コンテンツ種別写真動画複数枚｢#PR｣つき投稿 関連投稿国 指定なし 関連都道府県 指定なし 並び替え投稿日順 ライク数順 コメント数順 エンゲージメント率順【#電影節發燒友 11/12月】下期節目率先睇！ 【#CineFan Nov/Dec】Cine Fan Upcoming Programmes Unveiled! Cine Fan將帶影迷走一趟靈性探索之旅，呈獻波蘭的胡錫哈斯及丹麥的卡爾德萊葉的回顧展，他們憑藉獨特的光影魔法，拍出穿透靈魂的作品，影響深遠。 「胡錫哈斯百年祭──彷徉於時間的逆旅」：呈獻其十部長片，包括魔幻傳奇鉅作《薩拉戈薩手稿》及榮獲康城影展評審團獎的《砂漏療養院》； 「靈魂的守護者──卡爾德萊葉」：精選七部傑作，包括傳奇作《聖女貞德》及勇奪威尼斯影展金獅獎的《太初有道》； 為紀念剛去世的羅拔烈福，特別呈獻他與導演佐治萊希路及紅星保羅紐曼鐵三角合作的西部片《神槍手與智多星》及犯罪片《老千計狀元才》。 節目詳情可瀏覽 https://cinefan.hkiff.org.hk/zh 。門票由10月17日起於城市售票網公開發售。 Cine Fan will take you on a spiritual journey, featuring retrospectives of Poland’s Wojciech Jerzy Has and Denmark’s Carl Theodor Dreyer. The profound humanity and psychological depth embodied in their cinematic magic have an enduring influence in the pantheon of art cinema. ‘The Existential Voyage of Wojciech Jerzy Has’: Featuring ten of his seminal films, including magical epic masterpiece THE SARAGOSSA MANUSCRIPT and the Cannes Jury Prize-winning THE HOURGLASS SANATORIUM; ‘Gazing Into the Soul - Carl Theodor Dreyer’: Featuring seven masterpieces, including the legendary THE PASSION OF JOAN OF ARC and ORDET, which won the Golden Lion for Best Film at Venice; Paying tribute to the late Robert Redford, a special presentation of the Western BUTCH CASSIDY AND THE SUNDANCE KID and the caper THE STING, both Oscar-winning films in collaboration with director George Roy Hill and co-star Paul Newman. The entire programme and schedule are available at https://cinefan.com.hk . Tickets can be purchased at URBTIX from 17 Oct. ———————————————————————— 🎬電影節發燒友 CineFan Sep/Oct🎬： https://cinefan.hkiff.org.hk/period/2025/sep-oct-2025 🎬電影節發燒友 CineFan Nov/Dec🎬： https://cinefan.hkiff.org.hk/period/2025/nov-dec-2025 #HKIFF #香港國際電影節：https://www.hkiff.org.hk/ #CineFan #電影節發燒友：https://cinefan.hkiff.org.hk/2025/10/15に公開- 指定なしhttps://www.instagram.com/explore/tags/電影節發燒友#電影節發燒友https://www.instagram.com/explore/tags/CineFan#CineFanhttps://www.instagram.com/explore/tags/HKIFF#HKIFFhttps://www.instagram.com/explore/tags/香港國際電影節#香港國際電影節0.62%2210【#電影節發燒友 9/10月】吸血殭屍邪惡魅惑的濫觴 【#CineFan Sep/Oct】Vampire's Wicked Allure – How It Started 吸血殭屍神話歷久不衰，根據健力士世界紀錄，改編自斯托克的小說《德古拉》的電影／電視作品截至2015年已多達538部，近兩年至少有三部新作──羅拔艾格斯的《諾斯費拉圖》、雷杜祖迪的《德古拉》及洛比桑的《德古拉：愛情故事》（Dracula: A Love Tale）相繼登場。追本溯源，若論經典，除了茂瑙的默片《吸血殭屍》外，托布朗寧的《#殭屍誌異》及泰倫斯費沙的《#吸血殭屍》糅合邪惡魅惑及致命恐懼，為恐怖片奠定基石，比拉盧哥斯與基斯杜化李亦為德古拉塑造翩翩風度的不朽形象。在當代不少吸血鬼影片，依然可見這兩部傑作的影子。10月18日《殭屍誌異》設映後談， 由電影研究者劉嶔主講。 The vampire myth endures, with the film/television adaptations of Bram Stoker's novel Dracula reaching 538 titles by 2015, according to Guinness World Records. These two years see at least three new productions: Robert Eggers' NOSFERATU, Radu Jude's DRACULA, and Luc Besson’s DRACULA: A LOVE TALE. Tracing back to the origins, besides F.W. Murnau's silent classic NOSFERATU, Tod Browning’s #DRACULA and Terence Fisher's #HORROROFDRACULA also laid the foundations for horror cinema with their fascinating mix of sinister allure and gruesome terror. Bela Lugosi and Christopher Lee immortalised Dracula, and the influence of these two masterpieces remains palpable in many contemporary vampire films. ———————————————————————— 🎬電影節發燒友 CineFan Sep/Oct🎬： https://cinefan.hkiff.org.hk/period/2025/sep-oct-2025 #HKIFF #香港國際電影節：https://www.hkiff.org.hk/ #CineFan #電影節發燒友：https://cinefan.hkiff.org.hk/2025/10/14に公開- 指定なしhttps://www.instagram.com/explore/tags/電影節發燒友#電影節發燒友https://www.instagram.com/explore/tags/CineFan#CineFanhttps://www.instagram.com/explore/tags/殭屍誌異#殭屍誌異https://www.instagram.com/explore/tags/吸血殭屍#吸血殭屍https://www.instagram.com/explore/tags/DRACULA#DRACULAhttps://www.instagram.com/explore/tags/HORROROFDRACULA#HORROROFDRACULAhttps://www.instagram.com/explore/tags/HKIFF#HKIFFhttps://www.instagram.com/explore/tags/香港國際電影節#香港國際電影節0.23%820CineClub《頭文字D》放映及分享會圓滿結束！ CineClub’s INITIAL D Screening and Sharing Session Completed with Success CineClub於9月20日假邵氏影城杜比全景聲混音劇院舉行《#頭文字D》4K修復版放映及分享會。當日導演劉偉強、配樂陳光榮、真傳製作團隊的李耀強與杜本立，以及杜比實驗室的柯永德，為會員分享音效設計的幕後故事，深入剖析聲音如何全面提升電影的敘事魅力。更驚喜的是，導演麥兆輝特別現身，令現場氣氛更加熱烈！ 經典AE86車隊列陣成為會員的熱門打卡位，大家紛紛拍照留念，重溫電影中熱血澎湃的場景。 感謝所有會員參與！未來更多精彩活動，敬請期待！愛好電影的朋友，快來加入CineClub吧！ CineClub organised an exclusive event for subscribers, 4K restored version of #INITIALD screening and sharing session, on 20 September at Shaw Studios Dolby Atmos Mixing Theatre. Director Andrew Lau, composer Chan Kwong-wing, MBS Studios’ George Lee and Davy To, and Alex Or from Dolby Laboratories shared fascinating behind-the-scenes insights on how sound design enhances storytelling. Director Alan Mak’s surprise appearance made another highlight of the event. The iconic AE86s became the hot spot for snapping photos and revisiting the unforgettable scenes from the film. Thank you to all our subscribers for joining! Stay tuned for more events. All film lovers are welcome to join CineClub! ———————————————————————— 🎬電影節發燒友 CineFan Sep/Oct🎬： https://cinefan.hkiff.org.hk/period/2025/sep-oct-2025 #HKIFF #香港國際電影節：https://www.hkiff.org.hk/ #CineFan #電影節發燒友：https://cinefan.hkiff.org.hk/2025/10/10に公開- 指定なしhttps://www.instagram.com/explore/tags/頭文字D#頭文字Dhttps://www.instagram.com/explore/tags/INITIALD#INITIALDhttps://www.instagram.com/explore/tags/HKIFF#HKIFFhttps://www.instagram.com/explore/tags/香港國際電影節#香港國際電影節https://www.instagram.com/explore/tags/CineFan#CineFanhttps://www.instagram.com/explore/tags/電影節發燒友#電影節發燒友0.44%1580【#第50屆香港國際電影節】 現正接受報名參展！ 【#HKIFF50】Call for Entries! 香港國際電影節即將迎來50週年！定於2026年4月1日至12日舉行，HKIFF50由即日起至12月31日接受報名參展，11月2日或之前報名更可享早鳥優惠！ 我們的紀錄片競賽及國際短片競賽獲奧斯卡認可，兩項競賽的火鳥大獎得主將獲得競逐奧斯卡金像獎的資格。立即報名，期待你的作品與我們一齊慶祝50週年！ 