嘉宾放映｜巴林特·雷维斯《祖母计划》

导演 巴林特·雷维斯 Balint
匈牙利人，88年出生。《祖母计划》曾入围2018年TIDF国际纪录片节国际竞赛单元和2017 莱比锡纪录片与动画影展。

主持 章梦奇
生于1987，湖北随州殷店人，纪录片+剧场创作者。从 2010年加入民间记忆计划，在老家“47公里”村子持续创作。其“自画像”系列纪录片作品曾获得DMZ国际纪录片国际最佳影片奖；釜山国际电影节最佳纪录片奖；西班牙Punto de Vista电影节最佳导演奖；山形国际纪录片国际优秀奖等。

抄录志愿者 呆禾
喜欢影像和非虚构创作，希望一直保持对人和自然的关注与好奇心。

梦奇(主持): 在倒数第二天的活动，我们今天非常荣幸邀请到导演。Hello， Balint, you are in your car。

Balint(导演): Ok。

梦奇(主持): Ok, I’m just opening our Q&A. We will have three translators today to help the Q&A discussion. So let me introduce you first. 

谢谢大家来看今天的放映,我们非常高兴能够请到这部Grandmas Project的导演，如果大家方便的话，请打开您的摄像头,和导演可以面对面的交流。这是一个非常难得的体验和直接对话的经验，欢迎大家.一会我们的Q&A没有太多的时间，大概一小时左右，如果大家有问题可以提前发到我们的聊天框里面，也可以一会举手来提问。

我们现在的翻译是王凯，今天我们有三位翻译,中翻英是Andy, 英翻中是王凯和车骁，谢谢你们。我就开始了，然后麻烦你们翻译，所以请帮我先翻一下刚刚的部分。

Andy ZHU(翻译): Yes, so today is almost the end of our online film exhibition, and thank you all for coming. So now we are opening the floor so you can raise your question or in the chat box. Just unmute yourself and have your questions here. 

梦奇(主持): Ok.非常欢迎今天的导演巴林特，然后谢谢他完全不知道我们母亲影展的背景是一个什么样的情况之下，就答应我们愿意来分享他的这部影片。

那我跟他认识，或者说他和草场地的缘分是2018年的台湾国际纪录片电影节，今天其实我们也有一群小伙伴正在参加TIDF电影节，然后我刚刚在六点多钟看了巴林特的最新的影片,非常棒的一部影片。麻烦帮我翻译。

Andy ZHU(翻译): Ok. So, thanks all for director Balint for just coming today. He does not know everything we're doing, but I really appreciate your help. So I know Balint, like in the year of 2018 at the Taiwan International Documentary Film Festival and today at six o'clock, we also saw his film. So I'm very thankful for his coming. 

梦奇(主持): So let's do the Q&A. So Balint, do you want to say something first? 

Balint(导演): Yeah, thanks guys. I really can’t believe that it's eighty-nine people in this screening like I never done anything like this. And there are places where there's two people, so thanks for inviting me for this occasion, and I’m a big supporter of the workstation, and I’m a big fan of that the whole sort of crew, so it's an honor to be invited and be present here. 

粽粽粽(翻译): 他说非常感谢大家能够来看这部电影。

车骁(翻译): 整个腾讯会议里面有89个人，觉得非常的欣喜，有的对话框里甚至有两个人。他对我们草场地就是很支持的，而且也是我们的粉丝。他觉得非常荣幸能被邀请到这儿来，跟大家交流。

梦奇(主持): Ok so I have one question for you. Maybe because this film was made in 2017. So maybe we can know a little bit about how three of you, different backgrounds, different history and different countries, different cultures, how you are together to make decision to meet in this project and decide to make a film together? Can you just tell us a little bit of the background?

请他大概介绍一下这部影片的背景,他们三个有完全不同背景、历史、经历和国界，这样的三个年轻人是如何来开始了一个关于祖母的计划？

Balint(导演): Yes, we were backing in 2009, we started a university on a course together, the three of us and I had already been recording my grandma on a private basis without really thinking of what I wanted to do with this. Back in 2018, 2019 and then in 2010 with two of my coursemates, Maredith and Ruben, they were like a year above me in the school. In university, we went to do a workshop, a film workshop, during the summer for six weeks. And that's when I told them about my grandmother and her stories which I was recording at the time. And they were really enthusiastic about it. And they also shared the stories of their grandparents. And it's fastly turned out that both of them have really special bond with their own grandmothers. 

