《成為母親的我們》:母性失格？──「我們」之所以為母親｜“Maternal”: Failing as a Mom? —What It Means to Be a Mother

《過去以紀錄片拍攝為主的莫拉•德佩洛(Maura Delpero)，其執導的第一部劇情長片《成為母親的我們》（Maternal）講述提供未婚媽媽庇護的天主教修道院裡，一對性格大相逕庭，並各自育有孩子的閨蜜，奔放不拘、不甘受教條束縛的露 (Agustina Malale飾)；拘謹壓抑、相對逆來順受的法蒂瑪(Denise Carriz飾)，以及從義大利遠赴阿根廷的新進修女寶拉（Lidiya Liberman飾）。面臨生活及價值觀的巨大落差，被「孩子」圍繞的三人如何掙扎於身分、責任及自我歸屬的焦慮衝突？本部獲得2019年盧卡諾影展國際競賽特別提及、天主教人道精神獎，與2019年歐洲電影獎最佳歐洲電影獎等殊榮，除了承襲莫拉•德佩洛對社會議題一貫的關注以及生活感的視角，受文學影響極深的她在影像美學上更別具洞見，精巧且含蓄的平衡構圖，畫面上的穩定淡雅對比檯面下的情感矛盾，使兩者之間產生了強大的戲劇張力

◎何以為家？

母性（Maternal instinct）不論在中文或英文的脈絡裡，其定義都指向母親愛護子女的天性，但兩者都未能明確說明其表現的內涵，而僅僅歸納於和生育密切關聯的女性本能。有意思的是《成為母親的我們》比起英文片名Maternal所指涉的母親、母性，西班牙文的Hogar所代表的「家」似乎中和了歷來母愛與女性無可避免的連結性，而能更廣泛地探問：何處是家？何以為家？

片中出現許多關於家的討論，然而從露、法蒂瑪兩位少女在天台上聊著修道院是否為家以及日後與誰成家之辯，到孩子們訴說、描繪「模範家庭」的想像，對這些被擠壓於社會邊緣的單親媽媽及幼童而言，家向來都是相對飄渺甚至毫無共識的：遭強暴產子的法蒂瑪顯然無法完整回應兒子的依附需求；任性自我的露選擇不告而別、向外求愛，於是一支不合時宜的口紅、一粒固定在床角的氣球，成了她留給幼女妮娜的補償／臨別禮。失職的母親、不起作用的母性向來是社會大眾的焦慮所在，這是一個缺失父親角色的家，也是一個年輕媽媽們得再三被檢視合格與否的家。

◎禁果的內涵

以幾位年長修女為首的修道院固然頗有保守、潔身自愛的威儀，但偶爾仍默許了挺「人性化」的娛樂，於是穿著清涼熱褲的少女們大開派對、在紫光四射的「舞池」裡扭腰擺臀，修女們則坐在門外的椅子上打盹等候，兩造鮮明成了逗趣的場面，此時鏡頭頻頻帶到電視機裡正在播放的動畫影片：亞當和夏娃偷嚐禁果。作為一部幾乎屏蔽男性存在的電影，它顛覆了禁果以往象徵的男女情慾，亦預示了日後寶拉修女「充當母職」的逾矩。當露離開修道院後，最有「餘裕」照顧妮娜的人，自然落到年輕又耐心溫柔的寶拉修女身上，她能親暱地將孩子攬入懷中、在睡前柔聲講述醜小鴨的故事，甚至是安撫先前因沮喪把圖畫撕毀的妮娜，再陪她把紙張拼黏回去。當觀眾為了妮娜的生活福祉著急時，寶拉修女成了撫平此焦慮的存在，她與妮娜的溫馨互動極盡純淨美好，完全展現了「作為一名母親」的天賦與意願。

然而但凡對天主教信仰有點了解的人，多少都知道修女在發永願、獻身於上帝後，同時也宣告了現世的獨身生活，她們被期待以普世性的關愛去照拂他人，至於自我對於母職的渴望則只能硬生閹割。於是寶拉修女之於妮娜彷彿踩在一條禁忌的線上，與妮娜同睡的每個夜晚變成偷偷摸摸的行動，黑暗中沿著牆緣移動的白色背影、幾處帶有窺視意味的長鏡頭（long shot）目睹了她雙手抱著妮娜在廊道上匆忙穿梭，以及光天化日下年長修女們在窗邊心照不宣的目光，都讓本部的基調愈發壓抑。

