对于这部令人震撼且极具指控力的新纪录片的大部分内容，我们都置身于特拉维夫的一系列屋顶之上，观看以色列记者尤瓦尔·亚伯拉罕对以色列士兵和情报人员进行一对一的采访。
For most of the shattering and damning new documentary , we are on a series of rooftops in Tel Aviv, watching the Israeli journalist Yuval Abraham conduct one-on-one interviews with Israeli soldiers and intelligence personnel.
屋顶拍摄是在夜间进行的，主要由亚伯拉罕的联合导演拉切尔·佐尔拍摄，他们的采访对象——总共24人——全都隐匿在黑暗中。我们被告知，他们的面容和声音都经过数字处理以保护匿名。他们详细讲述了自己在发动空袭中所扮演的角色，这些空袭自2023年10月7日哈马斯领导的对以色列袭击（造成约1200人死亡、250人被劫持为人质）以来，已导致加沙地带数万名巴勒斯坦平民丧生。
The rooftop footage was filmed at night, mostly by Abraham's co-director, Rachel Szor, and their interview subjects — 24 of them in total — are all cloaked in darkness. We're told that their appearances and voices have been digitally altered to protect their anonymity. In precise detail, they speak about their role in launching the airstrikes that have killed tens of thousands of Palestinian civilians in Gaza since the Hamas-led attacks in Israel on Oct. 7, 2023, when around 1,200 people were killed and 250 hostages were taken.
毫不意外，该片已引发巨大愤怒——值得注意的是，其中很大一部分愤怒来自未看过、或许永远不会看这部电影的人。亚伯拉罕和佐尔均为以色列电影人，在以色列被指责为叛徒，总理本雅明·内塔尼亚胡本人甚至威胁要撤销他们的公民身份。消息来源的匿名化处理成为争议焦点之一；以色列支持者称这削弱了士兵证词的可信度，而巴勒斯坦支持者则批评电影为自认的战争罪犯提供庇护。
Unsurprisingly, has already stirred considerable outrage— much of it, it should be noted, from people who haven't seen and maybe never will see it. Abraham and Szor, both Israeli filmmakers, have been denounced as traitors in Israel, and Prime Minister Benjamin Netanyahu himself has threatened to revoke their citizenship. The anonymization of sources has been one of the more contested issues; Israel supporters have said it discredits the soldiers' testimony, while Palestine supporters have criticized the film for shielding self-confessed war criminals.
中东 国际赞誉中，加沙纪录片《NAZA》在以色列国内遭遇抨击 如果没有匿名承诺，这部电影根本不存在。但它所呈现的报道确实存在。其中大部分早已发表在包括《+972杂志》（一家以色列-巴勒斯坦出版物）、《Local Call》（希伯来语媒体）等媒体上，以及共同制作了该片。亚伯拉罕撰写了许多那些调查报道；他也感谢了众多将这些揭露带到光天化日之下的巴勒斯坦记者。
Middle East Amid international acclaim, Gaza documentary 'NAZA' faces backlash at home in Israel Without the promise of anonymity, of course, as a film wouldn't exist. But the reporting that it presents exist. Much of it has already been published in outlets including +972 Magazine an Israeli-Palestinian publication; Local Call, a Hebrew-language outlet; and which co-produced the film. Abraham wrote many of those investigative pieces himself; he's also credited the many Palestinian journalists who brought these revelations to light.
这些证词扣人心弦。部分受访者讲述了他们在10月7日后是如何被激励去协助以色列军队消灭哈马斯的；有人对自己的参与表达愧疚与悔恨；也有人视自己为必要战争机器上的一个齿轮。但总体而言，制片人们对“为什么”不如对“怎么做”感兴趣。他们希望我们理解这些远程监控与大规模杀戮系统是如何运作的，并领会平民死亡规模之骇人听闻。
The testimony is riveting. Some of the interview subjects speak about how they were motivated to help the Israeli military annihilate Hamas after Oct. 7 Some express guilt and regret for their involvement. Others see themselves as cogs in a necessary war machine. But for the most part, the filmmakers are less interested in the questions of why than in the mechanics of how. They want us to understand how these systems of remote surveillance and mass killing work, and to grasp the horrific scale of the civilian deaths.
