《太阳之下》是一部反映朝鲜社会现实的纪录片，纪录片《太阳之下》历时一年时间在朝鲜拍摄，以外国导演的视角来观察朝鲜令人啼笑皆非的现实。
《太阳之下》在上映之前，就因为朝鲜要求中止放映等事件成为了热门话题。电影还公开了一张海报。《太阳之下》由前苏联出身的导演维塔利·曼斯基执导，他在平壤历时一年拍摄了一位八岁的平壤小姑娘真美（音）生活中的的点点滴滴。
“现在在朝鲜发生的一切都是对人类的犯罪。” 《太阳之下》的导演维塔利·曼斯基在首尔韩国酒店接受韩联社记者采访时说道。
曼斯基1963年生于苏联时期的俄罗斯，他说决定拍摄这部纪录片是觉着“能更好地了解俄罗斯的过去”。在朝鲜这个特殊的国度拍摄纪录片很不顺利，从寻觅主人公开始就遇到了困难。朝方向曼斯基介绍了5名可以接受拍摄的女孩儿，但要求他在10分钟内做出选择。在短暂的时间内，曼斯基没有办法详细了解女孩儿们的家庭背景，所以只问了一下父母的职业。其中“珍美”的爸爸是记者，妈妈是餐厅服务员，曼斯基觉得“珍美”的生活可以拍出一些比较有趣的内容，所以在5个女孩儿中选择了她。
而更大的困难还在后面，朝方给曼斯基确定了纪录片的剧本，要求他按剧本拍摄。曼斯基“将计就计”，把朝方要求他“按剧本拍摄”的情景也装进了镜头中，并决定将这个骗局公诸于众。该片在开场部分打出字幕“朝鲜提供了该片的剧本，有专门人员全程跟随，该人员选定拍摄地点，对我们拍摄的内容进行检查。这是朝鲜希望我们在展现全世界最幸福国家中最完美家庭的过程中不会有失误”。
曼斯基说:“如果有人说朝鲜好，我想对他说‘在那生活吧’。他如果避而不答，一定是没良心的厚脸皮之人。”
The new documentary “Under the Sun” follows an 8-year-old North Korean girl named Zin-mi as she prepares to join the Korean Children’s Union, run by the Workers’ Party. Zin-mi and her parents — her mother works in a soy-milk plant, her father is an engineer at a garment factory — share abundant family meals, ride Pyongyang’s spotless subways and pay their respects at a bronze statue of North Korea’s founder, Kim Il-sung.
新纪录片《太阳之下》(Under the Sun)讲述了8岁朝鲜女孩珍美（Zin-mi，音）准备加入“朝鲜少年团”的故事。这是一个由执政党劳动党管理的组织。珍美的母亲在豆浆厂工作，父亲是服装厂的工程师，一家三口享用丰盛的家宴，乘坐平壤一尘不染的地铁，并瞻仰朝鲜开国领袖金日成的青铜像。
There’s just one problem: The action is fake. The North Korean government cast the film, wrote the script and provided guides to feed the actors their lines while managing every detail of the project. In reality, Zin-mi’s father is a journalist, and her mother a cafeteria worker. “Don’t act like you’re acting in a movie,” a guide scolds the girl at one point. “Act naturally, like you do at home.”
只有一个问题：这些都是假的。朝鲜政府为影片挑选演员，为他们写好台词，找人指导他们说台词，全剧每一个细节都被精心管理。现实中，珍美的父亲是个记者，她的妈妈在餐厅工作。“不要像演电影似的，”有一次，一个拍摄指导训斥珍美。“自然点，就像在家里一样。”
So, why did the director Vitaly Mansky, a documentary maker in the cinéma vérité tradition of Frederick Wiseman and D. A. Pennebaker, agree to such an awkward, not to mention morally dubious, arrangement? “My dream of visiting North Korea,” he said, “was the desire to understand something about the past of my country, my family.”
那么，为什么该片导演维塔利·曼斯基(Vitaly Mansky)，一位继承弗雷德里克·怀斯曼(Frederick Wiseman)与D·A·彭尼贝克(D. A. Pennebaker)的“真实电影”传统的纪录片导演，竟会同意接受这样一个难堪、更不必说在道德上很有问题的工作呢？“我梦想能够访问朝鲜，”他说，“是因为希望借此了解一些关于我的国家和我的家族的过去。”
Mr. Mansky, who was born and raised in the Soviet Union, divides his life into two periods: before and after 1991, when the government collapsed and he set out at 28 to document the way people had lived under Communism. “A documentary provides the possibility of riding in a time machine,” he said by Skype from his home in Riga, Latvia. For “Motherland or Death” (2011), he traveled to Socialist Cuba, which he likened to the ’70s-era Soviet Union. “Under the Sun,” which opens theatrically July 6, uses contemporary North Korea as a proxy for Stalin’s Soviet Union.
