Richard Dindo 理查·丁多

法國 France / 2009 / 66 min / 中英字幕 Mandarin/English / 台灣首映 Taiwan Premiere

【影片簡介｜PRODUCTION NOTES】

這是畫家保羅·高更在大溪地和馬克薩斯群島最後幾年的紀錄片。影片展示了他在波利尼西亞創作的畫作，並通過高更本人的自傳性寫作和書信進行解說。影片講述了這位偉大畫家的感人命運，他當時被誤解，而且性格反叛，他堅信人類必須回歸自然，並預言工業化將摧毀地球；他也反對天主教傳教士毀滅了毛利的文化和宗教。

Documentary film on the last years of the life of painter Paul Gauguin in Tahitiand the Marquesas. His paintings, filmed in the marvelous Polynesian land-scape from which they came, are commented upon by Gauguin himself through his autobiographical writings and letters. The film relates the moving destiny of this great painter, a misunderstood artist and rebel of his day, who was convinced that man must return to nature, prophesized that industrialization would destroy the earth and fought against the annihilation of Maori culture and religion by Catholic missionaries.

【導演簡介｜DIRECTOR PROFILE】

理查·丁多於1944年出生於蘇黎世，是義大利移民的後代。他15歲輟學，開始旅行並在食品行業工作，接著在1966年搬到巴黎。因自學成功，他在法國電影資料館觀影，並且大量閱讀而成為了電影製作人。1970年回到瑞士後製作了第一部電影《La Répétition》。自此，他在蘇黎世和巴黎居住，製作超過二十部紀錄片和一部虛構電影《El Suizo》。他的電影在全球放映，並在德國、法國、美國、加拿大和阿根廷舉辦回顧展。

Richard Dindo was born in Zurich in 1944, the grandson of Italian immigrants. He left school at 15, traveled, and worked in food trades, then moved to Paris in 1966. Self-taught, he became a filmmaker by watching films at the Cinémathèque française and reading extensively. In 1970, he returned to Switzerland to make his first film, La Répétition. Since then, living in Zurich and Paris, he has made over twenty documentaries and one fiction film, El Suizo. Dindo's films are shown worldwide, with retrospectives in Germany, France, the US, Canada, and Argentina.

Collectif Faire-Part 集體告示

比利時 Belgium, 剛果共和國 Republic of Congo, 多明尼加共和國 Dominican Republic / 2023 / 11 min / 中英字幕 Mandarin/English / 亞洲首映 Asia Premiere

【影片簡介｜PRODUCTION NOTES】

伴隨著配樂，詩人瑪麗·保勒·穆格尼朗讀了一篇演說：殖民雕像——利奧波德二世國王雕像就要被拆除了。畫面上是在布魯塞爾舉行的大規模反種族主義示威，這幾乎是她的夢想。通過本影片，“集體告示”反思了過去、現在和未來對我們每一個行為帶來的交織影響。

On the soundtrack, poet Marie Paule Mugeni reads a speech prepared for the day on which the colonial statue of King Leopold II will be definitively removed. In the images, the massive anti-racist demonstrations that took place in Brussels almost achieve her dream. A reflection by Collectif Faire-Part on how past, present and future are interwoven in each one of our acts. (Cristina Álvarez López)

【導演簡介｜DIRECTOR PROFILE】

“集體告示”由比利時和剛果的藝術家組成。他們希望能講述有關金沙薩、布魯塞爾及他們複雜關係的新故事，並相互支持彼此的藝術項目。此團體由導演安妮·雷尼耶、保羅·謝米西、尼扎爾·薩利赫和羅伯·雅各於2016年創立，如今，更多來自比利時和剛果的合作者都加入了。除了拍攝電影，他們還攝影、策劃節目、舉辦工作坊和組織節日活動。

Collectif Faire-Part is a group of Belgian & Congolese artists. They aim to tell new stories about Kinshasa, Brussels, and their complex relationships. They support each other's artistic projects. Founded in 2016 by filmmakers Anne Reijniers, Paul Shemisi, Nizar Saleh, and Rob Jacobs, the group has expanded to include more collaborators in Belgium and DR Congo. The team composition changes with each project. Besides filmmaking, they take photos, curate programs, give workshops, and organize festivals.

Alejo Tomás 阿萊霍·托馬斯

西班牙 Spain / 2022 / 22 min / 中英字幕 Mandarin/English / 影展首映 Flim Festival Premiere

【影片簡介｜PRODUCTION NOTES】

《街頭藝術史》講述全球新興藝術運動，從最早手印洞穴，到1968年五月的模板，及各個先驅，從REVS&COST貼紙、OBEY海報、Invader像素藝術，到全球城市的壁畫。

本片也探討它在美國和歐洲起源、主要藝術家及技術：OBEY、Revs、Invader、Banksy、Miss Tic、Ernest、Faith 47、Swoon、Slinkachu、Blu、Os Gemeos和Mark Jenkins等。

街頭藝術不是塗鴉，它代表藝術民主化，不受利益驅使發洩情感。

"THE HISTORY of STREET ART" is a documentary about this global art movement, tracing its origins from ancient cave art to modern stencils by artists like Daniel Buren and Hambleton. It covers the evolution from REVS & COST's stickers, OBEY's posters, and Invader's pixel art to murals adorning major cities. It delves into the term "street art" in the US with Keith Haring and Europe with Blek le Rat, highlighting innovators like Obey, Revs, Invader and, of course, Banksy.

Unlike graffiti, street art is democratic, non-commercial, and aims to evoke public emotion and awareness.

【導演簡介｜DIRECTOR PROFILE】

“托馬斯是熱情、專注捕捉真實故事、並為獨特觀點發聲的紀錄片導演。他擅長塗鴉和街頭藝術，以及溝通和創作影片。他的作品貼近生活和深入，使觀眾簡單地了解複雜的主題。

他擁有都市文化背景，運用敘事技巧突顯每個故事的真實性和敏感性，其紀錄片風格具有社會性，鼓勵觀眾重新思考街頭的各種創意。

托馬斯居住在西班牙南部的馬拉加，以個人的觸感探討全球議題，揭示塗鴉和街頭藝術中鮮少被探索的主題。

Alejo Tomás is a passionate documentary director with a vision for capturing real stories and unique perspectives. He is an experienced communicator and video creator specializing in graffiti and street art. He offers a close, in-depth view that makes complex topics simple and accessible. With a solid background in urban culture, he uses narrative techniques to highlight each story's authenticity and sensitivity.

His dynamic documentary style encourages viewers to rethink their understanding of street art.

Based in Málaga, Spain, Tomás brings a personal touch to global topics, exploring graffiti and street art themes rarely seen before.

Kim Allamand 金·阿拉曼德

瑞士 Switzerland / 2024 / 12 min / 中英字幕 Mandarin/English / 亞洲首映 Asia Premiere

【影片簡介｜PRODUCTION NOTES】

《盲目之下的生命》是一部沉思的隨筆，探索了在人體感知之上和之下的自然生命。這段奇異的旅程從阿爾卑斯山寧靜的風景開始，一直到我們看不見的鄰居們忙碌的景象。

Bios Beneath Blind is a contemplative essay of natural life above and below the surface of human perception. An erratic journey from the tranquility of alpine landscapes to the microscopic hustle of our invisible neighbours.

【導演簡介｜DIRECTOR PROFILE】

金·阿拉曼德出生於瑞士盧森，是蘇黎世藝術大學電影導演碩士。他的《心果》（2022年）在盧卡諾首映，在聖塞巴斯蒂安國際首映，2023年在卡羅維瓦利影展的未來影像單元放映。《心果》在德勒斯登影展獲得德國影評人獎。《中轉站》（2019年）在盧卡諾首映，獲瑞士最佳新秀獎和青年評審團獎，在畢爾包國際紀錄片與短片電影節、普里茲倫紀錄片影展和溫特圖爾短片影展等放映並獲獎，在短片之周網站上首映。基姆目前與邁克爾·卡勒撰寫第一部長片，sabotage collective製作，也在蘇黎世擔任作家和導演。

Kim Allamand, born in Lucerne, Switzerland, holds a master's degree in film directing from Zurich University of the Arts. His 2022 short film HEART FRUIT premiered in Locarno, internationally in San Sebastian, and was featured in Future Frames at Karlovy Vary in 2023. HEART FRUIT won the German Film Critics Award at Filmfest Dresden. His 2019 short film TERMINAL premiered in Locarno, winning the Best Swiss Newcomer Award & Youth Jury Award, followed by screenings and awards at festivals like Zinebi Bilbao, Dokufest Prizren, and Winterthurer Kurzfilmtage, and an online premiere on shortsoftheweek. He is currently co-writing his first feature film with Michael Karrer, produced by sabotage collective, and works as a writer & director in Zurich.

Eduardo Sánchez Arce 愛德華多·桑切斯·阿塞

墨西哥 Mexico / 2023 / 23 min / 中英字幕 Mandarin/English / 亞洲首映 Asia Premiere

【影片簡介｜PRODUCTION NOTES】

2018年，經過一番思考後，來自墨西哥城的攝影師決定重新開始創作。他捨棄數位攝影，回歸膠片攝影，因此重新發現自我，並重新學會通過鏡頭觀察世界。

After a reflection in 2018, a photographer from Mexico City decides to restart his work, leaving digital photography aside and returning to analog photography as a means to rediscover himself and relearn to observe through a camera.

【導演簡介｜DIRECTOR PROFILE】

愛德華多在2019至 2021年間於墨西哥國立自治大學修讀設計與視覺傳播，隨後於墨西哥SAE學院專攻數位電影與後期製作。 他擁有七年製作、攝影指導及導演經驗，短片《回聲》入選2023年Nahui Ollin電影節，並在Deriva大學電影節榮獲最佳短片劇本藍花楹銀獎；其紀錄片《1989之後》獲得兩項特別提名。

目前，愛德華多的畢業作品《虛假的搭便車者紀事》正在後期製作階段。

Studied Design and Visual Communication at UNAM (2019-2021) and later pursued Digital Film and Postproduction at SAE Institute Mexico.

With 7 years of experience in production, photography direction, and directing, his short film Echoes was part of the 2023 Nahui Ollin Film Festival and won the Silver Jacaranda for Best Short Film Script at Deriva University Film Festival. His documentary Since 1989 earned 2 special mentions.

Currently, his thesis film Chronicle of a False Hitchhiking is in post-production.

Jeremiah Chen 陳志明

臺灣 Taiwan / 2024 / 15 min / 中英字幕 Mandarin/English / 影展首映 Flim Festival Premiere

【影片簡介｜PRODUCTION NOTES】

我有一個妹妹，從小就很鬼靈精怪，小時候的我們常常一起玩，一起搶著雞腿吃、一起去玩躲避球，知道她為了愛情，逃離到香港與她的男友一起生活，突然有一天她回到台灣，不知為什麼她的情緒就像一頭怪獸般，一下子開心而下一秒就會脾氣爆炸，甚至憂鬱了起來。

I have a sister, since childhood is very spooky, when I was a child we often play together, together to grab a chicken leg to eat, together to play dodgeball, know that she for love, escaped to Hong Kong to live with her boyfriend, suddenly one day she came back to Taiwan, I do not know why her mood is like a monster, one moment happy and the next second will be temperament explosion, and even melancholy.

One day on the train I received a phone call from my mother saying, “My sister has committed suicide by jumping off a building.” My mind went blank and I thought to myself, “If I could have given her a pair of wings right away, wouldn't she have chosen to fall...”.

