2009台灣伊朗紀錄片交流影展

國立中正大學藝文中心12/14-12/18

2009-11-17T00:32:00.007+08:00

◆放映時間：12/14-12/18每日19:10-21:20 (18:50-19:10開放進場)
◆放映地點：中正大學活動中心 136階梯教室
◆聯繫人員：中正大學藝文中心 (05)272-0411(分機12501或12502)
◆影展內容：
12/14(一)邀請紀錄片導演薛常慧導演分享伊朗記行；12/17(四)邀請到紀錄片導演，也是中山傳播系教師蔡崇隆先生映前導讀。

12/14 (一)
講座：伊朗紀行　　講者：薛常慧 (紀錄片導演)
影片放映：八點半的火車 (片長約17分鐘)

12/15 (二)
影片放映：
1.一個人在德黑蘭 (片長約24分鐘)
2.刑法第61條 (片長約65分鐘)
3.勾達法麗德的故事 (片長約35分鐘)

12/16 (三)
影片放映：
1.萬有引力 (片長約54分鐘)
2.風返?寂 (片長約13分鐘)
3.和聲 (片長約40分鐘)

12/17 (四)
講座：映前導讀　　講者：蔡崇隆 (紀錄片導演 / 中正大學傳播系教師)
影片放映：
1.朦朧的自由 (片長約21分鐘)
2.我不是核能 (片長約36分鐘)
3.卡列 (片長約18分鐘)

12/18 (五)
影片放映：
1.學生當家 (片長約48分鐘)
2.德黑蘭是伊朗的首都 (片長約17分鐘)
3.拉列與拉丹 (片長約36分鐘)
4.德黑蘭?第25個鐘頭 (片長約20分鐘)

附註：中間不休息，片與片間連播。

國立暨南國際大學圖書館09/22-10/01

2009-09-16T12:12:00.000+08:00

放映地點：國立暨南國際大學圖書館 (南投縣埔里鎮大學路1號)
活動日期：09/22-10/01
活動聯絡人：陳慧津小姐 (049)2910960*4322

9/22 二Tue
刑法第六十一條 Article 61 (65)
放映總長：65分

9/23 三Wed
和聲 Back Vocal (40)
放映總長：40分

9/24 四Thu
萬有引力 Gravity (54)
放映總長：54分

9/29 二Tue
總統米．昆巴President Mir Qanbar (66)
放映總長：66分

9/30 三Wed
學生當家School in the Hands of Children (48)
放映總長：48分

10/01 四Thu
2:00-4:00
映後講座 Featured Speech

高雄市電影圖書館09/15-09/26

2009-09-15T11:28:00.000+08:00

放映地點：高雄市文化局電影圖書館 (高雄市鹽埕區河西路10號)
活動日期：09/15-09/26
活動聯絡人：高培修先生 (07)551-1211*17

9/15 二Tue
開幕式 Opening Ceremony
朦朧的自由 Freedom in the Fog (21)
八點半的火車The Train of 8:30pm (17)
放映總長：38分鐘

9/16 三Wed
我不是核能 I am not nuclear Energy (34)
和聲 Back Vocal (40)
勾達法麗德的故事 The Story of Gordafarid (35)
一個人在德黑蘭 Alone in Tehran (24)
風返.寂 Wind Again, Soundless (13)
放映總長：146分鐘

9/17 四 Thu
萬有引力 Gravity (54)
德黑蘭：第25個鐘頭Tehran, the 25th hour (20)
卡列QALEH（18）
德黑蘭是伊朗的首都Tehran is the capital of Iran (17)
放映總長：109分鐘

9/18 五Fri
朦朧的自由Freedom in the Fog (21)
勾達法麗德的故事The Story of Gordafarid (35)
學生當家School in the Hands of Children (48)
放映總長：104分鐘

9/19 六Sat
總統米.昆巴President Mir Qanbar (66)
映後講座 Featured Speech
放映總長：66分鐘

9/20 日Sun
刑法第六十一條 Article 61 (65)
映後講座Featured Speech
放映總長：65分鐘

9/22 二Tue
德黑蘭：第25個鐘頭Tehran, the 25th hour (20)
學生當家School in the Hands of Children (48)
卡列Qaleh (18)
放映總長：86分鐘

9/23 三Wed
風返.寂Wind Again, Soundless (13)
總統米．昆巴President Mir Qanbar (66)
拉列與拉丹Laleh and Laden (36)
放映總長：115分鐘

9/24 四 Thu
我不是核能I am not Nuclear Energy (34)
刑法六十一 Article 61 (65)
一個人在德黑蘭Alone in Tehran (24)
八點半的火車The Train of 8:30pm (17)
放映總長：140分鐘

9/25 五Fri
和聲 Back Vocal (40)
萬有引力 Gravity (54)
德黑蘭是伊朗的首都Tehran is the capital of Iran (17)
放映總長：111分鐘

9/26 六Sat
拉列與拉丹Laleh and Laden (36)
映後講座Featured Speech
閉幕式 Closing Ceremony
放映總長：36分鐘

國立臺南藝術大學11/26-11/29

2009-09-08T13:22:00.007+08:00

放映地點：國立臺南藝術大學
活動日期：11/26-11/29
活動聯絡人：黃名玟小姐(06)-6930142

11/26 四 Thu
開幕式 Opening Ceremony
和聲 Back Vocal (40)
風返，寂 Wind Again, Soundless (13)
映後座談 Featured Speech
放映總長：53分

11/27 五 Fri
我不是核能 I am not nuclear Energy (34)
刑法第六十一條 Article 61 (65)
德黑蘭是伊朗的首都Tehran is the capital of Iran (17)
德黑蘭：第25個鐘頭 Tehran: the 25th hour (20)
拉列與拉丹 Laleh and Ladan (36)
放映總長：172分

11/28 六 Sat
勾達法麗德的故事 The Story of Gordafarid（35）
萬有引力 Gravity (54)
學生當家School in the Hands of Children (48)
放映總長：137分

11/29 日 Sun
八點半的火車The Train of 8:30pm（17）
總統米．昆巴President Mir Qanbar (66)
卡列QALEH（18）
一個人在德黑蘭 Alone in Tehran (24)
朦朧的自由 Freedom in the Fog (21)
放映總長：146分

國立勤益科技大學10/20-10/23

2009-09-08T13:07:00.007+08:00

放映地點：國立勤益科技大學人文創意學院與圖書館
活動日期：10/20-10/23
活動聯絡人：邱紋誼小姐(04)-23924505*5103

10/20 二 Tue
我不是核能 I am not nuclear Energy (34)
和聲 Back Vocal (40)
風返，寂 Wind Again, Soundless (13)
導演座談 Featured Speech (pm 1：00-3：00)
放映總長：87分

10/21 三 Wed
刑法第六十一條 Article 61 (65)
德黑蘭是伊朗的首都Tehran is the capital of Iran (17)
德黑蘭：第25個鐘頭 Tehran: the 25th hour (20)
拉列與拉丹 Laleh and Ladan (36)
放映總長：138分

10/22 四 Thu
勾達法麗德的故事 The Story of Gordafarid（35）
萬有引力 Gravity (54)
學生當家School in the Hands of Children (48)
放映總長：137分

10/23 五 Fri
八點半的火車The Train of 8:30pm（17）
總統米．昆巴President Mir Qanbar (66)
卡列QALEH（18）
一個人在德黑蘭 Alone in Tehran (24)
朦朧的自由 Freedom in the Fog (21)
放映總長：146分

國立屏東教育大學11/27-12/02

2009-09-08T12:36:00.015+08:00

放映地點：國立屏東教育大學(屏東市民生路4-18號)
活動日期：11/27-12/02
活動聯絡人：陳亭燏小姐0911345672*11105

11/27 (五) Fri
時間：9：00-16：30
地點：國際會議廳
開幕式 Opening Ceremony
導讀講座 Featured Speech
總統米．昆巴President Mir Qanbar (66)
德黑蘭是伊朗的首都Tehran is the capital of Iran (17)
德黑蘭：第25個鐘頭 Tehran: the 25th hour (20)
八點半的火車The Train of 8:30pm（17）
映後座談Featured Speech （60）
放映總長：120分

12/1 (二)Tue
時間：19：00-21：00
地點：視聽教室
刑法第六十一條 Article 61 (65)
和聲 Back Vocal (40)
勾達法麗德的故事 The Story of Gordafarid（35）
放映總長：140分

12/2 (三)Wed
時間：19：00-21：00
地點：視聽教室
萬有引力 Gravity (54)
我不是核能 I am not nuclear Energy (34)
學生當家School in the Hands of Children (48)
風返，寂 Wind Again, Soundless (13)
放映總長：149分

國立交通大學電影研究中心9/23-11/25

2009-09-01T17:43:00.013+08:00

放映地點：國立交通大學電影研究中心（新竹市大學路1001號）
活動日期：9/23-11/25
活動聯絡人：劉軒妤小姐 (03) 573-1660

9/23 三Wed
刑法第六十一條 Article 61 (65)
放映總長：65分

9/30 三Wed
萬有引力 Gravity (54)
放映總長：54分

10/7 三Wed
總統米.昆巴President Mir Qanbar (66)
放映總長：66分

10/14 三Wed
學生當家School in the Hands of Children (48)
放映總長：48分

10/21 三Wed
一個人在德黑蘭 Alone in Tehran (24)
德黑蘭是伊朗的首都Tehran is the capital of Iran (17)
朦朧的自由 Freedom in the Fog (21)
我不是核能 I am not nuclear Energy (34)
放映總長：96分

11/18 三Wed
和聲 Back Vocal (40)
風返.寂 Wind Again, Soundless (13)
拉列與拉丹 Laleh and Ladan (36)
放映總長：89分

11/25 三Wed
德黑蘭是伊朗的首都Tehran is the capital of Iran (17)
勾達法麗德的故事（The Story of Gordafarid）35
卡列（QALEH）18
八點半的火車（The Train of 8:30pm）17
放映總長：87分

國立成功大學藝術中心11/24-11/27

2009-09-01T16:39:00.007+08:00

放映地點：國立成功大學藝術中心（台南市大學路1號）
活動日期：11/24-11/27
活動聯絡人：施沛瑜小姐（06）2757575*50063

11/24 二 Tue
導演座談 Featured Speech
風返，寂 Wind Again, Soundless (13)
和聲 Back Vocal (40)
放映總長：53分

11/25 三 Wed
刑法第六十一條 Article 61 (65)
勾達法麗德的故事 The Story of Gordafarid（35）
德黑蘭：第25個鐘頭 Tehran: the 25th hour (20)
卡列QALEH（18）
我不是核能 I am not nuclear Energy (34)
放映總長：172分

11/26 四 Thu
總統米．昆巴President Mir Qanbar (66)
拉列與拉丹 Laleh and Ladan (36)
一個人在德黑蘭 Alone in Tehran (24)
朦朧的自由 Freedom in the Fog (21)
放映總長：147分

