Genius meeting Timed to the centenary of the cinematography (and what the French all saw in honor of this), the meeting of the directors of the New German Cinema sits on the scarlet chairs of an empty cinema, preceded by festive helicopters over Munich. At first, Volker Schlendorf discusses what makes a German film German, referring to Fritz Lang. Then Brahms’ great-granddaughter speaks of Jewish emigration. Then Margaret von Trotta will tell a little about the German guilt, in connection with which Lilienthal's approving silence about Auschwitz will remember Sieberberg. Peter Chamonix will remember the old UFA, comparing his Koenigswald with Douglas Sirk, and Kluge will unexpectedly compare Goebbels’ products with his Patriot. Here Leni Riefenstahl took the floor, and half a century as if it had not happened - where Murnau, where Herzog - there is no border, direct continuity. Wenders’s speech will distract from rabidity, for it consists of critical silence and entertainment problems. Geissendörfer will talk about the black forest, Tom will talk quickly about walking. Reitz, who was silent about himself, is recognized in the taper, as soon as the authors' faces leave the bodies, broadcasting through the starry night - the latter is projected by Hannah Shigulla as the medium of the visiting ghost.
9 out of 10