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	<title>拍板友戲体 v2.0 &#187; Uncategorized</title>
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	<description>拍板視覺藝術團電影聊天室</description>
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		<title>Sonatine/ 奏鳴曲</title>
		<link>http://www.cutmacau.org/cutfilms/archives/693</link>
		<comments>http://www.cutmacau.org/cutfilms/archives/693#comments</comments>
		<pubDate>Thu, 23 Sep 2010 16:01:50 +0000</pubDate>
		<dc:creator>友戲体</dc:creator>
				<category><![CDATA[Featured Articles]]></category>
		<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[那一抹藍色的暴力影像]]></category>

		<guid isPermaLink="false">http://www.cutmacau.org/cutfilms/?p=693</guid>
		<description><![CDATA[24/9 Fri
奏鳴曲 Sonatine
1993/94min/Color/Japanese
3 wins


這是北野武最好的電影，不僅敘事無比順暢，結構完整而自然，用陰沉和簡約一再顛覆“野寇崽”電影中那些已被幽默感和風格的力量改變過的陳詞濫調。相信那些暴力美學電影大師們都同意。
“有著美麗櫻花、幽雅俳句的民族殺起人來也絲毫不會眨眼”－《菊與刀》。北野武的《奏鳴曲》為這句說話給予很好的註腳。北野武影片中充斥著突如其來的“打你沒商量”的暴力，而這種沒有理由、讓人沒有心理準備的暴力意味著死亡隨時可能襲來，死亡的焦慮無時無刻不在困繞著他和他影片中的主人公，這些主人公看似曠達而狂歡，對死亡無所畏懼，暴力只是他們對緊張和焦慮釋放的唯一途徑，而短暫的釋放所帶來的則是更深層次上對死亡的恐懼。這種對死亡的無可遁逃的恐懼不僅來源於整個人類心中害怕死亡的“集體無意識”，更是根源于日本文化傳統中隆重的死亡傳統和自殺情結。影片首尾呼應著暴力－死亡，時刻散發著“靈魂窺見了墳墓後的光輝”，那是一種北野武認為的生命本應存在的方式。有如美麗的沖繩海那片無盡的藍，有如幽雅俳句的留白，有如奏鳴曲般呈現的死亡挽歌。

Plot Summary:
A world-weary yakuza in Tokyo is assigned to take his clan to Okinawa to help settle a dispute between two factions. He's suspicious of the assignment, but he goes, and within a couple days, his role remains unclear and several of men are dead. He retreats to a house on a remote beach to wait. The first night there , he rescues a young woman from an assault, and they develop a playful relationship. Over time, it becomes clear he's been set up, sent to Okinawa so that others can take over his lucrative territory. As his clan dwindles, he plans a revenge. But, what if he's successful? What is there to life anyway?]]></description>
			<content:encoded><![CDATA[24/9 Fri
奏鳴曲 Sonatine
1993/94min/Color/Japanese
3 wins


這是北野武最好的電影，不僅敘事無比順暢，結構完整而自然，用陰沉和簡約一再顛覆“野寇崽”電影中那些已被幽默感和風格的力量改變過的陳詞濫調。相信那些暴力美學電影大師們都同意。
“有著美麗櫻花、幽雅俳句的民族殺起人來也絲毫不會眨眼”－《菊與刀》。北野武的《奏鳴曲》為這句說話給予很好的註腳。北野武影片中充斥著突如其來的“打你沒商量”的暴力，而這種沒有理由、讓人沒有心理準備的暴力意味著死亡隨時可能襲來，死亡的焦慮無時無刻不在困繞著他和他影片中的主人公，這些主人公看似曠達而狂歡，對死亡無所畏懼，暴力只是他們對緊張和焦慮釋放的唯一途徑，而短暫的釋放所帶來的則是更深層次上對死亡的恐懼。這種對死亡的無可遁逃的恐懼不僅來源於整個人類心中害怕死亡的“集體無意識”，更是根源于日本文化傳統中隆重的死亡傳統和自殺情結。影片首尾呼應著暴力－死亡，時刻散發著“靈魂窺見了墳墓後的光輝”，那是一種北野武認為的生命本應存在的方式。有如美麗的沖繩海那片無盡的藍，有如幽雅俳句的留白，有如奏鳴曲般呈現的死亡挽歌。

Plot Summary:
A world-weary yakuza in Tokyo is assigned to take his clan to Okinawa to help settle a dispute between two factions. He's suspicious of the assignment, but he goes, and within a couple days, his role remains unclear and several of men are dead. He retreats to a house on a remote beach to wait. The first night there , he rescues a young woman from an assault, and they develop a playful relationship. Over time, it becomes clear he's been set up, sent to Okinawa so that others can take over his lucrative territory. As his clan dwindles, he plans a revenge. But, what if he's successful? What is there to life anyway?]]></content:encoded>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Dolls/ 偶斷絲連</title>
		<link>http://www.cutmacau.org/cutfilms/archives/691</link>
		<comments>http://www.cutmacau.org/cutfilms/archives/691#comments</comments>
		<pubDate>Fri, 17 Sep 2010 15:55:53 +0000</pubDate>
		<dc:creator>友戲体</dc:creator>
				<category><![CDATA[Featured Articles]]></category>
		<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[那一抹藍色的暴力影像]]></category>

		<guid isPermaLink="false">http://www.cutmacau.org/cutfilms/?p=691</guid>
		<description><![CDATA[
17/9 Fri
偶斷絲連 Dolls
2002/114min/Color/Japanese
2 wins &#038; 6 nominations

北野武在題材開發上極具原創性，甚至時刻嘗試改變創作的風格。有人認為這是北野武電影中向日本傳統文化的一次回歸，也有人說這是一個現代愛情寓言。本片依照季節交叉著串講了三段淒美愛情故事，難得少了暴力的影像，三種愛情如宿命感般有如牽著玩偶的線，季節的更替此是無常，有誰能在愛情的無盡宿命中獲救？若果不看那些似曾相織的突發性結果，你還是不一定猜出這是北野武的作品。

Plot Summary:
Three stories of undying love: Bound by a long red cord, a young couple wanders in search of something they have forgotten. An aging yakuza returns to the park where he used to meet his long-lost girlfriend. A disfigured pop star confronts the phenomenal devotion of her biggest fan. ]]></description>
			<content:encoded><![CDATA[
17/9 Fri
偶斷絲連 Dolls
2002/114min/Color/Japanese
2 wins &#038; 6 nominations

