Panorama Dokumente will open with the world premiere of the French-Swiss-German co-production
<Une jeunesse allemande (A German Youth)> by
Jean-Gabriel Périot in Cinestar 7 on February 6 at 5.00 pm.
Using archive material, the film traces
without bias or commentary
the developments leading up to the “German Autumn” in late 1977.
The gradual radicalisation of leaders of the Red Army Faction (RAF) is made palpable in excerpts from, e.g., Holger Mein's film <Freiheit für Teufel (Freedom for Teufel)> and Ulrike Meinhof's <Bambule (Rampage)>.
The film examines the expulsion of a large number of undergraduate students from the German Film and Television Academy (dffb) for their radicalism, as well as the independent student workers’ cinema, ROSTA Kino, and the directors’ revolt at the “EXPRMTL (Knokke Experimental Film Festival)” in Belgium.
------ Une jeunesse allemande (A German Youth) by Jean-Gabriel Périot ------
Reassessing our understanding of history Une jeunesse allemande opens up a new view of history, and in doing so joins the previously announced and annotated El hombre nuevo (The New Man) by Aldo Garay and Iraqi Odyssey by Samir. Tell Spring Not to Come This Year by Saeed Taji Farouky and Michael McEvoy addresses the fatal situation in Afghanistan now that all international troops have left the country. And Censored
Voices by Mor Loushy traces the bitter taste of triumph. Young Israeli soldiers return home after the Six-Day War and immediately talk on tape about their experiences: the country is in a
flush of victory. Now the director shows these same men listening to what they once said. A statement by Katrin Seybold, who died in 2012, opens her final work: “The films I make need to be made. When people are dead, then they’re dead, and all we have left are Gestapo
reports, the reports of the perpetrators.” Die Widerständigen „also machen wir das weiter ...” (The Resistors “their spirit prevails ...”) consists of interviews about the resistance
movement against the Nazis. The film was finished by Seybold’s friend and colleague Ula Stöckl, whose legendary 1968 film, Neun Leben hat die Katze (The Cat Has Nine Lives), is screening
in this year’s Berlinale Classics.
Music films and special artist portraits have a tradition in the Panorama. Nina Simone went from being a talented jazz and classical pianist to a highly political human rights activist. In
the film What Happened, Miss Simone?, Liz Garbus weaves together film documents, interviews and, of course, the music of this inimitable singer to create an atmospheric portrait. Brett
Morgen also includes a great deal of music in Cobain: Montage of Heck, an intimate glimpse into the life and work of the founder of the grunge band Nirvana, Kurt Cobain.
Inuk Silis Høegh’s Sume - Mumisitsinerup Nipaa (Sumé - The Sound of a Revolution) shows how the rock musicians of this band from Greenland devoted themselves in the mid 1970s to opposing
Danish colonisers and brought about the revival of Greenlandic, their native tongue. And, as already announced (Press Release from December 16, 2014), in around 1980 one of the most
creative musical chapters in West Berlin took place, as documented in B-Movie: Lust and Sound in West-Berlin by Jörg A. Hoppe, Klaus Maeck and Heiko Lange.
Two extraordinary artists, both filmmakers whose world careers began in Berlin, are Jia Zhang-ke and Walter Salles: the latter is presenting an affectionate portrait of his colleague Jia
Zhang-ke, Um homem de Fenyang (Jia Zhang-ke, a Guy from Fenyang), which includes many excerpts from his films that make recent upheavals in Chinese society more tangible. Besides the
previously announced portrait of Fassbinder – Lieben ohne zu fordern (Fassbinder – To Love without Demands) by Danish filmmaker Christian Braad Thomsen, the Panorama is presenting two
rediscoveries: one about Yvonne Rainer, the incredibly inspirational but also, by nature, modest dancer, choreographer and filmmaker, whose film MURDER and murder won the TEDDY Award in
1997 (Feelings Are Facts: The Life of Yvonne Rainer by Jack Walsh). The other is about Annemarie Schwarzenbach, whose modern European attitudes, writings on travelling the world, and
stunning, highly androgynous look in the 1920s are still fascinating today not only to the queer and gender community (Je suis Annemarie Schwarzenbach / My Name is Annemarie Schwarzenbach
by Véronique Aubouy).
Two more works have joined the line-up of films that focus on self-determination and sexuality: Danish director Jannik Splidsboel’s Misfits shows how there are several thousand churches in
the Bible Belt of the USA but only one gay-lesbian youth centre. For many it is the only safe haven from a socialisation based on religious fundamentalism. Splidsboel presented How Are You
about the artists Elmgreen&Dragset in the Panorama 2011. In Haftanlage 4614 (Prison System 4614), Jan Soldat, who showed his short film Zucht und Ordnung (Law and Order) in the Panorama
2012, explores the longings and desires revealed by “prison fetishists”: these inmates are voluntarily behind bars.
