纪录片自媒体解说素材-新闻动态参考-为什么全球纪录片成为严重奖项的竞争者/Why Global Documentaries Are Becoming Serious Awards Contenders
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0502/3706bqwqqjvtw0i.png为什么全球纪录片成为严重奖项的竞争者
Why Global Documentaries Are Becoming Serious Awards Contenders
在流媒体时代，纪录片制片人曾经曾经在默默无闻的饱受苦难的艺术家完成自筹资金的热情项目中，已经成为摇滚明星。诸如Netflix和Hulu之类的深厚的平台已经为昂贵的档案清理和传记片权利而努力，并且该策略始终导致了荣耀。一个庞大的纪录片网络网络，在美国和西欧传统的非小说类市场之外冒险进行下一个大型项目，这可以成为一个距离成为奖项的竞争者。 ，新安装的总部位于洛杉矶的国际纪录片协会主席。这位前圣丹斯纪录片主管认识到流媒体的影响，但说非小说繁荣主要是数十年来独立工作的结果，例如全球广播公司和VAR在世界各地的宣传论坛和市场上召集的IOS机构和资金。“美国纪录片行业与商业部门以及这些非常有力的国际故事之间的流动性更高，” Perez说。 “发生的部分原因是纪录片是电影中的一些最好的故事。因此，来自其他国家的其中一些电影就是这样。”过去两年是Gamechangers。在2020年，“霍尼兰德”（Honeyland）是一部华丽的电影，讲述了一位古怪的马其顿养蜂人生活在一个偏远的山区村庄，努力保护她的生计，成为第一部获得最佳纪录片和最佳国际故事片提名的纪录片。尽管这并没有赢得这两个类别，但双重奖项的考虑是一个突破，帮助罗马尼亚调查文档“集体”在2021年获得同样的提名，而智利的“摩尔代理人”是在Doc类别中提名并入围的。为了获得最佳国际功能。本年度，丹麦导演乔纳斯·波斯森（Jonas Poher Rasmussen）动画纪录片《逃亡》已经打破了另一张唱片，成为历史上第一部有资格参加动画，纪录片和国际奥斯卡类别的电影。 （最近成为纪录片和国际候选人名单）。这部电影在奥斯卡赛竞赛中的令人印象深刻的往绩与14年前的唯一国际故事片提名形成了鲜明的对比。这说明了导演阿里·福尔曼（Ari Folman）在1982年黎巴嫩战争期间作为士兵的经历。一项奖项策略师，只能匿名讲话，这使电影艺术学院和科学学院的迅速变化的构成归功于交叉DOC标题的扩散。他们告诉《综艺》：“自从'与巴希尔的华尔兹与巴希尔'一起，学院变得更年轻，它变得更加国际化。” “这是一所更大，更多样化，更开放的学院。”据认为，超过30％的AMPA纪录片分支机构位于美国以外的票数，这是一项令人大开眼界的选票。消息人士说：“就像，您可以想象，只有国际选民为您提供支持。”对于国际文档而言，圣丹斯可能是您获得最多报道的节日，或者您将拥有出色的发射台来提升故事，实际上可以照亮纪录片的主题，并将其吸引到美国观众那里“西蒙·莱伦·威尔蒙特（Simon Lereng Wilmont）说，他的电影《由碎片制成的房子》（The House to Splinters）（跟随乌克兰东部的儿童住宅）正在节日的世界电影院纪录片比赛中播放。丹麦导演的前任电影《远处的狗的狗》， 2017年在阿姆斯特丹国际纪录节上首映，更好的KN自己作为IDFA，并将其作为2019年奥斯卡颁奖典礼的纪录片入围名单。但是莱伦·威尔蒙特（Lereng Wilmont）说，他和制片人莫妮卡·赫尔斯特斯特（MonicaHellström）也制作了“逃离”，当时并不完全熟练地掌握奖项运动的阴谋。并满足该行业。”他告诉综艺。 “直到提名之前的一个或两个月，我们才有公关人员，我们从丹麦电影学院那里有一些钱来进行某种竞选活动，但实际上，我们几乎从一开始就知道它会莱伦·威尔蒙特（Lereng Wilmont）说，他对“用碎片制成的房子”（如图）说他的“梦想”是为了使圣丹斯（Sundance）晋级。 “欧洲有很棒的节日，您可以进行欧洲巡回演出，但要在美国到达那里，圣丹斯可能是最好的节日。”今年节日的虚拟枢纽是对独立社区的打击。 ， 为了谁帕克城（Park City）咬人的寒冷中的正确会议和放映可以在一夜之间涡轮增压。但是像林图·托马斯（Rintu Thomas）和苏什米特·戈什（Sushmit Ghosh）这样的导演保证，即使是圣丹斯（Sundance）的数字首映礼也可以引起正确的注意。会员，并继续获得观众奖和《变革影响力效果》特别陪审团奖。自动电影销售的电影，讲述了由低种族达利特妇女领导的游击印度报纸，他赞扬了批评家，并在一年中获得了20多个奖项。现在，这是印度纪录片的第一部纪录片，作为Doc Race的一部分，将其入围奥斯卡。“纪录片世界中正在发生些算时，”托马斯说。 “决策职位的人是看起来像我们这样的口音的人，这与T具有很大的影响他正在寻找[根据]声音的多样性和谁在讲故事的真实性。 “参加马拉松和一英里只是为了进入起跑线。”“它从一开始就从谁开始为您的电影提供资金，因为[没有一个人]有适当的系统来支持您Ghosh说：“不断不得不证明自己和讲故事的优点，因为有一定的期望或文化期望。” Ghosh说。他补充说，印度被认为成功的大多数纪录片都受到了白人董事的影响。当我们看着这些纪录片时。电影，就像，“嘿，您只是从我们的角色中剥夺了所有尊严和恩典。“这些不一定是“我们的人民”，即使在贫困中也有一定的恩典，那在哪里？为什么[他们]没有闪闪发光？” Ghosh Rec Rec科恩斯印度（Kons India）在提交纪录片作为奥斯卡（Oscar）最佳著作《奥斯卡竞赛》（Oscar Race）之后的纪录片之前有一段路要走，但是“霍尼兰德”（Honeyland）和“摩尔代理人”（Mole Agent）等电影已经“基本上导致了这场新的，有创造力的对话：纪录片是电影”。奖项策略师强调说，最好的图片纪录片竞争者“越来越近”，但艾达的佩雷斯说，尽管对流行文化中的纪录片的胃口很大，但尚未发生，这是一个明智的信号：也许是美国自己的框架包括一部值得一部值得一世的电影，落后于世界其他地方。它说明了世界如何看待纪录片。”佩雷斯说。“这怎么说，美国纪录片不在奥斯卡列表中获得最佳图片？”
