鏡頭漫遊位在巴黎的拉雪茲神父公墓，掠過石板小徑、繁茂草木、靜默墓碑與好奇回望的貓。明明此地長眠無數名流，影片卻未逐一駐足介紹，反而以輕盈目光尋訪隱蔽角落，伴隨詩人艾呂雅〈自由〉等詩作吟誦，讓文字與風景層疊辯證。馬爾多羅鮮為人知的小品，短短數分鐘便讓墓園超越死寂，變成詩歌、革命與記憶的迴盪場域，充分體現以詩性重塑空間的創作方法。

Wandering through Paris’s Père Lachaise Cemetery, Maldoror lingers on hidden corners rather than famous graves. Accompanied by Paul Éluard’s poem Liberté, this little-known short transforms the cemetery into a space where poetry, revolution, and memory converge through her distinctly poetic cinema.

<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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