纪录片自媒体解说素材-新闻动态参考-True/false节日，每年的游行和对关于俄罗斯的纪录片的充满活力的回应/True/False Festival Returns In-Person With Annual Parade and Spirited Response to Docus About Russia
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0502/09392oyb1bdr1ae.jpgTrue/false节日，每年的游行和对关于俄罗斯的纪录片的充满活力的回应
True/False Festival Returns In-Person With Annual Parade and Spirited Response to Docus About Russia
杰出的非小说节节是True/fals，周四又是一个唯一的面对面活动，在Chloe Trayner的艺术指导下，将纪录片的名字和他们的作品吸引到密苏里大学的第一个阵容。有31个功能节日中的19部简短的非小说类电影比平时更具国际倾向，并结束了3月6日。以前曾在一月份在圣丹斯（Sundance）几乎在圣丹斯（Sundance）首次亮相，但第一次在True/false上为公众观众放映。他们各自的导演 - 萨拉·戴萨（Sara Dosa）（“爱之火”），里德·达文波特（Reid Davenport）（“我没见到你在那里”）亚历克斯·普利茨（Alex Pritz）（“领土”） - 是电影制片人之一，跋涉前往哥伦比亚（Columbia），参加了第19届《真/错误》。圣丹斯（Sundance）2022 DOC导演，包括伊莎贝尔·卡斯特罗（Isabel Castro）（“ Mija”）和Joe Hunting（“我们在虚拟现实中我们遇见”）也参加了。普利茨说，他的电影《领土》的重点是亚马逊雨林中的土著土地防御，他的电影《领土》的重点是我们的许多方面的盛大开幕。”除了现场观众的反应外，放映还为整个电影制作团队提供了第一次“与适当的扬声器一起在大屏幕上观看电影。我们用这部电影投入了如此多的声音设计 - 在剧院看时感觉就像是一部完全不同的电影。卡蒂亚·克拉夫特（Katia Krafft）像“领土”一样，是在圣丹斯（Sundance）首次亮相后被国家地理纪录片电影所获得的。她说：“ \u200b\u200bTrue/fals一直是非小说类电影社区的备受喜爱的枢纽之一，而这种感觉（如此多的孤立之后）现在更加明显。”纪录片社区最喜欢的电影节。比首映音乐节更像是展示柜True/Fals是一个基于社区的事件，以其热情，政治上不同的观众和乐观的氛围而闻名。虽然流行前吸引了超过15,000人的非小说类活动并不是很多发行交易的地方，但顶级Doc电影制片人在过去的几年中都热切参加。 /false 2022标志着特殊活动的回归，包括Town Parade，这是一场纪录片游戏节目“ Gimme Truth”和Campfire Stories，其中有电影制片人在火坑周围讲故事的故事。如果在音乐节上，即使他在阵容中没有电影时，也参加了“如何在瘟疫中生存”和“欢迎来到车臣”屏幕。他是那些参加今年的游行，到处都是当地舞蹈团，游行乐队和成年人穿着毛茸茸的动物服装。“我来看电影，”法国说。 “我喜欢这里。” SEVen Leep长度的文档在True/false上首映，包括Hàlệdiễm的“雾之子”（越南）（Eduardo Crespo的“ The Delights”（Argentina），SréanKovačević的“工厂到工人”（Croatia）（Croatia）（Croatia）（Croatia） ，Sergei Loznitsa的“ Landsbergis先生”（荷兰立陶宛）和Karim Kassem的“ Octopus”（黎巴嫩）（黎巴嫩）。“阳台电影”，由波兰导演Pawel Lozinski主持，在True/False上受到了筛选，这是在True/fals上放映的。在俄罗斯：鲁斯兰·费多托（Ruslan Fedotow）的“我们要去哪里”和纳斯蒂亚·科基亚（Nastia Korkia）的“ GES-2”。在周五放映科尔基亚（Korkia）的“ GES-2”之后，关于曾经为克里姆林宫（Kremlin）推动的前能量植物的转变，导演被召开了。关于俄罗斯入侵乌克兰的许多疑问。“当然，我非常担心许多在乌克兰的朋友以及我现在离开该国的俄罗斯朋友，”科尔基亚（Korkia）告诉观众。 “战争应该结束。这是一个非常毁灭性的时期这两个国家的许多人是时候了。现在是一个非常糟糕的时光。共和国） - 在节日中首映世界。 Shaw说：“国际电影节，例如圣丹斯，柏林纳尔和SXSW，Tribeca。” “因此，它位于每年电影节周期开始时的这一极大的影响力时刻。它确实对我们属于日历的位置确实有用。通过研究，她绘制了他的创造性和政治遗产和布雷亚的肖像KS在他的故事与她作为图像制造商的野心之间的界限下，“行业中的人们鼓励我将电影提交给我的电影，因为我的电影是一部非常有创造力的纪录片，” Villegas说。 “这不是传统的纪录片，在True/False上，他们在策划该计划时非常认真地对待这一点，所以我知道如果我们进入的话，这将是一个很好的选择。”今年大约有1,000份提交的意见书，而Trayner，以前是伦敦开放城市纪录片节的节日主任做出了一个有意识的决定，将板岩扩大到更多的国际电影制片人。“ True/False是北美电影制片人的难以置信的空间，我们希望继续这样做，但我认为有很多我想在这里看到更多平台的世界其他地方的声音。 “作为组织历史上的第一位国际程序员，我很开心不同的观点。我对非小说电影历史有不同的了解，我真的有兴趣扩大一部真实/虚假的电影。在创新和围绕纪录片讲故事方面，所有的电影都非常像真/虚假的电影。经验丰富的行业专业人士，包括Hulu的Belisa Balaban和Kristi Whisler，Sandbox Films的Patrick Hurley，参与者Marketing Laura Kim的执行副总裁Laura Kim和Seesaw Pictures的创始人Heejung OH OH为电影制片人提供了有关如何导航Doc Film World.trayner的建议。作为Ragtag电影协会的艺术总监 - 一个24岁的非营利组织，负责非小说纪录节 - 负责Traditi由True/False联合创始人David Wilson和Paul Sturtz创建的，他们继续寻求其他机会。威尔逊（Wilson）于2021年介入临时导演，他看好特雷纳（Trayner）指导下的节日的未来。威尔逊说。“克洛伊（Chloe）带来的是这种能够真正环顾全世界的能力。我们看到了很多关于谁能做东西以及故事讲述的声音的讨论，而不仅仅是讲故事。我认为这将是纪录片中各地的转变，但是我认为是正确的/错误，一如既往地会导致对此的指控。”
