文化藝術人物 / Cultural figure

關錦鵬

Stanley Kwan Kam-pang

1985年–現在

領域:藝術家

繁體中文

關錦鵬1957年10月9日喺香港出世,原籍廣東南海,係電影導演兼監製,以女性題材同細膩情感見稱。他1976年入讀無綫電視藝員訓練班,同時喺香港浸會學院修讀傳理,其後留任電視台做場記同助導,師從許鞍華同譚家明。1985年他執導首部電影《女人心》,由周潤發、鍾楚紅、繆騫人主演,寫現代男女關係。1987年嘅《胭脂扣》改編自李碧華小說,梅艷芳飾演嘅女鬼如花回到現代尋找十二少,喺1989年為他贏得第8屆香港電影金像獎最佳導演,該片共奪七項金像獎,梅艷芳亦憑此片獲金馬獎最佳女主角。1992年《阮玲玉》以今昔對照手法重現三十年代女星阮玲玉嘅一生,張曼玉憑此片奪第42屆柏林影展最佳女演員銀熊獎,成為首位華人柏林影后。1994年《紅玫瑰白玫瑰》改編張愛玲小說,由陳沖、葉玉卿同趙文瑄主演。1996年他執導紀錄片《男生女相》,從華語電影嘅性別形象切入。2001年《藍宇》改編自網絡小說《北京故事》,以大陸同性戀題材為主軸,為他贏得第38屆台灣金馬獎最佳導演。2005年他拍攝《長恨歌》,改編王安憶同名小說,由鄭秀文主演。其作品長期關注女性處境、性別議題同邊緣群體嘅情感世界。他1989年執導嘅《人在紐約》寫三個華人女子喺紐約嘅際遇,獲台灣金馬獎多個獎項。1998年佢拍攝《愈快樂愈墮落》,並喺紀錄片《男生女相》中公開自己嘅同志身分。2018年他執導《八個女人一台戲》。他亦曾任香港電影導演會會長,並多次參與培育新導演嘅工作。佢師承許鞍華同譚家明,早期喺電視台累積嘅經驗,令佢日後善於處理演員同細膩場面。關錦鵬1989年憑《人在紐約》獲台灣金馬獎多個獎項,該片寫三個華人女子喺紐約嘅際遇。他長期關注女性處境、性別議題同邊緣群體嘅情感世界,係華語影壇少數公開同志身分嘅導演之一;1996年紀錄片《男生女相》從華語電影嘅性別形象切入,1998年《愈快樂愈墮落》則延續其對情慾同城市嘅凝視。1994年《紅玫瑰白玫瑰》改編張愛玲小說,由陳沖、葉玉卿同趙文瑄主演,捕捉舊上海男女之間嘅拉扯。他早年喺無綫電視師承許鞍華同譚家明,其作品多次入圍國際影展,《阮玲玉》同《藍宇》分別喺柏林同金馬獲獎;他亦曾任香港電影導演會會長,並多次參與培育新導演嘅工作。他嘅電影以細膩嘅情感同對女性心理嘅刻劃著稱,喺華語影壇別樹一幟。佢嘅作品多次入圍康城、柏林同威尼斯等國際影展,並先後獲香港電影金像獎同金馬獎肯定;《胭脂扣》當年更奪七項香港電影金像獎。佢嘅電影常以女性為中心,刻劃佢哋喺愛情同時代變遷中嘅處境,成為華語文藝片嘅重要一頁。

English

Stanley Kwan Kam-pang was born in Hong Kong on 9 October 1957, a native of Nanhai, Guangdong, and is a director and producer known for women-centred subjects and delicate emotion. He entered TVB's artist training programme in 1976 while studying communication at the Hong Kong Baptist College, then stayed at the station as a continuity assistant and assistant director under Ann Hui and Patrick Tam. He made his directorial debut with Women (1985), starring Chow Yun-fat, Cherie Chung and Cora Miao, a study of modern relationships. Rouge (1987), adapted from Lilian Lee's novel, has the ghost Fleur (Anita Mui) return to the present to seek her lover; it won Kwan Best Director at the 8th Hong Kong Film Awards in 1989 and took seven awards in all, with Mui winning Best Actress at the Golden Horse Awards. Center Stage (1992), using present-day testimony to reconstruct the 1930s star Ruan Lingyu's life, won Maggie Cheung the Silver Bear for Best Actress at the 42nd Berlin International Film Festival, making her the first Chinese Best Actress winner at Berlin. Red Rose White Rose (1994) adapted Eileen Chang, starring Joan Chen, Veronica Yip and Winston Chao. In 1996 he directed the documentary Yang ± Yin, looking at gender images in Chinese cinema. Lan Yu (2001), adapted from the online novel Beijing Story, took mainland homosexuality as its subject and brought Kwan Best Director at the 38th Golden Horse Awards. In 2005 he adapted Wang Anyi's novel for Everlasting Regret, starring Sammi Cheng. His films focus on women's lives, gender and the emotional worlds of marginal groups. His 1989 film Full Moon in New York followed three Chinese women in the city and won several Golden Horse Awards. In 1998 he directed Hold You Tight and came out publicly as gay in the documentary Yang ± Yin. In 2018 he directed First Night Nerves. He has also served as chairman of the Hong Kong Film Directors' Guild and taken part in nurturing new directors. Trained under Ann Hui and Patrick Tam, he built up his early experience at the television station, which later informed his skill with actors and delicate scenes.

人物小檔 Profile

職業Occupation

導演、監製

年期Active period

1985年–現在

代表作Notable works

《胭脂扣》《阮玲玉》《紅玫瑰白玫瑰》《藍宇》

獎項及榮譽Awards & honours

第8屆香港電影金像獎最佳導演(1989)、第38屆台灣金馬獎最佳導演(2001)

資料整理日期 / Compiled: 2026-09-12

主要成就 Key Achievements

1985

執導首部電影《女人心》。

Directed his first film, Women.

1989

憑《胭脂扣》獲第8屆香港電影金像獎最佳導演。

Won Best Director at the 8th Hong Kong Film Awards for Rouge.

2001

憑《藍宇》獲第38屆台灣金馬獎最佳導演。

Won Best Director at the 38th Golden Horse Awards for Lan Yu.

影響與傳承 Impact & Legacy

繁體中文

關錦鵬長期以女性視角拍戲,《胭脂扣》《阮玲玉》把香港文藝片推向國際。他令張曼玉成為首位奪柏林影后嘅華人演員,並藉《藍宇》等片開拓華語電影嘅性別議題。其作品中嘅女性同邊緣群體情感,影響咗往後嘅華語文藝創作。

English

Stanley Kwan has long made films from a woman's point of view, and Rouge and Center Stage carried Hong Kong art cinema onto the international stage. He helped make Maggie Cheung the first Chinese Best Actress winner at Berlin, and films such as Lan Yu opened up gender themes in Chinese-language cinema. The emotional worlds of women and marginal groups in his work have influenced later Chinese-language art filmmaking.

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