此外，2026電影業辦公室項目市場 @hkiffindustry 將從9月9日至10月31日徵集尚在開發階段的劇情片電影計劃。11月3日至12月15日則接受拍攝中或後期製作階段的劇情片電影計劃申請。 The Hong Kong International Film Festival will be celebrating its 50th anniversary! Taking place from 1 to 12 April 2026, HKIFF50 is now accepting submissions until 31 December. Apply on or before 2 November to enjoy an early-bird discount! Don’t forget, the Firebird Award winners of our Short Film Competition and Documentary Competition are eligible to enter the Academy Awards! We look forward to your submissions, and celebrating our 50th anniversary together with you! Furthermore, the HKIFF Industry Project Market 2026 @hkiffindustry will be open for submissions for its in-development projects (IDP) from 9 September to 31 October 2025. Subsequently, applications for work-in-progress (WIP) projects, dedicated to feature films in production or post-production, will be accepted from 3 November to 15 December 2025. 報名及章程 For submissions and requirements：https://www.hkiff.org.hk/society/CallForEntries/ ———————————————————————— 🎬電影節發燒友 CineFan Sep/Oct🎬： https://cinefan.hkiff.org.hk/period/2025/sep-oct-2025 #HKIFF #香港國際電影節：https://www.hkiff.org.hk/ #CineFan #電影節發燒友：https://cinefan.hkiff.org.hk/2025/09/01に公開- 指定なしhttps://www.instagram.com/explore/tags/第50屆香港國際電影節#第50屆香港國際電影節https://www.instagram.com/explore/tags/HKIFF50#HKIFF50https://www.instagram.com/explore/tags/HKIFF#HKIFFhttps://www.instagram.com/explore/tags/香港國際電影節#香港國際電影節https://www.instagram.com/explore/tags/CineFan#CineFanhttps://www.instagram.com/explore/tags/電影節發燒友#電影節發燒友1.45%5183【#電影節發燒友 5/6/7月】伊奧塞里安尼的音聲妙韻 【#CineFan May/Jun/Jul】Otar Iosseliani’s Sound and Music #伊奧塞里安尼 討厭喋喋不休的電影，對聲音卻重視非常。《#有隻黑鳥在唱歌》及《#田園樂韻》不約而同以古典樂手為主角，但說的不止是音樂故事。前者透過一位散漫的第比利斯樂團鼓手，在街頭巷尾遊移晃蕩呼朋喚友，協奏出繁囂城市交響曲；後者則透過四重奏樂團從城市來到田園寓排練於度假，譜寫出鄉居生活的自然樂章。靈巧精妙的聲音設計，既推動故事的節奏，亦形成影片內在的韻律。拍子機與鐘錶的滴答前後呼應；咖啡店與街頭拍攝的喧鬧此起彼落；鳥兒啼唱與飛機轟鳴、流水淙淙與河中爆炸同時響起……以日常聲音交織出生活的豐盛與朝氣，不拘一格的形式、音韻、詩歌、溫柔與嬉戲，組成伊奧塞里安尼獨一無二的宇宙。 #OtarIosseliani despises films full of chatter, but takes sound and music seriously. #ONCEUPONATIMETHEREWASASINGINGBLACKBIRD and #PASTORALE both feature classical musicians, but they tell stories beyond music. In the former, a rambunctious orchestra percussionist wanders around the streets calling on his friends, bringing out magical sequences of the rich soundscape of Tbilisi’s streets and cafes, while in the latter, a city-dwelling quartet comes to the countryside for rehearsals, offering a biting contrast to the rural life which has its own natural melodies. The ingenious sound design not only leads the pace of the story, but also creates the internal rhythm of the film. The ticking of a metronome and a clock; the hustle and bustle of a coffee shop and a location shooting on the street; the singing of birds and the roaring of planes; the murmur of river and the explosion in the water… sound and music shape Iosseliani’s cinema, evoking the abundance and vitality of ordinary life. This combination of form, music, poetry, tenderness and playfulness constitutes the one and only Iosselianian universe. ———————————————————————— 🎬電影節發燒友 CineFan May/Jun/Jul🎬： https://cinefan.hkiff.org.hk/period/2025/may-jun-jul-2025 #HKIFF #香港國際電影節：https://www.hkiff.org.hk/ #CineFan #電影節發燒友：https://cinefan.hkiff.org.hk/2025/06/23に公開- 指定なしhttps://www.instagram.com/explore/tags/電影節發燒友#電影節發燒友https://www.instagram.com/explore/tags/CineFan#CineFanhttps://www.instagram.com/explore/tags/伊奧塞里安尼#伊奧塞里安尼https://www.instagram.com/explore/tags/有隻黑鳥在唱歌#有隻黑鳥在唱歌https://www.instagram.com/explore/tags/田園樂韻#田園樂韻https://www.instagram.com/explore/tags/OtarIosseliani#OtarIosselianihttps://www.instagram.com/explore/tags/ONCEUPONATIMETHEREWASASINGINGBLACKBIRD#ONCEUPONATIMETHEREWASASINGINGBLACKBIRDhttps://www.instagram.com/explore/tags/PASTORALE#PASTORALEhttps://www.instagram.com/explore/tags/HKIFF#HKIFFhttps://www.instagram.com/explore/tags/香港國際電影節#香港國際電影節0.18%640【#電影節發燒友 5/6/7月】提摩菲史樸的畫家泰納先生 【#CineFan May/Jun/Jul】Timothy Spall’s Mr. Turner 在《甜蜜生活》，他是倒楣兼帶點神經質的法國餐廳老闆；在《秘密與謊言》，他是心地善良而事業有成的攝影師；在《鬥氣歌劇院》，他是差點被刪減獨唱戲的歌劇明星；在《折翼天使》，他是苦口苦臉、為口奔馳的司機與父親；在《#光之畫家泰納先生》，他成了十九世紀英國浪漫派畫家威廉泰納。他是 #提摩菲史樸，#邁克李 的「御用」演員。 即使才華橫溢、經驗豐富如提摩菲史樸，他在預備演出《光之畫家泰納先生》時亦坦誠是一項挑戰。他懂繪畫，在排練開始前每周上繪畫班，以求拿起畫筆、專心作畫的形神兼備。泰納是一位超然物外，時而暴躁的藝術家，史樸的細膩演繹無懈可擊，憑此片榮膺康城影帝。邁克李提供絕佳框架與綵排空間，讓演員進入角色，得以充分發揮，亦應記一功。 In LIFE IS SWEET, he is an aspiring yet neurotic French restaurant owner; in SECRETS & LIES, he is a kind-hearted and successful photographer; in TOPSY-TURVY, he is an opera star whose solo is almost cut; in ALL OR NOTHING, he is a sad-faced and wounded minicab driver and father; and in #MRTURNER, he is the acclaimed 19th-century British painter J.M.W Turner. He is #TimothySpall, a great character actor known for his collaboration with #MikeLeigh. Even as talented and experienced as Timothy Spall is, he admitted that playing Turner was an enormous task that pushed him to the very limits of his acting ability. He knows how to draw and paint, and before rehearsals began, he took weekly painting classes to get the look and feel of how to hold a paintbrush and how to paint professionally. Turner was quite a detached, sometimes brutal man, and Spall’s exquisite portrayal of the artist and the man is so impeccable that he won Best Actor at Cannes. Mike Leigh also deserves credit for providing the perfect frame and rehearsal space for the actors to get into their roles, enabling them to perform to their full potential. ———————————————————————— 🎬電影節發燒友 CineFan May/Jun/Jul🎬： https://cinefan.hkiff.org.hk/period/2025/may-jun-jul-2025 #HKIFF #香港國際電影節：https://www.hkiff.org.hk/ #CineFan #電影節發燒友：https://cinefan.hkiff.org.hk/2025/06/19に公開- 指定なしhttps://www.instagram.com/explore/tags/電影節發燒友#電影節發燒友https://www.instagram.com/explore/tags/CineFan#CineFanhttps://www.instagram.com/explore/tags/光之畫家泰納先生#光之畫家泰納先生https://www.instagram.com/explore/tags/提摩菲史樸#提摩菲史樸https://www.instagram.com/explore/tags/邁克李#邁克李https://www.instagram.com/explore/tags/MRTURNER#MRTURNERhttps://www.instagram.com/explore/tags/TimothySpall#TimothySpallhttps://www.instagram.com/explore/tags/MikeLeigh#MikeLeighhttps://www.instagram.com/explore/tags/HKIFF#HKIFFhttps://www.instagram.com/explore/tags/香港國際電影節#香港國際電影節0.22%790【#電影節發燒友 5/6/7月】邁克李引人入勝的開場佈局 【#CineFan May/Jun/Jul】Mike Leigh’s Fascinating Opening Scenes 看 #邁克李 的作品，不能遲入場；因其開場佈局，每每別具巧思。