Off to Nowhere: Plätze in Städten von Angela Schanelec

In Plätze in Städten driftet Angela Schanelec durch gewohnt verlorenes Gebiet. Der Film folgt, ohne dass es die Kamera zwangsläufig tun müsste, der Schülerin Mimmi durch das Leben oder besser der Suche danach. Im Halbdunkel und der häufig von hinten oder am Rand des Bildausschnitts fotografierten Protagonistin, sammeln sich, wie in einer von verlassenem Neonlicht schimmrig beleuchteten Pfütze, dringliche Gefühle von Einsamkeit, Sehnsucht und Unsicherheit. Häufig erahnt man Mimmi und ihren Körper nur, immer aber spürt man ihre Körperlichkeit. Die Filmemacherin hat davon gesprochen, dass sie ihre Schauspieler schützen würde und sie den Blicken der Kamera so nicht ausliefere. Sie fotografiert durch Rahmen, Spiegelfassaden, sie dekadriert, sie hängt am schon benannten Halbdunkel, in der Tiefe oder Unschärfe des Bildes, aber damit macht Schanelec strengenommen etwas ganz anderes, als ihre Schauspieler zu schützen, vielmehr dringt sie nämlich in sie ein (vielleicht nicht in die Spielenden, aber in die Gespielten, wobei der Unterschied hier weniger die Differenz der Seelen ist, als die Gleichatmigkeit der Körper). Es ist eine Weltsicht der intimen Entfremdung, die aber eigentlich ganz gewöhnlich im Kino ist/sein sollte. Denn Schanelec beobachtet und benutzt dazu eine Sprache und eine Maschine. Durch ihre Beobachtung kommen wir den Menschen nahe, durch die Sprache und die Maschine etabliert sich eine notwendige Distanz, die uns erst sehen lässt.

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Im Film gibt es eine der besten U-Bahn-Fahrten, die ich je in einem Film sehen durfte. Mimmi sitzt mit dem Rücken zur Kamera und ihr gegenüber sitzt ein Mann, der aus dem Off leicht von einer Hand an der Schulter berührt wird. Der Schnitt in die rüttelnde U-Bahn ist merkwürdig sanft. Neben ihm sitzt zunächst eine fremde Frau. Man könnte die Einstellung, die über fast die ganze Fahrt bestehen bleibt, fast als eine Over-Shoulder Mimmi bezeichnen, obwohl die Kamera ein bisschen zu weit weg steht, um nicht auch Mimmi in ihr zu erkennen. Das ist also dieser Schutz, der uns die Figur zugleich näherbringt. Sie wird dem Blick nicht ausgeliefert, aber gleichzeitig herrscht den ganzen Film über (so zum Beispiel auch gegen Ende als Mimmi ihren französischen Freund durch Fenster beobachtet) eine Unsicherheit über die mögliche Subjektivität einer Einstellung. Diese Verunsicherung gegenüber dem Blick spiegelt die Suche nach sich selbst in der Figur und der Körperlichkeit der Darstellerin. Menschen kreuzen den Blick, die U-Bahn hält, einmal blickt der junge Mann im Zentrum des Bildes genervt ins Off, vielleicht zu der Person, die seine Schulter berührt. Die Bahn fährt wieder los und kurz darauf scheint sein Blick direkt auf Mimmi zu fallen. Eine gegenläufige U-Bahn passiert, sein Blick geht wieder zur Seite (fast kraftlos), er gibt sich dem Rütteln des Wagons hin. Dann rücken plötzlich die Augen der Frau neben ihm sitzend ins Bild. Sie schaut nach oben. Eigentlich wurde sie von Mimmi blockiert, aber eine leichte Kopfbewegung reicht, um den Blick auf sie freizugeben. Die U-Bahn hält wieder, die Frau steht auf und verlässt den Wagen. Der Mann dreht sich um und die Frau, die seine Schulter berührte, setzt sich neben ihn, wird zunächst verdeckt, verdeckt dann ihr eigenes Gesicht mit den Händen und legt sich dann an die Schulter ihres Partners, der sich nach hinten lehnt. Von dort an erzählt Schanelec eine dieser spannenden Geschichten, die man jeden Tag sehen kann. In den Körpern und Blicken dieses Paares verstecken sich Dynamiken, Geheimnisse und Konflikte, die wir nur erahnen können. Ein Blick der sich verpasst, eine falsche Bewegung, alles könnte eine Bedeutung haben unter dem fokussierten, entlarvenden Blick der Kamera und der Emotion.

