Don’t Come Knocking – press articles

“The spare, self-consciously mythic story clicks best in its droll and poignant observations of Shepard’s and Roth’s characters in the big-sky landscape. Lustig’s widescreen vistas possess masterly depth and clarity, but his most affecting contributions are tableaus of Butte, the clean geometry pulsing with the longings of Edward Hopper’s lone souls.”
Boxoffice Magazine, May 2005

“It's a Kodachrome vision of the United States: sunlight, neon, land, people and their heritage all dazzle and confound. Wender's day and night palette (triumphantly rendered by cinematographer Franz Lustig) expresses his awe of America's multiplicity.”
NY Press, March 2006

“Yet the real star of this film is Franz Lustig, its cinematographer. A tale of Hollywood burnout and small-town redemption, “Don't Come Knocking” fuses Wenders's love of lost wonderers and Shepard's obsession with broken families into one misshapen whole. The movie yearns almost ecstatically to achieve a state of grace and realizes it in Lustig's camerawork, which sculpts the light of the American West into images that evoke classic westerns, Edward Hopper paintings, the honeyed yellow of nostalgia, and the cleansing sunlight of dawn. I could have watched the film with the sound off and gone home happy.”
Boston Globe , March 2006

“Don't Come Knocking is a mood piece — but not a humorless one. And its moods are enhanced by T-Bone Burnett's music and, especially, by Lustig's cinematography. Through his lens, Butte is an antique ghost town with lots of room for arty misfits. And the desert, despite all we've done to it, endures in its painterly, sun-drenched majesty.”
Seatle Times, March 2006

“Don't Come Knocking is filled with haunting visual panoramas. One of the most resonant is a nighttime shot of the Elko skyline dominated by a glittering casino. Evoking a once and future gold rush, it says more about the Old West and the New West than all of Mr. Shepard's elliptical, stagy dialogue can muster. Such powerful images make “Don't Come Knocking” well worth contemplating.”
NY Times, March 2006

“The cinematography by Franz Lustig looks wonderful from beginning to end, but no shot equals one where we see Howard Spence sitting in a lonely hotel room window overlooking a desolate city street.”
Roger Ebert, March 2006

“It is certainly charming how Franz Lustig's camera treats the sweeping American West and the neon lights of the cities – how it transforms the concrete location of a casino into a colourful delirium of light and colour, for example, or evokes the raw attractiveness of a decayed mining city in Montana.”
signandSight, May 2005

Official website of Don't Come Knocking