Dahomey or decolonization in keeping with director Mati Diop wins the Golden Bear | EUROtoday

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As necessary as the subject of dialogue or the brilliance when presenting arguments, is the chance, selecting the best second, doing it on the proper time. And that's what he does Dahomey, Mati Diop's documentary that recounts an act of justice, if you’ll, traditionally, and does so in a means as detailed and exact as it’s dreamlike; as actual as, in its personal means, ghostly; as dedicated to his time as he’s utterly out of any time. It is time for restitution, it’s time to return to time what time stole. Definitely, and as labyrinthine as it might be, it’s time. Few movies, due to this fact, are so well timed.

It is just not clear if this was the argument adopted by the jury, chaired by the actress Lupita Nyong'o and with Albert Serra amongst its members with probably the most cinophile pedigree, when it determined to award a good Golden Bear to the newest work of the director of works as suggestive and notable as Atlantics. Maybe it was that or it was merely about turning necessity right into a advantage. It gives the look that what was potential was accomplished, which is at all times one of the simplest ways to do the fitting factor. No frills. Straight to the purpose. The members of the jury of the 74th version of the Berlinale fulfilled the onerous job of getting out of the way in which and rewarding the perfect amongst what was accessible, which, positively, was not even remotely the perfect conceivable. The Berlin Festival was introduced from the start in a transition part with the director in cost having already resigned, and in transition it ran with out figuring out precisely the place. Somewhat disoriented, little doubt.

Be that as it might, there are few objections to the largest prize, a movie that narrates the return of the 26 objects of the dominion that provides the movie its title from Paris to Benin, from the colonizing nation to the colony that’s now not a colony. But what counts is just not a lot the occasion itself, as, as has already been mentioned, the time by which the story takes place, which is ours and, in a way more bold means, is a time with out time between sleep and sleep. the parable that also attracts consideration to the necessity for political motion than in regards to the urgency of the far more very important poetic motion. It is a movie that enters into the controversy at hand, however it does so by opening views, permitting the objects themselves, first usurped after which returned, to talk, to place themselves, and to demand rationality.

Diop opts for a clear grammar organized in a straight line. And it’s there, in its horizontal readability, the place he discovers a universe of dignity whose fundamental argument and that means is the materiality of items of artwork as fragile as they’re loaded with that means, as supposedly tough as they’re profound. The decolonization that’s talked about a lot is that this. The digicam follows the packaging course of with the identical precision and element with which it captures the dialog of a gaggle of scholars. And she is at all times attentive not a lot to issues, treasures or political speeches as to the slight and deep vibration of a gesture of cinema, of a gesture of advantage. Unappealable.

That in a gala by which they spoke of Palestine, of Ukraine and of Palestine and once more of Ukraine, it’s nonetheless related that the ultimate argument, main prize via, is a deep reflection from a distance, from sanity and from the justice of an act of peace, of an act that restores what was as soon as occupation, plunder, warfare and exploitation. Who is aware of if what Diop introduced was the final message of hope for a time, ours, with two wars with out future or hope.

The remainder of the palmars moved ahead as greatest they might. That the filmmaker awarded the Grand Jury Prize was, as soon as once more, the Korean Hong Sang-soo for a movie train as minimal as A Traveller’s Needs It appeared virtually like a ritual, a Cinphyle liturgy. If he’s there, we should pay tribute to him. At the tip of the day, and regardless of himself, he is likely one of the nice dwelling filmmakers. That the director was Nelson Carlos de los Santos Arias by Pepe, the movie of the hippopotamus escaped and murdered within the coronary heart of Colombia, was not a lot a simply act as a essential one. And very animal as a result of beastly. Few movies at this Berlinale have dared to do something and, in spite of everything, this one dares to do all the pieces. It is nice that, on the very least, you give your particular person in cost a hug. And the identical goes for The empire, of Bruno Dumont. The craziest endeavor of a director habitually devoted to nonsense deserved a medal and that was the Special Prize. Keep in thoughts that this can be a science fiction film. with galactic ships which can be gothic cathedrals and with aliens who look and accent like French villagers. He may be very loopy and it’s good that insanity is embraced.

The relaxation, little to say. Let the protagonist be Sebastian Stan for his very good work in A distinct man I prefer it, however it disheartens me. Not in useless, that is of all probably the most related movie screened on the Berlinale that issues us with an unlimited Adam Pearson. That the award for the supporting efficiency (there isn’t a distinction between genres, keep in mind) has fallen into Emily Watson by Small issues like these It is nearly de rigueur. And not a lot due to what the actress makes of her in her movie, however due to what she represents outdoors of it. And so.

For the second time in a row, the Berlin Film Festival awards a documentary. Lo hizo the previous with In the Adamant, by Nicolas Philibert, and he does it now with Mati Diop. Note, nevertheless, that the gap between the 2 is nice. Dahomey He not solely relates the occasion he witnesses but additionally discusses it, desires about it and even proposes it as hope for what’s to come back. She arrives simply in time to refute exactly time.

Palamars Berlinale 2024

Golden Bear. 'Dahomey', by Matt Diop.

Grand Jury Prize. ‘A Traveler’s Needs’, de Hong Sang-soo.

Director. Nelson Carlos de los Santos Arias for 'Pepe'.

Special Award. 'The empire', by Bruno Dumont.

Protagonist interpreter. Sebastian Stan for 'A distinct man', by Aaron Schimberg.

Secondary interpreter. Emily Watson por ‘Small Things Like These’, de Tim Mielants.

Guin. Matthias Glasner por 'Dying', de Matthias Glasner.

Artistic contribution. Martin Gschlacht for the pictures of 'The Devil's Bath', by Severin Fiala and Veronika Franz.


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