True/False, the preeminent non-fiction festival, returned as a solely in-person event Thursday, drawing documentary notables and fans of their work to a Missouri college town for the first lineup under the artistic direction of Chloe Trayner.
There were 31 features and 19 short non-fiction films at the fest, which had more of an international tilt than usual and concludes March 6. Eight features, including “Fire of Love,” “I Didn’t See You There” and “The Territory,” had previously debuted virtually at Sundance in January, but screened for the first time for public audiences at True/False.
Their respective directors -- Sara Dosa (“Fire of Love”), Reid Davenport (“I Didn’t See You There”) Alex Pritz (“The Territory”) – were among the filmmakers making the trek to Columbia for the 19th edition of True/False. Fellow Sundance 2022 doc directors including Isabel Castro (“Mija”) and Joe Hunting (“We Met in Virtual Reality”) also attended.
“Sundance was amazing, but True/False feels like our grand opening in many ways,” said Pritz, whose film “The Territory” focuses on an indigenous-led land defense in the Amazon rainforest. Beyond live audience reactions, the screening gave the entire filmmaking team the first time “to watch the film on a big screen with proper speakers. We put so much into sound design with this film -- it feels like an entirely different movie when viewed in a theater.”
Dosa said the True/False screening felt like a premiere for “Fire of Love,” a docu about French volcanologists Maurice and Katia Krafft, that, like “The Territory” was acquired by National Geographic Documentary Films following its Sundance debut. “True/False has always been one of those beloved hubs for the nonfiction film community and that feeling -- after so much isolation -- is all the more palpable now,” she said.
Since launching in 2004, True/False has become one of the documentary community’s favorite film festivals. More of a showcase than a premiere festival, True/False is a community-based affair known for its enthusiastic, politically diverse audience and upbeat vibe. While the nonfiction event, which pre-pandemic drew over 15,000 people, isn’t where many distribution deals are made, top doc filmmakers have eagerly attended in years past.
After a hybrid event last year with a few outdoor screenings for the public, True/False 2022 marked the return of special events including the town parade, a documentary game show called ‘Gimme Truth’ and Campfire Stories that featured filmmakers telling tales both long and short around a fire pit.
Oscar-nominated director David France, who has previously had docus “How to Survive a Plague” and “Welcome to Chechnya” screen at the festival, attends even when he does not have a film in the lineup. He was among those who walked in this year’s parade full of local dance troupes, marching bands and adults in furry-animal costumes.