◎以「我們」作為母親角色的感召

本以為一去不返的露最終「浪子回頭」似乎是迫使寶拉修女做出抉擇的推力，露做為眾人眼中不負責任的失格母親，不論是妮娜見到她時的愣神、意識到有人取代其母職的憤怒，再到他人不見待己的挫折，都無可避免地讓劇情導向「兩位母親」的對峙。當露憤而扯下寶拉修女的頭巾時，嚇得她倒抽一口氣，然而彼此爭端的高峰便在此停止，沒有過多女人為難女人的情節，更沒有發展成激烈的爭奪戰，尾聲一幕裁定露要離開修道院收容所的決定，讓兩人同時心碎絕望，對寶拉修女而言這是與妮娜永遠的別離，而對露來說沒有什麼比帶著女兒離開賴以維生之地還要更恐慌的了。

分離的迫近讓寶拉修女索性把頭巾卸下，當她抱著熟睡的妮娜上街時，長髮飄逸的她似是「還俗」般與常人無異，觀眾此時才發現原來修道院的鐵柵門之外離「凡間」是如此接近，但這從來不意味離開、獨自生活的容易，何況她與妮娜間缺乏的正當性也不足以支撐現實生活。坐在台階上流連許久的寶拉修女，最終還是將妮娜帶回修道院還予生母，露知情後並沒有責難她「偷了自己的孩子」，反而說：「她可以一直睡、一直睡，因為她不喜歡午睡。可以幫我抱著她嗎？這樣比較好。」兩位傷痕累累的「母親」都不再堅稱對孩子的所有權，選擇在最後將彼此的權利各自讓渡。

以個人為出發、「身為母親的我」為起手，往往是女性在艱困社會處境下犧牲奉獻的悲劇；然而「成為母親的我們」卻是排除本質論述且協調溝通的。《成為母親的我們》以「我們」作為感召，將關注從夠不夠格成為母親，拉回女性作為母親的集體困境，同時延展對母親／母性討論更多的可能與寬容，於當今眾聲喧嘩的時代氛圍下，毫無疑問是一項溫柔且堅定的策略。

With her main exploration in documentary world, the director Maura Delpero made her first narrative feature, Maternal (2019), which follows the juxtaposition and clash of three characters: Luci (Agustina Malale) who is disruptive and rebellious, Fatima (Denise Carriz) who is reserved and repressed, and Sister Paola (Lidiya Liberman) who is a nun, just arriving Buenos Aires from Italy to take her final vows. Luci and Fatima are close friends, each having a child, and living under the roof of a convent-run shelter for single mothers. Maternal presents a paradoxical world where three people struggle for an anxious conflict between identity issues, responsibilities, and a sense of belonging. The film is nominated for an International Competition: Special Mention in Locarno International Film Festival and Best European film in Europa Cinemas Label in 2019. Mixing starkly composed formalism with her literature background and unique sense of composition in cinematography, Delpero's film most surprisingly risks a full lunge into melodrama with more organic, observational material of daily routines. That's a tricky range of registers and tension to balance, but Maternal mostly does so with sensitivity and fluid authenticity.

◎Where is Hogar?

People are bombarded with the idea that maternal instinct is something all women possess. It's expected that women have some sort of instinctive desire to love their children and know how to take care of them. However, the idea of maternal instinct which, both in Mandarin and in English, implies that there is an innate knowledge of becoming and being a mother cannot fully make us understand motherhood. What's interesting is that the film in Spanish is called Hogar, which means “a place you feel at home.” The maternity is therefore linked to the concept of “home” which seems to be a scenario that raises age-old questions over maternal rights and responsibilities that motherhood and women cannot be separated from. There are many discussions about what a home is in the film. As we see Lu and Fatima debate over whether the convent is a home for them and whom they will marry to, we also see how children in the film imagine about home through drawing. To those who live a marginalized life, single mothers and kids living in deprivation alike, the concept of “home” is always unreachable and abstract: being raped and forced to give birth to her son, Fatima is unable to become an attachment figure for her son; with a reckless heart, Luci sneaks out and goes AWOL to go after love, leaving a lipstick as a gift which shouldn't be given to a child at such small age and a balloon stuck to the bed for her daughter, Nina. A mom who refuses to engage in attachment relationships with her children is always linked to the anxiety of existence of dysfunctional families that the society always associates them with. Therefore, whether families with young moms can become a legit “home” for children depends on fathers’ presence.