北野武在題材開發上極具原創性，甚至時刻嘗試改變創作的風格。有人認為這是北野武電影中向日本傳統文化的一次回歸，也有人說這是一個現代愛情寓言。本片依照季節交叉著串講了三段淒美愛情故事，難得少了暴力的影像，三種愛情如宿命感般有如牽著玩偶的線，季節的更替此是無常，有誰能在愛情的無盡宿命中獲救？若果不看那些似曾相織的突發性結果，你還是不一定猜出這是北野武的作品。

Plot Summary:
Three stories of undying love: Bound by a long red cord, a young couple wanders in search of something they have forgotten. An aging yakuza returns to the park where he used to meet his long-lost girlfriend. A disfigured pop star confronts the phenomenal devotion of her biggest fan. ]]></content:encoded>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>A Scene at the Sea/ 那年夏天，寧靜的海</title>
		<link>http://www.cutmacau.org/cutfilms/archives/684</link>
		<comments>http://www.cutmacau.org/cutfilms/archives/684#comments</comments>
		<pubDate>Fri, 10 Sep 2010 15:41:13 +0000</pubDate>
		<dc:creator>友戲体</dc:creator>
				<category><![CDATA[Featured Articles]]></category>
		<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[那一抹藍色的暴力影像]]></category>

		<guid isPermaLink="false">http://www.cutmacau.org/cutfilms/?p=684</guid>
		<description><![CDATA[
10/9 Fri
那天夏天，寧靜的海 A Scene At The Sea
1991/101min/Color/Japanese
11 wins &#038; 4 nominations

這部電影有著北野武電影常見的元素，除了那些突兀的暴力影像。
沒有太多的對白，幾近沉默又嚴肅的角色；即興與突然的鏡頭，你還搞不清過程發生了甚麼，然後通常會在片尾告訴你主角會死去；沉靜的靜止鏡頭，時常等待出現“空鏡”，還有那個著名的“北野藍”，在片中得到極有層次的體現，交織著一段寂寞與感傷的回憶，最後，化作那寧靜的海那一道永恆的風景線。（北野武對藍色情有獨鍾，從《奏鳴曲》開始，與攝影師柳島克己及燈光師高屋齋都有著共同的想法，利用濾鏡和燈光刻意控制與安排藍色的畫面色彩主調。）

Plot Summary:
Born with a hearing impairment, Shigeru is a part timer working for the sanitation service. His girlfriend Takako has the same condition as well. On his usual pickup route, Shigeru finds a broken surf-board in a pile of garbage. His introduction to the world of surfing. Shigeru fails in his attempt to catch a wave. Takako looks on as the locals heckle the first time surfer. Un-hindered by the world around them, Shigeru and Takako commute to the beach every day. Impressed by Shigeru's determination, owner of a surf shop hands Shigeru a wet suit and an entry form to a contest. Ironically, Shigeru is disqualified from the contest for missing the announcement. Not to be discouraged, Shigeru's love for surfing consumes everything around him. He is able to fit in with the local crowd and even finish respectably at the second contest. Summer comes to an end and the cold wind starts to blow between Shigeru and Takako... 

]]></description>
			<content:encoded><![CDATA[
10/9 Fri
那天夏天，寧靜的海 A Scene At The Sea
1991/101min/Color/Japanese
11 wins &#038; 4 nominations

這部電影有著北野武電影常見的元素，除了那些突兀的暴力影像。
沒有太多的對白，幾近沉默又嚴肅的角色；即興與突然的鏡頭，你還搞不清過程發生了甚麼，然後通常會在片尾告訴你主角會死去；沉靜的靜止鏡頭，時常等待出現“空鏡”，還有那個著名的“北野藍”，在片中得到極有層次的體現，交織著一段寂寞與感傷的回憶，最後，化作那寧靜的海那一道永恆的風景線。（北野武對藍色情有獨鍾，從《奏鳴曲》開始，與攝影師柳島克己及燈光師高屋齋都有著共同的想法，利用濾鏡和燈光刻意控制與安排藍色的畫面色彩主調。）

Plot Summary:
Born with a hearing impairment, Shigeru is a part timer working for the sanitation service. His girlfriend Takako has the same condition as well. On his usual pickup route, Shigeru finds a broken surf-board in a pile of garbage. His introduction to the world of surfing. Shigeru fails in his attempt to catch a wave. Takako looks on as the locals heckle the first time surfer. Un-hindered by the world around them, Shigeru and Takako commute to the beach every day. Impressed by Shigeru's determination, owner of a surf shop hands Shigeru a wet suit and an entry form to a contest. Ironically, Shigeru is disqualified from the contest for missing the announcement. Not to be discouraged, Shigeru's love for surfing consumes everything around him. He is able to fit in with the local crowd and even finish respectably at the second contest. Summer comes to an end and the cold wind starts to blow between Shigeru and Takako... 

]]></content:encoded>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Fireworks/ 花火</title>
		<link>http://www.cutmacau.org/cutfilms/archives/689</link>
		<comments>http://www.cutmacau.org/cutfilms/archives/689#comments</comments>
		<pubDate>Fri, 03 Sep 2010 15:50:12 +0000</pubDate>
		<dc:creator>友戲体</dc:creator>
				<category><![CDATA[Featured Articles]]></category>
		<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[那一抹藍色的暴力影像]]></category>

		<guid isPermaLink="false">http://www.cutmacau.org/cutfilms/?p=689</guid>
		<description><![CDATA[3/9 Fri
花火 Fireworks
1997/103min/Color/Japanese
21 wins &#038; 16 nominations


1994年的車禍後，北野武大難不死，他稱這次事故為一次“不太成功的自殺＂，然而他卻透過《花火》探討內心那種為尋找死亡而生存的絕望內心世界。
在此之前，日本很難有這樣的一部完全漠視電影廠體制，完全按照自己的思考，憑借自己的感覺，亳無拘束地創造出來的作品，這是一部成熟而凝練的個人化作品；除了分不清是導演北野武，演員北野武還是真實北野武的介入外，那些暫新影像又帶有些似曾相識的靜謐與溫柔，算是他冒險性的創作生涯中其中一個很好的總結，也是一部很純粹的作品。
最後還得告訴你，花火裡面出現的油畫作品是北野武本人所繪畫的。

