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 The Berlin School and Beyond 
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Trip wrote:
I don't understand what happened. You exceeded your bandwidth so they removed all your images? huh?

Yeah, I've never had that before. They block your images until you upgrade to Pro or reach the end of the month (from the date you registered).

Grr.

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Tue Oct 01, 2013 9:35 pm
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i like tinypic it's cleaner

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Tue Oct 01, 2013 9:39 pm
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If tinypic doesn't feel the need to decrease the quality of your images over time (the one thing I despise about Photobucket), I will switch.

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Tue Oct 01, 2013 9:40 pm
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Luckily, no one looks at my pics, so photobucket suits me fine. I'm definitely not popular enough for imgur, which deletes your pics if no one views them. :(

Izzy Black wrote:
Just saw Ghosts, it's great.
Say more, please? I love the experience of that one, the drifting melancholy broken briefly by desperate yearning. Do you have any thoughts on the title? What did you think of Nina's dream (in the audition scene)?

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Tue Oct 01, 2013 9:43 pm
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Shieldmaiden wrote:
I'm definitely not popular enough for imgur, which deletes your pics if no one views them. :(

Oh, really? Tinypic it is, then!

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Tue Oct 01, 2013 9:51 pm
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Quote:
Tinypic:
Registration required:N
Time kept before deletion without views: 1.5 Months
Upload size before compression(loss of quality) or resizing: Automatically compressed.
Drag and Drop capability: N

Photobucket:
Registration required:Y
Time kept before deletion without views: Infinite
Upload size before compression(loss of quality) or resizing: Automatically compressed.
Drag and Drop capability: Y

Imgur:
Registration required:N
Time kept before deletion without views: 6 Months
Upload size before compression(loss of quality) or resizing: 1 MB
Drag and Drop capability: Y

Also, TinyPic is owned and operated by Photobucket. :(

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Tue Oct 01, 2013 9:56 pm
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I didn't even know about this. :(

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Tue Oct 01, 2013 10:01 pm
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ewww

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Tue Oct 01, 2013 10:08 pm
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Shieldmaiden wrote:
Say more, please? I love the experience of that one, the drifting melancholy broken briefly by desperate yearning. Do you have any thoughts on the title? What did you think of Nina's dream (in the audition scene)?


The title? As part of his so called 'Ghosts' trilogy, I think the idea of the characters as lost souls or listless ghosts that drift through the cosmopolitan city is probably the best reading of the title. This takes on an almost literal meaning when Nina is treated like the ghost of Marie. The quiet melancholy of the film is the inaction of its characters and the ephemerality of their inconsequential existence. They are like ghosts because they aren't really actors, they're passive vessels to the whims of circumstance, causally drifting from one situation to the next, but unable to meaningfully act. Nina is pulled along by her romantic and emotional longing, but she's incapable of making anyone love her, as she's exploited and tossed away by others across socioeconomic boundaries at the top, middle, and bottom.

As for the dream, I think it's a beautiful evocation of how one speaks truth through fiction. We get the sense that immediately after Nina and Toni meet, that Nina begins writing a revised, idealized version of their encounter. When Toni asks her if it's a diary, Nina responds by saying that it's 'something like that.' What we get is a glimpse of the artistic process and also Nina's intense longing. In the monologue, she begins recounting the half-fabricated, half-truth story from her journal, but it's so powerful and moving to Toni because she knows its inspiration, only she knows what's true and what isn't, and where it isn't true, it reveals the force of Nina's desire. It's impressive because Nina is only truly being completely vulnerable to Toni, because only Toni knows the truth, and it's simply a beautiful and touching moment of intimacy between the girls that climaxes in the intense passion between them when they dance later. It also of course heightens the sadness when Toni, almost inevitably, abandons her.

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Tue Oct 01, 2013 10:24 pm
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There's also a similar audition scene monologue in A Fine Day delivered in a dry monotone. Both are great for different purposes, but I found Ghosts more affecting, obviously.

