Name: 《紐約愛·重遊》應該要被提名！ (The Florida Project Should've Been Nominated)
Uploaded: 2026-03-04T17:33:11.000Z
Duration: 7 min 11 s

轉承詞

You know, I don't really get upset about Oscar snubs anymore because, I mean, it's the Oscars.

說真的，我現在不太會在意奧斯卡沒入圍這件事了，畢竟，這是奧斯卡嘛。

程度副詞

But I was a little sad to hear that Sean Baker's the Florida Project didn't make the cut for Best Picture this year, because I think when it comes to the Academy Awards, the nominations really matter more than who the eventual winner is.

不過，聽到尚·貝克執導的《佛羅裡達計畫》今年沒入圍最佳影片，我還是有點小失望，因為我覺得，在奧斯卡金像獎這方面，入圍名單比最終得主來得更重要。

It's always silly to pick the best anything when it comes to art, but.

談到藝術，要選出「最好」的總是件很傻的事，但。

But with the nominations, at least the 7,000 members of the Academy get a chance to highlight a field of diverse, transformative films.

但有了入圍名單，至少美國電影藝術與科學學會的七千名會員有機會突顯出一系列多元、變革性的電影。

If the Oscars won't highlight the Florida project, then I'm happy to, because it's without a doubt one of the best films of 2017.

如果奧斯卡不為《佛羅裡達計畫》發聲，那我很高興能為它發聲，因為它絕對是2017年最棒的電影之一。

And watching it for me was one of those transporting experiences that I only get a few times a year, if at all.

對我來說，看這部電影是一種心靈被帶走的體驗，這種經驗一年大概只能遇到幾次，甚至沒有。

The story is about a group of kids and their parents who live in a budget motel outside of Disney World in Florida.

故事講述一群小孩和他們的父母，住在迪士尼世界附近一家經濟型汽車旅館裡。

The people who live in this community are on the economic margins, not quite homeless, but

住在這個社區裡的人們，處於經濟邊緣，不算完全無家可歸，但

not quite able to keep a permanent roof over their heads either.

The struggles of living in this kind of poverty give the film an undertone of sadness, but

住在這種貧困環境下的掙扎，讓這部電影帶有悲傷的潛在基調，但是

the genius of the Florida Project is that it tells its story from the perspective of the children who can't help but see their world as a playground.

《佛羅裡達計畫》的巧妙之處在於，它從孩子們的視角來講述故事，而孩子們只能把他們的世界看成是遊樂場。

Baker is pulling heavily from Hal Roach's Little Rascals, a classic series of comedy short films from the 20s and 30s that was groundbreaking in the way that it showed kids as well, kids trying to capture the nuances of their behavior and energy in a naturalistic way.

Baker 大量借鑒了哈爾·羅奇的《小淘氣》，這是 20、30 年代一系列經典的喜劇短片，它在展現孩子們方面具有開創性，試圖以自然寫實的方式捕捉他們行為和能量的細微差別。

Like the Florida Project, Rascals was set against economic hardship, the Great Depression.

和《佛羅裡達計畫》一樣，《小淘氣》的背景設定在經濟艱困的大蕭條時期。

These kids, too were growing up in poverty, but the focus was never on that.

這些孩子們也在貧困中長大，但焦點從來不在那裡。

It was on the scrappy optimism of childhood.

焦點在於孩子們那種樂觀進取的精神。

Now, the Florida Project has deeper ambitions than Rascals, but

現在，《佛羅裡達計畫》的野心比《小淘氣》更深遠，但是

that optimism, the brightness of this point of view, is everything.

那種樂觀，那種視角的明亮感，就是一切。

It keeps the subject matter from being too overwhelming, something that can shut down our ability to empathize and sympathize.

它讓主題不會過於沉重，而沉重的主題可能會讓我們關閉同理心和同情的感受。

Sean Baker, I think, understands, understand something really critical about storytelling, that we don't absorb things by looking directly at them.

