纪录片自媒体解说素材-新闻动态参考-“逃离”导演乔纳斯·波赫·拉斯穆森（Jonas Poher Rasmussen）帮助难民分享他们的故事/‘Flee’ Director Jonas Poher Rasmussen on Helping Refugees Share Their Stories
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0502/3146ldykxxibvrf.jpg“逃离”导演乔纳斯·波赫·拉斯穆森（Jonas Poher Rasmussen）帮助难民分享他们的故事
‘Flee’ Director Jonas Poher Rasmussen on Helping Refugees Share Their Stories
在一个新系列中，Variety赶上了电影的导演入围国际故事片奥斯卡，讨论了他们的奖项之路，到目前为止他们学到了什么以及使他们措手不及的是什么。 ，”一名前阿富汗难民努力应对自己的创伤过去，以找到自己的真实自我。这部电影在世界电影院的2021年圣丹斯电影节上获得了大陪审团奖 - 纪录片部分以及其他众多荣誉。拉斯穆森（Rasmussen）以书面形式回答了综艺节目的问题。被列入奥斯卡最佳国际功能对您来说意味着什么？这当然是一项巨大的荣誉。我在这部电影上工作了七到八年，所以感觉到我们所做的工作是被赞赏的意味着世界，然后在这么多令人难以置信的电影制片人中看到我的名字，这真是令人震惊近年来给我带来了许多不可磨灭的电影经历。而且感受支持的人也令人心动T来自丹麦的行业。真的感觉每个人都在为这部电影和我扎根……我只是为此感到非常自豪。到目前库维德非常困难。释放和旅行计划一直在不断变化，感觉就像我一直在门外走了一脚，这使我很难集中精神。这个世界，因此被抢走的机会与人见面会有些沮丧。我真的很厌倦了在Zoom和Teams上与人会面的人，并且我想念在一个完整的电影院里。尽管您入围了国际功能类别，但最佳图片类别已经没有非英语语言功能。“寄生虫”（2019年）是历史上的第一位赢家。您是否觉得国际声音被医学孤立IA和电影批评？可能是这种情况，但我认为这确实表明了美国电影业的实力，即外语电影甚至有资格获得最佳图片。我不知道世界上其他国家的电影将是其他地方。而且我认为很高兴看到美国学院如何开始向世界开放。似乎目前正在进行一个过程，将行业全球化以一种我认为最终对每个人都有利的方式进行全球化。不仅是该行业，而且还在人类层面上开放了世界各地的各种故事，以及告诉他们的不同方式。如果世界各地的观众能够获得更广泛的故事，并开始与他们通常不认同的人建立联系，那么我们将使第一个婴儿走向世界和平的道路。这是颁奖季节吗？我不知道。我加入OT专家就其工作原理，但我再次相信一个过程已经在进行。对我来说，这确实是要开放并承认电影是一部电影。讲故事和手工艺的质量是关键。不是它来自哪里。 “寄生虫”以这种方式开创性，希望世界各地的更多电影都会跟随。当试图吸引消费者观众观看国际功能时，似乎关注电影的长度，但是当类似的事情“复仇者：最后游戏”有一个三个小时的运行时间，漫威粉丝欣喜若狂，并说如果他们愿意的话，他们可以走更长的时间。这是公平的吗？嗯，我不知道它是否真的比较，我是否会谈论公平或不公平。我不太了解美国行业，但是在丹麦，我们在行业中确实相互依赖。我们需要大型大片来产生一个经济，以帮助资助较少的票房电影，并使工作室和电影院冒险冒险。应该有空间三个小时的运行时间超级英雄电影和“较小”电影，例如长期的国际影片和动画纪录片。该学院都赞成欧洲国家，意大利和法国赢得了比日本这样的国家的三次冠军。我们如何鼓励全球所有国家的更多多样性？我不知道。也许是一种配额制度，每个大陆都需要在入围名单上代表每个大陆。作为您国家的代表电影，您是否可以访问该竞选活动的政府赠款/基金？是的，我们可以申请丹麦电影学院的支持我们的竞选活动。成员必须选择投票赞成国际功能的提名人。在学院的流室里，他们将这些电影分开，并且将它们放在平台上无需支付。但是，以12,500美元的价格，将在最佳图片部分放置一部电影，并增加观看的机会，从而使财务上有利可图的录音室电影受益。并非每个电影制片人或国家都有我回答要支付这笔费用。此外，该学院的电子邮件向成员提供了提醒投票的会员的费用，并主持了问答。您是否发现获得提名公平的过程？如果没有，您想如何看待它？作为一名电影制片人，我当然希望最好的电影被提名，而不是那些拥有最好的戏剧的电影。工作和手工艺应该是重点；不是您说服人们观看和投票的方式。但是您如何以公平的方式做到这一点，我不知道。您如何认为这部电影改变了观众对难民的态度？我希望那个故事是因为这个故事是从友谊的内部讲述的，它会给一些东西我们通常在媒体头条新闻中所面临的叙述围绕难民的叙事细微差别。通常，难民仅仅是由他们所需要的，而不是像其他所有人一样与复杂的心理学相同的人来描述。我希望观众能够与阿明所说的话有关，并了解聆听彼此故事的重要性和EY会意识到，成为难民不是身份，而是一种情况。这是您经历的事情，然后希望能在另一边走出来，并能够开始为自己建立新的生活 - 但这不是您的身份。您认为这也可能导致难民改变他们的感知方式吗？就像观众应该看到倾听的重要性一样，难民将看到分享故事的重要性。分享准备好后经历的事情是多么康复。阿明告诉我，长大他没有很多故事，所以如果“逃离”可以成为未来难民的故事之一，那会让我非常高兴。现在？我正在慢慢找到自己的腿，并在相当动荡的一年之后试图提出新想法。我确实有一个新的动画故事，包括其他想法，但是分享细节还为时过早。我希望我能尽快专注于新想法。
In a new series, Variety catches up with the directors of the films shortlisted for the International Feature Film Oscar to discuss their road to the awards, what they've learned so far, and what's taken them off guard.
