以色列電影導(dǎo)演計劃重返軍隊，他曾在襲擊日飛往紐約參加電影節(jié)
Israeli director Gal Genossar expected to be celebrating the world premiere of his short film, The Monopol, at the Chelsea Film Festival in New York Sunday, along with his screenwriter, Nati Brooks.
以色列導(dǎo)演蓋爾·吉諾薩預(yù)計將于周日在紐約切爾西電影節(jié)上與他的編劇納提·布魯克斯(Nati Brooks)一起慶祝他的短片the Monopol的全球首映。
However, after the Hamas attack on Israel on Oct. 7, Genossar found himself representing his country alone at the festival (which also had a handful of other works from Israeli filmmakers). He was torn on whether to attend the premiere, given the worsening situation in the Middle East, but, after consulting with the Israeli consulate in New York, he decided to stay and speak about the attacks to the opening night crowd at the festival and others and to film protests in the city.
然而，在哈馬斯于10月7日襲擊以色列之后，吉諾薩發(fā)現(xiàn)自己只能獨自代表以色列參加電影節(jié)(電影節(jié)上還有一些以色列電影人的其他作品)?？紤]到中東不斷惡化的局勢，他對是否參加首映式猶豫不決，但在與以色列駐紐約領(lǐng)事館協(xié)商后，他決定留下來，向電影節(jié)開幕之夜的觀眾和其他人講述襲擊事件，并拍攝該市的抗議活動。
“It’s hard, especially because it’s our world premiere. We really wanted to be here all together and represent the film, but I think that we have a bigger role than just the film, being advocates for the situation in Israel. I think it’s right now bigger than the film itself,” Genossar said.
“這很難，尤其是因為這是我們的全球首映。我們真的很想一起來到這里，代表這部電影，但我認(rèn)為我們的角色比電影更重要，我們是以色列局勢的倡導(dǎo)者。我認(rèn)為它現(xiàn)在比電影本身更重要，”吉諾薩說。
When he returns home in a few days, Genossar, who’s an Israeli reservist, will join the military response against Hamas.
Genossar是一名以色列預(yù)備役軍人，他幾天后回國后將加入對抗哈馬斯的軍事行動。
“If my film wasn’t premiering on Sunday, I would do it before now,” he said.
他說:“如果我的電影不是在周日首映，我現(xiàn)在就會拍。”
The director, who is based near Tel Aviv, was able to make it to the film festival because he had an early flight on Oct. 7, which meant he was at the airport during the first strike on Israel. Thinking the attack was not out of the ordinary, and in consultation with his wife, Genossar continued on to New York. He landed and realized the depth of the situation and also received a list of names of missing friends, who he says have now been declared dead. He later found out that his friend, director Yahav Winner, had also been killed.
這位居住在特拉維夫附近的導(dǎo)演之所以能夠參加電影節(jié)，是因為他在10月7日乘坐了一班早班航班，這意味著他在第一次襲擊以色列時就在機場。吉諾薩認(rèn)為這次襲擊并不罕見，在與妻子商量后，他繼續(xù)前往紐約。他降落后意識到情況的嚴(yán)重性，還收到了一份失蹤朋友的名單，他說這些朋友現(xiàn)在已經(jīng)被宣布死亡。他后來發(fā)現(xiàn)他的朋友，導(dǎo)演亞哈夫·溫納也被殺了。
His screenwriter was sidelined by a canceled flight, as well as needing to attend to family obligations. Genossar says his family is safe amid the conflict.
他的編劇因為航班取消，以及需要照顧家庭而暫時離開。吉諾薩說，他的家人在沖突中是安全的。
While he was constantly online at first, Genossar said the updates and the news cycle made him feel “crazy.” However, he feels he has been able to make a difference speaking with people in New York about Israel and the attacks. And he said that his art may have, unfortunately, found new relevance.
一開始他經(jīng)常上網(wǎng)，但吉諾薩說，這些更新和新聞周期讓他感到“瘋狂”。然而，他覺得他能夠在紐約與人們談?wù)撘陨泻鸵u擊時有所作為。他說，不幸的是，他的藝術(shù)可能找到了新的意義。
The 19-minute historical film drama, which is based on Brooks’ family history, is about the deportation of Jewish families in Macedonia in 1943. A pharmacist is offered a reprieve from being sent to the concentration camps and must decide, alongside his wife, whether to try to save others or leave immediately.
