Indie magazine NANG examines the topic of "fiction" in Asian cinema with its newest issue

Since its inception, NANG has defied the expectations of what a film publication can be. Foregoing run-of-the-mill movie reviews for creative storytelling, NANG offers original perspectives on the world of Asian cinema in each issue. The latest release, dedicated to the topic of fiction, pulls attention away from filmmakers and the process of filmmaking, instead casting a spotlight on the watchers of films. Enlisting the help of guest editor Amir Muhammad – an accomplished Malaysian writer, publisher, and filmmaker – Editor-in-Chief Davide Cazarro invites readers to ponder on how movies can take on a life of their own after they’ve been watched. Overall, the issue poses the question, “When we think about a movie we have seen, aren’t we also ‘making (or ‘remaking)’ that movie in the confines of our imagination?”

自成立以来，《NANG》杂志一直在颠覆电影杂志的传统定义。这本杂志的影评更具创意和前瞻性，在每一期中都提供了关于亚洲电影世界的原创观点。这期最新的杂志以“编造”为主题，并未将人们的注意力放在电影制片人和制作过程，而反将关注的焦点投向了观众。在担任客座编辑Amir Muhammad——他也是多才多艺的马来西亚作家、出版商和电影制片人——的帮助下，主编Davide Cazarro邀请读者一起思考有哪些方式可以让电影在上映后继续延续自己的“生命”？第三期提出的问题是：“当我们想到一部自己看过的电影时，我们难道不也是在自己的想象中‘创作’（或‘再创作’）那部电影吗？”

A diverse roster of writers and comic artists were invited to take the reigns of the third issue and share personal interpretations of their favorite Asian films. From inspired fan fiction and imaginary interviews to heartwarming comics and personal anecdotes, there was no shortage of creative bandwidth expended for the creation of Issue 3. “More than half of the writers chose movies that were not from their own country,” Muhammad writes. “[…] On a basic level, it just shows that movies travel easily. Movies from big industries travel even easier; growing up in Malaysia way before social media, I certainly knew of Amitabh Bachchan and Jackie Chan, but it would take more effort to get to know films from directly neighboring countries like Thailand and the Philippines.”

在本期杂志中，各种各样的作家和漫画家受邀在位，将以独特的视角，分享各自所喜爱的亚洲电影。从充满创意的同人小说、纯粹虚构的想象采访，到温暖人心的漫画和轶事趣闻，《NANG》Issue 3展现了无限创意。“半数以上的作家选择的电影不是他们自己国家的电影，”Muhammad写道，“⋯⋯表明了电影很容易传播罢了。而那些来自行业巨头的电影，传播就更轻松了。我成长在马拉西亚还未进入社交媒体的时代，我当然知道Amitabh Bachchan和Jackie Chan，但如果要了解直接来自泰国和菲律宾等邻国的电影，就得费些周折了。”

In addition to the write-ups and comics in the latest issue, NANG invited five illustrators to reimagine the movie posters for the 17 featured films. Thai artist Unchalee Anantawat presented surreal reinterpretations of Beautiful Boxer (2003), Fist of Dragon (2011), and You Are the Apple of My Eye (2011), while for Dust in the Wind (1986) and A City of Sadness (1989), she merged the two movies together into a singular, digital collage; Indonesian artist Ardneks reworked the posters for Welcome Back, Mr. Mcdonald (1997), Baran (2001), and A Chinese Ghost Story (1987) in his signature vectorized style; Germany-based artist Melanie Fassbender tackled Pink (2016), 2 COOL 2 BE 4GOTTEN (2016), and 3-Iron (2004); Filipino artist Likhain worked on Lilet Never Happened (2012), Vengeance! (1970), and Ghost in the Shell (1995); while artist Alessandro Gottardo offered his take on the three Wong Kai-war movies in the issue – 2046 (2004), Days of Being Wild (1990), and In the Mood for Love (2000).

此外，《NANG》杂志还邀请了五位才华横溢的插画家，重新为杂志中介绍的17部影片设计海报。泰国艺术家Unchalee Anantawat以截然不同的美学风格，重新诠释了《美丽拳王》（2003）、《龙拳》（2011）和《那些年，我们一起追的女孩》（2011），而《恋恋风尘》（1986）和《悲情城市》（1989）则被她融合成一幅生动的拼贴画。

印度尼西亚艺术家Ardneks以他的标志性矢量图风格，重新设计了《爆肚风云》（1997）、《天堂挚爱》（2001）和《倩女幽魂》（1987）；德国艺术家 Melanie Fassbender 则选择设计了《红粉惊魂》（2016）、《2 COOL 2 BE 4GOTTEN》（2016）和《空房间》（2004）三部电影的海报。

菲律宾艺术家Likhain制作了《街边少女利勒特》（2012）、《报仇》（1970）和《攻壳机动队》（1995）的海报；而艺术家Alessandro Gottardo 则对王家卫的三部电影《2046》（2004）、《阿飞正传》（1990）和《花样年华》（2000）进行自己的演绎，其中，他还特意为《花样年华》打造了两幅不同的海报设计。