美國影評人 Daniel Kasman:2016 鹿特丹影展──三部最佳肖像電影

影展常客一定熟悉在幾天之內,一場又一場疲於奔命趕片所帶來的發狂疲勞,因為被許許多多影像大量衝擊而感到崩潰。這絕對是千真萬確的,而在影展中的電影則必須與其他影片競爭,才能夠吸引到它觀眾的注意力和記憶力,尤其這些觀眾是已整日沉浸在趕場的狀態之下。而在這樣的疲於看片的狀態之下,若能在影展結束前遇到一部強大好片是非常罕見和特殊的,但是我這次遇到了,就是絕對非看不可,由黃亞歷執導的《日曜日式散步者》。

我該如何描述這部特別的紀錄片呢?因為我對於影片的背景相當不熟悉,實在很難說明。

這是一部如史詩般的紀錄片,獻給一群1930年代初期的台灣新浪潮詩人,當時正是他們被日本統治時期,片名也同名於詩社的名稱:「風車詩社」。

我熟悉那個年代的國家歷史,但是對於這段文化歷史近乎一無所知,幸而我在黃亞歷的片中能夠吸收這些它慷慨提供的訊息。全片關注風車詩社經歷1930年代晚期(中日戰爭)、1940年代(第一次世界大戰)和1950年代早期(國民黨戒嚴時期)

這部紀錄片的形式多變,包含了部分詩作或全文節錄(全翻譯為中文、日文與英文),由詩人的主觀角度旁白來口述信件和日記帶領觀眾進入此片,片中融合許多資料素材,包含人物介紹、不同時期歷史片段以及那個年代的著名藝術家(畢卡索、考克多和卓别林)及其藝術作品。

片中也有許多新畫面,私暱的、豐盈的、美麗的,包含沒有臉部鏡頭的演員飾演著詩人,在家中做詩、移動物品、拾起雜誌等等,藉由細微的暗示和素材描繪出時光的流逝,而片中有許多物件是相當重要且關鍵的原件,例如當年原版出版的小說、詩集、剪報和雜誌刊物 –在片中都一一小心點出它們的身影。

這具有相當野心的拍攝手法,與整部影片的架構成功契合,你能夠概略了解充斥整個事件的張力,包含對於本土自我的認同、與殖民者複雜的關係、透露歐洲藝術潮流和戰爭期間整體文化的改變—─進一步理解外國文化的傳入並且感受到它們的靈魂。

此片不喜歡運用直白對觀眾赤裸裸地解說,而是運用了豐富的參考資料,把想要說的話蘊藏在其中。因為我在看這部片之前對於這個主題是一無所知的,因此我像是在看一部完整的索引片,但是部《日曜日式散步者》卻不是我們所想像那般無趣的「索引」,而是為了獻給那些藝術家和他們的創作,《日曜日式散步者》那極為謹慎,使用暗喻的引用資料和軼聞的手法,《日曜日式散步者》那一絲不苟、嘆為觀止的資料研究和大膽使用容易失敗的重製影像,從結果來看相當動人,這些都讓整部影片成為既完整又充滿細節的歷史參考,因為它敘述的是一群相當敏銳、深受文化刺激但在當時又面臨壓迫挑戰的藝術家。

( 本文僅節錄與《日曜日式散步者》相關評論之段落 )

 

Rotterdam 2016. Portraits

A mother, a Ukrainian composer and a Taiwanese poetry collective inspire three of the International Film Festival Rotterdam’s best films.

Regular festival-goers will recognize the maddening fatigue that sets in after a few days of back-to-back-to-back films, where the pace of the moving images threaten to overlap and overwhelm. It’s true indeed that films seen at a festival’s end must fight a much stronger battle for their audience’s attention and memory, if that audience has been immersed in the experience throughout. To end a festival on a powerful encounter, in this context, is a rare and special thing. It happened to me here, with Huang Ya-li’s absolutely essential Le Moulin.

What can I tell you about this unique documentary? It is hard to say, because I come from such a place of ignorance. It is an epic of history and poetry dedicated to the group of the title, a collective of Taiwanese poets that were a new wave in the culture in the early 1930s while the country was occupied by Japan. With the stalwart focus Le Moulin follows them through late 30s (Japan’s war with China), the 1940s (Japan’s war with the Allies) and into the early 50s (the Kuomintang’s rule under martial law). I'm familiar with a decent amount of this national history but next to nothing of this cultural history, and as such found Huang’s film bountifully generous. Its form is varied, and includes poems in full and extract on screen (extensively translated: in Mandarin, Japanese and English), in voiceover taken from letters and diary entries by the writers, in archival material of the persons, of the history of the various time periods, and of concurrent art figures (Picasso, Cocteau, Chaplin) and art works. It also includes new footage, intimate, spare and beautiful, of actors, faces unseen, playing some of these writers, in their homes writing, moving objects, picking up periodicals, charting the passing of time through small signals and materials. Many of these objects are crucial: they are in fact the actual original editions of published novels, collections of poetry, newspaper clippings and magazine issues—all carefully identified.


This ambitious technique, remarkably orchestrated throughout the film's span, allows you to skim the surface of the saga’s replete tensions—indigenous identity and the complex relationship to Taiwan’s colonizer, exposure to European art trends, the change in culture during war—understand its import and feel its soul. It features little in the way of exposition, but rather bursts with explanation in bountiful references. Coming to the film from a place of ignorance, you come away with what feels a complete index on its subject. But such a dry word does Le Moulin a disservice. Its dedication to tracing artists and their creations over time, its delicate and suggestive use of excerpts and anecdotes, its engrossingly fastidious research, and its precarious but ultimately moving side-moments of re-creation: all these go towards making the film in detail and in the whole as much a resource as it is a tremendously sensitive and moving portrait of a group of artists supremely inspired and challenged by the era through which they lived.