Notes

Sergei in the urn

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Filmmaker Boris Hars-Tschachotin incidentally learns from his great-uncle that the ashes of his infamous great-grandfather Sergej Tschachotin (1883-1973) have been standing on a cupboard in Paris for 30 years and are waiting for their testamentary burial in Corsican soil. He quickly made up his mind: he wanted to pay his last respects to his ancestor. It dawns on him, however, that he must first dig up his story and work it up with his relatives before he can dig in the deceased. &quot;Sergej in der Urne&quot; is the cinematic document of this reappraisal - a journey through a century full of dramatic political events and scientific breakthroughs as well as through relationships with no less than five wives. This is very interesting for a long time, many of the numerous exciting topics will be The film remains a multi-faceted, yet at the same time overloaded painting of Russian and Soviet history.




Right at the start of his shooting, Hars-Tschachotin realizes that Sergei's direct descendants no longer speak to each other. Everyone claims they have the best solution to the urn problem, but they all refuse to enter into dialogue. So the filmmaker sets out to visit four of Sergei's eight children personally in order to mediate and get one step closer to their great-grandfather. In his documentary travel report &quot;Sergej in der Urne&quot; he alternates quite conventionally between interviews, his own train of thought and Sergej's diary entries presented by the German actor Ulrich Matthes (&quot;The Downfall&quot;), which are mostly accompanied by old film and photo recordings of the head of the family and by the atmospheric soundtrack can be complemented appropriately.




The result of Hars-Tschachotin's research is a kind of mosaic that unites interesting stories and paints a dazzling picture of Sergej Tschachotin from afar - that of a man who wanted to reconcile his profession as a microbiologist, politics and his family and who ultimately wanted to do so failed all with and on his loved ones. The remaining sons Eugen, Petja, Andrej and Wenja are portrayed as suffering from the failed balancing act. Her statements reflect admiration and disappointment about the father, who never stood still and was never able to focus his energy on anything.




Sergej felt the same way as Hars-Tschachotin with his documentary and processing project today. The filmmaker tries a balancing act between family and political history and a portrait of the scientist Sergej Tschachotin. The sheer number of events covered here simply goes beyond the scope of any film - some aspects are clearly neglected. Especially in the conversations between Wenja and his nephew Boris it is clear that the man was deeply disappointed in his father, but the director fails to lure his counterpart from his reserve. Finally, Wenja breaks off the interview completely - why he used to speak so much more positively about Sergei and what the break was made remains unclear.




Conclusion: &quot;Sergej in the Urne&quot; is a versatile collage of archive images and conversations, which, however, occasionally lose their focus. Those who enjoy the independent interpretation of fragmented conflicts with a historical background will do well with Boris Hars-Tschachotin's attempt to come to terms with the family past served.


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