Haphazard travels of Sirman Deville across the Sprachraum

[der kulterer]

"Sprachraum" SCFZ polls ... viewtopic.php?p=27904#p27904

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List of territorial entities where German is an official language
https://en.wikipedia.org/wiki/List_of_t ... l_language

(for a start) copy-pasting here 3 of my posts (from the other threads) to remind me what I want to do...
and hoping to read here from others about noteworthy films from German-speaking countries — GER, AUT, SWI...

1/

MY BROTHER'S NAME IS ROBERT AND HE IS AN IDIOT (Philip Gröning, 2018)
https://letterboxd.com/film/my-brothers ... -an-idiot/

Review by Ramos Jr. ↓
Honestly, I would rather watch paint dry.

Elena and Robert are 19 yrs old depraved (slipping into brother sister incest) & murderous twins who (while lying in the open field) like to quote Heidegger or St. Augustine and to eat Leibniz biscuits (afforded in a nearby gas station)...


It lasts for 3 hours (covering 3 days). I watched it 3 days with several gaps during which I watched some other films. Out of them, the closest in the mood to MY BROTHER'S NAME IS ROBERT AND HE IS AN IDIOT was Jack Smith's depraved & bucolic NORMAL LOVE...


It was my first Philip Gröning movie. For now, I am not discouraged to continue investigating his oeuvre. The script was co-written by Sabine Timoteo and I got also curious to watch a movie she directed the same year (DON'T TELL ME YOU CAN'T SING, 2018). During this long film, there were passages I was rather distracted or rather immersed but I was fully jinxed by the ending (not gonna specify to avoid spoilers).

2/

I must admit I have a weakness for Heinrich Kleist transposed on screen.
Besides HEINRICH PENTHESILEA VON KLEIST (1983) and THE LAST SEDUCTION OF EUROPE (1988), both by Hans Neuenfels,
I already watched two delightful Rohmer adaptations: CATHERINE DE HEILBRONN (1980) and THE MARQUISE OF O (1976).
Also two Helma Sanders-Brahms' films: EARTHQUAKE IN CHILE (1975) and HEINRICH (1977, biopic).
And also SAN DOMINGO (1970) by Hans-Jürgen Syberberg.
I might take "Personal Chalenge, 2021" to watch as many other "Kleist movies" as possible, starting with...
THE FAMILY OR SCHROFFENSTEIN (Hans Neuenfels, 1984)
THE MARQUISE OF O. 'FROM THE NORTH TO THE SOUTH' (Hans-Jürgen Syberberg, 1989)
THE PRINCE OF HOMBURG (Eckhart Schmidt, 1994)
MAN ON HORSEBACK (Volker Schlöndorff, 1969)
THE SEED OF DISCORD (Pappi Corsicato, 2008)
AMOUR FOU (Jessica Hausner, 2014)
LIKE TWO MERRY AERONAUTS (Jonathan Briel, 1969)

3/

after finishing YOUR BEST YEARS and COLD SPRING, i am in the middle of BITTER INNOCENCE.
meanwhile, i digressed to the DG interview and got intrigued especially with the part about the parallel with Berlin School...

Only the characters in the melodramas written by Markus Busch—Deine besten Jahre, Bittere Unschuld, Die Freunde der Freunde, Der Felsen, and Kalter Frühling—strike me as suffering from a degree of alienation that is similar to those from which the characters in the Berlin Schools suffer.

so, it means my next viewing will be FRIENDS OF FRIENDS (the last unwatched from the "list" above).

besides, i see Markus Busch wrote few more scripts for DG...
DON'T FOLLOW ME AROUND
IN THE EVENING OF ALL DAYS
THE VOW

and directed one film himself...
ROUGH

the collaboration of Dominik Graf and Markus Busch is (seems like) something i can strongly relate to and thus gonna investigate it thoroughly.

[greennui]

The last German film I saw didn't have any German speaking, it was this short silent feature:

https://twitter.com/anothagreenwrld/sta ... 3660132352

It did have German intertitles though but I could quite easily make out the gist of it with my limited German skills. One could possibly follow the story without them though.

[der kulterer]

The last German film I saw didn't have any German speaking, it was this short silent feature:

I changed the title.
I suspected it might be misleading.
I didn't want to exclude silent films.
I only wanted to include Austria and (part of) Switzerland too.

[greennui]

My only exposure to Swiss cinema is through the French language films of Alain Tanner. Always found Switzerland's linguistic diversity fascinating, had two Swiss roommates once and they had to speak English with each other as they didn't speak each others langauge. I couldn't make head or tails of when the Swiss German guy spoke "German".

[der kulterer]

I am not much familiar with Swiss cinema either.
Tho I try to focus (with fluctuating determination) on German and Austrian films (cinema of my neighboring countries).
German was my first foreign language I started to learn (even prior to Russian — the then imperial language of Eastern block).
I have a certain affinity to the cinema of German Sprachraum (or how to call it) despite my skills to speak/understand German severely declined in the past two decades.

Noteworthy Swiss-related film I watched in not too distant past is...
URSULA (Egon Günther, 1978)
https://letterboxd.com/film/ursula/
Tho Egon Günther is German-born.

[der kulterer]

even before I got obliged to adopt the oppressing lingua franca of all the Soviet satellites (the mother tongue of Pushkin), I voluntarily subjected myself to numbing classes full of memorizing anything and everything about Hund Putzi und Katze Mitzi...

[der kulterer]

HAVOC • THE BELLS OF SILESIA (Peter Fleischmann, 1972)
https://letterboxd.com/film/the-bells-of-silesia/

Delightful 1970s Kraut comedy, rehearsals to DOROTHEA'S REVENGE (1974).
Bells are back, but otherwise everything in havoc and decay (sons don't resemble their fathers anymore).
Everything on the verge of collapse (even the garbage men are on strike).

[wba]

Wow, what a wonderful thread, jiri!

Thanks for starting it (and keeping it alive!).

I have tried to make a Top 100 list of my 100 favorite German filmmakers, and though this was limited to films from the German Empire, Weimar Republic, German Reich, GDR, West Germany and post-reunification Germany (so no Swiss, Austrian or other stuff), there were many foreign filmmakers on my list (from Bulgaria, Spain, the USA, France, Austria-Hungary, etc. - but sadly missing were German greats from Yugoslavia or Iran, cause I still need to see thousands of great German films), but I haven't progressed much further than listing some 150 directors whom I enjoy. I might finish it sometime for this thread, though.

As for the stuff you mentioned so far:

I loved the first hour of MY BROTHER'S NAME IS ROBERT AND HE IS AN IDIOT (Philip Gröning, 2018), and would have wished the film was 3 hours of the siblings lying around on the meadow, going to pick up some snacks from the gas station, philosophising (and maybe fucking a bit). Unfortunately there was a plot, which I didn't care for at all, and the last hour was very tedious and boring for me. Not my kind of film, really. Gröning is an interesting director though, doing different stuff over the years. From those I've seen, my favorite of his films is L'AMOUR, L'ARGENT, L'AMOUR from 2000.

Thanks for listing those Kleist movies! Been meaning to read some Kleist again this month, and the few films I've seen were great, so I will definiterly check out some of those you listed in the future.

The few Busch/Graf collabs I've seen so far were all outstanding, but Graf also has other great collaborators. But Busch is special, cause he brought out more of Graf's "melodrama"/Eustache-side.
I have the film he directed on DVD - should check it out as well (friends say it's great).

Max Mack is actually one of the leading German directors for the silent period and one of German cinemas great pioneers (or maybe THE single most important pioneer, even). I have seen almost zilch from him, which will hopefully also change one day.

Need to also watch URSULA (DVD has been lying around for ages as well), cause Egon Günther is one of my absolute favorites. Fantastic filmmaker!

That book on KLAUS, PUTZI AND MITZ looks fantastic as well. Is it worth checking out?

