German director Angela Schanelec’s films have a rhythm and tone all their own—mysterious yet moving, they unearth the metaphysics rumbling beneath the placid surface of everyday life. Her work with actors is like that of no other filmmaker, a radical approach to performance that draws on her own background in theater traditions as much as kind of Bressonian anti-naturalism. Likely the most singular and underappreciated among the contemporary German filmmakers collectively known as the Berlin School (which also includes Christian Petzold, Thomas Arslan, and Valeska Grisebach), Schanelec makes films that achieve nothing less than the rendering of the human soul on screen. To coincide with the February 14 opening at Film at Lincoln Center of her latest feature, I Was at Home, But… (NYFF57), a Cinema Guild release, Schanelec joins us for a complete retrospective of her astonishing and audacious body of work, plus a small selection of films picked by the filmmaker herself.
Throughout the retrospective, the Viennale’s new collection of writing on Schanelec and her work, Textur #1: Angela Schanelec, will be available for purchase at Film at Lincoln Center.
Organized by Dennis Lim and Dan Sullivan. Presented with support from German Films Service + Ma
Deutsche Kinemathek, Cinema Guild, Goethe-Institut New York, Korean Academy of Film Arts, TIFF Cinematheque, Harvard Film Archive.
The Films of Angela Schanelec
Q&A with Angela Schanelec on February 8Schanelec herself stars in her fifth feature, a characteristically sensuous and tense reworking of Anton Chekhov’s The Seagull, in which an estranged family of artists meets for an increasingly psychodramatic holiday rendezvous.
Q&A with Angela Schanelec on February 8An apartment swap between a young Berlin-dwelling photographer and a French student sets up a slyly understated narrative experiment in one of Schanelec’s signature films.
Introduction by Angela Schanelec on February 7In her debut feature, Schanelec paints a love triangle as only she can—with startling clarity of vision, formal precision, and a peerless sense of the moral and metaphysical dimensions of everyday life.
Carte Blanche: Angela Schanelec Selects
Introduction by Angela Schanelec on February 8Maurice Pialat’s autobiographical classic of anti-romantic cinema is a harrowing account of a relationship in freefall, starring Jean Yanne and Marlene Jobert.
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