Geschichten vom Küblkind (1970) is one of the most magnificent works of West German film. The Kübelkind (dumpster child) is not obedient. He is just as asocial as any child whose parents have not managed to wean out of him the last remnants of self, or maybe a even a bit more. The stories are sometimes revolting and sometimes shocking and sometimes comical and sometimes cute. Geschichten vom Küblkind is cinema through and through in 23 stories. One could spend one’s whole life with the 204 minutes of the Geschichten vom Küblkind. —oberhausener-manifest.com
Edgar Reitz was born on the 1st of November 1932 in Morbach, a small town in the German Hunsrück Mountains. There his father Robert owned a small clockmakers shop, and his grandfather Johann Reitz worked as a Blacksmith in Morbach-Hundheim. Edgar Reitz has two younger siblings. His sister Heli, and his brother Guido who assumed his fathers trade and took over the Clock Shop.
During the time he attended school in Simmern, Reitz had already started acting and stage-managing in a theater subsidized by his German teacher Karl Windhäuser. After earning his Abitur (a diploma required to qualify for university entrance in Germany), he moved in 1952, motivated by Windhäuser, to Munich to study German language, literature, journalism, dramatics, and art history. During this time he was already sporadically publishing poems and narrations, and was a co-editor of a literary journal. He was fully engaged with the avant-garde of music, arts, literature and film, and in 1953 he was one of… read more
Ula Stöckl was born in Ulm, Germany, in 1938. She studied cinema in 1963 at the newly established film section of the Hochschule für Gestaltung (HfG) in Ulm, under the instruction of Alexander Kluge and Edgar Reitz, where the theory of the ‘auteur’ (auterism) found fertile ground, giving impetus to the birth of the New German Cinema.
Stöckl would soon become one of Germany’s most important filmmakers. She has made over 20 films, the majority of which she was screenwriter and producer/co-producer. Her films have been screened at more than 70 festivals and she has been a guest-lecturer at a number of universities. She has also given presentations at the Goethe Institute in many different countries throughout Europe as well as in Australia, America and Canada.
Her visual language developed early and is recognizable for its multi-layered narrative, breaking the confines of traditional film language. The use of montage, fantasy, metaphor, documentary narrative and a mixture… read more