The view from no. 41 is hard to bear. The man who probably comes from the Ivory Coast looks directly into the camera by Gianfranco Rosi, who thus adjusts the shooting of Italian distress assistance. From refugee no. 41, a photo together with the allocated number is made, then it goes on to a reception camp on Lampedusa. And then?
High hopes seems the man not to do, but an alternative to escape it does not seem to have given him. Do you think I wanted to travel on a boat with so many people, of which at least 15 now dead below deck, across the Mediterranean? The wonders of view of no. 41.pictures of a rescue operation off Lampedusa there in Rosis competition film “Fuocoammare” , pictures of the dead there are. They are insistent, they are directly. But they come much later, as was expected of a documentary on the Italian island, which was about the last years the meeting point of some 400,000 refugees.
Samuele, a twelve year old Italian boy, instead, is the focus, and with it the drama of the refugee crisis unfolds in new to such clever way that Rosi with “Fuocoammare” ado in the favorite status for the Golden Bear 2016 catapulted
Samuele growing on Lampedusa on, but apart from his choice of profession -. he wants fisherman like his father and grandfather also – seems to be hardly influenced by the events on the island of his life. He reflected with the English homework around, and the new glasses, intended to compensate for his weak left eye, even annoying. Most fun it is him still to shoot with the self-made slingshot on cacti.
Can life really remain so unaffected by the refugee crisis? Rosi gives this impression by hides much of the fact that neither he shows life in the camps nor the many volunteers who have been working for years on Lampedusa. He creates two artificial separated spheres which confers simultaneously the film its abstract qualities. For the question whether a life can remain so unaffected by the refugee crisis – they need to face as a spectator on a glamorous film festival, first of all itself.
In the festival bubble
The issue of refugees appeared on the Berlinale in many places – without a firm stance to own Blasenhaftigkeit given the current political developments seems to be.
On Friday night at the opening of the generational series devoted Maryanne Redpath, the leader of the Section, its series the fugitives – although neither the issue is a priority among the selected films, yet there were refugees among the guests. Since the donation boxes that are distributed throughout the festival site at Potsdamer Platz, but the sensible approach appear if one wants to make a festival a contribution.
A bit cheaply therefore also acted programming “Fuocoammare” – who wanted to arrange a Lampedusa documentary the raison d’etre in the competition? Rosi’s brilliant images that still lose neither at night under water clarity, make it clear that this film is not only content but also aesthetically compelling. Unforgettable images, in which a group of fugitives in the backlight to schemes, while their bodies are wrapped in crackling, goldglitzernde rescue foil. However,
The most complex scenes include Samuele. It ensures the laughs that soften the film again and again, but also for horror. The more you experience it in his daily life, the less blameless one the boy would indeed appear. In the cacti, which he accepts with the slingshot under attack, he carves previously faces, sometimes he takes small birds targeted. And again he imitates no apparent reason as he shoots with an assault rifle in the air.
comedy and oppression eventually fall into one when Samuele goes to the doctor. Herrlich theatrically he delivers what it afflicts just dramatic hand gestures included: Every now and then he had trouble breathing. The doctor examined him briefly, then diagnosed whence stir the complaints. Fear would Samuele take the air we breathe. More can be Europe’s emotional constitution currently hardly describe.
presence undesirable
“Who wants to talk about the pension, thrown out!” So it shall respond to the Paris philosophy teacher Heinz (André Macon). His students want to discuss the social reforms of the Sarkozy government, but the intellectuals Heinz vehemently against the fact that the presence of bores into his lessons.
Similarly seems also “L’Avenir” ( “What comes”), the competition entry of French director Mia Hansen-Løve, to be stored. Following programmed to “Fuocoammare”, the thoughtful portrait of the well-off philosophy teacher Nathalie acts (Isabelle Huppert), who is married with Heinz to be also averted the pressing problems of the present. But ultimately meets the to neither the life of Heinz and Nathalie still on the film.
For a little while later Heinz Nathalie separates, and which has so long lived with Adorno, Levinas and Schopenhauer in a bubble, have to admit that her life is suddenly dictated by the circumstances, and not by philosophy. And it will not remain in which an upheaval, Nathalie’s mother is increasingly sicker, and the essay series, it issues is increasingly called by her longtime publisher in question.As it will withstand all that? Attentive, but also from a respectful distance follows “L’Avenir” Nathalie over several years. Skillfully takes Huppert on the nuances of Hansen loves the script and gives Nathalie facet to facet. When she cries when she laughs, gives an idea hardly so enigmatically, as well as in flux is their Nathalie.
A complex female character is Hansen-Løve thus undoubtedly succeeded. But Nathalie also a good movie character? Even more so than in their not exactly visually expressive previous film “Eden” on the French house scene missing Hansen-Løve the compelling visual ideas. In “L’Avenir” more is spoken, as you would expect from a film about a philosophy teacher anyway. The fact that the impressions that one wins anew by Nathalie repeatedly overwrite, of course, is intentional. But still the none of the pictures hanging from it, makes the weaknesses of “L’Avenir” only too clearly.
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