【導演簡介｜DIRECTOR PROFILE】

陳志明畢業於臺灣藝術大學影音創作與數位媒體產業碩士班，曾任太極影音及視元素影視製作公司專業調光師。創作以拼貼藝術與實驗影像為主，從生活現象與個人體驗出發，透過多元形式探索記憶與情感的交錯。擅長以聲音勾勒真實與夢境，試圖在黑暗中尋找光明與溫暖。作品《記憶列車》獲2023放視大賞影視類優選、第46屆金穗獎最佳學生實驗片、亞洲日舞影展短片競賽入選。

M.F.A., Graduate Institute of Creative Video and Digital Media Industry, National Taiwan University of Arts. Chen has worked as a professional colorist at Digimax and other digital visual production companies. Works primarily focus on collage art and experimental video, drawing inspiration from everyday phenomena and personal experiences. Through diverse forms, he explores the intersection of reality and dreams, using sound to shape his narratives—seeking light and warmth within the darkness. The work Train of Memories received 2023 Vision Get Wild Award, Best Student Experimental Film at the Golden Harvest Awards & Short Film Festival.

Katherine Knight 凱瑟琳·奈特
Anthony Von Seck 安東尼·馮·塞克

加拿大 Canada / 2023 / 9 min / 中英字幕 Mandarin/English / 亞洲首映 Asia Premiere

【影片簡介｜PRODUCTION NOTES】

在加拿大曼尼托巴省溫尼伯的冰凍內斯塔維亞河步道上，一個臨時雪屋結構展示了光與天氣的體驗。受邀參加2023年冰上藝術與建築競賽的藝術家萬達庫普、設計師湯姆富傑以及雪地專家團隊建造了一座當代雪堡當做地景藝術作品。光和聲音在北美洲地理中心的極地漩渦中反射和回響。

An ethereal experience of light and weather unfolds within a temporary snow structure built on the frozen Nestaweya River Trail in Winnipeg Manitoba. Invited by 2023 Warming Huts: An Arts + Architecture Competition on Ice, artist Wanda Koop, designer Thom Fougere and a team of snow experts build a contemporary snow fort that functions as an experiential work of land art. Light and sound reflect and reverberate within a polar vortex at the geographical center of North America.

【導演簡介｜DIRECTOR PROFILE】

加拿大藝術家，2006年共同創立Site Media，製作藝術家、創作過程與場所經驗的影片。電影《Still Max》在2020年Hot Docs獲得羅傑斯觀眾獎。曾獲加拿大藝術委員會的約克公爵與公爵夫人攝影獎。

加拿大電影製片人、演員、音樂家和專業攝影師，有30年電影製作經驗。拍攝音樂和世界各地的紀錄片。擔任蘋果電視+《Long Way Up》（伊萬麥奎格主演）的攝影指導和首席剪輯師。

Canadian artist, co-founded Site Media in 2006 create films on artists and the creative process in relation to experiences of place. Film 'Still Max' won the Roger's Audience Award at the 2020 edition of Hot Docs. Recipient of the Duke and Duchess of York Prize from Canada Council recognizing excellence in photography.

Canada-based filmmaker, actor & musician has 30-year veteran of the Canadian film making scene. Known as a professional cinematographer, shooting music documentary and feature work around the world. Most recently wrapped production as Cinematographer and Lead Editor on the Apple+ TV series Long Way Up, starring Ewan McGregor.

Liam Young 利亞姆·楊

美國 USA / 2024 / 9 min / 無對話 No Subtitles / 亞洲首映 Asia Premiere

【影片簡介｜PRODUCTION NOTES】

我們一直在建造不可能的事物。如今，氣候處於崩潰的邊緣，我們需要再次建造不可能的事物，也就是一個全球性的碳移除機器，這將成為人類歷史上最大的建設工程。

We have always built the impossible. Now, on the precipice of climate collapse, we need to build the impossible again, a planetary machine for carbon removal, that will become the largest construction project in human history.

【導演簡介｜DIRECTOR PROFILE】

Liam Young是設計師、導演和獲得英國電影學院獎提名的製片人，他的設計、虛構和未來交叉領域的創新作品聞名。BBC形容他是「設計未來者」。他的電影和未來世界不僅對未來充滿想像，更是在檢視當前環境。國際博物館都收藏了他的電影，例如紐約現代藝術博物館、芝加哥藝術博物館以及維多利亞和阿爾伯特博物館。他獲得主流和設計媒體的認可，曾被TED、Wired、新科學人、法國Arte電視台、時代雜誌等報導。

Liam Young is a designer, director and BAFTA nominated producer known for his innovative work at the crossroads of design, fiction, and futures. Described by the BBC as ‘the man designing our futures’, his visionary films and speculative worlds are extraordinary images of tomorrow and urgent examinations of today’s environmental questions. His films are internationally collected by museums like MoMA, the Art Institute of Chicago, the Victoria and Albert Museum. He is acclaimed in both mainstream and design media, featured by TED, Wired, New Scientist, Arte, Time magazine and more.

Joris Gijsen 約里斯·吉森

比利時 Belgium / 2019 / 79 min / 中英字幕 Mandarin/English / 亞洲首映 Asia Premiere

【影片簡介｜PRODUCTION NOTES】

《狂野基因》以獨特的視角深入探討過去十年間比利時最著名的藝術家之一，科恩·范梅赫倫。導演Joris Gijsen跟隨他六年，記錄了他的全球工作之旅和各種交流。影片展示范梅赫倫如何與科學家、策展人、思想家和原住民社群互動，擴展他的哲學基礎。從他在林堡的生態圈、標本實驗室和充滿活生生藝術品的公園開始，范梅赫倫25年的夢想從「世界雞繁殖計畫」開始，發展成位於亨克的「LABIOMISTA」。

‘WILD GENE’ offers a unique look into Koen Vanmechelen's studio practice, one of most prominent Belgian artists in the last decade. Director Joris Gijsen followed him for six years, capturing his global work trips and encounters. The film shows how Vanmechelen expands his philosophical base through interactions with scientists, curators, thinkers, and indigenous communities. From his biotope in Limburg, his lab with taxidermy, and his park with living artworks, Vanmechelen's 25-year dream began with the 'Cosmopolitan Chicken Project' and evolved into 'LABIOMISTA' in Genk.

【導演簡介｜DIRECTOR PROFILE】

Joris Gijsen在Paul Jambers的電視工廠開始他的電視生涯，曾以自由業者的身份參與多個成功的電視節目，並擔任比利時法蘭德斯社區國家公共廣播電台的文化記者多年。如今，他是Willem Tel.的導演，他與經驗豐富的團隊合作，團隊中包括編劇、攝影師、音響工程師、平面設計師和機械師。

Joris Gijsen started his television career at Paul Jambers' Television Factory, worked as a freelancer on numerous successful TV programs and was a culture reporter for the national public service broadcaster for the Flemish Community of Belgium for many years. Today he is the director of Willem Tel. where he works together with an experienced team of screenwriters, cameramen, sound engineers, graphic artists and mechanics.

Huang Mingchuan 黃明川

臺灣 Taiwan / 2017 / 85 min / 中英字幕 Mandarin/English / 影展首映 Flim Festival Premiere

【影片簡介｜PRODUCTION NOTES】

人製造出大量垃圾、溫室效應導致極地冰原融化危機，困境藏在人們習以為常而不自知的慣性生活中，產生破壞性污染。一次起源於藝術家楊金池顏面神經舊疾返台就醫的機遇，了解其在紐約的創作，作品帶有身先士卒殉道意味，不論是讓鋁罐砸身的《Kill Me or Change》，或是民眾坐冰的《Burning Ice》，甚至探討水資源的《Carry Water》，常以互動式的行動藝術試圖讓民眾意識刻不容緩的環保議題。

Human activities generate significant waste and contribute to the melting of polar ice caps, which often goes unnoticed in daily life, resulting in severe pollution. Artist Chin Chih Yang returned to Taiwan for medical treatment and leveraged his experiences in New York to create impactful works. Through interactive performance art pieces like 'Kill Me or Change', where he is struck by aluminum cans, 'Burning Ice', which invites the public to sit on ice, and 'Carry Water', he raises awareness of urgent environmental issues.

【導演簡介｜DIRECTOR PROFILE】

黃明川於2008年當選為國家文化藝術基金會理事長，任期三年，是台灣資助藝術計畫最富有的機構。 2022年，他因其在國家電影和藝術史上突破性的獨立電影製作和創意藝術紀錄片的成就而獲得了同一屆國家文藝獎的高度榮譽。黃先生還在2014年3月獨特倡導了一種新型紀錄片節“嘉義國際藝術紀錄片電影節”，推廣與視覺藝術、戲劇、文學、建築、設計和都市主義等所有藝術相關的紀錄片。這在台灣乃至亞洲都是首創。

In 2008, Huang Mingchuan was elected Chairman of the National Culture and Arts Foundation, Taiwan's leading institution for arts support. He received the National Award for Arts in 2022 for his impactful work in independent film and creative arts documentaries. In March 2014, Mr. Huang initiated the Chiayi International Art Documentary Film Festival, the first of its kind in Taiwan and Asia, promoting documentaries across various art forms, including visual arts, theatre, literature, architecture, design, and urbanism.

Mitsuhiko Kawamura 河村光彦

日本 Japan / 2023 / 92 min / 中英字幕 Mandarin/English / 台灣首映 Taiwan Premiere

【影片簡介｜PRODUCTION NOTES】

黑澤明與傳說中的“黑澤天皇”是完全不同的人。一段在1984年至1985年間錄製的黑澤明《亂》的150小時視頻被挖掘出來。這段視頻是由一位年輕的專業攝影師和一位大學生業餘音效錄製師獨立製作的，他們獲得了黑澤明製作公司和Herald Ace的獨家許可來拍攝這部影片。 整個視頻資料經過一年的緊密拍攝，由於各種意外而丟失多年，當時的播放設備已經過時，無法播放。目前只有70個小時被數位化。這部紀錄片揭示了人性化的黑澤明以及他所有導演作品的魅力。

Akira Kurosawa is a completely different person from the legendary "Emperor Kurosawa." A 150-hour video recording of Akira Kurosawa's "Ran," recorded between 1984 and 1985, has been discovered. It was independently produced by a young professional cameraman and a college student amateur sound recordist, who were granted exclusive permission by Kurosawa Productions and Herald Ace to cover the film. The old playback equipment was out of date and could not be played back. Only 70 hours have yet been digitized. This documentary film reveals the secret of the human Akira Kurosawa and the charm of all the films he directed.

【導演簡介｜DIRECTOR PROFILE】

在1984年就讀關西學院大學期間，我與一位攝影師和導演合作，擔任《亂》的助理攝影師和音效人員。 這是一部獲得黑澤明導演許可的獨立製作影片。 1985年畢業後搬到東京。 從事電視、電影和70毫米紀錄片製作，是一名自由接案的導演。

While a student at Kwansei Gakuin University in 1984, I worked with a videographer and director on the production of "Ran" as an assistant cinematographer and sound person.This was an exclusive independent production with permission from Director Kurosawa.Moved to Tokyo upon graduation in 1985.Engaged in TV, film, and 70mm documentary film production as a freelance director.

