“ Milisuthando”及时提供了种族隔离后南非的亲密关系和力量：Hot Docs论坛
‘Milisuthando’ Offers a Timely Take on Intimacy and Power in Post-Apartheid South Africa: Hot Docs Forum
屡获殊荣的作家，博客作者和编辑，他的工作从黑人，中产阶级南非人和女性的角度出发，以种族隔离的状态为中心，米利斯托曼多·邦格拉（Milisuthando Bongela）正在以她在投球的成年故事来进行她的导演处女作。本周在Hot Docs论坛上。“ Milisuthando”是对权力，亲密关系，差异以及在非殖民化时期充满爱心和担心敌人的重量的冥想。这部电影由邦格拉（Bongela）执导，由马里恩·艾萨克斯（Marion Isaacs）制作的《好黑色项目》（南非）与索尼亚·巴雷拉（Sonia Barrera）和维维安娜·戈麦斯（VivianaGómez）共同制作，哥伦比亚（哥伦比亚）（哥伦比亚）与杰西卡·德瓦尼（Jessica Devaney）和杰西卡·德瓦尼（Jessica Devaney）和任何众多电影有关行政产品。Bongela在Transkei共和国出生和长大，是南非种族隔离政府为黑人居民提供的班塔斯坦人或“家园”之一。名义上是独立的，Transkei居民有着独特的经验该国其他地区在白人少数规则下运作。邦格拉回忆说：“我们住在一座美丽的街道上的美丽房子里，有索托人，xhosa人，白人，来自加纳的人，来自乌干达的人。” “我在种族隔离的领导下在种族隔离中长大，但不知道这是在发生。” 1994年南非首次民主选举结束了近50年的种族隔离，Transkei被吸收到一个乐观的国家中，努力努力努力成为“彩虹国家”。邦格拉（Bongela）和她的家人搬到了沿海城市东伦敦（East London），在那里她成为了第一代黑人南非人的一部分，将其融入以前仅白人的空间。董事说：“有不同种族的儿童共享空间：共享学校，共享交通系统，共享公园，成为朋友，从法律上讲。” “一方面，这对整合的想法真的很棒，显然是反对种族隔离的。但另一方面，这使我们成为了……狮子的巢穴。非洲的民主过渡。导演试图回答的问题是：“人们死亡，入狱并为之奋斗的这种亲密关系是什么，它带给我们了什么？”第一部分，邦格拉返回了她的Transkei青年，使用从90年代初期开始的家庭录像带，重现了她长大的“奇特的田园诗般的，泛非”的社区。在第二部分中，她使用档案片段来研究班图家园的创建，这些档案片段被用作种族隔离状态的设计和建设时用作宣传。 “这部电影也在做这部电影，我们正在拍摄这个档案，我们问：这对2022年黑人妇女进行这部宣传阿奇意味着什么ve并颠覆它，还要凝视白色吗？”她说，行为三回归了种族隔离的末尾，导演的朋友和同时代人分享了他们在新民主南非的一体化经验。今天的第四幕展开了，在一个采用邦格拉所说的“窒息语言”的社会中，以进行现实，有意义的对话，围绕种族主义如何表现出来。邦格拉（Bongela's）的合作者说，这些对话正在帮助南非人重新审视与过去的关系，同时还重新定义了他们之间的关系。“有这种对基本联系的认可，然后是我们联系的问题：如果我们有联系，那么我们是什么与这些过去一样？我们如何在每天谈判他们？”她说。 “这是对解决这些问题的想法的抵制，并且坚信真正拥有CORV邦格拉（Bongela）回到了Transkei，将她的童年回到了她的童年，根据年龄和经验使她的童年回家。她说：“尽管我对此非常批评，因为正是这种国家相信种族隔离，这也是教会我自己的地方。” “这是拥有我的语言，我的文化和祖先的地方。”“ Milisuthando”是一个深厚的个人旅程，导演承认的是远离完成的旅程。她说：“我在任何方面都没有解决。” “我每天都在谈判所有不同的关系。”这也是对Xhosa信仰体系的探索 - Bongela所说的一种在指导她穿越现代世界的道路上发挥了作用。“对我们来说，我们相信清洁剂她说：“，仪式，咒语，诗歌以及祖先，宇宙，天空，鸟类和风的援引。” “您如何使用这些普遍的东西所有人都明白……谈判保留您的人性的回应，这并不总是会让您与这一部分保持联系，这些部分必须总是为自己而战吗？Hot Docs Canadian国际纪录片节于4月28日至5月8日举行。
An award-winning writer, blogger and editor whose work centers on the post-apartheid condition from the perspective of Black, middle-class South Africans and women, Milisuthando Bongela is making her directorial debut with a coming-of-age story that she’s pitching this week at the Hot Docs Forum.
