top.png
top type.png

Welcome

Welcome to the 2021Taiwan Film Festival in Brisbane, our exciting content has begun, and we warmly welcome your participation on the weekend.

There is a wealth of Taiwanese culture and stories in it, which is suitable for families to watch. It also promotes cultural exchanges between Taiwan and Australia.

It is a rare opportunity once a year to invite your family to watch it.

Looking forward to seeing you.

08.10.21

10:30- 12:00

Opening Forum

Vip speeches then forum begins

《Moonlight at night-Taiwan’s Dance Pioneer Tsai Jui-Yueh 》

 

Cai Ruiyue, born in 1921, has demonstrated her dancing talent since she was a child. She went to Tokyo to learn dance at the age of sixteen. She was the first Chinese to dance a national dance with toe shoes in Japan. As far as the history of dance in Taiwan is concerned, Ms. Tsai has developed abundant creation resources, environments and concepts for modern dance, ballet, folk dance, and dance drama, leaving more than 500 works in written records. As a senior in Taiwan's dance industry, Cai Ruiyue's life can be used as a material for the construction of Taiwan's dance history.

Undumbi RoomQld Parliament House

 

影展論壇

貴賓致詞之後論壇撥放 《暗暝 e 月光 台灣舞蹈先驅蔡瑞月》

蔡瑞月,出生於一九二一年,從小就展現舞蹈才華,十六歲前往東京習舞,是第一個在日本用腳尖鞋跳民族舞蹈的中國人。就台灣舞蹈史而言,蔡女士開闢了現代舞、芭蕾舞、民族舞、舞劇等豐碩的作品創作資源、環境與觀念,留下文字記錄的作品計五百多首。作為台灣舞蹈界的前輩,蔡瑞月的一生可以當作建構台灣舞蹈史的材料。

州議會

 

13:00- 14:40.    Hoyts Cinemas Sunnybank

A Foley Artist '100

Starting from the small recording studio of Hu Dingyi, a senior sound engineer in Taiwan, Hu Dingyi has been like this for 40 years. Facing the images on the screen, a person follows the actions and scenes of the characters in the movie in a recording studio full of various clutter. Change, emotional ups and downs, use things you can't imagine, in ways you can't imagine, to make all kinds of sounds, but extremely realistic and just right. On the other side of the screen invisible to the audience, Hu Dingyi used a silent but loud way to participate in countless film performances and witnessed the most glorious era of Taiwanese films.

《擬音》

「餘生」不僅是剩餘的生命,也是為了延續生命而活著。1930年,賽德克族馬赫坡頭目莫那·魯道率領德克達亞群各部落聯合起事,對抗日本當局,爆發霧社事件。事件過後,莫那·魯道自殺,參與起事的部族幾乎滅絕,亦有數百名原住民因情勢所逼而自縊,倖存者被集中遷移至川中島以利殖民政府監視,並且不得回原籍地,從此霧社地區之賽德克族人從高山轉入低原,被迫放棄祖靈地,在川中島(今清流部落)匿居度過餘生。1945年國民政府接管臺灣,執政者褒揚起事、立碑紀念,並為莫那·魯道、花岡一郎花岡二郎等人定義歷史地位。80年後,事件遺族與賽德克族後人重新檢視這段抗暴的血淚史,並踏上尋找祖靈起源的歸程。傳說中,賽德克族的聖地「Pusu Qhuni」是一座半石半木、高聳入雲的巨岩(牡丹岩),也是一處遙遠而神祕的地方,層巒相疊,水鹿不絕,遺族後代追尋著歷史,並與祖靈進行跨越時空的對話。

14:40 -15:00

Break

15:00 -17:34

Pusu Qhuni ‘ 154

 

In 1930, Mona Ludau, the leader of the Machpo of the Seediq tribe, led the various tribes of the Dekdaya group to join forces to fight against the Japanese authorities, and the Wushe incident broke out. After the incident, Mona Ludao committed suicide, and the tribes involved in the incident were almost extinct. Hundreds of aboriginal people were forced to hang themselves due to the situation. The survivors were moved to Chuanzhong Island for surveillance by the colonial government, and they were not allowed to return to their places of origin. Since then, the Saidiq people in the Wushe area transferred from the high mountains to the low plains, and were forced to abandon the ancestral land and live in seclusion on Chuanzhong Island (now Qingliu tribe) for the rest of their lives. In 1945, the Nationalist government took over Taiwan. The ruling party praised the situation, erected a monument to commemorate it, and defined the historical status of Mona Ludao, Hanaoka Ichiro, and Hanaoka Jiro. Eighty years later, the survivors of the incident and the descendants of the Seediq tribe re-examined this history of blood and tears of fighting violence, and embarked on the return journey to find the origin of the ancestor spirit. According to legend, Pusu Qhuni, the holy place of the Sediq tribe, is a huge rock (Peony Rock) that is half-stone and half-wood and towering into the clouds. It is also a remote and mysterious place. Follow the history and have a dialogue with the ancestor spirit across time and space.

