CDC will show the program "Fassborder and his time"

From July 3 to 5, at the Center for Documentary Cinema (CDC), Moscow will show the author’s program of Mikhail Ratgauz “Fassbord and his time” from the International Film Festival named after Andrei Tarkovsky “Mirror”.

In the program, Rainer Werner Fassbinder “Toska Veronika Foss” (1982) and four more paintings of his contemporaries, German directors Uwe Brandner, Tancred Dorst, Margaret von Trott and Rudolf Tome. The schedule of shows is given on the website of the Central House of Sciences .

The curator of the Fassborder and his time program Mikhail Ratgauz :

Fassborder, who would be 70 in 2015, was born a couple of weeks after the surrender of Germany, in a country, torn by war and occupied by troops of foreign armies. Cinematographers from Rossellini to Humphrey Jennings came to see and fix this instructive ruin, the crime scene the size of the state. Rainer's childhood passed chaotic, among the bombed houses in which it was fun to play, on the fault of many family and private stories. His mother Liselott Eder was little engaged in the boy and later justified herself that she was simply lost after the Reich’s crash. The child had to be educated, but how to do this without clear public institutions? So retold her dilemma Frau Eder. Be that as it may, but national self -consciousness, in fact, was sent after the war to knockout. Denacification was to become a total hygienic and moral procedure, cleansing of filth. But this symbolic gesture (not to mention the imperfection of its execution) could disinfect the surface, but not depth. Inside the nation, pain, silence and refusal lay down. A “economic miracle” flashed over them with a whirlwind, which said and sang that everything was behind. The cinema of the 1950s and the early 1960s fell silent in these circumstances (only German literature annoyed the depths of the wound). The generation of Fassbinder grew up with a sense of temporary failure, which began immediately or shortly before their birth. But it was they who had to figure out their parents who the Germans became after Hitler.

Fassbord did not immediately come to making films that understood themselves as “German”. He had to change optics more than once. But, as in everything, Fassborder approached the analysis of himself and the German consciousness as a whole in the most intentional, exposing way. Next to him, the same work was done in the cinema and others. The Fassborder and his time program should show (of course, fragmented), how German cinema learned to look into the eyes of Germany, “Pale Mother”, and not to look away. Five films record different stages of this tense decade “History Lessons” (as the film was called one of the teachers of Fassbinder Jean-Mari Straub).

“Veronika Fossi”, a masterpiece of Fassbinder, made in the style of his childhood films, held by a boy in the dark halls of Munich cinemas, talks about how the “economic miracle” managed to monetize everything, including personal decay, the “individual, almost private process”, according to the restrained remark of Fassbinder, who survived his last year. “I love you, I will kill you” Uve Brandner (1971)-a surreal variation on the German “Films about the Motherland” ( “Heimatfilm” ), a document of the German “Order” with the Revolutionary Utopia of the 60s. “Clara’s mother” Tancred Dorst was made in 1978, during a period when German cinema diversly dived into the past to understand what paths the country entered Nazism. The “lead time” Margaret von Trott is occupied by the most acute crisis of German post -war democracy around the Raf terrorist group. Finally, “Berlin Shamyssoplatz”, the quiet love film Rudolf Tome, made in 1980, can be understood as the beginning of a new period of oblivion and rest after the hard work that German cinema was engaged in in the 1970s, as the entrance to the “sapestic” cocoon, from which Germany has not come out.