北京时间8月14日，第74届洛迦诺国际电影节公布了本届电影节获奖名单。其中，由邱炯炯执导的《椒麻堂会》评委会大奖，这也是华语电影今年在海外电影节取得的最佳成绩。
《椒麻堂会》是邱炯炯的第一部剧情长片，故事取材自其祖父，一个川剧小丑的一生。上一辈的演员一个接一个故去，演员的死导致了舞台的没落，生活史的中断催促着川剧的消亡。本片时长达到179分钟，此前曾获2021法国大巴黎区电影基金，入围2020香港haf亚洲电影投资会。
牛小雨执导的《不要再见啊，鱼花塘》入选当代影人单元，张丰瑞执导的《冬冬的圣诞节》入围短片竞赛单元国际部分。
获奖名单
[国际竞赛单元]
International Competition
Golden Leopard
“Vengeance Is Mine, All Others Pay Cash,” (“Seperti Dendwinner listam, Rindu Harus Dibayar Tuntas,” Edwin, Indonesia, Singapore, Germany)
最佳影片金豹奖：
《复仇后酬劳入账》
Special Jury Prize
“A New Old Play,” (“Jiao Ma Tang Hui,” Qui Jiongjiong, Hong Kong, France)
评委会特别奖：
《椒麻堂会》
Best Direction
Abel Ferrara, (“Zeros and Ones,” Germany, U.K., U.S.)
最佳导演奖：
阿尔贝·费拉拉《零和一》
Best Actress
Anastasiya Krasovskaya, (“Gerda,” Natalya Kudryashova, Russia)
最佳女演员奖：
《Gerda》
Best Actor
Mohamed Mellali, Valero Escolar, (“The Odd-Job Men,” (“Sis Dies Corrents”), Neus Ballús, Spain)
最佳男演员奖：
《六连班》
Special Mentions
“Soul Of A Beast,” (Lorenz Merz, Switzerland); “Espíritu Sagrado,” (Chema García Ibarra, Spain, France, Turkey)
特别提及：
《野兽之灵》
[当代影人竞赛单元]
Cinema of the Present
Golden Leopard
“Brotherhood,” (Francesco Montagner, Czech Republic, Italy)
当代影人最佳影片金豹奖:
《兄弟手足》
Best Emerging Director
Hleb Papou, (“Il Legionario,” Italy, France)
最佳新导演奖：
《驱逐之日》
Ciné Plus Special Jury Prize
“L’Été L’éternité,” (Émilie Aussel, France)
评委会特别奖：
《永恒夏日》
Best Actress
Saskia Rosendahl, (“No One’s With the Calves,” Sabrina Sarabi, Germany)
最佳女演员奖：
莎斯琪亚·罗森道尔《Niemand ist bei den Kälbern》
Best Actor
Gia Agumava, (“Wet Sand,” Elene Naveriani, Switzerland, Georgia)
最佳男演员奖：
《Wet Sand》
First Feature
Swatch First Feature Award
“She Will,” (Charlotte Colbert, U.K.)
《她将会》
Special Mention
“Holy Emy,” (“Agia Emi,” Araceli Lemos, Greece, France, U.S.)
