FILM
Barbara Buser: What saving buildings does for a city
Who gets to stay when an old hall lives on? On the Buser film: a look at the contracts behind the conversions.
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Cinema, series and festivals – releases, reviews and background.
FILM
How Ottinger’s “The Blood Countess” secured funding
Three countries, public funding and personal commitment: what Ottinger’s “The Blood Countess” reveals about the costs of artistic freedom.
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FILM
What an archival film preserves of theatre
A film drawing on recordings and images approaches Einar Schleef. Yet theatre also consists of what no archive can capture.
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FILM
Klara and the Sun: What does intimacy cost?
An artificial friend is meant to ease loneliness. Ishiguro’s story asks who orders this intimacy – and who bears its cost.
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FILM
Robert Aldrich retrospective: What film history needs in the cinema
The Aldrich retrospective shows that film history is shaped not by selection alone, but also by prints, projection and interpretation.
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FILM
Children’s mystery explores colonial loot
A missing museum object puts three children on the trail of colonial history. Nancy Mac Granaky-Quaye’s family film opens on 29 October.
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FILM
What follows a premiere: a film festival as a springboard?
Premieres get films talked about. Whether that leads to a cinema release depends on decisions made only after the festival.
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FILM
Jens Meurer’s ‘Biermann’: a life beyond the loss of citizenship
The loss of his citizenship made Wolf Biermann a political symbol. As his film portrait reaches cinemas, the focus turns to the work and life behind it.
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FILM
“Glaube” (Faith): A teenager chooses the convent
A teenager is considering entering a convent, and her family is alarmed. Alauda Ruiz de Azúa’s “Glaube” (Faith) opens in German cinemas on 29 October.
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FILM
Documentary: Who owns the story being told?
Consent is more than a form. Documentary filmmakers must also consider risks, editing and the consequences of release.
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FILM
Ulrike Ottinger’s art of cinematic artifice
How do painting, language and costume become a film? Ulrike Ottinger’s “Die Blutgräfin” (The Blood Countess) takes us to the heart of her working method.
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FILM
How short films find their audiences after the festival
After the festival comes the next screening: how distribution, on-demand libraries and funding keep short films visible.
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