A Laura Israel film. In eng\u00adlish with ger\u00adman subtitles.<\/p>\n
Robert Frank is reluc\u00adtant to allow hims\u00adelf to be wired up to a micro\u00adpho\u00adne; one of the world\u2019s most renow\u00adned pho\u00adto\u00adgraph\u00aders does not want to pose in front of ano\u00adther person\u2019s lens \u2013 and sim\u00adply lea\u00adves the frame. This sce\u00adne from an ear\u00adly inter\u00adview alre\u00ada\u00addy reve\u00adals much about his per\u00adso\u00adna\u00adli\u00adty and his under\u00adstan\u00adding of art. Bent over his ear\u00adly pho\u00adto\u00adgraphs, which cap\u00adtu\u00adre dai\u00adly life on the mar\u00adgins of American socie\u00adty, he explains his approach. \u2018It\u2019s best\u2019 he says, \u2018if peo\u00adp\u00adle don\u2019t noti\u00adce that you are pho\u00adto\u00adgra\u00adphing them.\u2019 His por\u00adtraits are snapshots that cap\u00adtu\u00adre the moment \u2013 in the truest sen\u00adse of the term \u2013 whe\u00adther they depict the lives of London ban\u00adkers, Welsh miners or rock stars like the Stones. Robert Frank opens up in front of the came\u00adra of his long-stan\u00adding col\u00adla\u00adbo\u00adra\u00adtor and edi\u00adtor Laura Israel and looks back, self-con\u00adfi\u00addent\u00adly but also self-depre\u00adca\u00adtingly, at his life and work. The film shows us an artist in action; the wit\u00adness of an era who remem\u00adbers the years with Jack Kerouac and Allen Ginsberg \u2013 with whom he made films in the caden\u00adces of the Beat gene\u00adra\u00adti\u00adon. Robert Frank: always a maverick and anar\u00adchist \u2013 in any situa\u00adti\u00adon that life throws at him. (Berlinaletext)<\/p>\n
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