过去的完美

《过去的完美》是一部借用、传播和重组思想的电影：一系列相关的图像和想象的对话贯穿了几个世纪直到今天。哪里可以让人悲伤，哪里可以让人悲伤？电影制作人乔尔吉·科姆创造了一个忧郁的地理环境。“信仰和勇气使你自己/神不伸出援助之手/只有魔法力量/你才能到达魔法之地！从1801年起，弗里德里希·席勒在他的诗《Sehnsucht》（《渴望》）中写道。四年后，这位诗人去世，并与画家保罗·克莱（Paul Klee）所说的“另一个”（Other）相交，后者声称自己比想象中的“这里”（here）更接近。沃尔特·本杰明多年来一直带着克莱的《安杰鲁斯·诺维斯》，甚至流亡国外。后来他写了一篇关于这幅画的文章：“这就是人们如何描绘历史的天使。（……）但是一场风暴正从天堂吹来；它以如此强烈的力量夹在他的翅膀里，以至于天使再也无法关闭它们。暴风雨不可抗拒地把他推进了他背朝的未来，而他面前的一堆残骸则向上生长。这场风暴就是我们所说的进步。Past Perfect is a film that borrows, transmits and recomposes thoughts: an associative chain of images and an imaginary dialogue across the centuries until today. Where is one permitted to be sad, where does sadness have its place? Filmmaker Jorge Jácome creates a geography of melancholy. ‘Faith and courage make thine own/Gods ne’er lend a helping-hand/’Tis by magic power alone/Thou canst reach the magic land!’, wrote Friedrich Schiller in his poem ‘Sehnsucht’ (‘Longing’) from 1801. Four years later the poet dies and crosses over to the ‘Other’, of which the painter Paul Klee proclaims he is closer to than the supposed ‘Here’. Walter Benjamin carried Klee's ‘Angelus Novus’ with him for many years, even into exile. Later he wrote about the painting: ‘This is how one pictures the angel of history. (…) But a storm is blowing from Paradise; it has got caught in his wings with such violence that the angel can no longer close them. The storm irresistibly propels him into the future to which his back is turned, while the pile of debris before him grows skyward. This storm is what we call progress.’