“杀死记者”导演在更广泛地看待腐败方面
‘The Killing of a Journalist’ Director on Taking a Broader Look at Corruption
冲突热点，战争前线和暴力抗议似乎似乎是记者在职责中死亡的最明显的地方，但是“杀害新闻工作者”最近在多伦多的热门文档中首映，这令人震惊地说明了调查新闻业如何 - 调查性新闻学 - 尤其是如何挑战。那种使数字仰卧并伸向鼻子的那种在阴暗的角落，政治和有组织犯罪相交 - 更加阴险地致命。自2013年以来，这部电影开始是对调查记者JánKuciak的残酷谋杀案的调查，并于2018年2月在他们的家中的家中的未婚夫MartinaKušnírová进行。教授理解财务数据，但在筛选数字以进行腐败的数字方面非常有效，经常专注于bombatiVe Millionaire商人MariánKočner在死前几周就威胁着记者的口头威胁。虽然当地警察拖着脚跟，但在街上爆发了大规模的抗议活动。超过一年过去了。然后，一位匿名提示者将泄漏的文件（70吨数字数据）交付给了调查记者帕夫拉·霍尔科瓦（PavlaHolcová）和档案材料。通过文件工作的journos对计划以及旧的腐败网络伸展了多远。萨内基（Sarnecki讲述了他的最新电影如何从数据组织的马拉松演变为白关节，成为一个国家的灵魂。“杀死记者”是由Signe ByrgeSørensen（“ Flee”，“ fee of of Killing”）制作的丹麦的最终削减了Real，并由Janus Billeskov Jansen编辑（“逃离”，“另一回合”）。合作，跨境调查报告平台OCCRP，Frame Film（捷克代表）和GOTFAT Productions（丹麦）也附在制作中。 Cinephil的Shoshi Korman正在处理电影销售。这是您以前的电影是您参与“杀死记者？”的电话卡。我们正在与贝林卡特（Bellingcat）合作，通过不同的闭路电视，试图识别车牌。 “杀人帕维尔”本质上非常法医，我们收集了大量的闭路电视型录像，使我们能够将谋杀调查拼凑在一起，警察忽略了谋杀案。这基本上就是我进入这部纪录片的方式。在库西亚克（Kuciak）被谋杀后，我被要求来他所居住的村庄。你对叙述应该在哪里有一个清晰的了解，因为调查没有关闭？我们想从当地的角度开始，但是使其更国际化，因此我们致力于开放故事。因此，这部电影对腐败的实际功能具有更大的动态性，这就是使我有趣的原因。当帕夫拉·霍尔科瓦（PavlaHolcová这些寡头和罪犯是否将这些寡头和犯罪分子与最高政治家联系起来。这是什么数据？这是警察实际抓住自己的东西，这是一个完全重复的。我们不得不将这个案件文件拆开并组织起来，因为它不像警察说的那样：这款CCTV摄像头在这里，这张给那个人的电话。我们必须整理一个电子表格来了解我们实际拥有的东西。花了一周的时间。我认为您有一位社会学家很有趣，这是您的主要采访。我们知道，讲述90年代的故事很重要n斯洛伐克。您知道，如果您查看实际导致谋杀案的原因，那就是这些大规模抗议活动。和自由出版社。他们被允许发生。在俄罗斯，他们杀死了独立的新闻业，您无法抗议。斯洛伐克仍然拥有这些民主价值观和人们具有抗议或写作能力的事实确实很重要。
Conflict hot spots, war frontlines, and violent protests may seem the most obvious places for journalists to die in the line of duty, but “The Killing of a Journalist,” which recently premiered at Toronto’s Hot Docs, compellingly illustrates how investigative journalism—particular the kind that crunches numbers and sticks its nose in the shady corners where politics and organized crime intersect—is more insidiously deadly.
Directed by U.S. journalist Matt Sarnecki—a senior producer for the Organized Crime and Corruption Reporting Project (OCCRP) and Bucharest-based since 2013—the film began as an investigation of the brutal murder of investigative journalist Ján Kuciak and his fiancée Martina Kušnírová in their home in February 2018. It was the first-ever targeted killing of a journalist in Slovakia.
Kuciak, who was self-taught in understanding financial data but highly effective at sifting through numbers for clues to corruption, had frequently focused on combative millionaire businessman Marián Kočner, who verbally threatened the journalist weeks before his death.
While local police dragged their heels, massive protests erupted in the streets. More than a year passed. And then an anonymous tipster delivered a stash of leaked files—70 terabytes of digital data—to investigative journalist Pavla Holcová, the anchoring voice of the film, which includes verité scenes of people involved with the murder, sit-down interviews with family and colleagues, and archival material.
Journos working through the files are shocked at the schemes and at how far the old corruption networks stretched.
Sarnecki, whose earlier documentary for OCCRP, “Killing Pavel,” investigated the murder of journalist Pavel Sheremet in Kyiv in 2016, told Variety about how his latest film evolved from a data-organizing marathon into white-knuckle ride into a country’s soul.
“The Killing of a Journalist” is produced by Signe Byrge Sørensen (“Flee,” “The Act of Killing”) of Denmark’s Final Cut For Real, and edited by Janus Billeskov Jansen (“Flee,” “Another Round”). The collaborative, cross-border investigative reporting platform OCCRP, Frame Film (Czech Rep.) and GotFat Productions (Denmark) are also attached to the production. Shoshi Korman of Cinephil is handling film sales.
Was your previous film a calling card for your involvement in “Killing of a Journalist?”
Yes. We were working with Bellingcat, going through different CCTV, trying to identify license plates. “Killing Pavel” was very forensic in nature, where we had collected an enormous amount of CCTV-type footage that allowed us to piece together a murder investigation, elements of which the police had overlooked. This is basically how I got into this documentary. Right after the murder of Kuciak, I was asked to come to the village where he had lived.
Did you have a clear idea of where the narrative should be heading, since investigations were not closed?
We wanted to start from the local perspective but make it more international, so we worked on opening up the stories. So this film has a much larger dynamic about how corruption actually functions, and that’s what made it interesting to me. When Pavla Holcová gets the leak, we can kind of open the story up to a second level, a turning point, where journalists are able to demonstrate and prove corruption on the upper echelons.
I mean, she was describing over the phone how these messages were connecting these oligarchs and criminals to top politicians.
What was this data trove?
It was what the police had actually seized themselves, an exact duplicate. We had to take apart this case file and organize it because it wasn't like the police had said: this CCTV camera was here, this phone to that person. We had to put together a spreadsheet to understand what we actually had; it took weeks.
I thought it was interesting you had a sociologist as one of your main interviews.
We knew it was important to tell the story of the 90s in Slovakia. You know, if you look at what actually led to solving the murder, it was these mass protests. And the free press. They were allowed to happen. In Russia, they killed independent journalism, and you can’t protest. The fact that Slovakia still has these democratic values and people have the ability to protest or write, is really important.
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发表于 2022-7-5 00:22:59
发表于 2022-10-17 23:29:09