The Dreamed Path was the fourth feature by Angela Schanelec that I managed to catch in MUBI’s special section on her films before they disappeared. It is her latest release on the festival circuit and in some ways the most austere and ‘formally rigorous’, as one critic has put it, of the films I’ve seen. It’s relatively straightforward to outline the sparse plot details but much more difficult to read the possible meanings. The film opens in Greece with a young couple busking and singing Wimoweh (The Lion Sleeps Tonight) in the summer of 1984 in Greece. Close by young people are celebrating the ‘New Europe’ (even though Greece gained accession to the Economic Community in 1981). The young man receives news of his mother’s severe illness and heads home to the UK. The woman (who is German) doesn’t accompany him. Some thirty years later in Berlin another woman, an actor, is in the process of separating from her husband. They have a young daughter. When filming takes place with the actor in the large square in front of Berlin’s main railway station, we see that the Englishman is present with his dog and is apparently homeless. The German woman he knew years ago in Greece is also in Berlin. That’s more or less the plot minus a couple of dramatic and emotional moments.
‘Formally rigorous’ refers here to Schanelec and her cinematographer Rheinhold Vorschneider’s use of long shots and close-ups. In this film there is the pronounced use of close-ups of feet and other parts of the body which many critics/reviewers recognise as a reference to the later films of Robert Bresson. I haven’t seen enough of Bresson’s work (and certainly not enough recently) to comment on this. What is clear, however, is that Schanelec is, as usual, more interested in exploring how the filmic image in its composition and framing and in the context of editing and the presentation of characters in narrative space evokes responses in audiences rather than how the narrative events themselves are understood in a causal sequence. So, the camera’s focus on the young man’s feet when he makes a phone call home and hears about his mother is a very precise way of attempting to present an emotional moment. This, for me, is in contrast with a relatively long sequence set in an indoor swimming pool. In extreme long shot we can just see a young boy in a wheelchair with his legs strapped but who is stripped and wearing swimming trunks implying he intends to get into the water. As we watch him struggling to free his legs and move the wheelchair to the edge of the pool we hear but don’t immediately see a group of children in the water. Gradually they appear from the bottom of the screen and swim towards the end where the boy is attempting to get into the water. They will reach the end and turn and the boy will slip into the water. The scene ends with a cut to a closer shot of a small group in which one of the girls is checking the boy’s knee which he seems to have grazed in getting into the pool. One reviewer suggests that the girl licks the graze to help it heal but I don’t remember this clearly. Why did this sequence, especially of the image of the group of children swimming so catch my imagination? I don’t know but this ability of Schanelec and Vorschneider (and her two editor collaborators) to construct sequences like this is remarkable and consistent across their films.
Angela Schanelec’s films are coming to London courtesy of the Goethe-Institut later this year, see this MUBI Notebook essay by Patrick Holzapfel (who is curating the London showings). MUBI’s title for its Schanelec ‘Special Discovery’ season was ‘Showing not Telling’ – and so it proved to be. I still haven’t adjusted to MUBI’s ‘watch it before it’s gone’ policy. The Dreamed Path has been received as one of the films of the year on the festival circuit but I found it difficult to watch. I’d like the chance to watch it again without the time pressure. I’ve discovered some of Schanelec’s films are available but expensive on Amazon UK.
The two trailers below, one in German, the other subtitled in English, give an impression of the shooting style (in Academy ratio, 1.37:1) with the ‘feet’ shots in the first trailer:
Orly is the fourth Angela Schanelec film to be streamed on MUBI. A brief synopsis might suggest it has generic possibilities as a narrative but really it is almost anti-narrative in conventional terms. I wonder if watching Schanelec’s films is like developing addictive behaviour. I find the films frustrating because I’m so used to conventional narratives – but I can’t stop watching them, partly because I’m in awe of the camerawork and the editing and the overall choreography of movement and control of the fictional space.
