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Scene from “THE FAREWELL”

Kino

EXPORT-UNION

OF GERMAN CINEMA

2/2000

At the Cannes

International Film Festival:

THE FAREWELL

by Jan Schütte

LOST KILLERS

by Dito Tsintsadze

NO PLACE TO GO

by Oskar Roehler

VASILISA by Elena Shatalova

THE TIN DRUM –

A LONE VICTOR

On the History of the

German Candidates for

the Academy Award

»SUCCESS IS IN

THE DETAILS«

A Portrait of Producer

Andrea Willson


Studio Babelsberg

Studios

Art

Department

Production

Postproduction

Studio Babelsberg GmbH

August-Bebel-Str. 26-53

D-14482 Potsdam

Tel +49 331 72-0

Fax +49 331 72-12135

info@studiobabelsberg.com

www.studiobabelsberg.com


TV SPIELFILM unterstützt

die Aktion Shooting Stars

der European Filmpromotion

www.tvspielfilm.de


K I N O 2/2000

6 The Tin Drum – A Lone Victor

On the history of the German

candidates for the Academy Award

for Best Foreign Language Film

11 Stations Of The Crossing

Portrait of Ulrike Ottinger

12 Souls At The Lost-And-Found

Portrait of Jan Schütte

14 Success Is In The Details

Portrait of Producer Andrea Willson

16 Bavarians At The Gate

Bavaria Film International

17 An International Force

Atlas International

18 KINO news

22 In Production

22 Die Blutgräfin

Ulrike Ottinger

22 Commercial Men

Lars Kraume

23 Edelweisspiraten

Niko von Glasow-Brücher

24 Enthüllung einer Ehe

Michael Verhoeven

24 Martha

Sandra Nettelbeck

25 Pissed And Proud

Connie Walther

26 Die Polizistin

Andreas Dresen

26 Was tun, wenn’s brennt?

Gregor Schnitzler

27 Willy, der Stummfilmpianist

Ilona Ziok

28

German Films at the

Cannes Festival

28 Abschied

THE FAREWELL

Jan Schütte

29 Lost Killers

Dito Tsintsadze

30 Die Unberührbare

NO PLACE TO GO

Oskar Roehler

31 Vasilisa

Elena Shatalova

34 German Classics

34 Es geschah am 20. Juli

– Aufstand gegen Adolf Hitler

IT HAPPENED ON JULY 20TH

G. W. Pabst

35 Goya

Konrad Wolf

36 Heimat

Edgar Reitz


38 New German Films

38 A Tale Of Two Cities –

Eine Erzählung von zwei Städten

Manfred Wilhelms

39 alaska.de

Esther Gronenborn

40 Apokalypse 99 – Anatomie

eines Amokläufers

Dmitri Astrachan

41 Der Bebuquin – Rendezvous

mit Carl Einstein

BEBUQUIN: A RENDEZVOUS WITH

CARL EINSTEIN

Lilo Mangelsdorff

42 Deeply

Sheri Elwood

43 Ein Mensch wie Dieter –

Golzower

A GUY LIKE DIETER –

NATIVE OF GOLZOW

Barbara Junge, Winfried Junge

44 Erotic Tales:

Die Nachtschwester

THE NIGHT NURSE

Bernd Heiber

Kimono

Hal Hartley

45 Fernes Land Pa-Isch

FAR AWAY COUNTRY PA-ISCH

Rainer Simon

46 Gangster

Volker Einrauch

47 Gespräch im Gebirg

DIALOGUE IN THE MOUNTAINS

Mattias Caduff

48 Gran Paradiso

Miguel Alexandre

49 Havanna, mi amor

Uli Gaulke

C O N T E N T S

50 Höre nie auf anzufangen –

Der Ufa-Star Carola Höhn

NEVER STOP BEGINNING –

THE UFA-STAR CAROLA HÖHN

Robert Fischer

51 Honolulu

Uschi Ferstl, Florian Gallenberger, Saskia Jell,

Vanessa Jopp, Matthias Lehmann, Beryl

Schennen, Sandra Schmidt

52 Kasachstan Lady

LADY OF KAZAKHSTAN

Dmitri Astrachan

53 Die Markus Family

THE MARKUS FAMILY

Elfi Mikesch

54 Paul Is Dead

Hendrik Handloegten

55 Private Lies

Sherry Hormann

56 Russlands Wunderkinder

RUSSIA’S WONDER CHILDREN

Irene Langemann

57 The Unscarred

Buddy Giovinazzo

58 Vergiss Amerika

FORGET AMERICA

Vanessa Jopp

59 Wotenick

Axel Kalhorn

60 Zoom – It’s Always

About Getting Closer

Otto Alexander Jahrreiss

62 Foreign Representatives

63 Film-Exporters

66 Imprint


On the history of the German candidates for the

THE TIN DRUM –

A LONE VICTOR

It could have been a good omen: at the first Oscar ceremony on

16 May 1929, a German was also among the prize-winners: Emil

Jannings was named Best Actor for his roles in Josef von

Sternberg’s The Last Command and Victor Fleming’s

The Way Of All Flesh.

But the ”Academy Award“ remained exclusively the US film

industry’s affair for some while; the Oscar for the best foreign

language film has only existed since 1947. It is probable that this

opening up seemed a bit dubious at first for those responsible:

until the mid-1950s, there weren’t any proposals from other

countries or any nominations; the Oscar was presented, so

to speak, without any advance warning by the board of the

Academy of Motion Picture Arts and Sciences (AMPAS).

The present award procedure has existed since 1956: every

country can name a film, and a committee of the Academy then

nominates five titles from all of the proposals for the final round.

The German productions (see box) have come off rather poorly

since then - and not only in comparison with France or Italy.

The Danes or Dutch have won the Oscar more often than the

Germans.

6

How much sought-after the award has since become can be seen

by the enthusiasm of producers and filmmakers when there is

at least a slight chance of having a whiff of the great prize: a

nomination in itself is regarded as an enormous success. What is

characteristic here is the widely held linguistic vagueness where

the naming of a film by its country of origin is equated with a

”nomination“. The bitterness of the struggle between productions

before one film is selected as the national entry was illustrated

by the controversy over Agnieszka Holland's film Europa

Europa (Hitlerjunge Salomon) which was produced by

Artur Brauner. More about this film later.

The naming of the Oscar candidate from the German productions

is undertaken by the Export-Union of German Cinema. The

basis for this decision are the respective films submitted by the

producers. A committee, which is annually convened by the

Export-Union, selects a candidate from these submissions in a

secret sitting, and this title is then submitted to the Academy.

How far artistic criteria compete with commercial arguments

in the selection procedure or whether it’s mainly strategic

manoeuvring vis-a-vis Hollywood that gain the upper hand

depends on the composition of the respective jury.

Günther Grass, David Bennent, Volker Schlöndorff


Academy Award for Best Foreign Language Film

German candidates for the Oscar

R: = Director · DDR = GDR

Nominatinos by the AMPAS in bold type

Features

1956 Der Hauptmann von Köpenick

The Captain from Köpenick

(R: Helmut Käutner)

1957 Nachts, wenn der Teufel kam

The Devil Came At Night (R: Robert Siodmak)

1958 Helden / Arms and the Man

(R: Franz Peter Wirth)

1959 Die Brücke The Bridge

(R: Bernhard Wicki)

1960 Faust (R: Peter Gorski)

1961 Das Wunder des Malachias (Bernhard Wicki)

1962 –

1963 –

1964 –

1965 Es (R: Ulrich Schamoni)

1966 Der junge Törless Young Torless

(R: Volker Schlöndorff)

1967 Tätowierung (R: Johannes Schaaf)

1968 Die Artisten in der Zirkuskuppel: ratlos

Artists Under The Big Top: Disorientated

(R: Alexander Kluge)

1969 Jagdszenen aus Niederbayern

Hunting Scenes From Bavaria

(R: Peter Fleischmann)

1970 o.k. (R: Michael Verhoeven)

1971 Das Schloß The Castle (R: Rudolf Noelte)

1972 Trotta (R: Johannes Schaaf)

1973 Der Fußgänger The Pedestrian

(R: Maximilian Schell)

Der Dritte (R: Egon Günther, DDR)

1974 Einer von uns beiden One Or The Other Of Us

(R: Wolfgang Petersen)

1975 Jeder für sich und Gott gegen alle

The Enigma Of Kaspar Hauser (R: Werner Herzog)

1976 Ansichten eines Clowns The Clown (R: Vojtech Jasny)

Jakob der Lügner Jacob The Liar

(R: Frank Beyer, DDR)

1977 Der amerikanische Freund The American Friend

(R: Wim Wenders)

Mama, ich lebe (R: Konrad Wolf, DDR)

1978 Die gläserne Zelle The Glass Cell

(R: Hans W. Geissendörfer)

1979 Die Blechtrommel The Tin Drum

(R: Volker Schlöndorff - Academy Award!)

1980 Fabian (R: Wolf Gremm)

Die Verlobte The Fiancee

(R: Günther Rücker, Günter Reisch, DDR)

1981 Lili Marleen (R: Rainer Werner Fassbinder)

1982 Fitzcarraldo (R: Werner Herzog)

1983 Die flambierte Frau A Woman In Flames

(R: Robert Van Ackeren)

Der Aufenthalt (R: Frank Beyer, DDR)

A New Generation

Looking back at the history of these candidates shows that, while

it may not have resulted in any Oscars in the first four years, there

was a continuous run of nominations. The final decisions by the

Academy are also plausible from today’s standpoint: they preferred

La Strada over The Captain of Kopenick (Der

Hauptmann von Köpenick), Fellini also won the following

1984 Morgen in Alabama Man Under Suspicion

(R: Norbert Kückelmann)

1985 Bittere Ernte Angry Harvest (R: Agnieszka Holland)

1986 Männer Men (R: Doris Dörrie)

1987 Der Himmel über Berlin Wings Of Desire

(R: Wim Wenders)

1988 Yasemin (R: Hark Bohm)

1989 Das Spinnennetz Spider’s Web (R: Bernhard Wicki)

1990 Das schreckliche Mädchen The Nasty Girl

(R: Michael Verhoeven)

1991 –

1992 Schtonk ! (R: Helmut Dietl)

1993 Justiz Justice (R: Hans W. Geissendörfer)

1994 Das Versprechen The Promise (R: Margarethe von Trotta)

1995 Schlafes Bruder Brother Of Sleep (R: Joseph Vilsmaier)

1996 Der Totmacher Deathmaker (R: Romuald Karmakar)

1997 Jenseits der Stille Beyond Silence (R: Caroline Link)

1998 Lola rennt Run Lola Run (R: Tom Tykwer)

1999 Aimeé und Jaguar (R: Max Färberböck)

Documentaries (feature-length and short)

KF = short

1959 Serengeti darf nicht sterben

Serengeti Shall Not Die (R: Bernhard Grzimek)

1961 Kahl (KF, R: Haro Senft)

1962 Alvorada – Aufbruch in Brasilien

Alvorada – Brazil's Changing Face (R: Hugo Niebeling)

1970 Erinnerungen an die Zukunft Chariots Of The Gods

(R: Harald Reinl)

1970 Time is Running (KF, R: Horst Dallmayr, Robert Menegoz)

1972 The Silent Revolution (P: Eckehard Munck)

1972 Hundertwassers Regentag Hunderwasser's Rainy Day

(KF, R: Peter Schamoni)

1973 Schlacht um Berlin Battle Of Berlin (R: Bengt von zur Mühlen)

1975 Millions of Years Ahead of Man (KF, R: Manfred Baier)

1980 Der gelbe Stern The Yellow Star - The Persecution of the Jews

in Europe 1993-1945 (R: Dieter Hildebrandt)

1984 Marlene (R: Maximilian Schell)

1999 Buena Vista Social Club (R: Wim Wenders)

Short Film Academy Awards (winners)

1989 Balance (R: Wolfgang Lauenstein)

1993 Schwarzfahrer Black Rider (R: Pepe Danquart)

1996 Quest (R: Thomas Stellmach)

Student Academy Awards (winners)

1988 Schmetterlinge (R: Wolfgang Becker)

1994 Abgeschminkt Making Up! (R: Katja von Garnier)

1997 Ein einfacher Auftrag An Ordinary Mission

(R: Raymond Boy)

1998 Rochade (R: Thorsten Schmidt)

1999 Kleingeld (Marc-Andreas Bochert)

year with The Nights Of Cabiria (against The Devil

Came At Night/Nachts wenn der Teufel kam),

Jacques Tati won with Mon Oncle against Wirth’s

Arms and the Man (Helden), and when Bernhard

Wicki lost with The Bridge (Die Brücke) against

Marcel Camus’ Orfeu Negro, he shared this fate with

Ingmar Bergman who only received a nomination for

Wild Strawberries.

7


Hannelore Hoger in »Artists Under The Big Top: Disorientated«

Helmut Griem and Brigitte Fossey in ”The Glass Cell“

On the history of the German candidates for the

A long barren period then began for the German cinema which

was also lamented at home. It still seems surprising from today’s

standpoint how soon the works of the ”New German Cinema“

established themselves among the official entries for the Oscar

from the Federal Republic of Germany – what’s more, this was at

a time when its young spokesmen were still complaining bitterly

about the power of the established producers. Obviously,

German cinema, though, had lost so much reputation on an international

level in the mid-1960s that, in 1966, for example,

Schlöndorff’s Young Törless (Der junge Törless) lost

out to the competition from Lelouch (A Man and a

Woman won the Foreign Language Oscar), Petrovic (Three),

and Kawalerowicz (Pharao) and was not nominated.

Two years later, the German committee made a rather courageous

decision by sending Alexander Kluge’s Artists

Under The Big Top: Disorientated (Die Artisten in

der Zirkuskuppel: Ratlos) into the race. The film must

have also made the gentlemen in Hollywood feel disorientated –

at that time they were showing little understanding for a

8

young cinema: Sergei

Bondarchuk also triumphed

with War And Peace over

Truffaut’s Stolen Kisses.

It was only with a comparitively

”conservative“ film like

Maximilian Schell’s The

Pedestrian (Der Fussgänger),

which was also a

subject of controversy among

German critics, that German

cinema managed at least to

attract a nomination again. That

was in 1973, and at this point,

Schell’s international reputation

probably played a considerable

role in the decision.

In the second half of the seventies,

there was an improvement

in the reputation of the ”New

German Cinema“. Newsweek had

even published a cover story

about the ”German Film Boom“.

Against this background, the

nominations for Geissendörfer’s

Highsmith adaptation The Glass Cell (Die gläserne

Zelle) and the award to Schlöndorff’s Grass adaptation

The Tin Drum (Die Blechtrommel) and producer Franz

Seitz were overdue; however, it is worth noting that both of

these productions were based on pre-existent literary works by

world-famous authors. Seitz has another explanation: "Perhaps

there is a tendency for how the films should look, that they be

interesting for people over there. I have the feeling that a little on

the exotic side is always in order. The nomination which The

Boat received, for example, that was also a rather exotic film.

And The Tin Drum was an exotic film in any case. And The

Pedestrian was, well, halfway exotic."

Exploiting Chances

While the German cinema of the eighties found no favour whatsoever

with the Academy, the nineties, on the other hand, brought

a clear upward trend with no less than three nominations.

All in all, and don't let us pretend otherwise, this is still far from

being a success story, and naturally poses a few questions; were,

perhaps, the wrong films being

sent from Germany to compete?

I can only think of a few titles

where I could imagine that they

might have had better chances of

a nomination than those selected

in a particular year: The

Sudden Wealth Of The

Poor People Of Kombach

(Der plötzliche Reichtum

der armen Leute von

Kombach), Wenders’ Kings

Of The Road (Im Lauf der

Zeit) and Petersen’s The

Boat (Das Boot). Just these

last two examples show the

dubious nature of such hypothetical

considerations: Wenders

was passed over in 1987 with

Wings Of Desire (Der

Himmel über Berlin), and

still didn’t win an Oscar with

Buena Vista Social Club

which didn't have to be officially

proposed by a German jury as a

documentary since other regulations

apply for that category.


Academy Award for Best Foreign Language Film

Petersen managed to obtain six

nominations, but still didn't get an

Oscar despite The Boat being

able to participate in the competition

outside of the ”Best Foreign

Language Film“ category as a

result of its official theatrical

release in the USA (the regulations

stipulate a release within the

city limits of Los Angeles!).

Reactions

of the Candidates

Artur Brauner and

Agnieszka Holland weren’t

able to profit from this second

chance either; in his vehement

criticism of the jury convened by

the Export-Union, there had

been the assertion that the decision

not to submit the film to

Hollywood had robbed it of a

sure chance of winning. Yet the

film didn't even manage to obtain

a nomination after the release of

Europa Europa (Hitlerjunge Salomon) in the

US cinemas when the decision then lay with the Academy and

was no longer with a German committee. In retrospect, one can

only really ask here whether the controversy might have been so

polemical and loaded with personal suspicions that year if the

German jury had at least agreed upon on another film rather than

deciding not to submit any film at all to the Academy.

The Oscar itself is, in the end, probably the only thing of major

economic interest. If the German candidate – who is made public

immediately after the decision – is not rewarded with anything

less than a nomination, it then suffers – at least subliminally – the

stigma of defeat. Hans W. Geissendörfer confirms this:

”Of course, it is a defeat if a film is submitted from Germany and

doesn’t then get a nomination. That happened to me with Justiz,

even though we had a Golden Globe nomination.“

The nomination itself nevertheless represents temporary

admission into the magic circle – even if one then doesn’t finally

make it into the ranks of the chosen. Tin Drum producer

Franz Seitz says: ”The nomination isn’t useless, but it isn’t

any substantial help for a film.

At least, one receives a certificate.

The Oscar means that a film gets

known as far as China and, at

home, one consequently receives

such an enormous amount of

promotion because one is passed

round from one television programme

to the next. The real

nomination, being in the last five,

that is victory in itself, that’s clear.

There are many great actors in

America who have been in the

final five umpteen times and never

got the Oscar. So, when that happens

to you the fourth or fifth

time, it can appear to be something

of an insult“.

Geissendörfer sees his nomination

for The Glass Cell

positively: ”It opens doors, but is

a long way from doing the same

to wallets. But it was often a help

for me at home and abroad, particularly

in America. The people

from our business simply take more notice of you if you’ve been

lucky to be nominated.“

What use is the nomination?

Caroline Link is convinced: ”The nomination certainly helped.

The film was then bought by Miramax, and other countries then –

put it this way – looked a bit more closely and showed an

interest in the film. I don’t know whether the Oscar nomination

did anything for me in Germany. It was more significant that

Beyond Silence did so well in the cinemas. In America,

though, the nomination can have an enormous effect. Just the fact

that one has been nominated gives one an added bonus with certain

studio executives and producers, and people who initially

wouldn’t have seen Beyond Silence perhaps have a closer

look to see whether they shouldn’t now buy the film after all,

whether they should be interested in the director. That’s what

I find fascinating about America that they are all terribly hardworking

and don’t want to miss a talent at any cost. So you really

get an awful lot of appointments. You get to meet everyone,

dash from one lunch to the next, to some appointments at

9

Marco Hofschneider in »Europa Europa«

Wolfgang Petersen (photo © H. G. Pflaum)


Caroline Link and team at a reception for the nominees hosted by the AMPAS

Scene from »Buena Vista Social Club«

On the history of the German candidates …

studios, get to see the people, talk with them in a very relaxed

and interested way. I find that really great. And that's what this

nomination opened up for me, so to speak.”

However, Caroline Link remembers the ceremony with a

healthy dose of scepticism: ”It’s very clear that at the Oscar

ceremony and in all this hullabaloo around the Oscar the

Americans are really only interested in American cinema and

in celebrating themselves and Hollywood. You admittedly have

wonderful events organised by the Academy. Lunch with

American directors, panel discussions, but one has the sneaking

feeling that there is polite interest, if one asks if they want to see

the film or if they are interested, among colleagues, then there’s a

real reserve after all. In reality, they are focused very much on

themselves there. And that's how you feel at the ceremony.”

The disappointment of a producer or director proposed by

Germany, who has been passed over in the nominations, is

understandable because among those who get through to the

next stage there are always films which are ”not any better“.

Consequently, the parameters are never really clear and the

question regularly crops up as to whether other criteria not

connected with the film are coming into play. Why was Run

10

Lola Run no nominated, why was

Aimee & Jaguar passed over?

Christoph Ott, Senator Film,

points out: ”The disappointment

was great especially since we had a

good chances after the nomination

for the Golden Globe.“ However,

Ott doesn’t see any fundamental

aversions to German films within

the ranks of the Academy: ”The

Foreign Language Committee has

to have seen all of the nominated

films, i.e. over 40 films in a few

weeks. Thus, the number of

people who can decide on these

nominations is small. I have personally

met some of the members

and all I can say is that these people

are real film freaks. I couldn’t

determine any problems or

difficulties with German films.

Sometimes the subjects of German

films are too German and the

style too conventional.“

The enormous promotional effect of the Oscar basically functions

only for feature films. The situation for documentary and short

films has become more difficult in the past decades. In the fifties,

productions like The Living Desert (Disney), Serengeti

darf nicht sterben (Grzimek) or The Silent World

(Cousteau) received even more tail wind for their release in the

cinemas from the Academy Award, even several shorts (A Time

Out Of War by Denis and Terry Sanders or Moonbird

by John Hubley) were also distributed as Oscar winners in

Germany. Since then, documentaries and shorts have for a long

time become film industry ”also rans“; in most cases, the

Academy Award is not even enough to help the winners to a

theatrical release.

In 1999, the German cinemas witnessed an exception: Buena

Vista Social Club by Wim Wenders who also received an

Oscar nomination for this documentary; however, this was not

enough for a win, even though the film was tipped as the

favourite. The other two nominated works from Germany, the

short Kleingeld by Marc-Andreas Bochert, who had

received the Student Oscar for Kleingeld in 1999, and the animation

film 3 Misses by Paul Driesen came back empty-handed.