The Panorama Publikums-Preis PPP (the Panorama’s audience award) will be presented for the seventeenth time to the best fictional and the best documentary feature respectively in CinemaxX
7 on the last day of the festival (Berlinale Kinotag), on February 15 at 5.00 pm. After the ceremony, the winning fictional film will be screened, followed by the best documentary at 8.00
pm. Organized in collaboration with tip magazine and radio1, Berlinale’s largest jury cast over 31,000 votes last year.
Conceived to promote German cinematic art, the Heiner Carow Prize will be awarded for the third time to a documentary, fictional or essay film from the Panorama section in cooperation with
the DEFA Foundation. After the ceremony, which will be held at 5.00 pm on February 12 at Kino International, Heiner Carow’s Coming Out (GDR 1989) will be shown.
The following titles complete the list of Panorama films published in the first two Panorama Press Releases.
Panorama Dokumente Censored Voices – Israel / Germany By Mor Loushy European premiere
Cobain: Montage of Heck – USA By Brett Morgen International premiere
Die Widerständigen „also machen wir das weiter ...” (The Resistors “their spirit prevails ...”) - Germany By Ula Stöckl, Katrin Seybold World premiere
Feelings Are Facts: The Life of Yvonne Rainer - USA By Jack Walsh World premiere
Haftanlage 4614 (Prison System 4614) - Germany By Jan Soldat World premiere
Je suis Annemarie Schwarzenbach (My Name is Annemarie Schwarzenbach) - France By Véronique Aubouy World premiere
Jia Zhang-ke, um homem de Fenyang (Jia Zhang-ke, a Guy from Fenyang) - Brazil By Walter Salles European Premiere
Misfits – Denmark / Sweden By Jannik Splidsboel World premiere
Sume - Mumisitsinerup Nipaa (Sumé - The Sound of a Revolution) – Greenland / Denmark / Norway By Inuk Silis Høegh European premiere
Tell Spring Not to Come This Year – Great Britain By Saeed Taji Farouky, Michael McEvoy World premiere
Une jeunesse allemande (A German Youth) - France / Switzerland / Germany By Jean-Gabriel Périot World premiere
What Happened, Miss Simone? - USA By Liz Garbus International premiere
Previously announced “Panorama Dokumente” films:
B-Movie: Lust & Sound in West-Berlin by Jörg A. Hoppe, Klaus Maeck, Heiko Lange, Germany (WP)
Danielův Svět (Daniel’s World) by Veronika Lišková, Czech Republic (IP)
El hombre nuevo (The New Man) by Aldo Garay, Uruguay / Chile (WP)
Fassbinder – Lieben ohne zu fordern (Fassbinder – To Love without Demands) by Christian Braad Thomsen, Denmark (WP) 《------
Iraqi Odyssey by Samir, Switzerland / Germany / Iraq / United Arab Emirates (EP)
The Yes Men Are Revolting by Laura Nix, Andy Bichlbaum, Mike Bonanno, USA (EP)
(WP= World premiere, IP= International premiere, EP = European premiere)
Please note: Stories of Our Lives by Kenyan filmmaker Jim Chuchu is now screening in the main programme of Panorama.
电影就是前德国恐怖行动集团赤色帮的兴衰史。赤色帮已从人们视线中淡忘很久,他们是谁?红色帮派(Rote Armee Faktion)简称RAF, 又名“巴德尔—迈因霍夫帮”,电影大部分内容围绕赤色帮在1967年到1977年间从起初建立到各种恐怖活动展开,充满革命、恐怖、绑架、自杀、赎罪、宽恕等纷繁复杂的历史纠葛,赤色帮的恐怖行动让“德国之秋”时期德国动荡起伏的社会局势可见一斑。
导演抱着一个男的,然后开始露点,边打电话边自摸,好大胆。飞机被劫持,导演很焦虑。奔驰某男被杀一事及评论gov的片段。很多历史片段。为何给恐怖分子以葬礼?
