By Sascha Krieger
Futur Drei (Panorama / Germany / Director: Faraz Shariat)
The freshly crowned winner of this year’s Teddy Award as the Berlinale’s best queer film, Futur Drei follows Parvis, a son of Iranian immigrants living somewhere in a German small town, having to work at a refugee shelter due to some unnamed offense. There he meets Bana snd Amon, brother snd sister, the latter of which he falls in love with. Far from being a problem or even culture clash film, Futur Drei observes the developing relationships up close with a mixture of realism and impressionist tableaux, collages and slow–motion sequences bringing moments of happiness, of letting go, of sometimes illusionary hope to life. All three are wanderers between worlds and identities, leading to shifting, unstable relationships – between the three, Parvis and his doting family, Parvis snd his two „homes“. The film touches on heavy subjects with ease and the slightest of touches as well as some humour – from identity, national as well as sexual, to deportation, from coning out to sexual abuse. It dies so because it relies on the characters, it trusts them, their confusion, their struggles, their courage. Benjamin Radjaipour’s Parvis carries the film, a mercury-like seeker for his own path which leads him to understand that either-or is not the only kind of decision that can be made. As are they all. Without drama, without didactic fervour. After his mother expresses her fear that he feels he doesn’t belong, Parvis says that sometimes he feels he does, that he wants to scream „I am the future“. There or three of these futures here. We’d do well to accept them.