At the Berlinale, pearls of plenty

Now that the prize list has fallen, the time has come for a final review of this successful 70e Berlinale, to evoke a few films that have been able to float in the memory of the festival critic exhausted by an overflow of images, German coffee and stuffy pretzels.

Mental space

Siberia by Abel Ferrara

ITA, DEU, MEX 2020, Competition
2020 Vivo film. Maze pictures. Piano

Siberia of Abel Ferrara. Vivo film. Maze pictures. Piano

Let’s start with an aberration, which we cannot say whether we like it or not, one of the most awaited films of the competition which created an almost general perplexity: Siberia by Abel Ferrara. It is a series of enigmatic visions and encounters experienced by an American, Clint (Willem Dafoe), running a bar in the middle of Siberia. Memories, dreams, nightmarish or mystical apparitions are linked together in this trip where we guess the clear influence of Andrei Tarkovski. Many critics found the film grotesque, and most of the spectators in the very large room of the Friedrichstadt-Palast, where we saw it, had apparently chosen to consider that they were facing a comedy. We do not hide the fact that certain situations or ideas made us smile and that it is quite difficult to genuinely adhere to this mystical-psychoanalytic peregrination in which Ferrara immerses us in the obscure depths of his imagination. But, in addition to the fact that the film arouses in us the sympathy of unclassifiable and netless objects, it is undeniable that the one who produced it is a real filmmaker, who knows how to create singular images, invent a complex mental space or seize us by a simple connection between two planes. And in a festival where there are so many films in one day, sometimes of great platitude or shapeless blistering, this Siberia so mocked at least had the audacity to explore in its own way nothing less than the twists and turns of cinematic time and space, through those of dream and memory.

Malmkrog by Cristi Puiu

ROU, SRB, CHE, SWE, BIH, MKD 2020, Encounters

Malmkrog by Cristi Puiu. Mandragora

It is in a completely different way that we recognize a strong sense of duration and framework in the long, complex and sometimes sumptuous shots that constitute Malmkrog (presented in the Encounters section), the new film by Romanian filmmaker Cristi Puiu (discovered in 2005 with the extraordinary the Death of Dante Lazarescu). Shots that are not just the result of a skill in framing and photographing, but that are constantly tended by life and the words that unfold therein. Adapting texts from the Russian philosopher and poet Vladimir Soloviev, this 3:20 am film takes place in a unique place: a mansion in Transylvania where Nikolai, a large landowner, welcomes Christmas friends of aristocrat friends, of different nationalities. Between meals and board games, their main activity consists in sharing their visions of the world, essentially in French, around subjects as big as death, progress, religion, morals. We think of Manoel de Oliveira, with less humor although the film is not devoid of fantasy and strangeness. You can get lost in conversations but it is the very word that matters, the need to keep talking, to think out loud even if it turns out to be increasingly complex and perilous.

Rizi | Days by Tsai Ming-Liang

TWN 2019, Competition
Homegreen Films

Days from Tsai Ming-liang. Homegreen Films

Days by Tsai Ming-liang (in competition) marks the return to fiction after seven years of absence (since stray dogs, in 2013) from another great filmmaker of the plan, of their slow deployment over time. He is equal to himself in his new film where, far from Puiu’s talks, almost no words are spoken. Again, he becomes attached to solitudes that will eventually intersect. In the countryside, a man (Lee Kang-sheng, the filmmaker’s favorite actor since his first film) with tired and slow gestures, seems to be bored and suffering physically, requiring baths, massages and acupuncture sessions; in the city, a younger man, on the contrary, is distinguished by the dexterity of his gestures, especially when he is washing food and cooking it. In the montage that shows them evolving in parallel, elements visible in almost every plane already unite them: water, fire, plants, present in many forms. The film is tied to the meeting of the two men where, for the time of a sensual and then sexual massage, the skillful hands of the first relieve the tired body of the second, until enjoyment. It is very clear and very beautiful, no offense to the impatient.

Applause

Domangchin yeoja | The Woman Who Ran | Die Frau, die rannte by Hong Sangsoo

The Woman Who Ran from Hong Sang-soo. Jeonwonsa Film Co. Production

In Hong Sang-soo, the precision and rigor of the plans is not as obvious as in Puiu or Tsai. The Korean filmmaker, who claims Rohmer’s influence, again appears in The Woman Who Ran (presented in competition) a lightness and a simplicity that the frames, panoramas or zooms scrutinize with acuity but without will to artificially embellish their obviousness. A young woman (the magnificent filmmaker’s muse Kim Minhee) takes advantage of her husband’s business trip to visit three former friends. Through their conversations mixing very concrete and material subjects – the price of things, neighborhood problems, food, vegetarianism -, Hong deals in his own way with very contemporary questions, with a humor that gradually turns to melancholy . Ultimately, this film in which the few men who appear are troublesome and essentially filmed from behind, evokes a certain female solitude, chosen or suffered. To cold surveillance camera shots, Hong sets his gaze on the lookout, available to prodigious chances, such as this camera movement which reveals a perfectly placed and attentive cat at the end of a long shot where the stake of the conversation was precisely the presence of cats in the vicinity. A plan so miraculous that it sparked applause in an entire room of criticism in Berlin.

