9/12 – Wednesday 星期三 Quarta-feira · 19:00
Ricky_G包戀
Dir. 梁伟杰 | Macau | 2026 | 1:42 | AI Film
Ricky has three months’ salary riding on one blind date. So he buys the premium compute package and arrives as Mr. G: green velvet, a piano in a pink French bistro, tea poured at the exact temperature, a mirrored ballroom waltz, a coastal drive, cotton candy in a maze. Miss Doubao is charmed to the marrow — his performance is flawless, even his breathing rate is lovely. Then the render stutters. The credits run dry mid-sentence, the 8K dream peels away, and she is staring across a dim table at a sweating man in a grey hoodie. A service robot glides over with the receipt: package exhausted. Would he like to renew his real life?
瑞奇把三個月的薪水全押在一場相親上。他買下頂級算力套餐，以 G 先生的身分出場：墨綠天鵝絨西裝、粉色法式餐館裡的鋼琴、恰好溫度的茶、鏡廳裡的一支華爾茲、海岸公路的兜風、迷宮裡的棉花糖。豆包小姐徹底著迷——他的表現無懈可擊，連呼吸的頻率都好聽。然後畫面卡了一下。額度在中途耗盡，8K 的夢層層剝落，她隔著昏暗的桌面，看見一個穿灰色連帽衫、滿頭汗的男人。服務機器人滑過來遞上帳單：套餐已用完。請問，要為您的真實人生續費嗎？
白熊先生
Dir. 黄子健 | Macau | 2026 | 2:20 | AI Film
Somewhere a girl in a green cardigan carries in a chocolate cake, sits down, and eats it like the world might take it back. Snow starts falling indoors. The ballroom whitens, raspberries float, she dances — then the floor gives way and she drops into a white wilderness where a polar bear waits, enormous, patient, almost kind. She offers it the cake. Where the bear stood, a man in a silver suit now waits, faceless behind a black visor, in the wreck of her house. The cake is earth now, grubs, dead berries. She eats it anyway, and lies down in the rubble while the city burns behind them.
一個穿綠色針織外套的女孩端著巧克力蛋糕走進來，坐下，像怕整個世界會把它搶走那樣吃了起來。雪開始在室內落下。舞廳一點一點變白，覆盆子浮在半空，她跳起舞——然後地板塌陷，她墜入一片白色荒野，那裡有一頭北極熊等著她，巨大、耐心、近乎溫柔。她把蛋糕遞給牠。熊站過的地方，換成一個穿銀色防護衣的男人，黑色面罩後沒有臉，站在她家的廢墟裡。蛋糕如今是泥土、是幼蟲、是爛掉的莓果。她還是吃了，然後在瓦礫裡躺下，身後的城市正在燃燒。
垃圾超人復仇記
Dir. 罗雅盈 | Macau | 2026 | 3:19 | AI Film
An old Macau street market, wet with rain, skewers smoking, a dog nosing a black rubbish bag. A man in a white shirt finishes his lamb skewers, tosses the bag, and walks on without a backward glance. The bag does not stay put. Something in it opens red eyes, rises in cracked black armour, and comes looking for him. Why did you abandon me? it asks, and the man’s answer is the worst possible one: because you’re just trash. It beats him into the pavement and strolls off down the alley. A poster closes the film: littering in a public place, six hundred patacas.
雨濕的老街市，烤肉串冒著煙，一隻狗在黑色垃圾袋旁嗅著。白衣男人吃完羊肉串，順手把袋子丟下，頭也不回地走了。袋子沒有留在原地。裡面的東西睜開紅眼，披著龜裂的黑甲站起來，來找他。你為什麼要拋棄我？它問。男人的回答是最糟的那一句：因為你只是一件垃圾啊。它把他打趴在濕漉漉的路面上，然後晃著走進巷子。片尾一張海報收尾：《公共地方總規章》，亂拋垃圾，罰款六百。
swimming in the rain
Dir. 张志威 | Macau | 2026 | 3:13 | AI Film
Macau, 29 February 2028, and the rain has not stopped all night. A taxi driver works the flooded streets with a schoolgirl’s photograph clipped to his dashboard. His daughter leaves voice messages he can still hear: Dad, are you here yet? I’m waiting. A birthday that only comes once in a thousand days — and she has already told him her wish, to be a mermaid. Then she is in the back seat, wet, weightless, swimming through the cab. He follows her down. The taxi floats; the city goes under; a tail breaks the surface, while on his screen the city celebrates its first astronaut.
澳門，二○二八年二月二十九日，雨下了一整夜。計程車司機在積水的街道上載客，儀表板上夾著一張女學生的照片。女兒的語音留言他還聽得見：爸爸你到了嗎？我在等你。一千多天才一回的生日——而她早就把願望說出口了：想當一條美人魚。然後她坐在後座，濕透、沒有重量，在車廂裡游著。他跟著她往下沉。計程車浮起來，城市沉下去，一條尾巴劃破水面；而他的螢幕裡，整座城市正在慶祝第一位航天員。
男孩像你
Dir. 姚露欣 | Macau | 2026 | 5:18 | AI Film
Rain on the columbarium terraces. A mother drives her small son up the hill to a grave; in the back seat he holds flowers for a sister he never met, a pink doll’s house rattling beside him. Carrie died before he was born, and his mother has been raising him in her place. At school they laugh at his name; he cannot say whether he is a boy or a girl. An aunt says the plain thing: he is a boy, not a girl. He imagines he was never born at all. What binds these people, the film decides, is not harmony but wound pressed to wound.
