Dominik Graf

Dominik Graf – Das Gelübde (2007)

Clemens Brentano, an artist in his prime, no longer wants to be an artist. The poet and bon vivant goes to the bedside of the nun Anna Katharina Emmerich as a simple “scribe of God’s wonders” to write down her visions and views. Emmerich became famous for her stigmata of Christ, which appeared on her chest, forehead and hands. In order to receive comfort and encouragement, believers make pilgrimages to the sickbed of the weakened nun. Brentano places great hope in his encounter with her. But the meeting of the famous poet and the nun becomes a crossroads for both of them. Read More »

Dominik Graf & Johannes Sievert – Verfluchte Liebe deutscher Film (2016)

Don’t we all feel the same longing for German films that break ranks, that are wild and sensual, that possess a true physicality? Dominik Graf’s thrillers, the articles he’s written on cinema and his new documentary all tell of this longing. What happened to this section of our film tradition, which in the 1970s and 80s brought forth a genre cinema that showed a very different Germany, one looking into the abyss?
Even before Martin Scorsese’s Taxi Driver, there were reflections of neon signs in nocturnal streets and a dark angel who wanted to rescue a prostitute in Roland Klick’s Supermarkt (1973). Klaus Lemke and Roland Klick sit before Graf’s camera as nonchalantly as their heroes and rave about how actors who make full use of their bodies. At first, post-war Germany did not want maimed bodies sweaty with exertion, until Mario Adorf and Klaus Kinski brought back the need for the physical. Suddenly, there was space for violent, bloody and dirty stories, with the RAF’s first department store bomb reverberating through films such as Blutiger Freitag (1972). This is another way of telling German history. [Berlinale.de] Read More »

Dominik Graf & Johannes Sievert – Offene Wunde deutscher Film (2017)

We already know just how wild, unpredictable, sensual, audacious and bursting with life German cinema can be from the film essay Verfluchte Liebe deutscher Film. Now Dominik Graf and Johannes Sievert continue their archaeological adventure tour to the margins, the underbelly, but also to the heart of German film and television, posing some valid questions along the way: why does public television no longer commission such prescient science fiction films as Smog (1973)? Why isn’t German cinema able to establish a more audacious relationship to genre? As in Carl Schenkel’s Abwärts (1984), for example, all it takes is a lift that gets stuck in an office building to make a claustrophobic psycho-thriller. Why do young directors not follow in the footsteps of the unruly Klaus Lemke, who simply shoots his films from the hip? And why do those who do get denied funding? The excerpts from these film and television marvels – such as Slavers – Die Sklavenjäger or Liebling – Ich muss dich erschießen – certainly make one want to run out and see them at once. Sadly, in many cases all that’s left of these lost treasures are the trailers or posters.[Berlinale.de] Read More »

Dominik Graf – Tatort: Der rote Schatten (2017)

Christoph Heider is caught as he abducts the body of his wife from the cemetery chapel. Marianne Heider allegedly died in a bathtub accident, but Heider considers her current partner Wilhelm Jordan guilty and would like to have her autopsied again abroad. Read More »

Dominik Graf – Kalter Frühling AKA Cold Spring (2004)

Ekkehard Knörer @ jumpcut.de wrote:
Dominik Graf makes movies for TV that are bigger than TV, but in his case this might be not a problem at all. It seems that his films work best as movies made for TV, TV as movies. This is because of the hackneyed stories he and his writers certainly twist and turn – without the intention, however, of turning them into art. Or rather, it is an art that turns its back to TV. This movement of turning its back remains important, though, as a gesture, a gesture that works best at the place it turns away from: TV. Dominik Graf’s art is an art of transcending TV by means of using it, of reproducing it in a radically transformed way. It remains recognizable in the stories, the motives – not the emotions, though. Read More »

Dominik Graf – Tatort: Frau Bu lacht (1995)

Confectioner Mauritz is shot at close range. His wife, Thai woman Sita, whom he met two years ago through a marriage institute, is frightened and barely speaks German. Her five-year-old daughter, who she brought into the marriage, is also silent. The searches lead Commissioners Batic and Leitmayr to the Flügel Agency, that specialises in the placement of women with small children. Batic registers as an alleged customer with the institute. Read More »

Dominik Graf – Bittere Unschuld AKA Bitter Innocence (1999)

Bittere Unschuld AKA Bitter Innocence
Andreas Brandt is the head of the research department in a pharmaceutical company. He earns enough to build a future with his wife Monica and his daughter Eva. But a merger puts his position in jeopardy. Brandt randomly observes Larssen, who’s responsible for the merger, raping the waitress Vanessa. Instead of helping her, he takes a file which has previously been stolen by Larssen. It contains incriminating evidence against Larssen. Brandt tries to blackmail Larssen, but Larssen is capable to shift the buck back to Brandt. Slowly Brandt’s family becomes involved… Read More »