Surprisingly, the Golden Bear went to the French director Nicolas Philibert, author of Sur l’Adamant, a documentary about a treatment center for patients with mental disorders
Surprising everyoneeven the director who when collecting the prize asked the jury if it was suddenly crazyl’Golden Bear of the 73rd Berlinale went to On the Adamant by Nicolas Philibert, the French documentary filmmaker who conquered everyone thirty years ago with In the country of the deaf about deaf-mute children. Now it’s time for one gigantic barge (the Adamant, in fact) anchored on the Seine, in the center of Pariswhich every day welcomes people with mental disorders to offer them help and support.
An experiment that perhaps someone doesn’t look kindly on (the last sign of the film until when? and wonders how long this observation could last), but which after the two hours of the film takes on the contours of a essential initiative. Philibert’s camera interrogates the guests, both patients and doctors and nurses, and knows from each one extrarre humanit ed emotionaccompanying the viewer into stories that sometimes they surprise (those who know everything about music, literature, cinema but get lost in so much knowledge) and sometimes they move (the mother who was unable to bring up her son due to his mental problems). Without wanting to draw lessons but only trying to open our o
what on a world that needs more attention.
Just the operation that the jury driven by Kristen Stewart managed to do, with one choice of prizes that they have necessarily forgotten someone (I think thatthe Chinese film The Shadowless Tower
and the American-Korean Past Lives deserved recognition) but which overall were able to recognize many of the gods values in the field. Starting with the best direction to the French Philippe Garrel for The Big Cart
and the Grand Jury Prize to Christian Petzold, the German director of red sky (which I had praised in recent days).
Me too’Italia peeps out among the awards with recognition for the best artistic contribution to the photograph ofDisco Boy
: she is the French Hlne Louvat but the director who she herself called on stage to share the award is the Italian James Abbruzzese and the production of the film also involves the Italian Lucky Red. Fears for an excess of politically correct that have caused discussion in other festivals and other awards have not found space here.
true that the two interpretation awardsthe protagonist and the supporting one (for three years Berlin has abolished the distinction between male and female) went to two fluid charactersa boy who would like to be a girl in the Spanish film 20,000 especies de abejas (20,000 species of bees) and a trans woman who wants to make that dream come true in Bis ans Ende der Nacht (Until the end of the night), but the two protagonists — the little Sofia Otero it’s trans Thea honor — they are perfect in making their characters believable and it is no coincidence that they were both awarded by both the president of the jury and the juror Francine Maisler (who is a casting director by profession).
Some reserve i would have it on screenplay award to Angela Schanelec for Music, a kind of Greek tragedy on tricks of fate weaker precisely in the story it tells than in the staging, and on the Jury Prize to the Portuguese Mal Viver by Joo Canijo on a hotel run only by women, but perhaps it was the price to pay an idea of cinema that Berlin always has defended and who wants to compete with one modern ones decidedly radicalMade of formal refinements who risk complacency. Without thereby invalidating an edition decidedly positive.
February 25, 2023 (change February 25, 2023 | 23:38)
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