#lilli falk

[enterfilm]

THE ZONE OF INTEREST (Jonathan Glazer, 2023)

Cuando vi esta película por primera vez en el Festival Internacional de Cine de Gijón, inmediatamente se me vinieron a la cabeza obras como 2001: A Space Odyssey o There Will Be Blood. ¿Qué motivos impulsaron a Jonathan Glazer a tomar decisiones formales tan arriesgadas? ¿Por qué ese arranque? ¿Por qué esa obertura? Quizá, de una forma paradójica y alegórica, se pretende enfatizar la idea de que las imágenes que otorgan entidad a la película intentan rebelarse contra sí mismas para no ser mostradas. Resulta entonces imposible ignorar la figura de Claude Lanzmann y su memorable digresión en torno a la ética, la moral y la exposición de la infamia.

Dado que la película se filma desde el punto de vista de lo inconcebible, adopta un carácter observacional, flemático y ascético que, en ocasiones, podría disociarnos de la atrocidad y acercarnos a un escenario costumbrista y rutinario. Ahora bien, si el medio es el mensaje —tal y como afirmaba Marshall McLuhan— o, si se prefiere, la forma crea el contenido —deducción archiconocida de Chabrol en referencia al cine de Hitchcock—, entonces lo verdaderamente revelante y relevante para entender esta película se localizaría en el formato utilizado, así como en su óptica y sonoridad. Elementos que aluden de forma constante al contraplano que jamás se muestra y que, por ello, trasciende aún con mayor contundencia y hondura. Al otro lado de esos muros de contención quizá podríamos descubrir al miembro de los Sonderkommandos Saul Ausländer de la película de László Nemes pero, en The Zone of Interest, la materialización fílmica de esa evocación se nos muestra en formato negativo, habitando un terreno aparentemente ilusorio cuya transmutación en realidad se consuma cuando la narración retorna a los quehaceres domésticos y mundanales que viabilizan la preservación del punto de vista heterodiegético.

Aquellos que hayan leído la novela en que se basa se habrán percatado de que Jonathan Glazer tan solo la utiliza como punto de partida, si bien es cierto que para con algunas de sus escenas funciona perfectamente como subtexto de acompañamiento. Martin Amis ficciona una trama y la sitúa en un momento histórico determinado. La película, sin embargo, se aleja de este enfoque, lo que permite que incida con mayor profundidad en su condición empírica y cáustica.

Los momentos en que la pantalla se satura por completo de colores elementales, incorporan fugaces instantes de reflexión ante unas imágenes que supeditan sus formas de arte y representación a la realidad misma que las fundamenta. Esta explicitación articula la parte emocional. La inverosímil y admirable composición musical de Mica Levi converge con el material filmado para convulsionar el relato y el ideario subyacente. Es aquí donde volvemos a la intersección de una disonancia inarmónica que se superpone a ciertos sonidos y situaciones sumidas en la más absoluta cotidianidad. Por otro lado, la ceremonia litúrgica que abre y cierra la película entre tinieblas, el blanco cegador despojado de su pureza o el rojo sangre como encarnación de lo abominable, serían ejemplos paradigmáticos de este aparataje sensitivo.

En su parte final, Rudolf Höss nos devuelve la mirada y desdibuja la línea temporal que se había mantenido hasta ese momento. Jonathan Glazer se transforma entonces en un pseudodocumentalista para mostrarnos imágenes recientes del Museo de Auschwitz y la película nos recuerda que ninguna situación pasada, presente ni futura debería permitirnos tomar distancia ante determinados sucesos que fueron, son y serán.

En el año 2019 Jonathan Glazer filmó un cortometraje basándose en la obra El sueño de la razón produce monstruos de Goya y, en él, anticipa buena parte de este planteamiento. Los personajes de esta pieza de cámara ocultan sus rostros y cuerpos bajo disfraces, de lo cual se puede inferir que cualquiera de nosotros podría ser uno de ellos. Llegados a este punto, quizá no resulte tan sencillo obviar la ignominia que nos rodea.

