国际竞赛单元评审团奖项
《在我上升时产生的极小晃动》
Minimal Sway While Starting My Way Up
Stéphanie Lagarde
《哈欠》
Sbadigli | Yawns
Luca Sorgato
《私处故事》
Histoires d'entrejambes | Crotch Stories
Myleine Guiard-Schmid
《沉默》
Tikho | In Silence
Egor Trukhin
BISFF2021评委会
BISFF组委会奖项
《喉口开花》
Flowers blooming in our throats
Eva Giolo
▌在我上升时产生的极小晃动 Minimal Sway While Starting My Way Up
Stéphanie Lagarde
Netherlands | 0:15:00 | English | 2021
Asia Premiere
BISFF2021 ·评审团评语
Stéphanie Lagarde散文电影从建筑、电梯、人工智能的角度发声，朝上看向摩天大楼外墙光滑的镜面窗户，往下钻入万丈深渊，直抵地球生命的源头，或者也可以横向而行。形而下的上与下，高与低，地表和地底，顶楼豪宅与地下室，映照的其实是阶级、剥削、欲望，也是人无视自然的脉搏、与天争地的傲慢。从建筑的实体到动画的虚拟，由实入虚，以物观人，《在我上升时产生的极小晃动》用很短的篇幅、精准的画面、独立的美学，编织出深刻的哲学思索。（陈韵华）
Stéphanie Lagarde's prose film speaks from the perspective of architecture, elevators, and artificial intelligence, looking upward toward the smooth mirrored windows of skyscraper facades and downward into the abyss of ten thousand feet, straight to the source of life on earth, or it can also travel horizontally. The metaphysics of up and down, high and low, the surface and the ground, the penthouse and the basement, in fact, reflect class, exploitation, desire, and the arrogance of a man who ignores the pulse of nature and competes with heaven and earth. From the physicality of architecture to the virtuality of animation, from the real to the virtual, and from the object to the human, Minimal Sway While Starting My Way Up weaves profound philosophical thoughts with the very short length, precise images, and independent aesthetics. BISFF2021 Jury Yun-Hua CHEN
▌哈欠 | Sbadigli | Yawns
Luca Sorgato
Italy | 0:20:00Italian | 2020
World Premiere
BISFF2021 ·评审团评语
影片一方面自然且自由地描写了一个自然且自由的流浪老人，另一方面又刻意地用各种“媒介”“规定”了老人形象、性格和内心，甚至他的穷途末路。这使老人自身的生活环境又叠加了一重“社会环境”。这种“双重性”就像影片里的老人头顶上有一个太阳，对应着明信片上的雪人头顶上也有一个太阳。雪人头顶的太阳会将雪人融化，但老人头顶的太阳却给了老人活下去的勇气和精力。自然且自由的生命赢了社会的聒噪。犬儒式的孤独完美抵抗了潜藏在“时间”中的“意识形态询唤”（ideological interpellation，阿尔杜塞）。 所以老人砸碎了手表，在明信片上手书意大利当代诗人Attilio Lolini的诗Tic Tac，让自己永远留在温暖的太阳地里。这首电影之诗从老人“我”的面部大特写开始，到Lolini诗中的“我”结束，结构完整，浑然一体，充分体现了帕索里尼“电影诗学”的精妙旨趣。李迅
On the one hand, the film naturally describes a free vagrant old man; on the other hand, it deliberately portrays the image, personality, inner of the old man, and his desperation through various media. In this way, the film presents the man as a socially constrained individual. The duality of the individual and society in the film is also metaphorically interpreted. The old man in the film has a sun above his head, which corresponds to the snowman on the postcard having a sun above its head. The sun above the snowman will melt the snowman, but the sun above the old man gives him the courage and energy to live. Thus, the film tells that in the fight between natural and free life and chaotic society, the former wins. The cynic loneliness perfectly resists the "ideological interpellation" (Aldousser) hidden in time. The old man smashes his watch and writes on the postcard "Tic Tac" by contemporary Italian poet Attilio Lolini, leaving himself in the warm sun forever. This poetry film starts with a close-up of the face of our hero, the old man, and ends with the first-person narrative in Lolini's poem. It has a complete structure and an integrated whole, which fully embodies the subtle interest of Pasolini's "cinema of poetry". Li Xun
▌私处故事 Histoires d'entrejambes | Crotch Stories
Myleine Guiard-Schmid
France, Belgium | 0:30:00 | French, Spanish | 2021
Chinese Mainland Premiere
BISFF2021 ·评审团评语
Myleine Guiard-Schmid的定格动画结合迈布里奇遗风的静态摄影和多种动画技法，让身为人母的女性和经验丰富的助产士，在画外音分享生产故事的同时，诙谐而坚定地诘问，分娩的痛楚可不可能是社会制约下的感受？为什么生命初始的那一刻，母亲不能感受接近性爱的欢愉？《私处故事》提出新颖的视角，重新讨论女性身体的自主权，坦率赤诚而且百无禁忌。用野蛮生长的有机性和想像力探索私处的女性力量，以及女身的各种可能。陈韵华
