The Post-underground Screening

Film Festival as a Must-Go

2012-01-13T14:31:00.002+09:00

和大家扯“电影节研究”，有人好奇，有人不屑一顾，这很正常；没有必要为这个分支学科涕泪交零地辩护。对于我为什么要去电影节，很多人包括我的日本同事其实不是很清楚在鹿特丹呆十天左右意义何在；或许我平时没有苦大仇深学习和研究的姿态令人们觉得我（再）去欧洲动机不纯（有没有想过我天资聪颖？）。固然我是想过认识新的小哥哥探讨电影把臂同游之类，但这不是影展本身于我的意义所在。似乎很多人对参加影展和跑那么远参加影展有一定程度的误解；对我来说，影展是研究（工作）的一部分，某程度上说比我天天去研究所还累；此外，影展给大众的印象似乎就是观光和吃喝；是旅行的一种借口。拜托啊兄弟，冬天的荷兰凡是人，头都要被风吹掉了，你观屁个光啊。

不过基于过往三届的经验，简单罗列一下。首先为什么一定要去。如果要保持对亚洲新电影的认识不凹凸，很直接而貌似简单的做法就是多看片；在不能够及时通过盗版等间接途径得到片源的情况下，最直接的办法是去电影节；在时间和金钱都有限但并非完全不可能的情况下，除了国内的民间影展，或可以考虑去釜山，以及鹿特丹。固然我参加这些影展，都有一个堂皇的理由“和研究有关”。（我信这个理由么？现在估算可能是有点小小怀疑的，因为的确为了自我辩解写这种冒傻气的文章了。）两影展后者和前者的关系不赘述，至少要明白的是，鹿特丹的竞赛单元和釜山新浪潮一样只选导演的第一部或第二部作品；而鹿特丹也十分喜欢来自“南方”的作品。如果不是以往鹿特丹，我不可能对亚洲的独立作品那么感兴趣。

其次，为什么要那么久（涉及每日安排）。减去从亚洲来回的时间，其实只有8天，而例如鹿特丹整体的大致期间是12天。影片群数量庞大，任何地球人都无法穷尽；只能甄选后根据优先性每天挑选3-5部（5是我的极限）观赏之。于我这样低端但尚算一心一意的影迷+研究者而言，在“看电影”为主要目的的前提下，几乎每天都会如此重复。在安排了访问的时候，看片数大概会略减。此外，还有相当时间用来书写、记录和交谈。不排除很小量的娱乐时间。在这样认真安排进行的时间内若完全穷尽自己想看的作品，已然满足。

最后，完全从个人的私心出发，我的确喜欢鹿特丹影展的人和工作环境。和网络电影节不同的是，如果你不亲自到达影展，不能浸淫在那种“正在进行中“的话，无法理解所谓场力何在。固然networking也是很重要的议题。作者、导演、选片人、影评人、观众、闲人⋯⋯若你看不到他们的脸，见不到他们的表情和眼神，不观察他们和影院的关联，不体会到城市或因影展而变得不同，或许就只能想象电影节不过是 “看看电影”和“顺便旅行”而不可能是更多。

另：从大阪跑到东京办签证，两趟夜间巴士，大使馆的唧唧歪歪，另加6100日元的签证费（托欧元贬值的福，几乎欧元和港币一样了！），你让我只待5天，说不过去吧？？？什么时候我国护照也能够去欧洲说去就去了，让我到了就走咱都没有异议。以上です。

memoir of the 37th Rotterdam Film Festival

2012-01-13T12:16:00.005+09:00

Dear all, this is R.

I'd go to Rotterdam for the 4th time to participate the film festival there on Jan 27th.

Here I copy & paste sth I wrote for my then-professor Gina about the 37th IFFR. My written English is sort of awkward there...

Would Update our blog at 2012 Rotterdam as well. Ciao for now!!!!

Flower in the Pocket

It is known that the 37^th International Film Festival Rotterdam (or IFFR 08) has a humorous official commercial in which a filmmaker always feels he is too “huge” anywhere he goes…in Rotterdam, and “it’s good feeling”, he adds in a wink.

In fact when the city of Rotterdam enters its “Tiger Time” in the gloomy winter, under its aloof modernist disguise she oozes confidence, passion and sexiness with lots of film-related events, celebrations and other visual entertainments going on. “Filmmaker”, so to speak, is also broadly defined by Rotterdam to include the adventurous, original-minded visual artists. Under the leadership of the newly appointed and arguably the “interim” president Rutger Wolfson, this edition’s IFFR underscores the spirit of “Free Radicals”, a chemistry term used to describe the “special molecules or atoms that occasionally provoke fierce reactions”. The programme curated by Wolfson has encompassed three American visual artists’ works (Cameron Jamie, Robert Breer, Paul Sharits) which he believes have been closer to the essence of art in its rebellion from the mainstream visual industry. If the founder of IFFR, the cultural pioneer Hubert Bals were alive today, he couldn’t agree more that the 37-year-old festival from the very beginning has also positioned itself as the “Free Radical” in world visual industry with its selection, showcasing and financing of the most audacious and edgy independent films.

When I was there inside De Doelen Complex, a place I visited 3 years ago as a first-time festival-goer and this time an “angry young” Film Critic Trainee, it’s impressive that even the opening ceremony seems rather low-profile and unpretentious: no red carpet, of course; no limos but only lines of bicycles, the most frequently used transportation means by the Dutch; no fashion competitions among guests, obviously; no lengthy, tedious talks by officials but the touching moment to award the mayor of Rotterdam City for his contribution to the festival after his brief speech, and a golden medal saying “Tiger is a girl’s best friend” to the festival’s former president Sandra Den Hamer...I do have the strong sense that filmmakers are made “important” and “different” here in Rotterdam, particularly the young talents, because IFFR has been highly regarded globally for its persistent promotion and support of independent films from developing countries in the “South”—namely Asia, South America and Africa for last 36 years. As IndieWIRE’s Mark Rabinowitz argues, “no festival in the world does more for young and emerging filmmakers from around the world than the IFFR”. Actually its VPRO Tiger Award Competition is made up of 15 first-time or second-time features by independent filmmakers, five of which are from Asia this year, and the festival itself is opened with a debut work. It is also rare when major film festivals would usually compete for premieres from established directors.

The opening film Cordero de Dios (Lamb of God) by Argentinean filmmaker Lucia Cedrón (b.1974) set against the turbulent era of late 70’s Buenos Aires when lots of dissidents mysteriously “disappeared” under the military dictatorship. As Cedrón’s first feature film, Lamb of God is biographical in that the filmmaker went to France with her mother after her father Jorge Cedrón, also a filmmaker, died in the 1970’s whose death is never clarified officially.

