Exberliner Issue 138, May 2015

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What’s on FILM STARTS MAY 7 Papusza D: Joanna Kos-Krauze, Krzysztof Krauze (Poland 2013) with Jowita Budnik, Zbigniew Walerys, Antoni Pawlicki ◆◆◆ The career of distinguished Polish-Romani poetess Bronislawa Wajs, known as Papusza, stems from her tumultuous early life and her entanglement with the writer Jerzy Ficowski at both professional and personal levels. Whereas poetry is her salvation, sudden fame leads to her banishment from the Roma community, and lifelong loneliness. This biopic, shot in serene black-and-white and with enchanting camerawork, spans several decades and brings to light the unexplored secrets of Roma culture and its place in 20th-century European history. YC STARTS MAY 7 The Misplaced World (Die abhandene Welt) D: Margarethe von Trotta (Germany 2015) with Barbara Sukowa, Katja Riemann ◆◆ After her similarly New York-set Hannah Arendt, Margarethe von Trotta returns with Barbara Sukowa in The Misplaced World, only this time Katja Riemann takes the spotlight. As part-time singer Sophie (Riemann) heads across the Atlantic in search of her mother’s spitting image – opera singer Caterina Fabiani (Sukowa) – it’s a Chabrolesque tale of doppelgängers and lost identities. But with an uninspired script and clumsy camerawork, The Misplaced World makes for a painfully dated excavation of the skeletons of the past. MW STARTS MAY 7 Redirected (What the Fuck heißt Redirected) D: Emilis Velyvis (UK, Lithuania 2014) with Scot Williams, Gil Darnell, Vinnie Jones ◆◆ You’ll need a large dose of loo-level humour to help digest this romp that takes Michael (Williams), a guard in Her Majesty’s Royal Service, from a failed heist involving three con-mates from London to Lithuania, where he struggles gamely to assert his innocence whilst his friends indulge in Baltic barnyard frolicking and other forms of wayward partying. Will Eastern Europe ever lose the stigma of uncouth corruption? EL STARTS MAY 14 A Second Chance (En chance til) D: Susanne Bier (Denmark 2014) with Nikolaj Coster-Waldau, May Andersen ◆◆◆◆ Serena? Which Serena? Bier is back in form and in league with scriptwriter Anders Thomas Jensen (After the Marriage, In a Better World) in this harrowing portrait of policeman Andreas (Coster-Waldau), his wife Sanne (Andersen) and a family tragedy, which Andreas wants to make good at all costs. Not a word too much, nor a single redundant look clutter this bare-bones exploration of Bier’s beloved topic: the role of justice and guilt in a coincidental world. EL ALL FILMS ARE IN OV WITH GERMAN SUBTITLES UNLESS OTHERWISE STATED Reeder, a music producer and artist in his own right, was drawn to Berlin’s electronic pop and nascent punk scene when he came over from the UK in the late 1970s, making a name for himself amongst future icons like Nick Cave, Blixa Bargeld, Die Toten Hosen and many, many more. His documentary premiered at this year’s Berlinale and screens at our Exblicks event on May 30 (see page 33). The film is made up of previously unreleased material from film and TV. You’re the narrative thread, telling your own story. How did that come about? Originally Jörg Hoppe, one of the producers, was looking for someone to restore the music. Then he delved a bit into my background. The original idea was to make some groupie girl waltz us through the story and then he realised, like, wait a minute, here’s someone who was actually involved in the actual scene as a participant but also viewing it from the perspective of a foreigner in Berlin at that time. What was it like the first time, stepping into Berlin? It was like Manchester, actually. It was a rainy June evening, a depressive sort of ambience. In a sense, I felt really at home. The next day, I thought I better call my mum and let her know that I’ve arrived safely, so I’ll go