纪录片自媒体解说素材-新闻动态参考-IDFA节日程序员取笑“勇敢的电影”，谈论新程序结构/IDFA Festival Programmers Tease ‘Brave Films,’ Talk New Program Structure
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0503/2843vfq4vrthaam.jpgIDFA节日程序员取笑“勇敢的电影”，谈论新程序结构
IDFA Festival Programmers Tease ‘Brave Films,’ Talk New Program Structure
从11月17日到28日，国际纪录片电影节阿姆斯特丹（IDFA）的第34版将“感受喜庆”。更大的功能。您在一个充满人的房间里，分享所有这些不同的观点。在锁定期间，我们被困在一个现实中。”她还提到了节日的新节目结构，介绍了Envision和International竞赛以及跨部门奖项（最佳荷兰电影，最佳第一部件和重新制作奖）。我们可以通过深思熟虑地将电影放入程序中来提供很多价值。如果您看一下Envision，它将是一个可以进行更多边界播放的实验电影的空间。通过为其创建一个部分，我们为这些电影创建了一个框架。纪录片社区非常广泛，需要服务很多。包括今年的揭幕战“四次旅行”，“吃你的cat鱼”和“章鱼”，关于贝鲁特的爆炸。她说。这些程序员说，除了代表它外，还将重点亮相纪录片的新形式。总体而言，该节日将展示264部电影，包括Doclab Projects，这是一个在各种媒体和学科中的互动纪录片的国际平台。媒体分支机构，”劳拉·范·哈尔斯玛（Laura van Halsema）说。“好奇心一直是IDFA的一部分，”S Raul Nino Zambrano。 “ Doclab已经15岁了，因此我们一直对纪录片类型的整个范围内的情况非常开放。范·哈尔斯马（Van Halsema）说，随着IDFA程序员聚在一起共同策划的部分，他们对今年的电影“集体兴奋”，而Joost Daamen称新过程“更加精心，有趣和体贴。透明根据音乐节的宣言，将艺术价值与政治紧迫性相结合仍然至关重要，但并不是每部电影都需要结合所有这些元素。“有些人将相机用作武器。其他，作为铅笔。我们正在根据自己的价值选择电影，”达曼说：“我认为有很多人非常勇敢。道森指出，范·霍尔斯玛（Van Halsema）指出，这是该计划中最好的电影。它成立于1998年，支持纪录片制片人非洲，亚洲，拉丁美洲，中东和东欧的N-Western国家，将向观众介绍萨玛赫·阿尔卡迪（Samaher Alqadi庇护所，”由Ousmane Samassekou导演。“这是一个非常不错的包装，已经有几年了，”她补充说，IDFA作为一个支持结构和节日一样多，程序员还评论了等待来自发展中国家的年轻，边际电影制片人，尤其是在大流行时期的挑战。“我认为这是一种趋势：对于年轻人来说，锁定要困难得多，” Daamen说。 “为了建立网络，您需要结识人们。不仅在行业活动中，而且在喝咖啡时。我们突然失去了很多“之间”。“锁定是不幸的，因为我们开始谈论进行'研究之旅'，访问withou的地方t参加音乐节的议程，而是会见电影俱乐部的电影学生。在这些正式结构之外工作。有几部电影来自我们找不到的，”道森补充说。但是，挑战性的时代似乎不会变化。“我现在本可以很容易地选择一百个最喜欢的头衔，而且并非总是如此。我希望只有今年不会像这样！”
Running from Nov. 17 to 28, the 34th edition of the International Documentary Film Festival Amsterdam (IDFA) is going to “feel festive,” promises programmer Sarah Dawson, anticipating even more heated discussions than usual.
“I do expect this to be a bigger feature. You are in a room full of people, sharing all these different points of views. During lockdown, we were stuck in one single reality,” she says, also mentioning the festival’s new program structure, introducing Envision and International Competition as well as cross-section awards (Best Dutch Film, Best First Feature and ReFrame Award).
“There is a lot of value that we can give films by thoughtfully placing them in the program. If you look at Envision, it’s a space for more boundary-pushing, experimental cinema. By creating a section for it, we create a frame for these films. Documentary community is quite broad and there are many interests that need to be served.”
Fifteen titles will compete in the section, including this year’s opener “Four Journeys,” “Eat Your Catfish” and “Octopus,” about the explosion in Beirut.
“I used to work for a festival that had strands for ‘Love.’ It’s nice, but there is something really important in having a more proactive act of framing when it comes to devising sections,” she says.
Agreeing there are many ways of perceiving and understanding reality these days, as well as representing it, new forms of documentary filmmaking will be spotlighted, say the programmers. Overall, the festival will show 264 films, including DocLab projects, an international platform for interactive documentaries in various media and disciplines.
“We want to expand the horizon in terms of what we perceive as documentary cinema, in addition to having a very big new media branch,” says Laura van Halsema.
“Curiosity has always been a part of IDFA,” adds Raul Nino Zambrano. “DocLab is already 15 years old, so we have always been very open to what is happening within the whole spectrum of the documentary genre. We feel the responsibility to show it.”
With IDFA programmers coming together to co-curate sections, they are “collectively excited” about this year’s films, says van Halsema, while Joost Daamen calls the new process “more elaborate, interesting and thoughtful.” According to the festival’s manifesto, combining artistic value with political urgency is still crucial, but not every film needs to incorporate all these elements.
“Some are using the camera as a weapon. Others, as a pencil. We are selecting films on the basis of their own value,” says Daamen.
“There are many that I think are quite brave. They are really singular, distinctive and confident,” notes Dawson, with van Halsema crediting the IDFA Bertha Fund with delivering some of the best films in the program. Established in 1998, it supports documentary filmmakers from non-Western countries in Africa, Asia, Latin America, the Middle East and Eastern Europe, and will introduce the audience to the likes of “As I Want” by Samaher Alqadi, “Day After...” by Kamar Ahmad Simon and “The Last Shelter,” directed by Ousmane Samassekou.
“It’s a tremendously good package and it has been like this for a couple of years now,” she adds.
Arguing that IDFA exists as a support structure as much as a festival, the programmers also commented on the challenges awaiting young, marginal filmmakers from developing countries, especially during the time of pandemic.
“I think it’s a trend in general: for younger people, the lockdown has been much more difficult,” says Daamen. “In order to build a network, you need to meet people. Not just during industry events, but also when getting a coffee. There is a lot of this ‘in between’ time that we suddenly lost.”
“The lockdown was unfortunate, because we started to talk about doing ‘research trips,’ visiting places without the agenda of going to a festival but rather meeting film students, going to film clubs. Working outside of these formal structures. There are a few films that came from that that we wouldn’t have found otherwise,” adds Dawson. But challenging times won’t short-change the audience, it seems.
“In general, it has been a great year for non-fiction films,” says Daamen. “I could have easily picked over a hundred favorite titles now, which isn’t always the case. I hope it won’t be like this only this year!”
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太好了，终于找到宝藏论坛了！ 感谢分享啊。谢谢版主更新资源。 非常不错，感谢楼主整理。。 感谢大佬分享。我又来学习了~ 感谢分享啊。谢谢版主更新资源。
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