《濁水漂流》DRIFTING
監製 Producer: 文佩卿 Mani MAN
導演 Director: 李駿碩 Jun LI
編劇 Screenplay: 李駿碩 Jun LI
攝影指導 Cinematography: 梁銘佳 LEUNG Ming Kai (HKSC)
美術及服裝總監 Production & Costume Designer: 潘燚森 Albert POON Yick Sum
剪接 Edited by: 麥曦茵 Heiward MAK, 李駿碩 Jun LI
原創配樂 Original Music: 黃衍仁 WONG Hin Yan
音效設計 Sound Design by: 鄧學麟 Cyrus TANG
類型 Genre: 劇情 Drama
演員 Cast: 吳鎮宇 Francis NG, 謝君豪 TSE Kwan-Ho, 李麗珍 Loletta LEE, 蔡思韵 Cecilia
CHOI, 朱栢康 CHU Pak Hong, 寶珮如 Baby BO, 柯煒林 Will OR
片長 Duration: 113 分鐘 minutes
製作年份 Year of Production: 2020
Under the flyovers of Sham Shui Po in Hong Kong live a group of down-and-outs. Despised by local residents, they are regularly forced to move due to the city’s redevelopment projects.
One winter night, the authorities clear all their personal belongings while they are sleeping. Sick of being evicted, Fai and his companion decide to build wooden fences around their living space. Meanwhile, Ms. Ho, a young social worker, helps them take to court to demand compensation for their losses.
輝哥(吳鎮宇 飾)剛出獄，回到烏煙瘴氣的深水埗街角，與越南難民老爺(謝君豪 飾)、洗碗工陳妹(李麗珍 飾)、毒癮極深的大勝(朱栢康 飾)、半身不遂的阿蘭(寶珮如 飾)等街友們再次重遇。出冊當晚遇上食環署人員突擊掃蕩，輝哥與街友們的家當盡失，剛畢業的社工何姑娘(蔡思韵 飾)替眾人打官司申請索償，並要求政府道歉。
輝哥與街友們在另覓居所時，認識了一個口齒不清的年輕街友木仔(柯煒林 飾)，眾人合力搭建小木屋群來相依為命。天橋底下畢竟是個龍蛇混雜的地方，街友們看似平靜又透明的生活被打破，一次意外更令眾人被迫四散。在公義和賠償來臨之前，又有多少街友能捱過寒冬？
Director’s Statement
This is a story about dispossession and the failure of social infrastructure, about how a group of people depended on each other for survival, and their quest for dignity and justice. It is based on a true event of this group of homeless men and women who decided to sue the government for its violent clearance of the streets in 2012.
During the pre-production of this film, the social movement in Hong Kong had already erupted. Without knowing November 2019 would be the city’s worst month, we opted to continue because we felt that the story was urgent. Now the work captures those emotions – the anger and hopelessness – of this contemporary moment. This film would have had a di#erent look and quality if it was shot in a di#erent period, but the most valuable feature of this work is its rawness and directness at its destined time.
第一次接觸深水埗露宿者，我還是個二十出頭的學生記者，那時大家在玉石市場門口席地而睡。你坐下來，他們就會開始講，前世今生，所有無法痊癒的傷口，所有無法遺忘的痛苦，當中所有細節。
後來我離開香港一段時間，再回來探望，木屋已建得非常綢密，圍藩愈建愈高，人去人來，大家相忘於江湖。我作為外來人，要接觸他們愈來愈困難，亦把這因外來侵犯而衍生的改變寫下，把善意與敵意都寫下。
很多人知我拍這部戲，都想問為甚麼。為甚麼他們會住在街上-他們做了甚麼令自己流落在街上？這部戲不要回答這個問題，因為我不是要譴責或同情。我只關注這當下的露宿生活與狀態，我相信，無論來自哪裡，過去做過甚麼，都有權爭取自己應份的尊嚴，都有權得到作為人的待遇和尊重。