The genre here ought to be that of the ‘waiting room’ film with several groups of characters, each with different stories and each with different relationships. But, conventionally, these would come together in some way and there would be an underlying theme. Schanelec offers us four pairs of characters and a handful of others who are more peripheral. The pairs don’t interact directly except for a fleeting moment and the film ends with a largely unexpected event which denies us a ‘resolution’ of any of the four central narratives.
There seem to be possible clues to Schanelec’s intentions that are introduced in subtle ways. The opening images of the film include half of a vinyl record sleeve which I took to be a 12″ of Joy Division’s ‘Love Will Tear Us Apart’, which includes the lines:
And resentment rides high but emotions won’t grow
And we’re changing our ways, taking different roads
Love, love will tear us apart again
Each of the characters in the film are experiencing emotions as they wait in the departure hall.
The setting is mainly Orly Airport in Paris in Spring. Why did Schanelec choose Orly rather than Charles De Gaulle, Roissy? Probably because permissions were easier, but Orly does have significance for cinéastes. It was the setting for Chris Marker’s avant-garde science fiction short film La jetée (The Pier, 1962) – a film anyone with a film education is likely to be aware of. One of Schanelec’s couples has a digital camera and the woman looks at a succession of still images taken in Paris earlier that day – La jetée is entirely constructed from still photos.
The four couples are a mother and teenage son going to the funeral of the ex-husband and father, a pair of German tourists, a couple splitting up (one of whom we see at Orly as she reads the a letter from her husband) and two expats who meet by chance and discover that they are both returning to North America. The peripheral characters include a young woman on an airline counter, a young barman, taxi drivers etc. and a woman with a baby she is trying to comfort. Although there are brief moments of contact with these individuals by some of the couples, the main way in which Schanelec links her characters is through her camera (or rather the camera of her regular cinematographer Rheinold Vorschneider). For example, in one sequence we are offered a long shot across the departure waiting area with many people sat waiting and others moving in the background, but careful use of the field of focus is able to pick out one face in the crowd. This character will be identified later in the film as the man in the fourth couple. I recognised him as Jirka Zett from Schanelec’s earlier Nachmittag (Germany 2007). See also the shot above in which the same character briefly makes eye contact with the woman separating from her husband. I’m still not sure how this camera shot was achieved. At other times I wondered if Schanelec was using radio mikes for her characters. It is clear that in the Orly shots, the fictional characters are simply placed amongst the crowds of ordinary passengers at the airport. Vorschneider shoots from some distance away so that there are figures in the background and moving across the foreground. You can see this in the trailer below when the two expats (Natacha Régnier and Bruno Todeschini) are talking. The only way to capture ‘direct’ sound for dialogue would be to use concealed radio mikes. Does anyone know if Schanelec uses this method? I was first aware of it in Michael Winterbottom’s Wonderland (UK 1999), one of my favourite films for representing a city through a form of realism. Most of the time the soundtrack uses only dialogue plus the direct ambient sound of the airport. It is a shock therefore when after an hour of this we hear a voiceover reading a letter and Cat Power’s performance of the song ‘Remember Me’
In the interview here Angela Schanelec discusses how she works with ‘real’ spaces like the terminal in Orly:
The trailer below is mainly in French, subtitled in German but it is useful in showing the main characters and the ‘real’ space which Schanelec uses in her own distinctive ways:
Nachmittag is the third of six films by Angela Schanelec offered on my MUBI stream. I’ve posted on the first, Passing Summer (Germany 2001), but I was only able to watch the first part of the second film, Marseille (2010), before it disappeared from the stream during one of my busy periods. That’s the problem with MUBI, I fear. Still, perhaps I will be able to find it elsewhere later. Marseille did look a little different with its single central character – a photographer exploring the French city. In Nachmittag, Schanelec returns to a summer in Berlin, though the characters are rather different.
