雲溫達斯75特別放映 Wim Wenders 75 Special

Celebrate 75 Wim Wenders

迷失與尋找:雲溫達斯的電影之路

德國導演雲溫達斯(Wim Wenders)沒有拘泥於其國籍身份,從他的身上可以體現出一種世界主義的形式,這在現今對全球化進程懷有敵意的環境中,可謂難能可貴。溫達斯於戰後六十年代邁向成年,跟其同輩的歐洲人一樣,通過法國電影,醉心於光影世界 —— 他在魯爾工業區長大,然後在巴黎定居的數年期間,越發喜愛電影,更立志以電影製作人為終身職業。返回德國後,他成為了電影評論家,在慕尼黑的一家電影學校讀書,並於1970年畢業,同年完成個人首部劇情長片,以16毫米膠片拍攝的《夏日記遊》。

其電影作品在短時間內便吸引了國際影評人的關注。 經過兩部改編自文學經典的作品後(一部改編自彼得·漢德克的小說,溫達斯其後會跟他再度合作;另一部是改編自納撒尼爾·霍桑的作品),溫達斯著手籌備其「公路片三部曲」(即《愛麗絲漫遊城市》、《歧路》及《公路之王》) ,其中演員魯迪格·福格勒參演了他早年多部執導的作品,而與攝影師羅比·穆勒的合作,更達數十年之久。「公路片三部曲」以16毫米膠片拍攝,沒有完整的劇本,韋德斯沿途即興創作拍攝,無論是在德國還是美國,他試圖在寂然的自然風光下探討人際關係(電影中有一句名言:「洋基隊對我們的潛意識殖民統治!」)。

在改編自派翠西亞·海史密斯的《美國朋友》中,溫達斯進一步探討德國和美國之間的文化角力,該片由派翠西亞·海史密斯和般奴·堅斯主演,荷里活資深導演山姆·富勒和尼古拉斯·雷也出演了要角。在法蘭斯·福特·哥普拉的邀請下,溫達斯為幻影座製片公司執導有自反意味的黑白片《神探漢密特》,但兩人在創作上出現分岐,令該片需大幅刪減及重拍。在《巴黎,德州》中,溫達斯重回公路片的格局,該片更是他生涯中最獲好評的電影之一,斬獲了康城影展金棕櫚獎 —— 該片進一步延伸《愛麗絲漫遊城市》探討的母題,剖釋在荒野迷失靈魂的男人如何與世界再度對話連接。

藉著與彼得·漢德克及般奴·堅斯再度合作的《柏林蒼穹下》,韋德斯在康城影展勇奪最佳導演獎,該片以天使的視角,展現分裂的柏林。數年後,在德國統一的背景下,他再度審視相關主題,拍下《柏林蒼穹下》續集《咫尺天涯》。在這兩部作品之間,他執導了科幻公路長片《直到世界末日》,時長近五個小時。雖然該片當時票房大敗,但往後卻成為經典cult片之一。

溫達斯近年劇情長片的產量零星和不平衡,但他對紀錄片創作卻重燃熱情。事實上,他在職業生涯中拍攝了多部出色的劇情長片,讓人很容易忽視其紀錄片的表現。例如,他製作了多部有關日本的精彩紀錄片,包括以小津安二郎為題的《尋找小津》和紀錄時裝設計師山本耀司點滴的《城市時裝速記》,以及與尼古拉斯·雷合作的《水上回光》。近年,其紀錄片的焦點投放在不同媒介的藝術家,包括描繪古巴音樂人的《樂士浮生錄》、以3D電影拍攝技術紀錄舞者碧娜‧鮑許生涯的同名作《Pina》和攝影師塞巴斯蒂奧·薩爾加多生平的《薩爾加多的凝視》等。鑑於溫達斯一生都為天主教徒,其最新的紀錄力作為《教宗方濟各:信守諾言的人》。

回顧溫達斯的生平,不得不提及他對搖滾音樂的熱愛。從《愛麗絲漫遊城市》中有關查克·貝里的現場錄像,到《柏林蒼穹下》中「尼克凱夫與壞種子」的現場演出(更不用說韋德斯與樂團U2的Bono合作的《百萬美元酒店》),韋德斯在影片中選用了多位樂壇天之驕子的作品配樂,包括路·瑞德、奇想樂團、瑞·庫德等,為我們夢寐以求的公路片譜上合適真摯的樂章。(文:林瀚光博士)

