The award from last year’s Duisburg film week, a man of 54 years won. For Andrew Goldstein’s honor was not active. He has started actually with the film. Or better said: With the films ready make. Now there are two, the documentary Essay, “The functionary” about his father, Klaus Gysi, was awarded in Duisburg. And the feature film “Adam and Evelyn”, the celebrated in Venice for the Premiere and this week to the cinema. A double debut, so to speak.
The question of why he has for so long used it, met Goldstein is now more common. He calls himself with a sense of Humor, an “early developer, late”: “The people liked me – I was timid and shy, had understood the thing but good.”
With the people about the documentary film-maker and Brecht is meant to be-a student, and Peter Voigt. For Voigt, Goldstein began to work, as he moved after studying cultural Sciences at the Humboldt University in Berlin in 1991 at the film school in Potsdam-Babelsberg. An idiosyncratic experience: “as bad As I got to know the GDR have never been to film school,” says Goldstein, “provincial and authoritarian as the non-commissioned officers in the engineering output that have snubbed you, if three blades of Grass in the protection of the sound the microphone plugged.”
The Nineties: misty
Later, it was Goldstein for the film’s producer, Laurens Straub. “Because I could make what I wanted, I learned how to write calculations, and found the industry more pleasant than the film school.” Babelsberg was not for Goldstein’s simply the wrong place: “I knew then, what I want to do, was to search, and to be on the search, are film schools bad places. Because there’s always been about making successful films.”
That Goldstein has only now come out with his movies, but for a different reason. “From the GDR, were the Nineties, misty years. I believe that I only now in the presence arrived, I had no relation to my time.” The only sounds at first glance weird, when you consider that both “The functionary” as well as “Adam and Evelyn” of history. But from Yesterday, you can only tell if you are living in Today.
Both films are also not sealed trips in a past; you open what was, in fact, the now time. In “The functionary” (the Film is supposed to come in the spring also to the cinema) describes Goldstein on the example of his father, the long, rigid Failure of the socialist Germany. The Setting is sparse: Goldstein’s Text is spoken to the photos from the “calm years” of the GDR-decline and Footage Material from the father, the head of the establishment of publishing house was under Ulbricht Minister, Ambassador in Rome and at the end of the Secretary for Church questions. (And, Yes, the father of Gregor Gysi)
Goldstein is strictly one with the father; in the best of the scenes he comments on how a theatre critic, as the Minister winds up in TV shows. Like of the comes, such as the GDR, always returns to the founding myth of return as a legitimization of their self – it is rare to become so vividly as in the beauty and precision in front of mäanderndem film text. To say, “37 years old when the state was founded,” the filmmaker about the father, “everything is not Yes, because you will change.”
From the perspective of “The functionary” has died, the hope for a better GDR and Ulbricht. The Honecker-time appears to Goldstein, therefore, as a capitulation to the attempt by the capital liberated society – “that it has bribed the people with consumer goods, could not afford at the time.”
No jubilation over the fall of the Berlin wall
unlike in the dominant West German film in production about this time marked the last two decades of the GDR Goldstein, from the withdrawal into the Private: “You have clearly not felt that there is no policy that the government is, after all, the social-democratic objectives were met: affordable housing and food, free health care, and kindergartens.”
This perception may explain why Goldstein for Ingo Schulze’s summer novel “Adam and Evelyn”. It is, as is often the case in Schulze, a history of the Transition in the new time and no jubilation over the fall of the wall, solve all the accumulated problems. “With the turn of Adam loses his freedom,” says Goldstein about his Florian pond tmeister stoically played the protagonists.
Florian pond tmeister and Anne Karis in “Adam and Evelyn”
Adam is a figure set up in a private Paradise – a ladies tailor who makes the wishes, which are not met by the planned economy, and its customers also amorous Affairs. Therefore, Evelyn (Anne Kanis) flees before him on holiday to Hungary in the summer of 1989. Adam, he travels to her, and finally you land him, the West, looks fairly UN-erotic: terraced houses, fitted kitchens.
The talkative Schulze-the novel, he has reduced his Co-writer, camera woman and editor Jakobine Motz strictly. As Adam and Evelyn, “” a silent, stage of good Film, the “DDR” doesn’t want to conjure from the Fundus, but rather as a landscape, to understand a mentality.
The denial of certain conventions is understandable that you are Defensive, gives the Film something. “I understand the objection,” says Goldstein, “the Film is very vulnerable and cautious.” Goldstein attributes that to its origin, its influences; in the study, he was fond of the strict Brechtian table informed the Work of the Director duos Straub-Huillet: “a German theater, film, are not just the roots, to get rid of. I can’t now do so, as if I were a Frenchman and this ease of success.”
In the Video: The Review to “Adam and Evelyn”
French ease, maybe not, but it is a specific German Rogue. After the award of Duisburg Goldstein showed up anyway, jokes about other possible awards are open minded. A success in the First-Steps-Awards -, the should be in there.