雨落在骨灰牆的梯級上。母親開車載著年幼的兒子往山上掃墓，後座的他捧著花，要給一個從未見過的姐姐，旁邊還有一間粉色玩具屋在晃。嘉莉在他出生前就走了，母親一直把他養成她的替身。在學校，同學笑他的名字；連自己是男是女，他也說不清。阿姨只說了一句最直白的話：他是男生，不是女生。他想像自己從未出生。這部片最後判定：把這些人連在一起的，不是和諧，而是傷口貼著傷口。
手推車
Dir. 洪承熙 | Macau | 2026 | 6:30 | AI Film
A young man pushes a handcart through Macau at dusk, an old mattress and a striped quilt strapped to it, and then the road simply lifts off the ground. He rolls past guardian lions and an incense burner, past Portuguese pavement and a baroque church facade, the city’s cars drifting in the clouds above him, and stops in a chapel where he opens a cardboard box and takes out a paper flower. He carries it down the aisle to a blue-tiled Madonna. Then the film catches fire: a banquet with Jesus laughing, a crowned goddess laughing, a golden bird lifting the cart into a burning ring.
黃昏，一個年輕人推著手推車穿過澳門，車上綁著舊床褥和條紋棉被——然後整條路就這樣離開地面，浮了起來。他推過石獅與香爐，推過葡式碎石路與巴洛克教堂立面，城市的汽車在他頭頂的雲裡漂著，最後停在一間小教堂裡。他打開紙箱，取出一朵紙花，捧著走過長椅間的通道，送到藍白瓷磚的聖母像前。然後整部片燒了起來：耶穌在火裡大笑，戴冠的女神也在笑，一隻金色的鳥把車子抬進燃燒的光環。
Delicate mode
Dir. 吴子琪 | Macau | 2026 | 2:55 | AI Film
Past midnight a woman carries her laundry into an empty laundromat and selects the gentlest cycle, twenty degrees. She sits. Then the machines start giving things back: wet threads at the door seal, a cord she pulls from the wall socket hand over fist, black water spreading across the tiles. She presses both palms to a locked drum and screams at whatever is turning inside. The film cuts to black and returns to the same bench, the same beige cardigan, forty years on. She is old now. A younger woman loads a machine beside her. I can do it myself, she says.
過了午夜，一個女人提著衣物走進空無一人的自助洗衣店，選了最溫和的那一檔，二十度。她坐下。然後機器開始把東西還回來：門封邊滲出的濕纖維、她從牆上插座一路扯出的電線、漫過地磚的黑水。她把雙手貼在鎖住的滾筒玻璃上，對著裡面轉動的東西尖叫。畫面切黑，再回到同一張長椅、同一件米色開衫，已是四十年後。她老了。一個年輕女人在她旁邊裝洗衣機。她說：我自己來就可以。
kelvin
Dir. 冯铭涛 | Macau | 2026 | 3:46 | AI Film
A boy sits through dinner in an old wooden house, watching his grandfather tear a crab apart and push a piece between his lips. That night he cannot sleep. He pads down the corridors and finds his mother stirring a pot in the dark, his father standing with something alive in his throat, a crab forcing itself out of the old man’s mouth. A crayfish climbs onto his bed; a spined leg splits the skin of his arm. Then the table again — the same family, plates of ears and fingers — and the boy seated at the head, eating without flinching, smiling, one eye reflecting the feast.
一個男孩坐在老木屋的餐桌前吃晚飯，看著祖父把一隻蟹拆開，把蟹肉送到他唇邊。那晚他睡不著，穿過走廊，看見母親在黑暗裡攪著一鍋東西，父親站著，喉嚨裡有東西在動，一隻蟹從老人口中擠出來。小龍蝦爬上他的床；一根帶刺的節肢撐破他手臂的皮膚。然後又回到餐桌——同樣一家人，一盤盤耳朵與手指——男孩坐在主位，面不改色地吃，笑著，一隻眼睛裡映著那場盛宴。
Never was
Dir. 欧阳永锋 | Macau | 2026 | 3:09 | AI Film
Inside a derelict refinery a bald figure in a grey singlet sits on a red stool, face in its hands. Pink tentacles tear out of its skull and reach across the pipes to a translucent blue insect that pulses and drips. Then they turn back and push into the figure’s ears. Its face ages; its eyes fill with blue light; black oil runs from its eyes and mouth until it collapses into the pool it has made. Deep space opens — a nebula, a blue orb, a tunnel of light — and a white singlet hangs upright in the black, rimmed with light, burning away into white.
廢棄煉油廠裡，一個光頭的人穿著灰色背心坐在紅色塑膠凳上，雙手掩面。粉紅色的觸鬚從他的頭骨裡爆出，伸過管線，纏上一個半透明、滴著藍液的藍色蟲體。然後觸鬚調轉方向，鑽進他的耳朵。他的臉當場老去，眼裡灌滿藍光，黑色的油從眼與口流下，直到他塌進自己積成的那灘油裡。接著是深空——星雲、藍色星球、光的隧道——一件白色背心在黑暗中直立浮著，鑲著光，燒成一片白。
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