PEOPLE LIVING UNDERGROUND by Liu Rui Shao 劉銳紹《地下生活的一群》（英文翻譯）

People Living Underground, a review of All's Right with the World written by Mr. Liu Rui Shao
Original Chinese version published by Hong Kong Daily News
English translation published by Edwin Mak on his blog, Faster than Instant Noodles
English translation by Mei Ko

劉銳紹先生的《地下生活的一群》，一篇有關《歌舞昇平》的專欄文章
中文原載於新報
英文翻譯刊載於Edwin Mak的部落, Faster than Instant Noodles
英文翻譯：Mei Ko


People Living Underground
by Liu Rui Shao

As many people would acknowledge, Hong Kong is a paradise of prosperous economics sharing international reputation. Nevertheless, life in the paradise includes people who are blissful to enjoy the fortune, also people who work diligently but unable to share same blessing. Those unfortunate are the people living underground while happiness already abandoned them. They are the people have no choices but live on social welfare.

Recently, one director filmed the documentary All's Right With The World recording those miserable stories of various plights. I emphasize the word 'recording the truth', that is, 'recording' preserves the truth and bears more significance than the word "presenting the truth". In the documentary, an sorrowful grey-hair madam can not cope with her druggie son's corpse due to finance difficulty; "Whatever!" (she said) the house is even too small to place the cremains jar.

Another old man with distinct cheekbones usually carries poisons for any anxious moment to commit suicide. His relationship with family is extremely intense, and once nearly killed his family member. Life is somehow monstrous to them, drive them demented and desperate. The reality lies in the stories is so true, so honest and so frightening.

They are one part of 500,000 people who rely on Hong Kong social welfare; every life holds their own deplorable stories. I just cant help but wonder how many people's stories could be far more tragic than theirs.

Even people who don't live on HK social welfare don't necessarily guarantee a well-being life. According the current research, there are about 1.3 million people living on the edge or below the poverty line. The smiles on their faces quickly fade away resembling the fireworks on the Victoria Harbor. Some social workers said, there is even no flash of smile on many people's faces.

I have worked in journalism for thirty-five years, and always remind myself "don't be numb" How can human call themselves human if they were so apathetic as dead wood?

貧窮問題對談: 從《歌舞昇平》紀錄片看社會保障

貧窮問題對談: 從《歌舞昇平》紀錄片看社會保障

日期：2008年6月8日（星期日）
時間：下午2時30分-4時30分*
地點：天主教教區中心9樓（中環堅道16號）
主辦機構：香港正義和平委員會，CNEX
出席分享嘉賓：關俊棠神父（中文大學天主教研究中心副主任）、李大成先生（關注綜援檢討聯盟）及張經緯

費用全免，但因座位有限，請在此留言，說明需要座位數目
或在facebook：
http://www.facebook.com/event.php?eid=13922771794
訂位，
又或電郵tetralee@hotmail.com（李先生）或c3kings@gmail.com留座
放映後，嘉賓將與觀眾進行對談和互動交流。

*2時30分開始播片，3時45分完，分享至4時30分，再之後香港正義和平委員會大會活動，至5時30分

關注綜援關注綜援檢討聯盟《歌舞昇平》紀錄片放映會

關注綜援關注綜援檢討聯盟《歌舞昇平》紀錄片放映會

日期：2008年5月10日（星期六）
時間：上午10:30-12:30
地點：香港理工大學PQ303室
主辦機構：關注綜援檢討聯盟，CNEX
出席分享嘉賓：職工盟代表、李大成先生（關注綜援檢討聯盟）、張經緯

費用全免，但因座位有限，請電郵tetralee@hotmail.com（李先生）留座。
放映後有分享討論會，嘉賓將回應在職貧窮與綜援
如有任何查詢，亦可在此留言。

