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A Hidden Trail / 獸徑
Format: DCP Interop format 24fps Aspect ratio: Flat 1.85:1 Resolution: 2K Sound: Stereo Running time: 25 mins 2020 Taiwan Director / Writer: Tsai Hsuan Kang |
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Synopsis
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Several illegal migrant workers carry the felled logs through a small winding trail. An accident happens when the police try to arrest them.
The night coming, the injured worker, Đoàn, has a strange interaction with the man who wants to find him. They catch a glimpse of each other's traces of existence. |
高山上的森林一隅，幾名非法移工準備搬運盜伐的木頭下山。另一端，員警埋伏整日，百無聊賴地等待著。一場意外使得雙方有了交會，在夜色逐漸籠罩的森林裡，他們瞥見了彼此生存的蹤跡…。
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Filmmaker’s Statement
This story is adapted from a true event. Though the narrative diverges in places, the actual incident was just as mysterious and sorrowful.
During field research, I discovered unexpected and compelling links among the people involved. Around a decade ago, illegal logging groups would recruit Taiwanese Indigenous workers—driven by economic pressures, but also because of their deep familiarity with the forests where they were raised. In more recent years, however, these roles have largely been taken over by Vietnamese laborers. Most come from northern and central Vietnam, where the landscape resembles Taiwan’s mountainous terrain. They are younger, physically stronger, and more easily exploited.
For many Indigenous communities, the forest is more than just a place of living. It is a sacred space, a traditional homeland passed down through generations. This layered geography—both personal and political—bears the weight of many histories.
Looking more broadly, while these two ethnic groups may belong to different times and contexts, their shared experiences of migration, labor, and struggle resonate in parallel. In this work, I’m drawn to these intersections—geography, memory, and the layered relationships between different communities. In the film, when the young policeman searches for Đoàn in the dark, I imagine he is searching for another self.
Through this film, I wanted to explore the collective memories and quiet, internal connections between different communities. I also hoped to suggest that even within the boundaries of what is considered fact, there may lie other possibilities—alternative narratives, imagined solidarities. In the end, whether between people and others, or between humans and the natural world, I hope the film gestures toward a kind of reconciliation.
During field research, I discovered unexpected and compelling links among the people involved. Around a decade ago, illegal logging groups would recruit Taiwanese Indigenous workers—driven by economic pressures, but also because of their deep familiarity with the forests where they were raised. In more recent years, however, these roles have largely been taken over by Vietnamese laborers. Most come from northern and central Vietnam, where the landscape resembles Taiwan’s mountainous terrain. They are younger, physically stronger, and more easily exploited.
For many Indigenous communities, the forest is more than just a place of living. It is a sacred space, a traditional homeland passed down through generations. This layered geography—both personal and political—bears the weight of many histories.
Looking more broadly, while these two ethnic groups may belong to different times and contexts, their shared experiences of migration, labor, and struggle resonate in parallel. In this work, I’m drawn to these intersections—geography, memory, and the layered relationships between different communities. In the film, when the young policeman searches for Đoàn in the dark, I imagine he is searching for another self.
Through this film, I wanted to explore the collective memories and quiet, internal connections between different communities. I also hoped to suggest that even within the boundaries of what is considered fact, there may lie other possibilities—alternative narratives, imagined solidarities. In the end, whether between people and others, or between humans and the natural world, I hope the film gestures toward a kind of reconciliation.
