BISFF2025 | Correspondence 通信计划060：Seen From Here, I Feel Like Belonging 由此望之，我心如归

BISFF Correspondence 通信计划

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.

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。

Seen From Here, I Feel Like Belonging｜由此望之，我心如归

Leon Emonds-Pool, Emilia Auhagen-Kuoppamäki 莱昂·埃蒙茨－波尔，埃米莉亚·奥哈根－库奥帕迈基

2025｜0:30:00｜Germany, Netherlands｜English, German｜World Premiere

Director: Leon Emonds-Pool, Emilia Auhagen-Kuoppamäki

Interviewer & Translator: Jeanine Huang

Coordinator & Editor: Suliko

导演：莱昂·埃蒙茨－波尔，埃米莉亚·奥哈根－库奥帕迈基

采访、翻译：黄景怡

统筹、编辑：苏丽珂

Q1: The archival footage has a low-resolution, grainy quality with a lower frame rate. What led you to film and present it in this style?

A1: Actually, only the photographs that Lieven took during his studies and the quotations from the funeral eulogy are taken from the archive. Everything else is shot by us in present times on analog Super-8. Shooting like this helped us to blur the perception of time during the film. We like the fact that at some points you might not really know what is archival and what not. Also, the materiality of the analog medium draws a connection to the world of our protagonists who, in their case, spent their lifetime creating, collecting and storing analog scientific materials.

Q2: It's fascinating that you include footage of researchers working with the archive—carefully moving preserved photographic slides, research papers, and personal notes, then scanning and digitizing them. When Lieven Braber's historical photographic slides appear alongside the hum of modern scanners, past and present converge powerfully. This creates a sense of generational continuity—biologists studying the same landscape across time, passing on a scientific spirit. Is this temporal blending intentional?

A2: Yes, as mentioned above, this aspect was very important to us. Generational continuity is a good description for it. The protagonists with whom we shot, already have spent decades researching in this ever-changing landscape. Lieven could have been one of them. We felt the same dedication and curiosity in his scientific materials. To us, this connection through generations shows how crucial those people have been, are, and will always be for an understanding and documentation of our environment.

Seen From Here, I Feel Like Belonging, Leon Emonds-Pool, Emilia Auhagen-Kuoppamäki, 2025

Q3: Beyond professional biologists and local researchers, you also include educational scenes as local researchers introduce this region's species to potential travelers, amateurs, and non-professionals. What factors guided your decisions about who to film and interview?

A3: An important part during the whole research and shooting phase was Landschapsbeheer Zeeland, a non-profit organization that organizes and connects researchers, amateurs and volunteers in the "zeeuwse" area. They introduced us to most of the people we met. Their work not only focuses on the actual research, but also on sharing knowledge and with that, creating an ecological awareness in the region’s community. Our protagonists are, from all the people we were introduced to, the ones where the connection to Lieven Braber’s archive and vision felt the strongest.

Q4: The transitions between footage and video clips are distinctive—you use quick cuts, lens flares, blackouts, and other techniques. What influenced your approach to these transitions?

A4: We really like the fragmented structure that comes with using the Super-8 camera. It creates another kind of reality within its images and deconstructs our normal perception. When we started editing our footage, it was clear that this would help us not only to connect the images with the fragmentation of the archival material, but also to underline a more associative experience for the film itself.

Q5: The film's closing intertitle is striking: "There is a limit to our perception, exploration, and experimentation. What remains is trust. Trust that we can find answers to the questions we ask, that our work has a purpose, and that it will lead somewhere." This statement speaks to the fundamental motivation behind scientific research. How did you arrive at these lines, and what do they mean to you in the context of the film?

A5: These lines are part of the speech that was held at the end of Lieven’s funeral. We found the whole transcription while digging in the archive. As you said, it perfectly describes the core of not only scientific work, but also of a lot of other things we do in our lives, right? Those sentences really moved us and at the same time are closely related to all the people we worked with during this project.

Seen From Here, I Feel Like Belonging, Leon Emonds-Pool, Emilia Auhagen-Kuoppamäki, 2025

Q1: 低分辨率、低帧率、强颗粒感使档案片段极具风格。您为何使用这样的视觉效果来拍摄呈现？

A1: 实际上，只有利文（Lieven）学习期间拍摄的照片与葬礼悼词来自档案。其他内容都是我们使用模拟超级八毫米胶片（Analog Super 8 Film）实景拍摄的。这种拍摄方式有助于我们模糊对时间的感知。在一些时刻，档案与实拍素材模糊难辨，真实与时间扑朔迷离——我们喜欢这种效果。此外，模拟胶片与我们主人公的世界建立起一种物质性的关联，他们一生都在创造、收集和储存模拟科学材料。

Q2: 我们看到电影中，研究人员细致地移动并保存档案，包括摄影胶片、研究论文和个人笔记等，扫描并数字化它们。当利文·布拉贝尔（Lieven Braber）所摄的历史胶片伴随着现代扫描仪的嗡嗡声一一呈现时，过去与现在交汇。这达成了一种代际延续感——生物学家跨越时间，研究同一片自然景观，传承科学精神。请问这种时间交汇的设计是您巧思的一部分吗？

