Dominik Graf

  • Dominik Graf – Im Angesicht des Verbrechens aka In Face of the Crime (2010)

    Dominik Graf2001-2010CrimeGermanyTV
    Im Angesicht des Verbrechens (2010)
    Im Angesicht des Verbrechens (2010)

    “In this epic-scale saga of life on both sides of the law, Max Riemelt plays Marek Grosky, a Russian Jew who immigrated to Germany in the 1920s. Grosky is one of a large number of Russians who have fled their homeland and settled in the Charlottenburg district of Berlin. While Marek has become a police officer in Berlin, his sister Stella (Marie Baumer) is married to a high-ranking crime chieftain, and the cop finds himself caught between two worlds, torn between his devotion to duty and his ties to his family. As a war rages between criminal factions in Charlottenburg, Marek witnesses the death of his brother and falls for a Ukrainian woman who has been brought to Germany to work as a prostitute. Im Angesicht des Verbrechens (aka In Face Of The Crime) was originally created as a ten-part series for German television; it was later re-edited into a pair of feature-length films which were screened as part of the 2010 Berlin International Film Festival. “
    by Mark DemingRead More »

  • Dominik Graf – Mein Falke AKA My Falcon (2023)

    2011-2020Dominik GrafDramaGermany
    Mein Falke (2023)
    Mein Falke (2023)

    A documentary-like drama about an emotionally frozen woman who opens up to life again…” ~Filmdienst

    Synopsis:
    Forensic biologist Inga is so busy with her work at the institute that it takes her a while to notice how lonely she is after separating from her husband. When it is claimed that she has a half-sister and the falconer asks her to look after a baby falcon, she falls into a vortex of painful feelings.Read More »

  • Dominik Graf – Dreileben – Komm mir nicht nach AKA Don’t Follow Me Around (2011)

    2011-2020ArthouseDominik GrafDramaGermany

    In the trilogy’s second chapter, Jo (Jeanette Hain), a big-city police psychologist, arrives in Dreileben to aid in the ongoing investigation, whereupon she finds herself greeted cooly by the local authorities but welcomed with open arms by Vera (Susanne Wolff), a college friend who lives nearby with her husband, a pretentious author. As the girlfriends reminisce about bygone days and discover they were both once in love with the same man, director Dominik Graf deftly juxtaposes their personal drama against the search for a killer, a police corruption scandal, and a possible case of interspecies transmutation—all underlining the trilogy’s recurring themes of false appearances and deeply hidden truths.Read More »

  • Dominik Graf – Fabian oder Der Gang vor die Hunde AKA Fabian: Going to the Dogs (2021)

    2021-2030Dominik GrafDramaGermany

    Quote:
    Berlin, 1931. Jakob Fabian (Tom Schilling) works in the advertising department of a cigarette factory by day and drifts through bars, brothels and artist studios with his wealthy and debauched friend Labude (Albrecht Schuch) by night. When Fabian meets the beautiful and confident Cornelia (Saskia Rosendahl), he manages to shed his pessimistic attitude for a brief moment and falls in love. Not long after, he falls victim to the great wave of layoffs sweeping the city, plunging him back into a depression, while Cornelia’s career as an actress is taking off thanks to her wealthy boss and admirer – an arrangement that Fabian finds difficult to accept. But it’s not just his world that is falling apart… Veteran German director Dominik Graf (Beloved Sisters) wowed audiences at the Berlin Film Festival with this dazzling adaptation of Erich Kästner’s classic of Weimar literature, set amid the twilight hedonism of pre-Nazi Germany.Read More »

  • Dominik Graf – Fabian oder Der Gang vor die Hunde AKA Fabian: Going to the Dogs (2021)

    Dominik Graf2021-2030DramaGermany

    1930s Berlin. Dr. Jakob Fabian, who works by day in advertising for a cigarette company and by night wanders the streets of the city, falls in love with an actress. As her career begins to blossom, prospects for his future begin to wane.

    4 wins, 12 nominationsRead More »

  • Michael Althen & Dominik Graf – München – Geheimnisse einer Stadt AKA Munich: Secrets of a City (2000)

    Dominik Graf1991-2000ArthouseDocumentaryGermanyMichael Althen

    “München – Geheimnisse einer Stadt” ist ein Essay über das Leben in Städten, ein Mosaik aus Geschichten, Sehnsüchten und Träumen und eine Liebeserklärung an München – und alle anderen Städte.Read More »

  • Dominik Graf – Das Gelübde (2007)

    Dominik Graf2001-2010DramaGermanyThriller

    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)

    Dominik Graf2011-2020DocumentaryGermanyJohannes Sievert

    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)

    Johannes Sievert2011-2020DocumentaryDominik GrafGermany

    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 »

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