Russland und China: Der Film

NEW YORK – Die Zeit in der wir leben findet ihren deutlichsten Ausdruck oftmals im Spiegel der Kunst. Über den Postkommunismus in Russland und China wurde viel geschrieben. Doch zwei Filme aus jüngster Zeit - der 2013 in China produzierte Film A Touch of Sin von Jia Zhangke sowie der russische Streifen Leviathan von Andrej Swjaginzew aus dem Jahr 2014 -offenbaren die soziale und politische Landschaft in diesen Ländern prägnanter als sämtliche schriftliche Abhandlungen, die ich zu Gesicht bekam.

Jias Film ist episodisch aufgebaut und besteht aus vier lose miteinander verknüpften Geschichten über einzelne Gewaltakte, die großteils auf aktuellen Zeitungsberichten beruhen. Leviathan ist die Geschichte eines braven Mannes, dessen Leben vom Bürgermeister einer Kleinstadt in geheimer und betrügerischer Absprache mit der Russisch-Orthodoxen Kirche und einer korrupten Justiz ruiniert wird.  

Trotz der Trostlosigkeit der Geschichten sind die Bilder in beiden Filmen beeindruckend. Der düstere Himmel über der nordrussischen Küste in Leviathan erscheint atemberaubend und Jia gelingt es sogar, die Beton- und Glaswüste von Shenzhen, der Monsterstadt zwischen Guangzhou und Hongkong, großartig aussehen zu lassen. Gemeinsam ist beiden Filmen auch die Faszination mythischer Geschichten -  das Buch Hiob in Leviathan und  Kampfkunst-Dichtung in A Touch of Sin.

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