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All of us who are of a certain age now perfectly remember that
mythical and unforgettable film from the 90s
that one fine day fell into our hands in VHS format and in which practically everyone appeared.
Was it one of those random rentals from the defunct Blockbuster or did it happen to us next door to the double-deck video recorder?
Yes, we are talking about the one in which
Annette Bening
turned out to be a fan of the later presidential candidate Hillary Clinton;
Wayne and Garth
embodied young and largely brainless extreme right-wingers;
Trump
appeared for the first time as an actor, and, at one point, an unknown
Valdimir Putin
it was a sad imitation of the Phantom of the Opera itself.
And how to forget
Tom Hanks
?
Hanks, in one of his first on-screen roles, played none other than Bernie Sanders' brother.
What a laugh all
One moment.
That didn't happen in the 90s. Memory has these things.
It confuses everything.
That just happened at the Berlinale in one of those miracles that, from time to time, a film festival gives us.
The culture (let's call it that) of remix and reappropriation has its most brilliant exponent
in the couple of Australian filmmakers who take refuge in the pseudonym
Soda Jerk .
Maybe prophet.
'Hello dankness'
is the name of her new work.
And what he basically does is
manipulate, sample and bring back to life
nearly
300 references (or cuts) both film and television and 250 audio clips.
Not only do they reassemble the images of
'American beauty', 'Barb and Star go to Vista Del Mar', 'You will not kill the neighbor', 'The social network', 'Napoleon Dynamite'
and so many other movies from the 80's to our days recognizable or not so much, but rather the image is manipulated, the meaning is altered and, finally, the meaning of reality is directly reconstructed.
The directors say that they are not sure where to place what they do.
"We occupy a place between art, cinema and civil disobedience",
they comment between funny and just visionaries.
The film that is being contemplated continues and extends what has already been seen in their previous work,
'Terror Nullius'
, and is once again the result of four years of meticulous work subject to a dynamic that they themselves describe as a "loop".
"We write a script, we look for the '
samples
', we try to fit the pieces together and, since they never do it completely, we go back to writing, searching, fitting... Like this, over and over again", the two comment at the same pace , it would be said that synchronized.
What is seen questions the meaning of everything, especially the very reality that we step on, and it does so in such a precise and clear way that it ends up being the best definition of our time.
Memory merges with the certainty of the lie.
The true ends up being indistinguishable from an image that is by definition entirely '
fake
'.
If the cinema was born as an art that pursued reality even in that aspect always on the run that is the ephemeral, movement, time;
now cinema is a hammer that destroys the very concept of what is given.
If the cinema has evolved to eliminate the difference between real and synthetic image,
Hello dankness
returns it to the unreality of the simple paradox.
The tape opens with an impossible announcement.
Suddenly, model Kendall Jenner offers a Pepsi to a policeman about to charge into the crowd and everything is fine.
World peace inside a simple soft drink.
Everything is, in effect, a lie.
What follows is the detailed account of everything that has happened in the United States since Trump came to power.
When the unthinkable became reality, what was damaged forever was, as has been said, reality itself.
And on top of that lighting, a film that is as funny as it is revealing, hooligan and precise at the same time and in exactly the same plane in which, to give the craziest of examples, the Phantom of the Opera points to a portrait of Putin and a tape, advances. of VHS where the label reads
'Pee tape'.
The filmmaker couple Soda Jerk.BERLINALE
The film (whose most recognizable antecedent may be
'The Clock',
by Christian Marclay) is simply unprojectable.
It can not be seen.
And that characteristic is not so much an impediment as its deep meaning.
It is, by definition and because of what it would mean to buy the rights to the images and manage the permissions of public persons, of
a prohibited film.
Or, more beautiful, quantum.
It is there, we have seen it, but in reality we do not know very well what we have seen or if what we see is for the first time.
It is and it is not at the same time.
You can only see places like festivals or any other place yet to be invented and that is not a movie theater or a platform.
So it's not that
'Hello dankness'
it is not, but rather, it is not yet.
In short,
it comes from the future to reformulate the present itself from the remnants of the past.
Is it a miracle or not?
The directors are so perfectly aware of the previous paragraph that when they present their film they speak very softly.
"Images surround us, they float around us. And they mutate and transform in an uncontrollable, rebellious way. Reality becomes '
memetic
' images," says one of them.
In truth, it is not clear if she says "mimetic" or, as it is written, "memetic".
Both add up, but the second option seems more true;
more real for simply unreal.
Do you remember that movie from the 90s?
Well, even if they don't remember it, they saw it.
What's more, they are watching it.
And
'Hello dankness'
is there to raise testimony.
Although it does not exist.
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