All pictures: Wild Bunch Germany
On the Amselfeld at night at half-one: Angelina Jolies Feelgood Exploitation Movie "In The Land of Blood and Honey"
"We are so bad that you have all the dead?" – "That’s politics." We are so stupid that you have to tail us with such futile dialogues – that’s Hollywood. Angelina Jolies in The Land of Blood and Honey is like his title: It is the kitsch over the little gluck in the rough war, it is Banales Polit mainstream theses cinema, which rumbles from a clear conscience in the end the most primitive ethnonationalistic ideologies, as they Even a Milosevic has not been represented in such uniformativeness.
Of course you can say now, Angelina Jolie did everything right. Handicraft anyway, and then she got an outstanding cutmeister with the French-German Cutter Patricia Rommel, which already another Polit-Melodram, "The Lives of Others", with clever shortness, dramatizations and music use by at least two classes made better. Of course, it is never wrong to point to war crimes such as mass ravens, of course, the victims of pity and solidarity, the tatter deserves punishment and contempt. But you can do all this right one in a way, with which you will do everything wrong again in the end.
Do not make political films, but make political movies
There are such a few bakes that never die. This is followed by the set of the criedery of the French nouvelle Vague, by Jean-Luc Godard, it does not go to the cinema not to make political films, but about making political films. The Berlinale, she likes to say by itself, is a very political film festival. And that’s right too. But the opposite is the opposite – then the Berlinale very very unpolitical.
It just depends on what you understand under political movie. Political films, these are theses and manifests, simple truths, in whose service cinema is particularly easy, but whether true or not, very quickly become very boring. Because what happens to a movie if he simply talked theses and views? In the worst case he becomes propaganda.
Angelina Jolies film about mass rape in the Bosnian Burger War, who ran on the Berlinale is an important topic, but a terrible movie. Is this political? And contaminates a dog-sensitive asthetics with the political concern in the end? At the Berlinale, many films over the earthquake of Japan, Uber Fukushima and the consequences. Who did not have pity with the people? But is compassion political?
There are also a lot of movies about the Arabellion. They all sympathize with the demonstrators. But the Berlinale does not hit the battles of yesterday? Is it politically, mubarak on the screen still for tenth time to stimulate? Maybe it was, if, much more political, to show that Mubarak can not be made responsible for everything bad in Egypt, that he was a good friend exactly the western governments that condemn him now. And that the demonstrators were not always good in shields, not always earning our support and sympathy.
But such questions are not that Schooon as the films that show the Berlinale. They are uncomfortable, and therefore such films are not made. Or the Berlinale does not show it. However, if it is really very unpolitically, even more slowly gained slaughtering to win again, chased dictators and mords like Huibuh to chase the castle ghunten over the canvas – to develop the well-shuddering audience. Politics in the cinema – that does not mean manifest, not theses, and certainly not that movies are on the right side. Politics in the cinema is an attitude that is represented by curiosity and questions, of the will to criticize, not from backiness and finished answers.
"I am a war criminal"
Bosnia, 1992: The Yugoslav Burger War is in full swing and struggles on Bosnia over. There, the painter Ajla and the Policeman Danijel get to know each other. First, the encounter is still carefree, but already at the beginning, the political reality of the decaying state penetrates with violence in her private life – a bomb exploded. The two will be a loving couple, but after mabs of the conflicting ethnic nationalisms, this love between Bosnian Muslim and Bosnian Serbs will quickly become a politician and prohibited.
First of all, Danijel Soldier becomes in the regiment of his father, a fanatical general. Ajla is his prisoners – under comparatively pleasant circumstance, because Daniel can protect them. When he is committed to Sarajevo, where the siege ring has closed, ajlas is another situation. She tries to flee, is discovered and brought into an internment camp where rape and death hazard are the agenda. She flees a second time, and after some time is captured again, this time by Danijel. He makes her for his personal prisoners.
