MOViE MOViE Magazine #75 - There is no terror in the bang, only in the anticipation of it.
PUBLISHER
MOViE MOViE
EDITORIAL DIRECTOR
PHOEBE CHIU
CREATIVE DIRECTOR
RENATUS WU (EDITED.HK)
CHIEF EDITOR
PINKY HO
EDITORS
ELAINE SHAM
ELFA HO
ALICE HUNG
ENGLISH EDITOR
KEVIN MA
ILLUSTRATOR
JENNY TSOI
DESIGNER
CATHY CHAN (EDITED.HK)
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牧羊少年與他的浮萍
ABOUT MOViE MOViE MOViE MOViE 於 2012 年與觀 眾首次見面 將百老匯電影中 心的精髓帶到觀眾家中，成立 了只此一家的國際電影頻道及
串流平台，讓大家隨時隨地能 透過 Now TV ch116 或應用程 式 欣賞獨家首輪人氣猛片、國 際影壇得獎傑作，以至口碑載
譽不朽經典，看盡電影的美好。
隨後分別於 2017 年及 2020 年再 推出融入藝術、文化與生活概念
的戲院 MOViE MOViE Cityplaza 及 MOViE MOViE Pacific Place，
提供多元文化觀影體驗。以後不
論身處何方，看電影從此不一樣。
所有文章內容僅代表作者個人
觀點及意見 並不代表本刊立場
THE VIEWS, INFORMATION, OR OPINIONS EXPRESSED IN THE MAGAZINE ARE SOLELY THOSE OF THE INDIVIDUALS INVOLVED AND DO NOT NECESSARILY REPRESENT THOSE OF MOViE MOViE
時尚與電影的跨界熱潮，將運動與復古美學深度融 合，男主角添麥菲查洛美不僅憑藉該作品獲得多 個最佳電影男主角提名，更被媒體譽為新一代潮流 指標，徹底打破電影與時尚的邊界。想在大銀幕感 受這股跨界魅力？ 在剛過去的 3 月份、就在奧斯 卡頒獎禮前夕，MOViE MOViE 已搶先推出「金像 好戲多面體」電影節目，讓影迷率先在大銀幕欣賞 《Marty Supreme：癲造之才》、《罪惡嘉年華》（Secret Agent）等六部榮獲多項奧斯卡提名的矚目之作。當 中三部作品更即將登錄 MOViE MOViE 頻道。 「愛」這個字，向來易讀難解，可以如此複雜，也可 以如此簡單。有人在關係中尋找自己，有人透過他人 完成生命拼圖。每個人對愛的定義，都有着截然不 同的答案。為了讓大家感受愛的多元樣態，五月份 MOViE MOViE 頻道的「首映星期天」，精選多部聚 焦情、愛與關係的作品；我們邀請到其中一部作品 《破浪男女》的演員柯煒林，與我們分享他與電影之 間那份親密而獨特的連結；與此同時，雜誌團隊更 專訪了《我們不是什麼》導演及三位主要演員。我們 希望透過電影展示不同的情愛觀點與取向，讓大家 細味愛的千百種模樣。
Marty Supreme successfully sparked a crossover trend in sports, fashion and film by blending sports with vintage aesthetics. Not only did star Timothée Chalamet received a slew of award nominations for his performance, his new label as his generation’s hottest trendsetter has blurred the line between cinema and fashion. Want to see what this crossover is all about on the big screen? Just before the climax of the award season in March, MOViE MOViE hosted Countdown to the Awards, giving cinephiles sneak previews of award season favorites like Marty Supreme and The Secret Agent on the big screen. Three of the films will be landing on the MOViE MOViE channel very soon.
The word “love” has always been easy to decipher yet hard to comprehend. It can be complex, yet so simple at the same time. Some people discover themselves in relationships, while others see partners as the missing piece of the puzzle that is life. The truth is, everyone has a different interpretation of love. For May, MOViE MOViE’s Home Premieres features a selection of films about love and relationships. This issue, we have invited The Chronicles of Libidoists star Will Or to share his intimate and unique connection with film, and we speak to the stars and director of We’re Nothing at All. By showcasing the different facets and perspectives of love, we want everyone to savor love in all its forms.
