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。
This program involves conducting brief email interviews with the directors of the international films featured in the festival, in lieu of the traditional Q&A session that follows the screenings. Through this program, we hope to provide a platform for filmmakers to discuss their work and share their insights with our audience in China.
The Eyeball Person｜眼球人
Yuri Muraoka
Japan｜Japanese｜2023｜0:11:42
Q&A
Director导演:Yuri Muraoka
Interviewer&translator邮件采访翻译:林昕烨
Q1 : There are many things that are similar to your experience in The Eyeball Person, like two children’s mother, one of your daughter Nemu. Is the film entirely a reflection of your life? Or is it an artistic treatment on the basis of life? How do you think the relationship between real life and fictional creation?
本片中有许多地方和您的经历重合，比如两个孩子的母亲、其中一位女孩名叫Nemu。请问该影片完全是您生活的反映吗？还是在生活的基础上进行了艺术化的处理？您是如何理解现实生活与虚构创作的关系的？
A1 : The word "fiction" doesn't suit me, so use the word "fantasy." To be honest, I don't know if I'm alive in real life or in Fantasy. However, I think the important thing is not to make the boundary between these two clear, but to discern the ``truth'' with the eyes of your mind. Whenever I create something, I want to stay faithful to what is true to me. By creating my artworks, I hope that I can grasp the truth in my life someday.
“虚构”这个词不适合我，或许“幻想”会更符合。说实话，我不知道自己到底生活在现实还是幻想中。然而，我认为重要的是不要在两者之间建立清晰的分界，而要去用思绪中的眼睛觉察出所谓的“真实”。不论何时我在创作某些东西，我都希望忠于我认为的真实。在进行艺术创作的同时，我希望有朝一日可以抓住我生活中的真实。
Q2 : The Eyeball Person is also a poem. Do you write the poem first and then create the film, or do you create the film first and then organize it into a poem? You said that ” An attempt to weave images with words and to weave a poem with images.” Are there any problems in the weaving process? If so, how did you solve them?
《The Eyeball Person》同时也是一首诗。请问您是先创作了诗歌后创作影片，还是先创作了影片后整理成诗歌？您曾谈到“用文字来编织形象，用形象来编织诗歌”。在这样的过程中您是否遇到了什么困难，后来又是怎么解决的呢？
A2 : For my previous work ``Transparent, I am.'' and this work, I started with poetry, and then made the films. Ever since I started writingpoetry, I have always been exploring the intersection of images and words. My poems are very visual, so it's easy for the reader to imagine an image in their mind. However, due to the music and narration, there is a time constraint for moving from cut to cut. Because of this, the audience is constantly driven to develop its story. This is still not solved. This is a challenge for the future, and it is also the cause of my frustration! I want to make my next film something that isn't bound by words.
我先前的作品《透明的我》(Transparent, I am.)和这部作品都是从诗歌开始，然后创作了影片。自从我开始写诗，我一直在探索图像和文字的交汇点。我的诗非常形象化，因此对于读者来说在脑海中想象画面是很容易的。然而，由于音乐和旁白的连贯性，从一帧切换到另一帧受时间的束缚。因此，观众被迫不断地脑补其中的故事。这个问题仍然没有解决，同时对未来也是一个挑战，也是令我受挫的原因。我希望创作的下一部影片能够不被文字所限。
Q3 : The sunflowers many times in the film, including the eyes of the little girl on the train, seeds broke through the soil in the sunflower pot, the scene cuts between sunflowers and hanged man. It seems that on the one hand the sunflowers stand for evil, on the other hand they stand for vitality. Can you explain the meaning of the sunflowers for us? And then what role do sunflowers play in the film?
影片中多次出现向日葵意象，包括火车上的小女孩的眼睛，向日葵盆栽中种子破土而出，向日葵与上吊的人来回切换等等。向日葵似乎一方面代表罪恶，另一方面又代表生机。您能为我们具体阐释下向日葵的含义吗？向日葵在影片中具有什么样的作用？
A3 : The sunflowers of her eyes and vagina of the girl on the train are evil, but they are also symbols of her suffering. Because of this, she feels low about herself. “Living” is very wonderful, but at the same time it is very painful. Even amidst such hardships, The sunflowers strives to find the sun, and Nemu continues to live in search of light in her life. Their appearance is so earnest and innocent. They encourages me that I can believe in myself
火车上，女孩眼睛和下体的向日葵是罪恶的，但它们也是她苦难的象征。因此，她常常看低自己。“活着”是多姿多彩的，但与此同时它也非常痛苦。尽管境况如此艰难，向日葵仍奋力寻找阳光，并且Nemu在生活中也不断地寻找光。它们表现得如此热忱与纯洁，鼓励着我，让我相信自己。
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