香港基督徒學會種情晚會之《歌舞昇平》紀錄片放映會

香港基督徒學會種情晚會之《歌舞昇平》紀錄片放映會

日期：2008年5月27日（星期二）
時間：晚上7:30-9:30
地點：九龍旺角道11號藝旺商業大廈10樓
主辦機構：香港基督徒學會，CNEX

片中主人翁之一拉旺及她的兒子將出席放映會及討論

費用全免，但因座位有限，請電郵tetralee@hotmail.com（李先生）留座。
放映後設導演Q & A時間及自由分享交談。
如有任何查詢，亦可在此留言。

朱門酒肉臭 - 陳焱

原刊於2008-04-22 信報專欄
陳焱先生部落的原文

　　寫這篇文章時，陳焱深切哀傷：近日環球大米價格暴升，民不聊生，部分地區領導下台……。人民生活基本溫飽捉襟見肘，但仍有奸商囤積居奇，實是可悲。那邊廂，另一飲食品的價格近期亦因香港需求大增而急升，那就是法國紅酒。香港人常說貧富懸殊，這一對比實在太強烈。
　　2000年，全球大米儲備達到一億五千萬噸，米價亦一直持平；2006年時的米價每噸仍低於300美元，而今年初的報價亦只是360美元；但在上周，國際大米價格已躍升至首次觸及每噸1000美元關口。
　　原因一方面是中國、印度等的需求不斷增長，另一方面則是受到澳洲旱災和越南爆發蟲災、以及去年底越南和菲律賓出現大面積的洪災影響。但是，除了天災，近日《華爾街日報》的文章便報道，無良無恥之徒囤積居奇，人禍亦是米價急升的元兇。
　　報道指全球第一大白米進口國菲律賓近期積極打擊囤糧的犯罪集團，有關當局在上月底進行了首次行動，因有探員偷拍到有人在倉庫內將政府補貼糧改頭換面，準備運到自由市場出售。有關官員表示，這些人先是取得政府的補貼糧，然後將大米重新磨一遍，讓顏色更白一些，最後重新包裝成商品糧出售。
　　這些打擊行動當然是必須的，不過，目前不少市場人士仍預期米價上漲至少要持續至11月。
　　除了惡意的囤糧，部分大米訂戶、包括一些國家政府因擔心大米短缺，亦大增訂購大米的數量，遠超平常的購買量，曼谷主要大米出口商Riceland International的總裁表示：「這是恐慌，客戶要求購買平常數量兩倍的大米，我們無法找到足夠的供應來滿足需求。」　　米價急漲，最苦的，當然是一眾貧苦。
　　但另一邊廂，《金融時報》上周五報道，因香港人的需求大增，法國紅酒價格大升。
　　報道指香港最受歡迎的紅酒之一：Chateau Lafite Rothschild 2005目前每箱售價9600英鎊，較兩年前升3300英鎊；而網上美酒指數Liv-ex 100今年3月份已升至歷史高位，較去年同期升34％。一名倫敦紅酒商人表示，在香港取消紅酒關稅後的三十六小時，他已向香港及內地售出近230萬英鎊紅酒。
　　這，許是「朱門酒肉臭　路有凍死骨」的現代版。為了令自己的良心好過一點，陳焱決定少喝兩枝紅酒，將金額捐助第三世界。

Wong Ka Jeng - my next documentary's subject 黃家正 - 我下一條紀錄片的主角

Frank Sonata for Violin and Piano
(It is NOT my footage; it was a TV program done by RTHK few years ago. I embed it from the lwkjl YouTube channel.)

Wong Ka Jeng - my next documentary's subject 黃家正 - 我下一條紀錄片的主角

Mendelssohn Violin Concerto
(It is NOT my footage; it was a TV program done by RTHK few years ago. I embed it from the lwkjl YouTube channel.)

