I love this movie so much

Such a frustrating disappointment

Excellent but underrated film

An old-fashioned movie made with new-fashioned finesse.

"Gerhard Richter - Painting" is a documentary from 2011, so this one has its 5th anniversary this year. It is a German production, which is also why the language is predominantly German except some English here and there. Gerhard Richter is a German painter who was in his late 70s when this was made and is now in his early 80s. He is considered among the painting elite right now and this also tells you that the great era of painters may be over as everybody has heard of Michelangelo, Picasso and many other famous painters, but in terms of the ones alive, hardly anybody is known I guess. But this should not discredit Richter's work. I think he has had a great career to this date and his talent has made him a fortune. So he probably deserves his own movie. The writer and director here is Corinna Belz and I recently got curious about her as I watched her very recent film about Peter Handke in a theater. But back to this one here, Belz actually worked on the topic of Gerhard Richter on several occasions ("Das Richter Fenster") also before this movie, which runs for slightly under 100 minutes. It focuses on Richter's work as an artist and the emphasis here is clearly more on his professional life than on his personal life. We see him on opening, on discussions with exhibitors or just find out about his general take on life and art as we see him (for example in the final shot) during his craft. The thing I liked most about the film is how very unpretentious the man is. He seems like a normal neighbor really and this is such a contrast to Handke for example. There was one scene when the filmmaker asks Richter to explain one particular quote or statement because it sounds really difficult and he basically responds by saying that it is too difficult to explain actually. A really likable man. But I still guess with the approach Belz gave the subject here, you need to have a solid interest at least in the subject before and with subject I mean the work of (modern) art. This is unfortunately not a movie that will get you interested in the subject if you haven't a previous interest already. And this makes it worth seeing for a not that huge group of people really, which is pretty disappointing and the reason why I give this film a thumbs-down. Not recommended to general audiences.

Always interesting documentary on the artist Gerhard Richter, his work process and his sometimes uneasy relationship with the larger world outside his studio. The film effectively combines a mix of traditional documentary techniques (interviews, archival footage), and much more cinema verite style, where for long stretches we simply observe Richter working on his paintings with no comment (besides his own occasional mutterings). Through it all, I gained a much deeper understanding of the man and his work. I've always struggled to really appreciate abstract expressionism and it's absence of obvious meaning. But somehow, watching this film and the process of creation of these works, I found myself far more pulled into the painting themselves than I would ever have been otherwise. (Note – Richter has worked in many forms and medium besides the abstract expressionist paintings he was focused on during the making of the film). Likewise the quiet, introverted, but wryly funny Richter becomes an ever more rich and likable subject – even his cranky unease at being constantly filmed is understandable and ultimately a bit endearing. His struggle to deal with the commercial side of the art world, and the desire to retreat back to the safety of his studio make him tremendously human. I also appreciated how sensual the film was. Not in any sexual sense of the term, but how Belz managed to make us feel the physical aspects of the painting process – the thickness of the paint, the muscular effort to spread it across the canvas, even the smell of the room seem to come through the screen. In the end, this isn't an 'essential' or 'change your life' documentary. I wasn't deeply moved, nor do I think I will be haunted by its images years from now. Yet I appreciated being given a way in to an art form and a person who made my life a little richer, and whom I might have never really known otherwise.

The filmmaker has been granted access to the "inner circle" (for no apparent reason), and Richer, his coworkers, employees, his wife etc talk to her quite casually, almost as a friend. But she does not take full advantage of this opportunity. There are no intelligent conversations, only friendly conversations. That is not enough. It is okay that Richter does not want to talk too much about personal matters, and does not really open his bag of tricks as a painter (in front of a running camera). Being filmed at work prevents creative powers being set free, many artists say (e.g. I remember Horst Janssen saying this to a film-team). Sometimes Richter seems to expect more of the conversation but quickly realizes that no-one around him has anything valuable to say about his art. Seems to happen all the time, so he does not care. He is not a diva, but quite down to earth.It is honorable that the writer/director does not want to lecture the user, this also means almost nothing gets treated with sufficient depth. I suspect the writer does not know enough about art (despite a lot of research and effort that she undoubtedly put into this documentary), and so has no intelligent questions to ask when it matters. Even when the conversation does not revolve around art, but instead abound family (for instance) the dialog is a but more fluent, but still, it stays quite boring.Sometimes the filmmaker throws in some snippets from vintage documentaries from the 60s which are a bit more inquisitive, but they seem misplaced and thus are not really helpful either. There are only subtitles shown very briefly. The music is minimalist modern classical (piano solo, or strings).If you praised Richters greatness as a painter to someone who does not know anything about him, and you showed her this movie before you showed her any paintings of his, she'd never believe that this is one of the greatest painters of our time.

Gerhard Richter is an old man who doesn't like to be interviewed, who doesn't like to be filmed and who doesn't like to talk about his paintings. He's also a very famous German artist and though he obviously couldn't care less about this film, some clever marketing executive said, hell, we do it anyway, cause he is so damn famous, once this film is out, the middle class intellectuals will flock into the cinema in order to feel sophisticated in the virtual presence of a true artist. Sadly enough, judging by the crowd it attracted when I went so see it, it worked pretty well. My main gripe with this film is that Corinna Belz, who I take to be some TV journalist, has no concept for this full length documentary. Apparently she was under the illusion that it's enough to just stumble into the studio of such a genius, turn on the camera and then the magic will unfold. Well, sadly enough, it doesn't. In fact nothing happens and Corinna's inane off camera questions (How long did it take you?) don't help either. But then she is not bold enough to concentrate on the one thing that does in fact happen, namely, Gerhard Richter in the process of painting; no, spoiled by television aesthetics the edit never lingers too long on the act itself but feels compelled to jet to New York and London for a more cosmopolitan flair. But whenever I was on the brink of nodding off I was jolted back to attention by archive footage from the sixties where an eloquent and rather angry Richter is talking about his approach towards art. That would have been the proper time to make a documentary like this. Back then when he was still able to express himself coherently, when he was on the peak of his artistic powers, when he wasn't the weary and rather tired superstar he is now. Another venerable approach would have been to actually tell us something about his art, his significance in todays art world, but no one here has the guts to do so. He created so many great paintings, but this film doesn't do him any justice. He apparently wants to be left alone in his studio so that he can concentrate on his art. Whatever happened to decorum in the film industry. Just because he is old, doesn't mean his wishes should be ignored, especially when the resulting film is as nondescript as this.