Angela Schanelec’s strategy seems to be ‘never explain’ – or give any background. MUBI have used the title ‘Show, Don’t Tell’ for the season of her films. I have assumed that the main location is a house by a lake in the Berlin region, possibly Potsdam. In a prologue, Schanelec’s familiar static camera offers us a view from the back of a stage in theatre during a rehearsal. On the stage is a woman who sorts out a prop with a stagehand and then walks towards a dog and pets the animal. We next see her in long shot arriving at the house by the lake where an older and younger man have been having a conversation. Later we will learn that this the woman is Irene, played by Schanelec herself (she began her career as an actor). Gradually we meet five other main characters but we must try to work out who they are and what the relationships are between them. It took me the whole 95 minutes and I still wasn’t certain by the end, but I’m fairly confident that MUBI’s synopsis of the film is inaccurate.
When I started watching the film I was unaware that its premise is taken from Chekhov’s play The Seagull. Perhaps that’s a good thing. I’m not a theatregoer and I don’t really know Chekhov. My thoughts instead turned to similar films in this setting. I thought of Thomas Arslan’s Vacation (Ferien, Germany 2007), on the reasonable basis that Arslan is another member of the ‘Berlin School’. I was also reminded of The Farewell (Abschied – Brechts letzter Sommer, Germany 2000). The point here is that the situation – a group of people meeting at a ‘summer place’ where their different relationships are explored – is potentially a familiar dramatic and even generic narrative proposition. Yet Angela Schanelec challenges our assumptions about how any drama might develop. She does this in several ways.The use of long shots and of close-ups by DoP Reinhold Vorschneider can sometimes mean that we are not quite sure who we are watching or where we are. But what is even more disruptive is her use of dialogue. We are used to mainstream cinema’s use of dialogue to provide ‘narrative data’ and to move forward the events of the narrative. Schalenec’s dialogue comes as a shock – it is so close to the ‘real’ conversations that we have with people we know (well at least I do!). There are seemingly inconsequential remarks that actually convey emotional relationships such as when Irene tells her son who is ironing shirts to dampen the collar. Often too, dialogue is with a character who is offscreen for long periods – sometimes wth responses coming from offscreen.
Critics have increasingly praised Schanelec’s aesthetic approach. Mattias Frey in a ‘Senses of Cinema’ festival report suggests that “Nachmittag is a challenging hypnotic that bespeaks further development in Schanelec’s craft”. Ekkehard Knörer in a ‘Sign and Sight’ report offers the most detailed critique. Knörer suggests that the opening shot of the stage introduces the sense of a theatrical space in the house looking out over the lake. He makes the point that the characters are so engrossed in their own concerns that dialogue is rarely about communicating but instead about each character’s ‘struggle with words’. Ironically, two of the characters are writers. If you know the Chekhov play you may wonder just how ‘free’ is this adaptation. The answer is very, but one action in the original play is obliquely presented in the closing moments of Schanelec’s script. I realise that the film is now gone from MUBI and I should have rewatched that ending. I’m certainly intrigued by this filmmaker and I will try to watch more.
Writer-director Angela Schanelec trained at the ‘Deutsche Film und Fernsehakademie Berlin’ (DFFB – German Academy of Film and Television Berlin) in the early 1990s which means that she has been seen as part of the so-called ‘Berlin School’ of filmmakers. In the UK the best known names of this group are Christian Petzold and Thomas Arslan. Valeska Grisebach trained at Vienna’s Film Academy but returned later to Berlin and has self-identified with some of the directors in the Berlin School. MUBI has started a streaming programme of Schanelec’s films, none of which I’d seen before. From my viewing of this first title, I can see some resemblance to Arslan’s early films, but Schanelec seems much more austere and eschews a conventional plot altogether. She doesn’t appear to be aiming at the kind of international festival attention that Petzold and Grisebach have achieved, though research suggests that she has found it on some occasions. Wikipedia’s entry suggests that she belongs alongside more avant-garde directors such as Chantal Akerman. Schanelec herself has mentioned the influence of Robert Bresson. A very useful account of the development of the Berlin School can be found on this Senses of Cinema page.
