Genesis 2.0
| Movie | |
|---|---|
| German title | Genesis 2.0 |
| Original title | Genesis 2.0 |
 | |
| Country of production | Switzerland |
| original language | English , Russian , Yakut , Korean |
| Publishing year | 2018 |
| length | 112 minutes |
| Age rating | FSK 0 |
| Rod | |
| Director |
Christian Frei , Maxim Arbugaev |
| script | Christian Frei |
| production | Christian Frei |
| music | Max Richter, Edward Artemyev |
| camera | Maxim Arbugaev, Peter Indergand |
| cut | Christian Frei, Thomas Bachmann |
| occupation | |
| |
Genesis 2.0 is a documentary by the Oscar-nominated Swiss director Christian Frei and the Russian filmmaker Maxim Arbugaev , which premiered on January 20, 2018 at the Sundance Film Festival . The film documents the dangerous everyday life of mammoth tusks collectors on a remote group of islands in Siberia . At the same time, clone researchers are trying to bring the long-extinct woolly mammoth back to life from the flash- frozen genetic material .
Plot / content
The film documents the dangerous everyday life of mammoth tusks collectors who meet every year on the remote New Siberian Islands and dig their way through the melting permafrost on their search . At the same time, he portrays pioneers and clone researchers who are moving to the new frontier of the possible and want to bring the long-extinct woolly mammoth back to life from the flash-frozen genetic material. The cinematic journey leads from the archaic landscape of the islands to a mammoth museum in Yakutsk , to meetings of young scientists in Boston , to a commercial cloning company in South Korea and to a gene database in China .
The Russian co-director Maxim Abugaev accompanied the Siberian collectors for one season for the film. The hunters are the natives of the north who practice shamanism and believe in nature spirits, according to Abugaev. She does this very carefully and superstitiously on her travels to the uninhabited islands: "We see the Arctic as a living being of its own with enormous and inconceivable powers." Legends, myths and taboos are also a central theme for director and producer Christian Frei. The film confronts us with our own fear of an unknown future. On the other hand, there is the attitude of futurologists like George Church from Harvard University : “ Synthetic biology is very likely to be the next big revolution (...) People are very bold and they have visions. You will pursue them, sometimes until they die. "
production
Staff and protagonists
Directed by the President of the Swiss Film Academy Christian Frei together with the young Russian filmmaker Maxim Arbugaev.
The professional mammoth hunter Peter Grigoriev and the unemployed Spira Sleptsov are united by the desire to finally make a significant find of an ivory tusk. The "white gold" can be sold at high prices in China - for that you risk a lot. But they are torn between the promises of a find and the spiritual belief that one must not disturb the remains of the mammoths.
Peter Grigoriev's brother, Semyon Grigoriev, is a paleontologist and director of the Mammut Museum in Yakutsk. His goal is to one day be able to make a clone of a woolly mammoth. To do this, he and his wife Lena Grigorieva travel to South Korea to the biotech company of Hwang Woo-suk , who became known in 2005 for falsifying research results and which is now successfully running a company that commercially clones dogs.
Not only clone researchers are interested in the woolly mammoth, but also molecular biologists and geneticists such as Harvard professor George Church. He uses the latest technological possibilities of synthetic biology for his research and is working on editing a mammoth-like elephant, a mammophant.
Filming and publishing
The recordings were made in Russia, the USA, South Korea and China. A trailer for the film was released in early January 2018, before it premiered on January 20, 2018 as part of the Sundance Film Festival . At the Sundance Film Festival, the camera work by Swiss cameraman Peter Indergand and filmmaker and co-director Maxim Arbugaev received the World Cinema Documentary Special Jury Award for Cinematography. In June 2018 the film was shown at the Sydney Film Festival and in August 2018 at the Locarno Festival in the Panorama Suisse section. The cinema release in Russia was on August 9, 2018. In September 2018 a screening took place at the Leipzig Film Art Fair . From October 4, 2018, it was shown at the Zurich Film Festival . The film is due to hit German cinemas on January 17, 2019.
reception
Reviews
Screendaily.com's Wendy Ide says, despite the initial esoteric approach - the film opens with a female voice intoning a passage from a Yakut epic fairy tale - the film's theme and eye-catching cinematography should capture the interest of both broadcasters and the specialized Ensure documentary distributors.
For Sheri Linden from The Hollywood Reporter , the film is structured like a double helix of a real-life thriller, at the same time daunting and unforgettable. She praises the artistry of the documentary, which focuses on the long-extinct mammoth and key characters who want to revive it. She sees the ambiguity of the topic implemented in several levels of the film: The film contrasts the laborious manual work of the mammoth hunters with the technology of the future, in which the possibilities of redesigning bodies are within reach. Scientists speak of perfecting God's work without irony, Linden said. The film music by Max Richter and Edward Artemyev is also suitable for the pictures, supporting and arousing.
