PRESS

here are some press-quotations about my work:

 

06_2017 ROLLING STONE ON “ANTIMARTERIA“

….beautiful and impressive images and an exciting, but quite nebulous plot. ….the film impresses on a visual level.

 

06_2017 TONSPION.DE ON “ANTIMARTERIA“

….a modern fairytale somewhere between “district 9” and the marvel universe with the pictorial power of beyonce’s “lemonade” and the radicalism of “kill bill”.

 

06_2017 LAUT.DE ON “ANTIMARTERIA“

….this colorful and pompous play of colors, which the director captures for antimarteria, is simply great cinema. the impressive landscapes and insights into the townships of south africa are highly worth seeing.

 

06_2017 VICE.COM ON “ANTIMARTERIA“

….a visual trip….hauntingly beautiful pictures or rather associative series of pictures: wide landscapes, dunes, sand, light reflections in the desert. again and again, the infrared images from a thermal camera….

 

03_2017 TITTELBACH ON “COLOR OF THE OCEAN“

….the superbly photographed film captivates through its image design. armin franzen’s camera work brings the characters incredibly close as if he wants to look them under the skin….the images provide an unflinching look at their lost and lonely existences….it is a bittersweet metaphor in this visually stunning movie.

 

01_2016 BLICKPUNKT FILM ON “BERLIN 1“

….at the same time, berlin 1 impresses with remarkable artistic finesse: the special attraction of the pictures lies in their almost comic-like depictions, ….thanks to the visual design, the thriller reminds us in some places of hollywood films, such as dick tracy or sin city.

 

12_2015 FAZ ON “BERLIN 1“

….pictures (cinematography: armin franzen) from the berlin of the 1920s that have richness and color. this berlin is the german chicago.

 

12_2015 KLEINEZEITUNG.AT ON “BERLIN 1“

….an epic, monumental visual painting of the 20s.

 

12_2015 DIE WELT ON “BERLIN 1“

….berlin is dark, dank and rarely day. it is berlin as american comic artists might have imagined, a world-class compliment.

 

12_2015 RTV ON “BERLIN 1“

….berlin 1 convinces with a bloody and frightening aesthetic that occasionally reminds one of the silence of the lambs and ends in a thrilling showdown à la the third man. in addition, we see the berlin of the weimar republic rise in grandiose pictures.

 

12_2015 DWDL ON “BERLIN 1“

….immediate associations can be seen with cabaret, american mafia films with pacino and de niro and cotton club.

 

12_2015 BERLINER MORGENPOST ON “BERLIN 1“

….noteworthy not only for its outstanding effort concerning production-design and cinematography, but above all, because all the historical details of the film do not remain an end to themselves. they are at the service of a gripping story. no one can criticize this film for being modest with its visual elements.

 

11_2015 QUOTENMETER.DE ON “BERLIN 1“

….berlin 1 is exciting, enthralling and approachable without its stunning visuals panoptic side stages interfering with the narrative.

 

01_2013 CINEASTENTREFF.DE ON “FIVE YEARS“

….stefan schaller and his dop armin franzen visualize an actual chamber-drama-conflict with expressive, highly emotional images of great power of suggestion….

 

06_2012 SLANTMAGAZINE.COM ON “COLOR OF THE OCEAN“

….it’s an evocative notion, and one matched by a similarly striking aesthetic: DP Armin Franzen favors a bright, washed-out palette reminiscent of days spent shielding your eyes from harsh sunlight and looking at the sky through your fingers.

 

05_2012 MOVIEJONES.DE ON “COLOR OF THE OCEAN“

….the film connects action an poetry, authenticity of dialogues, as well as astonishing symbolic power of the images (cinematography: armin franzen), even reminding of Italian neo-realism.

 

03_2012 KINO.DE ON “COLOR OF THE OCEAN“

….the sensible cinematography of armin franzen, which focuses on faces, not voyeuristic, but realistically captures endless misery and despair, emotionalises and confronts the audience with the question whether the fort europe has to defent its welth at the poorest of the poor….

 

02_2012 FBW JURY ON “COLOR OF THE OCEAN“

…. a strange light seems cold and clearing. the music is used wisely. several visual compositions have strong symbolic power. perennial director maggie, the cast, armin with the camera, and other specialists of the crew have worked amazingly well.

 

01_2012 KINO-ZEIT.DE ON “COLOR OF THE OCEAN“

….always close to the faces, the camera pulls the spectator into the dramatic scenery.

