Nikos Ziogas死亡，记忆和电影作为塞萨洛尼基Doc Fest的“公共仪式”玩家“ Memento”
Nikos Ziogas on Death, Memory and Cinema as ‘Communal Rite’ in Thessaloniki Doc Fest Player ‘Memento’
在吉罗梅里（Giromeri）的偏远小村庄里，靠近阿尔巴尼亚边境的希腊北部山地球室地区的一个小村庄，人口数量下降了近50个永久居民。但是，每年，村民每年在复活节假期里聚会，以保留他们悠久的习俗，庆祝生活和纪念死者的仪式，这些仪式在不可磨灭的wailing单簧管上发挥作用。在他的抒情纪录片“纪念品”对一种生活方式的挽歌，它正在逐渐消失，并证明了生存的强大仪式。这是一首情歌，对于那些居住，迁移的人，音乐家以及希腊最令人回味和禁止地区之一的身体特征的人来说，这是一首情歌。“纪念品”是由Boo Productions的Angelo Venetis制作的，与助理制片人伊拉克利斯Mavroides，Iraklis Mavroides，Iraklis Mavroides，Iraklis Mavroides，Iraklis Mavroides，Iraklis Mavroides，Iraklis Mavroides，Iraklis Mavroides。Nikos Smpiliris，Antigoni Gavriatopoulou和Aris Dagios。这部电影由Mimis Chrysomallis共同撰写Ziogas还担任了Dop.Ziogas在塞萨洛尼基纪录片节的电影前竞赛部分中与综艺节目进行了交谈，讨论了他在不懈的时代保持对希腊乡村的模拟记忆的尝试。数字化。您将这部电影献给了您的祖父。他是“纪念品”的起点吗？我一直在考虑死亡是概念和事实。它象征的是什么，它唤醒了什么样的恐惧以及我们如何面对它。我与祖父的关系很特别，可以说是“蜂窝”。他去世的那一刻总是在我的脑海中，困扰着我。这部电影也是如此。我知道我会做到的，但是我可能害怕离这个主题太近。在2017年，我遇到了Mimis Chrysomallis，他与我合作。我告诉他我对纪录片有这个想法，他做的无非是鼓励我从Sho开始ot。我一直将其推迟到2019年的一个下午，当时他打电话给我说：“尼古斯，我们必须拍电影。”我的答复是积极的，我们见面的同一天讨论了细节。初次会议结束后，我回到家。下次我的电话响起时，我被告知我的祖父已经去世了。也许一切都是有原因的。正是通过这个过程，我在精神上和创造性上都更加接近死亡。您对Giromeri有什么形式的个人关系？我对Giromeri没有任何个人关系，在去那里枪击之前，我也没有去过这个地方（总共12天）。但是，我的家人扎根在那里，我与伊娃娃有关。 Epirus一直通过黑白家庭照片，习俗，人和音乐对我很熟悉。在枪击事件中，我经历了我以前想像的所有这些事情。现在，我觉得我随身携带一块村庄。您使用了很多档案片段。能您谈论如何访问该镜头？多年来，是否保留了Giromeri的许多图像和视频？电影是魔术。制作电影是神奇的。因此，以一种神奇的方式，我们开始拍摄后，我们遇到了这种材料。在为这部电影进行研究时，我们发现Menelaos Meletzis（希腊摄影师Spyros Meletzis的侄子）于1975年在Giromeri制作了一部电影。之后，我们发现雅典的贝纳基博物馆还拍摄了希腊摄影师Costas Balafas拍摄的档案片段。最终，该村的一位居民带着五个VHS录像带来找我们，并由自己拍摄的业余镜头，并允许我们将其用于电影。当我观看所有这些材料时，我感到非常兴奋，因为它改变了纪录片的模式和纹理。好像过去挺身而出，从现在开始享有自己的份额。有相机吗作为您和村民之间的“中介”，以任何方式使他们更容易，或者更难采访电影？您总是更喜欢自己的相机工作吗？我相信，坐在相机前坐着时，我们所有人都想着自己，发现自己的一部分。思考该说些什么或我们的外表，好像我们正在通过镜头的反射来看待自己的自我。当人们可以克服相机构成的障碍并表达他们内在的真理时，我会喜欢它。我寻找自发性，试图使我们更加接近相机，这有时会“恐怖”的项目介入我们的私人生活中！我试图使相机成为自己的一部分，以便人们在其中看到我，这就是为什么我决定自己做摄影。在“纪念品”中，我认为我们比我们想象的要做得更好。机组人员内部的亲密纽带和居民的信任使自发性在很短的时间内成为可能。“我们都是路人”这是我们在整部电影中经常听到的谴责，而村民特别关注通过个人回忆，通过个人回忆，通过个人记忆。您是否看到自己扮演着纪录片制片人的角色？电影制作一直是公共仪式。我们的电影制片人当然是路人。尽管如此，我希望我们的电影能够在“永远的”混乱中留下一丝记忆。经过“纪念品”的经验，我在每部电影中都注意到，我看着电影制片人需要处理记忆。他们全神贯注于从根源，起源和目的地中进行抽象的旅程 - 两种单词与众不同。通常，当我们试图忘记我们没有处理的事情时，它最终会以我们的方式。也许这部电影是从遗忘中清除的一次尝试。
In the remote hamlet of Giromeri, a small village in the mountainous Epirus region of northern Greece close to the Albanian border, the declining population numbers close to 50 permanent residents. But every year the villagers gather during the Easter holidays to preserve their time-honored customs, celebrate life, and commemorate the dead, rituals that play out to an indelible soundtrack of wailing clarinets.
