比利時當代紀錄片影展
Focus on contemporary Belgian documentary
Focus on contemporary Belgian documentary(Macau)
前言
策展人：張亞璿（北京）
比 利時是西歐小國，國土面積是中國的三百分之一，但它的紀錄片製作在歐洲版圖上位置顯豁。這裡雖然沒有發展出所謂電影工業，卻產生了一批獨具個性和風格的作 者。他們的作品在承接和延續歐洲紀實電影傳統的同時，亦融合了一種生發自本土的詩意和超現實傳統。而他們工作的個人方式，又與中國獨立影像作者有很多相 似。
“DOC.BE－比利時當代紀錄電影展”包容了將近30部 的長短不一的影像作品。它們呈現出不同的樣貌和質地。這其中自然有一部分秉持紀錄片強烈而持久的社會關注，讓我們看到從歐洲出發，並不止於當代歐洲社會的 文化與現實；同時亦有另外的一部分在直接的現實之外，通過影像表達並建立個人與世界的關係。在表達這種關係的過程中，它往往進入人的內心，或對影像本身的 性質引發諸多思考，對紀錄影像如何呈現，如何介入等問題，進行許多追問。在一個影像變得如此容易獲得的時代，這種追問也許並非不必要，而是更加迫切。
沒有統一的答案，只是在不同的語境中，會有不同的回答。這是為什麼，我們覺得這些“比利時製造”的影像，可以和本土的作者及觀眾展開對話。作為一個巡迴的專案，這些對話將在不同城市的空間和場域發生，並進一步和在地的文化現實產生關聯，成為它的一部分。這是DOC.BE的實驗性，也是一種內在的期望，一種努力的開端。
Introduction
By Zhang yaxuan(Beijing)
Belgium may be a small western European country, only a fraction of the size of China, but its documentary production has placed Belgium firmly on the world film map. Despite being unable to boast a so-called film industry, the country has produced a number of distinctive filmmakers, whose works have carried on a long-standing tradition of documentary film, while drawing on a number of different approaches to film, ranging from realism to surrealism.
The “DOC. BE - Focus on Belgian Contemporary Documentary” includes almost thirty films of different formats, portraying different features and approaches testifying to the great diversity and vitality of their production. Some of these films continue the strong and long-standing focus of documentary films on social concerns, allowing us to look at different realities in Belgium, Europe and even in other continents from a European perspective. Others go beyond direct cinema, by taking a fresh look at the relationship between the individual and the world through film, often by penetrating the psyche of the individuals or through the projection of thought-provoking images, while raising some important issues, such as how to represent the subject through image and how to intervene in another world with a camera… In an age where images are so easily acquired, raising such questions has become all the more urgent.
There is no standard answer to such questions. The answer depends on the context. That is why we would like these Made-in-Belgium films to act as a catalyst for dialogue with local filmmakers and audiences. A dozen guests with different identities, including filmmakers, curators, critics and musicians, have been invited to join these gatherings and film screenings, where they will share their experiences, perceptions and passions with the audience through talks, panels, master classes and live soundtracks.
Since DOC.BE is a touring project, these dialogues will occur in different spaces of different Chinese cities and eventually become an organic part of the local cultural reality. That is the experimental nature of the DOC.BE.,which embodies an expectation of developing some sort of non-official network for creative/alternative films.DOC.BE is just a starting!
嘉賓導演：
伯努阿·德爾沃/ Benoît Dervaux
伯努阿·德爾沃1966年生於列日，這個城市已在過去的若干年裡，奠定了自己在比利時影像製作中的核心位置。
他學習的是攝影。也因此在IAD的學習之後，他作為攝影助理和攝影指導的那些工作顯得順理成章。然而經年之後他也成為一個紀錄片導演。正如法國攝影師和紀錄片導演雷蒙德·德巴東（Raymond Depardon),他自己拍攝，將他的眼光和取景器投向一幫居於布加勒斯特街頭的遊蕩少年，于1995年完成了他的第一部電影《吉吉，莫尼卡…》。
這第一部紀錄片由著名的達內兄弟（Dardenne brothers）製作，之後他們發現了他攝影的天分，隨即吸納他進入了劇情長片《承諾》（La Promesse)的工作團隊，這部影片標誌著他們成功的國際生涯的開始。這第一次的合作也令他們達成了長期的工作夥伴關係——伯努阿·德爾沃擔任了達內兄弟之後全部作品序列的攝影工作。
與他作為攝影師的職業生涯相平行，伯努阿·德爾沃繼續為電視和影院製作紀錄片。1997年，他回到他第一部作品的主人公，與雅思米娜·阿布德拉烏伊(Yasmina Abdellaoui)一起，拍攝《吉吉，莫尼卡與碧安卡》。之後的2000年，他製作了《德維尼醫院》，以此與我們分享了一個精神病患者的社群生活，再之後他又導演了《星期天》(A Dimanche,2001) 和《黑泉》（Black Spring , 2004)
這些影片都極具形式美感，但首先它們證實了一種看世界和他者的方式，以一種少見的謙卑，尊重和慷慨。
Benoit Dervaux was born in 1966 in Liège, a city which has over the last years, established itself as one of the cinematographic poles of Belgium.