Ron Orders 羅恩·奧德斯

英國 UK / 1984 / 36 min / 中英字幕 Mandarin/English / 影展首映 Flim Festival Premiere

【影片簡介｜PRODUCTION NOTES】

魏瑪共和國（1919-1933）建立於第一次世界大戰結束和德意志帝國垮台後。這個時期充滿政治動盪、惡性通貨膨脹、極端主義崛起，以及民主力量與不斷壯大的納粹運動之間的鬥爭。這也是藝術創新和實驗的重要時期。在魏瑪共和國，藝術和政治深度交織，藝術家反映了當時的政治風貌，也影響了它。許多德國藝術家如喬治·格羅茲、埃米爾·諾爾德和奧托·迪克斯都積極參與政治。本影片會通過他們的藝術和言語來探索德國的這段動盪時期。

The Weimar Republic (1919–1933) establish following the end of World War I and the fall of German Empire was marked by political instability, hyperinflation, rise of extremism, and the struggle between democratic forces and growing Nazi movement. It was also a period of significant artistic innovation and experimentation. Art and politics in the Weimar Republic were deeply interconnected, as artists both reflected and influenced the political landscape of the time. Many German artists like George Grosz, Emil Nolde and Otto Dix became politically involved. This film uses their art and their own words to explore a volatile period in Germany.

【導演簡介｜DIRECTOR PROFILE】

Ron Orders 自 1970 年代中期以來一直擔任製片人、導演和攝影師，最初與 Liberation Films 合作製作電影，隨後於 1979 年創立了自己的製作公司 Cinecontact。他的作品涵蓋了眾多客戶，包括英國藝術委員會（Arts Council of Great Britain）、英國電影協會（British Film Institute），以及英國及國際電視頻道。

他的影片涉足多種類型，包括藝術、政治、環境和時事，但始終強調與人相關的元素。無論探討何種議題，人的生活與故事始終是影片的核心。

Ron Orders has been working as a producer/director/cameraman since the mid-70’s making films first with Liberation Films, then through his own production company Cinecontact which he founded in 1979. This work includes films for many clients including the Arts Council of Great Britain, the British Film Institute and UK and international television channels. His films have crossed many different genres, arts, politics, the environment and current affairs, but there has always been a strong emphasis on the people involved. Human lives and the stories people tell have always been central to the films, whatever the issues portrayed.

Piotr Krzysztof Kamiński 彼得·克日什托夫·卡明斯基

波蘭 Poland / 2023 / 20 min / 中英字幕 Mandarin/English / 亞洲首映 Asia Premiere

【影片簡介｜PRODUCTION NOTES】

烏克蘭戰爭期間，德米特羅，50歲的志願者想把達莎和她10歲的女兒波琳娜從基奇耶夫（被俄軍佔領的城市）帶到最近的火車站，他被迫改變計畫。

During the war in Ukraine, Dmytro, a 50-year-old volunteer, wants to take Dasha and her 10-year-old daughter Polina out of Kichiev, a city occupied by Russian troops,and take them to the nearest train station. However, he has to change his plans.

【導演簡介｜DIRECTOR PROFILE】

彼得·克日什托夫·卡明斯基是華沙電影學校的導演系學生，西里西亞大學媒體文化專業畢業生。他創作的短片曾獲獎，並在2017年獲得Żurawie獎最佳影片獎，也是Art System基金會管理成員。

Piotr Krzysztof Kamiński - student of directing at the Warsaw Film School,graduate of Media Cultures at the University of Silesia. Author of prize-winning short films, winner of Żurawie Award 2017 for Best Picture, Art System foundation administration’s member.

Max Bommas 麥克斯·朋馬思

波蘭 Poland / 2024 / 15 min / 中英字幕 Mandarin/English / 亞洲首映 Asia Premiere

【影片簡介｜PRODUCTION NOTES】

一名年輕的士兵，威利·朗納在第二次世界大戰即將結束之際，拒絕為國家社會主義的瘋狂理想犧牲自己。然而，他被困在必須對抗蘇軍的碉堡中。想活著離開這裡，就必須想辦法突出重圍。

A young soldier, Willi Langner, in the face of the ending Second World War refuses sacrificing himself for the madness of National Socialism. However, he's trapped in a bunker which has to be defended against the Soviets. Willi has to think of something if he wants to get out alive.

【導演簡介｜DIRECTOR PROFILE】

導演Max Bommas出生於 2001 年，父母是德國人和希臘人，他在海德堡成長。他的父母在他年幼時離異。家庭的經濟困難、母親的辛苦，以及缺失的父親形象，深深地影響了年幼的他。他的繼父在電影院工作，他也因此接觸到了電影的世界，並逐漸理解電影作為終極表達形式的重要性，這奠定了他未來的方向。

Director Max Bommas, son of German-Greek parents, was born in Heidelberg in 2001. His parents divorced early on. Financial worries, his mother's struggles and the much-missed father figure left deep marks on young Bommas. He first came into contact with celluloid through his stepfather, who worked in a cinema. Max Bommas came to understand film as the ultimate form of expression. The course was set.

Ning Wen 寧文

台灣 Taiwan / 2024 / 18 min / 中英字幕 Mandarin/English / 影展首映 Flim Festival Premiere

【影片簡介｜PRODUCTION NOTES】

此作以新媒體作為性別決定系統（Sex-determination system），並透過「自我肉身扮演」與不同「AI生成語言模型」來回接力創作，在Web3.0（去中心化的新型網路）中反覆操演出新的性／別、身體、身份。

這些分身肖像以迷因（Meme）短影音作為肉身；私鑰作為基因序號，成為Web3.0的酷兒原住民，不斷在循環影像（Boomerang Loop Video）中輪迴。

This work uses new media as a sex-determination system, engaging in creative relay through "self-embodiment" and interaction with different AI-generated language models. Within the decentralized framework of Web 3.0, it repeatedly performs and redefines new forms of sex/gender, bodies, and identities.

These avatars take the form of memes and short videos as their embodiments, with private keys serving as genetic sequences, becoming queer natives of Web 3.0, continuously reincarnating within boomerang loop videos.

【導演簡介｜DIRECTOR PROFILE】

寧文創作領域包含：現場藝術、虛擬實境、沈浸式劇場、攝影、參與式藝術、加密藝術。

最初以參與式藝術擾動性階級與解構禁忌文本。近期則透過新媒體操演著不同身份，在超越肉身限制後，顯影出性別、身體、媒體間的關係。

作品曾在國內外展出與獲獎：香港ifva、美國VR新視角獎、ELLE新銳時尚短片、藝術自由日首獎、金穗獎、維也納影展、比利時影展、義大利影展、德國柏林影展、舊金山影展等。

Ning Wen's fields of expertise include live art, virtual reality, immersive theatre, photography, participatory art, and crypto art. Initially, through the medium of participatory art, Ning Wen sought to challenge existing sexual hierarchies and deconstruct societal taboos. Recently, by utilizing new media, he has explored the performative aspects of various identities, transcending physical limitations and highlighting the interplay between gender, body, and media. Ning’s works gained recognition and awards both nationally and internationally.

Amanda Kim 阿曼達．金

美國 USA / 2023 / 110 min / 中英字幕 Mandarin/English / 影展首映 Flim Festival Premiere

【影片簡介｜PRODUCTION NOTES】

早在1960年代網路尚未發展時，白南準便以「破壞藝術家」之稱聞名，透過錄像藝術刻畫他對未來資訊科技發展的奇思。

1974年，他以「資訊高速公路」形容數據媒體傳播。這樣的概念在當時極度創新，大膽又準確預測了當今世界各地實時交流和新媒體的急速傳播。他的前衛之舉，創造出一種空前的視覺饗宴。

本片帶領觀眾深入白南準世界裡科學、藝術、流行文化的破格及融合，同時見證我們如何在「未來」活出白南準眼中的異想世界。

In the 21st century, Generation Z is immersed in a wealth of fast-paced audiovisual media. In the 1960s, before the internet, Nam June Paik emerged as a disruptive artist, using video art to share his visions of the future of information technology. He coined the term "information superhighway" in 1974 to describe data transmission through media, predicting the global communication and rapid evolution we see today. This film explores Paik's innovative blend of science, art, and popular culture, reflecting the future he envisioned.

【導演簡介｜DIRECTOR PROFILE】

阿曼達·金是一位在東京長大的美籍韓裔導演和製片人。她在布朗大學獲得比較文學學位後，從事過許多與音樂、時尚和設計相關的工作，最後在Vice Media工作。作為Vice Media的前創意總監，她領導i-D、Creators和Garage雜誌在美國的視頻指導工作。她還在Vice的電視頻道Viceland擔任創意製片人，參與實驗性企業孵化器，帶領靈活的製作團隊測試試播和創新的內容形式。

Amanda Kim is a Tokyo-raised, Korean American director and producer. After graduating from Brown University with a degree in Comparative Literature, she worked many odd jobs in music, fashion, and design, before landing a job at Vice Media. A former creative director at Vice Media, she led U.S. video direction for i-D, Creators, and Garage magazine. Kim also worked on Viceland,Vice's TV channel, as a creative producer in an experimental incubator where she directed a nimble production crew to test out pilots and innovative content formats.

Bertrand Mandico 貝特朗·曼迪科

盧森堡 Luxembourg、法國 France、比利時 Belgium / 2023 / 27 min / 中英字幕 Mandarin/English / 亞洲首映 Asia Premiere

【影片簡介｜PRODUCTION NOTES】

四位女演員在電影片場輪流引導我們。不知不覺中，她們把我們拉入了她們的詛咒之中。

On the set of a film in the making, four actresses take turns guiding us. They unknowingly draw us into their damnation.

【導演簡介｜DIRECTOR PROFILE】

Bertrand Mandico畢業於巴黎高布倫學院，他的首部動畫短片《藍色騎士》展示了超現實的異教儀式。他創造了獨特且敏感的世界，並重新詮釋各種流派及規範。他的首部長片《野小子們》在威尼斯電影節上放映，並被《電影筆記》評為2018年度最佳影片，獲得路易·德呂克獎。他的最新長片《科南》入選2023年的導演雙週，重新演繹羅伯特·霍華德的小說。

Based in Paris and a graduate of the École des Gobelins, Bertrand Mandico created his first animated short, Le cavalier bleu, featuring a surreal pagan rite. As an inventor of unique and sensitive universes, he reinterprets genres and their codes. His debut feature film, Les Garçons Sauvages, was shown at the Venice Film Festival. And named best film of 2018 by Cahiers du Cinéma, winning the Prix Louis Delluc. Mandico’s latest feature, Conann, was selected for the Directors' Fortnight (2023), revisiting Robert E. Howard's novel.

Li Yi-fan 李亦凡

臺灣 Taiwan / 2020 / 16 min / 中英字幕 Mandarin/English / 影展首映 Flim Festival Premiere

【影片簡介｜PRODUCTION NOTES】

在《不好意思…請問一下這個怎麼打開》一作中，李亦凡關注虛擬世界生成後影像工具的改變，透過「遊戲引擎」與「實時影像」作為出發點，開發屬於藝術家自己的影像生產工具，並透過這套生產工具以更為直覺的方式生產敘事影像。運用當今虛擬實境等設備，李亦凡以直覺感性的模式進行影像的「書寫」，在此重新探究當代人與科技、影像之間的關係。

In the work “Howdoyouturnthison”, Li Yi-fan examines the transformation of image production tools following the advent of virtual worlds. By utilizing game engine and real-time imaging as starting points, he has developed his own image production tools, enabling a more intuitive creation of narrative imagery. And through employing contemporary virtual reality equipment, Li Yi-fan engages in an intuitive and expressive form of visual 'writing', re-exploring the relationship between modern individuals, technology, and imagery.

