‫ﺍﻟﻮﺟﻪ ﺍﻵﺧﺮ ﻟﻠﺴﻴﻨﻤﺎ ﺍﻟﻮﺛﺎﺋﻘﻴﺔ‬

‫ﻋﻨﺪﻣﺎ ﺗﻜﺘﻤﻞ ﺍﳊﻘﻴﻘﺔ ﺗﺼﺒﺢ ﲣﻴﻴﻼ‬

‫ﺣﺴﻦ ﺣﺒﻴﱯ‬

‫ﻣﺪﺧﻞ‬

‫ﺃﺻﺒﺢ ﻣﻦ ﻧﺎﻓﻠﺔ ﺍﻟﻘﻮﻝ ﺃﻥ ﺍﻟﻔﻴﻠﻢ ﺍﻟﻮﺛﺎﺋﻘﻲ ﻗﺪﱘ ﻗﺪﻡ ﺍﻟﺴﻴﻨﻤﺎ‪ ،‬ﻭﺃﻥ ﺃﻱ ﺗﻌﺮﻳﻒ ﻟﻪ ﻳﻈﻞ ﺑﺎﻟﻀﺮﻭﺭﺓ ﻗﺎﺻﺮ ﰲ ﻋﻼﻗﺘﻪ ﺑﺘﻨﻮﻉ ﻫﺬﺍ‬
‫ﺍﳉﻨﺲ ﺍﻹﺑﺪﺍﻋﻲ ﻋﱪ ﺍﻟﺰﻣﺎﻥ ﻭﺍﳌﻜﺎﻥ‪ ،‬ﻭﻣﻊ ﺫﻟﻚ ﳝﻜﻦ ﺍﻟﻘﻮﻝ ﺃﻧﻪ ﺟﻨﺲ ﺳﻴﻨﻤﺎﺋﻲ ﻳﺴﻌﻰ ﺇﱃ ﻭﺻﻒ ﺃﻭ ﺇﻋﺎﺩﺓ ﺑﻨﺎﺀ ﺍﻟﻮﺍﻗﻊ ﻣﻦ ﺧﻼﻝ‬
‫ﻣﻌﺎﳉﺔ ﺇﺑﺪﺍﻋﻴﺔ ﺗﻮﺍﺟﻪ ﺍﻟﻌﺎﱂ ﺑﺸﻜﻞ ﻣﺒﺎﺷﺮ‪ .‬ﺇﻥ ﺍﻟﺮﻭﺍﺋﻲ ﻭﺍﻟﻮﺛﺎﺋﻘﻲ ﳘﺎ ﳏﻮﺭﺍﻥ ﻟﻨﻔﺲ ﺍﻟﻔﻦ ﺍﻟﺬﻱ ﳛﻴﺎ ﻣﻦ ﺧﻼﻝ ﻭﺍﻗﻊ ﻣﻠﻤﻮﺱ‪،‬‬
‫ﻭﺗﺒﺪﻭ ﺍﻟﻴﻮﻡ ﺍﳊﺪﻭﺩ ﺑﻴﻨﻬﻤﺎ ﻏﲑ ﻭﺍﺿﺤﺔ ﲤﺎﻣﺎ‪ .‬ﻋﻠﻰ ﺍﻟﻌﻜﺲ ﻣﻦ ﺫﻟﻚ‪ ،‬ﺗﺒﺪﻭ ﻫﺬﻩ ﺍﳊﺪﻭﺩ ﻣﺘﺠﻠﻴﺔ ﺑﲔ ﺍﻷﻓﻼﻡ ﺍﻟﻮﺛﺎﺋﻘﻴﺔ ﻭﺍﻟﺘﻘﺮﻳﺮ‬
‫ﺍﻟﺼﺤﻔﻲ ﻭﺍﻟﺮﻭﺑﻮﺭﻃﺎﺝ ﻭﻛﻞ ﺃﺷﻜﺎﻝ ﺗﻠﻔﺰﻳﻮﻥ ﺍﻟﻮﺍﻗﻊ ﺍﻟﱵ ﺗﺒﺘﻌﺪ ﻓﻴﻬﺎ ﻋﻤﻠﻴﺔ ﺍﻟﺘﻘﺎﻁ ﺍﻟﺼﻮﺭﺓ "ﺍﳌﺒﺎﺷﺮﺓ" ﺃﻛﺜﺮ ﻓﺄﻛﺜﺮ ﻋﻦ ﻓﻦ‬
‫ﺍﻹﺧﺮﺍﺝ‪ ،‬ﻭﺣﺪﻩ ﺍﻟﻘﺎﺩﺭ ﻋﻠﻰ ﺍﺳﺘﻌﺎﺩﺓ ﺛﺮﺍﺀ ﻭﺗﻌﻘﻴﺪ ﺍﻟﻮﺍﻗﻊ‪.‬‬
‫ﰲ ﻫﺬﻩ ﺍﻟﻮﺭﻗﺔ ﺳﻮﻑ ﻧﻌﺮﺽ ﻟﺒﻌﺾ ﺍﻟﺘﺠﺎﺭﺏ ﺍﻟﺴﻴﻨﻤﺎﺋﻴﺔ ﺍﻟﱵ ﺍﺷﺘﻐﻞ ﻓﻴﻬﺎ ﺃﺻﺤﺎ‪‬ﺎ ﻋﻠﻰ ﺍﻟﻌﻼﻗﺔ ﺍﳌﺮﻛﺒﺔ ﺑﲔ ﺍﳋﻴﺎﻝ ﻭﺍﻟﻮﺍﻗﻊ‪ ،‬ﻭﺍﻟﱵ‬
‫ﺗﺒﺪﻭ ﰲ ﻧﻈﺮﻧﺎ ﻣﻬﻤﺔ ﻟﻠﻐﺎﻳﺔ ﻟﻔﻬﻢ ﺍﻟﻜﻴﻤﻴﺎﺀ ﺍﻟﺬﻱ ﻳﻨﺘﻔﻲ ﻣﻌﻪ ﻛﻞ ﻓﺼﻞ ﺑﲔ ﺍﳌﻜﻮﻧﲔ ﺳﺎﻟﻔﻲ ﺍﻟﺬﻛﺮ‪ .‬ﻭﻟﻦ ﻧﺴﺘﻌﻤﻞ ﺍﺻﻄﻼﺡ‬
‫ﺍﻟﻮﺛﺎﺋﻘﻲ ﻭﺍﻟﺘﺨﻴﻴﻠﻲ ﰲ ﻫﺬﺍ ﺍ‪‬ﺎﻝ ﺇﻻ ﺇﺟﺮﺍﺋﻴﺎ‪.‬‬

