Reflexes against bitter seriousness
If the “three” mid-length films Hollywood Drama, The Boy who wouldn’t kill and the documentary Glebs Film (Gleb`s Film) take on the world of film and filmmaking, one can imagine that as critical approaches they also reflect their content on a formal level?
The fact that the number three pops up, is – as always in our programme – a coincidence that has to be. Especially the thematic overlap is interesting. Although they differ from one another greatly, all three films exhibit a great sense of humour. There are also very critical reflexes that refrain from becoming bitterly serious – both flow into one another here. Hollywood Drama was made with an astonishingly clear vision by actor Sergej Moya. Moya is an extremely young filmmaker, but established actors such as Clemens Schick were thrilled about him being the director.
Again and again, very existential themes are tackled such as in Narben im Beton (Scars in Concrete), in which a young mother in Marzahn represses her fourth pregnancy, or in Lebendkontrolle (Outside), which deals with the eagerly awaited release of a prisoner. How do the filmmakers tackle this subject matter?
Both films are complimented by a third – Jessi by Mariejosephin Schneider – and all three are really quite surprising works. Lebendkontrolle manages to establish wonderful humour in a very convincing way, despite a very tragic story. In Jessi, a young girl lives with her foster mother because her own mother is in prison. The contrast between both main characters generates a very intense tension. On the one hand you have the foster mother, who really takes care of the girl, who is, on the other hand, totally fixated on her own mother and acts this out in her very own world. One must, however, simply tolerate Narben im Beton. Beyond any kind of speculative portrayal, this is a story whose social realities demand a lot from the viewer, but it is told simply and clearly. The director went very far with her observations and made a very moving film, which, more than anything escapes the trap of glamourisiung poverty.