故事梗概 LOGLINE

一个美国画家在澳门的计程车上丢失了他的小提琴画作后，经历了人生中最糟糕的一夜。

An American painter has the worst night of his life after leaving his violin artwork in the back of a taxi in Macao.

故事⼤纲 SYNOPSIS

澳⻔ - 中国南⽅沿海的⼀座赌城，⼀个炎热潮湿的夏夜，美国画家提奥正准备背着他的代理向⼀位客户出售他最有价值的艺术品。因计程⻋费发⽣争执后，司机⼀⽓之下开⻋带⾛了提奥的艺术品 (⼀把两⾯都画了拿破仑⼈像的⼩提琴)。提奥的客户威胁如果他未能在24⼩时内交付艺术品，将会永久把他列⼊⿊名单；同时间，他的代理因他的背叛⽽猛烈追捕他，提奥迫切需要在限时内找到⼩提琴，找回最后的⼀丝希望。随着夜⾊渐深，他在澳⻔⼤街⼩巷的冒险之旅发⽣了超现实的转折，情况更愈发失控。

On a steamy night in Macao - a casino city on the southern coast of China, Theo, an American painter is on his way to sell his most valuable artwork to a client, unbeknownst to his agent. After an altercation over taxi fares, the taxi driver drives away with Theo’s artwork in the trunk - a discarded violin painted with Napoleon on both sides. With his client threatening to blacklist him if he fails to deliver the artwork within 24 hours and his agent hunting for him because of the betrayal, Theo desperately needs to find the violin and his last glimmer of hope before the clock stops ticking. As the night grows darker, his adventure through the back alleys of Macao takes a surreal turn and spirals out of control.

背后的故事 BEHIND THE STORY

《走失的小提琴》故事灵感来源于导演父亲的亲身经历。他是一位著名的画家，多年前在一个异地城市丢失了他的小提琴画作。父子俩连夜疯狂寻找小提琴，向计程车公司和当地警察报案，随后在社交媒体上寻求帮助。不幸的是，他们始终没有找到这件小提琴画作，但这一事件激发了更多往后的创作，当中也包括这部电影。

The story of “The Violin Case” takes inspiration from an actual incident that happened to the director’s father, a well known painter who lost his violin artwork many years ago in a foreign city. The father and son went on a desperate search for the artwork, reporting to the taxi office and to the local police, and subsequently sought help on social media. Unfortunately, the violin artwork was never found, but the incident gave life to many more creations that followed, including this film.

寓意 MESSAGE

艺术 vs 资本主义

《走失的小提琴》描绘了一位画家的生活，他的希望与梦想，以及他在异国他乡中的绝望与挣扎。它还展示了艺术家与他的代理人之间微妙而经常对立的关系，体现了艺术与资本主义之间的冲突。

ART VS CAPITALISM

“The Violin Case” portrays a painter’s life, his hopes and dreams, his despair and struggles in a foreign city. It also shows the delicate and often antagonistic relationship between the artist and his agent, which embodies the conflict between art and capitalism.

寓意 MESSAGE

存在主义

在更深层次上，它探讨了自我认同的概念。我们在生活中扮演着许多角色，无论是父亲/母亲、儿子/女儿、我们的职业、我们的成就等等。但是，假如我们被剥夺了职业、成就，或与所爱之人分离，剩下的我们到底是谁呢？通过寻找他最珍贵的艺术作品，他的骄傲，提奥被迫面对自己的噩梦：没有了艺术作品，他还算是艺术家吗？

EXISTENTIALISM

On a deeper level, it explores the concept of self-identity. We have many roles in our lives, be it a father/mother, son/daughter, our professions, our achievements, etc. But who are we if we are stripped of our occupations, our accomplishments or separated from those we love? Through the search for his most valuable artwork, his pride, Theo is forced to face his own nightmare: is he still an artist if he has no artwork?

导演阐述 DIRECTOR’S STATEMENT

澳门在几十年前已经登上了国际大银幕，我们看到了斯登堡于1952年拍摄的好莱坞版澳门，以及随后的许多版本，他们的故事一般涉及犯罪、抢劫或间谍活动，并且侧重于西方观点，很少从本地人的视角来看澳门：日常的通勤、市中心的喧嚣、晚间聚会上众多来自不同文化背景的朋友分享着他们的梦想和挑战、或者各自忙于自己的事情。深受马丁·斯科塞斯的电影《下班后》的启发，我想向观众展示一个他们尚未见过的澳门。于是我把父亲的那段经历戏剧化。摄影风格是纪录与虚构相结合，大部分时候以手持摄影机拍摄，目的是成为墙上的苍蝇，呈现悄悄在旁观看事态发展的感觉。电影的艺术风格受到70、80和90年代澳门社会场景的极大影响，这些参考增强了影片中四十个场景的现实感。由于澳门没有专业的表演学校，选角的时候我从业余和素人当中根据他们的身体特征或个性来挑选和配对。

