WdK Tag 1: „Futur/Future“ – Lost in the Light: El Auge del Humano von Eduardo Williams

Nichts zu sehen. Der Film beginnt in Dunkelheit. Dann, schemenhaft, der bewegte Körper eines jungen Mannes, er steht auf, geht umher, streift sich ein T-Shirt über den aus dem Schatten strahlenden Oberkörper. Ein verhangenes Fenster beleuchtet ihn von der Seite. Die Kamera folgt ihm auf seinem Weg durch kaum auszumachende Räume, er scheint etwas zu suchen, stößt laut hörbar gegen Unsichtbares. Er beugt sich hinab ins Dunkel, hebt etwas auf; plötzlich ist da ein schwaches Licht, das frontal seine Brust beleuchtet: Der bläuliche Schein eines Handys – und wieder Dunkel.

Eduardo Williams Film El Auge del Humano folgt in drei geographisch unterschiedenen Abschnitten Körpern von Raum zu Raum, vom Licht ins Dunkel und wieder ins Licht, von der Sichtbarkeit in die Unsichtbarkeit, vom Wald auf die Straße, von der Straße in Wohnungen, vom Öffentlichen ins Private, vom Physischen ins Virtuelle und zurück. Dana Linssen spricht in der folgenden Diskussion von Portalen, durch welche die Körper immer wieder von einem Raum zum nächsten gelangen. Das Portal markiert die Schwelle zu einer anderen Welt, zu einem Raum anderer Funktion, anderer Gesetzmäßigkeiten für die Körper, die er aufnimmt. Beim Übertritt aus der lärmenden Hast der Großstadt, in die stille, gemessen zu begehende Welt einer Kirche wird im Wortsinne ein Portal durchquert. Das ist ein Weltenwechsel.

Mir scheint, als gäbe es diese Weltenwechsel in Williams Film nicht. Es ist ein Weltraum, der hier durchquert wird. Die Trennungen und Grenzen der Räume verschwimmen im Sog der ununterbrochenen Bewegung, die unmerklich einen Raum in den nächsten übergehen lässt. Es ist nicht mehr sinnvoll zu trennen zwischen privat und öffentlich, zwischen drinnen und draußen. Im ersten Teil des Films besucht – ja, wer? – ein junger Mann unter vielen in diesem Film, vielleicht einfach der Körper, dem wir folgen, einen Freund in seinem Haus. Vom harten Licht der Straße in ein dunkles Wohnzimmer, Menschen sitzen beim Essen, weiter auf die Terrasse, ins weiche Schimmern des paradiesischen Gartens. Der Einlass zum Keller im Hintergrund steht offen, nicht als Grenze, nicht als Portal, sondern als Teil eines grenzenlosen Bewegungsraumes, der für die Körper nicht mehr zu überwindender Widerstand sondern Möglichkeit ist. Die große Freiheit, welche die physischen Räume ineinander gleiten lässt, bis sie in einem stetigen Strom von Zäsur losen Intensitätsveränderungen aufgehen, erfasst auch die virtuellen Räume der Computer, Handys und Screens. Eine klare Trennung zwischen virtueller und ‚echter‘ Welt ist nicht mehr sinnvoll möglich.

Human Surge Still II

Das Virtuelle in Williams Film wird organisch und so unmöglich als körperlos in Abgrenzung von einer körperlichen Welt beschreibbar. Die Geräte, die den Zugang zu virtuellen Welten versprechen, zeigt der Film als physisches Material: da gibt es ein Handy, das achtsam auseinandergebaut zum Trocknen auf eine Fensterbank in die Sonne gelegt wird. Die Screens der technischen Geräte werden selbst zu Lichtquellen, die in zweifacher Hinsicht Körper sichtbar machen. Es ist das Licht der Handybildschirme, das immer wieder die Dunkelheit der physischen Welt durchdringt, etwa das einzige Licht, welches auf das Gesicht eines gerade erwachten jungen Mannes fällt. Aber auch anders herum ist es die physische Welt in all ihrer Körperlichkeit, die im Virtuellen Ausdruck findet. In einer der eindrücklichsten Szenen sehen wir fünf leicht bekleidete Jungs in einem dunklen, kleinen Raum auf einem Bett, beleuchtet vom Licht eines großen Monitors, eine Webcam-Sex-Show performen, mit der sie ihr Geld verdienen. Die Darbietung ihrer Körper ist untrennbar mit der Welt hinter der Webcam verbunden. Sie reagieren auf Angebote, die von Zuschauern unterbreitet werden und selbst als einer der Jungs dem Anderen einen Blow-Job gibt, ist das nicht nur schockierend in seiner Explizität, sondern auch eine Geste der Freiheit des Spiels und der Möglichkeiten, durchdrungen von einer großen Schönheit. In der Überwindung der Trennung von virtueller und physischer Welt liegt eben auch die Überwindung von Machtverhältnissen, die aus einer Hierarchisierung der beiden Welten entsteht. Das organische Licht der Screens ist so zärtlich und fast tröstlich wie die tiefstehende Sonne, welche die Außenaufnahmen der Argentinien-Episode beherrscht.

