1999
在這性別比例嚴重失衡的產業中，仍有許多女性工作者突破重圍，在一眾男性的舞台上站穩腳步。Giloo 精選 7 位女性導演作品，帶領觀眾領略只屬於她們的電影風貌。或許，也是時候摘掉「女導演」的頭銜——她們是優秀且當之無愧的導演。
左岸派電影有幾個鮮明特色，其一是經常以意識流形式把人類的精神過程搬上銀幕，並放置回憶、遺忘及想像等潛意識活動。受伯格森直覺主義影響，左岸作品經常透過非理性敘事進入意識深處，並重新定義真實，藉此擺脫人類生活裡如法律、道德和習俗等等的理性約束。1954年，安妮華達拍出了具有意識流味道的初試啼聲之作《短角情事》，將一對男女散步、呢喃、煩惱及爭辯等過程推展成一部實驗電影。
全城警戒降二級的某個下午，我們跟朱詩倩導演相約在後場音像紀錄工作室。這次的專訪企畫原先只能在線上進行，所幸警戒降級，才有機會一訪催生出《非法母親》、《愛別離苦》、《新宿駅，東口以東》、《紅盒子》等紀錄片的傳奇工作室。抵達工作室，一打開門就聽見楊力州導演爽朗地跟人通著電話，朱詩倩導演從房門後走出來迎接我們，小兒子在房裡寫著功課，而工作室的窗景，是新店的碧潭。
“I live by my own standards—not by men’s.” She was a director, a cinematographer, a poet, an installation artist, a key figure of the French New Wave. She was a woman. She filmed her muses, scavengers, drifters, distant uncles, lost lovers—and herself. She wandered through the Left Bank of Paris, strolled down Rue Daguerre, flew to San Francisco and Cuba, and eventually returned to the beach she loved most. She was Agnès Varda. This August, Giloo presents 14 handpicked works by Varda—black and white, color, documentary, fiction, film stock, and DV. Two years after her farewell, we invite you to once again meet her—at her sharpest, and her kindest.
When dazzling colors fill the screen, black and white becomes strikingly radiant.