In Ulrich Köhler’s New York Movie Competition world premiere “Gavagai,” a filmmaker and her star are taken to process for making a reverse-engineered “Medea” in Senegal.
The Euripides play, a few girl who murders her personal youngsters as a tribute to the person she loves and is obsessive about, is right here recast as a narrative of a white girl (Maren Eggert, enjoying the actress within the movie inside the movie) ostracized by a Black African neighborhood — and in a movie-within-the-movie directed by a filmmaker (Nathalie Richard) who seems to be curiously like Claire Denis. (The director mentioned, in a dialog with IndieWire, that that is pure coincidence.) In the meantime, at that movie’s Berlin Movie Competition premiere, its star Nourou (Jean-Christophe Folly) is in freefall after a racially troubling run-in with a Polish resort safety heavy.
Köhler is a filmmaker whose accomplice, in actual life, is Maren Ade, the author/director of movies together with the Oscar-nominated screwball traditional “Toni Erdmann” and the breakup drama “Everybody Else.” As Köhler defined to IndieWire, the 2 collaborate and provides suggestions on one another’s movies. “Gavagai” just isn’t fairly a comedy, not fairly a drama, not fairly an trade satire, with a tone that’s ever-shifting from the comedic to the privilege-interrogating severe. It’s certainly one of a handful of world premieres on the New York Movie Competition, and a film that can delight insiders and festival-goers for its sharp critique of how motion pictures are delivered into the world: Köhler shot the movie in the course of the precise Berlin Movie Competition, and makes use of its headquarters as grounds for an inquiry into the charged panorama of who-gets-to-direct-what filmmaking questions in 2025.
“It’s about one thing very severe on the base, however its protagonists are all privileged individuals, so the fallout from what occurs is psychologically robust, however they won’t find yourself on the street,” Köhler mentioned. “On this setting, with actors and a director as the primary protagonists, I felt I might do what I did.”
Köhler beforehand directed the movie “Sleeping Illness,” which he shot in Cameroon, and experiences from that film capturing in Africa led to this one. “The central scene in Berlin, the racial-profiling scene, is one thing that basically occurred in the course of the premiere of ‘Sleeping Illness,’” Köhler mentioned of “Gavagai,” referring to an incident that occurred with that movie’s star (and this one’s), Jean-Christophe Folly. “The white savior who went excessive out of guilt was me,” the director mentioned, whereas in “Gavagai,” Maren Eggert’s character, the film-within-the-film’s lead, rushes to Nourou’s support as soon as a Polish safety element asks him for his ID however nobody else’s.
“The safety man who began the entire thing was a Polish man who didn’t communicate German very nicely, and with whom Jean-Christophe and later me acquired right into a struggle,” Köhler mentioned. “The one who suffered most by this was clearly Jean-Christophe as a result of his pageant expertise, and the truth that this was his first characteristic movie with a serious function that was enjoying in an a pageant in competitors, he didn’t actually get to take pleasure in that as a result of that man and the resort politics destroyed his expertise. However then, additionally, I added to that, considering I’d assist him.”
As for the director Caroline Lescot’s (Nathalie Richard) likeness to Claire Denis — herself a filmmaker who has interrogated colonialism all through her profession, from “White Materials” to “35 Pictures of Rum” — Köhler mentioned it was “not intentional. I discovered it extra fascinating to have a feminine director than a male. For me, she’s an alter-ego. However I discovered it extra fascinating than simply having the same old previous white man behaving badly. It appeared like a extra advanced [situation]. Particularly with ‘Medea’ because the movie inside the movie. For me, you would say that Caroline is actually taking it on from a feminist perspective, and sort of not likely considering by way of the racial points concerned in turning round historical past, and having a white Medea rejected by African individuals.”
There’s a scene within the movie through which Caroline is grilled at a press convention about her implications in rewriting the Euripides textual content, and he or she quotes James Baldwin, which isn’t useful for the demanding press corps. “She references Baldwin’s textual content about being the primary Black individual in a Swiss village, and he explains fairly nicely why it’s not the identical as when a white individual, from a place of energy and privilege, arrives in an African village that hasn’t seen any white individual earlier than, it’s a really totally different state of affairs from a Black man arriving in a village in Europe,” Köhler mentioned.
“I hope I haven’t behaved all that badly, however I feel the stress state of affairs that filmmakers, authors are beneath is sort of robust with the financial restraints and likewise with at all times having to justify your self as a result of possibly you’re not making motion pictures that make some huge cash, however you’re nonetheless asking for lots,” Köhler mentioned. “I don’t suppose one can find many administrators who would say they aren’t able to that sort of conduct.”
As for Köhler’s collaboration with Ade, who’s the primary individual to see a tough lower of his movies, he mentioned, “After we didn’t have youngsters, it was far more intense. Now it’s about actually discovering time to do it.”