阿菈姆・華克・戴維安 Aäläm-Wärqe DAVIDIAN
衣索比亞 Ethiopia、以色列 Israel、德國 Germany、法國 France | 2018 | DCP | Colour | 93min
蜜果樹的氣根纏繞著詛咒，卻也盛放著新鮮的情竇，正如 1989 年同時豢養著內戰與戀愛的衣索比亞。16 歲的米娜因戰亂離開衣索比亞，移居以色列之前，她與男友阿里鎮日走繞、攀附家鄉的蜜果樹，見證戰亂的恐懼及初嚐情愛的禁果，那混合苦澀的酸甜滋味，都是女導演 戴維安難忘的原鄉。當移民、逃難或離散只是一線之隔時，奔向自由可能是逃離煉獄，也可能就此揮別天堂。
16–year–old Jewish Mina, is trying to navigate between a surreal routine dictated by the civil war in Ethiopia and her last days of youth with her Christian boyfriend Eli. When she discovers that her family is planning to immigrate to Israel and escape the war, she weaves an alternate plan in order to save Eli. But in times of war, plans tend to go wrong.
阿菈姆・華克・戴維安，1980 年生於衣索比亞，於以色列 Sam Spiegel 影視學校學習電影，她曾執導《Transitions》、《Facing the Wall》二部短片，本片為其首部長片，即獲得多個獎項肯定。
Aäläm-Wärqe DAVIDIAN was born in Awash, Ethiopia. She studied cinema at Sam Spiegel Film & Television School. She directed the short films Transitions (2016) and Facing the Wall (2016). Fig Tree (2018) is her coming-of- age feature directorial debut.
2018 以色列奧斯卡最佳攝影獎 Best Cinematography Award, Israel's Ophir Awards
2018 多倫多影展最佳女性導演 Eurimages Audentia Award for Best Female Director, Toronto IFF
2018 華沙猶太影展最佳劇情片、最佳攝影獎 Best Narrative Feature Film, Best Cinematography Awards, Warsaw Jewish FF
On May 25th 1991, I had to unexpectedly leave my life in Ethiopia. I was an Orthodox Christian fourth grade student when my grandmother, Shui, suddenly appeared at Ras Abate Public School and asked me to accompany her home. On the way she told me that today we separate. She is sending me to Israel, following my biological mother. I spent the first years of my life sheltered under my grandmother's loving wings. Through the gaps in her feathers, I viewed a magical world occasionally scattered with horror. I was 10 years old, only a few days before Mengistu Haile Mariam was overthrown, and despite of the rumors about an impending war, my incognizant last days in Ethiopia passed quite normally.
I'm going back in time to “Shula” (fig) neighborhood, the place where I was born and my personality and views of the world were molded. Shula bounds between the village and Addis Ababa, a gray area of a modern society. It is populated by immigrants from various tribes and religions, who were fed up with the village life, but were not able to integrate fully into urban society. Fig Tree portrays the lives of two Shula families, Jewish and Christian whose complicated life circumstances tied their fate and established an inseparable relationship, based on warmth and solidarity.
I think of the people I had loved and left behind, the friends from “Shula” neighborhood that died while trying to have a life and the ones that became refugees, unable to find a place to settle safely and peacefully. Most of all, I want to tell the stories of the people that surround my memories and give a face on the lives of immigrants. While they might look happy and revived when they come to a new country, as if they achieved a goal, the truth is that for many of us, as for the Fig Tree's heroine, immigration is not just a new beginning but also the end of an era and a personal tragedy.