The European Parliament's film prize: great art, worrying politics
In Berlin, like in all EU capitals, three movies were shown to the public last week: the finalists of the European Parliament’s LUX film prize(you can see the trailers on the website). What does the European Parliament have to do with cinema? Not much, but cinema is very important in European culture, and it is a “good” that cannot be left to the market, as the trade liberalisation would like. No European country can compete, in terms of market size, with American producers: languages are natural barriers. This is why we would need, for a level playing ground, quotas on the number of American movies on TV, or at least, strong public support to European cinema. And the best way to do it is to create synergies among the different European countries, increasing mutual interest.
The European Parliament’s prize privileges, in particular, films about multicultural dialogue that are to some extent multilingual, to get the public more used to hearing different speaks in the cinema – just as it happens now in European streets, after all. It will also produce 27 versions of the three shortlisted films, with the subtitles for each EU language. Indeed multilinguism can be very powerful in cinema, even more than in novels. I loved the recent idea by Godard to present a multilingual movie (“Film socialisme”) with unintelligible subtitles at the last Cannes, for the anger of monolingual Anglophone reporters – a very good point, but in the meanwhile subtitles are already one step further than dubbing, monolinguism and English domination.
This year, the festival’s topic was particularly interesting for this blog: migration. The three finalists were the Belgian Illégal (by Masset-Depasse), the Greek “Akadimia Platonos” (by Tsitos) and the German “Die Fremde” (by Aladag). No space for three reviews here, but let’s just say that they are three masterpieces, making full justice on one clear superiority of European cinema above the American: the capacity to be about real life, instead of mere evasion from it. The three stories are very different and deserve to be summarised.
“Illégal” is about a Russian woman living illegally in Belgium with her 10-yo son. One day is she found without documents and interned. To avoid expulsion, she refuses to reveal her identity and origin, knowing that after six months they will have to release her, and she will be able to reunite with her son. But life in a detention centre alongside other similarly desperate souls proves much more inhuman than she expects – can she endure what amounts to psychological torture for so long? Those who appreciate, and can stomach, tough claustrophobic movies about prisons (for instance two recent worthy European additions to the genre: “Hunger” by Steve McQueen, on Northern Ireland, and “Un prophète” by Jacques Audiard, on France), this is for you. I personally found the choice of a well-educated educated Russian as victim slightly over-the-top: if her desperate refusal to return to Russia is not totally implausible (she wants the son to stay, and the son will need her), it feels like a trick to get the viewers’ sympathy, as if more “average” illegal immigrants were less deserving. But indeed it is another powerful denunciation of the inhumane treatment of “illegal” immigrants.
The second movie is, instead, extremely funny. It portrays the middle-aged Stevros, spending day after day sitting outside his kiosk with his three friends on a little Athene’s square, drinking coffee (the picture of the four make a perfect image of the state of the Greek economy and of Greek gender relations). With no much else to do, a privileged discussion topic is commenting on the Albanian and Chinese workers (who of them works more? why do they do it?), and rewarding their “Patriot” dog for barking at any Albanian passing by. But one day, Stevros’s old mother, who sits equally motionless nearby, stands up and hugs an Albanian worker, speaking to him in Albanian and calling him her son. It appears that she had left him behind in Albania, when fleeing with newborn Stevros… Poor Stevros tries to minimise the event and to confirm, first of all to himself, his Hellenicity ("ok, my mother speaks Albanian, but it's because she had a heart attack"), but his friends start doubting he is still one of them… The first hour makes unstoppable laughing. After then, the joke starts running out, and some sentimentalism creeps him, but overall the film is a very good way for Europe to laugh at itself (not just Greeks; Italians too saw the Albanians as the source of all evils in the 1990s, but now that Albanians have integrated so well into Italy, they shifted their target to the Romanians; to some extent, all other European countries have their favourite targets, be it Moroccans, Pakistanis, Turks or Russians: there could be 26 EU remakes of this movie).
The final movie, “Die Fremde” (The stranger), tells of a Turkish young woman from Berlin, escaping with her little son from her violent husband in Turkey, searching refuge with her family in Berlin, but being then rejected by them too for bring shame on the house. In terms of structure, it is the most coherent and accomplished of the three, and the Kreuzberg district is very well portrayed. It dramatically says what I have heard often in Berlin: "I am not German for the Germans, I am not Turkish for the Turks".
The European Parliament chose the winner this week. As MEPs do not know anything about cinema (and some do not know anything about anything, as the UKIP Godfrey Bloom who yesterday was ejected for shouting “ein Volk, ein Reich, ein Führer"), I expected their choice to be not on artistic merit, but on political calculation. Leftwingers should prefer the social denunciation of “Illégal”; liberals should like the ridiculing of the bigot masses in “Akadimia Platonos”; and the populist Right would fall for the topic of Muslim honour killing in “Die Fremde”. But the Christian- and social-democrats, i.e. the largest groups? Eventually, “Die Fremde” won, which is a sad political sign about the feelings in the European Parliament. For MEPs, honour killing is a more urgent problem than the human treatment of undocumented migrants and of xenophobia - and probably just because for honour killing they can blame somebody else. I wish "Die Fremde" had won the artistic prize it deserves, instead of a political one.