And thanks for reminding me of HAVOC, one of my favorite German films. I saw it on VHS long ago taped from TV, and the screenshots you posted look gorgeous (and so much better than the washed-out faded copy I watched). It's time for a re-watch I guess, and I should also check out more Fleischmann (his 1974 dark comedy LA FAILLE - based on Antonis Samarakis' famous novel and shot in Greece during the military dicatorship, starring Michel Piccoli, Ugo Tognazzi and Mario Adorf - is also a masterpiece!).

[wba]

Best German language film I've seen in 2020 (highly recommended to you Jiri!!!)

https://vimeo.com/246090355

a film about gamblers and gambling (if you love sports movies...)
the camerawork is by Igor Luther who previously shot the 2 late-60s masterpieces "Sommersprossen" (1968) and "Vtáckovia, siroty a blázni" (1969)
the director also wrote the screenplay and plays the lead, while the film was produced by his brother (those were the days...)
the film won 2 German Film Awards in 1971 for best cinematography and outstanding feature film.

My friends say that all of Ulrich Schamoni's feature films are masterpieces, though a few agree that this may be his greatest achievement.

[wba]

for some inspiration - though I doubt jiri needs it, so I guess this is mostly for other interested SCFZ cinephiles - here's a list of 100 German masterpieces that aren't as well known as they should be (modelled on 2 other such lists, which I linked to in my description, so it's actually 300 great underseen German films ):

https://letterboxd.com/wba/list/mein-ka ... hen-films/

[wba]

here's also a clip from one of THE great German films of the 20th century, so you all know how kids in Vienna used to dance in the 1980s and what music they listened to:

https://www.youtube.com/watch?v=IDJj-KQV9Nk

legendary filmmaker Eckhart Schmidt has shot way over 200 films during his career and is still making some half a dozen feature films per year(!) at the age of 80+

[der kulterer]

I might finish it sometime for this thread, though.

looking forward!

the last hour was very tedious and boring for me.

I could relate to the situation of doing something destructive (with self-destructive consequences) that can't be taken back and moving forward to one's own inescapable doom. After studying architecture for two years at Tech Uni, at one point I irrevocably decided not to stay in business and started with truancies. F.e. the whole upcoming year I was omitting on Wednesday all my commitments (at my own uni) and instead I was following lecturer unrelated to my alma mater (Miroslav Petříček — https://cs.wikipedia.org/wiki/Miroslav_ ... AD%C4%8Dek — the page is in Czech but you can check the bibliography section and see what he translated — Schelling, Manfred Frank, etc.) who was lecturing forenoon in the Charles Uni's department of philosophy and afternoon in the department of comparative studies. It was an exciting adventure but I was slowly but surely losing grip of my own "career". Unpassed exams (unattended) were pilling up, ultimately I was late with one project and I was told I have to repeat the whole year to catch up. It was the last straw and I left. I came back half a year later to get some papers that I needed to start my civilian military service (military service was obligatory at that time — one could opt out doing a somewhat longer civilian service). Surprisingly, I was still officially a student there, so I finally legally terminated my higher education. As a result for the upcoming decades, I had repetitively (once a year, or so) a dream (nightmare) in which I was mimicking attending uni, while others are not aware my attendance is staged. In my dream, I was always superficially listening to some lecture, superficially preparing for some exam (a bit like Hille Wawra in Havoc), but I knew it is just a question of time, ppl around me will figure out I am just a student-impostor and I will be kicked out. So, I was leading some sort of ghostly existence on uni (in my dream) and I was only awaiting my unescapable doom (expulsion from the academic paradise). Thus I could strongly relate to the heroine of MY BROTHER'S NAME IS ROBERT AND HE IS AN IDIOT when she is going back to school (to attend the exam) after all the horror that happened on the gas station and when she makes her philosophical presentation about time (in front of her teacher and classmates who are not aware what happened on the gas station). I was jinxed and close-ups on her dirty hands, while she is delivering her speech, were truly mesmerizing.

Thanks for listing those Kleist movies! Been meaning to read some Kleist again this month, and the few films I've seen were great, so I will definiterly check out some of those you listed in the future.

These are all the Kleist-tagged films (24)... https://www.kinometer.com/?credit=333
Kleist tagged in "credits/notable" = biopic about him
Kleist tagged in "credits/writer" = adaptations of his works
Kleist tagged in "credits/minor notable" = minor Kleist references in a film

The few Busch/Graf collabs I've seen so far were all outstanding, but Graf also has other great collaborators. But Busch is special, cause he brought out more of Graf's "melodrama"/Eustache-side.
I have the film he directed on DVD - should check it out as well (friends say it's great).

I am just watching it! (my next post gonna be about Die Räuberin)

That book on KLAUS, PUTZI AND MITZ looks fantastic as well. Is it worth checking out?

It was a quite popular entry-text-book for Czech kids to start to learn German (in my juvenile years). Our teacher mainly drilled us to memorize (based on the book) all kinds of rhymes about Putzi und Mitzi. Thus, many times I was just rhyming by heart about Putzi und Mitzi without being 100 percent sure what I am saying.

And thanks for reminding me of HAVOC, one of my favorite German films. I saw it on VHS long ago taped from TV, and the screenshots you posted look gorgeous (and so much better than the washed-out faded copy I watched)

It was a restored (2015) version.

[der kulterer]

https://www.youtube.com/watch?v=IDJj-KQV9Nk

i love all this dancing! (I watched the film some time ago.)

[der kulterer]

Best German language film I've seen in 2020 (highly recommended to you Jiri!!!)
My friends say that all of Ulrich Schamoni's feature films are masterpieces, though a few agree that this may be his greatest achievement.

I just wanted to add it to my watchlist and I see I already bookmarked it ("WANT") in the past (my only Schamoni bookmark!). I didn't watch anything by Schamoni yet and I can't recall what made me (in some indefinite past) bookmark it. Funny!

[sally]

F.e. the whole upcoming year I was omitting on Wednesday all my commitments (at my own uni) and instead I was following lecturer unrelated to my alma mater

i did this! (as much as one could, lecturers that only habitually had 10 or so attendees tended to notice interlopers) fond memories of a whole series dedicated to eroticism in medieval art ♥. i don't think you can do that these days tho, i think they monitor attendance with utterly offensive roll-calls or something

speaking of ♥, my cinephilia is congealing to 'things' and i've recently started collecting fetish objects. My xmas present this year included two such german/austrian-related items: signed gustav diessl cuz he was fucking hot in abwege, and signed anton/adolf cuz he was fucking hot forever

[der kulterer]

i did this!

Ha! I don't wonder anymore!!

fond memories of a whole series dedicated to eroticism in medieval art ♥.

My forenoon truancy lesson consisted of examining Choderlos de Laclos, Daniel Defoe (esp. Moll Flanders), Samuel Richardson (esp. Pamela) — in sum, novels in letters — plus some investigations into the Wuthering Heights, under the banner of "postmodern ethics" studies (i.e. all the previously mentioned, extensively interspersed with quotes from French Neo-structuralism). So, basically an eye-opening "anthropology of liers" study. And besides, Miroslav Petříček was translating something from Emmanuel Levinas at the moment, so he distributed his first (translation) draft, made students read it, to get the feedback.

And in the afternoon, Michel Serres and his "Parasite".
https://www.goodreads.com/book/show/924784.The_Parasite
On these afternoon lessons, I felt encouraged to continue with my truancies because I was basically told those who aspire to become intellectuals are supposed to lead a parasitic life-style, i.e. to become fed by society (taking from other ppl food) and giving in return stories.

And besides these glorious Wednesdays, I can also recall great impact on me (in my decision to "ruin" my life) had my acquaintance (theoretical) with the artistic group "Le Grand Jeu", consisting of Czech painter Josef Šíma and French poets Roger Gilbert-Lecomte, René Daumal, Roger Vailland, etc.

The group, associated with surrealists, was "excommunicated" from the movement by André Breton. Gilbert-Lecomte used drugs, in particular morphine, for both artistic and sociological reasons.

Oh, pleasures of youth! It's all gone!

