Posts filed under '香港電影面面觀2006-2007'
（討論電影：姨媽的後現代生活 The Postmodern Life of My Aunt（許鞍華，2006）、暗物質 Dark Matter（陳士爭，2007）、蟲師 The Bugmaster（大友克洋，2007））
關於《姨媽的後現代生活》
那夜姨媽夢迴時看到的那道月霞，跟她外甥失眠時看到的那道月霞，兩者之間可有任何外在或者內在的聯繫？似乎值得進一步思考。
關於《暗物質》
對比《姨媽的後現代生活》那自然流暢、渾然天成的敘事手法，《暗物質》便顯得仍有斧鑿的痕跡，部分思想和象徵意義未能好好把握和引伸入電影之中。
關於《蟲師》
電影想要呈現的大概是一個有神話色彩的古代日本，但故事各條主線發展得相當紊亂，看不出重心和轉折，好些情節想要並行又顯得不能呼應。唯一可取的是主角身世和現今生活、工作之間的千絲萬縷關係。但故事推進速度相當緩慢，一件事件完結後另一件事件又似毫無關聯地突兀出現，看不到整體的和諧與美感。好些場景足以令人覺得可以收場，鏡頭一黑一亮，又有另一段故事帶了出來。（…閱讀全文）
作者：hystericireul
刊於：WILD SEVEN
May 5th, 2007
（相關電影：姨媽的後現代生活 The Postmodern Life of My Aunt － 許鞍華，2006）
整部電影，藉姨媽的生活，以輕鬆的筆觸，描寫現代化下中國人民的生活，物質上的充裕，何能填補心靈上的虛空 ? 最終，人人都要丟棄自我，混在現實洪流中隨波逐流…..（…閱讀全文）
作者:Raymond NG
刊於:G13 Mania
May 3rd, 2007
（討論電影：姨媽的後現代生活 The Postmodern Life of My Aunt － 許鞍華，2006）
看過《誠品好讀》的一篇訪問，原來編劇想證明每個平凡的人，背後也會有一個故事，就算平時開朗的姨媽，背後也有一段不想人知的經歷。另外原著沒有爛面的飛飛，外甥也沒有跛，編劇要表達現實是悲慘才加上去，許鞍華故意淡化外甥跛腳的畫面，反被編劇指拍得不夠慘。（閱讀全文）
作者：shepherd
刊於：i - Imaginary Number
April 27th, 2007
（討論電影：姨媽的後現代生活 The Postmodern Life of My Aunt（許鞍華，2006））
含劇情描述
電影的名字「駭人」，故事其實是個有關內地普通婦人的平凡遭遇，自命清高但開始跟社會脫節，被騙財騙色的橋段老掉大牙，卻是全片最令人會心微笑的一段，周潤發回復以往港產喜劇的形象，飾演這個讓人恨不起來的騙子，真的明白為何姨媽會明知「被騙」仍一股腦兒投入其懷抱。
其實很多人都說戲名可以直接叫《女人五十》（還是六十？），因為講的是內地一名年過五十的女人之故事，……（…閱讀全文）
作者：Miss Gabe
刊於：江大小姐塗鴉網誌
April 26th, 2007
（討論電影：八月的故事 August Story － 麥婉欣，2007／西安故事 Xi’an Story － 陳果，2006）
呢套戲其實係今年電影節之中幾想睇0既一套戲
但可惜因版權問題取消左
十萬個可惜（…閱讀全文）
作者：luvul
刊於：blogger luvul
April 23rd, 2007
事件看似一單很普通的版權紛爭，內裡卻還有其他因素。
作品出自導演手中，理應版權屬於導演自己本身，何以這個製成品卻屬於港台擁有？說到版權，很多人會覺得只屬於錢銀上的問題，用錢就應該可以解決，但為何會變成如此地步呢，還有一點，港台話晒都係一間政府權構，又唔係自負盈虧的 NGO，理論上又唔駛緊張呢d 錢，咁究竟什麼原因，讓大家的關係如此拉緊？（…閱讀全文）
作者：Cusson
刊於：PUCC_Cusson’s Xanga Site
April 21st, 2007
(討論電影: 姨媽的後現代生活 The Postmodern Life of My Aunt, 2006)
電影令人動容，是因為每個角色都立體。沒有極好和至壞的人物，每個人都有他可愛和不足的地方，每個人本身都有一個他自己的故事，而不僅僅是主角旁邊的附庸。只要你願意去細想，你可以為寬寬、飛飛、水太太、金永花、姨媽的女兒寫個延伸故事，甚至金永花的丈夫、姨媽的丈夫、姨媽女兒的男朋友、飛飛的外婆，各自都有不足為外人道的後現代生活。
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作者: 公園仔
刊於: The Dukedom of Aberdeen 香港仔公國
April 20th, 2007
是《女人四十》的續篇嗎？許鞍華的出色的文藝導演筒下，我們仿佛親歷其境中年女人面對的一連串現實危/機。好寫實，但又不失黑色幽默。（…閱讀全文）
作者：4res / Forrest Lau
刊於：4res電影夢囈
April 19th, 2007
談及數齣電影:
Love Massacre (Hong Kong, 1981) - 愛殺 (非HKIFF電影)
this 1981 effort whose screenings weren’t officially part of the Hong Kong International Film Festival is the better as well as more interesting work.
