【影評】婁燁《一部未完成的電影》：電影這回事嘛，就是生活，它一直都在路上

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關鍵評論網","description":"婁燁透過《一部未完成的電影》拓展了一部劇情電影的可能模樣，同時，謝謝婁燁仍有回應時代的勇氣——這部電影關於疫情、政治以及人民運動。同時，婁燁更關照「電影是什麼，又為什麼拍電影」的深刻辯證；作為觀眾，看見這樣的作品是激動的。","keywords":["影劇","影評","金馬獎","婁燁","第61屆金馬獎","2024金馬獎","一部未完成的電影"],"dateCreated":"2024-11-21T15:33:09+08:00","dateModified":"2024-11-23T13:00:53+08:00","datePublished":"2024-11-23T13:00:00+08:00","primaryImageOfPage":{"@type":"ImageObject","contentUrl":""},"breadcrumb":{"@type":"BreadcrumbList","itemListElement":[{"@type":"ListItem","position":1,"item":{"@id":"https:\/\/www.thenewslens.com","name":"TNL The News Lens 關鍵評論網"}},{"@type":"ListItem","position":2,"item":{"@id":"https:\/\/www.thenewslens.com\/event-tag\/362890-2024%E9%87%91%E9%A6%AC%E7%8D%8E","name":"2024金馬獎"}},{"@type":"ListItem","position":3,"item":{"@id":"https:\/\/www.thenewslens.com\/feature\/golden-horse-awards-2024\/245132","name":"【影評】婁燁《一部未完成的電影》：電影這回事嘛，就是生活，它一直都在路上"}}]}}</script> <script type="application/ld+json">{"@context":"https:\/\/schema.org","@type":"NewsArticle","headline":"【影評】婁燁《一部未完成的電影》：電影這回事嘛，就是生活，它一直都在路上 - TNL The News Lens 關鍵評論網","url":"https:\/\/www.thenewslens.com\/feature\/golden-horse-awards-2024\/245132","articleSection":"影劇","image":[{"@type":"ImageObject","url":"https:\/\/bucket-image.inkmaginecms.com\/version\/desktop\/1\/image\/2024\/11\/c2687abf-cbc8-4b9f-ae97-9c59423d32df.jpg","height":768,"width":1280}],"author":[{"@type":"Person","name":"溫溫凱／地下電影","url":"https:\/\/www.thenewslens.com\/author\/underground-film"}],"publisher":{"@type":"Organization","logo":"https:\/\/www.thenewslens.com\/assets\/images\/logo\/tnl_logo.svg","name":"TNL The News Lens 關鍵評論網","url":"https:\/\/www.thenewslens.com"},"keywords":["影劇","影評","金馬獎","婁燁","第61屆金馬獎","2024金馬獎","一部未完成的電影"],"dateCreated":"2024-11-21T15:33:09+08:00","dateModified":"2024-11-23T13:00:53+08:00","datePublished":"2024-11-23T13:00:00+08:00","description":"婁燁透過《一部未完成的電影》拓展了一部劇情電影的可能模樣，同時，謝謝婁燁仍有回應時代的勇氣——這部電影關於疫情、政治以及人民運動。同時，婁燁更關照「電影是什麼，又為什麼拍電影」的深刻辯證；作為觀眾，看見這樣的作品是激動的。","articleBody":"從一部十年前未能公開上映，只能儲存於檔案庫的影像出發，《一部未完成的電影》除了是一部直面疫情的電影，婁燁事實上透過後設，積極地去探問可能是圍繞在他這輩子都在思考的重要提問——「如果電影禁演，那還為什麼要拍電影」？以評論系統探之，定義上，婁燁被劃分為中國第六代導演，這批導演多數出生於60至70年代，不同於第五代導演——田壯壯、陳凱歌、張藝謀等人歷經文化大革命的苦難磨練，這群接棒的創作者吸收養分的時期正好屬於改革開放，也遭逢社會經濟轉型的破碎時期——代表著舊時代的瓦解，伴隨而來的是新式思維，在新舊的對立面中，不斷碰撞造就這群導演特殊的影像風格，挑戰傳統、關注底層小人物成了象徵代表。婁燁也不例外。回望婁燁過往創作，是樂意也勇於挑戰傳統敘事。例如千禧年前交出的《蘇州河》，就帶著某種實驗性，探問了攝影機／敘事上所帶來的虛構／真實之間的關係；當然，除了形式之外，婁燁是關注時代的作者，仍以《蘇州河》為例，婁燁於其中展開城市的悲壯漫遊，在當代的中國土味塗抹了西洋味，捕捉到西方社會對老上海的遺存與符旨——更從中抓緊了當時代人們對於末世的想像與未來的救贖——今昔古今，不謀而合。而無論是形式上的游移與探索；還是敘事上對於小人物的關注以及大時代的敏銳，婁燁皆早已證明其作者調性，更或是，挪用《蘇州河》的台詞變體——婁燁的攝影機不撒謊。但是，除了影像之內的系統之外，還有一組關鍵字是至今緊跟婁燁的——禁片。也由於婁燁透過影像表達的敢說、感言——碰觸人物、關注時代的直面政治，而生活不脫政治，電影當然也是，且「熱愛電影，就是熱愛生活」[1]，因此，政治應當然、也自然會是創作者回應的命題，而婁燁屢次讓我們看見了回應政治的果敢與誠實。以六四事件為背景的《頤和園》，看見了時代政治；以情慾為主——無論是同志的《春風沈醉的夜晚》又或是盲人的《推拿》，看見了身體政治，但是，在中國談政治，談的不是中國當局認定的政治，是會被禁的。