인스타그램 스토리 뷰어
인스타그램 스토리를 익명으로 보기
hkiffs
Hong Kong International Film Festival
🎬電影令世界大同Uniting the World through Film
【#電影節發燒友 5/6/7月】Cine Fan下期節目率先睇！
【#CineFan May/Jun/Jul】Cine Fan Upcoming Programmes Unveiled!
看罷伊迪高安怡迪的《寂靜的朋友》，想起她的匈牙利同鄉、當代大師貝拉塔爾？如你喜歡維拉齊媞洛娃的《模範公屋》，另一捷克新浪潮巨匠維拉席的作品更不容忽視。論前衛大膽的女性書寫，現有嘉兒西蒙的《昔文今讀安妮艾諾》，二十世紀杜哈絲的作品亦享負盛名。
· 「時間凝思 光影低迴──懷念貝拉塔爾」專題：涵蓋其全十部長片經典作，包括首作《居巢》、風格奠定作《煉獄人間》、《撒旦探戈》及終作《都靈老馬》；
· 「往事如詩──維拉席的影像世界」專題：精選出道作《白鴿》、史詩鉅作《亂世英豪》及《炎夏的陰影》共六部傑作；
· 「字影流光──杜哈絲的書寫美學」專題：六部改編其小說或自撰劇本的經典作，包括《廣島之戀》、《情人》及金棕櫚得獎作《長別離》；
· 蘇珊桑塔亦從文字延伸至影像創作的《饞人對歌》與《卡爾兄弟》。
節目詳情可瀏覽https://cinefan.hkiff.org.hk/zh。門票由4月10日起於城市售票網公開發售。
Watching Ildikó Enyedi’s SILENT FRIEND brings to mind the masterpieces of Hungarian maestro Béla Tarr? If you like Věra Chytilová's PANELSTORY, OR HOW A HOUSING DEVELOPMENT IS BORN, you should further explore the works of František Vláčil, another pioneer of the Czech New Wave. When it comes to bold female narratives, it would be interesting to compare Claire Simon’s WRITING LIFE – ANNIE ERNAUX THROUGH THE EYES OF HIGH SCHOOL STUDENTS, with Marguerite Duras’ works of experimental flair.
· ‘The Melancholy of Existence - Béla Tarr’s Contemplative Cinema’: Showcasing all ten of his classic feature films, including his debut FAMILY NEST, his style-defining DAMNATION, SATANTANGO, and his final work THE TURIN HORSE;
· ‘The Poetics of the Past – The Cinema of František Vláčil’: A selection of six films, his debut THE WHITE DOVE, MARKETA LAZAROVÁ, and SHADOWS OF A HOT SUMMER;
· ‘The Transformative Scripts of Marguerite Duras’: A selection of six classic films adapted from her novels or original screenplays, including HIROSHIMA MON AMOUR, THE LOVER, and the Palme d’Or-winning THE LONG ABSENCE;
· Susan Sontag’s directorial works: DUET FOR CANNIBALS and BROTHER CARL.
The entire programme and schedule are available at https://cinefan.com.hk. Tickets can be purchased at URBTIX outlets from 10 Apr.
————————————————————————
🗓️ #HKIFF50 | 1 - 12 APR 2026
🎫片單詳情 Film List🎫 : https://www.hkiff.org.hk/film/list
🎬電影節發燒友 CineFan May/Jun/Jul 🎬：
https://cinefan.hkiff.org.hk/period/2026/may-jun-jul-2026
#HKIFF #香港國際電影節：https://www.hkiff.org.hk/
#CineFan #電影節發燒友：https://cinefan.hkiff.org.hk/
#CSTB #CCIDAHK #文化體育及旅遊局 #文創產業發展處 #電影發展基金
【#電影節發燒友 5/6/7月】Cine Fan下期節目率先睇！
【#CineFan May/Jun/Jul】Cine Fan Upcoming Programmes Unveiled!
看罷伊迪高安怡迪的《寂靜的朋友》，想起她的匈牙利同鄉、當代大師貝拉塔爾？如你喜歡維拉齊媞洛娃的《模範公屋》，另一捷克新浪潮巨匠維拉席的作品更不容忽視。論前衛大膽的女性書寫，現有嘉兒西蒙的《昔文今讀安妮艾諾》，二十世紀杜哈絲的作品亦享負盛名。
· 「時間凝思 光影低迴──懷念貝拉塔爾」專題：涵蓋其全十部長片經典作，包括首作《居巢》、風格奠定作《煉獄人間》、《撒旦探戈》及終作《都靈老馬》；
· 「往事如詩──維拉席的影像世界」專題：精選出道作《白鴿》、史詩鉅作《亂世英豪》及《炎夏的陰影》共六部傑作；
· 「字影流光──杜哈絲的書寫美學」專題：六部改編其小說或自撰劇本的經典作，包括《廣島之戀》、《情人》及金棕櫚得獎作《長別離》；
· 蘇珊桑塔亦從文字延伸至影像創作的《饞人對歌》與《卡爾兄弟》。
節目詳情可瀏覽https://cinefan.hkiff.org.hk/zh。門票由4月10日起於城市售票網公開發售。
Watching Ildikó Enyedi’s SILENT FRIEND brings to mind the masterpieces of Hungarian maestro Béla Tarr? If you like Věra Chytilová's PANELSTORY, OR HOW A HOUSING DEVELOPMENT IS BORN, you should further explore the works of František Vláčil, another pioneer of the Czech New Wave. When it comes to bold female narratives, it would be interesting to compare Claire Simon’s WRITING LIFE – ANNIE ERNAUX THROUGH THE EYES OF HIGH SCHOOL STUDENTS, with Marguerite Duras’ works of experimental flair.
· ‘The Melancholy of Existence - Béla Tarr’s Contemplative Cinema’: Showcasing all ten of his classic feature films, including his debut FAMILY NEST, his style-defining DAMNATION, SATANTANGO, and his final work THE TURIN HORSE;
· ‘The Poetics of the Past – The Cinema of František Vláčil’: A selection of six films, his debut THE WHITE DOVE, MARKETA LAZAROVÁ, and SHADOWS OF A HOT SUMMER;
· ‘The Transformative Scripts of Marguerite Duras’: A selection of six classic films adapted from her novels or original screenplays, including HIROSHIMA MON AMOUR, THE LOVER, and the Palme d’Or-winning THE LONG ABSENCE;
· Susan Sontag’s directorial works: DUET FOR CANNIBALS and BROTHER CARL.
The entire programme and schedule are available at https://cinefan.com.hk. Tickets can be purchased at URBTIX outlets from 10 Apr.
————————————————————————
🗓️ #HKIFF50 | 1 - 12 APR 2026
🎫片單詳情 Film List🎫 : https://www.hkiff.org.hk/film/list
🎬電影節發燒友 CineFan May/Jun/Jul 🎬：
https://cinefan.hkiff.org.hk/period/2026/may-jun-jul-2026
#HKIFF #香港國際電影節：https://www.hkiff.org.hk/
#CineFan #電影節發燒友：https://cinefan.hkiff.org.hk/
#CSTB #CCIDAHK #文化體育及旅遊局 #文創產業發展處 #電影發展基金
【#電影節發燒友 5/6/7月】Cine Fan下期節目率先睇！
【#CineFan May/Jun/Jul】Cine Fan Upcoming Programmes Unveiled!
