Art FIFA 2013: Bolchoï, une renaissance

Bolchoï, une renaissance

France | 2011 | colour, b&w | 55 min | French, Russian, French subtitles

PRODUCTION TEAM

Director: Denis Sneguirev 
Screenplay: Denis Sneguirev 
Cinematography: Dmitri Rakov 
Sound: Christophe De Pinho, Maxim Tchetchkenev, Vladimir Stekachev 
Editing: Fabien Leroy 
Music: Christophe De Pinho, Andres Soto 
Narration: Guillaume Galienne 
Participation: Anatolly Iksanov, Nikita Changuine, Pavel Batov, Sergeui Lemechev, Dmitry Tcherniakov, Gérard Mortier, Tatiana Monogarova, Ürgen Reihhold, Lilian Hochhauser 
Producer(s): Emelie De Jong, François Duplat 
Production: ARTE France/Bel Air Média 
Distribution: ARTE France

Official description of the film:

Opera house, high temple of ballet and concert hall, the legendary Bolshoi theatre is the very symbol of classical Russian culture. But, in 2005, a victim of the ravages of time, unsanitary and dangerous, the Bolshoi was a ghost of its former glory, its facades stained, foundations cracked, walls sagging and gilding tarnished. For six years, architects, engineers and workers laboured on a gigantic overhaul, dubbed by the Russian media as the “project of the century.” Combining 3D images, animation, interviews and archives, the film brings the Bolshoi to life, from its origins to the present day, and shows that the challenges in its restoration are architectural, artistic, sentimental and patriotic. A former showcase for the Soviet Union known for its conservative approach, the Bolshoi has also updated its repertoire with the addition of contemporary productions. 

This film is a superb documentation of all the tremendous work required to preserve the Bolshoi Theatre. The building was in such a bad shape that it had actually split into 7 separate structures through deep cracked in the masonry walls and the foundation. The original theatre was build between 1821 and 1824. It was damaged by fire in 1953 and underwent a reconstruction by and Italian architect Alberto Cavos who, apparently, to speed the reconstruction process, neglected to pay closer attention to the stability of the theatre's foundations. This caused the building to begin to crack through the ensuing decades, to the point where it became dangerous to use since it became structurally unstable.

The film shows minutely all the stages of the reconstruction process, how the theatre was supported on metal pylons, and how seven sections of the theatre that had separated from each other had to be held together throughout the laying of new foundation. Moreover, not only was the foundation reinforced,  but actually several new theatrical spaces were constructed under the original Bolshoi building. 

The main Bolshoi theatre was renovated to its old royal splendour, paying special attention to all the decorative elements such as covering with gold leaves all that was decorated with gold in the past. Yet the entirely modern technology and equipment was brought in, mainly for the scenic and decoration changing purposes. In addition, a special attention was paid to acquiring the superb acoustics, where the acoustic elements could be changed according to the performance's needs. For example, the presentation of the ballet requires very different stage acoustics as opposed to an opera or a symphony orchestra performances.

This film is a must see for all those who love old style theatres. The film shows how such theatres can be preserved, and how they can acquire modern technical infrastructure.

Photo above by Denis Sneugirev, courtesy of FIFA.

Art FIFA 2013: Angkor

Angkor : la civilisation engloutie

France | 2012 | colour | 52 min | French

PRODUCTION TEAM

Director:  Saléha Gherdane

Cinematography: Jean-Pierre Guillerez, Fred Forêt, Raphaël Beauvois 

Editing: Sophie Le Strat 

Music: Films Distribution 

Narration: Agnès Barge

Participation: Christophe Pottier, Roland Fletcher, Jacques Gaucher, Dominique Soutif, Daniel Penny 

Producers: Hélène Coldefy 

Production: ARTE France/Iliade Productions, Crépuscule des civilisations/Les Films de l Odyssée 

Narration: Agnès Barge

Producers: Hélène Coldefy

Production: ARTE France/Iliade Productions, Crépuscule des civilisations/Les Films de l Odyssée

Distribution:  ARTE France

Official description of the film:

Angkor, capital of the Khmer Empire, the world’s largest city in the thirteenth century, was rediscovered by French explorers in the nineteenth century. They found an abandoned city whose ruins have been a source of fascination ever since. Today, the Greater Angkor Project, involving scientists of all nationalities, is attempting to penetrate the mysteries behind the disappearance of this civilization using the latest technologies. Archeologist Christophe Pottier analyzes the factors in the brutal demise of the Khmer Empire, which had dominated the region for centuries. The kingdom’s waterworks (more than 200 large canals) were key to its power, but also its Achilles heel.