◎The Meaning of the Forbidden Fruit

Although the sanctuary is full of stately austerity that is run by elder nuns, some worldly entertainment is still permitted in the Hogar. In one scene girls are doing disco dance, the shots follow closely with girls rubbing against one another on the dance floor which is filled with dazzling flashing lights. The contrast is conspicuously and cleverly established when the camera cuts to those elder nuns sitting at the front door, nodding off and waiting for its end. Then, the camera swiftly crosscuts between the disco scene and children's cartoon depicting Eve's temptation of Adam on VHS. As a film that shows no male figure, the cartoon's intrusion transforms the forbidden fruit, which is a symbol for the lust for sexuality between males and females, into a substitute of caretakers which also portends a future of Paola's crossing the line for Nina as a mother. When Luci suddenly goes AWOL from the hogar, Paola's playful bond with Nina escalates into quasi-guardianship— she can gently hold Nina in her arms, telling her the story of “The Ugly Duckling,” even piecing together the painting which was torn by Nina because of her disappointment. Sister Paola seems to become the existence for soothing the audience's anxiety for Nina not being taken care of. She perfectly embodies the nature and willingness of being a mother with her pure and unconditional love for Nina. It's known that Sisters and Mothers who devote themselves to God are expected to love everyone equally and remain cloistered; however, the natural calling for maternity as a woman is forced to be eliminated when taking religious vows. Sister Paola is walking on thin ice as she proceeds to follow her falling for Nina—every night, she sneaks to sleep side by side with her. There's a shot of her in a white robe moving along the wall in a sneaky way in the dark; there's also another long take witnessing Sister Paola holding Nina in her arms, rushing through the long hallway; all other Sisters see what Sister Paola is doing under the sun, understanding without expressing directly. Those examples all set a repressed tone for the film.

◎ Develop Maternity Collectively

What brings Sister Paola to a situation of making a decisive move is Lu's unexpected return to the hogar. As we see Lu being treated as a disqualified mother, see her being furious about how her role as a mother has been replaced by Sister Paola and frustrated in people in hogar avoiding her and Nina looking at her in complete blankness, the tension between these “two moms” is reaching to a climax. When Lu angrily takes Sister Paola’s habit off, she is shocked by what she sees. That's also where all the quarrels and disputes climax and stop as the two women are freed from nervous tensions between them. When the nuns of the convent come to a decision which determines Lu’s leave, it turns out to be the most devastating thing for both of Paola and Lu. For Sister Paola, it means to be forever parted with Nina. For Lu, it means to leave where she used to depend on and be familiar with, and be faced with an unknown future as a single mom with a daughter. As time of being separated from Nina is ticking, Sister Paola takes off her white habit and holds sound asleep Nina to the street, wandering. With her long hair trailing behind, she looks more like an ordinary woman than a nun. As the action of walking outside the convent takes place, the audience now can see how short the distance between the barred door of this institute and the outside world is. However, it doesn't mean that leaving the convent and living on her own is easy. Moreover, the relationship between Sister Paola and Nina which lacks legitimacy can never make them survive in the real world. After lingering on the stairway on the street, Paola finally takes Nina back to her real mon, Lu. Seeing them come back, instead of blaming the Sister’s act of “stealing of her child,” she says, “let her sleep, because she doesn’t like to take a siesta. Could you hold her for me? It'd be better.” These two “moms” choose not to fight for being Nina’s guardian, and finally reconciled with each other.

The film portrays maternity from different individuals’ points of view-- it raises age-old questions over maternal rights and responsibilities which are always entangled with women's poor situation in society. Yet, Delpero's script never feels didactic; instead, she refuses to reduce the complexity of people's age-old take on maternity and portrays it from multiple points of view. Maternal provides a variety of maternities for us to shift our focus from “imperfect mothers” to kinds of dilemma that a mother would face, suggesting that we need to look at the context in which maternity exists and the way that it is shaped. Under Delpero's humanistic gaze, every has their reasons – a stance very welcome is a real world of such acrid dogmatism.

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作者簡介 |

李翊彤｜華文系畢業。喜歡走路、電影、瞪鞋與牛，因為這讓她頻繁想起夏宇詩中的一句：「重複可以讓我幸福。」

譯者 | 林弱水

Author |

Li Yi-Tung | graduated from Department of Sinophone Literatures, she likes to walk, watch movies she loves, Shoegaze and cows which reminds her of what Katie Lee had wrote in one of her poems: “Repetition makes me happy.”

