Filmfest Hamburg 2015: The Assassin von Hou Hsiao-Hsien

Vor einiger Zeit durfte ich einen Programmtext zu einer Hou Hsiao-Hsien Retrospektive schreiben. Das Lektorat hat mir dabei meinen letzten Satz gestrichen, mit der Begründung, dass dieser zu poetisch sei und man lieber Klarheit wolle. Wenn man sich die Filme von Hou ansieht und insbesondere The Assassin, der ihm dieses Jahr in Cannes den Preis für die Beste Regie einbrachte, dann kann man mir schlicht nicht erzählen, dass es menschlich ist, nicht in lyrische Formulierungen zu fallen. Die Erfahrungen, die man mit Hou macht, sind jenseits nüchterner Beschreibungen. Dennoch werde ich mich zusammenreißen.

Acht Jahre sind vergangen seit Hous letztem Langfilm, Le voyage du ballon rouge. „Vergangen“ ist auch ein gutes Stichwort für das Kino des Taiwanesen…

Es ist schwer, wenn man nicht schwärmen darf. Wie soll ich mich halten? Ich gebe nach zwei Zeilen auf.

The Assassin

Gegen Ende des Films stehen zwei Frauen auf dem Gipfel eines bewaldeten Berges. Nebel dringt aus der Schlucht zum Himmel, man fühlt sich erinnert an das titelgebende und im Vergleich irgendwie billig wirkende Wolkenphänomen bei Hous Freund Olivier Assayas in dessen Clouds of Sils Maria. In seinen bisherigen Arbeiten konnte man durchaus davon sprechen, dass Hou das Vergehen von Zeit wie den Wind filmt, ein Wind, in dem sich Erinnerungen und die Gegenwart umschlingen zu einer bloßen Präsenz. In The Assassin nimmt Hou das wörtlich. Es ist – und ich verweise da gerne auf diesen Text von Serge Daney – der vielleicht dritte Film nach The Wind von Victor Sjöström und Trop tôt/Trop tard von Jean-Marie Straub & Danièle Huillet, der den Wind filmt. Wir sehen den Wind in den Blättern der Bäume, den Gewändern, den seidenbehangenden Räumen, in die Vorhänge wie von anmutiger Geisterhand zitternd geschoben werden, Seide, die vor Bildern weht, die unseren Blick selbst zum Wind macht und schließlich die Kamera, die Kamera des größten Kameramanns unserer Zeit, Mark Lee Ping Bin, die wieder hypnotisch und in einer derart scharfen Klarheit, dass man glaubt, zum ersten Mal zu sehen, zwischen den Figuren schwenkt, nicht wirklich auf der Suche, sondern bereits mittendrin. In 35mm und im alten Academy Ratio, das mehr Platz für den Wind außerhalb des Bildes lässt, filmt dieser auch die beiden Frauen auf dem Gipfel, der kein wirklicher Gipfel ist, sondern eine Zwischenebene. Muss man wissen, wer diese Frauen sind? Vielleicht später, zunächst muss man die bloße Erhabenheit und Dynamik dieses Bildes erfassen, das wie fast jede Einstellung des Films zu viel ist, zu viel für meine Augen. Die eine Frau steht schon von Beginn an dort, sie steht auf einem Felsen, es ist eine Unmöglichkeit, dass sie dort steht und wer die übermenschlichen Bewegungen des übersinnlichen wuxia-Genres hier und da vermisst, hat nicht hingesehen. Sie ist die Meisterin. Nennen wir es so. Ganz in weiß gehüllt, wie eine Erscheinung, thront sie über einem Abgrund, den wir nur durch die aufziehenden Wolken erahnen können, Wolken, die gelenkt scheinen. Hinter dem Felsen erscheint die Protagonistin, ein schweigender Schatten, der wie ein Licht in schwarz durch die Bilder schwebt und deren inneres Leben Hou in jedes einzelne Bild zu legen scheint: Die titelgebende Nie Yinniang gespielt von Hous Muse Qi Shu.