The photography in this film is stunning. The areal views are magnificent. This film makes one to discover an old and complex culture which created monumental sculptures, built complex stone edifices, and participated in a grand scale projects such as building irrigation canals and water reservoirs. Just the scale of those utility works, especially as seen from the air, will amazes any spectator. Although the explanation in the film of why this culture, which strived on such grandiose building projects, has so suddenly come to an extinction seems quite logical, I found it quite unsatisfactory. Those ancient people were magnificent builders, and this despite the fact they had no access to areal views and therefore had to have an instinctive understanding of the terrain, of the minute ground inclinations, of the miles of water flow and drainage routes in order to be able to build such a complex irrigation and water storage system. Moreover, they were precise carvers of huge pieces of stone, both rectangular and sculptural. They would even chisel through a solid rock in order to establish some of the irrigation routes, if that was what it took to ensure the correct water flow. Surely such masterful craftsmen would have been able to figure out how to deepen the water reservoirs and protect them from the earth being washed off into the water system. If they were able to organize themselves to build such a complex and vast water system, they surely would have been able to organize themselves for a lesser technical task of undertaking regular maintenance works. The film concludes that their were no money for the water works maintenance. Yet where did the money come from to build this complex system to begin with?

Basically, this is a chicken and an egg dilemma. Which came first, the great civilization with smart engineers who were able to create most complex, kilometres-long water irrigation and water storage systems? Or did the water system and smart engineers came first before the civilized cities, popping up from nowhere, in order to create canals so complex, long and vast so that grand cities could be establish next to them? The engineers do not grow by themselves in the jungle communities. Big cities, which would have access to many trained and skilled people could not be established in the jungle without any secure multi-miles water supply system already being right there in place. Because of this dilemma, this civilization, though explained so skilfully in this film, still remains a great enigma to me.

Photo above courtesy of FIFA.

FIFA: International Festival of Films on Art

This year the Montreal's prestigious International Festival of Films on Art will celebrate its 31st edition. It will present 248 films from 28 countries. The films will be screened at nine different city's cultural locations:

CANADIAN CENTRE FOR ARCHITECTURE

 PHI CENTRE

 CINÉMATHÈQUE QUÉBÉCOISE

GRANDE BIBLIOTHÈQUE OF BAnQ

McCORD MUSEUM

MUSÉE D'ART CONTEMPORAIN DE MONTRÉAL

MONTREAL MUSEUM OF FINE ARTS

PLACE DES ARTS

ARTVstudio

CONDORDIA UNIVERSITY

On March 19 at 6:30 p.m. there will be a Benefit Gala at the Montreal Museum of Fine Arts where public is invited to participate.

For more information about FIFA festival, the programming and festivals' various events, please check FIFA website.

http://www.artfifa.com/en/

Cinemania 2012: One Night

38 Témoins

2012/ Colour / 104 min / France-Belgium 

PRODUCTION TEAM

Director : Lucas Belvaux
Scriptwriter : Lucas Belvaux 
Producers : Agat Films & Cie, France 3 Cinéma, Hérodiale, Artemis Productions, RTBF

Cast : Yvan Attal, Sophie Quinton, Nicole Garcia, Natacha Régnier, Françoia Feroleto
Sales : Films Distribution 

This film is adapted from the 2009 novel by Didier Decoin Est-ce ainsi que les femmes meurent? based on the brutal 1964  murder of Kitty Genovese. It is a deeply affecting drama by the Belgian director Lucas Belvaux. It forces a person to question himself as to what type of an action would he had taken in a similar situation.

A horrific crime happens in the middle of the night and no one claims to be a witness. But one man could no longer bear the sense of the guilt and comes forward, telling the police about what he had heard that night and what were his reactions. He is the only with a sense of responsibility for his lack of actions, the only person with consciousness. For that, his neighbours punish him with their hatred.

