I program and market films at Giloo, a Taiwanese curation platform for independent, issue-driven cinema.
我在 Giloo 負責節目策劃跟行銷。Giloo 是台灣的策展平台，專門放議題型的獨立電影。
I am also a producer. My latest film, Me and My Condemned Father, opened in Taiwanese cinemas this September.
我同時是製片。我最新的作品《我的爸爸是死刑犯》，今年九月在台灣院線上映。
I want to spend the next fifteen minutes answering this one question.
接下來十五分鐘，我想用整場來回答這一句話。
International, regional, issue-based, shorts-only. Different scales, different aims.
影展。國際大型、地區型、議題型，還有短片專門的影展。規模跟訴求都不一樣。
Clubs, classrooms, NGOs, bookshops. Thirty people, four or five shorts in a sitting.
社群放映。社團、教室、NGO、書店。二三十人的場，一次放四五部短片。
License to a streamer or publish it yourself, so the film has somewhere to stay alive.
線上平台。授權給串流平台或自己上架，讓片子有一個長期活著的地方。
Schools, libraries, museums, companies. One of the few places a short gets paid.
公播授權。學校、圖書館、美術館、企業。短片少數真的收得到錢的地方。
TV channels, online outlets, feature collaborations with news platforms.
電視與媒體。電視台、線上媒體、新聞平台的專題合作。
A short is your calling card. It can buy feature funding or a commission.
下一部片。短片是你的名片，可以換到長片的資金或一個委製案。
觀眾找不到你的片
They do not know it exists.
他們不知道它存在。
創作者沒辦法靠這件事活下去
Finish one film and you start hunting for the next budget.
拍完一部，還是要重新找下一筆錢。
市場沒有出口
More films get made every year. The ways out have not grown.
每年拍出來的片越來越多，管道卻沒有變多。
For most shorts there is no theatrical window to approach, no distributor who is interested, and no marketing budget. Submitting to festivals becomes the only goal.
多數短片沒有院線窗口可以聯繫，沒有發行商有興趣，也沒有行銷預算。投稿影展變成唯一的目標。
For a short, the day the festival ends is often the day people stop mentioning it.
對短片來說，影展結束的那一天，常常就是沒有人再提起它的那一天。
Through my work with filmmakers, festivals, and audiences, I came to see one clear problem.
The films exist. The audiences exist. The path between them is broken.
The problem isn’t finding an audience. It’s waiting until the film is finished to start. By then, the money is gone, the team has moved on, and the director is exhausted.
問題不是沒有人想找觀眾，而是大家都想等電影做完再找。等真的做完，錢、人和力氣也都用完了。
| Festival影展 | Submitted報名 | Selected入選 | Rate比例 |
|---|---|---|---|
| Sundance 2026, Short Film Program日舞影展 短片單元 | 11,480 | 54 | 0.5% |
| Cannes 2026, Short Films in Competition坎城影展 短片競賽 | 3,184 | 10 | 0.3% |
| Clermont-Ferrand 2026, all competitions克萊蒙費宏短片影展 三個競賽合計 | 7,000+ | 144 | 2% |
| Short Shorts Film Festival & Asia 2026, Tokyo東京 SSFF & ASIA 全部單元 | 5,000 | 250 | 5% |
| Golden Horse Awards 2025, Best Documentary Short金馬獎 最佳紀錄短片 | 79 | 5 | 6% |
Most good films do not get in. Plan the life outside the festival anyway.
大多數好片都進不去。影展之外的路，不管怎樣都要先想好。
Sources: sundance.org · festival-cannes.com · lecourt-clermont.org, Cineuropa · shortshorts.org · goldenhorse.org.tw (62nd, 2025: 310 live-action shorts submitted, also five nominees)
Whether your shoot runs eight months or three years, you meet people. Your subjects. The organisations around them. The teachers who care about this. The ones who helped you.
不管你拍八個月還是三年，你都會遇到很多人。受訪者、相關的組織、關心這個題目的老師、幫過你的人。
That stretch is the closest you will ever be to these people. After you wrap, you will not run into them again.
那段時間，是你這輩子離這群人最近的時候。拍完之後，你就再也遇不到他們了。
Crowdfunding, community fundraising, and pre-selling rights can reduce the financial pressure from the start. Don’t borrow to shoot and hope the box office pays it back.
