纪录片自媒体解说素材-新闻动态参考-乌克兰纪录片Don Flak夹克，在战争期间保持相机滚动/Ukrainian Docmakers Don Flak Jackets, Keep Cameras Rolling During War
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0500/3054i4yo1531ngy.jpg乌克兰纪录片Don Flak夹克，在战争期间保持相机滚动
Ukrainian Docmakers Don Flak Jackets, Keep Cameras Rolling During War
上周，Docudays UA行业平台的策展人达里亚·巴塞尔（Darya Bassel）回到了基辅的家中，发现自己微笑着“像个疯子”，重新上班并恢复日常工作。她在斯拉瓦·乌克兰（Slava Ukraini）期间说：“我每天仍然坐12个小时。列表，”她继续说道。 “我从没想过我会打算为电影制片人订购散装的壁炉背心或医疗套件。” docudays UA的国际人权纪录片节通常在3月举行，可能是由于俄罗斯 - 乌克兰战争而被推迟了正在进行支持乌克兰电影制作社区的努力 - 包括确保该社区的成员不仅可见，而且在备受瞩目的国际活动中积极参与者。电影制片人Alina Gorlova Ctor Orwa Nyrabia的2020年电影《 This This Rain Corne Corne There There Clay》获得了IDFA奖，获得了众多荣誉的最佳首次亮相，他说决策很难。从不同的电视频道中获取许多请求，但是我们决定从正在拍摄的材料中创建电影，尽管很难知道应该是什么格式。我们决定留在这里，以帮助拥有人道主义援助的人，但实际上我们能做什么？我不是战斗机，我不能做饭。也许我应该拍摄。“拍摄目前正在发生的事情非常重要，因为将来我们将需要这种材料。 2020年，她说，她必须在这些新的“可怕”情况下重新评估自己作为电影制片人的角色。 “我了解到怀疑您的立场是正常的，许多人经历了这种身份危机：我的特定RO是什么在战争时间里？我如何充当电影制片人？”“我是基于过程和基于研究的，”卡尔波维奇继续说道。 “我总是在拍摄之前反思和观察，这就是为什么我感到迷路的原因；乌克兰的国际媒体对当地生产商的需求不断，所以从未在媒体上工作过的卡尔波维奇决定接受这项工作以保持近距离，这是最疯狂的事情。尽可能进入前线。她说：“另一方面，学习如何采取行动以及如何在我绝对不熟悉的新条件下行事和工作很重要。” “我学会了如何与军队交流，在这些新情况下如何安全。” Karpovych现在正在将她与媒体战区退伍军人一起工作的知识应用于自己的创意项目。乌克兰人口巴塞尔说：“关于这场战争不会增长。” “许多乌克兰电影制片人之所以做好准备，是因为他们经历了（2014年）的尊严革命 - 他们知道发生了什么，他们知道会发生什么。”巴塞尔最近从电影制片人那里遇到了一条旧的信息，要求有几次硬盘驱动器。 “他说，'我需要两个硬盘驱动器，如果战争要长得更长，那么我需要更多。'现在每个人都意识到这将超过10天。”现在，他们正处于这一中间。”她继续说道。 “这是一种令人兴奋的感觉，但另一方面，人们疲倦和烧毁。”许多电影制片人一直无偿工作，正如Gorlova指出的那样，广播公司的国际兴趣将有所帮助。 “从乌克兰电影基金中获得所有资金将很难为所有资金提供资金。我相信决定搬到其他国家的董事将能够完成电影，因为乌克兰电影制片人并不能够开发完美的演讲或参加比赛。 “我们需要立即支持。我们需要并不是以前的资金。我们的预算中有新的线条 - 我们需要火焰夹克。因此，我们需要立即支持，因为我们在这里，现在正在拍摄。 “钢铁公司”的分钟。这部电影的制作得到了州和私人融资的支持，遵循三名年轻的乌克兰战争退伍军人，他们返回家园并试图过正常的平民生活。 ，”亨塔鲁克在录像中说。几年来拍摄的一千多个小时的材料已于她在2021年削减了七个小时。“然后两个月前，俄罗斯战争开始了，我们所有的角色现在都去战斗了，”她继续说道。该团队决定需要更多射击，计划是将其整合并在7月份锁定图片，同时寻找后期制作和销售代理商的融资。这部电影由Hontaruk，Ivanna Khitsinska，Alexandra Bratyshchenko和Igor Savychenko制作，其中包括Productions Companies Babylon 13 Production LLC和Directory Films LLC（乌克兰）。在5月21日，在乌克兰展示柜 @ Cannes Docs在Cannes Docs部分的MarchéDu电影中，与乌克兰学院合作，UA与Docudays UA合作。
Last week Darya Bassel, the curator of Docudays UA’s industry platform, returned to her home in Kyiv and found herself smiling “like a crazy person” to be back at work and resuming something of a daily routine. “I’m still sitting 12 hours a day with my laptop,” she said during Slava Ukraini, an early morning session that kicked off Day 2 of Hot Docs’ Industry LIVE conference.
