The motto of the Berlinale film was Thomas Imbach's "Day is Done" . Almost two hours will be here looking out the window, but not just a place, but to very different places and times, the whole times arranged thematically and sometimes arbitrary. Only in the second half of the material binds slowly to the audience, if you can match the experience of 15 years, records of the answering machine, which can be heard on the soundtrack, and even bring in a sequence, resulting in the observation also extends to the author Imbach, namely the fact is at the center. The appeal of the disordered observation is, among other things, that mitpuzzlen itself has to work with the film. The metaphor of the window to the world that is often for the cinema gets, here's a new twist, as Imbach camera is not the transparent medium, which releases the clear view of Zurich, but in the window glass, mirrors the Imbach tightens again and again and focused.
One of the masters of light, is like the way collect observations Jonas Mekas , who for several decades makes a kind of notebook films in which he of himself, his family and Friends told. The starting point is time (in "Sleepless Night Stories" ) a jet lag, which is why he can not sleep and sweeps around in his apartment. He then visits his friends, who tell him sad and funny stories: Marina Abramovic, Ken and Flo Jacobs, Yoko Ono, Jean-Jacques Lebel and Louis Garrel. As in his other films, Mekas is looking for the intense moments that make up life, whether tragic or happy. What is new is the video format. The intractability of the 16mm material had favored a stronger focus is now with video sometimes for minutes filmed a show or scroll through a book. The lightness of the drunken Film but does not diminish. The disorder is here both in the picture (the camera is simply stood up somewhere, often obscure wine bottles or glasses of the people) and in the assembly - will a degree do not find it, keep coming back settings that would be a great final word, it but do not yet - as I am moving ahead ...
Conceptually, it is already at "The Host and the Cloud" by Pierre Huyghe . The video is available as Huyghe documentation of an action that in three days - Halloween, Valentine's Day on 1 May - in an old museum was carried out. A documentary, it is Fortunately not - or only in the sense in which the films of Matthew Barney is a documentation of his sculptures. We see black masses, hypnosis, Models, Orgies, a pawn and a digitally animated alien that eats subtitles. The actions that take place throughout the Museum in parallel fandein place without spectators, and were staged for the camera and then cut into a kind of parallel montage. There is no narrative there, but gradually we notice what's up with the documentation on the character: it is a documentation of the room. Events and emotional states, which has saved the space and then releases. Projections of the area are that, ultimately, just as synthetic as the Alien and the subtitles.
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| The digital Alien in a model landscape in the film "The Host and the cloud |
There was also a" real "documentary, at least on the image plane rather loosely put together observations: In "Territoire Perdu" (B 2011, Pierre-Yves Vandeweerd) deals with the expulsion and discrimination against the nomads in the Sahara. The filmmaker has to interviews with stakeholders (and Survivor ends) out, which can be heard in the off, while Super-8 images are shown in black and white - of camels, the Landscape and its inhabitants. A powerful film on the subject - with a few synchronous points.
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| Territoire Perdu |
pairing in competition
My motto for this year could also generally available for the movies in each section. One must not, as in many criticisms of each film are gathering, not one has fallen, but overall the profile of the Berlinale and the individual sections become more complex over the years. The films are not worse than in previous years and certainly not in Cannes or Venice, but arises in Berlin more and more the impression of a general store, where it now is also not easy to keep apart the different sections. The panorama is more like a lottery than ever event of genre films from around the world, and documentation that were probably taken only for Berlin's trendy crowd. One or two decent crafted European auteur film is also still scattered, overall the risk in this section, but still very large. Programmatic absolute low point is surely "Tropa de Elite 2", the second part of the Berlinalegewinners two years ago. Bad enough that now have sequels made to the program be, "Tropa de Elite 2" is also one of the most successful Brazilian films of recent times. Sure, the Forum continues to be the most interesting section to discover films, since the experimental spectrum is clearly at the greatest, but just one of the main elements, namely the Asian cinema, this year was represented mainly with films by directors who are not yet the thirtieth year had begun and in their stories often similar and should therefore be in the memory of not only each other, but also mingle with the equally similar films of last year.
and that the competition is great Names are missing (the author of world cinema, not the stars), it has been written in advance already. But as I said, the concerns on the whole, the profile of the festival - are interesting films it anyway.
In competition, it is natural for regular. With "The Future" Miranda July has tried to make a film about perspective and non-driven mid-thirties. She would like to also tell about observations and transfer the pending situation of the protagonists on their film by the material fits together in a loose sequence. This can it is not. Instead, we see at any point in just a decal of the now grown-up slacker from the 90s, each image is a cliche, including the first: the couple sitting across on a sofa, both with Appel in his lap, a small apartment in Los Angeles, all a bit messy. As the catalog of indie-friendly life.
was within the competition this year, so to speak, again a sub-motif of the dead-couple. The direct counterpart to July was the korean post ( "Come Rain, Come Shine", 2011, Lee Yoon-ki ), a pair for a few hours in the afternoon shows in her apartment. (In both films the way a cat plays an important role.) It is just about to separate, together they sort their stuff. The only mistake that this is for the most quiet and contemplative film critics, is that his pictures are neat. The design of the protagonists from fetish and exposed to too much and admired by the Kamerea.