I have to say the festival’s promoting trailer about how “big” a filmmaker could be at Rotterdam gets testified when Liew Seng-tat, a 29-year-old Malaysian New Wave filmmaker won the Tiger Award with his first feature Flower in the Pocket centering on two brothers’ after-school adventure in Kuala Lumpur. At the Award Ceremony, Seng-tat had a difficult time juggling with the poster-like 15,000 Euro bank note (cash award of Tiger) with in one hand and the IFFR diploma in the other when he had to at the same time make a short award acceptance speech in waves of laughter and cheers with his towering Dutch hosts (the festival president Rutger Wolfson must be over 1.90 meters!) at back.

Actually Seng-tat’s “hugeness” was already felt when this babyface filmmaker shares with me—in Mandarin—how he and his friends at Dahuang Pictures, the base of Malaysian New Wave filmmakers keep making films in collaboration and finally get their films released in their home country, in “foreign language” cinema lines though—a truth enough to debunk the belief that these Malaysian filmmakers are trapped and will be perpetuated within the festival circuit by making “festival films”. The second Tiger Award that Malaysian New Wave filmmakers garnered, following Tan Chuimui’s Love Conquers All in 2007 both in Pusan and Rotterdam, a victory repeated by Liew Seng-tat, enforces the fact that in its eighth year the New Wave as well as Dahuang Pictures are not just “flower in the pocket” with petals scattered in the film festival world, but have their season of blossom in vision with continuing global attention and its own growing domestic audience.

This is Rotterdam: always dares to embrace something new and different. When talking to one of Rotterdam’s six programmers Gerwin Tamsma, who is basically responsible for programming Asian indies, about what kind of films will attract him most (and thus to be selected), Gerwin says that “let me put it this way”, he smiles, “Rotterdam and I myself always would like to see films that are always a little bit different from our expectation”, he continues, “films that could bring surprises—this is what we want”.

In Rotterdam I met Li Ruijun (b. 1983), a Beijing-based Chinese independent filmmaker who brought to Rotterdam his first feature Summer Solstice (Sturm and Strung) which was made with a shoestring budget. With its sometimes obviously affected lines, the segmented narrative in the second half and technical problems, one would also be amazed by the controversial subject Li has focused on (same-sex love), the stylized abrupt editing between scenes, the graphical texture of the setting and his sharp perspective in alternative story telling among his peers. Basically having no connection with the prestigious Beijing Film Academy, Li just sent in his film as thousands of other applicants and got an instant response from the programmer. They love it. And Li Ruijun with his all-in-all first film flew to Rotterdam to meet his hundreds of audience in Pathé Theater.

Therefore despite that when looking back I indeed regard this IFFR an event of “missing chances & encounters”, which includes but not limit to the bankruptcy of my ambitious film-watching plan and the unavoidable absence from several themed parties with live music plus film screening (due to my “professional” pressure as the Chinese press representative), Rotterdam film festival still strikes me most as the annual celebration of world independent, alternative film culture, the platform to meet both European or American arthouse maestros (and to ask for their autographs) and emerging film talents (so you hold a quite optimistic view towards the generation born in late 70’s and early 80’s), and the embodiment of this very familiar slogan “Impossible is Nothing”, or vice versa. IFFR’s magnetic field radiates for every newcomer like me and its practical outlook, idealistic vision (thanks to the founder Hubert Bals) and the warm, friendly atmosphere would even make you believe every great film festival should be and would be as wonderful as this one.

This IFFR is also an occasion for serendipitous discoveries. To get to know the programmer ofRediscovering the Fourth Generation Cinema Shelly Kraicer prematurally as an interpreter for two Chinese directors—Huang Shuqin (Woman, Demon, Human) and Xie Fei (Black Snow) is the most exciting part of my first day at IFFR; and yeah I collected some of those filmmakers' autographs...not in order to show off, but that I never imagined that one day the directors of "old" films that I watched when I was quite a little girl would sit next to me and shared with me the Chinese fried rice with its warmth. Later on when talking with Shelly, I learnt that to obtain any single one of the 12 film prints at IFFR, he made great efforts to negotiate with and convince people of the film studios (the now film group companies).

On the final day of the festival, I also went to watch My Old Memories of Beijing (Chengnan Jiushi, 1982) by Wu Yigong. After the film, I heard a middle-aged Dutch woman singing the ballad recurrent in this film when she walked out (Songbie or Farewell Pavilion, lyric by Chinese intellectual Li Shutong, the melody is originally from an American composer John Pond Ordway). Moment as such is just touching and wonderful but my feeling is just mixed, not just because of the film itself, but the fact that I am in Rotterdam with a full house of audience who are willing to appreciate the old and the past when we ourselves are reluctant to remember and too ready to ignore.

remo上映会

2011-12-16T11:30:00.005+09:00

[张新民教授、徐童、小雁、我和南真理]

【一路从东京乘新干线过来，REMO放映现场】

【京都清水寺】

Dear all,

thank you for coming to remo's screening on the 12th, and I think it must be very "unforgettable"...not only because of the documentary, but also because we were in the semi-open space hahaha.

On the 13th, I brought XU Tong and xiaoyan to Kyoto!

徐童（シュー・トン）監督の『占い師』１２月１２日remo上映会

2011-11-11T20:07:00.013+09:00

【the Fortune Teller】

[remo's location]

[screened at 2011 Rotterdam International Film Festival]

徐童監督とドキュメンタリーにでてきた唐小雁さんが、上映会のあと会場に来られます。会場のみなさんからの質問もうけつけます。みなさんぜひ上映会にお越し下さい。ジュール

*日時：2011年12月12（月) open: 17:30 start: 18:00

*会場：remo/ 大阪市住之江区北加賀屋5-4-12 [see map]

大阪市営四つ橋線北加賀屋駅四番出口

tel/fax 06-6686-5757

*入場無料

*協力：中国インディペンデント映画祭

*お問い合わせ：アンダーグラウンドの後でー中国ニューインディペンデント映画の現在@大阪

e-mail： maraninhk(at)gmail.com　TEL：080-42316997　 http://filmunder.blogspot.com/

○ABOUT THE FILM:

『占い師』　算命/Fortune Teller/2009年/129分/フォーマット DVCAM/字幕 Jp

あらすじ：体に障害を持つ厲百程は、体と脳に障害を持つ妻とともに、路上で占い師をして生計を立てている。彼の客は主に場末の娼婦たちである。厳しい現実の中でも、彼らは笑顔を絶やさず、そして常にしたたかだ。中国の底辺に生きる愛すべき人々を見つめる徐童監督が長期取材した、厚くて暖かいヒューマン・ドキュメンタリー。

監督：徐童（シュー・トン）
1965年北京市生まれ。中国伝媒大学卒業。かつてはスチールカメラマンをする傍ら、小説を発表していた。デビュー作『収穫』（08）が世界で評価され、ドキュメンタリー作家に転向。本作が２本目である。３作目『老唐頭』も今年完成し、各国の映画祭で好評を得ている。

