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  In1961,StanislawRozewiczcreatedthenovellafilm"BirthCertificate"incooperationwithhisbrother,TadueszRozewiczasscreenwriter.Suchbrothertandemsarerareinthehistoryoffilmbutasidefromfamilyties,Stanislaw(bornin1924)andTaduesz(bornin1921)weremutuallyboundbytheirloveforthecinema.TheywerebornandgrewupinRadomsk,asmalltownwhichhad"itsmadmenanditssaints"andmostimportanly,the"Kinema"cinema,asStanislawrecalls:forhimcinemais"heaven,thewholeworld,enchantment".Tadeuszsaysheconsiderscinemabothacharmingmarketstallandamysterioustemple."Allthissavagelandhasalwaysattractedandfascinatedme,"hesays."IamdevouredbycinemaandIdevourcinema;I'macinemaeater."ButTadueszRozewicz,aneminentwriter,admitsthisuniqueformofcooperationwasaproblemtohim:"Itisthepresenceoftheotherpersonnotonlyintheprocessofwriting,butatitsverycore,whichisinserperableformefromabsolutesolitude."Somescenesthebrotherswrotetogether;otherswerecreatedbythewriterhimself,followingdiscussionswiththedirector.Butfromtheperspectiveoftime,itis"BirthCertificate",ratherthan"Echo"or"TheWickedGate",thatTadueszdescribesashismostintimatefilm.Thisisunderstandable.ThetradgeyfromSeptember1939inPolandwasfortheRozewiczbrotherstheirpersonal"birthcertificate".Whenworkingonthefilm,thedirectorsaid"Thistimeitisallaboutshakingoff,gettingridofthepsychologicalburdenwhichthewarwasforallofus....Cooperationwithmybrotherwasinthiscaseeasier,aswesharemanywarmemories.Wewantedtoshowtoadultviewersapictureofwarasseenbyachild....Inreality,itistheadultswhocreatedtherealworldofmassacres.Childrenbeheldthehorrorscomingbacktolife,exhumedfromunderneaththeground,overwhelmingtheearth."ccc  Theprincipleofcompositionof"BirthCertificate"isnotobvious.Whenwatchinganovellafilm,wetendtothinkintermsoftraditionaltheatre.Weexpectthataminiaturestorywillfinishwithasharppoint;thethreefilmnovellasinRozewicz'sworklackthisfeature.Wedonotknowwhatwillbehappentotheboymakinghisalonethroughtheforesttowardstheendof"OntheRoad".Wedonotknowwhetherin"LetterfromtheCamp",thehelpofferedbythesmallheroestoaSovietprisonerwillrescuehimfromtheunknownfateofhiscompatriots.ThefateoftheJewishgirlfrom"DropofBlood"isalsounclear.Willshekeephernewimpersonationas"MarysiaMalinowska"?OrwilltheNazismakeherintoarepresentativeofthe"Nordicrace"?Thosequestionswereaskedbythedirectorforareason.Hepreceivedwaraschaosandperdition,andnotaslinearhistorythatcouldbereflectedinaplot.Although"BirthCertificate"issaturatedwithmoralcontent,itdoesnotaimtobeamoralityplay.Butwiththeimmensepressureofreality,novarientoffateshouldbeexcluded.ThisapproachedcanbecomparedwthKrzysztofKieslowski's"BlindChance"25yearslater,whichpictureddramaticchoicesofadifferentera.  Thefilmnovella"OntheRoad"hasaverysparingplot,butitdrewspecialattentionofthereviewers.TheominatingovertoneofthewarfilmscreatedbythePolishFilmSchoolatthattimeshouldbekeptinmind.MainlyowingtoWajda,thosefilmsdealtwithromanticheritage.Theywerepermeatedwithpathos,bitterness,andirony.Rozewiczisanextraordinaryartist.Whennarratingastoryaboutaboylostinawarzone,carryingsomedocumentsfromtheregimentofficeasiftheywereatreasure,thenarratorin"OntheRoad"discoversroughprosewhereoneshouldfindpoetry.Andsuddenly,theirrationaltouchesthisrathertameworld.Theboy,whountilthatmomentresembledaPolishversionoftheGoodSoldierSchweik,setsoff,likeDonQuixote,forhisfirstandlastbattle.Acriticdescribeditas"anabsurdgestureandsomeoneelsecouldsurelyuseittocriticisethePolishstyleofdying....ButtheRozewiczbrothersdonoaccuse:theyonlycomposeanelegyforthepicturesquepeasant-soldier,probablythemostimportantveteranofthePolishwarof1939-1945.""BirthCertificate"isnotaloftystatementaboutnationalimponderabilia.ThefilmrevealsaplebeianperspectivewhichAleksanderJackieqiczoncecontrastedwiththose"lyricallamentations"inherentintheKordiantradition.However,ahistoricaloverviewofRozewicz'sworkshowsthatthedistinctivestyledoesnotsignifyafundamentaldifferenceinillustratingthePolishSeptember.JustasthememorablescenefromWajda's"Lotna"wasinfactanexpressionofdesperationanddistress,thesameemotionspermeatethefinalsceneof"BirthCertificate".Thesearenotideologicalconcepts,thoughoncedescribedassuchandferventlydebated,butratherpsychologicalcreations.Inthisspecificcase,observesWitoldZalewski,itisnotaboutmanifestingknightlypride,butaboutagestureofasimplemanwhodoesnotagreetobeenslaved.  Thenovella"DropofBlood"is,withAleksanderFord's"BorderStreet",oneofthefirstnarrationsofthefateofthePolishJewsduringtheNazioccupation.Thestoryaboutagirlliterallylookingforherplaceonearthhasadramaticdimension.Especiallyintheageoftoday'sjournalisticdisputes,oftenmanipulative,lackinginempathyandimbuedwithbadwill,Rozewicz'sstoryfromthepastshockswithitsauthenticity.ThesmallherioneofthestoryistheonlyonewhosurvivesaGermanraidonherfamilyhome.Physicalsurvialdoesnot,however,meanareturntonormality.Herfrighteneddeparturefromtherubbishdumpthatwasherhideoutleadhertoaruinedapartment.Herwalkarounditispainfulbecausestillfreshsignsoflifearemixedwithevidenceofannihilation.Helpisneeded,butMirkadoesnotknowanyoneintheoutsideworld.Hersubsequentattemptsexpressthestateofthefugitive'sspirits-fromhopeandfaith,movingtodoubt,asenseofoppression,andthickeningfear,andfinallytodespair.  Atthesametime,theJewishgirl'ssearchforrefugeresemblesthestateofPolishsociety.TheappearanceofMirkaresultsinconfusion,andlater,trouble.ThiswasalreadysignalledbyRozewiczinanexceptionalscenefrom"LetterfromtheCamp"inwhichtheboy'sneighbour,seeingafugitiveRussiansoldier,retreatsimmediately,admittingthat"Now,peopleworryonlyaboutthemselves."Suchembarassingexcusesmaskfear.Duringtheoccupation,noonefeelssafe.Neithersocialstatusnottheaegisofacharityorganisationprotectsagainstrepression.WeseethepotentialguardiansofMirkapassingherbackandforthamongthemselves.Thesearefriendlyhandsbuttheycannotofferstrongsupport.Thestorytakesplaceonthatthinlinebetweensolidarityandheroism.Solidarityarisesspontaneously,butonlysomearecapableofheroism.Helpforthegirldoesnotalwaysresultfromcompassion;sometimesitisbasedonpastrelationsandpersonalties(aneighbourofthedoctortakesinthefugitiveforafewdaysbecauseofpastfriendship).Rozewiczportraysallofthisinasubtleway;eventhesmallestgesturehassignificance.Take,forexample,theconversationwithastrangeronthetrain:short,asifjotteddownonthemargin,butsofulloftension.Andearlier,apeculiarexaminationofPolishness:the"HolyFather"prayerforcedonMirkabythevillageboystocheckthatsheisnotaJew.Wouldnotrisingtothechallengemeanadeathsentance?  