“时尚巴比伦”向国王，皇后和高级朝臣致敬，如让·保罗·戈特尔（Jean Paul Gaultier）出价的告别（独家）
‘Fashion Babylon’ Pays Homage to the Kings, Queens and Courtiers of Couture as Jean Paul Gaultier Bids Farewell (EXCLUSIVE)
总部位于巴黎的意大利导演吉安卢卡·马塔雷斯（Gianluca Matarrese）深入了解了他的最新纪录片《时尚巴比伦》（Fashion Babylon），该世界将于周六在哥本哈根举行的CPH：DOX电影节上首映。在首映式之前，他与综艺节目谈到了电影和即将上映的项目。“时尚巴比伦”的想法在他在巴黎马拉伊斯区的一家酒吧遇到了美国音乐家和艺术家凯西·斯波斯（Casey Spooner），这是马塔雷斯（Matarrese）的。 “他是一个非凡的角色，他认识所有人，”马塔雷斯说。 “他打开了大门，所以我可以进入这个令人难以置信的世界。他说，一个“制定规则”。 Matarrese将这个社会与Elle Fanning系列“ The Great”中描绘的社会进行了比较，该社会关于俄罗斯的凯瑟琳大帝。在君主周围，像斯普纳（Spooner）和另外两个苏（Su）这样的朝臣这部电影，米歇尔·埃莉（Michelle Elie）和“鲁帕尔（Rupaul）的拖拉比赛”获胜者紫罗兰（Violet Chachki）。这部电影遵循这三个华丽的角色，他们在巴黎和米兰的时装周上参加设计师演出，在那里他们被视为小名人。他们坐在演出中的地方表明它们的重要性，而前排的位置非常需要。他说，马塔雷斯没有嘲笑这个王国的居民，他必须“获得内部人士的信任”才能获得它。他引用了法国导演阿格纳斯·瓦尔达（AgnèsVarda）：“你必须爱你的电影。”他谈到了他与Spooner，Elie和Chachki的关系：“我不想让他们失望，因为他们以他们的慷慨为您提供了一些东西，您想对此做一些有意义的事情。”他补充说：“他们是非常聪明的人，对自己和距离具有讽刺意味。这提升了他们。”他们不会在电影中过滤自己的情绪。 “他们没有羞耻地表现出脆弱的Matarrese“想与这部电影一起探索的一件事是被爱的普遍愿望，”他说。时尚界在演出外面的街道以及与跑道的舞台一样多，有时可能是一个残酷的舞台。 “我见过人们的治疗非常好。”他引用了埃莉（Elie）的电影中的一行：“您正在一个赛季，一个季节。那是时尚。他说，他说，角色上升和跌倒的故事是马塔雷斯（Matarrese）喜欢的，尤其是那些有悲剧元素的故事。在电影中的某一时刻，Spooner反思了热爱娱乐的暴露界的“扮演角色”的需要，但是，他补充说：“真的，我很累，我很累，我失败了，我破产了，我“我很孤独……没关系。与设计师的创造力相比，当事方和表演的蓬勃发展变得更加重要。 Gaulter的告别时装秀上的最终场景中心。人们在火山上跳舞。我目睹的狂欢节，我再也看不到了，”马塔雷斯说。 “我想谈论一个时代的这个结局。”坎塔洛玛（Cantautoma）创作的原创音乐加强了宫廷主题，他还为导演最近的电影《稳定工作》和《最后一章》制作了配乐。 “他是一位了不起的音乐家，非常有创造力，'Babylon时尚'中的音乐反映了叙事的道路，始终遵循法院社会的方向；他从事巴洛克式的古代音乐，即多梅尼科·西马罗萨（Domenico Cimarosa）的“大满贯”。从巴洛克式的辉煌开始，在整个电影的演变中，我们进入了蓬松的场景交响曲背后的真实本质，并且本质变得扭曲，噩梦般，更黑……就像我对我对时尚世界的矛盾感觉一样米歇尔·埃利（Michelle Elie）在“时尚巴比伦”（Fashion Babylon）中由前演员贝洛塔·电影（Bellota Filmsmatares）提供，看上去像是凡尔赛宫（Versailles Courtier）本人，带有长长的波浪状锁，他以巨大的蓬勃发展为手指。他形容自己是一个“真正的疯子”，同时从事多个项目。他很快将在节日巡回演出中有三部电影。9月，他用“最后一章”在威尼斯赢得了酷儿狮子，这部电影继续参观主要的国际节日，现在由“时尚巴比伦”加入。“稳定的工作”将于下个月在VisionsduRéel上首映。他现在正在拍摄三部电影。一个是关于巴黎的一所精英高中，该学校重点是演讲技巧。另一部电影正在与他自己参加的雅克·莱科克剧院学校（Jacques Lecoq Theatre School）的前学生（现为专业演员）拍摄。在电影中，我们将看到成立了一家名为NAR6的戏剧公司的演员，y准备了ÉmileZola的小说《 L'Assommoir》的改编。表演的场景将与演员自己生活的场景混合在一起，有时很难知道哪个是哪个。 NAR6创始人安妮·巴博特（Anne Barbot）执导了剧院制作，并与BenoîtDallongeville一起演出。第三部电影与吉拉姆·托马斯（Guillaume Thomas）共同执导，跟随超级巨星皇后小姐（Superstar drag Queen）与贝特尼·弗农（Betony Vernon）一起参加治疗课程。他还在写另外两部电影。导演通常是他自己的电影中的角色，例如“一切都必须走”，这是关于他家人在意大利的鞋店业务的危机。看到他离开巴黎，他是真人秀电视节目的导演，并回到家记录家人自己的戏剧。在“最后一章”中，他是即将退休的男性Dominatrix的最后一个性爱奴隶。在某些电影中，例如“稳定的工作”和“时尚巴比伦”，他没有出现，但他们仍然从心中献出。他说：“有不同程度的亲密关系，但这并不意味着他们的个人程度不那么个人。”快速面对75分钟的决赛切割，削减了许多次要角色。对于Matarrese，事实和小说之间的界线可能是流畅的。他解释说：“我使用真实的材料，我将其视为虚构的。我真的很喜欢小说与现实之间的边界，因为我拍摄现实的方式是我喜欢写很多东西您正在拍摄，拥有写作的准则，然后用编辑写作，然后改变所有故事和艺术家。“有时人们认为[我的电影]是虚构的。他们不知道[电影]是一部纪录片，因为在某种程度上，我不存在纪录片，最后是纪录片。与法国Télévisions一起参与的电影，以及CNC和Procirep-Angoa的支持。编辑器是苔丝Gomet。世界销售由limonero电影处理。
