【#電影節發燒友 5/6/7月】Cine Fan下期節目率先睇！
【#CineFan May/Jun/Jul】Cine Fan Upcoming Programmes Unveiled!
看罷伊迪高安怡迪的《寂靜的朋友》，想起她的匈牙利同鄉、當代大師貝拉塔爾？如你喜歡維拉齊媞洛娃的《模範公屋》，另一捷克新浪潮巨匠維拉席的作品更不容忽視。論前衛大膽的女性書寫，現有嘉兒西蒙的《昔文今讀安妮艾諾》，二十世紀杜哈絲的作品亦享負盛名。
· 「時間凝思 光影低迴──懷念貝拉塔爾」專題：涵蓋其全十部長片經典作，包括首作《居巢》、風格奠定作《煉獄人間》、《撒旦探戈》及終作《都靈老馬》；
· 「往事如詩──維拉席的影像世界」專題：精選出道作《白鴿》、史詩鉅作《亂世英豪》及《炎夏的陰影》共六部傑作；
· 「字影流光──杜哈絲的書寫美學」專題：六部改編其小說或自撰劇本的經典作，包括《廣島之戀》、《情人》及金棕櫚得獎作《長別離》；
· 蘇珊桑塔亦從文字延伸至影像創作的《饞人對歌》與《卡爾兄弟》。
節目詳情可瀏覽.hk/zh。門票由4月10日起於城市售票網公開發售。
Watching Ildikó Enyedi’s SILENT FRIEND brings to mind the masterpieces of Hungarian maestro Béla Tarr? If you like Věra Chytilová's PANELSTORY, OR HOW A HOUSING DEVELOPMENT IS BORN, you should further explore the works of František Vláčil, another pioneer of the Czech New Wave. When it comes to bold female narratives, it would be interesting to compare Claire Simon’s WRITING LIFE – ANNIE ERNAUX THROUGH THE EYES OF HIGH SCHOOL STUDENTS, with Marguerite Duras’ works of experimental flair.
· ‘The Melancholy of Existence - Béla Tarr’s Contemplative Cinema’: Showcasing all ten of his classic feature films, including his debut FAMILY NEST, his style-defining DAMNATION, SATANTANGO, and his final work THE TURIN HORSE;
· ‘The Poetics of the Past – The Cinema of František Vláčil’: A selection of six films, his debut THE WHITE DOVE, MARKETA LAZAROVÁ, and SHADOWS OF A HOT SUMMER;
· ‘The Transformative Scripts of Marguerite Duras’: A selection of six classic films adapted from her novels or original screenplays, including HIROSHIMA MON AMOUR, THE LOVER, and the Palme d’Or-winning THE LONG ABSENCE;
· Susan Sontag’s directorial works: DUET FOR CANNIBALS and BROTHER CARL.
The entire programme and schedule are available at .hk. Tickets can be purchased at URBTIX outlets from 10 Apr.
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🗓️ #HKIFF50 | 1 - 12 APR 2026
🎫片單詳情 Film List🎫 : .hk/film/list
🎬電影節發燒友 CineFan May/Jun/Jul 🎬：
.hk/period/2026/may-jun-jul-2026
#HKIFF #香港國際電影節：.hk/
#CineFan #電影節發燒友：.hk/
#CSTB #CCIDAHK #文化體育及旅遊局 #文創產業發展處 #電影發展基金
【#電影節發燒友 5/6/7月】《秋天年鑑》：承先啟後的美學實驗
【#CineFan May/Jun/Jul】ALMANAC OF FALL: Tarr’s Aesthetic Transition
在 #貝拉塔爾 的作品中，《#秋天年鑑》起着承先啟後的作用。延續《居巢》的主題──生活在封閉環境中的人彼此之間的陰謀與計算，《異鄉人》的直接電影手法，同時採用了《麥克白》帶有劇場風格的布景設計及長鏡頭運鏡。《秋天年鑑》是對風格的刻意探索，旨在讓真實與虛構、個人與社會、主觀的作者視角與客觀的社會觀點相互交會。此片也刻鑄着時代印記──1980年代中期，後現代主義的視覺人工感延伸至電影領域。色彩斑斕的強烈燈光效果、看似人工的布景設計、表現主義的表演風格；各種視覺風格的混搭，以至對美術、戲劇和歌劇作品的直接引用，《秋天年鑑》的實驗，成為塔爾奠定美學風格的基礎。
Stylistically, #ALMANACOFFALL makes a bridge between the two periods of #BélaTarr's oeuvre. It continues to explore the subject matter from FAMILY NEST - intrigue and conspiracy of people living in a closed environment, takes the direct cinema approach of THE OUTSIDER, while adopting the artificial, even theatrical-looking set design and long-take camera movement from MACBETH. ALMANAC OF FALL was a result of a conscious search for a style where the real can meet the artificial, the personal can meet the social, the subjective authorial gaze can meet the objective social gaze. At the same time, ALMANAC OF FALL was also a film of its time - the mid-1980s was a period when the visual artificiality of post-modernism moved to the cinema. Strong, colourful lighting; artificial-looking set designs; an expressionist acting style; eclectic mixtures of various visual styles; and direct citations of works of fine art, theatre and opera characterised ALMANAC OF FALL, which laid the foundations for Tarr’s later aesthetic style.
