DEUTSCHLAND 09

Germany, 2009, 140 minutes, Colour.
Thirteen directors.

Of course, it is impossible to offer a definitive film on contemporary Germany. With the 2008 credit crash developed while the film was in post-production, it was finished at the end of the Bush era and the beginning of the presidency of Obama.

However, an interim report is always useful – and that is what the film does. 13 different directors have contributed their own idiosyncratic viewpoints and visual visions that are never less than stimulating. Some make us laugh and it is a nice and surprising reminder how laughter enables learning. Some are ironic, sometimes stating the obvious but offering back-up images that have their own value. Some are didactic, serious in terms of German heritage and democracy. A couple are frightening, especially in the current era of terror.

Everybody's favourite is probably Joshua where Jewish director, Dani Levy interviews a number of morose Germans in the street and then goes to a psychiatrist (humorous dialogue here) who gives a prescription that will turn the world optimistic. This leads to funny scenes of unexpected courtesy, dancing in the streets, drivers polite after a crash. Then the director's little son, Joshua, takes flight. Security guards frisk Joshua when he lands in the middle of a board meeting. He then flies into a group of Neo-Nazis? who hail the child as the new Fuehrer. Cleverly absurd and funny.

Another funny story focuses on the German pornographic culture, an interview with the Persian migrant proprietor of the Bar Onyx, a sleazy club in a dark street. The proprietor salutes the German people for allowing him to stay in the country. The behaviour he describes is disgusting. The Iranian plays it straight which ironically highlights realities and society double standards.

On the war on terror theme, Fateh Akin offers re-enactment of an interview with a Turk released from Guantanomo. A story of the arrest of an innocent lecturer as part of a terror prevention plan by authorities is alarming, as is the detail of the amount of surveillance. The health system, standing as a symbol of the ailing economic system, is treated as a farce in 'Sick House'. Tom Tykwer makes his comment on globalisation and commerce and travel fatigue where the images of the same hotels, shops, and Starbucks everywhere in the world make plenty of points.

This is a film which, of course, could be re-made every year. And, it raises the interesting thought: what would such a film be like were it made in any other country you would like to name.

1.The quality of the portmanteau film? The variety of directors and their reputation?

2.The image of 21st century Germany, the facts, attitudes, critique, the areas of concern: surveillance by government authorities, the loss of heritage, democracy, family, children, neo-Nazis, health and the economy, globetrotting and globalisation?

3.The short running time of each film and their effectiveness?

4.The First Day.
Directed by Angela Schanelec.
Ten frames, the city, people getting up, a kitchen, a phone call, the hospital, buses, cars, trains in the distance? Framed shots? The musical score? The impression of Germany?

5.Joshua.
Directed by Dani Levy.
Levy and the range of interviews, those against Germany, those who were ignorant, memories of World War Two and defeat, Germany as super? Levy and his going to the psychiatrist, the psychiatrist jokes, the Jewish background? The prescription? Levy taking it, the change in optimism in the street, people greeting one another, dancing in the street, politeness after the car crash? Joshua and playing, all the parents with the swings? Joshua wanting to fly, his father pursuing him, crash-landing in the boardroom, the security guards coming, the arrest, Joshua and his father in jail, Joshua flying to the neo-Nazis, their singing, young people, seeing him as a saviour? The ironies? The range of jokes – and the cab driver reading Salman Rushdie?

6.Democratic Conversation.
Directed by Isabelle Stever.
The children, the talk, the teacher, Marco and his not wanting to play dodge ball, the discussions, the various points of view, the solutions, the votes, the factions? The children and the image of democracy?

7.Fraktur.
Josef Bierbichler.
Directed by Hans Steinbichler.
The newspaper, the new layout, Frankfurt and its newspapers, the tradition, the photo, the owner being upset, his coffee, spilling it, the phone calls, his range of trucks, his buying all the papers at the kiosk, getting all the truckies to buy the papers, collect them, his passing the truck and trying to talk to the driver, the gathering of all the papers and burning them? His going to the meeting, forty-two years of the paper, his anticommunist stance about the photo, the gun, the shooting? The new picture on the cover – and the owner’s back?

8.Schieflage.
Directed by Sylke Enders.
The discussion about protest, the lecture on gentrification of the city? The sudden arrest at home? The family reaction? The interrogation of the lecturer? His bewilderment? The lawyer and mass surveillance? The authorities, the idea for prevention of terrorism? Judging the operation a success? The man, his wife and her questions, weeping? The final information about surveillance and terrorism?

9.Murat Kurnaz.
Directed by Fatih Akin.
The background of Guantanamo Bay, the re-enactment of the interview, the background of terrorism, the arrest of Kurnaz? His book? Turkish background, born in Germany? Torture? His criticisms of the German officials, the government not helping, his unwillingness to forgive? His survival, the reaction of his parents? The rights of a German citizen?

10.Der Weg.
Directed by Dominik Graf.
The architectural heritage of the city, the visuals of the city, the themes of the past, the inheritance, the changing styles, modernisation? For and against?

11.Sick House.
Directed by Wolfgang Becker.
The satire, health as an image of the economy, the range of patients, the doctors and nurses, the surgery, the intern? Searching for the doctor playing golf? The operation and laughter? The language of the economy? The doctor and nurse, the interviewees, the fat man? The television panel, the argument? Searching the basement for the doctor? The effectiveness of this kind of satire?

12.Séance.
Directed by Kristoff Hockhausler.
The German colony on the moon, the lost culture, the science fiction atmosphere, the social comment?

13.Global Travel.
Benno Furmann, Eva Habermann.
Directed by Tom Tikwer.
The executive, the detail of his life, suitcases, the taxis, working on the computer everywhere, his tickets, the airports, the plane, the flight attendant and her courtesy, meeting people and his being met at the airport, the meetings and the discussions, the global shops, his continual refuge in Starbuck’s, staying at the Marriott, taking all the toiletries, the television and the pornographic films? His going home – and the image of his wife?

14.Rameses.
Directed by Romuald Karmakar.
The interview with the Iranian, German ordinary life, polite? The dark side of society? The men and their being directed to the gay bar? The photos in the club, the old man and his experience, sitting on the sofa, his elaboration of disgusting behaviour, his wanting to go back to Persia, his saluting the Germans for giving him the opportunity to make his living?

15.The Soup Kitchen.
Directed by Hans Weingartner.
The rich family, the petulant children, the birthday party, the moodiness of the child and the donkey ride? The contrast with the soup kitchen, the mother, the young boy and his plight, getting the food for home? The character of the cook, his helping out, the discussions? A comment on the rich and poor?

16.Die Unvollendete.
directed by Nicolette Krebitz.
The girl, her age, the discussions about the soul? Susan Sonntag appearing, Ulrike Meinhoff? The arguments, the discussion, the dance? The feminist perspective for Germany in the 21st century?

17.The overall effect and cumulative impact of these stories? Transition stories – a sequel could be made the following year?