林瀚光博士 簡介 
林博士在香港大學任教電影。 他曾在香港國際電影節、澳門戀愛電影館和紐約電影節工作。 他在哥倫比亞大學獲得了電影導演的碩士學位,並在香港大學獲得了比較文學博士學位。

雲溫達斯的狂野之途

Wim Wenders, Desperado

13/11  星期五 Fri  21:15 | 永樂戲院 Cinema Alegria

德國 Germany│ 2020 │ 彩色及黑白 Colour, Black & White │ 120 ‘ │B

德語,中英文字幕 |In German with Chinese and English subtitles

導演 Director:Eric Friedler and Campino

雲溫達斯於1945年出生,擅於製作充滿詩意和哲學性的電影,捕捉了整個戰後一代的精神面貌。他的創作多樣化,包括劇情片、紀錄片以至裝置藝術,除了深具獨特的藝術視野,他的拍攝方式也別樹一格,往往沒有完整劇本,隨著人物的旅程即興創作。也正因這種非常規的創作方法,與電影工業格格不入甚至不歡而散。

這紀錄片為慶祝雲溫達斯75歲誕辰攝製,也藉此回顧這位享譽國際、走在德國新電影最前線的一級大師的創作之路。片中加入了不少從未曝光的稀有片段,又重回他多部經典作品的拍攝現場,並與多位同輩和合作對像,如哥普拉、威廉達福、帕蒂史密斯和荷索等,探討這位電影奇才的影像人生。

Wim Wenders is considered one of the pioneers of New German Cinema and one of the most important and influential representatives of contemporary cinema. With never before shown archive material and extraordinary encounters with companions and contemporary witnesses such as Francis Ford Coppola, Willem Dafoe, Andie MacDowell, Hanns Zischler, Patti Smith and Werner Herzog, this documentary provides unique insights into the life and work of one of the most multifaceted artists of our times. 

Marking his 75th birthday, this documentary film is an intimate meditation on the work of a visionary who captured the zeitgeist of his generation. The documentary provides an up-close, exceptional window into the artistic process and achievement of an incomparable filmmaker – an improvisator who approaches every shoot as a journey into the unknown. 

咫尺天涯 Faraway, So Close!

15/11 星期日 Sun 19:00 | 澳門紐曼樞機藝文館

Macau Cardinal Newman Centre of Cutural and Performance Arts

德國 Germany│ 1993 │ 彩色及黑白 Colour, Black & White │ 146 ‘ │B

德語,中英文字幕 |In German with Chinese and English subtitles

導演 Director:Wim Wenders

這部《柏林蒼穹下》(Wings of Desire, 1987)續集的故事發生在統一後的德國,柏林圍牆已倒下,前東德的人獲得了自由,同時也要面對生活朝不保夕,未來充滿不確定性。天使Cassiel為救自殺的女孩墮入凡間,經歷人世間的孤獨、暴力與色情,為了生計更參與偷運軍火。他後來決定改過自身脫離軍火商的魔爪,想不到卻讓自己身陷險境⋯⋯

上一集飾演天使的般奴堅斯(Bruno Ganz)再次登場,加上娜塔莎金斯基(Nastassja Kinski)和威廉達福的(Willem Dafoe)精彩演出,以及傳奇樂手盧里德(Lou Reed)和前蘇聯總理戈爾巴喬夫的破格客串,還有U2樂隊主唱的主題曲,都幫助了本片奪得康城影展評審團大獎。

The film opens with the angel Cassiel (Otto Sander) standing on the statue of the Angel of Victory overlooking post-Cold War Berlin. Growing ever more despondent over his fate as a mere observer of human life, rather than a vital part of it, Cassiel dreams of “crossing over” to the human world. And he does, as Karl Engel, a man who perhaps knows too much, perhaps like in many of Hitchcock’s films, some harmless citizen who gets involved in an affair to which he is not up to. In fact, there is no one as kind and harmless as this newborn citizen of the Earth.

We will follow Cassiels’s adventures into a “thriller.” This story which gets mangled with his own life is about weapons, more precisely about a weapon deal where the weapons – or INSTRUMENTS of violence — are traded for IMAGES of violence.

