The ninth edition of Perspektive Deutsches Kino begins with good news: Drama can be done differently. The section will open with the film Renn, wenn du kannst (Run if you can). Director Dietrich Brüggemann (graduate of the HFF “Konrad Wolf” in Babelsberg) participated in the section in 2006 with his superb exercise in style, Neun Szenen (Nine Takes). Now he has teamed up with his sister, actress Anna Brüggemann, to tell the story of a love triangle which manages to extract carefree and romantic moments from a dramatic situation. The male leads are played by Robert Gwisdek and Jacob Matschenz.
The second piece of good news has, little by little, become a matter of course in up-and-coming German cinema: The documentary genre remains popular and grows ever more diverse and entertaining.
This is particularly evident in a film by Saara Waasner, who asked three smart, self-confident and older-than-usual prostitutes to speak freely and reflectively about their trade and daily life. Frauenzimmer is a documentary that opens many doors.
While in one film the filmmaker brings her viewers especially close to its protagonists, in another the filmmaker himself is the protagonist. In Alle meine Väter (All My Fathers), Jan Raiber (Filmakademie Baden-Württemberg) puts his own story at the centre of his film, but it is a story that he cannot control, letting both viewer and filmmaker experience many a surprise together.
In a programme with three medium-length films, each deals with filmmaking itself in most diverging ways. Glebs Film (Gleb’s Movie) by Christian Hornung (Hochschule für bildende Künste, Hamburg) is a film about a film that doesn't exist yet. But Hamburg hairdresser Gleb has had it in his head for some time, and shares it with his clients - all the while under the discreet but detailed observation of the director.
The Boy Who Wouldn't Kill doesn't just sound like the title of a Western - the film also looks like one. With Pit Bukowski in the starring role, Linus de Paoli (Deutsche Film- und Fernsehakademie Berlin) has created a variation on the models and methods of the genre - which seems to be reinvented over and over again - that is impressively played on all levels of cinematic effect.
Young actor Sergei Moya not only enjoys filmmaking - he also knows how to connect the audience to his enjoyment. His unerringly staged and acted film Hollywood Drama, with Clemens Schick and Carlo Ljubek, is a satire on the dream of many representatives of the generation of filmmakers who define and thus invigorate Perspektive Deutsches Kino.
“The films by the newest generation of directors are once again very serious, of course,” says head of section Alfred Holighaus to this year's selection. “But seldom before have the filmmakers simultaneously shown such willingness to have fun as they do today.”
December 14, 2009