Leander Haußmann - News Poster

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Berlinale 2012. Babelsberg @ 100 + Perspektive Deutsches Kino

  • MUBI
Just yesterday, Empire posted a photo of Tom Tykwer and Lana and Andy Wachowski surrounded by novelist David Mitchell and producers Uwe Schott, Philip Lee, Stefan Arndt and Grant Hill. The occasion? They'd just wrapped shooting at Studio Babelsberg on the most expensive German film since the days of Ufa, Cloud Atlas. Babelsberg, practically on life support after the fall of the Berlin wall, is thriving once again. And in February, the legendary studio celebrates its 100th anniversary.

To celebrate, the Berlin International Film Festival, running February 9 through 19, will be awarding the studio a Berlinale Camera and presenting a special series, "Happy Birthday, Studio Babelsberg." The lineup:

Fw Murnau's The Last Laugh (1924) Josef von Sternberg's The Blue Angel (1929/30) Josef von Báky's The Adventures of Baron Munchhausen (1943) Wolfgang Staudte's The Murderers Are Among Us (1946) Kurt Maetzig's The Rabbit Is Me (1965) Konrad Wolf's Goya (1971) Roland Gräf's
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Daily Briefing. Senses of Cinema 60, Chris Marker

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A new issue of Senses of Cinema will always be the top story, any day it appears. As this one's not only the 60th but also a "bumper issue," as Catherine Grant puts it, it's "a timely reminder of just what a valuable publication this online journal is." Without question, it's worthy of your support if you're able to provide it. Among the highlights of this issue are remembrances of Claudine Paquot by Serge Toubiana and Bérénice Reynaud, who finds it "hard to convey the loss experienced by French-speaking readers and cinephiles to the Anglo-Saxon world, how her presence in the editorial staff at Cahiers du cinéma had had a definitive impact on the way cinema is written about."

Samuel Bréan considers the reception of the "Navajo English" subtitles for Godard's Film socialisme. Three disparate moments in the history of German cinema: Alexandria Placido on women and fashion in Weimar cinema,
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From Hitler's Germany To Stalin's Russia In Gorgeous German Comedy Hotel Lux

A comedy set both in Hitler's Germany and Stalin's Russia? It seems like a bold - perhaps even foolhardy - move but that's exactly what director Leander Haußmann has done with Hotel Lux.Following the life of a stage and screen comedian who wants to flee war-era Germany for America but has to settle for Russia when he can't land the required paperwork, Hotel Lux is every bit as polished and classy a reconstruction of a bygone era as what Michel Hazanavicius presents in his OSS117 films and The Artist. In 1938, Hans Zeisig, an apolitical comedian, impersonator and cabaret actor, flees with a Russian passport (instead of an American one which he would have preferred) from Nazi Berlin, and finds himself in the legendary...
See full article at Screen Anarchy »

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