国际竞赛单元
BISFF2022 Reboot International Competition Award
BISFF评审团奖项
《你留下的一切》
All the Things You Leave Behind
Chanasorn Chaikitiporn
BISFF2022 评审团评语
在众多通过对解密档案和公开文献进行重新剪辑加工的研究型影像创作中，Chanasorn Chaikitiporn对开放素材的批判性虚构可谓独树一帜。结合人称和视角的转换，以及对图像、声音和叙事的精细处理，本片召唤出一段鲜为人知的泰国历史中冷战幽灵。（蔡影茜）
Amidst the plethora of research-based image creations involving re-editing and processing of decrypted archives and public documents, Chanasorn Chaikitiporn's critical fictionalization of open-source materials stands out as a distinctive endeavor. Through the fusion of shifts in personal perspective and narrative viewpoint, coupled with meticulous handling of imagery, sound, and storytelling, this film summons forth a segment of Thailand's little-known history, evoking the specter of the Cold War era.（Nikita Yingqian Cai）
《面对面》
Face to Face
Florent Mahoukou
BISFF2022 评审团评语
从叙事逻辑和影像语言的角度来分析《面对面》这部短片或许并不复杂。身为舞蹈演员的作者在短片一开始就用“身体”把观众带到了一处位于黑角北边的海岸。通过类似舞蹈的肢体动作在镜子与现实空间中来回“穿行”，并贯穿整个影片。同时用朴素的旁白告诉观众：自己为何离开又回到这里——刚果。但我认为影片不会因为“直白”的讲述而显得“简单”。相反作者通过身体动作和自述的结合凸显出了一种高度自觉的主体。而只有把影片中的身体表演理解成一种主体性的塑造时，那些出现在镜子中和现实中的场景才能构建出影片的复杂语境。比如那片曾经运送奴隶的港口和作者自己漂浮在海上的行李箱，那片尘土飞扬的刚果街头和镜子中西装革履的自己，以及镜子中被勒住脖子的人和那些被称为“刚果嬉皮士”的本土网红。（余果）
When analyzing the short film "Face to Face" from the perspectives of narrative logic and visual language, it may initially appear deceptively uncomplicated. The author, who embodies the role of a dancer, promptly transports the audience to a coastal setting located north of Cape Noir, utilizing the "body" as the primary vehicle of immersion. Through choreographed bodily movements reminiscent of dance, the protagonist seamlessly navigates between mirror reflections and physical reality, establishing a consistent motif that permeates the entire film. Accompanied by a minimalist voice-over narration, the author candidly elucidates their motivations for departing and returning to this specific locale—the Congo.
Nevertheless, I contend that the film's narrative straightforwardness does not render it simplistic. On the contrary, the author's astute fusion of bodily performance and self-referential storytelling accentuates a profound sense of self-awareness within the narrative subject. It is only by comprehending the bodily performances within the film as an embodiment of subjectivity that the intricate contextual fabric of the film, featuring scenes juxtaposing reflections and reality, can be woven together. Examples include the evocative portrayal of a harbor that historically facilitated the transportation of enslaved individuals, contrasted with the author's floating suitcase adrift at sea; the enigmatic interplay between the dusty streets of Congo and the mirror's depiction of the author adorned in formal attire; and the introspective reflection of a person being constrained by their own neck juxtaposed with the captivating presence of local internet celebrities known as "Congo Hippies."（Yu Guo）
《泪水依旧》
Tears will remain
Leri Matehha
BISFF2022 评审团评语
这部13分钟的短片在叙事与结构上都相当简洁，其影音素材来自作者于2018-2019年在乌克兰东部小城巴赫姆特（Bakhmut）就当地历史所做的实地研究。影片在事实陈列和叙事剪裁上是干净准确的。无论是关于“（曾经在这里的）共产主义雕像究竟有多重”的采访调查，还是对于此地在苏联治下大规模生产“社会主义香槟”的历史钩沉，作者均未刻意弃用可能被诟病为过于常见的对比、双关和象征修辞，如酒与血、庆典与泪、宗教牺牲与历史惨剧等等，但因精到而有匠心的实景拍摄，在文献和表现之间的平衡适度，以及平时冷静的处理手法，让这一题材更有撼动人心的力量。最后，有必要再补充一句，作为俄乌战争的东部前线，巴赫姆特小城此刻已满目疮痍，这里的人民和军队至今仍在经历最漫长也是最惨烈的战斗，为巴赫姆特祈祷。（李佳）
