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 »
Akiz
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Dominik Graf & Johannes Sievert – Offene Wunde deutscher Film (2017)
Johannes Sievert2011-2020DocumentaryDominik GrafGermany -
Achim Bornhak – Der Nachtmahr AKA The Nightmare (2015)
2011-2020Achim BornhakFantasyGermanyThrillerQuote:
After a night of partying in a mansion with a swimming pool, teenager Tina starts to experience weird things. She hallucinates a violent deja-vu, and hears discomforting sounds. At home she is haunted by a mysterious creature that only she can see. The film suggest several explanations for her visions. Is she overly tense? Psychotic? Drugged? Jealous? Her parents and friends seem to think she is going through a phase. Tina is convinced that the creature is for real, and she starts identifying with in a way that prompts her parents to take drastic measures on her behalf.Read More »