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by Selma Doborac
grade: 7.5
In De Facto, there is no need for complex set designs, archive material, many actors or the on-set reconstruction of certain historical events. On the contrary, the director focuses on simplicity and the essential, opting for a well-thought-out and strongly minimalist mise-en-scène, which, however, perfectly succeeds in its intentions. At the Berlinale 2023.
The past is always alive
Can one ever learn from history? Will human beings ever be able to understand the complex mechanisms that have led to unforgivable acts of violence in past years? “The music changes and, at the same time, remains the same”. These complex questions, as well as a deep historical and social analysis, are thus explored by director Selma Doborac in her documentary De Facto, which had its world premiere at the Berlinale 2023, within the Forum section.
In De Facto, there is no need for complex set designs, archive material, many actors or the on-set reconstruction of certain historical events. On the contrary, the director focuses on simplicity and the essential, opting for a well-thought-out and strongly minimalist mise-en-scène, which, however, perfectly succeeds in its intentions.
We find ourselves, then, in a pavilion inside a park. Two actors – Christoph Bach and Cornelius Obonya – are seated at a table (designed for the occasion by artist Heimo Zobernig). Texts from interviews, from testimonies during trials, but also from philosophical essays are recited now by one, now by the other actor. History, violence, important state crimes, the words of those who suffered such violence, but also the point of view of the “executioners” thus become alive and pulsating on screen.
De Facto, therefore, stands out first and foremost for the precision of its mise-en-scène. To the actors are dedicated three long shots each. The camera is constantly static. The words follow one another quickly and are only interrupted, from time to time, by brief moments of pause, during which the screen becomes completely black. Yet, in this way, they immediately become the absolute protagonists and, at times, can be very, very painful. A directorial approach, this one, seemingly simple, but at the same time attentive to every single detail. The perspectives from which the actors are filmed are practically the same for each of them, edited according to a precise elliptical structure. The music (by Didi Kern and Philipp Quehenberger), on the other hand, only finds its place in the final shot, when we see the pavilion in which everything took place. As evening falls, the characters become darker and darker, while the surface of the table faithfully reflects them, thus referring to the eternal duality of the human soul.
In De Facto, the human being is brought to the fore. No one is really innocent and certain events, certain dictators, certain acts of violence were only possible after a long process for which we are all responsible. The message comes through loud and clear. The mise en scène adopted is the right one. De Facto is an intimate dialogue between the actors and the viewer. None of the actors look directly into the camera, yet the audience immediately feels personally involved. History repeats itself and seems destined to do so for many years to come. Will things ever change? Will it finally be possible to learn from past mistakes? Selma Doborac seems to have no doubts about this and in this important De Facto she seemed more clear-headed and mature than ever.
Original title: De Facto
Directed by: Selma Doborac
Country/year: Austria, Germany / 2023
Running time: 130’
Genre: documentary
Cast: Christoph Bach, Cornelius Obonya
Screenplay: Selma Doborac
Cinematography: Klemens Hufnagl
Produced by: Selma Doborac