Retrospective to include around 20 East and West German feature and documentary films from cinema and television.
The Retrospective of the 66th Berlin International Film Festival (Feb 11-21) is to be dedicated to the year 1966, a year considered to be a turning point in German cinema.
“The year 1966 stands for extraordinary films in the West and the East, films which broke new artistic ground,” said Berlinale festival director Dieter Kosslick.
“The Retrospective 2016 shows the audacious revolt and tentative exploration in a time of transition.”
The strand will include around 20 East and West German feature and documentary films from cinema and television. Additionally, more than 30 films of short and medium length - a typical format at the time - will feature in film programmes and as supporting films.
In 1966, the New German Cinema wave received critical acclaim at major film festivals for the first time.
At the Berlinale, Peter Schamoni’s debut No Shooting Time for Foxes (Schonzeit für Füchse) won a...
The Retrospective of the 66th Berlin International Film Festival (Feb 11-21) is to be dedicated to the year 1966, a year considered to be a turning point in German cinema.
“The year 1966 stands for extraordinary films in the West and the East, films which broke new artistic ground,” said Berlinale festival director Dieter Kosslick.
“The Retrospective 2016 shows the audacious revolt and tentative exploration in a time of transition.”
The strand will include around 20 East and West German feature and documentary films from cinema and television. Additionally, more than 30 films of short and medium length - a typical format at the time - will feature in film programmes and as supporting films.
In 1966, the New German Cinema wave received critical acclaim at major film festivals for the first time.
At the Berlinale, Peter Schamoni’s debut No Shooting Time for Foxes (Schonzeit für Füchse) won a...
- 11/17/2015
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
When Michelle Collins left Bwe several months ago, she compiled this list of her favorite posts of all time. In honor of Bwe’s final week, we’ve reposted this handy guide in case you find yourself suffering from BWEthdrawal in the coming weeks and wish to peruse some bona fide literary classics. She also would like us to clarify that she did not write the title of this post. Take it away, Michelle: Well, my time at Best Week Ever is coming to a close. But before I go, here are 37 things I am proud to have done over the last 6 years. Please note that putting this list together has given me life-altering anxiety this week because I can’t believe it’s over! So, presenting The Final Countdown: 37 Things I Did For Best Week Ever: 37. Fell In Love With Knut. Met Him. Then Mourned Him. Our...
- 6/14/2012
- by Michelle Collins
- BestWeekEver
Above: Das Magische Band.
For the 50th anniversary of the signing of the Oberhausen Manifesto, the International Short Film Festival Oberhausen seems to have deployed an expected reminder and canonization: a retrospective. But the reality is far from this conventionality. Instead, the festival has activated a series, sequence and near-simultaneity of films programmed by Ralph Eue and Olaf Möller called Mavericks, Mouvements, Manifestos that form a complex, varied and nuanced international constellation of absolutely necessary, engaged and reactive short films from the 1950s-1960s. It is not a look back, as most retrospectives inevitably are, but a bracing engagement with a reality, both historic and contemporary, that proves to be still absolutely crucial to our understanding of the world and its cinema.
The opening ceremony of the festival capped an endless series of introductions—which included an unexpected but moving reminder of and plea about the economic ghettoization of cultural...
For the 50th anniversary of the signing of the Oberhausen Manifesto, the International Short Film Festival Oberhausen seems to have deployed an expected reminder and canonization: a retrospective. But the reality is far from this conventionality. Instead, the festival has activated a series, sequence and near-simultaneity of films programmed by Ralph Eue and Olaf Möller called Mavericks, Mouvements, Manifestos that form a complex, varied and nuanced international constellation of absolutely necessary, engaged and reactive short films from the 1950s-1960s. It is not a look back, as most retrospectives inevitably are, but a bracing engagement with a reality, both historic and contemporary, that proves to be still absolutely crucial to our understanding of the world and its cinema.
The opening ceremony of the festival capped an endless series of introductions—which included an unexpected but moving reminder of and plea about the economic ghettoization of cultural...
- 5/9/2012
- MUBI
Well, my time at Best Week Ever is coming to a close. But before I go, here are 37 things I am proud to have done over the last 6 years. Please note that putting this list together has given me life-altering anxiety this week because I can’t believe it’s over! So, presenting The Final Countdown: 37 Things I Did For Best Week Ever: 37. Fell In Love With Knut. Met Him. Then Mourned Him. Our journey with Knut was a deep one. We fell in love with the little scamp from birth, as did the other 1000 billion people living in China and beyond. But, like a little Lindsay Lohan except not quite as pale, the attention got to little Knuty, right around the time he started growing up into a less small, way filthy dirtier full grown polar bear. I was one of the millions to go to Berlin and meet Knut.
- 3/31/2012
- by Michelle Collins
- BestWeekEver
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