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Man kann sich durchaus die Frage stellen wie es möglich ist, dass die Kamera all diese Dinge aus einer Entfernung wahrnimmt, während wir im Leben ganz nah sein müssen, um (vielleicht im Irrtum) solche kleinen Regungen zu spüren. Vielleicht ist es auch eher so, dass wir auch im echten Leben nicht nah sein müssen, um es zu spüren, wir müssen lediglich nah sein, um uns zu interessieren. Schließlich schneidet Schanelec in eine profilige Nahaufnahme des Mannes, sodass im Bildhintergrund seine Partnerin an seiner Schulter sichtbar ist. Hier sucht Schanelec diese Intimität, die vom dunklen Schatten um die Augen des Mannes gehindert und gelockt wird zugleich. Es ist der verzweifelte und gelungen Versuch, mit einem Blick zu berühren. Im Gesicht des Mannes offenbart sich für die Sekunde einer möglichen Illusion jenes versteckte Lächeln, nachdem auch Straub&Huillet suchten. Man spricht dann von einem Huschen und in diesem Huschen liegt die ganze Sehnsucht nach einem anderen Leben, das Aussteigen aus dieser Bahn, die unendlichen neuen Möglichkeiten, die ohne psychologische und/oder dramaturgische Gesetze in die Leben von Schanelec platzen kann. Die Einstellung hält länger als dieses Huschen und erzählt damit zugleich von der Enttäuschung, jenen Augenblicken, in denen uns der Mut verlässt, in denen wir uns Verantwortungen bewusst werden. Aber natürlich sind das alles Interpretationen. Was wir sehen – und die letzte Einstellung dieser Fahrt, eine Halbnahe auf Mimmi von der Seite –  zeigt dies ganz deutlich: Im Kino von Schanelec geht es um Präsenz und Sinnlichkeit. Dabei geht sie keineswegs so haptisch und brutal vor wie etwa Claire Denis. Stattdessen verlegt sie die Präsenz in den Blick selbst. Ein Blick, der in seiner Vorsicht die gleiche Gewalt trägt wie ein Schnitt bei Grandrieux. Mimmi ist dort, die Blickende, die Angeblickte, durch sie hindurch ist das Kino von Schanelec zunächst, es entsteht eine Nähe, die einen in ihrer Distanz erdrückt. In ihr vollzieht sich die An- und Abwesenheit des Blicks der Kamera, die nicht unbedingt das Gesicht „nicht-fimt“, sondern den Hinterkopf filmt und dennoch immer zugleich auch von dem erzählt, was wir nicht sehen.

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Wunderbar zeigt sich dieses Vorgehen in den Tanzszenen in den Filmen der Aalenerin, die immer zugleich vor dem Raum der Kamera und dafür bestehen und doch völlig isoliert aus ihr huschen, sich verlieren, nicht unbedingt, weil die Kamera kein Interesse an ihnen hätte, sondern weil sie kein Interesse an der Kamera haben. Es gehen hier zwei Bewegungen vor sich, die zum Beispiel an John Cassavetes, einen anderen Schauspieler/Regisseur erinnern: Die erste Bewegung ist die Form und die Frage des Blicks und die zweite Bewegung ist der Schauspieler und die Frage des Lebens. Statt die beiden zu einer Einheit zu verschmelzen, gewinnt das Kino von Schanelec an der Differenz dazwischen. Was zwschen Dunkelheit und Licht in Plätze in Städten passiert, entspricht genau diesem Unterschied, der einen Raum und eine Zeit für die Gegenwärtigkeit des Kinos öffnet.

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Plötzlich sehen wir Bilder aus Jean Eustaches grandiosem La Rosière de Pessac. Schanelec führt mit diesem Filmausschnitt einen Ortswechsel nach Frankreich ein, aber es liegt noch mehr darin, denn La Rosière de Pessac ist auch ein Film über die Zeit und den Blick beziehungsweise die zwei Filme La Rosière de Pessac ergeben diesen Eindruck, denn Eustache filmte die gleiche Zeremonie einer Rosenköniginnenwahl 1968 und 1979 (wobei Eustache eine umgekehrte Projektionsreihenfolge wünscht). Ähnlich wie etwa bei Maurice Pialat kann bei einem Schnitt von Schanelec eine Sekunde oder ein Jahr vergehen. Schanelec, die in einem schönen Text auch mal darüber nachgedacht hat, ist verwandt mit Eustache. Beide tragen diesen Tschechow-Blick der kurzen Sinnlichkeiten, disparaten Augenblicke und Gespräche in sich, der ein Leben formiert, füttert und entkräftet. Wie bei Eustache ist es auch bei Schanelec eine Sinnlichkeit die an die Zeit und die Gesellschaft gebunden ist, die sich selbst kennend am liebsten verschwinden würde und trotzdem in einer offenen Verzweiflung und verzweifelten Wärme weiter-existiert und im Kino zu einer Existenz wird, die einen tief im Mark trifft und zwar nicht trotz des scheinbar distanzierten Blicks, sondern gerade deshalb. In diesem Blick sind Intimität und Abgrund vereint und sie erzeugen so eine vollendete Illusion wahrhaftigen Lebens, also Gefühle.

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