Debuting at the Sydney Film Festival, Grace McKenzie's Yumburra is a lyrical ode to doing things differently
在悉尼电影节首映的《Yumburra》是格蕾丝·麦肯齐执导的一部抒情诗篇，礼赞了“另辟蹊径”的生活方式。
Dark Emu author Bruce Pascoe is the living embodiment of practising what you preach. He used the proceeds of his award-winning 2014 book to purchase an idyllic stretch of farmland on the Wallagaraugh River, where he tested his theories.
《暗色农人》（Dark Emu）作者布鲁斯·帕斯科是“言行一致”的生动化身。他利用这本获奖书籍的版税，在瓦拉加拉夫河畔买下了一片田园诗般的农田，以此验证他的理论。
The best-selling book refutes the colonial myth, used to justify the slaughter of terra nullius, that Aboriginal and Torres Strait Islander people were hunter-gatherers. Instead, it argues they were sophisticated farmers.
这本畅销书驳斥了殖民神话——该神话曾用来为屠杀“无主之地”（terra nullius）的行为辩护，声称澳大利亚原住民和托雷斯海峡岛民仅是狩猎采集者。相反，书中论证他们是高度复杂的农耕者。
A metaphorical storm followed Dark Emu's publication, with loud voices in the media, parliament and academia howling down Pascoe's thesis. The furore placed enormous pressure on his family, straining his relationship with his wife, Lyn Harwood, whilst also attacking his ancestry.
《暗色农人》出版后引发了隐喻性的风暴，媒体、议会和学术界的高调声音齐声咆哮，试图将帕斯科的论点彻底驳倒。这场轩然大波给他的家庭带来了巨大压力，不仅导致他与妻子林·哈伍德的關係紧张，还引发了对他血统的攻击。
"White people are far more interested in Aboriginal genealogy than Aboriginal people are," Pascoe sighs. "We don't ask Irishmen to do a blood test before they have a beer on St Patrick's Day, but they insist on measuring our underpants. And it's really frustrating."
“白人比澳大利亚原住民更关心原住民的家谱，”帕斯科叹息道。“我们不会在圣帕特里克节让爱尔兰人喝啤酒前验血，但他们却非要量我们的内裤。这真的很令人沮丧。”
We're joined by filmmaker Grace McKenzie as we talk about Sydney Film Festival (SFF) highlight, Yumburra, her lyrical, verité-style documentary that traces Pascoe's establishment of the farm of the same name.
我们邀请了电影制作人格蕾丝·麦肯齐，探讨悉尼电影节（SFF）的重头戏《Yumburra》。这部抒情式的纪实风格纪录片记录了帕斯科建立同名农场的历程。
Yumburra, the Yuin word for black duck, also details the creation of First Nations-run business Black Duck Foods, an organic producer using the ancient techniques outlined in Dark Emu.
Yumburra在尤因语中意为“黑鸭”，影片还详述了由第一民族（原住民）经营的“黑鸭食品”公司的创立，这是一家采用《暗色农人》中概述的古老技术的有机生产商。
"Back in 2018, I came across the book, and there was a little blurb that said he was trialling growing old grains at the farm," McKenzie recalls. "So I emailed him and asked, 'Could I maybe come and see about making a film?'"
“早在2018年，我偶然读到这本书，简介里提到他正在农场试验种植老品种谷物，”麦肯齐回忆道。“于是我给他发邮件问：‘我能不能来看看，顺便谈谈拍电影的事？’”
Given all the hullabaloo, Pascoe's initial response to McKenzie's email popping into his inbox wasn't all that surprising: "Delete," he reveals, wryly. "I was snowed under and was feeling oppressed."
鉴于之前的种种喧嚣，帕斯科对麦肯齐邮件的初始反应并不令人意外：“删除，”他苦笑着说。“我当时忙得不可开交，且感到备受压迫。”
Pascoe jokes that it took seven years for him to change his mind, noting that many curveballs were flung in the ensuing years. Not least the Black Summer bushfires of 2019-20 and the small matter of a global pandemic.
帕斯科开玩笑说，他花了七年才改变主意，并指出随后的几年里意外频发。其中最显著的莫过于2019-20年的“黑色夏季”丛林大火，以及那场“小事”——全球大流行病。
"Circumstances took over," he says. "That and the far-right newspapers having a field day."
“形势所迫，”他说。“还有右翼报纸趁机大肆炒作。”
A tenacious McKenzie's pitch was strong. She fielded her previous bucolically-inclined documentaries, Audrey of the Alps (2012) and the Georgian village-shot In the Land of Wolves (2018) as her calling card.
麦肯齐的提案很有说服力。她拿出了自己以往偏向田园风格的纪录片——《阿尔卑斯山的奥黛丽》（2012）和《狼之地》（2018，格鲁吉亚乡村取景）——作为她的名片。
"Grace sent me a couple of her atmospheric films about farms, with a lot of clinking milk buckets and old hands operating machinery," Pascoe says. "So I thought, yeah, I can fit in there."
“格蕾丝发给我几部她关于农场的氛围感影片，里面有很多叮当作响的牛奶桶和老手在操作机械，”帕斯科说。“我想，好吧，我能融入其中。”
McKenzie clocked around 30 visits to the farm over seven years, inspired by Pascoe's dedication to the cause and his unique insights.
受帕斯科对事业的执着和独特见解的启发，麦肯齐在七年间往返农场约30次。
"He said to me, pretty early on, 'I'm not a farmer, I'm a writer.' So I was just trying to unravel his story and was mesmerised by the landscape."
“他很早就对我说：‘我不是农民，我是作家。’所以我只是试图理清他的故事，并被那里的风景迷住了。”
"Bruce is six and a half hours' drive away from me, and a lot of stuff happened while I wasn't there," McKenzie adds. "It's hard to capture life as it happens, and so there's a lot of waiting around, hoping that something will."
“布鲁斯离我有六个半小时的车程，我不在的时候发生了很多事情，”麦肯齐补充道。“很难捕捉正在发生的真实生活，所以很多时候只能干等，希望会发生点什么。”
In the meantime, Pascoe had a farm to run. "We had to replace all the fences and were building accommodation units," he recalls. "There was always stuff happening, including really important cultural stuff that we were negotiating, so we didn't always have the time for Grace."
与此同时，帕斯科还得经营农场。“我们必须更换所有围栏，并建造住宿单元，”他回忆道。“总是有事发生，包括我们正在谈判的一些非常重要的文化事务，所以我们并不总是有时间接待格蕾丝。”
That, and Pascoe's ongoing wariness. "Aboriginal people don't like having cameras pointed at them," he says.
此外还有帕斯科持续的警惕。“澳大利亚原住民不喜欢被镜头对着，”他说。
another expensive documentary to tell us what we already know. the 'alliance' just wants more grants for their little farm while the rest of us pay the tab.
又是一部昂贵的纪录片，就为了告诉我们一些我们早就知道的事。‘联盟’那帮人就想多拿点拨款搞他们的小农场，剩下的账单全由我们买单。