Hong Kong, July 28, 2019. Screaming, tear gas, gunfire. One, two, retreat from the front line, push forward. We are in the midst of Hong Kong's protests and uprisings last summer. We march with the masses, hiding behind the shields, seeing our comrades shouting commands, keeping moving, fainting, being carried away. Everything is chaotic and frightening, but still organized and controlled. For 15 minutes I hold my breath, my heart is racing and at the same time keeps skipping beats.
It is suffocating. Incredibly suffocating to experience a day of the Hong Kong riots so close. In my holiday-influenced July, I did hear and read about the situation, but unfortunately I didn't learn about it too much. Therefore, it feels even more extreme to be thrown into this moment at the beginning of the 14+ Short Film Roll 2.
Despite the brevity of the film, one arrives immediately within the scene. The camera fits seamlessly into the group dynamics. Everyone around is too busy to shy away from a running camera, there are more important problems. There are a few signals that the group has agreed on. Everybody knows the tactics and even as a spectator one soon understands. Elimination of tear gas, shields at the front line to defend against the soon falling shots - all a normal part of the agenda. Even when pushing into the subway at the end of the day, everything runs smoothly. An incubator for more than one mass panic just about keeps itself in check.
For just one day we accompany the insurgents, but it is quite enough to get an unsettling picture of the revolution. To be relieved and grateful that my agitated thoughts and racing heart are from the hectic Berlinale lifestyle, not from clashes with the police in the fight for my own future. My personal favourite of the 14+ short films this year.
In comparison Progresso Renaissance. 20 long minutes it drags on: Pictures from an analogue camera, everything a bit blurred, weird music that hurts your ears in the too loud CinemaxX. The cinema is restless. There is no plot, not even a common thread or a message in the film. Why we accompany the three main actors in the first place, probably no one in the audience knows except the film team. I can't stay for the Q&A to wait for the inevitable question and the answer, which is still unclear to me, so I'll probably never know.
Normally I would briefly summarize the plot, but even that is difficult for me. The only thing I can say at this point is that at the beginning the three boys jump into the sea, later steal bicycles and ride through the forest, which suddenly seems creepy for some inexplicable reason.
Directly after, Hot Mother, in which 15 minutes fly by like in Comrades. Everything begins like a normal day between mother and teenage daughter. They are annoyed by each other's behaviour, blame each other and don't really want to be in the spa together. But their comparatively almost banal problems are soon replaced by life-threatening ones. As with Comrades, my heart wavers for minutes between racing and skippin. I'm almost glad it's over - and would still see it again straight away.
The short film reel is too worthwhile just because of Comrades to skip it because of Progresso Renaissance. However, you can expect 20 long minutes and you might want to take earplugs with you to make it a bit more bearable. The rest of the roll tells stories about farewell, return, self-perception and self-portrayal and young love. Definitely worth seeing, even though Hot Mother and especially Comrades convinced me the most.
It is suffocating. Incredibly suffocating to experience a day of the Hong Kong riots so close. In my holiday-influenced July, I did hear and read about the situation, but unfortunately I didn't learn about it too much. Therefore, it feels even more extreme to be thrown into this moment at the beginning of the 14+ Short Film Roll 2.
Despite the brevity of the film, one arrives immediately within the scene. The camera fits seamlessly into the group dynamics. Everyone around is too busy to shy away from a running camera, there are more important problems. There are a few signals that the group has agreed on. Everybody knows the tactics and even as a spectator one soon understands. Elimination of tear gas, shields at the front line to defend against the soon falling shots - all a normal part of the agenda. Even when pushing into the subway at the end of the day, everything runs smoothly. An incubator for more than one mass panic just about keeps itself in check.For just one day we accompany the insurgents, but it is quite enough to get an unsettling picture of the revolution. To be relieved and grateful that my agitated thoughts and racing heart are from the hectic Berlinale lifestyle, not from clashes with the police in the fight for my own future. My personal favourite of the 14+ short films this year.
In comparison Progresso Renaissance. 20 long minutes it drags on: Pictures from an analogue camera, everything a bit blurred, weird music that hurts your ears in the too loud CinemaxX. The cinema is restless. There is no plot, not even a common thread or a message in the film. Why we accompany the three main actors in the first place, probably no one in the audience knows except the film team. I can't stay for the Q&A to wait for the inevitable question and the answer, which is still unclear to me, so I'll probably never know.
Normally I would briefly summarize the plot, but even that is difficult for me. The only thing I can say at this point is that at the beginning the three boys jump into the sea, later steal bicycles and ride through the forest, which suddenly seems creepy for some inexplicable reason.
Directly after, Hot Mother, in which 15 minutes fly by like in Comrades. Everything begins like a normal day between mother and teenage daughter. They are annoyed by each other's behaviour, blame each other and don't really want to be in the spa together. But their comparatively almost banal problems are soon replaced by life-threatening ones. As with Comrades, my heart wavers for minutes between racing and skippin. I'm almost glad it's over - and would still see it again straight away.
The short film reel is too worthwhile just because of Comrades to skip it because of Progresso Renaissance. However, you can expect 20 long minutes and you might want to take earplugs with you to make it a bit more bearable. The rest of the roll tells stories about farewell, return, self-perception and self-portrayal and young love. Definitely worth seeing, even though Hot Mother and especially Comrades convinced me the most.
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