《#與此同時》一開始，只見五名男女從公園走進大屋閒話家常，中年女人坐在沙發上面容繃緊，觀眾全然不知各人關係；影片主題圍繞失業，片首所見卻是市郊寧靜舒適的環境。《#前程似錦》開場是倫敦街道熙來攘往，其後聚焦一名初來甫到男子，讓人以為他是主角，及後才發現他只是過場角色，引渡主角出場。然而短短一幕，已展現了社區環境、工人的善意與守望相助的精神。 種種「含糊」與「誤導」的刻意安排，正是邁克李電影引人入勝之處。他認為平行對照、轉移注意力以至期望的開場手法非常有趣，讓觀眾自由想像、主動發現、繼而思考，才是電影之道。6月22日《與此同時》映後設座談會，影評人喬奕思及王勛將深入剖析邁克李的獨特風格。 You can't afford to be late for #MikeLeigh 's work, because the opening scenes are always fascinating. #MEANTIME starts with five men and women walking from a park into a decent house, where a middle-aged woman sits on a sofa with a disgruntled face. We have no idea who anyone is, nor how they are related to one another. It’s an urban film about unemployment, but the first thing that comes into our eyes is a lyrical, rural, idyllic place. In the opening scene of #HIGHHOPES, we see the London street busy with people and traffic, and then there’s a shot that isolates one guy who is new to the city. We think the film is about him, but it turns out he’s an incidental character. Yet such a short scene serves as an important introduction, including the community environment, the working-class nature, and their willingness to help a complete stranger. The deliberate arrangement of ‘ambiguity’, ‘juxtaposition’, and sometimes ‘diversionary’ devices is what makes Leigh's films so interesting and enticing. He believes the way of cinema is to inspire the audience to imagine, discover, and then think on their own. ———————————————————————— 🎬電影節發燒友 CineFan May/Jun/Jul🎬： https://cinefan.hkiff.org.hk/period/2025/may-jun-jul-2025 #HKIFF #香港國際電影節：https://www.hkiff.org.hk/ #CineFan #電影節發燒友：https://cinefan.hkiff.org.hk/2025/06/17に公開- 指定なしhttps://www.instagram.com/explore/tags/電影節發燒友#電影節發燒友https://www.instagram.com/explore/tags/CineFan#CineFanhttps://www.instagram.com/explore/tags/邁克李#邁克李https://www.instagram.com/explore/tags/與此同時#與此同時https://www.instagram.com/explore/tags/前程似錦#前程似錦https://www.instagram.com/explore/tags/MikeLeigh#MikeLeighhttps://www.instagram.com/explore/tags/MEANTIME#MEANTIMEhttps://www.instagram.com/explore/tags/HIGHHOPES#HIGHHOPEShttps://www.instagram.com/explore/tags/HKIFF#HKIFFhttps://www.instagram.com/explore/tags/香港國際電影節#香港國際電影節0.25%910【CineClub會員福利】香港管弦樂團：亞歷山大．戴斯培電影配樂經典 免費門票換領 【CineClub Privilege】HKPhil: THE FILM MUSIC OF ALEXANDRE DESPLAT Free Ticket Redemption 著名法國電影配樂作曲家、編曲家和指揮家 #亞歷山大戴斯培 以精湛的音樂才華和對電影的深刻理解聞名，迄今11次入圍奧斯卡並兩度得獎，亦曾兩奪金球獎和格林美獎。他的配樂為過百部電影注入靈魂，曾為《皇上無話兒》、《布達佩斯大酒店》、《解碼遊戲》、《色，戒》、《忘形水》、《哈利波特：死神的聖物》等經典電影譜曲，能夠與一眾導演緊密合作，讓各具風格的電影加以昇華！ 6月20日及21日，將由他的忠實演繹者兼藝術指導 #索爾蕾 指揮帶領港樂，呈獻這場奇幻音樂之旅——穿梭《布達佩斯大酒店》的粉紅童話、潛入《忘形水》的幽藍詩意，直至《哈利波特》終章的魔法對決。 香港管弦樂團 亞歷山大．戴斯培電影配樂經典 6月20日(五) 晚上8時 6月21日(六) 下午5時 香港文化中心音樂廳 節目詳情: https://go.hkphil.org/xa5vli CineClub 會員可由6月16日（星期一）上午10時起接受登記換領免費門票。每位觀眾只可登記其中一場場次的門票乙張。名額有限，先到先得，額滿即止: https://www.tickettailor.com/events/hkiffs/1736806 #AlexandreDesplat, the renowned French film composer, orchestrator, and conductor, has received numerous awards, including two Academy Awards, two Golden Globes, two Grammy Awards, and numerous other nominations and distinctions. His music has infused life into over 100 films, including The King’s Speech, The Grand Budapest Hotel, The Imitation Game, Lust, Caution, The Shape of Water, and Harry Potter and the Deathly Hallows. His exceptional musical talent and deep understanding of cinema allow him to collaborate closely with directors, elevating films across genres with his masterful compositions. June 20 & 21—Conductor #Solrey, a prolific musician and artistic director of Desplat’s music, will lead the HK Phil in this musical journey, from the pink fantasy of The Grand Budapest Hotel, to the mystical blue poetry of The Shape of Water, culminating in the epic final battle of Harry Potter and the Deathly Hallows. The Hong Kong Philharmonic Orchestra The Film Music of Alexandre Desplat 20 JUN (FRI) 8PM 21 JUN (SAT) 5PM Hong Kong Cultural Centre Concert Hall Programme Details: https://go.hkphil.org/xa5vli Online FREE registration by CineClub subscribers will start at 10 am on 16 June (Mon). Each person is entitled to ONE ticket of either one performance. Limited seats are available on a first-come, first-served basis: https://www.tickettailor.com/events/hkiffs/17368062025/06/14に公開- 指定なしhttps://www.instagram.com/explore/tags/亞歷山大戴斯培#亞歷山大戴斯培https://www.instagram.com/explore/tags/索爾蕾#索爾蕾https://www.instagram.com/explore/tags/AlexandreDesplat#AlexandreDesplathttps://www.instagram.com/explore/tags/Solrey#Solrey0.18%660【#電影節發燒友 5/6/7月】《鬥氣歌劇院》vs.《折翼天使》：舊時代與新世紀的對照 【#CineFan May/Jun/Jul】TOPSY-TURVY vs. ALL OR NOTHING: Victorian Era Against the 21st Century 《#鬥氣歌劇院》在 #邁克李 的作品中別樹一幟，皆因影片是一部時代劇，更是關於兩位歌劇泰斗──作曲家亞瑟蘇利文和劇作家基爾拔。邁克李自言製作此片動機有三：其一，他得以拍華衣美服的傳記電影，而不失人物為主的一貫主題；其二，透過兩位鬥氣藝術家的故事，探索娛樂事業的人與事；其三，拍過不少現代故事後，能坐一趟時光機回到過去是最好不過！況且他自小深愛劇場，拍《鬥氣歌劇院》展示台前幕後眾生相，以至整個維多利亞時代的英國生活文化，一舉數得。 