Der eingeschränkte Blick in Fontainhas

Die Idee, dass man etwas nicht filmen kann, wenn man es nicht ganz versteht oder besser die Frage, wie man etwas filmen kann, was man nicht ganz sieht oder noch besser, die Antwort auf die Frage, wie man das Limit der eigenen Wahrnehmung zu einem ästhetischen Prinzip erheben kann, steht im Zentrum von Pedro Costas Fontainhas-Trilogie, die ich in den vergangenen drei Tagen im Münchner Filmmuseum begleiten durfte. Es war meine erste Gelegenheit, diese Filme auf Film projiziert zu sehen. Ein Unterfangen, das sich natürlich absolut lohnt, sei es alleine deshalb, weil dieses absolute Sehen, das von Costa gefördert wird, dieses Sehen, das nicht auf das nächste Bild wartet, sondern das gegenwärtige Bild in seiner Gegenwärtigkeit begreift und somit erst zur Entfaltung in der Zeit gelangen lässt, von den Texturen filmischen Materials extrem profitiert. Dabei spielt es keine Rolle, ob das Ausgangsmaterial Film ist wie im Fall von Ossos oder digital, wie im Fall von No Quarto da Vanda und Juventude em Marcha.

Die eingangs geschilderte Idee ist ein ästhetisches und ethisches Problem und Costa scheint sich diesem in seinen Antworten sowohl filmisch als auch intellektuell jederzeit bewusst. So versteht er Ossos als eine Annäherung an Menschen und Orte, die er zu diesem Zeitpunkt noch nicht kannte, noch nicht verstand. Hier agiert der Filmemacher als Außenstehender und dementsprechend oft sind es Türen und Fenster, die vor unserer Nase zugehen, die uns die Sicht versperren, manchmal ganz (wie bei Mizoguchi oder Haneke), manchmal halb. Innen und Außen oder in den Worten von Costa: „Secrets and Revelations“.

Ossos7

In No Quarto da Vanda sind wir dann tatsächlich in Vanda’s Zimmer. Das bedeutet auch eine Einschränkung der Beweglichkeit, ein Ausgeliefertsein der Kamera an alles, was sich vor ihr bewegt. Keine Macht über die Figuren, sondern eine tatsächliche Nähe. Nun befinden wir uns oft in völliger Dunkelheit, weil die geschlossenen Türen und Fenster kein Licht mehr in die Barracken und vom Abriss bedrohten Wohnungen in Fontainhas lassen. In einer Art Montagesequenz wird Fenster um Fenster vor uns geschlossen. Wir bleiben innen. Es wird völlig dunkel im Kino. Still wird es dagegen nie, denn die Abrissgeräusche und das beständige Hämmern bedrohen die Türen und auch das Innen, das Intime, das Private, das Eigene. Und so beginnen schon in No Quarto da Vanda, die Türen ihre Funktion zu verlieren. In einer Szene wird eine Gartentür aus den Fugen gehoben und davongetragen. Es ist also nicht nur eine Frage der Positionierung von Filmemacher und Kamera, die hier an den Türen und ihren Schwellen hängt, sondern zur gleichen Zeit, wenn auch unter völlig anderen Vorzeichen eine Frage für die Protagonisten selbst. Auf den Gipfel wird diese Bedeutung der Funktion von Türen dann in Juventude em Marcha getrieben. Eine fast Modern Times-artige Automatik, scheint hier die Türen heimzusuchen. So hören wir nicht nur auf der Tonebene ständig das Knarzen von Türen, sondern diese bewegen sich auch im Bild wie von alleine. Vor allem in einer Szene, mit dem von Costa als brechtianischen Verräter bezeichneten Wohnungsvermieter, zeigt sich dieses zum Teil absurde Eigenleben der Türen. Man kann also sagen, dass aus dem Außen, ein Innen wurde und aus dem Innen eine Fehlfunktion. Das Verschwinden der Türen, das Verschwinden von Innen und Außen ist auch ein Kommentar auf die Situation der Bewohner des ehemaligen Fontainhas. Aber darin verstecken sich auch die Mechanismen des Kinos. Der limitierte Blick, der sich im zeitgenössischen Kunstkino oft seiner Eingeschränktheit bewusst ist.