This 13-minute short film demonstrates a remarkable conciseness in both its narrative and structure. Its audiovisual materials originate from the author's on-site research conducted between 2018 and 2019 in Bakhmut, a small town in eastern Ukraine, focusing on the local historical context. The film showcases a meticulous and precise approach in presenting factual information and crafting the narrative. Whether it is the investigative interviews regarding the weight of the "communist statues (that once stood here)" or the historical exploration of the town's extensive production of "socialist champagne" during the Soviet era, the author deliberately avoids relying on commonly criticized contrasting, puns, and symbolic rhetoric, such as wine and blood, celebration and tears, religious sacrifice, and historical tragedies. Instead, through astute and inventive on-site cinematography, a delicate balance is struck between documentary evidence and artistic expression, while maintaining a calm and composed directorial approach. This combination empowers the film to possess a deeply moving power within its thematic exploration. Finally, it is crucial to add that as the eastern frontline of the Russo-Ukrainian conflict, the town of Bakhmut currently lies in ruins. Its people and armed forces continue to endure the longest and most ferocious battles. Let us offer our prayers for Bakhmut and its inhabitants.（Li Jia）
《洞察力》
Insight
Emma Braun
BISFF2022 评审团评语
片中主角Sophie是一位烟囱清洁工，她总是一个人，在拂晓中等候公交，在不同房子的屋顶爬上爬下，熟练地使用各种陌生的清洁工具；然而，Sophie讲述的却是那些我们看不到的，在私密居家环境中与不同人的遭遇，包括因为她的性别和职业所带来的不安全感。导演似乎置身事外，但她平静的黑白取景框，却为一位女性劳动者提供了一幅富有尊严和情感丰富性的画像。（蔡影茜）
In the film, Sophie, the central character, assumes the role of a chimney cleaner. Engaging in solitary activities such as waiting for the bus at dawn and navigating rooftops of different houses, she displays proficiency in handling a variety of unfamiliar cleaning tools. However, Sophie's narrative transcends the visible aspects of her work and delves into her encounters with various individuals within the private realm of their homes. These encounters shed light on the experiences and insecurities she faces due to her gender and profession. While the director maintains an apparent sense of detachment, the serene black-and-white cinematography employed in the film offers a profound and emotionally evocative portrayal of a female laborer, imbued with dignity and nuanced depth.（Nikita Yingqian Cai）
《GPS信号丢失》
GPS signal lost
Pierre Voland
BISFF2022 组委会评语
Pierre Voland通过超8毫米黑白胶片图像和虚构的在线约会软件界面，在古法语诵读的中世纪骑士文学和冰冷的机器语言中，奇妙地将极远和极近的两个模糊精神体缓缓拉近并交叠在一起；晦暗落雪的山林将“奇遇（avventura）”内核连同其无法通往的“爱欲”（eros）不动声色地承载起来；主体的双重“去肉身化”暗示“叙述”已成为一种玄机重重的，具备强拓展性的图像行为，也使电影成为趋近于布雷耶（Émile Bréhier）所阐释的“可言之物”（lekton），它“介乎思想与事物、言词和世界之间”，“向着语言而来”。（BISFF组委会）
Pierre Voland employs a combination of Super 8mm black-and-white film imagery and a fictional online dating software to create a captivating artistic composition. Through the recitation of Old French Chivalric romance and the incorporation of poised machine language, he masterfully draws closer and overlaps two vague mental bodies that exist in extreme proximity and distance. The enigmatic essence of the narrative is conveyed through the obscure, snow-covered mountain landscapes, carrying the kernel of " avventura " and the elusive realm of " eros " in a subtle manner. The dual process of "de-embodiment" experienced by the subject not only suggests a profound exploration of the narrative, but also signifies a powerful and expansive visual expression, aligning with the concept of a " lekton " as expounded by Émile Bréhier. In this context, the film moves towards language, bridging the realms of mind and reality, words and the world.（BISFF organizing committee）
