“纳扎”是当代以色列军事黑话，源自希伯来语“内泽克·阿加维”，意为附带损害。这部来自以色列调查记者尤瓦尔·亚伯拉罕和蕾切尔·佐尔的冷静纪录片，拆解了这四个看似不起眼的字母，并梳理了它们所设计包裹的一切。
The word “naza” is a piece of contemporary Israeli military jargon derived from the Hebrew term nezek agavi: collateral damage. This cool-eyed documentary from that country’s investigative journalists Yuval Abraham and Rachel Szor pries apart those four seemingly inconspicuous letters and picks through everything they were designed to enclose.
该片主要在夜晚的特拉维夫屋顶拍摄，包含24名匿名以色列情报官员和士兵的采访，他们讨论本国军队在加沙地带持续战争中采用的方法和策略，这场战争始于哈马斯于2023年10月7日对以色列实施的大屠杀。从他们冷静、有条理的证词中浮现出一幅图景：一种新的技术主导的战争形式，至少对执行者而言，它处于一种恍惚的超然状态，与任何关于战争实际是什么的普通观念相隔绝。
Filmed largely on the rooftops of Tel Aviv by night, it comprises interviews with 24 anonymous Israeli intelligence officers and soldiers, who discuss the methods and strategies employed by their national military in the ongoing war in the Gaza Strip, following the massacres perpetrated by Hamas on Israel on October 7 2023. What emerges from their calm, cogent testimony is a picture of a new form of technologically led warfare that – for those who prosecute it, at least – operates in a trance-like detachment from any ordinary notions of what war actually is.
官员们描述了一种名为“薰衣草”的人工智能监控系统，它通过处理加沙地带海量电话使用数据，汇总出不断膨胀的人类目标名单：如果某人的行动和通讯方式像哈马斯，那么推测他们很可能就是。一位贡献者认为该系统的准确率为85%——尽管另一位人士争辩道，让AI来计算应该杀死谁，难道不比让上周刚被恐怖分子谋杀了好友的人来决定更聪明吗？
The officers describe an artificial intelligence surveillance system called Lavender, which collates spiralling lists of human targets by crunching vast amounts of telephone usage data from across Gaza: if someone moves around and communicates like Hamas, it surmises, then they probably are. This system is judged by one contributor to have an 85 per cent accuracy rate – though as another argues, isn’t it smarter to ask AI to work out who they should kill rather than leave it up to someone whose best friend was murdered by terrorists the previous week?
然而，很难想象失去亲人的人会更加无情。在内部，每一名合法伤亡者对应一定数量的平民死亡被视为可接受——大约20人——但当你的打击名单包括6万到7万个单独的电话号码时，这种策略就开始显得不那么精确了。
Still, it is hard to imagine that the bereaved human could have been any more merciless. For every legitimate casualty, a certain number of civilian deaths are deemed acceptable internally – around 20 – though when your hit list includes between 60,000 and 70,000 individual phone numbers, the strategy starts to look less than forensic.
另一种名为“Where's Daddy?”的AI协议会提醒无人机操作员注意来自朋友和家人（包括儿童）的即时消息，这些消息有助于三角定位疑似哈马斯武装分子的位置。这些武装分子通常会在家中而非战场被消灭，而且往往伴随着触发警报的那条短信的发送者一起被击毙，因为此类打击通常更成功。
Another AI protocol called “Where’s Daddy?” alerts drone operators to instant messages from friends and family members, including children, that can help triangulate the position of suspected Hamas operatives who will typically be wiped out at home rather than in the field, often along with the relative whose text triggered the alert in the first place, because such strikes are typically more successful.
军官们用抽象的方式谈论这场冲突：就像电影里的情节，或者电子游戏，或者需要队友协作完成的一系列任务。有人形容这种体验就像“荷尔蒙疯狂地飙升……这是件有趣的事”。另一人回忆起自己上学时去波兰旅行，事后一直纳粹德国人如何能够接受自己在二战期间所做的事情。“但现在我明白，”他说。
Officers talk about the conflict in abstracted terms: it is like something from a movie, or a video game, or a set of missions to be completed with teammates. One describes the experience as being like “when your hormones are going crazy… it’s something fun”. Another recalls visiting Poland as a schoolboy and wondering afterwards how the Germans could have lived with themselves for what they were doing during the Second World War. “But now I understand,” he says.
相比之下，纳扎（Naza）将自身使命保持得十分聚焦，这反而有利于其发展。影片并未明确提出任何政治论点——我们只是被要求倾听和理解——而有争议的“种族灭绝”一词只被使用了一次，当时亚伯拉罕问一位贡献者他是否认为自己参与了一场种族灭绝。（他说他确实参与了。）至于以色列政府，目前正在推广一部竞争性纪录片，时长49分钟，模仿纳扎匿名屋顶访谈的形式，但由以色列国防军士兵出镜，为战争辩护并描述他们在前线的经历，配有照片和视频资料。
Naza, by contrast, keeps its own mission tight, and this is to its benefit. No political argument is explicitly advanced – we are simply asked to listen and process – and the contested term “genocide” is used only once, when Abraham asks a contributor whether he believes he has participated in one. (He says that he has.) For its part, the Israeli government is now promoting a rival documentary, 49 minutes in length, which mimics Naza’s anonymous rooftop-interview format but has Israel Defense Forces soldiers making the case for the war and describing their experiences on the ground, with photographs and video footage.
《Naza》这部影片中几乎看不到此类画面。直到最后三分钟，我们才看到一些在加沙地带拍摄的镜头：车辆在一片宛如世界末日般的废墟中穿行，几只棕色的小脚以怪异的角度从瓦砾堆中露出来，一架无人机在万里无云的天空中高高飞翔。其余部分全是在特拉维夫拍摄的：玻璃幕墙的公寓楼直插云霄，哈马斯发射的导弹从头顶呼啸而过。
Naza itself contains almost none of that. It is only in its final three minutes that we see any footage shot inside Gaza itself: a drive through apocalyptic ruins, small brown feet protruding from a pile of rubble at obscene angles, a drone flying far overhead in a cloudless sky. The rest is all Tel Aviv, where glassy apartment blocks stretch to the sky and Hamas missiles flash overhead.
几乎每一扇窗户后都摆放着一台巨大的电视机，正在播放战争的最新动态。然而那些参战者——以及后来在屋顶接受采访谈论战争的人——却隐身不见，只是天际线上模糊的剪影而已。
Inside seemingly every other window is an enormous television, broadcasting the latest updates on the war. But those waging it – and then talking about it in these rooftop interviews – are invisible, nothing but millimetric shadows on the broader skyline.
“从这儿能看到整座城市，”有人带着一丝慰藉说道，“但城市却看不见你。”影片将于10月16日起在影院上映。
“You can see the city from up here,” one observes, with a note of solace, “but the city can’t see you.”In cinemas from October 16