[der kulterer]

ROUGH • DIE RÄUBERIN (Markus Busch, 2011)
https://letterboxd.com/film/rough-2011/

https://filmkrant.nl/recensies/die-rauberin/

Why do we travel? Specifically, what are some reasons why characters travel in cinematic narratives? One answer can be found in a film like Manoel de Oliveira’s Voyage to the Beginning of the World (1997), in which an aging film director, based on Oliveira himself and played by the ailing Marcello Mastroianni, takes a road trip and returns to places and people of the past, revisiting the sites of lost childhood, youthful romance and family breakups. (Oliveira was 89 when he made the film; Mastroianni died soon after.) The film seems to tell us: It’s never too late to reawaken a memory, or to be struck by a flash of wisdom. In Lisandro Alonso’s Liverpool (2008), Farrel, the sailor on shore leave, makes a similar journey into the past, even if Alonso’s cinema — spare on dialogue or narrative backstory — is often the opposite of Oliveira’s.

A different reason for travel is escape — from a past and into the romantic promise of a kinder, more open and forgiving future where we can begin afresh. I’m reminded of Agnès Varda’s Kung Fu Master (1987), in which a 40-year-old woman (Jane Birkin) becomes romantically — and scandalously — involved with a boy in his mid-teens (played by Varda’s son Mathieu Demy). Their flight into nature is a way of carving out a pocket of ‘pure’ space and time for themselves, away from civilization. As we might expect, this fantasy of purity is doomed to be short-lived.

Kung Fu Master would make a provocative double bill with German filmmaker Markus Busch’s Die Räuberin (Rough), which is showing in the Bright Future program at the International Film Festival Rotterdam (IFFR) this year. Busch is a writer-director known most recently for co-writing, with Dominik Graf, the film Don’t Follow me Around, that is part of the three-film work Dreileben (2011). The film opens with the protagonist Tania, a 40-year-old woman who is a successful sculptor, escaping her life in the city, and fleeing into the country. She moves into a rented house in a small seaside village, and lives a life of seclusion until she meets Thore, a boy in his mid-teens. She draws him into a friendship and then a romantic relationship, while looking to inaugurate a new life that is marked by compassion and innocence.

The film bears an interesting relationship to other contemporary German cinema, especially that of the ‘Berlin School’. Films like Christoph Hochhäusler’s The City Below (2010) or Christian Petzold’s Jerichow (2008) not only acknowledge their late-capitalist context explicitly, they are actively interested in detailing its mechanisms and machinery. These are films that are self-aware about being set in a particular place at a particular time.

To take a similar example from the other side of the world, scholar Zhang Xudong, in a recent piece in New Left Review about the films of Jia Zhangke, points out the socioeconomic and geographic specificity of Jia’s films: They are not a generalized representation of China but the portrayal of a very specific and under-represented slice of China — that of xiancheng, or the county-level city that is also a sort of shadow zone, an in-between space that belongs to neither metropolitan China nor rural China.

Jia’s dense and textured representation of a certain China lies at one end of the spectrum. In Die Räuberin, Busch, in a risky gamble, chooses the opposite end of the spectrum: instead of fleshing out his German small town with social, economic and cultural detail, he renders it in stark, abstract, elemental and ultimately unknowable terms.

This approach is not limited to his content; it also extends to his mise-en-scène, which is gray, still, and eerie. In this ghost town, even the commercial establishments like the local bar or the grocery store are sparsely peopled by dour, suspicious xenophobes and misogynists who remain un-individuated. The result is a free-floating menace that hangs in the air, held aloft in the frame by a quiet and repetitive piano-based soundtrack. What the film loses in sociological detail, it tries to make up for in mood and atmosphere.

Returning once more to the motif of travel, Die Räuberin feels sharpest when it is delineating the contrast between two states: on the one hand, the romance of flight from the corrupt, decadent city to the ‘pure’ and ‘innocent’ country; and on the other, the cold, hard indifference and hermeticism of the object that Tania, its artist-protagonist, dares to risk romanticizing — rural Germany.

dream told in the film... viewtopic.php?p=27891#p27891

[der kulterer]

Top 100 German Films — SCFZ Poll
Nominations & Results ... https://www.tapatalk.com/groups/the_aut ... -t906.html
Letterboxd list ... https://letterboxd.com/fliptrotsky/list ... scfz-poll/

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F/
Harun Farocki – SCFZ Directors Poll #201 ... https://letterboxd.com/fliptrotsky/list ... -poll-201/
→ SCFZ poll: Harun Farocki ... https://scfzforum.org/phpBB3/viewtopic.php?f=18&t=489
Rainer Werner Fassbinder – SCFZ Directors Poll #33 ... https://letterboxd.com/fliptrotsky/list ... tors-poll/

G/
Dominik Graf – SCFZ Directors Poll #244 ... https://letterboxd.com/fliptrotsky/list ... -poll-244/
→ SCFZ poll: Dominik Graf ... https://scfzforum.org/phpBB3/viewtopic.php?f=18&t=604

H/
Michael Haneke – SCFZ Directors Poll #174 ... https://letterboxd.com/fliptrotsky/list ... -poll-174/
→ SCFZ poll: Michael Haneke ... https://scfzforum.org/phpBB3/viewtopic.php?f=18&t=403
Werner Herzog – SCFZ Directors Poll #83 ... https://letterboxd.com/fliptrotsky/list ... s-poll-83/

K/
Helmut Kautner – SCFZ Directors Poll #224 ... https://letterboxd.com/fliptrotsky/list ... -poll-224/
→ SCFZ poll: Helmut Kautner ... https://scfzforum.org/phpBB3/viewtopic.php?f=18&t=554
Kurt Kren – SCFZ Directors Poll #196 ... https://letterboxd.com/fliptrotsky/list ... -poll-196/
→ SCFZ poll: Kurt Kren ... https://scfzforum.org/phpBB3/viewtopic.php?f=18&t=474

L/
Fritz Lang – SCFZ Directors Poll ... https://letterboxd.com/fliptrotsky/list ... tors-poll/
Ernst Lubitsch – SCFZ Directors Poll #48 ... https://letterboxd.com/fliptrotsky/list ... s-poll-48/

M/
F.W. Murnau – SCFZ Directors Poll #140 ... https://letterboxd.com/fliptrotsky/list ... -poll-140/
→ SCFZ poll: F.W. Murnau ... https://scfzforum.org/phpBB3/viewtopic.php?f=18&t=278

O/
Max Ophuls – SCFZ Directors Poll #4 ... https://letterboxd.com/fliptrotsky/list ... rs-poll-4/

P/
G.W. Pabst – SCFZ Directors Poll #199 ... https://letterboxd.com/fliptrotsky/list ... -poll-199/
→ SCFZ poll: G.W. Pabst ... https://scfzforum.org/phpBB3/viewtopic.php?f=18&t=485
Otto Preminger – SCFZ Directors Poll #217 ... https://letterboxd.com/fliptrotsky/list ... -poll-217/
→ SCFZ poll: Otto Preminger ... https://scfzforum.org/phpBB3/viewtopic.php?f=18&t=539

S/
→ SCFZ poll: Werner Schroeter ... viewtopic.php?f=5&t=755
Robert Siodmak – SCFZ Directors Poll #210 ... https://letterboxd.com/fliptrotsky/list ... -poll-210/
→ SCFZ poll: Robert Siodmak ... https://scfzforum.org/phpBB3/viewtopic.php?f=18&t=515
Douglas Sirk – SCFZ Directors Poll #67 ... https://letterboxd.com/fliptrotsky/list ... s-poll-67/
Josef von Sternberg – SCFZ Directors Poll #50 ... https://letterboxd.com/fliptrotsky/list ... s-poll-50/

V/
Alfred Vohrer – SCFZ Directors Poll #250 ... https://letterboxd.com/fliptrotsky/list ... -poll-250/

W/
Wim Wenders – SCFZ Directors Poll #17 ... https://letterboxd.com/fliptrotsky/list ... s-poll-17/

Z/
Fred Zinnemann – SCFZ Directors Poll #228 ... https://letterboxd.com/fliptrotsky/list ... -poll-228/
→ SCFZ poll: Fred Zinnemann ... https://scfzforum.org/phpBB3/viewtopic.php?f=18&t=561

