Nocturama

Je weniger hier Erklärungen hier abgegeben werden, desto besser funktionierts. Die erste Viertelstunde, während welcher eine unverständliche Traiektorie umschrieben wird, ist meisterhaft. Das Interludium mit Philosophierversuchen fällt etwas schwächer aus. Die zweit Hälfte im Kaufhaus wirkt unausgeglichen, aber warum denn nicht als reine Flucht ohne rationale Erklärungen. Bonello hat da den Elephanten im Dawn of the Dead gefilmt, jedoch leider hat ihm eine schlechte Realität dazwischengefunkt und Paris hat wirklich Feuer gefangen. Nocturama sagt uns da nicht viel, doch es kann auch Eindruck machen. Es handelt sich um eine Art hermetisch versiegeltes Gefäß, in welchem jegliche Revolten vergebens sind, jeder Plan nicht zu Ende gedacht ist und jeder Ausgang in denselben Raum zurück führt. Dies ist Stärke und Schwäche zugleich. Ein pompöser Albtraum über eine Welt, in der es Hülle und Fülle, jedoch zugleich einen Mangel gibt. Hätte man dies ein Jahr nach den London Riots gedreht, wäre Bertrand zu einem generationsübergreifendem Visionär avanciert. Doch so wird er lediglich zu einem stilvoller Poeten, der zu spät auf die Bühne kommt. (21.11.2016)

To start with, it must be said that there’s a lot of crap and piss at Cannes; and now we can get to the film. The long tracking shots, stoic characters, unspoken motivations, and only haphazardly defined motivations suggest that Bonello is working with deliberate detachment so as to create an untenable and broadly generalizable bit of bleak social reflection. And in some respects he succeeds, because all the guesswork as to their motivations, the ruthless behavior of the characters, the hermetic claustrophobia of the shopping mall mannequins and the problematic police intervention at the end are uncomfortably thought provoking and certainly raise questions. But the problem isn't primarily that he's unwilling to answer them, even outside the confines of the film, but that he hasn't grasped that he's making a pure thriller, and one that, whether you like it or not, has its own rules for achieving a suitable impact. While in many stretches Paris Is Happening may resemble Van Sant's Elephant (though that falls into its own category of "film space"), it rather runs up against the same thing that last year's formulaic one-take Victoria does, which is to be unable or unwilling to take formal shortcuts. Victoria had the problem that it simply had to be shot in a single continuous take, so there wasn't much that could be done with it; Paris Is Happening chose to be that way voluntarily, which is why, as much as the film has all the premises of a thriller (it takes place over a few hours, the characters are taken out of their world, they act in extremes and, above all, make very human mistakes and don't behave rationally, but it's understandable given the situation), it refuses to embrace the genre, probably to avoid devaluing itself in its own eyes. And yet this often turns it into a pompous bore with irritating protagonists with no one and nothing to latch onto. (01.08.2017)

I was looking forward to a great stylish movie, as some people call this film. But during the first half an hour I observed a number of characters independently of each other, who were inconspicuously walking around Paris and didn’t create any value. After the first half-hour, I really struggled to wake up because what was supposed to create an atmosphere, and many people really said that, just brought me a lot of sadness because it didn’t bring anything of value to the table. The consequent plot was far more interesting because I started to understand where the creators are going and what they are touching upon in today’s context. A French filmmaker and immigration politics actually go together and Paris Is Happening touches upon the subject from a different, but again an interesting angle. In the end, I was surprised where the creators managed to go but was I completely blown away by it? Not really. They didn’t get on top of it in the introduction, which strengthened the human struggle for a Western lifestyle but at the same time, I was sad about the time, which I could have spent differently. But in the end, OK, just brace yourself for 130 minutes and I am not sure if the idea is actually worth it. But when I think about it, maybe it is a bit. (26.06.2017)

Very stylish! I let myself be drawn in and immersed. It’s an explosive topic (sorry for the pun) of the times executed without restrain by an evidently confident filmmaker. It doesn’t dive very deep, which many people will criticise, but in this case I didn’t need it. By the way, the genesis of the project dates back to before the events that it’s so reminiscent of, so there’s no exploitation of a tragedy for artistic purposes. The scenery of many familiar places in Paris is also a personal bonus. (03.02.2017)

An unpleasantly disturbing film, which has such an interesting stylization that you wonder for a while if maybe it's not all improvisation. But it does break at the right moment and becomes quite impressive. It's a film about our times. Unfortunately, I felt like it didn't say anything new, but only showed what we already have here. And maybe a little bit of why. (27.02.2017)