11/27 五 Fri
學生當家School in the Hands of Children (48)
德黑蘭是伊朗的首都Tehran is the capital of Iran (17)
萬有引力 Gravity (54)
八點半的火車The Train of 8:30pm（17）
放映總長：136分

靜宜大學10/13-10/15

2009-09-01T16:29:00.012+08:00

放映地點：靜宜大學通識教育中心與大眾傳播學系
活動日期：10/13-10/15
活動聯絡人：吳蕙如小姐（04）26328001*17082

10/13 二 Tue
刑法第六十一條 Article 61 (65)
萬有引力 Gravity (54)
拉列與拉丹 Laleh and Ladan (36)
一個人在德黑蘭 Alone in Tehran (24)
德黑蘭是伊朗的首都Tehran is the capital of Iran (17)
放映總長：192分

10/14 三 Wed
總統米．昆巴President Mir Qanbar (66)
和聲 Back Vocal (40)
風返，寂 Wind Again, Soundless (13)
勾達法麗德的故事 The Story of Gordafarid（35）
朦朧的自由 Freedom in the Fog (21)
德黑蘭：第25個鐘頭 Tehran: the 25th hour (20)
放映總長：195分

10/15 四 Thu
學生當家School in the Hands of Children (48)
卡列QALEH（18）
我不是核能 I am not nuclear Energy (34)
八點半的火車The Train of 8:30pm（17）
映後座談 Featured Speech
放映總長：117分

澎湖縣政府文化局11/07-11/28

2009-09-01T16:17:00.008+08:00

放映地點：澎湖縣政府文化局
活動日期：11/07-11/28
活動聯絡人：張悅玲小姐（06）9261141*165

11/07 六 Sat
學生當家School in the Hands of Children (48)
卡列QALEH（18）
拉列與拉丹 Laleh and Ladan (36)
風返，寂 Wind Again, Soundless (13)
朦朧的自由 Freedom in the Fog (21)
放映總長：136分

11/14 六 Sat
刑法第六十一條 Article 61 (65)
德黑蘭：第25個鐘頭 Tehran: the 25th hour (20)
和聲 Back Vocal (40)
一個人在德黑蘭 Alone in Tehran (24)
放映總長：149分

11/21 六 Sat
萬有引力 Gravity (54)
導演講座 Featured Speech
放映總長：54分

11/28 六 Sat
總統米．昆巴President Mir Qanbar (66)
德黑蘭是伊朗的首都Tehran is the capital of Iran (17)
勾達法麗德的故事 The Story of Gordafarid（35）
我不是核能 I am not nuclear Energy (34)
八點半的火車The Train of 8:30pm（17）
放映總長：169分

新竹市文化局影像博物館12/02-12/06

2009-09-01T15:38:00.013+08:00

放映地點：新竹市文化局影像博物館（新竹市東區中正路65號）
活動日期： 12/02-12/06
活動聯絡人：陳怡君（03）5285840

12/2 三Wed
刑法第六十一條 Article 61 (65)
勾達法麗德的故事 The Story of Gordafarid（35）
德黑蘭：第25個鐘頭 Tehran: the 25th hour (20)
卡列QALEH（18）
我不是核能 I am not nuclear Energy (34)
放映總長：153分

12/3 四Thu
總統米．昆巴President Mir Qanbar (66)
拉列與拉丹 Laleh and Ladan (36)
一個人在德黑蘭 Alone in Tehran (24)
朦朧的自由 Freedom in the Fog (21)
放映總長：147分

12/4五Fri
學生當家School in the Hands of Children (48)
德黑蘭是伊朗的首都Tehran is the capital of Iran (17)
萬有引力 Gravity (54)
八點半的火車The Train of 8:30pm（17）
放映總長：136分

12/6 日Sun
和聲 Back Vocal (40)
風返，寂 Wind Again, Soundless (13)
映後座談 Featired Speech
放映總長：53分

台北市立圖書館 B2演藝廳12/11-12/13

2009-09-01T15:13:00.012+08:00

放映地點：台北市立圖書館 B2演藝廳（臺北市建國南路二段125號）
活動日期：12/11-12/13
活動聯絡人：高惟潔小姐（02）2755-2823*2116

12/11 五 Fri
開幕式 Opening Ceremony
一個人在德黑蘭 Alone in Tehran (24)

卡列QALEH（18）

朦朧的自由 Freedom in the Fog (21)
勾達法麗德的故事 The Story of Gordafarid（35）
和聲 Back Vocal (40)

12/12 六 Sat
我不是核能 I am not nuclear Energy (34)
學生當家School in the Hands of Children (48)
風返，寂 Wind Again, Soundless (13)
總統米．昆巴President Mir Qanbar (66)
拉列與拉丹 Laleh and Ladan (36)
刑法第六十一條 Article 61 (65)

12/13 日 Sun

德黑蘭是伊朗的首都Tehran is the capital of Iran (17)
萬有引力 Gravity (54)
德黑蘭：第25個鐘頭 Tehran: the 25th hour (20)

八點半的火車The Train of 8:30pm
映後座談 Featired Speech

草木戰役，EXOTIC EXOTICISM

2009-08-10T16:23:00.007+08:00

▲EXOTIC EXOTICISM: PLANTS WARS/ 20070917 synopsis

How possible is it to love trees? Some plants are thought to be "exotic" species, others "native", and others exclusively "endemic". Yet this creative documentary film, composed of 15 shorts, proposed an alternative view to live with plants and nature:

No "exotic" species for plants on earth. It's we human beings that are the *very* exotic species to plants.

What human race does has changed the earth's evolution a lot. This film intends to deals with no "rare" nor "endangered" species of plants, which might not be reached in our common everyday lives. In fact, it's everyday-life plants that do count.

Usually people like to talk about plany that are far away, especially those species in other foreign and "exotic" countries. Though plants might be classified as exotic/native/endimec species, everyday-life plants are too close to know (their names).

In what way do we love plants, trees and nature? For we human beings, is it possible to "be" the plants in themselves to know how they really feel on earth?

Actually, we might think about plants in an imaginary way, with kind of exoticism, with kind of exotic exoticism.

▲草木戰役

世界的草木沒有外來種。對草木來說，我們才是外來種。

《草木戰役》的拍攝主題是：「外來種」植物、「原生種」植物、「特有種」植物、「外來植物」跟「原生植物」之間的戰役、還有人們對這些戰役的一些「想像」。故事裡的人們，有人爬樹、有人唱歌、有人懷念過世的伴侶、有人逐花草而居、有人跟葉子講話、有人種樹、有人砍樹、有人把花煮來吃、有人擔心是不是最後一次開花、有人找不到可以認同的族群身份。

這一些戰役，有的是看得見的，卻有更多是看不見的。
這一些想像，有的像好奇，有的像科學，有的像記憶，有的像幼稚，有的像私密，有的像願望。

描述的草木植物，全都不是最稀罕的，卻都是我們以為最平常的。
它們不在遙遠的海角天涯，就在我們日常生活的眼前。
我們叫不出他們的名字，不是因為他們太陌生，是因為他們太熟悉。
不是因為他們太遠，是因為他們太近。

對草木來說，我們是一個外來種。對人們來說，草木也是一個外來種。
人們像是一個本國，草木像是一個外國。
能夠談的，不是草木，是人們跟草木之間的關係。
可以描述的，不是外國草木的真正模樣，是人們對外國草木的想像。
不是外國的本身，是人們對外國的「外國情調（exoticism）」。

對於草木外國的外國情調，在地觀點就是國際觀點：
工商無祖國。草木無祖國。

EXOTIC EXOTICISM: PLANTS WARS

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■《草木戰役 | EXOTIC EXOTICISM》, 2007∣出品．製作：印花印象∣MIMEO FILMS
草木顧問：潘富俊∣監製：馮賢賢∣製片人：劉建偉∣總策畫：本騷伊明∣共同策畫：薛常慧．黃思嘉 ∣共同撰文：瞿筱葳 ∣導演．攝影指導：劉吉雄∣戲劇主演：吳雨致．陳羽榛∣旁白演出：楊文文．林凱羚∣音樂：fish.the．黃一晉．929（吳志寧）．風建漢 ∣協力製作：國家電影資料館 ∣協力出品：財團法人公共電視廣電事業基金會《紀錄觀點》∣ EXOTIC EXOTICISM, 2007 | a MIMEO FILMS production presented by MIMEO FILMS & Public Television Service Foundation (Taipei), in association with Chinese Taipei Film Archive | produced by Awei Liu & directed by Asio Liu | written by Besau Iming | www.mimeofilms.com

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2009紐約現代美術館MOMA雙週影展︱30屆金穗獎紀錄片首獎︱45屆金馬獎最佳紀錄片入圍︱宜蘭綠色影展Ｉ民族誌影展︱交替影展

劉吉雄 Asio LIU

2009-08-10T16:20:00.002+08:00

劉吉雄，來自亞洲台北，曾任奧美廣告文案，現職攝影指導及導演。政治大學哲學系畢業，製作專長含劇情片、非劇情片、廣告片等。電影短片作品《沒參加》（2001）受邀美國日舞（Sundance）等國際影展展出；電影長片攝影作品《寧靜夏日》（藤田修平 , 2005）受邀2005美國費城等影展。近年主要作品為《草木戰役》（電影紀錄片2007，華語金馬獎入圍）、《台灣人物誌∥：黃海岱》（紀實影片2007）、《高校有刀》（數位電影2006）。

▲Asio LIU

Asio Liu works as DP/ director in Taipei-based MIMEO FILMS Ltd..He majored in philosophy in college and was a copywriter in O&M advertising company. His depute film AND SHE WASN'T (2001, co-dir w/Awei Liu) won the Best Experimental Award in Taipei Film Fest, and was shown in 2001 Sundance Film Fest. His DP work QUIET SUMMER (2005, Shuhei Fujita) was officially selected in Philadelphia Int'l Film Fest.

\ as director:

2007: EXOTIC EXOTICISM: PLANT WARS (doc.)/ Chinese Taipei Film Archive

2006: KNIVES@SCHOOL (digital film)/ Public Television Service

2001: AND SHE WASN'T (experimental film)/ co-dir, writer

\ as director of photography:

2005: PORTRAIT TAIWAN: LIN HWAI-MIN/ Discovery Networks Asia

2005: QUIET SUMMER (feature)/ Shuhei FUJITA

2004: MOTHER in HEAVEN (TV drama)/ Lin Chih-Ju/ Da-Ai TV

廚房，The Kitchen

2009-08-10T10:38:00.002+08:00

“The Kitchen” is not only the place of cooking , but also the place of living , growing , and memory making of my whole family , grandmother, grandfather, mother and I.

This is an experimental documentary film about memory, history , documentary and truth. And through this film , something was clarified….

