While the LIFE IS ART Festival continues in August, two Ryuichi Sakamoto films that premiered earlier at the festival will officially be released at selected Broadway Circuit cinemas in August and September, starting with Tokyo Melody: A Film about Ryuichi Sakamoto (4K Restoration) in August. Sakamoto fans, be sure not to miss it!
This month we also turn our attention to anifest 2025, which will take place in late August. This year, the festival will feature a special screening of selected shorts from the first and second editions of the Future Animation production support scheme, showcasing how AI is assisting the development and creation of animation in Hong Kong. As always, this year’s anifest will also screen a marathon of Animation Support Program’s locallymade award-winning films, as well as acclaimed films that have been featured at film festivals worldwide, including the prestigious Annecy International Animation Film Festival and Cannes.
Speaking of Annecy, we have to mention Another World, a rare locally produced animated feature film. After Another World debuted at anifest 2019 as a short film, we are honored to invite the team behind the brand-new feature-length version to give us an exclusive sneak peek that will be screened at selected anifest screenings this year. Producer Polly Yeung will also join a sharing session to talk about the film’s production after a special screening of the original short film. Take a look at the anifest 2025 festival leaflet for details.
In this edition of Life Behind Movies, we go beyond Hong Kong for an exclusive interview with Celine Song, the director of Materialists. In addition to talking about her multi-perspective relationship between love and filmmaking, she also shares her "Topicks".
Last but not least, I hope you all enjoy this issue’s breathtaking cover!
TEXT BY PHOEBE CHIU DIRECTOR OF MOViE MOViE
JEREMY
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My Wednesdays have been a certainty of my past year. I’ve shared many lunches in a language I once thought I wouldn’t find myself in again, with people whom I wish I spoke to sooner. Over these recent months of midweeks looked forward to, long fabric of days rippled with fluorescent daydreams in a room too cold, I’ve lost three wisdom teeth of mine; left with a mouth lesser, 7 teeth barer than the average adult, I bare them now, more often than I ever did before. I’m grateful to the people at MOViE MOViE, for giving me these Wednesdays where I’ve gained a 25-teethed smile; what I’ve lost in enamel, in filling and pulp, I’ve gained in things I’ll try my best to keep rooted.
雷朋三世劇場版：不死身的血族》 LUPIN THE THIRD THE MOVIE: THE IMMORTAL BLOODLINE
第一屆及第二屆「明日動畫」
》 THE 1ST AND 2ND FUTURE ANIMATION PROGRAM SELECTIONS
感謝大家支持！ MOViE MOViE 與香港國際攝 影節、香港專業攝影師公會攜手合作的【LIFE IS ART 光影藝術祭 2025】早前已經圓滿結束，在戲 院共放映了 20 場以不同藝術為主題的電影。為 期約四星期的電影節期間，MOViE MOViE 以橫 跨戲院、電視、線上平台及社區的電影節目，與大 家投入一場光影盛宴，探尋藝術如何在動盪中撫 慰心靈，喚醒快樂與團結的力量。 再一次感謝所有觀眾、合作夥伴及藝術文化友 好的鼎力支持。明年，戲院見 ！
Let‘s keep celebrating the art in films! MOViE MOViE, Hong Kong International Photo Festival and Hong Kong Institute of Professional Photographers co-presented the LIFE IS ART 2025, which spanned cinemas, television, online platforms and communities, under the theme "Art is Community, Art is Unity".
Thank you to all our audience and collaborating partners for the great support to making this a successful festival. See you next year!
NOW SHOWING IN CINEMAS
CRAYON SHIN-CHAN THE MOVIE
《 蠟筆小新：超華麗！灼熱
的春日部舞者》
CRAYON SHIN-CHAN THE MOVIE: SUPER HOT! THE SPICY KASUKABE DANCERS
To commemorate the sister city relationship between Kasukabe and Mushibai Hagashimiru in India, the "Kasukabe Children's Carnival" was held. Word spread that winning the carnival’s dance competition would earn a trip to India. Shin-chan, alongside with his trusty Kasukabe friends lit up the stage with a spectacular performance, clinching the championship and setting off for the curry-scented and starlit wonders of India!
