From Wim Wenders’ recent Anselm Kiefer documentary to Kirk Douglas’s tortured Van Gogh and Derek Jarman’s erotic ode to Caravaggio, cinema loves a brush with genius
Visual art, oddly, doesn’t always translate that naturally to cinema as a subject. Just as you don’t get the full impact of a painting from a coffee table book, the camera can impose a distance from the art at hand – a secondary perspective that isn’t really needed. Wim Wenders bucks that trend, however, in his marvellous Anselm Kiefer documentary Anselm (Curzon Home Cinema), which feels fully alive to the angular, nature-based textures of the German painter and sculptor’s work. It’s especially exciting as a study of process – of the grand-scale action that goes into the art’s own dynamic movement.
A large part of its reward came, on the big screen, from Wenders’ continuingly imaginative embrace of 3D technology.
Visual art, oddly, doesn’t always translate that naturally to cinema as a subject. Just as you don’t get the full impact of a painting from a coffee table book, the camera can impose a distance from the art at hand – a secondary perspective that isn’t really needed. Wim Wenders bucks that trend, however, in his marvellous Anselm Kiefer documentary Anselm (Curzon Home Cinema), which feels fully alive to the angular, nature-based textures of the German painter and sculptor’s work. It’s especially exciting as a study of process – of the grand-scale action that goes into the art’s own dynamic movement.
A large part of its reward came, on the big screen, from Wenders’ continuingly imaginative embrace of 3D technology.
- 2/10/2024
- by Guy Lodge
- The Guardian - Film News
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