Werk ohne Autor

Middlebrow, bland boring wet white rice motherfucking movie.

A superbly scripted, breathtakingly beautiful, multi-layered epic. Some key plot points may appear to be contrived, but there is a lot more truth to them than one might imagine. The story has been inspired by the early life and career of the renowned visual artist, Gerhard Richter. A part of the inspiration came from stranger-than-fiction events in his life. PS: Some viewers may find its gentle pace and 3 hour plus running time to be daunting.

Well, I DID look away—on several occasions. Shit's long!

Mainstream arthouse at its best.

Filmin belli ki sanat uzerine soylemek istedigi bir seyler var, ama soylerken hem yalpaliyor hem de soyleyebildigini oldukca sig bir sekilde ele aliyor, yine de filmle ilgili belki de en iyi bolumler de sanatla ilgili olanlar. En iyimser sekilde vasat olarak degerlendirilebilecek oyunculuklar, muzikler disinda filmin asil sorunu akil karisikligi oyle boyutlarda ki giris bolumu ciddi ciddi 115 dakika suruyor. Her ani kor goze parmak alegorilerle bezeli bu filmde keske o "sanatini satmak icin acik

I've seen enough sanitized nazi's for a while. It feels like a dutch movie: bland, overscored, pulling specific emotions out of the viewer and not settling for anything else. And then 3 hours of that? I can't do that

One of the best scripts ever! The dialogues are heartfelt and inspiring. Has a good insight of what art is and how it transpires. I couldn’t hold back my tears.

Interesting political and artistic background to a beautifully filmed love story, with some haunting scenes but at 3 hours long-it felt rambling in places and wasn’t as profound as I thought it might be.

Individuality in totalitarianism. Interesting subject, but it stayed on a surface level here. In three hours they should've told us more.

Wonderful amazing splendid. The teacher...he can change someone's life in a minute.

too ambitious for my taste

Gêmeos

I appreciate much of the thematic content (connection between truth and beauty, importance of seeing well, the way art is co-opted for political or social purposes), but the melodramatic, coincidental nature of the whole thing makes this feel far less intuitive and far more calculating than this director's similar The Lives of Others.

The English title, not the translated German title, is what informs this film. It spends a careful amount of time detailing Barnert's childhood pain (and inspiration), the post-war issues (rarely seen in cinema), and finally how he digests his life experience in this historical moment and processes it through his art. This is simple and even sentimental storytelling, but it's highly effective as it deliberately side-steps away from cheap shots and canvasses this particular moment with humanity.

It's filled with beauty and very good performances, but man does it love to undermine itself. I just could never get to the point where the painting he gives his professor makes any sense in any form. It hits you and then hands you roses. Nothing negative ever lasts and the music is melodramatic at the worst times. The love scenes were beautiful and the filmmography was great. Not a bad film but frustratingly not better.

Outstanding and original variation on the biopic/portrait of an artist is hypnotic from the word go, deftly weaving the evolution of Barnet's artistic sensibilities against the backdrop of early 20th century German history. Epic in scope, and powered by charismatic performances (with Koch bone-chilling as Barnet's sinister father-in-law), this takes the viewer on a long but never dull journey; Deschanel's glossy cinematography is also an essential component.

Yönetmenin kendi ismi gibi uzun olan 1 film. En iyi yabancı film ve görüntü yönetmeni Oscar adayı film, başlangıçta sanat yorumları açısından ne oluyoruz ile başlıyoruz. Teyze-yeğenin sanat aşkıyla başlayan yapım, ilerleyen dakikalarda 2.dünya savaşı sonrası verdiği zararın etkileriyle uğraşıyoruz. Kahramanımızın, teyzesinin tıpatıp ikizi, sevgilisi olunca senaryo etkinleşiyor. Sanatçımız, doğru yolu bulup darbelerden kurtuluyor. İnsan sanatla yaşar mı?

tellement appuyé et besogneux... On n'y croit pas, les trois versions de la politique culturelle sont cliché et la concentration de pathos encore renforcée par la musique était juste trop indigeste. dommage