The panels of a visual triptych invest the corridors and apartments of the largest residential complex of Berlin.<\/p>\n
When the creative documentary is filming the city life, it’s almost always from the standpoint of the disenchanted architectural utopia, or from a project of cohabitation that is now Kafkaesque. That’s first with its kindness that Pallasseum is surprising. The appartments’ exploration, that folds and unfolds space with the delicacy of Japanese panels, makes intimacies – that first ignored each other- live together, filmed with a great restraint (different and multiple angles for the camera but that are limited, to suggest by an object or by a way to inhabit the space an entire daily life). These islets never cohabit, but on screen they appear to do it, enjoying the same taste for a peaceful and poetic daily life. The movie, always calm, shows a reflection of the post-modern individuality. But without tarnishing its observation, without “shaming” it with guilt, and finally by accepting all these people, just the way they are.<\/em><\/p>\n