When the programme falls into place, it inevitably reveals inspirational themes, the search of cinematic language and contrapositions between tradition and novelty. The ring of retrospectives traditionally girdling the programmes of contemporary cinema only helps to outline them – a duet of Nordic and British directors Bo Widerberg and Michael Powell reminds us that nothing comes from nowhere and therefore it is necessary to reflect on experiences and trace a line for the perspective.
This year‘s programme is like a mirror reflecting a variety of sores of the old Europe‘s welfare states and their younger sisters: social exclusion, growing conflict between spirituality and materialistic cynicism, emigration, unemployment, creative frustration, existential loneliness in the context of smart communication and threats to genuine relationships from the fourth revolution and robotisation. We are living in times when it seems that money can buy anything but at the same time we are risking of becoming impoverished. Why is it that so often life is traded for its imitation? Where to get the strength? These questions are asked by this year‘s films and their makers in SCANORAMA. One of them is Roy Andersson who annoyingly films seemingly the same in his new film “About Endlessness”, which brought him a directing award in Venice. However, before rebuking, let’s ask ourselves what new revelations have come to R. Andersson’s pigeon, which sat on a branch reflecting on existence. Is it not the same truth that time goes by quickly or that one cannot win the Eternity? It is reasonable to always ask for novelty from the filmmakers? Perhaps consistent themes and continuity have their own merits and advantages, therefore, in order to understand the present of cinema, we are constantly looking back.
We are looking for novelty in the external reality of the epoch that introduces us to the changes of human communication. To outline one of them, SCANORAMA will be screening Werner Herzog‘s film “Family Romance, LLC“ that tries to crack the theme of employable relationships. Ostensible relationships are spreading in the modern world – a thriving company rents actors for a range of roles – from a family member to a guest. This phenomenon is not isolated in film‘s location Japan. It is an echo of the modern global world that is changing the meaning and, most importantly, the content of friendship, family and love.
Russian director Kantemir Balagov (“Beanpole”), Ukrainian director Nariman Aliev (“Homeward”) and Turkish director Ali Vatansever (“Saf”) offer a new outlook by searching for hope and moral pillars in the darkest reality. Not without intention, this year’s SCANORAMA is full of deep, captivating female characters that bring back the courage and the necessity to protect what it feels to be human. “The Souvenir”, “God Exists, Her Name is Petrunya”, “Irina”, “Lara” and “Sonja: The White Swan” – these films gently but unexpectedly reveal woman’s role in modern world. The talented female directors go into the heart of the characters living in very different social realities but united by ice-melting genuineness for the same purpose – to reach their goals.
I would love SCANORAMA‘s films to bring courage to have a deep and honest look at ourselves and to remind us that the most captivating stories about ourselves bloom only in unvarnished reality. Let‘s meet in cinemas.
Cordially Yours,
Gražina Arlickaitė