He studies Cinematography, and so it is quiet logically that after his studies at IAD he starts as (assistant) cameraman and director of photography. But over the years he also becomes a director of documentaries. Like Raymond Depardon, he films himself, and he directs his eye and viewfinder on a group of youngsters living in the streets of Bucarest (Romanie) to make his first film in 1995, "Gigi, Monica,...".
This first documentary will be produced by the two famous Dardenne brothers, who after seeing his cinematographic qualities, will enroll him on their long feature film 'La Promesse', which signals their international successful carrier. This first collaboration will result in a long term partnership - Benoit Dervaux has been the DoP of the Dardenne brothers on all their subsequent films.
Parallel to his carrier as Director of Photography, Benoit Dervaux continues to direct documentaries for television and cinema. In 1997, he goes back to the protagonists of his first film to make "Gigi, Monica, Bianca " in collaboration with Yasmina Abdellaoui, then he will make " La Devinière" (2000) in which he make us share the life of a psychotic community, and thereafter he will direct ' A dimanche' (2001) and Black Spring (2004).
These films are all of an exceptional formal quality, but above all they testimony of a way of looking at the world and the 'other', with a rare humility, respect and generosity.
奧利維耶·梅斯/ Olivier Meys
奧利維耶·梅斯, 1974年生於布魯塞爾，2000年畢業於比利時 IAD藝術傳播學院電影導演專業。畢業前他完成了一部劇情短片 《我行我路》，之後做過一些副導演工作。2001年之後，他製作了一些聲音紀錄片，包括反映中國河南愛滋病患者狀況的《發高燒》（2001）；智利本土印第安人反對西班牙跨國公司搶佔他們土地的《土地上的人們》；2004年，他再次來到中國，拍攝了一個三峽移民家庭的父子兩代，2005年的紀錄片《去不息》和聲音作品《猴年》都來自於這次拍攝，之後他來到北京生活。2006年，他完成了第三部中國題材的聲音紀錄片《地下四季》，它們作為“身份：農民／工人”三部曲，使他獲得2007年SCAM（多媒體作者協會）大獎 ;2008年，在一年半的工作之後，他完成了第二部紀錄作品《前門前》，它參加了本年度法國真實電影節，亦獲得SCAM的國際獎。2008年，他拍攝了劇情短片《第一夜》；2009年，完成了聲音紀錄片《被忘卻的春天》。
Olivier Meys, born in Brussels in 1974, studied film direction at the IAD (‘Institut des Arts de Diffusion’), Belgium. He directed a short fiction film Tenir Ma Route in 2000 and then worked as an assistant-director for Claudio Pazienza, Borhane Alaouie and Giovanni Cionni. Since 2001, he has directed several radio-documentaries like La Fièvre (2001), made in a village of Henan Province, China, about the situation of people infected with AIDS; and Les Gens de la terre (2003), made in Chile. He came to China in 2004 and filmed a relocated family along the Yangtze River. The documentary Vies Nouvelles and a radio-documentary, L’année du Singe in 2005 are both a product of his work there, He then moved to Beijing. In 2006, he finished a 3rd radio-documentary on China: Quatre Saisons sous la Terre, and with the trilogy, Identity: Farmers / Workers, he received the Grand Prix de la Scam 2007. He has just finished his second documentary, A Disappearance Foretold after almost two years’ work, which received the international Prize of the Scam at the Festival Cinéma du Réel 2008. From 2008 to 2009, he finished the short film La Premiere Nuit and sound documentary Une Printemps Oublié.
時間Date : 18-20/03/2011
免費入場 Free Admission （由於座位有限，請先致電28530026報名以便預留座位）
放映地點 Location: 業餘進修中心 iCentre 放映室 Centro De Estudos Permanentes Pos-Laboral iCentre Screening room
地址 Address: 澳門新口岸宋玉生廣場258號建興龍廣場9樓BC座 Macau Alameda Dr. Carlos d'Assumpção no.258 Praça Kin Heng Long 9 Floor BC
策劃 / Initiated & Curated by：
CIFA（ 張亞璇/北京）& NOVA（Laurent Van Lancker，Marie-Eve Cosemans /布魯塞爾)
影片字幕翻譯/ Subtitle Translation：王丹華，嚴瀟瀟，肖熹，戴章倫，何佳，張亞璇
影片字幕製作/Subtitle Insertion：草場地工作站（北京）
文案及翻譯/ Text edited & translated by : Marie-eve Cosmans,嚴瀟瀟，戴偉平，王丹華
主辦/Produced By : 澳門婆仔屋藝術空間Old Ladies’ House Art Space
項目負責（澳門）/ Executive Producer：李銳俊 J LEI
平面設計（澳門）/ Graphic Design：Elise Debouny, 關瑩Iris Kuan（澳門）
行政 （澳門）/ Coordination：張楚誠
項目及活動資助 / Financially Supported by：
Wallonie-Bruxelles International , Flemish Community, WIP, CBA
贊助 sponsors：澳門特別行政區政府 ICM場地協辦/Venue Supported By：澳門業餘進修中心iCenter
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