Udine FEFF 12 at a Glance: Days 5 and 6

As the festival is progressing into its fifth day, the selection of films is still not disappointing the audience with its quality. The broad range of countries and genres presents an invaluable opportunity to compare stereotypes and traditional storylines, as well as to observe audience turn-out and reactions, shaping the understanding of the festival and its cultural value as a whole.随着电影节进行到第五天，电影节放映的电影都获得了观众的高度评价。不同国家与类别的影片呈现出了与过去一成不变的故事情节的鲜明对比。同时观众的出席人数与对影片的反响也从另一个角度塑造了本次电影节的意义和它作为一个整体的文化价值。

An impressive selection from China and Hong Kong has been one of the highlights of the fifth and sixth day of the festival, including two international premieres, as well as the appearance of directors Clement Cheng and Derek Kwok to present their premiering “Gallants” and give the opportunity to journalists and film critics to have a deeper insight view into the ideas and making of the film. 从电影节的第八天与第九天开始，来自中国大陆和香港的电影就被作为大会的亮点向公众推广，其中包括了两部国际首映式，同时《打擂台》的导演郑思杰和郭子健也给与了记者，电影评论人关于自己的对电影制作的一些见解和想法。

The Hong Kong martial arts comedy “Gallants” (2010) is a reflection of traditional Kung-Fu cinema and in many ways appeals to Western audiences. The film tells the story of Cheung, an underpaid underestimated bullied  employee, stuck in his dead-end job as a real estate agent. When Cheung got transferred to a small town in order to complete a deal, he finds himself in the middle of a fight between the two oldest Kung-Fu schools. The comedy features some of the famous faces from the 50s and 60s Kung-Fu cinema and it delivers a laugh to everyone, playing with stereotypes, martial arts’ styles and making Chinese viewers chuckle at the delicate use of Cantonese wordplay.香港功夫喜剧《打擂台》是传统香港功夫电影的传承，同时也从很多方面吸引了西方受众。电影讲述的故事是关于一个在房产公司备受欺负，做着毫无出路事情的年轻人。当他有一次去小城镇完成工作任务时，他碰巧发现自己处于两个门派的打斗之中。这部功夫喜剧中不仅出现了50年代60年代功夫票房中熟悉的面孔，而且在给观众带来笑声的同时，也运用了传统功夫电影拍摄中令中国观众捧腹大笑的广东话搞笑风格。

Also from Hong Kong comes the European premiere of Seven 2 One (2009) by Danny Pang, shifting the style and tone and presenting the audience with a storyline working backwards, examining the events leading to a robbery-gone-badly. The film starts with a robbery at a convenience store, which goes terribly wrong and from then on the narrative develops as a flashback, showing the stories of seven different people, who end up involved in the event. Waitress Ling and her long-term boyfriend are faced with difficult decisions; a girl is ending her homosexual relationship; the cashier girl at the supermarket is being molested by her boss;。 two brothers, one a successful policeman and the other a good-for-nothing, who dates the cashier girl, fall out. Piece by piece, the narrative connects all of them to show how the smallest of decisions people make sometimes work as the butterfly effect and change the lives of unexpected victims.同时，香港远道而来参加欧洲首映的《7人2事》，将电影的风格和格调向观众以倒序的方式呈现出来，让观众清楚地看到在以打劫到杀人大剧情下每一个细节的发展。电影以打劫便利店为开端，随着故事在同时时间不同人物和地点的快速发展，从最初的旁白讲述形式瞬间倒转到每一个人物情节的发展。玲小姐和他相处已久的男朋友面对和非常艰难的抉择；一个女孩正准备结束她的同性恋关系；超市的收银员女孩正遭受她老板的性骚扰。两兄弟，一个是成功的警员，另一个一事无成，却同时和超市的女孩有着男女朋友关系。 一环扣一环，环环相扣，电影以叙述的方式链接着他们之间并且通过人们做的细小决定以蝴蝶效应的方式改变了一些最终受害者无法预料的结局。

Premiering from mainland China is “The Invisible Killer” (2010) by director Wang Jing, looks over a much more in-depth ideological concept of modern Chinese society and the subtle influence of Internet, which acts as an invisible puppet-master, dictating people’s decisions. Detective Wong Jing is investigating a murder case of which Lin Yan is the unfortunate victim, whilst the virtual world is getting more and more involved into the story, leading to an unexpected revelation. Based upon actual events and reflecting the modern society of China today, the film asks difficult questions as to the actual influence of Internet on people’s lives. 大陆的另一部首映又导演王竞电影“无形杀”，以非常深层的意识层面剖析当代中国社会与互联网带给人们生活的影响。互联网已经扮演了一个无形的操手，时时刻刻影响着人们的抉择。侦探王景正在调查一桩命案，而林燕正是这不幸的受害者，当虚拟世界一步一步卷入整个事件时，真相也一步一步被揭示。建立在真实事件，反映出当代中国社会的意识形态，影片向人们提出了“当互联网影响到人们生活后，人们如何面对”的问题。

Differing immensely from “The Invisible Killer” when it comes to ideology, “The Message” (2009) by Chen Kuofu and Gao Qunshu is not as challenging when it comes to the codes and conventions of the thriller genre itself.。The film tells the story of five Chinese decoders working for the Japanese during the Chinese puppet government in 1942, suspected of co-operating with the Chinese resistance and lured in a castle by the determination of a Japanese colonel to solve the mystery and reveal the spy.The story is built in a way that quite resembles Hitchcock’s work and the plotline reveals slowly and intensely as in an Agatha Christie novel, engaging the audience and subtly forcing it to discover the insurgent.从《无形杀》到《风声》，当电影从密码，社会约定俗成这种类型的惊悚上升到考量社会意识形态时，这样的转变是无法比拟的影片讲述了五个中国密码破译人员在1942年伪国民政府时期被当作共产党卧底潜伏在国民党中的“内鬼”。故事建立在 类似于大卫，希区考克风格的阿加莎·克里斯蒂小说情节，紧张，快节奏，让观众全情投入故事,然后慢慢揭示谜底。

The Udine Far East Film Festival continues to deliver for journalists, film critics and cinema lovers, whilst bringing together different cultures and genres, each presenting their own codes, conventions and stereotypes. The programme for the coming days proves to be just as impressive, and features more international film premieres, and guest speakers from across the spectrum of Asian cinema.乌迪内远东电影节正持续给新闻工作者，电影评论家，电影爱好者传达着高质量的影片，同时也将不同文化类别的影片题材聚合在一起，分别表现他们自己的特色，风格。整个影展在这段时间内推出了令人印象深刻的影片，以及多部电影的国际首映仪式，还有整个亚洲范围内著名的导演嘉宾。

by Antoniya Petkova

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