Inhalte(1)
One of the many virtues of Sebastian Mihăilescu’s startling first feature Mammalia is that you never know where he’s taking you. From one scene to another, the film is always unpredictable, even disconcerting. This is the same feeling Camil (István Téglás), a troubled young man, experiences. He feels diminished and insecure with the women around him, especially with his partner, who disappears to join a secret community of women dedicated to eerie fertility rituals somewhere near a lake. But Mammalia rejects the very notion of synopsis. In the surrealist tradition, Mihăilescu works with free associations, some of them as funny as they are unsettling, like when the shadow of Camil’s bald head over his partner's naked body begins to look like a huge penis. A dream or wishful thinking? Masculinity and gender roles are always at stake in Mammalia, and always in crisis. Shot on vivid 16mm by Barbu Bălăşoiu, Mammalia privileges fixed shots with movements within the frame, and the use of space is always very expressive. Its weird humor is reminiscent of Roy Andersson. But Romania has its own tradition, that of Eugen Ionescu and The Theatre of the Absurd. (Berlinale)
(mehr)Kritiken (1)
While the annotations provided by the Karlovy Vary International Film Festival dangles allusions to the greats of the format – namely Dupieux, Andersson and Lynch – in front of the eyes of viewers, the director sees himself as being unique with an iconoclastic concept on a singular wave of perception. But both of these ideas remain wishful thinking when brought face to face with a film that so successfully lulls viewers to sleep instead of being unsettling and giving them the desired jolt. Unlike the greats of somnambulist cinema, with Apichatpong Weerasethakul and Alain Resnais at the fore, and in contrast to those filmmakers referred to in the annotations, the images that Mihailescu presents to viewers remain desperately lifeless and devoid of inner tension and thus peculiarly remain only unfulfilled promises.
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Galerie (4)
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