Se trata de una mera coincidencia, pero tras asistir a la proyección de la película estuve leyendo la novela Stella Maris de Cormac McCarthy. De su pluma y de la mente esquizofrénica del personaje de Alicia Western surgió de repente un pasaje que rápidamente identifiqué como una derivación de lo que había visto en pantalla.  Es este:

"Coges una serie de imágenes fijas y las pasas en tándem a una determinada velocidad ¿y qué es eso que parece la vida misma? Nada más que una ilusión. ¡Anda! ¿Y qué es eso? Bah, qué importa si así haces que vuelvan los muertos. Lógicamente ellos no tienen gran cosa que decir. ¿Qué quieres? Llame antes de excavar. Habrá quien piense que el truco está en encontrar la pista de alguna realidad colateral. Por si no pillas la falacia implícita. La pertinente malicia. Puedes aportar vectores nuevos, aunque eso no es señal de que vayan a funcionar. ¿Te parece una buena idea? ¿Y si la gente quiere volver? La gente no puede volver. Así me gusta. La gracia está en que nunca vas a tener una pantalla en blanco. Y por supuesto lo que cuenta no es lo que se ve sino quién lo puso allí. Si en un momento dado miras y no hay nada en la pantalla ya lo pondrás tú misma, por qué no"

[stuff-diary]

The Zone of Interest

Movies watched in 2024

The Zone of Interest (2023, UK/Poland/USA)

Director & Writer: Jonathan Glazer (based on the novel by Martin Amis)

Mini-review:

I expected this to be a pretty hard watch, and it certainly was, but not in the ways I expected. Seeing the peaceful daily life of such vile, inhuman characters was truly disquieting. And that disturbing atmosphere is made even more intense by the unsettling and harrowing sounds going on in the background at all times. That's clearly the contrast the movie wants to highlight, and it delivers in an unforgettable way, thanks to some of the best sound design I've ever heard. I must admit I found it a bit too slow, but I also understand that calm pace is required for the film to work. Also, the whole thing gets even more horrifying when you realize just how timely it is, considering current world events. Anyway, The Zone of Interest is a distressing experience, but it certainly fulfills its goal.

[whatamigonnawatchtoday]

The Zone of Interest

2023. Historical Drama

By Jonathan Glazer

Starring: Christian Friedel, Sandra Hüller, Ralph Herforth, Daniel Holzberg, Sascha Maaz, Freya Kreutzkam, Imogen Kogge, Johann Karthaus, Lilli Falk, Nele Ahrensmeier, Luis Noah Witte, Kalman Wilson, Anastazja Drobniak, Cecylia Pekala...

Country: United States, United Kingdom, Poland

Language: German, Polish, Yiddish

[porquevi]

"Zona de interesse" (zone of interest) - cinema.

Jonathan Glazer é um diretor que produz pouco, mas sempre tem algo interessante pra mostrar. Aqui ele conta a história de uma família nazista que vive ao lado do campo de concentração de Auschwitz. Tema pesado, mas infelizmente atual. Filme já ganhou o BAFTA e concorre como filme estrangeiro no Oscar.

depois de ver: não é um filme fácil, mas é muito bem dirigido. me lembrou "Jeanne Dielman..." em alguns momentos. o pior é saber que a história é real.

[camyfilms]

THE ZONE OF INTEREST 2023

The heartfelt time we spent in the Höss house will always be among our most beautiful holiday memories. In the East lies tomorrow. Thanks for your National Socialist hospitality.

[milliondollarbaby87]

The Zone of Interest (2023) Review

We follow the life of Rudolf Höss the commandant of Auschwitz and his wife Hedwig living in a house next to the wall of the camp, bringing up their five children and living what looks like a happy life. ⭐️⭐️⭐️⭐️ Continue reading Untitled

[spryfilm]

First Trailer: “Zone of Interest” (2023)

[genevieveetguy]

The Zone of Interest, Jonathan Glazer (2023)

[gatutor]

Ivan Desny-Lilli Palmer "The night of the storm" (Wie ein sturmwind) 1957, de Falk Harnack.

