Often his uncompromising films lack linear narratives, even protagonists. He is not interested in heroes, but in the crowd; in the audience on the square, not the politicians on the stage. In his documentaries, his impersonal camera does not probe inner lives but simply records: the space, the movements, the soundscape (snatches of pop and folk songs, anthems, tolling bells), the flow of time and ultimately of history. There is no voiceover or catharsis. Instead, Mr Loznitsa allows the absurdity and tragedy of life to speak for themselves. “He is not a hunter,” says Mikhail Iampolski, a critic and historian of Russian culture at New York University. “He is a trap, patiently waiting for whatever gets caught in it.”
他毫不妥协的电影往往缺乏线性叙事，甚至连主角都没有J6^O!pjzF4B&mApUZ。他对英雄不感兴趣，而是对人群感兴趣；广场上的人群，而不是台上的政客V+YklQE.+G。在他的纪录片中，他那没有感情色彩的相机并不探索内心世界，而只是简单地记录:空间、动作、声景(流行和民谣的片段、国歌、钟声)、时间的流动，最终是历史的流动f9mY!.iOjs。没有画外音或宣泄pLBAn|*LF]6xUUpTn。相反，洛兹尼察先生允许生活的荒谬和悲剧为自己辩护drN*sSh#GVcqi*+G+。“他不是猎人，”纽约大学俄罗斯文化评论家和历史学家米哈伊尔·亚姆波尔斯基说W4hgk7oqkUJy3yG=。“他是陷阱，耐心地等待着被困住的任何东西y37xa#0u)i7_qY。”

The camera, for Mr Loznitsa, is more than a piece of kit—it is a way of seeing. “When we look in front of us, there are things we don’t see,” but which can become visible afterwards, he says. The result may be “something that I could never have imagined, let alone invented”. He cites an aphorism of Alfred Hitchcock’s: “In feature films, the director is God. In documentaries, God is the director.”
对于洛兹尼察先生来说，相机不仅仅是一个小物件，而是一种观察的方式^cu..*.bi6%VvBI)iu59。他说:“当我们看前面的时候，有些东西我们看不到，”但这些东西在看完之后就会变得可见iNr_iM_3,d.IZdQ];ca7。其结果可能是“我从未想象过的东西，更不用说发明了”!UgJhDhdjIE0b35YE。他引用了阿尔弗雷德·希区柯克的一句格言:“在故事片中，导演就是上帝h2)]Apt9oVd。”在纪录片中，上帝是导演-v5#A,_(oqnI2。”
On with the show
和精彩一起继续
Now 52, Mr Loznitsa was born in Soviet Belarus and brought up in Ukraine. He learned his craft in Russia and now lives in Germany. Like many others, his life has been shaped by the fracturing of the Soviet Union and the Russian empire before it; his work chronicles the political—and moral— disintegrations that followed. His subjects have included the failed coup of 1991 that preceded the Soviet collapse (“The Event”, 2015) and Ukraine’s revolution (“Maidan”, 2014). Today’s world, he says, provides “no firm ground under your feet”. Just as fact and fiction have bled together, it can seem that “there is no good or bad.”
现年52岁的洛兹尼察出生于前苏联的白俄罗斯，在乌克兰长大2OZ%,XFD=S@vN。他在俄罗斯学的手艺，现在住在德国R[*IL0dWmLy_5w%DK。和其他许多人一样，他的一生也受到了前苏联和前俄罗斯帝国解体的影响；他的作品记录了随之而来的政治和道德的瓦解kpP)20a,)9。他的作品包括1991年苏联解体前的未遂政变(《事件》，2015)和乌克兰革命(《独立广场》，2014)HC&O*ywz%Iz,U-p。他说，今天的世界“脚下没有坚实的土地”=r3rUk0-vE+BOI~1r。正如事实与虚构交织在一起一样，似乎“没有好坏之分”B;CEnNzEi2g4FcM。

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