Sep 7, 2015
L'opéra-mouffe (Agnès Varda, 1958)Holy Motors (Leos Carax, 2012) pic.twitter.com/IYJgQKnV3a
— Alex Heller-Nicholas (@suspirialex) January 4, 2015
seen from United Kingdom
seen from United States
seen from China
seen from United States
seen from United States
seen from United States
seen from Singapore
seen from Greece
seen from United States
seen from Russia
seen from United States
seen from United States
seen from China
seen from United States
seen from Canada
seen from United States
seen from Australia
seen from United States
seen from United States
seen from China
L'opéra-mouffe (Agnès Varda, 1958)Holy Motors (Leos Carax, 2012) pic.twitter.com/IYJgQKnV3a
— Alex Heller-Nicholas (@suspirialex) January 4, 2015
Anyway, the movie. I don’t know what I expected, honestly. Something ponderous and silent, German expressionism or whatever. It started with the logo I’d already sort of seen in our apartment, holding the film up to the kitchen lights. Then, a pair of huge eyes: a close-up of a little girl, staring straight into the camera. Her father, who we don’t see, Peanuts-style, is reading her a bedtime story. The cover of the book he’s reading from supplies the title credit: Tulpendiebe.
Excerpt from Kino at Atticus Books
The Tulip Thief (Peeling the Onion mix). Klaus Koblitz, 1927. Music by Mike Whitney.
None of Kino’s German work survived. No screenplays, no work prints, no set design sketches, nothing. All we have are contemporary sources – newspaper notices, advertising, press releases, and reviews – to give us an idea of what his movies were like. Even from the scant evidence, it is clear that your grandfather was a polarizing figure. The reviews of his early films, especially Tulpendiebe, were either terrible or over-the-moon raves. Later, this changed.
from Kino
The restored trailer for Klaus "Kino" Koblitz's 1927 debut film Tulpendiebe.