But little did they know, a thrilling adventure had began. During their India journey, Shin-chan and Bo-chan wandered into a shady general store and bought a peculiar nose-shaped backpack, unaware of its dark secret. Disaster struck when Bo-chan accidentally stuffed a mysterious slip of paper from the backpack in his nose, unleashing an evil force that transformed him into “Tyrant” Bo-chan, a rampaging villain with the power to destroy the world! With Bo-chan’s personality warped and his actions spiralling out of control, can Shin-chan and his friends harness their friendship and courage to save their cursed friend and stop this nosetriggered crisis?
As the Demon Slayer Corps members and Hashira engaged in a group strength training program, the Hashira Training, in preparation for the forthcoming battle against the demons, Muzan Kibutsuji appears at the Ubuyashiki Mansion. With the head of the Demon Corps in danger, Tanjiro and the Hashira rush to the headquarters but are plunged into a deep descent to a mysterious space by the hands of Muzan Kibutsuji.
The destination of where Tanjiro and Demon Slayer Corps have fallen is the demons’ stronghold – the Infinity Castle. And so, the battleground is set as the final battle between the Demon Slayer Corps and the demons ignites.
《坂本龍一：東京旋律》
（4K 修復版）
TOKYO MELODY: A FILM ABOUT RYUICHI SAKAMOTO (4K RESTORATION)
To commemorate the passing of beloved virtuoso Ryuichi Sakamoto: Tokyo Melody, a documentary that delves into the mind of the creative genius, has been restored in 4K four decades after its production. Hot off the success of electro trio Yellow Magic Orchestra and the release of his iconic debut original film score, Merry Christmas, Mr. Lawrence, the maestro shares intimate access to career-defining performances and recording sessions for the world to see.
Inspired by the humming beat of 1980’s metropolitan Tokyo, with Sakamoto’s transgressive style and defiant curiosity on full display, Tokyo Melody provides a rare look into the complex mind and artistry of one of the 20th century’s most fascinating artists.
After Ryuichi Sakamoto created a massive buzz with Playing the Orchestra 2013, in which he performed with a full orchestra, he updated the concert the following year, conducting the orchestra by himself while playing the piano. A feature-length concert film with an exceptional soundscape, Ryuichi Sakamoto | Playing the Orchestra 2014 vividly captures that celebrated 2014 Tokyo concert.
This iconic concert featured a wide range of the maestro’s music, from Yellow Music Orchestra's classics to beloved masterpieces such as Merry Christmas Mr. Lawrence and The Last Emperor, all performed with the grandeur of the Tokyo Philharmonic Orchestra. Immerse yourself into the world of Ryuichi Sakamoto’s music and witness a master creating legacy in real time.
The extraordinary, internationally embraced Yi Yi: A One and a Two returns for its 25th anniversary with a 4K restoration. The story follows a middleclass family in Taipei over the course of one year, beginning with a wedding and ending with a funeral. Whether chronicling middle-age father NJ’s tentative flirtations with an old flame or precocious young son Yang-Yang’s attempts at capturing reality with his beloved camera, late Taiwanese auteur Edward Yang deftly imbues every gorgeous frame with a compassionate clarity. Warm, sprawling, and dazzling, this intimate epic is one of the undisputed masterworks of the new century. Winner of Best Director at the 2000 Cannes Film Festival, celebrated again at 2025’s Cannes Classics.
YI YI: A ONE AND A TWO (4K RESTORATION) YI YI: A ONE AND A TWO
Jung-hwan, a professional wild animal trainer, spends his days bickering and playing with his teenage daughter, Soo-ah, who is passionate about dancing. Then one day, Soo-ah gets infected by a zombie virus that sweeps across the world. To protect her, Jung-hwan takes Soo-ah to Eunbongri, a seaside village where his mother, Bam-soon, lives.
