今年BISFF将会在NEUTRON 中子单元展示五部中片作品：导演汤玛索·桑坦布罗吉奥Tommaso Santambrogio在《出租车·碗》（Taxibol，2023） 中展示了一种非对称的叙事结构，菲律宾导演拉夫·迪亚兹（Lav Diaz）在古巴搭乘出租车，同司机古斯塔沃·弗莱查（Gustavo Flecha）进行着一场艰难却率性的交谈，出租车成为一种因私密而具有某种危险性的对话空间，而影片的后半部分，镜头对准逃亡至古巴的菲律宾前将军胡安·米哈雷斯·克鲁斯（Juan Mijares Cruz），后者在菲律宾犯下恐怖的罪行——拉夫·迪亚兹最仇恨的人——此刻却成为一具行尸走肉，飘荡在空旷的房间内。《夜曲》（A Night Song, 2023）通过一种缓慢而温情的镜头记录下祖母接受安乐死的当天所经历的一切，其温和的影像触及的却是极其刻骨的议题，存在和生命，以及自主意识在选择泯灭前真实状态。《西山豹雾》以一种华语作者中少见的影像笔触，用暗调的光影和分屏的手法在旷野勾勒出一部北方村落中的心灵迷途，刘辉之在作为集体记忆的民间传说和个人记忆之间反复跳跃，制造出一种清冽的，穷尽想象也无法填补的村落夜晚。胡敌在《效率展览》（The Efficiency Exhibition, 2022）中尝试以一种反电影的侦探式的手法，从档案研究入手，在各个学科知识体系间不断穿插，尝试论证图像技术作为一种社会控制方式，而观看则是危机重重的行为，这是他系列论文电影的第一部。《列车消失的那天》（Trip to lost days，2022）则是2018年在BISFF一举获得华语短片大奖的《迦罗沙曳》（The Cassock, 2018）的长篇版本，这是一部沾满露水和雨珠的私人奥德赛。（丁大卫）
This year, BISFF will showcase five mid-length films in the NEUTRON section: Director Tommaso Santambrogio presents an asymmetric narrative structure in "Taxibol" (2023), where Filipino director Lav Diaz takes a difficult yet spontaneous conversation with taxi driver Gustavo Flecha in Cuba. The taxi becomes a somewhat dangerous space for dialogue because of its privacy. In the latter part of the film, the camera focuses on Juan Mijares Cruz, a former Filipino general who has fled to Cuba. He is the person Lav Diaz despises the most due to his horrific crimes committed in the Philippines. However, at this moment, Cruz becomes a lifeless body, floating in an empty room. "A Night Song" (2023) records the day when a grandmother chooses euthanasia through slow and tender shots. The gentle images touch upon profound topics of existence, life, and the true state of consciousness before the choice of annihilation. "The Leopard in the Misty Mountains" uses a rare visual approach in Chinese-language cinema. With dark-toned lighting and split-screen techniques, the film portrays the spiritual wandering through a northern village. Liu Hui's jumping between collective folklore and personal memories creates a clear but unfillable atmosphere of village nights. In "The Efficiency Exhibition" (2022), Hu Di adopts a detective-like approach to anti-film by starting with archival research and interweaving between different disciplinary knowledge systems. He attempts to argue that image technology is a form of social control and that watching is a perilous act. This is the first installment of his essay-film series. "Trip to Lost Days" (2022) is a feature-length version of "The Cassock" (2018), which won the Best Chinese Language Short Film Award at BISFF in 2018. It is a personal odyssey drenched in dewdrops and raindrops. (By Ding Dawei)
效率展览｜The Efficiency Exhibition
胡敌 Hu Di
0:55:14｜2022｜Ireland, China｜English｜中国大陆首映 Chinese Mainland Premiere
Taxibol｜出租车·碗
Tommaso Santambrogio
0:50:00｜2023｜Italy｜Spanish; Castilian, English｜亚洲首映 Asia Premiere
西山豹雾｜The King Of Beasts Goes Upstairs
刘辉之 Liu Huizhi
0:52:06｜2023｜China｜Chinese Dialect｜世界首映 World Premiere
A Night Song｜夜曲
Félix Lamarche
0:44:50｜2023｜Canada ｜French｜亚洲首映 Asia Premiere
列车消失的那天｜Trip to lost days
沈蕊兰 Shen Ruilan
1:14:00｜2022｜Singapore, China｜Chinese Dialect
more information about NEUTRON Mid-Length film Screening ： https://www.bisff.co/selection2/2023neutron