不论是近期George Floyd引发的遍布北美的“Black Lives Matter”游行和今天IG上沸腾的话题#blackouttuesday，还是近些年全世界都热议不绝的女权运动，无不将封建社会歧视的当代缩影赤裸地挂在我们眼前。它们像一个个未抹平的伤疤，再花哨的遮羞布也无法完美地粉饰太平它们依旧存在的痕迹。

在这个东京奥运会都看不到的2020年，Stink想和大家回顾一下，这支打破封建世俗的东京女子橄榄球队在运动热潮下振奋人心的故事。

在男子橄榄球将成为头条新闻的2019年，Stink导演Eliot Rausch和Mackenzie Sheppard同黑啤品牌Guinness (健力士) 合作，为临近的Rugby World Cup (橄榄球世界杯)拍摄了一个讲述日本女性橄榄球先锋球队的故事。她们在80年代奋不顾身地踏入泥泞的赛场，为逃脱封建社会批判的牢笼，并和属于她们自己的群体一起寻找真正的意义。

片子的脚本由AMV BBDO提供，与普通宣传片不一样的是，Guinness一口气为这一主题拍摄了两部影片(都是由Stink Films制作的)。由Eliot Rausch执导的长达40秒的广告宣传片，是对球员亲身经历的电影重现，结合了日本电影精致构图和极具磨砂颗粒质感效果的制作。一同，还有Mackenzie Sheppard为这些运动员们拍摄的写实纪录片。

“这两部影片的确是一起拍摄的，因为竞标的方式和有限的制作预算，我们很难在经费分配好的两到三天内就将这部电影的架构完全确认下来。因此我们将Mackenzie也邀请来一起参与制作，实现一个比40秒更长的视频版本，以防有任何遗漏的片段” Eliot解释道，他和Mackenzie一起做了拍摄的准备功课和前期准备。

「“It was really in tandem and it was pitched that way because of the limited budget and the small chance that we wouldn’t be able to construct the film and the magnitude of the film in the two or three days that the budget allotted. We brought on Mackenzie to achieve the longer version of the film and potentially extend the 40 in case we were missing pieces,” explains Eliot, who says that he and Mackenzie worked closely together in research and pre production.」

整个前期调查的过程给住在东京的Mackenzie带来了特别惊讶的收获。“岸田女士，整个日本女性橄榄球运动的领导者，实际上就住在我隔壁。” 他透露：“这件事让我重新认识到，即使在人烟稠密的城市中，身边的面孔也很容易就变成一个个一闪而过的画面。但是每个人，即使是大街上扇着扇子围观下象棋的普通奶奶，都有你想象不到的故事。”

「For Mackenzie, who lives in Tokyo, the research process was particularly surprising. “Kishida-san, the captain, and the leader of the whole movement in Japan, actually lives just across the street from me in Tokyo,” he reveals. “It really made me think that even in a jam-packed city it’s easy for the faces and people around you to become like fast-moving-wallpaper. But everyone, even the little oba-chan on the street, has a story to tell.”」

“我永远都不会想到这些女士曾经是橄榄球运动员。这就让我不得不重新审视自己对周围的人和世界的错误认知，并学会用不带“滤镜”的眼睛看待事物。”

「“I would never have thought these ladies were former rugby players. Which challenged me to clear my own false perceptions of people and the world around me and learn to see things with the ‘filter’ removed.”」

年轻时代的岸田女士

为更好地了解她和她的队友们，Mackenzie在拍摄前曾几次拜访岸田女士。他们的对话奠定了纪录片的拍摄方向，这也使制作团队能够更好地策划视频中的故事情节。

「Mackenzie visited Kishida-san several times ahead of the shoot – getting to know her and her teammates. Their conversations helped steer the direction of the documentary and allowed the production team to better plan for the kinds of stories that would likely emerge on film.」

“最令人难忘的片段是回到她们玉川市的家中的拍摄。”他回忆：“当女士们站在她们曾经玩耍的旧草堆旁边时，我们可以感同身受属于她们满满的怀旧感和并肩作战的友情。当然她们自己也引以为豪。”

「“The most memorable was filming them back at their home ground in Tamagawa,” he recalls. “You could sense the nostalgia and camaraderie of the ladies as they stood beside the old grass on which they used to play. They were very proud.”」

接受采访的三位日本女橄榄球运动员前辈

这部纪录片从一开始就记录了女性们对抛出的深刻难题的探讨，例如遭受性侵犯，以及不得不与社会对女性的封建定位抗争。“这些女士非常放得开，也很坦率，” Mackenzie说。“每个人都有在打球时被旁人贴上各种标签的经历的一手证词。她们所经历的都很不同，从粗鲁无礼的老板，到普通家庭对女性的刻板期望：因为橄榄球在这些女人生命中的重要分量，分散了一个‘女人’对家庭尽职尽责的精力。”

「From the off, the documentary sees the women talk about fairly difficult subjects, like experiencing sexual assault and having to fight against expectations. “These ladies were very open and frank,” says Mackenzie. “Each one of them had a specific testimony about how people perceived them during the time in which they were playing. They really ranged. From bosses who were rude and demeaning, to family expectations of them not being comfortable with rugby becoming a big part of their lives and distracting from normal family duties.”」

