纪录片自媒体解说素材-新闻动态参考-Thessaloniki Doc Fest比赛标题“ Demetra K”将性工作带入光明/Thessaloniki Doc Fest Competition Title ‘Demetra K’ Brings Sex Work Into the Light
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0508/0332urmervttds2.jpgThessaloniki Doc Fest比赛标题“ Demetra K”将性工作带入光明
Thessaloniki Doc Fest Competition Title ‘Demetra K’ Brings Sex Work Into the Light
“当妓院的业务缓慢时，这意味着经济处于绳索上。”这些话是由不可磨灭的夫人在导演伊娃·斯特凡尼（Eva Stefani经济不确定性在危机之后的希腊。Stefani的长篇小说，该首演在塞萨洛尼基纪录片节的主要竞赛中首映，该节目中的demetra K.的生活是，他经营着雅典最古老的妓院之一。这部电影在整个动荡的时期都跟随她，当时希腊经济正处于崩溃的边缘和关于卖淫的有争议的法律，威胁着西方文明摇篮中世界上最古老的职业。PIC由NEDA电影的Amanda Livanou与Faliro House Productions和希腊公共广播公司Ert.Stefani合作制作。视频艺术家在包括IDFA，CinémaDuRéel和Doclisboa在内的几个电影节上放映，以及Docucta等艺术展览。她在世界首映前与综艺节目“ Demetra K.”的全球首映。大约有12年的旅程。她说：“她花了很长时间才让我进入她的位置和心中。” “正是我很感兴趣，并试图理解她以及通过她，我自己。”这部电影的起点是什么？我有兴趣在晚上拍摄一部关于雅典的电影，但是我对自己想做什么有一个模糊的想法。我有一个朋友索非亚·迈克尔杜（Sofia Michaelidou），他曾经负责歌德学院的电影节目。她建议：“你为什么不遇到黛咪？”当我遇到Demetra时，我被吸引了。因此，我在晚上忘记了雅典，这个更广泛的主题，我只是想见Demetra并更多地认识她。一开始，我认为我对基于问题的电影更感兴趣。 “ o凯，我要对雅典的性工作者做些事情。”但是，我越多地认识Demetra，我不想制作基于发行的电影。而且，越多的demetra都不适合。这是她的非凡之处。这部电影是在12年的时间里制作的。从一开始，您是否有任何想法会占用您的一生？我不知道。首先，花了很长时间，直到Demetra允许我进入，直到她希望我在那里，即使没有相机。因为她非常私密，而且她不喜欢去那里的记者，只是想看看这一切。我认为她想确信我还想探索其他东西，而不是妓院中的日常生活。我认为她相信我通常对她感兴趣。我是哪个。那是什么感觉，一旦Demetra终于让您进入？因为她非常勇敢，所以她直言不讳，她很有趣，她很自以为是，她很有魅力。她当然不是一个人谁会在镜头前害羞。一开始，她仍然是扮演这个角色。她在表演。她的脆弱性不如她。逐渐地，我们俩都暴露了自己。我也变得更加脆弱。这是双向的。纪录片真是太好了。这是一种真正的关系。如果您只想从对方中抓住，那么它就不会发展。我与Demetra分享了很多事情，我与亲密的朋友没有，我们之间总是有这种冲突，她称我为Prude。我是。 [笑]我不知道我是否应该搬到更自我反思的纪录片中，并谈论自己的性行为，但我只是不知道我该怎么做。然后我想：“黛安特拉太大了；我为什么要参加这部电影？”我只是觉得这是一个食谱，把自己放进去，谈论[性]。这是非常悔的。老实说，我发现这很无聊。我有这个图腾，这个demetra。我要说什么？沿着方式，“白天和夜晚”成为过去十年中希腊政治和经济命运的故事，因为它是单一性工作者的肖像。您是否希望它从一开始就会延伸到如此深度和尺寸？我认为那是潜台词，但我不希望它是前期的。我总是认为，如果这是肖像，它总是更加复杂。一切都更加复杂，总会有一个更重要的生存问题。或者他们与政治或社会环境一起去。我不想强调这一点，因为在某一时刻，我在希腊有很多关于这一非常可怕的法律的材料。电影的一半是关于这个的。我花了很多时间进行编辑，以避免这种情况。因为它成为一部非常有争议的纪录片，但戴姆特拉（Demetra）被那所掩盖了。最后，我试图在她之间保持平衡，并试图展示性工作者如何受到希腊经济和政治的影响，但不要说话关于这个问题。因为我认为纪录片不应该说话，而是表现出来。我们看到了大会会议的场景，这是我们第一次得知她是性工作者工会的负责人。这真是太神奇了。这些是伪女权主义者，因为它们代表了左派的女权主义者。但是他们甚至没有邀请性工作者参加有关卖淫的会议。她如此虚伪。她讲述了她所面临的暴力和虐待的故事，被杀的性工作者。而且，以某种不舒服和令人不安的方式，感觉就像她现在在希腊进行了更大的对话，对妇女的暴力问题，工作场所骚扰等问题。故事情节的这一方面在编辑和发布期间对您而言更加重要？我希望它是政治性的，但我不希望这些事情在电影中具有字面意义。我希望它们在电影院中传达是的，不要说。我有很多部分黛米特（Demetra）谈论法律，这是不对的，就像是一次采访。在我看来，这不是电影。就像她正在解决这个问题一样。那不像看电影。我喜欢 Wiseman说的[释义Samuel Goldwyn]：“如果您想给我发消息，请给我发送电报。您不希望我拍摄电影。为您制作一部长篇电影的经历是什么？困难。我认为我更好地做小事，对自己的重视程度降低。我喜欢弗劳伯特（Flaubert）的一句话：“我认为最好的事情就是你在拖鞋中做的。”就像您拥有主要的事情一样，然后您可以做一些事情来治愈自己。当我做[故事片]之类的事情时，我认为我太认真了。如果我写东西，或者我制作一部短片，我真的给它带来了需要的重要性。它必须有点轻微。否则，这对我来说太重了。
