Monography Angela Schanelec



Since Angela Schanelec won the Silver Bear for Best Director at this year’s Berlinale for her most recent film ICH WAR ZUHAUSE, ABER …  (I Was at Home, But ...), the German filmmaker has arrived on the international scene of great film artists. Her works, however, have occupied an outstanding position in world cinema since the very beginning. Schanelec’s strict yet sensitive way of looking at female protagonists who are often estranged emphatically tells of the longing to fully live in the here and now. In her nine feature films to date, she observes daily processes and the pressure of the passing of time in episodic movements. Often, we get to know a group of people a little bit better. In NACHMITTAG (Afternoon), which is based on Chekhov’s The Seagull, we spend time with a family around a lakeside house, while in ORLY, we meet different people at the airport in Paris that lends the film its title. Schanelec’s characters struggle with personal insecurities and doubts. In her films, the attention she pays to the states of in-betweenness opens up the opportunity to discover something special in the ordinary. What happens outside the images is taken just as seriously as what we see. In her work, Schanelec deals with existential themes; for example, what it means to start a family or to fall in love. Already in her graduation film from the German Film and Television Academy in Berlin, ICH BIN DEN SOMMER ÜBER IN BERLIN GEBLIEBEN (I Stayed in Berlin During the Summer), she established her own cinematic language. In this film, she examines the relationship issues of two young couples, revealing the very emotions that usually tend to work in concealment. Schanelec’s films don’t offer solutions, they ask questions.

In the presence of Angela Schanelec