In the streaming age, documentary filmmakers, once the long-suffering artists working in obscurity to finish self-funded passion projects, have become rock stars. Deep-pocketed platforms like Netflix and Hulu have dished out for costly archival clearances and biopic rights, and the strategy has invariably led to awards glory.
But just as the medium has become more elevated, so too has it grown increasingly global in scope, with a vast network of documentary gatekeepers venturing outside the traditional nonfiction markets of the U.S. and Western Europe for the next big project that can go the distance to become an awards contender.
“We’re growing closer together in a good way,” says Rick Perez, the newly installed president of the Los Angeles-based International Documentary Assn. The former Sundance documentary executive recognizes the influence of the streamers, but says the nonfiction boom is mainly the result of the decades-long work of independents like global broadcasters and various institutes and funds that convene at pitch forums and markets around the world.
“There’s more fluidity now between the American documentary industry and commercial sector and these very powerful international stories,” says Perez. “Part of what’s going on is that documentaries are some of the best stories on film — period. So some of these films from other countries are exactly that.”
The last two years have been gamechangers. In 2020, “Honeyland,” a gorgeously shot movie about an eccentric Macedonian beekeeper living in a remote mountain village struggling to protect her livelihood, became the first documentary to be nominated for best documentary feature as well as best international feature film. Though it didn’t win in either category, the double awards consideration was a breakthrough that helped Romanian investigative doc “Collective” garner the same nominations in 2021 while Chile’s “Mole Agent” was that year nominated in the doc category and shortlisted for best international feature.
This year, Danish director Jonas Poher Rasmussen’s animated documentary “Flee” has already broken another record, becoming the first film in history to be eligible in animated, documentary and international Oscar categories. (It recently made the documentary and international shortlists).
The film’s impressive track record in the Oscar race so far sits in sharp contrast to the sole international feature film nomination 14 years ago for Israeli animated war documentary “Waltz With Bashir” (2008), which illustrated director Ari Folman’s experiences as a soldier during the 1982 Lebanon War.
