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Lee Chang Dong ponders the ethics of the camera

In Possible Love, the director of Burning tackles labor struggle, human connection, and the nature of capturing others on film.

在《可能的爱》（Possible Love）中，这位执导过《燃烧》的导演探讨了劳工斗争、人际联结以及通过镜头记录他人的本质。

Lee Chang Dong’s seventh feature film, Possible Love, is inspired by true events from 2009, when a Korean conglomerate fired a third of its staff – 2,600 employees – after which many died by suicide. Possible Love is the latest in a long line of Lee movies that engage with themes of class or labor or religion or compressed modernity, that uniquely Korean affliction, without feeling didactic.

李沧东的第七部剧情长片《可能的爱》取材于2009年的真实事件：当时一家韩国大企业解雇了三分之一的员工，共计2600人，随后许多人自杀身亡。《可能的爱》延续了李沧东一贯的创作脉络，探讨阶级、劳工、宗教或压缩的现代性——这种韩国特有的社会病症——且并不显得说教。

A different kind of movie would have captured the heat of that labor struggle. Possible Love picks up with the characters in the aftermath, a murkier time that defies easy understanding. The film opens with an epigraph: “Thou shall not covet.” What follows is a movie about characters who covet. They covet each other’s job, designer clothes, spouses, and positionality.

换作其他电影，或许会捕捉那场劳工斗争的激烈时刻。而《可能的爱》则从事件过后的余波切入，那是一个难以轻易解读的混沌时期。影片以一句题词开篇：“不可贪恋。”随后的故事围绕着一群心怀贪念的角色展开。他们贪恋彼此的工作、名牌服装、配偶以及社会地位。

The Verge spoke with Lee during his trip to New York about how he arrived at his politics, porousness between people, the properties of the camera, and what it is like to work with Netflix. The interview was conducted in Korean and translated into English.

《The Verge》在李沧东造访纽约期间采访了他，探讨了他的政治立场是如何形成的、人与人之间的渗透性、摄像机的特性，以及与Netflix合作的感受。本次采访以韩语进行，并翻译为英语。

“As you know well, Daegu is referred to as the heartland of conservatism in Korea. I went to school there, all the way through university, so I grew up steeped in that conservative disposition and was influenced by it. But until I graduated from college, in the spring of 1980, I didn’t realize how politically conservative Daegu citizens were.”

“如你所知，大邱被称为韩国保守主义的大本营。我在那里上学，一直读到大学，所以我在那种保守的氛围中长大，并深受其影响。但直到1980年春天大学毕业，我才意识到大邱市民在政治上有多么保守。”

“That spring, in May of 1980, I participated in protests against the Chun Doo-hwan regime as a university student. It was on the streets that I met them, the citizens, and experienced their hardline sentiments in a visceral way. It was shocking to me. Afterwards, I thought a lot about how come the people in Daegu were so politically conservative.”

“那年春天，1980年5月，我作为大学生参加了反对全斗焕政权的抗议活动。正是在街头，我遇见了那些市民，并切身感受到了他们强硬的立场。这让我感到震惊。此后，我思考了很多关于为什么大邱人会在政治上如此保守的问题。”

“We do know each other personally, but we seldom talk about our work. It might be the result of coincidence. Though of course, there might be a certain inevitability hidden within them. We lived through the same modern Korean history, and you cannot call that coincidence.”

“我们私下确实认识，但很少谈论彼此的工作。这或许是巧合的结果。当然，其中可能也隐藏着某种必然性。我们经历了同样的韩国现代史，你不能称之为巧合。”

“Possible Love is concerned with similar questions: How can I portray another person’s story, another person’s pain? What position am I in? How much distance should I keep from them? You could say that these questions around the ethics of the camera are connected to the worry Bong Joon Ho had back then.”

“《可能的爱》关注着类似的问题：我该如何描绘他人的故事、他人的痛苦？我处于什么位置？我应该与他们保持多远的距离？可以说，这些围绕镜头伦理的问题，与奉俊昊当年所担忧的事情是相通的。”

“I think those are basically properties of the camera. The moment you hold a camera you have power, and the camera operates according to that power. It’s not so much that I portrayed it so precisely, but these properties of the camera are something worth thinking through together.”

“我认为这些基本上是摄像机的特性。当你拿起摄像机的那一刻，你就拥有了权力，而摄像机正是根据这种权力运作的。与其说是我描绘得多么精准，不如说这些摄像机的特性是值得我们共同思考的问题。”