One wonders what Ingeborg Bachmann — the celebrated Austrian poet, author, linguist and thinker who became a darling of the midcentury, continental European literary set — would make of the staunchly old-fashioned Margarethe von Trotta biopic that now bears her name. She might be happy to be portrayed by Vicky Krieps — who among us would not be? She might be gratified by the occasional mention of one of her poems or lectures, and the nice amber tinge to Martin Gschlacht’s stately photography. Or she might be justifiably miffed that for all she achieved across a glittering, eccentric literary career, it is her rocky personal life and the men who rocked it, that are the film’s sole, stultifying focus.
Then again, the movie’s Bachmann would be unlikely to have much time to think on the issue at all, being far too busy agonizing over the grand dramatic tragedy of a soured romance.
Then again, the movie’s Bachmann would be unlikely to have much time to think on the issue at all, being far too busy agonizing over the grand dramatic tragedy of a soured romance.
- 2/19/2023
- by Jessica Kiang
- Variety Film + TV
As one of Germany’s premier female directors since the 1970s, Margarethe von Trotta is no stranger to stories of women, who, like her, have defied conventions in milieus typically dominated by men.
Whether portraying the life and death of a revolutionary socialist (Rosa Luxemburg), a groundbreaking philosopher (Hannah Arendt) or a medieval nun, composer and botanist (Vision), many of von Trotta’s best movies have been carried by protagonists who refuse to bow down to gender and social norms.
This was certainly the case with Ingeborg Bachmann, the celebrated Austrian poet and writer who lived defiantly against her time and wound up paying the price for it, dying prematurely at the age of 47. Played by an illuminating Vicky Krieps, she’s the centerpiece of this handsomely mounted but rather stolid period piece, which chronicles Bachmann’s cantankerous doomed romance with Swiss playwright Max Frisch and the trip she takes...
Whether portraying the life and death of a revolutionary socialist (Rosa Luxemburg), a groundbreaking philosopher (Hannah Arendt) or a medieval nun, composer and botanist (Vision), many of von Trotta’s best movies have been carried by protagonists who refuse to bow down to gender and social norms.
This was certainly the case with Ingeborg Bachmann, the celebrated Austrian poet and writer who lived defiantly against her time and wound up paying the price for it, dying prematurely at the age of 47. Played by an illuminating Vicky Krieps, she’s the centerpiece of this handsomely mounted but rather stolid period piece, which chronicles Bachmann’s cantankerous doomed romance with Swiss playwright Max Frisch and the trip she takes...
- 2/19/2023
- by Jordan Mintzer
- The Hollywood Reporter - Movie News
Acclaimed “Phantom Thread” actor Vicky Krieps’ latest film, “Ingeborg Bachmann – Journey into the Desert,” directed by German cinema legend Margarethe von Trotta, has its world premiere in competition at the Berlin Film Festival.
Krieps plays the titular Austrian Bachmann, one of the most renowned German-language poetry and prose writers of the 20th century. The film follows her life and career and her relationships with Swiss playwright (Ronald Zehrfeld), Austrian author Adolf Opel (Tobias Samuel Resch) and German composer Hans Werner Henze (Basil Eidenbenz) during a six-year period in her life from 1958.
The actor was familiar with the writer from her formative years. “I knew about Bachmann because in Germany she’s very famous. I grew up with her in school,” Krieps told Variety. “I was very into poetry when I was younger, so I knew her poetry.” Krieps familiarized herself further with Bachmann’s work once she was cast.
Krieps plays the titular Austrian Bachmann, one of the most renowned German-language poetry and prose writers of the 20th century. The film follows her life and career and her relationships with Swiss playwright (Ronald Zehrfeld), Austrian author Adolf Opel (Tobias Samuel Resch) and German composer Hans Werner Henze (Basil Eidenbenz) during a six-year period in her life from 1958.
The actor was familiar with the writer from her formative years. “I knew about Bachmann because in Germany she’s very famous. I grew up with her in school,” Krieps told Variety. “I was very into poetry when I was younger, so I knew her poetry.” Krieps familiarized herself further with Bachmann’s work once she was cast.
