那裡Là-bas(2006) DownThere
導演：香特爾·阿克曼
編劇：香特爾·阿克曼
語言：法語
類型：紀錄片
上映日期：2006-10-25
比利時/法國 79分钟
那裡Là-bas(2006)的劇情介紹
TheBelgianfilmmakerspentaperiodoftime,unspecified,aweekortwo,inanapartmentinTelAvivthatwaslenttoher.Shelivedtherealone,invirtuallycompleteisolation,indirectlyfilmingandnarratingtheexperience,sustainedonlyby"provisions"foundinthekitchen,especiallyriceandcarrots,havinghadstomachtroublefromanIsraelisalad;didn'tgotocafesorsupermarkets,andrarelyevenwentout,exceptforacoupleofforaystothesea;theapartmentwasablockorsofromthebeach.
La-bàsisaseriesoflongstationaryshotsoutthewindows,oftenshowingfiguresofoldpeopleonbalconiesontherooforbuildingsopposite.Awoman,immobile,istendedtobyherhusband.Onemansitsforlongperiodsmotionless.Ackermaninvoice-oversaysshethinkshe'swatchinghisplantsgrow."ButIdon'tthinkplantsgrowanyfasterinIsrael,"shesays.
Isthisanybetterthantheproverbialwatchingpaintdry?Twoaspects,visualandauditory,savethisthin,dry,austeredocumentaryfrombeingasterileartpieceandmakeitboththought-provokingandhaunting,forthosewhohavethepatiencetositthroughit;manywillnot.
Tobeginwith,screensfilterthelightofthewindowsinabeautifulway:theshotsareoftenhandsome,notunworthyofsomethingbyHouHsiau-hsienorTsaiMing-liang,ifwithouttheirhumanfiguresmovingabout.
Further,Ackerman'svoiceovers,spokenoff-cameraduringtheshots,thoughskimpy,providefleetinglypenetrating,brutallyfrankself-revelationsandcontextsthatrangefromthepersonaltotheuniversal.HerfatherwasoncegoingtoemigratetoIsraaljustafterWWIIandwaswaitinginMarseilletogo,buthewaswarnedthatthePalestineenvironmentwastooharsh.ThefamilysettledinBelgiuminstead.Shespeaksofanauntwhocommittedsuicide.Issheherselfdepressed?Shespeaksofpassivityandlaziness.Shemaybeagoraphobic.Sheclearlyisgoingthroughanagoraphobicperiod.Shemayalsobeafraidofbombs.Aparentcallsandexpressesconcernabouthergoingouttodangerousplaces;shepromisesshewon't.Shespeaksofprisons,externalandself-imposed:thisisoneofthelatterkind.
Peoplecallandinviteherout.Shesaysshecan'tbecauseshe'sworking.Thisdevotiontotheenterprisemakessomethingpositiveandsubstantial,evennoble,aboutthisotherwiseevanescent,uncertainproject.Thisisanactofpainfullyheightenedself-consciousness,aself-examination,ajournalbothZen-likeandintensive.Shealsospeaksofreading;makingextensivenotes;having"complex"thoughts.AcertainambivalencetowardherJewishnessisalsoinvolved.Finally,withminimalmeans,Ackermanhasforgedsomethingunique.
Atellingimage:aChasidicfamilyleavingthebeach.Theman,inhisquaintoutfit,symbolizestheoddityoftheIsraelienterprise.Ackermandoesn'tcommentontheoppressionofPalestiniansorIsraelidependenceontheUS.HerseclusioninthemiddleofIsrael'slargestcitymaybecommentenough.Thisissomethingsheapparentlycan'tbeapartof.Butinheralienation,shecouldn'tbemoreJewish.
La-bàsisaseriesoflongstationaryshotsoutthewindows,oftenshowingfiguresofoldpeopleonbalconiesontherooforbuildingsopposite.Awoman,immobile,istendedtobyherhusband.Onemansitsforlongperiodsmotionless.Ackermaninvoice-oversaysshethinkshe'swatchinghisplantsgrow."ButIdon'tthinkplantsgrowanyfasterinIsrael,"shesays.
Isthisanybetterthantheproverbialwatchingpaintdry?Twoaspects,visualandauditory,savethisthin,dry,austeredocumentaryfrombeingasterileartpieceandmakeitboththought-provokingandhaunting,forthosewhohavethepatiencetositthroughit;manywillnot.
