Tour at the Berlinale
What MUB The Journalist, who wants to visit the Berlinale, usually have in the course pack? A long underpants for every festival day, solid footwear, a warm headgear, gloves and a thick winter jacket. Normally, the nasty Berlin winter has just reached its unpleasant high point, if in February traditionally the biggest German film festival over the bean, or the film screen goes.
With uncertain step, slipping and stolier, then movie writers, festival organizers, directors, actors and cinema fans from a cinema to another: From the Festival Preserved in the Hotel Interconti in Schareberg to the Zuehaus-Cinema in Mitte, from the Zoo Palace at the Zoo Train Station Academy of the arts in the Tiergarten.
Sometimes in the taxi, but mostly with subway and bus, the stroke moves from a film forward to the next press conference. The Berlinale is for the festival visitors, which are not from Berlin, also in crash course in the use of the local public transport funds. And a lightning import into the common German winter weather. This is also perfectly fine. After all, the Berlinale is not Cannes, but a festival, which is being worked: watch movies, make notes, interviews drove, editors call the cinema or the rental at home, "Maintain contacts". Normally.
But this year something is not right with the Berlinale: The temperature has moved since the beginning of the festival last Thursday at night constant about the freezing point, who has in thick winter clothes of cinema to Cinema, comes to a chest of tail, and you already need Mutze and Gloves not even.
If that goes on, the Berliner will probably be sitting in the Berlin-based starlets in front of the zoo-palace promenade and filmmakers in Dunner summer clothes in road cafes and draw their views. A film festival not in the sign of a new film direction, but in the sign of the climate catastrophe.
After all, the cinema presenter of Viva was already with Fidelen at a recording in front of the Berlin Zoo Palace "Move out! Move out!"-Call up from the audience. Stargast Robert de Niro, who was actually expected in Berlin, unfortunately had to cancel at the last minute: one had arrested him in Paris at a brothel visit, and Christoph Schlingensief commented in the "Young world" Self-free: "There are more callgirls in the world as Robert de Niros. That’s good." Jean-Luc Godard, who first explored, then canceled again, then was requested again (as a guest in the Berlin Ensemble, Altvater Brecht’s former place of office), probably does not come either. So ever two street cafe stools that remain empty and consequently no looks.
Otherwise, everything is like always: the mailboxes in the press center sources over before loud washing. in the "Writing room" Bruten Japanese film journalists and Brazilian strong critics side by side to the good 40 terminals about their reports. Somewhere, Alexander Kluge was once again sitting at a small table for this year, and in half-hourly rhythm to have the interview guests who talked in 1998 a good part of his culture window at RTL and Sat.1 fullen will. And at the Berlinaleital in the Europa Center, Berlin movie friends stand their legs in the stomach to get a map to the highlights of the Berlinale. In Berlin’s newspapers, many people were already looking for many people who are already looking for money on the snake to buy tickets.
To the films, to which you probably get very hard cards, obedient this year "Jackie Brown", The new, long-awaited film by Quentin Tarantino, "The Big Lebowski", The new work of the Gebruder Coen (Barton Fink, Fargo), and "WAG THE DOG" by Barry Levinson (Good Morning Vietnam, Rain Man). Whether one of these films will get a competition price, or maybe one of the outdoor users, like "HOLD YOU TIGHT" by Stanley Kwan from Hong Kong or even the German contribution, that stroked "Mambo game" by Michael GwiSdek, interested in the trade visitors of the Berlinale mostly little. You are not the reason to come to the Berlinale, especially since you will get the most competitive films of Fruher or later in a cinema in the neighborhood. The creep "Good wants Hunting" by Gus Van Sandt (also in the competition) even the next week has official Germany premiere.
The reason to come to the Berlinale to Berlin are the films of the "Forums" and the "Panorama", they often only have the opportunity here. Here, in addition to the mainstream crystal, which the Berlinale as a concession to the broad audience and on the Interior Minister Kanther (which had come to the open), to see real raritate and interesting productions.
