纪录片自媒体解说素材-新闻动态参考-强大的角色占主导地位的瑞士纪录片项目/Strong Characters Dominate Swiss Documentary Projects at Visions du Réel
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0500/5413xvytuqa3vbr.jpg强大的角色占主导地位的瑞士纪录片项目
Strong Characters Dominate Swiss Documentary Projects at Visions du Réel
德国最后一位煤矿的矿工经历了性别改变，一场芭蕾舞演员在成为母亲之后，为保持自己的身份而战斗，悔改的流氓转为跆拳道冠军，父亲逃离了前乌拉圭独裁统治，拒绝了正在等待驱逐出境的难民，并受到了命运的命运。在电影业的热门歌曲之后：要说瑞士电影节上的第五届瑞士电影预览杜·雷尔（DuRéel）向我们介绍了强大的角色是一种轻描淡写。很快将在节日巡回演出中推出六部有希望的电影，并为该活动选择了国际市场，并在VDR-Industry上投了下来。其中五个是由妇女指导的（以“红色”共同执导的）。其中四个是第一个功能。根据摘录的质量和适合时间的主题的独创性，所有人都要求将其视为完成的电影。以下是瑞士高端纪录片市场正在发生的事情的概述。Visions du Reel“ Stuntwomen”（“ Cascadeuses”）“今天，我被枪杀了。全球最大的明星超过20年。她是导演Elena Avdija的第一部“ Stuntwomen”的三个角色之一。佩特拉（Petra）厌倦了在工作和生活在阴影中生活的伤害，现在正试图成为好莱坞的一名女演员。同时，在法国维尔维尼（Virginie）也正在过渡：在屏幕上垂死了二十年之后，她的目标是成为欧洲第一位女性特技协调员。在尼恩（Nyon）提出的一个摘录中，我们看到她被扔掉了一辆移动的马车，并令人印象深刻地站起来，好像什么都没发生，准备重复现场。身体可以承受多少疼痛？年轻的埃斯特尔（Estelle）训练成为特技演奏的女性，仍然没有有力女性角色的答案和梦想。但是她很快会发现现实可能完全不同。“作为观众，我们从很小的时候就看到电影中的女性被绑架，被强奸，谋杀，被殴打。这是我们行业的核心，” Elena Avdija推销。“我的纪录片质疑这个问题的不安。”由Bandeà部分电影和改变自我制作的制作，并期望将于今年秋天进行“ Stuntwomen”，使这些女性一次成为焦点，看起来像是未来的杰出表现。“基于真实的故事”由Visions du Reel提供，“基于真实的故事”，作为一个团结团体的成员，访问苏黎世机场等待驱逐出境的难民，导演丽莎·杰里格（Lisa Gerig）能够为她的第一部长片收集多年的信息。她选择讲这个故事太久了：不仅在瑞士，而且在整个欧洲，要授予庇护的标准是什么？“每个难民都必须在当局面前讲述他的生活故事。有了我的电影，我想对此公关阐明基于讲故事的Ocedure，”她在球场上说。为了更大的机会，候选人必须以最具说服力的方式，尽可能地在情感上，而不会与自己矛盾。丽莎·杰里格（Lisa Gerig）的电影描绘了三名被拒绝的寻求庇护者重演他们的庇护听证会，并再次谈论他们的创伤。在瑞士国家秘书处的那些人的确切条件下，对访谈进行了重播，三名真正的访调员根据官方规则进行听证会。它为观众提供了内部查看到目前为止的完整黑匣子。制片人Eva Vitija（合奏电影）和Lisa Gerig希望对这部电影产生真正的影响，并创建有关该主题的对话。它对未来的充满信心：一群律师和移民组织已经表达了他们对这部电影的强烈兴趣，预计将在2023年初首映。主任劳拉·凯尔（Laura Kaehr）在苏黎世歌剧院的前舞者“成为朱利亚”（Visions du Reel）的前提下，毫不秘密“ 25岁，你完成了。”然而，她毫不犹豫地回到那里拍摄了三年的拍摄，因为她的第一部作品《成为朱利亚》是对芭蕾舞界女性遭受的不平等的微妙批评。 “当Prima Ballerina的Giulia Tonelli向我透露她怀孕和害怕时，我立即知道我必须讲述她的故事，” Kaehr在预告片中回忆道。她的电影以非常摄影的方式拍摄，在没有任何采访的情况下，她的电影在一个伟大的歌剧院的后台就可以浸入了空前的沉浸式。凯尔（Kaehr）告诉《综艺》（Variety）：“在这个水平上，每天对舞者来说都是强烈的，所以这对我来说是强烈的。”“每天，我都必须找到勇气，回到这个地方，我经历了许多不太好的经历，如果女人受到不同的待遇，那可能会如此美丽。对于与主角相同背景的纪录片人来说，也许最困难的事情是不要干预并让现实展开。有时我在哭泣时拍摄。”这部电影由Point Prod制作，预计将于今年夏天完成。