  • 榮獲1994年「德國電影獎」最佳攝影金獎
  • 榮獲1993年「康城影展」評審團大獎
  • 提名1993年「康城影展」金棕櫚獎
  • Winner – Best Cinematography, German Film Awards 1994
  • Winner – Grand Prize of the Jury, Cannes Film Festival 1993
  • Nominee – Palme d’Or, Cannes Film Festival 1993

設影後座談 Post-screening Talk

講者:香港大學講師林瀚光博士

語言:粵語

Guest: Dr. Derek Lam

Language:Cantonese

Lost and Found: The Cinematic Wanderings of Wim Wenders

As much a German filmmaker as a filmmaker of the world, Wim Wenders embodies a form of cosmopolitanism that has become increasingly rare in our present-day environment hostile to all forms of globalization.  Characteristic of the postwar European generation that came of age in the Sixties, Wenders became enamored of the movies by way of French cinephilia: after growing up in the industrial Ruhr valley, he spent a number of years in Paris, where his obsessive filmgoing made him determined to forge a career as a filmmaker.  Returning to Germany, he became a film critic and enrolled in Munich’s film school, graduating in 1970 with his debut feature, the 16mm Summer in the City.

It took very little time for Wenders to attract international critical attention as a filmmaker.  After making two adaptations of literary works (by Peter Handke, with whom he would again collaborate, and Nathaniel Hawthorne), Wenders embarked upon the so-called “Road Movie” trilogy (Alice in the Cities, The Wrong Move, Kings of the Road) with actor Rüdiger Vogler that came to define the early part of his career.  Working with cinematographer Robby Müller – with whom he would collaborate for decades – Wenders shot on 16mm, improvising loosely without a complete script as he went along, in search of human relationships across alien landscapes, whether in Germany or America (on whom a character famously remarks: “The Yanks have colonized our subconscious!”)

The cultural dynamics between Germany and America were further explored in Wenders’s personalized adapatation of Patricia Highsmith (The American Friend) – co-starring Dennis Hopper and Bruno Ganz, with significant roles for veteran Hollywood directors Sam Fuller and Nicholas Ray.  Wenders was invited by Francis Ford Coppola to direct Hammett for Zoetrope Studios, although the self-reflexive noir was plagued by creative differences between Wenders and Coppola that involved much of the film being cut and reshot.  With Paris, Texas (awarded the Palme d’Or at Cannes), Wenders returned to the “road movie” genre for one of his greatest critical successes: revisiting and expanding upon themes explored in Alice in the Cities, Wenders once again contemplated the soul of a man lost in the wilderness who embarks on a quest for reconnection.

Wenders won the Best Director award at Cannes for Wings of Desire: a luminous portrait of divided Berlin from the perspective of angels and another collaboration with Peter Handke and Bruno Ganz.  He revisited this material several years later with a sequel within the context of Germany’s reunification (Faraway, So Close!)  In-between, Wenders made an epic sci-fi road movie (Until the End of the World) with a total running time of nearly five hours that was commercially unsuccessful at the time, but has since gained a cult reputation.

Feature filmmaking has become more sporadic and uneven for Wenders in recent years, although he has taken a renewed interest in documentaries.  It is easy, in fact, to overlook Wenders’s achievement in this form, as he has made a number of exceptional essay films over the course of his career: the wonderful travel diaries he made in Japan (Tokyo-Ga, a personal meditation on Yasujiro Ozu, and Notebook on Cities and Clothes, his portrait of fashion designer Yohji Yamamoto), for instance, or his collaboration with Nicholas Ray (Lightning Over Water).  More recently, Wenders has focused as a documentarian on artists in different mediums: the Cuban musicians of Buena Vista Social Club, a 3D film of Pina Bausch’s choreography (Pina), the photographic work of Sebastião Salgado (The Salt of the Earth).  A lifelong Catholic, Wenders’s latest documentary is an intimate portrait of Pope Francis (A Man of His Word).

No biography of Wim Wenders is complete, however, without mentioning his love of rock music: from the live footage of Chuck Berry shot by Wenders himself in Alice in the Cities to the performance of Nick Cave and the Bad Seeds in Wings of Desire (not to mention the director’s close association with U2 & Bono, culminating in their collaboration on The Million Dollar Hotel), Wenders has featured a host of musical giants on his soundtracks, including Lou Reed, the Kinks, & such artists as Ry Cooder or CAN: an appropriately starry mixtape for the cinematic road trip of our dreams. (Text: Dr. Derek Lam)

Dr. Derek Lam’s bio
Dr. Lam teaches film at the University of Hong Kong.  He has worked for the HKIFF, Macau’s Cinemateca Paixão, and the New York Film Festival.  He studied film directing at Columbia University, and obtained his Ph.D. in Comparative Literature at HKU.