2019
International Film Festival Rotterdam
金虎獎短片競賽提名
Directed by 蘇匯宇
金虎獎短片競賽提名
蘇匯宇導演的《唐朝・綺麗男》承襲了導演己身一直以來的脈絡，交織了像是《超級禁忌》屏風式的裝置呈現的男體與女體、或是如同和安眠藥同名的《使蒂諾斯》所想要呈現的現實與夢境的模糊邊界等元素，用120格輔以慢動作的鏡頭，讓取材（或補拍）自1985年邱剛健導演版本的當代版《唐朝・綺麗男》，比起劇情片的原作有了更多酷兒以及實驗性質如夢似幻的視角。 好想看美術館屏風的四頻道錄像裝置版本！
定義為電影令人迷惘，解釋為錄像藝術就明白了。簡單來說，這部片是二創電影編導邱剛健1985年的電影作品《唐朝綺麗男》片中開頭用了很多元素：雨傘、馬、轎、旋轉的腳....等都是來自1985年版本，但在不同時空下有更色腥羶的詮釋，對照解嚴前時代與性解放的當代，說是對比、呼應、或詮釋也好，最重要是激發了重看邱剛健版本的動力吧（笑） 邱剛健導演版的佈局有非常強烈的舞台感，沒有露點但情色與詭異感隱隱作祟，很妙。
8:01 蘇匯宇曾坦言他的《唐朝・綺麗男》是對邱剛健原作的一種「補拍」，而我認為他所實踐的酷兒精神，放置於邱剛健的唐朝作品系譜中，便顯得十分可貴。1991年，李大師訪問邱剛健時，曾把邱剛健的《阿嬰》看成是一部反威權的同性戀電影。如今見到李大師在《唐朝・綺麗男》中裸體轉圈、用身體做出政治批判，直令人莞爾，原來邱剛健作品竟能衍生這麼多歪讀的空間，甚至回頭批判他自己。
3:10 邱剛健的商業電影大多數展演了女性身體，在民情保守的年代中，它雖是一種社會挑釁，卻也容易陷入父權消費的陷阱。生活在性別詮釋更為廣闊的當代台灣之中，蘇匯宇沒有包袱，而更拓展了一種對邱剛健原作、《唐朝綺麗男》的酷兒想像。
7:08 2018年，當代錄像藝術家蘇匯宇以15分鐘片長、每秒120格重新解構了《唐朝綺麗男》。在蘇匯宇的版本中，除了依然可見的諸多邱剛健創作母題外，蘇匯宇加入了更多男體影像，並以更延展的鏡頭語彙（構圖、速度）嘗試探處邱剛健鮮少企及的藝術版圖。
10:55 邱剛健曾坦言《唐朝綺麗男》實在拍的「一塌糊塗」，細讀原著劇本確實可見更多關於武陵少年在亂世殺戮中的成長力量。「性與死亡」始終是邱剛健最關注的創作母題，在1985年的《唐朝綺麗男》更建構了一種「異色古典」的美學，無論從邱剛健的創作脈絡，或是從當代台灣影像創作上來看，都是大膽而珍稀的嘗試。
延續著《唐朝豪放女》的票房聲勢，1985年邱剛健自港返台執導《唐朝綺麗男》，沒想到卻是一段從製作到映演皆失利的過程。受限各種人事與預算掣肘，劇本67場戲被砍到剩46場。製片方原先更希望女主角夏文汐能在片中賣弄風騷，就連宣傳海報都以「裸身吻劍」的畫面吸睛，豈料電影絲毫未現裸露鏡頭，該片年底以慘賠千萬作收。
Some feelings can only be acted upon, never spoken. Some desires simmer like volcanoes, erupting into twisted yet pure magma of life. Some people, once in love, burn themselves alive like moths to a flame—madly in love, deeply in pain. Some love cold as death, where a near-death experience unlocks raw desire, revealing that what could kill you... may not be fatal at all. Giloo presents six brand-new XX films, inviting you to surrender your senses. Whether it’s the melancholy of animals after sex, or the liberation of desire through sex, they’re not the kind of XX films you think they are. You ask what XX means? You can do it—but you can’t say it.
On August 28, 1982, Time Story premiered, marking the beginning of the Taiwan New Cinema Movement. In the summer of 2022, HIDE & SEEK AUDIOVISUAL ART released The Time Ahead: A Memo to 40 Years of Taiwan New Cinema, revisiting this pivotal era through 20 key concepts. In the fall, the Taiwan Film and Audiovisual Institute will present a special retrospective titled When New Cinema Begins Again: 40 Years of Taiwan New Cinema, uncovering many long-overlooked gems hidden in the corners of film history. Between summer and fall, TFAI and HIDE & SEEK AUDIOVISUAL ART join forces to present 16 titles—films both representative of Taiwan New Cinema and those reflecting on the movement itself—inviting audiences to engage with its legacy and imagine the decades of cinema still to come.
This year’s Queer Film Festival poses a timely question to society: Boundless, limitless, borderless—can gender, and the existence or absence of it, become a plural possibility? Under the theme of “Endless Love” and “Infinite Love,” the festival explores diverse expressions of love and sexuality through cinema. Whether grounded in reality or born in the virtual, gender will be redefined and renegotiated. Through the performance and context of gender, the body becomes a vessel of both flesh and spirit. Humanity expresses its desires, orientations, and identities—blending, shifting, and converging into the infinite (∞): the limitless, the boundless, the ever-expanding potential of plurality. These shifting terrains of the body, desire, gender, and the fluid interplay of yin and yang give rise to a multitude of gendered possibilities. In this reimagined world, love, sexuality, and human connection are no longer subjects of discrimination, distortion, or stigma. Instead, we envision a new and beautiful future of infinite love—one that celebrates what it means to be fully, freely human.