【女性影展】焦點影人#3 【2026 WMWIFF】Sarah Maldoror #3

福戈火之島 Fogo, Island of Fire法國、維德角 France, Cape Verde｜1979｜DCP｜Color｜35min2024 義大利波隆那再發現影展1975年，維德角脫離葡萄牙殖民統治，馬爾多羅踏上這座黑色火山島，記錄島民的勞動與慶祝新生的國家。本片捕捉了豐沛的生命能量，見證獨立後那段充滿希望的歷史時刻。馬爾多羅以平等且細膩的視角拍攝福戈島，拒絕異國化凝視。旁白交織日常生活與政治記憶，影像既承襲人類學紀錄片傳統，又注入解放運動的激情，使本片成為非洲去殖民電影史上的重要篇章。Filmed in newly independent Cape Verde, Sarah Maldoror’s documentary captures the rhythms of everyday life on Fogo Island with rare intimacy and dignity. Rejecting exoticism, it celebrates collective labour, cultural resilience, and the enduring spirit of decolonization through an attentive, deeply human gaze.比索的狂歡 Carnival in Bissau法國、幾內亞比索 France, Guinea-Bissau｜1980｜DCP｜Color｜19min2024 義大利波隆那再發現影展幾內亞比索獨立初期，人們透過嘉年華遊行，重新詮釋黑人文化與歷史，翻轉殖民時代遺留下的秩序，讓文化成為建構國族認同與爭取自由的重要力量。馬爾多羅以貼近群眾的鏡頭，捕捉面具製作與節慶現場的身體律動，在紀實與詩意影像之間游移。本片將文化、傳統與政治交織為一首影像詩，細膩描繪一個新生國家如何透過集體創作與歡慶，書寫屬於自己的歷史與未來。Set against Guinea-Bissau’s post-independence Carnival, Sarah Maldoror’s poetic documentary explores how culture becomes an instrument of decolonization. Through masks, music, dance, and collective performance, she celebrates a people reclaiming Black identity while rewriting history on their own terms.薩赫勒的嘉年華 Carnival in the Sahel法國、維德角 France, Cape Verde｜1979｜DCP｜Color｜29min2024 義大利波隆那再發現影展馬爾多羅走進維德角的薩赫勒，見證人們透過面具、舞蹈、音樂與遊行，重新擁抱黑人文化與歷史。在節慶的歡騰背後，文化成為反抗殖民、建構身分認同與集體記憶的力量。導演以貼近群眾的鏡頭凝視節慶現場，不加旁白說教，而讓身體、節奏與色彩自行表述。鏡頭細膩捕捉每張臉孔與每個肢體動作，使嘉年華超越民俗展演，成為自由、抵抗與文化重生的鮮活見證。Sarah Maldoror films the Carnival in the Cape Verde Islands to reveal the role of popular culture in affirming a history of black populations in the struggles against colonialism and racism, with characteristics of Négritude identity and the concept of Blackness taking center stage. 焦點影人：莎拉・馬羅多羅 Master in Focus: Sarah Maldoror黑人女性導演先驅莎拉・馬爾多羅（1929-2020），以反殖民經典《桑比贊加》，成為世界女性電影史與非洲電影史的重要一頁，也讓他被冠上「非洲電影之母」或「革命電影作者」等稱號。然而真正走近作品，會發現這些標籤既正確也不足。馬爾多羅一生創作四十餘部作品，創作軌跡緊貼二十世紀重要社會思潮與政治運動──黑人性、反殖民、泛非主義、女性主義等，回應當前最迫切的需求與渴望，不懈記錄人民爲追尋平等與自由迸發的生命吶喊。他立足於黑人意識，卻不限於單一國族，而是在非洲、歐洲與黑人離散之間，建立自己的電影語言。持續穿梭、流動於多種身分、國界與形式，用電影實踐自由與反抗。生於法國，創作生涯始於劇場。深信「黑人不能只演女僕」，於1950年代共同創辦巴黎首個全由黑人演員組成的劇團，後赴莫斯科學習電影製作。1960年代投身非洲獨立運動浪潮，丈夫為安哥拉人民解放運動領袖、詩人，馬爾多羅的電影亦與政治參與發展出密不可分的關係。然而，其作品又溢出「革命電影」一詞。他拍武裝革命，卻避開英雄與奇觀；他關心政治，更警惕教條，曾言「吸引我的並非英雄，而是日常」。鏡頭下的革命，更多是發生在人民的勞動、歌唱與鄰里互助之間，心繫女性的參與、文化的延續與語言的重生。他記錄黑人詩人、思想家，也關注穿梭於街坊的掃地工、愛足球的饒舌少年，對生命的熾熱關懷始終貫穿作品。其精神導師艾梅・塞澤爾曾寫詩相贈，或許足以成為他一生的貼切註腳：「手持攝影機，對抗壓迫、異化，並公然挑戰人性的狗屎爛事。」本單元希望呈現的，正是這樣一位無法被定義的作者、倡議者、詩人。透過這次選映的12部作品，從革命到日常，從劇情、紀錄到詩性表現，梳理出馬爾多羅的豐富樣貌。