鄭俊平先生評論

原載於2007年10月CNEX主題紀錄片影展「開眼．見錢」（台北）
請點擊下面圖片

Chen Hao's "Lucky You" 陳浩《福氣啦》（英文翻譯）

Lucky You, a review of All's Right with the World written by Mr. Chen Hao
Original Chinese version published by Chinatimes on September 20, 2007
English translation published by Edwin Mak on his blog, Faster than Instant Noodles
English translation by Mei Ko

陳浩先生的《福氣啦》，一篇有關《歌舞昇平》的專欄文章
中文原載於2007年9月20日台灣的中國時報
英文翻譯刊載於Edwin Mak的部落, Faster than Instant Noodles
英文翻譯：Mei Ko


Lucky You
by Chen Hao

20070920 in Taiwan China Times

Director Cheung said, "there are no more poor.""We will not 'see' poverty in Hong Kong anymore"...

We always need to fill certain forms during school opening days, my youngest daughter loves to ask every time "is our family well-to-do?" Whenever my older daughter hears, she answers impatiently "Of course, what else could we be?" More often the case she would start to count her school mates' "finance" situations, adding gossip on her new classmates, and then speak to herself like "so everyone is in the competition, at least we are better than some others." I did feel upset while listening to her precocious speech, she sharply defines "wealthy" by visible material, and understands "fortune" without conscience and modesty. Is that a blessing for their generation to ignore or even neglect poverty?

Compared to my daughter, I always felt a bit scared at childhood when asking my parents to fill out school forms. I remember my mother's tears by heart that my brother hid his tuition fee notice in order to pay debts incurred by father's surgery. My mind is deeply shadowed by the fear that one day "the big tree" [translator's note - meaning family in Chinese] could fall apart. My parents are the diaspora generation, I am too familiar with their stories from affluent life to destitution, then struggling to build a family in troubled times. And our "poor" classmates revealed themselves by their lunch boxes rather than formally on official forms. "Poverty" is just next to our doors, it is on my way to school, on streets, on the edge of dikes, or on the side of the field. We are not separated from poverty, and it is even not below our class. The meaning of life is to remind us the vulnerability of ourselves and our neighbours. Have we already ruled out this kind of memory from our next generation's comprehension of the world?

Several days ago, I took a night cab. The driver started to talk about his story looking for a daytime job, his heartfelt tone moved me earnestly. "It's a school security job, 90 NTD per hour, and twelve hours per day. No pay on holidays. But there are so many days off in a month. In total, the monthly pay is merely ten thousands something. But I really want to take it, and drive cab for rest of time. My wife said I would be exhausted to death. I said, just for three years hardship, I can sweat till my kids graduating." I tried to persuade him giving up this idea by providing statical evidence, "it is unworthy!! if you crackup in sixties, who is going to take care the whole family? " My ride is less than 10 minutes; however, I didn't want to get off and we stopped at the road side discussing the possibility for his wife to get a job. Maybe he simply wanted a company to talk to, but at that moment I was bitten by my life memories all over again. When getting off, I gave him my best wishes sincerely. I knew his plight by heart, it's like walking on the floating ice; once he fell, the whole family would suffer more unbearable struggles.

My world is deeply connected with these issues currently, I watched ten documentaries under Mr. Jianxianbin's supervising production in the CNEX film festival. Especially All's Right With The World that tells us how the disadvantaged people face their "walking-on-floating-ice" life. The camera focuses the edge of Hong Kong city, beneath the glorious shopping paradise, filming the shabby houses in Lei Yue Men, silent corners in Shatin Village, and five families in old Shek Kip Mei including Sister Di, Madam Jinshui, Manling, Lava and other members. "It's like an endless predicament".

Director Cheung said, "there are no more poor." "We will not 'see' poverty in Hong Kong anymore". "The poor would no longer wear rags, yet the destitute and distress poverty still exists in everyday life among those grand skyscrapers and opulent communities"

Director Cheung's meant and heartfelt stories moved me earnestly as well. Furthermore, the best part of his movie is how he empathizes with such misery, and you don't need to lower you head to sympathize, to share your tears, and to donate for healing. He merely wants you to look at the injustice next door in an equal position. And you leave after seeing it, go back to your comfortable middle class life, and ticking the box of "well-to-do".

