2019
Golden Bell Awards
迷你劇集最佳編劇、最佳女主角提名
迷你劇集最佳編劇、最佳女主角提名
入選國際短片競賽單元
榮獲最佳演員
入選國際短片競賽單元
入選國際短片競賽單元
入選台灣短片競賽單元
榮獲一般作品優等獎
入選國際短片競賽單元
感覺會是過一陣子就會想要再重看並且每一次看都會有不同感悟的片。原本以為是勵志片結果劇情走向完全出乎意料，一直在想怎麼會用吸血鬼包裝中年女性的困境以及母女關係的隱喻，想不通的同時又覺得能想到這樣的包裝編劇實在太有才了，超級值得學習的
《媽媽桌球》｜短評 劇情有點異色、血腥，卻又有點可愛、溫馨。女主角阿綿在頓失家庭重心（丈夫外遇、女兒出走）後，來到地方媽媽的桌球社。原本以為故事會走向勵志、熱血，畫風一變，流出黑色幽默的血來。導演的選擇很聰明，將中年母親欲重新尋找生活重心的故事內核以奇幻、詭譎的元素包裝，全片 25 分鐘還嫌太短，唯一缺點是媽媽的群體生活刻畫稍嫌不足。
這部片的某些對話和生活場景，令人毫無防備地精準，真實地呈現了台灣母女的日常相處（還是其實只有我？）。雖然本片沒有要給出任何答案，但以奇幻手法討論空巢期議題，真的是太令人難忘。看到最後，我還是無法忘記開場其中一幕，剛搬進新家的對面鄰居，小女孩過度深邃、眨也不眨的眼睛，直勾勾地望穿鐵門欄杆，會不會她其實才是擁有全知視角的大魔王智者？
這部短片是近年內我想大推給所有人的可愛之作，《媽媽桌球》值得比現在數倍不止的迴響。前幾分鐘，觀眾看到主角阿綿（王娟飾演），面臨老公外遇，女兒（陳妤飾演）愛理不理的處境，絕望的阿綿加入地方媽媽桌球社（社長由謝盈萱飾演），試圖轉移空巢期的孤單和焦慮。到這裡，我下意識地以為故事走向會是阿綿打出興趣，一路闖進全國大賽，摘下長青組金牌之類的勵志故事。直到第七分鐘，電影迎來不可思議的大逆轉，看著鮮血淋漓的場面，錯愕的同時忍不住興奮起來，對這「舊瓶新裝」、「舉重若輕」的劇本眼睛一亮。 然而，26分鐘的劇長，媽媽群組之間的來歷跟他們如何「再適應」人類社會，交代稍顯薄弱，觀眾的共感也因此停留在意猶未盡的狀態。
《媽媽桌球》的標題乍看下，以為是媽媽們打桌球的熱血勵志故事，實而不然，《媽媽桌球》其實是媽媽們的恐怖故事。 故事從一位以孩子及家中大小事為生命核心的中年媽媽阿綿做為故事核心開始，中年面臨小孩成長及先生長年不在身邊，阿綿在尋找生命另一個成長，於是誤打誤撞來到同學淑貞的媽媽桌球社，卻開啓了阿綿的另一個人生，一次再也無法返回的全新人生，阿不對，是吸血鬼生。 《媽媽桌球》是台灣難得可見的的吸血鬼題材短片，混合了寫實劇情及帶有黑色幽默的情節，在台灣的社會環境裡，吸血鬼該如何存活下來? 《媽媽桌球》裡告訴你她們吃什麼做什麼，它其實是一部講述吸血鬼媽媽們的生存之道的短片。
《媽媽桌球》的問題在於繞這麼大一個奇幻設定來講母親的放手之痛實在沒什麼必要，而且莊翔安對於他所挪用的吸血鬼類型掌握度不足，使得驚悚和家庭元素不但對不太起來，個別檢視都挺不及格。先別提亮到吸血媽媽們應該老早被燒死的打光，桌球室裡扁平的攝影和剪接毫無風雨欲來的危機或詭譎感，除了一些吸血鬼電影最基本的設定外，也沒有把媽媽團體的社群樣態寫出來；在家庭戲的方面，媽媽一角被寫得太過討人厭，吵架戲都是為了吵而吵，太過依賴對白推進劇情。這樣一想，片商敢找莊翔安來執導《返校》影集還真是大膽的決定，不過新作《關係暴力》確實有類型意識的多。
🏓 最新上架！媽媽桌球 🏓 金鐘影后王琄、金馬影后謝盈萱聯手演出 🏓 血腥、異色又幽默的奇幻短篇故事 ▍媽媽桌球 Mama Pingpong Social Club ▍全片線上看 ☞ https://bit.ly/3ayYLpH 失意的中年母親阿綿發現老公外遇、女兒也不常回家，決心改變生活而來到了媽媽桌球社。這裡每個媽媽看起來都活力十足又年輕，原以為來到了烏托邦的她，卻意外發現這裡有著不為人知的秘密⋯⋯
媽媽桌球 - 正版電影線上看｜Giloo紀實影音阿綿的丈夫成天在外花天酒地，女兒長大後擁有自己的人生，跟母親的關係逐漸變得疏離。悶得慌的阿綿想起自己年輕時曾經熱愛的桌球運動，決定重返桌球社... . 莊翔安編導的短片《媽媽桌球》，有一個看起來很勵志熱血的劇情大綱，但電影走向與我預期的天差地別，原以為電影要講中年婦女在桌球運動上發光發熱，沒想到《媽媽桌球》其實是想講為家庭付出大半輩子心血的母親被當成隱形人對待，丈夫與兒女都沒有意識到母親的犧牲，把母親對他們的照顧視為理所當然。而將全副心力擺在家人身上的女性，在失去家人的需要後，內心頓時顯得空洞，並發現自己不再受到邀請，無法進入家人的內心世界。 . 蠻有意思的作品，在不知道劇情爆點的情況下看片，更有觀影的驚喜。電影只有25分鐘長度，有點不過癮，我還蠻想知道桌球社那對年輕母女的故事啊～～ . #底下有雷喔 . . . 《媽媽桌球》的最後一場戲其實有點恐怖（一群媽媽們聚集在樓梯口，我以為她們要...），後來發現那是桌球社的媽媽們，特地前來給予進入空巢期的阿綿一點心靈安慰（姊姊妹妹站起來），才稍稍鬆口氣。
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.
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.
"Is there truly no one as good as Mother?" Devotion, omnipotence, unconditional love—these definitions of maternal love are not inherent talents exclusive to women. Giloo presents five films featuring imperfect mothers, guiding viewers to reflect on the diverse forms of motherhood and womanhood. No one is born a mother, and love is something that must be learned.
A good story doesn’t need to be long! Giloo presents nine short films by emerging Taiwanese directors, delivering bold and punchy cinematic language that challenges everything you thought you knew about film.