也確實，婁燁的作品經常被中國禁——被禁言、被禁演、被禁拍、禁的都是那些血淋淋的骨肉生活，而時常遊走在「禁」字邊緣的婁燁，或逃、或躲、或遮、或演，不為別的，就是為了拍電影。但是，電影有其公眾性，這件事更存於所謂的商業市場，而倘若電影拍完了，被禁了，那這樣的電影拍給誰看，又或是，一部無法被觀看的電影，還有拍攝／存在的必要嗎？從這個「禁片」為旨出發——對於電影藝術媒材與創作者與公共空間／群體的互動探尋，我以為，就是婁燁在《一部未完成的電影》之中——最重要的提問。而關於這個核心命題的答案，婁燁通通放在了《一部未完成的電影》。婁燁用影像敘事告訴我們，因為電影是乘載現實的藝術、紀錄時代的媒材；因為電影的宇宙巨大到得以包容各種可能——它可以是錄像／短視頻（在此因中國電影使用中國用語）的集結；它可以是劇情／偽記錄的混淆；它既是虛構，也是真實；它既是劇情，更是紀錄。電影是關於一群人的工作，更是一群人的生活，乃至於我們得以真真切切地看見這個時代——包含一切苦與樂。所以，《一部未完成的電影》在疫情為背景之下，觀眾看見了現實面——婁燁呈現片中劇組們面對疫情的狀態——從恐慌焦慮到苦中作樂，艱困時代下的小人物生命力，遭致婁燁緊緊捕捉，而在封閉的場域也得以窺見拍攝電影之能與不能——這又是另一層的後設指涉。談疫情，婁燁當然放進了生活與政治。那不僅止於數組分割畫面，又或是抖音的介質形式勾勒出的普通生活之呈現，更多也關於——肺炎疫情「吹哨人」李文亮之死、哭泣女孩掌鏡的的城市光景、烏魯木齊大火——白紙運動民眾抗爭的相關紀實影像的現形——婁燁透過主／客觀的視角切換、紀實／劇情影像的來回更迭，再讓時代的肌理與虛構的電影互文，以致於模糊了片中的空間／時間——而這就是電影能做到的事，這就是電影的魔法。換句話說，婁燁以「電影中的電影」試圖後設處理了「電影中的虛構／現實」，以至於「虛構／現實」在「片中／戲外」不斷交互作用——也因此，婁燁既回應了電影之虛構，同時關照了時代之現實，而這是一部（未完成）電影的底氣。疫情的生活，被妥善地放進了一部電影中的電影；疫情的政治，被無畏地放進了一部注定遭致中國禁演的未完成的電影——生活、政治、電影，是密不可分的，生活與政治是持續向前的，但電影能留下，能留下關於生活的樣子；能留下關於時代的刻印；能留下關於人們的記憶。所以，即使被禁，也要繼續拍電影，因為這就是生活、這就是記憶、這就是時代、這就是電影——《一部未完成的電影》就是婁燁的宣言！當體認到一個幾乎和禁片劃上等號的作者，從禁片的轉譯過程思考——那個做電影的意義的本質，將禁片內化成更大的、更重要的敘事能量，幾乎就看見了後設電影的終極意義，而這都來自於婁燁對生活、對電影的誠實——還是那句老話，婁燁的攝影機不撒謊。婁燁透過《一部未完成的電影》拓展了一部劇情電影的可能模樣——劇情電影是千變萬化的，這恰恰是婁燁以「形式」進行多變的相容嘗試；同時，劇情電影當然也是與生活緊緊貼合的——於此，謝謝婁燁仍有回應時代的勇氣，以及關照「電影是什麼，又為什麼拍電影」的深刻辯證；作為觀眾，看見這樣的作品是激動的。事實上，《一部未完成的電影》就是一部永遠不可能拍完的電影，而這是婁燁這輩子的提問與探索——關於一部未完成、好幾部禁演電影的堅持；然後，還要繼續拍電影。因為電影這回事嘛，就是生活，它一直都在路上。備註[1]引述自於1977年逝世、前任法國電影資料館館長昂希朗格瓦（Henri Langlois），《昂希朗格瓦：電光魅影》。延伸閱讀【影評】《從今以後》：楊曜愷持續關注中老年同志生活，擁有從理智尋求解決之道的冷靜【影評】《默視錄》：我們不懂那些「看與被看」，楊修華看似丟了很多線索卻都嘎然而止【影評】《鬼才之道》：藉奇幻鬼界反映瘋狂人間，徐漢強《返校》之後回歸賴以成名的短片手法【加入關鍵評論網會員】每天精彩好文直送你的信箱，每週獨享編輯精選、時事精選、藝文週報等特製電子報。還可留言與作者、記者、編輯討論文章內容。立刻點擊免費加入會員！責任編輯：王祖鵬核稿編輯：翁世航"}</script> <script type="application/ld+json">{"@type":"ItemList","@context":"https:\/\/schema.org","itemListElement":[{"url":"https:\/\/www.youtube.com\/watch?v=SqmokvvVRUc&feature=youtu.be","name":"2024 金馬影展 TGHFF | 一部未完成的電影 An Unfinished Film","@type":"VideoObject","author":{"name":"TGHFF","@type":"Person"},"embedUrl":"https:\/\/www.youtube.com\/embed\/SqmokvvVRUc","position":1,"uploadDate":"2024-10-16T01:37:32-07:00","description":"2024 金馬影展 TGHFF | 一部未完成的電影 An Unfinished Film","thumbnailUrl":"https:\/\/i.ytimg.com\/vi\/SqmokvvVRUc\/hqdefault.jpg"}]}</script> </head> <body class=""> <tnlmedia-header theme="styleLight" lang="zh-tw"></tnlmedia-header> <header id="mainHeader" class="main-header bg-white"> <div class="headers"> <div 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data-sponsor-article="0" data-plus-article="0" data-feature-article="1" data-column-article="0" data-r18-content="0" data-alcohol-content="0" > <article class="section-wrapper js-article-section-wrapper"> <section class="item-wrapper article-header-item-wrapper"> <div class="container" data-bs-theme=dark> <div class="row justify-content-center"> <div class="col-12 col-lg-11"> <div