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Aug 21, 2024 · Director Christoph Hochhäusler arrived on the international scene in the early aughts, as the film world began discovering a plethora of unique, formally inventive movies being made in Germany. As critics often do, they gave these new films a label, calling it the “Berlin School.”
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
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.
Christoph Hochhäusler is the director of five feature films including Falscher Bekenner (I am Guilty, 2005), Unter dir die Stadt (The City Below, 2010), and Die Lügen der Sieger (The Lies of the Victors, 2014).
Death Will Come. Death Will Come (French: La Mort viendra) is a 2024 noir thriller directed by Christoph Hochhäusler from a screenplay by Hochhäusler and novelist Ulrich Peltzer. [2] The film stars Sophie Verbeeck and Louis-Do de Lencquesaing. [3]
Aug 9, 2024 · Death, it seems, does not quite become Christoph Hochhäusler, the Berlin School alum making his French language debut with the enigmatically titled La Mort viendra (Death Will Come). His foray into French language, a country which first lavished considerable acclaim upon the wave of Berlin School directors who cropped up in the late 1990s German cinema scene (such as Christian Petzold and ...
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 ...