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🎬電影節發燒友 CineFan May/Jun/Jul 🎬：
.hk/period/2026/may-jun-jul-2026
#HKIFF #香港國際電影節：.hk/
#CineFan #電影節發燒友：.hk/
#CSTB #CCIDAHK #文化體育及旅遊局 #文創產業發展處 #電影發展基金
【#電影節發燒友 5/6/7月】《公屋鬥室》及《麥克白》：塔爾風格的轉移
【#CineFan May/Jun/Jul】THE PREFAB PEOPLE & MACBETH: Tarr’s Shift in Style
《#公屋鬥室》是 #貝拉塔爾 「無產階級三部曲」的最後一部，標誌着其風格改變。有別於前兩作傾向「直接電影」，《公屋鬥室》脫離直線敘事結構，以片末丈夫離家出走一幕置於片首，再倒敘夫妻關係破裂過程。環迴結構，首尾呼應，最後一幕出其不意是丈夫重回妻子身邊，但關係更見疏離。塔爾並未刻意強化場景本身，而是試圖讓日常生活的平淡呆板感變得令人窒息；那種張力源自演員凝練的演出，這正是塔爾首次選用職業演員的主因，讓他得以創作出更長的鏡頭。
同年為電視台拍攝的《#麥克白》，更是塔爾的一次電影實驗。全片僅兩個鏡頭構成，五分鐘的序曲後，是長達五十七分鐘的一鏡到底。全片在地下隧道內拍攝，鏡頭跟隨主角麥克白內心跌宕翻騰。與前期作品大異其趣，塔爾嘗試了長鏡頭、人工搭建的場景、特殊的燈光效果，以及風格化的文學文本，並選擇以權力鬥爭、陰謀與道德腐敗為焦點，而非貧困與住房問題的故事。《麥克白》的重要性，在於塔爾從這場實驗中汲取經驗，運用到接下來的電影創作中。
#THEPREFABPEOPLE is the final instalment of #BélaTarr’s trilogy on the proletariat, marking a major shift in his style. Unlike the first two films which adopted a ‘Direct Cinema’ approach, THE PREFAB PEOPLE departs from a strict linear narration. He starts the film with a scene from the end of the story, where the husband walks out, and then recounts the breakdown of the couple’s relationship in chronological order. Beyond the circular structure and its thematic echoes, the final scene takes an unexpected turn: the husband returns to his wife, yet their relationship appears even more estranged and depressing than before. Without intensifying the scenes themselves, Tarr tried to make the banality feel unbearably suffocating. Intensity is provided by the condensed, expressive play of the actors, which was the main reason he used professional actors. At the same time, the expressive power of professional actors has enabled Tarr to create longer takes than in his previous works.
#MACBETH, shot for television in the same year, was regarded by Tarr as a cinematic experiment. The entire film consists of just two shots: a five-minute prologue, followed by a sequence that lasts the remaining 57 minutes. Filmed within an underground tunnel, the camera follows the characters through the tumultuous turmoil of his inner world. In MACBETH, Tarr differs from his earlier works by experimenting with long takes, artificial set, special lighting effects, and a stylised literary text. He chose a story that focuses on power games, conspiracy and moral corruption, rather than themes of poverty and housing problems.
