Filmfest Hamburg: Before From What Is Before

In der letzten Nacht in Hamburg tropft es plötzlich in meinem Zimmer. Ein defektes Wasserrohr hat zunächst einen riesigen gelben Fleck an der Decke meines Hotelzimmers hinterlassen und dann dringen kleinste Tropfen durch die dicke Wand und gleich dem Ticken einer Uhr, beginnen sie den Boden zu bewässern. Mein Schlaf wird dadurch empfindlich gestört und ich fühle mich selbstverständlich wie in einem Tsai Ming-liang Film. Mit weißer Unterhose und gleich eines Raubtiers (also zumindest in meinem Kopf) untersuche ich Lee Kang-shengesque die Decke, blicke aus dem Fenster, in meiner Erwartung an Lav Diaz, der am letzten Tag auf dem Programm steht mit seinem Locarno-Gewinner From What Is Before.

Diaz hat die Zuseher seiner Filme einmal als „Warriors“ bezeichnet. Sie würden sich auf die enorme Länge vorbereiten. Außerdem wäre es völlig in Ordnung für ihn, wenn Zuseher seine Screenings verlassen würden und wieder kommen würden. Ob dies eine Reise nach Jerusalem zur Folge haben muss, die sich später im Rahmen des Hamburger Filmfests abspielte, sei dahingestellt. Jedenfalls bleibt Diaz eine cinephile Meisterprüfung, die völlig zu Unrecht oft auf ihre Länge reduziert wird. An anderer Stelle habe ich mich genauer mit dem Film beschäftigt.

Mein letzter Tag in Hamburg ist ein besonders warmer Tag für die Jahreszeit. Das ist an sich nicht wirklich bemerkenswert jedoch spielt es in die Vorbereitung auf einen Lav Diaz Film durchaus eine Rolle. Es geht um Trinken, Essen und Bewegung. Denn im Gegensatz zu Diaz und den meisten Zusehern bin ich nicht der Meinung, dass man eine Sekunde seiner Filme verpassen sollte. Es gibt Szenen in diesem Film und auch in den anderen Filmen des Regisseurs, die das Gesehene komplett umdrehen, die es einordnen, verändern und die für ein Verständnis des Films absolut unentbehrlich sind. Vielleicht wäre es konsequent, im Stil von Luis Buñuel Toiletten statt Kinosessel im Kino aufzustellen.

Misunderstood von Asia Argento

Incompresa

Also gehe ich spazieren und decke mich mit einer Fülle an Verpflegung ein, trinke, esse und mache tatsächlich Lockerungsübungen. Unmittelbar vor Beginn gehe ich auf die Toilette. Ein „Warrior“ eben…und ich habe dabei einiges an Zeit die vergangenen Tage in Hamburg gedanklich zu resümieren. Es war ein sehr ansprechendes Festival für mich und insbesondere zwei Filme, die ich so nicht auf der Rechnung hatte, haben mich begeistert: Turist von Ruben Östlund und The Tribe von Myroslav Slaboshpytskiy. Darüber hinaus bin ich zwei weiteren Großwerken von Regisseuren begegnet, die ich schon zuvor absolut verehrte. Zum einen Lisandro Alonso, der mit seinem Jauja einige neue Aspekte zu seinem Schaffen hinzufügt und dennoch sein unheimliches Auge für Bildgestaltung in einem bestimmten Setting beibehält und eine meditative Ironie entfaltet. Und außerdem Winter Sleep von Nuri Bilge Ceylan, der mich nach wie vor völlig irritiert. Wenn man hart mit dem Film ins Gericht gehen wollen würde, dann könnte man ihn durchaus mehr als Hörspiel denn als Film bezeichnen. Schließlich musste ich dreieinhalb Stunden derart intensiv mitlesen, da es außer weniger Szenen fast ausschließlich um Dialoge geht. Aber dann ist da das Wesen dieser Dialoge. Winter Sleep ist nämlich nicht nur ein Film mit Dialogen sondern in großem Maße auch ein Film über Dialoge. Es geht um die Selbstrechtfertigung, Selbstbelügung, den Selbsthass, den Menschenhass, die Funktion von Sprache und Denken darin. Das ganze findet in einer inhaltlichen und philosophisch-psychologischen Tiefe statt, die man aus großer Literatur kennt. Für mich der schwächste Film eines großen Regisseurs.

Zu einer ganzen Reihe interessanter und erwähnenswerter Begegnungen rechne ich Ventos de Agosto von Gabriel Mascaro, Incompresa von Asia Argento, Timbuktu von Abderrahmane Sissako, Favula von Raúl Perrone oder Hermosa juventud von Jaime Rosales.

Meine zwei großen Enttäuschungen sind Mommy von Xavier Dolan und Fehér Isten von Kornél Mundruczó. Ersterer ist ein Schritt zurück für den durchschnittlichen kanadischen Lieblingsjungen einer unreflektierten Kinowelt, die sich nur allzu bereitwillig von Style blenden lässt. Dolan hat sehr wenig zu erzählen (in Konsequenz ist Mommy ein schlechteres Remake von J’ai tué ma mère) und er weiß auch nicht unbedingt wie er das erzählen soll. So lässt er fast in zwanghafter Manier seine Popsongs laufen, um eine Art Rhythmus zu entwickeln, der nie aus den Bildern sondern immer aus der Musik kommt. Seine Grundformel besteht darin hysterische, neurotische und auf manipulative Weise liebenswerte Menschen in Konflikte zu bringen. Dabei bedient er sich in einem 1:1 Instagram-Look, der zu einer dramaturgischen Funktion aufsteigt. Dolan ist kein böser Mensch, kein schlimmer Regisseur. Aber der unverständliche Hype, der seiner Arbeit entgegengebracht wird, ist ein schlechtes Zeichen für das Kino. Ich bin mir bewusst, dass ich diese Aussagen nicht einfach so hinstellen kann. Daher will ich sie mit einer bemerkenswerten Kritik von Adam Nayman rechtfertigen, der ich zu 100% zustimmen kann. (was selten vorkommt).

Timbuktu

Timbuktu

Fehér Isten dagegen ist wirklich eine Beleidigung. Ein mit allen Mitteln nach billiger Empathie hechelndes Stück Spielberg-lebt!-Pathos-Kuschelrock im Kino. Die Disney-Story wäre ja an sich nichts Schlimmes, aber jeder Disney-Film, den ich kenne baut auf ambivalentere Figuren, eine vielschichtigere Geschichte und mehr psychologischer Tiefe in den Charakteren. Natürlich bleibt es beeindruckend, dass Mundruzcó mit einer derartigen Quantität und Qualität an echten Hunden arbeitete, aber jenseits einiger wahrlich epischer und fesselnder Momente mit denen, liegt die einzige Faszination darin, dass man sich während dem Schauen für ein Making-Of interessiert. Dabei donnert der Film mit Musik und Bildsprache derart massiv ins Kino, dass jede Form von Menschlichkeit und Subtilität verloren geht.

Es ist fast 13Uhr, einige Seelen warten schon auf Lav Diaz im Kinosaal. Andere liegen bis kurz vor Beginn vor dem Kino auf einer Wiese. Man muss das Licht verlassen, um es lange Zeit zu sehen.

Ich betrete Kinoseele.

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