Accompanying our GOETHE FILMS series Radical--Exiting Extremism, we are sharing background articles on the larger global issues around radicalization and deradicalization, here an interview about anti-democratic nationalism and violent racism in post-migration societies.
Will the “Grey Wolves” soon be banned? An interview with social scientist Kemal Bozay by Nikita Vaillant, first published in German in fluter magazine.
fluter.de: Mr. Bozay, you call the Grey Wolves a fascist, ultra-nationalist movement. Ultra-nationalism, but more than 2,000 kilometres from the motherland: How do its supporters in Germany rationalize this contradiction?
Continue reading "Radical: A Turkish right-wing extremist..." »
Entries tagged as goethe films
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Wednesday, March 3. 2021
Radical: A Turkish right-wing extremist organization in Germany
Monday, March 23. 2020
Nayman on Zehrfeld: Moral ambiguity is this superb actor's sweet spot
We asked Toronto critic Adam Nayman (Sight & Sound, Ringer, Cinema Scope) to give our GOETHE FILMS audiences an introduction to the range of German actor Ronald Zehrfeld (“Phoenix”). While unfortunately last week, we couldn’t show you the North American premiere of Philipp Leinemann’s “Blame Game” with Zehrfeld in the lead, which was meant to close our GOETHE FILMS spy thriller series, Nayman’s detailed appreciation of Ronald Zehrfeld’s “thrillingly ambiguous acting" easily stands alone:In last year’s Munich Film Festival hit “Das Ende der Wahrheit” (“Blame Game”), Ronald Zehrfeld stars as an intelligence expert whose lover is killed in a terrorist attack intended as retaliation for the drone strike he’d set up —an act of retribution blurring the line between the personal and the political. Philipp Leinemann’s slickly made thriller was conceived by its director as a 21st century update of the Tom Clancy adaptations and knock-offs that proliferated in American cinemas in the late 1980s and 1990s: “The Hunt For Red October”; “Patriot Games”; “The Hunt For Red October”. In those US-produced films, strapping A-list movie stars were employed to ensure an unambiguous sense of heroism: no matter how twisty the plots got —with traitors and turncoats depicted as having infiltrated the US government— we could always tell who the good guy was. But by casting Zehrfeld in his Clancy homage, Leinemann complicates our responses: moral ambiguity is where this superb actor finds his sweet spot. Continue reading "Nayman on Zehrfeld: Moral ambiguity is this..." »
GOETHE FILMS: Leinemann on the real-world inspiration for his 2019 spy thriller BLAME GAME
"In 2005, the German Federal Criminal Police, the BKA, was about to arrest an AI Qaida commander named Louai Sakra in Germany when he disappeared overnight without a trace. Sakra was known as a close ally of AI Qaeda in Iraq. To date, the heads of the BKA believe that the German Federal Intelligence Service, the BND, smuggled the high-ranking terrorist out of the country. Continue reading "GOETHE FILMS: Leinemann on the real-world..." »
Thursday, March 5. 2020
GOETHE FILMS launches with Fritz Lang's Spies (win tix!)
The mastermind behind a ubiquitous spy operation learns of a dangerous romance between a Russian lady in his employ and a dashing agent from the government's secret service. If this sounds like the quintessential espionage romance-thriller plot, that's because it is: Fritz Lang's 1928 classic silent SPIES introduced all the ingredients that the genre would revisit over the next 90 years. Obsessed with making his film feel as real (and as dangerous) as possible, the director actually used a real gun and real bullets in one scene, shooting at a glass plate directly behind the actors."You never can tell the outcome in this superb melodrama by the man who made METROPOLIS," was the film's tagline when it first came out and still holds true today. Continue reading "GOETHE FILMS launches with Fritz Lang's Spies..." »
Thursday, March 8. 2018
Ulrike Ottinger in Asia: Culture from a Distance
Select media responses to "Ulrike Ottinger in Asia":
“The Goethe-Institut's ULRIKE OTTINGER IN ASIA series is well worth your time” – Norm Wilner (NOW Magazine) on Twitter
"Ottinger is one of the greatest voices of German and world cinema, as well as one of the most important voices of feminist and queer cinemas." – Shahbaz Khayambashi, Wylie Writes
“To a Canadian viewer, Under Snow may bring to mind the historic dramas of the Inuit filmmaker Zacharias Kunuk: There's a story being told but there is also, equally importantly, a quest to record an ancient way of life.” – Kate Taylor, Globe & Mail Continue reading "Ulrike Ottinger in Asia: Culture from a Distance" »
Thursday, September 28. 2017
GOETHE FILMS: Margarethe (von Trotta) & Barbara (Sukowa) --win tix
BARBARA SUKOWA will introduce on Oct 3!
