Orly

Ein Telefonat, das von einer Trennung kündet (die ebenso viele reale wie schöpfungsgeschichtliche Züge hat), macht den Auftakt, bevor sich der Film durch die Straßen von Paris zu einem neuen Übergangsort bewegt. In der Welt von ORLY finden wir ein träges, junges Paar vor dem Sündenfall. Mutter und pubertierender Sohn. Zwei verlorene Reisende in der Lebensmitte. Und Gott, der in einem Brief einen sehr weltlichen Auftritt hat. Orly ist der reale Flughafen bei Paris, ist Bühne und immer beweglicher Hintergrund des Films, ist Purgatorium, wo sich entscheidet, ob sich der Weg im Himmel oder auf Erden fortsetzt. (Robert Weixlbaumer)

In Anwesenheit von Angela Schanelec.

“Airport” was once a successful novel (by Arthur Hailey) and later a star-studded movie, depicting a major hub as a site of intertwining fates and stories. ORLY is something like an auteurist version of this classical topos: the boarding zone of the airport on the southern periphery of Paris becomes a site for encounters and conversations, seemingly picked up almost at random and necessarily in fragments.
A married woman flying to Montreal loses her coat and becomes interested in a man departing for San Francisco; a son and his mother on their way to a funeral drift into a confessional conversation; a young blond-haired man mostly just sits quietly, until he also becomes part of the fabric of the story.
Schanelec shot on location, with the dialogue mostly in French. To a certain degree, ORLY is an extension of PLÄTZE IN STÄDTEN, while focusing on a setting that French anthropologist Marc Augé famously termed as a quintessential non-place. In an airport like Orly, nothing is specific, yet almost everything is generic and functional – save for the people crowding such sites. ORLY testifies to this tension, which is essential for modernity. (Bert Rebhandl)

In presence of Angela Schanelec.