仰望天空

中字翻译见推送链接：

//mp.weixin.qq.com/s/vNTgn1hkangju5cgFrpZ0w

【1】

In PingYao International Film Festival, the introduction of your film and some of the behaviors in the film are very interesting. You are always an «absent presence» to remind the audience that although you did not appear, you emphasize it is absolutely your own artistic work. Is this interesting interaction a little joke you made to the audience? Or do you want to remind the audience of some other meanings ?

Now I’m working on a film with an invisible character, a man with no body but with a voice and I try to understand how I shall film him. I intend to film this character exactly the way I film the other ‘visible’ ones but I still don’t know how it will work and if it’s possible so every time I have a possibility to try things out I try to do it. Also I had a feeling not being visible in front of the camera.

【2】

Actually, for the audience, if you don’t know enough about the global history, intellectual history, civilization history, football history, and the common sense of the 20th century, it’s difficult to fully understand some of your ideas in the film. Then after watching the film, we have to go to make up the lesson in order to better understand your meaning. Do you think the audience will have some kind of loss or other feelings because they don’t understand your film?

Myself I’m definitely not an intellectual, I consider most of the people smarter and better educated than I am so I don’t think anyone will have a problem to understand the film I made. Filmmakers thinking they are smarter than the people who will watch their film make mostly terrible films.

There are films made in Hollywood for example, you watch them and you feel insulted because you feel people behind this film consider you as dumb and silly person but in the end it’s always other way around.

【3】

What emotion do you most want to express to the audience? My understanding is the importance of “love”. And you are a great director, even if these details are not familiar to the public , we can still feel your charm as an auteur-director.

I can’t say I know from the beginning exact emotions or ideas I want to share with the film. Of course there are some, but as I have experienced it, sometimes you think that you feel and think one thing but actually it’s completely different – and when you make a film that’s what you learn, you may think you want to make a comedy with fun and happiness but it’s full of sadness or the other way around – so it’s about trust, you have to trust the work you do.

【4】

About cinematography: you use a lot of close shot and close-up in the film, although it looks like a zoom-in to some extent, but it actually gives people a feeling of paying attention to the portrait itself, very close to the person. But the perspective has always been polite and objective. Is this the attitude you maintain in filming? An attitude of keeping a proper distance from the subject.

I think the distance is one of the most important tools while making a film. Let`s say physical distance - however do you go to the object or person you are filming physically is a decision which defines the character of the film, no_t_ only this of course but it makes big difference.

When you show a close up or detail - you go with the camera and near or do you use a lens which allows you to stay bit away, this kind of decision is not only about how sharp or not sharp the background than appears and not only the feeling of being in the scene or being a spectator of the scene — it‘s also always a statement from the filmmakers — and there is no right or wrong, you just have to find your own distance.

【5】

About the experience of watching the film: does the cue tone “close your eyes-3, 2, 1-open your eyes” put the audience into the dream of the movie or in reality?

I have not thought about it this way — but I like it. You close your eyes here and open them somewhere else. Here Leo Messi still has only World Cup Silver — there it‘s Gold, here it’s hard to get your photo developed in Kutaisi — there we have a laboratory to develop 16mm film in the same town..

I have to think more about the concept you propose. For me it was a game, a way to start a game with the audience, to go back to the time when cinema was related to magic and all the spectators felt like children.

【6】-【未回答】

About the symbol of “football”: For Chinese audiences, they do not know much about the history of Georgia and its neighboring countries, but they do know a little about football. In the film, you treat football and football match as a big environment and event concerned by the collective, while emphasizing more on emotions between individuals. Does the «football» in the film have more symbols of the times and group significance?

【7】

In this film, I can find some echoes of familiar texts. For example, the scene where an actor and an actress meet at a crossroads reminds me of poet Wislawa Szymborska’s poems like Love at First sight. A famous Chinese painter once drew a cartoon entitled Walk Left, Walk Right based on this poem.

The whole shot is so beautiful and poetic. In addition, the use of anthropomorphic objects in the film also enriched the color of some «surrealist» style. But it’s worth noting that the film’s tone is both realistic and fantastic. Do you find it’s contradictory? Or are you waiting for the audience to discover your design？

It is interesting that you mention Wislawa Szymborska. In Kutaisi, in the city where we made the film, on Galaktion Tabidze street you will find her poem written on the wall. That’s how I discovered her months before we started to shoot and I think it was important for the film.