Plot Summary:
Nishi is a cop whose wife is slowly dying of Leukemia. One of his partners gets shot on the job and is confined to a wheel chair for the rest of his life and becomes suicidal. Nishi, feeling guilt over his partners accident, tries to help him in any way he can. At the same time, Nishi leaves the police force to spend more time with his dying wife. However, in order to do the right things for those he loves, Nishi must do wrong things. Spiraling deeper into desperation and slowly building up to tragedy. ]]></description>
			<content:encoded><![CDATA[3/9 Fri
花火 Fireworks
1997/103min/Color/Japanese
21 wins &#038; 16 nominations


1994年的車禍後，北野武大難不死，他稱這次事故為一次“不太成功的自殺＂，然而他卻透過《花火》探討內心那種為尋找死亡而生存的絕望內心世界。
在此之前，日本很難有這樣的一部完全漠視電影廠體制，完全按照自己的思考，憑借自己的感覺，亳無拘束地創造出來的作品，這是一部成熟而凝練的個人化作品；除了分不清是導演北野武，演員北野武還是真實北野武的介入外，那些暫新影像又帶有些似曾相識的靜謐與溫柔，算是他冒險性的創作生涯中其中一個很好的總結，也是一部很純粹的作品。
最後還得告訴你，花火裡面出現的油畫作品是北野武本人所繪畫的。

Plot Summary:
Nishi is a cop whose wife is slowly dying of Leukemia. One of his partners gets shot on the job and is confined to a wheel chair for the rest of his life and becomes suicidal. Nishi, feeling guilt over his partners accident, tries to help him in any way he can. At the same time, Nishi leaves the police force to spend more time with his dying wife. However, in order to do the right things for those he loves, Nishi must do wrong things. Spiraling deeper into desperation and slowly building up to tragedy. ]]></content:encoded>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>那一抹藍色的暴力影像 The Blue Violence</title>
		<link>http://www.cutmacau.org/cutfilms/archives/676</link>
		<comments>http://www.cutmacau.org/cutfilms/archives/676#comments</comments>
		<pubDate>Wed, 01 Sep 2010 15:36:53 +0000</pubDate>
		<dc:creator>友戲体</dc:creator>
				<category><![CDATA[Announcer]]></category>
		<category><![CDATA[Featured Articles]]></category>
		<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[那一抹藍色的暴力影像]]></category>

		<guid isPermaLink="false">http://www.cutmacau.org/cutfilms/?p=676</guid>
		<description><![CDATA[拍板視覺藝術團九月導演專題：

那一抹藍色的暴力影像-北野武電影
The Blue Violence: Takeshi Kitano's Film

北野武（ビート たけし）1947年生於東京，是家中最小的一個，父親北野菊次郎（他後來的溫情電影《菊次郎的夏天》裡的原型），自稱若不是專橫又貪婪的母親嚴加看管，年少時叛逆的他早就加入黑道。20歲從明治大學工學部輟學，混跡新宿，在爵士酒吧打工，也當過的士司機、脫衣舞場的喜劇演員。26歲與兼子清組成漫才團體（即日式棟篤笑）《Two Beat》，活躍於電視及廣播界，並以無厘頭的辛辣和黑色幽默受到歡迎，成為日本80年代相聲熱潮的靈魂人物。

34歲開始演電影，以大島渚執導的《戰場上的快樂聖誕》一片受到矚目，打後都不忘在他執導的電影中參上一角。42歲才在機緣巧合下執導第一部電影《小心惡警》，直言深受深作欣二的“野寇崽映畫”（Yakuza-eiga，一種日本類型電影，東映公司專長於這類影片，有明星高倉健和菅原文太以及導演深作欣二或是加登田家的參與，以日本“極道”的小混混充當首要角色的影片類型）所影響（另一位深作欣二超級影迷是Quentin Tarantino，他還拍了《Kill Bill》向他致敬），並加入一種被人稱為“暴力美學”的東西，初執導筒便一鳴驚人，創造出瞬間暴力與純粹安靜的特殊風格。

1994年8月的某個深夜，北野武騎重型摩托車發生嚴重車禍，導致面目神經受損。他高齡的母親聽到這個消息罵道：“要撞也不撞好一點的車！”車禍後的第三年，以《壞孩子的天空》及自導自演的《花火》重返電影界，當仁不讓地獲得威尼斯國際電影節金獅獎。相隔三十九年，他是第三位拿下這個獎的日本人，而第一位拿下威尼斯電影節金獅獎的日本人於98年去世，臨終前托孤於北野武：“日本的電影就拜託你了！”－黑澤明

連黑澤電影天皇也點名相挺，也是日本最近幾年在西方吃得開的作者導演，“彼得武”（藝名：Beat Takasi）更在電影界創造了一股暴力美學潮流。到目前為止，北野武演過三十多部電視劇及二十多部電影。導演了十四部電影，寫過八本小說及六本雜文。開過一次畫展。每星期還錄製七個電視節目。最近透過康城影展回歸其通俗的野寇崽電影題材，他說之前拍的文藝電影被批看不懂，沒關係，聞說北野武將更暴力也更娛樂，他只想拍些更“酷”的東西。那部電影叫《極惡非道》（Outrage）。

拍板視覺藝術團於九月為會員推介四部北野武的作品：

The director in focus for September in CUT is the famous Japanese director: Takeshi Kitano.

Takeshi Kitano, born in Tokyo in 1947, originally studied to become an engineer, but was thrown out of school for rebellious behavior. He learned comedy, singing and dancing from famed comedian Senzaburô Fukami. Working as a lift boy on a nightclub with such features as comic sketches and striptease dancing, Kitano saw his chance when a comedian suddenly fell ill, and he went on stage in the man's place, starting his show business in 1972 as "Beat" Takeshi, the stage name he continues to use today as a performer. As part of the comic duo Two Beats, Kitano was one of the leading figures in the manzai (stand-up comedy) boom in the late 1970s. With his distinctive art of speech and his idiosyncratic perspective, Kitano became one of the most popular entertainers in the country during the 1980s.