[rwpohl]

[fadingwinnerpirate]

My Understanding of The Story of Signalis

1. Ariane is a soft, artistic soul that isn't fit for the brutal, totalitarian regime of Eusan and eventually signs up for the Penrose program to escape the bullying that awakened her bioresonance.

2. On the Penrose-512, she meets and falls in love with Elster-512, where they do cute couple things like watching movies and listening to music, which awakens Elster's human memories and emotions, which made her love Ariane in return.

3. Because the Penrose program is basically a way for Eusan to dispose of people that don't conform to it's whims, Ariane starts going crazy from isolation, the reactor starts leaking and Ariane gets cancer from the radiation. Elster puts Ariane into a cryosleep to preserve her life, but not before Ariane makes her promise that she'd come and put her out of her misery if Elster couldn't find a way to help her.

4. Eventually, the Penrose-512 crash lands on a habitable planet by a complete miracle and Ariane is awoken from cryosleep and walks out into the snow so that Elster doesn't have to see her cancer ridden body, passing under a mysterious arch that connects her to a Lovecraftian outer god called The Red Eye, turning Ariane and her memories/experiences into a big pit that Elster promptly crawls into in search of Ariane.

5. At the same time, back in the Eusan Nation, the mining facility S-23 Sierpinski discovers a mysterious Artifact that's also connected to The Red Eye, and when it is presented to their bio resonant leader Falke, she synchronizes with Ariane and essentially taking on her "role" in the Promise that The Red Eye took from Ariane's memory, passing on the "role" of Elster to Falke's subordinate, Adler. However, because Falke has the most amount of authority that a Replika can have in the Eusan Nation, and she doesn't want to seem even the slightest bit vulnerable, she forces herself into the role of Elster, the white knight who "saves" the girl and doesn't have to show any vulnerability or weakness to do so (at least on the surface). The Red Eye takes great offense to this, and afflicts Falke, and the rest of Sierpinski through her, with the same torturous, endless existence that Ariane went through on the Penrose in an attempt to force Falke to accept her role. Eventually, reality starts coming apart due to this, and copies of Elster-512 start entering this cycle in an attempt to uphold the promise she made, leading to the gameplay of Signalis and its endings.

6. The Memory ending is the simplest, where Elster fails to uphold her promise and causes the cycle to continue repeating as it has been. The Promise ending is a bit more complicated, since it's unclear if Elster fulfilling her promise and killing Ariane breaks the cycle and restores reality or if it still isn't enough to satisfy The Red Eye, though I think it's more likely to be the latter. The Artifact Ending is, by far, the most open to interpretation, but I choose to interpret it thusly: as Elster works to gather the keys and the code that open the safe that (most likely) represents Ariane's heart, she shows The Red Eye that she loves Ariane to the point that she'd be willing to sacrifice her own life and do completely impossible, insane, and unreasonable tasks so that Ariane could be happy and healthy again, and by sacrificing the six versions of herself that represent different aspects of who she is (her base personality, her memories as a human, her role as a protector, etc.), as well as the vase of lillies that I think represent Ariane's love for Elster, The Red Eye releases its grasp on reality, possibly allowing Ariane's bioresonance to become powerful enough that she can cure her cancer and either ressurect or make a copy of Elster that she can live her life with, essentially rejecting the sacrifice that Elster made so that they can live the happiest lives they can on this untamed, snowy paradise, Together.

[gentlyepigrams]

British socialite and stage actress Lillie Langtry in costume photographed by Benjamin Joseph Falk, 1888.

