落雺
莊淯津
莊淯津 ZHUANG Yu Jin｜台灣 Taiwan｜2025｜動畫 Ani｜彩色 Color ｜6 min｜無發音，台語字卡
入圍
✧2025 螺絲起子國際學生短片創作影展
✧2025 青春影展
✧2025 高雄電影節
✧2025 關渡國際動畫節
✧2025 葡萄牙埃斯皮尼奧國際動畫電影節
✧2025 INTERFILM 41柏林國際短片電影節
✧2026 薩格勒布國際動畫影展
✧2026 廣島動畫季
獲獎
✧2025 第20屆螺絲起子國際學生短片創作影展大專動畫類-金螺絲獎
✧2025 青春影展動畫類首獎
✧2025 關渡國際動畫節-臺灣學生獎
✧2025 新北市學生影像新星獎-動畫片優選
✧2026 金穗獎-金穗大獎
一條下班路，從喧囂的城市巷弄延伸至人煙稀少的產業道路，途中經過一個鐵路平交道。穿越鐵軌時，迎面而來的大霧讓人思考生命的終點，以及對自然界生靈的崇敬。這裡有被污染的環境，也有生活其中的人類心靈。
A road home from work stretches from the bustling city alleys to a desolate industrial road, passing through a railway crossing along the way. As I cross the tracks, the thick fog rolling in makes me contemplate the end of life and a deep reverence for the living beings of nature. Here, there is a polluted environment, yet also the human soul that dwells within it.
導演
莊淯津
畢業於台南藝術大學動畫藝術與影像美學研究所動畫藝術組。首部獨立動畫作品《死囡仔》入圍 2024 年金穗獎與金馬獎短片競賽單元，作品多以個人經驗出發，關注教育、成長與生活環境中的細節與情緒。擅長運用水彩、石膏板刮畫、粉彩等手繪媒材進行影像創作，並探索不同載體與材料的表現可能性。
Graduated from the Tainan National University of the Arts. The first independent animated work, Bad Kids, was selected for the 2024 Golden Harvest Awards and the Golden Horse Awards short film competition. Drawing from personal experiences, works focus on themes such as education, growth, and the subtle emotions and details within everyday surroundings.
破碎肖像的來回凝視構築出如鯁在喉的秘密；本片精良設計，將多年搬演的話語濃縮成五分半的低語呢喃，短促且極具力量。是位未來無法忽視的動畫創作者。
《落雺》意指起霧。過去工作通勤時，經常遇見無由而生的灰濛大霧，既可能來自空氣汙染，也映照心中的霧霾，象徵對生命逝去的恐懼。自研究所一年級起，便開始以水彩持續描繪日常觀察的生活場景，從小尺寸背景逐步拼貼成更開展的視野，並保留紙張拼接的痕跡，象徵記憶與臺灣景色的交織。片中可動物件延續前作《死囡仔》於石膏板上繪製動畫的技法，粉狀媒材所呈現的質地，貼近我對空氣顆粒的想像。
Falling Mist refers to the moment when fog begins to rise. During my daily commute, I often encountered sudden, inexplicable mist—at times a result of air pollution, yet also a reflection of the emotional smog within, symbolizing a fear of loss and mortality. Since my first year of graduate study, I have continuously painted observed everyday scenes in watercolor, gradually expanding from small background studies into wider, collage-like landscapes. The visible seams of the paper are intentionally preserved, representing the stitching together of memory and Taiwanese scenery. The animated moving elements extend the technique used in my previous film Bad Kids, drawn on plasterboard; the powdery texture closely embodies my imagination of particles suspended in the air.
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