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Visual art does not always translate smoothly to film, unlike other subjects. Similar to how viewing a painting in a book may not have the same impact as seeing it in person, the camera can create a sense of distance from the artwork – an unnecessary secondary perspective. Wim Wenders challenges this trend in his exceptional documentary about Anselm Kiefer, called Anselm. The film, available on Curzon Home Cinema, truly captures the essence of the German artist’s angular and nature-inspired textures. It is particularly captivating in its exploration of the artistic process and the grand-scale actions involved in creating the art’s dynamic movement.
A significant portion of its reward came from Wenders’ innovative use of 3D technology on the big screen. Now available on VOD, the film may have lost this element but it still captivates with its connection between Kiefer’s complex personality and his work, as well as its graceful portrayal of the artist and his younger selves. As a documentary that explores how an artist’s vision is shaped by their character, Anselm is not as raw and unfiltered as Jack Hazan’s acclaimed 1973 film A Bigger Splash (available on Netflix), but it is equally deserving. Hazan’s film closely follows the deterioration of David Hockney’s relationship with former lover Peter Schlesinger over a span of three years, and how it influenced Hockney’s art and perspective. It blends observational moments with vividly queer fantasies, approaching its subject with a genuine interest instead of blind admiration.
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Gerhard Richter Painting (2011) by Corinna Belz is a straightforward documentary that sheds light on the artist’s work and personality. The film patiently observes as Richter prepares and layers his canvases, making for a riveting viewing experience. This is a rare portrait of an artist who achieved fame during their lifetime, alongside those by Wenders and Hazan. In contrast, Beyond the Visible: Hilma af Klint (2019) by Halina Ryschka is a dedicated effort to bring recognition to a female artist, the celebrated Swedish abstract mystic who was not appreciated during her lifetime and passed away in 1944. While the documentary may not have the same level of radicalism as Af Klint, it effectively presents its case.
Many famous artists from the past have been depicted in biographical films, often with the same few names being used repeatedly. One such artist, Vincent van Gogh, has been a popular subject for filmmakers. In the film Lust for Life (1956), directed by Vincente Minnelli, Kirk Douglas portrays van Gogh as a tortured and muscular character. In the more recent film At Eternity’s Gate, Willem Dafoe’s portrayal is considered to be closer to the truth, but the film, directed by fellow artist Julian Schnabel, is criticized for being overly elaborate. The film Loving Vincent (2017) takes a different approach, using animation to tell van Gogh’s story through his own artwork. Unfortunately, the highly acclaimed 1990 film Vincent & Theo, directed by Robert Altman, is not currently available for streaming in the UK.
Schnabel’s keen eye as an artist brought a dynamic energy to his 1996 film debut, Basquiat (available on Apple TV), with the help of Jeffrey Wright’s raw and restless portrayal of the doomed young postmodernist. I have always appreciated the raw emotional intensity in Ed Harris’s Pollock, which captures Jackson Pollock’s stoic masculinity and his mania, and was rightly recognized with an Oscar for Marcia Gay Harden’s simmering performance as Lee Krasner. Mike Leigh’s Mr. Turner may have a surface beauty, but it also delves intelligently into the English complacency that JMW Turner’s paintings rebelled against. Julie Taymor’s Frida reflected the vibrant visual style of Frida Kahlo’s art, but was lacking in dramatic impact – it could have used the uninhibited sensual experimentation that Derek Jarman so masterfully brought to his opulent and erotic tribute to Caravaggio.
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Biographical films about artists are most successful when they focus on less conventional individuals. One of my personal favorites is Maudie, directed by Aisling Walsh, which explores the life of Maud Lewis, a folk artist with arthritis. The film, with a stunning performance by Sally Hawkins, offers a poignant and tactile portrayal of Lewis. However, the ultimate masterpiece in this genre is Andrei Tarkovsky’s epic Andrei Rublev, which depicts the life of a 15th-century Russian icon painter and captures the essence of the nation’s relationship with art, poetry, and faith.
All titles can be rented on various platforms unless otherwise noted.
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Additionally, there are new releases available on streaming platforms.
Earth Mama
(We Are Parable)
Savanah Leaf’s gutsy, Bafta-nominated debut feature rests on a stunning performance by Tia Nomore as a pregnant woman in recovery from drug addiction, trying to reassemble her life and her family in the San Francisco Bay Area. It may sound like standard-issue miserablism, but there’s unusual beauty and humour in its worldview.
Manodrome
John Trengove, a director from South Africa, gained a lot of recognition for his powerful LGBTQ+ coming-of-age film, The Wound. His latest film, which features a more prominent cast but was released straight to VOD, also delves into the theme of toxic masculinity. It follows a young man (played by the talented Jesse Eisenberg) who becomes entangled in a male-dominated cult as he prepares for fatherhood. While the film’s commentary on incel culture may be direct, it still manages to leave a haunting impression.
Night Swim
A pleasant family living in the suburbs discovers that their pool is haunted – plausible enough, right? The newest horror movie from Blumhouse utilizes cleverly crafted jump scares to bring life to its seemingly absurd concept, enhanced by the captivating visuals of a swimming pool, whether it be for murderous purposes or not.
Source: theguardian.com