In a society determined to root out the infected, Jung-hwan notices that Soo-ah still seems to understand words, responds to her favorite songs and dances, and even flinches when scolded by Grandma Bam-soon’s back scratching stick. Refusing to give up on his daughter, Jung-hwan calls on his years of animal training experience and begins the top-secret mission of training his zombie daughter…
Years into their relationship, Tim and Millie (Dave Franco and Alison Brie) find themselves at a crossroads as they move to the country, abandoning all that is familiar in their lives except each other. With tensions already flaring, a nightmarish encounter with a mysterious, unnatural force threatens to corrupt their lives, their love, and their flesh.
Pedro Pascal 主演宋席琳 Celine Song 自編自導 新作《Materialists》，由《 解憂計情車 》狄高達莊
遜 Dakota Johnson、《 美國隊長 》系列 基斯伊雲 斯 Chris Evans 及《 帝國驕雄 II》貝哲羅柏斯卡 Pedro Pascal 主演 。
A young, ambitious New York City matchmaker finds herself torn between the perfect match and her imperfect ex.
《錢財心愛物》 MATERIALISTS
導演 DIRECTOR
宋席琳 CELINE SONG
演員 CAST
狄高達莊遜 DAKOTA JOHNSON
基斯伊雲斯 CHRIS EVANS
貝哲羅柏斯卡 PEDRO PASCAL
上映日期 21-8-2025
LIFE BEHIND MOVIES
MM MOViE MOViE
CS CELINE SONG
宋席琳 CELINE SONG
加拿大韓裔導演兼編劇，以首部
執導長片《從前的我們》一鳴 驚人，備受國際關注。
Celine Song 以細膩的情感與獨特的電影語言在 影壇熠熠生輝 ，在最新一期 Life Behind Movies 中，她以輕鬆的問答形式分享了新作《錢財心愛
物》（Materialists）的創作心路歷程、對愛情的體 悟，以及電影對她的意義。
MM 創作《 錢財心愛物 》的初衷是什麼 ？
CS 想拍一部真實反映 2025 年紐約生活與愛 情的電影 ，呈現我對這座城市的真實感受 。
MM 拍攝這部電影改變了你對關係或婚姻的看 法嗎 ？
CS 它幫我梳理了對關係與婚姻的思考 ，把內心 感受化成劇本和電影 。
MM 作為前婚姻介紹所顧問 ，你推薦第一次約會 看哪部電影 ？
CS 《 錢財心愛物 》！ 它能為約會增添浪漫與 話題 。
MM 你的理想型是什麼 ？
CS 一個真正愛我、明白我 ，願意在任何時刻陪 伴我的人 。
MM 哪部電影帶給你最多安慰 ？
CS 《 優獸大都會 》。
MM 有沒有印象深刻的電影台詞或場景 ？
CS 「 能力越大 ，責任越大 」（《 蜘蛛俠 》）。
MM 未來作品會延續熟悉主題還是嘗試新方 向 ？
CS 想試新題材 ，但我的電影總會帶點熟悉的個 人風格 。
MM 電影對你而言意味著甚麼 ？
CS 電影是我人生的全部 ，是我表達情感和與世 界連繫的方式 。
What was your intention with Materialists?
To make a great movie that reflected the way I feel about life and love in New York City in 2025 in the most honest way possible.
Has the process of making Materialists changed your outlook on relationships or marriage?
It helped me articulate how I feel about relationships and marriage and the kinds of thoughts that I've had. Making a movie is always a great way to organise everything I have ever felt and crystallise it into a script, which then becomes a movie.
As a former matchmaker, which movie would you recommend people watch on their first date?
You should watch Materialists on your first date.
What would be your ideal type?
My unicorn is somebody who loves me, who understands me and sees me and wants to be here through sickness and in health, through everything.
Which movie brings you the most comfort? Zootopia
Are there any particular scenes or movie quotes that have stayed with you for a long time?
“With great power comes great responsibility.” (Spider-Man)
Will you return to familiar themes or try something new in your future work?
I think I'm going to try something new, but I know the familiar themes are going to come back because there's still going to be my movie. It's going to be my cinema still.