South China Morning Post (Young Post), March 25, 2008, by Lau Kit-wai

明報週刊 2008年3月15日報導（許先施）

綜援的表述：社會作為競技場的管治 (堵建偉)

這是阮耀啟傳送給我的一篇文章，當中有些觀察很有意思。

原文上載在《文化研究＠嶺南》



綜援的表述：社會作為競技場的管治

堵建偉

自1998年的社會福利署署長表示，領取社會保障綜合援助計劃（以下簡稱「綜援」）的金額過高會「養懶人」後，「綜援養懶人」的說法不脛而走。輿論及電台烽煙節目常常出現對領取綜援人士的批評，甚至鄙視。於是，在一連串放大的「懶人」個案及欺詐事例下，領取綜援被指帶來社會的沈重負擔，更進一步變成財赤的代罪羔羊。在兩度削減綜援資助下，更推出林林種種的計劃，目的是協助領取者重返就業大軍云云。近年失業率縱有改善，仍未返回十年前的水平。

政府希望領取綜援人數降低，其實沒有認清事實，大部分的綜援個案為老人及殘障人士，失業及低收入個案比例更上述為低。「綜援養懶人」的論述有其誤導之處，惟政府沒有刻意澄清，反而藉此掩飾其政策之流弊，近來更以一系列短片說明其對綜援的態度。

最近有兩齣綜援短片，均以運動（足球及排球）為喻，並以運動的規則比喻為社會規則甚至法律。

首先推出的是「詐騙綜援．難逃法網」，以足球場比喻為社會，開場白為「在人生的競賽上，有些人是比較不幸，對於有需要的人，社會一定會提供援助。」畫面是一名球員被勾跌受傷。其後有另一名球員借故跌倒，立即被其他球員投訴「假摔呀！」，旁白隨即表示：「如果有人不守規則，蓄意欺騙，破壞社會公平，法律就絕對不會容忍。」畫面上是球證向那位假裝的球員出示紅牌，隨即有另外兩名球證左右挾持裝假的球員，要趕他出場。短片最後點出了目的，從旁白及畫面大字顯示：「詐騙綜援，難逃法網。」畫面上加上了舉報熱線的號碼，最後旁白以嚴正的語氣告訴觀眾：「切勿以身試法！」

另一齣「自力更生．勿倚賴綜援」是以排球比賽為例，說明受傷復原後，應重返比賽，不應倚賴援助。排球員包紥傷口後，救護員便告訴她可以出場，球員口中含啜飲品，由畫外播出她的聲音：「抖下先啦！」（休息一下吧！）旁白隨即表示這種心態令「社會就會失去活力，難再繁榮。」畫面上的排球比賽隨即人數減少，更剩下一只排球在空洞的球場上跳彈。聲（旁白）與畫（字幕）也同時播出「自力更生，勿倚賴綜援。」這一次旁白語帶鼓勵：「一齊嚟努力啦！」（一起努力吧！）

社會作為競技場

兩齣有關綜援的短片，都是針對領取者：一是存心欺騙的人，另一是心存依賴的人。兩片都以人生競賽為喻，會遭遇不幸和挫折。從畫面上以運動場作為故事場景，暗示了社會是一個競技場，人與人之間其實在進行比賽。這種競技場的比喻，更選擇了兩種較香港人熱衷的比賽：足球和女子排球。無論是參與或觀賞的足球運動，都廣受香港男性歡迎。在合法及非法足球博彩的推波助瀾下，免費及收費電視都經常轉播世界各地的賽事，足球場上的紅牌出場，已是人所共知。故此詐騙綜援的宣傳片，很刻意地選用了紅牌這個原來具有指涉意義的標示，進一步擴展其符號含意。

至於女子排球，是多年來掀動香港人的民族情緒和認同的運動。無論在回歸前後，香港人都十分關注中國女子排球隊在國際比賽的表現。即使近年中國女排在國際賽事中起起跌跌，女排仍是香港人熟悉的運動。或許有些觀眾從＜自力更生．勿倚賴綜援＞想起七十年代風靡香港的日本電視劇＜青春火花＞。無論如何，單從＜自力更生＞一方面借助中國女排的歷年際遇，譬喻人生的高低起伏和挫折，另一方面要遏止一種所謂的「依賴文化」。

