第5届纪录片交流周获奖评语

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感谢大家的光临。过去的一周无疑是令人兴奋的一周。毫无疑问，中国已经成为了能够制作世界上最有力量的纪录片作品的地区之一。这一周来所放映的作品的水平之高，充分向我们展示了每一位作者与他们所拍摄的世界之间紧密而又幸福的连带关系。他们被理想所燃烧，满怀深情(有时也是愤怒)。毋容置疑，参加这次影展的作者们，他们用自己的作品，为独立纪录片中的“独立”这个词赋予了新的含义。这些电影让我们这些评委着迷、愤怒、惊讶。同时，也让我们热血沸腾。而且，这几种感情是同等的强烈。

As jurors, we found our job both difficult and effortless at the same time.

这次的评审工作既是困难的，同时又是没有悬念的。

It was difficult because every film was so deeply compelling. Indeed, every artist in the competition should realize that their very presence in the competition is incontrovertible evidence of their work’s excellence. The invitation to the competition is quite an accomplishment—exceedingly so when the field is of such superior quality to begin with. The difficulty of our job came from the sheer competitiveness of the competition.

之所以困难，是因为每一部作品都有很深的诉求力。参加竞赛单元的每一位作者，都应该充分认识到：你们的作品能够入选，这本身已经充分证明了作品的优秀。能够进入竞赛单元，这已经是一个了不起的成就。特别是在这次整体水平如此之高的竞赛中更是如此。我们工作的艰难，也正是因为在这次竞赛单元中高手云集所致。

That said, we also found our job remarkably simple. In fact, we came to a consensus within minutes of sitting down. Upon sharing our feelings, we learned that all three of us had come to the same conclusion: of all the films we saw, two stood out far above the crowd. They were of such impressive quality and power that we felt torn by our charter to rank one higher than the other. Thus, we settled on a simple solution to our dilemma.

但同时，评审工作却进行得意外地顺利。只需几分钟的时间，三位评委就已经达成了一致。当我们各自拿出自己的意见的时候，我们惊讶地发现：我们的意见完全相同。纵观所有作品，我们感到：有2部作品格外出类拔萃。这两部作品都具有震撼人心的力量和很高的制作水准，以至于难分高低。讨论的结果，我们找到了一条两全的途径。

Although we had so many excellent choices before us, we have elected not to give a third prize. Instead, we proffer two Independent Spirit Awards of 5,000 RMB each.

尽管还有很多优秀的作品，但我们决定不颁发3个奖项，而是给这2部作品都颁发“独立精神奖”，各颁发5000元的奖金。

And the films are Ghost Town and Survival Song.

这两部作品是《废城》和《小李子》。

The strength of Survival Song comes from its sheer simplicity. At its center moves a man who is both sad and comic. He inspires both laughter and tears—a dizzying mix encapsulated in the image of the man passionately singing and dancing. But he is never, ever a ridiculous figure. This is because the director has discovered how to carefully measure the distance between himself and his subjects. He knows precisely how near to approach, how long to show things before turning away. Consider the delicate intimacy of the evening scenes, just barely lit by the glow of candles. Quiet discussions in the darkness. Candles. Faces. Voices. It is exquisite. Although the director is discrete, we can sense his presence always. We feel him in the snow. In Life. He never pushes a message or advances an argument; instead, he coaxes spectators into knowing a situation. And curiously enough, he refuses to offer a total explanation of that situation. He does not take us to the dam, or concentrate on the spectacles of collapsing homes. Instead, we gather around the glow of candles, invited to find the whole of humanity, all of its frustrations and possibilities in a most concrete way. The humanity and love of the director is palpable in every scene of Survival Song.

《小李子》的力量，就在于它的朴素彻底。作品的主人公是一个悲喜剧色彩并存的男人。他有时让我们笑，有时令我们哭。他那富有生命力的歌声和舞蹈，令我们眩晕和感动，同时也被震撼。但是这样一个人，却没有被作者描写成一个萎缩和可笑的人。这是因为导演找到了一条如何小心翼翼地接近被摄者，并保持一个恰当的距离的途径。他充分知晓自己应该和对象保持多大的距离，知道应该在何时把摄影机的视线移开。

微弱的烛光下的晚餐，这一段的描写精美、细致和令人难忘。黑暗中的对话、蜡烛、人们的脸，还有声音。在电影中我们看不到作者的出场，但却时时刻刻感受到他的存在。感到他就在雪中，在人物的生命中。他不议论，不表白，却让观众更深地了解了“人物的状况”。他并不试图对整体状况进行解说，不描写水库建设，也不提供被迫拆迁中所发生的故事。但他却向我们招手，召唤我们和片中的人物一起，聚集在微弱的烛光下，用非常具体的方法，凝视人性本身，发现人性的缺陷和无限的可能。导演的人性和爱，在这部作品中随处可见，令人回味无穷。

The second film is quite different. It has a three-part structure, but it is far from schematic.

第2部作品则非常不同。这部作品是由3部分构成的，但绝不是一个简单的框架。

The first section, entitled “Voices,” introduces us to a polyphony of voices from the past and present. It introduces us to the tragic history of the town and the people who have come to inhabit it. The catastrophes cascade into the present to become concentrated in the broken relationship between father and son, and in the competing visions of Christian sects—only to be resolved at the section’s conclusion in a harmonic chorus of voices singing a lovely hymn transported from times past. The second section, “Recollections,” introduces other complicated human relationships—women sold by fathers, men abandoned by wives or mothers. Gripped by the past, they are crippled by memory.

Finally, in “Innocence,” the final section, we are introduced to a little boy living alone after having been abandoned by his family—surely the most frightening situation one could imagine. However, he lives with gusto, seemingly oblivious to the difficulty of his situation or the web of adult relationships awaiting his future—the future that Mao points to off in the hazy distance. With its three movements, this is the most ambitious film in the festival, yet it is so so delicate. The director gives us ample time to absorb what’s before us. Absorb, reflect, and grasp the profundity of the circumstances.

第一部分《上帝的声音》，是过去和现在的混声合唱。它带领我们进入这个小城和居住在这个小城中的人们所经历的一段悲剧性的历史。小城和人们所经历过的灾难性的历史，集中体现在现实中的父子关系以及宗教的派系纷争当中，并在结尾处，在从远古流传下来的动人的圣歌中得到释放。第二部分《记忆》，描写的是一段复杂的人际关系。被父亲卖掉的女儿、被妻子和母亲抛弃的男人们。他们无法从过去的经验中逃脱，被戴上了记忆的脚镣。

影片的最后一段《少年》，是一个被家人抛弃的少年的故事。他所面临的事态的严峻程度，是每一个观众可以想见的。但这位少年却活得津津有味，似乎对眼前的困难和毛泽东所遥指的未来，以及自己将要面对的成年人之间的人际关系漠不关心。这部由3部分组成的作品，可以说是本次影展中最具野心之作，但同时也是一部非常细腻的作品。导演给观众提供了充分理解眼前现状的时间，而这正是我们进行吸收、反思以及深刻理解现状所需要的时间。

These two films impressed us deeply. They moved us with their sincerity and we cannot bring ourselves to privilege one over the other. These are the finest films of the festival, the winners of the Independent Spirit Award.

这两部作品给我们留下了深刻的印象，我们被作者的真诚所感动，无法做出选择。我们谨向这个电影节中最优秀的2部作品，颁发独立精神奖。