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“华夏风情画”透过剧情长片呈现不同当代华人社会的风土民情,展现不同地方的华人在不同群体、文化和环境撞击下所产生的可能性。

Chinese Panorama showcases award-winning and notable independent feature films from the various regions.

”纪录片视角”透过纪录电影让人们看到不同华人世界里的真实。始末的界定、人物的立场和价值的选择编织成窥探真实的不同视角。

Documentary Vision focuses on a growing trend in Chinese cinema to capture socio-political and cultural landscapes through documentary lenses.

电影里的情感可以长时间酝酿, 也可以在短时间爆发。“华流短片展”让大家看到各地华人创作短片的多元价值和精彩缤纷。

Short films allow for creative experiments and provocation, and invite artists to play with cinematic styles in their story-telling. Chinese Shorts Showcase which will feature short films of up and coming Singapore filmmaking talents alongside the best short films from Hong Kong, Taiwan and China.

电影无国界,创作无疆域,华语电影人的创作天地不一定仅限于华语世界,“华人非华语”看他们在另一个语言世界里所展现的精彩。

There are no borders or boundaries in Cinema. Neither should Chinese films be defined simply by the language. This special thematic programme shows the diversity in spoken languages and cultures explored by these talented Chinese filmmakers.

聚焦厦语片:小娟与小芳
小娟与小芳之间,记录了厦语片近二十年的精彩历史。《吕蒙正抛绣球》(1957年)和《火烧红莲寺(三集)》(1957年)是极少数尚存的早期厦语电影,一文一武展现早期戏曲厦语片及凌波(当时唤做小娟)出道初期的风采。“厦语片皇后”莊雪芳则在《龙山寺之恋》(1962年)里吊诡地饰演只谙普通话的外省人小芳,展现了莊氏的多才多艺却也告示了厦语片时代的终结。

Between Xiao Juan and Xiao Fang stands nearly twenty years of Amoy-dialect film history. A melodrama and an action film, Lü Mengzheng Wins the Bride’s Embroidered Ball (1957) and The Story of Red Lotus Temple (Chapter III) (1957) are rare early opera Amoy-dialect films that exhibit young Ivy Ling Po’s (then called “Xiao Juan”) versatile performance in the dialect before her big break in Mandarin cinema. In Romance at Lung Shan Temple (1962), “Queen of Amoy-dialect Cinema” Zhuang Xuefang paradoxically plays an immigrant (waishengren) Xiao Fang, who speaks only Mandarin, adeptly taking on a fresh new screen persona but at the same time symbolizing the fall of Amoy-dialect cinema.