Igor Luther worked on the fragmentary essay titled Self-Portrait where he looks back on his own fruitful professional career and turbulent private life. Slovak producer and director Ivan Ostrochovský, who revealed his latest fiction feature Servants at this year's Berlinale, is continuing in his producing efforts. After co-producing the experimental docu-pic Frem and Petr Zelenka’s dramedy Droneman (read the news), one of the projects he is currently working on as a producer is a documentary with the working title Self-Portrait, centred on the most acclaimed Slovak cinematographer, Igor Luther, who passed away at the beginning of June 2020. Luther commands a glowing filmography, having lensed Juraj Jakubisko’s The Years of Christ and Birdies, Orphans and Fools, Alain Robbe-Grillet’s The Man Who Lies and Eden and Afterwards and serving as DoP on films by Michael Haneke, Wolfgang Staudte, Andrzej Wajda, Aleksandar Petrović and a fruitful collaboration with Volker Schlöndorff with whom.
Consider West German cinema and the familiar crop of names will rear its head: Fassbinder, Wenders, Herzog, Schlondorff… and, barring expertise, it’s here that the gas starts running low. To our fortune, New York’s Quad Cinema (working with programmers Dominik Graf and Olaf Möller) are about to commence the delightfully named” Fighting Mad: German Genre Films from the Margins,” which seeks exposure for an entire swath of, to quote Graf, “masters of the expressive, the outrageous, the subversive – they show how it looks and feels when the proverbial Teutonic order collapses and things go ballistic.”
If you aren’t in New York City, allow their program list to be your signpost and their trailer–which the Quad have kindly offered us as an exclusive–a peek at what awaits. Taking in its swirl of antiquated fashion, gunshots, blood smears, and screaming (so much screaming) will have you, at the very least,...
If you aren’t in New York City, allow their program list to be your signpost and their trailer–which the Quad have kindly offered us as an exclusive–a peek at what awaits. Taking in its swirl of antiquated fashion, gunshots, blood smears, and screaming (so much screaming) will have you, at the very least,...
- 5/13/2019
- by Leonard Pearce
- The Film Stage
Olaf Möller on Black Gravel (Schwarzer Kies) starring Ingmar Zeisberg, Helmut Wildt and Hans Cossy: "This is really Käutner on his realism track."
At the Film Society of Lincoln Center inside the Furman Gallery of the Walter Reade Theater, Olaf Möller, the curator of The Lost Years of German Cinema: 1949–1963, discussed with me the films of Helmut Käutner, including his Hamlet adaptation, Der Rest Ist Schweigen (The Rest Is Silence), starring Hardy Krüger, Der Traum Von Lieschen Müller (The Dream Of Lieschen Mueller) and Bildnis Einer Unbekannten (Portrait Of An Unknown Woman).
Oe Hasse, Lilli Palmer and Peter van Eyck in Harald Braun's The Glass Tower (Der Gläserne Turm)
Wolfgang Staudte's The Fair (Kirmes) starring Juliette Mayniel, and Harald Braun's The Glass Tower (Der Gläserne Turm) with Lilli Palmer, Oe Hasse and Peter van Eyck, along with Käutner's Redhead (Die Rote) with Gert Fröbe and Ruth Leuwerik,...
At the Film Society of Lincoln Center inside the Furman Gallery of the Walter Reade Theater, Olaf Möller, the curator of The Lost Years of German Cinema: 1949–1963, discussed with me the films of Helmut Käutner, including his Hamlet adaptation, Der Rest Ist Schweigen (The Rest Is Silence), starring Hardy Krüger, Der Traum Von Lieschen Müller (The Dream Of Lieschen Mueller) and Bildnis Einer Unbekannten (Portrait Of An Unknown Woman).
Oe Hasse, Lilli Palmer and Peter van Eyck in Harald Braun's The Glass Tower (Der Gläserne Turm)
Wolfgang Staudte's The Fair (Kirmes) starring Juliette Mayniel, and Harald Braun's The Glass Tower (Der Gläserne Turm) with Lilli Palmer, Oe Hasse and Peter van Eyck, along with Käutner's Redhead (Die Rote) with Gert Fröbe and Ruth Leuwerik,...
- 11/21/2017
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Olaf Möller in front of Katharine Hepburn posters for Christopher Strong and Spitfire: "Das Spukschloss im Spessart [The Haunted Castle]! Which is fantastic. Great musical! It's a horror musical." Photo: Anne-Katrin Titze
On the opening night of The Lost Years of German Cinema: 1949–1963 at the Film Society of Lincoln Center, film historian Olaf Möller, following his introduction of Gottfried Kolditz's White Blood (Weißes Blut), joined me for a conversation on the program he curated that includes sensational work of filmmakers Helmut Käutner, Hans Heinz König, Fritz Lang, Peter Lorre, Kurt Hoffmann, Harald Braun, Wolfgang Staudte, Aleksander Ford, Konrad Petzold, and Robert Siodmak.
