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BISFF2022|新星竞赛单元奖项揭晓 NOVA Competition Award



NOVA新星竞赛单元

BISFF2022 Reboot NOVA Competition Award



BISFF评审团奖项





《Sikiitu》

雪地车

Gabriel Allard Gagnon

BISFF2022 评审团评语
传统的生活,现代的表达:白雪皑皑的寒冷背景下,配以动感十足的电子乐,更有梦境闯入现实生活的荒诞画面,导演在形式和内容上,可谓完美契合了要探讨的影片主题:偏远村落的少年身处传统和现代之间的撕裂和挣扎,以及两代人的隔阂冲突。最后用亲情和爱化解,也让影片在天寒地冻中多了温情和暖意。(刘敏)
In this film, modern expressions are given to show traditional life. A snowy place and the cold weather, the lively electronic music, as well as some absurd scenes with dreams intruding into real life, all of these reflect that the director perfectly expresses the theme of this film in terms of form and content, that is, the torture and struggling between traditional and modern life of a young man living in a remote village, and the conflicts between two generations. In the end, family affection and love dissolve it, which makes people feel warm in the freezing weather. (Liu Min)


《The Zoo》

动物园

Nafiseh Zare

BISFF2022 评审团评语
用幽默的手法描写了母女间短时间内无法解决的问题。表演与环境音的相融,带我们进入了母女之间共同无法忘记的永恒时刻。(大塚龙治 Ryuji Otsuka
The director in a humorous way describes the problems that cannot be solved in a short time between mother and daughter. The blending of performance and ambient sound takes us into a timeless moment that mother and daughter can't forget. (Ryuji Otsuka)






《Blaues Rauschen》

Blue Noise|蓝噪音

Simon Maria Kubiena

BISFF2022 评审团评语


深蓝暮色里,作品弥漫出平静而动人的勇气。对疼痛的关照,在片中化为令人惴惴不安的细节,身体性的劳动、选择、对抗姿态。导演借敏感的观察,轻盈的表达,描摹着男孩走向自己和更广阔日常的过程。(郑陆心源)
In the deep blue twilight, calm and moving courage pervades the work. The care for pain is transformed into unsettling details, physical labour, choice and confrontational gestures. The director portrays the boy's journey toward himself and broader life through sensitive observation and light expression. (Zheng Lu Xinyuan)







NOVA新星竞赛单元评审感言


刘敏 Liu Min

我个人觉得选片质量真是相当不错的,非常非常高,但是有一些我的分相对打得低一点。其实片子可能都是好片,但是我作为评委,更倾向于它作为一个短片在语言上或者是在一些内容的深入上,是不是有一些独特的地方,而不是看它整体还不错(就给高分)。比如我会发现其中有一个片大家都给了高分,我自己给的分相对比较低。其实我也没有觉得它不好,只是我希望更多看到作品在电影语言上能够有一些它自己的创新。如果相对还是在传统的、作者电影范围内的好,那么我就会把它的分数稍微往下压一下。


I personally think the films selected are all high-quality, but some have received relatively low scores from me. I have to say they are all good films, however, as a judge, I prefer those short films with some unique features in terms of lens language, or depth of content, instead of giving high scores just because it's not bad overall. For example, if a film gets a high score from others but a relatively low score from me, it doesn't mean it's bad in my mind. I just expect to see more innovation in film language. I will give relatively lower scores to films that are conventionally as good as the directors' other films without any innovation. (Liu Min)



大塚龙治 Ryuji Otsuka


我主要看这几点:一个是演员的表演,因为这个单元小演员比较多,导演怎么让他们表演,这是特别难的事情;还有一个是片子的观点,技术上我觉得这些片子水平大概差不多,但导演的观点是有区分的,我会看导演怎么考虑社会、怎么考虑片中所在年龄段的人物的观点;另外一个是可能性,估计有些导演还年轻,会有不够完美的地方,但是我觉得如果可以看到一些力量和可能性的话,我也会很关注。


I focus on the following points: One is the actors’ performance. Since there are a lot of young actors in this unit, how the director directs their performance is particularly difficult; Next one is the ideas of the film. Technically, I think these films are about the same level, but the directors' points of view are different. I will see how the director considers society and the opinions of the characters in the film; The last one is possibility. Some of the directors are still young and there will be some imperfections, but I will pay close attention to the power and possibility. (Ryuji Otsuka)


郑陆心源 Zheng Lu Xinyuan


我主要看的是作品在celebrate怎么样的精神,因为我觉得很多片子可能都会做得很完整,但我更想看到的第一是这个作者有多少的自信在表达,即使TA的故事可能不是很容易被理解;第二个是作者在尝试的影像语言有没有让我觉得有危险感,其实还是尝试的勇气。