The Big One
The star of the first "Forum"-Days was Michael Moore. Neither his second movie "The Big One" Still the heavyweight director were to look at the first festival days: in his first movie, the RealSatire "Roger and me", Moore had documented the decline of his hometown of Flint in the United States, in which General Motors had put the first production litter in operation and was born in the lateral workers’ movement. In "The Big One" Depends on Moore that also under the Clinton government of the heavy industry collapse and the associated verification of whole landscapes.
Like a Volkstribun, Moore walks into the lobbies of American coarse corporations, and asks to give the board chairman a check over 25 cents to threaten. So much hourly wage does not get a worker in Mexico, where many companies outsource their production. When he is actually received by a big boss, the audience to merciless self-assembly: the boss of Nike also grins Jovial, as a Moore confronted him with exploitation in the Indonesian factories of the sports shoe manufacturer. Otherwise he does not contribute much on the subject, but: "I’m sure American do not want to make shoes."
In the German press, Moore’s self-falliness has been accused because he – admittedly – is always the focus of his film. What Moore has understood in contrast to his critics, is that the "proper concern" today need an identifiable protagonist. He has learned from his opponents, and occurs in "The Big One" As a kind of Ronald McDonalds of a company also from the renewed company: the American left. So radical cinema looks out in the age of globalization, and from Germany you can see jealous and a little brainless.
Brought to silence with applause
Also in the area of the traditional art film, the Berlinale highlights has to offer, even if that does not understand each other: a quiet high point was "Fair part: Musee Langlois" from Jean Rouch ("The gentlemen of madness") In which the Geures Filmmaker organizes a last guided guide through the Paris Film Museum. A few days after filming, the museum burned out under the Eiffel Tower, which was already closed for a long time because it is one "Museum of national culture" Should do space. Now Rouch film is the last testimony of the film museum.
So too, the Berlinale can be: barely the single film is over, the old and still alerted rouch is standing in front of the canvas, and immediately started telling it yesterday: by Vertov, Rosselini, Chaplin, Flaherty, Hitchcock. Forum boss Ullrich Gregor does not come to ask any questions, Rouch talks and talks, and obviously the audience does not know that he is undoubtedly ranked in the filmmaker league, from which he is so eloquent. Again and again the applause interrupts from some movie friends Roouche repayments to end his redfull. Even so can be the Berlinale.
Technospace and retrospectives
A crowd pleaser was as expected the movie "Modulation" from Iara Lee. Lee already has with her debut film "Synthetic Pleasures" Much skill proved to transfer the intangible world of cyberspace into the medium movie. Now she applies the same method to a sometimes unparalleled theme: "Techno". "Modulation" Consists of a flash-like assembly of intervies with important protagonists of the scene. The whole flickers MTV-Mabig past the superficial viewer, but otherwise one can not convince the topic with the means of cinema.
The annual retrospectives of the Berlinale are dedicated to Catherine Deneuve and the Breaking SiodMak. Once you have recovered from surprise that the Berlinale has rejected it to meet the epoch year 1968 (after all: trend-year-old jubilaum) retro-mabig, you are glad that the gebruder SIODMAK has just experienced such a detailed dedication. Apart from an exhibition and a peacade catalog, every strip is shown at which one of the two German emmigrants were involved in Hollywood.
Both had fled as Jews in 1933 from Germany and had attempted with changing gluck in Hollywood.
During Robert SiodMak ("People on Sunday") After some start-up difficulties some of the darkest film noirs ("The killers", "The Spiral Staircase") could turn, Kurt Siodmak, which was also guests in Berlin, never got over B films. In the Cinema Central, the cheap-horror films, for which he has written in the 40s and 50s the scripts, continuously prefabricated for funf mark unique entry. They carry titles like "Frankenstein meets the Wolf Man", "The Lady and the Monster" or "Creature with the Atom Brain". In the Central you can with these Schlock masterpieces excellently the Berlinale overwinter. Despite spring-skinned climate catastrophic weather before the cinema.
Also read the reviews of Lynn Hermshmans movie "CONCEIVING ADA", who had at the Berlinale Europa premiere. ( Tilman BaumgartelTo)