翻譯

Hirokazu Kore-eda on ‘Broker’, working with IU and the future of Japanese cinema

是枝裕和談《BROKER》、與 IU 的合作以及日本電影的未來

Could the acclaimed filmmaker's first foray into Korean movies kickstart a cultural revolution?

這位備受讚譽的電影製作人首次涉足韓國電影是否會引發一場文化革命？

Family in its many different and unconventional forms often plays an important role in the films of Hirokazu Kore-eda. Shoplifters (2018) follows a group of drifters who come together and live as a unit, sticking together even through dark twists and turns. In 2011’s I Wish, the acclaimed writer and director tells the story of two families torn apart by divorce. Now, in his latest movie Broker, he takes up with another unorthodox group to explore ideas of motherhood, survival and new life.

在是枝裕和的電影中，家庭經常以其許多不同和不尋常的形式扮演著重要的角色。 《小偷家族》 (2018) 跟隨一群流浪者，他們聚在一起，作為一個群體生活，即使在黑暗的曲折中也團結在一起。 在 2011 年的《奇蹟》中，這位著名編劇兼導演講述了兩個因離婚而支離破碎的家庭的故事。 現在，在他最新的電影《BROKER》中，他與另一個非傳統的團體一起探索母性、生存和新生命的理念。

In the film, two ‘brokers’ steal orphans from ‘baby boxes’ – a system of hatches in South Korea where struggling parents can deposit infants they don’t have the means to raise. They then sell the orphans to affluent couples who can’t have children of their own. When an orphan’s mother returns suddenly to make sure her baby is cared for, the three form an unlikely family and set out to find the child a perfect new home.

在電影中，兩名“仲介”從“嬰兒箱”中偷走孤兒—這是韓國的一個孵育系統，苦苦掙扎的父母可以將他們無力撫養的嬰兒存放在那裡。 然後他們將孤兒賣給無法生育自己孩子的富裕夫婦。 當一位孤兒的母親突然回來確保她的孩子得到照顧時，這三個人組成了一個難以想像的家庭，並著手為孩子尋找一個完美的新家。

“The focuses are different in each of those films, but the family unit, and the shape of the family has been used as a container almost because it is so multi-dimensional and there is an element of collaboration – a lot of characters interacting with each other,” Hirokazu tells NME. “In Broker, you could interpret what’s happening within the car journey as a proxy family, but I think it’s more about how each character will deal with a life that is being born from different perspectives.”

是枝裕和跟 NME說：「每一部電影的重點都不同，但家庭群體和家庭的樣貌幾乎被用作容器，因為它是如此多維，並且有合作的元素—很多角色與 彼此之間互動。 在《BROKER》中，你可以將公路旅行中發生的事情解釋為代理家庭，但我認為更多的是關於每個角色將如何從不同的角度對待正在誕生的生命。」

You also worked with Lee Ji-eun on Broker, who you first saw in the Netflix series My Mister. What was it about her performance in that series that drew you to her?

你還有與李知恩合作《BROKER》，你第一次見到她是在 Netflix 電視劇《我的大叔》中。 她在劇中的表現吸引你的是哪個部份？

“Her voice [Ji-eun is known in the music world under her stage name IU]. It’s the same for Bae Doona as well, but both of their acting is very, very nuanced and subtle compared to other Korean actors. I watch Korean dramas and a lot of them are very interesting and entertaining. But the storylines tend to be very, very dramatic as well as the acting tends to be quite big and expressive, whereas their expressions are a lot more subtle and internalised – you really need to pay close attention to what is happening in a very small amount. So Lee Ji-eun’s acting was very mature and that subtle movement of emotions was very, very impressive.”

「她的聲音 [知恩以她的藝名 IU 在音樂界廣為人知]。 裴斗娜也是如此，但與其他韓國演員相比，他們的演技都非常非常細緻入微。 我看韓劇，其中很多都非常有趣和愉快。 但是故事情節往往非常非常戲劇化，表演也往往非常大和外顯，而他們的表達卻更加微妙和內化——你真的需要分為小段地密切關注正在發生的事情。 所以李知恩的演技非常成熟，那種微妙的情緒波動非常非常令人印象深刻。」

How do you think Broker will challenge viewers’ perspectives on motherhood?

你認為《BROKER》將如何挑戰觀眾對母性的看法？

“What I envisioned was that this film would start with Soo-jin saying: ‘Don’t give birth to something if you’re just going to abandon it.’ I believe that view represents what most of the audience would have, whether it be Japan or Korea. But I wanted it to really change in the course of two hours of the film. The film is really about how Soo-jin starts being critical of the mother abandoning the baby, but also the birth mother who needed to give up the babies. I wanted those two women to come closer together [throughout the film]. At the end, both mothers think about what is best for the baby. I wanted the audience to go on that journey too.”

「我的設想是，這部電影會以秀珍的話開頭：'如果你要棄養，就不要生下它。'我相信這種觀點代表了大多數觀眾的想法，無論是在日本還是韓國。 但我希望在兩小時的電影過程中，觀眾的想法能真正發生變化。 這部電影真正講述的是秀珍如何從一開始批評拋棄嬰兒的母親，可是還有需要放棄嬰兒的生母。 我希望這兩位女人 [在整部電影中] 逐漸向對方走近。 最後，兩位媽媽都在考慮是什麼對嬰兒最好的。 我希望觀眾也能踏上這段旅程。」

原文：https://www.nme.com/features/film-interviews/hirokazu-kore-eda-broker-iu-interview-japan-korea-3402611

翻譯 by Utopia