Timon Koulmasis

With this EISNERIN Timon Koulmasis and his editor have achieved something truly great. The whole attitude of the film towards Lotte Eisner, the selection of the documents, the way he made us - the formerly young filmmakers - speak, create a a rarely successful portrait.

Volker Schlöndorff

Rarely has a documentary on cinema made such an intelligent use of images. By subtly mixing Lotte Eisner's interviews with archive footage and film excerpts, but also by superimposing fiction on real and tragic landscapes, the director brings out stunning analogies and reflecting resonances ... A magnificent lesson in cinema and history.

Télérama, 17/2/2021

The simple unfolding of her life, between the Berlin of the Roaring Twenties and the cinema-loving Paris, between mythical film shoots and meetings with the creators, would have been enough to make an interesting documentary. But what makes it original is the way Timon Koulmasis makes the film excerpts collide with the archive material and newsreels from Berlin at the time, in a formidable montage.

Le Monde

The history of cinema, like a fresco to be drawn, is full of unknown people who, out of love for this art, have strongly contributed to its influence and vibrancy. Lotte Eisner is one of them. Timon Koulmasis draws her portrait.

Les Inrocks

Lotte Eisner - A place, nowhere is a cinema film in the most magical sense of the renaissance of the cinematograph. I have seen no archive there except that of the words of witnesses giving evidence about Lotte. But I saw the documented soul of the German tragedy - the assassination of the German cinema by the Nazis -  as well as the "Stimmung" of Timon Koulmasis' film writing, reanimating the bruised body of the cinema of love.

What is commonly known as the "archive", I saw it suddenly disappear to make way for the adjacency of the image and its pellicular transparency, giving birth to this luminescent habitat of the soul of the cinema lover (Eisner).

Like an anti-remembrance of the past, Timon Koulmasis' cinema presents itself to the future of all living memory: when the film (emulsion) forms the shape of the image and merges into the moving figure of the poetic that suspends the image from all representation. Thus Lotte Eisner becomes immiscible with any image of herself to become this solar woman, overexposed with love.

Philippe Tancelin, poet - philosopher