《鬥氣歌劇院》叫好不叫座，邁克李在廿一世紀的首作《#折翼天使》重返現世的英國草根階層，繼續為工人雕刻生活群像。與出道初期描繪五十年代失業／失落青年的《與此同時》、《秘密與謊言》等作品不無相似，邁克李再從自身經驗出發，發覺新世紀比他成長的時代更糟糕。如今身為兩子之父，對於片中父親的寂寞、疏離、鬱悶更感同身受。 Among #MikeLeigh ’s contemporary social studies, #TOPSYTURVY takes a special place, as it’s a rare period film about two acclaimed artists of the theatre – composer Arthur Sullivan and dramatist W.S. Gilbert. The director shared three thoughts about the motivation of TOPSY-TURVY: one, it allows him to take on the genre of biopic and the lavish costume drama without losing the very core of his films, which is character; two, it would be an excellent device for exploring matters to do with those in the business of creating entertainment; three, having read extensively about this world, he can get into a time machine to go back and see what it was like. Leigh was always fascinated by theatre, and this film offered him a great opportunity to put the interesting characters of the Victorian era on the screen by creating them organically. After TOPSY-TURVY, Leigh's first film of the 21st century, #ALLORNOTHING, returns to his working-class domestic drama, portraying the lives of the working-class disaffected youth, resembling his earlier works like MEANTIME and SECRETS & LIES. Relating back to his own experience, Leigh considered the environment in the new century got worse than during his own youth. Now being a father of two, he can relate to what the father Phil goes through in the film, in terms of feeling lonely, isolated and depressed. ———————————————————————— 🎬電影節發燒友 CineFan May/Jun/Jul🎬： https://cinefan.hkiff.org.hk/period/2025/may-jun-jul-2025 #HKIFF #香港國際電影節：https://www.hkiff.org.hk/ #CineFan #電影節發燒友：https://cinefan.hkiff.org.hk/2025/06/13に公開- 指定なしhttps://www.instagram.com/explore/tags/電影節發燒友#電影節發燒友https://www.instagram.com/explore/tags/CineFan#CineFanhttps://www.instagram.com/explore/tags/鬥氣歌劇院#鬥氣歌劇院https://www.instagram.com/explore/tags/邁克李#邁克李https://www.instagram.com/explore/tags/折翼天使#折翼天使https://www.instagram.com/explore/tags/MikeLeigh#MikeLeighhttps://www.instagram.com/explore/tags/TOPSYTURVY#TOPSYTURVYhttps://www.instagram.com/explore/tags/ALLORNOTHING#ALLORNOTHINGhttps://www.instagram.com/explore/tags/HKIFF#HKIFFhttps://www.instagram.com/explore/tags/香港國際電影節#香港國際電影節0.21%751【#電影節發燒友 5/6/7月】《霧中來客》自創影史神話 【#CineFan May/Jun/Jul】THE STRANGER AND THE FOG Invents Its Own Mythology 被譽為伊朗新浪潮電影中最神秘及最莊嚴作品之一，巴林拜扎伊拍於1974年的《#霧中來客》在伊朗革命後被禁經年，去年獲修復後光芒再現，慶祝經典作問世五十周年。如夢如幻更如神話，故事始於一名陌生男子隨扁舟穿越濃霧，來到偏遠荒涼漁村，身受重傷、記憶全失，獲村民救治收留，並與美麗寡婦結婚，卻與她前夫家產生衝突。獲接納融入社群生活多年後，一直害怕的噩夢終隨霧襲來。糅合歷史、傳說、人類學及神秘學元素，影片以沉鬱的詩意、恢宏的氣魄及深邃的視野，建構出一個夢魘般的國度，寄寓七十年代伊朗的政治社會狀況，自創出影史上的神話。6月14日設映後談，由電影研究者劉嶔主講。 Hailed as one of the most mysterious and magisterial films of the Iranian New Wave, Bahram Beyzaie’s 1974 drama #THESTRANGERANDTHEFOG was banned for decades following the Iranian Revolution. A relentlessly oneiric parable, the visionary film begins when a stranger, named Ayat, arrives at a pre-modern seaside village, where he is revived but is viewed with suspicion. He falls in love with a local widow, causing tensions with her deceased husband’s family. After years of peace, he finally has to face the foreboding of being pursued by assailants from his forgotten past. Beyzaie fills the frame with whirling pageantry and frenzied theatrics, conjuring a mythical world that’s eye-catchingly ornate and ruthlessly bloody. Mixing history and legend, anthropology and mysticism, this visually ravishing masterwork invents its own mythology to critique the sociopolitical conditions of 1970s Iran. ———————————————————————— 🎬電影節發燒友 CineFan May/Jun/Jul🎬： https://cinefan.hkiff.org.hk/period/2025/may-jun-jul-2025 #HKIFF #香港國際電影節：https://www.hkiff.org.hk/ #CineFan #電影節發燒友：https://cinefan.hkiff.org.hk/2025/06/11に公開- 指定なしhttps://www.instagram.com/explore/tags/電影節發燒友#電影節發燒友https://www.instagram.com/explore/tags/CineFan#CineFanhttps://www.instagram.com/explore/tags/霧中來客#霧中來客https://www.instagram.com/explore/tags/THESTRANGERANDTHEFOG#THESTRANGERANDTHEFOGhttps://www.instagram.com/explore/tags/HKIFF#HKIFFhttps://www.instagram.com/explore/tags/香港國際電影節#香港國際電影節0.24%870【#電影節發燒友 5/6/7月】伊奧塞里安尼的悖逆詩意 【#CineFan May/Jun/Jul】The Unorthodox Poetry of Otar Iosseliani 見微知著，#伊奧塞里安尼 在求學時期所拍的短片，早已展現他輕靈敏銳、幽默跳脫的風格。雖就讀蘇聯國立電影學院，作品卻毫無社會寫實主義的色彩，反而深受尚維果不拘一格的電影所啟發。「伊奧塞里安尼短片集」涵蓋他蘇聯時期的兩部作品《#水彩畫》和《#四月》，及巴黎時期首部短片《#黑白電影七小章》，表面上奉行蘇共的寫實形式，精神上卻是法國新浪潮自由率性之風。 首部長片《#黃葉舞青風》透過理想主義青年在國營釀酒廠初出茅廬的故事，對計劃經濟下為求達標的官僚文化明嘲暗諷。青年拒絕同流合污的叛逆姿態，與伊奧塞里安尼拒絕跟從教條主義的規範如出一轍；他追求的電影世界及創作自由沒有界限，展現的人文精神亦是普世共通。無論拍於格魯吉亞、法國或任何地方，他的電影既不屬於任何派系，不流於任何浪潮，亦不受任何民族傳統所約束，而是自成一家。 6月15日「伊奧塞里安尼短片集」設映後座談會，由影評人李焯桃及電影研究學者林瀚光主講。 #OtarIosseliani 's short films, made during his school years, have already demonstrated his affectionate touch, sardonic humour, and ironic observations of the world. Although he studied at the Soviet State Film School, he never abided by the orthodoxies of socialist realism. Rather, his works were more inspired by the anarchic cinema of Jean Vigo. 