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What exactly happened? How was it really? Who can say Dasschon with certainty? Only one thing is certain: memories cannot be trusted. The fragile relationship between real events and traces that y leave behind in our minds between forgetting and displacing m is currently a virulentesThema in cinema.
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In tale Stelltdie documentary filmmaker Jennifer Fox a traumatic chapter of her own Kindheitzur disposition: The abuse by an elderly man. It is about DieGeschichte, which she erzählthat not only to ors, but above all to herself and to truth that she reveals as an adult detective. A ArtOperation at open heart, so to speak.
Like real Jennifer Fox is also protagonist of Laura Derngespielte documentary filmmaker and film school lecturer and seemingly impure with herself and world. She has a successful career, lives in a weitläufigen, bright loft in Los Angeles and in a relationship with Martin, Densie wants to marry soon (Gespieltvon rapper and actor Common). Restlessness comes into this geordneteLeben when Jennifer’s mor encounters an essay in a box, in which her n 13-year-old daughter talks about a love story with her running coach: “Was that you?” she asks horrified, “is that what happened to you?” Jenniferwehrt at first, that’s why she didn’t tell anything at time, it was clear how uncomprehending and primal parents had reacted…
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In Erinnerungrichtet you can see rooms of past as you bewohnenmöchte m. It is a lengthy process of mediation, between 13-year-olds who holds ir sexual relationship with ir 40-year-old running coach Bill (Jason Ritter) for a love story, and almost 50-year-old who has this relationship with ir actual name Missbrauchnennen can. The film itself is part of this process, which it makes transparent in all its contradictory complexity in such a berührendewie-shattering way, unvarnished and direct, Ohnedie possibility to trivialize events in some form. The tale comes at right place. Jennifer Fox says she doesn’t think he would have been accepted so offenundly benevolently before me-too debate. He is nominated for Alsbester TV film at US television award Emmy.
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The impressive thing about tale is that it is hierdie battered itself that goes to bottom of its own history. Foxgeht is not about bringing perpetrator to justice, but about Aufarbeitungund prevention; and to initiate conversations and discussions. It wants to retain sovereignty of interpretation over one’s own life. So she calls Sichnicht as a victim, but as a survivor. It is important for her to illuminate in her film diemanipulativen tricks and mechanisms with which children are willfähriggemacht. On American website re is esdie possibility to book film for reconnaissance and rapy work.
