If Erstsemester loves, please goes into this film! Here you learn für´s life, above all however worth knowing over the exchange program with the old-venerable name Erasmus. Xavier studies economics and because his father an old schoolmate in one of those glass palaces has, which sit promise a job for at least the half lifetime, meets one on a maintained Lunch. With the dessert is clear, Xavier must Spanish learn, because Europe grows together as well known. Then also the job in the glasshouse signs. Here the journey of the sympathetic naive Frenchman by bureaucratic confusions of a foreign study application and one begins can hardly believe that it stands actually sometime at the airport, with a goal Barcelona. Its rehäugige friend Martine (Audrey Tatou) together with Hippie nut/mother signs. But as now times like that, with new environment widen the field of vision and one are leave leaving sometime. Housing search, the beautifulnesses of the new city, the bars, the life - all of this requires the whole Erasmusstudenten. Xavier goes through the nerve-racking Tretmühle of the room search and lands finally with the application discussion at the table of a Multikulti WG. Are met a Dane, a Spaniard, an Italian, a Britin and a German, who cross-examine naturally immediately begins. Nevertheless the Frenchman at the end may draw in and it begins a turbulent year, in which Xavier is pushed, entgültig from the oft-quoted nest. Cédric Klapischs film be a party with arrival in the reality, which it not miss should. All lovers of „and everyone looks for its Kätzchen “could however something be disappointed whether the absence of that one „certain “breath poetry, which the director was able to give to his predecessor work. This however made up for with funny dialogues before WG-refrigerators, unbedarften handling all student plates and nationality-stereotyped and a wave of nostalgia, which should roll over all those, which have their exchange year already behind itself. Somehow we are evenly all a little Erasmus.
An indifferent reality, which does not require a definition, no responsibility, is Lolas world. Just as little like it it knows car it drives which type, why it wants to actually begin a therapy and for what reason it no more with Mike, their man, does not sleep, just as carelessly it deals with its talent. Now and then it tailors a new collection T-Shirts together to believe without so quite in it and Mike reproaches it into always recurring controversy schulmeisterisch this inability of a decision for something. Lolas life runs in the no-load operation. When it at one their with nothing correct spent day, which saves extroverted Sandra the life, sense steps into its existence. However not in the sense Mikes, but Sandra shows it that nothing really counts except the today. It tears Lola from its protected world inside into a journey by the night, those is hard contrary to Lolas volatile sliding by the day. When Sandra is caught up of its past and their life loses, Lola accepts its identity and finds thereby a foundation for their future to be. For the surprising idioms of his history the Canadian director Carl Bessai finds always new figurative metaphors, installed for example the raue landscape of Canada parallel to Lolas abysses, places representative pictures beside documentary road scenes and remains always completely close thereby to its Protagonistin, lets to us history with their eyes see. Thus an original succeeds to it haven-guessed/advised, a usually moved Grossstädterin around the thirty, which reveals the typical of a whole generation with closer Hinsehen.
Werner - Gekotzt becomes Spater (2003) R: Hayo Friday, Michael Schaack
It is already to the Kotzen, there would have one to actually put themselves and a correct film script write, with action and so. The Macher of this strip jumped over and instead of its Bölkstoff supplied and on of Werner old worked amusing implements set that phase leichthalsig: Möpse, tails, Kotze and much much shit. Otherwise are Werner, Andi and Eckat again full pipe on the way after Korsika in a monster of American road cruiser, even converted. On the way constantly around the supremacy one geknobelt, because to everyone times king may be and determine where it long goes. Eckat wants actually always home to master Röhrich, which the three in the pass left and which is completely overtaxed actually with the reorganization of Mrs. Glörs Friesenhaus. But Werner and Andi tilt the Jammerer simply efficiently one behind bind and then do not want also Eckat again any longer to work. Finally „Könich “Werner must make Flachköpper “absolute to the sea and „. Then it does not give there still to Helmut and Bruno, who must hold as metaphor for the inability of the Bullerei, creates it it nevertheless the racing insanity an end to prepare. For eingefleischte Werner fans this version of a Roadmovies is intended again times one great opportunity for a zotigen gentleman evening. Otherwise one would know probably nobody, which would like itself to do this plate causing the Arbeitsbummelei with all its unappetizingnesses: Strike wech the shit!
