全球危机时期，塞萨洛尼基纪录片节主任Orestis和Readakis在电影院上
Thessaloniki Documentary Festival Director Orestis Andreadakis on Cinema in a Time of Global Crisis
在不同的情况下，第24届塞萨洛尼基纪录片节可能是一个更庆祝的事件，冠状病毒限制逐渐在希腊和该国的第二个城市中逐渐放松，举办了一个面对面的节日，这是世界上首次获得虚拟的节日之一。 2020年大流行。但是随着乌克兰人道主义的收费兴起，俄罗斯继续对东欧邻居的无情攻击，节日主任奥雷斯蒂斯（Orestis）和里程德基斯（Orestis andReadakis）在战争开幕之夜的前夕，在战争之夜，电影院的需求以及团结一致的需求提供了清醒的反思。 “这令人震惊，” Readakis告诉Variety，将威胁比作二战期间欧洲面临的威胁。 “战后，我们有这个口号：再也不会。再也不会发生战争。再也不会去大屠杀。再也不会恐怖了。每当我们重复这句话时，每次我们在墙上写这句话时，我们都认为这是恐怖的终结。突然，我的恐怖虽然最近在乌克兰的事件对欧洲和世界其他地区进行了骗局，但他们也加强了欧洲电影界的决心。整个非洲大陆的节日，行业贸易团体，国家电影机构和个人电影制片人都筹集了资金，欢迎难民，并在乌克兰人数量的无数人身后集会，他们的生活被一场战争颠覆了一场战争，这场战争使超过200万人向西逃到欧洲并流离失所对于和Readakis来说，支持的大量支持使今年的Thessaloniki纪录片节（3月10日至20日举行）的重点。“节日的位置是什么？作为电影制片人，艺术家，策展人，我们该怎么办？”他问。“当然，我们不能进行身体帮助。但是至少我们可以与人民交谈。节日希望实现这一目标的一种方式是通过在三个D上进行特别的节目来实现这一目标的一种方法在乌克兰接近战争及其从不同角度的影响力的影响。FrenchWarssmorgent Loup Bureau的“ TRENCHES”，去年在威尼斯电影节上首映，前往乌克兰的Restive Donbass地区的前线，在该竞赛中花了四个月的时间嵌入了生活在俄罗斯支持的分离主义团体轰炸的威胁下的士兵。西蒙·莱伦·威尔蒙特（Simon Lereng Wilmont）的“一栋由碎片制成的房子”，在塞萨洛尼基国际比赛中获得了戴恩（Dane）最佳导演的荣誉，并在乌克兰东部的一家社会工作者和居民中，在乌克兰东部的一家社会工作者和居民中，在那里不适合父母的孩子们被庇护所在他们的下一步是决定的。同时Vera Krichevskaya的“ F@ck This Job”提供了一幅充满活力的，幕后的幕后肖像，该肖像是俄罗斯最后一次独立的广播电视节目《 TV Rain》一生中的一生克里姆林宫之后德拉科尼亚的新媒体法律禁止对乌克兰战争的任何提及。节日还宣布，勒伦·威尔蒙特（Lereng Wilmont将在其在线平台上提供所有收益，所有收益都涉及儿童的声音，该非政府组织于2015年推出，旨在帮助受战争影响的儿童。他说，作为当今世界上纪录片制片的重要作用的证据，这是一个共同的人类。“纪录片存在于那里并构成世界各地的所有困难情况，”他说。 “我认为这是过去20年中纪录片如此强大的原因之一。”他认为气候变化，全球金融危机和冠状病毒大流行是一个大规模的，有史以来定义的事件。 “有很多大问题，好像他们需要拍摄。他们要求聚光灯。 ，来自奥斯卡提名的导演戴维·法国（David France）（“如何生存瘟疫”，“欢迎来到车臣”）。节日将3月20日与“盲目的野心”，沃里克·罗斯（Warwick Ross）和罗布·科（Rob Coe）拍摄的电影有关Zimbabwean的第一支在世界盲品品尝锦标赛中竞争的Zimbabwean团队 - 葡萄酒世界的奥运会。电影将在为期10天的活动中放映，其中包括东道国的77个活动。 Readakis指出，希腊纪录片行业的实力越来越大，是音乐节任务的令人振奋的信号和不可或缺的一部分。 “我认为希腊纪录片制片人在过去20年中取得了重大飞跃。我希望我们的节日参加他说。塞萨洛尼基纪录片节的平台。在不同发展阶段的14个项目将于3月14日向潜在的行业合作伙伴推销。从东南欧洲和地中海地区的十个项目也将参加正在进行的Agora文档，在那里他们将向行业专业人士，销售代理展示。 ，分销商，制片人和节日程序员。四天的会谈和平行活动将于3月14日至17日在Agora Talks的框架内举行，其中包括来自著名的丹麦编辑Niels Pagh Andersen的大师班（“杀戮艺术”，“外观”沉默”）。在整个音乐节中，将通过Agora Doc Marke获得350多部完成的纪录片。t在线图书馆。
Under different circumstances, the 24th Thessaloniki Documentary Festival might have been a more celebratory affair, with coronavirus restrictions gradually loosening across Greece and the country’s second city hosting an in-person edition of a festival that was among the world’s first to go virtual at the start of the pandemic in 2020.
