在一個四方形的空間裡，主角被一道強光分裂成紅、藍兩色後，像是處在平行時空一般，再也無法感受到另一方的存在；直到偶然間閱讀了彼此的故事，一切才再次連結⋯⋯
Ever since being split by the powerful beam into two colours, Cyan and Magenta have been living in the same room, though without recognising each other. Not until they share and listen to the other ones’ stories, they and their paralleled worlds finally constitute a whole.

在架空的世界觀背後，主角的原型正是台灣人；而她互相交疊干擾卻又忽略的紅、藍兩種版本，正是幾個小小島上「怎麼好像沒有真的在溝通的、不同立場的我們」。
This documentary based story is based on history happened in Taiwan, while similar situations had happened, is happening and very possibly will happen again and again... here and anywhere, everywhere in the world.

你有沒有過「看著別人吵架，雙方各執一詞，自己卻無能為力」，或是「當我們身處其中，認為對方完全無法溝通」的時刻呢？
Have you ever feel that it's hopeless to communicate with someone, or in another scenario, seeing each side holding their assertions (that might all make decent sense) you just cannot sort the tangle by any means?

也許就是沒辦法吧，至少無法「馬上」。人總是會有立場的 —— 我們總是戴著不同度數、顏色的眼鏡看著世界。也許，偶爾和別人交換一下，或是聊聊彼此看到的世界，事情會一點點、一點點地不一樣。
Whilst we all see the world through lenses made so differently of whatever we grew up with, there's no such lens that fits all images. Hope we'd eventually see the miscommunication between us, and maybe start... something.

#雙線敘事 (Duo Narrative) 與 #立體結局 (Anaglyph 3D)

不那麼好閱讀的《第二樂章》，有紅色與藍色兩條同時並進的故事線 —— 他們從互相重疊，到干擾，終至攜手成為一個完整的立體影像。願這麼不同的我們，不需暴力平板地「統一」彼此，而是在長期不斷的學習中，看見、聆聽，乃至理解同溫層外的他人，找到讓「每一個我們」互相包容的世界。
A new way of viewing including watching in 3D is the key feature of the film – to illustrate how things seem varied in perspectives, Chapter 2: is composed of two narratives, drawn in Cyan and Magenta, which overlap, interfere with each other, and eventually construct an utopic ending in anaglyph 3D together. The intent of this wilful design is to give a scent of how the masses stop listening to each other, and to allude to the deepest wish of having a magnanimous world that contains everyone's voice, someday.

「如果不能傾聽，我們就不是在對話，而只是在同個地方互相喊著無關話語的兩個人罷了。」
“… if you can’t do that (listening to one another), you’re not in a conversation. You’re just two people shouting out barely related sentences in the same place.”

—— 美國知名作家與廣電主持人 西萊斯特 Celeste Headlee: 10 ways to have a better conversation | TED Talk, 2015




　
※ Though this film is mainly designed to be watched directly, decoders/anaglyph glasses and a special cinema are provided in the debut screening and the following exhibition.

#雙線敘事 (Duo Narrative) 與 #立體結局 (Anaglyph 3D)

「沒有一種觀點是永遠正確的 There's no such perspective that always applies.」

　—— 我說的 Jiun’s Diary in Broken English, p.377


《第二樂章》揉合並轉化了古典的 Coluor Decoder 和 Anglyph 3D 技法，以紅、藍兩條先是截然不同，最後合而為一的故事線，迫使觀影者在各種觀影經驗的排列組合中選擇（對不起！），以體現現實中看清各種面向的困難 — 大多數的我們，若不是帶著既有的觀點清晰地看見故事的半邊，便是忙亂地追著大局不知所措。
By applying the idea of colour decoders and Anaglyph 3D, Chapter 2: challenges the way we watch films, which includes an inevitable choice the audience cannot avoid to make. While the two overlapping narratives, drawn in Cyan and Magenta, are so different in most part of the film, they cannot work without each other at the end, when they collaborate as a complete image in 3D. Focusing on either colour would make one miss the 3D ending; in the other way round, to ever unveil the grand finale requires baring both narratives messing together –– just as tricky as how one, in the real world, either see things with biases or as an outsider see mostly a mess if not with a high standard of focus.




※ Though this film is mainly designed to be watched directly, decoders/anaglyph glasses and a special cinema are provided in the debut screening and the following exhibition.

曾經，我吟詩、他撰文，我們以為迎接了光復；可他最好的著作，僅存一紙給我的囉唆。

大概是摻了半透明紅色的鹹味，乏味的叨念刻進了不能開口的身體；大概是這樣，那些鹽漲得比天高的日子，我也是活過來了。

Also the such miscommunication exists all over the world, the magenta half of this story was referencing Chinese migrants who came to Taiwan much earlier. (tbc)

曾經，有我的家、我的家人、朋友，我在那裡⋯⋯ 那麼普通地活著；一晃眼，就被槍砲逼進了這圈方寸裡，今後除了黨國，和外頭那些莫名襲來的憤與恨，我還剩下什麼？

究竟我是一無所有了，還是那十二道炙白的光芒太過耀眼，不得而知。

The cyan part of this film refers to another group in Taiwan called 'mainlander (or mainland Chinese)', who moved to Taiwan in the 40s, esp. after Kuomintang lost the Chinese Civil War in 1949. (tbc)