Christoph Egger of the Filmbulletin writes that Genesis 2.0 reaches back to prehistoric times and at the same time undertakes a further narration of the creation story: “What Genesis 2.0 raises well above the genre of“ laboratory films ”are those of Maxim Arbugajew - who in the film exchanges letters with Christian Frei entertains - episodes realized in the archipelago of the New Siberian Islands. Here, supplemented by historical images, you can see for the first time what kind of drudgery and drudgery these search tours mean for the men who are there under the eternally gray sky with rudimentary equipment in the icy mud, in the treacherous surf belt. The basis is a dilapidated old weather station that, filmed in a gripping manner, receives a visit from a female polar bear with two large cubs, which the men consider a good omen. "
Silvia Hallensleben from epd Film believes that the film lives from the real and visual contrast between the two worlds presented in the wilderness and gene laboratories. However, the chronological classification of the various finds remains largely unclear and therefore somewhat unsatisfactory.
Awards (selection)
- Nomination in the category Best Documentary
- Nomination for the Grand Jury Prize in the World Cinema Documentary Competition ( Christian Frei and Maxim Arbugaev )
- Award with the World Cinema Special Jury Award for Cinematography (Maxim Arbugaev and Peter Indergand)
Zurich Film Award 2018
- Awarded the Zurich Film Prize
Web links
- Genesis 2.0 in the Internet Movie Database (English)
- Genesis 2.0 at swissfilms.ch
- Genesis 2.0 - Official website for the film
- Genesis 2.0 in the program of the Sundance Film Festival (English)
Individual evidence
- ↑ Release certificate for Genesis 2.0 . Voluntary self-regulation of the film industry (PDF; test number: 181677 / K).
- ↑ Christian Frei invited to the Sundance Film Festival with a new documentary On: Swissinfo.ch, November 30, 2017.
- ↑ Swiss with documentary at Sundance Festival in the running In: Neue Zürcher Zeitung, January 19, 2018.
- ↑ In the original in English: “Hunters are the native people of the North, who practice shamanism and believe in spirits of nature. They are very careful and superstitious in their approach to these uninhabited islands ... We see the Arctic as a living creature of its own with mighty incomprehensible powers. " On: Deadline.com, January 9, 2018.
- ↑ In the original in English: “Genesis 2.0 deals with legends, myths and taboos and confronts us with our own fear of an unknown future”. On: Deadline.com, January 9, 2018.
- ↑ In the film in English, at min. 26: “Synthetic biology is very likely to be the next big revolution. (...) Humans are very bold and they have vision. And they will follow that sometimes to their death. "
- ↑ https://www.blick.ch/people-tv/kino/filmfestival-christian-frei-mit-neuem-dokfilm-ans-sundance-filmfest-eingeladen-id7668081.html
- ↑ https://www.blick.ch/people-tv/kino/filmfestival-redford-eroeffnet-sundance-festival-schweizer-mit-dokfilm-im-rennen-id7864425.html
- ↑ Hunters of the White Gold In: National Geographic, Issue 4/2013, pp. 110–129.
- ↑ Film Review In: Hollywood Reporter, January 21, 2018.
- ↑ How the Mammoth Could Rise In: Tagesspiegel, February 23, 2017.
- ^ A mammoth project Auf: Deutschland Funk, January 15, 2010.
- ↑ Woolly mammoth on verge of resurrection, scientists reveal In: The Guardian, February 16, 2017.
- ↑ Mia Galuppo: 'Genesis 2.0' Trailer: Sundance Doc Focuses on Efforts to Resurrect the Wooly Mammoth In: The Hollywood Reporter, January 2, 2018.
- ↑ Program of the Sundance Film Festival 2018 In: sundance.org. Retrieved January 13, 2018 (PDF; 258 KB)
- ↑ Kate Erbland: 2018 Sundance Film Festival Awards Winners: 'The Miseducation of Cameron Post' and 'Kailash' Win Grand Jury Prizes In: indiewire.com, January 27, 2018.
- ↑ Detailed list of the Sundance winners 2018 on IMDb.
- ↑ https://www.sff.org.au/wp-content/uploads/2018/04/180404-teaser-announce-sff-2018-final.pdf
- ↑ Genesis 2.0. In: locarnofestival.ch. Retrieved July 14, 2018.
- ↑ Genesis 2.0. In: filmkunstmesse.de. Retrieved August 28, 2018.
- ↑ Start dates Germany In: insidekino.com. Retrieved November 13, 2018.
- ↑ Film review on Screendaily.com , January 21, 2018.
- ^ Film review in The Hollywood Reporter , January 21, 2018.
- ↑ Christoph Egger: Genesis 2.0. In: Filmbulletin, 7/2018, November 6, 2018.
- ↑ https://www.epd-film.de/filmkritiken/genesis-20
- ↑ Zurich Film Awards 2018. In: stadt-zuerich.ch, November 14, 2018.