Ended the 53rd international film festival in Karlovy vary, with its rich programs brought on thoughts about how the era of political correctness influences the modern film and the modern viewer.
Shot from a film-the winner “I don’t care if we enter history as barbarians”. Courtesy of the Karlovy vary festival.
In the section “East of West” all impressed “Volcano” Ukrainian Director Roman Bondarchuk, no relation to the famous cinema family without. History lost in the steppes of Kherson young interpreter of the OSCE mission are photographed as if in front of us a young Karen Shakhnazarov period “City zero” meets Vadim abdrashitova, just put “Parade of planets”.
On the screen rustle sunflowers, splashing water estuaries that is reminiscent of Ukrainian poetic cinema of the sixties and compare it to the locality with the magnitude of the films of Sergei Bondarchuk . His namesake novel is trying to do and poetic, and ambitious movie at the same time, demonstrates the remarkable talent and sense of cinema, however, the connection of Sergei Fedorovich, Sergei Paradzhanov and Yury Illienko result is not too convincing. After Plato’s character want to exclaim: “Oh, that one!” Because there are things in art does not fit: poetry and the scale of politics and romance, the life of the body and spirit…
One of the festival awards was accompanied by a statement about “the physicality in the political and social sense”. This caused considerable excitement in the audience, especially because one of the jury members – Scottish documentary filmmaker and film critic – took the stage at the national skirt kilt. Of course, in his corporeality is no socio-political sense was not, but the fact of the opening thereof in a display piece made me think about the difference of perception of the movie “here and there”. The Argentine-Brazilian “Dream about Florianopolis” we see as another annoying story about a family who went to sea and suddenly understand that the relations between spouses, parents and children become completely formal. Western viewers are watching the story of this family, as the drama of physicality, defending their right not only to exist, but also on the attention of others. Mom and dad are already divorced, but still live together and are not averse to make love in the tiny toilet of a rented house. Mom, sending the ex-husband with the children to the beach, taking extravagant courtship of the Brazilian, who passed them uncomfortable house. Bed in his mansion of a much wider and more comfortable the furniture, where you have to live tenants. The daughter falls in love with the beautiful son of the Brazilian hosts. Mother convinces her not to get that feeling. But the girl, well aware of the adventures of a mother’s physicality, is outraged and not going to give up their choice. Son ever leaves the family home, stating that all these bodily things don’t matter. He goes to a nearby town to face the music…in short, not a family melodrama see here a Western audience, and another manifestation of political correctness in how the mother’s body and her body rebelling against the shackles imposed on them “horrible men’s world” and “did not understand ancestors.” And everything would be fine, if the stage Director of the film Anna Katz not forgotten about the cinema. The story played out properly and accurately, removed everything right and sometimes expressive, but no spark. Look at the picture and it seems that the Director the story is not too interesting. The theme is stated? The problem posed? Political correctness observed? What more could you wish? What plans and perspectives? What is the tempo? All of this – plans, camera angles, and tempo, and rhythm is present in the Polish “53 wars.” The picture is compact and energetic. From the screen will not come off. But not so much because the young Eva Bukowski – talented Director. Mainly because the physicality is represented in its very aggressive state. Heroine is married to a war correspondent. All the nineties it is located in the hot spots: Karabakh, Chechnya, Libya, and Dagestan Republic of the Congo. At first, the couple went together, but with the birth of children working together has ceased. Husband somewhere scary, where’s the fire where you can die every second. The wife is torn, and suffers, but not as a wife and mother of two, and a voracious lover. On this basis the woman is crazy. Clearly, vigorously, intensely. It is unclear why it is not seen by others? Why they do not understand what has long been guessed by the audience? Why in the crazy house lady sent only after convincing himself for the death of her husband, she stabbed him with a knife after another return? Yes, because the state, roughly previously referred to as uterine fury, now called the politically correct right physicality for priority attention.
Which, it would seem that the respect has to earned the festival a success tape famous Romanian Radu Jude “I don’t care that we will remain in history as barbarians”? The most direct. In this film, the physicality is used as evidence for political theories, and the nakedness of the body is the guarantor of social credibility. After the capture of Odessa by the Romanian army in 1941 on the orders of the military dictator Marshal ion Antonescu was destroyed 3600 local Jews. Young rezhissersha mass action wants to reproduce this tragic story in the view on the main square of Bucharest. An official of the municipality, colleagues, lovers, friends and girlfriends convince her not to do it. But the heroine is adamant. The performance took place. However, while the square is lit barn, which houses the victim, and the actor portraying Antonescu, delivers his speech, the audience applauds… the destinies of peoples have both good and bad, heroic and shameful. The Romanian picture is quite rightly argues that the silence of history, its rewriting, naming black white any good may not lead. Oblivion – the path to premature aging of the nation. However, the problem is, which way of presenting this faithful thoughts was chosen by the filmmaker. For whom he has put the film? For the intelligentsia, which knows and understands everything that I read Babel, even with her clothes on for this? For the average “Maria Ivanovna from the third entrance”, which is not dosidev not until the end – until the mid?..The film lasts two hours and twenty minutes. Moreover, the first two hours represent a philosophical debate. The camera stands still. People say, quoting Hannah Arendt and Isaac Babel reminded me of Tarkovsky and Sergiu Nicolaescu, mention Stalin and Ceausescu, talk about freedom of speech and bans. Talk, talk, talk and talk. Feeling the need to somehow “dilute” is speaking, the Director suddenly undresses the heroine and her overly hairy lover, causing them to artistic and political conversations in the Nude. But, alas, it only helps for a few seconds. Quickly examining the physicality of the characters, the viewer is once again immersed in the misunderstanding came in the movie and show discussion. Picture, Radu Jude said, “My film starts interesting. Then it will be worse. And the finale – a masterpiece. So don’t go waiting for”. Many did not heed the advice of the Director and left the hall long before the final. And the reason for that – the Director, have forgotten the truth that art is not “what” but “how.” Physicality, of course, fascinating. And, probably, the struggle for attention is not without reason. Especially in the world of cinema was already “twilight of the gods” and “Death in Venice” Visconti, “the Conformist” and “the twentieth century” Bertolucci, “the Night porter” Liliana Kawni. Was Pasolini, in the end! Only the classics do not conduct any struggle. They just filmed a movie that he loved more than anything, knew that cinema is a moving image, and was not going to stop them!