【#電影節發燒友 5/6/7月】杜哈絲：記憶與遺忘的鬥爭
【#CineFan May/Jun/Jul】Duras: The Struggle of Memory Against Forgetting
《#長别離》是《廣島之戀》與《去年在馬倫巴》的剪接師昂利寇比執導的首部長片，與 #杜哈絲 同任編劇，一舉摘下康城金棕櫚獎殊榮。延續杜哈絲關於記憶與遺忘的一貫主題，這部動人作品聚焦於一位在巴黎郊區經營咖啡館的女子，在遇上失憶流浪漢後，相信此人正是戰時失散的丈夫。此片早於新浪潮時期，採用傳統敘事風格，探索真實記憶與情感如何建構或重塑人與人之間的關係，以優美的黑白寬銀幕攝影及飽滿情感取勝，拍出感人力作。
《#慾燄怒火》的劇本出自尚紀涅，本由法國導演佐治方朱夥拍女星安諾愛美，其後輾轉變為英國新浪潮導演東尼李察遜與珍摩露合作，劇本則由杜哈絲接手，以簡潔凝練的筆觸完成改編。故事描繪一名外來女教師，因情傾意裔伐木漢子的野性魅力，竟為鄉村社區帶來災禍。影片並未流於膚淺的心理研究，反而直筆將她塑造成一股破壞力量，從而探索壓抑、慾望與死亡。冷冽黑白影像，由靜態鏡頭構成，是一部形式主義的實驗之作，既樸實無華又充滿神秘感。
Henri Colpi was a prominent figure in editing, notable for Alain Resnais’ HIROSHIMA, MON AMOUR and LAST YEAR AT MARIENBAD. He directed his first and most memorable feature film, #THELONGABSENCE, in 1961, which was based on a script co-written by #MargueriteDuras. Continuing her exploration of memory and loss, this moving story focuses on a woman who runs a café in Paris suburb and an amnesiac derelict she comes to believe is her long-lost husband during the war. Although decidedly pre-New Wave in its traditional narrative style, this Cannes Palme d'Or winner is captivating with its elegant black-and-white cinematography and emotional depth.
#MADEMOISELLE derives from a screenplay by Jean Genet. It was initially intended for French director Georges Franju to make with Anouk Aimée, but ended up with Jeanne Moreau in the title role and British New Wave filmmaker Tony Richardson at the helm, with the script reworked by Duras. The story focuses on a schoolmistress whose acts of sabotage against the rural community in which she resides increase when she falls hard for an Italian immigrant woodcutter. Rather than a glib psychological study, the film establishes Moreau’s character as a destructive force, thereby exploring the themes of repression, desire and death. Shot in icy black and white and comprised entirely of static shots, the film is a formalist exercise, at once perfectly plain and totally mysterious.
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🎬電影節發燒友 CineFan May/Jun/Jul 🎬：
.hk/period/2026/may-jun-jul-2026
#HKIFF #香港國際電影節：.hk/
#CineFan #電影節發燒友：.hk/
【#第五十屆香港國際電影節】揭曉「火鳥大獎」競賽得主 - 精華片段重溫🎬
【#HKIFF50】ANNOUNCES WINNERS OF FIREBIRD AWARDS AND FIPRESCI PRIZE - Highlights video 🎬
香港國際電影節協會假香港文化中心大劇院，舉行「火鳥大獎」競賽頒獎典禮。《一個夜晚與三個夏天》及《撲朔迷離的露絲》分別勇奪「新秀電影競賽」華語及世界組別的火鳥大獎最佳電影。更榮幸邀請到國際影壇最深受尊崇的電影人之一的#茱麗葉庇諾仙為「新秀電影競賽（華語）」火鳥大獎最佳電影的頒獎嘉賓。立即去片，重溫當日盛況！
The 50th Hong Kong International Film Festival (HKIFF50) announced winners of the Firebird Awards and FIPRESCI Prize at the Awards Ceremony held at the Hong Kong Cultural Centre, with Linka Linka and Rose taking the top prizes in the Young Cinema Competition. We are deeply honored to invite one of the most revered figures in international cinema, #JulietteBinoche, to present the Firebird Award for the Best Film of Young Cinema Competition (Chinese Language). Watch the highlights video NOW!
