2015
International Documentary Filmfestival Amster
樂施會全球正義獎
樂施會全球正義獎
今年（2019）6月底，一張攝於美國與墨西哥邊境的照片在國際媒體間迅速傳播開來：25歲的薩爾瓦多年輕父親與2歲女兒溺斃於美墨邊境的格蘭河（Rio Grande）；兩人面朝下、橫躺在河岸泥沼裡，女孩小小身軀被裹覆在父親的上衣中，至死都在父親的臂膀裡。他們是今年迄今至少380名因尋求移民庇護而身亡的其中二人；同年度至今，留住性命的則有約⋯⋯
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COVID-19疫情爆發後，《人類簡史》三部曲作者、以色列歷史學者哈拉瑞撰文提出他的擔憂。此次疫情殘酷地曝露出早已存在人類社會的各種問題，一如《微物之神》作者阿蘭達蒂．洛伊（Arundhati Roy）所形容的，疫情照亮了本來被遮蔽之物。當商店、餐廳、工廠和建築工地關閉，富人和中產階級將自己隔離在他們的安居之所時，城鎮開始擠壓出其中的勞動和底層階級，移工、難民首當其衝。此外，疫情亦明顯曝露出，全球最大的公共衛生治理機構世界衛生組織（WHO），在面對COVID-19此類全球大流行的疫情時，無法協助會員國及早建立應變機制的失能狀態⋯⋯
「真實影展」（Cinéma du réel）這個 1979年創立，年近半百的紀錄片影展，無疑是法國最盛大、最重要的紀錄片影展，算來是法國三大紀錄片影展當中，相較而言立場最至中與最主流的紀錄片影展。另外兩大，一個是「法國呂薩國際紀錄片影展」（Etats généraux du film documentaire de Lussas），這個同樣在1979年創立的影⋯⋯
Exiles trapped day after day in concrete jungles. Border dwellers divided by three towering walls. Survivors of ethnic cleansing, still carrying the weight of loss. The world has never been fair—so where can those without a home find peace, safety, and dignity? Through the lens of documentary film, these displaced lives come into focus. They are no longer just cold statistics, but people with names, faces, and stories. In a year marked by upheaval, when the value of peace feels especially fragile, join Giloo in reflecting on the suffering of the stateless—and the greed that so often leads to tragedy.
For most people, “home” naturally refers to the place one returns to each day—a space of comfort and rest for both body and soul. Yet for many around the world, the feeling of having a home is unimaginable. At some point in their lives, they were forced to leave—because of war, politics, or simply in pursuit of a better life—and began a journey of drifting, searching for a new sense of home. While trying to settle and take root, they continue to yearn for the ghost of a homeland left behind. Can this new home ever replace what was lost? Faced with new identities and unfamiliar neighbors, how do they perceive themselves? Have they become someone new, or are they destined to remain like rootless water plants, adrift?