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BISFF Correspondence 通信计划|Vol.10 Anna Fernandez De Paco

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。


Boja

Anna Fernandez De Paco|Spain, Bosnia and Herzegovina, UK|Bosnian|0:14:39|2022

Chinese Mainland Premiere



Q&A


Director导演:Anna Fernandez De Paco

Interviewer采访:幸木



Q:I noticed that both your works were finished this year. I didn’t make it to love her tells the story of a couple living in Sarajevo (the husband is a poet), while Boja tells the story of a brother and sister living in a ghost village in the mountains above the city of Sarajevo.

Could you talk about the source of inspiration for Boja?

我注意到您的两部作品都是今年制作完成的,《I didn’t make it to love her》讲述了一对生活在萨拉热窝城区的夫妻(丈夫是诗人),《Boja》则讲述了一对居住在山区“鬼村”的兄妹。可以聊聊《Boja》的灵感来源吗?

A:True, both films are about relationships. Boja inspired me from the first time I met her. Initially, I wanted to make a feature fiction film with her. I visited Boja and her family many times. It was important for me to spend time with her if I wanted to make a film with her. I observed the dynamics of their family and was filming them along the way to make some sketches and ideas for the film. I was also pregnant at that time and eventually had to pause the project when my kid arrived. Unfortunately, Boja died before I could return to the project and we had to abandon the idea of making the feature fiction film with her. However, because she was such an inspiration for me, I decided to put together the ‘sketch’ material I had into a documentary that will be screened at your festival.


没错,两部电影都是关于感情的。从我第一次见到Boja开始,她就激励了我。起初,我想和她一起拍一部故事片。我多次拜访了Boja和她的家人。如果我想和她一起拍电影,花时间和她在一起对我来说很重要。我观察了他们家庭的动态,并在拍摄过程中为电影制作了一些草图和想法。当时我也怀孕了,当我的孩子出生时,我不得不暂停这个项目。不幸的是,在我回到这个项目之前,Boja就去世了,我们不得不放弃和她一起制作故事片的想法。不过,因为她是我的灵感来源,我决定把我的“素描”材料整合成一部纪录片,并且在本届BISFF呈现。


Q:It seems that both of your works mentioned the influence of the war. In Boja, the ruins of houses often appear, and the lyrics sung by the characters are also rich in meaning. They seem to be immersed in the nostalgia for the past. What I don't quite understand is that their "memory" is the memory of when? And how to understand their feelings?


您的这两部作品似乎都有提到战争的影响。《Boja》中不时出现房屋的残墟,角色所唱的歌词也含义丰富,人们似乎沉浸于对所逝过往的怀念中。我有点不太明白的是,他们的“记忆”是对何时的记忆?应该如何理解这份情感?


A:I agree, the mood in the film is very nostalgic. Boja and her family felt dysfunctional after collapse of the Yugoslavia, the war, and after being forced to move to a ghost village alone, without their community. Their song in the film is about their sentiment of belonging - about their missing friends and loved ones. So, the ‘when’ of the nostalgia of the characters of the film could be at least twofold - for Yugoslavia and their life with friends and loved ones. Having said that, I do not want to restrict the mood to these two meanings. I hope that it will resonate with the viewers and they will find their own personal interpretations of it.


我同意,影片的氛围很怀旧。在南斯拉夫解体、战争、被迫离开社区独自搬到一个鬼村之后,Boja和她的家人感到功能失调。他们在电影中的歌曲是关于他们的归属感—关于他们想念的朋友和亲人。所以,电影中人物怀旧的“时间”至少可以是双重的—对南斯拉夫和他们与朋友和亲人的生活。话虽如此,我并不想把气氛限制在这两种意义上。我希望它能引起观众的共鸣,他们会找到自己对它的个人解读。


Q:There are three characters in Boja. I am not sure the identity of the third character besides the brother and the sister. Is she the mother of them? Or the brother's wife?

And how to understand the patriarchy embodied by the brother in front of his sister? Is it an inherited mark or a post-traumatic reaction?


《Boja》里有三个角色。除了兄妹,我有点分辨不出另外一个女性角色的身份,是母亲?是哥哥的妻子?以及如何理解哥哥在妹妹面前体现的父权?它是一种传承性的印记,还是创伤后的反应?


