https://www.wsj.com/articles/never-look-away-review-towering-art-as-high-drama-11549578464?mod=cx_picks&cx_navSource=cx_picks&cx_tag=video&cx_artPos=6#cxrecs_s
When your debut feature wins an Oscar—and almost universal acclaim—the path ahead probably leads downhill. That was the case for the German filmmaker Florian Henckel von Donnersmarck. His electrifying 2006 political thriller, “The Lives of Others,” set in the former East Germany, explored state-sponsored surveillance, the beauty of empathy, and what it means to be human. His second film, “The Tourist,” starred Angelina Jolie and Johnny Depp in a silly Hollywood confection about gangsters and mistaken identity; it left Mr. Donnersmarck’s admirers wondering how he would climb back from such a steep descent. “Never Look Away,” in German with English subtitles and entering national release this week, provides the answer: by taking on, with formidable if not total success, a mountainous subject—the power of art as exemplified by an artist who resembles the towering figure of Gerhard Richter, and as dramatized in a fateful family saga across three eras of German history.
Either of those two elements might have been ambitious enough to fill a conventional feature. This one, which runs a few minutes more than three hours, is filled to overflowing, though only occasionally does it seem overlong. (An extended sequence about the avant-garde scene in postwar Dusseldorf conspicuously verges on self-parody.) And as befits a story about the visual arts, it was shot by the great American cinematographer Caleb Deschanel, who gave us the peerlessly pure images in Carroll Ballard’s “The Black Stallion.”
Mr. Donnersmarck’s artist hero, Kurt Barnert (Tom Schilling), offers a perfect pretext for re-examining his nation’s calamitous past, from the rise of the Nazis before World War II through postwar division to unification in unimagined peace and prosperity. “Never Look Away” is equally about the suffering Kurt’s family endures during much of that time, and about Kurt’s art—how he makes it, how it changes him and those it touches. The details of his life sometimes hew closely to those of Mr. Richter’s; at other times they’re freely fictionalized. (The fraught relationship between the filmmaker and Mr. Richter, arguably the world’s pre-eminent living artist, was recently examined in a New Yorker piece by Dana Goodyear.) Rich as the film may be in aesthetic considerations—very rich indeed—it’s the startling arc of Kurt’s life story that sustains the dramatic narrative.
