“核心家庭”评论：独立导演从内而外爆炸了她的家人的公众舆论
‘Nuclear Family’ Review: An Indie Director Explodes Public Opinion of Her Family From the Inside-Out
这场争议已经爆发了（还是有？），但是当“玩具故事4”问世时，当他们发现皮克斯（Pixar 。这些女人短暂地出现在邦妮的学龄前课上，没有台词，但是从一个人亲切地把她的手放在对方的肩膀上的方式来看，这不是你的正常电影妈妈。来家庭？这是导演Ry Russo-Young在HBO的“核心家庭”中的个人经历中提出的问题。这位电影制片人 - 在SXSW和Sundance等节日中以“孤儿”和“我跌倒之前”这样的身份审查的印度爆发，一对女同性恋夫妇抚养长大，后来发现自己是一场先例的法律战，，即当精子捐赠者起诉她的妈妈以寻求亲子关系权利时。 “核心家庭”是电影制片人自己的故事：在那个Sto的中心长大的感觉RM，为保护她在父权制制度中所知道的动态而战，该系统受到了关于“孩子的最大利益”的过时想法。本月初，在特柳赖德电影节上首映，在漫长的周末几乎没有缺少同时，它引发了一些最热情的对话。毫无疑问：这是一个最坚定的电视项目，延伸到158分钟，并以这样的方式进行了分会，以至于每个分期都以引人注目的不停滞不前的扭曲结束。我已经破坏了第一个（很难不这样做，因为Russo-Young的法庭之战在其时代非常高度宣传），尽管该系列花了第一个小时重新创造了唯心主义，他们承诺的合作伙伴Sandy Russo和Robin Young（Robin Young）（他们的15岁年龄差异几乎比他们分享同样的性别的事实更像是一个“事物” - 着手生孩子。”出来，成为同性恋，这意味着你不会生孩子。”罗宾告诉女儿。 “几乎就像您放弃了有家庭的权利。”然后，一位朋友偶然发现了一个睁大眼睛的小册子，称为“女人控制的概念”，该小册子详细介绍了女同性恋夫妇如何在不参与爸爸的情况下使孩子成为孩子。当然，必须有一些参与，但这可能仅限于受精步骤，之后，“ Russo”（每个人都称呼她），而Robin将担任孩子的父母。这对夫妇选择了他们的捐助者 - 两个“朋友”一个朋友的推荐，杰克和汤姆，都是同性恋 - 并用素食罐和注射器进行了授精，生育了两个女孩Cade和Ry。从一开始，Russo和Robin的意图就明确了：他们的孩子的生物爸爸将没有权利，也没有对他们的后代的责任。但是这些妇女还决定，如果以及何时他们想知道自己的构想，妇女恩会解释这一点，并给女孩们见面自己的亲生父亲。他们做了。这导致汤姆·斯蒂尔（Tom Steel）重新进入了他们的生命，并最终将他们送往法庭，依靠对他所属的同性恋社区积极歧视的论点。随后的法律斗争消耗了Russo-Young的纪录片中的中间，并包含了许多许多人的纪录。使电视引人入胜的钩子。也许最吸引人的是汤姆的悲惨信念，即这种高冲突的方法可能会以某种方式导致他能够与“他的”“女儿”建立积极的关系。在进入法庭戏剧之前，导演Russo-Young使用介绍性插曲作为她和姐姐Cade诞生的文化大革命的一种全能的概述，因为她的父母是女同性恋母亲的第一波挑战。一个家庭可能是什么。这将使自己对自己的成长经历的复杂感觉解开。 “这一切都会成为第三人称吗？”鲁索问她的女儿，藏在镜头后面。导演不禁参与，从2004年的纪录片《我们的房子》中广泛绘制，其中年轻的鲁索·杨（Russo-Young）为与女同性恋父母成长的理由。尽管很沉重的会说话的头脑，但复杂的组装却从无数的来源中汲取灵感，经常找到巧妙的视觉连接，而菲利普玻璃般的得分的紧张口吃则使紧迫感和吸引力。然而，没有像两个妈妈这样的流行文化描述出现在“玩具故事4”中，以帮助使她的家庭的动态正常化（担心皮克斯可能会产生这种效果，这恰恰是威胁保守的批评家的原因）。但是，电影制作 - 从业余家庭视频到在HI8上拍摄的更抛光的大学作业 - 成为Pro的一种手段削减她的经历，因此，“核心家庭”是导演重新审查自己对童年的看法的最终工具，并质疑它们如何被塑造。以各种方式，“核心家庭”证明了更多比HBO备受关注的“ Allenv。Farrow”的复杂童年的细微差别是，尽管观众会感到放心，因为他知道Russo-Young的早期主张 - “如果有的话，我被太多了。 。这两个系列都提出了家庭法中持续的性别偏见的有趣问题，表明非法律父亲如何将“洗脑”的指控武器化（加上汤姆的性别歧视指控，在此处获得“心理融合”的指控）。尽管“ Allenv。Farrow”积极劝阻这个想法，但Russo-Young借此机会质疑她的一些核心信念。导演长期以来一直是同性父母的声音倡导者（2004年，她出现在封面上。纽约时报杂志旁边的标题“我的母亲吗？在该系列的内省最后一个小时中，她研究了同性恋父母会抚养孩子成为同性恋的担忧（经常被宗教父母忙于灌输自己的孩子以宗教为宗教）。她展示了她的女同性恋姐姐凯德（Cade）出来的镜头，甚至亲自承认她相信自己多年来一直是酷儿。”这些是勇敢的招生，反映了Russo-Young的方法的整体成熟，因为它们表现出了考虑整个情况的意愿，并且对观众的信任也可以做同样的事情。
The controversy has blown over by now (or has it?), but back when “Toy Story 4” came out, a certain contingent of the moviegoing public went nuclear when they discovered that Pixar had included a lesbian couple in the background of two scenes. Appearing briefly in Bonnie’s pre-school class, the women had no lines, but it was clear from the way one affectionately put her hand on the other’s shoulder that these were not your normal movie moms.