class="item-info-wrapper"> <a class="fw-bold align-self-start btn-mutant" href="https://www.thenewslens.com/feature" >特別報導</a> <div class="d-flex flex-column-reverse"> <h1 id="article-title-245132" class="h3 item-title default-color">【影評】婁燁《一部未完成的電影》：電影這回事嘛，就是生活，它一直都在路上</h1> <div class="h6 item-sub-title"> 【2024金馬獎】2024 Golden Horse Awards </div> </div> <div class="item-froms"> <time class="small time" datetime="2024/11/23"> 2024/11/23 </time> <a class="small flex-shrink-0" href="https://www.thenewslens.com/category/movie-tv">影劇</a> <span class="dot"></span> <small class="text-truncate"> <small class="author-wrapper"> <a class="author" href="https://www.thenewslens.com/author/underground-film">溫溫凱／地下電影</a> </small> </small> </div> </div> </div> </div> </div> <div class="imgs-wrapper pt-4"> <div class="imgs container"> <div class="row justify-content-center"> <figure class="col-12 col-lg-11"> <div class="img-wrapper ratio ratio-320x192"> <img class="" alt="1.《一部未完成的電影》劇照" src="https://bucket-image.inkmaginecms.com/version/list/1/image/2024/11/c2687abf-cbc8-4b9f-ae97-9c59423d32df.jpg" sizes="(min-width: 1400px) 1076px, (min-width: 1200px) 1021px, (min-width: 992px) 856px, (min-width: 768px) 696px, (min-width: 576px) 516px, 90vw" srcset=" https://bucket-image.inkmaginecms.com/version/hd/1/image/2024/11/c2687abf-cbc8-4b9f-ae97-9c59423d32df.jpg 2345w, https://bucket-image.inkmaginecms.com/version/list/1/image/2024/11/c2687abf-cbc8-4b9f-ae97-9c59423d32df.jpg 320w, https://bucket-image.inkmaginecms.com/version/mobile/1/image/2024/11/c2687abf-cbc8-4b9f-ae97-9c59423d32df.jpg 640w, https://bucket-image.inkmaginecms.com/version/desktop/1/image/2024/11/c2687abf-cbc8-4b9f-ae97-9c59423d32df.jpg 1280w, " /> </div> <figcaption class="pt-1 img-froms"> <small class="photo-credit-wrapper text-gray-400"> 《一部未完成的電影》劇照｜Photo Credit: 好威映象提供 </small> </figcaption> </figure> </div> </div> </div> </section> <div class="item-wrapper article-body-item-wrapper"> <div class="container"> <div class="row justify-content-center article-body-item-row"> <div class="col-12 col-lg-11 article-body-item-col"> <div class="article-body-item bg-white py-5"> <div class="item"> <section class="authors-wrapper overflow-hidden mb-5"> <div class="card author-wrapper text-bg-light js-author-wrapper" data-author-id="1516"> <div class="card-body card-padding-sm"> <div class="card-body-item d-flex flex-column flex-md-wrap flex-md-row"> <a class="d-flex item-link align-items-center mw-md-58" href="https://www.thenewslens.com/author/underground-film"> <div class="avatar-wrapper bg-white border border-4 border-white rounded-circle ratio ratio-1x1 w-56px h-56px flex-shrink-0"> <img class="author-avatar rounded-circle" alt="溫溫凱／地下電影" src="https://bucket-image.inkmaginecms.com/version/list/1/image/2024/08/0db66432-ffff-4ae6-b3f3-9025454ab6da.jpg" /> </div> <div class="h5 text-link-dark card-title mb-0 ps-2 text-style-link">溫溫凱／地下電影</div> </a> <p class="card-text multiline-ellipsis-2 mt-3 mb-0 order-md-3 w-100 h6 fw-normal default-color text-muted">待過串流、電影雜誌，曾任金馬影展第4屆亞洲電影觀察團、台北電影獎媒體評審、金穗獎影評人推薦獎評審、青春影展初選評審。