由于其主人公的名声，所处理的强大主题，设置的美丽，舞蹈场景以及导演对主题的掌握，这似乎引起了国际兴趣的强烈兴趣。“我想找到一个像我们一样热爱这部电影的发行人，并理解这种制作不是从知识分子开始的电影，而是从内在的需要讲故事的，” Kaehr告诉《多样性》。。记住”（“帕拉·诺尔·奥尔维达尔”）当导演劳拉·加贝（Laura Gabay）的父亲三年前去世时，她发现了数十个超级8号卷轴和他与住在巴西的姐姐交流的录音。 1973年的军事政变逃离乌拉圭之后，录音显示并讲述了她父亲和姨妈的故事。她的家族历史缺少了日内瓦出生的Gabay从未与父亲讨论过的家族史。她在VisionsduRéel中解释说：“找到这些录音是我电影的起点。” “在看着它们的同时，许多回忆回来了，许多问题将尚未得到答复。通过这项工作，我想重建家人的历史，并质疑流放造成的沉默。这种沉默可以抓住整个家庭，并从一代人传给另一代。”非常感人的摘录揭示了广泛的写作和编辑加拜的工作，以使父亲的声音恢复原状，将他的寂静图像与他无关的音频回复相结合用西班牙语的叮当声和画外音。第一个特征还显示政治问题如何影响家庭，其身份和他们的遗产。前欧洲Kick-boxing冠军Francesco Laquale说，由Ecran Mobile和Les Sours Jaouen制作，预计在2023年春季。“红色”杜瑞尔“红色”运动挽救了他的生命。不知何故，训练使他能够控制自己的暴力内在存在。但是他作为流氓的过去仍然困扰着他，并反映在他所做的一切中。伦敦的导演玛拉·曼佐利尼（Mara Manzolini）想到了一个以他为中心的纪录片的想法：“我知道我们从中长大的卢加诺（Lugano）知道弗朗切斯科（Francesco），”她告诉观众。“多年来我没见过他。当我了解他的过去时，我感到震惊。我们的生活怎么会如此不同？”在永久寻找自我控制的过程中，在他的女友的不断支持下，弗朗切斯科的故事是救赎之一。我们看到他在电影中成长，成为一名教练，这是一群年轻人和一个梦想跆拳道自己的小女孩的灵感。谈论他的过去，Laquale仍然很难说出言语，Manzolini和Codirectors Andrea Pellerani和Elodie Dermange选择包括三个动画零件，分别是黑色，白色和血红色。他们解释说：“动画还使我们能够推动现实的极限，走进他的脑海，以虚构的方式与他面对他的恐惧。”由AMKA电影制作和Nadasdy电影制作的Ani-Doc预计将于2022年秋季进行，由灰尘，艰苦的体力劳动和深井开采制成。一个不再存在的世界：该国的最后一个地下煤矿于2018年12月关闭。在此之前，瑞士董事克里斯蒂安·约翰内斯·科赫（Christian Johannes Koch）和德国董事乔纳斯·马托斯切克（Jonas Matauschek）花了两年的时间研究和拍摄皮特曼的日常生活。 “六年前，我读了一篇有关该矿关闭的文章，我想亲自看到它。科赫告诉《综艺》，感觉就像是在工业化博物馆里，时间似乎停滞不前，我发现仍然只有男性的专业环境很奇怪。 “随着关闭的临近，我们在完成研究之前就开始拍摄。”结果，剧本在沉浸式的几个月中演变，并且发现了五个主要主角的个人故事。董事跟随他们直到2021年末，而他们的职业只是消失后试图重塑自己。这部电影建立在不同的时间表上，解决了几个层次的变化：生态过渡，专业环境崩溃时的身份丧失，但也通过主角Martina崩溃了。 “她很有趣，因为她战斗了40岁耳朵，完全一个人，成为她真正的人，并最终在这个煤矿工作时过渡。今天，在主角中，她是唯一仍在矿山工作的人，但这次是一个盐矿。Pitmen”已经充满了国际兴趣。由Catpics和Elemag Pictures制作，它将准备好首映2022年至2023年结束。
A miner in Germany's last coal mine undergoing a gender change, a prima ballerina fighting to keep her status after becoming a mother, a repentant hooligan turned kickboxing champion, a father who fled the former Uruguayan dictatorship, rejected refugees awaiting deportation, and stuntwomen taking hit after hit for the film industry: to say that the 5th Swiss Films Previews at doc film fest Visions du Réel introduced us to strong characters is an understatement.