【導演簡介｜DIRECTOR PROFILE】

李亦凡現生活於台北、阿姆斯特丹，擅於運用科技技術的媒材性鋪展作品敘事，曾榮獲第二十屆台新藝術獎視覺藝術獎、2020高雄獎、2021 Creators計畫等。曾參與台灣美術雙年展、亞洲藝術雙年展、台北雙年展等。關注影像的工具與媒材問題，特別是新媒體影像如何改變傳統電影的敘事方法。透過「遊戲引擎」與「實時影像」，開發出一套屬於藝術家的影像生產工具，在直覺式的影像生產過程中，對影像工具、動畫技術提出思考，從而提供一種新的敘事可能。

Li Yifan currently resides in Taipei and Amsterdam. He excels in utilising technological media to craft his narratives. His accolades include the 20th Taishin Arts Award for Visual Arts, the 2020 Kaohsiung Award, and the 2021 Creators Project. Li has participated in the Taiwan Biennial, the Asian Art Biennial, and the Taipei Biennial. His work focuses on the tools and media of imagery, particularly how new media transforms traditional cinematic storytelling. He has developed a personalised image production toolkit by employing game engines and real-time imagery. This intuitive process prompts reflection on image tools and animation techniques, offering new narrative possibilities.

Agi CHEN 陳怡潔

台灣 Taiwan / 2022 / 10 min / 無對話 No Subtitles / 影展首映 Flim Festival Premiere

【影片簡介｜PRODUCTION NOTES】

《連合島漫遊》來自於藝術家陳怡潔對於動漫世界訊息性色彩，進行資料庫計畫的展現。透過將動漫角色抽象化為色彩同心圓，以色彩重新啟動觀眾的集體體記憶。對藝術家而言，動漫角色的色彩同心圓所連結的情感與記憶已成為全球化的「訊息」介面，藉由與作者之間交流的訊息串連，與觀眾一起探索網路媒體年代所呈現的心理軌跡與集體記憶，並同時提出了一種合作是與開放式的群體協作可能性。

“Roaming in United Islands” stems from Agi Chen's database project, which explores the informational colors of the anime world. By abstracting anime characters into concentric circles of color, the artwork reignites the audience's collective memory through a fresh perspective on color. For the artist, the emotional and mnemonic connections tied to the colorful concentric circles of anime characters have become a globalized "information" interface. Through an exchange of information threads between the creator and the audience, the work delves into the psychological trajectories and collective memories of the Internet media era, while simultaneously proposing the potential for collaborative and open group participation.

【導演簡介｜DIRECTOR PROFILE】

國立臺南藝術大學藝術創作理論博士班畢。陳怡潔的代表性創作是透過轉置動漫角色的⾊彩系譜，創出系列性深具時代意義、反應⼤眾媒體⽂化，喚起集體視覺記憶的當代藝術作品。近年製作許多跨界的新媒體演出，2017-2023五度操刀策劃國慶總統府光雕展演，及三度北門古蹟建築光雕展演，並於2020以《世界同行．台灣耀飛－2019國慶總統府光雕展演》獲德國紅點設計獎。特色性展演策劃皆透過新媒體展現跨界文化的連結能量與未來性。

Agi Chen graduated from the doctoral program in Art Creation and Theory at Tainan National University of the Arts. A hallmark of her work involves transposing the color palettes of anime characters so as to create a series of contemporary art pieces with significant cultural relevance. These works, which mirror mass media culture, serve to evoke collective visual memories. In recent years, Agi Chen has produced numerous interdisciplinary new media performances. From 2017 to 2023, she curated five National Day Presidential Office Building projection mapping shows and three Beimen historical site projection mapping shows. In 2020, she received the Red Dot Design Award for "Taiwan Forward: 2019 National Day Presidential Office Projection Mapping Show". Her signature exhibition planning skills exhibit the connective energy and pioneering nature of interdisciplinary culture through new media.

Chen Sing-huei 陳幸慧

臺灣 Taiwan / 2021 / 2 min / 無對話 No Subtitles / 影展首映 Flim Festival Premiere

【影片簡介｜PRODUCTION NOTES】

透過 3D 掃描捕捉創作的精神，讓藝術得以在數位世界中延續。與藝術家們攜手捕捉身體、雕塑與空間的每一道紋理，細膩存留每一縷神韻，使作品超越時間與材質的限制。

不僅為創作提供嶄新的可能，也讓雕塑能透過3D 列印與數位重塑的技術，在不同形式間遊走。與此同時，高擬真的數位展覽，讓文化資產得以在虛擬與現實交會之處，被更多人觸及與感知。透過光影與形體交織，呈現藝術與科技共鳴的瞬間，映照創作與保存的無限可能。

Capturing the essence of creation through 3D scanning, allowing art to transcend into the digital realm. In collaboration with artists, we meticulously preserve every texture of the human body, sculptures, and spaces, ensuring that each subtle detail and spirit of the work surpasses the boundaries of time and material.

Beyond offering new possibilities for artistic creation, sculptures can now transition between forms through 3D printing and digital reconstruction. At the same time, highly realistic digital exhibitions enable cultural assets to be experienced and appreciated at the intersection of the virtual and the real.

【導演簡介｜DIRECTOR PROFILE】

陳幸慧，專業於動畫與3D視覺設計，擁有多年的電視動畫、商業廣告及短片製作經驗，參與過《星際大戰：瑕疵小隊》及《侏羅紀世界：白堊冒險營》等知名項目。她的作品融合了視覺故事與藝術細節，展現多元風格，並持續探索新的創作可能性。

SingHuei Chen is an animation director and 3D visual artist with extensive experience in TV animation, commercial, and short films. She has contributed to renowned projects such as Star Wars: The Bad Batch and Jurassic World: Camp Cretaceous. Her work combines visual storytelling and artistic precision, exploring a wide range of styles and creative possibilities.

Software2050 X NAXS STUDIO Software2050 X 涅所未來

臺灣 Taiwan / 2023 / 15 min / 無對話 No Subtitles / 影展首映 Flim Festival Premiere

【影片簡介｜PRODUCTION NOTES】

「寂寞的人工智慧在量子之間穿梭， 它以人類文明的數據為食，試圖想像一個物種曾經存在過的證據。」

《機器民談》由新媒體藝術家馮涵宇(Software2050)發起，並與新媒體工作室NAXS STUDIO聯合製作。此計劃以孤獨人工智慧的虛構科幻文本為源頭，一個擁有自我意識的AI為故事述說者，在人類滅絕後的世界裡啃食人類遺留下來的數位資訊，試圖理解這個曾經存在的物種的樣貌，並從非人類視野去回應人類世的存在狀態，以詩歌、民談的意象描繪記憶、意識和進化的流動想像。

“Lonely artificial intelligence shuttles between quantum. It feeds on digital data of human civilization, trying to imagine the evidence that a species once existed.”

"Machine Folklore" is an audiovisual project initiated by new media artist Feng Han-yu (Software2050) and co-produced with new media art team NAXS STUDIO. This project begins with a fictional sci-fi narrative about an lonely artificial intelligence, trying to respond to the boundaries of the Anthropocene from the non-human perspective of artificial intelligence, and to use poetic imagery to describe the fluid imagination of memory, virtual consciousness and evolution.

【導演簡介｜DIRECTOR PROFILE】

馮涵宇 Feng Han-yu，NAXS STUDIO 共同創辦人與創意總監。

個人創作實踐跨越多個領域，包括新媒體藝術、VR、遊戲式線上體驗、平面設計、電子音樂和劇場。多年來，他以Software2050的別名進行創作，從非人類中心的視角探索人工智慧與人類世界之間的關係。

NAXS工作室則以「遊戲」與「世界建構」為核心方法論，持續製作高度實驗性的作品，遊走於實驗藝術和創新商業製作之間，同時積極與全球藝術家和品牌合作，探索沉浸式數位內容的潛力。

Feng Han-yu's work spans new media art, XR, online experience, graphic design, electronic music, and theater. Creating under the alias Software2050, Feng explores AI and human world interactions non-anthropocentrically. As NAXS STUDIO's co-founder and director, he leads a team breaking creative tech boundaries. NAXS bridges art and commerce through experimental works, collaborating with international artists and brands on immersive content.

Regina José Galindo 芮吉娜·荷西·歌琳多

瓜地馬拉 Guatemala / 2013 / 33 min / 無對話 No Subtitles / 台灣首映 Taiwan Premiere

【影片簡介｜PRODUCTION NOTES】

“軍官們一直在三只小猴子酒吧喝酒。到了凌晨，他們都很醉了，決定去殺人慶祝。”

“他們是怎麼殺人的？”法官問。

“首先，他們命令操作推土機的加西亞挖一條壕溝。接著，載滿人的卡車停在歐皮諾對面，把人一個一個帶下來。他們沒有開槍，通常是用刀刺殺。他們用刀撕裂那些人的胸膛，然後把屍體抬到壕溝裡。壕溝被填滿後，推土機就用泥土把屍體埋起來。”

“The army officers had been drinking in a bar called The Three Little Monkeys. In the small hours, when they were all quite drunk they decided to go and celebrate by killing people.”

“How did they kill people?” asked the judge.

“First they ordered Garcia who was operating the bulldozer to dig a trench. Then the trucks loaded with people parked up opposite El Pino and one by one the people were taken out. They did not shoot them. Usually they were stabbed with bayonets. They tore their chests with the bayonets and then they carried them to the grave. When the grave was full the bulldozer covered the bodies with earth. “

【導演簡介｜DIRECTOR PROFILE】

歌琳多是一名視覺藝術家和詩人，她的主要媒介是藝術性的行為表演。Galindo在瓜地馬拉生活與工作，將這個地方作為探索的起點，並控訴與性別、種族歧視相關的社會暴力及不公正現象，以及因當代社會權力關係中的結構性不平等而引發的人權侵害問題。

歌琳多於2005年第51屆的威尼斯雙年展榮獲最佳年輕藝術家金獅獎，2011年荷蘭贈予她克羅斯王子獎，2021她再奪羅森伯格獎。

Regina José Galindo is a visual artist and poet, whose main medium is performance. Galindo lives and works in Guatemala, using its own context as a starting point to explore and accuse the ethical implication of social violence and injustices related to gender and racial discrimination, as well as human rights abuses arising form the endemic inequalities in power relations of contemporary societies.

Galindo received the Golden Lion for Best Young Artist in the 51st Biennial of Venice (2005). In 2011 she was awarded with the Prince Claus Award from the Netherlands. In 2021 she won the Robert Rauschenberg Prize.

Louisiana Channel 路易斯安那頻道

丹麥 Denmark / 2017 / 31 min / 中英字幕 Mandarin/English / 影展首映 Flim Festival Premiere

【影片簡介｜PRODUCTION NOTES】

“我認為我們留下的是真正美麗的作品，這才是最重要的。”

表演藝術的傳奇情侶——瑪莉娜·阿布拉莫維奇和烏雷共同生活了12年，並合作了創新的作品。在這個非凡的雙人訪問中，他們回顧了他們之間從1975年初次相遇到現在的關係。

“I think what is left is this really beautiful work that we left behind. And this is what matters.”

Legendary couple in performance art – Marina Abramović and Ulay – lived together for 12 years and made pioneering work as a duo. In this extraordinary double interview the artists look back on their relationship – from their first meeting in 1975 until now.

