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If you hate waiting, that may be reason enough for you to learn English.

If no one can or want to translate, there won't be subtitles in your language.

This is an odd state of affairs—one that I wish the Berlin Film Festival had begun rectifying by ensuring that, indeed, the could have had a chance to fully appreciate the “world” premiere of this highlight of contemporary German filmmaking.

(3) Part of the reason Graf’s work is little known outside of the German-language sphere—reasons that the following interview addresses—is that most of his work is made for German .

Sometimes my parents came home from one of my father’s film premieres and agreed that the film he played in was once again rather banal.

So my interest in the cinema was limited during my teenage years, as it was essentially looked-down upon within my family.

For I really had no clue about the actual process of making a film: I had never been interested in photography or drawing and generally don’t think I had much talent for the visual.

Dominik Graf, Treffer (1984) Which of your early films would be the one you would still be willing to watch— was probably the first film that was o.k. It was based on a nice screenplay by Christoph Fromm, and at least I managed not to destroy it.

But it took me a long time before I made a film of which I can say that I would still watch it even today.

My early efforts were really pitiful, and I think if someone started like I did back then he or she would not make it very far as a director.

Of his more than sixty productions to date, Graf’s career, which is now well into its forth decade, has yielded barely two-handful of films that were actually made for the big screen or were at least shown theatrically.

And yet, one of the consistent refrains among German film critics is that Graf’s feature-length work for German television amounts to the best of what German film productions have to offer each year.

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