Then again, what is “normal” when it comes to families? That’s a question director Ry Russo-Young poses from personal experience in HBO’s “Nuclear Family.” The filmmaker — who broke out at festivals such as SXSW and Sundance with such identity-examining indies as “Orphans” and “Before I Fall” — was raised by a lesbian couple and later found herself the subject of a precedent-setting legal battle, when the sperm donor sued her moms for paternity rights. “Nuclear Family” is the filmmaker’s own story: how it felt to grow up at the center of that storm, fighting to protect the dynamic she knew in a patriarchal system governed by perhaps outdated ideas of the proverbial “best interests of the child.”
Turbulent and thought-provoking, the three-part docuseries feels enough like one long movie to have made its premiere earlier this month at the Telluride Film Festival, where it sparked some of the most passionate conversations in a long weekend hardly lacking in same. Make no mistake: This is most decidedly a TV project, stretched out as it is to 158 minutes and chaptered in such a way that each installment ends on a compelling don’t-stop-now twist. I’ve already spoiled the first (it’s hard not to, since Russo-Young’s court battle was so highly publicized in its time), though the series spends its first hour re-creating the idealism with which committed partners Sandy Russo and Robin Young — whose 15-year age difference was almost more of a “thing” than the fact they shared the same gender — set out to have kids.
“Coming out, being gay, meant that you were not going to have children,” Robin tells her daughter. “It was almost like you were giving up that right to have a family.” Then a friend stumbled across an eye-opening pamphlet called “Woman Controlled Conception” which detailed how lesbian couples could make children without the involvement of dads. There had to be some involvement, of course, but that could be limited to the fertilization step, after which, “Russo” (as everyone calls her) and Robin would serve as the children’s parents.
The couple selected their donors — two “friend of a friend”-type referrals, Jack and Tom, both gay — and did the insemination with a veggie jar and syringe, giving birth to two girls, Cade and Ry. From the outset, Russo and Robin’s intentions were clear: Their kids’ biological dads would have no rights and no responsibilities toward their offspring. But the women also decided that if and when their kids wanted to know about how they’d been conceived, the women would explain it and give the girls a chance to meet their biological dads. Which they did. And which led to Tom Steel reentering their lives and eventually taking them to court, relying on arguments that were actively discriminatory against the gay community to which he belonged.
The ensuing legal battle consumes the middle hour of Russo-Young’s documentary and contains so many of the hooks that make for compelling TV. Perhaps most intriguing was Tom’s tragic belief that such a high-conflict approach might somehow result in his being able to form a positive relationship with “his” “daughter.” Before getting into the courtroom drama, director Russo-Young uses the introductory episode as a kind of all-purpose overview of the cultural revolution into which she and older sister Cade were born, as her parents were among a first wave of lesbian mothers to challenge the definition of what a family could be.
From the series’ opening minutes, Russo-Young also makes clear that she’ll be untangling her own understandably complicated feelings about her upbringing. “Is this all going to be in the third person?” Russo asks her daughter, hidden behind the camera. The director can’t help but participate, drawing extensively from a 2004 documentary — Meema Spadola’s “Our House” — in which a younger Russo-Young makes the case for growing up with lesbian parents. Though heavy on talking heads, the sophisticated assembly draws from myriad sources, often finding clever visual connections, while the tense stutter of a Philip Glass-like score lends urgency and intrigue.
Russo-Young is a product of a media-saturated generation, and yet, there were no pop-culture depictions like the two moms who appear in “Toy Story 4” to help normalize the dynamic of her household (the fear that Pixar might have that effect is precisely what threatens conservative critics). But filmmaking — from amateur home videos to more polished college assignments shot on Hi8 — became a means of processing her experiences, and as such, “Nuclear Family” serves as the ultimate tool for the director to reexamine her own views of her childhood, and to question how they may have been shaped.
In various ways, “Nuclear Family” proves a more nuanced reflection of a complicated childhood than HBO’s much-discussed “Allen v. Farrow,” although audiences will be relieved to know that Russo-Young’s early claim — “If anything, I was loved too much” — does not foreshadow any kind of abuse. Both series raise interesting issues of ongoing gender bias in family law, showing how non-legal fathers can weaponize charges of “brainwashing” (add to that Tom’s sexist charges of “psychological fusion” here). Whereas “Allen v. Farrow” actively discourages the idea, Russo-Young takes the opportunity to question some of her core beliefs.
The director has long been a vocal advocate of same-sex parents (in 2004, she appeared on the cover of the New York Times Magazine beside the headline “Got a Problem With My Mothers?”), but it’s encouraging to think that the public acceptance of gay and lesbian families has reached a point where Russo-Young can relax the party line somewhat. In the series’ introspective final hour, she examines the concern that gay parents will raise their children to be gay (often cited by religious parents busy indoctrinating their own kids to be religious). She shows footage of her lesbian sister Cade’s coming out and even personally acknowledges that she believed herself to be queer for many years, recalling how, when she realized otherwise, “A part of me needed permission from my moms to be part of the straight world.” These are courageous admissions, reflective of the overall maturity of Russo-Young’s approach, since they show a willingness to consider the whole picture, and a trust in audiences to do the same.
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发表于 2022-7-5 04:49:26
发表于 2023-1-11 12:11:04