【導演簡介｜DIRECTOR PROFILE】

Louisiana Channel是個非營利網站，隸屬於丹麥漢勒貝克的路易斯安那現代藝術博物館。透過這個平台，路易斯安那把文化資源延伸至網際網路，超越博物館自身的活動範疇。他們的團隊持續製作與藝術和文化相關的影片，每週都會在網站上發布新內容。

我們認為它是21世紀博物館的一部分。它用聰明的方式讓新一代融入我們的文化遺產、關注當下並展望未來。

"Louisiana Channel is a non-profit website based at the Louisiana Museum of Modern Art in Humlebæk, Denmark. With Louisiana Channel as a platform, Louisiana provides culture to the Internet, extending beyond the museum’s own events. The Louisiana team produces videos about art and culture on an ongoing basis. New videos are posted at the site every week.

We see Louisiana Channel as an integral part of a museum for the 21st century, capable of engaging a new generation in our cultural heritage, in an intelligent present and an ambitious future."

Dong Cheng-liang 董振良

台灣 Taiwan / 2024 / 80 min / 無對話 No Subtitles / 世界首映 World Premiere

【影片簡介｜PRODUCTION NOTES】

我們都是赤裸著來到這個世界，自幼，爸爸媽媽就常常對我們這樣說：「這個不行，那個不可以」。到了學校，老師同樣規定這個不行，那個不可以。出了社會，不行、不可以的事情沒有減少過。爸媽被「框」住了，看著孩子們的困惑及不知所措，最後決定，撒手讓孩子自由去了。

Every person enters this world unguarded. Caregivers instill boundaries from an early age, by telling children what are allowed and forbidden. In school, educators further shape their understanding of acceptable conduct through rules and expectations. As they navigate the broader societal landscape, restrictions multiply, creating more expectations. Parents, witnessing their children's confusion and helplessness, may choose to relinquish control. This allows their children to embark on a journey of self-discovery.

【導演簡介｜DIRECTOR PROFILE】

董振良1961年生，金門古崗人，1989年成立「螢火蟲映像體」，10年後成立「金門縣紀錄片文化協會」， 三十餘年來，持續以紀錄片創作，關心金門、台灣，作品記錄並反映出近代金門社會變遷的歷史。

Born in 1961 in Gugang, Kinmen, Taiwan, Dong founded Firefly Image Company in 1989 and the Kinmen County Documentary Culture Association in 1999. For over thirty years, he has been dedicated to documentary filmmaking, focusing on the society, humanity, and culture of Kinmen and Taiwan. His works document and reflect the historical and modern social changes in Kinmen.

Chao Shih-chen 趙世琛

臺灣 Taiwan / 2025 / 54 min / 中英字幕 Mandarin/English / 世界首映 World Premiere

【影片簡介｜PRODUCTION NOTES】

此影片為2022年發表於國立彰化師範大學白沙藝術中心的行為表演之紀錄短片。當時的行為表演共歷時4小時，主要有三個橋段，首先是隨機抽出字卡，朗誦其內容，並懸掛於所屬照片旁的掛鉤；其次是爬上高處，朗誦放在屋頂支架上的文件，並將其折成紙飛機，擲向觀眾；最後則是切割身上的西裝，將其與現場的瓷杯以及懸掛的珊瑚碎塊進行組裝。完成之後，現場彷若形成一個風鈴場，隨著空氣流動與人為走動所擾動的氣流，輕輕地發出迷人的聲響。

This video is a shortened-version documentary featuring a 4-hour performance presented in 2022 at the Baisha Art Center. First, the performer randomly drew word cards, read their contents aloud, and hung them on hooks next to corresponding photographs. He then climbed up to read files placed on roof supports, folded them into paper planes, and threw them towards the audience. Finally, he cut up his suit and assembled the pieces with porcelain cups and coral fragments. The scene resembled a field of wind chimes, gently resounding with the air and the audience.

【導演簡介｜DIRECTOR PROFILE】

出生於臺灣澎湖，自國立臺南藝術大學藝術創作理論研究所博士班取得博士學位，現任教於國立臺灣藝術大學美術學系，主要從事行為、裝置與影像創作。其創作主要著力於作品的體制性問題、藝術的不可見性狀態、藝術家的身份課題與創作在時間性與空間性上的技術操之可能。透過這些面向，其所反思的，是面對著人所身處的「世界」，藝術如何擺脫領域設限？如何擺脫對藝術 / 生命的工具性操作？也就是創作如何能做為一種愛命運（amor-fati）的技術？

Born in Penghu, Taiwan, and holding a PhD in Art Creation and Theory from Tainan National University of the Arts, Chao now teaches at NTUA. His work encompasses performance, installation, and video art, institutional issues within art, the invisibility of art, identity, and the technical possibilities of creation in temporal and spatial contexts. He contemplates how art transcends disciplines and moves beyond instrumental approaches to art and life, exploring how creation can serve as a technique of amor fati.

Liu Hsiao-hui 劉曉蕙

臺灣 Taiwan / 2024 / 21 min / 中英字幕 Mandarin/English / 世界首映 World Premiere

【影片簡介｜PRODUCTION NOTES】

海洋是母親
海洋是港埠
母親是鹹的

這三個錄像拍攝，是2024年在義大利熱那亞海洋城市，我以身體與海洋交合碰撞出的地景、身體、錄像，品嚐地中海是鹹的，花蓮的海水是鹹的，我的血是鹹的，加入海水的紅酒是鹹的，情人是鹹的，母親是鹹的。

潮汐週而復始，我如海水、海浪、泡沫，我舀水為了傾洩，我滿溢因為空缺，我柔順我咆哮我暴戾，一切只因為我是海洋是地球的體液是母族類。

The ocean is mother.
The ocean is harbor.
The mother is salty.

These videos were filmed in 2024 in Genoa, a seaside city in Italy. Through the collision of my body with the ocean, they capture landscapes, the body, and images. I tasted the salt of the Mediterranean; the seawater in Hualien is salty; my blood is salty. Red wine mixed with seawater is salty. Lovers are salty. The mother is salty.

The tides rise and fall endlessly. I am the seawater, the waves, the foam. I scoop water only to let it spill. I overflow from emptiness. I am gentle, I roar, I rage—all because I am the ocean, the Earth's lifeblood, the mother of all beings.

【導演簡介｜DIRECTOR PROFILE】

劉曉蕙藝術創作以關注人類和自然環境的關係為主； 2000年於花蓮七星潭海岸創作環境藝術，7年後嘗試結合地景裝置、行為藝術、裝置藝術交互呈顯，2017年後以錄像藝術為主，經由觀景視窗攝獵影像，進而開始謀劃自身行為涉入影像，邀請民眾參與行為藝術進入拍攝，其影像作品猶如天地和人物互為自顯的宇宙中詩意存有的劇場，「我即是風景」自然成其為是。

Liu’s art work mainly explores the relationship between humans and the natural environment. In 2000, she created environmental art on Hualien's Chishingtan Beach. 7 years later, she combined landscape installations, performance art, and installation art for interactive presentations. By 2017, she focused on video art, capturing images through her camera and involving herself in the videos. She invited the public to participate in performance art during the shooting. Her works resemble poetry in the universe, with self-evident worlds and characters. In the theater of existence, “I am the landscape” naturally becomes what it should be.

Stan Brakhage 斯坦·布拉哈格

美國 USA / 1959 / 13 min / 無對話 No Subtitles / 影展首映 Flim Festival Premiere

【影片簡介｜PRODUCTION NOTES】

布拉哈格以他女兒的誕生作為主題，充分展現了他電影技術的威力。之前，要是讓他自由發揮，他的手法往往變得抽象且難以理解，但這次卻聚焦於一個具體的主題。結果，他創作出一部直率而真摯的作品，充滿了原始的驚奇與愛意，超越了文明的界限，展現出完全的接納與感知。這部影片成為電影史上少有的獨特體驗。

... Brakhage's treatment of the birth of his daughter. Here he unleashes the full power of his technique, so apt to become abstractly unintelligible when left to his own devices, on a specific subject. The result is a picture so forthright, so full of primitive wonder and love, so far beyond civilization in its acceptance that it becomes an experience like few in the history of the movies.

【導演簡介｜DIRECTOR PROFILE】

斯坦·布拉哈格是美國前衛電影中最具影響力的導演之一，以毫不妥協的社會評論與技術創新聞名。布拉哈格致力於改變觀眾觀看電影的方式，鼓勵觀眾拋開傳統的敘事結構，追求純粹的視覺感知。他不想讓觀眾依賴自己所看到的，而是創造一種更直接的視覺體驗，因為他相信視覺意識的流動無異於靈魂的通道。因此，他在電影中運用極具感官性的色彩，加上極簡的聲音設計。

Stan Brakhage is one of the most influential filmmakers in American avant-garde cinema, noted for his unflinching social commentaries and technical innovations. Brakhage films seek to change the way we see. They encourage viewers to eschew traditional narrative structure in favor of pure visual perception that is not reliant on naming what is seen; rather his goal is to create a more visceral visual experience, for he believes that a "stream-of visual-consciousness could be nothing less than the pathway of the soul." To this end, his films are shot in highly sensual colors and utilize minimal soundtracks.

Stan Brakhage 斯坦·布拉哈格

美國 USA / 1959 / 6 min / 無對話 No Subtitles / 影展首映 Flim Festival Premiere

【影片簡介｜PRODUCTION NOTES】

這部影片記錄了布拉哈格、簡，以及朋友詹姆斯·坦尼和卡羅里·施妮曼的聚會。畫面中有一隻貓、花卉壁紙與刺繡布料。布拉哈格的剪輯手法在快速蒙太奇與較長、沉思的鏡頭之間切換，貓的身體、眼睛、脖子和頭部的特寫鏡頭貫穿全片。我們是不是通過貓的視角看世界？也許是，也許不是。《貓咪的搖籃》完美體現了布拉哈格的創作使命：為觀眾帶來全新的觀看方式，並銳利化我們對世界的感知力。

A record of an encounter between Brakhage, Jane, and friends James Tenney and Carolee Schneemann is intercut with a cat, floral wallpaper, and embroidered fabric. Brakhage's editing varies from rapid montages to longer, contemplative shots. Close-ups of the cat's body, eyes, neck, and head appear throughout. Are we seeing from the cat's perspective? Maybe. Maybe not. Cat's Cradle exemplifies Brakhage's mission to offer fresh ways of seeing and sharpen our perception of the world.

【導演簡介｜DIRECTOR PROFILE】

斯坦·布拉哈格是美國前衛電影中最具影響力的導演之一，以毫不妥協的社會評論與技術創新聞名。布拉哈格致力於改變觀眾觀看電影的方式，鼓勵觀眾拋開傳統的敘事結構，追求純粹的視覺感知。他不想讓觀眾依賴自己所看到的，而是創造一種更直接的視覺體驗，因為他相信視覺意識的流動無異於靈魂的通道。因此，他在電影中運用極具感官性的色彩，加上極簡的聲音設計。

Stan Brakhage is one of the most influential filmmakers in American avant-garde cinema, noted for his unflinching social commentaries and technical innovations. Brakhage films seek to change the way we see. They encourage viewers to eschew traditional narrative structure in favor of pure visual perception that is not reliant on naming what is seen; rather his goal is to create a more visceral visual experience, for he believes that a "stream-of visual-consciousness could be nothing less than the pathway of the soul." To this end, his films are shot in highly sensual colors and utilize minimal soundtracks.

