The sequence, like many in Mr Loznitsa's films, seems at once hyperreal and mythic.

就像洛兹尼察电影中的许多场景一样，这个场景既超现实又神秘。

Now 52, Mr Loznitsa was born in Soviet Belarus and brought up in Ukraine.

现年52岁的洛兹尼察出生于前苏联的白俄罗斯，在乌克兰长大。

" I wanted to show the mechanism for working people into a state of ecstasy, " Mr Loznitsa says.

“我想展示劳动人民进入狂喜状态的机制，”洛兹尼察先生说道。

Instead, Mr Loznitsa allows the absurdity and tragedy of life to speak for themselves.

相反，洛兹尼察先生允许生活的荒谬和悲剧为自己辩护。

The camera, for Mr Loznitsa, is more than a piece of kit-it is a way of seeing.

对于洛兹尼察先生来说，相机不仅仅是一个小物件，而是一种观察的方式。

It runs squarely through the propaganda-warped badlands of eastern Ukraine-and through Mr Loznitsa's powerful oeuvre.

它直接贯穿于乌克兰东部扭曲的不毛之地的宣传之中，也贯穿于罗兹尼察的全部作品之中。

Yet even (or especially) now, scrupulous filmmakers can expose lies instead of spreading them, as Mr Loznitsa shows.

然而，即使(或者尤其)是现在，谨慎的电影人也可以揭露谎言，而不是散布谎言，正如洛兹尼察所展示的那样。

Like a mirror, Mr Loznitsa's film reflects and inverts that process, using fiction to expose the wounds inflicted by the annihilation of truth.

就像一面镜子，洛兹尼察先生的电影反映和逆转了这一过程，用虚构来揭露真相被毁灭所造成的创伤。

In the opening scene of " Donbass" , the latest feature film by Sergei Loznitsa, a hotch-potch group of extras gather in a makeup trailer.

在谢尔盖·洛兹尼察的最新故事片《顿巴斯》的开场场景中，一群大杂烩般的临时演员聚集在一辆化妆拖车里。

He could never film such an event directly, Mr Loznitsa avers: not only would that " make you an accomplice" , the presence of a camera would " draw in the audience to participate" .

洛兹尼察先生断言，他永远无法直接拍摄这样的事件：这不仅会“让你成为同谋”，摄像机的出现还会“吸引观众参与”。