Berlinale ’18 Review: ‘Daughter of Mine’ and Female Nature

There is something wondrous about Vladan Radovic’s imagery in Daughter of Mine, Laura Bispuri’s warm and well-intentioned sophomore feature. The bright pink of candy cotton, the light blue of the sea, the flaming red of a girl’s head and all the other colours let the setting brim with beauty and liveliness. Everything looks gorgeous, but there is no stylization felt, the island of Sardinia is alive in a way that makes you feel the sand beneath your feet, the taste of salt water in your mouth and the warm sun on your skin.

In this landscape defined by nature, a story is told, that is fittingly defined by human nature – the story of the young Vittoria, excellently played the by incredible child (and first-time) actress Sara Casu, and her search for her “real” mother. At first everything seems to be fine in Vittoria’s life – she knows where her place is. Under the wings of Tina, a woman who tries to raise the girl as she seems to think is right, and with the aim to make her a good and stable person, she is protected and safe, but also isolated, as her interactions with her classmates show.

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Berlinale ’18 Review: ‘Transit’ and the state of aimlessness

Christian Petzold tells emotionally rich, often female-led stories, which he intertwines closely with the settings they are located in. But he is most of all known for the stunning conclusions of his narratives – these moments have often been considered the best parts of his work, films like Phoenix and Barbara seem to only come full circle during their last beats. The reason for that, is Petzold’s way of letting the temporal and spatial aspects of the narrative fade into the background for a moment, narrowing his gaze down on the humanist, universal and timeless truths that the characters are confronted with.

With Transit, a mainly Marseille-set story about a man that gets caught up in complications of love and identity while trying to flee Europe as a refugee, it seems like he wants to reshape the way he tells these stories – it is a logical and very bold step forward in the context of his body of work.

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The film is an adaptation of Anna Segher’s World War II novel with the same name, but while the narrative is similar in general plot points and dialogue, the film removes it from its original historical context and reframes it into a modern-day setting. One would expect Petzold to adjust the story to that new setting, but he doesn’t. It’s very strange and feels borderline kafkaesque, but it works immensely well. The narrative manages to comment on its real-life context by highlighting universality instead of being specifically descriptive – the refugees of today’s Europe get a part of their story told too, even though the book template is broadly based on the experiences of refugees more than 70 years ago.

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You Were Never Really Here Review – Living with Pain

Trauma can be unbearable.

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Joe has been trough a lot and his life is not exactly what you would call relaxed in any sense of the word. He is some sort of enforcer, his jobs eventually all leading to a point where his fist (or his hammer) will smash someone’s face in. One day he is assigned to retrieve a young girl from a sex trafficking ring, a job that disrupts his routine and thus his life, which palpably (and solely?) rests on latter.

This is not a completely new narrative at first glance, but it shows once again that cinema often finds its essence and its highs in the ‘how’ and not in the ‘what’. Not to say that this movie hasn’t got a brilliant story to tell, in the contrary – the narrative heights it reaches, affected me much more than I expected. But scottish indie darling Lynne Ramsay outdoes herself specifically from a directorial perspective, by creating a staggering crescendo of audiovisual composition, downright pressing the viewer further onto his seat with each passing minute and absorbing him on a level that is only achievable by a master of the cinematic language.

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Star Wars: The Last Jedi – Passing it on

The following piece includes spoilers.

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Daisy Ridley as Rey in STAR WARS: THE LAST JEDI. ©Walt Disney Studios Motion Pictures (2017). All Rights Reserved.

“We are all in the gutter, but some of us are looking at the stars.” – Oscar Wilde

Oscar Wilde quotes are often considered somewhat corny, but they can be quite poignant at times. In Brian Selznick’s novel Wonderstruck, a stunning work about finding one’s place in the world, the quote is pinned to a bulletin board. Ben, a young boy, will never forget about it. He is still a child and not quite able to grasp its meaning yet, but it sticks.

The stars always have been fascinating to mankind. Despite the fact, that we are nowadays able to fall back on scientific explanations and purge their mysterious shine into something less romantic, something very special inhabits the thought, that we can all look up and see them during a clear night. In that moment, it doesn’t matter who we are, where we come from and where we go. Thousands of us are gazing at the endlessness of existence and time and it calms us, because it makes us realize how small we are. This is not the most soothing thought on first glance, but it also implies that everything is possible and nothing is forever. Human suffering will never end, but we will always have these small moments that make it worth and they will come eventually. We just have to hope.

It’s something inherently human, but when the opressing systems surrounding us get too suffocating, most people don’t even dare to rise their head anymore. That’s the moment when all hope is lost, and people lose their human drive. The drive to make things better, to keep on fighting, to be happy. The complex and intertwined injustices of this world, destroy all the beautiful things that we are capable of inside. The stars become merely meaningless matter, floating through space, exactly like us.

The big picture is always depressing, but we as humans have (mostly) learned to push that aside and focus on the small things, like love and wonder. They make our stay on here worthwhile, and that’s why they are often what drives us into devastation. This world can often feel loveless and devoid of hope. We are too detached from each other to permanently express the love we need ourselves. And yet, we’re all in this together. We are all a part of what makes it so beautiful and worthwhile and terrifying and painful. It’s all inclusive in the experience of human existence. Some of us have the possibility to create something beautiful and inspiring, a spark that reignites the light in people that have already given up to some degree. Even when the spark eventually goes out, we have succeded as soon as we pass it on. That spark is what keeps us alive, because it’s hope for the future and it’s the reason we rebel against the status quo.

It feels very strange to open an essay on a Star Wars film like this.

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The Endpoint of Escapism: Twin Peaks (1990-2017)

The following piece includes spoilers.

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Twin Peaks has always been about questions. The murder of Laura Palmer was the ground zero for a much bigger examination of evil, one that undermined the seemingly perfect picket fences of the United States. This description might remind you of Lynch’s early masterpiece Blue Velvet, a film that tackled taboos and its consequences in U.S. society. And in some ways, Twin Peaks always has been a continuation of that theme on a different level, but David Lynch couldn’t fully execute his vision in the first two seasons, due to viewing figures that lead to the show’s distortion into a more viewer-friendly soap/crime narrative and finally to its cancellation. With The Return, an audacious work of art, that blurs the borders of television and film, he was finally able to.

It seems strange to explain why the third season makes the show one of the most staggeringly existential works to ever grace any screen, especially facing the huge amount of slapstick humor and uncompromised weirdness it contains. But on second thought, it makes total sense. Continue reading “The Endpoint of Escapism: Twin Peaks (1990-2017)”

Analysis of Good Time: Love in an acid bottle

The following piece includes spoilers.

The last scene of ‚Good Time‘ feels like an active sensation of whiplash to the viewer’s brain. The film, until now a relentless, borderline psychedelic odyssey through the night of New York; suddenly slows down from 100 to 0 in a single transition. The heart-pounding, at this point almost aggressive synth-wave score by Oneohtrix Point Never, transforms into a more gentle shadow of itself and finally fades away.

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