《餘生 – 賽德克巴萊》Pusu Qhuni ‘ 154  

「餘生」不僅是剩餘的生命,也是為了延續生命而活著。1930年,賽德克族馬赫坡頭目莫那·魯道率領德克達亞群各部落聯合起事,對抗日本當局,爆發霧社事件。事件過後,莫那·魯道自殺,參與起事的部族幾乎滅絕,亦有數百名原住民因情勢所逼而自縊,倖存者被集中遷移至川中島以利殖民政府監視,並且不得回原籍地,從此霧社地區之賽德克族人從高山轉入低原,被迫放棄祖靈地,在川中島(今清流部落)匿居度過餘生。1945年國民政府接管臺灣,執政者褒揚起事、立碑紀念,並為莫那·魯道、花岡一郎花岡二郎等人定義歷史地位。80年後,事件遺族與賽德克族後人重新檢視這段抗暴的血淚史,並踏上尋找祖靈起源的歸程。傳說中,賽德克族的聖地「Pusu Qhuni」是一座半石半木、高聳入雲的巨岩(牡丹岩),也是一處遙遠而神祕的地方,層巒相疊,水鹿不絕,遺族後代追尋著歷史,並與祖靈進行跨越時空的對話。

17:34- 18:00

Break

18:00- 20:15

Chen Uen ‘ 135

This documentary will lead you and me into the life of this creator, his tenacity and his love, and hope that all you who embrace the heart of Sophon will get the oxygen to move forward in your ideals. The film took 2 years. Director Wang Wanrou led the filming team on a 15,000-kilometer flight and interviewed more than 50 people in the comics and publishing industry across Taiwan, Hong Kong, Japan and China.

《千年一問》

這部紀錄片將帶領你我,走進這位創作者的生命,他的堅韌和他的熱愛,也期許所有懷抱智子之心的你,能在理想中獲得繼續前行的氧氣。 本片耗時2年,王婉柔導演帶著拍攝團隊踏上15,000公里的飛行航程,橫跨台灣、香港、日本和中國訪談超過50 位漫畫及出版界人士。

Hoyts Cinemas Sunnybank

09.10.21

10:30- 12:09

Wawa No Cidal ‘99

I hope every child under the sun can be proud of himself; I hope every child under the sun can sing his own song loudly in his own language; I hope every child under the sun can stand upright. There is no need to be driven away by anyone on your own land.

How long has it been since? Will it happen when you want to go home one day to find out that everything has changed?

The royal blue Pacific Ocean and the golden rice wave terraces-this is Panay's impression of his hometown when he was a child. In order to let her father and her two children have a better life, she worked alone in the city. It wasn't until her father suddenly fell ill that she hurried home to discover that the fertile land had gradually become a tourist hotel. She worries about what kind of home can be left to the next generation if this continues? Therefore, I was determined to repair the ditch and restore farming. But all this is not easy. In the face of various setbacks and trials, she used gentle and firm actions to tell the children: Never give up! One's own home must be guarded by oneself.

《太陽的孩子》

但願太陽底下每一個孩子,都能夠以自己為傲;但願太陽底下每一個孩子,都能用自己的語言、大聲唱自己的歌;但願太陽底下每一個孩子,都能夠堂堂正正站在自己的土地上,不需被任何人驅趕。

有多久沒回家了?會不會有一天想回家的時候才發現,一切都變了?

寶藍色的太平洋,金黃色的稻浪梯田——這是Panay小時候對家鄉的印象。為了讓父親與兩個孩子有更好的生活,她獨自在城市工作打拚。直到父親突然病倒了,她急忙趕回家才發現,曾幾何時,良田已經漸漸變成觀光飯店。她憂心這樣下去,還可以留給下一代什麼樣的家園?所以決心要把水圳修好、恢復耕作。但這一切並不輕鬆,面對各種挫折與考驗,她以溫柔且堅定的行動,告訴孩子們:千萬不能放棄!自己的家園要靠自己守護。

12:09- 12:30

Break

12:30- 14:01

Ohong Village '91

It is the first feature film of director Lin Longyin, telling the story of the people in the southwest coastal fishing village. The whole film was shot with 16cm negatives. In addition to presenting the unique beauty of the coastal fishing village scenery, it also tried to capture the remote local atmosphere of traditional villages and temple beliefs. Just like Taiwan Island itself has a variety of maritime characteristics, this film also invites creators from different backgrounds and cultural backgrounds from all over the world to participate, adding more creative possibilities for this strong Taiwanese work. Including Russian photographer Aley Elagin, Czech sound designer Vojtěch Zavadil, etc., while the "national dad" Xixiang led the new generation of actors Lin Yuxu and Chen Xintai on the same stage, performing realistic daily life of the people in Xiagang Fishing Village.

