Ever since drones made it easier to hover over the wilderness myth, hovering high over lush forests with cameras has become an early standard of aesthetic documentaries. In this documentary too, we experience the world in its natural splendor, so first from above. But nowhere, really nowhere could the camera flight with vegetative focus be more valid than in a picture that has this lead actress to her name.
Greta Thunberg.
According to the subtitle, she stayed with a BBC team for a year to change the world. Twelve months in which director Joe Myerskoff was allowed to film the greatest possible, world’s most important, oddly disturbing influencer in the fight against climate change. And where better to begin three episodes of such a long-term observation than in the forest of his Swedish homeland.
So where the consequences of our disastrous way of life were engraved like Keynes’s mark in every annual ring, she looks as hard and firm as ever in the BBC lens, from “We Need Hope” to “Hope Includes Karma”. are” C – and the tone of a remarkable documentary is already set.
[ „Greta Thunberg – ein Jahr, um die Welt zu verändern“, Sky, drei Folgen]
Because climate protection in 2021 is Greta Thunberg and Greta Thunberg is climate protection. The two, we learn from the first to the 135th minute, have become more and more synonymous since the 15-year-old sat in front of the Stockholm parliament on August 20, 2018 and held a sign: “SKOLSTREJK FOR KLIMATET.”
It was the beginning of a rebellion, better – a revolution. And though counter-revolutionaries continue to struggle, emissions continue to rise, though civilization is so rampant that even an emotionally stunted autistic woman burst into tears at a UN summit, though almost everything invites despair: Greta Thunberg gives courage. The three-part suit as well as its protagonist.
It begins with a sabbatical in May 2019, which takes the student to a damaged world with his father, Svante. The camera is rolling as it probes Canada’s glaciers or burns up California. The camera turns on when she visits the indigenous peoples of the Arctic and Polish coal miners.
camera is always on
The camera is also moving during her How-Dare-You speech of Rage from New York or during a one-on-one interview in an elegantly lit loft. The camera always moves regardless of their whereabouts and mood. No matter how long the camera lasts—what isn’t visible from any number of angles is the person, the person, the person behind the public, Greta Thunberg.
As she sits in the middle of a sprawling factory floor, wringing her fingers during repeated dialogue and sometimes struggling for sobriety given her fear of failure of a climate rescue mission, a believes she recognizes its origins. Woman. Even in the chamber play-like moment of her legendary, dangerously stormy sailing voyage across the Atlantic from the climate summit in Madrid, however, the lens of inconsistent emission avoidance comes only physically, psychologically. Never. However, what appears to be a flaw in such a biographical approach is in fact a statement and certainly not weak in origin.
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Because Greta Thunberg prefers to avoid closeness of any kind so persistently that it is often uncomfortable to watch; In the end, congenital Asperger’s syndrome helps her stay just where she sees fit: on a factual level.
“People say a lot about me,” she says at the beginning of the documentary, before people like Trump and Putin say a few nice things about Greta, which she counts as words you shouldn’t hear anyway. , but they required: “science”. And with her in the back, “Greta Thunberg – A Year to Change the World” shifts from a personal portrait to a description of the future present, of which the protagonist is clearly afraid—without despair.
As depressing as the facts of a galloping climate disaster are – fighters like him just don’t let it get down. And finally, it’s good news from a delightfully distant character study: “We don’t give up without trying”. That sort of thing, combining Greta Thunberg with her jittery weakly synchronized voice that is bursting with strength in the original, would only be done by cowards. “And we’re not cowards.” We, plural, the whole world, are united in a teenager who carries the burden of adults on his shoulders.
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