Since his 1989 directorial debut, Kitano has written, directed, edited or starred in almost a film per year without losing the momentum of his originality and heightened artistic sensibility. The extraordinary success of 1997's Fireworks (1997) confirmed Kitano's place as a leading figure of international cinema. Among its numerous awards, "Hana-bi" won Venice Film Festival's Golden Lion and was named Best Non-European Film by the European Film Academy. "Hana-bi" was cited on numerous "Best Films of the Year" lists, often in the #1 position.

In 2000 Kitano made Brother (2000), his first film shot outside of Japan. "Brother", like other Kitano-directed films such as his debut _Sono otoko, kyôbô ni tsuki (1990)_ (US title: "Violent Cop"), Boiling Point (1990) (US title: "Boiling Point") and Sonatine (1993), centered around yakuza (gangster) characters. The filmmaker contrasted the violence and action of those films with comedy or tenderness in films like A Scene at the Sea (1991) (US title: "A Scene at the Sea"), Getting Any? (1994) (US title: "Getting Any?"), Kids Return (1996) (US title: "Kids Return") and Kikujiro (1999). For the first time in six years, Kitano remained strictly behind the camera on Dolls (2002), his tenth film as a writer-director.

As an actor Kitano has also appeared in films that he has not directed himself. He won international attention for his role in Nagisa Ôshima'sMerry Christmas Mr. Lawrence (1983). He collaborated again with Oshima in 1999's samurai epic Taboo (1999) (US title: "Taboo"). He appeared in Kinji Fukasaku's controversial box-office smash Battle Royale (2000) (US title: "Battle Royale"). His credits in films directed by non-Japanese filmmakers include include Robert Longo's Johnny Mnemonic (1995) and Jean-Pierre Limosin's Tokyo Eyes (1998).

And we are introducing four films written and directed by him in September:


3/9 Fri
花火 Fireworks
1997/103min/Color/Japanese
21 wins &#038; 16 nominations


10/9 Fri
那天夏天，寧靜的海 A Scene At The Sea
1991/101min/Color/Japanese
11 wins &#038; 4 nominations


17/9 Fri
偶斷絲連 Dolls
2002/114min/Color/Japanese
2 wins &#038; 6 nominations


24/9 Fri
奏鳴曲 Sonatine
1993/94min/Color/Japanese
3 wins

]]></description>
			<content:encoded><![CDATA[拍板視覺藝術團九月導演專題：

那一抹藍色的暴力影像-北野武電影
The Blue Violence: Takeshi Kitano's Film

北野武（ビート たけし）1947年生於東京，是家中最小的一個，父親北野菊次郎（他後來的溫情電影《菊次郎的夏天》裡的原型），自稱若不是專橫又貪婪的母親嚴加看管，年少時叛逆的他早就加入黑道。20歲從明治大學工學部輟學，混跡新宿，在爵士酒吧打工，也當過的士司機、脫衣舞場的喜劇演員。26歲與兼子清組成漫才團體（即日式棟篤笑）《Two Beat》，活躍於電視及廣播界，並以無厘頭的辛辣和黑色幽默受到歡迎，成為日本80年代相聲熱潮的靈魂人物。

34歲開始演電影，以大島渚執導的《戰場上的快樂聖誕》一片受到矚目，打後都不忘在他執導的電影中參上一角。42歲才在機緣巧合下執導第一部電影《小心惡警》，直言深受深作欣二的“野寇崽映畫”（Yakuza-eiga，一種日本類型電影，東映公司專長於這類影片，有明星高倉健和菅原文太以及導演深作欣二或是加登田家的參與，以日本“極道”的小混混充當首要角色的影片類型）所影響（另一位深作欣二超級影迷是Quentin Tarantino，他還拍了《Kill Bill》向他致敬），並加入一種被人稱為“暴力美學”的東西，初執導筒便一鳴驚人，創造出瞬間暴力與純粹安靜的特殊風格。

1994年8月的某個深夜，北野武騎重型摩托車發生嚴重車禍，導致面目神經受損。他高齡的母親聽到這個消息罵道：“要撞也不撞好一點的車！”車禍後的第三年，以《壞孩子的天空》及自導自演的《花火》重返電影界，當仁不讓地獲得威尼斯國際電影節金獅獎。相隔三十九年，他是第三位拿下這個獎的日本人，而第一位拿下威尼斯電影節金獅獎的日本人於98年去世，臨終前托孤於北野武：“日本的電影就拜託你了！”－黑澤明

連黑澤電影天皇也點名相挺，也是日本最近幾年在西方吃得開的作者導演，“彼得武”（藝名：Beat Takasi）更在電影界創造了一股暴力美學潮流。到目前為止，北野武演過三十多部電視劇及二十多部電影。導演了十四部電影，寫過八本小說及六本雜文。開過一次畫展。每星期還錄製七個電視節目。最近透過康城影展回歸其通俗的野寇崽電影題材，他說之前拍的文藝電影被批看不懂，沒關係，聞說北野武將更暴力也更娛樂，他只想拍些更“酷”的東西。那部電影叫《極惡非道》（Outrage）。

拍板視覺藝術團於九月為會員推介四部北野武的作品：

The director in focus for September in CUT is the famous Japanese director: Takeshi Kitano.

Takeshi Kitano, born in Tokyo in 1947, originally studied to become an engineer, but was thrown out of school for rebellious behavior. He learned comedy, singing and dancing from famed comedian Senzaburô Fukami. Working as a lift boy on a nightclub with such features as comic sketches and striptease dancing, Kitano saw his chance when a comedian suddenly fell ill, and he went on stage in the man's place, starting his show business in 1972 as "Beat" Takeshi, the stage name he continues to use today as a performer. As part of the comic duo Two Beats, Kitano was one of the leading figures in the manzai (stand-up comedy) boom in the late 1970s. With his distinctive art of speech and his idiosyncratic perspective, Kitano became one of the most popular entertainers in the country during the 1980s.

Since his 1989 directorial debut, Kitano has written, directed, edited or starred in almost a film per year without losing the momentum of his originality and heightened artistic sensibility. The extraordinary success of 1997's Fireworks (1997) confirmed Kitano's place as a leading figure of international cinema. Among its numerous awards, "Hana-bi" won Venice Film Festival's Golden Lion and was named Best Non-European Film by the European Film Academy. "Hana-bi" was cited on numerous "Best Films of the Year" lists, often in the #1 position.

