Waltz with Bashir, Ab 30

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Waltz with Bashir, Ab 30 Das Kommunale Kino Wiens, schwarzenbergplatz 7-8, 1030 Wien Oktober / November 08 | #456 Ari Folman Waltz With Bashir, ab 30. Oktober 2008 Stadtkino bei der Viennale von 17. bis 29. Oktober 2008 Ersatzbilder für den realen Wahnsinn Dem israelischen Regisseur und ehemaligen Soldaten Ari Folman gelingt mit „Waltz With Bashir“ eine fulminante Abhandlung über verdrängte Bilder und Traumata. Claus philipp „Ja, zeichnen darfst du soviel du willst. Filmen nicht.“ Zwei weitere Beschränkung klingen. Aber, so mag der israelische Männer im Schnee. Ein Kind, das mit einem Spielzeugge- Filmemacher und Dokumentarist Ari Folman gedacht ha- Inhalt wehr hantiert. Es geht um Erinnerungen, denen nicht zu ben, oft gestatten gerade die striktesten Limits den größten trauen ist, um vergangene Anspannungen, Ängste, Traumata Deutungsreichtum. Und insofern macht Folman zuallererst „Krieg ist ein Trip“ – und um Ereignisse, die sich möglicherweise ganz anders vermeintliche Mängel zu Stärken, indem er in Waltz With Animierte und verschwundene Erinnerungsbilder: zugetragen haben. Es geht um Jugendtage und einen verord- Bashir Krieg als hypnotischen Comicstrip erzählt. Ari Folman im Gespräch mit Bert Rebhandl. 3 neten Krieg, mit dem man auch im gesetzteren Alter seinen Zu treibender Musik (Soundtrack: Max Richter) werden Frieden nicht schließen mag. Schuld, Mitschuld – das ist ver- schlafende Hunde geweckt. In betörend düsteren Farbkom- Das Kainsmal mutlich eines der Themen, um die man sich (immer) noch positionen tauchen Soldaten Anfang der 80er Jahre aus dem Gudrun Harrer über die zeitgeschichtlichen Hintergründe von herumstiehlt. Und dann ist da ein „Massaker“, von dem man Wasser vor der libanesischen Küste. Schusswechsel, Raketen- „Waltz With Bashir“. 4 weiß oder richtiger: erzählt bekommt, dass man zumindest werfer in Zeitlupe, Einzelgängerposen, die Attitüde: gemein- in der Nähe war, als es sich zutrug. Aber wie nahe? Wirklich? sam durchgehalten zu haben, dazu ein Bob-Dylan-Poster an 35-mal Stadtkino Ein Massaker? der Wand einer Bar, eine Hymne von Orchestral Manoeuv- Euromed Cinemas is financed by the European Union „Zeichnen darfst du soviel du willst.“ Für einen „Doku- res in the Dark auf einem „Loveboat“ für Krieger oder das in the framework of the Euromed Audiovisual programme. 7 mentaristen“, der Material sammelt und gleichzeitig an sich dreckig hingerotzte This is not a Lovesong von PIL auf einem selbst beobachtet, dass er wesentliche Erinnerungsbilder und TV-Bildschirm: Das sind markante Zeichen, die in den Zulassungsnummer GZ 02Z031555 Momente verloren und verdrängt hat, mag dies wie eine Fortsetzung auf Seite 2 » Verlagspostamt 1150 Wien / P.b.b. 02 Ari Folman: „Waltz With Bashir“ StadtkinoZeitung men nicht.