纪录片自媒体解说素材-新闻动态参考-‘作为一个女人，你必须在桌子上猛烈敲打拳头才能听到' - 法国导演路易丝·卡林（Louise Carrin）/‘As a Woman You Have to Bang Your Fist Twice as Hard on the Table to Be Heard’ – French Director Louise Carrin
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0501/0711foq1hkpuu41.jpg‘作为一个女人，你必须在桌子上猛烈敲打拳头才能听到' - 法国导演路易丝·卡林（Louise Carrin）
‘As a Woman You Have to Bang Your Fist Twice as Hard on the Table to Be Heard’ – French Director Louise Carrin
她告诉《综艺》，法国导演路易丝·卡林（Louise Carrin）在过去的13年中一直是瑞士洛桑（Lausanne）的家，他每天都有创造的冲动。动态发展是一个漫长的过程，大约十年了，她对音乐感到同样的满意。她将在她的别名Lweez下发行她的首张说唱专辑“ Banana Part”。星期五，她在瑞士尼恩的景色杜雷尔电影节上登上舞台，介绍了她的第一部故事片“大男孩”（“ La Cour des Grands”）。她与综艺节目谈论了自己的作品。电影节的全国比赛被选中，跟随几内亚难民阿马杜·迪亚洛（Amadou Diallo），他独自到达洛桑（Lausanne）后不久。他的兄弟在流放的道路上死亡。他的姐姐，他留下的唯一家庭，留在后面。阿玛杜（Amadou）今年16岁，他的日常生活在寻求庇护者中心和整合班之间度过。 2018年拍摄六个月的拍摄使他适应了他的新环境，与同学联系，甚至是FallinG爱上了阿富汗难民Senawbar。“大男孩”由莱斯电影《杜利斯》（Du Causse）“伴随着孤独感”，就像卡林（Carrin）所说的那样，是她作品中的一个反复出现的主题：由于社会隔离而感受到的人被倍增了十倍。她的签名也可能是“在相机中”的趋势，即在闭门造车后面 - 情况和边缘化角色，她总结了。她的“ Papillons Noirs”（VisionsduRéel，2013年）是在非法出租车司机的车内拍摄的。而“ Venusia”在2016年Oberhausen短片节上获得了主要奖项，但在日内瓦的一家豪华妓院中被拍摄。多年的钢琴，古典和现代舞蹈，是法国和意大利电影的粉丝的父母：卡林从艺术中长大。其他给她留下深刻印象的导演是约翰·卡萨维特斯，亚历山大·索金罗夫，肯·洛奇，达登兄弟，仅举几例。她在16岁时抓住了第一张相机，但从未放过。在她的电影中，她指导所有镜头。但是她也描绘了自己有一天的表演。在米兰，她是17至19岁的模特，在拍摄广告时，她能够在相机前的轻松镜头测试。在Lyon的ÉcoleNationalesupérieuredes des de Lyon学习之后，她在École广州D'Art de Lausanne（ecal）获得了电影指导的硕士学位。她在学士学位级别的视听课程，与她的弟弟朱尔斯·卡林（Jules Carrin）经营一家制作公司莱斯·电影公司Du Causse。“当我遇到这些年轻的移民时，我不知所措，尽管他们的日常生活很苛刻，但他们仍然是青少年，他们的力量和无忧无虑的精神。但是，由于我不喜欢在不了解领域的情况下拍电影，所以我第一，在解释我的项目的同时，在他们的学校中以法语老师的身份申请。”经过18个月的教学，她为这部电影组建了一系列新学生，他们的国籍不同，对相机的机智和舒适，使互动变得有趣。起初害羞，阿马杜仍然引起了她的注意。 “他非常聪明，有趣，可爱，永远不要让自己被击败。这是一次非常美丽的相遇。他在几周内露面，直到他成为电影的门户。如今，他在洛桑（Lausanne）担任园丁。”她说。信任卡林（Carrin）与主角的纽带，由于她的坚定承诺，使Sparks在屏幕上飞来飞去。尽管她主要给他们一个值得称赞的东西：“我非常喜欢'CinémaDuRéel'（现实生活中）是它超越小说的能力，”她说。 “根据获得的匆忙和学生的创造力，我每天晚上都会重写剧本。” Carrin很快说话，G。直接到达这一点，并描述了她的项目 - 下一个将是关于卫生保健工人在共同部队中的斗争 - 听起来像是为正义而战的意愿。她承认：“我是一个非常敏感的人，当我被某些事物感动时，我觉得有必要公开谈论它。”她形容自己是一个有力的人。她补充说：“我还认为我对世界有很强的女性化。”“有时候，我的印象是，我们的女性在获得电影的财务状态时不太受信任，并且我们必须在桌子上猛烈地敲打拳头。”
French director Louise Carrin, whose home for the past 13 years has been Lausanne, Switzerland, has an urge to create every day, she tells Variety. Moviemaking being a long process, for about 10 years now she has found equal satisfaction in music. She is about to release her debut rap album "Banana Part” under her alias Lweez. On Friday, she was on stage at the Visions du Réel film festival, in Nyon, Switzerland, to present her first feature film "Big Boy" ("La Cour des grands"). She spoke to Variety about her work.