Paris-based Italian director Gianluca Matarrese took a deep dive into the world of fashion for his latest documentary feature, “Fashion Babylon,” which world premieres on Saturday at CPH:DOX film festival in Copenhagen. Ahead of the premiere, he spoke to Variety about the film and upcoming projects.
The idea for “Fashion Babylon” came to Matarrese after he met American musician and artist Casey Spooner in a bar in the Marais district of Paris, where the director lives. “He’s quite an extraordinary character, and he knows everyone,” Matarrese says. “He opened up the gates so I could enter this incredible world.”
For Matarrese, the fashion world is like a royal court, ruled by its king, Jean Paul Gaultier, and queen, Vogue editor-in-chief Anna Wintour, who is the one “making the rules,” he says. Matarrese compares this society to that depicted in Elle Fanning series "The Great," about Russia's Catherine the Great. Around the monarchs, flutter courtiers like Spooner and the two other subjects of the film, Michelle Elie and “RuPaul’s Drag Race” winner Violet Chachki.
https://vimeo.com/611773807
The film follows these three flamboyant characters as they attend the designer shows during the fashion weeks in Paris and Milan, where they are treated as minor celebrities. Where they are seated in the shows indicates their importance, with a place on the front row much desired. Matarrese is not there to mock the inhabitants of this kingdom, and he had to “gain the trust” of the insiders in order to have access to it, he says. He quotes French director Agnès Varda: “You must love what you film.”
He says of his relationship with Spooner, Elie and Chachki: “I don’t want to disappoint them, because they give you something with their generosity and you want to do something meaningful with it.”
He adds: “They are very smart people and have an irony toward themselves and a distance. That elevates them.” They don’t filter their emotions in the film. “They have no shame to show their fragilities.”
