With 164 works from 54 countries, including 49 world prime ministers and the same number of Cannes deposits, as before, in the Munich film festival, the summer center of world cinema in Germany again declared in his 42nd edition. 19 industries, which celebrated their premiere in Croisette several weeks ago, were now shown for the first time in this country. And they were also strongly represented among the winners.
The tragic comedy “UN -PETA”, which was already awarded the UN -Continuous respect in Cannes, also received the CineCopro Award, endowed with 100,000 euros for the best international company in Munich.
The film by Simon Mesa Sotos Clger, among other things, prevailed against the “sentimental value” of Joachim Trier, a sensitive family portrait, which was awarded the great price of the jury at the festival for the cat -d’Azur. The Norwegian contribution, on the other hand, was better adopted by the Munich audience and was awarded the award of the international audience.
The award for the best international film in the second very famous section “Cineemasters” also entered the Cannes work: “Kika”, the debut in the Belgian feature film by Alex Pukin, tells about the young mother, who becomes a sex worker after the sudden death of her partner. The film previously worked at the Family -D -Critics and now received a well -deserved assessment in Munich.
More marginal work remains unreasonable
All these awards are understandable, no doubt, but, as expected, and, with all the corresponding recognition, it is a little regrettable. Because in the two most prestigious ranks of the festival, in addition to other outstanding Cannes Richard Linkleter (Nouvelle Gucue), Oliver Laksa (Sirat) or Shilinski Machine (Sun view), numerous works that have not yet been considered with the highest assessment, but artistic and their risk. deserves more attention.
Such an example is the feature film of Michael Kofler “The Second Country”. The director from Southern Tyrol talks about the separatist uprisings of the German population in his homeland in the early 1960s. The fact that begins as a story about the undermined chapter of the European period of the post -wave, is rapidly thickening to the oppressing modern family drama:
Young Paul (Thomas Prenn) involuntarily falls into the whirlpool of violence and opposition to power when his older brother Anton (Lawrence Rupp) participates in radical resistance. Questions about loyalty, readiness for exacerbation and ideological blessing are so accurate that the film does not create a serious historical distance, but it can be read as an echo in the current polarization – even becoming amazing.
It is obviously imposed today, but no less political is the “American Topic Minks”, the debut in the feature film UTA Briesewitz. Especially known as the camera, with success in US formats for such as “The Wire”, “Westworld” or “Black Mirror” -Briesewitz presents here the dark psychogram of the content speaker, which more and more worries her work on the dark edges of the platforms.
The 25-year-old Daisy (Lily Reinhart) should look at the video of hatred and extreme images of violence to keep the Internet clean for others, while one of these clips drops it from the highway and gradually becomes a criminal. In the end, the dark thriller is both: a smart diagnosis of time about excitation on the network and digital self-government, as well as sarcastic billing with the desire to always be “online”. American Sweetshop is radical, uncomfortable – and therefore he has a lot of time.
The seismograph of local film production
In the series “New German Cinematographer” there were no less bold things that show only work at the premiere and again turned out to be reliable seismograph of local film production. In addition to noticeably busy films, such as #Schwarzschafe, Stiller or Rave On, which will soon begin in cinemas, in the selection of this year there were numerous debuts that went beyond what could be expected and hopes for a bold future German film.
For example, the “Holy Meat” by Alison Kun is a black comedy about the interaction of piety and a fetish, Catholic dogma and the provinces of Swabyan. Father Oscar (Jens Albinus) wants to save his dying community, fulfilling the “passion of Christ”, but the plan comes out of control when the sheep develop their own idea of spiritual evidence.
Alison Kun, previously known for his cooperation in the famous youth series “Druck”, dares to have a satirical area, which German cinema has still amazingly left: Hybris and the hypocrisy of the Church, its secular representatives – and the last, but no less “fluctuations” in the stability of sexual atialization.
Much quieter and seriously, but no less powerfully talks about the feature film by Christina Turnatz Debut “Karl” of real violence in 1962. A 12-year-old girl (Eliz Cryps) wants to show her father, but the language of what happened is absent. The film consists without a direct representation of violence, instead works with associative fragments, memorial images, and injuries.
Elubicated low men, bloody sheet, mother (Katarina Shuttler), who is silent. “Karl” is a strictly composed film that is currently developing anxious power due to its undesirable. The fact that he received two prices as part of the award to promote German cinema – for the leadership and script Ivonn Gorlah – is the same meaning and a well -deserved decision of the jury.
Wagemut in the series
And even in the series of series, which is often neglected at film festivals, they laughed at something in Munich. While the main video with Miss Sophie, in the framework of the New German Television series, presented at least as a piercing and unnecessary story “Dinner for one”, and RTL+ tried to play in a comparable German adaptation of Sam Levinson “Evporia”, currently plays in Gelsenkirchen-ST-production, which demonstrated the greatest.
The WDR Naked series was organized by the Swiss director Bettina Oberley (“Wanda, my miracle”)-and tells, inspired by the experience of the screenwriter Silka Eggert, thirst, dependence and joint dependence. The main attention is paid to the relationship between Luis (Noa Saadra) and Marie (Svenga Jung), which are found at a costume party, fall in love and lose.
The series is not afraid of obvious scenes, but not to cover moral gray areas. The first two episodes, shown as part of the film festival, dare to delve into duality to desire, physical form and identity. The beginning of the “naked” already raises questions that, as a rule, German television dares to ask.
This can be the power of this festival: in its 42nd editions there were not only answers, but even more – created a space for those productive experiments that have a new storytelling of stories. Yes, it was a festival of less amazing prices. But where it is expected that inconvenience matters. And, perhaps, in this tension between the palm of the glamor and the enterprise – this is exactly the fact that the German film festival needs Berlinal to be relevant.