Translator | Lin Rou-shui

從《公路規則》看物件與戀人關係的遞移 |

《公路規則》（1993）是由美國導演蘇・弗迪胥所拍攝的實驗性紀錄片。該導演在1970年代女性主義運動開始風起雲湧的時候就嶄露頭角。打著「個人即政治」的標語，在普遍認為基進議題應當用基進手段抗爭的時候，蘇・弗迪胥的作品反而塑造了另一種可能，並反問基進議題有沒有可能用相對溫和的手法以柔克剛？

紀錄片採第一人稱自述的方式，透過一名女性的視角，以極私我的口吻述說自己與女友在感情維繫、分手前後，兩人共同持有的1983年奧斯摩比旅行車，成了某種意味深長的「物件」。人與人之間確實很容易將情感、記憶寄託在某個物件上，並非有意為之，而物件一旦不知覺地被情感攀附住後，便很難隨意剝除。這樣一個日常化的物件在戀愛關係告終後，反倒成了人們目光追索的的無限循環。

舊情人倆協議把車輪流著開，尤其是其中一人出城工作時，車子便交接給另一人，回城後反之。主述者說她常常猜想前女友開著車去哪了呢？或許只是去超市買鮮奶和報紙，抑或是帶著新女友上海邊去了。但猜想不過徒勞，因為每次「交接」對方幾乎沒留下蛛絲馬跡，只有偶爾留下空的咖啡外帶紙杯，和盛滿煙灰的煙灰缸。分手後彼此仍盡可能貼心，敘述者表示每次都將菸灰清理乾淨再搖下車窗透氣，確保下次「交接」能讓前女友的健康無憂，以及充滿清新舒爽的空氣。

還有前女友不關收音機的習慣，待「交接者」車子發動的瞬間，音樂便橫衝直撞地出來，恰巧和片中穿插紐約街頭影像和流行音樂的手法意外契合，沒有因果、承接順序、開始或結束，所有影像和配樂都魯莽地奔進觀眾的視線與耳膜，再莫名其妙地嘎然而止。

映後講者王君琦老師也提到，本片中仍可看到弗迪胥擅長的實驗電影美學，打破了影像服務於故事的型態，真正嘗試用電影說電影，於拍攝手法上著重更自然、不刻意搭設的攝影機運軌，如片中絕大多數的運鏡都是手提來去，畫面晃動卻意外與光影、車子的震動結合，形成另一種朦朧暈眩的美感。意念傳達上也較不注重因果或某個物件絕對的象徵意義。當然每個片段的擷取固然有其重要，但毋須特地連結到某個大敘述的總論和教條，而是能順著每時每刻的感覺走，就像在觀看「骨牌」過程的起伏與瞬間變化。

該片其實只有短短三十分鐘左右，速寫出敘述者主觀經驗對車子所寄託的自由、歸屬感，以及過去相戀的痕跡。頻繁出現的1983年奧斯摩比旅行車，除了顯現失戀者茫然、不理智地張目探尋，也讓觀眾，至少我，在某些時刻內心好像被緊緊揪住了。

Rules of the Road (1993) is an experimental documentary film directed by American director Su Friedrich. Friedrich has showcased her talent in film-making when the feminist movement started to rise in the 1970s. At the time when it was widely believed that people should take up radical strategies to fight against radical issues, claiming that "the personal is political," Su Friedrich created another possibility with her work to question if it was possible to approach the issues with milder methods instead.

Adopting a first-person narrative method, the documentary tells the story from a female's perspective in an extremely personal tone, describing how the 1983 Oldsmobile station wagon co-owned by the narrator and her ex-girlfriend becomes an object of significance during their relationship and after the breakup. It is easy for people to imprint their feelings and memories on a certain object subconsciously, and emotional attachments are difficult to wear off once established on the object. However, an infinite loop is thus born because people keep going back to look for such an everyday object when the relationship has come to an end.

Two ex-lovers agree to take turns using the automobile. Especially when one of them is out of town for work, the car is handed over to the other, and vice versa. The narrator often wonders where her ex-girlfriend goes--, maybe she just heads out to the supermarket for some milk and newspaper, or take her new girlfriend to the beach. Still, these are only futile guesses because there is no trace to be found every time the car comes back, leaving only some empty take-out coffee cups and an overloaded ashtray. They still show care for each other after the breakup, and the narrator says she cleans up the cigarette ashes every single time and rolls down the car widows to make sure that nothing harms her ex-girlfriend's health, and that the air inside the car is always fresh when the next "handover" happens.