Love could be beautiful Amores Possíveis (2001) R: Sandra who-hit a corner
Announced as sexy easy summer comedy the Brazilian film, that nevertheless emerges on the Sundance festival 2001, when best Latin American film was distinguished, as shallow Liebesschmonzette in three variations: Carlo, enrich lawyer bores itself with his Angetrauten, when its youth love Julia steps after fifteen years again into its life. Or: Carlo his Mrs. Julia and the common son left and lives together with its new love Pedro, discovered now however again feelings for Julia. Variant three finally: Carlo loves actually only its mummy, until he meets the flippige Julia, mediated by a strange Rendevouz preparation agency. Confusion develops at least in the first half hour, white one as a spectator not that those resembles three-way role occupation of Carlo with Murilo Benicio and the Julia (Carolina Ferraz) a clever meant direction trick to be is. Particularly since Pedro emerges also directly two times. Thus one puzzles whether Pedro is not only schwul, but also lawyer colleague of Carlo or whether a Carlo's perhaps twin brother has, who actually schwul is nevertheless however an affair with an artist has and waits for the fact that his nut/mother gets everything raus. Or everything only one dream? Unfortunately then nevertheless many more profanely. Being astonished at the multiple personalities, the rain eating urine Sandra who-hit a corner on the canvas leaves, still strengthened by embarrassing dialogues, so cramped on the hair one here-pulled that one wähnt oneself rather in a Brazilian Telenovela, as in a evening-filling feature. Particularly since camera travels and music selection likewise strongly of Soap to think leave. That could charm have and fun make. It does not do however. Then rather equal the original and there with us not receiptable than replacement „property times, bad times “kucken!
Burn dear furnace Technology of the luck R: Chris WRIGHT/Stefan Kolbe
It smelled after it between the house ditches, in former times. And if one opened the window, there a black thin layer coal dust lay. Each week again a new. There they stood still, the sixteen chimneys in Zschornewitz, from the VEB power station Elbe. To become sentimental a reason? The grandfather of the director, Chris WRIGHT, actually should have blown up her, when 1940 British flier relays threw bombs off over the village. Not only WRIGHT asks itself, how it could survey this giant power station from air. But now is it here, 61 years later, in order to report to its Grandpa, what from the place became, which it would actually have had on the conscience and from the life, which made its blindness possible. In the meantime different took over the breakup of the plant. After the turn 89´ the work was no longer effective enough. The memories of the force workers remained remaining, partly on super 8 and video gebannt. The film producers held, what was important to them: People celebrations, FKK vacation at the Baltic Sea, the first steps of its children, the mechanism of its dwellings, contents of the kitchen shelf and again and again the breakups of the chimneys of their power station. They made crate way available her material Stefan Kolbe and Chris WRIGHT and those to have selected and affectionately together-cut, which the worker drove in such a way everything in his spare time. There there are Kleinode „of the circle of writing workers “and rarely sung people ways to hear: „Burn dear furnace “, dry dia. lectures on the effectiveness of socialist working processes and again and again the comments of Hans Joachim Werner the probably most persistent Hobbyfilmer. Werner films for at least 40 years and can refer even to an interview with Täve Schuhr. For it the deactivation of the power station brought the necessary time a woman to finally find. And now it must sound itself Geburtstagsständchen before the camera, and pointingnesses to the new year: „On that our love remains further so strong - do you have to add some more? “It does not have, but Mr. Werner is punctually back on transmission if the corks to slam. That is agitating and for laughter at the same time, offers it nevertheless completely intimate views of East German commonplacenesses. But the life of the Zschornewitzer is never abandoned the mockery. Even if the view falls on Wäscheleinen of full white tennis socks, by plastic bouquets on walls with Spitzendeckchen, then never is this letting down, but always speaks of honest sympathy of the film producers for humans from the power station: „And on ground connection peace humans good intentions. “
What however remains? „46. International Leipziger festival for document acre and animated film “, (14. until 19 October), is the parting gift of Festivaldirektor Fred Gehler to its city. The debate around Gehlers follow-up throws however a melancholischen shade on its view back. A discussion over end time tendency, Jean Perret and heavy births.
How does it see out in this year? Are there to trends and tendencies?
Never we had as many films, itself with topics as force, which problem of dying and distortions of the human existence argue. A very dark, apokalyptische world view, which comes to meet one there.
Apropos end time tendency: what means a new line for the festival?
In each case is called a change, which comes someone with new aspects, a new style and also new conceptions, which concerns the program accentuation. And that is also well like that. There are already only some baselines of the festival, which one should for reasons of the protection for the own profile maintained.
Now there is a clear favorite for its follow-up on the part of the office for culture: Jean Perret, the director/conductor of the festival „vision you Reél “in Nyon.