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Tue Oct 01, 2013 10:30 pm
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Izzy Black wrote:
They are like ghosts because they aren't really actors, they're passive vessels to the whims of circumstance, causally drifting from one situation to the next, but unable to meaningfully act.
Oh, definitely. But I also thought about how all girls of a certain age are ghosts for Francoise (and Nina most of all), haunting images of her daughter back from the dead.

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What we get is a glimpse of the artistic process and also Nina's intense longing. In the monologue, she begins recounting the half-fabricated, half-truth story from her journal, but it's so powerful and moving to Toni because she knows its inspiration, only she knows what's true and what isn't, and where it isn't true, it reveals the force of Nina's desire.
The diary/dream element makes the film for me. Nina's character certainly wouldn't have needed that outlet for the film to work, but it adds depth and mystery to the simple story. You use the word 'idealized,' but isn't it fascinating that the details she adds to demonstrate her desire are rape fantasies! And, here it gets confusing, because when Nina sees Toni for the second time (when she gives her the shirt) Toni's torn clothes fit with the diary account, not the one we 'saw' through Nina's eyes. Nina's audition monologue could be more fiction, but I choose to believe it. As a recurring dream, it partially explains her fantasies, and also seems to invoke early-childhood memories of her parents (or, even odder, to allude to the film we're watching).

One more thought: I never found their intimacy particularly touching, because I never thought Toni cared at all. Yes, she understood Nina, and needed her for a while, but it was always a one-night stand, whether Nina knew it or not.

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Wed Oct 02, 2013 12:54 am
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Shieldmaiden wrote:
Oh, definitely. But I also thought about how all girls of a certain age are ghosts for Francoise (and Nina most of all), haunting images of her daughter back from the dead.

Yes, that's why I said this takes on an almost literal meaning when Francoise treats her like the ghost of Marie.

Shieldmaiden wrote:
The diary/dream element makes the film for me. Nina's character certainly wouldn't have needed that outlet for the film to work, but it adds depth and mystery to the simple story. You use the word 'idealized,' but isn't it fascinating that the details she adds to demonstrate her desire are rape fantasies!

Maybe, but in the beginning of the film, the thought that Toni was being raped was more than suggested until we were able to get a clear view of the situation. It's plausible that she exaggerates this reality to make it more dramatic, to give Toni a more tragic role to make their connection far more dramatic than it actually was. This is often how great fiction is born.

I favor the fictional reading mostly because of her explanation of the journal at the group home and the meaning acquired through layers of creation. But your take is also interesting. I can see room for going that direction.

Shieldmaiden wrote:
One more thought: I never found their intimacy particularly touching, because I never thought Toni cared at all. Yes, she understood Nina, and needed her for a while, but it was always a one-night stand, whether Nina knew it or not.

I found this scene extremely touching. I thought their connection was legitimate. During Nina's monologue, Toni begins to cry and has to turn her face away to hide her display of emotional vulnerability. She also clearly seems more emotionally drawn to her afterwards. The fact that she leaves her, even if deliberately, isn't evidence to me that she has no feelings for Nina. I think she just lives in the moment, fleetingly responding to each situation as they come, as if hardened by her circumstances to quickly forget the past to avoid responsibility and disappointment, only causing her to further self-destructively sabotage personal relationships and social attachments.

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Wed Oct 02, 2013 1:39 am
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Izzy Black wrote:
During Nina's monologue, Toni begins to cry and has to turn her face away to hide her display of emotional vulnerability.
Oh, wow. She did? I'll have to revisit it then. At the time, I thought her reactions (surprise, embarrassment, dejection) were more about what the casting guy would think. I really didn't trust her an inch, haha. I was fascinated but repelled.

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Wed Oct 02, 2013 2:16 am
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Trip wrote:
It doesn't look bullshit, fuck you.

Hey, funny.

Incoming thoughts...

