義大利影評 Matteo Boscarol "Some thoughts on Le Moulin (Huang Ya-li, 2015)"

《日曜日式散步者》是過去一年中我所看過最具挑戰性和趣味性的紀錄片之一,這是一部在影像結構上和主題都發人深省的影片,關於日治時期末期台灣文化與詩學的喚醒運動。這部影片是由台灣年輕獨立實驗電影創作者黃亞歷導演、編劇和攝影。他的詩意作品《待以名之的事物》於2010(或是2011)入圍台灣的第33屆金穗獎優秀短片(最佳實驗短片)提名,也在世界上許多國家放映過。

 

由於其“無頭”的人像真的是很難寫出一般的影評,當然也不是不可能,只要透過反映電影本身的結構即可,我嘗試用隨機的方式,用一連串的反射來代替寫影評。在風格上,這部影片的文體是詩意的:蒐集了來自各種不同的來源,包含繪畫,電影,詩,照片,重演和廣播節目。照片運用就包含了許多法國超現實主義本身很多很多自己的作品,例如:達利、布列塔尼、考克托等的照片,伴隨著風車詩社成員用朗讀以日文創作的詩作。

 

至少在第一部分中的拼貼照片表現出超現實主義者當時的流行風格,同時也是達達主義和他們對於日本的:對機器的迷戀,火車和速度,通過物體的感知與碎片。

1930年代的東京和媽祖祭典的影像素材。
台灣詩人對於尚考克多的著迷與崇拜,以及對於他的電影之欽佩也是這部影片的關鍵時刻,考克多曾在1936年五月連續訪日3天,他當時有機會看了歌舞伎的演出,並留下深刻印象。

 

在重演的部分,從頭到尾都沒有拍攝演員的臉部,大多數的時候,我們看到手、寫作、翻頁、點菸和抱著書本或照片。在影片風格的選擇上,反敘事、非線性、累積和迴圈般的情緒。雖然按照時間年代順序進行,從1920年代的總動員到1930年代末期,再到1941年的珍珠港事件,影片中情緒和態度的轉變,體現在台灣和日本之間的關係惡化後,著墨在此一時期的最後十年,台灣被盟軍轟炸,投降後,“祖國中國”的到來和“祖國”接續台灣之後的酸甜苦辣。


所有的一切,這部電影的功能就像一個巨大的又複雜的詩作,由數位畫面、資料畫面、書寫和口朗詩作和簡約的音樂所構成,是一個時代的立體派景觀,以詩跨越了時空。《日曜日散步者》絕對不是一不容易看的影片,但卻是一個非常能夠開展出電影未知領域的全新經驗。

 

 

Le Moulin is one of the most challenging and interesting documentaries I’ve had the chance to watch during the past year, thought-provoking in its formal construction and revealing in its themes, the cultural and poetic movements that stirred Taiwan in the last part of the Japanese colonial period. The movie is directed, scripted and photographed by Huang Ya-Li, a young independent experimental Taiwanese filmmaker. His video poetry The Unnamed in 2010 was nominated by the 33th Golden Harvest Awards for Outstanding Short Films (Best Experimental Short Film) in Taiwan and was presented in many countries around the world.

 

Because of its “headless” structure it’s really difficult, if not impossible, to write a common review of the movie, mirroring the construction of the film itself, I’ve tried to randomly accumulate a series of reflections instead.
Stylistically the movie is a deluge of poetic words & images from a variety of sources: painting, movies, poetry, photos, reenactment and radio programs.
Photos of the French surrealists themselves, lots and lots of their works, Dali, Breton, Cocteau, etc. everything is shown accompanied by spoken poetry written in Japanese by the Moulin group members themselves.

 

A sort of collage of photos, at least in the first part, a la mode of the Surrealist, but also the dadaists and their Japanese counterpart: fascination with machines, trains & speed, fragmentation of perception through objects.

Footage of Tokyo during the 30s, footage of the Maso festival

The fascination and admiration of the Taiwanese poets with Jean Cocteau and his works is one of the pivotal moment of the movie, he visited Japan for 3 days in May of 1936 where he had the chance to watch a kabuki play and was very impressed by it.

 

In the enacted sequences, never the faces of the people are shown, but most of the time we see hands, writing, turning pages, lighting cigarettes and holding books or photos. A choice in style that encapsulate the mood of the movie, anti-narrative, non-linear, accumulative and elliptical. Although it proceeds somehow chronologically, from the early 20th century to the total mobilization of the end of the 30′ and Pearl Harbor in 1941, a change in mood and attitude is reflected in the texture of the movie after the deteriorating relationship between Taiwanese and Japanese poets in the late part of the decade, the Allied bombing of Taiwan and, after the surrender, the arrival of “fatherland China” and its sour aftermath.

All in all, the movie functions like a huge and complex poem constructed with digital images, footage, written and spoken poetry, and minimalist music, a cubistic landscape of an era and of the poetic instances traversing the period and the place. The Moulin is in no way an easy watch, but nonetheless a very rewarding experience able to trail blaze uncharted cinematic territories.