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🎬電影節發燒友 CineFan May/Jun/Jul 🎬：
.hk/period/2026/may-jun-jul-2026
#HKIFF #香港國際電影節：.hk/
#CineFan #電影節發燒友：.hk/
#CSTB #CCIDAHK #文化體育及旅遊局 #文創產業發展處 #電影發展基金
【#電影節發燒友 5/6/7月】《生之怨曲》：少婦孤寂的哀歌
【#CineFan May/Jun/Jul】SEVEN DAYS... SEVEN NIGHTS: An Elegy of Loneliness
《#生之怨曲》改編自 #杜哈絲 代表作《如歌的中板》，以溫柔而富有深意的視角，探討受壓抑的生活所帶來的心理影響。珍摩露首次演繹杜哈絲筆下人物，細緻掌握豪門少婦內心的空虛與慾望，以悽婉動人的神韻，榮膺康城影后。英國現代劇場先驅彼得布祿克以流麗黑白光影、闊銀幕畫面呈現小鎮無盡蒼涼，尤其在安妮輕倚渡輪欄杆時，更突顯她那份疏離的孤寂感。影片深刻一幕，是安妮在晚宴上藉醺醉對賓客的輕蔑不加掩飾，以此反抗社會習俗，但到最後仍逃脫不了孤寂深閨，尤教人唏噓。5月9日設映後談，由影評人歐嘉麗主講。
Based on #MargueriteDuras’ novel ‘Moderato Cantabile’, #SEVENDAYSSEVENNIGHTS takes a gentle and eloquent look at the psychological ramifications of living a stifled life. In her first portrayal of a character created by Duras, Jeanne Moreau nuancedly captures the inner emptiness and desires of a high society woman, earning her the Best Actress award at Cannes. Peter Brook, a pioneer of modern British theater, uses fluid black-and-white images and widescreen aspect ratio to convey the endless desolation of the small town, and highlight Anne’s sense of alienation and loneliness, particularly when she leans against the railing of the ferry. One of the poignant moments comes at a dinner party, when the inebriated Anne displays her contempt for the guests as an act of defiance against social conventions; yet, in the end, she remains trapped in the solitude of her secluded life, making it all the more poignant.
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🎬電影節發燒友 CineFan May/Jun/Jul 🎬：
.hk/period/2026/may-jun-jul-2026
#HKIFF #香港國際電影節：.hk/
#CineFan #電影節發燒友：.hk/
#CSTB #CCIDAHK #文化體育及旅遊局 #文創產業發展處 #電影發展基金
【#電影節發燒友 5/6/7月】塔爾美學的濫觴：新寫實主義風格
【#CineFan May/Jun/Jul】Early Neo-Realist Roots of the Tarr Style
#貝拉塔爾 出道初期的作品，以新寫實主義風格為主。從首作《#居巢》、《#異鄉人》到《#公屋鬥室》，是兩種極端風格的結合：一方面是處身社會環境，對貧困、道德與心理苦難的具體呈現；另一方面則是透過對個體角色的刻劃，展現出夢想與渴望的詩意。受1970年代中期流行的「直接電影」風格影響，《居巢》片首開宗明義闡述「這是個真實故事。雖然片中人物並未經歷這些事，但這些事本可能發生。」
這三部作品與其他紀實虛構電影雖略有不同，但在場景調度上卻如出一轍。對塔爾而言，電影最重要在於展現人際關係在特定情境下的發展，而非呈現故事如何朝着結局推進；每個場景所呈現的人際關係轉折，幾乎沒有肢體動作，僅以言語行為表達。這些電影中，情節僅有一個重要的轉折點：《居巢》的伊蓮決定離開丈夫和家公的公寓；《異鄉人》的安德拉斯與女友結婚；《公屋鬥室》的羅比離開了妻子。這種紀實風格經過不同階段的變奏，蒸餾而成極度凝練的塔爾美學風格。5月10日《異鄉人》設映後談，由影評人朗天主講。
#BélaTarr's early works were primarily characterised by a neo-realist style. From his debut film #FAMILYNEST and #THEOUTSIDER to #THEPREFABPEOPLE, his films blend two contrasting styles: a concrete portrayal of poverty, moral, and psychic misery in the social environment on one hand, and poetry of dreams and desires in the representation of the individual characters on the other. Influenced by the ‘Direct Cinema’ style popular in the mid-1970s, Tarr opened FAMILY NEST with a clear statement: ‘This is a true story. It didn’t happen to the people in this film, but it could have.’
