只管來SATO吧 さとにきたらええやん come on home to sato

溫馨提示:

因場地可能有變動,是次場次需報名,報名連結:https://bit.ly/3bbKxZ6

因放映場地乃政府場地,公眾進入社區會堂時,要掃描「安心出行」才可進入喎~
或以紙仔填寫個人資料亦可 (留意政府人員會即時致電大家的電話號碼以核實資料)

warm reminder:

due to uncertainties in confirming the screening venue of come on home to sato on the 16th may, please be informed with the latest news and arrangements, by signing up for the event here

oh~~~ since the venue is a government-managed space, please be wellllll-noted that everyone is required to enter by scanning the ‘leavehomesafe’ mobile app, or you may choose to jot down you personal information on a piece of paper (the staff would check by immediately calling you up!).

參考資料:了解更多—兒童里(kodomo no sato)所在的大阪西成區

預告 trailer:

導演、攝影:重江良樹|音樂:shingo★西成|日語(中英文字幕)|2015|日本|100分鐘|彩色
director, cinematographer: yoshiki shigee | music: shingo★nishinari | japanese (chinese and english subtitles) | 2015 | japan | 100 mins. | colour

大阪西成區釜ヶ崎被稱為「日薪工人之城」,自六七十年代起日本經濟起飛,當地一直是零散工等勞動階層的集中地。
kamagasaki, located in nishinari-ku (district) of osaka, is known as “the city of day labourers”. since the economic growth in japan in the 1960s-70s, the area has been home to many transient / precarious workers and working class labourers. 

《只管來sato吧》描繪了位於釜ヶ崎的兒童館「兒童里」(kodomo no sato) 。從最初由宗教團體設立的兒童遊樂場、臨時收容所,到後來成為政府認可並資助的非營利兒童之家,兒童里在四十多年間,一直免費為有需要的家庭提供社區照顧。
come on home to sato depicts the children’s home, kodomo no sato, located in kamagasaki. from a children’s playground and emergency shelter started by a religious group, to a non-profit organization recognized and sponsored by the government, kodomo no sato has been providing free community care to needy families for more than 40 years.

不少把孩子托管在兒童里的家長,都是區內的零散工。兒童里從勞工角度出發,每日24小時、每周7日開放,體貼工時不穩定的照顧者,甚至接受寄養兒童——讓無能為力的父母,有喘息的空間。
quite a number of children in kodomo no sato have parents who work as transient / precarious workers in the area. mindful of workers’ needs, kodomo no sato is open 24 hours a day, 7 days a week, accommodating the needs of carers with unstable working hours. they also provide foster care for children, creating breathing space for helpless parents. 

在兒童里渡過童年的孩子,甚至家長,也許在家庭方面有著創傷經驗;但透過與其他小孩、職員及其他家長的互動以及連結社區的活動,在安全的環境下學習待人處事、摸索自己在兒童里、在家庭和在社區中的位置。
children who spend their childhood at kodomo no sato, or even parents, might have traumatic experiences in their family relationship. through interactions with kids, staff and other parents, also in activities connecting with the community, they learn to get along with people in a safe environment; and to figure out where they stand in kodomo no sato, in family, and in the community.

兒童里以街坊需要為本,人性化的運作,在基層組織的角度,為基層社區創造了怎樣的集體,孕育出怎樣的社會關係?
kodomo no sato works from the needs of neighbours, in such a humanistic way. considering from the angle of grassroot organization, what kind of collective power kodomo no sato has created for grassroots community? what kind of social relationship has been established?

同時我們也想聊聊:日本自六十年代起,不少父母雙職養家,政府在各地設立公營兒童俱樂部,讓全國父母努力為日本經濟打拚之時,不用擔心小孩課後托管的問題。八十年代起,免費的公營兒童館數目減少,私營兒童館則於二千年後大量出現。政府願意投放資源承擔的兒童館愈來愈少,對基層社區會有怎樣的影響?
what we also want to discuss is, starting from the 1960s, japan has had increasing double-working parents. japanese government set up child care centres all over the country, and let parents fight for japan’s economy without having to worry about the after-school care of their children. going through the 1980s, the number of free and public child care centres have been decreasing. the number of private child care centres has surged since the 2000s. when a government puts less resources on operating public child care centres, what are the effects on grass-root communities?