Starting abruptly, ending just as suddenly, the short story in literary awards is an art of precise cuts. Often, the entire piece serves a singular, rare, fleeting thought, or the echoing aftermath when hearts collide—once the meaning is conveyed, it can conclude. There's no clinging or indulgence, just a crisp detachment, like a wind chime in summer, leaving no trace after the breeze passes.
As a female creator, what troubles me most is constantly facing categorization and labeling. Some even question whether I am too immersed in “lowercase,” dollhouse-like stories. But I believe that emotions often spoken about in private spaces are no less public in significance, and that ordinary life is not necessarily safe or uneventful. The five films I’ve selected all carry elements of the “feminine,” the uncanny, and the simultaneously mundane and surreal. At different points in my life, each of them has either explained or illuminated a lingering question, helping me better understand who I am—and where I’m headed.
In 2017, Fang Si-Chi's First Love Paradise was published. Its distinct literary style immediately captivated readers, but the brutal reality and agonizing introspection presented beneath the exquisite yet sharp prose caused an even greater storm when the author, Lin Yi-Han, chose to take her own life shortly after the novel's release. To this day, this novel is constantly referenced whenever Taiwanese people discuss gender issues. For eight years, no one has forgotten Fang Si-Chi and Lin Yi-Han. However, even after the wounds have been exposed, we still hope for the possibility of repair and healing—not only for Si-Chi and Yi-Han but also for all the real pains that have been spoken and those yet to be uttered. If stories once brought dark wounds into the light, then in 2025, we hope to use the power of stories to rise powerfully from heartbreak, becoming a light for ourselves and for others.
Founded in 2012, the Kaohsiung Shorts grant program aims to establish Kaohsiung as Taiwan’s creative hub for short filmmaking. The initiative encourages creators to break boundaries and clichés, embrace bold storytelling, and highlight local culture through cinematic expression. To date, over 100 short films have been supported through this program, making it one of the most influential and closely watched short film initiatives in Taiwan. This selection features 12 Kaohsiung Shorts completed between 2017 and 2018, encompassing both narrative and experimental works. With diverse themes and unique cinematic languages, these films reflect the vibrant creative energy of Taiwan’s short film landscape in recent years.