berlinale: ichijiku no kao – more kaori

Berlinalebaer_4
Berlinale post-film discussion

I was at the Delphi yesterday for Ichijiku no kao. Last screening: Sun 18 Feb @ Cubix, online tickets

I tend to avoid Charlottenburg at all costs, unless an unusually good concert passes through the jazz spot underneath the Delphi at Quasimodo or some visitors insist on staying out there. The screening gave me an excuse to check out a historic landmark (de) in an area I don’t frequent that often. The Delphi audience arrived early and packed into the small lobby. Since I have no competition or big-name films on the schedule, I was pretty surprised and worried about getting belly-jostled in the crowd. Luckily the only jostling going on was from the inside out, as the little one is slowly depleting all of the iron I have to give.   

This made my second day in a row at a Kaori Momoi event. A bit less eccentric and more toned down than the night before, where it was cleared up that she’s not a geisha but indeed an actress. A director as well.

After the film, there was a proper discussion. So far, I’d seen what I
call French TV-style (a la Thierry Ardisson) moderation. This involves
a long extended description documenting the interviewee’s CV,
accomplishments, what the person ate for dinner, and ends with a yes or
no question. This type of moderator tends to ask if there are any
questions from the audience after taking up most of the time. If no one
raises a hand in the millisecond time allowance, we get a "Thanks for
coming!" and shooed out of the theater for the next screening. On Sunday,
it was the Biolek and friends show. No participation was expected. Most
likely because someone would have complained about the food.

It was a nice change to have the director present and have time for audience
members to ask questions. Momoi talked about her desire to create a
film based on the accumulation of the now, present moments out of the
routine of daily life centered around this bizarre family/house/tree.
The film was chock full of poignant visuals, meticulously arranged
tableaux, bright colors and patterns, and even an animation of angry
ants cursing at each other. An amusing, enjoyable yet somehow predominately visual
pleasure.

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