Explores Leni Riefenstahl’s artistic legacy and her complex ties to the Nazi regime, juxtaposing her self-portrayal with evidence suggesting awareness of the regime’s atrocities.

Riefenstahl.2024.GERMAN.1080p.AMZN.WEB-DL.DDP5.1.H.264-MPX.mkv

General
Container:  	Matroska
Runtime: 	1 h 55 min
Size: 	7.28 GiB
Video
Codec: 	h264
Resolution: 	1920x1080 
Aspect ratio:  	16:9
Frame rate: 	25.000 fps
Bit rate: 	8 400 kb/s
BPP: 	0.162
Audio
#1:  	German 5.1ch E-AC-3 @ 640 kb/s

https://nitro.download/view/8E4388C29E04D08/Riefenstahl.2024.GERMAN.1080p.AMZN.WEB-DL.DDP5.1.H.264-MPX.mkv
https://nitro.download/view/63B90996AE10898/Riefenstahl.2024.ENG.srt

Language(s):German
Subtitles:German[Hardcoded], English

The post Andres Veiel – Riefenstahl (2024) (HD) first appeared on Cinema of the World.

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This documentary by German filmmaker Andres Veiel takes a look back at German politics of the ’70s and ’80s, a troubled era when the government was engaged in a war against the leftist movement known as the Red Army Fraction. The conflict is addressed by focusing on the lives and deaths of two men whose fates became tragically intertwined in 1989. Alfred Herrenhausen was a high-ranking member of the Deutsche Bank who was killed by a Red Army Fraction bomb attack. Wolfgang Grams, a radical activist, was a major suspect in the attack. Four years later, he was tracked down by police and killed. Through interviews with relatives, friends, and colleagues of both men, a clear picture of the times emerges. While the film makes no attempts to place blame or assign guilt, it does raise many questions about German politics today.

1.52GB | 1 h 42 min | 1016×572 | mkv

https://nitro.download/view/F24DA66D6517307/Black_Box_BRD_(2001).mkv

Language:German+commentary
Subtitles:English

The post Andres Veiel – Black Box BRD (2001) first appeared on Cinema of the World.

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A documentary about the 20th century German sculptor and performance artist Joseph Beuys.

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One of the most important figures in post-war German art, Joseph Beuys pushed the boundaries of sculpture to encapsulate every aspect of human existence. He once said, “I say aesthetics = human being. That is a radical formula. I set the idea of aesthetics directly in the context of human existence.” With his rakish fedora and intense, almost transparent eyes, he brought to mind a French matinee idol, an impression that’s accentuated by the lush black-and-white photography of Beuys, director Andres Veiel’s hagiographic documentary about the artist. Via talking heads, archival footage, and the artist’s own words, the film tries to communicate and elaborate on Beuys’s utopian ideas about the relationship between art and society, a task that ultimately proves to be beyond Veiel’s abilities.

Beuys posited that all normal, everyday situations are a form of art. But his idea that art must be radically and absolutely democratized is dubious because of the underlying supposition that all art is equally worthy. If everything is art and all art has equal value, then why should anyone pay attention to Beuys and his work in particular? This fundamental criticism, which has been made against Beuys by art critics and scholars for decades, isn’t addressed in the film, which sets out solely to glorify the artist, never honestly wrestling with any of the provocative questions raised by his work.

Beuys was also a populist in his political outlook, calling for “revolution” against the “enemy.” But the film never explains what this revolution would entail or who in particular the enemy is. Beuys doesn’t move beyond this vague political jargon, satisfied that such empty slogans are synonymous with political action. Beuys did join the Green Party in his later years, but Veiel fails to show him addressing the party’s positions in any meaningful way. In fact, while attempting to illuminate Beuys’s practical commitment to his philosophical ideas, the discussion of the artist’s time in the party ends up inadvertently revealing the impracticality of his utopian political ideals.

