DIE WAND, Julian Roman Pölser 2012


There is a white crow in DIE WAND, an albino crow with whitish feathers and red eyes. Unaccepted by its fellow crow community, it is left alone as an outsider, probably to die. The films´ protagonist doesn´t accept this. For her, locked away within her own prison of nature solitude, the white crow is particularly beautiful. She starts to feed it, wishing that there might be another white crow somewhere in the woods waiting for its counterpart.

It is my favorite sub-story within DIE WAND, and like in the plenty other sub-stories (black shirts hanging on a tree, a killer stranger, a white angora cat turning up in the Austrian mountains …) as well as regarding the main mystery, the invisible wall, the film and its leading lady do not care to speculate about possible causes and reasons. It is all about dealing with an understandable reality, strangely focussed on physical actions — even though there is an immense amount of voice over thoughts coming down on our spectators brains like heavy, warm summer rain drops. It seems that the film isn´t interested in any „why“, only in „what it tells about our selves“.

The results are some well composed digital red cinema camera images of overwhelming mountain and star sky sceneries, too much close-ups of Martina Gedeck´s face, a dog, a cow, two cats, some remarkable thoughts on the nature of time and a lot of boredom caused by a slooow pace and an almost slimy pathos. The film is like an ugly necklace with some single, beautiful pearls on it.