I suppose I just don't get Loznitsa, at least not his documentary mode (I like his two fiction films, especially IN THE FOG). Here, the shots themselves are more interesting than in MAIDAN - those free-floating passages through crowds on eye level alone make it worth seeing. But the rather blunt rhetorics are even more evident than in the earlier film (Tschaikovsky), and once again, Loznitsa doesn't care at all for detail, and it feels like everything was decided before even looking at those images, based on some probably rather sound theories, which in the end aren't disturbed at all by actual history. Thomas Heise's MATERIAL (especially its first half) might be the right antidote to this.
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