I would like to see what spirit the work is celebrating. I know many films are very complete. So what I'm more interested in seeing is firstly how much confidence this director has in expressing himself or herself, even if his or her story may not be easily understood; and secondly whether the visual language the author is experimenting with gives me a sense of danger, or in fact the courage. (Zheng Lu Xinyuan)



NOVA新星竞赛单元评委现场


刘敏 Liu Min


作为一名多年参加报道国际电影节的影评人记者,我可以非常认真也很高兴地说,BISFF的选片从地域到作品质量,都非常对得起国际两个字。青春和成长题材,往往是年轻导演电影生涯起步期探索的主题,有感而发使得作品真诚度大大高于其它内容。我能感受到创作者的用心和努力,看片过程也很享受,有一种去发现不同国家年轻导演讲述不同文化下的青春躁动的惊喜。


短片创作对影片本身叙事结构、人物刻画的要求,相对于长片其实是完全不同的体系。看到几部华语作品尝试不同风格不同镜头语言的讲述,我个人还是很惊喜的,《莎鲨》中导演一气呵成的流畅镜头包含了大量信息,人物表演拿捏也令人信服,尤其给我留下深刻印象,相信导演有足够的执导把控能力,在未来还能发挥出更大潜力。内容上,感觉华语导演作品整体思考偏向写实,可以探索如何释放更多想象力,做个人风格更强烈的自由创作。当然,镜头独特和风格化并不是一部优秀作品的唯一和绝对标准。化繁为简,用最朴实的镜头语言,捕捉人性的微妙、深入人性内心最深处的精准表现,同样可以呈现佳作,甚至可能更难。


As a film critic-journalist who has participated in and reported on international film festivals for many years, I can say with great seriousness and pleasure that BISFF's selection of films is worthy of the word "international" in terms of region and quality. Since the themes of youth and growth are often explored during the early stage of young directors' film careers, the films produced with their sentiments are much more sincere than other themes. I really enjoy watching those films, for there's a kind of surprise to discover young directors from different countries telling stories about youthful angst in different cultures, and from the films, I can get their dedication and efforts.


The requirements for the narrative structure and character portrayal of short films are completely different from those of full-length films. Actually, I was surprised to see several Chinese films that attempted to narrate in different styles and camera languages. In Hold on Little Shark, both the director's smooth shots that contain a lot of information, and the convincing character's performance, left a deep impression on me. I believe this director has sufficient directing and control skills to produce more good films in the future. From the aspect of content, I found that the overall thinking of Chinese directors is more realistic, so fully using imagination to make films with stronger personal styles can be a direction for them to strive to. Of course, the uniqueness and the personal style of the shots are not the only absolute standards for an excellent film. Making things simple, or in other words, using the simplest camera language to capture the subtleties of human nature and explore the precise expression that goes deep into the mind of humans, can also create masterpieces, and it may even be more difficult. (Liu Min)


大塚龙治 Ryuji Otsuka


因为我在日本,有点遗憾感受不到影展的气氛。这个单元设置参考了柏林电影节的generation,选择了一些青少年主题的作品。年轻人拍接近自己年龄的故事,再通过这些片子去看年轻人,我是觉得蛮好的。导演成长了以后,可能会离开青年的这种感受,有新的感受出来,慢慢慢慢成熟了,所以我觉得能看到年轻导演在现阶段拍的青少年题材,我是挺有价值的。


这个单元的影片,欧洲电影学院系统风格的大概占三分之一吧。但我整体看,还是会集中在比较独立或个性一点、不是在系统内的片子。还有就是关于怎么选择和表现演员。这些片子整体上选的演员都挺好的。选对了演员就好似已抓到了60%,但也还有没抓到的部分,还得要更思考,怎么更好地用演员讲故事。


关于华语片和国际影片的不同,我觉得华语片,比如《莎鲨》《南方午后》《火车雨》三部片子都很有特点,人物很细,这三部片子都感受到导演的背景,在哪里出生、从哪里长大等,都能看到导演的生活经验。我觉得这是华语电影的一个特点。 但是欧洲的片子就有一点模糊,有点感受不到导演的来源在哪里。华语电影的这个特点,我印象中还是从中国独立电影来的,这个是很大的特点,大家其实是抓到了这个在拍摄和创作,然后传播到国际。


Since I am in Japan, it is a pity that I can’t feel the atmosphere of the film festival. This unit is set with reference to the Berlin Film Festival's generation, with a selection of youth-themed works. I think it's good for young people to make stories that are close to their age, and then to see young people through these films. When the directors grow up, they may lose the feeling of youth, have new feelings, and gradually become mature, so I am delighted to see youth-themed films from young directors.


