Friday , April 23 2021

It was dedicated to Petzold in Lufthans: Not politically clear



Petzold is engaged in transit, and his idea, as he said after his project, was developed with late friends and colleagues. Haruna Farok, updated the novel Anna Siegers and less involved with the worship of Casablanca.

History of a book about political refugees who want to go to the United States Petzold is moving to modern Marseille. Parallel to the Nazi era and the problem of refugees is the story of Pettsold's story-making film. He says he hates historical films, old cars, old clothes and herbs, and they seem to have taken them out of the museum. When it replaced the history of Neuer, from the time of the Second World War to modern times, it simplified the simplified work.

Petzolt meets with the Germans and fights (in Phoenix) in the phenomenal film (2014), where many others, as well as the German sword Nino Hoss. He was a living victim of concentrated concentration camps. After a plastic reconstruction, he returns to the public who does not know and even sells it to the Nazis.

For Penjold, the Phoenix, the metaphor of post-war reconstruction was a major challenge. She says: "Then she did not want to use a crushing, harsh sound, but a clear window, a noise and a shout, explains that life will continue after the accident. If everything around us is scary, then fear will be scary, "said the director.

Petzold is also the author of Liffe's Inner Peace (2000), Spirit (2005), Yella (2007), Ieriho (2008) and Barbara (2012). Barbara and Jolly discuss the former East and West Germany, but realize that they are different from some of their colleagues. The West is not a life's purpose, but a lifestyle, but with only one transcendent, a spiritual landscape in the capital. Until recently, the director's parents left the German Democratic Republic (NDR) and went to the West, but he said: "I wrote my latest films in the former GDR, so I felt something at home. I do not know how she knows this feeling.

Many filmmakers have found many or fewer common positions of German filmmakers working in the past 20 years. Among them are Thomas Arslan, Angela Chanelace, Christof Hohhauser and Valeska Griesebach, and the term Berlin School has nothing to do with Berlin, where they were not born, lived and did not read.

Ultimately, most of Berlin's schoolchildren have a long-standing relationship with their employees and maintain close contact at the level of dialogue, and topical issues that can be resolved at the substantial level – political issues are not necessarily related to the creation of political films. Petzold unquestionably signed this part of the Berlin school.


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