Thursday , February 25 2021

Dedicated to Petzoldu to Liff: Politically it is not the most expensive way

Petzold is in Transit, the idea for him, as he said after the projection, developed with his late friends and associates, director Haruna Farock, updated the novel Anne Seghers and blended with the little cult of Casablanca.

The story of the proposal of a political refugee who wants to go to the United States, Petzold is moving to modern Marseille. The parallels from the era of Nazism and refugee problems are shocked, which seems to be Petzold's method of film history. As he has said, he hates historical films, "old cars, old clothes, and mustaches," so he seemed to have looked like they were taken out of the museum. When he talked about Seghers from the time of World War II in modern times, he discovered relief with the relief he worked on.

Petzold met metaphorically with Nazis and confrontation with the Germans in the film Phoenix (2014), where, as before, many others took over the German dagger Nino Hoss, She played survivors of concentration camps, having an average face. After plastic reconstruction he returns to society, a man he does not know and who can even give it to the Nazis.

Phoenix, a metaphor for post-war reconstruction of identity, was a special challenge for Petzold. He says that "he did not want to use hacked, harsh sound, but an open window, snapshots that hear the noise and sounds of the city, making us realize that after the catastrophe life continues, because the spirit ceases to be the ghost when it surrounds life If it's all around us scary, fear is blurry, "believes the director.

Petzold also presents Liffe with Inner Peace (2000), Spirits (2005), Yella (2007), Jerichow (2008) and Barbara (2012). Barbara and Yelli talk about the former East and West Germany, but understand them differently than some of his colleagues. The West is not necessarily a living goal, full of well-being, but a spiritually emptied landscape with one and only transcendence, capital. Even before birth, the parents of the filmmakers left the German Democratic Republic (NDR) and went to the West, but said, "In the former DDR, I recorded my latest movies, and there I felt a kind of home there. I do not know where this came from feeling. "

Many movie critics are more or less successfully looking for common points of very widespread German directors who have been working for the last 20 years. Among them are Thomas Arslan, Angela Schanelec, Christoph Hochhäusler and Valeska Grisebach, for whom the Berlin school was founded, although some of them have nothing to do with Berlin: they were not born there, they did not live there and did not study there.

In the end, it was finally concluded that at least most of the members of the Berlin School often associate with long staff and limited dialogue, at the level of content from the recent history, which are solved in their own way – setting political issues is not necessarily related to the creation of explicit political films. Petzold is definitely signing this part of the Berlin School.

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