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SWAP: Menu Total (1986, Christoph Schlingensief)

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Carmel1379
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SWAP: Menu Total (1986, Christoph Schlingensief)

#1

Post by Carmel1379 » October 7th, 2019, 3:24 pm

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A whole lot of screaming, sirens, jaunty jazz, and gnarled up imagery with the subtext of inter-generational altercations and incompatibilities, referencing the Nazis and showing an older generation’s idealistic forging of a new beautiful future supposedly for the benefit of their children and ancestors, although here their behaviour is portrayed in an entirely subterraneanly grotesque manner, implying efforts are made for the purpose of smug self-satisfaction and achieving ones own grisly fancies, irrespective of potential propitious conditions for the younger generation. “Nur für dich” says bald gobliny Papa as he licks his son’s ear, to then rape disabled Mama because she has no place in an eugenic society. Thus the infantilised abused child starts having power fantasies and the cycle continues anew, each generation fucks each other up. No human is sane here, none can express themselves intelligibly, none don’t possess aberrant desires which can be semi-satisfied in a collective manner marching with comrades and singing classic easy lieder, none aren’t fixated on mommy-daddy-son, sticking in ones grimaces into other people’s faces, or feeding each other disgusting shit, because that’s what this is all about, humanity’s eternal autophagy, a divine cycle of self-consumption, a gallivant feast. Aber bitte, verletze die Kinder einfach nicht, die Kinder darf man nichts tun. . . .


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4/10

Thrill-O-Meter: 0 out of 10 “MAAMAAAAAA”s, among a million other squealed words
Hilarit-E-Meter: 0 out of 10 laughs
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whom shall we find
Sufficient? who shall tempt with wand’ring feet
The dark unbottom’d infinite Abyss,
And through the palpable obscure find out
His uncouth way, or spread his aerie flight,
Upborn with indefatigable wings,
Over the vast abrupt, ere he arrive
The happy Ile?

Nur dein Auge – ungeheuer / Blickt michs an, Unendlichkeit!
Close the world. ʇxǝu ǝɥʇ uǝdO.
t o B e c o n t i n u e d

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Perception de Ambiguity
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#2

Post by Perception de Ambiguity » October 7th, 2019, 11:49 pm

Knowing of the metaphysicality of the world is a playacted mirage for agnostic mirrors to reflect on.

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The failure of the parent body is given rise by the failure of their societal roles that is inherent in their refusal to acknowledge human beings' limitations. Heidegger's overcoming of Georg Friedrich Meier's Vernunftslehre finds its transcendent pendant in a different form of rationality by appropriating Nietzsche's personal philosophy of using his medical well-being as a barometer for his aphorisms' trueness, and makes it totalitarian religion that the initiated can rape to.

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In the house of Ohm the band marches on forever, with the eternal fire on your torch the rise (Aufgang) is as ceaseless as the tune of music ringing out in the harmony of Ohm. Even a climb towards the earth's surface is a climb to victory. Für ein Tausendjähriges Reich.
"Ein neuer Tag ist wie ein neues Leben"
(A new day is like a new life.)

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Insanity is to play out ones social role to its fullest potentiality at any shift of moment, to embody it with ones soul even after the loss of virginity. An unbreakable belief in salvation through collective action makes this insanity a reality, an existence of uninterrupted euphoria. Euphoria in happiness and sadness, in Welteroberung and in Todessehnsucht. Gone are the days of emptiness.

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A return to emptiness is not merely impossible, it's inconceivable. War is not a thing to end for war some are born into, carrying it with them. It's a born-into world that lacks euphoria and an understanding for the higher purpose ideology of parental actions. The dancing stars feel like things that ought to be put in order.

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But no belief system bypasses the digestive system. Ideology is Ekel (disgust, repulsion) that elates everyone and makes everyone sick in rotation. Shocking descendants with this Ekel will test them. There is neither rejecting or accepting of Ekel, the child body will emit a response. None will be a barometer of trueness, weak descendants will perish at the hand of the old generation who never laid down their sword, and strong ones with weak enemies will perpetuate the ideology in countless other forms, regurgitated a thousand times to the harmony of Ohm - "was du heute kannst besorgen das verschiebe nicht auf morgen".

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In 'Hymen 2' Schlingensief's Führerbunker-obsession finds its full jazzy expression as a Magda Goebbels menu of totalitarian Ekel that finally he'll satisfy in '100 Jahre Adolf Hitler - Die letzte Stunde im Führerbunker' with more literal satiation.
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#3

Post by Carmel1379 » October 8th, 2019, 12:31 am

Were you thinking of 'Das weiße Band' and 'Caché' (the latter I've especially been meaning to rewatch lately) during your viewing as well? Unlike 'Menu Total', Haneke is very structured and thorough in what he's doing -- definitely not including random idiosyncratic imagery and playful offbeat smuttiness -- but there's a similar bedrock of violence and half-hidden level of variably direct and ambiguous subtextual messages in all three movies (especially on parent-children tensions), although it would be difficult for me to extrapolate on that much further now, and I don't think Schlingensief really has all that much to offer.

