港影节

2022 Hong Kong film directed by Ho Cheuk-tin

2022 film directed by Jean-Pierre Dardenne and Luc Dardenne

2022 film by Philip Yung

2022 film directed by Mikhaël Hers

2022 film directed by François Ozon

2022 film directed by Saeed Roustayi

“Our family is special”, says filmmaker Lei Lei’s father Lei Jiaqi. On the audio track of this inventive, poignant essay film he starts to talk about the struggles of his family, amid China’s troubled times of the 1960s. When his own father, Lei Ting, is sent to the countryside, he stays behind with his sister and his ill mother. When Mum passes away, and the system forbids Ting to come back to live with his children, the kids are kept in an orphanage.
Not long after, history repeats itself: once again, Ting is sent to a re-education centre, branded a class traitor – this time because of a new political movement. The family is split. All they can do is write to each other. The daughters are older and going to university, while Jiaqi and his new mother are sent to the countryside. They all wait to be reunited one day.
For the images, the director mixes and reinvents materials, including brightly coloured clay puppets, propaganda images, surrealist collage, and pop-art animation. The animation is an imagined and fantastic representation of what happened to the family at the time: locked in cages, Jiaqi and his sister become birds, and Ting – as half bird, half man – can also fly.
Although the turbulent recent history of China is the thread running through this film, the strong, vivacious family takes the foreground. Silver Bird and Rainbow Fish is an ode to family, memory, and the reconstruction of family history in the History of China.

The story of a Ukrainian family living on the border of Russia and Ukraine during the start of the war. Irka refuses to leave her house even as the village gets captured by armed forces. Shortly after they find themselves at the center of an international air crash catastrophe on July 17, 2014.

40岁的抑郁症患者瓦利德与他的妻儿一起生活在海法，梦想从事写作的职业。当瓦利德与新邻居——一个住在他公寓楼里、负债累累的三流骗子成为朋友时，他的生活发生了变化，两人逐渐变得形影不离，但他们对这份友谊有着不一样的看法。

Di is a 12-year-old girl from the mist-shrouded mountains of northern Vietnam. She belongs to the Hmong, an ethnic minority in which girls get married at a very young age. This is often preceded by a controversial “bride-napping,” where the girl is abducted by her future husband on New Year’s Eve. Negotiations between the families follow.
This also happened to Di’s sister and their mother, so it doesn’t seem strange that in preparation the women and girls discuss sex and married life without embarrassment. But Di also goes to school, where she learns very different values. And in her own way, even Di’s mother tries to warn her daughter about child marriage.
Director Diem Ha Le tells a story about the clash between ancient customs and modern values, in a place where children from a traditional culture also have access to the outside world. Her first full-length documentary is a moving film about the challenges faced by a young Hmong girl, but above all is about a teenager with a strong character, and who is not just a victim.

烏胡伊烏瓦瓦族世世代代居於巴西亞馬遜叢林，仍守着其傳統文化及生活方式。極右總統博索納羅上台，卻揚言開發更多原住民保護區。雨林周邊的貧農乘勢入侵，以開墾之名，砍伐樹木闢地謀生。衝突如箭在弦，一名矢志保衛叢林的族中青年遇害，令族人團結，以航拍機揭露入侵真相，自建媒體進行輿論反擊。阿歷士普里茲首作，鋪陳正反雙方觀點，凸顯原住民生存挑戰及生態危機，矛頭指向縱容侵佔叢林的始作俑者。辛丹斯電影節世界紀錄片評審團特別獎。

在莫斯科，地铁通道里汇集着万千人事。一位打扮成圣诞老人的手风琴演奏者与一位困惑的乘客谈论陀思妥耶夫斯基、宇宙与俄罗斯灵魂；聚会的人们在新年兴致勃勃地唱歌；一个小贩徒劳地试图售出他的巨型气球。
伴随着尖锐刺耳的列车噪音，我们窥见这里发生的一切——从对一个闪烁的灯泡或一个熟睡的孩子等细微的观察，到街头艺人伴奏下的一段即兴舞蹈或是激烈的政治讨论。
莫斯科的地铁通道就像一个没有日光的社会，一片无人之地。在那里，任何人的去向似乎都不重要。车站的大理石墙壁和金色的灯具，为不断展开的悲喜剧构建了完美的戏剧背景，形形色色、来来往往的乘客也成为这出戏里的客串演员。
本片获IDFA最佳长片奖提名。

