#rainer klausmann

[farminglesbian]

Auf der anderen Seite (2007) dir Fatih Akin, dop Rainer Klausmann

[distort251]

The Cut (2014) / Cinematography by Rainer Klausmann

[nine-frames]

Tschick (Goodbye Berlin), 2016.

Dir. Fatih Akin | Writ. Wolfgang Herndorf (novel), Lars Hubrich, Fatih Akin & Hark Bohm | DOP Rainer Klausmann

[genevieveetguy]

If you throw a stone, it's a crime. If a thousand stones are thrown, that's political. If you set fire to a car it's a crime, if a hundred cars are set on fire that's political.

The Baader Meinhof Complex (Der Baader Meinhof Komplex), Uli Edel (2008)

[sesiondemadrugada]

Der goldene Handschuh (Fatih Akin, 2019).

[stillsmybeatingheart]

[filmaticbby]

“Because even though you can’t hold your breath forever, you can hold it for a very long time.”

Goodbye Berlin (2016) dir. Fatih Akın

[shutt3risland]

[boardchairman-blog]

In the Fade (2017)

Director: Fatih Akin Cinematographer: Rainer Klausmann

[distort251]

The Cut (2014) / Cinematography by Rainer Klausmann

[ponapisach]

Mało jest obrazów, które tak sugestywnie wchodzą ze swoją estetyką w szpetotę i degenerację, a u widzów, nawet tych zaprawionych w bojach, wzbudzają odrazę. Kojarzycie najgorszy ustęp w Szkocji z filmu "Trainspotting"? Przypomnijcie sobie dokładnie ściany, podłogę całego lokalu i rzecz jasna sedes. Taki klimat jest w "Złotej rękawiczce", filmie, który opowiada o rzeźniku z Hamburga, Fritzu Honce. Tytuł został wzięty od nazwy knajpy, w której Fritz przesiadywał i przepijał całą swoją wypłatę. "Złota rękawiczka" stoi po dziś dzień i jak można zobaczyć i przeczytać, ma się nad wyraz dobrze. Spelunie dobrze zrobiła powieść Heinza Strunki z 2016 roku i dobrze jej zrobi ekranizacja w reżyserii Fatih Akina. Lokal stoi wciąż w tym samym miejscu przy Hamburger Berg 2 i jest czynna całą dobę, tak jak w latach 70., kiedy działał tu Honka. Obleśny bar skąpany w pocie i urynie stał się dziś mekką dla podróżujących tropami masowych morderców. Der Goldene Handschuh jest więc pierwszym przystankiem, a oddalona o 30 minut marszem kamienica, w której mieszkał Honka przy Zeißstraße 74, finałem podróży śladami seryjnego zabójcy. Tę samą drogę przemierzą kilkukrotnie widzowie filmu...

[byneddiedingo]

Ulrich Matthes and Bruno Ganz in Downfall (Oliver Hirschbiegel, 2004)

Cast: Bruno Ganz, Alexandra Maria Laga, Corinna Harfouch, Ulrich Matthes, Juliane Köhler, Heino Ferch, Christian Berkel, Matthias Habich, Thomas Kretschmann, Michael Mendl, Ulrich Noethen. Screenplay: Bernd Eichinger, based on books by Joachim Fest and Traudl Junge and Melissa Müller. Cinematography: Rainer Klausmann. Production design: Bernd Lepel. Film editing: Hans Funck. Music: Stephan Zacharias.

Downfall may be best known today for memes: the video parodies that take parts of the film, particularly the ranting of Bruno Ganz's Hitler, and supply new subtitles that spoof everything from contemporary politics to the efforts of the producers to suppress the parodies on YouTube because of copyright concerns. The producers were misguided: The parodies probably led more people to watch the actual film than would have without their notoriety. It's a well-made film, particularly because it manages to deal with an inherent problem: Would a dramatization of the last days of Hitler and his coterie tend to glamorize their futile struggle to survive, turning it into something like heroism? Ganz's superb performance helps the film sidestep that danger: His Hitler is humanized, to be sure, even to the point of once shedding a tear, but ultimately it's a portrait of repellent fanaticism and megalomania. He's a twitchy old man, one hand held behind his back in a palsied claw, but it's easy to see how the rather beleaguered men and women who surround him could be filled with a terrified awe of the man. I'm not particularly happy with the framing of Downfall, however. I think the decision to see much of the story through the eyes of Hitler's pretty secretary, Traudl Junge (Alexandra Maria Laga), shifts the focus away from the desperate horror of the final days, using a somewhat glossy survival story to keep the audience entertained. The footage of the real Traudl Junge that begins and ends the film doesn't much help illuminate why the "ordinary" German could be hoodwinked by Nazism, and her insistence that she didn't know of the true horrors of the Reich feels a little specious. There are, however, some moments of genuine drama in the film that emphasize how foul a spell Hitler cast over his followers, particularly the hysterical collapse of the otherwise icy Magda Goebbels (Corinna Harfouch) at Hitler's feet when she realize the end is at hand. She pulls herself together and then proceeds to systematically murder her five children. I also liked the depiction of the cynicism of the Nazis who, when someone reminds them of the plight of the German people, sneeringly retort that it was their fault for bringing them to power in the first place. There's a lesson in the film somewhere for contemporary Americans, but I don't want to be the one to spell it out. Kudos to Stephan Zacharias for avoiding Wagnerian clichés in his score, although I thought the quotation from Purcell's aria "When I Am Laid in Earth" might have been a touch too sentimental.

[thecinematicshots]

Lessons of Darkness (1992) Cinematography: Simon Werry, Paul Berriff Rainer, Klausmann Still

[sesiondemadrugada]

Der goldene Handschuh (Fatih Akin, 2019).

[stillsmybeatingheart]