The film presents a situation where a person is deeply affected by the sense of his personal failings. It also states that there is no way out of the sense of deep guilt causes by the failed human responsibility. The main personage's consciousness turns him into a shadow of his former self. He claims that no one has a power to make him forgive himself, that no one could forgive him. Even the fact he is the only one with the sense of any responsibility and consciousness amongst 38 witnesses does not seem to redeem him in any way. The film ends on the note of deep disrepair. It shows the smashed reality of a broken life. But it forces one to ask if it is right to suppose that their is no possibility of redemption for this type of personal guilt and regret, no possibility of forgiveness of any kind?

Here is the film's trailer

  

Cinemania 2012: A Lady in Paris

Une Estonienne à Paris 

2012/ Colour / 94 min / France-Belgium-Estonia 

PRODUCTION TEAM

Director: Ilmar Raag 
Scriptwriter: Imar Ragg 
Producers: Entre Chien et Loup, Le Parti Production, Amrion Ou
Cast: Jeanne Moreau, Laine Magi, Fabrice Colson, Patrick Pineau
Sales: Pyramid International 

Jeanne Moreau, at 84, delivers an astonishing performance in this film by an Estonian film director Imar Raag. It is as if her acting talent has now matured to a full blossom. Her portrayal of the taciturn Frida, an Estonian émigré in her eighties, living alone in Paris, as well as her equally superb portrayal of a neighbour who comes for a visit in the film discussed in my preceding post below Cinemania 2012: Gebo and the Shadow, shows that the true talent never dies but if properly cultivated can even get much better as the years pass by. There is therefore no need for aging actors to complain that they cannot get roles to play because of their age. If they are not chosen for any roles it simply means they lack true talent and/or the ability to make their acting skills grow as they progress in age.

 The film treats with fineness the issues of the advanced age and the inability to care fully for oneself, and shows the ensuing tensions, despair, and frustrations. It also portrays the difficulties of those with the immigrant background, how they choose to cope with their new lives in a new country, and how they treat and judge each other within their ethnic community. Old hurts never seems to heal, but the new relationships are possible. This  as is the case of Frida and her new caregiver Anne (masterfully portrayed by Laine Magi) who comes from Estonia to take care of Frida, having never been to France before.

The film shows a triumph of warmth in human relationships that succeeds to replace the prior coldness and meanness.

Cinemania 2012: Gebo and the Shadow

Gebo and the Shadow

2012 / Colour / 91 min / France-Portugal

PRODUCTION TEAM

Director : Manuel de Olivera
Scriptwriter : Manuel de Olivera
Producers : Mact Production, O Som e a Furia
Cast : Michael Lonsdale, Cludia Cardinale, Jeanne Moreau, Ricardo Trepa, Leonor Silveira
Sales : Pyramid International 

The film is a superb adaptation of a 1923 stage play by the Portugease drama writer Raul Brandão - O Gebo et a Sombra. Manuel Olivera, the word’s oldest working film director, had succeeded at the age of 103 to produce a masterpiece by breathing a new life into this Portuguese theatre classic. The period setting of the film, the décor and costumes are masterly conceived and portrayed. And the cast of this film is superb.

The film examines the always pressing issues of evil and honesty. The inability and the refusal to be dishonest and to behave dishonorably in order to gain personal standing and money is portrayed by the main character Gebo and is contrasted to that of his son’s extreme greed for money which he believes can offer him a more exciting and valuable life. He attacks and scoffs his family and their two guests for their mundane and meager existence, and does not at all hesitate to commit a crime against all his family members, most directly against his father, in order to have a more ‘exciting’ life. He is possesses by a force which he proclaims to be greater than him. This force, he also explains it to be a very powerful being, comes over him especially at night and tells him, and forces him to do the crimes he commits.

The film also deals with love of a spouse and of family members. It portrays the desire to protect them, and the issuing family illusions that are installed. At the end, this also a heroic personal sacrifice… 

Here is the official trailer of the film, in French

One can also find complete versions of the film on YouTube.

Cinemania 2012 - 18th Edition

The CINEMANIA Film Festival promotes French-language films. Since its inception in 1995, it has presented its wide audiences with a great number of original and some very remarkable films. The festival has grown from the modest beginnings at The Montreal Museum of Fine Arts into an internationally recognized event. It is one of the largest dedicated French-language feature film festivals in the world solely devoted to premieres in North America, Canada, and Quebec. The Festival features many of the greatest names of French cinema, as well as young and up-and-coming talents.