曾赴坎城、柏林影展進行評論寫作。現任台灣影評人協會成員。評論文章散見500輯、換日線、電影神搜、關鍵評論網、CATCHPLAY+、Giloo紀實影音等各大媒體平台與紙本刊物</p> <div class="social-btns ms-md-auto mt-3 mt-md-0 d-flex align-items-center justify-content-center order-md-2"> <a class="btn btn-square-xs btn-link text-link-light social-btn" target="_blank" rel="noopener noreferrer" href="https://www.facebook.com/welcometoundergroundfilm/"><i class="icon fab fa-facebook-f"></i></a> <a class="btn btn-square-xs btn-link text-link-light social-btn" target="_blank" rel="noopener noreferrer" href="https://www.facebook.com/ponplayintheground/"><i class="icon fas fa-globe"></i></a> <a class="btn btn-square-xs btn-link text-link-light social-btn" target="_blank" rel="noopener noreferrer" href="mailto:undergroundfilm92@gmail.com"><i class="icon fas fa-envelope"></i></a> <button type="button" class="btn btn-primary btn-follow ms-auto ms-md-4 js-follow-author-btn opacity-0 animate__animated">追蹤<i class="icon far fa-heart"></i></button> </div> </div> </div> </div> </section> <section class="border border-primary-800 notch-card mb-5"> <div class="h5 headine simple section-title bg-white">我們想讓你知道的是</div> <p class="h6 fw-normal default-color text-muted mb-0 card-padding-lg"> 婁燁透過《一部未完成的電影》拓展了一部劇情電影的可能模樣，同時，謝謝婁燁仍有回應時代的勇氣——這部電影關於疫情、政治以及人民運動。同時，婁燁更關照「電影是什麼，又為什麼拍電影」的深刻辯證；作為觀眾，看見這樣的作品是激動的。 </p> </section> </div> <div class="js-advertise ad-content desktop-hide" style="min-height:326px"> <div class="tmgad tmgad-type-flux tmgad-new"> <script type="application/json">{"type":"flux","targeting":{"advertising":["0"],"cabinet":["791732"],"page_key":["feature"],"page_name":["feature"],"tag_key":["2355","2359","37649","349248","349249","356523","362890"],"tag_name":["\u5f71\u8a55","\u91d1\u99ac\u734e","\u5a41\u71c1","\u7b2c61\u5c46\u91d1\u99ac\u734e","2024\u91d1\u99ac\u734e","\u4e00\u90e8\u672a\u5b8c\u6210\u7684\u96fb\u5f71","2024\u91d1\u99ac\u734e"],"author_key":["underground-film"],"author_name":["\u6eab\u6eab\u51f1\uff0f\u5730\u4e0b\u96fb\u5f71"],"category_key":["movie-tv"],"category_name":["\u5f71\u5287"],"type_key":["review"],"type_name":["\u8a55\u8ad6"],"channel_key":[],"channel_name":[]},"slot":"\/21870649235\/tnl_a_p0","size":[[336,280],[300,250],[1,1]],"mapping":[[[0,0],[[336,280],[300,250],[1,1]]],[[970,0],[]]],"name":"tnl_a_p0"}</script> </div> </div> <section id="article-content-245132" class="item article-body default-color mb-6 mt-5"> <p class="ck-section" style="margin-left:0px;">從一部十年前未能公開上映，只能儲存於檔案庫的影像出發，《一部未完成的電影》除了是一部直面疫情的電影，婁燁事實上透過後設，積極地去探問可能是圍繞在他這輩子都在思考的重要提問——「如果電影禁演，那還為什麼要拍電影」？