Also, the narrator's ex-girlfriend is in the habit of leaving the car radio on. When the next "taker starts the engine, the music surges through the car, which happens to echo the strategy interspersing the New York street footage and pop music in the film. There is no introduction, transition, causation, or conclusion; all the footage is impertinently exposed in front of audiences' eyes, the music rushing into their ears, and everything perplexingly ends abruptly.

Professor Chun-Chi Wang also mentioned in the after-screening discussion that Friedrich specializes in the aesthetics in experimental films, which is reflected in this film. It breaks the rule that visual is at the service of audio; rather, Friedrich really manages to talk about films with films. Emphasizing on more natural shooting strategies and without deliberately arranged tracking shots, she shoots most shots with portable cameras; the shaking frames accidentally unifying with light, shadow, and the car wobbling presents beauty of haziness. The conveyance of the film's motif does not focus on its cause and effect or offering symbolical meaning of a certain object. Certainly every frame has its significance, but it does not always have to be associated with a pandect or doctrines of some grand narrative. Instead, it follows every moment's natural courses, like watching every fall and change of dominoes.

This short thirty-minute short gives out a quick sketch on the narrator's subjective experience of freedom, a sense of belonging, and traces of past love that are laid on the car. The constant existence of the 1983 Oldsmobile station wagon not only shows an unrequited lover's blank and irrational search but also at some moment tug audiences' (at least my) heartstrings.

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作者簡介 |

李翊彤

新莊人，目前就讀國立東華大學華文文學系二年級，偏好徒步遠行，看看電影，練練筆。期許沐浴在東台灣山海間能汲取創作靈感，以更好好地寫出像是作者簡介一類的東西。

譯者 | 呂岳芳

編修 | 葉吉書校譯

Author | Li Yi-Tung

Translator | Lu Yueh-Fang

Editor | Nick Yeh

影評：被監禁的女人 | Film Review: A Woman Captured

《被監禁的女人》

─ 從揭發到介入，激起紀錄片的潛在力量。

匈牙利導演貝納黛特里特(Bernadett Tuza-Ritter)的紀錄片《被監禁的女人》為她的第二部長片執導作品，這部入圍今年歐洲電影獎最佳紀錄片的電影，揭露了當地幫傭瑪莉許長期被雇主壓榨、剝削的故事，里特同時身為觀察者與創作者，以最直接的角度帶領觀眾聆聽這位蒼老的女士，訴說那些不為人知的悲傷血淚。

觀賞《被監禁的女人》的過程令人感到奇特，首先里特被瑪莉許雇主授權進屋拍攝的情形似乎不太合理，但我們隨後也得知到里特的這些拍攝權力，都是由金錢換來了。從這看到本片無論鏡前鏡後、導演、幫傭與雇主之間，都存在著金錢主導的關係，同時這位雇主雖沒露臉，但她的斂財性格也因此被我們看的一覽無遺，里特找到了一個創作者兼參與者的合適位置，且就是因為這種夾在中間的關係，電影才擁有能捕捉兩邊說法的「特權」，這讓觀眾更容易體會到瑪莉許經歷的威脅感。

雇主收錢讓里特來揭發自己惡行的行為，在外人眼中實在矛盾，但當我們看到她毫不顧忌的在鏡頭前講著自己虛假的友善，以及警察不受理這種案件的事實時，這種「不合理的常態」讓觀眾明白匈牙利社會對此種人權侵害的不重視，最終，里特的這部紀錄片不只表現了單一雇主關係之間的問題，它講了更大的社會問題。

《被監禁的女人》時時被緊張氛圍包覆，這一方面是雇主給予瑪莉許的脅迫感，另一方面，則是這部電影本身帶有的重大使命感。本片的成功，不僅是因為這樣的題材重要，且具有社會影響力，對觀眾而言更直接的，是瑪莉許和攝影機的關係。鏡頭和里特，彷彿是她這些痛苦的唯一出口，因此，我們接收到的情緒必定脫不開私人的沉重與絕望感。但電影最後三分之一，簡直是種觀眾的解脫，里特不僅做到捕捉與敘述，她的角色已超越單純的觀察者，鏡頭前後的兩人搭起了感情和信任，而這也不僅是她倆的事情，觀眾也是重要的一環，畢竟里特之所以鼓勵、幫助瑪莉許逃跑，是因為「拍出電影」本身的推力。當我們看到瑪莉許說出「我只信任妳一個人了」和最後兩人擁抱的畫面後，這段親密的感情已被觀眾見證，在瑪莉許成為逃走後，臉上的真實情緒不會騙人。