A2: 是的，如上所述，这种时间的模糊化对我们来说非常重要。代际延续是对它的一个很好的描述。我们拍摄的主人公已经花了几十年时间研究这片不断变化的景观，利文本可以成为他们中的一员。我们在他的科学研究中感受到了相同的奉献和好奇心。这种代际间的关联揭示了理解并记录我们的环境有多么重要，过去如此，现在如此，将来也是如此。

Seen From Here, I Feel Like Belonging, Leon Emonds-Pool, Emilia Auhagen-Kuoppamäki, 2025

Q3: 除了专业生物学家和当地研究人员，您还拍摄了与教育相关的场景，比如当地的研究人员向潜在的游客、业余爱好者和非专业人士介绍该地区的物种。您如何选择影片中的拍摄和采访主体的类型？

A3: 研究和拍摄阶段中，担负重要角色的是泽兰景观管理组织（Landschapsbeheer Zeeland），一个在泽兰（zeeuwse）地区连接研究人员、业余爱好者和志愿者的非盈利组织。他们给我们介绍了我们在影片制作中遇到的大多数人。他们的工作不仅关注实际研究，还关注分享知识，从而在社区中建立生态意识。在他们介绍我们认识的所有人中，我们的主人公是与利文·布拉贝尔的档案和愿景关联最强的人。

Q4: 镜头之间的过渡转场很独特——你们运用了快速剪辑、镜头光晕、黑屏等等手法。这些转场方式的处理思路是什么？

A4: 我们非常喜欢超级八毫米相机（Super-8 Camera) 带来的碎片化结构。它在图像中创造了另一种现实，并解构了正常的感知。当我们开始编辑素材时，这些转场不仅有助于将图像与档案材料的碎片化联系起来，而且强调了电影本身更具联想性的体验。

Q5: 影片结尾语令人难忘：“我们的感知、探索和实验都有其限度。唯有信念永在——相信我们能找到问题的答案，相信我们的工作有其价值，相信它终将通向某处。” 这段话道出了科学研究的根本动力。对您而言这些文字意味着什么?

A5: 这些文字出自利文葬礼上的悼词。我们在整理档案时发现了完整的记录。正如你所说，它完美地概括了科学工作的核心，也道出了我们生活中许多事情的本质，不是吗？这些句子深深打动了我们，也与这个项目中所有合作者紧密相连。

About the Artist 艺术家简介

Emilia Auhagen-Kuoppamäki completed her master’s degree in North American Studies in 2024. In the course of her studies, she developed a growing interest in cultural ecology, particularly in film and literature. Her current research interest lies in exploring how artists generate change in human interaction with the non-human world through their artistic practice. Complementing her research, Emilia is engaged in creative projects in the visual arts. She is one of the five founding members of the Cologne-based artist-run-filmlab and event series collective "Film auf Film".

埃米莉亚·奥哈根－库奥帕迈基于2024年获得北美研究硕士学位。在学习期间，她对文化生态学的兴趣日渐浓厚，尤其在电影与文学的交汇处展开思考。她的研究关注艺术家如何通过创作实践，重塑人类与非人（non-human）世界的关系。除研究之外，埃米莉亚亦从事视觉艺术创作，是科隆艺术家自组织的胶片实验室与放映项目“Film auf Film”的创始成员之一。

Leon Emonds-Pool holds a degree as a Director of Photography from the International Filmschool Cologne and is currently studying at the Friedl Kubelka School for Independent Film in Vienna. After working for short films solely as a cinematographer, he is now also directing his own projects, mainly in the various fields between documentary and experimental filmmaking. In his films, which are often shot on analog Super 8 or 16mm material, he tries to explore the complex relationship of humans with the natural environment. He also works as an analog projectionist and is one of the founding members of the Cologne-based artist-run-filmlab and event series collective "Film auf Film".

莱昂·埃蒙茨－波尔毕业于科隆国际电影学院（International Filmschool Cologne）摄影导演专业，现就读于维也纳自由独立电影学院（Friedl Kubelka School for Independent Film）。早期他主要以摄影师身份参与短片制作，近年开始独立执导作品，创作领域涵盖纪录与实验影像之间的多种形态。他的影片多以超 8 或 16 毫米胶片拍摄，探索人类与自然环境之间复杂的关系。同时，他也从事模拟影像放映工作，并是科隆艺术家自组织的胶片实验室与放映项目“Film auf Film”的创始成员之一。

About the Author 作者简介

Jeanine (she/her) is a student majoring in Film Studies and Comparative Literature at Barnard College in New York City. She writes about films & media arts, dances, and (sometimes) translates.

杰尼布布· Jeanine Huang: 布布种子的新型终极进化形态!

▌more information: https://www.bisff.co/selection/seen-from-here%2C-i-feel-like-belonging