Film blog 2
Awkwardness and discomfort are shown as a common denominator in?Toni Erdmann?(Maren Ade, 2016) and?Everyone?Else?(Maren Ade, 2009). In?Everyone Else, Gitti repeatedly confronts Chris and Hans' arrogant attitudes based on class and gender (Cormican, 2018). In?Toni Erdmann, Ines passively challenges male authority in the domestic, personal, and professional spheres (Cormican, 2018). The dilemmas faced by the protagonists in both stories are exchanged for audience understanding through intense, heartfelt embarrassment. These roles replace narrowly defined notions of gender identity and social acceptability (Cormican, 2018). Ultimately audiences end up accepting these roles with an attitude of guilt. While relying on elements of awkward comedy, awkward reality television, and dark humor, Ade's film taps into the ideological significance of the negative emotions projected onto the heroines(Cormican, 2018). This emotion goes beyond the confines of their personal dilemmas, guiding the audience from initially feeling embarrassed and even annoyed by the main female characters to instantly sympathizing or empathizing with them. Ines is hastily thrust into the position of vocalist by her father in Toni Erdmann.
The audience is brought from a position of embarrassment to a position of sympathy as we see Ines as a tortured individual. In?Everyone?Else, in Gitti and Chris's relationship, they struggle to maintain the leverage of the balance of power (Jones, 2009). During the first meeting between the two couples, Gitti defends Chris in front of Hans. When Chris is embarrassed, Chris insults her and leaves her.
After Chris walks towards Hans, a medium shot lasting 20s is used to record Gitti, amidst the sound of their conversation. It is not until she leaves that the shot of the two men talking appears.
In this scene, the audience's embarrassment and discomfort builds on Gitti's bluntness. She was questioned about her inability to maintain harmony on the scene in social situations and the resulting imbalance in leverage. However, when Gitti begins to play the feminine role, which is expected by Sana and Hans and increasingly desired by Chris, the breakdown of balance is found to be related to self-preservation and the complex fusion between environment and individual (Jones, 2009). When Hans and Chris, despite Gitti's strong resistance, think it is funny to throw her into the pool and show their superior power by doing so.
She is not amused by this act, which makes Gitti a spoiler in their eyes, someone who does not want to sit at the happy table. Ade's awkward and uncomfortable style is enhanced by its documentary-style presence. Ade orchestrates these scenes with long pauses, awkward attempts at discourse, and revelatory reaction shots that make them seem improvised, placing the audience reluctantly in situations like this. In this case, the characters expose structures that may "protect vulnerable subjects" but also "protect the social order that expels them from appropriateness" (Cormican, 2018). For the similarly violent joint action of two men against Gitti, the audience fully understands the gender implications and thus sympathizes with the protagonist in an awkward scene.
Reference
Ade, M. (Producer), & Ade, M. (Director) (2016).Toni?Erdmann [Motion picture]. German: Komplizen Film.?
Cormican, M.(2018). Willful Women in the Cinema of Maren Ade.?Camera Obscura,99. 103-127
Jones, K. (2009).You and me.?Film Comment,45(4), 38-43
Merkt. D (Producer), & Ade, M. (Director) (2009).Everyone?Else [Motion picture]. German: Komplizen Film.