香港當然有文化,「香港是文化沙漠」是以偏概全的評語,我們要做的是盡力扶持,不可妄自菲薄。近年香港在電影藝術方面不斷有新血加入,繼去年《一念無明》,「亞洲新導演獎」今年又多了本地薑電影競賽,當中再有新面孔,包括《以青春的名義》譚惠貞、以《藍天白雲》首次挑戰劇情長片的張經緯。閉幕電影《白色女孩》有新導演白海夥拍杜可風,隆重呈獻與特別推介環節亦有處女執導本土劇情長片《空手道》的杜汶澤、《狂獸》李子俊及《黃金花》導演陳大利。本地力量會如何在大銀幕上綻放,令人拭目以待。

The claim of Hong Kong being a cultural desert is certainly a biased comment. Instead of underestimating ourselves, we shall support Hong Kong’s cultural development all the way. In the field of film production, Hong Kong is blessed with many new talents. This year, we have Tam Wai-ching’s In Your Dreams, and Cheung King-wai’s Somewhere Beyond the Mist representing Hong Kong in HKAFF’s New Talent Award. With Jenny Suen and Christopher Doyle’s The White Girl being the Closing films, Chapman To’s The Empty Hands, and Jonathan Li’s The Brink being the Gala Representation, as well as Chan Tai-lee's Tomorrow is Another Day as Special Presentation of HKAFF this year, audience will be introduced to the fresh local power of Hong Kong.

反叛是為了反抗,高唱「金正恩萬歲」、在廢棄大學校園搞band show、用10分鐘唱100首歌的「栗島海盜」,大概是最踩界的韓國龐克樂團。桀驁不馴,全因對現實和體制有一腔不滿需要抒發。細心聆聽他們的聲音,讓本片導演鄭潤錫和研究韓國流行文化學者鍾樂偉帶你認識韓國政治,你會發現栗島海盜不是亂噏。

They rebel in order to resist. Singing “hail to Kim Jong-un”, organising band shows in abandoned university buildings and performing 100 songs in 10 minutes, Bamseom Pirates probably is the most controversial punk band in Korea. Listen to their tunes closely, and look into Korean politics with director Jung Yoon-suk and scholar Steve Chung who specialises in the field of Korean popular culture, you will realise that Bamseom Pirates is not just some young people who rebel without a cause.

日本電影新浪潮代表人物、奇幻大師鈴木清順於本年初逝世。即興的手法、超現實的風格、色彩豐富的影像、怪誕的取鏡,大膽前衛的道德觀,組成獨一無二的「清順美學」。他別樹一幟,懶理觀眾是否明白他的電影,結果電影公司跟他解約,漫長訴訟更令他被電影界列入黑名單,令其導演生涯更顯傳奇。他的離世,為日本電影留下了怎樣的一塊空白?香港亞洲電影節聯同影評人及日本電影專家舒明,以座談會懷緬本年度焦點影人鈴木清順。

Suzuki Seijun, avant-garde filmmaker and one of the important figures of Japanese New Wave, passed away in February this year. His works often feature spontaneous actions, surreal styles, jarring colours, odd angles and progressive ideas, forming a unique “Seijun aesthetics”. Strong in his personal style and oblivious of audience’s reactions, he faced termination of contract which led to removal of his films from distribution. Though unfortunate, the incident certainly makes his life story even more legendary. What loss did his death mean to the Japanese film industry? Let us commemorate our Director in Focus with screenings and a talk.

從上世紀40年代中國出現第一部動畫長片直到今日,中國動畫在手法和主題上都一直在演變。早期中國動畫多以民間傳說和經典章回小說為主題,以剪紙片或數量龐大的畫稿製作動畫。時至今日,中國動畫的靈感來源和表達手法百花齊放‥神話傳說、黑暗寫實、社會階級、山水風光、古雅水墨......不同元素在新一代中國動畫師手上幻變出千變萬化的光彩,令人耳目一新。

Chinese animation has been changing and evolving since the birth of the first Chinese animation film in the 1940s. Early works of Chinese animation often recreates folklores and classic novels with paper-cutting art or an incredible amount of drawings. Using different techniques, Chinese animators nowadays explore a wide range of themes such as mythology, realism, social criticism, and so on and their works will certainly wow you.

本屆香港亞洲電影節向觀眾推介湯淺政明的動畫及中國動畫,那香港的動畫文化在亞洲又佔了什麼席位?香港的動畫界前景又是怎樣?本地資深動畫師,為你逐一娓娓道來。1977年開始獨立動畫創作,近年擔任香港藝術中心、香港大學通識教育及香港理工大學動畫教授的盧子英(盧sir),會跟你上一節動畫文化堂。

This year’s HKAFF highlights Masaaki Yuasa’s animations and Chinese animations. What about Hong Kong’s animations? What roles do they play in the Asian animation culture? What is the future of animations in Hong Kong? Lo Che-ying, Hong Kong veteran independent animator and professor, will share with you his insights and experiences in the field of animation.

小田切讓向來熱衷參演風格強烈的非主流電影,更自認適合比較另類的領域。杜可風,除了是王家衛的長期拍檔,他亦經常參與不同國家地域的電影製作。兩人都出名性格獨特,分別是日本及香港的獨立電影代表人物,當他們的軌跡相交,會擦出什麼火花?兩人的獨立電影路上又有什麼風景?二人多個國際大小演員、攝影、導演的拍攝經驗,夠我們聽幾日。

Odagiri Joe thinks he fits the “alternative” arena more, and prefers participating in non-mainstream films with strong styles. Meanwhile, Christopher Doyle often works with indie film directors apart from his long-term collaboration with Wong Kar-wai, and he even directs his own independent work. What would happen when the two important figures of international indie film come across in Hong Kong? What is ahead in their journey of independent filmmaking?

*參加者需在活動當天到場排隊輪候入座,座位有限,先到先得。