【廚房】

｢到底，我們要如何去敘述『歷史』？

或者，要如何讓『記憶』對我們訴說？｣

這是我對歷史的真誠叩問…

而真相也許在歷史與記憶之間，在男與女之間，在阿媽、媽媽、作者三代之間，在紀錄與虛構之間，在影片與作者、觀者之間…; 或者，真相已不可尋…

主角是我的阿媽、阿公、媽媽。不，也許主角是廚房，或是「紀錄片」。透過「紀錄片」，透過記憶在鏡頭前的述說，這是一次對「廚房」所做的開放性的演繹……。

王盈舜 Wang, Ying-Shun

2009-08-10T10:36:00.005+08:00

清華大學電機系，臺南藝術學院音像紀錄研究所畢業。曾任多面向藝術工作室編導、攝影，獨立或系列紀錄片攝影指導。攝影及個人編導作品亦多次參與國內金馬、金穗、紀錄片雙年展等重要獎項。

現為紀錄片影像工作者。

重要紀錄片作品有，「博盛，這孩子」(1994，共同製作)，「走吧，回家」(1998，公視)，「傾聽我們的聲音---阿美族音樂系列」(1999，公視)，「阿山」(2002)，「廚房」(2002)，｢『男性』基本教練｣(2003)。

Wang, Ying-Shun received his MFA in Graduate Institute of Sound and Image Studies in Documentary at Tainan National University of the Arts in Taiwan.

He is currently a documentary filmmaker.

炸神明，The Gangster’s God

2009-08-10T10:33:00.001+08:00

Every Lantern Festival in eastern Taiwan, a group of men strips bare above the waist, and wearing nothing but red shorts, stands on a sacred palanquin, allowing people to pound their bodies with bottlerockets, singeing their skin. They are believed to be human incarnations of the god Handan. The “Scorching of Handan” has in recent years become a major event in eastern Taiwan – Taidong. Those who take part in the ritual have always been shrouded in mystery, and rumored to be members of the gangster underworld. The documentary “The Gangster’s God” enters the heart of these men’s universe, recording their dramatic lives.

The film delves deeply into the local underworld community of Taidong. Filmed over the course of a year and ten months, it follows four “brothers”: and organizer of the Handan ritual, and three participants of different ages – born in the 1960s, 1970s and 1980s- who all want to stand as a Handan the following years. Their lives are often unstable – during the film, one goes to jail, and another is committed to a psychiatric clinic. Can they successfully stand on the palanquin and serve as human incarnations of the god Handan?

在台東，有一群人，每到元宵節就赤裸上身，只穿著紅短褲，站上神轎，讓人用鞭炮炸自己，炸到皮開肉綻，為自己的過去贖罪。這些人被稱作肉身寒單爺。炸寒單的活動，近年來已成為東台灣的一大盛事，參與儀式的成員，一直被蒙上一層神祕的色彩，傳聞中他們是黑道中人。紀錄片「炸神明」進入寒單爺何新人物的世界，記錄他們戲劇話的人生。本片深入台東地方黑道，拍攝過程歷經一年十個月，追蹤到四個兄弟，分別是儀式的組織者，以及三個不同世代的兄弟，他們各是五、六、七年級的年紀，都想在第二年的元宵節當寒單爺。他們的生活起伏不定，有人在拍攝過程中入獄，有人要進入精神病房。他們可以順利的站上轎子當寒單爺嗎？

這三個道上兄弟，扮演肉身寒單爺，為的是服侍真正的天上神明。他們有的想脫離道上生活，有的正在學習如何進入道上。有的曾經當過殺手，有的現在還做討債的行當。他們都有入獄的記錄，也曾經為非作歹，透過這個儀式，可以看到一個道上小社會裡的法理人情，也能看到不同世代對於民間信仰的價值觀。

本片企圖處理的問題是，通過這個儀式，參與者可以得到什麼？這個民間信仰和台東道上兄弟的社會組織，有什麼關聯？他們站在神轎上當肉身神明的時候，代表的是神聖，還是邪惡？是英雄，還是混混？

賀照緹Ho Chao-ti

2009-08-10T10:31:00.004+08:00

賀照緹，紀錄片製作人及導演，多年來以邊緣的非主流議題為主要的拍攝對象，包括傳統民族音樂以及當代文化混血等題材。曾擔任雜誌主編及報社、電視台記者。紀錄片作品曾獲國內外影展邀約並獲獎。
賀照緹作品年表：
一、炸神明 2006
二、站在火山口 2006
三、蟑螂X檔案 2005
四、請問多重 2005
五、手風琴在路上 2003
六、縣道184之東 2001

Ho Chao-ti

Ho Chao-ti is a documentary film producer and director. For many years, her films have centered on marginal, non-mainstream subjects, including traditional ethnic music and hybrid contemporary culture. She has worked as a magazine editor-in-chief and as a newspaper and television journalist. Her films have been shortlisted at the Taiwan International Documentary Festival, the Taiwan International Ethnographic Film Festival, Women Make Waves Film Festival, South Taiwan Film & Video Festival, the Yilan Green International Film Festival, the Ho-Hai-Yan Music Film Festival and the Shanghai Mecooon Film Festival, and she has received the Golden Harvest Award of Excellence.

─Works by the Director

1. Producer and director, “The Gangster’s God,” documentary, 2006. Digital Betacam, 49 minutes. Language: Chinese. Filmed on behalf of Public Television Service.

2. Director, “Mouth of a Volcano,” documentary, part of the television series “Baseball in Taiwan – A Tale of a Hundred Years,” 2006. Digital Betacam, 49 minutes. Language: Chinese. Filmed on behalf of Public Television Service.

3. Director, “Cockroach Confidential,” documentary, 2005. Digital Betacam, 47 minutes. Filmed on behalf of National Geographic Channel International and broadcast in 27 languages in 163 countries throughout the world, with a total of 205 million viewers. Language: English.

4. Producer and director, “How Many Grams?” documentary, 2005. Digital Betacam, 30 minutes. Filmed on behalf of the Legal Aid Foundation, Taiwan. Language: Chinese.

5. Producer and director, “Squeezebox on the Road,” documentary, 2003. Digital Video, 55 minutes. Languages: Chinese, English, Czech, Polish, Portuguese, Spanish. Filmed on behalf of Public Television Service.

6. Director, “County Road 184,” documentary, 2001. Betacam, 55 minutes. Languages: Mandarin, Hakka, English. Filmed on behalf of Public Television Service.

冰點 Freezing Point

2009-06-23T00:47:00.003+08:00

Title: Freezing Point
Director: LU Yu-Jui

Synopsis:

This is a story about the workers in a cold storage, and about the first mate on an open-ocean fishing boat. The Chien-Chen fishing port was built in 1967; it was about that year when Taiwan fishing industry widely expanded and developed. This development brought a large number of cold storages. These cold storages were tasked with processing, freezing, and transporting the fish catch of squid, mackerel, and tuna.

Five years ago Shia-hua worked at a cold storage in Taiwan. Under his father's influence, he decided to board on a fishing trip to catch mackerel in the frosty waters of Hokkaido, Japan. It's June.

The characters of this story were Amis, one group of Taiwan's indigenous peoples from Eastern Taiwan who have devoted themselves to ocean fishing. It's an unspeakably hard life, indeed.

【冰點】

故事是關於冷凍廠工人和遠洋漁船大副……

民國56年前鎮漁港落成，台灣遠洋漁業開始發展，前鎮漁港周邊有許多冷凍廠，冰凍著魷魚、秋刀魚、鮪魚等遠洋漁貨，「出魚班」的工作就是搬運這些冷凍庫裡的漁貨，有工就做，沒工就休息打牌。

大副夏華(Yiyung)六月將前往寒冷的北海道捕撈秋刀魚，五年前他也曾在出魚班工作，受父親影響決定上遠洋漁船工作……。

他們都來自台灣的東部，默默地為遠洋漁業付出……難以言語的辛勞。

盧昱瑞 LU Yu Jui

2009-06-23T00:45:00.002+08:00

盧昱瑞，高雄人，2002年畢業於臺灣藝術大學視覺傳達設計系；2004年進入電視台工作，學習企劃與編輯工作；2005年就讀台南藝術大學音像紀錄研究所，開始用攝影機拍攝紀錄人和環境的事情。

LU Yu Jui

LU Yu Jui, living in Kaohsiung, graduated from Visual communication design department of NTUA 2002. He has entered TV business since 2004. He has studied at Graduate institute of sound and image studies in documentary of TNNUA 2006~2009.

"Freezing Point" is his latest documentary released in 2008. He likes to record subjects about the relationship between people and their environment.

油症-與毒共存 Oil Disease : Surviving Evil

2009-06-23T00:26:00.005+08:00

Title: Oil Disease: Surviving Evil
Director: TSAI Tsung Lung

Synopsis:

In 1979, two major events broke out in

Taiwan

, they were two milestones that recorded the health caring and political development. The PCBs Poisoning Incident was the most drastic tragedy in the history of

Taiwan

’s public disaster. The Kaohsiung Incident was the turning point of

Taiwan

’s democracy movement. After nearly three decades,

Taiwan

is already one of the democracy countries in Asia. But the PCBs poisoning victims have been dramatically evaporated from the earth.

While filming this documentary, the film crew tried to locate the poisoned victims back then, the blind kids at Huei-Ming school and townspeople of the impoverished areas, and managed to interview them for the scientific truth of the PCBs poisoning incident. We were surprised by the fact that Taiwan turned out to be the copycat of the public disaster of Japan in this case, and it was avoidable in the first place. The survived victims and their second generation who have inherited the poison from birth, has been left alone to fight the Toxin of the Century which is flowing in their veins, with unswerving and strong will, they are still fighting quixotically in a never ending struggle.

