Babylon Berlin is back!  Germany’s “first TV blockbuster of the streaming era returns for its third season, promising more murder and mystery in the turbulent days of the Weimar era.”  (The Guardian, 12/19/19)

Heimat Is a Space in Time, a meditation on Germany and filmmaker Thomas Heise’s own family history, “is a dreadfully German piece of work. That is part of its power.”  (The Hollywood Reporter, 9/5/19; The Guardian, 11/21/19)

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.”  (, 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)

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)