The intelligence of people is overrated when you find attractive. Get out of my way every day. make actors as a group, for example, so regularly wrong decisions, keyword Oscars that it is only with our clean traps to explain beauty that they sit year after year on the juries of major film festivals. Even Thierry Fremaux, festival director of Cannes, must have been seriously blinded when he compiled the jury sided this year Ken Loach for the second time with a palm tree. Vanessa Paradis, Donald Sutherland, Kirsten Dunst, Mads Mikkelsen, Valeria Golino. Five of nine. It ranges
History shows: Tennessee Williams winning “Taxi Driver”, Françoise Sagan “Apocalypse Now”. The reasons given by the two authors juries are good examples of the earlier ruling diversity with inspiring results. Also why should 2016 be a wake-up call: The jury has to be the location of the cultural and intellectual exchanges, about genres, disciplines and origins away again. One thing must be clear: The segmentation that increasingly separates cinema from other arts, does not lead to results cinephile. On the contrary, more and more prices and films in the order of messages and political engagement are provided. The calculus that speaks it, retrieve film back into society, so can but rise impossible. The assets namely only films that stand alone as works of cinema.
DPA
Cannes Jury members Vanessa Paradis (left) and Kirsten Dunst
but this will need humility and sovereignty. And then we would be in Maren Ade, whose restrained appearance the attitude of her film reflects. Your “Toni Erdmann” is so aware, tender and consistently shaped experience that goes far beyond the subject and concern. No wonder the film for many observers and observers in Cannes was the strongest contender for the Palme d’Or this year and despite the maturity of less than three hours already attracted 400,000 viewers in Germany to the movies. Overwhelm who produced the film, silent and comes from within -. It acts as if it had nothing to prove, but to give everything
There is one at all to the more sympathetic sides of German cinema that it shows modest with few exceptions, to the outside. Whether at the reception in Cannes, or recently in Locarno, when the persons in charge of the export association German speaking film: It sounds in the past years as if they just wanted to not attract attention. This also means that these events look low threshold and improvised.
Zombies in Piazza
In Locarno about had German film-CEO Mariette Rissenbeek already can speak the artistic director of the festival, nearly finished her own speech and the film crew brought to the stage, as they suddenly discovered – in the way too spacious for the occasion courtyard – the Festival President Marco Solari. After a little awkward pause there was this slightly by surprise on stage again – just like the not so close relatives at a wedding.
Solari, a consummate professional, took the opportunity for a few well-known, but still yet content sets. Above all, he took up the cudgels for showing against his own momentum and the will of the sponsors unwelcome films like a zombie thriller on the large Piazza opening. His vision for the festival nourishes from the fact that its international importance increases with the artistic freedom of the curators. From movie promoters and managers to such critical and open assessments almost never gets certainly hear, or only in a tête-à-tête. Why? In the end 20 people on stage – and then nothing to say except: Welcome to the buffet
No, it does not help to forgo the buffet: about content, it is far from being characterized!. While it’s nice clear the German reception in Cannes and will be omitted even in the “Toni Erdmann” year on real food, learn the few invitees film crews no better appreciation. The reluctance of the team to Maren Ade was like an extension of the malaise of the organizers: they are overwhelmed by a film which does not fit into your drawers?
Getty Images
Maren Ade in the arms of a Na’vi from “Toni Erdmann”
to celebrate a German cinema, which has claims and meets, which seems to them possible only under contortions. During the same people easily knock shoulders when again a historical-Schmonzette premiere, a team such as that of “Toni Erdmann” against them suddenly seem helpless. Instead of talking, a trailer will quickly appear, the sticks together the diverse German films to a pulp, as if what is produced here, all great cinema. Suddenly it is obviously: Best clear
The own helplessness come those responsible with this unique goods, the swanky TV made-for-cinema once admit that would also be the “Sueddeutsche Zeitung” to shame. , Overwhelmed, and also a bit of the track, worked their critics in the face of encouragement, the “Toni Erdmann” learned. While other media such as SPIEGEL ONLINE look forward to “a new era for the German film” films like “Toni Erdmann”, “wild” and could herald “Before the Dawn”, the “SZ” is beside himself. Nationalistic (hopefully inadvertently) in vogue it says: “for the German film (…) something like a World Cup victory with a single, brilliant shot”. And whether there probably is irony in the game when there is just the jury award: “Actually, the matter had been settled long ago: We are palm!”? He continued: “Toni Erdmann [should] be as effective advertising for Germanic theater as the 2006 World Cup for German football.”
purposefulness. Purposeful. Focused.
