纪录片自媒体解说素材-新闻动态参考-“ Dogwatch”探索有毒的男性气质和幽默和风格的战争荒谬/‘Dogwatch’ Explores Toxic Masculinity and Absurdity of War With Humor and Style
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0501/0529csyamgjmr34.jpg“ Dogwatch”探索有毒的男性气质和幽默和风格的战争荒谬
‘Dogwatch’ Explores Toxic Masculinity and Absurdity of War With Humor and Style
格雷戈里斯·伦蒂斯（Gregoris Rentis）的处女作《 dogwatch》（Dogwatch）在瑞士国际doc电影节景象上争夺最高奖项，这是一个令人惊叹的风格化的三联画，讲述了雇佣军Yorgos，Costa和Victor的故事。这三个工作都是由船只雇用的私人警卫，越过索马里海岸线所谓的高风险区域，以保护其货物免受海盗的侵害。但是，由于海盗的攻击稳定下降，在2000年代后期的必要性不再是有意义的。他们正在进行的训练和在陆地上的训练和在海上的存在的荒谬性，穿过这部电影，上面充满了刻板的喜剧时刻，充满了充满收费的男性气质。综艺赶上了伦蒂斯（Rentis），他解释说，他的医生已经七年了，因为他面临着寻找一家愿意允许他们加入的航运公司的挑战，从海上安全部门开始并抛弃了他的角色。他的灵感来自他的叔叔维克多（Victor）该地区第一个私人雇用的雇佣军的e。 “第一个火花是试图了解他的生活。雇佣军生活在边境，他们不符合社会，因此这种业务是出路。他们很难与陆地上的生活建立联系。”他解释说。 “最初，这些家伙出于多种原因进入了这个行业：这笔钱很好，但我认为这更多的是声望，讲述他们的故事的能力，听起来很酷。”虽然他说这对他要突出这个动作世界中的闹剧元素，让他感兴趣的是它的“大男子主义”，并探索了男性的形象。 “对我来说，这是一部电影，解决了今天成为一个男人意味着什么的问题，这个想法必须成为肌肉，纹身和最大的枪支的强壮人：这很荒谬，”他说，将其与战争进行了比较。他小时候。只有两个女性角色 - 雇佣军的伴侣 - 在这个男性主导的医生中短暂出现，但是，“对我来说，拥有女性的存在非常重要，”伦蒂斯说，“这部电影锚定了这部电影。它开始电影并结束。”伦蒂斯（Rentis）从他的广告背景中汲取灵感，以使文档具有清晰的结构和精美的外观。他说，编辑Chronis Theocharis（“ Golden Dawn：A公共事务”）带来了“必要的观点和平静”。 “我为自己介绍了一套规则 - 一种关于如何拍摄场景的宣言 - 因为我知道我将不得不当场做出决定，并在电影的不同部分之间建立统一性。因此，我想在三脚架上有一台相机，以中央构造，以便这种有毒的男性气质的想法将以更深刻的方式出现。”他说。虽然有些场景显示出与雇佣军及其家人在陆地上的亲密时刻，但另一些场景是导演促成的重建。 “在我心中的[角色]是合着者：我会看到他们做某事，我们会一起重新创建它，喜欢例如，钻头。我会请他们向我展示他们如何准备，他们会带我参加压力测试。”他说，并补充说，他从动作电影神话中汲取了很多灵感。 “他们会非常公开地说，‘我们爱'终结者。’‘我的叔叔说他的梦想是成为电影中的坏人，当好人杀死他时，整个电影院都会为之欢呼。”然而，他的目标不是嘲笑或批评该行业，而是展示其人类方面。 “从一开始就真正令我震惊的是，他们都告诉我，如果他们是索马里人，他们将是海盗：他们对另一侧同情，有这种镜子效应：一个没有另一个镜子。”他说他说他说他说他说。将他的电影视为西方社会面向目标的痴迷的警示故事：“这些人是由事业定义的 - 某种外部理由对他们所做的事情 - 但是当我们忙于向外界证明自己，现实生活使我们经历了我们和我们什么时候经过多次旅行，冒险和几个月之后，我们从中获得了什么？”Rentis目前正在制作他的下一个项目，这是一部小说节目，讲述了希腊体操奥林匹克小组的性虐待丑闻，其灵感来自拉里·纳萨尔（Larry Nassar）案，名为“悉尼”。拍摄将于2023年开始。“ Dogwatch”是由Rentis的Byrd Outfit制作的Vicky Miha制作公司Asterisk和ClémentDuboin的巴黎基于巴黎的Good Fort Fornune Films，并与Topcut Modiano和Arctos S.A.共同制作了Eulimages，CNC的助手辅助Cinémasdu Monde，希腊电影中心，创意欧洲媒体，希腊电影中心，ERT和Arte。这部电影界的前VDR-Pitching和Les Arcs正在进行中，该电影界于4月10日在主要国际故事片比赛中首映。Syndicado正在处理世界销售。VisionsDuRéel的获奖电影将于4月16日宣布。节日将于4月17日持续。
Vying for the top prize at Swiss international doc film festival Visions du Réel, Gregoris Rentis' debut feature “Dogwatch” is a stunning, stylized triptych that follows the stories of mercenaries Yorgos, Costa and Victor.
