我們的失敗

由讓-加布瑞·貝里奧導(dǎo)演執(zhí)導(dǎo)的《我們的失敗》，自2019年上映以來獲得不錯的口碑，是由Swann Agha,Natasha Andraos,Gha?s Bertout-Ourabah,Jackson Ellis,Julie Escobedo,Rosalie Magnan,Alaa Mansour,Marine Rouie,Floricia Yamondo,Martin Zellner等主演的一部不錯的法語記錄片。

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　　2018年5月和6月，Jean Gabriel P_Riot與位于Ivry Sur Seine的一所高中的10名電影班學(xué)生合作，開展了一項將電影與政治結(jié)合起來的項目。學(xué)生們在攝像機前和攝像機后工作，重新布置罷工、抵抗和勞資糾紛的場景，這些電影可以追溯到20世紀(jì)60年代末到70年代末，包括讓-盧克-戈達(dá)爾和阿蘭-坦納的電影。nos d_faites匯集了調(diào)查結(jié)果，并增加了采訪，在采訪中，導(dǎo)演詢問學(xué)生他們剛剛表演的場景，關(guān)于“階級”、“工會”和“政治參與”等概念，以及更廣泛的社會背景。這是一個簡單，但尖銳的設(shè)置，讓觀眾一瞥年輕一代如何看待政治和過去的政治電影。這部影片還記錄了導(dǎo)演試圖激怒學(xué)生的企圖。在導(dǎo)演和學(xué)生似乎處于平等地位的遭遇中，基于從未見過的導(dǎo)演更多類似于老師的提問，以及此時此刻對革命的思考：起義的表現(xiàn)反映了同樣的情況。這會導(dǎo)致一個真實的發(fā)生嗎？　　In May and June 2018, Jean-Gabriel Périot collaborated with ten students in a film class at a high school in Ivry-sur-Seine on a project that unites cinema with politics. The students worked both in front of and behind the camera, restaging scenes of strikes, resistance, and labour disputes from films dating from the late 1960s to the late 1970s, including ones by Jean-Luc Godard and Alain Tanner. Nos défaites assembles the results, and adds interviews in which the director queries the students about the scenes they’ve just acted in, about such concepts as “class,” “l(fā)abour union,” and “political engagement,” about wider social contexts. It’s a simple, yet trenchant setup, affording viewers a glimpse of how a younger generation sees politics and the political cinema of the past. The film also documents the director’s attempts to stir up the students. The conversations vary between encounters in which director and students seem on an equal footing, based on more teacher-like questioning by the never-visible director, and contemplations of revolution in the here and now: the performance of an uprising follows reflection upon the same. Could this lead to one happening for real?　　回到1968年的電影時代，繼續(xù)對重放從過去跳出來的電影節(jié)選的年輕人進(jìn)行今天的采訪，我們的失敗描繪了我們當(dāng)前與政治的關(guān)系。我們的失敗，還是我們有足夠的力量來面對今天的混亂？　　By going back into the cinema of the 1968 era and going forward with present-day interviews of young people who replay excerpts of film s jumping out from the past, Our Defeats draw the portrait of our current relations with politics. Our Defeats, or do we keep enough forces to confront ourselves with the chaos of today?

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