這個故事是改編自真實的事件，雖然情節有些不同，但實際發生的事也是一樣神秘且悲傷。在田野調查的過程中，我發現許多關於這些人有趣的連結。在大約十年以前，盜伐集團會利用經濟因素去利誘一些台灣原住民作為工人，原因之一也是因為他們很熟悉這些他們生長的山林環境。而近幾年，這些盜伐工人幾乎全部汰換成越南人了，因為他們更年輕、體力更好，而且他們幾乎來自於中越以及北越，因為他們原鄉的生長環境很類似。另一方面，山林環境對原住民來說也具有很特殊的意義，那是他們的傳統領域，也是祖先一直生長於斯的故鄉。
放更遠來說，雖然發生的時代不同，但是在遷徙工作以及所遇到的挫折上，兩個族群有其相似處。因此，地理、集體記憶和不同族群間的關係是我想在其中探索的。在片中，年輕警察在黑夜中尋找著阿團的蹤跡時，我也想像他是在尋找另一個自己。
藉由本片，我想探索不同族群間的集體記憶，以及內在精神上的關聯。我也希望能在既定的事實上，呈現出另一種或多種可能的存在。而創作本片的最終核心也希望是，不管是我們與他方之人的關係，或是人與自然的關係，最後都能在其中得到某種和解。
放更遠來說，雖然發生的時代不同，但是在遷徙工作以及所遇到的挫折上，兩個族群有其相似處。因此，地理、集體記憶和不同族群間的關係是我想在其中探索的。在片中，年輕警察在黑夜中尋找著阿團的蹤跡時，我也想像他是在尋找另一個自己。
藉由本片，我想探索不同族群間的集體記憶，以及內在精神上的關聯。我也希望能在既定的事實上，呈現出另一種或多種可能的存在。而創作本片的最終核心也希望是，不管是我們與他方之人的關係，或是人與自然的關係，最後都能在其中得到某種和解。
Stream online↓ ↓ ↓
Trailer
Festivals
Clermont-Ferrand International Short Film Festival-International competition, 2022
FIFIG-International Island Film Festival of Groix_Fiction short films competition, 2022
Golden Harvest Awards & Short Film Festival, 2022
Incheon Diaspora Film Festival, 2022
Asia International Film Week, 2022
Fresh Wave International Short Film Festival, 2021
Kaohsiung Film Festival, 2020
FIFIG-International Island Film Festival of Groix_Fiction short films competition, 2022
Golden Harvest Awards & Short Film Festival, 2022
Incheon Diaspora Film Festival, 2022
Asia International Film Week, 2022
Fresh Wave International Short Film Festival, 2021
Kaohsiung Film Festival, 2020
法國克萊蒙費宏短片影展 國際競賽入圍, 2022
FIFIG-International Island Film Festival of Groix_Fiction short films, 2022
金穗獎 最佳劇情片入圍, 2022
韓國仁川Diaspora Film Festival, 2022
Asia International Film Week, 2022
香港鮮浪潮國際短片節, 2021
高雄電影節, 2020
FIFIG-International Island Film Festival of Groix_Fiction short films, 2022
金穗獎 最佳劇情片入圍, 2022
韓國仁川Diaspora Film Festival, 2022
Asia International Film Week, 2022
香港鮮浪潮國際短片節, 2021
高雄電影節, 2020
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Director / Writer: Tsai Hsuan Kang
Cast: Tey Lung Jiru, BiuBiu Wu Yung Hung Shih, Cao Văn Duy, Nguyễn Văn Đức, Trần Văn Vũ Assistant Director: Hung Jing-an Producer: Lin Chun-han Director of Photography: Garvin Chan 1st Assistant Camera: Matt Huang 2nd Assistant Camera: Lai Zhong-yi, Liao Zi-you, Deng Qin-hao, Yu Yuan-pang Script Supervisor: Lee Yu, Lu Shao-an Production Coordinator: Liu Yen-hung Production Assistant: Li Yi-zheng, Chang Yi-hsiu, Lee Wei-chin Production Designer: Liao Yin-chiao Assistant Art Director: Hsieh Huei-ping Prop Master: Teng Ming-yu Costume Designer: Lin Zi-yu Makeup Artist: Edna Hung Sound Recordist: Cai Du-yi Boom Operator: Liu Chiao-his Gaffer: Liu Chen-wei Best Boy: Godzilla Kai Lighting Technician: Huang Ye-qin, Zhao Heng Electrician: Dai Wei-long Key Grip: Chen Ren-zhi Best Boy Grip: Hou Yu-lun Still Photographer: Liu Zhe-jun Vietnamese Casting: Lê Gia Linh Editor: Door Liu Sound Designer and Mixer: Yannick Dauby Colorist: Ben Chan Assistant Colorist: Willy Huang Produced by Kaohsiung film fund & Kaohsiung Film Archive |
導演/ 編劇: 蔡弦剛
演員: 方聖傑, 吳原標 施永鴻, 高文維, 阮文德, 陳文預 副導演: 洪靖安 製片: 林君翰 攝影指導: 詹嘉文 攝影大助: 黃得祐 攝影二助: 賴忠毅, 廖梓佑, 鄧欽豪, 俞元龐 場記: 李悠, 呂紹安 執行製片: 劉彥宏 製片助理: 李怡錚, 張伊琇, 李威槿 美術指導: 廖音喬 執行美術: 謝慧萍 美術助理: 鄧名佑 造型: 林芷妤 妝髮/特化: 洪丌涵 錄音: 蔡篤易 錄音助理: 劉巧希 燈光指導: 劉宸瑋 燈光大助: 李紹凱 燈光助理: 黃業勤, 趙珩 電工: 戴偉龍 場務: 陳人誌 場務助理: 侯宇綸 劇照: 劉哲均 越南選角: 黎家伶 剪接: 劉人鳳 聲音設計/混音: 澎葉生 調光: 詹謹嘉 調光助理: 黃明偉 出品人: 高雄人 監製: 高雄市電影館 |