Veiel is most successful in capturing Beuys as the enfant terrible of the German art scene. The highlight of the documentary is the archival footage, in particular clips from such famous performance pieces as “How to Explain Pictures to a Dead Hare” and “I Like America and America Likes Me.” The juxtaposition of art with wild animals both living and dead in these works capture what made Beuys’s art so exciting and dangerous in his time.

The film’s most egregious omission is its failure to seriously address Beuys voluntarily joining the Hitler Youth and serving with the Luftwaffe. The issue of Beuys being an average Nazi before and during WWII is completely ignored. There’s no examination of his active participation in the Nazi war machine or his failure to acknowledge Germany’s role in the Holocaust throughout his career. Instead, the film glorifies the wounds he received after a crash during an air raid, without mentioning the victims of that or any other of the many raids he carried out during the war. Also, the documentary allows Beuys’s version of the crash, where he speaks of being rescued by a group of Crimean Tatars, to go unquestioned, even though existing historical documents (not mentioned in the film) do not substantiate this claim.

This is just one of many examples of the film’s idolatry of the man and his work and its complete dearth of critical analysis. This panegyric comes full circle in in the final act, where the film mentions in passing that there were a significant number of unreformed Nazis in the Green Party under Beuys’s leadership, a fact that Veiel deems unworthy of further exploration.

http://nitroflare.com/view/3C86EFF938C7EB4/Beuys.2017.DVDRip.AC3.x264-LAA.mkv

anguage(s):German
Subtitles:English

The post Andres Veiel – Beuys (2017) first appeared on Cinema of the World.

West Germany in the early 1960s. The country is quiet – for the time being. Bernward Vesper takes up his studies in Tübingen where he is attending Walter Jens’ seminar on rhetoric. Bernward wants to be a writer and spends his nights bashing the keys of a typewriter. At the same time he is keen to defend his father, the poet Will Vesper who was celebrated by the Nazis as a proponent of their ‘Blood and Soil’ ideology. The land where Bernward lives is being suffocated by its past. The war has only been over for fifteen years, old Nazis are back in positions of power, and nobody is prepared to talk about war crimes; the Republic is standing to attention. One day Bernward meets Gudrun Ensslin and her friend Dörte. Before long, the three friends are living together in a ménage à trois. But their three-way relation- ship doesn’t last long. It soon transpires that Gudrun and Bernward are twin souls. This marks the beginning of an extreme relationship that is unquestioning and excessive, a love story that goes beyond the threshold of pain. Setting out together to conquer the world, the pair arrives in West Berlin in 1964 where they become part of the left-wing bo-ho set. When the Social Democratic Party agrees to form a grand coalition with the Christian Demo- cratic Union, Bernward and Gudrun are not the only ones who decide to join the Extraparliamentary Opposition movement. Gudrun and Bernward become part of a social and political upheaval that soon takes hold around the globe: liberation movements, student protests and the Black Panther movement in the USA; drugs and rock ‘n’ roll. The course of history is inexorable but, at the time, for a moment, it looks as if it might be possible to change its path. If not us, who? And when, if not now? And then another man, Andreas Baader, appears on the scene. Here is someone who is more unswerving, more radical and resolved than Bernward. Before long, Andreas, Gudrun and Bernward find themselves caught up in the centrifugal forces of history – and they cannot control them. –Berlinale

https://nitro.download/view/4C210EFC5A06E88/Wer_wenn_nicht_wir.avi
http://www.nitroflare.com/view/817C5DCD2C727C6/Wer_wenn_nicht_wir.srt
http://www.nitroflare.com/view/59125A64844ABC8/wombat-wwnw-720p.idx
http://www.nitroflare.com/view/67C64E91F66257F/wombat-wwnw-720p.sub

Language(s):German
Subtitles:German

The post Andres Veiel – Wer wenn nicht wir AKA If Not Us, Who? (2011) first appeared on Cinema of the World.