Le tribunal itinérant Directed by Zheng Wenqing

A woman tearfully reads a letter from her paraplegic husband which grants her a divorce from him. The husband looks on as she reads his words advising her to divorce him so that she can have time for herself and to look after their son instead of being a full time carer for him. The wife breaks down in tears and we catch a glimpse of something approaching smugness at the emotional outpouring he has elicited with his self-sacrifice. The court official, frustrated with the lack of efficiency first tells the wife to calm down, then asks her to pass the letter to a court official who reads the letter as disinterestedly as if he's explaining the rules of Monopoly - the emotional words of the wife, punctuated with breathy cries are transformed into a dull bureaucratic legal confirmation, a tick in column A and column B so to speak. These two elements of the documentary were the elements that most lucidly translated to my own experience of China. The first being the naïve sentimentality woven into the framework of personal tragedy, be it a wife eulogizing her husband's self-sacrifice, or the evident pride with which the husband perceives himself in her reaction. These scenes, which are common in Chinese soap operas and films (think A World without Thieves, Together or even Infernal Affairs in the scene where the policeman is thrown off the roof.) They seem at times to be the equivalent of corny lifetime movies, when children get cancer but remain irritatingly upbeat about it or the emotive conceits of film noir. There is an unashaméd yank at the heartstrings that is counterbalanced by the other element of Chinese culture that hit me hard in the culture clash, that is the unrelenting Kafkaesque nature of bureaucracy, where people's (overly-) emotional rending is treated like a tax receipt that has been filled out incorrectly. The itinerant court sets up in absurd locations, carrying the plaque of the republic which is hung over classrooms, and in muddy village squares. The judges seem reasonable enough though they play to the crowd at times who seem to have come for the entertainment value (I'm reminded of the staring immobile faces that surround Chinese car accidents.) The documentary's grasp of these elements of Chinese society, both its strength and its weakness, make the documentary interesting for foreign viewers, as this is the elements of culture that are so alien to the contemporary Western world.

Interesting but not essential viewing 3/5

Beyond Hatred (2005) Olivier Meyrou

This French documentary discussed the murder of a 29 year old gay man by three skinheads in Rheims, France. It was interesting in that it worked in a distinct way from the way events such as this are normally covered by the press or in other films that portray the events as they happen like the melodramatic Matthew Shepard Story or Prayers For Bobby

that intentionally pull on heart strings for a big impact. The more introspective style of the documentary started 780 days after the death of Francois Chenu, and focused on the journey of the parents and the siblings of Francois as they reluctantly let go of their anger towards the perpetrators, and faced them in court to hear their testimony and defense. The documentary portrayed brilliantly the very banal nature of the proceedings surrounding the trial, and the way in which the grief played out for each member of the family. It cuts through the performative rhetoric of the victim, that one sees already polished whether in press releases and or in lawyer's prepared statements, by showing us the emotive discussion and preparation, even debate over a single word in the prepared statement. In this way the audience is brought to the realization that the strong face that the family show under the spotlight in the documentary is revealed to be more complex.

I thought one scene was particularly interesting, in which the mother tells the camera that some part of her does not want to confront the perpetrators, because she knows when she sees them her anger will be dissipated by hearing of their deprived background, and the anger and rage will be diluted by pity or a desire to comprehend. She felt that, by the very fact of communicating and talking about the case, she was being dragged forward to a more rational place than the pure desire for vengeance. She realises the necessity of moving forward but is reluctant to leave that state of mind.

During the trial in the film, the audience observes that the family are torn by their rational democratic and humanistic principles and horror at the loss of someone they love at the hands of imbeciles. The better angels of their nature draw them to sympathize with the destitution of the perpetrators' lives, and the irresponsible actions and indifference of the parents of the accused.

Another interesting aspect to the trial was that the youngest perpetrator's legal representative was a Frenchman of "Arabic" descent. Given that the skinhead gang was intensely anti-Arab (one of their friends had pushed an Arab into the Seine where he then drowned), I thought it was extremely interesting to see how much the lawyer was involved with the young man and how much he pushed for leniency towards him. I also thought that his frank discussion with the family and about the remorse (or lack of) felt by the boys was incredibly powerful in that he was able to acknowledge their grief and appealed to their conscience at the same time, which he was able to do in part, because of his ethnic origin. During this discussion we can recognise the family's internal struggle, in that they want to know how to forgive, but are unsure of the remorse of the skinheads.

The whole structure of the courtroom and the way the case was handled, gave a lie to the way that these things are represented on television. The grief shouldered by relations of the victims as they go through proceedings makes all the little details and the minutiae of the law heavy with melancholy. There are several shots of office spaces, and corridors, which in their dreariness, replace the dramatics of the murder with the dull realization of the reality of this kind of loss.