And that also gave the historical context of their stories. The constellation of these three stories is very special. And this is where we said, “ok, let's bring the grandmothers together. The six of us together until before they die.” And that was the first moment, first step in the film and what we did. I also asked them to do this private interviews with their own grandmother. So by the time we meet, all three of us, all the three couples would have some materials accumulated and generated. So there was some sort of a knowledge and a context in which we could start it, we could start working. 

粽粽粽(翻译): 他们三个在大学的时候就认识。导演在大学的时候就试着拍祖母，当时是在一些私人的场合，他并没有特别的理由就已经先拍了。在2010年的时候，他和另外两位一起参加了一个工作坊，为期六周，在那个期间他分享了自己祖母的故事和他在做的祖母的拍摄。然后另外两个人也都谈到了一些关于他们祖母的故事，以及他们自己跟祖母之间的一些特别的连接，这三个故事都很特别。于是他们三个就开始计划，看能不能一直拍祖母直到到她们去世。他们在一起积累了很多的素材，包括探讨相关背景和知识。

Balint(导演): Yeah, I guess this is some sort of an answer, you know? 

车骁(翻译): 我再补充一下，他刚才还说他是想让他们每个人都在一开始就跟自己的祖母有一些私人的访谈，这样他们在一块的时候，就可以各自都有一些东西了。把这些东西聚合在一块，看能不能产生一些新的东西。他觉得他们彼此之间这三个人，彼此之间跟他们的祖母都有一种特定的联系，而这种特定的联系使他们感到彼此之间有一种共通点，所以这就是为什么他们觉得他们三个人可以聚合在一块，然后产生一些新的东西。

梦奇(主持): Thank you. 我自己第一次看影片的时候，我也非常的触动。我觉得非常不可思议，因为三个祖母都代表了三个在那个时期里面非常特别的角色。我们刚开始看完这部影片，大概在2018年的时候，我有一个很强烈的感觉，就是我或者民间记忆计划在2010年开始做的民间记忆计划，做的是类似的事情。即从我们这一辈、更年轻的一辈跨越了自己的父母，向祖母、祖父辈去询问他们所经历的、我们所不太谈论的历史，然后那个历史的谈论的过程充满了障碍，充满了隔阂，同样也充满了一种责任和负重的感觉。可是在看他们的影片的时候，有一种很奇怪的轻松感，并且有一种游戏感，这个部分我其实很好奇巴林特怎么想，因为他当时也在TIDF看了我们的《因为饥饿》的演出，他完全听不懂我们在说什么，但是他一直看完了整场演出。

所以他在创作的时候，关于跨代际去询问历史的这样的项目之间，和他对我们在做的事情之间，他有什么想法吗？就是这种责任负重和一种轻松幽默的区别，他有没有想过这个问题？

粽粽粽(翻译): Actually Balint， after Mengqi watched your film at the first time she just recalled our group also had a similar project named Folk Memory Project, but it's quite different that it stated in a very different situation. We have a lot of burden to talk with the older generation like grandparents about the past, about the history. But when we watch your film, we think most of jokes could happen between the people, and it's like a game, so people sometimes can enjoy, as well they can keep a rational speaking. So do you feel you have a kind of historical or social responsibility when you do such kind of project? 
Balint(导演): Yes, actually I think the very occasion I met you guys was related to that project which you mentioned, which I really enjoyed. And I saw the theatrical performance, which was a mixture of different short films and a theatre performance which I saw at this. So it's funny you’re saying this. 

Balint(导演): Yes, I think there is a responsibility because I believe that films have an impact on people and it creates some sort of repercussions at people.   Maybe using similar languages or think about the different elements of a film. So yes, I think there is a responsibility. 

During the making of this film, there was a really important text I always returned back to Peter Esterhaz. And he elaborated the responsibility of the new generation on how to form the language, with which these events of the 20th century would be spoken about. And I really wanted this film to be part of that kind of dialogue. It was a focus point during making the film that how to create this language, what should this language include. This language should include the factual knowledge which we accumulated during the 20th century. It should be a kind of language which is speakable and accessible to a lot of people, because a lot of these events are really traumatic.

