Der Mond in der Gosse

"All eternal bliss desires failed things because all bliss desires itself, and thus it also desires the sorrow of the heart." Indeed, the most noble aim of art is the mutual adequacy of content and form, which is not achieved here 100%, but undoubtedly it is at least about a strong mutual interconnection: the story of a person (specifically and generally), who always finds a way to boycott their own happiness, finds support in the "neo-baroque" form of cinema du look, which is based on the search and ideally also on finding the point at which the chosen expressive means at its peak boycotts itself. The human desire to achieve the object of desire is always self-sabotaged, whether after its fulfillment or just before it, as in this case, which always proves again that true bliss is not derived from success, but from one's eternally renewed suffering. It is precisely in this elusive difference (= the absent present lost sister) between conscious desire (= Kinski) and unconscious bliss (= Abril) that the film form (= melodrama, advertisement) settles. What else but these genres, which want to impose on people their false plenitude, false closure, and false success, can demonstrate on themselves the inherent self-destruction of human desire? Where the main protagonist reaches the edge of their desire and retreats, we find the kitschy scheme, as if fallen out of an advertisement for romantic fiction, collides head-on with its own limit and turns into its own opposite (from romantic fiction we get to the urine-soaked drunk through the red blood on the sidewalk, etc., etc.). (09.12.2020)