In 1977, Brazil’s political regime was corrupt, governance lay in ruins, and evil flourished. Marcelo is a university professor who dares to fight against the system, only to find himself hunted by assassins. During Carnival week, he flees to Recife, hoping to reunite with his family under a new identity. While Marcelo works in the state identification archives, searching for his mother’s record, the fatal threat draws ever closer. Each day, the Carnival death toll rises. Children are obsessed with Jaws, yet the great white shark caught in real life contains a human leg; corpses lie unattended on the roadside; a maid pleading for justice for her daughter is silenced. In the world of absurdity and madness, can Marcelo escape and survive?
《米高積遜》
MICHAEL
導演 DIRECTOR
安東尼奎克 ANTOINE FUQUA
演員 CAST
賈法爾積遜 JAAFAR JACKSON
上映日期 IN CINEMAS 22/04/2026
環球影業榮譽發行、年度最具話題性矚目片
王 《米高積遜》MICHAEL，將於四月震撼大
銀幕。電影呈現了史上最具影響力的藝術家之一 Michael Jackson 的生平與傳奇。由《波希米亞狂 想曲：搖滾傳說》金像監製 Gramham King、《邊
緣特訓》賣座導演安東尼奎克（Antoine Fuqua） 領軍，米高積遜侄兒賈法爾積遜（Jaafar Jackson） 首當男主角，將這人物的傳奇起點，至成為國際巨 星的經歷，徹徹底底地展現出來。 《米高積遜》聚焦他的音樂成就，更深入描寫 他舞台之外的人生軌跡： 從幼年被發掘成為 Jackson Five 主唱，到成為全球最偉大娛樂巨星 的過程，展露了他無與倫比的創作熱情，與對完美 的執著追求。他早期獨唱事業中的多個經典表演 及重要時刻，亦會於電影中復刻眼前，讓觀眾彷彿 親臨現場，以全新視角走進這位傳奇人物的內心 世界。
Michael is the cinematic portrayal of the life and legacy of one of the most influential artists the world has ever known.
The film tells the story of Michael Jackson’s life beyond the music, tracing his journey from the discovery of his extraordinary talent as the lead of the Jackson Five, to the visionary artist whose creative ambition fueled a relentless pursuit to become the biggest entertainer in the world.
Highlighting both his life off-stage and some of the most iconic performances from his early solo career, the film gives audiences a front-row seat to Michael Jackson as never before. This is where his story begins.
Longing for more after his Elvis epic biopic starring Austin Butler, Luhrmann follows up with EPiC, an electric and revealing concert documentary. Recovering 60-plus boxes of never-before-seen concert archives from Warner Bros’ storage, the director showcases his kaleidoscopic visual kinks and aggressive editing styles, seamlessly stitching together performances from several concerts from different eras to offer a panoramic view of his life and career. A mesmerising picture showing the King of Rock ‘n’ Roll’s hypnotic stage presence and generous personality all at once, it is a fitting tribute to applaud the showmanship of Elvis — and Luhrmann too.
全球人氣爆燈、狂收超過 13 億美元票房的《超 級瑪利歐兄弟大電影》將推出續作 《超級 瑪利歐銀河大電影》（The Super Mario Galaxy Movie），原班人馬強勢回歸，繼續無限笑聲和精 彩！ 上集導演亞倫霍瓦夫、米高傑勒尼克暨編劇 馬修霍高二度聯手，加上 Illumination 基斯梅勒丹 德利、任天堂「瑪利歐之父」宮本茂再次坐鎮，原 汁原味。
The Super Mario Galaxy Movie is an animated film based on the world of Super Mario Bros., and follows The Super Mario Bros. Movie, which was released in 2023 and earned more than $1.3 billion worldwide. Both the 2023 film and The Super Mario Galaxy Movie are produced by Chris Meledandri of Illumination and Shigeru Miyamoto of Nintendo.
The Super Mario Galaxy Movie is directed by returning filmmakers Aaron Horvath and Michael Jelenic, from a screenplay by returning screenwriter Matthew Fogel, with Brian Tyler returning to compose the score.