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Filmmuseum München ... viewtopic.php?f=11&t=698&p=29691&hilit=rappaport#p29691

[der kulterer]

1/ EARLY HEIMATFILMS

— — — — — 1910
↓ 1911
— The Strange Bird • Der fremde Vogel (Gad, U.)
↓ 1915
— The Perjured Farmer • Der Meineidbauer (Fleck, J., Fleck, L.)
↓ 1918
— The Hunter of Fall • Der Jäger von Fall (Beck, L.)
↓ 1919
— Rose Bernd (Halm, A.)
— — — — — 1920
↓ 1920
— Kohlhiesel’s Daughters • Kohlhiesels Töchter (Lubitsch, E.)
— The War of the Oxen • Der Ochsenkrieg (Osten, F.)
↓ 1921
— Wally of the Vultures • Die Geierwally (Dupont, E. A.) W
↓ 1923
— Wilhelm Tell (Dworsky, R., Walther-Fein, R.)
↓1926
— The Hunter of Fall • Der Jäger von Fall (Seitz, F.)
— The Perjured Farmer • Der Meineidbauer (Fleck, J., Fleck, L.)
↓ 1927
— The Big Jump • Der große Sprung (Fanck, A.)
— Sunrise: A Song of Two Humans • Sonnenaufgang: Lied von zwei Menschen (Murnau, F. W.)
↓ 1929
— Andreas Hofer • Der Freiheitskampf des Tiroler Volkes (Prechtl, H.)
— Erzherzog Johann (Neufeld, M.)
— Eternal Love • Der König der Bernina (Lubitsch, E.)
— Silence of the Forest • Das Schweigen im Walde (Dieterle, W.)
— — — — — 1930
↓ 1933
— The Black Forest Girl • Schwarzwaldmädel (Zoch, G.)
— Die blonde Christl • Der Geigenmacher von Mittenwald (Seitz, F.)
— The Judas of Tyrol • Der Judas von Tirol (Osten, F.)
↓ 1934
— At the Blond Katherine’s • Bei der blonden Kathrein (Seitz, F.)
— Hubertus Castle • Schloß Hubertus (Deppe, H.)
— The Prodigal Son • Der verlorene Sohn (Trenker, L.)
— The Rider of the White Horse • Der Schimmelreiter (Deppe, H., Oertel, C.)
↓ 1935
— The Girl of the Moors • Das Mädchen vom Moorhof (Sirk, D.) W
— The Monastery’s Hunter • Der Klosterjäger (Obal, M.)
— The White Horse Inn • Im weißen Rößl (Lamac, C.)
↓ 1936
— The Hunter of Fall • Der Jäger von Fall (Deppe, H.)
↓ 1937
— The Mountain Calls • Der Berg ruft! (Trenker, L.)
— The Pastor from Kirchfeld • Der Pfarrer von Kirchfeld (Fleck, J., Fleck, L.)
— Pretty Miss Schragg • Das schöne Fräulein Schragg (Deppe, H.)
— Silence of the Forest • Das Schweigen im Walde (Deppe, H.)
↓ 1938
— Die Pfingstorgel (Seitz, F.)
— Frau Sixta (Ucicky, G.)
— Anna Favetti (Waschneck, E.)
↓ 1939
— The Excursion to Tilsit • Die Reise nach Tilsit (Harlan, V.)
— Rheinische Brautfahrt (Lippl, A. J.)
— Heimatland (Martin, E.)
— Forest Fever • Waldrausch (May, P.)
— The King of Edelweiss • Der Edelweißkönig (May, P.)
— St. John’s Fire • Johannisfeuer (Rabenalt, A. M.)
— — — — — 1940

[der kulterer]

2/ HEIMATFILMS: FILMS ABOUT HEARTH AND HOME ("PAPAS KINO")

