Tristan and Iseult

A true lost treasure from the twilight years of New German Cinema – when it was still shining so brightly that not all shades and hues could be seen with equal clarity. Well 'lost', among enthusiasts of Arthurian fiction, the film always held a special place for being arguably the most faithful cinematic retelling of this mediaeval Celtic legend. It was also one of the more serious attempts at grappling with complicated subjects like the conflicts between the ancient Gods and Christianity. But still, few ever heard of it, for rarely was it screened, most likely because of the release of John Boorman’s Excalibur (1981), also set in Arthuriana and perhaps easier to embrace. Tristan and Isolde has a lyrical quietude – simple set design, a restraint in its use of colours, but also a will to tell an engaging and entertaining story. It is the first credited lead for Christoph Waltz of Tarantino fame and Max Zihlmann's casually laconic dialogues add another layer of uniqueness to the film's classical Hollywood-beauty. (International Film Festival Rotterdam)