巴里·科恩（Barri Cohen
Barri Cohen on Revealing Family Secrets in Hot Docs Film ‘Unloved’
“不受欢迎的：休尼尼亚被遗忘的孩子”，在Hot Doc的隐藏历史栏栏中首映的世界是节日的几个冠军之一，这些冠军通过幸存者的亲密故事来阐明历史制度的虐待或对人们的不公正现象。1876年在奥里利亚（Orillia）（距多伦多大约90英里）开放的发育障碍儿童的医院和住所，名称不同。在20世纪中叶，对儿童的伤害和医学专家的建议关闭了该机构的建议。资深的纪录片人巴里·科恩（Barri Cohen）的耳朵振作起来。科恩（Cohen）的年龄较大的兄弟姐妹阿黛尔（Adele）问她是否知道家庭联系。图片严重不完整。科恩开始对自己家人的故事进行调查，同时与幸存者和熟悉该中心的其他人接触，不仅了解她的半兄弟姐妹发生的事情，而且因此观众可以反映出她所指的是“ dehumantization and”人们一直持续到今天。我关于决定讲述您家庭成员的故事的过程 - 您以前的电影解决了艰难的主题，但我想这是一个完全不同的类别。我一直都知道有关Huronia的故事的方式 - 一种机构在20世纪，北美和欧洲的占主导地位 - 将是个人的。如今，艰难的故事要求电影制片人透明有关他们为何被吸引到这样的ST的透明度奥里斯。知道我有两个兄弟（阿尔菲·科恩（Alfie Cohen）和路易斯·科恩（Louis Cohen））生活和死亡。您是如何保持情感安全的？仅仅使这部电影提供了智力距离，这些距离可以帮助我通过发现有关我兄弟的细节以及聆听幸存者的艰难故事来应对和权力。当时，我还研究了创伤和心理治疗，作为一种实践，这极大地帮助了。在讲一个涉及家庭成员的困难故事时，是否有特殊的挑战或奖励？在与家人合作时，如果所有人都在工作，他们自己的问题有一种封闭感，并且在学习真相时有一种治愈感。我认为我的家人勇敢地相信我能够实现这一目标。家族秘密可以在小说和DOC的功能中提供如此强烈，情感上的叙事，但很困难在文档中，因为人们可能会试图隐藏秘密或不保留记录。有一个特定的转折点还是突破？我家中的老一辈没有保留记录，他们没有保留照片。但是他们确实保留了秘密。因此，这是一个幸运的时机，或者只是在2017年的一天，在要求他多次无济于事之后，我的87岁叔叔，我父亲的兄弟，透露了一个关键的故事，解锁了前进的道路，以了解更多发生的事情和原因。在否认了多年之后，他透露我的一个兄弟实际上在两岁时被送往荷罗尼亚。这几乎从正式的死亡和公墓记录中消失了之后。然后，我们可以将他的病人从他的病人中绘制一条纸条，上面有他可能被埋葬的地方。但是我需要安大略省的犹太档案馆来挖掘60年历史的记录，以发现一个慈善机构实际上为他的埋葬而付出了。它令人深感满足，这不仅是因为它是世界上顶级的DOC节，而且我在大约29年前建立了一个人。我当时是一个电影制片人的志愿者董事会成员，他们最初将节日融合在一起，因此我非常感谢它如何发展和扩展，以支持加拿大和世界各地的电影制片人。对于CBC拥有的纪录片频道，正在进行会谈，接近完成其他分销交易。“不受欢迎”是由Barri Cohen编写和导演的，由White Pine Pictures制作，并与纪录片频道共同制作。制片人是Craig Baines，执行制片人是Cohen，Peter Raymont和Steve Ord。这部电影是由加拿大媒体基金会Rogers纪录片基金会的参与，安大略省创作的，并在加拿大国家电影委员会和加拿大电影或视频生产税收抵免的协助下制作。
“Unloved: Huronia's Forgotten Children,” which world premiered in Hot Doc’s Hidden Histories sidebar, is among several titles at the festival that illuminate historical institutional abuse of or injustice toward people through the intimate stories of survivors.
