2017
Berlin International Film Festival
格拉蘇蒂原創紀錄片獎、金熊獎提名
Directed by 安德烈斯・凡伊爾
格拉蘇蒂原創紀錄片獎、金熊獎提名
最早聽到波伊斯是夏宇的一首詩，早在我接觸藝術之前。 喜歡波伊斯的幾件作品，從未真正覺得完全理解內容。狂人波伊斯將他立體化了些，看到波伊斯的信念和孤寂、他過往的傷痕和熱情、理所當然和損耗。 「必須要完全損耗（自己），直到成為灰燼，要不然就根本沒意義。」 這部電影是了解他的一個起點，也許我需要聽他完整的一整場演講來更貼近他的政治理念和世界觀。影像給人親密感，配樂好。看完有種我跟波伊斯在換個時空可能會是朋友（？）。 幻想波伊斯還在的世界會是一個好一點的世界。
《狂人波伊斯》這是關於一位了不起的藝術家的精彩電影，他擁有龐大的個性和豐富的內涵。如果你喜歡關於表演藝術家凝視他人眼睛的紀錄片，以及藝術在公共生活中的角色，達達主義等等，這部片子是值得一看的。此外，還可以觀看關於藝術公開辯論，其中波伊斯擊敗了學者和學生等等。
在觀看狂人波伊斯之前，我原本從未聽過波伊斯的名字。我發現他是一個相當有趣的人物。這部電影很好地將藝術家描繪成一位哲學家，但他似乎也是一位煽動者，這也是他在有生之年成名的原因。從這部電影呈現的作品來看，毫無疑問，波伊斯影響了後世的行為藝術家。
「狂人波伊斯」是一部迷人的紀錄片，透過四個季節的描繪，生動地展現了作家約翰·伯格的思想和生活。這部片子深入探討了伯格對藝術、政治和人生的見解，以及他對於社會不公的關注。透過片中的四個不同時期的鏡頭，觀眾得以見證伯格的成長、轉變和思考。導演巧妙地結合了影像、文字和音樂，營造出一種懷舊又深刻的氛圍，讓觀眾對伯格的思想有了更深的理解。整部片子讓人深受啟發，思考著自己的生活與世界。
理性是一套系統，從人類過去經驗積累而成。約瑟夫·博伊斯扣下了板機，成為擴展人類意識邊界的角色，他身上不可避免的將被貼上非理性的標籤。在一段訪問中，訪者問到他在二戰期間駕駛的飛機意外墜毀後被韃靼人救起，抬進毛氈帳篷，並以油脂塗抹身體維持體溫這件事是真的嗎？還是只是幻想？而訪者同時回應：「無所謂，反正只是他對事情的解讀」。這段模糊錯置的自問自答，貫穿了我對約瑟夫·博伊斯提出「人人都是藝術家」口號的理解。簡單，卻未必容易，就像《油脂椅》上的那塊油脂，隨著溫度與時間改變了油脂狀態，開始具有流動性和延展性。對比象徵僵硬和標準化的椅子，這種具有穿透性力量的精神另一面，卻讓我看見了他的孤寂。 這份孤寂對比約瑟夫·博伊斯在影片中最後一句話：「這其實是一個共同的任務」。我對這份衝擊隨之而來的反應是尊敬和景仰，他的行動表明著損耗自己的一切是必要的，也表示當一個人離開時，一切都完好，那就糟了。我想，正是這份精神和行動，才能在這套系統裡開啟一個新的視窗，裡面容納著不同的對話和思想，從而影響推動整個世界的發展。
借由夏宇詩集《Salsa》中的《夢見波伊斯》的契機，才來看這部關於波伊斯的紀事的，有關波伊斯的全部印象都是源於夏宇的這首詩，現在看完這部紀事后，又對波伊斯有了更多的瞭解。我好奇當政治和藝術這兩個似乎毫無關聯的事物碰撞在一起會產生怎樣的化學反應，而波伊斯正好身體力行了這兩點，雖然他在政治上沒有取得進展，但是，我還是會想象一個藝術家會給一個國家的政治面貌帶來怎樣的改變，是愈來愈好，亦或者是愈來愈糟。
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