In 2014, the German city of Dusseldorf announced that within four years it would open an exhibition dedicated to local Jewish art dealer Max Stern, who fled the Nazis in 1937 and was first forced to sell his gallery holdings. He settled in Montreal and became an advocate for the post-war advocate of art theft from German Jews.
Then in 2017, weeks before the exhibition opened, Düsseldorf’s mayor Thomas Geisel canceled the exhibition, claiming (other reasons) was
A few weeks later, he
And bring a new team to restart the show.
Despite the city’s Jewish community (although they were interested, but hadn’t consulted), it eventually opened in 2021. Museum director Susanne Anna was a staunch supporter of the early version, occupied by the team and did not conduct interviews.
The whole chaos is now
a new documentary produced by Toronto film producer Jamie Kastner. In the past, he has looked at tricky topics, especially in 2019’s No Fakes, which is related to the work of Indigenous artist Norval Morrisseau, about forgery and cultural occupation.
Kastner told the National Post that he first heard Dusseldorf Imbroglio in 2019, a journalist and academic Sara Angel. “She said, ‘If the fight in your art world is your business, you will be interested in this story.’ I am indeed.”
Kastner opened his heart, though he said it would be hard not to stand with the angels in the end. Attorney Ludwig von Pufendorf, the most opposed to restoration, was almost a stock villain with his black turtleneck, caramel-colored jacket and hands-on laughter.
one
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Liz Braun praised Kastner’s filmmaking “imp-Em-Em-Em-Em-Em-Em-Em-Enoge-Enoge-Rope method”, but Von Pufendorf barely needed enough teeth.
“He was a gift for documentary forms,” Castner admitted. “What can I say, he really is.”
von Pufendorf is one of many voices in the film, and he says (more cautious than others), compensation and repatriation of Nazi Lotte art may be nothing more than cash snap-ups with the sly pedigree of the “heirs”.
“The film’s work title has been drawn in the title of a major German newspaper in the last decade by Berlin auctioneers, and it’s ‘they say the Holocaust and mean money.””
Kastner added that he was two seats for Von Pufendorf in the recent screening of the Berlin Trophy. “He stood up and announced the movie ‘Ein Machwerk’, and what I collected was a mysterious term for a work that could not be faked, perhaps not as polite as it was. Of course I would love to put it on the poster.”
It’s safe to say that not everyone is happy with Kastner’s documentary, but he stands behind the job, which includes an interview with Susanne Anna in 2014 (in place of recent things), an awkward meeting with Mayor Geisel and a representative from Montreal
Max Stern Art Recentration Project
.
These include Philip Dombowsky of the National Gallery of Art, Canada’s Archives, whose reserves are contrary to the revelry of Von Pufendorf.
“Philip Dombowsky is a quieter, more cautious speaker,” Kastner said. “But his word selection and self-editing have a lot of revelations in his facial expressions. In a way, sometimes it’s even more interesting or attractive than what he said.”
He continued: “He is not a man who actively seeks people who are looking for the attention of the crowd. Philip convinced some convincing films. But, of course, his story is so important that it is indeed true in a few chapters, both of which cancel the old exhibition, but then a witness to the second one.”
German organizers visited Ottawa for several days as part of the exhibition, but did not get in touch with Dombowsky. Kastner asked: “Are they not interested in talking to people who have been operating Max Stern Archive for 20 years?” Donbowsky said with a smile, “It’s not like that.”
“The devil is in this detail,” Castner told the Post. “So I’m glad Philip did agree to attend.”
None of these are recommended for Kastner to shoot any cheap shots. “I’m very uplifted because of the movie’s launch, and one more than one reporter or listener said, you know, we’re really seeing both sides. We really see it’s not a cut and dry issue. People have said… Pufendorf seems to be a cartoon-like villain, but he’s some really compelling points.”
He added: “It’s important for me that it’s based on the press and everyone has a fair say. I think this movie is like this.”
Stop, and then: “Of course, I’m alone. Of course, I have my own insights.” When the loot cuts the musical numbers in Mel Brooks’ Nazi-themed producer’s deception, “You might guess where my compassion lies.”
The trophy also includes scenes from 2014 The Man of the Monument and 2015 The Women of Gold, both the theme of Nazi art and the big Hollywood work, and proves that the issue continues to attract attention.
The original purpose was to get the anti-Atonement side to hold most of the film, Castner said. “But soon…it seems obvious to us, and it’s a morally more compelling argument. So we just thought, ‘Okay, f,’ we’ll make the best movies.
“But our outrageous reaction to what one side says is much more than the other.
The Robbery is on April 4 at Cineplex Empress in Toronto for a week and will also be in Hot Docs (April 5) and Montreal (April 6, 8 and 10), Ottawa (April 7), Waterloo (April 23), Hamilton (April 23), Hamilton (April 26), Edmonton (April 27) and Vancouver (April 27) and March 3. More information
