Issue 12 | September 2007


A Recipe for Nothing

By Klaus Fried

My father was heavily involved in radical politics, and as a child, our house was stuffed with the revolutionary thinkers and doers of the day. From May 68’ers to Baader Meinhof, there was always someone interesting to play with. So, when I was invited to curate a season of films at the ICA and a conference marking the deaths in custody of Andreas Baader, Gudrun Ensslin and Jan-Carl Raspe, I was happy to accept. The programme was planned for October of that year (2002), twenty-five years since the German Autumn – that miserable moment in 1977 when West Germany held it’s breath over the kidnap of the industrialist banker Hans Martin Schleyer and the hijack of a Boeing 747 in Mogadishu.
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Grim Reaper & the Holy Fool

By Rosy Rockets

Since 1997, Hartley had accepted that his art had led him astray from his established fan base. However, despite the flagging interest in his circling explorations of Truth and Trust, he found impetus in Henry Fool, a film whose rhythms run on departure and arrival.

Exploiting the Innocent Heroine

By Elzemieke de Tiege

Co-founder of Dogma 95, Lars Von Trier gained international recognition through his Golden Heart Trilogy: Breaking the Waves, The Idiots and Dancer in the Dark. The trilogy centres on innocent, vulnerable, all-sacrificing heroines and was allegedly inspired by a book Trier read in his childhood: Guldhjerte (Goldheart).

15th Annual Raindance Film Festival

By Owen Armstrong

Where Klores’ film excels is in its examination of the aftermath of these events. On his release – having kept up correspondence whilst in prison – Pugach proposes to Riss live on television and inexplicably, she accepts.

In Search of a Secret History

By Lee Hill

Direct Cinema emerged in the mid-fifties as both response and solution to the problems of synchronised sound, mobility, veracity and reconstruction that haunted documentary from the days of Robert Flaherty’s Nanook of the North (1922).

Aesthetic Ecstasy and Truth

By John Bradburn

Werner Herzog may easily be one of the mythologized, or even self-mythologized, directors of the modern era. From his roots somewhere on the edges of the New German Cinema of the 1970s he has maintained a visceral, focussed and impassioned personal cinematic aesthetic.