IDFA最佳导演冠军Ha Le Diem见证人在“薄雾的孩子”中绑架新娘绑架
IDFA Best Director Winner Ha Le Diem Witnesses Bride Kidnapping in ‘Children of the Mist’
Ha le Diem的越南北部位于她的家园北部，曾在周四获得国际比赛的最佳指导奖，该奖项是苗族少数民族的12岁DI，该奖项赢得了IDFA奖。山脉与其他人口隔离。尽管她想学习，但在农历新年庆祝活动中，“新娘绑架”的广泛习俗可以永远改变她的未来。这部电影由Swann Dubus为Varan越南和TrầnPhươngThảo制作，由Cat＆Docs在国际上出售。 “我小时候，我和这三个女孩成为朋友。他们中的一位结婚很小，这让我很不高兴。语言。“我看到她和她的朋友在山上玩耍，这让我想起了我自己的童年。我想把她说，这是一部关于这部电影的电影，突然之间会消失。”她说，他提到整个过程最终帮助她“长大”。“迪问我：‘你的电影会把我带回童年吗？’这不是一个孩子通常会说的孩子。我认为她已经感觉到它滑了。”她说，“雾的孩子”由瓦兰越南人提供，这也意味着屈服于社区中猖ramp的大量饮酒（“或者在越南，我们都喝了很多，”她说。但是，一旦她决定展示新娘绑架的内在运作，她的电影就变黑了，这一传统导致未成年的婚姻，但也使妇女贩运妇女进行性剥削。“他们生活在中国边界很近，这使它变得更加容易。DI认识在上学途中被强奸并卖给中国的女孩。t。 “我一直在想：‘这可能是我。’有时我对她生气，以为她没有为自己的未来，喝酒或调情做出正确的选择。但最重要的是，我觉得我随时都可能失去“小妹妹”。绑架者。”但是鞠躬的压力意味着她的磨难还没有结束。 “她的父母告诉我，如果再次发生，我就可以身体将她拉回去。作为“姐姐”，通常只有姐妹或弟弟才能做到这一点。但是当他们尝试第二次绑架时，祖母试图阻止我，告诉我“让它成为”。我意识到，无论我的感受如何，我都是局外人，”她说。 ，新娘绑架继续发生。“他们试图阻止它，但与此同时，他们不想给人们太大的压力。我的翻译com来自与DI同一个村庄的ES，他也习惯了。现在，他终于从妇女的角度看到了它。他说：“这很暴力。”人们更加意识到，但实际上需要花费更多的时间才能改变。”她补充说。Hale diemcourtesy of ha le diem的ha le diemcourtesy“当Di的母亲被绑架时，她已经有另一个情人了。她结婚后，他自杀了。这是一个坏故事。我会看到她侮辱她的丈夫，他们打了很多东西，但有时他们似乎很高兴。这些关系可能非常复杂。”完成电影后，Ha Le Diem努力与她的主人公保持联系，她的生活发生了很大的变化。“ Di现在有一个孩子，一个女儿。她去了一所寄宿学校，获得了奖学金，让她可以上大学，但随后坠入爱河并怀孕了。”“我试图与她联系，但她不会回应。然后，由于大流行，情况变得太糟糕了，我什至无法给她看电影。我希望我能够拜访她，也许我们的关系会有所改善，但我不确定。我希望她对家人感到满意。如果她不是，我希望我能提供帮助。”
Set in the north of her homeland, Vietnam, Ha Le Diem’s “Children of the Mist” - which won the IDFA Award for Best Directing in the International Competition on Thursday - follows 12-year-old Di from the Hmong ethnic minority, living in the mountains and isolated from the rest of the population. Although she would like to study, the widespread custom of “bride kidnapping” on the Lunar New Year celebration could alter her future forever. The film, produced by Swann Dubus for Varan Vietnam and Trần Phương Thảo, is sold internationally by CAT&Docs.
“When I was a child, I was friends with these three girls. One of them got married off very young, which upset me a lot,” says the helmer, born in 1991. Coming from the Tay community herself, Diễm was introduced to Hmong traditions at the university, deciding to follow her protagonist despite not knowing the language.
“I saw her play with her friends in the mountains and it reminded me of my own childhood. I wanted to make a film about it, about this beautiful time that all of a sudden can just disappear,” she says, mentioning that the whole process ultimately helped her “grow up.”
“Di asked me: ‘Will your film bring me back to my childhood?’ It’s not something a child her age would normally say. I think she could already feel it slipping away.”
Being accepted into the girl’s family also meant succumbing to heavy drinking, rampant in the community (“Or in Vietnam in general. We drink a lot,” she says). But her film took a much darker turn once she decided to show the inner workings of bride kidnapping, a tradition that leads to underage marriages but also enables trafficking of women for sexual exploitation.
“They live very close to the Chinese border, which makes it much easier. Di knew girls who were raped on their way to school and sold to China,” says Ha Le Diem, admitting she was often scared for her protagonist.
“I kept thinking: ‘This could have been me.’ I was angry with her sometimes, thinking she wasn’t making the right choices for her future, drinking or flirting. But most of all, I felt I could lose my ‘little sister’ at any moment.”
“Stolen” by a young boy, Di decided to refuse the marriage, even though her mother and older sister accepted their fates by marrying their respective “kidnappers.” But the pressure to bow to tradition meant her ordeal wasn’t over.
“Her parents told me that if it happens again, I am allowed to physically pull her back. As a ‘sister,’ as usually only sisters or younger brothers can do that. But when they attempted a second kidnapping, the grandmother tried to stop me, telling me to ‘let it be.’ I realized that regardless of how I feel, I’m the outsider here,” she says.
Despite the scorn from the government, bride kidnapping continues to happen.
“They are trying to stop it but at the same time, they don’t want to pressure people too much. My translator comes from the same village as Di and he was used to it too. Now, he finally saw it from the women’s perspective. He said: ‘It’s very violent.’ People are more aware, but it will take more time for things to actually change,” she adds.
“When Di’s mother was kidnapped, she already had another lover. After she got married, he killed himself. It was a bad story. I would see her insult her husband, they fought a lot, but sometimes they actually seemed happy. These relationships can be very complicated.”
After completing her film, Ha Le Diem struggled to keep in touch with her protagonist, whose life has changed significantly.
“Di has a baby now, a daughter. She went to a boarding school and got a scholarship allowing her to go to the university, but then fell in love and became pregnant,” says the director.
“I tried to contact her, but she wouldn’t respond. Then, because of the pandemic, the situation got so bad I couldn’t even show her the film. I hope I will be able to visit her and maybe our relationship will improve, but I am not sure about that. I hope she is happy with her family. And if she isn’t, I hope I can help.”
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发表于 2022-7-5 03:16:13
发表于 2022-10-21 08:14:52