Now as you mention her name I understand how things invade you, become part of your life and even part of things you do without you consciously planning it. Where can I find the painting - Walk Left, Walk Right?

My Idea while making the film was to give a space to things happenings, occasions which are considered unusual or impossible nowadays. All the things which seem to be magical are meant to be real – I don’t ask a tree to speak in my film because I want it to be a symbol for something else – it-’s- speaks in the film only because it can speak in our world to – I have never heard it but means nothing.

【8】

Could you explain the meaning of the film’s title? My personal understanding is: the sky is something shared by all mankind, just as «love» is an emotion felt by people all over the world?

Always when Leo Messi scores a goal he looks to the sky, I was always impressed by this gesture and his connection to the world above us. He has his own reasons to look up and so does everyone. It is a universal gesture with very private experience.

For ages people were looking to the sky and seeing different things – now we are given in the school very precise answers about what is up there but my feeling is it will change again.

【9】-（未回答 其实也不用答 完美忽略我的废话问题 默契）

Do you know much about the young directors in China? Which Chinese director’s works do you like best?

【10】

Is there any sequential connection between your new work and your previous works? We are really looking forward to seeing the previous works.

While doing this film I tried to make a distance to the previous one, there is always a danger that you will find a comfortable way of working and start to repeat yourself but I also did not wanted to forbid myself something so I just decided to follow the wishes I had and now I see that there are more similarities between two films than I had planned but I also have no Problem with it – the film is very personal and apparently that is the way I feel in the very moment, I could make it differently but this is more sincere – sincere towards myself.

【11】

It can be inferred from your work that you are familiar with film language, and you have a solid foundation of film history. When I watched it, I felt that you were trying to subvert the entirety of the form and take the film language as the representative of the language system. Can we understand it this way?

I have always loved watching films but I am not a cinephile, I have seen some films but there are films someone who makes films has to have seen and I have not made it yet - I know many people around me who have seen and watch now more than me.

For me filmmaking has become the way of living, that‘s what I do — I make films and I try to understand how it works, I have some tools and some knowledge, some experience but not much of any of it yet - so I make films and through doing it I try to understand it what it really means.

【12】

The film is filled with many local compositions, and a large number of close-up shots and Close shots, which reflects a seemingly dynamic but static beauty. It feels like a return to the montage trend of early film history, and I personally use a word to describe it — 「photo montage」.

This is meant to emphasize the sense of photography, stillness, and immersion of a single frame/single shot, which together coherently make up countless paragraphs of the film. Together with the sound, the unique appearance form of this film is achieved, which will give people a real and cordial feeling of watching the film. Do you intend to return the freedom and randomness of film creation?

I have a feeling that in first few years, when people started to make films in the beginning of the past century everything what can be done with a film was done. The thing is sometimes it‘s hidden, sometimes it’s just a second. It is so concentrated if you don‘t look very very closely it’s impossible to see.

So they did everything - it‘s like they (the early filmmakers) planted a tree and this tree started to grow and it could have had many, hundreds of branches but the Industry started to follow only one branch saying this is cinema and everything else is everything what you want but not cinema, they call it experimental cinema, art house, autore cinema - and by doing it they exclude all the forms which don’t suit the hipe out of the daily life everything what does not have the usual length and does not tell a well understandable story is considerd to be less cinema, to be something strange, some kind of a monster - but we know this kind of mainstream cine is only one small branch of a huge tree, it is not even a big branch and it‘s important to climb all over this tree go also to the top of the tree that’s where you can see from that there are other trees too.

【13】

Would you like to share with the audience some things that impressed you during the filming of this film?

I was doing my previous film almost alone, this one we did in a bigger group and the difference is huge. I love both but before starting this one I had some concerns - regarding the possibility of making something personal while not being alone - apparently it‘s possible.

Not just possible but it can be very beautiful when few people work together, everyone puts his or her personal and private things in the film and in the end it all can be one thing - one film.

【14】

Do you think our way of «close reading» runs counter to your original intention of making this film?

I was touched by the way you thought about the film and I think I have learned some new things about it so - thank you.

