Media Coverage／媒體報導
Il Manifesto: La generazione smarrita di Taiwan, illusa dalle sirene del successo
LUNGYIN LIM immerses the coast in a sinister light and ethnographically films the rituals and celebrations of the local carnival based on fire: each end is a new beginning and while the high tide withdraws making hope for a good harvest, the streets crackling with pyrotechnic games, the pyres burn on the ocean shore to propitiate the reincarnation of the old in the new.
SCREEN DAILY
"The International Competition includes the world premiere of Lim Lungyin’s Taiwan-Czech Republic co-production Ohong Village, about a young man who returns from the city pretending to be successful to his hometown fishing village during the carnival for a god."
放映週報：以一個下沉的蚵村，作為台灣縮影：訪《蚵豐村》導演林龍吟
「除了放在當代台灣電影環境下，極富特色與感官性的影像與聲音才華，這層把故事架設在具象歷史與親近鄉土時空之後，仍試圖展現抽象探尋的智性野心與自我要求，是林龍吟這位創作潛力股，值得所有關心國片發展的影迷朋友，另一振奮之處。」
“It captures the people’s appearance and the impressive scenery of the fishing village in its own style, while the influence of the Taiwanese masters is evident.”
[Jeonju IFF] 영화 ‘오홍마을’, 린룽인 감독·배우들 전주 인사
"Entered in the international competition section of Jeonju IFF, this film is the first feature of the director, Lungyin Lim. The landscape of Ohong Village is transformed by seeing the father of 'Shang' who has insisted solely on the oyster farming for the rest of his life and the love of gold."
高雄電影節：驚人的第一部！藍正龍.謝沛如.林龍吟導演首部曲
「首部劇情長片即入選全州影展競賽片，導演林龍吟聚焦台灣中南部小漁村的《蚵豐村》(Ohong Village)，以16 釐米底片試圖尋回粗獷如砂礫的人文質地，描寫急速進入後工業社會後，當代人面臨的殘酷社會現實。」
“recalls the rainbows of buzzing lights and colours in Tsai Ming Liang’s debut Rebels of the Neon God (1992). But, Lim’s aesthetic choices go beyond homage to the seductive urban dystopias of Second New Wave filmmakers like Tsai, instead harnessing their scintillating lustre to convey the struggle, longing and loneliness of fringe spaces like Ohong Village. ”
ROUGH CUT Review: Ohong Village ★★★★
"Ohong Village embraces the strain between new and old, and its radiating celluloid texture locks it in a space of memory that is painfully trying to catch up to the present. The lies of father and son become an intergenerational tapestry of ignorance allowing pain and longing to flourish where oysters and careers won’t."
第二屆「雪梨台灣影展」登場 首映片《蚵豐村》全場爆滿
「首映片《蚵豐村》全場爆滿，導演林龍吟亦應邀抵達現場與觀眾進行問答，由於電影票早已售罄，若干觀眾為一睹該片與導演風采，不惜選擇席地而坐或購買站票。」
“marks the boundary between the old and the new,”
The Reel Bits ★★★★
"The beauty of OHONG VILLAGE is that it can be read in the literal sense, as a tension between generations who place different values on wealth, but it also speaks to a far more universal notion of personal worth."
"OHONG VILLAGE marks the boundary between the old and the new, offering westerners and Taiwanese equal access to the subtleties of generational divides, living up to family expectations, and reconciliation with the past."
放映週報 焦點影評：不曾離開、尚未沉沒的《蚵豐村》
「這樣以地方人物為主題，強調人與環境、物件之間關係的構圖和場面調度，令人想起臺灣新電影時期的王童、侯孝賢的作品，有趣的是，電影中相較之下不那麼「寫實」，高度風格化、並刻意留下缺口的部分，卻更深刻地影響著電影的進行。」
FILM CRITIK: ‘Ohong Village’ Review: Lim Lung Yin’s Debut on Yearnings Far From Taipei ★★★★
"Lim Lung Yin’s OHONG VILLAGE is a modern-day retelling of a disconnected and discontented filial relationship in a small ebbing fishing village. The decision to use film gives this drama a vintage quality to it that is Euro-style reflective and melancholic."
央廣：國片「蚵豐村」 拍出台灣沒落漁村美麗與哀愁
「儘管在克難的環境下拍攝，但由於是採用16釐米底片拍攝，加上導演刻意以海水的藍色、大紅與黑色，呼應故事主軸，同時盡可能捕捉黎明與黃昏的氛圍，讓整部電影充滿一種魔幻的詩意風格。」
“今年目前為止看到最厲害的台灣電影”
既視感：蚵豐村
「《蚵豐村》它如實的呈現台灣中南沿海地區陰鬱、疏離、哀傷，但還是有點可愛的樣貌。雖然片中奇幻、出乎常理的地方甚少，但這或許可以稱之為特屬於台灣當代的魔幻寫實。這當中的魔幻，並不是指那些畫面上的神奇時刻以及敘事上的破格，而是那種存藏在現代都會人們想像或遙遠記憶裡，看似時空停滯的鄉村日常。」
中央社：國片蚵豐村 入圍韓國全州影展國際競賽
「第20屆韓國全州影展今天公布國際競賽單元入圍名單，台灣新銳導演林龍吟執導的國片「蚵豐村」成為本屆唯一入圍的台灣電影，將與來自韓國、西班牙及德國的佳片一同角逐首獎。」
URBAN NOMAD:【台灣MV競賽】得獎出爐！評審說…
從佈景、美術、妝髮、燈光、運鏡語彙、剪輯美學，乃至於演員演技、劇情發展，徹頭徹尾的80年代迪士可況味，復古樂風的復古MV就應該這樣復古到底。 – 林查拉
用心的美術與造型，與音樂的搭配很到位，也很欣賞導演帶戲的功力、每位演員演技的表現都不造作，忠實呈現80年代台灣舞廳的氛圍。 – 高小糕
將80年代影像及音樂處理得恰到好處，重建相當真實。雖然幾乎可以期待下一幕會出現甚麼樣的畫面，但因為音樂非常琅琅上口，故事又有趣，會讓人忍不住看完之後又再重新按下play鍵，一看再看！我真的非常享受這支作品帶來的視覺與聽覺享受！ – Fumie‘