While these three works differ slightly from other docu-fictions, their approach to mise-en-scene is strikingly similar. For Tarr, the most important aspect of film is to show how human relations develop in given circumstances rather than to show how a story develops toward the denouement - nearly every scene represents a twist in the relationship of the characters rather than a turn in the story; almost no physical acts, only verbal ones. In all of these films, there is only one important turn in the plot - in FAMILY NEST, Irén decides to leave her husband and her father-in-law's apartment; in THE OUTSIDER, András marries Kata; in THE PREFAB PEOPLE, Robi leaves his wife. This cinéma vérité style was refined through various phases until the elements became articulated and integrated into the Tarr contemplative cinema.
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🎬電影節發燒友 CineFan May/Jun/Jul 🎬：
.hk/period/2026/may-jun-jul-2026
#HKIFF #香港國際電影節
#CineFan #電影節發燒友
#CSTB #CCIDAHK #文化體育及旅遊局 #文創產業發展處 #電影發展基金
【#電影節發燒友 5/6/7月】馬慕連一柔一剛的女性形象
【#CineFan May/Jun/Jul】Fragility and Fierceness: Women under the lens of Mamoulian
出生於第比利斯的魯賓馬慕連，是三、四十年代荷里活片廠制度下最多才多藝的電影人之一。在海斯法典風行時期，他透過對聲音與影像的風格化處理，巧妙避過可能遭審查的影像呈現，坦率探討性愛而不淫不傷。
馬慕連獲台前幕後的信任，絕非偶然。瑪蓮德烈治首部參演的荷里活製作《#裸像情歌》，正是她的恩師約瑟馮史登堡推薦馬慕連執導。由錯愛雕塑家的天真孤女，到下嫁軍老頭成為寂寞貴婦，繼而流落歌廳變身歌女，德烈治演來揮灑自如，片末揮鎚打碎自己的裸體塑像，更是對物化女性作最具象的強力控訴。馬慕連同年在《#瓊宮恨史》夥拍嘉寶，卻鑄造了截然不同的女性形象。孤女年幼繼承王位，時而英姿勃發指揮作戰，時而柔情似水周旋於追求者之間；嘉寶與尊基路拔真實的熾熱戀情令客店共宿一宵的場景更添旖旎，可惜戲內戲外的愛情童話皆難以喜劇告終。5月9日《瓊宮恨史》設映後談，由影評人吳月華主講。
Born in Tbilisi, Rouben Mamoulian was one of the most versatile filmmakers working within the Hollywood studio system of the 1930s and 1940s. Working under the Hays Code, he skillfully avoided the display of censorable images by stylising sound and visual, exploring sexuality candidly without being obscene or offensive.
It was no coincidence that Mamoulian enjoyed the trust of both cast and crew. Marlene Dietrich’s first Hollywood film, #THESONGOFSONGS, was directed by Mamoulian precisely because her mentor, Josef von Sternberg, had recommended him. From an innocent orphan who falls for a sculptor, to a lonely socialite married to an elderly military man, and finally a singer who ends up in a nightclub, Dietrich performed with effortless ease; her smashing of her own nude statue at the end stands as one of the most powerful and tangible indictments of the objectification of women. That same year, Mamoulian crafted a strikingly different female character with Garbo in #QUEENCHRISTINA. An orphan who inherits the throne at a young age, she is at times fiercely resolute in leading battles, and at others, tender and graceful as she navigates the attentions of her suitors. Garbo’s real-life romance with John Gilbert lent an added air of real passion to the scene where they shared a night in an inn; sadly, neither the on-screen nor off-screen love story could end happily.
