Young light (film)
| Movie | |
|---|---|
| Original title | Young light |
| Country of production | Germany |
| original language | German |
| Publishing year | 2016 |
| length | 122 minutes |
| Age rating | FSK 12 |
| Rod | |
| Director | Adolf Winkelmann |
| script |
Till Beckmann , Nils Beckmann Adolf Winkelmann |
| production |
Michael Smeaton , Christiane Schaefer-Winkelmann |
| music | Tommy Finke |
| camera | David Slama |
| cut |
Rudi Heinen , Adolf Winkelmann |
| occupation | |
| |
Junge Licht is a feature film from 2016 directed by German director Adolf Winkelmann . It is a film adaptation of the novel of the same name by Ralf Rothmann about the state of the Ruhr area in the post-war period from the perspective of the 12-year-old working-class son Julian Collien. Nils and Till Beckmann wrote the script together with Adolf Winkelmann. The cinema release in Germany was on May 12, 2016.
The film received the main prize at the Recklinghausen Church Film Festival in March 2016.
action
The 12-year-old laborer's son Julian Collien grew up in the Dortmund miners' milieu in the 1960s. His father Walter ("Waller") works underground and takes care of the family. Mother Liesel is a housewife and overwhelmed when dealing with her son. She regularly beats and humiliates him. After her mother's nervous breakdown, she travels to the sea with her daughter Sophie. Julian and his father stay behind in the apartment.
Julian experiences his vacation in a new way. His attempts to join a gang of boys fail; later he rescues a dog that the gang doused with gasoline and wants to set it on fire. He comes into conflict with the landlord, Konrad Gorny, who shows pedophile traits and follows him. The 15-year-old neighbor's daughter Marusha awakens Julian's first sexual desires.
On a Sunday, Julian, Waller and Marusha visit mining buddies Lippek, who was allegedly involved in a diamond heist. Lippek repeatedly ignores Waller's advice not to pour the underage Marusha schnapps. She enjoys the apparent freedom and provokes both men with her demeanor, which arouses Lippek in particular. Back at home, Marusha thanks for the lovely Sunday excursion and promises to return the favor to Waller. When he finds himself in front of the locked front door soon after the night shift, Marusha opens her room door for him and, after having had sexual intercourse, releases him on the shared balcony. Landlord Gorny has observed this and has given the Collien family the apartment at the end of the month. When mother and daughter return from vacation, Liesel's desperation seems to be even greater than before they left. After an encounter with Marusha she wants to let her frustration on Julian again and reaches for the wooden spoon, but he can stop her for the first time.
After this incident, Julian packs his things and leaves the apartment. First he rushes to church to confess his sins , which Pastor Stürwald dismisses as typical of his age and harmless. The pastor vehemently refuses Julian's wish to make a confession for someone else , as no one can atone for the deeds of others. Julian later hears an alarm signal from the nearby mine . Immediately he runs anxiously there to look for his father. He has just finished his shift and discovers Julian at the factory fence. Waller learns that Julian wants to run away. Resigned, he states: “There's no such thing as a runaway, it would be nice, but it doesn't work”.
production
The film was produced by Winkelmann Filmproduktion and FFP New Media , in coproduction with the commissioning Westdeutscher Rundfunk and Arte .
As film sets that served Auguste Victoria mine in Marl , the Hannover colliery in Bochum , the Ibbenbüren mine in Ibbenbüren , the Nightingale mine in Bommern , the bill count Wittekind and Zollern II Dortmund . Other locations were the Church of St. Barbara in Dortmund-Eving , Weingartenstrasse in Dortmund-Hörde , the Prosper-Haniel mine in Bottrop and the MMC Studios in Cologne . A special feature of the film is the frequent change of format and color: from the Academy Format 4: 3 (1: 1.33) to Flat (1: 1.85) to Cinemascope (1: 2.39) and from black and white to color . Winkelmann's motivation for the constant change of color is that many other films about the Ruhr area are always shown with a lot of color desaturation and that many media only depict this time in black and white. “But the real world was colorful even then,” says Winkelmann. “I wanted to show that.” In addition, the director consciously experiments with image formats from different times, as some images can be better told and composed in 4: 3 format.
Reviews
Sonja Zekri from the Süddeutsche Zeitung writes: “Young light tells of a childhood in the Ruhr area in the early sixties. It is a nostalgia-free look back to a time when there was no world without heavy industry and no world without heavy industry, only that time is so thoroughly over that even in the Ruhr area, many people no longer know them. So a homeland film. A reminder of an almost lost identity. A reconstruction . "
Christoph Schröder from Zeit Online draws comparisons with the novel: “The writer Ralf Rothmann , who grew up in the Ruhr area, transformed the Ruhr area of the German economic boom into a literary area with novels like Stier , Wäldernacht , Milch und Kohl, or even Junge Licht . Rothmann's method is that of poetic realism. His characters speak little; the dialogues are carved out of the hardships of everyday life and the hardships of physical labor. And Adolf Winkelmann would do well to join Rothmann's proceedings. He too trusts the power of images and the associative power of silence - it takes around nine minutes before the first word is spoken. Until then, there will be hammering and knocking underground. "
Daniel Kothenschulte from Frankfurter Rundschau says: “With Junge Licht, director Adolf Winkelmann and his cameraman David Slama are once again painting a large coal pot painting. [...] They dress these little beauties in surprisingly changing aesthetics. Then the screen opens to the width of the earlier Cinemascope , then black and white changes to color. Stylistic devices that both film artists tried out early on and are now casually mixed together. "
For Christian Berndt from Deutschlandradio Kultur , the director Winkelmann “has succeeded with this laconic view of the time, a great reinvention of Heimatfilm beyond all nostalgia.”
Web links
- Young light in the Internet Movie Database (English)
Individual evidence
- ↑ Release certificate for Young Light . Voluntary self-regulation of the film industry (PDF; test number: 158191 / K).
- ↑ Official website
- ↑ Cinema & Curriculum Young Light. Institute for Cinema and Film Culture, May 12, 2016, accessed on May 13, 2016 .
- ↑ 125 years of consecration in St. Barbara . In: Westfälische Rundschau, Dortmund edition, September 13, 2016.
- ↑ Forever and ever. Süddeutsche Zeitung , May 6, 2016, accessed on May 13, 2016 .
- ↑ Adolf Winkelmann shoots "Young Light". Film- und Medienstiftung NRW , archived from the original on June 10, 2016 ; accessed on October 15, 2019 .
- ↑ New Winkelmann film thrilled at Preview in Duisburg. Westdeutsche Allgemeine Zeitung , May 6, 2016, accessed on May 13, 2016 .
- ↑ Forever and ever. Süddeutsche Zeitung , May 6, 2016, accessed on May 13, 2016 .
- ^ "Young light": Coal, steel, work, upswing. Zeit Online , May 11, 2016, accessed May 13, 2016 .
- ^ Sunken Coal Pot Myth. Frankfurter Rundschau , May 11, 2016, accessed on May 13, 2016 .
- ↑ Mathematical genius and adventurer go their own way. Deutschlandradio Kultur , May 7, 2016, accessed on May 13, 2016 .