In light of the perspective-free pair-film it gave me some pleasure, and think with the competition entry "The Turin Horse" by Béla Tarr in this sequence. The couple is indeed father and daughter, but boredom and the absence of perspective are also hallmarks of the relationship. Tarr's film observes the competition certainly most of all. In long uneventful settings you followed the monotonous daily life of the two protagonists. The pictures are as always beautiful. But even here, as would the entire Contest you done something more disorder certainly good.
tell in details
One of the films is certainly disorderly "Os Resident" by Tiago Mata Machado . A kind of collective attempts to beyond rationality and recoverability trimmed lifestyles utopian counter-reality to formulate. They also make art, but which may consequently make no sense and therefore is often like casual performances (cycling in a circle, painting walls, windows bricked up, pubic hair cutting). The film does not try to film these utopias merely (he recalls the way in its color and vibrancy of the characters in Godard's "La Chinoise", in 1967, but much more the filming was arrested as "Os Resident"), but denied also a clear narrative. The various actions are strung together without comment, to prevent the consistent high aesthetic quality of the performances and the images but falling apart.
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| Os Resident |
The close-up or was close to setting this year one of the most stylistic features stand out in the section of the forum. In "Os Resident" the camera is always close to it, drives and swings with and in spite of the numerous improvisations always amazingly well on the point. Also in "Brownian Movement" (NL / D / B, Nanouk Leopold) and "Eighty Letters" (Czech Republic, Václav Kadrnka) is told mainly through the close-up. That says a lot about the person in the film, which he sees close-ups, as well as their viewers the context to connect to the hors champ is missing. In "Brownian Movement", it seems the protagonist like a nightmare when she suddenly meets her lover in a full form in an unexpected place her - before she had seen him only in the details, not a real person. Un in "Eighty Letters", the most beautiful film at this year's Berlinale reflects the twelve year old boy for the elusive red tape and complicated Plan to leave his mother in the close-ups of bureaucratic materiality, upholstered furniture keys, door handles, steps, and threadbare. At one point he saw a drawing of the continents and how they had once been joined together into a single large plate, before they split themselves. The boy is fascinated by the idea of the world puzzle, so intractable as the assembly of the eggshell, the leaves are sitting next to the bank. The detailed observations of the film takes the puzzle of his convincing formal correspondence. (Just not in the awards, all films were mentioned here forum, despite the numerous awards the prize of not empty.)
Window Festival
The King of observation is certainly James Benning. For more than ten years he has been with his conceptual landscape films represented in the forum. Untidy here but nothing. In three-or ten-minute shot Benning filmed a special landscape ("El Centro Valley") or a specific theme ("13 Lakes"). His films always on the observation that the film image, but also the time and is still strongly observed when viewing. In his two films with ten minutes settings , "13 Lakes" and "10 Skies, Benning drives this type of filming on the top. In particular, the ten quarters are something of a zero point: here, only excerpts from the sky filmed, permanent change in image as well as in a digitally animated film, there are no fixed points more, and so can the framing based on nothing more the screen dissolves gradually. Since then, Bennett has changed with each new film: In "RR" is about the movement in the image by passing trains are being filmed, and since "Ruhr" (2009) Benning filmed on video. In "20 Cigarettes", which this year was seen in the forum, he now focuses on people for the first time on camera. 20 times smoking friend of Benning without cutting a cigarette end. The setting size is also very unusual for a close, which is hardly seen anything from the environment, many of the settings are also filmed indoors. The people are right in front of a wall, a fence or a bush, the focus is always on the background so that her face is not quite as sharp as the background. Only the ninth-smoker, the artist Sharon Lockhart, has nothing but the sky in the back, so it is also the only one that now and then turns back. The setting has also shot down slightly from what they can with the sky appear a bit more majestic than the other smokers, as would they come from a film by Terence Malick. And that's the interesting part of the experiment that one quickly, despite the limited information it is to interpret the smallest clues and narrativisieren. Each setting will thus own a movie. For example, in the smoker, number 14, the fastest and smokes in the green nail polish from her fingers as well as the paint peels off the fence behind her. This is "20 Cigarettes" is the perfect commentary on the festival: it needs neither spectacular nor terrible events stories to tell or something to have reports, it is only on the frame. This is no order in the assembly of the material is identified, supported subjective Narrativisierung Moreover, the patterns are overly prejudicial. And for such films in the framework of the Berlinale in the Forum does, fortunately, still. Last year "Nénette" by Nicolas Philibert, filmed the whole movie in which an orangutan in the Paris Zoo and was also a reflection about seeing in the cinema was created. Writing about parallels of orang-utans, and smokers, I will refrain from doing now, watching both be just fine.
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