看罷伊迪高安怡迪的《寂靜的朋友》，想起她的匈牙利同鄉、當代大師貝拉塔爾？如你喜歡維拉齊媞洛娃的《模範公屋》，另一捷克新浪潮巨匠維拉席的作品更不容忽視。論前衛大膽的女性書寫，現有嘉兒西蒙的《昔文今讀安妮艾諾》，二十世紀杜哈絲的作品亦享負盛名。
· 「時間凝思 光影低迴──懷念貝拉塔爾」專題：涵蓋其全十部長片經典作，包括首作《居巢》、風格奠定作《煉獄人間》、《撒旦探戈》及終作《都靈老馬》；
· 「往事如詩──維拉席的影像世界」專題：精選出道作《白鴿》、史詩鉅作《亂世英豪》及《炎夏的陰影》共六部傑作；
· 「字影流光──杜哈絲的書寫美學」專題：六部改編其小說或自撰劇本的經典作，包括《廣島之戀》、《情人》及金棕櫚得獎作《長別離》；
· 蘇珊桑塔亦從文字延伸至影像創作的《饞人對歌》與《卡爾兄弟》。
節目詳情可瀏覽https://cinefan.hkiff.org.hk/zh。門票由4月10日起於城市售票網公開發售。
Watching Ildikó Enyedi’s SILENT FRIEND brings to mind the masterpieces of Hungarian maestro Béla Tarr? If you like Věra Chytilová's PANELSTORY, OR HOW A HOUSING DEVELOPMENT IS BORN, you should further explore the works of František Vláčil, another pioneer of the Czech New Wave. When it comes to bold female narratives, it would be interesting to compare Claire Simon’s WRITING LIFE – ANNIE ERNAUX THROUGH THE EYES OF HIGH SCHOOL STUDENTS, with Marguerite Duras’ works of experimental flair.
· ‘The Melancholy of Existence - Béla Tarr’s Contemplative Cinema’: Showcasing all ten of his classic feature films, including his debut FAMILY NEST, his style-defining DAMNATION, SATANTANGO, and his final work THE TURIN HORSE;
· ‘The Poetics of the Past – The Cinema of František Vláčil’: A selection of six films, his debut THE WHITE DOVE, MARKETA LAZAROVÁ, and SHADOWS OF A HOT SUMMER;
· ‘The Transformative Scripts of Marguerite Duras’: A selection of six classic films adapted from her novels or original screenplays, including HIROSHIMA MON AMOUR, THE LOVER, and the Palme d’Or-winning THE LONG ABSENCE;
· Susan Sontag’s directorial works: DUET FOR CANNIBALS and BROTHER CARL.
The entire programme and schedule are available at https://cinefan.com.hk. Tickets can be purchased at URBTIX outlets from 10 Apr.
————————————————————————
🗓️ #HKIFF50 | 1 - 12 APR 2026
🎫片單詳情 Film List🎫 : https://www.hkiff.org.hk/film/list
🎬電影節發燒友 CineFan May/Jun/Jul 🎬：
https://cinefan.hkiff.org.hk/period/2026/may-jun-jul-2026
#HKIFF #香港國際電影節：https://www.hkiff.org.hk/
#CineFan #電影節發燒友：https://cinefan.hkiff.org.hk/
#CSTB #CCIDAHK #文化體育及旅遊局 #文創產業發展處 #電影發展基金
【#電影節發燒友 5/6/7月】《磨坊與十字架》免費放映會
【#CineFan May/Jun/Jul】Free Screening of THE MILL & THE CROSS
HKIFF Cine Fan與法國五月攜手呈獻免費放映會，選映波蘭導演李治馬祖斯基的《#磨坊與十字架》。以電影作畫布，結合電腦特技，馬祖斯基重新演繹十六世紀畫家老彼得布魯格爾的名作《受難之路》，生動還原畫家創作時目睹的社會狀況，展現當時小人物的眾生相，尤其是政權對新教徒的殘酷迫害。電影讓畫中人物活靈活現，邀請觀眾親歷其境去感受及沉思。
*此節目為《香港賽馬會呈獻系列︰邂逅蒙羅麗莎．文藝復興的再現》之延伸教育活動，並由香港賽馬會慈善信託基金獨家贊助。
免費放映會詳情
日期：6月13日（星期六）
時間：晚上7時45分
地點：香港藝術中心古天樂電影院
公眾可由5月26日（星期二）早上10時起網上登記，先到先得，額滿即止。
詳情請留意https://cinefan.hkiff.org.hk/zh 。
HKIFF Cine Fan and French May Arts Festival co-present a free screening of #THEMILLTHECROSS by Polish director Lech Majewski. Using film as his canvas and incorporating computer-generated effects, Majewski reimagines the 16th-century painter Pieter Bruegel the Elder’s masterpiece ‘The Way to Calvary’, vividly recreating the social conditions witnessed by the artist during its creation and portraying the lives of ordinary people at the time, particularly the brutal persecution of Protestants. The film brings the figures in the painting to life, inviting the audience to immerse themselves in the experience and reflect upon it.
*This screening is part of the extensive education programmes of ‘The Hong Kong Jockey Club Series: Meet Mona Lisa & Portraying the Renaissance’. It is exclusively sponsored by the Hong Kong Jockey Club Charities Trust.
Free Screening Details
Date: 13 June (Saturday)
Time: 7:45 pm
Venue: Louis Koo Cinema, Hong Kong Arts Centre
Members of the public may register online from 10:00 am on 26 May (Tuesday). Seats are available on a first-come, first-served basis. For more information, please visit https://cinefan.hkiff.org.hk .
—————————————————————————
🎬電影節發燒友 CineFan May/Jun/Jul 🎬：
https://cinefan.hkiff.org.hk/period/2026/may-jun-jul-2026
#HKIFF #香港國際電影節：https://www.hkiff.org.hk/
#CineFan #電影節發燒友：https://cinefan.hkiff.org.hk/
#CSTB #CCIDAHK #文化體育及旅遊局 #文創產業發展處 #電影發展基金
【#電影節發燒友 5/6/7月】《卡爾兄弟》：桑塔最具野心之作
【#CineFan May/Jun/Jul】BROTHER CARL: Sontag’s Most Ambitious Work
《#卡爾兄弟》是 #蘇珊桑塔 繼《饞人對歌》後的第二部作品，同樣是周旋於四個人物，但着重更複雜的人際關係與生命難題。知名影評人莊拿頓盧辛鵬力排眾議，譽之為桑塔最具野心之作，「即使失敗，亦遠比她首作那微不足道的成功更值得玩味」。錯綜複雜的劇情涉及兩對自我折磨的情侶，各人轉化為彼此的複製與扭曲鏡像。影片雖略嫌堆砌，將過多特效與氛圍層層疊加於每個場景，然而精煉對白與出色配樂甚為可觀，她別具一格的想法依然引人入勝。
#BROTHERCARL is #SusanSontag’s second film, following DUET FOR CANNIBALS. While it similarly revolves around four characters, it focuses on more complex interpersonal relationships and the dilemmas of life. Renowned film critic Jonathan Rosenbaum, going against the grain, hailed it as Sontag’s most ambitious work, stating that ‘its failure is far worthier than the modest success of her first film’. The complex plot involves two self-torturing couples, who are duplicating and distorting mirrors of each other. Although the film is somewhat overloaded with special effects and atmospheric layers piled onto every scene, the effective dialogue and excellent music score remain highly commendable, and Sontag’s unique vision continues to captivate.