Earlier in the day at the Walter Reade Theater I watched Robert Siodmak's The Devil Strikes At Night (Nachts, Wenn Der Teufel Kam) and Hans Heinz König's Roses Bloom In The Moorland (Rosen Blühen Auf Dem Heidegrab). I started out with a couple of childhood television memories.
Fritz Lang's The Tiger Of Eschnapur...
On the opening night of The Lost Years of German Cinema: 1949–1963 at the Film Society of Lincoln Center, film historian Olaf Möller, following his introduction of Gottfried Kolditz's White Blood (Weißes Blut), joined me for a conversation on the program he curated that includes sensational work of filmmakers Helmut Käutner, Hans Heinz König, Fritz Lang, Peter Lorre, Kurt Hoffmann, Harald Braun, Wolfgang Staudte, Aleksander Ford, Konrad Petzold, and Robert Siodmak.
Earlier in the day at the Walter Reade Theater I watched Robert Siodmak's The Devil Strikes At Night (Nachts, Wenn Der Teufel Kam) and Hans Heinz König's Roses Bloom In The Moorland (Rosen Blühen Auf Dem Heidegrab). I started out with a couple of childhood television memories.
Fritz Lang's The Tiger Of Eschnapur...
- 11/18/2017
- by Anne-Katrin Titze
- eyeforfilm.co.uk
The Notebook is the North American home for Locarno Film Festival Artistic Director Carlo Chatrian's blog. Chatrian has been writing thoughtful blog entries in Italian on Locarno's website since he took over as Director in late 2012, and now you can find the English translations here on the Notebook as they're published. The Locarno Film Festival will be taking place August 3 - 13. In line with a long established dramaturgical mechanism, film criticism has shaped a history of cinema conceived in terms of discontinuity, one of dark ages followed or preceded by golden eras. Yet the habitual emphasis on the winds of change blowing in with the“nouvelles vagues,” although correct, has often ended up obscuring the cinema that came directly before it, charged with provincialism, not being very creative, and dominated by the requirements of the market. The “independent cinema = auteur cinema” equation may seem as natural as it is obvious but,...
- 12/21/2015
- by Carlo Chatrian
- MUBI
Director Atom Egoyan on The Captive in New York: "This is the most challenging and something I've explored in The Sweet Hereafter and Exotica…" Photo: Anne-Katrin Titze
We speak about Wolfgang Staudte's Murderers Are Among Us, the blurring of parameters, Bruce Greenwood's Vince at the charity ball, the upcoming Remember with Christopher Plummer, Martin Landau, Bruno Ganz and Dean Norris and Die Walküre.
Ryan Reynolds and Mireille Enos give fervent performances of grief as Matthew and Tina, whose daughter Cass, played as an ice-skating, pie-loving, energetic young girl by Peyton Kennedy, goes missing. For eight years, aided by a Niagara team of detectives, headed by Rosario Dawson's Nicole Dunlop and Scott Speedman's Jeffrey Cornwall, they search for the missing child. The viewer knows her whereabouts in the clutches of Kevin Durand's Mika, a man in their midst, who comes up with new bristling storytelling functions...
We speak about Wolfgang Staudte's Murderers Are Among Us, the blurring of parameters, Bruce Greenwood's Vince at the charity ball, the upcoming Remember with Christopher Plummer, Martin Landau, Bruno Ganz and Dean Norris and Die Walküre.
Ryan Reynolds and Mireille Enos give fervent performances of grief as Matthew and Tina, whose daughter Cass, played as an ice-skating, pie-loving, energetic young girl by Peyton Kennedy, goes missing. For eight years, aided by a Niagara team of detectives, headed by Rosario Dawson's Nicole Dunlop and Scott Speedman's Jeffrey Cornwall, they search for the missing child. The viewer knows her whereabouts in the clutches of Kevin Durand's Mika, a man in their midst, who comes up with new bristling storytelling functions...
- 12/21/2014
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Above: Putting coffee in the fridge.
With the upcoming Berlinale competition premiere of Die geliebten Schwestern (The Beloved Sisters, actually shot back in 2012), Dominik Graf remains in the festival spotlight after a big Rotterdam retrospective last year (full disclosure: programmed and accompanied by the Ferroni Brigade) introduced the work of this astonishing—and astonishingly prolific—German director to international audiences. But while his Berlin-bound Schiller epic is one of Graf's increasingly rare excursions into the theatrical terrain, his TV schedule has been as hectic as ever, with several new works lined up for release this year. Thus, somewhat shockingly, 2013 saw only a single Graf premiere: Aus der Tiefe der Zeit ("From the Depths of Time") is his third contribution for Germany's enduringly popular prime time crime show Tatort ("Crime Scene"), and confirms Graf's maddening tempo—both in its appearance and execution: The episode was shot in late spring...