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Thu Oct 03, 2013 3:37 pm
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Isabelle Stever's second film, Blessed Events, opens with a lingering two-minute take that shows the protagonist, 37-year-old Simone (Annika Kuhl), apparently asleep with her back to an open apartment window. Even before our eyes are met with this image, sounds are present, and as such we can almost mentally construct Simone's surroundings before we witness them. It is the urban clamour of downtown Berlin: the encompassing din of traffic, helicopters, ambulances; dogs barking, raised voices on the street and the sporadic crash of a broken bottle. Then the window is lit up, bright orange and deep gold to the hiss and pop of fireworks; it is evidently a time of celebration, perhaps New Year's Eve, yet our protagonist sleeps through it all, her heavy breathing always audible. It is this contrast, coupled with the conscious confining of Simone's body to a restrictively small frame (the window) that ensures - despite the surrounding sounds of vivacity - a feeling of utter constriction and isolation, which are themes that runs throughout Stever's film. Indeed, Simone is often framed in a isolatory manner: riding her bike down country roads with no other soul in sight, for example, or else frying a single slab of meat as a pitiful dinner for one in her grimy kitchen. That said, everything that happens in Blessed Events is in fact defined by an early scene in which Simone has unprotected sex in the back of a Vauxhall Corsa; a key scene in that it both provides her with a moment of (evidently rare) human connection and yet ironically also confines her further with the consequent burden of an unborn, unwanted child. This brings us to the term "Blessed Event", which would traditionally refer to the birth of a child in a happy, sacred but nowadays somewhat sentimental manner, yet here could perhaps also refer to the serendipitous meeting of the father-to-be, some weeks after their one night stand, who seems intent on starting a family - hence the plural form of the term as used in the title.
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Sun Oct 06, 2013 3:26 am
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I haven't been able to watch these in a while but am reading and bookmarking and loving your writeups. Definitely mean to get back to these soon.

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Sun Oct 06, 2013 4:16 am
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Thanks!

These last three are all sans subs, but thankfully aren't terribly talkative. The last two in particular I found interesting, since they both further Berlin School themes but look at them from a mother's angle - or, at least, a new mother and a mother to be; prepartum and postpartum psychosis, almost, which is a topic that is only recently being tackled with films like Daisy Diamond, etc. I don't pretend to know much about it, but it does relate rather well to these very Berlin School ideas of disaffection, alienation, isolation, and such. Watching many of these films, I tend to really connect with this idea of isolation and segregation. I'd love to explore it further outside of this particular collective. It's a theme that Sparrows Dance does so well, too!

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Sun Oct 06, 2013 6:25 am
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Shieldmaiden wrote:
I Am Guilty is the Berlin School's answer to Gus Van Sant, as we follow an alienated teen through his ennui-plagued existence. The dark humor of his hapless encounters keeps it engaging, despite his hard-to-read face. There's some Tsai here, too (I thought of Rebels of the Neon God), with the aimless wandering, the motorcycle vandalism, and odd sexual fantasies. I suppose it's possible that the ending is a fantasy, too? Either way, it's a rather cynical punchline, which I found a bit disappointing. Has anyone else seen this one?


I just watched this when I was in NYC last weekend. I liked it well enough. I didn't really get Tsai from it but definitely see the Gus van Sant influence which makes sense considering Hochhausler (as well as Schanelec I think) mentioned him as a working American filmmaker they are fond of and see affinities with during the panel discussion I attended. It's interesting you see the ending as cynical which it is absolutely from a purely social / political PoV. But I can't help but feel a certain sense of personal victory for Armin in the ending. As Schanelec pointed out as well, Hochhausler holds the camera on Armin's smile. Again, I am not claiming that going to prison is going to be a good experience for him at all. But his scheme ultimately worked. I also really liked the depiction of the adults with good intentions. They are certainly not evil or directly/clearly responsible for what happens to Armin but it also points to the pressure of expectations. Jedi talks about how his father shows disdain for blue-collar professions and seems annoyed when Armin fixes the neighbor's car. And the potential downside of an "up with people", "you can be anything you want" society. I think there's a complexity there that I wish the film would explore more but i'm not sure it does. I also had some issues with the homosexual fantasies. The depiction of those encounters are the equivalent of the danger and deviance from social norms Armin seems to be seeking. I do think that they are only meant to be deviant from Armin's PoV but regardless, I didn't quite see the need for them. Whereas Hochhausler mentioned in the Q&A that it was very important to him that Armin explore the boundaries of his sexuality. Of whether he could be something he is not or something along those lines.

