封锁 (2006)

　　The Siege of Leningrad which endured a little short of 900 days and nights under the Nazi blockade during World War Two has long been of interest to me. I have viewed extensive footage over the years and was greatly looking forward to seeing this 'new approach with never-before seen archival footage'. This is how it was billed at the 2007 Sydney Film Festival. While it may be true that this actual camera footage may not have been shown before, the subject of the shots are not new. Nevertheless, the power of the film lies in its minimalist ambient approach. No Narrator telling you what the film-maker wants you to know. No dramatic music to overlay the images. One could say that the greatest technical contribution came from the Foley artists and their effective application of natural effects. Furthermore, the long lasting shots with very little editor's intrusion, capture the tedium of everyday survival. This is a true Socialist film in that it gives centre stage to the 'common people' going about their daily lives in degenerating circumstances. The great disappointment for me is its brief length of 52 minutes covering only four seasons, and not the ten seasons of the siege. Sadly, this worthy film, with its style exemplifying minimalism and UNsensationalism at its best, shot itself in the foot by not following through with the full magnitude of the event, and pulled its punches by excluding certain horrendous aspects committed by some of the starving citizens. The film-maker's 'distant' approach assumed the viewer's familiarity with the subject . Those of us who are familiar with the subject felt short-changed. Those not familiar were confused. But still worth seeing.<br /> 　　译文(3): 列宁格勒围城战在第二次世界大战期间，在纳粹的封锁下经历了不到900个昼夜，我一直很感兴趣。多年来，我观看了大量的视频，非常期待看到这种“前所未有的新方法”。这就是它在2007年悉尼电影节上的宣传方式。虽然这段真实的摄像机镜头以前可能没有显示过，但拍摄的主题并不新鲜。尽管如此，这部电影的力量在于其极简主义的环境手法。没有讲述人告诉你电影制作人想让你知道什么。没有戏剧性的音乐来覆盖图像。可以说，最大的技术贡献来自福利艺术家及其对自然效果的有效应用。此外，这些持久的镜头几乎没有编辑的侵扰，捕捉到了日常生存的乏味。这是一部真正的社会主义电影，因为它为“普通人”在堕落的环境中的日常生活提供了中心舞台。让我非常失望的是，它短短52分钟，只涵盖了四个赛季，而不是围攻的十个赛季。可悲的是，这部有价值的电影，其风格在最佳状态下体现了极简主义和非耸人听闻，但却因为没有充分关注这一事件而自食其果，并通过排除一些饥饿公民所犯下的某些可怕方面而忍气吞声。电影制作人的“远距离”方法假设观众对这个主题很熟悉。我们这些熟悉这一主题的人感觉变化不大。那些不熟悉的人感到困惑。但仍然值得一看。