纪录片自媒体解说素材-新闻动态参考-在战争和大流行之后，欧洲纪录片探索了范围的大陆/In the Wake of War and the Pandemic, European Docmakers Explore a Continent in Flux
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0500/391751r0mmb3tfd.jpg在战争和大流行之后，欧洲纪录片探索了范围的大陆
In the Wake of War and the Pandemic, European Docmakers Explore a Continent in Flux
关于危机气候，难民的困境和破坏性战争遗产的焦虑是将成为Hot Docs不断变化的欧洲计划的一部分的主题，这是北美最大的纪录片节与欧洲最大的纪录片之间的合作。电影促销（EFP）。该节目已于第五年，为过渡大陆提供了万花筒的肖像，其中包括9张长度长度和一张由60多个提交意见的热门文档选择的简短纪录片。该倡议得到了欧洲创意 - 欧盟媒体计划和参与的EFP成员组织的支持。“在这样的时代，不同的观点更重要，对话和交流是我们计划的核心，” EFP说。董事总经理桑贾·海因宁和节日程序员通过EFP安排的事先虚拟的一对一会议。已经举行了130多次这样的会议，为电影制片人提供了一个机会，在4月28日节日开幕之夜之前吸引买家的注意力。目标是确保“电影制片人及其制片人能够了解他们如何最大程度地发挥最大的作用Heinen。在大流行中说，EFP加强了与分销商的关系，尤其是在欧洲以外的市场，这是人体的主要目标。例如，该组织可以在圣丹斯电影节期间举办美国买家的展示柜，该电影节强调了尚未确保在美国倡议中发行的欧洲电影，强调了为电影提供专用平台的重要性，这些平台可能会逃脱买家请注意，并突出了节日的价值，例如Hot Docs在制作电影的职业中。 “没有节日，这很困难出售它们。他们需要节日的邮票。”海南说。 “否则，看不到他们。”为今年不断变化的欧洲计划而选择的十张纪录片从个人到政治范围，因为他们期待着不确定的未来 - 始终在沉思着这意味着什么。今天在一个破碎的欧洲中活着。这10部电影中的六个是由女性导演的，对身份，衰老和孕产等主题展示了一系列观点。导演Ketevan Kapanadze在“房间的感受”中进入了一座狭窄的乔治亚人的房子，一群女性和非二进制朋友创造了一个免受其不宽容环境的空间。法国电影制片人Myleine Guiard-Schmid在她30分钟的视觉文章“ crot脚故事”中与女性交谈，这些妇女专业地支持分娩的女性，或者曾出生以询问分娩过程是否会带来痛苦的痛苦。剧作家，舞台导演和前冰岛欧洲同时，Opean射击明星Álfrúnörnólfsdóttir与“乐队”成为大屏幕导演的首次亮相，该导演向观众介绍了一支全女性艺术摇滚乐队，该乐队涉及孕产，衰老和自我施加的截止日期，以取得成功。选择追踪了战争的挥之不去的后果以及幸存者在临时重建生活的努力。克罗地亚电影制片人兼记者韦德拉纳·普里巴·奇奇（VedranaPribačić）以“比创伤大”的身份首次亮相纪录片，这是跟随妇女聚集在一个非正统的疗法小组中，以面对克罗地亚独立战争期间性暴力的后果。在“纳西姆”中，导演奥莱·雅各布斯（Ole Jacobs）和阿恩·布特纳（ArneBüttner）讲述了一个阿富汗母亲的故事，其中有两人住在欧盟最大的难民营中。并梦想着她的自由。也许没有比今天面临的欧洲和世界更大的挑战，而气候变化越来越多，气候变化越来越多，越来越多的气候变化已经破坏了整个星球的日常生活。在“ ato”中麦克·希望 - 在亲核运动内部”（如图），爱尔兰董事弗兰基·芬顿（Frankie Fenton）询问核能是否是唯一能够应对气候危机的碳中性技术。同时，立陶宛艺术家和电影制片人Emilijaškarnulytė提供了核能的冥想以及在“埋葬”中处理废物所需的巨大努力。由SailaKivelä和Vesa Kuosmanen执导的另一部环保电影《 Just Altimal》是两位芬兰姐妹在不同的道路上与激进主义者的希望和绝望挣扎的肖像。我们在这个世界上越来越有联系的世界中的共同纽带。对于去年秋天在IDFA首映的“大理石旅行”，中国导演肖恩·王（Sean Wang）跟随一块白色大理石从希腊采石场到中国雕塑家的旅程，他们用它来创建希腊化风格的纪念品 - 然后许多这样的纪念品返回欧洲出售给C在表面上，这部电影是关于全球化塑造现代世界的奇怪和意外方式的评论。王说，从更深层次的角度来看，这也是对“我们时代的文化如何消耗的方式”的研究，尤其是在数百年中占主导地位的文明的文化是如何被新的力量所消耗的。这个故事是通过希腊的镜头讲述的，希腊的镜头跨越了亚洲和欧洲，并说明了整个几个世纪移民和运动的文化的流动性。王说：“这对欧洲人来说是一个非常亚洲的国家，对亚洲人来说是一个相当欧洲的国家，在地缘政治上，财务上，文化上，希腊在欧洲和亚洲之间处于非常独特的地位。大理石旅行”无意识地捕捉了一个地缘政治时刻，这种时刻可能很快被历史变化而破坏。 “世界上描绘了'大理石旅行'的秩序，中国扮演V我的重要角色，也许已经被库维德（Covid）改变了 - 甚至永远。”去年洛杉矶电影节。在两年的时间里，奥齐斯基将相机放在他的公寓的阳台上，观察到下面的人们，提出了从哲学到平庸的问题，并创造了一个很少在陌生人之间的谈话空间。导演，导演，导演，导演出乎意料的是在动荡的边缘创造了一个世界的时间胶囊。他说：“我设法在这种病毒之前和战争前（乌克兰）记录了我们世界上天堂的最后几天。” “我捕捉了我们'童贞'的时间，也许当我们认为世界是一个好地方，足够安全的地方。”在165次射击的日子里，ł佐斯基与狗狗的2,000多人交谈，来自狗骑手。陌生人从停放的汽车上走向长期邻居。这些对话设法重新定义了导演对社区的理解和关系。“这部电影不仅是关于我对他们的故事的好奇心，而且有一种人类的思想或情感交流，”他说。 “我们可以看到并感觉到相机背后的家伙与主角之间有联系。有一座桥。”这是一个连接，当相机停止滚动时，它不一定会结束。在他拍摄的最后一天近两年之后，来自阳台的一些角色仍然通过阳台传播，分享有关他们生活的新闻。导演说，他在电影中探索的连接渴望只是感到更加紧迫。“尤其是在大流行之后，在这场可怕的俄罗斯战争中，人们比以前更需要对话，”他说。 “我认为这两个事件之后，这部电影具有新的含义。因为我试图和关于困难和普遍问题的人们，例如生活，爱，什么是孤独的意义，以及如何生活在这个世界上。
Anxieties about a climate in crisis, the plight of refugees, and the destructive legacy of war are among the subjects that will take center stage as part of Hot Docs’ Changing Face of Europe program, a collaboration between North America’s largest documentary film festival and European Film Promotion (EFP).