</p><p class="ck-section" style="margin-left:0px;"><span style="background-color:rgb(255,255,255);color:rgb(55,65,81);">以評論系統探之，定義上，婁燁被劃分為中國第六代導演，這批導演多數出生於60至70年代，不同於第五代導演——田壯壯、陳凱歌、張藝謀等人歷經文化大革命的苦難磨練，這群接棒的創作者吸收養分的時期正好屬於改革開放，也遭逢社會經濟轉型的破碎時期——代表著舊時代的瓦解，伴隨而來的是新式思維，在新舊的對立面中，不斷碰撞造就這群導演特殊的影像風格，挑戰傳統、關注底層小人物成了象徵代表。</span></p><div class="js-advertise ad-content " style="min-height:326px"> <div class="tmgad tmgad-type-flux tmgad-new"> <script type="application/json">{"type":"flux","targeting":{"advertising":["0"],"cabinet":["791732"],"page_key":["feature"],"page_name":["feature"],"tag_key":["2355","2359","37649","349248","349249","356523","362890"],"tag_name":["\u5f71\u8a55","\u91d1\u99ac\u734e","\u5a41\u71c1","\u7b2c61\u5c46\u91d1\u99ac\u734e","2024\u91d1\u99ac\u734e","\u4e00\u90e8\u672a\u5b8c\u6210\u7684\u96fb\u5f71","2024\u91d1\u99ac\u734e"],"author_key":["underground-film"],"author_name":["\u6eab\u6eab\u51f1\uff0f\u5730\u4e0b\u96fb\u5f71"],"category_key":["movie-tv"],"category_name":["\u5f71\u5287"],"type_key":["review"],"type_name":["\u8a55\u8ad6"],"channel_key":[],"channel_name":[]},"slot":"\/21870649235\/tnl_a_p2","size":[[640,480],[640,360],[300,250],[1,1]],"mapping":[[[970,0],[[640,480],[640,360],[1,1]]],[[336,0],[[300,250],[1,1]]]],"name":"tnl_a_p2"}</script> </div> </div> <p class="ck-section" style="margin-left:0px;"><span style="background-color:rgb(255,255,255);color:rgb(55,65,81);">婁燁也不例外。</span></p><p class="ck-section" style="margin-left:0px;"><span style="background-color:rgb(255,255,255);color:rgb(55,65,81);">回望婁燁過往創作，是樂意也勇於挑戰傳統敘事。例如千禧年前交出的《蘇州河》，就帶著某種實驗性，探問了攝影機／敘事上所帶來的虛構／真實之間的關係；當然，除了形式之外，婁燁是關注時代的作者，仍以《蘇州河》為例，婁燁於其中展開城市的悲壯漫遊，在當代的中國土味塗抹了西洋味，捕捉到西方社會對老上海的遺存與符旨——更從中抓緊了當時代人們對於末世的想像與未來的救贖——今昔古今，不謀而合。</span></p><p class="ck-section" style="margin-left:0px;">而無論是形式上的游移與探索；還是敘事上對於小人物的關注以及大時代的敏銳，婁燁皆早已證明其作者調性，更或是，挪用<span style="background-color:rgb(255,255,255);color:rgb(55,65,81);">《蘇州河》的台詞變體——婁燁的攝影機不撒謊。</span></p><p class="ck-section" style="margin-left:0px;">但是，除了影像之內的系統之外，還有一組關鍵字是至今緊跟婁燁的——禁片。</p><div class="js-advertise ad-content " style="min-height:326px"> <div class="tmgad tmgad-type-general tmgad-new"> <script type="application/json">{"type":"general","targeting":{"advertising":["0"],"cabinet":["791732"],"page_key":["feature"],"page_name":["feature"],"tag_key":["2355","2359","37649","349248","349249","356523","362890"],"tag_name":["\u5f71\u8a55","\u91d1\u99ac\u734e","\u5a41\u71c1","\u7b2c61\u5c46\u91d1\u99ac\u734e","2024\u91d1\u99ac\u734e","\u4e00\u90e8\u672a\u5b8c\u6210\u7684\u96fb\u5f71","2024\u91d1\u99ac\u734e"],"author_key":["underground-film"],"author_name":["\u6eab\u6eab\u51f1\uff0f\u5730\u4e0b\u96fb\u5f71"],"category_key":["movie-tv"],"category_name":["\u5f71\u5287"],"type_key":["review"],"type_name":["\u8a55\u8ad6"],"channel_key":[],"channel_name":[]},"slot":"\/21870649235\/tnl_a_p6_special","size":[[640,480],[640,360],[320,480],[300,250],[1,1]],"mapping":[[[970,0],[[640,480],[640,360],[1,1]]],[[336,0],[[320,480],[300,250],[1,1]]]],"name":"tnl_a_p6_special"}</script> </div> </div> <p class="ck-section" style="margin-left:0px;">也由於婁燁透過影像表達的敢說、感言——碰觸人物、關注時代的直面政治，而生活不脫政治，電影當然也是，且「熱愛電影，就是熱愛生活」[1]，因此，政治應當然、也自然會是創作者回應的命題，而婁燁屢次讓我們看見了回應政治的果敢與誠實。