Land of the Dead: The Ethereal Spirit of Beauty

Immer wieder dreht sich Joey Wong um ihre eigene Achse, ihr Spiel gleicht mehr einem zerschnittenen Tanz, ihre langen Kleider wehen um sie herum, sie zerfließt, denn sie ist ein Geist in A Chinese Ghost Story. Sie versteckt einen Menschen in ihrem Badetrog. Dieser Mensch wird gespielt von einem weiteren Geist des Kinos, Leslie Cheung, der auftauchen muss, um nach Luft zu schnappen. Um ihn wieder unter Wasser zu drücken, lässt sich Joey Wong sanft auf die Lippen des jungen Mannes fallen und drückt ihn mit einem Kuss wieder unter Wasser. Dort hält die Zeit kurz an während rosa Blüten im Wasser nach oben treiben. Es ist dies einer der schönsten Kussszenen, die ich kenne. Die Land of the Dead Reihe wurde in den ersten beiden Filmen, die am Sonntag über die Leinwand flimmerten zu einem Land of Beauty und Land of Innocence. Die beiden Filme A Chinese Ghost Story von Ching Siu-Tun und Venenos para las hadas von Carlos Enrique Taboada verwiesen auf die Wichtigkeit von unberührter Unschuld, Kindlichkeit und Fetisch im Horrogenre.

Veneno para las hadas

Der Kuss in A Chinese Ghost Story taucht im wahrsten Sinne des Wortes an einer Stelle auf, an der man den Kitsch schon gar nicht mehr bemerkt, denn der Film ist voller melodramatischer Überhöhung, mit einem Licht, das unsere Augen mit rosa-weißem Überlicht-Saum umgarnt. Martial-Arts und Comedy Elemente sorgen für völlig überfülltes, kunterbuntes Spektakel des Gruselns, in dem sich außergewöhnliche Bilder mit dem Rhythmus des Kampfsportfilms verbinden. Im Zentrum der Geschichte steht der junge Ling Choi San, ein Tollpatsch vor dem Herrn, der durch sein eigenes Unvermögen und Unglück plötzlich ohne Geld dasteht und in einem verlassenen Tempel übernachten muss. Wer Leslie Cheung kennt, mit Zigaretten vor Spiegeln, kaum merklich zergehend, der wird hier irritiert sein von diesem Comic-Schauspiel, von dieser nerventötenden Ungeschicklichkeit, die vom Film bis zum letzten Klischee ausgefeiert wird. Im Tempel, so sagt man ihm, spukt es. Ihm bleibt nichts anderes übrig und er kämpft sich durch den von Wölfen bevölkerten Wald zum Tempel. Was er nicht weiß ist, dass der Geist in Form einer bildhübschen, sich drehenden Frau erscheint, die Männer verführt, damit sie von ihrer Herrin, einem Baumgeist getötet werden kann. Geist und Mensch werden sich verlieben, ein Taoist bekämpft alle Geister, eine Hochzeit mit dem dunklen Fürsten steht an und auch sonst krabbeln allerhand merkwürdige Gestalten durch den Tempel. Sobald sich Schönheit und Horror verbinden in den Filmen der Land of the Dead-Reihe im Österreichischen Filmmuseum denke ich an zwei Filme: Zum einen La Belle et la Bête von Jean Cocteau und zum anderen Història de la meva mort von Albert Serra. Mit ersterem teilt A Chinese Ghost Story seine Liebe zur Ästhetisierung, Zeitlupen, Nebel und Hände, die aus Wänden greifen. Mit Serra die Schönheit des Gruselns, die vor allem in den Einstellungen der mumienhaften Aschekörper im Dachboden unterstützt wird, genauso einsam und atmend wie jene verlorenen Untoten in Romeros Night of the Living Dead und eben jene Verbindung von Romantik und Tod.

A Chinese Ghost Story2

Eine solche Verbindung ist nicht zuletzt auch in der lateinamerikanischen Literatur häufig anzutreffen. Sex am Friedhof, magischer Realismus. Denkt man auch an die sexuellen Konnotationen des Vampir-Genres, die beispielsweise in der ersten Hälfte von Kathryn Bigelows Near Dark in Syntesizer-Blau magnetisiert werden, dann kann man die Nähe von Versuchung und Bedrohung nicht mehr leugnen. Das Sterben durch das einmalige Leben. So könnte die lange Zunge des Baumgeistes, die durch Häuser läuft, um in die Opfer einzudringen nichts anderes sein als die Zähne eines Vampirs. Die blaue Nacht und die Kleiderfetzen, Schleier, die sehnsüchtigen Augen, ja, an seinen besten Stellen ist A Chinese Ghost Story ein primitiver, fast perverser Blick des Begehrens. Denn dort wo ein Fetisch auf eine Schönheit trifft, kann Horror entstehen.

