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Gerhard Richter - Painting -- A documentary on the German artist that includes glimpses at his studio, which has not been seen in decades.


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Corinna Belz (written by)
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Release Date:
14 March 2012 (USA) See more »
A documentary on the German artist that includes glimpses at his studio, which has not been seen in decades. | Add synopsis »
2 wins & 1 nomination See more »
User Reviews:
We are lucky we have this documentary See more (5 total) »


  (in credits order)
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

Directed by
Corinna Belz 
Writing credits
Corinna Belz (written by)

Produced by
Christoph Friedel .... co-producer
Jutta Krug .... co-producer
Thomas Kufus .... producer
Sabine Rollberg .... co-producer
Claudia Steffen .... co-producer
Katja Wildermuth .... co-producer
Cinematography by
Johann Feindt 
Frank Kranstedt 
Dieter Stürmer 
Film Editing by
Stephan Krumbiegel 
Production Management
Tassilo Aschauer .... production manager
Sound Department
Andreas Hildebrandt .... sound
Sven Phil Lentzen .... sound
Gerrit Lucas .... sound
Carsten Richter .... foley artist
Dominik Schleier .... sound designer
Martin Steyer .... sound mixer
Marcus Sujata .... foley mixer
Camera and Electrical Department
Andy Schocken .... additional cinematography

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
Germany:97 min


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1 out of 1 people found the following review useful.
We are lucky we have this documentary, 10 August 2013
Author: chtellez from United States

Many of the negative commentaries about this documentary focus on the assumption that Richter wanted to be left alone and should be left alone; or alternatively on the supposition 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 here. The artist indeed complained at one moment that he did not behave as he normally would while having the cameras around, and still the film got made! This was an act of incredible generosity and courage on Richter's part, and a risk to the evaluation of his work by posterity, and even perhaps, a suggestion of legacy to those of wish to earn from what they glimpse of his technique in the film. I can imagine that the director could have informed herself with the assistance of critics and scholars of all kinds of challenging aesthetic questions, with a pedantic Germanic approach to the experience, and so on; 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. However, beyond my recognition of Richter's generosity, 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. 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 learned from 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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