翻译、整理于2021/11/22

看之前扫了一眼评价，本以为会昏昏欲睡，没想到看得津津有味，乐在其中！这是一部特别好看的影片，每一帧都像是浪漫的艺术品，从构图到色调都很爱。整部电影充斥着大量的慢镜头、特别钟爱局部特写，常通过光影的明暗来传递感情，很有韵味。影片讲述的故事很简单，甚至带有些寓言性质。第三者的旁边讲述了爱而不得的两个人再次相逢，重识彼此。这个过程的推动者是导演本身，拍摄过程的融入，有点元叙述的味道。配乐非常好听，最喜欢孩子们一起踢足球的场面，非常夏天且快乐。阳光下随风摇摆的树叶，女孩子们金灿灿的发丝，众人围坐一团的拥抱。就像是影片结尾所说，这个故事充满矛盾，但镜头拉至街景处的行人，又像是每天发生在周围的事情。让我突然很感动，生活可能就是如此琐碎又奇妙美好。像是跟着影片进行了一场漫无目的地发呆与闲逛，内心充斥着治愈与轻松。喜欢影片里的每个人物，都很美，更羡慕他们身上散发的平和与自洽。我想，这部影片就是想通过这些可爱美丽的瞬间，来展示生活中的无用之用，方为大用吧。

这很漫长，但是仔细想想，两个半小时，换取一个意大利的夏日，有什么不好吗？这个漫长的夏日里，有两个倒霉蛋被邪恶的眼诅咒，失去了原本的样貌，也因此错失了与对方重逢的机会，玫瑰还没绽放就被对方误以为枯萎。在被诅咒的夏日里，丽莎相信咖啡和纸牌还有那懂得巫术的女人可以解除诅咒，乔吉显得无所适从，他接替咖啡馆老板在天桥上做起了单杠引体向上的生意，他代替原来的乔吉把足球丢给孩子们，那个足球滚落在孩子们的脚边，激烈碰撞，沾染了夏日的尘土和高温，落入河流中，仍旧被激烈冲撞着，随着夏日一起飘远。两只狗狗因为观看足球赛的场地分道扬镳，其中一只还去远足登山。房间里喝酒的老人讨厌呼吸被开水壶的尖叫掌控的感觉，把开水壶扔到窗外。男人女人们聚精会神地在剧院听球赛，在露天酒吧看球赛，无人问津的河边咖啡馆乔吉受老板之托用投影仪在放球赛，影像投放在河边的石碑上，五颜六色的光影把雕像的面容映出不同颜色的情绪。

他们也是在这里碰到了寻找情侣的导演。因为不擅长拒绝就同意拍摄，然后茫然地去拍摄现场，去看试映，期间一直默默等着以为会出现的那个夜晚在路灯下和自己聊天的人。

最后有没有猜出来那个人就是对方呢？

可能有，也可能没有。

邪恶的眼在诅咒他们的时候，抱着他们永远不会认出彼此永远不会在一起的恶毒想法。

可是一切都在这个漫长的夏日里顺理成章地发展，球赛，小狗，足球，孩子，赶集，披萨，蛋糕，电影。

还有，爱情。

最后，我最喜欢的一个场景，咖啡馆老板躺在河边的椅子上对丽莎描述第比斯安静的冬天。

能有什么，比在热闹冗长的夏天去描绘一个冷淡安静的冬天更浪漫更迷人的事情呢？

说实在的 我需要一部这样的作品

假设每一部电影都是有性格的 那对于近期很浮躁的我来说 这部电影就是适合的 是作为平息浮躁的媒介出现的 于我而言 它是那种讲了什么故事不重要 但是安安静静沉浸其中 平和地看完就好的电影

重要的是"感觉" 你在看的过程中感受到了什么

比如我不会去探究瓦尔迪和默茨卡拉两只狗狗相约去看世界杯开幕式这件事情 导演想表达什么 探究现实与奇幻在影片中的关系等等 这些我都不会去做 看到这类情节我丝毫不会怀疑和试图去做出解释 而是认为在导演塑造的影片世界里 在格鲁吉亚的库塔伊西 这件事情就是不突兀的

比如有路人来借鱼线还是什么线 他们玩着线笑的很开心 这份开心感染了男女主 当下的我看到那几张笑脸 即使在屏幕之外也被感染了

比如店老板和男主一起去搬东西的时候对于是否把蓝色的一面放到下面而有了不同的意见 但是彼此平和地沟通 "我会重视你的意见 也许是我错了 但也许是你错了 我们可以一起在看看" 如果世界上的每份沟通都能像这样该多好呢

