Museum of the Night

阿根廷艺术家莱安德罗·卡茨通过尘封的档案资料，重温了自己在纽约传奇酷儿剧团“滑稽剧场”（Theatre of The Ridiculous）度过的岁月。 

Leandro Katz, an Argentine artist, revisits through various archives his time with the legendary New York queer company Theatre of The Ridiculous. 

导演： 费尔明·埃洛伊·阿科斯塔
编剧： 费尔明·埃洛伊·阿科斯塔
主演： 莱安德罗·卡茨、马里奥·蒙特斯、大卫·约翰森、洛拉·帕沙林斯基、黑眼苏珊、阿瑟·克拉夫特、大卫·瓦卡罗
制片人： 拉米罗·帕冯、巴勃罗·因格切尔、费尔明·埃洛伊·阿科斯塔
摄影： 古斯塔沃·斯基亚菲诺
类型：纪录长片
对白语言：英语，西班牙语
制作机构：Oh My Gomez!

Director: Fermín Eloy Acosta
Screenwriter: Fermín Eloy Acosta
Cast: Leandro Katz, Mario Montez, David Johansen, Lola Pashalinski, Black-Eyed Susan, Arthur Kraft, David Vaccaro
Producer: Ramiro Pavón, Pablo Ingercher, Fermín Eloy Acosta
Cinematographer: Gustavo Schiaffino
Genre: Documentary Feature Film
Language: English, Spanish
Production Company: Oh My Gomez!

费尔明·埃洛伊·阿科斯塔（1990 年出生于阿根廷）是一位编剧、作家和视听导演。2016年，他与Sol Bolloqui和Lucía Salas共同执导了电影《Implantación（植入）》。 2023年，他参与了布宜诺斯艾利斯柏林电影节人才学校。他曾获得亚历克·奥克森福德基金会奖学金和国家艺术基金。 2019 年，凭借小说 《Bajo lluvia, relámpago o trueno（下雨，闪电或雷声）》，他获得了青年艺术双年展奖，该小说的葡萄牙语版本由Editorial Peabirú出版。 2024年，他的小说《Las Visiones venenosas（有毒幻象）》获得艾碧·瓦尔特小说奖。 《夜的博物馆》是他第一部个人执导的电影。 

Fermín Eloy Acosta (Argentina, 1990) is a screenwriter, writer, and audiovisual director. He directed the film Implantación (2016), alongside Sol Bolloqui and Lucía Salas. In 2023, he participated in the Berlinale Talent Campus Buenos Aires. He has received the Alec Oxenford Foundation Scholarship and the National Arts Fund Grant. In 2019, he won the Bienal de Arte Joven with the novel Bajo lluvia, relámpago o trueno (2019), which was translated into Portuguese by Editorial Peabirú. In 2024, he won the Hebe Uhart Novel Prize for Las visiones venenosas (2024). Museum of the night is his first solo film. 

《夜的博物馆》融合了档案、照片以及胶片和数码格式的影片。我对过去，以及那些见证逝去的时间和空间的人有着特别的兴趣，比如在这部影片中我讲述的六十年代末的纽约酷儿景象。《夜的博物馆》首先是一个复杂的研究项目：我坚信把历史碎片组合起来所能展现的力量，以耐心的考古学方式处理这些材料和档案，编织出一份不仅属于莱安德罗·卡茨，也属于更广泛的艺术家群体的证言。就个人层面而言，对于我们这些受过电影科班训练的人而言，1960年代的美国实验电影（乔纳斯·梅卡斯、杰克·史密斯、安迪·沃霍尔、肯·雅各布斯等人作品）——那些六七十年代离经叛道、打破常规的影像创作，既是我们突破学院派桎梏的平行课堂，更让我们领悟到：视听创作本身就是一种生命姿态。 

Museum of the Night combines archives, photographs, and films in both celluloid and video formats. I have a special attraction to the past and to people who act as the last witnesses of a disappearing era or of worlds that no longer exist, like that queer scene of late-sixties New York, which I narrate in this film. I strongly believe in the power of bringing together fragments of history, working in an archaeological and patient way with these materials and archives, and weaving together a testimony that is not only that of Leandro Katz, but of a larger group of artists. That’s why Museum of the Night is, above all, a complex research project. On a personal level, for those of us who trained in cinema, the American experimentation of the 1960s (Jonas Mekas, Jack Smith, Andy Warhol, Ken Jacobs), the excessive and irreverent cinema of the 60s and 70s, served as a parallel school for ways of filming outside of academic norms and as a way to understand audiovisual work as a way of life.