In this witty, new breed of mystery, George (Hugh Jackman) is a shepherd who reads detective novels to his beloved sheep every night, assuming they can’t possibly understand. But when a mysterious incident disrupts life on the farm, the sheep realize they must become the detectives. As they follow the clues and investigate human suspects, they prove that even sheep can be brilliant crime-solvers.
Twenty years after making their iconic turns as Miranda, Andy, Emily and Nigel — Meryl Streep, Anne Hathaway, Emily Blunt and Stanley Tucci return to the fashionable streets of New York City and the sleek offices of Runway Magazine in 20th Century Studios’ The Devil Wears Prada 2, the eagerly awaited sequel to the 2006 phenomenon that defined a generation. The film is directed by David Frankel, written by Aline Brosh McKenna, produced by Wendy Finerman, and executive produced by Michael Bederman, Karen Rosenfelt and Aline Brosh McKenna.
The Mandalorian and Grogu embark on their most thrilling mission yet in Lucasfilm’s Star Wars: The Mandalorian and Grogu, an all-new Star Wars adventure opening exclusively in theaters May 21, 2026. The evil Empire has fallen, and Imperial warlords remain scattered throughout the galaxy. As the fledgling New Republic works to protect everything the Rebellion fought for, they have enlisted the help of legendary Mandalorian bounty hunter Din Djarin (Pedro Pascal) and his young apprentice Grogu.
Panning over a century, girls from four different eras spend their youth in the same farmstead in German. Unknown to one another, yet the myths of each generation linger in the air, stirring up deep wounds from the past generations.
The melancholy and solitude of growth, the threat and seduction of death, the unsettling fury of violence lurking around, gently cross the early 20th century, curse the years of World War II, linger through the days of East Germany, and continue to echo its way to the present. Haunting, mystical cinematography ripples and glides like flowing water. Memories are delicately interwoven, awakening long lost emotions. German up and coming female director Marsha Szelinski breaks the linearity of memory and time with an ethereal narrative style, piecing together a century of Germany’s lost history. Winner of Cannes Jury Prize.
The 205th class of police academy students continues to face the ruthless tests from the devilish instructor Kimichika Kazama. As the students’ hidden secrets are gradually revealed by Kazama, some choose to drop out. Meanwhile, various incidents continue to unfold within the academy, including the love triangle involving Manabe, Asaki, and Momoha, Hatsusawa’s attempts to protect her sister’s safety, and the suspicious behaviour of Ujihara. At the same time, graduates from Kazama’s class are investigating the whereabouts of the kidnapped sister, Sara Tokizaki, discovering that someone is plotting to commit a crime during the police academy graduation ceremony…
The character Marty needs to maintain a high level of tension and anxiety throughout. What was the biggest challenge for you, and how did you prepare?
The hardest thing with Marty is maintaining a sustained sense of tenacity and anxiety. The whole film requires this urgency, and you can’t let up for a moment. When acting opposite different characters, I had to keep Marty’s nature intact while allowing subtle shifts in response to each person. The director had a very precise handle on this tone. It’s about sustaining a specific atmosphere. Even in intimate scenes, you can approach them in a whispered way while preserving the underlying tension.
The protagonist exists on a morally ambiguous line — not a traditional “good guy” or “bad guy”. Is that kind of role liberating?
Yes. I don’t really subscribe to using the term “antihero”. For me, Marty is more like a character with an ambiguous moral compass, like people in real life. Human beings have strengths and weaknesses; they can be generous and they can be selfish. This kind of setup doesn’t come with pre-assigned labels of good and evil, which actually gives me more freedom to explore the complexity of human nature.
How did you prepare for the brilliantly executed table tennis scenes?
I trained in table tennis for six years with Diego Schaaf and Wei Wang. For me, sports sequences aren’t just about showing off skills — they drive and support the storyline, like how songs represent a character’s emotional progression in a musical. In Marty Supreme, ping pong is the character’s “song”. That said, this isn’t purely a sports film. It’s more like a story about heists, love, ambition, dreams, and the disillusionment of the American dream.
How do you see this film connecting to our present moment? And do you think this style of filmmaking can still appeal to a new generation of audiences?
I think whether this film connects to the present is something for audiences to feel for themselves. For me, this is exactly the kind of original filmmaking we should keep making. Even if audiences end up not liking it, they might still say, “Yes, this is the kind of film that deserves to be made.” And that’s the message we want to convey.
