A deep dive into Nazi art obsession

Hitler vs Picasso and the Others (E, 94 mins)

Directed by Claudio Poli Reviewed by Graeme Tuckett ★★★ 1⁄

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hat theNazis orchestrated amass programme of looting and forced selling of art works across Europe isn’t really new information.

But this 2018 documentary, that has unexpectedly landed in a few New Zealand cinemas this past week, takes a deep dive into a couple of lesser-known aspects of what theNazis perpetrated – and offers some interesting speculation as to theirmotivations.

Hitler and his gangsters coveted anything that could give their squalid enterprise a veneer of civilisation. And art was top of the list.

Hitler and Goering even became unofficial competitors – with handshake agreements on ‘‘the rules’’ – in their race to acquire the greatest collection of masterpieces. Hitler favoured family and classical scenes. Goering preferred pictures of hunting and nudes.

Paintings and sculptureswere stolen from galleries and museums, or were ‘‘purchased’’ at ridiculously low prices, sometimes with the promise of a visa for the owner to leave occupied Europe as a part of the deal. The visas often did not eventuate. Many collectors, dealers and curators were sent to the concentration camps.

covers some of this grim history and includes some new details on the infamous Gurlitt hoard – 1100 artworks, allegedly lost in the Dresden firestorm, discovered in a musty Munich apartment in 2012.

Less known – byme, anyway – is the story of how the Nazis curated a selection of ‘‘degenerate art’’ – works by Klee, Matisse, Kandinsky and many others – which they exhibitedwith the aim of eliciting disgust at the ‘‘immoral’’ practices of the modern – often Jewish – painters. Some two million people visited, and the Nazis were forced to remove some pieces from the exhibition.

This is an unfocused documentary that seems to be trying to tell three or four quite separate stories. But, even if it does play a little like a cut-down version of a longer series, still has fascinating moments, some unique insights and awealth of personal – often heartbreaking – histories to tell. others enhanced hearing, shapeshifting abilities and endless flora-creation. All are willing and able to use their talents for the greater good of their fellow citizens.

The odd one out though is Mirabel (Stephanie Beatriz). Much to her abuela (grandmother) Alma’s consternation, she possesses no obvious enhancement, something she has tried tomake up for with mahi and good graces every moment of every day.

There’s plenty of relief when Mirabel’s younger cousin Antonio (Ravi-Cabot Conyers) is next gifted the ability to talk to animals, but a vision later that night puts Mirabel on edge. It’s of their beloved casita cracking and each individual’s powers failing.

Initially dismissed as jealous nonsense, Mirabel subsequently discovers others are just as fearful about the future and that fissures within the family structure are about to be exposed.

Like their brilliant 2016 interspecies buddy comedy co-writer-directors Jared Bush and Byron Howard (joined on this by playwright and screenwriter Charise Castro Smith) have crafted awarm, witty and winning story that celebrates its flawed ‘‘heroine’’ and offers plenty of laughs, along with the requisite perils.

Mirabel is a fully threedimensional characterwho will charm her way into your heart. Certainly not your typical Disney princess, she is brought to life by the animation team and

Beatriz.

Shout outs too for a scenestealing John Leguizamo and Colombian TV veteran Botero, while Miranda’s eclectic range of tunes reflect the action, set the scene, add plenty of colour and spice up proceedings regularly, but without overpowering the story.

Preceded in cinema screenings by NatalieNourigat’s traditionalanimation-inspired, endearing racoon adventure

is the perfect excuse for a pre-Christmas family outing.