◎榮獲2008年南方影展首獎
1979年，高雄發生美麗島事件；
三十年後，當年的政治犯成為今日的政治明星。
1979年，台中發生多氯聯苯米糠油事件；
三十年後，當年的受害者至今仍掙扎著，
與毒共存……

1979年，臺灣發生了兩件具有里程碑意義的歷史事件：多氯聯苯毒油事件──環境公害史上最嚴重的悲劇；美麗島事件──黨外民主運動的重挫與轉捩點。三十年後，臺灣已成為亞洲最民主的國家之一，但在臺灣環保及公衛史上具有里程碑意義的多氯聯苯毒油事件，還有多少人記得？註定與毒共存一輩子的盲童，如今已邁入中年，他們的處境又有誰關心？那些罹患各式癌症而病故的受害者，官方又為他們做過什麼？

1979年，中部地區惠明學校師生及數千位居民，因為食用在回收加工過程中，遭受多氯聯苯污染的『米糠油』，導致全身長滿膿包、免疫系統及神經系統等多方面病變，並有孕婦產下死胎等不幸事件。事件之後，臺灣第一個消費者保護團體──消費者文教基金會隨即誕生，政府也成立食品衛生處及環保局，開始由專責單位來為臺灣的公共衛生及環保把關。但緊接著美麗島事件發生，這群受害者很快被大眾遺忘，至今沒有任何有系統的追蹤檔案留下。

本片尋訪多位當年不幸中毒的惠明學校師生與窮鄉居民，探索毒油事件的科學真相，並意外發現臺灣竟然重蹈日本公害覆轍，厄運原可避免。而被遺忘的油症倖存者，大多數本就處於社經地位較低的階層，才會購買便宜的米糠油。多數惠明學校受害者本身已是盲胞，與生來即帶有餘毒的第二代受害者們，只能憑著強韌的意志力，與血液中的世紀之毒，進行唐吉軻德式的永生搏鬥……。

影像書訪談十位當年不幸中毒的惠明學校盲生與窮鄉居民，收錄數十幅三十年前與現今的受害者歷史照片，以及四十年前日本油症、越南橘症歷史資料；為本紀錄片作更深入的探討，並為臺灣環境公害史上最嚴重的悲劇事件，留下令人怵目驚心的註解。

蔡崇隆 TSAI Tsung Lung

2009-06-23T00:15:00.002+08:00

蔡崇隆
政治大學法律學士，輔仁大學大眾傳播碩士，英國東安格利亞大學（UEA）電影研究。
曾任自立早報、財訊雜誌記者，超視「調查報告」、民視「異言堂」專題記者、公視「紀錄觀點」製作人。
紀錄片作品包括＜島國殺人紀事＞、＜公娼啟示錄＞、＜奇蹟背後＞、＜我的強娜威＞等。
現為紀錄片工作者，台南藝術大學、中正大學教師。

TSAI Tsung lung holds a Law degree and a MA degree in Mass communications. He worked as a newspaper and TV reporter and began to produce documentaries in 1999. Throughout his career, he has devoted his attention to

Taiwan

history, human right and marginal group issues.

Documentary film “Killing in Formosa” won the best documentary video of Golden Harvest Award in 2001. “Taipei Licensed Prostitutes” won Judge’s recommendation at Asian TV Festival in 2001. “Behind the Miracle” won the Excellent News Award in 2002. “My Imported Wife” was selected in INPUT, 2004.

多格威斯麵 Dog with Man

2009-06-23T00:03:00.005+08:00

Title: Dog with Man

Director: Hsin-Yao Huang

Synopsis:

Is Taiwan more than a pet to be cajoled and patted by USA? Ah-bien regularly goes walk about on the streets with Mr.Ko But A-bien is a stray dog, not the President of ROC. Everyday, Mr.Ko takes Ah-bien to the streets to protest. He believes fervently in his ideals-a kind of Don Quixote transplanted to the Far East.

The world on TV and the world we live in. Which one is more real? Mr. Ko, Ah-bien, reporters, cops and the film student who are making a documentary... The world behind the lens and in the front of the lens. What is real, and what one is not?

【多格威斯麵】

阿扁每天都跟著老柯在街頭流浪，牠是條流浪狗，不是中華民國總統；老柯每天都帶著阿扁在街頭抗爭，堅持著理想，就像是東方的唐吉訶德。

九二一那天，颱風來了，結果發生了火災。電視報導的世界和我們生活的世界，究竟誰比較真實？

老柯、阿扁、記者、條子、拍紀錄片的學生……鏡頭下和媒體上，何者為實？何者為虛？

唬爛三小 Bluffing

2009-06-22T23:55:00.001+08:00

Title: Bluffing
Director: HUANG Hsin Yao

Synopsis:

It's a story about the friendship and memories between director Huang Shin-yao and his high schoolmates. After finished military service, four guys started their new lives in different cities. On their holidays, guys spontaneously went back to a tea house named ''free house'', a hang out place since teenage, sit and bluffed whole day for killing time.

''From teenage to 30 something, our brotherhood is inexplicable, sometimes it’s just that we shared each others joys and sorrows in our youth age. There are dozen of petty things in the film, it seems meaningless for audiences, but it's those petty things that matters, they held us together, gave us a support and a way out. '' Huang said. A sense of humor of the voice-over and funny dialogues made this film popular within young audiences, however, the cruel reality presented within arose even more adults’ attention. Behind lively gatherings, some married, some lose their jobs, some even committed suicide...Their stories show a process of pursuing one's life goal. In this process, bluffing is a way to comfort your fellows, to ease loneness.

2002年的秋天，我的高中同學出國去了。我剪了一支片子，告訴他我們這幾年的生活，順便和他一起回味那過去的時光。你如果問我對這世界的看法，我會跟你說，世界和這人生一樣，一切都是唬爛三小。

黃信堯 HUANG Hsin Yao

2009-06-22T23:50:00.001+08:00

黃信堯
1973年出生，居住於台南縣七股鄉，國立台南藝術大學音像紀錄研究所創作碩士，目前為獨立紀錄片工作者、
「台北市紀錄片從業人員職業工會」常務理事、國立台南藝術大學「卓越計畫」講師。
紀錄片作品有《唬爛三小》獲金穗獎最佳紀錄片，近年作品受邀國際映演如：
《多格威斯麵》曾於德國卡塞爾文件展映演（Kassel documenta，為世界三大文件展，與威尼斯文件展齊名），
《台中九個九》則獲邀至紐約當代藝術中心（MOMA）作國際交流映演。

Huang Hsin-yao, graduated from the Graduate Institute of Sound and Image in Tainan National University of the Arts. He found ‘’The Image World of Three Bunny’’ production house.

His works participated various international Cultural exchange programs included MOMA and Kassel Documenta. His fourth documentary film ‘’bluffing’’ has won The 29th Golden Harvest Award for best documentary. He is currently an independent filmmaker and executive director of Documentary Media Worker Union.

Filmography:

The Man in the Salt-Pan (1999) Documentary, 43mins

Welcome to Red-woods (2000) Documentary, 30mins

Seaman (2000) Documentary, 56mins

* Culture Exchange Screening, Milano Art Festival, Accademia Delle Belle Arti di Milano
* Media Art Grant , National Culture and Arts Foundation

Dog with man (2002) Documentary, 87mins

*Documentary Film Section, 12^th Kassel Documenta
* Taiwan Documentary Festival, OK center for contemporary Art (Linz , Austria)
*Taipei Biennial Documentary Film Section, Taipei Fine Art Museum
*Taiwan Award Nominated, Taiwan International Documentary Film Festival
* Merit Prize of Documentary Competition, Nanying Fine Art Prize

Bluffing (2005) Documentary, 88mins

* The best documentary prize, The 29th Golden Harvest Award
*the Special Award and Audience Award, 2005 South Taiwan Film & Video Festival
* Documentary Film Section, Mecooon Film Festival (Shanghai, China)

Taichung 9x9 (2006) Documentary, 15mins

*Doc Taichung section, Taiwan International Documentary Film Festival
* Culture Exchange Screening, MOMA(The Museum of Modern Art)

童年夢 The Land to Live

2009-06-22T23:48:00.003+08:00

Title: The Land to Live
Director: KE Wan Ching

Synopsis:

There are about 150,000 Hakka residents populating the Kaohsiung area. Most of them migrated from northern

Taiwan

in the 1930s in search of better farming land. They diligently tended to their fields scattered around east of Love River. Due to urban planning and land redistribution, some became land owners, but some had to give it all up to the government.

高雄市的客家人號稱有十五萬之多，其中大部份為桃竹苗的北客，從不易耕種的丘陵地南下至有水源的平地，移民至高雄的時間大約在一九三○年代的日據後期。早年高雄市尚未開發，愛河以東放眼一片阡陌，勤儉持家的客家人，從貧苦的小佃農開始新生活，直到一九四○年代後期土地改革才開始慢慢轉變為自耕農。如今，這群克勤克儉的客家佃農，又因都市重劃有了另一番人生轉折，有人就此成為大地主，也有人土地被政府徵收，無奈地放棄所有…。透過年輕第四代客家移民的口述，一段移民人生，不同的生命際遇與家族故事，就在高雄這個變遷快速的城市展開。

我的七四七 My 747

2009-06-22T23:37:00.004+08:00

Title : My 747
Director: Hou Chi Jan

Synopsis:

747 is an 8-year-old scooter. YAMAHA, 50cc, full name“DNU-747”and he is all mine. It’s a story about 747 and me and time.

Taiwan has the highest density of motorbikes in the world. There are 12,370,000 motorbikes for a population of 20,000,000. On average every Taiwanese owns his/her first motorbike at the age of 21. Whether in the city or countryside, the sight of motorbikes rushing by in flocks has become unique to Taiwan. And the spontaneous, speedy and rather unsteady experience of riding on motorbikes bears some resemblance to the daily lives of Taiwanese people.

The film starts with the distinctive motorbike experience from the viewpoint of 747. It is interspersed with fragmented imagery of petty junk like penalty records and old flyers, recorded on photo, ENG, and DV. Tracing a journey from 1996 to 2004, the film is a private chronicle that will resonate with all Taiwanese people who have ever owned a motorbike.

七四七很小，很黑；七四七頭得用鐵絲綁住，不然就會解體。七四七跑步的時候，會驚醒住在馬路邊的每一個人。七四七常常傻站在豔陽下、暴雨下、狂風中，默默地等待著不知何時出現的主人，面對著吵吵鬧鬧的街道、不懷好意的警察與一片闐黑的防火巷發呆。七四七最近常去看醫生，醫生建議我直接把它送到太平間。

七四七今年八歲了，它是一部山葉牌的二行程50cc機車，全名是「DNU-747」，他的主人就是我。

這是一個關於747、我與時間的故事。

台灣是世界上機車密度最高的國家，全國二千萬人口，共有一千兩百三十七萬輛機車，台灣人平均在二十一歲時就擁有生平第一台機車。

本片由台灣獨有的機車經驗著手，以倒敘的方式，追溯七四七與其主人─也就是本片導演─風塵僕僕的八年旅程。零碎的影像材料與不起眼的廢棄物，召喚每個騎士與機車的記憶，用詩意的影像書寫一部私密的機車小史。

侯季然 HOU Chi Jan

2009-06-22T23:30:00.003+08:00

侯季然，政治大學廣播電視系碩士班，曾任「台灣電影資料庫」專任研究助理，現為自由作者。創作範圍包括文字、攝影與錄像，作品性格偏向抒情與實驗，常與時間與記憶相關。影評及散文作品散見「小電影主義」電子報及各大報章雜誌，個人專欄「我口袋裡的電影」位於文建會台灣電影筆記網站。影像創作方面，1997年以畢業作品《三個人的十一片台北》入選第二屆中港台學生電影錄像節，2003年以實驗片《星塵15749001》獲台北電影節市民影展首獎。2004年拍攝以SARS為主題的紀錄片《疫區》，同年，紀錄片《我的七四七》入選公視觀點短片展。2005年完成新聞局輔導金紀錄長片《台灣黑電影》。

HOU Chi Jan

HOU Chi Jan, writer and film director. He has worked for “the Database of Taiwan Cinema” since collage days. He started making short films from 2002. His works tend to be lyrical and stylish, and are often characterized with the theme of time and memory.