The festival presents several special events:

- A tribute to the late film director Claude Miller, with his films being screened at the Imperial Cinema on November 2-3, 2012.

- A focus on Belgian cinema, also at the Imperial Cinema on November 5, 2012.

- A meeting with a French actress and film director Sandrine Bonnaire. Many of her films will be shown mainly at the Cinémathèque Quebecoise. Also, there will be a unique opportunity to meet her on November 7, 2012 at the Imperial Cinema at 16:30. This event is preceded by the presentation of the first feature film she directed Maddened by His Absence, which will be screened at 14:45.

To find out more information about the Cinemania film festival, visit the Cinemania website

http://www.festivalcinemania.com/

MWFF 2012: Opening Night

Montreal World Film Festival

The Montreal World festival has ended, and now only memories remain. Above is a photo of the entry to the Place-des-Arts just before the commencement of the festival's Opening Ceremonies. It seems it had been for the first time that an orchestra played during the Red Carpet walk.

Just above is the view of the Hyatt Regency hotel terrace where a cocktail party was held before the Closing Ceremony. The buffet of cold cuts and cheese was laid out inside the hotel, but one could step with a plate and a drink outside onto the terrace.

And this is a Red Carpet walk to the Closing Ceremony. I really could not tell whether there was anybody famous in that shot. To me it simply made a nice composition of people walking on the Red Carpet inside Place-des-Arts towards Maisonneuve Theatre, where the Closing ceremonies were to be held.


And the last but not the least are two photos of the founder and director of the Montreal World Film Festival Serge Losique. The picture on the left was taken at the cocktail party held before the Closing Ceremony. He was walking too fast... The one to the right shows Monsieur Losique on the stage at the Maisonneuve Theatre, Place-des-Arts. 

Visit the Montreal World Film Festival website.

Click on images to enlarge them.

All photos in this article by Nadia Slejskova.

© 2012 Nadia Slejskova

MWFF 2012: Latitude 52

LATITUDE 52
Montreal World Film Festival

First Films World Competition
2012 / Colour / 97 min / China

PRODUCTION TEAM

Filmmaking : Degena Yun, Leon Du
Scriptwriter : Zheng Xianmin, Zhang Jianjua
Photography : Zhang Hao
Montage : Zhang Jianhua
interpreters : Qi Hang, Wang Zheng, Boris Bedrosov, Fedor Selkin, Ren Shan, Ya Ru, Svetlana Tsvichenko
Production House : Yan Xiaoming, Mu Ren, Ming Zhenjiang, Mailisi Film Co. Ltd., 8-2201 Jian Dian Garden, Wen Hui Yuan North Street, Hai Dian District, Beijing (Chine), tél. & fax: (+86) 10 6225 43 01,dongguiyouxiang@163.com

Official description of the film:

LATITUDE 52 (LAO SHAO QIA)

In the late 1960s, growing ideological tensions between the two most powerful communist nations caused a final split between Soviet Union and China. In the dead of winter, A’ersileng, a young Chinese soldier, arrives at the tense border to man the Chinese watchtower. Under the command of Sergeant He Dazhuang, they watch over the border together, but A’ersileng struggles to adapt to the solitude. After a series of incidents, he is sent out to search the border for Soviet spies. There he stumbles across a love letter sent to Sergei, a Soviet soldier, blown over from the Soviet side. Between A’ersileng and Sergei -- two soldiers guarding two sides of the border, separated by a barbed wire fence, unable to meet or speak -- an unlikely friendship grows. A hidden friendship, so strong, that in the face of danger A’ersileng risks his life rushing across the border to save Sergei. But it is this fated first close encounter that would also to be their last. Years later a female Russian officer comes to China and delves into this faded past...

I met the two Chinese film directors Degena Yun and Leon Du, as well as the Russian actress Svetlana Tsvichenko on the terrace of the Hyatt Regency hotel that hosted the World Film Festival 2012 in Montreal. Leon Du told me that the film’s script was based on the recollections of a former Chinese boarder guard Zhang Xian Min who described many true instances of edgy situations on the Russian – Chinese border, but most interestingly, also true friendships that also developed along the border line during the very strained period of political tensions between the two countries.

