2020
César Awards
最佳紀錄片提名
最佳紀錄片提名
金眼球紀錄片獎
流亡後的古茲曼，踏上在精神上不斷返家、不斷向智利書陳鄉愁、影作不輟的創作生涯。過去那段沉痛回憶，曾以多種樣貌和形式顯影於這些回頭探討智利政治、歷史，當權與創傷的作品裡，並非和光同塵，但在自然、宇宙與人的意識之間，他仍不停尋找記憶得以被安放、痛苦得以在混沌之處保有輪廓的意義。
《浮山若夢》是三部曲的終曲嗎？科迪勒拉山脈（Cordillera Americana）俯瞰著聖地牙哥城，超越人類的時間。古茲曼在這部片的口白，告訴觀眾他如何離家又返家，家又如何不存。一如前兩部作品，以極大與極小的畫面剪接組成：終年積雪的五千公尺以上高山，岩石的紋理，收藏著失蹤者與鎮壓者腳步聲的地磚。山脈守護、收藏、紀錄了這個國家與城市的夢想與邪惡。
Since 2020, the world has become a little different. Every morning, I find myself immersed in a mountain of emails—feeling the pulse of the world, exchanging encouragement with filmmakers and distributors across continents. This has become part of my daily ritual. I’ve always believed: the small screen is not a temporary shelter for homeless films. In fact, within the modest window of online streaming, perhaps films can reveal their essence more flexibly, and even forge deeper connections with audiences. Just like in Nomad: In the Footsteps of Bruce Chatwin, where the childhood image of a beautiful thunder lizard skin hidden in a cupboard would later become a vital, recurring symbol in a writer’s life—stories can begin anywhere, with anything. This time, I’ve selected five stories: A traveling backpack, a mountain range, a photo of an armed youth, a utopian farm, and an open-plan apartment—each sparking imagination and opening new narrative journeys. May these films nourish your life with inspiration and wonder. And as for tomorrow, I will return—quietly—to my ordinary routine of sending and receiving letters once again.
“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.
Over the past century, modern poetry has redefined the meaning of "poetic" time and again. Similarly, poetic cinema—originally pioneered by directors like Andrei Tarkovsky—has gone through countless divergences, clashes, and disruptions. Today, to label a film simply as “poetic” can feel almost reductive. Cinema’s engagement with poetry has long since moved beyond imitation; it has entered a stage where it redefines poetry itself—pointing to unexpected forms and aesthetics, even suggesting new directions for literature to break through its own limits. The five films I’ve selected reflect these expanded poetic sensibilities: Iron Moon — a raw yet tender documentary on labor rights and worker-poets in China The Cordillera of Dreams — a reflection on Chile’s shadowed history Manfei — an off-centered biographical portrait of a pioneering dancer The Man with the Camera — an experimental film on novelist Liu Na’ou Nomad: In the Footsteps of Bruce Chatwin — a return to the spirit of romanticism through Werner Herzog’s lens. These works may offer us a way to reexamine the world—not only as filmmakers or viewers, but with the vision of poets.