《被監禁的女人》讓觀眾看到電影的力量，攝影機的功能除了記錄以外，這些影片的影響力，更成為創作者最大的拍攝動力，它使里特與瑪莉許走了很長的一段路，這路途不單單成就了本片的藝術性，也使兩人的腳印為這世界發出了重要的聲音，就此我們看到了電影在二十一世紀的重要，就像瑪莉許在片中說的「就算妳只放映一次，我也要讓世人知道，這樣對待他人是不對的」。

A Woman Captured

─ Unveil and Intervene to Inspire the Potential of Documentaries.

"A Woman Captured" is Hungarian filmmaker Bernadett Tuza-Ritter's second full-length documentary. The film was nominated by the European Film Awards for Best Documentary. This documentary unveils a local maid -"Marish" who has been oppressed and exploited by her employer for many years. Ritter was both an observer and a filmmaker, and used the most straightforward perspective to lead viewers to listen to this hoary woman describe her hidden pain and plight.

It is definitely a peculiar experience to watch "A Woman Captured" At first, it seems unreasonable for Marish's employer to allow Ritter to film inside the house. But we later discovered that Ritter paid cash in exchange for authorization to film. Throughout the film, either behind or in front of the scenes, money led the relationship between the filmmaker, the maid, and the employer. Although the employer's face is never shown in the film, the employer's greedy desire to make money is crystal clear. Ritter found a suitable position as both creator and participant. This gives her the "privilege" to capture the stories from both sides and enables the viewers to more easily comprehend the perils experienced by Marish.

The employer accepted money and allowed Ritter to expose the cruelties. This may appear contradictory in the eyes of outsiders. However, when we see the employer openly talk about the insincere kindness and how the police do not deal with such issues in front of the camera, these "unreasonable norms" allow viewers to realize that Hungarian society does not pay much attention to similar human rights violations. In the end, Ritter's documentary not only portrays an individual employer/employee issue, it also describes a much larger social problem as well.

"A Woman Captured" immerses viewers into tension caused by the employer's threats against Marish. On the other hand, the film itself also has a strong mission. The success of this film lies not only in the importance of the topic, but also on the social impacts as well. Marish's relationship with the camera is what brings such impacts directly to viewers. The camera and Ritter seem to be Marish's only hope of escape from misery. Thus, the emotions felt by the viewers no doubt involve intimate burdens and despair. Viewers are relieved of the tension during the final third of the film. Ritter not only captures and narrates, her role also exceeds that of a pure observer. The people behind and in front of the camera have established friendship and trust. The matter no longer just evolves between the two, and the viewers also play an important role because the "making of the film" is what drove Ritter to encourage and assist Marish to escape. When Marish said, "You are the only one I trust" and the two embraced each other at the end - viewers can witness the intimacy of this relationship. After Marish's escape, her facial emotions can only be described as authentic.

"A Woman Captured" allows viewers to see the power of movies. The camera does more than just record, and the impacts of this film have become the biggest film-making motivation for the creator. They motivated Ritter and Marish to go on a long journey that not only reveals the artistry of this film, but their footsteps have also presented an important voice to the world as well. Through this film, we can see the significance of movies in the 21st century. Like Marish said in the film, "Even if you just show this film once, I want the world to know that no one deserves to be treated like this."

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作者簡介|

山卓

生於兩千世代(也是電視、DVD的時代)，多年的影迷，相信自己被電影藝術教育，時常因追院線或影展台北花蓮兩地跑，現階段幾乎只有觀影和寫作可以完全發揮到專注力，平常除了每天看片以外，也會在臉書專頁寫電影評論，對於這種思考的鍛鍊感到有所收穫。自在的一位師長。

About the author|

Sandra

Born after the year 2000 (also known as the TV and DVD generation) and a big move fan for years, Sandra believes that she has been educated by film artistry. She often travels back and forth between Taipei and Hualien just to catch the latest movies or film festivals. At present, it appears that only film reviews and writing can fully capture her focus. Apart from reviewing films every day, she also writes film reviews on her Facebook page. She receives a great sense of accomplishment from such critical thinking and training opportunities.

譯者 Translator | 玴圖翻譯 ETU Translation Co.

編修 Editor | 斯安竹 Andrew Smith