競技場上揮灑的汗水，除了拼球技，也拼心計。感官上的刺激在 競速的快感、身體的較量中放大。離開擂臺，卻未曾想過當啦 啦隊也要煞費苦心。而你我般的普通人依然能遊戲人間，於日 常漫長的甜與辛中交替著疊杯子的極速。於 MOViE MOViE on Demand（Now TV）觀賞一連串運動競技電影！
《全力扣殺》FULL STRIKE
曾稱霸羽毛球界的吳久秀忽然遇上一群怪人，激起鬥志參加電 視台舉辦的業餘羽毛球大賽。
《傳奇之戰：AUDI VS. LANCIA》 RACE FOR GLORY: AUDI VS. LANCIA
靈感來自 1983 年世界拉力錦標賽上德國和意大利激烈競爭期 間發生的真實事件。
《銀髮動感 LALALA》POMS
雪洛和瑪莎在高中少女時期，曾夢想成為啦啦隊員。在雪洛鼓吹
之下，兩人想在平均年齡 60 歲以上的社區，組成一支全美最激 勵人心的啦啦隊。
《惠子的凝視》SMALL, SLOW BUT STEADY
惠子天生聽力障礙，本以為一生渾渾噩噩，沒想到迷上了拳擊。
《波格對麥根萊》BORG / MCENROE
重演 1980 年溫布頓網球世紀對決，盡現天才球手內心交戰，還有 球場外惺惺相惜那男人的浪漫。
《神速特攻隊》FAST & FEEL LOVE
《出貓特攻隊》團隊 ×《無痛斷捨離》導演 ×《大佬可以退貨嗎？》 女主角速戰速笑同你玩 疊 杯！
《神臂大叔》CHAMPION
從小被領養到美國的大隻佬 Mark 天生神力，曾贏得拗手瓜大賽 冠軍。在貪婪的經理人晉基誘騙下，Mark 重返韓國 ……
整部電影的最高潮，必定是當女主角偷偷潛入兇案現場一探 究竟，而兇手就在轉角，我們跟男主角卻被困在輪椅上，只能眼 白白看著事情發生，完場後，全身肌肉繃緊，汗流浹背 原來 緊張大師還為我們準備了沉「浸」式體驗（大師也說過：Puns are the highest form of literature，嘻）。
《迷魂記》VERTIGO
《觸目驚心》PSYCHO
17/04 (FRI) 22:00
《鳥》THE BIRDS 10/04 (FRI) 22:00 24/04 (FRI) 22:00
“You might think this would be very restricting, but actually it gives you a chance to concentrate on pure cinema — on framing, composition, and the movement of the camera.” — Alfred Hitchcock
這個希治閣自我束縛而來的框架，或許為他提供了執導多年 以來，最貼近電影本質的試煉；而對觀眾而言，《後窗》除了是 pure cinema，更是史無前例的一趟 cinematic experience。
除了讓自己倒下
“Someone said praying isn’t really talking to God. It’s acknowledging despair. To throw yourself on the ground because that’s all you can do.”
Nora Borg is an established Oslo stage actress; her younger sister Agnes is her closest companion. The two grew up together after their once-renowned filmmaker father Gustav left the family years earlier. When Gustav re-enters their lives and attempts to cast Nora in his comeback film, old wounds bleed anew. Nora rejects his offer, prompting Gustav to cast American star Rachel Kemp, who gradually comes to realize she has unwittingly become part of a deeply personal film drama. Agnes, meanwhile, delves deeper into the family history as Gustav and Nora attempt rapprochement, revealing a past that threatens the fragile foundations of the family.
探員 Danny 在調查一系列銀行劫案的過程中，發 現一名如幽靈般的危險男子，驚覺案件和此人竟 與其失蹤女兒有關！ 在靈媒 Diana 的協助下，他 嘗試追查並拆解箇中謎團，卻反讓二人被該男子 追捕。急於尋回女兒的 Danny 頃刻墮入難以自拔 的境況，然而事情發展將徹底超出意料，顛覆他對 身邊一切的認知
HYPNOTIC
Determined to find his missing daughter, detective Danny Rourke instead finds himself spiraling down a rabbit hole while investigating a series of realitybending bank robberies where he will ultimately call into question his most basic assumptions about everything and everyone in his world. Aided by Diana Cruz, a gifted psychic, Rourke simultaneously pursues and is pursued by a lethal specter - the one man he believes holds the key to finding the missing girl — only to discover more than he ever bargained for.
