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Feature Film, AT/LU 2018, Farbe, 111 min., OmeU
Diagonale 2019

Director: Markus Schleinzer
Script: Markus Schleinzer, Alexander Brom
Cast: Makita Samba (Angelo 4), Alba Rohrwacher (Comtesse), Larisa Faber (Angelos Frau), Kenny Nzogang (Angelo 2), Lukas Miko (Kaiser), Gerti Drassl (Kindermagd), Michael Rotschopf (Fürst), Jean‐Baptiste Tiémélé (Angelo 5), Nancy Mensah‐Offei (Angelos Tochter), Olivier Baume (Arzt), Martine Schambacher (Alte Magd), Anne Klein (Junge Magd), Jean‐Michel Larré (Sprachlehrer), Pierre Bodry (Geistlicher). Marisa Growaldt (letzte Kaiserin), Christian Friedel (Museumsdirektor)
Camera: Gerald Kerkletz
Editor: Pia Dumont
Sounddesign: Pia Dumont
Production Design: Andreas Sobotka, Martin Reiter
Costumes: Tanja Hausner
Additional Credits: In‐house Producer: Johanna Scherz Chefmaskenbildnerin: Anette Keiser Tonmeister: Philippe Kohn Sound Design: Pia Dumont Tonmischung: Loïc Collignon Casting: Kris Portier De Bellair, Nilton Martins, Judith Charlier, Martina Poel
Producers: Alexander Glehr, Franz Novotny, Bady Minck, Alexander Dumreicher‐ Ivanceanu, Markus Schleinzer
Production: Novotny & Novotny Filmproduktion
Co-production: Amour Fou Luxembourg, LUX Markus Schleinzer, AT


In three episodes, Markus Schleinzer draws a shocking portrait of a black man, Angelo, who served at various courts in Europe in the eighteenth century. Shocking because it not only makes his inner conflicts tangible, but also mercilessly unveils how ramified the Western gaze’s seizure of the foreigner is; how deeply anchored and comfortable it is. A directorial feat.

ANGELO is a curated buffet of reference points: Kubrick’s Barry Lyndon seems the most obvious influence on Schleinzer’s arch, acidly proprietous manner of historical portraiture, though current arthouse viewers may spy reflections of Pedro Costa, Lucrecia Martel and the director’s compatriot Jessica Hausner in its pristine surfaces. Which is not to say its point of view is anything but singular. From the opening shot, observing from a cool, high distance as a shipment of stolen African slaves is offloaded on the shores of Europe, Schleinzer and d.p. Gerald Kerkletz place their camera in ways that knowingly straddle the line between respectful remove and cold, scientific scrutiny.
(Guy Lodge, Variety)

While it yields no surprises as to how people of color are cared about or for in a white privileged universe both then and now, Schleinzer evokes levels of toxicity which are both effective and memorable in the final frame of ANGELO, an approximation of one of countless lives obscured in the murky history of global atrocities waged against people of color.
(Nicholas Bell, Ioncinema)

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