Now in its fifth year, the program offers a kaleidoscopic portrait of a continent in transition, featuring nine feature-length and one short documentary selected by Hot Docs from over 60 submissions. The initiative is supported by the Creative Europe – Media Program of the European Union and the participating EFP member organizations.
“In times like these, different perspectives are all the more important, with dialogue and exchange at the core of our program,” says EFP’s managing director Sonja Heinen.
In addition to screenings and access to a comprehensive industry program, the directors and producers of the films will be matched with key distributors, buyers and festival programmers via prior virtual one-to-one meetings arranged by EFP. More than 130 such meetings have already taken place, offering filmmakers a chance to grab the attention of buyers ahead of the festival’s opening night on April 28. The goal is to ensure that “the filmmakers and their producers can understand how they can make the most out of their films," says Heinen.
Throughout the pandemic, EFP has strengthened its relationships with distributors, particularly in markets outside of Europe, which is the body’s primary goal. That allowed the organization, for example, to host a showcase for American buyers during the Sundance Film Festival highlighting European films that hadn’t yet secured distribution in the U.S.
Such initiatives underscore the importance of providing a dedicated platform for films that might otherwise escape buyers’ notice, as well as highlighting the value of festivals such as Hot Docs in launching a film's career. “Without festivals, it is difficult to sell them. They need the stamp of the festival,” says Heinen. “Otherwise, they are not seen.”
The ten documentaries selected for this year’s Changing Face of Europe program range from the personal to the political, reckoning with the past as they look forward to an uncertain future – all the while musing on what it means to be alive in a fractured Europe today.
Six of the 10 films are directed by women, presenting a range of perspectives on themes such as identity, aging and motherhood. In “How the Room Felt,” director Ketevan Kapanadze enters a cramped Georgian house where a group of female and non-binary friends have created a space safe from their intolerant surroundings. In her 30-minute visual essay “Crotch Stories,” French filmmaker Myleine Guiard-Schmid speaks with women who professionally support women in childbirth or who have given birth themselves to ask if the process of giving birth can bring pleasure along with pain. Playwright, stage director and former Icelandic European Shooting Star Álfrún Örnólfsdóttir, meanwhile, makes her big-screen directorial debut with “Band,” which introduces audiences to an all-female art rock band dealing with motherhood, aging and a self-imposed deadline to achieve success.