《神圣艾米》
短片竞赛单元
Leopards of Tomorrow Short Film Competition
Swiss Life Pardino d’Oro
“Creature,” (“Criatura,” María Silvia Esteve, Argentina, Switzerland)
无。
SRG SSR Pardino d’oro, Best International Short
“Neon Phantom,” (“Fantasma Neon,” Leonardo Martinelli, Brazil)
《霓虹幻想》
SRG SSR Silver Pardino, International Competition
“The Demons of Dorothy,” (“Les Démons De Dorothy,” Alexis Langlois, France)
Leopards of Tomorrow, Bonalumi Engineering Best Direction Prize
Eliane Esther Bots, (“In Flow Of Words,” Netherlands)
《流动的言语中》
Medien Patent Verwaltung AG Award
“Home,” (“Imuhira,” Myriam Uwiragiye Birara, Ruanda)
《家》
Special Mentions
“First Time (The Time For All But Sunset – Violet),” (Nicolaas Schmidt, Germany)
《第一次》
Locarno Film Festival Short Film Candidate for the European Film Awards
“In Flow Of Words”
《流动的言语中》
National Competition
Swiss Life Golden Pardino, Best Swiss Short Film
“Strangers,” (“Chute,” Nora Longatti, Switzerland
Swiss Life Silver Pardino
“After A Room,” (Naomi Pacifique, U.K., Netherlands, Switzerland
Swiss Newcomer Award
Flavio Luca Marano, Jumana Issa, (“It Must” (“Es Muss”) Switzerland)
编辑：孙胜男
第74届洛迦诺国际电影节主视觉海报出自艺术家Luciano Baragiola之手，他的想法是把洛迦诺标志性的豹子分成24块，Luciano解释说: “这是电影的基本概念，24小时的帧率欺骗人们的眼睛，创造运动的错觉。这是一个生动的概念，从技术上讲，这就是电影制作的魔力。”
洛迦诺国际电影节此前举办了海报征集比赛，这次比赛吸引了来自五大洲85个国家的901份参赛作品。最终Luciano Baragiola的作品脱颖而出。
回顾：洛迦诺电影节艺术总监Lili Hinstin
《影展的使命：捍卫、支持和帮助电影人及其作品》
Yesterday, Today and Tomorrow
by Lili Hinstin, Artistic director of Locarno Film Festival作者: Lili Hinstin，洛迦诺电影节艺术总监一种不寻常的现象：全世界正经受着共同的经验。除了可怕的折磨，这场大瘟疫还揭示了真正的全球世界——我们仍参与其中的世界。我们待在家里，生活在手机和电脑屏幕上，让自己成为世界的中心。考虑到电影是通过声画来呈现世界的媒介，对于此刻，也许我们这些电影工作者比其他人更有准备。尽管如此，对于我们来说，这是全新的体验：被抛感和蕴含更多沉思的时间感，因为社会的持续加速已经放缓并且放松了对我们的控制。因此，这是一个深度自我反思的时机，也是一次重新思考电影节的机会，自问：它的根本使命是什么，它的本质又是什么。首选答案：捍卫、支持和帮助电影人及其作品。通过一些选择，我们践行这一点，并向观众和媒体展现一幅反映世界状态的暂时地图，以及代表这幅地图的美学设想。电影节复杂的整体架构、合作伙伴和赞助商，共同促成了地图的绘制和未来路径的描绘。因此，在这场（公共）卫生危机中——在落笔时，对于地图和未来路径的描绘，视野里不该有尽头（这些词让我觉得自己在写菲利普·K·迪克笔下人物的秘密日记）——我和选片委员会决定遵循两条明确的指导原则：责任和团结。出于责任，我们放弃了大型场地，尤其是标志性的中央广场(Piazza Grande)，尽管那是洛迦诺电影节的荣耀和欢乐之地（洛迦诺电影节是为数不多的几乎绝对可以进去看电影的大型电影节），相应地，这也意味着要取消多个长片竞赛单元。我们认为，对于要影响观众的电影来说，八月中旬（也就是封城以后）在小屏幕上展现作者电影的想法完全不妥。取而代之，我们决定将部分资金用于传统奖项，并开启“电影：明天以后（The Films After Tomorrow）”。在各合作伙伴的额外捐助下，这个项目将提供30,000至70,000瑞士法郎的资金，用于因新冠肺炎而未能完成的电影。中央广场(Piazza Grande)的电影放映活动与此同时，我们还认为有必要与制作发行链的另一端——受疫情打击最惨烈的电影院——团结起来。当用户观看我们线上展映的影片时，会收到帮助瑞士独立电影院的捐赠请求。因此，这届“缩减版”电影节会比以往任何时候都更加着眼于未来：直接资助即将完成的电影制作；支持放映作者电影的独立影院；并再次强调两个与电影未来尤其密切相关的单元：Pardi di domani（注：展映独立影人或电影在校生的中短片平台，并设立奖项）和Open Doors（注：自2019到2021年，Open Doors着重探索东南亚和蒙古的多样化电影，2020年，这一单元展映来自缅甸、印尼、马来西亚和菲律宾的长片和短片，并设立奖项）。短片单元Pardi di domani包括尚未完成长片处女作的导演，走过十八个年头的Open Doors则致力于表现明日世界的所谓“新兴”国家的电影。最后，我们今年开创的混合版电影节，采取线上线下两种方式，这也是正在进行的内部讨论——以后我们的展映影片该如何抵达观众——的第一步。正如最近有人对我说的那样，我们可以将此视作洛迦诺电影节的“珍藏版”，一个自阴影展望光亮的特别版，就像雨果·圣地亚哥《入侵》（注：阿根廷新浪潮电影代表作，博尔赫斯为编剧之一，获1969年洛迦诺电影节评审团特别提及奖）里的人物一样，这部影片是本届洛迦诺电影节的生动写照。同时，像所有先行者那样，这也是一个与时代强烈关联——甚至可以说是搏斗！——的版本。A remarkable phenomenon: the entire world is going through a collective experience. Besides terrible suffering, the pandemic has brought the revelation of a truly global world, one that we are still engaging with. We have ourselves become the center of this world, living it in our homes on the screens of our phones and computers. Given that film is a medium through which the world is presented in sounds and images, perhaps those of us who work with films were more prepared for this moment than others. Nonetheless, for all of us this is a new experience: being turned back on ourselves and of experiencing a sense of time in which