“There are just some additional tasks on my to-do list,” she continued. “I never thought that I would ever deal with ordering bulk flak vests or medical kits for filmmakers.”
Docudays UA's International Human Rights Documentary Film Festival, which usually takes place in March, may have been postponed due to the Russia-Ukraine War but its efforts to support the Ukrainian filmmaking community are ongoing—and include ensuring members of that community remain not just visible but active participants at high-profile international events.
During the Hot Docs session moderated by IDFA artistic director Orwa Nyrabia, filmmaker Alina Gorlova, whose 2020 film “This Rain Will Never Stop” won the IDFA Award for Best First Appearance among numerous accolades, said decision-making is hard right now.
“My team, which is several DOPs and directors, gets many requests from different TV channels, but we have decided to create a movie from the material we are shooting, although it's hard to know what format it should be. We decided to stay here, to help people with humanitarian aid—but what could we do actually? I'm not a fighter, I couldn't cook. Probably I should film.
“It's very important to film what’s going on right now, because in the future we will need this material.”
Oksana Karpovych, whose doc debut “Don’t Worry, the Doors Will Open” screened at Hot Docs in 2020, said she has to reassess her role as a filmmaker in these new and “horrible" circumstances. “I learned that it’s normal to doubt your position and many people go through this sort of identity crisis: What is my specific role in war time?How do I act as a civilian, as a filmmaker?”
“I'm process-based and research-based,” Karpovych continued. “I always reflect and observe before I shoot so that's why I felt lost; but it was the craziest thing to just sit and do nothing.”
The international media in Ukraine has a constant demand for local producers, so Karpovych, who had never worked in the media, decided to take on this work in order to be as close as possible to the frontline. “On the other hand, it was important to learn how to act and how to behave and work in these new conditions that were absolutely unfamiliar to me,” she said. “I learned how to communicate to military, how to be safe in these new circumstances.” Karpovych is now applying the knowledge she gained working alongside media war-zone veterans to her own creative projects.
“Many documentary filmmakers as well as people who usually work in fiction took up cameras immediately, even though, at the time, the majority of the Ukrainian population did not expect that this war would grow to this scale,” said Bassel. “Many Ukrainian filmmakers were prepared because they went through the (2014) Revolution of Dignity—they knew what was going on, they know what to expect.”
Bassel recently came across an old message from a filmmaker requesting several hard drives. “He said, ‘I need two hard drives, and if the war is going to be longer then I need a bit more.’ Now everybody realizes it’s going to be much more than 10 days.
“Something important is happening right here, right now, and they are in the middle of this,” she continued. “It is an exciting feeling, but on the other hand, people are tired and burnt out.”
Many filmmakers have been working for no pay and, as Gorlova pointed out, international interest from broadcasters will be helpful. “It will be hard to finance everything from the Ukrainian film fund. I am sure that directors who decided to move to other countries will be able to finish their films, because they have a strong desire to keep Ukrainian cinema alive.”
Ukrainian filmmakers are not in the position of developing perfect presentations or taking part in competitions, Karpovych added. “We need support immediately. We need funds that are not exactly what they were before. There are new lines in our budgets—we need flak jackets. So we need support immediately because we are here, and we are filming right now.”
On Day 3 of the conference, at Hot Docs' inaugural Works-in-Progress screening, Ukrainian filmmaker Yuliia Hontaruk presented, publicly for the first time, several minutes of “Company of Steel." The film, production of which has been supported by state and private financing, follows three young Ukrainian war veterans who return home and try to lead a normal civilian life.
“This is a film about the new Ukrainian generation and the development of a civil society,” Hontaruk said in a videotaped introduction. More than a thousand hours of material, filmed over several years, was edited to a seven-hour cut in 2021. “Then two months ago, the Russian war began, and all our characters have now gone to fight,” she continued.
The team decided more shooting was needed, and the plan is to integrate that and lock the picture in July, while looking for financing for the post-production and for a sales agent.
The film is produced by Hontaruk, Ivanna Khitsinska, Alexandra Bratyshchenko, and Igor Savychenko, with productions companies Babylon 13 Production LLC and Directory Films LLC (Ukraine).
“Company of Steel” is one of four projects in the development stage that will be presented by Docudays UA, in cooperation with the Ukrainian Institute, at the Ukrainian Showcase @ Cannes Docs on May 21 at the Marché du Film within the Cannes Docs section.
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感谢大佬分享。我又来学习了~ 谢谢更新，天天学习，天天向上！ 太好了，终于找到宝藏论坛了！
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