berlin school movement
est. 2000s – now
The Berlin School Movement, also known as the Berliner Schule, of the 2000s can be seen as an evolution of the broader landscape of German cinema, with its roots tracing back to the 1990s. The movement originated in a post-reunification Germany, marked by societal changes and a shifting cultural and political landscape.
Origins of the Berlin School Movement
The fall of the Berlin Wall in 1989 and the subsequent reunification of East and West Germany led to a period of significant social and cultural transformation. Filmmakers of the Berlin School, in response to these changes, wanted to explore the complexities of the newly unified Germany and the impact of historical events on individual lives.
The Berlin School can be seen as a continuation of the German filmmaking tradition, drawing inspiration from earlier films and movements like the New German Cinema of the 1960s and 1970s, which included directors such as Rainer Werner Fassbinder, Werner Herzog, and Wim Wenders. The New German Cinema was known for its avant-garde, socially critical approach, and the Berlin School filmmakers drew on this legacy, while also incorporating elements of international art cinema.
Many filmmakers associated with the movement studied during the 1990s at the Deutsche Film und Fernsehakademie Berlin (DFFB), arguably the country’s most intellectual film school, and were taught by avant-garde and documentary filmmakers Harun Farocki and Hartmut Bitomsky. The film school environment provided a space for creative exploration and collaboration, contributing to the development of a distinct filmmaking style.
One of the seminal moments for the Berlin School was the release of Christian Petzold’s film “The State I Am In” in 2000. The film’s critical success highlighted the emerging talent within this movement and set the tone for the films that followed. “The State I Am In” dealt with themes of displacement and identity, using a restrained and realistic style that would become hallmarks of the Berlin School.
Characteristics of the Berlin School Movement
While not strictly defined by a set of rules or manifestos (like Dogme 95), films associated with the Berlin School share certain aesthetic and thematic elements. Their films often exhibit a minimalist approach to storytelling. The narrative structures are typically subdued, focusing on the everyday lives of characters. The movement tends to avoid traditional plot-driven elements in favor of a more contemplative storytelling, using long takes and moments of stillness as a stylistic choice.
The Berlin School frequently engages with social and political themes, reflecting a critical perspective on contemporary German society. Issues such as post-reunification challenges, societal dynamics, and historical legacies are commonly explored.
Many of the filmmakers strive to capture the search for new identities in a reunified nation, usually center on characters grappling with the challenges of adjustment amid societal transition. Interestingly, the majority of directors are from the former West, while many of the narratives focus on the Easterners who were more directly confronted by the collapse of their society.
Important Filmmakers and Films
As we already mentioned him, Christian Petzold is regarded as one of the key figures of the Berlin School. His work is known for its precise visual style and exploration of characters’ inner lives. Petzold is known for his minimalist and emotionally restrained filmmaking. His films often blend personal and historical narratives, reflecting on Germany’s past and present, and explore themes of identity, displacement, and the impact of historical and social forces on individuals. Some of the notable works include “Barbara” (2012), and “Phoenix” (2014).
Angela Schanelec’s films are known for their poetic, elliptical narratives and visual composition. Her work focuses on personal and familial relationships, depicted with a subtle and introspective approach. “The Dreamed Path” (2016) presents a complex narrative that intertwines the lives of two couples over several decades, exploring themes of love, loss, and memory.
While Maren Ade is sometimes considered to be on the fringes of the Berlin School, her films share many of the movement’s characteristics, particularly their focus on character-driven storytelling and social critique. The film “Everyone Else” (2009) garnered international acclaim for its intimate portrayal of a couple’s dynamics.
Legacy of the Berlin School Movement
The Berlin School has contributed to the diversification of German cinema, offering an alternative to more mainstream styles. Films associated with the movement gained international acclaim, contributing further to the global recognition of German cinema. Directors like Christian Petzold, Angela Schanelec, and others became fixtures at major film festivals like Berlin Film Festival, and their work received attention from critics and audiences worldwide.
It’s worth noting that the legacy of the Berlin School may continue to evolve. As with any artistic movement, its significance can be understood through ongoing critical analysis and examination of its continued relevance in the cultural and cinematic landscape.
Refer to the Listed Films for the recommended works associated with the movement. Also, check out the rest of the Film Movements on our website.