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Aug 21, 2024 · Hochhäusler’s seventh feature film, Death Will Come, expands on his specific interest in genre, particularly the classic crime film. The story of a dying gangster trying to put his affairs in order, Death Will Come delves into mysteries both external – who is the murderer, who’s double-crossing whom – and situated in the dark recesses of the human mind.
Aug 8, 2024 · Christoph Hochhäusler • Director of. Death Will Come. 08/08/2024 - The German director follows a gangster through Brussels in his new movie, a mixture of crime story and existentialist drama. ], a mixture of crime story and existentialist drama, celebrates its world premiere in the international competition of this year's Locarno Film Festival.
- Teresa Vena
Aug 4, 2023 · Hochhäusler’s ongoing experimentation with genre filmmaking over two decades is defined less by a repetition of sameness (stylistic or otherwise) than by a series of transitions from one film to the next that reflect a restless, curious mind of an auteur who always rejected the facile binary of arthouse-versus-genre (or commercial) filmmaking and instead has consistently advocated for a ...
- Marco Abel
Mar 7, 2023 · Christoph Hochhäusler: I don't know if the wall is a symbol. But the obstacle of this wall or the protection it offers naturally enables a certain kind of personal opening up. It's an alienation device, a hindrance that is very present in our day and age. You can make love on Zoom or Skype. I'm interested in that.
Hochhäusler, born in Munich in 1972, first studied architecture in Berlin, and then film directing at the University of Television and Film in the Bavarian capital between 1996 and 2004. He is an auteur filmmaker through and through, someone who formulates a “manifesto”, as he calls it, for each of his works – a kind of aesthetic objective.
Feb 27, 2023 · Christoph Hochhäusler’s queer crime drama has electric chemistry to boot, but loses itself in an overly complicated and winding plot. Buried feelings, past mistakes and a thorny, knotty undercover operation come together in Christoph Hochhäusler’s Till the End of the Night, a decidedly downbeat exploration of love and identity.
And this occurs to a high degree through images. L ike many of his colleagues, Christoph Hochhäusler, born in 1972 in Munich, came to filmmaking only after he had immersed himself in a different art form. Before studying filmmaking at the HFF München (1996–2004), he studied architecture at the Technische Universität (TU) in Berlin (1993–95).
