Architecture

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The architect, a contemporary master, Renzo Piano. The filmmaker, another contemporary master, Carlos Saura.Read More »

Reifarth relates the history of the Tugendhat House and family from the perspectives of the Tugendhat children. The Tugendhat House is also presented in the social, political and cultural context of the modern Republic of Czechoslovakia formed after World War I; the German occupation; the communist regime; and the Czech Republic, whose formation was made public in a broadcast from the Tugendhat House. The descendants of Fritz and Grete never repossessed the house but always fought to have it restored and open to the public. In 2001 the Tugendhat House was designated a UNESCO World Heritage. From 2010 until the opening in 2012 a laborious technical and aesthetic restoration was realized.Read More »

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1963’s Salut les cubains is a collaboration with Yves Montand that compiles Varda’s photojournalism from Cuba, ten years after the revolution, into a celebratory ode to the island, its people and culture, and the still-very-young socialist state. The images are striking from a historical standpoint, although they don’t hint quite yet at the more poetic direction toward which Varda’s work will evolve. Her photo-montage style recalls both Soviet revolutionary film and the Cuban documentaries of Santiago Álvarez, whose career was just beginning at this time. Moments are poignant, such as seeing Cuban director Sara Gomez cutting up around the ICAIC studios shortly before her death. But Salut les cubains’ dominant impression is one of boundless energy and the nation’s great hope in trying to forge a new way of life.Read More »

“Wim Wenders was bitten by the 3D bug when he made his 2011 dance docu, “Pina,” and he expands the possibilities of the format still further with “Cathedrals of Culture.” Giving all new meaning to the expression “if these walls could talk,” this conceptual six-part omnibus invites half a dozen international helmers to imagine the personalities of various cultural institutions, lending voices to their unique designs while allowing cameras to explore the buildings’ unique architectural features in all their multidimensional glory. Such an overlong and only intermittently absorbing project wouldn’t suffer in the slightest if broken up across several nights for non-3D arts TV, where the otherwise taxing presentation will likely find its broadest audience.Read More »

A Machine to Live In is a hybrid documentary linking the cosmic power structures of the state to the mystical architecture of cults and utopian cities in the remote hinterlands of Brazil.Read More »

Carl is having trouble writing. As the film progresses, his novelistic character develops into a real person who intervenes in his life with increasing menace. The lector Roy supports Carl but is marked by a severe illness. To escape his difficulties, Carl accompanies Jon and Liza on an architectural journey. Bela and Fred remain behind with Roy and are confronted with his approaching death. For his friends, his death becomes the motive to reconstruct their life spent together.Read More »

The films of pre-eminent documentary filmmaker Heinz Emigholz present the most important architects of the 20th century not through explanation or biography, but by using the camera to reveal the structures that define their art. From Bruce Goff’s churches to Gabriele D’Annunzio’s villas to Robert Maillart’s bridges, each exploratory and contemplative film is dedicated to the work of a single architect; taken together, the series shows us some of the most beautiful buildings of our time.Read More »

I am concerned with the cinematic recreation of the immediate experience of spaces, with the most accurate possible portrait of these spaces and its details in cinema.
Heinz EmigholzRead More »

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Before the Panama Canal was dug in 1911, Valparaiso was one of the main seaports on the passage around Cape Horn. Over the centuries, the city fell into the hands of different conquerors, and natural violence repeatedly destroyed it for the greater part. In cooperation with the university of Santiago de Chile, Joris Ivens made a semi-documentary about the daily life in Valparaiso, where the contrasts between poor and rich immediately strike the eye. Ivens chose realistic, but also poetical images. The abrupt shift from black-and-white to colour in the film marks the transition from the initial pessimistic part to the later, more hopeful images.Read More »