Revising the myths
#14 But, when we speak of films in general, what is visible is the fact that there were good films, cultural diversity was the reality in which one was drawn consciously or not, there was a broad and intriguing scope of films at the festival, and yet, despite everything, an overwhelming fact is that we could not point out a cinematography of a leading author such as Rainer Werner Fassbinder was once, as he changed the face of the German film; or what Arthur Penn, this year’s winner of “Golden Bear” for life work was in the 1950es, when he was the leader of the “new Hollywood”; no movement such as the “new wave” of French cinematography or neorealists in the “golden period” of the Italian film can be distinguished. It is interesting that Berlin International Film Festival, intentionally or not, had tributes to some great names to remind us of a time or vision, some other handwritings whose influence existed and still does. One of the most interesting, by all means, was the honor given to Fassbinder, on the 25th anniversary of his suicide, showing the complete cult 1980 series “Berlin Alexnaderplatz”. This series, which lasts for 15 hours, was screened daily at the Berlin Festival, and there was also a digital re-mastered version, which was sought for even after so many years. #15 One of Hollywood legends, Arthur Penn was also here, known for his demystifications of Hollywood. He happily spoke about his work and pointless American wars, demystification of American history and his bold plays with myths. Arthur Penn created the unforgettable “Bonnie and Clyde”, “The Left Handed Gun”, “Night Moves”, “Little Big Man”, “Alice’s Restaurant”, “The Miracle Worker”, “The Chase” and many others.
In this whole tribute to timeless art, the photographs of the well-known “Magnum” agency, which has been writing our visual memory for 60 years, founded in 1940es by Henri Cartie-Breson and Robert Cappa, fitted in interestingly. These photographs really brought to life the legends in a different way, as Magnum does it spontaneously, and they revised myths. All of this was even more interesting if there is a parallel made with what Berlin has to offer to visitors in its modern film museum found at Postdamer Platz itself. Everything in it is digitalized and made with the most contemporary technology, but many things are missing for it to have its true essence, because the German film, to which this museum is dedicated, can not make it. Within all of this, it seems that Berlin tries to bring artistic and contemporary history together, revise world myths and focus and open towards different cultures and their heritage that, in line with it being turned towards the future (in any way) should also bring the necessary freshness.
Translated by: Elizabeta Bakovska