With the upcoming Berlinale competition premiere of Die geliebten Schwestern (The Beloved Sisters, actually shot back in 2012), Dominik Graf remains in the festival spotlight after a big Rotterdam retrospective last year (full disclosure: programmed and accompanied by the Ferroni Brigade) introduced the work of this astonishing—and astonishingly prolific—German director to international audiences. But while his Berlin-bound Schiller epic is one of Graf's increasingly rare excursions into the theatrical terrain, his TV schedule has been as hectic as ever, with several new works lined up for release this year. Thus, somewhat shockingly, 2013 saw only a single Graf premiere: Aus der Tiefe der Zeit ("From the Depths of Time") is his third contribution for Germany's enduringly popular prime time crime show Tatort ("Crime Scene"), and confirms Graf's maddening tempo—both in its appearance and execution: The episode was shot in late spring...
- 1/28/2014
- by The Ferroni Brigade
- MUBI
Just yesterday, Empire posted a photo of Tom Tykwer and Lana and Andy Wachowski surrounded by novelist David Mitchell and producers Uwe Schott, Philip Lee, Stefan Arndt and Grant Hill. The occasion? They'd just wrapped shooting at Studio Babelsberg on the most expensive German film since the days of Ufa, Cloud Atlas. Babelsberg, practically on life support after the fall of the Berlin wall, is thriving once again. And in February, the legendary studio celebrates its 100th anniversary.
To celebrate, the Berlin International Film Festival, running February 9 through 19, will be awarding the studio a Berlinale Camera and presenting a special series, "Happy Birthday, Studio Babelsberg." The lineup:
Fw Murnau's The Last Laugh (1924) Josef von Sternberg's The Blue Angel (1929/30) Josef von Báky's The Adventures of Baron Munchhausen (1943) Wolfgang Staudte's The Murderers Are Among Us (1946) Kurt Maetzig's The Rabbit Is Me (1965) Konrad Wolf's Goya (1971) Roland Gräf's...
To celebrate, the Berlin International Film Festival, running February 9 through 19, will be awarding the studio a Berlinale Camera and presenting a special series, "Happy Birthday, Studio Babelsberg." The lineup:
Fw Murnau's The Last Laugh (1924) Josef von Sternberg's The Blue Angel (1929/30) Josef von Báky's The Adventures of Baron Munchhausen (1943) Wolfgang Staudte's The Murderers Are Among Us (1946) Kurt Maetzig's The Rabbit Is Me (1965) Konrad Wolf's Goya (1971) Roland Gräf's...
- 12/23/2011
- MUBI
"At least you can see they're really trying to make a good festival," commented, with typical dry wit, one of the (very) few international colleagues the Brigade considers at least something of a crypto-Ferronian. Hard to argue with that, as Locarno's program still shows the signs of having to battle back and forth with the two heaviest lifters on the festival calendar, Cannes and Venice—yet mostly, the Ferroni Brigade had a grand time this year.
Of course, more often then not, when dispirited acquaintances met a merry Brigadier in between screenings, the answer to their inevitable question would be: "Coming from (and returning to) a retrospective, of course!"—but also among new films, we ended up with more truly interesting stuff than in the previous year. Not all of it true donkey material, for different reasons. Nevertheless, there were quite a few Ferronian pleasures out there, some of them more touching than others,...
Of course, more often then not, when dispirited acquaintances met a merry Brigadier in between screenings, the answer to their inevitable question would be: "Coming from (and returning to) a retrospective, of course!"—but also among new films, we ended up with more truly interesting stuff than in the previous year. Not all of it true donkey material, for different reasons. Nevertheless, there were quite a few Ferronian pleasures out there, some of them more touching than others,...
- 9/21/2011
- MUBI
COLOGNE, Germany -- The 2006 Berlin International Film Festival will feature a new prize, the best first feature award, honoring the best debut film to run in competition or as part of the festival's Panorama or Kinderfilmfest/14 Plus sidebars, organizers announced Tuesday. The prize, which will come with a €25,000 ($31,000) cash award, is sponsored by German copyright association GWFF. Debut films screening in Berlin's Forum sidebar will not be eligible for the new award, as the Forum's Wolfgang Staudte Prize already has an award for first-time directors.
- 1/25/2006
- The Hollywood Reporter - Movie News
COLOGNE, Germany -- The 2006 Berlin International Film Festival will feature a new prize, the best first feature award, honoring the best debut film to run in competition or as part of the festival's Panorama or Kinderfilmfest/14 Plus sidebars, organizers announced Tuesday. The prize, which will come with a €25,000 ($31,000) cash award, is sponsored by German copyright association GWFF. Debut films screening in Berlin's Forum sidebar will not be eligible for the new award, as the Forum's Wolfgang Staudte Prize already has an award for first-time directors.
- 1/24/2006
- The Hollywood Reporter - Movie News
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