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A propos du film
d’Ulrich Köhler

Elina Lowensohn était notre invitée lors de la séance de ciné-club objectif-cinema du mois de novembre 2006. Nous lui avons proposé une chronique, elle a accepté. Son premier geste à été d’écrire sur Montag de Ulrich Köhler. Voici ce qu’elle en pense en anglais.

Upon exiting the cinema, one of the two cinemas in Paris showing Montag, I felt myself like a wonderer, in my own life, for an instant I felt as if I have lost my goal, what goal I asked myself, for what and why, am I doing or living that which I live ? My mind was heavy and light all at the same time, the impressions of the film having left a deep print on my conscious, and even deeper on my unconscious. And that was evident. I was feeling more alive than before entering the theatre. I knew that the film would keep on living within me for some time, coloring my own environment through which I would move, moment by moment, its rhythm almost became my rhythm. And yet, within the painful sensations that inhabited my body and mind, I felt less alone than before having seen this film. I felt that I was not as alone as I could or might think, that my questions about my life, my relationship, and my role as a woman were not the solitude shouting at myself...but here there was a young director, who was able in all simplicity to touch crisply upon the questions of belonging, exile, separation, non communication, sleep, death, escape, silence, powerlessness, mid-life, woman and man, family, construction and deconstruction, the western society. From the opening scene, he is announcing the theme : living while being asleep...they are not dead those bodies spread on hospital beds, they might look like they are dead, no, they are only asleep...trying to reassure his daughter. The woman, Nina...does she wake up during the course of the story ? Does she force Frieder to wake up as well ? There is a jolting, and we almost don’t feel it coming. The metaphor of the house being constructed, and like all constructions in the process, they could easily look like the house is a ruin in the making...pulling off the paper wall becomes Nina’s metaphor, leaving the house afterwards.

There is no precipitation in the unfolding of the story. I could almost feel slowed down in my own rhythm, coming with it from my own life, things happened carefully almost, as if placed in their particular position and timing, as when we would build a house, following carefully our conception of it. The desintegration was almost methodical.

These impressions are mine solely, and I don’t excuse my point of view. From the beginning it is subjective. I am happy to have the opportunity to write on films that I might see, enjoy or detest, and I wish to take this opportunity as a sort of mini journal...why write about a film ? Why go and see a film ? Films, like books, can become silent and private friends, in the intimacy of my own mind, I can find my own story told from a different point of view, I can find an advice, a dream, a memory, maybe better told than I could, and then this allows me to perhaps open further to life, to my own life, and inhabits me, I sleep and breathe with the impressions that a film might have on my being. And so, when I wished to write about the films I might see each month, I decide to share with any readers out there, a bit of my life, like a small journal made public, and I couldn’t even know why I would choose to do that. I am not interested in giving a simple critic, but I am curious to see where this trip could take me, take you, you who might be reading this, and perhaps influence some in going and seeing certain films which have not the opportunity to exist.