○ organizer'sのコメント：

我不知道人生有多少次机会，在三十岁之后，因为看了什么听了什么而改变对世界的看法，和人生的态度。《算命》就有这样的力量。在认识徐童之前，我没有这样接近过这群人。近，不仅是物理的概念，在这里还是一个心理的概念。这是为什么，徐童的三部纪录片被命名为“流民三部曲”，而不是“底层三部曲”。看“底层”，我们还是脱不去那种“向下看”的倾向，去怜悯，并赋予自己拯救者的身份；而“流民”是历史上就存在于中国社会中的一支，他们有自己的生活方式，自己的价值体系，自己的社会阶层——只是和“我”的不一样而已，道德是一个相对的概念。这让我的去怜悯、去拯救的企图，都显得自大而可笑。去接近每一个片中人物，都像是在拿手术刀解剖自己。

30歳を過ぎてから、何かを見たり聞いたりして世界の見方や人生への態度が変わるということが、人生に何回あるだろう。『算命（邦訳：占い師）』にはその力がある。徐童に知り合う前に、「そういう人たち」に近づいたことはなかった。近いというのは物理的な概念であるだけでなく、ここでは心理的な概念だ。それはなぜか。徐童のドキュメンタリー三部作は、「下層社会三部曲」ではなく、「流民三部曲」と呼ばれていることに注意したい。「下層」を見るというと、我々は「下を見る」という感覚から抜け出せない。他者を哀れみ、自分をまるでヒーローのように感じる。「流民」の概念はそれとは違う。「流民」とは歴史上中国社会のある一部として存在しており、自分たちのライフスタイルと、価値観の体系、社会階層を持っている人々である。ただ「私」とは違うというだけだ。道徳とは相対的な概念でしかない。ここにおいて、彼らを哀れみ、救おうとする考えなど噴飯ものだ。我々がこの映画の登場人物たちに近づこうとするとき、それはまるで手術メスを持って自分を解剖しているようなものだ。

《算命》甚至让我改变了对纪录片的定见，光看章回体小说的子标题和结尾的八十年代流行歌曲，难道这不是一部剧情片吗？为什么不？这部片子的浓厚程度（Density）超过了这几年你能看到的中国独立故事片，造梦什么的事情原来不仅是故事片专有。同时，这样的作品又少不了生来带有的疑问，究竟纪录片的界限在哪里？纪录片作者的道德应该如何定义？作者本身，和跟随作者到各种放映的片中人物，一起又是一个值得讨论的行为艺术。

『算命』は私のドキュメンタリー映画に対する見方をも変えた。章回体の小説のような章ごとのタイトルと、終わりにある80年代ポップスだけを見ると、まるで普通のドラマ仕立ての映画のようだ。なぜ普通の映画と似ているのか。それは、この映画の「濃度」がここ数年の中国のドキュメンタリー映画を越えているからだ。夢を描くというのは、普通の映画でなくてもできるということの証だろう。と同時に、ドキュメンタリーの作品はそれがもともと持っている問題から離れられない。ドキュメンタリーの限界はどこにあるのか。ドキュメンタリー映画の監督の道徳観はどう定義できるのか。監督と、監督が映画に出てくる人物たちを追っかけるということを一緒にすることで、それはおもしろいパフォーマンスアートとしても捉えうる。[文: Wang Jue/訳:石塚洋介]

中国独立电影“南京宣言” "Nanjing Manifesto"

2011-11-03T17:49:00.002+09:00

全文粘贴过来先：来自网站。然后讨论。好吧，我承认我打了双引号……第八届南京影展讨论会后，部分独立电影人及相关人士发布了一个“萨满动物”宣言。我没有去现场，接丛峰电话并短信了一条与他。我不清楚现场情形，因此难有针对性。之前与王小鲁就评论与制作的问题有较针对性的沟通。现在想来，很有必要在此整理我个人对这类辩论的综合看法——即使武断，也会较清晰地呈现出武断。

（一）制作与评论的互动和对话，一直不够。我个人鼓励积极的对话，出于两方面的设想：1，制作领域的话语表述及逻辑有些混乱，需要一些外部力量来“服务/协助/刺激……”作者-作品的对话及作品的社会对话等；2，评论领域未能为制作提供动态的理论力量，近些年的评论基本未能跟进新制作类型，尚谈不上对其提供理论支撑，甚至缺少必要的对话；有些评论是跟在电影节后面“迟到的观察”，缺失“判决/裁定”的先见之明，部分类似于电影节报道。（当然我个人强烈反对中国独立电影的价值体系对西方电影节的话语依赖）0，当然，到底需不需要互动和对话，当然可以不。如果认为独立电影制作是公共事务，评论就必然地要与此事务达成契约，否则只能视作评论的不在场或评论的非公共性。这与评论的功能直接相关。具体下面议。

（二）评论的几种状况

1，学术消费：不少大学开设了独立电影文化研究的院系所，部分传播学院也将独立电影纳入“新型学术”范畴，由此，官方机构的年检标准（主要是量）促进了这种评论的生产；

2，传媒消费：鉴于独立电影处于电影和艺术的潮流区域，社会文化生产对这种形态有评论需求；这类大多是大众文化评论；而且，这类电影评论家有突然壮大的趋势，他们为网络社区供应了大量感受性消费，是普及独立电影文化特别是“有品质的文化消费”的主要生产者；

3，精英消费：当独立电影成为某种政治任务的有力媒介时，它的传播功能在政治社会学层面刺激了话题生产，由此成为精英知识分子内部消费（是否为阶层消费待议）的视觉产品，生产的评论大多存在阐释过度的问题；

4，青年消费；满足文艺青年的文化需求，譬如反抗、拒斥、挑战、攻讦等等需求，此为青年亚文化范畴；

5，对话生产：这类评论对独立电影制作发挥了重要作用，他们试图对作品的美学、政治学、社会性有较系统的对话建设，目的大体是要促发独立电影与社会的对话，达致“作者-作品-评论-社会-作者……”生产系统的健全发展或反思进程。这类评论家屈指可数，譬如王小鲁等几人（我个人甚至认为现象网的关闭多少会影响到泥巴等一批评论家在系统和纵深上所需求的更多个案的观察）。而且在现实中，他们承载着很大压力，与独立电影一样，在生存和写作的过程中有类同。同时，这类评论家的稀缺正好说明了独立电影批评现状遭受质疑的问题所在。因为这类评论太少，而且这类评论似乎也没有照顾到全局，而且这类评论的确因为局限的几个人的自身视野而限制了评论视野的拓展。

