The young German films presented in the Perspektive Deutsches Kino 2007 are keeping a close touch to their protagonists. They show a fine sense for the dramas of everyday life and also display an astounding technical and formal maturity. "I think it’s astonishing to see that these young filmmakers know what they’re doing, even when they’re not talking about themselves", says Perspektive head Alfred Holighaus about this year's harvest, which also comes as a proof of quality for the German film academies. An interview about the Perspektive programme 2007, fims that are strong because they are interested in real life. "In principle the same applies to film as to good footballers: they go where it hurts."
In this year’s Perspektive programme there is a strong documentary focus, with four films in the genre, more than ever before, as well as narrative films with documentary impact. What does this tell us? Is the German reality so interesting or is it simply the documentary form that’s so fascinating?
It’s a mixture of both. I think that the German reality is totally interesting. But that’s not new. We already had a strong presence of German documentaries at the Berlinale two years ago. The subject matter for documentaries is without a doubt out there. But it’s also the case that documentaries have become more interesting for both, filmmakers and audiences. That also makes documentaries more interesting for producers – and this is reflected in our programme. On the other hand, reality is playing an ever-larger role in feature films. This has been apparent in our programme for several years now. This growing interest has resulted in more and more of the hybrid forms that you mentioned.
Social topics such as people’s growing precarious economic situations or migration, which have been ignored or stigmatised by policymakers, are often taken up by the films and depicted without resorting to clichés. Can we again expect social and political impulses from German filmmakers?