One thing Matarrese “wanted to explore with this film is the universal desire to be loved,” he says. The fashion world, in which the streets outside the shows, and the parties alongside them are as much a stage as the runway, can be cruel at times. “I’ve seen people treated really badly.” He quotes a line in the film from Elie: “One season you are in, one season you are out. That’s fashion. You really are a disposable accessory.”
Stories where characters rise and fall are what Matarrese likes, he says, especially those with an element of tragedy. At one point in the film, Spooner reflects on the need "to play the part" of the fun-loving exhibitionist, but, he adds, "Really, I'm tired, I'm rundown, I'm broke, and I'm lonely ... And that's okay."
The film ends with a whiff of revolution in the air, as people tire of disposable fashion, and the way the pomp of the parties and shows have become more important than the creativity of the designers. The final scenes center on Gaulter’s farewell couture show. “People were dancing on a volcano. This carnival that I witnessed, I don’t see it anymore,” Matarrese says. “I wanted to talk about this end of an era.”
The courtly theme is reinforced by original music composed by Cantautoma, who also did the soundtrack for the director’s recent films “Steady Job” and “The Last Chapter.” “He is an amazing musician, very creative, and the music in ‘Fashion Babylon’ reflects the path of the narrative, always following the direction of court society; he worked on Baroque ancient music, the ‘Magnificat’ of Domenico Cimarosa. Starting with the splendor of the Baroque, throughout the evolution of the film we get into the real essence behind the pompous scenographic symphonia, and the essence is distorted, nightmarish, darker... Like the contradictory feelings I have about the fashion world I'm trying to portray.”
Matarrese, a former actor, looks like a Versailles courtier himself, with long wavy locks, and he gesticulates with dramatic flourishes. He describes himself as a “real crazy person,” working on several projects at the same time. He will soon have three films on the festival circuit. In September, he won the Queer Lion at Venice with “The Last Chapter,” and the film continues to tour major international festivals, joined now by “Fashion Babylon.” “A Steady Job” will world premiere next month at Visions du Réel.
He is shooting three films now. One is about an elite high-school in Paris, which has an emphasis on oratory skills. Another film is being shot with former students - now professional actors - of Jacques Lecoq theater school, which he himself attended. In the film, we will see the actors, who have established a theater company called Nar6, as they prepare an adaptation of Émile Zola's novel "L'Assommoir." Scenes from the performance will be mixed with scenes from the actors' own lives, and sometimes it is hard to know which is which. Nar6 founder Anne Barbot directed the theater production, and also acts in it alongside Benoît Dallongeville. The third film, co-directed with Guillaume Thomas, follows superstar drag queen Miss Fame as she attends therapy sessions with Betony Vernon. He is also writing two other films.
The director is often a character in his own films, such as in “Everything Must Go,” which is about a crisis in his family’s shoe store business in Italy. It sees him leaving Paris, where he was a director of reality TV shows, and returning home to document his family’s own drama. In “The Last Chapter,” he appears as the last sex slave of a male dominatrix, who is about to retire.
In some films, such as “A Steady Job” and “Fashion Babylon,” he doesn’t appear in the films, but they still are delivered from the heart. “There are different levels of intimacy but it doesn’t mean they are less personal,” he says.
During the shoot for “Fashion Babylon,” Matarrese amassed 400-500 hours of rushes, which he then crafted into a fast-faced 75 minute final cut, cutting out many of the minor characters.
For Matarrese, the line between fact and fiction can be fluid. “I use real material, and I treat it as if it was fictional,” he explains.
“I really like the border between fiction and reality, because my way of filming reality is that I like to write a lot, then you write while you are filming, having the guidelines of your writing, then you write with the editing, and you change all the story and the artists.
“Sometimes people think [my films] are fiction. They don’t know [the film] is a documentary, because, in a way, documentary doesn’t exist for me, in the end.”
“Fashion Babylon” was produced by Dominique Barneaud for Bellota Films with the participation of France Télévisions, and the support of CNC and Procirep-Angoa. The editor is Tess Gomet. World sales are handled by Limonero Films.
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发表于 2022-7-5 01:29:21
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