 |
|
 Robert Kramer,
|
Berlin, October 1990, the film-maker
wrestles with the outside world in the seclusion of a
white bathroom. To this uprooted American, Berlin
signifies a return home, not to a genuine haven, but to
the past of a Europe which has in the meantime radically
changed. Shaved bald, and stoical, Robert Kramer tells
about his visit to the Buchenwald extermination camp,
where, on a sunny summer's day, you can peacefully look
out from the huts over Weimar with its wealth of culture.
On the TV he sees Leftist
revolutionaries burning their books by Marx, Marcuse
and Brecht. He thinks back to renowned collaborators like
Pound, Malaparté and Céline : the confusion of
commitment that goes with a change of camp. Kramer is
waiting for the things that are about to happen, like the
Gulf War. When he visits the Jewish cemetery for victims
of the Holocaust, yet another battlefield looms up, that
of today's Israel
in the midst of a spreading Middle East crisis. Inside a
flat at the centre of the German metropolis, the only
thing the film-maker has to set against the fatal
maelstrom of history is his own personal history.
|
 |
 Bambule |
 Heintje |
 November Days |
 Arbeiter verlassen die Fabrik |
 Deutschland Trilogy |
|
|
 Der Reise |
 Combats au Kurdistan d'Iran |
 Deutschland Privat |
|
|
 |
 |
 |
|