All three work as private guards hired by ships crossing the so-called High Risk Area of the Somali coastline to protect their cargo from pirates. But what was a necessity in the late 2000s no longer makes sense a decade later due to the steady drop in attacks from pirates.
The resulting absurdity of their ongoing training and presence on land and at sea transpires through this film laced with slapstick comedy moments infused with hyper-charged masculinity.
Variety caught up with Rentis, who explained that his doc was seven years in the making as he faced the challenge of finding a shipping company willing to allow them onboard, getting the go ahead from maritime security and casting his characters. His inspiration came from his uncle, Victor, one of the first privately hired mercenaries in the region.
“The first spark was trying to understand his life. The mercenaries live on the frontier, they don't conform to society, so this kind of business is a way out. It's hard for them to connect with life on land,” he explained. “Initially, these guys went into this sector for a number of reasons: the money was good but I think it was more for the prestige, the ability to tell their stories, a job that sounds cool.”
While he said it was important for him to highlight the slapstick element in this action world, what intrigued him was its “machismo” and exploring the imagery of the male body. “To me it's a film that addresses the question of what it means to be a man today, this idea of having to be the strong guy with muscles and tattoos and the biggest gun: it's absurd,” he said, comparing it to playing war when he was a child.
Only two female characters – the mercenaries' partners – appear briefly in this male dominated doc, but “it was very important for me to have a female presence,” said Rentis, “it anchors the film; it starts the film and ends it.”
Rentis drew from his background in advertising to give the doc its clear structure and polished look. Editor Chronis Theocharis (“Golden Dawn: A Public Affair”) brought “the perspective and calmness that was necessary,” he said. “I introduced a set of rules for myself – a kind of manifesto on how to shoot a scene – because I knew I was going to have to make decisions on the spot and create unity between the different parts of the film. So I wanted to have a camera on a tripod, to be centrally framed, so that this idea of toxic masculinity would come across in a more profound way,” he said.
While some scenes show fly-on-the-wall intimate moments with the mercenaries and their families on land, others are reconstructions prompted by the director. “In my mind are co-authors: I would see them do something and we would recreate it together, like the drills, for example. I would ask them to show me how they prepared and they would take me through the stress tests,” he said, adding that he drew much of his inspiration from action movie mythology.
“They would say very openly, 'We love ‘The Terminator.’ ' My uncle said his dream was to be the bad guy in a movie, and when the good guy would kill him, the whole cinema would cheer.”
His goal, however, was not to mock or criticize the industry but to show its human side. “What really struck me from the start was that they all told me that if they were Somali, they would be pirates: they empathized with the other side, there was this mirror effect: one could not exist without the other.”
He said he sees his film as a cautionary tale of Western society's goal-oriented obsession: “These people are defined by a cause – some kind of external justification for what they do – but while we are busy proving ourselves to the outside world, real life passes us by, and when we return after many trips, adventures and months away, in the end what do we gain from it?”
Rentis is currently working on his next project, a fiction feature film about the sexual abuse scandal in the Greek gymnastics Olympic team inspired by the Larry Nassar case, entitled “Sydney.” Shooting is due to start in 2023.
“Dogwatch” is produced by Rentis' Byrd outfit, Vicky Miha's production company Asterisk and Clément Duboin's Paris-based Good Fortune Films, in co-production with Topcut Modiano and Arctos S.A., with the support of Eurimages, the CNC's Aide aux cinémas du monde, the Greek Film Center, Creative Europe Media, the Greek Film Centre, ERT and ARTE.
A former VdR-Pitching and Les Arcs Work in Progress entry, the film world premiered at Visions du Réel on April 10 in the main International Feature Film competition. Syndicado is handling world sales.
Visions du Réel's winning film will be announced on April 16. The fest runs through April 17.
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感谢大佬分享。我又来学习了~ 感谢分享啊。谢谢版主更新资源。 感谢大佬分享。我又来学习了~
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