纪录片自媒体解说素材-新闻动态参考-Barbora Sliepkova跟随Ji.hlava获胜者“线条”，其中一部关于梦想和“生态灾难”的电影（独家）/Barbora Sliepkova to Follow Ji.hlava Winner ‘Lines’ With a Film About Dreams and ‘Ecological Catastrophes’ (EXCLUSIVE)
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0503/5743busl22wjpd2.pngBarbora Sliepkova跟随Ji.hlava获胜者“线条”，其中一部关于梦想和“生态灾难”的电影（独家）
Barbora Sliepkova to Follow Ji.hlava Winner ‘Lines’ With a Film About Dreams and ‘Ecological Catastrophes’ (EXCLUSIVE)
BarboraSliepková的“线条”（关于布拉迪斯拉瓦（Bratislava）的日常城市喧嚣，已经为她带来了Ji.hlava Intl的Opus Bonum Award。纪录节和Karlovy Vary Docs In Inrover奖。但是，Helmer期待着从城市中“小休息”，制作一部有关梦想的电影，并与LuciaKašová合作，并与去年的Ji.hlava获胜者Vieračákanyová进行有关环境问题的项目，该项目是“生态标题”的“生态标题”灾难。”她告诉《综艺》，他说：“我们处于很早的阶段。”她仍然对这个话题有些“害怕”。 “有时候我什至无法读到有关生态学或观看电影的信息。太令人沮丧了。同时，忽略太重要了。” “生态灾难”将重点关注斯洛伐克最紧急的生态威胁，从有毒的荒原开始。斯莱普科瓦（Sliepková）的角色称为“黑眼睛”（Black Eyes），是关于一个乡村及其两个充满有毒液体的“湖泊”的村庄。在“线”中由芭芭拉·贾尼沙瓦·费格洛瓦瓦（BarbaraJanišováFeglová）为希奇希克电影院（Hitchhiker Cinema）而言，她保持了心情更轻松，然而，在城市的隐藏工作中找到幽默感，以及保持其运转的人们，包括道路绘画机组人员。Barbora Sliepkovacredit：Nicole Brlej“这些人是看不见的。我们很少见到他们，但是他们照顾了这座城市。看着他们的工作就像目睹舞蹈：他们知道如何快速有效地做到这一点。他们为自己的技术感到自豪。我决定跟随一名船员，他们并不完全害羞，但他们想知道我们在做什么。我们向他们展示了一些镜头，当他们看到黑白时，他们走了：‘好。这是一些艺术品，’”她笑着说。Sliepková的电影受到观众的热烈欢迎，被邀请通过其忠实的观察者Danko的眼睛看着不断扩大的Bratislava。“这是我们第一次向观众展示它，而不仅仅是船员，我几乎对他们有多豪感到惊讶她说，盖德。“丹科是我们发现的最后一个人，我们的DP Maxim 告诉了我有关他的信息。布拉迪斯拉瓦曾经以像他这样的人而闻名，只是四处走动，坐在酒吧里。他是旧世界，是我们的向导。 “当您坐在咖啡馆里，听到别人的对话时，我们谈到了这种感觉。她说，我称它为“城市的感觉”，并提到了声音设计师MichalHorváth和JonatánPastirčák的作品，负责音乐。创造了在大城市，人们之间以及他们的宠物之间进行的几乎没有互动的配乐，包括变色龙和蜗牛。“我喜欢这个元素带来的嬉戏和荒谬。动物是我们的沉默同伴，但它们也会产生声音。我曾经住在法国，妈妈说：‘我不喜欢这个地方。我听不到任何鸟。’从那以后，我一直在城市里寻找鸟类，”斯莱普科瓦说：“在过去的几年中，我学会了更加沟通，只是来和街上的人交谈。我在电影中放映的盲人表演者？我住在他唱歌的地方上方。他会告诉我有关会见教皇和总统的故事。然后，科维德（Covid）命中率，他决定游览不同的城市，只是因为他错过了与人互动。在电影中，您永远无法捕捉到任何人的现实 - 这一刻。但是您可以允许其他人分享。”
Barbora Sliepková’s “Lines,” about the everyday urban bustle of Bratislava, has already brought her the Opus Bonum award at Ji.hlava Intl. Documentary Festival and the Karlovy Vary Docs in Progress award. But the helmer is looking forward to taking a “little break” from the city, developing a film about dreams, and teaming up with Lucia Kašová and last year’s Ji.hlava winner Viera Čákanyová on a project about environmental issues under the working title “Ecological Catastrophes.”
“We are in very early stages,” she tells Variety, adding she is still a bit “scared” of the topic. “Sometimes I can't even read about ecology or watch films about it. It’s too depressing. At the same time, it’s too important to ignore.”
“Ecological Catastrophes” will focus on three most urgent ecological threats in Slovakia, starting with toxic wastelands. Sliepková’s part, called “Black Eyes,” will be about a village of Predajná and its two “lakes” full of toxic liquid.
In “Lines,” produced by Barbara Janišová Feglová for Hitchhiker Cinema, she keeps the mood lighter, however, finding humor in the hidden workings of the city and the people who keep it running, including road painting crews.
“These people are invisible. We rarely see them, but they take care of the city. Watching them work was like witnessing a dance: they know how to do it quickly and effectively. They are proud of their techniques. I decided to follow one crew and they weren’t exactly shy, but they wanted to know what we were doing. We showed them some shots and when they saw it was black and white, they went: ‘Okay. It’s some art thing,’ ” she laughs.
Sliepková’s film was warmly received by the viewers, invited to look at the ever-expanding Bratislava through the eyes of its faithful observer, Danko.
“It was the first time we showed it to the audience, not just the crew, and I was almost surprised at how much they laughed,” she says.
“Danko was the last person we found, our DP Maxim told me about him. Bratislava used to be known for people like him, just walking around, sitting in bars. He is the old world and serves as our guide.”
Showing a place which, just like any other city, always seems to be under construction, Sliepková wanted to play around with the constant noise.
“We talked about this feeling when you are sitting in a café, overhearing other people’s conversations. I call it a ‘city feeling’,” she says, mentioning the work of sound designer Michal Horváth and Jonatán Pastirčák, responsible for the music. Creating the soundtrack to little interactions taking place in a big city, between the people but also their pets, including a chameleon and a snail.
“I love the playfulness and the absurdity this element brings. Animals are our silent companions, but they also create sounds. I used to live in France and my mom said: ‘I don’t like this place. I can’t hear any birds.’ Since then, I’ve always been looking for birds in the cities,” says Sliepková.
“Over the last couple of years, I’ve learnt to be more communicative, to just come up and talk to somebody on the street. This blind performer I am showing in the film? I’ve lived just above the place where he is singing. He would tell me stories about meeting the Pope and the presidents. Then COVID hit and he decided to tour different cities, just because he missed interacting with people. In a film, you can never capture anyone’s reality in its fullness – just this one moment. But you can allow others to share it.”
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