Summoning reality from the illusion.
I remember the summer break of my sophomore year—because I took over organizing our department’s cinema festival, I decided to stay in the school dorm all summer, immersing myself in a personal, sensory journey of film appreciation. One afternoon in the campus library, I randomly picked up Tsai Ming-liang’s The River. To my surprise, it quietly and calmly depicted the atypical family experiences I had kept buried deep inside. That film stayed with me—a teenager full of anxiety about life, unsure whether I could truly take responsibility for myself—through those idle, languid summer days. Back then, there was no fiber-optic internet, no AI-powered smartphones. Just light and shadow, casting a humorous yet absurd gaze upon the hardships of reality. So here I am, recommending this film—let yourself sink into the dreamscape of its story, and let it echo the realism of our own lives.
Author登曼波登曼波，本名楊登棋，出生於臺中東勢大家庭。在封閉的小鎮中成長，由於非常態家庭成長背景，擁有了相對自由的環境，隔代教養亦促使其自年少時便開始獨立自主、構建自我。2019年以《父親的錄影帶》榮獲北美獎首獎，從 90 年代發現父親的自拍錄影帶而察覺其性傾向，開啟對於「父親」身份定義的重新理解，並呼應當下外界的變化。慾望驅使他創作，不斷地由內而外探索自己與所存在的環境，向當代提出對話，近期成立從個展「居家娛樂 HomePleasure 」延伸成立「HomoPleasure Collective 」非營利的酷兒藝術創作組織，致力於通過策展，跨國倡議推廣多元族群創作當代藝術，活動範圍涵蓋展覽、出版、和活動等拭去二元，持續以推進台灣之於亞洲之於國際得身份認同的反思。
