纪录片自媒体解说素材-新闻动态参考-Marco Bellocchio：“直接现实使我着迷，但这还不够”/Marco Bellocchio: ‘Direct Reality Fascinates Me But It Isn’t Enough’
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0500/5841wov4dq0aga3.jpgMarco Bellocchio：“直接现实使我着迷，但这还不够”
Marco Bellocchio: ‘Direct Reality Fascinates Me But It Isn’t Enough’
意大利董事，编剧和制片人Marco Bellocchio在第53版VisionsduRéel的大师班期间开放了他的职业生涯和即将到来的项目，在那里他获得了荣誉奖。电影节，包括他的十二部作品的回顾，以及他的最新电影《马克思·洛维（Marx Can）》（Marx Can Chait），这是一部关于他的双胞胎兄弟卡米洛（Camilo）自杀的纪录片。档案材料和他的电影中的剪辑是一部亲密而凄美的纪录片，探讨了他兄弟的死如何影响贝洛基奥（Bellocchio）在过去的几十年中的作品。，我对自己说：“我必须做点事。贝洛基奥（Bellocchio）捍卫了他的政治事业，以至于他没有听到哥哥的遇险电话。找到自己的身份并终于通过革命性的观点看到生活的方法 - 卡米洛回答：“好吧，马克思可以等待。他试图告诉我，'你对我的绝望一无所知，”贝洛基奥说。贝洛基奥（Bellocchio）在他的1982年特色“眼睛，嘴巴”中使用了这一句子，贝洛基奥（Bellocchio）说，他正在制作史蒂文·斯皮尔伯格（Steven Spielberg）原本计划制作的电影，关于1858年臭名昭著的天主教绑架犹太男孩它已定为“转换”，讲述了埃德加多·莫塔拉（Edgardo Mortara）的故事，埃德加多·莫塔拉（Edgardo Mortara）被当作紧急洗礼作为婴儿，使他成为教会眼中的天主教徒 - 并从他的父母那里带走了一名天主教徒，并带有教皇庇护IX亲自监督他的宗教教育。他的父母为夺回儿子的努力成为一场更大的政治战斗的一部分，该战斗在19世纪中叶引起了整个欧洲和北美的公众关注。据报道，斯皮尔伯格（Spielberg）放弃了该项目，据报道他未能找到合适的儿童演员。贝尔罗基奥说，贝洛基奥决定继续前进。贝洛基奥说，主要的挑战确实是找到这位年轻演员，他指的是查理·卓别林的天才，在发现杰基·库根（Jackie Coogan这部电影的成功。“实际上，如果您有一个六到七岁的孩子，他可以试镜。”他打趣道，吸引人群的笑声。威尼斯和洛杉矶电影节通过他被限制的上海视频链接告诉观众，该奖项具有特殊意义，因为它承认了DEL小说和纪录片之间的平衡是贝洛洛乔（Bellocchio）作品的特征。“我想到了你的小说电影对现实的创造 - '早上好，夜晚，'vincere'和'the the traitor。就小说而言，”他补充说，贝洛基奥回答说：“我在整个职业生涯中都获得了许多奖项，这表明我的工作并不总是在这一刻，而是随着时间的流逝而来的。”让我着迷，但这还不够。因此，我经常被试图将所谓的档案材料与我拍摄的图像混合在一起，尤其是近年来。”贝洛基奥说，并补充说，这使他可以找到“合成和风格。” Bellocchio的回顾性持续到4月16日。Réel于4月17日在Nyon包装。
Italian director, screenwriter and producer Marco Bellocchio has opened up about his career and upcoming projects during a masterclass at the 53rd edition of Visions du Réel, where he received an honorary award.
The 82-year-old master is guest of honor at the documentary film festival, which includes a retrospective of a dozen of his works and a screening of his latest film, “Marx Can Wait,” a documentary about his twin brother Camilo's suicide in December 1968.
Featuring footage filmed during a family get-together, personal archive material and clips from his films, it is an intimate and poignant documentary that explores how his brother's death deeply influenced Bellocchio's work over the decades.
At the time, Bellocchio explained, “the revolution of '68 was underway, there were protests and riots, and I said to myself 'I have to do something.' So in September, together with friends who had founded the Maoist movement, we had the first fully organized groups – I was deeply involved in this movement.”
So obsessed was Bellocchio with defending his political cause that he didn't hear his brother's distress call.
“I just told him: 'The only way out of desperation is political engagement, serving the people is the only way to find your own identity and finally see life through a revolutionary perspective – and Camilo replied, 'Well, Marx can wait.' He was trying to tell me, 'You have understood nothing of my despair,' ” said Bellocchio, who later used that very sentence in his 1982 feature “The Eyes, The Mouth.”
Asked about his upcoming projects, Bellocchio said he was working on a film which Steven Spielberg had originally planned to make, about the notorious Catholic kidnapping of a Jewish boy in 1858.
Entitled “The Conversion,” it tells the story of Edgardo Mortara, who was administered an emergency baptism as an infant – making him a Catholic in the eyes of the Church – and was taken from his parents to be raised a Catholic, with Pope Pius IX personally overseeing his religious education. His parents’ struggle to reclaim their son became part of a larger political battle that captured public attention across Europe and North America in the mid-19th century.
After Spielberg dropped the project, when he reportedly failed to find the right child actor for the part, Bellocchio decided to take it on.
The main challenge is indeed finding the young actor, said Bellocchio, referring to Charlie Chaplin's genius in discovering Jackie Coogan for “The Kid,” adding that Coogan, ironically, was himself received by the Pope in the wake of the film's success.
“Actually, if you have a child aged between six and seven he could audition for the part,” he quipped, drawing laughs from the crowd.
Earlier, during the award ceremony, Marco Mueller, the former head of the Venice and Locarno film festivals, told the audience via video link from Shanghai where he is confined, that the prize had particular significance because it acknowledged the delicate balance between fiction and documentary that is characteristic of Bellocchio's work.
“I think of what your fiction films have made of reality - 'Good Morning, Night,' 'Vincere' and 'The Traitor.' I think of what your documentaries have accomplished in terms of fiction,” he added, to which Bellocchio replied: “I have received many prizes throughout my career, which goes to show that what I do is not always understood on the moment but that appreciation comes over time.”
“Direct reality fascinates me but it isn't enough. So I have often been tempted to mix so-called archive material with images that I shoot, especially in recent years,” said Bellocchio, adding that this allows him to find “synthesis and style.”
Bellocchio's retrospective runs through April 16. Visions du Réel wraps in Nyon on April 17.
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