《蚵豐村

《蚵豐村》是導演林龍吟的首部長片作品,講述西南濱海漁村人家的故事。全片以十六釐米底片拍攝,除了呈現沿海漁塭風光的獨特美感,也試圖捕捉傳統村舍與寺廟信仰幽遠的在地氣息。一如台灣島本身雜揉多樣的海國特色,本片更邀請到來自世界各地不同背景與文化底蘊的創作者共同參與,為這部台味強烈的作品,增添更多創作切入的可能性,包括俄羅斯攝影師Aley Elagin、捷克聲音設計師Vojtěch Zavadil等,而卡司則由「國民老爸」喜翔帶領著新生代演員林禹緒、陳莘太同台飆戲,演繹下港漁村人家的寫實日常。

14:01- 14:30

Break

14:30- 16:30

Formosan B.B. is Coming '120

Go deep into the black bear's home, looking for the soul of the mountain.

 

After October each year, wild Taiwanese black bears travel from various mountainous areas to Oita on the Patongguan Pass, Japan’s Yueling Ancient Road, to enjoy the once-a-year sumptuous green oak fruit feast; and Huang Meixiu’s team, who has been studying Taiwanese black bears for a long time, must be in 2 A few months ago, he had crossed mountains and ridges to enter the mountains and set up traps, waiting to meet the wild Taiwan black bear face to face and start the closest contact.

Director Mai Jueming followed Huang Meixiu's team to trek through the mountains and rivers. After a long wait, once the black bear appeared, he must race against time and complete the research process of capturing and releasing in the shortest time. Even to take care of the lost cubs found in Nan'an. All this is for the endangered Taiwanese black bears to live safer, more comfortable and lively life in their homes in the mountains and forests...

 

Since 2008, "The Black Bear Is Coming" has gone through a long period of 11 years. It has gone deep into the mountains and forests with Huang Meixiu, documenting the research and investigation of Taiwan's black bear ecology and capture system; through the exquisite and generous director Mak Jue-ming, who has extensive mountain shooting experience The lens language can not only feel the affectionate waiting between people and bears, but also can comprehend the magnificent scenery of Taiwan's mountains and forests with his good "image combined with mountain and forest aesthetics", and further explore the current state of conservation in Taiwan.

《黑熊來了》

每年10月過後,野生的臺灣黑熊陸續從各個山區,前往八通關日本越嶺古道上的大分,享受一年一次豐盛的青剛櫟果實饗宴;而長期研究臺灣黑熊的黃美秀團隊,必須在2個月前就先翻山越嶺進駐山區、並架設陷阱,等著和野性十足的臺灣黑熊面對面、展開最近距離的接觸。
麥覺明導演跟著黃美秀團隊跋涉山水,漫長的等待後,黑熊一旦出現,就必須與時間賽跑,用最短的時間完成捕捉繫放的研究過程。甚至要照養在南安發現的迷途小熊,這一切都是為了讓瀕危的臺灣黑熊,能夠在原本就屬於牠們的山林家裡過得更安全、自在,並且生生不息…

 

自2008年開始,《黑熊來了》歷經11年漫漫長日,與黃美秀老師一同深入山林,記錄臺灣黑熊生態與捕捉繫放研究調查;透過擁有豐富拍山經驗的麥覺明導演精緻而豐厚的鏡頭語言,除了能感受人熊之間的深情守候,還能以其擅長的「影像結合山林美學」,體悟臺灣山林絕美景色,更進一步探究臺灣的保育現況。

16:30- 17:00

Break

17:00- 18:49

Closing Ceremony. A Family Tour ‘109

Director Ying Liang's autobiographical film, most of the scenes were shot in Kaohsiung. Chinese female director Yang Shu, who was forced to go into exile in Hong Kong due to filming a dissident film, came to Kaohsiung, Taiwan with her husband and son's family of three in order to meet her old mother five years later. She followed the tour itinerary of her mother and had a conversation for several days. In the middle, the daughter can finally understand and accept the mother’s difficulties and choices.

----END----

《自由行》

導演應亮的自傳式電影,多數畫面在高雄拍攝。因拍攝異議電影而被迫流亡香港的中國女導演楊樞,在五年後為了與老母親見面,與先生兒子一家三口來到臺灣高雄,尾隨母親參加的旅行團行程,在數日的相處對話中,女兒終於能理解、接納母親的難處與抉擇。

Hoyts Cinemas Sunnybank