‫ﺍﻟﻔﻴﻠﻢ ﺍﻟﻮﺛﺎﺋﻘﻲ ﻭﺍﻗﻊ ﻳﻮﻟﺪ ﻣﻦ ﺧﻴﺎﻝ‬

‫ﻋﺎﺩﺓ ﻣﺎ ﻳﺘﻢ ﺗﺼﻨﻴﻒ ﺍﻷﻓﻼﻡ ﺍﻟﻮﺛﺎﺋﻘﻴﺔ‪ ،‬ﺃﻭ ﺍﻷﻓﻼﻡ ﺍﻟﱵ ﺗﺘﺨﺬ ﻣﻦ ﺍﻟﻮﺍﻗﻊ ﺳﻨﺪﻫﺎ ﺍﻷﻭﻝ‪ ،‬ﺧﺎﺭﺝ ﻣﺪﺍﺭ ﺍﻷﻓﻼﻡ ﺍﻟﺘﺨﻴﻴﻠﻴﺔ ﺃﻭ ﺍﻟﺮﻭﺍﺋﻴﺔ‪،‬‬
‫ﻭﺑﺎﻟﺘﺎﱄ ﻓﺎﳊﺪﻳﺚ ﻫﻨﺎ ﻳﺘﻢ ﺣﻮﻝ ﻧﻮﻋﲔ ﻣﻦ ﺍﻟﺴﻴﻨﻤﺎ‪ ،‬ﻭﺛﺎﺋﻘﻲ ﻣﻘﺎﺑﻞ ﲣﻴﻴﻠﻲ‪ ،‬ﻟﻜﻞ ﻣﻨﻬﻤﺎ ﻭﻇﻴﻔﺔ ﻣﻌﻴﻨﺔ ﻭﳐﺘﻠﻔﺔ‪ :‬ﺍﻷﻭﻝ ﳝﺘﺢ ﻣﻦ‬
‫ﺍﻟﻮﺍﻗﻊ ﻳﺴﺘﻘﺮﺃﻩ ﻭﻳﻌﻴﺪ ﺇﻧﺘﺎﺟﻪ‪ ،‬ﺑﻴﻨﻤﺎ ﻳﻨﺤﻮ ﺍﻟﺜﺎﱐ ﺇﱃ ﺍﳋﻴﺎﻝ ﺃﻭ ﺍﻟﺘﺨﻴﻴﻞ‪ .‬ﻭﺍﺣﺪ ﻳﻬﺪﻑ ﺇﱃ ﺗﻌﻤﻴﻖ ﻓﻬﻤﻨﺎ ﻟﻠﻮﺍﻗﻊ‪ ،‬ﻭﺍﻵﺧﺮ ﻳﺴﺎﻋﺪﻧﺎ‬
‫ﻋﻠﻰ ﺍﻻﻧﻔﻼﺕ ﻣﻦ ﻫﺬﺍ ﺍﻟﻮﺍﻗﻊ‪.‬‬
‫ﻗﺒﻞ ﺑﻀﻊ ﺳﻨﻮﺍﺕ ﻓﻘﻂ‪ ،‬ﻛﺎﻥ ﺍﻟﻔﻴﻠﻢ ﺍﻟﻮﺛﺎﺋﻘﻲ ﻳﺘﻢ ﺗﻌﺮﻳﻔﻪ ﺑﻜﻮﻧﻪ ﺗﺼﻮﻳﺮ ﻟﻔﺎﻋﻠﲔ ﻳﺆﺩﻭﻥ ﺃﺩﻭﺍﺭﻫﻢ ﰲ ﺳﻴﺎﻗﺎﺕ ﻣﺒﺎﺷﺮﺓ ﻭﻭﺍﻗﻌﻴﺔ‪،‬‬
‫ﻭﺫﻟﻚ ﺍﺳﺘﻨﺎﺩﺍ ﻋﻠﻰ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺜﻼﺙ ﺍﻟﱵ ﻳﺮﺗﻜﺰ ﻋﻠﻴﻬﺎ ﺍﻟﻔﻴﻠﻢ ﺍﻟﻮﺛﺎﺋﻘﻲ‪ :‬ﻗﺼﺔ ﻭﻭﻗﺎﺋﻊ ﺣﻘﻴﻘﻴﺔ ﺩﻭﻥ ﺗﺄﻟﻴﻒ‪ ،‬ﺃﺷﺨﺎﺹ ﺣﻘﻴﻘﻴﻮﻥ‬
‫ﻭﻣﻜﺎﻥ ﺣﻘﻴﻘﻲ‪ .‬ﺇﻻ ﺃﻥ ﻫﺬﺍ ﺍﻟﺘﻌﺮﻳﻒ ﻳﻈﻞ ﻗﺎﺻﺮﺍ ﺇﺫﺍ ﻣﺎ ﻋﻠﻤﻨﺎ ﺃﻥ ﺍﻟﻔﻴﻠﻢ ﺍﻟﻮﺛﺎﺋﻘﻲ ﳚﺪ ﻧﻔﺴﻪ ﺍﻟﻴﻮﻡ ﻣﻄﺎﻟﺒﺎ ﺑﻀﺒﻂ ﺁﻟﻴﺎﺕ‬
‫ﺍﺷﺘﻐﺎﻟﻪ ﻭﻃﻤﻮﺣﺎﺗﻪ ﺍﻟﻔﻨﻴﺔ ﻭﺍﻹﺑﺪﺍﻋﻴﺔ ﺍﻟﱵ ﻻ ﺗﻘﻞ ﺃﳘﻴﺔ ﻋﻦ ﻃﻤﻮﺣﺎﺕ ﺍﻟﻔﻴﻠﻢ ﺍﻟﺮﻭﺍﺋﻲ ﺃﻭ ﺍﻟﺘﺨﻴﻴﻠﻲ‪ ،‬ﺑﺎﻋﺘﺒﺎﺭﻩ ﺑﻨﺎﺀ ﻣﺘﻤﺎﺳﻚ ﻳﻌﺘﻤﺪ‬
‫ﺍﳌﻮﺿﻮﻋﻴﺔ‪ ،‬ﻭﻳﺮﺑﻂ ﻣﺎ ﺑﲔ ﺍﳊﺎﺿﺮ ﻭﲡﻠﻴﺎﺗﻪ ﻭﺃﺑﻌﺎﺩ ﺍﳌﺎﺿﻲ ﻭﺍﺳﺘﺸﺮﺍﻑ ﺍﳌﺴﺘﻘﺒﻞ‪ ،‬ﻣﻊ ﺇﻋﻄﺎﺀ ﻛﻞ ﻫﺬﻩ ﳊﻈﺎﺕ ﺍﻹﺷﺮﺍﻕ ﺍﻟﺴﻴﻨﻤﺎﺋﻴﺔ‬
‫ﻭﺍﻟﺒﻌﺪ ﺍﻟﺪﺭﺍﻣﻲ ﺍﻟﻼﺋﻖ ﺑﺎﻋﺘﻤﺎﺩ ﺍﳌﻨﺤﻰ ﺍﻟﺸﻌﺮﻱ ﻭﻟﻴﺲ ﺍﻟﺘﻘﺮﻳﺮﻱ‪.‬‬
‫ﻭﺍﻟﻮﺍﻗﻊ ﺃﻥ ﺍﻟﺼﻮﺭﺓ ﺍﻟﻔﻴﻠﻤﻴﺔ‪ ،‬ﻋﻼﻭﺓ ﻋﻠﻰ ﻛﻮ‪‬ﺎ ﻭﺛﻴﻘﺔ‪ ،‬ﻓﻬﻲ ﺗﺘﻮﺳﻂ ﻟﻠﻮﺍﻗﻊ ﻭﺗﺄﻭﻝ ﻟﻪ‪ ،‬ﻭﺑﺎﻟﺘﺎﱄ ﻓﻬﻲ ﻻ ﺗﺸﻜﻞ ﺍﻟﻮﻋﻲ‪ ،‬ﻛﻤﺎ‬
‫ﻳﺬﻫﺐ ﺍﻻﻋﺘﻘﺎﺩ ﰲ ﺃﺣﻴﺎﻥ ﻛﺜﲑﺓ‪ ،‬ﺑﻞ ﺗﻌﻴﺪ ﺗﺸﻜﻴﻠﻪ ﻣﻦ ﺧﻼﻝ ﻋﻨﺎﺻﺮﻫﺎ ﺍﻟﺘﺮﻛﻴﺒﻴﺔ ﻭﺗﺸﺪ ﺍﻻﻧﺘﺒﺎﻩ ﺃﻛﺜﺮ ﳑﺎ ﺗﻔﻌﻞ ﺻﻮﺭﺓ ﺍﻟﻌﺎﱂ‬
‫ﺍﳊﻘﻴﻘﻲ‪ ،‬ﻭﻋﻠﻴﻪ ﻓﺎﻟﺼﻮﺭﺓ‪ ،‬ﻣﻬﻤﺎ ﻛﺎﻧﺖ ﺻﺎﺩﻗﺔ‪ ،‬ﻻ ﳝﻜﻨﻬﺎ ﲡﺎﻭﺯ ﻣﻬﻤﺘﻬﺎ ﻫﺬﻩ ﺇﱃ ﺍﻻﺿﻄﻼﻉ ﲟﻬﻤﺔ ﻧﻘﻞ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﺧﺼﻮﺻﺎ ﰲ‬
‫ﺍﻟﺒﻨﺎﺀ ﺍﻟﺴﺮﺩﻱ ﺍﻟﺬﻱ ﺗﻠﻌﺐ ﻓﻴﻪ ﺍﻟﺼﻮﺭﺓ ﺃﺣﻴﺎﻧﺎ ﺩﻭﺭﺍ ﻣﺮﻛﺰﻳﺎ‪ .‬ﻣﻦ ﻫﻨﺎ ﺗﺄﰐ ﺍﻟﻌﻼﻗﺔ ﺍﳌﺮﻛﺒﺔ ﺑﲔ ﺍﻟﻮﺍﻗﻊ ﻭﺍﻟﺘﺨﻴﻞ ﰲ ﺍﻟﻔﻴﻠﻢ ﺍﻟﻮﺛﺎﺋﻘﻲ‪،‬‬
 ‫ﻭﺍﻟﱵ ﺗﺴﺘﺪﻋﻲ ﻣﻨﺎ ﺃﻛﺜﺮ ﻣﻦ ﻭﻗﻔﺔ ﻟﻔﻬﻤﻬﺎ‪ ،‬ﺃﺧﺬﺍ ﺑﻌﲔ ﺍﻻﻋﺘﺒﺎﺭ ﺃﺳﺎﺱ ﺍﻟﻔﻴﻠﻢ ﺍﻟﻮﺛﺎﺋﻘﻲ ﺍﻟﺬﻱ ﻫﻮ ﻣﻘﺎﺭﺑﺔ ﺍﻟﻮﺍﻗﻊ ﺍﳌﻌﻴﺶ ﻓﻨﻴﺎ ﺩﻭﻥ‬
‫ﺍﻟﻐﺮﻕ ﰲ ﺍﻟﺘﻘﺮﻳﺮﻳﺔ ﺍﻹﺧﺒﺎﺭﻳﺔ‪.‬‬
‫ﺇﻥ ﳑﺎﺭﺳﺔ ﺍﳌﺨﺮﺝ‪/‬ﺍﳌﺒﺪﻉ ﻟﺬﺍﺗﻴﺘﻪ‪ ،‬ﻣﻊ ﻣﺎ ﻳﺴﺘﺘﺒﻊ ﺫﻟﻚ ﻣﻦ ﻗﻴﻮﺩ ﻓﻨﻴﺔ ﺗﻄﻮﻕ ﻋﻤﻠﻴﺔ ﺍﻟﺘﺼﻮﻳﺮ‪ ،‬ﻭﺃﻳﻀﺎ ﳎﻤﻮﻉ ﺍﻟﺴﻴﺎﻗﺎﺕ ﺍﻟﺘﺎﺭﳜﻴﺔ‬
‫ﻭﺍﻻﻗﺘﺼﺎﺩﻳﺔ ﻭﺍﻟﺴﻴﺎﺳﻴﺔ ﻭﺍﻟﺜﻘﺎﻓﻴﺔ ﺍﳌﺮﺍﻓﻘﺔ ﳍﺎ‪ ،‬ﻛﻠﻬﺎ ﻋﻮﺍﻣﻞ ﺗﺴﺎﻫﻢ ﰲ ﻭﺿﻊ ﺍﻟﻮﺍﻗﻊ ﰲ ﺷﻜﻞ ﺻﻮﺭ‪ ،‬ﻭﻋﻼﻭﺓ ﻋﻠﻰ ﺫﻟﻚ ‪ ،‬ﻓﺈﻥ ﻣﺎ‬
‫ﻳﺘﻢ ﺳﺮﺩﻩ ﺑﺼﺮﻳﺎ ﻋﻦ ﻃﺮﻳﻖ ﺍﻟﻔﻴﻠﻢ ﻫﻮ ﻏﺎﻟﺒﺎ ﻣﺎ ﻳﻜﻮﻥ ﻣﻮﺿﻮﻉ ﺍﻟﺘﺄﻭﻳﻼﺕ ﺍﻟﻼﺣﻘﺔ ﺑﺎﻟﻮﺍﻗﻊ ﻭﻟﻴﺲ ﺍﻟﻮﺍﻗﻊ ﺫﺍﺗﻪ‪ ،‬ﲟﺎ ﰲ ﺫﻟﻚ ﻣﺎ‬
‫ﻧﻘﺮﺃﻩ ﰲ ﳎﻤﻮﻉ ﺍﻟﻜﺘﺎﺑﺎﺕ ﺍﻟﻨﻘﺪﻳﺔ‪ .‬ﻓﻤﺎ ﻧﺘﻠﻘﺎﻩ ﻋﻦ ﻃﺮﻳﻖ ﺍﻟﻔﻴﻠﻢ‪ ،‬ﺧﺼﻮﺻﺎ ﺍﻟﻮﺛﺎﺋﻘﻲ‪ ،‬ﻟﻴﺲ ﻫﻮ ﺍﻟﻮﺍﻗﻊ ﻧﻔﺴﻪ ﻭﻟﻜﻨﻪ ﻣﻮﺿﻮﻉ ﺇﺩﺭﺍﻙ‬
‫ﻫﺬﺍ ﺍﻟﻮﺍﻗﻊ ﻣﻦ ﻃﺮﻑ ﳐﺮﺝ ﺍﻟﻔﻴﻠﻢ‪ .‬ﻳﻘﻮﻝ ﺍﳌﺨﺮﺝ ﺍﻟﻮﺛﺎﺋﻘﻲ ﻓﲑﺗﺸﻮﻑ‪ :‬ﺃﻧﺎ ﻋﲔ ﺍﻟﻜﺎﻣﲑﺍ ﺍﻟﱵ ﺗﺮﻳﻜﻢ ﺍﻟﻌﺎﱂ ﻛﻤﺎ ﺃﺭﺍﻩ ﺃﻧﺎ ﻓﻘﻂ‪.‬‬
‫ﻭﰲ ﻧﻔﺲ ﺍ‪‬ﺎﻝ ﻳﻘﻮﻝ ﺑﺪﻭﻓﻜﲔ‪ ،‬ﻭﻫﻮ ﻣﻦ ﺭﻭﺍﺩ ﺍﻟﺴﻴﻨﻤﺎ ﺍﻟﺮﻭﺳﻴﺔ "‪ ..‬ﻋﻠﻴﻨﺎ ﺃﻻ ﻧﻜﺘﻔﻲ ﲟﻼﺣﻈﺔ ﺍﻟﻮﺍﻗﻊ ﺑﺸﻜﻞ ﳎﺮﺩ‪ ،‬ﺑﻞ ﳏﺎﻭﻟﺔ‬
‫ﺭﺅﻳﺔ ﺃﺷﻴﺎﺀ ﺃﺧﺮﻯ ﻛﺜﲑﺓ ﻻ ﻳﺪﺭﻛﻬﺎ ﺍﳌﺸﺎﻫﺪ‪ ،‬ﳚﺐ ﺃﻻ ﻧﻜﺘﻔﻲ ﺑﺄﻥ ﻧﻨﻈﺮ ﺑﻞ ﻧﻔﺤﺺ‪ ،‬ﺃﻻ ﻧﺮﻯ ﺑﻞ ﻧﺪﺭﻙ‪ ،‬ﺃﻻ ﻧﻌﺮﻑ ﺑﻞ ﻧﻔﻬﻢ"‪.‬‬
‫ﻭﺣﱴ ﻳﻠﻌﺐ ﻫﺬﺍ ﺍﻟﺪﻭﺭ ﻛﺎﻣﻼ‪ ،‬ﻻ ﺑﺪ ﻟﻠﻔﻴﻠﻢ ﺍﻟﻮﺛﺎﺋﻘﻲ ﺃﻥ ﳛﻔﻆ ﻟﻨﻔﺴﻪ ﺷﻴﺌﺎ ﻣﻦ ﺍﻟﺬﺍﺗﻴﺔ )ﺍﻟﱵ ﻳﺘﻘﺎﲰﻬﺎ ﻣﻊ ﺍﳋﻴﺎﻝ( ‪ ،‬ﺩﻭﻥ ﺃﻥ ﻳﻨﺴﻰ‬
‫ﺍﻟﻮﺍﻗﻊ )ﺍﻟﺬﻱ ﻫﻮ ﻣﻮﺿﻮﻉ ﺧﻠﻘﻪ(‪.‬‬
‫ﳚﻤﻊ ﺍﻟﺪﺍﺭﺳﻮﻥ ﻋﻠﻰ ﺃﻥ ﻫﻨﺎﻙ ﺃﺭﺑﻌﺔ ﺷﺮﻭﻁ ﻳﺒﺪﻭ ﻣﻦ ﺍﻟﻀﺮﻭﺭﻱ ﺗﻮﻓﺮﻫﺎ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻔﻴﻠﻢ ﺍﻟﻮﺛﺎﺋﻘﻲ ﻛﻌﻤﻞ ﻓﲏ‪.‬‬
‫ﺃﻭﻻ‪ ،‬ﻻ ﺑﺪ ﻣﻦ ﻓﺴﺢ ﺍ‪‬ﺎﻝ ﺃﻣﺎﻡ ﺍﻟﻮﺍﻗﻊ ﺩﻭﻥ ﺃﺩﱏ ﳏﺎﻭﻟﺔ ﻣﺒﻜﺮﺓ ﻟﺘﺄﻛﻴﺪ ﺍﻷﻓﻜﺎﺭ ﺍﶈﺪﺩﺓ ﺳﻠﻔﺎ‪ .‬ﻫﺬﺍ ﺍﻟﺸﺮﻁ ﻏﺎﻟﺒﺎ ﻣﺎ ﻳﺘﻢ ﺍﻻﻋﺘﻤﺎﺩ‬
‫ﻋﻠﻴﻪ ﻻﺳﺘﺒﻌﺎﺩ ﺟﻨﺲ ﺍﻟﺮﻭﺑﻮﺭﻃﺎﺝ ﺍﻟﺘﻠﻔﺰﻳﻮﱐ ﻣﻦ ﳑﻠﻜﺔ ﺍﻟﻔﻴﻠﻢ ﺍﻟﻮﺛﺎﺋﻘﻲ‪ ،‬ﻭﺍﻟﺬﻱ ﻳﻬﺘﻢ ﺃﻛﺜﺮ ﺑﺎﳌﻌﻠﻮﻣﺎﺕ ﻭﻳﺴﻌﻲ ﳌﻌﺎﳉﺘﻬﺎ ﻭﳚﻴﺐ‬
