第 22 屆 ifva 比賽動畫入圍作品放映// 22nd IFVA Animation Category Finalist Showcase
上星期小編看過第 22 屆 ifva 比賽動畫入圍作品放映後，激動了一整天 —— 這次可以說是近年來作品質素最高的一屆！
今年動畫組的得獎者分別為：
金奬：《七層譚》李國威／九猴工作室
銀奬：《眼袋》何慧君
特別表揚：《沾寒沾凍》葉順成、郭偉鐘
一向很喜歡 ifva 評審的方向，很欣賞他們著重作品嘅視覺美感和故事質素嘅要求。
先由尋晚最受觀眾歡迎的《眼袋》開始講起：導演何慧君以一種幽默抵死嘅旁白，加上略帶後現代風格的敘事手法，盡現獨立動畫的特色。分享時提到，漫畫家小克如此形容這部短片：「正是因為粗，這是香港才有的。小聰明，把弱點變為特色。典型，很香港，所以我很喜歡。 」在某程度上，這一句非常貼切地描繪出香港獨立動畫創作的特色。這一種特點亦在放映中其他短片可見。另外一段有趣的作品《沾寒沾凍》（導演：葉順成、郭偉鐘）雖然動畫技術比較簡單，但就巧妙地利用中國鬼片的常見模式反過來敘述一個主角與母親的傷感故事。同樣有強烈故事線的動畫《唯一的人》（導演：蔡嘉莉、蕭亦軒），則探索社會上的偏見和文化差異所引起的衝突。作品變成一面鏡子，好讓觀眾反思。
《眼袋》 Eye Bags – 何慧君 Ho Wai-kwan
視覺上，《念》（導演：鍾曉雯）揉合了美國和法國的 2D 動畫風格，以抽象的方式表達恐懼和執迷。這種表達手法在本地比較少見。《蟲》（導演：王瑞琪、孫月清）是另外一段很值得一提的 2D 短片。其製作水準中頗高，可見該片班底的技巧純熟，為一段關於環境變化和災害的故事增添了法國動畫的美感和宮崎駿的魔幻。
另一邊箱的 CG 作品也很好看：《何日花再來》（導演：陳善匡）充滿《大都會》的影子，數說打工仔在資本及公理主義行頭的社會裡生存的無力感。同樣，人設很耐看的《明日之后。羿》（導演：葉澤鋒）則是把家傳戶曉的經典民間傳說以輕鬆的手法重新演繹，邀請觀眾以另一個角度重新審視不同立場的角色。《橡皮擦的一生》（導演：莊文杰）頗有新意地將一樣平凡的文具變成恐怖片的主角，探索它坎坷的經歷。
《七層譚》（導演：李國威）給我留下了頗深刻的印象。導演以混合媒體的方式把實景、模型和 2D 動畫拼貼在一起，成功地塑造出一種獨特的情懷：在日新月異、一切都稍縱即逝的香港中，一種對「家」的淡淡鄉愁、奢望和思念，在現在式的現實和經已過去的從前之間形成更深的對比。
分享會中，《蟲》的兩位導演表示雖然動畫界沒有這種風氣，她們倆卻自發性地跨校合作製作這段短片。小編之前也留意到九猴和 zcratch 等其他工作室也會有類似的合作模式，希望學術界也可以開始推動這種習慣，因為業界、學校以至不同團體之間的合作和交流確實是一種把大家一同推動向前的方法，好使行內可以共同成長。
有在場觀眾更讚賞兩位創作人的進步，聽見這評語後覺得大家都好有心好有愛～希望大家對動畫嘅熱誠有增無減，日後可以有更多突破、更多嘗試，有更多畫面好睇、故事都好睇嘅獨立作品出爐啦！
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The results for the 22nd IFVA Animation Category are out! Winners are as below:
Gold Award: Resettlement Memory – Lee Kwok-wai
Silver Award: Eye Bags – Ho Wai-kwan
Special Mention: Chill and Shivering – Vincent Yip, Kwok Wai-chung Philip
One thing we love about IFVA’s judging panel is that they usually look for a balance between visual appeal and heartfelt storytelling in the work they choose, and last week’s 22nd IFVA Animation Category Finalist Showcase sure demonstrated this thought process in their selection!
Let’s start off with “Eye Bags” (dir. Ho Wai-kwan), which won the audience favourite vote. It is a very well-crafted piece of independent animation that tells a personal story of an insomniac’s struggle in a tongue-in-cheek manner and post-modern, almost meta, narrative style. Allegedly, Siu Hak once commented that it is “a little rough and a little raw, but comes together to form a very HK style all on its own, turning weakness into quirk and uniqueness”. In a way, it is very representative of what we find most unique about Hong Kong independent creations which is also represented in several other shorts. In the similar spirit of having fun with storytelling, “Chill and Shivering” (dir. Vincent Yip and Kwok Wai Chung Philip) cleverly dances between Chinese ghost film tropes while slowly unravelling a deeper story about the main character’s relationship with his mother. Venturing from the personal to the arena of ethics and social issues, “The Only One” (dir. Choi Ka-Lee and Siu Yik Hin) is another story-driven work uses its narrative to instead study the nuances of bias and prejudice of society, presenting a question and a mirror for us to reflect upon the way we receive those that are different from us.
Visually, “Obsession” (dir. Chung hiu-man) really stood out with its mix of US and French-influenced 2D animation styles to create an abstract exploration of the feeling of fear. “Swarm” (dir. Angela Wong and Sarah Sun) is another beautiful 2D short, choosing to show the effects of environmental destruction with great technique and high production value that shows the artists’ French influence but also with a touch of Miyazaki magic.
There are CG pieces gems as well: “Where have the flowers gone?” (dir. Chan Sin-hong) showcases beautiful cinematography that heavily pays homage to Metropolis while exploring the impact of capitalism on individual lives – an issue that is just as relevant today. Directed by Yip Chak-fung, “Come On Sun”’s cheeky retelling of a Chinese myth on shooting down the sun is told with an appealing blending of 2D elements like painted texture and great concept design work into the CG medium. “Rubber’s Life” (dir. Chong Man-kit) is another CG short from last night, inspired by an object as common as a rubber from everyday life and turning it around to explore psychological horrors of trauma.
Mixed media work like “Resettlement Memory” (dir. Lee Kwok-wai) really left a lasting impression on me because of its artistic choices to combine live footage and 2D animation to evoke a poetic mood, capturing a place and time in a city where culture disappears quickly. This sort of collage-like method goes well in showing the jarring contrast between the harsh realities of the current times and the main character’s sense of nostalgic yearning for a childhood home lost in the past.
One of the things that caught my attention is actually something the Swarm team said: their short is a self-initiated collaboration between students of two different schools. This sort of initiative is lovely to hear since to bring about more cooperation between groups with different talents is a way to move ahead together, and is a spirit and practice that should be encouraged.
In my humble opinion, this is probably the best collection I’ve seen in recent years. When an audience member spoke up about how she has witnessed the growth in two of the creators’ skills and that it is definitely inspiring to see how driven these people are. We are very excited to see the works exploring new visual heights, personal stories and cultural identities and hope to see more daring exploration in these waters in the years to come!
該文章轉自香港動畫地圖的Facebook專頁。原文：https://www.facebook.com/HKAnimationAtlas/posts/759145887584834:0
This article is adapted from a post on Hong Kong Animation Atlas‘ Facebook page: https://www.facebook.com/HKAnimationAtlas/posts/759145887584834:0
