That means continuity. And that is what the Berlinale Film Festival is famous for.
Take this year’s Gold Bear winner, for instance. Please. “Touch Me Not” is a Romanian film about a woman “struggling with intimacy issues and learning to be comfortable with her body.” And it is a work of cineastic Kunst with sex scenes so explicit and images so disgusting that many viewers had to leave the theater during the viewing.
Continuity, like I said. The Berlinale is first and foremost a political event. And, of course, we all know what kind of political event political events in the film industry must be. Radical is good. Ugly is good. Leftist moral revisionism is good. Porno marketed as art to a willing, enabling (see #MeToo) jury of Hollywooedesque film elitists is good.
And this year’s Golden Bear winner, just like the Golden Bear winner every year, has already been long forgotten by THE REST OF US before the Berlinale trappings have been removed and packed away for next year’s show.
Während des Festivals hatte das auch mit deutschem Geld realisierte Werk die Kritiker gespalten. Denn darin sind detailreich alle Spielarten menschlicher Sexualität zu sehen, es gibt den Besuch in einem Sado-Maso-Club, auch behinderte Menschen sind dabei.
Officially banned from filmmaking in Iran since 2010, Iranian director Jafar Panahi’s third film since then, Taxi, just won the Golden Bear at the 65th Berlin Film Festival.
Iranian creative folks still officially allowed to work in Iran are now petitioning their government to officially ban their work, too. Unfortunately, however, the head Islamically-correct-artistic-expression-mullah-what’s-in-charge said nichts da (nothing doing) when reached for comment, as “official bans like ours don’t just grow on trees, you know. And besides, if we officially banned everything then our official bans would not be nearly as effective as they have been up until now. And that’s official,” the official said.
“Limitations often inspire filmmakers to storytellers to make better work.”
Observing Hermann 