“I come just to watch films,” said France. “I love it here.”
Seven feature-length docus made their North American premieres at True/False, including HÀ Lệ Diễm’s “Children of the Mist” (Vietnam), Eduardo Crespo’s “The Delights, (Argentina), Srđan Kovačević’s “Factory to the Workers” (Croatia), Sergei Loznitsa’s “Mr Landsbergis” (Lithuania, Netherlands) and Karim Kassem’s “Octopus” (Lebanon).
“The Balcony Movie,” helmed by lauded Polish director Pawel Lozinski, screened at True/False, as did two feature docus that take place in Russia: Ruslan Fedotow’s "Where Are We Headed” and Nastia Korkia’s “GES-2.”
Following Friday's screening of Korkia’s “GES-2,” about the transformation of a former energy plant that once fueled the Kremlin, the director was met with numerous questions about Russia’s invasion of Ukraine.
“Of course, I’m very worried about a lot of my friends who are in Ukraine and also about my Russian friends who are now leaving the country,” Korkia, pictured above, told the audience. “The war should be over. It’s a very devastating period of time for a lot of people in both countries. It’s a very terrible, terrible time now.”
Three docus -- Jon-Sesrie Goff’s “After Sherman” (USA), Kevin Shaw’s “Let the Little Light Shine”(USA) and Victoria Linares Villegas’s “It Runs in the Family” (Dominican Republic) -- made their world premieres at the fest.
Shaw’s “Let the Little Light Shine” tells the story of a predominantly African-American school in Chicago threatened to be closed for gentrification reasons.
“Each year, True/False falls between the hot international film festivals such as Sundance, the Berlinale, and SXSW, Tribeca,” Shaw said. “So it is situated at this hugely influential moment at the start of the film festival cycle each year. It really works for us where it falls on the calendar.”
Villegas’ “It Runs in The Family” focuses on the director’s discovery that she is related to Oscar Torres, a little-known Dominican director. Through research, she pieces together a portrait of his creative and political legacy and breaks down the boundaries between his story and her own ambitions as an image-maker.
“People in the industry encouraged me to submit my film for consideration to True/False because my film is a very creative documentary,” Villegas said. “It’s not a conventional documentary and here at True/False they take that very seriously when curating the program so I knew it would be a good fit if we got in.”
There were approximately 1,000 submissions for this year, and Trayner, formerly the festival director of Open City Documentary Festival in London, made a conscious decision to broaden the slate to more international filmmakers.
“True/False has been an incredible space for North American filmmakers and we want to continue being that, but I think there's a lot of voices from elsewhere in the world that I would like to see given more of a platform here,” said Trayner, named artistic director in August. “Being the first international programmer in the history of the organization, I come with a slightly different perspective. I come with a different understanding of non-fiction cinema history, and I'm really interested in broadening out what a True/False film is.”
She said that each Sundance film in this year's lineup met her fest’s criteria, noting “they are all films that feel very much like True/False films in terms of being innovative and engaging in questions around documentary storytelling.”
The festival also runs an annual mentorship program, and Goff and Villegas were among six first-time filmmakers that took part. Seasoned industry professionals including Hulu’s Belisa Balaban and Kristi Whisler, Sandbox Films’ Patrick Hurley, Participant's executive vice president of marketing Laura Kim, and Seesaw Pictures’ founder Heejung Oh offered the filmmakers offered advice on how to navigate the doc film world.
Trayner also serves as the artistic director of the Ragtag Film Society – a 24-year-old non-profit that runs the non-fiction documentary festival – carrying on the tradition created by True/False co-founders David Wilson and Paul Sturtz, who have moved on to pursue other opportunities. Wilson, who stepped back in as interim director in 2021, is bullish about the future of the fest under Trayner's direction.
“True/False has always been a festival of discovery, but for a long time, our discovery was looking around the U.S.,” said Wilson. “What Chloe brings is this ability to really look around the whole world. We are seeing a lot of discussion about who gets to make stuff and what voices are stories told in, not just who stories are told about. I think that's going to be a shift everywhere in documentary, but I think True/False as always will lead the charge on that.”
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谢谢楼主分享，发现宝藏了。 资源真不错，感谢分享！ 感谢分享，下载收藏了。最喜欢高清纪录片了。 感谢大佬分享。我又来学习了~ 感谢分享，下载收藏了。最喜欢高清纪录片了。 谢谢楼主分享，发现宝藏了。 谢谢楼主分享，发现宝藏了。
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