</p><p class="ck-section" style="margin-left:0px;">以六四事件為背景的《頤和園》，看見了時代政治；以情慾為主——無論是同志的《春風沈醉的夜晚》又或是盲人的《推拿》，看見了身體政治，但是，在中國談政治，談的不是中國當局認定的政治，是會被禁的。</p><p class="ck-section" style="margin-left:0px;">也確實，婁燁的作品經常被中國禁——被禁言、被禁演、被禁拍、禁的都是那些血淋淋的骨肉生活，而時常遊走在「禁」字邊緣的婁燁，或逃、或躲、或遮、或演，不為別的，就是為了拍電影。</p><p class="ck-section" style="margin-left:0px;">但是，電影有其公眾性，這件事更存於所謂的商業市場，而倘若電影拍完了，被禁了，那這樣的電影拍給誰看，又或是，一部無法被觀看的電影，還有拍攝／存在的必要嗎？</p><div class="js-advertise ad-content " style="min-height:326px"> <div class="tmgad tmgad-type-flux tmgad-new"> <script type="application/json">{"type":"flux","targeting":{"advertising":["0"],"cabinet":["791732"],"page_key":["feature"],"page_name":["feature"],"tag_key":["2355","2359","37649","349248","349249","356523","362890"],"tag_name":["\u5f71\u8a55","\u91d1\u99ac\u734e","\u5a41\u71c1","\u7b2c61\u5c46\u91d1\u99ac\u734e","2024\u91d1\u99ac\u734e","\u4e00\u90e8\u672a\u5b8c\u6210\u7684\u96fb\u5f71","2024\u91d1\u99ac\u734e"],"author_key":["underground-film"],"author_name":["\u6eab\u6eab\u51f1\uff0f\u5730\u4e0b\u96fb\u5f71"],"category_key":["movie-tv"],"category_name":["\u5f71\u5287"],"type_key":["review"],"type_name":["\u8a55\u8ad6"],"channel_key":[],"channel_name":[]},"slot":"\/21870649235\/tnl_a_p10","size":[[640,480],[640,360],[300,250],[1,1]],"mapping":[[[970,0],[[640,480],[640,360],[1,1]]],[[336,0],[[300,250],[1,1]]]],"name":"tnl_a_p10"}</script> </div> </div> <p class="ck-section" style="margin-left:0px;">從這個「禁片」為旨出發——對於電影藝術媒材與創作者與公共空間／群體的互動探尋，我以為，就是婁燁在《一部未完成的電影》之中——最重要的提問。</p><p class="ck-section" style="margin-left:0px;">而關於這個核心命題的答案，婁燁通通放在了《一部未完成的電影》。</p><p class="ck-section" style="margin-left:0px;">婁燁用影像敘事告訴我們，因為電影是乘載現實的藝術、紀錄時代的媒材；因為電影的宇宙巨大到得以包容各種可能——它可以是錄像／短視頻（在此因中國電影使用中國用語）的集結；它可以是劇情／偽記錄的混淆；它既是虛構，也是真實；它既是劇情，更是紀錄。</p><p class="ck-section" style="margin-left:0px;">電影是關於一群人的工作，更是一群人的生活，乃至於我們得以真真切切地看見這個時代——包含一切苦與樂。</p><p class="ck-section" style="margin-left:0px;">所以，《一部未完成的電影》在疫情為背景之下，觀眾看見了現實面——婁燁呈現片中劇組們面對疫情的狀態——從恐慌焦慮到苦中作樂，艱困時代下的小人物生命力，遭致婁燁緊緊捕捉，而在封閉的場域也得以窺見拍攝電影之能與不能——這又是另一層的後設指涉。</p><p class="ck-section" style="margin-left:0px;">談疫情，婁燁當然放進了生活與政治。</p><p class="ck-section" style="margin-left:0px;">那不僅止於數組分割畫面，又或是抖音的介質形式勾勒出的普通生活之呈現，更多也關於——肺炎疫情「吹哨人」李文亮之死、哭泣女孩掌鏡的的城市光景、烏魯木齊大火——白紙運動民眾抗爭的相關紀實影像的現形——婁燁透過主／客觀的視角切換、紀實／劇情影像的來回更迭，再讓時代的肌理與虛構的電影互文，以致於模糊了片中的空間／時間——而這就是電影能做到的事，這就是電影的魔法。</p><p class="ck-section" style="margin-left:0px;">換句話說，婁燁以「電影中的電影」試圖後設處理了「電影中的虛構／現實」，以至於「虛構／現實」在「片中／戲外」不斷交互作用——也因此，婁燁既回應了電影之虛構，同時關照了時代之現實，而這是一部（未完成）電影的底氣。</p><p class="ck-section" style="margin-left:0px;">疫情的生活，被妥善地放進了一部電影中的電影；疫情的政治，被無畏地放進了一部注定遭致中國禁演的未完成的電影——生活、政治、電影，是密不可分的，生活與政治是持續向前的，但電影能留下，能留下關於生活的樣子；能留下關於時代的刻印；能留下關於人們的記憶。