—————————————————————————
🎬電影節發燒友 CineFan May/Jun/Jul 🎬：
https://cinefan.hkiff.org.hk/period/2026/may-jun-jul-2026
#HKIFF #香港國際電影節：https://www.hkiff.org.hk/
#CineFan #電影節發燒友：https://cinefan.hkiff.org.hk/
#CSTB #CCIDAHK #文化體育及旅遊局 #文創產業發展處 #電影發展基金
【#電影節發燒友 5/6/7月】《饞人對歌》：反詮釋理論實踐
【#CineFan May/Jun/Jul】DUET FOR CANNIBALS: A Film Against Interpretation
#蘇珊桑塔 電影知識之淵博及評論之獨到毋庸置疑，但當她手執導筒拍出首作《#饞人對歌》，評論卻非一面倒讚好。一段兜兜轉轉錯綜複雜的四角關係，圍繞着溝通失靈、操控、慾望、偽裝、工作與家庭生活，以及人際關係中強弱博弈等主題展開。有影評人認為此作展現出桑塔「對褒曼《假面》中那種刻意融合幻象與現實的『不確定』情節，以及對高達作品中『斷續』的情節以及『對某些解釋性關聯的壓抑』深感着迷。」這部「令人困惑」的作品，或許更應被視為桑塔對自撰散文《反詮釋》中所提出挑戰之回應──創造一件藝術作品，「其表層如此統一純淨，其動能如此迅疾，其表達如此直接，以致這件作品能夠……純粹地就是它本身。」 5月23日設映後談，講者李薇婷。
#SusanSontag’s wealth of cinematic knowledge is beyond dispute, but the reception to her directorial debut, #DUETFORCANNIBALS, was far from unanimous. Revolving around four intellectuals, the film circles around failures of communication, manipulation, appetite, disguise, work and domesticity, and the play of strength and weakness in relationships. A critic notes that Sontag ‘was fascinated by the “indeterminate” plot of Bergman’s PERSONA, deliberately merging illusion and reality; and the “intermittent” plots and “suppression of certain explicative connections” in Godard.’ This ‘mystifying’ work may as well be viewed as Sontag’s own response to the challenge she had issued in her 1964 essay ‘Against Interpretation’ — to create a work of art ‘whose surface is so unified and clean, whose momentum is so rapid, whose address is so direct that the work can be… just what it is.’
—————————————————————————
🎬電影節發燒友 CineFan May/Jun/Jul 🎬：
https://cinefan.hkiff.org.hk/period/2026/may-jun-jul-2026
#HKIFF #香港國際電影節：https://www.hkiff.org.hk/
#CineFan #電影節發燒友：https://cinefan.hkiff.org.hk/
#CSTB #CCIDAHK #文化體育及旅遊局 #文創產業發展處 #電影發展基金
【#電影節發燒友 5/6/7月】《秋天年鑑》：承先啟後的美學實驗
【#CineFan May/Jun/Jul】ALMANAC OF FALL: Tarr’s Aesthetic Transition
在 #貝拉塔爾 的作品中，《#秋天年鑑》起着承先啟後的作用。延續《居巢》的主題──生活在封閉環境中的人彼此之間的陰謀與計算，《異鄉人》的直接電影手法，同時採用了《麥克白》帶有劇場風格的布景設計及長鏡頭運鏡。《秋天年鑑》是對風格的刻意探索，旨在讓真實與虛構、個人與社會、主觀的作者視角與客觀的社會觀點相互交會。此片也刻鑄着時代印記──1980年代中期，後現代主義的視覺人工感延伸至電影領域。色彩斑斕的強烈燈光效果、看似人工的布景設計、表現主義的表演風格；各種視覺風格的混搭，以至對美術、戲劇和歌劇作品的直接引用，《秋天年鑑》的實驗，成為塔爾奠定美學風格的基礎。
Stylistically, #ALMANACOFFALL makes a bridge between the two periods of #BélaTarr's oeuvre. It continues to explore the subject matter from FAMILY NEST - intrigue and conspiracy of people living in a closed environment, takes the direct cinema approach of THE OUTSIDER, while adopting the artificial, even theatrical-looking set design and long-take camera movement from MACBETH. ALMANAC OF FALL was a result of a conscious search for a style where the real can meet the artificial, the personal can meet the social, the subjective authorial gaze can meet the objective social gaze. At the same time, ALMANAC OF FALL was also a film of its time - the mid-1980s was a period when the visual artificiality of post-modernism moved to the cinema. Strong, colourful lighting; artificial-looking set designs; an expressionist acting style; eclectic mixtures of various visual styles; and direct citations of works of fine art, theatre and opera characterised ALMANAC OF FALL, which laid the foundations for Tarr’s later aesthetic style.
—————————————————————————
🎬電影節發燒友 CineFan May/Jun/Jul 🎬：
https://cinefan.hkiff.org.hk/period/2026/may-jun-jul-2026
#HKIFF #香港國際電影節：https://www.hkiff.org.hk/
#CineFan #電影節發燒友：https://cinefan.hkiff.org.hk/
#CSTB #CCIDAHK #文化體育及旅遊局 #文創產業發展處 #電影發展基金
【#電影節發燒友 5/6/7月】《公屋鬥室》及《麥克白》：塔爾風格的轉移
【#CineFan May/Jun/Jul】THE PREFAB PEOPLE & MACBETH: Tarr’s Shift in Style
《#公屋鬥室》是 #貝拉塔爾 「無產階級三部曲」的最後一部，標誌着其風格改變。有別於前兩作傾向「直接電影」，《公屋鬥室》脫離直線敘事結構，以片末丈夫離家出走一幕置於片首，再倒敘夫妻關係破裂過程。環迴結構，首尾呼應，最後一幕出其不意是丈夫重回妻子身邊，但關係更見疏離。塔爾並未刻意強化場景本身，而是試圖讓日常生活的平淡呆板感變得令人窒息；那種張力源自演員凝練的演出，這正是塔爾首次選用職業演員的主因，讓他得以創作出更長的鏡頭。
同年為電視台拍攝的《#麥克白》，更是塔爾的一次電影實驗。全片僅兩個鏡頭構成，五分鐘的序曲後，是長達五十七分鐘的一鏡到底。全片在地下隧道內拍攝，鏡頭跟隨主角麥克白內心跌宕翻騰。與前期作品大異其趣，塔爾嘗試了長鏡頭、人工搭建的場景、特殊的燈光效果，以及風格化的文學文本，並選擇以權力鬥爭、陰謀與道德腐敗為焦點，而非貧困與住房問題的故事。《麥克白》的重要性，在於塔爾從這場實驗中汲取經驗，運用到接下來的電影創作中。
#THEPREFABPEOPLE is the final instalment of #BélaTarr’s trilogy on the proletariat, marking a major shift in his style. Unlike the first two films which adopted a ‘Direct Cinema’ approach, THE PREFAB PEOPLE departs from a strict linear narration. He starts the film with a scene from the end of the story, where the husband walks out, and then recounts the breakdown of the couple’s relationship in chronological order. Beyond the circular structure and its thematic echoes, the final scene takes an unexpected turn: the husband returns to his wife, yet their relationship appears even more estranged and depressing than before. Without intensifying the scenes themselves, Tarr tried to make the banality feel unbearably suffocating. Intensity is provided by the condensed, expressive play of the actors, which was the main reason he used professional actors. At the same time, the expressive power of professional actors has enabled Tarr to create longer takes than in his previous works.
#MACBETH, shot for television in the same year, was regarded by Tarr as a cinematic experiment. The entire film consists of just two shots: a five-minute prologue, followed by a sequence that lasts the remaining 57 minutes. Filmed within an underground tunnel, the camera follows the characters through the tumultuous turmoil of his inner world. In MACBETH, Tarr differs from his earlier works by experimenting with long takes, artificial set, special lighting effects, and a stylised literary text. He chose a story that focuses on power games, conspiracy and moral corruption, rather than themes of poverty and housing problems.