In 2000 Kitano made Brother (2000), his first film shot outside of Japan. "Brother", like other Kitano-directed films such as his debut _Sono otoko, kyôbô ni tsuki (1990)_ (US title: "Violent Cop"), Boiling Point (1990) (US title: "Boiling Point") and Sonatine (1993), centered around yakuza (gangster) characters. The filmmaker contrasted the violence and action of those films with comedy or tenderness in films like A Scene at the Sea (1991) (US title: "A Scene at the Sea"), Getting Any? (1994) (US title: "Getting Any?"), Kids Return (1996) (US title: "Kids Return") and Kikujiro (1999). For the first time in six years, Kitano remained strictly behind the camera on Dolls (2002), his tenth film as a writer-director.

As an actor Kitano has also appeared in films that he has not directed himself. He won international attention for his role in Nagisa Ôshima'sMerry Christmas Mr. Lawrence (1983). He collaborated again with Oshima in 1999's samurai epic Taboo (1999) (US title: "Taboo"). He appeared in Kinji Fukasaku's controversial box-office smash Battle Royale (2000) (US title: "Battle Royale"). His credits in films directed by non-Japanese filmmakers include include Robert Longo's Johnny Mnemonic (1995) and Jean-Pierre Limosin's Tokyo Eyes (1998).

And we are introducing four films written and directed by him in September:


3/9 Fri
花火 Fireworks
1997/103min/Color/Japanese
21 wins &#038; 16 nominations


10/9 Fri
那天夏天，寧靜的海 A Scene At The Sea
1991/101min/Color/Japanese
11 wins &#038; 4 nominations


17/9 Fri
偶斷絲連 Dolls
2002/114min/Color/Japanese
2 wins &#038; 6 nominations


24/9 Fri
奏鳴曲 Sonatine
1993/94min/Color/Japanese
3 wins

]]></content:encoded>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>八月有戲体放暑假</title>
		<link>http://www.cutmacau.org/cutfilms/archives/667</link>
		<comments>http://www.cutmacau.org/cutfilms/archives/667#comments</comments>
		<pubDate>Sat, 07 Aug 2010 18:32:36 +0000</pubDate>
		<dc:creator>友戲体</dc:creator>
				<category><![CDATA[Announcer]]></category>
		<category><![CDATA[Uncategorized]]></category>

		<guid isPermaLink="false">http://www.cutmacau.org/cutfilms/?p=667</guid>
		<description><![CDATA[八月,踏入暑假了,非常感謝各位過去的支持.
友戲体仝人也需要休息一下. 休息是為了走更遠的路.

九月份我們會繼續為大家送上精彩電影.

我們九月再見 !

祝各位暑假快樂 !!   :D]]></description>
			<content:encoded><![CDATA[<p><span style="color: #3333ff;"><br />
</span></p>
]]></content:encoded>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Shaolin Soccer/少林足球</title>
		<link>http://www.cutmacau.org/cutfilms/archives/642</link>
		<comments>http://www.cutmacau.org/cutfilms/archives/642#comments</comments>
		<pubDate>Fri, 30 Jul 2010 05:41:05 +0000</pubDate>
		<dc:creator>友戲体</dc:creator>
				<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[足球瘋]]></category>

		<guid isPermaLink="false">http://www.cutmacau.org/cutfilms/?p=642</guid>
		<description><![CDATA[30/7
少林足球
Shaolin Soccer
2001/ 113min
香港Hong Kong/中國China
----------------------------------------------------------
導演/Director: 周星馳(Stephen Chow)
編劇/Screenwriter: 周星馳 / 曾謹昌 / 馮勉恒 / 馮志強 / 盧薇
主演/Actors: 周星馳 / 趙薇 / 吳孟達 / 謝賢
語言/Language: 粵語Cantonese/ 普通話Mandarin
 
　二十年前有“黃金右腳”之稱，但因一場被師兄強雄設計陷害的比賽而斷了右腳自此名譽掃地的明鋒（吳孟達）偶然認識了有驚人腳力的星（周星馳），說服了對方練習足球參加不久會舉行的全國超級杯足球大賽，星找來曾一同在少林寺習武的一幫師兄弟，並喚醒了他們快被平庸生活消磨光了的潛在鬥志，眾人經過歷練終結成名副其實的“少林隊”。阿梅（趙薇）以太極功夫製造饅頭，令星十分敬佩與之成了好友，但阿梅不只當星為好友，只因樣貌奇醜而自卑一直不敢表露心意。
　“少林隊”在全國超級杯足球大賽上屢戰屢捷殺進決賽，不想衛冕之戰對手竟是強雄（謝賢）所帶領的“魔鬼隊”，同二十年前一樣，強雄再耍陰招令“少林隊”節節敗退，關鍵時刻，阿梅現身。

Plot Summary:
A shaolin kung-fu practitioner is seeking a way to spread the word about his chosen art. He meets a down-on-his-luck lame ex-football player who trains him and his five brothers to play football. They form a team, and are soon entered in a prestigious tournament with a 1 million dollar prize. 


澳門電影人梁怡安 Ian Leung 推介語： 

“ 聞說本片當年在內地遭禁播，港片諧星周星馳執導之作，延續其過去草根式笑話、神經質的幽點表演、矛盾又跳脫的思維的語言行徑，成就一種以他為標誌性人物的港式電影類型：無厘頭喜劇。更確切的說，那是一種文化大雜燴：小人物向夢想進發的故事、正邪的二元對立、從成功到失敗再到成功的敘事模式、嚴肅諧仿與卡通化的風格並存，普寫著以足球及功夫為橋段的庶民文化讀本。雖然，他還是當位演員比較好（相對擔任導演而言），但要你捧腹的目的還是達到的。 ”]]></description>
			<content:encoded><![CDATA[30/7
少林足球
Shaolin Soccer
2001/ 113min
香港Hong Kong/中國China
----------------------------------------------------------
導演/Director: 周星馳(Stephen Chow)
編劇/Screenwriter: 周星馳 / 曾謹昌 / 馮勉恒 / 馮志強 / 盧薇
主演/Actors: 周星馳 / 趙薇 / 吳孟達 / 謝賢
語言/Language: 粵語Cantonese/ 普通話Mandarin
 