reflection finds more space than usual, as the relentless speed of society has slowed down and relaxed its grip on us.As a result, this is a moment for profound self-examination, an opportunity for us to rethink the Festival and ask ourselves what should be its underlying mission, its essence. Answer number one: to defend, support and be there for the filmmakers and their work. We do that through the choices we make, presenting a temporary map of the state of the world to the audience and the press, along with the aesthetic hypotheses that represent it. The whole complex structure of the Festival, the partners and sponsors, all contribute to drawing up that map and the pathways it charts ahead. Therefore, in this health crisis — to which, at time of writing, there is no end in sight (these words make me feel like I’m writing the secret diary of a Philip K. Dick character) — me and the Selection Committee have decided to follow two clear guiding principles: responsibility and solidarity.We acted responsibly in giving up our large-scale venues, especially the iconic Piazza Grande, even though they are one of the glories and pleasures of Locarno (one of the very few great festivals where you can almost guarantee to get in to see a movie), which in turn has meant canceling our various competitive sections for full-length features. The idea of presenting auteur cinema on small screens in the middle of August, right after lockdown, struck us as a completely inappropriate way for the films to impact their audience. Instead, we decided to use part of the money destined for the traditional prizes and create The Films After Tomorrow. With additional contributions from various partners, this project will offer funding ranging from CHF 30,000 to 70,000 to films whose completion has been threatened by Covid-19.At the same time, we felt it was also necessary to act in solidarity with the other end of the production and distribution chain, one of the sectors hit hardest by the pandemic: movie theaters. When watching any of the titles that we will be presenting online, every user will be invited to make a donation towards helping independent theaters in Switzerland.This “scaled-down” edition of the Festival will therefore be one that, more than ever, looks to the future: by contributing directly to upcoming film productions; by supporting independent movie theaters that program auteur cinema; and also by giving renewed emphasis to two of the sections that are linked especially closely to the future of cinema: Pardi di domani and Open Doors. The short films section Pardi di domani includes directors who have yet to make their full-length debut, while Open Doors, celebrating its 18th birthday, is dedicated to the cinemas of so-called “emerging” nations who represent the world of tomorrow. Lastly, the hybrid edition of the Festival that we have created this year, steering a course between the physical and the dematerialized, is also a first step in an ongoing internal debate as to how our content will be accessed in years to come.And so, as someone said to me recently, we could think of this as a “collector’s edition” of the Locarno Film Festival, a special edition that looks to the light from the shadows, like the man in the picture from Hugo Santiago’s Invasión, which illustrates our program. At the same time, this is an edition that, like all its predecessors, is profoundly in touch – not to say grappling! – with its time.Lili Hinstin
Artistic Director Locarno Film Festival