没坚持住。背景不了解,还悲剧的英文字幕。
7.5;是不是每個反叛者其實都有末世情結
一开始被Literally赤裸裸的法斯宾德定了基调,后面其他人或冷静或美或讽刺的陪衬就都显得有点隔靴搔痒了…
6。战后德意志的政治浪潮来的有点晚
N多导演拼一起的电影 法斯宾德部分并不是全篇最棒的甚至姿态相当做作 不过他本色并且全裸演出了一回
不了解,难以与影像产生对话......and"其他段影片都是时隔许久之后才完成的,是其他人在消化恐惧之后的尝试.你可以在他们所拍的那些影片里结结实实看到对评审会,对补助金的殷切寄望"by Fassbinder
和《远离越南》形式上比较类似,也同样有趣。纪录片和虚构段落互相结合,艺术家在特殊时期的心理挣扎展现得淋漓尽致(尤其法斯宾德那段)。
电影机器的美妙之处在于,你不知道要表达什么,因为你不知道你追问的答案,你也不知道该怎么表达这样一个你未知的事物;但是你能把电影拍出来
70年代的西德 革命精神尚未死光 反帝反资反法西斯的旗帜依旧在挣扎 但可以从68延续下来的极端行动看出(左派的极端恰恰是反革命们所希望看到的 因为这为一网打尽提供了最好的借口)很快这些都会被新的全球反革命联盟摸黑并装进垃圾桶里。反革命的联盟将在接下来的几十年里逐步改写历史,用他们自己定义的“自由”和“民主”取代革命年代基于群众的认识,他们对全球话语的主导、对世界的解释一直延续到今天。新自由主义的狂飙突进正是建立在68全球革命运动的集体性失败之上。而片子的诸位主创 也已是强弩之末,他们很快就会被新的表面打着左旗满嘴假自由民主的伪左派取代。这片子可以看作是一种哀歌,也可以是一个可怕的预告。没有一个人 能够超越RAF的极端暴力本身 去探讨前68的重要性 这一点足以证明他们早已不自觉地步入了下个时代
用九部不同导演执导的纪录或半纪录影像,以左派恐怖分子被杀及其引起的77年西德动荡为切入点,探讨了民主的界限等一系列问题,很多话题对现在的中国都是很有启发性的。遗憾的是当时的西德媒体人已能做到如此地步,而对于现在的中国依旧只能是黄粱一梦,可悲可叹!
重看:该片以施莱尔绑架案为引,以半纪录方式反映了西德社会尚未成熟且岌岌可危的民主,是德国电影对当时左翼恐怖活动做出的第二次反应。影片摒弃了不容公开讨论社会问题的官方媒体,并提供了相反的思考方式,也使得影片无法获得电视台的支持和拍摄资助。法斯宾德一段强调了个人危机与国家危机的交融。
强大!熟悉背景之后再看会更叹服.
神片!法斯宾德永远是这样的,在强势的外表下住着一个胆小鬼。
连看了五个小时的最典型的德国电影,想die想die的。
一批导演对政治局势的散漫的意见表达。德国赤军制造一系列恐怖活动后,其三名骨干在狱中离奇自杀,疑为政府暗杀,对此法斯宾德同志整日里义愤填膺,对没啥政治觉悟的男朋友大呼小叫态度恶劣,结果男友偶然留宿了个来路不明的人小法就吓得如惊弓之鸟,就这段自嘲短片特好看。
法斯宾德都激情成这德行了,豆瓣怎么不禁呢
《德国之秋》远远算不上一部好电影,它内部的各个组成部分实在是过于南辕北辙,无论克鲁格如何努力无中生有地造出某种结构,都没能奏效。但四十年后再来看其中的纪实画面,其中饱含着几个德国大导演身处历史巨变之时的混乱感,这是这部电影最有价值的地方。那些虚构的段落则显得过于假装平静假装间离,早早就被历史所忘记。所有的段落里,法斯宾德的最为诚实。他对自己的展示可谓赤裸裸,他对男友的欺凌和依赖、他对母亲的咄咄逼人,都让人大开眼界。
正如戴爺說的,看不懂的人不能替其無知和狹隘的觀賞視野找藉口,而要去學習,拓寬。最後兩段有警醒到,為埋葬恐怖份子(外邦人)拿安提格涅影射,妙,是個交界問題
《秋日的德国》本身没有情节,它混合了纪录片片段,以及标准的电影场景,给观众带来了20世纪70年代末德国的情绪。这部电影涵盖了1977年两个月的时间段,当时一名商人被左翼恐怖分子绑架,后来又被谋杀,这些恐怖分子被称为 raf-rote armee fraktion (红军派)。这个商人被绑架,是为了让英国皇家空军,也被称为 baader-meinhof 帮的原始领导人获释。绑架行动和劫机行动失败后,英国皇家空军最杰出的三位领导人,安德烈亚斯 · 巴德尔,古德伦 · 安斯林,还有让-卡尔 · 拉斯佩,都在监狱里自杀了。这三个人是被政府谋杀的,这已经成为左翼团体的信条。这部电影有几个片段,包括一系列与这位著名导演宁那·华纳·法斯宾德讨论他对当时德国政治局势的感受的场景。Fassbinder 的场景