[thealphareporter]

Non-Alcoholic Steatohepatitis Pipeline 2024 | Guangdong Raynovent Biotech, Dr. Falk Pharma GmbH, Enyo Pharma, Viking Therapeutics, Eli Lilly and Company, Sagimet Biosciences, Terns, Sinew Pharma, Madr

http://dlvr.it/TBXYp1

[columbianewsupdates]

Non-Alcoholic Steatohepatitis Pipeline 2024 | Guangdong Raynovent Biotech, Dr. Falk Pharma GmbH, Enyo Pharma, Viking Therapeutics, Eli Lilly and Company, Sagimet Biosciences, Terns, Sinew Pharma, Madr

http://dlvr.it/TBXYb9

[movienized-com]

The Zone of Interest (2023)

The Zone of Interest (2023) #JonathanGlazer #SandraHueller #ChristianFriedel #RalphHerforth #FreyaKreutzkam #MaxBeck Mehr auf:

Jahr: 2023 (Dezember) Genre: Drama / History / Kriegsfilm Regie: Jonathan Glazer Hauptrollen: Sandra Hüller, Christian Friedel, Ralph Herforth, Freya Kreutzkam, Max Beck, Imogen Kogge, Stephanie Petrowitz, Ralf Zillmann, Marie Rosa Tietjen, Lilli Falk, Christopher Manavi, Sascha Maaz, Anastazja Drobniak, Medusa Knopf, Johann Karthaus, Luis Noah Witte … Filmbeschreibung: Hedwig Höß (Sandra…

[thegospelhighways2020]

This morning I Want to Talk about Those Who Joined Heaven With Angels Michelle B. Norris (1981-1988) Riley Faith Steep (2016-2023) Lily Rose Diaz (2015-2023) Moa Leontine Björk (2009-2022) Shirley Temple (1928-2014) Kiera Vera Larsen (2006-2016) Catherine Violet Hubbard (2006-2012) Judith Eva Barsi (1978-1988) Maria Agnes Virovacz Barsi (1940-1988) Heather Michele O'Rourke (1975-1988) Carlos Bremer (1960-2024) Burke Dales (1977-2024) Piper Laurie (1932-2023) Lisa Loring (1958-2023) Bray Wyatt (1987-2023) Ellen Holly (1931-2023) Tristyn Tyne "Tree" Bailey (2008-2021) Tristyn Angell Bailey (1983-2018) Saffie Rose Roussos (2008-2017) Lily Lynette Furneaux-Wolfenbarger (2008-2010) Lily Peters (1918-2004) Liliana Marie "Lily" Peters (2011-2022) Elizabeth Lilly Peters (1859-1938) Skylar Annette "Sky" Neese (1996-2012) Charlotte "Charlie" Figi (2006-2020) Charlotte Louise Dunn (1990-1996) Rachel Joy Scott (1981-1999) Jonbenet Ramsey (1990-1996) Opal Jo Dace Jennings (1992-1999) Amber Rene Hagerman (1986-1996) Gracie Perry Watson (1882-1889) Devan Brooke Duniver (1992-1998) Sunday Rose Hampton (2018-2020) Little Becky Ann Treejo (1882-1889) Lindsey Rosa Woods (1982-1988) Mr.&Mrs. Treejo (1867-1988)-(1870-1988) Y'all Know What What Brother uh oh uh oh Some of you got quiet now I figured something was going on back in the old years back in the day and now people are still dying Children are still Losing their lives it makes no sense that it keeps going on and on week after week day by day Nighy by night Brother We need to Pray and we're praying we're praying if you all didn't know that Jesus is healing and lifting them up well now you know I heard about the times in the World where there used to be Old People had to Died But now there's Young ones dying with the Old Falks and there's wars Battles Hatred Threats Targets More Schools Shootings Bombing Up Concerts Shootings at Concerts it's time to stop now is the time to stop and get inside a Church to make it to Heaven With Angels and Jesus and God see your friends or family members on the other side Robb Elementary School 2022 Sandy Hook Elementary School 2012 Dunblane Primary School 1996 Columbine High School 1999