“……”赫尔默·卡玛尔·艾哈迈德·西蒙（Helmer Kamar Ahmad Simon）表明，归根结底，“我们都在同一条船上”
‘Day After…’ Helmer Kamar Ahmad Simon Shows That at the End of the Day ‘We Are All in the Same Boat’
卡玛尔·艾哈迈德·西蒙（Kamar Ahmad Simon）开始了他的“水上三部曲”，“你在听！ “第二天……”第二部分在2013年一直构思，在被选为2017年戛纳电影节L'Atelier联合制作论坛之后，刚刚在IDFA的国际比赛中庆祝了全球首演。但是完成这部电影是一场“斗争”，他承认这位出生于达卡的电影制片人仍然打算以“直到最后一滴”来跟随它，这是三部曲的结尾。他谈到继续前往孟加拉国中部的旅程时说：“这是一次非常个人的经历，并指出“你在听！”，他觉得这个项目还不完整。在“直到最后一滴”中，他将朝北，河流干燥，影响人们的生计和文化。 “当我小时候，码头是我的游乐场。那是我长大的地方，每当我不高兴时就去了。我不知道这些船来自哪里或它们要去哪里，所以我只是看着所有这些面孔和惊奇。”在他的新电影中，他不再想知道，登上了一个百年历史的桨式蒸笼，并窃听了其他乘客。在进行22次旅行之后，他决定拥有多个主角，试图向各行各业的人们展示。 “这个和受伤的丈夫一起旅行的女人？我自己没有接近她。她来找我，这不是很普遍。她想讲述她的故事，并请我麦克风。这让我感到震惊，也许对她也很震惊，但我发现，如果有机会，人们渴望表达自己的想法。”他说。 “我不想成为另一个自私的电影制片人。我想确保我正在做的事情对他人意味着什么。城市的区域 - 所有这些都符合导演的过程，基于将虚构的要素插入叙述中。 “归根结底，这是电影院。我把这种媒介允许的所有自由都带给我。”他说，他的电影“ 100％虚构和100％的非虚构”。西蒙创造了其他角色，并指导了其他人，以进行电影的某些互动，包括加热的互动一群年轻学生在旅途中试图采访政治家之间的辩论。“这些人都不知道哪些角色是虚构的。我分别指导他们。学生们认为政治家是真实的，政治家认为学生是真实的。当它们互动时，他们的反应是真实的。这就是为什么我说这些场景已经上演，但它们也是真实的。”船上的许多人表达了不平等的感觉，这也是如此，这是在为富裕乘客留下的厕所的争论而达到顶峰的。“几年前，我在飞行中经历了非常相似的事情。人们在排队，等待使用这座“二等舱”浴室，即使还有另一个空的浴室。机组人员不允许他们使用它，这真的让我感到惊讶。有些人有权使用与其他人不同的厕所的整个想法，这对我来说很可笑。我一直在各个方面都对班级系统持批评态度。”西蒙说。观察到曾经面临更大的问题，这种部门简直不再重要。他补充说：“我一直在听到所有这些船只卡在沙洲上的消息，从某种意义上说，我正在等待它发生。” “我们分裂了。不仅在孟加拉国，而且在世界各地。但是，我们没有意识到的是，我们共享同样的命运 - 只要看看气候危机即可。萨拉·阿夫林（Sara Afreen）为工作室制作，“在……之后……”是由多米尼克·韦尔林斯基（Dominique Welinski）共同制作的DW和IngridLillHøgtun为制作的，我们在同一条船上。BarentsFilm as。
Kamar Ahmad Simon started his “water trilogy” with “Are You Listening!,” about a family living on the coast of Bangladesh, struggling to keep their land from flooding. “Day After…”, the second part, conceived all the way back in 2013, has just celebrated its world premiere at IDFA’s international competition after being selected for the 2017 Cannes Festival L’Atelier co-production forum. But completing the film has been a “struggle,” admits the Dhaka-born filmmaker, who still intends to follow it with “Till the Last Drop,” which concludes the trilogy.
“It has been a very personal experience,” he says about continuing his journey to central Bangladesh, noting that after finishing “Are You Listening!,” he felt the project wasn’t complete. In “Till the Last Drop" he will head up north, where rivers have dried out, influencing people’s livelihoods and culture.
“When I was a child, the dock was my playground. That’s where I grew up, where I went whenever I was upset. I didn’t know where these boats were coming from or where they were heading, so I would just look at all these faces and wonder.”
In his new film he is wondering no more, boarding a century-old paddle steamer and eavesdropping on fellow passengers. After embarking on 22 trips, he decided on having multiple protagonists, trying to show people from all walks of life.
“This woman who is travelling with a wounded husband? I didn’t approach her myself. She came up to me, which is not very common. She wanted to tell her story and asked me to mic her up. It was shocking to me and maybe also to her, but I found out that when given the chance, people are eager to express their thoughts,” he says.
"I don’t want to be another selfish filmmaker. I want to make sure that what I am doing will mean something to others.”
While the passengers chat, sing and bicker, they also address some of the country's most pressing issues, including the "development craze," referring to the fast growth of urban areas – all in accordance with the director’s process, based on inserting fictional elements into the narrative.
“At the end of the day, it’s cinema. I took all the liberties this medium allowed me to,” he says, calling his film “100% fictional and 100% non-fictional.”
Simon created additional characters and coached others in order to stage some of the film’s interactions, including the heated debate between a group of young students trying to interview a politician during their journey.
“None of these people knew which characters were fictitious. I coached them separately. The students thought the politician was real, the politician thought the students were real. When they were interacting, their reactions were authentic. That’s why I say that these scenes are staged, but they are also real.”
This was true too of the growing sense of inequality voiced by many people on board, reaching its pinnacle with an argument over a toilet reserved for the wealthier passengers.
“Years ago, I experienced something very similar on a flight. People were queuing, waiting to use this ‘second-class’ bathroom, even though there was another one empty. The crew didn’t allow them to use it, which really surprised me. This whole idea that some people are entitled to use different toilets than others, it’s just comical to me. I have always been critical of the class system in every sense of the word,” says Simon. Observing that once faced with much bigger issues, such divisions simply cease to matter.
“I kept hearing about all these boats stuck on sandbars and in a way, I was waiting for it to happen,” he adds.
“We are so divided. Not just in Bangladesh, but all over the world. What we don’t realize, however, is that we share the same destiny – just look at the climate crisis. We are literally in the same boat, regardless of our class.”
Produced by Sara Afreen for Studio Beginning, “Day After…” was co-produced by Dominique Welinski for DW and Ingrid Lill Høgtun for Barentsfilm As.
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发表于 2022-7-5 03:22:11
发表于 2023-2-22 00:02:04