The first cinematic production out of Hong Kong to employ an art director (and what an art director he turned out to be in William Cheung Suk Ping!), there’s much in this artistic slasher horror that’s seriously beautiful to behold
One Way Street on a Turntable (Hong Kong, 2006) - 唱盤上的單行道
I did pay to attend the world premiere of this 74 minute piece that purportedly is a “contemplative portrait of Hong Kong past and present” and all. Alas, however, the truth, plain and simple, is that I think that this is precisely the kind of work that gives film festival and/or independent fare a bad name.
Half Moon (Iran/Iraq, 2006) - 月半之歌
this gem of a road movie that takes its viewers through scenic landscapes in borderlands which are rarely captured on film. In turns funny, sad, absurd, moving, dream-like and — above all else — haunting, this fourth feature film from Kurdish director Basman Ghobadi centers on an aging musician named Mamo who’s intent on performing for the first time in over 30 years in Iraqi Kurdistan.
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作者: YTSL
刊於: WEBS OF SIGNIFICANCE
April 16th, 2007
「生命要以生命為代價，才可以生存下去。」
這是一部有映像風格、 灰暗、蒼茫及令人痛切的港產片。”狗咬狗”的那份感概, 悲鳴讓人很不舒服。
故事內容是有點不合情理, 有點誇張, 結局也有點牽強 … 但電影布局, 拍攝手法, 以及那當中的一點”什麼” 都一環一環的吸引著我們看下去。
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作者: Carmen
刊於: Carmen’s space
April 14th, 2007
談到幾齣電影:
父子 (香港)
危險人物 (香港)
莫失莫忘（前譯：愛情征服一切）(馬來西亞)
喜怒哀樂 (台灣) (李翰祥)
After This Our Exile (Hong Kong, 2006)
To say the least, I did not feel let down at all by this compelling father and son drama — and this even though it stars one of my least favorite Hong Kong actors in Aaron Kwok…
Undercover (Hong Kong, 2007)
the bald truth of the matter is that this shot-on-digital video offering can’t help but suffer quite a bit in comparison. And although its two male stars actually are ones whose movie appearances I often do look forward to seeing, their sturdy (in the case of Shawn Yue) and charismatic (in the case of Sam Lee) presence just couldn’t make up for their characters being caught in a story that’s tired, hackneyed and unneccessarily possesses the kind of misogynistic overlay that tales about heng tai don’t really need to have…
Love Conquers All (Malaysia, 2006)
This Malaysian indie effort has a reputation for being a favorite with film festival juries…
I wasn’t impressed by this effort’s acting, cinematography, editing and musical choices, never mind story and other content. Also, I didn’t feel any sense of tension or empathy for the main characters…
In a nutshell: In a film festival that appears to have had too many films with stupid protagonists, this work’s main character gets the prize for being the dumbest of them all.
Four Moods (Taiwan, 1970)
Like John Woo, the late Li Han-Hsiang is remembered these days as one of Hong Kong cinema’s biggest auteurs. However, as with more than one now vaunted Hong Kong filmmaker, he also had a spell in Taiwan, during which he got into financial trouble.