Colossal Youth4

Es gibt Gegenbeispiele wie Gaspar Noé, die voller Innbrunst das Gegenteil erklären, die ihre Kamera entfesseln und bei aller Faszination daran muss man doch früher oder später feststellen, dass man nicht alles sehen kann. Was man allerdings sehen sollte, ist die Essenz. Nur wenige Filmemacher gelangen zu ihr und Costa gehört sicherlich dazu. Und wie Cristi Puiu in seinem Aurora oder Robert Bresson in seinem L’argent gelangt Costa zur Essenz, indem er uns auch ständig zeigt, was wir nicht sehen können. Dabei handelt es sich nicht zwangsläufig um den Off-Screen, denn wenn eine Tür im Bild ist, ist sie ja strenggenommen im Bild. Und wenn man sich die Türen in Juventude em Marcha ansieht, dann wird man feststellen, dass Costas eigene Feststellung, dass die Türen in Filmen von Charlie Chaplin die schönsten Türen sind, ein Ansporn für ihn ist, den großen Meister zu übertreffen. Die Rahmung selbst wird das Bild und man spürt dadurch auf der einen Seite den Filmemacher, aber eben nicht auf dieser intellektuellen Meta-Ebene, sondern eher wie bei Chaplin: Im Vertrauen darauf, dass man sich in einem Film befindet, kann man diesen völlig vergessen, die Fiktion von Costa ist dokumentiert, die Illusion liegt in der Desillusion, es ist als würde jemand seine Unsicherheiten und seine Fehlbarkeit zu seiner großen Stärke erklären. Gefilmter Zweifel.

Dabei nutzt Costa vor allem Licht, das durch löchrige Türen dringt. Wieder heben sich Innen und Außen auf und wer sich mit der Funktionsweise einer Kamera beschäftigt hat, sieht plötzlich eine ganz neue Relation zwischen dem Kino und den Türen, schließlich ist es eine Tür, die den Eingang zur Kamera/dem Zimmer versperrt und diese Tür muss sich öffnen, damit wir etwas sehen. Sie darf sich aber nicht zu weit öffnen. Jeder Millimeter verändert das Kino. Und daher ist es so fatal, wenn die Türen ein Eigenleben bekommen, ein Eigenleben, das von einer Industrie verlangt wird, die auf Gleichheit und Glättung aus ist. Wie soll man noch interessante Bilder machen, wenn man keine Macht mehr über die Türen hat, wenn es gar keine Türen mehr gibt?

In Vandas Room4

Es geht natürlich auch um die Türschwellen auf denen sich sowohl Costa als auch Ventura immer wieder bewegen. Was ist diese Schwelle? Ein Übergang zwischen dem Innen und Außen, ein Zweifel, in dem der Mensch oft am hoffnungslosten und hoffnungsvollsten zugleich ist. Hier drücken sich sein Verlangen und seine Angst aus. Bei Costa zählt selten, wohin jemand geht oder woher er gekommen ist. Vielmehr geht es um den Augenblick des Schwellenzustands selbst, der sich wie in Cavalo Dinheiro oder Juventude em Marcha zwischen verschiedenen Zeiten abspielen kann oder wie in Ossos zwischen dem Filmemacher und den Figuren. In der Schwelle stehen, heißt auch, Respekt zu haben. Hier wird niemand überfallen oder den Blicken preisgegeben. Es ist eine vorsichtige Annäherung, deren Zärtlichkeit sowohl in der Vergangenheit, der Gegenwart (der Schwelle), und der Zukunft (dem Raum) liegt, es entstehen also Bilder, die in sich derart stark leben, weil sie Schwellenbilder sind. Sie oszillieren zwischen ihrer absoluten Präsenz im Kinoraum und den Blicken, die auf etwas anderes zielen. Bei Vanda ist dieser Blick oft nach vorne gerichtet, auf etwas außerhalb des Bildes. Sie wirft sich dafür regelrecht in Pose, dreht ihren Kopf und starrt mit wachsamen Augen ins Off. Bemerkenswert allerdings, dass sie am Ende von Juventude am Marcha einmal umdreht, sich umblickt und an einer verschlossenen Tür lauscht, eine verschlossene Schwelle, in der sich die Sorge und Hoffnung, also die Liebe von Vanda verbirgt. Sie überprüft, ob Ventura sich um ihre Tochter kümmert. Dann verschwindet sie hinter einer benachbarten Tür und ist bis heute nicht mehr zurückgekehrt ins Universum von Costa. Ventura dagegen blickt in die Ewigkeit und nach Innen, also nach hinten. In seinen Augen scheint die Vergangenheit immer genauso präsent zu sein, wie die Gegenwart. Vielleicht fangen die Türen auch deshalb an, sich in Venturas Gegenwarten wie von selbst zu bewegen. Sie schließen und öffnen Räume der Erinnerung. Und in dieser Hinsicht ist auch Ventura eine Tür für Costa, oder besser: Ventura ist 10000 Türen in einem Lavahaus. Costa kann diese Türen nicht kontrollieren, er kann nur warten bis sich eine öffnet und sich dann vorsichtig auf die Schwelle stellen und sehen was passiert. Es ist seine große Kunst, dass er nicht mehr macht, denn darin entfaltet sich erst die Sinnlichkeit, Poesie, Direktheit und Dringlichkeit seines Kinos.

