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Imagens Para O Futuro O Cinema Da Alemanha Oriental

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Imagens Para O Futuro O Cinema Da Alemanha Oriental 3 4 5 imagens para o futuro O CINEMA DA ALEMANHA ORIENTAL 31 JUL A 19 AGO DE 2018 8 9 ÍNDICE 13 A DEFA Robin Mallick 17 ENTRE IMAGENS E UTOPIAS Pedro Henrique Ferreira e Thiago Brito 23 DEFA: UM RESUMO HISTÓRICO Séan Allan 46 RESGATADO EM VÃO Thomas Elsaesser 71 A DESCOBERTA DO ORDINÁRIO Joshua Feinstein 117 OS FILMES PROIBIDOS Daniela Berghahn 131 SOBRE AS POSSIBILIDADES DE UMA ARTE CINEMATOGRÁFICA SOCIALISTA Konrad Wolf 140 ANDANDO NA CORDA BAMBA SOBRE TERRITÓRIO PROIBIDO Andrea Rinke 154 POR DETRÁS DAS CORTINAS DE UMA INDÚSTRIA CINEMATOGRÁFICA ESTATAL Margrit Frölich 180 ASSINCRONIA NO ÚLTIMO FILME DA DEFA Reinhild Steingröver 217 10 PERGUNTAS PARA EVELYN SCHMIDT Thiago Brito e Pedro Henrique Ferreira 222 DEFA: UMA VISÃO PESSOAL Wolfgang Kohlhaase 237 POSTERS 263 MINI-BIOS 270 SINOPSES 12 A DEFA Robin Mallick1 Depois que a DEFA teve que cancelar suas atividades, devido à unificação alemã em 1990, muitos dos filmes produzidos por ela foram esquecidos, até mesmo na Alemanha. Ao mesmo tempo, várias obras fazem sucesso até hoje em dia. O filme da DEFA de mais sucesso desde sua estreia em 1973 (com mais de 3 milhões de espectadores) até hoje é A lenda de Paul e Paula2. Heiner Carow conseguiu capturar no seu filme uma sensação de vida que não só impressionou o público dos anos 70, mas que prende os espectadores de quase todos os tempos. Seu filme Coming Out3 também marcou a história do cinema: a trama de um professor jovem que descobre sua homossexualidade não só quebrou vários tabus, mas também teve sua estreia em Berlim Oriental no dia 9 de novembro de 1989, dia da queda do Muro. Em 1990, o filme ganhou o Urso de Prata no Festival de Berlim. 1 Diretor do Goethe-Institut do Rio de Janeiro 2 Die Legende von Paul und Paula (1973, Heiner Carow) 3 Coming Out (1989, Heiner Carow) 13 Konrad Wolf foi um dos diretores da DEFA que mais fez sucesso na Alemanha e no exterior, e cuja fama se mantém até 36 anos após sua morte prematura. Seus trabalhos em cima da história (alemã), como na sua obra Estrelas4, premiada em Cannes, não perdem nada de sua atualidade, enquanto seu drama musical Solo Sunny5, premiado no Festival de Berlim, em 2018, está entre os filmes mais exibidos da DEFA. Como em todos os regimes autoritários, a censura também foi tema importante que influenciou em intensidades variadas a produção cinematográfica durante os 40 anos da existência da Alemanha Oriental. Portanto, obras como Berlim na esquina6, Traços de pedra7 e O pombo no telhado8 ,exibidas na retrospectiva, foram proibidas antes de suas estreias e apresentadas ao público somente muitos anos mais tarde. Particularmente, a 11ª sessão plenária do comitê central do partido SED (Partido Socialista Unificado da Alemanha) — que durante sua reunião em 1965 proibiu 12 filmes da DEFA — causou um trauma entre os diretores de filmes. Após a queda do Muro, estes e muitos outros filmes censurados e proibidos – principalmenteTraços de pedras – fizeram grande sucesso, e hoje em dia são considerados clássicos da DEFA. Principalmente os filmes de animação, que foram produzidos a partir de 1955 no estúdio de animação da DEFA, em Dresden, tomaram caminhos inteligentes, evitando a censura. Entre eles, encontram-se vários filmes críticos, que tratam do abismo entre ideais socialistas e a realidade do dia a dia na Alemanha Oriental. As alusões geralmente eram escondidas e, em vários casos, o formato de animação protegia os diretores da censura e perseguição. Devido à sua socialização diferente, tais indiretas eram e são mais compreensíveis para muitos habitantes da Alemanha Oriental, passando desapercebidas para a maioria dos habitantes da Alemanha Ocidental. 4 Sterne (1959, Konrad Wolf) 5 Solo Sunny (1980, Konrad Wolf) 6 Berlin um die Ecke (1965, Gerhard Klein) 7 Spur der Steine (1966, Frank Beyer) 8 Die Taube auf dem Dach (1972, Iris Gusner) 14 Entre as poucas representantes femininas da DEFA, encontram-se as diretoras Helke Misselwitz e Evelyn Schmidt, cujo primeiro longa-metragem Infidelidade9 foi elogiado pelas críticas da Alemanha Oriental e exibido no Fórum Internacional para o Cinema Novo. Helke Misselwitz se especializou em filmes documentários. Seu filme Adeus inverno10, com retratos cotidianos de mulheres da Alemanha Oriental, foi apresentado e premiado em 1988, na Semana de Filmes Documentários e curtas em Leipzig (hoje DOK Leipzig). Trinta anos após sua criação, os relatos das mulheres entrevistadas mostram uma perceptível insatisfação, que teria parte da queda do Muro no ano seguinte e que, além de sua bela estética, fazem do filme um documento histórico importante. Para o Goethe-Institut, que há mais de 60 anos se dedica ao intercâmbio cultural internacional, a retrospectiva dos filmes da DEFA, com o seu programa complementar, trazem uma ótima oportunidade de apresentar no Brasil um capítulo quase desconhe- cido da história do cinema alemão. O Goethe-Institut Rio de Janeiro agradece à Caixa Cultural pelo seu imenso apoio, aos curadores Pedro Ferreira e Thiago Brito, assim como ao produtor Eduardo Cantarino, pelo seu extraordinário e bem-sucedido enga- jamento, e também à Evelyn Schmidt, pela sua vinda ao Brasil para compartilhar sua experiência cinematográfica com o público brasileiro. 