比紀錄片還陌生

本單元由三串短片選輯組成，展現紀實語法的創新與跨域。這些作品不僅以充滿實驗精神的音像語言回應或拆解現實，更探索電影媒介的邊界與本質。所謂陌生，並非陌異難解，而在顛覆開創，激發關於紀錄片的更多想像。

是否顯示

是

代表圖片

sound of a million insects, light of a thousand stars

For six hours from sunset on 24 June 2014, a 100-foot-long roll of 35mm negative film was buried beneath fallen leaves along a rural roadside approximately 25 kilometres from the Fukushima Daiichi Nuclear Power Station. Retrieved at sunrise the following morning, the film bears traces of its exposure to the surrounding environment: insect sounds, starlight, and the physical conditions of the site.

As I Lay Dying

Against unsteady handheld footage from Iran's 2009 Green Movement, a calm voice recounts the fates of protesters glimpsed in blurred frames. Urgency and street chaos flare, then freeze. Between motion and stillness, the film traces singular lives unfolding within a collective struggle.

Mohammadreza Farzad & Pegah Ahangarani: ' "There were so many of us, but when it all ended, each of us went our own way."

Koki, Ciao

This experimental autobiography is narrated by Koki, a long-lived parrot kept beside Marshal Tito, who ruled Yugoslavia for over 35 years. Drawing on four years of recordings and newly revealed state archives, the film returns to Brijuni Island, where animals once served as diplomatic symbols. Koki recounts a life of political spectacle, now continuing in tourist captivity.

Chang Gyeong

Changgyeonggung Palace is a space where the zoo, amusement park, and ancient palace overlap. Remembered as a childhood fantasy with a sense of unease, it becomes a layered image of animal suffering and everyday landscapes shaped by war and liberation. Rhythmic sound over superimposed images reveals fractures between past and present, fantasy and trauma.

Manal Issa, 2024

Filmed in September 2024, just before renewed bombardment in Lebanon, this film draws on long-distance conversations between the filmmaker and Manal Issa, an acclaimed performer in Beirut. Refusing to appear on camera, she reflects on political violence and the ethics of visibility, echoing historic testimonies about sexism and exploitation in cinema while questioning an actor's role in crises.

The Othered Scene

When words pass from one person to another, whose do they become? Revisiting a post-war plague on Quemoy, memories of a survivor gather drifting fragments: a 16mm travelogue, charcoal drawings, electronic sound, and spoken testimony, forming a layered meditation on transmission and the unstable ownership of stories.

Their Eyes

How does a machine learn to read the world? Testimonies and screen recordings reveal online micro-workers in the Global South training self-driving AI to navigate streets in the Global North, exposing the hidden human labour behind automated vision.

Rojo Žalia Blau

Filmed over time in Spain, a Baltic Sea resort in Lithuania, and a forest in Lower Austria, the work extends the filmmaker's exploration of landscape begun in her earlier work, NYC RGB. Expanding how environments are perceived and represented, it questions what we understand as 'natural' space and how vision itself constructs terrain.

Detach

Developed for battlefield surgery in the 1980s, the remotely controlled Da Vinci robot now operates in hospitals. When a training unit becomes self-aware, surgical images blur with war memories as digital and physical realities merge into a disorientating post-human vision.

16-18-4

The film was shot using a toy 35mm camera equipped with 16 lenses, which captures a rapid sequence of 16 images over a few seconds, arranged in two rows across two standard 35mm still-photography frames. This mechanism recalls the apparatus devised by Eadweard Muybridge to photograph a galloping horse in 1887, prior to the invention of the motion-picture camera.

Stranger than Documentary

Comprising three short-film programmes, this programme highlights innovative and cross-disciplinary approaches to documentary practice. These works respond to and dismantle reality through experimental audiovisual forms, while probing the limits of the cinematic medium itself.

Here, 'strangeness' does not imply obscurity, but a generative unfamiliarity that unsettles conventions and expands the ways documentary can be imagined.