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
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.
“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.
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.