This moral predicament is captured in a scene in “Donbass” in which thugs tie a Ukrainian soldier to a telegraph pole and entice the crowd to lynch him. “I wanted to show the mechanism for working people into a state of ecstasy,” Mr Loznitsa says. The scene reconstructs a real video posted on YouTube, and is more effective for the absence of a narratorial voice. He could never film such an event directly, Mr Loznitsa avers: not only would that “make you an accomplice”, the presence of a camera would “draw in the audience to participate”. Often he conveys a sense that he is telling one story among many. Elsewhere in “Donbass”, for example, a businessman whom the militia are extorting is transferred to a holding room—where he finds a legion of other detainees pleading for help on their phones. The sequence, like many in Mr Loznitsa’s films, seems at once hyperreal and mythic.
这种道德困境在《顿巴斯》的一个场景中得到了体现，暴徒把一名乌克兰士兵绑在电线杆上，引诱人群对他实施私刑kksk-fu=N[G_。“我想展示劳动人民进入狂喜状态的机制，”洛兹尼察先生说道KoFvGHWL4cU!。这一场景重构了YouTube上的真实视频，在没有叙事性声音的情况下效果更好@qOtVr#@S,q。洛兹尼察先生断言，他永远无法直接拍摄这样的事件：这不仅会“让你成为同谋”，摄像机的出现还会“吸引观众参与”hsGb!;P9D~UnUm。他常常给人一种他只是在讲一个故事的感觉&u-iHqxtW9[dz5。例如，在“顿巴斯”的其他地方，一名被民兵勒索的商人被转移到一间拘留室，在那里他发现一大批正通过电话寻求帮助的被拘留者|C4!o]q.YUfB。就像洛兹尼察电影中的许多场景一样，这个场景既超现实又神秘w]GX4oelv)xO#L。

The interplay between audience and spectacle, and the use of news footage to validate lies, are at the heart of “The Trial”, which he made just after “Donbass”. One is a feature, the other is shaped entirely from archive material, but in their preoccupations, the films are twins. “The Trial” reconstructs a tribunal that took place in Moscow in 1930. A group of Soviet engineers and economists were accused of forming the “Industrial Party”, which in collusion with France had supposedly plotted against the Bolshevik government.
观众和场景之间的相互作用，以及利用新闻镜头来证实谎言，是他在《唐巴斯》之后制作的《审判》的核心[~9EMp31+zzq&WC。一部是故事片，另一部则完全由档案材料塑造而成，但就他们的关注点而言，这两部作品是孪生兄弟kcB^FW5rAm+4CJL]V*。《审判》再现了1930年莫斯科的一个法庭6P2k6GP*6*Oin|x5uE。一群苏联工程师和经济学家被指控成立了“工业党”，他们与法国勾结，密谋推翻布尔什维克政府SJDpx@V-DoDpF20TTmw*。
In reality, like the Ukrainian “fascists”, the Industrial Party never existed; the entire case was fabricated. The trial was held—or performed—not in a court but in the House of the Unions, a grand hall used for state ceremonies, illuminated for the cameras and complete with a 1,000-strong audience. “The Trial” intercuts passages from the resulting propaganda film with shots of crowds demanding the death of the culprits. In this instance, says Mr Loznitsa, “Stalin was the real director of the show. I merely helped make it into a film.”
实际上，就像乌克兰的“法西斯分子”一样，工业党从未存在过；审判不是在法庭上进行的，而是在联邦议院进行的，这是一个用于举行州仪式的大厅，为摄像机照明，并有1000多名观众8s[nSFJ@08~5rkaR=。《审判》在宣传片中插入了要求处死罪犯的人群的镜头_L9ko6e~yei..A7O3w。在这种情况下，洛兹尼察先生说，“斯大林才是真正的导演.Fd@pv6v~]vKQH4;hFSf。我只是帮忙把它拍成电影xJ%_F9CHKfLWV7+)|zYh。”

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