Sarah Maldoror (1929-2020), a pioneering filmmaker, secured a place in the histories of women’s cinema and African cinema with the anti-colonial classic Sambizanga. The film earned her titles “Mother of African Cinema” and “revolutionary auteur”. Yet these labels are never quite sufficient. With over forty films to her name, her body of work closely accompanies the major intellectual and political movements of the 20th century—Négritude, Pan-Africanism, feminism, and communism—tirelessly documenting the people’s struggle for liberation. Born in France, she began her career as a theater-maker, co-founding a theater company, Les Griots—the first theatrical troupe in France composed entirely of Black actors in the 1950s, before studying filmmaking in Moscow. She later joined Africa’s anti-colonial struggles and became a key figure in pan-African cinema. Despite being deeply committed to the liberation movements in Africa with her companion, the MPLA poet and founder, Mário Pinto de Andrade, her work eschewed propaganda and heroic spectacle, locating revolution in labor, song, neighborhood solidarity, women’s participation, cultural continuity, and everyday lives. Throughout her life, she continually crosses identities, borders, and cinematic forms, using cinema as a tool of pursuing freedom and resistance. Rooted in Black consciousness yet spanning across Africa, Europe, and the Black diaspora, she forged a singular cinematic language. Perhaps no words better capture her life’s work than her mentor Aimé Césaire dedicated to her: “To Sarah Maldoror, who, camera in hand, fights oppression, alienation, and flies in the face of human bullshit.” 莎拉馬爾多羅：烏托邦的鄉愁 Sarah Maldoror ou la nostalgie de l’utopie法國 France｜1999｜DCP｜Color｜27min莎拉・馬爾多羅一生以影像為敘事利器，記錄被殖民者爭取自由的歷程。本片以訪談回望他如何以電影回應非洲解放運動與黑人民族性，並為被忽視的非裔文化發聲。長期關注非洲女性處境與被忽視歷史的導演安洛爾・芙利拼貼馬爾多羅的創作與信念，將個人生命、藝術實踐與反殖民思想交織，本片不僅是人物肖像，也是對烏托邦理想、解放鬥爭與電影作為抵抗力量的深刻致敬。A vivid tribute to pioneering filmmaker Sarah Maldoror, this film captures her lifelong commitment to liberation, Black identity, and Négritude. Through interviews and testimonies, Anne-Laure Folly portrays Maldoror’s cinema as an act of resistance, poetry, and political engagement. 安洛爾・芙利 Anne-Laure Folly紀錄片導演，生於多哥，長期關注非洲女性處境與被忽視的歷史。擅長以貼近人物的訪談方式，讓女性親述生命經驗與戰爭創傷，作品展現鮮明的女性主義視角，並透過影像回應非洲社會、殖民歷史與身分認同。Togolese documentary filmmaker known for her socially engaged works on women’s rights, African conflicts and identity. Through intimate testimonies and a feminist perspective, her films explore overlooked voices and histories, including her acclaimed tribute to Sarah Maldoror.本單元特別感謝莎拉・馬爾多羅與馬里奧・德安德拉德之友協會及其創辦人安努奇卡德・安德拉德的協助與促成。 This program was made possible with the help and immense support of the Friends of Sarah Maldoror and Mario de Andrade Association and Annouchka de Andrade.—— ⟡.·𓂃 第 𝟑𝟑 屆台灣國際女性影展 𓂃·.⟡ —— 𝟏𝟎 / 𝟏𝟔 - 𝟏𝟎 / 𝟐𝟓 光點華山電影館 𓋒﹏非 分 擾 動﹏ Into the Drift✺ 女影 IG｜https://www.instagram.com/wmwiff/ ✺ 女影官網｜http://www.wmw.org.tw/ ✺ 專書電子版｜https://bit.ly/4dzOsyW