Posted: 16 Sep 2014 06:05 PM PDT
发布时间：2014.9.16 06:05pm（美国时间）
第二届银幕中国双年展将于2014年10月17日至11月14日在洛杉矶、华盛顿和夏威夷举行。届时，影展将放映一些中国最好的电影和媒体艺术。本届COB将为美国观众带来来自中国的15部长片和7部短片。从影展萌芽到现在，这些美国策展人集结了各种声音，建立起了电影的过去与现今的千丝万缕的联系。
中国第六代著名导演王小帅的新作《闯入者》（2014）将作为本届COB的开幕片，此片同时也是今年威尼斯电影节的主竞赛单元参赛片。而闭幕片，则是著名导演刁亦男的柏林电影节金熊奖获奖影片——《白日焰火》（西海岸首映，2014）。
本届COB的“光谱”（The Spectrum）单元，将展映来自中国的新电影长片和短片。其中包括，徐童的讲述一个民谣歌手在内蒙古的不堪往事的纪录片——《挖眼睛》（2014）将世界首映。以及，曾获奖项的新导演王浩林的作品，诱人的片段式影片《鄂尔多斯骑手》（Erdos Rider，2014）也将展映。这部影片有一大部分曾在蒙古拍摄。
在本届影展中，有三部长片都是北美首映：《后会无期》（2014），本片由著名作家、博客作者、赛车手韩寒导演，是今年夏天中国的一部现象级电影；《少女哪吒》（2014），李霄峰导演。讲述了一个未成年女孩的故事。本片入围了本届釜山电影节“新浪潮”竞赛单元。以及，周浩的《夜》（2014），讲述了在一条小巷，一个骗子和守旧的华语流行地图势力（nostalgic Mandarin pop map power），其中的渴望和欲望。最后的放映是“怪夜曲”（queer nocturne）也由在北美初次亮相的影片组成。其中包括，由著名导演张元导演（《东宫西宫》）的全片没有一句对白的影片《老板，我爱你》（2014）。美国首映的还有，由《钢的琴》导演张猛执导的第三部影片《胜利》（2014）。此片曾在今年上海国际电影节中获金爵奖评委会大奖。
丛峰导演电影《地层1：来客》（2013），反映了中国郊区废墟的现状，此片曾在2013年北京国际电影节获奖，本次在COB的放映也是其西海岸首映。由香港著名导演许鞍华导演的影片《黄金时代》（2014），此片曾作为今年威尼斯电影节的闭幕片进行放映。本片描绘了中国女作家萧红动荡的一生及对整个时代的特写。本次COB展映是其洛杉矶的首次公开放映。
两部动画短片将进行它们的全球首次亮相：孙逊的《龙年发生的事儿》（What Happened in Past Dragon Year，2014）以及由施屹和陈海璐导演的受京剧影响的短片《分歧》（Divergence，2013）。
在“疯女人”（Wild Women）单元，包含了一些首次在南美和洛杉矶首映的影片，一些由新导演们拍摄的时髦短片——《The Private Life of Fenfen》（戴家馨导演， 2013），The VaChina Monologues (d. Fan Popo，2014 ) 和《女导演》（杨明明导演，2012）。
本届COB也将致敬两位大师级导演。吴天明导演于今年三月去世，他曾是西安电影制片厂的领导者，也曾培育了中国第五代导演。COB将展映吴天明导演早期的两部作品：《老井》（1986），由年轻时的张艺谋主演，他同时也是本片的摄影师。以及《没有航标的河流》（1983），这部是吴天明的导演处女作，同时也是对文革作出批判的早期电影之一。COB很荣幸能从中国电影资料馆拿到此片的35mm拷贝。吴导的女儿吴妍妍将在10月19日出席《老井》的放映活动。
以及“姜文：让电影飞”致敬单元，COB将致敬他在美国作为演员及导演最有名的作品，如《让子弹飞》（2010）。《阳光灿烂的日子》（1994）改编自王朔的小说，讲述了文革时的青春故事。《太阳照常升起》（2007）由香港青年演员房祖名主演，黄秋生、陈冲和姜文自己出演。由四个充满魔幻现实主义风格的小故事组成。
加州大学洛杉矶分校孔子学院是非盈利性组织，COB是个独特的横跨亚美大陆的合作活动，通过美国的文化和教育机构来加强中美的电影对话。
本届COB由加州大学洛杉矶分校孔子学院主办，协助举办的组织包括：由奥迪公司和Film at REDCAT承办的美国电影学院影展（AFI FEST）；波莫纳学院，和加州大学洛杉矶分校的电影和电视资料馆；华盛顿的史密森学会弗利尔和萨克美术馆；由哈利库拉尼酒店承办的夏威夷国际电影节。
COB的管理团队包括：Cheng-Sim Lim（总策展人），Bérénice Reynaud（策展顾问，Film at REDCAT），Shannon Kelley & Paul Malcolm（加州大学洛杉矶分校的电影和电视资料馆），Tom Vick（弗利尔和萨克美术馆）和Jonathan Hall（波莫纳学院）。
LOS ANGELES, CA (Sept. 15, 2014 ) – Showcasing some of the best new film and media art from China, the China Onscreen Biennial (COB) returns from October 17 to November 14, 2014 with screenings and events in Los Angeles, Washington DC, and Hawaii. The 2014 COB attempts to address a gap to bring a slate of 15 Chinese features and 7 shorts to American audiences. The curation by an American team of film curators highlights a multiplicity of voices, from emerging to established, and the myriad connections between cinemas past and present.
