There’s not a single frame in this film that isn’t perfectly composed, filled with subtle visual foreshadowings and textures that complement and give context to the intense performances. Masterpiece.
“Working with cinematographer MARTIN GSCHLACHT is very intuitive, very precise, without a lot of talk or discussion. Before getting started, we don’t really go into resolution, concrete scenes, technical stuff, etc.; instead we talk a lot about the story, its hidden meaning, about the formal basic conception of the film, about rhythm, about style. We think these things out in detail before we start, then when we shoot, we can work intuitively and precisely. I want to make movies that don’t manipulate the viewer with effects. My style, the form of my films, which is something I am constantly working on, aims at simplicity and clarity. That may not sound spectacular, but it is difficult to do and I think that ultimately it has the greatest power. I believe that the form of the film is where its individuality lies, and this individuality is where true beauty comes from. Not in the “moral” or the “criticism” or in vain demonstrations of “abilities.”
GÖTZ SPIELMANN
T
There’s not a single frame in this film that isn’t perfectly composed, filled with subtle visual foreshadowings and textures that complement and give context to the intense performances. Masterpiece.
“Working with cinematographer MARTIN GSCHLACHT is very intuitive, very precise, without a lot of talk or discussion. Before getting started, we don’t really go into resolution, concrete scenes, technical stuff, etc.; instead we talk a lot about the story, its hidden meaning, about the formal basic conception of the film, about rhythm, about style. We think these things out in detail before we start, then when we shoot, we can work intuitively and precisely. I want to make movies that don’t manipulate the viewer with effects. My style, the form of my films, which is something I am constantly working on, aims at simplicity and clarity. That may not sound spectacular, but it is difficult to do and I think that ultimately it has the greatest power. I believe that the form of the film is where its individuality lies, and this individuality is where true beauty comes from. Not in the “moral” or the “criticism” or in vain demonstrations of “abilities.”
GÖTZ SPIELMANN