Viewedaftermanyyears,"BirthCertificate"disclosesyetanotherqualitythatisnotpresentintheworksofthePolishSchool,butisprominentinlaterB-classwarfilms.Thisisthepictureofeverydaylifeduringthewarandoccupationoutlinedinthethreenovellas.Itharmoniseswiththelogicofspeakingabout"lifeafterlife".SmallheroesofRozewiczsuddenlyentertherealityofwar,withnoexperienceorscalewithwhichtocompareit.Forthem,thepresentisanaturalextensionofandatthesametimeacompletenegationofthepast.Considerthesleeysmall-townmarketplace,throughwhicharmouredcolumnswillshortlypass.OrmeettheGermanmotorcyclists,wholooklikealiensfromouterspace-apicturetakenfromanautopsybecausethisishowStanislawandTadueszperceivedthefirstGermanstheyevermet.Notetheblurredsilhouettesofpeopleagainstawhitewallwhoarebeingshot-atfirsttheyareshocking,butsoontheywillprobablybecomeapartofthegrimlandscape.Inthecitycentrestandsaprisonercamponasoddenbog("Peopleperishlikesflies;thebodiesaretransportedduringthenight");inthestreetthechildernarerunningafteracoalwagontocollectsomepreciouspiecesoffuel.There'sabustlearoundsomefood(aboyreproacheshisyoungerbrother'sactionsbysinging:"Thewarrantofficer'ssonisbegginginfrontofthechurch?I'mgoingtotellmother!");andthekitchen,whichoneeveningbecomestheprosceniumofarealdrama.Andtherearethesymbols:abarofchocolateforceduponaboybyaWehrmachtsoldier("OntheRoad");apairofshoesbelongingtoZbyszek'sfatherwhichtheboyspontaneouslygivestoaRussianfugitive;apricelesssliceofbread,ground undertheheelofapolicemanintheguter("LettersfromtheCamp").Asthedirectorputit:"Ineveryfilm,Icommunicatemyownvisionoftheworldandofthepeople.Onlythenthestylefollows,thedefinedwayofexperiencingthings."InBirthCertificate,headds,hisapproachwasdrivenbythesubject:"Iattemptedtocreatenotonlythetextureofthedocumentbutalsotoaddsomepoeticelement.Iknowitisriskybutasforthemergerofdocumentationandpoety,oftenhiddenverydeep,ifonlyitmanagestomakeitswayontothescreen,itresultsinwhatcanreferredtoas'art'."  After1945,therewerenumerousfilmscreatedinEuropethatdealtwithwarandchildren,including"SomewhereinEurope"("ValaholEuropaban",1947byGezaRadvanyi),"Shoeshine"("Sciescia",1946byVittoriodeSica),and"ChildhoodofIvan"("Iwanowodietstwo"byAndriejTarkowski).Yettherewerefewerthanonewouldexpect.Pursuingasubjectsoimbuedwithsentimentalismrequiresstylisticdisiplineandaspecialabilitytomanagechildactors.Theauthorof"BirthCertificate"masteredboth-anditwasnotbychance.StanislawRozewiczwasalwaysthebeneficentspiritofthefilmmilieu;hecouldunitepeoplearoundacommongoal.Heemanatedpeaceandsensitivity,whichflowedtohisco-workersandpupils.Afilm,beingagroupwork,necessitatessomeformofempathy-tuninginwithothers.  InabiographicaldocumentaryaboutStanislawRozewiczentitled"Walking,Meeting"(1999byAntoniKrauze),thereisabeautifulscenewhenthedirector,afterafewdecades,meetsBeataBarszczewska,whoplaysMireczkainthenovella"DropsofBlood".Thewomanfallsintothearmsoftheelderlyman.Theyarebothmoved.Hewondershowmanyyearshavepassed.Sheanswers:"Afewyears.Nottoomany."AndRozewicz,withhischaracteristicsmilesays:"Itistrue.Wespentthisentiretimetogether."
K2:不可能速降
导演:
剧情:
  2018年7月22日,奥地利红牛旗下的波兰登山滑雪运动员安杰伊·巴吉尔完成了人类史上首次乔戈里峰无供氧登顶滑降,用雪板征服世上攀登难度最高、最危险的8000米高山。乔戈里峰(又称K2)地形险恶、气候恶劣、救援困难,无数登山界先人在此铩羽而归,从峰顶不间断滑雪下撤到大本营更是从未有人设想过的危险挑战。凭借本次挑战,安杰伊在2019年被评为国家地理年度探险家ddd  在挑战两周年之日,奥地利红牛重磅推出纪录片大作《K2:征服死亡峰》(K2:TheImpossibleDescent),走进这一不可能挑战的幕后。登山滑雪挑战要进行怎样的战略准备?置身高峰之上会面临什么样的突发状况?神圣的皑皑雪山之下隐藏着怎样的危险?无人机的发展对极限登山滑雪带来怎样的变化?  本片除了采用挑战时的第一人称镜头与无人机镜头外,还有众多户外界名宿接受采访评论,其中就包括奥斯卡金像奖最佳纪录片《徒手攀岩》的导演、职业登山运动员金国威(JimmyChin)。