Whoever the German candidates lost out to – whether

deserved or not – one might cautiously

say that it doesn’t appear

cinema from Germany enjoys any

great popularity with the ladies and

gentlemen of AMPAS.

Unfortunately, only very little

public attention has been paid in

Germany to the Student Oscar

which has been awarded early

each summer since 1981.

However the young generation of

German filmmakers give reason

for some hope here since they

have already won five times …

most recently, with three wins in

a row! For the time being, though,

the award seems, above all, to

ease the path into the future for

those winners wanting to have a

career in Hollywood. But that is

another story.

H. G. Pflaum


Portrait of Ulrike Ottinger

Ottinger’s films explore a

world of difference defined

by the tension and transfer

between settled and nomadic

cultures. Ottinger’s sense of

this cultural transfer informs

her documentary and her

feature films. It is what marks

the stations of her encounter

with the other, whether recognizably

exotic or simply

but subtly unpredictable.

Nomadic cultures – archaic or

modern – occupy a margin

where reality, the future, or

the other uncontrollably

begins. Metamorphosis and

allegory are, accordingly,

hallmarks of Ottinger’s

visual language.

From her prehistory as visual

artist Ottinger brought to her

take on film the principle

of collage and an eye trained for

composition. But what in turn

drew her to film is that

it is constitutively a medium

of juxtaposition which can

thus best convey the present

tensions, for example, between

parameters of the historical and of the modern, between

stationary and moving perspectives, between global

panoramas and the miniature. Reflecting the status of

the medium as the high or late point of developments

Starting her visual arts career in Munich and Paris (painting, works on paper, photography, performance),

Ulrike Ottinger’s commitment to film took off with her move to Berlin, that archaeological site of

political and psychic projections which served her through the 80s as a major source of inspiration for

her exploration of the cinematic medium. The deconstructive momentum of Berlin is reflected in the

difference Ottinger’s films make. In her films difference does not stop short between units or unities

(those of cultural, national, or sexual identity, for example). In the encounter with the other, which these

films explore, self finds itself, beside itself, crossed with and crossing through the other. And that’s the

difference that sets Ottinger’s cinema apart.

Her film credits are: Laokoon und Söhne (short, 1972/73), Berlin Fieber – Wolf Vostell

(short, 1973), Die Betörung der blauen Matrosen (short, 1975), Madame X – Eine

absolute Herrscherin (1977), Bildnis einer Trinkerin – Aller jamais retour (1979),

Freak Orlando (1981), Dorian Gray im Spiegel der Boulevardpresse (1984), China.

Die Künste – Der Alltag (1985), Superbia – Der Stolz (short, 1986), Usinimage

(short, 1987), Johanna d’Arc of Mongolia (1988), Countdown (1990), Taiga (1992), Exil

Shanghai (1997).

STATIONS OF

THE CROSSING

Ulrike Ottinger

beginning with the printing

press, Ottinger makes her

movies at the stations of the

crossing of the legible with the

irreducibly visual, of narrative

with tableau.

Her first feature, Madame

X – Eine absolute

Herrscherin, prefigures all

her subsequent movies. It

made Ottinger a sensational

figure of controversy. This

ostensible „lesbian-feminist

pirate film“ in turn challenged

certain assumptions of feminist

politics by keeping its focus

fixed on the troubling doubling

of gender. Her next feature,

Bildnis einer Trinkerin,

which Jonathan Rosenbaum

judged in 1983

to be “an uncategorizable

masterpiece so sui generis

that influences seem hardly

relevant at all to the synthesis

achieved“, established her

reputation as one of the

leading European art

cinema directors.

Bildnis einer Trinkerin is the first part of Ottinger’s 1980s

trilogy, which continued with Freak Orlando and concluded

with Dorian Gray im Spiegel der Boulevardpresse. The

Berlin setting holds these films together. In Ottinger’s allegorical

11


Portrait of Ulrike Ottinger

reading or rendering, Berlin’s ready-made status as most ancient

or primal city of our more recent past and most traumatic

history becomes visible in the architectural settings of the city’s

latent history as a narrative of episodes cutting through time

and space. Inherent in this allegorical procedure is the metamorphosis

required to make manifest the artist’s reading of

urban relics. This forms the documentary subject of Usinimage,

which shows the Before and After pictures of Ottinger‘s

cinematographic modifications of the Berlin locations. In

Countdown the filmmaker expands her approach to yet

another kind of documentary perspective: With a sort of

”caméra stylo“ she registers for ten days leading up to the

unification of German currencies the political changes after

1989 in the every day life of Berlin, in the margins at the center

of the epoch-making ending of the Cold War.

If we consider Ottinger’s regular collaboration with actress

Delphine Seyrig as a point of cohesion, then Johanna

d’Arc of Mongolia (which, to add not only my own judgement

as an update to Rosenbaum’s 1983 call, is truly one of the

masterpieces of world cinema) could be seen to overlap

with the trilogy. To mark this station of the journey, the film

juxtaposes the fictional film medium with that of documentary

film-making.

But the seeming split down the middle of the film between the

film artifact contained in the train crossing Siberia and the onlocation

account of the sojourn of the abducted train passengers

in the wide open spaces of the Mongolian tribe’s domain does

not subsume all the differences Ottinger has set into play.

Just as the title of the film speaks in three tongues, so the

European train of association barely contains itself, but already

Portrait of Jan Schütte

Home is not a place, but a state of mind in the five feature films

and seven documentaries that German director Jan Schütte has

made over the past two decades. The people in his films, both

real-life and fictitious characters, tend to travel – they are restless

souls, wanderers and underdogs, people adrift at the edges of

society who are searching for a meaning in their lives.

It is their small, inconspicuous fates that fascinate the filmmaker,

and it is the spaces they tentatively occupy that he patiently explores.

Jan Schütte is Germany’s guy for the souls at the lost-andfound.

“Somehow, it is those topics that I end up dealing with,”

Schütte says. “Yet to me, they are all separate stories.” Both in

terms of his age – the tall, soft-spoken director with a shock of

graying hair is 42 years old - and in his approach to directing,

Schütte is a kind of go-between between two generations of

German filmmakers: From the older generation of cinematic

12

bursts out into celebration of radically diverse and overlapping

cultures well before the train has been stopped in its tracks

and the ‚documentary‘ section has opend up in its place.

Johanna d’Arc of Mongolia serves as reminder that it is

impossible or pointless to separate Ottinger’s fiction films

from her documentaries (which now seem to comprise, as

though Johanna d’Arc of Mongolia served as a model,

the second half of her œuvre).

Ottinger’s next two projects, however, will return to the

fiction film genre. The Bloodcountess (Die Blutgräfin,

cf. page 22) Ottinger’s ironic foray into the vampire film, will

be set on such precursors as Roman Polanski’s The

Fearless Vampire Killers and Harry Kümel’s

Daughters of Darkness. Diamond Dance, Ottinger’s

largest project to date, juxtaposes the Shoah and the AIDS

crisis within a melting plot featuring the international diamond

business, the underworld of Mickey Marx, and a musical mix of

klezmer and jazz.

Ottinger’s cinema, which breaks for one station before moving

on to the next one, and in this move crosses the one with the

other, is the kind of journey that can only keep on beginning,

again and again.

Laurence A. Rickels is the author of a

study of Ulrike Ottinger’s films entitled

”The Autobiography of Cinema“.

SOULS AT THE

LOST-AND-FOUND

auteurs like Wim Wenders, Rainer Werner Fassbinder

and Werner Herzog, who set out in the early seventies to

create fiercely individual, original films that laid claim to being art

rather than entertainment, Schütte has inherited the urge to tell

only the stories close to his heart; at the same time, he shares the

desire to reach – and entertain – a broad audience with

Germany’s younger generation of filmmakers, including Tom

Tykwer, Sönke Wortmann and Katja von Garnier.

Unfortunately, his in-between-status has prevented the modest,

quiet Schütte from achieving the public acclaim (and success) he

deserves – at least in Germany. As for the rest of the world, well,

that is a very different matter. Schütte’s films have probably won

more awards at festivals around the world than those of any other

contemporary German filmmaker. His is the classic case of a prophet

who is not heeded in his home country. This might have to


Portrait of Jan Schütte

Born in Mannheim in 1957, Jan Schütte studied literature, art history and philosophy, and started working as a TV

reporter in 1979. He never attended film school but struck out on his own, first with documentary shorts like Ugge

Baertle – Bildhauer (1982) and Eigentlich wollte ich ja nach Amerika (1984). A true independent, he

founded his own production company, ”Novoskop Film“, and has acted as producer on most of his films. In 1987 he

directed, produced and co-wrote (with Thomas Strittmatter) his feature debut Dragon Chow (Drachenfutter) which

received numerous national and international awards, among them the Prix François Truffaut and the Premio Cinecritica, and

was named best film by the German Film Critics Association.

Dragon Chow sold in 28 countries around the globe. Since then, Schütte has directed four more feature films:

Winckelmanns Reisen (1990) which screened at the Venice Film Festival and was nominated for a German Film Award,

Auf Wiedersehen Amerika (1994), which was invited to the ”Quinzaine“ section of the Cannes festival and won

several international prizes as well as a German Film Award and a Bavarian Film Award, Fette Welt (1998), an entry at the

Locarno Festival, and Abschied (2000), which will be released in Germany in September. Between feature films, Schütte

has also directed some highly praised documentaries and filmic essays, including Verloren in Amerika (1988), Nach

Patagonien (1991), and Eine Reise ins Innere von Wien (1995). The director, who lives in Berlin with his wife

and three children, is currently wrapping up a stint as a visiting professor at Dartmouth College in New Hampshire (USA).

do with the unfortunate fact that Germany doesn’t look all that

good in Schütte’s films. He is a director with a sense of the poetry

of the mundane but with little

patience for flattery –

whatever doesn’t look or feel

or smell real gets chucked out.

His films clearly reflect the fact

that he started out as a documentary

filmmaker and still

directs the occasional documentary

and filmic essay - most of

them, like Nach Patagonien

(1991) and Eine Reise in

das Innere von Wien

(1995), also preoccupied with

questions of travelling, identity,

and place. In Dragon Chow

(Drachenfutter, 1987), his

black-and-white feature debut,

the young director chronicled

the travails of two foreigners, a

Pakistani refugee and a Chinese

waiter, who try to open their

own restaurant in Hamburg.

The city looks harsh and unwelcoming

in the film, and it is only

Schütte’s wry sense of humor

and his keen awareness of life’s

small ups and downs that provide

a sense of warmth and

optimism. In Winckelmann’s

Reisen (1990),

Schütte’s next feature, also shot in black and white, the hero is a

traveller of another kind: Winckelmann, a small, shrivelled-up guy

in his forties, is a shampoo salesman who spends his life hawking

his wares in small, dreary beauty parlors across the flats of

Northern Germany. He is a lost and awkward man, and Schütte

tenderly lays bare his inability to connect to the people around

him. “Every life has its drama,” Schütte claims, “you just have

to discover it, name it and shape it.”

Four years later, Schütte looked beyond Germany to tell the

story of three elderly emigrants – two of them Jewish

Holocaust refugees – who decide to return to Europe after

several decades in the United States. Bye Bye America (Auf

Wiedersehen Amerika, 1994) pursues Schütte’s familiar

quest for a place to call home. This senior citizen road movie

combines his strengths in a

remarkably pure and relaxed

way: It is laconic and sensual,

full of wonderfully observed

moments, throwaway lines, wit,

and shy, heart-rending glances

at the world.

After Bye Bye America,

Schütte’s longtime collaborator,

the screenwriter and playwright

Thomas Strittmatter, died

unexpectedly at the age of 33.

Schütte shelved a project they

had been working on together,

and turned to adapting a successful

German novel about a young

homeless man in Munich.

Fat World (Fette Welt,

1998) lacked the story-telling skills

that had distinguished Schütte’s

earlier efforts but succeeded as

an authentic look at life on the

streets. Up next is Abschied, a

film about writer Bertolt Brecht,

starring one of Germany’s

greatest theater actors, Joseph

Bierbichler.

Jan Schütte

“The film compresses Brecht’s

whole life into a single day shortly

before his death,” Schütte says. “It seems very simple, yet it

deals with many complicated issues. That’s what I wanted to

achieve this time: a blend of simplicity and complexity.”

Jan Schütte spoke to

SPIEGEL film editor Susanne Weingarten.

13


Portrait of Producer Andrea Willson

Andrea Willson was born in Heidelberg in 1962 and studied Sociology at Boston College, in the United

States. She entered the industry in 1988 at WNET Public Television in New York. From 1990-92 she continued

her journalistic work with CNN and Deutsche Welle as well as producing her first documentary. She

then joined Taurus Film developing and evaluating scripts and treatments for both the German and international

markets. 1993-1994 saw her heading development at Tele München. From 1994-1996 she developed and

oversaw projects for Pro Sieben before heading up RTL2’s Fiction department. In 1998 she became head of

Deutsche Columbia Pictures Filmproduktion. Currently overseeing the annual production of 3-4 German

features she was responsible for the recent horror hit Anatomie).

SUCCESS IS IN

THE DETAILS

”We’re already thinking about a possible ”Anatomie 2,“ says

Willson. Written and directed by Stefan Ruzowitzky,

Anatomie is a nail-biting thriller about a young student, played

by Run, Lola, Run-star Franka Potente, who stumbles

upon a secret organisation of unscrupulous and somewhat sadistic

medical researchers at the University of Heidelberg. The film taps

into people’s instinctive fear of doctors and scalpels, notes

Willson. It's that universal appeal, or aversion in the case of

Anatomie, that has made the film a hit in Germany and may

end up luring foreign viewers. Willson also credits Potente,

who plays the amiable but nerdy heroine Paula. In addition to a

sexy young cast, the mix of horror and comedy has helped the

film do unusually well among female viewers.

Despite its parent company’s famous name, not to mention the

popular logo, Deutsche Columbia Pictures is a German

film company with its focus squarely on the local market.

Nevertheless, Deutsche Columbia Managing Director Andrea

Willson points out that being part of one of the world’s most

famous movie companies does have its advantages, like being able

to tap into a wealth of experience and wisdom.

Yet Willson’s own background has helped her develop a feeling

for solid story-telling. Before coming to Deutsche Columbia,

she headed fiction at the German commercial broadcaster RTL 2,

worked in film development at the German network ProSieben,

supervised screenplay development at the production company

Tele München and evaluated screenplays and treatments at

Munich-based Taurus Film. The experience has convinced Willson

that a good movie is finished first on paper, then on film, adding

that it’s much easier and much more efficient to take your time in

pre-production to iron out any problems before shooting begins.

The early development of the project, the fine-tuning of the

script, is vital for a film’s success, she says. ”It’s the project which

always decides when it’s ready.“

With Deutsche Columbia’s first film, Anatomie, having earned

some DM 20 million in its first six weeks, it looks like a development

strategy that has paid off. It’s not only Willson who is

celebrating the film’s success, however. Executives at Columbia

Tristar are eagerly awaiting its international performance and

enthusiastic about the picture's video and TV potential.

14

Andrea Willson

While German filmmakers have been inspired by international

successes like Run, Lola, Run to aim beyond national borders,

Willson says it’s important to make films for German viewers

first, and if they take off internationally, then great. ”We would

never choose to produce something that did not work in

Germany,“ she adds.Willson was appointed managing director

in 1998 when Deutsche Columbia was established as part of

Sony Pictures Entertainment’s plan for a strategic global

expansion. The company has also set up local Columbia branches

in Hong Kong, India and the U.K. in order to tap into the local

tastes and local talent of some of the world's most important

markets.

With some 100 million German speakers in Europe, Deutsche

Columbia’s offices in the futuristic new Sony complex at

Potsdamer Platz, Berlin’s glitzy new downtown area, have come

to symbolise the company's commitment to this significant

European market. Surrounded by huge glass panes that overlook

the Tiergarten, Berlin’s answer to Central Park, and with a view of

the Reichstag parliament building in the distance, Willson says

the fancy new digs should inspire her team to work real hard.

The company is busy working on its next film (cf. page 22)

Commercial Men from writer/director Lars Kraume,

which looks at the vicious dog-eat-dog world of advertising, and

in the upcoming Was tun, wenn’s brennt, the lives of six

former friends are turned upside down when a bomb they planted

ten years ago suddenly explodes in the former residence of

a U.S. general in Berlin (cf. page 26). The film, like Anatomie,

is being produced by Jakob Claussen and Thomas

Woebke, and is set to start shooting later this year. Deutsche

Columbia plans on making three to four films a year with

budgets ranging between DM 4 and DM 10 million.

Ed Meza


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Bavaria Film International

Established in 1998 Foreign offices t.b.a. Head of Bavaria Film International Michael

Weber Additional contact Thorsten Schaumann Main fields of activity world-wide distribution of

feature films Regular attendance of the following film markets AFM, Berlin Film Festival, Cannes

Film Festival, Locarno, London Screenings, MIFED, Rotterdam Film Festival, Sundance, Toronto Number

of titles on offer 50 Percentage of German titles on offer 95% Buyers include Sony

Picture Classics, Miramax, ARP, Pandora, Lucky Red, Upstream Pictures, Angel Films, Hana Media, Avro and

Stratosphere. Most well-known current titles on offer The Legends of Rita by Volker

Schlöndorff, Fandango by Matthias Glasner, Tuvalu by Veit Helmer and Gigantic by Sebastian Schipper

Best-selling titles currently on sale Run Lola, Run by Tom Tykwer, Beyond Silence by

Caroline Link and Comedian Harmonists by Joseph Vilsmaier.

BAVARIANS AT THE GATE

From its home in Munich, Bavaria Film International

typifies the kind of company which has made its namesake the

Freistaat Bayern, or Bavaria, not just a national but international

powerhouse. It’s local, but thinks and acts global. Bavaria Film

International is a part of Bavaria Media GmbH, a subsidiary of

Bavaria Film GmbH, one of Europe’s biggest film and television

production companies. Bavaria

Media handles film and television

rights and co-ordinates co-production

and co-financing, Bavaria Film

International distributes the most

successful German Films on the world

market. ”How do you sell a German

film best?“ asks Michael Weber,

Head of Bavaria Film International,

rhetorically. ”It’s not about

selling a German film, but a film,

regardless of where it comes from.“

Bavaria Film International’s

current catalogue includes last year’s

conspiracy-filled hacker tale 23, the

children’s classic Annaluise and

Anton, the critically acclaimed Paths

in the Night and Gigantic as well

as recent Berlinale entries like the

award-winning The Legends of

Rita by Volker Schlöndorff

and Fandango. And through its

German Independents label it

offers a wide range of what it refers

to as ”Grade A“ feature films from

some of Germany’s most famous filmmakers as well as new

up-and-coming directors.

”We have had the German Independents label for three

years to create a brand for German independent film. It’s been

very successful,“ says Weber. ”It’s made us someone to talk to

for good films which come from Germany. Not just for films, but

as a brand; a label, where you can find interesting productions.“

With the market for foreign language (read European) film getting

tighter Weber is changing people’s perceptions ”so that they see

us not just as German and limited to Germany, but as European.“

”We want to distribute not just “pure“ German films, Germanlanguage

films but European films. And we are working hard to

produce and acquire them.“ Films such as Conamara by Eoin

Moore. ”It’s a German-produced feature film,“ says Weber,

”but more Irish than German.“

16

Bavaria Film International is also about to acquire its first

non-German produced film. Weber refuses to be drawn, but

says to watch out for the announcement at Cannes. It promises

to make a splash. When it comes to producers the company is

keen to start the dialogue as early as possible. Why? ”We want

to ensure producers are not focusing only on Germany, but will

create things, even in the pre-production

stage, that will have international,

world-wide success“, says Weber.

”And that’s what we’ve achieved. We

can only be as good as the films we

have. When we don’t have any good

films, we can’t do anything. Continual

dialogue with producers, he finds, is

the key. Dialogue about the best

marketing strategy, which people to

cast, even the music. Bavaria Film

International is happiest when the

dialogue starts as early as possible.

It all starts, he says, with a good

script. That’s where the problems are

anchored. But he doesn’t see shooting

in English as the perfect solution.

”There are good films out there, with

their own story but so universal that

they come through in any language.

They’re not mainstream like

Hollywood but will still be successful.“

Michael Weber Weber considers all markets to be

equally important, but agrees that for

Bavaria Film International long-term success lies in

Europe. ”We’re talking about European film and as different as the

cultures in Europe are, they have more in common with each

other than they do, say, with Asia.“ The internet, he believes, is a

boon. Especially on the business to business level, enabling closer

contact with partners in other countries and the freer and faster

exchange of information, but ”as for selling the whole film, that

lies in the future.“ ”The next step will be internet films on

demand, and it will come,“ he says, ”but I wonder whether it will

establish itself as part of the rights chain.“ Weber acknowledges

that competition among European media houses is growing, citing

Canal Plus’ recent acquisition of Tom Tykwer’s latest film,

The Princess And The Warrior, but sees it as a sign of

how far Germany has come. ”The competition has woken up!

People have recognised that there’s been a lot of change in the

German market in the last two to four years; that the product can

be internationally successful.“


Atlas International

Established in 1967 Foreign offices France, United States, Japan, Spain, Scandinavia Head of Atlas

International Dieter Menz Additional Contact Stefan Menz Main fields of activity world-wide

distribution of feature films, TV-movies and series Regular attendance of the following film markets

AFM, Berlin, Cannes Film Festival, MIFED, MIP TV, MIPCOM, sometimes Monte Carlo, Tokyo, Venice, NATPE

Number of titles on offer 512 Percentage of German titles on offer 65% Buyers include From

A (Anchor Bay Entertainment, USA) to Z (Zazie Films Inc., Japan) every top distributor in the world Most wellknown

current titles on offer The Red Phone (two TV-movies) by Mario Azzopardi, Turkish Delight

by Paul Verhoeven and Germany’s current No. 1 Ants In The Pants by Marc Rothemund Best-selling titles

currently on offer Der Bewegte Mann by Sönke Wortmann, The Last Broadcast by Stefan Avalos

and Lance Weiler, Bin ich Schön? by Doris Dörrie, Erotic Tales (series of short films by directors of international

fame), Last House on the Left by Wes Craven and The Lost Army by Andrezej Wajda

AN INTERNATIONAL FORCE

Dieter Menz is a man who knows films. They’re not only his

life’s work but his love. You could say they’re even in his blood.

