Landscape (for Manon) von Peter Hutton

In Peter Huttons Landscape (for Manon) führt die Natur ein romantisches Eigenleben. Hutton erschafft eine seelenvolle Engführung von Film, Landschaftsmalerei und Träumen. Wie üblich beim Filmemacher konzentriert er sich dabei ganz auf die Bilder, denn die Tonkulisse bleibt stumm. Dieser Verzicht auf Ton kommt einer druckvollen Zärtlichkeit bei Hutton gleich, da sich in der Suggestivkraft der Bilder so erst die Bedeutung des Tons erzählt. Da wir nicht hören, beginnen wir zum einen hinzusehen und zum anderen hinzuhören. Wie würde es eigentlich klingen? D.W. Griffith hat einmal gesagt: “What the modern movie lacks is beauty, the beauty of the moving wind in the trees.” Dieser Ansage folgend beobachtet Hutton, wie der Wind das Licht in den Blättern von Bäumen berührt. Landscape (for Manon) ist eine Abfolge von bewegten Landschaftsbildern. Wir sehen Bäume im Wind, Sonnenstrahlen, die über den Boden wandern und aufreißende Wolkendecken. Dabei können wir tatsächlich spüren wie Bilder unser Opium sind. Man hat das Gefühl einer höheren Kraft, sei sie im Leben der Natur oder in einer religiösen Interpretation. Die Natur bewegt sich von selbst und mit ihr der Film. Woher kommen diese Bewegungen? Wie die Found Footage Wolkenstraße in Olivier Assayas‘ Clouds of Sils Maria geht eine große Faszination davon aus, wenn sich die Natur von selbst bewegt. Das ist natürlich eine Faszination, die man oft leider bereits als Kind ablegt, aber gebannt auf Film können wir uns ihrer Schönheiten wieder bewusst werden. Es ist sogar mehr, weil gebannt auf Film und kombiniert mit den richtigen Perspektiven, Schnitten und Tönen (oder deren Auslassen) entsteht eine neue Wahrnehmung von natürlich existierenden Phänomenen. Diese Wahrheiten erscheinen uns im Kino (im Gegensatz zur Physik, Chemie oder Geographie etc) wie Illusionen, weil wir mit Film ihr Entstehen nicht filmen können sondern nur ihre Bewegung, ihr Ergebnis. Warum sich diese Wolken bilden, warum der Wind die Blätter bewegt, warum das Licht den Schatten verdrängt bleibt für Film ein ewiges Geheimnis. Eine unsichtbare Kraft darf im Kino noch arbeiten und man sollte sich dort nicht die wissenschaftlichen Fragen nach den Gründen für diese Phänomene stellen sondern die poetischen Fragen an ihre Wirkung, ihre Ähnlichkeiten, ihre Schönheit. Wenn wir die Natur in Bewegung sehen, in gespeicherter Bewegung, dann erahnen wir auch ihre Sterblichkeit, weil jedes Bild von Hutton in diesem Film von einer Flüchtigkeit beseelt ist. Was wir sehen, kommt vielleicht so nie wieder oder nur äußerst selten vor. Es sind diese Sekunden in der Ewigkeit. Film macht sie unsterblich, aber was ist mit dem Mann der verrückt wurde, als er feststellte, dass die Vögel, für die er sich auf Fotografien so sehr begeisterte, schon lange tot sein mussten? Das Ende ist immer schon da und gewissermaßen erinnert die Montage dieser Bilder auch an das Ende von Michelangelo Antonionis L’eclisse. Das Licht könnte gehen, eine Bedrohung in dieser unschuldigen Idylle, eine Romantik im Nichts.

Dennoch ist alles ein Traum. Oder? Zwischen den atemberaubenden Naturbildern in Landscape (for Manon) gibt es schwarze Bilder, man könnte von ausgedehnten Blenden sprechen, ein Augenschließen, ein Schlafen ein langes Zwinkern und verdauen der Bilder. Am Ende dann eine lange Doppelbelichtung. Der Kopf eines schlafendes Kindes (die Tochter von Hutton) und dahinter ein Spiel aus Schatten und Licht. Als würde dieses Spiel im Kopf des jungen Mädchens stattfinden. Aber die schwarzen Bilder könnten auch für den Schlaf stehen und die Bilder der Landschaft selbst für das zwischenzeitliche Erwachen. Dann wäre der Traum das Gegenteil vom Bild, aber gleich dem Schnitt. Dieser Gedanke ist dem Kino gar nicht so fern, denn der Schnitt hebt erst die Bilder auf andere Ebenen, ist in der Lage ganz beiläufig und fließend die Kausalität zu entfernen. Zwei Bilder lassen uns träumen, eines lässt uns sehen. Aber ein Film ist immer zugleich sehen und träumen. Vielleicht ist der ideale Zuseher für Hutton ein träumendes Kind im Schatten und Licht der Welt, vielleicht muss man ins Kino gehen als würde man an einem warmen Sommertag am Waldrand einschlafen, um zwischendurch aufzuwachen und die Bäume im Wind zu sehen. Erschrocken von ihrer Schönheit. Auch Leos Carax arbeitet mit diesen Schwarzblenden als Blinzeln (zum Beispiel in Mauvais Sang). Auch er macht Filme über das Kino.

Landscape Peter Hutton

Inspiriert scheint der Film offensichtlich von der Landschaftsmalerei. Die 22 Einstellungen entstanden alle in Hudson Valley, jener Wirkungs- und Lebensstätte des großen Thomas Cole, der mit seinen Landschaftsbildern einen Stil prägte. Totalen stehen im Kino oft für eine gewisse Neutralität. Sie werden entweder als Establishing Shots verwendet, um eine räumliche Orientierung zu bieten oder eben als zurückhaltende Distanz (wie beispielsweise bei Sergei Loznitsa) oder als Verunsicherung gegenüber den tatsächlichen Ereignissen (zum Beispiel in Antonionis Blow-Up oder Alain Giraudies L’inconnu du lac). Bei Hutton jedoch ist die Totale selbst von einer surrealen Romantik gefüllt, denn nur durch diese Perspektive können wir die Schönheit und Geisterhaftigkeit einer Bewegung in ihrer vollen Blüte erkennen. In dieser Hinsicht steht Hutton wirklich in der Tradition der Hudson River School um Thomas Cole. Nur er arbeitet mit Filmen, Träumen und der Vergänglichkeit seines Mediums, seiner Welt und seiner Fantasie.

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