The most compelling theme of the movie is the friendship that grows despite the spiked wire fence between the two watchtowers on the opposite sides of the border. Both towers have two solders stationed there for their military duty. The Chinese solders watch the Russian watchtower and minutely check on what the Russian guards are doing, and the Russian solders do the same. They do it day-long, day after day. They watch each other through binoculars, and pretty soon they learn a lot about each other. The two main characters on the opposite sides of the border learn to really like and respect one another, even to the extend that the Chinese solder risks his own life to save the Russian solder's life. During this incident he even disregards the strict rules and crosses over the boarder line.

The film clearly shows that a true friendship and a concern for another human being, even if that person is of a different race and political alliance, will flourish even under the most restrictive and repressive circumstances, and that the artificially created political differences and antagonisms fade in the face of the true human values.

The choice of the actor Qi Hang who portrays the main character -  the Chinese border guard who risks his life - is superb (see his photo above, at the very beginning of this post). He fits the role very well, and is able with his unassuming way of acting to project the humanity aspect into the toughest of the situations. With his performance, he makes a loud and clear statement that at the end all that really counts for us human beings is the humanity in each one of us, and not the political associations or other artificial persuasions that keep us hating and mistrusting each other.

The photo on the left shows  the two directors of the film (Degena Yun in the middle and  Leon Du on the right). To the left of them is the Russian actress Svetlana Tsvichenko who portrays a daughter of the Russian solder whose life was saved by the Chinese border guard. Years later, the character she plays arrives to China to find out all the details about what had happened on that fateful day on the Russian – Chinese border that preserved her father’s life.

Here are two more photos of Svetlana Tsvichenko on the terrace of the Hyatt Regency hotel, Montreal, 2012.

Click on images to enlarge them.

Image at the very top of the article courtesy of MWFF and the director of the film.

All other photos in this article by Nadia Slejskova.

© 2013 Nadia Slejskova

MWFF 2012: Invasion

INVATION
Montreal World Film Festival

2012 / Colour / 104 min / Germany - AustriaWorld Competition (feature film)

PRODUCTION TEAM

Filmmaking : Dito Tsintsadze  
Scriptwriter : Dito Tsintsadze
Photography : Ralf M. Mendle  
Montage : Karina Ressler
interpreters : Burghart Klaussner, Anna F., Merab Ninidze, Heike Trinker, David Imper, Jasper Barwasser
Production House : Thanassis Karathanos, Karl Baumgartner, Ebba Sinzinger, Vincent Lucassen, Pallas Film GmbH, Mansfelder Str. 56, 06108 Halle, Saale (Allemagne), tél.: (49 345) 6787 323, office@pallasfilm.de / WILDart Film, Pfeilgasse 32/1, 1080 Vienne (Autriche)

Official description of the film:

INVASION

Joseph is mourning the death of his beloved wife. At the funeral, some unexpected visitors introduce themselves as relatives of his deceased wife, a woman named Nina and her son Simon. They invite Joseph to Simon's Kendo tournament where he meets Simon’s wife Milena. Before long, Nina asks Joseph if the young couple could live at his place for a while. As time passes, Nina seems to be showing up at Joseph's with increasing frequency, and soon her boyfriend and Milena's son Marco have taken up residence in his house. Although Joseph had initially been pleased to have company, not least to take his mind off his recent loss, these new sub-tenants become increasingly aggressive in their behaviour, practically forcing their way they into his life. Is Joseph simply being paranoid or is his the victim of a real, brutal home invasion?

In my opinion, this film is about a brutal home invasion which ends in an even more brutal murderous resolution, from which none of the surviving characters, regardless of how mistreated they were, should have come out with a clean consciousness, although they actually do. Moreover, the film presents an “idyllic” ending with what appears to be a loving couple walking through a beautiful scenery into a misty future, love being the trophy for the brutality committed. Maybe in the Middle Ages it was OK to take the law into one’s own hands, since the society did not present any infrastructure for doing it otherwise. But in our modern world other means exist to rid oneself of the blatant abuse, rather than defiling one’s soul with murder.

