As in many of his previous films, Nestler once more provides a critical view of the rise of the machine age. He uses the small village of Ödenwaldstetten as an example of the changes from manpower to mechanical power. We witness how handicraft and traditional agricultural tools are discarded and replaced by high-tech equipment and assembly line production. Simultaneously, the film takes account of the many commuters who are forced to travel many miles a day to their new workplace. —Viennale
Peter Nestler remains one of the most outstanding documentary filmmakers from German post-war cinema. Born in 1937, he created his first short documentaries from 1962 to 1965, including Mülheim/Ruhr (1964), Ödenwaldstetten (1964) and Rheinstrom (1965), which were a series of aesthetically meticulous and politically radical portraits of everyday life and working-class environment in Germany.
Peter Nestler once said, “Ever since I began making films, I have tried to show the very heart of the matter. I did this so spectators would remember and recognize things, and, in order to point out that something needs to be changed, needs to be preserved or must not be forgotten.” This statement emphasizes Nestler’s unconventional approach to filmmaking. His work introduced an entirely new and uncompromising style to German cinema, which was met with a profound lack of understanding by both audiences and critics. Decreasing working opportunities in his native Germany eventually forced Nestler… read more