and get some change for the phone. There was this bar on the corner of the street and there was a transvestite there and he was like: “Yes, darling, what do you want?” And I thought: I’m in Berlin! With this guy in a bar with bright red hair and a polka dot top on. You’d never see something like that on the streets of Manchester. And one thing led to another and I kind of like fell into this Berlin scene. Listen to the full interview on exberliner. com! “I was deemed subversive, obviously”By KEVIN CANERS MARK REEDER’s narrative of events and atmospheres during the pre-Wall decade is the backbone of B Movie: Lust and Sound in West-Berlin 1979-89. What was it about the city that made you want to stay? The fantastic music scene. Interesting, exciting people. And then, there was East Berlin. Nobody knew anything about East Berlin. All the punks and people who looked weird never went there because of the way they looked. Blixa? They’d never have let him in. I was able to conform to their image of what a conservative man could look like. Short hair, shirt and tie. Looked straight. You put on a secret gig there... A girl wrote to me from East Germany. A postcard. It must have taken about two weeks to get to me. And she said: “I’ll meet you at the Palast der Republik in the cocktail bar.” I was a bit wary about what this could be, but she actually just wanted to sound me out. We were sitting at a table drinking beer and this hippy in a Wrangler jacket and frizzy hair overheard us talking. He said: “I’ve got an electric guitar.” I asked, “Where d’you play it?” “At what’s known as a Blues-Messe.” A kind of gospel church thing where someone plays “Go Tell It on the Mountain” on a guitar. So I thought, “I’ll take Die Toten Hosen over.” There happened to be a band called Planlos who were going to do a gig in the church, so we kind of hijacked that. It was really small. Only like 50 people came. But it became this legendary thing in East Berlin because somebody had dared to do this. That was really invigorating and I was deemed subversive, obviously, by the East German authorities. “What’s his agenda? He’s obviously got something up his sleeve.” It sounds like the scene was starting to wane even before the Wall came down. What changed, exactly? Probably the fact that everyone tried to better themselves musically. Like Einstürzende Neubauten. Originally, they’d just go to a building site, grab what they could get and perform with it. Once they’d made an album, with Gareth Jones, it started to become more regimented. At gigs, they had to play the album. They had to practice that. It started to become more normalised. Started to go towards the coffee table. ■ 30 • MAY 2015
LOFT.DE FACEBOOK.COM/LOFTCONCERTS STARTS MAY 7 The Babadook D: Jennifer Kent (Australia 2014) with Essie Davis, Noah Wiseman CON: Ba-ba-boring ◆ While its coldly pristine photography pleases the eyes and the rare femaledriven narrative is very much to be appreciated, this insipid excuse of a horror film bores more than anything else. Yes, childrearing is tough and exhaustion could be the least agreeable of sensations, but a tired mother and petulant son do not make for a scary movie. In the course of the story, which weaves together the familiar haunted house setup and a frustrating case of ineffective parenting, we feel sympathetic toward our first overtaxed, then wrongly accused heroine. But fear – that trickiest of emotions to artificially encourage – remains elusive. There are jumpy moments (almost exclusively the result of sudden movements or loud noises) but the difference between such instant, knee-jerk reactions and the lingering, purely psychological response of dread should be clear. And so we wait for the poor woman to relax, the nasty kid to calm down, and the director to stop startling us with pop-ups or screams. But that’s pretty much it. The