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想不到鲍德温是这副鬼样，大跌眼镜。敏感、脆弱、自尊心强……眼见的遭受过迫害的弱小男人的心理，基佬+黑人在那个年代到底受到了多少摧残，让他变成这样。 |
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玛雅，导演不要太privileged，看得人扶额🤷🏻不会提问可以不用问让人自己说。最后一段才让人阐述自己的理念，掷地有声。 |
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“——Because you don’t understand that you for me, is my prison. You are my warden. I am battling you. ” “——Love has never been a popular movement, and no one has ever really wanted to be free. The world is held together by the love and passion of very few people. “ |
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#MUBI# 当导演讲出“More White people read your books”时候，真的想冲进影像里对这些傲慢的White filmmakers大喊shut up，然后Baldwin就幽默地回应：“Black people steal them.” 表面上这个project是关于James Baldwin和巴黎，可是面对White fragility，Baldwin毫不留情拆穿他们的做作与谎言，而关于种族与创作的议题，对于白人来说是某种有距离感的欣赏，而对于黑人群体却是生与死的轮回上演。感谢影像让我们可以relive within his earnest yet penetrating manifesto. |
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才30分钟三分之二的素材放的全是对峙场景，这两位完全不在一个频道，但也实实在在拍到了他那张战士的脸庞：you the english, the french, the west, the christian thinks you could save me.. you dont know that ive endured your salvations so long |
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Baldwin说出是“we save you”的时候犹如一记大巴掌呼到观众和执镜者脸上。Terence Dixon的白人身份在这部片子里显露无疑，傲慢，condescending，戴着“i'm showing this to the world”的伪善面具，实际也是Baldwin所说的white supremacy专属“salvation”。这样的拧巴呈现在影像里，算是外部世界race struggle的一个小缩影吧。有趣得很。 |
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James Baldwin vs. 史上最理直气壮的无知无畏式提问者，“他急了他急了”😆 |
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人文主义的真善美。《乔凡尼的房间》里的“我”是“你”以及“我”与“你”之间持续的战争的概念再次出现。 |
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@MUBI |
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鲍德温的态度已经算得上温和了，要是我早已挥拳打到采访者脸上一万次。在大家都说过的事实里忽然想到一直被当成一个文化笑话被传播的Kanye与Jay-Z的“N*ggas in Paris”（你总能在那些black-related contents下面看到玩这个梗的人）：他们去往巴黎是因为在这个以民主主义为傲的国家却面临着在第二天清晨便可能抛尸街头的危险。所以他说处处是牢狱、他说我无法忍受白人自以为是的拯救、所以我为“人们”写作、所以世上任何人都是“你”，但你可以选择不成为祂们。 |
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James Baldwin让白人闭上嘴 |
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“What you’ve got to remember is what you are looking at is also you. Everyone you are looking at is also you. You could be that person, you could be that monster, you could be that cop. And you have to decide in yourself not to be.” |
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I would not to be a white American, for all the tea in China, all the oil in Texas. I really wouldn't like to have to live, with all those lies. |
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James Baldwin好锐利。片头旁白像介绍动物世界一样介绍他的处境，采访过程中对他为什么来巴黎这点揪住不放，看的时候一直想翻白眼了，但在当时白人真的觉得自己挺liberal的吧 |
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五星献给James。
If everyone had been in love, they’d treat their children differently. They’d treat each other differently. |
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无意识的姿态构成的反讽 |
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那个年代的白人说话可真难听 （right on baby |
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Baldwin太有魅力 |
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“I’m aware, you know, that I and the people I love may perish in the morning. I know that. But there’s light on our faces now. If you live under the shadow of death, it gives you a certain freedom. I’m perfectly happy, odd as it sounds, and relatively free.” |
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Oh god white man 😅 |
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7.0/10 |
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4/5. |
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MUBI |
![[Deleted]](https://img9.doubanio.com/icon/up59018976-5.jpg)
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采访中社会现状的谴责，很显然今年在NYFF上重映借助James Baldwin的种族看法声援回应BLM |
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so powerful, need to take notes |
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白人导演的问题 |
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清醒的智者James Baldwin，導演過於自我中心，看他與紀錄片對象爭拗很尷尬，評分無關導演，全給James Baldwin |