What do movies mean to you?
Right now, they are my whole life.
與父親一起看的美好回憶 。
I have a good memory of watching Ghost in the Shell with my dad.
Old Boy is just so good from start to finish. The way that it begins is so stunning. The reveal is good. Every single sequence and every single beat in it is just so complete.
I always cried so much watching it, and I was so moved by it. Sometimes, I am cautious about having children in a movie because children can be a somewhat easy way to express emotional themes. Their adorableness and their lovableness can be overused, but Koreeda is a master of dealing with child actors. He's incredible. And the performance from the adults is impeccable, too.
I watched it a few times. It is like a heart-thumping, openly political film, and I have deep feelings for movies that are very openly about class like that. Parasite is just so awesome. Every bit of it is made so impeccably and politically.
A CONVERSATION WITH PAYAL KAPADIA AND CLÉMENT PINTEAUX
In All We Imagine as Light, director Payal Kapadia crafts a lyrical meditation on friendship, urban solitude, and the search for inner stillness. Collaborating closely with editor Clément Pinteaux, Kapadia gives the film a delicate, almost dreamlike rhythm—where time is both structured and fluid, anchored in emotion rather than chronology. We sat down with Payal and Clément to discuss their creative partnership, the challenges of shaping time on screen, and the quiet poetry of objects, memory, and missed connections. What follows is a conversation that mirrors the spirit of the film: reflective, intimate, and full of quietly resonant details.
獨家首播 Exclusive Premiere
17/08 (SUN) 22:00
18/08 (MON) 24:10
MM MOViE MOViE
PK Payal Kapadia
CP Clément Pinteaux
MM How did you come to collaborate on this project and how has it been working together?
PK It’s not our first time. We had a movie together. We had two short films at the Berlinale Shorts in 2018 and I really liked his short film. So, when I had to get an editor for my previous movie A Night of Knowing Nothing, I wanted to work with Clément because I was already his fan, but we couldn’t work together because of COVID, so he was more like a consultant on that movie. We would do the editing and send it to him, then he would give us feedback. I think that an editor is also an author of a movie. You see that with a director but with an editor, there is a lot of authorship there. We really work well and closely together because we are both very melancholic, very romantic and sentimental people, so I think we gel well together in that sense.
CP I think it was a very collaborative way to work. On other films, it can be really different. I feel we have a nice relationship. Payal is really crafty in the way she directs; she edits a lot of scenes. She tries a lot of things, and I really enjoy picking some stuff she is doing on her side and merging them with my own stuff. The director of photography, Ranabir Das, helped us a lot, too. In that way, the three of us made a really good dream team. When I met Payal at Berlinale, I was also a fan of her film Afternoon Clouds. From when I was consulting on the previous film, and working on this film as well, I think I’ve learned a lot from Payal: the way she’s making films, the way she’s so inspired by everything around her. I think it’s a great collaboration because I feel we get inspired. All We Imagine as Light is a very urban film, but in the last section you return to the countryside, which is something you’ve done in several of your short films. What is your relationship to the countryside?
MM All We Imagine as Light is a very city film, but in the last section you return to the countryside, which is something you’ve done in several of your short films. What is your relationship to the countryside?
PK I think with this movie it was especially because I wanted to work with two different feelings of time. The first half of the film is set over many days, while the second half is set over one long day. In cinema, we can play with time so much; it’s one medium that allows us to have the subjectivity of time in it. In the city, there is really no time for yourself. But if you take a holiday, you get some time off. So, I wanted just one day off, like a holiday, to reflect. So the countryside became that holiday. Because I am from the city, I have a very different relationship with the countryside. I don’t face the hardships of countryside living. For me, it’s always a holiday. It’s always a moment of relaxation to get out of the city. For somebody who lives in the countryside, they are going to be like, “No, it’s not the best place to live.” So, you are always kind of attracted to what you don’t see all the time. That’s why I choose to always have a bit of that feeling of the countryside in my films. But it was more because the sense of time in the countryside is different from the sense of time in cities; the countryside goes with more of the natural rhythm of time while city time has to do more with the capitalistic feeling of time where there is no choice. It's easy to write it, but it’s very hard to edit it.
