State Funeral

V'19

State Funeral

Sergei Loznitsa
NL/LIT, 2019
Features, 135min, russOmeU

© Viennale © Viennale © Viennale

State Funeral

Sergei Loznitsa
NL/LIT, 2019
Features, 135min, russOmeU

So
03
Nov
20:00
Stadtkino im Künstlerhaus
Mo
04
Nov
15:00
Gartenbaukino
Drehbuch: 
Sergei Loznitsa
Ton: 
Vladimir Golovnitski
Schnitt: 
Danielius Kokanauskis

Produktion: 
Atoms & Void
Studio Uljana Kim
Nutprodukze
Weltvertrieb: 
Atoms & Void
Format: 
DCP
Farbe und Schwarz/Weiß

Die Sowjetunion hatte immer einen Hang ins Zeremonielle. Höhepunkt und Wendepunkt einer staatsreligiösen Politik war der Tod von Stalin im Jahr 1953. Sergei Loznitsa hat Archivmaterial rund um das Begräbnis gesammelt und zu einem großen Panorama montiert: Bis in die hintersten Winkel der „Sojus“ („Vereinigung“) hören Menschen von dem Ereignis in Moskau. Mit dem Flugzeug kommen die Mächtigen, um dem „Stählernen“ die letzte Ehre zu erweisen. Die sorgfältig bearbeitete Tonspur, zwischen offiziellen Verlautbarungen und dem Gemurmel der Menge, schafft einen eigentümlichen Gegenwartseffekt für einen zutiefst historischen Moment. (Bert Rebhandl)

In Anwesenheit von Sergei Loznitsa.

Joseph Vissarionovich Stalin died on March 5, 1953. His death took place out of sight, but its aftermath could not have been more visible. From reams of existing footage of this very public spectacle, most of which unseen and now painstakingly restored, Sergei Loznitsa has forged a heady distillation of his STATE FUNERAL as seamless as it is staggering. Starting from the first news of the dictator’s demise, the film moves through each stage of proceedings until his body is installed in Red Square, narrowing and expanding its focus and shifting between black and white and color with utter fluidity. The citizens of the different Socialist Republics gather around public speaker systems, wreaths are laid across the nation, dignitaries fly in, and crowds throng through the House of Unions to pay their respects. So much ceremony, so many repeated gestures and words, history as redundancy, as different collections of bodies that still always behave the same. Seen in their restored state, all these images of mournful gazes and tear-streaked faces are so perfect that they could have wandered in from some classic melodrama and, in a sense, they have. For what else is the relentless celebration of a man who killed millions than some brazenly breathtaking fiction? (James Lattimer)

In presence of Sergei Loznitsa.