圣丹斯奖得主西蒙·莱伦·威尔蒙特（Simon Lereng Wilmont
Sundance Prize Winner Simon Lereng Wilmont on War’s Toll on Ukrainian Children
在2月24日俄罗斯军队入侵乌克兰之前的几天里，丹麦电影制片人西蒙·莱伦·威尔蒙特（Simon Lereng Wilmont）是两家在东欧国家拍摄的备受赞誉的纪录片的董事 - 开始报告该国静息东部地区的敌对行动。导演的导演首次亮相“狗的远处吠叫”是在霍纳夫（Hnutove）的小村庄拍摄的，霍纳夫（Hnutove）距离唐巴斯（Donbass）的前线有一阵石头，在十年的大部分时间里，战争一直在努力。随着在俄罗斯的全面入侵之前的战斗加剧，莱伦·威尔蒙特（Lereng Wilmont）和丹麦制片人莫妮卡·赫尔斯特斯（MonicaHellström）（“ flee”）与他们的助理导演阿扎德·萨法罗夫（Azad Safarov）和当地的制作协调员莉娜·罗兹瓦多夫斯卡（Lena Rozvadovska）合作，撤离了这部电影的两种主题。逃脱。电影制片人已安排二人乘火车前往乌克兰西部的相对平静，临时住房正在等待他们。但是火车是时间表d离开俄罗斯军队进入该国的那一天；运输场停下来，将少年奥莱格·阿法纳西夫（Oleg Afanasyev）和他的祖母亚历山德拉（Alexandra）搁浅。 “我收到的消息是‘为我们祈祷。’‘这是地狱。 “那太可怕了，可怕，可怕。”两人最终达到了安全。在随后的焦虑日子里，莱伦·威尔蒙特（Lereng Wilmont）还收到了消息，乌克兰东部Lysychansk中心的大多数孩子，他的圣丹斯奖得主“由碎片制成的房子”的重点也与他们的地区一起脱颖而出。看守人奥尔加·特罗诺瓦令人沮丧。”他说。 “我在丹麦到这里，我真的很想去那里做点什么，但是我必须接受我的角色可能是尽可能多的媒体关注的一部分。我们已经进行了很多“远处狗的吠叫”的慈善放映，我认为我们已经设法让人们向[Rozvadovska]的组织以及其他组织捐款大量金钱。而且我们还没有完成。”“一栋由碎片制成的房子”（如图）将在3月10日至20日举行的塞萨洛尼基纪录片节上放映。该音乐节还在上周宣布，“远处的狗吠叫”在2018年获得了金色亚历山大奖，将在其在线平台上进行500张放映，所有收益都将归儿童的声音，这是Rozvadovska和Rozvadovska和Rozvadovska和萨法罗夫（Safarov）在2015年帮助受到乌克兰东部战争影响的儿童。随着敌对行动的升级，罗兹瓦多夫斯卡（Rozvadovska）和萨法罗夫（Safarov）正在继续他们的组织的工作，建立了乌克兰儿童可以直接与特殊tra的热线联系INED心理学家。莱伦·威尔蒙特（Lereng Wilmont）说：“他们正在尽最大努力不仅为西方的难民儿童提供帮助，而且还试图为全国各地受到创伤的孩子提供尽可能多的帮助。”他的职业生涯在儿童和青少年中撰写了许多有关心理健康的纪录片短裤，他说，这是一个紧急的道德问题，即他们如何应对战争，将他驱使他在俄罗斯2014年入侵唐巴斯地区后驱使他去了乌克兰东部。 “在那些成长的几年中，您小时候要去哪里……如果您住在冲突区域，请找到某种舒适感或某种安全感？”他问。答案并不容易，随着导演更好地了解该地区的生活。莱伦·威尔蒙特（Lereng Wilmont）为他首次访问霍纳夫（Hnutove）拍摄“远处的狗”电影《远处的吠叫》（Lereng Wilmont）接受了前海军海豹突击队的培训，该培训是关于战区的期望。但是他发现的是田园and village超现实地坐在战斗的外围。 “我记得清楚的感觉，‘我在这里在这里做什么，在该国出去？什么都没发生。每个人都在谈论战争，这只是田园诗般的乡村生活，’”他说。当火炮的声音爆发时，这个想法几乎没有留下。莱伦·威尔蒙特（Lereng Wilmont）将自己扔到地上，争先恐后地掩护。