‫ﻋﻠﻰ ﺍﻷﺳﺌﻠﺔ ﺍﻟﱵ ﻳﺘﻢ ﻃﺮﺣﻬﺎ‪.‬‬
‫ﺍﻟﺸﺮﻁ ﺍﻟﺜﺎﱐ ﻫﻮ ﺍﻷﺧﺬ ﺑﻌﲔ ﺍﻻﻋﺘﺒﺎﺭ ﻋﻤﻠﻴﺔ ﺗﻠﻘﻲ ﺍﳌﺒﺪﻉ ﻟﻠﻮﺍﻗﻊ‪ ،‬ﻣﻘﺎﺭﻧﺔ ﻣﻊ ﺍﻟﻮﺍﻗﻊ ﺍﻟﺬﻱ ﻳﺆﻭﻟﻪ ﺍﻟﻔﻴﻠﻢ ﺍﻟﻮﺛﺎﺋﻘﻲ‪ .‬ﻓﻜﻞ ﻋﻤﻞ ﻓﲏ‪،‬‬
‫ﻣﻬﻤﺎ ﺗﻨﻮﻋﺖ ﺃﺳﺎﻟﻴﺒﻪ‪ ،‬ﻳﻔﺘﺮﺽ ﺍﺧﺘﻴﺎﺭﺍﺕ ﻣﻌﻴﻨﺔ ﻭﻳﻘﺘﻀﻲ ﻣﻮﺿﻮﻋﻴﺔ ﻭﺗﻨﺴﻴﻖ ﳏﺪﺩﻳﻦ‪ ،‬ﻭﻻ ﺑﺪ ﻟﻠﻤﺨﺮﺝ ‪/‬ﺍﳌﺒﺪﻉ ﰲ ﻭﻗﺖ ﻣﺎ‪ ،‬ﺃﻥ‬
‫ﻳﺴﺘﻌﲔ ﲟﺎ ﰎ ﺗﺼﻮﻳﺮﻩ ﻹﻋﻄﺎﺋﻪ ﺷﻜﻼ ﻣﺎ‪ ،‬ﻭﺑﺎﻟﺘﺎﱄ ﺇﻟﺒﺎﺳﻪ ﻣﻌﲎ ﻣﻌﲔ‪ .‬ﻣﻦ ﺩﻭﻥ ﺫﻟﻚ‪ ،‬ﻳﺼﺒﺢ ﺍﻟﻔﻴﻠﻢ ﺍﻟﻮﺛﺎﺋﻘﻲ ﺃﻗﺮﺏ ﺇﱃ ﺍﳊﺮﻓﺔ‬
‫ﺍﻟﻴﺪﻭﻳﺔ ﻣﻨﻪ ﺇﱃ ﺍﻟﻌﻤﻞ ﺍﻟﻔﲏ ﺍﳌﺘﻜﺎﻣﻞ‪.‬‬
‫ﺃﻣﺎ ﺍﻟﺸﺮﻁ ﺍﻟﺜﺎﻟﺚ ﻓﻬﻮ ﺿﺮﻭﺭﺓ ﲡﺎﻭﺯ ﻣﻮﺿﻮﻉ ﺍﻟﻔﻴﻠﻢ ﻟﻠﺤﺎﻻﺕ ﺍﻟﺸﺨﺼﻴﺔ ﺇﱃ ﺣﺎﻻﺕ ﻛﻮﻧﻴﺔ ﲤﻨﺤﻪ ﺍﻟﺴﻤﺔ ﺍﻹﻧﺴﺎﻧﻴﺔ‪ ،‬ﺍﻟﱵ ﺑﺪﻭ‪‬ﺎ‬
‫ﻻ ﳝﻜﻦ ﻗﻴﺎﺱ ﺟﻮﺩﺓ ﺍﻟﻌﻤﻞ ﺍﻟﻔﲏ‪ ،‬ﺇﺫ ﻏﺎﻟﺒﺎ ﻣﺎ ﻧﻼﺣﻆ ﺃﻧﻪ ﺑﺈﻣﻜﺎﻧﻨﺎ ﺃﻥ ﻧﺼﻞ ﺍﻟﻌﺎﳌﻴﺔ ﻭﳓﻦ ﻧﺴﻠﻚ ﺳﺒﻞ ﺍﻟﺘﻔﺎﺻﻴﻞ ﺍﻟﺼﻐﲑﺓ‪ ،‬ﻭﰲ‬
‫ﺍﳌﻘﺎﺑﻞ ﻳﺒﻘﻰ ﻣﻦ ﺍﳌﺴﺘﺤﻴﻞ ﺃﻥ ﻧﺼﻞ ﺇﱃ ﺍﻟﻌﺎﳌﻴﺔ ﻭﳓﻦ ﻧﻌﻄﻲ ﻧﻈﺮﺓ ﺷﺨﺼﻴﺔ ﻋﻠﻰ ﻣﻮﺿﻮﻉ ﻣﺎ ﻣﻬﻤﺎ ﻛﺎﻥ ﻛﺒﲑﺍ ‪.‬‬
‫ﻭﻳﺄﰐ ﰲ ﺍﻷﺧﲑ ﺍﻟﺸﺮﻁ ﺍﻟﺮﺍﺑﻊ ﻭﻫﻮ ﺃﻥ ﻧﺘﺮﻙ ﺍ‪‬ﺎﻝ ﻣﻔﺘﻮﺣﺎ ﻟﻠﺨﻴﺎﻝ ﻭﻻ ﻧﻀﻴﻖ ﻋﻠﻴﻪ ﺍﳋﻨﺎﻕ ﺑﺪﻋﻮﻯ ﺃﻧﻨﺎ ﻧﺸﺘﻐﻞ ﻋﻠﻰ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻭﺫﻟﻚ‬
‫ﻋﻦ ﻃﺮﻳﻖ ﺍﻻﻗﺘﺮﺍﺡ ﻭﺍﻻﻋﺘﻤﺎﺩ ﻋﻠﻰ ﻗﺪﺭﺓ ﺍﳌﺸﺎﻫﺪﻳﻦ‪ .‬ﻓﺎﻟﺴﺮﺩ ﺍﻟﺬﻛﻲ ﻫﻮ ﺍﻟﺬﻱ ﻻ ﻳﺘﺪﺧﻞ ﺑﲔ ﺍﻟﻔﻴﻠﻢ ﻭﺍﳌﺸﺎﻫﺪ ﺇﳕﺎ ﻳﺴﺎﻋﺪﻩ ﻋﻠﻰ‬
‫ﺃﻥ ﻳﻨﺸﻰﺀ ﺃﺣﻜﺎﻣﻪ ﺍﳋﺎﺻﺔ‪.‬‬
‫ﻫﻜﺬﺍ ﳝﻜﻨﻨﺎ ﺍﻟﻘﻮﻝ ﺃﻥ ﺍﳊﺪﻭﺩ ﺍﻟﻔﺎﺻﻠﺔ ﺑﲔ ﻣﺎ ﻫﻮ ﺭﻭﺍﺋﻲ ﻭﻣﺎ ﻫﻮ ﻭﺛﺎﺋﻘﻲ ﻫﻲ ﺃﺻﻼ ﺣﺪﻭﺩ ﻣﺘﻼﺷﻴﺔ‪ .‬ﺇ‪‬ﺎ ﺣﺪﻭﺩ ﺇﺟﺮﺍﺋﻴﺔ ﻟﻴﺲ‬
‫ﻏﲑ‪ .‬ﺣﻘﻴﻘﺔ ﺃﻧﻪ ﰲ ﺍﻟﺴﻴﻨﻤﺎ ﻋﺎﻣﺔ‪ ،‬ﻫﻨﺎﻙ ﺧﻂ ﻓﺎﺻﻞ ﺑﲔ ﺍﳋﻴﺎﻝ ﻭﺍﻟﻮﺛﻴﻘﺔ‪ .‬ﻟﻴﺲ ﻫﻨﺎﻙ ﺷﻚ ﰲ ﺃﻥ ﺍﻟﻔﻴﻠﻢ ﺍﻟﻮﺛﺎﺋﻘﻲ ﻭﺍﳋﻴﺎﱄ‬
‫ﻳﺘﻌﺎﺭﺿﺎﻥ‪ :‬ﺍﻟﻮﺛﺎﺋﻘﻲ ﻳﻨﺪﺭﺝ ﰲ ﻣﻴﺪﺍﻥ ﻣﺎ ﻫﻮ ﺣﻘﻴﻘﻲ‪ ،‬ﰲ ﺣﲔ ﺃﻥ ﺍﳋﻴﺎﻝ ﻫﻮ ﻋﻜﺲ ﻣﺎ ﻳﺴﺘﺸﻒ ﻣﻦ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻫﻮ ﺍﺑﺘﻜﺎﺭ ﻟﻌﻮﺍﱂ‬
‫ﻏﲑ ﺣﻘﻴﻘﻴﺔ‪ .‬ﺗﻮﺟﺪ ﺍﳊﺪﻭﺩ ﺍﻟﻘﺼﻮﻯ ﰲ ﻫﺬﺍ ﺍﻟﻔﺼﻞ ﰲ ﺍﻟﻔﻜﺮﺓ ﺍﻟﻘﺎﺋﻠﺔ ﺑﺄﻥ ﺍﻟﻮﺛﺎﺋﻘﻲ ﻳﻘﺪﻡ ﻧﻔﺴﻪ ﻋﻠﻰ ﺃﺳﺎﺱ ﺃﻧﻪ ﻭﺛﻴﻘﺔ )ﲰﻌﻴﺔ‬
‫ﺑﺼﺮﻳﺔ( ‪ ،‬ﻭﻫﺬﺍ ﻳﻌﲏ ‪ ،‬ﺑﺄﻧﻪ ﻳﻌﻠﻢ ﺃﻭ ﻳﻘﻮﻡ ﺑﺈﻋﺎﺩﺓ ﺗﺸﻜﻴﻞ ﻭﻋﻲ ﺍﳌﺘﻠﻘﻲ ﺣﻮﻝ ﻭﺍﻗﻊ ﺃﻭ ﺣﻘﻴﻘﺔ ﻣﺎ‪ ،‬ﰲ ﺣﲔ ﺃﻥ ﺳﻴﻨﻤﺎ ﺍﳋﻴﺎﻝ ﺗﻘﻮﻡ‬
‫ﺑﺘﺴﻠﻴﺔ ﻫﺬﺍ ﺍﳌﺸﺎﻫﺪ‪ ،‬ﻭﺗﺴﺎﻋﺪﻩ ﻋﻠﻰ ﺍﻻﻧﻔﻼﺕ ﻣﻦ ﻗﺒﺢ ﻭﻋﺮﻱ ﻫﺬﺍ ﺍﻟﻮﺍﻗﻊ‪.‬‬
‫ﺇﻥ ﺍﻟﻮﺛﺎﺋﻘﻲ ﳚﺐ ﺃﻥ ﻳﻌﻜﺲ ﺩﻭﺭ ﻭﻣﻜﺎﻧﺔ ﺍﳌﺨﺮﺝ‪ ،‬ﺃﻣﺎ ﻓﻴﻠﻢ ﺍﳋﻴﺎﻝ ﻓﻠﻴﺲ ﻟﻪ ﻣﺎ ﻳﱪﺭ ﺳﻮﻯ ﻣﺎ ﳛﺪﺙ ﰲ ﻋﺎﱂ ﺍﻟﻔﻴﻠﻢ ﻧﻔﺴﻪ‪ .‬ﰲ‬
‫ﺍﳊﺎﻟﺔ ﺍﻷﻭﱃ ﳚﺐ ﺃﻥ ﻧﻨﺤﺎﺯ ﺇﱃ ﺟﺎﻧﺐ ﺍﳌﻌﺮﻓﺔ ﺍﻟﻌﻠﻤﻴﺔ ﻭﻛﻴﻔﻴﺔ ﺗﺪﺍﻭﳍﺎ‪ ،‬ﺃﻣﺎ ﻣﺎ ﻳﻬﻢ ﰲ ﺍﳊﺎﻟﺔ ﺍﻟﺜﺎﻧﻴﺔ ﻓﺈﻥ ﻓﻬﻮ ﺍﻟﻌﺎﱂ ﺍﻟﺮﻭﺍﺋﻲ‪ ،‬ﻫﻮ‬
‫ﺍﻟﺸﻌﺮﻳﺔ ﺍﳌﺘﺪﻓﻘﺔ ﰲ ﺍﻟﻔﻴﻠﻢ‪ ،‬ﻫﻮ ﺍﳊﻠﻢ ﻭﺍﳌﺴﺘﺤﻴﻞ‪ ،‬ﻭﻛﻠﻬﺎ ﺃﻣﻮﺭ ﺗﺘﺠﺎﻭﺯ ﻛﻮ‪‬ﺎ ﻧﺴﺦ ﻟﻠﻮﺍﻗﻊ ﺃﻭ ﻓﻘﻂ ﺻﻮﺭﺓ ﻟﻪ‪.‬‬
‫ﻳﻘﻮﻝ ﺟﻮﻥ ﻟﻮﻙ ﻛﻮﺩﺍﺭ‪ .." :‬ﺩﻋﻮﻧﺎ ﻧﻀﻊ ﺑﻌﺾ ﺍﻟﻨﻘﺎﻁ ﻋﻠﻰ ﺍﳊﺮﻭﻑ‪ ..‬ﺇﻥ ﻛﻞ ﺍﻷﻓﻼﻡ ﺍﻟﺮﻭﺍﺋﻴﺔ ﺍﻟﻜﺒﲑﺓ ﲤﻴﻞ ﺇﱃ ﺃﻓﻼﻡ ﻭﺛﺎﺋﻘﻴﺔ‪،‬‬
‫ﻣﺜﻠﻤﺎ ﺃﻥ ﻛﻞ ﺍﻷﻓﻼﻡ ﺍﻟﻮﺛﺎﺋﻘﻴﺔ ﺍﻟﻜﺒﲑﺓ ﲤﻴﻞ ﺣﺘﻤﺎ ﺇﱃ ﺍﳋﻴﺎﻝ‪ .‬ﻭﻣﻦ ﺍﺧﺘﺎﺭ ﺑﻘﻮﺓ ﺃﺣﺪﻫﻢ ﻳﻠﺘﻘﻲ ﺑﺎﻟﻀﺮﻭﺭﺓ ﺑﺎﻵﺧﺮ ﻋﻠﻰ ﻗﺎﺭﻋﺔ‬
‫ﺍﻟﻄﺮﻳﻖ‪"..‬‬
‫ﻣﺎ ﻧﺮﻳﺪ ﺃﻥ ﻧﺜﺒﺘﻪ ﺑﻌﻨﺎﻳﺔ‪ ،‬ﻫﻮ ﺃﻧﻪ ﻟﻴﺲ ﻫﻨﺎﻙ ﺃﻱ ﻣﻌﻴﺎﺭ ﻋﻤﻠﻲ ﻟﻠﺘﻤﻴﻴﺰ ﺑﲔ ﺍﻟﻮﺛﺎﺋﻘﻲ ﻭﺍﳋﻴﺎﱄ‪ ،‬ﻭﺣﱴ ﻣﻌﻴﺎﺭ ﺍﻟﻼﺳﺮﺩ ﺍﻟﺬﻱ ﻳﻌﺘﻤﺪﻩ‬
‫ﺑﻌﺾ ﺍﻟﺬﻳﻦ ﻳﺮﻳﺪﻭﻥ ﻫﺬﺍ ﺍﻟﺘﻤﻴﻴﺰ ﺍﻟﻘﺼﺮﻱ ﻫﻮ ﻏﲑ ﳎﺪ )ﺑﻨﺎﺀ ﺍﳌﻌﲎ ﳝﺮ ﻣﻦ ﺧﻼﻝ ﺍﳊﺪ ﺍﻷﺩﱏ ﻣﻦ ﺍﻟﺴﺮﺩ( ﻭﻻ ﺣﱴ ﻏﻴﺎﺏ ﺃﻭ‬
‫ﺣﻀﻮﺭ ﺍﳌﻤﺜﻞ‪) .‬ﺷﺨﺼﻴﺎﺕ ﺍﻟﻮﺍﻗﻊ ﺗﻠﻌﺐ ﺃﺩﻭﺍﺭﺍ ﰲ ﺍﻟﻔﻴﻠﻢ ﺍﻟﻮﺛﺎﺋﻘﻲ‪ ،‬ﻭﺍﳌﻤﺜﻠﻮﻥ ﰲ ﺍﻷﻋﻤﺎﻝ ﺍﻟﺪﺭﺍﻣﻴﺔ ﺇﳕﺎ ﻳﻨﻬﻠﻮﻥ ﻣﻦ ﲡﺎﺭ‪‬ﻢ‬
‫ﺍﻟﺸﺨﺼﻴﺔ ﳉﻌﻞ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺍﻟﱵ ﻳﻠﻌﺒﻮ‪‬ﺎ ﲢﻴﺎ ﻓﻴﻬﻢ‪ ،‬ﻷﻥ ﺍﳊﻘﻴﻘﺔ ﳌﺎ ﺗﻜﺘﻤﻞ ﺗﺼﺒﺢ ﲣﻴﻴﻼ‪.‬‬
‫ﺇﻥ ﺍﻟﻔﻜﺮﺓ ﺍﻟﱵ ﻳﺪﺍﻓﻊ ﻋﻨﻬﺎ ﻛﺜﲑﺍ ﺻﺎﻧﻌﻮ ﺍﻟﻔﻴﻠﻢ ﺍﻟﻮﺛﺎﺋﻘﻲ ‪ ،‬ﻫﻲ ﺃﻥ ﻫﻨﺎﻙ ﻗﺒﻞ ﻛﻞ ﺷﻲﺀ ﻓﻦ ﻭﺇﺑﺪﺍﻉ ﺍﲰﻪ ﺍﻟﺴﻴﻨﻤﺎ‪ ،‬ﻭﻫﻮ ﻓﻦ ﳝﺰﺝ‬
‫ﺑﲔ ﺍﻟﻮﺍﻗﻊ ﻭﺍﳋﻴﺎﻝ ﻭﳚﻌﻞ ﺍﻟﺘﻤﻴﻴﺰ ﺑﲔ ﺍﻟﻮﺛﺎﺋﻘﻲ ﻭﺍﳋﻴﺎﻝ ﻣﺴﺄﻟﺔ ﻣﺘﺠﺎﻭﺯﺓ‪ .‬ﺍﳌﺨﺮﺝ ﺍﻟﻮﺛﺎﺋﻘﻲ ﻫﻮ ﺃﻭﻻ ﺳﻴﻨﻤﺎﺋﻲ ﻭﻟﻴﺲ ﺻﺎﻧﻊ ﺃﻓﻼﻡ‬
‫ﻭﺛﺎﺋﻘﻴﺔ‪ ،‬ﻭﺃﻓﻼﻣﻪ ﺗﻨﺪﺭﺝ ﰲ ﺍ‪‬ﺎﻝ ﺍﻟﻔﲏ ‪ ،‬ﻭﻟﻴﺲ ﰲ ﺍﳌﻴﺪﺍﻥ ﺍﻟﺼﺤﻔﻲ‪.‬‬