尽管Mackenzie有拍摄的时间限制要遵守——他只有800英尺（约20分钟）的16毫米胶片来拍摄采访内容。而Eliot同样也面临着巨大的时间压力——要在40秒内把如此丰富的故事涵盖其中。在他们眼前的解决方法是：借鉴大放异彩的优秀日本电影的拍摄手法，给每一帧赋予暗藏玄机的象征意义和承上启下的视觉线索。

「While Mackenzie certainly had his own time constraints to deal with – he had just 800ft (about 20 minutes) of 16mm film to shoot the interview elements – Eliot also faced intense time pressure. Not least telling such a rich set of stories in just 40 seconds. One solution was to borrow from the greats of Japanese cinema and load each shot with carefully crafted metaphors and visual clues.」

“从叙述的角度来看，我们精心设计了每个场景中埋下的隐喻和象征的数量。包括艺妓娃娃被封锁在玻璃窗后的细节描写，意为即时踩到我们想要的故事节奏点上。”Eliot说。现场前半部分的静态镜头与爆发性的户外动作片段的不受拘束的颗粒状的画面效果之间也故意设置了强烈对比。

「“From a narrative standpoint we were very intentional about how much metaphor and symbolism was buried into every scene. Even the geisha girls locked into the glass covering, these elements were intentional to very quickly evoke the narrative beats we were hoping to hit,” says Eliot. There’s also a deliberate contrast between the static shots of the first half of the spot and the loose, grainy camerawork of the explosive on-field action.」

橱窗里的艺妓娃娃

当这两个元素融为一体时，便使健力士近几年敏感而真实的宣传角度挣脱了时代感的局限，也更显真实。无论是该品牌帮助威尔士橄榄球球员Gareth Thomas宣传他和队友间的经历，还是对日本女球员的尊重，健力士总是用“橄榄球精神”的理念，来应对那些被世人委婉地称为“问题”或“决心”的话题。

「When both elements of the campaign come together, what emerges is something that feels timeless and true to the sensible and authentic approach that Guinness has taken in recent years. Whether its helping Welsh player Gareth Thomas talk about his experience coming out to his teammates or paying respect to the women players of Japan, when Guinness does approach anything we might euphemistically call an ‘issue’ or ‘purpose’, it’s handled with the let’s-get-on-with-it spirit of rugby. 」

这就是广告打动Eliot的原因之一。他一直对品牌商以“目的”的名义，利用边缘化群体的行为持谨慎态度。但是他很快发现，这次的故事并非如此。“过去两年来，我总会站在道德层面上质疑每个品牌，不确定他们的宣传是不是为了针对谋取某个边缘消费群体的利益。现在这样的行业形势已经变得更加严峻——刚开始接到案子的时候我就在想，“这会不会是为了讨好女权主义用户而做的噱头？”所以我有点犹豫，但后来我意识到，健力士想做的远远不止于此。这种对封建教条主义的不屈服精神使我肃然起敬：它并不单纯是一种个人主义或自我表达的情感抒发，而更是为了激励这样的整个群体，这是我认为它绝对独特的概念所在。”

「That’s part of the reason that Eliot agreed to do the job. He’s been wary of brands exploiting the marginalised in the name of ‘purpose’. But this story, he quickly found out, was not that. “I’ve been hesitant the last couple of years with brands virtue signalling, jumping on some kind of fringe or marginalised group. The dangers around doing that have become much more severe – at first I was like, ‘are they jumping on a feminist train to check a box?’ So I was hesitant but then I realised it was much more than that. I was compelled with the rebellion of conformity but not for the sake of individuation or autonomy or self-expression as much as it was finding community and I thought that was really unique.”」

英国国际橄榄球运动员丹尼尔（Danielle“ Nolli” Waterman）说：“虽然对于女子体育而言，2019年是令人难以置信的飞跃，但在体育运动和更广泛的领域内，仍然有许多类似的不平等障碍等待被克服。“自由之境”里的故事在今天看来仍然如此。但是，能够将这些故事分享出来真的是令人难以置信，因为我们可以自由地讨论和庆祝先驱女性，其实本身就是一个很大的进步：我们对待、融入包容性和多样性的态度是未来能否成功的关键。”

「English International Rugby Player Danielle “Nolli” Waterman goes on to comment: “While 2019 has been an incredible year for women’s sport, there are still plenty of barriers to overcome both within sport and more widely. Much of the 'Liberty Fields' story still rings true with me today. However, it is incredible to have this story shared because talking about, and celebrating women as pioneers can really make a difference. How we approach and embed inclusivity and diversity, is key to future success.” 」

希望所有不平等的社会歧视可以就此结束，“自由之境”可以真正到来。

️️️

《Liberty Fields》

纪录片

PRODUCTION COMPANY: Stink Films, Mr+Postive Tokyo

DIRECTOR: Eliot Rausch, Mackenzie Sheppard (Documentary)

PRODUCER: Ben Croker

EDITOR: Russell Icke, Aika Miyake (Documentary)

CREATIVE AGENCY: AMV BBDO

CREATIVE DIRECTOR: Nick Hulley & Nadja Lossgott

POST PRODUCTION COMPANY: Untold

FILM LAB: Cinelab

MUSIC COMPANY: Radford Music

MUSIC SUPERVISION: James Radford