纪录片自媒体解说素材-新闻动态参考-导演安托万·卡丁（Antoine Cattin/Director Antoine Cattin Tracks ‘The Kremlin’s Tightening Grip’ With Kaleidoscopic Doc ‘Holidays’
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0501/2443ebn02hdqxfg.jpg导演安托万·卡丁（Antoine Cattin
Director Antoine Cattin Tracks ‘The Kremlin’s Tightening Grip’ With Kaleidoscopic Doc ‘Holidays’
自1990年代后期第一次去俄罗斯之旅以来，电影制片人安托万·卡廷（Antoine Cattin）一直因他所采用的国家的全国庆祝活动数量而受到挠痒。卡廷（Cattin）出生于瑞士，总部位于圣彼得堡（Saint Petersburg），在过去的二十年中，卡丁（Cattin）向派对时代的游行付出了近距离的，令人沮丧关于国家遗产和公民骄傲的信息。与“假期”，这是在七个这样的公共场合中设定的，它将在3月29日在CPH：DOX举行世界首映，Cattin都为哈萨克人的移民拍摄并提供了相机，老龄化的公共管理员，仇外的年轻活动家和一个寻求激动的城市探险家，在现代俄罗斯的羽衣甘蓝之旅中使这部电影的四个角色既是主题又是指南。局外人的外观，”卡丁告诉多样。 “俄罗斯人可能不会以类似的方式考虑这个话题。而且，当世界的眼睛对俄罗斯在乌克兰的军事行动感到震惊时，卡丁认为他的局外人 - 助人影片 - 这在沉重的手上都围绕着沉重的手，在国内阵线上的俄罗斯国家，抛弃了明亮的游行，打击那些观看的人 - 今天可能会更有意义。 。 “他们可以意识到这些政治问题已经持续了很多时间。政府的叙述和控制形式已经存在一段时间了。”该项目如何融合在一起？我从2015年开始寻找资金，然后我们开了三年，近四年。主角本身也将独立开枪，从而使更多的材料。我给每个人一个索尼fX7，除此之外，他们使用了手头上的任何东西，有时甚至在手机上射击。这给我留下了大约20台镜头。我本可以很容易地围绕每个角色制作整部电影。当您整理所有这些镜头时，是什么引导您？我直到共同危机开始，然后花了两年的时间进行编辑。我试图将所有内容整合在一起，以掩盖谁拍摄了什么，将所有这些来源拿到所有这些来源，并将它们作为一种电影院的一种方法，只是使用镜头来拥有更多亲密的时刻。这部电影的主题 - 您可以称其为克里姆林宫的紧缩抓地力 - 在准备这个项目时并不是我想到的。它在编辑中出现。当然，我有点将其朝那个方向拉动，但这不是我的计划。这就是我发现非常有趣的：这部电影确实是特定时间的文件。就在概念上，“假期”与Relat有关公民与国家之间的离子。这是一个固有的主题，尤其是在设置的情况下。我没有进行宣传。我只是在拍摄[我周围]正在发生的事情，现在是一个有趣的时刻。但是我同意戈达德的观点，每部电影都是政治性的。我相信我已经拍了一部政治电影。只有很大的隐喻。这不是新闻业，这是可以肯定的。现在，我认为这个隐喻变得更加清晰。对于政府来说，战争是所有人中最大的假期。这就是我结束这部电影的方式，[正如我们从最近的事件中看到的那样]，这一想法已得到证实。“假期”由标题卡中的Les Films Hors-Champapart提供，该电影以稍微舌头介绍了每个国定度假脸颊方式，您避免了太多的博览会。我总是希望制作可以与俄罗斯观众和西方观众交谈的电影。我认为这部电影可以两者都做 - 尽管对于西方观众，但某些事情尚不清楚和不清楚。以仇外女孩的性格为例，他既是一个热心的民族主义者，也是反对普京的人。您需要了解俄罗斯民族主义运动的近期历史。普京制定了鸿沟和统治政策，民族主义者已经习惯了这种影响，几乎完全被摧毁了。现在，他们肯定会回来并被用来与第五专栏作斗争，也就是说，像我这样的人，这将我们带到了不幸的世界。自两年前停止拍摄以来，您感觉到了什么变化？我今天无法拍摄这部电影。考虑从警察局内部拍摄的场景。您再也无法获得这样的镜头；当局只会粉碎您的相机。现在在示范中拍摄时，我可以被带走。我可以被送回家。瑞士领事告诉我，我的位置不是很好。我不是记者；我没有正式认证。我一直以为更好 - 我觉得自己像一个免费的原子，以某种方式完全融入了这里，人们认为我是俄罗斯人，但没有任何义务对任何新闻出版社。只有提供相同的保护。您告诉他们您正在制作纪录片，《 Auteur》电影，他们不明白您说的话。所以我不知道。我有恐慌的时刻，但是后来我对自己说，冷静下来，你只是一个小家伙，人们甚至都不知道你的存在，所以继续做你的工作，我们会看到。“假期”由莱斯（Les）拍摄霍斯·坎普（Hors-Champ），这是您瑞士人的事实，并且鉴于俄罗斯正在进行的抵制，您的融资完全通过瑞士出现。“假期”可能比其他人更容易遵循一条更容易的道路。如果它甚至在俄罗斯得到了部分资金（本来可以被阻止），这告诉这个故事有多愚蠢。我反对[抵制]。当然，我在乌克兰有电影制片人的朋友，我了解他们的愤怒和观点。他们说：“没有他妈的俄语，无处可寻！”我花了五年的时间拍这部电影，只是因为它是俄罗斯，我无法在任何地方展示它？那真的很艰难。现在有很多人在俄罗斯，已经完成工作并且无法展示工作的人。这是不公平的 - 另一方面，当我在乌克兰的炸弹下听到朋友的消息时，我了解他们。一个个人层面，您是否担心将一部关键电影带入国际节日之后，您担心反击吗？我有点担心。我对不去的恐慌感到恐慌 - 或者如果我这样做的话，我会带我的家人。我意识到在这种情况下我们将成为人质。这是我的选择，所以他们为什么要坐在赫尔辛基的一家酒店或其他地方来付款？起初我决定不这样做，然后我说，为什么不呢？这是我工作的一部分，我必须这样做直到最后，所以为什么不去呢？我冒着0.01％的风险，因为他们不让我重新进入，但我认为这不会发生。我是居民；我住在这里，因此，他们将没有合法权利。唯一的问题是政治方面 -[在那个方面]我有点害怕。我仍然是这个外国人，最容易让他们踢我。许多朋友已经离开了该国，您可以想象当您意识到所有亲密朋友已经消失时，它会带来什么恐慌。尽管如此，我还是希望仍然在这里花一些时间。我还不太渴望离开。为什么？我想拍摄发生的事情。我认为现在是制作纪录片的最有趣的时刻，只有我现在不确定这是否可能。压力太高。当然，您有一个道德问题，要在一个拥有这样一个政府的国家中留在一个国家 - 但是在过去的十年中，我已经处理了这个道德问题。我已经尽力支持这个国家的进步。我去过所有的集会；我在莫斯科工作了关于Navalny的T；而且我已经看到了几年，而没有任何改变。你不能中立。即使是瑞士人，您也永远不会中立。