His experimental short “Stardust 15749001” won the Grand Prix of Taipei International Film Festival in 2003. The second short “My 747” won the Grand Prix of Hong Kong ifva Independent Short Film & Video Award in 2006. His documentary “Taiwan Black Movies”, presenting the cult films in repressive age of Taiwan 1970s, was nominated for the Golden Horse Awards and invited to many international film festivals.

He currently works on his first feature “On A Slow Boat to Kin-Men” which has been selected for the Kaohsiung City Government Film Subsidy Scheme.

翻滾吧！男孩 Jump!Boys

2009-06-22T23:08:00.007+08:00

Title: Jump!Boys
Director: LIN Yu Hsien

Coach and gymnasts

Synopsis

Several little boys from different families have totally different characteristics and tempers. They don’t play computer games or go to the MacDonald’s but go straight to the gym after school. This is their only common point.

No matter how painstaking the training is, they never quit. Are these kids all out of their minds？ This is not a traditional or critical documentary film. This film shows the humorous observation with the cheerful and flowing tempo. The coach treats these kids like sons. From the story about the coach practiced the gymnastics to the sigh of disconnecting with the old teammates，this film points out the poor gymnastic development of Taiwan between the present and the past.

Background

Lots of people think about the mainland China and the east Europe when mention about the gymnastics. In fact, there is also somebody training the little gymnasts in Taiwan. This film 「Jump! Boys」is a story about a coach in the Justice Elementary School in Yilan trained the seven little boys to win the team championship in the National Elementary School Gymnastics Competition. This film is full of tears, laughs and dreams.

The champion coach, Lin Yu-Shin, in 「Jump！Boys」 happen to be the elder brother of the director. The director revealed that he adored and admired for his brother’s supple figure so much that he also wanted to practice the gymnastics when he was a kid. But the parents thought it is O.K. for one child to practice the gymnastics but not for two. So they were opposed strongly. They even transfer him to another school. His gymnastics dream broke off at that time.

The director is engaged in the image processing. His elder brother is a gymnastics coach in the alma mater, the Justice Elementary School of Yilan County. One time, the director went home and saw an old picture of his elder brother and the teammates in the childhood. Each of the old teammates goes his own way. Only few of them stay in the field of the gymnastics. His brother seems to want to accomplish the dream so he chose to train the little boys to be the gymnasts. The director began to film to keep the precious memory of his brother and the little gymnasts.

His brother thinks this is a good idea to film this story to be the teaching materials. Because he’s not willing to be filmed, the director filmed the kids first. There are kindergartners and elementary school students among these seven kids.

They were disciplined everyday after join the gymnastics team. But some kids insist on practicing the gymnastics and find the confidence that not found in the classroom. His brother accepted the interview in the end of filming. At that time, the director knew his brothers’ mission and story about practicing the gymnastics.

Coach Lin Yu-Shin who won the champion in the Asian Games has a slight poliomyelitis. But he likes rolling and jumping but talking. He loves rolling but talking. Once, he has been to the class for the mentally retarded children. Lin Yu-Shin created him a beautiful future in the world of gymnastics. But his father died when he graduated from the junior high school. Because he is the firstborn, he was forced to inherit his father’s fruit business. His gymnastics career was broken for three or four years until he joined the team in the senior high school. At last, he won the national Vaulting Horse champion as a dark horse.

幾位來自不同家庭的小男孩，有著截然不同的個性與脾氣，唯一的共同點是──下課後，不打電動不去麥當勞，直奔體操訓練場。「再苦也要練下去、哭完繼續練下去、生完氣繼續練下去、摔倒爬起來再繼續練下去、再痛也要練下去…」難道，這些小朋友都瘋了嗎？

跳脫沉重批判式的傳統紀錄片，本片在熱鬧無比的流暢節奏中，呈現輕鬆幽默的影像觀察，從教練對小朋友嚴父兼慈母的關愛、教練自己的心路歷程，到當年隊友失聯四散的感嘆，今昔對比之間，點出對國內體育養成環境的省思。

八十五分鐘的影像是對生命的熱情，是對夢想的執著…是和你我一樣堅持的台灣精神…

◎2005年台灣金馬獎最佳紀錄片
◎日本福岡及韓國釜山影展參展影片翻出國片新希望!!
◎台北電影節連獲評審團特別獎、觀眾票選獎兩獎
◎觀眾一致讚賞!唯一適合8-80歲觀賞的電影！讓你重新找回對生命的熱情與心中的夢想

『用最簡單的方式捕捉到最單純的感情，撿回觀眾對國片的信心。』----------「名作家」小野先生

『我被小朋友深深感動，相信他們將來都能參加奧運為國爭光』---------「亞洲羚羊」紀政小姐

種樹的男人 Tree Farmer

2009-06-22T22:38:00.009+08:00

Title: Tree Farmer

Director: LIN Yu Hsien

Synopsis:

LU Ming Shih, a man who vows to plant trees along the Tropic of Cancer. As a result of a book and a trip to Provence, he embarks on an ambitious project - to plant trees in Chianan plain. He has been working on this project for nine years. During the process, he is supported by so many people but also treated by some with contempt. But nevertheless, Lu never cares about what people’s opinion of him. He says, ‘As I’m hopeless in love with Nature, I plant trees.’

He believes that all dreams can come true. Lu understands that to plant trees along the Tropic of Cancer is a mission, which may be not completed by one generation, but he believes that it can be handed down to the next generation. The most important of all is – someone has to make a start. He is convinced that as long as there are people who would carry on working, this dream will be realised one day.

Director’s Statement

From August 2007 onwards, we had been following Mr Lu all over Chiayi County for half a year. In the end, this journey has meant more than a documentary for us. He made us begin to ponder whether an alternative living style should be considered.

I believe this is a story without an end because Mr Lu will keep planting trees. The most important of all is that this story would encourage people to plant trees and to improve our living environment. We should never underestimate any decisions as they may have unexpected impact on our lives!

【劇情大綱】

一個誓言要在北回歸線種滿樹的男人，盧銘世，因為一本書以及一趟譜羅旺斯之旅，讓他在嘉南平原展開至今長達九年的種樹計畫。

在執行過程中，有很多人給予協助支持，也有人認為他「吃飽閒著，做憨工！」但是盧銘世卻不在意的說：「愛著卡慘死，我執愛自然，所以我種樹。」

他相信這個世上沒有到不了的夢想，他也知道北回歸線種樹計畫，或許是這一代無法完成的夢想，但下一代可以繼續執行，重要的是一定要開始做。

只要有人願意做，一定會成功。

【喵導的話】

從2007年8月開始，我與工作團隊隨著盧銘世老師，長達半年的時間在嘉義市上山下海。對我們來說，這趟旅程已經超越拍片這件事，他讓我們所有人開始去思考也許有另一種生活方式的選擇。

我想這個故事可以一直說下去，因為盧老師的樹會一直種下去，但是更重要的是希望透過這個故事ㄝ讓更多人能夠開始實踐種樹計畫，開始改變你所居住的環境，不要輕忽「你的小決定，大大影響新可能喔！」

部落之音, Radio Mihu

2009-06-22T22:09:00.006+08:00

Title: Radio Mihu

Director: Lee Jong-wang

a portrait of Bayas

Synopsis:

"Good morning, radio land. You're listening to Radio Mihu, and this is Bayas. Today we're going to talk about pares, persimmons and some gossip about mudflows ..." Sharply and jokingly, Bayas tells the story of the reconstruction after 921 earthquake at the Mihu tribe.

"Mihu" means make up for each others deficiency and set up a whole new homeland. However, due to the limited resources and different situation, not all the tribe’s people can participate in the reconstruction. The longstanding grudge has suddenly explored.

In this documentary, we'll see the disunity and conflicts in the tribe, and we'll find that this aboriginal tribe is just like a mini version of the society of Taiwan.

Director’s Statement:

In September of 1999, 12 of us from Fullshot Communication Foundation decided to go to the disaster area of 921 earthquake in central Taiwan to make documentaries. To our surprise, this trip has changed our impression on the land, humanity, and ourselves.

We spent four years in central Taiwan, and we have become friends with the victims of the earthquakes. The complexion thus confused us; it’s hard to say who’s shooting the documentary, and who’s being shot. With our cameras, we have learned from Mother Nature and the victims, and witnessed the power of reconstruction, spiritually and physically, among common people.

The process, or we called it “mission”, was difficult and tiring, but we’re finally going to finish the seven documentaries. Five of them were finished this year (2004), and Radio Mihu is one of them. There are two more will be completed shortly. We sincerely hope that people will open their minds and understand each other more after watching the documentaries. Standing on a common ground, only can we hug each other and face the difficulties bravely. We’ll then accept the reality and step forward.

Names of festivals and prizes:

2007 Taiwan Film Festival. San Francisco, USA

2006 The 4th Hong Kong Social Movement Film Festival

2005 Yamagata International Documentary Film Festival, JAPAN

2004 Taiwan International Documentary Film Festival Taiwan Award Special Jury Prize, 27th Golden Harvest Film Festival Digital Video Merit Prize

【部落之音】

Mihu（彌互）意味著相互彌補缺失，共同創造全新伊甸園。
這是大安溪畔雙崎泰雅族部落在九二一後共同期望的遠景。

然而，在資源有限、現實條件不同的狀態下，並非部落人皆參與這樣的重建道路，累積已久的恩恩怨怨在地震中，突然一下子浮上台面…。

地下電台主持人巴亞斯在其中穿針引線，希望部落人能安靜聽聽不同的部落之音。

林育賢 LIN Yu Hsien

2009-06-22T21:58:00.001+08:00

Lin Yu-Hsien

林育賢

從事台灣電影幕後工作經歷編導剪數年，林育賢的作品經常已幽默風趣的快節奏手法，呈現個人對社會人文的細膩觀察，趣味中帶有豐富的省思。

曾以紀錄片【鴉之王道】、【街頭風雲】入圍金馬影展數位短片競賽。2005年拍攝首部劇情式紀錄長片【翻滾吧！男孩】，創下台灣首輪戲院上映長達三個月的票房成績。同時本片於2006年7月進軍日本電影市場。同年商業週刊邀請拍攝製作【一個台灣兩個世界】關懷系列【大象男孩與機器女孩】紀實影片，獲得14大電視與2大網路的感人聯播。2007年首部劇情長片【六號出口】，內容鎖定青少年尋找生命出口議題，深受全國國高中師生感動推薦。

LIN Yu Hsien ，19 May 1974 ，Yilan， Taiwan

The founder of Jump Boys Films, and has been a long contributing force time in directing, screenwriting, and editing for the Taiwan film industry. His works presented his close studies of human and society; he often presented his views in a humorous way that is still warm and caring.

