奥斯卡纪录片短被提名人涵盖了广泛的主题
Oscar Documentary Short Nominees Cover a Wide Range of Topics
纪录片短期竞赛长期以来一直是非小说类人才的主要阶段，而且由于彩带和新平台的重新兴趣，该格式一如既往地生动活泼。今年的提名人涵盖了各种各样的主题，从女性运动先驱到无家可归者，在战区和童年时期的欺凌中。而且，不要让跑步时代欺骗您：这些文档都像功能竞争所能提供的一切一样严格，创造性和令人心碎。当被提名人杰伊·罗森布拉特（Jay Rosenblatt）被问及短时格式的优势时：“有人会说这很难。马克·吐温（Mark Twain）的名言浮现在脑海：“我没有时间写一封短信，所以我写了一封长的信。''''audibledilecter Matt Ogens与马里兰州的聋人学校有个人联系 - 他在附近长大，在附近长大，他的姨妈在学校教授手语，他最好的朋友是聋人。在十年的时间里，他经常去学校并最终发展埃德（Ed）的一部专注于足球队的电影，以手语的方式捕捉了激烈的更衣室的鼓舞人心的演讲，并对学校范围内聋哑人面临的挑战清晰明了。他们的走廊，房屋和社区使这部电影成为可能。”他说。 “从那里，我们只需要找到正确的故事即可讲。然后，我们遇到了[主题] Amaree，然后是Jalen，然后遇到了泰迪的毁灭性故事。有很多东西要拆开，我立即知道这是我们需要讲的故事。每个经历无家可归的人都有一个不同的故事。”董事调查了洛杉矶，旧金山和西雅图的未受到调查的人，并介绍了几个人，并允许他们的故事展开。Kos and Shenk说，“无论我们是被住所还是不受欢迎，我们都想向观众展示我们城市中这个问题的范围，规模和不断增长的恶性肿瘤，提醒人们这些美丽的城市是的受害者是去年，篮球女王指挥“协奏曲是一场对话”，与克里斯·鲍尔斯（Kris Bowers）进行了交谈，本·鲁教富特（Ben Proudfoot成为1970年代入选NBA的第一位（也是唯一）女性的运动员。“我看到这位令人难以置信的女人和篮球先驱的意义与她的众所周知之间的意义之间有一个可耻的差距，” Proudfoot说。 “我想帮助哈里斯女士在她仍然在这里时给她的鲜花。”可悲的是，哈里斯今年早些时候去世了。 “这伤了我的心。我们一直在与这部电影建立动力，越来越多的人一直在伸出手并认识她。” THree在阿富汗难民营中为Benazirset的歌曲《 Benazir的三首歌》提供了一个亲密的，个人的故事，来自一个许多美国人只与悲惨的头条新闻相关的国家。电影由已婚电影制片人古利斯坦（Gulistan）和伊丽莎白·米尔扎伊（Elizabeth Mirzaei）执导，这部电影集中在两个年轻的阿富汗人Shaista和Benazir之间的关系中，他们的浪漫在周围的所有日常困难中蓬勃发展。乡村以我自己的声音和我自己的镜头。”古利斯坦说。 “因为，像世界其他任何地方一样，阿富汗充满了浪漫和爱。也许更多。我们坠入爱河，自己在喀布尔结婚。我们看到了爱如何在暴力的背景下开花。我们希望其他人能看到勇敢的夏威夷和贝纳齐尔在面对看似无法克服的赔率时能够保持亲密和爱的能力。罗森布拉特（Rosenblatt）的短泉（Rosenblatt）源于电影制片人渴望面对自己童年时期的丑陋事件，当时他和几个朋友袭击了同学。罗森布拉特（Rosenblatt）跟踪了他的几个老同学，以及“我还活着的五年级老师”，并使用他们的讨论来创造了对同谋和创伤的范围很大的冥想。最困难的部分？“找到电影的正确语气是一个挑战，对被欺负的同学敏感。”
The documentary short competition has long been a prime stage for nonfiction talent, and thanks to the renewed interest of streamers and new platforms, the format is as lively as ever. This year’s nominees encompass a wide range of subjects, from female sports pioneers to homelessness, love in a warzone and childhood bullying. And don’t let the running times fool you: these docs are every bit as rigorous, inventive and heartbreaking as anything the feature competition has to offer. As nominee Jay Rosenblatt quips when asked of the advantages of the short format: “Some would say it’s harder. Mark Twain’s quote comes to mind: ‘I didn’t have time to write a short letter, so I wrote a long one instead.’”
