Wim Wenders Confronts Art, Immersion, and His Past in 3D Doc Anselm

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Wim Wenders confronts his own past and the work of Anselm Kiefer for an immersive 3D documentary. Our Anselm review:

Since its debut in a feature film in 1922, stereoscopic processing technology has maintained a roller-coaster relationship with the motion picture industry and audiences alike. In the last two decades, 3D releases have been reserved almost exclusively for two kinds of features: ultra-expensive action flicks or animated children’s movies. Thinkor “a cranky ogre riding a fire-breathing dragon.

Kiefer. This voiceover, however, is not a narration of any sort. Rather, it’s composed of free-flowing ramblings on a number of topics and curiosities that amuse the painter. The result of this is something much more truthful than what could be uncovered by listening to any talking head. You’ve been allowed a glimpse of what it’s like to be inside Kiefer’s mind and soul for 93 minutes.

These moments that highlight the cyclic nature of time and the importance of Kiefer’s childhood on his present work are incredibly tender, and one cannot help but to acknowledge the filmmaker’s close connection to the subject matter. Wenders was also born in Germany in 1945 . Although the director and his subject share uncannily similar upbringings, their reactions to the events of, Kiefer took a confrontational approach to Nazism, using his art to “hold a mirror up to his nation,” a nation that, according to him, seemed too eager to erase the past. In 1969, the artist created a controversial series, Occupations, which included images of him performing the then-illegal Sieg Heil salute across prominent European locations.

Wenders did not actively engage in the topic of Germany’s war and postwar history until he returned to Berlin after nearly a decade of living in America to find the city physically and ideologically divided between East and West. He then made his 1987 film], for me, was to get over that by showing his process. Also, acknowledging it and showing how much respect I had for the kind of work that he did, and I did not do.”—to address the open wounds he wishes he would have tended to sooner.

 

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