Director Angela Schanelec's take on the effects of grief might be less inscrutable than her previous film, 'The Dreamed Path,' but that doesn't make it any less challenging.
It's never about interpretation, it's never about meaning, it's never about where we are going. Maren doesn't ask these because films are not about where we are going. (laughs) It's about a scene. Then another scene.
A puzzle piece that is never solvable, we instead concentrate on gestures and details inside the frame, in compensation for the lack of dialogue. It's that fragmentary images and colors that we play around our heads long after we leave the theater to make sense of it. Even more so than Godard's, Schanelec's cinema concentrates on the 'visual' part of the medium. It is the best kind of cinema I can think of.
In the year 2016, cinema almost killed me. Okay, that’s not an accurate statement. But it isn’t far from the truth either. And heck, it does look really good up there doesn’t? On February 1st, on my way back...
German director Angela Schanelec's latest look at the nature of migration, stasis and loneliness should prove an equally striking and challenging cinematic event.
Despite having one of the richest and most influential cinematic histories of any nation, current German cinema's star rarely shines beyond its borders. The films that make the rounds and get the spotlight or any awards attention are the ones...