— — — — — 1940
↓ 1940
— Krambambuli (Köstlin, K.)
— Beate's Honeymoon • Beates Flitterwoche (May, P.)
— Das Mädchen von Fanö (Schweikart, H.)
— Das jüngste Gericht (Seitz, F.)
— Wally of the Vultures • Die Geierwally (Steinhoff, H.)
— Das sündige Dorf (Stöckel, J.)
↓ 1941
— Am Abend auf der Heide (von Alten, J.)
— Der laufende Berg (Deppe, H.)
— Native Soil • Heimaterde (Deppe, H.)
— The Perjured Farmer • Der Meineidbauer (Hainisch, L.)
— Wetterleuchten um Barbara (Klingler, W.)
— Der scheinheilige Florian (Stöckel, J.)
↓ 1942
— Anuschka (Käutner, H.)
— The Golden City • Die goldene Stadt (Harlan, V.) W
— The Heiress of the Rosenhof • Die Erbin vom Rosenhof (Seitz, F.)
— Der Strom / Wenn du noch eine Heimat hast (Rittau, G.)
↓ 1943
— Wenn die Sonne wieder scheint (Barlog, B.)
— Das Bad auf der Tenne (von Collande, V.)
— Immensee: Ein deutsches Volkslied (Harlan, V.)
— Kohlhiesel’s Daughters • Kohlhiesels Töchter (Hoffmann, K.)
— The War of the Oxen • Der Ochsenkrieg (Deppe, H.)
— Die Wirtin zum Weißen Röß'l (Anton, K.)
↓ 1944
— Aufruhr der Herzen (Müller, H.)
↓ 1945
— Der Erbförster (Lippl, A. J.)
↓ 1947
— Zugvögel (Meyer, R.)
↓ 1948
— Ein Mann gehört ins Haus (Marischka, H.)
↓ 1949
— Ein Herz schlägt für dich (Stöckel, J.)
— Menschen in Gottes Hand (Meyer, R.)
— The Strange Story of Brandner Kaspar • Die seltsame Geschichte des Brandner Kaspar / Das Tor zum Paradies (von Báky, J.)
— — — — — 1950
↓ 1950
— The Black Forest Girl • Schwarzwaldmädel (Deppe, H.)
— Cordula (Ucicky, G.)
– The Village Monarch • Der Dorfmonarch (Stöckel, J.)
— Die Jungen vom Kranichsee (Pohl, A.)
— Die Kreuzlschreiber (von Borsody, E.)
— Nach Regen folgt Sonne (Röbbeling, H.)
↓ 1951
— The Heath Is Green • Grün ist die Heide (Deppe, H.)
— Hanna Amon (Harlan, V.) W
— Heidelberger Romanze (Verhoeven, P.)
— The Last Shot • Der letzte Schuß (Seitz, F.)
↓ 1952
— Am Brunnen vor dem Tore (, )
— Heimatglocken (, )
— Der Herrgottschnitzer von Ammergau (, )
— Rape on the Moor • Rosen blühen auf dem Heidegrab (König, H. H.) W
— Tausend rote Rosen blüh’n (, )
— The White Horse Inn • Im weißen Rößl (, )
↓ 1953
— Auf der grünen Wiese (, )
— Das Dorf unterm Himmel (, )
— Mailman Mueller • Briefträger Müller (, )
— The Monastery’s Hunter • Der Klosterjäger (, )
— Wetterleuchten am Dachstein (, )
↓ 1954
— Witches • Hexen (Spieß, H.)
— Der Förster vom Silberwald / Echo der Berge (, )
— Frühlingslied (, )
— Heideschulmeister Uwe Karsten (, )
— Hubertus Castle • Schloß Hubertus (, )
— Kaisermanöver (, )
— Die schöne Müllerin (, )
— Schützenliesel (, )
↓ 1955
— The Cowgirl of Saint Catherine • Die Sennerin von St. Kathrein (Fredersdorf, H. B.)
— Drei Mädels vom Rhein (, )
— Die Försterbuben (, )
— Das Forsthaus in Tirol (, )
— Heidi and Peter • Heidi und Peter (, )
— Homeland • Heimatland (, )
— I Often Think of Piroschka • Ich denke oft an Piroschka (, )
— Die Fischer vom Heiligensee (, )
— Die Mädels vom Immenhof (, )
— Der Schmied von St. Bartholomae (, )
— Silence of the Forest • Das Schweigen im Walde (, )
— Sissi (Marischka, E.) W
— Sohn ohne Heimat (, )
— Uli the Tenant • Uli, der Pächter / Uli, der Knecht (, )
— Zwei Herzen und ein Thron (, )
↓ 1956
— Dort oben, wo die Alpen glühen (, )
— Försterliesel (, )
— Heidemelodie (, )
— The Hunter of Fall • Der Jäger von Fall (, )
— Der Jäger vom Roteck (, )
— Johannisnacht (, )
— The Perjured Farmer • Der Meineidbauer (, )
— Die Christel von der Post (, )
— The Fisher-girl from Lake Bodensee • Die Fischerin vom Bodensee (, )
— Die fröhliche Wallfahrt (, )
— Hochzeit auf Immenhof (, )
— Kaiserjäger (, )
— Die Magd von Heiligenblut (, )
— Polizischt Wäckerli (, )
— Pulverschnee nach Übersee (, )
— Der Schandfleck (, )
— Schwarzwaldmelodie (, )
— Solange noch die Rosen blüh’n (, )
— Von der Liebe besiegt / Schicksal am Matterhorn (, )
— Wo der Wildbach rauscht (, )
— Wally of the Vultures • Die Geierwally (, )
↓ 1957
— Almenrausch und Edelweiß (, )
— Castle in Tyrol • Das Schloß in Tirol (, )
— Castles and Cottages • Schlösser und Katen (, )
— Ferien auf Immenhof (, )
— Holy Heritage • Das heilige Erbe / Wer die Heimat liebt (, )
— Hunter's Blood • Jägerblut (, )
— King of the Edelweiss • Der Edelweißkönig (, )
— Der König der Bernina (, )
— Die Lindenwirtin vom Donaustrand (, )
— Mit Rosen fängt die Liebe an (, )
— The Sins of Rose Bernd (, )
— Der Pfarrer von St. Michael (, )
– Die Prinzessin von St. Wolfgang (Reinl, H.)
— Der Wilderer vom Silberwald (, )
— Vier Mädels aus der Wachau (, )
— Wetterleuchten um Maria (, )
– Die Zwillinge vom Zillertal (Reinl, H.)
↓ 1958
— Einmal noch die Heimat seh’n (, )
— The Girl of the Moors • Das Mädchen vom Moorhof (, )
— Heimatlos (, )
— Mein Mädchen ist ein Postillion • Das Posthaus im Schwarzwald (Schündler, R.)
— Mein Schatz ist aus Tirol (, )
— The Priest and the Girl • Der Priester und das Mädchen (Ucicky, G.)
— Lady Country Doctor • Die Landärztin vom Tegernsee (, )
↓ 1959
— Beyond Sing the Woods • Und ewig singen die Wälder (, )
— At the Blond Katherine's • Bei der blonden Kathrein (, )
— Der Schäfer vom Trutzberg (, )
— — — — — 1960
↓ 1960
— Gitarren klingen leise durch die Nacht (, )
— Heritage of Bjorndal • Das Erbe von Björndal (, )
— Mein Vaterhaus steht in den Bergen (, )
— The White Horse Inn • Im weißen Rößl (, )
— Wenn die Heide blüht (, )
↓ 1961
— Mariandl (, )
↓ 1962
— Forest Fever • Waldrausch (, )
↓ 1965
— Ich kauf' mir lieber einen Tirolerhut (, )
— Ruf der Wälder (, )
— When the Grapevines Bloom on the Danube • An der Donau, wenn der Wein blüht (, )
↓ 1969
— Ludwig on the Lookout for a Wife • Ludwig auf Freiersfüßen (Seitz, F.)
— — — — — 1970
↓ 1972
— The Heath Is Green • Grün ist die Heide (, )
— Was geschah auf Schloß Wildberg (, )
↓ 1973
— Hubertus Castle • Schloß Hubertus (, )
— Die Zwillinge vom Immenhof (, )
↓ 1974
— Frühling auf Immenhof (, )
— The Hunter of Fall • Der Jäger von Fall (, )
↓ 1975
— King of the Edelweiss • Der Edelweißkönig (, )
↓ 1976
— Paule Pauländer (, )
— Silence of the Forest • Das Schweigen im Walde (, )
↓ 1977
— Forest Intoxication • Waldrausch (, )
— — — — — 1980

[der kulterer]

3/ NEW HEIMATFILMS & ANTI-HEIMATFILMS

— — — — — 1950
↓ 1956
— My Brother Joshua • Der Bauer vom Brücknerhof (, )
— — — — — 1960
↓ 1964
— Ludwig (Klick, R.) W0
— Tales of a Young Scamp • Lausbubengeschichten (, )
↓ 1968
— Little Boy • Bübchen (Klick, R.) W0
↓ 1969
— Hunting Scenes from Bavaria • Jagdszenen aus Niederbayern (Fleischmann, P.) W0
— Man on Horseback • Michael Kohlhaas: Der Rebell (, )
— — — — — 1970
↓ 1970
— Jonathan (, )
— Mathias Kneissl (, )
— The Niklashausen Journey • Die Niklashauser Fart (, )
↓ 1971
— I Love You, I Kill You • Ich liebe dich, ich töte dich (, )
— Haytabo • Falscher Verdacht (Moland, P., Lommel, U.) W0
— Pioneers In Ingolstadt • Pioniere in Ingolstadt (, )
— The Sudden Wealth of the Poor People of Kombach • Der plötzliche Reichtum der armen Leute von Kombach (Schlöndorff, W.) W0
↓ 1972
— The Goalkeeper's Fear of the Penalty Kick • Die Angst des Tormanns beim Elfmeter (, )
— Nightshade • Nachtschatten (Schilling, N.) W0
↓ 1973
— Jail Bait • Wildwechsel (Fassbinder, R. W.) W0
↓ 1975
— The Condemned • Totstellen (, )
↓ 1976
— Die Alpen-Saga (1976-1980) (, )
— Heart of Glass • Herz aus Glas (Herzog, W.) W0
↓ 1977
— The Stationmaster's Wife • Bolwieser (, )
↓ 1978
— Albert - Why? • Albert - warum? (, )
— Flaming Hearts • Flammende Herzen (, )
— Sachrang (, )
↓ 1979
— The Hamburg Syndrome • Die Hamburger Krankheit (Fleischmann, P.) W0
— Schluchtenflitzer (, )
— — — — — 1980
↓ 1980
— Herbstromanze (, )
↓ 1981
— Der Bockerer (, )
↓ 1982
— Schöne Tage (, )
— Die Rumplhanni (, )
↓ 1983
— Der stille Ozean (, )
— The Wild Fifties • Die wilden Fünfziger (, )
↓ 1984
— Heimat: A German Chronicle • Heimat: Eine deutsche Chronik (Reitz, E.) W0
↓ 1985
— Alpine Fire • Höhenfeuer (, )
↓ 1986
— Menu Total (Schlingensief, Ch.)
↓ 1988
— Bride of the Orient • Gekauftes Glück (, )
— Wally of the Vultures • Die Geierwally (Bockmayer, W.) W0
↓ 1989
— Autumn Milk • Herbstmilch (, )
— The Glamour of These Days • Der Glanz dieser Tage (Storch, W.)
— Löwengrube: Die Grandauers und ihre Zeit (1989-1994) (, )
— Verkaufte Heimat 1: Brennende Lieb’ (, )
— Verkaufte Heimat 2: Leb’ wohl, du mein Südtirol (, )
— Succubus: Devil in the Flesh • Sukkubus: den Teufel im Leib (Tressler, G.) W0
— — — — — 1990
↓ 1990
— Abraham's Gold • Abrahams Gold (, )
— The Nasty Girl • Das schreckliche Mädchen (, )
— Die Piefke-Saga (, )
↓ 1991
— Rama dama (, )
— Verkaufte Heimat 3: Die Feuernacht (, )
— Wildfire • Wildfeuer (, )
↓ 1992
— Definitely Sanctus (, )
— Heimat 2: A Chronicle of a Generation • Heimat 2: Chronik einer Jugend (Reitz, E.)
— Summer of Love • Sommer der Liebe (Storch, W.) W0
— Undine (, )
↓ 1993
— The Hunter of Fall • Der Jäger von Fall (, )
— Madame Bäurin (, )
↓ 1994
— Constable Zumbühl • Wachtmeister Zumbühl (, )
— Verkaufte Heimat 4: Komplott (, )
↓ 1995
— Hölleisengretl (, )
— Brother of Sleep • Schlafes Bruder (, )
↓ 1996
— Die Elsäßer (, )
— Der Bockerer 2: Österreich ist frei (, )
↓ 1997
— Silent Night • Das ewige Lied (, )
↓ 1998
— Heroes in Tyrol • Helden in Tirol (, )
— The Inheritors • Die Siebtelbauern (, )
— Krambambuli (, )
— Der Laden (, )
— The One-Seventh Farmers • Die Siebtelbauern (, )
↓ 1999
— Jew-Boy Levi • Viehjud Levi (, )
— Bergkristall: Verirrt im Schnee (, )
— — — — — 2000
↓ 2002
— Andreas Hofer: Die Freiheit des Adlers (, )
— Haider lebt: 1. April 2021 (, )
— Verlorenes Land (, )
↓ 2003
— Hierankl (, )
— Die Jungen von der Paulstraße (, )
— Die Scheinheiligen (, )
— Swabian Children • Schwabenkinder (, )
↓ 2004
— Bergkristall (, )
— Heimat 3: A Chronicle of Endings and Beginnings • Heimat 3: Chronik einer Zeitenwende (Reitz, E.)
— A Journey Into Bliss • Die Reise ins Glück (Storch, W.) W0
↓ 2005
— Apollonia (, )
— Durchfahrtsland (, )
— Jennerwein (, )
— Margarete Steiff (, )
— Marias’s Last Journey • Marias letzte Reise (, )
— Snowland • Schneeland (, )
— Wally of the Vultures • Die Geierwally (, )
↓ 2006
— Emma's Bliss • Emmas Glück (, )
— Grave Decisions • Wer früher stirbt, ist länger tot (, )
— Heimat Fragments: The Women • Heimat-Fragmente: Die Frauen (Reitz, E.) W0
↓ 2007
— Gipfelsturm (, )
↓ 2008
— Beste Gegend (, )
— Räuber Kneißl (, )
↓ 2009
— The Angels' Melancholia • Melancholie der Engel (, )
— The White Ribbon • Das weisse Band: Eine deutsche Kindergeschichte (, )
— — — — — 2010
↓ 2010
— Heimat zu verkaufen (, )
— Mountain Blood • Bergblut (, )
— Weather Gazers • Wätterschmöcker (, )
↓ 2011
— Nur der Berg kennt die Wahrheit / Der Edelweißkönig (, )
— Rough • Die Räuberin (Busch, M.) W1
↓ 2013
— Home from Home: Chronicle of a Vision • Die andere Heimat: Chronik einer Sehnsucht (, )
↓ 2018
— Country Noise • Landrauschen (Miller, L.) W2
— — — — — 2020