“Milisuthando” is a meditation on power, intimacy, difference, and the weight of loving and fearing your enemy in a time of decolonization. Directed by Bongela, the film is produced by Marion Isaacs for The Good Black Project (South Africa), in co-production with Sonia Barrera and Viviana Gómez Echeverry of Viso Producciones (Colombia), with Jessica Devaney and Anya Rous of Multitude Films attached to executive produce.
Bongela was born and raised in the republic of Transkei, one of the Bantustans or “homelands” set aside for Black inhabitants by South Africa’s apartheid government. Nominally independent, Transkei residents had a distinct experience of the years in which the rest of the country was operating under white-minority rule. “We lived in a beautiful house on a lovely street with Sotho people, Xhosa people, white people, people from Ghana, people from Uganda,” Bongela recalled. “I grew up inside apartheid, under apartheid, but didn’t know it was happening.”
With South Africa’s first democratic elections in 1994, which put an end to nearly 50 years of apartheid, the Transkei was absorbed into a country optimistically striving to become a “Rainbow Nation.” Bongela and her family moved to the coastal city of East London, where she became part of the first generation of Black South Africans to be integrated into formerly white-only spaces.
“We were children when apartheid ended, and so we were the first generation of children of different races to share spaces: to share schools, to share transport systems, to share parks, to become friends, legally speaking,” the director said. “On one hand, it was really great for this idea of integration, which is obviously against apartheid. But on the other hand, it put us right into…the lion’s den.”
Structured in five parts, the film returns to “that moment of first encounter” between previously segregated races, exploring the friction, fears, hopes and possibilities engendered by South Africa’s democratic transition. The question the director seeks to answer is: “What has this intimacy that people died for, went to jail for, and fought so hard for – what did it bring us?”
In the first part, Bongela returns to her Transkei youth, using home video footage from the early-‘90s to recreate the “strangely idyllic, pan-African” community she grew up with. In part two, she zooms out to look at the creation of the Bantu homelands, using archival footage that was used as propaganda during the design and construction of the apartheid state. “What we’re doing with this film, too, is we’re taking this archive, and we’re asking: What does it mean for a Black woman in 2022 to take this propaganda archive and subvert it, and to also turn the gaze on whiteness?” she said.
Act three returns to the end of apartheid, with the director’s friends and contemporaries sharing their experiences of integration in a newly democratic South Africa. The fourth act unfolds in the present day, in a society that’s adopted what Bongela calls “the language of wokeness” in order to have real, meaningful conversations around how racism manifests itself today.
Producer Marion Isaacs, who is a long-time friend and collaborator of Bongela’s, says those conversations are helping South Africans reexamine their relationships with the past while also redefining their relationships with each other.
“There’s this acknowledgement of a fundamental connection, and then the question of: If we are connected, then what do we do with these pasts? How do we negotiate them in the day to day?” she said. “It’s a resistance to the idea of going around these issues, and a firm belief in actually having the conversation, talking through the difficult stuff, looking inside.”
For the film’s final act, Bongela returns to the Transkei, bringing to her childhood home a perspective shaped by age and experience. “As much as I’m very critical of it, because it was this state that believed in apartheid, it’s the place that also taught me myself,” she said. “It’s the place that holds my language and my culture and my ancestors all there.”
“Milisuthando” is a deeply personal journey, and one that the director admits is far from completion. “I’m not resolved in any of this,” she said. “I’m negotiating all the different relationships every day.”
It is an exploration, too, of the Xhosa belief system – one that Bongela said has been instrumental in guiding her path through the modern world.
“For us, we believe in cleansings, and rituals, and incantations, and poems, and invocations of the ancestors and the universe and the sky and the birds and the wind,” she said. “How do you use these universal things that all human beings understand…to negotiate a response that retains your humanity, that doesn’t always put you in contact with this part that must always fight for yourself to be seen?”
Forum pitches can be streamed on the Hot Docs website. The Hot Docs Canadian International Documentary Festival runs April 28 – May 8.
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发表于 2022-7-5 00:30:38
发表于 2022-10-24 16:15:52