那里Là-bas(2006) DownThere
导演：香特尔·阿克曼
编剧：香特尔·阿克曼
语言：法语
类型：纪录片
上映日期：2006-10-25
比利时/法国 79分钟
那里Là-bas(2006)的剧情介绍
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.
那里Là-bas(2006)的影评
备忘
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，镜头在上仰，心在俯冲。
雷诺阿说镜头看向外界即代表了希望，但一个真正孤独的人，是无法给任何同类带来慰藉的，什么也不会发生，我们观者坐在同样封闭的房间里，无法接触到电影，连海洋也是又一堵墙，藏在镜头后的香特尔又一次说起自杀，又令人唏嘘。
其实要看到后半段才渐渐明白为何视角一直会躲匿于窗帘背后——这个房间是她的盔甲，也是她的牢笼，奥兹母亲的前例仿佛是应证了一道咒语或者是一剂预言，她无法挪动脚步去阳台远眺爆炸的发生地，自戕的念头如何渐渐成型凝固成实体状，真是好痛心啊；重复“我出生在布鲁塞尔”，然而她回到了特拉维夫，父辈的迁徙和现今的回归，是无法绕开的乡愁情绪，也是无法说服的槛——就像她最后终于来到室外，凝视着已然平静的海面。从室内望出去的框架构图中，左侧是邻居，右侧是自己，也是一种分屏，也是两个世界/空间的联结和对立。
所有阿克曼电影的母题是“God I hate the room where I got trapped so fucking much”. 他人的日常生活在百叶窗外，会更好么？她也不知道。一架接一架飞机飞过没影点。
看完下午的两部就有些开始感受到Akerman多少压抑了她身上的lesbian倾向，这是她始终避而不谈、并为电影和世俗而牺牲的部分。那天我一直在想，为什么她明明是lesbian的身份，却不断地拍那些男人和女人之间的爱情故事（可她本人明明并不属于那个世界），在这部电影里，我发现她和母亲、还有那个大提琴艺术家索尼娅的关系那么紧密相连，这些不可能是毫无来由的。她一直说自己是没有归属感的，尽管她也不肯承认这是她的犹太身份导致的，她只是一遍遍地回望过往，想象自己和家人如果留在以色列，也许会有另一种生活，她对不同的语言也无法真正做出选择，据她所说，不能写作让她转向了电影，但对她难以用文字把自己书写出来的状态，并且转向更晦涩的阅读文本，我很有共鸣。