Based on the Stephen King short story, and produced by James Wan (The Conjuring, Saw), The Monkey is a new trip from Longlegs writer/ director, Osgood Perkins. When twin brothers find a mysterious wind-up monkey, a series of outrageous deaths tear their family apart. Twentyfive years later, the monkey begins a new killing spree forcing the estranged brothers to confront the cursed toy.
Better Man is based on the true story of the meteoric rise, dramatic fall, and remarkable resurgence of British pop superstar Robbie Williams, one of the greatest entertainers of all time. Under the visionary direction of Michael Gracey (The Greatest Showman), the film is uniquely told from Robbie’s perspective, capturing his signature wit and indomitable spirit. It follows Robbie’s journey from childhood, to being the youngest member of chart-topping boyband Take That, through to his unparalleled achievements as a record-breaking solo artist — all the while confronting the challenges that stratospheric fame and success can bring.
小編 P：對上一次看歌舞片已經是 The Greatest Showman， 前陣子重溫過猿人爭霸戰，會說話會發動戰爭的猩猩固然 新鮮，而會載歌載舞的猩猩卻比想像中的可愛。
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 Politics of Art
At a time when global politics is at the tip of everyone’s tongues, it was unlikely that the Berlin International Film Festival — one of the top three film festivals in the world — would escape unscathed. When asked about the festival’s silence on the war in Gaza at a press conference, jury president Wim Wenders said, “We have to stay out of politics because if we make movies that are dedicatedly political, we enter the field of politics. But we are the counterweight of politics, we are the opposite of politics.”
Whether Wenders meant that films should avoid politics or something more akin to Godard’s idea of “making films politically,” the statement prompted outrage from filmmakers and netizens. Some reporters pressed festival guests to voice their political stances at press conferences, turning every answer or non-answer into news clips or ragebait. Politics (or the insistence on avoiding it) overshadowed the films in the public sphere.
Ironically, the Berlinale jury ended up awarding the Golden Bear to Yellow Letters, a searingly political drama about a Turkish artist couple whose lives unravel when authoritarianism creeps into their lives. Whatever the intention of the jury, their choice ought to say more than a thousand press conference soundbites.
Nevertheless, cinephiles who could ignore the noise were treated to ten days of empathetic art about gender, grief, religion, greed, family, and yes, even politics. Actress Sandra Hüller won her second Silver Bear for competition film Rose, in which she plays a swindler who disguises as a male soldier to inherit a farmstead in a rural village. Director Anthony Chen made history as the first Singaporean filmmaker to enter the Berlinale competition with We Are All Strangers, an Edward Yang-esque family drama that completes his “Growing Up” trilogy following Ilo Ilo and Wet Season Queen At Sea, starring Juliette Binoche as a woman who moves home to care for her aging mother, was also widely praised.
Outside the competition, Muriel d’Ansembourg’s Truly Naked sparked debates about porn addiction and intimacy with its unflinching depiction of a young man’s comingof-age in the porn industry; Korean auteur and frequent Berlinale visitor Hong Sangsoo once again depicts the angst of a filmmaker with the experimental The Day She Returns; and Palestinian-Syrian filmmaker Abdallah Al-Khatib showed the brutal reality of life in a war zone with his Best First Feature Award winner Chronicles from the Siege
Even as the political debates raged on, the festival still had its share of glitz and glamour. Actress Michelle Yeoh took the spotlight as the recipient of the Honorary Golden Bear and presented the world premiere of Sandiwara, her new short film by Oscar-winning director Sean Baker (Anora).
KEVIN MA
所有節目編排播映時間以電視 台之最後公佈為準。 Final schedule is subject to station announcement.
In exchange for his overdue rent, Kutani, an out-ofjob director in Japan’s declining adult film industry, is recruited by his landlord to evict another tenant, Iseki. A struggling screenwriter, Iseki is surprised by the rain-drenched Kutani’s unconventional manner and invites him inside to dry off. Over several drinks, the men recount their failed relationships, unaware that they have more in common than they expect.