Audible
Director Matt Ogens has a personal connection to the Maryland School for the Deaf — he grew up nearby, his aunt taught sign language at the school and his best friend is deaf. Over the course of 10 years he made frequent visits to the school and eventually developed a film focusing on its football team, capturing intense locker room pep talks delivered in sign language, and clear-eyed perspectives on the challenges faced by deaf young people outside the school’s confines.
“[The school was] supremely supportive and welcomed us into their hallways, homes and community and made this film possible,” he says. “From there, we just needed to find the right story to tell. Then we met [subjects] Amaree, then Jalen, and then the devastating story of Teddy unfolded. There was so much to unpack, and I immediately knew this was the story we needed to tell.”
Lead Me Home
From directors Pedro Kos and Jon Shenk, “Lead Me Home” is a kaleidoscopic portrait of homelessness, organized around the guiding principle that “each individual experiencing homelessness has a different story.” The directors surveyed unhoused people in Los Angeles, San Francisco and Seattle, zeroing in on several and allowing their stories to unfold.
“We all shared the same goals and dreams, whether we are housed or unhoused,” Kos and Shenk say, “so we wanted to show the audience the scope, scale and the ever-growing malignancy of the issue in our cities, reminding people that these beautiful cities are the victims of economic policies that affected so many people.”
The Queen of Basketball
Nominated last year for directing “A Concerto Is a Conversation” with Kris Bowers, Ben Proudfoot offers yet another deep-focus study of an extraordinary American, in this case Lusia Harris, an Olympic athlete who became the first (and only) woman drafted into the NBA in the 1970s.
“I saw a shameful gap between the significance of this incredible woman and basketball pioneer and how well known she was,” Proudfoot says. “I wanted to help give Ms. Harris her flowers while she was still here.”
Sadly, Harris passed away earlier this year. “It broke my heart. We had been building momentum with the film and more and more people had been reaching out and recognizing her.”
Three Songs for Benazir
Set in an Afghani refugee camp, “Three Songs for Benazir” offers an intimate, personal story from a country that many Americans only associate with tragic headlines. Directed by married filmmakers Gulistan and Elizabeth Mirzaei, the film centers on the relationship between two young Afghanis named Shaista and Benazir, whose romance thrives through all of the everyday hardships of their surroundings.
“Being Afghan myself, I wanted to tell the story of my country in my own voice and through my own lens,” Gulistan says. “Because, like anywhere else in the world, Afghanistan is full of romance and love. Maybe even more so. We fell in love and got married in Kabul ourselves. We saw how love can bloom against a backdrop of violence. And we hoped others would see how courageous Shaista and Benazir are in their ability to preserve intimacy and love in the face of seemingly insurmountable odds.”
When We Were Bullies
Arguably the most experimental film of the nominees, Jay Rosenblatt’s short springs from the filmmaker’s desire to confront an ugly incident from his own childhood, when he and several friends attacked a fellow classmate. Rosenblatt tracks down several of his old classmates — as well as “my fifth-grade teacher, who is thankfully still alive,” he says — and uses their discussions to create a far-ranging meditation on complicity and trauma.
The hardest part? “Finding the right tone of the film was a challenge, and being sensitive to the classmate who was bullied.”
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发表于 2022-7-5 02:08:18
发表于 2024-2-8 04:50:15