我認為尚·貝克（Sean Baker）很懂，很懂說故事裡一個非常關鍵的東西，就是我們不是直接看著東西來吸收資訊。

Often we see more clearly through indirect means.

很多時候，我們透過間接的方式看得更清楚。

There's a lot that Baker and co writer Chris Burgosh want to say about the hidden homeless in America, but

貝克和共同編劇克里斯·柏格許（Chris Burgosh）有很多想說的，關於美國那些隱藏的無家可歸者，但是

they don't just come right out and say it or show it.

他們不會直接說出來或表現出來。

The reality of these troubled lives exists in the peripheral vision of a child's day.

這些困苦生活的事實，存在於孩子們日常生活的周邊視野裡。

Baker and a cinematographer, Alexis Sabe, keep the camera low, parents are often framed peanut style, just a bunch of legs.

貝克和攝影師艾力克斯·薩貝（Alexis Sabe）將鏡頭放得很低，父母常常被拍成花生狀，只有一堆腿。

Even when the kids aren't around, they favor low angles so that adults tower over the frames.

即使孩子們不在場，他們也偏好低角度拍攝，讓大人在畫面中顯得高人一等。

And through the course of the film, you remember what it's like to see the world from such a low angle.

而且隨著電影的進行，你會記得從這麼低的視角看世界的感覺。

You remember how big everything seemed and how much sky there actually is.

你會記得所有東西看起來有多大，以及實際上天空有多廣闊。

Carefully building this perspective pays off in a scene like this, where you have a key piece of information about these people's lives, which is that they struggle so much to make their bills that they need the assistance of a local church food bank.

小心地建構這個視角，在像這樣的場景中會得到回報，你將會獲得關於這些人生活的重要資訊，那就是他們為了支付帳單而苦苦掙扎，需要當地教會食物銀行來協助。

Baker plays this scene again from young Mooney's perspective.

Baker 再次從年輕的 Mooney 的視角來拍攝這個場景。

And we have to piece together what's really happening here.

而我們必須拼湊出這裡到底發生了什麼事。

He doesn't want to show us the food assistance itself.

他不想直接展示食物援助本身。

He wants to show us how normal something like that is to Mooney.

他想讓我們知道，對 Mooney 來說，這樣的事情有多麼平常。

In fact, all of the film's most crushing moments are played from the perspective of kids.

事實上，電影中最令人沮喪的時刻，都是從孩子們的視角來呈現的。

When Mooney's mother starts prostituting herself to make rent.

當 Mooney 的母親為了支付房租而開始出賣自己時。

This is the way that the Flower Florida Project shows us.

這就是 Flower Florida Project 呈現給我們的方式。

這就是電影想跟我們說話的方式。

Something is always seen through something else.

有些事情總是透過其他事物來呈現。

The decaying edgelands outside Disney World are seen through the colorful imagination of an adventurous kid.

迪士尼世界外圍衰敗的邊緣地帶，是透過一個冒險小孩的繽紛想像力來呈現的。

The promise of Disney World is seen through the poverty that surrounds it.

迪士尼世界的承諾，是透過它周遭的貧困來呈現的。

The pain of living without work is seen through the kindness of neighbors and strangers and motel managers.

無業生活的痛苦，是透過鄰居、陌生人以及汽車旅館經理的善意來呈現的。

The film's two main characters are seen through each other.

電影的兩個主角是透過彼此來呈現的。

In some ways, Hayley is a loving, caring mother.

在某些方面，Hayley 是一位充滿愛心、細心的母親。

In others, she's a delinquent, selfish mother.

在另一方面，她又是一位失職、自私的母親。

These are all things that we see and learn through the way that Moony acts.

這些都是我們透過 Mooney 的行為所看到和學到的。

In Haley, we see a Mooney that was a child that grew out of her innocence.

在 Hayley 身上，我們看到了一個成長後失去童真的 Mooney。

我們也看到了一個 Mooney 未來的樣子。

It's in the continuum of these two that the film finds a way to express truths that are larger than the movie itself.