There was a small identification commission, that had come with our recommendation in May and which all applicants introduced themselves. The result of this commission, looked from the vote not in such a way that Dr. Giradet would have only had itself to deliver with a candidate. He should have spoken at least with two before-digit of the becoming more intensively. It did not make that.
Where does the problem lie?
The identification commission had asked all applicants with reproduction whether they were ready to shift their domicile to Leipzig. All - also Jean Perret - regarded this as a matter of course. Then Perret had nevertheless negotiated a considering time to at the end of of August with Giradet, what inexpressible I found, because its decision in-moved into the intensive operating phase of the festival. August got I at the end of then the surprising message that it does not become anything, with family Perret here in Leipzig.
Perret would like to take over nevertheless the Leipziger festival.
Yes, he obtained the impression in a longer telephone call with Giradet even that he would like to lead both festivals - Nyon and Leipzig -. This is not for it a problem, it thinks itself capable of. I hold this for self over-estimation that has nothing with Perret personally to do. Naturally white it, like one a festival leads, I doubts only decided that it can lead two festivals of this extent.
Do you see straight its work the brook down-going?
No, but my doubts led at least to the fact that Mr. Perret was again invited and its conceptions to the discussion to stand, with whatever exit always. I can only say that I consider it wrong that one aims at so a solution, which is internationally completely uncommon in all other respects under these conditions. It is most risky in my eyes to have the Festivalleiter outside of the national borders. It belongs here locally. For me is an absurd discussion to find a somehow constituted prominent one and to take a path parallel, only because one made there in other place - opera and contemporary gallery - good experiences. A festival is something else. One cannot be more schwanger as well known a little and a festival is like a child, who one help each year the world.
Are you, if no solution is, available still for a further year?
Only, if it is not Schummellösung.
Perret stands drauf and for Gehler is in it?
I said always, Jean, either you say 2004 or 2005. But say it soon!
Case of hit and run Wolf castle (2003) R: Christian Petzold
„It is as here in the circle hall. The people wait for their car and converse: how largely is it, how much it has gram? “Therefore Christian Petzold wanted to turn its film in wolf castle, that „probably bundesdeutschesten city of Germany “. Phillip Wagner (Benno Fürmann) hesitates one second, a view into the rear view mirror then gives it gas. Continues to drive into his dwelling to Katja (Antje Westermann), to the friend. Both very presentable, decay, gediegen. The dwelling a Bungalow, which with its emptiness, which reflects internal isolation of its inhabitants. And there are these dependence: Phillips Boss is Katjas brother, it is perhaps money in the play, a piece of the autohouse, if Phillip continues to function only as perfect life partners. The bad conscience drives Phillip then nevertheless in the hospital. There it meets Laura Reiser (Nina Hoss), the nut/mother of the small boy, whom simple it was because of the roadside. Its debt feelings do not have it yielded any longer by their side and begun the lives of the two woven themselves with one another, until finally the circle closes. Petzold tells its history over debt and cowardice used through-composed. To cool, partly nearly statically working pictures leave much place for own interpretations in the head. Again Harun Farocki assisted the director as Mentor and it also its concept remained faithful to take “and no music or sound effects use „the acoustic area of his turning places Ernst, which was not existent locally. Thus it remains not only very near at the dramatic tensions of its action, but catches also a genuine piece German middle class. In the case of the occupation of the female main role it proved its good feeling for female characters with the selection of Nina Hoss. Benno Fürmann works however palely and with its opposite completely overtaxed. Nevertheless „wolf castle is “a strong film with stamping seed pictures, which brings the whole „Bundesrepublikanigkeit “of our country in some scenes on the point.
