Revolverkino at the Gropius Bau
Expelled from Paradise
20 - 22 Nov 2019
Explore the breadth of film history, formats and genres over three successive evenings every other month: the film magazine Revolver showcases what cinema can be at the Gropius Bau.
Paradise may have been a place where one was not only undressed, but also “shamelessly” idle. After the expulsion, Adam and Eve invented work. One could understand cinema as an attempt to undo this invention for two hours. Not only are we invisible in the dark room (in a sense naked without shame), we are also freed from the duty to justify our presence through performance.
However, paradise also plays a role in the movies themselves. The November programme consists of four films that portray very earthly paradises and how they expel their inhabitants. Whether it's because a head can sometimes be home to two completely opposite ideas of happiness (as in Richard Fleischer’s The Boston Strangler), or because for some people – in a world that has made happiness its business – only growth counts (as in Martin Scorsese’s Casino), be it because music – like time – knows no pause (as in Mia Hansen-Løve’s Eden), be it because the “end of history” is too much of a beginning for love (as in Andreas Goldstein’s Adam and Evelyn).
Paradise may have been a place where one was not only undressed, but also “shamelessly” idle. After the expulsion, Adam and Eve invented work. One could understand cinema as an attempt to undo this invention for two hours. Not only are we invisible in the dark room (in a sense naked without shame), we are also freed from the duty to justify our presence through performance.
However, paradise also plays a role in the movies themselves. The November programme consists of four films that portray very earthly paradises and how they expel their inhabitants. Whether it's because a head can sometimes be home to two completely opposite ideas of happiness (as in Richard Fleischer’s The Boston Strangler), or because for some people – in a world that has made happiness its business – only growth counts (as in Martin Scorsese’s Casino), be it because music – like time – knows no pause (as in Mia Hansen-Løve’s Eden), be it because the “end of history” is too much of a beginning for love (as in Andreas Goldstein’s Adam and Evelyn).