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🎬電影節發燒友 CineFan May/Jun/Jul 🎬：
.hk/period/2026/may-jun-jul-2026
#HKIFF #香港國際電影節：.hk/
#CineFan #電影節發燒友：.hk/
#CSTB #CCIDAHK #文化體育及旅遊局 #文創產業發展處 #電影發展基金
為慶祝電影節成立50周年，香港國際電影節協會與素手掬影業（Carry On Film）攜手推出全新企劃——「亞洲故事 ‧ 新世代」（Asian Stories ‧ Next Gen），致力於扶持長片項目。
最終入選專案將獲得150萬人民幣資金，用於開發及製作。與此同時，該專案將匹配一名監製，從開發到拍攝全程提供創作指導與建議。
2027屆特邀監製為賈樟柯導演。徵集自今日起至8月31日，面向亞洲國家及地區公開，針對片長70分鐘以上之劇情長片。入選項目完成拍攝後，將在香港國際電影節進行展映。其他投件資格及細則請參考網頁。
本計劃由2026年開始策動，第一屆獲選計劃由王杰執導、雙雪濤監製及指導，並預定於今年內開始拍攝。第二屆選出計劃將由賈樟柯指導，於今年進行徵集，並於2027年開展前期製作階段。
立即投遞：/
To celebrate the Festival’s 50th anniversary, the Hong Kong International Film Festival Society, in partnership with Carry On Film, launches a new initiative—Asian Stories: Next Gen—dedicated to supporting feature-length projects.
The selected project will receive RMB 1.5 million in funding for development and production. It will be paired with an executive producer/mentor, who will provide creative guidance and advice throughout the entire process, from development through shooting. We are pleased to announce JIA ZHANGKE as the mentor for the 2027 edition.
Submissions are open from today through August 31 to applicants across Asian countries and territories, and are aimed at narrative feature films with a running time of 70 minutes or longer. Once the selected project has completed production, it will be screened at the Hong Kong International Film Festival. Details regarding eligibility and criteria are available on the website.
Initiated in 2026, the programme’s first selected project is directed by Wang Jie, with Shuang Xuetao serving as producer and mentor, and is scheduled to begin shooting later this year. The second selected project will be mentored by Jia Zhangke; the call for submissions will take place this year, with pre-production set to begin in 2027.
SUBMIT NOW: /
【#電影節發燒友 5/6/7月】蘇珊桑塔對導演身份的思考
【#CineFan May/Jun/Jul】Susan Sontag – The Identity as a Filmmaker
著作等身的 #蘇珊桑塔，以犀利文筆與獨到觀點挑戰傳統見解，寫作領域廣泛，對高達、布烈遜、英瑪褒曼、貝拉塔爾等大師電影的評論尤為精闢敏銳。自1960年代末，桑塔更身體力行執起導筒，共執導了兩部劇情片及兩部紀錄片。首作《饞人對歌》及次作《卡爾兄弟》先後入圍康城影展導演雙周，兩片皆啟發自現代主義風格，並明顯受褒曼對於人類無法溝通的思維所影響。
對於為何執導電影，桑塔表示：「我在電影中感到更自由。我經常思考影像，正因如此，我才說自己的作品是電影，而絕不可能成為小說。我從未覺得語言能完全實現想要達致的效果，總覺語言是一種難以駕馭的媒介。我在電影中感到更自在，重要的是影像的序列與節奏，語言則屬次要。」
A pioneering intellectual and a prolific writer, #SusanSontag was renowned for challenging conventional principles with her incisive writing and unique perspectives. Her expansive essays on directors such as Jean-Luc Godard, Robert Bresson, Ingmar Bergman and Béla Tarr engaged their films by exploring a variety of related intellectual issues. In the late 1960s, Sontag became a filmmaker herself, directing two fiction features and two documentaries. Both selected for Directors' Fortnight section in Cannes, her debut film, DUET FOR CANNIBALS, and the subsequent BROTHER CARL, were deeply inspired by modernist style, bearing clear influences of Bergman's reflections about the impossibility of human communication.
About making films, she said: ‘I feel freer on film. I think a lot about images. That's why I say my film is a film and could never have been a novel. I never found that language could do all I wanted it to do. I always found language a somewhat resistant medium. I feel more at home in films. It's the sequence and rhythm of images that's important. Language is secondary.’
