Isabel is a tee-girl. She spends the whole day sitting on a stool barely one foot above the dirt ground, teeing up golf balls for golfers to h…

Filipiñana, Rafael Manuel, Philippines / United Kingdom, 24’ (WP)

菲利皮尼亚娜（Filipiñana），拉斐尔·曼努埃尔（Rafael Manuel），菲律宾/英国，24分钟（工作进展）

阿拉邦乡村俱乐部（Alabang Country Club）是一个占地74公顷的大型场所，拥有众多设施，足以让菲律宾社会的精英阶层远离并免受该国诸多社会政治问题的影响。其中一个设施是高尔夫练习场，17岁的伊莎贝尔（Isabel）在这里工作。伊莎贝尔是一名“球座女孩”，她一整天都在为练习挥杆的高尔夫球手摆放球。

故事发生在马尼拉一处精英高尔夫球场与乡村俱乐部的封闭生态中：在俱乐部打工的“发球童”伊莎贝尔对俱乐部主席帕兰卡医生产生难以名状的吸引，但当她逐步拼凑出俱乐部光洁表象下的暴力真相时，她意识到这段“迷恋”其实牵连着更阴暗的共同过往。

Cannes Directors Fortnight project Directors Factory Philippines has wrapped filming in the Shrine City of the Philippines called Dapitan. It is historically known as the place where Filipino national hero Jose Rizal was exiled by the Spanish colonial authorities for his threat to start revolutionary activities. It is a province of Zamboanga del Norte, Philippines. The directors are now completing the postproduction in Manila. The program of four short films will be screened at the Théâtre Croisette in Cannes on Wednesday May 15 as a preamble to the opening of the 56th edition of the Quinzaine des Cinéastes. Under the aegis of Directors Fortnight and its artistic director Julien Rejl, this edition is godfathered by Lav Diaz who: "Deeply appreciates this initiative which opens the way for emerging filmmakers in the region."

Filipiñana, Rafael Manuel, Philippines / United Kingdom, 24’ (WP)

以菲律宾为主题的影片，代表菲律宾电影的三位导演Brillante Mendoza，Lavda Diaz和Kidla Lathatimic参与其中。菲律宾由7,641个岛屿组成，分为三个部分：北吕宋岛，南棉兰老岛和中米沙鄢群岛。

Philip and Bastian are lovers. Philip has taken the responsibility to help his older brother's family in the slums. However, when Bastian pursues painting and can no longer provide for Philip, Philip resorts to hustling in order to help his brother's family. When Bastian catches Philip being picked up by a gay man in a car, he decides to keep everything inside. Can Philip and Bastian's love prevail despite the odds?

法国1962年雅克·罗齐耶作品 一部被评论界捧上天的新浪潮杰作 结构主义符号学派电影批评的经典范例 法国结构主义符号学大师麦茨这样评论该片：“从《再见菲律宾》一片各种段落类型出现频率的多寡与否的概述过程中，我们可以重新确认在直观批评上所感受到的影片风格——一部典型的‘新电影’（形式的解放、对过度‘修辞’手法的反动、影片叙事呈现出‘简单化’、‘透明化’趋向等），以及存在于这类新电影之内，我们可以称之为“戈达尔／直接电影”的趋势（强调语言成分、场景的重要性、整体‘写实精神’和真正的新形态蒙太奇...