SEARCHING FOR HASSAN

“2007年11月，我被邀请拍摄位于摩苏尔库尔德营的伊拉克军队。考虑了48小时之后我决定去。一个朋友给了我他的老式Hi8摄像机和十盘带子。我是一个摄影师，从来没有拍摄过任何影片。我也从来没有经历过战争。整整一个月，我和士兵生活在一起，拍摄他们的日常生活。我们一起花费很长很长的时间在城市里寻找，寻找藏匿的恐怖分子。”
房屋暴力侵犯，可怕的搜索，恐惧笼罩和撤消大家。所有这一切都存在，呼应去年迪帕尔马电影。但是，尽管第一个功能，没有任何业余是在这里找到。虽然阴影新闻报道和追捕的壮观可能使这家企业的风险，其他的建议在这里。该行动在这片发生在一天，从日出到日落。电影建构自己的时间性。哪一个？即一项法律，要吸收混乱。在现实中，它是混乱吸收法。
以上是Edouard Beau 对他的处女作拍摄过程的描述。我们会看到，执行公务的警察最后赤手空拳的死去。令人震惊的画面不遗余力的向我们展示他们残忍的暴行、殴打、谩骂。这是一个充满了破门而去、抢劫盗窃的废城，恐惧笼罩在每一个人心中。所有的这一切都在去年的迪帕尔马电影中有所展示。作为一部故事片处女作，这部电影里看不到业余者的痕迹。负面新闻报道也许会磨灭了这部著作的重要性。但是这部电影别有新意。电影所拍摄的内容是在一天之内，日出到日落之间发生的。电影却创造了他自己的时间。即：法律控制混乱。但事实上，混乱控制了法律。
“November 2007. I have been asked to go and film a Kurdish battalion of the Iraqi army. This battalion is located in Mossoul. I have 48 hours to make a decision. I decide to go. There, a friend gives me his old Hi8 camera with ten tapes. I am a photographer. I have never filmed anything. I have never seen War. For a whole month, I remain close to these soldiers and I film their everyday life, in spite of everything. Long waits, times out, endless wanderings through the city, looking for untraceable terrorists.”
This is how does Edouard Beau describes the shooting of his first film. What is to be seen? Zealous policemen on business, even if they end up empty handed. The stunning proximity of images doesn’t spare us any of their harrowing brutality, the beatings, the yelling, an exhausted city, houses violently violated, terrifying searches, fear that reigns and quashes everyone. All of this is present, echoing the last De Palma film. But although a first feature, no amateurism is to be found here. While the shadow of news report and the hunt for the spectacular may put this enterprise at risk, something else is proposed here. The action in this film takes place in one day, from sunrise till sunset. The film constructs its own temporality. Which one? That of a law that wants to absorb chaos. In reality, it is chaos that is absorbing law.

马赛国际纪录片电影节处女作奖

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