Stan Brakhage 斯坦·布拉哈格

美國 USA / 1955 / 4 min / 無對話 No Subtitles / 影展首映 Flim Festival Premiere

【影片簡介｜PRODUCTION NOTES】

本片取自約瑟夫·康奈爾提出的主題。布拉哈格這次的作品有了非常大的變化，我們會透過旋轉木馬上的孩子的眼睛來看待現在已拆除的紐約第三大道高架鐵路。

On a theme suggested by Joseph Cornell. A sharp change in Brakhage's work, we see New York's Third Avenue El (since demolished) as though through the eyes of a child on a merry-go-round.

【導演簡介｜DIRECTOR PROFILE】

斯坦·布拉哈格是美國前衛電影中最具影響力的導演之一，以毫不妥協的社會評論與技術創新聞名。布拉哈格致力於改變觀眾觀看電影的方式，鼓勵觀眾拋開傳統的敘事結構，追求純粹的視覺感知。他不想讓觀眾依賴自己所看到的，而是創造一種更直接的視覺體驗，因為他相信視覺意識的流動無異於靈魂的通道。因此，他在電影中運用極具感官性的色彩，加上極簡的聲音設計。

Stan Brakhage is one of the most influential filmmakers in American avant-garde cinema, noted for his unflinching social commentaries and technical innovations. Brakhage films seek to change the way we see. They encourage viewers to eschew traditional narrative structure in favor of pure visual perception that is not reliant on naming what is seen; rather his goal is to create a more visceral visual experience, for he believes that a "stream-of visual-consciousness could be nothing less than the pathway of the soul." To this end, his films are shot in highly sensual colors and utilize minimal soundtracks.

Stan Brakhage 斯坦·布拉哈格

美國 USA / 1955 / 12 min / 無對話 No Subtitles / 影展首映 Flim Festival Premiere

【影片簡介｜PRODUCTION NOTES】

講述了一系列在紐約廉價租公寓裡令人恐懼的男女關係。

探索男女之間隱藏的、不言而喻的、難以捉摸的關係戲劇。

A series of terrifying dramas of male-female relationships offset against the background of a New York tenement.

... a search into the hidden unspoken, elusive drama of relations among men and women.

【導演簡介｜DIRECTOR PROFILE】

斯坦·布拉哈格是美國前衛電影中最具影響力的導演之一，以毫不妥協的社會評論與技術創新聞名。布拉哈格致力於改變觀眾觀看電影的方式，鼓勵觀眾拋開傳統的敘事結構，追求純粹的視覺感知。他不想讓觀眾依賴自己所看到的，而是創造一種更直接的視覺體驗，因為他相信視覺意識的流動無異於靈魂的通道。因此，他在電影中運用極具感官性的色彩，加上極簡的聲音設計。

Stan Brakhage is one of the most influential filmmakers in American avant-garde cinema, noted for his unflinching social commentaries and technical innovations. Brakhage films seek to change the way we see. They encourage viewers to eschew traditional narrative structure in favor of pure visual perception that is not reliant on naming what is seen; rather his goal is to create a more visceral visual experience, for he believes that a "stream-of visual-consciousness could be nothing less than the pathway of the soul." To this end, his films are shot in highly sensual colors and utilize minimal soundtracks.

Stan Brakhage 斯坦·布拉哈格

美國 USA / 1956 / 4 min / 無對話 No Subtitles / 影展首映 Flim Festival Premiere

【影片簡介｜PRODUCTION NOTES】

森林的綠色、戀人的膚色、大地的棕色，天空和太陽演化出愛的表達。光明吞噬了一切，除了愛的肉體。

The greens of the forest, the flesh tones of the lovers, the browns of the earth, the sky and the sun evolve an expression of loving in which the light consumes everything except the flesh of loving.

【導演簡介｜DIRECTOR PROFILE】

斯坦·布拉哈格是美國前衛電影中最具影響力的導演之一，以毫不妥協的社會評論與技術創新聞名。布拉哈格致力於改變觀眾觀看電影的方式，鼓勵觀眾拋開傳統的敘事結構，追求純粹的視覺感知。他不想讓觀眾依賴自己所看到的，而是創造一種更直接的視覺體驗，因為他相信視覺意識的流動無異於靈魂的通道。因此，他在電影中運用極具感官性的色彩，加上極簡的聲音設計。

Stan Brakhage is one of the most influential filmmakers in American avant-garde cinema, noted for his unflinching social commentaries and technical innovations. Brakhage films seek to change the way we see. They encourage viewers to eschew traditional narrative structure in favor of pure visual perception that is not reliant on naming what is seen; rather his goal is to create a more visceral visual experience, for he believes that a "stream-of visual-consciousness could be nothing less than the pathway of the soul." To this end, his films are shot in highly sensual colors and utilize minimal soundtracks.

Stan Brakhage 斯坦·布拉哈格

美國 USA / 1981 / 16 min / 無對話 No Subtitles / 影展首映 Flim Festival Premiere

【影片簡介｜PRODUCTION NOTES】

當人變成骯髒的懦夫、殘忍、惡毒的爬行動物時，就會出現無與倫比的放蕩。這正是我們需要的。更重要的是，只要一點新鮮血液，我們就會習慣它。陀思妥耶夫斯基的《魔鬼》，第二部分，第八章。在我的小說《魔鬼》中，我試圖描繪出複雜而多樣的動機，這種動機可能會促使最純潔的心和最天真的人犯下殘暴的罪行。

... unparalleled debauchery, when man turns into a filthy coward, cruel, vicious reptile. That's what we need! And what's more,. a little fresh blood that we may grow accustomed to it... Dostoyevsky's "The Devils," part II, Chapter VIII. In my novel "The Devils" I attempted to depict the complex and heterogenous motive which may prompt even the purest of heart and the most naive people to take part in an absolutely monstrous crime.

【導演簡介｜DIRECTOR PROFILE】

斯坦·布拉哈格是美國前衛電影中最具影響力的導演之一，以毫不妥協的社會評論與技術創新聞名。布拉哈格致力於改變觀眾觀看電影的方式，鼓勵觀眾拋開傳統的敘事結構，追求純粹的視覺感知。他不想讓觀眾依賴自己所看到的，而是創造一種更直接的視覺體驗，因為他相信視覺意識的流動無異於靈魂的通道。因此，他在電影中運用極具感官性的色彩，加上極簡的聲音設計。

Stan Brakhage is one of the most influential filmmakers in American avant-garde cinema, noted for his unflinching social commentaries and technical innovations. Brakhage films seek to change the way we see. They encourage viewers to eschew traditional narrative structure in favor of pure visual perception that is not reliant on naming what is seen; rather his goal is to create a more visceral visual experience, for he believes that a "stream-of visual-consciousness could be nothing less than the pathway of the soul." To this end, his films are shot in highly sensual colors and utilize minimal soundtracks.

Maya Deren 瑪雅·黛倫

美國 USA / 1946 / 15 min / 無對話 No Subtitles / 影展首映 Flim Festival Premiere

【影片簡介｜PRODUCTION NOTES】

在瑪雅·黛倫的《變幻時光中的儀式》中，姿態引導觀眾與影片中的動作同步，放棄對熟悉事物的依賴，投入與多位陌生夥伴的交流。這部無聲短片從一個居家環境開始，接著進入派對場景，最後以戶外場地的現代舞結束。全片貫穿的姿態與舞蹈動作實現了影片的連貫性。

In Maya Deren's Ritual in Transfigured Time we have gestures that invite us to move into step with them, abandoning the comfort of the known and giving ourselves over to so many strange partners. This silent short begins in a domestic environment, moves to a party scene, and ends with modern dance performed in an outdoor setting. The film's continuity is established by an emphasis on gesture and/or dance throughout.

【導演簡介｜DIRECTOR PROFILE】

1922年，瑪雅·黛倫與父母一起逃離蘇聯，並以艾莉諾拉·德倫科夫斯基的名字來到美國。1943 年，她製作了首部影片《午後的網》，並將名字改為 瑪雅，意思是幻象。她創作了六部短片以及數部未完成的作品，包括1944年的《巫婆的搖籃》。1947年，黛倫成為首位獲得古根海姆基金的電影製作人。她撰寫電影理論、發行影片，並教導電影理論、伏都教及魔法、科學與宗教之間的關係。

Maya Deren came to the USA in 1922 as Eleanora Derenkowsky, fleeing the Soviet Union with her parents. In 1943, she made her first film, Meshes of the Afternoon, and changed her name to Maya, meaning "illusion." She made six short films and several incomplete ones, including The Witch's Cradle (1944).

In 1947, Deren became the first filmmaker to receive a Guggenheim grant. She wrote film theory, distributed her films, and taught film theory, Voudoun, and the interrelationship of magic, science, and religion.

Maya Deren 瑪雅·黛倫

美國 USA / 1945 / 3 min / 無對話 No Subtitles / 影展首映 Flim Festival Premiere

【影片簡介｜PRODUCTION NOTES】

瑪雅·黛倫在第三部作品《為攝影機設計的編舞研究》中實現了她的願景：將人體從戲劇舞台和空間的束縛中解放出來。這部影片中，舞者塔莉·比蒂在不同的環境，比如森林、客廳、博物館畫廊等輕鬆移動，他的舞蹈與剪輯完美配合。在黛倫的剪輯中，比蒂從一個空間跳到另一個空間，創造出了新的地理現實。在四分鐘內跨越了廣闊的距離。比蒂的表演很嚴謹，看不出他和導演為了流暢效果而克服的挑戰。黛倫的攝影機成了比蒂的合作夥伴。

It was in Maya Deren's third project, Study in Choreography for Camera, that Deren fully realized her vision of freeing the human body from the confines of theatrical—and actual—space. In Study, a dancer (Talley Beatty) moves effortlessly within and between different environments (forest, living room, museum gallery, etc.), an achievement arrived at through the careful matching of his precisely choreographed movements with the film's editing pattern. As Beatty leaps from space to space across Deren's film splices, a new geographical reality is created, one where great distances can be covered within the span of just four minutes. Beatty's disciplined performance never betrays the difficulties that he and his director must have overcome to attain so fluid a result. Deren's camera, in effect, becomes Beatty's partner.

【導演簡介｜DIRECTOR PROFILE】

1922年，瑪雅·黛倫與父母一起逃離蘇聯，並以艾莉諾拉·德倫科夫斯基的名字來到美國。1943 年，她製作了首部影片《午後的網》，並將名字改為 瑪雅，意思是幻象。她創作了六部短片以及數部未完成的作品，包括1944年的《巫婆的搖籃》。1947年，黛倫成為首位獲得古根海姆基金的電影製作人。她撰寫電影理論、發行影片，並教導電影理論、伏都教及魔法、科學與宗教之間的關係。

Maya Deren came to the USA in 1922 as Eleanora Derenkowsky, fleeing the Soviet Union with her parents. In 1943, she made her first film, Meshes of the Afternoon, and changed her name to Maya, meaning "illusion." She made six short films and several incomplete ones, including The Witch's Cradle (1944).

In 1947, Deren became the first filmmaker to receive a Guggenheim grant. She wrote film theory, distributed her films, and taught film theory, Voudoun, and the interrelationship of magic, science, and religion.

Maya Deren 瑪雅·黛倫

美國 USA / 1948 / 13 min / 無對話 No Subtitles / 影展首映 Flim Festival Premiere

【影片簡介｜PRODUCTION NOTES】

中國拳擊的實際動作只是某些形而上的物理表述，而從電影術語上講，《暴力省思》本身也有著相同的概念，只不過把肢體動作換成了視覺效果。

Just as the actual movements of Chinese boxing are a physical statement of certain metaphysical concepts, so the film MEDITATION ON VIOLENCE is, in filmic terms, itself a statement of those same concepts, employing the physical movements as only one of the visual means.