　二十年前有“黃金右腳”之稱，但因一場被師兄強雄設計陷害的比賽而斷了右腳自此名譽掃地的明鋒（吳孟達）偶然認識了有驚人腳力的星（周星馳），說服了對方練習足球參加不久會舉行的全國超級杯足球大賽，星找來曾一同在少林寺習武的一幫師兄弟，並喚醒了他們快被平庸生活消磨光了的潛在鬥志，眾人經過歷練終結成名副其實的“少林隊”。阿梅（趙薇）以太極功夫製造饅頭，令星十分敬佩與之成了好友，但阿梅不只當星為好友，只因樣貌奇醜而自卑一直不敢表露心意。
　“少林隊”在全國超級杯足球大賽上屢戰屢捷殺進決賽，不想衛冕之戰對手竟是強雄（謝賢）所帶領的“魔鬼隊”，同二十年前一樣，強雄再耍陰招令“少林隊”節節敗退，關鍵時刻，阿梅現身。

Plot Summary:
A shaolin kung-fu practitioner is seeking a way to spread the word about his chosen art. He meets a down-on-his-luck lame ex-football player who trains him and his five brothers to play football. They form a team, and are soon entered in a prestigious tournament with a 1 million dollar prize. 


澳門電影人梁怡安 Ian Leung 推介語： 

“ 聞說本片當年在內地遭禁播，港片諧星周星馳執導之作，延續其過去草根式笑話、神經質的幽點表演、矛盾又跳脫的思維的語言行徑，成就一種以他為標誌性人物的港式電影類型：無厘頭喜劇。更確切的說，那是一種文化大雜燴：小人物向夢想進發的故事、正邪的二元對立、從成功到失敗再到成功的敘事模式、嚴肅諧仿與卡通化的風格並存，普寫著以足球及功夫為橋段的庶民文化讀本。雖然，他還是當位演員比較好（相對擔任導演而言），但要你捧腹的目的還是達到的。 ”]]></content:encoded>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Cup/小喇嘛看世界盃</title>
		<link>http://www.cutmacau.org/cutfilms/archives/639</link>
		<comments>http://www.cutmacau.org/cutfilms/archives/639#comments</comments>
		<pubDate>Fri, 23 Jul 2010 05:29:17 +0000</pubDate>
		<dc:creator>友戲体</dc:creator>
				<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[足球瘋]]></category>

		<guid isPermaLink="false">http://www.cutmacau.org/cutfilms/?p=639</guid>
		<description><![CDATA[23/7
The Cup
小喇嘛看世界盃
2000 / 93min
澳大利亞Australia/不丹Bhutan
----------------------------------------------------------
編劇/Screenwriter: Khyentse Norbu
導演/Director: Khyentse Norbu 宗薩蔣揚欽哲仁波切
主演/Actors: Orgyen Tobgyal / Neten Chokling / Jamyang Lodro
語言/Language: 藏語/ Tibetan

　本片改編真人實事，並由事件主人翁在銀幕前現身說法、演出自己的故事。描述在一個遙遠的藏族村落裡，一群修道院裡的喇叭試著藉由一隻衛星接受器，讓當地人民能收看世界盃足球賽的轉播。
　當世界盃足球賽在法國如火如荼開打時，遠在喜馬拉雅深山的修道院裡，2個迷戀上足球的小喇嘛將那兒寧靜冥想的氣氛完全打破，修道院上上下下都彌漫一股對足球的狂熱。
　問題是：沒有電視機，沒有衛星接器，他們要如何收看世界盃足球賽的轉播呢？為了能亳無後顧之憂地欣賞世足賽的轉播，對足球瘋熱的小喇嘛想盡辦法要籌募租用費用。
　整個計畫充分考驗修道院裡小喇嘛們的團結機智和友情，處處散發幽默與智慧。
 
Plot Summary:
While the soccer World Cup is being played in France, two young Tibetan refugees arrive at a monastery/boarding school in exile in India. Its atmosphere of serene contemplation is somewhat disrupted by soccer fever, the chief instigator being a young student, the soccer enthusiast Orgyen. Prevented by various circumstances from seeing the Cup finals on television in a nearby village, Orgyen sets out to organize the rental of a TV set for the monastery. The enterprise becomes a test of solidarity, resourcefulness and friendship for the students, while the Lama, head of the monastery, contemplates the challenges of teaching the word of Buddha in a rapidly changing world.


澳門電影人梁怡安 Ian Leung 推介語：

“ 影片的誕生，使世界第一次注意到了不丹這個地圖上很難找尋的小國家。有趣的是，導演宗薩仁波切也是一個喇嘛，其經歷富有傳奇色彩。他於1961年生於不丹，7歲時，被確認為一代喇嘛宗師轉世；《高山上的世界盃》是他的第一部劇情片，到處洋溢著機智與溫情。封閉、克隱的藏傳佛教與開放、時尚的世界盃熱潮彷彿相對立，與流亡與思念交織在一起，情感與現實的矛盾，體現在流亡在外的藏人身上，同時表現出來的是流亡藏人對於傳統文化與現代文明的排斥與接受。令人難忘的是導演那嫻熟的電影語言，據說他13歲時，才第一次看到電視，從此被“影像”這東西所吸引。自傳式的電影有這樣的潛台詞：Buddhism is their philosophy. Soccer is their religion. ”
]]></description>
			<content:encoded><![CDATA[23/7
The Cup
小喇嘛看世界盃
2000 / 93min
澳大利亞Australia/不丹Bhutan
----------------------------------------------------------
編劇/Screenwriter: Khyentse Norbu
導演/Director: Khyentse Norbu 宗薩蔣揚欽哲仁波切
主演/Actors: Orgyen Tobgyal / Neten Chokling / Jamyang Lodro
語言/Language: 藏語/ Tibetan

　本片改編真人實事，並由事件主人翁在銀幕前現身說法、演出自己的故事。描述在一個遙遠的藏族村落裡，一群修道院裡的喇叭試著藉由一隻衛星接受器，讓當地人民能收看世界盃足球賽的轉播。
　當世界盃足球賽在法國如火如荼開打時，遠在喜馬拉雅深山的修道院裡，2個迷戀上足球的小喇嘛將那兒寧靜冥想的氣氛完全打破，修道院上上下下都彌漫一股對足球的狂熱。
　問題是：沒有電視機，沒有衛星接器，他們要如何收看世界盃足球賽的轉播呢？為了能亳無後顧之憂地欣賞世足賽的轉播，對足球瘋熱的小喇嘛想盡辦法要籌募租用費用。
　整個計畫充分考驗修道院裡小喇嘛們的團結機智和友情，處處散發幽默與智慧。
 
Plot Summary:
While the soccer World Cup is being played in France, two young Tibetan refugees arrive at a monastery/boarding school in exile in India. Its atmosphere of serene contemplation is somewhat disrupted by soccer fever, the chief instigator being a young student, the soccer enthusiast Orgyen. Prevented by various circumstances from seeing the Cup finals on television in a nearby village, Orgyen sets out to organize the rental of a TV set for the monastery. The enterprise becomes a test of solidarity, resourcefulness and friendship for the students, while the Lama, head of the monastery, contemplates the challenges of teaching the word of Buddha in a rapidly changing world.


