1998
Golden Horse Awards
評審團特別獎｜最佳女主角、最佳劇情片、最佳導演 、最佳男配角、最佳剪輯、最佳改編劇本提名
評審團特別獎｜最佳女主角、最佳劇情片、最佳導演 、最佳男配角、最佳剪輯、最佳改編劇本提名
平淡...敘事...中的...人生...百態...面對...眾人...卻再也...尋不回...自己...真正...所愛...
當一個人沒有辦法真正放下一段感情，就算試圖再去建立其他的關係，是無法填補心裡的空缺。 兩個人能在對的時間相遇、對對方產生好感、相愛、到結婚、最終到白頭，這一切是如此不容易，就算真心全心付出對一個人好，也不能保證對方可以接受，也不能保證這一份愛可以有所回報。 但難道就因為如此而不去愛了嗎？
1998的劉若英不知道他要的到底是什麼，2022的我也不知道女人要的是什麼
3:30 我在報上登出了一則徵婚啟事，你一定不相信，但是我真的登了。——《徵婚啟事》
《徵婚啟事》中出現不少素人演員，以素人、專業演員交錯穿插成一部（偽）紀錄片的形式，包含拍攝期間許多場次採取即興演出，讓人聯想到2022年台北電影節的《服刑母親》，夾進大量真實經歷遭遇並使用類似採訪時正對鏡頭的做法，也連帶勾出觀眾意想不到的情緒暗鎖。
看《徵婚啟事》第一幕就覺得自己踏進20年前台灣社會的「直男行為研究社」，那些急於表態對女方有興趣、合理化自身行為、媽寶行徑、醉翁之意不在酒、不經意貶抑女性的口吻與行為，站在21世紀來看，竟一點也不陌生。這是導演的先見之明，抑或是陪伴台灣社會一起長大的電影銀幕最真實的倒影？
電影片頭普普風格的眼眉，跳竄著紅黃綠橘嗆辣對比色。如果透過這些眉眼，看得清現實嗎？片中曾被家珍診斷過的盲眼男揭穿其真實身分後表示──「我的眼睛永遠不能說謊，不像你，可以姓杜又可以姓吳。……所以我想，就乾脆讓自己都不要說謊。」盲眼男成為家珍最後一個相親對象，而真正的吳太太當晚袒露自己已偷聽家珍對答錄機的傾訴好一段時間。對家珍本來滿懷怨恨的吳太太，偷窺家珍內心世界後，釋懷了，也卸下自欺；明白一切而流淚的家珍卸下吳小姐這假稱號，接受既愛又恨的前戀人早已不在人間的事實。她再也沒必要對著話筒傾訴藉著假身分經歷的故事，也毋須假裝自己的眉眼或讓人用有色眼鏡看待她──所謂「大齡而嫁不出去的女子」──她根本不在乎。所謂《徵婚啟事》刊語「生無悔，死無懼，不需經濟基礎，對離異無挫折感，願先友後婚，非介紹所，無誠勿試。」然而無誠的紅男綠女只不過在都市一隅搬演一齣給他人看的戲，所以多色彩的瞳眸又如何？踏入婚姻後，實況該如小說《婚姻生活》或影劇《婚姻故事》，那顯然是一輩子都必須又戴著隱形眼鏡又掛上眼鏡的尷尬（不似家珍過了相親時間就能再取下）。
陳國富《徵婚啟事》在2010年時有三段花絮釋出，其中一集是「偏好從女性角度說故事」，導演提及對女性的興趣遠大於男性，因為那就是性別的對立面。確實，這部電影從頭到尾的鏡位對準在杜家珍頸部以上，尋徵婚啟事而來的男人絮絮叨叨，關隘全在杜家珍的臉部神情與應對。杜家珍代表的現代女性族群，其需求與困境是流動的，正如公車外日日經過的淡水河橋上風景，乍看相同，觀察仔細了卻也日日不同。同時這又與金士傑花了十幾二十年想的──自己該不該結婚──恐怕有異曲同工之妙吧！
劉若英飾演的杜家珍，自從在大報上刊登一則徵婚啟事後，辭去眼科醫師工作，每日都搭公車去同一間茶樓和男人見面。她會根據不同對象坐在不同位置，結束後在空蕩蕩的獨居房間打給不知去向的前男友。答錄機彼端的空蕩，其實亦是家珍相親會面後的心情。她從未選擇過真正一位相親對象，因為自始至終只用「吳小姐」作為稱呼的自己，最想得到回應的對象是前男友。
In this universe, I’ve achieved nothing. In every universe, he loves her. Every page turned, every frame played—we enter your private universe: vast, boundless, infinite. In 2022, Everything Everywhere All at Once took pop culture by storm, flinging us across chaotic multiverses only to land us back in the deeply personal struggles of an Asian American family. The 2023 Taipei International Book Exhibition adopted “The Multiverse” as its central theme. To TAAZE, every reader’s private reading list is its own Ma-verse. And for this occasion, Giloo has curated 10 films to join the multiverse spin. Universe spin, timeline split— who says it can’t be a resistance?
Since its founding in 1998, the Taipei Film Festival has become one of Taiwan’s most prominent film events. In addition to the Taipei Film Awards, which honor outstanding local filmmakers, the festival also features spotlight programs, curated showcases, and an international competition for emerging directors—inviting audiences to discover new voices and revisit cinematic classics from around the world. Giloo presents a special selection of award-winning and officially screened titles from past editions of the Taipei Film Festival. Whether you’re revisiting a favorite or discovering something new, we invite you to enjoy the cinematic surprises this collection has to offer.
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The masters of cinema have walked through the river of light and shadow, leaving behind traces that time cannot erase. Their reflections on film are already sealed within every frame they captured. Giloo presents a selection of restored classics from Taiwan—films that carry not only cinematic legacy, but also fragments of memory, identity, and land. Whether these works are part of your earliest film awakenings or a first encounter, they invite you to rediscover your connection to both self and home. Step aboard the reel, and journey back to the golden years—belonging to both Taiwan, and to cinema itself.
Life is full of choices—some big, some small. We choose one path and let go of another, or sometimes, we hesitate... Some choices are mere passing moments, while others shape our lives forever. As actors, much of what we do is also about making choices. Try this in one rehearsal, try that in the next. Hesitation happens too. There’s no right or wrong—only whether it works, moment to moment. Some choices come from instinct, some from reason... Ah! To be or not to be. In this grown-up world where there are no perfect answers, maybe that’s what makes being alive so endlessly fascinating.