Acclaimed Sixth Generation director Wang Xiaoshuai (Beijing Bicyle) opens the COB with his latest work Red Amnesia(2014) which debuted in the main competition at Venice, while the Closing Film honors goes to Diao Yinan and his Berlinale Golden Bear winner, the chilly noir thriller Black Coal, Thin Ice (West Coast Premiere, 2014).
The Spectrum section of the COB presents an exciting selection of new features and shorts, including the World Premieres of Xu Tong’s documentary of a folk-singer with balls-out attitude in Inner Mongolia, Cut Out the Eyes(2014) and the alluringly fragmented Erdos Rider, (2014) partially shot in Mongolia by the young award-winning director Wang Haolin.
Three first features receive their North American Premieres: The Continent(2014), celebrity blogger-author-racecar driver Han Han’s slacker road movie, a summer independent hit in China; Nezha (2014), Li Xiaofeng’s delicate tale of adolescent girl angst which heads to the COB from the Busan film festival’s Asian “New Currents” competition, and Zhou Hao’s The Night (2014), where an alley, a male hustler and nostalgic Mandarin pop map power, longing and desire. The last screens in a “queer nocturne” with another NA debut, the eloquently sans dialogue short I Love You, Boss (2014) by the award-winning Zhang Yuan (East Palace, West Palace). Making its US Premiere is Uncle Victory (2014), the third movie by the director of The Piano in a Factory, Zhang Meng. Uncle Victory won the Jury Award at the recent Shanghai film festival despite being controversially denied public screenings during the festival.
Stratum 1: The Visitors (2013), Cong Feng’s spellbinding performance-reflection on contemporary urban ruins in China, an award winner at the 2013 Beijing IFF, makes its West Coast bow as part of the COB Spectrum. The Golden Era (2014), the closing night pick of the Venice film festival and Hong Kong director Ann Hui’s portrait of the turbulent life and times of the May 4th woman writer Xiao Hong, will have its first Los Angeles screening.
Two animated shorts make their International debuts: the magnificent and surreally-inspired What Happened in Past Dragon Year (2014) by the multi-talented Sun Xun, and the Beijing opera-inspired Divergence (2013) co-directed by Shi Yi and Chen Hailu.
In the “Wild Women” program combining NA and LA Premieres, a trio of wickedly sassy shorts by young filmmakers – The Private Life of Fenfen (2013, d. Leslie Tai), The VaChina Monologues (2014, d. Fan Popo) and Female Directors (2012, d. Yang Mingming) – mock, probe and tweak Chinese gender politics.
This year’s COB also features two auteur homages. The “Tribute to Wu Tianming” remembers the accomplished director who died this March. As chief of the Xi’an Film Studio in the 1980s, Wu nurtured the groundbreaking cinema of the Chinese Fifth Generation. The COB Tribute revives two rarely screened landmark early works by Wu: the critically acclaimed The Old Well (1986), starring a young Zhang Yimou who did double-duty as a cinematographer on the film; and River Without Buoys (1983), Wu’s solo directorial debut that also posed one of the earliest filmic critiques of the Cultural Revolution. The COB is proud to present River in a 35mm print from the China Film Archive. The late director’s daughter Janet Wu Yanyan will introduce the October 18 screening of The Old Well.
With “Jiang Wen: Let the Movies Fly,” the COB salutes the actor-director best-known in the US for more recent work like his deliriously madcap Let the Bullets Fly (2010). In the Heat of the Sun (1994) adapts “hooligan” writer Wang Shuo’s irreverent tale of coming of age during the Cultural Revolution. L’immagine Ritrovata’s digital restoration of the film will screen in its NA Premiere. The Sun Also Rises (2007) stars an ensemble including the teenage Jaycee Chan, Hong Kong actor Anthony Wong, Joan Chen and Jiang himself in four story vignettes whose interconnected whimsy presages the prodigious genre hybridity of the later Jiang.
A non-profit initiative of the UCLA Confucius Institute, the COB is a unique cross-continental collaboration among American cultural and educational institutions to promote US-China dialogue through film.
The 2014 COB is presented by the UCLA Confucius Institute in partnership with AFI FEST presented by Audi, Film at REDCAT (Roy and Edna Disney/CalArts Theatre), Pomona College, and UCLA Film & Television Archive in Los Angeles; Freer and Sackler Galleries of the Smithsonian Institution in Washington DC; and Hawaii International Film Festival presented by Halekulani in Hawaii.
The COB curatorial team includes Cheng-Sim Lim (Chief Curator), Bérénice Reynaud (Film Curatorial Advisor, Film at REDCAT), Shannon Kelley & Paul Malcolm (UCLA Film & Television Archive), Tom Vick (Freer and Sackler Galleries) and Jonathan Hall (Pomona College).
来源：The Chinese Film Market Magazine中国电影市场杂志