“ Der israelische Dokumentarfil- mer Abi Mograbi wandte kürzlich bei der Befragung ehemaliger Kriegsteilnehmer in seinem Film Z32 eine ähnliche Methode wie Ari Folman an: Er überdeckte Gesichter von Menschen, die nicht wiedererkannt werden wollen, mit digitalen Masken. Der daraus resultierende Verfremdungseffekt si- gnalisierte weniger Erstarrung als eine ret- tende Abstraktion: Zeugnis ablegen, das ist in Zeiten, wo auf jedem TV-Sender der Welt irgendwelchen Leuten permanent Mi- krophone unter die Nase gehalten werden, bis zu einem gewissen Grad (und ohne die Meriten der oral history abzumindern) ein inflationäres Verfahren. An einem gewissen Punkt der Geschichte und der Aufarbeitung von Geschichte, wo die Verhältnisse und Positionen im mun- teren Weiter-darüber-reden stagnieren, hilft wohl nur der Schritt zur Seite, eine kurze Veränderung der Perspektive. Ari Folman wagt diese Verschiebung, indem er als Do- kumentarist sein Material radikal persönlich nimmt: Sowohl als Ich-Erzähler, dem unzäh- Traumbilder reichern dokumentarische Sequenzen an: „Waltz With Bashir“. lige Interviews nur bedingt weiterhelfen, als auch als filmischer Gestalter, der vehement dynamisiert. Als Zeitzeuge, der den Fakten nur noch bedingt traut und sie in Fiktionen überführt. Waltz With Bashir wird darüber zu einer der verstörendsten Wahrnehmungslekti- onen im Kino der letzten Jahre. Gut mög- lich, dass wir als Betrachter uns von den hochgezogenen Lefzen und dem Knurren wütender Hunde von Beginn an mitreis- sen lassen, und dass wir uns wieder einmal gerne verführen ließen zum großen Gere- de darüber, wie das jetzt nämlich wirklich sei mit dem Krieg und der Gewalt und wie man sie vermeidet. Aber, und davon erzählt Folmans Film letztendlich, hinter dem Gekläff und dem Gerede lauert eine große Agonie. Ein starr und leer blickendes Pferdeauge, umkreist von Fliegen, in dem sich ein wolkenverhan- gener Himmel spiegelt – dies ist eines der nachhaltigsten Bilder in diesem kraftvollen und zugleich zutiefst melancholischen Film. Ari Folman Spiel mit Proportionen: Digital bearbeitete Bilder verschieben Größenordnungen. Waltz With Bashir D / F / Israel 2008 » Fortsetzung von Seite 1 Gleich zu Beginn erzählt ein Psychologe menten wie diesen über eine Darlegung indi- animierten Bildern/Zeichnungen erst recht über Erinnerungsexperimente, bei denen vidueller Deformationen im Nahostkonflikt Regie Ari Folman Gefahr laufen, chic oder cool oder gar af- Patienten besonders suggestive erfundene weit hinaus. Waltz With Bashir, das ist nicht Drehbuch Ari Folman firmativ zu wirken. Wenn Soldaten in freien Momente den wahren einstigen Begeben- zuletzt eine klug kalkulierte Auseinander- Kamera David Polonski Momenten am Strand Beach Boys spielen, heiten vorziehen. setzung mit der Frage, was das im Kino und Schnitt Nili Feller mag einen wie bei vielen vermeintlichen Eine Trauma-Forscherin liefert wenig spä- in der Popkultur bedeuten mag, Gewalt und Chefanimator Yoni Goodman „Antikriegsfilmen“ einmal mehr das Gefühl ter eine gleichnishafte Fallstudie: Sie berich- Krieg zu inszenieren und dann auch noch Musik Max Richter beschleichen: Man ist im falschen Film ge- tet von einem jungen Mann, der lange Zeit – in unseren Tagen kein seltenes Phänomen – Ton Frank Kruse landet. relativ problemlos durch den Krieg kam. Er mit ideologischen Botschaften anzureichern. Produktion Bridgit Folman Film Gang Genau davon, und das ist nur eine der vie- hatte sich seinen Pfad durch die Gräuel zu- Es genügt an dieser Stelle die Andeutung, Technik 35mm / 1:1,85 / Farbe len intelligenten Volten in dieser komplexen rechtgelegt wie eine lange Kamerafahrt, wie dass Waltz