監督・撮影・編集・製作 ： 歌川達人
ジャンル：ドキュメンタリー / 2019 / 07:36 / 白黒 / 日本・カンボジア/ ステレオ / 整音：紫藤佑弥 / クメール語通訳: Sa Ravuth / 主演・英語字幕・音楽: Prumsodun Ok / Special Thanks: The dance company “Prumsodun Ok & NATYARASA”
ジャンル：ドキュメンタリー / 2019 / 07:36 / 白黒 / 日本・カンボジア/ ステレオ / 整音：紫藤佑弥 / クメール語通訳: Sa Ravuth / 主演・英語字幕・音楽: Prumsodun Ok / Special Thanks: The dance company “Prumsodun Ok & NATYARASA”
シノプシス
鏡を前にダンサーは踊る。躍動する身体に対し、カメラは同じ位置にとどまり続ける。固定されたフレームが彼の生きた時と場を捉え続ける限り、映画はフレームの外さえをも捉え、広がってゆく。どこからともなく聞こえる祈りともに、やがて嵐がやってくる。 プノンペンを拠点にゲイダンスカンパニーを立ち上げ、活動するカンボジア系アメリカ人ダンサー、Prumsodun Ok。本作は彼の身体表現を通じ、“他者の生きた時間に対して映画は何が出来るのか”という問いに向き合ったドキュメンタリー。
映画祭
ロッテルダム国際映画祭2020 Perspectives Sacred Beings 正式出品作品
Japan Cuts2020 (Festival of new Japanese film)正式出品
東京ドキュメンタリー映画祭2020 短編コンペティション出品
The 2020 Film And Video Poetry Symposium ロサンゼルス 短編コンペ Best Choreopoem受賞
Japan Cuts2020 (Festival of new Japanese film)正式出品
東京ドキュメンタリー映画祭2020 短編コンペティション出品
The 2020 Film And Video Poetry Symposium ロサンゼルス 短編コンペ Best Choreopoem受賞
監督のことば
カンボジアのダンサーを撮る私に、出来ることは何なのか。クメール語が堪能ではない、日本人である私は、被写体と言語で接続しうるのか。あるいは、舞台パフォーマンスというある種のアートを、ドキュメンタリーとして撮ることで彼の表現を矮小化してしまわないか。
ふと、映画の歴史に目を向けてみる。世界中を旅し、シークエンスショットで様々な映像を撮影したルミエール兄弟も、カンボジアのダンサーを撮影していたことに気がつく。その映像を見て、「当時の、あの場所の、継続する時間と場をフィルムが捉えている」と感じた。
そもそも、私にとって映画は、「暗闇の中で、ただ、瑞々しい画面を見続けることの幸福と驚き」であり、それがルミエールの頃に発明された映画の原始的なスタイルであるし、映像で溢れる現代で失われつつある映画なのではないだろうか。友人であるダンサー(Prum)の身体表現にカメラを向ける中で、そのことに気がつき、本作を制作した。
ふと、映画の歴史に目を向けてみる。世界中を旅し、シークエンスショットで様々な映像を撮影したルミエール兄弟も、カンボジアのダンサーを撮影していたことに気がつく。その映像を見て、「当時の、あの場所の、継続する時間と場をフィルムが捉えている」と感じた。
そもそも、私にとって映画は、「暗闇の中で、ただ、瑞々しい画面を見続けることの幸福と驚き」であり、それがルミエールの頃に発明された映画の原始的なスタイルであるし、映像で溢れる現代で失われつつある映画なのではないだろうか。友人であるダンサー(Prum)の身体表現にカメラを向ける中で、そのことに気がつき、本作を制作した。
Short Film The Sculpture of Place & Time
Director & Cinematographer & Editor & Producer: Tatsuhito UTAGAWA
2019 | 07:54 | Black & White | Japan & Cambodia | Stereo
Sound: Yuya SHITO | Khmer Interpreter: Sa Ravuth, Cast & English subtitle & Music: Prumsodun Ok, Special Thanks: The dance company “Prumsodun Ok & NATYARASA”, Kumiko Yamamoto, Festival/Tokyo
2019 | 07:54 | Black & White | Japan & Cambodia | Stereo
Sound: Yuya SHITO | Khmer Interpreter: Sa Ravuth, Cast & English subtitle & Music: Prumsodun Ok, Special Thanks: The dance company “Prumsodun Ok & NATYARASA”, Kumiko Yamamoto, Festival/Tokyo
Synopsis
A dancer is dancing in front of the mirror. He moves dynamically, but the camera remains stationary. The fixed frame keeps capturing time and place as lived by the dancer, so cinema can film even what lies out of the frame and goes beyond it. A prayer is heard from nowhere and the storm sets in.
The Sculpture of time and place is an experimental film that preserves spacetime as experienced by Prumsodun Ok, a Cambodian-American dancer based in Phnom Penh. It confronts the question of what cinema can do for the temporality as lived by the other.
A dancer is dancing in front of the mirror. He moves dynamically, but the camera remains stationary. The fixed frame keeps capturing time and place as lived by the dancer, so cinema can film even what lies out of the frame and goes beyond it. A prayer is heard from nowhere and the storm sets in.
The Sculpture of time and place is an experimental film that preserves spacetime as experienced by Prumsodun Ok, a Cambodian-American dancer based in Phnom Penh. It confronts the question of what cinema can do for the temporality as lived by the other.
Film Festivals
International Film Festival Rotterdam 2020 Perspectives Sacred Beings
Japan Cuts2020 (Festival of new Japanese film)
Tokyo Documentary Film Festival 2020 Short Documentary Competition
The 2020 Film And Video Poetry Symposium Short Film Competition Best Choreopoem Award
International Film Festival Rotterdam 2020 Perspectives Sacred Beings
Japan Cuts2020 (Festival of new Japanese film)
Tokyo Documentary Film Festival 2020 Short Documentary Competition
The 2020 Film And Video Poetry Symposium Short Film Competition Best Choreopoem Award
Director’s statement
In my teens, I was fascinated by the filmic experience in which I saw images on screen in darkness. Though, since then, I had been working on film, I gradually felt anxiety as I was moving away from that experience. When I made a film about Prumsodun Ok, who is a dancer and runs Cambodia’s first gay dance company, I thought I was able to restore the pristine experience.
Why did I think so? Was it because of Prumsodun’s ambiguity?: he aims to go beyond the sexual border to reconsider classical Khmer dances. Or was it because I was fascinated by his dynamic movements in the frame, which defies any definition? More than a hundred years ago, Lumiére brothers also filmed Cambodian dancers in sequence shots. What were they thinking then? I have not found any answer to this question. In spite of or rather because of it, I had an urge to complete this film so that I could retrieve my innocent gaze, simply beguiled by cinematic images in the dark.
Why did I think so? Was it because of Prumsodun’s ambiguity?: he aims to go beyond the sexual border to reconsider classical Khmer dances. Or was it because I was fascinated by his dynamic movements in the frame, which defies any definition? More than a hundred years ago, Lumiére brothers also filmed Cambodian dancers in sequence shots. What were they thinking then? I have not found any answer to this question. In spite of or rather because of it, I had an urge to complete this film so that I could retrieve my innocent gaze, simply beguiled by cinematic images in the dark.