还有一个情节是 有几个人来买冰淇淋 但是要等上一个小时 但是他们愿意等 当下的我想到的是 我也会愿意等 不仅仅是一句空话 而是在无数次的选择里被证实了的我的选择 在那一刻也意识到了 我想要找的同行的人 也是会选择"愿意等"的那个人 这个决定背后蕴涵了数不清的生活态度和选择 你很难通过众多线索去辨别 但只要把ta置身于这种情形下 ta的选择便会告诉你所有的一切 即使不延伸那么多 为了美食我总是愿意等的 这个美食不仅仅指好吃的食物 还有生活里许许多多美好的得到了/做到了就会让我快乐让我感到值得的事物 因为这一份情绪对于我很重要 不是别的随随便便的替代品可以打发的

一部具有实验性质的电影，单看电影简介的话稍微有点一头雾水，不太明白是要讲个什么类型的故事。

是有一段时间没有看这种比较零碎的散文式奇幻文艺电影了，这也导致我在影片的前半段疯狂走神，还好电影本身就比较散，错过一些小细节也没多大的关系，不过要是在宿舍看的话一口气应该是看不完的。

虽然影片150分钟显得有些漫长拖沓，而且大部分时候也都不知道讲了个啥。但是片中有不少场景和话外音旁白的幽默台词设计都还挺有意思的。

影片主要集中在格鲁吉亚的库塔伊西进行拍摄（之前也没了解过这个国家与地区），这部电影可以算是写给城市的一封情书了。这种捕捉平凡世界中某个城市街角的浪漫日常，比预想中要有趣一些。在我们日常所生活城市中，一些离奇有趣的事每时每刻都在发生，而又有哪座城市不想通过电影特有的魔力来描绘它呢？

本片的观影体验相对还算是比较特别的，在观众互动环节要求闭眼的时候我还偷偷瞟了好几眼银幕hh，上一次经历类似的互动环节应该还是在毕导《地球最后的夜晚》里（不知道算不算）。

没有看过科贝里泽的其他作品，以后有空可以去补一补，不过在这部作品中导演好像是自编自导加剪辑吧，网上的资料不太多。

影片用了大量的固定机位长镜头，个人一直都还蛮喜欢这种拍摄手法的。

这场看的人相对还是挺多的，不过观影过程中后排有个大叔在电影开场没多久就开始打呼噜了可还行，他可能是看得煎熬，但是我们用他的呼噜声单当作配乐也挺煎熬的。

看完电影散场后坐末班公交到学校门口，才知道电影院里坐在我左边的是大一的小学弟，就还蛮凑巧的，就算不知道他混不混豆瓣hh。

当我们仰望天空时看见什么？

当我们看这部电影时又看见什么？

导演在影片的最后用诙谐的语气自我调侃，我们并不奢求每部电影都要有一定的社会意义，或是从每部电影中都能收获所谓的人生道理或是感悟。

格鲁吉亚电影《当我们仰望天空时看见什么？》首度引发关注，是在2021年初的柏林国际电影节，它拿了最高调的会外奖：主竞赛单元的费比西奖（国际影评人联盟奖）。

除了看起来是个日本电影式的流行长片名，小国家、电影冷门地区的电影，很难引发持续更多的关注。小，意味着波动起落，产量不均，整体上，也缺乏国际平台的曝光。

大半年过后，《当我们仰望天空时看见什么？》先是拿下了平遥国际电影展罗伯托·罗西里尼荣誉的特别表扬，又打入《视与听》杂志的年度十佳电影榜单。

然而，本片并非战力超群的程咬金，有人宣告它年度最动听，也有人说它不知所云——平遥的放映场次，不少豆瓣影迷抱怨它难以进入。电影有一大部分内容，恰如差评者所言：极其松散，没有故事线索可言。

《当我们仰望天空时看见什么？》散文日记体的影像电影，是非常时期的非常电影。真人不露相的导演，广邀世界各地包括大陆影迷，只要开始看我的电影，大家就是好朋友——他就像《大佛普拉斯》的导演阿尧，冷不防以画外音现身说法，参与到自己拍摄的电影之中，邀请大家，一起做游戏，“3、2、1，天黑请闭眼”——请在恐怖的提示音后闭上双眼，再次听到提示音后，打开双眼。有意思的是，PYIFF话题电影《宇宙探索编辑部》，也玩了这么一场影像游戏，当即坠入路边野餐的乡野，光怪陆离的世界。

这些事实合在一起，都一再告诉我们：有些电影，它是只能属于电影院的🎦。纵然毕赣在后来的《地球最后的夜晚》，也采用了中途戴3D眼镜的观影提示。但都不用到3D技术被全民喊打的《沙丘》，这种玩法，只是令我更抵触拉高电影票价的3D片。