Yet, I heard a different opinion from festival’s professionals who attended the Press Conference with the director of the film Dito Tsintsadze, and I wonder if that idea had not originated with the director himself. The people I talked to claimed that the entire and very graphic invasion and the ensuing murders were not real but only represented a metaphor for having to “kill” many surrounding people who prevented a man and a woman to love each other. They thought that the misty shots of an ally in the beginning and the end of the film were to signify that the whole film was only a metaphor. Since the supposed “metaphor” was by so many degrees more vivid and graphic in comparison to the bleakness and briefness of the shots of the ally by the lake at the beginning and the ending of the film (though those shots were very beautiful), it is really very hard for me to see the entire film in between as being only a metaphor. Also, a supposed “loss” of memory at the very end of the film concerning those who were killed does not imply to me that those characters never existed and were simply only metaphors. It rather shows that the survivors would prefer to forget everything that took place and brush it off as never existing. If the director indeed attempted to present the entire film as a metaphor, than, in my opinion, he did not entirely succeed.

On the other hand, the director was very successful with the purely cinematographic means of structuring individual shots, the way he presented his visual narrative, and also with how carefully he chose the camera’s shooting angles and the shapes and colours of the film’s imagery. Also, the actors did a commendable job of portraying the intended personages of the film’s drama.

In the film, Marco, the small boy, plays an ominous role. He is introduced to the viewer as being a peculiar child, and appears at first to be retiring and even somewhat dim-witted. But for me that impression faded the moment I saw him to wink at his mother across a table, and her winking back at him. I knew right away that this was not a gratuitous element included in the film for no purpose. Shortly after the murders began. The second incident of Marco's facial gesturing occurs just before Nina’s murder, when by waving his palm up and down in front of his face he presents to Nina in rapid succession a smiling and a serious face, both expressions looking like an unreal mask. The symbology of that was clear: the niceties of smiles were ending and serious business was to take place.

Marco's playing with a toy car controlled from a distance was also ominous. At first he drives it in the courtyard where his stepfather terrorizes him with physical training. His stepfather was the first to be killed. Next, the boy drives the car at Nina, his stepfather’s mother. The car forces Nina to jump into the swimming pool where she is killed. And then he goes into Nina’s boyfriend’s office and handles his gun. That was a clue as to who was next in line to go.

A question begs itself to be asked: did Marco have some evil powers to manipulate the reality at a distance, or was he simply used to control the supposed “metaphor” of the film? If he was used as such, than what is the moral implication of utilizing a child character in order to facilitate presentation of violence in a film?

As for the boy's mother Milena, she is shown standing behind a window in a scanty nightwear rearranging her hair. Joseph, the old man and the owner of the house, sees her through the window in his bedroom while lying in his bed. And apparently she knows it. Shortly after she enters his bedroom and immediately initiates sex.  Her husband, the boy’s stepfather, budges into Joseph’s bedroom in search for her, but she manages to escape. Later, we see Milena once again displaying herself in the same window, with Joseph watching her from his bed. But this time she goes into the attic. Joseph rushes out of his room and bumps into her husband who is once again looking for his wife. They both climb into the attic only to see Nina’s boyfriend engaged in an abusive sexual activity with Milena. Although we find later on that Nina’s boyfriend is Marco's father, there are no motivating clues in the film why his mother Milena had to go to the attic and endure abuse. Maybe it was simply to lure Joseph and her husband into the attic to instigate the first murder in the film? Was the Milena simply a super manipulator?

One of the festival's professionals I talked to interpreted the film in this way: the second part of the film represents hallucinations of Joseph, the old man, a metaphor of what he would have wanted to happen in order to end up with Milena, the young woman. The hallucination sequence starts after the man throws everybody out of his house and then comes back into the seemingly empty house on Christmas Eve.  Yet soon he is not alone. Not only the people he threw out but many others start pouring into the living room through various doors, holding candles and sparkles in their hands, very reminiscent of a surprise birthday party. This scene is supposedly the beginning of Joseph’s hallucinations since it was unbearable for him to be alone in his huge house on a Christmas night. 

The invasive birthday–like party on the day when many celebrate the birth of Christ quickly deteriorates and marks the beginning of the murders. I am not really sure what was intended by the party's symbology.

In this interpretation of the film as hallucinations of an old and lonely man, the final scene of the film, where Joseph is walking hand in hand with Milena and her son Marco along the misty winter ally, I was told that Joseph is actually all by himself, in the same way as he is alone in the very beginning of the film, and there is nobody with him. The last scene of the film is simply Joseph's hallucination as to what he would have liked to have.

Is this film simply about a mental illness of an old man? Somehow I never got that impression when I watched it. Joseph appeared to be the most stable of all the people portrayed.