但是当他抬起头来时，他注意到孩子们 - 到那时战斗中可以说明危险已经遥远 - 甚至没有退缩。在战区的边缘描述“孩子的这种正常，无聊，美丽的生活”。 “大多数时候，这就像一个正常的泡沫。就像正常的乡村生活。就像我本来会有的东西一样，我会拥有的童年。”他说。 “但是后来，一次hile，没有任何警告，突然像肥皂泡沫一样突然被摧毁了生命。然后，一切都只是混乱和恐惧。在战争时期，恐慌的“巧妙描述了低级正常化”。在2017年阿姆斯特丹国际纪录节获得了首场颁奖典礼之后，这部电影被入选了最佳纪录片奥斯卡。导演解释说，在枪击“遥远的吠叫”期间，孤儿奥列格（Oleg）的老看守人亚历山德拉（Alexandra）遭受了轻微的心脏病发作。尽管斯托特·塞瓜（Septuagenarian）很快就恢复了，但这一集与莱伦·威尔蒙特（Lereng Wilmont）保持不变。 “我无法完全逃脱，以为Oleg不能成为沿着前线摇摇欲坠的家庭结构中唯一的一个人，“ 他说。他的脑海中出现了两个问题：还有很多其他像Oleg这样的问题吗？如果他们突然独自留下来，他们会去哪里？这些问题最终将他带到了Lysychansk的社会和心理康复中心，这是“由碎片制成的房屋”的环境。该电影坐落在乌克兰东部的一个省级小镇，在一个机构中，不合适的父母的孩子们被庇护长达9个月，而他们的下一步措施则是“远距离吠叫”的伴侣作品，该作品较少关注即时性，战争比在其后的后果中进行。莱伦·威尔蒙特（Lereng Wilmont）在该地区访问了一系列国有机构，但他说他感到“我第二次踩到了Lysychansk的脚步”。它充满了颜色，墙上挂着儿童图纸。他们在这个房间里唱歌，在那个房间里，他们拥抱成人并四处奔波。一点混乱她说。 “它只是散发着人类的温暖和幸福。然后我知道这是如此有趣，为什么这可能与我见过的其他地方如此不同。然后我遇到了Marharyta [Burlutska]，我遇到了Olga [Tronova]，我的心被卖了。 。 Variety的小屋称其为“精美的亲密纪录片”，成功地“悄悄地观察了一个脆弱的困境时期，这是电影的年轻主角，生活可以沿着任何数量的方向发展”。俄罗斯的入侵只会使那些已经脆弱的生活变得复杂。尽管该中心的大多数孩子都被乌克兰政府撤离到安全，但该航班也造成了巨大的损失。“这是最佳含义，也是为了使孩子们的身体福祉做到，但他们被撤离了，这真是太好了。西部，”莱伦·威尔蒙特（Lereng Wilmont）说。 “但是他们被撤离了他们知道的家庭仍在该地区。因此，显然，他们目前需要大力的心理支持，试图应对自己远离家人的事实，而家人可能处于非常严峻的海峡。”特罗诺娃（Tronova）正在照顾乌克兰西部的相对安全的病房和伯劳茨卡（Burlutska），后者拒绝离开家乡。她目前正在与家人一起在Lysychansk，在地下室躲避俄罗斯军队的不加区分地区的轰炸运动。结束。”莱伦·威尔蒙特（Lereng Wilmont）说。“当我们要见面时，我们将喝一堆伏特加酒一起敬酒，为和平，友谊和战争结束。因此，我认为这构成了这些人的思想状态。至少这也是我坚持的事情，希望那是仍然和他们在一起。因为这必须是死去的东西。”
In the days before Russian forces invaded Ukraine on Feb. 24, Danish filmmaker Simon Lereng Wilmont – the director of two critically acclaimed documentaries shot in the Eastern European nation – began to field messages reporting of increased hostilities in the restive eastern part of the country.
