Three young Georgians have to clean a castle in Berlin, where a German armament manufacturer’s collection of contemporary art is being set up for an exhibition. Of course, the proletariat isn’t welcome at the opening party and the three protagonists are banished to a small servants’ room in the attic. Downstairs, however, a splendid buffet attracts them – so why not just ignore the unfair prohibition and cross the demarcation line of class society? Didn’t the French Revolution start for a piece of cake, anyway? Telling each other unlikely stories ranging from an adventure of Saint Francis to a spiritualistic séance in the Soviet Union, the three protagonists try to find an answer to this question: Can class relations be overcome, when all bequeathed stories say they can’t? Besides that, they have to struggle with obstinate clouds, neo-liberal working conditions, apocalyptic petty bourgeois and the agents of a confusing late capitalist conspiracy, which they’ll all defeat with a laziness one must call messianic. A proletarian winter’s tale, so to speak.
- Natia Bakhtadze
- Sandro Koberidze
- Ilia Korkashvili
- Lars Rudolph
- Katja Weilandt
- Christoph Förster
- Julian Radlmaier
- Markus Koob
- Julian Radlmaier
Hope for cinema!
Bold, symbolic, political cinema. With a brechtian attitude and marxist vocabulary. Ironic and colourful, but also unwieldy and theatrical. Totally different from the German cinema of the last Decade.
A true fairy tale the author of which succeeds to ask some actual and some eternal questions about the world, class struggle, neoconservatism, the return of reactionary rhetorics and the discreditation of leftist ideas. Surprisingly mature but with a youthful freshness. Between Straub, Athina Rachel Tsangari and Monty Python's Flying Circus.
In a very interesting way, the film constructs an idiosyncratic cinematic space – somewhere between the asceticism of Straub and the playfulness of Iosseliani. A modern leftist cinema.
A PROLETARIAN WINTER'S TALE has a lot to do with Brecht and his conception of the folk play. In this regard, one must think of the anarchistic humour of Liesl Karlstadt and Karl Valentin on the one hand, and, on the other hand, of that vivid abstract dream called MACHORKA-MUFF, which stands at the beginning of the oeuvre of Danièle Huillet and Jean-Marie Straub. The result is funny, proudly dialectic, simple but full of unexpected excentricities. And amdist all that: a trio looking so defiantly melancholic as if it came out of an early Kaurismäki.
Julian Radlmaier(1984, Germany) studied Film and Art History in Berlin and Paris and then worked as an assistant director for Werner Schroeter. He has translated and edited several writings by the French philosopher Jacques Rancière. His films, including A SPECTRE IS HAUNTING EUROPE (2013), A PROLETARIAN WINTER'S TALE (2014) have screened at international film festivals such as Berlinale, Viennale and IFFR. For his feature SELF-CRITICISM OF A BOURGEOIS DOG he received the German Film Critics' Award for Best First Feature of the year 2017.