，也是由尚．高克多資助及攝影的作品，戲中三名監犯，借助吸煙呼煙的幻象，投射自己對男性胴體的慾望，大膽程度令人咋舌，更大大影響了日後的同志電影與實驗電影創作。全長73分鐘。

If Cocteau is not the inventor of the experimental cinema, he is at least one of the most impactive inspirers and secret godfathers of underground cinema. Maya Deren, one of the most prominent figures of this movement, revisits the shots of The Blood of a Poet to rip them off of the erotic connotation and recreates the emotions. The same quest for the sense of time obsesses her when in Ritual in Transfigured Time (1945 / 15 mins / B&W / silent), a woman is coming forward, arms straight like Orpheus and sees in front of her two girls knitting with the stitches of Time. Meditation of Violence (1948 / 12 mins / B&W) explores the theme of variation and transformation. Fireworks (1947 / 20 mins / B&W), directed by the avant-garde artist, Kenneth Anger, exemplifies the inspiration found in Cocteau's use of saturated and dazzling white colour when the protagonist is lighting his cigarette in the white dazzling shirt. Jean Genet's Un Chant d'amour (1950 / 26mins / B&W / silent) is a project commissioned by Jean Cocteau (who is also unaccredited as cinematographer), it tells the story of three prisoners who share the same fantasy. It is one of the earliest underground films dealing with gay male desire and eroticism in an explicit manner, casting huge influence on both gay cinema and experimental cinema ever since. (Total running time: 73 mins)

9/1 (Mon) 9:40pm
20/1 (Fri) 9:40pm