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"Berlin ist ein Anderer Platz": Early Films by Köhler, Ade, and Grisebach

Everyone ElseThe so-called “Berlin School” has gone from strength to strength in recent years. This new wave of precise, formalist cinema has been noteworthy for several reasons, one of them being the fact that most of its practitioners are currently making their best, most fully realized works to date. Despite a critical tendency, across virtually all media, to make a fetish of the “early work,” there appears to be a consensus that these German auteurs are working at the height of their powers.This certainly accounts for the significantly heightened profile of several of the Berlin School filmmakers in recent years. In a rare conjunction between critics and the film business, more and more of these films are being distributed in North America and being seen by not-inconsiderable groups of viewers. Thus far, the highest profile film from the “movement” over here has been Maren Ade’s oddball comedy Toni Erdmann,

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