performance by Essie Davis is intense and technically sound, marking the progression of her character's unravelling with escalating force. But seen from the perspective of a genre film lover, it feels like a wasted effort in a fundamentally misguided attempt to terrorise. ZS I AM KLOOT 14.5. POSTBAHNHOF | 20H ANDREYA TRIANA 14.5. GRÜNER SALON | 20H HUDSON TAYLOR 20.5. BANG BANG CLUB | 20H HONNE 20.5. PRINCE CHARLES | 20H MANU DELAGO HANDMADE 21.5. BADEHAUS SZIMPLA | 20H ROCKY VOTOLATO 24.5. POSTBAHNHOF | 19:45H SEAN BONNETTE OF ANDREW JACKSON JIHAD 26.5. CASSIOPEIA | 20H SLOWLY ROLLING CAMERA 27.5. BADEHAUS SZIMPLA | 20H LIANNE LA HAVAS 28.5. GRÜNER SALON | 20H COASTS 31.5. MAGNET | 20H TICKETS: KOKA 36 (030) 611 013 13 ST. PAUL & THE BROKEN BONES 15.6. POSTBAHNHOF | 20H METZ 24.6. CASSIOPEIA | 21H BEATSTEAKS 3.7. WUHLHEIDE | 19H ZUSATZSHOW THÅSTRÖM 5.7. POSTBAHNHOF | 21H TIMBER TIMBRE 14.7. HEIMATHAFEN NEUKÖLLN | 21H THE CAT EMPIRE 17.10. HUXLEYS | 20H CARO EMERALD 3.11. COLUMBIAHALLE | 20H ANTILOPEN GANG 19.12. ASTRA | 20H PRO: Whose mind is it anyway? ◆◆◆ Worried about things that go bang in the night? You should be. Not the pagebound variety, the Babadook nursery spook of infantile fears with which young Samuel (Wiseman) terrorises single mother Amelia (Davis), insisting on nightly inspections of dark spaces before creeping into her bed and robbing her of what little sleep remains. No. It’s inner demons that can rise and destroy. Like all good monsters, they’re in the mind – and not just those of children. First-time director Kent hints as much when we learn early on that Amelia was the author of “oh, some children’s books” before she lost her husband in an accident on the way to the hospital for Samuel’s birth. Six years on, that violent tragedy and its unarticulated legacy has found darkness in Amelia – and in a terrible voracity that sucks mother and child into the cellar of unresolved trauma. Set largely in a house of blues and greys that reflect chillingly on a doomed family, Kent develops the Babadook as an amateur monster who moves with desperate crudeness before exploding into a metaphor for mind games that we ignore at our peril. Frightening in implication more than affect, The Babadook will throw its shadow over your dreams for longer than you might expect. EL 31
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Page 3 and 4: ISSUE 138, MAY 2015 SPECIAL: ADDICT
Page 5 and 6: Interview with a vampire The case f
Page 7 and 8: VERENA BRÜNING Best chairs for a g
Page 9 and 10: “It is tempting to label behaviou
Page 11 and 12: withdrawal symptoms and tolerance r
Page 13 and 14: DRUG-FREE The antiaddicts In the sh
Page 15 and 16: RASA URNIEZIUTE ticket. Tempel also
Page 17 and 18: ARTICLE PROFILE TAG PHOTO BY FRANCE
Page 19 and 20: tions, because, being so high all t
Page 21 and 22: JASON HARRELL members to beat the o
Page 23 and 24: SPOTLIGHT The men in the mirror An
Page 25 and 26: work addicts risk developing severe
Page 27 and 28: laws by paying out in chewing gum i
Page 29 and 30: Nick Cave, May 6 5 13 Confirmation
Page 31: STARTS MAY 7 The Water Diviner D: R
Page 35 and 36: XPOSED May 21-24 PRISCILLA: QUEEN O
Page 37 and 38: Wolfram Lotz: Lost in the Afghan ra
Page 39 and 40: What’s on MUSIC AND NIGHTLIFE The
Page 41 and 42: JOY WELLBOY 06.05. Berghain Kantine
Page 43 and 44: Ich will nicht nach Berlin Airing o
Page 45 and 46: eally breaking things down into jou
Page 47 and 48: The language school directory Find
Page 49 and 50: FASHION By JESSICA SALTZ ■ FASHIO
Page 51 and 52: Kala: Simply fish When a new Imbiss
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Page 55 and 56: ADVICE ask HANS-TORSTEN Hans-Torste
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Page 59 and 60: PROPAGANDA From Hitler’s first ri

Exberliner Issue 138, May 2015

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