记录了联合国第四任秘书长同时也是奥地利总统库尔特·瓦尔德海姆的生平。他曾因为与纳粹交好而在世界范围内饱受争议。

It’s not uncommon for a film to have a moving love story at its core. Yet this particular set-up is unusual. The lovers here are Ingebo rg Bachmann and Paul Celan, both important representatives of post-war German-language poetry. The story of the relationship between the Austrian and the Jew from Czernowitz is told through their nearly 20-year correspondence (1948–1967). Or, more precisely, by a young woman and a young man reading from their letters in a studio in Vienna’s venerable Funkhaus. You hear longing, accusations, doubts, expressions of intimacy and alienation, news of separations and lengthy silences. You sense their struggle for words. What these words trigger can be seen in the faces of those reading them out. It’s not only the text but also its effects that are being performed and occasionally discussed. The intensity of the relationship drama is generated via the fascinating language, the actors’ presence, and the camerawork and editing, which break up the dialogue via changing perspectives and shot sizes. Chats during cigarette breaks, in the stairwell and the canteen, lead into the present. History, which was stronger than love, never slips out of focus. (berlinale 2016)
*****
In 1948 Paul Celan, a concentration camp survivor and esteemed post-war poet, met Ingeborg Bachmann, a fellow writer whose father was a Nazi. By 1971, Celan had committed suicide, before which the erstwhile lovers met on just one more occasion. However, they had amassed almost twenty years of long-distance correspondence. Inspired by fact and fiction, where document and literature intersect in the letters, Ruth Beckermann and writing partner Ina Hartwig (a literary agent) embarked on a screenplay based on the exchanges. The result is a cross between observational documentary and essay film, with a deceptively simple approach: two actors (Plaschg and Rupp) read the letters in a recording studio. Applying a documentarian’s intuition to this setup, Beckermann keeps her camera rolling between readings and into cigarette breaks. Capturing Plaschg and Rupp’s palpable on-screen chemistry, Beckermann succeeds in evoking a contemporary ambulatory romance from the historical source material. (Jemma Desai)

「无论何物，出于自然的创造，都是好的，一经人手，便弄坏了。」不管有否读过《爱弥儿》，当镜头对准尚未被「污染」的孩子，随着和师长的互动、孩子间的交流，观众可会领略纯真的无限可能？露芙柏克曼继《好色情荼毒室》再施展直接图像魔法，被拍者不再排排坐，而是跳跳扎，出入各式课堂——算术、劳作、宗教、游泳、性教育……不一而足。尽管教育资源严重不足，在老师悉心培育下，廿五名多种族新移民小学生的三个学年，充分彰示成长何谓，教化何为。

Images of Egypt: prolonged tracking shots through the streets of Cairo, cafes, bazars, hotels and gardens, footage of the desert and the sea. Ruth Beckermann is on the trail of Empress Elisabeth of Austria ("Sissi"), who travelled the world restlessly and was in Egypt incognito one hundred years earlier. Since Elisabeth refused to be photographed after the age of 31, she inspires projections and fantasies.