Biografía

Edgar Reitz

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Resumen

Nacimiento
1 de noviembre de 1932 · Morbach, Bernkastel, Alemania

Biografía

Familiar

Cónyuge

Marcas comerciales

The frequent switching between color and black-and-white film to convey different emotional states
Poetic figures and images
Subtle focus on a succession of mostly ordinary events and characters
Relates to history with the utmost attention to detail, focusing on the seemingly unremarkable lives of people
History seen from ground level, from periphery

Trivia

His father Robert was a watchmaker and his business in Morbach was later taken over by Reitz's brother Guido.
Father of Christian Reitz.
Member of the 'Official Competition' jury at the 29th Venice International Film Festival in 1968.
Member of the 'Official Competition' jury at the 62nd Venice International Film Festival in 2005.
President of the 'Leopards of Tomorrow' jury at the 69th Locarno International Film Festival in 2016.

Citas

What's necessary to me is not to be at the centre of all these historical events but to be at the periphery, because the periphery is the best position for storytelling. If you're at the centre you have famous people and big events, and whatever you say, historical prejudices play a part in how your story is received. In an unimportant place I get a mirror image of the world. All the important things are there but without the cliches that you get in the media.
When two people build a house. It is a symbolic act. What they want is stability.
[on Heimat] If you notice, in all the Heimats there is a house at the centre. These are all old houses so they symbolise a history that is bigger than the people who live there. When my characters die the house lives on. For me as a storyteller that means new beginnings. There is always the possibility of new beginnings.
Every artistic endeavor has "limits": facing the borders of possibility has always been important to me. However, I find that cinema is only now starting to lose its early restrictions. Only now do we acknowledge the possibilities of great, epic storytelling. Literature, which has existed for millennia, is much further ahead in that regard. There's the short form of verse, the dramatic structure of theater, the scope of novels... We still have many borders and taboos to break.
In 1980, with Heimat, my aim was to combine the experiences of a lifetime in a great narrative form. My main thesis was that a human being can be observed in a realistic fashion only if you consider the time and places of his existence as important as his attributes.