電影透過這兩者之間的延續，找到了表達超越電影本身真理的方式。

For those living in the margins of late capitalism, tossed around by the wave of the Great Recession, Mooney and Haley are representative of a cycle of hardship that can lock itself into a family tree.

對於那些生活在晚期資本主義邊緣、被大蕭條浪潮席捲的人們來說，Mooney 和 Haley 代表著一種可能鎖定在家族樹中的困境循環。

For decades, mothers like Haley bear some of the responsibility for the situation.

幾十年來，像 Haley 這樣的母親要為這種情況負起一部分責任。

But we bear some of the responsibility too, because, as the film shows us, mothers like Haley are really just kids like Mooney, and

但我們也負有部分責任，因為，正如電影向我們展示的，像 Haley 這樣的母親，其實也只是像 Mooney 這樣的小孩，而

It's a way of understanding the individual and societal responsibilities for poverty that only a film can achieve, and

這是一種只有電影才能達成的，理解個人和社會對貧困責任的方式，而且

only a film with this kind of discipline.

只有這種紀律的電影才能做到。

Now, this doesn't mean that the Florida Project is trying to Trojan horse a sad story to the viewer.

現在，這不代表《佛羅裡達計畫》試圖暗中塞給觀眾一個悲傷的故事。

It's an incredibly joyous movie, fun to watch, like the Little Rascals and the particular heartbreak we feel doesn't and can't exist without that joy.

這是一部非常歡樂的電影，看得很開心，就像《哈爾·羅奇的《小淘氣》》，而我們感受到的那份特別的傷心，沒有了那份歡樂就不存在，也不可能存在。

Baker couldn't express one without expressing the other because he understands that they're part of the same thing.

Baker 無法表達其中一個而不表達另一個，因為他明白它們是同一件事的一部分。

And this is the kind of filmmaking Academy members should promote through their nominations.

而這正是美國電影藝術與科學學會的會員們應該透過他們的提名來推廣的電影製作方式。

But I guess I shouldn't mind about snubs because, I mean, it's the Oscars.

但我想我應該不會在意被忽略，因為，我是說，這是奧斯卡。

Thank you so much for watching this episode was brought to you by vrv.

非常感謝收看，本集節目由 vrv 贊助播出。

If you don't know, VRV is a service that pulls together a lot of great content channels like Rooster Teeth, Mondo, Crunchyroll, Funimation to watch all in one place.

如果你不知道，VRV 是一個整合了許多超棒內容頻道的服務，像是 Rooster Teeth、Mondo、Crunchyroll、Funimation，讓你可以在同一個地方觀看。

So you can see some of the best anime there definitely.

所以你絕對能在上面看到一些最棒的動畫。

But they've also added a lot of new channels like MUBI, which hosts a rotating roster of 30 indie movies, which is something that I love.

但他們也加入了很多新頻道，像是 MUBI，上面有 30 部輪替播放的獨立電影，這是我非常喜歡的。

One other show that I would personally like to recommend is the Director's Chair, where director Robert Rodriguez interviews other directors like Coppola, George Miller, Guillermo del Toro.

另外一個我個人想推薦的節目是《導演椅》，節目中導演 Robert Rodriguez 會採訪其他導演，像是 Coppola、George Miller、Guillermo del Toro。

I've been looking for somewhere to watch these episodes for so long.

我找了很久都找不到地方看這些節目。

Now you can only watch that with VRV Premium, which gives you ad free access to everything, all 13 channels.

現在你只能透過 VRV Premium 觀看，這樣可以讓你無廣告觀看所有內容，總共 13 個頻道。

And for a limited time you can use the first link in the description to get a 30 day free trial of VRV.

而且限時內，你可以使用說明欄的第一個連結，免費試用 VRV 30 天。

they have offline mode now too, so you can watch all that awesome stuff on the go without an Internet connection, which is pretty cool.

他們現在也有離線模式了，所以你可以在路上觀看所有超讚的內容，不用網路，這超酷的。

字幕列表影片播放

《紐約愛·重遊》應該要被提名！ (The Florida Project Should've Been Nominated)

perspective

discipline

depression

matter