（三）某些制作对评论的几种态度

1，努力欢迎评论：关注度不够，需要更多评论和传播，推动社会对话的进程；

2，拒斥“不在场”的评论：对缺失话语批评能力——无法建立有效对话——的言论、特别是对作品持个人性批判态度的言论，基本是排斥的，间接呈现出此类制作对评论的“服务”功能的需求；

3，怀疑“在场”的评论：评论生产了似乎具体可触摸的文化地理版图，具体评论家的个人视野局限了他们与某些作品和作者对话的延展，由此易于使得这类作品和作者的文化权力难以达成某个话语版图；作者追求文化话语权力的努力是一种可贵精神的体现，不能单纯地视为一种贪欲，而是文化版图需要更多多元的话语和作品来建设，这对评论家提出了非常苛刻的要求；他们话语的“公共性”自身要进行伦理反思；

4，对学术的矛盾：学术能梳理制作与历史、社会的联系，但学术“不在场”的严重滞后，以及学术的西体中用的形式美学的嫁接，都限制了对话的可能性；

0，

评论体系自身的话语需要重建，或者他们自己需要一个批评体系——关于评论家的自身批评体系，或者他们还需要一个电影分级制的尝试（我如此说是对评论的歧视，因为我认为的确太多评论缺失基本思考），这属于评论体系自身的问题。

（四）制作和评论可以存在不互通的局面（资讯如此发达、要做到非常困难），完全可以自说自道，这是建立在不信任基础上的评论家无法展开工作的状况、作者因为个人原因无法明晰表达也不愿达成作品之外的表述的状况等。甚至可以完全不互通，将“作者-作品-评论-评论家”置于一个表面孤立的博弈体系中，这只能是一种理想状况。

（五）自由市场的消费将消弭某些类阶层的差异和歧义，在自由市场上，权力/话语建立在消费力指标的制度中，而这一制度取决于自由市场观看的需要，这一点张献民的《观看：持续与平等》已超前，是一种消费行为学的分析。

（六）作者与观众的关系今年云之南影展上有观众（可能是评论家或写论文的学生）质疑作者强烈地排斥观众的参与，认为作者们的不开放和封闭性造成了话语的“独裁”。特别是近年来针对徐童作品的“社会道德”及写作伦理的辩论，分明地呈现出一个浑沌的趋势。我想这种趋势的源头在于：独立电影作品一定程度上辈认同为“作者+作品”的综合系统。当然，这个系统不能是的作者从作品道德中脱离出来。鉴于纪录电影的作者-作品的某种“互文”特征的设定，作者对其作品道德应该“负全责”，学术研究似乎不是很愿意从“社会道德”方面和美学方面分头展开，而是要一股脑地纳入。由此反映的是我们的社会话语的需求：他们需要某种正义的声音。当然，徐童作品并不是某种“不正义”的声音，而是他触及到了我们变形的知识社会所需求的“底层政治的正义”。

（七）底层与基层底层是一个意识形态自我设置的阶层定义。这种设置是社会现象的某种观察结果，但更多是政治诉求。我本人更愿意取基层一词。因为底层从学理上排斥理性话语，而自认为是理性话语代言人的公共知识分子和精英领袖们，易于在底层中发现社会痼疾的本质所在。但社会并非总是处于静止的观察之中的，它的衍生和变迁会被偶然的政治动作牵制，社会存在缓冲和消弭阶层话语差异的多种外围因素（民族主义等）。而想在可能层面上发展我们的话语能力，首先从示弱的假定中正视法理的认同，回到基层的本质上来，不要一方面我们是神圣的公民，一方面我们又集体迷失在底层。鉴于这种底层的数亿规模，因此放置在基层的认同上，兴许能给自我尊严的重构提供部分学理的力量。关于底层和基层，以后具体再专门写个文章说明。

（八）我的发言是强调了福柯以来的理性话语的自我迷失和现代性自身遭遇的“无理取闹”的戏谑。显然理性话语不是一种普适的价值。因此，对于制作和评论的辩论，是个历史行动，它不可能终结在某个叙述中。我们将这样一些意见分享出来，重在刺激一种辩论的持续，并希望这种辩论成为未来独立电影聚会中一个有意思的话题。更何况几个人的签名只是几个人的声音，只能代表几个人，因此，这个宣言也可视作为一个“话语群体事件”。

Fortune Teller Come to Osaka 徐童导演“算命”即将来大阪

2011-10-26T23:07:00.006+09:00

大家，12月初在徐童导演于东京参加中山大树主办的中国インディペンデント映画祭之后，我们会邀请他来大阪，并举办纪录片 “算命” 的放映会，届时徐导演会和大家见面交谈。

具体细节，请等我们稍后和大家通报。

以下信息来自中国インディペンデント映画祭

『占い師』　算命/Fortune Teller/2009年/129分/フォーマット DVCAM/字幕 Jp
あらすじ：体に障害を持つ厲百程は、体と脳に障害を持つ妻とともに、路上で占い師をして生計を立てている。彼の客は主に場末の娼婦たちである。厳しい現実の中でも、彼らは笑顔を絶やさず、そして常にしたたかだ。中国の底辺に生きる愛すべき人々を見つめる徐童監督が長期取材した、厚くて暖かいヒューマン・ドキュメンタリー。

監督：徐童（シュー・トン）
1965年北京市生まれ。中国伝媒大学卒業。かつてはスチールカメラマンをする傍ら、小説を発表していた。デビュー作『収穫』（08）が世界で評価され、ドキュメンタリー作家に転向。本作が２本目である。３作目『老唐頭』も今年完成し、各国の映画祭で好評を得ている。

Xu Tong's Fortune Teller is coming to Osaka in early December, and please keep updated with the details of the screening of the film : ）

IMPORTANT: COMMON CAFE の上映会をキャンセル

2011-10-21T12:11:00.004+09:00

みなさま

今月30日 COMMON CAFE の上映会をキャンセル　しました

十一月５日、船場アートカフェの上映会が　時間あれば　ぜひ　参加　ください

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Dear all, I'm sorry to tell everybody that our scheduled Screening

on Oct 30, at Common Cafe is cancelled.

But you would see all the missed short films at Senba Art Cafe [link to the event]

Am awfully sorry for the inconvenience I have caused.

