簡介本屆戛納電影節的亞洲參展影片

The 66th Cannes Film Festival kicks off on Wednesday with Baz Luhrmann’s 3-D spectacle “The Great Gatsby” starring Leonardo DiCaprio. Other high-profile directors unveiling their new films include Steven Soderbergh (“Behind the Candelabra”), Roman Polanski (“Venus in Fur”), Asghar Farhadi (“The Past”) and brothers Ethan and Joel Coen (“Inside Llewyn Davis”).

第66屆戛納電影節(Cannes Film Festival)週三開幕，開幕式上放映了巴茲•呂爾曼(Baz Luhrmann)導演的3D大片《了不起的蓋茨比》(The Great Gatsby)，該片的主演是迪卡普里奧(Leonardo DiCaprio)。攜帶自己的新片參加本屆戛納電影節的其他知名導演還有索德伯格(Steven Soderbergh)、波蘭斯基(Roman Polanski)、法哈蒂(Asghar Farhadi)和伊桑•科恩(Ethan Coen)和喬爾•科恩(Joel Coen)兄弟，他們帶到電影節的影片分別爲《燭臺背後》(Behind the Candelabra) 、《穿裘皮的維納斯》(Venus in Fur)、《過去》(The Past)和《醉鄉民謠》(Inside Llewyn Davis)。

So how does Asia fare in this year’s lineup? Not bad, as it turns out. Big-name filmmakers such as Japan’s Takashi Miike, Jia Zhangke of China and Hong Kong’s Johnnie To will hit the red carpet with their latest films, along with first-time directors from India, Hong Kong and Singapore.

今年出席戛納電影節的人士中亞洲電影人的陣容如何？事實證明，還不錯。日本的三池崇史(Takashi Miike)、中國的賈樟柯和香港的杜琪峯等知名電影導演都將攜自己的最新電影走上本屆電影節的紅地毯，還有一些印度、香港和新加坡的導演是首次出席戛納電影節。

In addition, this year’s jury, which is headed by Steven Spielberg, includes three high-profile members from Asia: Oscar-winning director Ang Lee, Indian actress Vidya Balan and Japanese director Naomi Kawase.

此外，由斯皮爾伯格(Steven Spielberg)擔任主席的本屆戛納電影節評委會包括三位來自亞洲的知名成員，他們是曾獲得奧斯卡最佳導演獎的李安、印度女演員薇迪雅•巴蘭(Vidya Balan)和日本導演河瀨直美(Naomi Kawase)。

Here’s a quick look at what Asian filmmakers have on tap for this year’s festival, which runs through May 26.

以下是亞洲導演在今年戛納電影節上的參展影片，本屆電影節將持續到5月26日。

OFFICIAL SELECTION (COMPETITION)

入圍競賽單元的影片

“Like Father, Like Son” (Japan)

日本影片《像父又像子》(Like Father, Like Son)

Hirokazu Koreeda’s heartbreaker begins when a father learns that his son was accidentally switched with another baby at the hospital where they were both born, and that he has been raising another man’s child for the past six years. This is the director’s fourth film to be screened at Cannes and the third in the festival’s main competition.

是枝裕和(Hirokazu Koreeda)導演的這部傷感片是這樣開頭的：一位父親發現，自己的兒子出生時在醫院裏不小心被與別的孩子掉了包，過去六年裏他一直撫養的其實是別人的孩子。本片是這位導演在戛納電影節上放映的第四部影片，也是他入圍戛納電影節主競賽單元的第三部影片。

“Shield of Straw” (Japan)

日本影片《稻草之盾》(Shield of Straw)

Here’s a premise that would guarantee a jolt while reading the morning news: A billionaire places notices in papers offering a one-billion-yen bounty for a man he says murdered his granddaughter. Director Takashi Miike, known for his offbeat and violent-themed films, makes his third appearance at Cannes and his second in competition.