Passing Summer is an odd title. What on earth does it mean? Did Schanelec decide on the English title? Is there a careful play on words – a summer that literally ‘passes’, a summer of no consequence or a period of time ‘passing’ as summer? The German title is much more direct in translating as ‘my slow life’. The narrative comprises a series of ‘encounters’ of a group of people over six months, largely in Berlin. There is one character who seems to be at the centre of the group and seemingly it is Valerie who has the slow life. The other characters are friends, one of whom seems to be her current partner and at one point Valerie travels south to meet her brother and to go with him to see her father who is ill in hospital. There are children in the group and their care is one strand (as far as I can see, the two children are both moving between divorced/separated parents). There is also the marriage of one character. We know that six months ‘pass’ because the narrative begins with a meeting in a café between Valerie and her friend Sophie who then leaves for Rome. At the end of the film she returns to Berlin after her six month contract has been completed.
The focus is on the seemingly inconsequential details of daily life for the group and it is here that the aesthetic of the Berlin School suggests we will find some kind of insight into ‘reality’ rather than in the artifice and contrived narrative set-ups of conventional mainstream genre cinema. Having excised any conventional narrative devices from her film, Schanelec distances us from her ‘characters’ further by careful camerawork. The camera is nearly always static, though the shot sizes vary considerably. Within the compositions, figures are often placed closer to the edge rather than the centre of the frame and our view of them might be obscured by windows, doorframes or other characters/objects in the foreground. The static camera also means that characters will move out of frame but still be talking. In the image below Valerie arrives back in Berlin by train to be met by Thomas. We hear her voice over the static shot, presumably talking to Thomas, but we don’t see them meet. This is perhaps the most extreme example. Earlier the little girl swimming in the image above asks Marie to dance for her. We hear the music and assume Marie is dancing but the camera stays on the image of the girl listening – we never see Marie dancing.
What to make of this aesthetic and how much we learn about Berlin life – and about cinema – seems to be the question. The first point to make is that I didn’t feel totally alienated. The static compositions are often strangely beautiful. Perhaps that’s not quite the right word, but looking at them for what seems like a minute or two is not annoying and I felt engaged throughout the film without the need for narrative drive. The camerawork is by Reinhold Vorschneider whose work I admired in Thomas Arslan’s Helle Nächte. He has worked with both Schanelec and Arslan on several projects and has presumably developed this ‘Berlin School’ technique with the directors. I should also note that the lack of artifice on the shoots extends to the use of diegetic sound only. The sequences in which characters dance have music from a disc, a DJ or a live performance. The actors in the film are a mixture of the experienced and inexperienced. Angela Schanelec was herself an actor first and she appears in the film in a minor role. Ursina Lardi as Valerie was in her first film but she has since gone on to significant roles in films like The White Ribbon (2009) and Lore (2012). The performances, the cinematography and the editing (by Schanelec herself and Bettina Böhler, a Petzold collaborator) work seamlessly. I’m happy to watch more Berlin School work and certainly more films by Angela Schalenec. But I’m not sure what I’ve learned about German culture or about cinema. Mostly. I think, I’ve got a sense of a calmness about watching ordinary lives. I’m puzzled though at the difference between the drama of Christian Petzold’s films and the approach of Angela Schanalec. It’s difficult in Schanelec’s film to follow the individual characters and how they relate to each other and there are frustrations in the way in which we find out something interesting about characters that is not followed up in any direct way – much like in ‘real life’ I suppose. I need to find out more about Berlin film culture. For a more detailed analysis of Angela Schanelec’s “notoriously evasive films” look at this paper by Blake Williams in CinemaScope.
MUBI also carries an essay on Angela Schanelec to accompany the season which extends to June 3rd with several films to come.