纪录片自媒体解说素材-新闻动态参考-智利的戛纳文档正在进行中，利用政治，家庭和土著身份的棱镜来探索现实/Chile’s Cannes Docs in Progress Use the Prism of Politics, Family, and Indigenous Identity to Explore Reality
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0507/2337bvxyt450nxg.jpg智利的戛纳文档正在进行中，利用政治，家庭和土著身份的棱镜来探索现实
Chile’s Cannes Docs in Progress Use the Prism of Politics, Family, and Indigenous Identity to Explore Reality
智利在正在进行的戛纳Docs的文档中介绍了四个强大的纪录片：今年展示智利，该纪录片将于7月7日（星期三）在线筛选，并于7月10日在现场在Hybrid CannesMarchéDu电影中进行筛选。大多数人反映了深处的创伤在奥古斯托·皮诺切特（Augusto Pinochet）（1970-1990）的残酷军事独裁统治下遭受了苦难。当时，他发出声音以揭露这些创伤和他们几代人的影响。”凯列多克总监PaulaOssandón说，他指出，从2019年10月开始，这是一个迹象之一。“发生在我们身上的一切都与我们以前的历史有关，并在电影院引起共鸣；他们是重新审视过去的新一代。”贝尔迪（Berdi）的“摩尔代理人”（The Mole Agent）赢得了智利的第一份纪录片奥斯卡提名，该国的新一代DOC电影制片人正在制作有关科学，人权，世代认同，土著故事和个人经验的电影，该国在该国投票拒绝拒绝时它的皮诺切特时代的宪法和预言一个新时代。“我相信'摩尔代理人对智利电影的最大贡献是唤醒听众的巨大兴趣，以拆除纪录片周围存在的概念和偏见，这些纪录片围绕纪录片《Ossandón》。断言：“真正的成功是，它成为了在家中的谈话话题，人们想看到它，他们知道它的存在，并惊讶于纪录片可能很有趣，能够将问题放在桌面上，并且她继续说，这些话题 - 老年，遗弃 - 终于是媒体和公众在谈论的话题。d寻找新的非传统形式的研究现实形式也很流行。尽管大流行，该国预计明年至少发行10张文档，略低于平均年收益率15的平均年收益率。但是，2023年的电影可能会少看电影自去年以来，生产已经停滞或放缓。Chile的机构资金也受到了全球健康危机的影响，但今年，在电视节目（CNTV），Audiovisual Promotion之间，州支持总计2250万美元，总计2250万美元。由迪亚兹（Díaz）用马普宗语（Mapuzugan）语言努力的电影，他的档案保留着他的叔叔，一位艺术家的逮捕我们看起来。这次逮捕刺激了他的叔叔伯纳多·奥亚祖恩（BernardoOyarzún）将自己描绘成“犯罪”，强调了他的土著身份和他通过艺术所经历的种族污名。受他的叔叔的启发，丹尼尔决定成为电影制片人。通过他的电影，他研究了叔叔的艺术生涯和自己的祖先的过去，因为他质疑自己的身份以及在城市中成为马普切的挑战。“巴斯塔多，拉赫伦西亚·德·恩·纳吉达”（La Herencia de Un Genatocida）”导演：佩佩·罗维（Pepe Rovanoproduducer）：托特拉尔电影：totoral电影，托尔特拉电影，，托尔特罗尔电影，，，电影，，电影，，电影媒体实验室“当我找到父亲时，我也发现了他的罪行，”佩佩·罗瓦诺（Pepe Rovano）说。他从小不知道父亲是谁，但是在制作人权纪录片时，他发现了他的亲生父亲 - 事实证明，他也参与了臭名昭著的拉斯·科玛斯杀戮，当皮诺切特（Pinochet）进入时，共产党领导人被围捕并处决力量。他与垂死的父亲团聚，但是当父亲发现自己是同性恋时，他拒绝他。佩佩（Pepe）与父亲的受害者的孩子们建立联系，并决定与他们团结在一起为真理，记忆和正义的斗争。八十年代，他带着VHS摄像头和他母亲的灰烬，Pollak的伟大姨妈Edita触发了他，他触发了Pollak对她迷人的伟大姨妈的探索。Pollak采用配音，屏幕截图，家庭视频和其他纪录片设备，研究了她的家人声称的Edita的生活，当时她是托洛茨基主义者和一名包豪斯艺术系学生，当时她住在布拉格，她目睹并经历了法西斯主义和反犹太主义的崛起。关于Edita是否失去理智的问题徘徊。“ Punto de Encuentro”导演：Roberto Baezaproducer：La Toma Prods.Two电影制片人试图重建各自父亲的记忆，这些革命左翼主义者，他们当他们自己只是婴儿时被抓住。两位父亲都被带到一个幸存下来的酷刑监狱，另一个人消失了。当他们在与演员的实际酷刑场所重现场景时，甚至让孙子们参与事件的舞台，其中一个想知道她是否对父亲，幸存者造成伤害，因为他在记忆中恢复了差距。电影制片人对他们是否可以“真正唤起如此令人难以置信的事情”而怀疑。这一经验证明了所有三代人的痛苦，但宣泄。
Chile presents four powerful documentaries at Cannes Docs’ Docs in Progress: Showcase Chile this year, which will screen online on Wednesday July 7 and on-site on July 10 at the hybrid Cannes Marché du Film.