CP The fact that the film was split in two helped a lot in the way we had to build the film during editing, but what was more difficult is that the film feels like it’s always floating in the air. We had to find a musicality inside of this floating feeling so that the film doesn’t stop. But I feel Payal has a way to write and also to film where it feels like there is already a precise sense of time inside of each scene. So, in that way, I think she is already an editor when she writes.
PK At every stage of filmmaking, we are always negotiating with time. When you write, you can do anything because it’s on paper. Then when you are shooting it, there is the rhythm of the actors, there is the rhythm of the light, there is a rhythm of the day, the rhythm of the DOP, so there are so many rhythms to take care of. And then you watch it with your editor, and you think, “What the hell were we doing?” “Why did we do this?” So, then you re-look at that footage and you negotiate with that feeling of time and then it’s cut in a way so that the film again finds another form and that’s also fun. If you didn’t keep rediscovering your movie, then in the amount of time we spend making it, we would be very bored. So, it’s important to have someone who can smooth out the different time and universes.
MM I also want to talk about the token and objects of romantic attachment in this film. There is obviously the rice cooker everyone talks about, and there is the poem the doctor gave to Prabha.
PK I am very cheesy. I like to have a lot of memories and things that are like little moments of time encapsulated in an object. It’s very cheesy, but I always keep my letters from when I was a teenager or little notes that I got from people to remember that moment of how things were then. I think that we change so much as people, to have an object reminds you of how much you have changed, and I appreciate that a lot. Maybe 20 years later, Prabha will look back and see that Dr. Manoj gave her this poem and she was like this then. I enjoy finding notes from the past. Even A Night of Knowing Nothing was also about found diaries. Me and my co-writer for that movie, Himanshu Prajpati, were talking about how sometimes when we would change the rooms in our hostel, we would find things left behind by the previous person who was staying there – maybe a note, or a letter, or something just scribbled behind a photograph. You don’t know anything about this person, but through just that one line, something about them is revealed to you. I feel like these little things can tell you so much more than actually meeting the person sometimes. It’s like an archive of memories and emotions felt at the time.
The Many Sides of
Kirin Kiki
Erica Erica，年 38 05/09 22:00
Every Day A Good Day 日日是好日 12/09 22:00
Mori, The ArtistʼS Habitat
綠野仙師 : 熊谷守一 19/09 22:00
There are some actors who inspire empathy the moment they’re on the screen. The beloved Toshiyuki Nishida (A Ghost of a Chance), who passed away last year, had a man cry that could make anyone tear up. Another actor with that ability is the great Kirin Kiki, whose expressive voice and slightly aloof demeanor makes her immediately disarming, like the ideal grandma next door. However, behind herdeceptively timid persona often hid characters with secrets and surprising depth. This month on Movie Movie, we celebrate Kiki’s colorful body of work and highlight several of her best performances from her later years.
Kiki had a long and distinguished acting career that started in the mid 1960s, but like most Hong Kong film buffs, I only began to notice her work in 2007 with Tokyo Tower: Mom and Me, and Sometimes Dad, in which she played the longsuffering mother of a writer. The success of Tokyo Tower, which earned her a Japan Academy Award for Best Actress, led to a professional resurgence that saw the most prolific decade of her career. Though she was often typecast as the kind mother or the quietly devoted wife - which often went against her uncharacteristically humble and blunt personality in real life - she always found a way to stand out in every film she does, no matter the size of the role.
One of the best examples of Kiki transcending typecasting is Mori, the Artist’s Habitat, Shuichi Okita’s delightfully offbeat (and fictional) account of renowned artist MorikazuKumagai’s twilight years. Even though the film’s focus is on the eccentric nature of the notoriously reclusive artist – who remained secluded in his home and garden for over 30 years – Kiki makes for the perfect foil as his wife, Hideko. On the surface, Hideko is a homemaker who devotes her life to taking care of her husband and letting him indulge in his quirks. However, Kiki and co-star Tsutomu Yamazaki bounce off each other as equals in their first screen collaboration, sharing a rapport and sense of familiarity that even real-life couples need decades to shape.