 

01_2012 SCHNITT.DE ON “COLOR OF THE OCEAN“

…. all carried by the successful cinematography, creating wonderful pictures, which were decisive made for the cinema screen.

 

11_2011 SCHNITT.DE ON “COLOR OF THE OCEAN“

….armin franzen creates memorabel images ….the landscape of the south and the symbolic force of the water in all forms (sea, pool, filled into the plastic bottle) to give the tales a visually-sensual plane, but never grows out of the trash….

 

09_2011 SCREENDAILY.COM ON “COLOR OF THE OCEAN“

….the film is also very strikingly shot by armin franzen making the most of the fierce sunlight and hot, dusty sand dunes of the canaries. it also shows a fascination with water as a source of life and of pleasure. the camera becomes mamadou’s point of view as he slides down a water chute at a fairground and it swims alongside nathalie in the ocean as she finds carefree relaxation in a place that brought death to the refugees.

 

09_2011 VARIETY.COM ON “COLOR OF THE OCEAN“

….tech credits are tops, especially armin franzen’s lensing of scenic locales.

 

02_2011 DAILYSTAR.COM ON “FLOWERS OF EVIL“

….in visual terms, “fleurs du mal” is a fascinating film. the work of director of photography armin franzen and his camera clearly loves the film’s two principal characters as much as paris itself.
the filmmakers’ efforts to incorporate the look of social networking sites into the frame is effective, and the use of youtube images of tehran’s green revolution is, for a time, affecting.

 

11_2010 VARIETY.COM ON “FLOWERS OF EVIL“

….the love story is shot on expressive digital — mostly in closeup, often at night and in enclosed spaces — exploiting the artistic aspects of the medium without looking glaringly different from the other strands.

 

06_2009 JURY MEMBERS GERMAN CINEMATOGRAPHY AWARD

….this camera work shows a captivating virtuosity in the handling of light and space. by often surprising framings and an intuitive flow of movement, highly sensitive, intensive pictures result. in contrast of calmness and suspense the camera finds a convincing interpretation of the story. It creates a rare symbiosis of cinematography with subject, staging and montage.

 

06_2009 FILMACADEMY-BW ON THE GERMAN CINEMATOGRAPHY AWARD

….armin franzen carries the movie “kronos” through his careful artistic work without becoming stagey and decadent. he has already developed his own style with a high recognition value.

 

01_2009 FAZ ON “KRONOS“

….looking for stylization in magnificent desert-images wherever detected, ….putting artfully the greek-world-creation-myth of uranos and gaia, kronos and rhea, about the beginning of our zivilisation, into the end of time….

 

01_2009 FREIEPRESSE.DE ON “KRONOS“

….although the bulky experimental arrangement gives the audience a hard fight, the strong desert-images and the archaic conflicts resonate long lasting ….

 

05_2008 JURY KODAK-CINEMATOGRAPHY-AWARD ABOUT ARMIN

….his work in different genres attracts attention especially on intensive dramaturgical-content-examination, always resulting in a harmonious symbiosis with the staging.
….the camera lives and generates with a delicate color- and cinematography-concept the appropriate claustrophobic atmosphere.
….armin franzen created perfectly framed images with spacial depth and depth of content.
….movements inside the picture generate a discrete rhythm from frame to frame.
….the camera interferes a adequate mood of distracted disorientation. impressive pictured landscapes and stunning light moods, as well as emotive travellings evolve this cinematic experiment into a visual experience.

 

07_2007 FBW-JURY ON “FUTSCHICATO“

….the aesthetics of the visual language is convincing at all levels and influenced by an individual handwriting. ….also worth highlighting is staging, lighting, coloration, cinematography, set-design and music. the film is also formally exciting, the music worth listening to.

 

12_2006 JURY FILMSCHAU-BW ON “FUTSCHICATO“

….futschicato illustrates a sensible examination of alternative forms of life, it convinces through content, play, style. ….furthermore, armin franzen reveals the maximum out of this limited space of action, thanks skilful cinematography and lighting.

 

01_2006 FAZ ON “FUTSCHICATO“

….futschicato deeply impressed with its ambitious coloration…. futschicato contains well impressively shaped images. by interaction of aesthetics and anarchy results one of the most interesting films of the festival. the color-alienated images, the dark reddish-spaces into which the sunlight rarely shines, ….all this giving the movie a unique creative touch

 

12_2005 JURY FILMSCHAU-BW ON “BARRIO PABLO ESCOBAR“

….the documentary describes technically perfect, courageous and without false sentimentality. armin franzens camera is the best weapon the protagonist can use to be heard.