- 2/19/2023
- by Naman Ramachandran
- Variety Film + TV
Alain Resnais' deceptively conventional drama is really about interpersonal dynamics: lives lived in the here and now are really anchored in events and concerns from the past, that bleed into the present. Delphine Seyrig's antique dealer invites an old beau to visit, but instead of clarity and direction finds just more personal confusion. Muriel, ou Le temps d'un retour Blu-ray The Criterion Collection 824 1963 / Color / 1:66 widescreen / 116 min. / available through The Criterion Collection / Street Date July 19, 2016 / 39.95 Starring Delphine Seyrig, Jean-Pierre Kérien, Nita Klein, Jean-Baptiste Thiérrée, Claude Sainval, Laurence Badie, Jean Champion Cinematography Sacha Vierny Production Design Jacques Saulnier Film Editor Claudine Merlin, Kenout Peltier, Eric Pluet Original Music Paul Colline Written by Jean Cayrol Produced by Anatole Dauman Directed by Alain Resnais
Reviewed by Glenn Erickson
Back in film school we'd make pronouncements like, why do all movies have to have such structured plots, with organized conflicts and resolutions?...
Reviewed by Glenn Erickson
Back in film school we'd make pronouncements like, why do all movies have to have such structured plots, with organized conflicts and resolutions?...
- 7/29/2016
- by Glenn Erickson
- Trailers from Hell
Complex and avant-garde French film director best known for Night and Fog and Last Year in Marienbad
Alain Resnais, who has died aged 91, was a director of elegance and distinction who, despite generally working from the screenplays of other writers, established an auteurist reputation. His films were singular, instantly recognisable by their style as well as through recurring themes and preoccupations. Primary concerns were war, sexual relationships and the more abstract notions of memory and time. His characters were invariably adult (children were excluded as having no detailed past) middle-class professionals. His style was complex, notably in the editing and often – though not always – dominated by tracking shots and multilayered sound.
He surrounded himself with actors, musicians and writers of enormous talent and the result was a somewhat elitist body of work with little concern for realism or the socially or intellectually deprived. Even overtly political works, Night and Fog,...
Alain Resnais, who has died aged 91, was a director of elegance and distinction who, despite generally working from the screenplays of other writers, established an auteurist reputation. His films were singular, instantly recognisable by their style as well as through recurring themes and preoccupations. Primary concerns were war, sexual relationships and the more abstract notions of memory and time. His characters were invariably adult (children were excluded as having no detailed past) middle-class professionals. His style was complex, notably in the editing and often – though not always – dominated by tracking shots and multilayered sound.
He surrounded himself with actors, musicians and writers of enormous talent and the result was a somewhat elitist body of work with little concern for realism or the socially or intellectually deprived. Even overtly political works, Night and Fog,...
- 3/3/2014
- by Brian Baxter
- The Guardian - Film News
Written and directed by: Peter Strickland
Featuring: Toby Jones, Cosimo Fusco, Fatma Mohamed, Eugenia Caruso, Antonio Mancino, Tonia Sotiropoulou
A fond tribute to giallo, a hymn to analogue recording equipment, a vehicle for the irresistible Toby Jones – on paper at least, Berberian Sound Studio looks like it might be the best movie ever made. Peter Strickland's second feature is certainly a delight for the senses, indulging the audience in the intensity and theatricality of 1970s Italian horror, aural and visual details heightened for maximum effect. Unfortunately, the delicate plot threads spiral out of control in the third act, leaving the audience awash with all the delicious possibilities (mysteriously disappearing technicians, dead chaffinches, actresses taken ill, an unseen intruder lurking within the studio) that never come to pass. Nonetheless, this arthouse horror movie offers some noble, rather than the usual guilty, pleasures to genre aficionados.
The title of the fictional studio,...