Kiki gets to show off a statelier side as respected tea ceremony teacher Mrs. Takeda in Every Day a Good Day, based on Noriko Morishita’s series
Shoplifters
小偷家族 26/09 22:00
of autobiographical essays. As graceful as she is strict, Takeda puts protagonist Noriko (Haru Kuroki) through rigorous repetitions of labyrinthine tea ceremony rituals with astonishing patience. Over twenty-plus years of lessons, tea ceremony becomes a stabilizing presencefor Noriko, bringing her much-needed peace amidst various turmoil in her personal life. As the physical manifestation of that presence, Kirin brings a sense of dignified gravitas andseasoned wisdom to Takeda that makes her final dialogue in the film – “By teaching, you are taught” – all the more convincing.
Perhaps the most fruitful of all Kiki’s creative partnerships during her late-career resurgence was the one she shared with director Hirokazu Kore-eda. The actor was a staple in the Kore-eda ensemble for six of his films, starting with herpowerfully subtle performance as a family matriarch in 2008’s Still Walking. In the Palme d’Or-winning Shoplifters, which marked her final appearance in a Kore-eda film, Kirin plays the elder of a “family” that rely on shoplifting to survive in poverty. In her final scene of the film, Kiki’s characterwatches on her chosen family on a beach from afar as she whispers “thank you” to them, as if she knows that her end is near. While she is addressing the characters in the film, it’s hard not to also read the scene as a poignant curtain call by a veteran actor who is gently thanking her audience and her collaborators before she takes her final bow.
Kirin Kiki
However, her final appearance in a domestic film was an even greater milestone in her career. Based on a shocking true story about a female con artist in her 60s who passed herself off as a 38-year-old while on the run in Thailand, Yuichi Hibi’s Erica 38 marked Kiki’s first and only credit as a producer. Not only did Kiki participate in the scriptwriting and casting, she initiated the project by suggesting having Miyoko Asada – her former co-star in TV series Jikan desu yo – play a con artist. Though Kiki’s appearance as the titular character’s mother is brief, her subtle performance as a cowardly wife in an abusive marriage provides further depth to Erica, framing her as a desperate survivor of a difficult life rather than just an unrepentant criminal.
KEVIN MA
Kevin Ma is a writer and English subtitler in the film industry, and the Hong Kong Consultant for Italy’s Udine Far East Film Festival. He was an English Editor at YesAsia.com and the Entertainment Editor of Cathay Pacific’s inflight magazine. He has contributed to publications by the Asian Film Awards. South Korea’s Bucheon International Fantastic Film Festival, Poland’s Five Flavours Film Festival, Hong Kong International Film Festival, Hong Kong Asian Film Festival and the Hong Kong Film Archive.
The summer of 2025 marks the Nth anniversary of MOViE MOViE anifest — our annual tribute to the art of animation. Since its inception, anifest has celebrated both the cutting-edge and the classic, spotlighting works from across styles and eras. Built frame by frame, animation moves through the hands of many. To uplift these artists over the years remains anifest’s proudest achievement. This year, we honour the medium with four landmark films that have reshaped the world of animation as we know it.
From the creative supervision of Katsuhiro OTOMO (STEAMBOY, SHORT PEACE), comes MEMORIES, a three-part work based on OTOMO's three original stories.
MAGNETIC ROSE :1 Set in outer space at the end of the 21st century, the 1st part tells the story of two engineers who encounter the apparition of a female opera singer in an abandoned space freighter...
STINK BOMB: The 2nd story is a satirical tale of a young lab technician who accidentally swallows experimental pills...
CANNON FODDER: The 3rd part depicts war-time life in an imaginary world, using a characteristic camerawork.