'Otar Iosseliani Short Film Collection' compiles #AQUARELLE and #APRIL from the Soviet period, and #SEVENPIECESFORBLACKANDWHITE, the first short film he made in France. Though adhering on the surface to the visual precepts of cinematic realism, his films convey an unabashedly New Wave-like vibe. His first feature film, #FALLINGLEAVES, takes a satirical look at the bureaucratic culture of the planned economy through the story of an idealistic young man starting out in a state-run brewery. The young man's rebellious spirit and his resistance to oppression resonate with Iosseliani's refusal to conform to dogmatic norms; the cinematic world and creative freedom that he pursues are devoid of borders, and the humanity he conveys is universal. Whether shot in Georgia, France or anywhere else, his films do not seem to fit into any school, wave, or national tradition. It is a distinctive Iosselianian universe. ———————————————————————— 🎬電影節發燒友 CineFan May/Jun/Jul🎬： https://cinefan.hkiff.org.hk/period/2025/may-jun-jul-2025 #HKIFF #香港國際電影節：https://www.hkiff.org.hk/ #CineFan #電影節發燒友：https://cinefan.hkiff.org.hk/2025/06/09に公開- 指定なしhttps://www.instagram.com/explore/tags/電影節發燒友#電影節發燒友https://www.instagram.com/explore/tags/CineFan#CineFanhttps://www.instagram.com/explore/tags/伊奧塞里安尼#伊奧塞里安尼https://www.instagram.com/explore/tags/水彩畫#水彩畫https://www.instagram.com/explore/tags/四月#四月https://www.instagram.com/explore/tags/黑白電影七小章#黑白電影七小章https://www.instagram.com/explore/tags/黃葉舞青風#黃葉舞青風https://www.instagram.com/explore/tags/OtarIosseliani#OtarIosselianihttps://www.instagram.com/explore/tags/AQUARELLE#AQUARELLEhttps://www.instagram.com/explore/tags/APRIL#APRILhttps://www.instagram.com/explore/tags/SEVENPIECESFORBLACKANDWHITE#SEVENPIECESFORBLACKANDWHITEhttps://www.instagram.com/explore/tags/FALLINGLEAVES#FALLINGLEAVEShttps://www.instagram.com/explore/tags/HKIFF#HKIFFhttps://www.instagram.com/explore/tags/香港國際電影節#香港國際電影節0.28%990【#電影節發燒友 5/6/7月】《秘密與謊言》的沉重vs《職業女郎》的輕盈 【#CineFan May/Jun/Jul】SECRETS & LIES and CAREER GIRLS: Heaviness vs. Lightness 《#秘密與謊言》是 #邁克李 國際上最賣座的作品，究其成功，他認為原因有三：首先，影片探索身份問題，令不少人感同身受；其次，此片不單獲奧斯卡五項提名，更勇奪康城影展金棕櫚獎，亦令演活母親的白蓮達比芙連榮膺影后，有助宣傳；第三，在不少國家特別是天主教國家，追尋生母下落屬違法，不少被收養的人對此議題深感共鳴。兩場門票已售罄，多謝各位影迷支持！ 拍於《秘密與謊言》與《鬥氣歌劇院》兩部經典作之間，《#職業女郎》較受忽略，卻是邁克李的心頭好，皆因他拍此片時感受到某種創作自由。一個描述兩位職業女郎相約歡度周末的簡單故事，在小說的沉重與回憶的重構之間取得微妙平衡，蕩漾着輕盈、自由與清新氣息，有別於邁克李過往的寫實作品，瀰漫着詩意。 #SECRETS&LIES was #MikeLeigh’s most commercially successful film internationally. He considered three main reasons contributing to its success: first, it’s about identity, a theme that get through to people; second, it has five Oscar nominations, won the Palme d’Or and Best Actress for Brenda Blethyn at Cannes, which does an amazing amount of good for the film; third, in many countries, especially Catholic countries where it is illegal to trace one’s birth mother, those adopted people hit a nerve and find resonance in this film. Both screenings of SECRET & LIES are sold out. Thanks for all your support! Shot between two classics, SECRETS & LIES and TOPSY-TURVY, #CAREERGIRLS was relatively underrated, but Mike Leigh is immensely fond of it and finds it very moving. A simple story about two smart, single, professional women who met again and spent a weekend together, this film has a kind of inventive freedom. Falling between weightier major novels and historical reconstructions, it has a lightness, freedom and fresh air, conveying a kind of poetic quality that is unlike his other films. ———————————————————————— 🎬電影節發燒友 CineFan May/Jun/Jul🎬： https://cinefan.hkiff.org.hk/period/2025/may-jun-jul-2025 #HKIFF #香港國際電影節：https://www.hkiff.org.hk/ #CineFan #電影節發燒友：https://cinefan.hkiff.org.hk/2025/06/06に公開- 指定なしhttps://www.instagram.com/explore/tags/電影節發燒友#電影節發燒友https://www.instagram.com/explore/tags/CineFan#CineFanhttps://www.instagram.com/explore/tags/秘密與謊言#秘密與謊言https://www.instagram.com/explore/tags/邁克李#邁克李https://www.instagram.com/explore/tags/職業女郎#職業女郎https://www.instagram.com/explore/tags/SECRETS#SECRETShttps://www.instagram.com/explore/tags/MikeLeigh#MikeLeighhttps://www.instagram.com/explore/tags/CAREERGIRLS#CAREERGIRLShttps://www.instagram.com/explore/tags/HKIFF#HKIFFhttps://www.instagram.com/explore/tags/香港國際電影節#香港國際電影節0.24%861【#電影節發燒友 5/6/7月】法律的兩面：《逃獄歷險》的喜劇與《淒艷斷腸花》的懸念 【#CineFan May/Jun/Jul】Two Sides of the Law: Comedy and Suspense 佐治史提芬執導的神經喜劇《#逃獄歷險》，由加利格蘭、朗奴高文及珍雅打兩男一女紅星攜手泡製火熱的三角關係，妙趣橫生。被誤控縱火謀殺的里奧明知得不到公平審訊，於是越獄潛逃，躲進舊同學的空屋，卻遇上提前租住的法學教授。三人共處一屋，兩男遂成為競爭對手。人物性格突出，節奏錯落有致，劇情與喜感微妙平衡；詼諧、驚喜、錯摸共冶一爐，將本來嚴肅的含冤記，扭轉成輕鬆幽默佳作。6月7日設映後談，由電影研究者劉嶔主講。 《逃獄歷險》從冤案借題發揮，希治閣執導的《#淒艷斷腸花》則以著名大狀傾力為被控謀殺親夫的年輕寡婦洗脫罪名為主線，故事保持着令人驚奇和着迷的懸念，建構出重重迷陣。格力哥利柏飾演的辯護律師為情所困，變成傀儡，人性面臨嚴峻考驗。雖因創作自由受限未能盡情發揮，反而令希翁更專注畫面設計及技術挑戰，同時動用四部攝影機以多角度拍攝的法庭攻防戰尤為可觀。6月8 日設映後談，由影評人趙嘉薇主講。 George Steven’s nerve-wracking comedy #THETALKOFTHETOWN features a hilarious love triangle between Cary Grant, Ronald Colman, and Jean Arthur. Framed for an arson, Leopold escapes from prison and hides out in his former schoolmate Nora's empty house, where he meets Lightcap, a no-nonsense law professor who rents a room. Both having eyes for Nora, they enter into a series of comic misadventures. The rhythm is irregular, while the drama and comedy are well balanced, turning an otherwise serious story of injustice into a light-hearted masterpiece of humour and surprises. While THE TALK OF THE TOWN spins on an unfair trial, Alfred Hitchcock's #THEPARADINECASE builds on a solid legal drama to dabble in salacious themes like murder, adultery and psychosexual obsession. Gregory Peck stars as a bewitched defense lawyer who is so obsessively enamored with his client, a young widow accused of murdering her husband, that he is determined to get her off the hook by whatever means. Despite working under censorship, Hitchcock maintains his enthralling suspense while focusing more on design, camerawork and technical aspects. Using four cameras for shooting simultaneously, the elaborately choreographed courtroom sequence is particularly impressive. ———————————————————————— 🎬電影節發燒友 CineFan May/Jun/Jul🎬： https://cinefan.hkiff.org.hk/period/2025/may-jun-jul-2025 #HKIFF #香港國際電影節：https://www.hkiff.org.hk/ #CineFan #電影節發燒友：https://cinefan.hkiff.org.hk/2025/06/04に公開- 指定なしhttps://www.instagram.com/explore/tags/電影節發燒友#電影節發燒友https://www.instagram.com/explore/tags/CineFan#CineFanhttps://www.instagram.com/explore/tags/逃獄歷險#逃獄歷險https://www.instagram.com/explore/tags/淒艷斷腸花#淒艷斷腸花https://www.instagram.com/explore/tags/THETALKOFTHETOWN#THETALKOFTHETOWNhttps://www.instagram.com/explore/tags/THEPARADINECASE#THEPARADINECASEhttps://www.instagram.com/explore/tags/HKIFF#HKIFFhttps://www.instagram.com/explore/tags/香港國際電影節#香港國際電影節0.29%1021【#電影節發燒友 5/6/7月】《甜蜜生活》與《赤裸裸》：青年的失業、失意和失權 【#CineFan May/Jun/Jul】LIFE IS SWEET & NAKED: Exploring Frustrated, Disenfranchised, Unemployed Youth 《#甜蜜生活》與之前的《與此同時》、《前程似錦》及之後的《#赤裸裸》，同樣是關於青年的失業、失意和失權。