Switzerland 1997, 106min.
The full title of this documentary is Berlin Cinéma (titre provisoire) – Berlin Cinema (working title). A curious choice for a highly accomplished film which is anything but a rough-around-the-edges work in progress. But Berlin Cinema is – as its title clearly indicates – about Berlin, and also about the cinema, and perhaps with her tentative title the filmmaker wished to evoke the unfinished, ever-changing nature of both those enterprises.
While Gloor-Fadel’s camera explores the photogenic surfaces of Berlin, with its construction sites, monuments and subway stations, a collection of voices on the soundtrack speculate on the nature of the image, the difference between film and video, and the relationship between war, history, memory and the cinema. Two of these voices belong to none other than Wim Wenders and Jean-Luc Godard, and although the two men never meet during the film, the editing weaves their statements into a kind of dialogue. In some very interesting sequences, the filmmaker films Wenders shooting a fiction film, and then films him watching her footage and commenting on it. Wenders also has an interesting encounter with architect Jean Nouvel, who reminds that film is also an architectural space.