2004
Cannes Film Festival
最佳男主角｜金棕櫚獎提名
最佳男主角｜金棕櫚獎提名
金雨果獎提名
最佳電影、最佳男新人、最佳女配角
自己選擇的羈絆，會重於先天的血濃於水嗎？構成家庭的不總是血緣，有時是相處的時光，加上愛、回憶、失去、原諒，才能串起緣分。Giloo著眼八部「非典型家庭」電影，帶領觀眾一窺異色家族，探索無人知曉的家族幸福論，或者說，幸福悖論。
《無人知曉的夏日清晨》開場的第一顆鏡頭，即耐人尋味。是枝裕和將攝影機與被攝者的距離拉開，畫面構圖則讓人物接近景框邊緣，幾近於壓迫的位置。此鏡位的意義，在於將觀眾強行排除，是枝裕和在此行使有效的導演權力，讓觀眾無可選擇地棲身於「窺視」的位置，便捏塑出觀眾與角色之間冷冽、遙遠的疏離感，更藉此強調角色的迷樣性，給予觀眾偷窺的慾望，加深探索角色深層內心的動力。
Austrian psychologist Alfred Adler once said: “Lucky are those who heal their whole lives with childhood; the unlucky spend a lifetime healing from it.” Family isn’t always a source of happiness. For some, the deepest wounds were left at the very beginning of life—long before they had the words to name them. Giloo presents a selection of 8 films on childhood trauma, dedicated to those who may not have received the love they deserved. May these stories accompany you as you face the past, and gently begin the journey toward healing.
The "Two Covenants" refer to the International Covenant on Civil and Political Rights (ICCPR) and the International Covenant on Economic, Social and Cultural Rights (ICESCR), which have been in effect in Taiwan for over a decade. At their core, both covenants aim to protect human rights. But what exactly are human rights? And what rights do these two covenants cover? The answers are far too complex for a quick explanation—so why not start with a film? The right to life, children's rights, environmental rights, freedom of assembly, rights of the elderly… The scope of the Two Covenants is as diverse as this film program itself. By watching any of the featured films and filling out a short questionnaire afterward, you’ll gain a deeper understanding of the human rights principles within the covenants—and you’ll also have a chance to enter our prize draw! Let’s begin this journey together— and explore the many dimensions of what human rights truly look like.
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In pursuit of happiness, we sometimes end up unhappy. Youth is always dazzling—and cruel. Family ties are always volatile—and tender. Yet it’s often only in the aftermath of youth that we begin to understand: happiness cannot be frozen in time. This sticky, sun-drenched summer, Giloo presents 11 masterworks on family and fleeting joy—beginning with Shunji Iwai’s All About Lily Chou-Chou and closing with Edward Yang’s Yi Yi. From Ang Lee’s Father Knows Best trilogy to Tsai Ming-liang’s Water Trilogy, with appearances by Hou Hsiao-hsien and Hirokazu Kore-eda along the way, each film explores the paradox of happiness, or perhaps the quiet truth that happiness—like memory—can never be held still.
I gave you my youth in exchange for the fresh hope of a new year— Whether it belongs to the past, or to the future still unknown, there are things the wind has left behind: no trace on the surface, yet etched deep within. If we call that youth, it feels just right. To run, to cry out—for the sake of youth. To leave something behind through music and film, to take something in return. And in the process, to become—without regret—someone better.
Family isn’t always unconditional love. Sometimes, it’s the very beginning of a lifelong entanglement—or even hatred. A cult leader yearning for motherhood. A New York boy locked away by a controlling father. A mother who never grew up, and a child abandoned by the world... There’s no fixed definition of an “ideal family,” but broken families come in countless forms. Giloo presents 5 films about fractured households—and asks: If there’s a monster in your home that you can’t escape, can you still call it a safe haven?
This annual campaign, centered on amplifying the voices of those with lived experiences of poverty, is themed this year around “Home.” For some, home is a space of safety. For others, it’s wherever their loved ones are. For many, a fixed address is necessary just to access social welfare. Through a series of in-person events and curated online screenings, we aim to expand society’s understanding of “home” beyond conventional frameworks—to open a window to new imaginings of what home can be. This “window” represents not only a small yet vital need for many renters, but also a passage through which marginalized voices can reach the wider world. By opening this window, we invite society to embrace the realities of those on the margins—and in doing so, unlock new possibilities for how we all live today.