Wie sehr dieser Horror aus dem Spiel mit der Unschuld seiner Protagonisten hervorgeht, zeigt der mexikanische Veneno para las hadas, der ähnlich wie Guillermo del Toros schwebender El laberinto del fauno den Horror aus Sicht von Kindern zeigt. Die Märchenhaftigkeit des Genres wird hier ausgereizt, denn nicht nur erzählt der Film ein grausames Märchen sondern er erzählt vor allem auch von der Angst vor Märchen. Etwas zu konsequent werden Erwachsene nie von vorne oder mit ihren Gesichtern gezeigt. Einzig in Albträumen oder Angstmomenten der Kinder, sind Gesichter und Fratzen von Erwachsenen deutlich zu sehen. Zu Beginn funktioniert das noch ganz außergewöhnlich, als wir beispielsweise einer faltigen Hand über ein Geländer gleitend folgen oder nur die Schatten einer erwachsenen Welt spüren, aber irgendwann wirkt es schlicht wie eine formelle Idee, die erstens nicht wirklich originell ist und in die sich Taboada viel zu sehr verliebt, um sie noch ernst zu nehmen. Es geht um Flavia, eine Tochter aus reichem Haus, die sich in der Schule mit der eigenwilligen Verónica befreundet. Diese behauptet von sich, eine Hexe zu sein und als sie durch einen Zauberspruch tatsächlich dafür zu sorgen scheint, dass die Klavierlehrerin von Flavia stirbt, gewinnt sie eine Kontrolle der Angst über Flavia. Immer wieder droht sie mit ihrer Hexenkraft und heckt neue Ideen aus, um dunkle Mächte zu beschwören. Ein Schelm wer darin politische Parabeln entdeckt. Dabei ist nie wirklich klar, ob es sich um kindliche Naivität und ein Spiel handelt oder um grausamen Ernst. Man ist eben in dieser Kinderwelt gefangen, die keinen anderen Blick zulässt. Einige Male glaubt man sich in Szenen mit Erwachsenen zu finden. Diese offenbaren sich aber jeweils durch Schwenks als Point-of-View eines Kindes.

Veneno para las hadas2

Ein wenig erinnert dieses Spiel mit den Perspektiven an The Return von Andrey Zvyagintsev, der in seinen ersten Minuten mit einem wahren Schock aus der Kollision von Erwachsenwelt und Kinderwelt aufwartet, die sich im weiteren Film als großes, mystisches Fragezeichen entfaltet. Venenos para las hadas ist ein Film, der einen an kindliche Angst erinnert und diese im besten Fall heraufbeschwört. Gleichzeitig aber-und der Film leidet darunter-stellt sich der Film jederzeit über oder gar unter seine Mädchen, er beobachtet sie als würde Humbert Humbert Kamera führen und so gibt es eben doch noch einen anderen Blick im Film. Ein wiederholter Blick auf die Beine der Mädchen beim Rudern, die Kamera blickt untersichtig auf eine Leiter, die die beiden Mädchen heruntersteigen. Vielleicht geht der wahre Horror von dieser perversen Neigung der Bildsprache aus. Die Unschuld der Mädchen ist nicht die Unschuld des Zusehers. Die brutale Rahmung des Films mit einem Mord am Anfang und am Ende unterstützt diese Tendenz. Wie Agnès Varda in Le bonheur wird aus einer Idylle, der schönen Farben und des ländlichen Spiels ein Horror, der keine Zukunft kennt. Das Spannende an Venenos para las hadas ist, dass man jederzeit merkt worauf das ganze hinausläuft. Statt sich der Idylle hinzugeben, fragt man sich immer, warum es so schön ist und statt voller Spannung vor der Leinwand zu sitzen, verliert man sich immer wieder in der Unschuld und Schuld der Bilder. Die wunderschönen Einstellungen von Kerzenlicht, das spannend-deformierte Kostüm, das immer ein wenig an die Zwillinge aus Stanley Kubricks The Shining erinnert und das Verharren auf der Schönheit von Goldkettchen an alten Armen, lässt einen Hauch von Kinderschänderei in der Luft entstehen. Ein irgendwie widerlicher Film, der schön ist.

Das Vulgäre und das Surrealistische zerfließt in beiden Filmen und es hängt immer an unserem Glauben. Was glauben wir? Wie weit sind wir bereit den Märchen, Geisterstunden, religiösen Parabeln zu folgen? A Chinese Ghost Story und Venenos para las hadas thematisieren diese Fragen, die einen entführen in jene Momente, wenn man als Kind vor einem finsteren Wald stand und ein anderes Kind einem erzählte, dass dort ein alter Mann lebt, der Kinder erschreckt. Im Horrorkino werden wir ein wenig selbst zu Kindern und wir haben keine Sicherheit, denn die Mythen könnten wahr sein.

A Chinese Ghost Story

Nachtrag: Auf einem Geister-Fest habe ich ein Bild von einer Frau gekauft. Sie kämmt sich ihre schwarzen Haare. Ich habe es in meinem Zimmer aufgehängt. Es spricht mich an. Sie sitzt an einem Fluss, Um sie herum sind einige Schriftzeichen, die ich nicht lesen kann. Ihre Haut hat die blasse Farbe des Papiers. Aber ich hatte das Gefühl, dass ihre Augen gestern noch eine andere Farbe hatten. Ich kann meinen Blick nicht von ihr nehmen. Ich glaube, dass sie sich bewegt. Sie sieht gut aus, ich komme näher.

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  68. If you might be however upon the fence: seize your favourite earphones, brain down toward a Suitable Obtain and question toward plug them into a Zune then an iPod and see which just one sounds better in direction of by yourself, and which interface produces by yourself smile even further. Then you can recognize which is straight for your self.

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  70. Zune and iPod: Most individuals assess the Zune towards the Contact, nonetheless at the time looking at how slim and remarkably very little and gentle it is, I just take it in the direction of be a as an alternative exclusive hybrid that brings together characteristics of possibly the Contact and the Nano. It’s Quite vibrant and beautiful OLED display screen is a little smaller sized than the touch screen, nonetheless the player by itself feels rather a little bit scaled-down and lighter. It weighs above 2/3 as substantially, and is noticeably scaled-down inside of width and peak, though being precisely a hair thicker.

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