Macao is a city that has been seen on the big screen for many decades. We have seen the Hollywood version of Macao made by Joseph Von Sternberg in 1952 and the many versions that followed. They all deal with crime, heists or espionage and heavily rely on the western point of view. But we rarely see Macao as lenses by a local: from daily bus rides, to the hustle and bustle of the city centre, to the night time gatherings where a multitude of people from different cultures share their dreams, challenges or go about their business. Very much inspired by the film “After Hours” by Martin Scorsese, I wanted to show the audience a Macao they haven’t yet seen. My approach was to dramatize my father’s incident. The cinematography was docu-fictional and the camera was mostly handheld. The objective was to be a fly on the wall. The artistic approach was greatly influenced by social scenes in Macao from the 70s, 80s and 90s, which helped to enhance the reality of the forty locations of the film. Since Macao has no acting school, I cast amateur and non-actors based on their physical attributes or personalities to fit specific characters.

导演贝马善

DIRECTOR MAX BESSMERTNY

贝马善在一个艺术家庭中长大，父亲是一位杰出的画家，母亲是一位古典钢琴家。他在一个多元文化的环境中生活，朋友和家人说俄语、葡萄牙语、英语和一点粤语。受到这种多元文化氛围的启发，贝马善以独特的视角看待世界，这一点也呈现在他所有的电影作品当中。从纽约大学帝势艺术学院电影硕士毕业后，贝马善编写、执导并制作了黑色短片《三轮车夫》，这是第一部‘澳门制造’电影在2014年多伦多国际电影节作世界首映，并获得了2015年柯达金奖。其他获奖短片包括在‘我们在一起：全球电影节’（2020年翠贝卡联合YouTube的线上电影节）首映的《洗衣机》和获得澳门国际短片电影节最佳本地作品奖的30分钟黑白喜剧《移家有问题》。2022年，贝马善踏上了他的第一部长片电影之旅，编写并执导了《走失的小提琴》，故事灵感来源于多年前发生在他父亲身上的真实事件。该电影在新冠疫情期间独立筹资并完成拍摄，当时整个世界都处于封锁状态。影片由本地演员和制作团队参与，叙事风格受到电影《下班后》的启发，与《走失的小提琴》主角在城市中游历疯狂寻找丢失画作的故事相呼应。

Max grew up in an artistic family with an accomplished painter father and a classical pianist mother, and surrounded by a multicultural environment with friends and family speaking Russian, Portuguese, English and a little bit of Cantonese. He was inspired to view the world in a unique way which is reflected in all his film projects. After graduating from New York University Tisch School of Arts Masters in Film, Max wrote, directed and produced the noir short “Tricycle Thief” which was the first ‘made in Macao’ film to World Premiere at the Toronto International Film Festival in 2014 and won the 2015 Kodak Gold Award. Other award-winning shorts include “Dirty Laundry” which premiered at We Are One (Tribeca x Youtube Film Festival in 2020) and “The Handover”, a 30-minute black-and-white comedy which won best local entry at the Macao International Short Film Festival. In 2022 Max embarked on his first feature film journey with “The Violin Case”, a story inspired by a true incident that happened to his father many years ago. The film was independently fundraised and shot during COVID when the whole world was under lockdown. It features an entirely local cast and crew. The storytelling style was inspired by the movie “After Hours”, which parallels with the hero in “The Violin Case” who goes on a journey around the city in desperate search of his lost artwork.

凯尔斯·威廉 (提奥)

KELSEY WILHELM (THEO)

凯尔斯是一位在澳门生活超过20年的演员，他精通英语和葡萄牙语，并一直不断提升他的粤语和普通话能力。从很小的时候就开始接触表演艺术；舞蹈、唱歌和演戏激发了他对舞台和掌声的热爱。读书的时候他积极参与橄榄球和曲棍球等运动，为体能要求苛刻的角色提早做好准备，同时也能驾驭情感强烈的剧本所要求的细腻演绎。凯尔斯出演了多部长片电影、电视剧、短片和舞台剧。他的演出作品包括《洗衣机》、《美味缘是你》、《另一半》、《男人计划》和《走失的小提琴》等。

An actor that has called Macao home for more than 20 years, Kelsey is fluent in English and Portuguese, and is continuously improving his Cantonese and Mandarin skills. He started in the performing arts at a very young age; dancing, singing and acting fueled his love for the stage and the applause. He also grew up playing sports such as rugby and hockey, lending a rough edge to physically-demanding roles while preserving the subtlety of powerfully-emotive scripts. Kelsey has appeared in multiple feature films, television series, short films and theatre plays. His film work includes “Dirty Laundry”, “Gusto de Amor”, “The Other Half”, “Men Project” and “The Violin Case” among others.