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May 24, 2019 · 24 May 2019. The Invincibles. A decade ago, Dominik Graf was FRG’s (Federal Republic of Germany) best kept secret: The nation’s one grandmaster of cinema whom the rest of the world had never heard of, or not taken proper interest in his work whenever there was a chance to. There certainly have been chances: his heist thriller Die Katze ...
Cut to scene two. As we are still reeling from what we just witnessed—if we haven’t stopped watching Dominik Graf’s great and, until the film’s re-release as a director’s cut at the 2019 Berlin International Film Festival (Berlinale), nearly forgotten police action-thriller with giallo influences, Die Sieger (The Invincibles, 1994)—the film proceeds to immerse us in one of the more expertly elaborate and playfully imagined action set-pieces German cinema has ever produced.
Dominik Graf. Highest Rated: 89% Fabian: Going to the Dogs (2021) Lowest Rated: 72% Beloved Sisters (2014) Birthday: Sep 6, 1952. Birthplace: Munich, Germany.
An Interview with Dominik Graf by Graham Fuller With his adaptation of the Weimar-era novel Going to the Dogs, a director best known for crime movies descends into the clubs and flesh-pots of Berlin as the Nazis were taking power to recreate an authentic vision of the era. 004 GRAF INTERVIEW.qxp_CINEASTE STYLE SHEET 5/1/22 1:35 PM Page 4
Im Alter von knapp 70 Jahren bringt Dominik Graf seinen rührendsten, unmittelbarsten und ästhetisch reizvollsten Film seit Der Felsen (2002) in die kürzlich aus dem Winterschlaf erwachten Lichtspielhäuser. Eine kleine, tragikomische Geschichte (Drehbuch: Graf und Constantin Lieb, nach dem Roman von Erich Kästner), epochal erzählt.
Feb 16, 2023 · Review: Dominik Graf’s Essay Film Is a Heady Reiteration of Settled History. Melting Ink ’s abstract image of the past is in the present, where the currents of history converge. Following up his willfully anachronistic adaptation of Erich Kästner’s 1931 novel Fabian: Going to the Dogs, German filmmaker Dominik Graf continues his allusive ...
Nov 1, 2019 · The film essays Verfluchte Liebe deutscher Film (2016) and Offene Wunde deutscher Film (2017), coscripted and codirected by Dominik Graf and Johannes F. Sievert, survey the postwar history of genre cinema in the Federal Republic of Germany and take stock of the present situation. Their diagnosis is grim, for in their assessment the state of the nation’s film culture is altogether dire and depleted.
