Hedi to marry. The bride is pretty. The mothers agree. A new job in Hedi’s hometown Kairouan is also in view. But Hedi hesitates. His old employer, the Peugeot general agency in Tunis, sends him as a car salesman in a coastal town. But Hedi is, to rattle instead Customers prefer the beach. There he meets the entertainer Rim. First, he just wants to sleep with her. Then he wants to live with her. “You do not know me,” he says to his bride. On the wedding day, he can not be found.
this retelling of the aesthetic value of Mohamed Ben Attia “Hedi” is almost exhausted, because the film is content with the imaging of his action. Only once, when Hedi his car stops at the edge of the desert, to think, and the camera seems to pause for a moment. How could an image here find, a salt pan on the edge of nothingness? But then engaged the logic of the script, which will tell an exemplary story about the younger generation in Tunisia, again. Hedi has to choose between tradition and the future, as the whole country. At the end he chooses the safe route. But that does not mean anything. Symbolic films have the advantage that one can easily be switched from its symbolism and release again. When Ben Attia one latches onto more than one, because “Hedi” lacks that urgency which, breathe the Belgian Dardenne brothers who co-produced the film each of its work for the movies. For a place in the competition program of the Berlinale it was enough for “Hedi” after all.
The second competition entry of the second festival day, Jeff Nichols’ “Midnight Special”, is a kind of retro science fiction. Where the Coen brothers pay homage to the fifties in its opening film, adheres to “Midnight Special” the very special smell of the Seventy their trash aesthetics, their simultaneously rough and naive, not yet ailing from digital virus visual effects, their unrequited love for landscape, their old cars and Boomstick. It is about a child prodigy who is kidnapped by his own father and to the both the members of a religious sect and the American state security apparatus scramble, FBI, NSA, County Police, US Army, we hardly know how to distinguish the Uniform should. Something is on 6 March happen to the boy, what exactly, no one can say, but the light floods that erupt periodically from the eyes of the little ones, the worst or best can be expected, depending on whether the matter of eschatological or one of regulatory hats imperious perspective considered.
the film is, however, then, long before in a swampy area in Florida the dreaded event occurs, his spirit – not because its effects so dowdy and his chases and shootouts were so listless (so much retro you can stand it) or because Kirsten Dunst, Sam Shepard and Adam Driver, appearing in supporting roles, left much to be desired this time to broadcast, but because the story that tried to tell Jeff Nichols, has so many holes in logic and plausibility, that it is a single black hole basically. The film may not make as much light as losing repeatedly by its own progress in the face of the boy, and at the end is also the futuristic Budenzauber he kindled the sky over Florida, entirely for naught.
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The unequal competition has therefore started again. Here the poor, indigenous, nurtured with passion auteur cinema, where the more or less lavish film industry. But the outcome of the story is not as clear as it seems. While for Nichols’ film, which was clearly shot past the market, the Berlinale the last chance for a grand entrance is (next week he comes to the movies), a prize at the festival for “Hedi” could be the ticket for the world market , Thus, the film festival not only reflect the state of affairs in the cinema, they change it. Your light shines not in vain.
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