Titel Kino 2-2000 - German Films

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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
Page 1 and 2: Scene from “THE FAREWELL” Kino
Page 3 and 4: TV SPIELFILM unterstützt die Aktio
Page 5 and 6: 38 New German Films 38 A Tale Of Tw
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Page 13 and 14: Portrait of Jan Schütte Born in Ma
Page 15 and 16: Circle International GmbH Sie suche
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Page 19 and 20: 5 Years of FilmFörderung Hamburg -
Page 22 and 23: Die Blutgräfin Original Title Die
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Page 28 and 29: Abschied THE FAREWELL 28 It is one
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Page 32: German-international Coproductions
Page 35 and 36: Goya Don Francisco de Goya Luciente
Page 38 and 39: 38 A Tale Of Two Cities - Eine Erz
Page 40 and 41: 40 Apokalypse 99 - Anatomie eines A
Page 42 and 43: 42 Deeply A love story about findin
Page 44 and 45: Erotic Tales: Die Nachtschwester TH
Page 46 and 47: 46 Gangster A love story between Vi
Page 48 and 49: 48 Gran Paradiso Following an accid
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Page 52 and 53: Kasachstan Lady LADY OF KAZAKHSTAN
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60 Zoom - It’s Always About Getti
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FOREIGN REPRESENTATIVES 62 Argentin
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64 Members of the German Film Expor
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Kino imprint 66 Editors Production
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Titel Kino 2-2000 - German Films

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