</p><p class="ck-section" style="margin-left:0px;">所以，即使被禁，也要繼續拍電影，因為這就是生活、這就是記憶、這就是時代、這就是電影——《一部未完成的電影》就是婁燁的宣言！</p><p class="ck-section" style="margin-left:0px;">當體認到一個幾乎和禁片劃上等號的作者，從禁片的轉譯過程思考——那個做電影的意義的本質，將禁片內化成更大的、更重要的敘事能量，幾乎就看見了後設電影的終極意義，而這都來自於婁燁對生活、對電影的誠實——還是那句老話，婁燁的攝影機不撒謊。</p><p class="ck-section" style="margin-left:0px;">婁燁透過《一部未完成的電影》拓展了一部劇情電影的可能模樣——劇情電影是千變萬化的，這恰恰是婁燁以「形式」進行多變的相容嘗試；同時，劇情電影當然也是與生活緊緊貼合的——於此，謝謝婁燁仍有回應時代的勇氣，以及關照「電影是什麼，又為什麼拍電影」的深刻辯證；作為觀眾，看見這樣的作品是激動的。</p><p class="ck-section" style="margin-left:0px;">事實上，《一部未完成的電影》就是一部永遠不可能拍完的電影，而這是婁燁這輩子的提問與探索——關於一部未完成、好幾部禁演電影的堅持；然後，還要繼續拍電影。</p><p class="ck-section" style="margin-left:0px;">因為電影這回事嘛，就是生活，它一直都在路上。</p><figure class="media"><iframe width="560" height="315" src="https://www.youtube.com/embed/SqmokvvVRUc" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe></figure><h2 class="paragraph-title paragraph-title ck-section" style="margin-left:0px;">備註</h2><p class="ck-section">[1]引述自於1977年逝世、前任法國電影資料館館長昂希朗格瓦（Henri Langlois），《昂希朗格瓦：電光魅影》。</p><h2 class="paragraph-title paragraph-title ck-section">延伸閱讀</h2><ul><li class="ck-section"><a href="https://www.thenewslens.com/feature/golden-horse-awards-2024/244828" target="_blank" rel="noopener noreferrer">【影評】《從今以後》：楊曜愷持續關注中老年同志生活，擁有從理智尋求解決之道的冷靜</a></li><li class="ck-section"><a href="https://www.thenewslens.com/feature/golden-horse-awards-2024/244949" target="_blank" rel="noopener noreferrer">【影評】《默視錄》：我們不懂那些「看與被看」，楊修華看似丟了很多線索卻都嘎然而止</a></li><li class="ck-section"><a href="https://www.thenewslens.com/feature/golden-horse-awards-2024/206303" target="_blank" rel="noopener noreferrer">【影評】《鬼才之道》：藉奇幻鬼界反映瘋狂人間，徐漢強《返校》之後回歸賴以成名的短片手法</a></li></ul><p class="ck-section">【加入關鍵評論網會員】每天精彩好文直送你的信箱，每週獨享編輯精選、時事精選、藝文週報等特製電子報。還可留言與作者、記者、編輯討論文章內容。<a href="https://www.thenewslens.com/profile/subscribe?utm_source=article&utm_medium=CTA&utm_campaign=member">立刻點擊免費加入會員！</a></p><p class="ck-section">責任編輯：王祖鵬<br>核稿編輯：翁世航</p> </section> <div class="article-others-wrapper item pt-3"> <section class="mt-6"> <div class="section-title-wrapper section-title-wrapper-md"> <div class="h5 headine section-title text-start"> <span>「<a class="btn-mutant default-color" href="https://www.thenewslens.com/event-tag/362890-2024%E9%87%91%E9%A6%AC%E7%8D%8E">2024金馬獎</a>」的相關議題</span> </div> </div> <ul class="timeline-items-wrapper start lists-item-wrapper list-unstyled"> <li class="item-wrapper timeline-item-wrapper "> <div class="item"> <div class="item-info-wrapper"> <div class="item-froms"> <time class="small time" datetime="2024/11/23">2024/11/23</time> </div> <h4 class="item-title h6"> <a class="multiline-ellipsis text-link active-text" href="https://www.thenewslens.com/article/245232"> 【2024金馬獎】：《BIG》鄭又菲奪最佳新演員：謝謝魏德聖導演看見我 </a> </h4> <p class="description small multiline-ellipsis multiline-ellipsis-2 mb-0"> 年僅11歲的鄭又菲以《BIG》奪金馬獎最佳新演員！