曼斯基从小生长在苏联。他把自己的人生分为两个阶段：1991年以前，和1991年以后。那一年，苏联政府垮台，28岁的他开始记录人们过去在共产主义制度下的生活。“纪录片让你能够坐上时光机，”他在拉脱维亚的里加市家中通过Skype接受采访时说。在2011年的《祖国还是死亡》(Motherland or Death)一片中，他来到社会主义古巴，把这个国家和70年代的苏联作比较。将于7月6日在影院上映的《太阳之下》，又把当代朝鲜当作了斯大林时期苏联的影子。
In 2012, Mr. Mansky met a North Korean delegation at a Vladivostok film festival and spent the next two years negotiating with the government for access. Under the final contract, in addition to providing the script, the actors and the guides, North Korea censors would vet daily footage and retain final approval over the finished film. Mr. Mansky would not be allowed to talk to the actors or film anything other than sanctioned scenes.
2012年，曼斯基在海参崴的一个电影节上与一个朝鲜代表团会见，接下来两年时间里，他和朝鲜政府协商，希望进入朝鲜拍摄。最后的合同规定，除了提供剧本、演员和指导，朝鲜审查者还要审查每天的拍摄成果，对成片保留最终的批准权。曼斯基不能同演员交谈，也不能拍摄任何未经批准的场景。
Mr. Mansky, though, persevered in the face of such absurdity. “I saw my illusions dissolve into thin air,” he said. “But even then I believed I could make the film I wanted to. I’ve had lot of experience working in confined spaces, whether it is filming the army, in a prison or inside the Kremlin. One way or the other, I’ve always managed to reveal the true essence of the situation.”
面对这样的荒诞条款，曼斯基仍然坚持要去拍摄。“我感觉自己的幻想烟消云散了，”他说。“但是即便如此，我仍相信可以拍出我想拍的电影。我有很多在受限制的地方拍摄的经验，比如军营、监狱或者克里姆林宫里。不管怎么样，我总是可以想办法展现这些环境的真实本质。”
He took as his model Leni Riefenstahl’s “Triumph of the Will,” her film about the 1934 Nazi Party Congress, which is considered both a masterpiece of propaganda and an important documentary. “I thought this would satisfy the North Korean regime on the one hand,” he said, “and give the world a view of the real North Korea on the other.”
他把莱尼·李芬斯塔尔(Leni Riefenstahl)的《意志的胜利》(Triumph of the Will)作为范本。这部关于1934年纳粹党代表大会的作品既被视为政治宣传的杰作，也被看作是一部重要的纪录片。“我觉得这样一方面可以满足朝鲜政府的需求，”他说，“另一方面，也可以让世界看到真实的朝鲜。”
Extreme limitations called for extreme measures, so Mr. Mansky employed the techniques of undercover journalism. Unknown to the North Koreans, he left his cameras running all day, documenting each scene being set up, rehearsed and reshot. We watch a North Korean guide put workers through several takes at the milk plant until they display the proper level of enthusiasm.
极端的限制需要有极端的应对措施，于是，曼斯基使用了新闻暗访的技术手段。他在朝鲜人不知道的情况下，让机器整天都开着，记录了每一场戏的布置、排演和重拍的全过程。我们可以看到朝鲜的拍摄指导在牛奶厂让工人们反复拍摄了好几条，直到他们表现出恰到好处的热情。
“Comrades, today our workshop beat the government quota with 150 percent!” a seamstress announces at the garment factory. By the next take, production has risen to “200 percent over quota.” When Zin-mi is asked how she feels about joining the Children’s Union, she is clearly overwhelmed by her new responsibilities, and two fat tears roll down her face. “Stop her crying,” a guide says off camera.
“同志们，今天我们车间的产量超过了政府定额的150%！”成衣厂里，一个女裁缝宣布。到了拍下一遍的时候，产量已经变成了“超额200%”。被问到加入少年团的感受时，珍美显然被新的责任所压倒了，两滴大大的眼泪。
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