Peter Paul Huth

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Film publicist

Country of origin

Germany

Peter Paul Huth (*1954) studied Sociology, Political Science, English Literature and History in Cologne, Marburg, Hannover and at UC Riverside, California, and Ohio University, Athens. As a free lance critic he wrote about cinema and cultural affairs for the daily Hannoversche Allgemeine Zeitung and the weekly Deutsches Allgemeines Sonntagsblatt (Hamburg). Since 1987 he has been working in the feature film department of ZDF German Television. Until 2011 he was the responsible editor of the cinema programme „Kennwort Kino“ on ZDF/3sat, as well as the author and co-author of TV portraits of numerous renowned directors. He has been a member of the critics jury in San Sebastián 1985, Huesca 1994, Karlovy Vary 2013.

Articles

Berlin 2025: The Awards in the International Competition

Comment by Peter Paul Huth on the decisions of the international festival jury

Women Everywhere

Towards the end of the Berlinale, it becomes clear what criteria had to be met for a film to be invited to the Competition. Either it had to be directed by a female director or the protagonist had to be female, says Peter Paul Huth in his Berlinale report on competition films from four countries.

Impressive Character Study: "Late Shift" by Petra Volpe

Peter Paul Huth is impressed by the interplay between the director, camera, editing, music and lead actress Leonie Benesch in a film about working in a cancer ward.

Berlinale 2025: First Highlights of the Festival

In his report, Peter Paul Huth comments on "Dreams" by Michel Franco with Jessica Chastain and "A Complete Unknown" by James Mangold with Timothée Chalamet.

Berlinale 2025: To the Opening

Report on the beginning of the Berlinale 2025

Venice 2024: The Award Winners

Commentary on the award ceremony at the 81st Venice International Film Festival 2024

Series delights at the Mostra del cinema

Series seem like a foreign body at a film festival, like aliens from the banal world of television. But in recent years, the perception and appreciation of series has changed fundamentally. This year, Venice dared to experiment by placing four so-called mini-series in the official programme.