香港在社區照顧方面的資源亦供不應求,照顧模式遠遠未能滿足照顧者需要,影片又是否有值得我們借鏡的地方?
hong Kong’s community care services are barely keeping up with demand. present care systems are unable to meet the needs of caregivers. what can be learnt from the film?

導演的話:

大阪市西成區釜ヶ崎(kamagasaki),一個被稱為「日雇型勞工集中地 」的地方。在這裡,有一所屹立了38年仍在運作的社福機構「こどもの里(小朋友的村莊)」。

這個被叫作「村莊(sato)」的地方,不問國籍或是殘疾與否,只要是0至20歲左右的孩子,都一律無條件地接收。作為這個地方的兒童館,這裡會有放學來玩,或是暫時寄宿在此的孩子。但除了這些各有因由而離開父母身邊的孩子之外,這裡對於家長而言,是一個休憩處。在支援各個家庭的同時,這裡也作為本區珍貴的聚腳點而存在。

本作品以「こどもの里」作為舞台,與一眾時而苦惱,進退兩難卻又生命力勃發地長大的小孩,以及支持他們的職員在一個最近的距離。見證孩子內心的掙扎同時,將小朋友和成年人各自和屬於自己的「苦難」奮戰不懈的身姿,如實地呈現出來。

透過「こどもの里」,拍攝足以淹沒鏡頭的小孩子,捕捉了釜ヶ崎這個地方魅力之處的是,住在大阪的重江良樹(Yoshiki Shigee)導演。以無償的身份來到「こどもの里」後,更是傾盡所有地收集題材,完成了他這部處女作。

負責音樂的是SHINGO★西成,出身在當地・釜ヶ崎的嘻哈音樂人,在真誠直白的歌詞中,這首滿載了對當地居民的熱情的歌曲,強烈地肯定了生活本身,溫情洋溢地貫串了整部電影。

原文:

大阪市西成区釜ヶ崎。“日雇い労働者の街”と呼ばれてきたこの地で38年にわたり活動を続ける「こどもの里」。

“さと”と呼ばれるこの場所では0歳からおおむね20歳までの子どもを、障がいの有無や国籍の区別なく無料で受け入れています。地域の児童館として学校帰りに遊びに来る子や一時的に宿泊する子、様々な事情から親元を離れている子だけでなく、子どもの親たちも休息できる場として、それぞれの家庭の事情に寄り添いながら、貴重な地域の集い場として在り続けてきました。
本作では「こどもの里」を舞台に、時に悩み、立ち止まりながらも力強く成長していく子どもたちと、彼らを支える職員たちに密着。子どもたちの心の揺れ動きを見つめながら、子どもも大人も抱えている「しんどさ」と格闘する人々の切実な姿を描き出しました。

「こどもの里」の活動を通して、画面いっぱいにあふれ出る子どもたちや、釜ヶ崎という街の魅力を捉えたのは、大阪在住の重江良樹監督。
ボランティアとして「こどもの里」に通い始めてから丹念に取材し、初監督作品として本作を完成させました。
音楽は地元・釜ヶ崎が生んだヒップホップアーティスト、SHINGO★西成。ストレートで飾らないメッセージの中に、街で生きる人々への熱い思いがつまったSHINGO★西成の楽曲が、生きることそのものを力強く肯定し、映画全体をあたたかく包み込みます。

日期|date時間|time地點|venue
10/4/2021
(六 sat)
2:30pm 一拳書館 
九龍深水埗大南街169至171號大南商業大廈 3/F全層
Book Punch
3/f tai nam commercial building, no.169-171 tai nam st, sham shui po

16/5/2021
(日 sun)


本場次為與
「天水圍草根社」
合辦之放映場次
2:30pm 天水圍天暉路社區會堂
新界天水圍天暉路
tin fai road community hall
tin fai road, tin shui wai, new territories

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