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Thu Nov 28, 2013 2:04 am
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Shieldmaiden wrote:

I've run into this idea of language/cultural barriers in so many of these Berlin School films now: Sleeping Sickness, Jerichow, Marseille, The Days Between. And it's at least touched on in Passing Summer, Everyone Else, Madonnen, and Orly. It’s obviously a very common issue in Europe (and the world) right now, so I don't know how big a deal to make of it here. But, it seems to fit neatly into the overarching themes of identity and belonging I've seen in these films. In a global economy where people can slip in and out of place and language so easily, do they lose their connections to their origins? And what difference does it make if they want to or not?[/box]

All of them but especially Kohler mentioned this idea of "identity" being central to their films. Kohler spoke about growing up wanting to shed his German identity and living in various countries growing up only to realize that he remained German (and himself) no matter where he went. So that does seem pretty central to his PoV. This was my favorite of the 4 Berlin School films I watched over the weekend (I am Guilty, Sleeping Sickness, Longing and The City Below). Kohler did mention Conrad's Heart of Darkness as a distinct influence as it turns out and I totally see it even if in hindsight.

This was my favorite of the Berlin School films I watched this weekend and while it doesn't quite compare with Marseille or The Days Between for me, I love how it balances character study with more explicitly political themes. I especially love that phone call at the end of the first act. How do you guys interpret that? Why is he so grief-stricken?

I personally read that as his realization that as much as he loves his wife and daughter, he knows now that he won't be able to return to them. That Africa has him in a grip and he is going to succumb to other temptations. However, speaking to others , i realize the phone call could be read differently and as an impetus for his change of heart. Curious as to what you all think...

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Thu Nov 28, 2013 5:59 am
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Oh hey, I forgot that was this past weekend! How was it? Any autographs?

Will reply properly tomorrow!

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Thu Nov 28, 2013 7:58 am
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JediMoonShyne wrote:
Oh hey, I forgot that was this past weekend! How was it? Any autographs?

Will reply properly tomorrow!

:heart:
Nah, am too shy/self-conscious to get autographs and tbh I only ended up attending one panel discussion (on the movement overall with Schanelec, Hochhausler and Kohler) and chose to go to screenings instead. But it was a fun time and while the Q&As were largely uninspiring mostly because of the poor quality of qsns being raised by the audience, it was still really fun immersing oneself in these films all weekend.

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Thu Nov 28, 2013 8:12 am
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Longing | Grisebach | 2006


lixie put it better than I ever could so just cutting and pasting his words here instead..
elixir wrote:
verite camera w/o purpose, just vague medium shots of boring faces smiling or w/o affect, plot twists as contrived miserablism, false depth in a meta-ending whose questioning further reveals the lack of specificty inherent in the film, just a piece of vagueness that doesn't tap into anything palpable or interesting despite hinting at so in the scene we talked about, and a few others, maybe, but yeah just takes the least interesting direction ever

I didn't care for it either. I was really on board for a while and it has a lovely sequence where a character is inebriated and dances all by himself and it's the kind of scene that I am drawn to always. And there's a wonderfully complex sex scene that examines this idea of control and complicity and sets one up for something far more interesting than the film turns out to be. Worst of the films I watched and maybe my least fav. film from/for this thread thus far.

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Thu Nov 28, 2013 11:25 am
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charulata wrote:
Nah, am too shy/self-conscious to get autographs and tbh I only ended up attending one panel discussion (on the movement overall with Schanelec, Hochhausler and Kohler) and chose to go to screenings instead. But it was a fun time and while the Q&As were largely uninspiring mostly because of the poor quality of qsns being raised by the audience, it was still really fun immersing oneself in these films all weekend.

Well, you certainly picked a good panel discussion! But yeah, I can't imagine the quality of the questions raised by the audience being terribly knowledgeable or designed in a way that might provoke some kind of insight. Still, it's great that these filmmakers are seeing this kind of exposure, and I'm sure it was a great way for many to explore the movement. I like that we're considering it now almost in hindsight, since the Berlin School "wave" rose and passed some time ago, so that the state of things is now a lot clearer than it perhaps was at the time - we can now see its evolution, from the early stirrings to the final ripples. Though, it's also the case that many of the issues raised and themes tackled are perhaps not as topical as they once were.

