Sunday, 10 March 2019

Ödenwaldstetten (1964) Peter Nestler

This is a magnificient movie! „Ödenwaldstetten” features dialect-colored peasant voices, which so much differ from the standardized German articulate speaker's voice. There is so much reality in the images! Non-symbolic connections between the languages through which the town’s folks are presented, and their work and their world. One single sentence accompanying images of sweeping town’s folk: "You only sweep on Saturday so that it looks clean on Sunday", shortly after shots of Jewish grave stones and relentless sound-image entanglements, which locate the presence of the Holocaust in the German Swabian Alb of the sixties. This is not a cynical punch line, but a metaphor that presents itself to the camera as if it were by itself. Like the final shots and the sentences they accompany: „One nearly forgot all those things from times past, and the war. There has been something new all of the time. What belongs to the past has been mowed.” - lohmann 

A film by Peter Nestler und Kurt Ulrich Sound: Klaus Schumacher Narrator: Karl Ebert Music: Dieter Süverkrüp Production: Süddeutscher Rundfunk (SDR) Stuttgart Portrait of a small south German village and its residents in the early sixties. Rural culture is undergoing a transformation caused by the intrusion of the industrial world. Gestures at work and words of its inhabitants. 

"COUNTER (HI)STORIES" From the start, Nestler's films attest how an observational description of reality can become an authentic art form. He consistently refuses to comply with the insistence of television editors and directors to provide explanatory comments of the pictures through neutral narration. Nestler insists on leaving things and testimonies of people standing side by side before the camera. But one who violates the unwritten policy conditions that come along as formal laws of the medium (motto: "people will not understand it...") will be placed on the index. So he never became a TV reporter. In March 2007 he was dedicated a retrospective at the Paris Cinéma du réel documentary film festival at the Centre Pompidou for this. "My first films in the early 60s (that weren't 'political') contained something that was irritating, disturbing the peace, especially in the films Mülheim (Ruhr), Ödenwaldstetten (both 1964) and Von Griechenland (1965). I was cut off the money supply, and so I moved to Sweden", thus Nestler 1998 laconically. from ray Filmmagazin

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