女性影展巡迴-漫長的告別

女性影展巡迴-漫長的告別圖片1

漫長的告別The Long Farewell
蘇聯 USSR│1971│DCP│B&W│95 min

1987 盧卡諾影展費比西影評人獎
1987 蘇維埃社會主義共和國影展評審團大獎

經歷離婚的母親與唯一的兒子同住,母子感情十分緊密。沒想到兒子跟爸爸去了一趟旅行後,回到家便像換了個人般,與母親產生各種拉扯。此片由知名女性主義作者娜塔莉雅(Natalya Ryazantseva)所編劇,情感細膩如前一部作品的續寫,只是情人之間的糾葛換到母子身上。延續先前的黑白色調,攝影風格與剪接技巧更顯實驗大膽,藉由不斷複訪同樣的場景,來創造似曾相識的既視感,並堆疊出情感的幽微變化。著名電影學者伊恩・克里斯蒂(Ian Christie)更盛讚這部片的影像成熟度足以證明穆拉托娃的電影成就在當時早已超越同時代的男性導演。然而導演卻因此片被蘇聯電影工會除名,本片再度慘遭禁演的命運,一禁又是十六年,1987年解禁問世便得到國際大型影展的肯定。
A divorced mother is devoted to her only son, Sasha. When she lets him vacation with his father, he comes back a changed person and tells her that he does not want to live with her anymore. Shot in achingly poetic black-and-white, the film provides a delicate, heart-breaking portrait of loneliness, unrequited longing, and irrational love. Made in 1971, the film was banned for years and finally released in 1987. 

放映時間:1/20(三)19:00~21:30
線上報名:https://forms.gle/qNPYRCwtF6Uky5n66

 

焦點影人:琪拉・穆拉托娃
Master in Focus: Kira Muratova 

琪拉・穆拉托娃(1934-2018)
蘇維埃/烏克蘭電影史中最具開創性及影響力的重量級女導演。從影長達半個多世紀,創作時程橫跨蘇聯解體前後,在艱辛的環境中仍創作不懈,以二十二部電影的創作軌跡開闢出獨一無二的傳奇生涯。本單元與烏克蘭國家電影中心(The National Oleksandr Dovzhenko Film Center)合作,引進其修復影片,讓觀眾得以看到這位傳奇女導演的作品。

若與同時期的作者電影相比,穆拉托娃的作品可說最具多元面向及爭議性,不僅無畏諷刺時政,更常以永劫回歸的悲觀史觀展現生命本質的荒謬性,不時聚焦於非典型女性角色與殘缺的愛情,電影裡的世界往往醜陋、殘酷又荒蕪。從早期情感細膩的黑白片,過渡到浮誇的裝飾主義,再到影像結構的極致實驗,作品中總是充斥矛盾色彩,讓美醜永恆並行。在破爛中尋覓詩性的同時,卻不忘以狂妄的方式反詰人類的生存意義。

其自由不羈的影像手法及特立獨行的電影風格更是與當局所要求的社會寫實主義相去甚遠。從首部獨立執導的作品《萍水相逢》開始,便經常性慘遭禁演,部分作品一禁就是數十年,即便在自由度相對高漲的戈巴契夫當政時期,其史詩級鉅作《衰弱症》依然難逃遭禁數月的命運,也令她成為戈巴契夫治下唯一有作品被禁映的蘇聯導演。

有鑑於此,外界對於她的認識與政治發展的轉向緊密相連。直到非常晚期,穆拉托娃的作品才得以受到重視,並陸續獲得坎城影展、柏林影展、盧卡諾影展等大型國際影展的肯定,在國內則榮獲五次俄羅斯電影界最高榮譽「尼卡獎」,以及烏克蘭最高國家文化藝術殊榮「舍甫琴科獎」的肯定。

Kira Muratova (1934–2018), one of the most significant and original voices of
Soviet and Ukrainian cinema, is remembered as a fearless filmmaker who dared to poke at open historical wounds. Mostly restored, all the films in this program are provided by The National Oleksandr Dovzhenko Film Center.

Of all the (post-)Soviet auteurs, Kira Muratova was arguably the most variable, controversial and sardonic. Right from the start of Muratova’s career in 1961, she was an irritant to the regime. Her idiosyncratic films, frequently featuring unconventional women protagonists, transgressive theatricality, and inventive formal experiment, were severely censored and suppressed during the Soviet era, yet drew belated recognition during perestroika and after, as political tides shifted. 

Later often hailed as the master of absurdism, Muratova excels at turning the vulgar into poetry, using waste as a decorative ornament, integrating the criminal into the everyday, and thereby providing an authentically radical view of the human condition. Until her passing in 2018, she made 22 films over the course of six decades.


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