First year of high school, summer. Hodaka runs away from his home on an outlying island to come to Tokyo. He falls into poverty quickly, but after many days of solitude, at last finds work as a freelance writer for a dubious occult magazine.Rain falls day after day, as if taking its cue from his life. One day, though, Hodaka meets a girl in one corner of the hustle and bustle of the big city. Hina is a cheerful, strong-willed girl who lives alone with her little brother due to certain circumstances. She also has a strange power. “Hey, it’s gonna clear up now.”
Little by little, the rain stops and the cityscape gives off a beautiful glow. For Hina has the power to make the sky clear just by praying...
The world seems to be coming to an end, teeming with the vestiges of a human presence. Cat is a solitary animal, but as his home is devastated by a great flood, he finds refuge on a boat populated by various species, and will have to team up with them despite their differences. In the lonesome boat sailing through mystical overflowed landscapes, they navigate the challenges and dangers of adapting to this new world.
Set in a post-apocalyptic 2019 in Neo-Tokyo, a thriving metropolis flushed with violent motorcycle gangs and antigovernment revolutionaries. Amidst such chaos stands Kaneda, a vigilante destined to stop his lifelong friend Tetsuo from unleashing the same forces of destruction that decimated the Japanese capital with a massive explosion in 1988. But history seems destined to repeat itself – a prophecy that’s as vivid now and it was back then.
《阿基拉》 AKIRA
「 要創作一個標誌性的攝影作品 ，絕非易事 」
“ It's very difficult to create a photographic icon. ” 「 你無法預測何時會有事情發生 ，以及如何發生 」
“ You can't predict how and when they'll happen. ” 「 但這便是樂趣所在 ，也是讓我堅持當攝影師的理由 」
I Am Martin Parr
“ But that's the fun,that's what keeps me being a photographer. ”
儘管 Martin Parr 作品遍佈世界各地 ，但他早期 卻被人誤解輕視勞動階層而受爭議 。80 年代彩 色紀錄運動與起 ，他順應潮流 ，摒棄黑白轉投彩 色的複雜世界 ，但因彩色作品過於鮮明 ，使他加 入 Magnum 攝影通訊社時遇上波折 。他繼續利用 獨特的攝影語言 ，改變當代紀實攝影 ，最後更獲 得英國 CBE 勳銜 ，並登上 Magnum 主席之位 。
One of the most controversial photographers of his time, Martin Parr creates uncompromising portraits of consumer society that often have the power to both amuse and leave us caught awkwardly between laughter and uneasy recognition of ourselves.
Though he’s now celebrated, collected and exhibited worldwide, Parr’s early work did not find an easy public and was highly criticized for trivializing the working class. Yet, in retrospect, perhaps he was just observing what we often overlook, forcing them into the spotlight for all to discuss. Discover the maverick behind some of the past century’s most iconic images on an intimate road trip across England with the uncompromising Parr. Made with unprecedented access, I Am Martin Parr is the definitive portrait of an extraordinary photographer whose subjects, frames and colors have revolutionized contemporary photography by inventing a political, humanist and accessible photographic language.
Black Box Diaries
伊藤詩織 SHIORI ITO 《黑箱日誌》 BLACK BOX DIARIES
導演 DIRECTOR
獨家首播 EXCLUSIVE PREMIERE
10/08 (SUN) 22:00 11/08 (MON) 23:45
「 我不想令想發聲 、求助的人卻步 」
“ I mean. I don't want to be a bad example ”
「 令他們覺得『 原來會這樣 』」 “ And let them think, "Okay, this is ”
BLACK BOX DIARIES follows director and journalist Shiori Ito’s courageous investigation of her own sexual assault in an improbable attempt to prosecute her high-profile offender. Unfolding like a thriller and combining secret investigative recordings, vérité shooting and emotional firstperson video, Shiori's quest becomes a landmark case in Japan, exposing the country’s desperately outdated judicial and societal systems.
「 我原本想做空姐 」
“ I wanted to be an airhostess. ”
「 還瞞著我爸去報考 」
“ I secretly signed up for the exam.”
