一顆痣的自白
譚墨
波蘭、中國 Polska,China｜2025｜紀錄 Doc｜彩色 Color｜92 min｜中文、淮安方言、英語發音 Mandarin,Huai’an dialect,English
✧2025 IDFA 阿姆斯特丹國際紀錄片影展Envision競賽單元
✧2026台灣國際紀錄片影展
✧2026 Docs against Gravity
✧2026 Neisse Nysa Nisa Film Festival
✧2026 Zagrebdox International Documentary Film Festival
✧2026 Pordenone Docs Fest
旅居波蘭七年的中國導演，在農曆新年返鄉探親，卻意外捲入久違的家庭紛爭。當算命師預言她臉上的痣會帶來厄運，父母間破裂的關係、要求她除痣的過度關注，以及一段失控的感情，都讓她備感壓力，甚至開始質疑命運是否真的早已寫定。身兼導演與被攝者，融合悲劇與荒謬劇，在死亡與創傷的陰影下，逐一攤開家人間壓抑多年的情緒、誤解與傷害。
After seven years of living in Poland, Mo, a Chinese filmmaker, returns home for the new year. Having long lived away from her family, Mo now finds herself immersed in their daily dramas. A fortune teller’s unsettling prediction regarding a mole on her face triggers a crisis: her parents demand she remove the mole surgically to avoid misfortune, but Mo stubbornly insists on keeping it. Her parents’ broken relationship and their fixation on her drives her to the brink, and a toxic relationship with her boyfriend only makes matters worse. When Mo is diagnosed with breast cancer, she begins to wonder whether the mole is to blame after all. Facing death, she desperately seeks ways to escape the cycle of turmoil to which she has returned. “The Confession of a Mole” is a tragicomic melodrama about the burdens of being a young woman in contemporary Chinese society.
導演
譚墨
譚墨生於中國，現居波蘭華沙。2018年畢業於羅茲電影學院導演系。從早期學生作品開始，便以「自然與文明結構之間的張力」作為核心創作母題，並在創作實踐中，視紀錄片與劇情片為互相滋養、並行發展的兩種電影類型。作品持續探討文化衝突與人類處境，以敏銳的觀察視角與深層的哲學思考，推動電影敘事的邊界。《一顆痣的自白》是谭墨的第一部長篇作品。
Tan Mo was born in China and currently resides in Warsaw, Poland. She graduated from the Directing Department of the National Film School in Łódź in 2018.
From her early student works onward, she has centered her creative themes on the tension between nature and the structures of civilization. In her artistic practice, she regards documentary and fiction film as two mutually nourishing, parallel cinematic forms.
Her works consistently explore cultural conflict and the human condition. With a perceptive observational perspective and profound philosophical reflection, she pushes the boundaries of cinematic narrative. Confessions of a Mole marks Tan Mo’s first feature-length work.
本片源於對親密關係、家庭與代際矛盾的觀察，探討在撕裂的世界裡，人是否仍能在最小的社會單位——家庭，找到對話與共存的可能。我們常將創傷化為距離，而拍攝過程成為我回望與修補的契機。在形式上，影片結合攝影筆記與電影散文，以旁白揭露內心，以定格動畫呈現幻想與恐懼。作為導演與攝影者，我既是觀察者也是被凝視者，鏡頭既是見證也像刀鋒，揭露脆弱與矛盾。這是一部自我肖像式的電影，關於我從何而來、身在何處、將往何方。
Rooted in observations of intimate relationships, family dynamics and intergenerational conflicts, this film explores whether, in a fractured world, people can still find possibilities for dialogue and coexistence within the smallest social unit — the family. We often turn trauma into emotional distance, and the filmmaking journey has become an opportunity for me to look back and seek healing and reconciliation.
Stylistically, the film blends photographic notes with cinematic essay, laying bare inner thoughts through voiceover, and portraying fantasies and fears via stop-motion animation. As both director and cinematographer, I am simultaneously the observer and the observed. The camera serves as both a witness and a sharp blade, laying bare human vulnerability and inner contradictions. This is a self-portrait film that contemplates where I come from, where I stand now, and where I am heading.
11.09 ㊅ 18:10〡台南新光影城 4 廳〡★ 影人座談
11.13 ㊂ 13:20 〡台南新光影城 4 廳
紀錄類短評:
咖啡，香菸，逍遙遊。月搭台，星點燈，你哥進化哥中哥！
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台南影像獎短評:
我們在台南公園裡看到了當下台灣社會處境裡的外來人，也跟著這些年輕的外來人看到了鏡頭外的自己人，警戒中與狗同睡在涼亭的拾荒老女人，或者警衛亭裡每晚守著自己的窗上鏡像的保全老男人。我們在《公園》裡彷彿看到了創作者對著系統的裂隙傾注魔法，創造出一個比現實更充滿立體感且多維度的世界，幽默地為公園裡的人造物灑上色彩，趁著夜幕讓一切活了起來。
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