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  73. Thanks for every other great article. Where else could anyone get that kind of information in such an ideal means of writing? I have a presentation subsequent week, and I am on the search for such information.

  74. I cling on to listening to the news broadcast lecture about receiving free online grant applications so I have been looking around for the best site to get one. Could you advise me please, where could i find some?

  75. Pretty nice post. I just stumbled upon your weblog and wished to say that I have really enjoyed surfing around your blog posts. After all I will be subscribing to your rss feed and I hope you write again soon!

  76. Sorry for the significant review, yet I’m incredibly loving the fresh Zune, and count on this, as well as the suitable critiques some other men and women comprise written, will assist oneself make a decision if it really is the right final decision for yourself.

  77. Hey there! I just wanted to ask if you ever have any trouble with hackers? My last blog (wordpress) was hacked and I ended up losing several weeks of hard work due to no back up. Do you have any solutions to protect against hackers?

  78. I was recommended this web site by my cousin. I am not sure whether this post is written by him as nobody else know such detailed about my difficulty. You’re amazing! Thanks!

  79. Very interesting info !Perfect just what I was looking for! „The only limit to our realization of tomorrow will be our doubts about reality.“ by Franklin Delano Roosevelt.

  80. I found your blog web site on google and check a few of your early posts. Continue to maintain up the excellent operate. I just further up your RSS feed to my MSN News Reader. Seeking forward to studying extra from you later on!…

  81. Thanks , I have recently been looking for information about this subject for ages and yours is the best I’ve discovered till now. But, what about the conclusion? Are you sure about the source?

  82. Amongst me and my partner we’ve owned even more MP3 avid gamers about the several years than I can rely, such as Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, etc. But, the past couple of yrs I’ve resolved down toward a single line of players. Why? Since I was joyful to take a look at how well-designed and fun to use the underappreciated (and greatly mocked) Zunes are.

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  84. I don’t even know how I ended up here, but I thought this post was great. I don’t know who you are but definitely you are going to a famous blogger if you are not already 😉 Cheers!

  85. The Zune concentrates upon being a Moveable Media Player. Not a website browser. Not a game machine. Probably in just the foreseeable future it will do even far better inside of these areas, but for now it can be a Terrific direction toward organize and listen towards your new music and movies, and is without having peer within just that regard. The iPod’s strengths are its net traveling to and programs. If those sound even further compelling, perhaps it is your simplest selection.

  86. I like this post, enjoyed this one regards for posting. „The world is round and the place which may seem like the end may also be only the beginning.“ by George Baker.

  87. Amongst me and my partner we’ve owned a lot more MP3 avid gamers more than the yrs than I can rely, including Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, and many others. But, the very last several many years I have solved down in direction of 1 line of avid gamers. Why? Considering the fact that I was happy toward check out how well-designed and enjoyment to employ the underappreciated (and broadly mocked) Zunes are.

  88. Apple previously contains Rhapsody as an app, which is a perfect start out, but it is at the moment hampered by way of the lack of ability towards retailer locally upon your iPod, and consists of a dismal 64kbps bit price tag. If this variations, then it will somewhat negate this ease for the Zune, nevertheless the 10 new music per thirty day period will however be a large moreover inside Zune Pass‘ desire.

  89. Amongst me and my partner we’ve owned added MP3 avid gamers previously mentioned the years than I can rely, which includes Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, etcetera. But, the remaining number of yrs I have fixed down in the direction of one line of avid gamers. Why? Because I was content in the direction of locate how well-designed and exciting toward seek the services of the underappreciated (and extensively mocked) Zunes are.