‫ﺑﲔ ﺍﻟﻮﺍﻗﻊ ﻭﺍﻟﺘﺨﻴﻴﻞ ﻣﺴﺎﻓﺔ ﻣﻦ ﺍﻟﻮﻫﻢ‬

‫ﰲ ﻫﺬﻩ ﺍﻟﻮﺭﻗﺔ ﺳﻨﺤﺎﻭﻝ ﺗﺴﻠﻴﻂ ﺍﻟﻀﻮﺀ ﻋﻠﻰ ﲡﺮﺑﺘﲔ ﻣﻐﺮﺑﻴﺘﲔ ﻳﻨﺘﻤﻴﺎﻥ ﺇﱃ ﺟﻴﻞ ﺟﺪﻳﺪ ﻣﻦ ﺍﻟﺴﻴﻨﻤﺎﺋﻴﲔ ﺍﳌﻐﺎﺭﺑﺔ ﺍﺷﺘﻐﻠﻮﺍ ﻋﻠﻰ‬
‫ﺍﻟﻔﻴﻠﻢ ﺍﻟﻮﺛﺎﺋﻘﻲ ﻣﺴﻠﺤﲔ ﲟﻘﺎﺭﺑﺎﺕ ﺟﺪﻳﺪﺓ ﻭﺯﺍﻭﻳﺎ ﻣﻌﺎﳉﺔ ﳐﺘﻠﻔﺔ ﻋﻦ ﺍﻷﻓﻼﻡ ﺍﻟﱵ ﻛﺎﻧﺖ ﺗﺼﻨﻒ ﻧﻔﺴﻬﺎ ﺿﻤﻦ ﺧﺎﻧﺔ ﺍﻟﻮﺛﺎﺋﻘﻲ ﻭﻫﻲ‬
‫ﺃﻗﺮﺏ ﻣﻨﻬﺎ ﺇﱃ ﺍﻟﺮﻭﺑﻮﺭﻃﺎﺝ ﺃﻭ ﺍﻟﺘﻘﺎﺭﻳﺮ ﺍﻟﺼﺤﻔﻴﺔ‪ .‬ﻧﺬﻛﺮ ﻣﻨﻬﻢ ﻋﻠﻲ ﺍﻟﺼﺎﰲ‪ ،‬ﻋﻠﻲ ﺑﻨﻜﲑﺍﻥ‪ ،‬ﺣﻜﻴﻢ ﺑﻠﻌﺒﺎﺱ‪ ،‬ﺩﻟﻴﻠﺔ ﺍﻟﻨﺎﺿﺮ‪ ،‬ﻣﺮﺍﺩ‬
‫ﺑﻮﺳﻴﻒ‪ ،‬ﻓﺆﺍﺩ ﺑﻼﱄ‪ ،‬ﺭﺷﻴﺪ ﺍﻟﻘﺎﲰﻲ ﻭﻏﲑﻫﻢ‪ .‬ﻭﻟﻌﻞ ﺍﳌﻼﺣﻈﺔ ﺍﻷﺳﺎﺳﻴﺔ ﺍﻟﱵ ﳝﻜﻦ ﺗﺴﺠﻴﻠﻬﺎ ﺣﻮﻝ ﲡﺮﺑﺔ ﻫﺬﺍ ﺍﳉﻴﻞ ﺍﳉﺪﻳﺪ ﻣﻦ‬
‫ﺍﻟﺴﻴﻨﻤﺎﺋﻴﲔ ﺃ‪‬ﺎ ﺗﻘﺘﺮﺡ ﺯﺍﻭﻳﺔ ﺃﺧﺮﻯ ﳌﻌﺎﳉﺔ ﺍﻟﻮﺍﻗﻊ ﻣﻌﺎﳉﺔ ﻣﺒﺪﻋﺔ ﺩﻭﻥ ﺍﺩﻋﺎﺀ ﺍﻣﺘﻼﻙ ﺍﳊﻘﻴﻘﺔ ﻭﺩﻭﻥ ﺍﻟﺘﻮﺟﺲ ﻣﻦ ﺳﺆﺍﻝ ﺃﻳﻦ‬
‫ﻳﺒﺘﺪﺉ ﺍﻟﻮﺍﻗﻊ ﻭﺃﻳﻦ ﻳﻨﺘﻬﻲ ﺍﻟﺘﺨﻴﻴﻞ ﰲ ﺍﻟﻔﻴﻠﻢ ﺍﻟﻮﺛﺎﺋﻘﻲ‪ ،‬ﺣﻴﺚ ﺍﳊﻘﻴﻘﺔ ﺗﻮﺟﺪ ﰲ ﻣﻜﺎﻥ ﻣﺎ ﺑﲔ ﺍﻟﻮﺛﺎﺋﻘﻲ ﻭﺍﻟﺮﻭﺍﺋﻲ‪ ،‬ﻓﺘﺠﺮﺑﺔ ﻫﺆﻻﺀ‬
‫ﺗﻨﺤﻮ ﰲ ﻛﺜﲑ ﻣﻦ ﻣﻼﳏﻬﺎ ﺇﱃ ﻣﺎ ﺃﺷﺎﺭ ﺇﻟﻴﻪ ﺍﻟﻔﻴﻠﺴﻮﻑ ﺍﻟﻔﺮﻧﺴﻲ ﺝ‪ .‬ﺩﻭﻟﻮﺯ ﻭﻫﻮ ﻳﺘﺤﺪﺙ ﻋﻦ ﺍﻟﺴﻴﻨﻤﺎ ﰲ ﻛﺘﺎﺑﻪ )ﺍﻟﺼﻮﺭﺓ‪-‬ﺍﻟﺰﻣﻦ(‬
‫ﺣﻴﺚ ﻳﻘﺮ ﺑﺄﻧﻪ ﻻ ﳝﻜﻦ ﻟﻠﻔﻴﻠﻢ ﺍﻟﻮﺛﺎﺋﻘﻲ ﺍﻻﻧﻔﻼﺕ ﻟﻠﺨﻴﺎﻝ ﻟﺴﺒﺒﲔ ﻋﻠﻰ ﺍﻷﻗﻞ‪ :‬ﺃﻭﻻ ﻷﻧﻪ‪ ،‬ﻣﺜﻠﻪ ﻣﺜﻞ ﺃﻱ ﻓﻴﻠﻢ ‪ ،‬ﻳﺰﺍﻭﺝ ﺑﲔ‬
‫ﺍﳌﻮﺿﻮﻋﻴﺔ ﻭﺍﻟﺬﺍﺗﻴﺔ ‪ ،‬ﺃﻭ ﻋﻠﻰ ﳓﻮ ﺃﺩﻕ ‪ ،‬ﺑﲔ ﻧﻄﺎﻕ ﻣﻦ ﻳﻼﺣﻆ ﻭﻣﺎ ﺗﺘﻢ ﻣﻼﺣﻈﺘﻪ ﻭﻧﻄﺎﻕ ﺍﳌﻼﺣﻆ‪ ،‬ﺇﻧﻪ ﻧﻔﺲ ﺍﻟﺸﺨﺺ ﺍﻟﺬﻱ‬
‫ﻳﺸﺎﻫﺪ ﺃﺣﻴﺎﻧﺎ ﻭﺗﺘﻢ ﻛﺸﺎﻫﺪﺗﻪ ﺃﺣﻴﺎﻧﺎ ﺃﺧﺮﻯ‪ ،‬ﻛﻤﺎ ﺃﻥ ﺍﻟﻜﺎﻣﲑﺍ ﻧﻔﺴﻬﺎ ﺗﺮﻛﺰ ﻋﻠﻰ ﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﱵ ﻧﺸﺎﻫﺪ ﻭﻣﺎ ﺗﺸﺎﻫﺪﻩ ﻫﺬﻩ‬
‫ﺍﻟﺸﺨﺼﻴﺔ ‪...‬‬

‫ﻋﻠﻲ ﺍﻟﺼﺎﰲ‪:‬‬

‫ﻋﻨﺪﻣﺎ ﻳﻜﺘﻤﻞ ﺍﻟﻮﺍﻗﻊ ﻳﺼﺒﺢ ﲣﻴﻴﻼ‪..‬‬

‫ﺑﻌﺪ ﻋﺸﺮﻳﻦ ﺳﻨﺔ ﻗﻀﺎﻫﺎ ﰲ ﻓﺮﻧﺴﺎ ‪ ،‬ﻗﺮﺭ ﻋﻠﻲ ﺍﻟﺼﺎﰲ ﻟﻠﻌﻮﺩﺓ ﺇﱃ ﺍﳌﻐﺮﺏ ﺭﲟﺎ ﻟﻠﺪﻓﻊ ﺑﺘﺠﺮﺑﺘﻪ ﺩﺍﺧﻞ ﳎﺘﻤﻊ ﻳﺮﻯ ﺃﻧﻪ ﺃﻣﺲ ﺍﳊﺎﺟﺔ‬
‫ﺇﱃ ﺍﻟﻔﻴﻠﻢ ﺍﻟﻮﺛﺎﺋﻘﻲ‪ ،‬ﺣﻴﺚ ﲨﻴﻊ ﺍﻟﺒﻠﺪﺍﻥ ﺍﻟﻨﺎﻣﻴﺔ ﺑﺪﺃﺕ ﺃﻭﻻ ‪‬ﺘﻢ ﺑﺎﻷﻓﻼﻡ ﺍﻟﻮﺛﺎﺋﻘﻴﺔ ﻗﺒﻞ ﺍﳋﻮﺽ ﰲ ﺳﻴﻨﻤﺎ ﺍﳋﻴﺎﻝ‪ .‬ﻭﻣﻊ ﺫﻟﻚ ‪ ،‬ﻓﻬﻮ‬
‫ﺁﺳﻒ ﺃﻥ ﻫﺬﺍ ﺍﻟﺼﻨﻒ ﻣﻦ ﺍﻟﺴﻴﻨﻤﺎ ﻟﻴﺴﺖ ﻟﻪ ﻣﻜﺎﻧﺔ ﰲ ﻓﻀﺎﺀ ﺍﳌﺨﺮﺟﲔ ﻭﺍﻟﺴﻴﻨﻤﺎﺋﻴﲔ ﺑﺎﳌﻐﺮﺏ‪ .‬ﺇﻥ "ﺍﻟﻔﻴﻠﻢ ﺍﻟﻮﺛﺎﺋﻘﻲ ﻛﺎﺋﻦ ﳎﻬﻮﻟﺔ‬
‫ﺍﳍﻮﻳﺔ ﰲ ﺍﳌﻐﺮﺏ" ﻋﻠﻰ ﺣﺪ ﺗﻌﺒﲑﻩ‪.‬‬