澳門電影人梁怡安 Ian Leung 推介語：

“ 影片的誕生，使世界第一次注意到了不丹這個地圖上很難找尋的小國家。有趣的是，導演宗薩仁波切也是一個喇嘛，其經歷富有傳奇色彩。他於1961年生於不丹，7歲時，被確認為一代喇嘛宗師轉世；《高山上的世界盃》是他的第一部劇情片，到處洋溢著機智與溫情。封閉、克隱的藏傳佛教與開放、時尚的世界盃熱潮彷彿相對立，與流亡與思念交織在一起，情感與現實的矛盾，體現在流亡在外的藏人身上，同時表現出來的是流亡藏人對於傳統文化與現代文明的排斥與接受。令人難忘的是導演那嫻熟的電影語言，據說他13歲時，才第一次看到電視，從此被“影像”這東西所吸引。自傳式的電影有這樣的潛台詞：Buddhism is their philosophy. Soccer is their religion. ”
]]></content:encoded>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Offside/越位女球迷</title>
		<link>http://www.cutmacau.org/cutfilms/archives/635</link>
		<comments>http://www.cutmacau.org/cutfilms/archives/635#comments</comments>
		<pubDate>Fri, 16 Jul 2010 05:12:33 +0000</pubDate>
		<dc:creator>友戲体</dc:creator>
				<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[足球瘋]]></category>

		<guid isPermaLink="false">http://www.cutmacau.org/cutfilms/?p=635</guid>
		<description><![CDATA[16/7
Offside
越位女球迷
2006/93min
伊朗 Iran
----------------------------------------------------------
導演/Director: Jafar Panahi
主演/Actors: Sima Mobarak-Shahi / Shayesteh Irani / Ayda Sadeqi
語言/Language: 波斯語/Bosnian
 
　在當代的穆斯林國家裡，某些場所仍然禁止婦女?頭露面或者進入。2005年世界盃週邊賽，伊朗國家足球隊將在本土的德黑蘭體育場與巴林展開關鍵的一場廝殺。伊朗的球迷從四面八方趕來，為了深愛的國家隊搖旗?喊，站腳助威。這些球迷無一例外都是男性，當局以女性出席這種場合可能會受到污言穢語侵染為由，禁止女性走入體育場。但是仍有那麼幾個女孩子為了各種理由喬裝打扮前來，但通過士兵的層層防守談何容易……
 
　本片榮獲2006年柏林國際電影節銀熊獎、2006年吉耶國際青年人電影節最佳女主角獎和評委會特別獎。

Plot Summary:
"Offside" is about a group of Iranian girls who attempts to enter Tehran's Azadi Stadium dressed as boys in order to watch a big football match but some get caught and arrested. After the establishment of the Islamic Republic in Iran, women are not allowed to enter the stadiums. 

澳門電影人梁怡安 Ian Leung 推介語：

“對於伊朗電影的想像，或許你會想到叨叨不絕的阿巴斯和那些可愛的兒童電影。不過，這個多被誤解的伊斯蘭國度除了足球了得外，還有不錯的電影作品。這部名叫《Offside》的影片發生在2005年6月8日下午，為了能看到世界盃外圍賽，熱愛足球的六位女孩們打扮成男生的模樣，試圖混入球場，最終失敗了。這幾位女性球迷也夠“越位”，因為伊朗不容許女性觀看足球賽，然而，當她們在拘留所得悉伊朗以1：0戰勝巴林成功進入德國世界盃，越位的女球迷大呼“伊朗萬歲”時，她們是幸福的，伊朗人是幸福的－因為他們有著在未來可以回顧的集體記憶。有人說，足球的意義就是“Soon as old”。因此，原本僅是一項由殖民母國傳來的競爭遊戲，卻逐漸擴大為本土傳統的再發明，讓足球場在全球文明的競爭中成為創造、建構國家或個人身份認同意義的場所。嗯，那真是再美好不過的事！”]]></description>
			<content:encoded><![CDATA[16/7
Offside
越位女球迷
2006/93min
伊朗 Iran
----------------------------------------------------------
導演/Director: Jafar Panahi
主演/Actors: Sima Mobarak-Shahi / Shayesteh Irani / Ayda Sadeqi
語言/Language: 波斯語/Bosnian
 
　在當代的穆斯林國家裡，某些場所仍然禁止婦女?頭露面或者進入。2005年世界盃週邊賽，伊朗國家足球隊將在本土的德黑蘭體育場與巴林展開關鍵的一場廝殺。伊朗的球迷從四面八方趕來，為了深愛的國家隊搖旗?喊，站腳助威。這些球迷無一例外都是男性，當局以女性出席這種場合可能會受到污言穢語侵染為由，禁止女性走入體育場。但是仍有那麼幾個女孩子為了各種理由喬裝打扮前來，但通過士兵的層層防守談何容易……
 
　本片榮獲2006年柏林國際電影節銀熊獎、2006年吉耶國際青年人電影節最佳女主角獎和評委會特別獎。

Plot Summary:
"Offside" is about a group of Iranian girls who attempts to enter Tehran's Azadi Stadium dressed as boys in order to watch a big football match but some get caught and arrested. After the establishment of the Islamic Republic in Iran, women are not allowed to enter the stadiums. 

