掩眼法
劉景愉
澳門 Macau｜2025｜實驗 Exp｜彩色 + 黑白 Color + BW｜13 min｜無對白
✧臺灣首映 Taiwan Premiere
✧2025 雅典國際電影和錄像節
✧2025 東京 Image Forum 影展 優秀獎
✧2026 洋蔥城實驗影展 特別提及
這是一則關於小丑、眼睛與幻象的寓言。在東方的「拉斯維加斯」裡，一名被列入黑名單的少年穿行於霓虹流轉之間，並在一處被遺忘的垃圾填埋場中，逐步揭開「國王」的祕密 —— 那是一道通往宇宙的連結，指向一棵神祕之樹，編織著現實的紋理與存在。
This is a tale of a Joker, an eye, and an illusion. In the East’s version of Las Vegas, a kid blacklisted by the casinos wanders through the city’s dazzling lights, uncovering the King’s secret in a forgotten landfill—a cosmic connection to a mystical tree that holds the fabric of reality.
導演
劉景愉
澳門電影導演與藝術家，畢業於英國伯恩茅斯藝術大學電影導演學士課程，目前於DocNomadsPlus 修讀紀錄片碩士課程。其創作透過運用多種影像媒材，融入戲劇魔術的表演性，並將其作為延展性的隱喻，探討現實的感知與想像如何被建構與生成，從而映照當代澳門在身份、記憶與未來之間的多重面向。
Keng U LAO is a filmmaker and artist. He graduated from Arts University Bournemouth with a BA degree in Film Directing and is currently pursuing the DocNomadsPlus Master Programme in Documentary Filmmaking. Through different materialities of the moving image, Lao explores the performativity of theatrical magic as an expanded metaphor for how perceptions and imaginaries of reality are manipulated and generated. Lao’s works reflect and refract conceptions of identity, memory, and futurity in contemporary Macao.
單場購票連結
我從十一歲開始學習魔術，一直很喜歡表演撲克牌魔術。對我來說，撲克牌從來不只是道具，就像陪伴我成長的童年玩具。
不久前，一位朋友給我看了一張照片，照片中是賭場大量丟棄到堆填區的撲克牌。那個畫面意外喚起了我對家的一種純真感覺，幾乎像是一種「saudade」——一種難以言明、對一個地方與一種感受的思念。
我開始想，如果這些撲克牌能離開賭桌，以自己的方式存在，會發生什麼事？
這部電影便從這個念頭開始。我想讓一件與澳門熟悉、又與賭博緊密相連的物件，離開原本的命運，獲得自己的能動性，成為一則關於記憶、幻象與家園的都市傳說。
I have been a magician since I was eleven, and I have always loved performing card magic. To me, playing cards have always been more than props, as if they were my childhood toys.
Some time ago, a friend showed me a photograph of the enormous amount of playing cards discarded by casinos into a landfill. The image unexpectedly brought back an innocent feeling towards my home, almost like saudade where a longing for a place and a feeling that is difficult to name.
I began to wonder what would happen if these cards could leave the gambling table and exist on their own terms.
This film grows from that thought. I wanted to take an object so familiar to Macau and let it depart from its origin, develop an agency of its own, and become part of urban fairy tale about memory, illusion, and home.
相關文章與座談