A Straub-Huillet Companion is a series of short essays on the films of Jean-Marie Straub and Danièle Huillet, subject of a Mubi retrospective. Straub-Huillet's Fortini/Cani (1976) is showing on Mubi from July 3 – August 1, 2019. The boy I was experienced no conflict between paternal and maternal tradition. What touched his imagination in Judaism was not the incomprehensible rites in the synagogue to which his father occasionally took him. His first knowledge of a lack of love and curiosity came with the certainty that his father did not believe in those rituals and pious gestures. When he was introduced to his father’s relatives or acquaintances who wore the tallit on their shoulders as if dressed for a secret ceremony he sensed in them not faith but rather a reproach, as if they expressed a difference he could not yet decipher. — Franco Fortini, The Dogs of the SinaiThe IMDb lists Fortini/Cani as Straub-Huillet’s first “documentary” feature.
- 7/4/2019
- MUBI
A Straub-Huillet Companion is a series of short essays on the films of Jean-Marie Straub and Danièle Huillet, subject of a Mubi retrospective. Straub-Huillet's Machorka-Muff (1963) is showing on Mubi from April 24 – May 23, 2019.The history of Straub-Huillet’s first three films is the history of the long-gestating project that would—as I discussed in the first entry of this series—become their third, Chronicle of Anna Magdalena Bach (1968). In one form or another, they had been trying to raise funds for the project since they met in 1954. At the start of 1959, while Jean-Marie toured seven towns in the German Democratic Republic (visiting all the historical locations at which he hoped to film), the Straubs came close to making their Bach film. Huillet was in Paris, negotiating with money men for enough of a budget to make the film for the amount they both agreed was necessary. In the end, Huillet secured...
- 4/24/2019
- MUBI
Foreplays is a column that explores under-known short films by renowned directors. Jean-Marie Straub and Danièle Huillet's Machorka-Muff (1963) is showing April 24 – May 23, 2019 on Mubi as part of the series A Straub-Huillet Retrospective. Machorka-Muff (1963), the first film by Jean-Marie Straub and Danièle Huillet, is an adaptation of "Bonn Diary," a short story by Heinrich Böll—a writer to whom the filmmakers would return in Not Reconciled (1965). Sharp and exacting as a keen-edged knife, the film follows the visit of Erich von Machorka-Muff (Erich Kuby), a former Nazi colonel, to the capital of West Germany. The main purpose of his trip is, as we shall discover, the inauguration of a Military Academy Memorial. Killing two birds with one stone, this event will also allow him to rehabilitate the name of Marshal Hürlanger-Hiss, in honor of whom the academy is named. Those who approach Machorka-Muff casually, without previous information about its historical background,...
- 4/21/2019
- MUBI
Volker Schlöndorff on Germany in Autumn (Deutschland Im Herbst): "In the film there is a segment which Heinrich Böll wrote and I directed about an Antigone production …" Photo: Anne-Katrin Titze
On the last day in April, after having returned from Indiana where he spoke at the 1968 in Europe and Latin America conference (held at the University of Notre Dame), Volker Schlöndorff met with me at Lincoln Center for a follow-up conversation on the topic. His 1966 film Young Törless, starring Mathieu Carrière, was also screened.
Earlier that morning he was up at Columbia discussing Antigone and May '68 in a class taught by his Return To Montauk co-screenwriter Colm Tóibín. The director of the Oscar-winning Tin Drum on the 50th anniversary year of the student protests shared his memories on the legacy of '68 and the eternal return of Claude Lévi-Strauss.
Max Zorn (Stellan Skarsgård) with Rebecca (Nina Hoss) in...
On the last day in April, after having returned from Indiana where he spoke at the 1968 in Europe and Latin America conference (held at the University of Notre Dame), Volker Schlöndorff met with me at Lincoln Center for a follow-up conversation on the topic. His 1966 film Young Törless, starring Mathieu Carrière, was also screened.