影评 巴勒斯坦与以色列电影人联手打造《无别之地》“NAZA”是希伯来语“附带损害”的首字母缩写。它指以色列军方认定可接受的平民伤亡预估数。“二十 NAZA”意味着在消灭单一目标的行动中，最多批准造成20名平民死亡。针对一名高价值目标，曾批准500 NAZA的指标——相当于一个以色列小镇的人口，亚伯拉罕指出。
Movie Reviews Palestinian and Israeli filmmakers team up to create 'No Other Land' NAZA is an acronym for Hebrew for "collateral damage." It refers to the estimated number of civilian casualties considered acceptable by the Israeli military. "Twenty NAZA" would mean that up to 20 civilian deaths were approved in the elimination of a single target. For one high-value target, a figure of 500 NAZA was approved — the population of a small Israeli town, Abraham notes.
追踪与杀戮的后勤逻辑被冷静而有条理地呈现出来。因军方能入侵加沙任何巴勒斯坦人的手机，其监控能力近乎全覆盖。我们得知军方惯于在夜间轰炸疑似哈马斯成员的住所，此时其妻儿正在家中。我们还听到，军方大量使用人工智能系统搜集情报——其中多有谬误——以锁定潜在目标。电影专访 这些美国医生治疗了加沙的伤者 随后回国作证影片中最令人毛骨悚然的段落之一，描述了一种被称为“爸爸在哪儿？”
The logistics of trackings and killings are calmly and methodically laid out. Because the military can hack into any Palestinian's phone in Gaza, their power of surveillance is near-total. We learn about the military's practice of bombing the homes of suspected Hamas operatives at night, while their wives and children were with them. We also hear about the widespread use of AI systems to gather intelligence much of it faulty, about potential targets. Movie Interviews These American doctors treated Gaza's wounded. Then they came home to bear witness One of the most chilling passages describes a tracking technology referred to as "Where's Daddy?," which uses children's words to confirm whether their targeted fathers are at home.
的追踪技术，该技术利用儿童的话语来确认他们被锁定为目标的父亲是否在家。一名士兵谈到曾对一名12岁女孩使用这种手段，他说：“你黑进她的手机，然后杀了她。” 亚伯拉罕曾问一位受访者，以色列是否在实施种族灭绝。对方毫不犹豫地回答：“是的，完全是。” 影片指出，自10月7日以来，已有超过73,000名巴勒斯坦人在加沙丧生——死亡人数仍在持续上升。
One soldier talks about having used this method on a 12-year-old girl, saying, "You hack her phone and then you kill her." At one point, Abraham asks a subject if Israel is committing a genocide. Without hesitating, he responds, "Yes. Completely." As the film notes, more than 73,000 Palestinians have been killed in Gaza since Oct. 7 — and the death toll continues to rise.
我已看过两遍，每次都处于一种安静的恐惧与愤怒之中——并对亚伯拉罕和索尔敢于追究本国政府责任的勇气怀有极大的钦佩。我的钦佩也延伸至他们电影制作的精准无误。 片长仅77分钟。影片并未在所描述的暴行上过多停留，主要是因为需要回应的暴行实在太多。片中包含一些档案资料，包括以色列情报机构早期的影像资料以及20世纪20年代特拉维夫建设的画面。
I've watched twice now, both times in a state of quiet horror and fury — and with enormous admiration for Abraham and Szor's courage in holding their government to account. My admiration extends to the unerring precision of their filmmaking. runs just 77 minutes. It doesn't linger on the atrocities it describes, mainly because there are so many of them to address. There's some archival material, including footage from the early days of Israeli intelligence and the building of Tel Aviv in the 1920s.
“我出生那天损失便开始了”：一位诗人讲述将加沙称为家乡的滋味 但我们看到的大多画面是现代特拉维夫的夜景。索尔的镜头捕捉到了城市璀璨的灯光，并经常透过公寓窗户，向我们展示以色列公民锻炼、进餐、观看新闻的场景。这些日常影像蕴含着巨大的力量——我认为，还有一种隐秘的控诉。仿佛电影制作人举起了一面镜子映照加沙，引导我们的思绪转向那些数千名遇难的巴勒斯坦人，他们曾经也只是在度过一个个夜晚。
'My losses started the day I was born': A poet on what it's like to call Gaza home But most of the imagery we see is of modern-day Tel Aviv at night. Szor's camera captures the glittering lights of the city and often peers into apartment windows, showing us Israeli citizens working out, eating meals and watching the news. There's tremendous power — and, I think, a stealthy indictment — in these everyday images. It's as if the filmmakers are holding up a mirror image to Gaza, turning our thoughts toward the thousands of slain Palestinians who were, once upon a time, also just going about their evenings.
这部影片最激进的地方，不在于它揭露了死亡机器的运作；而在于它坚持巴勒斯坦生命的价值。中东冲突 画
The most radical thing about isn't that it exposes the machinery of death; it's the film's insistence on the value of Palestinian life. Middle East conflict What painter Sliman Mansour told NPR about Palestinian rights and art before he died