Featuring: Toby Jones, Cosimo Fusco, Fatma Mohamed, Eugenia Caruso, Antonio Mancino, Tonia Sotiropoulou
A fond tribute to giallo, a hymn to analogue recording equipment, a vehicle for the irresistible Toby Jones – on paper at least, Berberian Sound Studio looks like it might be the best movie ever made. Peter Strickland's second feature is certainly a delight for the senses, indulging the audience in the intensity and theatricality of 1970s Italian horror, aural and visual details heightened for maximum effect. Unfortunately, the delicate plot threads spiral out of control in the third act, leaving the audience awash with all the delicious possibilities (mysteriously disappearing technicians, dead chaffinches, actresses taken ill, an unseen intruder lurking within the studio) that never come to pass. Nonetheless, this arthouse horror movie offers some noble, rather than the usual guilty, pleasures to genre aficionados.
The title of the fictional studio,...
- 6/4/2013
- by Karina Wilson
- Planet Fury
The 2011 Grammy Awards were big for the ladies -- country trio Lady Antebellum took home the most awards with five, while Lady Gaga earned three. Eminem had two honors, but Alternative Rock group Arcade Fire won the coveted Album of the Year.
Here is the full list of winners:
Album Of The Year
The Suburbs -- Arcade Fire
Recovery -- Eminem
Need You Now -- Lady Antebellum
The Fame Monster -- Lady Gaga
Teenage Dream -- Katy Perry
Record Of The Year
"Nothin' On You" -- B.o.B Featuring Bruno Mars
"Love The Way You Lie" -- Eminem Featuring Rihanna
"Forget You" -- Cee Lo Green
"Empire State Of Mind" -- Jay-z & Alicia Keys
"Need You Now" -- Lady Antebellum
Best New Artist
Justin Bieber
Drake
Florence & The Machine
Mumford & Sons
Esperanza Spalding
Song Of The Year
"Beg Steal Or Borrow" -- Ray Lamontagne, songwriter (Ray Lamontagne And The...
Here is the full list of winners:
Album Of The Year
The Suburbs -- Arcade Fire
Recovery -- Eminem
Need You Now -- Lady Antebellum
The Fame Monster -- Lady Gaga
Teenage Dream -- Katy Perry
Record Of The Year
"Nothin' On You" -- B.o.B Featuring Bruno Mars
"Love The Way You Lie" -- Eminem Featuring Rihanna
"Forget You" -- Cee Lo Green
"Empire State Of Mind" -- Jay-z & Alicia Keys
"Need You Now" -- Lady Antebellum
Best New Artist
Justin Bieber
Drake
Florence & The Machine
Mumford & Sons
Esperanza Spalding
Song Of The Year
"Beg Steal Or Borrow" -- Ray Lamontagne, songwriter (Ray Lamontagne And The...
- 2/14/2011
- by editorial@zap2it.com
- Pop2it
He used to tackle big issues: Hiroshima, the Algerian war. But Alain Resnais's latest film is about the theft of a wallet. The director tells Gilbert Adair why
Old age is always faintly unnerving. Although, at 88, Alain Resnais isn't by any means the most venerable of active film-makers, it's still hard to credit that the film I've come to Paris to talk to him about – Wild Grass, an authentic surrealist romance, as far from being geriatric in style as it's possible to imagine – was made by this elegant, eloquent gentleman sitting opposite me at the Hôtel Claridge, near the Champs Elysées.
I last met Resnais a couple of decades ago, and he has remained much as I remembered: the superb mane of snow-white hair, flaming red shirt, tightly knotted black tie and trademark white trainers. All that's missing is a viewfinder dangling on his pullover, as nonchalantly as a monocle.
Old age is always faintly unnerving. Although, at 88, Alain Resnais isn't by any means the most venerable of active film-makers, it's still hard to credit that the film I've come to Paris to talk to him about – Wild Grass, an authentic surrealist romance, as far from being geriatric in style as it's possible to imagine – was made by this elegant, eloquent gentleman sitting opposite me at the Hôtel Claridge, near the Champs Elysées.
I last met Resnais a couple of decades ago, and he has remained much as I remembered: the superb mane of snow-white hair, flaming red shirt, tightly knotted black tie and trademark white trainers. All that's missing is a viewfinder dangling on his pullover, as nonchalantly as a monocle.
- 6/22/2010
- by Gilbert Adair
- The Guardian - Film News
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