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Angela Schanelec in the Berlinale competition : I try to make breaks visible

Angela Schanelec, in 1962, belongs to the group of film-makers and film-makers that operated in the noughties years of criticism under the name of "Berlin scho

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Angela Schanelec in the Berlinale competition : I try to make breaks visible

Angela Schanelec, in 1962, belongs to the group of film-makers and film-makers that operated in the noughties years of criticism under the name of "Berlin school". Your quiet, focused films beyond all cinematic categories, whether you are musing now in the meditative "Orly" on the transit room of the airport or in "the afternoon," Chekhov is very freely adapted. With their seventh full-length film "I was at home, but" it is represented for the first time in the Berlinale competition. The Premiere is on Tuesday.

woman Schanelec, you have a Professor for narrative Film at the Hochschule für Bildende Künste in Hamburg. There is a lesson that you give to the students at the beginning of the semester?

no, I'm listening for the first time. I try to be assumed by the students, and I can't prevent my attitude to narrative cinema penetrates through.

your own movies require from the spectator an unusual openness of vision. How to convey this to the class?

I think that the students need to trust that there is this openness. I'm not trying to take you to the concern, to meet an expectation in the audience, because this worry is not productive. It brings nothing if you have fear of not being understood.

The title of your film refers to the silent film by Yasujirō Ozu "I was born, but...". Also in the case of Ozu, it is the ratio of children to parents. There are other associations, or of the sound you liked especially?

It is true, I find the title very nice, the restraint and the extent of associations that it evokes. You could make a comparison of the two films in your questions to ask the family to each other, but this need not be, of course, they exist independently of each other.

In the case of Ozu, the family is still reasonably intact, the Film is formed after the death of the father. The relationship of the two brothers to their mother is just as important as the exploration of the space left by the father? Why the father is missing, "I'm home, but" only gradually clear.

Ozu tells how the two brothers do not understand that the father corresponds to the image they have of him. Your desire image collides with reality, and the mother is trying to convey. In my Film, the father no longer lives, he's been a long time since, and, of course, has changed the role of the mother. But his death is not the immediate trigger for the story, and I don't want to suggest also.

The 13-year-old Phillip appears at the beginning of the film, after he was gone for a week, all of a sudden. His Rebellion against the mother and in the school is also an attempt to find yourself as a personality?

I feel Phillip as a very Autonomous, but not in the sense of a wild, unpredictable child. He is, he is, how he must act.

In her last Film, "The fantastic way" to go to the people in the nature. "I was at home, but" returns Phillip from nature, where he has with the animals in the forest lived. Donkey, Dog, Partridge. My first Association was a Nativity play.

I have many thoughts that caused me all the pleasure had in the animals from the Nativity scene on the town musicians of Bremen to fables. There are certain images or scenes, which I then turn not arise in the employment, even if you follow one of the classic dramaturgy. This beginning came to be.

This is a very close access to the cinema. Do you believe that we have forgotten this unreserved See?

Yes, if we could get there eventually, then we have forgotten it. The expectations with which we go to a movie, are complex and not prevent, nevertheless, I find amazing the kind of insult you don't call here, if one supports the very stringent expectations of the narrative cinema. For me, it is much easier to show a Film in the foreign, at best, very far. This is nice, but sometimes it seems to me also strange. If one makes German movies, it has to do with the expectations of the German audience, but also with the expectations of a German Film. This country is on a a, as I slowly understood, very specific stamp, you just have to work around, but the, let's say in Hong Kong lose importance.

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you have worked in the nineties, first as an actress in the theatre. Why have you decided to become a part of the Director and the cinema?

I've very late, as I've already played the theatre, the cinema in the first place discovered and then started to write, and about light to think about settings. The decision to make films that seemed to me at the time as a very deliberate turning away from the Theater, but now I realize how much me, the theatre has influenced. For example, someone with something to report, instead of showing it. Or employment with the rhythm of the language, language.

In "The beautiful way" is hardly ever spoken, "I was at home, but" even more, in a variety of registers. Everyday language, a slightly stylized use of language samples in school the children of "Hamlet". So clearly you have related so far, never on hands-ways of the theatre.

Yes, as I said, language is very interesting to me, and in the context of the waiver. "The fantastic way" is a wordless Film, there was a conscious waiver of dialogues that has me very busy and required me to Rob me of an Agent, and then has the consequence, that my need to write dialogs, is very strong. So there are far more language, and from figure to figure, very different assets, to use the language. The kids speak almost exclusively verses of Shakespeare, are very advanced, so if you want.

To your style means that the actors, their dialogues monotone, almost apathetic voice.

I take That differently. It is to me that the actor with the sets to be doing something. I try to give the actors dialogue, to make something with them, this is what interests me as a spectator.

your movies, the feeling that one is watching you when you Arise often convey. To try to now let's not the concept of the documentary: How to give your scenes this presence?

It comes I think all of what to handle precisely, the space, the movement, the light, the sound, of course, the cut. You don't see what is happening in a setting, I use cutting to manipulate what is really happening in the Moment, but to make ruptures or cracks visible. You can see the Person that exists in front of the camera. Also, I don't expect the actors that you don't have to invent someone who you are.

you have now turned for the fourth Time with Maren Eggert. What makes you so special?

More about

In the cinema: "The fantastic way" Through the forest, by the time

Andreas Busche

That sounds weird, but I find it opaque and translucent at the same time. She is professional and sensitive in equal measure. And the longer I know you, the better I understand what I can you can ask how far we can go.

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