Sundance Docs具有代表性不足的声音和新的视角
Sundance Docs Feature Underrepresented Voices and Fresh Perspectives
前往今年圣丹斯电影节的35部纪录片介绍了各种各样的问题，包括美国孕产妇危机（Paula Eiselt和Tonya Lewis Lee的“余震”）；妇女身体控制的斗争（Tia Lessin和Emma Pildes的“ Janes”）；公司贪婪（罗里·肯尼迪（Rory Kennedy）的“倒台：反波音的案件”）；和气候变化（雷切尔·李尔斯（Rachel Lears）的“到底”）。但是今年的非小说类阵容还包括几部肖像纪录片：坎耶·韦斯特（Kanye West）（“詹尤斯：坎耶三部曲”），比尔·科斯比（“我们需要谈论Cosby” ），SinéadO'Connor（“没有比较”）和戴安娜王妃（“公主”）是许多正在探索的著名和臭名昭著的人物之一。Clareence“ Coodie” Simmons和Chike Ozah的“ Jeen-Yuhs”是最受期待的DOC前往帕克城。这三本人拥有21年的说唱歌手21年。西蒙斯说，在20年前与西方见面后，他意识到“这个家伙即将成为有史以来最大的艺人之一。所以，我对自己说：“我要对这个人做一部“箍梦”纪录片。'”艾米·波勒（Amy Poehler）和伊娃·朗格利亚·巴斯孔（Eva LongoriaBastón Guerra Civil，分别”。当Poehler研究漫画偶像Lucille Ball时，LongoriaBastón调查了1990年代的竞争，拳击手Oscar de la Hoya和JulioCésarChávez。名单，资深电影制片人。取而代之的是，今年的阵容中充满了文档，正在寻找由圣丹斯校友，首次电影制片人和知名导演执导的分销商，他们从未被邀请参加Fest。对于音乐节来说，有些人发现圣丹斯（Sundance）正在扎根。“近年来，圣丹斯（Sundance）发生了很多变化，”S Kathryn Everett是XTR电影负责人，XTR是一家制作公司，在2022年音乐节上拥有六个文档。 “有很多新的程序员被提升为我认为拥有这些新鲜的观点，几乎具有讽刺意味的是，感觉就像这群新的程序员决定真正专注于发现。”创建一个更具多样和经验丰富的声音的市场去年7月，没有获得某些资源的人成为纪录片社区的主要话题。那时，艾美奖获奖的Doc电影制片人Geeta Gandbhir公开问为什么两个白人（Matthew Heineman和Matthew Hamachek）被选为指导有关Tiger Woods的HBO Doc。”更了解我们的盲点，并特别询问作者身份问题。” Sundance高级程序员Basil Tsiokos说。 “意思是，谁在拍电影？他们为什么要拍电影？他们与我的关系是什么n电影？这部电影来自所代表的社区内部吗？如果不是这样，还有一个令人信服的理由为什么这是要告诉这部电影的合适人选？”里德·达文波特（Reid Davenport与作品有着深厚联系的导演。“恰好坐在轮椅上的里德（Reid）是讲故事的合适人选，因为这是一部关于残疾的隐形性和可见性的非常私人的电影，” Tsiokos说。“我们注意到了这一点，并认识到他是我们想要支持的声音，他讲的一个故事真的很有趣。”
The 35 feature documentaries heading to this year’s Sundance Film Festival address a wide array of issues, including the U.S. maternal-mortality crisis (Paula Eiselt and Tonya Lewis Lee’s “Aftershock”); the battle over control of women’s bodies (Tia Lessin and Emma Pildes’ “The Janes”); corporate greed (Rory Kennedy’s “Downfall: The Case Against Boeing”); and climate change (Rachel Lears’ “To the End”).
But this year’s nonfiction lineup also includes several portrait documentaries: Kanye West (“jeen-yuhs: A Kanye Trilogy”), Bill Cosby (“We Need to Talk About Cosby”), Sinéad O’Connor (“Nothing Compares”) and Princess Diana (“The Princess”) are among the many famous and infamous figures being explored.
Clarence “Coodie” Simmons and Chike Ozah’s “jeen-yuhs” is arguably the most anticipated doc heading to Park City. The three-parter boasts 21 years of never-before-seen footage from the rapper. Simmons says after meeting West 20-some years ago, he realized that “this dude was about to be one of the biggest entertainers ever. So, I said to myself, ‘I’m going to do a “Hoop Dreams” documentary on this man.’”
Amy Poehler and Eva Longoria Bastón are making their doc debuts with two portrait docs — “Lucy and Desi” and “La Guerra Civil,” respectively. While Poehler examines comic icon Lucille Ball, Longoria Bastón investigates the 1990s rivalry be- tween boxers Oscar De La Hoya and Julio César Chávez.
Unlike recent years, the 2022 Sundance doc slate is not chock-full of films that already have distribution from A-list, veteran filmmakers. Instead, this year’s lineup is full of docs looking for a distributor, directed by Sundance alumni, first-time filmmakers and known directors who have never been invited to the fest.
In reversing the trend of programming films that already have distribution and inviting fresh faces to the festival, some find Sundance is going back to its roots.
“Sundance has had a lot of changes in its organization in recent years,” says Kathryn Everett, head of film at XTR, a production company with six docs at the 2022 festival. “There’s a lot of new programmers who have been promoted who I think have these fresh perspectives and definitely, almost ironically, it feels like this new group of programmers decided to really focus on discovery.”
Creating a marketplace more inclusive of diverse and experienced voices who have not had access to certain resources became a major talking point in the documentary community last July. That’s when Emmy-winning doc filmmaker Geeta Gandbhir publicly asked why two white men — Matthew Heineman and Matthew Hamachek — had been selected to direct an HBO doc about Tiger Woods.
“As a programming team, we’ve made a conscious decision to try to be more aware of our blind spots and to really interrogate authorship questions in particular,” says Basil Tsiokos, Sundance senior programmer. “Meaning, who is making the film? Why are they making the film? What is their relationship to what is in the film? Is this film coming from within the community that’s being represented? And if it’s not, is there still a compelling reason why this is the right person to be telling this film?”
Reid Davenport’s first feature doc, “I Didn’t See You There,” is one example of a film heading to Sundance with a director with a deep connection to the work.
“Reid, who happens to be in a wheelchair, is the right person to tell the story because it’s a very personal film about the invisibility and visibility of disability,” Tsiokos says. “We noticed that and recognized that his is a voice that we want to support and there’s a story that he’s telling that is really interesting.”
本文资料/文案来自网络，如有侵权，请联系我们删除。
|
发表于 2022-7-5 02:50:21
发表于 2022-10-18 09:57:45