Displaying items by tag: Leonie Benesch

SEPTEMBER 5

Germany/US, 2024, 95 minutes, Colour.

Peter Sarsgaard, John Magaro, Ben Chaplin, Leonie Benesch, Zinedine Soualem, Georgina Rich, Corey Johnson, Marcus Rutherford, Benjamin Walker.

Directed by Tim Fehlbaum.

September 5,1972 was a significant date for terrorism in the 20^th century, the Munich Olympic Games, the attack on the Israeli team in the Olympic village, the terrorists, the transition to the airport, the deaths.

The theme was taken up by the American telemovie already in 1976, 21 Hours at Munich with William Holden as the German police chief. Documentary maker, Kevin MacDonald, won the Oscar, 1999, for One Day in September, interviews with many participants, including the last terrorist survivor, Jamal Al Gashey. Steven Spielberg directed a dramatic recreation of the covert operation to eliminate all involved, Munich, 2005.

This film has a different focus, the television media challenged by the events happening in real life and actual time. It is noted that this was the first International satellite linking televising a world event, more people watching the Games than the moon landing three years earlier.

While the drama does focus on the Israeli team, the attack, the terrorists, the tensions, the audience is taken into the ABC production area, the personnel involved, various responsibilities, directing, camera choices, the need for translation from the German for the Americans. Veteran journalist Peter Jennings, his young days, was inside the Olympic village. And the connection was with television host, Jim McKay – and the film using a great deal of footage of his actual commentary.

Focus is on the technical aspects, the cameras, the close proximity to the village, getting cameras into the village, confrontations by the German police not used to this kind of terrorist situation, incoming information, sometimes accurate, ultimately, at first from  the airport, not accurate at all, and the responsibility of the executives of what was to go to air or not. And, the initial dilemma, should commercial television be screening live-action killings.

Television reporting footage has developed substantially in the succeeding half-century. But, this is an opportunity to go back, to learn about the past, television possibilities and developments, and, in the light of 21^st-century terrorism, especially in Israel, events in the Gaza Strip, Lebanon, to be continually alert.

1. The date, 1972, the Munich Olympic Games, the terrorist attack, the disaster, the role of the media, world communication?
2. The focus on ABC television, the studio, the technology, the cameras, the editing, the challenge, the first international networking, the studio opposite the Olympic village, the building with the Israeli athletes? The pace of the production work?
3. Audience familiarity with the situation, the terrorists, the attack on the Israeli team, the initial deaths, the masked terrorists, the transfer to the airport, the initial hopes, the deaths of everyone?
4. The technical effectiveness of this film, the personnel in the studio, the work, times and demands, decisions, positions of cameras, editing and focus, sending the camera personnel out, the police cordons, getting through? Peter Jennings and his position, inside the village, connecting with him? The use of the material from Jim McKay from the time? The connections, his commentary, sense of urgency?
5. The importance of Marianne Gebhardt, language, translation, the German experience, memories of the war, the Berlin Olympics, the action, translating, going out and making contacts, reporting in, giving information?
6. The key central figures in the studio, Arledge in charge, his presence, decisions, intervening, responsibilities, moral issues, issues for the public and the audience? Geoff, (and the actual Geoff being a producer on this film), experience, having to take responsibilities, the timing, the discussions with Marvin? The issue of filming terrorists killing people on live television? The responsibility to the Israelis, to the public? , His French background, criticisms? The African-American reporter, posing as an athlete, moving in and out with the film? The American national athlete, the interview with his father? Including the interview with the athlete? The pressure on Geoff, succeeding in the programming, his decisions, clash with Marvin, the information that the athletes were safe, then the contrasting news?
7. The film not focusing so directly on the athletes, those killed, the terrorists? The glimpses? The situations being described, in the village, the shootings, the uncertainties, to the airport, seemingly safe, and the truth?
8. The significance of this film in the 21^st-century, 50 years after the events? The extraordinary developments in technology and communication? Subsequent history of the state of Israel, the Palestinians, 50 years of clash, occupation of Gaza, the West Bank?
9. The audience with this film and the wide variety of cultural, political, ideological perspectives?

THE TEACHERS’ LOUNGE/ DAS LEHRERZIMMER

Germany, 2023, 98 minutes, Colour.

Leonie Benesch, Anne -Katherine Gummich, Rafael Stachowiak, Michael Klammer, Eva Lobau, Leonard Stettnisch.

Directed by Ilka Catak.

Could we see the school as a microcosm of the outside world? The answer is certainly yes, reinforced by this story of an episode in a German school. The Teachers’ Lounge was Germany’s nomination for Foreign Language Oscar.

