2021
International Film Festival Rotterdam
金虎獎短片競賽提名
Directed by 蘇匯宇
金虎獎短片競賽提名
「深度偽造」（deepfake，簡稱「深偽」）因被不當地利用來製作換臉色情影片而極具爭議，該拿這種數位性犯罪怎麼辦也是#MeToo運動行走至今將必須回應的棘手問題。蘇匯宇卻利用「深偽」參與演出，他在片中化身成曾主演《上海社會檔案》（1981）、《瘋狂女煞星》（1981）等女性復仇黑電影的陸小芬，忽隱忽現地出現在五位復仇女子的後方，彷彿共同參與這場對男性的報復。某程度上，若說#MeToo運動也可說是一場復仇運動，這樣看來，蘇在這部女性復仇電影中運用「深偽」就更引人深思。
（承上則）蔡揚名的《女性的復仇》由楊惠姍主演，她在片中的獨眼造型堪稱經典。正因為有了蘇匯宇的《女性的復仇》，我們得以重新把楊惠姍的造型也視為「補拍」，因為它取材自瑞典經典強暴與復仇片《性女暴力日記》（Thriller: A Cruel Picture，1973）之女主角的形象。而來到蘇的「補拍」，一開場便站在最中間，在五位復仇女子中被凸顯為首領的，也是一位瞎了左眼並戴著眼罩的女子。
（承上則）然而強暴與復仇並非西方獨有，也早已傳入東亞，成為當地電影的參照對象。就台灣而言，最能在1970年代末、1980年代初盛行的「社會寫實片」（又稱「黑電影」）見其痕跡。「女性的復仇」這個片名的直接指涉對象、歐陽俊執導的《女性的復仇》（1982）便是一例。而在更早之前，林福地執導的台語片《女性的命運》（1965）又名《女性的復仇》。如今，台灣影史上至少有三部《女性的復仇》，最新出自蘇匯宇的這部有著承先啟後的意義。
單看片名或會馬上聯想到強暴與復仇（rape and revenge）這個隸屬於剝削電影的次類型。在影史上，它至少可追溯至柏格曼（Ingmar Bergman）的《處女之泉》（The Virgin Spring，1960），但相比之下被影評人斥為「半點藝術性也沒有」的《我唾棄你的墳墓》（I Spit on Your Grave，1978）更能反映此片種的爭議之處：強暴既是片中必要橋段，對女性的剝削是少不免的，但受害女性最終報復了加害者，當中是否存在女性培力從而翻轉權力不對等的可能性？
「補拍」（pick up或re-shooting）是蘇匯宇近年的創作方向。這個電影術語原是指重新拍攝拍壞了的某一幕，蘇匯宇將之運用於重新演繹過去的作品：2016年的《存在與虛無》（1962）重新演繹張照堂1962年的同名作品，2017年的《屁眼．淫書．速可達》重新演繹活躍於1990年代的台灣渥克劇團，2018年的《唐朝綺麗男》重新演繹邱剛健1985年的同名作品，2020年《女性的復仇》則是揉合多個女性復仇文本的重新演繹。
0:42 蘇匯宇扮裝現身： 短片開場，六位少女中的最後一位，由蘇匯宇喬裝扮演。藝術家男扮女裝，一起展開報仇行動。他／她還現身於片末的屠宰場橘色門簾後，冷眼旁觀。此外，透過「深偽」（deepfake）人工智慧的人體圖像合成技術，藝術家的臉時而是自己的，時而浮現的卻是陸小芬在《瘋狂女煞星》與《上海社會檔案》（1981）中的特寫。
1:00 戴獨眼罩女子： 此形象引自蔡揚名的《女性的復仇》（1981）中楊惠姍的獨眼裝扮。但在它之前，更早出現於瑞典影片《性女暴力日記》（Thriller: A Cruel Picture, 1973）裡的女主角形象。當然，這也讓人聯想起美國影片《追殺比爾》（Kill Bill, 2003）中的「加州山毒蛇」（California Mountain Snake）女殺手。
6:00 屠宰場： 場景指涉《瘋狂女煞星》（楊家雲，1981）中的女主角陸小芬向強暴她的男人尋仇的地點。因此，蘇匯宇將拍攝場地選在臺北數位藝術中心（天臺、樓梯間、地下室等），因為其前身為「臺北第四號肉品包裝廠」。據說，《瘋狂女煞星》上映前曾遭電檢剪去一具被懸吊起來的男性屍體的畫面。為此，藝術家故意在展場中鋪上紅色地毯，並透過懸掛五台液晶螢幕呈現短片《女性的復仇》的方式，體現血淋淋的造型。
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