导演邀请观众参与游戏时，你很容易配合，也可能觉得鬼马，什么玩意啊不以为然，这时候，你会注意到身边场内的些许骚动。自然有人是愿意配合的，只要进了电影院，就把自己的一切全部，交给了电影。有些人却冷眼旁观，偏要张大眼，等着看这野路子导演杂耍露怯，多可怜。

如此，城中邂逅的情侣，被邪眼诅咒，更换了原来容貌，就此每天看见却错过。《当我们仰望天空时看见什么？》在开场不久，就制造了一道分水岭。有人投入，享受起来小城畸人的阳光普照，有人发现故事失焦、方向跑偏，阿猫阿狗都出来了。

电影抛下这么一个事，有头，当然也得有尾（其实慢慢的也容易猜中）。可是中间，长达两个小时的时间，它大谈小城里的狗，世界杯比赛转播，卖冰淇淋和啤酒的河边咖啡馆，吊单杠收割智商税是男人就挺过120秒的游戏。小城似乎处在无尽的，过于绵长，不会休止的夏日。

今年的平遥，也俨然是阿根廷球迷的节日，有《永安镇故事集》悲歌《阿根廷别为我哭泣》，也有《当我们仰望天空时看见什么？》放足了一曲《意大利之夏》，还让这支队伍拿了世界冠军🏆。

这座让我不止一次发出“我想生活在这部电影里”、“想出国去玩！”的城市，叫库塔伊西（PYIFF字幕翻译为库泰西），是格鲁吉亚的第三大城市（第一大城市是首都第比利斯，第二大城市是我写《站台》影评出现的巴统）。影片也叫我想起十四年前，淘碟时代的西班牙电影：《在希尔维亚城中》。

平遥影展放映开头，导演录制了一段“你们看不见我，但我真的在这里”的PYIFF订制版问候视频，这个与电影知行合一的创意，已经值得给它加一星。它在事实意义上，打动到了我。瘟疫蔓延时，活生生的人，变成看不见的鬼。外面的世界，被阻碍，被隔离，被化约为躺平、失败、不可理喻的危险地区。而这部电影，或者电影节的意义，恰恰在告诉我们，世界本来的样子。它还会以电影的样子存活，一直如是。

高加索三国与足球的故事，当然不只是电影里，夏日暖洋洋的面相。它也有血腥残酷的一面。格鲁吉亚往南，亚美尼亚和阿塞拜疆征战不休的纳卡地区（纳戈尔诺-卡拉巴赫），有一座毁于战火，被夷为平地，至今未能复元的城市阿格达姆。阿格达姆有一支足球队卡拉巴赫，它的主场酋长体育馆建于1952年，后来同大清真寺和整座城市，变成了留存到此时此刻的“战争废墟博物馆”。这支失去主场的卡拉巴赫，在巴库落户暂驻，却在阿塞拜疆的超级联赛，愈战愈勇，打进了欧足联比赛。

同在纳卡地区，归属亚美尼亚，纳卡首府的斯捷潘纳克特足球队曾是苏联足球的一支劲旅，它被禁止参加国际球赛。如今缺乏经费，战绩萎缩。

足球在世界各地滚动，纳卡地区的战争也还在继续。既有卡拉巴赫人放话，要杀光亚美尼亚人，赤裸裸的种族挑衅。也有亚美尼亚人因为人口少，军队兵源紧缺，职业足球队员不得不脱下球衣，披挂军装上前线的惨烈故事。对阵双方以外的观众与看客，都希望这场比赛，能够握手言和，而不是分出个输赢胜负。然而，如今的世界应顾不暇，交织千年的仇恨与血泪，似乎很难在这代人身上消解。高加索山脉下，亚欧大陆咬合的纳卡地区依然被人们忽视着，这块地方太边缘，问题太复杂。

第一次世界大战期间的圣诞节休战（即2005年法国电影《圣诞快乐》的故事），也有足球的身影。当时，英德双方已经在西线的比利时圣伊翁小镇，交火了一个多月。圣诞节这天，军队选择停战。有个苏格兰军官踢出去了一个皮球，然后，敌对的双方在友好气氛中，进行了一场足球比赛。

这些与电影无关的足球播报，确实在部分影迷看来，也是不知所云。然而，知道滚动发生的人类故事，依然在滚动发生，也许能带你找到目标物，参与到这场影像游戏之中。你会在电影银幕上，看到更多东西。

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