You can’t watch everything. Well maybe you can. I can’t. So it is with regret that I have to make some difficult choices – today of all days. Weimar cinema or William S Hart westerns, for example. I followed my heart, and my research interests. What else can you do?
So I spent my morning immersed in 1920s Germany (and my 2019 inbox). To begin with, a diverting selection from the Weimar Shorts strand, which including some utter wonders. Watching Otto Dix at work with ink, watercolour and oil paint was a real thrill. Although I felt a little “seen” by his first portrait: a lady with dark, heavy circles around her eyes. That was Schaffende Hände. Otto Dix (1924). There were more artists at work too: the uncanny elegance of Lotte Pritzel’s wax figurines came to life in Die Pritzelpuppe (1923), and when they were shot in silhouette it was hard to forget that other great female film artist of the Weimar years, Lotte Reiniger. I was especially intrigued by the tableaux at the end in which actors (including Niddy Impekoven) posed in costumes designed by Pritzel, in unheimlich imitation of the puppets’ posture, as part of a pantomime, Die Kaiserin von Neufundland, written by Frank Wedekind. Continue reading Le Giornate del Cinema Muto 2019: Pordenone Post No 5