Bildrausch Ring of Film Art
CEMETERY OF SPLENDOUR
Th, UK, F, D, Mal, SK, Mex, USA, Nor 2015
ex aequo with
THE DREAMED ONES
To imagine soldiers of any kind sleeping until their death, this main idea depicts the creative, poetic and political ambition that Cemetery of Splendours fulfills. For its originality in mixing reality with fantasy and private dreams with collective nightmares. For its evocative capacity to go from a deep and lyrical intimacy to social asphyxia with tragic sweetness. For its impossible mix of the past and the present, of mythical content and of mundane anecdotes in equal terms. For conveying (which is quite uncommon) political and aesthetic rebellion in one single work. For its ambition. For its coherence with the director’s past work. For its subtlety, for the emotion of the struggle of personal memories (this is, personal freedom to remember and personal freedom to forget) against the oppressive "presence" of structural forces, systematic brainwashing and national patriotic hypnotism. For its beauty, for the overwhelmingly vivid work in sound design and cinematography. For being always true to his incorruptible self and for once again being faithful to his own aesthetics. And finally, for its evocative power of the unknown, that only great Art can reveal.
One plus one equals three in precious films. One voice, one face, one text result in a third dimension of a relationship, a relationship built on impossible claims and doubts. A woman and a man, two poetic oeuvres that the director masterfully stages. A profound correspondence, sustained by mutual appreciation, and a passion that will never be fulfilled. Based on 20 years of exchanging letters, the film tries to examine the mystery and the magic of this love. The sensitive reciting of these letters and the spectacle of these two faces which outline the landscapes of their longing. The two protagonists represent two levels of the film – they are both the performers of these love letters and the actors trying to translate these spoken words into contemporary reality. These interludes allow the audience enough space to dream of and to open themselves to this painful love. Ruth Beckermann directs The Dreamed Ones with generous sensuality, and she avoids letting a solemn approach blur her vision. The film tells the story of a dance of words between Ingeborg Bachmann and Paul Celan in a post-war Europe that is still ravaged by Nazi ideology and the Holocaust. But the film is also a cinematic gesture that dignifies these two lovers and makes them relevant in the here and now. The film captivates us by its sober form that renders it all the more impressive and which touches us profoundly. The poetry of the unspeakable and the ineffable is also the enigma of the kind of cinematic art that Ruth Beckermann shares with us.