【導演簡介｜DIRECTOR PROFILE】

1922年，瑪雅·黛倫與父母一起逃離蘇聯，並以艾莉諾拉·德倫科夫斯基的名字來到美國。1943 年，她製作了首部影片《午後的網》，並將名字改為 瑪雅，意思是幻象。她創作了六部短片以及數部未完成的作品，包括1944年的《巫婆的搖籃》。1947年，黛倫成為首位獲得古根海姆基金的電影製作人。她撰寫電影理論、發行影片，並教導電影理論、伏都教及魔法、科學與宗教之間的關係。

Maya Deren came to the USA in 1922 as Eleanora Derenkowsky, fleeing the Soviet Union with her parents. In 1943, she made her first film, Meshes of the Afternoon, and changed her name to Maya, meaning "illusion." She made six short films and several incomplete ones, including The Witch's Cradle (1944).

In 1947, Deren became the first filmmaker to receive a Guggenheim grant. She wrote film theory, distributed her films, and taught film theory, Voudoun, and the interrelationship of magic, science, and religion.

Maya Deren 瑪雅·黛倫

美國 USA / 1959 / 15 min / 無對話 No Subtitles / 影展首映 Flim Festival Premiere

【影片簡介｜PRODUCTION NOTES】

《夜之眼》是導演瑪雅·黛倫的最後一部完整作品。黛倫與編舞家安東尼·都鐸在1952至1955年間合作製作這部影片，但在1959年，伊藤貞司創作配樂後才正式發行。整部影片以底片負片的形式放映，呈現出獨特的視覺效果。-大衛·劉易斯，All Movie Guide

The Very Eye of Night is filmmaker Maya Deren's last completed film.

It was made from 1952 to 1955 in collaboration with choreographer Antony Tudor, but it was not released until 1959 when the musical score by Teiji Ito was added. The entire film is projected as photographed in the negative. ~ David Lewis, All Movie Guide

【導演簡介｜DIRECTOR PROFILE】

1922年，瑪雅·黛倫與父母一起逃離蘇聯，並以艾莉諾拉·德倫科夫斯基的名字來到美國。1943 年，她製作了首部影片《午後的網》，並將名字改為 瑪雅，意思是幻象。她創作了六部短片以及數部未完成的作品，包括1944年的《巫婆的搖籃》。1947年，黛倫成為首位獲得古根海姆基金的電影製作人。她撰寫電影理論、發行影片，並教導電影理論、伏都教及魔法、科學與宗教之間的關係。

Maya Deren came to the USA in 1922 as Eleanora Derenkowsky, fleeing the Soviet Union with her parents. In 1943, she made her first film, Meshes of the Afternoon, and changed her name to Maya, meaning "illusion." She made six short films and several incomplete ones, including The Witch's Cradle (1944).

In 1947, Deren became the first filmmaker to receive a Guggenheim grant. She wrote film theory, distributed her films, and taught film theory, Voudoun, and the interrelationship of magic, science, and religion.

Gwenola Wagon 格溫諾拉·瓦貢

法國 France / 2023 / 17 min / 無對話 No Subtitles / 亞洲首映 Asia Premiere

【影片簡介｜PRODUCTION NOTES】

在一個反烏托邦的未來，人類為了在炎熱的地球上生存而阻擋陽光。倖存者長期生活在天文台地下的黑暗中。為了重現陽光，一位擁有生動腦海畫面的年輕女子監督一個AI程式。從克里斯·馬克在1962年的作品《堤》獲得靈感，《黯日紀事》透過科幻故事探討我們與科技的關係。影片搭配了由AI再處理的個人、廣告及科學照片，呈現了一個關於扭曲現實與地球無法永續的詭異故事。

In a dystopian future, humans have blocked out the sun to survive on Earth, now a scorching desert. Survivors live in perpetual darkness in observatories' basements. To recreate the sun, an AI program is supervised by a young woman with vivid mental images. Inspired by Chris Marker's La Jetée (1962), "Chronicles of the Dark Sun" uses a sci-fi narrative to explore our relationship with technology. The film, combining personal, advertising, and scientific photos reprocessed by AI, is an uncanny fable on reality distortion and the planet's unsustainability.

【導演簡介｜DIRECTOR PROFILE】

格維諾拉·瓦貢是影片製作人，也是巴黎第一大學索邦藝術學院的教授。她透過裝置藝術、電影及書籍構想出各種有替代性和矛盾性的故事，並探討當代的數位世界。

Gwenola Wagon is a filmmaker and professor at the Sorbonne School of the Arts, University of Paris 1. Through installations, films and books, she imagines alternative and paradoxical narratives for thinking about the contemporary digital world.

Emmanuel Van der Auwera 埃馬紐埃爾·范德奧韋

比利時 Belgium / 2024 / 19 min / 中英字幕 Mandarin/English / 台灣首映 Taiwan Premiere

【影片簡介｜PRODUCTION NOTES】

在內蒙古偏遠的工業區，礦工們在艱難的環境下開採對我們生活至關重要的戰略資源。全球80%的稀土礦物都來自這裡，這些都是製造數位科技不可或缺的材料。一位在該地工作的礦工分享了他對生活和工作環境的感想。《白雲》是一部由生成式人工智慧開發的影片，為白雲鄂博礦區提供了一種獨特的視角。

In a remote industrial site in Inner Mongolia, miners extract a strategic resource essential to our way of life under dramatic human and environmental conditions. This is where 80% of rare earth minerals, essential to the manufacture of digital technologies, come from. A miner working on the site shares his thoughts on his life and working conditions. White Cloud is a film developed with generative AI that offers a unique perspective on the Bayan Obo mining district.

【導演簡介｜DIRECTOR PROFILE】

埃馬紐埃爾·范德奧韋拉在1982年出生於比利時，是一位跨領域藝術家，他的創作涵蓋影像、戲劇、雕塑和版畫，常在藝術與科技、現實與模擬，以及暴力的平庸化之間產生張力。他的創作靈感來自全球屏幕文化中泛濫的影像生產，關注影像的意義以及影像如何既描繪與建構現實。

Emmanuel Van der Auwera (b. 1982, BE) works multidisciplinary with video, theater, sculpture, printmaking and often in tension between art and technology, reality vs. simulation and the trivialization of violence. Finding his material in the rampant image production of a global screen culture, he is interested in the meaning of images and how they depict reality while at the same time constructing it.

Rachel Maclean 瑞秋·麥克林

英國 United Kingdom / 2024 / 16 min / 確認 / 台灣首映 Taiwan Premiere

【影片簡介｜PRODUCTION NOTES】

《鴨子》是一部大膽的深偽短片，講述史恩·康納萊目睹瑪麗蓮·夢露起死回生後，逐漸崩潰的故事。背景設定在英國諜報驚悚片的場景中，康納萊飾演他熟悉的角色：蒐集線索、擊退敵人、解決蛇蠍美人。但他發現事情並非那麼簡單。《鴨子》全片的影像與聲音完全使用深偽技術來製作，透過人工智能讓演員復活。影片的視覺引人入勝、幽默風趣且技術創新。它融合了好萊塢經典、電子遊戲、黑色電影及科幻元素，探討了真相與權力的深刻問題。

DUCK is a daring deepfake short that follows Sean Connery’s unravelling after he witnesses Marilyn Monroe’s return from the dead. Set in the instantly recognisable world of a British Spy Thriller, Connery plays the role he knows all too well: collecting clues, wrongfooting assailants, and eliminating the femme fatale - only to find that all is not what it seems. DUCK is unique in entirely using deepfake video and audio, resurrecting actors via AI. Visually captivating, funny, and technically innovative, the film takes elements from classic Hollywood, video games, film noir, and sci-fi to raise compelling questions about truth and power.

【導演簡介｜DIRECTOR PROFILE】

瑞秋·麥克林在1987年生於愛丁堡。過去十年中，她在美術館、博物館、電影節以及電視上展示她開創性的作品。她涉足多種媒材，包括影片、數位印刷、雕塑及虛擬實境，創作出複雜且層次豐富的作品，內容涵蓋政治、童話故事、大眾文化、當代媒體等多元主題。

Rachel Maclean (b. 1987, Edinburgh) has spent the last decade showcasing her ground-breaking work in galleries, museums, film festivals and on television. Working across a variety of media, including video, digital print, sculpture, and VR, she makes complex and layered works that reference politics, fairy tales, pop culture, contemporary media, and more.

Andrea Gatopoulos 安德烈亞·加托波洛斯

義大利 Italy / 2024 / 15 min / 中英字幕 Mandarin/English / 台灣首映 Taiwan Premiere

【影片簡介｜PRODUCTION NOTES】

他不太記得那時候的事。事情褪色了，就像是一幅畫過度被光照射之後一樣。唯一干擾他的是這個音樂。它一直出現。他認為自己忘了它的意思。他唯一知道的，就是他無法忘記它。

He does not remember much from that time. Things have faded, like the color of a painting after too much light. The only thing that bothers him is this music. It keeps popping up... He thinks he forget what it meant. All he knows, for sure, is that he cannot get it out of his head.

【導演簡介｜DIRECTOR PROFILE】

安德里亞是電影製作人和導演，歐洲電影學院成員，柏林影展天才訓練營與洛迦諾春季學院校友。他的短片與長片作品探討人類與科技的關係，曾入選導演雙週、洛迦諾、威尼斯、鹿特丹等多個影展。《卵靈理論》是他的最新短片作品。

Film producer and director, EFA member, Berlinale Talents and Locarno Spring Academy Alumnus. His shorts and features mainly deal with the relationship between man and technology and have been screened in Quinzaine, Locarno, Venice, Rotterdam and many others. "The Eggregores' Theory" is his last short film.

Yuki YORK 川島佑喜

日本 Japan / 2024 / 24 min / 中英字幕 Mandarin/English / 台灣首映 Taiwan Premiere

【影片簡介｜PRODUCTION NOTES】

通過菲律賓裔奶奶的協助，導演試圖拍攝菲律賓貧民窟頑強的居民們的生活方式。本片成功地探索了靈魂的「存在形式」。

With the help of her Filipina grandmother, the director tries to capture the resilient lives of people in the slums of the Philippines.The film powerfully explores the "way of being" of the soul.

【導演簡介｜DIRECTOR PROFILE】

川島佑喜在武藏野美術大學跟隨電影導演大島新學習電影製作。在2024年的PIA電影節和其他的影展中，她藉著首部作品《我不是隱形人》獲得大獎。

Yuki York studied filmmaking with Arata Oshima, filmmaker, at the Musashino Art University. She won the Grand Prize at the Pia Film Festival 2024 and other festivals with her first film "I AM NOT INVISIBLE."

Kako Annika ESASHI 江刺加子·安妮卡

日本 Japan / 2024 / 28 min / 中英字幕 Mandarin/English / 台灣首映 Taiwan Premiere

【影片簡介｜PRODUCTION NOTES】

一位日裔美國女孩來到祖母的家鄉，希望能找到自己文化的連結，卻意外面對這座城市令人質疑的恐龍主題重建計畫。

A Japanese-American girl arrives to her grandmother’s hometown in hopes to reconnect with her heritage but is confronted by the city’s questionable dinosaur-themed redevelopment plan.

