当我们仰望天空时看见什么？

因为看的是平遥首映场，所以能够看到导演录下的映前视频。 视频里，一张看起来柔软舒适的扶手沙发，一个洁白的看起来很先进的电暖气，一个男人带着口音的英语声音。 情节和环境都有了，只是没有人物。 “你知道的，我们每个人都有隐形的时候，只不过你们刚好遇到了我隐形的时候。”导演的声音回旋在小城之春的影厅里，我在黑暗中听到了观众们的轻笑。 也是第一次在导演的视频里见不到导演呢。 真是个有趣的人。 说回电影吧。 黑色幽默伴着离奇的故事延展，节奏缓慢，但从不缺惊喜的设定与细节的安排。 比如狗狗瓦迪和他朋友们的故事，童话式地在库塔伊西镇这片真实的土地上用狗狗的小脑瓜思考哪里是看球的最佳去处。 而最令我动容的，是瓦迪宁愿没有朋友陪着也要去剧院后面看球，因为这是传统。狗狗都有一个信守的念想，可往往活着的恶人们却都没有。 也许是我的幻觉，我总觉得整个故事的风格与叙述方式非常的法式，我甚至在观影过程中脑子里闪过了《天使爱美丽》的画面。 对我而言，这部电影最大的亮点必然是音乐，没有之一。音乐像是这部影片的船锚，音乐起了，影片的情绪与色彩也就跟着飘起来了。 竖琴的弹拨让灵动奇幻的氛围感包裹着屏幕，随后又注入双簧管作为铺陈，现实的故事就这样在格鲁吉亚缓缓启幕。 最后的最后，旁白说，这就是个离奇的故事，它其实有很多不合理的地方，它离奇它对社会毫无作用，但是在世界上，这样离奇的事情就是每时每刻都在发生。

所以我想，仰望天空时我们到底能看见什么呢，也许就只是天空吧。

看到天空，还不够吗?

首发于 奇遇电影 图文版

如果不看导演科贝里泽的前作，或许能够把握住影片的手法，但一定理解不到影片的主题。这部电影非常之“可爱”，一方面是影片的剧情就像是一个古老的童话故事，讲的是一对刚刚一见钟情的恋人因为被恶魔之眼诅咒而被改变了外貌，无法认出彼此并因此饱受磨难的故事，有很多可爱的（童话式的）奇幻元素，导演甚至还有动用了无所不知、自我反射甚至打破第四堵墙的（童话故事式的）旁白叙事人（特别是开场警告女主角诅咒即将发生的段落，以及狗狗们看球的叙事段落）；另一方面则是导演延续了前作中的“有声默片”手法，不少完全是使用默片技巧的段落（大都加上了默片风格的配乐），以及经常通过旁白而不是台词来讲述故事（作用类似默片中的字幕卡）。一方面利用身体局部特写的手法让我明确了他的参考系之一是布列松，另一方面整部影片的气质又很接近奥塔·伊奥塞利阿尼（或许还有一点米哈伊尔·寇巴希泽）的小曲子风格，有很多令人舒适的闲笔。

理解影片的关键，其实在于片中“PartII”的开篇旁白，这个童话故事发生在“世界杯的那个夏天”，但这次世界杯是虚构的，正如这个故事是虚构的一样——在影片中，拥有梅西的阿根廷队，在四分之一决赛踢出了5:1的大胜（这个比分在阿根廷的世界杯比赛中从未发生，是的我连这个都查了），并在决赛中3:1战胜对手，获得冠军。除去导演可能是个阿根廷球迷之外（虽说导演主要居住在德国，很可能灵感来源是2014年世界杯），世界杯所提示的，实际上是他在前作《夏天不再重来》中反复在段落开头旁白中讲述的“发生战争的那个夏天”（指的是2008年俄国入侵格鲁吉亚的南奥塞梯战争）。因此Part II的开场旁白才会讲到“这段时间会被未来的人们认为是一段最暴力的时间，而我们同他们一样，无法理解巨大暴行发生时候人们的日常生活。”对世界杯的记忆，结构性地提示的其实是对战争的记忆，而这种突如其来，没有逻辑的“诅咒”，也是“暴力发生时的日常生活”的前提。

