Till Beckmann

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Camera Operator:
2014  Two Museums

Camera Technician:
2014  The Airstrip - Decampment of Modernism, Part III
2014  Two Museums

Cinematography:
2014  The Airstrip - Decampment of Modernism, Part III
2014  Two Museums
2017  Streetscapes [Dialogue]
2021  Antivilla
2022  Mamani in El Alto
2023  Slaughterhouses of Modernity

Color Grading:
2014  The Airstrip - Decampment of Modernism, Part III
2014  Two Museums
2017  Streetscapes [Dialogue]
2018  DJ Punk: The Photographer Daniel Josefsohn
2021  Antivilla
2022  Mamani in El Alto
2022  Tara
2023  Slaughterhouses of Modernity
2024  Union - Die besten aller Tage

Colorist:
2014  The Airstrip - Decampment of Modernism, Part III
2014  Two Museums
2017  Streetscapes [Dialogue]
2018  DJ Punk: The Photographer Daniel Josefsohn
2019  Vidourle
2021  Antivilla
2021  Behind the Headlines
2022  Mamani in El Alto
2022  Tara
2023  Slaughterhouses of Modernity
2024  Union - Die besten aller Tage

Director of Photography:
2014  The Airstrip - Decampment of Modernism, Part III
2014  Two Museums
2016  Bickels [Socialism]
2017  2 + 2 = 22 [The Alphabet]
2017  Dieste [Uruguay]
2017  Streetscapes [Dialogue]
2018  DJ Punk: The Photographer Daniel Josefsohn
2019  Vidourle
2021  Antivilla
2021  Behind the Headlines
2021  The Last City
2022  Mamani in El Alto
2022  Tara
2023  Slaughterhouses of Modernity
2024  Union - Die besten aller Tage

Editor:
2014  The Airstrip - Decampment of Modernism, Part III
2014  Two Museums
2016  Bickels [Socialism]
2017  2 + 2 = 22 [The Alphabet]
2017  Dieste [Uruguay]
2017  Streetscapes [Dialogue]
2018  DJ Punk: The Photographer Daniel Josefsohn
2019  Vidourle
2021  Antivilla
2021  Behind the Headlines
2021  The Last City
2022  Mamani in El Alto
2022  Tara
2023  Slaughterhouses of Modernity
2024  Union - Die besten aller Tage

Post Producer:
2014  The Airstrip - Decampment of Modernism, Part III
2014  Two Museums
2016  Bickels [Socialism]
2017  2 + 2 = 22 [The Alphabet]
2017  Dieste [Uruguay]
2017  Streetscapes [Dialogue]
2018  DJ Punk: The Photographer Daniel Josefsohn
2019  Vidourle
2020  Mein Opa, Karin und ich
2021  Antivilla
2021  Behind the Headlines
2021  The Last City
2022  Mamani in El Alto
2022  Tara
2023  Slaughterhouses of Modernity
2024  Union - Die besten aller Tage

Post Production Supervisor:
2014  The Airstrip - Decampment of Modernism, Part III
2014  Two Museums
2016  Bickels [Socialism]
2017  2 + 2 = 22 [The Alphabet]
2017  Dieste [Uruguay]
2017  Streetscapes [Dialogue]
2018  DJ Punk: The Photographer Daniel Josefsohn
2019  Vidourle
2020  Mein Opa, Karin und ich
2021  Antivilla
2021  Behind the Headlines
2021  The Last City
2021  Who We Were
2022  Mamani in El Alto
2022  Tara
2023  Slaughterhouses of Modernity
2024  Union - Die besten aller Tage

Screenplay:
2014  The Airstrip - Decampment of Modernism, Part III
2014  Two Museums
2016  Bickels [Socialism]
2016  Young Light
2017  2 + 2 = 22 [The Alphabet]
2017  Dieste [Uruguay]
2017  Streetscapes [Dialogue]
2018  DJ Punk: The Photographer Daniel Josefsohn
2019  Vidourle
2020  Mein Opa, Karin und ich
2021  Antivilla
2021  Behind the Headlines
2021  The Last City
2021  Who We Were
2022  Mamani in El Alto
2022  Tara
2023  Slaughterhouses of Modernity
2024  Union - Die besten aller Tage

Sound:
2014  The Airstrip - Decampment of Modernism, Part III
2014  Two Museums
2016  Bickels [Socialism]
2016  Young Light
2017  2 + 2 = 22 [The Alphabet]
2017  Dieste [Uruguay]
2017  Streetscapes [Dialogue]
2018  DJ Punk: The Photographer Daniel Josefsohn
2019  Vidourle
2020  Mein Opa, Karin und ich
2021  Antivilla
2021  Behind the Headlines
2021  The Last City
2021  Who We Were
2022  Mamani in El Alto
2022  Tara
2023  Slaughterhouses of Modernity
2024  Union - Die besten aller Tage

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While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:

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  • Regarding those polls wherein "franchise" movies were submitted as one project until BFI's policy changed to regard them separately, I treated them as ties and renumbered the affected lists accordingly (e.g. the Godfather films).

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Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.