The films MAR DE FOGO (SEA OF FIRE) and Lama? (Why?) seem to pick up exactly where we left off in last year's conversation, where you talked about the original conceptual spark that must be protected at all costs in filmmaking.
Yes, that spark, that moment that serves as the inspiration for a film and that must be protected in order to complete the work is absolutely in focus again. Sometimes that spark comes from other films, creating references by exuding history into today's world. MAR DE FOGO, Lama? and Snapshot Mon Amour are three films in this year's programme that build that kind of bridge, and at the same time, provide a certain layout for Berlinale Shorts 2015: The films seem to be arranged on axes of reflection, simultaneously creating lines of separation and connection within the entire programme. That goes for feature-length films as well as some films in the programme that focus on intervention in public spaces.
In Snapshot Mon Amour, Christian Bau takes up the existential question of how an extreme situation can influence the structure of a relationship. After the catastrophe in Fukushima, the divorce rate in Japan rose so quickly that a new Japanese word came into being, "Genpatsu-Rikon", comprised of the Japanese characters for “atom” and “divorce”. The filmmaker refers to Alain Resnais' classic Hiroshima, mon Amour (France / Japan 1959) with the title and some quotes in the film, simultaneously looking at the question of the limits of representation. All that compressed into just six minutes!
The Israeli filmmmaker Nadav Lapid, known for aesthetically controversial films, is unusually emotional and very personal in Lama?. Nadav Lapid condenses a few scenes into that one decisive moment after which nothing is as it was before: The publisher of "Cahiers du Cinéma" asks 40-year-old director Yoav to name a film image that influenced his work. The latter recalls his time as a young soldier, who loved to shoot. While his comrades play their own music over Mozart's Requiem in Pier Paolo Pasolini's Teorema (Italy 1968) in the cinema, he sees himself in the image of the screaming protagonist stumbling through the desert. He found the image that allows a perception of the possibilities inherent in cinema. Something similar can be said of MAR DEL FOGO. Even if the viewer isn't familiar with the referenced film Limite (Brazil 1931) by Mário Peixoto, the power of the images and the moment of inspiration sticks.
What Do We Want to Do with Our Lives?
Do you consciously seek out these points of reflection when curating the programme?