Germany

There currently is a radical change in our political landscape. The United States has drawn worldwide attention on the upcoming decision between Hillary Clinton and Donald Trump for the position of President. The United States is not the only country, either, as Austria is facing a similar conundrum.

In 1973, Augusto Pinochet seized power in Chile and demoted the previous civilian rule to replace it with a military dictatorship. Colonia Dignidad, commanded by Paul Schäfer and other allies of Pinochet, served as a prison for political detainees under his regime, despite the bastille being concealed by the veneer of a farming commune. With a historical premise as intriguing as this, it’s unfortunate how much Colonia’s (also known as The Colony) filmic portrayal falters more than it succeeds.

German expressionism was an art movement that began life around 1910 emerging in architecture, theatre and art. Expressionism art typically presented the world from a subjected view and thus attempted to show a distorted view of this world to evoke a mood or idea. The emotional meaning of the object is what mattered to the artist and not the physical reality.

German silent cinema of the 1920’s produced some of the most influential directors in the art of film making. Most directors and screenwriters working during this period were highly influenced by the German Expressionism art movement. Directors displayed Expressionism art in their films by presenting a distorted reality, which showed the inner turmoil of the characters.

Some of you may have come across Helene “Leni” Riefenstahl, so I hope you’ll forgive the introduction for those who haven’t. Born in 1902 in Berlin, Germany, Riefenstahl defied gender norms and became one of the most successful documentary filmmakers of the 1930s. At a time when most industries, especially film, were dominated by men, Riefenstahl found herself not only directing films but developing new techniques which influenced cinema up to this very day.