In a park on a rainy evening, a 19-year-old university student, Fumi, offers an umbrella to a soaking wet 10-year-old girl, Sarasa. Realizing her reluctance to go home, Fumi lets her stay in his place, where she spends the next two months in peace. They take each other’s hands and seem to have finally found their place in the world until Fumi is arrested for kidnapping. Fifteen years later, the lonely two are reunited both still suffering from the stigma as the victim and perpetrator of “a pedophile case”. Will the society give a place to their unshakable bond they have formed.
改編自 1974 年轟動法國的同名豔情書刊系列， 以及被評定為 X 級情色電影先鋒《艾曼紐》， 2024 年版本由《孕辱》（Happening）導演柯德莉
迪雲（Audrey Diwan）執導。 《浴火的少女畫像》（Portrait of a Lady on Fire） 女主角諾艾美梅朗擔任新世代艾曼紐，是位職場 女強人，一直尋求失落已久的性歡愉。她從事酒店 品質管理，要獨自前往香港出差，瞬即被異色都市 迷人的氛圍所吸引。在奢華的酒店經歷無數桃色 邂逅後，潛藏身體的慾望開始蠢蠢欲動。隨著神 祕男子篠原圭的出現，她冰封的熾熱性慾被激烈 撩動，深入感官世界，展開一場慾望與自我探索之 旅。全片在香港拍攝，寂寥的城市景觀更彰顯情慾 暗湧。
Emmanuelle is in search of a lost pleasure. She flies alone to Hong Kong on a business trip. In this sensual global city, where she initiates numerous encounters, she meets Kei, a man who constantly eludes her. Audrey Diwan’s film, freely adapted from Emmanuelle Arsan’s novel, casts a female gaze on the intimate quest of the woman whose name still evokes one cinema’s most provocative characters.
From the acclaimed director Yang Ya-che (Blue Gate Crossing; Girlfriend, Boyfriend) comes a cinematic exploration of love and longing in the neon-soaked streets of Taipei. This is a tale of four souls, each lost in their quest for sexual fulfillment, yet bound by a common yearning for something purer, something that might resemble love. Meet Lu (LIU Chu-Ping), a trans female haunted by an incomplete sense of womanhood, chasing the elusive high of a transformative ecstasy. Her best friend, Queenie (Alisia LIANG), is a wealthy heiress entangled in an arranged engagement to a gay man, seeking solace in the intricate ties of kinbaku. Their lives intersect with a heartbroken dom (Will OR) from Hong Kong, adrift in the city and nursing a lost love, and Single Pa (portrayed by Golden Horse Best Actor Wu Kang-Ren), a culinary enthusiast and former romance writer, struggling to mend the fractures in his family life.
Two narrative threads: one is an emerging love story between awkward teens Jens and Lisa, who are having sex for the first time; the other, an eventful quest of Simon the Semen and his friends to reach the golden goal, the Egg.
The first musical written by Leos Carax and cult band Sparks, follows a stand-up comedian and his opera singer wife have a two-year-old daughter with a surprising gift. 08/05 (FRI) 22:00
ANNETTE
DECISION TO LEAVE THE TASTE OF THINGS
獲康城影展最佳導演獎的名導美基哥姆斯（Miguel Gomes） 之作，憑《禁忌》（Tabu）及《一千零一夜》（As Mil e uma Noites） 三部曲奠定鬼才地位，今回再次以精妙敘事與獨特風格，講述 一名外交官為逃婚而展開的橫跨亞洲壯遊。 20 世紀初的英屬緬甸仰光，外交官愛德華不堪壓力臨陣逃 婚，跳上一艘前往新加坡的輪船，展開其橫跨亞洲的逃婚緣 記。隨著他輾轉穿越曼谷、馬尼拉、大阪、上海等地，未婚妻莫 莉亦不甘落後，堅定不懈地追回她的膽小新郎，二人在你追 我逃之餘亦不忘尋覓自我。
civil servant, flees fiancee Molly on their wedding day in Rangoon, 1917. His travels replace panic with melancholy. Molly, set on marriage, amused by his escape, trails him across Asia.