詐騙綜援的「紅牌」符號學

紅牌在足球場上，是球證的最後武器，亦是球場上最嚴厲的懲罰。2006年世界杯決賽，法國球星施丹因意大利球員出言侮辱，以頭頂對方，便被球證即時出示紅牌趕出場，他的足球生涯以戲劇性的被逐結束，也造成法國隊飲恨世界杯。在足球場上，紅牌具指涉作用，即如交通燈，其意思明顯不過。若如＜詐騙綜援＞的表述，那紅牌便不單是指涉，更具社會含意。將人生比喻為競賽，社會為競技場，則違規者的下場是被逐出場，這明顯是社會的驅逐（outcast）。在現實生活中，詐騙綜援是違法的，近年也有案例。但在眾多違法的行為中，選擇詐騙綜援為一種違反社會規則（法律）的罪行來處理，並以告誡領取者切勿以身試法，其口吻似乎將領取綜援人士看為嫌疑犯。

違規、懲治與管治

表面上，違規理應受懲罰，但以高調地告誡，有未審先遊街示眾的懲治作用。懲治不單是受法律制裁，更受社會的道德指摘，背負浪費納稅人金錢和懶人的標籤。此外，＜詐騙綜援＞的對象不單是領取綜援的人，更是其左鄰右里。宣傳片以顯示了懲治的合法性，左鄰右里可以像片中的其他球員，揭穿違規的「假摔」行為。故此，透過宣傳片，政府召喚市民的「警察」身分，協助監察其他人的詐騙行為。「綜援養懶人」並非事實，卻為許多人接受的現實，檢控極少數的詐欺者並不會減少綜援個案，卻產生了一種集體的懲治作用，進而引發大眾的互相監察作用，也是維持一種社會秩序的管治方式。

「假摔」的生存 / 競爭伎倆(tactics)

若從另一角度思考，「假摔」作為球場上常用的伎倆，並非每次都被人揭穿。當一些球星的球技獲讚譽，球賽的結果不是以球技論勝負，而在於入球。故此在球賽中，若不能以技術取勝，便會出現某些伎倆如假摔，而重點是不讓球證看穿。以競技場喻為社會，那假摔的伎倆其實充斥著整個社會，只是在不同場景不同看待。假摔作為生存的伎倆，多為弱勢者採用，強勢者不屑。可是強勢的一方也可以用此來進一步壓制弱者。例如一些警民衝突中，有人看見有警員會以假摔來裝陷阱，令示威者或抗議者被起訴。

倚賴綜援的性別偏見

從足球場上的法律制裁到排球場上受傷休息，在宣傳片的角色上，都呈現了兩種對象的性別定型／偏見（bias）。＜詐騙綜援＞明顯是針對男性，＜自力更生＞則為女性。＜詐騙綜援＞似乎告訴觀眾，存心欺詐的主要是男性。若放在社會為競技場的脈絡下，則這些男性並沒有憑實力和球技取勝，更牴觸了法律，非男子漢所為。以一種硬橋硬馬的手法宣傳騙取綜援難逃法網，顯示這種剛陽性。

＜自力更生＞的宣傳則較易令觀眾將受傷的球員聯想為職業女性。因為種種原因，這些職業女性受傷（失業），所以需要護理（領取綜援），而當護士（社工？）告之可以出賽（再就業）時，她卻想繼續休息（領綜援）。宣傳片旁白隨即曉以大義，這樣社會難再繁榮。明顯地，這是要女性重投就業大軍。表面上，＜自力更生＞假設了女性要就業，就業意味著賺取實質報酬（金錢）。當女性不在就業崗位上，似乎便在「享受」社會福利。將「援助」看為理所當然，這是宣傳片所否定的，因為福利是當你有「需要」時才給予的，非理所當然。若將這種宣傳片的邏輯放在現時領取綜援的女性身上，那針對的明顯是許多單親家庭的母親，單親母親若在家照顧子女，這是「休息」，非「出賽」，會影響社會繁榮。將社會繁榮和就業價值相扣連，再將這種責任放在具家庭崗位的女性肩頭上，是宣傳片的邏輯。事實上，女性勞動力在香港過去創造經濟繁榮時上擔當了關鍵角色。在香港工業起飛及蓬勃時期，大批成年及未成年的婦女充當了廉價勞工，造就經濟奇蹟。可是，當經濟轉型和不景，加上性別、年齡歧視和家庭崗位責任等，令這些女性難以找到工作，要領取綜援，則又被看為「依賴」。以＜青春火花＞一劇的手法宣傳，一方面是勵志，另一方面卻可挑起這些婦女的童年回憶。緬懷過去的時候，只感歎歲月迫人，青春火花耗盡，換來的，卻是「躲懶」的責難。