The interpretation that the second half of the film is about hallucinations of an old man also seems to contradict as to what I was told the director said at the press conference. He stated that it was hard to tell what would happen between Joseph and Milena in the future, how their relationship would progress.

One can ask whether the film director, being also the screen writer, chose to portray all the violence in order to exorcise his own demons? It is well known that the creative process requires a deep involvement of the creator’s mind and spirit, of his entire being, and entails, to a varying degree, a projection of oneself into the work being created.

The film seems to mystify the viewers without providing the real clues as to what is attempted to be portrayed: a reality,  metaphor, or mental illness - hallucinations? There might be those who would object that the film’s point is to erase any lines between the reality, metaphor and hallucination. Yet, even if that was so, I still feel the film has not succeeded in doing this type of thing effectively.

I would invite the readers of this post to see the film and to decide for themselves how to perceive the portrayed: as totally real, where none of the present seem to be perturbed about crimes taken place; as a metaphor to achieve love; or as hallucinations of a lonely man? If this were reality, ask yourself how would have you acted in a similar situation? Keep in mind that if what is portrayed is a true brutality towards others, then we have been really desensitized as to not react to it in disgust, similarly as the characters portrayed. In addition, in real life these types of conflicts could have been resolved through law channels and not through gratuitous crime.

In case the film is only a metaphor, then it would not have required extremely graphic and even bloody portrayal of violent acts. The people who were “preventing” love between Joseph and Milena could have been very elegantly and artistically eliminated, for instance, with a simple stroke of a brush, instead of polluting our minds  with violence, and making many of us even more desensitized to watching brutality than we already are.

And if the film is about hallucinations, then why should one really care about what type of violent private mental imagery - hallucinations a perturbed, lonely, ageing man has, even when artfully cinematographically depicted? If there is a reason for us to care, than this point should have been made much stronger in the film.

Although the film appears to have a clear story line, it failed to present clearly its intent, or get us involved in the characters’ and our own humanity.

MWFF 2012: Shifting the Blame

Shifting the Blame
Montreal World Film Festival

2012 / Colour / 93 min / GermanyFirst Films World Competition

PRODUCTION TEAM

Filmmaking : Lars-Gunnar Lotz  
Scriptwriter : Anna Maria Prassler
Photography : Jan Prahl  
Montage : Julia Boehm
interpreters : Edin Hasanovic, Julia Brendler, Marc Ben Buch, Pit Bukowski, Natalia Rudziewicz
Production House : Matthias Drescher, Philipp Knauss, FFL Film & Fernseh-Labor LB GmbH & Co. KG, Hoferstr. 20, 71636 Ludwigsburg (Allemagne), tél.: (49) 7141 488 84 33, specht@ffl.de / info@ffl.de


Official description of the film:

SHIFTING THE BLAME (SCHULD SIND IMMER DIE ANDEREN)

Ben is given the chance of a new beginning in the idyllic "Waldhaus". As one of seven juvenile offenders he is expected to develop his social skills and experience security in a family-like community. But when he meets his housemother Eva, he is shocked: she is one of his victims. His brutal assault on her was never resolved. Ben does his best not to attract attention, but Eva soon starts to suspect something. "With almost Shakespearean force and a differenciated view, Lars-Gunnar Lotz paints the portrait of a young offender guilty of violent crimes who serves his sentence in an open prison. The complexity of guilt and forgiveness is dealt with meticulously and the often stereotyped profession of the social worker is rehabilitated."-- Joachim Kurtz (Die Zeit)

At the beginning of the film we see a brutal crime being committed by an animal –like being in a human form. At the end of the film we see the same person who fully reposes his human nature and all his human qualities. This film does not only deal with the moral but most directly with the spiritual nature of a man. It portrays evil and examines the issues of repentance and forgiveness, where the theme of forgiveness is especially in the forefront. Eve, being a true professional, chooses to control as best as she can her personal suffering and the revulsion towards the criminal who attacked her. She barely holds her restrain not to reveal Ben as her attacker. She chooses silence and waiting  in order to allow the criminal to fully come to terms with what he has done, to assume the full responsibility for it, to confess publicly his crime, and to ask for forgiveness from the very center of his being.

If you ever had a hard time forgiving anybody, this might be a good film for you to see.

Shifting the Blame - Trailer