影展的使命：捍卫、支持和帮助电影人及其作品

©SabineCattaneo

Yesterday, Today and Tomorrow

昨天、今天和明天

by Lili Hinstin, Artistic director of Locarno Film Festival

作者: Lili Hinstin，洛迦诺电影节艺术总监

一种不寻常的现象：全世界正经受着共同的经验。除了可怕的折磨，这场大瘟疫还揭示了真正的全球世界——我们仍参与其中的世界。我们待在家里，生活在手机和电脑屏幕上，让自己成为世界的中心。考虑到电影是通过声画来呈现世界的媒介，对于此刻，也许我们这些电影工作者比其他人更有准备。尽管如此，对于我们来说，这是全新的体验：被抛感和蕴含更多沉思的时间感，因为社会的持续加速已经放缓并且放松了对我们的控制。

因此，这是一个深度自我反思的时机，也是一次重新思考电影节的机会，自问：它的根本使命是什么，它的本质又是什么。首选答案：捍卫、支持和帮助电影人及其作品。通过一些选择，我们践行这一点，并向观众和媒体展现一幅反映世界状态的暂时地图，以及代表这幅地图的美学设想。电影节复杂的整体架构、合作伙伴和赞助商，共同促成了地图的绘制和未来路径的描绘。因此，在这场（公共）卫生危机中——在落笔时，对于地图和未来路径的描绘，视野里不该有尽头（这些词让我觉得自己在写菲利普·K·迪克笔下人物的秘密日记）——我和选片委员会决定遵循两条明确的指导原则：责任和团结。

出于责任，我们放弃了大型场地，尤其是标志性的中央广场(Piazza Grande)，尽管那是洛迦诺电影节的荣耀和欢乐之地（洛迦诺电影节是为数不多的几乎绝对可以进去看电影的大型电影节），相应地，这也意味着要取消多个长片竞赛单元。我们认为，对于要影响观众的电影来说，八月中旬（也就是封城以后）在小屏幕上展现作者电影的想法完全不妥。取而代之，我们决定将部分资金用于传统奖项，并开启“电影：明天以后（The Films After Tomorrow）”。在各合作伙伴的额外捐助下，这个项目将提供30,000至70,000瑞士法郎的资金，用于因新冠肺炎而未能完成的电影。

📎拯救艺术电影：这些全球独立电影人因疫情陷入制作困境

中央广场(Piazza Grande)的电影放映活动

与此同时，我们还认为有必要与制作发行链的另一端——受疫情打击最惨烈的电影院——团结起来。当用户观看我们线上展映的影片时，会收到帮助瑞士独立电影院的捐赠请求。

因此，这届“缩减版”电影节会比以往任何时候都更加着眼于未来：直接资助即将完成的电影制作；支持放映作者电影的独立影院；并再次强调两个与电影未来尤其密切相关的单元：Pardi di domani（注：展映独立影人或电影在校生的中短片平台，并设立奖项）和Open Doors（注：自2019到2021年，Open Doors着重探索东南亚和蒙古的多样化电影，2020年，这一单元展映来自缅甸、印尼、马来西亚和菲律宾的长片和短片，并设立奖项）。短片单元Pardi di domani包括尚未完成长片处女作的导演，走过十八个年头的Open Doors则致力于表现明日世界的所谓“新兴”国家的电影。最后，我们今年开创的混合版电影节，采取线上线下两种方式，这也是正在进行的内部讨论——以后我们的展映影片该如何抵达观众——的第一步。

正如最近有人对我说的那样，我们可以将此视作洛迦诺电影节的“珍藏版”，一个自阴影展望光亮的特别版，就像雨果·圣地亚哥《入侵》（注：阿根廷新浪潮电影代表作，博尔赫斯为编剧之一，获1969年洛迦诺电影节评审团特别提及奖）里的人物一样，这部影片是本届洛迦诺电影节的生动写照。同时，像所有先行者那样，这也是一个与时代强烈关联——甚至可以说是搏斗！——的版本。

翻译：李斯佩克朵

原文如下：

A remarkable phenomenon: the entire world is going through a collective experience. Besides terrible suffering, the pandemic has brought the revelation of a truly global world, one that we are still engaging with. We have ourselves become the center of this world, living it in our homes on the screens of our phones and computers. Given that film is a medium through which the world is presented in sounds and images, perhaps those of us who work with films were more prepared for this moment than others. Nonetheless, for all of us this is a new experience: being turned back on ourselves and of experiencing a sense of time in which reflection finds more space than usual, as the relentless speed of society has slowed down and relaxed its grip on us.

As a result, this is a moment for profound self-examination, an opportunity for us to rethink the Festival and ask ourselves what should be its underlying mission, its essence. Answer number one: to defend, support and be there for the filmmakers and their work. We do that through the choices we make, presenting a temporary map of the state of the world to the audience and the press, along with the aesthetic hypotheses that represent it. The whole complex structure of the Festival, the partners and sponsors, all contribute to drawing up that map and the pathways it charts ahead. Therefore, in this health crisis — to which, at time of writing, there is no end in sight (these words make me feel like I’m writing the secret diary of a Philip K. Dick character) — me and the Selection Committee have decided to follow two clear guiding principles: responsibility and solidarity.

We acted responsibly in giving up our large-scale venues, especially the iconic Piazza Grande, even though they are one of the glories and pleasures of Locarno (one of the very few great festivals where you can almost guarantee to get in to see a movie), which in turn has meant canceling our various competitive sections for full-length features. The idea of presenting auteur cinema on small screens in the middle of August, right after lockdown, struck us as a completely inappropriate way for the films to impact their audience. Instead, we decided to use part of the money destined for the traditional prizes and create The Films After Tomorrow. With additional contributions from various partners, this project will offer funding ranging from CHF 30,000 to 70,000 to films whose completion has been threatened by Covid-19.

At the same time, we felt it was also necessary to act in solidarity with the other end of the production and distribution chain, one of the sectors hit hardest by the pandemic: movie theaters. When watching any of the titles that we will be presenting online, every user will be invited to make a donation towards helping independent theaters in Switzerland.

This “scaled-down” edition of the Festival will therefore be one that, more than ever, looks to the future: by contributing directly to upcoming film productions; by supporting independent movie theaters that program auteur cinema; and also by giving renewed emphasis to two of the sections that are linked especially closely to the future of cinema: Pardi di domani and Open Doors. The short films section Pardi di domani includes directors who have yet to make their full-length debut, while Open Doors, celebrating its 18th birthday, is dedicated to the cinemas of so-called “emerging” nations who represent the world of tomorrow. Lastly, the hybrid edition of the Festival that we have created this year, steering a course between the physical and the dematerialized, is also a first step in an ongoing internal debate as to how our content will be accessed in years to come.

And so, as someone said to me recently, we could think of this as a “collector’s edition” of the Locarno Film Festival, a special edition that looks to the light from the shadows, like the man in the picture from Hugo Santiago’s Invasión, which illustrates our program. At the same time, this is an edition that, like all its predecessors, is profoundly in touch – not to say grappling! – with its time.

Lili Hinstin
Artistic Director Locarno Film Festival

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