25th International Bremen Film Conference, May 5 – 8, 2021
Mind/Screen: Mental Illness and Film
For its anniversary, the film symposium commits itself to a long-time companion of the cinema: Mental illness has been accompanying cinema since its origins contributing to its topics and forms, widening its possibilities of expression and theory.
Medical disciplines determine mental illness by means of demarcation, pathologisation and heteronomy. Films are able to question these methods using an aesthetical perspective, they can get the psychic experience of being ill across and put it in manifold contexts. Mental illness defies physical representation thus confronting the filmmakers with a fundamental problem. Hence, it is not just the head that can be seen as the central place where mental illness occurs and develops its effectiveness, but also the cinema.
Within the conference, international experts and filmmakers explore in what way clinical and social illness discourses can be represented in films and in what way cinema can describe an aesthetic of mental illness. The focus is for one thing on the many ways of cinema to generate its own media-specific order of clinical patterns, and for the other on the relationship between the sick and the treatment person as a central setting, as well as the multi-dimensionality of depictions of diseases.
With international experts and filmmakers, the Symposium aims to explore how clinical and social discourses of mental illness are negotiated in film and how cinema can articulate the aesthetics of mental illness. Here the focus is on the means of cinema to generate its own, media-specific order of illness portrayals, further on the relationship between the sick and the therapists as a central medical setting, as well as on the multi-dimensionality of illness representations.
National premiere: PSYCHOSIS IN STOCKHOLM
| Additional on-site screening planned for Wed 5 May, 8 pm
| Psychosis in Stockholm, S 2020, director: Maria Bäck, 101 mins., OV with German subtitles
| With a pre-recorded film talk with the director
Mother and daughter travel to the Swedish capital to celebrate the girl’s 14th birthday. On the train ride, the teenage girl notices conspicuous behaviour in her mother and already foresees that a new manic episode is imminent. The two stick to their plans but the mother’s episodes intensify until she is admitted to a psychiatric ward. Left to her own devices the girl explores the big city and her own independence.
In this film, Maria Bäck speaks of her own youth which has been shaped by her mother’s bipolar phases since childhood. She illuminated her own experiences with her mother already in her 2014 autobiographical short documentary Mother Is God, her graduation project at the National Film School of Denmark. Now she translates it into a fictionalised form, whose forays – episodically and openly told – stroll through the friendly, bright and shimmering city like the teenage girl herself. The unconventional narrative perspective in Psychosisin Stockholm explores how to combine distance and closeness when filming an extremely personal topic. She creates a sensitive coming-of-age drama about an incomparable and unconditional mother-daughter love.
The 2020 Gothenburg Film Festival’s opener, the film has been waiting for its international cinema release and will celebrate its German premiere at the Bremen Film Conference.
Film for keynote 1: COMPLAINTS OF A DUTIFUL DAUGHTER
| Online streaming only
| USA 1994, director: Deborah Hoffmann, 44 mins., OV
| With introduction by Robin Curtis (requested)
Director Deborah Hoffmann explores her mother’s Alzheimer’s disease and her own frustrations that arise from it. Complaints of a Dutiful Daughter follows two simultaneous developments: the various stages of the increasingly disoriented mother and the daughter’s attempts to understand and help her mother. Hoffmann’s sensitive, humorous and never disrespectful portrayal of the emergence of a new mother-daughter relationship provides an insight into the system of memory, meaning and identity.
Film for keynote 1: FIRST COUSIN ONCE REMOVED
| On-site screening only, planned for Wed 5 May, 6 pm
| USA 2012, director: Alan Berliner, 78 mins., OV with German subtitles
In First Cousin Once Removed, Alan Berliner draws a portrait of the poet and professor Edwin Honig who in his last years was affected with Alzheimer’s disease. Honig is the director’s cousin once removed and has also been his role model and mentor for a long time. Berliner follows the course of the disease over the years, but does not assemble a chronology from the film recordings, but a poetic synopsis of most varied stages of the disease and aging process. In this kaleidoscope of pictures, Honig becomes visible as a complex and highly ambivalent person: as a successful intellectual, as a problematic family person and as an old man with no memory.