The co-founder and Atlas International’s President and

CEO was introduced to the big screen by his father. Erich

Menz, who opened Berlin’s first cinema in 1922, used to take

Dieter in his pram to work with him!

It not only saved money on baby-sitters, it taught him to understand

the audience’s, that is the customer’s, perspective. ”Atlas

International is a sales company,“ Dieter Menz says. ”We

produce and sell films. You can’t make someone buy what they

don’t want or isn’t any good. The customer

comes first, second and third.“ Films

from any country have found, will always

find, a caring and professional sales

department, as long as they are good,

commercial entertainment.

”That’s the main criterion for me. The

films we turn out, that we produce, have

to be entertaining, and they have to entertain

as much of the world as possible,“

says Menz. ”Elitists, films made only for

the smallest of target groups, don’t interest

us. We want to reach the big cinema,

not small discussion groups.“ As the company’s

name says, it’s international. It just

happens to be German. Regularly attending

the world’s major markets, Atlas

International has its finger on the

pulse of the business; watching the trends,

seeing who’s making what and where and,

more importantly, if it’s selling. ”This is a

relationship business,“ says Stefan Menz, Atlas’ President.

”We represent the interests of some one hundred producers.

They look to us, they’re relying on us, to serve those interests.

If we don’t sell, they can’t produce.“

Then he names a long list of titles such as the upcoming TV-movie

The Red Phone, German cartoon hit Werner Beinhart,

”Stargate“ and ”Independence Day“ director Roland

Emmerich’s debut, The Noah’s Ark Principle, the

Oscar nominated Polish film, Pharaoh, and many, many others.

Over the last twenty years they have seen a lot of changes in the

industry, especially when it comes to selling German films.

”Twenty years ago,“ Dieter says, ”Germany had famous directors

like Werner Herzog, Fassbinder, Schlöndorff and

Wenders who were selling all over the world and it made selling

German films easy. These directors and their films were art films.

”If you look at the American market there are only seven-hundred

and fifty arthouse cinemas and they are the only ones which

play foreign language films. Twenty years ago the films of those

German directors were exactly what the American arthouse

audience wanted to see. Today, German directors are making

mainstream films.“ He cites Maybe … Maybe Not

(Der Bewegte Mann) as an example: a mainstream film, shot

in German, is considered a foreign language picture in the States

and therefore plays only in arthouses and not in mainstream theatres.

”The arthouse audience,“ says Menz, ”does not appreciate

this type of film because it is not an art film, and the mainstream

audience does not go to see it as it

plays in arthouses as a foreign language

picture.“

Dieter Menz

So how has selling German film changed

over these twenty years? ”It is

more difficult!“ The new generation

of directors has yet to break through

and make its mark on an international

audience. Wim Wenders is,

of course, still going strong, as evidenced

by Buena Vista Social

Club and Million Dollar Hotel

which have sold, are selling, extremely

well. ”But,“ says Stefan Menz,

”with the exception of Tom

Tykwer – and let’s make it very

clear, it’s only Lola Runs which has

really done big business in a number

of territories – German directors are

not well known abroad and we no

longer have the actors anymore, the

top box office names abroad.“

Stuck in a Catch-22 situation, German filmmakers, he believes,

need to make a name for themselves through quality product

which finds an international audience. As for the internet,

Dieter Menz is not yet convinced. ”We all talk about the

future and we all expect the big money in the internet. But as

long as it is not guaranteed by a corresponding technique and

system so that films aren’t pirated and every viewer has to pay a

fee which is available to the producer, I don’t see it as a possibility

for producers to make money.“ For the time being, Atlas

International remains wedded to the tried and proven

methods; quality products, long-standing relationships, solid

market research and, quite simply, being there. ”There’ll always

be the need for markets. Nothing will ever replace meeting

someone, shaking hands, sitting down and enjoying a drink.“

17


Kino news

First Festival of

German Cinema in Rome

The Export-Union of German Cinema followed Paris,

London, Madrid and Buenos Aires with the first Festival of

German Cinema in Rome. Eight feature films and the

shorts programme ”Next Generation“ were presented from

April 6-10, 2000 in the centrally located ’Cinema Barberini‘.

The festival’s goal was to attract a professional and general

audience for German cinema in another European metropolis.

The festival was opened by the comedy Enlightenment

Guaranteed by Doris Dörrie who personally introduced

her film. Leading personalities from the Italian film and arts

world attended the screening and the reception thereafter.

The programme featured another seven films which were

selected by an independent Italian expert jury from 40 titles:

Gigantic, a melancholic comedy by Sebastian Schipper;

Aimée & Jaguar – a love story between two women that

has lasted past death – by Max Färberböck; Rosa von

Praunheim's life story of Dr. Magnus Hirschfeld The

Einstein Of Sex; Rolf Schübel’s tragic love story

Gloomy Sunday; the end of childhood is recalled by

Anno Saul in Green Desert; the oppressively realistic

thriller Paradise Mall by Friedemann Fromm

and Thorsten Schmidt's modern big-city fairytale

Schnee in der Neujahrsnacht.

The shorts programme NEXT GENERATION, which was

shown in Cannes last year, was presented in cooperation with

the Roman film school ’Scuola Nazionale di Cinema‘.

The Festival’s partners were the Federal State Minister for

Culture and Affairs of the Media, the German Federal Film

Board (FFA), the six major regional film funds, the Goethe-

Institute Rome, Lufthansa, Film und Video Untertitelung and

’Radio Citta’ Futura‘.

18

Cannes as platform for the new

generation of filmmakers

For the third time running the Export-Union of German

Cinema will be presenting a selection of shorts by German

film students during the Cannes Film Festival under the label

of Next Generation.

Eleven films from five film schools have made it this year into

the Next Generation programme which was initiated in

1998 by the Export-Union in close collaboration with the

University of Hamburg’s Film postgraduate course, the dffb in

Berlin, the Baden-Württemberg Film Academy, HFF ”Konrad

Wolf“ in Potsdam-Babelsberg, HFF Munich und the Academy

of Art for Media in Cologne.

The Export-Union will be presenting the films, which were

elected by an independent expert jury (this year: Heinz

Badewitz, director of the Hof Film Days; Astrid Kühl, managing

director of the Short Film Agency in Hamburg, and

Susan Vahabzadeh, journalist), to a professional audience in

the STAR Cinema in Cannes on Sunday 14th May as part

of the ”Cannes German Programme“. Buyers, journalists and

festival representatives will get to see a broad spectrum of

various talents:

Harara by Andy Kaiser, Letters by Matthias

Wittmann and Mann im Mond by Chris

Stenner/Arvid Uibel (Baden-Württemberg Film

Academy ); Hartes Brot by Nathalie Percillier (dffb);

Hör Dein Leben by Züli Aladag (Academy of Art for

Media Cologne); BSSS by Felix Gönnert, Kleingeld by

Marc-Andreas Bochert and Trompe l’œil by Ingo

Panke (HFF Konrad Wolf); Bin weg – Lisa by Matthias

Kutschmann, Dobermann by Florian Henckel-

Donnersmarck and Verzaubert by Christian Ditter

(HFF Munich).

As always, the Export-Union invites one of the directors to

Cannes – this year’s lucky winner is Nathalie Percillier.

For Marcel-Kyrill Gardelli (Road to Palermo), the

invitation to the Croisette in 1999 was ”a super opportunity

to get an impression of how the international film business

works and how the big boys operate – and all of this not just

as an observer, but with one’s own film up on the screen“.

Following the presentation in Cannes, which is also organised

in collaboration with the six major regional film funds

(Filmboard Berlin-Brandenburg, FilmFernsehFonds Bayern,

FilmFörderung Hamburg, Filmstiftung NRW, MFG Baden-

Württemberg, Mitteldeutsche Medienförderung), Next

Generation will also be staged – as happened last year –

as part of the Festivals of German Cinema which the Export-

Union organises in key cities of the international film industry.


5 Years of FilmFörderung

Hamburg – 20 Years of Film

Funding in Hamburg

This year film funding in Hamburg has two reasons to celebrate:

20 years ago in the Hansa city, the signal was given for the

start of a cultural film funding programme within which filmmakers

themselves selected the material to be sponsored. In

1982, the installation of commercial film funding created a

basis supporting a range of work from large international

cinema productions to unusual documentary and experimental

films. The merger of these two institutions on 1.7.95 led to

the present FilmFörderung Hamburg GmbH (FFHH);

its clear profile being a balance between innovative, cultural

and more commercial projects.

Statistically, the work of the FFHH may be expressed in the

following way: 87 million DM have been spent – 54 million DM

for the production of 83 feature films, 9 million DM for television

films and series, and 6 million DM for documentary films.

A total of 6 million DM have gone into the development of

projects and scriptwriting, 7,5 million DM into distribution

and sales. 220,000 DM have been available each year since

1997 for extraordinary publicity measures and film presentations,

as well as for outstanding film programmes organized by

Hamburg film theatres.

MFG SUMMER ACTIVITIES:

MFG PRESENCE AT THE MIFA IN ANNECY

At the Marché International du Film d'Animation (MIFA) from

June 7 to 10, 2000 during the International Animated Film

Festival in Annecy, MFG and various local producers will be

present at the MFG stand 5.9 to give an overview of recent

animated films funded by MFG and produced in the southwest.

THE SECOND ”LOCATION TOUR BADEN-

WÜRTTEMBERG“

In order to present the south-west as an attractive location for

films, MFG has now initiated the second ”Location tour Baden-

Württemberg“ around Karlsruhe/Mannheim and the northern

Black Forest for producers and film-makers from June 20 to

21, 2000.

SCRIPTWRITING CAMP FREIBURG

A script development training for young writers and script

talents organized by MFG, the Goethe Institute Freiburg,

TaunusFilm GmbH Wiesbaden and ZFP will take place in

Freiburg from May 26 to 31, 2000 and in Wiesbaden from

September 4 to 9, 2000.

Kino news

Start Signal for the

”mdm-locationguide“

The location guide of the Mitteldeutsche Medienförderung

(Central German Media Funding) has been

online since May. Already it is possible to research into

more than 600 locations for filming in Thuringia, Saxony-

Anhalt and Saxony under the Internet address

”http://www.mdm-locationguide.de“.

The very detailed information concerning potential film

locations has been put together to cater for the needs of the

professional user. Particular emphasis was placed on intuitive

guidance of users, permitting an effective and uncomplicated

search for the required location. Another important point is

the super quick loading of pages, so that despite the integration

of attractive location photos, there are no long

waiting times.

At the Focus Germany stand in Cannes, the Filmboard

Berlin-Brandenburg, the FilmFörderung Hamburg and the

Mitteldeutsche Medienförderung will be organizing two joint

day events. On 13.05.2000, the focus is to be on films shown

in Cannes which they have sponsored. On 16.05.2000, the

three location offices will be presenting information on their

services and online offers.

19

Photos: Scenes from Export-Union’s short film-programme NEXT GENERATION


Kino news

European Co-producers’ Summit

in Munich

Meet your future co-production partners – that’s the slogan

for the international co-production summit ”Europe of the

Short Routes“ which features guests from southern Germany,

Austria and Switzerland and is being held just before the

Munich Film Festival, on the 23rd June 2000. The event has

been organised by the FilmFernsehFonds Bayern, together with

representative promotional bodies from Baden-Württemberg,

Austria and Switzerland.

Invited producers will present concrete film and television

projects which all have co-production potential. Alongside

possible future partners, representatives of the respective

promotional bodies, broadcasters and distributors will also

be present. The summit’s main aim is to enable contact

between potential development and production partners.

In previous years the summit has been held successfully in

Graz, Locarno and Strasburg.

For more information:

Anja Metzger · FFF Bayern Location Büro

phone: +49-89-544 60 216

email: location@fff-bayern.de

FFA Supports Video Industry

For The First Time

For the first time the FFA (German Federal Film Board) will

this year be giving its support to Germany’s videostores and

programming suppliers. After years of legal dispute between

the FFA and the video industry over the payment of statutory

taxes on videos agreement was finally reached at the end of

last year after both sides accepted proposals put forward by

the Minister for Culture Dr. Michael Naumann. The

FFA-Video subcommittee met for its first session in March.

A total of DM 6.2m in financial support is now on offer to

the video industry.

Monies to promote videostores are available in the form of

loans for the modernisation, improvement and creation of

family video outlets as well as the acquisition of product specially

suited to children and young people. In addition, monies

are also available to software suppliers to promote the production

and delivery of videos and DVDs for the child/youth

market; to help them enter the market, expand their

existing activities or form co-operation agreements.

20

International Film Congress in

June in Cologne

For the first time, the International Film Congress of

the Filmstiftung NRW will be taking place within the

context of the Media Forum NRW (4th – 7th June) – not

only at the Cologne Fair, but also in the Cologne Flora. On

Monday 5th June, the Filmstiftung has invited the national and

international film world to take part in events, discussions and

a closing ”Eurocoops reception“ in the Flora. Discussions will

concern opportunities for private film sponsorship, media

training and sales chances for German films abroad.

At the Cologne Fair on Tuesday and Wednesday, the focus

will be on studios, screenplays and camera work. Parallel to

the discussions of the Film Congress, the Filmstiftung is

also organizing the ”International Co-Production Market

Cologne“ in the Flora – to take place on 4th and 5th June.

Here French, Spanish, Italian and German producers will have

an opportunity to make contacts and to discuss possibilities

for projects and co-productions.

Contacts:

Anne Marburger (Organization Film Congress)

phone: +49-02 11-9 30 50-14

Sonja Mörkens (Organization Co-Production Market)

phone: +49-02 11-9 30 50-15

Silke Zimmermann (Press)

phone: +49-02 11-9 30 50-23 / -24

Update on the Internet under

www.filmstiftung.de

Photos: Scenes from Export-Union’s short film-programme NEXT GENERATION


Die Blutgräfin

Original Title Die Blutgräfin English Title The Bloodcountess

Type of Project Feature Genre Vampire film

Production Company WEGA Filmproduktion, Vienna

In co-production with Ulrike Ottinger Filmproduktion,

Berlin With backing from Wiener Filmfinanzierungsfonds

Producers Dr. Veit Heiduska, Ulrike Ottinger Director Ulrike

Ottinger Screenplay Ulrike Ottinger, Elfriede Jelinek Director

of Photography Walter Kindler Editor Bettina Böhler

Principal Cast Ingrid Caven, Lipgart Schwarz, Christoph

Eichhorn, Peter Kern, Hanns Zischler, Udo Kier Format 35 mm,

colour, 1:1.85 Shooting Language German

PR Contact: Ulrike Ottinger

Hasenheide 92 · D-10967 Berlin

phone: +49-30-6 92 93 94 · fax: +49-30-6 91 33 30

email: ottingerfilm@gmx.de

World Sales: please contact

WEGA Filmproduktionsgesellschaft mbH

Hägelingasse 13 · A-1140 Wien

phone: +43-1-9 82 57 42 · fax: +43-1-9 82 58 33

email: wegafilm@aon.at

”It’s a vampire film“, says writer-director Ulrike Ottinger of

her latest project, Die Blutgräfin, ”set in, and about, Vienna.“

Whereas, for most films, setting is often a matter of just place,

in Die Blutgräfin it is part of the story. ”Vienna has such a

fascinating architectural heritage; the baroque, classical, rococo,

Gothic, everything“, says Ottinger, ”It’s so stark and powerful

with a dark, brooding history all of its own.“

Not just a location, then, but almost running alongside in a parallel

story, Vienna is the stage for the return, after several hundred

years, of the notorious Hungarian vampire, Countess Bathory; a

woman of actual historical substance whose murderous exploits

earned her the nickname of ”The Bloodcountess.“ Although the

action plays in the present, the film’s use of architecture, above

ground as well as beneath (who could ever forget the sewer

sequences in The Third Man?), emphasises the timeless aspects

of the vampire legends. No matter how long the centuries, you

cannot keep a good vampire down.

Ottinger is also fascinated by the Viennese preoccupation with

death and its elaborate rituals, ”those magnificent funeral processions

of the past, with horses bedecked in black, pall bearers, professional

mourners, the whole panoply of burial“. With location

filming also planned in the Czech Republic (”In two towns dating

22

Lars Kraume

Ulrike Ottinger

back to the Middle Ages“, she says) Ottinger

intends to film in winter ”to emphasise the

dark, the dark nature of the story“.

”Then there are the costumes, with magnificent

colours. Colour’s very important. It’ll be an

orgy in red, differentiated by varying shades of

red.“ And, of course, blood red. Because the

Bloodcountess ”does what vampires do. She

goes hunting“.

For the cast, Ottinger sees actress-singer

Ingrid Caven in the title role. The former

wife of director Rainer Werner

Fassbinder is ”perfect. She’s timeless, extremely

elegant, lascivious, even insolent, with a

very strong eroticism.“ Also on the list are

Udo Kier, Christoph Eichhorn, Peter

Kern and, as guest star, music diva Nina Hagen.

Ottinger worked on the dialogue with Büchner Prize winning

novelist Elfriede Jelinek, herself an Austrian. ”It’s important“,

says Ottinger coming back to the film’s ‘other’ star, ”that some

of the characters speak with a Viennese charm.“

Commercial Men

Original Title Commercial Men English Title Commercial

Men Type of Project Feature Film Genre Dramatic Comedy

Production Company Deutsche Columbia Pictures Filmproduktion,

Berlin, von Vietighoff Filmproduktion, Berlin Producer

Joachim von Vietinghoff Director Lars Kraume Screenplay

Lars Kraume Director of Photography Andreas Doub

Production Designer Knut Loewe Shooting Language

German Shooting in Frankfurt, late summer 2000 German

Distributor Columbia TriStar Film GmbH, Berlin

World Sales:

Deutsche Columbia Pictures

Contact: Andrea Willson

Kemperplatz 1 · D-10785 Berlin

phone: +49-30-25 75 59 12 · fax +49-30-25 75 59 19


Commercial Men is a dramatic comedy and award-winning

writer-director Lars Kraume’s first theatrical feature. ”It’s

about the gap between imagination and reality,“ he says. ”When

you start the job you’ve always dreamed of and discover what it’s

really like.“ The story is set in the advertising world and tells the

story of twenty-five-year old, unemployed Viktor Vogel who cleverly

talks his way into a job at Germany’s top agency. There he

meets the burned-out creative director Eddie Kaminsky, who,

disillusioned by the realities of the advertising world, plans to

get himself fired so he can collect a big pay-off. Viktor’s arrival

couldn’t be more perfect.

Kaminsky’s clever scheme doesn’t take the friendship-factor

into account. While Viktor runs the risk of losing his idealism on

his way to the top, Eddie’s cynicism is slowly being replaced by a

long-lost joie-de-vivre. ”Life’s about having to make compromises“,

says Kraume, who received Studio Hamburg’s 1998

Newcomer Award and the Adolf Grimme Award 2000 for

Dunckel, his film school project produced for ZDF. ”It’s much

more complicated than you originally thought and, in the end, we

all have to grow up.“

Kraume emphasises that Commercial Men is fictional,

but freely admits it is analogous, drawing on his own personal

experience. The inspiration came from two seminal events in

his life: his graduation from film school and starting out in the

business, and the demise of his father’s advertising agency. In

the true sense of the words, Commercial Men is a ”work

experience film“, the experience of working.

”I wanted to make a film which deals with problems that exist

in the right here and the right now. That an audience, especially

a younger audience, can identify with. Yes, it’s a German film

about Germans, but the issues, the loss of idealism, the dealing

with the reality instead of the imagined reality of professional

life, are universal.“

Edelweiss-

piraten

Original title Edelweisspiraten (working title) English title

Edelweiss Pirates (working title) Type of project Feature

Genre Historical Drama Production Company Palladio

Film, Cologne, in co-production with First Floor Features,

Amsterdam, Fama Film AG, Bern, Monipoly Productions,

Luxembourg With backing from Beauftragter der Bundesregierung

für Angelegenheiten der Kultur und der Medien

(preproduction and production support), Fimförderungsanstalt

(FFA) (reference funding). Producers Daniel Brücher, Niko

von Glasow-Brücher Director Niko von Glasow-Brücher

Screenplay Kiki von Glasow, Niko von Glasow-Brücher Music

by Annie Lennox and Dave Stewart (title song), Andreas Schilling

Principal Cast Anna Thalbach, Jochen Nickel Format 35 mm,

colour, 1:1:85 Shooting Language German Shooting in

Vilnius, Lithuania, September 2000

Contact:

Palladio Film, Cologne: +49-2 21-2 40 66 14

email: info@palladiofilm.com.

in production

Writer-director Niko von Glasow-Brücher recounts the

true story of the Edelweiss Pirates, a group of teenagers and

young adults living in Nazi-era Cologne, who go from simply

fighting with members of the local Hitler Youth club to becoming

a real and dangerous threat to the dreaded Gestapo.

Things start getting serious for the Pirates when Hans, an escaped

prisoner and avowed Nazi hater, shows up and eventually convinces

the gang to raid a military weapons depot in order to later

attack the Gestapo headquarters in Cologne. Yet their friend Cilly

warns them not to carry out the plan, even though she too hates

the Nazis. Cilly believes in less violent ways of fighting the fascists.