In the recesses of the parallel selections, a few films with modest means made, like Hong Sang-soo, of their economic poverty an engine of freshness and vitality. In Boarding (Panorama section), the new film by Guillaume Brac, declared admirer of the Korean filmmaker, we follow the summer getaway of two friends going to find in the Drôme the conquest of an evening of one of them. As in July tales (2018), Brac turns again with young actors from the National Conservatory of Dramatic Art, rediscovering something of the adventurous spirit of Jacques Rozier’s films but by matching it to the languages, cultures and customs of a very contemporary youth . As always with Brac, under his apparent humility the film is precise and dense, in addition to being funny and extremely endearing.

Magnifying glass

In Isabella (presented to Encounters), the Argentinian Matías Piñeiro films another friendly adventure, but coupled with an ambiguous rivalry. Two young theater actresses apply for the same role, that of Isabella in Measure for measure of William Shakespeare, while the brother of one is the lover of the other. It is a film about envy, in the double sense of the word – desire and jealousy – where the Rivetian play with the theater is made more complex (something new in Piñeiro) by a play with chronology and a formalism which sometimes leads to on an abstraction of colors and shapes. A captivating and confusing film that will perhaps be enjoyed above all by those who already know Piñeiro’s cinema, all the elements of which (theater, friendship, acting, speech) are here reorganized in a more free and mysterious way.

Finally, one of the great discoveries of the festival was A metamorfose dos pássaros, the first feature by Portuguese catarina Vasconcelos (presented at Encounters), shot for less than 100,000 euros. It is a biography of the filmmaker’s own family, of his grandparents and parents, reconstituted in beautiful fine-line shots essentially framing gestures, objects, photographs, and playing on materials, colors, simple visual effects (the recurrent use of a magnifying glass, for example) while voiceovers follow one another to evoke moments in the life of each. Imagine a Cavalier film filmed by Manoel de Oliveira (still him) to get an idea of ​​the beauty and originality of this minimalist and poetic family novel. The kind of unexpected little pearls that we always hope to find in this clutter of films that is a film festival as bloated as the Berlinale.


Marcos Uzal

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A report by the Prosecutor’s Office sees “high probability” that Evo Morales encouraged in a video to fence the cities

Madrid / La Paz

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An expert report commissioned by the State Attorney General’s Office of Bolivia determines that there is a “high probability” that it is the voice of Evo Morales the one heard in a recording broadcast last November in which the president supposedly ordered his followers to fence the cities and prevent food from entering them.

The study was conducted by the Technological Research Center of Colombia and this Thursday released its results the national director of the Institute of Forensic Investigations (IDIF), Andrés Flores, as reported by the website of the local newspaper «El Debe».

“When comparing the data, it is observed that the male voice that corresponds to Evo Morales has a high probability of identification,” said Flores.

In the video that Arturo Murillo, interim Minister of Government (Interior) announced at the time, appears a cocalero leader identified as Faustino Yucra Yarhui in a speakerphone conversation with a person whom the authorities identified as Evo Morales.

Based on that document, the interim Government of Jeanine Áñez announced that she would file an international complaint against the resigning president, currently asylum seekers in Mexico, for “crimes against humanity.”

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“Men”, the salient Baumettes


Shot between 2016 and 2018 in Marseille, the documentary examines the prison life of men often convicted in drug cases. .

May 4, 1949: the Torino team decimated in the plane crash

Every week with RetroNews, the BNF press site, a look back at a history of sport as told by the press at the time. This Saturday, the air disaster that decimated the team of the “Grande Torino”, May 4, 1949.

“The players of the best Italian football team are killed in a plane crash near Turin. The 31 passengers are charred ”, title in one Humanity May 5, 1949. The accident took place in the town of Superga, near Turin. “The plane from Portugal found itself in difficulty near the basilica which stands on a height”, informs the newspaper. The altimeter would then have frozen and the aircraft struck the bell tower of the basilica before crashing to the ground and catching fire.

Torino was the breeding ground for the Italian national team, double reigning world champion (1934, 1938) recalls fight. “Torino, Italian champion for the 1947-1948 season, after a long-standing undecided fight with Milan, was poised to win the title again. Among the victims is the Frenchman Emile Bongiorni, several times selected in the French team, who wore the colors of the Italian club since the start of the 1947-1948 season: he was a player whose ardor and passion had made the popularity. “ Another Frenchman, Roger Grava, died in the accident.