next... W3

[der kulterer]

BERLIN SCHOOL
https://www.kinometer.com/?tag=5662

— — — — — 1990
↓ 1994
TURN DOWN THE MUSIC • MACH DIE MUSIK LEISER (Arslan, T.)
I STAYED IN BERLIN ALL SUMMER • ICH BIN DEN SOMMER ÜBER IN BERLIN GEBLIEBEN (Schanelec, A.) W0
↓ 1995
MY SISTER'S GOOD FORTUNE • DAS GLÜCK MEINER SCHWESTER (Schanelec, A.) W0
↓ 1997
BROTHERS AND SISTERS • GESCHWISTER - KARDESLER (Arslan, T.)
↓ 1998
THE SEX THIEF • DIE BEISCHLAFDIEBIN (Petzold, C.)
PLACES IN CITIES • PLÄTZE IN STÄDTEN (Schanelec, A.) W0
↓ 1999
DEALER (Arslan, T.)
— — — — — 2000
↓ 2000
THE STATE I AM IN • DIE INNERE SICHERHEIT (Petzold, C.) W0
↓ 2001
BE MY STAR • MEIN STERN (Grisebach, V.) W0
LOVELY RITA (Hausner, J.) W0
SOMETHING TO REMIND ME • TOTER MANN (Petzold, C.)
PASSING SUMMER • MEIN LANGSAMES LEBEN (Schanelec, A.) W0
THE DAYS BETWEEN • IN DEN TAG HINEIN (Speth, M.) W0
↓ 2002
BUNGALOW (Köhler, U.) W0
SCHOOL TRIP • KLASSENFAHRT (Winckler, H.) W0
↓ 2003
THE FOREST FOR THE TREES • DER WALD VOR LAUTER BÄUMEN (Ade, M.) W0
THIS VERY MOMENT • MILCHWALD (Hochhäusler, C.) W0
WOLFSBURG (Petzold, C.)
↓ 2004
HOTEL (Hausner, J.)
EN ROUTE • UNTERWEGS (Krüger, J.) W0
MARSEILLE (Schanelec, A.)
↓ 2005
SLEEPER • SCHLÄFER (Heisenberg, B.)
I AM GUILTY • FALSCHER BEKENNER (Hochhäusler, C.) W0
GHOSTS • GESPENSTER (Petzold, C.) W0
↓ 2006
FALLING • FALLEN (Albert, B.)
LONGING • SEHNSUCHT (Grisebach, V.) W0
WINDOWS ON MONDAY • MONTAG KOMMEN DIE FENSTER (Köhler, U.) W0
PINGPONG (Luthardt, M.)
VALERIE (Möller, V.)
LUCY (Winckler, H.) W0
↓ 2007
VACATION • FERIEN (Arslan, T.)
YELLA (Petzold, C.) W0
AFTERNOON • NACHMITTAG (Schanelec, A.)
MADONNAS • MADONNEN (Speth, M.) W0
↓ 2008
JERICHOW (Petzold, C.) W0
↓ 2009
EVERYONE ELSE • ALLE ANDEREN (Ade, M.) W0
GERMANY 09: 13 SHORT FILMS ABOUT THE STATE OF THE NATION • DEUTSCHLAND 09 - 13 KURZE FILME ZUR LAGE DER NATION (Akin, F., Becker, W., Enders, S., Graf, D., Gressmann, M., Hochhäusler, C., Karmakar, R., Krebitz, N., Levy, D., Schanelec, A., Steinbichler, H., Stever, I., Tykwer, T., Weingartner, H.)
— — — — — 2010
↓ 2010
IN THE SHADOWS • IM SCHATTEN (Arslan, T.)
THE ROBBER • DER RÄUBER (Heisenberg, B.) W0
THE CITY BELOW • UNTER DIR DIE STADT (Hochhäusler, C.) W0
ORLY (Schanelec, A.)
↓ 2011
ONE MINUTE OF DARKNESS • DREILEBEN – EINE MINUTE DUNKEL (Hochhäusler, C.)
SLEEPING SICKNESS • SCHLAFKRANKHEIT (Köhler, U.)
BEATS BEING DEAD • DREILEBEN - ETWAS BESSERES ALS DEN TOD (Petzold, C.)
↓ 2016
DIE BERLINER NOUVELLE VAGUE (Hörmann, A., Luer, N.)
— — — — — 2020

next... W1

[der kulterer]

NEW MUNICH GROUP
https://www.kinometer.com/?tag=7881

Introduction: Cinema in West Germany around 1968 (Christina Gerhardt, 2017)
Revisiting lesser-known West German cinema from the late sixties proves worthwhile for a variety of reasons. The cinema hitherto in the shadow of New German Cinema conveys, ..., pivotal shifts in both the politics and aesthetics of post-World War II cinema. ... The New Munich Group (Neue Münchner Gruppe, NMG), named by Enno Patalas in a feature he penned about it for Filmkritik in May, 1966, included, among others, Maran Gosov, Klaus Lemke, Martin Müller, Eckhart Schmidt, May Spils, Rudolf Thome and Max Zihlmann. The NMG was fiercely critical of the Oberhausen group, differing on aesthetic and political grounds. The NMG argued that films of the Oberhausen group consisted of abstract intellectualism and radical formal experimentation. In fact, the NMG went so far as to pen a manifesto, in which it, among other things, called the Oberhausen group nepotistic. ... In her article, “Beyond the Left: Violence and the Politics of Affect in Roland Klick’s Bübchen/Little Boy (1968),” Haegele examines how Klick’s debut feature-length film offers a critique of post-World War II West German bourgeois society through an aesthetic that — unlike many of its Young German contemporaries — is decidedly not left. The “political” in Klick’s film, she argues, consists not of the message-based politics and radical formal subversions of the left but rather of a subtle politics of affect, an aesthetic approach that impacts to this day, manifesting, for example, in contemporary Berlin School cinema.

