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Kniebe, Thomas

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2 articles of this author have been cited in the European Press Review so far.

Süddeutsche Zeitung - Germany | 22/05/2007

Ulrich Seidl's "Import/Export" at Cannes

At Cannes, Tobias Kniebe went to see "Import/export", the new film by Austrian director, Ulrich Seidl. The film tells the story of Olga, a Ukrainian nurse who hopes for a better life in Austria, and the parallel story of Paul, an unemployed Austrian who seeks his fortune in Ukraine. "This film is less about physical borders or drawing a geographical line between rich and poor and more about the invisible barriers that can no longer be transcended, even in an ever-expanding Europe. In Seidl films it's not new that the viewer is spared nothing. He films inside Ukraine's sex shops as impassively as he shows us the nappies worn by patients in a viennese nursing home where Olga eventually finds a job as a cleaner. But the humour in these images is breathtaking, as well as the humanity that suddenly breaks through in the most unexpected moments. Seidl has taken his place among the great masters of his metier. He's a filmmaker who looks where no one else cares to and looks long enough until he finds a strange kind of beauty and truth."

Süddeutsche Zeitung - Germany | 25/01/2006

Spielberg's "Munich"

The newspaper reports on the heavy criticism that Steven Spielberg's new film "Munich" – currently making its debut at cinemas across Europe – has triggered in the US. The paper publishes an ambivalent review by Thomas Kniebe next to its report. "The truth is that if you regard it purely as a historical fiction, 'Munich' is only an average thriller about terrorism that's rather heavy on theories... While in his explanations he disclaims any attempt to portray history, the images he shows in his film stand in stark contradiction. It was to achieve just that that he took such trouble to reconstruct the seventies look, that he used real TV footage from those times, and that so many of his historical characters go under their real names. Yet again, film acts as a vampire sucking at the throat of reality. It sucks its vitality out of the victims of Munich and all those who followed – and Spielberg is much too much the showman not to take advantage of this powerful elixir."

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