兩齣宣傳片，鮮明地點出了政府的企圖，其懲治和監控的意識形態滲透其中。表面上的公平遊戲規則和勵志的主題，細心分析，可疏理出層層的文化論述和符號意義，其效果則是牽引著觀眾的歧視情意結。



參考資料：

政府的宣傳片
（http://www.isd.gov.hk/chi/tvapi/07_sw70.html）
詐騙綜援　難逃法網旁白：
在人生的競賽上，有些人是比較不幸，對於有需要的人，社會一定會提供援助。
其他球員： 「假摔呀！」
旁白： 但是，如果有人不守規則，蓄意欺騙，破壞社會公平，法律就絕對不會容忍。詐騙綜援，難逃法網。
熒幕蓋字： 詐騙綜援　難逃法網
舉報熱線：2332 0101社會福利署
旁白： 切勿以身試法！

(http://www.isd.gov.hk/chi/tvapi/07_sw71.html)
自力更生　勿倚賴綜援
旁白： 在人生的競賽上，挫折難以避免，對於不幸的人，社會十分樂意提供援助。但是，如果有能力的人不去努力，
救護員： 「好，可以出場了！」
旁白： 只是倚賴援助，
球員： 「休息一下吧！」
旁白： 社會就會失去活力，難再繁榮。自力更生，勿倚賴綜援。
熒幕蓋字： 自力更生　勿倚賴綜援社會福利署
旁白： 一起努力吧！

呂新雨教授評論

原載於2007年10月CNEX主題紀錄片影展「開眼．見錢」（台北）
請點擊下面圖片

《歌舞昇平》海報 Poster of "All's Right with the World"

《台灣新竹市文化局影像博物館》放映會"Bureau of Cultural Affairs Hsinchu City, Taiwan" Screening

日期：2008年4月27日
地點：影像博物館（台灣新竹市中正路65號）
電話：886-3-5285840

夏鑄九 (台灣大學建築與城鄉研究所所長) 映後座談

http://www.hcccb.gov.tw/chinese/02activity/act_a02.asp?bull_id=2214


Date: April 27, 2008
Place: Image Museum of Hsinchu City (No.65, Jhongshan Road, Hsinchu City. Taiwan. ROC)
Phone: 886-3-5285840

http://www.hcccb.gov.tw/english/04museum/1mus_a01.asp?cate_id=56&Submit=GO

地下生活的一群 - 劉銳紹（原載於新報）

在不少眼中，香港是一個樂土，經濟繁榮，國際知名。不過，在這一片樂土上生活的，不單是有福氣享受這種生活的人，還有很多付出辛勤但卻無緣享受這種福氣的不幸者。可以說，他們生活在地下，已經被幸福遺忘。他們就是被生活逼得要領取綜援的人士。

最近一位導演把這些人士的不幸遭遇拍成紀錄片《歌舞昇平》，把他們的不同境況存真下來。這裏說的是“存真”，即保存真實，這比“傳真”更有意義。在紀錄片中，觀眾看到一位頭髪斑白老婆婆，兒子因吸毒死了，但她連收屍的費用也沒有；由他去罷，反正家裏小得連一片安放骨灰的地方也沒有。

