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In January 1960 Margarethe von Trotta went to Paris because she felt that she was suffocating in Germany. Instead of the Sorbonne, she landed at the cinema. She saw "The Seventh Seal" by Ingmar Bergman and wanted to make films. In 1981, his film Die Bleierne Zeit, devoted to post – war Germany and the feeling of suffocation, became the first film of a director to win the Lion 's. Or at the Venice Film Festival. Ingmar Bergman listed it in a list of eleven most important films personally.
2017 is written by Trotta on a Swedish cliff and describes it as a filming location: the sea, the game of chess, Max von Sydow, the squire, death. Super-Total, close-up, fade-in. No psychological interpretations, no historical hoarding of the film: Movements, gestures, laconic dialogues, composed in the cinema, because she knows, she knows how it works, she cites the definition of the staging of Bergman: "For pure problems do not think. Filmmakers wisdom
In fact, Margarethe von Trotta did not want to make a film about Bergman for her 100th birthday. The fact that she did so, has to do with the same eye. Both made important films one for the other. She was grudging enough to be on a par with the surpère of the European postwar film. However, his portrait has become unpretentious, precisely because of the collegiate perspective.
No Festgottesdienst
"In Search of Ingmar Bergman" is a documentary on industrial relations, attitudes, attitudes, obsessions, crises. Of course, the usual suspects come to the floor: Bergman actresses still alive, old and new colleagues, family. But when Liv Ulman sits against Margarethe von Trotta, the result is not a festive service for a great absent master, but rather an experience shared with women on red carpets: in Venice in 1981 she would not have looked like models
"In Search of Ingmar Bergman"
D, F 2018
Director: Margarethe von Trotta, Co-director: Felix Moeller, Bettina Böhler
With: Liv Ullmann, Olivier Assayas, Ruben Östlund, Carlos Saura
Production: C-Films, Mondex & Co.
Distribution: Weltkino Filmverleih
Duration: 99 minutes [19659013] Start: 12. July 2018
As this portrait of Bergman is beautiful, one only sees it when one looks closely. Trotta's son, co-director here, Felix Moeller has already made several incredibly fluid documentary films about the history of cinema ("Harlan", "Prohibited Movies"). In the hands of German co-director Bettina Böhler ("Barbara", "Western"), who is also co-director, Trotta's research with Bergman's clips intertwines even more in a multi-layered visual dialogue space in which looks, gestures, Exploit the history of cinema in the present: When the boy of "Fanny and Alexander" opens a closet door, the sea is suddenly in front of Fårö.
Of course, it is also about "Bergman women". In life and in the cinema. The latter would have "shone from within," says the contemporary Carlos Saura, and thus describes, as he probably knows otherwise, the clbadic male vision: the woman shines, the man seeks the light, the movement fundamental heterobadual narrative cinema takes place.
Terrified Male Faces
The Bergman women do not shine. They look in the camera. And in the faces of frightened men. Bergman has already opened the cinema to vibrant genre images, while in post-war Germany leaden, they only wanted to see nakedness and instinctive baduality. Unfortunately, Margarethe von Trotta does not falter. Gladly we would have heard how it worked in 1960 and they look at it differently today.
"A new look at Bergman" will probably only exist in a few years, says new Swedish director Ruben Östlund ("The Square") – and therefore different from Bergman and Trotta as well. He finds Youtube videos, in which people are in embarrbading situations, just very exciting, and films his visitor with the smartphone. She must call it Bergman's favorite movie.
And Margarethe von Trotta speaks of a Swedish cliff in super-total, a knight, a squire, a cross-fade and a death without secrets.
In the video: looking for Ingmar Bergman "
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