Have you seen '100 Jahre Adolf Hitler - Die letzte Stunde im Führerbunker'?
IMDb, letterboxd, tumblr
Image
whom shall we find
Sufficient? who shall tempt with wand’ring feet
The dark unbottom’d infinite Abyss,
And through the palpable obscure find out
His uncouth way, or spread his aerie flight,
Upborn with indefatigable wings,
Over the vast abrupt, ere he arrive
The happy Ile?

Nur dein Auge – ungeheuer / Blickt michs an, Unendlichkeit!
Close the world. ʇxǝu ǝɥʇ uǝdO.
t o B e c o n t i n u e d

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Perception de Ambiguity
Posts: 3568
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#4

Post by Perception de Ambiguity » October 8th, 2019, 2:00 am

I wasn't. What Schlingensief and Haneke certainly had in common is the use of shock and provocation to confront the viewer with a past that is generally thought dealt with and overcome, but which does live on, as trauma, as societal structures, as suppressed feelings, or very much alive indeed. Albeit both take a very different artistic approach to it, obviously. Schlingensief with this film, I guess, is both more specific with the topics he's dealing with, and more intuitive with his artistic expression of them. Both creators' films go far beyond their chosen topics to deal with the human condition and beyond, but whereas Haneke's films are more universal by design, Schlingensief invites chaos in hope to resonate on other levels.

Yes, I've seen '100 Jahre Adolf Hitler', which is a more "fun" film to watch, as is any other Schligensief film/project I've seen. This one was overall more of a slog for me to get through as well(?), in most other circumstances it probably would have made the "didn't finish" files pretty quickly. '100 Jahre Adolf Hitler' would be the anarcho-comedic version of 'Der Untergang', at least having seen that classic film rendition of events should help put things into perspective a bit to make it resonate more than 'Menu Total' for the non-German/Austrian viewer, but of course any familiarity with this episode in history can only help here.
'Egomania - Insel ohne Hoffnung' is the one Schlingensief that really did it for me so far, double-PdA's-Anti-Canon participant and i-must-be-dreaming champion, so... A greek tragedy with which he beat Lars von Trier at his own "Medea" game, Herzogian too, I guess, and the atmospheric film that 'Menu Total' was supposed to be according to your sources.
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#5

Post by Carmel1379 » October 8th, 2019, 3:16 am

Der Krieg ist verloren. . . . what's left is "loyalty to the Führer even in death". Imagine on the brink of suicide a doubt like "Could our philosophy, ideals, our deeds and accomplishments, all have been wrong, all for nothing?" would creep in. Inconceivable, so a sleep deprived childish over-reaction kicks in, the realisation that this is the last moment to shine and live-out ones most depraved desires, but of course there's still an intact order/ideal-believing core, producing grotesque passive-aggression manifesting itself in their treatment of their children, still caring about trivialities like clothing, at least in this film, and all this in Schlingensief's imagination. Sowieso, the night is long for everyone... Müde bin ich, geh' zur Ruh', schließe beide Äuglein zu. Vater laß die Augen dein, über meinem Bette sein. Hab ich Unrecht heut getan, sieh' es lieber Gott nicht an! Deine Gnad' und Jesu Blut, machen allen Schaden gut

Egomania - Insel ohne Hoffnung - Udo Kier and Tilda Swinton at the end of the world? This must've slipped from my memory after I've probably heard about it from you. Typical.

'Trouble Every Day' on Thursday?
IMDb, letterboxd, tumblr
Image
whom shall we find
Sufficient? who shall tempt with wand’ring feet
The dark unbottom’d infinite Abyss,
And through the palpable obscure find out
His uncouth way, or spread his aerie flight,
Upborn with indefatigable wings,
Over the vast abrupt, ere he arrive
The happy Ile?

Nur dein Auge – ungeheuer / Blickt michs an, Unendlichkeit!
Close the world. ʇxǝu ǝɥʇ uǝdO.
t o B e c o n t i n u e d

User avatar
Perception de Ambiguity
Posts: 3568
Joined: Jul 09, 2011
Contact:

#6

Post by Perception de Ambiguity » October 8th, 2019, 11:14 pm

Civilized life is the practice of worrying about trivialities, the big decisions will take care of themselves anyway, with doubts of rightfulness creeping in at any given day, covered up by rhetoric, getting oneself to make it feel right again. What else would we have rationality for? Magda lived large to die large, the nest was hers to eat the chickens in.

TED on T, K.
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LETTERBOXD | MUBI | IMDb | tumblr.

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