評論
打印
Books & arts
圖書與藝術
Cinema and reality
鏡頭和現實
The director’s cut
導演的剪輯
A bold Ukrainian film-maker charts the line between fiction and truth
一位大膽的烏克蘭電影制作人畫出了虛構與真實之間的界線
In the opening scene of “Donbass”, the latest feature film by Sergei Loznitsa, a hotch-potch group of extras gather in a makeup trailer. The shaky footage follows them as they are escorted to the site of a staged mortar attack in Russian-controlled territory in eastern Ukraine. There, for the benefit of a separatist news crew, they bemoan the depredations of the Ukrainian army. In the film, the explosion is a stunt, but the damage is genuine— much like the real-life conflict.
在謝爾蓋·洛茲尼察的最新故事片《頓巴斯》的開場場景中，一群大雜燴般的臨時演員聚集在一輛化妝拖車里。在這段不穩定的視頻中，他們被護送到烏克蘭東部俄羅斯控制地區的迫擊炮襲擊現場。在那里，為了一個分離主義新聞團隊的利益，他們哀嘆烏克蘭軍隊的掠奪。在電影中，爆炸只是一個噱頭，但造成的傷害卻是真實的——就像現實生活中的沖突一樣。
With its vertiginous spiral of fakery, the invented but plausible scene captures the essence of Russia’s hybrid onslaught against Ukraine. After the revolution of 2013-14 Kremlin-controlled television stations spewed poisonous lies into the disaffected, Russian-speaking Donbass; next, militants and army units rolled in to “defend” the region from phantom Ukrainian fascists. Like a mirror, Mr Loznitsa’s film reflects and inverts that process, using fiction to expose the wounds inflicted by the annihilation of truth. Not surprisingly, “Donbass” has been banned in Russia.
在令人眩暈的造假漩渦中，這個虛構但看似可信的場景抓住了俄羅斯對烏克蘭混合攻擊的本質。2013年至2014年的革命之后，克里姆林宮控制的電視臺向說俄語、心懷不滿的頓巴斯播撒了惡毒的謊言；就像一面鏡子，洛茲尼察先生的電影反映和逆轉了這一過程，用虛構來揭露真相被毀滅所造成的創傷。毫不奇怪，《唐巴斯》在俄羅斯已經被禁。
The boundary between reality and lies, fiction and history, is one of the world’s most contested borders. It runs squarely through the propaganda-warped badlands of eastern Ukraine—and through Mr Loznitsa’s powerful oeuvre. In both his feature films and documentaries, his aim is the opposite of the propagandists’: to present the essential truth of what happened, and—an even harder task—diligently to make clear what did not happen, too.
現實與謊言、虛構與歷史之間的邊界，是世界上最具爭議的邊界之一。它直接貫穿于烏克蘭東部扭曲的不毛之地的宣傳之中，也貫穿于羅茲尼察的全部作品之中。在他的故事片和紀錄片中，他的目標都與宣傳者的相反：為了展現已經發生的事情的本質真相，以及一項更加艱巨的任務——勤奮地弄清沒有發生的事情。
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