German cinema in five ways
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A quintet of directors and many other films streaming make up the German Film Festival programmed by the Havana Festival in collaboration with the Goethe-Institut, together with this perpetual vocation of making the most recent filmmaking known to the Island’s public. Four decades after the premiere by Rainer Werner Fassbinder, the most prolific creator of the New German Cinema, of The Marriage of Maria Braun, his parable about the “German miracle”, this harvest of new filmmakers explores other ways in contemporary reality. None of them is a consecrated person in the field of a cinema of such diversity, stubborn in their eagerness to conceive credible characters and portray them without sweetening the environment in which they live. For something three are responsible for the authorship of the scripts, almost all original – only Adam and Evelyn part of the literature – and the other two are involved in writing. Searches, whether of identity, of certain characters or of the past itself, are recurrent in this group.

Adam and Evelyn

Adam and Evelyn, who competed last year at the Seville Festival, was then described as “an Eric Rohmer-style summer comedy”. Follow the itinerary of two young people from the German Democratic Republic, who in the summer of 1989, are more concerned with the love bond that arose between them than with the unimaginable fall of the Berlin wall. Its director, Andreas Goldstein, with several tapes to his credit, is a well-known producer. David Nawreth in Atlas (2018), nominated for best actor (Rainer Bock) and best screenplay at the German Film Awards, chooses a man in his sixties who, in the midst of one of the forced evictions to which he is dedicated, believes he recognizes in one of the tenants who is resisting, the son he abandoned for several decades. In order to prevent being deprived of your home, you will face your boss and your own past. In the category of best actress, Luise Heyer was nominated for these awards for her work as a teacher victim of sexual harassment, in The perfect couple (Das schönste Paar, 2018), a German-French co-production directed by Sven Taddicken. The trigger for the conflict is the accidental crossing of the husband with one of the aggressors. The couple faces a dilemma between revenge, fear… or forgiveness.

You cannot miss in this selection works directed by women

 The actress Luzie Loose, born in 1989, signs the script and the making of Nadar (Schwimmen, 2018), a story that takes up the burning issue of bullying, in this case of a young fifteen-year-old girl, who experiences the attraction of one of her contemporaries. The two friends will dedicate themselves to recording their daily lives with their cell phones, but also those who insist on harassing one of them. Born in 1983, Nora Fingscheidt with her feature debut, Shatter-Breakers (Systemsprenger, 2019), won the Silver Bear, Jury Prize at the Berlin Festival, before being nominated for the European Film Awards in the categories for best film and actress, in addition to being acclaimed at the Toronto event. The synopsis is promising: in her wild search for love, the energetic and indomitable Benni, a nine-year-old girl abandoned by her mother and living in a foster family, drags all those around her to despair. The criticism was lavish in praise, especially for the new actress Helena Zengel, the seventh to appear at a children’s casting called by the producer. The filmmaker has declared that favorable winds are blowing in the cinema of her country for the directors and this sample corroborates it.