閱讀早間新聞的人看到這種消息肯定會感到震驚：一名億萬富翁在報紙上刊登廣告，懸賞10億日圓緝拿一名他說謀殺了他孫女的男子。以喜歡拍攝離奇和暴力題材電影而聞名的導演三池崇史今年是第三次參加戛納電影節，也是第二次攜片參加該電影節競賽單元的角逐。

“A Touch of Sin” (China)

中國影片《天註定》

Jia Zhangke takes a harsh look at the social problems facing the world’s second-largest economy, and at how the widening gap between rich and poor, endemic corruption and displaced lives has brought on a wave of violent reactions from the less fortunate. Mr. Jia previously explored the complexities of modern China in “Still Life” and “24 City,” but never in such stark images. This is his fourth film at Cannes and the third in competition.

導演賈樟柯以嚴厲的眼光看待中國這個世界第二大經濟體所面臨的社會問題，以及中國不斷擴大的貧富差距、無處不在的腐敗和窮人流離失所的生活在中國不那麼幸運的人羣中引發的一波暴力反應。賈樟柯以前雖然在《三峽好人》和《二十四城記》這兩部影片中探索過當代中國的複雜性，但他這兩部影片中的人物形象從未像《天註定》這部片子中的人物形象那麼鮮明。《天註定》是賈樟柯參加戛納電影節的第四部影片，也是他參加該電影節競賽單元角逐的第三部影片。

OFFICIAL SELECTION (UN CERTAIN REGARD)

入圍“一種關注”單元的影片

“Bends” (Hong Kong)

香港影片《過界》(Bends)

First-time director Flora Lau teams with veteran cinematographer Christopher Doyle for this topical story about two disparate people ─ a wealthy Hong Kong woman and her mainland chauffer ─ to explore the sometimes-fraught relationship between China and Hong Kong.

首次擔任電影導演的劉韻文與老資格的電影攝像師杜可風(Christopher Doyle)合作拍攝了這部社會話題影片，影片的主角是身份截然不同的兩個人，一個是富有的香港女性，一個是她的中國大陸籍司機，這部影片探討了中國大陸和香港間有時令人擔憂的相互關係。

“Death March” (Philippines)

菲律賓影片《死亡行軍》(Death March)

Prolific indie director Adolfo Alix Jr.’s World War II drama is about how Philippine and U.S. soldiers are forced to endure brutal conditions at the mercy of the Japanese army, and their downward spiral amid death, disease and starvation.

多產的獨立電影導演小阿多弗•亞歷克斯(Adolfo Alix Jr.)執導的這部影片講述的是二戰期間，被日軍俘虜的菲律賓和美國士兵被迫忍受惡劣的條件，在死亡、疾病和飢餓的威脅下的悲慘遭遇。

“The Missing Picture” (Cambodia)

柬埔寨影片《殘缺影像》(The Missing Picture)

Documentary filmmaker Rithy Panh, who explored the legacy of a Phnom Penh high school that was turned into a torture chamber in “S-21: The Khmer Rouge Killing Machine” (2003), takes another look at Cambodia’s harrowing genocidal history.

紀錄片導演潘禮德(Rithy Panh)通過該片再次展現柬埔寨種族滅絕的慘痛歷史。在2003年推出的影片《S21－紅色高棉殺人機器》(S-21: The Khmer Rouge Killing Machine)中，他曾探討了金邊一所變身爲酷刑室的高中學校遺留下來的問題。

“Norte, the End of History” (Philippines)

菲律賓影片《歷史的終結》(Norte, the End of History)

The festival describes indie director Lav Diaz’s four-hour long drama about a man who’s been unjustly imprisoned for a murder he didn’t commit as a look at the “never-ending cycle of betrayal and apathy” in the Philippines.

