Rather Be A Dick Than A Swallower: Welcome to New York von Abel Ferrara

Wie so oft war es im Fall von Welcome to New York von Abel Ferrara die richtige Entscheidung, mit der Betrachtung des Films so lange zu warten, bis die Polemiken und Diskussionen um Marketing, Inhalt und Authentizität des auf der Dominique Strauss-Kahn-Affäre beruhenden Films, nicht mehr wirklich präsent waren. So konnte ich mich auf den Film alleine einlassen. Und wie begeistert ich bin! Abel Ferrara genießt in bestimmten Kreisen ein sehr hohes Ansehen, dessen Herkunft mir immer etwas unklar schien. Zwar konnte ich Filmen wie King of New York, Bad Lieutenant oder The Addiction durchaus etwas abgewinnen, in Jubelstürme bin ich aber deshalb nie verfallen. Nach dem für mich eher enttäuschenden Pasolini im vergangenen Jahr bin ich also eher mit gedämpften Erwartungen in den Film, der letztes Jahr unter bizarren Umständen inoffiziell am Rande des Festivals in Cannes gezeigt wurde, gegangen.

Depardieu Strauss-Kahn

Ferrara wagt eine gewohnt vulgäre, direkte und freche Vermischung fiktionaler Erfindungen und möglichst detailgetreuer Darstellungen. Nach einigen Einordnungen und Erklärungen der Fiktionalität des Films und einer virtuosen Verbindung kapitalistischer, politischer, französischer und amerikanischer Symbole in der Anfangssequenz, folgen wir im Stil von La Grande Bouffe eine lange Zeit einer Orgie mit verschiedenen Prostituierten, die noch während der Arbeit beginnt und sich bis zum nächsten Morgen zieht. Dabei legt Ferrara den Fokus auf das Animalische seiner Figur Devereaux, die von einem wild grunzenden und nach Luft schnappenden Gérard Depardieu in einer großartigen Perfomance verkörpert wird und mal mehr und mal weniger deutlich auf Strauss-Kahn basiert. Er wirkt zugleich unbeholfen als auch absolut dominant und widerwärtig im Umgang mit den Frauen, die das, wohl letztlich aufgrund des Geldes, dennoch glücklich über sich ergehen lassen. Am nächsten Morgen kommt es zum weltberühmten Zwischenfall mit der Hotelangestellten. Ferrara zeigt diese Sekunden in einer Art und Weise, die sehr deutlich ist, aber dennoch Raum zur Spekulation lässt. Zumal Devereaux später seiner Frau ein Geständnis macht, das mehr impliziert als wir sehen konnten. Wie meist in diesem Film zeigt Ferrara genau das, was notwendig ist. Immer wieder gibt es kurze Schwenks oder Schnitte, die unser Bild des Geschehens aufs Neue hinterfragen. Randfiguren bekommen plötzlich Bedeutung und Ferrara interessiert sich auch für ihre Gleichgültigkeit oder Emotion. Eine tiefe Verletzung tritt zum Beispiel auf, als ein Schwenk im Gericht für eine kurze Sekunde plötzlich die Tochter von Devereaux im Bildhintergrund entdeckt. Es ist nur konsequent, dass viele Szenen zunächst Unbekannten oder Randfiguren folgen bis der Protagonist das Bild betritt. In der Folge kommt es zur Verhaftung am Flughafen und der einflussreiche Bankenchef, der sich um den Job als Präsident Frankreichs bemüht, wird in ein Gefängnis gebracht. Diesen Sequenzen folgt der Film mit einer derart minutiösen Detailtreue, die weder Absurditäten noch Alltäglichkeiten ausspart, dass Ferrara hier eine Intensität der laufenden Zeit erreicht, wie man sie derzeit häufig nur im rumänischen Kino wahrnehmen kann. Das Geld seiner Frau und das Schauspiel in der Öffentlichkeit sind für Ferrara der Grund, warum die Anklage schließlich fallengelassen wird. Bis dahin verbringt Devereaux sein Leben in einem äußerst teuren Appartement mit Fußfessel und einem unveränderten sexuellen Drang. Dabei zeigt Ferrara lange Streitgespräche zwischen dem Verbrecher und seiner Frau Simone. Wie schon in Pasolini muss sich Ferrara dabei fragen lassen, warum er die beiden Englisch sprechen lässt. So sehr man darin irgendwelchen versteckten Botschaften lesen mag, so bizarr sind diese sprachlichen Verirrungen doch im Angesicht der sonstigen fast dokumentarischen Detailtreue, die eben nicht nur für den Umgang mit den realen Vorbildern gilt, sondern auch für den Umgang mit den Darstellern, die in diesem Fall beide Franzosen sind.