When we talk about serious topics, we forget about the fact that younger people who don't know about the atrocities or these dark topics. It should be able to relate to those topics, and as such, the language should be also accessible to them and understandable to them. So I think if you're talking about responsibility, what my main concern was to how accessible and how widely understandable. This film would end up being seen like people coming from completely different cultures and resonating with this film. Ensures me that we succeeded in a sense that it's a language you guys can read and I'm super glad for that. 

车骁(翻译)：他觉得这个问题还挺有趣的，因为他以前看过草场地的一个表演，就是结合剧场表演跟短片放映的一个项目。他觉得那个项目也既有责任负重感，同时也有这种轻松幽默和游戏感，所以他觉得好像跟我们有一些相似性。

说到责任感，他觉得电影是有责任感的，因为电影会影响人们，观众可以跟电影的内容有一些呼应。他引用了一个学者，这个学者叫皮特，是一个德国学者，他写了一本书就是关于什么是责任感，他说现在在21世纪的年轻人，他们的责任就是他们要形成一种语言。这种语言要能够理解在20世纪发生的一些事实，然后对20世纪发生的事实能够形成一种语言，以让在新世纪的、有不同生活以及不同文化语境里的人对20世纪发生的那些灾难性的事实能够进入，而且能够了解、能够感知如何形成一种新的语言，以此来阐释20世纪发生的那些灾难性的事实。让各个语境以及新时代的人能够理解、认知、到达20世纪的那些历史，他觉得新时代的人的责任是在这一点上。

梦奇(主持): 谢谢，说得非常好。thank you so much， I think this is really important and I totally agree it. And I think we are both doing the same thing and we discuss a lot in DDC Workstation. We have a Sunday book meeting, book club. So we are always reading. One book is written by a Chinese scholar, It’s about memory responsibility and how to make it become next generation's witness and to do something. I think it is really relate to what you said.

我特别地同意，因为我觉得他说的特别的重要，其实我们在每周的读书会就在做这个事情。我们一直在读徐贲老师的《人以什么理由来记忆》。这个里面所有谈论的都是我们作为下一代，我们如何去继承和重新转换，作为一个作见证的下一代去承接这样的历史。

Ok so right now I open the question to audience. There's one audience asked, can you talk about a little bit music and songs designed? And this is the first question. 好的，现在我们开放观众提问，首先第一个问题是关于本片音乐选择和声音设计上，导演的思考。

Balint(导演): Yeah. So, in terms of music, this is we've been doing, we did the film for pretty much seven years, not full time obviously, but during the making, there was an on-going editing kind of process, in which over the first like five or six years, I picked up a lot of tunes, which I really loved and really wanted to work with, so when we reached the final editing stage. 

There was a selection of reference songs, which were really integrated into some scenes and into the concept of the whole material. So in this sense that it was super lucky. It was a pivot tool and key element in the editing process, there were some tracks which already really fitted the materials. 

And then a lot of these tracks we couldn't buy, so we started working with a composer who comes from a M. Chabert, who's a really amazing composer, working primarily for theater as a jazz musician. And he's a cello player and a composer and he comes from a classical music background, so he approached a lot of the songs from a classical music. It’s kind of strategy that he used, and recycled a lot of tracks which has been already composed from his theater practice.

And then because I really wanted to use some electronic music to make the whole film accessible for my generation which has a strong feeling towards electronic music, we also involved Abeli Grillus, who comes from an electronic music background, and he did a lot of the side tracks. Not the main themes, but some of the side tracks, the first track for instance and some other ones. All in all, it was a mixture of electronic and classic musical compositions. 

For sound design, we've worked with this a guy called Gabor, I think we struggled a lot with some of the audio elements. At some point the sound wasn't recorded properly, so we had to spend a good bit of time on fixing those problems. And then the sound design wasn't what we recorded. A lot of different atmospheric audio tracks throughout the shooting. This was like a big library Gabor can work from, and he’s also a senior sound designer, so he knew his stuff. That's what I can say really. 