Earlier that morning he was up at Columbia discussing Antigone and May '68 in a class taught by his Return To Montauk co-screenwriter Colm Tóibín. The director of the Oscar-winning Tin Drum on the 50th anniversary year of the student protests shared his memories on the legacy of '68 and the eternal return of Claude Lévi-Strauss.
Max Zorn (Stellan Skarsgård) with Rebecca (Nina Hoss) in...
- 5/7/2018
- by Anne-Katrin Titze
- eyeforfilm.co.uk
PachamamaBeginning Saturday, the Film Society of Lincoln Center is bringing to American shores the work of one of Germany’s finest filmmakers, Peter Nestler. Arranged in nine-parts, the extensive series is a major effort to make Nestler’s work better-known in the United States, where it has rarely shown. Nestler is a singular filmmaker, one for whom I have great affection, but also one who came to making films in a time and place singular in and of itself. The movies Germany produced for roughly the fifteen years after the reformation of the country after World War II is a period often misunderstood by cinephiles and, at least until recently, underrepresented in retrospective programming outside of the country itself. In the 1950s and 1960s, German leftists were outraged by the continuing presence of Nazis in the government of the young Federal Republic, and by the way that polite society did...
- 7/2/2017
- MUBI
Rebecca Clough Jan 20, 2017
As America gets its new President, we look at some excellent political drama films that may have slipped under your radar...
Political dramas can be entertaining, informative and even educational, opening up debates and offering new points of view. (When experiencing a year of tumultuous change like the one we’ve just had, they can also be a comforting reminder that, no matter what your situation, it could always be worse...) With the full whack of corruption, war, and conspiracy, here are 25 political dramas which deserve to be better known.
See related 25 underrated political thrillers 17 new TV shows to watch in 2017 Taboo episode 3 review The Girl On The Train review 25. The Marchers/La Marche (2013)
When teenager Mohamed (Tewfik Jallab) is shot by police, his friends want revenge, but he has a better idea: peaceful protest. Marching from Marseille to Paris, they band together with quite an assortment of characters along the way.
As America gets its new President, we look at some excellent political drama films that may have slipped under your radar...
Political dramas can be entertaining, informative and even educational, opening up debates and offering new points of view. (When experiencing a year of tumultuous change like the one we’ve just had, they can also be a comforting reminder that, no matter what your situation, it could always be worse...) With the full whack of corruption, war, and conspiracy, here are 25 political dramas which deserve to be better known.
See related 25 underrated political thrillers 17 new TV shows to watch in 2017 Taboo episode 3 review The Girl On The Train review 25. The Marchers/La Marche (2013)
When teenager Mohamed (Tewfik Jallab) is shot by police, his friends want revenge, but he has a better idea: peaceful protest. Marching from Marseille to Paris, they band together with quite an assortment of characters along the way.
- 12/22/2016
- Den of Geek
Pamela Katz, Carrie Welch with Margarethe von Trotta on the Return To Montauk set Photo: Anne-Katrin Titze
Volker Schlöndorff, Oscar-winning director for The Tin Drum, based on Günter Grass's novel Die Blechtrommel, invited me to join him on the set for his latest film, Return To Montauk (Rückkehr Nach Montauk), while he was shooting scenes with Stellan Skarsgård and Susanne Wolff at the New York Public Library. The film also stars Nina Hoss and Niels Arestrup (brilliant in Diplomacy with André Dussollier). Screenwriter Colm Tóibín, along with Margarethe von Trotta and her co-writer Pam Katz (The Other Woman (Die Andere Frau), Rosenstrasse and Hannah Arendt) were up on the steps.
Margarethe von Trotta with Volker Schlöndorff Photo: Anne-Katrin Titze
Von Trotta co-wrote and co-directed The Lost Honor of Katharina Blum with Volker, based on Heinrich Böll's novel and he directed her in their script for Coup de Grâce.