【#電影節發燒友 5/6/7月】《公屋鬥室》及《麥克白》：塔爾風格的轉移
【#CineFan May/Jun/Jul】THE PREFAB PEOPLE & MACBETH: Tarr’s Shift in Style
《#公屋鬥室》是 #貝拉塔爾 「無產階級三部曲」的最後一部，標誌着其風格改變。有別於前兩作傾向「直接電影」，《公屋鬥室》脫離直線敘事結構，以片末丈夫離家出走一幕置於片首，再倒敘夫妻關係破裂過程。環迴結構，首尾呼應，最後一幕出其不意是丈夫重回妻子身邊，但關係更見疏離。塔爾並未刻意強化場景本身，而是試圖讓日常生活的平淡呆板感變得令人窒息；那種張力源自演員凝練的演出，這正是塔爾首次選用職業演員的主因，讓他得以創作出更長的鏡頭。
同年為電視台拍攝的《#麥克白》，更是塔爾的一次電影實驗。全片僅兩個鏡頭構成，五分鐘的序曲後，是長達五十七分鐘的一鏡到底。全片在地下隧道內拍攝，鏡頭跟隨主角麥克白內心跌宕翻騰。與前期作品大異其趣，塔爾嘗試了長鏡頭、人工搭建的場景、特殊的燈光效果，以及風格化的文學文本，並選擇以權力鬥爭、陰謀與道德腐敗為焦點，而非貧困與住房問題的故事。《麥克白》的重要性，在於塔爾從這場實驗中汲取經驗，運用到接下來的電影創作中。
#THEPREFABPEOPLE is the final instalment of #BélaTarr’s trilogy on the proletariat, marking a major shift in his style. Unlike the first two films which adopted a ‘Direct Cinema’ approach, THE PREFAB PEOPLE departs from a strict linear narration. He starts the film with a scene from the end of the story, where the husband walks out, and then recounts the breakdown of the couple’s relationship in chronological order. Beyond the circular structure and its thematic echoes, the final scene takes an unexpected turn: the husband returns to his wife, yet their relationship appears even more estranged and depressing than before. Without intensifying the scenes themselves, Tarr tried to make the banality feel unbearably suffocating. Intensity is provided by the condensed, expressive play of the actors, which was the main reason he used professional actors. At the same time, the expressive power of professional actors has enabled Tarr to create longer takes than in his previous works.
#MACBETH, shot for television in the same year, was regarded by Tarr as a cinematic experiment. The entire film consists of just two shots: a five-minute prologue, followed by a sequence that lasts the remaining 57 minutes. Filmed within an underground tunnel, the camera follows the characters through the tumultuous turmoil of his inner world. In MACBETH, Tarr differs from his earlier works by experimenting with long takes, artificial set, special lighting effects, and a stylised literary text. He chose a story that focuses on power games, conspiracy and moral corruption, rather than themes of poverty and housing problems.
【#電影節發燒友 5/6/7月】杜哈絲：記憶與遺忘的鬥爭
【#CineFan May/Jun/Jul】Duras: The Struggle of Memory Against Forgetting
《#長别離》是《廣島之戀》與《去年在馬倫巴》的剪接師昂利寇比執導的首部長片，與 #杜哈絲 同任編劇，一舉摘下康城金棕櫚獎殊榮。延續杜哈絲關於記憶與遺忘的一貫主題，這部動人作品聚焦於一位在巴黎郊區經營咖啡館的女子，在遇上失憶流浪漢後，相信此人正是戰時失散的丈夫。此片早於新浪潮時期，採用傳統敘事風格，探索真實記憶與情感如何建構或重塑人與人之間的關係，以優美的黑白寬銀幕攝影及飽滿情感取勝，拍出感人力作。
《#慾燄怒火》的劇本出自尚紀涅，本由法國導演佐治方朱夥拍女星安諾愛美，其後輾轉變為英國新浪潮導演東尼李察遜與珍摩露合作，劇本則由杜哈絲接手，以簡潔凝練的筆觸完成改編。故事描繪一名外來女教師，因情傾意裔伐木漢子的野性魅力，竟為鄉村社區帶來災禍。影片並未流於膚淺的心理研究，反而直筆將她塑造成一股破壞力量，從而探索壓抑、慾望與死亡。冷冽黑白影像，由靜態鏡頭構成，是一部形式主義的實驗之作，既樸實無華又充滿神秘感。
Henri Colpi was a prominent figure in editing, notable for Alain Resnais’ HIROSHIMA, MON AMOUR and LAST YEAR AT MARIENBAD. He directed his first and most memorable feature film, #THELONGABSENCE, in 1961, which was based on a script co-written by #MargueriteDuras. Continuing her exploration of memory and loss, this moving story focuses on a woman who runs a café in Paris suburb and an amnesiac derelict she comes to believe is her long-lost husband during the war. Although decidedly pre-New Wave in its traditional narrative style, this Cannes Palme d'Or winner is captivating with its elegant black-and-white cinematography and emotional depth.
#MADEMOISELLE derives from a screenplay by Jean Genet. It was initially intended for French director Georges Franju to make with Anouk Aimée, but ended up with Jeanne Moreau in the title role and British New Wave filmmaker Tony Richardson at the helm, with the script reworked by Duras. The story focuses on a schoolmistress whose acts of sabotage against the rural community in which she resides increase when she falls hard for an Italian immigrant woodcutter. Rather than a glib psychological study, the film establishes Moreau’s character as a destructive force, thereby exploring the themes of repression, desire and death. Shot in icy black and white and comprised entirely of static shots, the film is a formalist exercise, at once perfectly plain and totally mysterious.
—————————————————————————
🎬電影節發燒友 CineFan May/Jun/Jul 🎬：
https://cinefan.hkiff.org.hk/period/2026/may-jun-jul-2026
#HKIFF #香港國際電影節：https://www.hkiff.org.hk/
#CineFan #電影節發燒友：https://cinefan.hkiff.org.hk/
【#電影節發燒友 5/6/7月】杜哈絲：記憶與遺忘的鬥爭
【#CineFan May/Jun/Jul】Duras: The Struggle of Memory Against Forgetting
《#長别離》是《廣島之戀》與《去年在馬倫巴》的剪接師昂利寇比執導的首部長片，與 #杜哈絲 同任編劇，一舉摘下康城金棕櫚獎殊榮。延續杜哈絲關於記憶與遺忘的一貫主題，這部動人作品聚焦於一位在巴黎郊區經營咖啡館的女子，在遇上失憶流浪漢後，相信此人正是戰時失散的丈夫。此片早於新浪潮時期，採用傳統敘事風格，探索真實記憶與情感如何建構或重塑人與人之間的關係，以優美的黑白寬銀幕攝影及飽滿情感取勝，拍出感人力作。
《#慾燄怒火》的劇本出自尚紀涅，本由法國導演佐治方朱夥拍女星安諾愛美，其後輾轉變為英國新浪潮導演東尼李察遜與珍摩露合作，劇本則由杜哈絲接手，以簡潔凝練的筆觸完成改編。故事描繪一名外來女教師，因情傾意裔伐木漢子的野性魅力，竟為鄉村社區帶來災禍。影片並未流於膚淺的心理研究，反而直筆將她塑造成一股破壞力量，從而探索壓抑、慾望與死亡。冷冽黑白影像，由靜態鏡頭構成，是一部形式主義的實驗之作，既樸實無華又充滿神秘感。
Henri Colpi was a prominent figure in editing, notable for Alain Resnais’ HIROSHIMA, MON AMOUR and LAST YEAR AT MARIENBAD. He directed his first and most memorable feature film, #THELONGABSENCE, in 1961, which was based on a script co-written by #MargueriteDuras. Continuing her exploration of memory and loss, this moving story focuses on a woman who runs a café in Paris suburb and an amnesiac derelict she comes to believe is her long-lost husband during the war. Although decidedly pre-New Wave in its traditional narrative style, this Cannes Palme d'Or winner is captivating with its elegant black-and-white cinematography and emotional depth.