The director’s feature directorial debut, “The Distant Barking of Dogs,” was filmed in the hamlet of Hnutove, a stone’s throw from the frontline of Donbass, where war has been simmering for the better part of a decade. As fighting there intensified ahead of Russia’s full-scale invasion, Lereng Wilmont and Danish producer Monica Hellström (“Flee”) worked with their assistant director, Azad Safarov, and local production coordinator Lena Rozvadovska to evacuate the film’s two protagonists.
It was a harrowing escape. The filmmakers had arranged for the duo to take a train to the relative calm of Western Ukraine, where temporary housing awaited them. But the train was scheduled to depart the day that Russian forces swept into the country; transportation ground to a halt, stranding the teenage Oleg Afanasyev and his grandmother Alexandra in a region under siege. “I was getting messages like, ‘Pray for us.’ ‘This is hell.’ ‘There’s no way out,’” Lereng Wilmont told Variety. “And that was terrible, terrible, terrible.”
The two eventually made it to safety. In the anxious days that followed, Lereng Wilmont also received word that most of the children at the Lysychansk Center in Eastern Ukraine, the focus of his Sundance prize winner “A House Made of Splinters,” had also made it out of the region with their caretaker, Olga Tronova.
The events of the past two weeks have rattled a filmmaker who has spent the better part of a decade chronicling the fraught lives of Ukrainian children living on the margins of war and coping with its aftermath.
“On my part, it’s frustrating,” he said. “I’m up here in Denmark, and I really want to go down there and do something, but I have to accept that my part probably is the part of getting as much media attention as possible. We’ve had a lot of charity screenings of ‘Distant Barking of Dogs,’ and I think we’ve managed to get people to donate quite a large sum of money to both [Rozvadovska’s] organization, but also other organizations. And we’re not done yet.”
“A House Made of Splinters” (pictured) will screen in competition at the Thessaloniki Documentary Festival, which runs March 10-20. The festival also announced last week that “The Distant Barking of Dogs,” which won the Golden Alexander award in 2018, would be available for 500 screenings on its online platform, with all proceeds going to Voices of Children, an NGO launched by Rozvadovska and Safarov in 2015 to help children impacted by the war in Eastern Ukraine.
As hostilities escalate, Rozvadovska and Safarov are continuing their organization’s work, establishing a hotline that children across Ukraine can call to connect them directly with specially trained psychologists. “They’re doing their very best not only to help the refugee children in the western part, but also to try and provide as much help to kids who are traumatized all over the country,” said Lereng Wilmont.
The director, who early in his career made a number of documentary shorts about mental health among children and teenagers, said it was the urgent moral question of how they coped with war that drove him to Eastern Ukraine in the aftermath of Russia’s 2014 invasion of the Donbass region. “Where do you go as a child in those very formative years…to find some sense of comfort or some sense of safety if you’re living in a conflict zone?” he asked.
The answer did not come easy, evolving as the director came to better understand life in the region. Preparing for his first visit to Hnutove to film “The Distant Barking of Dogs,” Lereng Wilmont received training from a former Navy SEAL on what to expect in a warzone. But what he found instead was a bucolic village sitting surreally on the fighting’s periphery.