「 但我太怕他了 ，最後沒去應考 」 “ But I got scared of Dad and didn't go. ”
Award-winning filmmaker Payal Kapadia (A Night of Knowing Nothing) received the Grand Prix at the Cannes Film Festival for her stunning drama feature debut, a glowing portrayal of urban connection and unexpected sisterhood in Mumbai. Nurse Prabha’s routine is troubled when she receives an unexpected gift from her estranged husband. Her younger roommate, Anu, tries in vain to find a spot in the city to be intimate with her boyfriend. A trip to a beach town allows them to find a space for their desires to manifest. Named the best film of the year by The Hollywood Reporter, The New York Times, Sight and Sound and more, this film depicts the struggles and resilience of women with lyrical grace, subtly and powerfully shining a light on the shared realities of modern India.
Took three years in the making, Away is the mesmerizing debut feature from Oscar-winning animator Gints Zilbaodis, who single-handedly crafted the script, animation, and music. This enchanting adventure won Best Feature Film at the Annecy International Animated Film Festival and tells the story of a young boy who falls from the sky, awakening on a desolate island.
Armed with a backpack, a motorbike, a map, and a magical gold bird, he embarks on an odyssey through countless unknown lands. While the road to home remains unseen, the threat of a mysterious giant looms ever closer. Away is a stunning exploration of adventure, resilience, and the enduring quest for connection, inviting viewers to discover the wonders that lie beyond the horizon.
The world seems to be coming to an end, teeming with the vestiges of a human presence. Cat is a solitary animal, but as his home is devastated by a great flood, he finds refuge on a boat populated by various species, and will have to team up with them despite their differences. In the lonesome boat sailing through mystical overflowed landscapes, they navigate the challenges and dangers of adapting to this new world.
In 1960, 16 newly independent African countries enter the United Nations, shifting the majority vote from colonial powers and the U.S. to the global south. Congo becomes the arena for this battle. As Nikita Khrushchev pounds his shoe at the UN over Congo’s neo-colonial resource grab, African delegates are blackmailed. In an incredulous twist, DR Congo’s first prime minister, Patrice Lumumba, is assassinated, uniting the Afro-Asian block in demanding immediate worldwide decolonization. Amid this, the U.S. dispatches the like of Louis Armstrong, Dizzy Gillespie, and Nina Simone as Jazz Ambassadors around the world - as a diversion from CIA-backed coups.
In a near-future Tokyo where the threat of a catastrophic earthquake pervades daily life, two rabble-rousing best friends are about to graduate high school. One night, they pull a consequential prank on their Principal, which leads to a surveillance system being installed in their school. Stuck between the oppressive security system and a darkening national political situation, the two respond in contrasting ways, leading them to confront differences they never had to face before. After directing the transcendent Ryuichi Sakamoto: Opus, Neo Sora makes his dramatic feature directorial debut with this socially relevant and melancholic cautionary tale about adolescent bonds and if they can survive the volatility of a tumultuous political and social landscape.
COUP DE CHANCE is about the important role chance and luck play in our lives.
Fanny (Lou de Laâge) and Jean (Melvil Poupaud) look like the ideal married couple – they’re both professionally accomplished, they live in a gorgeous apartment in an exclusive neighborhood of Paris, and they seem to be in love just as much as they were when they first met. But when Fanny accidentally bumps into Alain (Niels Schneider), a former high school classmate, she’s swept off her feet. They soon see each other again and get closer and closer…
Despite what began as a shocking affair, then 36-year old Gracie (Julianne Moore) and 13-year old Joe (Charles Melton) now lead a seemingly picture-perfect suburban life some 20 years later. Their domestic bliss is disrupted when Elizabeth (Natalie Portman), a famous actress, arrives in their tight-knit community to research her upcoming role as Gracie. As Elizabeth ingratiates herself into the everyday lives of Gracie and Joe, the uncomfortable facts of their scandal unfurl, causing long-dormant emotions to resurface. In May December, director Todd Haynes (Safe, Carol) explores one of the great talents of the human species: our colossal refusal to look at ourselves.
