in the meantime, you can sum up the festival, the first under the directorship of the tandem of Karlo Satiat – Mariette Rosenbeck. How is it different? What’s new compared to the previous reject?
As at the Berlinale fighting for equality in Iskusstvennyi and everyday life
the Most notable: he became less festive. In one of the first reports from Berlin, I wrote: I feel like got is circus on TRIG. But did not yet know to what extent this feeling will be strengthened. The festival has become more pragmatic, rougher, meaner in the design and significantly more boring. What’s to blame – the lack of the usual bravado and red scarf former Director Dieter Kosslik, bad weather or lackluster competition program? Apparently, all at once.
Most surprising: showing the competition films exposed on festivals in Telluride or Sundance, past the screens of Rome or Paris, Berlinale breaks up with long-term “right of first night” becomes “cinema second screen”.
“Days”. Photo: courtesy of the press service of the Berlin festival
Everyone is talking about it a noticeable radicalization. I honestly did not notice. The program was diverse, and orientation to pop, a characteristic time of Kosslik, still here, was here and unfinished movies and cheesy Comedy, and children’s tales, and sentimental melodrama. Was inevitable in Berlin, a film about homosexual love-friendship – Taiwanese record-slow “Days,” the Tsai Ming-Liang, a strong candidate for the award “Teddy”. Was the only one in the competition – a film installation “Irradiated” the Cambodian Director of Riti Penha, a survivor of the Khmer Rouge regime, is a strong anti-war statement, based on the real fate of the “irradiatedreduced” mass slaughter. But there were paintings, knows how to hit the festival at this level. Two to three films with a claim to an obscure Arthouse in the competition do not make the weather. Especially because one of them – “Siberia” by Abel Ferrara made in the semi-delirium and failed. And another… do not take the same “new word” in the movie reformatting voyeuristic video installation “Dau” in the likeness of a multiseries film! But if it’s still a movie, something archaic: aesthetically it belongs to the 90-m – short era Danish “Dogma”, ethically – from the Paleolithic era.
“Irradiated”. Photo: “Never rarely sometimes always”Policy: a new round of
In connection with the “Dau” I would say about a new round of politicizing the already politicized to failure of the festival. Politicization is one-sided, with the tip facing East. All the pictures selected in Russia, formed a single monotonous way holes of world civilization – an impoverished, brainwashed and dangerous. I do not think their country is sinless, but when movies choose only the degree of their hopelessness, despite the artistic weakness (“the City fell asleep”) and marked the world criticized the ethical inferiority (“Dow”), the bias is not just noticeable, but strikes the eyes. Knowing that in a contest it is that part of the project Ilya Khrzhanovsky, which is not received in Russia, a distribution certificate, you can immediately predict that this is one of the main contenders for the prizes.
But the Berlinale without resistance surrendered under the pressure of a new wave of feminism: in pursuit of the coveted gender proportion of 50 x 50 was included in the competition frankly weak pictures like “the Stranger” Natalia Meta. The program still has a strong roll to the weaker sex – it includes mostly movies, either shot by female Directors and female reflecting the view of the world, or given to women’s issues, as a new opus Hong Sansa, Christian Petzold, Philippe Falardeau… And although it is time to have men to worry about their equality, the experience was not meaningless: nnew perspective – new opportunities and dead ends. And, of course, the new sviranje festival policy.
“Unelected roads.” Photo: courtesy of the press service of the Berlin festival
Typical male in these films is the weak who are damaged. The writer is Leo, the hero of the film in Sally Potter’s “Unelected roads” – the Bohemian subject, who suffers from dementia, weak-willed, a long time mixed reality with hallucination (one of the best role Javier Bardem). It takes care of, pulls out of the taxi and translates through the junctions a loving daughter Molly (always Horny Elle fanning), and in front of us, romanticized sick imagination, are the pages of his daring life – to illustrations for star film attracted Salma Hayek and Laura Linney starring ex-wives of the hero. The picture is of maternal sympathy and unbearable lenient with this immature, mentally ill creature.
the Psychosis became the leitmotif of the festival: they crush the heroes in the Argentine “the Stranger” through psychosis breaks the artist’s talent in the Italian biopic “I wanted to hide”, completely lost myself in the world of violence the hero is a doctor of the Iranian film “Here no evil” – decaying society dictate the collapse of the consciousness of the characters.
“Never rarely sometimes always”. Photo: courtesy of the press service of the Berlin festival
Purely female issue is devoted to the film Eliza Hittman (USA) with compound called “Never rarely sometimes always,” which received the prize “for the film” at Sundance. Colleagues have noted his resemblance to the Romanian film “4 months, 3 weeks and 2 days”: a seventeen year old girl from a rural family, accompanied by a cousin, goes to new York to secretly from the parents to have an abortion. However, in America the laws on this subject softer and more tolerant society, but prejudices remain, and Hitman does not hide the politicaltheir overtones of the film, seeing it as a contribution to the fight for women’s right to decide “their reproductive problems” and, of course, for “the overthrow of Patriarchy”.
Viewers Berlinale excited “the woman who ran”
Little treat for the female population of the Berlinale was the news about the sentencing of rapist and adulterer Harvey Weinstein, although many of the same Hitman, for example, disappointed with the softness of the judgment and the fact that not all cases of harrasment has been reflected. The legend of the natural humanism of female consciousness, in contrast to the aggressiveness of the male, the festival successfully dispelled: in fact it was no less bloodthirsty. Christian Petzold as the water looked, removing the “Undine” of a vengeful Rusalka, without trial utopia loved her for trying to change.
At the film market held a seminar on the most effective ways to the sacred formula of 50 x 50. The participants promise not to rest on our laurels and fight for the same equality of the colored with white filmmakers, and also members of the LGBT community with all other. The festival showed spring fever on a global scale: the war of the sexes erupted.
Predicted the results of the Berlinale are not taken. Torn by such a bi-directional currents, overwhelmed by complex political calculations and fear to infuriate feminists, faced with competition, the level of which is similar to the temperature curve of the patient dengue fever, a jury capable of any madness.