9 Seitensprung (1979, Evelyn Schmidt) 10 Winter Adé (1988, Helke Misselwitz) 15 16 Entre Imagens e Utopias por Pedro Henrique Ferreira e Thiago Brito No dia 8 de Outubro de 1945, em sua Carta para o Comando Militar Central da Zona de Ocupação Soviética1, o diretor Wolfgang Staudte chamava a atenção para a neces- sidade de criação de uma indústria cinematográfica, financiada por aporte estatal, na recente região de domínio comunista na Alemanha. O órgão a ser criado iria “assumir a liderança sistemática e a organização central da realização cinematográfica no setor de Berlim, e responderia por seu trabalho aos representantes do exército vermelho, bem como aos representantes das autoridades municipais berlinenses”. O argumento principal da carta gira em torno da ideia de se reestruturar a prática e o desenvolvi- mento do cinema no país arruinado pela Segunda Guerra Mundial. O receio era que, sem a intervenção direta de um planejamento estatal, ele terminaria, por um lado, por nunca solidificar-se — abrindo espaço para que os filmes estrangeiros dominassem o mercado de exibição — e, por outro, poderia vir a repetir as fórmulas melodramáticas do cinema alemão durante o período de Hitler. Este órgão prestaria um serviço ao “remediar uma doença social e dar um importante passo rumo à renovação política da Alemanha”. Tratava-se da invenção de uma nova cultura para substituir a anterior — a invenção de uma nova vida. O documento planejava a criação de um setor de roteiros, de uma escola cinema- tográfica para uma formar uma nova geração, além da realização de seis longas-me- tragens, capitaneados por nomes de veteranos que também ocupariam as principais cadeiras do órgão (Staudte, Helmut Kautner, Josef von Baky, Peter Pewas, Werner 1 Publicada no livro German essays on film (2004, Bloomsbury). 17 Hochhaum). Mas, em 7 de maio de 1946, 10 dias antes do licenciamento oficial cedido pela Administração Militar Soviética para a produção de filmes pela Deutsche Film AG (DEFA), Wolfgang Staudte já iniciaria as filmagens do clássico longa-metragem Os assassinos estão entre nós2, primeiro exemplar da Estatal. Rodado nos escombros de uma cidade devastada pela Guerra, antecipando um pouco os cenários e temas de Alemanha, Ano Zero3, de Roberto Rossellini, o filme narra a vida de dois personagens à procura da esperança de um futuro possível: de um lado, uma burguesa retornando à cidade natal depois de escapar da violência da guerra; do outro, um médico trauma- tizado, de passado nebuloso, na melhor tradição à la Doc Holiday (Paixão dos fortes4, de John Ford), que serviu junto ao exército nazista, sem ter conhecimento de que participava do extermínio de judeus. Essa precipitação de Staudte, antecipando-se aos desígnios da própria ocupação soviética, somada às suas ideias de intervenção política direta, talvez nos ajude a compreender a complexa missão a que inicialmente se destinava a então incipiente Indústria Cinematográfica da Alemanha Oriental: combater e exorcizar o fantasma do nazismo, em um esforço monumental de olhar frontalmente as desgraças de seu pas- sado recente, para, a partir daí, vislumbrar uma renovação utópica: a invenção de uma sociedade antinazista, democrática e socialista. E se é de utopia que devemos pensar ao falar da DEFA, talvez o apropriado seja indicar os lados desta equação, os embates entre os desígnios estéticos do Partidão, às voltas com a questão do realismo social entre Maxim Gorky e György Lukács, e os esforços audaciosos de artistas como Kurt Maetzig, Konrad Wolf, Evelyn Schmidt, Peter Kahane, dentre outros, que formulavam suas bases artísticas a partir de uma perspectiva mais vanguardista, formalista ou experimental, abordando temáticas tabus ou pondo em cena outras formas de subjetividade. Duas formas de utopias distintas e que, ao longo dos seus quase cinquenta anos de existência, criaram conflitos, alter- nando momentos de maior liberdade com momentos de maior censura. Olhar para as imagens criadas em meio ao experimento social que foi a RDA é, 2 Die Mörder sind unter uns (1946, Wolfgang Staudte) 3 Germania anno zero (1948) 4 My darling Clementine (1946) 18 portanto, um esforço complexo, um terreno movediço, onde a interpretação mais corri- queira sempre se acotovela com a distância entre o nosso universo e as vozes, corpos, ritmos e falas desse país extinto. Fósseis de uma experiência que se consumiu, os filmes da DEFA são como traços de um cotidiano cuja vitalidade e cujos signos e fluxo culturais sobrevivem nos filmes e nas memórias de seus antigos moradores, como partes de um todo do qual que podemos, com esforço, nos aproximar e imaginar.
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