A PROLETARIAN WINTER'S TALE by Julian Radlmaier | Germany 2014 | 63'
Logline: An absurdist fairy tale about three young Georgians who have to clean a German castle for an exhibition and get revolutionary ideas.
* Artistic Contribution Award, Olhar de Cinema - Curitiba IFF
* Audience Award, FICUNAM Mexico City
Viennale - Vienna IFF
European Film Festival Sevilla
FICUNAM Mexico City
Olhar de Cinema - Curitiba IFF
2morrow FF Moscow
IFF "Spirit of Fire" Khanty-Mansiysk
Bildrausch FF Basel
Fresh Film Fest Prague
Zagreb Human Rights FF
Festifreak Festival Int. de Cine Independiente La Plata
Arkipel Int. Documentary and Experimental FF Jakarta
Festival of German Cinema, Bucharest
Festival of German Cinema, Novosibirsk
Underdox Int. Documentary and Experimental FF Munich
Berlin Art Film Festival
Nuremberg Human Rights Film Festival
Mikrokosmos Cinema Athens
Hope for cinema!
Gerwin Tamsma, IFF Rotterdam
A playful, unclassifiable, and barefaced film. Magnificent use of the depth of field.
"2nd best first feature 2014"
Roger Koza, Otro Cines, Argentina
Bold, symbolic, political cinema. With a brechtian attitude and marxist vocabulary. Ironic and colourful, but also unwieldy and theatrical. Totally different from the German cinema of the last Decade.
Brigitte Haring, Schweizer Radio und Fernsehen
A true fairy tale the author of which succeeds to ask some actual and some eternal questions about the world, class struggle, neoconservatism, the return of reactionary rhetorics and the discreditation of leftist ideas. Surprisingly mature but with a youthful freshness. Between Straub, Athina Rachel Tsangari and Monty Python's Flying Circus.
Vladimir Lyashchenko, Gazeta.ru
In a very interesting way, the film constructs an idiosyncratic cinematic space – somewhere between the asceticism of Straub and the playfulness of Iosseliani. A modern leftist cinema.
Evgeniy Maisel, Iskusstvo Kino (Kino Art)
A PROLETARIAN WINTER'S TALE has a lot to do with Brecht and his conception of the folk play. In this regard, one must think of the anarchistic humour of Liesl Karlstadt and Karl Valentin on the one hand, and, on the other hand, of that vivid abstract dream called MACHORKA-MUFF, which stands at the beginning of the oeuvre of Danièle Huillet and Jean-Marie Straub. The result is funny, proudly dialectic, simple but full of unexpected excentricities. And amdist all that: a trio looking so defiantly melancholic as if it came out of an early Kaurismäki.
Olaf Moller, Bildrausch FF Basel
A film that proves that Radlmaier is one of the few exciting young German filmmakers working today. It also provides another hope that the marginalization of serious and formally relevant German cinema in a national and international context might stop. His political comedy about three Georgian workers testing their revolutionary cabability during an art exhibition at a castle, is full of wit and intelligent use of stylistic devices.
Patrick Holzapfel, twitchfilm. com, Canada
Very elegantly, Radlmaier created a modern fairy tale and proves that German cinema can be thriving beyond Mumblecore and the Berlin School.
Dunja Bialas, Artechok, Germany