?️【每日影訊】原一男的紀錄片舉世知名之處，在於他採取「積極」的鏡頭介入電影，直接挑釁人物甚至煽動事件。在新作《石棉村大訴訟》，則似乎一反其過往作風，傾向以旁觀的鏡頭拍攝，反應較為被動。為何有這種改變？導演在3月25日舉行的大師班提供了答案，影迷可在每日影訊或YouTube重溫文字或影片紀錄。

[Festival Daily] Though Hara Kazuo has been known to wield the camera as a tool of righteous aggression, in SENNAN ASBESTOS DISASTER, his camera is more observational and reactive. Why such a change? Find his answer at the link below, or watch the full video on our YouTube channel!

?每日影訊全文 Read more on the Master Class? http://www.hkiff.org.hk/news/detail?id=210

▶️《祭軍魂》 THE EMPEROR’S NAKED ARMY MARCHES ON 6/4, 9:45 pm, The Grand http://www.hkiff.org.hk/film/detail/id/378

▶️《極私愛慾．戀歌1974》 EXTREME PRIVATE EROS: LOVE SONG 1974 7/4, 5:00 pm, The Metroplex http://www.hkiff.org.hk/film/detail/id/376

香港國際電影節 #HKIFF #HKIFF42 #原一男 #harakazuo