经过“发烧”计划之后，塞萨洛尼基纪录片节准备主持实体版
After ‘Feverish’ Planning, Thessaloniki Documentary Festival Prepares to Host Physical Edition
塞萨洛尼基纪录片节之后的一年是全球首次引起在线版本的行业活动之一，因为冠状病毒大流行，计划2021年的后续活动“至少可以说是发烧的，”节日主任Orestis和Readakis说。但是，随着希腊整个希腊的露天电影院今年春天重新开放，在这个阳光明媚的地中海国家（正如欧洲和世界某些地方）的生活，将恢复正常之类的东西，不可能是时机最好在节日的第23版上举起帷幕。“这是一个艰巨的任务，值得一提的是一个体育节，一个节日，在大屏幕上在实际电影院里观看电影的真实音乐节，非常想念”。”“我们错过了看电影应该被看的方式，我们错过了我们与朋友，塞萨洛尼基的观众分享屏幕的最重要的。”今年的节日开始了。在习惯三月的窗户上，一系列的在线放映旨在激发渴望返回电影院并为夏季庆祝活动奠定基础的观众的兴趣。现在，从6月24日至7月4日开始，将在塞萨洛尼基（Thessaloniki）取代物理版，以及其行业平台Agora的混合版Agora，该平台于6月25日至7月3日在现场和在线进行。第23版的首映式比以往任何时候都多，与以往更多，与以往更多，与以往更多，与以往更多，与以往更高，与以往更高，与以往更多，比以往任何时候都多。在其三个竞争部分中放映的36部电影具有其世界，国际或欧洲首映。十二个冠军将参加主要比赛，他们将在那里争夺黄金亚历山大，而72个短而长的希腊纪录片也将筛选。 ”“尽管电影制片人正在挣扎（和周围的大多数人一样），但作品的质量和数量并没有受苦，”他说。 “尤其是对于这一版本的TDF，我们或多或少地提交了与其他年份一样多的意见，而且质量令人印象深刻。”鉴于前所未有的情况，也许可以预期冠状病毒大流行“在所有表达中”将是克拉萨科普洛斯（Krassakopoulos）说，在整个计划中，“从关于其对人的影响的个人电影，到大规模的，关于武汉这样肆虐城市的大规模叙述。”但是他认为电影制片人也探索了更广泛的人类状况，并对过去一年有更广泛的看法。也是如此，”他说。 “以更深入的方式看待世界，并通过各种形状和大小的故事为我们更好地了解更大的画面。”音乐节以“蒂娜”开放，《蒂娜》，奥斯卡的蒂娜·特纳生活的著名肖像 - 有董事丹·林赛（Dan Lindsay）以及最近在美国HBO Max鞠躬的TJ Martin。与塞萨洛尼基（Thessaloniki）的放映平行运行的将是Agora行业计划，其亮点包括预期的联合制作推销论坛和制作过程中的部分，以及一系列的演讲和大师班。经认可的客人还将可以访问Agora Doc市场数字图书馆，其中包括400多个完成的纪录片。在世界仍在努力摆脱大流行的Vise-Grip的时候，将其推出今年的版本。Andreadakis说。ERA，具有虚拟认证，无纸票以及完全电子客户服务代替票房Of先前的版本。但是，从过去的一年中，最大的变化将是作为体育场所的节日回归。 Andreadakis说：“塞萨洛尼基电影节已经在那里度过了60年，教育观众，将明星和即将到来的才华带到世界上最美丽的城市之一。”他补充说：“塞萨洛尼基（Thessaloniki）曾经是而且将很长一段时间以来一直在世界上的电影地图上，这么多长期以来又能回来并参加市场活动的行业专业人士。”到目前为止，塞萨洛尼基和电影界。 Andreadakis说：“这些行业必须适应和遵循相当长时间的非凡条件证明了该行业的多功能性和适应性。” “电影将留在这里，节日也是如此。我们奋斗和学到了很多东西，我们将这些新知识的大部分归功于我们的观众，我们的f朋友和我们的同事。”
One year after the Thessaloniki Documentary Festival was among the world's first industry events to pivot to an online edition because of the coronavirus pandemic, planning for the 2021 follow-up “has been feverish, to say the least,” says festival director Orestis Andreadakis.