這部19分鐘的歷史電影改編自布魯克斯的家族史，講述了1943年馬其頓猶太人家庭被驅(qū)逐出境的故事。一名藥劑師獲得了被送往集中營的緩刑，他必須和妻子一起決定是拯救他人還是立即離開。
In creating the film, Genossar said his hope was to show the world that these situations should not happen again. And after shooting the film in the country of Georgia, with a cast of Georgian actors and refugees from Ukraine, he found meaning in bringing together different cultures around this topic. But, now he said that the idea of “never again” has “failed.”
在制作這部電影時，吉諾薩表示，他希望向世界表明，這種情況不應(yīng)該再次發(fā)生。在格魯吉亞拍攝完這部電影后，他發(fā)現(xiàn)圍繞這個話題將不同的文化結(jié)合在一起是有意義的，劇組由格魯吉亞演員和烏克蘭難民組成。但是，現(xiàn)在他說，“再也不要”的想法已經(jīng)“失敗了”。
“People need to see it, even though it’s an 80-year-old-story. I think it’s relevant, sadly relevant,” he said.
“人們需要看到它，盡管這是一個80年前的故事。我認(rèn)為這是相關(guān)的，可悲的是相關(guān)的，”他說。
Before the trip, Genossar was working on another documentary short about post-traumatic stress disorder. But he said the attacks have left him questioning: “How do I go back to making art and visual art with the situation that is happening right now?”
在這次旅行之前，吉諾薩正在制作另一部關(guān)于創(chuàng)傷后應(yīng)激障礙的紀(jì)錄片短片。但他說，這些襲擊讓他產(chǎn)生了疑問:“在目前這種情況下，我怎么才能回到藝術(shù)和視覺藝術(shù)創(chuàng)作中去?”
It’s a question facing other Israeli artists, including Nitzan Mintz and her partner, who goes by the name Dede Bandaid, who spoke with Genossar as part of a film festival panel Sunday. The two street artists, who are currently in New York for an art residency, started a guerilla campaign making “Kidnapped” posters featuring Israelis taken hostage by Hamas, after initially feeling helpless from afar.
這也是其他以色列藝術(shù)家面臨的問題，包括尼贊·明茨和她的搭檔德德·班迪，他們在周日的電影節(jié)小組討論中接受了熱諾薩的采訪。這兩位街頭藝術(shù)家目前在紐約進(jìn)行藝術(shù)駐留，他們開始了一場游擊式的活動，制作“被綁架”的海報，畫的是被哈馬斯綁架的以色列人，起初他們在遠(yuǎn)處感到無助。
At first, Mintz and Bandaid papered the city of Manhattan with the posters, which are created with the permission of the families, by themselves. But the two then created an online Dropbox of the posters and the effort spread online and was picked up by celebrities and in cities around the world.
起初，明茨和班迪在曼哈頓貼滿了海報，這些海報是在家屬的允許下由他們自己創(chuàng)作的。但兩人隨后創(chuàng)建了一個在線Dropbox，將海報放在網(wǎng)上，他們的努力在網(wǎng)上傳播開來，得到了世界各地的名人和城市的關(guān)注。
“What we’re doing now, we can make a real impact and change, because really the only thing that drives us through these days is to have these people back home,” Dede said.
“我們現(xiàn)在所做的，我們可以產(chǎn)生真正的影響和改變，因為這些日子里，真正推動我們度過的唯一事情就是讓這些人回家，”德德說。
At the moment, activism and action is taking priority over making art. And Mintz said she couldn’t yet think about a future in which their art may be able to help Israelis in the healing process.
目前，激進(jìn)主義和行動比藝術(shù)創(chuàng)作更重要。明茨說，她還無法想象未來他們的藝術(shù)能夠幫助以色列人愈合創(chuàng)傷。
“I would leave aside the art community. I would just help people now,” Mintz said, when asked how to support artists.
“我會把藝術(shù)界放在一邊。我現(xiàn)在只想幫助別人，”當(dāng)被問及如何支持藝術(shù)家時，明茨說。
While Genossar is still figuring out his next steps as a filmmaker, he said he believes artists and culture will be necessary in Israel to help pave the path forward.
雖然吉諾薩仍在考慮自己作為電影制作人的下一步，但他說，他相信以色列需要藝術(shù)家和文化來幫助鋪平前進(jìn)的道路。
“I think that right now I’m just going to have to go back to Israel to understand what my next role would be in this situation,” he said. “And honestly, I feel that it’s right to go back to doing what I’ve done before. I think Israel is going to change dramatically in one way or the other.”
