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
"Asteroid City" by Wes Anderson presents itself as an art product, "La passion de Dodin Bouffant" by Trân Anh Hùng celebrates culinary creations: so Peter Paul Huth in another report from Cannes 2023.
Reviews by Peter Paul Huth of the competition films by Todd Haynes and Aki Kaurismäki
Peter Paul Huth looks at the female leads in "Anatomie d'une chute" and "Club Zero".
Peter Paul Huth on films by Jonathan Glazer and Nuri Bilge Ceylan.
Die Corona Einschränkungen sind Geschichte und das Festival de Cannes ist back to normal. Die Liste der Stars, die auf dem Roten Teppich erwartet werden, ist eindrucksvoll: Harrison Ford, Cate Blanchett, Leonardo di Caprio, Robert de Niro, Julianne Moore, Rachel Portmann. Den Anfang machte Michael Douglas.
After two years of Corona restrictions, the 73rd Berlinale took place again able to take place as a presence festival.According to its own claim, the Berlinale sees itself as a festival of solidarity with the disenfranchised and oppressed of the world. Accordingly, there have been demonstrations of solidarity with women in Iran and Ukraine.
The awards ceremony of the 79th Venice Festival ended with a surprise. The Golden Lion went to the documentary "All the Beauty and the Bloodshed" by Laura Poitras.
What was striking this year in Venice was the abundance of family stories telling of separated and remarried couples, of the relationship between parents and children, of tragic strokes of fate, of loss and grief.
Political films are not an easy genre. They run the risk of falling into clichés, dividing their characters into heroes and villains, and reducing complex political contexts to simple formulas.
Peter Paul Huth reports on the films of Luca Guadagnino, Frederic Wiseman and Paul Schrader