Literaryphenomenon.Revolutionarystoryteller.Feministicon.NovelistJackieCollins’trailblazingandglamorouslifeisrememberedandreconsideredinLauraFairrie’sadmiringdocumentaryportrait.

　　AlookatthelifeandworkofCharlieChaplininhisownwordsfeaturinganin-depthinterviewhegavetoLifemagazinein1966.

　　In2014,directorRichardLinklaterreleasedBoyhood,afictionalcoming-of-agesagathatwasfilmedusingthesamecastacrosstwelveyears.Thisfilmmirrorsthatconcept:creatingareal-lifeepicofboyhoodandmanhoodthatfollowsthesameindividualover20years,livinginoneofthemostdangerouscountriesintheworld.WhenwefirstmeetMir,heisamischievousboyofsevenlivinginacaveincentralAfghanistanalongsidetheBuddhasofBamiyan,twostatuesthatwererecentlydestroyed.Fortwodecades,thefilmfollowstheadventuresofhislife,until,asanadultwithafamilyofhisown,hedecidestopursuehisowncareerasanewscameramaninKabul.Morethanjustapersonaljourney,MyChildhood,MyCountryisanpowerfulexaminationofwhathas–andhasnot–beenachievedinAfghanistanoverthepast20years.

　　曾以巨作《电影史话》漫谈百年影史的马克·卡曾斯，在全球戏院受到疫情影响而冰封之际，以新作回首过往十年的动荡影像革命。抛开编年叙事，改以跳跃的自由联想，将信手拈来的影像，缝缀成灵光闪现的魔幻诗篇。于阿彼查邦的《幻梦墓园》沉睡，在卡拉克斯的《神圣车行》醒来，看见蔡明亮的VR全景幽灵、戈达尔的错置3D视角，再从《冷战》的冷冽黑白，倏忽坠入《蜘蛛侠：平行宇宙》的迷幻炫彩……十年彷彿一瞬，电影美好而永恒。
　　这不只是一部影像纪事，更是探究人类集体意识的哲思冥想，镜头同步凝视疫情下的空荡城市及戏院，在清醒与阖眼之间，带领观众叩问真实、想像未来，更从这些记忆犹新的作品，看见自己追逐大银幕的身影。不仅是前作续篇，更是写给下一轮影迷盛世的备忘录。