他說:“我認(rèn)為，現(xiàn)在我必須回到以色列，弄清楚在這種情況下我的下一個角色是什么。”“老實說，我覺得回到我以前做的事情是正確的。我認(rèn)為以色列將以這樣或那樣的方式發(fā)生巨大變化。”
以色列導(dǎo)演蓋爾·吉諾薩預(yù)計將于周日在紐約切爾西電影節(jié)上與他的編劇納提·布魯克斯(Nati Brooks)一起慶祝他的短片the Monopol的全球首映。
However, after the Hamas attack on Israel on Oct. 7, Genossar found himself representing his country alone at the festival (which also had a handful of other works from Israeli filmmakers). He was torn on whether to attend the premiere, given the worsening situation in the Middle East, but, after consulting with the Israeli consulate in New York, he decided to stay and speak about the attacks to the opening night crowd at the festival and others and to film protests in the city.
然而，在哈馬斯于10月7日襲擊以色列之后，吉諾薩發(fā)現(xiàn)自己只能獨自代表以色列參加電影節(jié)(電影節(jié)上還有一些以色列電影人的其他作品)?？紤]到中東不斷惡化的局勢，他對是否參加首映式猶豫不決，但在與以色列駐紐約領(lǐng)事館協(xié)商后，他決定留下來，向電影節(jié)開幕之夜的觀眾和其他人講述襲擊事件，并拍攝該市的抗議活動。
“It’s hard, especially because it’s our world premiere. We really wanted to be here all together and represent the film, but I think that we have a bigger role than just the film, being advocates for the situation in Israel. I think it’s right now bigger than the film itself,” Genossar said.
“這很難，尤其是因為這是我們的全球首映。我們真的很想一起來到這里，代表這部電影，但我認(rèn)為我們的角色比電影更重要，我們是以色列局勢的倡導(dǎo)者。我認(rèn)為它現(xiàn)在比電影本身更重要，”吉諾薩說。
When he returns home in a few days, Genossar, who’s an Israeli reservist, will join the military response against Hamas.
Genossar是一名以色列預(yù)備役軍人，他幾天后回國后將加入對抗哈馬斯的軍事行動。
“If my film wasn’t premiering on Sunday, I would do it before now,” he said.
他說:“如果我的電影不是在周日首映，我現(xiàn)在就會拍。”
The director, who is based near Tel Aviv, was able to make it to the film festival because he had an early flight on Oct. 7, which meant he was at the airport during the first strike on Israel. Thinking the attack was not out of the ordinary, and in consultation with his wife, Genossar continued on to New York. He landed and realized the depth of the situation and also received a list of names of missing friends, who he says have now been declared dead. He later found out that his friend, director Yahav Winner, had also been killed.
這位居住在特拉維夫附近的導(dǎo)演之所以能夠參加電影節(jié)，是因為他在10月7日乘坐了一班早班航班，這意味著他在第一次襲擊以色列時就在機場。吉諾薩認(rèn)為這次襲擊并不罕見，在與妻子商量后，他繼續(xù)前往紐約。他降落后意識到情況的嚴(yán)重性，還收到了一份失蹤朋友的名單，他說這些朋友現(xiàn)在已經(jīng)被宣布死亡。他后來發(fā)現(xiàn)他的朋友，導(dǎo)演亞哈夫·溫納也被殺了。
His screenwriter was sidelined by a canceled flight, as well as needing to attend to family obligations. Genossar says his family is safe amid the conflict.
他的編劇因為航班取消，以及需要照顧家庭而暫時離開。吉諾薩說，他的家人在沖突中是安全的。
While he was constantly online at first, Genossar said the updates and the news cycle made him feel “crazy.” However, he feels he has been able to make a difference speaking with people in New York about Israel and the attacks. And he said that his art may have, unfortunately, found new relevance.
一開始他經(jīng)常上網(wǎng)，但吉諾薩說，這些更新和新聞周期讓他感到“瘋狂”。然而，他覺得他能夠在紐約與人們談?wù)撘陨泻鸵u擊時有所作為。他說，不幸的是，他的藝術(shù)可能找到了新的意義。
The 19-minute historical film drama, which is based on Brooks’ family history, is about the deportation of Jewish families in Macedonia in 1943. A pharmacist is offered a reprieve from being sent to the concentration camps and must decide, alongside his wife, whether to try to save others or leave immediately.
這部19分鐘的歷史電影改編自布魯克斯的家族史，講述了1943年馬其頓猶太人家庭被驅(qū)逐出境的故事。一名藥劑師獲得了被送往集中營的緩刑，他必須和妻子一起決定是拯救他人還是立即離開。
In creating the film, Genossar said his hope was to show the world that these situations should not happen again. And after shooting the film in the country of Georgia, with a cast of Georgian actors and refugees from Ukraine, he found meaning in bringing together different cultures around this topic. But, now he said that the idea of “never again” has “failed.”