One awards strategist, who could only speak anonymously, credits the rapidly changing makeup of the Academy of Motion Picture Arts and Sciences for the proliferation of crossover doc titles. “Since ‘Waltz With Bashir,’ the Academy has gotten younger and it’s gotten more international,” they tell Variety. “It’s a much bigger, more diverse and more open-minded Academy.”
It’s believed that more than 30% of the AMPAS documentary branch is based outside the U.S. — an eye-opening number of votes. “Like, you could conceivably get nominated with just the international voters supporting you,” says the source.
The journey for most documentary makers overseas, however, starts in the U.S. at Sundance, which has become synonymous with documentary in the last decade.
“For international docs, Sundance is probably the festival where you get the most coverage, or where you’ll have a great launchpad to elevate your story, actually shine a light on the themes of your documentary, and get it out there to the American audience,” says Simon Lereng Wilmont, whose film “A House Made of Splinters” — which follows a children’s home in Eastern Ukraine — is playing in the festival’s World Cinema Documentary Competition.
The Danish director’s previous film, “The Distant Barking of Dogs,” premiered in 2017 at International Documentary Festival Amsterdam, better known as IDFA, and made the documentary shortlist for the 2019 Oscars. But Lereng Wilmont says he and producer Monica Hellström, who also produced “Flee,” weren’t fully savvy to the machinations of the awards campaign at that time.
“We could handle Europe, but that was our first time really going to the U.S. and meeting the industry,” he tells Variety. “We didn’t have a publicist until maybe one or two months before the nominations were announced, and we had some money from the Danish Film Institute to make some kind of campaign, but in reality, we knew from almost the beginning that it would be very, very hard to get the film noticed.”
Lereng Wilmont says his “dream” for “A House Made of Splinters” (pictured) was to make the cut for Sundance. “There are great festivals in Europe and you can do the European tour, but to get it out there in the U.S., Sundance is probably one of the best there is.”
The festival’s virtual pivot this year came as a blow to the independent community, for whom the right meetings and screenings in the biting cold of Park City can turbocharge a career virtually overnight. But directors like Rintu Thomas and Sushmit Ghosh assure that even a digital premiere via Sundance can get the right attention.
The New Delhi-based filmmakers premiered their film “Writing With Fire” in the World Cinema Documentary Competition last year, reached around 10,000 virtual audience members, and went on to pick up the Audience Award as well as the Special Jury Award for Impact for Change. The Autlook Filmsales-distributed film, about a guerrilla Indian newspaper led by lower-caste Dalit women, has wowed critics and picked up over 20 awards across the year. It’s now the first Indian feature documentary to be shortlisted for an Oscar, as part of the doc race.
“There’s a moment of reckoning that’s happening across the documentary world,” says Thomas. “The people in decision-making positions are people who look and have accents like us, and that has a huge bearing on the kinds of projects they’re looking out for the diversity of voices and the authenticity of who’s telling the story.”
Ghosh says that compared to international doc makers in North America or Europe, directors from the global South need to “run a marathon and a mile just to get to the start line.”
“It starts right at the beginning, from who's going to fund your film because has the systems in place to support you, all the way through to constantly having to prove yourself and the merit of your storytelling because there are certain expectations or cultural expectations,” says Ghosh.
Most of the documentaries out of India deemed successful have largely been helmed by white directors, he adds.
“When we look at those films, it’s like, ‘Hey, you've just stripped away all dignity and grace from our characters.’ These are not ‘our people’ necessarily, and there is a certain grace, even in poverty, and where is that? Why aren't shining a light on that?”
Ghosh reckons India has a way to go before submitting a documentary as its entry into the best international feature Oscar race, but films such as “Honeyland” and “Mole Agent” have “essentially led to this new, generative conversation: documentaries are films.”
While an awards strategist highlights that the prospect of a best picture documentary contender “gets closer and closer,” the IDA’s Perez says the fact that it hasn’t yet happened despite the enormous appetite for documentary in popular culture is a telling sign: Perhaps it’s America’s own framework of what comprises an award-worthy film that’s lagging behind the rest of the world.
“The world is putting forward some of the best stories on film that they have, and those films happen to be documentaries. It says something about how the world views documentary,” says Perez. “What does it say that American documentaries aren’t on the Oscar shortlist for best picture?”
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