Ever since his first trip to Russia in the late 1990s, filmmaker Antoine Cattin has always been tickled by his adopted country’s record number of national celebrations. Born in Switzerland and based in Saint Petersburg for the past two decades, Cattin has paid an up-close and rather bemused view to the parade of party days where people take to the streets, fireworks light up the sky, and the government sends often contradictory messages about national heritage and civic pride.
With “Holidays,” which is set over the course of seven of such public fêtes, and which will world premiere at CPH: DOX on March 29, Cattin both filmed and offered cameras to a Kazakh migrant, an aging public administrator, a xenophobic young activist, and a thrill-seeking urban explorer, making the film’s four characters both subjects and guides on a kaleidoscopic tour of modern Russia.
“The fact that I use these holidays as a framework is product of my outsider’s look,” Cattin tells Variety. “A native Russian would probably not think about the subject in a similar way. It might have taken a foreign perspective to turn the concept into a pitch.”
And as the eyes of the world look aghast at Russia’s military actions in Ukraine, Cattin believes that his outsider-insider film - which is in every way about the heavy hand of the Russian state on the domestic front, throwing bright parades and cracking down on those who turn out to watch - might ring all the more relevant today.
“It could be very interesting for Western audiences to see how people live here,” he says. “They could realize that these political problems have been going on for a lot longer. The governmental narrative and forms of control have been in place for some time.”
How did the project come together?
I started looking for funds in 2015, and then we shot for three, almost four years. The protagonists themselves would also shoot themselves independently, so that made even more material. I gave each one a Sony FX7, and besides that they used whatever they had on hand, sometimes even shooting on their phones. That left me with about 20 terabytes of footage. I could have easily built an entire film around each character.