在制作這部電影時，吉諾薩表示，他希望向世界表明，這種情況不應(yīng)該再次發(fā)生。在格魯吉亞拍攝完這部電影后，他發(fā)現(xiàn)圍繞這個話題將不同的文化結(jié)合在一起是有意義的，劇組由格魯吉亞演員和烏克蘭難民組成。但是，現(xiàn)在他說，“再也不要”的想法已經(jīng)“失敗了”。
“People need to see it, even though it’s an 80-year-old-story. I think it’s relevant, sadly relevant,” he said.
“人們需要看到它，盡管這是一個80年前的故事。我認(rèn)為這是相關(guān)的，可悲的是相關(guān)的，”他說。
Before the trip, Genossar was working on another documentary short about post-traumatic stress disorder. But he said the attacks have left him questioning: “How do I go back to making art and visual art with the situation that is happening right now?”
在這次旅行之前，吉諾薩正在制作另一部關(guān)于創(chuàng)傷后應(yīng)激障礙的紀(jì)錄片短片。但他說，這些襲擊讓他產(chǎn)生了疑問:“在目前這種情況下，我怎么才能回到藝術(shù)和視覺藝術(shù)創(chuàng)作中去?”
It’s a question facing other Israeli artists, including Nitzan Mintz and her partner, who goes by the name Dede Bandaid, who spoke with Genossar as part of a film festival panel Sunday. The two street artists, who are currently in New York for an art residency, started a guerilla campaign making “Kidnapped” posters featuring Israelis taken hostage by Hamas, after initially feeling helpless from afar.
這也是其他以色列藝術(shù)家面臨的問題，包括尼贊·明茨和她的搭檔德德·班迪，他們在周日的電影節(jié)小組討論中接受了熱諾薩的采訪。這兩位街頭藝術(shù)家目前在紐約進(jìn)行藝術(shù)駐留，他們開始了一場游擊式的活動，制作“被綁架”的海報，畫的是被哈馬斯綁架的以色列人，起初他們在遠(yuǎn)處感到無助。
At first, Mintz and Bandaid papered the city of Manhattan with the posters, which are created with the permission of the families, by themselves. But the two then created an online Dropbox of the posters and the effort spread online and was picked up by celebrities and in cities around the world.
起初，明茨和班迪在曼哈頓貼滿了海報，這些海報是在家屬的允許下由他們自己創(chuàng)作的。但兩人隨后創(chuàng)建了一個在線Dropbox，將海報放在網(wǎng)上，他們的努力在網(wǎng)上傳播開來，得到了世界各地的名人和城市的關(guān)注。
“What we’re doing now, we can make a real impact and change, because really the only thing that drives us through these days is to have these people back home,” Dede said.
“我們現(xiàn)在所做的，我們可以產(chǎn)生真正的影響和改變，因為這些日子里，真正推動我們度過的唯一事情就是讓這些人回家，”德德說。
At the moment, activism and action is taking priority over making art. And Mintz said she couldn’t yet think about a future in which their art may be able to help Israelis in the healing process.
目前，激進(jìn)主義和行動比藝術(shù)創(chuàng)作更重要。明茨說，她還無法想象未來他們的藝術(shù)能夠幫助以色列人愈合創(chuàng)傷。
“I would leave aside the art community. I would just help people now,” Mintz said, when asked how to support artists.
“我會把藝術(shù)界放在一邊。我現(xiàn)在只想幫助別人，”當(dāng)被問及如何支持藝術(shù)家時，明茨說。
While Genossar is still figuring out his next steps as a filmmaker, he said he believes artists and culture will be necessary in Israel to help pave the path forward.
雖然吉諾薩仍在考慮自己作為電影制作人的下一步，但他說，他相信以色列需要藝術(shù)家和文化來幫助鋪平前進(jìn)的道路。
“I think that right now I’m just going to have to go back to Israel to understand what my next role would be in this situation,” he said. “And honestly, I feel that it’s right to go back to doing what I’ve done before. I think Israel is going to change dramatically in one way or the other.”
他說:“我認(rèn)為，現(xiàn)在我必須回到以色列，弄清楚在這種情況下我的下一個角色是什么。”“老實說，我覺得回到我以前做的事情是正確的。我認(rèn)為以色列將以這樣或那樣的方式發(fā)生巨大變化。”
