hungarian

匈牙利10+1

HKIFF 2012 第六回:25/3/2012 @ UA Taikoo

Magyarország 2011 (Hungary 2011)

Magyarország 2011 (Hungary 2011)

“In the situation that evolved around Hungarian film we see no other possibility to prove our existance than with the help of a video series calling the viewers’ attention to the fact that we are still capable of working and expressing our thoughts, reflections and feelings. These films are produced on virtual cents. The creators accepted to work without receiving any kind of payment and to use the most inexpensive technique possible.” – Béla Tarr

《匈牙利10+1》由剛於去年宣佈封鏡的匈牙利著名導演Béla Tarr監製、十一位匈牙利導演拍攝的短片湊合而成,透過鏡頭反映導演們對國家、社會等的看法等等。短片類型多樣化,當中不乏實驗性的創作,部份內容耐人尋味,觀眾並不容易消化和接受。

或者因為本身不熟悉當地的民生和社會問題,而大部份導演們的表達手法傾向於曖昧,因此看畢十一套短片後,只喜歡那個關於女露宿者與流浪狗的故事。因為相較於其他短片,該片的內容是慣常看到的敍事手法,較容易明白。後來看到李維怡一篇關於此片的觀後感,內容和補充資料頗詳盡,令我對那些看不明白的短片多了一層思考。(可按看文章)

雖然每年電影節總會有幾套「中招」的,但好歹也算是一趟難忘的觀影過程。

Advertisements

都靈老馬

HKIFF 2011 第二回:26/3/2011 @ UA Langham

A torinói ló (The Turin Horse) (2010) / Béla Tarr

A torinói ló (The Turin Horse) (2010) / Béla Tarr

“In Turin on 3rd January, 1889, Friedrich Nietzsche steps out of the doorway of number six, Via Carlo Albert. Not far from him, the driver of a hansom cab is having trouble with a stubborn horse. Despite all his urging, the horse refuses to move, whereupon the driver loses his patience and takes his whip to it. Nietzsche comes up to the throng and puts an end to the brutal scene, throwing his arms around the horse’s neck, sobbing. His landlord takes him home, he lies motionless and silent for two days on a divan until he mutters the obligatory last words, and lives for another ten years, silent and demented, cared for by his mother and sisters. We do not know what happened to the horse.”

電影開首便以一把男聲徐徐道出德國哲學家尼采與都靈之馬的故事。這個故事成了導演的「封鏡之作」的靈感來源,創作了這套拍攝期長達三年的作品。

電影講述主人翁老農夫與女兒在杳無人煙鄉郊的小屋每天過著刻板且重覆的生活。隨著外面的天氣越來越差,二人的規律生活也逐漸脫軌,想離開卻受制於天氣,結果還是留在原地。老馬彷彿意識到根本毫無出路,拒絕拉車及進食,反襯人類在惡劣的情況下依然掙扎求全。

全片採用大量長鏡頭和黑白畫面,營造一種距離感,讓觀眾成為袖手旁觀的局外人,與上帝一同「監視」父女二人。導演以不同角度拍攝他們生活中不斷重覆的指定動作:女兒每天替右手受傷的父親更衣、每天冒著凜冽寒風到天井打水、二人每天只吃白灼的馬鈴薯。期間有一名鄰居(屠夫)拜訪,無端說起哲學問題,對上帝無視人間苦況作出指責。還有路過欲打水卻被老農夫趕走的吉普賽人,其中一人離開時給女兒一本(反)聖經,書本成了女兒唯一的娛樂。

每個畫面都非常耐讀。那些粗微粒畫面、光影對比令電影蒙上一層灰,添加一份絕望感。片中的動物主角老馬出場雖然不多,卻非常「有戲」。其中一幕看著男人鞭打老馬(重演尼采所見的事),老馬流淚的一刻看得我心也酸了。角色話語不多,於是聲音的焦點落在窗外呼呼的風聲。聽著聽著,我也感到有點寒意。偶爾也有大提琴的配樂重覆地出現,但氣氛依然肅殺。

電影的哲學味濃,導演說這部片子是關於”heaviness of human existence”,重點著眼於日常生活:”We just wanted to see how difficult and terrible it is when every day you have to go to the well and bring the water, in summer, in winter… All the time. The daily repetition of the same routine makes it possible to show that something is wrong with their world. It’s very simple and pure.” 雖然未至於像尼采那樣高呼「上帝已死」,但對上帝(以及人類)卻忍不住作出控訴:”The key point is that the humanity, all of us, including me, are responsible for destruction of the world. But there is also a force above human at work – the gale blowing throughout the film – that is also destroying the world. So both humanity and a higher force are destroying the world.” (source from wiki: here)

時間就在那些長鏡頭中沉澱,我的思緒也同樣沉澱其中。看著角色困在那個荒涼的角度,忽爾感到生命有時並非掌握在我們手中。那份無力感緊緊壓在我們頭頂上,揮之不去。這大概就是人生了吧。

人家寫得太好了,要分享一下:
http://www.safariunderground.net/archives/2683