As a seasoned gamer with a penchant for exploring the vast landscapes of cinema, I must confess that until now, my journey through Dominik Graf‘s oeuvre has been as unexplored as an uncharted island in a classic adventure game. The fact that this prolific German auteur remains relatively unknown outside his homeland is a mystery akin to finding the hidden level in a retro platformer.
The Oldenburg Film Festival in Germany, renowned for its independent films, is dedicating its 2024 retrospective to the movies of acclaimed director Dominik Graf. With over 50 films and TV series under his belt, Graf is often compared to “Germany’s John Carpenter” – a title he deserves as a versatile filmmaker who straddles the boundary between genre and art-house cinema. Throughout his extensive career, Graf has produced a diverse range of works, from neo-noir thrillers to period romances, comedies of coming-of-age to police dramas. His contributions to cinema have been widely recognized as innovative and trailblazing.
And you’ve never heard of him.
Hey there! You know, I’ve always felt a bit envious about the fact that this incredible director, Graf, hasn’t really made it big on the international stage. Despite an impressive career spanning decades and some truly outstanding work, his masterpieces have mostly remained within the borders of Germany. A lot of his finest creations were even produced for German television! I can’t help but wonder what a global audience would think of his unique storytelling and cinematic vision.
For those who are not familiar with the works of Dominik Graf, here’s a beginner’s guide to his top 5 must-watch movies.
Treffer (1984)
The early film by director Graf, a biker-themed thriller, showcases the essence of Roger Corman and the peak of exploitation cinema, boasting a style that’s electrifying. Although the storyline about adolescence in a small-town setting is universally familiar, its backdrop – rural Germany during the early 80s – offers a distinct flavor. Graf skillfully elicits moving performances from his youthful actors, with Dietmar Bär delivering a standout portrayal of a comical yet tragic village buffoon who, in the end, becomes an unwanted bystander, drinking alone near the fire while his companions are romantic around him.
Die Katze (1988)
In Graf’s renowned bank heist movie, Götz George portrays a cunning criminal who seduces the director’s wife, Jutta (Gudrun Landgrebe), in the initial scene. He then orchestrates the robbery from afar, predicting the police’s every move while attempting to both secure the safe’s contents and extort a staggering 3 million Deutschmarks as ransom for the hostages. This chilling tale unexpectedly evokes emotion as well.
Spieler (1990)
The German film “Spieler,” released two years prior to “Reservoir Dogs” by Quentin Tarantino, can be seen as a romantic tale at first glance between a daring schoolgirl (Anica Dobra) and a compulsive gambler (Peter Lohmeyer). However, their adventures, which resemble crime film stereotypes in an improbable yet entertaining manner, are not just a simple love story. The German script, rich with witty wordplay and puns, might lose some of its charm in translation, but “Spieler” remains a post-modern treasure trove filled with genre references for the discerning film enthusiast.
The Invincibles (1994)
Graf’s endeavor to create a grandiose, suspenseful action thriller on a German TV budget [approximately $6.5 million] was probably destined not to match up with its more extravagant U.S. counterparts. However, considering its ambition alone, the series The Invincibles is worth watching. And in the last half hour when Graf pulls out all stops, it stands its ground against the best.
Fabian — Going to the Dogs (2021)
In this modern interpretation of Erich Kastner’s timeless 1931 novel, which explores the corruption at the heart of the Weimar Republic and the looming threat of Nazism, director Graf pushes the boundaries of his style. Abandoning the traditional period film look, he filmed Fabian, starring Tom Schilling (A Coffee in Berlin), Albrecht Schuch (All Quiet on the Western Front) and Saskia Rosendahl (Never Look Away), with a 90s independent film feel, utilizing natural light and a mobile, responsive camera. However, he edited the movie using techniques reminiscent of the 1930s modernist era, incorporating black-and-white archive footage and employing split screens with multiple windows, giving the film a unique blend of vintage charm and contemporary edge.
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2024-09-12 15:24