第12届FIRST影展“国际长片”提名影片《彩虹实验》

《彩虹实验》剧照

《彩虹实验》剧照

彩虹实验

The Rainbow Experiment

国际首映

International Premiere

*评委会大奖（长片）提名

美国 | 2017 | 彩色 | 129分钟 | 剧情

US | 2017 | Color | 129min | Drama

导演/编剧 | 克里斯蒂娜·卡拉斯

制片 | 艾立森·凡诺尔

演员 | 劳拉·普鲁登、拉伦·索瓦、罗伯特·Z·格兰特、克里斯·维特里、凯瑟琳·科布-瑞恩

摄影 | 戴夫·夏普斯

音效 | 奎斯塔·威尔士

剪辑 | 娜塔丽·雷努

导演简介

克里斯蒂娜·卡拉斯是位荣誉电影人，作家和电影学教授。她的处女作《42秒幸福》（2016）是一部紧凑杰出的独立电影作品，目前仍在各大电影节巡展。它在WTxFF电影节获得最佳剧情长片奖项，在哈勒姆国际电影节获得最佳群戏奖，在普林斯顿独立电影界获得独立精神奖和最佳群戏奖等等。《彩虹实验》是她执导的第二部剧情长片。搬去纽约之前，卡拉斯在欧洲已有十五年的编剧、制作经验。她参与创作的作品有入围第83届奥斯卡奖最佳外语片的《母亲们》（2010），由约翰·哈特出演、入围柏林国际电影节主竞赛单元的《欧盟风云》（1998）等。她因对国际写作届的突出贡献而饱受赞誉，而她本人也是六本已出版图书的作者，并能熟练运用三种语言写作。她目前在哥伦比亚大学和巴纳德学院的电影部门任教。

Director’s Biography

Awarded filmmaker, book author and professor for film 42 Seconds of Happiness (2016), an intense and remarkable indie film currently in the festival circuit was her debut feature as a director. It won Best Feature Film at WTxFF, Best Ensemble Cast at Harlem Int’l Film Festival, Indie Spirit Award and Best Ensemble Cast at Princeton Independent Film Festival and Best American Film at the 9th Jaipur International Film Festival. Kallas was nominated for the Emerging Director Award at the St. Louis Int’l Film Festival 2016.The Rainbow Experiment is her sophomore feature as a director. Prior to relocating to NYC, Kallas has worked for over 15 years in Europe as a screenwriter and producer. Screen credits include the feature filmsMothers (2010), Best Foreign Language Film entry at the 83rd Academy Awards;The Commissioner (1998), starring John Hurt, in Official Competition at the Berlin Int’l Film Festival; I.D., a PolyGram film production (1994); as well as several Best TV-awarded series. From 2005 to 2013 Kallas was President of the Federation of Screenwriters in Europe (FSE.) She was honored for her outstanding contribution to the international writers’ community including the European Screenwriters Manifesto and the World Conference of Screenwriters. She is teaching at Columbia University’s and Barnard College’s Film Programs since 2011 and is the author of six books in her three writing languages, including Creative Screenwriting: Understanding Emotional Structure and Inside the Writers’ Room (Palgrave/Macmillan, 2010&2014).

导演阐述

在我的电影中，为了尽可能 真实的描绘情感，我习惯于去试验各类叙事手法，比如多主角、非线性叙事等等。因此，影片制作过程中激发自然派表演，从素材中截取镜头，多重音效设计还有我自己选择的屏幕分割镜头都显得尤为重要。当然了，这部影片最重要的还是叙事结构：打个比方，这就像是我们来到一个派对，需要一段时间去让自己适应这个坏境。也许在某个特殊的事件之后，我们会突然对周遭人和物都有了新的理解。我总是着迷于电影艺术不拘泥于传统叙事的独特性，这让我们用多样化的方式去感受这个世界，并且去挖掘跳出现实框架外的有趣的东西。我有意加快这部电影的叙事节奏，通过一系列个人情感上的谜团，在可控的范围内制造悬疑。屏幕分割镜头让许多不同的场景和故事线产生更清晰的比对，这也最终促成了一种对故事复杂性的全新理解和探讨。

Director’s Statement

In my films I experiment with narrative form, multi-protagonist, sometimes nonlinear structures, in an effort to allow and emulate an experience that is as close as possible to experiencing reality emotionally. The workshopping part of the process to reach naturalistic performances is important in that sense, as is the choice of camera work, the multilayered soundtracks, and indeed my experimental use of split screens. The most important element however, is how the narrative is structured: I see it much like when we join a party as a guest and need time to orientate ourselves to how everything and everyone are connected and then suddenly, after witnessing a key moment, we understand more and retrospectively what we have experienced and why we have experienced it that way. I am intrigued by how cinematic narrative is evolving beyond the traditional story format, and how it influences the way we perceive the world. What I am interested in, frankly, is what’s beyond, above and underneath what we call reality. I aim to tell the story at a very fast pace, building suspense constantly without blowing things up, through a puzzle of personal, emotional human moments. Split screen editing allows for vertical as well as horizontal juxtaposition of different scenes and storylines, and ultimately for a different, more visceral and compassionate perception of the story and its

complexities.

剧情简介

在曼哈顿的一所高中发生了一场导致学生伤亡的严重实验事故后，事态开始回旋失控。谁该为事故负责、谁目击了整个事件，这些话题引爆了老师、家长和学校领导之间的激烈讨论，并最终影响到学生本身。

Synopsis

Things spiral out of control in a high school in Manhattan when a terrible accident involving a science experiment injures a kid for life. A who-dun-it with a how-they-saw-it leads to an explosion of emotions touching on the teachers, the parents, the school authorities and, ultimately, the students.

“关于暴力，从来不是毫无来由。本片通过一个事件的线头剥落，抽丝剥茧推向人物的情绪本源。在好莱坞叙事变得不再夺人眼球的时代，提供了叙事新的可能性。”

“Violence never comes from nowhere. This film starts from the tips of an event and gradually goes into characters’ deep emotion. During this period when Hollywood Narration is no longer compelling, Rainbow provides a new possibility of how to tell a story.”