不同的是，《與此同時》裏失業是常態，人人游手好閒，但到了《甜蜜生活》，人人忙於為口奔馳，只有女兒妮高娜與其男友無所事事。雖仍針對戴卓爾主義、企業主義及失業問題，但焦點已有所轉移。事實上，#邁克李 與拍檔自組製作公司Thin Man Films，《甜蜜生活》正是其首部出品；片中父親安迪打算買美食車，朋友奧布里開餐廳，兩人同樣希望成為老闆，反映出邁克李與鏡頭下人物當家作主的創業精神。 與聚焦家庭生活的前作有明顯分野，《赤裸裸》轉向探索一個獨特人物──表面上是無家可歸的流浪漢，甚至是暴力性愛的加害人，但同時是焦慮、失落及怨憤的理想主義者，大衛杜里斯令這個富爭議人物變得魅力不凡。雖然不少人批評他憤世嫉俗，甚至是厭女仇女，但邁克李認為他擁抱真實的價值觀，對世人世事感到悲觀失望，是當代年輕人的縮影。邁克李與大衛杜里斯更憑此片分別榮獲康城影展最佳導演奬及最佳男演員奬。6月7日設映後談，由影評人朗天主講。《赤裸裸》兩場門票已售罄，多謝各位影迷支持！ The films that #MikeLeigh made either side of #LIFEISSWEET – MEANTIME and HIGH HOPES before, #NAKED after – focus on frustrated, disenfranchised, unemployed youth. But the obvious difference is: in MEANTIME, everyone is unemployed, so it’s simply the status quo; in LIFE IS SWEET, they are all busy. It’s only the daughter Nicola and her boyfriend who have the problem. While following on the context of Thatcherism and entrepreneurism, this film has a different take on unemployment. In fact, LIFE IS SWEET is the first film produced by Thin Man Films, the production company set up by Leigh and his partner. The way that the father Andy plans to buy a caravan to sell burgers and his friend Aubrey runs a restaurant somehow reflects a sense of entrepreneurism – just as Leigh himself, they are branching out on their own. Moving away from the environs of the family home, NAKED is a departure from Leigh’s previous themes. It’s his conscious decision to investigate the complicated character of Johnny – beyond a homeless man, and even a misogynist as viewed by some, he is a frustrated, disappointed, embittered idealist. Many critics have asserted that Johnny is a cynic, but Leigh considered him a man who believes in real values, and is disillusioned about the way people and things are – like the young people of his generation. This breakthrough film won Leigh Best Director and David Thewlis Best Actor at Cannes. Both screenings of NAKED are sold out. Thanks for all your support! 2025/06/02に公開- 指定なしhttps://www.instagram.com/explore/tags/電影節發燒友#電影節發燒友https://www.instagram.com/explore/tags/CineFan#CineFanhttps://www.instagram.com/explore/tags/甜蜜生活#甜蜜生活https://www.instagram.com/explore/tags/赤裸裸#赤裸裸https://www.instagram.com/explore/tags/邁克李#邁克李https://www.instagram.com/explore/tags/MikeLeigh#MikeLeighhttps://www.instagram.com/explore/tags/LIFEISSWEET#LIFEISSWEEThttps://www.instagram.com/explore/tags/NAKED#NAKED0.34%1210【#電影節發燒友 5/6/7月】邁克李的「政治」電影 【#CineFan May/Jun/Jul】Mike Leigh's 'Political' Films #邁克李 的《#與此同時》、《七月裏的四天》及《#前程似錦》可說是戴卓爾夫人管治下催生的三部曲。雖然有人稱他為左翼游擊隊，但外界普遍認為他的作品沒有政治煽動性，邁克李更關注的是小人物在政治環境下的生存狀態。驅使他拍《與此同時》，正是有見失業率急升，而政府推出的措施只是隔靴搔癢的花招，毫無成效。片中一家三個男人同時失業，賦閒在家你爭我吵，映照的社會眾生相，是如此殘酷而真實。來到《前程似錦》，邁克李對新保守主義政權的憤怒及不滿更為明顯。一對工人階級的夫妻，加上患有早期老人痴呆症的獨居母親，以及一位慕富炫富的姐姐，三個家庭形成深刻對比。邁克李認為自己的電影從不說教，不想觀眾看完只得出一個簡單結論，而望能刺激思考，促使我們叩問生命何為，以及如何生活。 #MikeLeigh's #MEANTIME, FOUR DAYS IN JULY and #HIGHHOPES are in some way a trilogy of Thatcher-motivated films. While he is called by some a left-wing guerrilla, Leigh is not generally regarded as a political filmmaker; what he cares about most is how ordinary people live and survive in a political world. MEANTIME is more specifically motivated by the huge rise in unemployment and the superficial, palliative, gestural schemes the government was introducing to deal with the problem. The story of a family in which three men are unemployed and spend a great deal of time at home irritating one another is a realistic portrait of dysfunction and stagnancy in Thatcher-era London. HIGH HOPES is more driven by an angry and frustrated reaction to Thatcherism. The three members of the same family – a woman and her working-class husband, her mother who suffers from premature senile dementia, and her highly strung sister who likes to showcase her relative wealth – form a stark contrast. Leigh indicated clearly that he doesn't want to make the sort of didactic films from which you walk away with a single conclusion. He is more concerned with stimulating the audience to care about life and how we live it. ———————————————————————— 🎬電影節發燒友 CineFan May/Jun/Jul🎬： https://cinefan.hkiff.org.hk/period/2025/may-jun-jul-2025 #HKIFF #香港國際電影節：https://www.hkiff.org.hk/ #CineFan #電影節發燒友：https://cinefan.hkiff.org.hk/2025/05/30に公開- 指定なしhttps://www.instagram.com/explore/tags/電影節發燒友#電影節發燒友https://www.instagram.com/explore/tags/CineFan#CineFanhttps://www.instagram.com/explore/tags/邁克李#邁克李https://www.instagram.com/explore/tags/與此同時#與此同時https://www.instagram.com/explore/tags/前程似錦#前程似錦https://www.instagram.com/explore/tags/MikeLeigh#MikeLeighhttps://www.instagram.com/explore/tags/MEANTIME#MEANTIMEhttps://www.instagram.com/explore/tags/HIGHHOPES#HIGHHOPEShttps://www.instagram.com/explore/tags/HKIFF#HKIFFhttps://www.instagram.com/explore/tags/香港國際電影節#香港國際電影節0.26%950【#電影節發燒友 5/6/7月】伊奧塞里安尼電影的三大戒律 【#CineFan May/Jun/Jul】Three Golden Rules of Iosseliani Cinema #伊奧塞里安尼 的電影語言自成一家，自定三大戒律：第一，別改編巨著，因巨著乃為讀者而設，非以影像傳達意義；第二，別起用明星，明星就像熨斗，熨過的作品活不出生命；第三，別拍喋喋不休的電影，我們不是幹電台的，聲音與影像才是我們的工作。 