“When business in brothels is slow, that means the economy is on the ropes.” Those words, uttered by the indelible madame at the heart of director Eva Stefani’s “Days and Nights of Demetra K.,” offers a fitting introduction to the way in which the ups and downs in the life of a single sex worker mirror the larger political and economic uncertainties rattling post-crisis Greece.
Stefani’s feature-length debut, which has its premiere in the main competition at the Thessaloniki Documentary Festival, centers on the life of the titular Demetra K., who runs one of the oldest brothels in Athens. The film follows her throughout a turbulent period when the Greek economy is on the verge of collapse and a contentious law on prostitution threatens the world's oldest profession in the cradle of Western civilization. Pic is produced by Amanda Livanou, of Neda Film, in co-production with Faliro House Productions and Greek public broadcaster ERT.
Stefani’s work as a filmmaker and video artist has screened in several film festivals including IDFA, Cinéma du Réel, and DocLisboa, as well as art exhibitions such as Documenta. She spoke to Variety ahead of the world premiere of “Days and Nights of Demetra K.” about a journey 12 years in the making. "It took a long time for her to let me in—in her place, and in her heart," she said. "It was just meeting her that I was interested in, and trying to understand her—and through her, myself."
What was the starting point for this film?
I was interested in shooting a film about Athens at night, but I had a vague idea about what I wanted to do. And I had a friend, Sofia Michaelidou, who used to be responsible for the film program at Goethe Institute. And she suggested, "Why don’t you meet Demetra?" And when I met Demetra, I was seduced. So I forgot about Athens at night, this broader theme, and I just wanted to meet Demetra and get to know her more.
In the beginning, I think I was more interested in an issue-based film. “Okay, I’m going to do something about sex workers in Athens.” But the more I got to know Demetra, I didn’t want to make an issue-based film. And the more Demetra wouldn’t fit into one. That was what was extraordinary about her.