Tobeginwith,screensfilterthelightofthewindowsinabeautifulway:theshotsareoftenhandsome,notunworthyofsomethingbyHouHsiau-hsienorTsaiMing-liang,ifwithouttheirhumanfiguresmovingabout.
Further,Ackerman'svoiceovers,spokenoff-cameraduringtheshots,thoughskimpy,providefleetinglypenetrating,brutallyfrankself-revelationsandcontextsthatrangefromthepersonaltotheuniversal.HerfatherwasoncegoingtoemigratetoIsraaljustafterWWIIandwaswaitinginMarseilletogo,buthewaswarnedthatthePalestineenvironmentwastooharsh.ThefamilysettledinBelgiuminstead.Shespeaksofanauntwhocommittedsuicide.Issheherselfdepressed?Shespeaksofpassivityandlaziness.Shemaybeagoraphobic.Sheclearlyisgoingthroughanagoraphobicperiod.Shemayalsobeafraidofbombs.Aparentcallsandexpressesconcernabouthergoingouttodangerousplaces;shepromisesshewon't.Shespeaksofprisons,externalandself-imposed:thisisoneofthelatterkind.
Peoplecallandinviteherout.Shesaysshecan'tbecauseshe'sworking.Thisdevotiontotheenterprisemakessomethingpositiveandsubstantial,evennoble,aboutthisotherwiseevanescent,uncertainproject.Thisisanactofpainfullyheightenedself-consciousness,aself-examination,ajournalbothZen-likeandintensive.Shealsospeaksofreading;makingextensivenotes;having"complex"thoughts.AcertainambivalencetowardherJewishnessisalsoinvolved.Finally,withminimalmeans,Ackermanhasforgedsomethingunique.
Atellingimage:aChasidicfamilyleavingthebeach.Theman,inhisquaintoutfit,symbolizestheoddityoftheIsraelienterprise.Ackermandoesn'tcommentontheoppressionofPalestiniansorIsraelidependenceontheUS.HerseclusioninthemiddleofIsrael'slargestcitymaybecommentenough.Thisissomethingsheapparentlycan'tbeapartof.Butinheralienation,shecouldn'tbemoreJewish.
那裡Là-bas(2006)的影評
備忘
Down ThereAkermanI don’t feel like I belong,and that’s without real pain, or without pride.Pride happens. No I’m jus ...
那一段快速的失控，鏡頭在上仰，心在俯沖。
雷諾阿說鏡頭看向外界即代表了希望，但一個真正孤獨的人，是無法給任何同類帶來慰藉的，什麼也不會發生，我們觀者坐在同樣封閉的房間裡，無法接觸到電影，連海洋也是又一堵牆，藏在鏡頭後的香特爾又一次說起自殺，又令人唏噓。
其實要看到後半段才漸漸明白為何視角一直會躲匿于窗簾背後——這個房間是她的盔甲，也是她的牢籠，奧茲母親的前例仿佛是應證了一道咒語或者是一劑預言，她無法挪動腳步去陽台遠眺爆炸的發生地，自戕的念頭如何漸漸成型凝固成實體狀，真是好痛心啊；重複“我出生在布魯塞爾”，然而她回到了特拉維夫，父輩的遷徙和現今的回歸，是無法繞開的鄉愁情緒，也是無法說服的檻——就像她最後終于來到室外，凝視着已然平靜的海面。從室内望出去的框架構圖中，左側是鄰居，右側是自己，也是一種分屏，也是兩個世界/空間的聯結和對立。
所有阿克曼電影的母題是“God I hate the room where I got trapped so fucking much”. 他人的日常生活在百葉窗外，會更好麼？她也不知道。一架接一架飛機飛過沒影點。
看完下午的兩部就有些開始感受到Akerman多少壓抑了她身上的lesbian傾向，這是她始終避而不談、并為電影和世俗而犧牲的部分。那天我一直在想，為什麼她明明是lesbian的身份，卻不斷地拍那些男人和女人之間的愛情故事（可她本人明明并不屬于那個世界），在這部電影裡，我發現她和母親、還有那個大提琴藝術家索尼娅的關系那麼緊密相連，這些不可能是毫無來由的。她一直說自己是沒有歸屬感的，盡管她也不肯承認這是她的猶太身份導緻的，她隻是一遍遍地回望過往，想象自己和家人如果留在以色列，也許會有另一種生活，她對不同的語言也無法真正做出選擇，據她所說，不能寫作讓她轉向了電影，但對她難以用文字把自己書寫出來的狀态，并且轉向更晦澀的閱讀文本，我很有共鳴。