纪录片自媒体解说素材-新闻动态参考-“移民民族”导演嵌入冰，记录了人类政策的损失/‘Immigration Nation’ Directors on Embedding with ICE, Documenting the Human Toll of Policy
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0509/2643hmu0nhisdmx.jpg“移民民族”导演嵌入冰，记录了人类政策的损失‘Immigration Nation’ Directors on Embedding with ICE, Documenting the Human Toll of Policy
在踏上记录特朗普政府时期移民困境的多年旅程之前，电影制片人克里斯蒂娜·克卢修和肖尔·施瓦茨与美国移民和海关执法局 (ICE) 签订了一份合同。
虽然这并未让该机构批准最终产品，即 8 月 3 日在 Netflix 上推出的名为“移民国家”的六集纪录片，但其目的是确保他们发布的材料将“真实且[认识到] 敏感性和隐私问题。” 这样的多媒体工会合同并不少见，施瓦茨告诉 Variety，在这种情况下，签署它允许导演二人组在最两极分化的政府机构之一内获得前所未有的和未经过滤的访问权。
“我们会和他们一起在车里呆上几个小时，因为他们正在监视或从一个地方开车到另一个地方，”克鲁西奥说。“一旦你开始以人类的身份与一个人交谈，你就会开始更多地了解他们在工作中来自哪里。我认为在这种政治气候和国家的情况下，那些靴子 - “在实地有一项非常艰巨的工作要做。我认为很多人都在努力解决它。有些人同意这些政策，有些人不同意；那里有很大的范围。”
与代理人合作了 2 1/2 年，Clusiau 和 Schwarz 跟随代理人敲门寻找特定的个人，但也获得了额外的移民（称为“抵押品”）。他们在 ICE 办公室内拍摄，距离牢房也只有几步之遥。但施瓦茨指出，“移民国家”从来都不是“警察秀”。Clusiau 说，他们获得的机构访问权限使他们能够从那里开始他们的故事，“从内到外的镜头”审视政策和做法，ICE 特工为填补高逮捕报价而实施的增强的、激进的策略只是其中的一部分更大的破碎系统。
“我们的节目最终很大程度上是关于执法机构的，警察问责制和社会正义处于这场辩论的最前沿，”施瓦茨说。但“这不是一个‘陷阱’作品——如果我们想做一个‘陷阱’作品，我们可以投入更多。”
为了更全面地了解移民经历，他们跟踪了特定个人的故事——从无证者到经历过家庭分离的人，甚至是被驱逐出境的人。他们报道了导致对非法移民进行更多突袭的官僚作风，以及该国自我报告的人等待状态更新的时间更长；他们参观了北卡罗来纳州的 ACLU 和 Resilience Force 等维权组织，目睹了围绕逮捕和工资盗窃进行的一些更基层的努力；他们甚至参观了墨西哥的边界墙，以及一片已知对非法越境者致命的沙漠。
让他们的一些主题开放是有挑战的，更不用说同意拍摄了：“我们去了加利福尼亚，没有人想露面，因为他们觉得他们在那里被讨厌，”施瓦茨谈到 ICE 时说一个例子。但克鲁西奥补充说，大多数被描述的人“觉得他们觉得对于他们自己和他们的社区来说，不要一直处于阴影中很重要。”
施瓦茨补充道：“当人们被系统纠缠时，即使是在采访中，他们实际上也希望讲述自己的故事——因为在某种程度上，当你已经纠缠不清时，你失去的东西就会少一点，更想分享你的真相。那些说话的人，我向他们的勇气致敬，
为了将这些风险降到最低，当受访者的 chyron 出现在屏幕上时，Clusiau 和 Schwarz 将许多姓氏涂黑。主要是 ICE 官员的情况，Schwarz 指出这不是他们合同的一部分，只是“在审查过程中要求的”ICE 的“礼貌”。
为了进一步让拍摄对象感到舒适，他分享说，每当他们关注 ICE 行动时，电影团队总是会“将自己与 ICE 分开，并通常用我们蹩脚的西班牙语说，‘我们是独立记者。我们不是 。我们可以进来吗？我们可以记录吗？'“如果那个人说不，他们会尊重这一点。
虽然克卢修和施瓦茨不知道，当他们第一次踏上这部纪录片时，他们所讲述的移民故事是否会有欢乐的时刻，更不用说幸福的结局了。虽然他们“总是有意图”，为他们的项目注入一些希望，但有太多未知的，有时看似随机的因素在起作用，谁可能与他们被带到例如，单独的拘留中心或仍在其他国家，等待批准进入美国。因此，当他们设法捕捉到其中的一两个时刻时，它们“变得非常重要”，她承认。
“这是黑暗的三年吗？是的，绝对是。它伤了你的心吗？我无法用语言告诉你，”施瓦茨补充道。“我们不能停止关心这个，这是我的观点。我们正在摧毁这么多人的生命，这几乎是非美国人的。我们的遗产是一个移民国家；我们所有人——除非你是美洲原住民——以这种或另一种方式来到这里，他们中的很多人都带着文件，但有些人没有。我们开始相信这个国家有一些价值观，我认为这真的是美国梦之美的一部分。这受到了挑战，而这些人们受伤了。从历史上看，我们比这更好。”
《移民国度》最复杂的部分之一是政策在拍摄过程中发生了变化。尽管该节目没有以剧集结尾卡为特色，并更新了该系列中一些关键人物今天的位置，但克鲁西奥和施瓦茨承认“以任何方式”跟进的可能性，尤其是在 11 月总统大选后政策再次发生变化的情况下.
