(R)EVOLUTION AT BERLINALE 67: Auteurs Trans-Port Audiences

BERLINALE 67 was a quiet (R)EVOLUTION that pulled cinema, if not into the global avant-garde. then close to the bearing edge...

Tagging the Berlinale Bear with <a rel="nofollow" href="https://missingjamesfranco.com/" target="_blank">MISSING JAMES FRANCO
Tagging the Berlinale Bear with MISSING JAMES FRANCO: THIS IS IN THE BOOK!

...while placing female directors with feminine sensibilities into the spotlight...

<em>ABOVE: Hungarian director Ildikó Enyedi with her Golden Bear for Best Film: </em><strong>Testről és lélekről (On Body and
ABOVE: Hungarian director Ildikó Enyedi with her Golden Bear for Best Film: Testről és lélekről (On Body and Soul) and her producers Ernő Mesterházy, Monika Mécs and András Muhi. BELOW: Director Agnieszka Holland and Kasia Adamik with their Silver Bear Alfred Bauer Prize for Pokot (Spoor).

...even as international star wattage...

Berlinale 67 Awards Ceremony in the Berlinale Palast projected in Potsdamer Platz.
Berlinale 67 Awards Ceremony in the Berlinale Palast projected in Potsdamer Platz.

...was so low that the festival promoters placed George Clooney’s face on posters as compensation.

Taggign the sidewalk reminders of the Star Wattage of Yesteryear!
Taggign the sidewalk reminders of the Star Wattage of Yesteryear!

But within the calm from the blind of flash bulbs capturing the global star a quiet (R)evolution took place at Berlinale 67 that might have been overlooked if there was more buzz. The (R)evolution is the very one that I have been tracking since 2010 for Huffington Post: the ascent into the Third space of the hieros gamos.

Francisco Reye and Daniela Vega in <em>Una mujer fantástica | A Fantastic Woman </em>  CHL/USA/DEU/ESP 2017. Director: Sebast
Francisco Reye and Daniela Vega in Una mujer fantástica | A Fantastic Woman CHL/USA/DEU/ESP 2017. Director: Sebastián Lelio

The auteurs competing for the Golden Bear at Berlinale 67 provided textbook examples of how it is done. Not by formula, but by form: building dramatic tension through finding innovative ways of trans-porting the inner struggle between opposites to the outer environment.

This was about introducing a new and exciting theme of the TRANS-GENDER. The most obvious example introduced a new global star, Daniela Vega...

Daniela Vega in <em>Una mujer fantástica | A Fantastic Woman</em>: CHL/USA/DEU/ESP 2017  Director: Sebastián Lelio
Daniela Vega in Una mujer fantástica | A Fantastic Woman: CHL/USA/DEU/ESP 2017 Director: Sebastián Lelio

... which gave BERLINALE 67 its greatest buzz — Una Mujer Fantastica from Chile, which won the Silver Bear for Best Screenplay (below).

The Chilean filmmaker Sebastián Lelio (R) with his co-screenwriter Gonzalo Maza, and star Daniela Vega who played the torch s
The Chilean filmmaker Sebastián Lelio (R) with his co-screenwriter Gonzalo Maza, and star Daniela Vega who played the torch singer Marina resurrecting after being devastated by the sudden death of her lover.

The transgender theme was also the star of The Party in which director/writer Sally Potter utilized the device of the missing enigmatic transgendered centerpiece in her virtuoso ensemble piece performed in real time at a house party in which a hidden pistol was the uninvited guest.

The Party rammed home the double meaning of its title sending up the hypocrisy of English politics that perceived BREXIT even as it was filming during the historic referendum.

El Bar was another brilliant ensemble piece set within the confines of a Madrid bar...

Blanca Suarez with her co-stars Alejandro Awada, Joaquin Climent, Mario Casas, Terele Pavez, Carmen Machi, Jaime Ordóñez and
Blanca Suarez with her co-stars Alejandro Awada, Joaquin Climent, Mario Casas, Terele Pavez, Carmen Machi, Jaime Ordóñez and Secun de la Rosa in El bar | The Bar, ESP 2017 Director: Álex de la Iglesia

...and its underground sewer that served as the allegorical passageway into a triumphant conclusion: the descent and resurrection of the ancient Venus, depicted by the film’s star Blanca Suarez whose character trans-ported from blanca/white to negro/black, signifying the two faces of Venus, as Morning and Evening Star.

Blanca Suarez in <em>El bar | The Bar</em>: ESP 2017  Director: Álex de la Iglesia
Blanca Suarez in El bar | The Bar: ESP 2017 Director: Álex de la Iglesia

The new film from Romanian director Călin Peter Netzer, Berlinale 63. Golden Bear winner for Child’s Pose, went deep into a codependent relationship and its resurrection, as portrayed in this elegant film poster.

<em>The film won a Silver Bear for Outstanding Artistic Contribution: Dana Bunescu for editing of </em><strong>Ana, mon amour
The film won a Silver Bear for Outstanding Artistic Contribution: Dana Bunescu for editing of Ana, mon amour by Călin Peter Netzer

Ana mon amour was made particularly fascinating by the role cigarettes played (see film still below) as the Third character in a study of transformation introduced by a discussion of Nietzsche’s Ubermensch.

Mircea Postelnicu, Diana Cavallioti and the cigarette in <strong><em>Ana, mon amour, </em></strong>ROU/DEU/FRA 2016, Director
Mircea Postelnicu, Diana Cavallioti and the cigarette in Ana, mon amour, ROU/DEU/FRA 2016, Director: Călin Peter Netzer

Berlinale 67 also established, with little fanfare, the most erotic scene in recent film memory in Marcelo Gomes’ Joaquim, a Brazilian-Portuguese production starring Julio Machado and Isabél Zuua.

Julio Machado and Isabél Zuua in <em>Joaquim</em>: BRA/PRT 2017  Director: Marcelo Gomes
Julio Machado and Isabél Zuua in Joaquim: BRA/PRT 2017 Director: Marcelo Gomes

And not to mention the primal feminine appearing in the form of the dreadlocked figure of director Alain Gomis, winner of the Silver Bear Grand Jury Prize for Félicité, a stunning homage to black beauty.

Véro Tshanda Beya in <em>Félicité</em>, FRA/SEN/BEL/DEU/LBN 2017  Director: Alain Gomis
Véro Tshanda Beya in Félicité, FRA/SEN/BEL/DEU/LBN 2017 Director: Alain Gomis

Clearly, as seen from the press seat in BERLINALE 67, the (R)EVOLUTION is underway in global cinema on two fronts that are interrelated: the resurrection of the divine feminine and the transgender protagonist as the icon of a newfound equality between gender opposites.

Dr. Lisa Paul Streitfeld is a Kultureindustrie Theorist and Cultural Critic finishing up a decade long journey around the globe seeking past and present images of the hieros gamos.

All images in this posting are copyright Lisa Paul Streitfeld unless otherwise noted. Film Stills courtesy of 67 Internationale Filmfestspiele Berlin.

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