【女性影展】焦點影人#1 【2026 WMWIFF】Sarah Maldoror #1

狗兒沉默著 And the Dogs Were Silent法國 France｜1978｜DCP｜Color｜14min2025 龐畢度中心改編艾梅・塞澤爾的同名詩劇，內容關於一名革命者在赴死前的長串獨白，以及跟母親的對話。馬爾多羅大膽將舞台搬進巴黎人類博物館的倉庫，場景擺滿殖民時代掠奪的黑人文物，讓反殖民尺度回溯至奴隸制年代，並擴及藝術典藏與知識生產層面。《聖奧梅爾殺嬰案》導演愛麗絲・迪歐普，將本片選為影響他最深的五十部片之一。馬爾多羅親自演出母親一角，亦是珍貴留影。Adapted from Aimé Césaire’s poetic play, Maldoror stages a revolutionary’s final monologue amid the storage rooms of Paris’s Musée de l’Homme, where looted African artifacts extend anti-colonial critique to museums and knowledge production. She also appears onscreen as the mother.萊昂達馬斯：詩之聲 Léon G. Damas法國、圭亞那 France, Guyana｜1994｜DCP｜B&W｜26min黑人性（Négritude）運動的三位奠基者中，圭亞那詩人萊昂・達馬斯的名聲雖不及艾梅・塞澤爾與利奧波德・桑戈爾響亮，卻是最早發出憤怒異議的文化先鋒。本片在主題與形式上，接近《艾梅塞澤爾：文字的面具》，但在手法上更加奔放，更趨於散文電影與詩電影，以綿延長河為結構與隱喻，讓詩歌與風景、影像與聲音匯為怒川，向這位被遺忘的拓荒前輩致敬。 Less renowned than Aimé Césaire or Léopold Sédar Senghor, Négritude co-founder Léon G. Damas is honored in a film more radically poetic than Aimé Césaire: The Mask of Words, where river, poetry, landscape, image, and sound flow as one.艾梅塞澤爾：文字的面具 Aimé Césaire: The Mask of Words法國 France｜1987｜DCP｜Color｜49min2025 龐畢度中心影響深遠的黑人知識份子艾梅・塞澤爾，是用文字追尋自由的詩人、法國海外領地馬丁尼克的政治家，更是在1930年代提出「黑人性」（Négritude）的思想巨擘，喚醒長年遭殖民壓抑的黑人文化意識，重新擁抱自身歷史。電影捕捉他出席國際交流、漫步家鄉、朗讀詩作、暢談理念的身影，回望如何用文字實踐民族解放。 這是莎拉・馬爾多羅第二次拍攝這位精神導師，以介於人物紀錄、散文電影與詩電影之間的獨特形式呈現，也成為側面理解馬爾多羅中晚期創作觀的稜鏡。詩在本片不只被朗誦，還化為影片結構與節奏，探索屬於黑人的感知語彙。片名中「面具」源於塞澤爾對自己文字的比喻，並非指涉遮蔽現實，而是如非洲文化的儀式面具，讓他超越個人，與祖先及集體記憶相連。A leading Black intellectual since the 1930s, Aimé Césaire was a poet, Martinican political leader, and founder of Négritude, reclaiming Black history and consciousness through language. Following him through poetry readings, public appearances, and his native Martinique, Sarah Maldoror’s second portrait of her mentor blends documentary, essay film, and poetic cinema. Poetry becomes the film’s rhythm and structure, while the “mask” evokes an African ritual object linking the self with ancestors and collective memory. 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.” 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