叙利亚董事戴安娜·埃尔·耶鲁迪（Diana El Jeiroudi）关于个人和实际考虑如何形成威尼斯的“沉默共和国”
Syrian Director Diana El Jeiroudi on How Personal and Practical Considerations Shaped Venice Doc ‘Republic of Silence’
叙利亚董事兼制片人戴安娜·埃尔·耶鲁迪（Diana El Jeiroudi）花了12年的时间制作了“沉默共和国”，她绝对是非规定的纪录片，也许更好地将其描述为个人录像日记，描绘了从外面看到的叙利亚起义的动荡。这项庞大的非线性工作在叙利亚和她现在在柏林的住所之间，包括她的合作伙伴/合作者Orwa Nyrabia（阿姆斯特丹的IDFA纪录片节的艺术总监）的困境，后者被拘留在其祖国，分为章节。它也随着碎片和回忆，照片和档案镜头的自由流动镶嵌而展开，使其在主题的吸引力之外变得有趣。在威尼斯，“沉默共和国”在竞争之外首映，埃尔·耶鲁迪（El Jeiroudi）与综艺节目谈到了她如何通过个人和实用的方式来塑造其大胆的实验叙事。摘录。您如何将“沉默共和国”放在一起？fi第一个我从写作开始。当您这样做时，您将有一个整体的选择，当然，您必须缩小。然后，我开始研究自己的录像或采矿。有很多视觉材料，我还录制了很多声音。我看着它就像一首音乐：要构成东西，它不必只是一种乐器。我喜欢作曲。简而言之，我认为这是一部关于流放的电影。但是，还有很多。是什么驱使您做到这一点？是什么激发了我的动机？这么多的事情。当我开始写这部电影（在叙利亚起义开始之前不久）时，这是我一生中非常激烈的时期的开始。前进，我里面有很多东西沸腾了。有很多愤怒。有很多痛苦；有很多痛苦；有很多损失。您可以说制作电影是重新排序的一种方式，因此它们可以有意义，而且可以使您平静下来。您可以消化周围的所有强度，并使Sens您是否同意“沉默共和国”与流放和身份有关？这是一个非常困难的问题，因为这取决于观众是谁。有些看到它的人在其中读到一个流亡的故事，有人说这是一个个人故事，有些人说这是一个政治故事。因此，它引起了不同级别的人的共鸣。这可能是一部关于身份的电影。确实。无论是政治身份，民族身份还是女人的身份，还是群体的身份。但是对我来说，这是关于人类事件的链条。我一直对并行的几件事的生活着迷。我组装了摄影师，声音工程师和编辑的工作人员。我希望一个女人在编辑室旁边旁边，因为我们会一起编辑（我本人是编辑）。我们在四个会议期间总共拍摄了大约三年。然后我和katja [dringenberg]，editoR，我们于2019年10月开始编辑过程。我们将举行第一届会议，然后我们会交谈和重写。我还有一位顾问，一开始就开始写作。因为我需要一个可以帮助我塑造它的人，并告诉我是否过度做事。在编辑期间也继续进行。在编辑期间也有很多写作。这个过程花了比我想象的要长，因为镜头太多，而且由于多种语言。编辑。那是我们弄清楚我们将要有章节的时候，这将是一个非线性的叙述。当您是如何决定自己已经弄清楚的时候？好吧，有一点我必须放弃很多我想包括的东西。但是那是我看电影的那一刻。很明显：哈！这是结构。
Syrian director and producer Diana El Jeiroudi spent 12 years making “Republic of Silence,” her decidedly non-conventional documentary, perhaps better described as a personal video diary, depicting the turmoil of Syria’s uprising seen from the outside. This sprawling non-linear work that jumps between Syria and her present home in Berlin and comprises the plight of her partner/collaborator Orwa Nyrabia [artistic director of Amsterdam’s IDFA documentary festival] who was detained in their home country, is divided in chapters. It also unfolds as a free-flowing mosaic of fragments and recollections, photos and archive footage that make it interesting beyond the gravitas of its subject matter.
In Venice, where “Republic of Silence” premiered out-of-competition, El Jeiroudi spoke to Variety about how she waded her way through the personal and practical to shape its bold experimental narrative. Excerpts.
How did you go about putting 'Republic of Silence' together?
First of all I started with writing. When you do that you have a whole world of options that you of course have to narrow down. Then I started researching, or mining, my own footage. There was a lot of visual material, and I also record a lot of sounds. I look at it like a piece of music: to compose something it doesn’t have to be just one instrument. And I like composition.
Simply put, I see this as a film about exile. But there is a lot more to it than that. What drove you to make it?
What motivated me? So many things. When I started writing this film [shortly before the Syrian uprising started] it was the start of a very intense period of my life. And going forward there were many things boiling inside of me; there was a lot of anger; there was a lot bitterness; there was a lot of pain; there was a lot of loss. You could say making a film is a way of reordering things, so they can make sense, but also so that you can calm down. You can digest all the intensity around you and make sense of it.
Do you agree that 'Republic of Silence' has to do with exile and identity?
That is a very difficult question because it depends so much on who the viewer is. Some people who've seen it read in it a story of exile, some people say it’s a personal story, and some people say it’s a political one. So it resonates with people on different levels. It could be a film about identity. Definitely. Be it a political identity, a national identity, or a woman’s identity, or the identity of a group. But for me it’s about a chain of human events. I’ve always been fascinated with the life of several things in parallel.
So tell me more about how you shaped it.
After writing and developing the treatment. I assembled a crew of a cinematographer, a sound engineer, and an editor. I wanted a woman to be next to me in the editing room because we would be editing together (I am an editor myself).
We filmed for about three years in total during four sessions. Then me and Katja [Dringenberg], the editor, we started the editing process in October 2019. We would have a first session and then we would talk and rewrite. I also had a consultant who had started out with me while I was writing at the beginning. Because I needed somebody who would help me shape it and tell me if I was overdoing things. That also continued during the editing. There was a lot of writing that took place during the editing as well.
And that process took longer than I thought because there was so much footage and because of the many languages.
But I think the structure of the film came together during the first third of the editing. That’s when we figured out that we were going to have chapters, and it would be a non-linear narrative.
When and how did you decide that you had it figured out?
Well, there was a point where I had to drop a lot of things that I wanted to include. But when that happened that was the moment when I saw the film. It became clear that: Ha! This is the structure.
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发表于 2022-7-5 04:54:29
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