Dawn May 6 provides details of the cause of the accident: “The aircraft could not land on the Turin aerodrome made impassable by the recent rains. The plane then headed for Milan, but its disordered altimeter indicated a height of 2,000 meters when in reality it only flew at 600 meters. The poor visibility did not allow the pilot to see the dome of the Church of Superga which he struck at a speed of 400 km / h “ The newspaper focuses on the personality of the two French players who died in the drama. “Bongiorni,” Milo ” [son surnom, ndlr] hid in his great physical means an innate sense of football. Dangerous shooter, he had no equal to shake up a defense. […] The same size, the same power, Roger Grava also distinguished himself by his strong personality, both physical and moral. In Roubaix, his last club, with which he won the French championship in 1947, his services were unanimously appreciated. ”

“All of Italy is grieving after the tragic end of the Turin football team”, title Tonight May 6, 1949. The newspaper collected the testimony of a former “Milo” Bongiorni teammate at Racing, Ernest Vaast. “He was not just a teammate. He was a friend to me. We started racing together in 1942. And together we played for the national team. […] He had signed a two-year contract with Torino, but I know he was doing everything he could to join us again next season. For him, for his memory, we have one more reason to win Sunday against Lille. “ Far from this emotion, the newspaper delivers sordid details on the identification of bodies: “At the Turin morgue, it is difficult to recognize, in these horribly mutilated corpses, the magnificent athletes who, on the green lawns of the stadiums, made so many football enthusiasts vibrate. Relatives parade endlessly in front of the victims in order to identify them, here recognizing an alliance, there an old scar. ”

In its next day edition, Tonight publishes a full page of photos taken at Superga. They bear witness to the violence of the crash with a wing here, the propeller elsewhere, an engine in the outbuildings of the basilica and the grief of those close to the missing (Ossola’s mother, another player’s brother).


Tonight May 8 announced on the front page that the next day, during the final of the French Cup which will oppose them in Lille, “Racing players will mourn in Colombes their former teammate,” Milo “Bongiorni”. A photo shows two players: “After removing their equipment from the club’s headquarters on rue Ampère, Moreel and Vaast attach the black armband that was given to them by the managers on their jerseys.”

fight May 9 announces that the remains of Emile Bongiorni will be returned to Paris the same day. His former Racing teammates paid him homage by winning 5-2 in the Coupe de France final against Lille.

“Yesterday morning, the Parisian sportsmen went to the Parc des princes to pay a last tribute to Bongiorni and Grava whose bodies were exposed under the presidential tribune transformed into a burning chapel, recounts fight May 13. The Racing players taking turns mounted an honor guard around the body of their unfortunate comrade while players from the Italian US surrounded the remains of Grava. “

Seven months after the disaster, Paris Presse-l’Intransigeant from January 13, 1950 title “Superga is fading. Italy will go to Rio by plane. ” Understand: the national team will fly to Brazil to compete in the World Cup of which it is title holder. The calendar did not leave him any other option says the newspaper, “Highlighting the very short time between the end of the Italian championship (May 23) and the start of the World Cup in the first half of June.” The trauma of the Superga crash has not been erased: “However, it has already been established that the trip will be made in several groups.”

Continuation of the story. The Torino reserve team plays the last four games of the 1948-1949 championship and wins the title before Inter. It is the sixth and final coronation of the Grande Torino, as the best Italian team was nicknamed, national champion in 1928, 1943, 1946, 1947, 1948 and 1949, cup winner in 1936 and 1943 before losing its luster. The Torino is slowly waning, a situation all the more cruel as the big local rival, Juventus, is gaining momentum. The club experienced a revival allowing it to offer itself a new Scudetto in 1976. In the 90s, in the grip of big financial difficulties, it made the elevator between first and second divisions. In recent years, Torino FC has not shone or particularly dark, regularly finishing in the middle of the table. The Derby della Mole is a perfect illustration of the chasm that separates the two teams located on the banks of the Po since the Torino have won against the Old Lady only once since 1995. The saying goes, however, that the club of the inhabitants of Turin remains the Torino when Juventus is that of the rest of Italy.

Since the Superga drama, football has also been regularly marked by air disasters that decimate entire teams. In 1958, eight of the “Busby Babes”, the hypertalentent class of Manchester United trained by Matt Busby, die in the plane crash at Munich airport while returning from Belgrade where they qualified for the Champions Club Cup semi-finals. The Danish team, on July 16, 1960, those of the Bolivian club The Strongest, on September 26, 1969, of Tashkent, on August 11, 1979 also paid a heavy price. On December 8, 1987, 43 people including the 16 players from Alianza Lima, one of the most famous Peruvian clubs, perished after their plane crashed into the sea. In 1993, the entire team from Zambia disappeared in the accident of the military plane which took him to Senegal for the World Cup qualifiers. Last collective disaster to date, that which bereaved the Brazilian club Chapecoense, November 28, 2016: 19 players who were going to play the first leg of the Copa Sudamericana in Colombia die, three survive.

Gilles Dhers

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