CH 2000 82'
Réalisation: Clemens Klopfenstein
Scénario: Clemens Klopfenstein
Image: Clemens Klopfenstein
Son: Vadim Jendreyko
Montage: Nicola Bellucci
Musique:: Ben Jeger
Production: Ombra Film
Avec: Bruno Ganz, Tina Engel, Mathias Gnädinger, Stefan Kurt, Caroline Redl, Georges Meyer-Goll, Jeanet Haufler, Doraine Green, Norbert Klaasen, Arne Nannestadt, Charlotte Heinimann, Max Rüdlinger
A group of actors making their way to Rome ends up going astray due to the fog, darkness, ice and their own feelings of guilt, becoming completely lost in the sibylline hills.
"Clemens Klopfenstein directs this oblique, strikingly-shot film about actors in groups of two and three on their way to the Goethe Institute in Rome. Throughout the film, actors recite lines from Chekov, Gorky, Shaw, and Shakespeare against scenes of stunning natural beauty."
Jonathan Crow, All Movie Guide
"A group of actors and actresses travels through Italy and is expected in Rome. Caroline Redl loses her way in a forest while reciting the lines, If I dress as a soldier, they will think of me as a soldier. Spoken in the twilit forest, the text attains a tremendous self-evident truth, and Shaw's Joan of Arc' becomes a young woman of today, stripped of all historical projections. The only question of importance is: Where am I? This where' soon becomes irrelevant for the others too, as they also lose their bearings. Rome belongs to the outside world that is gradually forgotten. But even before the actors arrive, Clemens Klopfenstein has drawn us into the landscapes in which times flows, vast spaces open up, landscapes in which driving itself becomes a state. It feels as if you could keep moving even if time were stopped. The actors in pairs, a trio and a quartet are stranded here in the cold and the snow. They wait, rehearse, improvise.
It wouldn't be possible to explain WERANGSTWOLF entirely even if you wanted to. That is its strength, presenting an open-ended event in an open space in a disjointed moment in time. The theatre texts attain a unique, imminent presence. Lies, freedom and the man in the machine; the alcoholic in A NIGHT'S SHELTER sees clearly, but is still imprisoned, WHO'S AFRAID OF VIRGINIA WOOLF? reflects self-destruction, PROMETHEUS reminds us of the dawn of Man and is still utopian. In a liberating landscape, language tears time apart."
Verena Zimmermann FDK Berlin