freie Generation Reporter 2021

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“Once you leave you can never go back to who you were as a child” - Im Gespräch mit der Regisseurin Venice Atienza von “Last Days At Sea”

Am Mittwochvormittag durfte ich mit der philippinischen Regisseurin Venice Atienza über Zoom sprechen, deren Dokumentarfilm “Last Days at Sea” im diesjährigen Berlinaleprogramm gezeigt wird. Es entspann sich ein inspirierendes Gespräch über ihre empatische Art, Filme zu drehen und was es heißt, sich auf der Leinwand als Regisseurin vulnerabel zu zeigen. fGR: Would you like to introduce yourself shortly? My name is Venice Atienza. I initially studied cinema, but before that I actually wanted to be a chef. One day, when I was 16 or 17 years old, I was watching a Korean drama and I asked my mother: “What job makes people feel things?” and she replied by asking me “Why don’t you become a film maker?”. After applying for the second time I finally got into film school. I really always knew I wanted to make documentaries but did not know how. A friend of mine then told me about the project Doc Nomads which I got accepted at. That was the first time I saw a bit more experimental documenta

Five minutes with Fred Baillif

an interview with the director of „La Mif“ The cinema is slowly filling up and the joyful voices of the crowd are giving me a feeling I haven't felt for a long time in the last months of lockdown. Finally it is possible again to celebrate a Berlinale film together. The film team of La Mif is welcomed with loud applause when they arrive at the cinema. Everyone of the crew - the director Fred Baillif, a few of the actresses and family and friends - is smiling and radiates pure joy as they’re walking up to the photo wall. I wait until they’re done with all photos and take the chance to sit down with Fred Baillif for a few minutes before the film starts. What interests me the most about this quite special topic is why Baillif chose it to portray it in one of his films. Fred Baillif: „Because I used to work as a social worker and studied it when I was younger. In the beginning i wanted to tell a story about sex abuse and then I thought the best place to talk about such a subject wou

Für 122 Minuten Teenager sein

"Fühlst du dich noch verbunden zu dem, was du gefühlt hast, also du so alt warst wie ich? Liegt das alles in der Vergangenheit oder kannst du diese Erlebnisse irgendwie wieder erleben?" Nach „Shkola nomer 3“ (2017) und „The earth is blue as an orange“ (2020) präsentiert Generation 14+ mit „Stop Zemlia“ auch bei der diesjährigen Berlinale einen Jugendfilm aus der Ukraine. Für ihren einfühlsamen Film erhält Regisseurin Kateryna Gornostai den gläsernen Bären der Jugendjury. Eine Schule irgendwo in Kiew. In Sequenzen unterschiedlicher Länge folgt die Kamera Schüler*innen aus der 11. Klasse und lädt die Zuschauer*innen dazu ein, am Gefühlsleben der ukrainischen Teenager teilzuhaben: Am ersten Verliebtsein, an Klassenfeiern, Schulstunden, Freundschaftsritualen, Ängsten und Selbstzweifeln. Durch unkonventionelles Storytelling und einer subtilen Erzählweise wird über 122 Minuten Spannung gehalten, ohne dass viel passiert. Genau dies spiegelt im Grunde die Lebensrealität vieler Tee

“Because movies and art can be dreamlike” - Interview with Dash Shaw

Interview about the film Cryptozoo The open-air cinema Rehberge is filling up more and more. The director of the film "Cryptozoo" Dash Shaw is invited on stage to receive the honorable mention for the best feature film from the international jury. After he says a few words about his film and leaves the stage, it gets quiet and the film starts. We walk out of the film with Dash Shaw to ask him a few questions: fGR (free generation reporter): The whole movie is really incredibly special animated. So first of all, I wanted to ask how was the process of the animation? Dash Shaw (director): It was first storyboarded. So then the storyboards kind of become the division of labor of how everything is organized. And then there's a casting process of casting different artists to do different backgrounds. Then it kind of becomes a collage process where you're taking different things painted by different people and trying to arranging it to make it. They look different from eac

Wo blutverschmierte Wale Normalität sind

Eine Kritik zu From The Wild Sea. Es sind Bilder, die nahegehen müssen. Minutenlang kämpft eine kleine Robbe in der Auffangstation um ihr Leben. Minutenlang ist selbst den freiwilligen Helfer:innen nicht klar, ob sich das kleine Pelzknäul noch quält oder schon tot ist. Dann ist klar: es wird es nicht schaffen. Die Infektion war schon zu weit fortgeschritten. Schicksale wie diese gibt es in den letzten Jahren immer häufiger entlang der Atlantikküste – wie hier im britischen Cornwell. Grund ist die Klimaerwärmung, die Stürme und Unwetter begünstigt und Meereslebewesen in ihrer Wucht brutal an die Küsten spült. From the Wild Sea zeigt die schonungslose Wahrheit: einen 19 Meter langen blutverschmierten Wal, der auf Felsen gestrandet ist und dessen Gewicht seiner eigenen Organe ihn langsam aber sicher zu zerquetschen droht. Bis die rettende Flut kommt, wird er tot sein. Die Helferinnen und Helfer können nichts mehr für ihn tun. Ölverschmierte Schwäne, deren Äußeres nichts mehr mit den weiß

The Last Stop

A review of Jong chak yeok Four young schoolgirls who are part of a photography club are given the task of taking a photo of the end of the world with old-fashioned cameras over their summer vacation. They come up with the idea to drive to the end of a train line to take the photos there. But the trip turns out differently than planned, as the end of the train line doesn't really look like the end of the world. Thus, their trip extends throughout the day, and the four friends wander through rural Korea - laughing, persistent, and inquisitive. Jong chak yeok is one of those kinds of films that - festival goers and skilled strays of the film landscape aside - most people are unaware of. Films with no real structure, no certain points in character development to check off, no real goal - a film that simply tells a story of life. Here, unlike other representatives of this type of films, still equipped with a certain principle, a supposed end point, the film shuttles along, managing to