车骁(翻译):这个剪辑一共花了七年时间,  一开始五、六年的时间，他会随机地挑选一些他喜欢的歌曲。他挑选的那些歌曲，要求概念要符合他这个影片的概念。然后到最后的剪辑阶段，他们就选择了一些可以进行参考的歌曲，最后根据影片概念进行一些混合。他觉得音乐是在剪辑过程中是一个核心的因素。那时候要把好几个声道的音乐，跟这个材料进行混合，但是有一些歌曲，就是他当时五、六年期间随机挑选的歌曲，没法买版权。他们就跟一个作曲家进行合作，那个作曲家是很好的作曲家，主要是为剧院进行作曲，同时还做爵士乐，而且他还弹大提琴，有古典音乐的背景。这位作曲家把他以前做的一些音乐进行了处理之后，就用在了这个影片当中。

这个影片还用了一些电子音乐，以此与我们一代的观众产生共鸣。他还做了很多边角料，进行一些多层音乐的设计，里面有电子音乐和古典音乐的结合。

还有一个资深的声音设计师，他们在处理声音元素的时候，发现他们在拍摄过程中有好多声音录得不太好，就花一些时间请这个声音设计师把不好的部分进行修复，然后他们还录了一些氛围音乐，他们用的那个音乐部分像图书馆一样，其实有很大的一个材料的储备。

梦奇(主持): Thank you. And there's another question from the same audience. She's thinking a lot by watching your film about the war and also about the three different grandmas. They have totally different views and totally different histories. And she loved your footage, your film style is really beautiful. And she asked did you have a problem when you are filming? 

I think a lot of problems, right? When you watch the film, every second is problem. Right? And do you have regret or some pity things of that.

Andy ZHU(翻译): The question is about any challenges or difficulties you have in filming this. 你在拍摄这部片子的过程中是否有遇到什么困难？

Balint(导演): Yeah. I think there was a challenge of we ever going to finish it. That was a big challenge. Because we didn't have the funding. And we didn't like the material for a good couple of years, and we spent a lot of time and energy on talking about it. 
We filmed ourselves, talking about it, and then we watched ourselves, filming ourselves, talking about it, so it was a super material to process. Because of the families knowing about the filming and a lot of friends, it became more and more, I don't know, uncomfortable of not finishing it. So we were really happy that we had the funding at the end, and we managed to finish it.

There was a challenge that I think as you could see, like it was the Germany family which weren't really comfortable with us often but not in an outspoken way, or not in a direct way. They just didn't want to share their stories. We accidentally figured out that Ruben's great grandfather is important religious figure in German. It wasn't told by them. 

I was in Germany with an another friend, we were talking about the film, and he was like “wait a minute, that family name reminds me of something”, and then we figured it out. We accidentally kind of revealed, or we came across with the history of the family, so there was a challenge before that. 

It was a challenge to find a way to tell their story. Because they weren't really up for sharing it. And then eventually, what we figured out is that it's not because the German threat, the family was not a part of the Nazi regime. They really don't have anything to be ashamed of. 

Quite the contrary, the grandfather, the great grandfather, and the whole family was a really a proactive and enthusiastic crowd. When Ruben was talking about this whole thing he didn't kind of inherit this approach that he wasn't really clear on what he was saying. And I think we struggled a lot to massage this kind of trauma out from Ruben. 

There was another challenge that me directing the film and also participating it were difficult, because I couldn't really see myself from an outside perspective. And thanks to the film's editor, this was in some ways solved. I still think the weakest point of the film is my thread, the way I introduce or my character doesn't go through that kind of development as all the other characters do. Because this was I think a mistake from my end that I couldn't instruct Ruben and Maredith to ask the right questions which my character really can come across. So I think maybe those three. 

车骁(翻译): 他第一个挑战，就是他是否能够完成这部电影，这是一个巨大的挑战。因为那时候他还没有任何资金支持，他们这个拍摄，花了好几年时间，所以一直担心完不成。他已经花了很多时间精力在上面，而且这个素材非常的复杂，不仅有他们在拍摄，同时他还在讨论他们拍摄的材料，以及他们看拍摄的材料，所以这就是三层东西。因此这是一个非常复杂的材料。他当时已经涉及到好几个家庭，那几个家庭都知道他们在拍这个东西。他们觉得如果完不成是非常让人不舒服的。他最后很幸运的是得到了资金，最终完成了影片。