‫ﰲ ﺷﺮﻳﻄﻪ ﺍﻟﻮﺛﺎﺋﻘﻲ ﺍﻷﻭﻝ "ﻫﺎ ﳓﻦ ﻳﺎ ﺟﻨﺮﺍﻝ" ﺍﻟﺬﻱ ﺃﺧﺮﺟﻪ ﺳﻨﺔ ‪ ، 1997‬ﻳﺘﻨﺎﻭﻝ ﻋﻠﻲ ﺍﻟﺼﺎﰲ ﻣﺄﺳﺎﺓ ﻗﺪﻣﺎﺀ ﺍﶈﺎﺭﺑﲔ ﺍﳌﻐﺎﺭﺑﺔ‪،‬‬
‫ﺍﻟﺬﻳﻦ ﺷﻜﻠﻮﺍ ﺍﻟﺼﻔﻮﻑ ﺍﻷﻭﱃ ﰲ ﺟﺒﻬﺎﺕ ﺍﳉﻴﺶ ﺍﻟﻔﺮﻧﺴﻲ ﺧﻼﻝ ﺍﳊﺮﺏ ﺍﻟﻌﺎﳌﻴﺔ ﺍﻟﺜﺎﻧﻴﺔ ﻭﺣﺎﺭﺑﻮﺍ ﺑﺎﺳﺘﻤﺎﺗﺔ ﻣﻨﻘﻄﻌﺔ ﺍﻟﻨﻈﲑ ﻟﻴﻨﺘﻬﻮﺍ‪،‬‬
‫ﻭﻗﺪ ﺗﻘﺪﻣﺖ ‪‬ﻢ ﺍﻟﺴﻨﻮﻥ‪ ،‬ﺷﺒﻪ ﻣﺸﺮﺩﻳﻦ ﰲ ﻣﺄﻭﻯ ﻗﺪﻣﺎﺀ ﺍﶈﺎﺭﺑﲔ ﲟﺪﻳﻨﺔ ﺑﻮﺭﺩﻭ ﻳﺘﺠﺮﻋﻮﻥ ﺍﻟﻌﺰﻟﺔ ﻭﻳﻘﺎﻭﻣﻮﻥ ﺍﳌﺮﺽ ﻭﺍﻹﻋﻴﺎﺀ ﰲ‬
‫ﺍﻧﺘﻈﺎﺭ ﺑﻀﻊ ﻓﺮﻧﻜﺎﺕ ﺗﻘﻄﺮ ﻣﻦ ﺳﺨﺎﺀ ﺑﻠﺪ ﺍﳌﺴﺎﻭﺍﺓ ﻭﺍﳊﺮﻳﺔ ﻭﺍﻹﺧﺎﺀ‪ .‬ﻭﻟﻨﻔﺾ ﺍﻟﻐﺒﺎﺭ ﻋﻦ ﻫﺬﻩ ﺍﻟﺬﺍﻛﺮﺓ ﺍﳌﻨﺴﻴﺔ‪ ،‬ﺍﺧﺘﺎﺭ ﻋﻠﻲ ﺍﻟﺼﺎﰲ‬
‫ﻛﺘﺎﺑﺔ ﺳﻴﻨﻤﺎﺋﻴﺔ ﻫﺎﺩﺋﺔ ﺗﺰﻥ ﺧﻄﻮﺍ‪‬ﺎ ﻣﻦ ﺧﻼﻝ ﺇﻳﻘﺎﻉ ﺑﻄﻲﺀ ﻳﺸﺒﻪ ﲢﺮﻙ ﺗﻠﻚ ﺍﻷﺟﺴﺎﺩ ﺍﳌﻨﻬﻜﺔ ﺍﻟﱵ ﺭﺍﻓﻘﺘﻬﺎ ﺍﻟﻜﺎﻣﲑﺍ ﳌﺪﺓ ﻃﻮﻳﻠﺔ‪ ،‬ﻻ‬
‫ﻟﺘﺴﺘﻨﻄﻘﻬﺎ‪ ،‬ﻭﻟﻜﻦ ﻟﺘﺘﺤﺪﺙ ﺇﻟﻴﻬﺎ‪ ،‬ﺃﺣﻴﺎﻧﺎ ﻣﻦ ﺩﻭﻥ ﺻﻮﺕ‪ ،‬ﻟﺘﺘﺠﺴﺪ ﺃﺣﺪﺍﺙ ﺍﻟﻘﺼﺔ ﺑﻮﺍﻗﻌﻬﺎ ﻭﺇﻳﻘﺎﻋﻬﺎ ﺍﻟﻴﻮﻣﻲ ﺍﻟﻌﻔﻮﻱ‪ ،‬ﺇﻧﻪ ﺍﳉﺮﺡ‬
‫ﺍﻟﻐﺎﺋﺮ ﺍﻟﺬﻱ ﻗﺪ ﻻ ﺗﺼﻠﻪ ﺍﳌﺒﺎﺷﺮﺓ ﻭﺍﻟﺘﻘﺮﻳﺮﻳﺔ‪ ،‬ﻓﺎﻟﻔﻴﻠﻢ ﻳﺴﺘﺤﻀﺮ ﺃﺯﻣﻨﺔ ﻭﻣﺴﺎﻓﺎﺕ ﳐﺘﻠﻔﺔ ﰲ ﻧﻔﺲ ﺍﻟﻮﻗﺖ‪ ،‬ﻭﻫﻮ ﺍﺳﺘﺤﻀﺎﺭ ﱂ‬
‫ﻳﺘﺤﻘﻖ ﺇﻻ ﺑﻔﻀﻞ ﺑﻨﺎﺀ ﺫﻛﻲ ﻟﻠﻤﺸﺎﻫﺪ ﻭﺍﻟﻠﻘﻄﺎﺕ‪ ،‬ﺣﻴﺚ ﻋﻤﻠﻴﺔ ﺇﻋﺎﺩﺓ ﺗﺮﻛﻴﺐ ﺍﻟﺰﻣﺎﻥ ﻭﺍﳌﻜﺎﻥ ﺑﺘﻠﻚ ﺍﳊﺮﺍﺭﺓ ﺍﻟﱵ ﲨﻌﺖ ﺑﲔ ﻋﺮﺍﺀ‬
‫ﺍﻟﻮﺍﻗﻊ ﻭﺩﻫﺸﺔ ﺍﳋﻴﺎﻝ‪ ،‬ﻭﻫﻮ ﻣﺎ ﺃﺗﺎﺡ ﺍﳉﻤﻊ ﺑﲔ ﻋﺎﳌﲔ ﻣﺴﺘﺤﻴﻠﲔ‪ .‬ﺑﲔ ﻋﺎﱂ ﺷﺒﺎﺏ ﻗﻮﻱ ﻣﻔﺘﻮﻝ ﺍﻟﻌﻀﻼﺕ ﻳﺘﻘﺪﻡ ﺟﺒﻬﺔ ﺍﳊﺮﺏ‪،‬‬
‫ﻭﻋﺎﱂ ﺷﻴﻮﺥ ﺃﻋﻴﺎﻫﻢ ﺍﻟﺰﻣﻦ ﻭﺷﺮﺩ‪‬ﻢ ﺍﻟﻮﻋﻮﺩ‪ .‬ﻭﻟﻌﻞ ﻋﻠﻲ ﺍﻟﺼﺎﰲ‪ ،‬ﻭﻫﻮ ﳜﺘﺎﺭ ﻫﺬﺍ ﺍﳌﻮﺿﻮﻉ ﺍﻟﺸﺎﺋﻚ ﻭﺍﳌﻮﻏﻞ ﰲ ﺍﳌﻌﺎﻧﺎﺓ‬
‫ﺍﻹﻧﺴﺎﻧﻴﺔ‪،‬ﻛﺎﻥ ﻋﻠﻰ ﻭﻋﻲ ﺗﺎﻡ ﲞﻄﻮﺭﺓ ﺍﳌﱰﻟﻘﺎﺕ ﺍﻟﱵ ﻛﺎﻥ ﻣﻦ ﺍﳌﻤﻜﻦ ﺃﻥ ﻳﻜﻮﻥ ﺿﺤﻴﺘﻬﺎ‪ ،‬ﻟﻮﻻ ﺃﻧﻪ ‪‬ﺞ ﺑﻨﺎﺀ ﺳﻴﻨﻤﺎﺋﻴﺎ ﺳﻠﺴﺎ‬
‫ﺍﻋﺘﻤﺪ ﺍﳌﻮﺿﻮﻋﻴﺔ ﻭﺍﻟﺒﻌﺪ ﺍﻟﺪﺭﺍﻣﻲ ﺩﻭﻥ ﺍﻟﺴﻘﻮﻁ ﰲ ﺍﻟﺘﻘﺮﻳﺮﻳﺔ ﺍﳌﺒﺎﺷﺮﺓ‪ .‬ﻓﻔﻲ ﺍﻟﺴﻴﻨﻤﺎ‪ ،‬ﻟﻴﺴﺖ ﺍﳌﻮﺍﺿﻴﻊ ﺍﳌﻬﻤﺔ ﻫﻲ ﺍﻟﱵ ﺗﻨﻘﺺ‬
‫ﻭﻟﻜﻨﻬﺎ ﻃﺮﻳﻘﺔ ﺗﻘﺪﱘ ﻫﺬﻩ ﺍﳌﻮﺍﺿﻴﻊ ﺳﻴﻨﻤﺎﺋﻴﺎ‪ ،‬ﻭﻗﻮﺓ ﺍﻟﻔﻴﻠﻢ ﺍﻟﱵ ﻻ ﺗﺄﰐ ﳑﺎ ﻧﺼﻮﺭﻩ‪ ،‬ﺇﳕﺎ ﻛﻴﻒ ﻧﺼﻮﺭﻩ‪ ،‬ﻭﻣﻦ ﻫﻨﺎ ﺗﺄﰐ ﺃﳘﻴﺔ ﺣﻀﻮﺭ‬
‫ﺍﳌﺨﺮﺝ ﻭﻋﻼﻗﺘﻪ ﲟﺎ ﻳﺼﻮﺭ‪.‬‬

‫ﻭﺑﻨﻔﺲ ﺍﻟﺮﺯﺍﻧﺔ ﺍﻟﺴﻴﻨﻤﺎﺋﻴﺔ ﻳﻠﺘﻔﺖ ﻋﻠﻲ ﺍﻟﺼﺎﰲ ﺇﱃ ﻣﻮﺿﻮﻉ ﺁﺧﺮ‪ ،‬ﻻ ﻳﻘﻞ ﺣﺴﺎﺳﻴﺔ ﻋﻦ ﺳﺎﺑﻘﻪ‪ ،‬ﻭﻳﺘﻌﻠﻖ ﺍﻷﻣﺮ ﺑﺎﻻﻋﺘﺪﺍﺀﺍﺕ‬
‫ﺍﻟﻌﻨﺼﺮﻳﺔ ﺍﻟﱵ ﻳﺘﻌﺮﺽ ﳍﺎ ﺃﺑﻨﺎﺀ ﺍﳉﺎﻟﻴﺔ ﺍﳌﻐﺮﺑﻴﺔ ﺑﺎﳋﺎﺭﺝ‪ ،‬ﻭﺍﳊﺪﻳﺚ ﻫﻨﺎ ﻋﻦ ﺷﺮﻳﻂ "ﺻﻤﺖ ﺣﻘﻮﻝ ﺍﻟﺸﻤﻨﺪﺭ" ﺍﻟﺬﻱ ﺃﺧﺮﺟﻪ ﺳﻨﺔ‬
‫‪ ،1998‬ﻭﻫﻮ ﳛﻜﻲ ﻗﺼﺔ ﺷﺎﺏ ﻣﻦ ﺍﳉﻴﻞ ﺍﻟﺜﺎﱐ ﻟﻘﻲ ﺣﺘﻔﻪ ﻧﺘﻴﺠﺔ ﺍﻋﺘﺪﺍﺀ ﻋﻨﺼﺮﻱ ﲟﻨﻄﻘﺔ "ﺑﲑﺳﻲ" ﺑﻀﻮﺍﺣﻲ ﺑﺎﺭﻳﺲ ﻭﺍﻟﱵ ﻻ‬
‫ﻳﺘﺠﺎﻭﺯ ﻋﺪﺩ ﺳﻜﺎ‪‬ﺎ ﺃﻟﻔﻲ ﻧﺴﻤﺔ‪ ،‬ﻭﺟﺪﺕ ﻧﻔﺴﻬﺎ ﺗﻮﺍﺟﻪ ﻧﻔﺴﻬﺎ ﻭﺃﺳﺒﺎﺏ ﺗﺼﺮﻑ ﺃﺑﻨﺎﺋﻬﺎ‪ .‬ﻳﻘﺘﺮﺡ ﺍﻟﻔﻴﻠﻢ‪ ،‬ﺯﻳﺎﺩﺓ ﻋﻠﻰ ﻣﺮﺍﺭﺓ ﻭﺍﻗﻊ‬
‫ﳐﺘﻠﻒ ‪ ،‬ﻣﺮﺍﻓﻘﺔ ﺃﺳﺌﻠﺔ ﺳﻜﺎﻥ "ﺑﲑﺳﻲ" ﺍﻟﻘﻠﻘﺔ ﺣﻮﻝ ﺍﻟﺴﺒﺐ ﺍﳊﻘﻴﻘﻲ ﺍﻟﺬﻱ ﺩﻓﻊ ﺑﺄﺑﻨﺎﺋﻬﺎ ﺇﱃ ﺍﺭﺗﻜﺎﺏ ﻫﺬﺍ ﺍﻟﻌﻤﻞ ﺍﻟﻌﻨﺼﺮﻱ ﺍﻟﺸﻨﻴﻊ‬
‫ﰲ ﺍﻟﻮﻗﺖ ﺍﻟﺬﻱ ﻻ ﻳﺸﻜﻞ ﻓﻴﻪ ﺍﻷﺟﺎﻧﺐ ﺧﻄﺮﺍ ﻋﻠﻰ ﺃﺑﻨﺎﺀ ﻫﺬﻩ ﺍﳌﻨﻄﻘﺔ ﺍﻟﻔﻼﺣﻴﺔ ﻭﻻ ﻳﺰﺍﲪﻮ‪‬ﻢ ﻟﻘﻤﺔ ﺍﻟﻌﻴﺶ‪ .‬ﻓﻤﻦ ﺃﻳﻦ ﺗﻨﺒﻊ‬
‫ﺍﻟﻌﻨﺼﺮﻳﺔ ﺇﺫﺍ؟ ﻻ ﻳﻘﺪﻡ ﺍﻟﻔﻴﻠﻢ ﺇﺟﺎﺑﺔ ﻭﻻ ﻳﺪﻋﻲ ﲢﻠﻴﻼ ﻣﻌﻴﻨﺎ ﻭﻟﻜﻨﻪ ﻳﺘﺮﻛﻨﺎ ﻧﺸﻌﺮ ﺑﺎﻷﺳﻰ ﻭﺍﻟﺘﻴﻪ ﲤﺎﻣﺎ ﻛﻤﺎ ﺷﻌﺮ ﺑﻪ ﺳﻜﺎﻥ "ﺑﲑﺳﻲ"‬
‫ﻭﻫﻢ ﻳﺘﻠﻘﻮﻥ ﺍﳋﱪ ﺍﻟﺼﺎﺩﻡ‪.‬‬