当然，不了解这些背景知识也不妨碍享受这部影片，导演把格鲁吉亚古城库塔伊西的夏日，拍得非常美丽，而且影片还有一个特别迷人的迷影指向，最后是电影拯救了这对命途多舛，明明就在眼前却无法相认的恋人。我其实觉得影片的另一个创意来源是辛波斯卡的《一见钟情》，这个故事有时也会让我想起《向左走向右走》。

还有，闲笔好是好，不过影片还是应该再短一点……

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。

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

《喬治亞天空下》劇情的骨幹像羅曼史版本的卡夫卡《變形記》：Giorgi和Lisa在路上偶然邂逅了兩次、陷入愛河並訂下約會；怎知隔天一早起來，兩人都換上了另一張臉，同時失去自己最珍貴的天賦。若非電影拍的浪漫，這種遭遇本該是場惡夢。如同敕使河原宏的《他人之顏》（1966），《喬》也可以繼續發展這一連串問題：我是誰？如果失去了我的臉，我要怎麼證明我的身分？失去了我最引以為傲、我賴以生存、我最喜歡的、最經常運用的才華之後，我還是我嗎？別人怎麼指認出我？他們賴以指認出我的部分真的是我嗎？（好可怕，我難以想像一個不看書、不看電影的自己。）

但是，這是羅曼史版本的變形記，而不是科幻電影版！兩人肉體上的轉變，電影浪漫地以「詛咒」帶過。這詛咒當然可以被讀成一則寓言，正如電影台詞所說：

That's what happens when you love.

我們可以想像，當我愛上一個人，我的面孔及表情產生巨大的變化，彷彿變了一個人；我因為他，對其他事失去興趣，或者因為他心煩意亂，連原本做得好的事情都搞砸了。

不過電影對此的處理，跟卡夫卡自己談《變形記》時一樣：它不是什麼的象徵，也不是什麼的寓言，沒有隱喻在其中，一切就是這樣發生了。

—

Giorgi發現自己「變臉」的早晨，攝影機固定拍攝桌子一側，聽見旁白跟畫外的尖叫，接著就是從桌上摔落下來的玻璃瓶。玻璃瓶這一景不只展現導演的匠心獨具，也是電影對各式非人的凝視之例證。我想像導演平常就是那種會坐在一個角落觀察四周環境、紀錄空間裡發生了什麼，一坐就是一個下午的那種人。電影開頭，向女主角通風報信邪眼詛咒的是「四個被禁止與人類說話的朋友」：新苗、監視器、舊水管、風。要真的在生活中留意這些才有辦法這麼自然的放進創作中吧。導演給予物件大量的鏡頭，還有人體的局部（如一開始主角們出場時只看見腿），但每一個部分都與整體（的敘事、我們的生活世界⋯）嵌合在一起。

這一點，放在佔了大半放映時間的「離題」也說的過去。小城居民的走動、踢足球的孩子、風景⋯⋯與主線、支線都無關的眾多畫面，在配樂之中有時讓人覺得自己在看大型MV。直到電影最後，旁白說：拍這個題材的意義是什麼？一個愛情故事對我們的社會有什麼用處？導演怎麼會選到這個題材呢？這個詛咒有這麼多不合理的地方，他們當初怎麼沒有如此、這般⋯？——這些問題都沒有意義。這世界上就是有一些魔法一般的瞬間，雖然稀有，但確切地發生了。再說一次，什麼都別問，一切就是這樣發生了。電影看見這裡，就在這裡。結尾將整部電影的四個部分——男女主角的邂逅與重逢、電影中的電影拍攝、城市生活的片刻s、回探電影意義的旁白——終於收合。

—

《喬治亞天空下》的質感自然是輕盈的。可是，它又真的太長了。再怎麼輕巧魔幻的東西連看2.5小時也會失去魅力——正如同一位豆瓣影友的形容，它就像一封沈甸甸的情書。寫得很好，但我看不完。

—

速記：浪漫版變形記、小說感、局部、物件、zoom in/out、攝影機運動、用樹切割畫面、配樂+畫面（好多，太多ㄌ⋯）、最後一段的史詩感配樂是怎麼回事／將格局突然拉高也讓電影佔比極大的「離題」有了合理的解釋

&狗是這片的靈魂吧（很棒，一點都沒有要抱怨的意思）！

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？