‘The Golden Glove’ is a fascinating tapestry of decay

Fatih Akin, Turkish-German director with international acclaim, has a reputation. His background as the child of Turkish immigrants is irrefutably ingrained into his films, which work through a headstrong voice that continuously offers a refreshing perspective in the overwhelmingly white realm of contemporary German auteur cinema. His cinema is angry and often more focused on its morally ambiguous character’s journey than the ever-present politics of their situation. This is an approach that doesn’t always work out: 2017’s In The Fade slightly stumbles when it shifts from a political testimony of judicial failure to personal revenge tale, but it’s nonetheless fascinating to watch how Akin’s clings to this kind of storytelling and attempts to dissect the personal implications of the political.
He continues this narrative attempt with his newest film, The Golden Glove, an adaptation of a novel based on a real-life case, and sparked controversy in the 2019’s Berlinale competition as a result. Critics of national and international outlets harshly criticized the unflinchingly graphic story of serial killer Fritz Honka, who centers the films politically loaded narrative and whose violent acts against women leave a deep feeling of unease and disgust in the viewer’s gut. It’s absolutely legitimate criticism, but busy festival schedules and a perhaps biased (and understandable) attitude against the serial killer narrative might have blocked out the film’s qualities as a rich and engaging study of the marks of psychological violence that the wars of the 20th century left on German society.

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Cannes 2018 Review: ‘In My Room’ and Growth in a Neocapitalist World

German film has been suffering from an utter lack of strong genre films during the past years. With the exception from a few, rare surprises like independent filmmaker AKIZ’s brilliant film Der Nachtmahr (which became a flop that ultimately left the director in debt), there is no real courage to delve back into certain narrative patterns, and when they do, they play it incredibly safe, which dampens the hope for possible investors of such films even more. It’s very strange, especially since turning back time reveals that the brightest lights were of German cinema, where genre films such as Metropolis, Vampyr, and shaped their successors worldwide into what they are today.

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Carolyn Genzkow in ‘Der Nachtmahr’ (2015)

While Ulrich Köhler’s In My Room, a film heavily influenced by the filmmaking style of the Berliner Schule–a german filmmaking movement that originated in the 90’s, whose representatives are often formed by a depressive, stakeless atmosphere mirroring both social and humanist grievances–is not a genre film per se, but it shows a surprising amount of flirtation with post-apocalyptic motifs and images. It’s a refreshing change of pace on a visual plane, not only for the Berliner Schule, but the entirety of contemporary german film.

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