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大家实在抱歉，我们在中崎町 common cafe 10月30日的放映会取消。

不过你可以在11月5日我们于 ”船場アートカフェ” 的活动中，看到所有的精彩短片。

对于给你带来的诸多不便，我再次表示抱歉。

Grandpa Qiao/喬

2011-10-18T18:30:00.009+09:00

[Stills from Shen Jianan's Qiao]

Another short film to be screened on Nov 5th @ Senba Art Cafe

Grandpa Qiao/喬

Dir.: SHEN Jianan/Documentary/11min/DV/Color/2011

Mandarin with Japanese Subtitle

生活の一コマを撮った11分の作品。登場人物もできごとも極めてシンプルだ。喬（チャオ）おじいちゃんは北京の小さな紙人形屋の店主で、花輪や死に装束も一緒に売っている。いわば、死人のための仕事だ。彼の家は仕事場でもある。レンズの向こうの彼は寡黙で、ときどき家の子犬と話をしたり、ぼうっと金魚を眺めたりもする。瀋佳楠監督は喬おじいちゃんと家族の日常を、冷静に見つめている。この作品を見る人それぞれが、生死の味わいというものを感じられるだろう。(translated by 石冢洋介)

11分钟的生活片段，人物与事件似乎再简单不过。乔爷爷在北京有自己一间小小的纸扎店，也出售花圈和寿衣，为逝者服务；而他的家就是工作坊。镜头里的他沉默，偶尔与家里的小狗说话，也会出神地望着鱼缸。导演沈佳楠平静的观察着乔爷爷，和他家人的日常，生死滋味，各自体会。

“Qiao” is his family name; and he runs the small business of paper effigy at Beijing. At his shop, which is also his home, Qiao sells funeral clothing and flowers. He remains reticent in front of the camera. Filmmaker SHEN Jianan casts a tranquil gaze at Qiao’s everyday routine in her 11-minute-long documentary debut.

我们只是想做自己喜欢的电影 by 栗宪庭

2011-10-18T12:54:00.002+09:00

这是栗宪庭写给该影展手册的前言；这是影展的第六年。据称已经“因故取消”。

全文摘自影展PDF手册。

我们只是想做自己喜欢的电影——第六届《北京独立电影展》序

从八十年代末张元和吴文光的作品算起,独立电影在中国已经走过了二十多年的艰难历程。2001年,由《实践社》和《南方周末》主办,由杨海君、杨超、张亚璇等人策划的《独立影像节》,虽然只办了一届,但首开了独立电影在中国的展播方式。同年,《酷儿影展》由崔子恩、张江南和楊洋等人策划,并延续至今,算中国历史最长的独立电影展播。2003年3月,由郭净、楊昆、和淵、易思成策划,以纪录片为专题的《云之南人類學影像展》,首展在昆明开幕。同年4月,由朱日坤、張江藝策划的《中国纪录片交流周》在北京开始。正是在这样的形势下,2006 年,栗宪庭电影基金成立,由電影基金创展的《北京独立电影展》,和从第四届开始的《中国纪录片交流周》,在宋庄美术馆开始,并延续至今。

近些年,独立电影的展播,开始整合成一种初具持续性和组织化、规模化的形式。尤其是由和淵、易思成、季丹、沙青等人策划的昆明《云之南紀錄影像展》,曹愷、张献民策划的南京《中国独立影像年度展》,应亮策划的《重庆民间映画交流展》,以及由老贺(贺中)和王晓鲁策划的北京《北京青年独立影像展》等影展连番上演,证实了独立电影在中国已呈燎原之势。

但是,2011年五月份,由朱日坤策划的第八届《中国纪录片周》被迫停播。2011年十月份,由王宏伟策划的第六届《北京独立电影展》,被迫迁移出被称为中国最大当代艺术家聚集地的宋庄。同时,这种令人遗憾的事情,在各地举办的影展上,多少都遇到了有关方面的干扰,独立电影依然举步维艰。

其实,独立电影人并非刻意要强调自己的边缘身份,更非要对抗主流电影的商业和意识形态模式或者现行体制什么的,我们只是想要做自己喜欢的电影!这是一个逐渐走向多元或者主张走向多元的社会,我们没有妨碍,或者并不在乎商业电影或其它主流艺术的大行其事和热火朝天的社会接受度,也不在乎时代、社会、大众、政治和经济的功利时效,更是置金钱利益、社会荣誉、大众掌声于度外。相对电影的商业和意识形态模式,我们只在乎电影人表达的独立性,而且,这种独立性来源于电影人对个人感觉的忠诚,以及对个人感觉表达方式的试验和探索。

支持独立电影,为独立电影提供一个更好的展播平台,也是我们基金和所有热爱独立电影的人喜欢做的事情,这是一个建立在与主流社会几乎无关的学术、民间、自筹自划的事情。所以,我们呼吁有关方面给予起码的理解和宽容,这是社会走向多元、平和的必备条件。同时,对于独立电影人,我们更需要专注自己的事情,以坚定、平和的心态对待眼前所有的难关。

栗宪庭 2011年10月5日

We just want to make the films we like – The 6th Beijing Independent Film Festival

Starting from the films of Zhang Yuan and Wu Wenguang in the 1980s, independent cinema in China has already gone through a difficult course that spans over twenty years. In 2001 Shi Jian She and Southern Weekend sponsored the Independent Cinema Festival, which was curated by Yang Haijun, Yang Zhao, Zhang Yaxuan and others. Even though there was only one edition, it still set the tone for the way independent film exhibitions were to be held in China. That same year, the Queer festival was started by Cui Zi'en, Zhang Jiangnan, Yi Hao and others, and has continued until today, constituting China's longest running film festival. In March 2003, Guo Zheng, Yang Kun, He Yuan, and Yi Sicheng made documentary the main focus of Yunnan Multi-Cultural Image Festival (Yunfest), and the first edition was held in Kunming. Then, in April of the same year, Zhu Rikun and Zhang Jiangyi started China Documentary Week (DOChina) in Beijing. It was in this context that the Li Xianting Film Fund was established in 2006. The fund created the Beijing Independent Film Festival and, starting with the 4th China Documentary Week, has been held at the Songzhuang Art Museum until today.

Recently, independent film screenings have begun to come together in a more sustained, organized, and standardized form. Film exhibitions have continued due especially to the efforts of He Yuan, Yi Sicheng, Li Dan, Sha Qing and others in organizing Yunfest; Zhang Xianmin in organizing China the Independent Film Festival; Ying Liang in organizing the Chongqing Independent Film and Video Festival; and Lao He(He Zhong) and Wang Xiaolu in organizing the Beijing Youth Film Festival. These examples confirm that independent cinema in China already possesses the power of a prairie set on fire.

However, in May 2011, the 8th China Documentary Week directed by Zhu Rikun was forced into cancellation. This October 2011, the 6th Beijing Independent Film Festival directed by Wang Hongwei has been forced to move and yet officials want to call Songzhuang China's largest community for contemporary artist to gather. With this kind of regrettable situation wherein the various places for film exhibition meet with so many interferences from officials, the future progress of independent cinema remains under duress.

