公園裏面沒有人
詹亞魁
中國 China｜2026｜劇情 Fic｜彩色 + 黑白 Color + BW｜108 min｜中文發音 Mandarin
✧臺灣首映 Taiwan Premiere
故事發生在 COVID-19 大流行期間的一個夜晚的公園。主角是個對愛滋病極度恐懼的男同志。由於對愛滋病的強烈恐懼，他不敢與他人發生性關係，但他也被公園裡的慾望所吸引。這個公園是同性戀者的聚集地，他在這裡遇到了形形色色的陌生人，每個人都在尋找、逃避或沉淪在公園的陰影中…
The story takes place in a park at night during the COVID-19 pandemic. The protagonist is a gay man who is extremely afraid of AIDS. He is afraid to have sexual relationships with others due to his strong fear of AIDS, but he is also attracted by the desire in the park. This park is a gathering place for gay people, and he meets a variety of strangers here, each of whom is seeking, escaping, or sinking into the shadows of the park……
導演
詹亞魁
以多重身份參與影像創作，橫跨導演、編劇、製片、演員甚至服裝等不同工種，在不斷轉換的創作角色之中，建立起個人化的影像方法與敘事感知。
每年固定進行一部「LOOPS」系列短片創作，將影像視為一種可被反覆拆解與重組的結構，關注時間、循環與感知之間的關係。《公園裏面沒有人》為其自編自導的首部長片作品。
Engaged in filmmaking across multiple roles, spanning directing, screenwriting, producing, acting, and costume design, he has gradually developed a personal approach to image-making and narrative through the continuous shifting of creative positions.
He continues to develop the “LOOPS” short film series, treating moving images as structures that can be repeatedly deconstructed and reassembled, with a focus on time, repetition, and perception.
Under the Gaze of Night is his first feature film as writer and director.
單場購票連結
疫情期間，同志公園成為被壓縮的慾望空間。當公共生活被封鎖，個體被迫退入更隱蔽的角落，在監控與規訓中尋找彼此。本片以一名恐懼HIV的男子為線索，他所遭遇的群像——色情明星、醫生、流浪者、販藥者與警察——構成一幅被權力滲透的生存圖景。
「公園裏面沒有人」既是謊言，也是策略，是在強權凝視下對自我存在的否認。本片將同志公園置於社會主義語境中，揭示國家機器、疾病話語與道德規訓如何交織，迫使個體在欲望與恐懼、可見與隱形之間持續游移，呈現一種帶有高度政治性的集體沉默。
During the pandemic, the gay park became a compressed space of desire. As public life was shuttered, individuals were forced into more secluded corners, seeking one another amidst surveillance and regimentation. Following a man haunted by the fear of HIV, the film captures a constellation of characters—porn stars, doctors, vagrants, drug dealers, and police—forming a landscape of survival permeated by power.
"There is no one in the park"" is both a lie and a strategy; it is a denial of self-existence under the gaze of authority. Placing the gay park within a socialist context, the film reveals how the state apparatus, the discourse of disease, and moral discipline intertwine. It forces individuals to oscillate between desire and fear, visibility and invisibility, presenting a highly political form of collective silence.
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