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Dominik Graf. Highest Rated: 89% Fabian: Going to the Dogs (2021) Lowest Rated: 72% Beloved Sisters (2014) Birthday: Sep 6, 1952. Birthplace: Munich, Germany.
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 ...
Jan 1, 2022 · Die Katze / The Cat (1988) Directed by Dominik Graf. "There isn't much space for deeper examination of character or socio-political subtext, which exist in abundance in other Graf films, but the combination of reckless energy and narrative cunning elevates the pulse and exercises the mind. In fact, a sense of both personal and social ...
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.
Mar 16, 2017 · DOUBLE FEATURE: DOMINIK GRAF & DER DEUTSCHE FILMDominik Graf im Gespräch mit Urs Spörri, 1. TeilDominik Graf gilt als einer der bedeutendsten Genrefilm-Regis...
- 31 min
- 4K
- DFF Deutsches Filminstitut & Filmmuseum
Feb 14, 2022 · That style is transposed back to cinema in Fabian: Going to the Dogs, Dominik Graf’s 176-minute adaptation of the 280-page book. Although Graf is largely true to the novel, he immediately signals his thematic concerns by opening with a present-day subway scene (headphones, multinational brands and casual apparel readily apparent) before plunging us into the chaotically rendered nightclub sequences, as if to connect today’s monotonous consumerism with century-old hedonism.
