Nowhere in world is love at first sight so celebrated, cultivated and transfigured as in cinema. It’s all more beautiful when a clever director like Hans Walker in his confessing Love film 303 dispenses precisely this cliché. Love at first sight does not exist here, at most at hundredths or thousandths. There are infinitely many words in between, because love – that makes this film clear in 143 eloquent minutes – is, first and foremost, communication. It’s not for nothing that most important source cineastic inspiration is Richard Linklaters before sunrise – something like mor of all speech Liebesfilme. However, it is not a walk through nocturnal Vienna, where a man and a woman talk about God and world and love, but a 6,000 kilometre long journey from Berlin to Portugal in a Mercedes-Hymer-303-Motorhome.
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The vehicle looks like a huge shoe box on wheels and in it everything you need for a humble life is from kitchenette to sleeping berths. Like a spaceship from a bygone era, seven-ton truck looks out in today’s traffic with all its aerodynamic, faceless cars.
When Jan is transferred from his ride and Jule takes involuntary hitchhiker to a resting place, both have actually or worries. Jule just learned that she’s pregnant. The mor insists on abortion, but Jule wants to discuss matter in person with her friend Alex, who is currently promoting his PhD sis in Portugal. Jan is on his way to Basque Country to meet his biological far, with whom his mor had a short extramarital holiday affair.
Interested, but anything but relaxed begins Kennenlernkonversation and escalates after a few kilometers when conversation drifts to subject of suicide. Suicide is a deeply selfish deed, finds Jan, and Jule, whose bror has taken his life, throws rider out at next gas station. Of course, two meet again. It’s not a short film. And y travel toger at a leisurely pace through Belgium and France to south.
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To talk to strangers over a long distance in car – this can be a particularly interesting affair. The moment of physical movement usually also involves mental mobility and conversation with a strange person is often a surprising measure of openness. After all, you will probably never see or again and has nothing to lose. This is how political student Jan and Jule from Department of biology talk about politics, nature of humans, Neanderthals and Cro-Magnon people, cooperation and competition, advantages of battue, chemistry of Love, future of world, about parents and infancy, about utopias and pragmatism – such things stop. Sounds boring, structureless, too little oriented on plot? Not Bean!
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Of course you have to get a little bit on verbal travel flow of film. But like “The fat Years Past”, philosophy, natural science, critique of capitalism, and a lot of steep ories about human condition and gender difference with seemingly easy hand in dialogues – this is supposed to give him a Remake. Tension follows increasingly lively conversations and wild associations of two, because here in speech duels freedom of not preformatted thinking is reflected, in which one can sniff in cinema far too seldom.
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Of course, re is also amorous clamping force, which builds up between two so wonderfully slowly. Mala Emde and Anton Spieker succeeded in doing trick, dialogues on which Walker has filed for years, as if y had just come up with m. In German cinema, Roadmovies also commercials are actually always just an assertion. They are seldom applied to flow of genre and landscapes passing by, but are usually only an excuse to be able to tap as many federal funding pots as possible. Here, 303 sets new standards because it understands that travel is a form of existence that opens heart and consciousness.
“303” runs from Thursday, July 19, in German cinemas.
