Movies - mdblist.com

The Best Julian Rosefeldt Directed Movies

Movie

From

To

Released

Upcoming

Ratings

Score

Between

and

RogerEbert

Between

and

IMDb Rating

Between

and

IMDb Votes

With at least

votes

Trakt Rating

Between

and

Trakt Votes

With at least

votes

TMDb Rating

Between

and

TMDb Votes

With at least

votes

Letterboxd Rating

Between

and

Letterboxd Votes

With at least

votes

Metacritic

Between

and

Metacritic Votes

With at least

votes

Tomato

Between

and

Tomato Votes

With at least

votes

Popcorn

Between

and

Popcorn Votes

With at least

votes

MyAnimeList Rating

Between

and

MyAnimeList Votes

With at least

votes

Sex & Nudity

Violence & Gore

Profanity

Alcohol, Drugs & Smoking

Include if no rating / vote

Reverse vote (Less than)

Score Average instead of Score

Hide if no TMDB ID

Additional filters

Genres to include

Genres to exclude

Release Status

Has Release

Release Country

Release in Past (days)

Release in Future (days)

Language to include

Language to exclude

Certification

Age Rating

Country to include

Country to exclude

Budget

Revenue

Production Country to include

Production Country to exclude

Runtime

m

Lists, Streaming Services, Cast and more

Popular lists

Popular lists to exclude

Production Companies

Production Companies to exclude

Part of Collection

Keywords to include

Keywords to exclude

In Theaters

Watch region

Watch providers to include

Watch providers to exclude

Director search

Cast to include

Cast to exclude

Limit items

Create List (14 items)

Found 14 items

Login to create a dynamic list

poster

70

6.5

/7544/

68

/216/

68

/166/

3.5

/14716/

75

/85/

55

/26/

72

/21/

3.5

An edited version of Rosefeldt's installation work of the same name, Manifesto is an outstanding tribute to various (art) manifestos of the nineteenth and twentieth century, ranging from Communism to Dogme, in connection with thirteen different characters, including a homeless man, a factory worker and a corporate CEO, who are all played by Cate Blanchett. A striking humorous audio-visual experience.

?

20

/1/

Indian flower sellers, Turkish trash collectors, Chinese cooks, and Thai prostitutes--Munich-born artist Julian Rosefeldt confronts the viewers of his video project, Asylum, with stereotypical European views of foreigners and ethnic minorities. In his seductively opulent tableaux vivants, he exaggerates and parodies popular conceptions about roles and professions, while embedding his protagonists in strangely surreal scenes and ritual contexts.

poster

77

?

8.1

/89/

80

/1/

3.6

/232/

Deep Gold is an homage to Luis Bunuel's surrealist film "The Golden Age" from 1930, which Bunuel made in collaboration with Salvador Dali. In his film, Bunuel confronted the values of the Catholic Church and the hypocritical bourgeois sexual morality of his time. Deep Gold functions like an additional insert in Bunuel's black and white film. It shows a world of desire and lust into which Modot, the protagonist in Bunel's film, is drawn and overwhelmed by the omnipresence of female sexuality.

poster

?

7.3

/34/

70

/1/

Artist and filmmaker Julian Rosefeldt creates elaborately staged films that investigate the power of language and the conventions of cinema as an allegory for societal and individual behaviors. With the multi-channel film installation Euphoria he continues this examination by exploring capitalism, colonialism, and the influential effects of unlimited economic growth in society.

?

In My Home Is a Dark and Cloud-Hung Land, Julian Rosefeldt critically explores the German term Heimat, which refers to the sentiment of feeling at home, by featuring the forest as a complex motif. While individual figures-recognizable as references to the Romantic paintings of Caspar David Friedrich-interact on three screens in absurd ways with the nature surrounding them, a bizarre stage performance blending a forest setting and an opera hall unfolds on the fourth screen. In numerous quotes and references, literary narratives, fairy tales, and mythology are interwoven with German history, especially in reference to the Nazi period. The forest appears as a projection surface of German identity, ranging from closeness to nature to ideological appropriation.

?

Stunned Man (2004) is the second part of Rosefeldt’s Trilogy of Failure (2004/2005) in which three different settings draw a picture of our vain entanglement with everyday rituals. In each case the protagonist is caught up in a microcosm that suggests mental and spatial claustrophobia. As a reaction to the hopeless situation, he plunges into permanent Sisyphean activity – going nowhere and producing nothing. The motifs of perpetual attempt and constant failure find their equivalent in the repetitive structure of the loop. The scenes are allegories of our frantic and ultimately futile attempts to escape the surrounding norms, constraints, structures and rituals by which we are determined.

poster

?