Lin was nominated for the Golden Horse Digital Short Film Competition for his documentary shorts “Pray for Graffiti” and “His-Men Street”. Lin shot his first full-length documentary in 2005, “Jump! Boys” was critically acclaimed, and set the record for the biggest box office and longest theatre run-time of three months for its genre. “Jump! Boys” was set to be released in Japan in 2006 summer. Director Lin’s documentary in 2006, “Elephant Boy and the Robot Girl” set the record for of airing in 14 television networks. “Exit No. 6” is Director Lin’s first narrative film.

2009 【SUMIMASEN,LOVE】/75min, , Feature Film
2008 【Tree Farmer】/55min, Documentary
2007 【Exit No.6】/ 95min , Feature Film
2006 【Elephant Boy and the Robot Girl】/ 45min, Documentary

2005 【Jump!Boys】/ 84min, Documentary
2005 Taipei Golden Horse Film Festival / Best Documentary
2005 Pusan International Film Festival
2005 Fukuoka International Film Festival
2005 Taipei Film Festival / Audience Choice Award

2003 【His-men Street】/ 30min, Documentary
2003 Taipei Golden Horse Film Festival

2002 【Pray for graffiti】/10min, Documentary
2002 Public Television Service Foundation “View Point” Festival
2002 Taipei Golden Horse Film Festival
2003 Asia Television Documentary Film Festival
2004 JVC Tokyo Video Festival
2004 America San Diego Documentary Film Festival

李中旺 LEE Jong Wang

2009-06-22T21:18:00.001+08:00

李中旺

1959年，生於中壢。退伍後即從事攝影工作，最初於光啟社擔任棚內電視攝影師，之後參與多齣電視連續與單元劇攝影工作，其中包括王小棣導演之華視金鐘獎單元劇【秋月春風】。在拍攝了5年的綜藝、報導及電視劇…等等許多商業電視節目後，1988與一群朋友組了「全景映像工作室」，從此，由炫麗的影視製作大道，轉而投入國內紀錄片製作，雖然荒野小徑艱困難行，卻空氣清新、身心愉悅、有益健康。

LEE Jong Wang

After working as a cameraman of TV shows and drama for five years, LEE Jong Wang founded Fullshot Film/Video Studio with a group of friends in 1988. The road from mass media to documentary may not be easy, but the director has found making documentaries healthier and more pleasant.

Mohammad Shirvani

2009-06-20T00:36:00.000+08:00

Mohammad Shirvani

Mohammad Shirvani started making short films and documentaries in 1991. Known for his unique style and sense of humor, Mohammad Shirvani represents a new generation of Iranian filmmakers who take an avant-garde approach to storytelling, utilizing low-cost digital technology to their advantage, thereby avoiding most censors' scrutiny.

His films include President Mir Qanbar (2005), Nahf (2004), and The Candidate (2001).

Amin Ghadami

2009-06-20T00:28:00.002+08:00

Amin Ghadami

Amin Ghadami
Born on 1978, Tehran, Iran
B.A. of Film Directing
A member of Iranian Documentary Film Makers Society

Started his career first with photography and has worked as a professional photographer for five years with major Iranian newspapers and magazines. He started film directing from the year 1998 and has directed more than 20 films till now.

Resource: Amin Ghadami official website

Seifollah Samadian

2009-06-20T00:24:00.002+08:00

Seifollah Samadian

Born in Tehran in 1954, Seifollah Samadian is an accomplished Iranian artist, photographer and cinematographer. Highly-regarded internationally as an art director with experience working with directors like Martin Scorsese and Abbas Kiarostami, Samadian came to the forefront of critical attention in a wave of Iranian photography that gained momentum in Iranian the arts scene in the years following the 1988 end of the Iran-Iraq war.

Samadian later became Professor of Photojournalism at the University of Tehran and is today Publisher and Editor-in-chief of the Iranian cultural magazine Tassvir (Photography).

Resource: Muslim Voices

Hadi Afarideh

2009-06-20T00:18:00.002+08:00

Hadi Afarideh

Hadi Afarideh, born in Tehran, started his artistic career in 1998 as a theatre playwright and director. Since then he has worked with well-known theatre directors such as Dr Ghotbeddin Sadeghi, Behzad Farahani, Hadi Marzban, Mikael Shahrestani, etc. He also started his filmmaking career in 2001 through the Iranian Youth Cinema’s Association based in Tehran. He has since accomplished different photography and casting projects in more than 50 short film & documentaries.

He then collaborated with a German director, Witt Helmer, for the casting of his international project. He was selected as the Best Documentary Maker at the first Iranian Documentary Makers’ Specialised Workshop (2006), and by the end of 2007, he won several directing prizes in more than 40 national and international festivals. He was also a member of the selection committee and the jury of Bagh Ferdow’s Week of Cinema (2008). He currently is an active member of Iranian Documentary Makers’ Association and Iranian Short Film Association. His films have been seen and awarded in more than 50 national & international festivals.

Mojtaba Mirtahmasb

2009-06-19T23:58:00.002+08:00

Mojtaba Mirtahmasb

Mojtaba Mirtahmasb was born in 1971 in the city of Kerman in Iran. He began and created his artistic life between the years of 1992-95 in University of Art (Mojtame’-e Daneshgāhiyeh Honar) in Tehran during preparation of his BA degree in Visual Art and Handicrafts. University of Art as the first intellectual and modern Art University after Islamic Revolution of Iran and war between Iran and Iraq was the best place for M.Mirtahmasb to meet the other artists in different fields of art, especially visual art such as photography, graphic design, painting, sculpturing, film making….

During 1992-95 he travelled a lot around Iran and did many little field research projects that his BA thesis is the result of these all. “Artistic Manifestations of Islamic Culture in the Mourning Accessories of Moharram” is the title of his BA thesis.

From 96 to 97 he directed 9 documentary-fiction films about the “Islamic Art and Material Culture of Iranian Shiism” under the global titles of the“Art Stories Series”, for introducing Iranian Traditional Handicrafts to Iranian young generations.

During 1998 till 2002 he produced and directed many short films about different subjects. Sedāy-e dovom (Back Vocal) and Sāz-e mokhālef (Off Beat) are his two recent films that show us his personal inquiry and thinking for the actual situation of Art, Youth and Gender in Iran. As he knows most of the artists and art producers in Iran, by make interviews and direct talking with these people specially women and young generations in Tehran, he tries to show us new visions and new versions of life in Iran.

M.Mirtahmasb is one of the rare young post-revolutionary generations and artists of Iran who has big names in his Cinematography’s C.V. for participating on their films, the names like Kambozia Partovi (Iran is my Home), Mohsen Makhmalbaf (Kandehar) and Sediq Barmak (Osama). He decided to stay and live in Iran and continue to make documentaries and fictions about the Art and Society in actual Iran.

Resource: Anthropology.net

Mahvash Zia Sheikholeslami

2009-06-19T23:45:00.002+08:00

Mahvash Zia Sheikholeslami

Mahvash Sheikholeslami Born in Iran and studied cinema at the London Film School. She has shot four documentaries and has been on active producer since 1975. She tought cinema at University TV in Tehran and produced movies and TV serials of most famous Iranian filmmakers.

Since 1996 she has been making her own films. Among them: Yufek (1999, Grand Prix Tampere international Film Festival. First Prize Arg-e jaded Documentary Film Festival. Best Director International Iranian Young Cinema Charsho 2000 Best Director Award at the International Iranian Cinema.,Pire Hara 2001:Grand Prix International Marine Kish Film Festival.Award of Excellence Yamagata International documentary Film Festival. Pershang, Dooz, Murderer& Murdered (Arte TV) and participated too many other Festivals. Article 61 ( 2005 Locarno International film Festival Amsterdam Film Festival ( IDFA), Prague One World International Film Festival As a Jury,Tampere international film festival (2000 International Fajr film festival (2000 International Iranian Young cinema (2002 Kish documentary film festival Naft (oil) International film festival in Abadan Cinemaye Iran film Festival. Jashnvareh Zanan 2005

Resource: Roma Independant Film Festival

Mehdi Ghorbanpour

2009-06-19T23:30:00.003+08:00

Mehdi Ghorbanpour

Mehdi Ghorbanpour is born in 1979 in Babol in northern Iran. He started his career as filmmaker in 1992. In early 2000, he established the Varesh International Film Festival and worked as the executive director of festival.

He is now in charge of public relations of ISFA (Iranian Short Film Association). Also he was the director of Film & Still Photograph Section of the 1st International Festival of Common Heritage.

He has made 20 short and documentary films as a director and producer which have been participated and awarded in various local and international festivals. Some of his works are End of Game (1995), Issa of Rain (2001), By Sky (2001), Where There is Nobody (2002).

Resource: the Eight Asiatica Film Mediale 2007

Wind Again, Soundless, 風返，寂

2009-06-19T22:21:00.000+08:00

片名：風返，寂（Wind Again, Soundless）

導演：阿敏．加達米（Amin Ghadami）

影片簡介：

伊朗東南部的哈矛湖（Hamoun）在1997年乾涸。從那時候起，席斯坦省（Sistan）一年吹120天的季風，將湖底的沙颳向附近村落，猛烈的風與飛沙造成居民極大的困擾。

本片記敘當地居民的生活、以及一群師生挑戰風沙回到學校的過程。導演在片子結尾處，引用波斯古詩人菲爾多西（Ferdowsi）的詩句：「即使面對艱困貧窮你仍須堅強；你或許聽到大地與自然正抱怨著人類的漠視……」

The Train of 8:30pm, 八點半的火車

2009-06-19T22:20:00.000+08:00

片名：八點半的火車（The Train of 8:30pm）

導演：貝禾薩德．克侯達維西（Behzad Khodaveici）

影片簡介：

火車民營化以後，晚上八點半從德黑蘭（Tehran）發到雅茲德（Yazd）的火車沒有餐廳。一名學生決定向當局遞交請願函，改變這個不合理也不方便的情形，他與其他同伴開始收集火車乘客的簽名。

學生們收集簽名的舉動，引起火車警衛的注意，雙方的衝突漸漸升高…

The Story of Gordafarid, 勾達法麗德的故事

2009-06-19T22:13:00.001+08:00

片名：勾達法麗德的故事（The Story of Gordafarid）

導演：哈地．阿發立德（Hadi Afarideh）

影片簡介：

那卡力（Naqali）是伊朗傳統的劇場說唱藝術，由男人獨唱，長久以來禁止女性參與。女性也不得出現在那卡力的表演場所，如咖啡廳、公眾廣場等。

本片記錄伊朗歷史上第一位女性說唱藝術家——法德美．哈畢畢薩德（Fatemeh Habibizad）。她積極地拜訪耆老，學習伊朗不同區域所發展的說唱形式，在學習的過程中因為身為女人，承受不同的社會壓力。

