Of course, and deep within us, we know that, too, are all feelings in the cinema the result a manufacturing process. “Mia Madre” for example, Nanni Moretti’s long-awaited return to personal filmmaking after two unsuccessful satire on Berlusconi and the Pope, is again a sweet-sour plate, for a comedy – the director Margherita has problems with their star from America – the other tragedy: her mother is in the hospital
There are two opposing processes, something is emerging (a film), a little. is the offense (a life). One is believed to control, with the other one recognizes his impotence. Perhaps “Mia Madre” first and foremost a film about knowledge. Margherita is on how obnoxious she was often. Your brother is clear that he should hang his job on the nail. Her daughter realizes that his beloved grandmother will soon no longer be there. And the star realizes that he no longer can hide behind its star posturing itself.
These are great insights, and the size of “Mia Madre” is it in small gestures, glances to hide actions. Moretti’s figures are not driven by a script logic. They strive, they doubt and despair. The feelings are still cinema emotions, but they are consistent with those that almost everyone has already had. Nanni Moretti’s mother had died during the production of his “Habemus Papam”. Once he cooks (he plays the brother) his mum a pasta as she knows, against the hospital food.
Gus Van Sant, “The Sea of Trees “compared to hospital food, cooked together by formula, with ingredients that have exceeded their expiration date. An American (Matthew McConaughey) goes to the famous suicides forest near Mount Fuji, to end his life. In flashbacks we see the falling out with his wife (whose reasons are rather far-fetched), and of course he makes a second suicide willing (a Japanese) and now makes to the noble task which to save the lives and therefore even the regain respect for life.
The feeling production going on here so mechanically imagine that one can foresee half a minute as a spectator always know what button on the emotion keyboard will be struck next. The planned as the biggest surprise twist is voraustelegrafiert about the emotional track such that at the evening screening, many critics colleagues aufstöhnten because they did not want it believe that their worst fears really came true.
A much more honest game with our feelings drives Todd Haynes in “Carol”. The very first images suggest that feelings here are attenuated. The early fifties in America were a time of economic progress and social regression, feelings were nipped in consumption. That was the basic constellation of Douglas Sirk films, and Todd Haynes proves Sirk-worshipers, the colors are just as subdued, blank cleaned the sedans as well, and Cate Blanchett is the ideal Sirk-Heroine: carefully coiffiert, erlesenst dressed – and in her heart deeply torn. “Carol” was the title of the second novel by Patricia Highsmith, they “Strangers on a train” published anonymously after the success of, because he acted at the time of a taboo. The love between two women
Haynes’ film is not a film that openly display wears his heart as Moretti and not a film that deceives us a heart where only one plastic pump is how Van Sant, but a film which is the task of herauszulesen smallest hints great emotions. At first glance, is “Carol” a paragon of coolness as always with Highsmith. But one soon learns to adjust his feeling antennas to a higher sensitivity. Every look, every fleeting hand-on-the-shoulder Put one double and triple. Finally, the woman her furs, her status, losing their beloved child and the other, younger, a simple clerk must first discover that there is an opportunity to live their vague yearnings.
reader comments are hidden.
// The following are highly recommended Additional Parameters. var disqus_identifier = 141067596; // Article ID where comments used var disqus_url=’http://www.welt.de/kultur/kino/article141067596/Vom-Gefuehl-her-haben-wir-ein-gutes-Gefuehl.html’;//article URL where comments Used Function disqusAd (e) {var s2 = document (“iframe”); s2.src = “http://appc.welt.de/static/welt/2012/pa-anzeigen/anzeige.html”; s2.width = 620; s2.height = 100; s2.style.overflow = ‘hidden’; s2.scrolling = “no”; s2.style.border = “none”; $ (E) .parent () append (s2). s2.scrolling = “no”; } Var dsqcounter = 1; / * * DO NOT EDIT BELOW THIS LINE * * * / $ (document) .ready (function () {(function () {var disqusSsoEnabled = false;! Var experimental mode = $ .cookie (‘BIGP_EXPERIMENTAL’); if (experimental mode) {disqusSsoEnabled = true;} if (disqusSsoEnabled) {window.disqusid = $ .cookie (‘disqusid’); window.disqus_config = function () {this.sso = {name: “Login” button: “http : //img.welt.de/skins/welt/gfx/disqus_login.png “, url:” https://ssl.welt.de/user-web/disqus/login.jsp “logout:” https: / /ssl.welt.de/user-web/disqus/logout.jsp “width” 500 “height:” 500 “}; if (window.disqusid) {window.disqusid = window.disqusid.replace (new RegExp (“”., “g”), ‘=’); window.disqusid = window.disqusid.replace (new RegExp (“_”, “g”), ”); this.page.remote_auth_s3 = window.disqusid; this.page.api_key = ’8JmKKMV2FgF5OgVCye4P0v3Q9aJK8eQOZ6VtqjfLaMgTzrNy465erNMGjGFhbW2X’; }}; }} ()); (Function () {var DSQ = document (‘script’); dsq.type = ‘text / javascript’; dsq.async = true; dsq.src = ‘http: //’ + disqus_shortname + ‘.disqus. com / embed.js’; if ($ .cookie (‘ASsocialOptout’)! = ‘true’) {(document.getElementsByTagName (‘head’) [0] || document.getElementsByTagName (‘body’) [0]) .appendChild (DSQ);} else {$ (‘.disqus .optoutSocMed’) html (optoutHTML) .Show ();.}}) (); var = {wDisqusCfg disqussion: false}; asms.extend (asms.config, “wDisqus” wDisqusCfg); asms.general.ece.widgets.disqus.init (asms.config.wDisqus); }); comments powered by
No comments:
Post a Comment