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Wie habe ich das gemeint, mit dem inneren Leben und dessen Verhältnis zur Bildsprache Hous? Pier Paolo Pasolini, ein Mann, der Hou sehr beeinflusst hat, hat einmal einen Text geschrieben über die freie indirekte Rede im Film. Dabei geht es – sehr vereinfacht – um die Möglichkeiten eines Filmemachers, durch den Stil etwas über das Innenleben von Figuren auszudrücken. So hängt etwa die Wahl des Objektivs in Il deserto rosso von Michelangelo Antonioni am nervösen Seelenleben der Protagonistin. Und wie zeigt sich das jetzt in The Assassin, ein Film, der meiner Meinung nach beständig von einem solchen inneren Konflikt erzählt? Nicht alleine in der Schönheit der Bilder, sondern auch in diesem harrenden Schwebezustand, diesem zögernden Warten und der Antizipation der Gewalt, die Hou viel mehr interessiert als die tatsächlichen Kampfszenen, die er fast im Stil eines Robert Bressons nur in ihrer Essenz zeigt. Nie Yinniang hängt ebenfalls in dieser Antizipation, sie ist zerrissen zwischen ihrer Aufgabe, ihrer Emotion und ihrem eigenen Urteilsvermögen. Der Film beginnt in drei Vignetten in den Farben schwarz und weiß (wie Godard einst über Bresson geschrieben hat) und erzählt vom Töten und Nicht-Töten-Können der Protagonistin. Zunächst wandelt sie tänzerisch in einem Wald mit nackten Bäumen, um einen Mann mit tödlicher Eleganz zur Strecke zu bringen. Der Martial Arts Aspekt ist hier eher eine Drohung, ein Versprechen, als ein ästhetisches Vergnügen. Wie seine Hauptfigur, so will auch der Film diese Kämpfe umgehen, sie minimalisieren… Nie Yinniang will auch nur das Nötige tun, sie ist wie der Wind, wie der Film. In der zweiten Vignette kann sie einen König nicht töten, weil dieser gerade mit seinem Kind spielt. Sie lässt ihn am Leben. Es ist als würde plötzlich die Schönheit der Welt zwischen ihr und der Gewalt stehen. Diese Dinge sind Hou offensichtlich wichtiger als wuxia Verweise, die in diesem China des 9. Jahrhunderts inspiriert von der chuangi Literatur eher einen Rahmen bilden. Hou geht es in diesem Genre um zwei Dinge: Die Moral und die Frage wie sich die Geschichte in eine Gegenwärtigkeit übersetzen lässt.

Nie Yinniang, das schwarze Licht (solche Formulierungen könnte man streichen, aber wer, der den Film kennt, würde nicht sagen, dass man die Protagonistin so beschreiben muss?), die sich oben auf dem Berg unter die Meisterin auf dem Felsen stellt, wird für ihr Versagen bestraft. Sie soll ihren Cousin Tian Ji’an töten, dem sie einst versprochen war. Von diesem Augenblick an folgen wir ihr und mit ihr dem Leben des Cousins mit seiner Familie und seinen politischen Entscheidungen, wir können uns nicht wirklich nähern, weil wir tödlich sind. Es ist eine derartige Konzentration in den Bildern, in denen das Beiläufige und Zwingende zu einer absoluten Notwendigkeit verschmelzen. Es ist eine Notwendigkeit, die jedes Bild mit Leben füllt und es dennoch über dasselbige hebt. Dabei entsteht das Bild einer Zeit vor unseren Augen. Zeit wird erfahrbar, weil wir den Wind spüren, weil wir die Töne hören (Hou drehte zwar in mandarin, aber angeblich in einer völlig befremdlichen Syntax, die selbst für jene, die diese Sprache beherrschen, nicht verständlich ist, aber genau darum geht es auch nicht, es geht darum diesen Rhythmus zu hören und in ihm zu verschwinden während man sich gleichzeitig einer unendlichen Distanz bewusst sein muss) und weil wir die Materialität der Orte, Kleider und Menschen fühlen. Hou hat wie in City of Sadness, The Puppetmaster oder Flowers of Shanghai eine Möglichkeit gefunden, dass die Re-Präsentation einer Zeit gleich einem Wind durch unsere Augen weht. Es ist zugleich Erinnerung, Präsenz und alles dazwischen. Es geht nicht um die Informationen der Geschichte, sondern um das Leben in und wegen der Geschichte. Immer wieder sehen wir das einfache Leben, Kinder, die spielen, ein Gespräch, Arbeit. In diesen Bildern treffen sich die Moral und die Vergegenwärtigung. Die Moral ist der Zweifel, ob man im Angesicht dieses Lebens töten kann und die Vergegenwärtigung ist die akkurate Beiläufigkeit einer Distanz, die wie ein schüchterner Beobachter nicht eingreifen will in diese Welt, sondern sie schlicht sehen und hören will.