When a Nazi official is assassinated, however, the Gestapo begin

Niko von Glasow-Brücher

a round-up of anybody who's suspicious, including members of

the Edelweiss Pirates.

Later, Cilly is also arrested by the Gestapo when they discover

she has been hiding two Jewish women, in addition to the

weapons cache stolen by the Pirates. In an effort to lure and

capture Hans and the Pirates, the Gestapo hold Cilly and the

women as bait. The filmmakers point out that the Edelweiss

Pirates were not absolute heroes, just ordinary, mostly workingclass

kids doing extraordinary things. All the main characters in

the film are based on real people. Following the war, Gestapo

files revealed more than 3,000 names of young people classified

as Edelweiss Pirates.

The film starts shooting in Vilnius, Lithuania, in September.

Von Glasow-Brücher has won a number of awards for his

previous films Wedding Guest and Marie’s Song, both

of which he produced, directed and wrote. He also received

the German Film Award in Silver for 1998's Wintersleeper,

which he co-produced.

23


Enthüllung

einer Ehe

Original Title Enthüllung einer Ehe Type of Project TV

Movie Genre Drama Production Company Bavaria Film,

Munich, in co-production with SWR, Baden-Baden, Maran Film,

Stuttgart Producers Martin Bach, Michael von Mossner, Dr.

Dietrich Mack Director Michael Verhoeven Screenplay

Nicole Walter-Lingen, Michael Verhoeven Director of

Photography Stefan Spreer Editor Romy Schumann Music

by Martin Grassl Principal Cast Nina Hoger, Dominique

Horwitz Format Super 16 mm, colour, 16:9 Shooting

Language German Shooting in Stuttgart and surroundings

October to November 1999 German Distributor SWR,

Baden-Baden

World Sales:

Bavaria Media / german united distributors

contact Rosemarie Dermühl

Bavariafilmplatz 8 · D-82031 Geiselgasteig

Tel. +49-89-64 99 36 66 · Fax +49-89-64 99 22 40

email: info@germanunited.com

”I’m fascinated by the human condition“ says producer Martin

Bach, ”the fundamental questions which affect us all: Who am I

and where am I going? What will become of me?“ And these are

the questions at the core of Enthüllung einer Ehe, questions

and answers which turn a happy marriage inside out and threaten

to destroy the lives of all concerned.

On the surface, Jana Westphal is a happily married woman with

two children and very much in love with her husband, Roman, a

respected teacher. But Roman is troubled and their relationship

turns sour. When Jana finds a dress and jewellery she suspects

Roman of having an affair. But the truth is even more shocking.

Her loving husband is a transsexual. For both of them, their world

threatens to split apart.

24

Nina Hoger (l.) and Dominique Horwitz (r.)

Martina Gedeck, Sergio Castellitto, Maxime Foerste

For director and co-author Michael Verhoeven the story ”is

not about sensationalism or voyeurism, but what happens to the

characters themselves. It’s not about the specifics of transsexuality

but feelings and emotions that can touch the audience. Just

imagine your own relationship were suddenly put to the test by

something, a stroke of fate which could strike anyone, anywhere

at anytime.“

Once again, Verhoeven has teamed up with Stefan Spreer

who, as director of photography, decided to avoid close-ups in

favour of fluid movements. The result is a visual dynamism which

creates an intimacy between viewer and protagonist. Behind the

film stands a great deal of research. In order to present the

drama as realistically as possible, interviews were conducted with

transsexuals and their partners. Some of the participants were

even persuaded to appear in the film. That Enthüllung einer

Ehe succeeds rests on the towering performances of the two

central figures, Jana played by Nina Hoger and Roman,

Dominique Horwitz.

Horwitz portrays Roman not just as a woman trapped in a

man’s body but as someone worthy of our recognition, respect

and sympathy. While Nina Hoger’s Jana (”A man wants to

be a woman! I just can’t imagine such a thing!“) rides a rollercoaster

of emotion and conflict, her pain and anguish clearly

visible, it is her strength, her determination and depth of character

which provide the film’s resolution. Love can, love will, love does

win through.

Martha

Original Title Martha (working title) English Title Mostly

Martha (working title) Type of Project Theatrical feature

Genre Melancholy lovestory Production Company Pandora

Film Produktion, Cologne in co-production with Kinowelt

Film Produktion, Munich, T&C Film, Zurich, Prisma Film, Vienna,

Palomar, Rome With backing from FilmFörderung Hamburg,

Filmstiftung NRW, Filmförderungsanstalt (FFA), Eurimages

Producers Karl Baumgartner, Christoph Friedel Director

Sandra Nettelbeck Screenplay Sandra Nettelbeck


Director of Photography Michael Bertl Editor Mona

Bräuer Principal Cast Martina Gedeck, Sergio Castellitto,

Maxime Foerste Format 35 mm, colour, 1:1.85 Shooting

Language German Shooting in Hamburg and Italy, March-

May 2000 German Distributor Arthaus Filmverleih GmbH,

Munich Contact arthaus-kontakt@kinowelt.de

World Sales:

Bavaria Film International

contact Michael Weber, Thorsten Schaumann

Bavariafilmplatz 8 · D-82031 Geiselgasteig

Tel. +49-89-64 99 26 86 · Fax +49-89-64 99 37 20

Martha (Martina Gedeck) isn’t interested in men. Not that

her job as chef in a fancy restaurant called The Lido leaves her any

time for them. And Martha doesn’t mind, since her one consuming

passion is the creation and perfection of culinary wonders.

But her life is turned completely upside down when her sister

Christin dies in a car accident, leaving Martha her eight-year-old

daughter Lina (Maxime Foerste). Although she has no time to

look after a child, Martha takes Lina in to prevent her from going

to a foster home. Yet Lina wants nothing to do with Martha and is

too sad even to eat. While Martha waits in vain for a message

from Lina’s father, an Italian who most likely doesn’t even know of

his daughter’s existence, her professional life also starts coming

apart.

The Lido’s owner Frida (Sibylle Cononica) hires a new cook;

Mario (Sergio Castellitto) a happy go lucky Italian and hugely

talented chef. He charms everyone. Especially Lina, who finally

starts eating again and rediscovers her love for life. Even Martha

finds herself slowly falling for his charms. But then Lina’s father

shows up …

Director and writer Sandra Nettelbeck (direction and

screenplay Unbeständig und kühl, 1995, and Mammamia

1996/97 – Max Ophuls Prize 1998 for Best Film and Best

Screenplay) learned her craft at San Francisco State University.

”My pleasure“, she says of her first theatrical feature, ”is the discovery

and observation of my characters. And Martha is the story.

She dictates the tempo, she creates the atmosphere and she is, as

she herself says at the end, not so easy to get to know.“ Martha

is portrayed by the versatile Martina Gedeck, whose list of

acting credits leaves you wondering not what she does when she’s

not working, but if she ever stops working!

Among her more recent outings were Sönke Wortmann’s

Der bewegte Mann (1994), Rainer Kaufmann’s

Stadtgespräch (1995) and Helmut Dietl’s Rossini (1996).

Martha is a film more in the French than German tradition, says

Sandra Nettelbeck. ”It blooms slowly just like its heroine. It’s

melancholic and humorously laconic at the same time.“ Pandora

Film’s first major German-language feature, Martha, is a film for

gourmets of fine cinema.

Pissed

And Proud

Original Title Pissed and Proud Type of Project Feature

Film Genre Drama Production Company X Filme Creative

Pool GmbH, Berlin In cooperation with ZDF; Mainz With

backing from BKM, Berlin, Filmförderungsanstalt (FFA), Filmboard

Berlin-Brandenburg, FilmFernsehFonds Bayern Producers

Stefan Arndt, Maria Köpf Director Connie Walther

Screenplay Natja Brunckhorst Director of Photography

Peter Nix Art Director Gabriele Wolff Format Super 16 mm

Blow Up, colour, 1:1,85 Shooting language German

Shooting in Berlin to beginning of May 24 German

distributor X Verleih AG, Berlin

Connie Walther

in production

Contact: X Filme Creative Pool

Bülowstrasse 90 · D-19783 Berlin

phone +49–30–23 08 33 11 · fax +49–30–23 08 33 22

1982. During a trip to East Berlin, the 16-year-old West Berliner

Nele meets a young punker called Captain. She falls head over

heels for the teenage rebel, and with all that he represents.

Captain, the burgeoning punk scene and the rebellious youth

movement in East Berlin become a fascinating new world for

Nele. She smuggles Super-8 film material about the East’s antiestablishment

kids to the other side of the Wall where it is

shown on West German TV. The Stasi, East Germany’s dreaded

secret police, are alerted to the counter-revolutionary activities

of the punk and ultimately threaten to destroy Nele and Captain’s

growing love.

Director Connie Walther describes the film as not only

a romance, but also as a journey into the past times of East

Germany. Captain is a ”rebel with a cause“ in a world which

existed not so many years ago. The director says she is

surprised by how little young people today know about life in

the German Democratic Republic. She hopes the dramatic love

story will transport viewers back 20 years into German history

as Nele explores the completely foreign land on the other side

of the Wall.

Although a fictional story, the events portrayed in the film are

based on true occurrences, like the punk concerts that used to

be staged in East Berlin churches. Walther says she was

especially interested in making a film about punk music and

East German youth culture. X Filme’s music department is

currently working on the soundtrack, compiling both original

punk tracks and new recordings.

25


Die Polizistin

Original Title Die Polizistin (working title) Type of Project

TV Movie Genre Crime Thriller Production Company

Westdeutsche Universum-Film, Potsdam, for WDR, Cologne

Producers Norbert Sauer, Christian Granderath

Commissioning Editor Wolf-Dietrich Brücker Director

Andreas Dresen Screenplay Laila Stieler Director of

Photography Michael Hammon Editor Monika Schindler

Principal Cast Gabriela Maria Schmeide, Axel Prahl Format

super16/35 mm, colour Shooting Language German

Shooting in Berlin and Rostock from February to March 2000

Contact:

Carola Tiedke

Westdeutsche Universum-Film GmbH

Dianastr. 21 · D-14482 Potsdam

phone: +49-3 31-7 06 03 70 · fax: +49-3 31-7 06 03 76

email: Carola.Tiedke@ufa.de

”This is a character study“, says writer Laila Stieler, ”about a

woman who is too good for this world. A woman in a profession

where pity is not allowed.“ Her hero, Anne, freshly graduated

from the police academy, arrives in a run-down, deprived, inner

city area of the eastern German city of Rostock; high-rise apartment

buildings, monstrous shopping malls and grey, grey streets.

She’s 27 years old, no beauty but not unattractive, single with no

ties and hoping to make a new start. But her daily life as a police

officer is a constant struggle with bureaucracy and the many

encounters, some significant, others not, with criminals of all

kinds. Anne is affected by these encounters with people whose

everyday existence is one of poverty and doesn’t always find it

easy to keep her emotional distance. One day, when called to a

routine situation, she meets Benny, a 10-year-old boy who has

been caught shoplifting in the supermarket.

”Anne is based on many things“, says Stieler. ”My own experience,

sure. But I also wanted to say things about society which are

26

Andreas Dresen and his team

hard to bear, that are seen as weaknesses whenever anyone does

something good, or is good-natured or sympathetic.“

Stieler comes from the former GDR, where ”the police were

just thugs and I wanted nothing to do with people like that.“

Until, that is, she read Diary Of A Beat Officer by Annegret

Held, and ”how she used her female viewpoint. How she

particularly depicted the social cases which happened daily.

That was my main inspiration, I’d say.“

Die Polizistin is the third time Laila Stieler, producer

Christian Granderath and director Andreas Dresen

have collaborated. For Granderath, Dresen was the ideal

choice, whom he compares to British director Ken Loach.

He tries to relate to a style which may be very common in, for

instance, British cinema, but not very common in Germany. His

concern is to show real life, real people, like Ken Loach who

has influenced him very much. ”He is also influenced by the

Dogma discussion, this semi-documentary style.“

Seven years in the writing, Die Polizistin is a story which

shows the reality of policework. Not a daily round of car chases

and murders, but rather social problems in the Rostocks of this

world. ”Policework“, says Granderath, ”is telling someone a

relative has died in an accident.“

Was tun,

wenn’s brennt?

Original Title Was tun, wenn’s brennt? English Title

What To Do In Case Of Fire (Working title) Type of Project

Feature Film Genre Drama Production Companies

Deutsche Columbia Pictures, Berlin, Claussen + Wöbke Filmproduktion,

Munich Script developed with the support of MFG

and Equinoxe Filmproduktion GmbH Producers Jacob Claussen,

Thomas Wöbke Director Gregor Schnitzler Screenplay Anne

Wild, Stefan Dähnert Format 35 mm, colour, 1:1.85 Shooting

language German Shooting in Berlin, Fall 2000 German

Distributor Columbia TriStar Film GmbH, Berlin

World Sales: Deutsche Columbia Pictures

Contact: Andrea Willson

Kemperplatz 1 · D-10785 Berlin

phone: +49-30-25 75 59 12 · fax +49-30-25 75 59 19

As often happens, the wild, impetuous idealism of youth has

given way to more serious-minded pursuits; like making money,

establishing private businesses and going into politics. All except

for Tim, however, who has managed to keep his revolutionary

ideals intact. The once tight friends haven't seen each other in

a decade, until a Molotov cocktail they planted in the former

residence of a U.S. military general goes off after years of lying

dormant and forgotten.

The explosion leads the police to Tim, where they confiscate old

film footage that could incriminate the group. Circumstances

force the former pals to reunite in an effort to retrieve the

evidence and save themselves from possible prison sentences.

Together again, the once close friends realise how much they

have all changed over the years, wondering what happened to

their idealism, to the contempt they shared for material

possessions and bourgeois aspirations.

Was tun, wenn’s brennt? says Anne Wild ”is a story

about old friendships, getting older and the constant presence of


Jacob Claussen, Thomas Wöbke

the past in our lives and, as a writer, those are fascinating topics

to explore.“ The film also deals with Berlin’s Autonomen, a group

of anarchists and house squatters in the 1970s and 80s that

demonstrated against U.S. nuclear missiles stationed in West

Germany as well as corporate society in general.

Wild’s writing partner Stefan Dähnert was ”more interested

in the political side of the story“, adds Wild, ”making for a good

balance.“ Anne Wild and Stefan Dähnert won the Baden-

Württemberg Script Prize for Was tun, wenn’s brennt? in

February. It’s their first joint project.

Willy, der

Stummfilmpianist

Original Title Willy der Stummfilmpianist (working title)

English Title Willy - The Silent Movie Pianist Type of

Project Musical/Feature/Documentary Production

Company CV Films, Berlin, in co-production with Matti Film,

Hamburg, NDR, Hamburg With backing from FilmFörderung

Hamburg, Filmförderung Niedersachsen, Medienstiftung Schleswig-

Holstein, Kulturstiftung Berlin, MEDIA II Producers Thomas

Mertens, Ilona Ziok Director Ilona Ziok Screenplay Ilona

Ziok Editor Ludmilla Korb-Mann Principal Cast Prof. Willy

Sommerfeld, Walter Raffeiner Format 35 mm, betacam, colour,

b&w Shooting Language Silent film with music Shooting in

Berlin 2000.

Contact:

CV Films GmbH

Greifswalderstr. 207 · D-10405 Berlin

phone: +49-30-53 69 60 83 · fax: +49-30-53 69 60 85

email: tvfilmvent@aol.com

Willy der Stummfilmpianist tells the story of Professor

Willy Sommerfeld, the world’s oldest, and still active film

accompanist. So what could be more fitting than a film which

pays homage to the silent movie, with a piano soundtrack and

the minimum of commentary?

”The film depicts Willy’s life story with the stylistic means and

characteristic simplicity of silent movies”, says the producer,

Ilona Ziok in

production

director and author Ilona Ziok. ”It’s also a love story; his love

of music, of silent movies and his love for his wife.“

Comprised of a prologue, main part and epilogue, there are two

narrative perspectives; the present (in colour) and the past as

flashback (old black and white filmclips from the 1920s).

At home in Berlin, 96-year-old Willy talks about love, ageing,

films and above all, the music he embodies. He recalls and relates

many episodes of his life, providing his own musical accompaniment,

while his best critic and wife Doris, who is 40 years

younger, comments ironically yet lovingly.

Ilona Ziok was born in Poland, educated in Britain and

Germany, studied at the Moscow Film School and Columbia

University in New York, then worked for German television

before writing and directing her own documentaries. In 1990

she formed the production company, TV-Ventures.

Her 1999 film Kurt Gerron (about the German Jewish entertainer

of the 1920s and ’30s) was one of the three documentaries

selected for the Telluride festival.

Her co-producer and partner, Thomas Mertens, studied

law and then communications before becoming a producer and

founding his own company, Ciak Filmproduction, in Cologne.

His best known films are Nico Icon (1995) and Zoe (1999)

which won the Best New Director Award (ex aequo with Bang

Boom Bang) when it premiered at the Munich Film Festival.

Since 1991 Ziok and Mertens, working separately and

together, have produced a wide range of theatrical and television

documentaries and features which have sold worldwide, and

enjoyed many notable festival successes.

Last year they merged their two companies to form CV Films.

Willy der Stummfilmpianist is just one of a number of

documentary and feature projects (such as Cabaret of Exile

with Klaus Maria Brandauer) about to go into production or in

various stages of development and pre-production.

27


Abschied

THE FAREWELL

28

It is one of the last days of an exceptionally hot summer. Bertolt Brecht is about to leave his lakeside

house among the tall birches in Brandenburg to return to Berlin for the upcoming theater season.

Most of the women of his life are there: his wife Helene Weigel, daughter Barbara, the old lover Ruth

Berlau, his latest flame, the nubile actress Käthe Reichel and sensous Isot Kilian, whose affections and

body he shares with the rebel political activist Wolfgang Harich. They swim, write, eat, drink and

philosophize about art, politics, the basic tents of life – and throughout, the Stasi is there – lurking

on the sidelines – waiting.

Genre Feature Director Jan Schütte Screenplay

Klaus Pohl Director of Photography Edward

Kl⁄osinski Editor Renate Merck Music by John Cale

Producers Gesche Carstens, Henryk Romanowski, Jan

Schütte Production Company Novoskop Film, Berlin,

in co-production with WDR, Cologne, ORB, Potsdam,

SWR, Baden-Baden, arte, Strasbourg, Studio Babelsberg

Independents, Potsdam Principal Cast Josef Bierbichler,

Monica Bleibtreu, Jeanette Hain, Elfriede Irrall, Margit

Rogall, Samuel Fintzi Length 2.635 m., 91 min.

Format 35 mm, colour, 1:1,85 Original Version

German Subtitled Versions English, French Sound

Technology Dolby SR With backing from

FilmFörderung Hamburg, Filmboard Berlin-Brandenburg,

European Scriptfund, Kulturstiftung der Deutschen Bank

International Festival Screenings Cannes 2000:

Un Certain Regard German Distributor Pegasos Film –

Filmverleih und Produktion GmbH, Cologne

World Sales:

Cinepool · Wolfram Skowronnek, Annegret Rönnpag

Sonnenstr. 21 · D-80331 Munich

phone: +49-89-55 87 60 · fax: +49-89-55 87 61 88

email: skowronnek@telepool.de

Percy Adlon

CANNES 2000:

UN CERTAIN REGARD

The serenity of the country on this summer day of 1956 stands in marked contrast to the deep,

volatile emotions of the characters. Brecht is at the center of the storm in the heaven and hell of

human relationships: love and hatred, jealousy and egomania, betrayal and dashed hopes. He struggles

to make plans for a future that fate was soon to end.

Jan Schütte studied literature, philosophy and

history of art. He began making films in 1982. His

documentaries include Ugge Bärtle – Bildhauer

(1982), Da ist nirgends nichts gewesen

außer hier (1983), Eigentlich wollte ich ja

nach Amerika (1984), Verloren in Amerika

(1988) and Nach Patagonien (1991). His feature

debut, Dragon Chow (Drachenfutter, 1987),

was awarded the Premio Cinecritica, the German Film

Critic’s Prize and the Prix François Truffaut. His second

feature film, Winckelmanns Reisen (1990), was

presented with the CICAE Prize. Bye-bye America

(Auf Wiedersehen Amerika, 1994) was

screened in Cannes, received a German Film Prize in

Silver and a Bavarian Film Prize. In 1995 he directed

Eine Reise in das Innere von Wien (essay), in

1998 Fat World (Fette Welt) and in 2000 The

Farewell (Abschied).

Josef Bierbichler


Lost Killers

Lost Killers follows a group of curious characters, stranded in the city of Mannheim, all of

them struggling to survive and to fulfil their dreams.

Branko and Merab are two hapless hitmen assigned to kill a businessman for reasons unknown.

Absurd coincidences prevent them from carrying out their mission and so they join forces with

Carlos, a gigantic illegal refugee from Haiti, and his girlfriend Lan, a tiny Vietnamese prostitute.

But again the unsuspecting victim outwits them and a thoroughly unexpected murder takes

place instead.

Lasha Bakradze, Mis˘el Matic˘ević

Genre Feature Director/Screenplay Dito

Tsintsadze Director of Photography Benedict

Neuenfels Editor Stephan Krumbiegel Music by

Dito Tsintsadze Producer Peter Rommel

Production Company Home Run Pictures,

Ludwigsburg, in co-production with Rommel Film,

Berlin, in cooperation with ZDF, Mainz, arte, Strasbourg

Principal Cast Nicole Seelig, Mis˘el Matic˘ević, Lasha

Bakradze, Elie James Bleees, Franca Kastein Length

100 min., 2.766 m. Format 35 mm, colour, 1:1,85

Original Version German Subtitled Version

French Sound Technology Dolby SRD With

backing from MFG Baden-Württemberg, Filmboard

Berlin-Brandenburg, Beauftragter der Bundesregierung

für Angelegenheiten der Kultur und der Medien (BKM)

International Festival Screenings Cannes 2000:

Un Certain Regard

World Sales:

Christa Saredi

Staffelstr. 8 · CH-8045 Zürich

phone: +41-1-2 01 11 51 · fax: +41-1-2 01 11 52

email: saredifilm@compuserve.com

Percy Adlon

Dito Tsintsadze was born in 1957 in Tiflis,

Georgia. From 1975 to 1981 he attended the Tiflis

Theater and Film Institute. After assisting various

directors he made his first short film in 1990 and

then began working for the private film production

company Schvidkatsa. On the Borderline

(Zghvardze, 1993) was awarded the Silver Loepard

at the Locarno Film Festival and the Golden Eagle at

the International Black Sea Nations Film Festival in

1993. His other films are: Home (1991) and

Guests (short, 1993).

