Golden Horse Awards
最佳紀錄片|最佳剪輯提名

最佳紀錄片|最佳剪輯提名
最佳紀錄片
漫畫家/插畫家高妍創作的長篇漫畫作品《綠之歌 -收集群風-》,近日入選了日本寶島社2023年度《這本漫畫真厲害!》票選「男性篇」的第9名,成為首位登上排行榜的台灣漫畫家。這本描寫台灣少女在接觸音樂與文學的大學生活中,一邊感受戀愛悸動、一邊慢慢成長過程的作品,引用了《一一》、《青春電幻物語》等台日經典電影元素。趁著年底大選,Giloo紀實影音邀請到目前旅居日本、快閃返台投票的高妍參與全新節目「Giloo Podcast」,與我們分享她喜愛的電影,以及這些養分如何長成創作時的無數靈動瞬間。

2018 年在台灣國際紀錄片影展(TIDF)中,國家電影中心與公共電視合作,啟動了「時光台灣」計畫,邀請了 14 位青壯導演,以老舊檔案影像為底,拍攝全新的短片──佳作極多,新舊彼此打磨劃擦而生的火花,令人驚艷。傅榆的《不曾消失的台灣省》即為「時光台灣」之一,看完之後我極為驚喜:這真是一部極為「政治不正確」⋯⋯

2018 年,傅榆導演及江偉華導演分別以《我們的青春,在台灣》與《街頭》兩部紀錄片,不約而同地回應了 2014 年的 318 運動及攻佔行政院事件。不過,這兩部紀錄片的拍攝起因皆非 318 運動本身,而是與片中青年世代的長久情誼,因此電影的整體敘事,也都渴望掙脫事件特殊性,轉而關注籠罩在事件當中的人性之難⋯⋯

2009年五月,傅榆帶著她的紀錄片《大家一起照鏡子》(南藝大畢業作品)與楊彝安(後來成為她的夫婿)的紀錄片《家》,一起來到我的書店有河book進行了一場小型放映會,那是我第一次認識這對導演夫妻。楊彝安及傅榆當時是兩位年輕的紀錄片導演,在各自的畢業作品中不約而同皆以「家人」作為拍攝對象,但是主題迥異⋯⋯

九〇年代末我在讀大學,有個對我當時生活來說頗不那麼陌生的夜晚,我突然生出了一股不耐,回頭看,那股不耐像是個起點,在接下來的日子裡,我(被)以暴力的方式逐漸脫離我學著加入信仰但其實不太了解的組織⋯⋯

但現實裡真正的傅榆,是個經常想講什麼、但又欲言又止的人。訪談當中,她偶爾需要停下來苦苦思索、尋找適當的語彙描述她所感受與認知的,生怕用錯了詞造成誤解。「誤解」於她而言像是難以遣懷的遺憾,卻也是促成她拍紀錄片的初衷,希望以⋯⋯

日前《端傳媒》針對六四事件出了系列報導,其中一則,是訪問多位攝影師對六四的記憶。編輯台將這則報導題為「多重曝光」,希望將時空拉回當下,為記憶的場所一次次添增複雜。複雜意味深長——不只是分歧的述說、人物的多元,更關鍵的是評論人夕岸對不同政治立場之於六四僵化言說的提醒:「越是強調人民不會忘記,真正的⋯⋯

The struggle is far from over—Taiwan still needs a revolution. From the tangwai movement during the late Martial Law era to more recent protests like the Sunflower Movement and opposition to the Sixth Naphtha Cracker Plant, Taiwan’s people have repeatedly challenged authority. Through collective action, they’ve reshaped public policy and redefined the island’s political landscape. Giloo presents a curated selection of documentaries on Taiwan’s social movements—capturing the pivotal moments, the key players, and the tensions that shaped them. As we revisit these movements through film, we ask: After all that Taiwan has experienced, how many issues still call on us to stand up and take action?

What is Taiwan? What does Taiwan have? Our imagination of Taiwan’s future depends on how we choose to read Taiwan. The Taiwanese documentaries selected by Giloo aim to offer a multifaceted and in-depth perspective—allowing us to empathize with the struggles and efforts of the Taiwanese people, uncover the richness of this land, confront its challenges, and analyze the issues that shape life on this island.
As a comic artist whose work takes root in personal experience and carries the qualities of a novel, I often find myself searching for traces of the narrator within other people’s stories. No matter the genre, the people, events, and objects that appear in a story are never entirely “fictional.” From the central plot or a pivotal incident, to something as subtle as a character’s temperament or quirks—these nuances often stem from the long-term observation and quiet accumulation of a sensitive soul. In this light, film is, in many ways, a series of sugar-coated documentaries. They’ve been made sweet and easy to digest—but if you truly chew on them, you’ll come to realize: beneath that coating lies a core made up of the very life that unfolds around us, every single day.