Film for panel 1: WALTZ WITH BASHIR
| Additional on-site screening planned for Fri 7 May, 8 pm
| Vals im Bashir, ISR/F/D 2008, director: Ari Folman, 90 mins., Hebrew OV with German subtitles
| With introduction by Markus Kügle (requested)
A former Israeli soldier dreams every night that he is being chased by a dog pack. When he confides in a friend, both men see a connection with their experiences in the First Lebanon War. The animated documentary approaches war trauma with fascinating images and powerful music. The episodically narrated film is based on interviews that Folman conducted with old war comrades. These were re-enacted and animated in order to approach the events of the past beyond supposedly factual objectivity.
Trigger warning: depiction of war crimes.
In his presentation, Markus Kügle asks to what extent the film animation technique can function as an aesthetic strategy for appropriating mental illness.
Film for panel 2: DIALOGUES WITH MADWOMEN
| Additional on-site screening planned for Thu 6 May, 6 pm
| USA 1994, director: Allie Light, 90 mins., OV (online) / 16mm, OV with German subtitles (on site)
| With introduction by Janin Tscheschel
Seven women from San Francisco, including the filmmaker, talk about their experiences with manic depression (bipolar disorder), multiple personality disorder (dissociative identity disorder) and schizophrenia, about their creativity and their path of recovery. Open, humorous and with self-ironic distance, they portray their madness as an exit from a world that has become too threatening for them. The film exposes the brutality of family systems and psychiatric institutions and questions concepts of normality and illness. Using interview scenes, home videos, archive material and re-enactment, it paints a complex picture of “madness” as an alternative to stigmatising depictions of mental disorders.
The film received the Emmy Award “as an outstanding interview film of 1994.”
Trigger warning: discussions about sexual violence and child abuse.
In their lecture, Janin Tscheschel and Britta Hartmann discuss the aesthetic strategies of the documentary film to allow an experience of crazy inner states as an artistic and at the same time self-therapeutic, self-empowering process.
Film for panel 3: LITTLE JOE
| Additional on-site screening planned for Thu 6 May, 8 pm
| AT / UK / D 2019, director: Jessica Hausner, 105 mins., OV with German subtitle
| With a pre-recorded film talk with the director and Sabrina Gärtner
The botanist Alice is working on a new flower breed with therapeutic effects that will make people happy. When Alice secretly brings such a flower home for her son, she ignores the warnings of her colleague Ella and firmly believes in the positive effects of her creation. But as people around them show behavioural changes, the signs increase that the deep red flower might not only bring luck. With intense colours and calm settings, Jessica Hausner stages a paranoia story with borrowings from the science fiction genre which she transfers into her own style.
In her presentation, Sabrina Gärtner analyses the film characters and questions the pursuit of mental health.
Silent film with live music: A PAGE OF MADNESS
| On-site screening only, planned for Sat 8 May, 8 pm
| Kurutta Ippeiji, J 1926/72, director: Kinugasa Teinosuke, 60 mins.
| With live music accompaniment by David Eßer
| With introduction by Tobias Dietrich
An old seaman takes a concierge job in a rural mental hospital to take care of his interned wife. Their daughter’s engagement announcement triggers scraps of memories and a vortex of thoughts within the mother – and worries about the prejudices of the family of the groom within the father. In his unsuccessful attempts to free his wife, he has to face the chief doctor and other inmates. When he assumes to recognise the future son-in-law in one of them, he himself begins to doubt his perception.
“A work that has advanced a step ahead of Dr. Caligari,” the film critics read already in 1926. The film was made by the Japanese avant-garde group Shinkankaku-ha, the school of new perception, and masterfully combines the script of Kawabata Yasunari (1968 Nobel Prize for Literature) with innovative camera technology and Eiko Minami’s dance talent. Lost for a long time, the film has been rediscovered in 1972 and only survived as a fragment. Nonetheless, it impressively illustrates the artist’s claim to combine modern narration and innovative play of forms and light and to overcome the boundaries between reality and folly.
David Eßer from Hamburg has been active in various projects in Germany’s musical landscape for over ten years. By setting the film to music using the principle of sound synthesis, he enters into a dialogue with the synthesiser and develops his own vocabulary that crosses the possibilities of the linguistic and visual.