Skip to main content

MAMÁ, MAMÁ, MAMÁ

MAMÁ, MAMÁ, MAMÁ
Mum, Mum, Mum

Regie Sol Berruezo Pichon-Rivière
Argentinien 2020

Produktion Laura Mara Tablón
Buch Sol Berruezo Pichon-Rivière
Kamera Rebeca Rossato Siqueira
Montage Joaquín Elizalde, Valeria Racioppi
Musik Mauro Mourelos
mit Agustina Milstein, Chloé Cherchyk, Camila Zolezzi, Matilde Creimer Chiabrando, Siumara Castillo, Vera Fogwill, Jennifer Moule

Spanisch
dt. Einsprache · engl. UT · 65 Min.
empfohlen ab 11 Jahren

Sa, 22.02. 10:00 Uhr Zoo Palast 2
So, 23.02. 15:30 Uhr Filmtheater am Friedrichshain
Do, 27.02. 13:00 Uhr Urania
Fr, 28.02. 10:00 Uhr Zoo Palast 2

Das Haus ist voller Menschen. Nur Cleo ist allein. Nachdem ihre kleine Schwester Erin im Pool der Familie ertrunken ist, sind Oma, Tante und Cousinen immer anwesend. Cleos Mutter aber hat sich in sich selbst zurückgezogen und ist nicht ansprechbar. Cleos Welt zerfällt in Momentaufnahmen. Die Farben sind fast aus den Bildern gewichen, die Perspektiven teils schief, der Blick hält sich an Details fest. Immer wieder durchschneiden Splitter der Erinnerung die schmerzvoll veränderte Gegenwart. Doch das Leben drängt sich un- aufhaltbar dazu: die Nähe und Spiele der Cousinen, ein Geburtstag, die erste Menstruation, der Garten voll rauschender Pflanzen. Die Mädchen und Frauen beleben den Ort der Trauer mit sanfter Geduld und beharrlicher Zuwendung.

The house is full of people, but Cleo is alone. Her grandmother, aunt and cousins are constantly around, and have been ever since her little sister Erin drowned in the pool, leaving Cleo‘s mother withdrawn and unresponsive. Cleo‘s world has become fragmented; a series of brief snapshots – partly crooked, fixated on the smallest details, the colours all but faded away. Again and again, splintered memories cut into a painfully changed present, but so, too, does life: in the closeness with the cousins, their games, a birthday party, Cleo‘s first period, and in the garden full of rustling plants. With care, patience and tenderness, the girls and women fill a place of sorrow with life.

Comments

Post a Comment

Popular posts from this blog

The wind phone as an emotional escape

After Yuki & Nina in the 2009 Kplus programme, Nobuhiro Suwa returns to the Generation programme with another film. His new film Kaze No Denwa is in the 14+ programme. The day after the world premiere he takes a whole hour for Clara and me to answer our questions about the shooting process, the situation in Japan and other things. We make ourselves comfortable in the lounge of the Hotel Berlin, Berlin and exchange thoughts about Kaze No Denwa, Japan and the world with nice background music, while Isabelle kindly translates for us. Free Generation Reporters : How did the film team come together and how did you find Serena Motola, Haru's actress? Nobuhiro Suwa : It has been 18 years since I shot my last film in Japan. Since 2002, I have actually only worked with French producers. So I didn't know most of my new colleagues before. It was all very exciting and I was quite nervous, but everything went well. We did a casting for Haru, several girls showed up, but in the end ...
1 comment
Read more

Between uproars and spa days

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 ...
Post a Comment
Read more

The language of visuals

„They take the gold and throw away the chest. That chest is our country.“ Mongolia is considered to be one of the ten most resource-rich countries in the world. Foreign investors have transformed one fifth of Mongolia to mining areas. Nature is being destroyed, the daily life of local people is affected. Byambasuren Davaa, known for „The story of a weeping camel“, takes her new feature film „Veins of the World“ to this year's Berlinale Generation, in which she portraits a nomad family, living in a region that is about to become mining area. In strong cinematographic pictures, the film tells a story about a young boy and his big dream, about the loss of a father, about love to nature and the soul of Mongolian mountains. THE NATURE “Veins of the world” transports a feeling for Mongolian nature through its powerful visuals. Panoramas of Mongolian nature and mining areas alternate with close-ups of the nomads and their changing life. The man behind those strong cinematic pictures i...
Post a Comment
Read more