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2016 | 国际单元 | 基斯洛夫斯基逝世20周年纪念展览

作为纪录片导演的基斯洛夫斯基二十周年祭:纪录普通人的生活状态。

二十年前,那个在西方拍下《蓝白红三部曲》经典力作的波兰导演克日斯托夫·基斯洛夫斯基在心脏病手术台上猝然而逝,享年55岁。作为冷战后在西方一举成名的波兰电影导演,基斯洛夫斯基见证了波兰电影艺术的一座高峰。英国电影学院的(《Sigh & Sound》)杂志把基斯洛夫斯基列为现代“十大导演”之一,位列第二。

《蓝白红三部曲》充满了个人命运的偶发性和必然性,几个故事主人公之间的关系错综复杂,在每个章节中都暗藏伏笔。蓝色象征自由,白色象征平等,红色象征博爱;每一个章节都似乎其主题,但是其他章节的人又会偶然地出现在另外一个主题中;基斯洛夫斯基仿佛在询问,人生的意义到底何在?

探究人生意义,未免是一个庞大又复杂的命题。对于在波兰底层社会成长的基斯洛夫斯基来说,记录人生从来就是从身边人的故事做起。早年毕业于波兰罗兹电影学院的基斯洛夫斯基在当时战后的罗兹拍摄过一系列短片,作为学校作业的一部分。为了采风,他跟同学一起在路上默默地观察路人。在那个战争刚结束的年代,罗兹街头充斥着断手缺腿的人。基斯洛夫斯基甚至跟同学打赌,下一个过路人是缺腿还是缺手。

工业城市出现的大量神态麻木的人,使二十多岁的基斯洛夫斯基得出了一个结论:“有些人根本不知道自己活着的目的是什么”。在余下来的时间里,在普通人堆中,基斯洛夫斯基好像在不断探寻,人活着的意义是什么。

在成为电影导演之前,基斯洛夫斯基在七十年代用胶卷拍摄过不少小短片,采访和跟踪了不少普通人的生活。作为纪录片和专题片的导演,基斯洛夫斯基在其后的自传中曾经不止一次思考,到底镜头是要介入叙事,还是在一旁作为一个观察者。他深入工人、士兵、医生和家庭主妇的生活,尝试记录下当时波兰普通人的生存状态。在这个单元格,你可以看到作为纪录片导演的基斯洛夫斯基在早年的作品。

It is the 20th anniversary of documentary director Kieslowski 's death: documenting the life condition of the ordinary people.

Twenty years ago, the Polish director Krzysztof Kieslowski, who directed the classic films “Three Colors Trilogy” in the western countries,suddenly died of the heart disease on the operating table, aged 55. As the Polish director who claimed to fame with his first feature film, Personel, is a peak witnessing the success of the Polish motion picture arts.《Sigh & Sound》had made a list of ten greatest movie directors in modern age, and Kieslowski ranked second.

“Three Colors Trilogy” is full of contingencies and inevitabilities of the personal fate. The intricate relation of the main characters in three films was hidden in each movie using foreshadowing. Blue symbolizes freedom, white equality, and red charity. Each film seems to have its own subject, but the characters in other films sometimes come up by chance in some scene. It makes the viewers have a thought that Kieslowski, the director, was asking a question: what is the meaning of life on earth.

For Kieslowski growing from the underclass, the observation of the people around was always the first step to record life. Graduated from Lodz Film School, Kieslowski did a series of short films in post-war Lodz city as the homework. In order to collect the material of the films, he and his classmates went to street to watch the passer-by. Back then the streets of Lodz was full of people with broken hands or legs. Kieslowski even bet with the classmate to see whether the next one crossing the street missed the legs or hands.

A large number of apathetic people in the industrial city, made Kieslowski in his early twenties came to a conclusion: “some people just did not know the purpose of their lives.” So in the rest of his life, he kept looking for what the meaning of ordinary people’s life is.

Before becoming a film director, he shot a great many of short films with footage in 1970s, interviewing and tracing the lives of ordinary people. As a documentary and feature film director, Kieslowski had mentioned the point of view of the lens more than once in his autobiography whether it should get into the narrative of the film or just be an observer. He went deep into the lives of workers, soldiers, doctors, and housewives, and tried to record their living conditions of the ordinary people in Poland. In this section, you can see the early works of Kieslowski as a documentary director.

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