Titel Kino 2/2001(2 Alternativ) - German Films

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Director’s Portrait Angela Schanelec Form as a framework within which life finds a place – Angela Schanelec’s films are characterized by a paradox. On the one hand, with respect to form, her works are the most self-contained and – in the best sense of the word – self-willed on the entire German film scene. However, her intrinsically quiet takes, together with the hypersensitive sound track, lead to the development of an immense openness; they capture atmosphere and everyday moments which set forth reality almost in passing. Critics often see Angela Schanelec, who admits to taking Maurice Pialat and Robert Bresson as her models, in close connection with French cinema. Schanelec herself reacts soberly to this French comparison: “My films come about as the result of observation and the way I feel about reality, that is all”. Schanelec’s new film Passing Summer (Mein langsames Leben) follows a handful of people, aged around thirty, through a summer and an autumn in Berlin. Basically, “follow” is the wrong word, for usually the camera remains static and constitutes the section where life is taking place at a specific time. The characters sit in a café, in the kitchen or a restaurant, by a lake and in the park. They talk about their work and their holidays, about marriage and whether it is okay to simply earn some money in your profession rather than try to change the world. “In this film there is no conflict in the classical, dramatic sense”, says Schanelec, “I was interested in what these young people do with their lives. It is a matter of the familiar, of a normality which each person handles in a different way.” Angela Schanelec was born in Aalen, Baden-Württemberg in 1962. From 1982 to 1984, she trained as an actress at the Academy of Music and Performing Arts in Frankfurt. After this, she was engaged by several theaters, including: the Schauspielhaus in Cologne, the Thalia Theater in Hamburg, the Schaubühne in Berlin and the Schauspielhaus in Bochum. In 1990, Angela Schanelec decided to finish her career as an actress and applied to the Academy of Film and Television in Berlin (dffb). Here she studied Direction until 1995. During her studies, she made the short films Schöne gelbe Farbe. Weit entfernt (1991), Prag, März 1992 (1992) and Über das Entgegenkommen (1993). Angela Schanelec’s first feature film The Summer I Stayed in Berlin (Ich bin den Sommer über in Berlin geblieben) (1994) already shows the city of Berlin as it is perceived by her characters. This is also true of her graduation film My Sister’s Good Fortune (Das Glück meiner Schwester, 1995). In 1998, she made Places in Cities (Plätze in Städten), which was shown in the Cannes section “Un certain regard” during the same year. Since then, she has completed Passing Summer (Mein langsames Leben, 2001), an ensemble film about people in their mid-thirties living in Berlin, which was screened at the Forum of this year’s Berlinale and will be opening in German cinemas in September 2001. UNSWERVING COMMITMENT Normality, in Schanelec’s work, is conversations which appear to have been filmed from the next table, scenes in which people’s talk is confused and they interrupt each other, making tense digs at the others and sitting in troubled silence. However, the Angela Schanelec (photo © Schramm Film 2000) 17
Page 1 and 2: Moritz Bleibtreu, Christian Berkel
Page 3 and 4: CANNES FILM FESTIVAL Critics’ Wee
Page 5 and 6: C O N T E N T S 63 Palermo flüster
Page 7 and 8: Prof. Dr. Julian Nida-Rümelin (pho
Page 9 and 10: FILM ARCHIVES AND FILM MUSEUMS IN T
Page 11 and 12: FILM ARCHIVES AND FILM MUSEUMS IN T
Page 13 and 14: Film Storage (photo © Friedrich-Wi
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Page 21 and 22: World Sales Portrait german united
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Page 25 and 26: Producer’s Portrait UFA Film & TV
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Page 29 and 30: Over DM 35,000,000 in Film Promotio
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Page 37 and 38: of Epstein - Mario Adorf. ”And he
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Titel Kino 2/2001(2 Alternativ) - German Films

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