Carelia, internacional con monumento

V'19

Carelia, internacional con monumento

Karelia, International with Monument

Andrés Duque
E/RUS, 2019
Features, 90min, OmeU

© Viennale © Viennale © Viennale

Carelia, internacional con monumento

Andrés Duque
E/RUS, 2019
Features, 90min, OmeU

Fr
25
Okt
16:00
Urania
Mit: 
the Pankrat’ev family
Katerina Klodt
Drehbuch: 
Andrés Duque
Ton: 
Andrés Duque
Kamera: 
Andrés Duque
Schnitt: 
Andrés Duque

Produktion: 
Andrés Duque
Weltvertrieb: 
Andrés Duque
Format: 
DCP
Farbe

Der Vater ein Wünschelrutengänger mit Rasputin-Bart, die Mutter im gestärkten Trachtenkleid – wie berauscht vom Waldidyll und der schier endlosen Neugierde der darin aufwachsenden Kinder nistet sich die Kamera bei einer schamanistischen Hippiefamilie in der russischen Teilrepublik Karelien ein. Doch an den Bäumen hängen die Bilder der Toten aus den stalinistischen Gulags, ihre hinterrücks durchschossenen Schädel tief im Waldboden verborgen. „Hier fliegen seitdem keine Vögel mehr“, behauptet die Tochter des von den Behörden verfolgten Bürgerrechtlers Juri Dmitrijew. Mit CARELIA … legt Duque den ersten Teil eines geplanten Diptychons aus dem finnisch-russischen Grenzgebiets vor. (Stephan Settele)

 

Karelia is a region in northeastern Europe that straddles the border between Russia and Finland, Sweden and the Soviet Union have held sway over it too. It has seen massacres both centuries-old and far closer to living memory, it’s a landscape of islands, lakes, and canals, pine forests and pastures, pale green in the summer sun. All this and much more emerges from Andrés Duque’s film, but hardly as expected. The carefree time spent with a historian and his family at their home in the forest is at the heart of his documentary, which starts from the everyday and moves outwards from there. Impression after impression are gently pasted together into a portrait guided as much by observation as it is by sensation and reverie; such a shifting place requires an equally shifting approach. There are poems, paper aeroplanes, and the political speeches that issue forth from the cassette player, drone music and bursts of Sibelius, insects, old maps, warped wood, and shimmering rock, ships that seem to float over the land, spinning camera movements. And a photo is taken of the family, like the photos hanging in the trees: a monument can be erected anywhere and by anyone, take any sort of form. (James Lattimer)

Andrés Duque: IVAN Z (2004), PARALELO 10 (2006, K), LANDSCAPES IN A TRUCK (2006), LA CONSTELACIÓN BARTLEBY (2008, K), COLOR RUNAWAY DOG (2011), DRESS REHEARSAL FOR UTOPIA (2012), OLEG AND STRANGE ARTS (2016)