In Jonas Poher Rasmussen's "Flee," a former Afghan refugee grapples with his traumatic past in order to find his true self. The film won the Grand Jury Prize at the 2021 Sundance Film Festival in the World Cinema - Documentary section, among numerous other accolades. Rasmussen responded to Variety’s questions in writing.
What does it mean to you to be shortlisted for the best international feature Oscar?
It’s of course a huge honor. I’ve worked on the film for seven to eight years, so to feel that the work we’ve done is being appreciated means the world, and then it’s just mind-blowing to see my name on that list among so many incredible filmmakers who have given me numerous indelible cinematic experiences in recent years. And also it’s heartwarming to feel the support from the industry here in Denmark. It really feels like everyone is rooting for the film and me...I’m just very proud of it all.
What's been the most challenging aspect of your campaign thus far?
As for most people, I think, not being able to plan anything because of COVID has been very difficult. Release and travel plans have changed constantly and it feels like I’ve had one foot out the door all the time, which has made it hard to focus mentally.
Also, one of the most rewarding things to me is to meet colleagues and audiences across the world, so to be robbed of the opportunity to meet people in person has been a little frustrating. I’m really tired of meeting people on Zoom and Teams and I miss being inside a full cinema.
Although you are shortlisted in the international feature category, the best picture category has been devoid of non-English language features. "Parasite" (2019) was the first winner in history. Do you feel international voices are siloed in media and film criticism?
It might have been the case, but I think it really shows the strength of the American film industry that foreign-language films are even eligible for best picture. I don’t know other places in the world where films from other countries would be. And also I think it’s great to see how the American Academy has started to open up towards the world. It seems like there is a process going on right now of globalizing the industry in a way that I think is going to be beneficial for everyone in the end. Not just the industry, but also on a human level in regards to opening up towards different kinds of stories from all over the world, and different ways of telling them. If audiences across the world get access to a wider span of stories and start to relate to people they wouldn’t normally identify with, we’re making the first baby steps down the path to world peace.
Are there ways to improve this process when it comes to awards season?
I don’t know. I’m not an expert on how this works, but again, I believe a process is already going on. To me it’s really about opening up and acknowledging that a film is a film. The quality of the storytelling and the craft is what is key. Not where it’s from. "Parasite" was groundbreaking in that way and hopefully more films from different parts of the world will follow.
When trying to get consumer audiences to watch an international feature, there seems to be a focus on the length of a movie, but when something like "Avengers: Endgame" gets a three-hour runtime, Marvel fans are ecstatic and say they could go longer if they wanted to. Is that fair?
Hmm, I don’t know if it really compares and if I would talk about fair or unfair. I don’t know the U.S. industry that well, but here in Denmark we really depend on each other in the industry. We need the big blockbusters to generate an economy that can help fund the lesser grossing films and enable studios and cinemas to take a risk. There should be room for both three-hour runtime super hero movies and "smaller" films like long international features and animated documentaries.
The Academy has favored European countries, with Italy and France winning triple the number of times than a country like Japan. How can we encourage more diversity from all countries globally?
I don’t know. Maybe a kind of quota system where each continent needs to be represented on the shortlist.
As your country’s representative film, is there any government grant/fund you can access for the campaign?
Yes, we can apply for support from the Danish Film Institute for our campaign.
Members have to opt in to vote for nominees for international feature. On the Academy Streaming Room, they separate those films, and there is no charge for placing them on the platform. However, for $12,500, a film will be placed on the best picture section, adding an increased chance of viewing, which benefits financially lucrative studio movies. Not every filmmaker or country has the means to pay that fee. In addition, the Academy charges for email blasts to members with reminders to vote, and hosted Q&As. Do you find the process of getting nominated fair? If no, how would you like to see it change?
As a filmmaker I would of course hope the best films get nominated and not the ones with the best campaign. The work and craft should be the focus; not how you convince people to watch and vote. But how you do that in a fair way, I don’t know.
How do you think the film has changed the audience's attitudes about refugees?
I hope that because this story is told from the inside of a friendship, it’ll give some nuance to the narrative surrounding refugees that we are normally exposed to in the media headlines. Often, refugees are described merely by what they need and not as the individuals they are with complex psychologies like everyone else. I hope audiences will relate to what Amin has to say and understand how important it is to listen to each other's stories and that they will realize that being a refugee is not an identity but a circumstance. It’s something you go through and then hopefully get out on the other side and are able to start building a new life for yourself — but it’s not who you are.
Do you think it may also lead refugees to alter how they perceive themselves?
I hope that just as audiences should see the importance of listening, that refugees will see the importance of sharing stories. How healing it is to share what you’ve been through when you are ready. Amin told me that growing up he didn’t have a lot of stories he could relate to, so if "Flee" can be one of those stories for refugees in the future, that’ll make me very happy.
What project are you working on now?
I’m slowly finding my legs and trying to come up with new ideas after a quite tumultuous year. I do have a new animated story in the pipeline among other ideas, but it’s still too early to share details. I hope I’ll have time to focus on new ideas soon.
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