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Gerhard Richter - Painting (2011)

Unrated | | Documentary | 14 March 2012 (USA)
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A documentary on the German artist that includes glimpses at his studio, which has not been seen in decades.

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2 wins & 1 nomination. See more awards »

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Cast

Cast overview:
Gerhard Richter ...
Himself
Norbert Arns ...
Himself
Hubert Becker ...
Himself
Sabine Moritz-Richter ...
Herself
Konstanze Ell ...
Herself
Marian Goodman ...
Herself
Benjamin Buchloh ...
Himself
Kasper König ...
Himself
Ulrich Wilmes ...
Himself
Sandy Nairne ...
Himself
Paul Moorhouse ...
Himself
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A documentary on the German artist that includes glimpses at his studio, which has not been seen in decades.

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Release Date:

14 March 2012 (USA)  »

Also Known As:

A Pintura de Gerhard Richter  »

Box Office

Opening Weekend:

$13,537 (USA) (18 March 2012)

Gross:

$237,491 (USA) (22 July 2012)
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Soundtracks

Klavierkonzert No.1 in d-moll
Composed by Johann Sebastian Bach
Performed by Angela Hewitt (piano), Richard Tognetti (conductor), and Australian Chamber Orchestra
With the kind permission of Hyperion Records, London; available on CDA67307 from www.hyperion-records.co.uk
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User Reviews

 
We are lucky we have this documentary
10 August 2013 | by (United States) – See all my reviews

Many of the negative commentaries about this documentary assume that Richter wanted to be left alone and should be left alone; or alternatively, that Corinna Belz should have pried more intensely with "deep, probing" questions to Richter about the nature of his creativity, his technique, his background , etc. These objections show a certain lack of sensitivity and openness to what was actually offered in the documentary. In fact, at some point Richter complained that he did not behave as he normally would with the eye of the camera always around, and still the film got made! This was an act of incredible generosity and courage on Richter's part. Even while he remains circumspect, we do see him working. The whole voyeurism exercise could pose perhaps a risk to the evaluation of his work by posterity. It may also represent a teaching legacy for those who are able to learn from what they glimpse of his technique in the film. I can imagine that the director could have designed with the assistance of critics and scholars all kinds of challenging aesthetic questions, and risk a pedantic approach to the experience; but Ms. Belz chose a delicate touch in the end --indeed like the visit of a friend--and did not force the reactions of the artist. For those paying attention, there is a lot to learn from this film. However, beyond the recognition of Richter's generosity in letting us peep into his world, it is logical to believe that someone that looks so fit for his age, plans his exhibits in small scale, and works in such a clean architectural environment did keep the right to vet the final results in this film. Glimpses of his personal life are very few. His first two wives do not appear except in unlabeled portraits and you would not recognize them for who they are; his parents are mentioned briefly even though he did not see them again after his flight from East Germany; his young wife is an exquisite brief presence. In short, the film is probably a reflection of his disciplined persona.

For those who care to see what was offered without the bitterness of not having accomplished this themselves, there is much to be praised in this film. My only complain concerns the English supertitles, which were not done with care. They can barely be read in half of the film. I hope this will be corrected at some point.


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