In his lyrical documentary “Memento," director Nikos Ziogas offers an elegy to a way of life that is fading away in his native Epirus, as well as a testament to the powerful rites that survive. It is a love song for those who stayed, for those who migrated, for its musicians and the physical character of one of Greece's most evocative and forbidding regions.
"Memento" is produced by Angelo Venetis of Boo Productions, with associate producers Iraklis Mavroides, Nikos Smpiliris, Antigoni Gavriatopoulou, and Aris Dagios. The film is co-written by Mimis Chrysomallis and Ziogas, who also worked as DoP.
Ziogas spoke to Variety ahead of the film's world premiere in the Film Forward Competition section of the Thessaloniki Documentary Festival, to discuss his attempt to keep the analog memory of the Greek countryside alive in an era of relentless digitization.
You dedicated this movie to your grandfather. Was he the starting point for “Memento”?
I’ve always been thinking about death as concept and fact; what it symbolizes, what kind of fears it awakens, and how we can face it. My relationship with my grandfather was special, characterized by a love that was, so to speak, “cellular.” The moment he passed away was always in my mind, troubling me. The same was true about the film; I knew I would make it, but I was probably afraid of getting too close to this subject.
In 2017 I met Mimis Chrysomallis, who co-wrote the script with me. I told him I had this idea about a documentary film, and he did nothing less than encourage me to begin with the shooting. I kept postponing it until one afternoon in 2019, when he called me and said: “Nikos, we have to make the film.” My reply was positive and the same day we met to discuss the details. After this initial meeting I came back home. The next time my phone rang, I was told my grandfather had passed away. Maybe everything happens for a reason. It was through this process that I came closer to death, both spiritually and creatively.
What sort of personal relationship do you have to Giromeri?
I had no personal relationship whatsoever to Giromeri, neither had I visited the place before going there for the shooting (12 days in total). I am related, however, to Epirus, as my family has roots there. Epirus has always been familiar to me through black and white family photos, its customs, people, and music. During the shooting I experienced all those things I had previously imagined in my mind. Now I feel I am carrying a piece of the village with me.
You utilize a lot of archival footage. Can you talk about how you got access to that footage? Have many images and videos from Giromeri been preserved through the years?
Cinema is magic. And making a film is something magical. So, in a magical way, after we started shooting, we came across this material. While doing research for the film, we found out that Menelaos Meletzis (nephew of Greek photographer Spyros Meletzis) had made a film in 1975 about this same custom in Giromeri. Afterwards, we discovered that the Benaki Museum in Athens also had archival footage shot by Greek photographer Costas Balafas. Finally, a resident of the village came to us with five VHS tapes with amateur footage shot by himself and allowed us to use it for our film. When I watched all this material, I got very excited, as it changed the pattern and texture of the documentary. It was as if the past came forward, claiming its share from the present.
Along with directing “Memento,” you did your own cinematography. Did having the camera as an “intermediary” between you and the villagers in any way make it easier, or perhaps more difficult, to interview them for the film? Do you always prefer to do your own camera work?
I believe that when sitting before a camera, we all think about ourselves and discover a piece of our own self. Thinking about what to say or how we appear, it is as if we are looking at our own selves through the reflection of the lens. I like it when people can overcome the obstacle posed by a camera and express their inner truth. I look for spontaneity, trying to bring us closer with the camera, this sometimes “scary” item that intervenes in our private lives! I try to make the camera a piece of myself so that people see me in it, and this is why I decided to do the cinematography myself. In “Memento” I think we managed to do this better than we thought we could. The close bond within the crew and the trust felt by the residents made spontaneity possible in a very short time.
“We are all passersby” is a refrain that we hear often throughout the film, and the villagers are especially preoccupied with the process of remembering—through communal rites, through personal memories. Do you see yourself playing a similar role as a documentary filmmaker?
Filmmaking has always been a communal rite. We filmmakers are certainly passersby. Still, I hope our films can leave a trace of memory hovering in the chaos of “forever.” After my experience with “Memento,” I notice in every film I watch the need of filmmakers to deal with memory. They are preoccupied with this abstract journey into the roots, the origin and the destination—two words inextricably linked. Often, when we try to forget something we haven’t dealt with, it ends up in our way. Maybe this film is one more attempt to purge from oblivion.
本文资料/文案来自网络，如有侵权，请联系我们删除。
|
发表于 2022-7-5 08:06:09
发表于 2022-10-17 04:45:18