To help him get through his dire straits, three of Taiwan’s top directors in Bai Jingrui, King Hu and Li Xing decided to band together with Li Han-Hsiang to make a movie that would consist of four separate stories, each of which would be directed by one of this quartet of auteurs…
Unlike all the other works which I’ve previously viewed, this one didn’t feature an elaborate set or pretty costumes…
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作者: YTSL
刊於: WEBS OF SIGNIFICANCE
April 13th, 2007
談及電影”臥虎”
Watching the unexpectedly solid Wo Hu (2006). Wong Jing is widely known as the great vulgarian of Hong Kong cinema; nothing is too lowbrow to be tossed into his movies. I like some of his work, but I worried when the opening credits of a serious picture like this listed Wong as producer. Despite my concerns, this turned out to be a strong cops-and-triads pic. The presence of Eric Tsang, Francis Ng, and Jordan Chan helps a great deal, and Marco Mak’s direction is efficient enough. The real strength is the script, with a plot that is unusually taut for a Hong Kong movie…
電影”天行者”
Seeing James Yuen’s curious Heavenly Mission (2006)…
One of many crime movies screened in the Panorama section of the festival, this is neither the worst nor the best. The plot proceeds spasmodically, and our mysterious protagonist seems a little too passive. Nice to see Ti Lung again, though, playing an aging and pacific triad boss. Nice also to see for once Thailand treated not as hell but rather as purgatory…
電影”給他們一個機會”
Enjoying in an old-fashioned way Herman Yau’s Give Them a Chance (2003): The notion of a movie about how HK teenagers become breakdancing stars didn’t seem promising, but it turns out to be a sweet piece of work. Yau has always had sympathy for grassroots life here, and he makes his ensemble plausible and sympathetic.
At a time when most HK directors seem wall-eyed for the Mainland box-office, here is a movie that is utterly local. It even has two English titles, Give Them a Chance and Give Me a Chance, just going to show that it wasn’t made for us Anglos. Actually, though, it speaks to anybody…
還有與Athena Tsui去購物, 和Raymond Phathanavirangoon吃晚飯, 去了看舞獅…
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作者: David Bordwell
刊於: David Bordwell’s website on cinema: Observations on film art and Film Art
April 12th, 2007
（討論電影：姨媽的後現代生活 The Postmodern Life of My Aunt（許鞍華，2006））
含劇情描述
周潤發飾演的潘知常，實在是全片其中一個最有趣的角色。片中的他是活潑的、多才多藝的，一把嗽過油的甜嘴巴，即使是姨媽也為之心動。他和姨媽走樓梯吃西瓜的一段，更是惹笑非常。然而，全片並沒有揭露他的真正身份: 他真的是大騙子嗎? 他對姨媽的感情是真的嗎? 他的傻氣固然令人希望他是無辜的，但他也可以是一名演技精湛的情場殺手，足以人財兩得。這種含糊不清的特性，使最終對他的評價就落在觀眾的主觀詮釋和信念上，這也可算是一種後現代精神的表述吧。但可以肯定的是，姨媽是這段關係中最大的受害者，足以使她對自己的信念全然粉碎。（…閱讀全文）
作者：筆求仁
刊於：laputasky’s Blog
April 5th, 2007
電影學者David Bordwell提到來港參與HKIFF時期見到傳媒有關特首選舉及徐步高聆訊的報道, 另外簡短地寫了一些觀影後感.
While I’ve been here, Hong Kong has been embroiled in two big stories. First is the runup to the election for chief executive…
The other big story has been the aftermath of a 2006 shootout involving police constable Tsui Po-ko. The latter has the confusing intricacy of a Hong Kong cop movie…
The media have gone wild over this and even replayed the episode of the local version of Who Wants to Be a Millionaire? on which Tsui appeared as a contestant…
Moving to the more comforting world of cinema, let me catch up on some of the films I’ve seen at Filmart and the Hong Kong International Film Festival…
Ying Liang’s The Other Half
Li Yu’s Lost in Beijing
Derek Yee’s Protege
Ninagawa Mika’s Sakuran
Nicole Garcia’s Selon Charlie
Benoît Delepine and Gustave Kervern’s Avida
Iran: A Cinematographic Revolution
Johnnie To’s Exiled
Cheang Pou-soi’s Dog Bite Dog
Otar Iosseliani’s Gardens in Autumn
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作者: David Bordwell
刊於: David Bordwell’s website on cinema: Observations on film art and Film Art
April 1st, 2007
（討論電影：姨媽的後現代生活 The Postmodern Life of My Aunt - 許鞍華，2006）
《姨媽的後現代生活》是一個平平實實的故事，寫姨媽的晚年生活。電影開始時輕輕鬆鬆，但結束時卻是沉沉重重。這當中沒有使用甚麼的煽情手法去撩撥觀眾情緒，只是描寫現實，但也是這套電人令人傷感之處。
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作者：Jacky
刊於：網絡暴民 Jacky’s Blog
March 28th, 2007