Welcome to New York10

Mehrfach beschimpft Simone ihren Mann als Kind. Welcome to New York zeigt Macht als einen eigenständigen Charakter. Der reale Fall der Strauss-Kahn-Affäre ist nur eine Basis für moralisch-philosophische Überlegungen bezüglich kapitalistischer Macht und der Wirkung dieser Macht auf Menschen und Systeme. Je länger man Zeit mit dem zugleich bedrohlichen wie auch bemitleidenswerten Devereaux verbringt, desto mehr kommt man zum Schluss, dass dieser Mann von seiner eigenen Macht beherrscht wird. Das Perverse daran ist, dass ihm selbst das kaum schadet, sondern nur anderen Menschen. Gegen Ende verfällt er in einen existentialistischen Monolog, der eine Gleichgültigkeit gegenüber der Sinnlosigkeit der Existenz einfordert und damit einen nihilistischen Turn in die humanistischen Überlegungen eines Camus legt. Der Film zeigt den Traum und die Einsamkeit eines Don Juanismus, der nicht vom Willen eines einzelnen Mannes ausgeht, sondern von dessen egoistischer Gleichgültigkeit und Machtlosigkeit im Angesicht seiner eigenen Macht. In diesem Sinn ist Welcome to New York eine Parabel und die Blicke von Depardieu in die Kamera sowie der vieldeutige Schluss um Devereaux und sein Hausmädchen, das er begehrt und dann fürs erste davonkommen lässt, deuten auf einen größeren Zusammenhang von Macht, Geld und Öffentlichkeit.

Ferrara wählt eine aggressive filmische Form um diese Verbindungen zu verdeutlichen. Der Low-Budget Look und der Drang des Filmemachers, an den realen Orten der Ereignisse zu drehen, stellen Fragen an die Darstellbarkeit und Darstellung von Verbrechen als zeitgenössisches Spektakel für die Massen. Es gibt erhöhte Monologe, Found Footage und scheinbar mit versteckter Kamera gedrehte Szenen in einer Hotellobby. In mancher Hinsicht erinnert der Film tatsächlich an Laura Poitras Citizenfour nicht nur wegen des Settings und des kritischen Aktualitätsbewusstseins, sondern auch, weil Ferrara etwas Zufälliges konstruiert, das immer wieder so wirkt als würde er im Geheimen drehen müssen. Nicht, dass wir uns da falsch verstehen, das Ganze erzeugt keinen Suspense wie bei Poitras, aber eine Direktheit, die moralische Fragen aus der Handlung gewinnt und nicht Handlung als Grund moralischer Fragen erzeugt. Ferrara vermischt dabei alles und fragt damit ähnlich wie Cristi Puiu in dessen Aurora nach dem, was wir sehen, wenn wir einen Film sehen. Ferrara betreibt dieses Spiel in vielerlei Hinsicht deutlich vulgärer, direkter und naiver als Puiu, aber in der Doppelung mit dem medialen Skandal um die Affäre ergibt sich ein absolut überzeugendes Bild, das ständig so tut als würde es von Dichotomien erzählen, aber letztlich keine findet. Ein plötzlicher Verweis auf die französische Filmgeschichte mit Szene aus Domicile conjugal von François Truffaut, die Blicke in die Kamera, Handybilder und eine fast pornographische Darstellung der Sexszenen zu Beginn sind immer zugleich eine Kritik an dieser Darstellung als auch die Freude daran. Ferrara wirkt manchmal wie ein Teenager, der etwas gefunden hat und es möglichst provokativ unter die Leute bringen will, aber genau mit dieser Eigenschaft ist er der perfekte Regisseur für diesen Stoff.

Welcome to New York9

Das Besondere an Welcome to New York, zumal in einer Zeit, in der filmischer Realismus häufig mit einem Verschwinden des Autors gleichgesetzt wird, ist nicht nur die Ambivalenz des Dargestellten sondern auch die Ambivalenz der Darstellung. So kann man sich nie sicher sein, ob man gerade Ansichten von Strauss-Kahn, Devereaux, Depardieu oder Ferrara vernimmt. Der Film spielt äußerst versiert mit diesen verschiedenen Ebenen. Dabei schont sich Depardieu keine Sekunde. Sein Körper, seine Beziehung zu Frankreich („Vive la France“) und sein Alter werden schonungslos exponiert. Dabei erfährt die Figur eine filmische Gerechtigkeit dort wo die juristische Gerechtigkeit versagt. Der schockierende Umgang mit den Frauen zu Beginn des Films schlägt auf den Mann zurück, wenn die Kamera ihn beim Aus- und Anziehen im Gefängnis filmt. Die Kamera in Welcome to New York ist ein Täter, ein Vergewaltiger, die ebenfalls von ihrer eigenen Macht beherrscht wird. Trotz dieser nicht versteckten Eigenschaften, gelingt es Ferrara immer wieder sich selbst zu hinterfragen (mit den ganzen Erklärungen und dem vorangestellten Interview mit Depardieu, indem er seine schauspielerische Beziehung zu Monstern erklärt sogar etwas zu sehr für meinen Geschmack) und sich letztlich auf künstlerische Beobachtungen zu berufen, die sich Zeit lässt und die immer dann, wenn man glaubt eine politische oder moralische Tendenz in den Bildern zu erkennen, eine Kehrtwende macht. Nicht nur in diesem Sinn ist Welcome to New York ein aufregender Film, der wichtige moralische Fragen stellt, der etwas ehrlich und direkt hinstellt, von dem man nicht immer sagen kann, ob es eine Meinung oder eine Beschreibung ist und der es gerade dadurch für eine öffentliche und subjektive Debatte freigibt.

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