So, that’s probably. Today we die

The counter-piece to Michael Moores ownership "Bowling for Columbine" – In Gus van Sants "Elephant" The massacre seems to be as everyday as the gossip in the school canteen in front of it

They come from the heart of society: Burgerally socialized Mittelstandskids, who suddenly have a rake in their hands and their co-schoolers and teachers in the dozen. The School Massaker of Littleton Stand Pate for Gus van Sants New, Master Film "Elephant". The low-budget work, which won the two main prizes in the Cannes Film Festival, is making the unemployable such deeds on the subject – a film about orientation and the opposite piece to Michael Moores ownership "Bowling for Columbine", who knows only answers, no questions.

"The sun was to blame!" – at this central sentence from Albert Camus’ "The stranger" Feels at some point: In the very first attitude of this movie you can see a blue sky, with a few dun clouds. Easily bleached colors. Blurred, nevertheless accurate pictures that adores a little dreamer and at the same time curious, and remain reminiscent of fashion photographs. Change of perspective, shfring, from above and then from below you can see views of the seemingly peaceful, well-ordered landscape of American suburbs. Father and son. A car drive snake lines, meets a hair a cyclist, strips other cars. "Dad, I am driving. Get out of the car." A son drive his hard alcoholic father home. Another teenager delights his way through photo recordings on the school campus: "I work on a series of random products." he does not pay. A Fruhe morning in America.

"Elephant" is the latest movie by Gus Van Sant. After more conventional Hollywood work like "Good wants Hunting" and "Finding Forrester" He returns to his starting as independent filmmakers, to the mind of simple outdoor seeds representations like "My Own Private Idaho" and social-critical satires like "To the for". With his new movie he won twice last summer: With the Cannes Film Festival, he was with the "Golden palm" For the best movie and – as the first movie overhead – at the same time awarded the price of the best directie.

Maisten in the period

Rightly, because "Elephant" is a coarse litter: is described in a morning in the life of high school school John. First, the camera is stripping through the sundly sundled as Oden’s sweetheart. Only a few people can be seen. They act small and adequacy, the space themselves are the decisive, the emptiness and loneliness that radiate their pictures. Before and back, the order flow migrates in the time-continuity, sometimes hikes the camera image itself. Maisten in the period. Sketches to a geometry of fate. Cameraman Harris Savides is known only by a few mostly unknown movies, after all David Finchers "The Game" However, it is below – even this a film that lifts the realitat by their subjectivation from the fishing.

Let’s see John, then the pair of Nathan and Carrie, then a big eyewear girl in the library, the sports crack, teacher, three stylish girlfriends. Corridore, long ways. For this, Beethoven sounds. This musical reference does not just create an elegiac, so to speak Gottenahe and fateful mood prepared for all the later, she lets at the same time think about that other movie, which deals with this more than it seems at first glance: Stanley Kubricks "Clock word orange". "Elephant" Formally works with small, very inconspicuous delays, with slow motion, and sounds: suddenly it will be loud. Or very quiet. The subjectivity of the perception of the individual is the determining.

So it is only seemingly irrelevant, or even an asthetic narcis of the director when a scene is shown three times out of three different perspectives in the course of the film. If it is really dark in the darkroom in between. When a scene is racing. Because the pubertat knows no time. Or another, as ours. "Elephant" First of all, a movie about perceptions. In its even prepayment, he woves a dense network of fragments, images and tones that fuggt in the brain of the viewer to the Zwubzeugtepich; always new attempts to enter the core of history. As this happens only stylistic, is already big.

No less admirable, as Van Sants Portrate of this group of High School Kids does the puppy of the PUBERTAT, finds-based pictures for Tristesse and orientation, and does not dispense with moralization. Rather, his fermenting look is reminiscent of the films of Larry Clark ("Kids"), which is also closer to his adolescent characters, as adult value benefits. Although it is beautiful young people who drift here almost weightless and gently through the corridors, and "Elephant" looks over wide stretches like a pop video, but Van Sants Impressionism is missing all the smooth the typical Hollywood convention. In his blend of merciless curiosity and love for his characters, the directness with which he manages to them and simply registered, with attentive favorite conditions and they are not betrayed by his underground keys, the film also reminds of Todd Solondz, the similar in "Welcome to the Dollhouse", "Happiness" and "Storytelling" practiced.

