纪录片自媒体解说素材-新闻动态参考-多米尼科斯·伊格纳迪斯（Dominikos Ignatiadis/Dominikos Ignatiadis on His Intimate Journey on the Trail of the ‘German With the Bicycle’
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0507/1639lxjjqekna0z.jpg多米尼科斯·伊格纳迪斯（Dominikos Ignatiadis
Dominikos Ignatiadis on His Intimate Journey on the Trail of the ‘German With the Bicycle’
当他的母亲加布里埃拉（Gabriela）离开家人时，多米尼科斯（Dominikos Ignatiadis）才16岁，这一事实使他成年后的大部分时间都困扰着他。她去世后，他使用日记，信件和家人和朋友的回忆踏上了过去的亲密旅程，试图揭开她一生的奥秘。``试图与母亲和平实现和平的个人描述。这部电影在战后德国出生的一个女人的故事，她的生活，爱和物质的必要性，这部电影在Thessaloniki纪录片节的新移民国际比赛中首映。，希腊，当他试图回答一个基本的问题时：“这是什么样的生活？”导演与综艺节目谈到了“加布里埃拉”是否使他更接近解决这个谜团。启发的起点是什么当我第一次开始阅读她留下的日记时，我决定制作电影，因为这是她去世前的最后一份愿望之一。这让我感到震惊，因为直到那时我对母亲的看法完全错误。他们主要是由于对她的痛苦和愤怒而统治。突然，我看到一个女人从温柔的年龄开始经历地狱，并为她感到压倒性地感到骄傲，非常感谢她给我的爱，直到我16岁，当时她离开了。您在开始研究“ Gabriela”之前熟悉吗？您是否发现了让您感到惊讶的东西？在我决定制作电影之前，我只知道几件事，例如她有两个半兄弟，而她真正的父亲在俄罗斯被杀。她与一名严格的继父一起长大，后者在S.S.军队中。但没有别的。然后在拍摄和研究时，我发现我的MOT她是战争的孩子，是雅利安种族繁殖的官方计划的产物。她是伊丽莎白（她的母亲）和一名德国士兵的果实，毕竟在俄罗斯没有死，但经过十年的拘留，1954年回来了。我了解了改革者，我的同父异母兄弟，她八岁时逃离家园，在14岁时对儿童福利服务的指控。最后一个让我感到惊讶。一个14岁的女孩怎么有能力向她的继父报告性虐待？您的几个家庭成员在反思与母亲的关系时在屏幕上表现出情感，但您很少出现在镜头前。您是否考虑过在屏幕上扮演更积极的角色？你为什么不呢？我的疏远是故意的，因为我想通过她的来信在电影中介绍自己的母亲。将她带回现在并消灭时间。这非常困难，因为我在我的三次采访中进行了三次采访完全冷冻了。我真的不想这样做。我什至在其中一个恐慌发作。艰难的情况。考虑到她在家庭一生中的大部分时间里的缺席，您是否觉得自己在拍这部电影时离妈妈更近？您是否更好地理解她为什么看起来如此不安，以及她在寻找什么？通过这部电影的研究，我更加了解它。她所做的一切，她只是为了得到她如此渴望的爱。我迄今为止的误解消失了，被敞开心heart所取代。我感谢她。电影的结尾，您的姐姐伊娃（Eva）和同父异母的同伴都说他们与您的母亲保持了和平，以及她的决定如何影响家庭。同胞说他“原谅”她。您是否得出相同的结论？我原谅了她，但更重要的是，我设法原谅了自己。我的愤怒使我与她如此遥远，这么多年，以至于我从未管理过与她建立有意义的关系。我内心感到内gui和遗憾。我们之间的真正联系随着她的死亡而出现。
Dominikos Ignatiadis was just 16 years old when his mother, Gabriela, left his family, a fact that has haunted him for much of his adult life. After her death, he embarked on an intimate journey into the past, using her diary, her letters, and the recollections of her family and friends to try to unravel the mystery of her life.
“Gabriela – The German With the Bicycle” is Ignatiadis’ deeply personal account of trying to make peace with his mother. The story of a woman born in postwar Germany who had an overwhelming need to live, love, and matter, the film had its world premiere in the Newcomers International Competition of the Thessaloniki Documentary Festival.
Ignatiadis' journey took him from Stuttgart, Germany to Alexandria, Greece, as he tried to answer the underlying question: “What kind of life is this?” The director spoke to Variety about whether or not "Gabriela" brought him any closer to solving that mystery.
What was the starting point that inspired this journey into your mother’s past?
I made the decision to make the film when I first started reading the diaries she left us with, as this was one of her final wishes before she died. It was shocking to me because until then I had completely wrong perceptions about my mother. They were dominated mostly by pain and anger about her. Suddenly I saw a woman who has been through hell from a tender age and felt overwhelmingly proud of her, absolutely grateful for the love she gave me until I was 16, when she left.
How much about your mother’s early life, relationships and travels were you familiar with before you began researching “Gabriela”? Did you discover anything that surprised you?
Before I made the decision to make the film I knew only a few things, like the fact that she has two half-brothers and that her real father was killed in Russia. That she grew up with a strict stepfather who was in the S.S. army. But nothing else. Then while shooting and researching, I found out that my mother was a child of war, a product of an official program for the breeding of the Aryan race. She was the fruit of Elizabeth (her mother) and a German soldier who had not died in Russia after all but came back in 1954 after ten years of detention. I learned about the reformatories, my half-brother, her running away from home at the age of eight, the accusation to the child welfare services at the age of 14 of her stepfather’s abuse. The last one surprised me. How could a 14-year-old girl have the strength to go and report her stepfather for sexual abuse?
Several of your family members show their emotions on screen as they reflect on their relationship with your mother, but you rarely appear on camera. Did you consider playing a more active role on screen? Why didn’t you?
My distancing was deliberate, because I wanted to present my own mother in the film through her letters. To bring her back to the present and annihilate time. It was very difficult because I did three interviews where I was completely frozen. I didn’t really want to do it. I even had a panic attack during one of them. Difficult situations.
Considering her absence throughout much of your family’s life, do you feel like you got any closer to your mother while making this film? Do you better understand why she seemed so restless, and what she was searching for?
It was through the research for the film that I came to understand it more. Everything she did, she did only to receive the love that she so desperately longed for. The misconceptions I had until now are vanished and are replaced with an open heart. I am grateful to her.
Toward the end of the film, both your sister Eva and your half-brother Peer say they made peace with your mother and how her decisions impacted the family; Peer says that he “forgave” her. Did you reach the same conclusions?
I forgave her but more importantly, I managed to forgive myself. My anger made me so distant to her, for so many years, that I never managed to have a meaningful relationship with her. There was a lot of guilt and regret about that inside me. The real connection between us came along and with her death.
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