Anderswo (Anywhere Else) explicitly examines the subject of going back home…
Just like the director, the central figure in the film grew up in Israel but studies in Berlin. At the beginning Berlin is cool, but when problems crop up at work and in her relationship, Noa longs for her family and her home. Yet soon after, she realises that she doesn’t feel at home in Israel anymore either.
Is Neuland (Unknown Territory) the documental companion piece to Anderswo?
Neuland is a guest at Perspektive. For the past three years, we’ve screened the winner of the First Steps Award for Best Documentary on the last Sunday of the festival, Berlinale Kinotag. In Neuland, Anna Thommen paints a cinematic portrait of a Swiss teacher who gives German lessons to refugees from Afghanistan, Cameroon, Serbia and Venezuela. A great teacher, one who tries to make it possible for these youths to be a part of society. One of the questions raised is the degree to which the students must adapt to their environment, and how easy it is to lose oneself in the process.
On the Playful and the Imperfect
In the press release, you also mentioned films by directors who tell familiar stories with new images in an interesting dramatic composition. Which films in this year’s programme fit that description?
For me, that’s more of a general title for Perspektive Deutsches Kino. Mirjam Leuze, for instance, has directed a number of documental formats for television. With Flowers of Freedom she produced her first cinematic feature documentary, in which you can sense her efforts to consciously digress from a conventional TV narrative. She composes a panorama of ten women who are fighting for the rights of the victims of a chemical disaster caused by a Canadian gold mine. In the film, some stories aren’t told from beginning to end and there are temporal omissions.