The rivers used to run the way they run today. Sure, they car\u00adri\u00aded other water. But isn\u2019t water always water? We see water in almost every take of this cine\u00adma\u00adtic ram\u00adble through Brandenburg\u2019s Spree are\u00adas \u2013 moving, sta\u00adg\u00adnant, clear, mur\u00adky, over\u00adflowing, dam\u00admed up, liquid, fro\u00adzen \u2013 in sta\u00adtic takes, audio\u00advi\u00adsu\u00adal crystal\u00adliza\u00adti\u00adons of the onto\u00adlo\u00adgi\u00adcal modes of water, always both his\u00adto\u00adric tableau and view of the pre\u00adsent day: the rivers that flow or stand still the way they always used to flow or stand still and the high\u00adways bey\u00adond their banks, the smo\u00adking chim\u00adneys of power plants in the back\u00adground, the motor boats, the jet\u00adties, the bridges, the ship\u00adping facilities.<\/p>\n
After \u201cOderland. Fontane\u201d and \u201cRhinland. Fontane\u201d, Bernhard Sallmann is now pre\u00adsen\u00adting \u201cSpreeland Fontane\u201d, his third film essay adapt\u00ada\u00adti\u00adon of the five-volu\u00adme tra\u00adve\u00adlo\u00adgue \u201cRamblings through Brandenburg\u201d. Offscreen, Judica Albrecht\u2019s crys\u00adtal clear, almost black and white voice reci\u00adtes pas\u00adsa\u00adges from the impres\u00adsi\u00adons the famous German wri\u00adter Theodor Fontane tur\u00adned into pro\u00adse, while onscreen the places of influx whe\u00adre histo\u00adry and the pre\u00adsent age flow tog\u00ade\u00adther are revealed.<\/p>\n
Lukas Stern<\/p>\n
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