#MADEMOISELLE derives from a screenplay by Jean Genet. It was initially intended for French director Georges Franju to make with Anouk Aimée, but ended up with Jeanne Moreau in the title role and British New Wave filmmaker Tony Richardson at the helm, with the script reworked by Duras. The story focuses on a schoolmistress whose acts of sabotage against the rural community in which she resides increase when she falls hard for an Italian immigrant woodcutter. Rather than a glib psychological study, the film establishes Moreau’s character as a destructive force, thereby exploring the themes of repression, desire and death. Shot in icy black and white and comprised entirely of static shots, the film is a formalist exercise, at once perfectly plain and totally mysterious.
—————————————————————————
🎬電影節發燒友 CineFan May/Jun/Jul 🎬：
https://cinefan.hkiff.org.hk/period/2026/may-jun-jul-2026
#HKIFF #香港國際電影節：https://www.hkiff.org.hk/
#CineFan #電影節發燒友：https://cinefan.hkiff.org.hk/
【#第五十屆香港國際電影節】揭曉「火鳥大獎」競賽得主 - 精華片段重溫🎬
【#HKIFF50】ANNOUNCES WINNERS OF FIREBIRD AWARDS AND FIPRESCI PRIZE - Highlights video 🎬
香港國際電影節協會假香港文化中心大劇院，舉行「火鳥大獎」競賽頒獎典禮。《一個夜晚與三個夏天》及《撲朔迷離的露絲》分別勇奪「新秀電影競賽」華語及世界組別的火鳥大獎最佳電影。更榮幸邀請到國際影壇最深受尊崇的電影人之一的#茱麗葉庇諾仙為「新秀電影競賽（華語）」火鳥大獎最佳電影的頒獎嘉賓。立即去片，重溫當日盛況！
The 50th Hong Kong International Film Festival (HKIFF50) announced winners of the Firebird Awards and FIPRESCI Prize at the Awards Ceremony held at the Hong Kong Cultural Centre, with Linka Linka and Rose taking the top prizes in the Young Cinema Competition. We are deeply honored to invite one of the most revered figures in international cinema, #JulietteBinoche, to present the Firebird Award for theBest Filmof Young Cinema Competition (Chinese Language). Watch the highlights video NOW!
————————————————————————
🎬電影節發燒友 CineFan May/Jun/Jul 🎬：
https://cinefan.hkiff.org.hk/period/2026/may-jun-jul-2026
#HKIFF #香港國際電影節：https://www.hkiff.org.hk/
#CineFan #電影節發燒友：https://cinefan.hkiff.org.hk/
#CSTB #CCIDAHK #文化體育及旅遊局 #文創產業發展處 #電影發展基金
【#電影節發燒友 5/6/7月】《生之怨曲》：少婦孤寂的哀歌
【#CineFan May/Jun/Jul】SEVEN DAYS... SEVEN NIGHTS: An Elegy of Loneliness
《#生之怨曲》改編自 #杜哈絲 代表作《如歌的中板》，以溫柔而富有深意的視角，探討受壓抑的生活所帶來的心理影響。珍摩露首次演繹杜哈絲筆下人物，細緻掌握豪門少婦內心的空虛與慾望，以悽婉動人的神韻，榮膺康城影后。英國現代劇場先驅彼得布祿克以流麗黑白光影、闊銀幕畫面呈現小鎮無盡蒼涼，尤其在安妮輕倚渡輪欄杆時，更突顯她那份疏離的孤寂感。影片深刻一幕，是安妮在晚宴上藉醺醉對賓客的輕蔑不加掩飾，以此反抗社會習俗，但到最後仍逃脫不了孤寂深閨，尤教人唏噓。5月9日設映後談，由影評人歐嘉麗主講。
Based on #MargueriteDuras’ novel ‘Moderato Cantabile’, #SEVENDAYSSEVENNIGHTS takes a gentle and eloquent look at the psychological ramifications of living a stifled life. In her first portrayal of a character created by Duras, Jeanne Moreau nuancedly captures the inner emptiness and desires of a high society woman, earning her the Best Actress award at Cannes. Peter Brook, a pioneer of modern British theater, uses fluid black-and-white images and widescreen aspect ratio to convey the endless desolation of the small town, and highlight Anne’s sense of alienation and loneliness, particularly when she leans against the railing of the ferry. One of the poignant moments comes at a dinner party, when the inebriated Anne displays her contempt for the guests as an act of defiance against social conventions; yet, in the end, she remains trapped in the solitude of her secluded life, making it all the more poignant.
—————————————————————————
🎬電影節發燒友 CineFan May/Jun/Jul 🎬：
https://cinefan.hkiff.org.hk/period/2026/may-jun-jul-2026
#HKIFF #香港國際電影節：https://www.hkiff.org.hk/
#CineFan #電影節發燒友：https://cinefan.hkiff.org.hk/
#CSTB #CCIDAHK #文化體育及旅遊局 #文創產業發展處 #電影發展基金
【#電影節發燒友 5/6/7月】塔爾美學的濫觴：新寫實主義風格
【#CineFan May/Jun/Jul】Early Neo-Realist Roots of the Tarr Style
#貝拉塔爾 出道初期的作品，以新寫實主義風格為主。從首作《#居巢》、《#異鄉人》到《#公屋鬥室》，是兩種極端風格的結合：一方面是處身社會環境，對貧困、道德與心理苦難的具體呈現；另一方面則是透過對個體角色的刻劃，展現出夢想與渴望的詩意。受1970年代中期流行的「直接電影」風格影響，《居巢》片首開宗明義闡述「這是個真實故事。雖然片中人物並未經歷這些事，但這些事本可能發生。」
這三部作品與其他紀實虛構電影雖略有不同，但在場景調度上卻如出一轍。對塔爾而言，電影最重要在於展現人際關係在特定情境下的發展，而非呈現故事如何朝着結局推進；每個場景所呈現的人際關係轉折，幾乎沒有肢體動作，僅以言語行為表達。這些電影中，情節僅有一個重要的轉折點：《居巢》的伊蓮決定離開丈夫和家公的公寓；《異鄉人》的安德拉斯與女友結婚；《公屋鬥室》的羅比離開了妻子。這種紀實風格經過不同階段的變奏，蒸餾而成極度凝練的塔爾美學風格。5月10日《異鄉人》設映後談，由影評人朗天主講。
#BélaTarr's early works were primarily characterised by a neo-realist style. From his debut film #FAMILYNEST and #THEOUTSIDER to #THEPREFABPEOPLE, his films blend two contrasting styles: a concrete portrayal of poverty, moral, and psychic misery in the social environment on one hand, and poetry of dreams and desires in the representation of the individual characters on the other. Influenced by the ‘Direct Cinema’ style popular in the mid-1970s, Tarr opened FAMILY NEST with a clear statement: ‘This is a true story. It didn’t happen to the people in this film, but it could have.’
While these three works differ slightly from other docu-fictions, their approach to mise-en-scene is strikingly similar. For Tarr, the most important aspect of film is to show how human relations develop in given circumstances rather than to show how a story develops toward the denouement - nearly every scene represents a twist in the relationship of the characters rather than a turn in the story; almost no physical acts, only verbal ones. In all of these films, there is only one important turn in the plot - in FAMILY NEST, Irén decides to leave her husband and her father-in-law's apartment; in THE OUTSIDER, András marries Kata; in THE PREFAB PEOPLE, Robi leaves his wife. This cinéma vérité style was refined through various phases until the elements became articulated and integrated into the Tarr contemplative cinema.