— — — — — 1960
↓ 1964
NACHMITTAGS (Schmidt, E.)
THE RECONCILIATION • DIE VERSÖHNUNG (Thome, R.)
↓ 1965
IRIS AUF DER BANK (Gosov, M.)
DAS DENKMAL (Gosov, M.)
ANTIQUITÄTEN (Gosov, M.)
BREAKFAST IN ROME • FRÜHSTÜCK IN ROM (Zihlmann, M.)
SMALL FRONT (Lemke, K.)
↓ 1966
AND THEN, ITʼS BYE-BYE! • ...UND DANN BYE BYE (Gosov, M.)
UNTERWEGS (Gosov, M.)
POWER SLIDE (Gosov, M.)
STRATEGEN (Lemke, K.)
DREI (Lemke, K.)
HENKER TOM (Lemke, K.)
THE DUEL • DUELL (Lemke, K.)
STELLA (Thome, R.)
MANOEUVRES • MANÖVER (Spils, M.)
THE PORTRAIT • DAS PORTRAIT (Spils, M.)
↓ 1967
PFEIFFER (Gosov, M.)
DIE KAPITULATION (Müller, M.)
GALAXIS (Thome, R.)
GIRLS, GIRLS • MÄDCHEN, MÄDCHEN (Fritz, R.) W0
SABINE 18 (Gosov, M.)
↓ 1968
UNDER MY THUMB (Müller, M.)
TINSOLDIER • ZINNSOLDAT (Müller, M.)
GO FOR IT, BABY • ZUR SACHE, SCHÄTZCHEN (Spils, M.)
JANE SHOOTS JOHN BECAUSE HE CHEATS ON HER WITH ANN • JANE ERSCHIESST JOHN, WEIL ER SIE MIT ANN BETRÜG (Thome, R.)
NEGRESCO • EINE TÖDLICHE AFFÄRE (Lemke, K.)
SUGAR BREAD AND WHIP • ZUCKERBROT UND PEITSCHE (Gosov, M.) W2
JET GENERATION: HOW GIRLS LOVE MEN OF TODAY • JET GENERATION: WIE MÄDCHEN HEUTE MÄNNER LIEBEN (Schmidt, E.) W1
ANGEL BABY • ENGELCHEN: ODER DIE JUNGFRAU VON BAMBERG (Gosov, M.)
— — — — — 1970
↓ 1971
UNSER DOKTOR (Müller, M.)
— — — — — 1980

next... W3

[wba]

Best German language film I've seen in 2020 (highly recommended to you Jiri!!!)
My friends say that all of Ulrich Schamoni's feature films are masterpieces, though a few agree that this may be his greatest achievement.

I just wanted to add it to my watchlist and I see I already bookmarked it ("WANT") in the past (my only Schamoni bookmark!). I didn't watch anything by Schamoni yet and I can't recall what made me (in some indefinite past) bookmark it. Funny!

Haha, great! You were probably already on the path to watch all great German films ever made, and this was one important little mosaic.

[wba]

the last hour was very tedious and boring for me.

I could relate to the situation of doing something destructive (with self-destructive consequences) that can't be taken back and moving forward to one's own inescapable doom. After studying architecture for two years at Tech Uni, at one point I irrevocably decided not to stay in business and started with truancies. F.e. the whole upcoming year I was omitting on Wednesday all my commitments (at my own uni) and instead I was following lecturer unrelated to my alma mater (Miroslav Petříček — https://cs.wikipedia.org/wiki/Miroslav_ ... AD%C4%8Dek — the page is in Czech but you can check the bibliography section and see what he translated — Schelling, Manfred Frank, etc.) who was lecturing forenoon in the Charles Uni's department of philosophy and afternoon in the department of comparative studies. It was an exciting adventure but I was slowly but surely losing grip of my own "career". Unpassed exams (unattended) were pilling up, ultimately I was late with one project and I was told I have to repeat the whole year to catch up. It was the last straw and I left. I came back half a year later to get some papers that I needed to start my civilian military service (military service was obligatory at that time — one could opt out doing a somewhat longer civilian service). Surprisingly, I was still officially a student there, so I finally legally terminated my higher education. As a result for the upcoming decades, I had repetitively (once a year, or so) a dream (nightmare) in which I was mimicking attending uni, while others are not aware my attendance is staged. In my dream, I was always superficially listening to some lecture, superficially preparing for some exam (a bit like Hille Wawra in Havoc), but I knew it is just a question of time, ppl around me will figure out I am just a student-impostor and I will be kicked out. So, I was leading some sort of ghostly existence on uni (in my dream) and I was only awaiting my unescapable doom (expulsion from the academic paradise). Thus I could strongly relate to the heroine of MY BROTHER'S NAME IS ROBERT AND HE IS AN IDIOT when she is going back to school (to attend the exam) after all the horror that happened on the gas station and when she makes her philosophical presentation about time (in front of her teacher and classmates who are not aware what happened on the gas station). I was jinxed and close-ups on her dirty hands, while she is delivering her speech, were truly mesmerizing.

What a mesmerizing story. Reminds me a little bit of my own "career" at university, studying philosophy, art history, media, film, japanology, book science, etc. often switching unis and never actually finishing anything in 13 years, though I was very close to finishing some of those. Life is weird sometimes. And I should have expressed it more precisely. I loved the ending at the uni (just didn't like the last hour at the gas station). Though of course the ending as it is works much better with what went before, and my humble wish for them to merely lie in the meadow and transgress between themselves would have of course led to a very different film.

[wba]

Great lists, jiri.

I have some additions for your Heimatfilme list (my additions for the New Munich Group would be too many to count right now, but if you're interested, I can give you some titles later):

The Big Jump / Der große Sprung (Arnold Fanck, 1927)
Anna Favetti (Erich Waschneck, 1938)
Heimatland (Ernst Martin, 1939)
Rheinische Brautfahrt (Alois Johannes Lippl, 1939)
Das Mädchen von Fanö (Hans Schweikart 1940)
Das sündige Dorf (Joe Stöckel, 1940)
Der scheinheilige Florian (Joe Stöckel, 1941)
Das Bad auf der Tenne (Volker von Collande, 1943)
Wenn die Sonne wieder scheint (Boleslaw Barlog, 1943)
Aufruhr der Herzen (Hans Müller, 1944)
Der Erbförster (Alois Johannes Lippl, 1945)
Witches / Hexen (Helmut Spieß, 1954)

[der kulterer]

Besides this (above) Heimatfilm list of mine, I also discovered one more here...
https://udorotenberg.blogspot.com/2015/ ... e-der.html
And ofc I wanted to check out minutely yours on letterboxd to put together here my ultimate all-encompassing Heimatfilm watchlist.
I was not yet able to do so (I will soon).

(my additions for the New Munich Group would be too many to count right now, but if you're interested, I can give you some titles later)

Yes, I would be highly interested to hear from you about all the possible New Munich Group titles.

In (some indefinite) future, I expect to compile moreover a Hamburg Group watchlist (and maybe Cologne XScreen watchlist).
About Hamburg and Cologne I don't know anything at all.
First, I want to read... https://www.tandfonline.com/doi/full/10 ... 17.1327749
to get some initial information about the Cologne XScreen and the Hamburg Filmmacher Cooperative (Hamburg Filmmakers’ Cooperative).

