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。
Poquinca
Sasha Gransjean
USA, China, Portugal｜English, Chinese Mandarin, Portuguese ｜0:08:00｜2023
Q&A
Director导演: Sasha Gransjean
On-site content translator现场内容翻译：王秋彤
Interviewer&translator邮件采访、翻译：李昱茹
Proofreader校对：黄越
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?
这部影片运用了很多元的、碎片化的素材，包括拾得影像或者私影像，来自不同的人、视角、地区、媒介。为什么想要创作这样一部影片，以及你当初是怎么得到这样的素材？
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.
整部电影有点像抖音（TikTok）一代的电影，在某种意义上是Z世代的电影。影片中的素材，有些是由我进行拍摄，有些是从他们的社交媒体拾取而来（前提是他们允许我访问并使用这些私人素材），还有些是我邀请人们提供自己的个人媒体或者影像，由此形成了这部影片。
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?
影片中出现的所有主要人物都来自不同的社会和文化背景，他们之间有什么联系呢？
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.
除了以Z世代的共性来连接他们外，我还选择在这部电影中加入一些人物。他们在某种程度上都在使用社交媒体，其中有些人实际上从中赚钱，而另一些人则寻求认可。
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.
这部影片中的主要人物中，有一位中国女孩，而且她是影片出场的第一个人物。有观众表示，观看时会将影片看作“国内”和“国外”两个部分，关于中国那部分像一个纪录片、和社交媒体看起来没有太大的关系。但是展现国外的部分基本都是碎片化地展示他们的社交媒体。
Q3: Why did you choose this Chinese girl and why document her differently from other countries’ characters?
为什么会选择这个中国女孩？为什么记录中国女孩的方式和其他国家地区的人物不同？
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.
我觉得我不是想给他们看中国和美国有什么区别，这里也有葡萄牙等等一些别的国家，我想让别人看到的是他们之间有什么一样的东西。
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.
关于我在中国拍摄的这位主角，其实我在这个项目之前就认识她，所以在拍摄进行之前，她就已经是一个开始被记录的人。在影片开始后，我问她是否愿意参与其中。因为她的生活经历了一段非常不同的旅程，从一个无辜的地方来到上海，从事这种与性工作非常接近的事情，这与她开始的地方形成鲜明对比。她是一个小镇女孩，来了一个大城市，然后陷入了城市世界中小镇女孩的陈词滥调，那是她作为一个角色的主人。
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.
影片里的中国女孩和美国女孩都在从事相似的工作，或者说相似的性工作。我在影片制作过程中发现很多人都在做这些，比如在网上发布照片、制作YouTube视频来获得名声，或者在现实生活中去出售服务。影片里没有展现中国的女孩的社交媒体，这并不意味着她没有，我只是没有探索她的社交媒体生活。在酒吧的场景中看到（中国的）‘她’跳舞，到在社交媒体的场景中看到（美国的）‘她’在镜头前跳舞的视频，在从一个场景过渡到另一个场景的过程中，我认为这足以让观众理解她们都是参与这种话语的人。在世界的另一边，有其他人身处类似文化中。
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?
这部影片似乎是一个广阔的旅程，不管是现实物理空间还是网络虚拟空间，那么从电影的视角、或者从成长的视角来说，您如何看待我们现在所生活的这些空间？
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.
是的，我认为这是一个虚拟的和物理的世界。显然，我们生活的世界正变得越来越虚拟。我认为这是我试图捕捉并试图模仿其编辑方式的很大一部分，他们讨论的这个主题中呈现的人物片段对我来说非常象征，就人们的职业或他们试图做的事情而言，这正变得越来越像一个数字世界。至于朋友，诸如此类的事情，媒体化的生活和现实生活有越来越多的一致性。
Q5: The film appears to be fragmented. Is there a designed internal logic or narrative structure?
影片表面上显得破碎。是否有设计好的内在逻辑或叙事结构？
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.
这部电影碎片化的本质是模仿浏览社交媒体的算法体验。两者的细微差别在于，我们存在一个导演的声音，精挑细选我们所消费的内容，使之成为一种个人策展。我希望观看这部电影的人能感受到成为这一代人中的一员是什么感觉。
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