“Grünes Licht für ehrgeizige, strebsame und arbeitswillige junge Menschen.”

Someone is hungover*

“Ein Psychogramm zweier ungewöhnlicher, aber auch extrem unterschiedlicher Frauen. Die eine, reich, exzentrisch, ihre Gefühle maskenhaft verbergend, trinkt sich bewusst zu Tode. Sie ist der Fall, der in der Statistik nicht erscheint, weil entweder zu Hause unter Valium gehalten oder unter Verschluss in einer Privatklinik. Die andere ist arm und trinkt sich unbewusst zu Tode. Sie erscheint in der normalen Statistik als Typ der haltlosen Trinkerin”

– U.O., via

An eccentric woman simply named Sie (Tabea Blumenschein), takes a one-way trip to West Berlin. Accompanied by her alter ego, a homeless alcoholic, and commented on by a Greek choir consisting of Soziale Frage (Social Question), Exakte Statistik (Exact Statistics), and Gesunder Menschenverstand (Common Sense), she drinks herself to death.

 

* the Bales 2025 Film Challenge for July is, for unknown reasons, mostly not date-related and follows some sort of vacation narrative.

Traveling to my vacation destination, a map or globe*

“It appears obvious that the territory is the sum of all the maps, the result of an infinite addition. Or a contrary, the territory is what is left when we remove all the sets of lines, drawings, traces and colors which are covering it. Its existence becomes doubtful.”

– H., via

A man, H., joins two others playing jeu de l'oie (Game of the Goose), a board game associated with labyrinths and pilgrimage. While the three play, the game opens up maps and new roads to explore.

 

Following my own Bales' rules, I cannot pick a title twice. See Zig-Zag as an avatar of Raúl Ruiz's O Território [The Territory] from 1981.

 

* the Bales 2025 Film Challenge for July is, for unknown reasons, mostly not date-related and follows some sort of vacation narrative.

And July 20

“On July 4, 1976 I and my camera toured the state of Colorado with governor Richard D. Lamm, as he traveled in parades with his children, appeared at dinners, lectured, etc. On July 20, I spent the morning in his office in the state capitol and the afternoon with himself and his wife in a television studio, then with Mrs. Lamm greeting guests to the governor’s mansion and finally with Governor Lamm in his office again. These two days of photography took me exactly one year to edit into a film which wove itself thru multiple superimpositions into a study of light and power.”

– Stan Brakhage

A character who is happy on the National Day of Joy (USA)

“Grünes Licht für ehrgeizige, strebsame und arbeitswillige junge Menschen.”

Georg Hauser's life is a drag. He gets up to drive his car to the same office to do the same thing surrounded by the same people everyday, just to make money to do the same thing all over again. Then, his glasses break and the new pair makes him see things a bit differently.

“You're a foreigner and you're lost.”

“Hélène Picard, born in Lyon, May 20, 1943. A child in care, she is reported as a runaway, a thief and unstable.”

A child with health struggles for Childhood Depression Awareness Day (USA)

“Spotkał katar Katarzynę – A – psik! Katarzyna pod pierzynę – A – psik!”

– Jan Brzechwa, Katar (via)

A little girl has the sniffles, sees the doctor, and so happily spreads the bug all over town. A quirky animated short based on a poem by Jan Brzechwa.

Part of the Trilogie der Siebziger Jahre (“Trilogy of the Seventies”).

An autistic actor or character for World Autism Awareness Day

“Celui qui n’a jamais rien dit

a cinquante ans d’âge

et ne dira jamais rien

s’est appris à lire

dans les moindres gestes”

– Fernand Deligny, Essi & Copeaux. Derniers écrits et aphorismes, via

Fernand Deligny was an educator who promoted play and exploration, as opposed to drugs and force, to open up the lives of young nonverbal, autistic people. We follow Yves Guignard, one of Deligny's “patients”, who, in his own wordless rhythm shows us his world.

 

Over time, the film was forgotten and even lost, until it was found in a tree, then completed with a narrative and soundtrack in 1969, selected for the 1971 Cannes Film Festival and praised by Cahiers du Cinéma, lost once more, and eventually – with support of Chris Marker – restored and brought to a wider audience.