2 items from 2016
Angela Schanelec. © Joachim GernSlowly accreting perplexed but beguiled word of mouth since its under-the-radar premiere at the Locarno Film Festival in August, German director Angela Schanelec’s The Dreamed Path is an immaculately composed and constructed drama of mysteriously recurrent discontent. Beginning in an instantly enthralling series of isolated images that come together to reveal a bohemian couple hiking and busking in Greece in the early 1980s, the woman is quickly discarded by the story and we follow the man as he travels home to England after learning his mother is gravely ill. The film seems to re-form around him, his shabby destitution—he reveals himself a drug addict—his nearly blind father, and their grief over the mother. But yet again the film’s narrative proceeds to skip over time, jump in space, and divert with rubbernecked angularity; the man is left behind, the woman is picked up in »
Angela Schanelec’s The Dreamed Path is so beguiling that we, the audience, have to take comfort in pointing out its one clear structural point: it’s split into two halves, each about a different couple in separate time periods. Our first is Kenneth (Thorbjörn Björnsson) and Theres (Miriam Jakob), who we see arriving on vacation in Greece in 1984; the film is quick to divert our attention to a protest about the nation’s place in the European Union, and here already feeling the weight of democracy and mythology. A young, attractive couple (easily the film’s liveliest sequence is when they busk “In the Jungle”), circumstances suddenly drive them apart when Kenneth’s parents in England fall sick and Theres gets a teaching job back in Germany.
Without too much of an indication, we cut 30 year later to Berlin, where television actress Ariane (Maren Eggert) and her anthropologist husband »
- Ethan Vestby
2 items from 2016
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