2016
International Documentary Filmfestival Amster
長片競賽單元評審團特別獎
長片競賽單元評審團特別獎
在看紀錄片《搖搖晃晃的人間》前，必定得先讀幾首余秀華的詩。她在2015年以〈穿過大半個中國去睡你〉此作在網路上一夕爆紅，被分享轉載了成百上千萬次。她的詩直接、率真，以令人畏懼卻又有魅惑力的決絕與優美，談⋯⋯
To document an extraordinary soul through the lens is to constantly wrestle with the dilemma of completeness. How can one capture the vastness of a life within the limited time of a film? It challenges the filmmaker’s depth of understanding and precision of perspective. Rather than striving for an all-encompassing portrait, it may be more powerful to focus on select moments—those glimmers that illuminate the subject’s essence. The camera becomes not only a tool to pierce through the surface, but also a means for sincere conversation with the person in front of it.
Behind the Chinese Communist Party’s aggressive rhetoric and military intimidation toward the free world lies a darker truth—one that is hidden beneath the polished image of national “rise” under Xi Jinping’s leadership. In this heavily surveilled state behind a modern-day iron curtain, the people themselves have become mere stepping stones in the dictator’s grand imperial fantasy. It’s not only the marginalized who are oppressed, but anyone who dares to long for their inalienable rights—for freedom, dignity, and truth. Giloo presents a selection of independent documentaries from China, guiding you into a reality both dazzling and dark. Inside the borders built by walls, beware the quiet yearning of the soul—for freedom cannot be killed, only contained.
As long as the camera is running, recording begins from the very first moment. This act of recording is the source of vitality for images and film. In this era, images aren't exclusive to cinema; they are also a vessel for art, belonging to every possibility.
Why do we write? When words erupt from the mind and pour into the heart, images and monologues take the place of daily tedium—of the mundane, the irritating, the unbearable. For some writers, however, writing is more than expression; it is salvation. It is an unshakable calling. In this themed selection on literature, Giloo presents documentaries that delve into the lives and inner worlds of writers—poets, novelists, critics—who wield pens (or typewriters) like swords, fearlessly confronting the truths of the world. The passage of time leaves behind not just pages, but marks of introspection—quiet yet undeniable badges of their creative journey.
"What kind of dreams can we see in a woman?" — What if we remove "woman"? Does the answer change? I ask myself, then I wonder again — why should "woman" be removed? Are there differences or similarities between a "woman's" story and a "person's" story? If there are true distinctions, what would they be? And am I deeply drawn to it as a woman, or as a person? Perhaps the answer is irrelevant, but within irrelevant questions, the most unignorable answers often lie.
【Creative Comic Collection x Giloo "Autumn of Frames — New Sensibility Manga Stroll" Series】At some point, life suddenly becomes abnormal; sometimes it's forced by external circumstances, other times it's an internal unease. These people, who have long since descended into madness, still insist they possess an unblemished sincerity, willing to give everything for a moment yet to come. Watching them desperately try to catch lightning in a torrential downpour, I find it incredibly beautiful. 📖 Hana and Alice pays homage to the short comic "Invisible Dance": https://www.creative-comic.tw/zh/book/378/content
"One is not born, but rather becomes, a woman." There is no such thing as a woman who is born confident and radiant — we all stumble, search, and grow into the body image and way of life that feel most like home, learning slowly how not to dislike ourselves so much. Documentary films quietly and honestly reflect women in their most unadorned states — ordinary, oppressed, loathed, awkward, or uninhibited — and all of these are part of who they are.
Margaret Atwood carried The Handmaid’s Tale from Canada to the world. Yu Xiuhua, a woman with cerebral palsy from rural Hubei, moved the Chinese-speaking world with a single poem. In the 1930s, Ong Naô journeyed from Taiwan to Tokyo for his studies and left behind Before the Dawn. Giloo Documentary and ChiuKo Publishing present a curated selection of literary documentaries. Let the words of these writers take you elsewhere.