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BISFF Correspondence 通信计划|Vol.1 Patrick Muroni


BISFF Correspondence 通信计划

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,这些访谈将在作品放映后发布在联展各个媒体平台。




LES SENTINELLES|SENTINELS|哨兵

Patrick Muroni

Switzerland, France|French|0:14:39|2021

亚洲首映 Asia Premiere


在彻夜狂欢之后,Nora向她的朋友们宣布,她将永远离开他们。在漂泊中,这一小群人在苦乐参半的气氛中度过了他们最后的几个小时,但这群人中最安静的Leo,逐渐陷入了深深的痛苦之中。


导演:Patrick Muroni

在法国获得学士学位后,进入洛桑艺术与设计大学学习电影专业。他于2017年毕业并于2018年制作了他的第一部短片《A Summer Morning》,该短片于2019年在洛迦诺展出。他的第一部纪录长片《Ardentes·x·s》于今年在尼翁国际电影节首映。




Q & A


Director导演:Patrick Muroni

interviewer&translator采访、翻译:李予琪Li Yuqi


Q:I noticed that there is a very small amount of narration in this film, which means that you had to put more effort into the scheduling of the actors and the setting of the scenes, what was the way you directed the actors in this particular film?


我注意到本片用了非常少量的旁白,这意味着在演员的调度和场景的设置上您要花费更多的心血,在这样一部特殊的影片里,您用什么方式指导演员的表演?


A:The film was built around movement, around very strong emotions that I thought should guide the film and build a narrative. The actors were therefore predominant. I worked mainly with people I knew, friends, or people I had seen at parties and whose energy I knew. My work consisted in bringing them to find the emotion they were looking for, but without psychology, everything was done in a very concrete way, with simple actions.

这部电影是围绕运动展开的,它也围绕着非常强烈的情感,因此我认为(作为导演)应该引导电影并建立一个叙事。在这个层面上,演员是最主要的。我主要与我认识的人、朋友或我在派对上见过的人合作,我知道他们的能量。我的工作包括让他们找到他们正在寻找的情感,但这其中我没用运用心理学,一切都以一种非常具体的方式,用简单的动作完成。


Q:You use the flower in Noah's mouth at the beginning of the film as an image, what do you want to convey through this intention?

影片最开始您用了Noah嘴里的花朵作为一个意象,您想通过这个意象表达什么呢?

A:The flower for me is a way of announcing a poetic realism which will cross all the film. It is a flower offered to the character, but also to the spectator, a way of telling him that he should not look for a lot of meaning in this film, but above all a system of symbols, sensations, images above all.


对我来说,这朵花是一种宣告诗意现实主义的方式,它将贯穿整部影片。它是献给角色的一朵花,也是献给观众的一朵花,它告诉观众,他不应该在这部影片中寻找很多意义,首先最重要的感知一个由符号、情感、图像组成的直观系统。


Q:In this film you portray leaving a group as a strange emotion between cruelty and beauty, sweetness and melancholy, what does 'separation' mean to you?

在这部电影中,您将离开一个群体被描绘成一种介于残酷与美丽、甜蜜与忧郁之间的奇异情感,对于您来说“分别”意味着什么呢?

A:Separation has always been a theme in my films. Here it is a separation of friendship, of love, but with a dimension perhaps a little larger too. The elsewhere we are looking for is a fantasized elsewhere. The character of the girl leaves for new adventures, no longer able to stay with this group, because this group holds her back, perhaps prevents her from being the one she fantasizes about being. I believe that sometimes you have to leave what is holding you back, even if you are experiencing extremely strong things.

分离一直是我影片中的一个主题。在这部影片里,它象征着友谊和爱情的分离,但这里也有一个可能更大的层面。我们正在寻找的其他地方是幻想中的其他地方。这个女孩的角色离开是去参加新的冒险,她不再和这个团体呆在一起,是因为这个团体阻碍了她,也许阻碍了她成为她幻想中的那个人。我相信,即使你正在经历极其强烈的事情,有时你也必须离开阻碍你的东西。




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