‫ﻛﻤﺎ ﺻﻮﺭ ﻋﻠﻲ ﺍﻟﺼﺎﰲ ﺃﺧﲑﺍ‪ ،‬ﻓﻴﻠﻤﺎ ﻣﺆﺛﺮﺍ ﺑﻌﻨﻮﺍﻥ "ﺩﻣﻮﻉ ﺍﻟﺸﻴﺨﺎﺕ" ﻭﳛﻜﻲ ﻗﺼﺔ ﻣﻐﻨﻴﺎﺕ ﺷﻌﺒﻴﺎﺕ ﻳﻌﺸﻦ ﺍﳊﺐ ﻭﺍﻟﺘﻬﻤﻴﺶ ﰲ‬
‫ﺁﻥ ﻭﺍﺣﺪ‪ .‬ﻭﻫﻦ ﻣﻐﻨﻴﺎﺕ ﻭﺭﺍﻗﺼﺎﺕ ﻃﻮﻋﻦ ﺍﳉﺴﺪ ﻭﺍﳊﻠﻖ ﻟﻴﺼﺮﺧﻦ ﰲ ﻭﺟﻪ ﳎﺘﻤﻊ ﻣﻨﺎﻓﻖ ﺗﻄﻮﻗﻪ ﺍﻟﺘﺎﺑﻮﻫﺎﺕ ﻣﻦ ﻛﻞ ﺟﻬﺔ‪ .‬ﻭﻣﺎ‬
‫ﺫﺍﻙ ﺇﻻ ﻟﺴﺒﺐ ﻭﺍﺣﺪ ﻫﻮ ﺃ‪‬ﻦ ﻣﺘﺸﺒﺜﺎﺕ ﲝﺮﻳﺘﻬﻦ ﺳﻼﺣﻬﻦ ﺍﻟﻮﺣﻴﺪ ﺍﻟﺬﻱ ﳝﻜﻨﻬﻦ‪ ،‬ﻫﻦ ﻓﻘﻂ‪ ،‬ﻣﻦ ﺍﻟﻐﻨﺎﺀ ﻋﻦ ﺍﻟﻈﻠﻢ ﻭﻋﻦ ﺍﻟﻘﺪﺭ‬
‫ﺍﳌﻔﺮﻭﺽ ﻋﻠﻰ ﺍﳌﺮﺃﺓ‪ .‬ﰲ ﺍﻟﻔﻴﻠﻢ ﺗﻠﺨﺺ ﺍﻟﺸﻴﺨﺔ ﻋﺎﺋﺸﺔ ﻫﺬﺍ ﺍﻟﻮﺿﻊ ﻗﺎﺋﻠﺔ ‪ :‬ﺣﻴﺎﺗﻨﺎ ﺃﺷﺒﻪ ﺑﺸﻤﻌﺔ ﲢﺘﺮﻕ ﻭﺗﻀﺤﻲ ﺑﻨﻔﺴﻬﺎ ﺣﱴ ﻳﺒﺼﺮ‬
‫ﺍﻵﺧﺮﻭﻥ‪ .‬ﰲ ﻫﺬﺍ ﺍﻟﻔﻴﻠﻢ ﻳﺘﻀﺢ ﺃﻛﺜﺮ ﺃﺳﻠﻮﺏ ﻋﻠﻲ ﺍﻟﺼﺎﰲ ﺍﻟﺬﻱ ﻳﺘﺒﲎ ﺍﲡﺎﻫﺎ ﲰﺘﻪ ﺍﻷﺳﺎﺳﻴﺔ ﺗﻘﻮﻡ ﻋﻠﻰ ﺗﻮﺛﻴﻖ ﺍﻷﻓﻌﺎﻝ ﺍﻟﺒﺸﺮﻳﺔ ﻣﻦ‬
‫ﺧﻼﻝ ﻭﺍﻗﻊ ﺍﳊﻴﺎﺓ ﺍﻟﻴﻮﻣﻴﺔ ﺑﺄﺳﻠﻮﺏ ﻓﲏ‪ .‬ﺇﻥ ﻫﺬﺍ ﺍﳌﺨﺮﺝ ﺍﻟﺬﻱ ﺍﻟﺘﻘﻴﺘﻪ ﻣﺮﺓ ﺑﺒﺎﺭﻳﺲ ﻭﻫﻮ ﻳﺘﺮﺩﺩ ﰲ ﺩﺭﺍﺳﺘﻪ ﺑﲔ ﺍﻟﺴﻴﻨﻤﺎ ﻭﺍﻟﻄﺐ‬
‫ﺍﻟﻨﻔﺴﻲ‪ ،‬ﺳﺮﻋﺎﻥ ﻣﺎ ﺍﺧﺘﺎﺭ ﺍﻟﺴﻴﻨﻤﺎ ﻛﻤﻼﺫ ﳝﺎﺭﺱ ﻓﻴﻪ ﺍﳊﻴﺎﺓ‪ .‬ﻭﻫﻮ ﰲ ﻭﺍﻗﻊ ﺍﻷﻣﺮ‪ ،‬ﱂ ﻳﻜﻦ ﺑﻌﻴﺪﺍ ﻋﻦ ﺩﻭﺭﻩ ﻛﻄﺒﻴﺐ ﻧﻔﺴﺎﱐ ‪ ،‬ﻷﻥ‬
‫ﻋﻤﻠﻪ ﻛﻤﺨﺮﺝ ﻳﺘﻄﻠﺐ ﺗﻘﻨﻴﺔ ﻣﻘﺎﺭﺑﺔ ﺧﺎﺻﺔ ﻟﻠﻌﺎﱂ ﻭﻟﻶﺧﺮﻳﻦ‪ ،‬ﺣﻴﺚ ﳚﺐ ﻋﻠﻰ ﻛﻞ ﻣﻦ ﺍﻟﻄﺒﻴﺐ ﺍﻟﻨﻔﺴﻲ ﻭﺍﳌﺨﺮﺝ ﺍﻟﺴﻴﻨﻤﺎﺋﻲ‬
‫ﺇﺗﻘﺎﻥ ﻓﻦ ﺍﳊﺪﻳﺚ ﺇﱃ ﺍﻟﻨﺎﺱ ﻭﺇﻗﻨﺎﻋﻬﻢ ﻭﺧﺎﺻﺔ ﻟﻼﺳﺘﻤﺎﻉ ﺇﻟﻴﻬﻢ‪ ،‬ﻭﻻ ﻏﺮﻭ ﰲ ﺃﻥ ﺍﻟﻔﻴﻠﻢ ﺍﻟﻮﺛﺎﺋﻘﻲ ﻳﺴﻤﺢ ﻟﻨﺎ ﺑﺬﻟﻚ‪ ،‬ﻭﻳﺘﻴﺢ ﺍﻟﺘﻌﺮﻑ‬
‫ﻋﻠﻰ ﺍﻟﻨﺎﺱ ﰲ ﻋﻤﻘﻬﻢ ﺍﻟﻜﺒﲑ‪ .‬ﻓﺎﻟﻔﻴﻠﻢ ﺍﻟﻮﺛﺎﺋﻘﻲ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻌﻠﻲ ﺍﻟﺼﺎﰲ ‪ ،‬ﻭﻋﺎﺀ ﻟﻠﺬﺍﻛﺮﺓ‪ .‬ﳍﺬﺍ ﺍﻟﺴﺒﺐ ﻳﻨﺒﻐﻲ ﺍﻻﻋﺘﻨﺎﺀ ﺑﻪ‪ ،‬ﻭﻫﻮ ﳕﻂ‬
‫ﻣﻦ ﺍﳌﺮﻓﻖ ﺍﻟﻌﺎﻡ ﻷﻧﻪ ﻳﻘﺎﺭﺏ ﻭﺍﻗﻊ ﺍﻟﻨﺎﺱ ﻭﺍ‪‬ﺘﻤﻊ‪ .‬ﺇﻥ ﺍﻟﺴﻴﻨﻤﺎ ﻟﻴﺴﺖ ﺣﻴﺎﺗﻪ‪ .‬ﻗﺪ ﺗﻜﻮﻥ ﻫﻮﺍﻳﺘﻪ ‪ ،‬ﻭﻟﻜﻨﻬﺎ ﻟﻴﺲ ﻛﻞ ﺣﻴﺎﺗﻪ‪" .‬ﺍﳊﻴﺎﺓ‬
‫ﻫﻲ ﺃﻛﺜﺮ ﺃﳘﻴﺔ ﻣﻦ ﻓﻴﻠﻢ"‪.‬‬
‫ﺣﻜﻴﻢ ﺑﻠﻌﺒﺎﺱ‪:‬‬
‫ﺑﲔ ﺗﺮﺍﺟﻴﺪﻳﺔ ﺍﻟﻮﺍﻗﻊ ﻭﻗﺼﻮﺭ ﺍﻟﺘﺨﻴﻴﻞ‬

‫ﺃﻣﺎ ﺍﳌﺨﺮﺝ ﺍﻟﺜﺎﱐ ﻓﻬﻮ ﺣﻜﻴﻢ ﺑﻠﻌﺒﺎﺱ ﺍﺑﻦ ﻣﺪﻳﻨﺔ ﺃﰊ ﺍﳉﻌﺪ‪ ،‬ﺍﻟﺬﻱ ﺩﺭﺱ ﺍﻟﺴﻴﻨﻤﺎ ﲟﺪﻳﻨﺔ ﺷﻴﻜﺎﻏﻮ ﺍﻷﻣﲑﻛﻴﺔ ﻭﺍﺳﺘﻘﺮ ‪‬ﺎ ﻳﺪﺭ‪‬ﺱ ﻣﺎﺩﺓ‬
‫ﺍﻟﺴﻴﻨﻤﺎ ﺍﻟﻌﺮﺑﻴﺔ‪ .‬ﺃﺧﺮﺝ "ﻋﺶ ﰲ ﺍﳊ ‪‬ﺮ" ﺳﻨﺔ ‪" ،1996‬ﺟﺎﻫﺰﻭﻥ ﺩﺍﺋﻤﺎ" ﺳﻨﺔ ‪ ،1997‬ﻭ"ﺍﻟﺮﺍﻋﻲ ﻭﺍﻟﺒﻨﺪﻗﻴﺔ" ﺳﻨﺔ ‪" ،1998‬ﺛﻼﺛﺔ‬
‫ﻣﻼﺋﻜﺔ ﺻﻐﺎﺭ"‪ ،‬ﻭ"ﺍﻟﻮﺻﻮﻝ ﺇﱃ ﺍﻟﻘﻤﺔ" ‪ ،2006‬ﻭ"ﻋﻼﺵ ﺍﻟﺒﺤﺮ" ﺍﻟﺬﻱ ﻧﺎﻝ ﺑﻪ ﺍﳌﻬﺮ ﺍﻟﱪﻭﻧﺰﻱ ﰲ ﻣﻬﺮﺟﺎﻥ ﺩﰊ ﺍﻟﺴﻴﻨﻤﺎﺋﻲ‬
‫ﺍﻷﺧﲑ‪ .‬ﰒ ﻳﻌﻮﺩ ﺣﻜﻴﻢ ﺑﻠﻌﺒﺎﺱ ﺇﱃ ﻣﺴﻘﻂ ﺭﺃﺳﻪ ﺃﰊ ﺍﳉﻌﺪ‪ ،‬ﺍﻟﱵ ﺻﻮﺭ ‪‬ﺎ ﻣﻌﻈﻢ ﺃﻓﻼﻣﻪ‪ ،‬ﻟﻴﺸﺘﻐﻞ ﻋﻠﻰ ﻋﻤﻞ ﺟﺪﻳﺪ ﳛﻤﻞ ﻋﻨﻮﺍﻥ‬
‫"ﺣﺮﻓﺔ ﺑﻮﻙ ﺣﻴﺖ ﻏﻠﺒﻮﻙ"‪ ،‬ﺍﻟﺬﻱ ﻳﺸﻜﻞ ﺍﺳﺘﺮﺟﺎﻋﺎ ﻟﺒﻌﺾ ﻣﻦ ﻭﺟﻮﻩ ﻫﺬﻩ ﺍﳌﺪﻳﻨﺔ‪ .‬ﻫﻨﺎﻙ ﺧﻴﻂ ﻧﺎﻇﻢ ﰲ ﺳﻴﻨﻤﺎ ﺣﻜﻴﻢ ﺑﻠﻌﺒﺎﺱ‪:‬‬
‫ﺗﺴﺎﺅﻝ ﺛﺎﺑﺖ ﻭﻣﺴﺘﻤﺮ ﺑﺸﺄﻥ ﺍﻷﺳﺮﺓ‪ ،‬ﺍﳌﺼﲑ‪ ،‬ﺍﻻﺧﺘﻴﺎﺭ‪ ،‬ﻭﻛﻞ ﻗﻀﺎﻳﺎ ﺍﻹﻧﺴﺎﻥ ﺍﻟﱵ ﻳﺸﻜﻞ ﻓﻴﻬﺎ ﺍﻟﺘﻘﺎﻃﺐ ﺑﲔ ﺍﳍﻨﺎ ﻭﺍﳍﻨﺎﻙ ﻭﺑﲔ‬
‫ﺍﻟﺒﻌﺪ ﻭﺍﻟﻌﻮﺩﺓ ﺇﱃ ﺍﳉﺬﻭﺭ‪ ،‬ﺣﺠﺮ ﺍﻟﺰﺍﻭﻳﺔ‪ .‬ﻭﻳﺒﺪﻭ ﺫﻟﻚ ﺟﻠﻴﺎ ﻣﻦ ﺧﻼﻝ ﻓﻴﻠﻤﻪ ﳘﺴﺎﺕ )‪ ، (2000‬ﻭﻫﻮ ﻓﻴﻠﻢ ﻗﺼﲑ ﻳﺪﻭﺭ ﺣﻮﻝ‬
‫ﻗﺼﺔ ﺭﺟﻞ ﻳﺒﺤﺚ ﻋﻦ ﻃﻔﻮﻟﺘﻪ‪ .‬ﻛﻤﺎ ﳛﻜﻲ ﻓﻴﻠﻤﻪ ﺍﻟﻮﺛﺎﺋﻘﻲ "ﺛﻼﺛﺔ ﻣﻼﺋﻜﺔ ﺻﻐﺎﺭ")‪ ، (2001‬ﻋﻦ ﺍﻷﻃﻔﺎﻝ ﺍﶈﺮﻭﻣﲔ ‪ ،‬ﻭﻋﻼﻗﺘﻬﻢ‬
‫ﺑﺬﻭﻳﻬﻢ‪ .‬ﻭﻳﺬﻫﺐ ﻓﻴﻠﻢ )ﺧﻴﻂ ﺍﻟﺮﻭﺡ( ﻋﻦ ﺣﻠﻢ ﳑﻨﻮﻉ ﺭﺍﻓﻖ ﺍﺑﻦ ﺧﺰﺍﻑ ﺃﺭﺍﺩ ﺃﻥ ﻳﺼﺒﺢ ﳓﺎﺗﺎ‪ .‬ﺇ‪‬ﺎ ﻓﻴﻠﻤﻮﻏﺮﺍﻓﻴﻪ ﻣﻨﻐﺮﺳﺔ ﺑﻌﻨﺎﺩ ﰲ‬
‫ﻣﺴﻘﻂ ﺭﺃﺳﻪ ﺃﰊ ﺍﳉﻌﺪ‪ ،‬ﳑﺎ ﺃﺿﻔﻰ ﻋﻠﻰ ﺃﻓﻼﻣﻪ ﻏﻄﺎﺀ ﺷﻔﺎﻓﺎ ﻣﻦ ﺍﻟﺼﺪﻕ ﰲ ﺗﻨﺎﻭﻝ ﺍﻟﻮﺍﻗﻊ ﺑﺄﺩﻭﺍﺕ ﺗﺪﻣﺞ ﺍﳌﺸﺎﻫﺪ ﻭﺍﻷﻧﺎ ﺍﻟﻔﺮﺩﻳﺔ‬
‫ﻭﺍﳉﻤﻌﻴﺔ ﰲ ﻛﻴﻤﻴﺎﺀ ﳑﻴﺰﺓ‪.‬‬