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Zum Sehen und Hören gibt es einiges zu sagen. Wir sind zurück am nebeligen Abgrund. Immer wieder tauchen diese Aufnahmen auf, in denen Hou Landschaften wie Körper zelebriert. Etwas lebt in ihnen und sie sind ein Spiegel der Zeit, des Innenlebens einer Geschichte und einer Figur, der Zeit und Geschichte dieser Figur. In ihnen liegt die ganze Präsenz dieser Vergänglichkeit, die ihr Ebenbild einzig in den melancholischen Augen der Figuren findet. Nein, es gibt nichts konkreteres in diesem Film, weil es konkreter gar nicht geht. Dabei wird The Assassin keineswegs von derselben Dekadenz heimngesucht wie Flowers of Shanghai. Vielmehr ist es eine Abkehr, ein Untertauchen in diesen massiven Bildern von Perfektion. Man kann sagen, dass Hou, der im Vergleich zum anderen großen Vertreter des Neuen Taiwanesischen Kinos, Edward Yang, immer als ein Filmemacher der Natur und Ländlichkeit galt, hier zum ersten Mal tatsächlich mit der Landschaft atmet statt sie im Stil seiner frühen Arbeiten, als pastoralen Hintergrund einer Erinnerung zu verwenden. In dieser Ländlichkeit erfährt The Assassin die Meisterschaft eines Filmemachers, der es geschafft hat eine eigene Sprache nicht nur zu finden, sondern zu meistern. Das ist aber auch gefährlich. Die Perfektion der Bildsprache ist derart hoch, dass dem Film trotz seiner fragmentarischen Ezählweise, in der wichtige Ereignisse zum Teil im Off geschehen oder nur ganz kurz an einem vorbeihuschen wie die Schleier im Wind, manchmal an Kantigkeit fehlt. Statt der jugendlichen Desorientierung, die sich auf die Bildsprache von Goodbye South Goodbye oder Millenium Mambo übertrug, gibt es hier eine überzeugte Zerbrechlichkeit. Alles ist perfekt. Wie könnte man das kritisieren? Man kann nicht. In dieser Hinsicht erinnert mich der Film an ¡Vivan las Antipodas! von Victor Kossakovsky. Ein Film, über den der Filmemacher sagte, dass es nicht (mehr) um Realismus ginge, sondern um etwas Größeres. Hou scheint hier auch an etwas Größerem interessiert zu sein als bisher.

Außer der Natur gibt es Räume, die verwinkelt sind mit Farben, die Fieber haben. Immer wieder filmt Mark Lee Ping Bin durch Seidentücher und erzielt hypnotische Effekte mit Kerzen vor seinen Linsen…es brennt in unseren Augen, der Schleier der Zeit, der Hauch der Unsicherheit. In einer der unfassbarsten Sequenzen, die ich je im Kino gesehen habe, unterhält sich der Cousin mit seiner Konkubine während die Kamera hinter den Vorhängen ganz zart bewegt lauert. Wir wissen lange nicht, ob es ein Point-of-View-Shot der Auftragsmörderin ist oder nicht. Es ist ein Spiel mit Blicken und der Distanz, die sich mal vor uns schiebt und dann wieder verschwindet. Hier liegt die Sehnsucht nach einem anderem Leben und der Horror der drohenden Gewalt derart greifbar vor uns, dass wir nicht anders können, als sie gemeinsam in ihrer Gleichzeitigkeit oder gar gelöst von Zeit oder gar mit der Zeit verwoben zu begreifen, obwohl wir das niemals könnten. Wir spüren diese Welt und die Unsicherheit einer Figur, die wir erst später als eine Silhouette, als fremden Eindringling in ihrem eigenen eigentlichen Leben erkennen. Sie erscheint wie der Nebel aus der Schlucht. Man blinzelt und sie ist da, man blinzelt und sie ist weg. Sie wäre wohl am liebsten ganz da oder ganz weg.

