Insecurity, revolt and possibilities of political resistance are shown in the UNDERDOX opening film LANDSCAPES OF RESISTANCE by Marta Popivoda along a biography from the time of National Socialism until today. Frederick Wiseman, the American veteran of direct cinema, documents in CITY HALL how a city government persistently resists democratic and social erosion. On the occasion of the world premiere of Alexandre Koberidze’s WHAT DO WE SEE WHEN WE LOOK AT HEAVEN, Berlinale director Carlo Chatrian writes: “It is the poetry of aimlessness that enables Koberidze to make visible and tellable in cinema all that we rarely perceive.”
Aesthetically, fragility also means fragility and tenderness, hints at beauty, allows silence and poetry. In ÜBER DEUTSCHLAND, the German-Austrian director Bernhard Sallmann has texts by the young Russian Marina Zwetajewa recited high above Dresden in the style of Jean-Marie Straub – it is the year 1919, the result a subtle essay of tender topicality. With HYGIÈNE SOCIALE, the French-Canadian Denis Côté has staged a relationship drama in which the microcosm of the dialogue takes over the play and the protagonists stand rooted to the spot in the landscape. P. S. Vinothraj’s morality tale PEBBLES is about everyday violence against women in India, in which a son questions his father’s patriarchal certainties – almost without words. A RIVER RUNS, TURNS, ERASES, REPLACES is a poetic meditation on the megalopolis of Wuhan on the Yangtze River, initially made under the impact of China’s brutal Corona Shutdown. Filmmaker Zhu Shengze represents the poeticizing documentary that focuses on an empathetic view of the world.