2014
最佳紀錄長片提名
電影大觀單元觀眾票選獎｜基督教評審團獎
國際競賽單元首獎｜市長獎
主競賽大奬
在我家，媽媽說的不是三隻小豬、龜兔賽跑這類的童話故事，而是輾轉住到別人家，那家人如何慷慨施捨，在她上學的課本夾了鈔票、救濟其他難民、最後仍是家道中落⋯⋯這些故事沒有道理可言。等到我長大以後，才開始有了更多細節，問她那些沒有親戚可以投靠的難民有多少，「大概可以睡滿一個小公園。」我母親一家從印尼加里曼丹鄉下⋯⋯
美國導演約書亞・歐本海默（Joshua Oppenheimer）拍攝印尼「930事件」大屠殺加害者與被迫害者的兩部紀錄片《殺人一舉》（The Act of Killing）與《沉默一瞬》（The Look of Silence），都是令人看完久久無法言語的重量級作品。首部曲《殺人一舉》於2012年發表，鏡頭下印尼前軍閥頭子安華・剛果異想天開將屠⋯⋯
Southeast Asia is rich in culture, rooted in the mainland’s embrace along the Indochinese Peninsula. Emerging from the shadows of colonial rule, many of its nations have blossomed—independent, yet bearing the deep scars of history. Amid the lingering wounds of empire and the continued suppression of free expression, creators transform discontent into poetic language—subtle yet sharp—delivering reality through the lens of documentary. Why not join us on this elusive journey—to experience the magic realism of Southeast Asia, where beauty and resistance intertwine?
Images that appear real—once cut, rearranged, and reassembled—reveal a world flickering with firelight and illusion. A game, a dream— a documentary can also be just that: a dream. In this realm of moving images, where creators weave dreams from fragments of reality, are you the one dreaming? Or have you become part of the dream itself?
This is a labyrinth of underground caves—each one distinct in style, each both a hidden space and a form of revelation. In The River, the cave takes the shape of secret doors—behind each, encounters that are either redemptive or forbidden. In The Act of Killing, the entrance is brutally exposed: a body split open, revealing cruelty with no filter. Before the Dawn offers a cave of mazes—guided by clear narration, and yet, we fall into a thick fog of disoriented images. A Morning in Taipei is a time-traveling cave—Lim Giong’s soundtrack transforms the past into a self-contained cosmos, where even fleeting moments feel eerily contemporary. Marina Abramović in Brazil leads us inward—to the cave within. Through extreme rituals and faith-fueled intensity, she seeks peace, confronting energies too blinding to look at directly.
“Truth” is an eternal theme in many forms of artistic creation—and in documentary filmmaking, it lingers like a ghostly shadow, both elusive and indispensable. Sometimes, it must be borrowed for its power and allure. Yet “truth” never takes on a single form. It resists capture and depiction, and most often, only reveals itself through relentless excavation. In other words, truth is dynamic—shaped by the creator’s deliberate force of expression. The deeper the dive, the clearer the image. Truth in the human world can be inspiring, but it can also be unbearable to witness. That is exactly what these five films in this special program attempt to show us.
I want to understand the why, the when, and the how behind these people and these stories. The more we know, the clearer we become about what we want—or don’t want—and where we’re headed. For me, knowing is a form of pleasure.