【亞洲首映Asian Premiere】

離散與恆留 Leaving and Staying

弗柯・克普 Volker KOEPP｜德國 Germany｜2023｜DCP｜Colour, B&W｜169 min

東德作家烏韋．約翰遜（1934-1984）的文學曾在1960年代引起轟動與批評，後來移民的他，再也沒有回到故土，但牆上始終掛著一幅故鄉梅克倫堡的地圖。2021年TIDF焦點影人弗柯・克普，以「地景電影」聞名於世，此次以人物和地方為題，展開多重再訪，藉訪談探尋記憶，從文學追尋歷史。當微風吹拂，河流也會緩緩改向，回到最初源流。

弗柯・克普：「重遇烏韋．約翰遜的文字一事對我而言意義特殊，好似一位戰爭生還者以書寫對抗遺忘。彼時是2018年，人們遺忘了歷史，九〇年代對和平世界的希望從冷戰結束後即消失無蹤，車臣、喬治亞已有戰事，俄羅斯剛開始併吞克里米亞⋯⋯。

我以此切入作品：他與故鄉地景的關係、他如何試著理解戰後時期、他的『離散與人恆留』。我在他曾生活的區域拍過許多地景，也發現在這地區村落所遇之人，大多於1945年後才在此落腳成家。我的電影本就常指出，德國北部及東部尤為苦於戰亂及區域分歧，因此特別荒涼。這全歸咎於上世紀二戰所致，30年來不歇的戰事、死亡與邪惡。從各方面看來，這與約翰遜所處的世界越發相似，我為其筆下的詩意力量震撼，所以決定拍攝本片。

開拍後，疫情頻頻中斷拍攝，2020年到2023年期間的事態發展，更突然與約翰遜作品緊密連結，例如白俄羅斯女性的破碎希望，又如俄羅斯的軍事演習，而最終，2022年2月24日，俄羅斯入侵了烏克蘭。在2023年初的如今，戰爭看似永無結束之日。」

Uwe Johnson's final study in the English town of Sheerness featured a map of Mecklenburg, his childhood home he never revisited post-emigration. Conceived as a geobiography, this film follows Johnson's texts to locations from his life, encountering people and landscapes linked to his work, sometimes closely, sometimes more loosely.

‘My re-encounter with the writer Uwe Johnson was special for me: it seemed as if a survivor of the war had tried to write against forgetting. The present in 2018, however, was characterised by historical oblivion and the hopes of the 1990s for a more peaceful world had long since vanished after the apparent end of the Cold War. There had been Chechnya and Georgia, and Russia had recently annexed Crimea…

‘This is how I approached the content. Johnson's relationship to the landscapes of his homeland, his coming to terms with the post-war period, his “going and staying.” I had already filmed many landscapes in his regions and I often experienced that the people I met in the villages only became at home here after 1945. And I had always pointed out in my films that the north and east of Germany were always particularly affected by the devastation of wars and divisions and that everything was often completely desolate; this was the case from the 30-year war, death and the devil, right up to the effects of the Second World War in the last century. The affinity with Uwe Johnson's world became more and more apparent in many facets. That's why, impressed by the poetic power of Johnson's texts, I wanted to make this film.

‘The pandemic caused repeated interruptions after filming began. The current developments of 2020 to 2023 were suddenly very closely linked to Uwe Johnson's work. The dashed hopes of women in Belarus and the announcement of Russian manoeuvres. Finally, on February 24, 2022, the expansion of Russia's invasion to the whole of Ukraine. Now, at the beginning of 2023, it seems as if there had never been an end to the war.’ - Volker KOEPP

2023 Berlinale 柏林影展

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