What guided you as you sorted through all that footage?
I shot right until the beginning of the COVID crisis and then spent two years editing. I tried to put everything together in way that would hide who filmed what, to take all those sources and put them together as a single cinema verité kind of approach, just using their footage in order to have more intimate moments. The main theme of the film – which you could call the Kremlin’s tightening grip – was not something I had in mind while preparing this project. It came out in the edit. Of course I kind of pulled it toward that direction, but that was not my plan at the outset. That’s what I find very interesting: This film is really a document of a particular time.
Just on a conceptual level, “Holidays” is all about the relationship between citizens and the state. That is an inherently loaded topic, especially given the setting.
I’m not making propaganda. I’m just filming what’s happening , and now is an interesting time. But I agree with Godard that every film is political. I believe that I’ve made a political film. Only it is to some large degree metaphoric. It’s not journalism, that’s for certain. Now I think this metaphor has become even clearer. For the government, a war is the biggest holiday of them all. That’s how I ended the film, and that idea has been confirmed.
Apart from the title cards, which introduce each national holiday in a slightly tongue-in-cheek way, you avoid too much exposition.
I always hope to make film that can speak to Russian audiences as well as to Western ones. I think this film can do both - though for Western audiences, certain things are left unsaid and unclear. Take for example the character of the xenophobic girl, who is both a fervent nationalist and very much against Putin. You would need to understand the recent history of the Russian nationalist movement. Putin has enacted a policy of divide and rule, and the nationalists had been used to that effect, leaving them almost completely destroyed. Now they’ll certainly come back and be used to fight against the fifth column, which is to say, people like me.
That brings us to the unfortunate state of the world. What changes have you felt since you stopped shooting two years ago?
I couldn’t shoot this same film today. Consider the scene shot from the inside of a police station. You can no longer get such footage; the authorities would just smash your camera. When shooting at a demonstration right now, I could be taken away. I could be sent home. The Swiss consul told me that my position wasn’t so good. I’m not a reporter; I don’t have an official accreditation. I had always thought that better – I felt like a free atom, somehow completely integrated here, with people thinking I’m Russian, but without any obligation to any press outlet. Only that doesn’t offer the same protections. You tell them you’re making documentary movies, auteur films, and they don’t understand a word you say. So I don’t know. I have moments of total panic, but then I say to myself, calm down, you’re just a little guy, people don’t even know you exist, so continue doing your work and we’ll see.
The fact that you’re Swiss, and that your financing came entirely through Switzerland is rather serendipitous given the ongoing Russian boycotts. “Holidays” might follow an easier path than others.
If it had even been partly financed in Russia , which tells how stupid this story is. I’m against . Of course, I have filmmaker friends in Ukraine and I understand their anger and points of view. They say, “No fucking Russian, nowhere!” I spent five years doing this film, and just because it’s Russian I couldn’t show it anywhere? That’s really tough. And there are many people like that in Russia right now, people who have finished their work and cannot show it. That’s not fair – but on the other hand, when I hear from friends under bombs in Ukraine, I understand them.
On a personal level, are you worried about blowback after bringing a critical film to an international festival?
I am a little concerned. I had this panic about not going – or taking my family with me if I did. I realized we would be hostage in that case. It’s my choice to go, so why should they pay by sitting in a hotel in Helsinki or whatever? At first I decided not to, and then I said, why not? It’s part of my work, and I have to do it until the end, so why not go? I’m risking 0.01% that they don’t let me back in, but I don’t think that will happen. I’m a resident; I live here, so they wouldn’t have a legal right. The only issue would be the political side – and I am a bit afraid.
Pardon me for asking, but what could happen?
I could be kicked out. I’m still this foreigner, and it would be easiest for them to just kick me out. Many friends have already left the country, and you can imagine what panic it brings when you realize that all your close friends have already gone. Still, I’m hoping to still spend some time here, to be honest. I’m not so eager to leave just yet.
Why's that?
I would like to shoot what’s happening. I think now is the most interesting time to make documentary films, only I’m not sure it’s possible right now. The pressure is too high. Of course, you have the ethical question about staying in a country with such a government – but I’ve dealt with this ethical question throughout the past 10 years. I’ve done everything I could to support progress in this country. I’ve been to all the rallies; I’ve worked in Moscow on a project about Navalny; and I’ve seen the years go by while nothing changes. You cannot be neutral. Even being Swiss, you can never be neutral.
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