纪录片自媒体解说素材-新闻动态参考-关于纪录片如何在大联盟中播放的A-List节日/A-List Festivals on How Documentaries Can Play in the Big League
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0501/03394prrsggicfs.jpg关于纪录片如何在大联盟中播放的A-List节日
A-List Festivals on How Documentaries Can Play in the Big League
由A-List节日代表组成的一个小组在周日聚在一起，参加了纪录片电影节的在线演讲，由纪录片节目幻象杜瑞尔（DuRéel威尼斯电影节的委员会成员，克里斯蒂娜·诺德（Cristina Nord），柏林论坛主管，伊娃·桑吉奥吉（Eva Sangiorgi），维纳尔（Viennale）主任和弗雷德里克·博伊尔（FrédéricBoyer），翠贝卡电影节的艺术总监弗雷德里克·博耶（FrédéricBoyer），均可概述他们的选择标准，大多数小组成员都同意，他们的选择是一个人，他们的选择是他们的选择。基于个人意见的董事驱动方法。诺德说：“这首先是邀请真正令人鼓舞和开创性的电影：当您发现以前从未见过的东西时，这总是很有趣的。”论坛部分，它们代表了所选电影的大约一半。“我们的目标是对纪录片制作中最广泛意义的纪录片印象。她探索了所有类型，从今年首映的康斯坦丁·沃尔夫（Constantin Wulff）的“劳动商会”中的非常古典的观察方法到更多的实验电影，例如Myriam Charles，“ Cette Maison”的加拿大Doc首映，”她说。根据D'Agnolo Vallan的说法，在威尼斯电影节上没有专门针对纪录片的特定部分赋予非小说类电影的制作：“它鼓励文档可以与传统故事片一起参加同一空间。她说：“纪录片的存在正在增长，并在整个[阵容]中被胡椒粉。 “决定的时刻之一是在2013年Gianfranco Rosi的'Sacro Gra'赢得了主要比赛，因为就FI同意并不容易LM，就我们感知纪录片的方式而言，这对我们来说是一个重要的一步。列表节这样做。她说：“进一步的一步是为他颁发职业奖项，因为金狮从未被授予纪录片人。”桑吉奥吉（Sangiorgi）到达维纳尔（Viennale）时说，她的第一步是消除不同的类别。起初，她说，混合小说和纪录片的想法并没有引起同情，但今天观众们对此表示赞赏。 “这是一种与其他电影相同的纪录片赋予纪录片另一个立场的方式。”当被问及彩流人带来更高可见性纪录片的变化时，博耶说，在与翠贝卡这样的节日中与他们合作是不可避免的，至关重要的是，在A-List节日中为较小的“宝石”提供了一个示例，以示例为例。奥斯卡提名Tamara Kotevska和Ljubomir Stefanov的《 Honeyland》（如“ Honeyland”），在圣丹斯（Sundance）上首映，或者亚历山大·纳武（Alexandre Nanau精彩的电影 - 它不是由Netflix或Apple TV带来的，而是新的Nanau电影，所以我认为对我们保持自主权非常重要，”他说。关于Viennale，Sangiorgi毫不妥协：“我有点正统。我一直反对与平台合作，因为节日有所不同。我们的使命完全是身体上的，并且发挥了社会作用。我们与观众的对话是基于我们在剧院见面的事实。”她说。尽管她说在论坛阵容中不太可能会有Netflix Doc，但Nord欢迎您的电影像Mubi或Tënk这样的专业平台。 “这不是拮抗关系：很高兴知道这种分布存在于论坛电影中，因为在常规电影院发行时，我们展示的大多数文档（尤其是混合动力，更多的散文电影）都不会发行大型电影院，因此他们可以在这样的生活中拥有生活很棒平台。”她补充说，论坛还为节日程序员提供了有吸引力的报价。 “看看纽约的'真实艺术'。他们今年有八部电影。我们提供的恰恰是让电影与将在另一种情况下编程的人会面的机会 - 这就是我们可以为加强这种类型的电影制作而采取的措施。”威尼斯赢得了Gianfranco Rosi的“ Sacro Gra”，标志着纪录片的转折点。D'AgnoloVallan的Doclabspeaking courtesy d'Agnolo Vallan表示，虽然节日并没有歧视彩带，但引用了最近选择的Netflix电影“冬季在Fire Fire Fire fire Fire fire Fire fire fire fire fire fire fire fire ：乌克兰为争取自由而战”和“霍珀/韦尔斯”- 最大的挑战在于“使人们了解她说：“从这个意义上讲，内容丰富的文档和更像电影的东西之间的区别：从这个意义上讲，我们的选择更加严格。”在甄选过程中，诺德和博耶都表示，由于tribeca案中的全球销售委员会以及柏林案中世界各地的顾问，他们都积极侦查全球新人才的侦察。不仅在特定领域的电影（例如酷儿电影制作）中对电影的审美建议的人，”诺德解释说。关于节日的作用是否是通过选择乌克兰电影来反映时事的作用，而小组成员之间普遍共识，紧迫性不应胜过寻求优质电影制作的追求。关于抵制由俄罗斯资助的电影，桑吉奥吉说，这是一个复杂的问题：“我将愿意在我的选择中播放俄罗斯电影，否则应将相同的标准适用于许多其他政府，因为E来自菲律宾或巴西的Xample- 政府的资金并不一定意味着这部电影是隶属于这些政府的。乌克兰将被邀请就使用图像抵抗战争的可能性进行辩论。音乐节一直持续到4月17日。
A panel composed of representatives from A-list festivals got together on Sunday for an online talk staged by documentary film festival Visions du Réel to discuss the place of documentary films at their events.
