#次日死者 “THE DEAD, THE DAY AFTER”/ Asio LIU Chihsiung/ DCP, 50’21”, Taiwan

[2019 AltFF Alternative Film Festival (Toronto) | Feature: Best Director]
[2019 East Europe International Film Festival (Warsaw) : Nomination]
[2020 North Europe International Film Festival (London) : Nomination]
[2020 Eurasia International Film Festival (Moscow) | Best Documentary: Finalist]
[2020 ARFFParis | Around Int’l Film Festival | Best Documentary: SemiFinalist]]
[2020 South Europe International Film Festival (Valencia) | Nomination]
[2020 Tokyo LiftOff Film Festival | Feature Documentary: Official Selection]
[2020 STIFF: Seattle True Independent Film Festival: Official Selection]
[2019 Mykonos Biennale | Dramatic Nights (Athens): Shortlisted]
[2019 Rome Independent Prisma Awards: SemiFinalisted]
[2019 SFAAF South Film and Arts Academy Festival (Rancagua): Official Selection]
[2019 Polish International Film Festival (Warsaw): Official Selection ]
[2019 Mediterranean Film Festival Cannes: Official Selection]

_2019 AltFF另類電影節多倫多: 最佳長片導演
_2020 歐亞國際電影節莫斯科: 最佳紀錄片入圍
_2019 東歐洲國際電影節華沙: 入圍
_2020 北歐洲國際電影節倫敦: 入圍
_2020 南歐洲國際電影節瓦倫西亞: 入圍
_2020 ARFF寰宇四城電影節巴黎: 最佳紀錄片準決選作品
_2020 東京起飛影展: 紀錄長片正式選片
_2020 西雅圖真獨立影展: 正式選片
_2019 米刻諾斯雙年展雅典: 入圍
_2019 羅馬稜鏡獨立電影獎: 準決選作品
_2019 SFAAF南半球電影與藝術學院電影節蘭卡瓜: 正式選片
_2019 波蘭國際電影節華沙: 正式選片
_2019 地中海影展坎城: 正式選片

Shot somewhere at the beginning of this century, this outdated low definition DV documented scenes in a slaughterhouse.

Under the market system operated for hundreds of years, pork, human flesh, and different kinds, whether they are similar or alien by nature, are connected and interrelated, which becomes ordinary and familiar. With the outfit of an everyday activity, the politicaleconomic theme of this issue gets weak and obscure.

Inspired by “Panopticon,” suggested by Jeremy Bentham, an English philosopher, to discuss the principle of utilitarianism, this film further extends the idea into a metaphor—“circular pigpen,” shown in the beginning this work. By highlighting the imagery of water referring to the circulation of life, death and the hereafter, the presented human and animal bodies in the film therefore illustrate the scenery of “humananimal (reincarnating) community.”

過時的低畫質DV錄影帶影像檔案內容是屠宰場拍攝於世紀初某處。

豬肉、人肉、異類、同類間的關係在幾百年來的市場體制已是我們視為理所當然的熟悉事物。如此日常生活因而成為難以指認的政治經濟課題。

影片的製作發想源自思想家邊沁J. Bentham, 1748~1832討論功利主義所談的「環型監獄」Panopticon概念並將其展延為「環型豬圈」。片中的人體與豬隻藉由水洗的生滅輪轉意象因此被表達為「人獸投胎共同體」的景觀。

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#次日死者 (Tzu Jih Ssu Che) “THE DEAD, THE DAY AFTER” | a Mimeo Films production presented by mimeo.org | director, director of photography, editor, copywriter: 劉吉雄 Asio LIU Chihsiung | screenwriter: 蕭本雄 Pen Hsiung HSIAO | scriptwriter: 郭亮吟 Liang Yin KUO | colorist: 鄒鳳庭 Feng Ting CHOU | translators (English): 戚育瑄、林書全/ Kris CHI, Shu Chuan LIN | poster designer: 黃子恆 Tsu Heng HUANG | calligrapher: 本騷伊明 Besau Iming | associate producer: 劉建偉 Awei LIU | executive producer: 劉吉雄 Asio LIU Chihsiung | (c) MIMEO FILMS Ltd. MMXIX 印樣電影製作有限公司 2019 | www.mimeofilms.com
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次日死者 "THE DEAD, THE DAY AFTER" (2019)
dir: Asio Liu Chihsiung 劉吉雄 (@asioliu, twitter & ins)
project: https://reurl.cc/0zb1xK
trailer 15": https://vimeo.com/365547575
flickr: https://reurl.cc/b6b7bE
fb: https://reurl.cc/EKNGM1

#頭前隻 #後壁隻 #圓型豬圈
#次日死者 #thedeadthedayafter
(c)MIMEO FILMS Ltd. MMXIX
mimeofilmsltd{at}gmail.com
www.mimeofilms.com
www.mimeo.org

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