But with the humanitarian toll rising in Ukraine, as Russia continues its relentless assault of its Eastern European neighbor, festival director Orestis Andreadakis offered a sobering reflection on the eve of opening night on war, cinema and the need for solidarity.
“It’s shocking what is happening,” Andreadakis told Variety, likening the threat to the one faced by Europe during World War II. “After the war, we had this slogan: Never again. Never again to war. Never again to Holocaust. Never again to horror. Every time we repeated this phrase, every time we wrote it on the walls, we thought that it was the end of the horror. And suddenly, the horror is back.”
While the recent events in Ukraine have cast a pall over Europe and the rest of the world, they’ve also strengthened the resolve of the European film community. Festivals, industry trade groups, national film bodies and individual filmmakers across the continent have raised funds, welcomed refugees and rallied behind the untold numbers of Ukrainians whose lives have been upended by a war that has sent more than two million fleeing westward into Europe and displaced countless millions more.
For Andreadakis, the outpouring of support has sharpened the focus of this year's Thessaloniki Documentary Festival, which runs March 10-20. “What is the position of a festival? What can we do as filmmakers, as artists, as curators?” he asked. “Of course, we cannot go and help physically. But at least we can speak to the people. We can make people understand this is unacceptable.”
One way the festival hopes to achieve that is through a special programming focus on three documentaries that approach the war in Ukraine and its widening impact from different angles.
French war correspondent Loup Bureau’s “Trenches,” which premiered Out of Competition at the Venice Film Festival last year, travels to the frontline of Ukraine’s restive Donbass region, where the director spent four months embedded with soldiers living under the constant threat of bombardment from Russia-backed separatist groups. Simon Lereng Wilmont’s “A House Made of Splinters,” which earned the Dane best director honors at Sundance and screens in Thessaloniki’s international competition, follows a group of social workers and residents at an institution in Eastern Ukraine where the children of unfit parents are sheltered while their next steps are decided.
Meanwhile Vera Krichevskaya’s “F@ck This Job” offers a spirited, behind-the-scenes portrait of a decade in the life of Russia’s last independent broadcaster, TV Rain, which just last week was forced off the air in the wake of the Kremlin’s draconian new media law which bans any reference to the war in Ukraine.
The festival also announced that Lereng Wilmont’s “The Distant Barking of Dogs,” which follows a teenager living in the shadow of war in Eastern Ukraine and won Thessaloniki’s Golden Alexander in 2018, would be available on its online platform with all proceeds going to Voices of Children, an NGO launched in 2015 to help children impacted by the war.
Andreadakis pointed to the ability of such filmmakers to bear witness – to political folly, to human suffering, to a shared humanity – as evidence of the vital role played by documentary filmmaking in the world today.
“Documentary exists to be there and frame all the difficult situations around the world,” he said. “I think it’s one of the reasons in the last 20 years that documentary is so strong.” He cited climate change, the global financial crisis and the coronavirus pandemic as large-scale, history-defining events deserving of a cinematic platform. “There are so many big problems it’s as if they demand to be filmed. They demand a spotlight.”
The curtain rises on this year’s festival March 10 with the world premiere of “How to Survive a Pandemic,” a riveting, behind-the-scenes documentary about the race to develop and roll-out COVID-19 vaccines, from Oscar-nominated director David France (“How to Survive a Plague,” “Welcome to Chechnya”). The festival wraps March 20 with “Blind Ambition,” Warwick Ross and Rob Coe’s film about the first-ever Zimbabwean team to compete in the World Blind Wine Tasting Championships – the Olympics of the wine world.
More than 230 feature-length and short documentary films will screen across the 10-day event, including 77 from the host country. Andreadakis noted the growing strength of the Greek documentary industry as a heartening sign and an integral part of the festival’s mandate. “I think Greek documentary filmmakers are making a big leap forward the last 20 years. I hope that our festival played a role in that,” he said.
The festival’s industry arm, Agora, is prepping for a busy edition with a combination of online and on-site events, kicking off with the anticipated Thessaloniki Pitching Forum, the co-producing and co-financing platform of the Thessaloniki Documentary Festival. Fourteen projects in different stages of development will make their pitch to potential industry partners on March 14. Ten projects from Southeast Europe and the Mediterranean region will also take part in the Agora Docs in Progress, where they will be presented to industry professionals, sales agents, distributors, producers and festival programmers.
Four days of talks and parallel events will take place March 14-17 within the framework of Agora Talks, including a masterclass from acclaimed Danish editor Niels Pagh Andersen (“The Art of Killing,” “The Look of Silence”). Throughout the festival, more than 350 finished documentary films will be available to accredited guests through the Agora Doc Market online library.
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发表于 2022-7-5 01:59:55
发表于 2022-9-8 18:23:31