她被稱呼為「勾達法麗德小姐」。她證明女性也能作男人的工作，就像伊朗史詩王書（The Book of Kings）中的女英雄勾達法麗德（Gordafarid），在男人之前挺身而出為伊朗戰鬥。

Tehran: the 25th hour, 德黑蘭：第25個鐘頭

2009-06-19T22:11:00.000+08:00

片名：德黑蘭：第25個鐘頭（Tehran: the 25^th hour）

導演：賽佛拉．薩麻第安（Seifollah Samadian）

影片簡介：

1998年11月29日，伊朗國家足球代表隊進入世界盃前32強。平時安靜的德黑蘭街道變得熱鬧、充滿歡樂，不同族群的伊朗人團結在一起慶祝勝利。這一天是伊朗近代史中最快樂的一天，被稱為「甜蜜星期六」。

在1979年伊斯蘭革命以後，300多萬伊朗人因為社會、政治、經濟等因素離開伊朗。之後，伊朗與伊拉克的戰爭、伊朗內部政局的動盪、加上西方媒體的負面報導，使得伊朗的形象充滿悲傷與苦悶。取得世界盃資格將伊朗人再一次團結起來，並帶來久違的歡樂。

Tehran is the capital of Iran, 德黑蘭是伊朗的首都

2009-06-19T22:09:00.001+08:00

片名：德黑蘭是伊朗的首都（Tehran is the capital of Iran）

導演：卡穆蘭．舍得爾（Kamran Shirdel）

影片簡介：

德黑蘭是伊朗的首都（Tehran is the capital of Iran）

導演在1964年從羅馬回到德黑蘭，開始研究並拍攝伊朗社會的黑暗面，完成六部此類題材的作品。但是這些影片以及素材，後來皆被沒收、禁止發表。在伊斯蘭革命（1979年）之後曾有一段短暫的時間解禁，導演得以在這段時間完成剪輯。

本片為六部作品其中之一，記述伊朗政府於1963年推行白色革命（White Revolution）以後，德黑蘭南方的克哈撒內（Khazaneh）城內居民生活的改變。片中訪問十幾名不同背景的民眾，包含學校孩童、紙袋工人、洗衣婦、流浪漢等等。

School in the Hands of Children, 學生當家

2009-06-19T22:04:00.001+08:00

片名：學生當家（School in the Hands of Children）

導演：山德．歐羅德（Zand Orod）

影片簡介：

德黑蘭一所國中，每年開放兩天讓學生治理校園。

本片從一開始的候選人提名開始記錄，並拍攝學生的政見發表與拉票造勢。學生可以競選擔任老師、教官、或其他行政職。獲得多數票的學生在兩天內必須善盡自己的職責。

學生治理學校的時候，發現並沒有想像中的容易。一邊上課要一邊管秩序，管了秩序又不一定公平，不公平又需要開會或尋找其他仲裁的方式。學生透過校園自治，學習從不同的角度認識學校的經營，並學習像成人一樣溝通處理。

QALEH, 卡列

2009-06-19T22:02:00.001+08:00

片名：卡列（QALEH）

導演：卡穆蘭．舍得爾（Kamran Shirdel）

影片簡介：

卡列（Qaleh）位於德黑蘭南部，是性工作者的聚集地。導演訪問許多女孩子，記述她們的人生故事。

本片在拍攝過程中遭政府取締並沒收素材，在伊斯蘭革命（1979年）時曾短暫解禁，由攝影師卡維．勾勒斯坦（Kaveh Golestan）完成剪輯。卡列曾經參加許多影展，奪下許多紀錄片影展大獎。

The Fipersci Award in Krakow Int'l Film Festival -1980

Diploma of Merit – Moscow Film Festival – 1980

Milad Film Festival, Iran - 1980

President Mir Qanbar, 總統米．昆巴

2009-06-19T22:01:00.000+08:00

片名：總統米．昆巴（President Mir Qanbar）

導演：穆罕默德．什巴尼Mohammad Shirvani）

影片簡介：

米．昆巴（Mir Qanbar），一個74歲的內政部退休官員，投身總統與國會議員的選戰。儘管勝算不高（過去幾年他已經多次參選失敗），米．昆巴和他的好友賽佛拉（Seifollah）仍努力不懈地拜訪村莊，遞傳單、與村民談話、瞭解他們的需求。

米．昆巴居住的省分相當貧窮，他和賽佛拉必須每天騎著腳踏車、三輪車，在土路上顛簸。當導演見到他們時；賽佛拉似乎不在意自己的肢體障礙，他們跋涉、對選民闡述理念，導演也從他們身上重新認識了這場選舉。

導演向米．昆巴提出詢問，請他說明他的政治目標、他對民主、言論自由、恐怖主義、人權等重要議題的看法。在片中，導演以「總統米．昆巴」稱呼他，米．昆巴坐在鏡頭前方，穿上最好的外套。導演並穿插家人與村民對他參選的看法，帶入不同的觀點。

Laleh and Ladan, 拉列與拉丹

2009-06-19T21:59:00.000+08:00

片名：拉列與拉丹（Laleh and Ladan）

導演：穆罕默德．札法利（Mohammad Jafari）

影片簡介：

拉列和拉丹．比加尼（Laleh & Ladan Bijani）是連體姊妹，她們的頭連在一起，生活對她們而言一點也不容易。她們像是一個人，又像是兩個人一起過活。為了活得像一個人，為了追求各自的人生，她們決定開刀做分割手術，面對不可知的未來。

拉列希望成為新聞記者，拉丹希望成為維護人權的律師。醫師警告她們，開刀可能造成她們的個性改變，甚至會造成腦死、死亡等嚴重後果。「即使我們其中一個犧牲了也沒有關係，只要我們知道有一絲機會。」片中記錄這對連體姊妹面對人生，做出重大選擇的過程。

I am not Nuclear Energy, 我不是核能

2009-06-19T21:56:00.001+08:00

片名：我不是核能（I Am Not Nuclear Energy）

導演：眉賀迪．勾班剖（Mehdi Ghorbanpour）

影片簡介：

藍薩（Ramsar）鎮的輻射指數超出正常水準，在鎮議會選舉期間引起激烈的辯論。

哈森．普曼蘇里（Hassan Poormansuri）從教育部退休，是藍薩鎮土生土長的居民。他發現從小長大的鎮已經受到核污染，對鎮民的身體健康有所損害。有些婦女感到身體沈重，有的村落十個人竟有八個人得了癌症。

有的鎮民認為提起核污染的問題只會造成地價跌落，觀光事業衰退，對藍薩鎮的發展沒有好處。官員認為哈森的論述並沒有科學證據支持。另一位參選人查佛什．薩尼（Chavoshi Sani）認為核能是嚇唬美國人的，微量的輻射還可以治療癌症。

Gravity, 萬有引力

2009-06-19T21:53:00.000+08:00

片名：萬有引力（Gravity）

導演：賽耶德．雷沙．法塔（Seyed Reza Fattah）

影片簡介：

影片以導演自己的經歷開始，接連記錄四則真實事件，探討人的生命、命運與思想意志三者的相互吸引。

導演在作極限運動的時候，腿部與腰部曾經先後嚴重受傷，兩次醫生宣佈放棄的情形下，他都利用意志力與復健奇蹟般回復健康。這兩次經驗讓他體認到，一個人會發生什麼事跟他的意志思想脫離不了關係。

阿里（Ali）是導演第一個拍攝的對象，他一個有多年經驗跳傘好手，因為希望在鏡頭前有與眾不同的表現，選擇先靠近山壁再拉繩降落。沒想到這個想法卻讓他降落前撞上山壁……

跳傘事件發生以後，導演進行公路汽車賽的拍攝工作。他們前往拍攝地點時，竟巧遇一起車禍。導演與工作人員緊急聯絡消防隊趕來現場；此時，車禍的搶救與公路汽車賽正同時進行……

賈維德（Javad）是一名越野車賽車手，即將在大批群眾面前表演跳躍。教練告訴他：「你跳得過去。加速跳過去，要不然回家。」他覺得壓力很大，在賽車場旁邊向阿拉祈禱……

從空中到陸地，本片最後一個事件在海邊發生。導演與一群友人到海邊潛水。下水前檢查氧氣設備的時候，朋友的氧氣量比較低，雖然如此但是他們還是決定下水。兩個小時之後他們上岸，沒有發現朋友的蹤影……

FREEDOM IN THE FOG, 朦朧的自由

2009-06-19T21:52:00.000+08:00

片名：朦朧的自由（FREEDOM IN THE FOG）

導演：那瑟．薩發利安（Nasser Saffarian）

影片簡介：

皮秋兜（Picciotto）是一個老太太也是一位反戰人士，她住在美國白宮前面已經26年。她在廣場上搭起小小的帳棚，帳棚旁邊擺放反戰的照片與標語。她每天風雨無阻地向遊客說明，甚至辯論反戰與反核武的思想。她曾經被抓到警局八次，也曾被陸戰隊以暴力毆打威脅。

導演比對他自身從伊朗來到美國前後所獲得的美國印象，他對自由也有更多的啟發與思考。「這位女士，就某種程度而言，即是自由的象徵；這樣的自由在我的國家就像是一場夢。但是很明顯地，自由的標語遠比自由本身更繽紛奪目。」

Back Vocal, 和聲

2009-06-19T21:47:00.000+08:00

片名：和聲（Back Vocal）

導演：墨塔巴．米塔瑪斯博（Mojtaba Mirtahmasb）

影片簡介：

伊斯蘭革命（Islamic Revolution, 1979）發生至今三十年，女性歌手仍被禁止獨唱。本片紀錄多位伊朗女歌手如何在法律的限制下，傳唱伊朗女性的聲音。

2003年伊朗女性音樂家（Iranian Women Musicians）一書出版，引起社會輿論，經極端教義派大肆撻伐後，伊朗政府將作者起訴並監禁。「只要我一唱歌，我便犯罪了。」伊朗裔知名女歌手古古許（Googoosh）如此說道。在這樣的氛圍下，許多伊朗音樂家紛紛離境，尋求海外400萬伊朗僑胞的支持。美加地區成為伊朗音樂家的新天堂。

留下來的音樂家必須遵守政府的規定，修改音樂編排、改變表演方式。導演拜訪多位伊朗女性音樂人，記錄她們進行藝文創作時所面臨的困境與努力。

Article 61, 刑法第六十一條

2009-06-19T21:43:00.002+08:00

片名：刑法第六十一條（Article 61）

導演：馬赫娃什．謝克侯列斯拉米（Mahvash Sheikholeslami）

影片簡介：

導演在愛文（Evin）女子監獄訪問四位殺了施暴者的女性，記述她們的生命故事。

伊斯蘭刑法的第六十一條明令，當一個人的生命或名譽受到立即性威脅時，可以武力反抗。但是事實上，當伊斯蘭婦女犯殺人罪時，法官極少採用第六十一條，反而採用傳統習俗「以牙還牙以眼還眼」（quid pro quo）做宣判依據。如果婦女遭到強暴，她們會被控通姦罪，處以死刑；如果她們親手殺了強暴者，她們會被控謀殺罪，處以死刑。