澳門電影人梁怡安 Ian Leung 推介語：

“對於伊朗電影的想像，或許你會想到叨叨不絕的阿巴斯和那些可愛的兒童電影。不過，這個多被誤解的伊斯蘭國度除了足球了得外，還有不錯的電影作品。這部名叫《Offside》的影片發生在2005年6月8日下午，為了能看到世界盃外圍賽，熱愛足球的六位女孩們打扮成男生的模樣，試圖混入球場，最終失敗了。這幾位女性球迷也夠“越位”，因為伊朗不容許女性觀看足球賽，然而，當她們在拘留所得悉伊朗以1：0戰勝巴林成功進入德國世界盃，越位的女球迷大呼“伊朗萬歲”時，她們是幸福的，伊朗人是幸福的－因為他們有著在未來可以回顧的集體記憶。有人說，足球的意義就是“Soon as old”。因此，原本僅是一項由殖民母國傳來的競爭遊戲，卻逐漸擴大為本土傳統的再發明，讓足球場在全球文明的競爭中成為創造、建構國家或個人身份認同意義的場所。嗯，那真是再美好不過的事！”]]></content:encoded>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Great Match/天涯海角瘋足球</title>
		<link>http://www.cutmacau.org/cutfilms/archives/633</link>
		<comments>http://www.cutmacau.org/cutfilms/archives/633#comments</comments>
		<pubDate>Fri, 09 Jul 2010 05:11:24 +0000</pubDate>
		<dc:creator>友戲体</dc:creator>
				<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[足球瘋]]></category>

		<guid isPermaLink="false">http://www.cutmacau.org/cutfilms/?p=633</guid>
		<description><![CDATA[09/ 7
La Gran Final 
天涯海角瘋足球/The Great Match
2006/ 88min
西班牙Spain/德國German
----------------------------------------------------------
導演/Director: Gerardo Olivares
編劇/Screenplay: Gerardo Olivares / Chema Rodriguez
主演/Actors: Atibou Aboubacar / Ahmed Alansar
語言/Language: 西班牙語 Spanish

　2002年世界盃決賽在即，全世界都為了那小小的皮球瘋狂著迷。蒙古阿爾泰山區，年輕人寇山（Esentai Samer Khan 飾）和父兄外出打獵。他無心眼前漸行漸遠的獵物，一心惦念即將上演的德國和巴西的總決賽。足球改變了這戶牧民千百年來逐水草而居的習慣，為了看到決賽，他們四處尋找電力；尼日爾泰內雷沙漠，落魄貴族哈桑（Atibou Aboubacar 飾）和隨從們在沙漠中長途跋涉，他們的駱駝身上綁著一台電視，但糊塗的隨從忘記帶蓄電池，他們必須儘快趕到“大樹”下以便準時收看決賽；巴西亞馬遜叢林，印第安原著民也為那狂熱的體育運動所吸引，獵人夏曼穿著巴西的9號球服，帶著夥伴四處尋找電視，好為他所支持的巴西隊?喊助威……
 
　在地球上三個不起眼的角落裡，當地的人們和其他60億同胞為足球齊聲歡呼。

Plot Summary:
A comedy about the attempts of tribal groups around the world to watch a soccer match.


澳門電影人梁怡安 Ian Leung 推介語：

“Gerardo Olivares導演發現不只在蒙古，在撒哈拉沙漠、亞馬遜雨林，總會遇到完全被現代文明摒除在外的一群人們，過著與世隔絕的原始生活，稀奇的是，他們卻都知道朗拿度球衣的背號，也能細數放丹所攔截下的每個關鍵球。本片透過三個平行的故事，強調全球廣播系統已經推翻傳統「時間」和「空間」的制度，讓人們可以立即且持續地接收異地他鄉的文化事務與訊息，並產生時空壓縮與延伸的全球效應。而那些超級足球球星更充當「文化的中介者」，有時更像是傳教士，與滲透力無遠弗屆，是對在地性價值的挑戰還是調和？倒不如說足球是「歡樂」的隱喻吧。”

]]></description>
			<content:encoded><![CDATA[09/ 7
La Gran Final 
天涯海角瘋足球/The Great Match
2006/ 88min
西班牙Spain/德國German
----------------------------------------------------------
導演/Director: Gerardo Olivares
編劇/Screenplay: Gerardo Olivares / Chema Rodriguez
主演/Actors: Atibou Aboubacar / Ahmed Alansar
語言/Language: 西班牙語 Spanish

　2002年世界盃決賽在即，全世界都為了那小小的皮球瘋狂著迷。蒙古阿爾泰山區，年輕人寇山（Esentai Samer Khan 飾）和父兄外出打獵。他無心眼前漸行漸遠的獵物，一心惦念即將上演的德國和巴西的總決賽。足球改變了這戶牧民千百年來逐水草而居的習慣，為了看到決賽，他們四處尋找電力；尼日爾泰內雷沙漠，落魄貴族哈桑（Atibou Aboubacar 飾）和隨從們在沙漠中長途跋涉，他們的駱駝身上綁著一台電視，但糊塗的隨從忘記帶蓄電池，他們必須儘快趕到“大樹”下以便準時收看決賽；巴西亞馬遜叢林，印第安原著民也為那狂熱的體育運動所吸引，獵人夏曼穿著巴西的9號球服，帶著夥伴四處尋找電視，好為他所支持的巴西隊?喊助威……
 
　在地球上三個不起眼的角落裡，當地的人們和其他60億同胞為足球齊聲歡呼。

Plot Summary:
A comedy about the attempts of tribal groups around the world to watch a soccer match.


澳門電影人梁怡安 Ian Leung 推介語：

“Gerardo Olivares導演發現不只在蒙古，在撒哈拉沙漠、亞馬遜雨林，總會遇到完全被現代文明摒除在外的一群人們，過著與世隔絕的原始生活，稀奇的是，他們卻都知道朗拿度球衣的背號，也能細數放丹所攔截下的每個關鍵球。本片透過三個平行的故事，強調全球廣播系統已經推翻傳統「時間」和「空間」的制度，讓人們可以立即且持續地接收異地他鄉的文化事務與訊息，並產生時空壓縮與延伸的全球效應。而那些超級足球球星更充當「文化的中介者」，有時更像是傳教士，與滲透力無遠弗屆，是對在地性價值的挑戰還是調和？倒不如說足球是「歡樂」的隱喻吧。”

]]></content:encoded>
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