Dominik Graf

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

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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)

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 nominations Read More »

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

“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)

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 »