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投奖 TOU JIANG

蔡明亮导演短片回顾展 / Tsai Ming-Liang

2024 Focus Director

VITA SHORTS 蔡明亮导演短片回顾展顺利举办。本次特别策划得到蔡明亮工作室与汯古霖电影公司支持。10月18日，上百位观众抵达上海，出席本次3部选片的内地首映，既见证蔡明亮导演强调的“作品自然生长”外，也得以从横跨十年的创作历程中照见自身。

作为亚洲最重要的电影作者之一，蔡明亮导演在持续进行长片创作的同时，也一直致力于探索着短片的边界。这些作品分别代表了蔡明亮导演不同的创作时期的风格。2002年，创作《天桥不见了》时，他还在用剧情片的方式诉说都市中疏离的人们。而在2008年的《蝴蝶夫人》中，蔡明亮导演首次身兼摄影，回到了自己的家乡马来西亚，用几个长镜头便勾勒出了当代人彷徨无措的状态。到了2012年，《无色》开启了他行者系列的长达十年的影像记录，借由快与慢的关系、人物与空间的关系，进行深层次的影像思考。

The 2024 VITA SHORTS Tsai Ming-Liang Retrospective was successfully held. This special program received support from Tsai Ming-liang Studio and Gu Lin Film Company. On October 18th, over a hundred viewers arrived in Shanghai to attend the mainland premiere of three selected films, witnessing not only the “natural growth of the work” emphasized by director Tsai Ming-liang but also reflecting on their own journey through his decade-long creative process.

As one of Asia’s most important filmmakers, Tsai Ming-liang has continuously focused on feature film creation while also exploring the boundaries of short films. These works represent different creative periods of Tsai Ming-liang’s style. In 2002, while creating The Skywalk Is Gone, Tsai was still using narrative film techniques to portray the alienation of people in the city. In 2008, with Madame Butterfly, Tsai Ming-liang took on the role of cinematographer for the first time, returning to his hometown in Malaysia, where he used a few long takes to depict the aimlessness of modern individuals. By 2012, No Color marked the beginning of his decade-long visual documentation in the “Walker” series, using the relationship between speed and slowness, and between people and space, to conduct a deep exploration of visual thinking.