施瓦茨说，“‘把孩子们带回家’”，“拜登已经承诺了，我们希望特朗普也敢于承诺。移民制度被打破了，而且政治化程度如此之高，以至于人们只是尖叫而没有思考或倾听或承认人类的损失。我们希望观众明白，我们应该更关心，有我们可以达成一致的东西。我们不应该接受制度破坏生命。我们应该改变一些事情。”
Before embarking on their multi-year journey to document the plight of immigrants under the Trump administration, filmmakers Christina Clusiau and Shaul Schwarz entered into a contract with the U.S. Immigration and Customs Enforcement (ICE) agency.
While this did not given the agency approval over the final product, which is a six-episode docuseries entitled "Immigration Nation" launching on Netflix Aug. 3, it was meant to ensure an agreement that the material they released would "be factual, and sensitivities and privacy issues." Such multimedia union contracts are not unusual, Schwarz tells Variety, and in this case, signing it allowed the directing duo unprecedented and unfiltered access inside one of the most polarizing government agencies.
"We would spend hours in the car with them, as they're doing surveillance or driving from place to place," says Clusiau. "Once you start talking to a person as a human, you start to understand more where they're coming from in their job. And I think under this political climate and the way that things are in the nation, the ones who are boots-on-the-ground have a really hard job to do. I think a lot grapple with it. Some agree with the policies, some don't; there's a big spectrum there."
Embedded with agents for 2 1/2 years, Clusiau and Schwarz followed agents as they knocked on doors looking for specific individuals but picked up additional immigrants (called "collaterals") as well. They filmed inside ICE offices, just steps away from holding cells, as well. But "Immigration Nation" was never meant to be "a cop show," Schwarz points out. The agency access they received allowed them to start their story there, looking at policies and practices "from the inside-out lens," Clusiau says, the enhanced, aggressive tactics enforced by ICE agents to fill high arrest quotes are only one piece of a much larger broken system.
"Our show is ultimately a large part about an enforcement agency, and police accountability and social justice is at the forefront of this debate," Schwarz says. But "it's not a 'gotcha' piece -- if we wanted to make a 'gotcha' piece we could have thrown a lot more in."
In order to provide a fuller picture to the immigrant experience, they followed specific individuals' stories -- from those who are undocumented, to those who have experienced family separation and even those who were deported. They covered the bureaucracy that has led to more raids on illegal immigrants and longer waits for status updates for those in the country who are self-reporting; they visited rights groups such as ACLU of North Carolina and Resilience Force to witness some of the more grassroots endeavors underway around arrests and as wage theft; they even visited the border wall in Mexico, as well as a patch of desert known to be deadly for those crossing illegally.
There were challenges in getting some of their subjects to open up, let alone agree to be filmed at all: "We went out to California and nobody wanted to show their face because they felt they were so hated there," Schwarz says of ICE as an example. But the majority of the people profiled, Clusiau adds, "felt that they felt there was an importance, for themselves and their community, to not continuously be in the shadows."
Adds Schwarz: "When people were tangled in the system, even in interviews, they actually wanted their story told -- because, to some degree, when you're already entangled you have a little bit less to lose and you're a little bit more wanting to share your truth. Those that did speak, I salute them for their courage, because a lot of them were taking risk and are still taking risks."
To minimize those risks, Clusiau and Schwarz blacked out many surnames when interviewees' chyrons appeared on screen. Primarily, this was the case ICE officials, which Schwarz notes was not part of their contract, just a "courtesy" ICE "requested during the review process."
To further make subjects comfortable, he shares that whenever they were following ICE ops, the film team would always "separate ourselves from ICE and say, usually in our broken Spanish, 'We're independent journalists. We're not with . May we come in? May we document?'" If the person said no, they respected that.
Although Clusiau and Schwarz did not know, when they first embarked on this docuseries, if any of the immigrant stories they were telling would have joyful moments, let alone happy endings. While they "always had the intention," Clusiau says, of infuing some hope into their project, there were too many unknown, and at times seemingly random, factors at play with regards to who might be reunited with their children who had been taken to separate detention centers or were still in other countries, awaiting approval to enter the United States, for example. So when they managed to capture one or two of those moments, they "became very important," she admits.
"Has it been a dark three years? Yes, definitely. Does it break your heart? More than I can ever tell you in words," adds Schwarz. "We can't stop caring about this, that's my opinion. We're destroying so many lives, and it's almost un-American. Our heritage is a nation of immigrants; we all -- unless you're a Native American -- came here one way or another, and a lot of them came with papers but some didn't. We came believing this country had some values, and I think it's part of the beauty of the American dream really. That's been challenged, and these people hurt. We are historically better than this."
One of the most complex pieces of "Immigration Nation" was that policy was changing as they were filming. Although the show does not feature episodic end-cards with updates on where some of the key individuals within the series are today, Clusiau and Schwarz acknowledge the possibility of following up "in any medium," especially if policy changes again after the November presidential election.
With "'bring the boys back home,'" Schwarz says, "Biden has promised that, and we hope and dare Trump to promise that. The immigration system is broken and it has been so politicized that people just scream without thinking or listening or acknowledging the human toll. We wanted the viewers to understand that we should care more and there's stuff we can agree on. We shouldn't accept that the system destroys lives. We should change some things."
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