Never Look Away (2018)
Directed by Florian Henckel von Donnersmarck
German artist Kurt Barnert has escaped East Germany and now lives in West Germany, but is tormented by his childhood under the Nazis and the GDR regime.
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What critics compared Never Look Away to
Think of the great Michel Piccoli, for whom Emmanuelle Béart so patiently posed, hour upon hour, in Jacques Rivette’s “La Belle Noiseuse” (1991), and whose intensity, like Mühe’s, never flagged.
In a New Yorker piece akin to the Janet Malcolm essay that insists that all journalists betray, von Donnersmarck gleefully recounts the days reticent Richter spent opening up to the cherubic yet elephantine man who made “The Lives of Others” and “The Tourist.”
For his third picture, following Oscar foreign-language winner The Lives of Others (2006) and Hollywood turkey The Tourist (2010), director Florian Henckel von Donnersmarck was inspired by the life and work of German painter Gerhard Richter.
Watching is a central theme for Florian Henckel von Donnersmarck, the German director who hit it big with his stylish Stasi-voyeur melodrama The Lives of Others before disappointing with the brainless Hollywood romp The Tourist .
For Florian Henckel von Donnersmarck, he abandoned the dark drama he was planning as his follow up to The Lives of Others in order to go to Hollywood – and the result, 2010’s The Tourist, was the rare case of a multi-Golden Globe nominated, financially successful film that still managed to get him thrown into director jail.
This third film from Florian Henckel von Donnersmarck, who struck Oscar gold in 2007 with his debut German-language feature The Lives of Others, finds the filmmaker returning to Germany after the disappointment of his sophomore effort The Tourist, starring Johnny Depp and Angelina Jolie.
But I will say this: Like von Donnersmarck’s 2006 debut film, The Lives of Others, (and overlooking The Tourist , a terrible English-language misfire he directed in the interim), Never Look Away is a marvel.