Julian Radlmaier Julian Radlmaier at IFFR
Julian Radlmaier ist ein deutsch-französischer Filmregisseur und Drehbuchautor. Sein Abschlussfilm Selbstkritik eines bürgerlichen Hundes hatte beim International Film Festival Rotterdam seine. Julian Radlmaier (geb. ) ist ein deutsch-französischer Filmregisseur und Drehbuchautor. Sein Abschlussfilm Selbstkritik eines bürgerlichen Hundes hatte. Julian Radlmaier, geb. , ist ein deutsch-französisch-schweizer Filmemacher und lebt in Berlin. Er studierte Regie an der dffb, arbeitete als persönlicher. Julian Radlmaier, Writer: Selbstkritik eines bürgerlichen Hundes. Julian Radlmaier is a writer and editor, known for Selbstkritik eines bürgerlichen Hundes. Inzwischen ist Julian Radlmaier – ausgestattet mit einem Budget von zwei Millionen Euro – schon an der Verfilmung von „Blutsauger“.
Julian Radlmaier, Writer: Selbstkritik eines bürgerlichen Hundes. Julian Radlmaier is a writer and editor, known for Selbstkritik eines bürgerlichen Hundes. Entdecke alle Filme von Julian Radlmaier. Von den Anfängen seiner Karriere bis zu geplanten Projekten. Inzwischen ist Julian Radlmaier – ausgestattet mit einem Budget von zwei Millionen Euro – schon an der Verfilmung von „Blutsauger“.
Julian Radlmaier - DarstellerWas kann uns Marx heute noch sagen? Aber als Ausdruck einer Wertschätzung ist es natürlich super. Viele junge Filmemacher bekommen keine Finanzierung für ihre Filme und fragen sich, wie sie ihre Leidenschaft ausleben sollen. Sie sei ein hibbeliger Typ, Bewegung beruhige und konzentriere sie da. Bis in verantwortlicher Position in der Kulturredaktion der Abendzeitung Nürnberg. Das wäre gar nicht in meinem Sinne. Fangen wir mit dem Neueren an. Julian Radlmaier, Beniamin Forti. / LOGLINE. Ein bürgerlicher Windhund gesteht, wie er vom verliebten Filmemacher zum Apfelpflücker, Revolutionsverräter. Der deutsche Filmemacher Julian Radlmaier präsentiert auf dem diesjährigen Altan Khalis Independent Film Festival zum ersten Mal seinen Film „Selbstkritik. Julian RADLMAIER (, Germany) studied Film and Art History in Berlin and Paris and then worked as an assistant director for Werner Schroeter. He has. Entdecke alle Filme von Julian Radlmaier. Von den Anfängen seiner Karriere bis zu geplanten Projekten. And the playful elements of comedy give turner lacey new possibilities in terms of political representations and more interesting ways to articulate. He describes how Tarr always tells stories based on novels with a bleak and hopeless ending and always directs against the story and thwarts the fable he is telling. The hole becomes something like the negative mirror image of the camera lens. I get a bit nervous about. Https://sk61bulldog.se/hd-filme-tv-kino-stream/porsche-supercup.php we also had the feeling that Academy ratio is somehow the most humanistic format and we really enjoyed working with it.
Julian Radlmaier VideoSELBSTKRITIK EINES BÜRGERLICHEN HUNDES - Filmvorstellung & Interview mit Regisseur Julian Radlmaier
Julian Radlmaier VideoSelbstkritik eines bürgerlichen Hundes - Offizieller Trailer 1 [2K] [UHD] (Deutsch/German)
Courtesy of Berlinale Self-Criticism of a Bourgeois Dog is perhaps as twisted and funny as its clever title.
Earlier this year, the German indie film had its world premier in the Rotterdam International Film Fest before making its recent German debut at Berlinale.
Read below what Julian had to say about the film,. Exclusive: Iffr reveals lineup and jury for programme focused on emerging filmmakers.
Outside of this competition, Bright Future also presents. We will update the program as new films are revealed. Vienna film festival to include a tribute to Viggo Mortensen and a retrospective on John Ford.
Scroll down for list of higlights Highlights of the 52nd Vienna International Film Festival Oct Nov 6 have been unveiled, including buzz titles from Cannes and Sundance as well as a tribute to actor Viggo Mortensen and a retrospective on director John Ford.
German Language Directors. Best directors. Completed Filmographies. Share this page:. But I still want to visit some films.
I was a bit unlucky in that respect because the films I really die to see are all screening when I will have left Vienna again.
You repeatedly worked with Georgian amateur actors. I think that's very interesting. Isn't it difficult to direct in a foreign language?
How do you work with those issues while shooting? As I have known the people for quite a long time and they are my friends there is a long process of preparation involved.
The moment I was writing the script, I had them already in my mind and I tried to write dialogues that I could imagine them to speak.
After that we met a few times, not really to rehearse but just to read the lines. We just wanted to check if the text works for them.
They laughed a lot and it was great fun which gave me confidence. On the set they performed with an amazing somnambulistic certainty and I always found them to be great.
So directing was more a question of blocking and posture and so on. But in terms of speaking we just followed the way we had found during preparation.
I had not much to do concerning the speaking. I cared more about rhythm, volume or speed of the dialogue.
I listened to it in a more abstract way, just like music. Most of the time that worked without any intervention from my side. I like that very much.
And I am also thinking about things that Jean-Marie Straub said about dialogue or about Jacques Tourneur when he had his characters speak very softly and silent.
And it worked for me in your film. I sometimes did not read the subtitles of the Georgian dialogue but just leaned back and listened to the sound of voices so to say.
You are right. I was never as strict as Straub with it though. But there is also this documentary of Harun Farocki about the rehearsals of Straub and there is something that impressed me very much I think also Jean Renoir worked like this.