Six promising films soon to be launched on the festival circuit and the international market were selected for the event and pitched at VdR-Industry. Five of them were directed (co-directed for "Red") by women. Four of them are first features. By the quality of the excerpts and the originality of the themes that fit the times, all of them demand to be seen as finished film.
Here's an overview of what's coming up in the Swiss high-end documentary market.
“Stuntwomen” (“Cascadeuses”)
"Today, I got shot," Petra sums up when her mother asks her about her day at work: an everyday occurrence for the Swiss stuntwoman, who has been working in Los Angeles with the world’s biggest stars for over 20 years. She is one of the three characters of “Stuntwomen,” the first feature by director Elena Avdija.
Tired of getting hurt at work and of living in the shadows, Petra is now trying to become an actress in Hollywood. In the meantime, in France, Virginie, is also transitioning: after two decades of dying on screen, she aims to become the first female stunt coordinator in Europe. In one of the excerpts presented in Nyon, we see her being thrown out of a moving carriage and getting up impressively as if nothing happened, ready to repeat the scene.
How much pain can a body endure? The young Estelle, training to become a stuntwoman, still doesn’t have the answer and dreams of powerful women's roles. But she’ll soon discover that reality might be quite different. “As an audience, we are from a very young age used to see women in cinema getting kidnapped, raped, murdered, beaten up. It’s at the heart of our industry,” Elena Avdija pitches. “My documentary questions the uneasiness of this issue.”
Produced by Bande à Part Films and Alter Ego Production and expected this coming fall, “Stuntwomen” puts these women in the spotlight for once and looks like a future standout.
“Based on a True Story”
As a member of a solidarity group visiting refugees awaiting deportation at Zurich airport, director Lisa Gerig was able to gather years of information for her first feature film. She chose to tell the story too long untold: what are the criteria, not only in Switzerland, but throughout Europe, to be granted asylum? “Every refugee has to tell his life story in front of the authorities. With my film, I want to shed a light on this procedure based on storytelling,” she said in her pitch.
To stand a higher chance, candidates must be good at speaking in the most convincing way possible, as emotionally as possible, and without ever contradicting themselves.
Lisa Gerig’s film portrays three rejected asylum seekers reenacting their asylum hearing and talking about their traumas again. The interviews are replayed under the exact conditions that those at the Swiss State Secretariat for Migration, with three real interviewers conducting the hearings according to the official rules. It gives the spectator an inside look at what was a complete black box until now.
Producer Eva Vitija (Ensemble Film) and Lisa Gerig are hoping to make a real impact with the film and create dialogues about the subject. It bodes well for the future: groups of lawyers and migrant organizations have already expressed their strong interest in the movie, expected to premiere at the beginning of 2023.
“Becoming Giulia”
A former dancer at the Zurich Opera, director Laura Kaehr makes no secret of having suffered in the ultra-competitive and ruled by men world of high-level dance where, in her own words "at 25, you are done." Yet she did not hesitate to go back there, for three years of filming, for her first feature "Becoming Giulia," a subtle critique of the inequality suffered by women in the ballet world.
"When Giulia Tonelli, prima ballerina, confided in me that she was pregnant and afraid, I immediately knew I had to tell her story," Kaehr recalled at the previews.
Filmed in a very cinematographic way, without any interviews, her film offers an unprecedented immersion in the backstage of a great opera house, following the protagonist as she faces her biggest challenge: not letting herself be pushed aside on return from maternity leave.