But with open-air cinemas across Greece reopening this spring, and life in this sun-splashed Mediterranean nation—as it is elsewhere in Europe and some parts of the world—beginning to return to something like normal, the timing couldn’t have been better to raise the curtain on the festival’s 23rd edition.
“It was a painstaking task worthy of every effort as a physical festival, a festival with actual audience watching films in actual cinemas on a large screen, was sorely missed,” Andreadakis tells Variety. “We missed seeing films the way they are supposed to be seen, and most of all we missed sharing the screen with our friends, the audience of Thessaloniki.”
This year’s festival kicked off during its customary March window, with a series of online screenings designed to whet the appetite of audiences eager to return to cinemas and lay the groundwork for the summer’s festivities. Now a physical edition will unspool in Thessaloniki from June 24-July 4, alongside a hybrid version of its industry platform, Agora, which takes place onsite and online from June 25-July 3.
The 23rd edition presents more premieres than ever before, with 36 of the films screening in its three competition sections having their world, international or European premieres. Twelve titles will take part in the main competition, where they’ll vie for the Golden Alexander, while 72 short and feature-length Greek documentaries will also screen.
Programming head Yorgos Krassakopoulos describes this year’s selection as “one of the strongest in recent years.”
“Despite the fact that filmmakers were struggling (as did most of the people around them), the quality and the quantity of the work did not suffer,” he says. “Especially for this edition of TDF we had more or less as many submissions as we did any other year, and the quality was impressive.”
Given the unprecedented circumstances, it was perhaps expected that the coronavirus pandemic “in all its expressions” would be present throughout the program, says Krassakopoulos, “from personal films about its impact on people, to large-scale, on-the-spot accounts of it ravaging cities like Wuhan.” But he credits the filmmakers for exploring the broader human condition as well, and offering a wider perspective on the past year.
“Films that can be seen as collective or personal testaments, not of just life during the pandemic, but of human nature and spirit as well,” he says. “Looking at the world in a deeper way and offering us a better understanding of a bigger picture through stories that can come in all shapes and sizes.”
The festival opens with “Tina,” the acclaimed portrait of the life of Tina Turner from Oscar-winning directors Dan Lindsay and TJ Martin, which recently bowed in the U.S. on HBO Max. Running parallel to the screenings in Thessaloniki will be the Agora industry program, whose highlights include the anticipated co-production pitching forum and works-in-progress section, as well as a series of talks and masterclasses. Accredited guests will also have access to the Agora Doc Market digital library, which includes more than 400 completed documentaries.
Pulling off this year's edition at a time when the world is still struggling to emerge from the pandemic’s vise-grip has been a “journey,” says Andreadakis, who credits the organizing team with using available technology to make the most of difficult circumstances.
The pandemic, which forced Andreadakis and his colleagues to do most of their work remotely, also hastened other changes to move the festival further into the digital era, with virtual accreditations, paperless tickets, and a fully electronic customer service replacing the box office of previous editions.
Ultimately, though, the biggest change after the events of the past year will be a return to the festival as a physical gathering place. “The Thessaloniki Film Festival has been there for 60-odd years, educating the audience, bringing stars and upcoming talents to one of the most beautiful cities in the world,” says Andreadakis. “Thessaloniki is and will for long be on the world’s cinematic map for so many industry professionals who long to come back and take part in the market’s activities.”
This year’s festival, he adds, is a ringing endorsement of the perseverance that has brought both Thessaloniki and the film industry as a whole to this point. “These extraordinary conditions in which the industry had to adapt and follow through a rather prolonged period prove the versatility and adaptability of the industry,” says Andreadakis. “Film is here to stay, and so are festivals. We fought and learned a lot, and we owe much of this new knowledge to our audiences, our friends and our associates in the industry.”
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发表于 2022-7-5 08:11:57
发表于 2022-12-14 03:04:05