[wba]

Udo! Great that you ran into his German cinema site (he has also done a brilliant Italian cinema site as well). Haven't met him in recent years and don't know why he stopped doing/updating those 2 projects since 2017, unfortunately. He's an architect and general great guy, so I hope he's doing well and still loving films and all.

My "Heimatfilme" list on letterboxd is very short and merely includes all of the ones I've seen so far (not just from Germany, though). It's very short and incomplete so not really useful as a reference.
But I guess every film helps to expand your lists! Would love to see a comprehensive list sometime in the future, but of course yours is probably already the vastest on the internet!

Remind me at some point in the future, and I'll start to compile one for the New Munich Group. This is actually one of my favorite "movements" in film history with some of my favorite directors contributing films (Schmidt, Thome, Gosov, Fritz). I've seen over a dozen of the titles on your list (and a few dozen more as well), and am always looking forward to watching more from them (I'm not knowledgable on Lemke really and have seen almost nothing by Spils, for example).

As for the Hamburg and Cologne groups from that time, I also don't know nothing much about them besides there being some fantastic filmmakers among them (by most of which I've seen very little).

German film history is such a cornucopia of unknown and forgotten pleasures that one could spend their whole lifetime watching them! But then I guess this is true for most countries' film histories.

[der kulterer]

DIARY • TAGEBUCH (Rudolf Thome, 1975)
https://letterboxd.com/film/diary-1975/

1/ Eduard (Rudolf Thome) is married to Charlotte, both are in their early thirties.
2/ Indifference seems to be the greatest common denominator in their relationship.
3/ He wants a divorce, she thinks it's stupid as long as there is no better partner in sight.
4/ In Kreuzberg, Eduard can rent a factory floor cheaply. His friend Otto helps him with the move.
5/ Charlotte also gets support and invites Ottilie (Cynthia Beatt).
6/ The encounters create new bonds.
7/ Otto travels to Portugal with Charlotte.
8/ Eduard and Ottilie also fall in love.

comment by buerovallejo ↓

In the early 1970s, Rudolf Thome was heavily indebted after the financial failure of "Fremde Stadt" (1972) and decided to leave Munich for fear of the court bailiff. He lived for a while with an acquaintance in Berlin. There he became part of the Berlin film scene and was elected as one of the board chairmen of the Berlin Working Group for Film. He also worked as a film critic for the journal “Tagesspiegel“. However, Thome lacked the money for his own film projects. While working as a projectionist at the Arsenal cinema, Rainer Werner Fassbinder called to tell him that he would produce his next film. At a personal meeting, he told Fassbinder that he would like to make a modern version of Goethe's novel "Elective Affinities". Thome had read the novel as a young man when he still wanted to be a writer, and had toyed with the idea of shooting a modern version for several years. Fassbinder was not enthusiastic about the suggested project, as he wanted to make his own adaptation of the novel. Nevertheless, he initially gave him the green light and Thome began preparations. He contacted the actress Eva Renzi, whom he wanted to cast for the female lead. Two weeks later, Fassbinder had a production manager tell him that he would not finance the project after all, so Thome had to look for other options.

Thome discovered a newspaper ad by a Berlin clothing store offering 16 mm film stock for sale. He borrowed money from friends and was thus able to pay for the film stock. He began to shoot scenes with his wife Karin Thome in which she appeared as a theater actress, but those eventually became part of another film project that no longer had anything to do with Goethe's novel. Since his cameraman was not available, Michael Ballhaus agreed to shoot these scenes, which were inspired by Rivette's "Out 1," a film that Thome had seen at the Arsenal cinema. He borrowed money from various municipal cinemas for the rest of the shooting. Since his wife had been given a fully paid Lufthansa airline ticket for the screening of another film in New York, Thome took the opportunity to convert it into several cheap tickets so that he could travel to the U.S. with a small crew. They drove from New York to Florida in a VW bus and shot the second half of the film on the way, which was then appropriately called "Made in Germany and USA". For a while, this new film project was supposed to be about two bank robbers escaping to the U.S., but since he couldn't get permission to shoot in any bank, he decided to make it a relationship film in which one of the spouses goes to the U.S. to escape married life, whereupon his wife follows him. During the filming, however, his wife, who had taken on the female lead, fell in love with her acting partner Eberhard Klasse, and Thome's marriage broke up. The film was shown in the Forum section of the Berlinale and was later bought up for television broadcast, which was an unusual financial success for Thome.

Thome invested the money in a factory floor in Berlin's Kreuzberg district to save it from the court bailiff, and decided to realize the previously discarded adaptation of Goethe's novel there. He was also able to buy new film stock from Kodak. Nevertheless, he was ultimately very dissatisfied with the quality of the material and regretted his wrong decision. He himself played the male lead; his character Eduard is the selfish artist figure with whom Goethe also identifies in the original. His acting partner, Cynthia Beatt, was a British reporter whom he had met at the Berlinale. Together with her, he had traveled to Calabria and London, after which she lived with him on the factory floor in Berlin. They separated a few months after filming, but still decided to work on another film project together which became "Description of an Island". "Diary" is only very loosely based on the novel and essentially depicts the everyday life of Thome and Beatt. Sometimes there were breaks in filming to work in the apartment and get furnishings. The actors were initially disgruntled, sensing that Thome was taking advantage of them to decorate his new apartment, but ultimately a good dynamic developed within the team. On the first days of shooting, Thome still handed out pages of dialogue to the actors, but he found that more authentic results could be achieved through improvisation, which is why he ultimately dispensed with this. During the filming of "Diary," Thome had a visit from the court bailiff every week. His producer eventually bought off the debts Thome had with the bank to allow him to continue making films.

In keeping with Goethe's novel, whose title is based on particle attraction in chemistry, two new pairs of lovers were originally supposed to form in the film. However, since Angelika Kettelhack and Holger Henze felt no attraction to each other, Thome changed the outline, which is why the characters they portray ultimately go their separate ways. In an interview, Thome later mentioned that he actually liked this deviation, since even in chemistry there are particles that repel each other. "Diary", together with "Made in Germany and USA" and "Description of an Island", forms an unofficial trilogy, which is characterized by the combination of fictional and documentary strategies as well as improvised dialogues. These stylistic changes were essentially due to circumstances; in later years Thome again worked with pre-scripted dialogue. „Diary“ is also the most autobiographical film in Thome's oeuvre, thereby providing a very authentic insight into everyday life in 1970s Berlin. "Diary" was not particularly successful and was sharply criticized by „Der Spiegel“. However, this was not least due to the contemporary circumstances, as a feeling of oversaturation had set in in view of numerous marriage and relationship films by directors such as Bergman, Rohmer, Chabrol and Eustache. Moreover, Thome's portrayal of the artistic bohemian, who no longer had anything to do with the protest movement of 1968 but was content with petty-bourgeois activities, was described as decadent. From today's perspective, however, it is precisely this depiction that makes the film an interesting portrayal of the times. A decade later, Thome adapted Goethe's novel again and made the stylistically different and more esoteric film "Tarot".

[wba]

Mmmm, looks delicious! This was for a while the Thome film hardest to get hold of in Germany. Nowadays fortunately all of Thome's films have been digitalized/restored and made available on the internet. It's great to see this one has english subtitles as well.

For me Thome is a bit the German Jacques Doillon (though I adore Doillon a little bit more than the German master), and it's too bad he stopped making films after not getting the money to finance his work anymore after 2011.

Btw., if you didn't know, Thome is keeping an internet diary/blog/journal since 2003 on his website, where he mostly posts pictures and films about nature and the estate he lives on: https://moana.de/Blog/Tagebuch/2021/Tag ... 00221.html
He has stated that he won't make a film anymore - but he has been writing his autobiography for the past 6 or 7 years.

PS: I've seen 15 of his 34 films since discovering him in 2004, most at the cinema from 35mm prints and most of those numerous times.