19:03 <- self.position: -1 -> <- classid: hcf-inline-left -> <- position: left -> <- inisprint: false -> <- inhaspic:! true -> <- include ps1 ->
<- self.position eq 2 -> <- position: left -> <- textposition: -> <- inhaspic: true - !> <- self.position eq 2 -> <- inteaserpicposition: 2 -> <- self.position: 2 -> <- classid: hcf-inline-left -> <- textposition: -> <- inisprint: false -> <- inhaspic: true ->
G ianfranco Rosi, vintage 1964 has demonstrated on Saturday at the Berlinale his Lampedusa documentation “Fuocoammare”. The Italian filmmakers won 2013 Venice Golden Lion for “Sacro GRA”, a documentary about nine protagonists on the Autostrada 90, the ring road around Rome.
Signor Rosi, you came to Lampedusa, to make a short film. But then remained for a year. How did it happen
<- self.position - otherwise -!>? <- inteaserpicposition: 2 -> <- self.position: -1 -> <- classid: hcf-inline-left -> <- position: left -> <- textposition: -> <- inhaspic:! true -> <- include ps1 -> <- self.position eq 2 -> <- inteaserpicposition: 2 -> <- self.position: 2 -> <- position: left -> <- textposition: -> <- inhaspic: true ->
I am not one of those people who can grasp a complex reality as the boat people and the transit space Lampedusa on the fly in a short film. I knew very quickly that it probably still is a long film and I want to spend time on the island. The doctor Pietro Bartolo was one of the first who met you there. It examines the refugees when they come off the boat, taking care of the sick and the pregnant women.
It can be seen in the movie the boy Samuele, the normal as Fischer son to grow up there. ? A parallel w orld
<- inteaserpicposition!: ! 2 -> <- self.position: -1 -> <- classid: hcf-inline-left -> <- position: left -> <- textposition: -> <- inhaspic: true -> <- include ps1 ->
<- inteaserpicposition: 2 -> <- classid: hcf-inline-left -> <- textposition: -> <- inisprint: false -> <- inhaspic: true ->
When I on the island arrived, had just no refugees there, because the center for the initial reception had to be renovated, it was closed for a few months. So it happened saying that I got to know the other identity of the island, which exists independently of the boat people, the people of the fishermen or the boy Samuele -. He was a protagonist of the film Then, the center opened again, so that was also an important venue. The third focus of the film is on the ship of rescue at sea, because since the operation Mare Nostrum 2013, the limit has indeed shifted into the sea from the island in the middle. This limit I wanted to show, so we accompanied the rescue of the crew with the camera
Why you the juxtaposition important. Here the daily life of the boy who against his seasickness have to train and shoot with the slingshot on birds, here the war refugees on the boats?
Samuel was a kind of alter ego, not only because as a child I was like it supposedly. But because he constantly made something formally became a metaphor for my, for our perception of refugees. He makes war, he and his friend shoot with imaginary machine guns. He has to go to the doctor because he has a lazy eye. He is in one eye almost blind, just like us, we do not want to admit the tragedy before our eyes. First he chases the little bird in the dark, but as soon as he sees him, he begins to talk to the frightened animal. Lauter strong moments that occur in an interaction with the events around the boat people. As a child grows up, it will be soon confronted with the harshness of life decisions, simultaneously changing our perception of refugees who confronts us with having to make decisions. At the latest at the moment of the tragedy, which can be seen at the end of the film: Dozens dead bodies lying in the trunk of a large refugee boat. After that I could not continue filming
. <- self.position eq 1 -> <- self.position: 1 -> <- classid! : hcf-center -> <- position: center -> <- textposition: hcf-text-left -> <- inisprint: false -> <- inhaspic: true -> <- inteaserpicposition: 2 -> <- self.position: 2 -> <- classid: hcf-inline-left -> <- textposition: -> <- inisprint: false -> <- inhaspic: true ->
What is it, what is not? It is a moral issue.
I found first, that’s too hard. But then said the head of the rescue team, I had to film the dead. I saw it then also as my moral obligation. Also during installation morality comes into play: How to get the film to the point of being able to show this at all? What would have happened if there had been the Holocaust cameras? If people are dying before our eyes, we can not look away.
What can cinema images beyond the quick news images afford?
you can witness and generate attention. For the first time in history, we are all witnesses of a great human disaster, as it happens. Unlike the Holocaust or Rwanda there simultaneously pictures, not after. We can not say we did not know it. This makes the policy in responsibility: Just as the leaders meet the climate summit, they have to come together to refugee peaks and jointly tackle the problems in the countries of origin. And they have to make efforts to incorporate the of wars, famine and terrible misery fugitives care together
even a moral issue: In the film Samuele is to identify with, we come him emotionally close. The refugees experienced the audience almost only in the amount, as a group of survivors of the saved, of suffering. Missing the film since the balance?
It was but not do anything else. With Samuele I spent a year, the refugees left the reception center after one or two days, I could often take only a few hours. So I tried at least to establish contact and in the short time to build a relationship with them. I think in the scene in which one of the Africans his long journey through the desert on Libya to the Mediterranean raps, succeeded. This Rap, a cry, a kind of Gospel, he replaced a thousand interviews. The tragedy with the many near-dead and the bodies in the boat at the end – the force of these images balances the parallel story for me. In this unsentimental scenes lies for me the essence of the drama, because they break with the Lampedusa routine that you see in the movie before: the arrival of the boats, the refugees in the bus, in the center, the stations of the first recording, which is a regulated sequence that is repeated almost daily.
The doctor of Lampedusa, Pietro Bartolo criticized, here in Berlin, the European refugee policy: the man as he knows them from Lampedusa, could also with walls not stop. Do you agree?
We are witnessing a human tsunami, three million people worldwide are fleeing from war, hunger, misery. The you can not stop with fences and walls, in fact. It’s a joke, for example, when Canada says they are this year so generous to include 5,000 Syrians. 5,000 people arrive on a weekend alone in Lampedusa and Sicily. Walls over time, have never worked. Just your Berlin know yet what people are doing so. They tear down them.
Interview Christiane Peit z.
More on the 66th Berlinale, see on www.tagesspiegel.de/berlinale
<- self.position eq 1 -> <- self.position: 1 -> <- position: center -> <- textposition: hcf-text-left -> <- inisprint: false -> <- inhaspic: true - !> <- self.position eq 2 -> <- inteaserpicposition: 2 -> <- self.position: 2 -> <- classid: hcf-inline-left -> <- textposition: -> <- inisprint: false -> <- inhaspic: true ->
No comments:
Post a Comment