Artists without an urge to egomania have difficult, so you could summarize a flat thesis of the film.
Photo: Luca Bigazzi
As is the case with artists, there is a popular fabric on radio and television and of course also in the film. The high socially prestige that artists, actors and musicians enjoy in society seduces many authors to tell stories from this milieu. Behind it is the temptation of the big drama, because in the end artists are only people – with all character weaknesses who produce a great ego. It often seems that an oversized self is a prerequisite for a successful artist career. Countless filmed artist biographies are testified by this.
Joho (Maja Bons) just grown up wants to become an artist and goes to the title -giving academy for this purpose, as the time -honored Munich art college is briefly mentioned. She did the hurdles of the entrance exam. She can even visit the class of the famous painter Robert Copley (Jean-Marc Barr) and listen to his clever speeches. However, she soon has to state how heavy and stony the way is to start as a successful artist. A good part of the way is to prevail against the other, also very talented fellow artists and to attract attention.
A good part of the way is to prevail against the other, also very talented fellow artists and to attract attention.
Favoring, competition, intrigue and other machinations quickly become part of the business, and after all, art is. Just stupid that only a disappearing minority can also live from her art in the end. Those who will be depends too often on skillful network maintenance or their own assertiveness. Or also from which compromises you are ready to enter. In any case, Talent has a lot of Jojo, as she is certified by a significant position. But the family portrait of a rich Munich family, which a patron provides her as the first order work, becomes a fiasco. The picturesque family constellation is too honest.
“The Academy” is an entertaining cinema in which we watch the artist eleven with their bohemian life and struggled efforts for originality and uniqueness. Skillfully staged and impressively played, the film ultimately hardly goes beyond the reproduction of well -known clichés. There is the ingenious professor as a overfather, whose judgment and woe depends on the artist career. Another professor is the cynic who denounces the arbitrariness and goods -shaped of the art and the art market and yet is part of the game. As a compensation, he misses his frustration with the students, which in times when there is much talk of mindfulness and appreciative use of each other, does not arrive well. There is the supposed friend who reveals Jojo ice cold when she senses her own chance – and in the end it will consequently fail. There is the already failed and/or known artist, who is spirited as a factotum in the basement of the academy. And there is Jojo himself, who arrives as an innocently radiant naive and only gradually understands the laws of art production and its market twigs. At the end of the first year of studies, she will have matured and will look more soberly at the vanity of the vanities called Kunsthochschule.
For her role, Maja Bons has just received the Bavarian Film Award as the best young actress. As expected, director and author Camilla Guttner once studied at the Munich art academy and processed her own experience. However, there seems to be a discrepancy between your perspective and the official self -image of the academy; In the credits, we learn that the university distances itself from the film because it “does not show the current understanding of art and teaching of the ADBK Munich”. What exactly the university management has displeased remains speculation; As a critical inventory of the art business with all its absurdities and undesirable developments, “the academy” remains too harmless to really indicate.
“The Academy”: Germany 2024.
Directed by Camilla Guttner. With: Maja Bons, Luise Aschenbrenner, Jean-Marc Barr. 104 min.
Start: March 20.
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