Three years after the loss of his brother Vittorio, with whom he shared his entire career, Paolo Taviani returns to the works of Luigi Pirandello, which the pair adapted in 1984 (Chaos) and 1998 (You Laugh). In keeping with the Sicilian playwright’s vision, the film is not at all what it appears to be. The title may come from a 1910 novella, but there is no trace of that book’s jealousy-riddled plot. Instead, the focus is on Pirandello himself, or rather, his ashes, which are transported from a hasty burial site in fascist Rome to a permanent resting place in Sicily, on a trek that takes us through post-war Italy and its filmed memories, as seen in newsreels, amateur films and fragments of Neorealism. Having buried the master, Leonora addio then shifts gear from road movie to film adaptation, but here it picks a different Pirandello story, namely the last one, written shortly before his death in 1936. From the farewell of the title to its return to the writer’s last words, it is hard not to read this work, so free and yet so much a part of the Taviani world, as a moving brotherly farewell which, just as in 2012’s Golden Bear winner Caesar Must Die, once again uses cinema to give voice to literature and history.

2022 film directed by Jerzy Skolimowski

一个家庭三代人的故事，从二战的超现实记忆到现代的柏林，他们处于一个仍在应对历史创伤的社会中，无法处理自己过往的经历。

谢尔盖·洛兹尼察是一位东欧历史的出色记录人。他的记录既涵盖了最近的事件，如《中央广场》（2014）中的乌克兰叛乱，也涵盖了更早的事件，如《国家葬礼》（2019）中的斯大林葬礼。他在展现过去时总是保持警觉，巧妙地运用档案素材，使观众仿佛成为现场目击者。在这部讲述1989年到1991年间，波罗的海国家立陶宛脱离苏联的影片中也是如此。这一以大量歌唱进行和平抗议的时期被称为"歌唱革命"。
作为独立运动的发起人之一，现年88岁的维陶塔斯·兰茨贝吉斯当时处于历史剧变的中心。借助大量关于示威活动、党代会和苏联军事干预的档案素材，他富于洞察力的思考得到补足。冗长的档案片段见证了在通往自由的道路上，兰茨贝里斯和他的同胞们所需要付出的耐心。这是一堂关于苏联解体的细致而引人入胜的历史课。
本片获IDFA竞赛单元最佳影片奖、最佳剪辑奖。

If Rojin doesn’t pass the university entrance exam, she will have to go through with an arranged marriage. If she does get in, she will be free. This is the pronouncement of her father, the head of the family. Rojin’s older sister Shilan tries to help her as best she can, yet every well-meant action draws the young woman deeper into a web of deceit and lies. An absorbing drama and daring probe into the theme of a woman’s right to her own life.

Captain Fedor Volkonogov is part of the law enforcement system. He is appreciated by the commander and respected by colleagues. But the moment comes for Captain's life to take the abrupt turn - he is criminally charged. Captain manages to escape prior to the arrest turning in a split of the second into prey hunted down by ex-colleagues. At night Fedor receives the warning from the afterlife that he is destined for Hell and eternal torments. Though Captain still has a chance to change the destiny and be accepted to Heaven under condition that he repents and at least one person grants him sincere forgiveness. Fedor sets on a mission to find absolution without idea of the trials he is to face on this route.

罗马尼亚的外西凡尼亚郊区，三名人道救援工作者，开着载满物资的车前往偏僻村庄，欲帮助当地的贫困老人。始于有说有笑的轻松旅途，却在遇上拦车的老人后变了调。在老人的引导下，三人驶离大路、沿着陌生小径开往未曾听闻的锯木厂，突来的意外让三人原本的真情畅聊，演变成相互怪罪的情感泥淖，人道救援的初衷，也正面临前所未有的考验。一旦遭逢极限，私欲浮动，「善行」是否该有限度？

罗马尼亚新浪潮导演拉杜摩堤恩，借人道救援工作带出外西凡尼亚遗世独立的社会问题，亦对善意的本质提出尖锐质问；当地素人饰演的孤独老人深陷往日荣光，徘徊在前往过去的路上，鬼魅般揪出各种人性的另一面。卡在路上的不只是越野车，更是情感、初衷与社会责任的严重触礁。

2013. Exiled in Switzerland, Olga, a talented and passionate 15-year-old Ukrainian gymnast, is trying to secure a place in the National Sports Centre. But the Euromaidan revolt erupts in Kyiv, and suddenly her loved ones are involved. While the girl is adapting to her new country and preparing for the European Championships, the Ukrainian revolution makes its way into her life, and nothing will ever be the same again.