2017
Taipei Film Festival
最佳導演獎
最佳導演獎
學生組首獎
台灣學生獎
最佳短片
亞洲新力量組銀獎
24:59 我很喜歡兩位男主角在摩托車上的畫面，鏡頭又近又遠的拍出了不同效果。兩人在四處玩耍的時候，拍出了男孩青春的感性，而在找不到鑰匙，在回家的路上時，日落天色雖美，浩瀚無邊的天際下，看不到盡頭的柏油路上小小的他們卻顯得渺小。
影像相當節制，尤其是最後那顆男主角不斷向海裡走去的鏡頭，什麼都沒說但什麼都說完了，包含缺席的、差異的、落寞的和倔強的。
博彥再三地以主動的善意化解周遭的冷漠，旁人的拒絕令人心寒。劇情沒有言明前因後果，但鏡頭與場面調度建立了隔閡與封閉的距離。青少年成長類型的敘事裡，孤單的主角往往有一位相依的知己，成就徬徨少年時最舒心的片刻，博彥與浩仔在鏡頭下的無憂身影，配上輕快的音樂，是向影史上「憤怒青年」的解放致敬，也與接下來遺失鑰匙的倉皇做出了強烈對比。博彥不顧安危地走進漲潮的海水，呼應著故事一開始試圖與人建立關係的不懈，為了救贖，即使滅頂也在所不惜。獲得圓滿的渴望，相較於孤注一擲的意念，彷彿滄海一粟。
雲林縣在70年代因為農產品生意不佳，主要產業轉為從事利潤較為優厚的養殖業，但養殖事業必須仰賴大量淡水，因此沿海地區在地面水源缺乏的情況之下， 開始抽取地下水， 但過量地下水， 引發地層下陷，近30 年的總下陷量， 內陸地區已超過190 cm 的下陷量。資料來源：地層下陷防治資訊網
《野潮》導演呂柏勳接受《放映週報》專訪：https://funscreen.tfai.org.tw/article/38301
【短片視野】從《野潮》到《懸日掛月》：呂柏勳的口湖生活，與邁向長片的籌備之路 | 放映週報【延伸作品】 1. 《四百擊》（楚浮，1959） 2. 《帶水雲》（黃信堯，2010） 3. 《台灣的地下水》（陳文福，2005)
《野潮》是劇情短片，卻同時有著格外強烈的紀實感。與其說故事是隨著劇情而起承轉合，更多時候，觀眾是跟著博彥度過了日常（但有點衰？）的一天。 他的一天始於早起後拜拜，還沒吃早餐就出門找尋工作（打工？）機會，騎車繞過正在剖蚵的鄰居及堆滿蚵殼的巷口，找工作碰壁，跟著朋友加入收成粉蟯仔（文蛤）的行列。騎車講屁話、玩鞭炮、抓水母、騎車。 全片以手持拍攝，呈現了氛圍的不穩定感，也帶動了場景的生活與立體感，讓我不只是透過劇情的轉折去了解這個人物，更是透過他所處的環境、他的日常生活與對話、他的呼吸，去感受人物的生命狀態。
21:56 你別再下去了 幹 你是要找死喔 起來啦 我回去再跟我爸說啊 ——《野潮》
24:59 近年來拍台灣鄉村（特別是雲林沿海地帶）的劇情片裡，《野潮》依然穩坐第一。多年後重看覺得，關鍵在於它在處理社會議題時，在結構與能動的衝突間取得平衡，或者說它超越了結構與能動的正反對立，讓結構因素隱形於宛如紀錄片的寫實捕捉中，而角色的能動性也非浪漫化的詮釋，而是在殘酷中別無選擇的奮力一搏。因此，當兩位青少年漫無目的地瞎談，而呂柏勳拍下他們自我重複、日復一日的步伐，其實他們依然在前進；相反，當廖博彥乍看在海中努力前行，但在特寫鏡頭與潮汐拍打下看起來在原地踏步，因為他仍無法放下父母在村莊中遺留給自己的包袱。
No matter where you are, not just in Taiwan, international movie fans can easily watch too! The first wave of films from emerging creators are now live in our international section. Featuring top selections from prestigious film festivals like Golden Horse Awards and Golden Harvest Awards, as well as many highly anticipated emerging works for you to explore anytime, anywhere!
Great stories don’t need to be long! Giloo presents a collection of short films by Taiwan’s emerging directors—bold, raw, and refreshingly innovative.Whether it’s a twist that lingers long after, or a punchy idea that flips your expectations, each film packs a powerful punch in under 30 minutes. Join Giloo on a crisp, exhilarating viewing journey—where every frame counts, and nothing is ordinary.
The land carries memories. From afar, I often think of Hong Kong’s sea and Taiwan’s mountains. The days of my childhood—doing nothing, daydreaming in the warm summer breeze—remain vividly etched in my mind. Only after growing up, only after feeling lost, did I come to realize that beneath the soil lie many complex and thought-provoking stories: stories of colonialism and postcolonialism; stories of escape and homesickness. Through stories that flow between sea and sea, mountain and mountain, we hope to invite everyone, in the new year, to reflect across nations on the meaning of land and identity.
Giloo presents award-winning festival favorites, buzzworthy films, and thought-provoking documentaries, bringing together diverse themes and compelling stories. Step into the Spotlight Screening selection and discover films that have captured attention, sparked discussion, and are well worth revisiting.
Once upon a time, there were stories in the landscapes. A mother’s quiet anxiety stretched across the winter plains of Inner Mongolia; a boy grew up in the windswept fishing villages of Taiwan; two scruffy children plotted their passage to adulthood in a withered cornfield; an artist-filmmaker captured the homesickness of the Burmese Chinese community on Huaxin Street, New Taipei; and a goldfish fable unfolded within the narrow, suffocating streets of Hong Kong. In these films, landscapes are more than mere cinematic settings; they are rich with symbolism and reflect the inner worlds of the characters.
Predicaments are complex equations of structure and choice. To survive in the cracks is to constantly navigate a tug-of-war between dignity, morality, and belief—yet how much room to move exists within the walls of the siege? Even in moments of survival against all odds, the inner storm—relentless and overwhelming—never truly subsides. Survival is never mere luck. And there is no need for apology.
In the cracks along the city’s edge, a hippie loses their way, while a stray dog watches humankind. A boy bids farewell to confinement and walks into the sea. There are no parties on the prairie—everywhere feels the same.