Yet, there is no need for those involved in independent film to emphasize their marginal identity, and even less of a need to oppose the industry and ideology of mainstream film or even the present system. We only want to make the films we like! This is a society gradually moving towards pluralism, presenting views that are growing more diverse. We have not interfered and certainly do not mind the alacrity with which society accepts commercial film or other mainstream art. We also do not mind the utilitarian efficiency of the current age, of society, of the masses, of politics, and of the economy. What's more, we do not give a thought to monetary interest, social honor, and applause from the masses. Relative to the business and ideology of cinema, we only care about the expression of independent spirit. This kind of independence emerges from the loyalty with which the individual filmmaker follows his/her feeling, and from exploring and experimenting with forms of expression. Supporting independent cinema and providing it with a better exhibition platform is the kind of work that our foundation and all those who love independent cinema are glad to do. This is a forum with almost no relation to mainstream society; it is for the people, self-funded and self-determined. So, we must at least give the officials our understanding and tolerance; for, this is the necessary condition for society to move towards diversity and peace. At the same time, for those involved in independent cinema, we must be even more devoted to our work, and face the upcoming challenges with a firm and peaceful mind.

Li Xianting October 5, 2011

乌鸦邦² Utopia

2011-10-18T12:11:00.008+09:00

Dear all, this is one of the short documentary to be shown at Senba Art Cafe.

Directed by female filmmaker Angel Cheng.

概要

　北京の臨・テント劇社の「烏鴉邦２」グループ、日本の「野戦の月」劇団、台湾の「海筆子」劇団のメンバーは、７月15日北京朝陽区の皮村にて、公演用のテントを張り始めた。７月31日から８月３日にかけて、毎日1回公演を行った。彼らは自分らで作り上げたテントで、中国初のオリジナルテント劇「烏鴉邦２」を公演し、公演終了後はまた自分たちでテントを解体した。
　テント劇は1960年代の日本で興った芸術形式で、1998年初めて中国に渡った。そして「烏鴉邦２」の監督の１人、日本のテント劇名監督桜井大造氏は、2007年オファーを受け、北京の皮村で「變幻痂殻城」の監督を担当した。そして今回皮村に来たのが、２回目の中国訪問である。「烏鴉邦２」は中国のテント劇のファンたちが作り上げた初めてのオリジナル作品だ。
　テントはまるで小さなユートピアだ。隠遁の場で、楽園のようなユートピア的存在。テントにいるメンバーは様々で、特に北京のテントは複雑だ。メンバーは社会のエリートたちばかりなので特に目立つのだ。日本や台湾のテント劇団では主として普通の市民、商売人や労働者で構成されている。それに対して、北京は高等教育を受けた人、例えば各地の留学生、博士課程の学生、ポスドク、大学の教授、中国科学研究院の学士院会員さえいるのだ。彼らは普段は全く違った生活を送っており、自己表現のあり方としてのテント劇が好きで集まってきたのであり、僻地で何もない皮村で、このような見た目がラフでちょっと偽物っぽい公演に取り組んでいる。【翻译by Cecily Lee；訂正：石塚洋介】

Synopsis:
　　Since July 15th, the team of 　”Utopia” of Beijing, and the “rural war of moon” group, “Bihaizi” team of Chinese Taipei are building tents in the Pi Village in the Chaoyang District of Beijing. From July 31st to August 3rd, they act the first original tent drama in the tents made by themselves.After the acting, they also dismantle the tents made by themselves.
　　The tent drama is the Japanese are form rising in the 60s. It comes to China in 1998 at the first time. In the year 2007, one director of the drama, the famous director Sakurai Daizo was invited to Beijing and directed the show "Utopia". This time in Picun Village, it's their second time to be in China. "Utopia" is the first original masterpiece of the tent drama lovers. Tent is like a small utopia, a hidden place, where there is the utopia in existence. The members of the tents various, even more complicated in Beijing and more unique because of the structure of the social elite teams. The main members of Japanese and Chinese Taipei tent drama teams are citizens, small businessmen, and workers. Compared with that, the Beijing drama team is made up of major members with high education. There are many oversea students, doctor of philosophy, after doctor of philosophy students, doctors in universities, and even The cas's academician. They live totally different lives but are grouped by the same interest in tent dramas, and do such rough and fortress work in the remote and low key Pi Village.

Another feminist in Siem Reap

2011-10-15T22:59:00.005+09:00

在马然忙着放映活动（已经去釜山参加活动）的同时，我居然来到了柬埔寨的暹粒（也就是吴哥窟的所在）。还好我是在学习的，去年我申请了DAWN（Development Alternatives with Women for a New Era）组织的培训，在这里讨论女性主义，以及女性主义如何与现在的社会问题互动，包括Political Ecology and Globalization, Political Ecology & Sustainability，以及一定会讨论的Sexual Rights and Reproductive Rights。光是写这些话题的名字，就已经觉得很沉重了不是？所以这些讨论一定要发生在暹粒这样有趣的地方才行！

都不知道柬埔寨人想什么，把自己城市的名字起成暹粒（Siem Reap），也就是打倒暹罗（泰国的旧称）的意思，所以在泰国人打到柬埔寨之后，就把暹粒占领了……这个道理就像我不会管自己叫王美丽吧。今年东南亚的洪水非常严重，暹粒周边都水淹了，河水的水位很高，不下雨的时候河边是淹的，如果下雨，街上也是淹着的。因为天天呆在酒店里上课，所以只看了城里的几个市场和酒吧街，当然已经不可避免地开始购物了。

我按照“女性主义”、“南方国家”以及“柬埔寨三周”的标准来准备了简单朴素的衣服，希望融入大家，结果其他南方国家的近30位美丽女性主义者们都穿了特别好看和有民族特色的衣服，每天像要竞赛一样换着不同的衣服，其中还有很多PHD什么的，我简直伤心死了，没有带两个行李箱的衣服过来……可能我对“女性主义者”这个名称本身就有很多误读，居然还在抱怨别人误读了“女性主义”。最难忘的是Gita Sen说：不管学习和作业有多重，都不要放弃自己的生活，该运动的运动、冥想的冥想……一定要先把自己照顾好，才有进步。

另外再分享一个大家在第一天对女性主义者的反思（是一台戏哦）：

disillusionment/illusionment in the Superabundance 釜山之海与云

2011-10-14T13:31:00.008+09:00

三年前，我曾经在釜山有过极度充实的影展经历，因为与国内某知名网站合作报道釜山国际电影节（彼时还叫做PIFF），于是，曾经在从市中心到海云台的地下铁上写采访提纲，一天有不少电影看（个别影片我并不想看），写影评，又能见到明星，并偶尔代差访问他们。知道娱乐新闻和影评人的副职之间，貌似前进于同一个方向，却始终是差之毫厘，谬以千里。不过我自信于我的战斗力，和伪学者的能力。

three years ago I had really enjoyed the festival time through collaborating with the entertainment channel of a well-known portal website in china covering the then-PIFF（Pusan!）. It simply felt euphoric spending the time on the subway to sketch the interview outline, which made the ride between the city center to the beach area Haeundae psychologically short. I took great pleasure in talking to filmmakers emerging or established, writing reviews (though sometimes for films I didn't really want to see) and occasionally meeting the stars (when they were short of personnel). Seemingly between a journalist for the entertainment channel and that for the serious film art we don't have to demarcate and both roles mingle well. Still I find it awkward to be the former (not intended for disrespect though). Nevertheless i believe in my ability to do both well. (and bearing in mind I'm a film scholar-to-be!!! At least I hope so)

