Times change, tastes, values, preferences, the integrity of the historical, timeless traditional structural dialogues, infused with contemporary stakes, striking artistic aggregates, emboldened through the maintenance of legacies.
Jockeying for position.
The decisions, the finances, the personnel, Johannes Holzhausen's Das große Museum (The Great Museum) blending various aspects of the Kunsthistorisches's management, its daily operations, linoleum, labour, preservation, advertising, executive inputs, some of which I would have found ridiculous if I didn't find myself having similar thoughts from time to time, through toil, mango, to converse, to generate dialogues with distinct publics, discourses of origins architecturally articulated, the thought, the detail, the work, meticulously cultivated to instruct and impress, with so many objects to enrich and tantalize, aesthetics of merit and truth bask in transitory permanence.
Intellectually gifted.
Delicately crafted.
The film illuminates a broad compelling practical yet highly abstract organism, budgeting its lucrative life blood with issues of power and control, while capturing moments of leisure and play, as a transformation strides and breathes.
In terms of mischievously yet respectfully examining the inner workings of a museum's perpetual motion, Holzhausen succeeds, but the sense of refined innocent yet aloofly didactic exuberance transports it to another level, Das große Museum wisely reflecting its subject matter.
You don't have to like museums to love this film.
There's also a tie covered in bears.
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