—————————————————————————
🎬電影節發燒友 CineFan May/Jun/Jul 🎬：
https://cinefan.hkiff.org.hk/period/2026/may-jun-jul-2026
#HKIFF #香港國際電影節
#CineFan #電影節發燒友
#CSTB #CCIDAHK #文化體育及旅遊局 #文創產業發展處 #電影發展基金
【#電影節發燒友 5/6/7月】塔爾美學的濫觴：新寫實主義風格
【#CineFan May/Jun/Jul】Early Neo-Realist Roots of the Tarr Style
#貝拉塔爾 出道初期的作品，以新寫實主義風格為主。從首作《#居巢》、《#異鄉人》到《#公屋鬥室》，是兩種極端風格的結合：一方面是處身社會環境，對貧困、道德與心理苦難的具體呈現；另一方面則是透過對個體角色的刻劃，展現出夢想與渴望的詩意。受1970年代中期流行的「直接電影」風格影響，《居巢》片首開宗明義闡述「這是個真實故事。雖然片中人物並未經歷這些事，但這些事本可能發生。」
這三部作品與其他紀實虛構電影雖略有不同，但在場景調度上卻如出一轍。對塔爾而言，電影最重要在於展現人際關係在特定情境下的發展，而非呈現故事如何朝着結局推進；每個場景所呈現的人際關係轉折，幾乎沒有肢體動作，僅以言語行為表達。這些電影中，情節僅有一個重要的轉折點：《居巢》的伊蓮決定離開丈夫和家公的公寓；《異鄉人》的安德拉斯與女友結婚；《公屋鬥室》的羅比離開了妻子。這種紀實風格經過不同階段的變奏，蒸餾而成極度凝練的塔爾美學風格。5月10日《異鄉人》設映後談，由影評人朗天主講。
#BélaTarr's early works were primarily characterised by a neo-realist style. From his debut film #FAMILYNEST and #THEOUTSIDER to #THEPREFABPEOPLE, his films blend two contrasting styles: a concrete portrayal of poverty, moral, and psychic misery in the social environment on one hand, and poetry of dreams and desires in the representation of the individual characters on the other. Influenced by the ‘Direct Cinema’ style popular in the mid-1970s, Tarr opened FAMILY NEST with a clear statement: ‘This is a true story. It didn’t happen to the people in this film, but it could have.’
While these three works differ slightly from other docu-fictions, their approach to mise-en-scene is strikingly similar. For Tarr, the most important aspect of film is to show how human relations develop in given circumstances rather than to show how a story develops toward the denouement - nearly every scene represents a twist in the relationship of the characters rather than a turn in the story; almost no physical acts, only verbal ones. In all of these films, there is only one important turn in the plot - in FAMILY NEST, Irén decides to leave her husband and her father-in-law's apartment; in THE OUTSIDER, András marries Kata; in THE PREFAB PEOPLE, Robi leaves his wife. This cinéma vérité style was refined through various phases until the elements became articulated and integrated into the Tarr contemplative cinema.
—————————————————————————
🎬電影節發燒友 CineFan May/Jun/Jul 🎬：
https://cinefan.hkiff.org.hk/period/2026/may-jun-jul-2026
#HKIFF #香港國際電影節
#CineFan #電影節發燒友
#CSTB #CCIDAHK #文化體育及旅遊局 #文創產業發展處 #電影發展基金
【#電影節發燒友 5/6/7月】塔爾美學的濫觴：新寫實主義風格
【#CineFan May/Jun/Jul】Early Neo-Realist Roots of the Tarr Style
#貝拉塔爾 出道初期的作品，以新寫實主義風格為主。從首作《#居巢》、《#異鄉人》到《#公屋鬥室》，是兩種極端風格的結合：一方面是處身社會環境，對貧困、道德與心理苦難的具體呈現；另一方面則是透過對個體角色的刻劃，展現出夢想與渴望的詩意。受1970年代中期流行的「直接電影」風格影響，《居巢》片首開宗明義闡述「這是個真實故事。雖然片中人物並未經歷這些事，但這些事本可能發生。」
這三部作品與其他紀實虛構電影雖略有不同，但在場景調度上卻如出一轍。對塔爾而言，電影最重要在於展現人際關係在特定情境下的發展，而非呈現故事如何朝着結局推進；每個場景所呈現的人際關係轉折，幾乎沒有肢體動作，僅以言語行為表達。這些電影中，情節僅有一個重要的轉折點：《居巢》的伊蓮決定離開丈夫和家公的公寓；《異鄉人》的安德拉斯與女友結婚；《公屋鬥室》的羅比離開了妻子。這種紀實風格經過不同階段的變奏，蒸餾而成極度凝練的塔爾美學風格。5月10日《異鄉人》設映後談，由影評人朗天主講。
#BélaTarr's early works were primarily characterised by a neo-realist style. From his debut film #FAMILYNEST and #THEOUTSIDER to #THEPREFABPEOPLE, his films blend two contrasting styles: a concrete portrayal of poverty, moral, and psychic misery in the social environment on one hand, and poetry of dreams and desires in the representation of the individual characters on the other. Influenced by the ‘Direct Cinema’ style popular in the mid-1970s, Tarr opened FAMILY NEST with a clear statement: ‘This is a true story. It didn’t happen to the people in this film, but it could have.’
While these three works differ slightly from other docu-fictions, their approach to mise-en-scene is strikingly similar. For Tarr, the most important aspect of film is to show how human relations develop in given circumstances rather than to show how a story develops toward the denouement - nearly every scene represents a twist in the relationship of the characters rather than a turn in the story; almost no physical acts, only verbal ones. In all of these films, there is only one important turn in the plot - in FAMILY NEST, Irén decides to leave her husband and her father-in-law's apartment; in THE OUTSIDER, András marries Kata; in THE PREFAB PEOPLE, Robi leaves his wife. This cinéma vérité style was refined through various phases until the elements became articulated and integrated into the Tarr contemplative cinema.
—————————————————————————
🎬電影節發燒友 CineFan May/Jun/Jul 🎬：
https://cinefan.hkiff.org.hk/period/2026/may-jun-jul-2026
#HKIFF #香港國際電影節
#CineFan #電影節發燒友
#CSTB #CCIDAHK #文化體育及旅遊局 #文創產業發展處 #電影發展基金
【#電影節發燒友 5/6/7月】馬慕連一柔一剛的女性形象
【#CineFan May/Jun/Jul】Fragility and Fierceness: Women under the lens of Mamoulian
出生於第比利斯的魯賓馬慕連，是三、四十年代荷里活片廠制度下最多才多藝的電影人之一。在海斯法典風行時期，他透過對聲音與影像的風格化處理，巧妙避過可能遭審查的影像呈現，坦率探討性愛而不淫不傷。
馬慕連獲台前幕後的信任，絕非偶然。瑪蓮德烈治首部參演的荷里活製作《#裸像情歌》，正是她的恩師約瑟馮史登堡推薦馬慕連執導。由錯愛雕塑家的天真孤女，到下嫁軍老頭成為寂寞貴婦，繼而流落歌廳變身歌女，德烈治演來揮灑自如，片末揮鎚打碎自己的裸體塑像，更是對物化女性作最具象的強力控訴。馬慕連同年在《#瓊宮恨史》夥拍嘉寶，卻鑄造了截然不同的女性形象。孤女年幼繼承王位，時而英姿勃發指揮作戰，時而柔情似水周旋於追求者之間；嘉寶與尊基路拔真實的熾熱戀情令客店共宿一宵的場景更添旖旎，可惜戲內戲外的愛情童話皆難以喜劇告終。5月9日《瓊宮恨史》設映後談，由影評人吳月華主講。
Born in Tbilisi, Rouben Mamoulian was one of the most versatile filmmakers working within the Hollywood studio system of the 1930s and 1940s. Working under the Hays Code, he skillfully avoided the display of censorable images by stylising sound and visual, exploring sexuality candidly without being obscene or offensive.