Most of them reflect the deep trauma the country suffered under the brutal military dictatorship of Augusto Pinochet (1970-1990).
“Indeed, the Pinochet dictatorship has left a very deep mark on Chilean society and today it is the daughters and sons, even the granddaughters and grandsons of those who lived and suffered at that time, who raise their voices to expose these traumas and the repercussions that they have had in their own generations,” says Chiledoc director Paula Ossandón, pointing to the social unrest that broke out from October 2019 as one of the signs. “Everything that happens to us is related to our previous history and that resonates in cinema; They are the new generations revisiting the past to understand,” she added.
As exemplified by Maite Alberdi, whose “The Mole Agent” clinched Chile’s first documentary Oscar nomination, the country’s new generation of doc filmmakers are creating films that dwell on science, human rights, generational identity, indigenous stories and personal experience at a time when the country voted to reject its Pinochet-era constitution and herald a new era.
“I believe that ‘The Mole Agent’s’ greatest contribution to Chilean cinema was to awaken the massive interest of the audience, to demolish the preconceptions and prejudices that often exist around the documentary,” Ossandón asserted
“The real success was that it became a topic of conversation at home, that people wanted to see it, that they knew that it existed and were amazed that a documentary could be funny, capable of putting issues that matter on the table, and that those topics - old age, abandonment- were finally the ones that both the media and the public were talking about,” she continued, adding that interest in docu-fiction hybrids and finding new, non-traditional forms of examining reality are also in vogue.
Despite the pandemic, the country expects to release at least 10 docs next year, slightly less than the average annual yield of 15. However, 2023 could see fewer films as production has either stalled or slowed down since last year.
Chile’s institutional funding has also been impacted by the global health crisis but for this year, state support adds up to a total of $22.5 million between the funds available for television (CNTV), audiovisual promotion and an additional emergency fund for audiovisual projects, according to the Ministry of Culture, Arts and Heritage.
CANNES DOCS: DOCS IN PROGRESS - SHOWCASE CHILE
“Bajo Sospecha”
Director: Daniel Díaz Oyarzún
Producer: Pejeperro Films
Narrated by Díaz in the Mapuzugan language, his docu dwells on the arrest of his uncle, an artist, who was detained ostensibly for his indigenous looks. The arrest spurs his uncle, Bernardo Oyarzún, to portray himself as a "delinquent," highlighting his indigenous identity and the racial stigma he has experienced through his art. Inspired by his uncle whom he works for as an apprentice, Daniel decides to become a filmmaker. Through his film, he examines his uncle’s artistic career and his own ancestors’ past as he questions his own identity and the challenges of being a Mapuche in a city.
“Bastardo, la Herencia de un Genocida”
Director: Pepe Rovano
Producer: Totoral Films, Media Lab
“When I found my father, I also found his crimes,” Pepe Rovano relates. He grew up not knowing who his father was but while working on a human rights documentary, he found his biological father - who also turned out to be involved in the notorious Las Coimas killings where communist party leaders were rounded up and executed when Pinochet came into power. He reunites with his dying father but when the father finds out he is gay, he rejects him. Pepe connects with the children of his father’s victims and decides to unite with them in their struggle for truth, memory and justice.
“EDITA”
Director: Pamela Pollak
Producers: Pollak Films and Austral Content
A visit from her uncle Jarda, now in the eighties, who brings with him a VHS camera and the ashes of his mother, Pollak’s great aunt Edita, triggers an exploration by Pollak of her fascinating great aunt. Employing voiceover, screenshots, home videos and other documentary devices, Pollak examines the life of Edita who her family alleges was a Trotskyist and a Bauhaus art student when living in Prague where she witnessed and experienced the rise of fascism and anti-Semitism. The question lingers on whether Edita had lost her mind.
“Punto de Encuentro”
Director: Roberto Baeza
Producer: La Toma Prods.
Two filmmakers attempt to reconstruct the memory of their respective fathers, revolutionary leftists who were seized when they themselves were only babies. Both fathers were taken to torture prisons where one survived and the other vanished. As they recreate the scenes in the actual places of torture with actors and involve even the grandchildren in the staging of the incidents, one of them wonders if she’s doing harm to her father, the survivor, as he recovers gaps in his memory. The filmmakers grapple with doubts on whether they can “truly evoke something so unbelievable.” The experience proves painful but cathartic for all three generations.
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感谢分享，下载收藏了。最喜欢高清纪录片了。 资源真不错，感谢分享！
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