兩名來自非洲的清潔工，在巴黎街頭的垃圾桶，意外撿到一本十九世紀的法式料理食譜。為了替病重友人籌措返鄉旅費，他們決定報名電視料理益智節目，就算書中食材樣樣吃不起，仍要靠著死背活記，拚命贏得獎金！

不同於《莫那岡貝：自由的吶喊》與《桑比贊加》的革命敘事，這部電視電影是莎拉・馬爾多羅少見的輕盈喜劇。巧妙翻轉高級料理與街頭粗活、法國精英與非洲移民的既定界線，經由一本食譜的輾轉流傳，探問誰能擁有法國文化。當多數電影依然把黑人移工形塑為悲苦受害者，馬爾多羅卻相信歡樂與政治可以共存，不讓壓迫成為黑人生命的唯一定義。雙活寶主角一搭一唱，談吐自帶嘻哈魂，掃地搖擺如跳舞，在笑鬧中活出尊嚴，日常就是他們最靈巧的抵抗。

Two African street cleaners find a nineteenth-century French cookbook in a Paris trash can. To fund an ailing friend’s journey home, they enter a television culinary quiz, memorizing dishes whose ingredients they could never afford. In this rare comedy, Sarah Maldoror turns haute cuisine and street labor upside down, asking who may claim French culture. Refusing to reduce Black migrants to suffering, she lets humor and politics move together: the duo trade jokes, sweep to their own rhythm, and turn everyday life into resistance.

<aside> <img src="/icons/movie-clapboard_red.svg" alt="/icons/movie-clapboard_red.svg" width="40px" /> 莎拉・馬羅多羅 Sarah Maldoror

黑人女性導演先驅莎拉・馬爾多羅（1929-2020），以反殖民經典《桑比贊加》，成為世界女性電影史與非洲電影史的重要一頁，也讓他被冠上「非洲電影之母」或「革命電影作者」等稱號。然而真正走近作品，會發現這些標籤既正確也不足。馬爾多羅一生創作四十餘部作品，創作軌跡緊貼二十世紀重要社會思潮與政治運動──黑人性、反殖民、泛非主義、女性主義等，回應當前最迫切的需求與渴望，不懈記錄人民爲追尋平等與自由迸發的生命吶喊。他立足於黑人意識，卻不限於單一國族，而是在非洲、歐洲與黑人離散之間，建立自己的電影語言。持續穿梭、流動於多種身分、國界與形式，用電影實踐自由與反抗。

生於法國，創作生涯始於劇場。深信「黑人不能只演女僕」，於1950年代共同創辦巴黎首個全由黑人演員組成的劇團，後赴莫斯科學習電影製作。1960年代投身非洲獨立運動浪潮，丈夫為安哥拉人民解放運動領袖，馬爾多羅的電影亦與政治參與發展出密不可分的關係。然而，其作品又溢出「革命電影」一詞。他拍武裝革命，卻避開英雄與奇觀；他關心政治，更警惕教條，曾言「吸引我的並非英雄，而是日常」。鏡頭下的革命，更多是發生在人民的勞動、歌唱與鄰里互助之間，心繫女性的參與、文化的延續與語言的重生。他記錄黑人詩人、思想家，也關注穿梭於街坊的掃地工、愛足球的饒舌少年，對生命的熾熱關懷始終貫穿作品。其精神導師艾梅・塞澤爾曾寫詩相贈，或許足以成為他一生的貼切註腳：「手持攝影機，對抗壓迫、異化，並公然挑戰人性的狗屎爛事。」本單元希望呈現的，正是這樣一位無法被定義的作者、倡議者、詩人。透過這次選映的12部作品，從革命到日常，從劇情、紀錄到詩性表現，梳理出馬爾多羅的豐富樣貌。

Sarah Maldoror (1929-2020), a pioneering filmmaker, secured a place in the histories of women’s cinema and African cinema with the anti-colonial classic Sambizanga. The film earned her titles “Mother of African Cinema” and “revolutionary auteur”. Yet these labels are never quite sufficient. With over forty films to her name, her body of work closely accompanies the major intellectual and political movements of the 20th century—Négritude, Pan-Africanism, feminism, and communism—tirelessly documenting the people’s struggle for liberation.

Born in France to a Guadeloupean father and a French mother, she began her career as a theater-maker, co-founding a theater company, Les Griots—the first theatrical troupe in France composed entirely of Black actors in the 1950s, before studying filmmaking in Moscow. She later joined Africa's anti-colonial struggles and became a key figure in pan-African cinema. Despite being deeply committed to the liberation movements in Africa with her companion, the MPLA poet and founder, Mário Pinto de Andrade, her work eschewed propaganda and heroic spectacle, locating revolution in labor, song, neighborhood solidarity, women’s participation, cultural continuity, and everyday lives. Throughout her life, she continually crosses identities, borders, and cinematic forms, using cinema as a tool of pursuing freedom and resistance. Rooted in Black consciousness yet spanning across Africa, Europe, and the Black diaspora, she forged a singular cinematic language. Perhaps no words better capture her life's work than her mentor Aimé Césaire dedicated to her: "To Sarah Maldoror, who, camera in hand, fights oppression, alienation, and flies in the face of human bullshit."

本單元特別感謝莎拉馬爾多羅與馬里奧德安德拉德朋友協會及其創辦人安努奇卡・德安德拉德的協助與促成。

This program was made possible with the help and immense support of the Friends of Sarah Maldoror and Mario de Andrade Association and Annouchka de Andrade.

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