Sierra Leone (film)
| Movie | |
|---|---|
| Original title | Sierra Leone |
| Country of production | Germany |
| original language | German |
| Publishing year | 1987 |
| length | 92 minutes |
| Age rating | FSK 16 |
| Rod | |
| Director | Uwe Schrader |
| script | Uwe Schrader, Klaus Müller-Laue |
| production | Uwe Schrader |
| music | Bulent Ersoy |
| camera | Klaus Müller-Laue |
| cut | Klaus Müller-Laue |
| occupation | |
| |
Sierra Leone is a German feature film directed by Uwe Schrader from 1987.
action
After three years of assembly in West Africa, Fred is returning to his old surroundings, an industrial area on the edge of a major German city. He is full of confidence and optimism for a new start. He brought a lot of money with him from Africa. He didn't write to his wife Rita, just sent her a monthly transfer. She started her own life and is now with a GI. Fred rents a room in the Royal , a degenerate hotel. There he meets Alma, who takes care of the rooms and the guests and lets the old hotelier bear her. A passionate encounter with his old friend Vera, who used to expect more from him, turns into a short episode. For the old pals at the rolling mill, Fred's return is just an occasion for a night's binge. Only Alma, the girl from the Royal , shows interest in Fred. For her, he embodies a piece of longing and distance, the chance to escape the shabby dump. Together they set off on an aimless journey through Germany.
background
Sierra Leone is the second part of Schrader's feature film trilogy, which also includes Kanakerbraut and Mau Mau .
Reviews
“In partly suggestive, partly strained and bizarre images, the film describes the Federal Republic of Germany as shabby and dirty; the documentary images of a supposed social reality turn out to be nasty clichés. ”- Lexicon of international film
“According to Fassbinder, proletarian Germany has never been seen so clearly outlined. There are hardly any German films that so clearly portray a section of the country, the loss of identity in the disorderly encounter of different cultures between Turkish guest workers, American soldiers, Japanese restaurants and self-destruction. While Fassbinder constructed people and events of a different culture from these assumptions, Schrader limited himself to the sole recording and the chronicle. "
“SIERRA LEONE is a rough and painful film. Uwe Schrader was keen to present realistic models, almost like New Objectivity. He even resorted to handheld film cameras to let the actors act on realistic backgrounds. The actors also seem to go beyond fiction. If Christian Redl attaches the right measure to the restlessness of the main character, Ann Gisel Glass succeeds in placing herself on a higher level. A gesture, a fleeting expression is enough to embody the depressed state of Alma and her last pale illusions. "
“This film does not give a glimpse into a home where one would like to voluntarily stay. It shows hotel rooms with greasy, colorful wallpaper and bag lights over the bedside table; Pubs with slot machines and a greasy formica counter with French fries, currywurst and beer; a Turkish wedding when the bills flutter; cheesy faces under neon lights; Country roads, gas stations, gray dismounting, industrial chimneys in the background. […] Uwe Schrader does not dramatize and does not wave his index finger. He trusts his affection, his closeness, his very own instinct for place and moment. That's all, there's nothing exotic, nothing spectacular, just a rare glimmer of truth. So as a warning, because who likes to see that: The Federal Republic of Germany can be recognized in this film. "
“SIERRA LEONE is modern cinema in the literal sense of the word, cinema of the ephemeral, everyday, overflowing, antimythical cinema, simple, hard and precise. Nobody collects role models, gestures, noble sentences, nobody poses. And everything moves. "
“Neue Deutsche Film, which is (still) interested in social reality, has not had a work of this magnitude for a long time. And even KATZELMACHER or HUNTING SCENES FROM LOWER BAVARIA quickly reveal their instructive character, commenting on the visible and tangible. Maybe I'm too prejudiced for this fresh, precise, unsentimentally laconic film, which confidently trusts its power without dramatic flutter. SIERRA LEONE begins with a take on the back of the head of the main actor Fred (Christian Redl's film debut, which is good to kneel down), and his head cannot be seen exactly until the end, although Fred does not withhold his soul. "
Awards
- International Venice Film Festival 1987, German contribution.
- Award of the producers of the film The Neverending Story .
- Prix d'interprétation féminine for Ann-Gisel Glass, France 1989.
- German Film Award 1988: Best Film, Nomination Award.
- FBW label "particularly valuable".
Web links
- Sierra Leone in the Internet Movie Database (English)
- Sierra Leone at filmportal.de
Individual evidence
- ^ Sierra Leone. In: Lexicon of International Films . Film service , accessed July 18, 2017 .
- ↑ Urs Jenny: In a foreign country . In: Der Spiegel . No. 3/88 , January 18, 1988 ( online at Spiegel.de [accessed July 18, 2017]).
- ^ Andreas Kilb: Germany splinters . In: The time . No. 4/88 , January 22, 1988 ( online at Zeit.de [accessed July 18, 2017]).