High Life

28 品 Macau has talent and challenges Earlier this year, Bessmertny held a solo exhibition titled Degustation in old Taipa Village Art Space, showcasing a selection of short films and commercials from the past seven years of his career, including Tricycle Thief and Sampan . “In filmic terms, Bessmertny’s films breathe the essence of Macau’s cultural diversity and contrasting urban environments,” states exhibition curator João Ó. “One can see a clear evolution of his technical skills and audacity in the production while keeping his style and vision genuine: a combination of a wicked sense of humor, human desire, a narrative that revolves around a character and an object and, finally, a surrealistic take on the subject matter.” For Bessmertny, the fact that Macau is featured prominently in his work is mostly a consequence of the fact that he lives here. “There are so many talented Macau filmmakers who went to film schools all over theworld, were trained and noware coming back,” he says. “Meanwhile the industry has terrific support from government and a good support from associations here. And it’s just growing and growing.” 澳门有达人亦有挑战 今年早些时候，贝马善在氹仔旧城区艺术空间举办了一场名为「品尝」的个人展 览，集中放映了他在过去七年的职业生涯中拍摄的包括《三轮车夫》和《三舨》 在内的数部短片。 策展人 Jo ã o Ó 在展览中如是说道：“从电影角度来说，贝马善的电影反映 澳门文化多样性与对比鲜明的城市环境之精髓：高文化与低文化之间略为紧张的 关系，前者由博彩相关行业推动，后者则是以仍然依靠传统行业维生的基层阶级 为代表。 “观者可以看到他在制作技巧和作风上的破格演变，同时保留着个人风格和 远见：恶作剧般的幽默感、人的欲望、围绕一个角色和一个物件的叙述以及对主 题的超现实描写的结合。” 贝马善说，澳门之所以在其作品中占据突出地位，主要是因为他一直住在这 里。 “有很多才华横溢的电影制片人去世界各地的电影学院接受培训，现在又 回到澳门从事电影创作。同时澳门的电影行业亦得到了政府及很多协会的大力支 持。它正在不断成长。” 而他对澳门电影的前途亦充满信心：“这里就像1905年的好莱坞。技术已 经纯熟，一切都在发生。 “现在的主要困难是，没有人愿意投资电影短片，除非是商业短片。而且拍 完之后营销更困难。《三舨》这部电影从拍完之后，我花了两年时间才终于才让 它登上了大银幕。过程很漫长，但最终还是值得的。 “机会终究会来。我能做的就是尽一切努力找到一个好故事，然后将其送上 大银幕。”