Other films in the selection trace the lingering fallout of war and the efforts of survivors to rebuild their lives in its wake. Croatian filmmaker and journalist Vedrana Pribačić makes her documentary feature debut with “Bigger Than Trauma,” which follows women gathering in an unorthodox therapy group to confront the aftermath of sexual violence during the Croatian War of Independence. In “Nasim,” directors Ole Jacobs and Arne Büttner tell the story of an Afghan mother of two living in the largest refugee camp in the E.U. and dreaming of her freedom.
Perhaps no greater challenge is facing Europe and the world today than climate change, whose increasingly dire consequences are already disrupting daily life across the planet. In “Atomic Hope – Inside the Pro-Nuclear Movement” (pictured), Irish director Frankie Fenton asks whether nuclear energy is the only carbon-neutral technology capable of tackling the climate crisis. Lithuanian artist and filmmaker Emilija Škarnulytė, meanwhile, offers a meditation on nuclear energy and the great effort required to deal with its waste in “Burial.” Another environmentally focused film, “Just Animals,” directed by Saila Kivelä and Vesa Kuosmanen, is a portrait of two Finnish sisters grappling with activism’s hope and hopelessness while on divergent paths.
No matter how narrow or wide in scope, such films offer a reminder of our common bonds in a world that is growing more connected by the day. For “A Marble Travelogue,” which world premiered in IDFA last fall, Chinese director Sean Wang followed the journey of a block of white marble from a Greek quarry to the Chinese sculptors who use it to create Hellenistic-style souvenirs – many of which then return to Europe to be sold to Chinese tourists.
On its surface, the film is a wry commentary on the strange and unexpected ways in which globalization has shaped the modern world. On a deeper level, it’s also a study of “how culture is consumed in our age,” says Wang, “especially how culture from a civilization that has dominated the world for hundreds of years… being consumed by a new power.”
The story is fittingly told through the lens of Greece, a country that straddles Asia and Europe and illustrates the fluidity of culture across centuries of migration and movement. “It’s a quite Asian country to Europeans, and it’s a quite European country to Asians,” says Wang, “so geopolitically, financially, culturally, Greece is in a very unique position between Europe and Asia.”
Largely filmed before the pandemic, “A Marble Travelogue” unwittingly captured a geopolitical moment that might soon be disrupted by the shifting tides of history. “The world order that ‘A Marble Travelogue’ portrayed, in which China plays a very important role, maybe has been changed by COVID – even forever,” says Wang.
Polish filmmaker Paweł Łoziński likewise found himself portraying a world about to be irrevocably transformed with his documentary “The Balcony Movie,” which won the Critics’ Prize at the Locarno Film Festival last year. Across two years, Łoziński placed his camera on the balcony of his flat and observed the people passing below, asking questions that ranged from the philosophical to the banal and creating a space for conversation that rarely exists between strangers today.
In the process, the director unexpectedly created a time capsule of a world on the brink of upheaval. “I managed to record the last days of paradise in our world before this virus and before the war ,” he says. “I captured the time of our ‘virginity,’ maybe, when we thought the world is a good place and safe enough to live.”
Over the course of 165 shooting days, Łoziński spoke with more than 2,000 passersby, from dog-walkers and strangers stepping out of parked cars to long-time neighbors. Those conversations managed to redefine the director’s understanding of and relationship to his community.
“The film is not only about my curiosity for their stories, but there is a kind of human exchange of thoughts or emotions,” he says. “We can see and feel that there is a link between the guy that is behind the camera and his protagonist. There is a bridge.”
It’s a connection that didn’t necessarily end when the camera stopped rolling. Nearly two years after his last day of filming, some of the characters from Łoziński’s film still pass by the balcony to share news about their lives. The desire for connection he explored in his movie, says the director, has only come to feel more urgent.
“Especially after the pandemic, and during this terrible Russian war in Ukraine, people have even more need for conversation than before,” he says. “I think the film has new meaning after those two events. Because I tried to speak to people about difficult and universal matters, like the meaning of life, love, what is loneliness, and simply how to live in this world.”
The Hot Docs Canadian International Documentary Festival runs April 28 - May 8.
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谢谢更新，天天学习，天天向上！ 感谢分享，下载收藏了。最喜欢高清纪录片了。 谢谢楼主分享，发现宝藏了。 谢谢更新，天天学习，天天向上！ 感谢分享，下载收藏了。最喜欢高清纪录片了。 资源真不错，感谢分享！ 谢谢楼主分享，发现宝藏了。 谢谢楼主分享，发现宝藏了。
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