2008
IFVA
評審團特別獎
Directed by 謝文明
評審團特別獎
優良影像創作優等獎
畫風非常前衛神秘，讓人雖然害怕但還是想一直往下看，佩服作者的畫技。劇情有趣又不拖，音效也很加分，很優秀的作品！
真的是人生中最不舒服的12分鐘。 對於人體的描繪栩栩如生，陰暗的氛圍加上逼真的Foley，讓本片更加詭譎。 人吃人的世界，逼良為娼的世界，最親近的人似乎是最險惡的，成功喚起觀影者的集體不安。
「阿蛾就是我。」謝文明笑靨燦燦。 阿蛾是謝文明在《肉蛾天》（2006）中創造出的苦命女子。這部動畫短片描述了一個人吃人的世界，生在戰亂饑荒時代的阿蛾，一次次地靠賣淫換取死囚的肉身，好讓病重的丈夫與初生的幼嬰溫飽。直到某次她翻山越嶺，珍貴地抱著一條換來的腿，卻迎來丈夫的死訊，且悉心照料的孩子也被偷走，最終，阿蛾沒能撐過她的人生。 https://taicca.tw/article/972f248c
taicca.tw《肉蛾天》角色始終以側面示人，來自於浮世繪靈感：「浮世繪的人物沒有正面、線條也很柔順，不會有什麼肌肉曲線，我覺得這就是東方的美。我的人物也多半有這種平面的 2D 感。」 https://www.biosmonthly.com/article/10820
謝文明的異色動畫《夜車》《肉蛾天》：為了畫出吃人的世界，嚥不下一口肉 ｜ BIOS monthly《肉蛾天》作為超現實主義的短片，畫面血腥、殘忍，配樂陰森恐怖，真實再現了災荒中飢餓人群的處境。雖然這是一部動畫片，但是仍給人一種身臨其境的感受，細想來不禁令人髮指，脊背發涼，毛孔顫慄。 導演除了還原饑荒的場景，它其實也在暗喻著現實社會。在物質如此豐富的今天，人吃人的現象看似荒誕，其實它已經由一種恐怖的血腥場面，轉變為社會、職業的慘烈競爭。這種競爭嚴重的扭曲了人性，使得人心變得病態的醜陋和黑暗起來。
No matter where you are, not just in Taiwan, international movie fans can easily watch too! The first wave of films from emerging creators are now live in our international section. Featuring top selections from prestigious film festivals like Golden Horse Awards and Golden Harvest Awards, as well as many highly anticipated emerging works for you to explore anytime, anywhere!
Wherever you are, in Taiwan or abroad, you can watch with ease! Discover acclaimed films from the Cannes, Venice, and Golden Horse film festivals, plus a lineup of highly anticipated works from emerging filmmakers waiting for you to explore. Start watching anytime — no borders, no limits.
Is this a cruel twist of fate, or greed’s desire at work? Welcome to Joe Hsieh’s wide-eyed gaze into humanity’s greed, delusion, and rage.
"I love you, yet hate you!" Your countenance, your gestures, your radiance—like lightning and flint sparks—are a red balloon that drifts farther the more it is called, a mottled soul writhing in electric illusion, a silhouette branded into white snow, an evil flower blooming from rotting flesh, beautiful as a painted landscape. I have decided to pursue you through light and shadow, to discover what made you make that decision.
When the familiar surface of reality begins to crack, another set of rules governing time, space, and life quietly comes into motion. Through lines, textures, and sound, animation creates universes that have never existed, allowing unfamiliar creatures and strange landscapes to emerge from the imagination. As we pass through these cracks, we encounter not only other worlds, but also another side of reality yet to be discovered.
The surreal often emerges from everyday life. The rituals, urban legends, and folk beliefs in this selection may appear as distant as myths, yet they are deeply embedded in our daily experience, touching the most potent emotions and sense of awe within us. I have always believed that the surreal is not the strangeness of the external world, but an enlargement of what lies within. Between the mysterious and the mundane, the landscapes of Asia give rise to their own authentic and singular tales. These films move through the cracks between reality and myth, illuminating the subtle, ineffable connections between people and the world, between faith and the void.