獨立導演拉夫•迪亞茲(Lav Diaz)執導的這部長達四小時的劇情片講述的是，一名無辜男子因被誤判謀殺罪而蒙冤入獄。戛納電影節稱，導演通過該片審視了菲律賓“背叛與冷漠的無休止循環”。

OFFICIAL SELECTION (OUT OF COMPETITION)

非競賽單元

“Blind Detective” (Hong Kong)

香港影片《盲探》(Blind Detective)

Johnnie To unites the star power of Andy Lau and Sammi Cheng in this thriller about a gifted ─ and blind ─ private eye who comes to the aid of a woman trying to unravel the mysterious disappearance of her friend 10 years earlier.

香港導演杜琪峯攜手兩位巨星劉德華和鄭秀文共同締造了這部驚悚片。影片講述的是一位天才盲偵探幫助一名女子揭開10年前其朋友神祕失蹤的謎團。

“Monsoon Shootout” (India)

印度影片《季風殺戮》(Monsoon Shootout)

Amit Kumar’s debut feature is a philosophical tale about a cop who ─ on first day on the job ─ confronts a life-or-death decision, with three separate outcomes playing out as he chases a criminal on the rain-swept streets of Mumbai.

阿米特•庫馬爾(Amit Kumar)的處女作是一個哲學故事，講的是頭天上任的一個警察在暴雨過後的孟買街道上追逐罪犯。警察面臨一個生死抉擇。影片給出了三種不同選擇，每種選擇都會帶來不同的結局。

OFFICIAL SELECTION (SPECIAL SCREENINGS)

特別展映單元

“Bombay Talkies” (India)

印度影片《孟買之音》(Bombay Talkies)

A quartet of filmmakers ─ Zoya Akhtar, Dibakar Banerjee, Karan Johar and Anurag Kashyap ─ team up for this four-part feature-length film that celebrates 100 years of Bollywood.

四位製片人卓婭•阿赫塔爾(Zoya Akhtar)、迪巴卡爾•班納吉(Dibakar Banerjee)、卡倫•喬哈爾(Karan Johar)和阿努拉格•卡施亞普(Anurag Kashyap)、攜手製作了這部分成四個部分的長篇電影。該片是爲了慶祝寶萊塢100週年而拍攝的。

DIRECTORS’ FORTNIGHT

導演雙週單元

“Ilo Ilo” (Singapore)

新加坡影片《爸媽不在家》

Set in the late 1990s, Anthony Chen’s first feature looks at the relationship between a Singaporean boy and his family’s Filipina housekeeper.

該片背景設置在上世紀90年代末，這是導演陳哲藝的首部劇情片。講述的是一個新加坡男孩兒和他家菲律賓女傭的關係。

“On the Job” (Philippines)

菲律賓影片《殺手職場》(On the Job)

Director Erik Matti’s film focuses on four men ─ two duos on opposite sides of the law ─ and the impact of their actions on their families.

導演埃裏克•馬蒂(Erik Matti)的電影側重於四個男人。他們兩人爲一組，各自站在法律的兩邊。影片探討了他們的行爲對其家庭造成的影響。

“Ugly” (India)

印度影片《醜陋》(Ugly)

In addition to his short film in “Bombay Talkies,” Anurag Kashyap will premiere his feature about the young daughter of divorced parents who goes missing.

除了短片《孟買之音》，卡施亞普此次在戛納還將首映其劇情片《醜陋》。影片講述的是一對離婚父母的年輕女兒失蹤的故事。

“Taipei Factory” (Taiwan)

臺灣影片《臺北工廠》(Taipei Factory)

This omnibus brings together a quartet of young Taiwan directors and four foreign directors (from Chile, France, Iran and South Korea) to collaborate on four short films set in Taipei. The goal of this special project is to exchange life experiences and foster new talent in Taiwan and around the world.

該片彙集了四位年輕的臺灣導演和四位外國導演（分別來自智利、法國、伊朗和韓國），他們共同呈現了四部以臺北爲背景的短片。這個特別項目的目的是交流各自的生活經歷，培育臺灣和全球的新興人才。