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🎬電影節發燒友 CineFan May/Jun/Jul 🎬：
.hk/period/2026/may-jun-jul-2026
#HKIFF #香港國際電影節：.hk/
#CineFan #電影節發燒友：.hk/
#CSTB #CCIDAHK #文化體育及旅遊局 #文創產業發展處 #電影發展基金
【#第五十屆香港國際電影節】茱麗葉庇洛仙大師班 - 精華片段重溫🎬
【#HKIFF50】Masterclass with Juliette Binoche - Highlights video 🎬
繼《尋你我，覓自己》與香港觀眾會面後，法國影后 #茱麗葉庇洛仙 於《#藍白紅三部曲之藍》放映後，於香港文化中心大劇院出席大師班，與嘉賓主持卓韻芝暢談演員及創作心得。茱麗葉更與大家分享了如何以謙卑的姿態去接受自己的不足。立即重溫當日精華片段！
After her first meeting with the Hong Kong audience at the screening of IN-I IN MOTION, renowned French actress #JulietteBinoche participated in a masterclass at the Grand Theatre of the Hong Kong Cultural Centre following the screening of #THREECOLOURSBLUE. She engaged in an insightful discussion about acting and directing with guest moderator Vincci Cheuk Wan-chi. Juliette shared how to humbly accept one’s own shortcomings.
Watch the highlights video NOW!
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🎬電影節發燒友 CineFan May/Jun/Jul 🎬：
.hk/period/2026/may-jun-jul-2026
#HKIFF #香港國際電影節：.hk/
#CineFan #電影節發燒友：.hk/
#CSTB #CCIDAHK #文化體育及旅遊局 #文創產業發展處 #電影發展基金
【#電影節發燒友 5/6/7月】字影流光 杜哈絲的書寫美學
【#CineFan May/Jun/Jul】The Transformative Scripts of Marguerite Duras
今年是 #杜哈絲 逝世三十周年，她被譽為二十世紀最著名法國作家之一，以前衛的寫作風格，探討生死、愛情與性愛以及歷史議題而聞名。發表小說之餘，也參與電影及舞台劇本創作，甚至執起導筒。
杜哈絲於1914年生於越南，父母來自法國。父親早逝，僅靠母親擔任教師的微薄薪酬維生，後更因投資失利，令生活捉襟見肘。這段經歷被她寫進了成名作《抵擋太平洋的堤壩》及獲法國龔古爾文學獎的《情人》，分別被潘禮德及尚積葵亞諾改編成電影。
首次參與編劇，與阿倫雷奈攜手創作《廣島之戀》，成為法國新浪潮經典名作；其後為昂利寇比編劇的《長別離》，更贏得康城影展金棕櫚獎。改編其原著《如歌的中板》、彼得布祿克執導的《生之怨曲》，及經她重寫的尚紀涅原著、東尼李察遜執導的《慾燄怒火》，兩片皆由珍摩露演繹其筆下的複雜女性，扭曲的慾念與毀滅的主題更堪玩味。
This year marks the 30th anniversary of the death of #MargueriteDuras . Hailed as one of the most renowned French writers of the 20th century, she was celebrated for her avant-garde writing style in her explorations of life and death, love and sexuality, and historical issues. In addition to publishing novels, she also wrote screenplays and theatre plays, and later became a film director.
Duras was born in Vietnam in 1914 to French parents. Her father died young, and the family lived on her mother's meagre salary as a teacher, but with a failed investment, life took an even worse turn. Her personal experiences were recounted in her breakthrough work 'The Sea Wall' and later in the award-winning 'The Lover', which were adapted for the screen by Rithy Panh and Jean-Jacques Annaud respectively.
Her first foray into screenwriting resulted in Alain Resnais' New Wave classic HIROSHIMA MON AMOUR, and later Henri Colpi's Palme d'Or-winning THE LONG ABSENCE. Adaptations of her novella 'Moderato Cantabile', directed by Peter Brook as SEVEN DAYS... SEVEN NIGHTS, and her rewritten version of Jean Genet's original, directed by Tony Richardson as MADEMOISELLE, were among her most renowned works, both starring the unforgettable Jeanne Moreau, who portrays the complex woman embodying themes of twisted desire and destruction.
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🎬電影節發燒友 CineFan May/Jun/Jul 🎬：
.hk/period/2026/may-jun-jul-2026
#HKIFF #香港國際電影節：.hk/
#CineFan #電影節發燒友：.hk/
#CSTB #CCIDAHK #文化體育及旅遊局 #文創產業發展處 #電影發展基金