Actually Lukas Moodysson began only from pure boredom to be occupied with film. With 17 it had brought already the school out geschmissen and its first poem volume (It doesn´t more matt where the lightning strikes), but the poetry appeared to it too centered. It wanted to change something in his life, cook become or evenly for director. The film school accepted it, for reasons, which are still veilful it today. Disorientation and leaving as success prescription? As Ingmar Bergman, who congratulated large man of the Swedish cinema, to him by telephone too „Fucking Amal “, others would have sunk before reverence into the soil. Moodysson took it loosely. It does not have to measure with Bergman. Actually he thought not at all as much about him. If it must also not absolutely, because already after the third film (after „Fucking Amal “, „together “and „Lylia-4-ever “), which international attention found, is considerably long his nominating and price list on festivals. The 34-jährige tries to dissociate from it, but one „stupid “side in him likes prices, admitted it in an interview with „the Guardian “. During the Swedish film award of the prize it used its course on the stage for a longer speech over correct handling with film and the fact the fact that „the royal opera was not “the correct place for this democratic medium, which one should not eat meat and not too fast, treat children well has to drive and the Swedish control system. The people began to buhen and it simply resisted there and them the finger showed. Thus its call was justified as Enfant terrible of the Swedish film scene. Moodysson concerned also that very little, it geschart a nearly family circle of people around itself, with which he works again and again. In addition it insists on positioning itself as film producers politically. Topics such as solidarity and justice are essential for it. Its most critical and at the same time most political film with us is so far shown, is unquestioned „Lylia-4-ever “. It went bringing up for discussion and show it therefore the everyday trade with humans, how the western world uses the poorer ones of this earth, to them force does and it finally kills. Moodysson again and again tells its films from childlike perspective, „children is more verletzlicher “, therefore he wants to give them voices. Perhaps it is in addition, because of it that it would remain even at the dearest child, in order to retain themselves and on eternal with Lego to play be able a certain naive world view. Its both children build the many more creative spaceships, say it. For its in this year documentation finished placed (Terrorister - EN film COM cathedral) we must wait unfortunately in this country some more. Lukas Moodysson went together with CO director Stefan Jarl to the condemned globalization opponents from Göteborg into the prisons, in order to speak with them about the motives for their protest. The this an important film will be, does not stand not to doubt.
Lylia-4-ever (Sweden 2002) R: Lukas Moodysson D: Oksana Akinshina, Artyom Bogucharsky among other things
Lylia stands on a motorway bridge in Malmö. As she there came tells the Swedish director Lukas Moodysson with radical pictures and without the smallest light at the end of a dark tunnel flicker to let. First we are in Estonia, but no role plays, because concrete deserts, with much dirt and little hope are everywhere in the world. Places at those the humanity was lost and everything only away want. Lylias nut/mother also packed its things, in order to try with new Lover in the USA their luck. Their pubertierende daughter is interference factor and is left. Assistance is not for Lylia, on the contrary, her will offend, betrogen and abused and as a helpful young man, which in-loads 16-jährige to a correct appointment, can these their luck hardly seize. To Sweden it is to go with it, develop somewhat together, promises it it. Lylia believes its protection gel Volodya, likewise a maltreating in this possible normality, only like it, warns it of the deceitful dream. The boy lives in the block opposite and admires Lylia, because it grants him Unterschlupf, if the father in-flogged times it. Together glue, few meals divide and give themselves cold it nest warmth - a tender emergency community. Lylia packs nevertheless its things and this mark is it that, which leaves in the pass. But Sweden will not warmly receive it, will be the motorway bridge their last station. Moodysson is able to lend Totalität and Eindringlichkeit to its political request, which go to the pain threshold. Despite or straight because of dramaturgischen decisions, the partial hard at the Kitsch do not by-scratch - theatrical music of Rammstein and Volodya than metaphor for Jesus - force it the spectator a minute the truthfulness its history to doubt. With Oksana Akinshina and Artiom Bogucharsky succeeded it to it besides two actors at chasten, who withstand the high pressure of their roles and us Moodyssons history with their eyes see let. A large film.
In a small Maori village of New Zealand Pakeia of the whale riders is admired as a founder of the trunk. But the traces of western civilization threaten to let the traditions and rites of the Indians disappear slowly. Koro, the chieftain of the village sets all hope into the birth of a grandchild, who is to give strength to its trunk as worthy successors again. But of the twins, who see the light of the world, the boy dies and takes his nut/mother with itself. Only the girl survives. Its father Porourangi calls it Paikea and leaves village and child in order to mourn. The kauzige Koro closes the small Pai despite initial refusal soon into its heart, tries however nevertheless on other ways to educate a master owner. The firstborn sons of the village must begin, in order to let be informed in Taiaha, the traditional stick fight, singing and history of the trunk. Girls are not certified. But so fast Pai does not give up. It white completely deeply in itself in it that it is intended to lead the village is located it nevertheless in direct contact to its ancestors. Carefully and with quiet humor rain eating urine Niki Caro produced the myth around Paikea. It demonstrates the Maori not as a beautiful savage in breath-robbing window blind, but sets a problem very up-to-date, which timeless actual is at the same time values and traditions as well known always in the change - with erzählerisch traditional means over. Thus history lives not on surprising idioms but particularly on the impressing canvas operational readiness level, which is able to give Keisha Castle Hughes of the figure of the Pai. One suffers, fights and fears for with the girl up to the last minute, however always it knows that she will create it, to prove to its grandfather that also a woman can be courageous enough to take responsibility for the future of a whole trunk.