Myleine Guiard-Schmid's stop-motion animation combines Muybridge's legacy of still photography with a variety of animation techniques, allowing women who are mothers and experienced midwives to share birth stories in voice-over, while wryly and firmly questioning whether the pain of childbirth can be a socially conditioned feeling. Why can't a mother feel anything close to sexual pleasure at that initial moment of life? Crotch Stories offers a fresh perspective on the autonomy of the female body that is frank, honest, and uninhibited. It explores the feminine power of the private parts and the possibilities of the female body with a wildly organic and imaginative growth. Yun-Hua CHEN
▌沉默 | Tikho | In Silence
Egor Trukhin
Russian Federation | 0:18:59 | Russian | 2021
International Premiere
BISFF2021 ·评审团评语
作者以惊人的敏锐度贯通了影像与声音，无比真挚地试图从日常之中提炼出更本质的关于感官和心灵的“律”法。不过，我看了两遍仍然不能确定我领会到了作者的核心意思。借用李安导演描述第一次看伯格曼电影时说的那句话来描述我对这部天才处女作的整体观感应该是贴切的：我看不懂，但我大受震撼。（李红旗）
The director captured the fundamental connection between the image and the sound with amazing acuity, and sincerely tried to extract a more essential "rule" about senses and mind from daily life. However, after watching the film twice, I am still not sure that I have grasped the core meaning the director wanted to express. The words of Director Ang Lee that he said to describe his feeling after first watching Ingmar Bergman’s film, may be appropriate to be quoted to describe my overall impression of this talent debut film: I couldn't understand it, but I was shocked.BISFF2021 Jury Li Hongqi
▌喉口开花 Flowers blooming in our throats
Eva Giolo
Italy, Belgium | 0:08:37 | No Dialogue | 2020
Asia Premiere
BISFF2021 ·评语
用一个不同的切口观察疫情隔离对我们生活产生的影响。抛去解释性的文字与话语，优雅地呈现手势运动和精妙的声音衔接，来对封闭空间下产生的暴力行为进行了一次无言的批判与反思。在一切都变得无法触碰的后疫情时代中，导演选用实体的胶片曝光。让手工操作所留下的痕迹和胶片颗粒一起精心包裹起了这首影像诗。（BISFF组委会）
Observing the impact of epidemic quarantine on our lives from a different angle, the film casts away explanatory words and discourses, elegantly presenting the movements of hand gestures and the ingenious cohesion between voices, so as to execute a wordless criticism and reflection on the violence in the closed space. In the post-epidemic era when everything has become untouchable, the director chose film exposure with a sense of entity. The traces left by manual operation and the film particles carefully wrap up this image poem.BISFF2021 festival committee
国际竞赛单元评审感言
陈韵华
观影过程挺愉快的，我比较惊讶的一件事情是有两部你们选进来的法语电影都是关于外星人的，我觉得通常在一个片单上面比较少看到这种地区跟主题重合的地方，另外一个方面就是一个国际竞赛单元的话我觉得好像少了一点点非洲的元素。看片的过程挺开心的，谢谢你们很用心。
李迅
BISFF的这届选片还真是让我很惊喜，就是说水平好到出乎我的意料。我从十几年前北京大学生电影节那会儿，开始参加原创短片的评奖，包括后来的亚洲大学生电影展，中国大学生电视节等等，感觉咱们这个短片竞赛跟目前国际短片创作状况还是很接轨的。从选片来看，首先影片类别很全，包括真人短故事片，短纪录片，还有这两年比较流行的使用found footage的影像创作，动画也是各种电脑动画和手绘动画都有，比方说《第二生命》，用一个新的概念来思考虚拟世界对人的意义，真是觉得挺好玩儿的。然后也有桌面电影的变体，比方说完全桌面调度的《预先疾病》，还有全视屏影像采集的《无人哭泣》。再就是散文电影也占有一席之地。
第二就是在很齐全的类别里边，能看到各种不一样的形式与风格。比方说国内比较强调叙事，很重视讲好故事什么的，但人家可能就是去发挥一种概念，而且有意用好几种介质的影像相互映射，构成层层叠叠的形式织体去表现概念或渲染情感，比如《如何做泡菜，如何做一个韩国人》。再比如《万古》，用亚特兰蒂斯的消亡哀悼女友的无寻，用向后的时间（倒放的海浪影像和倒放的音乐）和停滞的时间（完全不动的女友影像）与向前的时间（正常放映的影像，特别是快速行进的影像）的对峙来表现内在情感的疯狂。虽然完成度可以讨论，但形式里那种很美妙的东西，还是很难得的。我一向关注长片，今年却看了不少短片。比较来看，今年BISFF的国际竞赛短片应该讲不逊于世界上任何好的短片竞赛和影展。三十多部短片各有特色，且水平相差不大。所以特别佩服选片团队的宽广视野和美学品味，也特别荣幸能来做评委。付出虽多，收获更大。谢谢你们！
李红旗
我很久没有一次看这么多新的电影了，最近这几年的话我其实看电影，如果看的话也是重新看一下以前特别喜欢的或者特别不喜欢的片子，避免因为自己当时过于幼稚可能判断失误。但是新片的话，必须精力高度集中，我很少这样的。让我给你们做影展的人提建议，这完全就是我的弱项了。因为我一向就是别人来我家里吃饭，哪怕有一个人过来，对我来讲都是一个很耗神的事情；对我来讲，你要让我去做一个影展，我会觉得那完全是超人的能力，我觉得你们已经做得非常棒。
BISFF2021 评委团评审现场