另一位顴骨高聳的老伯，身上經常懷有毒藥，想不開時就服毒自殺吧。他與家人的關係勢如水火，曾經在家中上演“小李飛刀”，險些親手宰殺家人。這些都是生活逼人、促使他們精神幾乎陷於分裂的案例，一點假也沒有，活生生，但這一點真卻是真得令人可怕。

他們都是香港領取綜援的五十萬人中的一部分，分別有不同的悲慘故事。不知有多少人的故事比他們還要悲慘十倍百倍呢？

即使沒有領取綜援的人士，也不一定生活好過。據研究，香港目前大約有一百三十萬人活在貧窮線邊緣或以下。笑容在他們的臉上就像維港夜空的煙花，稍縱即逝。幫助他們的社工說，在不少人的臉上，根本連短暫的煙花也沒有出現過。

我採訪新聞已經三十五年了，經常告訴自己一句話：不要麻木。如果變成一塊木頭，還能稱得上是人嗎？

All's Right with the World -- trailer (English subtitles)

《歌舞昇平》預告片 繁體中文字幕版

An Unfinished Cinema - by Abbas Kiarostami

AN UNFINISHED CINEMA

by Abbas Kiarostami

Text written for the Centenary of Cinema

Distributed in December 1995 at the Odéon Theatre, Paris

Originally, I thought that the lights went out in a movie theatre so that we could see the images on the screen better. Then I looked a little closer at the audience settling comfortably into the seats and saw that there was a much more important reason: the darkness allowed the members of the audience to isolate themselves from others and to be alone. They were both with others and distant from them.

When we reveal a film’s world to the members of an audience, they each learn to create their own world through the wealth of their own experience.

As a filmmaker, I rely on this creative intervention for, otherwise, the film and the audience will die together. Faultless stories that work perfectly have one major defect: they work too well to allow the audience to intervene.

It is a fact that films without a story are not very popular with audiences, yet a story also requires gaps, empty spaces like in a crossword puzzle, voids that it is up to the audience to fill in. Or, like a private detective in a thriller to discover.

I believe in a type of cinema that gives greater possibilities and time to its audience. A half-created cinema, an unfinished cinema that attains completion through the creative spirit of the audience, so resulting in hundreds of films. It belongs to the members of that audience and corresponds to their own world.

The world of each work, of each film recounts a new truth. In the darkened theatre, we give everyone the chance to dream and to express his dream freely. If art succeeds in changing things and proposing new ideas, it can only do so via the free creativity of the people we are addressing – each individual member of the audience.

Between the fabricated and ideal world of the artist and that of the person he addresses, there is a solid and permanent bond. Art allows the individual to create his truth according to his own wishes and criteria; it also allows him to reject other imposed truths. Art gives each artist and his audience the opportunity to have a more precise view of the truth concealed behind the pain and passion that ordinary people experience every day. A filmmaker’s commitment to attempting to change daily life can only reach fruition through the complicity of the audience. The latter is active only if the film creates a world full of contradictions and conflicts that the audience members are able to perceive. The formula is simple: there is a world that we consider real but not completely just.

This world is not the fruit of our minds and it does not suit us all that well but, through cinematic techniques, we create a world that is one hundred times more real and just than the one around us.

This does not mean that our world gives a false image of justice but, on the contrary, it better highlights the contrasts that exist between our ideal world and the real world. In this world, we speak of hope, sorrow and passion.

The cinema is a window into our dreams and through which it is easier to recognize ourselves.

Thanks to the knowledge and passion thus acquired, we transform life to the benefit of our dreams.

The cinema seat is of greater assistance than the analyst’s couch. Sitting in a cinema seat we are left to our own devices and this is perhaps the only place where we are so bound to and yet so distant from each other: that is the miracle of cinema.

In cinema’s next century, respect of the audience as an intelligent and constructive element is inevitable. To attain this, one must perhaps move away from the concept of the audience as the absolute master. The director must also be the audience of his own film.

For one hundred years, cinema has belonged to the filmmaker. Let us hope that now the time has come for us to implicate the audience in its second century.