三年后，再访釜山。和之前一样，人们不会质疑，BIFF已是当今亚洲最棒和最有野心的国际性电影节；尽管它96年第一届的时候并不确定它会成为后来、它当初模仿的榜样如香港国际电影节（HKIFF）的榜样。它的“亚洲电影”版图在迅速扩大，而除了电影市场、基金计划PPP和天才训练营，BIFF今年与学界联手，推出了BUSAN CINEMA FORUM（BCF）；连续三天的有关东亚电影与电影节研究的盛会。

Three years later, I revisited Busan city for its film festival. And undoubtedly BIFF has been the best international film festival to glimpse into the best of Asian cinema. Though at its inaugural edition in 1996, BIFF might not have envisioned itself, within such a short time, to surpass its then-model---Hong Kong International Film Festival and to take the leading role on the world festival landscape. The film map of BIFF for a broadly defined Asian cinema is expanding. Besides the existing Film Market, PPP and Asian talent camp, this year BIFF launched the first Busan Cinema Forum which intends to further incorporate and reinforce the academic dimension into the multiple discourses of the festival. BCF last 3 days between 10-12, and I was there to observe, haha.

我只是去BCF打酱油的。

不过忙里偷闲看了几套片子。

Indeed I had used my privilege of the BCF badge well. I saw four films altogether, which include Matsumoto Hitoshi's first period film "Scabbard Samurai", Korean filmmaker Koo Ja-hong's sophomore work "Dangerously Excited", and two Chinese indie---Wang Xiaoshuai's "11 Flowers", Wang Chao's "Celestial Kingdom".

其中包括，日本松本人志的“さや侍”、韩国导演KOO Ja-hong的dangerously excited(위험한 흥분)以及中国独立电影导演王超的“天国”和王小帅的“我十一”。

果不其然，王小帅的“我十一”是他的作品中（除“日照重庆”未得一见，其他作品应该都有看过）我最喜欢的一部。其实王不是第一次拍知青题材，“青红”中有过甚至相似的桥段；可以说，“我十一”颇有些自传式的影子，重访童年经历，以一双十一岁男孩儿的眼睛，看这个正在急剧发生变化的国度。

11 Flowers is my favorite of all the works I saw by Wang so far (I didn't watch his previous film on Chongqing). Not the first time Wang deals with the "Knowledge Youth" subject based on his family's immigrating experience from Shanghai to the Southwestern city Guiyang in the tumultuous years (see his Shanghai Dreams). But should I say that 11 Flowers smells more of autobiography, with childhood memory highlighted, and Wang definitely delivers it well to understand the tragedies upon the individuals as perceived by a 11-year-old boy, for whom they seem to mix with the mundane and the transient.

我甚至说那也触动了我的童年记忆。因为我的祖父母也是自北方迁徙至昆明，与各地来支援“三线建设”的人们，在深山处的厂区生活。

it may trigger my childhood memory too (though I am much younger than Wang). My grandparents also immigrated from NorthEast China to Kunming (the southwest province Yunnan's capital city) as part of Mao's strategic deployment of "Building the Third Front".

船場アートカフェ上映会 UPDATING

2011-10-13T22:07:00.006+09:00

For those who may miss our October screenings...

○上映スケジュール

日時：11月5日（土）5:00pm〜8:10pm（途中休憩あり）

アクセス：船場アートカフェ

辰野ひらのまちギャラリー／辰野平野町ビル地下1階（南東角の屋外階段から地下へ）

〒541-0046　

大阪府大阪市中央区平野町1丁目5-7

地下鉄堺筋線北浜駅五番出口から徒歩五分

http://art-cafe.ur-plaza.osaka-cu.ac.jp/

5pm-5：50pm

短編アニメーション６作品/6 Fragments: Short Animations[39 min]

5：50pm-7：10pm

女性監督による短編映画/Female Shorts Collection(Grandpa Qiao + Utopia) [40 min]

慰問/Condolences[19 min]

7：10pm-7:50pm

雷磊短編アニメーション作品集/ Ray Lei’s Animation Collection[25 min]

李献計冒険記/Lee’s Adventures[20min]

8：00pm-8:20pm

Q&A with Ma Ran

BUSAN

2011-10-12T21:23:00.005+09:00

【my HKU professor Gina】

[Apichatpong, Bong Joonho & Hong Sangsoo ]

我来到釜山，已经是第三天，明天即将返回大阪。此次不是为了影展，而主要是为了影展的附属单元BUSAN CINEMA FORUM，这是第一年举办。

Now I'm still at Busan, the third days since I arrived. And would go back to Osaka tomorrow.

This time is mainly not for the BIFF, but its newly-installed event Busan Cinema Forum, and 2011 sees its inaugural year.

在讲座的空隙，依然找得到时间去看一早一晚两场电影，已经十分令人满足。

Between the talks, I still found time to watch films---one in the early morning, another at night. It has been simply great!

请大家别忘记16日的放映！

But let's not forget we have a screening on 16th!!!! At Umeda!

yesterday's screening 昨日之放映

2011-10-09T11:37:00.004+09:00

非常感谢昨天来的观众们，就算事先并不认识，之后我们也成为朋友了，不是么？

最后大家都帮忙抬桌子这件事儿让我很感动。

希望16号多一些人来玩儿，那样就好了哈哈哈！

I must say thank you to all the audience who made it to attend yesterday's screening!!!! You are the best audience ever!!!

