國影電影編號：
放映規格：DCP
級別：輔12級
片長：158分鐘
發音：台語、日語
字幕：中字

悲情城市 A City of Sadness

侯孝賢 HOU Hsiao-hsien｜臺灣Taiwan｜1989｜DCP｜Colour｜158min

★1989 第46屆威尼斯影展金獅獎

★1989 第26屆金馬獎最佳導演獎、最佳男主角獎

1945年，廣播傳來日本戰敗宣言，是日基隆林氏家族大哥文雄喜獲一子，取名光明。林家四兄弟，大哥是地方角頭，經營酒家；二哥於戰間被徵召至南洋，此後生死未卜；三哥文良戰後返台，活動於上海人的非法生意；四弟文清後天聾啞，在金瓜石的相館工作，結識知青室友寬榮的妹妹寬美，進而相戀。然而命運乖舛，國軍入駐後，臺灣因二二八事件實施戒嚴，知識青年受迫潛藏山中，林家三兄弟亦各自遭遇不幸。光陰無奈，1949年國民政府遷臺。

侯孝賢導演的「臺灣三部曲」之首，也是臺灣首次在威尼斯影展獲得首獎。影片展現出導演從偏自傳性的創作手法，蛻變到以個人勾勒大時代悲緒、挑戰歷史題材的突破，其遠距凝煉的視野、雲塊般的剪接法，獨具詩意。電影獲獎後於國內取得絕佳票房，一時打破臺灣新電影票房毒藥的輿論，進一步奠定臺灣新電影的藝術地位，但影片也因迂迴隱晦的處理曾受意識形態新批評。此片從前期就開始的國際行銷策略和成功結果，強化1990年代臺灣電影的國際影展路線。

★1989 Golden Lion Award, Venice Film Festival
★1989 Best Director, Best Actor, Golden Horse Awards

The Emperor’s speech for Japan’s surrender, marking the end of World War II, was broadcast in 1945; at the moment, Wun-syong, the leader of the Lin family, awaits the birth of his son. Wun-syong names his child Guang-ming, which means a bright future. There are four brothers in the Lin family. The eldest is a local gang leader running a bar business. The second son was conscripted into the army during the war and went missing in the Philippines. The third son Wun-liang engages in illegal activities with Shanghainese gangsters when he gets back to Taiwan after the defeat of Japan. The youngest son Wun-ching is a photographer who became deaf due to a childhood incident. Wun-cing marries the sister of his schoolmate, an educated elite and leftist. In subsequent years, the Nationalists impose martial law due to the rebellion known as the February 228 Incident. The intellectuals are under oppression and flee to the mountains. The brothers of the Lin all suffer a great deal of misfortune. As time goes by, the Lins are haunted by sadness when the Nationalist government retreats from mainland China to Taiwan.

The film is regarded as the first installment in Hou’s trilogy of Taiwan. It is also the first Taiwanese film to win the Golden Lion Award at the Venice Film Festival. The film signifies Hou’s aesthetic evolution from autobiographical films to artistic portrayals of Taiwanese history. He develops his unique poetics on cinema with the use of deep focus, long takes, and dactylic editing. A City of Sadness not only won acclaimed awards but also succeeded at the box office, which shattered the criticism that films of Taiwan New Cinema are box office flops. Though at that time the film was ideologically castigated for its elliptical style, it has made its own contribution to the New Cinema nevertheless. The fruitful strategy of international marketing for the film urged Taiwanese films in the 1990s to join international film festival circuits.

★11/13、11/25場次有映前導讀