Below you will find our total coverage of the 2012 International Film Festival Rotterdam by Daniel Kasman.
Above: Jean-Claude Brisseau's La fille de nulle part.
Trembling Disturbed
On Sergei Loznitsa's Letter, Peter Schreiner's Fata Morgana, Pedro Costa's Sweet Exorcist, and Filipa César's Cacheu
Two as One as Many
On Kira Muratova's Brief Encounters (1967) and Long Farewells (1971), Jean-Claude Brisseau's La fille de nulle part, and David Gatten's By Pain and Rhyme and Arabesques of Foraging.
Of Cinema, Pixels and Chinese Warfare
On Mary Helena Clark's Orpheus (Outtakes), Makino Takashi's 2012, and Johnnie To's Drug War
Graf Attack!: or The Possibility Space (The Cinema of Dominik Graf)
On Dominik Graf, including Die Katze (1988), Spieler (1990), Der Fahnder: Nachtwache (1990/1993], Die Sieger (1994), Denk ich an Deutschland - Das Wispern im Berg der Dinge (1997), München - Geheimnisse einer Stadt (2002), Der Felsen (2002), Die Freunde der Freunde (2002), Hotte im Paradies...
Above: Jean-Claude Brisseau's La fille de nulle part.
Trembling Disturbed
On Sergei Loznitsa's Letter, Peter Schreiner's Fata Morgana, Pedro Costa's Sweet Exorcist, and Filipa César's Cacheu
Two as One as Many
On Kira Muratova's Brief Encounters (1967) and Long Farewells (1971), Jean-Claude Brisseau's La fille de nulle part, and David Gatten's By Pain and Rhyme and Arabesques of Foraging.
Of Cinema, Pixels and Chinese Warfare
On Mary Helena Clark's Orpheus (Outtakes), Makino Takashi's 2012, and Johnnie To's Drug War
Graf Attack!: or The Possibility Space (The Cinema of Dominik Graf)
On Dominik Graf, including Die Katze (1988), Spieler (1990), Der Fahnder: Nachtwache (1990/1993], Die Sieger (1994), Denk ich an Deutschland - Das Wispern im Berg der Dinge (1997), München - Geheimnisse einer Stadt (2002), Der Felsen (2002), Die Freunde der Freunde (2002), Hotte im Paradies...
- 2/7/2013
- by Notebook
- MUBI
Rotterdam this year has offered one certifiable giant discovery in international cinema: German filmmaker Dominik Graf, revealed in a simultaneously introductory and interventionist retrospective programmed by Christoph Huber and Olaf Möller. An incredibly prolific filmmaker beginning in the late 1970s, Graf has interwoven his cinema into the fabric of the German television industry, producing a body of work ranging from television episodes, made-for-tv films, essay movies, documentaries, and a handful of films intended for the cinema.
Yet despite Graf's prodigious output of nearly sixty works, its primarily creation for national television has meant that it has been essentially unavailable to English-speaking audiences prior to Rotterdam's 17 film retrospective. The first film of his I saw was Komm mir nicht nach (Don't Follow Me Around) in the middle of the Dreileben trilogy in 2010, notably another for-television project, but one which had festival and theatrical ambitions beyond German living rooms, perhaps due...
Yet despite Graf's prodigious output of nearly sixty works, its primarily creation for national television has meant that it has been essentially unavailable to English-speaking audiences prior to Rotterdam's 17 film retrospective. The first film of his I saw was Komm mir nicht nach (Don't Follow Me Around) in the middle of the Dreileben trilogy in 2010, notably another for-television project, but one which had festival and theatrical ambitions beyond German living rooms, perhaps due...
- 2/6/2013
- by Daniel Kasman
- MUBI
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