大師愛用非職業演員，常找來親朋好友演出，也請來動物亮相，「因他們都不像演員，不會矯扭造作」。在《#別矣吾家》裏，他需要一個哲人，一個冷眼的觀者，於是找來一頭禿鸛：「這動物聰明得很，不怯懦，瞥見身邊的事情不對勁，牠唯一的反應，便是飛走了事。」禿鸛在片中只現身寥寥數鏡，卻有畫龍點睛之效，凸顯出物質豐裕社會的衰落。 伊奧塞里安尼本尊亦好粉墨登場，在《別矣吾家》自演無所事事的富老頭，與同愛詩歌與酒的流浪漢一見如故，齊齊遠走高飛。在《#遊戲星期一》他同樣扮演威尼斯富翁，在好友兒子到訪時裝模作樣，暗嘲上流社會的虛偽姿態。 #OtarIosseliani's film language is distinctive, with three golden rules he set for himself: first, don't adapt great literary works, which are meant to be read, and not to be illustrated by images; second, don't use famous actors and actresses. They enter into your film like a clothes iron and make it flat and tasteless; third, it is also absolutely forbidden to make a film full of chatter, since we are not in the radio business but in sound and image. The maestro loves to use non-professional actors, often bringing in friends and animals, which, ‘unlike actors, act naturally’. In #FAREWELLHOMESWEETHOME, he wanted a philosopher, a cool observer, so he had the idea of using a marabou: ‘It’s a very smart bird, not a dumb chicken. Its only response to the stupidity that goes on around it is to fly away.’ Appearing only in a few scenes, the marabou makes the theme of a declining materialistic society all the more prominent. Iosseliani himself always makes an appearance or a cameo in his films. In FAREWELL, HOME SWEET HOME, he plays a rich old man who meets a homeless man who shares his love of songs and alcohol. In #MONDAYMORNING, he also plays a wealthy Venetian man who tries to impress his friend’s son. His comic ostentation makes a mockery of the hypocrisy of the upper class. ———————————————————————— 🎬電影節發燒友 CineFan May/Jun/Jul🎬： https://cinefan.hkiff.org.hk/period/2025/may-jun-jul-2025 #HKIFF #香港國際電影節：https://www.hkiff.org.hk/ #CineFan #電影節發燒友：https://cinefan.hkiff.org.hk/2025/05/28に公開- 指定なしhttps://www.instagram.com/explore/tags/電影節發燒友#電影節發燒友https://www.instagram.com/explore/tags/CineFan#CineFanhttps://www.instagram.com/explore/tags/伊奧塞里安尼#伊奧塞里安尼https://www.instagram.com/explore/tags/別矣吾家#別矣吾家https://www.instagram.com/explore/tags/遊戲星期一#遊戲星期一https://www.instagram.com/explore/tags/OtarIosseliani#OtarIosselianihttps://www.instagram.com/explore/tags/FAREWELLHOMESWEETHOME#FAREWELLHOMESWEETHOMEhttps://www.instagram.com/explore/tags/MONDAYMORNING#MONDAYMORNINGhttps://www.instagram.com/explore/tags/HKIFF#HKIFFhttps://www.instagram.com/explore/tags/香港國際電影節#香港國際電影節0.23%810【#電影節發燒友 5/6/7月】真赫曼自然寫實的低調 【#CineFan May/Jun/Jul】The Nicely Realistic Low Key of Gene Hackman 影帝 #真赫曼 一生拍片逾80部，擔演的角色千變萬化，但他自言最愛的作品，是由謝利沙茲堡執導的《#同是天涯淪落人》：「這是我拍過唯一一部完全延續連貫的電影，讓我能抓住各種機會，真正塑造我的角色」。片中他扮演釋囚，率性放浪、脾氣暴躁，遇上阿爾帕仙奴飾演小丑氣質的水手，在加州公路結伴上路，共同目標是到匹茨堡開洗車公司。為了投入角色，兩人經常穿着戲服在三藩市街頭遊蕩，獲影評人Roger Ebert讚揚演技是「自然寫實的低調」。 全身投入角色，演技不着痕跡，正是真赫曼的過人之處。在阿倫柏加執導的《#烈血暴潮》，拍的是1964年美國密西西比，三K黨橫行、種族主義盛極之時，真赫曼飾演非常警探，與威廉迪福飾演的空降FBI上司奉命調查三名民權領袖失蹤事件。他走鋼線向嫌疑警妻入手，動之以情兼使用非常手段離間計，還死者一個公道。他與法蘭絲麥杜曼之間細膩含蓄的情感最是動人，拿下柏林影展最佳男演員銀熊獎實至名歸。 5月31日的《同是天涯淪落人》及6月1日的《烈血暴潮》均設映後談，分別由影評人朗天及陳志華主講。 The late legendary Hollywood actor #GeneHackman had a varied and celebrated career. Among the 80 films he starred in, he said the 1973 comedy-drama #SCARECROW directed by Jerry Schatzberg was his favorite project: 'It's the only film I've ever made in absolute continuity. And that allowed me to take all kinds of chances and really build my character.' Hackman plays a short-tempered ex-convict, alongside Al Pacino as a childlike former sailor. The two vagabonds hitchhike their way from California to Pittsburgh with plans of starting a car wash. To prepare for their roles, the two actors stayed in costume and character, spending time on the streets of San Francisco. Their remarkable performances received high praise from film critics, including the renowned Roger Ebert, who hailed their performances for 'striking a nicely realistic low key'. Immersing himself into every role, making his spectacular art look seamlessly simple is what makes Gene Hackman a great actor. In Alan Parker's #MISSISSIPPIBURNING, set in 1964 Mississippi where KKK and racism were rampant, Hackman plays a low-profile sheriff who is tasked with investigating the disappearance of three civil rights activists with an idealistic FBI agent, played by Willem Dafoe. He goes after the wife of a suspected police officer, using both emotional and underhanded tactics to bring justice to the victims. His subtle affection for Frances McDormand is most touching, winning him the Silver Bear for Best Actor at Berlinale. 2025/05/26に公開- 指定なしhttps://www.instagram.com/explore/tags/電影節發燒友#電影節發燒友https://www.instagram.com/explore/tags/CineFan#CineFanhttps://www.instagram.com/explore/tags/真赫曼#真赫曼https://www.instagram.com/explore/tags/同是天涯淪落人#同是天涯淪落人https://www.instagram.com/explore/tags/烈血暴潮#烈血暴潮https://www.instagram.com/explore/tags/GeneHackman#GeneHackmanhttps://www.instagram.com/explore/tags/SCARECROW#SCARECROWhttps://www.instagram.com/explore/tags/MISSISSIPPIBURNING#MISSISSIPPIBURNING0.25%900【#電影節發燒友 5/6/7月】梅齊德琳101歲冥壽 【#CineFan May/Jun/Jul】On Mai Zetterling’s 101st Birthday 「#梅齊德琳 的導演意志使她排除萬難堅持到底。其缺陷、成功和策略都值得重構，藉此讓我們發掘她在電影史和婦女史上的地位為何如此自相矛盾──同時被某些人記着甚至敬仰，卻又被另一些人完全遺忘。」《電影之癡：梅齊德琳的生平與作品》作者Mariah Larsson之言可謂一語中的。 明天是梅齊德琳101歲冥壽。際此時機，正好重溫她的兩部經典，讓我們重新認識這位瑞典女性主義電影先驅。《#相敬如賓》將三個臨盆在即的女人交織一起，透過回憶倒敘，重現她們生活與愛情的片段，涉及亂倫、虐戀、同性愛、毀滅之愛等大膽題材。《#不快樂的女孩》拍於1968年，男權當道、世界翻天覆地。三位女伶隨劇團巡迴演出希臘喜劇《利西翠坦》巡迴演出，漸漸以新眼光看待自己的生活和人際關係。兩片同樣挑戰歐洲當時依然保守的性別觀念，褒貶評價兩極，西蒙波娃對《不快樂的女孩》讚不絕口，認為「此片的美麗景致、詩意以及細膩柔情感人至深」。今天看來，梅齊德琳叩問的議題非但沒有過時，與當代社會互為對照，發現世界的進步竟是微乎其微。