In contrast to more traditional media outlets, the focus on the film, was on those left behind, and the grief and justice process. Francois never appears in the film, nor do the aggressors, or any photos of the violence committed. In this way, we stand in the place of the parents, who are left imagining the pain that their son went through, but the film ends with an open letter to the perpetrators. It is hard to know how the family's actions are perceived by the killers, and at times the family seems worried that they are laughing at the liberal values of the family that compel them to get involved in the lives of the attackers rather than maintaining distance.

Definitely worth watching 4/5

Your mother is wise to know a simple tribute is more powerful than the giant monuments of our civilization

This film, Perfumed Nightmare (1977), is directed by and stars Kidlat Tahimik, a Phillipines born director who released this film with the help of Francis Ford Coppola. Although it will be shown as part of a documentary film festival in Taizhong at the end of October, the film does not follow the style of the conventional documentary, and incorporates what could be called performance art, or a performative rendition of memory, experience and emotion.

The director, in what seem to be fictionalized sequences traces his memory of setting out from the Phillipines to France and then the US. The director seems to attempt an experiential or sensous recreation of the trip. First setting out from his imagination of the West, a kind of Occidentalist structure with its foundation in Voice of America broadcasts and dealings with American soldiers. The film employs a lot of surrealist imagery to fragment the logic of the narrative, the events on screen quite often happen in contradiction to the narrative voice of the film.

The film seemed to be countering the notion that modernization in the guise of progress is a good blueprint for what in the West is referred to as "The Third World". The protagonist who had been eager for progress to occur rescinds his membership from a fan club of an immigrant to America who helped to build the Apollo space shuttle. The signals his realisation that the American dream is not the path to happiness. At first heis awed by France but as he grows accustomed to life there he realizes that technological progress does not endow places or things with the meanings and emotions that places and things are endowed with in his hometown. The faceless encroach of the supermarket on the 4 seasons market confirms for him this absence of meaning that he comes upon in the West.

Some excellent bits of the film include the Phillipino cast "whiting up" in a scene where they act as the white guests at a farewell party that make Kidlat feel small, prompting him to say:

I am Kidlat Tahimik, I'm not as small as you think, nothing can stop me from crossing my bridge.

Another scene, earlier on in the film, is where religious self flagellation is portrayed, and Kidlat goes to pray to the Virgin Mary, who speaks to him in a very crude manner, revealing the snideness of an icon who demands the pain of self-flaggelation. Mary describes Kidlat in the garb of self-flaggelation as "sexy".

The final quote I want to mention is the following:

The white carabao is rare, it is born against nature. The white carabao is beautiful but inside its cold and aggressive. One day, Kidlat, you will understand that the beauty of the white carabao is like the sweetness of the chewing gum the American soldiers gave you.

This seems to me to indicate the illusion created by Eastern imagination of the Occident.

Film rating: 5/5




The picture above is from a painful scene of circumcision - village style.

《石頭夢》 胡台麗 2004

片名：石頭夢

導演：胡台麗

發行日期：不明（2004上映）

片長：79分

字幕：英文、中文

這部電影從一個巧遇而出發，便是導演在花蓮碰到1965年紀錄片《劉必稼》的主要人物劉必稼本人，以他拍完陳耀圻導演的紀錄片後生活的酸甜苦辣為本紀錄片的重點。紀錄片亦探索花蓮老兵開墾者對本地文化習俗的影響。在此的「本地」指最近解脫日本殖民的台灣原住民、閩南人、客家人，電影抓拍這些不同文化跟大陸老兵所接觸過的文化的相互齟齬、互相夾雜。不同身分的人參加多種民間信仰、文化活動，譬如說身為老兵的妻子、Puyuma族跟日本人的混血兒雖

然沒有閩南血統，但是同時參加閩南民間信仰的儀式、原住民的部落的節日；身為原住民的阿美族的巫婆因為病人的丈夫為老兵而用外省人的「木魚」來驅魔。這些跨逾文化境界的民間人物也許指出台灣本／外省的二元性的解構，便是說文化、民俗所帶來的身分不在於血統，而在於地理位置、生活經驗。

胡台麗在此片中似乎欲破壞紀錄片的操演式化，例如她看到兒子在他「叔叔」面前講話不自在、似乎在敷衍長輩，所以她換了方式。她這樣換不是瞞著觀眾的，而是露出作紀錄片的過程所碰到的問題。紀錄片裡面充滿多種民間習俗、信仰儀式，不過它跑開一般的文化上的標誌。電影品質佳，內容豐富而令人感動。很推薦：4/5

相關資料：

http://www.stonedream.ioe.sinica.edu.tw