“Every day is intense for dancers at this level and so it was for me,” Kaehr tells Variety. “Every day, I had to find the courage to go back to this place where I had lived a number of not so nice experiences, when it could have been so beautiful if women were treated differently. Perhaps the hardest thing for a documentarist who comes from the same background as the protagonist, is to never intervene and let reality unfold. Sometimes I filmed while crying."
The film, produced by Point Prod, is expected to be completed this summer. It seems headed to a strong international interest due to the fame of its protagonists, the strong themes it deals with, the beauty of its settings, dance scenes and the mastery of the subject by the director. "I want to find a distributor who loves the film as much as we do and understands this way of making films that doesn't start from something intellectual, but rather from a visceral need to tell a story with tremendous passion," Kaehr tells Variety.
“I Might Remember” (“Para no olvidar”)
When director Laura Gabay’s father passed away three years ago, she found dozens of reels of Super 8 and audio recordings he had exchanged with his sister who lived in Brazil. Recordings showing and telling the story of her dad and aunt after they fled Uruguay, following the military coup of 1973. Missing pieces of her family history that Geneva-born Gabay never discussed with her father. “Finding those recordings was the starting point of my film,” she explained at Visions du Réel.
“While looking at them, many memories came back and so many questions that will remain unanswered. Through this work, I wanted to rebuild my family’s history and question the silence caused by exile. That silence can take hold of entire families and be passed from one generation to the next.”
Very touching excerpts revealed the extensive work of writing and editing Gabay went through to give her father his voice back, combining his silent images with his unrelated audio recordings and her voiceover in Spanish.
This first feature also goes to show how political issues impact families, their identities, and their legacy.
Produced by Ecran Mobile and Les Sœurs Jaouen, it is expected in spring 2023.
“Red”
Sport saved his life, says former European kick-boxing champion, Francesco Laquale. Somehow, training allowed him to control his violent inner being. But his past as a hooligan still haunts him and is reflected in everything he does.
London-based director Mara Manzolini came up with the idea of a documentary centered on him: "I knew Francesco from Lugano where we grew up,” she told the audience. “I hadn't seen him for years. When I learnt about his past, I was shocked. How could our lives become so different?”
In permanent search for self-control, with the constant support of his girlfriend, Francesco’s story is one of redemption. We see him growing through the film, becoming a trainer, an inspiration for a group of young people and for a little girl, who dreamed of kickboxing herself.
To talk about his past, which Laquale still has difficulty putting into words, Manzolini and codirectors Andrea Pellerani and Elodie Dermange opted to include three animated parts, in black, white and blood red. "Animation also allows us to push the limits of reality, to go inside his head and confront him with his fears in a fictional way," they explain.
The ani-doc produced by Amka Films Productions and Nadasdy Film is expected in fall 2022.
“Once We Were Pitmen” (“Wir waren Kumpel”)
A man’s world in the Ruhr, Germany, made of dust, hard physical work and deep-shaft mining. A world that doesn’t exist anymore: the country’s last underground coal mine closed its doors in December 2018. Before that happened, Swiss director Christian Johannes Koch and German director Jonas Matauschek spent two years researching and filming the daily life of the pitmen.
“Six years ago, I read an article about this mine closing, and I wanted to see it for myself. It felt like being in a museum of industrialization, time seemed to stand still and I found it odd to see a professional environment that was still exclusively male, Koch tells Variety. “As the closure was approaching, we started shooting before we had finished the research.”
As a result, the script evolved during the months of immersion and as they discovered the personal stories of the five main protagonists. The directors followed them until late 2021, while they were trying to reinvent themselves after their profession simply disappeared.
Built on different timelines, the film addresses change at several levels: ecological transition, loss of identity when one’s professional environment collapses, but also gender change, through the protagonist Martina.
“She was very interesting to follow because she fought for 40 years, completely alone, to be the person she really was and eventually transitioned while working in this coal mine. Today, among the protagonists, she is the only one still working in a mine, but a salt mine this time.”
Presented at the 2020 Venice Gap-Financing Market and winner of the Kompagnon Fellowship of Berlinale Talents in 2021, “Once We Were Pitmen” has already gathered strong international interest. Produced by Catpics and elemag pictures, it will be ready to premiere end 2022-early 2023.
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