About one-third of the films in this unit are in the style of the European Film Academy system. But when I look at it as a whole, I tend to focus on films that are more independent or individual and not in the system. Another key point is how to choose and present the actors. These films generally are well cast. With the right actors, it's like you've got 60% of the story, but you still have to think more about how to tell the story with the right actors.


As for the differences between Chinese films and international ones, I think Chinese films, such as Hold on Little Shark, Southern Afternoon and Summer Skeletons, are very distinctive and have detailed characters. In these three films, you can feel the background of the directors, where they were born and grew up, and you can also see their life experience. I think this is a feature of Chinese movies. But European films are a little bit vague, and it’s hard to feel where the director's origin is. In my impression, this feature of Chinese films is derived from Chinese independent films, which is an obvious feature. In fact, directors grasp this feature in the shooting and creation, and then spread it to the world. (Ryuji Otsuka)



郑陆心源 Zheng Lu Xinyuan


短片是一个特别自由的形式,所以我觉得每次看短片都很有意思。短片也是很多作者刚开始的时候可以有条件创作的,大家在这个阶段基本上是have nothing to lose,即使有些作品看起来不太成熟,但可以看到一些刚开始的锋芒。就是在有限的表达情境当中,到底什么对你来说是最重要的。


整体上,我会觉得华语片的质量,与起其他地方的作品相比,还是有一些差距。它的确像是独立电影时代延续下来的,大家都还是会有生猛的东西,可能也会有一部分功利的东西,就是有些片子可能是为了长片做准备之类的,整体上还是有一些参差。可能还是没有形成一个很好的创作的community。现在影展也变得越来越少嘛,不像以前独立时代的时候,大家还是经常可以聚在一起,形成一个独立电影的语境去讨论,学院派也有学院派的语境,都可以互相交流,都做得比较扎实。现在华语电影其实非常贫瘠,这个是我觉得比较sad,但是看到有很多人在拍短片,还是挺高兴的。


像《The Zoo》这样的片子,是在国内学院派的路线上,也许挺多人可以做出来。《Blue Noise》属于欧洲某种学院派,可能在欧洲看起来也已经相对常见了,但让很多国内的创作者看到、明白可以如此轻盈地讲述,保留这种自信,我觉得是很重要的。


我觉得也是青年生存状态(不同)吧。比如说很多华语短片的内容,还是小镇青年、底层苦难,或者说是比较浪漫化的苦难、浪漫化的青春。当然这些短片肯定和市面上所谓的青春片不一样,但是我们能不能够很轻巧地去讲一个属于这个年龄段、长大以后可能会觉得无所谓、但这一刻就是很重要的事情?我觉得要给年轻的创作者去表达的信心,就是大家可以在此刻去表达你最相信的事情。这种表达的勇气是很重要的!


Short films are a particularly free form of filmmaking. I find it interesting every time I watch them. It’s easy for many new directors to get started since they have nothing to lose at the initial stage. Though some of their works seem less mature, there are still some shining points. It’s important for directors to know what to express in a limited context.


I think the quality of Chinese films as a whole has improved significantly, but compared with those in Europe or America, there is still room for improvement. Short films do seem to be a product of the Independent Film era. Some are raw, some utilitarian. Some may be prepared for feature films or something like that. There are still some differences on the whole. Maybe it is because we haven’t formed a good community for creation. Nowadays, film festivals are becoming less and less common, unlike in the old days of independent cinema, when we could always get together and have an independent film context to discuss. Academism has its own context. They can communicate with each other and lay a more solid foundation. Now the Chinese film industry is not optimistic. I’m sad about that. But I’m still happy to see a number of people making short films.


The Zoo belongs to domestic academism. Maybe quite a few people can make it. Blue Noise belongs to some kind of European academism, which may look relatively common in Europe. But it's important for many domestic creators to see and understand that it can be told so lightly and retain that confidence.

I think it’s also because of their different living conditions. For example, the content of many Chinese short films is still focused on the plight of small-town swot, the suffering of the underclass, or rather a more romanticized misery, a romanticized youth. Of course, these are different from the so-called youth films on the market. But can we talk about something lightly that belongs to this age group, which may not matter when we grow up but is very important at this moment? We need to give the young creators the confidence to express what they believe most at the moment. Such courage to express is very important. (Zheng Lu Xinyuan)




translators翻译:季盈杰 Ji Yingjie、赵诗佳 Zhao Shijia、洪承熙Hong Chengxi

press-correctors校对:赵诗佳 Zhao Shijia、Yuchen Lu

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