He recalled a warm summer day early in the shoot, as he was filming a group of children playing with toy guns in a cherry tree. “I remember distinctly feeling, ‘What am I doing here, way out in the country? Nothing’s happening. Everybody’s talking about the war, where this is just idyllic country life,’” he said. The thought had hardly left his mind when the sound of artillery fire erupted. Lereng Wilmont threw himself to the ground and scrambled for cover. But when he looked up, he noticed that the children – who by that point in the fighting could tell that the danger was far off – hadn’t even flinched.
In that moment, said Lereng Wilmont, he realized his film would be a way to describe “this normal, boring, beautiful life of a kid” on the fringe of a warzone. “Most of the time, it’s like a normality bubble. It’s like normal, rural life. Like something I would have had, a childhood I would have had,” he said. “But then, once in a while, without any warning, all of a sudden that life is destroyed, like a soap bubble. And then everything just is chaos and fear.”
In his review of “The Distant Barking of Dogs,” Variety's Guy Lodge described the “stoically compassionate fly-on-the-wall wartime portrait” as a “beautifully observed” feature that “subtly depicts the low-level normalization” of panic in a time of war. After winning the First Appearance Award at the International Documentary Festival Amsterdam in 2017, the film was shortlisted for the best documentary Oscar.
Both that feature and Lereng Wilmont’s follow-up are intimately intertwined. During the shooting of “Distant Barking,” the director explained, Alexandra, the elderly caretaker of the orphaned Oleg, suffered a minor heart attack. Though the stout septuagenarian soon recovered, the episode stayed with Lereng Wilmont long afterward. “I couldn’t quite escape the thought that Oleg can’t be the only one living in a shaky family structure along the frontline,” he said. Two questions arose in his mind: were there many others like Oleg? And where would they go if they were suddenly left on their own?
Those questions eventually led him to the Lysychansk Center for the Social and Psychological Rehabilitation of Children, the setting for “A House Made of Splinters.” Set in a provincial town in Eastern Ukraine, in an institution where the children of unfit parents are sheltered for up to nine months while their next steps are decided, the film functions as a companion piece to “Distant Barking” that focuses less on the immediacy of war than on its aftermath.
While researching the film, Lereng Wilmont visited a series of state-run institutions around the region, but he said he felt the difference “the second I stepped my foot over the threshold” in Lysychansk.
“I noticed it’s full of colors, children’s drawings hanging on the walls. In this room they were singing, in that room they were hugging the adults and running around. A little bit of chaos,” he said. “It just exuded human warmth and happiness. And then I knew this is something so interesting, why this can be so different from the other places that I've seen. And then I met Marharyta [Burlutska], and I met Olga [Tronova], and my heart was sold.”
“A House Made of Splinters” premiered in the World Cinema Documentary Competition at Sundance, where it earned Lereng Wilmont the best director award. Variety's Lodge called it an “exquisitely intimate documentary” that succeeds in “quietly observing a fragile limbo period from which life can go in any number of directions” for the film's young protagonists.
The Russian invasion has only complicated those already fragile lives. Though most of the center’s children were evacuated to safety by the Ukrainian government, that flight has also taken a toll.
“It’s done in the best meaning, and also for the physical well-being of the kids, it’s really great that they were evacuated west,” said Lereng Wilmont. “But they were evacuated west from families that they know are still in the area. So obviously, they’re in need of great psychological support at the moment, trying to deal with the fact that they’re away from their families, and the families might be in very dire straits.”
The director has stayed in close contact with Tronova, who is looking after her wards in the relative safety of Western Ukraine, and Burlutska, who refused to leave her hometown. She is currently with her family in Lysychansk, sheltering in basements to avoid the indiscriminate bombing campaign of Russian forces.
“Even though Olga is in the west taking care of the kids and Marharyta is in a basement back east, we decided that this will soon be over,” said Lereng Wilmont. “And when it is we’re going to meet up and we’re going to drink a shitload of vodka together toasting for peace, friendship and the end of war. So I think that frames the mind state of those people. At least that’s also something I cling to, that hope that is still there with them. Because it has to be the thing that dies last.”
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发表于 2022-7-5 02:06:19
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