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焦點影人I:菲利浦・勒薩吉

惡魔

The Demons
導演

菲利浦・勒薩吉 Philippe LESAGE

資訊
輔15

加拿大 Canada | 2015 | DCP | Colour | 118min

放映場次

2019-08-30 (五) 11:30 in89統領影城 9廳

2019-08-26 (一) 12:40 in89統領影城 1廳

影片介紹

10歲的菲力克斯生活在蒙特婁的平靜郊區,白日是外表天真無憂的孩子,黑暗降臨時,他害怕成為被綁架的下一個目標,擔心父母吵架離婚,憂慮與朋友的秘密性遊戲會患病,更恐懼無光房間裡突然閃現的幽靈。小鎮兒童失蹤頻傳,夏日泳池仍滿是歡笑的小孩,與隨時在旁的救生員,生活似是無波安全,然而菲力克斯的恐怖幻夢正逐漸映照出日常中的不安與危險。巴哈名曲《馬太受難記》的管弦樂疊合在校園孩童的身影,他們內心潛藏的懼怕以悲劇配樂體現,揉雜著現實、扭曲複雜的資訊和無法控制的想像力。

菲利浦・勒薩吉以個人童年為本,標誌出與身體發育並存,卻常被成人忽略、遺忘的主題——兒童的恐懼。

While Montreal is in the throes of a string of kidnappings targeting young boys, ten-year-old Felix is finishing his school year in the seemingly quiet suburb where he lives. A sensitive boy with a vivid imagination, Felix is afraid of everything. Little by little, his imaginary demons begin to mirror those of the truly disturbing world around him. The Demons (2015) deals with a subject seldom explored in cinema: children’s fears. Children in general are afraid of everything; in this twisted and imaginary realm, there is a very real and imperfect world, often dark and terrifying, in which adults totally driven by their inner demons move about.

導演
菲利浦・勒薩吉 Philippe LESAGE
導演介紹

菲利浦.勒薩吉,1973年出生於加拿大魁北克,完成蒙特婁麥基爾大學文學與丹麥歐洲電影學院電影的學士學位後,以記錄社會學家阿蘭.圖賴訥為主題,並與其著作同名的紀錄片《Can We Live Together?》(2006)展開他的執導生涯。將紀錄片手法體現於劇情片,勒薩吉擅長運用鏡頭的流動呈現人物的眼神、表情與神態,捕捉瑣碎的對話,如詩的敍事與混融其中的音樂,留予觀眾大量自我解讀的空間,輕靈地振出青春與生命本是多磨的共鳴。

Philippe Lesage (born in 1973) is a Canadian director and screenwriter from Québec, Canada. He studied at McGill University and the European Film College in Denmark and began his career as a documentary filmmaker. He directed his first feature film in 2006, “Can We Live Together?”, a documentary about the sociologist Alain Touraine and the Parisian suburb crisis. From 2008 to 2009, he returned to the European Film College to teach documentary. By embodying the documentary concept in drama, Lesage specializes in representing the expressions of the characters with the flow of the lens, and captures trivial dialogues in order to bring out poetic narratives along side a beautiful touch of music. He leaves a lot of space for the audience’s own self-interpretation and lightly resonates themes of youth and life.

2010 蒙特婁紀錄片影展評審團獎最佳加拿大電影、加拿大魁北克最佳新人 Grand Prize for Best Canadian Feature, Best New Talent From Quebec/ Canada, RIDM
2012 魁北克電影獎最佳紀錄片 Best Documentary, Jutras Awards
2016 多倫多影展加拿大十大電影 Canada's Top Ten, Toronto IFF
2016 鐵達尼影展衝浪人獎 Breaking Waves Award, Titanic IFF
2016 舊金山影展金門獎、最佳新導演 Golden Gate Award, New Director, San Francisco IFF
2016 哥本哈根影展 CPH PIX FF
2017 哥特堡影展 Göteborg FF
2017 布宜諾斯艾利斯獨立影展 Buenos Aires FICI

導演的話

《惡魔》討論的是在電影裡極少提到的議題:兒童的恐懼。故事的靈感來自於1980年代晚期,在我的童年留下深遠影響的真實事件,結合了現實中常被忽略的感知。孩子們對所有事物感到害怕;這扭曲與充滿想像的國度裡,存在著一個非常真實、充滿瑕疵的世界,而通常既黑暗又令人恐懼的,是那些被內心惡魔所操縱的成人。

電影《惡魔》裡,我的目的並非依循典型的敍事手法,而是讓自己去順從生命的邏輯。沒錯,整部電影是有其張力。沒錯,角色有其各自的意圖。沒錯,他們都在與自己的惡魔對抗。沒錯,這個故事如漸強音般建立起一個自己的架構。沒錯,它同時也是一連串的碎片,是一幅幅以人生與記憶為顏料繪製而成的絢麗印象派場景。現實世界跟記憶裡的世界一樣,有些事情仍未完成、未解決而且依然神秘。這與精心設計的將一系列場景串聯起來的精緻敘事截然相異。

我的紀錄片導演經歷深深地影響了我看待電影的方式。我意識到,在顯而易見的日常平庸背後,隱藏著無數真實生命與充滿意義的迷人故事。我相信自己成為了一位更好的觀察者,能夠隨時保持警覺,熱衷於在拍攝現實生活時獲得的真實元素,細細織入劇情片電影製作的過程裡。

“The Demons deals with a subject seldom explored in cinema: children’s fears. It is a story inspired by a blend of real-life events and perceptions that are not always anchored in reality, which have made a mark on my childhood in the late 1980s. Children in general are afraid of everything; in this twisted and imaginary realm, there is a very real and imperfect world, often dark and terrifying, in which adults totally driven by their inner demons move about.”

“In The Demons, my intention was not to follow a classic approach but to submit myself to the logic of life. Yes, there is tension. Yes, the characters have objectives. Yes, they struggle with their demons. And yes, the story has a structure of its own that builds to a kind of crescendo. Yet it is also a series of fragments – impressionistic tableaus drawn from life and memories. In the real world as in the realm of memories, some things remain unfinished, unresolved and mysterious. It is the exact opposite of stringing together a sequence of scenes within a carefully crafted narrative.”

“My experience as a documentary filmmaker has deeply influenced the way I look at films. I realize that behind the apparent banality of everyday life, there are countless fascinating stories that are amazingly true to life and full of meaning. I believe I have become a better observer, always on the look-out, keen on weaving into the feature filmmaking process realistic elements acquired by filming real life.”

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