女性时间 Women's Time
“这一伟大的循环——去与回，去与回——是女性本性中的反射过程。它为所有女性天生所具备，并贯穿她们的一生。少女期、青春期、年轻成人期，到作为爱人、母亲、工匠、智慧的持有者、长者，直到更远的未来……这些阶段并不一定是按照时间顺序排列的，因为中年女性常常如新生儿一样，年老的女性也许是充满激情的恋人，而小女孩们对女巫般的魔力也所知甚深。”
——克拉丽莎·平卡拉·埃斯特斯（Clarissa Pinkola Estés）
从一个古老的时期开始，女性形象就被神话、文化象征与现代叙事中的月亮反复塑造。从神秘的自然周期到母性与感性，月亮似乎永远是女性的隐喻符号。月亮周期的变化，从新月的隐匿到满月的盈满再至残月的凋落，千百年来一直被赋予对女性生命、再生与时间流逝的隐喻。
在大众文化中，这一周期被类比为女性生命中的不同阶段。西尔维娅·费德里奇（Silvia Federici）指出，从中世纪开始，月相等现象和女性的身体被文化和宗教结构自然化和神秘化的过程，也是女性逐渐被污名化和边缘化的过程。将女性与自然、月相等现象相联系，更多地是一种文化构建，这种文化构建的目的是服务男性主导的社会结构。这种隐喻将女性定位于自然和情感的领域，将男性定位于文化和理性的领域，从而强化了性别的二元对立。生态女性主义者格瑞塔·嘉德（Greta Gaard）在这一批判的基础上进一步反思了月亮作为女性象征的生态纬度与性别维度。她指出，女性与自然（包括月亮）的关联，表面上看似对自然节律和女性生理的歌颂，但在资本主义和父权制的语境下，却成为压迫女性与自然的双重手段。月亮等自然符号往往被工具化，用以控制女性身体与欲望的表达。但同时，嘉德主张不应全盘否定这些象征，而是应从女性主义的角度重新审视，赋予其解放与抗争的潜能。月亮的周期象征着女性与自然的深刻同步，而这种同步是女性对抗现代社会异化与环境破坏的力量源泉。
“PHASE月相”女性影像单元正是在这复杂的议题背景下诞生。本单元尝试探讨女性与自然、身体、时间与权力的复杂关系。这些作品并未简单地接受女性的传统意涵，而是尝试对其进行多层次的解构与重建，探索女性在每一阶段如何抵抗这些文化框定。月亮的周期不仅象征了自然的节律，也映射了情感与思想的起伏，我们邀请观众进入一种“月相思维”：它以非线性、循环的节奏解构时间的直线性逻辑——新月的潜伏并非消失，而是一种隐匿的力量；满月的辉煌并非终点，而是下一个周期的起点。这种对周期时间的再思考，也回应着朱莉娅·克里斯蒂娃（Julia Kristeva）的“女性时间（Women's Time）”——月亮的韵律挑战了直线性的父权时间，创造了一种更包容、更流动的时间观，这种时间观念是属于女性的，也几乎是属于电影的。
"This great cycle—going and returning, going and returning—is a reflective process inherent to the nature of women. It is naturally possessed by all women and runs through their entire lives. Girlhood, adolescence, young adulthood, as lovers, mothers, artisans, holders of wisdom, elders, and beyond… These stages are not necessarily arranged in chronological order, as middle-aged women often resemble newborns, elderly women may be passionate lovers, and young girls may have profound knowledge of witch-like magic."— Clarissa Pinkola Estés
Since ancient times, the image of women has been repeatedly shaped by the moon in mythology, cultural symbols, and modern narratives. From mysterious natural cycles to motherhood and sensibility, the moon seems to eternally serve as a metaphorical symbol for women. The changing phases of the moon—from the concealment of the crescent moon to the fullness of the full moon and the decline of the waning moon—have for centuries been imbued with metaphors for women's lives, regeneration, and the passage of time.
In popular culture, this cycle is often likened to the different stages of a woman’s life. Silvia Federici points out that since the Middle Ages, the process by which phenomena like lunar phases and women’s bodies were naturalized and mystified by cultural and religious structures was also the process by which women were increasingly stigmatized and marginalized. Associating women with nature and phenomena like lunar phases is largely a cultural construct intended to serve a male-dominated societal structure. This metaphor places women in the realm of nature and emotion while positioning men in the realm of culture and reason, thereby reinforcing the binary opposition of gender. Building on this critique, eco-feminist Greta Gaard further reflects on the ecological and gendered dimensions of the moon as a feminine symbol. She argues that the association of women with nature (including the moon), while ostensibly celebrating the rhythms of nature and women’s physiology, becomes a dual mechanism of oppression under the context of capitalism and patriarchy. Symbols like the moon are often instrumentalized to control women’s bodies and the expression of their desires. At the same time, Gaard advocates not for the outright rejection of these symbols but for their reexamination from a feminist perspective, empowering them with the potential for liberation and resistance. The moon’s cycles represent a profound synchronization between women and nature, and this synchronization serves as a source of strength for women to resist modern societal alienation and environmental destruction.