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Der Ton ist das leise Flüstern aus der Schlucht, aus der dieser Nebel dringt. Jedes Geräusch ist klar und voller Kraft und Zerbrechlichkeit. Manche Sachen hören wir nicht, weil wir sie nur sehen können, andere Sachen sehen wir nicht, weil wir sie nur hören können. Es ist eine Abstraktion, die etwas entstehen lässt, was man vielleicht mit „Gefühl für die Umgebung“ umschreiben könnte. Für die Musik war wieder Lim Giong zuständig. Vor allem ein beständiges Trommeln ist beeindruckend. Zweimal hören wir es ganz klar und laut bevor ein Schnitt in einen Innenraum es in ein Trommeln aus der Distanz transformiert. Abstände werden uns bewusst, zeitlich und räumlich. Auf einer Zither spielt eine Frau in einer Mischung aus Aggresivität, hinbgabe und vollkommener Zärtlichkeit ein Lied. Dazu singt sie von einem Vogel, der nicht singen konnte bis er seine eigene Reflektion sah und dann so lange vom Leid sang bis er starb. Im Film sehen wir so manche Reflektion. Einmal in einem See, dann in den Lichtern von Kerzen und schließlich in diesem Leben, dass Nie Yinniang nicht haben konnte, jene Frau, die nicht töten konnte, weil sie sich selbst nie gesehen hat oder weil sie sich immerzu gesehen hat und deshalb so lange töten musste, bis sie den Gesang des Lebens hörte. Ein anderes Mal sehen wir einen Tanz, der mit uns tanzt und/oder mit Farben.

Nie Yinniang gesteht ihrer Meisterin am Abgrund stehend, dass sie den Cousin und seine Familie nicht töten konnte. Sie liefert ein politisches Argument (kein emotionales). Sie wird als schwach bezeichnet. Inzwischen verdeckt der Nebel den gesamten Bildhintergrund. Ist das Magie? Dann verschwindet sie im Wald. Ein harter Schnitt, von denen es ein paar in The Assassin gibt, wirft uns mitten in einen Kampf zwischen ihr und ihrer Meisterin. Doch Nie Yinniang kehrt sich ab, sie erstickt diesen Kampf erneut. Sie hat kaum etwas gesagt, wir haben sie kaum gesehen, sie ist nur ein Schatten und genau deshalb das Licht dieses Films, der vielleicht letztlich auf einer Suche nach einer zeitlosen Moral und deren Gegenwärtigkeit erfolgreich ist, in dem er sich von der Welt abkehrt und in eine unfassbare Reinheit taucht, die wiederum vom Wind wie ein flimmernder Schimmer am Leben gehalten wird, sei es durch die Vergangenheit oder Gegenwart. Irgendwie habe ich nur ein Bild des Films beschrieben. Und weil das vielleicht zu poetisch klingt, ende ich mit einem Zitat des Filmemachers: „Hollywood-style films are popular all around the world nowadays, and they need a strict story structure. If the story is not told that way, not continuous enough, the audience will have difficulty following along. But that’s only one of the many ways of telling a story: there are hugely different ways of filmmaking in world cinema. Only because of the huge impact of Hollywood, young people want to imitate that style. Actually, almost all filmmakers want to imitate the style of Hollywood. But I don’t see it that way. A good film is when you continue your imagination [of it] after seeing it.”

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  50. I will devices this assessment in the direction of Two products of human beings: present Zune property owners who are thinking about an upgrade, and us residents hoping towards determine involving a Zune and an iPod. (There are other avid gamers value taking into consideration out there, such as the Sony Walkman X, yet I count on this presents by yourself ample facts towards crank out an knowledgeable final decision of the Zune vs gamers other than the iPod line as well.)