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Thu Nov 28, 2013 8:06 pm
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I saw Longing a few years ago because it was high on a Tativille/Ten Best Films list, but I'm afraid I was totally bemused as well. It was nothing.

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Thu Nov 28, 2013 8:08 pm
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JediMoonShyne wrote:
Well, you certainly picked a good panel discussion! But yeah, I can't imagine the quality of the questions raised by the audience being terribly knowledgeable or designed in a way that might provoke some kind of insight. Still, it's great that these filmmakers are seeing this kind of exposure, and I'm sure it was a great way for many to explore the movement. I like that we're considering it now almost in hindsight, since the Berlin School "wave" rose and passed some time ago, so that the state of things is now a lot clearer than it perhaps was at the time - we can now see its evolution, from the early stirrings to the final ripples. Though, it's also the case that many of the issues raised and themes tackled are perhaps not as topical as they once were.

Yepps but also, it's more that the filmmakers just deny that it's a coherent movement in any sense. So they didn't really engage with any question that even hinted at that. I get their frustration at having all of their films being viewed through a lens that seeks to homogenize them as opposed to viewing them as specific unique films. That said, clearly these films have benefited from being viewed as part of a movement that critics/academics/viewers find interesting and unique etc. Unfortunately none of them seemed interested in addressing that at all. They also seem to view their films as explicitly not political whereas I think it's more complicated than that. I think they do address or speak to current politics but in a more subtle and nuanced way than their forebearers.
I am making this panel discussion sound really uninteresting/disengaged which it wasn't at all. It's just that the interesting parts weren't about the movement overall per se but more about these filmmakers' individual approaches to filmmaking.

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Sun Dec 01, 2013 7:47 am
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Trip wrote:
I saw Longing a few years ago because it was high on a Tativille/Ten Best Films list, but I'm afraid I was totally bemused as well. It was nothing.

yuh basically.

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Sun Dec 01, 2013 7:47 am
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charulata wrote:
Kohler spoke about growing up wanting to shed his German identity and living in various countries growing up only to realize that he remained German (and himself) no matter where he went.
Love this, and I think it's a big part of Marseille as well.
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This was my favorite of the Berlin School films I watched this weekend and while it doesn't quite compare with Marseille or The Days Between for me, I love how it balances character study with more explicitly political themes.
I knew you'd like this one! Now you have to watch Gespenster. :P
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How do you guys interpret that? Why is he so grief-stricken?
I agree with your initial interpretation. I think he knew he'd succumb as soon as they were gone.

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Sun Dec 01, 2013 7:57 am
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Post Re: The Berlin School and Beyond

JediMoonShyne wrote:
Well, you certainly picked a good panel discussion! But yeah, I can't imagine the quality of the questions raised by the audience being terribly knowledgeable or designed in a way that might provoke some kind of insight. Still, it's great that these filmmakers are seeing this kind of exposure, and I'm sure it was a great way for many to explore the movement. I like that we're considering it now almost in hindsight, since the Berlin School "wave" rose and passed some time ago, so that the state of things is now a lot clearer than it perhaps was at the time - we can now see its evolution, from the early stirrings to the final ripples. Though, it's also the case that many of the issues raised and themes tackled are perhaps not as topical as they once were.

Yeah, the qsns were really terrible. Lots of terrible comments about how inaccessible the films were or how prosaic etc etc.. I can't even. But also, it's more that the filmmakers just deny that it's a coherent movement in any sense. So they didn't really engage with any question that even hinted at that. I get their frustration at having all of their films being viewed through a lens that seeks to homogenize them as opposed to viewing them as specific unique films. That said, clearly these films have benefited from being viewed as part of a movement that critics/academics/viewers find interesting and unique etc. Unfortunately none of them seemed interested in addressing that at all. They also seem to view their films as explicitly not political whereas I think it's more complicated than that. I think they do address or speak to current politics but in a more subtle and nuanced way than their forebearers.
I am making this panel discussion sound really uninteresting/disengaged which it wasn't at all. It's just that the interesting parts weren't about the movement overall per se but more about these filmmakers' individual approaches to filmmaking.

