失常 Unsound

失常

Unsound

导演|伊恩·沃森

编剧|艾利·伯纳姆

主演| 里斯·诺伊、伊安娜·潘德利斯、托德·麦肯尼、克里斯蒂·-阿努、宝拉·邓肯

制片人|Tsu Shan Chambers

摄影|肯特·马库斯

类型|剧情长片

时长|88分钟

完成时间|2019

对白语言|英语、澳大利亚手语

字幕|英文

地区|澳大利亚

制片公司|Wise Goat Productions

故事梗概

诺亚是一名吉他手,他退出乐队回到了悉尼母亲的家中想要再次和过去和解。因为一些旧伤诺亚和母亲发生了冲突,他跑出家门寻找慰藉,很快发现自己被一位充满活力和激情的跨性别者芬恩所吸引。芬恩为这里的听障人士社区工作,同时也经营着一个只供听觉障碍者的跳舞俱乐部。诺亚和芬恩相互吸引,一起探索新的事物,彼此分享他们独特的语言——诺亚的音乐以及芬恩的手语。这是芬恩的第一段关系,所以他们彼此珍视、小心翼翼地在一起,在家庭压力和俱乐部财政压力下,芬恩也努力开启新的生活,而诺亚决定重新捡起自己的音乐。但随着两人关系的密切,由于没有共同的语言可以依靠,他们只能冒着伤害对方的风险,去学会做真正的自己。

导演介绍

伊恩-沃森从事导演工作已超过30年。作为一名戏剧导演,他为墨尔本和阿德莱德州剧团、格里芬剧团、猎人谷剧团、维多利亚州艺术学院和国家戏剧艺术学院创作了许多不部戏剧作品。伊恩也是一名电视剧导演,他执导的电视剧时长超过200个小时,收获包括艾美奖在内的众多奖项提名。他也是澳大利亚导演协会最佳电视迷你剧导演奖的首届获奖者。

导演阐述

我是在《失常》这个项目已经完成了很多事情之后才加入的。在阅读剧本时,我被它其中所反映的人性以及对视点的精心设计所吸引,它同时也触及到了社区和身份认同的问题。芬恩首先是听障社区的一员,其次是一位跨性别者;诺亚既是乐手,也是一名男同性恋,他们都很年轻,两个人都处在自我寻找的过程中,芬恩要成为他必须成为的人,而诺亚想寻找到自己的声音。《失常》将这两个人的旅途编织成一段浪漫的爱情,以一种富有同情心又毫无修饰的方式,讲述了爱之力量以及双方的改变。

我既非听障者也非跨性别者。我是导演,我很清楚自己不知道什么。为了完成这部电影,我们咨询了许多专业人士,跨性别者和听障者顾问贯穿了剧本创作、拍摄和后期制作的各个方面。在所有阶段我们都紧密合作,精心呈现剧本和表演,让演员改变说话的方式,以及衣着、举止甚至是走路的形态。

我们的制作主旨一直是很简要的,因为我们把摄影机始终和主角保持在同一个视点上。如果芬恩或诺亚进入一个房间,镜头就会跟着他走。这种真实感使得《失常》在视觉和声音设计上呈现出沉浸的观感。

Director|Ian Watson

Screenwriter|Ally Burnham

Cast|Reece Noi, Yiana Pandelis, Todd McKenney, Christine Anu, Paula Duncan

Producer|Tsu Shan Chambers

Cinematographer|Kent Marcus

Genre|Feature film – Drama, romance

Length|88min

Year|2019

Dialogue|English and Auslan Sign Language

Subtitles|English

Region|Australia

Production Company|Wise Goat Productions

Synopsis

When gigging guitarist, Noah, finds himself disillusioned and transient, he quits the band of his 90’s pop icon mentor, and returns to his mother’s home in Sydney, Australia, seeking connection and rejuvenation. Clashing with his mother over old wounds, Noah seeks solace elsewhere, and soon finds himself swept up in the vibrant, passionate life and of a young, trans-man, Finn, who is a proud, Auslan-only speaker who works and runs a local centre and nightclub for his deaf community. Together, the pair traverse new ground, sharing their languages – Noah’s music and Finn’s signs – with one another. They move carefully, as this is Finn’s first relationship while he is on the precipice of diving into his trans journey. Finn struggles to spread his wings and come into his own, as he suffocates beneath his father’s over-protection and the financial strife facing his club. Determined to reapply to his music and join a community, Noah offers to help aid the club any way he can. But as the two become closer, and with no shared language to fall back on, they only risk hurting each other, as they learn to be true to themselves.

Director Biography

Ian Watson has been directing for over 30 years. As a theatre director his credits include productions for the Melbourne and Adelaide State Theatre Companies, the Griffin Theatre Company, the Hunter Valley Theatre Company, the Victorian College of the Arts and the National Institute of Dramatic Art.

In television Ian has directed over 200 hours of drama, with credits that include, the multi award winning and Emmy nominated, Love My Way, Carla Cametti P.D a six part miniseries for SBS, Wicked Love: The Maria KorpStory, the Emmy nominated Dance Academy, Janet King and Anzac Girls for the ABC and most recently House Husbands and Doctor Doctor for Channel 9.

He was the inaugural winner of the Australian Directors Guild (ADG) Award for best direction in a television miniseries for his work on the Australian/UK production Tripping Over. Ian was again nominated in the miniseries category in 2009 for Carla Cametti P.D. in 2013 for Underbelly: BADNESS and again in 2015 for Anzac Girls.

Director’s Statement

I came onto the project late after much had already been set in place. On reading the script I was attracted to its humanity and the crafting together of two distinct points of view. For me UNSOUND deals with issues of community and identity. Finn identifies first as a member of the deaf community and secondly as a transitioning man. Noah identifies as both a member of the music and gay community. Both are in the process of self-realisation. They are young and it is what they do. Finn to be the man he has to be and Noah the musician in search of his voice. UNSOUND knits these two journeys together as a romance in a compassionate and unadorned way that makes the film ultimately about the transformative power of love.

I am neither, deaf or a transitioning man. I am the director and well aware of what I don’t know. To realise this film, we needed the talents and knowledge of those that do know. The trans and deaf consultants were across every aspect of the scripting, rehearsal, shooting process and during post production. At all stages we worked closely to craft the script and the performances. Changing dialogue, to discussions about wardrobe, mannerisms and how a man really walks!

The production brief was always about simplicity. We realized that the camera would always take a point of view with either of the central characters. If Finn or Noah enter a room the camera travels with him. This created a sense of immediacy and subjective storytelling. The experience of UNSOUND should be immersive both in its visuals and in its sound design.

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