NOW Magazine's Susan C. Cole will introduce on Oct 12!
Email me by noon EST on Sept 29 for your chance to win tickets to any of the 3 films!
(Only the winners will be notified.)
Wednesday, March 8. 2017
Frank Goosen on film (IV): SO MUCH TIME starts shooting
Hard to keep track of author Frank Goosen's cinematic adventures. While we are showing his book-on-film LEARNING TO LIE, he is eagerly awaiting the world premiere of Sönke Wortmann's take on SUMMER FEST in Goosen's hometown of Bochum, June 2 if you want to drop by (Goosen will read from the book here). And now Berlin über-producer UFA announces this:Shooting has begun on the new feature film "So viel Zeit" ("So Much Time") starring Laura Tonke, Jan Josef Liefers, Armin Rohde, Jürgen Vogel and many other stars. In it, Liefers plays a tax lawyer who falls ill with a brain tumour and tries to get his old band together after thirty years. In "So viel Zeit," the cinema adaptation of the novel of the same name by Frank Goosen, director Philipp Kadelbach ("Naked Among Wolves," "Generation War") celebrates life, music and the fact that it is never too late to turn one’s life around. Continue reading "Frank Goosen on film (IV): SO MUCH TIME starts..." »
Tuesday, March 7. 2017
Toronto filmmaker Kazik Radwanski's #SoundOfHeimat
Framing our March 7-14 film series Heimat NOW, we are asking filmmakers from different places What's your #SoundOfHeimat. Here is what Toronto indie filmmaker Kazik Radwanski, who just pondered in the Globe & Mail that the secret to Canadian film success lies in lentils & luck, pitched in from his hyper-local perspective of living and working in the city's west end:"There’s a scene in my latest film HOW HEAVY THIS HAMMER where the protagonist, Erwin, who has recently separated from his wife, shows his new place to his two sons. He chooses to first take them to the roof, pulling them close so he can point out the local landmarks: Ali Baba’s, Coffee Time and Bloor Street West. Since I am an independent filmmaker working with scarce resources, Erwin’s apartment in my fictional film is of course my literal home in real life.
Continue reading "Toronto filmmaker Kazik Radwanski's #SoundOfHeimat" »
GOETHE FILMS goes on HOLIDAYS
We're continuing our conversation about our GOETHE FILMS series "Heimat NOW" that starts today with the North American premiere of a debut film fresh out the the Potsdam-Babelsberg Film Academy.Here's a Q&A with first-time feature film director Bernadette Knoller about choosing a remote island location and casting her father, well-known actor-director Detlev Buck:
What was the idea that started HOLIDAYS?
At the beginning of her story, Vivi has an some sort of breakdown. It could be called depression or burnout. Luckily, it’s not. And we didn’t want to write a story about mental illness per se. She simply experiences a summer full of strange encounters. Because there is no formula for how to become functional again. Continue reading "GOETHE FILMS goes on HOLIDAYS" »
Monday, March 6. 2017
Heimat(film) now: State of the nation
Berlin, Munich, Hamburg, Cologne … forget the big city lights -- real life happens in between. Or so the quintessentially German “Heimatfilms" will have us believe. The GOETHE FILMS @ TIFF Lightbox excursion "Heimat NOW" into the genre will shine a light on Germany from north to south and east to west and ask how films have reflected the country’s regionalism after reunification.The word Heimat is famously untranslatable, holding multiple complementary meanings in German — descendance, heritage, tradition, your culture, your tribe, your family, your language: all make up one’s own personal Heimat (as author Frank Goosen argued in our interview on the topic). It is at the same time one of the most transcendental and universal terms, as everyone has a Heimat, or more than one, or a lost one, or a regained one, or a virtual one. The concept affords a wide range of important personal and group orientation -- identification, assurance, belonging-- but can become controversial when bordering on or being hijacked to foster patriotism, nationalism, and propaganda.
The term Heimatfilm has long entered the lexicon of international cinema and is constantly being reinterpreted, with a notable resurgence over the past ten or fifteen years. Continue reading "Heimat(film) now: State of the nation" »
