EWA FIUK’S INITIATONS, IDENTITY, MEMORY. GERMAN CINEMA AT THE TURN OF THE CENTURY
It is an intellectual adventure to read a book of someone who takes all the (experienced!) responsibility for a single word written on the subject to be occurred and interested in. Another point performs to find a successful way to infect the others with your ‘local’ fascination. Ewa Fiuk is very good (and triumphant) at both the matters. Her book is addressed to each person who might have been looking (for instance) for the main topics and trends of German contemporary cinema (starting from the watched films, these real heroes of her reflection and consequently — also the directors/“minders”).
She proves that language of the art film is quite unique and universal enough to spread out all the above-mentioned ideas with the present, artistic (that means: film directors’, artists’) intentions settled in the Past (here: history of Germany — first part of a book) or the Contemporaneity (present days, relevantly much closer to the all different films audience participants who might potentially share Fiuk’s opinion). Nevertheless, the main subject of her analysis still remains the German film of the breakthrough time that she truly admires and knows the efficient way to make others interested in her passion. I need to say — I was a positive follower.