With Bashir irgendwann sehr nach- Verleih Stadtkino Wien Studie über Taktiken des Vergessens und des einen Film, den gleichsam der innere Regis- drücklich in Realfilm „umkippt“. Da ist dann Länge 87 Minuten (Selbst-)Betrugs – genau davon erzählt jedoch seur in ihm inszenierte und montierte. Das Schluss mit Musik und mit geilen Schnitten Fassung Hebräisch mit deutschen Untertiteln Waltz With Bashir: Wie entsteht ein falscher, ging so lange gut, bis die „Kamera“ kaputt und effektvoller Inszenierung: Man fragt sich um nicht zu sagen: kranker Film? Und wie ging. Breakdown. nur, warum die Kamera oder der Mensch, der Ab 30. Oktober jeder besonders sorgfältige Dokumentarist Ari Folmans Erzählung und, ja, Dokumen- sie betätigt, nicht kollabiert. OmU im Stadtkino sichert Ari Folman seinen Befund ab. tation von Schicksalen geht nicht nur in Mo- „Zeichnen darfst du soviel du willst. Fil- 17:30 / 19:15 / 21:00 Uhr „Nimm den Schalldämpfer und erschieß die Hunde“ – Ein Dialog Boaz: Sie stehen da unten und bellen. 26 Hunde. Oben, vom Dinge, die hab ich dir nie erzählt. Einen Therapeuen, einen Psychiater... Shiatsu, was weiß ich? Fenster, sehe ich ihre dämonischen Gesichter. Sie sind gekommen, Zum Beispiel? Nein, habe ich nicht; darum hab ich dich ja angerufen. weil sie töten wollen und sie rufen: „Gebt uns sofort den Kopf Äh, du weißt, im Libanon, ... Warum mich? Ich mach´ Filme. von Boaz Reins oder wir werden euch fressen. Ihr habt eine Was war im Libanon? Filme sind doch eine Art Psychotherapie, oder? Und du hast in Minute.“ ...als der Krieg anfing, sind wir im Libanon in Dörfer eingefallen deinen Filmen doch schon alles verarbeitet. Hab ich recht? Ari: 26 Hunde?! auf der Suche nach verdächtigen Palästinensern. Ja, schon. So etwas wie das aber nicht. Ja, genau. Und? Weiter? Denkst du nie an die Zeit im Libanon? Woher weißt du, dass es 26 sind und nicht 30? Wenn du in ein Dorf kommst, dann wittern dich zuerst die Nein. Eigentlich nicht. Darauf komme ich noch. Hunde und schlagen Alarm. Das ganze Dorf wacht auf. Und die, Wirklich nicht? Also?! die wir suchen, fliehen. Jemand musste die Hunde erschießen. Nein. Also was? Sonst hätte man unsere Männer getötet. Beirut, Sabra und Shatila? Gehst du dann runter auf die Straße und siehst nach? Warum musstest du das tun? Sabra und Shatila? Ach, was, das mach ich nicht. Ich wache auf. Sie wussten, dass ich keinen Menschen töten konnte, darum Du bist doch nur einhundert Meter vom Massaker entfernt Jeden Morgen wachst du an der Stelle auf? haben sie gesagt: „Geh vor, Boaz, nimm den Schalldämpfer und gewesen. Genau da. Da hört mein Traum immer auf. erschieß die Hunde!“ 26 Hunde. An jeden einzelnen erinner‘ ich Das stimmt nicht. Das waren mindestens, äh, zwei-, dreihundert Meter. Und wie lange hast du den schon? mich. Ich erinnere mich an ihre Gesichter, an ihre Narben und Ehrlich gesagt, ich weiß davon nichts mehr. Ich hab‘s nicht im System. Seit zweieinhalb Jahren. an ihre Blicke; 26 Hunde. Da kommt nie irgendetwas hoch? Du hast keine Albträume, Und darum holst du mich mitten in der Nacht her?! Wie lange hat es gedauert, bis sie in deinen Träumen aufgetaucht sind? keine Flashbacks? Komm, stell dich nicht so an. 20 Jahre.
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