广告一下，我们11月5日在船场放映的纪录片之一-------烏鴉邦²

烏鴉邦²
　　Utopia
　　片長(Length)： 27min
　　完成年份(Year)： 2010/9
　　影片類型（Type）：紀錄 Documentary
　　導演(Director)：程安琪 Angel Cheng
　　攝影(Cinematography)：姚詠豪 Dynax Yiu 田凱 King Tian 程安琪 Angel Cheng
　　剪輯(Editing)：程安琪 Angel Cheng 莊淑芳 Fanny Chong
　　學校(School)：栗憲庭電影學校LXT's Film Fund
　　對白(Dialog)：中文Chinese
　　字幕(Subtitle)：中英文 Chinese & English
　　参展信息：
　　第一届首届国际学生短片节-北京/The 1st ISSFF
　　第四届重庆民间映画交流展/ CIFVF2010
　　第二届杭州大学生电影节/ HSFVF2010
　　
　　内容梗概:
　　從7月15日起，北京臨·帳篷劇社《烏鴉邦2》劇組和日本野戰之月劇團、台灣海筆子劇團的成員們便開始在北京朝陽區皮村搭建演出的帳篷。7月31日到八月三號，每天一場演出，他們要在自己搭建起來的帳篷裡演出中國首部原創帳篷劇《烏鴉邦2》，演出結束之後，還要自己拆除親手搭建的帳篷。
　　帳篷劇是上世紀六十年代興起於日本的藝術形式，1998年曾首次來到中國，2007年，《烏鴉邦2》的導演之一、日本著名帳篷劇導演櫻井大造又應邀在北京導演了《變幻痂殻城》，這次在皮村，是他們第二次來到中國，《烏鴉邦2》是由中國的帳篷劇愛好者推出的第一部原創作品。
　　帳篷像一個小小的烏托邦，是歸隱之處，更是桃花源般的烏托邦式存在。帳篷的成員也是魚龍混雜，北京的帳篷更加複雜，也顯得尤其特別，因為其社會精英的組員結構。日本與台灣的帳篷劇團的主要組員是小市民，小商販和工人，而北京的劇團則多數受過高等的教育，組員中不乏各地留學生，博士生，博士後，大學教授甚至中科院的院士。這些人平時過著完全不同的生活，但是卻因為喜歡帳篷劇這樣一種自我呈現的方式而聚攏在一起，在偏遠低調的皮村做著這樣一種看起來粗糙辛勞甚至有些山寨的表演。
　　
　　
　　Synopsis:
　　Since July 15th, the team of << Utopia >> of Beijing, and the “rural war of moon” group, “Bihaizi” team of Chinese Taipei are building tents in the Pi Village in the Chaoyang District of Beijing. From July 31st to August 3rd, they act the first original tent drama in the tents made by themselves.After the acting, they also dismantle the tents made by themselves.
　　The tent drama is the Japanese are form rising in the 60s. It comes to China in 1998 at the first time. In the year 2007, one director of the drama <>, the famous director Sakurai Daizo was invited to Beijing and directed the show << Utopia >>. This time in Picun Village, it's their second time to be in China. << Utopia >> is the first original masterpiece of the tent drama lovers. Tent is like a small utopia, a hidden place, where there is the utopia in existence. The members of the tents various, even more complicated in Beijing and more unique because of the structure of the social elite teams. The main members of Japanese and Chinese Taipei tent drama teams are citizens, small businessmen, and workers. Compared with that, the Beijing drama team is made up of major members with high education. There are many oversea students, doctor of philosophy, after doctor of philosophy students, doctors in universities, and even The cas's academician. They live totally different lives but are grouped by the same interest in tent dramas, and do such rough and fortress work in the remote and low key Pi Village.

ES MUSS SEIN “一定要”

2011-10-07T21:21:00.005+09:00

[VOLUNTEERS, at BUSAN FILM FESTIVAL 08]

[Apichatpong at Tokyo FILMEX 10]

[from one of my fav flicks...BRINGING UP BABY； the hint is that,

the event is like our baby...]

在韓國友人uni的幫忙下，終於學會在mac上面刻錄光盤。如果明天發生意外狀況，不知道我會不會沮喪？

with the help of my Korean friend Uni, I was able to, finally, burn a dvd at IMac. If tomorrow anything's going wrong, would I become hysteric and broke down?

ALSO See: Almodovar's "Woman on the Verge of Nerves Breakdown".

我們的“小可憐”終於要揭開序幕。忐忑不安總是有的，不過我假裝我果然生出了平常心。也得到老天眷顧，有那麼多可愛的人兒，願意明天來幫手。

Our event opens tomorrow, which of course makes me quite anxious. Still I shall play normal, and thinking of how lucky we are that at the final moment there are more helpers joining.

前一天一位中國電影網站的編輯朋友，讓我給她填一個訪談，題目是“電影改變人生”；這大概是我覺得挺不堪的一個話題。電影能改變我嗎？能夠改變我們嗎？

Few days ago an editor friend of a China-based film site asked me to fill in their questionnaire about "how films change your lives", a topic that I find pretty intimidating and depressing. Could cinema change me, or /and us all?

帶著這樣的頗為悲觀的預設問題迎接明天的同時，我也向大家宣佈我們的aftertalk其實只是Q&A.

I should say I feel pretty pessimistic about the transforming force of cinema, while I have to clarify again that, the after-talk with me, is indeed the Q & A...

不過一如既往，我必須以高昂姿態結束本段。那麼我想引用米蘭昆德拉“生命不能承受之輕”中經常出現的一個短語，那就是“ES MUSS SEIN”.它足以用來解釋我們的癡迷，或者關於“電影改變人生”的話題。

Let me end this chapter with my fav quote recently, from Kundera's "the Unbearable Lightness of Being", and it is "Es Muss Sein" (strictly speaking it is not a quote per se from Kundera right?)

我們已經聽從於心聲了，不是嗎？（這句話或許引用了才去世的喬布斯）

We've followed our hearts. (a quote probably has something to do with Jobs...)

BTW: I'm taking off to Busan for its film forum next Monday!

WE NEED YOUR HELP ON 8TH

2011-10-06T19:53:00.004+09:00

大家晚上好。

Good night!

如果你恰好打算8号来参加我们的放映，不知道能否请你帮忙，（1）提前到场帮助我摆放桌子

（2）帮助我们售卖饮料给到场的观众（包括你自己）

if you are to join our screening event on the 8th (Saturday), I hope you could arrive earlier and help us (me...alone actually) with

(1) arranging the tables;

(2) serving the audience drinks.

很多中国、日本朋友帮忙我做这次活动，不胜感激。

Without the help from the Chinese as well as Japanese friends, the events are not possible at all.

我想这是最后阶段，也是最关键的一个要求。我们目前缺两名帮手。不一定要，但是我非常希望你会说很简单的英文或者中文。

Therefore I guess it's the last request...we need around 2-3 helpers. Not a must, but I hope you can speak a bit English, or/and Chinese. If you cannot, no problem at all!

作为感谢，我会给您您当天的路费，和我们的一套两张明信片；对不起，活动本身就是几乎零成本的，只能为你做这么多。剩下的，都靠电影了。

In return I would reimburse your travel expense (wish you are not travelling from Tokyo to Osaka hahaha) , and the set of postcards (2 pandas). Awfully sorry that our event is run with almost no budget, so I'm not able to pay you a lot . But I believe the films are the best rewards.

如果你感兴趣，请来email-------maraninhk@gmail.com

if you are interested in helping me out, please send emails to

maraninhk@gmail.com

谢谢！

I owe you thousands of thanks!

Ran