【導演簡介｜DIRECTOR PROFILE】

安妮卡生於波士頓，在2024年PIA電影節上以《恐龍的終點》贏得了評審團特別獎。她目前在拍攝2023年茂宜島拉海納野火的紀錄片。

Born in Boston. She won the Special Jury Prize at the Pia Film Festival 2024 with "END of DINOSAURS". She is currently working on a documentary about the 2023 wildfires in Lahaina, Maui.

Tomoya Ishida 石田智哉

日本 Japan / 2020 / 93 min / 中英字幕 Mandarin/English / 台灣首映 Taiwan Premiere

【影片簡介｜PRODUCTION NOTES】

《變身！》記錄經驗豐富的舞者與身心障礙者的合作努力，透過導演石田智哉的視角自我表達的過程，而石田智哉也是身心障礙者。

"Transform!" documents the collaborative efforts of experienced dancers and people with disabilities who engage in self-expression through the viewpoint of the director, ISHIDA Tomoya, who is also disabled.

【導演簡介｜DIRECTOR PROFILE】

1997年出生於東京，石田在大學學習電影製作，並在志願團體組織無障礙電影放映。他憑藉《變身！》在2020年PIA電影節贏得大獎。

Born in 1997 in Tokyo. Ishida learned filmmaking at university and organized accessible film screenings as part of a volunteer group. He won the Grand prize at the Pia Film Festival 2020 with “Transform!.”

UJITA Shun 宇治田峻

日本 Japan / 2022 / 25 min / 中英字幕 Mandarin/English / 台灣首映 Taiwan Premiere

【影片簡介｜PRODUCTION NOTES】

一群年輕的滑板運動員向關閉的大學校園地板表達了熱情的敬意，他們在那裡度過了很長的青春歲月，並磨練街頭滑板技巧。

A band of young skateboarders pay energetic tribute to the closed down university campus grounds where they spent a significant portion of their youth sharpening their street skating skills.

【導演簡介｜DIRECTOR PROFILE】

宇治田峻探索虛構、紀錄片和動能滑板影片之間的界限，以表達疫情期間的感受：失去空間。他採用了英文字幕，展現街頭詩和激進的素描。高潮部分，出人意料的視覺效果展現了更龐大的主題。

UJITA Shun probes the boundaries between fiction, documentary, and kinetic skate videos to express something universally felt during the pandemic –– the loss of place. He employs English inter-titles featuring street poetry and rad sketches. An unexpected visual effect at the climax embodies the larger theme.

Maso Chen 陳志漢

臺灣 Taiwan / 2024 / 27 min / 中英字幕 Mandarin/English / 世界首映 World Premiere

【影片簡介｜PRODUCTION NOTES】

嘉義市曾以醫館林立聞名，公明路還有醫生街的美名，老醫生們也見證了嘉義市的發展足跡。直到現在，嘉義市醫館林立的印象已歸於平淡，但醫者行醫的故事依然令人動容。影片將穿插醫生救命救國的事蹟，展現他們的仁心風骨，讓觀眾理解醫療文化對嘉義市的深遠影響。透過這些老醫生的故事，喚起嘉義人對這段歷史的共同記憶，重新感受嘉義市的歷史榮光。

Chiayi City was once renowned for its abundance of clinics, with Gongming Road earning the title "Doctor Street." Its veteran doctors have witnessed and chronicled its development over the years. Even though the image of Chiayi as a city of clinics has faded, the stories of these doctors’ dedication remain deeply moving. The film intertwines tales of doctors saving lives and serving the nation, reflecting their compassion and unwavering resolve. It aims to reveal the enduring influence of medical culture on Chiayi City. Through the stories of these seasoned doctors, the film aims to awaken shared memories among Chiayi’s residents and reignite pride in the city’s historic legacy.

【導演簡介｜DIRECTOR PROFILE】

攝影師出身，慢慢培養出自己對社會的觀察，拍攝紀錄片的題材大多與死亡相關，事實上是熱愛生命的導演。陸續創作出『那個靜默的陽光午後』、『一念』、『回眸』、『文林銀行』等院線紀錄片，並入圍國內外各大影展。希望藉由作品提出自己對社會現象的觀察，並引起觀眾的對話及討論，讓每個人都能在過程中找出專屬於自己與社會的共存方式。

A photographer by trade, Maso Chen gradually cultivated his keen observation of society. His documentaries revolve mostly around death-related themes. Yet he is a director who is passionate about life. He have made theatrical documentaries, such as “The Silent Teacher", "A Decision", "Review", and "Bank in School", which have been nominated for major film festivals, both domestically and internationally. Through his works, Maso Chen aims to present his observations on social phenomena, initiate conversations and discussions among the audience, and help everyone find their unique way of coexisting with society.

Maso Chen 陳志漢

臺灣 Taiwan / 2024 / 47 min / 中英字幕 Mandarin/English / 影展首映 Flim Festival Premiere

【影片簡介｜PRODUCTION NOTES】

嘉義菸葉廠創建於1939年，見證臺灣菸葉產業的興起與繁榮。日治時期，嘉義成為重要菸葉再乾燥與加工基地，承接雲林、嘉義、台南等地菸葉處理。戰後廠區擴建，業務涵蓋種植輔導與捲菸製造，並推出多款煙草品牌。受洋菸進口及政策影響，菸葉種植逐漸減少，廠區於2000年停止營運，2007年移撥嘉義市政府管理，並於2019年登錄為歷史建築。未來，嘉義菸葉廠將轉型為結合市集、展覽與文創產業的藝文基地，保留歷史記憶，同時注入創意活力，成為城市再生的象徵。

Established in 1939, the Chiayi Tobacco Plant serves as a testament to the rise and prosperity of Taiwan’s tobacco industry. During the Japanese colonial era, Chiayi became a major hub for re-drying and processing tobacco leaves from Yunlin, Chiayi, Tainan, and surrounding areas. After the war, the plant expanded its operations to include cultivation support and cigarette production, introducing various tobacco brands. Eventually, the decline in tobacco farming, influenced by imported cigarettes and policy changes, led to the plant ceasing operations in 2000. Seven years later, it was handed over to the Chiayi City Government. In 2019, it was designated as a historical building. Looking ahead, the Chiayi Tobacco Plant will become a vibrant hub for markets, exhibitions, and cultural industries. This transformation shall preserve its historical significance while infusing it with fresh creativity, making it a symbol of urban renewal.

【導演簡介｜DIRECTOR PROFILE】

攝影師出身，慢慢培養出自己對社會的觀察，拍攝紀錄片的題材大多與死亡相關，事實上是熱愛生命的導演。陸續創作出『那個靜默的陽光午後』、『一念』、『回眸』、『文林銀行』等院線紀錄片，並入圍國內外各大影展。希望藉由作品提出自己對社會現象的觀察，並引起觀眾的對話及討論，讓每個人都能在過程中找出專屬於自己與社會的共存方式。

A photographer by trade, Maso Chen gradually cultivated his keen observation of society. His documentaries revolve mostly around death-related themes. Yet he is a director who is passionate about life. He have made theatrical documentaries, such as “The Silent Teacher", "A Decision", "Review", and "Bank in School", which have been nominated for major film festivals, both domestically and internationally. Through his works, Maso Chen aims to present his observations on social phenomena, initiate conversations and discussions among the audience, and help everyone find their unique way of coexisting with society.

Lai Yi-fan 賴宜汎

臺灣 Taiwan / 2024 / 13 min / 中英字幕 Mandarin/English / 世界首映 World Premiere

【影片簡介｜PRODUCTION NOTES】

嘉義市鑿花保存者 蔡共新藝師：
蔡共新老師的匠人之路，深深刻印著時代的變遷。早年，他拜師學習雕刻技藝，出師後致力於廟宇中的精細紋樣雕刻。然而，隨著經濟轉型，他與友人一同前往欄間板出產量最大的嘉義，轉而投入欄間板工廠，隨著欄間板產業的逐漸衰退，蔡老師最終回到了最初的雕刻手藝之中，再次專注於廟宇木雕，讓鑿刀在戲齣故事與欄間板之間游走穿梭。

Mr. Cai Congxin, the preserver of chiselled art of Chiayi City:
Mr. Cai Gongxin’s craftsmanship reflects the shifts of the times. In his early years, he apprenticed to learn the art of carving before dedicating himself to the intricate patterns found in temple sculptures. As the economy transformed, Cai and his peers moved to Chiayi, which is a major hub for producing crossbeam panels, and began working in panel factories. However, as the crossbeam panel industry declined, he returned to the craft of woodcarving and worked on temple sculptures. Today, his chisel glides seamlessly between the artistry of temple carvings and the legacy of crossbeam panels.

【導演簡介｜DIRECTOR PROFILE】

自2005年投入影像製作，從製片、美術到導演,嘗試過不同角色,每次轉换都讓我更理解如何用鏡頭說故事。這些經歷教會我傾聽與珍惜每個故事的獨特。我相信，細膩與真誠能傳遞情感，讓觀眾感受到故事的力量。創作時，我喜歡探索不同敘事方式，讓每部作品都能成為連結品牌、個人與文化的橋樑。

我希望透過影像，讓每個故事找到自己的聲音。

Since 2005, I have been involved in video production. From producer and art director to director, I’ve had various roles and positions. Each of these transitions has deepened my understanding of storytelling through the lens. Through these experiences, I have learned to listen and appreciate the uniqueness of every story. I believe that attention to detail and sincerity can convey emotions, allowing the audience to feel the power of a story. When it comes to the creation process, I love exploring different narrative approaches, ensuring that each work serves as a bridge connecting brands, individuals, and cultures.

I hope I can help find a voice for every story through video production.

Li yi-shiuan 李苡瑄

臺灣 Taiwan / 2024 / 13 min / 中英字幕 Mandarin/English / 世界首映 World Premiere

【影片簡介｜PRODUCTION NOTES】

故事講述管樂社經歷疫情後的重建與傳承，疫情期間，社團練習無法正常進行，幹部交接也變得困難！

每年八月中旬，嘉商管樂社舉辦音樂會，也在這時選出新任幹部。儘管面臨重重難題，透過指揮老師的領導和校友的支持，讓管樂社再次凝聚，看我們如何開啟這段疫後樂章。

學姊給的那把金色鑰匙，究竟是用在哪裡呢？

The story follows the rebuilding and legacy of a school wind band after the pandemic. During the pandemic, regular practice sessions were halted, making the handover of leadership roles ever difficult.

Every mid-August, the Chiayi Senior Commercial Vocational School Wind Band holds a concert, which marks the selection of new leaders. Despite numerous challenges, under the guidance of their conductor and with the support of alumni, the ensemble has managed to come together again. Let us witness how they embark on this post-pandemic musical journey.

And what can the golden key given by their senior unlock?

【導演簡介｜DIRECTOR PROFILE】

導演李苡瑄1995年生於雲林，畢業於嶺東科技大學數位媒體設計系。從事紀錄片製作將近8年，致力於人文、生態紀錄。她同為本紀錄片中的表演者，透過自身的管樂人視角，與觀眾分享這段溫暖熱血的管樂故事，和表演者一起感同身受。

Born in 1995 in Yunlin, Li Yi-Shiuan graduated from the Department of Digital Content Design at Ling Tung University. She has been involved in documentary production for nearly eight years. Her works focus on humanities and ecological themes. As the performer in this documentary and through her perspective as a wind instrument musician, she would like to share with the audience this heartwarming and passionate story of a school wind band as a wind instrument musician, allowing the audience to stand in her shoes.