Volker Schlöndorff, Oscar-winning director for The Tin Drum, based on Günter Grass's novel Die Blechtrommel, invited me to join him on the set for his latest film, Return To Montauk (Rückkehr Nach Montauk), while he was shooting scenes with Stellan Skarsgård and Susanne Wolff at the New York Public Library. The film also stars Nina Hoss and Niels Arestrup (brilliant in Diplomacy with André Dussollier). Screenwriter Colm Tóibín, along with Margarethe von Trotta and her co-writer Pam Katz (The Other Woman (Die Andere Frau), Rosenstrasse and Hannah Arendt) were up on the steps.
Margarethe von Trotta with Volker Schlöndorff Photo: Anne-Katrin Titze
Von Trotta co-wrote and co-directed The Lost Honor of Katharina Blum with Volker, based on Heinrich Böll's novel and he directed her in their script for Coup de Grâce.
- 5/7/2016
- by Anne-Katrin Titze
- eyeforfilm.co.uk
The 66th Berlinale officially opens today with Joel Coen and Ethan Coen's Hail, Caesar!, and I add a few words to our collection of reviews. First, though, I report on a conference sponsored by the newish Berlin Critics' Week and the Heinrich Böll Foundation concerning the problems currently facing German cinema on the international stage—and on Babylon Berlin, a new long-form television series based on a bestselling series of novels by Volker Kutscher about Gereon Rath, a police inspector working out of an office on Berlin Alexanderplatz in the 1920s. The showrunner is none other than Tom Tykwer. » - David Hudson...
- 2/11/2016
- Keyframe
The 66th Berlinale officially opens today with Joel Coen and Ethan Coen's Hail, Caesar!, and I add a few words to our collection of reviews. First, though, I report on a conference sponsored by the newish Berlin Critics' Week and the Heinrich Böll Foundation concerning the problems currently facing German cinema on the international stage—and on Babylon Berlin, a new long-form television series based on a bestselling series of novels by Volker Kutscher about Gereon Rath, a police inspector working out of an office on Berlin Alexanderplatz in the 1920s. The showrunner is none other than Tom Tykwer. » - David Hudson...
- 2/11/2016
- Fandor: Keyframe
Citizenfour, The Cut and Quatsch to screen at Berlinale; Critics’ Week Berlin to be launched
The German Film Critics Association (Vdfk) has joined forces with the Heinrich Böll Foundation to launch a Critics’ Week Berlin as “a hub for everyone who connects intellectual reflection with the sensual pleasure of watching films”.
Inspired by the examples of Cannes, Venice and Locarno, the first edition’s selection of 10 features is based on two concepts: “stirring, daring, surprising cinema and a potential for cultural and critical discussion.”
The initiative is not part of the Berlinale, although members of the Vdfk board had spoken with festival director Dieter Kosslick about the idea of a critics’ week in the past.
Two titles already confirmed are the world premiere of Bernard Émond’s Le Journal d’un vieil homme (The Diary of an Old Man), adapted from the Chekhov novella A Dreary Story, and Johnnie To’s romantic comedy Don’t Go Breaking...
The German Film Critics Association (Vdfk) has joined forces with the Heinrich Böll Foundation to launch a Critics’ Week Berlin as “a hub for everyone who connects intellectual reflection with the sensual pleasure of watching films”.
Inspired by the examples of Cannes, Venice and Locarno, the first edition’s selection of 10 features is based on two concepts: “stirring, daring, surprising cinema and a potential for cultural and critical discussion.”
The initiative is not part of the Berlinale, although members of the Vdfk board had spoken with festival director Dieter Kosslick about the idea of a critics’ week in the past.
Two titles already confirmed are the world premiere of Bernard Émond’s Le Journal d’un vieil homme (The Diary of an Old Man), adapted from the Chekhov novella A Dreary Story, and Johnnie To’s romantic comedy Don’t Go Breaking...