他还有一个挑战，就是那个剧中有一个Ruben，这个人是德国人，他们家庭在谈到他们的故事的时候，并没有非常坦率、直接，他们好像并不是很想分享他们的故事。后来在德国的时候，他偶然地通过一个朋友发现了原来Ruben的爷爷的父亲,也就是他的祖爷爷其实在德国是一个非常重要的宗教人物，他那时候没有谈到这件事，他们也不知道这件事。他从另一个朋友那里听到这个消息之后，他们就查了这个家庭，发现这个家庭确实是有这样的一个名人，就是宗教重要人物的祖爷爷，这就是他们的家庭历史。这就造成了一个挑战，即用一个非常有趣的方式，怎样给Ruben这个家庭进行一个类似精神按摩的安慰，以使得他能够把他们的故事分享出来。他们的家庭并不跟纳粹相关，但是他们的家庭确实在德国历史上是一个非常积极、非常有热情的家庭。Ruben好像继承了这样的家庭传统，怎样让来自这样家庭背景Ruben愿意分享他们家庭的故事，这是第二个挑战。

第三个挑战是他作为一个导演，怎样从一个外界的视角来看他自己。因为他既作为剧中的人物，同时还要作为导演，怎么采取外部视角看他自己这个人物的发展，这对他来说是一个挑战。他觉得他自己并不像其他的人物那样有一个很完备的发展的弧线，发展的并没有特别的好。但是多亏了他们的剪辑师，他最后呈现出来也还凑合。

他觉得以上就是他面临的三个挑战。

梦奇(主持): 谢谢thank you。And a lot of questions coming out.我觉得大家可以要么自己说，或者是这样，我们请翻译帮忙翻译你们已经留好言的问题，但是请你打开你的摄像头跟导演打个招呼，至少我们让导演知道屏幕背后是真的人。我们接下来是请安迪帮我们翻译一下。@明暗之间，他问两位奶奶现在还好吗？

Andy ZHU(翻译): Yeah. So how is the situation of another two grannies? Are they still getting well now? 

Balint(导演): Yes, my granny is ninety six and she has dementia now like what Rosanne had. But she still recognized me, and we could really, I think, still connect. So she hasn't lost it fully. Yet she's physically not so aware. So she lies most of the time in her room. But she's at home and there's a a full time carer takes care of her. She , you know, in a sense, still lives a dignified or reasonable life, and then the German’s grandmother, she had a stroke and some of her body's numb, and from a physical point, she’s more like less capable, but she still sort of walks with a little machine and stuff like that. And Ruben is still in contact with her, he visits her every year or every six or eight months. And then ever since, like a new generation arrived, so Maredith had her daughter, and I had my son. 

车骁(翻译): 他讲了两个奶奶，第一个是他自己的奶奶，已经96岁了，但是她现在有些失智了。她仍然还认得他，还能和他产生连接，没有完全失智，只是在身体层面上算作有些失能。她现在在一个养老院里面被照顾的很好，她目前的生活还算比较有尊严，也比较合理；然后那个德国奶奶有中风，所以她一部分的身体已经麻木了。从身体的角度不像导演奶奶这样，身体还能够运行，她现在每天都是扶着一个机器，帮助她行走。她的德国孙子每年都去、或者每六到八个月都去看她一次。目前导演自己也有了下一代，他有了儿子，Maredith有了女儿。

梦奇(主持): Thank you. Yes, next generation comes, because today the new film is about next generation. It's also very tough but full of love and dangerous, and it is very rich film.下一个问题是？请Andy帮忙翻译一下。

Andy ZHU(翻译): Sorry. So Jane is asking about, hello Balint, can you talk about how did you persuade the three grannies to join the film and interviews, or can you get us some suggestions or advice on how to engage our families to talk about something that is very sad, about traumatic and grief things and open their heart. 你是怎么说服这三位奶奶参与拍摄的，你是否有一些建议关于说如何鼓励家人参与拍摄并打开他们的心扉？

Balint(导演): Yeah, it wasn't really a persuasion, you can imagine like, telling your grandma, like, “hey, grand, I want to introduce you to my two best friends, and I want to spend like six days with you. Are you up for that?” So this is how it all started and I think the most of grandparents would say yes. So we didn't really ask the question, which is maybe a selfish thing, it was natural that we involved them in this whole thing. I grew up in the ocean of stories of my grandma, so it was totally organic that she would share it. If I ask her, she would say the same things and share the same stories in front of my friends and their grandparents. 

The advice I could give when talking with your grandparents, I think, like, one of the most difficult thing is that the conversations are really slow, and in a lot of time you don't talk about the real stuff, like this formal protocol of conversing with each other, which at my case, is boring for a lot of times, and you talk about stuff which you're not really interested in. What I did was that we just sit all the way through this like we listen through the hundreds of hours of whatever they wanted to say, and then there is ten, fifteen, twenty minutes out of that hundred hours, which you're really talking about the core.

