来源：搜狐娱乐
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| 父后七日 |
制作人：王育麟
Producer: Wang,Yu-Lin
共同制作：詹婷怡
Co-Producer: Nicole T.I. Chan
故事/编剧：刘梓洁
Story/Screenplay: Essay Liu
导演：王育麟 / 刘梓洁
Director: Wang Yu-Lin / Essay Liu
摄影指导：傅士英
Director of Photography: Fu Shih-Ying
美术指导：黄婉妮 / 徐硕峰
Production Designer: Vovi Huang / Hsu Shuo-Feng
声音指导：杜笃之
Sound Design: Tu Du-Che
剪接：王育麟
Editing: Wang,Yu-Lin
主演 / Cast
王莉雯 Wang Li-Wen
吴朋奉 Wu Peng-Fon
陈家祥 Chen Cha-Shiang
陈泰桦 Tiger Chen
太保(张嘉年) Tai Bao (Kanin Cheung)
张诗盈 Cheung Si-Yin
王莞如 Wang Guan-Ru
朱家仪 Chu Cha-Yi
剧情简介 Synopsis
《父后七日》改编自台湾目前最高奖金的文学奖──自由时报林荣三文学奖──2006年散文组首奖作品，由原著作者刘梓洁亲自编导，资深影像工作者王育麟合导，由香港知名影星太保领衔主演。
本片描述女主角阿梅的父亲突然辞世，返乡处理后事的她，却在七天之内，经历了一趟匪夷所思、豪迈奇特的告别之旅，不仅被紧凑密集的追思、五光 十色的喧闹震撼得措手不及，荒谬之间却也使痛失亲人的哀恸，竟意外获得了减轻。当嘉年华式的华丽告别落了幕，子欲养而亲不待的喟叹这才油然而生，顿时热泪 不止。
With the sudden death of her father, Mei, a jet-setter, returns to her unfamiliar hometown in central Taiwan. The over-elaborate funeral formalities and traditions often cause Mei and her brother in confusion. Mei goes back to her hectic jet-set lifestyle after the funeral quickly. Someday the longing for her father suddenly overwhelm her when she enters a hazy smoking room.
导演王育麟
导演刘梓洁
导演介绍 About Director
王育麟
1964年生，台湾大学森林系毕业，后远赴纽约视觉艺术学院电影系进修，曾参与杨德昌导演《牯岭街少年杀人事件》拍摄，编导经验丰富，极擅统筹调度，作品影像感敏锐强烈，多次荣获金穗奖与国艺会肯定，现任蔓菲联尔创意制作负责人。
Yulin Wang was born in Taipei in 1964. He graduated from the School of Forestry at National Taiwan University, and studied Film and Video at the School of Visual Arts, New York. He owned Socoly Film Pro. Ltd. Co., where he was in charge of editing, directing and producing films. In addition to this extensive background and his ability in overall planning and execution, he is known for his extreme sensitivity as a filmmaker.
刘梓洁
1980年生，彰化人。台湾师大社教系新闻组毕业，清华大学台湾文学所肄业。曾任《诚品好读》编辑、琉璃工房文案、中国时报开卷版记者、华山创意园区项目企画。曾获联合文学小说新人奖、公共电视百万剧本奖入选。2006年以〈父后七日〉获林荣三文学奖散文首奖，亲自改编为电影剧本，并担任共同导演。
Eassy Liu was born in 1980. She graduated from the Department of Adult and Continuing Education, National Taiwan Normal University, and is now studying for her masters at the Institute of Taiwan Literature of National Tsing Hua University. She has very advanced literary skills and solid interviewing and writing experience. She has a profound ability to observe and interpret social interactions in great detail.
导演的话 Words from the Director
至亲的死亡，是每个人一生都会遇到的功课。
葬礼的繁文缛节，更是台湾人，尤其中南部子弟，生命中，时不时就要上演一场的戏码。
道士、孝女、诵经团、折莲花、冰库棺材、白包毛巾、电子花车、孝服草鞋。花圈花篮罐头塔。
这些充分彰显台湾人性格的职业、物品与器材，却像带一点禁忌与忌讳似的，让人看到它们，都要带点敬畏。
对死亡的敬畏
如果让这些职业、物品与器材，变成戏剧的主角，让它们尽情就自身功能，表演、对话、甚至搞笑，那会是什么样子呢？
也许，除了正视死亡本质之外，我们会看到更多的故事。
「父后七日」目的在于提升戏剧质感，透过文学视角的观感，与大胆强烈的影像风格，走出「台湾写实温馨亲情片」的既定模式，在生猛俚俗中，有一份宽悯仁厚；在浓情冶艳中，有一份云淡风清；在哭天抢地中，仍有一份从容不迫与怡然自得。
更简单一点，「父后七日」正是希望让观众身处再熟悉不过的场景中，嬉笑怒骂，鼻酸眼热，更重要的，找到自己的故事。
At one point or another, everyone faces the hardship of losing a loved one.
Especially for people from central and southern Taiwan, excessive formalities associated with funereal traditions are the accepted occasional doses of drama in life.
Taoist priest, professional weeper, Scripture chanting troupe, folding paper lotus, ice chest coffin, white-evelope and funereal towel, electronic float, mourning costume and straw sandals, funeral flower wreath and canned-goods tower.
All of the above professions, items, and equipments are quintessential Taiwanese; yet they possess certain taboo, so that most people approach them with fearful reverence.
Revernce for Death
What if these aforementioned professions, items, and equipments become the main characters in drama? What if they are allowed to express and perform what and who they are, even in comedic ways, what would that be like?
Perhaps aside from examining death head-on, we could see more to the story.
Seven Days In Heaven aims to raise the quality of drama through the perspective of liteature and strong, bold visual style, and depart from the stagnant model of “realist heart-warming Taiwanese family portrait”. In Seven Days In Heaven, there is a sense of sympathy and kindness amidst vulgar conventions; a sense of chastity amidst sultry sensuality; a sense of ease and casualness amidst expressive anguish.
Simply put, Seven Days In Heaven wishes for the audience to laugh, curse, cry and be moved in scenes with which they are familiar, and more importantly, in which to find their own stories.
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