The day seems to start very well. Carla (Leonie Benesch) is a new teacher at a school, her class consists of 12 year olds. We see her begin the day with happy rituals, the class eagerly joining in, chant, hands clapping, joy. She teaches maths and we see various interactions, concerning homework and tests, getting to know in some detail the children in the class. She is originally from Poland.

But, as the day and days progress, small situations arise, growing more serious, more extensive, and need for mediation for peace, accusations, evidence, hurt feelings, growing intransigence. And, as regards the microcosm, if this can happen with such animosity in the school, what about negotiations in contemporary or situations, civil wars in Sudan and Myanmar, conflict in Russia-Ukraine, Israel-Gaza? Hopes? Hopelessness?

The first inkling of trouble is accusations against one of the boys for stealing. He is innocent but his family are migrants from the Middle East, school management trying to avoid any hints of racism. Then the main trouble, Carla leaving her jacket with her wallet and a significant amount of money in the teachers’ lounge, coming back and finding it missing. But, she has a video camera on her computer and the arm and clothing are partly captured on the computer.

Accusations, denials, hurt, walkouts, condemnation of Carla for having the camera and unlawful filming of the staff, Carla interviewed by the student paper and their twisting her words in a sensational article, her students ganging up against her and refusing to cooperate in class… Microcosm!

The seeming impasses of the confrontation, the school principal and her interventions, the other members of the staff, changing attitudes towards Carla, the behaviour of the students, attempted meetings, animosities, no relenting… Is resolution possible?

Soon the film focuses on one of the boys, Oskar (Leonard Stettnisch in a standout performance) his mother working in the staff office, the reaction of the other children in the class, his behaviour and stances, threats of expulsion, Carla and her trying to be an intermediary to solve the issue.

There is a final moment, surprising, and then up come the final credits. As with so many serious films, it would seem that the resolution is left to audiences to determine, depending on their attitudes towards the situations, sympathies or not towards key characters.

However, for those interested in an interpretation which suggests a resolution, and IMD blog entry is well recommended, well argued, relying on the role of mathematics throughout the film: SPOILER, the ending explained IMO nyccents 27 January 2024

1. the title, the school, the staff, staff relationships, students, crises and handling of crises?
2. The action taking place within the school, the grounds? The classrooms, the teachers lounge, gymnasium, offices, secretarial? Authentic feel? Musical score?
3. Carla’s story, German, her family from Poland, not wanting to speak Polish with the staff? Age, experience? In the classroom, the rituals to begin, chant, clapping hands? The clapping hands with students joining in throughout the day? Her maths classes, on the board, the homework, corrections? Interactions with the students? Interactions with the staff?
4. The first crisis, the principal and the staff, including Carla, interviewing the class captains, to get information about who was stealing? The list, the silence, the nodding of the head? The identification of the boy? The interrogation? His parents, Middle East and background, issues of racism, language? The condemnation of this kind of getting information, enforcement of the students?
5. The other children in the class, Oskar is clever, son of the secretariat, Lucas and his responsibilities, disturbing? Tom, sullen attitudes? Harley and the theft? The girls? Carla and her relationship to them? In class, in the gym, sport? Personal interactions?
6. Carla leaving the jacket in the teachers lounge, checking the money, coming back, the money gone, the video, the arm and the blouse? Checking the staff, confronting Mrs Kuhn, denials, reaction, hurt, accusations, walk out?
7. The staff and the situation, discussions with Carla, the issue of the computer and the camera?
8. The effect of the situation, Mrs Kuhn and her absence from the office, coming in, the harsh confrontation with Carla, especially at the parents might, fostering suspicions? Oscar as her son, his coming to school, the effect of suspicions on his mother? While taunts from other children? Carla talking with him? His silence, surliness, behaviour in class, success at maths, the opening with his equation on the board and finding the middle number? Outside class?
9. The building up of sympathies, the staff and their attempts, some friendly with Carla, some businesslike in the teachers lounge, the sympathetic teacher, the transfer of the children to his room, Oskar alone? His turning against Carla? The personalities of the staff, the meetings and discussions?
10. The parents night, the questions about interrogating students for information, turning on Carla, accusations? Mrs Kuhn?
11. Carla, her attitude towards Oscar, sympathy for him, trying to reason with him? The issue of suspension, the issue of expulsion, his turning up, not answering the phone to his mother?
12. The students, the interview for the paper, the loaded questions, the interpretation, the accusations? The early publication, Carla not allowed to check, the extra price for the staff? Everybody with the paper? Carla and her dismay? The staff and the decision to stop the paper?
13. The children, their meetings, ganging up against Carla in class, the comments about the chant and clapping, childish, Tom offering to help, the fight with Oscar?
14. No resolution for the film? Leaving into audience interest, sympathies about issues, with the characters on not?