You can explain who you are and they can feel that they are important to you, because you are sharing your inner sort of thoughts and processes stuff which you perhaps don't even have the courage to tell your parents. And especially in this age window when you are leaving home in early adolescence, at least for me, it was the time when I realized that I won't be able to change my parents and I have to live with them as they are. I think in that process brought a lot of sort of traumatic stuff filling in my psyche. And sharing those with my grandma, I think really opened up my character. For her, she could really see who I was, who I am still. I don’t have any topic which I'm not willing to talk with my grandma. 

车骁(翻译):  其实他并没有花很多时间来劝说他的奶奶来开放自己。当对奶奶介绍你的两个最好的朋友，然后跟她说我的两个朋友要跟你在一块待六天，大部分爷爷奶奶辈都会很高兴的。他们实际上并没有真正问出这个问题，只是很自然地把他们融入了整个拍摄当中。他在成长过程中，听他奶奶讲了很多故事，他所以他奶奶分享故事是很有机且自然的。他奶奶也不介意在他的朋友们面前分享同样的故事。

然后他觉得跟奶奶辈交流很困难的一部分就是谈话进行得很慢，很多谈话像礼节性的表面寒暄，对他来说，这样的寒暄占了很多时间，比较乏味，并没有真正的对谈和产生有内容的东西。他对这些东西不感兴趣，但还必须忍受。在寒暄过程当中，可能就几百个小时当中才会出现10、15分钟或者20分钟的有用的时刻，能谈到真正重要东西的时刻。

他跟爷爷奶奶交流还有一个技巧就是要向奶奶坦诚不恭地说自己是什么样的人。比如说你在青少年很叛逆的时候离开父母，甚至不愿意跟父母讲的事情，你跟奶奶讲，让奶奶觉得你跟她确实是毫无保留、开诚布公。你告诉你奶奶，她讲的东西对你来说很重要。从导演的角度来讲，他没有办法改变你的父母，但他觉得跟奶奶能交流得起来，奶奶也会愿意打开自己和他交流。

梦奇(主持): Yes, thank you for sharing this. You already know there are filmmakers in our CCD workstations. I think it's very important because maybe some filmmakers here who want to make a film about their families and their memories. Also for some friends and some audience, maybe it's the first time they watch our film for mother festival, and maybe in the future they will make the film. So, what you say is really important and thank you for sharing this.

可能对我们的观众来说，很多是创作者，也有很多人在拍摄的自己家庭和记忆的故事。当然还有一些观众可能在今年看过母亲影展以后，就会拿起摄像机去拍摄你的家庭故事。所以他的这些经验非常的棒，然后后面也有个问题，跟这个很相似的，就不会重复问了。Wendy问的问题，麻烦andy翻译一下，关于保留和价值的问题。

Andy ZHU(翻译): The granny, who survived from the holocaust, said in this film that she does not hope the young generation would retain the value that from the holocaust. How to understand this value for you. 大屠杀的幸存着奶奶说大屠杀没有价值保留，你怎么看待她所说的「价值」。

Balint(导演): She responded this question. Yeah, when I asked her, “If you want to, what do you think about this knowledge being passed down?”and she doesn't want it. I think if you ask her in a different mood, she would say a different thing. So I think both arguments, or both responses are valid. In this sense, what she said in the film it's more like a hope that we don't have to understand these kinds of things. I disagree it. I think we have to understand these things, we have to know these things to understand, to give a context of what we are doing now, and what potential outcomes. There is to have in our life and in our societies. And I think there is a value in it for me.

The value in it is the dignity I inherited from my grandma. This really strong like herself showing us that what I do is right, and I'm aware of the extremities of what humans can do.

And with this perspective, I feel that it really gives me the ability to…… I don’t know, I don’t want to come across superior. For me at least, this is an internal thing, it gives this strong sense of empathy and strong sense of wanting to look at things from different perspectives. And I think, that comes in some ways I inherited from my grandma and the holocaust unfortunately or in fortune.

