路易斯·霍索特（Louis Hothot）跟随IDFA揭幕战“四次旅行”，以“大梦想”（独家）
Louis Hothothot to Follow IDFA Opener ‘Four Journeys’ With ‘A Big Dream’ (EXCLUSIVE)
路易斯·霍索特（Louis Yi Liu）向家人在IDFA揭幕战“四次旅行”中对家人进行了数十年的创伤之后，已经在开发另一个亲密的故事。在“一个大梦想”中，他将跟随一个体重近250公斤的美国女孩，梦想成为北京演员的梦想。在与品种共享的剪辑中，他的主人公承认自己的外表与自我价值斗争，由于她的身材而变得“不可思议”。“我一直对个人情感和个人故事感兴趣，”霍索特说。在“四次旅行”中，这个故事实际上是他自己的 - 违反了1979年引入的中国单子女政策的构想，他是一个非法的“黑人孩子”。尽管他的出生已经改变了父母的生活，并结束了父亲的政治生涯，但他的家人仍然对这个话题保持妈妈。“我在难民危机期间开始考虑这一点。我在一个难民营中志愿服务，他们的处境使我想起了我自己的。即使在我自己的国家，我也不允许存在。”首次亮相导演说。霍索特（Hothotot）搬到阿姆斯特丹（Amsterdam）二十多岁之后，也试图通过解锁他的过去来重建自己的身份。我不允许上公立学校，我没有注册。他说，历史和政治确实影响了人们的生活，会影响他们的行为方式和思维方式。即使起初，他们实际上“拒绝了他的相机”。彼得·范·韦斯特（Pieter van Huystee）电影的路易斯·霍索特（Louis Hothotcourtesy）“他们不想参加，不想谈论痛苦的过去。但是我一直继续前进。当我的父母不回答我的问题时，我会在其他地方看。我会问我的祖母或叔叔，然后与他们分享我的发现。为了达到某个点，我不能只是画一条直线。我不得不绕过它。同样，由于相机的不断存在，这足以打开一个全新的通信空间。“我的相机不仅是工具或对象。这就像把一个新朋友带到你父母的房子里，”他说。“有时候我想把它全部放下，打包我的手提箱，然后回到阿姆斯特丹，但我的相机帮助我留下了。我可以将自己的脸藏在身后，更像是一名艺术家，而不仅仅是他们的儿子。作为一名艺术家，我必须找出真相。有一个故事使我非常生气。我认为这证明我父亲不在乎我。我希望他最终会说对不起，承认他还很年轻并且匆忙行事。他没有，但相机帮助我意识到他看到了这些事件的不同。在文化中，霍索特将长期延迟的聚会与“何时东方见面”进行了比较。但是距离最终被证明是有用的。“当我回来时，一切都不同。我的国家，我的家人，尤其是我的父母。父亲退休后，他们搬到了北京，所以他们也开始了新的生活。有时感觉就像是和陌生人说话，但这给了我观察他们并观察自己的空间。您将这种古老的文化与新文化发生冲突，试图提出某种妥协。”而且，正如他指出的那样，终于有了耐心。现在，我们讨论了我们以前从未分享过的所有这些事情。有一些神奇的东西。我慢慢地习惯人们告诉我我的故事使他们想起了自己的父母，他们的妹妹。每当他们来找我时，我都觉得我的家人越来越大。E电影。Mokum Filmdistributie正在处理荷兰的分销。
After addressing his family’s decades-long trauma in IDFA opener “Four Journeys,” Louis Hothothot (Louis Yi Liu) is already developing another intimate story. In “A Big Dream,” he will follow an American girl who weighs nearly 250 kg and dreams of becoming an actor in Beijing. In a clip shared with Variety, his protagonist admits to struggling with self-worth because of the way she looks, rendered “uncastable” because of her size.
“I am always interested in personal emotions and personal stories,” says Hothothot. In “Four Journeys,” the story in question is actually his own – conceived in violation of China’s one-child policy, introduced in 1979, he was an illegal “black child.” Although his birth has changed the life of his parents forever and ended his father’s political career, his family stayed mum on the subject.
“I started to think about it back in 2015, during the refugee crisis. I was volunteering in a refugee camp and their situation reminded me of my own. Even in my own country, I wasn’t allowed to exist,” says the debuting director. After moving to Amsterdam in his twenties, Hothothot was trying to rebuild his identity, also by unlocking his past.
“I started to wonder: What does it mean to me, to be a ‘black child'? I wasn’t allowed to go to a public school, I wasn’t registered. History and politics really affect people’s lives, they affect how they behave and how they think.”
Hothothot hadn't seen his family for five years before making the film, but the absence made the whole process a lot easier, he says. Even though at first, they actually “refused his camera.”
“They didn’t want to participate, didn’t want to talk about the painful past. But I just kept on going. When my parents wouldn’t answer my questions, I would look elsewhere. I would ask my grandmother or my uncle and later share my findings with them. In order to get to a certain point, I couldn’t just draw a straight line. I had to circle around it.”
While the experience proved emotionally taxing, it mended their strained relationship – as well as the one with his older sister. Also thanks to the constant presence of the camera, which surprisingly enough opened up a whole new space for communication.
“My camera wasn’t just a tool or an object. It was like bringing a new friend to your parents’ house,” he says.
“There were moments when I wanted to drop it all, pack my suitcase and go back to Amsterdam, but my camera helped me stay. I could hide my face behind it and feel more like an artist, not just their son. As an artist, I had to find out the truth. There was this one story which made me very angry. I thought it proved that my father didn’t care about me. I was hoping he would finally say sorry, admit he was young and acting hastily. He didn’t, but the camera helped me realize that he saw these events very differently.”
After years spent abroad, surrounded by another culture, Hothothot compares the long-delayed reunion to “when East meets West.” But the distance proved useful in the end.
“When I came back, everything was different. My country, my family and especially my parents. After my father retired, they moved to Beijing, so they also started a new life. It felt like talking to strangers sometimes, but it gave me space to observe them and to observe myself. You had this old culture clashing with a new one, trying to come up with some sort of compromise." And, as he points out, finally having the patience to listen.
“When I was younger, we would just fight. Now, we talked about all these things we never shared before. There was something magical about it. I am slowly getting used to people telling me that my story reminded them of their own parents, their own sister. Whenever they come up to me, I feel like my family is just getting bigger and bigger.”
“Four Journeys” was produced by Pieter van Huystee for Pieter van Huystee Film. Mokum Filmdistributie is handling distribution for the Netherlands.
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发表于 2022-7-5 03:32:21
发表于 2022-10-13 01:56:08