Tuesday , May 17 2022

Petzold is devoted to Liff: politically not in the most explicit way


Petzold is a transit, his idea has, as he said after the screening, developed with his late friends and collaborators, the director Haruna Farouk, Updated the novel Ann Sugers And involved with a small sect in Casablanca.

The story of a book proposal on a political refugee who wants to travel to the United States, Petzold goes through modern Marseille. Parallels from the period of Nazism and the refugee problems are shocking, and it seems that Pietzold's film system deals with history. According to him, he hates historical films, "people in old cars, old clothes and a mustache." These scenes look like they were taken from the museum. When he told the story of Sagres from World War II to the present day, he found relief in the relief he was working.

He met a metaphor for the Nazis and a confrontation with the Germans in the film "Phoenix" (2014), where, as in the past, in many others, he took over the German dagger Nino Hess. She played the victim of concentration camp survivors, with a moderate face. After plastic restoration he returns to society, to a person he does not know and who can even betray him to the Nazis.

Phoenix, a metaphor for identity reconstruction after the war, was a special challenge for Petzold. He says that within him he did not want to use a harsh and harsh voice, but in an open window, with shots that hear the noise and sounds of the city.

Petzold also presents Liffe with Inner Peace (2000), Winds (2005), Jella (2007), Jerichow (2008) and Barbara (2012). Barbara and Willie discuss West and East Germany, but they understand them differently from some of his colleagues. The West is not necessarily a destination of life, full of well-being, but a spiritually drained landscape with only one transcendence, capital. Prior to his birth, the director's parents left the German Democratic Republic (NDR) and went to the West, but he says: "In the former GDR I recorded my last films and there I felt a kind of madness at home.

Many film critics have sought more or less successfully the common points of the very expanding German directors, who have been working for 20 years. Among them Thomas Arslan, Angela Scheinlake, Christoph Hochassler and Wallace Griesbach, and the Berlin Berlin Institute was set up for them, although some of them have nothing to do with Berlin: they were not born there, they do not live there or study there.

In the end, he concluded that at least some of the school's members in Berlin often associate with long teams and with limited dialogue, and at the content level are subjects from the last history that face their own way. Petzold will definitely sign this part of the book in Berlin.

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