- 1/13/2015
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
Its wide range of contributors and influences make Lore something more than just another tale of post-Nazi Germany
Given its transnational provenance – its Anglo-German source novel adapted by a British-Bengali screenwriter, its Australian director and its bleak Nazi-era subject matter – I'm reluctant to dub Lore a straightforwardly German movie. This might seem counterintuitive given its story: a 14-year-old German daughter of prominent Nazis is left to trek northwards across a ruined Germany in the weeks after the Nazi collapse, her infant siblings and a displaced Jewish boy in tow, and her Nazi assumptions slowly unravelling.
That bald summary might induce one to categorise Lore in the long and honourable line of movies set against the death-seizures of Hitler's regime. That line stretched from Rossellini's Germany Year Zero, shot contemporaneously in 1947 in the actual smoking ruins, to 2008's Anonyma, in which sexual servitude is seen as one woman's only sane response...
Given its transnational provenance – its Anglo-German source novel adapted by a British-Bengali screenwriter, its Australian director and its bleak Nazi-era subject matter – I'm reluctant to dub Lore a straightforwardly German movie. This might seem counterintuitive given its story: a 14-year-old German daughter of prominent Nazis is left to trek northwards across a ruined Germany in the weeks after the Nazi collapse, her infant siblings and a displaced Jewish boy in tow, and her Nazi assumptions slowly unravelling.
That bald summary might induce one to categorise Lore in the long and honourable line of movies set against the death-seizures of Hitler's regime. That line stretched from Rossellini's Germany Year Zero, shot contemporaneously in 1947 in the actual smoking ruins, to 2008's Anonyma, in which sexual servitude is seen as one woman's only sane response...
- 2/18/2013
- by John Patterson
- The Guardian - Film News
“When history is what it should be, it is an elaboration of cinema.” —Ortega y Gasset
“The key for me is finding some rhythm of the film, not so much in the plot from a traditional sense but, rather, from its internal rhythm.” —Matías Piñeiro
1
There are works of art that affect in bulk, all at once; these are the aesthetic experiences that unify, that impose boundaries on the license of eye and ear. Other works of art achieve a dissociated and dissociating stylistic program; these are the works that cannot be experienced or understood as feats of synthesis, or as products of a single point of view.
While much of the art of the past century might be described as an effort toward a radical disaffiliation of elements—word and image, depth and surface, form and content—awareness of a quarrelsome relationship between two presumably incompatible ways of making...
“The key for me is finding some rhythm of the film, not so much in the plot from a traditional sense but, rather, from its internal rhythm.” —Matías Piñeiro
1
There are works of art that affect in bulk, all at once; these are the aesthetic experiences that unify, that impose boundaries on the license of eye and ear. Other works of art achieve a dissociated and dissociating stylistic program; these are the works that cannot be experienced or understood as feats of synthesis, or as products of a single point of view.
While much of the art of the past century might be described as an effort toward a radical disaffiliation of elements—word and image, depth and surface, form and content—awareness of a quarrelsome relationship between two presumably incompatible ways of making...
- 8/20/2012
- MUBI
Surviving against the odds in a country with dwindling arts funding, Kriterion Amsterdam's sister cinema in Bosnia and Herzegovina is the go-to venue for hip artists and Eurocrats alike
• Check out our Google map and flickr group
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On location: Sarajevo's only arthouse cinema is centrally located on the bank of the Miljacka river, next to the tram line rumbling towards Baščaršija, the city's charming Ottoman old town.
Crowd scene: In the six months since it opened, the cinema and cafe have quickly become popular stop-offs among Sarajevo's intelligentsia for movies, art exhibits, dance parties and coffee. The theatre's location just across the river from Sarajevo University's Academy of Fine Arts makes it a favourite among students and professors alike. It's common to see young civil-society activists plotting outreach campaigns after taking in a show. The cinema's proximity to the European Union delegation building, where...