CANNES 2000:

UN CERTAIN REGARD

29


Die Unberührbare

NO PLACE TO GO

30

Autumn 1989. Writer Hanna Flanders is bewildered by the fact that the Berlin Wall has

come down. Having participated in the student uprising in 1968 she had always viewed

the GDR as the better part of Germany. On a whim she now decides to move to Berlin,

to the center of a newly formed Germany. Inspired by the reunification, Hanna Flanders

is also hoping for a new beginning for herself. But in a painful odyssey she experiences

a society on the brink of rapid change. Knowing she has missed the boat, Hanna Flanders

is heading for disaster.

No Place To Go is an impressive psychological portrait of a sensitive personality. Hanna

is destroyed by the conflict between her own desires and the new realities of a changed

society. Acting alongside Hannelore Elsner are Michael Gwisdek, Charles Regnier, Nina

Petri, Jasmin Tabatabai, Lars Rudolph and Vadim Glowna.

Genre Feature Director/Screenplay Oskar

Roehler Director of Photography Hagen

Bogdanski Editor Isabel Meier Music by Martin

Todsharow Producers Käte Ehrmann, Ulrich Caspar

Production Company Distant Dreams, Berlin, in

co-production with ZDF, Mainz, Geyer Werke, Berlin

Principal Cast Hannelore Elsner, Vadim Glowna,

Tonio Arango, Michael Gwisdek Length 103 min.,

2.818 m Format 35 mm, b&w, 1:1,85 Original

Version German Subtitled Versions English,

French Sound Technology Dolby SR With

backing from Filmboard Berlin-Brandenburg,

FilmFernsehFonds Bayern International Festival

Screenings Cannes 2000: Directors’ Fortnight

German Distributor Advanced Film-Verleih GmbH

& Co Kinoverleih KG, Oberhaching

Oskar Roehler was born in 1959, the son of writers

Gisela Elsner and Klaus Roehler. He grew up in

London, Rome and Nuremberg and made his first

short film She LA in 1994. His feature debut as

director was in 1995 with Gentleman which was

shown at the Munich Filmfest the same year. He

followed this two years later with In With The

New (Sylvester Countdown) which won the

Hypo-Bank Young Director’s Award ex aequo with

Martin Walz’s Liebe Lügen in Munich. Roehler

has been a scriptwriter since 1990 with Ex (1995)

and Terror 2000 (1992), and he is also the author

of a novel Das Abschnappuniverum. He has lived in

Berlin since the early 1980s and works as a freelance

journalist and author.

World Sales:

Bavaria Film International · Dept. Of Bavaria Media GmbH

Michael Weber, Thorsten Schaumann

Bavariafilmplatz 8 · D-82031 Geiselgasteig

phone: +49-89-64 99 26 86 · fax: +49-89-64 99 37 20

www.bavaria-film-international.de · email: Bavaria.International@bavaria-film.de

Hannelore Elsner

CANNES 2000:

DIRECTORS’ FORTNIGHT


Vasilisa

Who is Vasilisa? Imagine the Rocky Horror Picture Show meets Alice in Wonderland,

with superb comedic performances, funky hip hop music, vivid lightening and a

fashionable creative set design.

What is Vasilisa about? Very simple no doubt!

If you wanna get a girl, go to the forest and shoot an arrow.

If you wanna get a beauty, pick up a frog.

If you wanna keep her, hands off her frog suit.

What!!! You couldn't keep your paws off?!

Welcome to a world of losers!

Now your only chance is to find a crazy witch and hope she will help you get

your sweetheart back.

Scene from »Vasilisa«

Genre Feature Director/Screenplay Elena Shatalova

Director of Photography Maria Soloviera

Editor Hans Funck Music by Klaus Doldinger, Beck,

Moloko, Baby Fox Producer Boris Seyfarth Production

Company Cosmopolita Filmproduktion, Munich

Principal Cast Simon Verhoeven, Nina Hagen, Natalia

Haritonova, Viktor Avilov Length 99 min., 3.040 m.

Format 35 mm, colour, 1:1,85 Original Version

English Dubbed Version German Subtitled Version

French Sound Technology Dolby Digital With

backing from Beauftragter der Bundesregierung für

Angelegenheiten der Kultur und der Medien (BKM),

Filmförderungsanstalt (FFA), Filmstiftung NRW International

Festival Screenings New York Independent

Festival 2000: in competition (Best Foreign Film), Cannes

2000: Cannes Junior

World Sales: please contact

Cosmopolita Filmproduktions GmbH · Boris Seyfarth

Theresienstr. 31 · D-80333 Munich

phone/fax: +49-89-28 59 73

email: cosmopolita@t-online.de

Percy Adlon

CANNES 2000:

CANNES JUNIOR

Elena Shatalova was born and raised in Moscow,

and studied at the city’s Academy for Directors before

beginning her career as a director and screenwriter

in 1994. Among her film credits are The Smell Of

Grinded Plum Stones (1994, crimethriller,

script), Essentia (1995, short, script and direction),

A Black Hat Under The Hot Sun (1996,

short, script and direction), Magic Love (1998,

horror, script) and A Muse On Short Legs

(1999, comedy, script). In addition to her modern

fairy-tale, Vasilisa, she is currently working on the

script for the comedy Better Later Than

Never, which she will also direct.

31


German-international Coproductions

at the Official Programme

of the Cannes International Film Festival

In Competition

Michael Haneke Code Inconnu (France-Germany-Roumania)

German coproducer: Bavaria, Geiselgasteig

Ken Loach Bread and Roses

German coproducer: Road Movies, Berlin

Pavel Lunghin La Noce (France-Russia-Germany)

German coproducer: LICHTBLICK Film- und TV Produktion, Cologne

Amos Kollek Fast Food, Fast Women (France-Germany-Italy)

German coproducer: Pandora, Francfurt

Un Certain Regard

Patricia Mazuy Saint-Cyr (France-Germany-Belgium)

German coproducer: Lichtblick Filmproduktion, Hamburg

Juan Carlos Tabío Lista de Espera (Cuba-Spain-France-Germany)

German coproducer: Road Movies, Berlin

Directors’ Fortnight

Raoul Peck Lumumba (France-Belgium-Germany)

German coproducer: Essential Film Produktion, Berlin

Nana Djordjadze 27 Missing Kisses (Germany-France-Great Britain-Danmark)

German producer: Egoli Films, Berlin

Béla Tarr Werckmeister Harmonies (Hungary-Germany-France)

German coproducer: von Vietinghoff Filmproduktion, Berlin

Cannes Junior

Marie-Louise Bless Der Onkel vom Meer (Switzerland-Germany)

German coproducer: Tiger TV, Bühl


GERMAN CLASSIC MOVIE

34

Es geschah am 20. Juli

– Aufstand gegen Adolf Hitler

IT HAPPENED ON JULY 20TH

On 20th July 1944, Colonel Baron Schenk von Stauffenberg made an attempt to kill Hitler using a

bomb at his ”Führer headquarters“ in eastern Prussia.

G.W. Pabst has reconstructed events up to the colonel's court martial and execution chronologically

and in a meticulous way, demonstrating an honest effort to be precise regarding historical facts.

With considerable detail, and employing an excellent cast, he relates what really happened on

20th July …

Genre Feature Director G. W. Pabst Screenplay

W. P. Zibaso, G. Machaty Director of Photography

Kurt Hasse Music by Johannes Weißenbach

Producer Franz Seitz Production Company

Ariston/Arca Principal Cast Bernhard Wicki, Karl

Ludwig Diehl, Erik Frey, Carl Wery, Kurt Meisel, Lina

Carstens, Siegfried Lowitz Length 74 min., 2.150 m.

Format 35 mm, b&w, 1:1,66 Year of Production

1955 Original Version German Subtitled

Version English Sound Technology Mono

World Sales:

Cine-International Fimvertrieb GmbH & Co.KG · Lilli Tyc-Holm

Leopoldstr. 18 · D-80802 Munich

phone: +49-89-39 10 25 · fax: +49-89-33 10 89

www.cine-international.de · email: email@cine-international.de

G. W. Pabst was born in Bohemia's Raudnitz on 27

August 1885. After taking acting lessons in Vienna from

1901-1903, he began performing at several theatres in

Germany, Austria and Switzerland. In 1912, he made

his debut as director at New York's ”Deutsches

Volkstheater“ and made his film directorial debut in

1922 with Der Schatz after meeting Carl Fröhlich.

He directed and produced more than 40 features in

Europe and the USA until 1956, including Geheimnisse

einer Seele (1925/26), Die weiße Hölle

vom Piz Palü (1929), Westfront 1918 (1930),

Kameradschaft (1931), Der letzte Akt (1955),

and Durch die Wälder durch die Auen (1956),

his only colour film. Illness from the 1950’s prevented

him from working. He died in Vienna on 29 May 1967.

Scene from »It Happened On July 20th«


Goya

Don Francisco de Goya Lucientes (1746 - 1828) is artist to the court of Karl IV of Spain. He is well

known and well-to-do, but feels himself becoming more and more remote from the daily life and

suffering of the Spanish people. After meeting the singer Maria Rosario in a Madrid tavern, where

she is singing revolutionary songs, he becomes even more reflective. Rosario is hauled before the

Inquisition. Goya is invited to attend as a warning not to stray from the official path. But it doesn’t

stop him from increasingly leaving the castle to portray the desires and nightmares of simple people

in his paintings. Soon the Inquisition is on his trail.

Konrad Wolf films Lion Feuchtwanger’s historical novel as a modern, colourful, parallel.

How closely can an artist align himself with the powers that be if he wants to be honest and creative?

Donatas Banionis

Genre Feature Director Konrad Wolf Screenplay

Angel Wagenstein, based on a novel by Lion Feuchtwanger

Directors of Photography Werner

Bergmann, Konstantin Ryshow Editor Alexandra

Borowskaja Music by Kara and Faradsh Karajew

Production Company DEFA, Babelsberg, in coproduction

with Len-Film, St. Petersburg Principal

Cast Donatas Banionis, Olivera Katarina, Fred Düren,

Rolf Hoppe, Ernst Busch Length 134 min., 3.662 m.

Format 35 mm, colour, cs Year of Production

1971 Original Version German Subtitled

Versions English, French, Spanish Sound Technology

Mono

World Sales:

Progress Film-Verleih GmbH · Christel Jansen, Miriam Reisner

Burgstr. 27 · D-10178 Berlin

phone: +49-30-24 00 32 02 · fax: +49-30-24 00 32 22

www.progress-film.de · email: c.jansen@progress-film.de

Konrad Wolf was born in Hechingen in 1925 and

died in Berlin in 1982. He was a son of Friedrich Wolf,

the writer. In 1933, the family emigrated and arrived in

the Soviet Union in 1934. At the age of eighteen, Wolf

joined the Red Army and came to Germany, as lieutenant

in 1945. He studied directing at the Moscow Film

School in 1949 and worked as assistant director to Kurt

Maetzig at the DEFA Studios in 1953. After his first

feature film as a director Einmal ist keinmal

(1955), he worked at the DEFA Feature Film Studios.

From 1965, Wolf was president of the GDR’s Academy

of Arts. His major films include: Genesung (1956),

Lissy (1957), Sonnensucher (1958), Sterne

(1959), Der geteilte Himmel (1964), Ich war

19 (1968), Der nackte Mann auf dem

Sportplatz (1974), Mama, ich lebe (1977) and

Busch singt (six part series for GDR Television,

1982).

35

GERMAN CLASSIC MOVIE


GERMAN CLASSIC MOVIE

36

Heimat

Heimat is about leaving and returning. About the respect one has for one’s work and home and about

living on credit. About mothers and sons. About fathers and how early morning light shines into the

room. About summer clothes and uniforms. About the three eggs on the window sill. About that first

car and about radio tubes. About saying goodbye and the key behind the window shutter. About

animals and motorcycles. About brothels in Berlin and about falling in love for the first time. About

kitchens and attics. About aeroplanes and chocolate. About bomb-disposal units and discovering faith.

It is about the differences between men and women. About the loaf of bread you hold up against your

chest to slice. About pillows and chewing gums. About prayers during the night and weddings by proxy.

About the hammer and the anvil. It is about the dawn of a new age and about grandmothers. About

the construction of highways and feet that walk 5000 kilometres to get home. About a letter from the

USA and about blueberries. About air raids, hair-do’s and bank loans. And always about rolling stones

gathering no moss.

Genre Feature Director Edgar Reitz Screenplay

Edgar Reitz, Peter Steinbach Director of Photography

Gernot Roll Editor Heidi Handorf Music

by Nikos Mamangakis Producer Edgar Reitz

Production Company Edgar Reitz Filmproduktion,

Munich, in co-production with WDR, Cologne, SFB,

Berlin Principal Cast Marita Breuer, Dieter Schaad,

Michael Lesch, Gertrud Bredel, Willi Burger, Gudrun

Landgrebe Length 940 min., 25.478 m. Format 35

mm, colour and b&w, 1:1,66 Original Version

German Subtitled Versions English, Italian, French

Sound Technology Mono International

Festival Screenings Venice 84, Montréal

(Nouveau Cinéma) 84, Valladolid 84, London 84

German Distributor Arri Media Worldsales,

Munich

World Sales:

Arri Media Worldsales · Antonio Exacoustos

Türkenstr. 95 · D-80799 Munich

phone: +49-89-38 09 12 88 · fax: +49-89-38 09 14 33

www.arri.de · email: aexacoustos@arri.de

Edgar Reitz is one of the founders of the New

German Cinema. He was born in Hunsrück in 1932. He

earned degrees in theatre and in art history. He was

one of the signiatories of the Oberhausen Manifesto in

1962; the call to arms which led to the New German

Cinema. Together with filmmaker Alexander Kluge he is

co-founder of the Institut für Filmgestaltung in Ulm.

Reitz has directed various shorts, documentaries and

features. They include: Krebsforschung I + II

(documentary, 1960), Post und Technik (1961),

Mahlzeiten (feature, 1966/67), In Gefahr und

größter Not bringt der Mittelweg den Tod

(feature, in collaboration with Alexander Kluge, 1974),

Stunde Null (1976), Germany in Autumn (feature,

in collaboration with Fassbinder, Schlöndorff,

Kluge and others, 1977/78), Der Schneider von

Ulm (feature, 1978), Heimat (1980-84), Second

Heimat (feature, 1993). Reitz is currently working on

a third part of Heimat, Heimat 2000.

Marita Breuer


38

A Tale Of Two Cities –

Eine Erzählung von zwei Städten

A TALE OF TWO CITIES

”When I arrived in Berlin in August 1945 and saw the destruction I knew just how lucky I’d been.“

Berlin-born photographer Heinz Ries no longer calls himself Heinz, but Henry Ries. Now a naturalised

American living in New York, as a Jewish German he fled from the Nazis to the United States in 1938.

Genre Documentary Director/Screenplay/

Director of Photography/Editor/

Producer Manfred Wilhelms Production

Company Lassoband-Filmproduktion, Berlin

With Henry Ries Length 90 min., 1.065 m.

Format 16 mm, colour, 1:1,37 Original

Version German Subtitled Version English

Sound Technology Mono

World Sales: please contact

Lassoband-Filmproduktion · Manfred Wilhelms

Fürbringerstr. 11 · D-10961 Berlin

phone: +49-30-6 93 84 42 · fax: +49-30-6 92 53 22

Percy Adlon

A Tale Of Two Cities accompanies the 82-year old Henry Ries on a visit to Berlin in the summer of

1999. With a box full of old photos under his arm he revisits the places he had photographed before

and after the war. The film is not only about Henry Ries, who once again travels through Berlin with

his camera, but also, through the eyes of a former Berliner who was robbed of his city by the Nazis,

accurately reconstructs the city's history at selected locations. A stroll with a man who, decades on, photographs

the ”new Berlin“ and finds a ”second“ city.

Henry Ries

Manfred Wilhelms was originally a painter and photographer

before undergoing a complete metamorphosis into a

self-taught filmmaker and cinematographer. As a part-time

student, he took part in seminars given by Helmut Färber on

the films of Griffith, Ozu and Renoir. He has made short TV

features - a minimal concession to his professional career.

Wilhelms lives in Berlin and has made the following documentaries:

Licht singt tausendfache Lieder (1985),

Die Loreley (1988), Menschenrechte (TV, 1989),

Rostige Bilder (1990-92), Route des Crêtes (1993),

Die Rennstrecke (1994), Laufen um zu leben

(1995), Berlin – Pictures of a City (1995-98),

Nightwalk (1999) and Die Legende vom

Potsdamer Platz (2000).


alaska.de

Sixteen year old Sabine, permanently in trouble with her mother’s boyfriend, is sent to

live with her father in a suburb of East Berlin. Feeling herself completely lost, the first

person she meets is Eddie, a boy of her own age, and his best friend Micha.

But Micha, two years older, is unemployed and in constant trouble with the police. His

welcome home party turns into a nightmare as he, Eddie and friend Stefan get into a

vicious fight with another boy. It’s Eddie who stabs the boy to death. It’s Sabine who walks

in to see the bleeding corpse. It’s Micha she sees running away, the knife in his hands.

The boys are terrified at what they’ve done. After a threatening phone call to silence

Sabine Micha decides to take heavier measures. Things go from worse to …

Jana Pallaske, Frank Droese

Genre Feature Director/Screenplay Esther

Gronenborn Director of Photography Jan Fehse

Editor Christian Lonk Music by Moser, Meyer,

Döring Producers Eberhard Junkersdorf, Dietmar

Güntsche Production Company Bioskop-Film,

Munich, in co-production with Shorts Productions,

Berlin, Studio Babelsberg Independents, Potsdam, ORB,

Potsdam, Kinowelt Filmproduktion, Munich Principal

Cast Jana Pallaske, Frank Droese Length 89 min.,

2.450 m. Format 35 mm, colour, cs Original

Version German Subtitled Version English

Sound Technology Dolby SR With backing

from Filmboard Berlin-Brandenburg, MFG Baden-

Württemberg German Distributor Arthaus/

Filmverlag der Autoren Filmverleih GmbH, Berlin

World Sales:

Kinowelt International GmbH · Alexander van Dülmen

Neue Schönhauser Str. 20 · D-10178 Berlin

phone: +49-30-3 00 69 70 fax: +49-30-30 06 97 11

www.kinowelt.de · email: avd@kinowelt-international.de

Esther Gronenborn, who learnt her trade at the

Academy for Television & Film in Munich (HFF), has

two specialities: documentaries and shorts. Among

the latter can be counted the many music videos she

has directed for such artists as Schweisser,

Spektacoolär, La Bouche, Touché and Alisha (for the

Indian market). Her documentaries include Die

Strasse zum Glück (45 min., video) about

China’s special economic zones, and I Wonder In

Pornoland (30 min.). The latter, which she made

in 1990, was screened, among others, at the Max

Ophuls Festival in Saarbrücken and the Munich

Documentary Filmfest before gaining an arthouse

release. Not without a sense of humour, she has also

directed a documentary satire, Sie schämen sich

ihrer Tränen nicht.

39


40

Apokalypse 99 – Anatomie

eines Amokläufers

Nuclear power and naked ambition are the recipe for disaster when Vladimir Samailov, director

of a Russian powerplant, overrules his safety director, Vladimir Mentschov, who knows the

place is a timebomb. And to ensure he stays quiet Samailov has him fired.

Mentschov's successor, Oleg Gusenko, is just as critical but Samailov continues to put career

before conscience. So Mentschov, slowly losing his grip on sanity, manipulates the cooling

system to make the reactor overheat and so prove the safety valves will fail.

As news of what he's done spreads among the population like wildfire, Oleg and his wife

Larissa, of whom Mentschov is very fond, try to reason with him. But the very safety problems

Mentschov is trying to highlight mean he can't reverse his actions. Racing towards disaster,

they all struggle to prevent the looming catastrophe.

Genre Feature Director Dmitri Astrachan

Screenplay K. Laske, M. Klaschka Director

of Photography A. F. Rud Editor L. Mikulo,

L. Birkenhof Music by Alexej Grigoriew

Producer Artur Brauner Production

Companies CCC Filmkunst, Berlin, Gran Film,

Moscow Principal Cast Thomas Heinze,

Ulrich Tukur, Karoline Eichhorn, Jurij Kukura

Length 90 min., 2.462 m. Format 35 mm,

colour, 1:1,66 Original Version

German/Russian Sound Technology Dolby

Stereo

World Sales: please contact

CCC Filmkunst GmbH · Fela Brauner

Verlängerte Daumstr. 16 · D-13599 Berlin

phone: +49-30-3 34 20 01 · fax: +49-30-3 34 04 18

Ulrich Tukur, Karoline Eichhorn

Dmitri Astrachan was born in 1957 in Leningrad,

today St. Petersburg. Aged 25 he graduated from the

Leningrad State Institute For Theatre, Music And

Cinema having majored in playwriting. From 1982

until 1987 he was Director and Artistic Director of

the Sverdlovsk Youth Theatre. In 1987 he became

head of the famous Bolshoi Theatre. Four years later

he was invited to lead the St. Petersburg Academic

Comedy. In 1995 he left the theatre to concentrate

on film production. Among his award winning films

are Get Thee Out! (1991, director, producer, writer)

which was nominated for an Oscar for Best Foreign

Film and From Hell To Hell (1996) which was

entered in the same category. His other films include

You Are The Only One (1993), Everything

Will Be OK (1993), Anatomie eines

Amokläufers and Lady of Kazakhstan

(2000).