So, that's probably. Today we die

You also see some of the schools at home. There you sit in front of the TV, Glotzen a documentary over Nazi propaganda, buy on the Internet a rifle, Kiffen, play video games and on the piano "For Elise" – sometimes everything at the same time. The TV is in a spying wooden box that you can do with us "Gelsenkirchner Baroque" Name and there is quite decorative a few small crooks. It is a slow, creeping escalation, from which Van Sant meets.

"So, that’s probably. Today we die."

"Elephant" Mundet in an amooker, which is obviously inspired by the massacre at the Columbine High School in the city of Littleton. At some point, two of the kids that are previously observed how the others have watched for a while: "So, that’s probably. Today we die." "Elephant" Referred from the arbitrariness of this die, and its irrelevancy. Sometimes the viewer does not know if the two guys who go to school with Pumpguns, their victims or not. Who your shot meet. Everyone could be. And the tatters could be all.

So the mass murder seems to be as every day as the gossip in the school canteen in front of it. The two were slammed their co-schoolers and teachers. What does this be paid? It does not pay that explanatory attempts can fail. Because they sometimes do not let life explain. Because it is the predetermined extent a burgeral funeral game a la Hollywood with catharsis warranty denied. But it does not do that you should be stopped with the thinking and explaining. But that you have to look exactly before you can start with it. Or all answers then only serve the internal self-calminess, but not the object. Anyway, it does not afford that life and die are not drama – even if at least some theater critics were so liked.

A pathagogical valuable contribution is therefore not. He does not offer "Solutions". And it’s already true: "Elephant" never go "Behind" the events. He stays on them on them, and lead us to doing that too. If we do not want to look away. After all, Oscar Wilde, who once said, only superficial people paid attention to the outside. In this, is in wild sense "Elephant" deeply amoral, one "irresponsible movie", How the US journal Variety wrote. Especially in not attributing to other responsibility or even to take himself, there is the moral impetus and the provocation of the film. His responsibility.

Very cheerful is the difference between this small, fine film and Michael Moores Grellem, ultimately very half-strong "Bowling for Columbine", The theories of teenagers, society, weapons, aggression, history and, yes, especially above all "America", could not get my mouth anymore, and in doubt it was always too easy. And even before the audacity does not pay back to give advice: "Buy no weapons! Forbids the free arms sale!" As if the real problem solved goods, if you could no longer buy weapons in the department store in the US, and Charlton Heston Pacifist became. As if the great German weapons laws "Erfurt" prevented. As if something we know what we know about the village of death, as it came to became the morder.

The violence in "Elephant" knows no such rules and explanations, does not follow dramaturgical patterns. Just that makes you threatening, just that makes you really. She does not take care of man, over life, does not exist, over the death. No voyeurism, no enjoyment, no joke, but also no emport, no anger, no moralism.

"Have fun, man!"

Thus, the film also differs from Ben Coccios unfortunately too unknown "Zero Day", who puts entertained entirely on the taders, and their perspective represents a high school massacre. Because this also offers explanations, the lives of his characters sees only from the perspective of what will come: the mass murder. There are only explanations in an art that has sold the conventional stimulus. The poetry of life is, even when it comes to death, the thoroughness and the surreal. "Have fun, man!" – It is believed that it is exactly such sentences that give a idea of what deaths like those of Littleton goes through the head.

Why is the movie called how he is called? The explanations for the title are controversial, there are at least two. One thing is a tribute to Alan Clarkes of the same name TV drama on the Northern Ireland conflict. This, it’s been there, be "like an elephant in the living room" – He can not look over, and is unbelievable. The second, plausible explanation is reminiscent of the Buddhist parable of the three blinds who meet an elephant. One summarizes the Russel, the next one leg, the third the tail – and no one discovers the true appearance of the animal.

A film without psychology and reasons. For sure of rest and serenity. The persons of the film do not learn anything. How nice! Van Sants descriptive and intensive film does not want to explain anything, but look. He is not responsible for guilt, avoids allocation of responsibility. For this we receive a idea that some advances of simple explanations, perhaps even the explanation, refuse. An idea that Camus’s foreign hero could have reasonably right, and that in some murders really only the sun is guilty. Or the clouds. A masterpiece!