纪录片自媒体解说素材-新闻动态参考-“ Ziyara”导演西蒙妮·比顿（Simone Bitton）寻找摩洛哥被遗忘的犹太遗产/‘Ziyara’ Director Simone Bitton Looks for Morocco’s Forgotten Jewish Heritage
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0507/2254tbabfnzsu4h.jpg“ Ziyara”导演西蒙妮·比顿（Simone Bitton）寻找摩洛哥被遗忘的犹太遗产
‘Ziyara’ Director Simone Bitton Looks for Morocco’s Forgotten Jewish Heritage
西蒙妮·比顿（Simone Bitton）是巴黎的法国 - 摩洛哥校长，他的作品主要集中在北非和中东的历史和文化上，她在IDFA的大师级部分首次亮相，这是纪录片节中最享有盛誉的 - 随着世界首映的“ Ziyara”。这部电影还在上周在塞萨洛尼基纪录片节上放映。比顿本人对IDFA荣誉有不同的看法，因为她非常清楚。她说：“我不认为自己是大师。” “我知道我有某种经验，也许我的经验有些特别，但是要成为大师，我不确定我喜欢它。它使您属于一个类别，标有您的标签：“就是这样 - 那就是她在做的事情”，我希望能拍更多的电影，甚至是不同的电影。尽管如此，我还是将其视为一种荣誉。朝圣者花几天的时间拜访圣徒的坟墓，与自然祈祷和交流，庆祝户外活动，结识新朋友和交换思想，而比顿则将其作为一种理解国家犹太人遗产的方式。在1950年代，约有30万犹太人住在摩洛哥，尽管包括比顿（Bitton）的家人在内的大多数人在1967年的六天战争后离开了该国。在墓地，犹太教堂和神社中，仍然可以感受到他们的存在，然而，比顿（Bitton）旅行到了。这些地方采访了那些回想起50年代的人，以及受这些不为人知的故事启发的年轻人和学者。在许多方面，这是比顿的一个非常个人的旅程。她说：“我去了所有人开始的地方。” “摩洛哥是我出生的地方，我的姓氏遍布坟墓（这是摩洛哥的一个非常普遍的犹太人名字），当您发现这一历史时，它很强大。我11岁那年离开摩洛哥，大约15年后我开始回来，经常访问，随着F的增长我回去我会变得越来越多。尽管Bitton使用了她的私人家庭相册中的图像，包括母亲和父亲的照片，但她并没有呆在上面。对于比顿来说，这是一个更广泛的故事 - 可以从看这些旧符号，访问宗教遗址并调查过去的一个旧符号中收集到一个更广泛的故事。她说：“摩洛哥犹太人和阿拉伯犹太人一般，我们就像恐龙。”“我们就像一个消失的物种。一代之后，我们将不再有我们的人。我们中很少有人将自己定义为阿拉伯犹太人。我们分散了，我们成为英国，法国，以色列人，等等。孩子们不再说阿拉伯语，那是一个出埃及记，它的发展非常非常快。”汤顿开始参观摩洛哥的犹太公墓和神社。“发生的事情是，在遇到了这些谦虚，谦虚的穆斯林家庭之后，他们正在照顾这些地方，首先，我的方言回来了。我以为我忘记了一切。在摩洛哥，我因自己的身份而受到认可，这是一种非常强烈的感觉。当它发生时，我想，“我必须与这些人一起拍电影。”正如她在整个杰出的职业生涯中所做的那样，比顿为阿拉伯世界的复杂性带来了独特而发人深省的新观点。她说：“我对被剥夺了犹太邻居和犹太朋友的穆斯林的创伤感兴趣。”“我认为摩洛哥社会和所有阿拉伯社会仍然因失去犹太人而受到创伤。这不是很少说的，但是我认为是时候解决问题了 - 为时已晚。”
Simone Bitton, a Paris-based, French-Moroccan director whose work has primarily concentrated on the history and cultures of North Africa and the Middle East, made her debut in the Masters section at IDFA—arguably the most prestigious of the documentary festival’s strands—with the world premiere of “Ziyara.” The film also screened last week at Thessaloniki Documentary Festival.
Bitton herself has mixed feelings about the IDFA accolade, as she makes quite clear. “I don’t consider myself a master,” she says. “I know that I have some kind of experience and maybe my experience is a little particular, but to be a master, I’m not sure I like it. It puts you in a category, it labels you: ‘That’s it—that’s what she’s doing’—and I hope to do more films and maybe different films. Nonetheless, I take it as an honor.”
For her latest film, Bitton returned to her homeland, where “ziyara”—or “the visit of the saints—is a popular tradition shared by both Jews and Muslims. Pilgrims spend a few days visiting the tombs of saints to pray and commune with nature, celebrate outdoors, meet new people and exchange ideas, and Bitton uses this as a way to understand the nation’s Jewish heritage. In the 1950s, some 300,000 Jews lived in Morocco, although most, including Bitton’s family, left the country after the Six-Day War in 1967. Their presence can still be felt in cemeteries, synagogues and shrines, however, and so Bitton travels to these places, interviewing those who reminisce about the 50s, as well as young people and scholars who are inspired by these untold stories.
In many ways, it’s a very personal journey for Bitton. “I go to the very place where all of me started,” she says. “Morocco is the place where I was born, where my family name is all over tombs—it’s a very common Jewish name in Morocco—and it’s powerful when you discover this history. I left Morocco when I was 11, and I started coming back about 15 years later, visiting more often, with the growing feeling that I’m becoming more myself by going back.”
However, the film itself is not a personal journey into her family’s history: she mentions her relatives in passing, and even though Bitton uses images from her private family photo album, including pictures of her mother and father, she doesn’t dwell on them. For Bitton, it’s the broader story—one that can be gleaned from looking at these old symbols, visiting the religious sites, and investigating this past—that is of interest. “Moroccan Jews and Arab Jews in general, we are like dinosaurs,” she says. “We are like a disappearing species. After one generation, there will be no more of us. There are already very few of us who define ourselves as Arab Jews. We are scattered, we became British, French, Israelis, whatever. The children no longer talk Arabic, it was an exodus, and it went very, very fast.”
The idea to make “Ziyara” came when Bitton started to visit Jewish cemeteries and shrines in Morocco. “What happened was, meeting these modest, humble Muslim families who are taking care of these places, first of all, my dialect came back. I thought I had forgotten everything. In Morocco, I was recognized for what I am, and it was a very strong feeling. When it happened, I thought, ‘I must make a film with these people.’”
As she has done throughout her illustrious career, Bitton brings an inimitable and thought-provoking new perspective to the complexities of the Arab world. “I was interested in the trauma of the Muslims who have been deprived of their Jewish neighbors and Jewish friends,” she says. “I think that the Moroccan society and all the Arab societies are still traumatized by having lost their Jews. This is not said very often, but I think it’s time to address it—before it’s too late.”
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