Under the pretext of painting portrays, she lives in a single cell – with bath and better food and regular visits from Danijel. Passion and violence mix inseparable, the mutual mistrust increases – both love has long been poisoned. Experienced as a Danijel’s father of Ajlas Existence, he let him rape – which Danijel is by a murder at the TATER, which remains undetected. Soon after that, NATO, guided by US Prassident Clinton, intervened in the conflict and Danijel has to use with his unit. Ajla betrayed the Bosnian side the slippage of his unity – the hiding place is bombed, but Danijel survives rather randomly the massacre. Back in Ajlas Zell, he brings you around, and briefly turns to UN units with the remark: "I am a war criminal."
Calfs and feel: soft pornographic-voyeuristic pictures
Calculat and panties are no longer distinguishable, banned it in the this year catalog of the Berlinale, where "Land of Blood and Honey" after his premiere in Sarajevo in a special presentation was shown as a German premiere. That meant differently, but rendered and meets the movie quite well. You might be able to make the commitment and honest chairs to meet the experiences of Bosnian rape victims, reluctantly, as little as one would like to mislead from the fragh image and film-distant public performances Angelina Jolies to a previous judgment over their abilities as a director – and must admit that this movie has all the worst launches.
As a film artist paints Jolie, the woman the "Lara Croft" has played and "MRS.Smith" and "Salt" and who have come with comic-wide grin and three-ward hairstyle from their roles to the art product "Angelina" Disted, only with two colors: black and white. Even physiognomically, the manual characters are easy to distinguish in good and Bose, the women in the film are almost all Bosnian Muslim, only once you see Bosnian Serbinns – a group of brightly broken and manifold drunken prostitute. In order to have no doubts about the respective coagulation, the figures say Explicative dialog boxes that meet the cliches: "We have to eradicate them all."
The Bosnian Serbs are racist here, speak of the Amselfeld, from "Bose blood" The Muslims, they drink, sing, murders and feel the dead. Danijel alone and his father are shown a little more differentiated. The Father – this is the only scene that approaches the Serbian view – reminiscent of a massacre in 1944 through a Bosnian-Croatian weapons SS unit that fell victim to part of his family. The son is the only Serbe, which one gets to know a little closer and the "human" Turn, with scrupulous and "good pages" is equipped – which in the end is only used to make his other pages even shocking.
Politically, this is more a movie that maps the battlefields of Bosnia party: this is again a movie that keeps the uncomfortable fact that there was also Croatian and Bosnian camps and rapists, which simplifies all Bosnians of Serbian origin true national-innovative ideologies to short "Serbs" stamps to then between "Bosnian Serbs" and Serbs no difference to make more, which makes a quality from the quantitat, from "Serbian Chetnik Milizen" Talked, and is silent about Croatian Ustasha militia, and that of this one-sided, in a lot of polemic image with a coarse fellow skyscraft, which in the gross war is repayed again and again from little gland, it may be so loved.
A movie that does not shy anything, as the exact look: So for example, violence and rape are barely shown and when there is a tad-view – and in similar soft pornographic-voyeuristic images like the consensual sex. So it can not surprise that combining the Bosnian victims have complained about the film.
The narcissism of the good conscience
"Land of Blood and Honey" is a propagandamelodram, and that the film is propaganda for the possibly correct thing, does not make him honest or even better. Here is someone from the beginning too much exactly what is right and wrong, here a filmmaker does not have the slightest scruples against their subject, who had earned such scruples, decent and zogern and the waiver of pre-fast judgments even more than many other films.
The fascinating and highly updated motive of love between victims and taders, whose sadomasochistic abgrat still Liliana Cavanis "The night porter" It is best to lit, here in favor of political partisan and a praise song on Clinton’s controversial military use is given away. So is "Land of Blood and Honey" – An apprenticeship for calculated Politexploitation, which is not a bit shaking for details, connections and differentiation, but alone cares for the narcis of our own good conscience.