  90. Hands down, Apple’s app retail store wins as a result of a mile. It really is a substantial variety of all styles of programs vs a quite unhappy conclusion of a handful for Zune. Microsoft includes systems, specifically in the realm of game titles, but I’m not certain I’d need to have in direction of bet upon the long run if this attribute is critical in the direction of by yourself. The iPod is a substantially better conclusion within that situation.

  91. Among me and my spouse we have owned even further MP3 players more than the many years than I can count, such as Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, and so on. But, the final handful of several years I’ve settled down in the direction of a person line of gamers. Why? Considering the fact that I was happy in the direction of examine how well-designed and enjoyable toward retain the services of the underappreciated (and extensively mocked) Zunes are.

  92. You are my intake, I possess few web logs and infrequently run out from brand :). „He who controls the past commands the future. He who commands the future conquers the past.“ by George Orwell.

  93. I loved as much as you will receive carried out right here. The sketch is tasteful, your authored material stylish. nonetheless, you command get bought an edginess over that you wish be delivering the following. unwell unquestionably come more formerly again since exactly the same nearly a lot often inside case you shield this hike.

  94. I am going to machines this analyze in the direction of Two models of americans: existing Zune home owners who are thinking of an improve, and people striving towards come to a decision in between a Zune and an iPod. (There are other gamers great importance thinking about out there, including the Sony Walkman X, yet I assume this offers on your own ample facts in the direction of produce an conscious decision of the Zune vs players other than the iPod line as effectively.)

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  96. Very interesting info !Perfect just what I was looking for! „Wherever the Turkish hoof trods, no grass grows.“ by Victor Hugo.

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  98. Between me and my spouse we have owned far more MP3 gamers higher than the many years than I can rely, which includes Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, and so forth. But, the past couple several years I have resolved down toward a single line of gamers. Why? Because I was happy towards uncover how well-designed and exciting to employ the service of the underappreciated (and commonly mocked) Zunes are.

  99. Thank you for the auspicious writeup. It in fact was a amusement account it. Look advanced to more added agreeable from you! However, how can we communicate?

  100. I have not checked in here for a while since I thought it was getting boring, but the last several posts are good quality so I guess I will add you back to my daily bloglist. You deserve it my friend 🙂

  101. Zune and iPod: Greatest us citizens compare the Zune toward the Touch, nonetheless once watching how slim and surprisingly minor and gentle it is, I acquire it in the direction of be a in its place exceptional hybrid that combines qualities of both the Touch and the Nano. It truly is unbelievably colorful and beautiful OLED display screen is somewhat scaled-down than the contact screen, but the player itself feels Really a bit smaller sized and lighter. It weighs around 2/3 as significantly, and is drastically more compact within width and peak, although remaining just a hair thicker.

  102. of course like your web site but you have to check the spelling on quite a few of your posts. Several of them are rife with spelling problems and I find it very troublesome to tell the truth nevertheless I will definitely come back again.

  103. This is having a bit further subjective, nonetheless I a lot want the Zune Sector. The interface is colorful, consists of a lot more aptitude, and some interesting capabilities including ‚Mixview‘ that allow for yourself all of a sudden check out related albums, music, or other users very similar towards what you’re listening to. Clicking on one of people will middle on that merchandise, and yet another fastened of „neighbors“ will arrive into belief, letting oneself toward navigate in the vicinity of exploring by means of similar artists, audio, or consumers. Speaking of people, the Zune „Social“ is also Terrific entertaining, allowing for by yourself discover other folks with shared choices and getting to be close friends with them. Your self then can pay attention towards a playlist produced primarily based upon an amalgamation of what all your close friends are listening toward, which is far too enjoyable. Individuals concerned with privacy will be relieved toward recognize you can prevent the general public in opposition to looking at your unique listening patterns if your self thus make your mind up.

  104. Excellent read, I just passed this onto a friend who was doing a little research on that. And he actually bought me lunch as I found it for him smile So let me rephrase that: Thanks for lunch! „Dreams are real while they last. Can we say more of life“ by Henry Havelock Ellis.

  105. Zune and iPod: Utmost All those compare the Zune toward the Contact, yet at the time seeing how skinny and incredibly reduced and gentle it is, I try out it toward be a quite one of a kind hybrid that combines attributes of both the Contact and the Nano. It truly is Quite vibrant and stunning OLED screen is slightly more compact than the contact screen, but the participant itself feels fairly a little bit smaller sized and lighter. It weighs with regards to 2/3 as significantly, and is noticeably lesser in width and top, despite the fact that staying exactly a hair thicker.

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