馬祖舞影 Shadow Dancing at Ma Tsu
簡偉斯 CHIEN Wei-ssu｜台灣 Taiwan｜2000｜DCP｜Colour｜24 min

影片以一位女性舞者的四個舞蹈段落呈現感受，並交叉剪接馬祖人的心聲、軍人到此當兵的心情，以及台灣拍攝者初訪此地的見聞。面對駐軍不斷減少，兩岸情勢渾沌不明，馬祖人對於己身未來充滿不確定感。而馬祖的問題，其實也是台灣的縮影。

簡偉斯：「或許基於一種反動的心情，我告訴自己決不要拍歷史悲情、決不要強調軍人與戰爭，而是問有沒有馬祖人的故事？於是追尋一位舞者的身影，開始了對馬祖的探尋。」

Structured around a dancer's routine, the film unfolds in four stages: hope, fear, anger, and longing for stability. It interweaves these emotions with those of locals of Matsu, the military, and first-time-visiting photographers from Taiwan island. 

'Perhaps out of a reactionary mood, I told myself not to film historical tragedies or emphasise soldiers and war. Instead, I wondered if there were stories of the people of Matsu. Thus, chasing after the figure of a dancer, I embarked on the exploration of Matsu.' – CHEIN Wei-ssu

2000 TIDF 台灣國際紀錄片雙年展

2001 SIWFF 首爾國際女性影展

誰來釣魚^®？ Who Is Fishing^®?
陳芯宜 Singing CHEN｜台灣 Taiwan｜2000｜DCP｜Colour｜16 min

古人為釣魚台取了有趣又悠閒的名字。但如今，島嶼象徵的意義已不再那麼單純，更不能用「證明是誰擁有的」就可以解決。本片希望能跳脫愛國思想的盲點，從人的觀點出發，去探求屬於這座小島的個人、自然與國家間的衝突和出口。

陳芯宜：「與其說我在拍攝釣魚台，倒不如說釣魚台在拍攝我，或者釣魚台反射了我。 從來都不覺得釣魚台會對我很重要，到現在（2000）還是這樣，不管我研究了多少有關該島的資料，我愈了解它，就愈不想理它，讓它安安靜靜躺在那是我最大的心願。」

Mentioning Diao-yu-tai evokes an immediate patriotic response in Taiwan due to the territorial dispute between China and Japan, sparked by a 1968 oil field survey in the East China Sea.

'I wouldn't say I'm shooting the Diao-yu-tai; it's more like the Diao-yu-tai is capturing me, or perhaps it is reflecting me. I never thought the Diao-yu-tai was important to me, and even now, after researching so much about the island, the more I understand it, the less I want to engage with it. I just wish it could peacefully lie there.' - Singing CHEN

2000 TIDF 台灣國際紀錄片雙年展

2001 Yamagata IDFF 山形國際紀錄片影展

輻射將至 Before the Radiation
周美玲 Zero CHOU｜台灣 Taiwan｜2000｜DCP｜Colour｜24 min

1998年初，鄰近金門島的烏坵被宣布為「核廢料最終儲置場」優先預定地。核廢將至，居民惶恐地抗爭，卻無人聽得懂他們口中的莆田話，核廢陰影侵襲著島嶼。與此同時，台電傳出提供探勘費，腳下的土地與眼前的金錢，搖擺著島民茫然的心。

周美玲：「⋯⋯然而今天，我們卻仍然以離島人口的稀少做藉口，企圖進一步榨取境內僅存的淨土。 如果不是核廢料的陰影籠罩，島民的生活幾乎是與世無爭、自得其樂的。但輻射將至的陰影，很快籠罩著島嶼，也籠罩了人心。」

In 1998, Wuqiu was marked as a Nuclear Waste Disposal site despite protests. Islanders question the choice: ‘Why dump it here? Why not bury gold?’ As a military zone, public access is denied, leaving us defenseless if the government acts further.

'However, today, we still use the sparse population of the outlying islands as an excuse, attempting to further exploit the scarce remaining pristine land. If not for the shadow cast by nuclear waste, the islanders' lives would have been tranquil and content. But the imminent shadow of radiation quickly covered the island and shadowed people's hearts.' – Zero CHOU

2000 TIDF 台灣國際紀錄片雙年展

2001 Yamagata IDFF 山形國際紀錄片影展

浮球 The Floating Ball
李志薔 LEE Chih-chiang｜台灣 Taiwan｜1999｜DCP｜Colour｜24 min

小琉球孤懸台灣外海，狀若一漂流之球，古名之曰「琉球」。其島外圍另有一群漂流的浮球，它們是大陸漁工的船屋，俗稱「海上旅館」，終年在此浮浮沉沉。影片以三章節鋪陳，藉海上浮球飄流的命運，訴說人性，也暗喻小琉球島的命運。

李志薔：「⋯⋯原本快樂得像海外渡假旅行，結果一進入拍攝期間，一行人除了攝影師寶島之外，其他人全吐了。一天八、九個小時待在髒臭、油汙的船上，不能上廁所，吃不下他們的飯，只能不斷抽煙，不斷和他們打成一片。然後，睡眠不足的人就先吐了。 有些地方說遠不遠，幾十分鐘的航程也就到了；但人，能不能在那裡生根？這是我思索離島命運的起點。」

Liuqiu, a tiny island on the outskirt of the Taiwan Strait, which means ‘floating ball’. Surrounded by more floating balls—’hotels-on-the-sea’ where Chinese fishermen stay. The film depict fate, humanity and destiny of these floating balls.

'Originally a joyful overseas holiday, but once the filming began, everyone except the cinematographer felt ill. Spending eight to nine hours on a dirty, oily boat, unable to use the restroom or eat, only continuously smoking and bonding with them. Then, those lacking sleep started vomiting first. Some places seem nearby, just a short ride by boat, but can people really settle there? This is where I began contemplating the fate of the outlying islands.' - LEE Chih-chiang

2000 TIDF 台灣國際紀錄片雙年展

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► 5.10-5.19 國家影視聽中心｜臺灣當代文化實驗場C-LAB​｜光點華山電影館｜京站威秀

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