募資、群眾集資、預售版權，可以從一開始就減輕資金壓力。不要先借錢拍片，再期待票房幫你把錢賺回來。
A campaign is not only money. Everyone who backs you already cares about this subject, so you finish the film already holding a list.
募資不只是拿到錢。每個支持你的人，都是已經在乎這個題目的人，你拍完就已經有一份名單。
When a festival ends, everyone goes home. When a viewer leaves the theatre, the relationship usually ends there.
影展一結束，大家就各自回家。觀眾一走出戲院，這段關係往往也就結束了。
You need a place where the relationship can continue.
你需要一個地方，讓觀眾和作品的關係可以繼續。
你不會知道你的觀眾是誰
The dashboard, the post metrics, the people replying in the comments. If you never look, you never learn who the film reached.
後台數據、貼文成效、留言裡回話的人。你自己不去看，就永遠不會知道這部片打到誰。
他們不會為你走進戲院
With no prior contact and no relationship, nobody buys a ticket just to support you.
沒有互動過，沒有建立過關係，他們不會特地買一張票去支持你。
下一部片，你還是從零開始
Press contacts and corporate buyers stay with the distributor. Your next film starts over.
媒體資源、包場的企業名單，都留在片商手上。下一部片你又要從頭來過。
A director I work with released a film on this subject six years ago, with a large following on Facebook and Instagram.
我合作的一位導演，六年前有一部同樣題目的片，臉書跟 IG 累積了非常多粉絲。
Six years on, different protagonist, same subject, and we opened both accounts from zero. Everything he built stayed with the previous distributor.
六年後，不同的主角，同一個題目，兩個帳號都從零開始。他累積的東西，都留在上一個發行商身上。
Building those relationships is what a distributor is good at, and it is real value. The list just does not copy itself over to the filmmaker.
累積這些關係是發行商的專業，也是他們的價值。問題是這份名單不會自動複製一份給創作者。
策展勝過演算法。一個人指著一部片說「你應該看這個」，比任何推薦系統都有用。
人們願意為意義付費。觀眾會為了想懂一件事而花錢。
社群比廣告更會傳播。一部片透過喜歡它的人往外走，會比任何廣告預算走得遠。
Giloo 的訪客有九成五是自己找上來的，只有百分之五是廣告帶來的。
跟一個藝術節合作的晚上，現場一千多人，線上同時超過一萬人在看片。
Online viewers had to register, so we had a way to reach them again. We could keep talking to them after the event.
因為線上觀看需要報名，我們拿得到聯絡方式。事後我們可以繼續跟這些人說話。
A screening of fifty people that collects no contact details makes those fifty people disappear for good.
一場五十個人的放映，如果沒有留下任何聯絡方式，那五十個人就永遠消失了。
能幫你放大聲量的人
Press, critics, creators with reach. They make more people aware the film exists.
媒體、影評、有影響力的創作者。他們讓更多人知道這部片存在。
能真的把人帶到現場的人
Teachers, NGO staff, club officers, book club hosts. One email, one meeting at a time.
老師、NGO 工作者、社團幹部、讀書會召集人。一次聯繫、一場會面，逐步把人聚集起來。
Every time someone reacts to the subject, write down who they are and why they care.
現在就開一份名單。每遇到一個對這個題目有反應的人，就記下他是誰、為什麼在乎。
This is the cheapest chance you will ever get.
每一場放映都要留下聯絡方式。這是你最便宜的一次機會。
It does not need to speak to everyone, only to the people who already care.
想清楚你的片子要放進哪一個已經存在的討論裡。它只需要跟真正在乎的那群人說話。
Schools, libraries, NGOs, foundations, and corporate social responsibility programmes. That is also how Giloo earns: individual subscriptions and rentals on one side, group licences on the other.
學校、圖書館、NGO、基金會、企業社會責任專案。Giloo 的收入也是這個結構。
The rest of the return arrives on the next film, as a commission or a backed campaign.
其他的回報出現在下一部片，變成委製案或集資的支持。
你可以不投影展，直接放上 YouTube，衝最大的觀看數和社群聲量。
你也可以不上任何串流，目標只放在入圍你在乎的影展。
兩條路都對。取決於你想怎麼分享這部片、你要的是什麼、你想讓誰看到。
That is the healthiest way to stay in this industry.
這是在這個產業裡，最健康的活法。
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