眾生相 | I Might Write About Us

故事摘要

Logline

動蕩後，瘟疫帶來唐突的平靜。一名同性戀男子與其邂逅的陌生男子，在這文明崩塌之際，思考創傷與死亡。

In the aftermath of a social movement comes an epidemic. A gay man reflects on trauma, mortality, and the collapse of civilisation through sexual intercourse with strangers.

故事大綱

Synopsis

每當他來到一個陌生空間，進入或被他人進入，他都穿上一個新身分，彷彿只有在虛構的身分裡人才能夠真誠。有時候他們重遇，大多時候他們此生不復相見。 

他們住在荒城不同角落，來自世上任何地方：當教師的英國人、當夜店侍應的泰國人、當外賣員的巴裔港人、當建築師的德國人、當廚師的巴西人、當空服的台灣人、當銀行家的美國人。七次短暫性愛在彼此生命不留任何痕跡，他們無非借對方體溫渡苦厄。

在這異常的時空，他們談及愛與失去、專一與開放、暴動與和平、壓迫與選擇、瘋狂與麻木、留下與離開。他們做愛，對話，離別。他日復日書寫，處理生活各種瑣事，在街上遊蕩，直到他遇上下一個男人。

有時候當現實太詭異，他發現自己輪迴在惡夢與回憶之中。

Every time he enters a foreign space, whether he penetrates or gets penetrated, he wears a new identity. It seems only with a forged persona can he be honest with himself. Sometimes he meets his hook-ups again, but most of the time he does not. These encounters leave no trace in their lives. Yet they hold onto one another in this difficult time.

These sex partners come from all walks of life. There is an English teacher, a Thai karaoke server, a Pakistani deliveryman, a Brazilian chef, a Taiwanese flight attendant and a retired American banker. They all reside in different homes in this defective city of Hong Kong.

In this queer time and place, they discuss love and loss, monogamy and promiscuity, riots and peace, oppression and choices, insanity and numbness, to stay or to leave. They argue over notions of sovereignty, resistance and liberation. In today’s Hong Kong, these topics have become very common.

They have sex, hold or fail to hold conversations after sex, then they part. He wanders the streets and quietly observes, until he encounters the next man. His reality becomes so absurd it might blend with nightmares and memories.

In the end, everything always comes full circle.

導演闡述

Director’s Statement

這是我第一部接近自傳式的電影，作為同性戀者，我經常思考性別與性相的政治性，本片將以這私密角度，側寫這刻香港與世界正面對的巨變。

比起我們日常的社交圈子，在同志交友軟體上，我們更容易遇到跟自己文化背景完全不一樣的人。身體的碰撞引發膚色的、國族的、殖民的、政治的、經濟階層的碰撞，這是短暫的男色異托邦，一幅城市的性愛地圖。我們在陌生人面前赤身露體，在無數謊言中找尋最真實的自己。

關於男同志與性的題材，總涉及對愛情關係的懷疑和失落，可是在這個時空中，失落的狀態同時來自於時代創傷。這電影關於我們如何在萍水相逢的性關係中互相治療，擁抱人性的脆弱，找到力量生活下去。

This is my first autobiographical feature film. As gay men, our sexualities have always been a politicised subject, so it is a unique lens to scrutinise the current turbulence with reference to our social history of the AIDS epidemic and gay liberation.

With hook-up apps, urban gay men’s chance to collide is brought by our physical proximity. So, there is a higher chance to meet someone of a different class and culture than in our social circle. I am most intrigued by the conversations before and after sex because we share our intimate selves but ultimately, we are complete strangers. This is a heterotopia, a modern day underground gay mapping. 

Unlike other works on gay men and promiscuity, this project is not about loneliness and isolation. On the contrary, it is about human connections, living with our vulnerability and our innate ability to support one another.

總預算

Total Budget

US $255,641

李駿碩

Jun LI

長片作品《翠絲》入圍東京國際電影節，《濁水漂流》入圍鹿特丹電影節大銀幕競賽，並奪得金 馬獎最佳改編劇本獎，亦為該年提名最多之影片。短片作品《吊吊揈》入圍金馬獎最佳劇情短片獎，《瀏陽河》獲鮮浪潮最佳影片及最佳導演獎。

Jun LI’s directorial feature debut, Tracey, premiered at the Tokyo International Film Festival and his second feature, Drifting, premiered at the International Film Festival Rotterdam, nominated for 12 awards at the Golden Horse Awards, winning Best Adapted Screenplay Award. His short My World received a nomination for the Best Short Film at the Golden Horse Awards; and Liu Yang He won the Best Film and Best Director at the Fresh Wave Short Film Festival.

 

任硯聰

YAM Yin Cheung, Peter

任硯聰是香港獨立監製，他監製作品包括《白日青春》（後製，劉國瑞導演）、《男孩有點騷》（2020，冼澔楊導演）、《迷航》（2019，李哲昕導演）、《地厚天高》（2017，林子穎導演）、及《憂鬱之島》《亂世備忘》（2022／2016，陳梓桓導演）。

Peter YAM is a Hong-Kong-based independent film producer. His producing works include The Sunny Side of the Street (2022 forthcoming) directed by Ray LAU, My Silly Flirty Boy (2020) directed by Frankie SIN, Lost Course (2019) directed by Jill LI, Lost in the Fumes directed by Nora LAM, Blue Island (2022) and Yellowing (2016) directed by CHAN Tze Woon.

攝影

Cinematographer