"Marseille" has a bewildering structure, switching from the elliptical cut (shocking, really) to the insistent gaze (frustrating first, but amazing after all).įor ten minutes, at least, we watch a rehearsal.
They remain unexplained and they don't explain what we see. There is a lot we see - although it takes some time to realize how much. We watch the women from a sidewards angle, then we watch Ivan taking the pictures, then we watch the woman from Ivan's perspective. We see Ivan taking pictures of women workers in a factory, without an explanation. We learn more about Ivan, we learn more about Hanna. There is Hanna, an actress, Ivan's girl friend, their son Anton. (At least this is what can - but does not have to be - inferred.) There is Ivan, a photographer she might be in love with. There is more she has left, or rather: she has run away from. One very sharp cut later Sophie is back in Berlin, she is approached by a young woman who returns a cap to her, a cap she has left in a McDonald's restaurant before she went to Marseille. Sophie and Pierre, the young man, walk up in a street that is lit in brownish golden light and they sleep with each other, which we don't see (and, really, don't know). She meets the young man in a bar, they drink, a friend arrives who insults Sophie, for no reason. There is a lot we don't see - although it takes some time to realize how much. She meets a young man from a garage, who lends her his car, she drives around, which we don't see. We do not know much of her and we do not learn much of her in these minutes we spend in Marseille, walking around with her. She will think for half a minute (or perhaps she does not think, but simply refuses to answer, to herself, to the policeman who asks) and then she says: The streets. In the end she will be asked what it is she photographs. She does not talk much and she always thinks for a long time when she is asked. She does not seem unhappy, she does not seem happy. We hear sounds, we see her face but the background is blurred. Sophie is a stranger in a strange world, she sometimes seems cut off from her surroundings. She looks at the pictures, she moves without a direction, the camera is with her, sometimes distant, sometimes following her closely. Sophie, for the first third of the film, is in Marseille.
The Marseille apartment, empty, unlived in as it is, will have been a gift, something inexplicably given in a film that ends with something - almost a life - taken. Zelda very literally disappears because there won't be a trace of her when Sophie will return to Berlin. Zelda says: Guten Tag, Auf Wiedersehen, Mein Freund, der Baum, ist tot - the latter phrase being a German song by a German singer who died young. We learn, very soon, that they are exchanging apartments, the other woman, her name, we learn later, is Zelda, will go to Berlin and Sophie will stay, for a few weeks, in Marseille. She's in a car, she speaks awkward French, the woman who drives gets out, gets her a map, of Marseille.
#Cine tracer torrnt movie
The first movie of the " Berliner Schule" ("La Nouvelle Vague Allemande" Cahiers Du Cinema) that gained international recognition with it being screened in the "Un certain regard"-section of Cannes Film Festival 2004.Īfter the very sparse white on black of the opening credits we see the back of Sophie's head.
0 kommentar(er)