  51. Merely a smiling visitant here to share the love (:, btw great pattern. „Competition is a painful thing, but it produces great results.“ by Jerry Flint.

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  63. Hands down, Apple’s app retailer wins through a mile. It truly is a substantial range of all varieties of purposes vs a pretty unsatisfied option of a handful for Zune. Microsoft incorporates Strategies, specifically within just the realm of video games, yet I am not confident I’d have to have in direction of wager upon the long run if this function is necessary in direction of by yourself. The iPod is a significantly improved preference inside that circumstance.

  64. Hello, you used to write excellent, but the last few posts have been kinda boring… I miss your super writings. Past several posts are just a bit out of track! come on!

  65. Hello! I just wanted to ask if you ever have any problems with hackers? My last blog (wordpress) was hacked and I ended up losing a few months of hard work due to no back up. Do you have any solutions to stop hackers?

  66. The core of your writing whilst sounding agreeable originally, did not really sit well with me after some time. Someplace within the paragraphs you actually were able to make me a believer but just for a very short while. I still have a problem with your jumps in assumptions and you would do well to fill in those gaps. If you actually can accomplish that, I will definitely be amazed.

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  70. I’m really impressed together with your writing skills and also with the format in your blog. Is this a paid subject matter or did you modify it your self? Either way keep up the excellent quality writing, it’s rare to look a great blog like this one today..

  71. This is using a bit additional subjective, yet I a lot want the Zune Industry. The interface is colorful, includes added flair, and some great characteristics like ‚Mixview‘ that make it possible for you suddenly check out equivalent albums, tunes, or other buyers equivalent to what you are listening in the direction of. Clicking upon one of people will center upon that products, and another mounted of „neighbors“ will arrive into impression, enabling your self in the direction of navigate more than investigating by very similar artists, audio, or consumers. Chatting of buyers, the Zune „Social“ is much too great pleasurable, letting on your own come across other people with shared choices and getting pals with them. Your self then can listen in the direction of a playlist created based on an amalgamation of what all your pals are listening toward, which is much too interesting. All those anxious with privacy will be relieved toward understand on your own can reduce the public from viewing your specific listening behavior if oneself thus make a decision.

  72. Hi I am so excited I found your weblog, I really found you by error, while I was searching on Digg for something else, Anyhow I am here now and would just like to say kudos for a tremendous post and a all round interesting blog (I also love the theme/design), I don’t have time to read through it all at the moment but I have book-marked it and also included your RSS feeds, so when I have time I will be back to read more, Please do keep up the great job.

  73. If you happen to be nevertheless upon the fence: grab your favorite earphones, head down towards a Ideal Buy and question in direction of plug them into a Zune then an iPod and view which a person seems better in direction of by yourself, and which interface tends to make on your own smile even more. Then you can expect to know which is immediately for you.

  74. Arms down, Apple’s application retail store wins via a mile. It really is a large number of all styles of apps vs a fairly unhappy final decision of a handful for Zune. Microsoft incorporates courses, particularly within the realm of game titles, yet I am not confident I might have to have in direction of guess on the foreseeable future if this aspect is important in direction of your self. The iPod is a considerably greater alternative in that scenario.

  75. My brother recommended I might like this website. He was totally right. This post actually made my day. You can not imagine just how much time I had spent for this information! Thanks!

  76. Usually I don’t learn post on blogs, however I would like to say that this write-up very pressured me to check out and do so! Your writing style has been surprised me. Thank you, very nice article.

  77. The refreshing Zune browser is remarkably Fantastic, nevertheless not as beneficial as the iPod’s. It is effective nicely, nonetheless just isn’t as immediate as Safari, and includes a clunkier interface. If you occasionally software upon having the world wide web browser that is not an issue, but if you’re building in direction of go through the internet alot from your PMP then the iPod’s greater display and much better browser could be sizeable.

