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非競賽短片節目 Short Film Out-of-Competition

1h 43m 國際短片競賽 Short Film Competition

《我的朋友》 (24分鐘)

1990 年某一天,在國營製片廠當檢票員的小周獨自哼唱着亞運會閉幕曲,她看着吉祥物大熊貓盼盼的大型塑像被工人拆下,然後遇見前來製片廠找朋友的青年詩人。張大磊(《八月》,41 屆)以長鏡頭抒發對舊時代的緬懷,請來周迅主演,並藉此向杜魯福《四百擊》致敬。

《渡河之詩》 (27分鐘)

渡船過河,流光荏苒,如霧起時,乘客低語。善於經營獨特視聽體驗令人沉澱凝思的曼紐門努利華斯(《碧海黃沙風之歌》,41 屆),這次來到西班牙瓜達基維河上,隨自然光影變化,透現船上各人內心風景,捕捉各種聲音延伸豐富想像,從中發掘超越現實的美感和詩意。

《鳥巢之家》 (22分鐘)

廢棄電線桿上,建起鳥巢般的樹屋,既是孩子的樂園,亦飽受雨打風吹。冰島導演龐馬遜(《冬日暗光》)在隔離日子發揮想像,安排自己三名子女登場,以固定鏡位凝視一個迷你烏托邦的歡樂與危機,35 米厘菲林捕捉戶外四季的美麗與嚴酷,意念簡單但創意非凡。

《最後放映》 (30分鐘)

文藝少年皆寂寞,遙看心儀女生,只敢隔着屏幕給對方照片按讚。人人埋首電子產品的年代,電影院門庭冷清,少年卻在等待銀幕光影照見內心的時刻。哈薩克導演奧米爾巴耶夫(《古來詩人皆寂寞》,46 屆)重提藝術與生活的鴻溝,而美在生活中消逝,卻在藝術中不朽。

All Tomorrow’s Parties (24min)

Set during the 1990 Asian Games, this beautifully nostalgic short sees a factory employee who lives a monotonous life and a poet whose dream fizzled out become unlikely friends. Golden Horse-winning director Zhang Dalei (Summer is Gone, 41st) pays tribute to cinema as a tool that unites people in a divided world and helps them forget their troubles, even for just a brief moment.

Aqueronte (27min)

Appearing out of heavy fog, a ferry makes its way down a river. The passengers on the floating platform wait, chat, smoke, or sleep as time passes and they wait to reach the shore. Using this limited space, Manuel Muñoz Rivas experiments with various elements of cinema, including framing, light, sound, and time. It all goes back to the fundamental question: What is cinema?

Nest (Hreiður) (22min)

During the pandemic, Godland director Hlynur Pálmason filmed this short outside his house with his three children as the stars. A series of still shots captured over 18 months, the docu-drama traces three siblings who work together to build a new treehouse. Though rigid in technique, Pálmason’s packs more emotion into its brief running time than most feature films.

Last Screening (Songy Seans) (30min)

Darezhan Omirbayev (Poet, 46th) offers a subtly scathing and self-deprecating look at the state of his home country. Through a simple slice-of-life story, he comments on globalised capitalism’s impact on his nation, contemporary urban culture in Kazakhstan, and the lonely road that patrons of the arts walk in a country where art is often overlooked and underappreciated.