It was no coincidence that Mamoulian enjoyed the trust of both cast and crew. Marlene Dietrich’s first Hollywood film, #THESONGOFSONGS, was directed by Mamoulian precisely because her mentor, Josef von Sternberg, had recommended him. From an innocent orphan who falls for a sculptor, to a lonely socialite married to an elderly military man, and finally a singer who ends up in a nightclub, Dietrich performed with effortless ease; her smashing of her own nude statue at the end stands as one of the most powerful and tangible indictments of the objectification of women. That same year, Mamoulian crafted a strikingly different female character with Garbo in #QUEENCHRISTINA. An orphan who inherits the throne at a young age, she is at times fiercely resolute in leading battles, and at others, tender and graceful as she navigates the attentions of her suitors. Garbo’s real-life romance with John Gilbert lent an added air of real passion to the scene where they shared a night in an inn; sadly, neither the on-screen nor off-screen love story could end happily.
—————————————————————————
🎬電影節發燒友 CineFan May/Jun/Jul 🎬：
https://cinefan.hkiff.org.hk/period/2026/may-jun-jul-2026
#HKIFF #香港國際電影節：https://www.hkiff.org.hk/
#CineFan #電影節發燒友：https://cinefan.hkiff.org.hk/
#CSTB #CCIDAHK #文化體育及旅遊局 #文創產業發展處 #電影發展基金
【#電影節發燒友 5/6/7月】馬慕連一柔一剛的女性形象
【#CineFan May/Jun/Jul】Fragility and Fierceness: Women under the lens of Mamoulian
出生於第比利斯的魯賓馬慕連，是三、四十年代荷里活片廠制度下最多才多藝的電影人之一。在海斯法典風行時期，他透過對聲音與影像的風格化處理，巧妙避過可能遭審查的影像呈現，坦率探討性愛而不淫不傷。
馬慕連獲台前幕後的信任，絕非偶然。瑪蓮德烈治首部參演的荷里活製作《#裸像情歌》，正是她的恩師約瑟馮史登堡推薦馬慕連執導。由錯愛雕塑家的天真孤女，到下嫁軍老頭成為寂寞貴婦，繼而流落歌廳變身歌女，德烈治演來揮灑自如，片末揮鎚打碎自己的裸體塑像，更是對物化女性作最具象的強力控訴。馬慕連同年在《#瓊宮恨史》夥拍嘉寶，卻鑄造了截然不同的女性形象。孤女年幼繼承王位，時而英姿勃發指揮作戰，時而柔情似水周旋於追求者之間；嘉寶與尊基路拔真實的熾熱戀情令客店共宿一宵的場景更添旖旎，可惜戲內戲外的愛情童話皆難以喜劇告終。5月9日《瓊宮恨史》設映後談，由影評人吳月華主講。
Born in Tbilisi, Rouben Mamoulian was one of the most versatile filmmakers working within the Hollywood studio system of the 1930s and 1940s. Working under the Hays Code, he skillfully avoided the display of censorable images by stylising sound and visual, exploring sexuality candidly without being obscene or offensive.
It was no coincidence that Mamoulian enjoyed the trust of both cast and crew. Marlene Dietrich’s first Hollywood film, #THESONGOFSONGS, was directed by Mamoulian precisely because her mentor, Josef von Sternberg, had recommended him. From an innocent orphan who falls for a sculptor, to a lonely socialite married to an elderly military man, and finally a singer who ends up in a nightclub, Dietrich performed with effortless ease; her smashing of her own nude statue at the end stands as one of the most powerful and tangible indictments of the objectification of women. That same year, Mamoulian crafted a strikingly different female character with Garbo in #QUEENCHRISTINA. An orphan who inherits the throne at a young age, she is at times fiercely resolute in leading battles, and at others, tender and graceful as she navigates the attentions of her suitors. Garbo’s real-life romance with John Gilbert lent an added air of real passion to the scene where they shared a night in an inn; sadly, neither the on-screen nor off-screen love story could end happily.
—————————————————————————
🎬電影節發燒友 CineFan May/Jun/Jul 🎬：
https://cinefan.hkiff.org.hk/period/2026/may-jun-jul-2026
#HKIFF #香港國際電影節：https://www.hkiff.org.hk/
#CineFan #電影節發燒友：https://cinefan.hkiff.org.hk/
#CSTB #CCIDAHK #文化體育及旅遊局 #文創產業發展處 #電影發展基金
為慶祝電影節成立50周年，香港國際電影節協會與素手掬影業（Carry On Film）攜手推出全新企劃——「亞洲故事 ‧ 新世代」（Asian Stories ‧ Next Gen），致力於扶持長片項目。
最終入選專案將獲得150萬人民幣資金，用於開發及製作。與此同時，該專案將匹配一名監製，從開發到拍攝全程提供創作指導與建議。
2027屆特邀監製為賈樟柯導演。徵集自今日起至8月31日，面向亞洲國家及地區公開，針對片長70分鐘以上之劇情長片。入選項目完成拍攝後，將在香港國際電影節進行展映。其他投件資格及細則請參考網頁。
本計劃由2026年開始策動，第一屆獲選計劃由王杰執導、雙雪濤監製及指導，並預定於今年內開始拍攝。第二屆選出計劃將由賈樟柯指導，於今年進行徵集，並於2027年開展前期製作階段。
立即投遞：http://asianstories.hafapplication.com/
To celebrate the Festival’s 50th anniversary, the Hong Kong International Film Festival Society, in partnership with Carry On Film, launches a new initiative—Asian Stories: Next Gen—dedicated to supporting feature-length projects.
The selected project will receive RMB 1.5 million in funding for development and production. It will be paired with an executive producer/mentor, who will provide creative guidance and advice throughout the entire process, from development through shooting. We are pleased to announce JIA ZHANGKE as the mentor for the 2027 edition.
Submissions are open from today through August 31 to applicants across Asian countries and territories, and are aimed at narrative feature films with a running time of 70 minutes or longer. Once the selected project has completed production, it will be screened at the Hong Kong International Film Festival. Details regarding eligibility and criteria are available on the website.
Initiated in 2026, the programme’s first selected project is directed by Wang Jie, with Shuang Xuetao serving as producer and mentor, and is scheduled to begin shooting later this year. The second selected project will be mentored by Jia Zhangke; the call for submissions will take place this year, with pre-production set to begin in 2027.
SUBMIT NOW: http://asianstories.hafapplication.com/
為慶祝電影節成立50周年，香港國際電影節協會與素手掬影業（Carry On Film）攜手推出全新企劃——「亞洲故事 ‧ 新世代」（Asian Stories ‧ Next Gen），致力於扶持長片項目。
最終入選專案將獲得150萬人民幣資金，用於開發及製作。與此同時，該專案將匹配一名監製，從開發到拍攝全程提供創作指導與建議。
2027屆特邀監製為賈樟柯導演。徵集自今日起至8月31日，面向亞洲國家及地區公開，針對片長70分鐘以上之劇情長片。入選項目完成拍攝後，將在香港國際電影節進行展映。其他投件資格及細則請參考網頁。
本計劃由2026年開始策動，第一屆獲選計劃由王杰執導、雙雪濤監製及指導，並預定於今年內開始拍攝。第二屆選出計劃將由賈樟柯指導，於今年進行徵集，並於2027年開展前期製作階段。
立即投遞：http://asianstories.hafapplication.com/
To celebrate the Festival’s 50th anniversary, the Hong Kong International Film Festival Society, in partnership with Carry On Film, launches a new initiative—Asian Stories: Next Gen—dedicated to supporting feature-length projects.