The “PHASE: Reflection on Feminism Images” Section was born against this complex backdrop. This section seeks to explore the intricate relationships between women, nature, the body, time, and power. These works do not simply accept traditional meanings ascribed to women but attempt to deconstruct and reconstruct them on multiple levels, exploring how women resist these cultural framings at every stage. The cycle of the moon not only symbolizes natural rhythms but also reflects emotional and intellectual fluctuations. We invite the audience to adopt a “lunar-phase mindset”: one that deconstructs the linear logic of time with a nonlinear, cyclical rhythm—where the crescent’s concealment is not disappearance but latent power, and the full moon’s brilliance is not an endpoint but the beginning of the next cycle. This rethinking of cyclical time also responds to Julia Kristeva’s concept of “Women’s Time,” wherein the rhythms of the moon challenge the linear patriarchal concept of time, creating a more inclusive and fluid temporal framework. This perspective on time belongs to women—and it also inherently belongs to cinema.
I Dream, Andrea Alvarado Sánchez, 2023
PHASE - 1
Iskra｜Искра｜火花
Snejina Latev
2024｜0:20:00｜Bulgaria, Sweden｜Bulgarian, English｜亚洲首映 Asian Premiere
Getty Abortions｜盖帝堕胎图像
Franzis Kabisch
2023｜0:21:45｜Germany, Austria｜English｜中国大陆首映 Chinese Mainland Premiere
I Dream｜Yo Sueño｜梦魇
Andrea Alvarado Sánchez
2023｜0:19:00｜Mexico｜Spanish
A Mother Goes to the Beach｜Uma Mãe Vai à Praia｜妈妈去海滩
Pedro Hasrouny
2024｜0:15:30｜Portugal｜Portuguese｜亚洲首映 Asian Premiere
Rose｜罗丝
Annika Mayer
2024｜0:18:48｜Germany｜German｜亚洲首映 Asian Premiere
PHASE - 2
Dream Now Revolution Tomorrow｜梦醒革命
Francesco Manzato
2024｜0:09:00｜Switzerland, Italy｜Italian｜亚洲首映 Asian Premiere
Grandmamauntsistercat｜奶奶猫
Zuza Banasińska
2024｜0:23:00｜Poland, Netherlands｜Polish｜中国大陆首映 Chinese Mainland Premiere
Hasami (Scissors)｜ハサミ｜剪刀
Toyoko Matsuo Saindon
2023｜0:22:29｜Japan, US｜Japanese｜中国大陆首映 Chinese Mainland Premiere
Precipice｜Qoya｜崖
Semyon Gritsai
2024｜0:24:59｜Uzbekistan｜Uzbek｜亚洲首映 Asian Premiere
The Robbers｜Die Räuberinnen｜女匪同盟
Isa Schieche
2023｜0:15:45｜Austria｜German｜中国大陆首映 Chinese Mainland Premiere
PHASE - 3
A Town of One’s Own｜24 Lieux de la Vie d'une Femme｜自己的城镇
Aude Thuries
2024｜0:31:46｜France｜French｜中国大陆首映 Chinese Mainland Premiere
Empty Hours｜Ler Heures Creuses｜空虚时光
Judith Longuet-Marx
2023｜0:26:00｜Belgium｜French｜亚洲首映 Asian Premiere
Falling｜坠落
Anna Gyimesi
2023｜0:16:00｜Hungary, Belgium, Portugal｜Flemish Dutch｜中国大陆首映 Chinese Mainland Premiere
The Distance between Us｜Qu'Importe la Distance｜我们之间的距离
Léo Fontaine
2024｜0:18:24｜France｜French｜中国大陆首映 Chinese Mainland Premiere
Hasami (Scissors), Toyoko Matsuo Saindon, 2023
PHASE - 4
Degenere｜衰退
Sara Asprilla Palomino
2023｜0:18:56｜Colombia｜Castilian Spanish｜亚洲首映 Asian Premiere
Fade｜遗迹｜名残
Asako Ujita
2023｜0:14:22｜Japan, UK｜Japanese
LFM
Jarkko Räsänen
2024｜0:15:00｜Finland, Germany｜Finnish｜亚洲首映 Asian Premiere
Plastic Flowers｜Flors de Plàstic｜永恒之花
Adan Aliaga
2024｜0:10:48｜Spain｜Catalan, Valencian｜世界首映 World Premiere
Valerija｜瓦列里娅
Sara Jurincic
2023｜0:16:00｜Croatia｜Croatian｜中国大陆首映 Chinese Mainland Premiere
When They Left, All That Remained Was a Small Noise in the Mountain｜Cuando ellas se fueron solo quedó un pequeño ruido en la montaña｜她们离开后，山里只留下了微弱的声响
Laura Dávila Argoty
2024｜0:17:31｜Colombia｜Castilian Spanish｜世界首映 World Premiere
PHASE - 5
Dolce Casa｜甜蜜之家
Stéphanie Halfon
2023｜0:22:48｜France, Italy, Canada｜French, Italian｜亚洲首映 Asian Premiere
Fibre of Fashion｜丝缕人生
Han Meng
2024｜0:40:36｜China｜Chinese Mandarin, French｜世界首映 World Premiere
Hangnail｜倒刺
Hou Lam Tsui
2024｜0:06:53｜Hong Kong｜English｜国际首映 International Premiere
Happiness in a Pot｜Felicidade numa panela｜器中之乐
Clara Jost
2024｜0:19:05｜Portugal｜Portuguese, English｜亚洲首映 Asian Premiere
You Are the Truck and I Am the Deer｜你是卡车，而我是鹿
Max Ferguson
2023｜0:05:07｜Belgium｜English｜亚洲首映 Asian Premiere