A:I think it is both. It reflects persisting patriarchal norms and inequality between men and women in rural Bosnia. But it is also an expression of their feeling hopeless after a traumatic experiences of a dysfunctional Bosnian state after the collapse of Yugoslavia and the war that followed it immediately. Having lost everything and everyone, Boja went to live with her brother Jovan and his wife in exchange for helping them in a farm. So, the only way for Boja to survive and belong to her brother’s life was to work hard in the farm accepting his norms and conditions.


我认为传承的印记和创伤后的反应两者都有。它反映了波斯尼亚农村地区持续存在的父权规范和男女之间的不平等。但这也是在南斯拉夫解体和紧随其后的战争之后,他们经历了一个功能失调的波斯尼亚国家的创伤后感到绝望的一种表达。在失去了一切和所有人之后,Boja去和她的哥哥Jovan和他的妻子住在一起,以换取在农场帮助他们。所以,Boja要想活下去并融入他们的生活,唯一的办法就是在农场里努力工作,接受他的规范和条件。


Q:I feel there is a strong interaction between characters and spaces in your work. Could you talk about the role of spaces in conveying people's feelings/desires?


感觉您作品里角色的空间位置很突出。可以聊聊空间和角色情绪/欲望间的关系吗?


A:We humans are very fragile without our home. In I didn’t make it to love her, this relationship is portrayed in a situation of moving homes, unstable and temporary living arrangements. In Boja, it is depicted in nostalgia for the lost home. Boja invites us to see her need for home, for a nest. Even though Boja’s universe is not made of walls, when she visits the ruins of a house, we can sense the nostalgic motifs of home. It is as if she walked into photographs of the past, revisiting memories.


没有家,我们人类是非常脆弱的。在《我没能爱她》中,这段关系被描绘成搬家、不稳定和临时的生活安排。在《Boja》中,它被描绘为对失去的家园的怀念。Boja邀请我们去看她需要家、需要窝的状态。尽管Boja的世界不是由墙构成的,但当她看着一所房子的废墟时,我们可以感受到对家的怀旧主题。就好像她走进了过去的照片,重温了记忆。


Q:All the characters in your works seem to have difficulty communicating and lack the enthusiasm to break the deadlock.

您作品里的角色看起来有沟通障碍,缺乏疏通的积极性。


A:In I didn’t make it to love her, I chose to portray certain aspects of a couple who are distant but who have not yet given up on each other. I chose to portray them from the different corners of their world, from their perspectives, without any pointless conversations between them. In Boja, there is a sister and brother who re-unite under one roof for survival. What separates them from one another is more their social and hierarchical roles than their inability to communicate. The characters in my films are not superheroes. They are just trying to deal with their circumstances the best they can.

在《我没有爱上她》中,我选择描绘一对疏远但尚未放弃彼此的夫妇的某些方面。我选择从他们世界的不同角落,从他们的角度来描绘他们,他们之间没有任何无意义的对话。在《Boja》中,有一对兄妹为了生存重聚在一个屋檐下。将他们彼此分开的更多的是他们的社会和等级角色,而不是他们无法沟通。我电影里的角色不是超级英雄。他们只是尽力处理好自己的处境。


Q:How would you introduce your style and inclination to the audiences in China?

What’s your next film plan?

面对首次观看您作品的中国观众,您会怎么介绍您的创作风格和趋向?接下来有什么创作计划吗?

A:I wouldn’t like to restrict my work to a specific style, especially at this stage. The process and intentions in each of the films I’ve made were very different but ended up having similar aspects in the outcome, as you noticed. I guess instead of working with a script dominated with dialogues, the scenes I presented were more atmospheric moments through the lens.


At the moment, I am developing a feature film about a group of young Bosnians travelling to EU/ Spain. It will partly explore interplays between expectations, visions, and reality.


我不想把自己的工作限制在一种特定的风格上,尤其是在这个阶段。正如你所注意到的,我制作的每一部电影的过程和意图都非常不同,但最终的结果却有相似的方面。我想我不是在一个以对话为主的剧本中工作,而是通过镜头呈现出更有氛围的场景。


目前,我正在制作一部关于一群年轻的波斯尼亚人前往欧盟/西班牙旅行的故事片。它将在一定程度上探索期望、愿景和现实之间的相互作用。



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