《固有的道德罪恶》
Intrinsic Moral Evil
2013 | 11min | 汉姆·韦斯特拉 Harm Weistra
舞蹈片Dance Film
编剧 Screenwriter
汉姆·韦斯特拉 Harm Weistra
主演 Cast
Joan Ferré Gomez, Jorge Abraham, Guillen Ortiz, Frago Peña Gonzalez
制片人 Producer
汉姆·韦斯特拉 Harm Weistra
制片人 Producer
Jitte Hoekstra
摄影 Cinematographer
Jorrit Garretsen
对白语言 Language
英语 English
字幕 Subtitles
中文 Chinese
故事梗概 Synopsis
《固有的道德罪恶》第一眼看上去是一个关于身份和成长的故事，但是首先，三个舞者是在与观者的感知和期望玩一个游戏：这是回忆，是梦，还是在寻求自身身份？是关于友谊的丧失，还是关于成长？多层次的故事要求观众作出自己的阐释。最终，要由观者来做出结论，找到立足点。
Intrinsic Moral Evil at first sight seems to be a tale of identity and growing up. But above all, the three dancers play a game with the viewer’s perception and expectations: is it a memory, a dream, a search for identity? Is it about loss of friendship or about coming of age? The layered story invites the audience to make its own interpretation. Ultimately, it is up to the viewer to draw conclusions and to take a stand.
导演简历 Bio-Filmography of Director
哈姆·韦斯特拉的艺术作品跨越多个领域，包括电影、摄影、媒体艺术和装置艺术。作为艺术家，他从自身经验和研究所得获得灵感，并对其作出回应，结果是概念性框架，和多层次的探索。哈姆·韦斯特拉在阿姆斯特丹工作生活，拥有社会科学的硕士学位，艺术学士学位。他曾在阿姆斯特丹Gerrit Rietveld Academie、鹿特丹Willem de Kooning Academie 学习绘画。
Harm Weistra’s artwork spans a variety of disciplines, including films, photos, media art and installations. As an artist, he draws inspiration from and produces work in response to his own experience and research. This results in a strong underlying conceptual framework, and a multi-layered approach.
Harm Weistra lives and works in Amsterdam. He holds a master’s degree in social sciences and a bachelor’s degree in fine art. He studied fine arts in the Netherlands at the Gerrit Rietveld Academie in Amsterdam and the Willem de Kooning Academie in Rotterdam.
导演阐述 Director’s Statement
他的作品往往流露出潜意识的干扰，但与此同时制造者令人不安的美感。他的大部分作品一方面格外精美，另一方面具有令人痛苦的破坏性。影片着力的美学造诣并不是为了作品本身的美感，而是为了吸引观众观看。通过制造混乱和操纵观众的感知，导演邀请观众成为参与者并一同反思。固有的视觉诱惑，随着他的作品所唤起的意识，一同唤起了影片复杂反响的多样性。他的作品打破了观众的被动习惯，这一点深受先锋派理论和解放运动影响。他的作品质疑的方式清晰、理性而富有逻辑，但通常文化上有着坚实的信仰和观念。
His work tends to radiate a latent disturbance, but always simultaneously a disconcerting beauty. Most of his work is on the one hand touchingly beautiful, on the other hand painfully disruptive. Emphasizing aesthetics is not a means in itself, but a way to seduce the viewer to watch. By creating confusion and manipulating the viewer’s perception, Weistra invites the audience to become partaker and to reflect. The inherent visual seductiveness, along with the consciousness that his work evokes, complicates the reception of their manifold layers of meaning. By breaking the passivity of the spectator, his works references avant-garde theory as well as emancipatory movements. His work questions apparently rationally and logically but often culturally entrenched beliefs and opinions.