The Berlinale 74 opening was accompanied this year by protests. The widespread backlash forced the festival organizers to withdraw at the last minute their opening ceremony invitations to the members of Germany’s far-right political AfD party. Elsewhere on the Potsdamer Platz, a group of film industry workers teamed up demanding better pay and working conditions. The crisis that Berlinale finds itself in at the moment is, however, most evident in the questionable quality of the films presented at the festival’s numerous sections, most of which are overtly political, referring to burning societal, economic or military challenges of today, yet lacking in visual style, compelling storytelling, aesthetic appeal and authenticity, and thus missing out on emotional impact.
Luckily for our readers, there were a few exceptions and we still managed to pick out a handful of films to review. In his poetic film Hors du Temps (Outside of Time), Olivier Assayas tells the story of a filmmaker, the main narrator, who is both protagonist and contemplative guide through the unfolding narrative of his childhood home in the picturesque French countryside. As he grapples with the uncertainties of the future of film, his introspective musings are interwoven with masterfully incorporated Zoom sessions, seamlessly blending screen-in-screen techniques to reflect the digital interconnectedness of the pandemic era.
Amidst the backdrop of lockdown, the protagonist’s reliance on online shopping and virtual therapy sessions with his psychologist via Zoom serve as poignant reflections of contemporary life. Yet, it is the sanctuary of his childhood home, steeped in the rich art history library left by his father, that offers solace and inspiration during turbulent Corona times.
As the pandemic draws the protagonist closer to his new partner and brother, each member of the household finds comfort in their own pursuits. While the protagonist delves into the depths of cinematic introspection and housekeeping, his brother immerses himself in the sensory delights of cooking and music. Together, they navigate the complexities of lockdown life, bound by the enduring ties of family and the shared memories of their beloved home.
Amidst the backdrop of quarrels and tensions, the film weaves a tender tapestry of resilience, revealing the enduring power of love and familial bonds in the face of adversity. True values like love and care for each other stand the test of time. What are pandemic hardships in the face of timelessness? References to Pierre Abelard and his beloved Eloise, a rare example of love and fidelity from the French Middle Ages, and the love letters that they wrote each other, give the whole story a touch of that timelessness. Assayas offers among other things in his film a touch of subtle critique of contemporary society standing on the verge of pandemic madness. Assayas is a French director, screenwriter and long-time editor for Cahiers du Cinéma Film magazine. His latest film is consequently in the best traditions of French cinematography.
Another cinematic highlight that attracted our attention at this year’s Berlinale is undoubtedly Hong Sang-soo’s A Traveller’s Needs, with Isabelle Huppert starring in the main role. In this captivating film, the main protagonist, an ageing woman, finding herself in a foreign land embracing her role as a wandering teacher of French with unorthodox methods. Set against mesmerizing natural backdrops and stylishly arranged interiors, the filmmaker invites us to join the journey.
The French lady, who never taught languages before and makes no secret about it with her potential students, eschews textbooks, instead challenging them with uncomfortable questions that peel away layers of superficiality; inviting them to confront their true selves and deepest emotions. As she weaves poetry mixed with curiosity and a touch of irony into her teachings, the protagonist guides her students on a transformative yet emotionally discomforting journey of self-discovery, leaving an indelible mark on their lives amidst the breathtaking beauty of their surroundings. This evocative film, embracing life as an experience of wandering in a foreign land, embodies the universal sense of being a stranger, seeking a home.
Isabelle Huppert embodies an enigmatic yet candid woman who defies easy categorization, portraying a character that is both mysterious and disarmingly forthright. With a fearless demeanor, she challenges those around her with unconventional questions, peeling back layers of pretense to scrutinize her counterparts‘ innermost thoughts and motivations. Through her compelling portrayal, she navigates the complexities of human nature.
La Cocina (Kitchen) by Alonso Ruizpalacios is a poignant portrayal of life behind the glitz and glamor of New York’s Times Square. The film delves into the hidden world of illegal immigrants toiling away in an expensive restaurant. Forced to cook all day without respite, they endure what one might call modern slavery, their lives devoid of privacy or recognition. Yet, amidst the relentless struggle, they cling to their dignity and humanity, finding comfort in the bonds of camaraderie and the strength of the human spirit. Through their shared experiences, the film exposes the harsh realities of immigrant life in the heart of the city that never sleeps, offering a sobering reflection on the price of survival in the pursuit of the American dream.
Georgian film was presented at this year’s Berlinale by two conflicting sides: The Georgian National Film Center and the Georgian Film Institute (the latter claiming that Georgian National Film Center is excessively corrupt and supports only films that are in line with the current governmental political programs and agendas). The newly founded Georgian Film Institute is headed by outstanding female film director Salomé Alexi, winner of numerous international film awards and the daughter of the iconic Lana Gogoberidze, whose new film, documentary Mother and Daughter, or the Night Is Never Complete was screened at the Berlinale 74 Forum. In this gripping documentary, the tough journey of her mother, Nutsa Gogoberidze, a woman filmmaker, pioneer of Georgian film, ruthlessly persecuted by the Stalinist regime, unfolds with haunting clarity. Through a cinematographic narrative woven from old footage in both color and black-and-white, viewers are transported through the tumultuous chapters of her life: from her courageous defiance of oppression to the harrowing years spent in the Gulag, and the stifling silence that followed, where she was barred from practicing her craft. Despite the regime’s attempts to erase her from history, her enduring spirit and her films serve as a testament to her unwavering dedication to art and truth.
Three generations of women film-makers, from mother to daughter and grand-daughter, all three represented at the current Berlinale – rarely can any other country claim such a profound cinematographic contribution to the festival’s program.
The Georgian Film Institute is also set to present the Berlinale audience with Levan Akin’s new work Crossing.
Review by Lily Fürstenow-Khositashvili