Can you tell me something about your mixing of politics and comedy? This seems to be a very unusual approach.
The films I found to be the most interesting from a political point of view were always comedies for me.
Even if they weren't explicitly political. This has always been a style of filmmaking that gives me the feeling of being able to avoid the traps of more realistic representations or more serious forms.
And the playful elements of comedy give me new possibilities in terms of political representations and more interesting ways to articulate them.
This seems to be true especially in relation to working class characters. You can see that for example with Chaplin.
He articulates political capabilities through a certain way of dealing with the world. There political capability doesn't mean to understand one's exploited life and to be able to draw one's conclusions in an almost didactic, Brechtian sense of aesthetics.
But with Chaplin it is more about: Which possibilities do I have as a body or as a speaking being to react against my exploited life and how can resistance be articulated in this reaction.
Resistance is framed in its essence. There is a certain universality to it. Those issues about resistance and political capabilities are also an important aspect about his work.
That might sound banal but especially in terms of cinema it gains a lot of importance to focus on such moments. When someone acts against his function There were many scenes in your movie that related to that.
I am thinking about the playful way the workers make breaks, skate on their cleaning rags and literary are looking out the window.
Is the artificiality of the dialogue and form of your film also part of that? I very much plead for exciting aesthetics.
On the one hand side there is also something political if you playfully deal with language. It is against this realistic notion where characters are imprisoned in their faculty of language just to be able to represent realistic workers or something like that.
I always liked working class characters that were presented almost as literary figures like in a Beckett play.
Through language they change the reality they live in. Can you tell me something about the architecture of the castle the story takes place?
That was very striking also in relation to the way the characters moved in the castle and your use of the Academy ratio. I somehow had the feeling that the Academy ratio captures the essence of this space but at the same time gives the impression of this place being merely a theater stage.
This way the ideological connotations of the place became much clearer. But it is also about the relation of character and place because with the Academy ratio one has the feeling that there happens an encounter between both.
There is no eternal entity swallowing the character but there is a confrontation. Both of them meet as characters.
There he says: Academy ratio shows a human being, 1,66 shows a character and this goes on to credit card and dollar bill and so on.
That of course relates to the things Fritz Lang says in Contempt. And we also had the feeling that Academy ratio is somehow the most humanistic format and we really enjoyed working with it.
Strangely almost all the films I really like are shot in Academy ratio. And I always wanted to work with it.
I honestly think there shouldn't be any doubts about such a choice of format. People tend to think that it is an old format but it is not.
It is just the television industry that dictates widescreen right now. My producer is already threatening me I am not allowed to do it again laughs.
What really surprises me is that not only you seem to be working with a kind of theoretical background but also your cinematographer is standing in front of an audience and quoting Godard.
That seems to be a perfect match. How did you find him? Markus and me met at the Deutsche Film- und Fernsehakademie in Berlin where we both study.
And he was the only cinematographer I met there that not only had a similar taste in movies but was also into theory. So I can talk to him about the whole range of implications.
This doesn't mean we find our images because of film theory but it works on an instinctive as well as reflexive level between us.
I am very happy to work with him. I also wanted to talk about the doors in your film. You used them quite often. People coming in, going out, hiding behind doors.
It really felt a bit like a Chaplin film. Maybe the question is: How important is space for you in relation to humor?
Though we didn't really manage the brilliance of it we of course, thought a lot about people like Jacques Tati or even Renoir We play with things happening at the same time, with foreground and background.
On starts to perceive the characters as abstract shapes moving on a surface and thus creating some kind of humor.
But as you have mentioned Renoir there is also my only criticism concerning your film. Sometimes I missed a breath of life in your images.
Was this intended or is this something you see different or is it something you see similar? Do you refer more to the acting or to the static of the film?
I would say it is the staging of movement in space. Ok, I understand. Well, it is intended. With Renoir it is of course different because if you for example look at The Rules of the Game it is quite evident that everything constantly flows but the static was very much intended for us as well as the distinct movements.
I wanted this place to appear as something extremely static and hostile to life. The characters need to resist the burden of the space.
Maybe this does not happen very easily. The space predetermines clear lines and one can try to act against them but to me it would have seemed false to not show the violence of the space.
I would have hoped for a certain balance. I quite liked the character of the American modern-minimalist artists.
Is he based on someone real? Did I sense a certain disapproval for this kind of art or artist? Well, I work as a supervisor at an art gallery for contemporary art.
And I very much dislike the art scene or at least the part I know of it. It is all about producing speculative objects to satisfy burgeoise needs.
Of course, this is not the fault of the artists and I even believe some great works can be produced in such a context but it is just very unpleasant.
The actor playing the character you mentioned is Carlos Bustamante, a former professor at the dffb who also worked as a cinematographer with Harun Farocki in the s.
I always liked him very much. He hopefully will play the main part in my next feature.Sie sei sydney white campus queen deutsch hibbeliger Typ, Bewegung beruhige und konzentriere sie da. Link der Altphilologie, Englisch, Geschichte. Wo zwei Berner wetten und der eine dem anderen in die Hosentasche pinkelt? Ich hatte die Phantasie, Musiker zu werden, war aber dafür zu schlecht. Wie jetzt: Findest du die Bewegung gut oder lachhaft? Bis in verantwortlicher Position in der Kulturredaktion der Abendzeitung Nürnberg. Wichtiger freilich sind mir in den Filmen mikro-politische Momente, z. Klingt jetzt sehr verkopft, geschieht aber im Film auf sehr spielerische, heitere, fast naive Weise. Https://sk61bulldog.se/stream-to-filme/adac-hockenheim.php mal check this out Löcher der Filmfinanzierung. Vielen Dank für das Interview! Davon sind manche zufällig auch mal Schauspieler von Beruf.