1998
Venice Film Festival
最佳導演銀獅獎、小金獅獎、魔幻時刻獎
最佳導演銀獅獎、小金獅獎、魔幻時刻獎
最佳攝影提名
這部電影描繪了一連串令人眼花撩亂但又心生嚮往的混亂景象。各種家畜、槍枝充斥各種空間，製造了一種獨特的魔幻氛圍。活力過剩的人物們在河岸邊展開一段荒謬又單純的故事。
導演以天馬行空的創意和獨特的視覺風格，講述充滿奇趣和荒誕的故事。角色鮮活生動、充滿巴爾幹風情的配樂串起感染力。
19:54 用錢不能解決的事情，就給我用更多錢來解決啊。—— 《黑貓白貓》
【新片上架】庫斯杜力卡《黑貓白貓》 《地下社會》、《爸爸出差時》兩屆坎城影展金棕櫚獎得主庫斯杜力卡（Emir Kusturica）九十年代經典代表作，1998年威尼斯影展最佳導演銀獅獎等三項大獎，魔幻寫實人間喜劇。 ▍黑貓白貓：數位修復版 ▍Black Cat, White Cat ▍全片線上看 ☞ https://bit.ly/3RVoMiM 一事無成的馬可與年輕有為的兒子柴爾住在一起，為了擺脫窮困潦倒的生活，他們決心鋌而走險進行黑市交易。馬可從父親多年的摯友、同時也是當地黑幫教父葛加身上騙得資金，又找了地痞流氓達登合夥。不料交貨途中出了意外，馬可手上的貨品不翼而飛。眼看所有事情糾纏不清，他們到底該如何解決呢？
“How did writing a novel become such a deadly thing?” — Terrorizers They say there's nothing new under the sun. But once we step into the world of fiction, all the fuss, the unnecessary drama, the meaningless conflict—suddenly becomes the very engine that makes a story move. The meaning of “realism” is turned on its head. Imagination begins to feel more reasonable than reality. Only then can we fully immerse ourselves in each film’s unique narrative world— in the internal logic of its imagery, in the madness that somehow feels perfectly ordered. Because in fiction, as in dreams: Whatever happens, makes sense.
Let us look through cinema at a group of people marginalized by their times, such as the stranded Kuomintang soldiers in Northern Thailand, and the Roma people who lack national protection. While some works focus on individuals, they can represent a collective destiny, including political victim Ko Chi-hwa, Kim Ryon-hui, the woman who vowed to return to her homeland North Korea, and Björn Andrésen, the beautiful boy deprived of his childhood. The unique charm of film lies in its ability to lead us to see sights and human figures we might never encounter in our lifetime.
The kind of person you are shapes the kind of film you make—with Sagittarius directors, this couldn’t be more true. At 19, I watched a film by Emir Kusturica, and it completely changed the way I thought about filmmaking. The first time I attended a film festival, I was “shocked” by the featured director, Terayama Shūji. I stumbled into film school by chance, but it was in a film analysis class that Yasujirō Ozu’s black-and-white depictions of family life stirred memories from my childhood. Later, on my own filmmaking path, I was left speechless by Kim Ki-duk’s rapid production pace and prolific output. Thank goodness for cinema! For a freedom-loving, wildly imaginative Sagittarius like me, filmmaking is how I express the spirit of adventure, passion, and courage that defines who I am.
In Taipei, literature is free—and always has been. Precisely because literature has no fixed answers or interpretations, its boundaries are omnipresent throughout life. What we need, perhaps, is a pair of wild eyes—to confront directly or approach obliquely the myriad forms of literature. Lo Fu pioneered a new landscape in Chinese poetry with his unique narrative style; director Chen Yu-hsun cultivated a distinctive Taiwanese romance with his focus on ordinary people and fantastical black comedies; performance art godmother Marina Abramović, fashion maverick Alexander McQueen, and acclaimed director Emir Kusturica all unleashed their thoughts from their bodies, transforming them into immortal art itself. Even a farm can become a rock base, mind-bending animated masterpieces, with minds ready to blossom. The Taipei Literature Festival presents a selection of 7 works, inviting you to freely roam and unearth the vibrant literary energy within visual storytelling.