The selected project will receive RMB 1.5 million in funding for development and production. It will be paired with an executive producer/mentor, who will provide creative guidance and advice throughout the entire process, from development through shooting. We are pleased to announce JIA ZHANGKE as the mentor for the 2027 edition.
Submissions are open from today through August 31 to applicants across Asian countries and territories, and are aimed at narrative feature films with a running time of 70 minutes or longer. Once the selected project has completed production, it will be screened at the Hong Kong International Film Festival. Details regarding eligibility and criteria are available on the website.
Initiated in 2026, the programme’s first selected project is directed by Wang Jie, with Shuang Xuetao serving as producer and mentor, and is scheduled to begin shooting later this year. The second selected project will be mentored by Jia Zhangke; the call for submissions will take place this year, with pre-production set to begin in 2027.
SUBMIT NOW: http://asianstories.hafapplication.com/
為慶祝電影節成立50周年，香港國際電影節協會與素手掬影業（Carry On Film）攜手推出全新企劃——「亞洲故事 ‧ 新世代」（Asian Stories ‧ Next Gen），致力於扶持長片項目。
最終入選專案將獲得150萬人民幣資金，用於開發及製作。與此同時，該專案將匹配一名監製，從開發到拍攝全程提供創作指導與建議。
2027屆特邀監製為賈樟柯導演。徵集自今日起至8月31日，面向亞洲國家及地區公開，針對片長70分鐘以上之劇情長片。入選項目完成拍攝後，將在香港國際電影節進行展映。其他投件資格及細則請參考網頁。
本計劃由2026年開始策動，第一屆獲選計劃由王杰執導、雙雪濤監製及指導，並預定於今年內開始拍攝。第二屆選出計劃將由賈樟柯指導，於今年進行徵集，並於2027年開展前期製作階段。
立即投遞：http://asianstories.hafapplication.com/
To celebrate the Festival’s 50th anniversary, the Hong Kong International Film Festival Society, in partnership with Carry On Film, launches a new initiative—Asian Stories: Next Gen—dedicated to supporting feature-length projects.
The selected project will receive RMB 1.5 million in funding for development and production. It will be paired with an executive producer/mentor, who will provide creative guidance and advice throughout the entire process, from development through shooting. We are pleased to announce JIA ZHANGKE as the mentor for the 2027 edition.
Submissions are open from today through August 31 to applicants across Asian countries and territories, and are aimed at narrative feature films with a running time of 70 minutes or longer. Once the selected project has completed production, it will be screened at the Hong Kong International Film Festival. Details regarding eligibility and criteria are available on the website.
Initiated in 2026, the programme’s first selected project is directed by Wang Jie, with Shuang Xuetao serving as producer and mentor, and is scheduled to begin shooting later this year. The second selected project will be mentored by Jia Zhangke; the call for submissions will take place this year, with pre-production set to begin in 2027.
SUBMIT NOW: http://asianstories.hafapplication.com/
비밀리에 인스타그램 스토리 보기
인스타그램 스토리 뷰어는 인스타그램 스토리, 비디오, 사진 또는 IGTV를 비밀리에 보고 저장할 수 있는 간단한 도구입니다. 이 서비스를 통해 콘텐츠를 다운로드하고 언제든지 오프라인으로 즐길 수 있습니다. 인스타그램에서 나중에 확인하고 싶은 흥미로운 콘텐츠를 찾거나 익명으로 스토리를 보고 싶다면, 우리 뷰어가 적합합니다. Anonstories는 신원을 숨길 수 있는 훌륭한 솔루션을 제공합니다. 인스타그램은 2023년 8월에 스토리 기능을 출시했으며, 이 기능은 흥미롭고 시간에 민감한 형식으로 빠르게 다른 플랫폼에 채택되었습니다. 스토리는 사용자가 텍스트, 이모지 또는 필터로 보강된 사진, 비디오 또는 셀카를 공유할 수 있게 해주며, 24시간 동안만 표시됩니다. 이 제한된 시간 동안 높은 참여를 유도하며 일반 게시물보다 더 많은 반응을 얻을 수 있습니다. 오늘날 스토리는 소셜 미디어에서 연결하고 소통하는 가장 인기 있는 방법 중 하나입니다. 그러나 스토리를 볼 때, 제작자는 자신의 뷰어 목록에서 당신의 이름을 볼 수 있으며, 이는 개인 정보 보호에 대한 우려를 일으킬 수 있습니다. 만약 스토리를 아무도 모르게 탐색하고 싶다면? 그때 Anonstories가 유용해집니다. 이 도구는 신원을 드러내지 않고 공개된 인스타그램 콘텐츠를 볼 수 있게 해줍니다. 관심 있는 프로필의 사용자명을 입력하면 해당 프로필의 최신 스토리를 확인할 수 있습니다. Anonstories 뷰어의 특징: - 익명 브라우징: 뷰어 목록에 나타나지 않고 스토리를 볼 수 있습니다. - 계정 필요 없음: 인스타그램 계정에 가입하지 않고 공개 콘텐츠를 볼 수 있습니다. - 콘텐츠 다운로드: 스토리 콘텐츠를 직접 다운로드하여 오프라인에서 사용할 수 있습니다. - 하이라이트 보기: 24시간 제한을 넘어서 인스타그램 하이라이트를 볼 수 있습니다. - 리포스트 모니터링: 개인 프로필의 스토리 리포스트나 참여도를 추적할 수 있습니다. 제한 사항: - 이 도구는 공개 계정에서만 작동하며, 개인 계정은 접근할 수 없습니다. 장점: - 개인 정보 보호 친화적: 인스타그램 콘텐츠를 보면서도 눈에 띄지 않습니다. - 간단하고 쉬움: 앱 설치나 등록이 필요 없습니다. - 독점 도구: 인스타그램에서 제공하지 않는 방식으로 콘텐츠를 다운로드하고 관리할 수 있습니다.
Anonstories의 장점
인스타그램 스토리 비공개로 탐색
인스타그램 업데이트를 비밀리에 추적하고 개인 정보를 보호하며 익명으로 남을 수 있습니다.
개인 인스타그램 뷰어
개인 프로필 뷰어를 사용하여 쉽게 프로필과 사진을 익명으로 볼 수 있습니다.
무료 스토리 뷰어
이 무료 도구는 인스타그램 스토리를 익명으로 볼 수 있게 해주며, 스토리 업로더에게 활동을 숨길 수 있습니다.
자주 묻는 질문
익명성
Anonstories는 사용자가 인스타그램 스토리를 볼 때 제작자에게 알림을 보내지 않도록 합니다.
디바이스 호환성
iOS, Android, Windows, macOS, Chrome, Safari와 같은 최신 브라우저에서 원활하게 작동합니다.
안전성 및 개인 정보 보호
로그인 정보 없이 안전하고 익명으로 브라우징할 수 있습니다.
등록 필요 없음
사용자는 간단히 사용자명을 입력하여 공개된 스토리를 볼 수 있습니다. 계정이 필요하지 않습니다.
지원 형식
사진(JPEG)과 비디오(MP4)를 쉽게 다운로드합니다.
비용
이 서비스는 무료로 제공됩니다.
비공개 계정
비공개 계정의 콘텐츠는 팔로워만 접근할 수 있습니다.
파일 사용
파일은 개인적 또는 교육적 용도로만 사용 가능하며 저작권 규정을 준수해야 합니다.
작동 방식
공개된 사용자명을 입력하여 스토리를 보거나 다운로드할 수 있습니다. 서비스는 콘텐츠를 로컬에 저장할 수 있는 직접 링크를 생성합니다.