《小傢伙》 "Ayka" скачать в хорошем качестве

《小傢伙》 "Ayka"

2018 法國康城電影節 – 主競賽單元最佳女主角 2018 亞洲電影大獎 - 最佳女主角 2018 日本東京 FILMeX 影展 – 評審團大獎 艾卡扳開醫院的窗戶，逃入莫斯科肆虐的風雪。沒人知道她剛生下一個嬰孩，還背負著兩萬盧布巨債。追債的電話不停地響，沒有居住證的她不停奔忙，即便如此，她仍不願回到窮困的中亞家鄉。 在寵物診所，艾卡終於找到工作，生活漸趨穩定。她對貓狗們說：「小傢伙，一切都會好起來的」。但債主的逼近讓艾卡再次陷入絕境，她只有一個解決辦法，代價極其高昂...... 沙基‧迪夫薛福原為這部書寫移民女性求生絕境的新作《小傢伙》打磨了十年。細膩的角色與女主角莎瑪葉斯利亞莫娃出色的表演，演活了這部緊湊、寫實的母親哀歌，並摘下當屆康城影后及亞洲電影大獎最佳女主角殊榮。 焦點導演 - 沙基 ‧ 迪夫薛福 哈薩克斯坦導演沙基 ‧ 迪夫薛福原是航空工程師。上世紀90年代，他意外入讀電影學院，就此踏上導演之路。迪夫薛福憑藉直率的表達自成風格，聚焦城市邊緣、社會底層的《天堂》（Paradise, 1995）、《麵包來的日子》（Bread Day, 1998）、《雜耍家族》（Highway, 1999）等紀錄傑作，以削弱講述、呈現行為的手法，祛除了潛在的矯飾，成就獨有電影美學。然而，2004年，拍畢《黑暗之中》（In the Dark, 2004）的迪夫薛福表示厭倦了紀錄片，他認為這會對人們造成打擾，是一種剝削。 此後，善用長鏡頭緊湊地帶領觀眾跟隨角色的迪夫薛福，憑藉拍攝紀錄片所積累的豐富經驗與獨特風格，相繼交出劇情片《大耳無罪》（Tulpan, 2008）和《小傢伙》（Ayka, 2018）。在向劇情片轉型後，迪夫薛福仍寫實地讓我們感受到人物的生存困境與慾望。這兩部影片的成功表明，真實並不因虛構而削弱，哈薩克血統賦予迪夫薛福德的生命力仍在影像中噴薄而出。迪夫薛福的電影告訴我們縱使科技再發達，世界仍然有一個角落，讓你無法預知、亦無法解碼人性的種種。 是次沙基 ‧ 迪夫薛福回顧展， 導演本人將親臨澳門。讓我們透過迪夫薛福的作品，走進寫實與魔幻交集的中亞電影世界。 2018 Best Actress – Cannes Film Festival 2018 Best Actress – Asian Film Awards 2018 Grand Prize – Tokyo FILMex Ayka climbed out of a window in the hospital, and nobody knows she had just given birth to a baby. She is in huge debt ( 20,000₽ Russian ruble), and her debtors are desperately seeking her. She has no residential permit. Ayka’s life is terrible, but she is reluctant to return home in the Central Asia. Her life has become better since she works at a veterinary hospital. She says to the cats and dogs, “Kids, I will make you better”. However, her life is still in the grip of the debtors, and she has to pay a price. Dvortsevoy has spent ten years working on this Palme d'Or nominee. Ayka portrays the depressing life of a mother. Samal Yeslyamova’s remarkable performance earned her the Best Actress awards at the Cannes Film Festival and Asian Film Awards. Director In Focus - Sergey DVORTSEVOY Kazakh filmmaker Sergey Dvortsevoy was an aviation engineer and became a director after his studying filmmaking in the 1990s. Despite insufficient training of theory, Dvortsevoy applies a straightforward narrative style and focuses on socially-marginal characters. His remarkable portfolio includes Paradise (1995), Bread Day (1998), Highway (1999), and demonstrates his storytelling aesthetics: minimal narration and manipulation, and long takes of action taking the shape of the story itself. After his 2004 work, In the Dark, Dvortsevoy seems tired of documentary, which he thinks takes on a suppressive and disturbing power. Afterwards Dvortsevoy started making fictional features, combining his documentary-making experience and style. Both in his debut, Tulpan (2008), and in his latest film, Ayka, (2018), he still applies long takes to unfold human desire and dilemma. The success of these demonstrate that authenticity can be achieved with fiction. In these remarkable works, the Kazakh filmmaker proactively shows that many unexpected and incomprehensible things are to be discovered despite the power of science. For this retrospective, Dvortsevoy will come and meet with Macao audiences. Hope you can join us and enjoy his cinematic world. 11/8 (Sun), 19:30 29/8 (Thu), 19:30 第四屆澳門國際紀錄片電影節 4th Macao International Documentary Film Festival 10-31/8 網頁 website：https://bit.ly/2YsxQUK 小冊子 brochure：https://bit.ly/2Y6ntX3