Der Bebuquin –

Rendezvous mit Carl Einstein

BEBUQUIN – A RENDEZVOUS WITH CARL EINSTEIN

Carl Einstein (1885-1940) was one of the most colourful great minds between the World Wars. The first

to understand Cubism as a movement, he was a well-known and influential art critic and theorist in his

own day. Among many other groundbreaking efforts, his ‘Negro Sculpture’ (1915) was a pioneering work

of art theory. It was the first in Europe to recognize the validity of African art. His true aspirations,

however, were focused on literature, and he laboured to create something on the level of Bebuquin all

Genre Feature Director Lilo Mangelsdorff

Screenplay Lilo Mangelsdorff, based on texts by Carl

Einstein Director of Photography Sophie Maintigneux

Editor Lilo Mangelsdorff Music by Marek Goldowski

Producer Lilo Mangelsdorff Production Company

Cinetix Medien und Interface, Cologne Principal Cast

Hanns Zischler, Andreas Wellano, Connie Webs

Length 80 min., 2.268 m. Format 35 mm, colour, 1:1,66

Original Version German Subtitled Version English

Sound Technology Dolby SR With backing from

hr-Filmförderung, MFG Baden-Württemberg, Filmstiftung

NRW

World Sales: please contact

Cinetix Medien und Interface GmbH

Lilo Mangelsdorff

Gemündenerstr. 27 · D-60599 Frankfurt/Main

phone: +49-69-68 51 05 · fax: +49-69-68 60 04 09

www.cinetix.de · email: lima@cinetix.de

Percy Adlon

his life, calling his work in progress, ’Beb II.‘ ”I have to create a lawful but different art,“ he said, ”or I’ll

fail my purpose in life . I’d only be a journalist, which is tantamount to suicide.“ Politically engaged and

Jewish, both he and his literary reputation fell victim to the Holocaust.

Scenes from Carl Einstein’s anti-novel ‘Bebuquin or the Dilettantes of Wonder’ (1909) are interwoven

with thoughts and situations from the author’s life. Played by Hanns Zischler, Bebuquin is Carl Einstein –

Carl Einstein is Bebuquin. Wandering in an empty and lethargic world, Bebuquin is one seeking the

”wonder“. The film is a fragmentary montage of art and life, depicting the ironic and grotesque, as well

as tragic situations.

Connie Webs, Hanns Zischler

Lilo Mangelsdorff was born in Frankfurt/Main.

She studied educational science, psychology and visual

communication. She worked as an editor for TV and

private studios and managed a television production

studio. From 1992 to 1995 she was assistant professor

in video and interactive media at the Academy of

Media Arts in Cologne. In 1983 Lilo Mangelsdorff

founded Cinetix, a media arts company for media

productions, web projects, interactive installations,

videos and films. She has made many short films,

including: Zwischen zwei Städten (1984), Viva

avis (1985), Das sind wir (1995) and Happy

and Ö (1989, medium-length). Der Bebuquin:

- Rendezvous mit Carl Einstein is her first full

length feature film.

41


42

Deeply

A love story about finding yourself from out of the greatest loss you can experience.

After the sudden and violent death of her first love, teenager Claire McKay retreats into herself.

Her mother Fiona brings her to Ironbound, a remote island, hoping the change from the city

may effect some healing magic. Ironbound had once been a thriving fishing community until

the fish stocks had mysteriously disappeared some fifty years prior. Its wild loneliness only augments

Claire's withdrawal until she meets Celia, an eccentric writer who tells her the story she

has been writing, a story not yet finished: Years before, when the fish still teemed and the

island bustled with an active industry, a child was born – a girl – who was nicknamed Silly and

the name stuck. When her eyes suddenly changed from brown to the hues of the sea, the

islanders looked at her knowingly. Silly grew up into a wild and untamed teenager, becoming

an eccentric outcast. Then came the day the fish disappeared, and the islanders looked at her

secretively, muttering about an ancient Viking curse. Every fifty years the fish mysteriously leave

the island waters. And every fifty years one innocent soul is doomed to live forever beneath

the waves in exchange for their bounty …

Genre Feature Director/Screenplay Sheri Elwood

Director of Photography Sebastian Edschmid

Editor Jon Gregory Music by Micki Meuser

Producers Carolynne Bell, Karen Arikian, Wolfram

Tichy Production Companies VIP, Potsdam,

Bellwood Stories Production, Toronto, in association

with TiMe Filmproduktion, Potsdam Principal Cast

Kirsten Dunst, Lynn Redgrave, Julia Brendler, Trent Ford

Length 94 min., 2.571 m. Format 35 mm, colour,

1:1,85 Original Version English Sound

Technology Dolby SRD

World Sales:

Myriad Pictures · Kirk D’Amico

429 Santa Monica Boulevard · Suite 350

USA-Santa Monica, CA 90401

phone: +1-3 10-8 99 68 00 · fax: +1-3 10-8 99 68 01

www.myriadpictures.com · email: kdamico@myriadpictures.com

Trent Ford, Kirsten Dunst

Writer-director Sheri Elwood left filmschool with

The Academy of Canadian Cinema and Television’s

National Apprenticeship Training Award. She

apprenticed on the series Ready Or Not, then

wrote, directed and story edited thirty-six episodes.

Her producing debut, the short Fellini And Me,

won Best Drama Under Sixty Minutes at the Columbus

Film Festival. She was Creative Consultant-Writer on

comedy series Flash Forward before writing-directing

the short, Eb And Flo. In 1997 she won the

Women In Film And Television-Toronto’s Writer’s Award

to develop her feature, Deeply (1999). She

co-created and is Head Writer of the series I Was

A Sixth Grade Alien, now in its second season.

Her new projects include the feature Galaxy

5000 and an adaption of stage play Clue In The

Fast Lane.


Ein Mensch wie

Dieter – Golzower

A GUY LIKE DIETER – NATIVE OF GOLZOW

When the children of Golzow first came to school in 1961, Dieter was already there. Fate had not

been kind to him, the boy with the face that couldn’t conceal anything, though Dieter never played

on his misfortune. Throughout his life, this cheerful, go-getter person always made the best of what

was dished out to him. Dieter comes from one of Golzow’s large families. The eldest of six children,

he grew up on an Oderbruch-farm or, as he puts it, in the wilds. After eighth grade he left

school, trained as carpenter, and was then called up for military service.

After the end of the Vietnam war Dieter wanted to dive for mines in Hai-Phong harbour or even

to become a sailor in the merchant navy. He did neither.

Dieter fathered a daughter, got married, became a city-dweller and earned his living through carpentry.

But a few years later he was again gripped by wanderlust when he was sold to West

Germany as cheap labour.

Dieter Finger

Genre Documentary Directors/Screenplay

Barbara Junge, Winfried Junge Directors of

Photography Hans Eberhard Leupold, Harald Klix

and others Editor Barbara Gummert

Music by Gerhard Rosenfeld Producer Klaus-

Dieter Schmutzer Production Company à jour

Film- und Fernsehproduktion, Berlin, in co-production

with DEFA-Foundation, Berlin, ORB, Potsdam,

SR, Saarbrücken, SWR, Stuttgart With Dieter

Finger and his family Length 122 min., 3.344 m.

Format 35 mm, colour and b&w, 1:1,37 Original

Version German Subtitled Version English

Sound Technology Dolby SR With backing

from BKM, Filmboard Berlin-Brandenburg

International Festival Screenings Berlin

2000: Forum German Distributor Progress

Film-Verleih GmbH, Berlin

World Sales:

Progress Film-Verleih GmbH

Brigitte Paetsch, Christel Jansen

Burgstr. 27 · D-10178 Berlin

phone: +49-30-24 00 32 00 · fax: +49-30-24 00 32 22

www.progress-film.de · email: c.jansen@progress-film.de

Percy Adlon

Winfried Junge was born in 1935 in Berlin. From

1953 he studied German at the Humboldt University,

Berlin, changing to the newly founded German Filmschool

in Potsdam-Babelsberg in 1954. He graduated in

1958 and began work at the DEFA studio for popular

film, moving to the DEFA studio for documentary film in

1961 and making his first film in the same year: When I

Finally Go To School, the first in the Golzow series.

Apart from the 16 Golzow films he has made some 35

documentaries. His wife, Barbara Junge, was born in

1943 in Neunhofen and graduated from Karl-Marx-

University, Leipzig, as an English and Russian translator.

From 1969 she worked at the DEFA studio for documentary

film in charge of foreign language versions. Since

1978 she has been archivist of the Golzow project,

has edited all of Winfried Junge’s films since 1983 and

since 1993 has also co-directed.

43


Erotic Tales: Die Nachtschwester

THE NIGHT NURSE

44

It all started with a toothache. Then the boss called to say he was needed. Extra duty – to guard a gangster

for the night in an emergency ward. Konzak was sorry he ever became a cop. Besides, the prisoner was a

moody boxer-type, and the temperature at the hospital was like in the middle of the Sahara Desert. Sweat

was already dripping down his back when the nightnurse stopped by on her rounds. A sway of the hips,

the look in her eye, she was a real knockout. Konzak forgot the toothache and the prisoner.

Genre Short Director/Screenplay Bernd

Heiber Director of Photography Konstantin

Kroening Editor Haike Brauer Music by Kai-Uwe

Kohlschmidt Producer Tanja Ziegler

Production Company Regina Ziegler Film,

Berlin, in co-production with WDR, Cologne

Principal Cast Paul Fassnacht, Franziska Petri,

Wilfried Hochholdinger, Hildegard Alex

Length 28 min., 766 m. Format 35 mm, colour,

1:1,85 Original Version German Subtitled

Version English Sound Technology Dolby SR

Erotic Tales: Kimono

Percy Adlon

Genre Short Director/Screenplay Hal Hartley

Director of Photography Sarah Cawley

Editor Steve Silkensen Music by Hal Hartley

Producer Regina Ziegler Production

Company Regina Ziegler Film, Berlin, in co-production

with WDR, Cologne Principal Cast

Miho Nikaido-Ling, Valerie Celis, Yun Shen Length

28 min., 788 m. Format 35 mm, colour, 1:1,85

Original Version no dialogue Sound

Technology Dolby SR

Born in 1964 in Cottbus, eastern Germany, Bernd

Heiber graduated highschool in 1982. After two years’

national service he started at the Theater Cottbus as a

stagehand. From 1986-89 he was director’s assistant at

the Theater Senftenberg. He co-wrote and directed his

first play, Kanguru, in 1989. From 1992-98 he studied

direction at the Film and Television Academy ”Konrad

Wolf“ in Potsdam-Babelsberg. His films include the

documentary It Is It (1993), and the shorts, which

he wrote and directed, Wind (1994), Scheissleben

(1996) and Das Klopfen (1998).

A hot summer day on a country road. A young woman in her bridal dress gets kicked out of a car. Lost

and frustrated, she wanders off across a sea of grass into dark woods - and discovers an abandoned house.

Tired and worn out, she lies down on a bed. When she is awakened from her nap by a clap of thunder she

sees a cup of steaming hot tea and a package on the floor. She opens it and finds a kimono. The bride

knows she is no longer alone. But should she put on the kimono?

Hal Hartley made his first films at art school in

Boston, then studied directing and editing at the State

University of New York, graduating in 1984. In 1986

he started working as producer and writer for Action

Productions which lead to his first feature, The

Unbelievable Truth (1989). His other films include

Simple Men (1992), Flirt (1995) and Henry Fool

(1998).

World Sales:

Atlas International Film GmbH · Dieter Menz, Stefan Menz, Christl Blum

Rumfordstr. 29-31 · D-80469 Munich

phone: +49-89-2 10 97 50 · fax: +49-89-22 43 32

www.atlasfilm.com · email: mail@atlasfilm.com

Paul Fassnacht, Franziska Petri


Fernes Land Pa-Isch

FAR AWAY COUNTRY PA-ISCH

Sixteen-year-old Umberto is fed up with life. His mother Ilona frequently changes her lovers.

His father disappeared (it is said that he worked as a circus acrobat and had an accident). The

father of his younger half-sister, Bianca, went back to Africa. Umberto’s dream is to leave the

sad, small town in Saxony where they live. Ilona decides to move the family to Hamburg,

trying to find a better life. Umberto falls in love with Tschibo, a black girl living next door.

Umberto is irritated when he finds out that his mother and Tschibo work as prostitutes.

He tries to save Bianca and himself, to leave for Africa, for distant ”Pa-Isch“. After a turbulent

journey on a stolen motorbike, they arrive in Berlin where they meet ”Le Pain“ and his gang

who live in the ruins of an old factory. Umberto tries to earn money doing more or less legal

jobs. When he realises that his dream can’t come true he starts a large fire .

Nana Abrokwa, Jens Schumann

Genre Feature Director Rainer Simon Screenplay

Günther Saalmann, Rainer Simon Director of

Photography Sebastian Richter Editor Helga Gentz

Music by Friedrich Schenker, Gruppe Saraba, Klaus

Knapp Producer Dorothea Hildebrandt Production

Company Studio Babelsberg, Potsdam Principal

Cast Renate Krößner, Meret Becker, Jens Schumann,

Nana Abrokwa Length 93 min., 2.550 m. Format 35

mm, colour, 1:1,66 Original Version German

Subtitled Version English Sound Technology

Dolby Stereo With backing from BKM, Länder

Brandenburg, Sachsen, Mecklenburg-Vorpommern,

Hamburger Filmbüro German Distributor Progress

Film-Verleih GmbH, Berlin

World Sales:

Progress Film-Verleih GmbH · Christel Jansen, Miriam Reisner

Burgstr. 27 · D-10178 Berlin

phone: +49-30-24 00 32 25 · fax: +49-30-24 00 32 22

www.progress-film.de · email: c.jansen@progress-film.de

Percy Adlon

Rainer Simon was born in Hainichen in 1941.

From 1961 - 1965 he studied at the ”Konrad Wolf“

Academy for Film & Television in Babelsberg. In 1964

he made his graduation film, Peterle und die

Weihnachtsgans Auguste. He then worked as

an assistant director under Ralf Kirsten and Konrad

Wolf, making his debut as a director of feature films

in 1969 with Wie heiratet man einen König.

His major films are: Männer ohne Bart (1971),

Sechse kommen durch die Welt (1972),

Till Eulenspiegel (1975), Zünd an, es kommt

die Feuerwehr (1979), Jadup und Boel

(1981/88), Die Frau und der Fremde (1985),

Die Besteigung des Chimborazo (1989),

Der Fall Ö. (1991) and Fernes Land Pa-Isch

(1994/2000).

45


46

Gangster

A love story between Vincent, a petty gangster, and Mona, a policeman’s daughter.

During a nocturnal round of poker in the red-light district, Vincent loses his woman to

Siggi, a pimp known for his brutal ways. The problem’s not just that Vincent has to come

up with 60.000 marks within a few days to stop the pimp from rounding on their flat;

the problem is also that Mona mustn’t know of the whole affair because she’s just trying

to convince her father, Inspector Kubel, that Vincent has started a new life.

It seems as if Vincent is doomed to criminal ways yet again when the pimp unexpectedly

turns up with a gangster named Duvall who is wanted for arrest. Siggi, for his part, has to

settle some gambling debts and since he is short of cash, he has passed Mona on to the

top gangster – who doesn’t make matters less complicated by planning to give the

supposed whore to his boss …

Genre Feature Director Volker Einrauch Screenplay

Lothar Kurzawa Director of Photography

Stephan Spreer Editor Nana Meyer Music by Rainer

J.G. Uhl Producer Lothar Kurzawa Production

Company Josefine Filmproduktion, Hamburg, in coproduction

with WDR, Cologne, arte, Strasbourg

Principal Cast Frank Giering, Laura Tonke, Dietmar

Mues, Saskia Vester, Christian Redl Length 2.600 m.,

90 min. Format 35 mm, colour, 1:1,85 Original

Version German Subtitled Version English

Sound Technology Dolby SR With backing

from FilmFörderung Hamburg International

Festival Screenings Hof99

World Sales:

Media Luna · Ida Martins

Alter Markt 36-42 · D-50667 Cologne

phone: +49-2 21-1 39 22 22 · fax: +49-2 21-1 39 22 24

email: idamartins@compuserve.com

Volker Einrauch was born in Kassel in 1950. He

studied philosophy, German literature, politics and

history. He has been employed in the arts departments

of various radio stations and magazines and

works as a writer and director. His films include:

Uncertain Is The Future Of The Bodyguard

(Ungewiss ist die Zukunft der

Leibwächter, 1989), And If It Doesn’t Work?

(Und wenn’s nicht klappt, 1990), A False

Step (Ein falscher Schritt, screenplay, 1994),

The Killer’s Mother (Die Mutter des

Killers, 1996), Everything Because Of

Mother (Und alles wegen Mama, screenplay,

1998), Gangster (1999).

Christian Redl, Laura Tonke (photo © Volker Einrauch)


Gespräch im Gebirg

DIALOGUE IN THE MOUNTAINS

A cinematic essay based on writer and poet Paul Celan’s 1959 prose work ’Conversation In

The Mountains’, and which also addresses the difficult relationship between words and images.

In July 1959, the Jewish writer Paul Celan travelled with his wife and child to Sils-Maria on

vacation. Celan wanted to meet the philosopher Theodor W. Adorno in Engadin. Adorno’s

famous comment, to write poetry after Ausschwitz is barbaric, had caused a controversy that

still reverberates today. But Adorno didn’t show up and the meeting never took place.

Celan broke off his holiday and returned to Paris where he wrote the impressive piece of

poetic prose, ’Conversation In The Mountains’. In it he describes the meeting between two Jews at

night in the mountains. Mattias Caduff’s film searches for a personal inroad into this difficult

piece of literature by observing himself as a reader.

Mattias Caduff

Genre Documentary Director Mattias Caduff

Screenplay Mattias Caduff, based on the story

’Conversation In The Mountains’ by Paul Celan

Director of Photography Stephan Sachs

Editors Mattias Caduff, Cilly Probst Producers

Mattias Caduff, Werner Schweizer Production

Company Mattias-Caduff-Filmproduktion, Düsseldorf,

in co-production with Dschoint Ventschr

Filmproduktion, Zurich With Mattias Caduff

Length 59 min., 679 m. Format 16 mm, colour,

1:1,66 Original Version German Subtitled

Versions English, French Sound Technology Mono

With backing from Filmbüro NW, FilmFörderung

Hamburg, Academy of Media Arts Cologne, Alfred-

Richterich-Foundation, Filmwerkstatt Düsseldorf,

Eidgenössisches Department des Innern, Kanton

Graubünden International Festival Screenings

Berlin 2000: New German Films, Nyon 2000

World Sales: please contact

Dschoint Ventschr Filmproduktion · Susa Katz

Zentralstr. 156 · CH-8003 Zurich

phone: +41-1-4 56 30 20 · fax: +41-1-4 56 30 25

www.dschointventschr.ch · email: susa@dschointventschr.ch

Percy Adlon

Mattias Caduff was born in Switzerland, in

Zurich, in 1962. He studied sculpture at the State

Art Academy in Düsseldorf from 1980-1990 and

did his postgraduate studies, from 1992-1994, at

the Academy of Media Arts Cologne. He began

working as an independent filmmaker in 1995

and was a fellow of the Academy of Media Arts

Cologne from 1996-1997. He lives in Basel and is

currently teaching at Zurich’s Academy for Design

and Art. His films are: Blindnis (short documentary,

1994) and Dialogue In The Mountains

(Gespräch im Gebirg, 2 1999)

47


48

Gran Paradiso

Following an accident 19-year old Mark is confined to a wheelchair unable to accept he will never

walk again. When he tries to kill himself his therapist, Lisa, saves him by promising to make his

dream come true: climbing the icy peak of the 13,000 ft high Gran Paradiso in the Alps.

But financial and bureaucratic problems get in the way so Lisa comes up with a daring plan and

enlists her friend and colleague Martin who works in a youth prison. It’s a strange group which finally

sets off up the mountain: Mark, Lisa with the mentally handicapped odd couple Rosi and Harpo,

and Martin with the juvenile delinquents recruited to carry Mark: Wolf, the charismatic leader of

fellow inmates Edwin and Rocky, a clumsy skinhead and a streetwise Turk who are always fighting.

Genre Feature Director Miguel Alexandre Screenplay

Georg Heinzen Director of Photography

Peter Indergand Editor Inge Behrens Music by

Dominic Roth Producer Henrik Meyer Production

Company Studio Hamburg Letterbox, in co-production

with Monty Film, Cologne, Warner Bros.

Filmproduktion, Hamburg Principal Cast Ken

Duken, Regula Grauwiller, Gregor Törzs Length 100

min., 2.736 m. Format 35 mm, colour, cs Original

Version German Sound Technology Dolby SR

With backing from FilmFörderung Hamburg,

Filmförderungsanstalt (FFA) German Distributor

Warner Bros. Film GmbH, Hamburg

World Sales: please contact

Studio Hamburg Letterbox · Henrik Meyer

Jenfelder Allee 80 · D-22039 Hamburg

phone: +49-40-66 88 55 13 · fax: +49-40-66 88 55 60

email: letterbox@studio-hamburg.de

Percy Adlon

Physical hardships are soon forgotten as prejudices and mental barriers prove a bigger problem.

The quest becomes a painful test of solidarity. The very disparate characters bond as they struggle

through the magnificent mountainscape with its limitless horizons. In the end, reaching the peak

is no longer an issue. They have learned to appreciate new values: friendship and tolerance.

The people who come down are not the ones went up.

