剧情介绍
即使在衝突不斷的阿富汗，仍有一群熱愛電影的人正全力搶救他們的電影史。阿富汗電影中心從老舊倉庫翻出八千多小時的蒙塵膠卷，一邊尋求修復資金與保存方法，一邊需要提防隨時隨地發生的自殺炸彈威脅。
在外界勢力與塔利班掌權的陰影下，阿富汗的電影藝術與自由一同遭到扼殺。上一代影迷冒著生命危險將膠卷藏起，下一代影迷接手修復曾經的耀眼光影，膠卷留下阿富汗沒有戰爭、人民安居樂業的光景，更令人不勝唏噓。導演因深受歷史悠久的阿富汗吸引，排除政治與外交困難，主動與阿富汗電影中心接洽，共同挖掘出險遭戰事掩埋的歷史。特寫他們對於國家又愛又失望的糾結，讓倏忽即逝的影像真理穿越戰亂與邊界。 Film preservation is a challenge all over the world, but on this scale of crisis Afghanistan ranks near the very top. The mini boom in film production that followed the establishment of the state Afghan Film organization in 1965 came to an end with the ascension of the Taliban, which viewed cinema as Western culture that needed to be expunged. The country's film history might well have been lost forever, if not for the brave custodians who risked their lives to conceal films from the regime. In A Flickering Truth, we meet the dedicated cinephiles who are now excavating, preserving, and restoring thousands of hours of film footage, both drama and documentary, from Afghanistan's cinematic past. The effort is led by Ibrahim Arify, who had been jailed for filmmaking under the Mujahedeen and fled the country to start a new life in Germany. Now, he has returned to rebuild Afghan Film and help bring a sense of order to a country where resources are scarce and needs are great. The heart of ...
在外界勢力與塔利班掌權的陰影下，阿富汗的電影藝術與自由一同遭到扼殺。上一代影迷冒著生命危險將膠卷藏起，下一代影迷接手修復曾經的耀眼光影，膠卷留下阿富汗沒有戰爭、人民安居樂業的光景，更令人不勝唏噓。導演因深受歷史悠久的阿富汗吸引，排除政治與外交困難，主動與阿富汗電影中心接洽，共同挖掘出險遭戰事掩埋的歷史。特寫他們對於國家又愛又失望的糾結，讓倏忽即逝的影像真理穿越戰亂與邊界。 Film preservation is a challenge all over the world, but on this scale of crisis Afghanistan ranks near the very top. The mini boom in film production that followed the establishment of the state Afghan Film organization in 1965 came to an end with the ascension of the Taliban, which viewed cinema as Western culture that needed to be expunged. The country's film history might well have been lost forever, if not for the brave custodians who risked their lives to conceal films from the regime. In A Flickering Truth, we meet the dedicated cinephiles who are now excavating, preserving, and restoring thousands of hours of film footage, both drama and documentary, from Afghanistan's cinematic past. The effort is led by Ibrahim Arify, who had been jailed for filmmaking under the Mujahedeen and fled the country to start a new life in Germany. Now, he has returned to rebuild Afghan Film and help bring a sense of order to a country where resources are scarce and needs are great. The heart of ...
阿富汗版《一秒钟》。只要影像资料还在，文明的延续就有了希望……
「大篷车风味。素材可能不够，简略地抒发了下good old days，塔利班缺位是无法弥补的角度。」如今塔利班归位了。
4.0。1.从蒙尘的胶卷堆里抢救岌岌可危的电影史，或许并非什么伟大使命，而更是关于迷影的稀松日常。2.新西兰申奥片，想起安哲那部《尤利西斯的凝视》。
文化的价值
在蒙尘的胶卷中寻找一个未被战乱毁灭的文明。
片子拍攝一塊估計會被人詬病，但是這就是“意義大於技法”的片子。我真的為這幫默默地搶救阿富汗電影的人而感動，而且還要在戰爭陰雲之下上山下鄉做放映，皆因想讓國民看到電影中的民族性與文化。我一直都很想看到阿富汗過往的電影。除了阿里·卡拉姆夫的《喀布爾之夏》以外，我從未看過別的……
大篷车风味。素材可能不够，简略地抒发了下good old days，塔利班缺位是无法弥补的角度。
2016/3/24 皇室戏院930PM
新西兰今年的申奥电影，纪录一位导演回到阿富汗接管国家电影中心，挽救和修复百年历史胶片的故事。塔利班的文化灭绝带来了太多苦难，散落蒙尘的胶片就像一个民族的呻吟。最后的露天流动电影院让人再次看到希望，而片尾致敬的驼背老人，在电影中心独守了60年...
把影像当成是国家历史与民族文化的一部分加以拯救，阿富汗的电影资料馆就是胶卷的避难所，上山下乡搞放映会，修复战乱中损坏的胶卷，在这个国人将铁器出售给敌国换钱的怯懦时代算得上有大担当。纪录片本身一般，题材罕见。
Love it, work for it, die for it.
膠片熱加檔案熱。
题材好，叙述好
其实开头废墟底下的胶卷是拍的蛮美的啦，但总有种把记录片当成文艺片在拍的感觉。。。以及好怀疑这些乡民，孩子们以及大兵们看阿富汗一百年前的电影又那么投入嘛。。。其实我一直有断断续续地睡着，真的不怪电影，皇室戏院的椅子实在太好睡了！~
果然终究是外来白人拍的~素材挺好的，但导演非要不时剪成MV也是让人很无奈~明明有个好故事却死都不肯叙事也是挺坚持原则的，大概。。。又，我怎么觉得，那位跑回德国的阿富汗总监被黑了。。。