本片穿插著這四位女性的經歷，以及她們的家人缺乏法律援助、禁止再上訴的現況。她們以求情書或國際人道組織的聲援求得緩刑，也有一兩個人曾因此被釋放，但這都是極罕見的案例。

Alone in Tehran, 一個人在德黑蘭

2009-06-19T21:35:00.004+08:00

片名：一個人在德黑蘭（Alone in Tehran）

導演：皮盧斯．卡藍塔力（Pirooz Kalantari）

影片簡介：

貝荷娜絲．佳法莉（Behnaz Jafari）是一位24歲的女演員。自幼喪父的她，在母親過世後獨自生活，靠電視劇的演出維生。有的時候演出有錢，有的時候電視台說經費不足；也有時候，身為一個演員，卻得不到想要的角色，獨自面對挫折。

「她們說，女孩子就應該像個女孩子，溫馴可人。」佳法莉對著鏡頭說，她發現同齡的朋友還在唸書、跟父母親拿零用錢，有的人已經結婚生子。一個女孩子應該什麼樣子？「妳可以出國。妳應該結婚，別浪費時間。妳什麼時候長大？」有著成打的意見要她想清楚。

本片記述一個24歲女子在德黑蘭的生活，並對比女性長輩的意見與同齡朋友的想法，透露現代伊朗女性在追求人生時所面對的酸甜苦辣。

照片來源

三華記 Urban Sonnets

2009-06-06T22:09:00.001+08:00

[ Urban Sonnets ]

a film of Huang Shih-Chia

2003, 49 min, Taiwan, Chinese with English subtitles, Color, DVD
This film got Funds fo Taipei Culture Affairs.

--There is a kind of tree. In Shanghai, people call it French parasol. However in France, it is called Chinese parasol.—

A documentary about two young people from Taipei Taiwan, seeking dream fulfillment and careers in China, traveling across unexpected cultural boundaries in Taipei, Hong Kong and Shanghai. Within the process of walking toward, they got different thought and new attitude to face something so called “Future”.

三個城市，一男一女，取樣隨機。我跟著他們的腳步，去了傳說中杜月笙的上海灘、全世界最長的半山電梯，聽到了一些不同華語的俐落纏綿。

這是關於兩個台灣年輕人的青春盛年，收拾簡單的行囊，他們分別到上海與香港去工作與生活。耳邊聽的是不甚熟悉的上海話/粵語，吃的是不太家鄉的中國菜，每日面對的是各種華人世界融混的文化衝擊。

在這段追尋的過程中，終於，他們聽到了自己心裡發出的聲音，也漸漸目光篤定而清明，穩著步子邁向前方，那所謂的「未來」。

黃思嘉 HUANG Shih-Chia

2009-06-06T21:50:00.001+08:00

黃思嘉

輔仁大學中文系、臺南藝術學院音像紀錄研究所畢業。現職製片統籌、紀錄片編導。曾任攝影暨文字記者、雜誌特約撰稿。作品曾獲台北市文化局補助，並多次獲邀參與國內影展。

Huang Shih-Chia,
1976 born in Taipei Taiwan, keep working on documentaries since 1998. As a director, videographer or editor, participated lots of doc films of broadcasting local and international channels, ex. PTS Taiwan, Discovery Channel.

2008 Oral history documentary project [ Women in the War] / National Museum of Tiawan History / Producer
2008 Art work [ Dark Affairs] / by Kris YAO / 2008 Venice architecture biennale,Italy / Film Director
2008 Docu. [My Walts] / National Taiwan University / Producer
2007-08 Docu. [Wandering Island-Bra] / PTS Channel / Videographer, Editor
2007-08 Docu. [Wandering Island-Designers] / PTS Channel / Videographer
2007 Docu. [Li Mei-shu] / PTS Channel / Director
2007 Docu. [Portrait: TaiwanII: Huang Hai-dai] / Discovery Channel / Partly Videographer
2007 Docu. [ Portrait: TaiwanII: Wu Ching-wu] / Discovery Channel / Partly Videographer
2005-06 Docu. [Exotic-Exoticism] / PTS Channel / Producer, Editor
2005 Docu. [ Portrait: Taiwan: Lin Huai-min] / Discovery Channel / Partly Videographer, Editor
2005 Docu. [Baseball in Taiwan- A Tale of Hundred Years] / PTS Channel / Script writer
2005 Docu. [Refugees in Thai-Burma] / TOPS NGO / Producer, Videographer
2004 Docu. [Return to Nature] / KaoHsiung City Gov. / Co-Producer
2003 Docu. [ Urban Sonnets ] / Independent Production / Director
2001 Docu. [ See U Again] / Independent Production / Director
2000 Docu. [ Who’s Cameraing? ] / Independent Production / Director

沒有四季，NO SEASONS

2009-06-06T18:25:00.007+08:00

【no seasons】

by WAN, Pei-Chyi

【no seasons】

documentary/DVcam/60mins/ Chinese with English subtitle/2003

1 family, 2 passengers: a grandmother and her grandchild, in 3 cities; a story with 4 paragraphs.

It's just a Diaspora tale about an outland family, came from Mainland China to Taiwan many years ago. Fragmentary images and uncertain passage, all these are or aren’t about remembrance.

We get in and away from the journey of time; and freeze between the frames of memory.

Remember, or not remember.

This is a story about my family and me.

And I walked into grandma’s memory, just on the way of mine.

■【沒有四季】60分鐘 / 中文2003

1個家族，祖孫2人，3個城市，4段故事。

只是一個外省家族的離散故事。片斷的影像與流浪的旅程，述說著一些不/可信的記憶。

在時光的旅程中離開、抵達；在記憶經過的殘影裡定格。

記得/不記得而已

這是一個我與我的家人的故事。

我在自己的旅途上，曾經與外婆的記憶，悄然重合......

■參展/發表

2008年 UC Irvine「電影與錄影節目中心The Film and Video Center （FVC)」「冬季電影系列」

2007年文建會眷村影展

2007年 Voices from the Margins: Contemporary Chinese Documentary Film，Duke University

2005年國立台北師範學院社會科學教育學系/族群與歷史教育研討會

2004年人權影展

2004年高雄電影圖書館女性眾生相

2004年第十屆女性影展

2003年第三屆南方影展

萬蓓琪 WAN Pei-Chyi

2009-06-06T18:20:00.004+08:00

■萬蓓琪 WAN Pei-Chyi

台大外文系及台南藝術學院音像紀錄研究所畢業，因緣際會加入李道明老師的多面向藝術工作室，開始參與紀錄片的拍攝與製作，擔任編導、企劃研究及製作人。目前為自由影像工者，輔仁大學兼任講師。

長期關注邊緣以及離散社群，近年多次行走泰緬邊境、印度與多明尼加等第三世界國家，製作多部援外工作隊的影像記錄。專長興趣在歷史人文議題與社會變遷，共同製作及個人編導作品多次參與國內外影展，作品散見於公共電視台以及獨立影展。

■Wan, Pei-Chyi

Born in 1974, Wan Pei-Chyi graduated from National Taiwan University majoring in foreign language and literature. Because of some social work about Taiwan indigenous people, she got the chance to work as a researcher, director and producer of some TV documentaries in Dimensions Communications with Dao-Ming Lee during 1996 to 2000. Then, graduated from Tainan National College of the Arts with the Master of sound and image studies in 2003.

Now is currently an independent documentary filmmaker, participate lots of documentary films of broadcasting local and international channels, and travels around the world along the borderline.

■Filmography

2008 【Wandering Island- Designers】/PTS series documentary/ Director, Writer, Researcher

2008 【Wandering Island- Bra】/PTS series documentary/Writer, Researcher

2008【Women in the War】/oral history documentary project for Narional Museum of Taiwan History/Researcher

2008【My Waltz- Yu Chao-Chung】/documentary project for National Taiwan University/Director

2007【Keep Rowing-a Sailing from Orchid Island to Taiwan, from the Stone Age to Modern】/Producer, photographer

2007【while we’re in the Dominican Republic】/documentary about the medical mission in the Dominican Republic/Director

2006 【In the Land of Malaria】/documentary about the medical mission in India/Director

2005【South of the Snow Land】/Tibetans in India/co-Director, photographer

2005【Baseball in Taiwan- A Tale of Hundred Years】/PTS series documentary/Writer, Researcher

2005【Borderline】/documentary of the borderline between Thailand and Myanmar/co-producer,photographer

2004【to the General X】/the history of technology in Taiwan/Researcher, Director

2003【Help from Taiwan】/volunteer missions from Taiwan to the world/co-producer

2003【no seasons】/independent production/ Director

2001【somewhere far away】/independent production/ Director

2000【Grandma Chin-Tao】/independent production/ Director

2000【Friends of the Earth- Spring is coming】 /PTS series documentary/Producer, Director

1999【Friends of the Earth- The Bug man】/PTS series documentary/Producer, Director

1999【Friends of the Earth- The Veterinary】/PTS series documentary/Producer, Director

1999【After the Championship】independent production/co-director with Tsin, Wenchen

1998【Legend of the Indigenous Tribes- The People in Shan-Mei】/PTS series documentary/Producer, Researcher,Director

1998【Legend of the Indigenous Tribes- The Truck Driver, Hai-dai Bayan】/PTS series documentary/Producer, Researcher,Director

黑晝記 Hard Good Life 2

2009-03-12T19:12:00.010+08:00

Title: Hard Good Life 2
Director: HSU Hui Ju

Director's Statement:

Since I was a child, my mother died of cancer. Every time my father went out for work, I stayed at home alone. As it was getting dark, I hid myself in bed, making sure my hands and legs inside the sheets, in case devil will come to take me away. I hold my breath until my father was back.
Finally, I can feel no fear. At that time it came to me…what if,

What if someday, daddy never comes back,

What am I supposed to do?

小的時候，媽媽就因為癌症去世了，
爸爸出去工作，我總是一個人在家。
天黑了，我躲在自己的床上，
不敢將手、腳伸到床的外圍,怕魔鬼會把我抓走。
直到爸爸回來，才不感到害怕。
那個時候，我在想，如果有一天，爸爸再也不回來了，
那我一個人該怎麼辦呢？

The director presents her latest heart-talking work. From the second she learned how to hold a camera, she gazed at her father through the lens all the time.

This film is a memory collection, after her father got cancer, they went through all kinds of treatment together, lose or gain, hope or sorrow. This unbreakable connection supported them to the very last moment … and never fade away.

【雜菜記】導演最新作品,

從她學會拿攝影機開始,

便持續透過鏡頭凝視著父親,

本片記錄著父親罹癌之後,

父親與女兒,

一同經歷種種治療的心路歷程,

直到最後…

許慧如 HSU Hui Ju

2009-03-12T11:02:00.000+08:00