First day of the Berlinale: Daniel Brühl, from a polyglot actor to more than a brilliant language director
The Berlinale is also a space for the public.
And for the city itself.
What's more, it essentially is (was) that.
Hence, its programming is practically endless (no other festival comes even remotely close) and that is why during all that it lasts it never ends.
It's easy to imagine the reception a documentary like '
Tina
'
would have had in a normal, non-pandemic Berlin
.
A fluffy, warm and absolutely stunning red carpet at the
Berlinale Palast or Zoo Palast
capable of defying without shame and without shivering several degrees below zero and in the middle to the imperial Tina Turner herself transfigured into a Marlene Dietrich from the Mississippi.
Unforgettable.
Now everything is different.
Now the meticulous, spectacular and immersive production of directors Dan Lindsay and TJ Martin is
streaming
like a bad dream.
One piece of information: the festival's viewing service allows you to accelerate the playback speed up to eight times.
Indeed, the Apocalypse was this.
Thus, '
Tina
' did what she could to be noticed in what was the second day of the already '
antifestival
'.
And it served, at least, to miss life again before and, hopefully, later.
A similar sensation was suffered when seeing the last work of the already habitual
Hong Sang-soo
.
If last year he presented '
The Woman Who Ran
' (for which he won the best director award), this one does so with '
Introduction
', his most lyrical, simple and short film (just 66 minutes) of his last hundred films lyrical, simple and short.
And next to them, the Frenchman
Xavier Beauvois
who returned with '
Albatros
' by the hand of a minimal melodrama as calculated in calligraphy as devastating in its silent syntax.
It's colder on streaming than on Unter den Linden in the middle of February.
'
Tina
' is on paper the definitive documentary about her.
So says the diva's own husband at the end.
And we believe you.
Structured in five parts, reviews from 50 to now, everything.
And in everything, specifically everything: the sharpest images, the loudest songs and the densest silences;
from Anne Mae Bullock, her real name, to Tina under the dome of thunder;
each of his falls and, of course, his great return on the back of
'Private dancer'
.
Friends, managers and even the two biographers speak.
However, despite the flood of information, what matters and makes the film special is the place that occupies
his confession in 1981
in the magazine '
People
' where he revealed the
brutal abuse
of his partner until then, Ike Turner.
Jérémie Rénier in 'Albatros', by Xavier Beauvois.
Tina and the film itself regret that despite everything, despite the confession, his two memoir books, his autobiographical film, the musical and the multiple reports on his life, every time he has sat in front of a journalist or a a simple curious person, the first question has always been precisely because of the abuse.
There is a moment of an interview in the 90s, when '
What's love ...
' was already an anthem, especially revealing.
The interviewer begins and, oblivious to the sense of measure or modesty, shoots: How do you remember your past of abuse?
She stops the interview, fans herself, takes a deep breath and is surprised: Again.
The great merit of 'Tina' is not only to tell her life but to highlight
the double humiliation of a woman humiliated and always condemned to confess again and again her humiliation
.
And what is worth to Tina for everyone including her own humiliation.
The result is thus a documentary of today for platforms as orthodox and solvent as lucid and even irrefutable.
Sang-soo and Beauvois
Sang-soo is something else.
It is always.
Maybe now a little more.
Hand in hand with two intertwined stories of two children, two mothers and two cities, the director plays in '
Introduction
' to spell the meaning of issues such as inheritance, doubt, mother-child love, the other love and, for Above all other considerations, the value of the barely perceptible.
The film, almost closer to a point for a future film, works as a little enigma as cryptic as it is hypnotic.
You drink, smoke, talk, shout and, at one point, dream.
What more could you ask for in an hour of life and cinema?
The third option of the day was the return of Xavier Beauvois to his vantage point as the perfect observer of emotion.
The director of '
Of Gods and Men
' tells in '
Albatros
' the story of a good man condemned by a moment of panic.
Or of doubt.
Or simple mistake.
Or even evil.
A policeman tries to prevent the suicide of a friend and ends up causing, in his good will and in the correct exercise of duty, the greatest tragedy.
What follows is a careful and profound reflection on guilt, which is also guilty of misfortune.
That or simply a shipping poem (the protagonist is a sailor) about the unfathomable of destiny.
It sounds tremendous and, in reality,
everything flows with an elegance and precision in the description of each daily gesture that overwhelms.
And an experiment: if the three films are placed at eight times their playback speed, they end up being
a Netflix series
.
Checked.
-
According to the criteria of The Trust Project
Know more
movie theater
Berlin Festival
culture
music
Gender violence
TechnologyThe legal limbo and the moral debate of reviving dead artists with deepfakes
CinemaJohn David Washington: "Thanks to the cinema they have stopped asking me about my father
MusicActress Evan Rachel Wood denounces Marilyn Manson for "terrible abuse over the years"
See links of interest
Holidays 2021
Real Madrid - Real Sociedad, live
Everton - Southampton
Khimki Moscow - Real Madrid
Anadolu Efes Istanbul - Valencia Basket
Panathinaikos - Barça