美國影評人 Lauren Wissot 於2015美國《電影人雜誌》

《電影人雜誌》評論: 最後,我的運氣很好,發現黃亞歷的《日曜日式散步者》,這是一部關注在1930超現實主義主題的160分鐘長的影片,由台灣導演以驚人的鏡像對應在這個主題上。這部影片的標題是“紅磨坊”,1930年代台灣一批受西方式教育的詩人,在面對日本的文化霸權藝術下聯合起來。從看不見面孔的身體陰影中,以顆粒感歷史鏡頭,藝術家的書法呈現文字,加上畢加索的圖像,黃亞歷以緊扣目光的鮮明視覺效果帶給我們衝擊,同時向(西方)的實驗電影經典致敬,從布努爾到黛倫。事實上,每一個鏡頭都帶為我們來了愉快的,電影獨特性的驚喜。這份經驗也完美地總結了我於2015年11月在哥本哈根紀錄片影展的心情。

 

Le Moulin in Filmmaker Magazine:

Finally, I had the good luck to discover Huang Ya-li’s The Moulin, a riveting 160-minutes of avant-garde filmmaking, in which the style of this Taiwanese director thrillingly mirrors his surrealist subject. The doc’s title refers to “Le Moulin,” a group of Western-leaning poets in 1930s Taiwan that banded together in artistic protest against Japan’s cultural hegemony. From faceless bodies cast in shadow, to grainy historical footage, to the artists’ calligraphy-rendered letters, to images of Picassos, Huang bombards us with eye-catching visuals that also serve as a tribute to the classic (Western) experimental filmmakers, from Buñuel to Deren. Indeed, every cut of this tour de force leads to a delightful cinephile surprise. A sentiment that also pretty much sums up my experience at this final November edition of CPH:DOX.