• Check out our Google map and flickr group
• Tell us where to go next
On location: Sarajevo's only arthouse cinema is centrally located on the bank of the Miljacka river, next to the tram line rumbling towards Baščaršija, the city's charming Ottoman old town.
Crowd scene: In the six months since it opened, the cinema and cafe have quickly become popular stop-offs among Sarajevo's intelligentsia for movies, art exhibits, dance parties and coffee. The theatre's location just across the river from Sarajevo University's Academy of Fine Arts makes it a favourite among students and professors alike. It's common to see young civil-society activists plotting outreach campaigns after taking in a show. The cinema's proximity to the European Union delegation building, where...
- 11/23/2011
- The Guardian - Film News
U.S. nukes are safe! As they can be... We keep being told. While the rest of the world continues to distance itself, what's the future of Obama's push for more atomic power?
While the U.S. debates the future of nuclear power, Mother Nature keeps sending gentle reminders last week of the risks. Floodwaters from the Missouri River breeched a damaged berm around Nebraska's Fort Calhoun reactor over the weekend, inundating the site under several feet of water. Fortunately, the containment buildings are built to withstand waters at least eight feet higher, according to the Wall Street Journal, and the Iowa Independent reports the situation “looks worse that it is.” Meanwhile, at Los Alamos, the birthplace of the atomic bomb and home to 20,000 barrels of nuclear waste, wildfires are still raging.
Yet the probability of a nuclear disaster on U.S. soil similar to Japan’s Fukushima Daiichi meltdown is "very,...
While the U.S. debates the future of nuclear power, Mother Nature keeps sending gentle reminders last week of the risks. Floodwaters from the Missouri River breeched a damaged berm around Nebraska's Fort Calhoun reactor over the weekend, inundating the site under several feet of water. Fortunately, the containment buildings are built to withstand waters at least eight feet higher, according to the Wall Street Journal, and the Iowa Independent reports the situation “looks worse that it is.” Meanwhile, at Los Alamos, the birthplace of the atomic bomb and home to 20,000 barrels of nuclear waste, wildfires are still raging.
Yet the probability of a nuclear disaster on U.S. soil similar to Japan’s Fukushima Daiichi meltdown is "very,...
- 6/29/2011
- by Michael J. Coren
- Fast Company
Juliette Binoche stars in the first film Abbas Kiarostami has made outside Iran. Peter Bradshaw finds it very odd indeed
Abbas Kiarostami's new movie has an Italian setting; it is his first fiction feature to be made outside Iran, and it really is an oddity – an intriguing oddity, but an oddity nonetheless. Certified Copy is the deconstructed portrait of a marriage, acted with well-intentioned fervour by Juliette Binoche, but persistently baffling, contrived, and often simply bizarre – a highbrow misfire of the most peculiar sort. It looks like the work of a sophisticated director with no feel for the languages he's working in, and sometimes even like the work of a highly intelligent and observant space alien who still has not quite grasped how Earthlings actually relate to each other.
The film is set in Tuscany, where visiting British author James Miller, played by newcomer William Shimell, is giving a reading from his latest book,...
Abbas Kiarostami's new movie has an Italian setting; it is his first fiction feature to be made outside Iran, and it really is an oddity – an intriguing oddity, but an oddity nonetheless. Certified Copy is the deconstructed portrait of a marriage, acted with well-intentioned fervour by Juliette Binoche, but persistently baffling, contrived, and often simply bizarre – a highbrow misfire of the most peculiar sort. It looks like the work of a sophisticated director with no feel for the languages he's working in, and sometimes even like the work of a highly intelligent and observant space alien who still has not quite grasped how Earthlings actually relate to each other.
The film is set in Tuscany, where visiting British author James Miller, played by newcomer William Shimell, is giving a reading from his latest book,...
- 9/2/2010
- by Peter Bradshaw
- The Guardian - Film News
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