This movie was made over the course of 12 years. Did you have any idea at the outset that it would take up so much of your life?
I had no idea. First of all, it took a long time until Demetra would let me in, until she would want me to be there, even without a camera. Because she’s very private, and she doesn’t like journalists that go there and just want to see what it’s all about. I think she wanted to be convinced that there was something else I wanted to explore rather than what’s the everyday life in a brothel. I think she believed that I was generally interested in her. Which I was.
And what was it like, once Demetra finally let you in? Because she’s very brash, she’s outspoken, she’s funny, she’s opinionated, she’s charismatic. She’s certainly not someone who’s going to be shy in front of the camera.
In the beginning, she’s still kind of playing the role. She’s performing. She’s less vulnerable than she becomes. Gradually, we both expose ourselves. I also became more vulnerable. It goes both ways. That’s what’s wonderful about documentary. It’s a real relationship. If you just want to grab from the other, then it won’t develop. There’s a lot of things I have shared with Demetra that I haven’t with very close friends.
There’s always this conflict between us, that she calls me a prude. Which I am.
I didn’t know if I should move to a more self-reflexive documentary, and talk about my own sexuality, but I just didn’t know how I'd do it. And then I thought, “Demetra is too big; why should I go in this ?” I just felt like it’s a recipe, to put myself in, talking about . It’s very confessional. And I find it quite boring, to be honest. I have this totem, this Demetra. What am I going to say?
Along the way, “Days and Nights” becomes a story as much about the political and economic fortunes of Greece over the past decade as it is a portrait of a single sex worker. Did you expect it to take on such depth and dimensions from the start?
I thought that would be the subtext, but I didn’t want it to be upfront. I always think that if it’s a portrait, it’s always more complicated. Everything is more complicated, and there’s always an existential issue that’s more important. Or they go together with politics, or the social milieu. I didn’t want to stress it, because at one point I had included a lot of material about this very awful law about prostitution in Greece. Half of the film was about this. I spent a lot of time in the editing trying to avoid that. Because it became a very polemical documentary, but Demetra was overshadowed by that. Finally, I tried to keep a balance between her, and try to show how the sex workers are influenced by economics and politics in Greece, but not talk directly about the issue. Because I think documentaries shouldn’t talk but show and feel.
Demetra is very much an iconoclast in contemporary Greece, and she’s also an activist. We see the scene of the assembly meeting, which is the first we learn that she’s the head of the sex workers union.
That was amazing. These are pseudo-feminists, because they represent the feminists of the left. But they hadn’t even invited sex workers to a meeting about prostitution. It was such hypocrisy.
She tells stories about the violence and abuse she’s faced, the sex workers who have been killed. And in some uncomfortable and disquieting ways, it really felt like she was speaking to a larger conversation in Greece right now, issues of violence against women, workplace harassment, and so on. Did that aspect of the storyline come more to the forefront for you during editing and post?
I wanted it to be political, but I don’t want these things to be literal in the film. I want them to be conveyed in a cinematic way, and not be said. I had many parts of Demetra talking about the law, that it’s not right, and it was like an interview. That wasn’t very cinematic in my view. It was like she was addressing the issue. That wasn’t like watching a film. I like what Wiseman said : “If you want to send me a message, send me a telegram. You don’t want me to make a film about it.”
You’ve made dozens of short films and “visual poems,” as you describe them, as well as working in other disciplines. What was the experience of making a feature-length film like for you?
Difficult. I think I’m better at doing little things and taking myself less seriously. There’s a phrase from Flaubert that I like: “I think the best things are the ones you do à pantoufles,” in your slippers. Like you have the main thing, and then there’s something you do on the side, to heal yourself. I think I take myself too seriously when I do something like . If I write something, or I make a short film, I really give it the importance it needs. It has to be taken a bit lightly. Otherwise, it’s too heavy for me.
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太好了，终于找到宝藏论坛了！ 资源真不错，感谢分享！
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