相較於戲劇化地描述烏克蘭自由血戰的《凜冬烈火》( 2015 )，《佔領廣場》的導演沙基羅斯尼薩以弗德烈懷斯曼式的不介入手法，將抗爭的張力和沉澱都盡歸還給真實影像，徹底去除個別人物主體，以全固定的廣角鏡頭凝視，冷靜地剖開運動的肌理，讓血與肉的場面於疏離和悸動中糾結於心。《佔》紀錄了廣場上的和理非日常以至實彈開戰，除了偌大的景框，還以多種音樂串連情感和轉場，民謠、詩歌、國歌甚至流行音樂流露民族和革命情感，更於廣場多處同步收音盡攬人民聲音，讓佔領空間凝聚示威者的信念和身份，示威場地則成為人間劇場，上演一幕又一幕的抗爭夜與霧，同時也遠眺國家機器的殘暴和箇中民族意識紛爭。豐富的影音竭力補遺認知上的缺失，任由閣下自行理解，予取予攜。
Compared to Winter on Fire’s (2015) dramatic representation of Ukraine’s fight for freedom, director Sergei Loznitsa employed a non-intervening approach akin to Fredrick Wiseman’s as he captured the tension and weight of the protest with realistic images in Maidan. Eschewing the individual, he steadfastly gazed from wide and static angles and calmly revealed the essence of the movement, with only sporadic scenes of violence jolting the audience to its core. Maidan chronicles the peaceful protests and live-ammunition scuffles at the public square. From folk, poetry, national anthem to pop, scenes of music is also crucial in the expression of the people’s national pride and revolutionary fervor. Sound recordings from various spots at the square embrace the diversity of the people’s voices. The protesters’ beliefs and identities congregate in this occupied space, which is transformed to a theater of humanity. As scenes of protest emerge day in and day out, the abundance of images and sounds presents the brutality of the state and the national conflict at hand, allowing viewers to form their own opinions.
Nuremberg International Human Rights Film Award, Nuremberg International Human Rights Film Festival 2015
Nominated for Grierson Award, London Film Festival 2014