Ken Duken, Gregor Törzs

Miguel Alexandre graduated from the Academy for

Television & Film (HFF) in Munich in 1994. Just one year

earlier his 1992 short film, About War, had been

nominated for an Oscar for Best Foreign Student Film.

Since then he has been flexing his directorial and authorial

muscles for German television on TV movies, series and

drama. And collecting more plaudits along the way.

Movie-of-the-week, Der Pakt (1996), won him the

Golden Lion for Best New Director, the Telestar for Best New

Director and the 3SAT-Viewer’s Award. The drama Nana

was nominated in 1997 for the Grimme Award and the

German Youth Video Award. Gran Paradiso (1999) is

his first feature and will be distributed by Warner Bros.


Havanna, mi amor

Every evening the inhabitants of Havana gather in front of their TV’s to submerge

themselves in the world of Telenovelas. These days it seems as though the ancient Soviet

television sets can no longer fulfil their wish to escape reality. Havanna, mi amor tells

of their struggle in those images, and the relationship between their everyday lives and

the endless soap opera episodes. A homage to love, old television sets, and to one of the

most beautiful cities in the world.

Scene from »Havanna, mi amor«

Genre Documentary Director/Screenplay Uli

Gaulke Director of Photography Axel Schneppat

Editor Uli Gaulke Music by Los Zafiros

Producer Helge Albers Production Company

Flying Moon Filmproduktion, Berlin, in co-production

with HFF ”Konrad Wolf“, Babelsberg, ORB, Potsdam,

Studio Babelsberg Independents, Potsdam With

Inhabitants of Havana Length 80 min., 2.334 m.

Format 35 mm, colour, 1:1,85 Original Version

Spanish Subtitled Versions German, English

Sound Technology Dolby SR With backing

from Filmboard Berlin-Brandenburg International

Festival Screenings Berlin 2000: Forum German

Distributor Salzgeber & Co. Medien GmbH, Berlin

World Sales:

EuroArts International · Teresa Dokey

Wilmersdorfer Str. 79 · D-10629 Berlin

phone: +49-30-32 78 39 29 · fax: +49-30-32 78 39 18

www.euroarts.com · email: t.dokey@euroarts.com

Percy Adlon

Born in 1968, Uli Gaulke entered the ”Konrad

Wolf“ Academy for Film & Television in Babelsberg

in 1995. His first film, Somewhere In Germany

(1996, short) was followed that year by the documentary

Yellow Land – Green Land. In 1997 his

documentary Quién es el último – Who Is

Last In Line, aired on local TV and toured the

world’s festivals: Taiwan, Germany, Italy, Scotland,

United States, Croatia, Poland, Czech Republic,

Portugal and Bangladesh. Among its awards, the 1998

Director’s Choice Award (UFVA Touring Festival of

International Student Film & Video, Philadelphia).

His other films are No One Laughs Backwards

(1998, short), Mr. Kühn And His Art (documentary,

1998), Heinz Mewius (documentary, 1999)

and Havanna, mi amor which opened the

International Forum of New Cinema, 2000, in Berlin.

49


50

Höre nie auf anzufangen –

Der Ufa-Star Carola Höhn

NEVER STOP BEGINNING – THE UFA-STAR CAROLA HÖHN

Genre Documentary Director/Screenplay

Robert Fischer Directors of Photography

Florian Sutor, Dieter Hohnhausen, Leo Potesil,

Hermann Sojewa, Achim Hepers, Brian Scully

Editor Natalie Kurz Producer Loy W. Arnold

Production Company BR, Munich, in coproduction

with Transit Film, Munich, in cooperation

with Friedrich-Wilhelm-Murnau-Foundation,

Wiesbaden With Carola Höhn, Bruni Löbel,

Hansi Wendler, Johannes Heesters, Eric Pleskow

Length 50 min., 1.425 m. Format 35 mm,

colour and b&w, 1:1,66 Original Version

German Sound Technology Mono Comopt

German Distributor Transit Film GmbH,

Munich

World Sales:

Transit Film GmbH · Loy W. Arnold

Dachauer Str. 35 · D-80335 Munich

phone: +49-89-5 99 88 50 · fax: +49-89-59 98 85 20

email: transitfilm@compuserve.com

Percy Adlon

Carola Höhn

Between 1934 and the end of the war, Carola Höhn

appeared in over 30 films. In April, April and Zu

neuen Ufern she starred in films directed by

Douglas Sirk. Johannes Heesters was her partner in

Der Bettelstudent, Willi Forst in Königswalzer,

Hans Moser in Liebe streng verboten and Heinz

Rühmann in Hurra, ich bin Papa. Unlike the

femme fatale Zarah Leander or the sing and dance

queen Marika Rökk, Carola Höhn specialised in

playing modern, intelligent, open-minded young

women. After 1945 she made appearances on stage

in Berlin, Vienna, Munich, Bremen and Hannover.

She was the German voice of stars like Katherine

Hepburn, Irene Dunne, Maureen O’Hara and

Danielle Darrieux. Theses dubbing assignments

brought her from Berlin to Munich in 1950.

In 1994 Carola Höhn returned to the Berlin stage,

playing the role of Mrs. Higgins in My Fair Lady at

the Theater des Westens. ”Don’t ever begin to give

up – don’t ever give up beginning“ is the motto of

the ever-young and full-blooded actress.

Robert Fischer has made this lively and passionate

portrait, presenting numerous film clips, and newly

shot footage of colleageus, friends and family, but

above all – and in detail – Carola Höhn herself.

Robert Fischer was born 1954 in Greven, Westphalia.

He soon became one of Germany’s foremost film historians,

publishing books on Alfred Hitchcock, Orson Welles, David

Lynch, Quentin Tarantino, Bernhard Wicki and François

Truffaut. Together with Joe Hembus he wrote a history of

the new German Cinema. After a five-year stint as Vice

Director at the Munich Film Museum, Fischer switched to

full-time filmmaking in 1999. His documentary film

Monsieur Truffaut Meets Mr. Hitchcock was

shown at numerous film festivals, including Locarno and

Pordenone. He is currently developing a feature-length documentary

on child actors as well as two feature films. His films

are: Strange Behaviour Of Moving Pictures (1978,

short), Monsieur Truffaut Meets Mr. Hitchcock

(1999, documentary) and Never Stop Beginning -

The Ufa Star Carola Höhn (2000, documentary.)


Honolulu

Honolulu’s seven different stories portray a weekend on the edge of a large city: strange

coincidences, life-changing decisions, unavoidable fates or just simply refreshing banalities.

A completely normal weekend. But like every weekend the most important one in the

lives of the young people we meet in the film. Snapshots of joie-de-vivre full of contradictions,

driven by the lust for love and life. 24 hours giving it loads: all dressed up …

setting off … getting there … or maybe not.

Jochen Nickel, Stefan Maaß

Genre Feature Directors/Screenplay Uschi

Ferstl, Florian Gallenberger, Saskia Jell, Vanessa

Jopp, Matthias Lehmann, Beryl Schennen, Sandra

Schmidt Director of Photography Tomas

Erhart Editor Barbara von Weitershausen

Music by various artists Producer Reinhard

Klooss Production Company Odeon Film,

Munich, in co-production with BR, Munich

Principal Cast Anna Thalbach, Markus Knüfken,

Steffen Wink, Eva Haßmann, Stefan Maaß, Jochen

Nickel, Mina Tander, Shira Fleisher, Alexandra

Maria Lara, Julia Hummer Length 90 min.,

1.057 m. Format Super 16, colour Original

Version German Sound Technology

Dolby SR With backing from FilmFernseh-

Fonds Bayern

Uschi Ferstl (born 1968), Florian Gallenberger

(born 1972), Saskia Jell (born 1970), Vanessa

Jopp, Matthias Lehmann (born 1969), Beryl

Schennen and Sandra Schmidt (born 1970) are

all students of the Academy for Television & Film

(HFF) in Munich.

World Sales:

Bavaria Film International · Dept. of Bavaria Media GmbH

Thorsten Schaumann, Michael Weber

Bavariafilmplatz 8 · D- 82031 Geiselgasteig

phone: +49-89-64 99 26 86 · fax: +49-89-64 99 37 20

www.bavaria-film-international.de · email: Bavaria.International@bavaria-film.de

Percy Adlon

51


Kasachstan Lady

LADY OF KAZAKHSTAN

52

Daniel, a young musician, is forced to take in his orphaned cousin, Ekatarina, from Kazakhstan.

Although less than enthusiastic to begin with, the two get on unexpectedly well. She shares his

love of music and inspires him to write a new song. Her great passion is figure-skating and, one

day, when she sees a boy fall through the ice she hurries to his aid. The famous figure-skater

Sophia Arndt sees what is happening and together they save the boy. Daniel falls in love with

Sophia.

Ekatarina starts training with Sophia for an upcoming gala and, on the day, enchants the audience.

But then she suddenly collapses and is taken to hospital where she is diagnosed with leukaemia.

Daniel and Sophia try to make Ekatarina’s last weeks as comfortable as possible. Her dying wish

is to celebrate Christmas but the doctors fear she won’t live to see it. Daniel and Sophia decide

that Christmas will come early.

Genre Feature Director Dmitiri Astrachan

Screenplay B & B Westhausen, based on a story by

Art Bernd Director of Photography A. F. Rud

Editor L. Mikulo Music by Paul Wuthe Producer

Artur Brauner Production Companies CCC Filmkunst,

Berlin, Gran Film, Moscow Principal Cast

Daniel Fehlow, Daniel Schmid, Tanja Szewczenko,

Valeria Valeeva Length 91 min., 2.500 m. Format

35 mm, colour, 1:1,66 Original Version

German/Russian Sound Technology Dolby Stereo

World Sales: please contact

CCC Filmkunst GmbH · Fela Brauner

Verlängerte Daumstr. 16 · D-13599 Berlin

phone: +49-30-3 34 20 01 · fax: +49-30-3 34 04 18

Scene from »Lady Of Kazakhstan«

Dmitri Astrachan was born in 1957 in Leningrad,

today St. Petersburg. Aged 25 he graduated from the

Leningrad State Institute For Theatre, Music And

Cinema having majored in playwriting. From 1982

until 1987 he was Director and Artistic Director of

the Sverdlovsk Youth Theatre. In 1987 he became

head of the famous Bolshoi Theatre. Four years later

he was invited to lead the St. Petersburg Academic

Comedy. In 1995 he left the theatre to concentrate

on film production. Among his award winning films

are Get Thee Out! (1991, director, producer,

writer) which was nominated for an Oscar for Best

Foreign Film and From Hell To Hell (1996) which

was entered in the same category. His other films

include You Are The Only One (1993),

Everything Will Be OK (1993), Apokalypse

99 – Anatomie eines Amokläufers and Lady

of Kazakhstan (2000).


Die Markus Family THE MARKUS FAMILY

The Markus Family tells the life of Markus Anatol Weisse, who, despite having an

extreme visual disability, became a painter. He builds robots and wishes he could

become a Bio-Robot, a Cyborg. Markus Anatol Weisse takes us into his fascinating

reality where not only his world of pictures but also his bizarre humour encourage

us to see the world with ”different eyes“.

What would it be like to be stranded on a traffic island? To live in a village at the end

of the world? To talk to mechanical creatures? To long for love? And to find a friend?!

Markus Anatol Weisse, Eva Ebner (photo © Elfi Mikesch)

Genre Documentary Director/Screenplay/

Director of Photography Elfi Mikesch

Editor Heide Breitel Music by Harald Weiss,

Markus Anatol Weisse, N’CO Françoise Arnold, Klaus

Nomi, Paul Gutama Soegijo Producer Elke Peters

Production Company Mira Filmproduktion,

Bremen, in co-production with ZDF/3 sat, Mainz

With Markus Anatol Weisse, Drosera Eva Weisse, Leo

Weisse, Eva Ebner, Fritz Eggert, Julia Meiler Brand

Length 80 min., 920 m. Format 16/DV, colour,

1:1,37 Original Version German Subtitled

Version English Sound Technology Stereo

With backing from Bremer Innovations-Agentur

(BIA) International Festival Screenings Berlin

2000: Panorama

World Sales: please contact

Mira Filmproduktion Bremen GmbH · Elke Peters

Wielandstr. 27 · D-28203 Bremen

phone: +49-4 21-70 70 71 · fax: +49-4 21-70 70 76

email: Mirafilm@aol.com

Percy Adlon

Elfi Mikesch, who was born in Austria in 1940, has

been living in Berlin since 1965. She works as a

photographer, camerawoman and director and has

worked, among others, with Rosa von Praunheim,

Werner Schroeter and Monika Treut. Together, she

and Treut founded the film production company

Hyäne I/II. Her films as director include: Ich denke

oft an Hawaii (1978), Was soll’n wir denn

machen ohne den Tod (1980), Verführung:

die grausame Frau (1985), Mind The Gap

(Verrückt bleiben, verliebt bleiben, 1996)

and Die Markus Family (2000).

53


54

Paul Is Dead

It’s 1980 in a small town somewhere in West Germany. Summer vacation has just started and the

days seem long for Tobias (12), a raving Beatles-fan. He is dreaming about having a band of his

own together with his older brother Till. But Till just started dating his first girl-friend and therefore

has other things on his mind. One fine day a mysterious man appears in town driving a white

VW beetle, apparently English, with steering wheel on the right hand side. Tobias is convinced that

he has seen the licence plate on the car before. Going through his LPs he finds his suspicions

confirmed: It is the beetle shown on the Abbey Road cover.

His detective instincts aroused, he discovers a strange story which happened in 1966: Paul

McCartney died under mysterious circumstances and was replaced with a double by his manager,

Brian Epstein. All the elements seem to match and Tobias starts to investigate the case, believing

he is confronted with Paul McCartney’s killer.

Genre Feature Director/Screenplay Hendrik

Handloegten Director of Photography Florian

Hoffmeister Editor Monika Smith Music by Bertram

Denzel, Bernd Jestram Producers Stefan Arndt, Maria

Köpf Production Company X Filme Produktions

GmbH, Cologne, for ZDF, Mainz Principal Cast

Sebastian Schmidtke, Martin Reinhold, Vasko Scholz,

Myriam Abeillon Length 75 min., 2.052 m. Format

35 mm, colour, 1:1,66 Original Version German

Subtitled Version English Sound Technology

Dolby SR International Festival Screenings

Saarbrücken 2000

World Sales: please contact

X Filme Produktions GmbH · Maria Köpf

Bülowstr. 90 · D-10783 Berlin

phone: +49-30-23 08 33 11 · fax: +49-30-23 08 33 22

email: X-FILME@X-FILME.de

Sebastian Schmidtke (photo © X Filme Produktions GmbH)

Hendrik Handloegten was born in Germany in

1968 but spent his childhood in Finland, Brazil,

Switzerland and France. In 1985 he moved from Paris

to East Berlin. In 1989 he finished his studies at the

German Film and Television Academy (DFFB) in

Berlin with his graduation film, Paul Is Dead. He

is currently working on his second feature film,

Kirnbacher Kreuz.


Private Lies

When the truth becomes unbearable, people start lying – to each other and themselves. For Sarah and

Bob it was love at first sight. She was a German music student and he was an American tourist. Now,

years later, the picture-perfect marriage has itself become a lie – despite the white clapboard house in

the New England countryside and two wonderful children. Sarah is lonely, but, in denial, she struggles

desperately to keep it all together. Bob, basically a loving husband, starts to unravel. When they both

begin affairs, their marriage reaches the point of no return.

Out of the blue, Sarah is called to her mother’s deathbed in Munich. Bob accuses her of trying to

kidnap the kids and refuses to let them go. Upon her return, airport immigration authorities inform

Sarah that Bob has filed for divorce, that she either sign away custody of the kids or be deported to

Germany on the next plane and face an extended battle for the right to reside in the U.S. She signs

the papers, returns to an empty house and tries to rectify a situation in which everyone is suffering,

the children most of all. Betty, Sarah’s loyal friend, does all she can to lower the level of hostility, help

Sarah beat the odds and get a new life.

Private Lies is the tender yet compelling story of a woman’s struggle to prevail over the injustice, pain,

and animosity of a marriage gone wrong.

Scene from »Private Lies«

Genre Feature Director Sherry Hormann

Screenplay Gabriela Sperl Director of

Photography Ken Kelsch Editor David Gulick

Music by Mason Daring Producer Otto

Grokenberger Production Company TV-60

Filmproduktion, Munich, in co-production with BR,

Munich, NDR, Hamburg, WDR, Cologne, ORF,

Vienna, SF DRS, Zurich Principal Cast Martina

Gedeck, John Corbett, Vyto Ruginis, Marianne

Sägebrecht, Sarah Fischer, David Mokriski Length

2.800 m., 102 min. Format 35 mm, colour,

1:1,78 Original Version English Sound

Technology Dolby Stereo

World Sales:

Cinepool · Wolfram Skowronnek, Annegret Rönnpag

Sonnenstr. 21 · D-80331 Munich

phone: +49-89-55 87 60 · fax: +49-89-55 87 61 88

email: skowronnek@telepool.de

Sherry Hormann was born in New York State in 1960

and moved to Germany with her family in 1966. She attended

the Academy for Television & Film (HFF) in Munich,

graduating in 1984 with Jetzt oder nie. Her first script,

Tiger, Löwe, Panther (1988), received the Prize for

Best Teleplay in 1988. In 1991, Hormann made her feature

debut with Leise Schatten, which was awarded three

German Film Prizes and a Bavarian Film Prize. She followed it

up with Women Are Simply Wonderful (Frauen sind

was Wunderbares, 1993). Her other films are: Doubting

Thomas (Irren ist männlich, 1995), Die Cellistin

(TV, 1996), Widows (Widows – erst die Ehe, dann

das Vergnügen, 1997) and Private Lies (2000).

55


Russlands Wunderkinder

RUSSIA’S WONDER CHILDREN

56

Their names are Lena, Nikita, Ira and Mitya. They excel at concert performances which would shatter

the nerves of even adult pianists. Their vibratos, runs and cascading arpeggios are simply breathtaking.

The maturity these children display, even when performing the most difficult of piano pieces, is quite

astonishing. Their amazing talent is founded, however, on hours of practice every single day and is the

result of a long-standing tradition in the former Soviet Union.

The roots of this tradition date back to the thirties. In the midst of Stalin’s reign of terror, musical education

was elevated to the status of an important state mission. Since then, no other country has produced

as many virtuoso musicians as Russia. This was also the time when the Central Music School at the

Moscow Conservatory first opened its portals. Even today it remains the most sought after institutions to

Genre Documentary Director/Screenplay

Irene Langemann Director of Photography

Sergej Astachov Editor Kawe Vakil

Producer Wolfgang Bergmann Production

Company Lichtfilm, Cologne, in co-production

with WDR, Cologne, arte, Strasbourg Length

98 min., 2.800 m. Format 35 mm, colour,

1:1,37 Original Version Russian/German

Subtitled Versions German, English

Sound Technology Dolby SR With

backing from Media II, Filmstiftung NRW

International Festival Screenings Berlin

2000: Forum

World Sales:

Jane Balfour Films Ltd. · Mary Barlow

Burghley House · 35 Fortress Road · GB-London NW5 1AD

phone: +44-20-72 67 53 92 · fax: +44-20-72 67 42 41

www.Lichtfilm.de · email: jbf@janebalfourfilms.co.uk

Percy Adlon

attend in order to obtain a musical education.

Ira, Mitya, Nikita and Lena are all pupils at this school. Lena, who has been performing concerts all over

the world since she was nine years old, does not even possess her own piano on which to practice. She

is now seventeen and is experiencing the fate of many a child prodigy: no longer a child, she is simply

not as sought after as she used to be. There are, after all, so many first class adult musicians around.

Born in 1959 in Issikul, near Omsk, in what was

then the Soviet Union, Irene Langemann

majored in acting and German language and

literature at Moscow’s Tcepkin Drama School

from 1976-1980. For the next ten years she

worked as an actress, director and playwright

in Moscow. In 1983 she became a presenter

and director for Russian television. In 1986 she

became director and dramaturge at the Nasch

Theater studio theatre until she emigrated to

the Federal republic of Germany in June 1990.

From then until 1997 she was commissioning

edtitor at Deutsche Welle TV in Cologne.

Now she is freelancing filmmaker.

Scene from »Russia’s Wonder Children«


The Unscarred

When four friends meet twenty years later, they discover that trust is a strong basis for deception.

It's 1979 and at the Stanford University villa in Berlin a wild frat party is in full force. Mickey

Vernon, a young basketball prodigy, and his best friend Travis Moore, handsome, rich and

privileged, are competing in a drinking contest for the affections of their friend, Rafaella Storaro.

Johann Alt is referee. When things suddenly turn ugly Mickey's sporting career is ruined.

20 years on: Mickey works in a rundown factory in Newark NJ. Saddled with serious gambling

debts, he unexpectedly gets a call from Travis inviting him back to Berlin to see Johann and

Rafaella, who are married and extremely successful. In Berlin they go out for a night on the town.

In an East Berlin club, Travis picks up a girl and takes her to Johann's place. In the morning Mickey

finds her lying in a pool of blood. Travis, horrified at what has happened, tries to explain that

she accidentally fell from the balcony. He wants to call the police but Mickey bullies them into

reconsidering: No one will believe that it was an accident. Reluctantly, they wrap up the body for

disposal. Bitter about his life, Mickey savours the idea that he finally has one up on his successful

friends. But this dangerous game of betrayal and revenge will leave no survivor unscarred.