Huronia Regional Center, a now-closed hospital and home for children with developmental disabilities, opened in Orillia (roughly 90 miles from Toronto) in 1876 under a different name. In the mid 20th century, reports of harm to children and recommendations by medical experts to close the institution were not heeded.
In December 2013, a class-action lawsuit brought by former residents of the center against the province of Ontario was settled.
That’s when veteran documentarian Barri Cohen’s ears perked up.
Her father had two sons from his first marriage who had been sent to Huronia in the 1950s. Cohen’s older half-sibling, Adele, asked if she knew about the family connection. The picture was seriously incomplete.
Cohen began an investigation of her own family’s story, while reaching out to survivors and others familiar with the center, to understand not only what happened to her half-siblings, but also so audiences could reflect on what she refers to as the “dehumanization and warehousing of people,” which continues to this day.
During Hot Docs, Cohen spoke with Variety about the delicate art of exploring family secrets in a doc as a way to further the conversation about how society's most vulnerable are treated by its institutions.
Please tell me about the process of deciding to tell this story about your family members—your previous films tackle tough subjects, but I imagine this is a whole different category.
I always knew that the way into the story about Huronia—a kind of institution that was dominant across North America and Europe in the 20th century—was going to be personal. These days, difficult stories demand transparency from their filmmakers about why they are drawn to such stories. Knowing that I had two brothers (Alfie Cohen and Louis Cohen) who lived and died there was the lynchpin into the larger narrative—though there’s a mystery nestled within my own family story in the film.
How did you keep yourself emotionally safe?
Just making the film provided intellectual distance that helped me cope and power through difficult emotions that were brought up in discovering details about my brothers and in listening to such difficult stories from survivors. I also studied trauma and psychotherapy at that time, as a practice, so that helped enormously.
Were there particular challenges or rewards in telling a difficult story that involves family members?
In working with family, if all are onside, there’s a sense of closure for their own questions and a sense of healing in learning the truth. I think my family was courageous in trusting me to pull it off.
Family secrets can provide such a strong, emotional narrative in both fiction and doc features, but difficult in docs because people may try to hide secrets or don’t keep records. Was there a particular turning point or breakthrough?
The older generation in my family didn’t keep records, they didn’t keep photos. But they do keep secrets. Thus, it was a piece of luck or just good timing when one day, in 2017, and after asking him many times to no avail, that my 87-year-old uncle, my dad’s brother, revealed a key piece of the story that unlocked a path forward to understanding more of what happened and why.
After denying it for years, he revealed that one of my brothers was in fact sent away to Huronia at age two; this, after having all but disappeared from official death and cemetery records. We could then piece together from his patient file a paper trail of where he was likely buried. But I needed the Ontario Jewish Archives to dig into a 60-year-old record to discover that a charity actually paid for his burial.
What does it mean to you for “Unloved” to premiere at Hot Docs?
It is deeply gratifying not only because it’s the top doc festival in the world, but it’s one that I had a hand in founding some 29 years ago. I was on a volunteer board of filmmakers who initially put the festival together so I’m incredibly grateful to see how it has grown and expanded in its support for filmmakers in Canada and around the world.
Cohen confirmed that “Unloved,” which was commissioned for the CBC-owned Documentary Channel, is in talks and close to closing additional distribution deals.
“Unloved” is written and directed by Barri Cohen and produced by White Pine Pictures, in association with the Documentary Channel. The producer is Craig Baines, executive producers are Cohen, Peter Raymont and Steve Ord. The film was produced with the participation of the Canada Media Fund, Rogers Documentary Fund, Ontario Creates, with the assistance of the National Film Board of Canada and the Canadian Film or Video Production Tax Credit.
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发表于 2022-7-5 00:21:51
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