HINTERLAND

几幢建筑首先映入眼帘，然后摄影机转向繁茂的异国植物。我们现在正在热带岛屿上的一个小村子里，这里距离前苏联空军基地只有70公里。证明了上个世纪的伤痛--欧洲的伤痕和矛盾，它的内心、梦想和幻想。
在海岸的后面（地理学家认为港口通常是经济发达的地方），Marie Voignier封闭了历史的进程。整部影片都漂浮着白色的气球，这是Paul Klee1920年的绘画作品，名为Angelus Novus。富兰克林1940年的书将这幅画比作面朝过去的历史的天使：天使想要留下来，唤醒死亡的人，还原被破坏的事物。但是天堂的暴雨擒住了他的翅膀，风雨太大天使不能挣脱。暴风雨让他只能背对未来停在过去，他的面前确实越来越多的废墟。我们管这场暴风雨叫做进步。Marie Voignie故意设计了这样一个天使，这显示了她的野心--谨慎深刻、直观明确。
A few buildings in the middle of nowhere, then the camera delves deep into exotic, luxuriant vegetation. Here we were are in Tropical Islands, a leisure complex near Krausnick, a village 70 kilometres south of Berlin on the site of a former Soviet airbase. In this spot, and moving from one affectation to another, the upheavals of the last century pile up like so much sediment. – Europe’s scars and contradictions, its mental space, its dreams and illusions.
In this Hinterland, indicated in the title (which geographers would define as an area of economic development linked with the activity of a port), Marie Voignier unravels the currents of history – the location director: the village elders, as well as the newcomers to the village, like the young man who has come to try his luck and the sets of this cosseted universe with its makeshift huts and painted skies. Hovering over all of this and drawn on a white balloon which floats discretely overhead throughout the film, is a drawing based on a watercolour by Paul Klee painted in 1920 called Angelus Novus, with reference to a text by Benjamin, edited rapidly in 1940, which describes it as the angel of History with its face turned toward the past: « He wanted to linger on, awaken the dead and make whole what had been smashed. But there was a storm brewing in Paradise which had got caught in his wings, a wind so strong that the angel could no longer close them. This storm propelled him unstoppably into the future to which his back was turned, while the pile of debris before him grew skyward. This storm is what we call progress. » Making the angel the main focus of the set is a deliberate gesture on Marie Voignier’s part which reflects the extent of her ambition – discreet and incisive, intuitive and articulate.

马赛国际纪录片电影节公共图书馆奖

babybabyonemoretime(创建者)