Berlin does things its own way. IN
last year, the jury at the venerable film festival in the hipster capital created a lot
furore by giving the Golden Bear to a hybrid film that connected documentary and
fiction, an outsider film that few people thought of as an important award candidate:
Adina Pintile's intimate essay on sexuality and body image, Touch Me Not. Twelve
months later went the three-man empire that was responsible for awarding the festival
short film variant – also a golden bear – even longer.
Koyo Kouoh (Senegal), Vanja Kaludjercic
(Croatia) and Jeffrey Bowers (USA) decided on a non-narrator
experimental candidate, which is a bold choice for a festival with such a
high profile like this. Umbra of the German duo Florian Fischer and Johannes Krell is one
semi-abstract, alluringly enigmatic 20-minute exploration of natural darkness,
where they especially take advantage of the strange shadow effects that can occur during a
solar eclipse. "Our formal ambition in all our films", commented
the directors, «is to create an audiovisual experience that is as close as possible
lucid dreams or lucid dreams
- thus exploring the limits of sensory power. ”
While the film itself is dimmed and andante, the award of the Golden Bear is a short film that Umbria striking, and also the first "home win" since Helke Sander won for West Germany in 1985 – and a sensational finale in the Berlinale career of Maike Mia Höhne, who has been head of the short film section since 2007. Unlike other divisions of the Berlinale – a floating monster of an event that many consider misleading after Dieter Kosslick was made artistic director in 2001 – the short film section has always shown intelligence and demonstrated a well-considered, disciplined and focused curation (only 26 films came through the eye of the needle this year) with a special weight. . .
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