2022年·纪录·一切安好

 《Everything is fine》 introduce

A megalith rises from a sandy desert – or rather, a scale model of such a landscape. “I am the archive”, says a young female voice while ominous string music nails viewers to their seats. This opening sets the stage for the narrative and figurative language of Rithy Panh’s dense mnemonic essay which uses stunning dioramas to tell a twenty-first century dystopian story. After a century of genocidal ideologies and destructive speciesism, animals have enslaved humans and taken over the world. In a wave of hope, the statues of the past have been removed but new ones are being erected to suppress the will of the people. This is now a planet of apes, boars and lions, and a zoological revolution is reversing and recreating the atrocities of the 20th century. As animal figures watch the film archives of our world, it feels as if Lumière has been transported into a film by Méliès or Willis H. O’Brien. We are all well aware that history repeats itself first as tragedy, then as a farce. The time has now come for this farce, in which “political language inhabits our dreams and consumes us”, to allow the possibility of a “graceful and tender insubordination” to emerge.

 《一切都會好起來的》 繁體簡介

一個巨石從沙漠中升起——或者更確切地說，是這樣一個景觀的比例模型。 “我是檔案館”，一個年輕的女聲說道，而不祥的弦樂將觀眾釘在座位上。 這一開場為Rithy Panh密集的助記符文章的敘事和形象語言奠定了基礎，該文章使用令人驚歎的立體模型講述了一個21世紀的反烏托邦故事。 在經歷了一個世紀的種族滅絕意識形態和破壞性物種主義之後，動物奴役了人類並佔領了世界。 在希望的浪潮中，過去的雕像已經被拆除，但為了壓制人民的意願，新的雕像正在豎立。 現在，這是一個由猿、公猪和獅子組成的星球，一場動物學革命正在逆轉和重現20世紀的暴行。 當動物形象觀看我們世界的電影檔案時，感覺盧米埃爾好像被梅利斯或威利斯·H·奧布萊恩帶入了一部電影。 我們都清楚，歷史的重演首先是悲劇，然後是鬧劇。 現在是時候上演這場鬧劇了，在這場鬧劇中，“政治語言充斥著我們的夢想，吞噬著我們”，讓“優雅而溫柔的不服從”的可能性出現。

 《一切安好》播出信息