Sunday , June 20 2021

Dedicated to Petzold on Liff: Politically not in the most expressive way



Petzold is in Transit, the idea for him has, as he said after the screening, worked out with his dead friends and co-workers, the director Haruna Farock, updated the novel Anne Seghers and he got mixed up with the cult of Casablanca.

The story of the suggestion of a book about a political refugee who wants to go to the United States, Petzold moves to modern Marseille. The parallels from the Nazi era and refugee problems are shocking, which seems to be Petzold's film method dealing with history. As he said, he hates historical films "people in old cars, old clothes and mustaches", such scenes seem to be taken away from the museum. When he switched the history of the Seghers from the Second World War to the present day, he breathed a sigh of relief that he was working.

Petzold metaphorically met with Nazism and a confrontation with the Germans in the film Phoenix (2014), in which, as before in many others, he again took over the German dagger Nino Hoss. The surviving victim of concentration camps, who has an average face, played. After artistic reconstruction, he returns to society, to a man he does not know, and maybe even betray him to the Nazis.

The phoenix, a metaphor for post-war identity reconstruction, was a special challenge for Petzold. He says that "he did not want to use hacked, rough sound, but an open window, shots that hear the noise and the sounds of the city, making us realize that after the catastrophe life lasts, because the spirit ceases to be a spirit when surrounded by life If all around us it is frightening, fear is blurring "- the director believes.

Petzold also presents Liffe with Inner Peace (2000), Spirits (2005), Yella (2007), Jerichow (2008) and Barbara (2012). Barbara and Yelli talk about former East and West Germany, but they understand it differently than some of his colleagues. The West is not necessarily a life goal, full of prosperity, but a spiritually empty landscape with the only transcendence, capital. Even before his birth, the director's parents left the then German Democratic Republic (East Germany) and went to the West, but he says: "In the former East Germany, I recorded my latest films and felt at home, I do not know where it came from.

Many film critics sought for more or less successful common points of the very ubiquitous German directors who had worked for the last 20 years. They include: Thomas Arslan, Angela Schanelec, Christoph Hochhäusler and Valeska Grisebach, and the term "Berlin school" has been established for them, although some of them have nothing to do with Berlin: they were not born there, they did not live there and they did not learn there.

In the end, at least the majority of the Berlin school members were often found with long staffs and limited dialogue, and at the content level, topics from recent history that are resolved in their own way – political issues do not necessarily involve making clearly political films. Petzold definitely signs this part of the Berlin school.


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