On the surface "The Swap" appears to parody a scene from a classic gangster film of covert dodgy dealings, yet Rosefeldt's manipulation thrusts it into contemporary reality. Set at a deserted container terminal, two rival mobs pull up in cars, about to perform the familiar briefcase exchange of concealed goods. Clad in leather, guns poised; Rosefeldt plays once again with our stereotypical expectations, luring the viewer into a sense of familiarity until an unpredictable turn challenges our perception and exacerbates seemingly subtle aspects of their behaviour.

?

The four-channel film installation The Shift (2008) recalls Rosefeldt’s early inquiries into hidden and forgotten spaces. Once again the protagonist is a lonely wanderer who moves slowly through a science-fiction setting, a giant network of tunnels and various control rooms filled with outdated technology. By changing his clothes he slips into four different roles – a janitor, a security agent, a scientist and a sewage worker – and yet his character does not change. He remains a Cerberus, taking care of an engineered and machine-run environment which long ago started working autonomously, without the need of human interference.

?

Requiem (2007), like Clown (2005), takes place in the Brazilian jungle. Four large projections encircle the viewer, who is transported deep into the rainforest by images and sounds of buzzing insects, singing birds and raindrops falling on vegetation. They seem to emphasise the forest as a sublime, untouched, almost paradise-like space – an illusion that is dissolved when suddenly huge trees start, one after another, to collapse into the tangle of green without a trace of human involvement.

poster

?

What does the past of a distant future look like? A distant future to which humankind will be driven by the forces of neoliberal capitalism, climate change, populism, and the pervasive intrusion of one’s private sphere through digital technology? Julian Rosefeldt’s film Penumbra is not a work of science fiction. Instead, it points to our current situation, albeit within a fictious framework that paves the way for a paradoxical enigma: who will we be when we are gone?

?

Stunned Man (2004) is the second part of Rosefeldt’s Trilogy of Failure (2004/2005) in which three different settings draw a picture of our vain entanglement with everyday rituals. In each case the protagonist is caught up in a microcosm that suggests mental and spatial claustrophobia. As a reaction to the hopeless situation, he plunges into permanent Sisyphean activity – going nowhere and producing nothing. The motifs of perpetual attempt and constant failure find their equivalent in the repetitive structure of the loop. The scenes are allegories of our frantic and ultimately futile attempts to escape the surrounding norms, constraints, structures and rituals by which we are determined.

?

In the three-channel film installation Clown (2005), the absurd and slightly uncanny figure of a clown emerges from the impenetrable lushness of the Brazilian jungle. His red nose contrasts with the green forest. Starting from the right-hand side, he passes through all three screens, stumbling towards us, following a streamlet, before finally disappearing back into the jungle. As often in Rosefeldt’s work, this film’s protagonist is an uncommunicative, self-absorbed monad: a wanderer in a world he either does not understand or – caught up in activities required by the closed circuit of his solecistic, madcap logic – wishes to ignore. As the essence of absurdity, this film work can be read as a metaphor for modern man’s alienation from nature and an epilogue to Rosefeldt’s Trilogy of Failure.

?

The Perfectionist (2005) is the third part of Rosefeldt’s Trilogy of Failure (2004/2005) in which three different settings draw a picture of our vain entanglement with everyday rituals. In each case the protagonist is caught up in a microcosm that suggests mental and spatial claustrophobia. As a reaction to the hopeless situation, he plunges into permanent Sisyphean activity – going nowhere and producing nothing. The motifs of perpetual attempt and constant failure find their equivalent in the repetitive structure of the loop. The scenes are allegories of our frantic and ultimately futile attempts to escape the surrounding norms, constraints, structures and rituals by which we are determined.

?

The Soundmaker (2004) is the first part of Rosefeldt’s Trilogy of Failure (2004/2005) in which three different settings draw a picture of our vain entanglement with everyday rituals. In each case the protagonist is caught up in a microcosm that suggests mental and spatial claustrophobia. As a reaction to the hopeless situation, he plunges into permanent Sisyphean activity – going nowhere and producing nothing. The motifs of perpetual attempt and constant failure find their equivalent in the repetitive structure of the loop. The scenes are allegories of our frantic and ultimately futile attempts to escape the surrounding norms, constraints, structures and rituals by which we are determined.

mdblist.com © 2020 | Contact | Reddit | Discord | API | Privacy Policy