粽粽粽(翻译): Ok, thank you. 问不同的人可能会有不同的回答。他认为，其实关于这个问题，从奶奶的答案上来讲，他并不同意奶奶说这个东西没有价值。他认为恰恰很需要记住当时的事情，这会帮助我们去理解我们当下的语境，告诉我们可以现在去做什么。在我们的社会里面，在我们的生活里面，他觉得它有一种价值在里面。关于他们的尊严，关于人到一个极端状态上会做什么，底线在哪里。

导演他这段没有往下说，他觉得这是一个非常内在的事情，可以让他有能力更具有一种很强烈的一种同理悲悯之心。他认为记忆的价值不光是他祖母的遗产，更是大屠杀，能留下给更多人的遗产。

我再补充一个就是他一开始说他在影片中问他奶奶，愿不愿意大屠杀的记忆传承下去，然后他奶奶说，你们下一代人不需要传承这个记忆。其实他觉得如果他奶奶在另一个情景当中，被问同样的问题，他奶奶也会回答不同的回答。但是他觉得这两个回答都是正确的，因为就像刚才说的，我们下一代人要知道这样的传统对我们的生活跟我们的时代产生的潜在结果的可能性，认知上一代传统的价值所在。

梦奇(主持): Thank you， yeah I think this is good answer for everybody to know it.

我们时间有限，导演他正在路上，你可以看到他现在在车里面专门做我们今天的映后谈，现在剩最后一个问题。我们就让举手的朋友来提问好不好，那就阿嘴或新月，你们来说。

庄炜&李新月(观众): OK. I tried to express some of my feeling of this film. I remember that the grandma then sat in the story, she thinks if there's any value of those things happened in the past. It can become a story, or a tragedy which can be told and become some kind of heritage to descendant. It can become a story, and it can be expressed. It can be passed to the other generation. This is a really touching expression. I feel that kind of tenderness and that kind of regression through watching this film. 

And I just felt some kind of game as a style in this storytelling, and I think your daily interaction with your friends and your time accompany with your grandma are really warm. And I think your choice of using that kind of happy game or funny style to express this story help us feel and understand those stories and our grandma as the descendant.

What's more, I think your film is kind of between memory and care. There's a lot of pictures of you three guys just spending time with your grandmas. You just use many methods to accomplish it like you use activities such as music, going shopping, or having dinner. I think these pictures are really warm and I just feel those kinds of tenderness. 

Somehow you've just accomplished feeling that you connect those activities as memory and active as a carer. So I'm really touching, and really like this. 

Balint(导演): Thanks, really. This is super nice for me after so many years to be able to talk to people and get respond. I'm super glad that this screening happened, so thank you very much. There's a wedding going on in the background, and I think they started the process of walking out the bride. If you don't mind, I would leave and join that celebration, because my girlfriend's sister getting married. 

梦奇(主持): Yes, That's the last question, actually. Thank you so much. We don't want to keep you here so long and thank you for the three translators. 

Balint(导演):Thanks for this, if you guys want to follow this chat up, I'm more than happy to do another session if you feel like.

梦奇(主持): I think people are very interested in your next film. Maybe next year？

Balint(导演): Yeah, I wanted to send it to you guys so you can share it, screen it then yeah, this is up for grab. 

梦奇(主持): Thank you so much. Have a good trip, and safe driving. We see you later. Thank you. 

Balint(导演): Thank you very much. Byebye.

梦奇(主持): 然后我们今天的映后谈就到这里结束了，非常感谢大家的参与。明天非常重要，是母亲展的最后一天，也是母亲节。你可以带着你的妈妈来，或者是你妈妈的妈妈来一起参加我们明天母亲展的2024的最后一场节目，我们会在八点钟开始放映关于妈妈拍片工作坊，妈妈飞单元的几位母亲们的创作过程和经历的一部影片。这个剪辑就是刚刚说话非常紧张、但是很可爱的庄炜。

还有我们今年母亲展特设了三个奖项是想要鼓励我们的创作者，用一种方式来庆祝我们的创作。所以我们有三个奖项的颁奖，然后还有最后大家可以进行交流，希望听到大家对于母亲影展的一些建议，一些感受，我们非常期待明天和大家再聊一聊。那我们今天就在这感谢车骁，感谢Andy，感谢阿凯给我们的。非常无私的奉献！

不好意思，后面的一些问题可能我们就来不及了，我们也许明年还会请导演来我们草场地，再来听他继续讲。谢谢，谢谢大家！晚安。