Selected for the festival's national competition, the moving film follows Amadou Diallo, a Guinean refugee, shortly after he arrived, on his own, in Lausanne. His brother died on the road to exile. His sister, the only family he has left, stayed behind. Amadou is 16 and his daily life is spent between the asylum seekers' center and integration classes. Six months of filming in 2018 captured him adjusting to his new environment, bonding with his classmates, and even falling in love with Senawbar, an Afghan refugee.
“Accompanied loneliness,” as Carrin, names it, is a recurring theme in her work: people whose feelings are multiplied tenfold because of their social isolation. Her signature could also be a tendency for "in camera" - that is, behind closed doors - situations, and marginalized characters, she sums up. Her "Papillons noirs" (Visions du Réel, 2013) was filmed inside the car of an illegal cab driver. While "Venusia," which got her the Principal Prize at the Oberhausen short film fest 2016, was shot in a luxury brothel in Geneva.
Years of piano, classical and modern dance, parents who are fans of French and Italian cinema: Carrin grew up with art. Other directors who made a strong impression on her were John Cassavetes, Aleksandr Sokurov, Ken Loach, the Dardenne brothers, to name but a few. She grabbed her first camera at 16, and has never let go. On her films, she directs all the shots. But she also pictures herself acting one day.
In Milan, where she was a model from the age of 17 to 19, she was able to test her ease in front of the camera when shooting commercials. After studying at the École Nationale Supérieure des Beaux-Arts de Lyon, she obtained a master’s degree in film direction at the École Cantonale d'Art de Lausanne (ECAL).
Nowadays, as well as teaching an audiovisual course at bachelor's degree level, she runs a production company, Les Films du Causse, with her younger brother, the director Jules Carrin.
“I wanted to make a film about youth for a long time," she says. “When I came across these young migrants, I was overwhelmed to see that despite the harshness of their daily life, they were still teenagers with all their strength and carefree spirit. However, since I don't like to make a film without having the knowledge of the field, I first applied to their school as a French teacher while explaining my project.”
After 18 months of teaching, she formed a class of new students for the film, with different nationalities, quick-witted and comfortable with the camera, to make the interaction interesting.
Shy at first, Amadou nevertheless caught her eye. "He is very intelligent, funny, endearing, and never let himself be defeated. It was a very beautiful encounter. He revealed himself over the weeks, until he became the gateway to the film. Nowadays, he works in Lausanne as a landscaper,” she says.
The bond of trust Carrin forged with the protagonists, thanks to her strong commitment, makes sparks fly on screen. Although she mostly gives them the credit: “What I like so much about 'cinéma du réel' is its ability to exceed fiction," she says. “Depending on the rushes obtained and the students’ creativity, I would rewrite the script every night for the next day.”
Carrin speaks quickly, getting straight to the point, and describes her projects - the next one will be about the struggle of health-care workers in a COVID unit - with what sounds like a will to fight for justice. "I am a very sensitive person," she concedes, "and when I am touched by something, I feel the need to talk about it publicly.”
She describes herself as a strong-minded person. “I also reckon I have a pretty strong feminine take on the world,” she adds. “Sometimes I have the impression that we, women, are less trusted when it comes to getting finances for a film and that we have to bang our fist twice as hard on the table to be heard."
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感谢大佬分享。我又来学习了~ 太好了，终于找到宝藏论坛了！ 非常不错，感谢楼主整理。。 谢谢楼主分享，发现宝藏了。
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