Orly (film)

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Movie
Original title Orly
Country of production Germany , France
original language German , French
Publishing year 2010
length 83 minutes
Age rating FSK 0
Rod
Director Angela Schanelec
script Angela Schanelec
production Gian-Piero Ringel ,
Angela Schanelec
music Cat power
camera Reinhold Vorneider
cut Mathilde Bonnefoy
occupation
Airport hall in Orly-Sud; the specific rooms for the individual scenes were only determined on the day of shooting

Orly is a fiction film by the German director Angela Schanelec from 2010. The drama was shown during the 60th Berlin International Film Festival as part of the Forum festival section. In Orly, Schanelec follows four different couple stories at Paris-Orly Airport .

History of origin

After Places in Cities (1998) and Marseille (2004), Angela Schanelec's film Orly is set back in France. Schanelec got the idea for the film while she was waiting with her cameraman Reinhold vorneider in Paris-Orly for the return flight to Berlin. Both had visited the French capital for the start of Schanelec's film Marseille . Both were sitting in a restaurant and the director began to imagine what kind of stories the fellow travelers might have. Another reason for the realization of the film was the large passenger terminal, which Schanelec found full of light, spacious and transparent. For her, it was about the calm that can arise while waiting in a place where movement, the functioning of processes, is important. "[...] this creates a certain passivity," says Schanelec, who means leaving the figures in the room. “[...] in this passivity, completely different things are possible than when one acts constantly or has the feeling that one has to act. That was my aim: to tell this time that people can basically easily spend doing nothing, in which they actually have no right. "

Schanelec developed the individual narrative strands one after the other, with few points of contact. According to Schanelec, the space and the simultaneity of the events should suffice as a connection. She later noticed that this added to the fugitive's atmosphere. Because of the cost, it was unclear whether the film could actually be made at Orly Airport in Paris. Therefore, she conceived the plot so that the film could also be set at other airports such as Amsterdam or Zurich . In addition to the strangeness, according to Schanelec, it was also the “elusive beauty of the city” and the work with French actors that made the difference. She wrote the film script in German, which was translated into French by her long-time translator Frédéric Moriette. The characters changed during the translation process. While the German dialogues were characterized by a certain brevity, according to the director, French is more rampant.

The soundtrack of the film is dominated by the acoustics of the airport. The only exception is music by the American songwriter Cat Power , which the director used in a scene with Maren Eggert and Jirka Zett . Zett had already appeared in Schanelec's previous feature film Afternoon . “I think the music makes the fleeting encounter between Maren and Jirka more noticeable, it becomes clear that things are fleeting and still exist. Our life consists of fleeting things, which is a bit sad, but actually very interesting and informative, ”says Schanelec. The film team shot with two cameras during normal flight operations in Orly without any barriers. Most of the people in the film are real air travelers. Actors were only hired for the police and security personnel as well as the evacuation scene. "I could never have made this film with extras, I hate and fear extras and am completely unable to direct them," says Schanelec.

Schanelec's way of working benefited from the use of telephoto lenses , which are used to film objects that are positioned far away from the camera. So the staging of the dramatic scenes in the midst of the uninvolved crowd went unnoticed. The film uses long shots, “like on a stage,” says the former theater actress. Since one is not used to such a length of shot, according to Schanelec, there is a certain perception of the change in space and the passage of time.

action

Juliette is escorted through the streets of Paris. The French woman, who lives in Canada, drives to Orly Airport. In the airport passenger handling area, the young woman, who is longing to return to Paris, meets Vincent, a music producer, who is the same age. He has just made the decision to move back to the French capital. Both then tell each other their life stories. Desperate Juliette is married and has one child, but still falls in love with Vincent. He feels the affection, but Juliette owes an answer. Both talk past each other to cover up each other's growing feelings until their overseas flights are called.

A mother and her almost grown-up son are also waiting for their flight in Orly Sud. Both are on their way to the funeral of the father, from whom the mother once separated. She tells her son about her adultery in the café, whereupon he surprises his mother by coming out .

In the airport café, mother and son are served by a waiter who tells of his story from his life. Meanwhile, a young German backpack tourist is waiting for his girlfriend. Neither of them notice that their relationship has long since broken up. The young man documents what is happening in the airport with his camera, while his girlfriend is reading a book.

Sabine, traveling alone, reads a letter in front of her. This is the farewell letter from her lover Theo. He recently left her to die alone, as his voice proclaims off-screen at the end of the film. The film ends with an evacuation of the airport and the return journey to Paris.

Reviews

The film premiered on February 13, 2010 in the Forum and received largely praise from German-speaking critics.

The shots of the crowds, shot with the telephoto lens, seemed to Lukas Förster (perlentaucher.de) like an “almost arbitrary identification, a coincidental grip on an initially undifferentiated mass”, a new “dimension of possibility” in Schanelec's work. Orly remains legible at every moment, the uninvolved passers-by would never get in the way of the film, which unfolds “organically out of the flow of passers-by”. The title sequence is reminiscent of Godard's works , while the dialogues are hardly functional. Foerster noticed a difference between the French and German dialogues, the latter being more theatrical. Orly fundamentally questions the relationship between freedom and (director) control.

Christina Bylow ( Berliner Zeitung ) saw Schanelec's dialogues flickering miraculously, "between banality and magic". The film is composed like a “many-part slow fugue”, slow and quiet, in the style of the Berlin school to which the director belongs. Christina Tilmann ( Der Tagesspiegel ) named “Life in a Possibility World” as the main theme in the four stories. Orly is also a farewell film that "tells of loss and grief and a tentative new beginning". Tilmann interpreted Josse de Pauw's voice as a late echo of Schanelec's life partner Jürgen Gosch , who died in 2008.

In Orly, the telephoto lens does not serve as an instrument of surveillance and exposure, as is usually the case, but as a “magic wand of the authentic”, according to Andreas Kilb ( Frankfurter Allgemeine Zeitung ). The “transitory world theater en miniature” lacks the paralyzing melancholy of Schanelec's earlier films. For Frédéric Jaeger (critic.de), in the film, which focuses on bourgeois characters, a passage of changes in view was the climax of the film. “The looks are also codes that hope to be deciphered and that divide the characters and viewers into those who know and those who do not,” says Jaeger. Schanelec proves once again how well she knows how to stage passive-aggressive behavior.

Awards

Web links

Individual evidence

  1. ↑ Release certificate for Orly . Voluntary self-regulation of the film industry , June 2010 (PDF; test number: 123 168 K).
  2. ↑ a b c data sheet (PDF; 448 kB) at berlinale.de (accessed on January 27, 2010)
  3. ↑ a b c "I've never built anything" - Interview with critic.de, February 13, 2010 (accessed on February 27, 2010)
  4. ↑ a b Frédéric Jaeger: film review at critic.de (accessed on January 27, 2010)
  5. ↑ a b Lukas Förster: Another dimension of possibility: Angela Schanelec's Orly . perlentaucher .de, February 13, 2010 (accessed on February 27, 2010)
  6. ↑ Christina Bylow: Shortly before take off . In: Berliner Zeitung , February 13, 2010, p. 33
  7. ↑ Christina Tilmann: In transit . In: Der Tagesspiegel , February 14, 2010, p. 28
  8. ↑ Andreas Kilb: The waiting room of truth at faz.net (accessed on February 27, 2010)
  9. ↑ festival-des-deutschen-films.de