奶酪和蛆虫

中文字幕翻译：黄静波、黄骥
导演加藤治代和得了绝症的母亲及高龄的祖母居住在一个乡下的小城。透过摄影机清澈的视线，我们看到的是母亲和疾病做斗争的情景以及和住在隔壁的哥哥一家淡淡的日常交流。摄影机所记录下的母亲的音容笑貌，流露著作者对母亲的挚爱和家庭的温暖。淡定和从容不迫的描写，面对至亲的死亡，摇曳在生死之间，用摄影机所记录下的那短暂的、如泡沫般的时光，悄悄地、轻轻地触动观者的心灵。恍惚中仿佛有天使降临，注视着这一切。　片名取自意大利历史学家卡洛•金兹伯格的史书《奶酪和蛆虫》。虽然作品内容和这部书没有直接关系，但金兹伯格的“世界处于一片混吨之中。土、空气、水、火等等一切皆是混吨的。这些逐渐形成团块，就像从牛奶中制造出奶酪，然后奶酪中会出现蛆虫一样，这些似蛆虫样的东西，就是天使”的话，给面临至亲的离去，处于悲痛和绝望中的导演以灵感，遂用作片名
Chinese Subtitles translation： Huang Jingbo、Huang Ji
The director lives in a small rural town with her dying mother and old grandmother. The serene eye of the camera depicts her mother’s fight with illness side by side with casual daily exchange with her brother’s family next door. Through interspersed images of her mother, the warmth of the family and their love for her is slowly and gently nurtured. Face to face with the all too real death of her mother, the director takes a hard look at life and death, preserving each fragile moment on film. Slowly but steadily, the feel of life’s delicacy emerges. Before long an angel descends to gaze on us all.
This film got the Ogawa Shinsuke Prize and FIPRESCI Prize in the Yamagata International Documentary Film Festival 2005, and also got the Montgolfière d’or Prix of the 30th Festival des 3 continents.
—Reference to the YIDFF ’2005 official catalog

一天，母亲突然被告知只剩下一、二年的寿命。
在母亲生病的第三个年头，我买了一台小录象机。天真地认定母亲的病能治好的我，梦想着电视或电影中常有的“奇迹”的出现。但现实生活，却是单调、平凡而又周而复始的。摄影机记录下的，只是一些司空见惯的家庭录像。当母亲真的病情恶化，痛苦不堪或是悲痛欲绝的时候，本来就胆小的我，拼尽全身力气照顾母亲，根本无暇拿起摄影机。所以，当母亲真正痛苦，难过，以至于离开我们的时候，我什么也没有拍到。
母亲死后，我第一次下决心要拍出一部电影。因为，我们这些活着的人，只能一边像婴儿一样啼哭着，同时还要艰难地向前爬行。如果不能从这痛苦和绝望中找到某种安慰和意义，让我如何去接受母亲去世的这个现实？
摄影机没能拍到的那些悲痛的事件，对我来说，或许从某种意义上是没有拍摄的必要。因为直到今天，它们仍带着痛楚历历在目。与之相比，如果不记录下来就会烟消云散的，那些单调而又周而复始的，同时又伴随着痛苦的和母亲在一起的时光，透过摄影机变成了甜美而又温暖的平凡的幸福，直到今日仍滋润着我的心田。
Director’s Statement
One day I was suddenly told that my mother had one or two years to live.
In the third year of her illness, I bought a small video camera innocently believing that she would recover. I dreamed of recording her TV or movie-like “miracle” recovery, but the reality of everyday life was nothing more than ordinary routine. All that my small camera recorded were the same things contained in ordinary home videos of ordinary families. On the contrary, as my mother’s condition worsened and her suffering and sorrow increased, all I could do was watch over her closely. I didn’t have the courage to level my camera at her. When pain and sorrow really started to take hold on my mother, and when she started to die, I was not able to record even a single shot.
It was only after her death that I first found the determination to begin filming. I realized that people left behind by death have to keep crawling forward even as they cry like babies. I also could not accept my mother’s death unless I could find something comforting and meaningful in this pain and loss.
All those sad things I couldn’t film might have been, in a way, things I didn’t need to film, because even now the pain allows me to remember them clearly. More than that, the memories that I hold dear now probably would have slipped away if I hadn’t recorded them on video—those monotonous, repetitive, but painful hours with my mother that video had transformed into sweet, gentle, ordinary happiness.

获2005年山形国际纪录片电影节小川绅介奖和国际评委会奖。并获2005年法国南特三大洲电影节纪录片金气球奖

4444(创建者)