她感謝導演魏德聖給予機會，並表示會繼續挑戰不同角色。此前她也獲台北電影獎最佳新演員，實力備受肯定。 </p> </div> </div> </li> <li class="item-wrapper timeline-item-wrapper "> <div class="item"> <div class="item-info-wrapper"> <div class="item-froms"> <time class="small time" datetime="2024/11/23">2024/11/23</time> </div> <h4 class="item-title h6"> <a class="multiline-ellipsis text-link active-text" href="https://www.thenewslens.com/article/245244"> 紀錄片《獄中信－鄒幸彤》入圍金馬獎，海外港人製作團隊：突破自我審查，讓事實發聲 </a> </h4> <p class="description small multiline-ellipsis multiline-ellipsis-2 mb-0"> 由海外港人媒體「綠豆」製作的電影「鄒幸彤-獄中信」，獲金馬獎最佳紀錄短片提名。片中記述她身陷囹圄仍堅持發聲的書寫，「綠豆」表示這部片旨在突破審查，彰顯信念與人權：「書寫和思考，這個是她不能被奪走的自由。」 </p> </div> </div> </li> <li class="item-wrapper timeline-item-wrapper active"> <div class="item"> <div class="item-info-wrapper"> <div class="item-froms"> <time class="small time" datetime="2024/11/23">2024/11/23</time> </div> <h4 class="item-title h6"> <a class="multiline-ellipsis text-link active-text" href="https://www.thenewslens.com/feature/golden-horse-awards-2024/245132"> 【影評】婁燁《一部未完成的電影》：電影這回事嘛，就是生活，它一直都在路上 </a> </h4> <p class="description small multiline-ellipsis multiline-ellipsis-2 mb-0"> 婁燁透過《一部未完成的電影》拓展了一部劇情電影的可能模樣，同時，謝謝婁燁仍有回應時代的勇氣——這部電影關於疫情、政治以及人民運動。同時，婁燁更關照「電影是什麼，又為什麼拍電影」的深刻辯證；作為觀眾，看見這樣的作品是激動的。 </p> </div> </div> </li> <li class="item-wrapper timeline-item-wrapper "> <div class="item"> <div class="item-info-wrapper"> <div class="item-froms"> <time class="small time" datetime="2024/11/22">2024/11/22</time> </div> <h4 class="item-title h6"> <a class="multiline-ellipsis text-link active-text" href="https://www.thenewslens.com/feature/golden-horse-awards-2024/245072"> 【2024金馬獎】八位影評人推薦片單：中國名導婁燁、耿軍、王兵入榜，「鬼才」、「小雁」成台灣代表 </a> </h4> <p class="description small multiline-ellipsis multiline-ellipsis-2 mb-0"> 2024年第61屆金馬獎，報名影片創下歷年最高紀錄，本屆競爭的激烈程度可想而知。其中以《鬼才之道》入圍11項提名領跑，而後是《小雁與吳愛麗》、《漂亮朋友》、《白衣蒼狗》、《默視錄》、《餘燼》、《女兒的女兒》等作。有鑑於此，《關鍵評論網》邀請影評人，從本屆金馬獎的所有入圍作品（不限類型）之中，各自選出一部最鍾愛或最想推薦給讀者／觀眾的電影，並附上理由推薦。 </p> </div> </div> </li> <li class="item-wrapper timeline-item-wrapper "> <div class="item"> <div class="item-info-wrapper"> <div class="item-froms"> <time class="small time" datetime="2024/11/22">2024/11/22</time> </div> <h4 class="item-title h6"> <a class="multiline-ellipsis text-link active-text" href="https://www.thenewslens.com/feature/golden-horse-awards-2024/245074"> 【影評】《一部未完成的電影》：婁燁誠實且勇敢，在大疫之年重構記憶與情感 </a> </h4> <p class="description small multiline-ellipsis multiline-ellipsis-2 mb-0"> 《一部未完成的電影》所呈現的虛擬與情感的交織，揭示虛擬如何成為現實情感的重要組成部分。虛擬並不是現實的對立面，而是對現實的一種擴展與深化。在虛擬中，情感得以重構，於虛擬與現實的多重維度中找到新的意義。 </p> </div> </div> </li> </ul> <a href="https://www.thenewslens.com/event-tag/362890-2024%E9%87%91%E9%A6%AC%E7%8D%8E" class="btn btn-outline-primary ms-6" > 看更多 </a> </section> <section class="card text-bg-light mt-6"> <a 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