BISFF Correspondence 通信计划
To overcome all the barriers and create more space for communication, we set up BISFF Correspondence, a series of interviews with certain artists participating in the international section. Sasha Gransjean, the director of Poquinca, Category #2 of the NOVA Competition, attended the screening at the Nanluo Theater on December 3rd to interact face-to-face with the audience.
为了跨越种种障碍，开辟更多交流空间，我们设置了“BISFF Correspondence 通信计划”，对部分国际单元的参展作者进行系列访谈，其中，新星竞赛单元第2组《Poquinca》的导演萨莎·格朗让（Sasha Gransjean）在12月3日来到了南锣剧场放映现场，与观众面对面交流。
USA, China, Portugal｜English, Chinese Mandarin, Portuguese ｜0:08:00｜2023
Director导演: Sasha Gransjean
On-site content translator现场内容翻译：王秋彤
Q1: This film adopts a lot of meta and fragmented material, including found or private images, from different people, perspectives, regions, and mediums. Why did you want to create such a film and how did you get the material in the first place?
A1: The whole film is kind of for the TikTok generation, in the sense that it is for Gen Z. Some of the content was shot by me, some of it was picked up from their social media (provided they allow me to access and use these private materials), and some of it was me inviting people to provide their personal media or images, which resulted in the film.
Q2: All the main characters in the videos that appeared in your film are from different social and cultural backgrounds. What is the connection between them?
A2: Besides the connection of Gen Z, I chose to include characters that were all working with social media to some degree. Some of them make money from it and others seek recognition.
One of the main characters is a Chinese girl, and she's the first character appears. Some audiences indicated that they would view the film as both domestic and foreign the two parts. The part on China was like a documentary, and it didn't seem to have much to do with social media. But the part about other countries is basically a fragmented look at their social media.
Q3: Why did you choose this Chinese girl and why document her differently from other countries’ characters?
A3: I don't think I'm trying to show them that there's a difference between China and the U.S. There's also Portugal and some other countries. What I'm trying to show is that there's something same between them.
Regarding this character filming in China, I knew her before the project, so she was the one who started to be documented even before the shooting proceeded. After the film started, I asked her if she wanted to be part of it. Because she had been on a very different journey, coming to Shanghai from a place of innocence to engage in something very close to sex work, which is a stark contrast to where she started. She was a town girl who came to a metropolitan city and then fell into the cliché of the urban world, and that's what she owned as a character.
The Chinese and American girls in the film are doing similar jobs, or similar sex work. During the production, I realized that a lot of people do this, such as posting photos online, making YouTube videos to gain fame, or selling their services in real life. The Chinese girl's social media presence is absent, but that doesn't mean she has nothing to do with social media, I just didn't explore any of her social networking life. From seeing Chinese girls dancing in a bar to seeing American girls dancing in front of a camera video, I think it's enough for the audience to understand that they are both participants in this discourse. Other people on the other side of the world are in similar cultures.
Q4: This film seems to be a vast journey, whether it's in real physical space or online virtual space, so how do you see these spaces that we live in now, from a cinematic perspective, or a coming-of-age perspective?
A4: Yes, I think it's a virtual and physical world. The world is becoming more and more virtual. That's a big part of the way I try to capture and mimic the world in its editorial, and the character bits that are presented in this thread are very symbolic to me that it's becoming more and more of a digital world in terms of people's careers or what they do. As far as friends, that sort of thing, there's more and more congruence between mediatized life and real life.
Q5: The film appears to be fragmented. Is there a designed internal logic or narrative structure?
A5: The fragmented nature of the film is a form of emulating the algorithmic experience of browsing social media. The slight difference here is that we have a directorial voice acting as a handpicked personal curation for what we are consuming. I want the audience to feel what it was like being a part of this generation.