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Tue Dec 03, 2013 3:12 am
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Post Re: The Berlin School and Beyond

Shieldmaiden wrote:
Now you have to watch Gespenster. :P

Grabbing that now!

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Tue Dec 03, 2013 3:13 am
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I enjoyed In This Very Moment much more than I Am Guilty. Part of that is the children (yes, Jedi), and the fact that I'm a sucker for the whole idea of reworking fairy tales. I especially love the way Hochhäusler balances the unsettling echoes of fable with uncompromising modern elements – the unlikable characters, the angsty guilt of the stepmother, the sex foregrounded, no longer in the subtextual shadows. He really works the contrasts here, the extreme naturalism of the kids' performances and surroundings making the stylized sets and reserve of the parents' segments look like another movie altogether. I worried all the way through that the ending would be another smug punchline (as in his later film), but it was perfect – slightly unexpected, and just as uncompromising as the rest of the film.

Also, that watch alarm tore out my heart and left it in pieces on the side of a Polish road. :(


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Wed Dec 04, 2013 11:21 pm
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Jedi, what did you think about the sex-as-distraction scenes? I guess anything playing on the wicked witch/stepmother theme is going to flirt with misogyny. It was effective, though. I definitely got a panicky, "look out! don't fall for it!" feeling in the restaurant near the end. Better than a forgetfulness potion! :)

A couple more pics from this one, because I really loved the way it looked:
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Wed Dec 04, 2013 11:21 pm
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I feel obscenely guilty about temporarily abandoning this thread, but thanks to the wonderful gift of a Berlin School book that some beauteous soul bequeathed to me over the festive period, I hope to continue matters in the near future. I've only read half of the book so far, but it's been fantastically insightful so far and is stunningly laid out, so yes, I do recommend acquiring a copy if you've no beauteous soul to bequeath you one. I should also note, re-alluding to the gay themes mentioned previously, that I recently watched Anne Zohra Berrached's (not to be confused with Anne Fontaine's) Two Mothers, which, despite its topicality and all, wasn't too bad.

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Sat Jan 04, 2014 8:21 am
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:) :heart:
I'd totally watch it but the KG rip has no English subs. Did you perchance find a rip with subs someplace?

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Sat Jan 04, 2014 8:54 am
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I haven't been keeping tabs, so can anyone tell me if the Berlin Schools is enough of a 'thing' now that we can call it overrated?

It not, let me know when that happens, please.

Thanks!

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Sat Jan 04, 2014 3:07 pm
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charulata wrote:
:) :heart:
I'd totally watch it but the KG rip has no English subs. Did you perchance find a rip with subs someplace?

Nah, I actually watched it without subs; understood most of it, but probably lost a little in the process.

(I mean, subs are for losers!)

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Sat Jan 04, 2014 10:30 pm
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waitaminit, did you just call me a loser... ban yourself :-x !!

I'll watch it over the next couple of days. I haven't seen one of these in a while now and am back in the mood.

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Sat Jan 04, 2014 10:47 pm
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Read some more last night. Enjoyed this passage in the An Exchange with Christian Petzold chapter, referring to the use of the automobile and initially The State I Am In:

The girl sits in the back. It's a family bubble inside the Volvo; as in a Faraday cage, you're protected from the lightning, but at the same time you feel as if you're imprisoned. Now if I had moved from Julia Hummer, from her close-up, to the outside, and if we had seen Hamburg or Wuppertal sweeping by. I would have found that cruel. For we mustn't show the girl's yearning through pictures; the yearning is in her gaze. That's why we don't see what she's looking at - she sees things that are hers alone. And we show only her gaze. That's what I explained to everybody: we don't have any point-of-view shots. That's also why we shoot in an actual moving car and not on a trailer or in the studio. Because I don't want the world to get any shots of its own, even though it is out there. It flies by outside, the places where we filmed, the fields or even the cities or the intersections. They're not arbitrary, they've been carefully chosen. But they don't get shots of their own, because I find it presumptuous to film a girl's point of view there.