Der Übergang vom argentinischen zum mosambikanischen Teil des Films macht die Untrennbarkeit von virtuellen und physischen Räumen noch klarer. Langsam nähert sich die Kamera von hinten einem der argentinischen Jungs, der vor einem Monitor sitzt, der Bildschirm rückt immer größer ins Bild, bis er es schließlich vollständig einnimmt und in seiner eigenen Textur von Pixeln, Spiegelungen und Flackern sichtbar wird. Im Bild sehen wir als Livestream eine Gruppe junger Männer, die eine ganz ähnliche Sex-Show vorführen. Die folgenden gut dreißig Minuten des Mosambik Drittels, die auf den Straßen einer ganz real und physisch anmutenden Welt spielen, werden wir so verfolgen: als abgefilmten Livestream von einem Computer-Monitor (in der Kombination von digitalem und analogem 16mm-Filmmaterial projiziert auf eine Leinwand … aber vielleicht ist das Verhältnis des Films zu Selbstreflexivität ein anderer Text). Doch auch die Räume der physischen Welt erfahren in Williams Film eine Annäherung an das Virtuelle: da gibt es Teiche, die wie ein Screen das Licht reflektieren, Fenster, die Licht spenden ohne ihr Dahinter zu offenbaren, die ständige Suche der Figuren nach Computern und Handys, die Einfluss auf ihre Bewegung im Raum nimmt oder die Verfolgung der Protagonisten in Rückenansicht, die an die Perspektive vieler Computerspiele erinnern mag. Es wird zunehmend unentscheidbar: was ist noch reale, physische und was ist schon virtuelle Welt (oder andersherum)?

Das Erstaunliche an Williams Film ist, dass er nicht einfach die Beantwortung dieser Frage unmöglich macht – z.B. in der Beschreibung einer absolut vernetzten Welt, in der virtuell und real unauflösbar verknotet sind – sondern, den Sinn der Frage selbst bezweifelt. Die Freiheit und Mühelosigkeit, mit der sich die jungen Männer durch dieses Raumkontinuum bewegen, in dem unter anderem virtuell und physisch in eins fallen, sorgt für eine Trance, eine hypnotische Qualität, die alle Fragen nach Trennungen unter sich auflöst. „To get lost in a film“, wie Frédéric Jaeger in der anschließenden Diskussion als positiv bemerkte. Dieses freiwillige Verlorengehen in der Immanenz der Räume als Überantwortung an den Fluss der Bewegungsbilder, weist zunächst auf ein utopisches Ideal des Kinos selbst, wie es bei Deleuze beschrieben ist. In der Immanenz lösen sich die Bilder von einem richtungsgebenden Zentrum und reagieren frei miteinander. Williams Film, der in allen drei Episoden junge Männer zeigt, die außerhalb der Glaskuppel des westlichen Wohlstandskapitalismus leben, gibt uns in dieser Utopie des Kinos die gesellschaftliche Utopie einer dezentralen Welt der absoluten Grenzenlosigkeit, einer gefahrlosen Freiheit der Bewegung, die als selbstverständliche verwirklicht ist im gleichermaßen mühelosen Wechsel vom Wohnzimmer in den Garten wie von der argentinischen Großstadt in den philippinischen Urwald. Vielleicht holt das Thema des Abends „Futur/Future“ den Film in dieser Utopie ein. Vielleicht haben wir es aber auch mit der Fantasie einer Welt der jungen Männer zu tun, der Ausweitung eines Lebensgefühls auf eine ganze Welt. Und vielleicht reißt die letzte Einstellung oder eine andere ästhetische Entwicklungslinie in Eduardo Williams großem Film vieles des hier Gesagten wieder ein. Sicher ist, wenn gilt Nino Klingler These #9: Cinema is political when it irritates separations, dann ist El Auge del Humano politisches Kino.

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