Peter Paul Huth
Film publicist
Country of origin:
Germany
Peter Paul Huth (*1954) studied Sociology, Political Science, English Literature and History in Cologne, Marburg, Hannover and at UC Riverside, California, and Ohio University, Athens. As a free lance critic he wrote about cinema and cultural affairs for the daily Hannoversche Allgemeine Zeitung and the weekly Deutsches Allgemeines Sonntagsblatt (Hamburg). Since 1987 he has been working in the feature film department of ZDF German Television. Until 2011 he was the responsible editor of the cinema programme „Kennwort Kino“ on ZDF/3sat, as well as the author and co-author of TV portraits of numerous renowned directors. He has been a member of the critics jury in San Sebastián 1985, Huesca 1994, Karlovy Vary 2013.
Articles
There are some well-travelled cineastes and regular festival-goers who call Bologna their favourite festival. The atmosphere is relaxed and democratic, there is no VIP area, no stars who have to be shielded from the common people. The participants come from 70 countries, as is proudly noted. Final report by Peter Paul Huth.
When you see classic films on the big screen, you realise that the cinema is a time machine, a place of historical memory. A medium that makes the past visible through the subjective view of those involved in the film, because cinema is always a collective art form. Continuation of the report by Peter Paul Huth.
Peter Paul Huth reports on the film festival in Bologna dedicated to film history. The 2024 edition of the festival focussed on films featuring Marlene Dietrich.
2024 was the year of women in Cannes, and this was clearly reflected in the awards. Although the Palme d'Or went to a man, to the American Sean Baker, his film "Anora" however has a combative female protagonist in Mikey Madsen. In his acceptance speech, Baker dedicated the award to all female sex workers.
A political highlight was saved for the finale in Cannes, the film "The Seed of the Sacred Fig" by Mohammad Rasoulof. Under the conditions of Iranian censorship, Rasoulof's film seems like a suicidal project.
As the Cannes Festival draws to a close, speculation is rife as to who might win the Palme d'Or this year. The New York Times sees two films at the forefront that are universally regarded as favourites. A preliminary summary.
Cannes loves the big names of international auteur cinema and is happy to invite them to the competition - this year Paul Schrader and Jia Zhang-ke, among others. Continuation of the festival coverage by Peter Paul Huth.
Perhaps the cinema is the ideal place to present questions of fluid identity. In current debates, linguistic sensitivity for particular identities is demanded under the label 'gender-appropriate language'. On the other hand, in 'liquid modernity' (Zygmunt Bauman), gender-specific boundaries are being abolished.
Peter Paul Huth looks at the films of George Miller, Francis Ford Coppola and Ali Abbasi in his coverage of the Cannes Film Festival 2024.
The first few days in Cannes saw a promising start to the festival with impressive female protagonists, according to Peter Paul Huth in his opening report on Cannes 2024.