�[�] Formal f�llt auf, dass die Fiktion in reale Kontexte eingebettet wird. Was so weit gehen kann, dass tats�chlich konkrete � Mehr
�[�] Formal f�llt auf, dass die Fiktion in reale Kontexte eingebettet wird. Was so weit gehen kann, dass tats�chlich konkrete Orte und Zeiten benannt werden, wie in NUIT BLANCHES, der in der Wahlnacht am 22. April 2022 in Frankreich spielt oder im chinesischen Film WO DE PENG YOU�(ALL TOMORROWS PARTIES), der am letzten Tag der Asienspiele 1990 in China ansetzt. Dass die Filmemacher*innen ihre Filme so konkret verorten wollten, das hat mich verbl�fft.�
interview for shortfilm.de
interview for FluxFM
�This year, I have the feeling the stories are very heterogeneous; it�s very diverse and it�s more in the way people tell their stories that I see parallels. Almost all the films are somehow connected to reality or they mix fiction and reality in a very interesting way. That�s one thing. And, the other thing is that I think more than half of the films are made by women or co-directed by women and in more than half of the films, the main protagonist or one of the two protagonists is a woman. So, you will see different kinds of very interesting women in this program, which again, happened this way. It wasn�t something we looked for, but more and more people are telling stories with female characters in the lead, not necessarily only about women or feminist films, it�s more that the lead is female.�
interview for yellowbreadshorts.co
�Es gibt einige Filme im Programm, die ganz klar Fiktion sind, die auch gar nicht versuchen, hybrid zu sein oder pseudodokumentarisch. Vielmehr ist ganz deutlich zu sehen: es sind Fiktionen. Gleichzeitig verorten diese fiktionalen Erz�hlungen sich an Orten oder Ereignissen der Zeitgeschichte. So spielt etwa der chinesische Beitrag�All Tomorrow�s Parties�am letzten Tag der Asienspiele in Peking 1990, der franz�sische Film�Nuits Blanches, w�hrend und nach der Stichwahl zwischen Le Pen und Macron im April 2022,�The Veiled City�thematisiert die gro�e Smog-Katastrophe im London des Jahres 1952.�
interview for zeitgeschichte | online
�These films are just a reflection on what�s going on out there and what filmmakers are busy with and want to talk about so it shows the world we live in. We don�t have a guideline we want to share because if you have a guideline like, we want to do something about the refugee situation or climate change, it makes you blind to all the other beautiful films. If a film doesn�t tick that box, you�re likely to overlook the beautiful qualities a film has.�
interview for Directors Note
�The main thing I consider is energy: what kind of energy does the film have? What does this energy do with the next film? What will be the energy in the room, and what will I do with that energy?�
interview for Curation Hour
�For me, however, artistic freedom also includes giving one�s self permission to tell a story in a conventional way. Everyone should choose the means that best do justice to that which is seeking expression. Anything is possible, nothing is mandatory. I am very grateful that we have the fantastic possibility at the Berlinale to share liberties artists take, when it comes to both form and content , with an audience that is eager to engage with them. And that we are able to operate in a society in which these liberties are established and protected by law�
section interview for Berlinale website