James Russo, Ornella Muti, Steven Waddington, Heino Ferch

Genre Feature Director Buddy Giovinazzo

Screenplay Todd Komarnicki, Karl Junghans

Director of Photography Rodger Hinrichs

Editor Katja Dringenberg Music by Rick Giovinazzo

Producers Karen Arikian, Christopher Petzel,

Wolfram Tichy Production Companies VIF,

Potsdam, VIP, Potsdam, TiMe, Potsdam, Mercent

Filmproduktion, London Principal Cast James Russo,

Steven Waddington, Heino Ferch, Ornella Muti

Length 92 min., 2.516 m. Format 35 mm, colour,

1:1,85 Original Version English Sound Technology

Dolby SRD With backing from Filmboard

Berlin-Brandenburg, Filmförderungsanstalt (FFA)

World Sales:

Storm Entertainment Inc. · Michael Heuser

225 Santa Monica Boulevard · Suite 60

USA-Santa Monica, CA 90401

phone: +1-3 10-6 56 25 00 · fax: +1-3 10-6 56 25 10

www.stormentertainment.com · email: Jejcstorm@aol.com

Buddy Giovinazzo graduated with a Masters in

Cinema from the College of Staten Island. As writerdirector

his credits include low-budgeter Combat

Shock (1985, Troma) and No Way Home

(1995) starring Tim Roth, James Russo and Deborah

Unger. Strongly reviewed at film festivals it sold

successfully in all major territories. He has directed a

number of music videos for Amar Records and has

produced and directed the documentary Slice of

Life, about body modification and scarification.

From 1985-1995 he taught directing and filmmaking

at the School of Visual Arts and at Film/Video Arts

in Manhattan, and New York’s City University. An

author he penned, among others, the novel Poetry

and Purgatory (1995) and the original screenplay She’s

Back (1998, Carrie Fisher, Robert Joy).

57


Vergiss Amerika

FORGET AMERICA

58

Two boys and a girl. Coming of age in eastern Germany: flights of fancy, dreams of grandeur,

shattered illusions. A defeated region that has completely lost heart and three young people on

the verge of discovering theirs.

Genre Feature Director Vanessa Jopp Screenplay Maggie

Peren Director of Photography Judith Kaufmann Editor

Martina Matuschewski Music by Beckmann Producers Alena

and Herbert Rimbach Production Companies Avista Film,

Munich, Brainpool, Cologne, Kinowelt, Munich, WDR, Cologne

Principal Cast Marek Harloff, Franziska Petri, Roman Knizka

Length 90 min., 2.462 m. Format 35 mm, colour, 1:1,85

Original Version German Subtitled Version English

Sound Technology Dolby SR With backing from

FilmFernsehFonds Bayern, Mitteldeutsche Medienförderung,

Kuratorium Junger Deutscher Film, Filmförderungsanstalt (FFA)

German Distributor Filmverlag der Autoren im Arthaus

Filmverleih, Munich

World Sales:

Cinepool · Wolfram Skowronnek, Annegret Rönnpag

Sonnenstr. 21 · D-80331 Munich

phone: +49-89-55 87 60 · fax: +49-89-55 87 61 88

email: skowronnek@telepool.de

Vanessa Jopp, born in 1969, studied at the

Academy for Television & Film (HFF) in Munich from

1993-1999. She directed her first short, Aquavitae,

in 1994. This was followed by Alpaliens (short,

1995), One Night Suicide (short, 1996) and

This Is A True Story About A Puker On

The Roof (short, 1997). Jopp has also made several

music videos and has worked for the comedy show

Wochenshow. Together with five other HFF students,

she co-directed the episodic film Honolulu (1999).

Forget America (1999) is due to open in German

cinemas during the autumn of 2000. Vanessa Jopp is

currently working on her next feature, Hexe und

Zotte.

Scene from »Forget America«


Wotenick

Mecklenburg-Pommerania, in the Federal Republic of Germany.

There are tens of thousands of unemployed people in the district of Demmin. Sociologists

describe this place as one of the ‘disconnected’ regions of the new Länder. Many grow up

here with an ingrained feeling of having been ‘socially demoted’. A private educational

organisation is currently attempting to help twenty-five hand-picked young individuals to

make the transition into the workplace. The organisation’s committed educators are faced

with the difficult task of trying to combat the drastic sense of personal and social deficiency

harboured by these young people. It is their mission to have found either a job or a training

scheme for their charges after just one year.

Wotenick, summer 1999. This film observes the daily routine of those involved on the course

– from secondary education to woodwork to home economics.

A poetic documentary about imperfect people, who have every right to be happy but who

just don’t have a chance.

Scene from »Wotenick«

Genre Documentary Director/Screenplay Axel

Kalhorn Director of Photography Volker Gerling

Editor Elke Müller Producer Henriette Geiss

Production Company HFF ”Konrad Wolf“, Potsdam

With 25 adolescents of the district of Demmin,

Mecklenburg-Pommerania Length 60 min., 720 m.

Format 16 mm, colour, 1:1,37 Original Version

German Subtitled Version English Sound

Technology Mono International Festival

Screenings Berlin 2000: New German Films

Axel Kalhorn was born in 1968 in Barth. He took

his final school examinations in Greifswald and was

posted to Stralsund as a soldier. Kalhorn later

worked as a film developer at a Berlin laboratory.

He is a student at the ”Konrad Wolf“ Academy for

Film & Television in Babelsberg. His films are:

Meister a. D. (short, 1996), Jezerskas lebt am

Vogelpfad (short, 1997), Waffenbrüder (short,

1998) and Wotenick (1999).

World Sales: please contact

Hochschule für Film und Fernsehen ”Konrad Wolf“ · Martina Liebnitz, Uta Eberhardt

Karl-Marx-Str. 33/34 · D-14482 Potsdam-Babelsberg

phone: +49-3 31-7 46 93 40 · fax: +49-3 31-7 46 93 49

www.hff-potsdam.de · email: distribution@hff-potsdam.de

59


60

Zoom

– It’s Always About Getting Closer

Wanda is a call girl living in Berlin. Though she doesn’t know it, her shy neighbor Waller is constantly

watching her through the viewfinder of his digi-camera. Waller uses the videotapes to blackmail her

customers – and regularly slips part of the proceeds into Wanda’s mailbox.

One day, Wanda and Waller meet – by chance – in the hallway. When Waller tries to probe into her life,

Wanda turns him away. She has enough problems of her own. Her husband is blackmailing her, using

their son as a hostage to force her to turn tricks for him.

But Waller persists, and when he finds out her story, he proclaims himself to be her guardian angel. He

promises her a new, better life. The first thing he does is to break her out of her life as a prostitute –

against her own will. Then he takes her on one final trip: Together, they pay a visit to Wanda’s former

customers, one by one, and blackmail them again. This time, however, they demand a much higher price:

For the better life they have in mind, they will need a lot of money.

Genre Feature Director Otto Alexander Jahrreiss

Screenplay Otto Alexander Jahrreiss, Markus Hoffmann

Director of Photography Hannes Hubach Editor

Behruz Torbati Music by Martin Todsharow, Till Broenner

Producer Michael Schwarz Production Company

Vega Film, Berlin Principal Cast Florian Lukas, Oana

Solomon, Albert Kitzl, Goetz Schubert Length 95 min.,

2.600 m. Format 35 mm, colour, cs Original Version

German Subtitled Version English Sound

Technology Dolby Digital SR With backing from

Filmboard Berlin-Brandenburg German TV License

Sat.1, Berlin

World Sales: please contact

Vega Film GmbH · Michael Schwarz

Heckmannufer 4 · D-10997 Berlin

phone: +49-30-6 12 20 72 · fax: +49-30-6 12 20 21

www.wallerswelt-zoom.de

email: vegafilms@compuserve.com

Scenes from »Zoom« (photos © Connie Klein, Vega Film)

Otto Alexander Jahrreiss was born in Mainz in

1964. After leaving school, he first worked as a freelance

photographer in Munich and Los Angeles. He

was already writing scripts at this time, and in 1990

presented his first screenplays Biting the Apple

and Menschenfresser, which was released in

1993, followed by his second movie All About

Bob (Alles Bob) in 1998. With his current film

Zoom (2000), Jahrreiss is going a completely new

way in postproduction. The film material will be digitally

scanned, giving him the possibility to influence the

look of the film at the computer.


GEDREHT AUF IN ZUSAMMENARBEIT MIT UND FILMBOARD

E I N E V E G A F I L M P R O D U K T I O N

EIN FILM VON OTTO ALEXANDER JAHRREISS

WALLER

FLORIAN LUKAS

WANDA

OANA SOLOMON


FOREIGN REPRESENTATIVES

62

Argentina

Dipl. Ing. Gustav Wilhelmi

Lavalle 1928

C1051ABD Buenos Aires

phone: + fax: +54-11-49 51 19 10

email: gustav.wilhelmi@german-cinema.de

China & South East Asia

Lukas Schwarzacher

G/F, 71-B Peak Road

Cheung Chau, Hong Kong

phone: +8 52-29 86 85 55

fax: +8 52-29 86 85 58

e-fax: +1-240-255-71 60

email: lukas.schwarzacher@german-cinema.de

France

Cristina Hoffman

2, Place de Séoul

F-75014 Paris

phone + fax: +33-1-43 2144 75

email: cristina.hoffman@german-cinema.de

Italy

Alessia Ratzenberger

Angeli Movie Service

piazza Massa Carrara, 6

I-00162 Rome

phone: +39-06-86 20 44 14 / 8 61 09 15

fax: +39-06-8 60 74 75

email: alessia.ratzenberger@german-cinema.de

Japan

Tomosuke Suzuki

Nippon Cine TV. Corporation

Suite 123, Gaien House

2-2-39 Jingumae

Shibuya-Ku, Tokyo. Japan

phone: +81-3-34 05 09 16

fax: +81-3-34 79-08 69

email: tomosuke.suzuki@german-cinema.de

Spain

Stefan Schmitz

Avalon Productions S.L.

C/ Duque de Rivas, 2-2°D

E-28012 Madrid

phone: +34-91-3 66 43 64

fax : +34-91-3 65 93 01

email: stefan.schmitz@german-cinema.de

United Kingdom

Iris Kehr

Top Floor

113-117 Charing Cross Road

GB-London WC2H OEA

phone: +44-20-74 37 20 47

fax: +44-20-74 39 29 47

email: iris.kehr@german-cinema.de

USA/East Coast & Canada

Brigitte Hubmann

246 West End Avenue

Suite 2 C

New York, NY 10023, USA

phone + fax: +1-2 12-7 21-19 17

email: brigitte.hubmann@german-cinema.de

USA/West Coast

Corina Danckwerts

Capture Film, Inc.

2400 W. Silverlake Drive

Los Angeles, CA 90039, USA

phone: +1-3 23-6 68-01 12

fax: +1-3 23-6 68-08 53

email: corina.danckwerts@german-cinema.de

There are plans to open up another representation for Eastern Europe. You can access up-to-date information on

the subject at any time from the headquarters of the Export-Union in Munich, phone +49-89-39 00 95, fax +49-89-39 52 23

email: export-union@german-cinema.de


Export-Union of German Cinema

Shareholders and Supporters

Verband Deutscher Spielfilmproduzenten e.V./

Association of German Feature Film Producers

please contact Franz Seitz

Beichstr. 8, D-80802 Munich

phone: +49-89-39 11 23, fax: +49-89-33 74 32

Arbeitsgemeinschaft Neuer Deutscher Spielfilmproduzenten/

Association of New Feature Film Producers

please contact Margarete Evers

Agnesstr. 14, D-80798 Munich

phone: +49-89-2 71 74 30, fax: +49-89-2 71 97 28

Verband Deutscher Filmexporteure e.V./

Association of German Film Exporters

please contact Lothar Wedel

Tegernseer Landstr. 75, D-81539 Munich

phone: +49- 89-6 92 06 60, fax: +49-89-6 92 09 10

email: vdfe@kanzlei-wedel.de

Filmförderungsanstalt

Budapester Str. 41, D-10787 Berlin

phone: +49-30-2 54 09 00, fax: +49-30-25 40 90 57

www.ffa.de

email: presse@ffa.de

Filmboard

Filmförderung in

Berlin-Brandenburg

Wir geben mehr als Geld

Beauftragter der Bundesregierung für

Angelegenheiten der Kultur und der Medien

Referat K 36, Bundeshaus Berlin, Bundesallee 216-218 , D-10719 Berlin

phone: +49-30-22 41 62 07, fax: +49-30-22 41 62 23

Filmboard Berlin-Brandenburg GmbH

August-Bebel-Str. 26-53, D-14482 Potsdam-Babelsberg

phone: +49-3 31-7 43 87-0, fax: +49-3 31-7 43 87-99

www.filmboard.de

email: filmboard@filmboard.de

FilmFernsehFonds Bayern GmbH

Schwanthalerstr. 69, D-80336 Munich

phone: +49-89-5 44 60 20, fax: +49-89-54 46 02 21

www.fff-bayern.de

email: filmfoerderung@fff-bayern.de

FilmFörderung Hamburg GmbH

Friedensallee 14–16, D-22765 Hamburg

phone: +49-40-3 98 37-0, fax: +49-40-3 98 37-10

www.filmfoerderung-hamburg.de

email: filmfoerderung-hamburg@ffhh.de,

locationbuero@ffhh.de

Filmstiftung NRW GmbH

Kaistr. 14, D-40221 Düsseldorf

phone: +49-2 11-93 05 00, fax: +49-2 11-93 05 05

www.filmstiftung.de

email: info@filmstiftung.de

Medien- und Filmgesellschaft

Baden-Württemberg mbH

Filmförderung

Huberstr. 4, D-70174 Stuttgart

phone: +49-7 11-1 22 28 33, fax: +49-7 11-1 22 28 34

www.mfg.de

email: filmfoerderung@mfg.de

Mitteldeutsche Medienförderung GmbH

Hainstr. 19, D-04109 Leipzig

phone: +49-3 41-26 98 70, fax: +49-3 41-26 98 76 5

www.mdm-foerderung.de

email: info@mdm-foerderung.de


64

Members of the German

Film Exporters’ Association

please contact Lothar Wedel

Tegernseer Landstr. 75

D-81539 Munich

phone: +49-89-6 92 06 60

fax: +49-89-6 92 09 10

ARRI Media Worldsales

please contact Antonio Exacoustos jun.

Türkenstr. 95

D-80799 Munich

phone: +49-89-38 09 12 88

fax: +49-89-38 09 14 33

Atlas International Film GmbH

please contact

Dieter Menz, Stefan Menz, Christl Blum

Rumfordstr. 29-31

D-80469 Munich

phone: +49-89-21 09 75-0

fax: +49-89-22 43 32

www.atlasfilm.com

email: mail@atlasfilm.com

Bavaria Film International

Dept. of Bavaria Media GmbH

please contact Michael Weber,

Thorsten Schaumann

Bavariafilmplatz 8

D-82031 Geiselgasteig

phone: +49-89-64 99 26 86

fax: +49-89-64 99 37 20

www.bavaria-film-international.de

email: Bavaria.International@bavaria-film.de

Beta Film GmbH

please contact Claudia Schmitt

Robert-Buerkle-Str. 2

D-85737 Ismaning

phone: +49-89-99 56 - 27 20

fax: +49-89-99 56 - 27 03

www.epsilon-mediagroup.com

email: CSchmitt@epsilon-beta.com

cine aktuell Filmgesellschaft mbH

please contact Eugen Schaarschmidt, Ralf Faust,

Axel Schaarschmidt

Werdenfelsstr. 81

D-81377 Munich

phone: +49-89-7 41 34 30

fax: +49-89-74 13 43 16

email: cine_aktuell@compuserve.com

Cine-International Filmvertrieb

GmbH & Co. KG

please contact Lilli Tyc-Holm, Susanne Groh

Leopoldstr. 18

D-80802 Munich

phone: +49-89-39 10 25

fax: +49-89-33 10 89

www.cine-international.de

email: email@cine-international.de

Cinepool

please contact

Wolfram Skowronnek,Annegret Rönnpag

Sonnenstr. 21

D-80331 Munich

phone: +49-89-55 87 60

fax: +49-89-55 87 61 88

email: skowronnek@telepool.de

DWF

Dieter Wahl Film

please contact Dieter Wahl

Sörgelstr. 15b

D-81477 Munich

phone: +49-89-53 27 21

fax: +49-89-53 12 97

email: wahlfilm1@aol.com

Exportfilm Bischoff & Co. GmbH

please contact Jochem Strate, Philip Evenkamp

Isabellastr. 20

D-80798 Munich

phone: +49-89-2 72 93 60

fax: +49-89-27 29 36 36

email: philipevenkamp@csi.com

Filmverlag der Autoren und Futura

Film GmbH & Co.Verleih- und

Vertriebsgesellschaft KG

please contact Johannes Wachs

Neue Schönhauser Str. 20

D-10178 Berlin

phone: +49-30-3 00 69 70

fax: +49-30-30 06 97 11

www.kinowelt.de

email: info@kinowelt-international.de

FILM


EXPORTERS

german united distributors

Programmvertrieb GmbH

please contact Silke Spahr

Richartzstr. 6-8a

D-50667 Cologne

phone: +49-2 21-92 06 90

fax: +49-2 21-9 20 69 69 and

Bavaria Media TV Vertrieb

please contact Rosemarie Dermühl

Bavariafilmplatz 8

D-82031 Geiselgasteig

phone: +49-89-64 99 36 66

fax: +49-89-64 99 22 40

email: info@germanunited.com

Kinowelt International GmbH

please contact Alexander van Dülmen

Neue Schönhauser Str. 20

D-10178 Berlin

phone: +49-30-3 00 69 70

fax: +49-30-30 06 97 11

www.kinowelt.de

email: info@kinowelt-international.de

Media Luna

please contact Ida Martins

Alter Markt 36-42

D-50667 Cologne

phone: +49-2 21-1 39 22 22

fax: +49-2 21-1 39 22 24

email: idamartins@compuserve.com

Metropolis Filmvertriebs GmbH

please contact Luciano Gloor

Mediahaus

Lützowufer 12

D-10785 Berlin

phone: +49-30-26 48 03 60

fax: +49-30-26 48 03 61

email: luciano.gloor@metropolis-film.de

Progress Film-Verleih GmbH

please contact Christel Jansen

Burgstr. 27

D-10178 Berlin

phone: +49-30-24 00 32 25

fax: +49-30-24 00 32 22

www.progress-film.de

email: c.jansen@progress-film.de

Road Sales GmbH Mediadistribution

please contact Ulrich Felsberg,Valentina Lori

Clausewitzstr. 4

D-10629 Berlin

phone: +49-30-8 80 48 60

fax: +49-30-88 04 86 11

www.das-werk.de

email: office@road-movies.de

Roxy-Film GmbH & Co. KG

please contact Michael Waldleitner

Schützenstr. 1

D-80335 Munich

phone: +49-89-55 53 41

fax: +49-89-59 45 10

email: Roxy-Film@t-online.de

RRS Entertainment

Gesellschaft für Filmlizenzen GmbH

please contact Robert Rajber

Sternwartstr. 2

D-81679 Munich

phone: +49-89-2 11 16 60

fax: +49-89-21 11 66 11

email: info@rrsentertainment.de

Transit Film GmbH

please contact Loy Arnold

Dachauer Str. 35

D-80335 Munich

phone: +49-89-59 98 85-0

fax: +49-89-59 98 85-20

email: transitfilm@compuserve.com

Uni Media International GmbH & Co.

Produktions- und Vertriebs KG

please contact Irene Vogt, Dieter Nobbe

Bayerstr. 15

D-80335 Munich

phone: +49-89-59 58 46

fax: +49-89-5 50 17 01

email: UniMediaInt@t-online.de

65


Kino imprint

66

Editors

Production Reports

Contributors for this issue

Translations

Design Group

Art Direction

Printing Office

Financed by

published by:

Export-Union des

Deutschen Films GmbH

Türkenstr. 93

D-80799 Munich

phone: +49-89-39 00 95

fax: +49-89-39 52 23

www.german-cinema.de/

email: export-union@german-cinema.de

ISSN 0948-2547

Credits are not contractual for any

of the films mentioned in this publication.

© Export-Union des Deutschen Films

All rights reserved. No reproduction, copy or

transmission of this publication may be made

without written permission.

Susanne Reinker, Julia Basler

Simon Kingsley

Ed Meza, H. G. Pflaum, Laurence A. Rickels, Susanne Weingarten

Simon Kingsley, Lucinda Rennison

Werner Schauer Agentur für Design und Kommunikation

Werner Schauer

ESTA Druck,

Obermühlstraße 90, D-82398 Polling

the office of the Federal State Minister for

Culture and Affairs of the Media.

Printed on ecological, unchlorinated paper.

Next Issue

• Focus Location: Germany

German Films at the

• International Summer Festivals


Vadim Glowna hannelore elsner Jasmin tabatabai

BAVARIA FILM INTERNATIONAL

proudly presents NO PLACE TO GO

at Cannes 2000

For further information:

Stand L9, Tel.: +33 (0) 4.92998850

no

place to go

a film by oskar roehler

BAVARIA FILM INTERNATIONAL PRESENTS A DISTANT DREAMS PRODUKTION »NO PLACE TO GO«

WITH HANNELORE ELSNER VADIM GLOWNA JASMIN TABATABAI MICHAEL GWISDEK LARS RUDOLPH NINA PETRI TONIO ARANGO CHARLES REGNIER

WRITTEN AND DIRECTED BY OSKAR ROEHLER DIRECTOR OF PHOTOGRAPHY HAGEN BOGDANSKI BVK PRODUCTION DESIGN BIRGIT KNIEP COSTUME DESIGN TABEA BRAUN MAKE UP ARTIST JULIA THAM

SOUND MANFRED BANACH EDITOR ISABEL MEIER MUSIC MARTIN TODSHAROW PRODUCTION MANAGER MARTIN SCHLÜTER PRODUCERS KÄTE EHRMANN AND ULRICH CASPAR

A DISTANT DREAMS PRODUKTION IN COOPERATION WITH ZDF AND GEYER WERKE BERLIN SUPPORTED BY FILMBOARD BERLIN-BRANDENBURG AND FILMFERNSEHFONDS BAYERN

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