Creators whose name has been modified to become a californium, such as Orwell, Sade, or Machiavelli, as well as a writer who Agnieszka Holland (Warsaw, 1948) dedication ambitious and fragmented biographical film: Kafka.
Ahead of the more conventional plan he adopted in his previous foray into the genre, he focused on Beethoven, a Polish filmmaker, a cutting edge in Franz Kafkawhich joins theaters on January 30, por an openly experimental fireplace.
Film break the timeline and close the wallrepresents collages visual, alternates black and white with color, incorporates documentary material about Kafka’s museum and coffins, and documentaries that examine the author’s character today Processand skip between times to focus on your lyrics.
Presented in competition in the official section of the last year of the festival in San Sebastian, the work is built in a faithful tribute to the iconoclastic profession of its protagonistwhich allows us to dialogue about the socio-economic grievances of XX principles. century with a real touristic mercantilization of his name and his legacy.
Please. En Copying Beethoven (2006) chose a more classic biographical structure, while adopting a highly experimental focus. What is the reason for this change in narrative style?
Response. He believed that the personality and life of Franz Kafka did not fit into a traditional and chronological biographical narrative, and that he wanted to try a different view of the writer. I felt free enough to do something it wasn’t a biographical film classical and linear.
»More than the final image, the film is a process, a presentation of the life and work of the Polish writer. Here you start from specific pieces and different stylistic elements and points of view. It was very fun and very inspiring to do, but all the time we were worried that in the end all the material would fit. So now it’s up to the public whether we like it.
P. Part of the film is a dramatization of the story In a prison colony. Why did you choose to look at this particular text and how would it contribute to Kafka’s overall portrait?
R. I wanted to dramatize one of his stories. Modified in 1980 Process for Polish TV and that is enough for you to be satisfied with the result. But in this case, I didn’t feel like inserting excerpts of the novella, so I chose a short text.
Idan Weiss plays Franz Kafka
P. Why is this text?
R. After World War II, the prison colony was transformed into an iconic text that showed Kafka as a prophet, someone who foresaw the dehumanization of society, the gas chambers, and the Holocaust. It is an essential text for understanding the importance of this writer, not only in the literary sphere, but in the world in general.
»I was also attracted to the site to edit one of the first related. When it was published, the public reaction was extreme: I have people who are deeply disturbed and amazedand others full of admiration for your worth. I wanted to evoke the same feeling in the viewer.
did he want
P. The film was set at the Puesta de Largo in San Sebastian and was screened abroad in various countries. Do you know what happened to him?
R. When we show on TV the first rally and the major funds that financed the film, some of them responded by saying it was too graphic; others who would find it too broad will tend to eliminate scenes or shorten them. This is exactly the kind of reaction he was striving for, and which Kafka, in his own way, was also striving for.
P. Was Kafka an alborotador?
R. Unlike Arthur Rimbaud, the provocateur born against the boom who was portrayed in Life on the edge of possibilities (1995), Kafka wanted to return to the world. But at the same time, what I saw and what I heard took a completely unknown direction: a direction in which there were no easy answers, or no answers at all.
»How was it a sometimes timid conformist and an incredibly talented revolutionary. And that’s something I wanted to touch on in some way.
P. In some sections, the film adopts a documentary format, with characters such as the wife, the doctor, the father, and Kafka’s father speaking directly to the camera as a witness. What was the thinking that went into this election?
R. This comes from fake documents. I’m not the first to put this practically into fiction. We have included some ambitious TV productions that have worked with this success. For example, House of cards (Beau Willimon, 2013-2018), a series where he directed some episodes. Quiz phew when the character first turns around the camera in the conventional series. So I knew it could work.
»One of the worst things for me is the constant transfer of information, something that got worse when we talked about biographical film. Information carries a lot of weight and you need to dramatize itso much narrative energy goes into focusing and directing these givens.
Franz Kafka on film
P. How are you handling this informative topic?
R. I wouldn’t want to waste my time with her; I wanted to show the imaginary world better. Information is conveyed through different points of view, which also shows the other characters and his relationship with Franz Kafka. If everyone wants it in some way, everyone wants the best for him and at the same time feels enormous impotence because you can’t help him
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