The “Süddeutsche Zeitung” for years is no longer a reference for her film part. Often agree not proportions and priorities in the reports and reviews. From festivals market affiliation is expected trifles from the Hollywood life are hochgejazzt the tendency and Fatih Akin’s big letdown “The Cut” is highly written in advance. With shouts of here “Toni Erdmann” but resonates with a missionary zeal. Would that pure passion, I would understand it. But it also speaks the need for a prophetic force of the critics, who thus represent itself again on a pedestal. Since careful, you never know whether attractive actors would not yet characterize “Germanic” cinema at the end, if there was the because. It would certainly be neither restrained nor modest.
The CDU / CSU parliamentary group, however, would certainly be pleased. The National, which is already the dominant category in the (too many) politicians look to the culture, at least publicly. Under the dome of the Reichstag building CDU and CSU organize in June a cultural evening, along with discussion on the – again – film promotion. Even the title has it all: “smorgasbord or targeted instruments?” Unfortunately I did not count how many times over the blissfully consenting another round of “targeted” occurs. Maybe a three-digit number is obtained, but probably missed.
Constantin
Constantin film “Love in Fixi”
The tame tests on this summer evening, to identify several positions, countered quickly. Marie Theres Wagner, writer and lecturer conveying juror, sitting as a “creative” on the podium, and she almost argued in this direction. Once, quite early slips her out the word “auteur”. It is painful and revealing at the same time to see them struggling from then on, the withdraw.
The screenwriter who was awarded a Bavarian Film Award in the eighties as a director junior wants to avoid at all costs, to stand as an author film defender. Madness: In contrast, producer Oliver Berben acts of large forging Constantin Film downright arthouse friendly. Sovereign calculates friendly. Because as much as he ascribes to other films permission, so he wants to maintain the same cultural value for its productions. “Everything has its audience.”
In the movies everything a sauce
An amusing, albeit sad turn undergoes the round when the question arises whether there are criteria for determining what “culturally “means in films. In turn nil, as these people would have never thought about films beyond their commodity character. Also, if you like, a form of modesty: intellectual modesty.
Most will surprise maybe the former Film Academy CEO Alfred Holighaus whose job it was to believe in cultural (and artistic) criteria. But no: in the cinema everything a sauce. Members of the German Film Academy rub after discussing the ears and ask if Holighaus which has changed from the Film Academy of umbrella organization of German film industry only recently, have been transformed so quickly.
It seems to me, it is rather the reverse: The Film Academy is today, post-Holighaus, thereby, to regroup and to be open for an art claim she had previously deliberately avoided. Gone are the resigned humility, according to which everything is somehow equivalent. Alone at Holighaus’ departure will not lie, because although he earlier often was close to the major producers and distributors, he is also one who goes to the conference of the German Cultural Council on film heritage, which otherwise mainly historians, film scholars and Kinematheksmitarbeiter romp , It happens to be not all that unique.
It’s about the future of cinema, to the preservation, digitization, accessibility. During the culture budget increases, the money remains a drop from Monika Grütters’ budget for in the bucket. No wonder that in view of such a laissez-faire, the question of cassation, ie the regular destruction of originals, an internationally rather unique German practice, still not off the table.
After slowly more restraint appears to be accepted as enforce. It is on this day in early July in the Representation of Saxony-Anhalt also obvious that the President of the Federal Archives Michael Hollmann a rather, shall we say, has unconventional understanding of film: It emphasizes namely, it is the salvation of the text more important than saving of the book. Sounds interesting: Just what is the movie of the text? The dialogs? And the votes are then the book? Or are the voices nor text, the light and shade but not? Perhaps also the only German modesty. They were here clearly misplaced.
No comments:
Post a Comment