To me the automobile has two meanings, which is why it played a role even in my first film. Pilotinnen (Pilots, 1995) was a pure road movie. On the one hand, because for Germany everything revolved around the automobile, and still does, even though it won't much longer. At the same time, this car never actually appears in the stories, although Germans spend more time behind the steering wheel than in front of the television set. There's a whole industry that caters to these people. Radio programs, audio dramas, audiobooks. Great German actors read important world literature for automobile drivers. This stuff lies around in their cars. People have created little hideaways in their cars, like fantasy spaces, spaces in which they go on journeys along freeways and highways. Lots of people also head for their cars in order to find peace. And the car is antisocial, because the driver sees only himself and the world through the windshield. That in itself is a cinema world, an imaginary world. A fiction.

The second thing: German actors in television and also in cinema are constantly pressed into stagy situations, so that they are really acting everywhere. But you can't do that in a car. The car is the most antitheatrical place there is. And as for the car, you can hardly capture the whole situation inside. Only with shot and countershot. That's not possible in the theater, is in itself antitheater. In the car the actors are only bust-length figures, and they don't have to talk loudly. They're very close to each other. They have no fourth wall, they're surrounded by the world. And if the actors don't see the car as a stage, but as a means of transportation in actual traffic, I have noticed that they take delight in that and suddenly speak differently. They have a different posture, use different gestures, do much less with their facial expressions. For in the car every glance or gaze to the side, each smile is a sensation.

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Sun Jan 05, 2014 7:44 pm
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Dunno about This Very Moment/Milchwald. Actually I found it a little bullshit. Props for creating one of the most thoroughly horrible characters I've encountered, though. I mostly stuck it out for the planimetrics.

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Thu Aug 28, 2014 1:37 am
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Bullshit in the story logic sense? I thought it was a fairy tale, complete with wicked witch.

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Thu Aug 28, 2014 3:04 am
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I did read what I could find, which was basically just your post on it. No, there's nothing here.

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Thu Aug 28, 2014 3:13 am
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We need Jedi. He listed it among his favorites but didn't write anything, as far as I know.

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Thu Aug 28, 2014 4:59 am
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Would have to revisit the film to comment, but I remember liking it well enough.

(I mean, you know who's bullshit? Trip is bullshit.)

Should really resuscitate this thread; top tens from everyone to create some kind of consensus list?

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Thu Aug 28, 2014 11:09 pm
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I'd do that except there's a bunch I want to see still.

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Thu Aug 28, 2014 11:50 pm
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Well, I feel obscenely guilty about watching almost none of these, so take your time, Jedi-oh.


Fri Aug 29, 2014 3:54 am
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Top ten moments from the five Berlin School movies I've seen.

How's that, Jedi? Schanelec and Petzold will have 100% of the spots. Should appeal to fans of both directors.


Fri Aug 29, 2014 3:56 am
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JediMoonShyne wrote:
Should really resuscitate this thread; top tens from everyone to create some kind of consensus list?
Yes! I don't think I'd noticed before how close our two lists were. We need some variety, some stubborn contrarianism, someone, say, who hates Petzold...

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Fri Aug 29, 2014 5:21 am
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petzold and arslan rox

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Fri Aug 29, 2014 5:37 am
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Jedi, I watched After Effect. Is it really Berlin School? It looks like it, I guess, but it's whimsical. It tells a strange half-story about a collaborative art/advertising project, reduced almost to a music video itself. The music is good, and it's nice to see the actors from Everyone Else and Dealer, and, of course, Sabine Timoteo, in a great role. The camera hardly leaves her face, and she’s so pissed off all the time, haha! Also, her character has a very unique method of creative brainstorming. Anyway, this is basically fluff, but really entertaining fluff.


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Sun Aug 31, 2014 2:45 am
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Looks great! :heart:

Cue LEAVES in 3,2,1...

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Sun Aug 31, 2014 2:58 am
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He's probably seen it 14 times.

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Sun Aug 31, 2014 3:30 am
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