‫ﰲ ﻓﻴﻠﻤﻪ )ﻋﻼﺵ ﺁﻟﺒﺤﺮ( ﺍﻟﺬﻱ ﻓﺎﺯ ﲜﺎﺋﺰﺓ ﺍﳌﻬﺮ ﺍﻟﱪﻭﻧﺰﻳﺔ ﺑﺎﻟﺪﻭﺭﺓ ﺍﻟﺜﺎﻟﺜﺔ ﳌﻬﺮﺟﺎﻥ ﺩﰊ ﺍﻟﺴﻴﻨﻤﺎﺋﻲ‪ ،‬ﻳﻈﻬﺮ ﺣﻜﻴﻢ ﺑﻠﻌﺒﺎﺱ ﻭﻓﻴﺎ‬
‫ﻟﺼﻮﺭﺗﻪ ﻭﺻﻮﺗﻪ ﺍﳌﻐﺮﺑﻴﲔ ﺑﺈﺣﺎﻻﺗﻪ ﺍﻟﻘﻮﻳﺔ ﻋﻠﻰ ﻭﺍﻗﻊ ﻣﻐﺮﰊ ﻳﺴﺘﻌﺼﻲ ﻋﻠﻰ ﺍﻻﺳﺘﻘﺮﺍﺭ‪ ،‬ﻭﺫﻟﻚ ﺑﺎﻟﺮﻏﻢ ﻣﻦ ﻛﻮﻧﻪ ﻳﻌﻴﺶ ﰲ ﺷﻴﻜﺎﻏﻮ‬
‫ﻣﻨﺬ ﺳﻨﻮﺍﺕ ﻋﺪﻳﺪﺓ‪ .‬ﻳﺄﰐ ﺻﻮﺕ ﺣﻜﻴﻢ ﺑﻠﻌﺒﺎﺱ ﻗﻮﻳﺎ ﻫﺬﻩ ﺍﳌﺮﺓ ﻳﺴﺎﺀﻝ ﺃﻣﻮﺍﺝ ﺍﻟﺒﺤﺮ ﺳﺮ ﺍﻟﻐﻴﺎﺏ‪ ،‬ﻓﺎﻟﻔﻴﻠﻢ ﺍﻟﺬﻱ ﻣﺰﺝ ﻓﻴﻪ ﺍﳌﺨﺮﺝ‬
‫ﺑﲔ ﻣﺮﺍﺭﺓ ﺍﻟﻮﺍﻗﻊ ﻭﺳﻼﺳﺔ ﺍﻟﺘﺨﻴﻴﻞ‪ ،‬ﻋﺒﺎﺭﺓ ﻋﻦ ﺭﺣﻠﺔ ﲝﺮﻳﺔ ﲤﺘﺰﺝ ﻓﻴﻬﺎ ﺍﳊﻘﻴﻘﺔ ﺑﺎﳋﻴﺎﻝ‪ ،‬ﺣﻴﺚ ﻳﺮﺻﺪ ﺑﺬﻛﺎﺀ ﺧﻄﻮﺍﺕ ﺳﻌﻴﺪ‪،‬‬
‫ﺍﻟﺼﻴﺎﺩ ﺍﻟﺸﺎﺏ ﺍﻟﺬﻱ ﻳﺘﻮﺟﻪ ﻳﻮﻣﻴﺎ ﺇﱃ ﺍﻟﺒﺤﺮ ﻣﻊ ﺻﺪﻳﻘﻴﻪ ﺍﻟﺸﺎﺑﲔ ﻟﺼﻴﺪ ﺍﻟﺴﻤﻚ‪ ،‬ﳐﻠﻔﲔ ﻭﺭﺍﺋﻬﻢ ﺧﻔﻘﺎﻥ ﻗﻠﻮﺏ ﺟﺮﳛﺔ ﺗﺴﺒﺢ ﰲ‬
‫ﻗﻠﻖ ﺩﺍﺋﻢ ‪ ،‬ﻭﺫﺍﺕ ﻳﻮﻡ ﳜﱪ ﺳﻌﻴﺪ ﻭﺍﻟﺪﺗﻪ ﺑﺄﻧﻪ ﻳﺸﺎﻫﺪ ﺍﻣﺮﺃﺓ ﻏﺮﻳﺒﺔ ﰲ ﻛﻞ ﻣﻜﺎﻥ ﻭﻳﺼﺒﺢ ﺃﺳﲑﺍ ﻟﺴﺤﺮﻫﺎ ﻭﻏﻤﻮﺿﻬﺎ‪ ،‬ﻣﻦ ﺩﻭﻥ ﺃﻥ‬
‫ﻳﺪﺭﻱ ﺃ‪‬ﺎ ﻗﺪ ﺗﻜﻮﻥ ﺣﻮﺭﻳﺔ ﲝﺮ ﺗﺴﻌﻰ ﻻﺧﺘﻄﺎﻓﻪ‪.‬‬

‫ﺇﻥ ﺍﻟﺴﻴﻨﻤﺎ ﺑﺎﻟﻨﺴﺒﺔ ﳊﻜﻴﻢ ﺑﻠﻌﺒﺎﺱ ﲤﺜﻞ ﺳﻠﻄﺔ ﺍﻻﺳﺘﻌﺎﺭﺓ ﺍﻟﺒﺼﺮﻳﺔ‪ ،‬ﻭﻫﻲ ﻋﻨﺪﻣﺎ ﺗﺼﻞ ﺇﱃ ﻫﺬﺍ ﺍﳌﺴﺘﻮﻯ ‪ ،‬ﺗﺼﺒﺢ ﺷﻌﺮﺍ‪ ،‬ﻭﻏﻨﺎﺀ‬
‫ﻭﺳﺤﺮﺍ‪ .‬ﻭﻫﻮ ﻻ ﻳﻌﺘﻘﺪ ﻧﺴﻖ ﺍﻟﺴﺮﺩ ﺍﻟﺘﻘﻠﻴﺪﻱ‪ ،‬ﺣﻴﺚ ﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﺮﺋﻴﺴﻴﺔ ﻭﺍﻟﻘﺼﺔ ﺫﺍﺕ ﺍﻟﺒﺪﺍﻳﺔ ﻭﺍﻟﻌﺮﺽ ﻭﺍﳋﺎﲤﺔ‪ .‬ﺍﻟﻘﺼﺔ ﻋﻨﺪﻩ‬
‫ﻟﻴﺴﺖ ﺑﺎﻟﻀﺮﻭﺭﺓ ﺍﻧﺼﻴﺎﻋﺎ ﳍﺬﺍ ﺍﻟﻘﺎﻧﻮﻥ‪ ...) .‬ﺃﻋﺘﻘﺪ ﺃﻥ ﻗﺼﺼﻲ ﲟﺜﺎﺑﺔ ﺍﻟﻘﻠﺐ ﺍﻟﻨﺎﺑﺾ‪..‬ﻭﻣﻦ ﺍﻻﺩﻋﺎﺀ ﺍﻟﻘﻮﻝ ﺃﻧﻪ ﳝﻜﻨﻨﺎ ﺍﻟﺘﻌﺎﻣﻞ ﻣﻊ‬
‫ﺍﳌﺸﺎﻛﻞ ﺍ‪‬ﺘﻤﻌﻴﺔ ﰲ ﺳﺎﻋﺔ ﻭﻧﺼﻒ ﺍﻟﺴﺎﻋﺔ‪ .‬ﺷﺨﺼﻴﺎ ‪ ،‬ﺃﻧﺎ ﺃﻫﺘﻢ ﺑﺎﻟﻠﺤﻈﺎﺕ ﺍﻟﺼﻐﲑﺓ ﻣﻦ ﺍﻟﺴﻌﺎﺩﺓ ﻭﻣﻦ ﺍﳊﺰﻥ ﰲ ﺭﺣﻠﺔ ﺍﻹﻧﺴﺎﻥ‪.‬‬
‫ﺃﻓﻀﻞ ﺃﻥ ﺃﻏﺮﻕ ﰲ ﺍﻟﻠﺤﻈﺎﺕ ﺍﻷﻛﺜﺮ ﲪﻴﻤﻴﺔ ﻋﻠﻰ ﺃﻥ ﺃﻓﺴﺮﻫﺎ‪ .‬ﺣﱴ ﰲ ﺍﳊﻴﺎﺓ ﺍﻟﻴﻮﻣﻴﺔ ‪ ،‬ﺃﺣﺎﻭﻝ ﺩﺍﺋﻤﺎ ﺃﻥ ﺃﲝﺚ ﻋﻦ ﺍﻟﺴﺤﺮ ﰲ ﻛﻞ‬
‫ﻣﺎ ﻫﻮ ﻭﺍﻗﻌﻲ‪ ،‬ﻓﺄﻧﺎ ﺃﺣﺐ ﺍﻟﺴﻌﺎﺩﺓ ﺍﻟﺒﺴﻴﻄﺔ )‪ (...‬ﺃﻭﺩ ﻓﻘﻂ ﺃﻥ ﻳﺸﻌﺮ ﺍﳌﺸﺎﻫﺪ ﺑﺼﻮﺭﻱ ﻣﻦ ﺩﻭﻥ ﺃﻥ ﻳﻔﻬﻤﻬﺎ ﺑﺎﻟﻀﺮﻭﺭﺓ‪ ،‬ﺇ‪‬ﺎ ﻣﻀﻴﻌﺔ‬
 ‫ﻟﻠﻮﻗﺖ ﺃﻥ ﻧﻌﻄﻲ ﺍﳉﻤﻬﻮﺭ ﻣﺎ ﻛﺎﻥ ﻳﺘﻮﻗﻊ‪ .‬ﺃﻧﺎ ﺿﺪ ﻫﺬﻩ ﺍﻟﻔﻜﺮﺓ ﺍﻟﻘﺎﺋﻠﺔ ﺑﺄﻧﻪ ﳚﺐ ﺃﻥ ﻧﻌﺮﻑ ﻛﻴﻒ ﻧﻔﺎﺟﺊ ﺍﳉﻤﻬﻮﺭ‪ ..‬ﻭﻣﻊ ﺫﻟﻚ ‪،‬‬
‫ﺃﻧﺎ ﺃﻋﻤﻞ ﺍﻟﺴﻴﻨﻤﺎ ﲝﺐ ‪ ،‬ﻭﺑﺪﺍﻓﻊ ﺍﳊﺎﺟﺔ ﺇﱃ ﺍﻻﻗﺘﺴﺎﻡ ﻣﻊ ﺍﻵﺧﺮ‪.(...‬‬
‫ﺇﻥ ﻣﺴﺄﻟﺔ ﺍﳋﻴﺎﻝ ﺃﻭ ﻏﲑ ﺍﳋﻴﺎﻝ‪ ...‬ﻫﻲ ﻣﻔﺎﻫﻴﻢ ﻻ ﻣﻜﺎﻥ ﳍﺎ ﰲ ﺗﺼﻮﺭ ﺣﻜﻴﻢ ﺑﻠﻌﺒﺎﺱ ﻟﻠﺴﻴﻨﻤﺎ‪ .‬ﻣﺎ ﻳﻬﻢ ﻋﻨﻪ ﻫﻮ ﺍﻟﻘﺼﺔ ﺍﻟﱵ ﳛﻜﻴﻬﺎ‬
‫ﺍﻟﻔﻴﻠﻢ‪ ،‬ﺍﻟﻘﺼﺔ ﻧﻔﺴﻬﺎ ﻫﻲ ﺍﻟﱵ ﲤﻠﻲ ﻋﻠﻴﻨﺎ ﻛﻴﻒ ﺗﺮﻳﺪ ﺃﻥ ﺗﻜﻮﻥ ﳏﻜﻴﺔ‪ ..‬ﻣﺎ ﻳﻬﻢ ﻓﻴﻬﺎ ﻫﻮ ﺍﺳﺘﺪﺭﺍﺝ ﺍﻟﻠﺤﻈﺎﺕ ﺍﻟﻘﻮﻳﺔ‪ .‬ﻭﻟﻌﻞ ﺗﻮﻗﻴﻊ‬
‫ﺣﻜﻴﻢ ﺑﻠﻌﺒﺎﺱ ﰲ ﻛﻞ ﻓﻴﻠﻢ‪ ،‬ﻫﻮ ﺗﻔﻜﻴﻚ ﺍﻟﺴﺮﺩ ﺍﳋﻄﻲ ﻭﺗﺪﺍﺧﻞ ﺍﳊﻘﻴﻘﻲ ﺑﺎﳋﻴﺎﱄ‪ .‬ﻭﻳﺒﺪﻭ ﺫﻟﻚ ﺟﻠﺴﺎ ﻣﻦ ﺧﻼﻝ ﻓﻴﻠﻢ )ﺧﻴﻂ‬
‫ﺍﻟﺮﻭﺡ( ‪ ،‬ﺣﻴﺚ ﰎ ﺗﺼﻮﻳﺮ ﻟﻘﻄﺎﺕ ﺧﺘﺎﻥ ﺣﻘﻴﻘﻲ ﻻﺑﻦ ﺯﻣﻴﻞ ﺍﳌﺨﺮﺝ‪.‬‬
‫ﻭﺑﻌﺪ ﺛﻼﺙ ﺳﻨﻮﺍﺕ ﻣﻦ ﺗﺼﻮﻳﺮ ﻫﺬﻩ ﺍﻟﻠﻘﻄﺎﺕ‪ ،‬ﻳﻘﻮﻡ ﺣﻜﻴﻢ ﺑﻠﻌﺒﺎﺱ ﺑﺎﻟﻐﻄﺲ ﰲ ﺍﳌﺎﺀ ﻟﻴﺼﻮﺭ ﺑﻄﻞ ﻓﻴﻠﻤﻪ )ﻋﻼﺵ ﺁﻟﺒﺤﺮ( ‪ ،‬ﻭﰲ‬
‫ﻓﺠﺮ ﻣﺎ ﻋﻠﻰ ﺍﻟﺸﺎﻃﺊ ‪ ،‬ﺭﺃﻯ ﻗﺎﺭﺏ ﺻﻴﺎﺩ ﻳﻈﻬﺮ ﻭﳜﺘﻔﻲ ﰲ ﺍﻷﻣﻮﺍﺝ‪ .‬ﻳﻘﻮﻝ ﺍﳌﺨﺮﺝ )ﻋﻨﺪﻣﺎ ﺭﺃﻳﺖ ﻭﺟﻬﻪ ‪ ،‬ﻭﺷﻌﺮﺕ ﺗﻘﺮﻳﺒﺎ ﺃﻧﲏ‬
‫ﺃﻣﺎﻡ ﻣﺎﺭﻟﻮﻥ ﺑﺮﺍﻧﺪﻭ‪ .‬ﺣﻀﻮﺭﻩ ﻭﺇﳝﺎﺀﺍﺗﻪ‪ ،‬ﻭﺗﻠﻚ ﺍﻟﻨﺪﻭﺏ ﻋﻠﻰ ﻭﺟﻬﻪ ﺧﻠﻘﺖ ﻟﺬﻱ ﺭﻏﺒﺔ ﰲ ﺇﻧﺼﺎﻑ ﻟﻐﺔ ﺍﻟﺼﻴﺎﺩﻳﻦ ﻣﻦ ﺧﻼﻟﻪ‪."..‬‬
‫ﻛﻦ ﻫﺬﻩ ﺍﻷﻓﻼﻡ ﺍﻟﻮﺛﺎﺋﻘﻴﺔ ﳍﺎ ﲦﻦ‪ ..‬ﻳﻀﻴﻒ "ﺃﻧﺎ ﻣﻄﺎﺭﺩ ﲟﻌﻀﻠﺔ ﺃﺧﻼﻗﻴﺔ‪ ،‬ﺑﺴﺮﻗﺔ ﺻﻮﺭ ﻷﺷﺨﺎﺹ ﻣﺎ‪ ،‬ﺑﺎﺳﺘﺨﺪﺍﻡ ﻫﻮﻳﺘﻪ ﻟﺼﻨﻊ‬
‫ﺃﻓﻼﻣﻲ‪ .‬ﻫﻨﺎﻙ ﺷﻲﺀ ﻏﲑ ﺻﺤﻲ ﰲ ﻫﺬﻩ ﺍﻟﻌﻤﻠﻴﺔ‪ ،‬ﰲ ﻛﺜﲑ ﻣﻦ ﺍﻷﺣﻴﺎﻥ ﺃﺗﺴﺎﺀﻝ ‪" :‬ﺑﺄﻱ ﺣﻖ؟"‪ .‬ﻟﻜﻦ ﻣﺎ ﻳﻐﻔﺮ ﻟﻪ ﻓﻘﻂ ﻫﻮ ﻧﻘﺎﺀ‬
‫ﻧﻮﺍﻳﺎﻩ‪ ..‬ﺭﲟﺎ ﻣﺎ ﺳﻮﻑ ﻳﻔﻬﻤﻪ ﻳﻮﻣﺎ ﺫﻟﻚ ﺍﻟﺼﱯ ﺍﻟﺬﻱ ﰎ ﺧﺘﺎﻧﻪ ﰲ ﻓﻴﻠﻢ "ﺧﻴﻂ ﺍﻟﺮﻭﺡ"‪ .‬ﻭ ﺍﻳﻀﺎ ‪ ،‬ﺍﻣﻲ ﻓﺎﻃﻨﺔ ‪ ،‬ﺗﻠﻚ ﺍﳌﺮﺃﺓ ﺍﳌﻜﻠﻮﻣﺔ‬
‫ﺍﻟﱵ ﻓﻘﺪﺕ ﺯﻭﺟﻬﺎ ﻭﺍﺛﻨﲔ ﻣﻦ ﺃﺑﻨﺎﺋﻬﺎ ﺍﻟﺼﻴﺎﺩﻳﻦ ﰲ ﺍﻟﺒﺤﺮ ﰲ "ﻋﻼﺵ ﺁﺍﻟﺒﺤﺮ "‪.‬‬
‫ﻳﺆﻣﻦ ﺣﻜﻴﻢ ﺑﻠﻌﺒﺎﺱ ﻛﺜﲑﺍ ﰲ ﺻﺪﻕ ﺍﻷﺣﺎﺳﻴﺲ ﻭﺳﺤﺮ ﺍﳊﻴﺎﺓ ﺍﻟﻴﻮﻣﻴﺔ ﻭﻫﻮ ﳛﺎﻭﻝ ﺍﻟﺘﻘﺎﻁ ﺫﻟﻚ ﺍﳉﻤﺎﻝ ﺍﻟﺮﻫﻴﺐ ﺍﻟﺬﻱ ﲢﻔﻞ ﺑﻪ‪،‬‬
‫ﻭﻫﻮ ﲨﺎﻝ ﻻ ﳝﻜﻦ ﺻﻨﺎﻋﺘﻪ‪ ،‬ﺑﻞ ﻓﻘﻂ ﺍﻟﺘﻘﺎﻃﻪ ﰲ ﺻﻔﺎﺋﻪ ﻭﻧﻘﺎﺀ ﳊﻈﺎﺗﻪ ﺍﳊﻤﻴﻤﻴﺔ‪ ،‬ﻟﺬﺍ ﻻ ﳒﺪﻩ ﺃﺑﺪﺍ ﻳﺒﺤﺚ ﻋﻦ ﺍﻟﻨﺠﻮﻡ ﻷﺩﺍﺀ ﺃﺩﻭﺍﺭ‬
‫ﺃﻓﻼﻣﻪ ﺍﻷﻭﱃ‪ .‬ﻳﻘﻮﻝ )‪..‬ﺍﻟﻨﺠﻮﻡ ﻫﻢ ﺍﻟﻨﺎﺱ ﺍﻟﺬﻳﻦ ﻧﻠﺘﻘﻴﻬﻢ ﰲ ﺍﻟﺸﻮﺍﺭﻉ ﻛﻞ ﻳﻮﻡ‪ ،‬ﻣﻊ ﻫﺆﻻﺀ ﻳﺘﻜﻮﻥ ﻟﺪﻳﻨﺎ ﺍﻧﻄﺒﺎﻉ ﺃﻧﻨﺎ ﺑﺼﺪﺩ ﺗﻠﻘﻲ‬
‫ﻣﻮﺍﻛﺐ ﻣﻦ ﺍﳌﺸﺎﻫﺪ ﺍﻟﻠﺼﻴﻘﺔ ﲝﻴﺎﺗﻨﺎ‪ .‬ﻭﻋﻦ ﺷﻬﺎﺩﺓ ﻣﻲ ﻓﺎﻃﻨﺔ ﻳﻀﻴﻒ )‪..‬ﳝﻜﻨﲏ ﺭﻣﻲ ﻟﻔﺔ ﻛﺎﻣﻠﺔ ﻣﻦ ﺍﻟﻔﻴﻠﻢ ﻭﺃﺑﻘﻲ ﻋﺸﺮ ﺩﻗﺎﺋﻖ ﻓﻘﻂ‬
‫ﻣﻦ ﺷﻬﺎﺩ‪‬ﺎ ﰲ ‪‬ﺎﻳﺔ ﺍﻟﻔﻴﻠﻢ ﻭﺃﻛﻮﻥ ﻗﺪ ﻗﻤﺖ ﺑﻌﻤﻠﻲ ﻛﺎﻣﻼ"‪.‬‬

