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BISFF Correspondence 通信计划|Vol.3 Tania Podveikina

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。



Asphalt und Gras|Asphalt and grass|柏油路与青草地

Tania Podveikina, Fabian Ripke

Austria|German|0:31:09|2022

World Premiere

Q & A




Director导演:Tania Podveikina

interviewer&translator采访、翻译:邹梦婕



Q:You choose three homeless women as protagonists in this short film, why women?


您为什么会以三位无家可归的女性为主人公?

A:I chose women on purpose. There are a lot of homeless men on the streets, many more than women. Physically women are more vulnerable than men and in a way they have to be tougher, stronger to protect themselves on the streets, also from men’s action.


I was observing homeless women for a long long time, how they deal with their situation. A lot of them have grown-up kids. Many women are going into insanity to survive, many drop into alcohol and drug addiction to numb the pain and misery; some of them join the group of homeless people but then they have to fit the dynamic of the group and follow the rules set by men mainly; some of the women stay by themselves and keep their mind and soul clear to keep on living safely.


我是特意选择女人的。街上有很多无家可归的男人,比女人多得多。女性在身体上比男性更脆弱也更容易受到伤害,在某种程度上,她们必须更坚强、更强壮,才能在街上保护自己,也使自己免受男性的伤害。


我观察了无家可归的女人们很长一段时间,观察她们是如何处理自己的处境的。她们中的很多人都有已成年的孩子。许多女人为了生存而变得疯狂,她们酗酒、吸毒以麻痹痛苦和不幸;她们中的一些人加入了无家可归者的群体,但她们必须适应这个群体的动态,并遵循主要由男人制定的规则;而有些女人则独自一人(没有加入群体),保持着清醒的头脑和灵魂,以确保继续安全地生活下去。


Q:We can only see the women’s backs but not their faces, why? They didn’t want to be on camera or you did that on purpose?


影片中的主角几乎都没有露过脸,只有背影,请问是对方不愿意入画还是您故意设置成这样的呢?

A:There are a few reasons why we approached the shooting this way. Initially we wanted to respect their privacy and situation. They indeed appreciated that we didn’t shoot them in the face because they didn’t want to flash their faces and in order not to be bullied by other homeless people, in case seen or recognised. At the same time, I wanted to show the life circumstances keeping the camera observational, in a distance, just like people look at homeless people while passing them by on the street. On the audio level I wanted to be very personal, letting these women show who they are truly inside, giving them a chance to share their feelings, thoughts, struggles, memories. Anonymity gave them freedom to be open and fully let themselves out. We shot two women on their normal day and one woman only made the interview. She was willing to take part in the film and share her story but she was not comfortable with herself in the camera. She really tried and gave a meeting point a few times but never showed up because she had panic attacks. We took the situation with compassion and full acceptance. The visual part of the third woman is inspired by her interview.


By keeping anonymity of the protagonists and distance, served another purpose of this film which was to show a human being, it didn't matter whether it was a woman or a man, homeless person or someone who lived a comfortable life under the roof. We are all humans in whatever circumstances we are and we deserve respect and recognition. We are all beautiful, we all fall down and become ugly at times. Some people manage to hold on within the frameworks of the society rules, some people don’t. We all used to be babies, kids, teenagers, grownups; we all have family stories; we all go through health issues; we all feel love, fear, happiness, anger; we all have our heart beating and soul alive.


我们选择以这样的方式进行拍摄有几个原因。最初,我们希望尊重她们的隐私和处境。她们确实很感激我们没有朝着她们的脸拍摄,因为她们不想闪光灯对准自己的脸,也不想被其他无家可归的人欺凌,以防被看到或认出。与此同时,我想展示她们的生活环境,把摄像机放在远处观察,就像人们在街上路过无家可归的人时(不经意间)看着她们一样。在声音方面,我想表现得非常私人,让这些女性展示她们真实的内心,让她们有机会分享自己的感受、想法、挣扎和回忆。匿名的拍摄方式给了她们开放的自由,让她们敞开心扉,完全释放自我。我们拍摄了两名女性的日常生活,其中一名女性只接受了采访。她十分愿意参与这部电影并分享她的故事,但她在镜头前感到不适。她真的尝试过并几次给出了一个会面地点,但她从未出现过,因为她有恐慌症。我们对此感到同情理解并完全可以接受。第三位女性视觉部分的灵感来自于她的采访。


通过保持主角的匿名性和距离感,这部电影的另一个目的是展示一个真正的人,无论是女人还是男人,无论是无家可归的人还是在屋檐下过着舒适生活的人。不管怎样,我们都是人,我们都应该得到(基本的)尊重和认可。我们都是美丽的,我们都会跌倒,都会在某些时刻变得丑陋。有些人努力在社会规则的框架内坚持下去,有些人则不然。我们都曾经是婴儿、孩子、青少年、成年人;我们都有(属于自己的)家庭故事;我们都经历过健康问题;我们都能感受到爱、恐惧、幸福、愤怒;我们都有着跳动的心脏和活着的灵魂。



Q:Why did you use a method similar to DV shooting?


