the cinema as soon as it became digital, discovered Amazing how quickly the analog world, be it fungus, viewfinder in the Romanian documentary film "Olanda", or the book, letters and documents as the haptic objects in several forum posts. Nikolaus Geyrhalter takes a look under the equivocal title of "earth," the largest and at the same time, one of the smallest analogue phenomena: the planet and the Erdkrume. The Austrian documentary filmmaker, exploring has always been patient-terrific arranged Tableaus places, this time also people to the centre. Man, it says right at the beginning, moving every day 156 million tons of earth, more than twice as much as nature.
Seven of the sites visited Geyrhalter with his camera. A giant construction site in the California desert, a brown coal open-pit mine in Hungary, the Brenner base tunnel project, an Italian marble quarry, the nuclear waste storage in former salt mine in Asse, a Spanish copper mine, and oil Sands in Canada. Seven places where XXL excavator, factory devastate large drill and blast commands, landscapes, mountains. It took part of years to get the shooting permits. The canadian petroleum industry refused Geyrhalter access, he was still at a distance and from high above.
Why only the Western industrial countries? "I wanted to show the high-tech enterprises, in which large machines, the manual labor to replace," explains the Director on the phone; until shortly before the world premiere he is busy with the finishing of the "earth". The technology increases the quantity, but also the moral Dimension: From the mountain tunnel to the radioactive waste and the possible error is not more correct. The aces since the storage in the progress of believers seventy years ago, long since.
at the same time Optimist and Realist
Geyrhalters part of breathtaking settings – the moon landscapes with giant machines, like tiny ants, in the marble cathedrals of Carrara, the wave shape itself aufstülp the end of the country to a dynamite explosion – back play your Fascination as a question to the viewer. To show "the Sublime, the Majestic, you don't even need to be a good camera man, you need it only to capture," says Geyrhalter. "You think madness are great, but what happened here?"
Geyrhalter is not an Eco-activist, not a Horsemen, even if at the end of a canadian environmental activist, denounces the contamination of the rivers. Geyrhalter says: We need the resources, urban development, how else are about seven billion people to survive? "I'm at the same time Optimist and Realist, includes actually." "Earth" is a Film about this Dilemma.
Geyrhalter started talking about humans as a geological factor to think about as he drove twenty years ago, even excavators. They had purchased a farm, had to install the pipes for the sewage system. "The first Time I thought it's allowed, something that for centuries was unharmed, to destroy, almost without effort." Not with the blade, but with the Joystick. A worker in Carrara tells the story of the virginity of the mountain, from the adrenaline kick of the job.Berlinale 2019: The Festival in numbers for more images 1 of 37Foto: REUTERS(Fabrizio Bensch07 ads.02.2019 06:271 Director has directed the Festival. In 1951, at the beginning of the Berlinale film festival, the Alfred Bauer. Wolf Thunder (followed by a...previous Next
"Homo sapiens", Geyrhalters Film about the ruins of the present, and the restoration of wrecked and contaminated places (Forum, 2016), came without words. The quiet rhythm, the wide angle and the three-dimensional sound, he maintains. A democratic act: The viewer can choose where his eye wanders, he can move freely in the images. In addition, the Director asks this time, the excavator driver and mine workers in front of the camera. Which narrows the view sometimes, in spite of the large image background. "I wanted to give them a stage, normally."
The workers know what they are doing. You talk about the necessity of interventions, the consequences, of that nature disappears when the excavators come. There are no limits, says a. Is it so?
The world of Google-Earth perspective. The 47-year-old film-maker is aware of the inflationary use of aerial photographs. But he wanted the analytical Total, bought satellite images, put value on "standing" instead of flying the drone images, in order to break with Habits. His pictures were also "nice", because he was working for the cinema. The easier it is to movies in times of mobile phone videos, the more the movie-going public have a right to aesthetic quality. Beauty and violence, Miracle and warning are close to each other.More about
retrospective of Nikolaus Geyrhalter in the Arsenal On the edge of the VisibleDavid Assmann
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