Filmfest Hamburg: Yourself and Yours von Hong Sang-soo

And then leaning on your window sill

he’ll say one day you caused his will

to weaken with your love and warmth and shelter

And then taking from his wallet

an old schedule of trains, he’ll say

I told you when I came I was a stranger

I told you when I came I was a stranger.

„Life is a Party“ steht auf einem ironisch kadrierten Schild in Hong Sang-soos neustem Wiederholungsspiel: Yourself and Yours. Man bekommt allerdings den Eindruck im Kino des Südkoreaners, dass das Leben eher der Tag nach der Party ist. In Yourself and Yours bringt er etwas in sein Kino, was eigentlich schon immer da war: Zwillinge. Statt auf zeitliche Wiederholungen und Verunsicherungen allein zu setzen, legt sich der Film also auf das Irritierende Moment eines körperlichen Nicht-Erkennens. Oder ist alles nur ein Spiel, eine Lüge? Man könnte auch sagen: Es ist eine Erkenntnis, eine die sich schon im Titel versteckt.

yourselfandyours_06

Ein verliebter, aber frustrierter Maler versucht nach einem möglichen (in diesem Film ist immer alles möglich, nie ist es einfach) Zwischenfall, seine Freundin Minjung hochemotional davon zu überzeugen, dass sie mit dem Trinken aufhören, sich zumindest nur die vereinbarten fünf Drinks genehmigen soll. Er scheitert, sie geht. Er scheitert, weil die Dialoge zwischen Mann und Frau bei Hong Sang-soo immer auch die Unzulänglichkeiten, Erniedrigungen und Peinlichkeiten eines Eroberns, Beeindruckens und Manipulierens in sich tragen. Er bleibt der größte Filmemacher der Peinlichkeit der Liebe seit Rainer Werner Fassbinder. Und das ist keineswegs hässlich gemeint, sondern auch zärtlich, brutal und lustig. Wie meist entfalten sich die Dialoge häufig am Tisch sitzend beim Trinken. Es liegt in diesen Augenblicken eine Vertrautheit in der Fremdheit zwischen den Menschen, die sich in diesem Fall in eine fremde, unwirkliche Vertrautheit verwandelt. Statt die Distanz zwischen zwei Figuren zu überbrücken, bleibt sie in Yourself and Yours vorhanden, weil früher oder später klar wird, dass diese Männer auch Wunschbilder in die Frau(en) projizieren. Sie können nicht akzeptieren, dass sie nicht das vor sich haben, was sie glauben, vor sich zu haben. In gewisser Weise ist der Film also verwandt mit Our Sunhi, nur die Perspektive wandelt sich.

Im Augenblick der Trennung des Malers von Minjung im Film entsteht eine Art Besäufnis, das sich nicht in den Bildern, sondern über ihnen abspielt. Etwas passiert, man weiß nicht genau, was davon passiert, was passiert ist. Eine neue Art der Verwechslungskomödie entsteht, ein Who is Who und What the Fuck. Eine Frau taucht im Ort auf, sie sieht genauso aus wie Minjung, aber sie behauptet nicht Minjung zu sein, sondern ihr Zwilling. Einige weitere Männer versuchen ihr Glück mit der wiederkehrenden Frau, die auch eine andere sein könnte, die andere oder doch eine spirituelle Erscheinung? Immer wieder hören wir die Frage: „Do I know you? Ab diesem Zeitpunkt eröffnet sich ein weites Feld an Möglichkeiten, das letztlich immer zurück auf männliche Wahrnehmungen, Träume und Ängste zu führen ist, sich nie ganz entfaltet, sondern immer in der absurden, unterdrückten oder ausgelebten Romantik von kurzen Gelegenheiten entfaltet. Und diese ist schrecklich banal. Nicht nur deshalb bleibt Hong einer der ganz wenigen Filmemacher, die einem etwas über das eigene Leben erzählen können, was man nicht hören wollte. Es geht um die, die man kennt, die die man liebt und wie beides nicht zusammenpasst, beides unmöglich ist und doch realer als alles andere, vor allem, wenn man sich daran erinnert, es kurz aufflackern sieht.

yourselfandyours

Stilistisch ist der Film im Vergleich zu Arbeiten wie Right Now, Wrong Then oder On the Occasion of Remembering the Turning Gate etwas reduzierter, was letztlich vor allem an der Zurückhaltung bei den Locations liegt. Ansonsten bekommen wir das gewohnte Hong-Programm mit statischen Bildern, einer enormen Liebe für Szenenbild (ohne dabei zum Spielzeugparadies zu werden wie beispielsweise Wes Anderson), brillanten, nackten, schmerzlichen Dialogen, Zooms, Musikeinsätzen und Wiederholungen von Szenen. Durch Nebenfiguren, die nur einmal von Bedeutung sind oder das wiederkehrende Bild von einigen Gästen in der Kneipe, die an der Theke stehend über Minjung oder ihre Schwester reden, wirkt auch die Umgebung merkwürdig vertraut und fremd zugleich. Nichts davon wirkt jemals ausgedacht oder aufgeblasen, sondern es sind eher Wahrnehmungen, die sich zu diesem Gesamtbild fügen. Wie bei vielen großen Filmemachern ist es die Gleichzeitigkeit und gegenseitige Bedingtheit von äußeren und inneren Bildern, die das Kino von Hong Sang-soo zu einem Fest machen: Film is a Party. Seine Schauspielführung ist von einem anderen Planeten. Er beherrscht Gesten wie Murnau, Sprache wie Rohmer oder Eustache, Kadrierung wie Ford, Raum wie Lubitsch, Zeit wie Marker.

Die Komik der Verwechslung wendet sich im Film auch in eine Ernsthaftigkeit, da die Zuseher in derselben Verunsicherung leben wie die Figuren statt wie zum Beispiel in fantastischen Szenen bei Lubitsch in der überlegenen Position einer dramatischen Ironie amüsiert zu werden. Nein, Yourself and Yours folgt wie viele Filme des Filmemachers einer formalen Identifikation. Diese liegt vor allem im Blick. Man schaut Minjung beziehungsweise ihre Schwester an und fragt sich beständig: Ist das Minjung oder ihre Schwester? Dadurch entsteht eine neue Unschuld des Blicks, die sich auch auf die Figuren überträgt. Man kennt diese Idee von Neustarts („Lass uns noch mal von vorne beginnen“), aber in Yourself and Yours zeigt sich, was das bedeuten würde. In diesem Sinn ist der Film nicht nur verwandt mit Luis Buñuels Cet obscur objet du désir, sondern auch mit Eternal Sunshine of the Spotless Mind. Nur Hong hat das bessere Drehbuch als letzterer, denn statt die Gefühle zur Frage zu erheben, legt der Film den Fokus auf deren Kommunikation, sowie die beständige Unsicherheit und Manipulation, die damit einhergeht. Statt die Fragen zu beantworten, dringt (trinkt) sich Hong in sie ein. Am Ende spielt der Maler nicht mehr den, der kennt, der erwartet, sondern sagt Minjung (oder ihrer Schwester), dass er sie nicht kennt. Ein „No“, das gleichermaßen eine Lüge und eine Wahrheit ist.

Nach dem Abspann ist man sich nicht sicher, ob man den Film gerade gesehen hat. Es ist ein Kino des Verpassens, zu früh, zu spät, es bleibt nur ein Ausweg: Vergessen, wieder anfangen, wieder lieben, wieder leiden, wieder vergessen. Oder doch nicht?

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