为什么会使用类似DV拍摄的方法?


A:Actually, we used two cameras:an old defect Sony MiniDV and Sony Video8 from the 90s. It was not a post-production effect but a conscious choice of the cameras for this film. It felt natural using these cameras to reflect and to emphasize the imperfection of our life. Nothing is perfect in life and this is the fact of nature, something we all should accept.

实际上,我们使用了两台摄像机:一台是老旧的索尼MiniDV,另一台是90年代的索尼Video8。这不是后期制作的效果,而是有意识地选择摄像机去拍摄这部影片。用这两台相机来反映和强调我们生活的不完美,让人感觉很自然。生活中没有什么是完美的,这是自然而然的事实,我们都应该接受这种不完美。


Q:The three women live in the street, forest and playground respectively. What are the similarities and differences between them?

三位主角住在街头,住在森林,住在操场,在您看来,她们的共同点与不同点在哪里呢?

A:Very interesting question! The similarity between the three of them is that they didn’t give up on themselves, whatever they went through and whatever they are going through now. All three of them found strength to rediscover their “spine” and hold on to it. They are very strong personalities which love living, and this love didn’t allow them to disappear into the oblivion.All three of them are at peace with themselves and feel indestructible within themselves.


Differences... all three women went through different experiences in their childhood, in their grownup lives and they coped with the situations in a very different way. They became homeless because of very different reasons. The first woman got into a prison because of her recklessness and lost the connection to her four kids and her husband. After seven years in prison she was totally broken inside and couldn't even try to come back into the family. She was totally eaten by anger, pain and hopelessness. The second woman lost her job, couldn’t pay the flat, didn’t get support from the state and she didn’t want to become a burden for her family. For the third woman, after her childhood experiences, it was almost normal to slide onto the street and be homeless periodically.


非常有趣的问题!她们三个人的相似之处在于,无论她们已经经历了什么,无论她们现在正在经历着什么,她们都没有放弃自己。她们三个人都有着重新找到自己“脊梁”并紧握它的无限生命力。她们是非常坚强的个体,一直热爱着生活,这种热爱并没有让她们消失在遗忘中。她们三个人都与自己和平相处,感觉到自己的内心是坚不可摧的。

至于差异的话……这三位女性在她们的童年和成年生活中都有着不同的经历,她们以完全不同的方式应对这些情况。她们无家可归的原因也各不相同。第一个女人因为鲁莽冲动而进了监狱,失去了与她的四个孩子和丈夫的联系。在监狱里呆了七年之后,她的内心完全崩溃了,甚至无法尝试再次回到家庭中去。她完全被愤怒、痛苦和绝望所吞噬。第二个女人丢了工作,付不起房租,又没有得到国家的资助,她不想成为家里的负担。对于第三个女人来说,在她的童年经历之后,她时不时地就会流落街头,无家可归,这几乎是无比正常的。


Q:It seems that there is no connection between the title “Asphalt und Grass” and the film, why did you use the name, and what does it represent?

片名为“沥青与草地”,看似与主体内容毫不相关,为什么会以此为名?沥青和草地分别代表了什么呢?


A:Asphalt and grass are the metaphors for homeless people's life:hard and soft, cold and warm, dead and alive. Every day it is unpredictable whether they hit the asphalt or the grass. In the end I believe asphalt and grass are metaphors for any human being life… Life is unpredictable.

沥青和草地是无家可归者生活的隐喻:硬与软,冷与暖,死亡与鲜活。每天都无法预测她们会碰见沥青还是草地。最后,我相信沥青和草地是每个人生活的隐喻……生命是不可预测的。

Q:Why did you shoot many trees, flowers and animals?


您的空镜拍摄了很多花草树木和小动物,请问这有什么用意呢?

A:While spending quite some time with each woman it was obvious for us that they were very connected to nature and to animals. They see the beauty and find shelter in nature, although it can be as merciless, but it is easier to accept rather than human action towards another human. They are deeply rooted with nature and wild animals inside the city. I guess we simply followed the flow of the women and showed their flow through the shots of nature.


我们和每个女人都相处了很长的时间,很明显,她们与自然和动物有着十分密切的联系。她们看到了大自然的美,并在此找到了庇护,虽然它可能是无情的,但比人类之间的行为更容易让人接受。她们深深植根于城市里的自然,并与野生动物们和谐相处。我想我们也只是跟随着这些女性的流动,并通过对自然的镜头呈现来展示她们的这种流动性。





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