  78. Among me and my husband we’ve owned far more MP3 gamers previously mentioned the decades than I can depend, which include Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, etcetera. But, the closing several many years I have resolved down in direction of 1 line of gamers. Why? Considering the fact that I was content to find how well-designed and pleasurable in direction of retain the services of the underappreciated (and extensively mocked) Zunes are.

  79. I think other web-site proprietors should take this site as an model, very clean and excellent user friendly style and design, as well as the content. You are an expert in this topic!

  80. The Zune concentrates on being a Transportable Media Player. Not a web browser. Not a activity machine. Perhaps inside the upcoming it’ll do even better inside of those people areas, yet for currently it’s a very good way toward set up and listen towards your new music and motion pictures, and is with out peer inside that respect. The iPod’s rewards are its website going to and applications. If those solid added persuasive, potentially it is your best alternative.

  81. Thanks a bunch for sharing this with all of us you really know what you are talking about! Bookmarked. Please also visit my website =). We could have a link exchange arrangement between us!

  82. Apple currently includes Rhapsody as an app, which is a superb begin, yet it is presently hampered through the inability toward keep regionally on your iPod, and incorporates a dismal 64kbps little bit value. If this changes, then it will considerably negate this convenience for the Zune, yet the 10 music for each month will even now be a significant furthermore within Zune Pass‘ like.

  83. Very interesting information!Perfect just what I was searching for! „If you bungle raising your children, I don’t think whatever else you do matters.“ by Jacqueline Lee Bouvier Kennedy Onassis.

  84. I’ve read a few good stuff here. Definitely worth bookmarking for revisiting. I surprise how much effort you put to create such a magnificent informative web site.

  85. If you’re still upon the fence: get your favorite earphones, intellect down towards a Perfect Buy and talk to towards plug them into a Zune then an iPod and see which just one appears much better toward your self, and which interface can make your self smile far more. Then you are going to understand which is specifically for yourself.

  86. Nice post. I was checking continuously this blog and I am impressed! Very useful information specifically the last part 🙂 I care for such info a lot. I was looking for this certain information for a long time. Thank you and good luck.

  87. Thank you for the sensible critique. Me and my neighbor were just preparing to do some research on this. We got a grab a book from our area library but I think I learned more clear from this post. I’m very glad to see such fantastic information being shared freely out there.

  88. This is starting to be a bit more subjective, but I much prefer the Zune Market place. The interface is colourful, incorporates even further flair, and some cool options including ‚Mixview‘ that let oneself abruptly look at similar albums, music, or other consumers comparable in direction of what you might be listening in the direction of. Clicking on just one of individuals will middle upon that products, and a different fastened of „neighbors“ will arrive into watch, allowing on your own toward navigate around looking into by way of equivalent artists, music, or end users. Conversing of end users, the Zune „Social“ is as well superior enjoyable, making it possible for you locate many others with shared choices and turning into pals with them. Oneself then can pay attention toward a playlist manufactured based on an amalgamation of what all your pals are listening to, which is furthermore interesting. People apprehensive with privateness will be relieved towards understand your self can avoid the public from looking at your specific listening practices if by yourself thus come to a decision.

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  91. Apple presently contains Rhapsody as an app, which is a superior start off, still it is previously hampered by means of the lack of ability towards store domestically upon your iPod, and consists of a dismal 64kbps bit price. If this improvements, then it will considerably negate this advantage for the Zune, yet the Ten new music for each month will nevertheless be a big in addition within just Zune Pass‘ desire.

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  95. Concerning me and my husband we have owned a lot more MP3 avid gamers earlier mentioned the many years than I can depend, which includes Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, etc. But, the remaining few years I have resolved down in direction of a single line of gamers. Why? For the reason that I was delighted in the direction of find how well-designed and exciting in direction of employ the service of the underappreciated (and greatly mocked) Zunes are.

  96. Hello are using WordPress for your site platform? I’m new to the blog world but I’m trying to get started and create my own. Do you need any coding expertise to make your own blog? Any help would be really appreciated!

  97. If you are still upon the fence: grab your favourite earphones, thoughts down to a Simplest Obtain and request towards plug them into a Zune then an iPod and check out which one seems far better toward on your own, and which interface will make you smile a lot more. Then you can know which is directly for by yourself.

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