2022
整體色調非常溫暖，利用一個回望的視角來娓娓道來當時那個年代的的悲劇，最後用歌謠收尾，像是淺淺哀悼曾經美麗的一段日子。
不懂為什麼除了雄影（高雄拍）外，其他台灣的影展都不見這部片的蹤影（本片還有在香港鮮浪潮及大阪亞洲影展放映）。 美得如一首詩，又或是那首貫串全片的日本歌《歌を忘れたカナリア》。初階攝影教過的針孔成像在年邁千繪的身上顯影了高雄的今非昔比，這部片也如牆上的針孔鑿出了不為人知的歷史，也是本片最有趣的切入點：包飯糰的女孩子們。 歷史的部分在看得出來有限的預算下透過燈光、音效與場景，極為有效地還原了歷史氛圍，特別是攝影（正好看完後就傳來本片攝影入圍走鐘獎最佳攝影的消息？！），捕捉了在歷史的巨輪尚未碾壓前那歲月靜好的青春躁動，以及出事後的惴惴不安。光也是本片被運用的很好的元素，白日海岸的無效煙火、暗室內射進的承平之光、深夜雄中的肅殺燭火、乃至清晨微光海岸燃燒的那紙跨越時空的信箋，而光也是本片隱藏主角－攝影的本質，這些點點的光源散落在佚失的歷史中，等待著總有一天在對歷史一無所知的我們眼中成像。 歌を忘れたカナリアは後ろの山に棄てましょか （把忘了怎麼唱歌的金絲雀丟在後山吧） いえいえ それはかわいそう （不行 不行 那樣太可憐了） 歌を忘れたカナリアは背戸の小薮に埋けましょか （把忘了怎麼唱歌的金絲雀埋在家後面的小樹叢吧） いえいえ それはなりませぬ （不行 不行 那樣就不會鳴叫了） 歌を忘れたカナリアは柳の鞭でぶちましょか （把忘了怎麼唱歌的金絲雀用柳枝鞭打吧） いえいえ それはかわいそう （不行 不行 那樣太可憐了） 歌を忘れたカナリアは象牙の舟に銀のかい （忘了怎麼唱歌的金絲雀是配上銀漿的象牙船） 月夜の海に浮かべれば 忘れた歌を思い出す （當船漂浮在月光照耀的海面時 牠就會想起忘掉的歌） 甚至可以說，這首歌就是這部片最完美的註解了。尤其結尾清晨的海岸，最後兩句的歌詞被吟唱出來時，（雖然這樣說偏俗爛）但感動無限蔓延了開來。
第三屆「Bonjour la France, ici Taïwan」順利落幕！本次盛會由 mk2、台灣文策院主辦，並由 Giloo 協力策展，從台灣近五年各類型電影初選後，再依照法國市場潛力精選，最終片單涵括包含《老狐狸》、《金門》、《魍神之夜》等優質影像作品，展現了台灣獨特的創作能量，搭起台法文化交流的橋樑。現場放映更邀請到兩度入圍金馬獎最佳女配角的劉奕兒親臨出席《老狐狸》映後座談，《青春並不溫柔》導演蘇奕瑄也現身與觀眾分享創作心得。另外，今年更是首度攜手 Giloo 合作線上放映（點擊觀看完整片單），不僅巴黎觀眾可親臨現場欣賞台灣作品，全球影迷都能在線上共赴這場文化盛宴！
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.
Giloo presents award-winning festival favorites, buzzworthy films, and thought-provoking documentaries, bringing together diverse themes and compelling stories. Step into the Spotlight Screening selection and discover films that have captured attention, sparked discussion, and are well worth revisiting.
To feel indifferent to history is to feel indifferent to Taiwan. The year 2014 was a time of great upheaval in Taiwan—a year of radical change and explosive thought. For many, it was a moment to reexamine their relationship with this land and to delve deeper into the essence of what Taiwan truly is. It was also the year that Taiwan Bar and The Story were born. The right to speak for ourselves is something generations of Taiwanese people have long pursued. We hope to leave behind a work that is open to everyone—not just something for this generation, but a legacy passed from us to the next, and then on to many generations to come. Support the “New Taiwan History Movement” and help bear witness to Taiwan’s history!
Who writes history? Between authoritarian powers and those who resist, whose memories can speak for the truth? Revisiting history is not about vengeance—it is an act of reconciliation, a dialogue for coexistence. We can forgive, but we must not forget. Follow the once-silenced voices as they unveil the hidden truths of the past, cry out for justice, and refuse to be silent in the face of lies.
Founded in 2012, the Kaohsiung Shorts grant program aims to establish Kaohsiung as Taiwan’s hub for short film production. The initiative encourages creators to break boundaries and clichés, unleash their creativity, and express local cultural identity through film. To date, the program has supported the production of over 100 short films, making it one of the most prominent and closely followed short film initiatives in Taiwan. This selection features 20 Kaohsiung Shorts completed between 2019 and 2021, spanning narrative, animation, and experimental genres. With a wide range of themes and distinct storytelling styles, these works showcase the rich creative energy of contemporary Taiwanese short filmmaking.
When the slogans fall silent and the crowds disperse, the events do not truly end. They remain in gravestones, letters, streets, and bodies, finding their voices again through the gaze of each new generation. Rather than closing the book on the past, these moving images ask: How do we remember those who were forced into oblivion? And in this unfinished present, how might we continue to imagine the possibility of living together?
Sometimes, you’re drawn back to the scene by an unseen force—treading carefully, almost fearfully. The crime scenes where bloodstains have long been washed away, the streets where fervent slogans have faded, and the lives forever frozen in a single moment of history—all compel creators to pick up the pen, to lift the camera, and to tell their stories in countless ways. Rooted in reality, the act of creation becomes a delicate balance. Is it a faithful record, an excavation of truth? A transformation of reality? Or a search for meaning in the present? Imagination may run wild, but what is the thread that keeps pulling him back—again and again—to the real?
What is the best moment to watch movies? For me, it's Friday night, kicking off the holiday with a film—the best reward for myself. I'm sharing five of my private holiday movie picks with you: Truffaut's classic love triangle, "Jules and Jim" (or Shoot the Piano Player, based on context of 'classic love triangle' in Truffaut's work), the warm and delicate "The Passengers of the Night", "One Fine Morning", "Return to Seoul" which accompanies Freddie on her search for roots, and "March: The Southern South", looking back at Taiwan in March 1947.