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《完全和平手冊》(Peace)

Submitted by on 2011/10/12 – 15:10:3732 Comments

完全和平手冊
Peace

Japan | 2010 | 紀錄Doc | 75min

10/15 (六) 18:30 (導演出席座談)

10/29 (六) 18:30

2011香港國際電影節最佳紀錄片人道獎

年過70歲的柏木先生與他的妻子皆從事社會福利服務的工作,他專職於駕駛著改裝過的廂型車,接送協助需要外出就醫或購物卻行動不便的老者或殘障人士。但柏 木先生每月所獲得的金錢報酬,卻不夠支付車子的燃料費用、保險及定期保養等等的開銷;問他為何持續這份工作?柏木淡淡地微笑說:『習慣使然。』,而這句話 同樣也能印證於柏木習慣在他的住家庭院內餵食貓咪,即便是外來的野貓他照樣來者不拒。在長期觀察貓群的經驗之中,柏木先生發現貓類有著神秘的自然法則:年 長的貓會一隻隻地離開群體,讓柏木所餵食的貓咪們不過於殖增,也讓幼貓能保有食的空間。那麼,人類為老弱貧殘的族群所提供社會福利的協助,是僅遵守於社會公平正義的體制,還是人們發至於內心的天性使然?

What is peace? What is coexistence? And what are the bases for them?

PEACE is a visual-essay-like observational documentary, which contemplates these questions by observing the daily lives of people and cats in Okayama city, Japan, where life and death, acceptance and rejection are intermingled.

Three people and stray cats are the main characters.

Toshio Kashiwagi runs an affordable taxi service for the disabled and the elderly, having retired as a principal at a special school. Meanwhile, he feeds a group of stray cats everyday. However, there is a growing tension in the cats’ peaceful community because a male “thief cat,” an outsider, is trying to invade it.

(Read the full synopsis:http://www.laboratoryx.us/peace/synopsis.html)

導演的話 Director’s Statement

2009年夏天,DMZ國際紀錄片影展在與北韓交界的南韓城市坡州市舉行。主辦單位邀請我拍攝一支二十分鐘與和平、共存有關的紀錄短片,但老實說,我一開始對這個主意並不是太熱衷。

其中一個原因是我深信我絕對不能在拍攝紀錄片之前便預設主題,否則會產生危險:主題變得比現實更重要,而且會主導我的拍攝過程。我會拍攝適合主題的材料,而非從我看到的事物中學習。我相信應該只有在長時間透過拍攝和剪接觀察世界後,才能發現主題。

當時我也猶豫要不要處理和平與共存這類龐大的主題。這類主題聽起來太過政治正確,而且幾乎可以當作是陳腔濫調。我對自己說:「毫無疑問,每個人都想要和平與共存。我何必要拍攝主題這麼明確的電影?」

我當時準備要婉拒這項邀約了…
(閱讀全文:http://www.south.org.tw/?p=2073

In the summer of 2009, the DMZ Korean International Documentary Festival in the border city of Paju, South Korea, asked me to make a 20 minute-short documentary about peace and coexistence. But honestly, I wasn’t so keen on the idea at first.

One reason is that I firmly believed I should never set up a theme before I make a documentary. Otherwise, there is a danger that the theme becomes more important than the reality itself, and would dictate my filmmaking process. I would shoot materials that might fit to the theme rather than learn from what I see. I believed that the theme should be discovered only after the long process of observation of the world through shooting and editing.

I was also hesitant to deal with such a big theme as peace and coexistence, which sounds too politically correct and can be perceived as almost cliché. I was saying to myself, “There’s no question that everybody wants peace and coexistence. Why should I make a movie about such an obvious theme?”

I was about to decline the offer.

(Read the full article:http://www.laboratoryx.us/peace/directors_statement.html

作品評論 Press

這是一部安靜而帶有特殊力量的電影。藉由拍攝人與貓的日常生活,鏡頭帶領觀眾探尋「和平」最根本的概念;和平不是一種談判後不情願接受的共存結果,而是存在我們人性的核心價值理念。這部電影顯示了世俗平凡中的真善美。

-香港國際電影節最佳紀錄片獎 評審團意見

影片清楚地顯現想田導演這種可愛、如手工製造的「和平」。表面上,這是一部關於照護義工—特別是Toshio和Hiroko這對夫妻—服務老弱者的 故事;但隨著想田導演的鏡頭看似不經意地紀錄被攝者,不為了特定主題而拍攝的方式,使得整部電影的視野更為寬廣:從Toshio照料的一群街貓生活,到東 京某些小巷入夜之後的黑暗與禁忌。這種類型的電影自由已反映在當今對於追求更多觀察式紀錄片的風潮上—比如《青青綠草(Sweetgrass)》和《外來 產品(Foreign Parts)》這兩部片—於此,想田和弘可說是這個領域中最為有趣、也最自由的作者之一。

-電影評論雜誌 Robert Koehler

Peace is a quiet film with an unusual power to move. By following the ordinary lives of people and cats, the camera leads the audience to discover the concept of peace in its most fundamental sense, not as a state of negotiated, reluctant coexistence, but as an idea that lies at the core of our humanity. The film reveals the sublime through the mundane. (Jurors: Carma HINTON, Ruby YANG, FUJIOKA Asako)

“BEST DOCUMENTARY AWARD – JURY’S COMMENT”
Hong Kong International Film Festival

….a quality clearly on display in Kazuhiro Soda’s lovely, handmade Peace. On the surface, this is a story about caregivers, specifically the husband-and-wife team Toshio and Hiroko, who provide services for the elderly and infirm in their Tokyo prefecture. But as Soda’s camera casually observes his subjects, the lack of insistence upon a central theme frees the film to become about everything: from the behavior of a group of stray cats Toshio cares for, to the ways in which certain Tokyo alleys grow dark and forbidding as night sets in. This type of cinematic freedom is embedded in today’s vogue for more observational documentaries in—think of Sweetgrass or Foreign Parts—and, with it, Soda has developed into one of the discipline’s most interesting, and freest, artists.

『FILM COMMENT』
by Robert Koehler

(Read more:http://www.laboratoryx.us/peace/press.html

預告片 Trailer


影評 Reviews

想田和弘的《和平》/林木材