The speakers were Giulia D’Agnolo Vallan, U.S. programmer and selection committee member of the Venice Film Festival, Cristina Nord, head of the Berlinale Forum, Eva Sangiorgi, director of the Viennale, and Frédéric Boyer, artistic director of the Tribeca Film Festival.
Asked to outline their selection criteria, most panelists agreed theirs was a director-driven approach based on individual submissions.
“It's first and foremost about inviting films that are truly inspiring and ground-breaking: it's always interesting when you discover something that you haven't seen before,” said Nord, adding that documentaries hold a significant place in the Berlinale's independently curated, experimental Forum section, where they represent roughly half of the films selected.
“Our objective is to give an impression of what's going on in documentary filmmaking in its broadest sense. We explore all types, from very classical, observational approaches like in Constantin Wulff's 'Chamber of Labor,' which premiered this year, to more experimental films like the Canadian doc debut by Myriam Charles, 'Cette Maison,' ” she said.
The fact that there is no specific section dedicated to documentaries at the Venice Film Festival empowers nonfiction filmmaking, according to D'Agnolo Vallan: “It encourages the idea that docs can participate in the same space as traditional feature films. The presence of documentary films is growing and is peppered throughout ,” she said, adding that part of the special relationship Venice has with doc filmmaking is due to its vibrant association with the Venice Art Biennale.
“One of the defining moments was in 2013 when Gianfranco Rosi's 'Sacro GRA' won the main competition, because it was not easy to agree on that film, that was a big step for us in terms of the way we perceive documentary,” she said, further citing the example of Frederick Wiseman, whose last six films have all been selected in or out of competition in Venice – the only A-list fest to do so. “A further step was to give him a career award because a Golden Lion has never been awarded to a documentarian before,” she said.
When she arrived at the Viennale, Sangiorgi said one of her first moves was to eliminate the different categories. At first, she said the idea of mixing fiction and documentary didn't arouse sympathy, but today the audience appreciates it. “It's a way of giving another position to documentaries, on the same level as other films.”
Asked about the changes brought about by streamers offering higher visibility to documentary films, Boyer said that while working with them was inescapable for a festival like Tribeca, it was essential to give smaller “gems” a platform at A-list festivals, citing the example of Oscar-nominated films like “Honeyland” by Tamara Kotevska and Ljubomir Stefanov, which premiered in Sundance, or Alexandre Nanau's “Collective,” which had its world premiere in Venice.
“['Collective'] is an extremely small, simple film – but what a wonderful film – and it wasn't brought by Netflix or Apple TV, it was just the new Nanau film, so I think it's really important for us to keep our autonomy from the platforms,” he said.
Regarding the Viennale, Sangiorgi was uncompromising, “I'm kind of orthodox. I have always been against collaborating with platforms because a festival is something different. Our mission is completely physical and plays a social role. Our dialogue with the audience is based on the fact that we meet in theaters,” she said.
While she said it was unlikely there would be a Netflix doc in a Forum lineup, Nord welcomed specialized platforms like MUBI or Tënk for her films. “It's not an antagonistic relationship: it's good to know this type of distribution exists for Forum films, because when it comes to regular cinema releases, most of the docs we show – especially the hybrid, more essayistic films – won't have a big cinema release, so it's great that they can have a life on such a platform.”
Forum also provides an attractive offer for festival programmers, she added. “Look at 'Art of the Real' in New York. They had eight films from Forum this year. What we provide is precisely this opportunity to have a film meet with people who will program it in another context – that's what we can do to strengthen this type of filmmaking.”
Speaking for Venice, D'Agnolo Vallan said that while the fest doesn't discriminate against streamers – citing the recent selection of Netflix films “Winter on Fire: Ukraine's Fight for Freedom” and “Hopper/Welles” - the big challenge lies in “making people understanding the difference between an informative doc and something that's more like a movie: in that sense, our selection is more strict,” she said.
When it comes to the selection process, both Nord and Boyer said they actively scout for new talent around the world, thanks to a selection committee spread out across the globe in Tribeca's case, and to consultants around the world in the case of Berlin, “people who not only make geographic but also aesthetic recommendations on films in specific fields, such as queer filmmaking for instance,” explained Nord.
Questioned on whether the role of festivals is to reflect current affairs by selecting films on Ukraine, there was a general consensus among panelists that the urgency shouldn't trump the quest for quality filmmaking. With regard to boycotting Russian-funded films, Sangiorgi said it was a complex question: “I will be open to having Russian movies in my selection, otherwise the same criteria should be applied to many other governments, for example from the Philippines or Brazil – government funding doesn't necessarily mean the film is affiliated to these governments.”
Visions du Réel will be hosting another online talk on April 14 entitled “Filming in Resistance,” where Ukrainian filmmakers and producers currently shooting in Ukraine will be invited to debate on the possibility of resisting the war with images.
The festival runs until April 17.
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非常不错，感谢楼主整理。。 感谢分享，下载收藏了。最喜欢高清纪录片了。 感谢分享啊。谢谢版主更新资源。
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