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“What you’ve got to remember is what you’re looking at is also you,everyone you’re looking at is also you.” “If you live under the shadow of death, it gives you a certain freedom.” |
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我的天，纪录片和人物interview反面例子一览。看了五分钟我已经在替James Baldwin生气了，临近结尾我已经想冲进去揍导演了。Wow white guy’s ignorance and arrogance is suffocating. |
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在19年朋友因疫情回国将“The fire next time ”留在了我家让我提他保管，那是我第一次看他的书，小小薄薄的一本。一天我的朋友Timi来我家发现我在读这本书，就和我讲他也读了，他读的是英文版，在我们的讨论中发现中文版里许多地方被翻译的偏文学性里的委婉隐喻，这种委婉隐喻提供给读者更多理解的可能性，而英文版里Baldwin的语言更加的直接，但可能也因为Timi是居住在伦敦的黑人，理解这本书比我更加深刻，随后我也去买了一本英文版的来读。因为我没有在白人世界的黑人区的生活经验，所以我希望通过这本书可以帮我更深刻的理解西方的Racism和世界整个格局。当昨天看完这部纪录片时我理解了在他那些直截了当的文字中的“无畏” |
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主要是James Baldwin太有力量和尊严，你为什么不逃呢？I am better than that.一个黑人在这个世界上能逃到哪里去？ |
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The sheer wisdom and grace that radiate off Baldwin... incredible. ‘Love has never been a popular movement, and no one’s ever wanted really to be free. The world is held together by the love and passion of a very few people.’ 一针见血的真诚 |
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Very triggering but it’s fine today. Maybe only today. |
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访谈还能这么做吗，想起波拉尼奥的访谈录里被问到“你曾用香烟烫过自己吗”“你见过水下五颜六色的鱼吗”…… 但是鲍德温好稳，I’m writing for people, baby. |
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纪录片的失败，如果被镜头记录下来，就会成为它的成功。在这个意义上，访谈类纪录片是不可能失败的，无论有多尴尬。越尴尬，越成功🤪 |
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不适感似乎来源于拍摄者主动的provocation，但其实是他极为白人中心化的视角、白人中心化的问题，而片尾的采访正好说明了这点；Baldwin太智慧太聪明了，但也是一个非常difficult一点也不友好的人，跟我心目中的他相去甚远…… |
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Film Forum |
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MUBI | 补标 / 爱与身份。 |
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07/14/2021, @ MUBI. Poignant. Raging, raging against the enormity of blindness. “What have I escaped? Where, anyway, would I go to escape? To your country? Would I get a political asylum here? Where would a fleeing Black man go…if he wanted to escape?” |
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“You are my prison, I'm battling you” 在镜头前抗拒这个crew带着他们对他的presumptions想要记录他在巴黎的“作家生活”的James Baldwin非常有魅力，太有魅力了，面对camera几乎吐字成金，而主观的带各种偏见，自大，自以为是又rude的导演是否真的听懂了James Baldwin的表达，我很怀疑。这段很短的影像到今天意义也并没有衰减。 |
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Baldwin, bold and deep. Reflexive documentary. Who represents who, power dynamic between Baldwin and filmmaker. A writer in a bourgeois sense vs. I’m just not my own person I am about a movement and the whole people |
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7。#NYFF2020Virtual#58 |
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I've been endured for your salvation for so long |
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很早就想过如果我放出一段“采访”（对话），我在其中为什么是一个完全的置身事外者，正如《杀戮演绎》中的提问就带着过于明显的谴责意味。理想国的对话体或任何剧本也不允许我在自认客观的提问中损失对话本身蕴含的任何精彩之处。本片终于做了我早就想做的，在cinema verite之上暴露采访者本身的缺陷。或是智慧，否则创作者介入的意义在何？不过《非虚构的艺术》还给出了作者本人受到启示这一选择。 |
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太有勇气了 各种意义上的 |
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Interesting sens to see. The pain of being a minority will hunt you till the end in some certain measures. I agree with the speech “The world will change because it has to, the Pope will die because they are criminals churches, the party is OVER” |
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Woo |
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I can no longer endure your salvation |
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“But, I mean, everyone has been in love…” “Has everyone been in love? … If they have, they’ve forgotten it. If everyone had been in love they’d treat their children differently. They’d treat each other differently.” |
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人格太狠，看完纪录片立即想看他的书 |