5月24日《相敬如賓》設映後談，由電影節節目策劃黃可欣主講。 '[Zetterling's] will to direct made her persist against all odds. Her pitfalls, her successes, and her strategies are well worth reconstructing and, by doing so, we can discover why her position in film history and women's history is so paradoxical—simultaneously remembered and even revered by some, yet completely forgotten by others,' said Mariah Larsson, author of 'A Cinema of Obsession: The Life and Work of #MaiZetterling'. On the occasion of Zetterling’s 101st birthday tomorrow, it's the right time to revisit her iconic works and get to know better her pioneering Swedish feminist cinema. #LOVINGCOUPLES weaves together the lives of three pregnant women, each reflecting on their personal and sexual lives. Through flashbacks, fragments of their lives and loves are retold – incestuous love, masochistic love, lesbian love, destructive love. In 1968 when #THEGIRLS was made, men were in charge and the world was burning. A travelling theatre company takes a production of Lysistrata on tour, and the three actresses start seeing their own lives and relationships through fresh eyes. Not surprisingly, her films received both overwhelmingly positive and outrageously negative reviews. Simone de Beauvoir loved THE GIRLS, commending this film for ’moving us by the beauty of its landscapes, its poetry and above all its subtle tenderness.’ As seen today, the issues that Zetterling addressed strike a new chord with contemporary society, revealing that little progress has been made in our world in the past century.2025/05/23に公開- 指定なしhttps://www.instagram.com/explore/tags/電影節發燒友#電影節發燒友https://www.instagram.com/explore/tags/CineFan#CineFanhttps://www.instagram.com/explore/tags/梅齊德琳#梅齊德琳https://www.instagram.com/explore/tags/相敬如賓#相敬如賓https://www.instagram.com/explore/tags/不快樂的女孩#不快樂的女孩https://www.instagram.com/explore/tags/MaiZetterling#MaiZetterlinghttps://www.instagram.com/explore/tags/LOVINGCOUPLES#LOVINGCOUPLEShttps://www.instagram.com/explore/tags/THEGIRLS#THEGIRLS0.2%710CineClub會員優先場：《腓尼基大作戰》 CineClub Exclusive Free Preview Screening: THE PHOENICIAN SCHEME 網上登記今朝10時開始！�https://www.tickettailor.com/events/hkiffs/1697174 CineClub又再為會員免費優先帶來萬眾期待的新作──鬼才導演 #韋斯安德遜 的《#腓尼基大作戰》！這部糅合間諜驚慄的黑色喜劇一如以往陣容鼎盛，班尼斯奧狄多路、湯漢斯、施嘉莉祖安遜、班尼迪甘巴貝治、馬修亞瑪希及米亞薛爾波頓等巨星雲集。故事聚焦一位軍火與航空界巨擘，六次逃過致命危機後，指定身為修女的唯一女兒為遺產繼承人。他為力保「畢生最重要的計劃」順利實現，聯同女兒及家庭教師踏上一趟驚險而奇異的旅程。繼《法蘭西諸事週報》及《小行星都市》後，安德遜獨特色調、對稱構圖的美學風格以及詭秘奇趣敘事再度發揮得淋漓盡致。詳情請留意https://cinefan.hkiff.org.hk/zh 。先到先得，額滿即止。 日期：2025年5月27日（星期二） 時間：7:55pm 地點：英皇戲院 Plus+ (大圍圍方) Online registration starts at 10am today!� https://www.tickettailor.com/events/hkiffs/1697174 CineClub is back with another exciting preview screening - the highly anticipated #THEPHOENICIANSCHEME by #WesAnderson, exclusively for our subscribers! This espionage thriller-cum-black comedy features a stellar ensemble cast, starring Benicio del Toro, Tom Hanks, Scarlett Johansson, Benedict Cumberbatch, Mathieu Amalric, and Mia Threapleton, to name a few. The story centres on a derring-do millionaire, who has survived six plane crashes, designating his only daughter, a nun, as the sole heir to his estate. To secure the future of his business ventures, they embark on an intriguing quest with a tutor. Following THE FRENCH DISPATCH and ASTEROID CITY, Anderson’s extravagant visual style and distinctive aesthetics are once again in full display in this latest work. Please visit https://cinefan.hkiff.org.hk/ for more details. Limited tickets are available on a first-come, first-served basis. Date: 27.5.2025 (Tue) Time: 7:55pm Venue: Emperor Cinemas Plus+ (Tai Wai) ———————————————————————— 🎬電影節發燒友 CineFan May/Jun/Jul🎬： https://cinefan.hkiff.org.hk/period/2025/may-jun-jul-2025 #HKIFF #香港國際電影節：https://www.hkiff.org.hk/ #CineFan #電影節發燒友：https://cinefan.hkiff.org.hk/2025/05/23に公開- 指定なしhttps://www.instagram.com/explore/tags/韋斯安德遜#韋斯安德遜https://www.instagram.com/explore/tags/腓尼基大作戰#腓尼基大作戰https://www.instagram.com/explore/tags/THEPHOENICIANSCHEME#THEPHOENICIANSCHEMEhttps://www.instagram.com/explore/tags/WesAnderson#WesAndersonhttps://www.instagram.com/explore/tags/HKIFF#HKIFFhttps://www.instagram.com/explore/tags/香港國際電影節#香港國際電影節https://www.instagram.com/explore/tags/CineFan#CineFanhttps://www.instagram.com/explore/tags/電影節發燒友#電影節發燒友0.23%812【#第四十九屆香港國際電影節】精華片段回顧🪄 【#HKIFF49】Festival Highlights🪄 第四十九屆香港國際電影節已於4月10至21日完滿舉行。恭喜所有火鳥大獎的得獎者，我們亦衷心感謝所有電影人與觀眾的參與，及對電影節的支持！HKIFF50暫定於2026年4月1日至12日舉行。約定你，明年一起慶祝五十周年！ That’s a wrap for HKIFF49! We extend our congratulations to all Firebird Award winners, and our deepest gratitude to all filmmakers and audiences for your participation and generous support! HKIFF50 will take place from 1 to 12 April 2026. See you next year on our 50th anniversary! ———————————————————————— 🎬電影節發燒友 CineFan May/Jun/Jul🎬： https://cinefan.hkiff.org.hk/period/2025/may-jun-jul-2025 #HKIFF #香港國際電影節：https://www.hkiff.org.hk/ #CineFan #電影節發燒友：https://cinefan.hkiff.org.hk/2025/05/21に公開- 指定なしhttps://www.instagram.com/explore/tags/第四十九屆香港國際電影節#第四十九屆香港國際電影節https://www.instagram.com/explore/tags/HKIFF49#HKIFF49https://www.instagram.com/explore/tags/HKIFF#HKIFFhttps://www.instagram.com/explore/tags/香港國際電影節#香港國際電影節https://www.instagram.com/explore/tags/CineFan#CineFanhttps://www.instagram.com/explore/tags/電影節發燒友#電影節發燒友0.16%590<前へ12345...32>次へ×インフルエンサーコンテンツCSVダウンロードフォロワー総数、フォロワー増減数、エンゲージメント数、エンゲージメント率ダウンロード※ データには投稿ID, キャプション, LIKE数, コメント数の他、投稿日, 投稿URL, Reel再生数, Reel動画尺, スクリーンネーム, 名前, 自己紹介, フォロワー数, ユーザーURLが含まれます。 コンテンツをCSVでダウンロード
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