2018
推廣紀錄片的難題之一，是要抵抗大眾的刻板印象。一般人總想像紀錄片就像新聞報導，題材必定嚴肅，形式也硬梆梆。殊不知，有許多創作者在意想不到的地方尋找題材，或在真實與虛構之間嘗試各種拍攝方式——這正是紀錄片作為一個「片種」，在當代充滿生命力的景象⋯⋯
Before the pandemic, mobility was becoming not just a choice but a necessity—almost a defining feature of modern life. And yet, ironically, it was also becoming harder. You might have held romantic notions about mobility—traveling abroad, for instance. Even the quiet sorrow of Up in the Air still seemed glamorous enough to earn an envious “so lucky, you get to travel so much” at dinner parties. Frequent flyer programs became subtle indicators of social class. But let’s not forget—migrant workers are also people constantly on the move. Signing a work contract and flying into a new country or city—just like many of us—they land, and beyond the job at hand, they must figure out how to live. Food, shelter, transportation… survival isn't just about instinct, but also a reflection of how open and welcoming a city can be. You might get to choose where you live. Or not. Once the commute is sorted, what matters most could be: Where can I grab a bite? Is there a pharmacy or hospital nearby? (Yes, that reveals the writer's age.) Is there a place for a good massage? Where can I meet friends for a drink—or maybe meet someone new? Once those questions are answered, the place starts to feel liveable. Even if it’s just for three months. And love, while in transit, rarely fits into tidy boxes like monogamy shaped by economics and productivity—but that’s a story for another time.