Screening this evening, Jan. 6, as part of Uruguay’s ARCA festival, “Inside the Uffizi” has already done steady business for Georg Gruber-led boutique Berlin-based documentary shingle Magnetfilm.
Rights have been sold to Sky in Italy and Hugo EST for China, and an online release is planned for the US, Canada, Spain for selected iTunes, Google, Amazon, TVOD and EST on streamers via DocoDigital before the end of March. Spanish-speaking regions of Latin America such as Argentina and Italy.
Directed by award-winning German filmmaker Karina Belz (“Gerhard Richter Paintings”) with Enrique Sanchez Lance, the film takes us behind the scenes of the Uffizi in Florence, Italy, the world’s second-oldest art museum, pausing to let us in on the likes of Caravaggio, Botticelli, Titian and Gentileschi. A special place for art lovers to take in the masterpieces of the Renaissance giants, with lingering camera work in mouth-watering detail.
“There is something very unique about the history of the Uffizi as a building, as a museum, as an institution closely tied to the Medici family,” commented co-directors Belz and Sánchez Lance. “Even today, the core of the collection consists of Renaissance paintings that were commissioned or collected by family members.”
Filmed over 5o shooting days over two years, “Inside the Uffizi” tells its story from the museum’s foundation in the late 16th century.m Century as an exhibition of the Renaissance art of the Medici family, the museum’s first non-Italian director, under stewardship since 2015 for its upgrading and renovation in the postmodern era. This juxtaposition of past and present is something that particularly attracted filmmakers to a museum known for its strict adherence to tradition.
“Tradition dictates where the paintings should be and tickets have only been available on site since the Uffizi decided to have their own website only after 2015. We were very interested in exploring how the Uffizi will meet the challenges of the 21st century with the new appointment. Director Eike Schmidt,” Belz and In the words of Sanchez Lance.
With all this in mind, the film takes us into the backroom operations of a museum with more than 2 million visitors per year, allowing us to observe the day-to-day business as renovation work is subsequently carried out in its two visitor rooms, behind the scenes. British sculptor Anthony Gormley’s “Body in Space” temporary display and restoration work on a painting damaged by a Mafia bomb years ago. Not to mention a party visit by surprised schoolchildren and other curious onlookers.
“Some fantastic camera work leads to details in some paintings that almost provide a more detailed view than being there in person. “With close-ups we have the opportunity to see things in a much more concentrated and detailed way, the directors said. “But our films are always an invitation to maybe look closer and experience the art and the site for yourself and personally. .
Portraits embrace not only the affable director Schmidt but also the eloquent librarian who describes the Uffizi as “an eternal Noah’s ark for the presence of art”. Schmidt “represents the contemporary needs of such a large museum in the 21st century and a new style of leadership,” the directors said. “However the Italian librarian speaks entirely from tradition and from national pride in the Italian cultural heritage. Combining different traditions, languages and attitudes is what makes European culture so interesting.”
Created by veteran Thomas Kufus, it is the story of how a former office building in Florence, the “Uffizi” which means office in Italian, became a site hosting “a new vision of humanity” and how, even in Europe’s darkest moments. During the war, the staff of the Uffizi, as then, exercised a duty of care to protect the valuable collection for future generations from Napoleon and the Nazis.