A day with the wind
| Movie | |
|---|---|
| Original title | A day with the wind |
| Country of production | Germany |
| original language | German |
| Publishing year | 1978 |
| length | 92 minutes |
| Age rating | FSK 0 |
| Rod | |
| Director | Haro Senft |
| script | Haro Senft |
| production | Haro Senft |
| music | Richard W. Palmer-James |
| camera | Kurt Lorenz |
| cut | Rainer Schmitt-Bruckmayer |
| occupation | |
| |
A day with the wind is a German children's film by Haro Senft, shot in 1977, completed and premiered in 1978. It was made in free production after the director's five years of experience in children's film production and the collaboration with the ZDF series “Rappelkiste” and the "German Youth Institute" in Munich.
action
Eight-year-old Marcel promises his lonely house rabbit a female for the evening. Alone, without a penny, he goes looking for rabbits: first he wants to get the money for a purchase, but rabbits are expensive. A quirky painter advises him to look in the forest. As a matter of course, without fear, he hitchhikes the long way, meets many strange friends full of confidence, passes a test of courage in the dark forest and finally sleeps in a rural commune, where he is promised a little rabbit. This one day in the life of an independent child is told in calm, beautiful settings: Marcel has a lot of time, takes a close look at beetles and people, and he can make contacts in a completely impartial manner. However, holding his golden ball of happiness tightly, he trusts the long-haired, a bit freaky rather than the shaven-hurried. With his film, Haro Senft pleads for childlike experiences and curiosity, and the serious respect with which he depicts the children's world makes this imaginative film, which avoids all action elements, exciting for children and adults. (Die Zeit - June 8, 1979)
Reviews
- “This is the fairy tale of someone who set out to look for a rabbit and discovered the world in the process. So a children's fairy tale? A fairy tale for adults about a child. Or about the happiness that a child can still conquer while we have buried our way there. That we may still be able to conquer each other if we regain the belief that it is not lost for good. A film from the rediscovered paradise? No, from the hope that paradise was never entirely lost. The film begins with the awakening of eight-year-old Marcel, whose father has run away and whose mother is spending the night with a friend. The boy makes his own breakfast and feeds the rabbit that is camping in the old cot. A child left alone in a world they trust. You have to tell about the details, because this chain of small episodes gives the film its color, its atmosphere. A mosaic of events that is not a concrete act, but in which every stone is clearly arranged. No mimic bravura pieces, but clean work with amateurs and unknown actors, which Senft lets 'unfold' - the film is not intentionally artless, but precisely composed, with all the looseness. It gets its shine from the facial play of the children, which is stronger than an impressionistic panning of the camera; only those shots in which the camera behaves passively capture the silence of nature. Erich Fromm comes to mind, his book on 'To have or to be'. A child has found its way to being. ”(Walter Fenn - Nürnberger Nachrichten - July 13, 1979)
- "For children and adults - Haro Senft's film 'A day with the wind'
A jury of children honored him at the festival in Giffoni - and children are sure to find an easier, more direct and probably more meaningful introduction to Haro Senft's A Day with the Wind. At first glance, very little seems to be happening. Senft tells disturbingly slowly and keeps his story free from major actions. Then, of course, it becomes increasingly clear - not least because of the reaction of the children in the cinema - how beneficial the calm of this film is and how correct the decision of the director is to consistently forego the dramaturgy that, especially in children's films, often makes the audience feel like one Stranglehold concerns.
Senft tells in carefully and gently strung together episodes of a boy who escapes his loneliness; The starting point is Marcel's rabbit, whom he wants to buy a female so that it is no longer alone. Because there is not enough money, he strolls through the streets of Munich, looking for people, observing people and getting to know young people who try a different way of existence than those who roam the city as if asleep. A little girl whom he freed from the torture stake leads him to a painter who explains to him that something found is sometimes more beautiful than something bought. Marcel drives into the country by hitchhiking, wanders through the endlessly beautiful landscape and seems to keep opening his eyes. Eventually he meets a group of young people who live in the rural commune - and there he will also get the rabbit he was looking for against loneliness.
How far the children notice that Haro Senft also conveys his experiences with Far Eastern meditation in this story and its aesthetics is ultimately unimportant. The contemplative calm of the film and its will to see are decisive; Senft did not allow himself to be seduced into arranging the contrast between country and city as if it were heaven and hell. It only shows that the search for alternative ways of life and values is a sensible necessity.
This attitude also influenced the production process of the film: It was shot chronologically, without any written dialogues. So not much of a constraint for the performers, but the opportunity to settle in, develop and simply play. With a ridiculously low budget, Senft has also achieved admirable technical quality, and I have seldom seen such beautiful light and such pure colors in copies blown from 16 to 35 mm. This, too, is evidence of the love and respect that the director showed his medium and thus also the audience. ”(HG Pflaum - Süddeutsche Zeitung - May 31, 1997)
Awards
- 8th Festival Internationale per Ragazzi 1978, Giffoni VP - Italy, 1st prize “Grifone” for the best foreign film
- FWU sponsorship award 1978
- International Children's Film Festival Mumbai 1979: Award "Best Photography"
media
Theda Muffler-Kluth, Elke Ried: “Advancing into the reality of our children's lives” “Medium” 10 - October 1978 - Interview
Individual evidence
- ↑ Archive link ( Memento of the original dated March 11, 2009 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
