Lotte Reiniger created more than 70 silhouette animation films in a career that spanned 60 years.  (The New York Times, 10/16/19)

“The question of how much and what kind of fun it’s permissible to have with Nazis never goes away, and the resurgence of right-wing extremism around the world makes the question newly uncomfortable.”  (Slate, 10/14/19; The New York Times, 10/16/19; The Washington Post, 10/20/19)

“Quick! There’s been a death on the dullest border in Europe!” Reviews of the new Austro-German thriller Der Pass may be more entertaining than the series itself.  (The Guardian, 7/31/19; The Telegraph, 7/31/19)

In memoriam: Artur Brauner (1918-2019), prolific film producer whose work ranged from the Winnetou films to Europa, Europa. “He did much to keep Germans entertained through the decades after the second world war—and also made sure that they did not ignore the dark realities of their history that he had experienced firsthand.”  (AP, 7/7/19; Financial Times, 7/11/19)

Did we really need a prestige TV reboot of Das Boot?  (The New York Times, 6/16/19; The New Republic, 6/19/19)

In All is Well (Alles Ist Gut) Eva Trobisch “has made a drama of tragic accommodation—limited not to one woman’s sexual assault, but to the everyday interactions that all women must navigate carefully.”  (The New York Times, 6/6/19)

Thomas Stuber’s In the Aisles (In den Gängen) “finds beauty and glimmers of hope in the drab and mind-numbingly symmetrical corridors of a German wholesale supermarket.”  (RogerEbert.com, 6/14/19; Los Angeles Times, 6/20/19)

The history of African-Germans in the Third Reich deserves greater attention—too bad the 2018 film Where Hands Touch seems to have missed the mark so widely.  (The Telegraph, 5/9/19; BBC, 5/21/19)

J. Hoberman recalls the NYC reception of Rainer Werner Fassbinder’s Fox and His Friends in 1975.  (The New York Times, 5/31/19)

“The Blue Angel is as fierce as ever.” Josef von Sternberg’s classic film, starring Marlene Dietrich and Emil Jannings, is in theaters again.  (The Guardian, 5/30/19)

In memoriam: Hannelore Elsner (1942–2019), celebrated actress “who moved easily between art house cinema and mainstream television without losing her edge.”  (The Hollywood Reporter, 4/23/19; The New York Times, 5/10/19)

Wolfgang Fischer’s Styx, starring Susanne Wolff, “begins as a high-seas adventure in isolationism” and “ends as a confronting portrait of the thin towline connecting us all as humans—but not connecting us all equally.”  (The Washington Post, 3/13/19; Little White Lies, 4/23/19)

At last we have Berlin Bouncer, a documentary about the “regular people that stand between clubbers and a weekend of debauchery.”  (The Guardian, 4/16/19)

Christian Petzold’s adaptation of Anna Seghers’s 1944 novel Transit is “unstuck in history. . . unfolding like a remake of ‘Casablanca’ as written by Franz Kafka.”  (Indiewire, 2/17/18; The New York Times, 2/28/19)

Here’s the long 1972 interview with director Fritz Lang you didn’t know you were missing.  (MUBI Notebook, 12/4/18)

The Invisibles is “two movies spliced into one” — a set of interviews with four German Jews who survived in hiding in Nazi Berlin, and a scripted drama that reimagines their stories.  (The New York Times, 1/24/19; NPR, 1/29/19)