‫ﻋﻠﻰ ﺳﺒﻴﻞ ﺍﳋﺘﻢ‪.‬‬

‫ﺇﻥ ﺍﻟﻌﻼﻗﺔ ﺑﲔ ﺍﳋﻴﺎﻝ ﻭﺍﻟﻮﺍﻗﻊ ﻫﻲ ﻋﻼﻗﺔ ﻣﻌﻘﺪﺓ‪ ،‬ﺣﻴﺚ ﺍﳋﻴﺎﻝ ﻫﻮ ﺍﻟﻄﺮﻳﻘﺔ ﺍﻟﻮﺣﻴﺪﺓ ﳌﻘﺎﺭﺑﺔ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻭﺍﻟﻮﺍﻗﻊ ﻫﻮ ﺍﳉﻨﺎﺡ ﺍﻟﺬﻱ ﳓﻠﻖ‬
‫ﺑﻪ ﰲ ﲰﺎﺀ ﺍﳋﻴﺎﻝ‪ .‬ﺍﻟﻔﻴﻠﻢ ﺍﻟﻮﺛﺎﺋﻘﻲ ﻫﻮ ﺇﻋﺎﺩﺓ ﺑﻨﺎﺀ ﻫﺬﺍ ﺍﻟﻮﺍﻗﻊ ﻣﻊ ﺍﻻﻟﺘﺰﺍﻡ ﺍﻟﻮﺍﺿﺢ ﺑﺮﺅﻳﺔ ﺇﺧﺮﺍﺟﻴﺔ ﻭﺗﺼﻮﺭ ﺩﺭﺍﻣﻲ ﻭﺳﺮﺩﻱ ﻭﺍﺿﺢ‪.‬‬
‫ﺍﻟﻔﻴﻠﻢ ﺍﻟﻮﺛﺎﺋﻘﻲ ﻫﻮ ﺃﻳﻀﺎ ﺭﺅﻳﺔ ﺷﺨﺼﻴﺔ‪ ،‬ﻭﺗﻌﺒﲑ ﻋﻦ ﻭﺟﻬﺔ ﻧﻈﺮ ﻗﺎﻋﺪ‪‬ﺎ ﺍﻷﺳﺎﺳﻴﺔ ﻭﺍﳌﻄﻠﻘﺔ ﺍﺣﺘﺮﺍﻡ ﺻﻮﺭﺓ ﺍﻷﺷﺨﺎﺹ ﺍﳌﺼﻮﺭﻳﻦ‬
‫ﻭﺻﻮﺭﺓ ﺍﳌﺘﻠﻘﻲ ﺍﻟﺬﻱ ﳚﺐ ﺃﻥ ﻳﺒﻘﻰ ﻟﻪ ﺍﳊﻴﺰ ﺍﻷﻛﱪ ﰲ ﺗﺄﻭﻳﻞ ﺍﻹﺑﺪﺍﻉ ﺍﻟﻔﻴﻠﻤﻲ‪ .‬ﻓﻜﻞ ﺷﻲﺀ ﻣﺼﺪﺭﻩ ﺍﳋﻴﺎﻝ‪ ،‬ﻭﺇﺫﺍ ﻛﺎﻥ ﺍﳋﻴﺎﻝ‬
‫ﻳﻌﺘﻤﺪ ﻋﻠﻰ ﻋﻨﺎﺻﺮ ﻣﺘﺨﻴﻠﺔ ﻓﻬﻮ ﻳﻨﺒﲏ ﻛﺬﻟﻚ ﻋﻠﻰ ﺃﺣﺪﺍﺙ ﺣﻘﻴﻘﻴﺔ ﺗﺴﻌﻰ ﺇﱃ ﲢﻘﻴﻖ ﻧﻔﺲ ﺃﻫﺪﺍﻑ ﺍﻟﻮﺛﺎﺋﻘﻲ‪ .‬ﻣﺎ ﻳﺴﻤﺢ ﻟﻨﺎ ﺃﻥ‬
‫ﻧﻘﻮﻝ‪ ،‬ﺇﺫﺍ ﺩﻓﻌﻨﺎ ‪‬ﺬﺍ ﺍﳌﻨﻄﻖ ﺃﻣﺎﻣﺎ‪ ،‬ﻟﻴﺲ ﻓﻘﻂ ﻛﻞ ﻓﻴﻠﻢ ﻫﻮ ﺧﻴﺎﻝ )ﺍﻟﺼﻮﺭﺓ ﻟﻴﺴﺖ ﺳﻮﻯ ﺗﺄﻭﻳﻞ ﻟﻠﻌﺎﱂ( ‪ ،‬ﻭﻟﻜﻦ ﰲ ﻧﻔﺲ ﺍﻟﻮﻗﺖ ‪،‬‬
‫ﻛﻞ ﻓﻴﻠﻢ ﻫﻮ ﻭﺍﻗﻌﻲ‪ .‬ﺍﻟﻮﺍﻗﻊ ﻫﻨﺎ‪ ،‬ﻻ ﻳﻌﲏ ﺍﳊﻘﻴﻘﺔ‪ ،‬ﻭﻟﻌﻞ ﺍﻟﺴﻴﻨﻤﺎﺋﻴﲔ ﺍﻟﻜﺒﺎﺭ ﻣﻦ ﺃﻣﺜﺎﻝ ﺃﻭﺭﺳﻮﻥ ﻭﻳﻠﺲ‪ ،‬ﺃﻻﻥ ﻛﺎﻓﺎﻟﻴﻲ‪ ،‬ﺷﺎﻧﺘﺎﻝ‬
‫ﺍﻛﲑﻣﺎﻥ‪ ،‬ﺍﻟﺬﻳﻦ ﻳﺴﺘﺸﻌﺮﻭﻥ ﺍﳊﺎﺟﺔ ﻟﺘﻌﺒﲑ ﺃﻓﻀﻞ ﻋﻦ ﺇﺑﺪﺍﻋﻬﻢ ‪ ،‬ﻻ ﻳﺘﺮﺩﺩﻭﻥ ﰲ ﺍﻻﻧﺘﻘﺎﻝ ﻣﻦ ﺍﻟﻮﺛﺎﺋﻘﻲ ﺇﱃ ﺍﳋﻴﺎﻝ ﻭﺍﻟﻌﻜﺲ‬
‫ﺻﺤﻴﺢ‪ .‬ﻓﺎﻟﻮﻗﺎﺋﻊ ﺍﻟﱵ ﺗﺼﻮﺭ ﰲ ﺍﻟﻔﻴﻠﻢ ﺍﻟﻮﺛﺎﺋﻘﻲ ﻻ ﺗﺼﻮﺭ ﻋﻠﻰ ﺣﲔ ﻏﺮﺓ‪ .‬ﻫﻨﺎﻙ ﻋﻤﻞ ﻣﺘﻜﺎﻣﻞ ﻣﺴﺒﻖ ﻣﺜﻠﻪ ﻣﺜﻞ ﺍﻟﻔﻴﻠﻢ ﺍﻟﺮﻭﺍﺋﻲ‪،‬‬
‫ﻫﻨﺎﻙ ﺳﻴﻨﺎﺭﻳﻮ ﻭﺗﻌﻘﺐ ﺃﻛﻴﺪﻳﻦ‪ ،‬ﻛﻞ ﻫﺬﺍ ﻣﻦ ﺃﺟﻞ ﺗﺼﻮﻳﺮ ﺍﻟﻮﺍﻗﻊ‪ ،‬ﻭﺍﻟﻔﻴﻠﻢ ﺍﻟﻮﺛﺎﺋﻘﻲ ﻣﺎ ﻫﻮ ﺇﻻ ﻭﺍﻗﻊ ‪ ،‬ﻟﻜﻨﻪ ﻭﺍﻗﻊ ﻳﻮﻟﺪ ﻣﻦ ﺧﻴﺎﻝ‪.‬‬